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A biographical register of Australian colonial musical personnel–H (Ha-He)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–H (Ha-He)", Australharmony (an online resource toward the early history of music in colonial Australia):; accessed 19 April 2024

Ha - He

HAAG, Emma (Emma Catherine HAAG; Emma HAAG; Miss HAAG)

Musician, pianist

Born Venezuela, c. 1843; daughter of Johann Christian HAAG (1810-1891) and Catharina Maria GROTH (c. 1814-1876)
Arrived Adelaide, SA, c. 1848
Died Unley, SA, 10 July 1912, aged "69"


Johann Christian Haag emigrated from his native Wurtemberg to North America in around 1833. Probably around 1839, he married Catharina Groth, and the following year, in Venezuela, their first child, Johann Christian Haag (1840-1921) was born. Emma and her younger brother Adolph were also probably born in Venezuela. There is no certain record of the family's arrival in South Australia. However, Johann Christian's 1848 naturalisation certificate (aged 36, blacksmith) states that he had resided in the colony for six months.

See also: "NATURALIZATION OF ALIENS", Adelaide Observer (30 December 1848), 1 


[Advertisement], The South Australian Advertiser (26 November 1861), 1 

"CONCERT AT THE TOWN HALL, NORWOOD", The South Australian Advertiser (28 November 1861), 3 

"SCHLESWIG-HOLSTEIN RELIEF FUND", South Australian Register (11 October 1864), 2 

It is not often that our German fellow-colonists emerge from their identity with South Australians to engage in demonstrations peculiarly national or to promote truly national objects. Nor is it desirable that this should be so; for in a new settlement everything which tends to retard the progress of amalgamation and the growth of parity in sentiment among its inhabitants is to be deprecated. There are times, however, when this rule may be overstepped - when the sympathy of race excuses demonstrations of a national character, evincing the devotion with which peculiar customs and institutions ore clung to and the deep-rooted sympathy which fellow-countrymanship inspires. Such an opportunity has the recent war in Schleswig Holstein afforded to the Germans here. The sufferings of the belligerent forces call for compassion and relief from all, but they naturally excite a more hearty compassion, a more tender solicitude, among those who were born and bred in the same land, and brought up under the influence of the same associations. The movement now on foot in the province to advance this laudable purpose of sending aid to those who have been involved in the disasters of the war recently raging there recognises, as we understand, no partisan motive, but is intended to secure funds for distribution among those who have need, whichever side they may be connected with. In this view the object cannot fail to commend itself to the favourable notice of all. Among other means of securing a respectable sum for transmission to "Fatherland" it was determined to hold a grand concert in Adelaide, the performers being the members of the Liedertafel and the Brunswick Band, assisted by several lady and gentleman amateurs. Accordingly on Monday evening White's Room was crowded to the very doors with a highly-respectable assemblage, consisting mainly of Germans, although many members of other nationalities were present . . .

The opening piece was Martin Luther's well-known hymn "A strong fortress is our God," in which both chorus and band took part. This was followed by the overture to the opera of Die Felsenmuhle, by the band, and that again by the amusing "Grasshopper Song," which has already acquired some degree of popularity in Adelaide. Mr. Oehlmann's solo from Beethoven went off well, and Miss Haag executed on the pianoforte Schulhoff's "Galop di Bravura" in an admirable style. After this a quartette, "The True German Heart," was rendered in a feeling manner, and shortly afterwards Mr. Schierenbeek and Mr. Mumme sung "Ich wolt, mein Lieb, ergosse sich" . . .

"TOPICS OF THE DAY", The South Australian Advertiser (11 October 1864), 2

. . . A young lady amateur - in fact the lady amateur of the evening, for there was but one - performed Schulhoff's Galop di Bravura; and later in the evening Favarger's fantasia on themes from "Oberon" very tastefully, and with great execution, though we confess the school to which the pieces belong is no favorite of ours . . .

ASSOCIATIONS: Hermann Oelmann (vocalist); Charles Edmund Mumme (vocalist)

HAAS, Meno (Meno HAAS)

Musician, professor of music (from Copenhagen)

Active Adelaide, SA, by 1868
Died North Adelaide, SA, 10 March 1870



[Advertisement], South Australian Register (3 November 1868), 1

[Advertisement], South Australian Register (19 November 1868), 1

"CONCERT", South Australian Register (29 May 1869), 3

[Advertisement], The South Australian Advertiser (13 January 1870), 1

"DEATH", South Australian Register (11 March 1870), 4

"THE LATE MR. HAAS", Adelaide Observer (12 March 1870), 3 

We regret to announce the death, at North Adelaide, of Mr. Meno Haas, a music-teacher of some talent. The deceased was a native of Denmark, and nephew of Mr. Thorup, of Gawler. He arrived in South Australia about two years ago, and for the last 12 months has followed his profession in Adelaide and the suburbs, where he leaves many to mourn his loss.


Vocalist (Melbourne Philharmonic Society)

Active Melbourne, VIC, 1850s

HADFIELD, Benjamin (Benjamin HADFIELD)

School teacher, singing master


School teacher, singing master (TROVE tagged by Australharmony)

HADSLEY, Frances Helen (Frances Helen WATSON; Miss WATSON; Mrs. BROWN; Mrs. John HADSLEY)

Musician, music teacher, school teacher

Born ? UK, c. 1797
Active Windsor, NSW, c. 1842-43
Married John HADSLEY, NSW, 1843 (BDM NSW 250/1843 V1843250 27C)
Died Camperdown, NSW, 22 August 1881, aged "84" (BDM NSW 3349/1881) (TROVE tagged by Australharmony)


[Advertisement], The Sydney Morning Herald (17 December 1842), 1

WINDSOR. MRS. BROWN, returning thanks for the patronage she has received, begs to inform her friends and the public that she has removed her establishment to Fairfield, the late delightfully situated residence of Dr. Gamack; she will have vacancies for a few more Pupils after the ensuing vacation, which will terminate January 16, 1843. The most respectable references will be given. Fairfield, December 1.

[Advertisement], The Sydney Morning Herald (6 July 1843), 3 

MRS. HADSLEY, in returning thanks for the kind patronage she has received, begs to inform her friends and the public that her establishment re-opens on Monday, July 24th. Fairfield, Windsor, July 6.

[Advertisement], The Sydney Morning Herald (12 December 1843), 1 

ADVERTISEMENT. AS Mrs. Hadsley (late Mrs. Brown) will have completed the education of the greater part of her pupils at Christmas, and is induced to return to Sydney . . .
Mrs. Hadsley has taken the residence lately occupied by J. Gore, Esq., in O'Connel-street . . .

[Advertisement], The Weekly Register of Politics, Facts and General Literature (20 January 1844), 394 

MUSIC AT WINDSOR. SIGNOR V. CHIODETTI, professor of music, at Windsor, HAS heard with surprise, that Mrs. Brown, now Mrs. Hadsley, who has recently left Windsor, where she kept a school, said to her pupils before leaving that he, the said Professor is incompetent to teach the Pianoforte. V. Chiodetti cannot conceive what reason this lady had for making such an assertion . . . But how little of all this does Mrs. Hadsley know, who can only pretend to teach her pupils to commit to memory a few airs which they perform mechanically without knowing why or wherefore? And how few of the pupils of those "buy-a-broom professors" are ever competent to play a new piece at sight by themselves? . . . Should Mrs. Hadsley, or her friends, feel offended at this necessary vindication, V. Chiodetti is prepared to discuss the subject in public academy, at Sydney, with any one they may appoint. Windsor, January 19, 1844.

ASSOCIATIONS: Alleged detractor of Vincenzo Chiodetti


Amateur vocalist, sailor, singer

Active Sydney, NSW, 1836


"POLICE INCIDENTS", The Sydney Gazette and New South Wales Advertiser (1 December 1836), 3 

Edward Haen, just off a whaling voyage, with a head resembling a peak of the cloud-tipped Alps, was charged with being drunk and singing "All round my hat I vears the green villow," to the annoyance of his Majesty's drowsy lieges. Bench - Were you drunk? Edward - I might have been the worse for licker. Bench - Were you drunk? Edward - I can't say I was sober. Bench - Were you drunk? Edward - I had been drinking. Bench - Are you deaf? Edward - Slightly that way. A constable then roared in his ear with the voice of a stentor, "were you drunk ?" Edward - To be sure, to be sure. Bench - Pay five shillings. Edward - Here's the rhino. This is spoiling my cruise with a vengeance.

MUSIC: One of the earliest survivals of the melody, and a version of the text attributed to J. Ansell as a costermonger's song (as sung by Mr. Jack Reeve), was set by John Valentine (London: c. 1834); see US edition: (DIGITISED)

A manuscript copy of the Ansell-Valentine London edition, sold by Francis Ellard in Sydney, c. 1840, appears in Lillias Dowling's album, the Dowling songbook: (DIGITISED)

HAGEN, Nestor (Nestor HAGEN)


Born Malmedy, Liege, Belgium, c. 1833/34
Active Melbourne, VIC, 1859
Died Wiesbaden, Germany, 2 February 1899 (TROVE tagged by Australharmony)



The very attractive programme issued by this Society drew together, in the Exhibition Building, last night, one of the largest audiences we have seen, the building being filled in every part. A distinguishing feature of this concert was the introduction of two debutants, and two pieces of music by local composers . . . The debutants were Mr. Lewis, an amateur, whose performance on the pianoforte of Beethoven's Sonata Pathetique, notwithstanding its length, narrowly escaped an encore; and Herr Nestor Haagen, who performed a fantasia on the violin in a manner that showed a thorough mastery of his instrument and appreciation of his author . . .

Bibliography and resources:

Hagen family (2), Musik und Musiker am Mittelrhein 2 online 

HAILES, George Button (George Button HAILES; G. B. HAILES)

Amateur musician, band member, builder

Born Essex, England, 29 July 1808; baptised Great Chesterford, Essex, 28 January 1822 [sic]; son of William HAILES and Mary BUTTON
Arrived Melbourne, VIC, 18 June 1840 (date on gravestone)
Died Fitzroy, VIC, 22 May 1875, aged "67", a colonist of 35 years (TROVE tagged by Australharmony)

HAILES, Frederick (Fred. HAILES)

Theatrical and musical memorist

Born Melbourne, VIC, 1853
Died Melbourne, VIC, 24 April 1917, aged "65"

HAILES, Frank (Francis)

Amateur musician

Born Melbourne, VIC, 1857

George Button Hailes (photograph, Thomas Foster Chuck, 1872); State Library of Victoria

George Button Hailes (photograph, Thomas Foster Chuck, 1872); State Library of Victoria (DIGITISED)


Hailes was a member of Melbourne's Australia Felix Lodge, and one of the masonic amateurs who assisted Joseph Gautrot in concerts in 1841.


[Advertisement], Port Phillip Gazette (22 September 1841), 1 

HAS the honor to announce that a Concert of Vocal and Instrumental Music will take place THIS EVENING, Sept. 22nd, at Messrs. Benjamin's extensive new Stores, Williams Town, at half-post seven o'clock.
1st PART.
1. - Simphonie - CHERUBINI.
2. - Glee, Perfida Clori - AMATEUR
3. - Duetto - BOILEDIERE.
4. - Solo de Violon (M. Gautrot) - RODE.
5. - Ditenti Palpiti (ditto) - ROSSINI.
6. - English Glee (Amateur) - BISHOP.
2nd PART.
1. - Simphonie
2. - Glee (Amateur)
3. - Song (ditto)
4. - English duet (2 ditto)
5. - English Romana (ditto)
6. - French Song (M. Gautrot) - ROSSINI.
7. - Glee (Amateur) - MARTINI.
8. - God save the Queen, (3 voices.)
Tickets 10s. 6d, each, to be procured at the Albion Hotel, at Mr. Walter Butler's, and at Mr. Levien's, Williams Town.

"CONCERT", Port Phillip Gazette (25 September 1841), 3 

It affords us great pleasure to state that the Concert given at Williams Town, on Wednesday evening last, afforded universal satisfaction; it commenced with a concerted piece of music, arranged by Monsieur Gautrot, for three instruments, which was very cleverly executed by Gautrot, Hailes, and Tickel. Without being accused of flaterry, we pan speak in the most unqualified terms of Madame Gautrot; we heard her sing a solo in a tone of sweetness we have seldom heard surpassed. The other artistes were each excellent in the various songs they sung; the music, also, was much applauded. About fifty persons were present, a number of them from Melbourne, all of whom expressed their entire approbation. We trust we shall see M. Gautrot and friends paying us another visit previous to his embarkation for India.

"MARRIED", Port Phillip Gazette (30 October 1841), 3 

"DEATHS", The Argus (24 May 1875), 1 

HAILES. - On the 22nd inst., at his residence, 60 Nicholson-street, Fitzroy, G. B. Hailes Esq., J.P., aged 67 years, a colonist of 35 years standing.

"OLD MEMORIES. TO THE EDITOR OF . . .", The Argus (8 December 1905), 7 

Sir, - If not too late, I should like to add a few words in regard to early Melbourne musical memories. As a son of G. B. Hailes, one of the first string quartet in this city, I am pleased to see his name mentioned after so many years. My father and Mr. Claye arrived in 1840, and were vocalists, as well as instrumentalists. I have now some glee books, given to Mr. Hailes by Mr. Frederick Lord Claye. With Mr. John Russell, W. G. Dredge, and others they attempted to form a philharmonic society, but their numerical strength being insufficient, the society was not publicly started till 1853. I myself joined in 1860. I have a programme of the "Messiah" performance of 1854. Mr. John Russell was the conductor; Joseph Griffiths, first violin and leader; G. B. Hailes, 'cello. The programme does not mention Mr. Claye, nor can I recollect his being leader at any time. My brother Frank still plays on the old instrument, which arrived here in 1840. My father never missed a rehearsal or concert from the start, till his death in 1875, consequently he was known as the father of the Philharmonic. Many of the old members are still alive, notably Mr. W. H. Williams, an excellent tenor in his day. - Yours, &c.
Dec. 6.

Bibliography and resources:

George Button Hailes, Find a grave 


Musician, violinist, pianist, composer

Born Lemberg (Lvov), Poland (Ukraine), c. 1827/28 (? 1831)
Married (?) Margaretha (TEUSEN) KRAMER, UK, c. 1854/55
Arrived Melbourne, VIC, 31 July 1855 (per Oliver Lang, from Liverpool, 5 May)
Departed Sydney, NSW, January 1868 (for South America)
Died Lima, Peru, 30 March 1868, aged "40" (TROVE tagged by Australharmony)

HAIMBERGER, Margeritta (Hedewig Margaretha TEUSEN; Madame Ernest KRAMER; Margeritta KRAMER; Madame KRAMER; Madame CRAMER [sic]; Mrs. Julius HAIMBERGER)

Musician, contralto vocalist, "Tyrolese songstress"

Married (?) Julius HAIMBERGER, UK, c. 1854/55
Arrived Melbourne, VIC, 31 July 1855 (per Oliver Lang, from Liverpool, 5 May)
Departed Sydney, NSW, January 1868 (for South America)

KRAMER, Marie (Mrs. J. C. ELLIS) = Marie KRAMER

Soprano (mezzo) vocalist

Born Altona, Denmark (Germany), c. 1843; daughter Ernest KRAMER and Margeritta TUESEN
Arrived Melbourne, VIC, 31 July 1855 (per Oliver Lang, from Liverpool, 5 May)


Musician, pianist

Born Melbourne, VIC, 1855; daughter of Julius HAIMBERGER and Hedewig Margaretha TEUSEN
Died London, England, 1916 (4th quarter)

HAIMBERGER, Margaretta (Margharita) (Margaretta HAIMBERGER; Mrs. John Joseph MULCAHY)

Born Sydney, NSW, 1863
Married John Joseph MULCAHY, Carcoar, NSW, 1882
Died Hobart, TAS, 2 March 1885


Julius Haimberger, a "very young" violinist and political activist originally from Lvov in Poland, had become a disciple of Mikhail Bakunin in Dresden around the time of the May 1848 uprising there. At Bakunin's request, Richard Wagner took Haimberger under his wing, and organised his escape to Zurich in 1851, where he performed in the theatre orchestra for a season. Wagner having organised for him letters of introduction to Henri Vieuxtemps in Belgium and Edward Roeckel in London, by 1853 or 1854 Haimberger was in England.

And it was at Gravesend, on 20 October 1854, that he was first reported appearing in a concert with the vocalists Margaretha Kramer and her young daughter Marie, as the latest incarnation of the "Tyrolese minstrels".

There is no record of a legal marriage between Julius and Margaretha in the UK. However, it was evidently a family that they and Marie sailed for Australia, from Liverpool on 5 May 1855, on board the Oliver Lang. Having arrived in Melbourne on 31 July, Margaretha continued performing in public as Madame Kramer. That same year, however, as Julius Haimberger and Hedewig Margaretha Teusen, the couple registered the birth of a daughter Julia Haimberger.

Marie Kramer's 1864 marriage notice recorded that she was the eldest daughter of the late Ernest Kramer, of Altona. Ernest and the Kramer family of "Tyrolean singers", including his wife and (? brother) Trandel, first visited England in 1847, carrying with them a letter of introduction from Jenny Lind.

Ernest presumably having died in the meantime, Margaretha and their young daughter Maria returned to England late in 1852, in company with a Herr Oelkers, at least one report referring to the trio as a family. Oeklers was last recorded performing with the Kramers in May 1854, and by October Julius Haimberger had evidently replaced him as the male instrumentalist of the small troupe.

They made their first appearance in the Australian colonies for George Coppin and G. V. Brooke in Melbourne in mid August 1855. In Melbourne and Adelaide in October they were joined by the Tyrolese zither player Veit Rahm. Margaretha (already known as Madame Haimberger in Victoria) was presumably the "Madame Cramer" [sic] who appeared at Rahm's farewell benefit in Sydney on 29 May 1856, when she sang Crouch's Kathleen Mavourneen and, with John Howson, Glover's duet What are the wild waves saying?. Billed as "Madame CRAMER, of the Princess' Concert Room, London", she gave her own concert on 30 June, assisted by Flora Harris, Charles Packer and the Band of the 11th Regiment.

The last mention of "Madame Cramer" is a report of her appearing in a minor role at Andrew Torning's newly renamed English Opera House (Prince of Wales Theatre), on 7 July, in La sonnambula, under the direction of Linly Norman. However, as "Margeritta Haimberger" she was back in Ballarat, where Julius was then engaged at the theatre, by 21 July, as she later that month testified in a court action. In an advertisement, in Ballarat in December 1856, we learn that Margeritta "had the honor of appearing in company with Jenny Lind before Her Majesty the Queen", and that Julius was a "Member of the Conservatories of Leipsic and Vienna, and from the Royal Polytechnic Institution, and St. James's Theatre, London."

The Haimbergers moved north, via Goulburn, Sydney, and Bathurst, to Armidale, where, they briefly considered settling. On 24 November 1858, Antonius Julius Haimberger, originally of Poland, was naturalised, but by early 1859 the family had moved yet further north into what was shortly to become Queensland. At their first Brisbane concert, there was a "violin solo, composed and performed by J. Heimberger" [sic], that the Courier judged to be "a gem". Julius issued a prospectus for pupils in Ipswich, where he was intending to settle, in early February, and by the middle of the month had opened "JULIUS HAIMBERGER'S NORTH AUSTRALIAN MUSIC, STATIONERY, AND FANCY SHOP, BELL STREET, IPSWICH".

Back in Sydney in November 1863, Julius and William Stanley performed 2 movements from Beethoven's Violin sonata op. 12 no. 1.

In Sydney in January 1868, Haimberger advertised that he was leaving the colony. And in August that year, it was reported in the Queensland press, that he had died in Peru of yellow fever.


Britain (1847):

"THE TYROLESE MINSTRELS", Hull Advertiser and Exchange Gazette [Yorkshire, England] (28 May 1847), 5 (PAYWALL)

The celebrated Kramer family (who arrived here on Sunday, from Hamburg, by the Lion), gave their first concert in this kingdom, the Theatre-royal, on Wednesday evening. The attendance was remarkably small, owing no doubt, to the short notice given of the entertainment. The assembly present did not, however, regret their own attendance. Several of the songs were encored, and all were received with loud applause. The Tyrolese National Dance, by Trandel and Ernest Kramer, at the close of the concert, was well received. A first-rate band has been engaged for this evening's concert, which we would advise every lover of melody to attend.

[Advertisement], Morning Advertiser [London, England] (30 July 1847), 1 (PAYWALL)

VAUXHALL . . . Sixth appearance of the celebrated Tyrolean Minstrels, Ernest and Trandel Kramer . . .

[Advertisement], Bolton Chronicle [Lancashire, England] (27 November 1847), 1 (PAYWALL)

STAR INN, BOLTON . . . Herr and Madame KRAMER, the celebrated Tyrolean Singers, ARE ENGAGED to appear for SIX NIGHTS . . . on Monday next, which will be their first appearance in any Concert Room in England; having previously been engaged at the principal Theatres in the country, and received with the greatest satisfaction. They have had the honour of performing before various Continental Sovereigns; and also HER MAJESTY, the Queen Dowager . . . They sing in their native language, because if translated into English it would materially rob the music of its charms. On MONDAY Afternoon, November 29th, and every evening during the week, Herr and Madame KRAMER, the celebrated Minstrels of the Tyrol, in Switzerland, will appear in their native costume, and sing a variety of Tyrolean Songs and Duets . . .

[Advertisement], Manchester Courier and Lancashire General Advertiser (24 December 1847), 4 (PAYWALL)


Britain (1852-55):

"TYROLESE MINSTRELS", Hull Packet (12 November 1852), 5 (PAYWALL)

These talented and accomplished minstrels, consisting of Herr Oelkers, Herr Raisier, Madame Kramer, and Mademoiselle Maria, have appeared before the public for three nights during the past week in their national costume at the Public Rooms, Jarrett-street. On Monday and Tuesday, owing to Mrs. Kemble's presence at the Literary and Philosophical Ball, and other entertainments in the town, the attendance wea not ao numerous as might have been wished, but on Wednesday evening there was a crowded audience, who listened with delight to the many beautiful Swiss melodies which were charmingly sung and played, and enthusiastically applauded. We understand that they proceed to give entertainments next at Beverley, Driffleld, and Grimsby.

[Advertisement], Hull Packet (31 December 1852), 1852 (PAYWALL)

HULL MECHANICS' INSTITUTE. FOR the BENEFIT OF THE WIDOWS AND ORPHANS of those who were unfortunately lost by the wreck of the Steamer "VICTORIA" . . . The TYROLESE MINSTRELS, Herr OELKERS, the celebrated Guitarist; Madame KRAMER, the celebrated Vocalist; and Mademoiselle MARIE, Eight Years old, who have performed before the principal Courts of Europe, have the honor to announce . . . that they will give their well-knowvn entertainment of National Music, attired in their national costume, in the MECHANICS' INSTITUTE, Hull, On THURSDAY and FRIDAY Evenings, December 30th and 31st, and WEDNESDAY Evening, January 5th, 1853 . . .

"THE TYROLESE MINSTRELS", Aberdeen Press and Journal (28 September 1853), 5

Two Concerts were given in the Mechanics' Hall on the evenings of Friday and Saturday last by the Tyrolese Minstrels, who had just returned from performing, by Royal command, before her Majesty and Prince Albert at Balmoral. Notwithstanding what might have been expected after the Grand Concert on Thursday evening, the attendance was numerous. Herr Oelkers is a master of the Guitar, whose sweet tones, brought out also by Madame Kramer and Herr Blotny, who likewise play - had a very good effect, and mingled harmoniously with the voices. Madlle. Maria is a very young vocalist, but a very promising one: she sang sweetly and spiritedly, and was encored.

"ROYAL GARDENS, VAUXHALL", Bell's Life in London and Sporting Chronicle (14 May 1854), 8 (PAYWALL)

Should the weather prove propitious, it intended to open this ancient and favourite resort to the public on her Majesty's birthday. Mr. Wardell, the spirited proprietor, has just returned from Paris and other parts of France, where he has succeeded in procuring an unusual amount of talent . . . the Tyrolese singers, Madame Kramer, and her daughter, as well Herr Olckers are among the first who will appear . . .

"ASSEMBLY ROOMS", Kentish Independent [Gravesend, Kent] (28 October 1854) (PAYWALL)

On the evening of yesterday week, the "Tyrolese Minstrels" gave a concert at the Assembly Rooms, Harmer Street, under the patronage of worship the mayor; and notwithstanding that they had been for the previous month singing nightly at the Assembly Rooms, yet there was a full room to greet them upon this occasion, when they came forth alone, trusting to their own talents to "draw a house," pretty fair evidence that the high encomiums which have been passed upon them are well deserved. The programme consisted of Swiss and Tyrolean national airs, with one or two English songs, the whole of which were well applauded, and they were encored in the duets "The Merry Swiss Boy,” and "Travels in Steiermark," and Madam Kramer in "Life's Garden" and another of Jenny Lind's Swedish songs, and the little girl in the English song "Trab Trab." Herr Haimberger, who on this occasion appeared in his Tyrolean costume, performed the "Souvenir de Bellini," and two of De Beriot's solos the violin, in a manner which called forth the most rapturous applause.

"TYROLESE MINSTRELS", Maidstone Journal and Kentish Advertiser (31 October 1854) (PAYWALL)

Under this title, a party of four performers, consisting of Madame Kramle [sic] and daughter, Herr Haimberger, and Mr. Pitman, gave concert at the Corn Exchange Monday evening, under the patronage the Mayor. In their announcements it was stated, or, rather, inferentially so, that they were "this Tyrol family" recommended by Jenny Lind, and who, according to Colonel Phipps, "gave very great satisfaction" at Balmoral, 1847. Now we are rather sceptical upon this point. Madame Kramer herself might have been one of the Tyrol family alluded to, but beyond that we are rather dubious, more especially as, on their own bills, four adults, all in costume, are intended convey idea of the family. This, however, may considered of minor importance, the real question being, "Was it a good performance?" And here we readily answer in the affirmative. Madame Kramer is unquestionably a good singer, and was greatly applauded throughout. Her "Swedish song," in the third part, was a perfect gem, and received a warm encore. Miss Marie Kramer is a very young lady, who promises well. Her portion of the duets with Madame Kramer did her much credit, and her ballads were very pleasingly given. We like Mr. Pitman better as an instrumentalist than a vocalist. His accompaniments the pianoforte displayed considerable taste and brilliancy of execution, which we could have wished he had an opportunity of developing still further. Herr Haimberger performed a concerto, a fantasia, and a solo the violin, in a highly finished and artistic manner, and received much and well-earned applause. Several encores were given in the course of the evening, but we regret the attendance was not more numerous.

[Advertisement], South Eastern Gazette (31 October 1854), 8 (PAYWALL)

"HACKNEY", The Musical World [UK] 32/52 (30 December 1854), 851

A large audience assembled on Monday week, at the concert given at Hackney, by the Tyrolese Minstrels. Their singing was simple and unsophisticated, and had a natural charm, like the song of birds. Even professional singers might take a lesson from the "minstrels" in the emission of sound. The peculiarity of the so-called "Jodeln," only known in the Tyrol, baffles the experienced vocalist, whilst the natives can all accomplish it without study. Some of the songs executed by Madame Kramer and her interesting little girl, are extraordinary feats of natural vocalisation. Herr Haimberger performed several morceaux on the violin with excellent taste and execution. The audience encored with enthusiasm almost every piece.

[Advertisement], Kentish Independent [Woolwich, Kent, England] (24 March 1855), 1 (PAYWALL)

Lecture Hall, Nelson Street, Woolwich.
TWO GRAND CONCERTS by THE TYROLESE MINSTRELS, From the Royal Polytechnic Institution,
On Wednesday and Thursday Evenings, March 28th and 29th, 1855.
Programme. PART I.
1. - "The Wandering Minstrels" - Madame and Mademoiselle Kramer, and Herr Zablotng - National Song.
2. - "My Rifle Gun' - Madame Kramer - [National Song]
3. - "The eEening Prayer on the Mountain" - Madame and Mademoiselle Kramer - [National Song]
4. - "Wen ich ein Voeglein waer" - Herr Zablotng - [National Song]
5. - Great Fantasia and Variations for Violin - Herr Haimberger, (Member of the Conservatories of Leipzig and Vienna) - F. David.
6. - "Tyroler Iagerleid" - Madame and Mademoiselle Kramer, and Herr Zablotng - National Song.
7. - "The Merry Singers" - Madame and Mademoiselle Kramer, and Herr Zablotng - National Song.
8. - "Life's Graden" - Bravura Song (by JENNY LIND) - Madame Kramer - [National Song]
9. - "Early in the Morning" - Madame and Mademoiselle Kramer - [National Song]
10. - "Auf dem Berge" - Herr Zablotng - [National Song]
11. - Grand Concerto for the Violin - Herr Haimberger - Ch. de Beriot.
12. - "Come away to the Valley" - Mademoiselle Marie Kramer - B. Vaughan
13. - "The Merry Swiss Boy" - Madame and Mademoiselle Kramer, and Herr Zablotng - National Song.
14. - "Tyrolese Bacchanalian Song" - Madame and Mademoiselle Kramer, and Herr Zablotng - National Song.
15. - "The happy merry Mountain Home" - Mademoiselle Marie Kramer - [National Song]
16. - "The merry Post Boy" - Madame Kramer and herr Zablotng - [National Song]
17. - Grand Solo for the Violin - herr Haimberger - Ch. de Beriot.
18. - "Ich daham a Madlghabt" [sic] - Herr Zablotng - National Song.
19. - "Travels in Steirmark" - Madame and Mademoiselle Kramer, and Herr Zablotng - Oelkers.
Testimonials, &c., received by the Tyrol Family: -
"The Tyrolese sand at Balmoral, in the presence of Her Majesty THE QUEEN, His Royal Highness PRINCE ALBERT, and her Royal Highness the DUCHESS OF KENT, and gave very great satisfaction.
(Signed) C. B. PHIPPS. Balmoral, Sept. 15, 1853."
"The Tyrolese Minstrels had the honour of singing here, in the presence of Her Royal Highness the Duchess of Cambridge, and their Royal Highnesses the Hereditary Grand Duchess of Mecklenburg and Princess Marie, who all expressed themselves highly pleased with their performances.
(Signed) HAMILTON. Hamilton Palace, August 30th, 1853."
"I am directed to say that the Tyrol Family performed before His Excellency the Lord Lieutenant, and Lady St. Germans, at the Viceregal Lodge, and gave very great satisfaction.
(Signed) BAGOT, Comptroller. April 18, 1853."
"I have great pleasure to recommend this Tyrol Family to all admirers of Guitar and Harmonious Voices.
(Signed) JENNY LIND. London, July 19, 1847."
Admission 6d. Reserved Seats, 1s. . . .

Australia (from mid 1855):

[News], Colonial Times (7 July 1855), 2

Madame Bishop is on her way to Melbourne from San Francisco, as also Madame Kramer, the Tyrolese songstress.

[Advertisement], The Argus (11 August 1855), 8

[Advertisement], The Argus (1 September 1855), 8

[Advertisement], The Argus (11 October 1855), 8

[Advertisement], South Australian Register (23 October 1855), 1

"THE TYROLESE MINSTRELS", South Australian Register (24 October 1855), 3

[Advertisement], South Australian Register (24 October 1855), 1

"THE TYROLESE MINSTRELS", South Australian Register (31 October 1855), 3

Madame and Madlle. Kramer, Herr Veit Rahm, and Herr Haimberger gave their concert last evening, at the Theatre, under the patronage of His Excellency Sir Richard and Lady MacDonnell. The boxes were well filled. The programme included a great variety of pieces, chiefly Tyrolese national airs, the whole of which, without exception, were well received. Madame Kramer's vocalization is of a very superior order; she has a full rich voice, and her execution in the "Wedding Song of the Alps", and "Life's Garden", was particularly happy. In the programme two solos were allotted to Madlle. [Marie] Kramer, a child of about 10 years of age; and she sang them so sweetly, and with such correctness and feeling, that she was encored each time. Her voice also blended beautifully in the duets and trios . . . Herr Haimberger executed two solos on the violin, and produced a strain of melody from it such as has seldom been heard in Adelaide. He showed a perfect mastery over the instrument, and proved himself to be an accomplished musician . . .

"THE TYROLESE MINSTRELS", South Australian Register (2 November 1855), 4

Herr Haimberger's performances on the violin were well received. If he does not merit the very high eulogium which Emerson pronounced upon Paganini of the ability to "produce rapture from a catgut", he is at least a thorough master of his instrument. His ability to produce a succession of chords with remarkable rapidity of execution is undoubtedly great, but his performances would be more fully appreciated if, like his coadjutors, he appeared rather more at ease.

"TYROLESE MINSTRELS AT MACCLESFIELD", South Australian Register (8 February 1856), 3

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

[Advertisement], Empire (29 May 1856), 1

[Advertisement], The Sydney Morning Herald (29 May 1856), 1

"HERR VEIT RAHM'S FAREWELL CONCERT", The Sydney Morning Herald (30 May 1856), 8

[Advertisement], The Sydney Morning Herald (17 June 1856), 1

[Advertisement], The Sydney Morning Herald (30 June 1856), 1

"MADAME CRAMER'S CONCERT", The Sydney Morning Herald (2 July 1856), 5

"ENGLISH OPERA HOUSE", The Sydney Morning Herald (8 July 1856), 2

[Advertisement], The Star [Ballarat, VIC] (19 July 1856), 1

"POLICE COURT. Thursday, 24th July. Margeritta Haimberger v. White", The Star (26 July 1856), 2

This was a summons for using insulting language, calculated to lead to a breach of the peace in a public place. Mr. Rainy appeared for the complainant and Mr. Dunne for the defendant. The complainant in this case was one of the Tyrolese minstrels engaged at the Star Concert Room.

Margeritta Haimberger sworn and examined by Mr. Rainy - I am a singer and the wife of Julius Haimberger. I know the defendant. He is engaged as well as myself at the Star Concert Room. He is pianist. On the evening of the 21st of July, a gentleman asked my little girl to sing "Annie Laurie." She said she was afraid to do so without speaking to Mrs. White, as it was one of her songs. In consequence of this affair Mr. White called me a blackguard. Mrs. White was much offended at my little girl speaking about singing the song. The words spoken by Mr. White were spoken in a public place. I gave him no provocation neither did I use any insulting language towards him.

Cross-examined by Mr. Dunn - This affair occurred in a room next to the concert room. I consider that to be a public place. The room where this took place is a room off the concert room, where professionals go to when they have finished their songs. People are in the habit of passing through the room.

Mr. Dunne submitted that the room in which the language was used being a kind of retiring room for the professionals could not be considered a public place within the meaning of the clause in the Vagrant Act, upon which the summons had issued, and, therefore the case must be dismissed.

Mr. Rainy argued strenuously in opposition to this view of the case, but his Worship said that it appeared to him that the room was something like the green room of a theatre. That certainly could not be called a public place within the meaning of the Act. He must, therefore, dismiss the case.

Julius Haimberger v. White.

This was a summons taken out by the husband of the complainant in the last case, against the same defendant for using threatening language. Mr. Julius Haimberger gave evidence to the effect that the defendant had threatened him with violence on more than one occasion, stated that the defendant had called him a coward in the concert-room in the daytime, on the 23rd inst., and challenged him to fight, and threatened to punch him.

His Worship said that all the parties appeared to be engaged at the Star Hotel, and this was a professional disagreement, which they had better settle among themselves. Mr. Haimberger said what aggrieved him was the language used to his wife by the defendant.

Mr. White here denied that he ever used the language imputed to him. Mr. Dunne said the fact was that Mrs. Haimberger had called his client, Mr. White, a blackguard, and he had replied that there were other people to whom the term might be applied as well as himself. Mr. Haimberger had threatened that he would serve Mr. White as Lola Montes served Mr. Seekamp, and Mr. White had dared him to put his threat into execution.

His Worship asked Mr. Haimberger if he apprehended any violence from Mr. White.

Mr. Haimberger: It is impossible to tell what a man of his character will do; he is capable of doing anything. (This remark caused much laughter.)

His Worship said he thought there was no case before him, and he should therefore dismiss the charge, and advise the parties to forget their differences.

[Advertisement], The Star (27 December 1856), 3

Diary of John Buckley Castieau, Beechworth, VIC, 8 June 1857; original MS, National Library of Australia; transcribed and edited by Mark Finnane, online at Centre for 21st Century Humanities, University of Newcastle (TRANSCRIPT)

[Monday 8 June 1857] . . . . In the evening went . . . to hear the Tyrolese Minstrels, Madame Haimberger & Mademoiselle Kramer. They sang some Native Airs very sweetly, their effect was much heightened by their nearly all having very eccentric but musical Choruses. The Young lady sang some English Airs but as might be expected succeeded much better in those of her own Country. Monsieur Haimberger played the Violin and gave a Solo. I did not however think much of it. I daresay he plays well but his style is very harsh to one who has revelled in Miska Hauser's Melodies or even heard Strebinger in his happy moments. The Songs were nearly all encored this made the Concert spin out a long time and it was nearly twelve o clock before I got home to bed. This day will be famed in Beechworth Annals in consequence of the Publicans having reduced (their?) nobblers from 1/6 each to 1/- (Quite time).

ASSOCIATIONS: John Buckley Castieau (diarist, theatrical amateur)


[Advertisement], The Sydney Morning Herald (30 January 1858), 1

[Advertisement], The Sydney Morning Herald (20 March 1858), 5

"GRAND CONCERT IN THE SCHOOL OF ARTS", The Sydney Morning Herald (25 March 1858), 5

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

"CARCAOR. THE TYROLESE MINSTRELS", Bathurst Free Press (23 June 1858), 2

"THE TYROLESE MINSTRELS", The Armidale Express and New England General Advertiser (16 October 1858), 2 

. . . we have had pleasure in learning that Mr. Haimberger intends to settle in Armidale, with his family; and from notices in another column it will be seen that Mr. Haimberger has effected arrangements which we imagine must be attended with decided success.

Certificate to naturalize . . . Antonius Julius Haimberger, NSW, 24 November 1858; State Records Authority of NSW (PAYWALL)

Whereas . . . Antonius Julius Haimberger . . . praying that he may be naturalized . . . that Antonius Julius Haimberger is a native of Lemberg Austrian Poland, 27 years of age [sic], and that having arrived by the ship Oliver Lang in the year 1853 [sic, recte 1855] he is now residing in Armidale and is desirous of becoming a permanent resident in the colony and also to be allowed to hold land in fee simple . . . GIVEN . . . this [24 November 1858] . . .

[Advertisement], The Moreton Bay Courier (1 January 1859), 3

"THE TYROLESE MINSTRELS", The Moreton Bay Courier (8 January 1859), 2

[Advertisement], The Moreton Bay Courier (2 February 1859), 4

[Advertisement], The Moreton Bay Courier (19 February 1859), 3

"BIRTHS", Empire (12 October 1863), 1

[Advertisement], The Sydney Morning Herald (7 November 1863), 1

"CONCERT OF THE TYROLESE MINSTRELS", Empire (11 November 1863), 4

The first of a series of musical entertainments of a novel character will be given at the School of Arts this evening. Some years since Madame Kramer (now Madame Haimberger), with her daughter and Herr Haimberger, visited this city, after a long tour through Europe, and delighted our citizens, as they had previously gratified the sovereigns of the old world, with their beautiful national Tyrolese melodies and instrumental performances . . . Since their former visit to Sydney, the Haimbergers have been located at Ipswich, where they have had leisure to mature their talents . . .

[Advertisement], The Sydney Morning Herald (19 December 1867), 10

"MR. HAIMBERGER'S CONCERT AT THE SCHOOL OF ARTS", The Sydney Morning Herald (20 December 1867), 5

Miss [Julia] Haimberger, a child of only twelve years, who not only acted as accompanyist, but executed her parts in two duets in a manner that elicited the surprise and marked commendations of the audience, the delicacy of touch, the expression, and the execution were alike remarkable.

[Advertisement], The Sydney Morning Herald (21 January 1868), 7 

A GENTLEMAN leaving the colony has for SALE, 2 superior VIOLINS, a Tenor, a Violoncello, a Cornopean, two Flutes, Instruction Books, Vocal and Instrumental Music. JULIUS HAIMBERGER, 11, Stanley-st.

[News], The Darling Downs Gazette (11 August 1868), 3

We are sorry to observe, by the Queensland Times, that Mr. Julius Haimberger, late of Ipswich, is dead. Most of the residents of Ipswich were well acquainted with the name of this gentleman, who was a first-class violinist; and, no doubt, the old residents of Toowoomba will remember, some seven years ago, a series of concerts being given by this gentleman, in conjunction with Mrs. Haimberger and Miss Cramer, who, subsequently went to Vienna. Mr. Haimberger died, on the 30th March, at Lima, Peru (after landing from Sydney) of yellow fever; he was forty years of age, and the eldest son of Baron Haimberger, of Vienna, Austria.

Bibliography and resources:

Richard Wagner, My life, volume 1 (New York: Dodd, Mead and Company, 1911), 491

. . . he [Bakunin] received me, seated on mattresses which lay distributed over the floor of the [Dresden] Town Hall side was a very young Pole (a Galician) named Haimberger, a violinist whom he had once asked me to recommend to Lipinsky, in order that he might give him lessons, as he did not want this raw in inexperienced boy, who had become passionately attached to him, to get drawn into the vortex of the present upheavals. Now that Haimberger had shouldered a gun, and presented himself for service at the barricades, however, Bakunin had greeted him none the less joyfully. He had drawn him down to sit by his side on the couch, and every time the youth shuddered with fear at the violent sound of the cannon shot, he slapped him vigorously on the back and cried out: "You are not in the company of your fiddle here, my friend. What a pity you didn't stay where you were!"

ASSOCIATIONS: Richard Wagner (musician, conductor, composer); Mikhail Bakunin (political activist); Karol Lipinsky (violinist)

Ernest Newman, The life of Richard Wagner, Volume 2: 1848-1860 (New York: Alfred Knopf, 1937), 88-89, 91, 450

(88) It would seem, however, as if, before leaving Dresden, he [Wagner] plunged once more into the inner part of the town the neighbourhood of the Annenstrasse in order to take a last glance at the condition of affairs there. Some time before this, a young Galician violinist named Haimberger had been recommended to him by Bakunin, who wished Wagner to obtain for him a post in the Opera orchestra. If Praeger is to be believed, Haimberger told him in later years that at about eight o'clock one morning (presumably the 8th) he was with Wagner at the barricades when a young girl of eighteen was shot by a Prussian; whereupon Wagner, mounting a cart, cried out, "Men, will you see your wives and daughters fall in the cause of our beloved country, and not avenge their cowardly murder? All who have hearts, all who have the blood and spirit of their forefathers and love their country, follow me, and death to the tyrant." "So saying ", continues Praeger, "he seized a musket, and heading the barricade they came quickly upon the few Prussians who had strayed too far into the town, and who, perceiving that they were outnumbered, gave themselves up as prisoners." Praeger adds that he told the story afterwards to Wagner, "and he agreed entirely as to the truth of Haimberger's recital". While Praeger is, in general, an unreliable witness, there is no apparent reason . . . why he should have invented a story of this peculiarly circumstantial kind. While it may be doubtful whether the episode occurred precisely as he tells it, the probability is that something of the kind did happen. Further according to Praeger, (89) Haimberger alleged that on an earlier day Wagner, who was at the barricades with him, sent him for an ice for the relief of his parched throat again an incident which we can hardly believe anyone taking the trouble to invent. Finally Max von Weber, the son of the composer, is said to have told Praeger that he had seen Wagner with a gun on his shoulder, and that Wagner had advised the insurgents to strip the lead from the house-roofs for the casting of bullets. Of this, however, we have no confirmation . . .

(88 footnote) Haimberger fled to Switzerland after the rising, and in January, 1851, Wagner found a place for him among the violins of the Zurich orchestra for the season of that winter. With his usual kindness towards deserving young musicians, he did all he (89) could to assist Haimberger later, recommending him first to Röckel's brother Eduard in London, then to Vieuxtemps in Brussels, and using his influence with Sulzer in the matter of a passport for the young man . . . His innocent association with Haimberger in Zurich did him no good in the eyes of the police, to whom, of course, all political refugees were more or less criminals, carrying on their nefarious activities under the pretext of being concerned with art. In January, 1851, it was reported to Dresden that Wagner, "one of the coryphaei of the Swiss revolutionary party", was much in the company of "the Lemberg fugitive Haimberger", both of them having sinister connections with Austria.

ASSOCIATIONS: Carl August Roeckel (musician) and Edward Roeckel (musician), perhaps brothers of Armand Roeckel (pianist) and Joseph Roeckel (pianist), later active in Australia; Henri Vieuxtemps (violinist); Ferdinand Praeger (biographer, musician)

Curt Von Westernhagen (trans. Mary Whittal), Wagner: a biography (Cambridge: Cambridge University Press, 1978), 175 (PREVIEW)

. . . A young violinist from Lemberg (Lwow) called Haimberger, whom Wagner had known at the time of the Dresden rising and who had also fled to Switzerland, appeared at one of his concerts. An enquiry went from Prague to Dresden as to whether Wagner who was one of the ringleaders of the Swiss Revolutionary Party in Zürich, associated with the Galician fugitive Haimberger, and had Austrian connections, was identical with the "known Richard Wagner". . .

HALE, Mrs. (Mrs. HALE)

Musician, professor of music

Arrived Adelaide, SA, by 5 October 1852 ("lately arrived from England")


[Advertisement], South Australian Register (5 October 1852), 1

HALE, Amelia Ann (Amelia Ann HALE; Mrs. William McQUADE)

Amateur musician, vocalist, pianist

Born Windsor, NSW, 27 July 1829; baptised St. Matthew's, Windsor, 5 January 1831; daughter of James HALE (d. 1857) and Mary LYNCH (d. 1866) (m. 1828)
Married William McQUADE (1827-1885), Windsor, NSW, 11 September 1850
Died Sydney, NSW, 21 August 1875 (TROVE tagged by Australharmony)


"MARRIED", The Sydney Morning Herald (13 September 1850), 4 

At Windsor, on Wednesday, 11th September, Mr. William McQuade, of Windsor, to Amelia Ann, only daughter of Mr. Hall [sic], Fairfield, Windsor.

"DEATHS", The Sydney Morning Herald (23 August 1875), 1 

McQUADE. - August 21, at her residence, Bomera House, Potts-Point, Amelia Ann, the wife of William McQuade, aged 46 years.

"Reminiscences - Personal and Political of a 50 Years' Residence at Windsor, on the Hawkesbury", Windsor and Richmond Gazette (13 September 1890), 1

A LECTURE, Delivered at the Windsor School of Arts, 22nd August, 1890, by WILLIAM WALKER, M.L.C.
I. - PERSONAL AND SOCIAL. (Continued.) . . .

. . . In the days of my early man-hood there were a number of amiable and hospitable families about Windsor - possessed of ample means, which they used with great generosity. I don't see many like them now-a-days. In particular, there were three which I would like to mention. There were the Scarvells, of Killarney, the Hales, of Clifton, and afterwards of Fairfield, and the Fitzgeralds of Windsor. When I was attaining to man's estate I was a frequently-invited guest to parties and social-reunions. My acquaintance with the Scarvells arose from the three eldest sons being my school-fellows at my father's school. They were weekly boarders, going home on Saturdays, returning on Monday mornings, and I was often taken with them to their happy paternal mansion. Mrs. Scarvell was a charming lady and the whole family most agreeable. The little homely parties which we used to have then can never be effaced from my memory. All the boys played the flute and I was an amateur at it myself, and we used to take it in turns to play the quadrilles, waltzes and polkas. Poor fellows they have all gone, and followed their respected parents to early graves. The Hales' were, if anything, more jolly, but it was chiefly whist-playing and music that prevailed at Clifton and Fairfield. Miss Hale was an accomplished pianist and singer. Her future husband, Mr. Wm. McQuade, and myself, used often to join her at the piano with songs. One we used to sing was the "Canadian Boat Song," seldom now heard. It occurred to me whilst riding home one night with Mr. McQuade and hearing St. Matthew's church-bell toll 11 o'clock, that I might make a parody upon it, which I did and we sang it as follow:

Sweetly as tolls St. Matthew's chime,
So sweet we pass our evening time;
Melodious music rings around,
The fields we charm with dulcet sound.
Ride, brothers ride - the hours fly fast,
The road is drear - the moonlight's past.

Soon as our horses pass the hill
The breeze is bushed; and all is still;
We sing our weary homeward song,
And echo tills the vales along.
Ride, brothers ride, &c.

We leave glad scenes and faces dear,
To brave the night, so dark and drear;
The stars alone upon us shine,
And thus we pass our evening time.
Ride, brothers ride, &c.

Mr. and Mrs. Hale were the most hospitable people I ever knew. They made a practice of inviting all the friends that they met at the Windsor races - on a race meeting - to dine with them at Clifton or Fairfield. They also had a good lunch or pic-nic on the ground during the day. I was always welcome to these, and, full of youthful spirits, I enjoyed them greatly, and at them I met with many gentlemen of social and political position whose acquaintance I found of value in after life. The Fitzgeralds were more formal. They gave several grand balls, and at one of these I met the young lady whom I made my first partner in life, so that I had occasion to remember with gratitude their attentions to me. It was after one of these delightful gatherings that I was inspired to write the following lines which were afterwards set to music by the late Isaac Nathan, the composer of Byron's Hebrew Melodies, and an opera called "Don John of Austria":

'Tis sad to leave those scenes of joy
Where mirth and music's glee
Pervade each heart and smiling face
And all is melody.
'Tis sad to think of by-gone hours
When happy we have been,
But which in time's unwearied flight
Will never more be seen.

'Tis sad to say farewell to those
Dear friends whose converse sweet
Has brightened gloomy nights' long hours
And welcomed us to meet;
But sadder far, it is to part
From those we dearest love,
Oh I such a rending of the heart
Ascends to heaven above.

ASSOCIATIONS: William Walker (memoirist); Scarvell brothers (flute players); Isaac Nathan (composer)

MUSICAL CONCORDANCE: A Canadian boat song [Faintly as tolls the evening chime] (arr. Thomas Moore)


Amateur vocalist (niece of Anna Bishop)

See under entry for MILLAR

HALL, Miss (Miss HALL; one or more)

Musician, professor of music, teacher of the pianoforte and French, German and Italian singing

Active Melbourne, VIC, 1852; 1857


A Miss Hall advertised as a teacher in Melbourne in June 1857 with "high testimonials from Dr. Sterndale Bennett".


"THE WEEKLY CONCERTS", The Argus (6 October 1852), 5 

We hear great things of the preparations for the Concert of tomorrow evening. The programme is not yet issued, but we understand that no fewer than four lady singers will appear, Mrs. Testar, Mrs. Pellatt, a Madame Clasen, and a Miss Hall . . .

"THE CONCERT", The Argus (14 October 1852), 4 

[Advertisement], The Argus (4 June 1857), 8

MISS HALL, Professor of Music, proposes to give LESSONS on the PIANOFORTE, and also in English, French, German, and Italian SINGING. Sho has high testimonials from Dr. Sterndale Bennett, and is permitted in this colony to refer to
Mrs. Hull, Richmond.
Mrs. F. Selwyn, Brighton.
J. D. Pinnock, Esq., Richmond.
Dr. Sewell, D.O.L., St. Kilda.
Dr. Van Homert, St. Kilda.
For cards of address apply to the Library Junction, St. Kilda.

HALL, Edward Smith (Edward Smith HALL; E. S. HALL)

Musical amateur, newspaper proprietor and editor, journalist, concert reviewer

Born London, England, 28 March 1786
Married Charlotte HALL [sic], St. Luke, Finsbury, 21 December 1810
Arrived Sydney, NSW, 10 October 1811 (per Friends, from England)
Died NSW, 18 September 1860 (NLA persistent identifier)

HALL, Charlotte (Charlotte HALL)

Amateur musician, pianist

Born Sydney, NSW, 3 November 1811; baptised, St. Philip, Sydney, 8 December 1811; daughter of Edward Smith HALL and Charlotte HALL
Died Sydney, NSW, 21/22 June 1859


"COURT OF REQUESTS, FRIDAY, OCT. 5. Symons and Annette his wife v. Samuel Terry", The Monitor (8 October 1827), 7

The plaintiffs had lately been resident in Sydney, but were now on their passage to England. Mrs. Symons, previously to her marriage (which took place in the Colony the latter part of last March) had given a quarter's tuition in musick to Miss Martha Terry, daughter of the defendant. The latter had been repeatedly called on to pay the amount charged (three guineas sterling), and had evaded payment, first, by saying he would settle it when convenient; but finally he denied all knowledge of his daughter's having been a pupil of Mrs. Symons, but acknowledged that he had heard that she had visited Mrs. S. as a young friend, when it was probable they might amuse each other with a tune on the piano; but as to receiving lessons, he knew nothing of it . . .

. . . The Rev. Ralph Mansfield deposed that Mrs. Mansfield and himself had also been intimate with Mrs. Symons previously, as well as subsequently to her marriage . . . Mr. Mansfield was of opinion that Miss Spencer, she being, in his opinion, inclined to benevolence, would teach the daughter of a person in decayed circumstances without charge, even though she were herself, at the time, in a sickly state of health. Miss Charlotte Hall deposed to her having been a pupil of Miss Spencer, and subsequently of Mrs. Symons; but that she received her tuition in a morning, whereas Miss Terry attended to receive her lessons in an evening. But it so happened that, at two several times, Miss Terry casually mentioned to the witness, that she was taking lessons on the piano of Miss Spencer . . .

The defendant addressed the Court in explanation. He said, his daughter had taken instructions in music from Miss Spencer, and afterwards, when she became Mrs. Symons, without his knowledge. He admitted he had heard of her going to Mrs. Symon's lodgings, but he understood it was in the way of a friendly call. His daughter being a minor, was not competent to make such engagements as the one on which the action was founded and consequently he was not liable to judgment. (Being reminded by the plaintiff's attorney that Miss Terry could have given better evidence on such points than himself, if she had made her appearance.) Mr. Terry went on to say, that he would not allow his daughter to come into that Court on such a paltry occasion; and that, in his opinion, Mr. Hall ought to be ashamed of himself for permitting Miss H. to attend there, and give evidence as she had done. If Mr. S. had wanted three guineas, or even five guineas, he would chearfully have given it him; and that he was sure the plaintiffs had received from him aforetime, that which was equivalent to several fives: but he would resist a demand of this sort, when set up as a legal claim. (The attorney for the plaintiffs begged the defendant to desist from such insinuations; for that although he admitted Miss Spencer had not been rich, and could not afford to give the daughters of wealthy men tuition and tea parties all for nothing, her husband, Mr. Symons, was a gentleman of property, and needed not, nor would accept any gifts from Mr. Terry.) The Commissioner summed up in few words. He was satisfied in his own mind Miss Terry had been instructed by Miss Spencer, and therefore should give judgment for the plaintiffs. Damages £3 3s. sterling, and costs.

ASSOCIATIONS: Annette Symons (pianoforte teacher); Samuel Terry (merchant); Martha Terry (pupil), from 1829, Mrs. John Hosking; Ralph Mansfield (Wesleyan clergyman, witness); William Horton (Wesleyan clergyman, witness)

"DEATHS", The Sydney Morning Herald (23 July 1859), 1 

On the 22nd ultimo, suddenly, at the residence of her father in Sydney, Charlotte Hall, eldest daughter of Mr. E. S. Hall.

HALL, H. J. (Mr. H. J. HALL) = alias Barned Jullien COLEMANm (alias Watty WALLACK)

Actor, vocalist, dancer, monologuist, polpyhonist

Active c. 1861-65

HALL, J. (Mr. J. HALL)

Dancer, professor of dancing, theatrical dancer

Active Sydney, NSW, by 1851


[Advertisement], The Sydney Morning Herald (17 April 1851), 1 

[Advertisement], The Sydney Morning Herald (3 June 1853), 2 

[Advertisement], The Sydney Morning Herald (20 December 1853), 6 

HALL, J. (Mr. J. HALL)

Music importer

Arrived Melbourne, VIC, July 1857


[Advertisement], The Argus [Melbourne, VIC] (18 July 1857), 7

J. HALL begs leave to inform the friends of Mr. Henry J. King, Organist, Pianist, and Singer, that he is expected to arrive at Melbourne in a few days by the ship Commodore Perry, with a choice selection of new Music, &c.
Rosetta Cottage, Bank-street west, Emerald Hill.

ASSOCIATIONS: Henry John King (senior; musician)

HALL, J. P. (MR. J. P. HALL)

Vocalist, bones player (New Orleans Serenaders, Howard's Serenaders)

Active NSW and VIC, 1852 (TROVE tagged by Australharmony)


[Advertisement], Bell's Life in Sydney (14 February 1852), 3

[Advertisement], The Sydney Morning Herald (27 August 1852), 1

[Advertisement], The Sydney Morning Herald (24 September 1852), 1

HALL, John Thomson (John HALL; John Thomson HALL)

Musician, violinist, conductor

Born Sydney, NSW, 28 February 1841; son of John HALL (d. 1890) and Jane THOMSON
Died Kent Town, SA, 2 December 1883 (TROVE tagged by Australharmony)


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

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

"DEATHS", The South Australian Advertiser (3 December 1883), 4

Loyau, Notable South Australians (1885), 184-85

IT is somewhat remarkable that Australia has produced, or attracted to its shores to settle permanently, some of the best musical talent in the world. South Australia especially appears singularly favoured in this respect, and if we review the history of music here from its commencement, quite a galaxy of artists are recalled to memory. Among those who stand forth prominently to our mental vision, John Thomson Hall occupies premier place; a born musician with soul in every touch of his master hand; a genius, pouring forth from his instrument a flood of melody like the songs of British birds at eventide, thrilling the heart with every note. Such was Mr. Hall as we remember him at the Theatre Royal, Adelaide. He was born in Sydney in February, 1841, and commenced to study the violin when but seven years of age. His progress was rapid, for he loved music, like the true poet, for its own sake, and ere he reached his twelfth year, he had played, in public, many difficult solos, such as Ernst's Carnival de Venice. New South Wales was visited about that time by a distinguished violinist named Caranzani, bearing a noted Italian reputation, and Mr. Hall was placed under him and received lessons for two years, when he joined Winterbottom's orchestra (an orchestra, which, if heard now, would shame many of those which theatrical audiences are compelled to listen to nightly). It consisted of thirty performers, each an artist capable of performing the most difficult compositions, and Mr. Winterbottom, the conductor, was the best bassoon player in the world. Mr. Hall continued playing in orchestra for many years, and at the same time studied theory under that eminent and inspired interpreter of melody, the late Charles Packer. At the age of 24 he was appointed leader in Lyster's Opera Company, occupying that place for nearly five years, when he was elevated to the proud position of Musical Director, and produced some of the grandest operas that have been represented in Australia, viz. William Tell, Ernani, and others. About the year 1869 he arrived in Adelaide, and obtained the directorship of the Theatre Royal, and in this he remained until his death, which occurred in December 1883. We have had many musical celebrities here, but the familiar and sweet tones of John Hall's violin gained for him with the public of that day the right to rank as first of all his contemporaries.

HALL, George Hubert (George Hubert HALL)

Musician, violinist, conductor, composer

Born Sydney, NSW, 14 November 1858 (younger brother of the above)
Died Tooting Bec, London, England, 12 March 1936


According to Hoyer, Hall married Mary Winifred McCullum, a musician, in Brisbane on 8 August 1882; they had three children before divorcing in 1892. George remarried the Victorian-born soprano Beatrice Izett (formerly Miss English), widow of the vocalist Frederick Standbridge Izett, in London on 21 April 1910. The couple travelled back and forth regularly between Australia and England, until their final trip in 1927, after which they remained in London until their deaths. Beatrice died in Wandsworth, London, on 18 December 1932, aged 54. In 1885 he acquired a violin that had previously belonged to Richard B. White, said to be a "Ruzerius [recte Ruggerius], some 200 years old".


NSW Registry No. 244/1859; Reg. 1882/B7869

[News], The South Australian Advertiser (29 May 1885), 4-5

Loyau, Notable South Australians (1885), 185-86

BROTHER of the above, was born in Sydney, in November 1860. On completing his education, he, at the age of fifteen, took his first lessons on the violin from Mr. John Gibbs. He next was a pupil of Mr. W. Rice, and later on of Charles Packer. Under the able tuition of the latter, with whom he remained three years, he became proficient in piano and theory; so much so, that he was considered by his instructor one of his most advanced pupils. He was next associated with the eminent violinist, Herr Joseph Kretchman, and became a prominent member of that gentleman's quartette. Being offered an engagement with Lyster's Opera Company to come to Adelaide, Mr. Hall accepted it, and arrived here in 1880, remaining about eight months, when he returned to Sydney. He was there connected with the Montague Turner Opera Company as leader for two years, when, in consequence of his brother's illness and subsequent death, he was sent for to take his place as director of the Theatre Royal Orchestra, Adelaide. He has held that position ever since; with what success we leave the theatre- going public to determine, though it is an undoubted fact that the dramatic orchestra he conducts is one of the best in the colonies. Mr. Hall is leader of the Adelaide String Quartette Club, and has for the last three seasons played many of the best works of the old masters, taking part also at intervals with the most famed of our visitors in the musical world, such as Remenyi and others.

GRO UK Volume No. 1d, page 587, June Q, 1910. Reg District Lambeth

GRO UK Volume 1d, page 697, March Q, 1936, Reg Dist. Wandsworth

GRO UK Volume 1a, page 611 Dec Q, 1932 Reg Dist. Marylebone)

Musical works:

L'Aiglon (a musical play in 5 acts by Edmond Rostand, adapted into English by Louis N. Parker; Music by George H. Hall c.1904/6; J. C. Williamson, NLA; Ms. score and parts for orchestra; some parts signed and dated by G. H. Hall, 1904; some ms. parts for the overture bear the inscription "music by G.H. Hall, composed, selected and arranged", some ms. parts for the overture bear the inscription "arranged and composed by Adrian Amadio"); see also Miss Tittell Brune in "L'Aiglon" (the Eaglet): direction of J. C. Williamson

Flags of the free (from the musical "Prince of Pilsen"; c.1908; J. C. Williamson production, Music by George H. Hall)

My hansom girl (c. 1908) (music by Bert Gilbert & George H Hall)

My thanks: To family historian Sharon Hoyer for sharing with me information on the Hall brothers.

HALL, John Caplin (John Caplen HALL [sic]; John Caplin HALL; John C. HALL)

Musical amateur, member and secretary Hobart Town Choral Society, newspapers proprietor

Born Newport, Isle of Wight, Hampshire, England, 1822; baptised Newport, 22 November 1822; son of John HALL and Harriet ?
Died Sandy Bay, TAS, 23 December 1900, aged "78" (TROVE tagged by Australharmony)


Baptisms, Newport, Isle of Wight, 1822; England, Select births and christenings (PAYWALL)

22 November 1822 / John Caplen son of / John and Harriet / Hall

"Deaths", The Mercury [Hobart, TAS] (24 December 1900), 1 

HALL. - On Sunday, December 23, 1900, at his residence, Bourna Breena, Sandy Bay, John Caplin Hall, J.P.

HALL, Humphrey (Humphrey HALL)

Journalist, playwright, theatre and music historian

Born Maitland, NSW, c. 1870 (? July 1863)
Died Sydney, NSW, 28 December 1940  



"MR. HUMPHREY HALL", The Sydney Morning Herald (30 December 1940), 7

Bibliography and resources:

[Humphrey Hall and Alfred John Cripps], The romance of the Sydney stage by Osric (Sydney: Currency Press in association with National Library of Australia, 1996)

HALL, John Lawrence (John Lawrence WOLLOXALL; otherwise John L. HALL; J. L. HALL)

Actor, comedian, theatrical manager

Born Liverpool, Lancashire, England, 24 August 1837; baptised Liverpool, 3 November 1839; son of John Lawrence WOLLOXALL (1801-1868) and Eliza GRIFFITHS (d. 1841)
Arrived ? Melbourne, VIC, 1853
Married (1) Emily WISEMAN (1844-1881), St. Michael's, Christchurch, NZ, 22 December 1864
Married (2) Jessie GRAY, ? 1882
Died Melbourne, VIC, 14 October 1888, aged "51"


Baptisms solemnized in the Parish of Liverpool, in the County of Lancaster in the Year 1839; bishop's transcripts, 1830-39, page 24; Lancashire Archives. (PAYWALL)

No. 191 / Nov'r 3rd / John Lawrence Son of / John Lawrence & Eliza / Wolloxall / White Chapel / Milliner . . .

ASSOCIATIONS: Siblings Henry Stephen and Eliza Jane were baptised at the same ceremony

[Advertisement], The Argus (9 November 1866), 8 

PRINCESS'S THEATRE. Lessee and Manager, Mr. J. L. Hall . . .
THIS EVENING . . . To conclude with, for the first time in the colonies, Byron's chef d'oeuvre, entitled
PRINCESS SPRING-TIME; Or, the Envoy who Stole the King's Daughter . . .
The Music Arranged by Mr. E. Bentley . . .
Tho Ballet (with the Bell Dance, by the Belles of the Princess's) arranged by Mr. John Edouin.
The whole produced under the direction of Mr. J. L. Hall . . .
A GRAND BALLET, By Mr. John and Miss Julia Edouin, and the Ballet Corps. CORROBOREE CHORUS, Composed and arranged expressly for the Opening of the Intercolonial Exhibition, by Edward Charles Horsley, Esq. [sic], and kindly presented by him to Mr. J. L. Hall . . .

ASSOCIATIONS: Edwin Bentley (musician); John and Julia Edouin (dancers); Charles Edward Horsley (musician, composer); Princess Theatre (Melbourne venue)

PIECE: Princess Spring-time (by Henry James Byron)

"Mr. J. L. Hall", The Telegraph [Brisbane, QLD] (16 March 1888), 2 

"Death of Mr. J. L. Hall", The Express and Telegraph [Adelaide, SA] (15 October 1888), 2 

"DEATH OF MR. JOHN L. HALL", The Lorgnette (20 October 1888), 2 

John Lawrence Stephen Steele Woolloxall, died 14 October 1888; Victoria, Cemetery records and headstone transcriptions database (PAYWALL)

Erected by a few friends to the memory of John Lawrence Stephen Steele WOOLLOXALL
known as John L. HALL comedian born at Liverpool, England 24 Aug 1837
died in Melbourne 14 Oct 1888.

Bibliography and resources:

John L. Hall, Find a grave 

HALLAS, Nathaniel (Nathaniel HALLAS; Nat HALLAS)

Musician, band master (Sandhurst Brass Band)

Arrived VIC, 1857
Died South Yarra, VIC, 2 January 1889, aged 52



"THE VOLUNTEER BAND", Bendigo Advertiser (18 September 1863), 2

"HALLAS'S BAND", Launceston Examiner (24 February 1874), 2

"DEATH OF MR. NAT. HALLAS", Bendigo Advertiser (4 January 1889), 4

The many friends of Mr. Nat. Hallas, so long and favorably known in musical circles in this city, will be surprised to hear of his sudden death, which occurred at his residence, Clara street, South Yarra, on Wednesday night. The sad intelligence of his death was received yesterday morning by Mr. J. A. Whitlam, an old friend of the deceased. Mr. Hallas arrived in the colony in  1857, after having studied under the late Mr. James Mellen, the celebrated bandmaster, of the Staley Bridge Band, Lancashire. The deceased gentleman was first engaged in this colony by Mr. J. B. Lewis, of Melbourne theatrical fame. In 1858 Mr. Hallas came to Sandhurst and accepted an engagement in the orchestra in the old Haymarket Theatre in Market Square, after which he took the leading parts in the orchestra of the old Theatre Royal at the Shamrock Hotel, and at the Lyceum Theatre in Pall Mall. Shortly afterwards Mr. Hallas formed the first brass band in connection with the volunteer movement in Bendigo. Subsequently he was appointed band-master of the Phoenix brass band of this city and gained great credit by the excellent manner in which he conducted his pupils. After a professional tour to New South Wales, New Zealand and the other Australian colonies, Mr. Hallas returned and again assumed the lead of the volunteer band, which was then mostly composed of young Bendigonians. This body some time afterwards seceded from the volunteers and formed themselves into the well-known Hallas' Sandhurst city band, of which the deceased acted as band master. The many pleasant evenings' open air musical concerts given the citizens by this band in the Lower Camp Reserve will for ever cause the name of Nat. Hallas to be remembered by those who were fortunate enough to listen to the various selections. Whilst under his charge the band also gained renowned praise in this and the adjoining colonies by carrying off the leading prizes in the different competitions and contests in which they took part. In 1884 Mr. Hallas left Sandhurst to fulfil an engagement under Messrs. Williamson, Garner and Musgrove, of Melbourne, and in whose orchestras he was a general favorite, whilst his genial face and hearty laugh will be greatly missed by those with whom he was connected. Mr. Hallas was 52 years of age, and leaves a widow and large family to mourn his demise, whilst in Sandhurst he will be sadly missed by his old pupils and comrades, amongst whom may be mentioned-Messrs. G. and C. Forster, T. A. Whitlam, R. Crawford, R. J. Meakin, T. Sayer. I. Moore, V. H. Byrne and others. His funeral takes place to-day, and several of his Sandhurst friends have decided to pay the last tribute to the remains of one who was respected by both young and old.

HALLIER, Henry Charles (Henry Charles HALLIER)

Musician, professor of music, piano tuner and repairer

Active Adelaide, SA, Sydney, NSW, 1841-43
? Died Cape Province, South Africa, 1871


Hallier was active in Adelaide by May 1841. Later that year he was in Sydney, working for Francis Ellard, and, from December, as a freelance piano tuner. He was in Cape Town, South Africa, advertising as a piano tuner, by 1847


[Petition], The South Australian Government Gazette (13 May 1841), 3 

[Advertisement], South Australian Register (18 May 1841), 1s

[Advertisement], The Sydney Herald (3 December 1841), 3

[Advertisement], The Sydney Morning Herald (1 August 1843), 3


Poet, lyricist (NLA persistent identifier)


Vocalist, actor, songwriter, evangelist, convict

Born Toxteth Park, Liverpool, England, 1820
Arrived Tasmania, 26 April 1836 (convict per Layton, from London 26 August 1835)
Departed VIC, by 1849/50 (for California)
Returned to Australia, c. 1884
Died Geelong, VIC, 8 December 1889, aged 69 (TROVE tagged by Australharmony)


A freed convict, Hambleton was principally an actor, but was frequently billed singing songs and comic songs between the plays at the theatre in Launceston and Sydney, and briefly Maitland and Geelong. At Sydney in November 1848 he introduced "An entirely new Local Comic Song, Advance Australia, or Sydney as it was, and is (An entire new song . . . written by himself)". Another regular hit of his was The unfortunate man.

He and his wife, also an actor, left Victoria for the Californian Goldfields in 1849, in company with, among others, Caroline Wallace (then "Mrs. Batters").

Later in England he underwent an extreme evangelical conversion, and returned to Australia to proselytise in the 1880s.


Convict records; Tasmanian names index; NAME_INDEXES:1398382; CON31/1/21,219,137,F,60 

[Tickets-of-Leave], The Hobart Town Courier (10 January 1840), 2

[Certificates of their Freedom], The Cornwall Chronicle (10 July 1841), 1

[Advertisement], Launceston Examiner (9 July 1842), 3

"ROYAL CITY THEATRE", The Sydney Morning Herald (29 May 1843), 2

[Advertisement], Bell's Life in Sydney (11 November 1848), 3

To be followed by an entirely new Local Comic Song, "Advance Australia, or Sydney as it was, and is," Mr. Hambleton.

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (11 November 1848), 2

"THEATRICALS", The Maitland Mercury (15 September 1849), 2

"CALIFORNIA", The Sydney Morning Herald (10 June 1850), 2 

"CALIFORNIA", The Courier (29 June 1850), 3

"THE PACIFIC NEWS", Daily Alta California [San Francisco, CA, USA] (21 November 1850), 2 

We have received the following card to the public from the committee on behalf of the Company of the Jenny Lind Theatre, relative to the article which appeared in the Pacific News of Tuesday morning, regarding Mr. Wingerd, formerly of the Jenny Lind Theatre. It appeared in the Picayune of last evening:-
o the Public. - The undersigned, members of the theatrical corps, under the management of the late J. B. Wingerd, and personal friends of the deceased, feel ourselves bound to notice an article which appeared in the Pacific News of yesterday, under the head of "Stockton street Accident," which for mean abuse of the memory of a Gentleman, could not well have been exceeded . . .
[signed] Jos. T. Downey, J. L. Byers, Michael Dillon, M. C. Faulkner, J. Hambleton, W. H. Carey, Francis B. Harrington, A. Campbell, Theodore Hutchingson, J. McCabe, George Mitchell.

ASSOCIATIONS: Joseph Tracy Downey (actor); James Lucas Byers (actor)

"SUICIDE", The Sydney Morning Herald (22 March 1851), 4 

"Suicide of Mrs. Hambleton", Bell's Life in Sydney and Sporting Reviewer (29 March 1851), 1 

"MR. JOHN HAMBLETON", South Australian Register (18 June 1884), 6

"MR. JOHN HAMBLETON", Evening Journal (18 June 1884), 3 

"DEATHS", Leader (14 December 1889), 42 

"E. H. B.", The converted actor: a true narrative of God's remarkable dealings with the late John Hambleton ([?], [?], [? 1899])

Bibliography and resources:

Eli Daniel Potts and Annette Potts, Young America and Australian gold: Americans and the gold rush of the 1850's (Brisbane: University of Queensland Press, 1974), 123, 148


Musician, teacher of flute, violin, and singing, pianoforte maker, tuner, repairer, cabinet-maker

Born Speenhamland, Berkshire, England, 20 September 1820; baptised Lower Meeting House, Newberry, 13 March 1821
Married (1) Rebecca COMLEY (1821-1860), St. Mark, Kennington, 26 July 1842
Arrived Australind, WA, 6 December 1842 (per Trusty, from London, 3 August 1842)
Arrived SA, 1854; Bendigo, VIC, by 1855/56; arrived Kyneton, VIC, by August 1859
Married (2) Sarah Ann Pile BRITCHER (1826-1911), Kyneton, VIC, 1861
Died Kyneton, VIC, 19 November 1899 (TROVE tagged by Australharmony)



Born Kyneton, VIC, 25 November 1865
? Died QLD, 1961



Born Kyneton, VIC, 3 July 1867
? Died VIC, 1954

Joseph Hamblin (courtesy Kyneton Museum, VIC)

Joseph Hamblin (image courtesy Kyneton Museum, VIC)


Joseph Hamblin, Australia cabinetmaker and pianoforte maker, was born in Newberry, Berkshire, the son of Joseph Hamblin (1796-1867), a shoemaker and Baptist minister, and Joanna Young (1796-1869). The family were living in London at the time of the 1841 census, in which Joseph, aged 20, is already identified as a pianoforte maker. According to his own later account, he completed a nine-year apprenticeship with John Broadwood and Sons.

Joseph married Rebecca Comley in London on 26 July 1842, and a week later the couple sailed for Western Australia. During his 12 years in the colony, he was active as a cabinetmaker and music teacher, and probably also as a performer. He was an early office holder of the Swan River Mechanics' Institution.

After a brief period in South Australia (1854-55), he moved to Victoria, and had settled in Kyneton by c.1859/60. In 1877 he advertised that his piano and music store had been established 15 years. Two sons by his second marriage, Harry and Arthur, both born in Kyneton, trained as piano makers and carried on the business after Joseph's retirement in 1889.


Baptism, Joseph Hamblin, 13 March 1821; England & Wales, Non-Conformist and Non-Parochial Registers, 1567-1970 for Joseph Hamblin RG4: Registers of Births, Marriages and Deaths Berkshire Independent Piece 0299: Newbury Lower Meeting House (Independent), 1784-1837 

[page 30] 1821 / Baptisms / Mar. 13 / Joseph Son of Joseph & Joanna Hamblin / Born at Newbury Sep. 20, 1820 / Baptized by me / John Winter

1841 English census; St. Peter's, parish of St. Mary, Newington, Surrey; London, PRS, HO107/1064/7 

Trafalgar Street / Joseph Hamblin / 45 / Dissenting Minister
Joanna [Hamblin] / 45
Joseph [Hamblin] / 20 / Pianoforte Maker . . .

"SHIPPING INTELLIGENCE", The Perth Gazette and Western Australian Journal (10 December 1842), 2 

ARRIVAL AT AUSTRALIND. On the 6th December, the Trusty, John Elsdon, Commander, from London. Out four months and two days . . . STEERAGE . . . Joseph and Rebecca Hamblin . . .

[Advertisement], Inquirer (19 February 1845), 2

GEORGE LAZENBY hereby notifies his intention to leave the colony for a short time, on a visit to England, by the Halifax Packet.
N.B. - G. L. takes this opportunity of returning thanks to his friends and the public for the liberal patronage he has received during a residence among them of upwards of 12 years, and begs to state that he has engaged Mr. Joseph Hamblin to conduct the business for him during his absence; by a reference to whom all orders will be punctually attended to.
Pianos repaired and tuned by J. H. as usual.

"Shipping Intelligence", Inquirer (9 April 1845), 2 

Sailed. - On the 3rd instant, the schooner Victoria, Carroway master, for Adelaide, via Albany. Passengers . . . G. Lazenby . . . Rebecca Hamlin . . .

"CABINET WORK", Inquirer (12 August 1846), 4 

Such of our readers as are admirers of handsome furniture, will do well to visit Mr. Lazenby's, and see the splendid sideboard just made by Mr. Hamblin from our native mahogany. We have rarely seen a finer specimen of mahogany furniture at home, and we are inclined to think that our jarrah, besides its immense superiority in hardness and durability, has also a more rich and close luxuriance of shade and colour, and a greater resemblance to marble in texture, than the real mahogany known in Europe.

"Shipping Intelligence", Inquirer (13 December 1848), 1 supplement 

Arrived. - On Wednesday, 13th instant, the barque Ranee, W. B. Mills, master, from England; L. Samson Agent. Passengers: A Sister of the order of Mercy and two Lay Sisters; steerage - Mr. and Mrs. Hamblyn, and two children, Miss Hamblyn, and 10 boys from the Philanthropic Institution.

[2 advertisements], The Inquirer (22 August 1849), 1

J. HAMBLIN, WHILE returning thanks to his friends, the Inhabitants of Western Australia, for past favours, begs to inform them that he is carrying on the business of Carpenter, Joiner, Cabinet-Maker, and Undertaker, at Mews's Cottage, Bazaar-Street, Perth, where he hopes, by economy and punctuality, to merit a continuance of their patronage.
Wanted, an Apprentice to the above.
Pianofortes tuned and repaired, as heretofore.
No connexion with any other house.

Music for the Million. J. HAMBLIN begs to inform the Youth of Perth and its vicinity, that he is receiving Pupils for instruction on the Flute, Violin, and Singing, in classes, on such terms as will give every one an opportunity of acquiring a knowledge of that which, in the absence of every other amusement, may be called a highly valuable science. A separate class for Boys under 14 years of age.

[Miss] E. HAMBLIN, Teacher of the Perth Colonial School, BEGS to inform the Inhabitants of Perth, that, to meet the wishes of many, she will commence a private class for instruction in the following branches of useful knowledge, viz.:- Reading, Writing, Slate and Mental Arithmetic, Grammar, Geography, History, Letter Writing, Drawing, &c., also Knitting, Netting; and Berlin Wool-Work. That due attention may be given, the private class will commence after the dismissal of the Public School.

ASSOCIATIONS: Joseph's sister Eliza Hamblin (Mrs. Benjamin Mason) (1828-1903), had arrived on the Ranee in December 1848

"Local Intelligence", The Perth Gazette and Independent Journal of Politics and News (8 November 1850), 2 

We have been much gratified with a view of several specimens of our colonial timber, which are now under preparation by Mr. Hamblin, of Perth, for transmission to the Industrial Exhibition; one of the blocks is of peculiar beauty and is a section of one of those large excrescences which are found upon the York gum, marbled in the most beautiful and minute manner we can conceive it possible for wood to be, and when well polished we have no doubt will attract much attention at the Exhibition.

"Shipping Intelligence. SAILED", The Perth Gazette and Independent Journal of Politics and News (10 February 1854), 2 

On the 2nd Instant, the brig Hamlet, McKennack, master, for Adelaide and Melbourne. Passengers . . . Mr. and Mrs. Hamblin and 4 children . . . and several others in the steerage.

[Advertisement], The Argus (20 April 1854), 1 

IF this should meet the eye of Joseph Hamblin, late from Swan River, please send your address immediate to William Blair, baker, Bendigo.

[Advertisement], The Kyneton Observer (18 August 1859), 3 

Hamblin's, Kyneton, c.1870s (courtesy Kyneton Museum, VIC)

Hamblin's, High Street, Kyneton, c.1870s (image courtesy of Kyneton Museum, VIC)

[Advertisement], Kyneton Guardian (22 July 1871), 3 

J. HAMBLIN, PIANOFORTE MANUFACTURER, HIGH-STREET, KYNETON, HAS on sale new and second-hand PIANOS by Broadwood and others, also to be let on hire cheap. MISS HAMBLIN Has on hand a large assortment of Concertinas. Flutes, Violins, Violincellos, Pegs, Bridges, Strings, Music and Music Books ; also. Stationary, School Requisites, Bibles, Church Services, Prayer Books, and Books for Presents or Prizes, Fancy Goods, and Toys of every description, Basketware, Cricketing Material, and Fishing Tackle. The only shop in Kyneton that keeps a large assorted STOCK OF BERLIN WOOLS.

"INTERCOLONIAL NEWS", The Queenslander (9 December 1871), 10

One of the local industries of Kyneton, Victoria, is pianoforte-making. The Observer says Mr. Joseph Hamblin, of that borough, sells excellent pianofortes of his own make. They have a compass of seven octaves, have patent metal bridges, and will bear the effects of the climate better than any imported instrument. The blackwood of the neighborhood serves for wrest planks as well as English oak, and the musk wood or native walnut, which has been found in the Dandenong Ranges, yields beautiful veneers that are susceptible of a magnificent polish. The timber, before being used, is kept from four to ten years in a room continually maintained at summer heat by a furnace. Mr. Hamblin imports the keys, wire, wrest pins, and all the smaller mechanism of his instruments.

[Advertisement], The Kyneton Observer (8 November 1877), 3 

PIANOS, ORGANS, AND HARMONIUMS. J. HAMBLIN . . . Established 15 years . . .

Hamblin's, Kyneton, c.1880s (courtesy of Kyneton Museum, VIC)

Hamblin's, High Street, Kyneton, c.1880s (image courtesy of Kyneton Museum, VIC)


At this exhibition, which will be opened on Tuesday next, two exhibits occupying prominent positions are the separate handiwork of two young Kyneton natives - Mr. Harry Hamblin and Mr. Arthur Hamblin, sons of Mr. Joseph Hamblin, pianoforte manufacturer, of High Street. Mr. Harry Hamblin manufactured one instrument, and his brother, the other, without any assistance. The pianos are of the class known as upright grand, full trichord, in walnut cases. The panels are engraved and picked out with gold lines. The frames are iron. The instruments have celeste soft pedal, and are replete with every modern improvement. Other pianos of precisely the same class, and manufactured by Messrs. Harry and Arthur Hamblin, are on exhibition at their establishment at High Street. The young manufacturers have given abundant proof of their aptitude for their business, and are to be complimented and congratulated upon the success they have achieved.

[Advertisement], The Kyneton Observer (24 August 1889), 3 

NOTICE IS HEREBY GIVEN that the Partnership heretofore carried on by J. HAMBLIN & SONS, as Pianoforte Makers, High Street, Kyneton, HATH THIS DAY BEEN DISSOLVED BY MUTUAL CONSENT: and in future the said business will be carried on by Henry Hamblin and Arthur Hamblin, under the style of HAMBLIN BROTHERS. All moneys owing to the late firm must be paid to them, and they will also discharge all liabilities of the late firm.
Dated this 23rd day of August 1889.

[Obituary], The Kyneton Guardian (19 November 1899)


"Death of Mr. J. Hamblin", The Kyneton Observer (21 November 1899), 2 

It is with sincere regret that we chronicle the death of Mr. Joseph Hamblin, of Kyneton East, which occurred at 2.30 o'clock on Sunday morning. The deceased, who had attained the age of 79 years, had been down the street on Saturday, 11th inst., and when he returned borne he complained of feeling unwell, and at once took to his bed, from which he never rose. Mr. Hamblin's complaint was at first the prevailing disease known as influenza, on which supervened bronchitis and pneumonia, and at his advanced age this complication of ailments was altogether too formidable for long resistance. Hence the patient, for whom everything that medical skill could devise was done by Dr. Faulkner, rapidly sank, and passed away at the time and hour stated above.

Mr. Hamblin was a native of Berkshire, England. He emigrated to West Australia in the forties, and was therefore one of the earliest pioneers of that colony, in which he remained for a number of years. He next settled down in South Australia, but after a residence of two years there he came to Victoria. In 1857 the deceased made his home in Kyneton, where he remained ever since. For several years he conducted a music warehouse business, which he only relinquished about 10 years ago, and which is now carried on in High street by his son Henry. Although the deceased had never either sought or filled any public position in the town, he used in years past to take a large interest in matters that concerned the town and district, and on more than one occasion publicly protested against the acts of public men which be considered would not prove beneficial. Mr. Hamblin possessed a quiet, unassuming, and cheery disposition, and was Christianlike and honorable - qualities which won for him the respect and esteem of all with whom he came in contact, and his many friends are now lamenting his death. He was formerly connected with the Baptist Church, then with the Salvation Army, and finally with the Plymouth Brethren, which sect he only joined a short time since. The deceased's wife and family of six sons and five daughters survive him. Mrs. Hamblin, who has been suffering from influenza, and was improving nicely, has not been so well since the death of her husband, which has caused her great grief. Only one of the sons, Mr. Henry Hamblin, lives in Kyneton - he and his wife are also suffering from influenza; the other sons are distributed amongst Queensland, New South Wales, Tasmania, and Victoria.

The remains of the deceased were interred in the Kyneton cemetery yesterday afternoon, and were followed to their last resting place by a good cortege of mourners. The spiritual services were conducted by Mr. Young, of the Plymouth Brethren sect, and the funeral arrangements were discharged by Mr. J. Harris, of Woodend, which was in strict, compliance with the expressed wishes of the deceased.


The story of Mr. Joseph Thomas Hamblin, of Don street, Bendigo, retired gold miner and agriculturist, is replete with interest, inasmuch as it is connected with the establishment on the land in two of the States of one of the largest families of sons and daughters and sons-in-law and daughters-in-law to be found in the Commonwealth. Their portraits form the principal decorations in the residence of the pioneer, where he and the wife of his youth, their strenuous half century of industry and enterprise successfully completed are now enjoying the long and placid evening of their life.

Mr. Hamblin's father was a native of Berkshire. His trade was that of a piano-maker. He was also an artist in woodwork. One of his most skilful efforts was a mosaic table, worked, in 500 pieces of wood, and which was presented to Queen Victoria on her coronation. He was one of the earliest colonists to leave England for West Australia. One of his shipmates from England was Sir John Forrest's father. During his residence in Perth, Mr. Hamblin, senior, was commissioned by the nuns and other Catholics to make a chair of Westralian wood for the first-born baby of Queen IsabeIla of Spain. It was composed of sandalwood and satin-wood, beautifully polished, carved with a grape vine in full-bearing, and the whole enclosed in a case which was also a work of art. Some £40 (equal to £100 now) was paid to the workman-artist for the elegant little piece of furniture. But in early, Australia there were not many commissions for work of that character.

The subject of our life-sketch was born in Perth in 1843. His parents about a dozen years later removed to Adelaide, settling there for a couple of years, and then coming on to Bendigo. They were overlanding to Victoria with bullock-teams. But near the Murray borders their bullocks were stolen, leaving them stranded with their waggons on the plains. There was nothing for it but to go back to Mt. Barker and get fresh bullocks. They then took the waggons back to Adelaide, sold them, and came around by ship to Melbourne, thence to Bendigo. Mr. Hamblin was only a lad during his earliest term of residence in Bendigo. They resided in a frame-tent near where the Terminus Hotel in Mitchell street now stands. He first worked for Mr. Blair, who had a bakehouse and a small shop in Williamson street, next to what is now Myer's furniture establishment. Everything (except meat) was still very high in price on the diggings, and he remembers them saying that a little while before they arrived Scotch pies which the men used to eat in the Shamrock concert hall during the intervals between Thatcher's songs, were a shilling apiece. The family next moved to Kyneton, where Mr. Hamblin, senior, was a piano-maker for many years and two of his sons after him. But Joseph Thomas Hamblin, at 19 years of age, heard the call of the New Zealand diggings. In 1861 he was amongst the first of the Victorian diggers to reach Port Chalmers, and join in the Gabriel's Gully Rush. He struck no rich pockets. But his trade of carpentering stood to him as a steadily-yielding little gold mine . . .


Circular pedestal table with tilting top c.1849, attributed to Joseph Hamblin; Canberra, National Gallery of Australia 

Hamblin Bros upright piano, made by Hamblin Bros in Kyneton, VIC, 1907; Museum of Applied Arts and Sciences, Sydney

Bibliography and resources:

Dorothy Erickson, "Lazenby, George (1807-1895)", Australian dictionary of biography suppl. (2005) 

. . . Lazenby employed other Methodists, the most notable being an apprentice Benjamin Mason and the pianoforte-maker Joseph Hamblin, a consummate craftsman who worked for him until 1847. Attempting to establish an export market for local timber, Lazenby took samples of furniture made from jarrah to England aboard the Victoria in 1845. Hamblin's wife and son sailed with him, while Hamblin remained to run Lazenby's business . . .

Jill Roy, The Hamblin family of Berkshire, Western Australia and Victoria (unpublished manuscript)

Dorothy Erickson, "George Lazenby", Design & Art Australia Online (2010/11) 

. . . Lazenby was in charge of the repairs to Government House in 1848 and was connected with the handsome jarrah cellarettes made at this time for Government House in Perth. These were most probably the work of Joseph Hamblyn/Hamblin who made him a sideboard of jarrah in 1846. The cellarettes have classic Regency lines - the style brought to the colony by the earliest settlers. The same people preferred their silver in this and Georgian style and as the periods represent a high period in both disciplines they retain their charm and usefulness and are treasured today. Hamblin who had undertaken a nine-year apprenticeship in England [with Broadwoods] was consummate craftsman . . .

HAMEL, Julius (Julius HAMEL)

Lithographer, general printer, music publisher

Arrived Melbourne, VIC, by 1853
Died Melbourne, VIC, 1894 (TROVE tagged by Australharmony)

Bibliography and resources:

Neidorf 1999, 279-80 (DIGITISED)

HAMERSLEY, Anne Louise (Anne Louise HAMERSLEY)

Amateur musician, vocalist

HAMERSLEY, Edward (Edward HAMERSLEY, junior)

Amateur musician, composer

Born Paris, France, 1 September 1835; baptised St. Martin in the fields, London, 11 May 1836, son of Edward HAMERSLEY (1810-1874) and Anne Louise CORNELIS (1815-1885)
Arrived Fremantle, WA, 28 March 1837 (per Shepherd, from London)
Died York, WA, 14 January 1921 (TROVE tagged by Australharmony) (NLA persistent identifier)


"SHIPPING INTELLIGENCE. ARRIVAL", The Perth Gazette and Western Australian Journal (4 March 1837), 860 

ARRIVAL. - On the 28th instant, the Shepherd, Captain Jardine, from London. - Passengers: Cabin, Sir Charles W. Burdet, Bart., Mr. and Mrs. Hammersley, and two children . . .

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

THE concert in aid of funds for promoting a Musical Class for the Mechanics' Institute, took place at the Court House in Perth last Friday evening . . . The two Misses Ougden performed the Overture to La Dame Blanche very pleasingly on the piano; and Mr. E. Hamersley played an excellent accompaniment to the Rosita Waltz on the Cornet a Piston; Mr. A. H. Stone ably conducted the whole performance. The vocal parts were undertaken by Messrs. William Clifton, Bell and Parry . . .

"CHIPS BY A SANDAL WOOD CUTTER", The Herald (28 December 1867), 3 

. . . Wondered if young Mr. Hamersley made the music to the song - perhaps S. sang it to the Kangaroo Polka - Wondered Mr. Hamersley didn't PLAY his cards better, and get in for York . . .

"YORK", The West Australian (1 February 1921), 8 

The death occurred at Wilberforce, on January 14, of Mr. Edward Hamersley, who was one of the early pioneers of this state. The deceased gentleman was 84 years of age. He was a member of an ancient English family, who in the fifties, came to Western Australia and settled at Pyrton, Guildford. Wilberforce, where the late Mr. Hamersley settled as a young man, was purchased from the Clarkson family, and there Mr. Hamersley made his home. He was a man of scholarly attainments. He was an accomplished musician, as well as composer, had a thorough knowledge of astronomy and was a gifted linguist.

"RECOLLECTIONS. By C. E. V. Shenton, nee Lochee", The West Australian (19 October 1935), 7

AS Perth from its very earliest days has always been a musical and music loving people and still remains so, I think I ought to say something of their doings. There were some very fine musicians I have been told in those early days. Mrs. Luke Leake, senior, piano; Mrs. Hamersley, singing; the Rev. Wittenoom, cello, being among the foremost . . .

Musical works:

The drawing room polka. composed by Edwd. Hamersley junr., Pyrton, Western Australia (London: J. Blackman, [n.d.]) (DIGITISED)

With thanks to Hamish Darby, 2020, for bringing this work to my attention.

Bibliography and resources:

"Hamersley, Edward (1835-1921)", Obituaries Australia


Musician, music teacher, singing instructor, pianist, vocalist, organist

Active Launceston, TAS, by May 1858


[Advertisement], Launceston Examiner (6 May 1858), 1 

INDIAN RELIEF FUND . . . ON THURSDAY NEXT, MAY 6TH, Will be performed, at the Cornwall Assembly Rooms,
On which occasion the eminent Basso, a MR. FARQUHARSON, has promised his valuable assistance . . .

[Advertisement], Launceston Examiner (5 January 1860), 3 

PIANOFORTE LESSONS. - MRS. HAMILTON will re-commence her instruction in music and singing on Monday, Jan. 9. One or two additional pupils can be received. York-street.

"OUR LAUNCESTON LETTER [From our own Correspondent] . . . Tuesday Evening", The Mercury (15 April 1875), 2 

An organ recital to celebrate the opening of a new organ purchased for the Prince's Square Congregational Church of which the Rev. Wm. Law is pastor, took place this evening in the church. The organ is a new instrument just imported from England, and manufactured by Messrs. Bonnington and Sons, London . . . A well selected programme of sacred music, vocal and instrumental, had been arranged, the performers being Miss Mason, Miss Button, Mrs. Hamilton, and Mr. Sharp on the organ; while Miss Sherwin, Miss McAndrew, Mr. F. L. Fysh and others, gave their services as vocalists . . .

ASSOCIATIONS: Thomas Sharp (organist)

"LAUNCESTON MUSICAL UNION", Launceston Examiner (22 November 1877), 2 

Mendelssohn's "Elijah" was performed by the Union on Tuesday evening in the large hall of the Mechanics' Institute . . . The double quartette, "For He shall give His angels," - by Mrs. J. L. Maddox, Mrs. Hamilton, Mrs. Wallace, Miss Sullivan, and Messrs. Mayhead, Sherwin, Roper, and Frost, was rendered delightfully . . .

[Advertisement], Launceston Examiner (29 September 1881), 1 

LESSONS IN MUSIC AND SINGING. - MRS. HAMILTON, Upper York-street, both visits and receives pupils. Quarter begins October 1st.

[Advertisement], Launceston Examiner (22 November 1882), 3 

PIANO FOR SALE.- Splendid trichord Collard piano in walnut case. Imported direct to order, beautiful tone and touch. Will be sold - a bargain. May be seen at Mrs. Hamilton's York-street.

"REMINISCENCES", Launceston Examiner (12 November 1892), 2 

. . . Who can forget genial old Jesse Biggs; Robert Sharpe, with his splendid handling of the Mechanies' organ; Samuel Joscelyne, the amateur organ builder, of whose sound workmanship and painstaking, energy the organ in the Anglican Church at Bothwell remains to this day? Mrs. Hamilton, too, amidst much teaching, found time to develop a taste and impart executive ability for the performance of high-class psalmody . . .

ASSOCIATIONS: Jesse Biggs (organ builder, vocalist, bassoonist); Robert Sharpe (organist); Samuel Joscelyne (organ builder, cellist)

"SACRED HARMONIC SOCIETY (W.S.)", Launceston Examiner (19 November 1892), 7 

Your correspondent H.B. in his interesting reminiscences last Saturday desired to know something more of the above society. As its secretary from start to finish I am only too glad to supply what information I possess from memory. The old society after practising in the Baptist Chapel, York-street, was dissolved. I believe in 1854 a meeting was convened at the residence of the late Mr. R. Kenworthy, Cameron-street, and there the new society was formed. It was decided to practice in the Wycliffe Chapel, York-street, and there the meetings were regularly held. The first invitation rehearsal was held in Tamar-street church, the late Rev. C. Price becoming an honorary member and an ardent supporter until its close. All the officers were honorary, and the concerts were given in aid of local charitable objects. These were held in the Cornwall Assembly Rooms. At the time of the Indian mutiny the society united with the Philharmonic and produced the "Creation" in aid of the fund for the wounded, which was a great success, the tickets being 10s 6d and 7s 6d, and the proceeds upwards of £600. The leading parts were Miss Lucy Chambers, soprano; Mrs. Hamilton, contralto; Mr. Henslow, Hobart, tenor; Mr. Farquharson, bass; Mr. J. Adams, conductor; Rev. W. A. Brook, pianist. This society then numbered 100 members, but, like everything in this city, interest and attendance declined, and eventually the society was dissolved, the property sold, and the books, etc., placed in care of the Mechanics' Institute, where, I suppose, they might be perused on application to the librarian, Mr. Johnstone, who was one of the old members.

ASSOCIATIONS: "W.S." = William Stokes (member); Launceston Sacred Harmonic Society (organisation); Lucy Chambers (soprano); Francis Hartwell Henslowe (tenor); Robert Farquharson (bass); Warren Auber Brooke (piano); Alexander Johnston (member)

HAMILTON, Billy (Yab-bee; Yabbee; alias Billy HAMILTON) = Yab-bee - TAUNGURUNG (Nira Balug)

HAMILTON, Frederick Dicker (Frederick HAMILTON; Frederick Dicker HAMILTON) = Frederick Hamilton DICKER

Vocalist, sportsman, journalist

HAMILTON, Mr. G. (Mr. G. HAMILTON; ? Mr. F. HAMILTON, above)


Active TAS and VIC, c. 1853-55


"MOUNT BLACKWOOD DIGGINGS . . . THE AUSTRALIAN RUSSELL", The Argus (26 September 1855), 6 

So Mr. G. Hamilton delights to placard himself as; and his particular friends, Messrs. W. W. Gibson, Shearcroft, C. P. Rignold and, though last, not least, Miss E. Thom, have been amusing (I hope to their own pecuniary advantage) the people of Mount Blackwood with concerts and a varied list of dramatic entertainments, in the large entertainment room of mine host Gregory, at Golden Point.

ASSOCIATIONS: Charles Henry Rignold (actor, vocalist); Edwin Shearcroft (actor); Eliza Thom (actor)

HAMILTON, Octavia (Eliza Octavia SCRIVENOR; Mrs. Augustus MOON; Mrs. Thomas Holme DAVIS)

Soprano (mezzo soprano) vocalist

Born Maida Vale, London, England, 6 June 1835; baptised St. Marylebone, 3 July 1835, daughter of John Walter SCRIVENOR (d. 1864) and Frances WILLIAMS (d. 1866)
Married Augustus MOON, St. Mary's, Islington, London, England, 12 May 1851
Arrived Melbourne, VIC, 8 February 1854 (per Philip van Marnix, from London)
Married (? common law) Thomas Holme DAVIS (1827-1916), by c.1865
Active professionally until 1868
Departed Melbourne, VIC, 1874 (for England)
Died Leeds, Yorkshire, England, 1907; buried Beckett Street Cemetery, 29 March 1907 (TROVE tagged by Australharmony)

Identity and genealogy:

My thanks to family historian Allister Hardiman for positively identifying this highly significant but mysterious singer as Eliza Octavia Scrivenor, daughter of John Walter Scrivenor (d. 1864, aged 66, Queanbeyan, NSW), and his wife Frances, who had arrived in Melbourne with their family perhaps early in 1854. Octavia, had married Augustus Graham Moon, a lodger in the Scrivenor household and son of a baronet, in London on 7 June 1851, the day after her 16th birthday. According to Victoria and its Metropolis (1888), 329, A. G. Moon arrived in Victoria in 1855, though Octavia was certainly singing in Melbourne in March 1854. (The Octavius Scrivenor advertised for in Sydney in October that year was a cousin.)

Allister thinks Octavia's choice of professional name was due to her paternal great aunt Ann, who married baron Charles Hamilton (their son James emigrated in 1839 to New Zealand and died there in 1844). He suggests that she had her first child by her second (common-law?) husband, the wine-merchant and amateur vocalist Thomas Holme Davis, in Melbourne, possibly as early as 1866. The adverse publicity that began with reporting of a court action between Octavia and Moon (by then already living with Davis) in 1865, and climaxed in the claims of child desertion in 1868, brought her professional career irrevocably to an end. Nevertheless, she and Davis appears to have continued living in Melbourne until late 1873 or early 1874, when they sailed for England. Interestingly Thomas Davis visited Australia again in 1883, billed as "manager of the Australian Wine Association in London . . . during the trip he calculates to purchase between 200,000 and 300,000 gallons of wine."

Young Augustus Moon junior appears not to have benefitted from his early start in the Industrial School, at least not if he was the same Augustus Moon, who, reportedly 30 years of age in October 1887, was arrested in Richmond "on a charge of behaving indecently to two young girls".


Octavia Hamilton, "from the Philharmonic Concerts", first appeared in Melbourne at the Salle de Valentino in March 1854 with Maria Carandini and Lewis Lavenu. At John Winterbottom's promenade concert in August, the Argus judged her

a vocalist of more than ordinary ability. . . . This lady possesses a voice of excellent quality, and her intonation is true; she had certainly been gifted with many of the requisites of a singer, and the remainder of the qualifications may easily be acquired by her.

As the song by Charles Compton below suggests, she must have had a good low range. In Trovatore in January 1860, the Argus indeed noticed:

Miss Octavia Hamilton, in the part of Azucena, agreeably surprised us in the ungrateful task of a soprano singing music written for a contralto

[or, at least, mezzo-soprano]


Baptisms solemnized in the parish of St. Mary-le-bone . . . in the year [1835] (PAYWALL)

No. 340 / [July 3] / Eliza Octavia Dau't of / John Walter & Frances Anna / Scrivenor / Miland Place / Clerk / [born] 6 June

1857, Marriages solemnized at the Parish Church . . . Islington; London Metropolitan Archives (PAYWALL)

List of passengers who have arrived at the Port of Melbourne on the 8th day of February, 1854, on board the Phillips von Martznitz [sic] . . .; (PAYWALL)

Mr. Scrivenor, 54 / Mrs. do. 53 / Francis do. 15 / Fred'k 12 / Mr. Moon 25 / Mrs. Moon 18 / Frances do. 1 1/2 / Walter Inf. . . .

[Advertisement], The Argus (3 March 1854), 8

SALLE DE VALENTINO - Monster Concert.
Mr. JAMES ELLIS has the honor to announce his Benefit will take place on Monday next, 6th March, on which occasion the Band will be considerable augmented, together with the following vocalists, who have kindly volunteered thelr services -
Madame Carandini
Miss Octavia Hamilton
Mrs. George Cox, from the Philharmonic Concerts
Mr. Lavenu, and Mr. Barlow
Solo on the Cornet-a Piston, by Mr. de Gray.
Tickets to be had at the Salle de Valentino.

[Advertisement], The Argus (30 March 1854), 3


SALLE DE VALENTINO . . . Miss Octavia Hamilton, from the Philharmonic Concerts . . .

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

MECHANICS' INSTITUTE, - In consequence of the early closing of the Salle de Valentino, Miss Octavia Hamilton has the honor to announce that her First Benefit Concert in this colony will take place this evening,
Friday, April 28th, 1854.
For which occasion all the available talent in the colony had been secured, including the following distinguished artistes -
Mrs. Testar, Mrs. George Cox, Miss Octavia Hamilton, Mr. Walter Frazer, Mons Fleury, Signor Maffei, Herr Moritz.
Part I.
Glee - Blow Gentle Gales, Miss Hamilton, Mrs. Cox, and Mr. Frazer - Bishop.
Song - Constance, Mrs. George Cox - Linley.
Duet - What Fairy like Music? Miss Hamilton and Mr. Frazer - De Pinna.
CAVATINA - Robert, toi que j'aime, Mrs. Testar - Meyerbeer Solo - Cornet a piston, Signor Maffei
Ballad - Why do I weep for thee, Miss Octavia Hamilton - Wallace
Song - What is the Spell? Mr. Walter Frazer - Rooke
Duet - Elfin Call, Miss Hamilton and Mrs. Cox
Grand Duo, Pianoforte and Violin, Miss Hamilton and Mons. Fleury
(An interval fifteen minutes.)
Part II.
Trio - Sleep, Gentle Lady, Miss Hamilton, Mrs. Cox and Mr. Frazer - Bishop.
Song - The Blind Girl to her Harp, Mrs. Testar
Duet - Syren and Friar, Miss Hamilton and Mrs. Cox - Bishop.
Solo - Violin, Mons. Fleury
Song - Mr. Walter Frazer
Song - There is a flower that Bloometh, Miss Octavia Hamilton - Wallace
Solo - Pianoforte, Herr Moritz
The Concert will commence at Eight o'clock precisely.
Admission: - Front seats 5s.; Back Seats 3s.
Numbered Tickets to be had of the Secretary at the Institution, at Wilkie's Music Saloon, Great Collins-street, and of Miss Hamilton, at her residence, 71, Spring-street.

"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 . . . Referring to the reception which most of the singers meet with, and to the attendance and omitting notice of the blanks, the concert may be said to have been successful.

"CONCERT AT THE THEATRE", The Banner (30 May 1854), 9 

A concert for the benefit of Madame Carandini took place at the Theatre on Saturday evening, at which there was a good attendance. The entertainments consisted of the Soprano parts (sustained of course by Madame Carandini) of the well-known Opera, The Daughter of the Regiment, which was very creditably performed. Afterwards a tolerably good concert in which appeared Miss Octavia Hamilton, who is becoming a great favorite with the Melbourne public, and who sung several songs in a very pleasing manner . . .

"MISS. O. HAMILTON'S BENEFIT", The Argus (12 October 1854), 5 

"CONCERT HALL", The Argus (15 May 1855), 5

"PROMENADE CONCERT", The Argus (15 August 1854), 5

"THE ROVING FIDDLER", Chambers's Journal of Popular Literature 105 (5 January 1856), 14

"MISSING FRIENDS", The Sydney Morning Herald (10 February 1858), 9

"THE PHILHARMONIC SOCIETY", The Argus (22 September 1858), 5

"THEATRE ROYAL", The Argus (17 January 1860), 5

[Il trovatore, Verdi] . . . Misa Octavia Hamilton, in the part of Azucena, agreeably surprised us in the ungrateful task of a soprano singing music written for a contralto.

[News], Empire (30 May 1860), 4

. . . Miss Octavia Hamilton is a vocalist of great merit; without the slightest pretension to a contralto voice, the part of Azucena is beyond her power; but she poetesses a very sweet mezzo soprano, of great purity and clearness in the middle notes, and what is far superior, she sings in perfect tune.

DEATHS", The Argus (9 May 1864), 4

"THE MESSIAH ON CHRISTMAS EVE", The Argus (26 December 1864), 5

[News], The Argus (25 February 1865), 4

A case affecting a lady of some musical reputation in this colony was heard in the county court yesterday. The case occupied a place on the list under the title, Grose v. Moon, and was a plaint under a deed of settlement, dated 8th May, 1862, between Augustus Graham Moon and Eliza Octavia Hamilton; otherwise Moon, his wife, the claim being reduced to £49 19s. 11d. to bring it within the lower jurisdiction of the court. By the deed in question it was arranged that the defendant should pay £4 per week, but it was subsequently agreed, that the defendant, who is a Government clerk should make payments at the rate of £16per month. The plaintiff, as trustee, proved the execution of the deed, and said he did not always make the payments to Mrs. Moon herself; but left them at Mr. Davis's wine Store for her. The defence was, that after the execution of the deed, Mrs. Moon had lived with the defendant for some days, and that a stipulation that debts should not be contracted in defendant's name had been violated. The defendant in evidence proved that the deed was executed on a Friday; and that Mrs. Moon remained with him until the Monday evening following, and that he had been applied to for debts contracted by her. The judge held that the mere fact of Mrs. Moon remaining in the defendant's house for a few days did not vitiate the deed; and as the defendant had only been applied to for payment of debts contracted since the commencement of the action, the verdict must be for the plaintiff for the amount claimed.

"VICTORIA", Empire (1 March 1865), 8

"HOW INDUSTRIAL SCHOOLS ARE STOCKED", South Bourke Standard (1 September 1865), 3

A certain married lady - as we suppose we must call her - named Moon, but who is well known under the professional pseudonym of Octavia Hamilton, is married to a clerk in the General Post Office, by whom she had several children. Mrs. Moon is a well-known public singer, and as she is a general stage favourite it is to be presumed that her income is at least sufficient for her personal expenses. Her husband has a salary of £6 per week, and, so far as has been made known, has always been willing to support both herself and his children. The lady however, is necessarily of peripatetic habits and therefore the domestic arrangements can never have been of the most comfortable description. It is certainly a great hardship to any man that he should be obliged to support a wife who does not perform her part of the marriage contract. But Mr, Moon does not seem to have complained of being deprived of his wife's society, and probably he has sufficient reason for being tolerably satisfied with her periodical absence on professional business. At the same time, and while he recognises his liability to provide for his wife's maintenance and that of the children born to him, it would be beyond everything unreasonable to expect that he should patiently submit to be saddled with the support of his wife's offspring, whom by all the rules of nature he knows cannot by any possibility have been born legitimately. Moon, however, has the misfortune to know that his wife has on more than one occasion been inconstant to her vows . . . It seems that this Mrs. Moon has for some time been separated from her husband, who to avoid scandal, has regularly for three years, paid his wife two-thirds of his income, although she herself must have been doing very well in her own business. Since this separation, the faithless wife has given birth to two children whose father or fathers are not known; and recently she has had the cool effrontery to call upon Mr. Moon to provide for their support . . . Unable to keep this terrible family trouble any longer a secret, Mr. Moon took such steps as resulted in his being charged with deserting the children, and the whole of the disgraceful affair was brought out in court . . .

"LEFT TO A GRATEFUL COUNTRY", Bendigo Advertiser (27 May 1868), 2

A lad eleven years of age, named Augustus Moon, was on Saturday sent by the Richmond bench to the Industrial School for five years, as a neglected child. The boy, who had all the appearance of having received a fair education, said he wished to be sent to the school to learn a trade, as by that means he was told he would become a "great man". He is a son of the well-known vocalist, Octavia Hamilton, whose name has been made notorious by her systematic and brutal neglect of her offspring. We believe she is now travelling in India, and no doubt earning a very "respectable" livelihood while this colony is obliged to support her children. The boy in question is, we believe, the fourth child of this woman now in the industrial establishments.

[News], Empire (1 June 1868), 2

[Advertisement], The Argus (15 January 1874), 4

"CASTLEMAINE", Bendigo Advertiser (2 May 1883), 3

[News], The Argus (11 October 1887), 4       

Musical sources:

The light from the mountain, favorite ballad by an Australian Lady; the music by S. Nelson . . . second edition . . . as sung by Miss O. Hamilton (Melbourne: Edward Arnold, [1859]) (DIGITISED)

When I was young (song; words: Henry F. Chorley; music: Charles H. Compton; "Sung by Miss Octavia Hamilton" (Melbourne: For the composer by Clarson, Shallard & Co., 1859) (DIGITISED)

Bibliography and resources:

Patricia Kennedy, The rise and demise of Octavia Hamilton: a study of colonial celebrity and scandal (M. A. thesis, University of New South Wales, 2017) (DIGITISED)

HAMILTON, Mr. St. George (Mr. St. George HAMILTON)

Musician, vocalist, pupil of Frederick Crouch

Active Melbourne, VIC, 1852 (TROVE tagged by Australharmony)


"THE CONCERT", The Argus (13 March 1852), 5

"THE CONCERT", The Argus (18 March 1852), 3

"THE CONCERT", The Argus (20 March 1852), 5

[Advertisement], The Argus (26 May 1852), 5

"THE CONCERT", The Argus (27 May 1852), 4

[Advertisement], The Argus (3 June 1852), 5

"THE WEEKLY CONCERTS", The Argus (28 June 1852), 5

[Advertisement], The Argus (10 December 1852), 5

HAMMOND, Adela Ann (Adela Ann HAMMOND)

English composer (never visited Australia)

Born Kensington, Lambeth, England, 21 October 1821
Active England, 1835-44


A pencil annotation on the State Library of Victoria's copy of a printed song, The shadow of the heart ("the poetry by W. H. Harrison, Esq. to whom the music is respectfully inscribed by his obliged young friend, Adela A. Hammond, Melbourne") notes that "This is the first song & music published in Melbourne prior to 1845" (MSS 12831, McCrae Family Papers).

The song was certainly not composed or first published in Melbourne, but in London in 1837, where it appeared under the title: "The Shadow of the Heart. The Poetry by W. H. Harrison, Esq.; the Music by Adela A. Hammond", apparently without any reference to Melbourne. But could it have been reprinted there later? Prue Neidorf identified Henry Lingham, active in Melbourne by the mid-1840s, as the lithographer. Perhaps Lingham had also previously produced the original London print in 1837. Neidorf tentatively dates the Melbourne print, if that is what it indeed is, to 1842-43, though it could have been closer to 1845, as the annotator stipulated, though why "prior to 1845" is not clear. Another of Hammond's compositions appeared in London in 1844, so if she did indeed come out to Melbourne herself, it could still have been just "prior to 1845".

Adela Ann Hammond was the daughter of a London businessman, Munden Hammond, with interests in newspapers and printing, and editor of Hammond's List of London and Provincial Newspapers (1850s). Her first work, Sleeping on Lily Beds, was published when she was "a child of 13 years of age". Her father, probably, appears to have had it and her later two works privately engraved and printed. In 1844 she published The Language of Love, and Nature's Music. Two Songs, the Music composed by Miss Adele Hammond. Hammond is not to be confused with the early 20th-century English song composer, Adela E. Hammond.


"NEW MUSIC. VOCAL", Court Journal (12 September 1835), 589

"NEW PUBLICATIONS", The Literary Gazette (8 July 1837), 437

The Shadow of the Heart. The Poetry by W. H. Harrison, Esq.; the Music by Adela A. Hammond.

We are given to understand that the composer of this beautiful air is but sixteen; if so, she is indeed a young lady of the greatest promise, for the composition would do credit to one of sixty - ay, even one who had grown gray among gamuts. There is what Dyer happily calls "the sweet diapason melancholy," sadly, and thrillingly interwoven with the words, which not only chains down the ear to "marble listening," but sinks deeply into the heart, like feelings arising from the remembrance of happy and bygone days. The poetry, too, is of an order such as we seldom meet with in songs of this class. It is exquisitely simple, without being maudlin, and touches the sweet cord of sympathy by the natural emotions which it awakens; for who has not sighed while contemplating the past? We give one stanza:

"The bird sings as sweetly his melody wild,
From the old hazel copse, as when I was a child;
And the sun shines as bright upon blossom and tree,
And the river goes dancing as blithe to the sea.
Whence the change that I feel? not in Nature, I trow,
For she smiles at the mourner, and mocks at his wo.
'Tis my heart! my own heart - which once know not a care -
Casts the shade of its sadness o'er all that is fair."

We would fain extract the whole song, were it not for infringing too much upon the rights of the publisher. To those, however, who understand and can feel poetry, we are certain that this verse will be sufficient to create an appetite for the remainder.

"REVIEWS OF MUSIC", The Idler and Breakfast-table Companion (15 July 1837), 76

The Shadow of the Heart. The Poetry by W. Harrison Esq.; the Music by Adela A. Hammond.
The Words and the Music of this song are alike commendable. The former are so sweet, and yet simple withal, that we subjoin a specimen: -

"The bird sings as sweetly his melody wild,
From the old hazel copse, as when I was a child;
And the sun shines as bright upon blossom and tree,
And the river goes dancing as blithe to the sea.
Whence the change that I feel? not in Nature, I trow,
For she smiles at the mourner, and mocks at his wo.
'Tis my heart! my own heart - which once know not a care -
Casts the shade of its sadness o'er all that is fair."

The air is plaintive, and pleasingly melancholy; and affords ample proof of the talent, ability, and soul of the fair composer.

"NEW MUSIC", Court Gazette (15 June 1844), 13

Bibliography and resources:

Neidorf 1999, 41-42 (DIGITISED)

"Henry Lingham", Design & Art Australia Online (DAAO) 


Actor, theatrical manager

Active Sydney, NSW, 1854-55

HAMMOND, Thomas Jackson (Thomas Jackson HAMMOND)

Musician, pianist

Born Ireland, c. 1859 (raised Glasgow, Scotland); son of Joseph HAMMOND and Ellen JACKSON
Arrived Melbourne, VIC, by June 1882
Died Melbourne, VIC, 8 December 1902, aged "44" (TROVE tagged by Australharmony)



"PERSONAL", The Argus (9 December 1902), 5 

Members of the musical profession will regret to hear of the death of Mr. Thomas Jackson Hammond, which occurred yesterday at his residence, Airlie-street, South Yarra. Mr. Hammond was in his usual health on Sunday, but yesterday suddenly collapsed, death being due to suffusion of blood on the brain. The deceased gentleman was 44 years of age and unmarried.

[News], The Arena (11 December 1902), 8 

By the sudden death on Monday last of Mr. Thomas Jackson Hammond, Melbourne loses one of its most talented musicians, and one who was esteemed by very many outside musical circles. Mr. Hammond besides being organist of the Presbyterian Church, South Yarra, director of the Victorian College of Music and pianoforte examiner for the Musical Society, devoted much time to teaching and many a musical education has received its finishing touches in Burke and Wills Chambers. "T.J.," as he was affectionately known to his friends, was a man of genuinely aesthetic and literary tastes, and a delightful companion. It will probably be found that he has left some melodious compositions behind him. Death resulted at the age of 43, from suffusion of blood on the brain.


Vocalist, comic vocalist, song writer

Active VIC, c. 1857-59 (TROVE tagged by Australharmony)


"AMUSEMENTS", Ovens and Murray Advertiser (3 January 1857), 2 

Mr. Ellis's entertainments at the Star Theatre seem to take well. On Thursday evening there was a crowded audience, and Mr. Hammond acquitted himself to the evident satisfaction of all. It is a style of entertainment which suits the taste of the million; and the price of admission, 1s., affords every one an opportunity of enjoying a lounge, combined with vocal and instrumental amusement.

[Advertisement], Ovens and Murray Advertiser (12 February 1857), 3 

PROGRAMME. PART I . . . Comic Song - "Sam Slick" - Mr. Hammond - Wilson . . .
PART II . . . Comic Song - "Ethiopian Sernaders" - Mr. Hammond - Hammond . . .
Comic Song - "Billy Barlow" (the last new version) - Mr. Hammond - Hammond . . .

[Advertisement], Ovens and Murray Advertiser (25 February 1857), 3 

PART FIRST . . . Song - "Yankee Wonders" - Mr. Hammond . . .
Song, Comic - Mr. Hammond . . .
PART SECOND . . . Comic Song - "Ratcatcher's Daughter" - Hammond . . .

[Advertisement], Ovens and Murray Advertiser (2 March 1857), 3 

THE STAR THEATRE, Ovens and Murray Advertiser (26 March 1857), 2 

Mr. Coulon is gradually changing his concerts into a series of operatic entertainments. Dibdin's favorite little operetta of the "Waterman" has been repeated twice or thrice, with increasing favor. We know no style of entertainment more suitable to the tastes of the population around us . . . Miss Hamilton possesses very good dramatic powers of a light and playful nature. Her acting as Wilhelmina in the "Waterman" was decidedly good. She was the realisation of a lively, sprightly, coquettish young woman, plagued by her parents and wavering between two lovers. Mr. Belfield makes up very artistically for the fopish gardener's apprentice, Mr. Pearce is a very nautical Tom Tug. More than a word of praise is due to Mr. Hammond for his performance of the cantankerous mother, in which he excelled himself. The unfortunate father plagued with such a scolding wife found a good representative in Mr. Benner.

[Advertisement], Bendigo Advertiser (6 November 1858), 1 

. . . First time, the comic, local song, "BEECHWORTH NUISANCES!" Mr. HAMMOND will also appear in his inimitable songs of "BILLY BARLOW," AND "RATCATCHER'S DAUGHTER" . . .

"THE STAR CONCERT HALL", The Star (31 January 1859), 3 

This agreeable concert room is still abundantly patronised by the public, who are never tired when Mr. Wilson and Mr. White are the performers. The latter gentleman, together with Mr. Morgan, have frequently during the week sung "Robin Rough" in a most approved style; and the quaint homely words, fine sentiment, and pretty music, are so well brought out that an encore is the almost invariable result. Mr. Hammond, a comic singer, and the instrumental performances of Messrs. Piper (pianist) and Mather (violinist) agreeably vary the evening's amusements.

[Advertisement], The Star (10 February 1859), 3 

HANCE, William (William HANCE; Mr. W. HANCE; Mr. HANCE)

Musician, organist, organ keeper, organ builder

Arrived Hobart Town, VDL (TAS), 26 September 1823 (per Mariner)
Died Hobart Town, VDL (TAS), 10 October 1842, aged 50 (TROVE tagged by Australharmony)

Summary (after Rushworth):

In 1825 Hance erected the John Gray organ, imported from London, in St. David's Church. He was also for a while organist, prior to the appointment of J. P. Deane. He worked variously as a schoolmaster, farmer, publican, poundkeeper and postmaster. In 1832 he was building an organ for one of Hobart's masonic lodges, the first documented instance of an organ being built in the colonies.


"AN ODE. Addressed to the Organ of St. David's Church", Hobart Town Gazette (13 May 1825), 3

[News], The Hobart Town Courier (21 April 1832), 2

The friends of masonry will be pleased to learn, that a second lodge has been established in Hobart town. It is held at Mr. Whitaker's, Freemason's Tavern, Harrington street. Mr. Hance, we are happy to learn, is engaged in building an organ for the lodge.

[News], The Hobart Town Courier (29 June 1832), 2

The anniversary of the nativity of St. John the Baptist happening this year on a Sunday, our two masonic lodges, in order not to interfere with each other, agreed to observe the celebration of the day, the one on the Saturday previous and the other on the Monday after. The Brotherly Union being the junior lodge of the two had the precedence, and in the evening a very numerous and respectable assemblage of the craft dined at the Lodge room, Freemason's Tavern . . . On Monday the original Tasmanian Lodge observed the memorable day in a similarly agreeable and elegant manner, through the help of Mrs. Cox at the Macquarie hotel, Mr. Lempriere, the master, filling the chair. The splendid organ building by Mr. Hance for the Brotherly Union is, we are glad to see, already in an advanced state.

Van Diemen's Land Annual and Hobart Town Almanack (1834), 7

[St. David's Church, Hobart] . . . Clerk, Mr. Smails; Organist, Mr. J. P. Deane; Organ Keeper, Mr. William Hance; Pew-opener and Sexton, Mr. J. Bryant; Clock-keeper . . .

[Advertisement: insolvency], The Hobart Town Courier (5 May 1837), 3

"MUSIC & MUSICIANS. St. Matthew's, Rokeby. An Historic Organ", The Mercury (17 October 1928), 6 

The very first pipe organ set up in Tasmania was built in London, in 1824, for old St David's Church, Hobart, and is still in use at St. Matthew's, Rokeby. The name plate of the builder bears the words: John Gray, No. 9 New Road, Fitzroy Square, London. Upon the case is written in ink:

This organ was made by Mr. John Gray, of London, in 1824, under the superintendence of Geo. Cooper, organist of St. Sepulchre's, London, and was erected in St. David's, Hobart, in 1825, and opened by Mr. Nance. [sic]

The last name is probably that of the first organist of old St. David's, and the inscription is signed by "Wm. Bedford, chaplain," who followed on the Rev. Robert Knopwood, M.A. (Cantab.), the first Tasmanian chaplain, whose grave is in Rokeby churchyard. The organ was transferred to St. Matthew's in 1858 when a larger instrument was bought for old St. David's.

"CENTENARY OF ST. DAVID'S CHOIR", The Mercury (21 June 1937), 3

Bibliography and resources:

Graeme Rushworth, "Notes on some early Tasmanian organs and also on the commencement of the Hobart Town Choral Society", OHTA Journal (April 1999), 33-39


Musician, professor of music

Born c. 1819
Active Launceston, VDL (TAS), by 1841
Died Northcote, Melbourne, VIC, 14 August 1894, aged 75 (TROVE tagged by Australharmony) (TROVE tagged)


Hanchette, "Member of the Conservatoire Royale, Paris", was active in Launceston as a musician and medical doctor by 1841.


[Launceston news], Colonial Times (11 May 1841), 4

[Advertisement], The Courier (22 September 1849), 1

"QUARTER SESSIONS", The Hobart Town Mercury (4 March 1857), 3

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle (7 July 1860), 4

"DEATHS", Launceston Examiner (16 October 1862), 4

"INSOLVENCY COURT", Launceston Examiner (17 August 1864), 2

"DEATHS", The Argus (15 August 1894), 1

Bibliography and resources:


Musician, basso / bass vocalist

Born Bury St. Edmunds, England, 18 July 1825; baptised St. James, Bury St. Edmunds, 5 January 1826, son of William HANCOCK and Ann RANSOM
Married Mary Ellen BARTON, St. Andrew's, Holborn, London, 26 January 1850
Arrived Melbourne, VIC, 15 October 1852 (quarantined until 25 November, per Lady Eveline, from London, 29 June)
Departed Melbourne, VIC, 25 May 1861 (per Suffolk, for London)
Died St. John's Wood, Hampstead, London, England, 25 July 1868, "aged 44" (TROVE tagged by Australharmony)

HANCOCK, Mary Ellen (Mary Ellen Foster BARTON; Miss BARTON; Mrs. Edward HANCOCK; Mrs. HANCOCK)

Musician, soprano / mezzo-soprano vocalist

Born London, England, 9 February 1826; baptised St. Andrew's, Holborn, 14 February 1826; daughter of Charles BARTON and Mary COLMAN
Married Edward HANCOCK, "ironmonger", St. Andrew's, Holborn, London, England, 26 January 1850
Arrived Melbourne, VIC, 15 October 1852 (quarantined until 25 November, per Lady Eveline, from London, 29 June)
Departed Melbourne, VIC, 25 May 1861 (per Suffolk, for London)
Died Shepherds Bush, London, 5 December 1894, "aged 67" (TROVE tagged by Australharmony)


Edward and Mary Ellen Hancock arrived in Melbourne, VIC, on the Lady Eveline from London on 15 October 1852, as members of a musical party of four vocalists, the so-called City of London Glee and Madrigal Union, directed by his William Charles Lyon, and also including Lyon's brother, Edgar Ray. However, cases of smallpox having been found among the 250 intermediate and steerage passengers, the party was quarantined for over a month, until finally being released on 25 November.

Joined by another recent arrival from London, Harriet Cawse Fiddes, the group presented its first concert at the Mechanics' Institution on Saturday, 4 December, followed, though December and January, by half a dozen other appearances in Melbourne, and at least one at the Theatre Royal in Geelong.

With thanks September 2021 to Duncan Taggart (NZ) for kindly bringing to my attention the quarantine of the Lady Eveline's passengers


Baptisms solemnized in the Parish of St. Andrew, Holborn . . . in the Year 1826; register 1824-28, page 268

No. 2139 / [February] 14 / Mary Ellen Foster / Charles Barton, Conveyancer, [and] Mary Colman / New Ormond St. Born 9 Feb. 1826

[Advertisement], Leeds Intelligencer (15 March 1845), 1

THE GRAND CONCERT for the BENEFIT the LEEDS PUBLIC DISPENSARY under the Patronage of the Earl of MEXBOROUGH and the MASONIC BODY, fixed to take place Monday Evening, April 7th. PRINCIPAL PERFORMERS. VIEUXTEMPS (the extraordinary Violinist.) MISS DOLBY, MISS E. BIRCH. MISS BARTON (her first appearance) MR. ROHNER, MR. CALKIN, MR. JNO. PARRY". Leader of the Band, Mr. R. A. BROWN. Conductor the Concert. Mr. HOPKINSON. Further Particulars will duly announced.

"GRAND CONCERT - VIEUXTEMPS, THE VIOLINIST", Leeds Times (12 April 1845), 5

The concert in aid of the funds of the Leeds Dispensary came off on Monday evening last. The great attraction of the evening was M. Vieuxtemps, the celebrated violinist, a Belgian, and pupil of De Beriot . . . We must not conclude without mentioning the highly creditable debut of Miss Barton, a pupil of Mr. Hopkinson's. She possesses a voice of good compass and considerable sweetness; and with practice and experience, will, we have no doubt, prove an honour to her instructor.


Last evening, the first "conversazione" and exhibition of local manufactures, took place . . . After Miss BARTON had sung an Italian Aria, the pupils of the school were introduced and exhibited specimens of their drawings, which excited very great interest . . .

"ROYAL ACADEMY OF MUSIC", The Musical World [London, England] (1 June 1850), 340

The third concert for the present season took place on Saturday morning in the Hanover Square Rooms, and was a decided improvement on the others. The following was the programme: . . .
PART II . . . Song - "Should he upbraid," - Mrs. Edward Hancock - Sir H. Bishop . . .

[Advertisement], Hull Advertiser and Exchange Gazette [England] (27 December 1850), 4

MUSIC-HALL. JARRATT-STREET. Mr. E. W. HAIGH'S ANNUAL GRAND CONCERT will take place on THURSDAY, the 2nd January, 1851, at Eight o'clock in the Evening, when will be assisted by the following Artistes: Mrs. EDWARD HANCOCK, from the Royal Academy of Music; Miss ATKINSON, from the Leeds Concerts; Mr. W. WINN, from the London Concerts; Mr. HEMINGWAY, from the Cathedral, Durham and Mr. HENRY HAIGH, Pupil of Signor Furtado . . .

"MESSRS. BIRD AND BOWLING'S CONCERT", Leeds Intelligencer [England] (18 January 1851), 5

. . . The vocalists were Mrs. Edward Hancock, (whom some of our readers will remember as Miss Barton,) who, with Mr. W. Winn, was formerly inhabitant of this town . . . Mrs. Hancock has improved since we last heard her, but was evidently labouring under indisposition . . .

England census, 30 March 1851; Middlesex, St. Marylebone, Cavendish Square; UK Archives, PRO HO 107/1487 

3 Upper Weymouth St. / Edward Hancock / Head / 24 / Ironmongers Assistant / [born] Suffolk Bury St. Edmunds
Mary E. [Hancock] / 23 / Teacher of Music / Middlesex London

"MAIDSTONE CHORAL SOCIETY", Maidstone Journal and Kentish Advertiser [England] (23 December 1851), 3

Handel's oratorio "Samson" was performed by this society yesterday se'nnight . . . The principal vocalists were Mrs. Edward Hancock, and Mr. Donald King, of the Exeter Hall concerts, - Mr. Armes and Mr. Harcourt, Rochester Cathedral, - and Mr. Palmer, of Canterbury Cathedral . . . Mr. H. Tolhurst led the band . . . and also recognised with pleasure the veteran father of oratorio practice in Maidstone, Mr. Tolhurst, sen., who kindly came to render his assistance his former associates in the "good work" . . . Mrs. Hancock was scarcely equal to the music entrusted to her, her voice being deficient in compass and power . . .

"PEOPLE'S CONCERTS, LEEDS", Leeds Intelligencer (12 June 1852), 5

The fifth concert of the original series, with Mr. Spark as conductor, took place on Saturday evening last, at the Music Hall . . . The "stars" at this concert ware Mrs. Sunderland, Mrs. Hancock (from London), and Mr. Winn . . . Mrs. Hancock, who has a mezzo-soprano voice of much sweetness, sang in Leeds some years ago as Miss Barton . . .

Passengers by the Lady Eveline; Victoria, Australia, Assisted and Unassisted Passenger Lists, 1839-1923, 1852, 648

Hancock Edward 25 Ironmonger // Hancock Ellen 24 // Hancock William 34 Artist

[Advertisement], The Argus (3 December 1852), 8

MECHANICS' INSTITUTION. GRAND CONCERT. December 4th, 1852. THE CITY OF LONDON GLEE AND MADRIGAL UNION. Under the direction of Mr. WILLIAM C. LYON, professor of the Royal Academy of music . . . Artists: Mrs. Edward Hancock, Professor of the Royal Academy of Music, Mr. W. C. Lyon, R.A.M., Mr. Edgar Ray, late of her Majesty's Chapel Royal, St. James, and Mr. Edward Hancock, R.A.M. assisted by Mrs. Fiddes, formerly Miss. H. Cawse.

[Advertisement], The Argus (13 December 1852), 3

[Advertisement], The Argus (4 January 1853), 6

[2 advertisements], The Argus (17 January 1853), 5

MRS. EDWARD HANCOCK begs to inform in her Pupils and Friends that she has removed to No. 44, Elizabeth-street, where she will give lessons in Singing, as usual.

[Advertisement], The Argus (27 January 1853), 6

[Letter], "TO THE EDITOR", Geelong Advertiser and Intelligencer (13 August 1853), 2

[Advertisement], The Argus (7 September 1853), 3

MECHANICS' INSTITUTION.- MRS. EDWARD HANCOCK begs to announce to her friends and the public, that she will give a Grand Vocal and Instrumental Concert on Monday, the 13th September, under the patronage of the Right Worshipful the Mayor, at which the following Artistes will appear: - Vocalists: Mrs. Testar, Miss Miabella Smith, Mrs. Hancock, and Mr. Hancock; Instrumentalists; Solo Piano, Miss E. Smith, pupil of Madlle. Clara Lovedey. Clarionet, Mr. Johnson; accompaniment, Mr. Buddee.

"GEELONG", The Argus (5 October 1853), 4 

[Letter], THE GEELONG MONDAY CONCERTS. To the Editor", Geelong Advertiser and Intelligencer (20 October 1853), 2

[Advertisement], Geelong Advertiser and Intelligencer (31 October 1853), 6

[Advertisement], The Argus (14 November 1853), 3 

MECHANICS' INSTITUTION. Mrs. HANCOCK and Mr. ST CLAIR'S Classical, Vocal, and Dramatic Entertainment. Tuesday, November 16th . . .

MR. WINTERBOTTOM'S GRAND CONCERT", Illustrated Sydney News (6 May 1854), 3 

[Advertisement], The Argus (29 January 1855), 3 

GRAND PROMENADE CONCERTS. Concert Hall; Theatre Royal.
Immense Attraction. To-night. To-night. To-night. This and every night.
Miss Louisa Swannell, the Australian Nightingale, nightly received with unbounded applause.
For the first time, Mr. and Mrs. Hancock, (in character,) as Jeannette and Jeannot.
For the first time, Mona Emile de Granville will sing the highly admired and favorite airs Vive l'Amour et le Cognac, Partant pour le Syrie, And the Marseillaise.
Mr. Lyall, the admired tenor.
Band of twenty solo performers. Conductor. Mr. Callen.
Solo on the opheiclide and Clarionet, by Messrs. Johnson and Hartigan.
Concert to commence at Eight. One Shilling.

MUSIC: Jeannette and Jeannot (duet, music by Charles William Glover) ; see also Jeannette and Jeannot (Wikipedia)

Diary of John Buckley Castieau, Melbourne, VIC, 11 February 1855; original MS, National Library of Australia; transcribed and edited by Mark Finnane, online at Centre for 21st Century Humanities, University of Newcastle (TRANSCRIPT)

[Sunday 11 February 1855] Went to Church this morning . . . Got home, had some tea, and went again to church. The Music was very good yesterday [i.e. Sunday]. Mr. and Mrs. Hancock well known professional Vocalists, giving their assistance to the Choir . . .

ASSOCIATIONS: John Buckley Castieau (diarist, theatrical amateur); St. Paul's church (Melbourne)

"GRAND CONCERT", The Argus (30 March 1855), 5 

Madame Carandini, one of the most pleasing vocalists that we have heard in the colonies, takes a benefit this evening at the Theatre Royal, in Bourke-street. The programme is unusually seductive in character, announcing as it does the performance of the entire first act of Bellini's "Norma" with Madame Carandini as Norma, and Mrs. Hancock as Adalgisa . . .

"L'ELISIR D'AMOUR", The Age (29 July 1856), 3

This delightful opera buffo was produced at the Royal for the first time on Saturday evening, with the most decided success. Madame Bishop as Adina, Laglaise as Nemorino, Howson as Belcore, Coulon as Dulcamara, and Mrs. Hancock as Gianetta, were all admirable, and the chorus sang with unwonted spirit, precision, and effect. The only thing we had to regret was the wretchedly thin house which I assembled to hear this high musical treat. The applause however was enthusiastic, and encores very numerous; Coulon's make up was exceedingly good, and his acting and gestures eminently provocative of laughter.

[Advertisement], "TO THE PUBLIC. OPERA AND MR. NEILD", The Age (16 November 1858), 1

[Advertisement], The Argus (28 September 1859), 6

[Advertisement], The Argus (7 October 1859), 8

"MELBOURNE.- HANDEL CENTENARY CELEBRATIONS", The Musical Times (1 November 1859), 151

[Advertisement], The Argus (24 December 1859), 8

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

[News], The Argus (18 July 1860), 4

On Friday night next Mrs. Edward Hancock, a lady most favourably known to the musical world of Melbourne for the last eight years, and whose talents, though unassuming, have been fully appreciated, both in opera and at the concerts of the Philharmonic Society, takes a benefit at the Theatre Royal. An opera will be produced on the occasion; and as that class of entertainment has at present something of novelty for the public, independent of the claims of Mrs. Hancock to support, it may be expected that there will be a large attendance.

[News], The Age (20 July 1860), 5

Mrs. Hancock, an old favorite among the theatre-going and music-loving people of Melbourne, takes her benefit tonight at the Theatre Royal. The entertainments are to commence with "The Sonnambula," with Madame Carandini as Amina, and Mrs. Hancock as Liza. The names of Messrs. Sherwin and Farquharson also appear. The opera is to be followed by a concert, in which the Philharmonic Society lend substantial aid, and the whole is to conclude with the burlesque of "The Miller and his Men." Mrs. Hancock is sufficiently well known, and her talents are so well admired, that the announcement of her benefit should alone fill the house; but with the attractions offered in the bills, we can scarcely deem it likely that any invitation is needed from us to the admirers of musical entertainments to give a befitting reception to one of their oldest favorites.

"HOBART TOWN", The Musical World (2 February 1861), 79

The long expected Italian Opera Company arrived in Hobart Town, from Launceston, and opened a short campaign at the Theatre Royal, on the evening of the 22nd ultimo. The company consisted of Signor and Signora Bianchi, M. Paltzer, Mr. and Mrs. Hancock, Messrs. J. Gregg, Megson, and Winterbottom, the well-known bassoon-player. They remained only a week, and although they introduced, and well performed, some of the choicest works of the modern lyric drama, they were not patronised so liberally as they deserved to be. Hobart Town Mercury Puff, Nov. 22.

[News], The Argus (15 May 1861), 6

We understand Mrs. Edward Hancock has determined finally to leave Melbourne, and has taken her passage in the ship Suffolk, to sail on the 25th inst. The members of the choir of St. Peter's Church intend giving that lady, on Monday evening next, in the schoolroom adjacent to the church, a complimentary benefit concert, as a parting token of their regard and esteem; and we trust that Mrs. Hancock's friends will muster in sufficient numbers to give this lady a substantial recognition of her professional abilities. As a singer of sacred and church music Mrs. Hancock has held a first position, and her absence from the choir of St. Peter's will be much felt by members of the congregation of that church.

[Advertisement], The Age (21 May 1861), 1

"THEATRICALS AND MUSIC", Bell's Life in Victoria and Sporting Chronicle (1 June 1861), 2 

. . . An unusually large number of the members of the histrionic profession have left us during the week. By the Great Britain and Suffolk, Mr. Brooke, Mr. Young, Mr. Wallack, Mr. and Mrs. Hancock, the Misses Clifford, and Miss Jones, have sailed for England. It will be a long time before we look upon their like again, and we fear that, for a time at least, the legitimate drama will be under a cloud.

. . . BENDIGO. The Lyster opera company continue to draw good houses at the Lyceum. "The Bohemian Girl" was repeated on Saturday last, with an alteration in the cast caused by the indisposition of Mr. Farquharson, whose part - Devilshoof - was sustained by Mr. Hancock . . .

"MELBOURNE", Dwight's Journal of Music [Boston, USA] (28 September 1861), 207 

"DEATHS", The morning advertiser [London, England] (29 July 1868), 7

On the 25th inst, at his residence, St. John's-wood, Edward Hancock, aged 44, son of the late William Hancock, of Bury St. Edmund's, and nephew the late Thos. Hancock, Esq., of Marlbro' Cottage, Stoke Newington, much regretted.

England, national probate calendar, Mary Ellen Hancock, 1894 

HANCOCK Mary Ellen of 19 Camden-gardens Shepherd's bush Middlesex widow died 5 December 1894 . . .

Musical editions:

My ain dear Nell (a new Scottish ballad written and composed by A. Hume; Sung by Miss Emma Stanley & Mrs. Hancock, fourth edition) (Melbourne: McCulloch and Stewart, [1859; new edition 1860])

Bibliography and resources:

Gyger 1999, 103, 106, 116

Thanks: To Kurt Ganzl for biographical information (January 2015)

HANCOCK, Frederick (Frederick HANCOCK) - birth name of Charles MIRAN

HAND, Josiah (Josiah HAND; J. HAND)

Concert promoter, venue proprietor, founder of Hobart Town Serenaders, occasional music publisher, publican, ex-convict, convict

Active Hobart, TAS, by 1853
Died Launceston, TAS, 9 June 1893, aged 80 years (TROVE tagged by Australharmony)


[Advertisement], The Courier (4 March 1853), 1

MELOPHONIC CONCERT ROOM, "WATERMAN'S ARMS," LIVERPOOL-STREET. The Public of Hobart Town are respectfully informed by the Proprietor of the above Rooms, that he has now in his possession the original music and poetry of that deservedly popular and beautiful sentimental song, "BEN BOLT," (As sung by Rainer's Company of Serenaders at Launceston), The original Hobart Town Serenaders will sing the same on SATURDAY EVENING, Accompanied by an Eminent Performer on a powerful and rich-toned 6 1/2 Octave PIANOFORTE, Being its first introduction to an Hobart Town Audience. The music and the words of the song can be obtained by application to the Proprietor any day between the hour of 11 and 12 o'clock. JOSIAH HAND, Proprietor.

"NEW INSOLVENT", The Hobart Town Mercury (17 August 1857), 3

"SERENADING", The Courier (29 January 1858), 3

Recent reverses of fortune having befell Mr. Josiah Hand, the original introducer of Ethiopian Serenaders in this city, on appeal to the public, in the shape of a serenade for a benefit for him, is announced at the Albert Theatre on Monday evening next.

"Deaths", Launceston Examiner (10 June 1893), 1

"BY ELECTRIC TELEGRAPH", The Mercury (10 June 1893), 1 

Josiah Hands, an old colonist, died today, aged 80. He was at one time connected with the police in Launceston, and some years ago was licensee of a hotel in Hobart. Latterly he was engaged as a bailiff in the North. He was of a quiet unassuming disposition, and generally respected by all who knew him.


Musician, double bass player (Salle de Valentino)

Active Melbourne, (1853) 1855


[Advertisement], The Argus (23 June 1855), 8

SALLE DE VALENTINO.- Mons. Fleury will perform on Monday, 25th inst - Newly decorated by the celebrated artists, Messrs. T. Pitt and Brogden. - Fleury's Band, comprising the leading talent of the colonies, will consist of the following artistes: Mons. Fleury, Conductor and Leader; Messrs. Reid, Fihon, 2nd Violins; Handoff, Double Bass; Kinzella, Clarionet; De Labestries, Cornopean; Baker, Saxe Horn; Hartigan, Ophecleide; Brown, Flute; Kummons, Bassoon; Sterne, Drum.

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

. . . Double-bass - Herr Hendorff . . .

[Advertisement], The Star (25 September 1858), 3 

. . . 1st double bass . . . H. Herndorff, 2nd . . . H . Elrot . . .

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

. . . Double Bass . . . Mons. Havendoff . . .

HANSEN, Johann Christian (Johann Christian HANSEN; J. C. HANSEN)

Musician, organist (Pirie-street Chapel), composer

Active Adelaide, SA, by 1858
Died Jardeland, Denmark, 18 May 1885, aged 70


"SCHOOL EXAMINATIONS", South Australian Register (2 June 1858), 3

"PIRIE-STREET CHAPEL", South Australian Register (20 December 1862), 2

"CORROBBERO - More music", South Australian Register (23 March 1868), 2

The facilities offered by the lithographer and printer of music from moveable types tend very much to encourage the publication of compositions, the product of "native industry". Genius is not confined to any particular locality, clime, or country, and no fiscal laws can restrain its manifestation. The number of musical compositions that have issued from our own colonial press would fill a capacious folio. Their performance would occupy a long evening without an encore. "Corrobbero" is the name given to a composition by Mr. J. C. Hansen, just published by Marshall, of Rundle-street. The title-page informs us that it is "a musical picture, representing the performance of a sort of religious warlike rite among the natives of Australia at the time of full moon". It has been lithographed by Penman and Galbraith, and dedicated to H.R.H. the Duke of Edinburgh. The front page is adorned with a gorgeous representation in coloured oils, of what a sprightly imagination might very well suppose to be an eruption of Vesuvius, were it not for the presence of a score or two of borbdignagian black spiders in impossible attitudes that stand on the activity of the mountain. The artist has evidently done his best. With regard to the music, though there are here and there some slight defects, it is on the whole one of the best compositions of the kind we have seen. It opens with an introduction in G major, compound common time, intended to awaken the peaceful and heart-cheering emotions produced in the mind by the full-orbed moon rising in "unclouded majesty". The next strain is an andante in common time, commencing in E minor, and terminating in B minor. It is ritualistic, and preparatory to the grand corrobboree described in musical language in the next strain. This is an allegro, and the rubric informs the instrumentalists that it represents the "grotesk (sic) dancing among the aborigines of Australia at the time of full moon, accompanied with a national song". The native "wabble, wabble, boo boo", is cleverly indicate in this "song with out words". An interlude follows. It is an adagio in E major for the organ, and is descriptive of the calm repose of "a beautiful moonlight night". This is we think the most artistic part of the whole composition. The corrobboree is then repeated, and winds up (or down) with a rushing presto. The composer has manifestly taken much pains over the work. It will, we think, become a favourite with the pianist. It is not of difficult execution (if we except the impossible holding-note in alto upon the fourth page), and in other respects it possesses the elements of popularity. It might with advantage be further elaborated and arranged as a quartette or for a quadrille band.

"TOPICS OF THE DAY", The South Australian Advertiser (24 March 1868), 2

[Advertisement], The South Australian Advertiser (3 June 1868), 1

"DEATHS", South Australian Register (21 July 1885), 4

"OLD-TIME MEMORIES. AMUSEMENTS No. III", South Australian Register (8 September 1891), 6

Musical works and publications:

Corrobbero ("a musical picture, representing the performance of a sort of religious war-like rite among the natives of Australia, at the time of full moon, composed by J. C. Hansen") (Adelaide: S. Marshall, [1868])

The Holy Bible (sacred song; respectfully dedicated to Lady Daly by her Ladyship's very obedt. servt. James G. Gibbs, the words by the Rev. J. Hall, M.A., the German translation by Joh. Chr. Hansen, musical professor) (Adelaide: S. Marshall, [186-]) 

HANSON, James (James HANSON)

Writer on music

Active Launceston, TAS, 1867


"MUSINGS ON MUSIC. To the Editor", Launceston Examiner (30 May 1867), 5

HANSON, Thomas (? HANSEN; "Tom the fiddler")

Musician, violinist, fiddler

Died NSW, 1906


"Death of Mr. Thomas Hanson", The Castlereagh (25 May 1906), 1 


Amateur musician, vocalist, choral singer, member Hobart Town Choral Society

Active Hobart Town, VDL (TAS), 1848
Died Hobart, TAS, 22 December 1856


"Music & Drama", The Mercury (16 March 1927), 10 

Mr. Clinch, superintendent of mails, gives the interesting information that one of the pianofortes made by the J. Williams, of Hobart Town, who advertised in the "Royal Kalendar" for 1848, mentioned in these notes last week, is still in use at the house of his sister, Mrs. Corney, of Lunawanna, Bruny Island. It is also learned that Mr. Frank Harbottle, [? grandson of] one of the members of the committee of the Hobart Town Choral Society in 1848, died only a few years ago. He was well-known in musical and military circles. Another member, Mr. Reichenberg, was the father of Miss Reichenberg, organist at St. Joseph's Church, and a third, Mr. Vautin, was the father of Mr. D. Vautin, flutist, at the Prince of Wales Theatre, and of his brother, a cellist.


Vocalist, singer at the "Black Boy" Hotel, actor

Active Sydney, NSW, and Adelaide, SA, 1844-45


"From the Royal Pavilion Theatre", Hardeman first appeared in an Oddfellows night at the Royal Victoria Theatre, Sydney, during which in character he sang the comic song Billy the Snob. He then appears to have become a pub singer, for two months later this advertisement appeared in the Herald:

"NOTICE! NOTICE! NOTICE!  IF HENRY HARDEMAN, Singer at the Black Boy, George street does not call and pay the amount of his bill for board and lodging for himself and Samuel Marshall singer at the same place for whose expenses he became responsible, the conjuring machines woodcuts and bills of Billy the Snob, (the song which elicited such applause on the occasion of the benefit at the Theatre of one of the Brothers of the Odd Fellows Society) will be sold within ten days from this date, to defray the same. GEORGE BRIGGS. Miller's Point, Sydney, 26th December.

Having left for South Australia in January, and visited Melbourne in May, he opened "a little theatre named the Pavilion" in Currie-street, Adelaide, in September 1845, apparently a short-lived venture.


[Advertisement], The Australian (1 October 1844), 2

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

[Advertisement], The Sydney Morning Herald (27 December 1844), 3

"SHIPPING INTELLIGENCE", The Sydney Morning Herald (3 January 1845). 2

[News], South Australian Register (17 September 1845), 3


Bandsman (H.M.S. Galatea)

Active Australia, 1867-68



"The Attempted Assassination of the Prince", Empire (17 March 1868), 2

"THE MAGISTERIAL INQUIRY", Empire (14 March 1868), 4


"TRIAL OF THE PRISONER H. J. O'FARRELL", The Sydney Morning Herald (22 April 1868), 7

Votes and proceedings of the Legislative Assembly during the season of 1869 (Sydney: Thomas Richards, 1869), 340

HARDING, Thomas (Thomas HARDING)

Musician, instrumentalist

Born Devon, England, 3 April 1810
Arrived SA, 17 October 1839 (per Recovery)
Died St. Peters, SA, 21 April 1903, aged 93


"DEATHS", Kapunda Herald (24 April 1903), 2

"THE LATE MR. T. HARDING", The Advertiser (27 April 1903), 7

. . . For many years, when in the prime of life, Mr. Harding was a musician of local fame, the double bass viol being the instrument which he played. When the local Wesleyan Church singing was led by a string orchestra Mr. Harding was a leading instrumentalist, and at that time Kapunda possessed some of the best violinists in the State. 

"A FINE OLD COLONIST DEAD", The Advertiser (30 April 1903), 7

Mr. Thomas Harding, who died at St. Peters recently, was born on April 3, 1810. His father was a builder of Plymouth and Devon, but the son was educated for the law. He preferred his father's calling, and until 1839 he assisted him in his trade. In that year, with his wife and family, he sailed for South Australia in the ship Recovery, arriving here on October 17 of the same year. Mr. Harding assisted in the building of Government House, Government Offices, police barracks, Frome-bridge, and other prominent public erections. He then went to the River Murray, then Cockatoo and Lyndoch Valleys, and thence to Angaston. In 1850 he came to Kapunda, where he assisted in the erection of the smelting works on the Kapunda mine. He built many houses and other premises in Kapunda, and was one of the builders of the Methodist Church here. He was a great lover of music, and played a violoncello in the parish church, Plymouth, having previously been a flautist in the same choir. When in Adelaide his services were in great request, and he sometimes played in two or three places in the same evening. He was a member of the first band formed in Adelaide, when a drum had to be improvised from bullock hides. In the Kapunda Wesleyan Church he was the leading instrumentalist in the choir, which had a fame throughout the State. Mrs. Harding died about eight years ago since when Mr. Harding had resided with his daughters in Kapunda (Mrs. A. Menhennett and Mrs. Joel Carter), Mrs. Chinner (Angaston), and Mrs. Magor (St. Peters). He has left eight children, 57 grandchildren, about 120 great-grandchildren, and two great-great-grandchildren.

"THE LATE MR.THOMAS HARDING", Kapunda Herald (1 May 1902), 3 

. . . He helped to build the smelting works and the bull-engine smoke stack on the Kapunda Mines and afterwards built many houses in and around Kapunda, including the present Wesleyan Church. He was a great lover of music, and played well on several instruments, but his favorite was the violoncello. This old instrument, which is still in the town, he played at the Parish Church at Plymouth when he was 17 years old, and before that he played a flute in the same choir. When in Adelaide he was in great request, and sometimes played in two and three places in one nighty getting £2 2s. payment at each place, he was in the first band formed. They had their instruments, but were unable to get a drum, and made a substitute, using a bullock hide for the ends. On settling in Kapunda he joined the Wesleyan Church, and was leader of the choir, which was then known all over the colony. Two violins (Messrs. Thos. Rose and G. Fry), two flutes (Messrs. J. Rowe and Williamson), and two cellos (Messrs. Harding and J. Rose), and the four parts were well represented with singers. Often he was heard, in Mrs. Rose's absence, leading the singing and playing the bass at the same time. Afterwards for many years he played in the Philharmonic Society (late Mrs. Howe, pianiste), until, in 1882, his hand getting cramped he was unable to finger the strings, he resigned, and was presented with a handsome silver snuff box which he always greatly prized . . .

HARDMAN, Daniel (Daniel HARDMAN)

Violoncellist, double bass player, ophicleide player, chamber music quartet player, vocalist, hairdresser, hatter, licensed victualer

Born Yorkshire, England, 18 September 1806
Active Melbourne, VIC, by April 1853
Died Melbourne, VIC, 17 August 1891, aged 86, colonist of 38 years (TROVE tagged by Australharmony)


Daniel Hardman was the son of Edmund Hardman (1768-1840), hairdresser, and his wife Anne Duke (c.1864-1834), and grandson of John Hardman, musician. He and his eldest brother William (1792-1855 suicide) both started out in their father's trade, but turned to music professionally, as string players, William being appointed Music Seller in York to the queen and duchess of Kent in 1839 (Daniel was a partner), which was probably the pretext for Daniel's later claim to have performed before the queen and her mother, and to the infant prince Alfred, at Windsor. William and Daniel were both also founder members of the York Choral Society. He was appointed a York City Wait (York Waits) in 1829. By 1833-34, he and James Walker were also leading the so-called "Orange" (whigs) election brass band, in which he played, among other instruments, the ophicleide. He was reportedly insolvent in 1847. He emigrated to Victoria in 1852.


York corporation minutes, 15 January 1829 (transcr. in J. Merryweather, York music)

Daniel Hardman of York, musician, app'ted one of the City Waits with the usual salary.

"MARRIAGES", York Herald [England] (14 May 1831), 3

Lately, at Nottingham, Mr. Daniel Hardman, of this city, musician, to Miss Elizabeth Pultney, of the former place.

Municipal Corporations act, discussed in York Corporation minutes, 1836 and 1837 

The number of City Waits was formerly five, but is now reduced to two, the vacancies occasioned by death not having been supplied. Mr. Christopher Brown and Mr. Daniel Hardman are the survivors. Their salaries are £4 per annum each, with Livery Coats and Hats found once in six years, the expense whereof has averaged £1:1:0 per annum each. Your Committee are of the opinion that the Waits and the Tipstaves may be dispensed with, and they recommend those offices to be abolished. 8th February 1836.

Resolved . . . that bonds be given under the Common Seal to Mr. Daniel Hardman and Mr. Christopher Brown, late City Waits, for securing the payment of an Annuity of £2:13:4 to each of them, for his life, being compensations directed by the Lords of the Treasury to be paid to them respectively for the loss of their said office. 13th February 1837.

"TOKEN OF RESPECT", York Herald [England] (11 May 1839), 3

At the annual meeting the York Choral Society, last week, it was determined to present Mr. Daniel Hardman, of Bridge-street, with some testimony regard for his faithful services as Vice President of the society. Accordingly a very richly chased and handsome silver snuff-box, the value five guineas, has been provided . . .

"MALTON CONCERT", Yorkshire Gazette [England] (1 April 1843), 5

. . . The vocal performers were Mr. Kaye, with Miss Andrews and Mr. Ruckley, from York. The instrumental performers were Mr. D. Hardman, the double bass, Mr. G. Hick, who presided at the piano forte, both of this city; and the rest the band was composed of native talent, being members of the Malton Harmonic Society . . . Instead of the Fantasia Extempore on the piano Mr. Hick, an overture from the "Caliph of Bagdad" was played that young gentleman, accompanied by Mr. D. Hardman on the double bass, and Mr. Kaye on the violin - it gave great satisfaction . . .

"STILLINGTON CHORAL SOCIETY", York Herald [England] (1 January 1844), 7

. . . Our space will not allow us further to mention the beautiful pieces which were admirably performed, but we must not omit "O Liberty," which was sung by Mr. Wilkinson, to a very pleasing style, accompanied by W. D. Hardman on the violoncello. Handle's anthem "The waves of the Sea rage horribly," was given by Mr. Reader, with contra basso obligate, by Mr. D. Hardman . . .

"YORK CHORAL SOCIETY", York Herald [England] (1 October 1853), 9

Many of our readers will be aware that the above society, which has greatly promoted the taste for music in this city, has existed for many years, and that on most occasions it has tended much to promote the gratification of our fellow-citizens . . . Mr. North next proposed the healths of the instrumental performers, and Mr. B. Wilkinson, in returning thanks, stated that Mr. D. Hardman, late of this city, had, by constant practice, been able to surmount the difficulty of playing the double bass violin . . .

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

MECHANICS' INSTITUTION. Thursday Weekly Concert. Mr. MEGSON, Leader. Principal Vocal Performers: - Soprano, Mrs. Testar; Tenori, Mons. Barre and Mr. Huxly; Basso, Mr. Bancroft. Principal Instrumental Performers - Messrs. Megson, Reed, Cooze, Johnson, Chapman, Hardman, Portbury, &c, with several of the Band of the 40th Regiment. Mr. Buddee, Pianist. Prices of admission - To the public, 2s. reserved seats, 3s; members of the Institution, 1s. 6d

"THE CONCERT", The Argus (28 April 1853), 5 

Song - Thy Mighty Power with Double Bass obligato, by Mr. Hardman, as played by Signor Dragonetti, Mrs. Testar.

"MARRIAGES", The Argus (13 March 1867), 4 

"THE RECEPTION CONCERT. TO THE EDITOR", The Age (29 October 1867), 7 

SIR, - As an old recipient of professional engagements from the Melbourne Philharmonic Society (I may say for fourteen years), I was surprised at remarks in Mr. Summers's letter in your issue of this morning. I can confidently assert that the Philharmonic Society has ever given encouragement to professionals, and many musicians of good standing now owe, in a great measure, their success to its assistance. I disparage no one, but cannot remain silent when an attack is made on a parent society, without which the grand works of Handel, Haydn, Mozart and Mendelssohn could not have been rendered. The complaint of insult to the profession is not in my experience, borne out. Royal Commissioners will, no doubt, deal fairly with any matter brought under their notice. I have performed before our beloved Queen and her mother at the York festivals; also at Windsor Palace, when Alfred was a little boy, and shall be most happy to render my aid in giving him a hearty welcome. These remarks are not intended to provoke a paper war - that is out of my line, but I trust I never was ungrateful to persons or societies from whom I have received assistance - DANIEL HARDMAN. Emerald-hill, 28th October.

"CHRISTMAS FESTIVITIES. YORK", Yorkshire Gazette (29 December 1883), 8

The return of Christmas has been marked by the customary festivities in York . . . before the passing of the present Act which controls municipal corporate bodies, York possessed a body of "waits" who wore clothing of corporate purchase, and other special badges, and received a fixed salary. On the abolition the office in 1835 it became a matter of consideration as to whether they were really Corporation servants, and, as such, entitled to any consideration for their loss of office. The result of an appeal to a high court was that they were official Corporation servants, and entitled to a pension, and some £8 odd annually was awarded each. The body of "waits" numbered eight, and though the pension of these officials commenced so far back as 1835, it is a singular fact that one of them still lives to enjoy the privilege of his pension, which has periodically to be sent to him, in the person Mr. Daniel Hardman, in America [sic]. The seven who had been his fellow waits died long ago, and Mr. Hardman must now be over 80 years of age.

"DEATHS", The Argus (19 August 1891), 1


. . . My two first friends in the orchestra of the Philharmonic were Mr. Daniel ("Daddy") Hardman and Mr. "Sam" Chapman, 'cello and double bass players respectively. Hardman, a very old man, came from Yorkshire, the most musical county in England, and was a very experienced player on both instruments. He claimed to have played the overture to "Der Freischutz" under Weber's own direction, which is sufficient honour for any one individual, and he declared that Weber did not take it as fast as we were doing then.

Bibliography and resources:

J. W. Knowles, A list of York musicians from early times to present day (1924) 

Ian Jones, Brass bands in York 1833-1924 (York: Borthwick Publications, 1995), 4-6 (PREVIEW)

Ray Farr, The Distin legacy: the rise of the brass band in 19th-century Britain (Cambridge: Cambridge Scholars Publishing, 2014), 3, 7 (PREVIEW)

Richard Rastall, "THE YORK HARDMAN FAMILY", York music update 

HARDY (father and son)

Violinist, blind fiddler

Active Hobart, TAS, 1850


"Court of Requests . . . Hardy v. Dann", The Britannia and Trades' Advocate (14 November 1850), 4 

Mr. McMinn for the plaintiff. This was an action by the plaintiff, a blind fiddler, for £8 8s. being waged for playing the violin in the defendant's public-house for a certain period. Plaintiff's son, a little boy 12 years old, who leads about his blind father, proved that the defendant had signed a written agreement, whereby he agreed to pay his father 8l 8s. for the son's fiddling for a certain period. The witness played for three months, and received all except 3l. After that period the defendant told the plaintiff that fiddling had been stopped, and he had no farther occasion for his son's services; but if it was allowed again he would still have him. The boy played from 6 to 10 p.m. in the defendant's house every night; the witness chiefly supports his blind father by playing the violin; the agreement between the parties was for six months. The defendant proposed adducing Mr. Vine as a witness, but as he had not given four days' notice of the nature of the defence, as ordered by the Act of Council, the evidence was rejected. Judgment for the plaintiff, 8l 8s.

HARDY, George (George HARDY)

Musician, clarinet player, bandsman (Band of the 12th Regiment), bandmaster, soldier

Born Bury St. Edmunds, England, 13 July 1833
Married Eliza Catchpole, Bury St. Edmunds, early 1854
Arrived Melbourne, VIC, 19 October 1854 (per Camperdown, with the Band of the 12th Regiment)
Discharged (12th Regiment), Sydney, NSW, 1863
Died Maryville, NSW, 21 August 1896, aged 63

ASSOCIATIONS: Band of the 12th Regiment


"THE LATE MR. GEORGE HARDY. Funeral of a Well-known Musician", Newcastle Morning Herald and Miners' Advocate (24 August 1896), 5 

THE attendance yesterday at the funeral of Mr. George Hardy was greater than had been anticipated. The route from Smedmore to Honeysuckle Point Station was lined with spectators. The band, mustering over 40 performers, played the "Dead March in Saul," the weird strains being most impressive. Mr. Barkel was with the Model Band, and the 4th Regiment was present. The suburban bands were well represented by Adamstown, with Mr. Scott, and Lambton, the Maitland Band also being represented. The basses were remarkably strong, and added greatly to the effect. The musical profession were represented by Mr. Len. Williams, J. Fry, Professor Bellini, B. Oliver, and others.

Mr. George Hardy was a native of Bury St. Edmunds, Suffolk, England, and arrived in Melbourne as a bandsman in her Majesty's 12th Regiment in 1854. After two years he proceeded to Tasmania, and remained there till 1858, when he came to Sydney, receiving his discharge in 1863. He resumed his trade as a bootmaker, and, organising a band amongst his fellow tradesmen, he filled the position of bandmaster with credit to the band and himself. He also held the position of solo clarionet player in Lyster's Opera Company for a considerable period. In 1873 he received the appointment of bandmaster of the Newcastle Naval Brigade Band and also of the Volunteer Artillery Band, both bands gaining a local reputation for their bands and bandmaster. He was also bandmaster of the Great Northern Band - a popular band with the public for a long time. He was also bandmaster of several suburban bands. A large number of Newcastle musicians directly or indirectly owe their introduction to Orpheus to George Hardy. Beginners he was always willing to assist in their musical career. His name forms a connecting link between the old country musicians, such as Gladney, Bertinshaw, Phasey, and last but not least Sergeant Hardy of the Scots Guards, a cornet player never surpassed and seldom equalled for tone and execution, as Crystal Palace and Alhambra audiences can testify.

He leaves a family of four sons and three daughters all proficient musicians, who feel their loss. Mr. Hardy was a worthy citizen of Newcastle for over 23 years. He was a member of the M U.O.O.F., also a member of the Black Preceptory, and has been for 35 years a member of the R.O.F., of which he was Chief Ranger for three years. Their respect and esteem for the deceased was shown by their attendance in large numbers. Newcastle has had good cause to be proud of her bandmasters, as owing to their tuition Newcastle musicians stand second to none. What is required is appreciation similar to that meted out to bands such as those of Newtown and Bathurst. Bandmasters and bandsmen are worthy of it, as they never refuse to attend a charitable affair.

"Deaths", Newcastle Morning Herald and Miners' Advocate (29 August 1896), 4 

HARDY. -Died, 21st August, at his residence, Hannell-street, Maryville, George Hardy, bandmaster. late bandsman H.M. 12th Regt., aged 63.

Bibliography and resources:

B. and M. Chapman, "Private George Hardy (c.1833-1895)", Australia's red coat regiments (archived NLA Pandora) 

HARDY, George (George HARDY)

Musician, violinist, fiddler

Active north east VIC, 1859


"INDIGO POLICE COURT", Ovens and Murray Advertiser (1 February 1859), 3

George Hardy, on remand from Saturday was also brought up charged with the same [licensing] offence . . . Bassett's former depositions were read, and having been sworn, he was cross-examined by Mr. Norton, saw defendant playing a fiddle inside the place, we drunk dark brandy, it is a calico house. Mr. Norton stated that he should clearly prove that the place was not a calico place, and that the defendant was only hired to play the violin, at night, at the place spoken of by the witnesses he called. Robert Coventry, deposed . . . heard an agreement made by Hardy to play the violin for two pounds per week, the agreement is in my hand writing . . .


Musician, instrumentalist, ? double bass player

Active VIC, 1854-62 (TROVE tagged by Australharmony)


[Advertisement], The Argus (24 April 1854), 8 

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

GRAND CONCERT. To-night Monday, 19th June,
At the CRITERION HALL, For the Benefit of the Criterion Band.
On which occasion only the following talented artistes will appear:-
Vocalists: Miss Hamilton, Mrs. George Cox, Mr. Barsham, Mr. Gover
Instrumentalists: Herr Strebinger, Mr. Weston. Mr. Wild, Mr. James Thorne, Signor Maffei, Mr. George Chapman, Mr. Johnson, Mr. Hartigan, Herr Koehler, Herr Harendorff
Together with the entire Criterion Orchestra . . .

"COUNTY COURT", The Star (10 September 1858), 2 

Harendorff v. Simms - An action for £4 10s, for services rendered by the defendant, and two other musicians at the Nugget Hotel, Buninyong. As it appeared the defendant was by no means liable, judgment was given for the defendant, with 15s costs.

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

[Advertisement], The Star (24 October 1862), 3 

HARLAND, Julia (Julia Susannah WALLACK; Miss Julia WALLACK; Mrs. William HOSKINS, alias Julia HARLAND)

Musician, vocalist, actor, manager

Born Washington, DC, USA, c. 1819; daughter of Henry John WALLACK (1792-1870) and Frances JONES (d. 1836)
Married William HOSKINS (1816-1886), St. Margaret next Rochester, Kent, England, 3 September 1842
Arrived Melbourne, VIC, 27 June 1856 (per James Baines, from Liverpool, England, 6 April)
Arrived Sydney, NSW, 30 June 1856 (per London, from Melbourne, 28 June)
Died Fitzroy, VIC, 19 August 1872 (TROVE tagged by Australharmony)

ASSOCIATIONS: William Hoskins (husband, actor, performing and business partner); Henry John Wallack (actor, father)


Julia was a daughter of the English actors Henry John Wallack and Frances Jones, who had married at St. Mary, Lambeth, on 20 November 1814.

Julia later claimed to have been born in Washington, D.C., in c. 1819/20, which seems likely, given that her father was reported to have performed in Baltimore in 1818/19, and that, on the family's next documented arrival in New York, from Hull, on 2 May 1821, they gave Julia's age as 2. Julia and her sister Fanny (1822-1856) were only very belatedly baptised together as adults, in London, in September 1852.

Julia's earliest certainly documented stage performance was in New York in December 1839, when she appeared with her father and sister Fanny in The hunchback at the New Chatham Theatre. She made her first stage appearance as a vocalist in New York in October and November 1840, in the opera Ahmed al Kamel, under the direction of the English composer and impresario, Charles Edward Horn, who was also reported to be her singing teacher. The following month she was given the role of Donna Elvira in Don Giovanni, which she sustained into the next year.

In Rochester, England, in September 1842 she married the fellow actor William Hoskins, and the new couple returned to New York immediately, where William briefly played opposite Emma Brougham, and Julia sang at the Park Theatre in The Israelites in Egypt, a staged pasticcio by Rophino Lacy of extracts from Handel's Israel in Egypt and Rossini's Mosè in Egitto.

They had returned again to England by mid November. Julia continued to appear regularly in London and the provinces under her maiden name as Miss Julia Wallack until June 1847. In Dublin, later that year, she made her debut as Julia Harland, with her vocal teacher, Henry Allen. She continued to appear opposite Allen during 1848, but by September 1849 was reported to be a pupil of the younger Manuel Garcia.

In March 1853, Hoskins and Harland first appeared with the young pianist Linly Norman. Later, in January 1855, the three began a provincial tour as the English Opera Company. Hoskins and the opera company last appeared at Gloucester in March and early April 1856, cutting short their advertised season in order to sail for Australia, with Walter Sherwin (tenor), and Robert Farquharson (bass, known in England as Farquharson Smith).

According to a report in the London press, they had been engaged by John Melton Black, proprietor of the Theatre Royal Melbourne, who accompanied them on the trip out.


LIST OR MANIFEST of all the Passengers taken on board the Ship William from Hull, for New York, 2 May 1821; US National Archives (PAYWALL)

Wm. H. Wallack / 28 / Comedian / Great Britain
Fr's Wallack / 24 // Jas. W. Wallack / 3 // Julia Wallack / 2 . . .

[Advertisement], The evening post [New York, USA] (23 December 1839), 3

will be presented the Play of THE HUNCHBACK. Master Walter - Mr. Wallack;
Julia - Miss Julia Wallack; Helen - Miss Fanny Wallack . . .

"National. Horn's New Opera", The ladies' companion (November 1840), 49 

. . . A word now of the opera, Ahmed Al Kamel, - we wish we could speak of it in terms of praise, but as candid critics, we cannot . . . One of the most passable compositions in the opera, is the ballad sung by Miss Julia Wallack. This young lady, from a first appearance, and considering the arduous task allotted to her, acquitted herself most meritoriously; she has a most flexible and melodious voice; assiduity and study, we trust, will not by her be neglected, and a prosperous career will be sure to follow . . .

"The Winter Concerts", New-York mirror (13 February 1841), 55 

We were surprised and disappointed in not having heard the name of Miss Julia Wallack mentioned among those of the vocalists recently at Niblo's Concerts d'Hiver à-la-Musard. We had hoped that upon the discontinuance of the performances at the Park and National theatres, that as many of the principle artistes as possible who had been engaged at both houses, would have found employment for their talents elsewhere. Especially had we looked to see as great a number of vocalists from the National engaged at Niblo's as would have proved attractive. Miss Wallack, although quite young, and a debutante in music, possesses much talent, great worth, and is a most interesting girl, and many would be glad to hear her sweet voice among those who have contributed to render the winter concerts so popular. Practice must rid Miss Wallack of that undue degree of diffidence which characterized her efforts at the National theatre; but under the tuition of such an accomplished master as Mr. Horn, she will become one of the best among the many excellent vocalists now in this country . . .

[Advertisement], The evening post [New York] (31 May 1841), 3

NIBLO'S GARDEN . . . will be opened for the season, on MONDAY EVENING, May 31st 1841 . . . the present company consists of . . . Mrs. Rivers, Miss Julia Wallack, Miss Fanny Wallack . . . a new Burletta . . . called the SERGEANT'S WEDDING . . . Katrina, in which she will introduce a new Chansanette [sic], called the "Wizard" - Miss J. Wallack . . .

Marriages, St. Margaret Next Rochester, Kent, 1842; England, select marriages (PAYWALL)

3 September 1842 / William Hoskins / son of Abraham Hoskins / and Julia Susannah Wallack / daughter of Henry John Wallack

"MARRIAGES", Kentish Gazette [England] (13 September 1842), 3

Sept. 3, at Rochester, Mr. W. Hoskins, to Julia, daughter of Mr. H. Wallack, manager of the Kent theatres.

"THEATRE ROYAL", Dublin Evening Packet and Correspondent [Ireland] (6 November 1847), 2

Last night the new opera by Loder, called the Night Dancers, and founded the celebrated ballet of Giselle; or, the Willis, was produced with the moat complete and unequivocal success . . . Miss Julia Harland, the fair pupil of Mr. Allen, who on this occasion made only her sixth appearance in the lyric drama, performed the difficult part of Giselle in a style that amply justifies us in predicting for her the very highest triumphs that combined musical and dramatic genius can win. There was a delicacy, a grace, a pure maidenly feeling in every expression and movement that the audience felt to be irresistibly charming. Passion never was exaggerated, as is too much the fashion in your coypists of Italian fervor, and yet never was aught more removed from coldness or primness than her easy, animated, and purely natural acting. In the air, "I dreamt we stood before the altar," wherein she relates to her lover the sad forebodings of her vision of Willis' life, the sweet qualities of her voice, and its careful cultivation, were peculiarly observable. Nothing could be more touching than the tender tones in which she dwelt upon the sorrowful passages; and indeed the loud encore that followed was eminently deserved. In the beautiful air, "What delightful being's this?" sung on rising from the grave to her new life as a moonlight dancer, she was equally effective. But perhaps it was in the duet with Mr. Allen - "He loves me not!" - that her beautiful singing and delightful acting united won the greatest triumph. Nothing could be more naturally effective than the manner in which, while singing, she pulled the flower to pieces; and perhaps our stage has not often witnessed a more perfect exemplification of that most difficult achievement - the ars celare artem. In the rapturous finale, "Happy Giselle," with its brilliant cadenza and quick bursts of melody, Miss Harland had an opportunity for full display of her powers; and the applause which followed, applause as enthusiastic as that usually bestowed on the "Do not mingle one human feeling" of Sonnambula - was a tribute justly deserved . . .

[Advertisement], Freeman's Journal [Dublin, Ireland] (6 November 1847), 1

THEATRE ROYAL, DUBLIN. Mr. ALLEN, Primo Tenore, from the Theatre Royal, Drury lane, is engaged for a few nights, and will make his Seventh appearance on THIS EVENING (Saturday), with his Pupil, MISS JULIA HARLAND, her Seventh performance in the Lyric Drama, and who continues to be received with most enthusiastic applause. THIS PRESENT SATURDAY, November 6, 1847, will be produced a new Grand Romantic Opera In Three parts, called THE NIGHT DANCERS; PARTLY FOUNDED ON THE POPULAR BALLET "GISELLE." The Music by Mr. Loder . . . Albert, Mr. Allen; Giselle, Miss Julia Harland; Fridolin, Mr. Henry Corri . . .

"THEATRE ROYAL", Dublin Evening Post (11 November 1847), 3

. . . On Tuesday evening Wallace's opera of Maritana was produced in a style highly creditable. The part Don Cesar de Bazan afforded Mr. Allen an opportunity of displaying those talents as a vocalist which have raised him to the first rank in his profession . . . Miss Harland, as Maritana, won still more with a Dublin audience from her finished execution and sweet voice . . .

"MUSICAL MEMS . . . PROVINCIAL OPERA", The era [London, England] (6 February 1848), 10

Our favourite tenor singer, Mr. Allen, and his fair pupil, Miss Julia Harland, assisted by a basso cantante of good promise, who has been studying some time under Mr. Allen's tuition, are, we learn, about to start for the provinces to fulfil some lucrative engagements. They open at the Theatre Royal, Dublin, early in March, and from thence prosecute their tour through the country. Our readers will recollect the accounts of the sensation made by Miss Julia Harland, in Dublin, a few weeks since; there was but one opinion amongst the musical Irish as to her vocal and histrionic talent. She performed in "La Sonnambula," "Lucia," "Maritana," and "The Night Dancers," with the greatest eclat. The intention of Mr. Allen to perfect Miss Harland in the provinces, previous to her making her appearance on the London boards, accounts for his unexplained relinquishment of the repeated offers of Jullien, Bunn, and others, to perform in London during the present season. We understand Mr. Allen intends to treat his provincial friends with some musical novelties, amongst others the new operetta by our talented countryman, Mr. E. J. Loder. Miss Harland will also appear in Dublin for the first time in the operas of "Anna Bolena," "I Puritani," and the "Bohemian Girl."

[Advertisement], Cork Examiner (14 April 1848), 2 (PAYWALL)

MR. ALLEN Begs respectfully to announce . . .
he purposes giving TWO CONCERTS on MONDAY Next, 17th Inst.,
at the IMPERIAL HOTEL . . . Morning . . . and . . . EVENING . . .
Mr. ALLEN Will be assisted by his Pupil, Miss JULIA HARLAND . . .
Monsr. BOULLEMIER, and Mr. W. F. GILLESPIE, who will preside at the Piano Forte . . .

ASSOCIATIONS: Anthony Boullemier (violin, later active in VIC)

"PRINCESS'S THEATRE", London evening standard [England] (5 October 1848), 3

The opera of Lucia di Lammermoor was played at this theatre last night, for the purpose of introducing a Misa Julia Harland, a pupil of Mr. Allen, as the heroine. The performance was far from being satisfactory to those who judge of operatic singing by a high standard, belonging entirely to that rank of mediocrity in which there is little or no promise. The debutante has a pleasing face and a fine figure, and so far is well favoured by nature for stage exemplifications; but in other respects there seems to be but small endowments to challenge success. Her voice is thin and unmusical, and when forced beyond its natural tones singularly acute and pungent, while there is a general falseness of intonation which still further dissatisfies the ear. It is a pity that these untried and immature vocalists should make these large and hazardous attempts; a lower species of ambition would be wiser, and the prospects of ultimate success more likely to fructify. Miss Harland had, of course, ample support from her friends; she was called for, before the curtain, after the first act, and again at the close of the opera. Mr. Allen was the Edgardo, and sang with his customary taste and sensibility; and the other parts were filled by Mr. Weiss and Mr. Gregg.

"GRECIAN SALOON", Lloyd's Weekly Newspaper (16 September 1849), 10

The opera of "The Syren" is too familiar to the English public to render a detailed analysis of its merits necessary . . . The new version produced here on Monday was completely successful. It had the great merit of being placed on the stage in a style of superiority not always found at theatres having much greater pretensions than the one now under notice, and of being played in a manner reflecting much credit on all engaged in its representation. Miss Julia Harland, in her performance of Zerlina, did not lose a jot of the triumph she achieved in Amina, but has increased her reputation, and puts forth a new and strong claim for a high position in her profession by the artistic excellence she displayed in the delineation of the young mountain warbler echoing "her wood notes wild" among the heights of the Abruzzi. She is not seen in the first act; but her beautiful cadences and snatches of song which are heard from the wings and the back of the stage during its progress, formed a charming and promising prelude to her subsequent performances. She runs a scale of semitones through, the entire compass of her voice with the greatest facility. The graces and embellishments she employs are in the best taste, and always in character with the music she is singing. She always excels in the delivery of cantabile passages - witness the air in the commencement of the second act, "Beware, my pretty maidens;" and the duetto, "'Tis some mountaineer," both of which were delivered with depth of sentiment and impassioned expression. The sparkling roulades which so profusely adorn many of the airs in this opera are perfect specimens of truthfulness and facility. Her acting, too, is most natural - void of all effort at stage trickery. No wonder that the audience encored all that could be encored, and were enthusiastic in their applause as she crossed the stage at the conclusion. Miss Harland was formerly a pupil of Mr. Allen, but is now under the instruction of M. Emanuel Garcia. Mr. Frazer used his best efforts to support Miss Harland throughout the opera, rendering that lady essential service . . .

England census, 30 March 1831, Clerkenwell, Middlesex; UK National Archives, HO107/1519/202/4 (PAYWALL)

63 St. John St. Road / William Hoskins / Head / Mar. / 35 / Comedian / [born] Derbyshire Newton Solney
Julia Susanna [Hoskins] / Wife / Mar. / 30 / Singer and Actress / [born] America Washington . . .

Baptisms solemnized [at Church Church, Broadway] in the parish of St. Margaret, Westminster in the county of Middlesex, in the year 1852; City of Westminster Archives Centre, CCB/PR/1/1 (PAYWALL)

No. 663 / [1852] Sept'r 2 / Julia Susannah / [daughter of] Henry John & Frances / Wallack / Lynn in Norfolk / Gentleman . . .
No. 664 / [1852] Sept'r 2 / Frances / [daughter of] Henry John & Frances / Wallack / Lynn in Norfolk / Gentleman . . .

"MR. HOSKINS'S SHAKSPEARIAN ENTERTAINMENT", Morning Advertiser [London] (23 March 1853), 6

What may termed chamber entertainments seem to be daily gaining increasing favour in public estimation, and there are many reasons why they should, were there the time to descant upon them. Last night Mr. Hoskins added novel one to the many before the town, and produced at Sadler's Wells Theatre what he terms "Leaves from the Life, and Lays from the Lyre of William Shakspeare." It consists of two parts, the first on "the Ballad Literature of Shakspeare," which, besides being illustrated by the lecturer in a few brief and clever sentences, is vocalised by a small band of singers, consisting of Miss Julia Harland, Miss Brunton, Miss Fanny Beaumont, Messrs. Sharpe, Price, and Beale, the whole being conducted by Mr. Linly Norman. They performed a dozen of the most noted of the ballads which are interspersed in the plays. Miss Harland is by much the foremost singer of this little company, and sang "When daisies pied," "Come unto this Yellow Sand," and "Where the Bee Sucks," with great effect and feeling, and elicited on every occasion an encore . . .

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

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

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

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

[Advertisement], Cheltenham Looker-On (20 January 1855), 1

Royal Old Well. ENGLISH OPERA COMPANY. From the Theatre Royal, Drury Lane. FOR A LIMITED NUMBER of NIGHTS, commencing MONDAY, Jan. 22, 1855, comprising the following eminent Artistes: - MISS JULIA HARLAND, MISS FANNY REEVES, MR. HENRY CORRI, MR. OLIVER SUMMERS, and MR. ELLIOT GALER, the new English Tenor. Conductor, MR. LINLY NORMAN. On MONDAY, Bellini's Opera of LA SONNAMBULA, And the Musical Farce of NO SONG NO SUPPER . . .

"THE THEATRE", Gloucester Journal (19 January 1856), 3

Want of space compelled us to defer anything like a detailed notice of the Operatic Company during the last week of their engagement here. The novelties produced were the Mountain Sylph and Don Pasquale, the first time that either has been played at Gloucester. The music of the former, but too little known opera, was very nicely executed, Miss Harland playing the heroine . . . And while are on the subject of accompaniments we must not omit our warmest praise to Mr. Linly Norman, who is one of the best accompanyists we have heard, his touch being at the same time delicate and firm, and his playing always correct and tasteful. The performances on Wednesday being under the patronage of the City Sheriff (J. M. Butt, Esq.), and for the benefit of Miss Harland, a house literally crammed to the ceiling assembled to witness the Elixir of Love and Guy Mannering . . . Friday being an extra night, and the last of the season, Don Pasquale, one of Donizetti's most elegant operas, was produced . . . we must say that were excessively pleased the thoroughly finished and artistic manner which it was represented. Miss Harland, as Norina, was delightfully arch and coquettish . . . We hear that their next visit will be about April.

"GLOUCESTER - Theatre Royal", The era (23 March 1856), 11

Mr. Hoskins, the well-known comedian, gave a very clever entertainment last Monday . . . He was assisted in the musical portion by Miss Harland, Miss Maria Stanley, and Mr. Linly Norman. Miss Harland, who is a favourite here, was most cordially received, and encored in several of the Shaksperian songs; and Mr. Norman displayed his talent as a pianist by playing Thalberg's arrangement from Mose en Egitto . . .

"GLOUCESTER (From our own Correspondent)", The musical world (29 March 1856), 197

An entertainment called Leaves from the Life and Lays from the Lyre of William Shakespere was given here last Monday by Mr. Hoskins, a comedian, well known in London. He was assisted by Miss Harland, Miss Maria Stanley, and Mr. Linly Norman. The first lady was encored in several songs; and the entertainment was very successful.

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

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

"GLOUCESTER - Theatre Royal", The era (13 April 1856), 11

Much disappointment was occasioned last week by the non-appearance of Miss Julia Harland, who was announced to play in the opera of Maritana, with Mr. Linly Norman as conductor. In consequence of their absence the house was closed on the Monday night . . . (We may as well state here that Miss Harland and Mr. Norman sailed for Australia last Sunday in the James Baines, from Liverpool.)

Australia (from 27 June 1856):

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

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


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

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

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

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

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

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

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

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

"NEWS AND NOTES", The Star [Ballarat, VIC] (8 January 1861), 2 

Mr. H. J. Wallack, the well-known English actor, and former manager of the Princess' Theatre, London, arrived in this colony on Thursday last by the Black Swan. He will appear on Ballarat, at the Theatre Royal, on Friday next, when the performance will be for the benefit of Mr. Hoskins, who is about to give up his connection with that theatre.

[Advertisement], The Star (26 February 1861), 3 

[Advertisement], The Star (5 April 1864), 3

[Advertisement], The Sydney Morning Herald (23 January 1869), 4

"DEATHS", The Argus (20 August 1872), 4

HOSKINS. - On the 19th inst., at 8 Hanover-street, Fitzroy, Julia Susannah (better known as Julia Harland) wife of William Hoskins, comedian, and daughter of the late Henry John Wallack.

"DEATH OF MISS JULIA HARLAND", The Australasian (24 August 1872), 19 

It is with extreme regret that I find recorded the death of Mrs. William Hoskins, professionally known as Miss Julia Harland, which took place on the afternoon of the 19th at her residence, Hanover-street, Fitzroy. The deceased lady was some time back married, in England, to Mr. William Hoskins, the popular comedian and manager, who is at present on a tour with Miss Florence Colville in New Zealand.

The late Mrs. Hoskins was descended from a family highly respected in the dramatic annals of the world - the Wallacks. Her elder brother was the best representative extant of Don Caesar de Bazan, and the younger, Mr. J. W. Wallack, at present in America, is about to visit this colony in company with Mr. Theodore Hamilton. Her father, the late John Henry Wallack, when on a visit to this colony, in 1862, appeared on the occasion of Lady Dons benefit, at the Theatre Royal, Melbourne, as Sir Anthony Absolute, but increasing infirmities prevented his appearing afterwards.

Miss Julia Harland made her mark in English opera years ago, when she succeeded Madame Anna Hilton at the Princess's Theatre, London, as prima donna of the English Opera Company, then under the regime of the eccentric manager, J. M. Maddox, or as Punch used to term him, "King Maddox," where, in connection with Messrs. Leffler, Donald King, H. Horncastle, and Allen, she became the English operatic star of London. Some time after she accepted a lucrative engagement with the late Mr. Thomas Rouse (Bravo Rouse!), succeeding Miss Annette Mears at the Grecian Saloon, City-road, London. During her stay at this house, under the conductorship of Mr. B. Isaacson, her brilliant talents as a lyric actress and her splendid vocalisation soon brought that little theatre into notoriety, and nightly filled the coffers of the manager. One of the best operatic companies then obtainable was engaged to support her, including Mr. Fraser, a very able tenor, who afterwards died in America; Mr. Charles Horn, son of the eminent composer; Mr. Baldwin, a baritone from the English Opera-house; Mr. Eaton O'Donnell, Mr. H. Horncastle, Mr. Pat Corri (brother in law to the late Frederick Younge), the Misses M. A. and Emma Crisp, and Miss Johnstone; and Messrs. Campbell (father-in-law to Mr. John Dunn) and R. Phillips (both dead) as managers, and the late "little Robson" as comedian - a glorious company.

After severing her connexion with the Islingtonians and the Grecian, she appeared in London during the opera seasons at several of the principal theatres. In 1856, in company with her husband (Mr. William Hoskins) and Messrs. Walter Sherwin, Farquharson, and Linley Norman, she left England for this colony, arriving here in the August of the same year, announcing themselves as the "English Opera Company." Miss Julia Harland made her first appearance in Melbourne on the 1st of the following September at "our Lyceum" Theatre in the character of Lucia, in Donizetti's opera, "The Bride of Lammermoor," Mr. Hoskins appearing the same evening as Jack Delaware in the farce "A Fast Train High Pressure-Express." The company was very successful throughout the colonies, the talents of the deceased lady being everywhere especially recognised.

In 1859 she joined the opera company at the Princess's Theatre, and in conjunction with Madame Carandini, Messrs. Laglaise, Emile Coulon, Schultz, John Gregg, and others, appeared in the first cast of Verdi's opera of "II Trovatore" presented in the Australian colonies. Miss Harland's assumption of the gipsy, Azucena, was generally, acknowledged to be a splendid and thoroughly artistic performance, and materially added to her professional reputation.

On the retirement of her husband from management in Melbourne, and during his absence from this city, the deceased lady has been living in complete retirement, and for the last few weeks has suffered most acutely from dropsy, to which she ultimately succumbed. In her private life she carried with her the sincere respect and esteem of a large circle of friends. Mr. H. H. Hoskins, solicitor, of Talbot, her brother-in-law, Mrs. Alfred Phillips, and one or two other friends were with her in her last moments. - CALL BOY.

"Miscellaneous Items", Australian Town and Country Journal (31 August 1872), 6

Julia Susannah, wife of Mr. William Hoskins, the well-known comedian, died on the 10th instant, at her residence, 8, Hanover-street, Fitzroy. The deceased lady was the daughter of the late Henry John Wallack, comedian, for very many years theatrical manager. Under the nom de theatre of Miss Julia Harland, the deceased came to Australia with her husband, in 1858 [sic], with the English Opera Troupe, among whom were some others well-known to fame.

Musical resources:

John of Paris, a comic opera in two acts composed & partly selected from the original French opera by Boieldieu; the poetry by J. Pocock; and adapted for the English stage by Henry R. Bishop (cover inscribed: "Julia Harland 1856") 

Bibliography and resources:

Joseph Norton Ireland, Records of the New York stage: from 1750 to 1860 . . . vol. 2 (New York: T. H. Morrell, 1867), 323 

[THE NEW CHATHAM THEATRE] . . . Mr. James Wallack made his first appearance on this stage as Rolla and Dick Dashall. He afterward appeared as . . . Shylock, with Henry Wallack as Pizarro . . . The latter announced his benefit on the 23d [December 1839], and the first appearance of his daughters, Julia and Fanny - an announcement that excited much interest, and but for a violent storm, would have attracted an overflowing house. The play selected for their debut was the "Hunchback," cast in the following manner: Master Walter, Mr. Wallack; Clifford, Mr. Bannister; Modus, Mr. Tuthill; Julia, Miss Julia Wallack; Helen, Miss Fanny Wallack.

Miss Julia Wallack afterward turned her attention principally to music, and in the fall of 1840, appeared at the National, in subordinate characters, both in English and Italian opera. She made her first appearance at the Park, as Elvira, in "Don Giovanni," April 13th, 1841. After visiting Europe, she returned as Mrs. W. Hoskin, and re-appeared at the Park on the 21st of October, 1842. She remained there during the run of the "Israelites in Egypt," after which she returned to England and continued on the stage as Miss Julia Harland.

Miss Fanny Wallack became more of a favorite . . . She died in Edinburgh, Scotland, October 12th, 1856, aged about 34 years.

Dec. 31st [1839]. The Misses Wallack's benefit, with the "Honey moon," thus cast: Duke Aranza, Mr. Wallack; Rolando, Mr. H. Wallack; Jacques, Mr. W. H. Williams; Juliana, Miss Julia Wallack; Volante, Miss Fanny Wallack.

Kurt Ganzl, "What a lot of Wallack!: the story of Julia Wallack aka Julia Harland (Mrs. William Hoskins), 

HARLOW, Clarissa (Madame Clarissa HARLOW, pseudonym)

Musician, pianist, pianoforte player

Active Adelaide, SA, 1857


Musician, professor of music, pianist, vocalist, organist

Born England; daughter of Samuel Charles HARPER (d.1859) and Mary Ann HARRIS (d. 1854)
Active Adelaide, SA, by 1857


At a concert of sacred music in Adelaide in May 1857, the Register reported:

Miss Pettman, in conjunction with a young lady whose name we understood to be Miss Harper, received the honour of a recall in a duet from Fawcett's Paradise.

(John Fawcett's oratorio had been premiered in Britain only in 1853).

Later a pupil of Cesare Cutolo, on his departure in 1859 Miss Harper offered her services as a teacher to his other lady pupils. In April 1861, as recently appointed organist of the Roman Catholic Cathedral, she accompanied a performance of Mazzinghi's Mass in B flat on the harmonium.


"CONCERT OF SACRED MUSIC", South Australian Register (9 May 1857), 2

[Advertisement], South Australian Register (2 December 1859), 1 

[Advertisement], South Australian Register (9 December 1859), 1

"DIED", South Australian Register (13 December 1859), 2

On the 11th October, at his residence Grosvenor-street, Cheltenham, aged 72, Samuel Charles Harper, Esq., eldest son of the late Rev. Thomas Harper, of London, and father of Miss Harper, professor of music in this city.

"DEATHS", South Australian Register (15 August 1860) 2

"THE ROMAN CATHOLIC CATHEDRAL", South Australian Register (2 April 1861), 3

[Advertisement], South Australian Register (18 January 1864), 1

"MARRIAGES", South Australian Register (26 October 1865), 7

[Advertisement], South Australian Register (25 January 1867), 1

EDUCATION. MISS HARPER (Pupil of Signor Cutolo) has a few VACANCIES for Pupils for the PIANO. Freeman-street.

? "MISS HARPER'S SEMINARY", Northern Argus (23 December 1879), 2 

HARPER, Joseph (Joseph HARPER; Mr. HARPER)

Dancer, dancing master, professor of dancing

Active Melbourne, NSW (VIC), 1843


"DANCING", Melbourne Times (11 March 1843), 3 

HARPUR, Charles (Charles HARPUR)

Poet, songwriter, song recorder

Born Windsor, NSW, 23 January 1813
Died NSW, 10 June 1868 (NLA persistent identifier)


"THE KANGAROO HUNT; OR, A MORNING IN THE MOUNTAINS", The Australian Home Companion and Band of Hope Journal (28 July 1860), 345-46 

The gooburra [Kookaburra] . . . This bird is usually called the "laughing jackass" - how tasteful and poetic! and sometimes the "snake-killer," because of its preying upon reptiles. In the early times of the colony it was pretty generally known also by the name of the "settler's clock," being thus called on account of the poorer sort of farmers (designated in the parlance of the period "dungaree settlers," from a cheap Indian cotton stuff usually worn by them) using to regulate the hour of arousing their assigned servants to labour by the laughter-like peals which it invariably utters just before and after daybreak. The following "elegant extract" from a song that was popular amongst certain of the inhabitants of Windsor during the Author's boyhood, is humorously illustrative of this particular. The song itself was a rather lugubrious description of the unpleasant surprises experienced by some newly arrived convict during the first week or so of his assignment.

Next morning as I lay a-bed
A thinking on my woe,
I hears a something near the crib
Begin to ha and hoo:
By jabers! what is that! says, I,
It gave such a shock!
Why, laughing answered an old chum,
That 'ere's the Settler's Clock.

With that I peeps all through the slabs,
And to my surprise did see,
A most remarkable looking Bird
A laughing on a tree!
And at the same time twigged the cove
His bed-room door unlock,
Crying Up to work, you lazy hounds,
For don't you hear the Clock?


Musician, vocalist, serenader, flautist, flute and piccolo player, theatrical manager

Active NSW and VIC, 1853-58 (TROVE tagged by Australharmony)


[Advertisement], The Sydney Morning Herald (22 March 1853), 2

[Advertisement], The Sydney Morning Herald (24 November 1854), 1

[Advertisement], Empire (5 February 1856), 1

HARRIS, Flora (Miss Flora HARRIS; Flora McDonald HARRIS; Madame Flora HARRIS; Mrs. Joseph Sheridan MOORE)

Musician, soprano vocalist, pianist, teacher of singing

Born St. Mary Newington, Surrey, England, c. 1830; daughter of Robert HARRIS and Mary Anne THEW
Arrived Sydney, NSW, 15 November 1852 (per Benjamin Elkin, from London, 28 July)
Married Joseph Sheridan MOORE, Sydney, NSW, 3 October 1857
Died Sydney, NSW, 29 January 1910, aged "80" (NLA persistent identifier) (TROVE tagged by Australharmony)

HARRIS, Gertrude (Gertrude Louise HARRIS; Mrs. Thomas LAMB)

Musician, vocalist

Born Newington, Surrey, 18 July 1834 (daughter of Robert HARRIS and Mary Anne THEW)
Active Sydney, NSW, 1855
Married Thomas LAMB, St. James's, Sydney, NSW, 14 May 1857
Died Armidale, NSW, 20 September 1903 (TROVE tagged by Australharmony)

HARRIS, Haidee (Haidee Beatrice HARRIS; Mrs. W. H. HARPER)

Amateur vocalist

Born Camberwell, Surrey, England, c. 1848 (daughter of Robert HARRIS and Mary Anne THEW)
Active Sydney, NSW, 1864-65
Married Henry William HARPER, St. Paul's, Redfern, NSW, 27 December 1866
Died Manly, NSW, 5 July 1934 (TROVE tagged by Australharmony)


The daughter of Robert Harris (c.1796-1882) and Mary Ann Thew (b. c.1807), Flora was born c.1830 at St. Mary Newington, Surrey, London, and named after a noted ancestor in her paternal grandmother's line, Flora MacDonald, the celebrated Jacobite heroine.

Robert's father having died early, he was largely brought up by his musician elder brother, Joseph Macdonald Harris (1789-1860), who was professionally active in musical life in London in the 1820s and 1830s, and a personal friend of Braham, Tom Moore, and Isaac Nathan. Robert was later a legal officer for the City of London and was also particularly involved in health policy and sanitation reform. In 1852, he resigned and with his wife and 9 children sailed for Australia, "the salubrity of whose climate was enlarged on by other friends". Flora, 22 at the time, was with them (as she testified at the Supreme Court in November 1874).

Flora Miss Flora Harris, "from the Exeter Concerts", first appeared as a soloist with Marianne Adcock for the Sydney Choral Society in April 1853, and at John Winterbottom's promenades in May. At Coleman Jacobs's Farewell in October, the generally rather ill-disposed reviewer for the Illustrated Sydney News noted: "Miss Flora Harris has improved, and with study and care may become a tolerable singer". Again for the Sydney Choral Society in December, the Herald noted:

Miss Flora Harris sung the "Adelaide" [Beethoven] with great taste. The particular charm of her singing is in the ease with which she varies her intonation, according to the character of each passage; and this, added to the sweet quality of her voice, renders her a thoroughly satisfactory singer.

As a singing teacher, Harris advertised that her system of instruction was based on that of her own former teacher, Domenico Crivelli.

A bound album of late 18th-century Scottish and English sheet music, belonging to Haidee Harris, is in the Stewart Symonds Collection, Sydney Living Museums. The contents of the collection date mainly from the 1790s, and, according to an inscription, was given to her by her mother in 1864 (see:

Flora Harris programmed several songs by her great uncle, Joseph Macdonald Harris, in Sydney concerts, The Grecian maiden's war song [was this perhaps The Indian hunter's song?], in June 1853, We part, forever part in November 1853, and The mariner's child to his mother in January 1854


1851, England census, parish of St. George, Camberwell, Surrey; London, PRO H.O.107/1582

268 Albany Road / Robert Harris / Head / 54 / Accountant for City of London / . . .
Mary A [Harris] / Wife / 44 / . . .
Flora [Harris] / Daug. / 20 / Vocalist & Teacher of Music / [born] Surrey Newington
Gertrude [Harris] / Daug. / 17 / Scholar / [born Surrey Newington]
Donald [Harris] / Son / 12 / Scholar / [born Surrey Newington]
Walter [Harris] / Son / 18 / Scholar / [born Surrey Newington]
Kathleen [Harris] / Daug. / 8 / Scholar / [born Surrey Newington]
Reginald [Harris] / Son / 6 / [born Surrey Camberwell] [on next page]
Beatrice Harris / Daug. / 3 / [born] Surrey Camberwell
Malcolm Harris / Son / 2 / [born Surrey Camberwell]

"SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (23 April 1853), 4

"PROMENADE CONCERT", Empire (2 May 1853), 3

[Advertisement], The Sydney Morning Herald (6 May 1853), 1

"MR. COLEMAN JACOB[S]'S CONCERT", Illustrated Sydney News (29 October 1853), 6

"SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (2 December 1853), 4

[Advertisement], Empire (4 February 1854), 1 

ROYAL ACADEMY OF MUSIC. MISS FLORA HARKIS, Pupil of Signor Crivelli, First Master of Singing at the Royal Academy of Music in London, begs to announce that she continues to give lessons in the Theory and Art of Singing on the system of the above named eminent Professor. Miss Flora Harris is disengaged during a portion of Wednesday and Saturday, and can refer to several of the leading families of Sydney, in confirmation of the gratifying success which has attended her plan of instruction, in which principles of acknowledged excellence are practically illustrated by appropriate examples. For cards of address, and terms, apply to Messrs. WOOLCOTT AND CLARKE, 555, George-street, and to Mr. WILLIAM JOHNSON, Pitt-street.

[Advertisement], The Sydney Morning Herald (17 August 1854), 1

[Advertisement], Empire (8 August 1855), 1 

Principal Performers: Miss Flora Harris; Miss. G. Harris (her second appearance); Mrs. St. John Adcock (who will make her first appearance as a Pianist these two years); and Messrs. Fisher, R. Walcot, T. Holme, and E. Colley; assisted by an efficient and powerful chorus. Conductor, Mr. Fisher. Pianoforte, Mr. Harwood.

[D. H. Deniehy]: "To the Editor", The Sydney Morning Herald (22 January 1859), 6

"THE WAIL FROM ENGLAND", The Sydney Morning Herald (18 September 1862), 4

"MUSIC AND THE DRAMA", Empire (20 August 1864), 2

The talented and favourite artiste, Madame Flora Harris, made a deep impression by her beautiful rendering of the air "Jerusalem, thou that, killest the prophets" [Mendelssohn].

"MUSIC AND THE DRAMA", Empire (21 April 1865), 2 

The duet, "To the fair," sung by Mrs. Cordner, and Miss Haidee Harris, (amateur), was so sweetly sung as to be encored, a compliment highly deserved by these ladies, the former of whom possesses a fine contralto voice, and sings with improved taste and style; and the latter is the young lady whose beautiful vocalisation is always so greatly admired - who owes much, however, to her sister, Madame Flora Harris, under whose excellent tuition she has become so good a musician. Madame Harris was suffering from indisposition, but was nevertheless much applauded for what she did . . .

"Supreme Court", Australian Town and Country Journal (28 November 1874), 10

In the slander action brought by Mr. Joseph Sheridan Moore and Flora (nee Madame Flora Harris,) his wife, against Mr. Robert Glynn and Elizabeth, his wife, the plaintiff recovered a verdict for one farthing, and the Chief Justice certified for costs against the defendants. The slanderous words charged the female with being an expirée convict, &c, and were uttered by the female defendant during a neighbourly quarrel. There was no truth in the slander, as Mrs. Moore came to the colony with her parents, and has been highly respected, especially in musical circles, where she gained great celebrity as a singer.

"MISS FLORA HARRIS, 1855 - MRS. SHERIDAN MOORE, 1905", The Brisbane Courier (8 April 1905), 13

"DEATHS", The Sydney Morning Herald (31 January 1910), 6

"PERSONAL", The Sydney Morning Herald (31 January 1910), 6

By the death, at the age of 80 years, of Mrs. Flora Sheridan-Moore, a regretted event which took place on Saturday at the residence of her daughter, at the post-office Elizabeth-street South a valued link is severed in the musical chain connecting present day concert goers with those of the last generation. As a girl "Miss Flora Harris" sang in the great choir at the opening of the Exhibition at the Crystal Palace, Sydenham, in 1851. Two years later she was soloist and chorister at St. James's Church, Sydney, and in 1854 was soloist at St. Mary's Cathedral where she remained five years. In those days, the soprano was associated on the concert platform with Catherine Hayes, Anna Bishop, Sara Flower, Lucy Escott, Mme. Carandini, and other famous artists. In 1857 the artist married Mr. J. Sheridan-Moore, a University coach and writer of that period and retired for 30 years from professional life. However, Mrs. Moore decided to join the Sydney Philharmonic Society's choir, under Signor Hazon in 1889, and sang at nearly every concert, making, as she only too justly feared, her last appearance with it in the "Messiah" on Christmas afternoon last. The deceased had expressed a wish that she might live to see Signor Hazon on his return to Australia, a few days hence, her position as vice-president of the Philharmonic having given her especial opportunities of appreciating the Italian conductor's personal worth. The deceased, who was highly esteemed by all who knew her, leaves two sons and two daughters.

"MISS FLORA HARRIS", The Brisbane Courier (23 September 1929), 17

"DEATHS", The Sydney Morning Herald (6 July 1934), 10 

Related musical editions:

Agathe, or, When the swallows homeward fly ("sung by Miss Flora Harris . . . music by Franz. Abt) (Sydney: Woolcott and Clarke, [1854]) 

I'm leaving thee, Annie! [George Barker] ("As sung by Miss Flora Harris") (Sydney: Woolcott and Clarke, [1854, and another edition]) 

Hearts and homes (as sung by Miss Flora Harris; composed by John Blockley) (Sydney: Woolcott and Clarke, [1854]) 

I love the merry sunshine ([music by] Stephen Glover; sung by Miss Flora Harris) (Sydney: Woolcott and Clarke, [185-?]) 

The wail from England (words: J. Sheridan Moore; music: W. J. Macdougall) [1862]


The beauty that blooms in Australia (a song; as sung by Madame Flora Harris; words by J. Sheridan Moore; music by W. J. Macdougall) (Sydney: Wilkie, Elvy & Co., 1863) 

Bibliography and resources:

J. Sheridan Moore, Memorials of the late Robert Harris (Parramatta: John Ferguson, 1882) 

Frances Devlin Glass, "Moore, Joseph Sheridan (1828-1891)", Australian dictionary of biography 5 (1974)

Barbara Short, Family secrets: stories from my mother's side of the family (Epping, NSW: Barbara Short, 2012) 

HARRIS, George Prideaux Robert (George Prideaux Robert HARRIS)

Amateur musician, flute player, flautist, deputy surveyor (David Collins' party), natural historian, magistrate

Born England, 1775
Arrived Australia, 1803-04
Died Tasmania, 16 October 1870 (NLA persistent identifier)


One of several early colonial naval officers who were amateur flautists (including Matthew Flinders and Daniel Woodriff), Harris was deputy Surveyor with David Collins's party to Port Phillip, on board the Calcutta in 1803-04. In a letter to his brother, dated 14 February 1804, he asked to be sent "any new songs for the flute".

Bibliography and resources:

E. R. Pretyman, "Harris, George Prideaux Robert (1775-1810)", Australian dictionary of biography 1 (1966)

Barbara Hamilton-Arnold (ed.), Letters and papers of G. P. Harris, 1803-1812 Deputy Surveyor-General of New South Wales at Sullivan Bay, Port Phillip, and Hobart Town, Van Diemen's Land North (Hobart: Hear A Book, 1995)

Freda Gray, "Music of the early settlements of the 1800s", Papers and Proceedings Tasmanian Historical Research Association 43/2 (June 1996), (59-62), 59 (PAYWALL)

[59] . . . The flute belonging to the son of Captain Daniel Woodriff of H.M.S. Calcutta, one of the two ships used to transport the first settlers to Port Phillip, is still with the family in Penrith, N.S.W., while Daniel James Woodriff's music is in the safe keeping of the Mitchell Library [sic, NLA] . . . Though only 15 years old, Daniel James Woodriffwas one who wrote of the voyage in 1803. Lieutenant Nicholas Pateshall also kept a record of the voyage of the Calcutta. His interest in music was obvious, for not only did he promise his 'favourite Aunt Parry' to keep up his flute practice, but also commented on the music he enjoyed during his stopover in Rio de Janeiro. The letters of G. P. Harris, Deputy Surveyor with Collins' party, suggest that he too must have had a flute with him, for in a letter home dated 14 February 1804, he asked his brother for 'supplies', among which he included 'any new songs for the flute'. There seems little doubt that the flute was one of the easiest instruments to carry around the world . . .

HARRIS, George (George HARRIS)

Piano tuner, repairer, articled apprentice (W. J. Johnson and Co.)

Active Sydney, NSW, 1857


[Advertisement], The Sydney Morning Herald (17 January 1857), 1

PIANOFORTES - GEORGE HARRIS, late with Messrs. W. J. Johnson and Co. pianoforte-makers, &c., Pitt-street, begs to inform the inhabitants of Sydney and its vicinity that his engagement under articles has ceased, and that he intends to follow the tuning and repairing department. Orders, from town or country, addressed to HUDSON, music-seller, l8, Pitt-street North, will meet with prompt attention. 16th January 1857.

[Advertisement], The Sydney Morning Herald (29 January 1857), 8

[Advertisement], The Sydney Morning Herald (3 October 1857), 10


Music printer

Active Launceston, TAS, 1866


In August 1866, Walch of Hobart published of Frederick Augustus Packer's Curacoa valse, set and printed by R. Harris, music printer of Launceston.

HARRIS, Richard (Richard HARRIS)

Pianoforte maker

Active ? VIC, c. 1861-63

HARRIS, Robert Douglas (Robert Douglas HARRIS; R. Douglas HARRIS)

Amateur musician, cornet and cornopean player, publican, commission agent

Active Launceston, TAS, by 1858
Died TAS, 1911 (TROVE tagged by Australharmony)


Musicseller, importer, stationer

Active Geelong, VIC, 1850


The bulk of the contents of the shipment advertised below appear to have been published by the London firm of D'Almaine & Co. in the middle and late 1840. The prolific Richard "Ricardo" Linter (c. 1818-1886) was one of their house composers; another was Henry Frederick Hemy, who, by coincidence, himself arrived in Victoria in December 1850. In Melbourne in January 1851 Hemy himself gave what he billed as the first Australian public performances of one of the items included in the shipment, his The chimes polka.


[2 of several advertisements], Geelong Advertiser (13 September 1850), 4 

JUST OPENED, a case of MUSICAL INSTRUMENTS, comprising ACOORDEONS of different sizes, some very large and superior. Flutes, Flageolets and Piccoloes. Clarinets and Violins. Violin Strings, Violin Bows, Bridges, Pegs, &c., &c. Music for Accordeon, Flute and Violin. DANIEL HARRISON. Malop-street, West.

New Music. A LARGE and varied assortment just received by the Undersigned, comprising all the New Polkes, Waltzes, Quadrilles, Songs, Duets, Rondos, Selections from Operas, &c., &c. &c. To ensure a speedy sale, they are offered at the ENGLISH PRICES without any advance, thus obviating the common complaint as to the dearness of Music in these Colonies. Thie following are a few of the pieces:-

POLKAS. La Brunette Polka - Linter; Amazon Polka - Linter; Mazeppa Polka - Linter; Queen's Polka - Bardoni; Earl of Dublin Polka - Linter; Grasshopper Polka - Linter; Oberon Polkas - Kronin; The Chimes Polkas - Hemy; Her Majesty's Court Polkas - Linter; Jetty de Treffz Polka - Norman; Jenny Lind's Polk - Wallestein; Albone Polka - Kronin

QUADRILLES. The Owl Quadrilles - Linter; La Poste Quadrilles - Schubert; Full Cry Quadrilles - Linter; Prince of Wales Quadrilles - Jullien; Royal Horse Guards Quadrilles - Linter; Les Jolies Oiseaux Quadrilles - Linter; Garland Qtadrilles - Linter; Bella Donna Quadrilles - Linter; Rose Quadrilles - Czerny; Fairy Land Quadrilles - Linter; Cameo Quadrilles - Ditto; Venetian Quadrilles - Ditto; Les Oiseaux Orientales Quadrilles - Linter; Robin Goodfellow Quadrilles - Linter; Birthday Quadrilles - Hemy

SONGS, DUETS, &c. Yes! I will write to thee; Jeanie and Donald - Hodson; They have welcomed me again; I'm thinking now of thee Jamie; The United Service Song - Linter; Standard of the free - Simpson; Oh! Clear and Winding River - Halton; Heaven is my home - Flood; The Hindoo Widow - Guernsey; I love thee tho' we've said farewell; Of what are you thinking Jenny; The Secret to be happy - Donizetti; Buy my flowers - Holmes; The Shower of Pearls - Duet, Glover; The Mill Stream - Rossini; The Bridal Blessing - Glover; A home with thee - Palmer; With my dog and my gun - Bishop; I'll roam the gay world - Loder; When in happier days we wandered - Loder; Cheer thee, dark and helpless one - Esain; My Home! my happy home - Hodson; I'll hang up my harp on a Willow tree - Guernsey

Gems of Italian Operas - Six parts; Reminiscences of Burns - Linter; Harp of Erin - Czerny; Saze Coburg March; Pestal Waltz - Linter; Promenade Waltzes - Linter; La Piuie des Perles Valse - Osborne; Linter's Album of Dance Music. Musical Bijou for 1850. These works are splendidly illuminated.

A variety of Rondos, Marches, &c., &c. DANIEL HARRISON, Malop-street West. Any of the above can be sent by post at 2d for every 4 ounces weight.


Amateur songwriter, squatter, separationist

Born Cumberland, England, 1802; baptised Camerton, 12 December 1802; son of George HARRISON and Anne KIRCUP
Arrived Sydney, NSW, by c. 1830
Married Jane HOWE, St. Philip's, Sydney, NSW, 12 February 1831
Died Williamstown, VIC, 21 July 1869, aged "67" (TROVE tagged by Australharmony) (NLA persistent identifier)


"Select Poetry", The Argus (30 October 1850), 4 

Tune - "Betsy Baker."

In Australasia there did dwell,
A mother and a daughter.
The lass all others did excel,
And many lovers sought her
She was fair and lovely to the eye,
The wonder of each nation!
For golden wings she'd surely,
Had she but separation.

Tol de rol, &c. &c.

The mother old and feeble was,
And peevish too besides, Sir,
Her advocates - each braying ass,
Like frogs puffed up with pride, Sir,
Cried we'll not suffer them to part,
'Tis our determination;
What use the HEAD without the HEART,
They shan't have Separation.

Her lovers then began to prate,
And said Phil' shouldn't bear it;
Why should she any longer await,
She should be FREE they'd swear it
Then George her guardian forward came,
Cried no procrastination,
Shall be unshackled from the dame.
She's ripe for Separation.

The braying donkies stood aghast,
To see he did not heed 'em,
That Justice would be done at last,
Her flocks and herds, may they increase,
Now Happy past probation,
And blest with LIBERTY and peace
Hurrah! for Separation.

J. H.

This allegorical ballad was published in the M. M. Herald, and other papers, five years ago, and intended to be sung at the Lang Separation Dinner but the band only played the air, which impressed the idea upon my mind that the tune might become national; it is certainly equal in musical merit to that of Yankee Doodle.

For the tickets of said dinner I wanted a suitable device for the seal, but could meet with nothing I liked so well as the head of Victoria, which I selected, not through any particular affection for the diadem, but the name. It is a singular coincidence that the latter should have been subsequently adopted to designate the province. The tickets so stated read "Victoria Separation Dinner."

J. H.

MUSIC: Betsy Baker (tune); see also in Tune archive

"SEPARATION", Bendigo Advertiser (7 July 1883), 1 supplement 


Teacher of Singing and Pianoforte

Active Adelaide, SA, 1859 ("A pupil of . . . Signor Crivelli")


[Advertisement], South Australian Register (23 June 1859), 1

MR. ROBERT HARRISON (Pupil of the celebrated Professor of Singing, Signor Crivelli, of London), begs to inform his friends and the public that he intends to Resume the MUSICAL PROFESSION and TUITION in the MODERN LANGUAGES. Singing, Pianoforte, French, German, and Italian. Residence - Sydenham Road, Norwood.


Actor, vocalist

Active Hobart Town, VDL (TAS), by 1837


Actor, dancer, vocalist

Active Hobart Town, VDL (TAS), 1838


"SHIPPING LIST. ARRIVALS", Daily Southern Cross [Auckland, NZ] (23 December 1843), 2 

Dec. 21. "City of Sydney," brig, Monro. Passengers, Mr. and Mrs. Buckingham and three children, Mr. and Mrs. Thomspson and three children . . . Mr. and Mrs. Harrold and child.

[Advertisement], Auckland Chronicle and New Zealand Colonist (31 January 1844), 2 

Fitzroy Theatre . . . OPENING NIGHT, FOR MONDAY THE 5TH FEBRUARY, 1844 . . .
THE PROSCENIUM has been painted and decorated by Mr. Duke (assisted by Mr. Harold), from magnificent designs.
THE SCENERY also by Mr. Duke, is entirely new, and the new drop Curtain must be seed to be appreciated . . .
The Company will consist of
HARROLD, Hobart Town; Mrs. THOMPSON, Sydney; Mrs. HARROLD, Hobart Town;


Indigenous singer, songman

Active Parramatta, NSW, ? 1817-24

See main entry: 

HARRY, John (John HARRY)

Musician, bandsman

Active NSW, 1852 (TROVE tagged by Australharmony)


[Notice], New South Wales Government Gazette (27 February 1852), 364 

REPORT of a Deserter from the 11th Regiment of Foot. - Dated at Sydney, New South Wales, 22nd February, 1852. Man's name, John Harry; age, 24 years 1 month; size, 5 feet 7 inches; complexion, fresh; hair, dark brown, and inclined to curl; eyes, brown; time of desertion, 16th February, 1852; place of desertion, Sydney, New South Wales; date j of enlistment, 28th September, 1841; at what place enlisted, Chepstow; parish and county, Chepstow, Monmouth; trade, musician, and has taken a piclo [sic, piccolo] and part of a flute with him; Regimental Band dress - white jacket and red cap; remarks, 1st desertion, and has taken only what things he had on him.
Lieut.-Col. 11th Regt.

HART, Anthony (Anthony HART; A. HART)

Amateur musician, cellist

Born Hackney, London, 1831; baptised St. Mary, Haggerston, 13 November 1831; son of William Doubleday HART (1800-1847) and Ann GREEN (d. 1891)
Arrived Hobart Town, VDL (TAS), 14 January 1833 (per Helen Marr, from London, 9 August)
Married Martha ROGERS (d. 1877), Launceston, TAS, 6 March 1855
Died Launceston, TAS, 9 June 1911 (TROVE tagged by Australharmony) (shareable link to this entry)

Anthony Hart (1831-1911)

Anthony Hart


Baptisms solemnized in the district of St. Mary Haggerston in the county of Middlesex in the year 1831; register 1830-94, page 27; London Metropolitan Archives (PAYWALL)

No. 211 / [November] 13 / Anthony Son of / William Doubleday & Ann / Hart / 11 Packer Street / Tin Man . . .

Passengers per Helen Marr, Hobart, 14 January 1833; Tasmanian names index; NAME_INDEXES:435154; CUS30/1/1 P185 

Will'm Harp [sic] wife & 8 children . . .

Marriages in the district of Launceston, 1855; Tasmanian names index; NAME_INDEXES:852653; RGD37/1/14 no 931$init=RGD37-1-14P388 (DIGITISED)

No. 931 / 196 / March 6th 1855 Independent Chapel Tamar St / Anthony Hart / Adult / Grocer / [and] Martha Rogers / Adult . . .

[Advertisement], The Cornwall Chronicle (20 October 1860), 5 

Launceston Harmonic Society.
A Public CONCERT will be given by the above Society on Friday evening the 26th October, in the large room of the Mechanics' Institute, in aid of funds for a Piano Forte ordered from England.
Conductor - Mr. T. Sharp.
Doors open at seven to commence at half-seven precisely.
Tickets - Chairs 3s. each. Unreserved Seats 2s each, to be obtained at Mr. W. Sharp's Music Warehouse, Cameron-st., Mr. Hubbard (Mr. C. J. Irvine's), Brisbane-street, Mr. Hurst's, Charles-street, Mr. Harvey's, Elizabeth-street, Mr. A. Hart's, Wellington-street, and from the members of the Society.
Wm. Stokes, Hon. Sec. Oct 20.

ASSOCIATIONS: Thomas Sharp (conductor); William Sharp (member); John Smithen Harvey (member); William Stokes (member)


. . . . In dissolving the Musical Union, the members had determined to present to Mr. Sharp a memento expressive of their appreciation of his services. They had decided upon presenting to him a time-piece, and an address . . . [signed]:
Thos. Brain, hon. sec.; Frederick Lakin, Frederick Richards, Thomas J. Doolan, John Frost, John Chick, A. M. Wadham, A. McArthur, Wm. Sharp, J. J. Hanchett, Anthony Hart, S. Smith, Caroline Richards, Agnes Doolan, Alban Roper, Miss Wadham, Esther Green, Geo. Orpwood . . .

ASSOCIATIONS: Thomas Brain (member); Thomas Joseph Doolan (member); John Frost (member); John Chick (member); John Justinian Hanchette (member); Alban Roper (member); George Orpwood (member)

"POPULAR ENTERTAINMENT", Launceston Examiner (14 September 1869), 2 

A popular entertainment was given last night, in the large hall of the Mechanics' Institute, under the auspices of the "Young Men's Mutual Improvement Association," when some of our most popular amateurs took part, as well as Messrs. Linly Norman and J. H. Melvyn, whose services had been engaged for the occasion as instrumentalists . . . the room being comfortably full. The programme was one of more than ordinary interest, embracing an equal proportion of vocal and instrumental music, with reading, recitations, &c., and each part opening with an overture, in which the performers were Messrs. Norman, Melvyn, Abbott, Roberts, Harris, C. Galvin, Chick, Davies, Joscelyne, and A. Hart . . . The following was the programme: Part 1. - Overture, "L'Italiana In Algieri," orchestra . . . Part 2. - Overture - "Bohemian Girl," orchestra . . .

ASSOCIATIONS: Linly Norman (pianist); James Hadock Melvyn (musician); W. Abbott (violin); Henry Roberts and/or son (violin); Charles Galvin (clarinet); John Morris Davies (violin and/or flute); Samuel Joscelyne (cello)

"PROMENADE CONCERT", The Cornwall Chronicle (13 October 1869), 2 

The promenade concert at the Mechanics' Institute was not so well attended yesterday evening as might have been expected, considering the ability of the musical amateurs under the conductorship of Mr. T. Sharp . . . The concert was opened with the overture to the opera "Bohemian Girl," and it was finely rendered by Mr. T. Sharp, Rev. W. A. Brooke, Messrs. W. Abbott, S. Joscelyne, A. Hart, C. Galvin, Roberts, Chick, and Harris . . .

ASSOCIATIONS: Warren Auber Brooke (musician)

"MECHANICS INSTITUTE", Launceston Examiner (21 October 1869), 2 

A popular entertainment by amateurs was given at the Mechanics' Institute on Tuesday evening, but was sparsely attended . . . We append the programme. - Guy Mannering, Messrs. Abbott, Roberts, Galvin, J. M. Davies, A. Hart, Joscelyne, Biggs, C. Kemp, and Chick . . . overture, - "Tancredi," Messrs. Abbott, Henry, Hart, Biggs, Davies, Galvin, Joscelyne, and Chick . . .

ASSOCIATIONS: Jesse Biggs (bassoon)

"GRAND CONCERT AT THE MECHANICS' INSTITUTE", The Cornwall Chronicle (4 September 1872), 2 

On Monday evening a grand vocal and instrumental concert was given in the hall of the Mechanics' Institute in aid of the widow of the late Mr. Jesse Biggs . . . The concert commenced with Auber's overture to "Masaniello," by ten performers - Mr. Thos. Sharp, Mr. Abbott, and Mr. Chick (violins), Mr. Wm. Sharp (double bass), Mr. Joscelyne and Mr. A. Hart (violoncellos), Mr. C. Galvin (clarionet), Mr. J. M. Davies (flute), Mr. A. Day and Mr. R. D. Harris (cornets), and Mrs. H. B. Nicholls presided at the pianoforte. The overture was excellently performed, in perfect time, and with fine effect. It gave entire satisfaction, and elicited universal applause . . .

ASSOCIATIONS: Andrew John Day (cornet)

"SACRED & SECULAR CONCERT", Weekly Examiner (5 July 1873), 14 

The members of St. John's Church Choir, assisted by a few friends, on Tuesday evening last gave a concert in the large hall of the Mechanics' Institute, in aid of a fund for providing an organ for St. John's Church Sunday School . . . rendered to a large audience in a manner that must have been as gratifying to the conductor, Mr. T. Sharp, as it was satisfactory to those present. The first piece was a sacred overture "Samson," by the orchestra, composed as follows: - Messrs. W. Abbott (piano), Thomas Sharp, John Chick, Jas. Tevelein (violins), W. Sharp (bass viol), A. Hart (violincello), J. Galvin and T. J. Doolan (clarionets), A. Day and Douglas-Harris (cornopeans), J. M. Davies (flute). This is, perhaps, the best orchestra that can be formed in Launceston, and this grand overture was performed in fine style, as was also the sublime, soft, and silvery pastoral symphony subsequently . . .

ASSOCIATIONS: James Tevelein (violin); Joseph Galvin (clarinet); Thomas Joseph Doolan (clarinet)

"CONCERT AT CARRICK (By our Special Reporter)", The Cornwall Chronicle (30 March 1874), 3 

On Friday last another of those pleasant little concerts for which Carrick is acquiring a reputation was given in the new school-room . . . and the arrangements were conducted by Mr. T. Sharp . . . the orchestra for the opening piece[,] Messrs. T. Sharp, W. Sharp, A. Hart, W. Abbott, Douglass Harris, Day, Chick, and Tevelein then stepped forward and delivered the favorite overture, "Il Tancredi," in a style that called forth great applause . . . After an interval of ten minutes the orchestra performed the overture "The Caliph of Bagdad," and gave the country residents another treat, as it is rarely such a band of performers can be found at a country entertainment . . .


This being the day fixed for the solemn opening of the new Roman Catholic Church at Westbury, by the Most Rev. Bishop Murphy, arrangements were made for giving eclat to the ceremonies, and special efforts were made to render the music as perfect and attractive as possible. The programme included the celebration of solemn High Mass Coram Pontifice, the choir, with full orchestral accompaniments, to perform Mozart's No. XII. Mass . . . The Orchestra comprised the following: Violins - Messrs. T. Sharp, W. Abbott, J. Chick, J. Tevelein; Violoncellos - Messrs. A. Hart, S. Joscelyn; Contrabasso - Mr. W. Sharp; Flute - Mr. J. M. Davies; Cornopean - Messrs. R. D. Harris and A. Day; Organ - Miss Dowling . . . The vocal department was under the direction of Mr. J. H. Melvyn; the instrumental arrangements were under the superintendance of Mr. T. Sharp . . .

"ABOUT PEOPLE", Examiner (10 June 1911), 7 

The death of Mr. Anthony Hart, at his residence, "Annieville," Trevallyn, yesterday afternoon removes another link binding the present with old Launceston days. Although not a native, deceased was only two years of age when he first arrived in the city with his parents. This was as far back as 1832. The ship on which he embarked in London occupied six months on the voyage to Tasmania. Educated by Mr. Duncan McCaig, Mr. Hart served his apprenticeship to the carpentering trade. Like many others, though, he was attracted to the Victorian gold diggings in the boom days. Returning to Launceston he put his trade on one side and entered into the grocery business in Elizabeth-street, and afterwards opened a branch in Wellington-street. His career was successful, and about 21 years ago he gave up business, and has since been living in retirement. Many efforts were made to induce him to enter into public life, but without success. When the Trevallyn Town Board was formed he was elected one of its members, and took an active interest in the welfare of that suburb until within a year or so of its being taken over by the city. He was one of the oldest members of the Mechanics' Institute and Tamar-street Independent Church, and for many years was on the committee of the former. Mr. Hart was particularly fond of music. His favourite instrument was the violoncello. He was connected with the Launceston Musical Union, under the conductorship of Mr. Alex. Wallace, during the whole of its existence, and was a member of the orchestra. Even to within the last week or two he expressed a desire of having a musical evening as soon as he was well enough. On Thursday week he had a slight paralytic seizure, which forced him to take to his bed, and, sinking gradually, he breathed his last at 5.15 yesterday afternoon. Deceased was of a very retiring disposition, but was greatly esteemed by all who know him. His three brothers William, Frank, and Frederick predeceased him. Mrs. Hart survives him, also one son, Mr. Charles Hart, who is employed at Messrs. Wm. Hart and Sons. The funeral is appointed to leave at 2.30 p.m. to-morrow for Carr Villa Cemetery.

HART, Augusta (Prudence Augusta HUGHES; Mrs. James Peter HART; Mrs. HART; Augusta HART)

Actor, vocalist

Born c. 1811/13; daughter of Hugh HUGHES and ? ST. CLAIR
Married James Peter HART (d. by 1852), by 1829
Arrived Sydney, NSW, by September 1848
Died Carlton, VIC, 13 March 1889, aged 76/78 (TROVE tagged by Australharmony)

HART, Margaretta (Margaretta Louisa Hughes HART; Miss HART; Mrs. Samuel Ashmore PRITCHETT)

Actor, dancer, vocalist

Born England, 13 February 1829; baptised St. Nicholas's church, Liverpool, 12 March 1831; daughter of James HART and Prudence Augusta HUGHES
Arrived Sydney, NSW, by September 1848
Married Samuel Ashmore PRITCHETT, St. James's church, Sydney, NSW, 30 September 1852
Died Woolloomooloo, NSW, 14 April 1858 (TROVE tagged by Australharmony)

HART, Ada (Adelaide HART; Ada HART; Miss A. HART; Mrs. J. R. DAVIES)

Dancer, vocalist, comedian, actor

Born England, c. 1830
Arrived Sydney, NSW, by September 1848
Married James Richard DAVIES, St. Paul's church, Dunedin, NZ, 29 December 1864
Died Woollahra, NSW, 13 April 1897 (TROVE tagged by Australharmony)

HART, Fanny (Frances Lillian Wardlow HART; Fanny HART; Mrs. Robert Cornwell JEFFERY)

Comedian, actor

Born England, c. 1835
Arrived Sydney, NSW, by October 1848
Married Robert Cornwell JEFFERY (1832-1898), Sandhurst (Bendigo), VIC, 28 October 1872
Died East Melbourne, VIC, 7 May 1915 (TROVE tagged by Australharmony)


Baptisms at St. Nicholas's church (RC), Liverpool, 1831; register, 1826-39, page 10; Liverpool City Council (PAYWALL)

[Born] 1829 Feb. 13 / [baptised] 1831 Mar. 12 / Margarita Francesca Louisa Hughes Hart / filia / Jacobi et Prudentia Augusta Hart olim Hughes / [sponsors] Bernardus Hughes et Francesca Hughes . . .

"Theatricals", The Australian Sportsman (30 September 1848), 2 

Messrs. Wyatt and Knight seem resolved to omit no opportunity of adding to the strength of their already most effective company. We last week notified that engagements were under negotiation with Mrs. and the Misses Hart, who have just arrived from London, where (at the Mary-le-bone and Sadler's Wells Theatres) they had performed with much success. The lead which both these theatres have lately taken in the revival of the finest specimens of the noblest school of the Drama, is well known to our theatrical readers; and it has been with regret that we have recently heard of the failure, in a pecuniary point of view, of Mrs. Warner's spirited attempt at the Mary-le-bone. Critical and select as were that accomplished actress's audiences, they were not numerous; and she found, when 'all too late;' that populous as was that neigbourhood, it was by no means a playgoing one. She has therefore been compelled to relinquish her fondly cherished design; and retires, we believe, to the Surrey. Her company has thus boon dispersed, and to this circumstance may be partly ascribed, we presume, the arrival of Mrs. Hart and her daughters in Sydney.

If the young lady who made her graceful curtsey on Thursday evening represent the tallent of her family, we may assuredly congratulate both the management and future audiences upon such valuable acquisitions to the Victoria. Miss Hart is an artiste of no ordinary ability, and we predict for her a career of brilliant success in Sydney. Of engaging appearance and attractive figure, she immediately prepossessed the audience in her favor; and, as her powers became developed with the progress of the piece, it became evident that she was no novice in her art . . . She was ably supported by Arabin, Frank Howson, Rogers, and Mesdames Ximenes and Gibbs.

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (2 October 1848), 2 

. . . In preparation, the fate of Boots at the SWAN in which Mrs. Hart, from the Theatre Royal, Haymarket, and Miss Adelaide Hart, from the Mary-le-bone Theatre, will make their first appearance.

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (6 December 1849), 2 

. . . THIS EVENING, December 6, The performances will commence with the very favourite Opera of THE NIGHT DANCERS . . .
Wilis, Mrs. Hart, Mrs. F. Willis, Miss A. Hart . . . After which . . . Pas de Bouquet, or Flower Dance, Madame Torning, the Misses Griffiths, Miss Hart, and Signor Carandini . . .

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (29 March 1851), 4 

THIS EVENING, MARCH 29, WILL be presented the operatic extravaganza entitled GIOVANNI IN LONDON. Deputy English, Mr. Rogers; Don Giovanni, Miss Hart; Leporello, Mr. F. HOWSON; Finnikin, Mr. J. Howson; Popinjay, Mr. Hydes; Mrs. Leporello, Mrs. Gibbs ; Squalling Fan, Madame Torning . . . To be followed by the celebrated Scene du Ballet from LA PERI. The Prince, Miss Hart; the Peri, Madame Torning; Peris, Misses Griffiths, and A. Hart . . .

"MARRIED", The People's Advocate and New South Wales Vindicator (2 October 1852), 14 

By special license, on the 30th ultimo, at St. James' Church, by the Rev. C. F. D. Priddle, Samuel Ashmore Pritchard, Esq., to Margaretta Louisa, eldest daughter of the late J. P. Hart, Esq., of Liverpool, England.

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

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

"DEATH", Bathurst Free Press and Mining Journal (21 April 1859), 2 

On the 14th instant, at the residence of her mother, 22, Judge-street, Wooloomooloo, Mrs. S. A. Pritchett.

"MARRIAGES", The Sydney Morning Herald (11 February 1865), 1 

On the 29th December, at St. Paul's Church, Dunedin, by the Rev. E. G. Edwards, James Richard Davies, Esq., Government railway contractor, Invercargill, to Ada Augusta Hart, second daughter of Mrs. Augusta Hart, Sydney.

"MARRIED", Bendigo Advertiser (29 October 1872), 2 

On the 28th October, at Sandhurst, by the Rev. Mark Butler, Mr. Robert Cornwall Jeffery, to Fanny Lillian Wardlow Hart. Melbourne papers please copy.

"FOOTLIGHT FLASHES", Evening Star [NZ] (6 October 1883), 2 

"Deaths", The Age (15 March 1889), 1 

HART. - On the 13th March, at her residence, 20 Shakspeare-street, Carlton, Augusta Hart, relict of the late J. P. Hart, Esq., Liverpool, England, aged 78.

"Deaths", The Sydney Morning Herald (15 April 1897), 1 

DAVIES. - April 13, 1897, at her late residence, 124 Grafton-street, Woollahra, Ada Augusta, the beloved wife of James Richard Davies, jun. New Zealand, Tasmanian, and Victorian papers please copy.

"MUMMER MEMOIRS", Sydney Sportsman (12 August 1908), 8 

. . . A friend supplies me with the following: - "Miss Ada Hart was daughter of an old actress, who used to play minor parts in opera with Frank Howson, and lived in the late fifties in Judge-street, Woolloomooloo (Sam Howard lived there in 1855). Ada was a pupil of Mrs. Eliza Torning, and in her day was a favorite dauseuse. She combined a little cluster of graces in her own person. As a dancer she added precision to ease, and lightness of movement to the harmony of form. She married Mr. Joseph Pritchard, who ran a boot emporium in George-street."

"MUMMER MEMOIRS", Sydney Sportsman (16 September 1908), 7 

An interesting letter from North Fitzroy, Melbourne, which sets at rest a disputed question: - "Dear Hayseed,- I take the liberty to correct an error of yours regarding the gentleman my sister, Miss Ada Hart, married. The gentleman was Mr. J. Davis junior, C.E., of Invercargill, New Zealand . . . A short time ago you mentioned the sisters Hart, one as playing "Don Giovanni." That was Margaretta, the eldest. I had the old bill of the burlesque for many years. I looked for it among my papers, but failed to find it, otherwise I would have enclosed it. Margaretta married Mr. Samuel Ashmore Pritchett, a wealthy land and station owner of Sydney, New South Wales. Both my sisters are dead many years, I am the youngest sister left . . .
I am faithfully yours,
Frances Jeffery (Fanny Hart)" . . .

"MUMMER MEMOIRS", Sydney Sportsman (21 October 1908), 6 

"DEATHS", The Argus (10 May 1915), 1 

JEFFERY (nee Hart). - On the 7th May, at 183 Simpson street, East Melbourne, Frances Wardlow, relict of the late Robert Cornwall Jeffery, Esq., musician. (Interred privately.)

HART, Sidney Herbert (Sidney Herbert HART; S. H. HART; Mr. HART)

Musician, violoncello player, cellist

Born Birtsmorton, Worcestershire, England, 1841 (last quarter)
Arrived Melbourne, VIC, 1863
Married Linda Anabella ANDERSON, Goulburn, NSW, 1879
Died West Melbourne, VIC, 8 August 1892, "aged 49"



[Advertisement], The Argus (2 May 1864), 8

[Advertisement], The Argus (22 January 1887), 16

[News], The Argus (26 November 1889), 6

"Deaths", The Argus (10 August 1892), 1

"DEATH OF MR. SIDNEY HART", North Melbourne Advertiser (12 August 1892), 2

. . . The late Mr. Hart, who was a native of Gloucestershire, arrived in Melbourne in 1863, and was at once engaged by the late W. S. Lyster as first violoncellist in his celebrated operatic orchestra . . . His connection with all performers of distinction who visited the colonies in itself is sufficient to prove his claim to be a thorough artist, and for many seasons of the Melbourne popular concerts, at which the works of the great masters were performed, he was the 'cello player of the celebrated Zerbini Quartette - a combination of players of concerted music which would find few to excel it even in the old world. The deceased gentleman had arranged the site of a concert in the North Melbourne Town Hall on Monday last, and, singular coincidence, it proved to be the date of his death. Mr. Hart married a sister of the late Alfred Anderson, a celebrated artist of his day, who was pianist to the Duke of Edinburgh. For six or seven years Mr. Hart had been in declining health . . . In private life he was a generous friend, of a most modest, amicable, and affectionate nature. As an artist he had few equals, if any . . . His funeral was largely attended by leading members of the musical profession . . . The remains were interred in the Melbourne General Cemetery.

ASSOCIATIONS: Member of Zerbini Quartette, son-in-law of James Henri Anderson, brother-in-law of Alfred Anderson

HART, Thomas Henry (Thomas Henry HART)

? Amateur vocalist, singer, patron, publican

Active Sydney, NSW, by 1831
Died Sydney, NSW, October 1853


"SOCIAL AMUSEMENT", The Sydney Monitor (30 April 1831), 3

[News], The Sydney Gazette and New South Wales Advertiser (3 May 1831), 3

Mr. Hart, the proprietor of the George and Dragon inn, has established a sort of harmonic club at his house, the members of which meet once a week, and entertain each other with vocal music, "soberly".

"HART'S CONVIVIAL HARMONIC MEETING . . . TO THE EDITOR", The Sydney Monitor (11 May 1831), 4

Sydney, 6th May, 1831. SIR, As an Englishman I revere the laws of my country, but cant, whether religious or political I despise. Is it possible Mr. Editor, that the proprietor of that respectable Inn, the George and Dragon, in Pitt-street, has been served with a notice, to permit a body of respectable and loyal merchants and shopkeepers met for the innocent recreation of a little harmony, to assemble no more? It cannot I think as an Englishman be possible. A clergyman of my acquaintance once said, "that an idle mind was the devils own shop. board," surely even those pure and immaculate saints who would prevent all amusement, cannot think they have the power to prevent a private individual from entertaining the same social enjoyments in their own habitations. Are the musical and vocal parties at the Governor's or at our Chief Justice's drawing rooms attempted to be innovated upon? And have we not all equal rights? How is it too Mr. Cummings can give dinners? Let the Corsican answer that. Your's, no canter, no hypocrite. X. Y. Z. . . .

X. Y. Z. is naturally astonished. This impartial act of our Corsican Police Magistrate, shews the blessings we derive from being governed by the laws of a council nominated by the home Government, that is, nominated nominally by the Home Government, but really, by a faction of New South Wales. We remember well ten or twelve years ago, how deeply Sir John Jamison and others used to sigh for such a council in Macquarie's time. "Ah!" (said these sage politicians) "if we had a council of gentlemen, such goings on as these would never take place!" They have got their precious council; and what kind of goings-on are these of General Darling? The fact is, that we should recommend all Governors hereafter who wish to destroy the liberties of New South Wales, to begin as the General did., namely, by starving the convicts. The brave and noble-minded among them will then all turn bush-rangers. This will frighten the timid part of the Colony (three fourths of every community) to call for severe laws and an overwhelming police. They will also petition against the press if urged by the Berry's, Icely's, Maclaren's and Jones's, of the day. These things will reduce Englishmen to such slavery, that they cannot even meet at an inn and sing a song after nine o'clock at night. Ireland in a state of insurrection was not in a more deplorable a state than N. S. Wales is at this moment, as to civil liberty and domestic comfort. Bush rangers require horse patroles and an expensive police, and severe laws multiply criminals, and lots of Judges and lawyers and Registrars are wanted. These extravagances in their turn require more taxes; and these again invest the Governor with more influence in disbursing the cash. Thus the thing goes on in a circle ad infinitum ! ED.

? "FUNERAL", The Sydney Morning Herald (4 October 1853), 3

HARTIGAN, Joseph William (Joseph William HARTIGAN; J. W. C. HARTIGAN; Sergeant HARTIGAN)

Ophicleide player, band sergeant (40th Regiment), composer

Born ? Dublin, Ireland, 1839; ? c. 1841; son of Joseph HARTIGAN and Martha ?
Active Melbourne, VIC, by late 1852
Died Fitzroy, VIC, 20 July 1864, aged 33 (TROVE tagged by Australharmony)

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

Images (including obituary):


According to a much later recollection (1925):

The ophicleide is not found in drawing rooms, being noisy and not blending well with the piano or strings, but in the orchestra, in conjunction with the trombone, it is invaluable as forming the bass of the brass. In the hands of Hartigan it became an instrument of considerable beauty, rendering the airs of the best operas with variations and cadenzas. Hartigan's death at the early age of 36 years [recte 33] was much deplored.

A Polka, "Matilda" (Hartigan) appears in programs by volunteer bands in March 1864. Hartigan himself was directing a volunteer band on St. Kilda Promenade in January 1864.


[Advertisement], The Argus (17 March 1853), 12

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

[incorrectly HALLIGAN]

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

[Advertisement], The Argus (1 November 1854), 8

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

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

[Advertisement], The Argus (1 November 1856), 8

[News], The Argus (7 August 1862), 4

[News], The Argus (29 January 1864), 4

[News], The Argus (8 March 1864), 5

"DEATHS", The Argus (21 July 1864), 4

"NEWS OF THE DAY", The Age (21 July 1864), 5 

We regret to have to record the death of Joseph William Hartigan, who has been for several years a resident in this city, and well known in the musical world as a composer, but more generally as the band sergeant of the 40th Regiment, which office he held till about four years ago, when his term of service in the regiment expired. Since then he has held the office of bandmaster of the Fitzroy volunteers, and of the St. Kilda promenade band. His splendid solo performances on the ophecleide, when a member of the 40th Regiment, formed one of the principal attractions of the promenade concerts that used to take place during the summer months in the Botanic Gardens. He was only thirty-three years of age. He had been ailing for about a month, but his death occurred suddenly yesterday morning. His funeral will take place to-morrow afternoon, from his residence in Marion street, Fitzroy, at the back of Granite Terrace, and will, we understand, be accompanied by the band of the Fitzroy volunteers, who are indebted to the care and ability of the deceased for the high efficiency they have attained. A number of the company will, we understand, also attend with the view of conducting the interment with the usual military honors. The deceased has left a widow and four young children wholly unprovided for, and it has already been proposed in some quarters to raise a subscription in their behalf - a movement which it is hoped will be liberally supported by those who so often enjoyed the pleasure of listening to his musical performances.

[News], The Argus (23 July 1864), 5


HARTLAND, Miss (Miss HARTLAND) = Eliza MILES (Mrs. Alfred OAKEY)


Active Melbourne, VIC, 1853 to 1855 (TROVE tagged by Australharmony)


Dancing instructor, teacher of dancing and drawing

Active Sydney, NSW, 1844-47 (TROVE tagged by Australharmony)


For a short time in 1845 a colleague of Eliza Emanuel, "Madame H. having taught very successfully Dancing in this colony, intends at her residence to open an evening academy, for that accomplishment". She was notoriously associated with the printer Edward David Barlow.


[Advertisement], The Sydney Morning Herald (14 February 1844), 3

"CLAIM FOR MAINTENANCE BY A WIFE", The Sydney Morning Herald (12 February 1845), 3

"MAITLAND", Bell's Life in Sydney (20 December 1845), 4

[Advertising], The Sydney Morning Herald (13 October 1846), 3


Amateur vocalist, member of the Hobart Town Choral Society

Active Hobart Town, VDL (TAS), c. 1840s


Musician, violinist, vocalist ("local comic singer")

Active central VIC, c. 1856-60


[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (17 September 1856), 3 

MESSRS. HARNEY [sic], QUELCH and COPELAND respectfully intimate to the Inhabitants of Castlemaine and vicinity, they are open to engage for balls, suppers, and quadrille parties, either in town or country. N.B. - A String Band. Apply as above to Mr. Jones, Albert Hotel, Castlemaine.

[Advertisement], Mount Alexander Mail (16 September 1857), 3 

MESSRS. HARVEY & QUELCH respectfully intimate to the patrons of the above rooms, that the Quadrille Party is permanently fixed for Thursday evenings, commencing on the 17th inst.
Violinist - Mr. HARVEY.
Harpist - Mr. QUELCH.

[Advertisement], Mount Alexander Mail (27 November 1857), 5 

MR. J. G. MOON BEGS to announce to his friends and the public that he intends giving a Dramatic Performance, Concert, and Ball, at the above Hotel, on Wednesday evening, December 2nd, on which occasion the following professionals and amateurs will appear: -
Mr. Wood, Scotch ballad singer; Mr. Quelch, harpist; Mr. Felix, comic delineator; Mr. Harvey, violinist and local comic singer; and Mr. J. G. Moon, grand buffo . . .

[2 advertisements], Mount Alexander Mail (12 April 1858), 3 

MESSRS. HARVEY and QUELCH'S select Quadrille Party will commence on Tuesday Evening next, 10th instant. Gentlemen's Tickets, 2s Gd. Ladies free. Dancing to commence at half-past eight.

Criterion Assembly Room, Castlemaine.
A SELECT Quadrille Party held in the Lower Room of the above splendid Hall every Thursday Evening. Gentlemen's Tickets, 2s 6d. Ladies free. Dancing to commence at half-past eight.
Violinist, Mr. Harvey.
Harpist, Mr. Quelch.

"FOREST CREEK (FROM OUR OWN CORRESPONDENT) FIRE", Mount Alexander Mail (22 August 1859), 3 

On Monday night, the tent of Mr. Harvey, the violinist, who resides on Aberdeen's Hill, was burned to the ground. When the fire broke out, Mr. Harvey was away at Taradale, but his wife and children were at home. By the exertions of the neighbors, the inmates escaped without injury, and most of their furniture and clothing was saved. The accident has excited the sympathy of Mr. Harvey's friends, and I understand they intend to give him a benefit at the Red Hill Hotel, on Monday night.

"THE ODD FELLOWS' BENEFIT", Mount Alexander Mail (16 December 1859), 4 

The entertainment at the Mount Alexander Hotel under the patronage of the Castlemaine and Chewton lodges of Odd Fellows, is described the most successful thing of the kind that ever took place on Forest Creek. The numbers present were variously estimated at from 400 to 300. Among the artistes were Mrs. Vincent, Mdlle. Louise, Mrs. King, Miss Barnet, Mr. Black, Mr. Kitts, and Messrs. Harvey and Quelch, all of whom generously volunteered their services. During the evening the "Maniac Lover" was performed by the amateurs. The beneficiares will receive between 50l and 60l.

[Advertisement], Mount Alexander Mail (4 June 1860), 3 

A QUADRILLE PARTY will be held in the Hall of the above, every Wednesday and Saturday evening, commencing at eight o'clock.
Violinist, Mr. Harvey.
Harpist, Mr. Quelch.

ASSOCIATIONS: Thomas Quelch (harpist)


Musician, dancing master, violinist

Active Sydney, NSW, 1830


[Advertisement], The Sydney Monitor (14 August 1830), 1

POLITE DANCING. MR. H. R. HARVEY, Late of the Surrey and Olympic Theatres,
RESPECTFULLY begs leave to make known to the Inhabitants of Sydney and its vicinity, that he intends to instruct young Ladies and Gentlemen in the polite art of his profession, in which he has been instructed by Messrs. Montgomery, Henry Elliston, and others of equal celebrity.
Mr. H. practised in London for upwards of fourteen years, during which time, his patrons were of the first circles of society.
Any reference that may be required, will be obtained, by applying at the Royal Hotel, at which place he has engaged the large Saloon joining the Theatre.
For the accommodation of Families and Schools, Mr. H. will attend privately, as he plays the violin, &c. In thus offering himself as a public and private teacher of Dancing, he indulges the hope, that he will share a portion of that liberality which the polite circles of society of Sydney have so very liberally bestowed upon teachers of of the above Art.
An Academy will be opened in the Saloon of the Royal Hotel, on Tuesday, the 17th Instant.
Nights of Tuition, Tuesdays and Fridays.
To commence at Seven o'clock, and to continue till Nine each evening.
Terms - £2 sterling per Quarter. Entrance, Half-a-Guinea.
All letters are requested to be addressed to H. R. Harvey, at the Royal Hotel.
Sydney, 4th August, 1830.

[Advertisement], The Sydney Monitor (8 September 1830), 4

HARVEY, John Smithen (John Smithen HARVEY; J. S. HARVIE)

Amateur musician, vocalist

Born ? England, c. 1816
Married Catherine ?, Nottingham, England, by 1845
Active Launceston, TAS, by late 1850s
Died Launceston, TAS, 7 October 1887, aged "70"/"71" (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], Launceston Examiner (20 January 1859), 3 

J. S. HARVEY, Tailor and Clothier, begs respectfully to announce that he has commenced business in Elizabeth-street . . .

"LAUNCESTON SACRED HARMONIC SOCIETY", Launceston Examiner (12 January 1860), 3 

The annual meeting of the above Society was held on Thursday evening, the 6th of January, 1860, in the Trinity School-room. From the report road by the Secretary, we learn that the Society is steadily advancing. During the past year four concerts and one soiree have been given; but more progress has been made in the last six months; three of the concerts and the soiree have been given during this period. The amount devoted to benevolent purposes during the-year is upwards of £90. The number of members has also been largely augmented during the past six months; in July there were 87 members: there are now 112. The best feeling exists in the Society between the members and the officers, which augurs well for its future prosperity. From the Treasurer's report we learn, that the receipts for the year amounted to the goodly sum of £84 12s. 4d., and the expenditure £67 5s 10d., leaving a balance in hand to £17 6s. 6d. The following officers were elected for the ensuing six months:-
President, Mr. J. S. Harvey; conductor, Mr. T. Sharp; secretary, Mr. W. Stokes [sic]; treasurer, Mr. W. Gurr; librarian, Mr. W. F. Wathen.
Messrs. R. Sharpe, R. Kenworthy, A. Legg, W. F. Wathen, and H. Stephens, form the committee.
The thanks of the society were given to the past officers for their valuable services and to Mr. and Mrs. Stephens for the use of their room for committee meetings. The members have decided upon taking Haydn's 3rd or Imperial Mass for practice, and we can only say that we hope they will meet with the success they merit.

ASSOCIATIONS: Thomas Sharp (conductor); William Stokes (member); Robert Sharpe (member)

"SACRED HARMONIC SOCIETY. [TO THE] EDITOR OF THE . . .", Launceston Examiner (12 May 1860), 3 

SIR, - This Society, lately so flourishing, was dissolved on Wednesday evening at a special meeting called by circular and held in St. John's School-room. Some weeks ago Mr. Thomas Sharp, the conductor, informed the members that he should at some future time call a meeting to dissolve the Society. His reasons he gave as follows: "As a Sacred Harmonic Society we are not allowed to perform secular music, and it is quite necessary that secular music be made use of, as there is not sufficient scope for me to select from sacred music only . . ." After considerable discussion, the motion was put to the meeting by the Chairman (Mr. Harvey), and the show of hands dleclared in its favor. Mr. Sharp then proposed that the word "sacred" be struck out of the first rule ("That this society be called the Launceston Sacred Harmonic Society") which would put aside any objection that might be raised against secular music being introduced. This also was put to the meeting and carried, which left the society as before with the exception of the word "sacred," viz.- Launceston Harmonic Society . . . Proposed and seconded that this meeting form itself into a society to be called the Launceston Harmonic Society, and that the officers of the late Sacred H. S. be requested to act in the present society. Carried . . .

[Advertisement], The Cornwall Chronicle (20 October 1860), 5 

Launceston Harmonic Society.
A Public CONCERT will be given by the above Society on Friday evening the 26th October, in the large room of the Mechanics' Institute, in aid of funds for a Piano Forte ordered from England.
Conductor - Mr. T. Sharp.
Doors open at seven to commence at half-seven precisely.
Tickets - Chairs 3s. each. Unreserved Seats 2s each, to be obtained at Mr. W. Sharp's Music Warehouse, Cameron-st., Mr. Hubbard (Mr. C. J. Irvine's), Brisbane-street, Mr. Hurst's, Charles-street, Mr. Harvey's, Elizabeth-street, Mr. A. Hart's, Wellington-street, and from the members of the Society.
Wm. Stokes, Hon. Sec. Oct 20.

ASSOCIATIONS: William Sharp (member); Anthony Hart (member)


. . . Notwithstanding the unfavorable state of the weather, for the rain poured down in torrents, several hundred persons were present on Monday at the evening Concert which was a decided success. The programme comprised a selection of choice musical gems and the entertainment was agreeably diversified with vocal music . . . Handel's stirring song, "Honour and Arms," from the Oratorio of Samson, was . . . sung in a very spirited manner, by Mr. Biggs, who was loudly applauded . . . a song from the Oratorio of Joshua "Oh! had I Jubal's lyre" sang with telling effect by another lady member of the "Musical Union." Then came selections from Verdi's "II Trovatore." After that Mr. Harvey gave "Arm, arm, ye brave" from Handel's "Judas Maccabeus." The truthful rendering of this bold song was loudly applauded . . .

ASSOCIATIONS: Jesse Biggs (vocalist)

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle (19 April 1865), 4 

Mons. and Madame Heine having returned with Mr. Stewart, from their tour through the townships to the westward, gave another grand concert in the Hall of the Mechanics' Institute on Monday evening. They were kindly assisted by Mrs. Sharp, Miss Sadler, and Mr. Harvey, and the result was most satisfactory in every point of view. The Hall was crowded, and the applause was most enthusiastic. Mons. Heine commenced the performance by playing a variety of airs on the grand organ, in it most masterly style. This was followed by the vocal quartette - "May Day" - by Mrs. Sharp, Miss Sadler, Mr. C. Stewart, and Mr. Harvey - Mr. T. Sharp playing the accompaniment . . . The second part commented with the beautiful quartette - "From Oberon in Fairy Land," by Mrs. Sharp, Miss Sadler, Mr. Charles Stewart, and Mr. Harvey; Mr. Robert [sic, Thomas] Sharp playing the accompaniment . . . In compliance with numerous requests, Mons. and Madame Heine have consented to give two final Concerts in the Mechanics' Hall this evening and to-morrow evening, when they will be assisted by the talented Amateurs of the Launceston Harmonic Society.

ASSOCIATIONS: Joseph and Ada Heine (violinist, pianist)


This being the day fixed for the solemn opening of the new Roman Catholic Church at Westbury, by the Most Rev. Bishop Murphy, arrangements were made for giving eclat to the ceremonies, and special efforts were made to render the music as perfect and attractive as possible. The programme included the celebration of solemn High Mass Coram Pontifice, the choir, with full orchestral accompaniments, to perform Mozart's No. XII. Mass . . . The Orchestra comprised the following: Violins - Messrs. T. Sharp, W. Abbott, J. Chick, J. Tevelein; Violoncellos - Messrs. A. Hart, S. Joscelyn; Contrabasso - Mr. W. Sharp; Flute - Mr. J. M. Davies; Cornopean - Messrs. R. D. Harris and A. Day; Organ - Miss Dowling. There were ten ladies and seven gentlemen vocalists present, but several of the soprano vocalists who had attended the practice meetings were prevented from attending through indisposition. - The contralto singers were a Mesdames Hamilton and Spicer and Miss Irvine; tenors, Messrs. Sherwin, Spicer, and James, jun.; bass, Messrs. G. Collins, J. S. Harvey, G. Hubbard, Roper, F. Ferguson, and G. H. Harvey. The vocal department was under the direction of Mr. J. H. Melvyn; the instrumental arrangements were under the superintendance of Mr. T. Sharp . . .

ASSOCIATIONS: Alban Roper (vocalist); George Hunter Harvey (his son); James Hadock Melvyn (choir leader)

Deaths in the district of Launceston, 1887; Tasmanian names index; NAME_INDEXES:1211903; RGD35/1/56 no 388$init=RGD35-1-56P36 (DIGITISED)

No. 3128 / 7 October 1887 / John Smithen Harvey (Margaret Street) / 71 years / Tailor / Senility / Jane Doolan Undertaker . . .

"Deaths", Launceston Examiner (8 October 1887), 1 

HARVEY. - On 7th October, at his residence Margaret-street, M.. John S. Harvey, aged 70 years. R.I.P.

HARVEY, William Salisbury (W. S. HARVEY)

Musician, multi-instrumentalist, composer

Born Salisbury, SA
Active Adelaide, SA, by 1869
Active QLD, from 1884
Died Fremantle, WA, 6 October 1911



Harvey was active in Adelaide and environs in the 1870s as a sportsman and musician, specialising in performances on multiple instruments. At celebrations of the Prince of Wales's birthday in 1869, he played sets of quadrilles and waltzes on four instruments, and by the same day in 1880 he had graduated to offering to play "selections on six different instruments". In December that year at Gawler, "both of the overtures were given by Mr. W. S. Harvey on six instruments, the manipulation of which fairly brought down the house."

Among his certainly published compositions, all lithographed and printed by Penman and Galbraith, were the Zillah waltz and Zalina schottische (both 1875), and a quadrille set The South Australian lancers (1877).

Advertised as "THE MUSICAL WONDER. Playing Six Instruments Simultaneously with Orchestral Effects", he made his Queensland debut in June 1884.

The evening shadows schottische (1884), published in Brisbane, was "dedicated to Mr. H. J. Johnstons, the painter of the celebrated picture the title of which the composer has adopted". At Ipswich, Queensland, in May 1887, "W. S. Harvey performed the fiend-like diabolism of playing the cornet and the piano at one and the same time." The Old Memories Waltz "by the popular Australian composer W. S. Harvey" was advertised in September 1888.


[Advertisement], South Australian Register (8 November 1869), 1

"NEW MUSIC", South Australian Register (25 August 1875), 5

[Advertisement], South Australian Register (13 November 1875), 1

"NEW MUSIC", South Australian Register (22 September 1877). 4

; [Advertisement], South Australian Register (6 November 1880), 1

"THE GAWLER FRIENDLY SOCIETY FESTIVAL", South Australian Register (30 December 1880), 4

[Advertisement], The Brisbane Courier (9 June 1884), 1

"NEW MUSIC", South Australian Register (17 September 1884), 4

[News], Queensland Figaro (14 May 1887), 6s

[Advertisement], The Brisbane Courier (28 September 1888), 7

"Mr. W. S. Harvey", Observer (7 October 1911), 41 

Mr. William Salisbury Harvey, whose death at Fremantle was announced in our obituary notices on Friday, was well known in Adelaide. His father, the late Mr. John Harvey, at one time member of the Assembly, was an old resident of Salisbury, where his son was born, and where for many years he was engaged in agricultural pursuits, besides having been a lover and supporter of horseracing, in which connection two of his horses, Minna and Beda, will be well remembered by old-time sports men. The deceased was a capable rider, and on several occasions piloted his father's horses to victory. The late Mr. W. Salisbury Harvey, who was named after the place of his birth, was a member of the old Adelaide Athletic Association, and scored many successes over hurdles and in pole jumping. He went to the Northern Territory at the time of the gold boom in the early seventies. He was a capable musician, and played on six instruments simultaneously. His genial manners and musical accomplishments were much appreciated, and tended considerably to relieve the monotony of camp life in the wayback.

HARVIE, Montague (Montague HARVIE)

Musician, flute player, flautist, organist and choirmaster (St. Stephen's, Richmond), music critic

Born Bideford, England, 1830
Active Melbourne, VIC, by 1856
Died Melbourne, VIC, 25 October 1875, aged 45



[Advertisement], The Argus (20 July 1860), 3

"SANDHURST CHORAL SOCIETY'S CONCERT", Bendigo Advertiser (6 May 1863), 2

. . . Mr. Hallas being unable to vacate his position as cornet-player in the theatrical orchestra, be bad prevailed upon his friend Mr. Montague Harvie, (who was on a visit to Sandhurst), to prolong his stay, in order that a Sandhurst audience might be afforded an opportunity of hearing that gentleman's Prize Exhibition Flute, to which request Mr. Harvie acceded. The piece selected, was a Fantasia, by the late Charles Nicholson, introducing the favorite airs, "Life let us Cherish" and "Auld Robin Gray" also a French quadrille, "La Matilda." Mr. Harvie's thorough command of the instrument, and the richness and mellowness of the tones made this performance one of the most successful of the evening, and an encore was insisted on.

"THE CONCERT AT THE TEMPERANCE HALL", Bendigo Advertiser (7 May 1863), 2

Several of our friends who attended the Choral Society's concert on Tuesday evening have expressed a wish to know something of the instrument which Mr. Montague Harvie has introduced into this colony from the International Exhibition of 1862, we acquainted him with the public desire, and are indebted to him for the following particulars, which he kindly placed at our disposal: "The splendid instrument known as Carte's patent cylinder flute, which gained the prize medal at "the International Exhibition of 1862, is constructed in the newest and most approved principles. The tube is a plain cylinder of solid silver, which in its termination at the headpiece forms a perfect parabolic curve. It is owing to this parabola, the accuracy of the cylinder, and the pure metal of which it is made, that this instrument possesses so much volume of tone. The ordinary wooden flute familiar to most people is faulty in its design and construction, and performers have always found great difficulty in playing in time, especially in the more remote keys. Here, however, all keys are equally perfect, and the performer can execute in any key the most difficult passages with brilliancy and precision. The action of the wind in this tube may be thus described: - The wind striking against the parabolic curve is intensified in its effect, and is reflected through the instrument in a direction parallel to the axis of the tube. It would be tedious to describe minutely the action of the keys; suffice it to say, that it is the result of many years' study by the eminent patentee, Richard Carte, (of the firm of Rudall, Rose, and Carte,) and it has been not inaptly described by the Times as the 'perfection of mechanical ingenuity'."

"GRAND AMATEUR CONCERT", The Ballarat Star (4 October 1866), 3

[Advertisement], The Argus (18 May 1869), 8

"SOCIAL", The Argus (3 November 1875), 1s

Mr. Montague Harvie, a gentleman well known in literary and musical circles in Melbourne, died very suddenly, on October 25, of apoplexy. The deceased was a native of Bideford, Devonshire, England, and was 45 years of age. He came to this colony more than 20 years ago, and at different times was town clerk of Richmond, and in business as a merchant, and was connected with a portion of the Melbourne daily press as reporter and writer of musical criticism. His wife and her sister, daughters of Mr. Webb, formerly collector of Customs, are now in Europe, whither they went on a two years trip some months ago.

"VICTORIA", Launceston Examiner (11 November 1875), 3


Amateur bass vocalist, tin-man, publican

Born Cornwall, England, 1814; baptised Kilkhampton, Cornwall, 25 December 1814; son of Laurence HARWARD (1782-1847) and Grace BADCOCK (d. 1817)
Married Amelia Rickman PERRERS (1815-1886), Holsworthy, Devon, England, 21 April 1840 (aged 24)
Arrived Adelaide, SA, 11 December 1840 (per Brightman, from London, 29 August)
Died Adelaide, SA, 22 January 1856, aged "41" (TROVE tagged by Australharmony)

ASSOCIATIONS: William Harward (much younger half brother, below)


Baptisms in the parish of Kilkhampton, Cornwall, 1841; England, Select Births and Christenings database (PAYWALL)

25 December 1814 / Thomas / [son of] Lawrence & Grace / Harward

1840, marriages solemnized at the parish church in the parish of Holsworthy in the county of Devon; Devon Archives

No. 32 / April 21st 1840 / Thomas Harward / 24 / Bachelor / Glazier / [of] Launceston, Cornwall / [son of] Lawrence Harward / Draper
Amelia Rickman Perrers / 25 / Spinster / - / Town of Holsworthy / [daughter of] Henry Wilson Perrers / Inn keeper . . .

"PUBLIC DINNER TO MR. JACOB MONTEFIORE", South Australian Register [Adelaide, SA] (3 June 1843), 3 

On Thursday a public dinner was given by the Colonists of South Australia in the Queen's Theatre, Gilles-arcade, to Jacob Montefiore, Esq., one of the late Board of Commissioners for South Australia. The chair was taken by JAMES HURTLE FISHER . . .
On the removal of the cloth, "Non nobis Domine" was sung by Messrs. Ewen, Bennett, and Hayward, Mr. Bennett at the same time accompanying the vocal music with the piano forte.
The Chairman then gave "The Queen and Prince Albert," which was drunk with all the honours, and with great enthusiasm.
AIR - "God save the Queen," by Messrs. Bennett, Ewen, and Hayward.
The next toast was - "The Prince of Wales and the rest of the Royal Family." Drunk with all the honours.
GLEE - "Fill the bowl with rosy wine" . . .
A Glee by Messrs. Ewens, Bennett, and Harwood . . .
GLEE - "Glorious Apollo" - Messrs. Ewen, Bennett, and Hayward . . .

ASSOCIATIONS: Jacob Levi Montefiore (guest of honour); James Hurtle Fisher (chair); George Bennett (vocalist, pianist); William Ewens (vocalist); Queen's Theatre (Adelaide venue)

MUSIC: Glorious Apollo (Samuel Webbe); Fill the bowl with rosy wine (John Dyne)

[Advertisement], Adelaide Observer (1 July 1843), 1 

T. HARWARD, Tinplate Worker and Brazier, Hindley-street, returns his thanks to the inhabitants of Adelaide and the surrounding country, for the liberal encouragement he has received since he commenced business on his own account, and hopes by unremitting attention to merit a continuance of the same . . .

"AMATEUR CONCERT", South Australian Register (11 November 1843), 3 

On Tuesday a vocal and instrumental concert, of which we had a short notice in our last, was given by several amateurs in Messrs. Lambert's new auction-rooms. The doors were opened at half- past seven, and nearly the whole of the seats were occupied by eight o'clock, at which time his Excellency the Governor and Mrs. Grey arrived . . .
Dr. Calcott's beautiful glee, "The Red Cross Knight," followed, by Drs. Kent and Wyatt, and Messrs. Ewens and Howard, accompanied on the pianoforte by Mr. Bennett. In our very humble opinion, the effect was rather injured by its being sung too fast: it had the appearance of being hurried over, and many of the best points were lost. Still, this is a matter of taste, and probably ours may be peculiar . . . The beautiful glee, "The Chough and Crow," was given in excellent style . . .
An entertainment of this kind is rather a novelty here, and we were much gratified to see that it could be so well done, and that it was so well supported. The most distinguished persons in the Colony were present, and the room presented a very pretty appearance from the taste and elegance of the ladies' dresses, not to mention their own beauty, which is proverbial. An air of cheerfulness seemed to pervade every one . . . We should suppose about two hundred persons were present. The room was well lighted, and all the arrangements were good. The concert was finished before eleven, but we understand that a large party remained to supper, which was furnished in another room under the superintendence of Mr. Henry.

ASSOCIATIONS: Benjamin Archer Kent (vocalist); William Wyatt (vocalist); George Grey (governor)

MUSIC: The red cross knight (Callcott); The chough and crow (Bishop, from Guy Mannering)

[Advertisement], Adelaide Observer (30 December 1843), 4 

CONCERT. Under the distinguished Patronage of His Excellency the Governor.
MR. BENNETT respectfully begs to announce to the public, that he intends giving a concert of vocal and instrumental music at the South Australian Company's rooms, Rundle-street, on the 3rd January, 1844.
Tickets, 5s each, may be had of Mr. Ewens; Mr. Stanley, Rundle-street; and at Mr. Harward's, Hindley-street.

"MR. BENNETT'S CONCERT", Southern Australian (5 January 1844), 3 

On Wednesday evening we had the pleasure of attending a concert given by the above gentleman. To our agreeable surprise, we found that Drs. Kent and Wyatt had given their valuable aid, and they, of course, contributed in no small degree to the harmony of the evening. Several excellent overtures and glees were performed in a manner which gave great satisfaction, and it was remarked that there was a decided improvement as the performances proceeded. "The Breath of the Briar," by Mrs. Murray, Messrs. Ewens, Harward, and Poole, was beautifully executed . . . The Glee, "The Merriest Time of all the Year," also elicited universal applause. The little catch, "Ah! how, Sophia," was successfully performed by Messrs. Ewens, Harward, and Bennett. It is celebrated for its puns, having been expressly composed for cockney singers. "Ah! how, Sophia" ("a house o' fire"), cries one; "Go fetch the indian's" (engines), rejoins another; and the third quaintly remarks, "I'm but a lodger." The company were much amused, and heartily encored the piece. The following are the words:
Ah! how, Sophia, can you leave
Your lover, and of hope bereave?
Go fetch the Indian's borrowed plume
Yet, richer far than that you bloom.
I'm but a lodger in your heart.
And more than me, I fear, have part.
Altogether, this, we should say was one of the best concerts we have had in Adelaide. His Excellency the Governor and Mrs. Grey were present. The attendance was pretty good, consisting of about 100 ladies and gentlemen, and will, we trust, encourage Mr. Bennett again to favor the public with a similar gratification at no distant period.

ASSOCIATIONS: Georgiana Murray (pianist, vocalist); Mr. Poole (vocalist)

MUSIC: Ah! how, Sophia (Callcott)

[News], Adelaide Observer (6 January 1844), 5 

Mr. Bennett's concert took place on Wednesday evening, under the auspices of the Governor, who was present with his suite; the audience consisted of upwards of 80 persons . . . Bishop's glee, "the Boatie rows," was sang with precision, but it was destitute of that fulness and sustaining of tone so necessary in glee singing. Mr. Harward's voice is a good deep bass and with a little more cultivation will form a powerful addition to our vocal corps . . . The succeeding glees as well as some of the instrumental pieces, received valuable assistance from some gentlemen amateurs. The catch "Ah! how Sophia" was encored: it was sung correctly, but of the part "I'm but a lodger" we could not hear a syllable. The concert was wound up with the National Anthem, and as it seems to be a customary conclusion of all concerts here, there is no excuse for the want of pre-arrangement which characterised its execution.

"THIRD ANNIVERSARY OF INDEPENDENT ORDER OF ODD FELLOWS", South Australian Register (6 January 1844), 3 

On Monday last [1 January] the Brothers of the Independent Order of Odd Fellows met to celebrate their third anniversary . . . Fully one hundred and fifty members of the Adelaide Lodge and strangers sat down to dinner at about four o'clock in the Odd Fellows' Hall, late the Music Saloon, which has recently been considerably enlarged for the occasion, and which is altogether a most noble room . . .
Brother Harwood sung "On the Banks of the Blue Moselle" . . .

MUSIC: The banks of the blue Moselle (G. H. Rodwell);
Harward sang the same song again at the following, "ODD FELLOWSHIP", South Australian (17 October 1845), 3 

"MR. BENNETT'S CONCERT", South Australian Register (6 January 1844), 2 

On Wednesday evening last, Mr. Bennett gave his concert of vocal and instrumental music at the Company's Rooms, Rundle-street, and of which the following is the programme: -
PART I - Overture (Fra Diavolo) - Auber.
Round, by Messrs. Ewens, Harward, and Bennett, "Yes, Brothers, yes" - Rodwell . . .
Glee, by Mrs. Murray and Messrs. Ewens, Harward, and Bennett, "Boatie rows" - Bishop . . .
Glee, by Mrs. Murray, and Messrs. Ewens, Harward, and Poole, "Breath of the Briar" - Whitaker . . .
Glee, by Mrs. Murray and Messrs. Ewens and Harward, "Hark! Apollo strikes the Lyre" - Bishop . . .
Glee, by Messrs. Ewens, Harward, and Bennett, "Mynheer Van Dunck."
Glee, by Mrs. Murray and Messrs. Ewens, Harward, and Poole, "The merriest time of all the Year" - Aldridge.
Catch, by Messrs. Ewens, Harward, and Bennett, "Ah! how, Sophia" - Callcott.
Finale (solos by Mrs Murray and Mr. Ewens), "God save the Queen."
This performance reflected great credit upon our Adelaide Musicians. The selection was new, and of that dramatic kind which is best calculated to please a mixed audience . . . A few more such old favourite glees as "Mynheer Van Dunck" would have been acceptable to us, but the whole affair was so well managed and gave so much satisfaction to every one, that we are indisposed to whisper a word of aught but gratulation and pleasure. Above one hundred persons were present, including most of the higher and many of the middle classes. The Governor and his party arrived shortly before nine o'clock . . . The room was not all that could have been wished for the purpose, but there is perhaps no better in an eligible situation.

MUSIC: The boatie rows (arr. Bishop, in The antiquary); Hark! Apollo strikes the lyre (Bishop); Mynheer Van Dunck (Bishop)

[Advertisement], Adelaide Observer (9 March 1844), 1 

THE Committee begs respectfully to return their grateful acknowledgments to the public for the liberal patronage bestowed on the Society, at their Concert on Tuesday last, and further to announce that at the request of a number of respectable individuals they intend repeating the performance on Thursday evening next, March 14th, at the South Australian Company's Room, and for the accommodation of a large portion of the community the price of tickets will be for front seats 3s. back seats 1s. 6d.
The doors will open at half-past 7, and the performance commence at 8 o'clock precisely.
Tickets to be had of Mr. Stuckey, Rundle-street, Mr. Richard's, Tailor, King William-street,
Mr. John Edwards, and Mr. Harward, Hindley-street.

ASSOCIATIONS: William Richards (member); Adelaide Choral Society (association)

[News], Adelaide Observer (23 March 1844), 5 

Last week the Adelaide Choral Society's Second Concert took place to a respectable, but limited audience. The chorus "And the glory of the Lord" was sung with much spirit. Mrs. Jones's rich voice told to great advantage in "He shall feed his flock;" the same may be said of Mr. Harward in "Why do the nations so furiously rage together?" Mr. Ewens delighted the audience with "Comfort ye my people" . . .

ASSOCIATIONS: Mrs. Jones (vocalist)

"LOCAL AND PROVINCIAL INTELLIGENCE", Adelaide Observer (11 May 1844), 5 

The Independent Order of Odd Fellows is so much on the increase that the opening a third lodge in Adelaide, besides the one at the Port, has been found indispensible. Host Athorn, of the Albion Hotel, in Morphett-street, having recently added suitable apartments to his previous accommodations. The new lodge (to be called the Albion Lodge), has been established under Mr Athorn's roof, which will surely be called a hospitable one by all who had the privilege of invitation to the opening supper. The number of guests who sat at table, at which N. O. Williams presided, and P. G. Jones took the vice-presidency, was upwards of seventy. Host Athorn, who is a "back bone Colonist," seemed to have felt a commendable pride in setting forth upon this interesting occasion a multiplicity of the good things produced in the Colony. There were turkeys, geese, ducks, fowls, and roasted pigs, in profusion; the puddings and fruit tarts were various, and all excellent of their kind; and the produce of our Colonial vineyards and gardens in their unsophisticated forms, were such as to please the eye as well as gratify the palate . . . Several glees and songs were sung by Mesrs Ewens, Bennett, Harward, and other gentlemen, and the company parted at a late (query, early?) hour, highly pleased with their entertainment.


. . . The Memorial of the undersigned inhabitants of her Majesty's Province of South Australia Humbly Sheweth -
That your memorialists emigrated to the province of South Australia, and have endured hardships, privations, and difficulties, incident to the first settlement of a new country, upon the faith of an Act of the Imperial Parliament, which guarantees that convicts should not, under any circumstances, be transported to such province . . .
[signatories] . . . Thomas Harward, Hindley street . . .

"THE AGRICULTURAL SOCIETY'S PLOUGHING MATCH", South Australian (8 August 1845), 2

YESTERDAY, the above ploughing-match took place at Mr Cook's farm, near Hindmarsh . . . In the evening, a number of the members and friends of the Society dined at Mr. Payne's Hotel, when the prizes were distributed. Many good toasts were given, and songs sung; among which, we should not omit to mention some beautiful glees by Messrs. Ewens, Harward, and Bennett. The evening was spent with much hiliarity, and the parties separated pleased with each other, with the entertainment, and with the stirring and interesting proceedings of the day.

"THE AGRICULTURAL SOCIETY", South Australian Register (9 August 1845), 3

. . . Glee by Messrs. Ewens, Bennett, and Harward - "Push the red wine about" . . .
Glee, Messrs. Ewens, Bennett, and Harward - the whole of the company joining - "Here's a health to all Good Lasses" . . .
The entire evening was spent in the most cheerful manner. Several gentlemen, besides Messrs. Ewens, Bennett, and Harward, contributed their vocal talents to the harmony of the meeting; we may particularize Messrs. Wotherspoonn, Russell, Bowman, Thompson, Cooler, Johnson, Mitchell, and Craig - nor must we for get Mr. Kenneth Campbell, who after the Chairman had left, was prevailed upon to give a song in the Gaelic language.

MUSIC: Push the red wine about (Bishop, from The heir of Veroni)

"HOPE LODGE (ODDFELLOWS') ANNIVERSARY", Adelaide Observer (8 November 1845), 3-4 

On Wednesday last [5 November] the Hope Lodge held its anniversary dinner . . . The musical department was under the management of Mr. Bennett, a member of the lodge, whose services were gratuitous, as were those of his friends, Messrs. Ewens, Harward, Hornabrook, and Yems. Dr. Kent and Captain Tolmer also kindly assisted, and we may truly say, that the anniversary festivities included a concert of no mean pretension, as well as a dinner.
After the cloth was removed, and Non nobis Domine sung by Dr. Kent, Messrs. Bennett, Ewens, &c. . . .
Glee - "The Boatie rows" . . . Glee - "Mighty Conqueror" . . . Glee, "Ye Mariners of England" . . .
Glee - "The Red-Cross Knight" . . . Glee - "Here in cool Grot" . . . [4] . . . Glee - "Foresters, sound the cheerful horn" . . .

ASSOCIATIONS: John Hornabrook (vocalist); James Yems (vocalist); Alexander Tolmer (violinist)

"MR. BENNETT'S CONCERT", South Australian (2 January 1846), 3 

On Tuesday evening, Mr. Bennett, assisted by the best musical talent in the colony, gave a concert in the large room behind the Free Masons' Tavern. The concert was attended by considerably more than two hundred persons, including a large number of country gentlemen, with their families, and of the haut ton and respectability of the city. His Excellency the Governor, who was kind enough to patronise the concert, arrived shortly after eight, and the performances immediately afterwards commenced. The principal performers, besides Mr. Bennett, were Mrs. A. J. Murray, Messrs. Ewens, Harward, Mitchell, Yems, and Hornabrook . . . The catch "Would you know my Celia's Charms," was uncommonly well performed, and was loudly encored. The performances closed with "God Save the Queen," sung with a loyalty and fervour, characteristic, we are glad to say, of this "happy land." We congratulate Mr. Bennett on the great success of his concert, and wish such pleasant meetings were more frequent.

ASSOCIATIONS: Frederick Holt Robe (governor); Mr. Mitchell (vocalist)

MUSIC: Would you know my Celia's charms (Samuel Webbe)

"MRS. MURRAY'S CONCERT", South Australian Gazette and Colonial Register (27 February 1847), 2 

The extreme heat of the weather prevented our being present at this lady's Concert on Tuesday evening. We have therefore availed ourselves of the subjoined commmunication, which has been handed to us by a gentleman who attended: -
The lovers of harmony had a rich treat in Mrs Murray's concert. More pains had evidently been bestowed in "getting up this concert" than any have previously had in South Australia, and in any commendations we might bestow, it would be a difficult matter to individualise any of the performers, save Mrs. Murray . . . The selection, in the first place, was excellent. We are not of those who would spoil a musical treat by the introduction of novelty to the exclusion of taste; and by the true Child of Song, the glees of "The Breath of the Briar," "Awake AEolian Lyre," and "Oberon in Fairy Land" will always be appreciated as standard specimens of English taste and feeling in musical composition . . . Messrs. Mitchell, Harward, Yems, and Hornabrook, sung, in their several parts, in good tune and with great taste . . .

"MRS. MURRAY'S CONCERT", South Australian (9 April 1847), 3 

On Tuesday evening, Mrs. Murray gave another Concert of Vocal and Instrumental Music. She was assisted by Messrs. Bennett, Horncastle, Ewens, Mitchell, Harward, Yems, Hornabrook, Richards, father and son, and Smith; but we regretted much to perceive the miserable attendance, not more than fifty persons being present. This was the more marked, as on the preceding evening 300 persons had assembled in the same room to witness the exhibition by Messrs. Hall and Plush, of a series of dissolving views. We are afraid that musical taste is at a low ebb in the colony. The small attendance, however, had little effect tn damping the spirits and efforts of the performers, who exerted themselves to the utmost. Without intending to be invidious, we may mention, in particular . . . The glee, "Breath of the Briar" . . . as having been admirably performed. The Cockney catch, "Ah! how Sophia," by Messrs. Ewens. Mitchell, and Harward, was sung with much spirit, and deservedly encored.

"ODDFELLOWSHIP", Adelaide Observer (15 May 1847), 2

On Tuesday evening last, the third anniversary, of the "Loyal Albion Lodge" of Oddfellows was celebrated in the great room of the City Bridge Hotel . . . That nothing might be wanting to add to the harmony and hilarity of the evening, Brother Bennett presided at the pianoforte, and several appropriate, songs and glees were chaunted by Messrs. Ewens, Mitchell, and Howard [sic] . . .

"LOCAL INTELLIGENCE", Adelaide Observer (28 August 1847), 5 

. . . We (Adelaide Observer) were present at the Society's second concert, last night. Mrs. Murray's absence from indisposition, and the consequent silence of the organ were much to be regretted. The pieces performed were selected from, the works of Handel, Haydn, Mozart, Beethoven, &c. The quartette, "Judge me, O Lord," was sung with great Judgment by Messrs. Ewens, Burford, Harwood, and Mrs. Jones, and the supplicatory, plaintive tone, in which the solemn appeal was expressed, was truly touching. In the choral part of the same piece, the joyously triumphant notes of gladness, in which the Psalmist is made to exhibit his confidence and happiness, were well expressed. The recitative and solos gave painful proofs of the sufferings of their performances [? performers] from the prevalent epidemic . . . The grand chorus "Hallelujah," was rendered with admirable expression, precision, and power, and evidently left an effect on the audience that well suited a closing performance. Some of the instruments were, on a few occasions, rather out of tune; but the cornopean and bass violin did wonders, and it is hardly a stretch of praise to say that they themselves would form no insignificant orchestra. It is calculated that the two evenings' performances will leave a net profit of £60 or £70 on behalf of the South Australian British Destitution Relief Fund.

"Local News", South Australian (24 September 1847), 3 

The remains of the late Mr. Payne were attended to the grave on Wednesday by his brother Odd Fellows . . . the whole proceeded to the residence of the deceased, and followed the corpse through Pulteney, Rundle, Hindley, and Morphett-streets, to Trinity Church, where the funeral service was performed, and an anthem sung by Messrs. Bennett, Mitchell, and Harward . . .

[News], South Australian Register (13 October 1847), 3 

The amateur performance for the benefit of the Odd fellows school came off last night in the New Queen's Theatre, which was crowded to excess, there being no less than 500 persons present. The performances, upon the whole were far better than had been anticipated from the multiform description of the intended actors; the thronged audience appeared unanimously to be highly pleased with the evening's amusements; and Mr. Deering deserves great credit for his judicious arrangement of such anomalous materials. Two glees - "Here in Cool Grot," and "Mynheer Vandunk," were sung with admirable taste by Messrs. Ewens, Mitchell, Yems, Harwood, and Hornabrook, accompanied in first-rate style by Mr. Bennett, who very kindly volunteered his able assistance on the occasion. Mr. Tolmer perforrned a solo on the violin with exquisite sweetness; and Mr. Thomson another on the violencello which gave full satisfaction. The proceeds of the evening were reckoned to be about £70.

ASSOCIATIONS: Henry Deering (actor, manager); John Charles Thompson (cellist); New Queen's Theatre (Adelaide venue)

MUSIC: Here in cool grot (Mornington)

"LOCAL INTELLIGENCE", South Australian Register (15 December 1847), 4 

St. John's Church was reopened last Sunday morning, by the Rev. Mr Bagshaw, who preached from John iv., 124, and chiefly rested on the origin and utility of the book of common prayer. The congregation was but small, owing to the extreme heat, of the day, and Trinity Church not being closed, as had been at first arranged. The music was magnificently conduced by Mr. Bennett, with his rich-toned harmonia, and the singing finely performed by Messrs Ewens, Mitchell, Yams, Harward, and Hornabrook, who kindly volunteered their services for the occasion . . .

ASSOCIATIONS: Music in Anglican churches (general)

"ANTI-ROYALTY DEMONSTRATION", South Australian (4 August 1848), 3 

YESTERDAY, about a hundred and sixty gentlemen dined together, at the late stores of Messrs. Elder, in Hindley-street, to celebrate the legal extinction of the Royalty exaction . . . The cloth being withdrawn, the Chairman gave the health of the Queen . . .
Glee - "God save the Queen." Mr. Bennett presided at the piano-forte; the vocalists were Messrs. Mitchell, Yems, Harward, and Hornabrook . . .
Glee, four voices - "How should we mortals spend our days?" . . . Glee - "Hail, smiling morn" . . .
Glee - "The Zephyr" . . . Glee - "The huge globe has enough to do" . . . Glee - "Here in cool grot" . . .
Glee - "Oh Willie brew'd a peck o' maut" . . . Glee - "Push the red wine about" . . . Glee - "Here's a health to all good lasses" . . .

[Advertisement], South Australian Register (31 January 1850), 1 

"Royal Hotel. MR. HARWARD begs to acquaint his friends that his
Opening Dinner will take place on Tuesday next [5 February]. Dinner on table at half-past six precisely.
Tickets, 2s. 6d. each, to be had at the "Freemasons' Tavern," "Plough and Harrow," "Norfolk Arms," "Temple Tavern," "York Hotel," "Royal Admiral," and at the bar.
On the following evening a Tradesmen's Ball will be held at the above place.
Tickets, to admit a gentleman and lady, 8s 6d each, including supper.

"LICENSED VICTUALLERS' SOCIETY . . . THE DINNER", Adelaide Observer (16 March 1850), 2 supplement 

The first annual festival of the Licensed Victuallers' Society was held last evening, at the Freemasons Tavern, and a very splendid fete it was. One hundred and thirty gebtlemen sat down to dinner at seven o'clock . . .
Quartette - "Red Wine," by Messrs. Harwood, Hornabrook, Yems, and Mitchell . . . Glee - "Dame Durdon" . . .
Glee, "Willie brewed a peck o'maut," and on this glee we may safely pronounce that more admirable vocal harmony was never produced in the colony . . .

[Advertisement], South Australian Register (13 June 1850), 2

A FREE AND EASY held every Monday, Thursday, and Saturday evening, at the "Clarendon Hotel," Hindley-street, commencing at seven o'clock. Singing, accompanied by the Pianoforte and Violin.

"Harward's Royal Hotel," HINDLEY-STREET.
A FREE AND EASY is held every Monday, Thursday, and Saturday evening, at the above house, commencing at Seven o'clock.
Singing, with pianoforte and violin accompaniments.

"INSOLVENCY NOTICES", South Australian Register (12 July 1850), 3

Thomas Harward, formerly of Hindley-street, Adelaide, tinman; afterwards of Hindley-street aforesaid, licensed victualler; and now of Grote-street, Adelaide aforesaid, out of business. Solicitor, Henry Johnson.

"COURT OF INSOLVENCY", Adelaide Observer (3 August 1850), 4 

Thomas Harward, formerly of Hindley-street, tinman; late of the same street, innkeeper; and now of Grote-street, ont of business, an imprisoned debtor, was admitted to bail.
His schedule contained the following statement of his affairs:
On contracting first debt in the first week of November, 1849, had in cash - £23 0 0
Received since that date in business - 1200 0 0
Received for household furniture and fixtures, in bills and cash - 432 0 0
Lease of premises - 400 0 0
[TOTAL] £2055 0 0
Debts as per list - 657 19 0
Balance overplus - 22 1 9
From the 5th November, 1849, to July, 1850, house and trade expenses and Wages - 495 0 0
Rent - 75 0 0
Stock-in-trade at various times, and interest on money, borrowed - 1485 0 0
[TOTAL] £2055 0 0
Goods claimed to be re-assigned - 17 8 0
Debts due to the estate 362 2 9
Personal estate 300 10 0
[SUBTOTAL] 680 0 9
[TOTAL] £2735 0 9

"BENCH OF MAGISTRATES. Monday, 23rd September. Quarterly issue and transfer of licences", South Australian Register (24 September 1850), 3 

Thomas Harward, the Royal Hotel, Hindley-street, to Thomas Jelfs.
Mr. M. Smith opposed on the part of the Official Assignee, and on the ground that the insolvent Harward had no power to transfer, and the Official Assignee could, under the Act, carry on the business for the estate.
Mr. Hanson supported the transfer on the ground that long before the insolvency the applicant Jelfs paid £800 for the property, and was in possession of it, and the Official Assignee could not get a licence for another house on such a ground.
Mr. Smith said the insolvency followed immediately after the sale, and the whole transaction had a fraudulent aspect.
Mr. Hanson said there could be no fraud in paying the full value of the property.
Granted . . .

And see also, SUPREME COURT, CIVIL SIDE. Monday, 9 June . . . HANCE v. CARRUTHERS", South Australian Register (10 June 1851), 3 

"ANNUAL DINNER OF THE HOPE LODGE OF ODD FELLOWS", Adelaide Times (31 October 1850), 3 

The annual dinner of the Hope Lodge of the Manchester Unity of Odd Fellows took place last evening at the Freemason's Tavern. The room was not by any means so full as on the same occasion last year, a fact which may he attributed to the excessive heat of the day . . . The toast having been drunk, the National Anthem was beautifully sung by Messrs. Mitchell, Harwood, and Charles Walsh, accompanied, on the piano by Mr. Bennett, with a cornet-a-piston obligato by Messrs. Harwood, Jun. and McCullagh . . .

ASSOCIATIONS: Charles Walsh (vocalist, actor); William Harward (younger half-brother, cornet); Robert McCullagh (cornet)


The friends and admirers of this gentleman, in token of their esteem tor the services rendered by him to the colony since its formation, gave a grand dinner to him, last evening, at the Freemasons' Tavern . . .
The cloth being drawn, the Chairman gave the "Queen." The toast was responded to with the greatest enthusiasm, and was followed by the National Anthem, sung by Messrs. J. W. Daniels, Mitchell, Harward, and Bancroft, Mr. Bennett presiding at the pianoforte.
This was succeeded by the Chairman's toast - "Prince Albert and the Royal Family," which was also well responded to by the Company. The glee singers then performed Lord Mornington's beautiful four part glee "Here in cool grot," which was loudly applauded.
The Chairman then gave "His Excellency the Lieutenant-Governor, the representative of Her Majesty in South Australia." The toast was well received, and was succeeded by the vocalists singing in good style "The Red Cross Knight" . . .

ASSOCIATIONS: Josiah Wyke Daniel (vocalist); Richard Bancroft (vocalist)

[Advertisement], South Australian Register (16 October 1851), 2 

THOMAS HARWARD, TIN and IRON PLATE-WORKER, begs leave to announce to his old friends and the public, that he has
RECOMMENCED BUSINESS in Rundle-street, nearly opposite the Sir John Barleycorn Hotel, and respectfully solicits their patronage and support . . .

"ANNUAL DINNER OF THE HOPE LODGE OF ODDFELLOWS, M.U", Adelaide Times (21 November 1851), 3 

The Annual Dinner of this Lodge took place last evening at the Freemasons' Tavern. The attendance, we are sorry to say, was by no means numerous . . . The Chair was taken by F. S. Dutton, Esq., M.L.C.. support'd on the right by the Colonial Secretary and Dr. Backhaus . . .
The usual routine of toasts followed, and were responded to with due enthusiasm, the intervals being enlivened with some first-rate glee singing by Messrs. Mitchell, Bancroft, Harward, and Bennett.
The Chairman then called for bumpers, and proposed the health of the explorer of South Australia, Captain Sturt. The toast was drunk amid load applause. Song, Mr. Harward, "The Englishman." Capt. Sturt returned thanks. He assured them that it was with the warmest gratitude he witnessed the good feeling which was invariably expressed towards him. If in the prosecution of arduous discoveries he had been destined by providence to open upon [sic] this colony, he was sensible of the honor which had fallen upon him . . .

ASSOCIATIONS: Francis Stacker Dutton (chair); Henry Backhaus (cleric); Charles Sturt (surveyor)

"ANNIVERSARY DINNER OF THE 'OLD COLONISTS'", Adelaide Observer (3 April 1852), 6 

Amidst the many changes which are daily taking place in our community, and the utter absorption by the gold digging of every subject connected with our colonial history, it is grateful to find that there are some left who are not unmindful of the pristine days of her foundation and glory, and who, in reviewing the past, can augur from present prospects her future advancement. Our esteemed and thorough-going old colonist yelept William Williams, of the City Bridge Hotel, not willing that the Festival of 1851 [sic] should pass unremembered and unhonoured, invited some of the old 'uns to his festive board on Saturday evening last . . . Between 60 and 70 good men and true partook of the kind hospitality of the respected host . . .
Mr. Bennett gave the Old Colonists' Song on the piano, in his own style, and where can you find a better? . . .
Mr. Harwood - "The Island Home of an Englishman" . . .
After several other toasts, interspersed with some excellent songs by Mr. Harwood, Mr. Gouge, and others, accompanied on the pianoforte by the inimitable Geo. Bennett, the Chairman left the chair about 11 o'clock . . .

ASSOCIATIONS: Apollos Harrison Gouge (vocalist)

[Advertisement], South Australian Register (7 December 1854), 3 

WANTED, a TINSMITH, for the Country, where constant employment and liberal wages will be given. For particulars apply to Mr. Thomas Harward, Hindley-street.

"DIED", South Australian Register (23 January 1856), 2

On the 22nd instant, at his residence, Grenfell-street, Mr. Thomas Harward, aged 41 years.

"MARRIAGES", South Australian Register (26 April 1862), 7 

HILLIER - HARWARD. - On the 27th March, at Trinity Church, by the Rev. Dean Farrel, Mr. W. H. Hillier, only son of Mr. John Hillier, North Adelaide, to Lucy Griffy, eldest daughter of the late Mr. Thomas Harward, Hindley-street.

ASSOCIATIONS: Lucy Griffy Harward (daughter, born Adelaide, SA, 23 December 1840; died Adelaide, SA, 22 October 1879)

"DEATHS", The Express and Telegraph (30 January 1886), 2 

HARWARD. - On the 29th January, at her son-in-law's residence, Adam-street, Hindmarsh, Amelia Rickman Harward, aged 71 years. An old colonist.

"MARRIAGES", Geelong Advertiser [VIC] (20 March 1914), 1 

MOUNTJOY - HARWARD (Diamond Wedding) - On the 20th March, 1854, at St. John's Church, Adelaide, by the late Rev. J. C. Bagshaw, M.D., Caleb, son of the late James Mountjoy, Kilkhampton, Nth. Cornwall (England), to Louisa Jane, daughter of the late Laurence Harward, of Kilkhampton, Nth. Cornwall, England.
"At Home" at "Airlie Bank," Retreat Road, Geelong, on Saturday, 21st March, afternoon and evening.

ASSOCIATIONS: Louisa Jane Harward (half-sister, born Kilkhampton, 1836; died Geelong, VIC, 5 July 1914)

HARWARD, William (William HARWARD; Mr. HARWARD, jun.; Mr. HARWARD; William Laurence HARWARD)

Musician, cornet and cornopean player, tinman, coachman

Born Cornwall, England, 1829; baptised Kilkhampton, Cornwall, 18 October 1829; son of Laurence HARWARD (1782-1847) and Elizabeth SHEPHERD (d. SA, 1852)
Arrived Adelaide, SA, 31 August 1849 (per Caroline, from Plymouth, 4 May)
Married Christina WALKER ("Mrs. MERETON"), Scots church, Geelong, VIC, 17 July 1852
Died Collingwood, VIC, 4 June 1883, aged "54" (TROVE tagged by Australharmony)

ASSOCIATIONS: Thomas Harward (much older half brother, above)

HARWARD, Christiana (Christiana WILKES; Christina; ? WALKER; [2] "Mrs. Thomas MERETON"; [3] Mrs. William HARWARD)

Actor, theatrical manager

Born Bermondsey, Surrey, England, 22 September 1814; baptised St. Mary, Rotherhithe, 25 November 1814; daughter of Andrew WILKES (c. 1785-1850) and Christiana CANA (1782-1858 Married (1, common law) Thomas MERETON, England, by 1843
Arrived Sydney, NSW, 3 January 1843 (per Posthumous, from London, August, via Melbourne, 10-25 December)
Married (2) William HARWARD, Scots church, Geelong, VIC, 17 July 1852
Died Collingwood, VIC, 29 October 1894, aged "79/80" (TROVE tagged by Australharmony)

HARWARD, Miss (Miss HARWARD) = Miss MERETON (Christiana MERETON, the younger)


Born ? England, c. 1835-40; daughter of Thomas MERETON and Christiana WILKES
Arrived Sydney, NSW, 3 January 1843 (per Posthumous, from London, August, via Melbourne, 10-25 December)

HARWARD, Julia (Julia MERETON; Juliet; performed as Miss Julia HARWARD; Mrs. Henry Stuart JERDAN)


Born ? by 1852; daughter of Thomas MERETON and Christiana WILKES
Active professionally by c. 1862 until 1874
Married Henry Stuart JERDAN, St. George's Presbyterian church, Sydney, NSW, 14 July 1874
Died Melbourne, VIC, 8 August 1904, aged "52"

HARWARD, Louisa Jane (Louisa Jane HARWARD; Miss L. HARWARD)


Born ? ; daughter of William HAWARD and Christiana WILKES
Active on stage 1869-70
Married John ROBINSON, St. Patrick's cathedral, Melbourne, VIC, 29 July 1875


William Harward was a much younger half brother of Thomas Harward above. Their father Laurence having died in Cornwall in 1847, his second wife, William's mother, Elizabeth (d. Adelaide, 15 March 1852), and her three youngest daughters, also emigrated along with William to South Australia, on the Caroline, in 1849, joining Thomas in the colony.

William was certainly the Mr. Harward and billed as playing cornet and cornopean solos and duets with Robert McCullagh from 1850. Probably semi-professional members of the Adelaide theatre band, they both resigned from their day jobs, as guards on the Kooringa mail, early in 1852, around the time of Elizabeth Harward's death. By July, Harward was with a large contingent of George Coppin's Adelaide theatre band and acting troupe in Geelong, VIC, playing there at the Theatre Royal with his new wife, the actor Christina Wilkes (? Walker), previously "Mrs. Mereton".


Baptisms in the parish of Kilkhampton, Cornwall, 1829; Cornwall Family History Society (PAYWALL)

18 October 1829 / William / [son of] Lawrence and Elizabeth / Harward . . .

England census, 1841, Holsworthy, Devon; UK National Archives, HO107/257/11/1/16/27 (PAYWALL)

Mary Thorne / 60 / Ironmonger
Francis Honey / 30 / Tinman . . .
William Harward / 12 / Tinman ap[prentice] / [born in county, sic]

William: Adelaide, SA (1 September 1849 to mid 1852):

"ARRIVED", Adelaide Times [SA] (3 September 1849), 3 

September 1 . . . Same day - The ship Caroline, 407 tons, Perry, from Plymouth, 4th May.
Passengers . . . Mrs. Harward and three daughters . . . Harward . . . in the steerage.

[Advertisement], South Australian Gazette and Mining Journal (21 February 1850), 2 

MR. COPPIN in three new pieces. This Evening, Thursday, February 21 . . .
Solo, Cornet a Piston - Di' Piacere - Mr. Harward . . .

ASSOCIATIONS: George Coppin (actor, manager); John Lazar (actor, manager); New Queen's Theatre (Adelaide venue)

MUSIC: ? variations on Di piacer (Rossini, from La gazza ladra)

[Advertisement], Adelaide Times (18 March 1850), 2 

SIX GRAND PROMENADE CONCERTS, A LA JULIEN, At the Exchange, King William-street.
Under the Direction of MR. W. WALLACE.
THE First Concert will take place on Tuesday Evening, 19th March.
The Chorus and Orchestra will consist of upwards of thirty-five performers, and the programme will be selected from the works of
Julien, Mozart, Labitzky, Rossini, Lanner, Weber, Strauss.
The evening's amusements will embrace Waltzes, Quadrilles, Gallopades, Polkas, and Overtures; also Solos both Vocal and Instrumental.
List of some of the principal Performers: - . . . [band] Mr. Lee, Mr. Cobbin, Mr. Cobbin, jun., Master Cobbin, Mr. Richards, Her Matter, Mr. Harwood, Her Huenerbiers, Mr. Bennett, Mr. Chapman, Mr. Hewett. Also a chorus of German Gentlemen Amateurs . . .

ASSOCIATIONS: Spencer Wellington Wallace (violin, leader); Philip Lee (violin); William Cobbin and sons (musicians); Henry Augustus Richards (musicians); Charles Albert Frederic Mater (musician); August Christian Huenerbein (musician); George Bennett (musician); William Chapman (musician); Mr. Hewett (musician); Exchange Rooms (Adelaide venue)

[Advertisement], South Australian Gazette and Mining Journal (20 April 1850), 2 

NEW QUEENS THEATRE. - TO the Public. -
MR. RICHARDS (Leader of the Orchestra,) having been for the last eight weeks confined to a bed of sickness, and now lying in a very dangerous state,
in consequence of which a Wife and Four Children are placed in a very helpless situation,
Mr. LAZAR has consented to open the Theatre for the
BENEFIT OF MRS. RICHARDS, On Monday, April 22,
Without any charge whatever, the gross proceeds to be given up to her, and upon which occasion
MR. GEORGE COPPIN, And the following Ladies and Gentlemen have kindly consented to give their gratuitous services: . . .
[band] Mr. Chapman, Mr. Hewitt, Mr. Swift, Mr. Harward, Mr. Gatland . . .

ASSOCIATIONS: Thomas Swift (musician); Thomas Gatland (musician)

[Advertisement], South Australian (5 July 1850), 1 

85 PERFORMERS!!! . . . [including] THE ADELAIDE CHORAL SOCIETY. Leader - Mr. Osborn.
INSTRUMENTAL- Conductor - Mr. Wallace . . . Cornets a Piston, Messrs. Harwood and McCullagh . . .

ASSOCIATIONS: Ferdinand Osborne (leader); August Friedrich Cranz (director); Robert McCullagh (cornet); Adelaide Choral Society (association); Deutsche Liedertafel (Adelaide association)

"MR. A. MOORE'S CONCERT", Adelaide Times (19 September 1850), 3 

This gentleman gave his first Concert in the Colony last night. His reputation as a first-rate violinist malgre, a little affectation, was established on the first occasion of his appearance before a South Australian audience; and we were not therefore surprised to find on our entering the Exchange, that the room was very full. As we stated in an anticipatory notice a few days back, the programme had an unusually popular caste, containing as it did, various novelties not hitherto brought before the notice of our Colonial concert-goers; and this peculiarity doubtless attracted many who would not otherwise (considering the frequency of entertainments of the kind), have been present. The beneficiare conducted the instrumental pieces quite a la Julien, and wielded the baton with the true gusto of the disciples of that personage. Whether that circumstance, or the excellent leading of Messrs. Osborne and Lee were the cause we cannot say, but we assuredly never heard the Fra Diavoli Overture so well done since our first attending a Colonial concert . . . The lateness of the hour at which we write prevents us from entering into a detailed critique, but before we conclude we must not omit to notice Mr. Moore's violin solos, which were (the last in particular) exquisitely played . . . and the duet from Norma, "Deh Conte," performed in splendid style on two cornets-a-piston by Messrs. MacCullagh and Harwood and encored. The Concert as a whole was very succesful.

ASSOCIATIONS: Andrew Moore (violin, conductor)

[Advertisement], South Australian Register (23 September 1850), 4

Adelaide Garrick Club . . . on Wednesday next, the 25th instant,
the members of tbe above Club will perform Moreton's Comedy, in five acts, of THE SCHOOL OF REFORM.
After the Comedy, GRAND DUO FROM "NORMA," Upon two Cornets-a-piston, Messrs. McCullagh and Harward
(as played by them with the greatest applause at Mr. Moore's concert) . . .
THE AMATEUR REED AND BRASS BAND Have kindly volunteered their assistance, and in the course of the evening will perform a variety of their favourite Polkas, Marches, &c.
- W. M. AKHURST, Hon. Sec.

ASSOCIATIONS: Adelaide Amateur Band (association); William Mower Akhurst (secretary)

[News], South Australian Register (26 September 1850), 3

Notwithstanding the somewhat injudiciously selected comedy, the amateur performance at the Queen's Theatre last evening was most numerously and respectably attended . . . After the play there was a duo from "Norma" performed on two cornets by Messrs. McCullagh and Harward, which was most deservedly applauded and encored . . .

"ANNUAL DINNER OF THE HOPE LODGE OF ODD FELLOWS", Adelaide Times (31 October 1850), 3 

The annual dinner of the Hope Lodge of the Manchester Unity of Odd Fellows took place last evening at the Freemason's Tavern. The room was not by any means so full as on the same occasion last year, a fact which may be attributed to the excessive heat of the day . . . The toast having been drunk, the National Anthem was beautifully sung by Messrs. Mitchell, Harwood, and Charles Walsh, accompanied, on the piano by Mr. Bennett, with a cornet-a-piston obligato by Messrs. Harwood, Jun. and McCullagh . . .

ASSOCIATIONS: Charles Walsh (vocalist, actor); Thomas Harward (older half-brother, vocalist)

"HOPE LODGE OF ODD FELLOWS", South Australian (31 October 1850), 2

. . . "March from Norma," by the brass band exceedingly well played . . . "The Adelaide March," by the brass band . . .
"Victoria Waltz," by the brass band . . .
Mr. Harward executed a fine solo on the cornopean . . .

[Advertisement], South Australian (23 December 1850), 3 

ROYAL VICTORIA THEATRE. Open during the present week, Monday, Thursday, Friday, and Saturday.
MESSRS LAZAR & COPPIN BEG most respectfully to acquaint their Friends and the Public generally, that the above Splendid Theatre, Being now completed, will open for the Season, THIS EVENING, Monday, December 23rd . . .
THE ORCHESTRA will embrace the leading Talent of the Colony, viz: -
Leader - Mr. Andrew Moore, assisted by Mr. S. W. Wallace, Herr Mater, Herr Zieglar,
Mr. Harwood, Mr. Lawrence, Herr Heunerbein, Herr Kierdel, and Mr. Chapman . . .
The Performances . . . To be preceded by Mozart's Overture to Don Giovanni . . .
In the course of the evening, the Band will play Several New Polkas, Waltzes, &c. To conclude with the Musical Farce in Two Acts, of Love Laughs at Locksmiths.
To be preceded by Auber's Overture to Massaniello . . .

ASSOCIATIONS: Charles Ziegler (musician); Herr Keidel (musician); Mr. Lawrence (musician); Royal Victoria Theatre (Adelaide venue)

[Advertisement], South Australian Register (11 March 1851), 2 

ROYAL VICTORIA THEATRE . . . On THURSDAY next, the 13th instant . . .
a GRAND CONCERT will be given, upon which occasion Messrs. Lazar and Coppin have great pleasure in announcing that, in conjunction with their own unrivalled Band,
the AMATEUR BRASS AND REED BAND have kindly consented to attend, under the direction of their Leader, Herr Huenerbein,
and will play during the evening some favourite pieces as performed at Mr. Moore's late Promenade Concerts . . .
7. Quartette for four brass instruments on the the favourite German air Lorilu [sic, Lorelei] - Messrs. Chapman, Harward, Huenerbein, and Mater . . .

[Advertisement], South Australian (11 March 1851), 1

Grand Evening Concert. MADAME FRANCESCA ALLEN,
HAS the honor to inform the Residents of Adelaide and its vicinity that her First Concert of Vocal and Instrumental Music will take place on
Wednesday evening, 12th March, in the Commercial Exchange, King William-street, on which occasion she will be assisted by
Madame Cranz, Mr. G. Bennett, Mr. Wallace, Mr. Ellard, Mr. Daniels, Mr. C. Walsh, Mr. Osborne, Mr. Lee, Herr Heunerbein, Herr Mater,
Mr. McCullagh, Mr. Harward, Mr. Barnett, &c. &. . . .
PROGRAMME. PART I . . . Duet - "I know a bank" - Cornopeans - Messrs. McCullagh and Harward . . .

ASSOCIATIONS: Francesca Allen (vocalist); Mathilde Cranz (vocalist); George Bennett (musician); Frederick Ellard (vocalist, pianist); | Josiah Wyke Daniel (vocalist); Charles Walsh (vocalist, actor)

MUSIC: I know a bank (C. E. Horn)

"MADAME F. ALLEN'S CONCERT", Adelaide Times (14 March 1851), 2 

Madame Allen's concert took place on Wednesday evening, at the Exchange. We were sorry to find that our anticipations, so far as regarded the attendance, were not realised; empty seats being far more prevalent than we could have either wished or imagined. The orchestral department was very meagre, but the little the instrumentalists had to do was performed satisfactorily, although the programme was not adhered to, a fact to be so far lamented, that instead of the Gazza Ladra Overture, which was set down to open the second part, the audience was treated to a hackneyed galop of Gung'l's, which has been already done to death at the Theatre . . . We are no admirers of the cornet a piston, but that instrument was done full justice to by Messrs. Chapman [sic] and Harward, who played the duet "I know a bank" . . .

[Advertisement], Adelaide Times [SA] (9 May 1851), 2 

ROYAL VICTORIA THEATRE. Open every Monday, Thursday, and Saturday. Proprietors - Messrs. LAZAR and COPPIN . . .
It is most respectfully announced that MRS. MERETON, From the Sydney and Port Phillip Theatres,
will have the honor of making her First Appearance in the course of next week, in a Domestic Drama (never acted here) called ELLEN WAREHAM . . .

"OFFICIAL RESIGNATIONS", South Australian Register (17 February 1852), 3 

. . . R. McCullagh, T. Simpson, W. Harward, Kooringa Mail Guards.

"THE THEATRE", South Australian Register (14 May 1852), 3 

Mr. Coppin's farewell benefit last night was attended by (probably) the largest number of persons ever seen within the walls of the Adelaide Theatre . . . It was a gratification to see him so well supported; Mrs. Mereton's acting was admirable for its spirit and truthfulness . . .

Melbourne and Geelong, VIC, (from mid 1852 to early 1854):

[Advertisement], The Argus [Melbourne, VIC] (3 June 1852), 5 

Saturday, June 5, 1852, at the Mechanics' Institute, Collins-street.
PRINCIPAL PERFORMERS: Mrs. TESTAR, Mr. St. George Hamilton, Mr. Charles Walsh,
Messrs. Buddee, Megson, Reed, Cooze, Harwood, and Thompson, Herr Huenerbein, Messrs. Osborne and Wheeler,
Herr Zeigler, Mons. Lavrance, Messrs. Jenkins, Cossac, Cobbin, Beattie, and Barnard;
Assisted by the most powerful band ever concentrated in Victoria.
PROGRAMME: PART I. Overture - Il Don Giovanni - Mozart . . .
Quadrille - English, Band - Jullien.
PART II. Overture - La Dame Blanche, Band - Boildieu . . .
Quartette - Four Brass instruments.
Polka - Elephant (as performed at the Theatre Royal, Drury Lane) - Jullien - Band . . .

ASSOCIATIONS: Elizabeth Testar (vocalist); Mr. St. George Hamilton (vocalist); Julius Buddee (pianist); Joseph Megson (violinist); Thomas Reed (musician); William Joseph Cooze (musician); Stephen Thomas Wheeler (musician); Mr. Cossa (musician); Mechanics' Institution (Melbourne venue); the artists in this concert included several others formerly of Adelaide, some also recently arrived, including Mater himself, Walsh, Thompson, Huenerbein, Osborne, Ziegler, Lavrance, and William Cobbin junior

[Advertisement], Geelong Advertiser and Intelligencer (4 June 1852), 1 

CAUTION. THE undersigned will not ne answerable for any debts contracted by any of his family.
THOMAS MERETON. Great Malop-street, Geelong.

ASSOCIATIONS: Thomas Mereton (actor, Christiana's former partner)

Harward marriage, Geelong, VIC, 17 July 1852

1852, marriages in the district of Geelong; Registry of Births, Deaths and Marriages, Victoria

No. 395 / . . . Church of Scotland . . .
William Harward of Geelong Bachelor and Christina Walker of Geelong Spinster
were joined together in wedlock on the 17th day of July 1852 at Geelong . . .

[Advertisement], Geelong Advertiser and Intelligencer (31 July 1852), 2 

Musical Director, Herr Hunerbein; Leader of the Band, Mr. Wallace; Pianist, Signor Montegani
SATURDAY Evening, 31st Inst.,
Grand March from NORMA - The Band . . .
Solo, Cornet-a-piston - Mr. Harward . . .
Galop, EVERGREEN - Labitzky - Band
Romance, LORD LOVELL - Mr. Coppin . . .
Quadrille, OCEAN WAVE - The Band
Overture, MONTECCHI e Capuletti - Band . . .
English & German Duet - Hunerbein & Coppin
Polka, CECILLE - The Band . . .

ASSOCIATIONS: George Coppin's Geelong company also included several other musicians formerly of Adelaide, including Huenerbein, Spencer Wellington Wallace, and Alfred Mantegani (pianist); Theatre Royal (Geelong venue)

[Advertisement], Geelong Advertiser and Intelligencer (5 August 1852), 2 

The Entertainments will commence with a Petite Comedy, never acted here, entitled TIME TRIES ALL; OR, The Friendly Merchants.
Mr. Leeson (the Friendly Merchant) - Mr. Coppin . . . Laura Leeson - Mrs. Mereton [sic] . . .
To be followed by the admired interlude of A DAY AFTER THE WEDDING . . .
Lady Elizabeth Freelove - Mrs. Harward . . .

See also [Advertisement], Geelong Advertiser and Intelligencer (13 August 1852), 2 

ON which occasion he will be assisted by the choicest talent in Victoria.
PRINCIPAL PERFORMERS . . . Herr Huenerbein, Messrs. Harwood, Howson and Monthegarni.
PROGRAMME. PART I. Overture - Il nozze de Figaro - Mozart . . .
PART II. Overture - Norma, Band - Bellini . . .
Waltz - Die Orientalen = Labitzky . . .

ASSOCIATIONS: Henry Howson (musician)

Will of Thomas Mereton, made 14 January 1853; proved 1853; Public Record Office Victoria (DIGITISED)

Geelong January 14th 1853 / I Thomas Mereton . . . do hereby give and bequeath all my Estate . . . to be equally divided between my children (by the present wife of Mr. Harward)
by name Christiane, Elizabeth, Juliet, James, William, Ondine and Mary (now Mrs. Holloway) and Sarah Needham . . . and I appoint Henry Deering and William Marwell both of Geelong my executors. / Thomas Mereton.

ASSOCIATIONS: Edmund Holloway (actor, Christiana's son-in-law); Henry Deering (actor, manager)

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

LEADER OF THE ORCHESTRA - Mr. THOM, assisted by one Member of the Geelong Harmonic Society.
Second Violins - Mr. SAYERS, with two Members of the G. H. S.
VIOLONCELLOS - Two Members of the G.H.S.
TENORS - Mr. F. COPPIN, with one Member of the G.H.S.
FLUTES - Mr. ROYAL, with two Members of the G.H.S.
PROGRAMME: PART I. Overtetre, "Caliph of Bagdad" - The Band . . .
PART II. Overture, "Guy Mannering" - The Band . . .
Duet (Cornet a Piston,) from the Opera of Norma - Mr. F. Coppin and Mr. Harward . . .

ASSOCIATIONS: Bream Thom (violin, leader); William Francis Sayer (violin, vocalist); Frederick Coppin (violin, cornet); Creed Royal (flute, piano); Geelong Harmonic Society (association)

[Advertisement], Geelong Advertiser and Intelligencer (24 June 1853), 5 

Leader and Conductor, Mr. Thom . . .
PART I. OVERTURE. Figaro - The Band . . .
TRIO. - Two Cornets and Tuba Basso (first time) - Mr. F. Coppin, Mr. Harward, and Herr Hunsebine [sic] . . .
WALTZ. - First time, illustrative of the "Heart of an Englishman," commencing with "See the Conquering Hero Comes," and finishing with "The Roast Beef of Old England - The Band. (Labitzky.)
PART II. OVERTURE. - Fra Diavolo - The Band. (Auber.) . . .
D'Albert's new Set of IRISH QUADRILLES, entitled Ireland, introducing "Garry Owen," "The Brown Irish Girl," "Paddy's Resourse," "A Lovely Lass to a Fairy Came," "Gold Morning to your Nightcap," "Evelyn's Bower," with Solos for the Flageolet and Cornet - The Band . . .

"THE THEATRE", Geelong Advertiser and Intelligencer (2 September 1853), 2 

"All that Glitters is not Gold" was repeated on Tuesday night. Mr. Holloway enacted his part excellently. This gentleman's acting has improved very much. It is getting more chastened and finished, and we are happy to observe an absence of that rant in which he formerly indulged. He seems also to have a good perception of humour. Mrs. Thom performed her part in a manner which could leave nothing to be wished, even by the most fastidious audience. And Mrs. Harward, and Coppin, were, as usual, "all there" . . .

ASSOCIATIONS: Eliza Thom (actor)

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

MESSRS. HERRING AND OTTO beg leave to announce to their Friends, and the Public, that they intend giving a
GRAND PROMENADE CONCERT, in the above-mentioned Garden, on
MONDAY, October 24th, for which occasion they have engaged the first musical talent in the colony.
The String Band, under the direction of Mr B. Thom.
The Brass Band, under the direction of Herr. Hunerbein.
The Orchestra will consist of the following Artists:
1st Violin - Mr. B. Thom.
2nd Violin and Trombone - Mr. Gabb.
Tenor and Cornopean - Mr. F. Coppin.
Bass and Clarionette - Mr. Hunerbein.
Flute - Mr. Stoneham.
Cornopean - Mr. Harward.
Ophicliede - Mr. Tanner.
Drum - Mr. Stanley.
The Concert to commence at 3 o'clock, p.m. Admission - 2s. 6d.

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

[Advertisement], Geelong Advertiser and Intelligencer (29 October 1853), 1 supplement 

THE GEELONG HARMONIC SOCIETY Have great pleasure in announcing that the first
PERIODICAL CONCERT will take place on SATURDAY EVENING, OCT. 29th, 1853.
The following selection of Music having been for a considerable time in rehearsal, will be produced by the LARGEST NUMBER OF PERFORMERS ever brought together in Geelong, under the Leadership of the Society's Director, MR. THOM . . .
PART I. Overture - Zara - Winter . . .
Instrumental Quartett, 2 Cornets, Trombone Basso and Opheclide - Messrs. Haward, Coppin, Hunerbein and Tanner . . .
Selections from the Opera of Stradella - by the Band - Flotow.
PART II. Overture, "Italiana in Algeri" - Rossini . . .
Surprise Galop - Band - Gungl . . .

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

Solo on the Cornopean - Mr. HARWARD. DANCE - By Miss MERETON . . .
Sole Lessee and Manager - MR. DEERING.

ASSOCIATIONS: Henry Deering (actor, manager)

[Advertisement], Geelong Advertiser and Intelligencer (14 January 1854), 4 

THEATRE ROYAL . . . On MONDAY Evening, January 16th . . . DANCE, by Miss Harward [sic] . . .

[Advertisement], Geelong Advertiser and Intelligencer (21 January 1854), 4 

Saturday Evening, January 21st, 1854 . . .
INSTRUMENTALISTS: Primo Violin - Mr. F. Coppin - Cornopean - Mr. Harward.
Secondo - Mr. Sinclair - Saxe Tuba - Mr. Huenerbein. AND A FULL BAND . . .

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

GRAND CONCERT. MR. AND MRS. MOORE Have returned. (Old Favorites and Great Novelty) . . .
MR. F. COPPIN'S CELEBRATED BAND Will, during the evening, perform some admired Overtures, Waltzes, &c. . . .

ASSOCIATIONS: Andrew and Rachel Moore (violinist and vocalist)

[Advertisement], Geelong Advertiser and Intelligencer (29 April 1854), 4 

Principal Vocalists - MADAME SARA FLOWER, The Australian Nightingale.
Mrs. MOORE, the Favourite soprano.
Re-appearance of MR. F. W. SAYERS, The Primo Tenore of the Colonies.
MR. LABERNE, the John Parry of Australia.
Instrumentalists: Messrs. F. Coppin, Harward, Cossa, Heunerbein, Gabb, and A. Moore.
Leader - Mr. Coppin. Conductor - Mr. A. Moore.
PROGRAMME: PART I. Overture - "The Bohemian Girl," - Full Band - Balfe . . .
5. Waltz - 'D'Amour,' with Cornopean obligato by Mr. Harward - Koenig . . .
7. Solo - Cornopean, by desire - Mr. Harward . . .
9. Quadrille - "The Irish," - Full Band - Jullien . . .
PART II. Overrure - "Norma," - Full Band - Bellini . . .
5. Galop - "The Ne Plus Ultra," - Full Band - Gungl . . .

ASSOCIATIONS: Sara Flower (vocalist); George Laberne (vocalist)

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

THEATRE ROYAL . . . On MONDAY EVENING, AUGUST 7th, 1854 . . . Dance - Miss Harward . . .

Launceston and Hobart, TAS (from late 1854):

"CLARENCE THEATRE", The Cornwall Chronicle [Launceston, TAS] (14 October 1854), 5 

. . . An old favorite with a new name, though not less welcome, Mrs. Harwood (late Mrs. Mereton) appears as Portia, in the Merchant of Venice, on Monday next. Miss Mereton is an accomplished danseuse, and also appears; while to the orchestra is consigned the unquestionable talent of Mr. Harwood on the cornet-a-piston.

ASSOCIATIONS: Clarence Theatre (Launceston venue)

[Advertisement], Launceston Examiner (28 October 1854), 3 

Will be produced for the first time, an interesting drama entitled THE DEATH TOKEN. Mariette - Mrs. Harward . . .
R. BLAKE, Proprietor. G. ARABIN, Manager.
Bulwer's celebrated play in five acts, entitled THE LADY OF LYONS.
SOLO, Cornet a Piston - "The Blue Bells of Scotland," with variations - Mr. Harward.

ASSOCIATIONS: Robert Blake (proprietor); Gustavus Arabin (actor, manager); Clarence Theatre (Launceston venue)

[Advertisement], The Cornwall Chronicle (20 January 1855), 5

Royal Clarence Theatre. MONDAY evening, January 22nd . . . For the Benefit of MRS. MOORE . . .
The interlude to consist of - Song "The Irish Emigrant" - Mrs. Webster, (her first appearance these 5 years.) Song - Amateur.
Double Irish Jig, Miss Harward and Mrs. Moore. Song - "Annie Laurie," Mrs. Webster.
Solo - Cornet a Piston, Mr. Harward . . .

ASSOCIATIONS: Mrs. Moore (actor, dancer); Mrs. Webster (vocalist)

[Advertisement], The Cornwall Chronicle (3 February 1855), 5 

CLARENCE THEATRE . . . Monday Evening, February 5th . . .
Solo - "Cornet-a piston" - Mr. Harward . . . New Dance - Miss Harward . . .

"Public Amusements. ROYAL VICTORIA THEATRE", The Courier [Hobart, TAS] (17 March 1855), 2 

We have the pleasure of reminding our readers that this popular place of amusement re-opened on Monday evening next with an accession of talent alike creditable to the energy and perseverance, as in the real sense of the word, the patriotism of Mr. Watson, who has spared no expense in bringing forward first-rate professionals upon this occasion. It has previously been our satisfaction to record that Mr. and Mrs. Clarence Holt had arrived . . . They come out to one of their new pieces, "Civilisation; or the King, the Court, and the Indian," in which they will be supported by Mrs. Harward, late Mr. Mereton, an old established favourite . . .

ASSOCIATIONS: Feltham Bold Watson (actor, proprietor); Clarance and Marie Holt (actors); Royal Victoria Theatre (Hobart venue)

[Advertisement], The Courier (15 September 1855), 2

ROYAL VICTORIA THEATRE. Great Attraction. Mrs. Harward's Benefit. MONDAY EVENING, 17th September.
MRS. HARWARD begs to announce to the ladies and gentlemen of the City of Hobart Town and its environs that her Benefit is fixed for the above evening;
she therefore most respectfully solicits the kind favour of their patronage on the occasion, and trusts that the selection of pieces is such as will give general satisfaction.
The performances will commence with the beautiful Drama entitled VALSHA; or, The Slave Queen. Valsha, Mrs. Harward. To be followed by Solo, Cornet a Piston, Mr. Harward; Dance, Mr. Cohen To conclude with the celebrated Nautical Drama entitled BLACK EYED SUSAN. Susan, Mrs. Harward; William, Mr. Byers . . .

ASSOCIATIONS: Lewis Cohen (dancer); James Lucas Byers (actor)

[Advertisement], The Courier (29 December 1855), 2 

MONDAY EVENING, December 31. Mrs. Harward, in conforming to a long-established usage, has much pleasure in announcing that her Farewell Benefit is fixed for the above evening, when she most earnestly trusts to have the satisfaction of securing such a patronage as her humble efforts in supporting the Drama may fairly be entitled to. On the above evening will be produced, for the first time here, the beautiful Drama entitled CARLINE, THE FEMALE BRIGAND. Carline (assuming the characters of Kreutz, a ferryman; an old Mendicant; a French Marquis; a Wandering Savoyard; and a Neapolitan Peasant Girl) Mrs. Harward.
To be followed by Solo, Cornet Piston, Mr. Harward.
Mrs. Harward will deliver a Farewell Address to the Married and Single.
Highland Fling, Miss Harward.
The entertainments will conclude with the admired Comedy of THE POST of HONOUR. Trudchon, Mrs. Harward . . .

"THEATRE ROYAL", The Tasmanian Telegraph [Hobart, TAS] (23 March 1859), 4 

Monday night was a great event for the Garrick Club. The Rob Roy was certainly a great improvement on the last performance . . . Helen McGregor as impersonated by Mrs. Harward was vigorous, pointed, and perfect. We have already stated that she is our Prima-Donna and are happy to repeat the expression, she is the only Lady in this Island who could sustain the character - her voice was good, firm, resolute, and at the same time, the usual characteristic of modesty and unexcelled delineation of character, was effectively and truthfully pourtrayed in Diana Vernon, is to us a mystery - and why? - she appears to possess all the tact of an old actress: her excellent pronunciation the clearness of her delivery, the sweetness of her voice in the numerous songs incidental to the piece, require an especial notice; and that is, that she is the most advanced amateur we have had the honor to witness . . .

"MRS. HARWARD'S BENEFIT", The Tasmanian Times (15 October 1870), 2 

The Garrick Club announce a performance at the Theatre Royal as a farewell benefit to Mrs. Harward. This lady so long and favourably known to the play-going public of Tasmania, is now, we hear, about to leave the colony. She is well entitled to a complimentary benefit which we should be pleased to hear resulted in a substantial advantage. Mrs. Harward has for upwards of 20 years lent her assistance to the production of dramatic performances in Hobart Town, and if we were to excise from the list of such entertainments in this city during that period all those in which Mrs. Harward has played a part, whether with professional or amateur actors, we should retain but a very brief catalogue of such performances. Mrs. Harward has been long a popular favourite with the lovers of the drama; her acting, despite the disadvntage of so long a residence in Hobart Town, is far removed from mediocrity, and has always commanded deserved applause. We trust her friends and admirers will rally round her on this occasion, and that a bumper house on Monday night will testify to the public appreciation of her excellence and usefulness as an actress, and to her readiness at all times, to promote the cause of charity and benevolence, and to aid the efforts in the same direction of our local amateurs.

"AMUSEMENTS", The Tasmanian Times (5 November 1870), 3 

. . . Mrs. and Miss Harward - two very old residents and actresses of long standing - have taken their departure for Victoria. Farewell benefits were given to these ladies - one on the 18th ult. at the Theatre Royal by the G.V.B. Club - and one on the 31st ult. at Del Sarte's Rooms by amateurs . . .

"MARRIAGES", Evening News [Sydney, NSW] (17 July 1874), 2 

On the 14th July, at St. George's Church, Sydney, by the Rev. G. Sutherland, Henry Stuart Jerdan, second son of the late William Jerdan, Esq., M.A., M.R.S.L., and corresponding member of the Royal Academy of Madrid, to Julia Mereton, daughter of the late Mr. Mereton, of Melbourne.

"MARRIAGE", The Tasmanian Tribune (1 September 1875), 1 

ROBINSON - HARWARD. - On the 29th July, 1875, at St. Patrick's Cathedral, Melbourne, by the Rev. J. O. Sullivan, John, only child of the late John Robinson, to Louisa Jane, youngest daughter of William Harward of Hobart Town, Tasmania.

"THE ORATORIO, THE MESSIAH", The Mercury [Hobart, TAS] (28 December 1875), 2 

. . . Equal praise must also be accorded to Mr. E. Whitesides' singing of the great song, "Why do the nations," and to Mr. Reynolds' remarkably fine rendering of "The trumpet shall sound," in which the trumpet obligato part (performed by Mr. Harward) told with grand effect. The orchestra, though not very large, was exceedingly effective, mid rarely overpowered the soloists. A good understanding seemed to exist between the players, who played well "together," and with less of the "drawing a bow at a venture," noticeable on other occasions. The able corporation of Messrs. Russell and Dentith would, to a large extent, account for this, and the fact that each player was up to his work, and did it carefully, well, and unobtrusively . . .

ASSOCIATIONS: William Wilkins Russell (musician); Alfred Jackson Dentith (musician)

"DEATHS", The Age [Melbourne, VIC] (6 June 1883), 1 

HARWARD. - On the 4th June, at his residence, 199 Wellington-street, Collingwood, William Harward, late of Hobart, aged 54 years.

"SUDDEN DEATH", The Mercury [Hobart, TAS] (9 June 1883), 2 

A familiar face has passed away. William Harward, who came to this colony 28 years ago, was employed for about half that time as conductor of the Hobart and Launceston coach. He subsequently became driver of the Hobart and New Norfolk coach, which position he filled for 12 or 14 years, continuing in it until about 10 weeks ago. He was a first-rate cornet player, and was for many years a member of the orchestra at the Theatre Royal. Recently he had suffered from ill health. He left the colony at the end of last week and proceeded to Collingwood, Melbourne, where he died on Sunday last, aged 54.

"DEATHS", Launceston Examiner (28 May 1887), 1 

ROBINSON. - On 23rd May, at Collingwood, Victoria, Louisa Jane Robinson, wife of John Robinson, and youngest daughter of the late William Harward, formerly of Hobart.

"In Memoriam", The Age (29 December 1888), 5 

In Memoriam. Daniels. - In sorrowful remembrance of Elizabeth Mereton Daniels, who died 23th December, 1887, the dearly loved sister of Mrs. Chirk-Gray, and daughter of Mrs. W. Harward, late of Wellington-street, Collingwood.

"MISSING FRIENDS", The Brisbane Courier (11 May 1892), 2 

HARWARD, Christina, was last heard of ten years ago in Melbourne. Sister Mary.

Death, Christiana Harward, 1894

1894, deaths in the district of Collingwood in the colony of Victoria; Registry of Births, Deaths and Marriages, Victoria

No. 7681 / 29th October 1894 / Nicholson Street, City of Collingwood / Christiana Harwood / Female 80 years / "Mortua Cordis" (valvular) . . . / [daughter of] Thomas Wilkes, Mariner [and] Christiana Wilks formerly unknown
[reported by] Ondine Ede, daughter, 17 Nicholson Street, Abbotsford / [Married] Geelong Victoria [aged] 25 [sic] [to] William Harward / [offstpring] Mary Ann dead
Christiana 50 years
William dead
Elizabeth dead
James 40 yrs
Ondine 38 yrs [sic]
Julia 37 yrs [sic]
Louisa dead

[Advertisement], The Age [Melbourne, VIC] (30 October 1894), 8 

HARWARD. - The Friends of the late Mrs. CHRISTINA HARWARD are respectfully invited to follow her remains to the place of interment, the Melbourne General Cemetery. The funeral is appointed to move from her daughter's residence, Mrs. C. Ede, 17 Nicholson-street, Abbotsford, THIS DAY (Tuesday), 30th inst., at 2 o'clock, punctually.

"DEATHS", The Age (12 August 1904), 1 

JERDAN (nee Merton) - On the 8th August, at Dr. Moore's private hospital, Melbourne, Julia, wife of Henry Stuart Jerdan, beloved sister of Mrs. G. Ede and Mrs. C. Grey, both of Abbotsford. A patient sufferer at rest.

"MARRIAGES", Geelong Advertiser [VIC] (20 March 1914), 1 

MOUNTJOY - HARWARD (Diamond Wedding) - On the 20th March, 1854, at St. John's Church, Adelaide, by the late Rev. J. C. Bagshaw, M.D., Caleb, son of the late James Mountjoy, Kilkhampton, Nth. Cornwall (England), to Louisa Jane, daughter of the late Laurence Harward, of Kilkhampton, Nth. Cornwall, England.
"At Home" at "Airlie Bank," Retreat Road, Geelong, on Saturday, 21st March, afternoon and evening.

ASSOCIATIONS: Louisa Jane Harward (William's sister, born Kilkhampton, 1836; died Geelong, VIC, 5 July 1914);
see also "IN MEMORIAM. MRS. CALEB MOUNYJOY", Spectator and Methodist Chronicle [Melbourne, VIC] (28 August 1914), 1393 

Bibliography and resources:

Christina Harward [sic], Find a grave 

HARWOOD, Charles William (Charles William HARWOOD; C. W. HARWOOD, R.A.M.)

Musician, professor of the pianoforte and singing, organist, composer

Born UK, 1820
Active Sydney, NSW, by February 1853
Died Hunters Hill, NSW, 13 October 1904, aged 84 (TROVE tagged by Australharmony)


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

[Advertisement], The Sydney Morning Herald (14 April 1854), 1

"BIRTHS", The Sydney Morning Herald (17 March 1855), 5

[Advertisement], The Sydney Morning Herald (17 March 1855), 1

[Advertisement], The Sydney Morning Herald (17 April 1855), 1

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

[Advertisement], The Sydney Morning Herald (20 June 1857), 5

[Advertisement], The Sydney Morning Herald (29 December 1858), 5

[Advertisement], Empire (9 March 1860), 1

[Advertisement], Empire (14 March 1860), 1

[Advertisement], The Sydney Morning Herald (16 August 1861), 1

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

[Advertisement], The Sydney Morning Herald (1 January 1864), 6

"DEATHS", Empire (4 July 1864), 1

"ONLY OF THEE", The Sydney Morning Herald (25 July 1864), 4

"ONLY OF THEE LOVE", Bell's Life in Sydney (30 July 1864), 2

"NEW PUBLICATIONS", Illustrated Sydney News (17 August 1864), 14

"TO THE EDITOR", Empire (3 July 1867), 3

"MARRIAGES", The Sydney Morning Herald (6 November 1877), 1

[Advertisement], The Australian, Windsor, Richmond, and Hawkesbury Advertiser (18 September 1880), 4

[Advertisement], The Sydney Morning Herald (6 October 1883), 3

"DEATHS", The Sydney Morning Herald (14 October 1904), 4

"Hunter's Hill. DEATH", The Cumberland Argus and Fruitgrowers Advocate (22 October 1904), 10 

Charles William Harwood, R.A.M., who was upwards of 70 years of age [sic], passed over to the great majority on Thursday, death being due to this effects of a paralytic stroke. The deceased, who was a retired music teacher, had been living with his daughter, Mrs. Rowlandson, of Church-street. The funeral took place on Saturday, the remains being interred in the Field of Mars cemetery.

Musical works:

The biological polka ("composed by C. W. Harwood, and dedicated to Mr. Daly") (cover: "dedicated to Mr. Daly, composed by W. C. Harwood" [sic]) (Sydney: W. J. Johnson, [1853]) 

The Catherine Hayes polka ("in which an air sung by that celebrated Songstress is introduced") ("Composed and dedicated with permission to Miss Therry"; "W. C. Harwood" on cover; "C. W. Harwood" inside) (Sydney: W. J. Johnson, [1855]) 

Thinkest thou of me ("dedicated to Miss Nina Spagnoletti") (Sydney: Printed by Alonzo Grocott, [1861]) 

Only of thee, love! (song) (words: F. S. Wilson) (Sydney: Elvy & Co., [1864]) 

HARWOOD, Henry Richard (Henry Richard HARWOOD; H. R. HARWOOD)

Actor, vocalist

Born London, England, 19 October 1830
Arrived Australia, 1852
Died Melbourne, VIC, 18 April 1898


"THE THEATRES . . . THE ROYAL", The Argus (9 November 1863), 5 

"Macbeth" was brought out at this house on Saturday, with great splendour and success. It had been rumoured for some time that the resources of the theatre would be taxed to give effect to the revival of this tragedy, and from Mr. Sullivan's energy and taste much was anticipated; nor was expectation disappointed . . . Monsieur Strebinger and his instrumentalists deserve a special compliment for the spirited manner in which the flat and occasionally difficult music by Locke was performed, and for the effective character of the marches played at the wings. To give greater effect to the musical portion of the performance, Mr. Wharton was retained, and filled the part of Hecate, receiving the compliment of a call. Mr. Walter Sherwin also lent the aid of his voice. The congruities were a little shocked, however, by the murdered Duncan (Mr. Harwood) reviving as one of the singing witches, a few minutes after Macbeth had discovered the monarch's "silverskin laced with his golden bloom" . . .

ASSOCIATIONS: Barry Sullivan (actor); Henry Wharton (actor, vocalist); Walter Sherwin (actor, vocalist)

"MR. H. R. HARWOOD", The Argus [Melbourne, VIC] (28 January 1869), 5 

. . . Mr. Harwood arrived in Melbourne in June, 1852, and was for two or three years engaged in the building trade, to which he was in early life apprenticed. Becoming dissatisfied with his position, he took ship for Sydney, and no favourable opportunity offering for establishing himself in trade there, his dramatic instincts directed his attention to the stage, for which he always had a passion, and meeting with a shipmate in the person of Mr. Tranter, the leader of the band at the Victoria Theatre, he was introduced by the latter to Mr. Crosby, the acting-manager, and soon after had the honour of appearing before an Australian audience during Mr. G. V. Brooke's first Sydney engagement, in 1855, in the character of Flavius Corunna, in Howard Payne's play of "Brutus" . . .

ASSOCIATIONS: William Joseph Tranter (musician); James Crosby (manager)

HASKER, James John (James John HASKER; J. J. HASKER; Mr. HASKER; Jimmy HASKER)

Actor, comedian

Born England, c. 1818
Active Geelong, VIC, by November 1848
Married (1) Jane BARCLAY, VIC, 1851
Married (2) Susannah JACKSON (d. 1903), NSW, 1858
Died Summer Hill, NSW, 31 January 1906, aged "88" (TROVE tagged by Australharmony)


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

[Advertisement], Geelong Advertiser [VIC] (23 December 1848), 1 supplement 

[NEws], The Newsletter: an Australian Paper for Australian People [Sydney, NSW] (17 February 1906), 3 

John James Hasker [sic], who died on February 1st, in a Sydney suburb, at the house of his daughter, was supposed to be about 88 or 90 years of age. He was never a leading actor, but he was always a reliable one, and in his day was absolutely the quickest study in Australia. One day was sufficient to make him word perfect in the heaviest part that ever came his way. It is said, on no very definite authority, that Hasker, who was an Englishman, was at one time a drover, and later a policeman. Be that as it may, he seems to have commenced his stage career at Hobart in the fifties as an associate of Miss Thompson (Mrs. Young), Charles Young, and G. H. Rogers. George Coppin brought him over to Sydney to join the stock company at the Old Vic, and he remained there until he joined the stock company at the Royal. If Hasker has been seldom seen in Sydney during the last twenty years, it was his own fault. He was an expert worker in leather and metal, and had always earned large sums of money during his Sydney career as a maker of stage armour, gorgets, brass sword-belts, and so forth. Of late, however, he had been too feeble for work of that kind. But he always had many kind friends.

"IN MEMORIAM", The Daily Telegraph [Sydney, NSW] (31 January 1907), 6 

HASKER. - In loving memory of my dear father, James John Hasker, who. departed this life, Summer-hill, January 31, 1906. Though lost to sight, to memory dear, inserted by his loving daughter, Amelia Davie.

"MUMMER MEMOIRS", Sydney Sportsman (10 November 1909), 3 

. . . James Hasker was of the very old school. He had appeared at the Hobart Town Theatre as far back as Mr. Clarke's time; was contemporary there, I have heard him say, with G. H. Rogers . . .

HATCH, Henry John (Henry John HATCH; H. J. HATCH)

Musical amateur, ? vocalist, ? choral singer, founder of Sydney Choral Society

Active Sydney, NSW, 1845


"SYDNEY CHORAL SOCIETY", The Australian (22 April 1845), 3 

A preliminary meeting of this society took place at St. Lawrence school-house, on Friday evening last . . . The meeting then formed itself into a general committee, when the following gentlemen were elected : president, Rev. Mr. Walsh; secretary, Mr. Hatch; treasurer, Mr. Hirst; conductor, Mr. Johnson; leader, Mr. W. Johnson. An active committee of management was also formed, composed of - Mr. Hatch, Mr. Hirst, Dr. Nathan, Mr. Sincombe, Mr. Logan, Mr. Deane, and Mr. W. M'Donell. A vote of thanks was awarded to Mr. Hatch, as the active originator of the society, and to Mr. Purchase for his strenuous co-operation, and for his efforts in the cause of music . . .


Comic vocalist, songwriter, entrepreneur

Born c. 1828
Active Melbourne, VIC, by 1859 (TROVE tagged by Australharmony)


Previously a Melbourne dancehall proprietor and agent in Ballarat for a woman who claimed to be able to walk 1000 miles in 1000 hours, Hatton described himself as "the well-known Local Comic Writer and Singer" when he toured Tasmania in 1861. He introduced his "New Local Comic Song" The dyeing attachment, or We are off to Queensland in Launceston in July, and in August in Hobart The Hobart Town shooting match, or the Volunteer in a fix and The death of the Gas Company, or much ado about nothing. The tour was not a success, and his Hobart landlady accused him of leaving her out of pocket.

He claimed to have been about to leave for India. However, he was back in rural NSW in August 1863, where he introduced "a New Local Song Written expressly for Queanbeyan".


[Advertisement], The Argus (21 April 1859), 8

[Advertisement], The Star (4 June 1859), 3

[Advertisement], The Cornwall Chronicle (10 July 1861), 5

[Advertisement], The Mercury (5 August 1861), 1

[Advertisement], The Mercury (10 August 1861), 1

[Advertisement], The Mercury (30 August 1861), 1

[Advertisement], Queanbeyan Age (20 August 1863), 3

[News], Queanbeyan Age (21 January 1888), 2

Gus Hatton, 60, received three months for euchreing Summerfield and Co. out of £2 7s. 6d.

"Then - and Now", Canowindra Star and Eugowra News (18 May 1906), 1 

. . . As I drew out from the crowd I felt a hand on my shoulder, and turning saw one I least expected to see, and one whom I thought much nearer to the scene of [Frank] Gardiner's exploits than Melbourne. He was a well known and popular actor named Hatton, who with others had made a trip to the gold rushes. My surprise may be understood as I extended my hand to him and welcomed him back. Gus Hatton, Joe Small, and Tom Wilson - three well known vocalists - and myself had been intimate friends for some time prior to the trio crossing the border to try their luck on the new goldfields, and here was one of them back who would be able to tell me something reliable about these much described places. "Socey, old fellow, I'm glad to find you so easily. Let us stroll up to Garton's and have a wine," said Gus; and arm-in-arm we wended our way to the favorite hotel mentioned. At the hall door stood Garton's porter William, who told us that Joe Small had just gone into the cafe. We decided upon having a drink before going into the cafe, and turned into the bar where we satisfied our thirst and then joined Small and others in the eating room. We spent a couple of hours together, during which I learnt much about Gardiner and the districts he frequented. The stories heard fired up a desire in my mind to have a run through New South Wales . . .


Musician, viola player (New Queen's Theatre)

Active Adelaide, SA, 1848


[Advertisement], South Australian (6 October 1848), 3

HAUSER, Miska see mainpage Miska HAUSER

HAVELL, Alfred Hugh (Alfred Hugh HAVELL) alias Frederick WOODIN


Hawkins family drawing room, Blackdown, near Bathurst, c. 1830; State Library of New South Wales (DIGITISED)

HAY, Mr. (Mr. HAY)

Musician, string player, ? bandsman (Band of the 17th Regiment)

Active Sydney, NSW, 1834

ASSOCIATIONS: Band of the 17th Regiment


Hay is named as a participant in Romberg's quintet in the published advertisements for bandmaster Thomas Lewis's Sydney concert on 16 September. Not mentioned elsewhere, apart from in relation to this concert, he almost certainly belonged to the band of the 17th Regiment, which, it was reported, made up most of the orchestra for the concert.


[Advertisement], The Sydney Herald (15 December 1834), 1 

. . . Quintette, two Violins, Flute, Tenor, & Violincello, Messrs. Sippe, Wilson, McChroan, Hay, and Lewis. Romberg . . .

HAYES, Mr. (Mr. HAYES; ? Attwell Edwin HAYES; A. E. HAYES)

Musical amateur, member of the Sydney Amateur Concerts, ? journalist, newspaper proprietor

Active Sydney, NSW, c. 1826


"THE AMATEUR CONCERT", The Monitor [Sydney, NSW] (21 July 1826), 5 

ON Wednesday Evening [19 July] about four hundred persons of both sexes assembled at the public School Room in Castlereagh-street, to listen to the musical selections of our Amateur performers of our new monthly Concert. Among the company we noticed the Lieutenant Governor, the Sheriff, the Clerk of the Council, the Clerk of the Peace, Dr. Townson, a number of Magistrates, Advocates, Military Officers, Civil Officers, principal Merchants, &c. &c. &c. All this denotes in unequivocal language the growing importance of this admirable public recreation . . .
The "Bill of the Play," exhibited the following . . .
Directors for the Evening.
Mr. Earle. Mr. J. Paul, jun.
Mr. Jos. Underwood. Mr. Hayes . . .

ASSOCIATIONS: Augustus Earle (member); John Paul junior (member); Joseph Underwood (member); Sydney Amateur Concerts (series); "School room" = Old Court House (Sydney venue)

HAYES, Catherine (Mrs. BUSHNELL) see mainpage Catherine HAYES 


Actor, vocalist, theatrical manager

Born Liverpool, England, 1840; baptised St. Peter's, Liverpool, 24 May 1840; son of Alexander Kerr HAYGARTH (d. VIC, 1894) and Margaret GRACEY (d. VIC, 1888) (m. Liverpool, 29 July 1839)
Arrived Melbourne, VIC, 10 October 1855 (per David G. Fleming, from Liverpool, 5 July, aged "13 1/2")
Died Wanganui, NZ, 20 October 1918, aged "78" (TROVE tagged by Australharmony)


Baptisms solemnized in the parish church of St. Peter in Liverpool in the county of Lancaster in the year 1840; register 1839-40, page 238; Liverpool Record Office, 283 PET/2/30 (PAYWALL)

No. 1903 / [1840 May] 24 / Edward Darius [son of] Alexander Kerr & Margaret / Haygarth / Handler Street / Provision Dealer . . .

Names and descriptions of passengers per David G. Fleming from Liverpool, July 1855, for Melbourne, 10 October 1855; Public Record Office Victoria (DIGITISED)

. . . Alex. Haygarth / 44 / Farmer // Mary / 39 / Wife
Edward / 13 1/2 / Son // Maria / 6 // Geo. / 4 / Joseph / Inf. . . .

[Advertisement], The Argus [Melbourne, VIC] (2 August 1861), 8 

Names and descriptions of passengers per Seaman's Bride, from Melbourne, 11 February 1862, for Port Chalmers, NZ; Public Record Office Victoria (DIGITISED)

Joseph Downey / John Kohler / Edward Haygarth . . . Sandford Faucett / John Dunn . . . Miss Hart . . .

ASSOCIATIONS: John Wildblood Kohler (musician); Sanford Fawcett (actor); Ada Hart (actor); John Benjamin Dunn (actor)

"DEATHS", Wanganui Herald [NZ] (21 October 1918), 4 

HAYGARTH - On the 20th inst., at Wanganui Hospital, Edward Darius, beloved husband of Mary Haygarth; (actor); aged 78 years, Australian papere please copy.

"PERSONAL", Wanganui Herald (24 October 1918), 4 

The late Mr E. Haygarth, who died this week, was bom in Armagh in 1840, and at the age of 15 he joined G. V. Brooke's Company. Mr. Haygarth arrived in New Zealand about 40 years ago, and was a member of various stock companies which toured Australia and New Zealand. Deceased settled in Wanganui 13 years ago, and was well respected by all, he being of a quiet, unassuming nature.

HAYNE, Mr. (Mr. HAYNE; ? Corporal Henry HAINS; or drum-major Lewis HENNS)

Musician, bandsman, brass band conductor

Active Hobart, TAS, 1849

ASSOCIATIONS: Band of the 51st Regiment


"MILITARY MUSIC", Colonial Times (3 March 1846), 3 

Our townspeople, and especially the fairer portion thereof, are not aware perhaps, that on Wednesday and Friday afternoons from four to six o'clock, the fine bands of the 51st Regiment perform alternately in the Barrack-square. The music of the chamber band under the able direction of Mr. Rablin, is no less choice of selection than excellent in performance, every attention being paid to its excellence as well as to its novelty. On Wednesday last a new overture from the French and fertile brain of Auber, was given in a most spirited style, the bass parts particularly; this was the opening overture to the performances at the Theatre when Mrs. Clarke took her Benefit; it is a smart, spirited Auberian overture, but as usual devoid of any melodious movement, such as at once takes hold upon the mind, and lingers for ever in the recesses of our memory, as that beautiful air which so sweetly predominates in one of the finest overtures which was ever composed, we mean the overture to Der Freischutz. Auber is truly a noisy composer, from his Masaniello to the present moment; drums, trumpets, trombones, cymbols, and the rest, make up for that pure and appropriate harmony which so strikingly characterizes the works of our great classic composers, of Handel, Haydn, and Mozart, of Pergolosi, Winter, Beethoven, and the rest, by no means omitting our lively favourite Rossini, who is always although an idle copyist of himself, sprightly, sparkling, and melodious. Passing by this, we have to notice the other pieces performed by the band on Wednesday, the selection, as already intimated, being extremely tasteful. From the new Opera of Ernani, composed by Verdi (quere, George Green?) three cavatinas were performed, and beautiful indeed they were. Ernani must be a fine opera, and if the production of an Englishman, a credit to his country. One of these cavatinas has been arranged by Mr. Rablin with a duet movement for the trombone, and the cornet a piston, the effect of which is extremely fine, those two instruments blending together in most beautiful harmony. Another fine cavatina, "Quando il Core," from the Ines de Castro of that very sweet composer Persiani, was well executed, and proved very effective; we only wish that there were more lovers of good music on the spot to enjoy the feast provided for them. The Brass Band under the direction of Mr. Hayne, is extremely well conducted, and its performance while marching from the Domain after the morning's parade, is enjoyed by many; wafted on the morning breeze, the fine, full, and clear notes of the bugles sound most melodiously, and must, we think, enliven the spirits of the soldiers after a hard-two hours' drilling.



Active Adelaide, SA, c. 1840-42

HAZON, Roberto (Roberto HAZON)

Musician, orchestral conductor, music teacher

Born Borgotaro di Parma, Italy, 25 September 1854
Arrived Melbourne, VIC, 27 November 1886 (per Lusitania)
Died Milan, Italy, 9 September 1920 (NLA persistent identifier)


Bibliography and resources:

Martha Rutledge, "Hazon, Roberto (1854-1920)", Australian dictionary of biography 9 (1983) 

HEALE, William Samuel (William Samuel HEALE; W. S. HEALE)

Manager (for Henry Marsh and John Winterbottom's promenade concerts)

Born c. 1820
Active Sydney, NSW, by 1853
Died Hawthorn, VIC, 21 April 1896, aged 76 (TROVE tagged by Australharmony)


[Advertisement], Empire (1 June 1853), 1 

PROMENADE CONCERTS. Positively the last Night. MR. W. S. HEALE, Manager to Messrs. H. Marsh and Co., begs to inform his friends and the public, that having made arrangements with Mr. Winterbottom, for his inimitable band, begs to announce that his benefit takes place on Thursday, 2nd June.

HEALES, Thomas (Thomas HEALES)

Amateur vocalist, cordwainer

Active Melbourne, VIC, 1850


"THE CORDWAINERS' ANNUAL FESTIVAL", The Melbourne Daily News (13 April 1850), 2 

HEALY, George (George HEALY)

Musician, professor of music

Active Bathurst, NSW, 1856


[Advertisement], Bathurst Free Press (16 February 1856), 3


GEORGE HEALY. Professor of music, BEGS to acquaint his Patrons and the Public in general, that having entered into arrangements to play at the Prince of Wales Theatre on Mondays, Thursdays, and Saturdays, his Quadrille Band will not be at liberty to play at private parties on those nights. At the same time he begs to state that on any of the other nights of the week, his services may be commanded as usual. Piano-fortes tuned any where within 30 miles of Bathurst. Balls, Weddings, Christenings, attended on the shortest notice. For further particulars, enquire at Mr. W. L. Pike's, Howick-street, or at the Advertiser's Bathurst, February 16th, 1856.


Musician, violinist, fiddler

Active Melbourne, VIC, 1849


"ASSUALTS", The Argus [Melbourne, VIC] (10 August 1849), 2 

Mr. Thomas Stevens, Road Contractor, was fined 10s at the Police Office on Wednesday, for assaulting a person named Heany. Mr. S., on returning to his house on Tuesday night, found the complainant in the kitchin playing a fiddle for the amusement of his servant; as the complainant had entered the premises without Mr. Stevens's permission, the latter became angry, and broke the fiddle over the musician's head.

HEAPE, Benjamin (Benjamin HEAPE)

Musical amateur, merchant

Active Melbourne, NSW (VIC), 1841


Kerr's Melbourne almanac and Port Phillip directory for 1842 (Melbourne: Kerr and Thompson, 30 April 1842), 333 

Leader - Mr. Charles Beswicke.
Conductor - Mr. William Clarke.
Treasurer - Mr. John Jones Peers.
Secretaries - Messrs. Benjamin Heape and William Dredge.
The Harmonic Society meets every Thursday evening, in the Wesleyan Chapel, Collins-street.

ASSOCIATIONS: Charles Beswicke (amateur); William Clarke (musician); John Jones Peers (amateur); William Gilpin Dredge (amateur);
and see also "THE CHRONICLES OF EARLY MELBOURNE . . . by Garryowen [ = Edmund Finn]", The Herald [Melbourne, VIC] (23 June 1883), 3 

In 1841 was established the first musical combination, viz: - The Melbourne Harmonic Society, with the following office-holders - Leader, Mr. Charles Beswicke; Conductor, Mr. William Clarke; Treasurer, Mr. John Jones Peers; Secretaries, Messrs. Benjamin Heape, and William Dredge. They met every Thursday evening, in the Wesleyan Chapel, Collins street, and their role was select sacred music performances, or rather private rehearsals, but the effort did not come to much.

And see also The chronicles of early Melbourne, 1835 to 1851, by Garryowen (Melbourne: Fergusson and Mitchell, 1888), 488 (DIGITISED)

HEAPS, Alfred Walter (Alfred Walter HEAPS; Alfred HEAPS; Mr. A. HEAPS)

Violin maker

Born Holbeck, Yorkshire, England, 1853 (first quarter), son of John Knowles HEAPS
Arrived Sydney, NSW, after 1875
Died Paddington, NSW, 14 May 1906, in his 54th year (TROVE tagged by Australharmony)



"The Sydney International Exhibition", Australian Town and Country Journal (17 April 1880), 6

"MUSICAL INSTRUMENTS IN THE GARDEN PALACE . . . MR. HEAP'S VIOLINS" [sic], Australian Town and Country Journal (29 November 1879), 9

Mr. Albert Heaps, of Albert-street, Darlinghurst, exhibits in the north gallery, over the British court, near the organ, two very fine violins, made by his father, Mr. J. K. Heaps, of Leeds. These instruments are not much to look at, being destitute of meretricious ornament, but if a violin-player gets one of them up to his shoulder, he will not lay it down in disgust. We have heard both of them played on, and know we are not praising them unduly. The tone is free, that is, the instrument responds to the most delicate touch of the bow, and in this respect they differ from common fiddles, from which the tone can be extracted only by grinding. M. Bailly, of Mirecourt, France, has two violins - copies from the old masters - in a case in the gallery over the French court, in the charge of Mr. L. Moonen; and there are a few trade violins in the German court. These, along with Mr. Crook's Australian double bass, and Mr. Heap's fiddles and violoncello, are the only bow instruments in the Exhibition.

"Answers to Correspondents", Australian Town and Country Journal (9 August 1884), 20

"DEATHS", The Sydney Morning Herald (17 May 1906), 6

HEAPS - May 14, at his residence, 466 Oxford street, Paddington, Alfred Walter Heaps, son of the late John Knowles Heaps, of Folly Hall, Holbeck, Leeds and dearly beloved husband of M. Heaps, in his 54th year. Home, New Zealand, and foreign papers please copy.

"THE LATE MR. A. W. HEAPS, VIOLIN MAKER, A SKETCH OF HIS CAREER", Australian Town and Country Journal (27 June 1906), 39

Mr. Alfred Walter Heaps, whose death occurred recently at his residence, Oxford-street, Paddington, Sydney, somewhat suddenly, at the age of 53, furnished a rather uncommon example of the talents, of a father being handed down unimpaired to his son. The deceased was a native of Leeds, Yorkshire, and the fifth son of the late Mr. John Knowles Heaps, whose work as a violin, viola, and violoncello maker and restorer is well known wherever players on the "king of instruments" and its kin do congregate.

His father, having decided that his son Alfred should follow in his footsteps, at the age of 16 apprenticed him to Handel Pickard - musical instrument maker and professor of the violoncello - of Leeds, in 1860, and there he remained until the end of 1874. Then the youthful instrument maker went into his father's workshop, and secured his first public triumph, when, in 1875, in company with his father, he exhibited a quartette of instruments at the Leeds Exhibition. This exhibit secured a prize medal and certificate. During the time the young man was employed by his father he turned out several violins, prized so highly by their purchasers that offers of from £30 to £50 would not bring about a sale. Shortly after 1875, Mr. Heaps was offered, and accepted a position to manage the musical department of a wholesale house in Sydney. He continued in this employment for some time, during which he found his business as a violin maker and repairer increasing so rapidly as to demand all his time. His experience in restoring old instruments was gained with Mr. Pickard in Leeds, where several very valuable violins were entrusted to him for repairs, and restoration. His success in this branch of the industry gained him the reputation of an expert, and his work in Australia enhanced the golden opinions formed of him in the old land.

During the past 17 or 18 years, Mr. Heaps made many violins and violoncellos. For the former he never received less than £25, and for the latter from £35 to £42. Among his customers for violoncellos was the late Mr. Edgar Strauss, for whom he made one in 1891. This fine artist used the instrument for his solos during the whole of his residence in Sydney. Mr. Strauss, on his arrival from San Francisco in 1889, was introduced to Mr. A. W. Heaps, from whom he obtained the loan of a 'cello made by his father. Mr. Strauss played upon it for twelve months, and was so enamoured of the instrument that he offered 80 guineas for it. The 'cello was not for sale, so Mr. Strauss did the next best thing - he ordered one to be made from the same model. This was done, and the maestro never used any others. So that the 'cellos, made by the Heaps - father and son - were responsible for the sweet music that Edgar Strauss made in Sydney. A second instrument was also made for Mr. Strauss from this model.

Ovide Musin, the celebrated violinist, while in Sydney a few years ago, also entrusted Mr. Heaps, with the repairing of his two violins. One of these was a Gagliano. During this business interview several of his violins were brought under M. Musin's notice. They pleased him, and he gave the maker an unsolicited testimonial, couched in terms of warmest approbation, classing him as "one of the best violin makers he had met in his long artistic career."

The secret of Mr. Heaps' success, which was hailed by Messrs. Rivers Allpress, Straus, Rice, and Wentzel (of the Orpheus Quartette), Dr. Scheidel, Max Schluter, and others well capable of judging, was the extreme care he took, the excellence of his material, and his fine models. Some of the sycamore which he used had been preserved since about 1828, and another portion, still in tree block, was purchased in 1836. In pine his stock included some that was exhibited as music wood in London in 1851, and purchased from Messrs. Bernhardt and Sons; and sycamore presented by the Hon. W. E. Gladstone to Mr. J. K. Heaps, and cut by the Grand Old Man himself off his own estate. Indeed, his stock was so large that he often laughingly stated it would easily last him his lifetime. He still continued to purchase as opportunity offered, so that at his demise he would be able to bequeath to his son (whom he intended should follow the profession) whatever might be unused.

His death, as has been stated, came suddenly, and his valuable stock outlived him.

What all violin makers wish to discover what many of them experiment practically daily to find out - is the secret of the varnish used by Stradivarius, Guarnerius, and Amati on their wonderful violins. It is unfortunate that no one has managed to unearth this, though there is no doubt that continuous experiments have improved the varnishes used on the modern violins. Mr. Heaps was an enthusiast on the subject. His varnishes were well known. The fact of his newly-made instruments possessing such fine tone - as compared with old instruments speaks for itself, as the fine tone is attributed in violins to the merit of varnish in conjunction with the workmanship.

The late Mr. Heaps, was very popular both among professional and amateur musicians, and his advice, often sought, was highly valued, and outside the purely musical circle he had many friends, to whom his sudden death came as a great shock. He leaves a widow and six children. Two of the elder children are sons, (the eldest having served an apprenticeship with the father), and by them the business, conducted on lines laid down by their grand father (Mr. J. K. Heaps) and their father, will be carried on in future.

HEARNE, John Alfred (John Alfred HEARNE) = alias John Alfred DANIELL (also DANIEL; DANIELS)

Musician, pianoforte maker and tuner

Died Sydney, NSW, 29 June 1857

HEARTH, Thomas (Thomas HEARTH)

Pianoforte maker, repairer and tuner of musical instruments (from Clementi, Cheapside, London)

Active Sydney, NSW, from 1839; Launceston, VDL (TAS), from 1842; Adelaide, SA, 1845 (TROVE tagged by Australharmony)


[Advertisement], The Sydney Monitor (22 July 1839), 3

[Advertisement], The Sydney Monitor (2 December 1839), 1

[Advertisement], The Sydney Herald (24 May 1841), 2

[Advertisement], The Sydney Herald (12 September 1841), 1

[Advertisement], The Cornwall Chronicle (6 August 1842), 3

[Advertisement], Launceston Examiner (21 December 1842), 2

"ATTEMPTED ROBBERY", The Cornwall Chronicle (21 September 1844), 3

[Advertisement], Launceston Examiner (19 October 1844), 1

[Advertisement], South Australian (25 March 1845), 2

[Advertisement], South Australian Register (18 June 1845), 2


Musician, band leader

Active Melbourne, VIC, 1849


[Advertisement], The Argus (16 January 1849), 3 

HEATH, Mrs. (Mrs. HEATH)

Musician, professor of the pianoforte and singing

Active Sydney, NSW, February to July 1853


[Advertisement], The Sydney Morning Herald (14 February 1843), 3 

MRS. HEATH, Professor of the Pianoforte and Singing. Application for terms, references, &c, is requested to be made to Mrs. HEATH, 5, Bridge-street.

[Advertisement], The Sydney Morning Herald (4 June 1843), 1 

MRS. HEATH, recently from London, and pupil of Heinrich G. Dellevie and George Dixon, (Mus. Doc.)
Professor of the Pianoforte and Singing, No. 5, Bridge-street.
TERMS PER QUARTER: - For a lesson of half an hour, twice a week:
Pianoforte, two guineas and a half; Singing, two guineas and a half.
For a lesson of one hour, twice a week: Pianoforte, three guineas and a half; Singing, three guineas and a half.
Lessons given at the residence of the pupils will be charged at the rate of a guinea and a half per quarter in addition to the above.
To ladies desiring a few finishing lessons in either of the above accomplishments, Mrs. Heath will be happy to afford the requisite assistance.

[Advertisement], The Argus [Melbourne, VIC] (6 January 1858), 7 

MRS. HEATH, Teacher of the Pianoforte. Terms, two guineas per quarter. Mrs. Heath can receive Two Young Ladies to Board and Educate, Avoca Cottage, Duke-street, Prahran.


Musician, professor of music, pianist, organist

Active Adelaide, SA, 1858-92
Died Kensington, SA, 25 June 1910 (TROVE tagged by Australharmony)


[Advertisement], The South Australian Advertiser (5 May 1859), 1

MR. J. W. HEBERLET, PIANIST, Organist of St. Margaret's Church, Woodville, will attend PUPILS on the PIANOFORTE and SINGING; also on the HARMONIUM preparatory to Organ study.

[Advertisement], The South Australian Advertiser (6 May 1859), 1

[Advertisement], The South Australian Advertiser (27 December 1859), 1 

"NORWOOD PHILHARMONIC SOCIETY", The South Australian Advertiser (22 October 1861), 3

"CATHOLIC YOUNG MEN'S SOCIETY", South Australian Register (21 July 1865), 2

[Advertisement], South Australian Register (6 January 1879), 1

[News], The South Australian Advertiser (9 May 1885), 6

"WINTER ENTERTAINMENT", South Australian Register (9 July 1892), 3

HEDGES, William Henry (William Henry HEDGES)

Musician, professor of music

Born ?; son of James HEDGES
Active Mount Gambier, SA, by 1868
Married Anna Maria Peckwell BYASS, Mount Gambier, SA, 19 April 1869


[Advertisement], Border Watch (11 July 1868), 3

[Advertisement], Border Watch (27 October 1868), 1

"NEW INSOLVENTS", The Argus (4 May 1875), 5

William Henry Hedges of Hamilton, music teacher. Causes of insolvency: Falling off of business, sickness of self and family, and bad debts. Liabilities £76.11s; assets £57. 15s. 6d., deficiency, £18.15s.6d.

[Advertisement], The Brisbane Courier (21 July 1881), 3

I WILLIAM HENRY HEDGES, Professor of Music, now residing at Ipswich-road, near the Woolloongabba, in the district of Brisbane, do hereby give notice that it is my intention to apply at the next Monthly Licensing Meeting or Special Petty Sessions, to be holden for this district on the 9th day of August next ensuing, for a PROVISIONAL PUBLICAN'S LICENSE . . ." 

HEDGELAND, James Frederick (James Frederick HEDGELAND; Frederick HEDGELAND; F. HEDGELAND)

Musician, organist, teacher of the pianoforte, singing class instructor (Hullah's system)

Born Marylebone, England, 26 October 1831; baptised Christ Church, St. Marylebone, 10 November 1831; son of John Pike HEDGELAND and Harriet TAYLOR
Active Sydney, NSW, 1854
Died Prahran, VIC, 11 April 1911, aged "79" (TROVE tagged by Australharmony)


Baptisms solemnized in Christ Church in the parish of St. Marylebone . . . in the year [1831]; register 1827-36, page 82; London Metropolitan Archives (PAYWALL)

No. 630 / [baptised] Nov'r 10 1831 / James Frederick Son of / John Pike & Harriet / Hedgeland / 2 Grove place / Architect / Born Oct'r 26 1831

ASSOCIATIONS: Also baptised in the same ceremony was his elder brother, Edward Charles, born 24 October 1828

England census, 30 March 1851, Christ Church, St. Marylebone; UK National Archives, HO 107 / 1490 (PAYWALL)

2 Grove Place / John P. Hedgeland / Head / Wid. / 59 / Architect / [born] Devon Exeter
William [Hedgeland] / Son / 20 / Organ Builder / Midx Marylebone
Frederick [Hedgeland] / Son / 19 / Organist / [Midx Marylebone]

ASSOCIATIONS: William Martin Hedgeland (1830-1911), organ builder

[Advertisement], Illustrated Sydney News (27 May 1854), 12

MR. FREDERICK HEDGELAND, late Organist of St. Matthew's District Church, Marylebone, London, and now of St. Mark's, Alexandria, will be happy to increase the number of his pupils for the Pianoforte. Terms may be known at Alpha Cottage, 4, William-street, or at Messrs. WOOLCOTT AND CLARKE'S, George-street.

[Advertisement], The Sydney Morning Herald (2 September 1854), 6

"MARRIAGE", The Cornwall Chronicle (4 April 1879), 2

"HULLAH SINGING", Launceston Examiner (31 July 1879), 2

[Advertisement], Launceston Examiner (1 August 1879), 1

INSTRUCTION IN CHORAL SINGING . . . on the Wilhem method, as taught by Mr. John Hullah, of London.
MR. J. F. HEDGELAND, Professor of Music, Launceston (formerly organist of St. Matthew's Church, Marylebone, London; St. Mark's, Darling Point, and St. James's Choral Society, Sydney; and late of St. John's Church, Toorak), will shortly commence singing classes on the above method, at the Town Hall . . . 

[News], Warragul Guardian (27 June 1893), 2

"DEATHS", The Argus (12 April 1911), 9


Hotel proprietor

Active Bendigo, VIC, by 1855
Died NZ, 1891 (TROVE tagged by Australharmony)


"THE SHAMROCK HOTEL", Bendigo Advertiser (20 October 1855), 3 

We understand that Mr. Heffernan has in contemplation the erection of a splendid concert room, superior to any on the Bendigo . . . Beyond question, the Shamrock Hotel has one of the best musical companies in the district, and the large support it receives is well deserved. The engagement of Miss Urie still continues, and her excellent singing meets with the same popularity as ever. Under most disadvantageous circumstances this lady acquits herself remarkably well. Mr. Gibson, the favorite Irish singer, is also engaged at the Shamrock, and his humorous and pleasant style of singing is no small attraction. Mr. Dixon, the tenor, and Mr. Leman, bass singer, are well deserving of notice. The latter gentleman has a very fine powerful voice, which enables him to sing certain songs with striking effect. The place of Mr. White, who ably presided at the pianoforte, and whose accompaniments in no small degree contributed to the success of the evening concerts, is at present filled by Mr. Salaman, the former gentleman being on a visit to town . . .

"DEATH OF MR. WILLIAM HEFFERNAN", Bendigo Advertiser (23 March 1891), 3 

HEINE, Joseph (Joseph HINE; Joseph HEINE; ? HINIE)

Musician, violinist, "blind violinist"

Born ? London, England, c. 1838 (? 1840; 1844)
Arrived Melbourne, VIC, July 1864 (per Morning Light, from England, aged "26", "HINIE")
Departed after ? April 1866 (for San Francisco)
Died St. John's, New Brunswick, Canada, 30 April 1895


HEINE, Ada (Mrs. Joseph HEINE)

Musician, pianist

Born ? England, c. 1838
Arrived Melbourne, VIC, July 1864 (per Morning Light, from England, aged "26")
Departed after ? April 1866 (for San Francisco)


Joseph Heine (photo: Solomon and Bardwell, Ballarat, VIC, December 1864); courtesy of Shane Le Plastrier

Joseph Heine (photo: Solomon and Bardwell, Ballarat, VIC, December 1864); courtesy of Shane Le Plastrier

ASSOCIATIONS: Saul Solomon and William Bardwell (photographers)


[Advertisement], Morning Post (30 October 1857), 4 (PAYWALL)

MR. W. T. WRIGHTON'S FIRST BALLAD and MISCELLANEOUS CONCERT will take place at the Hanover-square Rooms, on WEDNESDAY EVENING, Nov. 11 . . . Also, a Youth of extraordinary musical genius, not yet 13 years of age, born blind, named Joseph Hine (a pupil of the eminent professor of the violin, M. Sainton, who has given the highest testimonials of the boy's remarkable talent), will make his first appearance in public. He will perform on the Violin, De Beriot's Sonata, No. 6; Fantaisie, "Lucrezia Borgia," arranged by Sainton, and also "Le Carnaval de Venise," Paganini's Variations upon the Pastoral Tibia, or common pipe. He will likewise exhibit his versatility of talent, by a Performance upon the Grand Organ . . .

"HANOVER-SQUARE ROOMS', Morning Chronicle (12 November 1857), 4 (PAYWALL)

Mr. Wrighton gave his first ballad and miscellaneous concert last night, at the Hanover-square Rooms. The great feature of novelty was the introduction to the public of Master Joseph Hine, a youth very correctly described as one of extraordinary musical genius, as evinced by his performance last night of the "Carnaval de Venice" upon the pastoral tibia, or common pipe, not unlike that upon which Picco is wont to astonish and enchant the public, as well as a fine solo from "Lucrezia Borgia" on the violin. The youth is not more than thirteen years of age, and is a pupil of M. Sainton. Both of his performances were justly rewarded with an encore, and on the first occasion the popular air of "Jenny Jones," with variations, was substituted, for the piece encored, and with the most unequivocal success. The performance of Master Hine was characterised by great taste, and such a knowledge of musical science as gives promise of a most successful future, and affords another illustration of the remarkable fact that when nature deprives a person of one sense she endeavours to compensate for the injury inflicted by increased powers of some other sense. The loss of sight which Joseph Hine has sustained is to some extent compensated by the correctness of his ear and the innate perception of harmony which he possesses . . .

ASSOCIATIONS: William Thomas Wrighton (vocalist, composer); Propser Sainton (violinist, teacher)

"ENGLISH EXTRACTS", The Courier [Hobart, TAS] (21 August 1858), 3

A CONCERT of a perfectly novel kind will take place on Saturday (to-day) at the Hanover-square Rooms, by upwards of one hundred blind musicians, pupils of the School for the Indigent Blind, St. George's-fields, Southwark. A complete orchestral band of thirty musicians has been organised at the Blind School ; which band, together with a fine choir of voices, under the direction of the well known musical professor of King's College, Mr. W. H. Monk, will perform a selection from the works of Handel, Mozart, and Mendelssohn. Other blind celebrities, such as Picco, the Sardinian piper, Master Hine, the blind violinist, and Sumners, the blind pianist, have albo lent their aid to this very novel experiment.- Illustrated London News, 12th June.

"London . . . CRYSTAL PALACE", Dwight's Journal of Music [Boston, USA] (5 January 1861), 328

. . . . . . Mr. Joseph Heine, a violinist, made his first appearance, and executed Ernst's Pirata fantasia with much applause . . .

"VOCAL ASSOCIATION", London Evening Standard (24 April 1862), 3 (PAYWALL)

. . . Mr. Joseph Heine, the young blind violinist, who, we believe, has received instructions from Messrs. Sainton, Tolbecque, and other eminent professors of the instrument, also made his first appearance, and executed Ernst's solo on Pirata with great precision and brilliancy, and was applauded with rapture. We might criticise Mr. Heine's performance, indeed, by any standard, and it would stand the test. Unfortunately for him this is not the age for appreciating marvels, or, indeed, he would be followed with as much avidity as some of our most popular artists. That he, wanting sight, should play the most elaborate compositions of the masters, which we are informed he does, with so much skill and accuracy - taste and feeling depend not on the visual sense - does not seem to have made a profound impression, or we should have heard more of the performer. His execution is first-rate, and his expression intense. Altogether his performance was in the highest degree interesting, and terminated in a genuine recall from all parts of the room . . .

[Advertisement], The Argus (28 July 1864), 8

"SOCIAL", The Ballarat Star (24 January 1865), 1s

"FRIENDS AT HOME", Launceston Examiner (21 February 1865), 6

"MR. AND MADAME HEINE", The Mercury (2 March 1865), 2

"MR. AND MRS. HEINE'S CONCERTS", The Sydney Morning Herald (12 August 1865), 5

"TO THE BLIND MUSICIAN, JOSEPH HEINE . . . J. LE GAY BRERETON", The Sydney Morning Herald (23 August 1865), 5


Child-like Interpreter of Heaven,
While triflers win at folly's mart,
Yield thou to God what God hath given,
Who triumphs in triumphant art!

The common light which us surrounds
Is darkness to that light whose trace
We catch in those enchanted sounds,
And in the music of thy face.

And she who blends her notes with thine,
And hath, oh more! than eyes for thee,
Reflects a radiance more divine
Than aught our common eyes can see;

Echoes a music more than art,
Which yet a deeper spell controls,
The music of a loving heart,
The music of two married souls.


ASSOCIATIONS: John Le Gay Brereton (poet)

[News], The Brisbane Courier (23 October 1865), 2

We understand that the hon. John Hubert Plunkett, of Sydney, has presented to Mr. Joseph Heine a magnificent violin, nearly 250 years old, having been made in the year 1616, by Galpard Duippo [sic], an Italian. On the sides is a Latin inscription: "When I was alive I was silent; now I am dead I speak." The back of the violin is beautifully inlaid with choice woods, representing a township in Italy; and a carved head surmounts the scroll.

[News], The Brisbane Courier (24 October 1865), 2 

Mr. and Mrs. Heine's performance, we are glad to say, was very well patronised last night. There was a very large and fashionable audience, including Lady Bowen and others of our notabilities. In addition to the usual programme, to which we have had occasion several times to refer, there were some glees very ably sung by gentlemen amateurs, and Mr. Heine played several popular airs on the violin presented to him by the Attorney-General of New South Wales (the hon. J. H. Plunkett) . . .

ASSOCIATIONS: John Hubert Plunkett (musical amateur, violinist); the violin "maker" named is probably rightly Gasparo Duiffopruggar (Italianised form of Tieffenbrucker) active in the mid-1500s as a viol maker. Most instruments bearing his "label" mid and late 19th-century Parisian reproductions.

[Advertisement], Daily Southern Cross (25 December 1865), 1

[Advertisement], Nelson Examiner (10 February 1866), 5

[News], The Darling Downs Gazette (26 April 1866), 3

[News], Launceston Examiner (30 March 1867), 5

HEINE, Constance

Blind pianist (daughter of the above)

Active Melbourne, VIC, by 1873



Constance Heine, aged 13, who was born blind, and who is a daughter of the deceased violinist of that name, showed very great proficiency on the pianoforte. She is a pretty girl, and was a great favourite with the audience.


The concert, which was given solely by the pupils of the Asylum and School for the Blind (under the direction of Mr. F. W. Harmer, teacher of music and singing at the asylum), was extremely enjoyable, some of the pianoforte selections (especially one by Miss Constance Heine, a blind girl only 14 years of age) being very excellently rendered.

"CONCERT AT THE BLIND ASYLUM", The Argus (29 November 1879), 9

At the end of the first part of the programme, the Rev. Wm. Moss, the secretary and superintendent, thanked the audience for the numerous attendance, he believed that numbers had not only come to hear the last concert of the season, but were also influenced by the fact that this was the last occasion on which they would hear Miss Constance Heine. It was with mingled feelings of pleasure and regret that they parted from one who for the last eight years had been with them. During that time Miss Heine had won esteem both in and outside of the institution. She had not only won their affection and confidence, but had rendered herself very useful in the asylum, from being herself a pupil, she had latterly come to be a skilful teacher. If he could have done it nicely, he would have prevented her from leaving; but she was anxious to rejoin her parents, whom she had once seen (she became blind at four years of age), and the committee had acceded to her wish. He was glad to think that when she left the asylum she had developed talent that would enable her to take a fair position amongst musicians both in England and America . . . Miss Heine, who is a great credit to the institution, played Liszt's "Tarantelle Napolitaine" and Thalberg's "Home, Sweet Home," with admirable accuracy and finish, besides taking part with other concerted pieces for the piano.

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

Miss Constance Heine is prospering in America. This young lady was blind from birth, her father, the well known violinist, being also blind. Miss Heine's parents went to America, and some time afterwards sent for their daughter. She went to them, and at latest report she was teaching music to the blind inmates of the Perkins Institute.

HEINICKE, Hermann (August Moritz Hermann HEINICKE; Herman HEINICKE; Herr H. HUNICKE)

Musician, violinist, teacher of violin, conductor

Born Dresden, Germany, (? 16) 21 July 1863
Arrived Adelaide, SA, 12 June 1890 (per Parramatta, from London, 2 May)
Died Adelaide, SA, 11 July 1949 (NLA persistent identifier) (TROVE tagged by Australharmony)



"LATEST SHIPPING", The Express and Telegraph (13 June 1890), 2 

"HERR HEINlCKE", Evening Journal (18 July 1896), 5 

Herr Hermann Heinicke was born July 16, 1863, and entered the Dresden Royal Conservatoire of Music in April, 1873. Showing great talent, he won a scholarship in 1877, which he held for five years. He studied the violin under the world-famed Professor Rappoldi, piano under Professor Braunroth, and theoretical subjects under Professor Dr. Wullner. He received very gratifying testimonials on leaving the above institution, and accepted engagements as leader in several of the foremost orchestras of Germany, and travelled in different countries. In April, 1890, Herr Heinicke accepted the post of teacher of solo violin, orchestral, and quartet playing at the Adelaide College of Music, and in these capacities he has gained a reputation far beyond the limits of our own province. Perceiving the abundance of talent in Adelaide for the organization of a large male chorus, Herr Heinicke several years ago established a Society the outcome of which is the Adelaide Liedertafel in its present state. Since his residence in Adelaide Herr Heinicke has acted as leader or conductor at all important orchestral engagements, and he is now also Musical Director of the Adelaide Harmonie Society, as well as conductor of the Liedertafel. He has also acted as leader at the Chamber Music Concerts for several seasons. But it is to his great success as organiser and conductor of the large orchestra which takes his name that Adelaideans are perhaps chiefly indebted to Herr Heinicke's enterprise and skill. The colony has never before possessed such a skilled body of instrumentalists, and the series of popular concerts now in their second season have given the orchestra high repute and wide popularity. Herr Heinicke possesses almost a magnetic influence over his players, and is no less popular with them than he is with the general public, whether British or Teutonic. Herr Heinicke may be said to favour the modern Romantic school in violin music, and his playing is characterized by great brilliancy and verve.

"Deaths", News (14 July 1949), 18 


Joyce Gibberd, "Heinicke, August Moritz Hermann (1863-1949)", Australian dictionary of biography 9 (1983) 

Julja Szuster, "The injustice of the 1914 assault on Hermann Heinicke", Journal of the Historical Society of South Australia 43 (2015), 99-110 

HEIR, Robert (Robert HEIR; Mr. HEIR)


HEIR, Mary Fanny (Mrs. Robert HEIR; Mrs. HEIR) = Fanny CATHCART

Actor, vocalist


"THEATRE ROYAL. THE TEMPEST", The Argus (7 July 1857), 7 

. . . The tempest at the opening is equal to anything of the kind we remember in London, and the cave of Prospero is another triumph of scenic art, but fully as large a share of credit is due to Mr. Brooke as Prospero, and to Mr. Heir, as Caliban . . . Mrs. Heir made a very pleasing Ariel, and was encored in the well song, "Where the bee sucks." Miss Herbert as Miranda, and Mr. Webster as Ferdinand, well preserved the complexion of the play . . . The scene before the cave of Prospero introduced some dancing by Madame Strebinger Mrs. McGowan, and Miss Earl, which materially heightened the pleasure of the action . . .

HELY, Frederick Augustus (Frederick Augustus HELY; Frederick HELY; F. A. HELY)

Amateur ballad writer, public servant, superintendent of convicts

Born Tyrone, Ireland, 1794
Married Georgiana Lindsey BUCKNELL (c. 1795-1866), St. George's, Dublin, Ireland, 29 June 1817
Arrived Sydney, NSW, 16 December 1823 (per Isabella, from Cork, August)
Died Sydney, NSW, 8 September 1836 (TROVE tagged by Australharmony) (NLA persistent identifier) (Wikipedia)

HELY, Mary (Mary Joanna HELY; Mary HELY; Miss HELY; Mrs. Gother Kerr MANN; Mrs. G. K. MANN)

Amateur musician, pianist, composer

Born Ireland, 1819; daughter of the Frederick Augustus HELY and Georgiana Lindsey BUCKNELL
Arrived Sydney, NSW, 16 December 1823 (per Isabella, from Cork, August)
Married Gother Kerr MANN, St. James's, Sydney, NSW, 3 January 1838
Died Sydney, NSW, 30 August 1901, aged 82 (TROVE tagged by Australharmony)

ASSOCIATIONS: Gother Kerr Mann (husband)


Having sailed from Cork in August 1823, Frederick Augustus Hely, recently appointed Principal Superintendent of Convicts for NSW, arrived in Sydney with his wife and four children (including the eldest surviving, Mary, four years old) as passengers on board the convict transport Isabella on 16 December.

By 1835, the Hely family had moved into their new residence, Engehurst, designed for them in 1829 by the architect John Verge, on a site in Rushcutter's Bay (the remnants of the original house now in Ormond Street, Paddington).

Sometime early in 1835, Francis Ellard, the Sydney music seller, arranged to have two musical publications prepared and printed for the Helys in Dublin by his father, Andrew Ellard, and brother William Ellard. The completed prints of both probably arrived in Sydney in a shipment Ellard received on 1 December, and were reviewed in the Sydney press later that month.

Of the two, only one survives The much admired Australian quadrilles, dedicated "to Miss Hely of Engehurst" (that is, Mary; according to custom, the eldest unmarried daughter of the family was identified as "Miss Hely", without a qualifying initial). Though the music was arranged by William Ellard in Dublin from popular operatic and other airs, each of the five quadrilles famously bears a localised colonial title, the fifth "La Engehurst" adapted to the melody of the troop song "The girl I left behind me."

But the other Dublin print, no copy of which has alas been identified, was an Australian composition, a ballad entitled The parting, "composed by a young lady", almost certainly Mary Hely herself, to words by her father, "F. A. H.", though the Herald was inclined to attribute some role in the music to Frederick also.

For all his enlightened interest in music for the parlours of the Sydney gentry, Hely was much less supportive of the musical activities of the under classes. When sitting on the bench, Hely was typical of Sydney magistrates in taking a dim view of disorderly houses wherein occurred "fuddling, fiddling, and dancing". On one occasion in February 1827 Hely sentenced a "Sydney Orpheus who kept the people capering at their midnight orgies to 5 days solitary confinement on bread and water".

In 1838, Mary married Gother Kerr Mann, who later joined Ludwig Leichhardt's expedition. Their daughter Minnie's diary for 22 November 1859 (see below) records a visit to their home on Cockatoo Island (where Gother Mann was superintendent) by officers from the visiting Austrian frigate Novarra, for music and dancing:

. . . After they had been here for some few minutes Papa pushed aside the tables and struck up a dance. While Mama played we were sadly in want of Ladies . . .

Mary died in Sydney in 1901, aged 82.

Engehurst, architectural drawing, by John Verge, ? c. 1832; State Library of New South Wales

Engehurst, architectural drawing, by John Verge, c. 1829; "Design for a house on Capt. Rossi's allotment at Rush-cutter's Bay"; State Library of New South Wales, PXD 325 (DIGITISED)

ASSOCIATIONS: John Verge (architect); Francis Rossi (previous landowner)


Register of marriages, St. George's (CoI), Dublin, 1817; Irish Church Records (DIGITISED)

[1817 June] 29th / Frederick Augustus Hely Capel Street to Georgiana Lindsey Bucknall of this Parish [by] Licence . . .

"Police Reports. SYDNEY. WEDNESDAY", The Sydney Gazette and New South Wales Advertiser (24 February 1827), 3 

Thos. Fellowes, prisoner, Catharine Boyle, free, and a ticket-of-leave man, whose name bears some affinity to leeks or garlick, were found by that gallant champion of the baton, Fitzpatrick, in what he said was a disorderly house; and it appeared also that the parties had been therein fuddling, fiddling, and dancing at the hour of 12 last night. Kitty's eloquent chops, in answer to some questions put by the Bench, were instantly in motion. She stated that her owld man was ill at home, and had been so for a considerable time back; that she had just come down the country with another man (heaven forbid that we should report him to be a fancy man, although there were some significant looks in the Court) and that she went in pursuit of Ned Tutty, and landed in the aforesaid house quite without her knowledge at all at all. Mr. Hely advised Kate to go home and attend to her sick husband, sentenced the Sydney Orpheus who kept the people capering at their midnight orgies to 5 days solitary confinement on bread and water, and Fellowes to the treadmill.

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

Hely Fred'k Aug's / 35 / C[ame] F[ree] / [ship] Isabella / 1823 / [residence] Sydney . . .
Georgiana / 32 / Mary 9 // Georgiana / 7 // Hovenden / 5 / Mary Ann / 10 . . .

[News], The Sydney Gazette and New South Wales Advertiser (2 July 1829), 2 

A magnificent stone house is just lifting up its head on the Woollomoolloo Hill, near the wind-mills. We understand it is being erected by F. A. HELY, Esq. our respectable Principal Superintendent of Convicts. It will certainly be a beautiful and conspicuous ornament to the town, and will command an extensive prospect of hill and dale, land and water, town and country.

"IMPORTS", Sydney General Trade List (5 December 1835), 1 

December 1. - RACHAEL (barque), 383 tons, Potter, master, from Liverpool via Hobart Town, John Lord & Co., agents . . .
6 packages musical instruments, F. Ellard . . .

"NEW MUSIC", The Sydney Monitor (12 December 1835), 2 

We have been favoured by Mr. Ellard with music for five Australian Quadrilles, to which we shall refer in our next.

ASSOCIATIONS: Francis Ellard (music seller, publisher)

[News], The Sydney Gazette and New South Wales Advertiser (12 December 1835), 2

We have before us a beautiful ballad, (the music said to be by a lady), and "The much admired Australian Quadrilles," published in Dublin by our enterprising fellow-colonist, Mr. Ellard, of Hunter-street, Sydney. There is a simplicity and beauty in the former which we are sure will attract the attention of all young ladies studying the pianoforte, and will be a very good addition to their initiatory studies. With regard to the second, we are satisfied that they will afford many unhappy hour of amusement to the Australian daughters and sons of Terpsichore. We strongly recommend them to the attention of the public.

"AUSTRALIAN MUSIC", The Sydney Herald (24 December 1835), 2

We have received from Mr. Ellard, the music-seller of Hunter-street, copies of some Colonial music, harmonised in Sydney, and printed by Mr. Ellard's father, Dublin. The music consists of a Ballad entitled "The Parting, composed by a young lady, the words by F. A. H." - the initials of whom are easily recognisable as those of a gentleman in the Colony, whose production, both music and poetry are said to be. The ballad is in an appropriate and pretty key (flats), and its melody and arrangement display a pleasing simplicity of style, without much originality. The rest of the sheets contain a new set of Australian Quadrilles, under the names of "La Sydney, La Woolloomoolloo, L'Illawarra, La Bong Bong, and L'Engehurst," the airs of which are taken from some of the new Operas, and arranged in easy keys for the benefit of young pianists.

"ERRATUM", The Sydney Herald (28 December 1835), 3

The notice of Mr. Ellard's new music in our last number, an omission was made; instead of the Ballad of F. A. H. being in "flats," it should have been three flats.

"DEATH", The Sydney Times (10 September 1836), 3 

On Thursday evening, at his new residence, Darlinghurst, Augustus Frederick Hely, Esq., J. P., many years Principal Superintendent of Convicts; an office which he filled with honor to himself and advantage to the Colony.

"Death", The Sydney Herald (12 September 1836), 3 

At his residence, Engehurst, on Thursday, the 8th instant, Frederick Augustus Hely, Esq., for many years Principal Superintendent of Convicts in this Colony. Mr. Hely was a gentleman of correct deportment, and of highly honourable principles. In the discharge of his official duties he was influenced by none; and we have reason to believe that few gentlemen in the colony were more generally successful in acquiring the good opinion of the respectable classes of colonial society.

"MARRIED", The Sydney Herald (4 January 1838), 3

On Wednesday last, at St. James' Church, Sydney, by the Lord Bishop of Australia, Gother K. Mann, Esq., of the Bombay Horse Artillery, to Mary, eldest daughter of the late F. A. Hely, Esq., of Engehurst, Sydney.

ASSOCIATIONS: William Grant Broughton (bishop)

"BRISBANE WATER [FROM A CORRESPONDENT]", The Colonist (3 October 1838), 2 

. . . We should not have alluded to this subject at all, had we not learnt incidentally, a few days ago, when at Brisbane Water, that Bishop Broughton was expected in that district, to consecrate the ground in which the late F. A. Hely, Esq., Principal Superintendent of Convicts, lyes interred at the bottom of his garden, and over which his family have recently erected a tasteful and chaste monument . . .

Extracts from the diary of Mary Caroline ("Minnie") Mann (1842-1936, Mary's daughter), during the visit of the Austrian Imperial frigate Novara to Sydney, 18 May 1858 to 31 January 1859; State Library of New South Wales; and as transcribed and edited by Michael Organ (TRANSCRIPTION) (ARCHIVED AT NLA PANDORA)

[November 1858] . . . Friday 5th - The house has been topsy turvy all the day getting a thorough cleaning. I gave Kate her music lesson and then mended my dress . . .

Monday 15th - We are in a great state of preparations today for last Thursday the Austrian Man of War "Novara" went into Dock and this morning Papa invited some of the Officers over this evening . . . This morning we frantically sent off for the Mitchells so I hope they will come - and so they did. The Officers came at seven o'clock. They were "Count Kielmansegge", "Maurice Monfroni de Montfort", "Count Alexy Carlomau", Prince "Kaiwde", The Pole (I do not know his name). We had coffee and tea brought in and handed round. About 8 o'clock the Deloctles came and we pushed aside the tables and danced till eleven o'clock after which we had supper and the Officers went away. It was a most delightful evening. I had the honour of dancing with the Prince. It was very late when he went. Asking Blanche about the Pole who she had been talking to all the evening.

ASSOCIATIONS: Novarra (Austro-Hungarian frigate); Blanche Mitchell (musical amateur, friend)

Tuesday 16th - After breakfast Papa took us over to the Island to see the Novara in Dock. Really it is the most magnificent vessel. Some of the officers came and showed us over the ship . . . In it among others thing we discovered a beautiful little Gondola and the Captain very kindly offered to take us out in the evening in it. So about one o'clock over came Captain Baron Pock with a strange officer who was introduced to us as Baron Walterskirchen. So when they came early then Mama invited them over again in the evening. They came about six o'clock and nearly all different officers to what there were last night, namely Captain von Pock, Monfroni de Montfort, Baron Walterskerchen, Macheschano a little Midshipman, but best of all they brought their beautiful Germanic band. I danced with them all and they dance extremely well especially Walterskirchen and he dances most beautifully. He is very nice looking indeed - in fact none of them look like foreigners. When they all left we agreed that they were the nicest officers we had ever seen, so gentlemanly and polite in everything . . .

Monday 22nd - I woke up this morning with a very severe headache and was dreadfully frightened that I should not be able to dance tonight but when evening was come I was much better. We were all dressed at 7 o'clock ready to receive our visitors. We were afraid that they would not come but we were agreeably disappointed for presently we saw the glimmer of a lantern up the road, so we immediately ran see and set ourselves down very soberly and presently in they walked, Count Keilmansegge first followed by a number of strange officers . . . After they had been here for some few minutes Papa pushed aside the tables and struck up a dance. While Mama played we were sadly in want of Ladies. The officers said that if their best bandsmen had not been taken ill they would have brought them over with them. All went on merrily when [...] was asked to sing. They said no, so one little man called out it is always "Och ya! Och neine!" He has gone by that name ever since. Alice and I sang "Hearts and Flowers". We then went on dancing. Every one wanted to dance with Baron Walterskerchen because he dances so very beautifully. In all my life I never danced with any one that that danced so well. He is also very good looking. Captain Baron Pock dances beautifully also. They left at 1/2 past eleven and we all declared that we had never spent a pleasanter evening. They were all so jealous because I danced often with Baron Walterskirchen. We went to bed about twelve o'clock.

Tuesday 30th - I do not know what to do with myself today. It has turned out such a beautiful day too. We received a note from Alice Mitchell to say that she and Blanche would be down at Papa's office by seven o'clock . . . The Austrians had a large steamer to convey the guests backwards and forwards from the ship. So we went down to the steamer. The steamer waited a few moments and then moved off from shore. There was a band on board. This was Blanches and my first ball and we determined that we would not dance with a single civilian . . . When directly we came on deck we engaged band 8 deep. They had two bands to relieve each other and certainly they played to perfection. Le Baron Richard Walterskirchen asked me to dance and I was so very sorry that my card was full. The names of all my partners that night were Le Prince Eugene de Wrede, Marquie Marearchy, Herr Kaluear, Count Keilmansegge, Le Baron Francis Cordon, Herr Monfroni de Montfort, Herr Natti, Herr Seuisey de Seuise, Le Baron August de Serbaneck. I did not miss one dance that night. The supper was most magnificent. We were very sorry to go away. Mr. Woods of HMS Victoria took us in his large boat. We landed Doctor Lawrence and Doctor Browny on board HMS Iris then Mr. Cary on Dawes Point and then Herr Winward found when we came home the sun was up I did not go to bed. Some of the offices were coming tonight. The other girls lay down and I am commencing another day and putting it all in one.

"Deaths", The Sydney Morning Herald (31 August 1901), 1 

MANN - On Friday, August 30, at Greenwich, Mary, widow of the late Captain Gother Mann, in her 83rd year.

"Death of Mrs. Gother Mann", The Sydney Morning Herald (31 August 1901), 8 

The death took place yesterday of Mrs. Mann, relict of the late Captain Gother Kerr Mann, of the Royal Engineers. Mrs. Mann was the eldest daughter of the late Mr. Frederick A. Hely, of Engehurst, and she was married on January 3, 1838, to Captain Mann. The diamond wedding was celebrated on January 3, 1898.

"TOPICS FOR THE BLOCK", The Australasian [Melbourne, VIC] (14 September 1901), 46 

Mrs. Gother Mann, widow of Captain G. K. Mann, of the Royal Engineers, who died at Greenwich, Lane Cove River, recently, had lived in Sydney for more than half a century {writes "Marcia"). To her home on Cockatoo Island (where her husband was superintendent) the young officers of visiting war-ships in the early days were always welcomed . . . In 1898 Captain and Mrs. Mann celebrated their diamond wedding, at which were present their four sons and eight daughters. Next year Captain Mann died. Two days before Mrs. Mann's death the wedding of her grandson, Mr. B. Clarke, with Miss Nellie Harriott (second cousin of Sir Joseph Abbott) took place. Mrs. Mann, who was 82, was a kindly old lady. She remarked on the morning of the wedding (when very ill), "I do hope I won't die to-day and spoil everything" . . .

"NAPOLEON'S GUITAR", Sunday Times (16 September 1917), 13 

Mrs. John Fell, of Northwood, has had presented to her on behalf of War Chest Day, an absolutely authenticated Napoleon guitar, presented by the French Emperor to Mrs. Abel, who afterwards gave it to her favorite pupil, Mary Hely, who became later the wife of the late Captain Gother Kerr Mann. Mrs. Abel was formerly a Miss Balcomb, and lived while a child with her father at St. Helena, where Napoleon made a great pet of her, and gave her this special guitar which had been presented to him by his sister Pauline, and on which he himself always played. It was taken to Europe by the Stricklands, and came into the possession of Mrs. Swann, who recently returned it to the Misses Gother Mann, who have now presented it to War Chest Day.

ASSOCIATIONS: Betsy Balcombe (? musical amateur); see the Hely guitar, at Matthew Stephens, "Songs of Home: Napoleon Bonaparte's guitar", Sydney Living Museums, 2019 (STREAMED VIDEO)

On the family provenance, see Andrew Messner, "The myth of the Napoleon guitar"; posted 14 November 2021 

Associated musical works:

The parting

The parting, a ballad, composed by a young lady, the words by F. A. H. ([Dublin: Ellard and Son, 1835])


The much admired Australian quadrilles . . . by Wm. Ellard (Dublin: Ellard, n.d. [1835])

The much admired Australian quadrilles

The much admired Australian quadrilles, containing La Sydney, La Wooloomooloo, La Illawarra, La Bong-Bong, and La Engehurst, dedicated by permission to Miss Hely of Engehurst, selected from the newest and most celebrated operas, and arranged for the piano forte or harp by Wm. Ellard (Dublin: [Ellard and Son], [1835]) (TROVE tagged by Australharmony)

See also checklist entry The much admired Australian quadrilles

Copy at University of Newcastle library, in Glennie family album, with titlepage, not digitised (CATALOGUE RECORD)

ASSOCIATIONS: Alfred Glennie (musical amateur)

Copy at State Library of New South Wales, lacks titlepage, digitised (DIGITISED)

Photocopy of University of Newcastle exemplar, with titlepage, at National Library of Australia, digitised (image above) (DIGITISED)

Mary and Gother Mann, on their 60th wedding anniversary, 1898 (Crown Studios, Sydney); State Library of New South Wales

Mary and Gother Mann, on their 60th wedding anniversary, 1898 (Crown Studios, Sydney); State Library of New South Wales (DIGITISED)

See also, "1838. Diamond Wedding. 1898. CAPTAIN AND MRS. GOTHER-KERR MANN", The Sydney Mail and New South Wales Advertiser (22 January 1898), 182 

Other family sources:

John Frederick Mann diary, October 1846 to 9 August 1847; State Library of New South Wales, DLMS 178/Item 1 (TRANSCRIPT)

[page 42] . . . Saturday 12th. Dec. [1846] . . . Had a visit today from some blacks five men and two boys - they could not speak English, but one boy said "by God" at the sight of some tobacco the Dr. gave to him, he probably had been to some of the stations . . . one of the blacks who came yesterday, lent Wammai 3 boomerangs to throw, the blacks are much troubled by the mosquitoes - [43] they commenced singing a song which W at once recognised . . .

ASSOCIATIONS: "the Dr. [doctor]" = Ludwig Leichhardt (explorer)

John Frederick Mann diary, 16 April 1857 to 10 September 1862; State Library of New South Wales, MLMSS 327/Box 1/Item 1 (TRANSCRIPT)

[page 167] [July 1859] . . . Wednesday 20. To University for oratoria Oration commenced at 1 pm. & very fine music - lasted till 4 pm - took Miss Husband with us - rain all day heavily - Fanny Mann still with us.

ASSOCIATIONS: Sydney University Musical Festival (July 1859)

[174] [September 1859] . . . Thursday 8 Alice married this day to Mr. Dauncey 77 Reg't – at St. John's Ch. by Mr. Croxton. Blanch. Minnie Mann. Alicia Mann. Miss James & Miss Hodgson bridesmaids - about 32 sat down to breakfast. To musical party - Govt House in Evening . . .

[178] [October 1859] . . . Thursday 6 Drawing. in evening to Govt House Musical party . . .

[183] [November 1859] . . . Wednesday 2 To Sydney to Lambs to enquire about house . . . recd invite to Govt House music . . .

[184] [November 1859] . . . Thursday 10. To Sydney in morning Musical party at Govt House . . .

[207] [February 1860] . . . Monday 5. In afternoon with Milly Blanche & Miss James, on board the Cassinni French Steamer, pleasant afternoon, they gave us a nice lunch and dancing & music etc then put us on shore at Darling Point. Alice & Minnie Mann went home today rain in morning. fine afternoon . . .

[255] [February 1861] . . . Thurs. 7. Milly to Sydney. music and Belasanis . . .

ASSOCIATIONS: John Frederick Mann (Mary's brother-in-law, younger brother of her husband)

Bibliography and resources:

C. Swancott, "Frederick Hely Among Bank Directors In 1834", The Gosford Times and Wyong District Advocate (20 February 1953), 9 

A. F. Pike, "Hely, Frederick Augustus (1794-1836)", Australian dictionary of biography 1 (1966)

Graeme Skinner (University of Sydney), "The invention of Australian music", Musicology Australia 37/2 (2015), (289-306), 304-05 (PAYWALL)


"Engehurst", Wikipedia 

HELY, Terrence (Terrence HELY)

Musical instrument maker, convict

Arrived Sydney, NSW, 29 June 1834 (per James Laing, from Dublin)


Terence Hely, aged 18, a "piano maker's boy", was convicted in Dublin on 1 December 1833 of robbing a till. Sentenced to 7 years, he arrived in NSW per James Laing on 29 June 1834. In 1837, he was assigned to the music seller Francis Ellard, also originally from Dublin.

Bibliography and resources:

Peter Mayberry, Irish Convicts to New South Wales 1788-1849

Marion Starr, Musical convicts, posted 5 May 2001

Following convicts assigned to Francis ELLARD in the 1837 records:

MUSTARD, Mary arr. Caroline 1832; convicted Jan 1832; from Co Cavan Ireland; stolen goods in possession; 7 years; 39 years; dairymaid and all work. (probably gen. servant for Ellard Family)

FULLARD James Henry, arr. Waterloo 3 August 1833; convicted 10 March 1832 Notts Assizes; robbing employer; 14 years; aged 25; musical instrument maker; from Dublin.

HEALY, Terence arr. James Laing 29 June 1834; convicted Dublin 1 dec. 1833; robbing till; 7 years; aged 18; piano makers boy; from Dublin.

ROBERTSON / ROBINSON Charles, arr Susan 9 July 1834; convicted Edinburgh 17 July 1833; shopbreaking; 7 years; aged 18; a turner; from Edinburgh

HEMMING, Mr. (Mr. HEMMING; ? William HEMMING, d. 1888)

Musical amateur, member Sydney Choral Society and Sydney Philharmonic Society

Active Sydney, NSW, 1850s


"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (15 May 1857), 6 

. . . Donations of music had been received from Mr. Gilbert Wright and Mr. Hemming . . .


Musician, violinist

Active Warwick, QLD, c. 1880s-90s



"ECHOES OF THE PAST", Warwick Daily News (13 March 1937), 3 

Nowadays Warwick has a number of bands - pipe, brass, mouthorgan, etc. - but in the days I am referring to the music for St. Patrick's processions was provided either by the late Bill Hemmings' father, "Natty" Hemmings, one of Warwick's best violinists; James Collins, better known perhaps as "Jim the Fiddler;" or a partly blind flute player by the name of Paddy Nolan. Can remember two of the "fiddler's" tunes - "Patrick's Day" and "Garry-owen."

HEMY, Henry (senior) (Henry HEMY; H. HEMY senior)

Pianoforte and harp tuner and repairer

Born Germany, 1780
Active Melbourne, VIC, November and December 1852
Died Newcastle, England, 17 June 1859, aged 79 (TROVE tagged by Australharmony)

HEMY, Henry Frederick (Henry Frederick HEMY; Henri F. HEMY)

Musician, pianist, tenor vocalist, composer

Born Newcastle-upon-Tyne, England, 12 November 1818
Arrived Melbourne, VIC, 17 December 1850 (per Madewaska, from Liverpool, 16 September)
Departed Melbourne, VIC, April 1852 (per Blundell, for England)
Died Hartlepool, Cleveland, England, 10 June 1888 (TROVE tagged) (NLA persistent identifier)


A "Mr. Hemy, a German" was a prominent Newcastle-upon-Tyne musician in 1827. Henri Hemy (1780-1859) was born in Germany, volunteered for service as a military musician with the Duke of Buccleuch and came to England in 1797. In 1852, evidently prompted by favourable reports sent by his son, Hemy senior also came to to Melbourne for a short time, and advertised in November and December as a piano and harp tuner, and a teacher of flute and instructor of wind instrument bands.

Of greater musical interest is the somewhat longer visit of his son, Henry F. Hemy, best known later as author of the extraordinarily popular Royal modern tutor for the pianoforte; published in 1858, it reached it 20th edition by April 1859, and remained in print well into the next century, including in several Australian "editions" (see, for instance, those by E. W. Cole and W. H. Paling).

Hemy was also composer of some of the most commonly sung English Roman Catholic hymns, including the tune commonly used for Faber's hymn Faith of our Fathers; usually known as St. Catherine, it first appeared in his collection Crown of Jesus (London & Dublin, 1864). Another, the hymn tune "Stella", was later associated in Australia with a children's song My ship's home from China with a cargo of tea.

Henry's son, the artist Charles Napier Hemy (1841-1917) recorded in a manuscript memoir, Days of my youth, travels with his family as a ten-year-old to and from Australia, and his adventures in the Victorian goldfields in 1851.

Hemy first appeared for Thomas Reed and Elizabeth Testar in their Melbourne concert series on 9 January 1851, when he was featured as pianist (playing a fantasia by Dohler), vocalist, and composer, the band playing for the "first time in Melbourne" his Chimes polka and Birthday quadrilles. On 11 January, he advertised that he had "commenced giving instruction on the pianoforte" from his residence in Stephen-Street and that:

Drawing-room, Evening Parties, and Balls attended, either with Pianoforte Solo, Piano and Violin, or with Messrs. Hemy and Reed's Select Quadrille Band. Terms as above, or at Mr. Reed's Musical Repository, 34, Collins-street West, where also Mr. H. F. Hemy's Compositions are on Sale.

In March, "four of the principal vocalists of Melbourne" announced that, as the Melbourne Glee Club, with Hemy as conductor pianist and conductor, they were open to engagement. He also took over the direction of a Mechanics' Institution Music Class.

Hemy composed at least two local titles during his short stay in the colonies, in June The Victoria quadrilles ("composed and dedicated to His Excellency Sir Charles Joseph La Trobe . . . by Henry F. Hemy"). In November, he advertised copies for sale of Hemy's Melbourne polkas, price 3s:

also Manuscript Copies of all his other Favorite Waltzes, Quadrilles and Polkas. The whole of the printed editions being sold.

Having last appeared in a concert in late September, in the same advertisement he indicated that he was resuming his professional duties from his residence at No. 1, Great Brunswick-street, Collingwood, so it was probably during October that he and his family visited to goldfields.

Due to unexpectedly protracted arrangements for returning home to England, he gave two farewell concerts, in January and February 1852, and the family had still not finally left when his wife gave birth to a daughter on board ship but still in the bay in April.


E. Mackenzie, A descriptive and historical account of the town & county of Newcastle-upon-Tyne, including the borough of Gateshead, volume 1 (Newcastle-upon-Tyne: Mackenzie and Dent, 1827), 592

"GATESHEAD MECHANICS' INSTITUTE", Local collections; or, records of remarkable events connected with the Borough of Gateshead 1848 (Gateshead-on-Tyne: William Douglas, 1848), 34

[Advertisement], Newcastle Guardian and Tyne Mercury [England] (22 June 1850), 1

DECIDED BARGAINS IN PIANOFORTES. MR. H. F. HEMY, RESPECTFULLY announces that in consequence of his intention to leave this country the latter part of the present year, he is selling off his stock of NEW and ELEGANT PIANOFORTES at less than Secondhand Prices; the Instruments are by the first London Makers, have all the most recent improvements, and are warranted. May be viewed at any time at his residence, 17, Eldon Street, Newcastle.
N.B. Mr. Hemy will resume his professional duties on the 22d July.

[Advertisement], The Argus (9 January 1851), 3

"THE CONCERT", The Argus (10 January 1851), 2

[Advertisement], The Argus (11 January 1851), 3

[Advertisement], The Argus (17 February 1851), 3

[Advertisement], The Argus (20 February 1851), 3


[Advertisement], The Argus (24 March 1851), 1

[Advertisement], The Argus (14 April 1851), 3


"THE CONCERT", The Argus (16 July 1851), 3

"THE POPULAR CONCERTS", The Argus (23 July 1851), 2

[Advertisement], The Argus (4 August 1851), 3

[Advertisement], The Argus (25 September 1851), 1

[2 advertisements], The Argus (13 November 1851), 3

[Advertisement], The Argus (2 January 1852), 3

[Advertisement], The Argus (16 February 1852), 3

"BIRTHS", The Argus (13 April 1852), 2

"HEMY'S LETTER ON AUSTRALIA. To the Editors", Newcastle Guardian and Tyne Mercury [England] (24 July 1852), 6

Gentlemen, - Allow me to make a few comments upon the letter of H. F. inserted in your paper last week, respecting the calamitous Condition of Australian emigrants, as I think that going unexplained or unimpeached before world, it will be calculated unnecessarily to disturb the peace of thousands, whose friends are already upon the wave for that distant place, and probably to unsettle the matured plans of many who are about start.

First, then, let me remark that this letter in question is entirely liferent from his preceding ones, the latter having been so eulogistic as to induce his father, brother, and sisters to seize the earliest opportunity of joining him; and they are now upon their way to meet him. Another letter received since they sailed, says he was then at the diggings, and was making a great deal of money. I have not access those letters to quote his exact words, but I am pretty well assured of the truth of the statement, and it will be seen that they contain a direct contradiction of his present assertion, that he "has returned a third time from the diggings without success." One or the other of these letters must be wrong, and the natural deduction is that we must hesitate in receiving either.

Admitting his last letter, however, to be correct, let me ask was Mr. Hemy at all likely to be a successful digger? All who knew him personally in Newcastle will at once admit that his person, habits, and education fitted him for handling the keys of piano-forte much better than the implements of a miner, and therefore his non-success is no criterion whatever for well-directed enterprise.

He says - "J---- W---- is at the diggings, but doing nothing, and poor Mrs. W---- dressmaking at Melbourne". Now, without making any comment on the supposition this carries that Mrs. W. is at all degraded by dressmaking, I will simply say that a letter received from her short time ago, said that her husband was only making about £50 a-mouth (£600 a-year) at the diggings!

He lengthens his epistle by coloured accounts of events which every one acquainted with the subject sets down at their proper value, but which thus drawn together form a "chapter of calamities" that frighten the timid and uninitiated. For instance, he says "Scores have made fortunes - hundreds have done pretty well - thousands have done nothing, and many have found a grave." The last sentence gives a peculiar touch of the sombre to the description, but it is what every one who reflects a moment will expect - people will of course die at the diggings as well as at other places. Again he says - "Houses are not to be had for money, and thousands of persons were camped on the outskirts of the town, others lying about the bales of wool on the wharfs." This is quite natural - houses are not built in day. All guide books recommend tents to be taken out, and, if there are those improvident enough to neglect this advice, it is equally natural that they should have to lie on the wharfs. Even this, in the dry, warm, elastic air of Australia is attended with no inconvenience or danger. The "hot winds" everybody expects, but it could not be so very over-powering if Mr. Hemy could ride fifty miles in it. Consider a ride of fifty miles in one of our own warm days, and then it will not perhaps appear so extraordinary that Mr. H.'s tongue "stuck to the roof of his mouth."

That there would be great confusion in Melbourne, and that provisions would rise by the great numbers flowing in, were also to be expected, but the last mail from Sydney brought intelligence that flour had there fallen to [? by] £8 to £10 per ton, (1s to 1s3d per stone), and other things in proportion, and they could not, therefore, long remain at famine prices in Victoria. That "neither life nor property is safe," is an assertion of graver purport, though it will bear any rendering; for, considering the robberies and murders constantly taking place among ourselves, the same assertion may be made of this country, but that it is true in the sense of upsetting of authority or immunity from punishment, is what all other reports hitherto contradict.

Hemy gives a number of personal details which will, perhaps, explain the true sense in which his letter must be received, and that without impugning the honesty of his intentions - namely, that his vocation being upset, and being unqualified for the hard manual labour of the Diggings, he has become disappointed and dissatisfied, and under these feelings has written the letter and determined to come home. The letter, furthermore, has evidently never been intended for publication, and I understand that it was by a gross breach of personal confidence that it was made public, for which the delinquent deserves a punishment, which I fear he will not receive. G. USHER, Newcastle, July 15, 1852.

[The above was omitted last week for want of room, and this week we have received the following additional note.]

If there was wanting further evidence of the worthlessness of Mr. Hemy's letter as a guide to those seeking information respecting the prospects of Australia, it will found in the fact come to my knowledge since my last letter was written, that the Stata (the vessel in which he said he had secured a cabin passage) has arrived, but without any Hemy in her cabin list.

[Advertisement], Newcastle Guardian and Tyne Mercury [England] (23 October 1852), 1

MUSICAL EDUCATION, &c. MR. HENRY F. HEMY HAS the honor to announce his return from Australia, and that he has resumed his Professional Duties in Newcastle, Shields, and Sunderland, as usual . . .

[Advertisement], The Argus (8 November 1852), 8 

PIANO-FORTE AND HARP TUNING, &c. MR. H. HEMY, Senr., begs to announce that he has commenced to tune Pianofortes and Harps; also, to give instructions on the Flute and to Wind Instrument Bands. Orders may be left with the Seoretary of the Mechanics' Institution, or with Herr Mater, 21, Russell-street.

[Advertisement], The Argus (18 December 1852), 3 

MR. H. HEMY, SENR. Pianoforte and Harp Tuner and Repairer. Orders may be left with the Secretary of the Mechanics' Institution; or Herr Mater, 21, Russell-street.

"NEW MUSICAL PUBLICATIONS", The Literary Gazette (9 April 1859), 473

"DEATHS" Newcastle Journal (18 June 1859), 8

In Northumberland Street, at the residence of his son, on the 17th inst. aged 79, Mr. Henry Hemy, sen., Professor of Music. he was the oldest member of the musical profession in Newcastle, and was highly respected.

"THE LATE MR. HEMY", The Newcastle Evening Chronicle (21 June 1859)

A few days ago we recorded the death of Mr. Henry Hemy. Father of Mr. Hemy, the musician and composer. Mr. Hemy we are informed was born in Saxe Gotha in lower Saxony in the year 1780 and received his musical and general education at the Saxe Gotha College at the same time and under the same masters as the present reigning Duke, the father of Prince Albert. When he was only 17 years of age an application was made to the college for musicians for the English army bands and by the Duke of Buccleuch for the Dumfries militia. Mr. Hemy volunteered for service under the Duke, and came to England in 1797. He afterwards married and selected Newcastle for his permanent residence. Many of the leading merchants and tradesmen of the town will remember they received lessons on the Flute from the attentive German master, and his name will be familiarly remembered among the old members of West Moor, Blyth, Bedlington, Cramlington, Carrs Hill, Beamish, Tantobie, Tanfield and many other local bands. In 1852 at the age of 72 with part of his family he went to the Australian gold fields but was unsuccessful and he returned to Newcastle to spend the remainder of his days here.

Bibliography and resources:

Charles Napier Hemy (Peter D. McGann, ed.), Days of my youth (Black Rock: Viglione Press; Mulgrave: Pelleus Press, 2009) 



Active Hackney, SA, 1855


"POLICE COURTS", South Australian Register (5 March 1855), 3

Theophilus Henderson, a wild-looking boy, was charged by Mr. C. Chamberlain, of Hackney, with stealing almonds from his garden the day previous. The boy pleaded guilty, and added that he committed the theft being unable to procure anything else to eat. Mr. Chamberlain stated that he was unwilling to prosecute the boy; but thought it his duty to call attention to the gross neglect of the boy's father, who paid no attention whatever to him or his brother. Mrs. Henderson, with her eldest sons, had gone to the diggings, and the father turned the younger children adrift, doing nothing for their support, and they were in consequence often reduced to live by depredations on the gardens or other exposed property of people in the suburbs. It was further stated that this man Henderson is a musician, and lives on the Beulah road . . .


Actor, manager, lessee

Married (? common law) Marie NELSON, by c. 1857
Active Melbourne, VIC, by 1857
Died Cannes, France, 1 February 1886



Last evening, the Princess's Theatre, in Parliament-place, was opened with Bellini's sublime opera of "Norma," supported by the most powerful cast ever seen in these colonies - Norma, sustained by Madame Anna Bishop; Adalgisa, by Madame Sara Flower; Clotilda, by Madame Leon Naej; Pollio, by Mr. Walter Sherwin; Flavius, by Mr. Norton; Oroveso, by Mr. Farquharson, and the priests and priestesses, by about thirty well-trained voices. So closely did the hour of opening tread on the heels of building operations, that the workmen were scarcely out of the building when the public began to crowd within its walls. As it was, only a portion of the gaseliers were erected, and a lesser number lighted. So far as we could observe, no other ventilation is provided than the perforated centre piece in the roof, consequently, the heat soon became almost insufferable. This must be remedied. The house presented a most elegant appearance, and reflects the highest credit on the enterprise and taste of Mr. Alexander Henderson, the lessee, and the manager, Mr. John Black. We have them to thank for the production of the grand opera in a style worthy of the Victorian metropolis . . .

ASSOCIATIONS: Sara Flower (vocalist); Madame Leon Naej (vocalist); Walter Sherwin (vocalist); Mr. Norton (vocalist); Robert Farquharson (vocalist); John Melton Black (manager); Princess Theatre (Melbourne venue)

"DEATH OF Mr. ALEXANDER HENDERSON", The Lorgnette [Melbourne, VIC] (13 April 1886), 2 


Soprano vocalist

Arrived Melbourne, VIC, 17 January 1862 (per Voltigern, from London, 4 October 1861)



Ella Henderson arrived in Australia with Emma Neville and George Loder in January 1862, and appeared with them in Loder's The rival prima donnas in Ballarat in February 1862. In September, she made her first, and perhaps only, Melbourne appearance in a stage performance of Midsummer night's dream with Loder conducting Mendelssohn's music. She is perhaps the Mrs. Ella Henderson who gave a concert at London's Hanover-Square Rooms in June 1858.


"CONCERTS", The Musical World (6 June 1857), 365

Morning Post (24 May 1858) and The Athenaeum (3 July 1858), 25

"ARRIVED, JAN.17", The Argus (18 January 1862), 4

[Advertisement], The Star (10 February 1862), 3

On Monday evening a numerous audience assembled within the walls of the Theatre Royal to do honor to the debut of Miss Emma Neville, Madame Ella Henderson, and Mr. George Loder, three aspirants for artistic fame, who happen to form the first instalment of novelties which Mr. Hoskins intends in succession to place before his Ballarat patrons, on resuming the managerial sway . . . After a short interval, the entertainment was followed by a soiree musicale, the stage being fitted up as a private apartment, and occupied by Miss Neville, Madame Ella Henderson, and Mr. Loder, who presided at the pianoforte. This was preceded by an overture founded on airs from "Ernani", in which Mr. Thomas King, as leader, performed solos on the clarionet. This portion of the entertainment afforded an opportunity of Madame Henderson to show her capabilities. These were exhibited both in solos and concerted music, and she was most deservedly applauded.

"THEATRE ROYAL", The Star (18 February 1862), 2

[News], The Star (21 February 1862), 2

"NEWS AND NOTES", The Star (25 February 1862), 2

"NEWS AND NOTES", The Star (27 February 1862), 2

"NEWS AND NOTES", The Star (28 February 1862), 2

"NEWS AND NOTES", The Star (3 March 1862), 2

[Advertisement], The Argus (23 August 1862), 8

? "SHIPPING INTELLIGENCE", The Argus (26 May 1866), 4

HENHAM, Professor (Professor HENHAM)

Dancing master, professor of dancing

Active Ballarat, VIC, by 1858


[Advertisement], The Star [Ballarat, VIC] (27 April 1858), 4 

[Advertisement], The Argus [Melbourne, VIC] (4 May 1858), 7 


Amateur musician, band leader, publican, hotelkeeper

Active Beechworth, VIC, by 1860


Theatrical scene painter and designer, musical amateur

Active Melbourne, VIC, c. 1860


Baritone vocalist, actor

Active Sydney, NSW, March-June 1839

See also Joseph and Madame Gautrot


With the Minards and Gautrots, Henry was the fifth member of the French operatic troupe that played at Wyatt's Royal Victoria in Sydney in March-April 1839. Henry may already have been settled in Sydney, for he neither arrived with the rest of the party from Batavia on 1 March, nor left with the Minards for London in April. Indeed, at Simes's benefit at the theatre in June 1839 it was advertised:

Mons. Henry, of the French Operatic Company, who has with great kindness volunteered his assistance, will appear and sing the celebrated bravura of 'NON PIU ANDRAI' from the popular Opera of The Barber of Seville.

Circumstantial evidence from their earlier stay in Batavia suggests that "M. Henry" was in fact the Gautrots's son.


"ARRIVALS", The Colonist (2 March 1839), 2

[News], The Australian (7 March 1839), 3

[Advertisement], The Australian (14 March 1839), 3

"THE FRENCH PERFORMERS", The Sydney Herald (18 March 1839), 3

"THE THEATRE", The Sydney Monitor (18 March 1839), 3

"THE FRENCH PERFORMERS", The Sydney Gazette and New South Wales Advertiser (19 March 1839), 2

"THE THEATRE", The Australian (19 March 1839), 2

"ROYAL VICTORIA THEATRE", The Sydney Herald (22 March 1839), 2

"THE THEATRE", The Australian (26 March 1839), 2

M. Henry sang Largo al Factotum, from the French adaptation of the Barber of Seville. He excused [sic] it with much energy and vivacity, but his voice (a baritone) has not sufficient stamina for such a piece.

"ROYAL VICTORIA THEATRE", The Sydney Herald (5 April 1839), 2

[Advertisement], The Sydney Monitor (12 April 1839), 3

"SAILED", The Australian (25 April 1839), 2

[Advertisement], The Sydney Monitor (17 June 1839), 3

HENRY, Caroline Margaret (Caroline Margaret HENRY; Miss HENRY; Mrs. H. B. NICHOLLS)

Musician, organist (St. John's Church, Launceston)

Born Hobart Town, VDL (TAS), 1 August 1836
Active Launceston, TAS, mid to late 1850s
Married Henry Berkley NICHOLLS (1828-1906), Launceston, 1858
Died Windsor, VIC, 30 March 1902, aged 65


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

. . . Some years later than this Mrs. Nairn became organist; at one time the post was occupied by Mr. Beckford, who, being unfortunate in farming pursuits, removed to town and entered into business . . . I believe Miss Henry, now Mrs. H. B. Nicholls, was at one time organist at St. John's, then Mr. William Snelling, afterwards Mr. Tom Sharp, who held the post for many years. He added as octave of pedals to the organ, which, though an instrument of exceptional sweetness and mellowness of tone, was without these necessary aids to modern playing . . .

"Deaths", The Mercury (31 March 1902), 1 

NICHOLLS. - On March 30, 1902, at her residence, Windsor, Victoria, Caroline Margaret, the wife of H. B. Nicholls, aged 65.

HENSLER, William L. (William L. HENSLER)

American composer

Musical work:

Australia polka (Baltimore: Miller and Beacham, 1854)

HENSLOWE, Francis Hartwell (Francis Hartwell HENSLOWE; F. H. HENSLOWE)

Amateur musician, vocalist, composer, public servant

Born London, England 1811
Arrived Sydney, NSW, 25 July 1839 (per Strathfieldsay, from Plymouth, 8 April)
Departed Hobart, TAS, April 1864 (per Bombay via Melbourne, 26 April, for India)
Died Lee, Kent, England, 10 May 1878 (TROVE tagged by Australharmony) (NLA persistent identifier)


Henslowe has the makings of one of the more interestingly varied early colonial biographies, having been a fine and quite prolific amateur composer, and a leading civil servant, a clerk of Tasmania's Legislative Council from 1851 and of the elected Assembly from 1858. He also has a very interesting lineage.

He was born in London, three years after the death of his celebrated composer grandfather, François Hippolyte Barthélémon (1741-1808), Haydn's London friend and host. His mother, presumably also his music teacher, Celia Maria Barthélémon-Henslowe (1767-1859), was also a concert pianist and published composer before her marriage in 1797. She, in turn, received lessons from her family's house-guest, Haydn. Her published works include the cantata The Capture of the Cape of Good Hope (1795), and three piano sonatas, the third, Op.3 (1794), dedicated to Haydn. She, and perhaps Francis too, believed that an ancestor, Anthony Young, had composed the tune of God Save the King.

In July 1839, Henslowe and his wife arrived in Sydney, where her father Robert Allwood was a leading Episcopalian clergyman, intending to open a school. But they moved on to Hobart in 1841, where Henslowe was appointed private secretary to governor John Franklin.

In a letter (Jane and John Franklin to Mrs. Simpkinson, 23 February 1841), the Franklins wrote:

You will be glad to know that I find Mr. Henslowe a very good Secretary, he is gentlemanly and mild in his manners, and very assiduous in the performance of his duties. His wife is a lady-like person, both she and he keep very retired and have no desire to enter into any of the Society here.

When Franklin left Tasmania in 1842, he appointed Henslowe police magistrate of Campbell Town. Though Henslowe published a large number of musical works in Hobart, there is scant evidence of performances.

Henslowe left Australia for India in the mid-1860s, and died in England in 1878.  The English author and song composer Fanny Henslowe was his sister.


"ARRIVALS", The Sydney Gazette and New South Wales Advertiser (27 July 1839), 2

[Advertisement], The Sydney Herald (1 November 1839), 3

"MECHANICS' SCHOOL OF ARTS. PNEUMATICS", The Colonist (1 July 1840), 4

"GOVERNMENT NOTICE. No.44", The Courier (5 February 1841), 2

Diary entry, George Boyes, 18 August 1848, Hobart, VDL (TAS); diary, 30 August 1847 to 29 September 1848; University of Tasmania Library Special and Rare Materials Collection (DIGITISED - PDF)

(79) [1848] August 18 . . . Henslowe sent me a letter introducing the bearer as a lady who had resided at Campbell Town some years giving Lessons in Music to the Children but having completed their education is now out of work. He requests me to be civil to her and assist her [?] by recommendations & c. She is an Irishwoman and one of the liveliest if not most eccentric of Erin's daughters. Her whole form shook with nervous agitation and she really talked about pupils as though there was no doubt of her success and that a whole orchestra was just now waiting to receive their finishing touches of Harmony from her master hand . . .

ASSOCIATIONS: George Boyes (musical amateur, public servant, diarist); Marian Maria Chester (musician, vocalist, teacher)

Letter from Francis Hartwell Henslowe, Campbell Town, Van Diemen's Land, 17 August 1849, to the author Charles Dickens, sending copies of Songs of Zion nos. 1 and 2, and Where is thy home; in the Misses Dickens' bound volume of printed vocal sheet music, State Library of New South Wales (DIGITSED)

[1r] Campbell Town, Van Diemen's Land, 17 August 1849

Sir, Out of thousands of strangers whom your genius has attached to you with all the affection and more than the veneration of familiar friends I doubt not that there are many who imagine that their talents give them a right (or at least an excuse) to importune you, Charles Dickens Esq. & & & [with] [1v] with their productions, & thus you are therefore in the habit of looking at strange packets with suspicion and dread. Nevertheless as I venture to approach you in all humility of insignificance without a shadow of a claim in respect of talent, I trust that this natural dread will not cause you to reject an offering from "underneath the world" which has no claim upon your interest [2r] save the motives which have left to its taking its present form and the spirit in which this offering is made to you.

You may easily imagine that at the Antipodes, even tho' the privations may not be so great, the yearning for Home and Home appreciations are pretty easily as powerful as in your ideal of desolation, the Valley of Eden.

Driven into this banishment by the delicate health of my wife [2v] my chief relaxation from official duties has been music, and as but little sympathy in such pursuits is to be found in Antipodean society, I have been induced to note down occasionally (for communication to dear friends far away) ideas of melody which under other circumstances would not have been deemed worthy of being committed to paper. The motive which has induced me to publish in this Colony these crude [3r] productions has been a desire to encourage among the young people of the district committed to my charge the cultivation of more intellectual & refined tastes than are generally thought of in "the Bush."

But why trouble you with them? I am led to take this liberty because that desire to humanise, which in your case associated with transcendent forces has worked out such glorious results, has had a share in calling these productions into existence - and I have [3v] formed a hope that you would look upon Music composed & printed in Van Diemen's Land under such an influence, however deficient in merit on the score of beauty or originality with curiosity if not with interest. If this hope has been deceptive, pardon me.

If otherwise accept this offering as an humble tribute to a genius which I look up to as an instrument in the Hand of God for the best and highest ends, from one who has many and many a [4r] time felt its holy & softening affect not only in his own case but in that of those who are most dear to him. Your being the only individual (out of the immediate sphere of my relations & friends) upon whom I have obtained these things may I hope be an additional excuse for my presumption.

[4v] That you may long live to wield the power which has hitherto so successfully and so religiously been excited for the noblest purposes,
Sir, your most obedient Humble Servant
Fr. Hartwell Henslowe.

[PS] With reference to "Where is thy Home" it may be mentioned that I had the good fortune many years ago to be a pupil of Mr. Evans at Trinity College Cambridge.

"CLERKSHIP OF THE ASSEMBLY", The Mercury (6 April 1864), 2

"MELBOURNE. CLEARED OUT", Empire (2 May 1864), 4

"THE LATE MR. F. H. HENSLOWE", The Mercury (11 July 1878), 2

We have to record the death of another gentleman formerly resident in this colony, Mr. Francis Hartwell Henslowe, who died on the 10th May last, at his late residence, Lee, Kent, England. Deceased was son of the Rev. Mr. Henslowe (author of some beautiful sermons), and a brother of Miss Henslowe, the accomplished and celebrated poetess. He was also nephew of Professor Henslowe, who wrote on Botany, and also brother of Capt. Henslowe, R.N., a Knight of Windsor, still living in Hobart Town. Deceased originally went from his native county, Kent, to New South Wales with the view of starting an educational establishment; but his plans were altered and arriving in Tasmania in 1841, he became Private Secretary to Sir John Franklin, Lieut.-Governor of this colony. When His Excellency left in 1842, he appointed Mr. Henslowe, Police Magistrate of Campbell Town. After filling that situation for five or six years, he was appointed. Clerk of the Executive and Legislative Councils. On the establishment of Representative Government in 1856, he became Clerk to the House of Assembly, and in that capacity did good service in organizing the form of the Journals of Parliament, and from his amiable and obliging disposition, secured the esteem of the members of the House. He was recognised as an authority on constitutional points. He continued to hold the position until April, 1864, when he was permitted to retire on the ground of indifferent health and weak eyesight, the pension awarded him being £230, which by his death now of course falls in. . . . Soon afterwards Mr. Henslowe embarked for India, and the change of climate having, it is presumed, favourably influenced his health, he accepted the position of manager of one of the large Madras Irrigation Companies, which he held for ten years with a salary of £1,500 a year, when the Company broke up, and he went back to England, three or four years ago. Mr. Henslowe married a daughter of Canon Allwood, of the diocese of New South Wales, by whom he had two sons and two daughters . . . He had a great taste for music, and composed several songs, which were published in the colony. He was a member of the original Scientific Society, from which sprang the Royal Society of Tasmania . . . As Mr. Henslowe was said to be 58 years old when he was pensioned, he must have been in his 72nd year at the time of his death.

Musical works:

Song of Zion, nos. 1 to 4 (State Library of Tasmania)

Songs of Zion no. 1, Psalm XIX, Thy glory, Lord, the heavens declare ("The Words by James Montgomery; The Music by Francis Hartwell Henslowe") (Hobart: Thomas Browne, [1849]) 

Songs of Zion no. 2, Psalm 39, Lord, let me know mine end (Words: James Montgomery) (Hobart: Thomas Browne, [1849]) 

Songs of Zion no. 3, Psalm 43, Judge me Lord in righteousness (Words: James Montgomery) (Hobart: Thomas Browne, [1849]) 

Songs of Zion no. 4, Psalm 130, Out of the depths of woe (Words: James Montgomery) (Hobart: Thomas Browne, [1849]) 

Where is thy home? (words: Robert Wilson Evans) (Hobart: Thomas Browne, [1849]) 

The Campbell-Town waltzes ("Dedicated to the ladies of the district") (Hobart: Thomas Browne, 1849) (State Library of Tasmania copy autographed by the composer, Nov. 1851) 

The song of the fairies (new vocal trio, from Bulwer's Pilgrims of the Rhine) (performed at Lewis Lavenu's Hobart concert July 1854)

The Northdown bridal polka (Hobart: Huxtable & Deakin, [1854]) 

The wanderer's farewell (words: H. Butler Stoney) (Hobart: Huxtable & Deakin, [1855]; in The Tasmanian lyre) 

The song of the fair emigrant (words: John Abbott; view of Hobart Town on cover) (Hobart Town: R. V. Hood, 1854) 

The Louis Napoleon polka ("Exposition de 1855" [Paris]) (Hobarton: R. V. Hood, [1854]) 

The dying soldier's legacy (a song of the war) (words: John Abbott) ("Patriotic Fund, Tasmania") (Hobart: Huxtable & Deakin, [1855]) 

L'espérance (duet for two tenors) ([Hobart: Henslowe, 1855]); ("lithographed and printed in colours by Mr. Henslowe, junior")

The Charlie Parker polka ("Midland Grand Steeple Chase Waltzes. No. 3"; nos. 1 & 2 unidentified) (Hobart Town: R. V. Hood, [1855]) 

Lord keep my memory green ("dedicated to Charles Dickens"; "19th November, 1856") (Tasmania: F. B. Henslowe, Lith., 1856) 

The amethyst polka and The Iris waltz ("Composed by F.H.H., Hobart Town, Tasmania, 15th January 1859") (London: J. H. Jewell, 1859) 

Tomorrow: a farewell song (words: Mrs. C. Meredith) ("Addressed to Mrs. Alfred Wilkins") (Hobart: [?], 1862) 

Flowers (words: P. V. De Montgomery) ("Hobart Town, 30th September 1862") (Hobart: [?], 1862) 

Other sources:

Misses Dickens music album; State Library of New South Wales 

Contains various pieces of music with inscriptions dedicated to Mrs. Charles Dickens; also includes autograph letter from the composer Francis Hartwell Henslowe to Charles Dickens dated 17 August 1849, and copies of 2 of the Songs of Zion

Bibliography and resources:

G. T. Stilwell, "Henslowe, Francis Hartwell (1811-1878)", Australian dictionary of biography 1 (1966)

Susan Wollenberg, "Barthélémon, Cecilia Maria (1767-1859)", Oxford dictionary of national biography (2004; online edn: 2006)

Skinner 2011, 291-94 (DIGITISED)

HENSMAN, Alfred Peach (Alfred Peach HENSMAN; Mr. Justice HENSMAN)

Amateur musician, violinist, conductor, judge

Born England, 12 May 1834
Arrived WA, 11 May 1884 (per Ballarat, from London)
Died England, 5 October 1902 (NLA persistent identifier)




"DEATH OF MR. JUSTICE HENSMAN", The West Australian (8 October 1902), 5

. . . Of Mr. Justice Hensman's services in stimulating a love for the art of music, much might be said. For years he was the conductor of the Perth Musical Union, which, under his direction, produced "The Messiah," "The Creation," "Elijah," and other great oratorios. An accomplished musician himself, playing the violin, almost with the magic charm of a master, and inspired with a classical taste which caused it to be said of him that he was "nothing, if not a purist in music." He devoted no small amount of his leisure, before he was raised to the Bench, in encouraging the people of the metropolitan centre to enter the higher realms of music. Around him he gathered a large circle of men and women, infected with his own enthusiasm, and the result of the efforts thus put forth to raise the tastes of the people gained for Perth and Fremantle the name of being one of the most musical communities in Australia. Among those who joined with him in this work, may fitly be mentioned Mrs. Hensman, their daughter, the late Mrs. Adam Jameson, Sir Alexander and Lady Onslow, Miss Kelsall, and Mr. Henry Wright. Mr. Hensman's violin was frequently heard at other concerts besides those of the Musical Union, and his playing was always heard with the keenest enjoyment.

"DEATH OF MR. JUSTICE HENSMAN", Western Mail (11 October 1902), 10

Bibliography and resources:

Wendy Birnam, "Hensman, Alfred Peach (1834-1902)", Australian dictionary of biography 4 (1972)

HENSON, Mrs. (Mrs. HENSON; ? Mrs. Charles HENSON)

Vocalist, actor

Active Hobart and Launceston, VDL (TAS), 1833-35 (TROVE tagged by Australharmony)


Mrs. Henson appeared in both concerts and at the theatre for John Philip Deane from 1833 until she disappeared completely from record after August 1835. The Mr. Henson who also appeared at the theatre as an actor was presumably her husband. Was she perhaps the wife of Charles Henson, whose household effects (including a pianoforte) were auctioned off in March 1836?


[News], Colonial Times (30 July 1833), 2

. . . The Duett "My Pretty Page", Mrs. Henson and Master Deane, was very fairly sung - we have heard it much better performed by the same singers, at Mr. Deane's private concerts - but the audience were satisfied; it was encored, and certainly the repetition was an improvement; perhaps this may be owing to a little want of confidence on the part of Mrs. Henson. That lady's voice is certainly very sweet, it is not powerful, neither is there the least energy in her singing; this is, however, a failing which two or three public appearances will entirely dissipate. There is no trifling contrast between the manner of appearance of the two ladies, Mrs. Davis and Mrs. Henson; the first has all the little stage tricks, of such advantage to a public singer; nay, she has too much so; whereas Mrs. Henson, were she to copy a little from that lady, she would wonderfully improve, when presenting herself before an audience. 

"The Concert", The Colonist and Van Diemen's Land Commercial and Agricultural Advertiser (5 November 1833), 3 

The public expectation, which was so much excited on the occasion of Mr. Peck's first Concert, has not been disappointed; and, we may safely say, that the entertainments of Wednesday evening were superior to any which have preceded them in Hobart Town . . . On Mrs. HENSON making her appearance, she was received with the strongest marks of approbation, and was deservedly encored in Lee's favorite song, "Away to the Mountain's Brow," which she gave with her usual sweetness and precision.

[Advertisement], Colonial Times (11 March 1834), 1

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

Mrs. Henson's "He was despised" was just suited for her voice. There is a melancholy sweetness about her singing which beautifully corresponds with the plaintiff music of the song.

"To the Editor", The Hobart Town Courier (28 March 1834), 4

"To the Editor", Colonial Times (1 April 1834), 6

[News], Colonial Times (6 May 1834), 5

[Advertisement], Colonial Times (7 October 1834), 3

[Advertisement], The Hobart Town Courier (29 May 1835), 3

[Advertisement], Launceston Advertiser (13 August 1835), 2

[Advertisement], Colonial Times (29 March 1836), 2

HENSON, Miss (Miss HENSON; ? The Misses HENSON)

Music teacher and dressmaker, soprano vocalist

Active SA, 1868-81


"WILLUNGA", South Australian Register (16 May 1868), 2

"HENSON V. CRADOCK", South Australian Chronicle (5 November 1870), 2

"PHILHARMONIC SOCIETY'S CONCERT", South Australian Register (22 December 1874), 7

[Advertisement], South Australian Register (4 June 1881), 1

HENWOOD, Francis

Musician, bandsman, Band of the 4th Regiment


Musician, pianist, vocalist

Active Melbourne, VIC, 1857


[Advertisement], The Argus [Melbourne, VIC] (25 May 1857), 1 

PIANIST and VOCALIST, is DESIROUS of an immediate ENGAGEMENT, in town or country.
Address Mr. C. Herbert, at Chapman's, Swanston-street.

ASSOCIATIONS: George Chapman (musicseller)

HERBERT, Elizabeth Ann (Elizabeth Ann McGREGOR; alias Miss HERBERT; Mrs. John Lionel LEMON, alias SEFTON)


Born c. 1830
Active Bendigo, VIC, by January 1854
Married John Lionel LEMON (d. 1876), St. Peter's church, Melbourne, VIC, 6 March 1858
Died Inglewood, VIC, 9 June 1860, aged "30" (TROVE tagged by Australharmony)


"BENDIGO (FROM OUR OWN CORRESPONDENT) Sandhurst, January 18th, 1854", The Argus [Melbourne, VIC] (23 January 1854), 5 

"MARRIAGES", The Argus (13 March 1858), 4 

On the 6th inst., at St. Peter's Church, by licence, J. L. Lemon, to Elizabeth Ann MacGregor.

"DIED", Bendigo Advertiser [VIC] (11 June 1860), 2 

On 9th June, at Inglewood, of exhaustion, consequent on a severe illness, Elizabeth Ann, the beloved wife of J. L. Lemon, of the Theatre Royal, Inglewood.

"DEATH OF MISS HERBERT", Bendigo Advertiser (11 June 1860), 3 

It is with great regret that we have to call attention to the announcement in our obituary in to-day's issue of the death of Miss Herbert, the wife of Mr. Lemon, known by his theatrical cognomen of Mr. Sefton. Miss Herbert was long connected with the theatrical profession in this colony, and more particularly connected with the early days of theatres on Bendigo. Miss Herbert had been engaged with the company of the Messrs. Younge, at Inglewood, to which place she accompanied them about a fortnight since when the company left the Lyceum Theatre here. It appears that on Thursday week last Miss Herbert caught a very severe cold, which, despite every care and attention, gradually became worse, and ultimately caused congestion of the lungs, from which she expired on Saturday, about one o'clock in the day. She was attended by Dr. Candiottis and two other medical men, who used every available means for her recovery, but unfortunately without any beneficial result. The body of Miss Herbert was yesterday brought from Inglewood to Sandhurst, and deposited in the Sandhurst Hotel, whence it will be removed to-day to its last earthly resting place in the Back Creek Cemetery. Her death has caused a blank in the company of which she was a member, and the feeling of regret which they all experience at her death, will, we are sure, be very generally shared in by all who knew her on Bendigo. Miss Herbert was an actress of no ordinary ability. She was very unequal in her performances, but we have seen her on many occasions act with a truthfulness and force that would do credit to any stage.


Bagpiper, convict

Arrived Sydney, NSW, 12 December 1829 (convict per Larkins, from Cork)


[Absconded], The Sydney Gazette and New South Wales Advertiser (12 April 1832), 2

Herbert[,] James, No. 29-3037, Larkins, 24, Bagpiper and Labourer, King's County, 5 feet 5, hazle eyes, light brown hair, ruddy freckled comp. from Hyde Park Barrack.

[Absconded], The Sydney Gazette and New South Wales Advertiser (3 May 1852), 2 

Herbert James, No. 29-3037, Larkins, 23, Bagpiper, King's County, 5 feet 5, hazel eyes, light brown hair, ruddy freckled comp., lame of right leg, from No. 26 Road Gang. 2d time of running.

[Assignments], The Sydney Gazette and New South Wales Advertiser (21 June 1832), 2 

509. Herbert James, Larkins, bagpiper, to Peter Howell, Sydney.

[Assignments], The Sydney Gazette and New South Wales Advertiser (9 August 1832), 1 

1462. Herbert James, Larkins, bagpiper, to C. O'Brien, Illawarra.

HERRMANN, Frederick Zeugheer (Frederick Zeugheer HERRMANN; Zeughur; usually HERMANN)

Musician, violinist

Born Liverpool, England, 1845 (4th quarter); son of Jakob ZEUGHEER HERRMANN (1803-1865) and Anna BARRINGTON (c. 1812-1884)
Active Brisbane-Rockhampton, QLD, by 1863; Maitland, NSW, by 1865
Died West Perth, WA, 16 February 1925



Professor of Music

Active Sydney, NSW, 1881


Active Sydney, NSW, 1882


"SHIPPING", The Courier (7 July 1863), 2

"MR. P. C. CUNNINGHAME", Rockhampton Bulletin (14 July 1863), 2

[Advertisement], The Maitland Mercury (25 July 1865), 1

"OLYMPIC THEATRE", The Maitland Mercury (3 June 1865), 2

"DR. CHAS. HORN'S AND MR. M. H. WILSON'S CONCERT", The Maitland Mercury (7 October 1865), 2

[Advertisement], The Maitland Mercury (21 December 1872), 1

[Advertisement], The Sydney Morning Herald (20 August 1881), 2

[Advertisement], The Sydney Morning Herald (2 May 1882), 2

"CREMORNE GARDENS", The West Australian (9 November 1896), 6

"PERTH ORCHESTRAL SOCIETY", The Daily News (18 May 1908), 6

"DEATHS", The West Australian (17 February 1925), 1 

ZEUGHUR-HERRMANN. - On February 16, at his residence, 80 Colin-street, West Perth, Frederick, relict of the late Margaret Zeughur-Herrmann, fond lather of Linda, Verena, and Frederick, and the late Winnie Herrmann, grandfather of Dorothy Dullard, and uncle of Alice Patten, aged 80 years.

HERRMANN, William Zeugheer (William Zeugheer HERRMANN; usu. HERMANN)

Violinist, pianist

Born Liverpool, England, 1853 (2nd quarter); son of Jakob ZEUGHEER HERRMANN (1803-1865) and Anna BARRINGTON (c. 1812-1884)
Active Sydney, NSW, by 1863



"ORPHEONIST SOCIETY", Empire (22 December 1863), 5

"PHILHARMONIC CONCERT", The Sydney Morning Herald (11 March 1864), 4

[Advertisement], The Argus (28 April 1864), 8

"CLEARANCES", The Sydney Morning Herald (21 June 1865), 4

[Advertisement], The Sydney Morning Herald (21 February 1866), 8

"MUSIC AND DRAMA", Empire (22 March 1866), 5

"HERR HERRMANN'S CONCERT", Empire (21 February 1866), 4

The entertainment to be given at the Masonic hall tomorrow evening is one which cannot fail to attract the attention of those who really love music for the art itself. Herr Herrman, who, unfortunately for the cause of which he is so able an exponent, has been heard but too seldom in public, is acknowledged to be the best pianist now in Sydney, and a worthy successor to the lamented artist, Boulanger. He will on this occasion be assisted by Mr. John Hill, who will take part in this concert as violinist, pianist, and harmonium executant; by Mr. Deane, violoncellist, and two gentlemen amateurs as instrumentalists; whilst the vocal portion of the concert will be carried out by Mrs. Cordner and Mr. C. W. Rayner-the latter having attained a high position here as vocalist and teacher. The programme is peculiarly interesting, comprising classical music, which will, at the same time, be pleasing and varied, with several popular pieces. It will include Hummel's grand quintet, for piano and stringed instruments . . .

"MR. W. HERMANN'S CONCERT", Empire (23 February 1866), 4

"LAW. SUPREME COURT. - FRIDAY", Empire (25 August 1866), 3 

HERMANN V. DESSAUR AND ANOTHER. This was an action for the recovery of £300, money lent, and £11 6s. interest. The plaintiff was a music teacher, and the defendants had been in business in Sydney, ostensibly as merchants. The money was lent in April last, and was to have been returned in June with interest at 15 per cent.; but the defendants did not pay back the money, and hence the present action, since the commencement of the suit the defendants had absconded, to California. The jury found a verdict for the plaintiff for the amount claimed, and his Honor [Alfred Stephen] granted immediate execution, as it was stated that the defendants had left some property behind them. Mr. Windeyer appeared for the plaintiff.

"INSOLVENCY COURT", Empire (13 September 1866), 5

"INSOLVENT COURT", Empire (28 September 1866), 8

[Advertisement], The Sydney Morning Herald (6 April 1881), 1

HERMES, Alfred (Alfred Jerome HERMES; Alfred HERMES)

Musician, professor of music, bandmaster, composer

Born Villeneuve sur Lot, France, 10 September 1848; son of Alfred Joseph HERMES and Louise FOURNIER
Arrived Sydney, NSW, 7 July 1872 (per Bruat, from New Caledonia)
Married Mary McGONIGAL, Home Rule (near Gulgong), NSW, 14 January 1875
Died Stanmore, NSW, 24 August 1917 (TROVE tagged by Australharmony) (shareable link to this entry)


Alfred Hermes, bandmaster, with the Volunteer Artillery Band, Sydney, c. early 1880s

Alfred Hermes, bandmaster, with the Volunteer Artillery Band, Sydney, c. 1880-82


Alfred Hermes arrived in Sydney in July 1872 as timonier (helmsman and junior officer) on the French military steam aviso, the Bruat, and jumped ship. He married Mary McGonigal at Home Rule, NSW, in 1875, and in 1876-77 was working as an upholsterer in Mudgee, while also serving as bandmaster of the Mudgee Volunteer Band. By 1878, he was in Sydney, briefly as bandmaster of the Redfern Band and the Ashfield Brass band in 1879-80, as bandmaster of the Volunteer Artillery Band in 1881-82, and by 1883 of the Permanent Artillery Band. He was also music and singing instructor at St. Ignatius College.

As late as 1942, in Perth, WA, a Mrs. M. G. Mercer advanced the unlikely claim that her father, William Maxwell McEwen, was the rightful author of the words of Advance Australia fair, written at the request of Hermes, then conductor of the Ashfield Band, and that he (Hermes) had composed music for them. However, the original sheet music of Advance Australia fair was first advertised in December 1878.

NOTE: Hermes's grave inscription in the Catholic mortuary at Rookwood, has: "b. France, 11 Sep 1853", evidently the birthday (almost) correct, but the year wrong

With thanks to Simon Hermes, 2021, for kindly sharing information on Hermes's first arrival in Australia, and for the photo reproduced above


Musician, bandsman (band of the 40th Regiment)

Active Melbourne, VIC, 1859

ASSOCIATIONS: Band of the 40th Regiment (second tour)


"CORONER'S INQUESTS", The Age (29 November 1859), 3 

. . . James Herrgston, sworn: I am in the band of the 40th Regiment. I was passing up Elizabeth street on Friday night last, between nine and ten o'clock with several of our band. I saw deceased lying upon the pavement . . .

"FATAL ACCIDENT, THROUGH INTEMPERANCE", The Argus (29 November 1859), 6 

. . . James Hirrgston, one of the band of the 40th, corroborated the previous evidence . . .


Dancing master

Active Adelaide, SA, 1840s


"LOCAL INTELLIGENCE", South Australian Register (4 October 1845), 2 

"BALL", Adelaide Times (27 November 1848), 4 

On Tuesday evening last, Mr. Herring's Quarterly Ball, according to advertisement, came off at the "Golden Fleece," Currie street, when, notwithstanding the roughness of the evening, the attendance was good. The pupils' proficiency in dancing, considering the short time they had been under training, did high credit to their teacher; and the refreshments provided by the host and hostess fully sustained their wonted good name, both in quality and quantity.

HERSEE, Rose (Madame Rose HERSÉE)

Soprano vocalist

Born England, 13 December 1845
Arrived Melbourne, March 1879
Departed Melbourne, 11 February 1881 (per Sobraon)
Died England, 26 November 1924


Rose Hersee, 1879

Image: Melbourne, April 1879: (page 9) 


"AN AUSTRALIAN'S OPINION", The Australasian (1 November 1873), 19

[London] . . . Rose Hersee is now in this country, and liberal offers are, it is said, being made to her to take a trip to Melbourne. She pas just engaged with Madame Parepa Rosa till some time after Christmas, when she may probably accept a generous offer made her forces to join Mr. Lyster's forces in Melbourne . . .

"VICTORIA", The Sydney Morning Herald (6 January 1879), 5

A portion of Lyster's opera troupe leave London by the Lusitania. Mdlle. Rose Hersee comes by the Chimborazo.

[News], The Argus (17 March 1879), 4

"THE OPERA. MADAME ROSE HERSEE", The Argus (19 March 1879), 7

"THE OPERA", The Argus (24 March 1879), 7

LA SONNAMBULA. To record the commencement of a new season of opera under the experienced management of Mr. W. S. Lyster has always been with us an agreeable task. Opera in Melbourne has become such an institution that its periodical recurrence has always been treated as a notable event, and on no previous occasion has public curiosity been excited to a higher degree than it was at the opera-house on Saturday night . . . Concerning the new prima donna leggiera we can speak at once in terms of satisfaction. It is always gratifying to find a gifted artist who come to us using the language which we all understand as the medium for conveying the author's meaning from the lyric stage. It is true that we might have very much better English versions of the words of Bellini's, and indeed most other Italian operas of the same date than are in existence at the present time, but for the general audience even the stilted and cumbrous verbiage employed by the English adaptor is better than the original text, which, mellifluously vocable though it may be, is an unknown tongue to about ninety-nine out of every hundred people who listen to it in a Melbourne theatre. Madame Rose Hersee is petite in figure, and has a very pleasing face. She has that appearance about her which gives assurance of intelligence, and as soon as she speaks or sings or moves that assurance is confirmed in such a manner aa to put the audience at their ease with respect to all that may follow after. Her voice is a soprano of great sweetness, but not unusual power. It is of good but not extraordinarily high compass. It is characterised throughout by a perceptible vibrato, and in its lower tones it is rich and round and has in it a most touching quality of unforced sympathy. That she should have chosen a part like that of Amina wherein to make her first acquaintance with a strange audience is enough to show that she paid them the compliment of supposing them to be both experienced and critical. It is a great part to play, and none but the well trained and musically enlightened can hope for any success in the performance of it. We have now to note that she came through the ordeal with the full approval of the whole audience, and even something more than that, in the evidently friendly feeling which she had managed to establish on a first acquaintance. The applause which greeted the end of her first cavatina, "0 love for me thy power," was such as to assure her position from that moment, and when, at the end of the first act she was summoned before the curtain, she must have felt that she had made a success. The good culture and flexibility of her voice were displayed with fine artistic effect in the chromatic shakes and runs which abound in the cabaletta passage in the first act, commencing "When this heart its joy revealing," and the piquancy and charming naturalness of her acting were made fully apparent in the parting scene with Elvino with which the first act closes. The good qualities thus displayed in the first act were made amply manifest throughout the progress of the work. The scene in the bed chamber, wherein the poor little sleepwalker finds herself spurned by her lover and suspected by her friends, was full of pathos, and was well sung and played throughout, and followed by another hearty recall at the end of the act. The whole scene in the third act onward from the sad and melodious air, "Scarcely could I believe thee," fixed the hushed attention of the whole house and rewarded it with a genial display of warm hearted acting and singing, inspired by the true sentiment of the scene. The final passage, "Do not mingle," was brilliantly sung and served to introduce some staccato graces of vocalisation with very pretty effect. Both Madame Hersee and the audience have every reason to be pleased with the result of her first appearance in Melbourne . . .

"THE OPERA", The Australasian (29 March 1879), 19

[Illustrations], The Australasian Sketcher with Pen and Pencil (12 April 1879), 9

"MRS. HOWITZ'S FAREWELL CONCERT", The Argus (7 February 1881), 6

"The Theatres", The Australian Sketcher (26 February 1881), 74

Bibliography and resources:

"Rose Hersee", Wikipedia


? teacher of Isabel Staff (Mrs. Horwitz)


Musician, double bass player (New Queen's Theatre)

Active Adelaide, SA, 1848


[Advertisement], South Australian (6 October 1848), 3

HERTZ, Mr. (1) (Mr. HERTZ)

Musician, pianist, ? importer

Active Melbourne, VIC, 1853


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

SECOND GRAND CONCERT. MELBOURNE PHILHARMONIC SOCIETY, Protestant Hall, THIS EVENING, WEDNESDAY, 27th April. Principal Vocal Performers - Miss Graham (her second appearance); Mr. Moran. Leader - Mr. F. Fischer. Director - Mr. G. Chapman. THE Band will consist of the following talented performers: Violins - Mr. A. Fischer, Mr. Strebinger, Mr. Thomson; Viola - Mr. Thomas; Basso - Mr. C. Elza and Mr. Hardman; Cornet-a-Piston - Mr. G. Chapman; Clarionet and Oboe - Sig. Blume; Flute- Mr. Rosenstengel. Pianoforte - Mr. Hertz and Mr. Thomson . . .

[Advertisement], The Argus (26 July 1853), 8 

To Drapers, Storekeepers, and Others. - On Sale at the Wholesale Stores of M. HERTZ and CO., Emerald-hill . . .

HERTZ, Mr. (2) (Mr. HERTZ)

Musician, violinist

Active Sydney, NSW, September 1859; ? Melbourne, VIC, 1868


One or perhaps two theatre band violinists. At the Prince of Wales theatre in Sydney in September 1859, a Mr. Hertz took over as leader allowing Charles Eigenschenck to conduct. A Mr. Hertz was playing second violin under Thomas Zeplin at the Princess Theatre, Melbourne, in December 1868. The latter is not to be confused with Julius Herz.


"PRINCE OF WALES THEATRE", Empire (5 September 1859), 5

The lyric drama has been progressing favourably during the week. On Monday, "Ernani" was again given, and on Tuesday, the regular opera night, the established favourite "Il Trovatore," to a full house. The operatic drama of "Rob Roy" was played on Wednesday . . . On Thursday evening, Bellini's "Sonnambula" was performed, the audience being numerous and enthusiastic. The addition of Mr. Hertz, as first violin, increased the steadiness and efficiency of the orchestra, Mr. Eigenschenck being enabled to devote his entire attention to conducting the opera. The management has acted wisely, during the sort of interregnum occasioned by the decease of one conductor and the illness of his successor, in only producing such operas as, from being well known, required no great exercise of orchestral power . . .

[Advertisement], The Argus (16 December 1868), 8

HERWYN, Henry (Henry HERWYN [sic, not Henri]; M. HERWYN; HERWIN; HERVYN; alias of Hyacinthe Henry Léopold HERMENEGILDE)

Musician, violinist, composer, arranger

Born Montreuil sur Mer, Pas de Calais, France, 8 October 1821; son of Pierre Joseph HERMENEGILDE, "dit HERWYN" (1796-1847) and Marie Thérèse Henriette DUREY (1787-1843)
Married (1) Julie MARTEL, St. James, Piccadilly, London, England, 6 February 1840 ("minor")
Married (2) Célestine Juliette GODFERNAUX, Lille, France, 9 June 1851
Arrived Melbourne, VIC, 12 January 1854 (per Kent from London, 19 October 1853, and Portsmouth, 26 October)
Departed Sydney, NSW, 6 December 1855 (per Eliza, for London)
Died Paris, France, 6 July 1905 (TROVE tagged by Australharmony) (TROVE tagged by Australharmony)

HERWYN, Celestine (Célestine Juliette GODFERNAUX; Madame Henry HERWYN; Madame HERWYN)

Musician, pianist

Born Lille, Nord, France, 15 April 1831; daughter of César Benjamin GODFERNAUX (1804-1844) and Henriette Thérèse BAAR
Married Hyacinthe Léopold HERMENEGILDE [Henry HERWYN], Lille, France, 9 June 1851
Arrived Melbourne, VIC, 12 January 1854 (per Kent from London, 19 October 1853, and Portsmouth, 26 October)
Departed Sydney, NSW, 6 December 1855 (per Eliza, for London)
Died Paris, France, 18 May 1896 (TROVE tagged by Australharmony) (TROVE tagged by Australharmony)


Henry Herwyn, as he was known in adulthood, was born at Montreuil sur Mer, Pas de Calais, France, on 8 October 1821. His birth name was Hyacinthe Henry Léopld Hermenegilde, son of a professional musician, Pierre Joseph Hermenegilde (1796-1847), "dit Herwyn", and his wife Marie Thérèse Henriette Durey (1787-1843), who had married at Dunkirk on 29 April 1816.

His elder brother Alphonse (1820-1892), "dit Herwyn, was also a professional musician.

According to Léon Escudier's 1856 biographical summary of Herwyn's early career, his musical predisposition was evident from childhood. He had barely reached his twelfth year when the Philharmonic Society of Saint-Omer presented him with an honorary bow. At the age of fourteen and a half, he came to Paris to receive lessons from the great masters. At fifteen, he was playing among the violins at the Theatre de l'opéra, where in 1839 he succeeded to the post previously held by Hubert Léonard. The chief conductor, François Habeneck, who did not lavish praise lightly, held Young Herwyn in very special esteem and affection.

Later Herwyn toured with Sigismond Thalberg and other leading artists. At St. James, Piccadilly, in London, on 6 February 1840, Herwyn, a "minor", married his first wife Julia Martel. Having returned home in 1847 when his father was dying, he took advantage of a professional hiatus to complete his studies and perfect his talent.

At Lille, on 9 June 1851, he married his second wife, Célestine Juliette Godfernaux, a native of Lille, born on 15 April 1831, a daughter of César Benjamin Godfernaux (1804-1844) and Henriette Thérèse Baar.

Having returned to in 1853, Herwyn gave his first concert there on 16 March, in the presence of a large audience and elite artists. Its brilliant success was confirmed by the unanimous and spontaneous votes of the Parisian press.

In 1854 the Philharmonic Society of Boulogne-sur-Mer engaged him for one of its musical festivals, and while there he was befriended by some English people who spoke to him enthusiastically about Australia, so much so that he was seduced by the lure of the unknown, so powerful on the imaginations of artists, and imagined a new source of poetic inspiration in a country still only partly explored by Europeans.

It was only a short step before Herwyn was dedicated to his antipodean project. Besides, his young wife, animated by a courage and resolution unusual for her sex, felt like him the keenest desire to undertake this long and perilous journey. They embarked London on 20 October 1854, and arrived at Port Phillip bay after a voyage of 75 days, during which terrible storms twice put their lives and those of all the crew in peril.

Melbourne was the first city they visited, arriving on 12 January 1854. It was the high summer. In this season the heat is unbearable, especially because of the winds that are called in English "brickfielders", whose impetuous gusts raises dense whirlwinds of dust that completely obscures the view of the houses. These winds is usually last for several days, during which those unfortunates forced to go out are literally toasted and blinded, in spite of the thick veils which the men tie to their hats. In such stifling heat, the Herwyns gave up all hope of giving concerts in Melbourne, and, after only three weeks, left for Sydney.

Sydney, where they arrived by coastal steamer in early February, is a large city with a population of 100,000. It is perfectly situated, with elegant and varied buildings and beautiful straight streets which give it the appearance of European cities. In this great centre of population, art has distinguished connoisseurs, and an artist of any value can perform there with great chance of success. The Herwyns were very graciously received by the amiable and worthy French consul, Louis Sentis. They were introduced to an elegant and polite society and salons which rivaled those of the first cities of Europe in luxury. Among the city's musical organisations is the very well organized Sydney Philharmonic Society which performs the music of the great masters, especially Handel's oratorios, with rare skill.

The Herwyns therefore found in Sydney all the elements for success. The first concert they gave was splendid. Among the warmest admirers was Charles Fitz-Roy, governor general of Australia. He came in person to invite the Herwyns to a dinner and party at Government House. This flattering distinction was appreciated by all those familiar with English manners, and the sometimes insurmountable difficulties facing foreigners seeking admission into aristocratic circles. Moreover, such testimonies of sympathy and esteem were repeated several times during their stay in Australia.

During the four months following their arrival in Sydney, the Herwyns gave four major concerts at the theatre and sixteen soirees musicales. Regarding these occasions, the local press exhausted all the formulas of praise. The Morning Herald, a Sydney newspaper, spoke in the following terms after one of the distinguished virtuoso's concerts:

In the great piece from the Huguenots, a splendid composition, Mons. Herwyn played delightfully. It is impossible to convey the poetic feeling, the verve and the dramatic accent which distinguish this artist's playing; he approached as close as possible to the perfection, and we write this with our hearts still full of memories of Paganini, Ole-Bull, Sivori and Ernst.

In mid September 1854, the Herwyns left Sydney to spend a little over 2 months in Van Diemen's Land, and in Hobart Town were given a magnificent reception. The governor's wife, Caroline Denison, placed the Government House ball room their disposal. In Geelong, Adelaide, and Paramatta, they were the objects of the same testimonies of esteem and enthusiasm. One of Geelong's papers, The Advertiser, characterized Herwyn's talent in these terms:

He has all the qualities which distinguish the most eminent artists. His bow stroke is firm, his notes are full and round. He has the faculty to give to the music he performs all the nuances demanded by the different genres of compositions.

In one of the main towns on the Diggings, or goldfields, the Herwyns received an ovation to which they had not been accustomed until then, and at their second concert received a storm of applause interspersed with whistles, unaware that in this country whistles are the most expressive mark of enthusiasm.

Their stay in Australia was also marked by curious incidents. One evening Madame Herwyn, returning home in the country, put her hand on a black snake wrapped around the key to her door. Imagine her fear! This unexpected encounter could have had serious consequences: the snakes, very common in the region, are so poisonous that people have sometimes been seen to expire within ten minutes of being bitten.

The Herwyns had wanted to leave on their return journey in October 1855, sailing via Java and Calcutta. But Celestine's health, cruelly tested by the hot climate of Australia, prevented their departure, and, bearing the most flattering marks of sympathy and regret on the part of the most distinguished figures of the colony, they finally embarked directly for Europe in December (only days after the arrival from San Francisco of the celebrity musicians Anna Bishop and Nicholas Bochsa). This trip was even less fortunate than the previous one, the ship almost sinking among the icebergs of the southern ocean. And after weathering several storms, they were wait for eight days off the English coast. Finally, it was only after immense difficulties and endlessly renewed perils that they saw France again.

With thanks to Christian Declerck (March 2021) for kindly sharing results of research towards his Dictionnaire des Musiciens à Dunkerque et Boulogne sur Mer


Record of the birth of Hyacinthe Henry Léopold HERMENEGILDE, Montreuil sur Mer, 8 October 1821; Archives Pas de Calais (DIGITISED)

[No.] 16.96 / Hyacinthe Henry Leopold Hermenegilde . . . . / [9 October 1821] . . . un enfrant du sex masculin, né heir à sept heures du matin . . . de marie Marie Thérèse Henriette Durey . . . le prénoms de Hyacinthe Henry Léopold . . . [signed] P. Hermenegilde . . .

1840, marriage solemnized at the Church in the Parish of St. James Westminster in the County of Middlesex; register 1840-41, page 11; City of Westminster Archives (PAYWALL)

No. 21 / February 6 / Henry Herwyn / Minor / Bachelot / Musician / rupert St. / [son of] Pierre Herwyn / Musician
Julie Martel / of full age / Spinster / - / [Rupert St.] / [daughter of] Marguerite Martel / Gentleman [sic] . . . in the presence of . . . Leon Pernet, Mary Pernet

Record of the death of Pierre Joseph HERMENEGILDE, "dit HERWYN", St. Omer, 31 March 1847; Archives Pas de Calais (DIGITISED)

61 / Hermenegilde [1847 1 April] cinq heures du soir en la maison commune de St. Omer . . . hier à neuf heures du soir est décédé pierre joseph Hermenegilde, dit Herwyn, professseur de musique, agé de cinquante ans, né à Dunkerque (Nord), le seize décembre [1796] . . .

"THÉATRES. LES CONCERTS DE LA SEMAINE-SAINTE", L'Athenaeum français (2 April 1853), 322

Nous sommes en retard avec les concerts; de fait, un revue quotidienne suffirait à peine à suivre et à signalier les centaines de solennités musicales qui convoquent soir et matin depuis un mois les fidéles de l'harmonie à des auditions de toute sorte. Aussi laisserons-nous de côté les concerts soit des pianistes, soit de violinistes, de M. Fumagalli, de M. Eirlich et de Mlle. Kastner, de M. Sivori at de M. Lecieux, de M. Herwyn, de M. Deloffre et de la famille Binfield's, une curieuse famille de musiciens anglais . . .

"CHRONIQUE DÉPARTMENTALE. Boulogne-sur-Mer, 11 août", Revue et gazette musicale de Paris (14 August 1853), 288 

Hier la Société philharmonique a donné un brillant concert, où se sont fait entendre et chaudement applaudir deux chanteurs de grand mérite: M. et Mme. Marchesi, basse et contralto . . . M. Henry Herwyn, dont la presse parisienne s'est entretenue avec éloge l'hiver dernier, a prouvé dans ce concert qu'il avait son rang marqué parmi les grands violonistes de notre époque, comme compositeur et exécutant. Il a joué ses Souvenirs d'autrefois, avec orchestre, une fantaisie sur la Favorite, et a terminé par des variations burlesques, qui sont le digne pendant du Carnaval de Venise . . .

ASSOCIATIONS: Salvatore and Mathilde Marchesi (vocalists)

"Miscellaneous", The musical world [London, England] (15 October 1853), 664

M. HERWIN, a violinist of repute from Paris, has arrived in London, en route to Australia.

Australia (1854-55):

Melbourne, VIC (12 January to 2 February 1854):

"SHIPPING INTELLIGENCE . . . CLEARED OUT", The Argus [Melbourne, VIC] (3 February 1854), 4 

February 2 - Hellespont, steamer, 332 tons, R. F. Pockley, for Sydney, in ballast. Passengers - cabin: Mr. and Mrs. Herwyn . . .

Sydney, NSW (February to September 1854):

"MUSICAL", The Sydney Morning Herald (11 February 1854), 5

Report speaks highly of the musical talent of M. and Madame Merwyn, recently arrived from Paris. M. Herwyn, we understand, is a first-rate violinist, and his wife an accomplished performer on the piano. Every accession to our musical circles will be hailed with satisfaction, and we hope soon to have an opportunity of speaking more positively as to the capabilities of the newly arrived artistes.

[Advertisement], The Sydney Morning Herald (27 February 1854), 1

"M. AND MADAME HERWYN", The Sydney Morning Herald (28 February 1854), 5

We drew attention yesterday to the soiree musicale which M. and Madame Herwyn are to give this evening, at their residence. The performance of these artists has already attracted the favorable opinion of connoisseurs, which is fully borne out by the subjoined extract from a late number of the Constitutionnel, written by the eminent critic M. Florentino :-

"How is it possible to describe our admiration of this charming couple of artists, Mons. et Madame Herwyn? They have talents that impassion the audience and force even the coldest of hearts to admiration; at their last concert applause and encores were lavished upon them, a sort of delicious giddiness overcame the public in listening to their heartmoving execution. Les souvenir d'autrefois (remembrance of former days), a grand fantaisie composed by the celebrated violinist excited such enthusiasm as we have rarely witnessed in our concert halls. But what originality what beautiful singing, and what taste? What enchantment in this work which denotes a new era! It would be impossible to describe the magnetic power which Mons. Herwyn exercises on his audience, whether it be to express the tenderness of love or the passion of sentiment, he ever elevates himself to a superior predominence and treats the greatest difficulties as mere trifles. Besides the Souvenirs d'autrefois the great artist executed his Fantasie from the Favourite, full of glittering melodies and proclaiming an artist initiated in all the delicacies of the art. His Hommage to Paganini has a different character, the composition having aimed at the fantastical and eccentric, he plunges into the very depths of fancy's regions and, at will, is as lively, as gay, as original, and as spiritual, as he is brilliant and sentimental.

Madame Herwyn is also an excellent and innate musician of rare intelligence and privileged nature; cultivated by a solid education and long studies, she is young, beautiful, and a descendant of a high family; Madame Herwyn hesitated a long time before she embraced her artistic career, well knowing its difficulties and reverses. But she yielded at last, and her debuts were resounded in all France and Germany, which countries she and her husband have travelled through since, amidst the most brilliant ovations. Madame Herwyn is, above all, a conscientious pianist; what she executes is always listened to with delight. Listen how she dreams, how she weeps, how she sings with sweetness and melancholy, how exquisitely she expresses the most tender and lofty sentiments amidst a profundity of poetry, how correctly she reproduces the classic works of Bach, Beethoven, Mendelsohn, and both ancient and modern masters. Most assuredly to attain so great a pitch, demanded an inflexible will, such as only exceptional intelligences are gifted with. It is a gift of heaven, and if we believed still in fairies we should believe that she was gifted in her cradle by one of those genii, whose power was formerly admitted by the credulous."

ASSOCIATIONS: Pier-Angelo Fiorentino (reviewer); Le constitutionnel (Parisian journal)

"M. AND MADAME HERWYN'S SOIREE MUSICALE", The Sydney Morning Herald (1 March 1854), 5

On no former occasion have we had to record more complete success than was achieved last night by these talented artists. Rumour had spoken highly of them, but the expectations which had been raised were fully realised, and the élite of Sydney present at the soiree last evening pronounced it the greatest musical treat that had been afforded in Sydney. Madame Herwyn's brilliant and expressive playing - her perfect command of her instrument - her line and delicate perception of the lights and shades of every passage, and her free and correct execution of the most difficult and complicated combination of modern piano music, called forth repeated expressions of admiration . . . Of her husband we need only speak as of a violinist de premiere force; we should say that the peculiarity of his playing consists in the extreme softness of his touch; but again, in the Malbrouk (which was unanimously called for at the close) he displayed a vigour and nerve in the tours de force which quite equalled, if it did not surpass, the more subdued and expressive passages. We feel that in speaking thus in high praise of both these pleasing artists, we are but echoing the sentiments of every person present . . .

"M. AND MADAME HERWYN'S SOIREE MUSICALE", Empire (8 March 1854), 2

"MUSICAL SOIREE", Illustrated Sydney News (25 March 1854), 2

. . . The novelty of the evening was M. Hervyn's [sic] performance on an instrument which he denominates a monocorde, but which, to our uninstructed vision, was simply a violin with one string. On this instrument M. Hervyn played the Aria "Robert, toi que j'aime" with great effect, and elicited well deserved applause . . .

Hobart and Launceston, TAS (23 September to 29 November 1854):

"SHIPPING NEWS", The Courier [Hobart, TAS] (23 September 1854), 2 

September 23rd - City of Hobart, steamer, 362, Bentley, Melbourne. Cabin - Mr. Lenin, Monsieur and Madame Herwyn . . .

"M. HERWYN'S GRAND CONCERT", The Courier (6 October 1854), 2

"THE HERWYN'S CONCERT", Colonial Times (7 October 1854), 2

"THE HERWYN'S CONCERT", Launceston Examiner (18 November 1854), 3

Melbourne and region, VIC (30 November 1854 to 16 June 1855):

"SHIPPING INTELLIGENCE", The Argus (1 December 1854), 4 

November 30. - Lady Bird, S. S. S., 126 tons, Thos. Roberton, from Launceston 29th ult. Passengers - cabin . . . M. and Madame Herwynn . . .

[Advertisement], The Argus (7 December 1854), 8

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

"THE CONCERT AT THE THEATRE", Geelong Advertiser (15 January 1855), 5

[Advertisement], The Argus (12 February 1855), 8

"M. AND MADAME HERWYN", Geelong Advertiser (28 February 1855), 2

These accomplished musicians, we are happy to announce, have permanently established themselves in Geelong, as teachers of music . . .

Sydney and region, NSW (19 June to 6 December 1855):

"SHIPPING. ARRIVALS", The Sydney Morning Herald (20 June 1855), 5 

JUNE 19. - Wonga Wonga (s.), 500 tons, Captain Gilmore, from Melbourne 16th instant. Passengers - Mr. and Mrs. Herwyn . . .

"CONCERT", The Sydney Morning Herald (8 October 1855), 5

The farewell concert of Monsieur and Madame Herwyn is advertised to take place to-night, at the Concert Hall, Royal Hotel, and will be under the patronage of the Governor General and Lady Denison. The sojourn of this accomplished lady and gentleman amongst us has been prolonged to a considerable extent, and though not often popularly before the public, we believe their musical réunions, private and public, have done much to improve and correct musical education in the colony. It is difficult to say that either Madame or Monsieur Herwyn are musicians for the multitude, but that they have great Artistic skill, toned and disciplined by the purest appreciation of the art itself, none whose judgment is worth having will dispute . . .

[Advertisement], Empire (8 October 1855), 1 

[Advertisement], The Sydney Morning Herald (9 October 1855), 8 

PIANOFORTE. - One of unequalled character, namely, the instrument of Mons. Herwyn, acknowledged by all present at his concert last evening to be unsurpassed, in every respect, will be SOLD, at 12 o'clock THIS DAY, at the Concert Room, Royal Hotel. Any person who really is in search of something out of the ordinary way should avail themselves of this unusual opportunity. Mons. and Madame Herwyn, we regret to say, leave Sydney in a few days.

[Advertisement], The Sydney Morning Herald (10 October 1855), 6

Postponement of Sale YESTERDAY, in consequence of the Funeral of the late Sir Thomas Mitchell.
THIS DAY, positively, at 2 o'clock. Grand Piano, of unequalled tone and brilliancy, by Messrs. Pleyel and Co., Paris. For unreserved sale.
MR. ROBERT MURIEL has been favoured with instructions from Mons. Herwyn to sell by public auction,
THIS DAY, Wednesday, at 2 o'clock precisely, at the Concert-hall, Royal Hotel, without reserve
(in consequence of Mons. and Madame Herwyn's Immediate departure for Europe),
That splendid grand pinao, made by the celebrated makers, Messrs. Pleyel and Co., Paris.
This superb instrument is just imported by Mons. Herwyn, and has been acknowledged by competent judges to be the finest piano that has ever reached the colony.
It is truly elegant, and contains the repetitive action, with the most recent improvements.
Terms, cash.

"PLEYEL'S GRAND PIANOFORTE . . .", The Sydney Morning Herald (10 October 1855), 5 

. . . the sale of which, yesterday, was unavoidably postponed, in consequence of the funeral of the late Sir Thomas Mitchell, until to-day, punctually at 2. o'clock. This instrument is the property of Monsieur Herwyn, and cannot be surpassed for brilliancy or sweetness of tone. At the last concert given by our esteemed friend, the audience were perfectly electrified. This unreserved sale will take place precisely at the hour specified; therefore, any person wishing to secure an instrument of which too much cannot possibly be expressed, should not neglect attending. Monsieur Boulanger has very kindly consented to be present, and will display, by his unprecedented talent, the unequalled powers of this instrument, second to none in the world. - Adv.

"DEPARTURES", The Shipping Gazette and Sydney General Trade List (10 December 1855), 2 

December 6. - Eliza, ship, 912 tons, Loutit, for London. Passengers - Mr. and Mrs. Herwyn . . .

After Australia (from 1856):

[Léon Escudier], [Profile], Le Pays: journal des volontés de la France (25 November 1856), (DIGITISED)

Also, "HENRY HERWYN", La France musicale (7 December 1856), 293-94 (DIGITISED)

La saison musicale a commencé. Des essaims de virtuoses nous arrivent de toutes parts; de nombreux concerts s'organisent; les maîtres du piano préparent leurs compositions les mieux inspirées; les violonistes, et à leur tête Vieuxtemps et Sivori, sont prêts à entrer en lice.

Parmi les émules de ces exécutants supérieurs, il faut citer M. Henry Herwyn, un artiste sérieux, qui tente de frayer à l'art du violon des routes nouvelles. Ce virtuose est parmi nous et se propose de donner bientôt un concert dans la salle Herz. Quelques particularités sur sa carrière déjà si brillante seront peut-être lues avec intérèt.

Les dispositions musicales de M. Herwyn se révélèrent dès l'enfance. Il avait à peine atteint sa douzième année, quand la société philharmoninique de Saint-Omer lui offrit un archet d'honneur. A quatorze ans et demi il vint à Paris pour recevoir les leçons des grands maîtres. A quinze, il était violin à l'Opéra, où il remplaça Léonard en 1839. L'illustre Habeneck, qui ne prodiguait pas ses sympathies, lui avait voué une estime et une affection toutes particulières.

Plus tard, Henry Herwyn voyagea avec Thalberg et d'autres artistes de premier ordre - il reçut partout l'accueil le plus chaleureux. Rentré dans sa famille en 1847 pour y recevoir les derniers adieux de son père, il profita de ses instants de repos pour compléter ses études et perfectionner son talent.

De retour à Paris en 1853, il donna son premier il concert, le 16 mars, en présence d'un nombreux public et de l'élite de nos artistes. Son succès éclatant fut confirmé par les suffrages unanimes et spontanés de la presse parisienne.

La société philharmonique de Boulogne-sur-Mer l'ayant appelé l'année suivante pour concourir à l'éclat d'une de ses fêtes musicales, il se lia dans cette ville avec des Anglais qui lui parlèrent de l'Australie avec tarit d'enthousiasme, qu'il se laissa séduire par l'amour de l'inconnu, si puissant sur les imaginations d'artistes. Il voyait une source nouvelle de poétiques inspirations dans ce pays si imparfaitement exploré par les Européens. Du projet àution il n'y avait qu'un pas pour M. Henry Herwyn. D'ailleurs sa jeune femme, animée d'un courage et d'une résolution peu ordinaires dans les organisations de son sexe, éprouvait comme lui le plus vif désir d'entreprendre ce long et périlleux voyage. Ils s'embarquèLondres le 20 octobre 1854, et arrivèrent dans la baie de Panphilippe [sic, Port Phillip] traversée de soixante-quinze jours, troublée par deux terribles tempè mirent leurs jours et ceux de tout l'équipage en péril.

Melbourne, fut la première ville qu'ils visitèrent. On était en plein été. Dans cette saison la chaleur est insupportable, surtout quand règnent les vents qu'on nomme en anglais brickfilders, dont le souffle impétueux soulève d'épais tourbillons de poussière qui dérobent complètement la vue des maisons. La durée de ces vents est ordinairement de trois jours, pendant lesquels les malheureux, obligés de sortir sont littéralement grillés et aveuglés, malgré les voiles épais que les hommes eux-mêmes attachent à leurs chapeaux. Far cette chaleur étouffante, notre virtuose ne fut nullement lenté de donner des concerts à à Melbourne, il partit immédiatement pour Sydney. Sydney est une grande ville dont la population relève à cent mille âmes. Elle est parfaitement habitée, possÈde des constructions élégantes et variées de forme et de belles rues droites qui lui donnent la physionomie des cités européennes. Dans ce grand centre de population l'art compte des connaisseurs distingués, et un artiste de quelque valeur peut s'y produire avec de grandes chances de succès.

M. et Mme Herwyn furent très-gracieusement accueillis par le consul français, M. Sentis, qui joint à un mérite éminent les formes les plus aimables. Ils trouvèrent là une société élégante et polie et des salons qui rivalisent de luxe avec ceux des premières villes de l'Europe. Parmi les établissements que renferme Sydney, il faut citer une société philharmonique très-bien organisée qui exécute la musique des grands maîtres, notamment les oratorios de Haendel, avec une rare habileté.

M. Henry Herwyn trouva donc réunis à Sydney tous les éléments de succès désirables. Le premier concert qu'il donna fut splendide. Parmi les plus chauds admirateurs du brillant violoniste on remarqua sir Charles Fiiz-Roy, gouverneur général de l'Australie. Il alla en personne inviter M. et Mme. Herwyn à un dîner et à une soirée qu'il voulait donner pour eux au château du gouvernement. Cette flatteuse distinction fut appréciée par toutes les personnes qui connaissent les moeurs anglaises et les difficultés parfois insurmontables qui s'opposent à l'admission des étrangers dans les cercles de l'aristocratie. Au reste, il est bon de constater que ces témoignages de sympathie et d'estime se reproduisirent à plusieurs reprises durant le séjour de notre virtuose en Australie.

Pendant les quatre mois qui suivirent son arrivée à Sydney, M. Herwyn donna quatre grands concerts au théâtre et seize soirées musicales dans une salle qui porte son nom. A propos de ces solennités, la presse locale épuisa toutes les formules de l'éloge. Le Morning Herald, journal de Sydney, s'exprimait dans les termes suivants après un des concerts de l'éminent virtuose:

"Dans le grand morceau des Huguenots, splendide composition, M. Herwyn a joué à ravir. Il est impossible de rendre le sentiment poétique, la verve et l'accent dramatique qui distinguent le jeu de cet artiste; il approché le plus possible de la perfection, et nous écrivons ceci le coeur encore plein du souvenir de Paganini, d'Ole-Bull, de Sivori et de Ernst."

M. Herwyn partit de Sidney pour se rendre au pays de Van-Diémen. A Hobart-Town, on lui fit une réception magnifique. La femme du gouverneur, Lady Devison Affrie, mit à sa disposition la salle de liai du gouverneur.

A Geelong, Adelaïde, Parametta [sic], il fut l'objet des mêmes témoignages d'estime et d'enthousiasme. Une des feuilles de Geelong, l'Advertiser, caractérisait en ces termes le talent de M. Herwyn:

"Il a toutes les qualités qui distinguent les plus éminents artistes. Son coup d'archet est ferme, Ses notes sont pleines et rondes. Il a la faculté de donner à la musique qu'il exécute toutes les nuances exigées par les différents genres de compositions."

Dans la capitale des Diggins [sic] ou mines d'or, M. Herwyn reçut une ovation à laquelle on ne l'avait pas jusqu'alors accoutumé: il se vit assailli, à son second concert, par une tempête formidable d'applaudissements entremêlés de sifflets. Ce qu'il ne savait pas, c'est que dans ce pays les sifflets sont la marque la plus expressive de l'enthousiasme.

Son séjour en Australie fut marqué par de curieux incidents: un soir Mme. Herwyn, rentrant chez elle à la campagne, mit la main sur un serpent noir enroulé autour de la clef de sa porte. Jugez de sa frayeur! Cette rencontre inattendue aurait pu avoir de sérieuses conséquences: les serpents, très-communs dans la contrée, sont si venimeux, qu'on a vu quelquefois des personnes expirer dix minutes après leur terrible morsure.

M. Herwyn se proposait de revenir par les Indes. Mais la santé de sa femme, cruellement éprouvée par le climat brûlant de l'Australie, ne lui permit pas de réaliser ce projet. Le couple voyageur s'embarqua pour la France, emportant les marques les plus flatteuses de sympathie et de regret de la part des personnages les plus distingués de la colonie. Ce voyage fut moins heureux que le précédent. Le navire qui les portait faillit s'engloutir dans les montagnes de glace du pôle sud. Après avoir essuyé plusieurs tempêtes, ils furent encore obligés de stationner pendant huit jours en face des côtes d'Angleterre. Enfin, ce n'est qu'après d'immenses difficultés et des périls sans cesse renawants qu'ils revirent la France, où notre virtuose apportait des inspirations nouvelles et un talent plus souple et plus complet.

Nous avons eu l'occasion d'entendre, depuis son retour, M. Herwyn. Son exécution est distinguée, élégante, expressive, exempte de toute exagération et d'une pureté de son admirable. Il possède un sentiment vrai, qui pénètre doucement le coeur. C'est un violoniste, sérieux, formé à la bonne école. Chez lui, une justesse irréprochable s'allie à une verve entraînante. Initié à tous les secrets de l'art, il se joue avec une aisance merveilleuse de toutes les difficultés.

Exécutant de haute portée, M. Herwyn est aussi un compositeur fort remarquable. Parmi ses oeuvres, nous signalerons une grande fantaisie avec accompagnement d'orchestre, intitulée: Souvenirs d'autrefois, mise en scène imitative des vieux airs idylliens avee lesquels nous avons tous été bercés; l'Hommage à Paganini, composition burlesque sur l'air de Marlborough; une fantaisie sur la Favorite, morceau de concert qui joint au charme et à l'originalité de la mélodie le mérite des difficultés vaincues.

Les antécédents de M. Herwyn et son mérite incontestable comme compositeur et comme violoniste ne nous laissent aucun doute sur les succès qui l'attendent cet hiver à Paris.


[News], Neue Wiener Musik-Zeitung (8 January 1857), 8

Henry Herwyn, der vor nicht langer Seit aus Australien zurückgekehrt ist, wo er nach der gefohrt und abentevervollsten Ueberfahrt die größten Triumfe feierte, gab ein Konzert im Salon Herz. Man war von seinem kühnen, feurigen und gefühlvollen Vortrage auf der Violine entzückt; besonders erregten burleske Variazionen über das Lied von Marlborough Sensazion. Lacombe unterstützte ihn mit Vorträgen auf dem Pianoforte.

"AUDITIONS MUSICALES", Revue et gazette musicale de Paris 25 (3 January 1858), 5

M. Henry Herwyn, Anglais par le nom, mais qui est un de nos bons violonistes français, M. Henry Herwyn, après avoir visité l'Australie, Botany-Bay, est revenu à Paris . . .

"AUDITIONS MUSICALES", Revue et gazette musicale de Paris 25 (7 March 1858), 74

"CONCERTS ET AUDITIONS MUSICALES", Revue et gazette musicale de Paris (4 April 1858), 111

"AUDITIONS MUSICALES", Revue et gazette musicale de Paris 25 (2 May 1858), 146

"AUDITIONS MUSICALES", Revue et gazette musicale de Paris (9 May 1858), 155

"AUDITIONS MUSICALES", Revue et gazette musicale de Paris (16 May 1858), 162

[Advertisement], The Sydney Morning Herald (4 February 1859), 7

MR. EDWARD SALAMON has received instructions from Monsieur L. Sentis, French Consul, who is about removing, to sell by auction, at his residence, Passy, Hunter's Hill, THIS DAY, February 4th, at 11 o'clock, All the excellent household furniture and effects, the principal portion or which was made to order for Monsieur Sentis, by eminent Parisien manufacturers, and consisting of . . .
Two fine toned cottage pianofortes, made to order in Paris, under the superintendence of Madame Herwyn, the celebrated pianist . . .

ASSOCIATIONS: Louis Sentis (French consul)

[Profile], Le mémorial artésien (19 October 1859)

L'Autorité de Dunkerque publie la note suivante sur notre concitoyen M. H. Herwyn. M. H. Herwyn, dont nous avons entretenu déjà nos lecteurs, se propose de venir cet hiver à Dunkerque, pour y donner un concert. Nous dirons à M. Herwyn qu'en notre ville il sera toujours le bienvenu, puisqu'il est précédé par une brillante renommée: M. Herwyn est un de ces noms jeunes encore par le petit nombre d'années que compte leur carrière musicale, mais rapidement vieillis par la valeur et la célébrité. Ses véritables débuts datent à peine de trois ou quatre année dans le monde parisien, et il tient déjà le rang de nos plus anciens virtuoses. Né à St. Omer, en 1824 [sic], M. Herwyn y étudia tout enfant la musique, et la Société Philarmonique de cette ville fit au violoniste de douze ans le don d'un archet d'honneur. Deux ans après, il venait à Paris fréquenter les maîtres, devenait l'un des favoris du difficile et méticuleux Habeneck, remplaçait Léonard, en 1839, comme violoniste à l'Académie impériale de Musique, et suivait Talberg [Thalberg] dans plusieurs de ses voyages. La mort de son père le rappela dans sa famille en 1847, et c'est alors qu'un loisir presque forcé de quelques années le mit à même de compléter ses études. Chaleureusement applaudit dans son premier concert donné à Paris en mars 1853, ainsi que dans le concours qu'il prêta aux fêtes musicales de Boulogne sur Mer, Dieppe, etc., il nous quitta toute fois pour visiter audacieusement des pays nouveaux, et partit en octobre 1853 de Londres pour l'Australie, Java, Calcutta, etc., etc., qui viennent de nous le rendre enfin complet, triomphant et regretté. Les aventures de M. Herwyn pendant ses voyages ont parfois touché du prodige. Assailli, au départ et au retour, de terribles tempêtes, entravé par les orages d'été ainsi que par les montagnes de glace, visité, dans sa villa lointaine, par ces terribles serpents noirs dont Atar-Gull dépeint les prouesses, il eut cependant comme compensation de ces accidents et de ces terreurs, les applaudissements frénétiques et soutenus de tous les pays par lui parcourus. L'accueil le plus empressé des différents gouverneurs, et l'admission la plus franche au sein des la rigide aristocratie anglaise. M. Herwyn s'est fait entendre le 10 décembre dernier, à la salle Herz. L'éminent violoniste y a trouvé les admirations et les sympathies d'outre-mer; son talent, en effet, maintenant mûri par l'exercice, et toujours sûr de lui-même, possède à un degré qui rappelle les tours de force habituels de Paganini, le sentiment, la force, la justesse, la verve, l'aisance et la facilité des maîtres : mais ce qui le caractérise surtout, c'est l'expression, le sentiment poétique, le style. Virtuose d'une inspiration soutenue, M. Herwyn est de plus un compositeur plein de verve et d'originalité; parmi ses oeuvres nous citerons ses Souvenirs d'Autrefois, sa fantaisie brillante sur La Favorite, ses Souvenirs de Mozart, ses Variations burlesques et fantastiques sur l'air de Malborough.

"HERWYN", The musical world (23 July 1864), 474

M. Henry Herwyn, a French violinist of the highest order, now on a short visit to England, and who first made himself known in this country by playing several charming pieces of his own composition at the charitable fete given at the South Kensington Museum, presided over by Her Royal Highness the Princess of Wales, has since been electrifying the musical world in several private concerts. His tone and mechanism of touch are marvellous, whilst the varieties of his expression are full of touching sympathy and exquisite sentiment. If ever M. Herwyn should appear in public, we predict for him an exalted position that must lead to a brilliant and well-merited celebrity.

Record of the death of Célestine Juliette Godfernaux [HERWYN}] Paris, 18 May 1896; Archives de Paris

[19 May 1896, 3 p.m.] note de décés de Célestine Juliette Godfernaux, agée de soixante cinq ans, née à Lille (Nord), décédée le [18 May] à quatre heures du soir, au domicile conjugal, rue de Siam 18, sans profession, fille de César Benjamin Godfernaux et de Thérèse Baar . . .

Record of the death of Hyacinte Henri [sic] Léopold Hermenégilde HERWYN, Paris, 6 July 1905; Archives de Paris

[6 July 1905, 2 p.m.] note de décés de Hyacinte Henri [sic] Léopold Hermenégilde HERWYN, agé de quarte-vingt-trois ans, sans profession, né à Montreuil sur Mer, Pas de Calais, décédé à son domicile, rue de la Pompe 8, ce matin à deus heures, fil des . . . *** Herwyn et *** Durey (prenoms inconnus) veuf de Célestine Juliette Godfernaux . . .

Musical works (Henry Herwyn):

Les souvenir d'autrefois grand fantaisie (by 1853)

"M. AND MADAME HERWYN", The Sydney Morning Herald (28 February 1854), 5

. . . the subjoined extract from a late number of the Constitutionnel, written by the eminent critic M. Florentino: - . . . Les souvenir d'autrefois (remembrance of former days), a grand fantaisie composed by the celebrated violinist . . .

Grand fantasia on La favorite (by 1853; 1854)

Grand fantasia, on themes from Donizetti's opera La favorite

"Monsieur and Madame Herwyn's Concert", The Courier (8 November 1854), 3

Hommage a Paganini (by 1853; 1854; publ. 1881)

Hommage à Paganini ("Variations burlesques for Violin", on "Milbrook" or Marlborough") (by 1853)

The Courier (13 October 1854), 2

[Advertisement], The Argus (12 December 1854), 8

Variations à la Paganine sur l'air populaire de "Malbrough" pour violon avec accompagnement de piano . . . (Paris : [s.n.], [1881])

Copy at the Bibliothèque nationale de France 

Grand fantasia on God save the queen, Ye banks and braes, and Patrick's day (1854)

Grand fantasia for violin (with variations and finale for one string only, in which the favorite airs of God save the queen, Ye banks and braes, and Patrick's day)

[Advertisement], Colonial Times (5 October 1854), 3

Fantaisie-caprice sur des motifs des Noces de Figaro (1858)

Fantaisie-caprice sur des motifs des "Noces de Figaro" de Mozart pour le violon avec accomp't de piano par Henry Herwyn, op. 5 (Paris: G. Brandus et S. Dufour, [1858])

Copy at the Bibliothèque nationale de France 

[Review], Revue et gazette musicale de Paris (9 January 1859), 12 

Fantaisie dramatique sur Faust (1860)

Fantaisie dramatique sur "Faust", opéra de Ch. Gounod, pour violon avec acc't de piano par H. Herwyn, op. 6 (Paris: Choudens, [1860])

Copy at the Bibliothèque nationale de France 

L'Attente de Schubert (arr. Herwyn, 1862)

L'Attente de François Schubert; transcrite pour violon avec acc't de piano par Henri Herwyn (Paris: G. Brandus et S. Dufour, [1862])

Copy at the Bibliothèque nationale de France 

Bibliography and resources:

Nicholas Sackman (transcribed and edited), The Jacques Francais Rare Violins Inc. . . . The sales ledgers, 1845-1938 (2017; rev. 2020), 182 

NOTE: In 1881 Herwyn was documented by Gand & Bernardel frères, Paris, as (? new) owner of a 1717 Stradivarius violin; it was bought, after his death, by Hart [of London] in 1907.

Christian Declerck, "Hyacinthe (Henry) Léopold HERMENEGILDE", Geneanet 

HERZ, Julius (Julius HERZ)

Conductor, pianist, composer

Born Mecklenburg-Schwerin, 13 March 1841
Arrived Melbourne, VIC, 1866
Married Anna Margaretha FREYBERGER, All Saints', Windsor (East St. Kilda), VIC, 18 July 1867
Died Sandringham, Melbourne, VIC, 23 August 1898, aged 57 (TROVE tagged by Australharmony) (NLA persistent identifier)


HERZ, Anna Margaretha (Anna Margaretha FREYBERGER; Mrs. Julius HERZ)


Married Julius HERZ, All Saints', Windsor (East St. Kilda), VIC, 18 July 1867
Died Mordialloc, VIC, 23 January 1919


Julius Herz, "Professor of Music from the Conservatoire of Berlin", was on the staff of James Schott's Victorian Academy of Music in April 1866.

Two of his compositions were published by Charles Troedel in Melbourne in December, The mill (impromptu for pianoforte), and the Byron song When we two are parted, which had been composed for and premiered by Miss Liddle in July.

Herz conducted the first Australian performance of Beethoven's Ninth Symphony on 27 December 1882.

His Silver chimes (Morceau Caractéristique) appeared in The Illustrated Australian News and Musical Times (1 August 1889), 12-13.


[Advertisement], The Argus (7 April 1866), 7

[News], The Argus (3 July 1866), 5

[News], The Herald (5 December 1866), 2 

The Musical Union gave their first concert of the season last evening, at the Town-hall, Prahran . . . The concert was the occasion of the debut of Miss Freyberger, a German lady, and a pupil of Mr. Herz. She has a mezzo-soprano voice of very good quality, and gave Kalliwoda's "Heimweh" - with horn obligato by Mr. Kohler - very sweetly, receiving a considerable amount of applause . . .

ASSOCIATIONS: Franz Andreas Kohler (horn); Musical Union (organisation)

"NEW MUSIC", The Argus (20 December 1866), 2

[News], The Argus (5 April 1867), 4

"MARRIAGES", The Argus (20 July 1867), 4 

"THE MELBOURNE MUSIC FESTIVAL", The Argus (28 December 1882), 6

"MR. JULIUS HERZ", Illustrated Australian News and Musical Times (1 August 1889), 9

"DEATHS", The Argus (24 August 1898), 1

"OBITUARY", Launceston Examiner (24 August 1898), 6

"DEATH OF MR. J. HERTZ", The Advertiser (24 August 1898), 5

[News], The Brisbane Courier (24 August 1898), 4

Bibliography and resources:

Thérèse Radic, "Herz, Julius (1841-1898)", Australian dictionary of biography 4 (1972) 

HERZ, Richard F. (Richard F. HERZ; R. F. HERZ)

Musician, pianist, violinist, composer

Active NZ, 1856-58
Active Sydney, NSW, 1859-61; Melbourne and Ballarat, VIC, 1864; Maitland NSW, 1865; central VIC, 1865-66 (TROVE tagged by Australharmony)


Herz was based in Auckland, New Zealand from 1856 to 1858. A concert he gave there in August 1857 included two of his own compositions for cornet and piano, Advance New Zealand (Parade March) and The darkies' Quadrille.

Herz was playing and teaching in Sydney in 1859 early 1860, but was back in New Zealand by mid year and until 1863.

He was in Victoria in 1864. On his first appearance in Ballarat in 1864, he was advertised as "The brilliant Pianist, nephew of the great Pianist, Henri Herz".

Three of his compositions appeared in The illustrated Melbourne post:

Riflemen's joy ("quick step composed for The Illustrated Post by Richard Herz")

Christmas quadrille (24 December 1864)

The Victoria galop (25 November 1865).


[Advertisement], Daily Southern Cross (21 October 1856), 1

[Advertisement], Daily Southern Cross (18 August 1857), 3

[Advertisement], Daily Southern Cross (26 February 1858), 1

[Advertisement], Empire (26 May 1859), 1

[Advertisement], The Sydney Morning Herald (2 July 1859), 1

[Advertisement], The Sydney Morning Herald (14 January 1860), 8

[Advertisement], Daily Southern Cross (4 September 1860), 2

[Advertisement], Southland Times (30 November 1863), 3

[Advertisement], The Star (9 April 1864), 3

[Advertisement], The Argus (27 June 1864), 8


Musician, convict

Active NSW, 1832


[Convict notices], New South Wales Government Gazette (3 October 1832), 325 

Hester John, No. 31-1426, Exmouth, 34, Musician and Labourer, Newbury, 5 feet 8, grey eyes, brown to grey hair, sallow comp. mermaid on right arm, woman on left, from No. 2 Iron Gang. 2d time of running.

[Convict notices], New South Wales Government Gazette (27 March 1833), 111 

Hester John, 33, Exmouth, No. 31-1426, Musician, Newbury, 5 feet 8, brown to grey bair, grey eyes, sallow comp. mermaid on right arm, man and woman on left, from No. 2 Stockade, Cox's River, in irons, from Hospital.



Active Sydney, NSW, by 1860


[Advertisement], The Sydney Morning Herald (10 November 1860), 12 

HETZER, William (William HETZER)

Photographer (NLA persistent identifier)

HETZER, Thekla (Madame HETZER; Mrs. William HETZER)

Musician, pianist, piano teacher

Arrived Sydney, NSW, 3 February 1850 (per Balmoral, from the Downs, 19 October 1849)
Departed Sydney, NSW, 1867 (TROVE tagged by Australharmony) (NLA persistent identifier)


Wife of the photographer William Hetzer, and "pupil of one of the first masters in German", she first advertised as a teacher in October 1850, and first appeared public at Francesca Allen's concert in December. Thereafter, childbearing appears to have curtailed her public musical activities. Her husband was secretary of the German Club responsible for the organisation of the concert in aid of Leichhardt's mother in 1854. William died in Frankfurt-am-Main in 1891, aged 69.


"SHIPPING INTELLIGENCE", The Sydney Morning Herald (4 February 1850), 2

[Advertisement], The Sydney Morning Herald (4 March 1850), 1

[Advertisement], The Sydney Morning Herald (12 October 1850), 3

"MADAME ALLEN'S CONCERT", The Sydney Morning Herald (23 December 1850), 2

[Advertisement], Empire (4 March 1854), 1

Bericht die Senckenbergische Naturforschende Gesellschaft in Frankfurt am Main (1899), viii, xxix 

"DEATHS", The Sydney Morning Herald (29 September 1891), 1

Bibliography and resources:

"Thekla Hetzer", Design & Art Australia Online (DAAO)

"William Hetzer", Design & Art Australia Online (DAAO)

"Hetzer, William (fl. 1850 - )", NLA persistent identifier 

HEUZENROEDER, Mauritz (Moritz)

Musician, professor of music, pianist, teacher of pianoforte and singing, composer

Born Otterberg, Germany, 15 July 1849
Active South Australia, by 1869
Died Angaston, SA, 9 November 1897, aged 48 (NLA persistent identifier)


HEUZENROEDER, Theodore F. (Ted; Teddy)

Violinist, teacher of music

Born ? SA, c.1873
Died Gawler, SA, 30 March 1953, aged 80



Active Tanunda, SA, by 1897
Died Antwerp, Belgium, 8 September 1906


This is my preliminary attempt (2014) at resolving some inconsistencies in Heuzenroeder biography as given in other sources. There was at least one earlier Moritz Heuzenroeder in SA (died 1864). An M. Heunzenroeder performed at Tanunda in September 1869. According to Elizabeth Wood (Heuzenroeder, New Grove) Heuzenroeder was in Adelaide by 1865, returned to Stuttgart, and settled permanently in Australia in 1872. However he in fact returned in mid 1877 (see below). Heuzenroeder (? MH) was performing publicly in SA in 1871. A Miss Tilla Heuzenroeder, a vocalist, at Tanunda in April 1897 was MH's niece (she was the second daughter of MH's brother, Theodore Heuzenroeder, d.1893), and the violinist Theodore Heuzenroeder (? jun.) also played under MH (a nephew, or cousin?).


"ALEXANDER VON HUMBOLDT", South Australian Register (22 September 1869), 3

The rest of the evening was passed by instrumental and vocal performances by Mademoiselle J. Sobels, Miss T, Fischer. Mr. G. Fischer, Mr. M. Heuzenroeder, and the Tanunda Quartette Verein.

[Advertisement], South Australian Register (24 December 1872), 1

"TOWN HALL ORGAN OPENING CONCERTS", South Australian Register (26 September 1877), 4

We are informed that M. Heuzenroeder has been engaged to assist at these concerts. M. Heuzenroeder has been studying as pianist at Stuttgart under Dr. Sebert for the last three or four years. He is a member of the Stuttgart Conservatory, and returned to South Australia by the mail with the intention of settling here.

"THE LATE MR. T. HEUZENROEDER", South Australian Chronicle (4 November 1893), 12

"TANUNDA", The Advertiser (6 April 1897), 6

TANUNDA, April 2. - The Tanunda Orchestral Society, under the conductorship of Herr Heuzenroeder, gave a concert here last night (Thursday) to a small house. The concert being the best that has been given here for a long time it deserved a better attendance. The orchestra have recently, under the able conductorship of Herr Heuzenroeder, made marked improvement. He was repaid for his gratuitous services by the evident success of his tuition. Herr Heuzenroeder has regained his health and strength of his hand after the injury sustained some time since.

"DEATH OF MR. M. HEUZENROEDER", The Advertiser (10 November 1897), 3

The news of the sudden death of Mr. Heuzenroeder was received in the city with profound regret. He was known best in the musical world, and he was a great favourite with all with whom he came in contact. Some years ago Mr. Heuzenroeder carried on business in Gawler as a jeweller, and his intense love for everything musical induced him to save sufficient money to take a trip to Stuttgart, Germany, in order that he might further pursue his studies in music and voice-production. He returned to South Australia after having gained the highest honors from some of the leading musicians in Germany. Overtures were made to him to practice his profession at Stuttgart, but he preferred to return to his adopted home. Ultimately he settled down in Adelaide and began to practise as a teacher of music. In Germany he paid close attention to voice production, and studied under some very eminent professors of the art, and upon his return he took a prominent position in the ranks of singing masters in the colony. The deceased gentleman was the first conductor of the Adelaide Harmonic Society, which produced two operettas of his composition. The first of them was entitled Faust and Gretchen, the libretto being translated from the German, and the work was received with such warmth by the music-loving public that it was followed by another opera from his pen. The music was extremely pretty, and the press criticisms were favourable. In 1893, in collaboration with Mr. H. C. Evans, of Quiz, he produced the Australian opera Immomeena, which was performed for the first time in the Theatre Royal, Adelaide, with great success on October 6, 1893. He also wrote music for a number of songs, some of which have enjoyed a large sale, while others, although they have not been published, have been sung on the concert platform from time to time. Perhaps the most popular was Australia, the words of which were composed by the late Mr. C. C. Presgrave; but Thou art my queen was equally popular for a long time . . .

"DEATHS", The Advertiser (10 November 1897), 4

"DEATHS", The Advertiser (1 November 1906), 6

"Out among the People. Veteran Violinist", Chronicle (17 March 1938), 70

"Musician Passes On", Bunyip (2 April 1953), 1

Bibliography and resources:

Hooper Brewster-Jones: "South Australian pioneers and problems; South Australia's musical history", Australian Musical News 27/3 (1 October1936), 1-3, 28-33

Elizabeth Wood, "Moritz Heuzenroeder - a musical pioneer", LiNQ (Literature in North Queensland) 3/1 (1974), 4-8 


Musician, trombone player (New Queen's Theatre)

Active Adelaide, SA, 1848-50; ? VIC, NSW, 1850s


[Advertisement], South Australian (29 February 1848), 2

[Advertisement], South Australian (6 October 1848), 3

"POLICE COURT . . . Tuesday, May 21st", Adelaide Times (22 May 1850), 4 

[Advertisement], South Australian (9 July 1850), 3 

? Names and descriptions of passengers per Scotia, from Melbourne, February 1852, for Sydney; Public Record Office Victoria (DIGITISED)

- Gatland / [male] 32 / Musician
- Gatland / [female] 24 / -
- Hewitt / [male] 35 / [Musician]
- Hewitt / [female] 25 / -
[with or followed by a party of 2 adult and 3 juvenile equestrians or circus performers, from Portugal, Brazil, America and Australia]

ASSOCIATIONS: Thomas Gatland (musician)

? [Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (26 May 1855), 6

HEWITT, Thomas (Thomas HEWITT)

Musician, bandsman, clarionet (clarinet) player, "fifer, trombone player, fiddler, trumpeter, and hautboy player" Band of the 48th Regiment

Born Hingham, Norfolk, England, c. 1785
Married Mary Ann WELLINGTON (b. 18 April 1789), Gibraltar, 15 December 1805
Arrived Sydney, NSW, 3 August 1817 (per Matilda, from Cork, 28 March)
Departed NSW, c. 1823 [sic, not 1822 as in Cobbold) (unknown vessel, for Gravesend, England)
Discherged Chelsea, England, c. 1823
Died Norwich, England, 1844; buried St. Martin's parish

ASSOCIATIONS: Band of the 48th Regiment (military)

Mary Ann Wellington Hewitt, c.1845

Portrait of Mary Ann Wellington (Hewitt), c. 1846, by Anthony Sands (1806-1883); Northampton Museums and Art Gallery (DIGITISED)


In 1846, the English author Richard Cobbold, who had recently completed an account of the life of the NSW convict Margaret Catcpole, described how he came about publishing what he described as "Another narrative of female adventure":

. . . In August last, the Deputy Mayor of Norwich invited the attention of the Reverend Author to the peculiar circumstances in the History of Mary Ann Wellington, who was the daughter of John Wellington, one of the artillery-men at the famous siege of Gibraltar. She married a soldier in the gallant 48th, and accompanied him through all the Peninsular campaigns. Her fortitude in the hour of danger, and her attention to the wounded, were witnessed by many officers still living, who were also aware of the extraordinary adventures in which she distinguished herself. Her husband died in 1844. The widow has since fallen into distress. She is greatly respected by all who know her in the city of Norwich, where she still resides . . .

Mary's extraordinary account of life as wife of a soldier-bandsman appears mostly to have been reliably repeated by Cobbold. It includes a detailed chronicle of the voyage out to NSW on the convict transport Matilda, of life in Sydney, and of the Hewitt's special social and musical association with the governor's wife, Elizabeth Macquarie.

As a mature and long-serving clarinettist, Hewitt was probably the next most senior player former band master William Blizzard.

Their son, Thomas junior, was born at Sydney on 12 November 1822, and baptised at St. Philip's on 25 December 1822. Probably shortly thereafter, the family sailed with a detachment of the regiment for England. Hewitt probably took his discharge sometime in 1823.


Richard Cobbold, Mary Anne Wellington: the soldier's daughter, wife and widow (London: H. Colburn, 1846), 3 vols (DIGITISED)

[vol, 1, 73] . . . My name is Thomas Hewitt, my native place is Hingham, in Norfolk . . . (DIGITISED)

[vol, 1, 77] . . . I hear you have got a deserter, one Thomas Hewitt, clarionet player in my band! I was told your girl had run away with him, and carried off the man in the regimental drum-case . . . (DIGITISED)

[vol, 1, 146] . . . "Upon my word", cried Dan, "betrothed! betrothed before me, Dan Long, drum-major of his Majesty's gallant 48th. Well, now I will make short work of it: I publish the banns of marriage between Thomas Hewitt, fifer, trombone player, fiddler, trumpeter, and hautboy player, or player of any kind, and Mary Anne Wellington, maid of the Rock of Gibraltar . . . (DIGITISED)

[vol. 2, 92] . . . in the latter part of October, 1810 . . . [93] . . . "By the orders we have received to beat to arms, General Hill's division is ordered to move towards Badajos, and if our Commander has not some intention of playing a new game, I am mistaken. Up with you, master of the band, and you, Thomas Hewitt, drummer, fifer, and bugle-man. Up with you, and mind your wife follows us closely; for my belief is, we shall never fall back again upon these lines, when once our General has left them" . . . (DIGITISED)

[vol. 2, 116] . . . Dan and his comrade sat, or rather reclined against their drums. The common soldier knows but little of the disposition of a battle. He has confidence in his Commander, and, obedient to his orders, he is ready to do the work appointed him. It is generally the duty of the band to be in the rear, and attend to the wounded, unless they volunteer for action, or are permitted to exchange places with a wounded or sick comrade. There are instances of men of the noblest courage being suddenly taken ill the night before a battle, and being quite unable to stand. Such was the case with one fine fellow of the 48th, who actually fainted away on that night, and was carried into the rear for dead. Dan, with the band of his regiment lay around him. Stewart, Ashby, Betts, Hewitt, Winter, Holmes, Davies, [117] Harbourg, Leonard, Johnson the cymbal-beater, a man of colour, Charles Thomas, Darby, Kenedy . . . (DIGITISED)

[vol. 3, 28] . . . Her husband's musical abilities brought him into notice, and he enjoyed his stay in Ireland equally with his wife. But the 48th were ordered to New South Wales, to relieve the 47th, then in barracks at Sydney . . . (DIGITISED)

[vol. 3, 33] . . . The regiment was ordered on board [the Matilda]. Colonel James Erskine, the commanding officer, was a man well adapted to keep all his junior officers and soldiers in good heart, through a long and tedious voyage. Remarkable for an intelligent mind and for literary pursuits, he encouraged in all beneath him the cultivation of letters, which tended greatly to lighten the burden of confinement on board. His society was always to be desired, and was always enjoyed by those who felt his superior attainments . . . [34] . . . Two hundred privates on board, besides the band and officers, women and children, and the crew of the ship, formed a great society assembled in a small compass . . . (DIGITISED)

[vol. 3, 57] . . . "I told you I thought you would have no convicts to superintend and keep to work. I am sure Governor Macquarrie is very kind and condescending to us; his lady, too, is a warm friend to the soldier's wife." Thomas Hewitt was, in truth, made much of. He was so diligent in his application to the study and practice of his clarionet, that it obtained him frequent introductions into the most polite circles in Sydney, where music was much cherished by the Governor's lady, who was very partial to this elegant accomplishment. Frequently was he sent for, to accompany that lady in the best concerto music which could be procured, and in her fashionable and crowded drawing-room this brave man was treated with the respect due to his talents and his demeanour. Received, as at Gibraltar, into the best [58] society, he never threw off the manners of a truly humble and quiet man; was never puffed up with applause, nor even carried beyond the balance of propriety, by any of the attentions he received. He sought not to shine, but to give pleasure to others, by producing those harmonious sounds in which he so greatly delighted. Nor did he forget to appropriate all he received to the welfare of his wife and children.

He had children before he left Sydney. In 1817, his wife had a still-born child, and was very kindly treated by many ladies in Sydney, to whom her history was well known. In 1818, was born Absalom, the sixth son of our heroine. He grew up a fine, active boy, in the barracks at Sydney; and, with his elder brother Edward, attracted the notice of officers and men of the 48th. In the year 1821 [sic, 1822], Thomas was born; so that our heroine had to contend with all the troubles of an increasing family; still, she wanted nothing. Cares she had; but she was active, her husband fortunate; all things went on well with her, during the whole period of her stay at Sydney . . . (DIGITISED)

[vol. 3, 76] . . . "I must make inquiry into this. Where is your regiment now?"
"Part of it, Sir, is returned to England to be discharged. I am one of the number, and being 2nd Sergeant of the band, I was within the list of reduction."
"How long have you been in the regiment?"
"Twenty-seven years in active service, Sir."
" Then you ought to have been promoted."
"Alas! Sir, promotion is but a slow march, in the band. We are too often overlooked in many things by the higher powers, and too often thought only fit for parade duty; but there are many who have found us most serviceable to them when they were unable to assist themselves. I have been in many battles, side by side with the bravest, and have not flinched from the duties of a soldier" . . . (DIGITISED)

[vol. 3, 92] . . . Hewitt and his namesake entered into the Norfolk Militia and became active non-commissioned officers, under the command of Captain Guthrie, at Yarmouth . . . [93] . . . It was a change to our heroine again to see her husband in uniform, and to find that he was a peaceful soldier of the militia. She and her young family removed to Yarmouth, and took up their abode near the Apollo garden walk. Here they lived for fourteen years, not without many changes; for though the militia was for a time made strong, yet after a few years it was disbanded, and Hewitt had to return to teaching music again . . . [94] . . . Hewitt, in 1827, was engaged to play the third clarionet at the Norwich Festival, and here he was first introduced to Professor Edward Taylor, who was so pleased with his modest deportment and scientific industry in the cultivation of music, that he made him a handsome present of a bassoon and other instruments, which his widow still keeps as a memorial of the Professor's kindness . . . (DIGITISED)

[vol. 3, 176] . . . MEMORIAL TO THE MARQUIS OF DOURO . . . [incomplete at end] . . .

ASSOCIATIONS: Marquis de Douro = Arthur Wellesley (duke of Wellington); Edward Taylor (vocalist, musician)


Regimental medal of the 48th (Northamptonshire) Foot, awarded to Thomas Hewit [sic], Sydney, 1819; Museum of Applied Arts and Sciences, Sydney

Regimental medal of the 48th (Northamptonshire) Foot, awarded to Thomas Hewit [sic], Sydney, 1819; Museum of Applied Arts and Sciences, Sydney (IMAGE DIGITISED)

Issued 1819, for service with the regiment in the Peninsula War; 10 actions engraved on reverse: Talavera, Albuera, Rodrigo [Ciudad], Badajoz, Salamanca, Vittoria, Pyrenees, Nivelle, Orthes, Toulouse.

Bibliography and resources:

D. J. [Note on the Saracen's Head], Notes and queries (14 August 1909), 132

I have met the name of one real person who made use of the old "Saracen's Head" near St. Sepulchre's. This was the humble, but remarkable soldier's daughter and wife Many Anne Wellington, whose adventurous career was written by the Rev. R. Cobbold. She was the daughter of George Wellington, a private in the Royal Artillery at Gibraltar, where she was born in 1789. She there married Thomas Hewitt of Hingham (son, it is said, of a Norfolk squire), who was in the band of the 48th Regiment. In 1808, being ordered to Lisbon to take part in the war against France, Hewitt sent his wife to Portsmouth. Passing through London, on the way to her mother-in-law's in Colchester, she stayed at "The Saracen's Head" (p. 73). She afterwards returned to Portugal, and with her husband passed through many adventures during the Peninsular War, behaving with courage and ability in all. She died a widow, and aged, at Norwich.

Russell Gurney, History of the Northamptonshire regiment 1742-1934 (Aldershot: Gale & Polden, 1935)

[vol. 1, esp. 100-110, 188, 243]

Clem Sargent, The colonial garrison 1817-1824: the 48th Foot, the Northhamptonshire Regiment in the colony of New South Wales (Canberra: TCS Publications, 1996)

Clem Sargent, "The British garrison in Australia 1788-1841 - Part 3: Bands of the garrison regiments", Sabretache (December 1999), 34-38 (PAYWALL) (DIGITISED)

HEWLINS, George (George HEWLINS)

Musician, bandmaster (Hobart Town Band; Hewlins' Band), theatre manager, dyer

Arrived Hobart Town, VDL (TAS), 1834


"TRADE AND SHIPPING", The Hobart Town Courier (7 November 1834), 3

[Advertisement], Colonial Times (25 July 1851), 4

G. HEWLINS'S QUADRILLE BAND. G. HEWLINS, Dyer, of Liverpool-street, has succeeded in organizing a most efficient QUADRILLE BAND, from two instruments to seven, according to the dimensions of the room where the ball takes place. A competent Pianist can be also obtained where required. The newest music introduced.

[Advertisement], Colonial Times (18 June 1852), 4

"KANGAROO POINT. THIRD ANNUAL REGATTA", Colonial Times (14 December 1854), 3

[Advertisement], The Hobart Town Daily Mercury (8 June 1858), 1

QUADRILLE BAND. GEORGE HEWLINS . . . his Quadrille Band, Composed of either Brass or Stringed Instruments, are ready at the shortest notice to attend Balls, Wedding Parties, Ploughing Matches, Pic-nics, and Water Parties, &c., on reasonable terms.

"SHIPPING NEWS", The Courier (3 February 1859), 2

"TASMANIAN POULTRY SOCIETY", The Hobart Town Daily Mercury (29 July 1859), 3

HEWSON, George (George HEWSON)

Bell-ringer (Trinity Church, Launceston)

Active Launceston, 1844


"SUPREME COURT", Launceston Examiner (9 October 1844), 3

(Before his Honor Mr. Justice Montagu.) TUESDAY OCTOBER 9 [recte 8] . . . William Nash and George Hewson were indicted for feloniously entering the house of George Drysdale, in Brisbane-street, and stealing there from some silver spoons, gold chain, two rings, a brooch, and other articles. The particulars of the case were recorded at the time. During the absence of Mr. and Mrs. Drysdale at Church the house was broken into and plundered. After a great portion of the evidence had been taken, the prisoner Nash ad mitted his guilt, but solemnly declared that Hewson was not a party to the robbery . . . Mr. Braim was called for Hewson, who deposed that he (Hewson) was bell-ringer of Trinity church, and on the day in question was so employed in the morning, but could not say what became of him afterwards. His honor in summing up referred to the oath of the witness who identified Hewson, and pointed out the danger of such a precedent as acquitting one prisoner because another, when he finds his case hopeless, pleases to turn counsel, and take the whole responsibility upon himself. Verdict, guilty; sentence, 15 years transportation.

"CRIMINAL SITTINGS", Launceston Examiner (12 October 1844), 2

. . . Hewson merely protested his innocence, and called a Mr. Brain, clerk of Trinity Church, who suited that Hewson was bell-ringer to the Church, and he had that morning attended to his usual duties at 11 o'clock; had not seen him since . . . The jury after a few minutes' consultation, without retiring, found both prisoners guilty . . . His Honor then passed the sentence of 15 years' transportation on each of the prisoners. As Nash was being removed, he said - "Oh, never mind, we have got a 'bellowser,' meaning 'life,' to his companion.

HEWSON, Young (Mr. Young HEWSON; also Goring HEWSON)


Active Sydney, NSW, 1837


[Advertisement], The Sydney Times (11 February 1837), 4 

Theatre Royal, Sydney. FOR THE BENEFIT OF MRS. LARRA . . . Monday, February the 13th, 1837 . . .
Between the Pieces a variety of Entertainments, viz.: -
Comic Song - "The Royal Visitors," by MR. LEVEY.
The Tullochgoram Reel, by Mr. Goring HEWSON [sic].
Comic Song - "What are you at? what are you arter?" by Mr. Buckingham . . .

HEYDE, Gustav von der = Gustav VON DER HEYDE

HEYDE, Henry Charles (Henry Charles HEYDE)

Amateur musician, flute owner and ? player

Active Ballarat, VIC, 1861


"EASTEEN POLICE COURT", The Star (14 September 1861), 1 supplement 

"NEWS AND NOTES", The Star (18 October 1861), 2 

HEYDECKE, Theodor W. (Theodore HEYDECKE; Herr HEYDECKE; T. H. HEYDECKE; T. W. HEYDECKE; Theodor Andreas Heinrich Wilhelm HEYDECKE)

Musician, clarionet / clarinet player, clarinettist, bandmaster, composer

Born Germany, c. 1831; son of Wilhelm HEYDECKE
Arrived Port Adelaide, SA, 7 September 1857 (per Peter Godeffroy, from Hamburg, 11 May)
Married Caroline HEINDORF, Adelaide, SA, 1857
Died Melbourne, VIC, 29 January 1867, aged 35 (TROVE tagged by Australharmony)

HEYDECKE, Frederick (Carl Friedrich Wilhelm HEYDECKE; Carl Frederick Heinrich HEYDECKE; Friedrick, Fritz HEYDECKE)

Musician, clarionet / clarinet player, clarinettist, cornet and cornopean player

Born Hasselfelde, near Brunswick, Germany, 15 November 1832
Arrived Port Adelaide, SA, 7 September 1857 (per Peter Godeffroy, from Hamburg, 11 May)
Died St. Vincent's Gulf, SA, 23-28 June 1872 (drowned, body not recovered) (TROVE tagged by Australharmony)


[Advertisement], South Australian Register (18 September 1857), 1

"ADELAIDE CHORAL SOCIETY", South Australian Register (1 April 1858), 2

[Advertisement], The South Australian Advertiser (10 October 1861), 1

"THE LATE HERR LINGER", South Australian Register (18 February 1862), 2

[News], The South Australian Advertiser (24 February 1863), 3

"ADELAIDE REGIMENTAL BAND", South Australian Register (3 December 1863), 3

. . . The letter concluded by an intimation to the effect that Mr. Heydecke was ready to provide the old set of books, a new set of books for 16 members, and a complete set of marching books for a sum of £12. A calculation was hurriedly gone into, from which it appeared that the total expense to the regiment of purchasing the requisite instruments and books would be nearly £50, and several of those present offered to collect Burns which in the aggregate amounted to about £40 towards the purchase of those articles.

[Advertisement], South Australian Register (13 August 1866), 1

[Advertisement], South Australian Register (31 January 1867), 1

"DEATH OF HERR T. HEYDECKE", South Australian Register (31 January 1867), 3

"FUNERAL OF THE LATE HERR HEYDECKE", The South Australian Advertiser (13 February 1867), 2

[News], The South Australian Advertiser (27 February 1867), 2

[Advertisement], The South Australian Advertiser (13 December 1867), 4

[Advertisement], South Australian Register (13 December 1867), 4

Auctions. THIS DAY (Friday), December 13, at noon. AT THE SALEROOM. REMOVED FOR CONVENIENCE OF SALE. HOUSEHOLD FURNITURE AND EFFECTS. MUSICAL INSTRUMENTS, MUSIC, &c. BY ORDER OF MRS. HEYDECKE. CHARLES TIDEMANN is instructed by Mrs. T. Heydecke (who is leaving the colony) to sell by auction, as above, at his Saleroom, This Day (Friday), December 13, at noon, without reserve- A Large Quantity of HOUSEHOLD FURNITURE, and EFFECTS, Kitchen Utensils, &c, comprising - Horsehair Sofa, Chairs Washstand, Tables, Sewing-Table Bedsteads and Bedding, &c. 1 Sewing-Machine, by Grover & Baker, 1 small Pianoforte AND A Lot of Kitchen Utensils and Requisites. ALSO, 2 French Horns, 1 Violin, a set of Clarionets: AND A Large Lot of Miscellaneous Music and German Books. Without reserve.

"THE FUNERAL OF THE LATE MR. G. LODER", The Mercury (28 July 1868), 3

"THE FLOWER SHOW", The South Australian Advertiser (7 December 1870), 5

"THE PHILHARMONIC CONCERT", The South Australian Advertiser (23 September 1871), 3

"LOSS OF A PLEASURE PARTY IN ST. VINCENT'S GULF", South Australian Register (15 July 1872), 7s

"THE MISSING BOAT PARTY", The Express and Telegraph (15 July 1872), 3 

"THE MISSING BOAT PARTY", South Australian Chronicle and Weekly Mail (20 July 1872), 5 

. . . Mr. F. Heydecke was born on 15th November, 1832, at Hasselfelde, near Brunswick, where his father was principal musician. He received his musical education from his father, and at the age of 19 years he became bandsman in the Black Brunswick Rifle Corps, which he served till the beginning of 1857. He then, with his elder brother, Mr. Schrader of Leigh-street, and other musicians, left for Adelaide as members of a band which was known for several years as the Brunswick Band. He was a proficient instrumentalist, both on string and brass instruments, and his loss will be severely felt by his brother musicians . . .

"ADELAIDE PHILHARMONIC SOCIETY", South Australian Register (26 August 1872), 6

[Advertisement], The South Australian Advertiser (15 January 1878), 1

"JUDAS MACCABEUS", The Register (21 April 1903), 6

"MR. CAWTHORNE'S REMINISCENCES", The Register (8 June 1912), 7

"AN HISTORIC PLAYHOUSE", The Register (29 January 1914), 9

P. A. Howells. "MUSIC AND MUSICIANS. REMINISCENCES FROM 1868. I", The Register (5 October 1918), 10

"OLD-TIME YACHTING TRAGEDY", The Register (7 July 1922), 11

"BANDMASTER THEODORE W. HEYDECKE", The Register (8 July 1922), 12

"GLENELG DROWNING TRAGEDY OF 1872", The Register (1 May 1926), 7

Extant compositions:

Finnigan's wake polka [sic] [1866]

Finnigan's wake polka, composed by Th. Heydecke, arranged for the pianoforte by George Loder

(Adelaide: G. H. Egremont-Gee, [August 1866]) 

Copy at the National Library of Australia, digitised 

Copy at the State Library of New South Wales, digitised 

Heydecke's polka is itself an arrangement of the tune Finnegan's wake, which had appeared as a song in England and Ireland in 1865, and whose earliest identified published source was Charles Glover's Finnigan's wake [sic], issued by Wm. A. Pond of New York, in 1864, thus pre-dating Heydecke's by only 2 years; for more on the mainly later history and sources of the tune, see:'s_Wake 

Some documented compositions (all presumed lost)

March of Australia (Heydecke) [February 1860]

Dead march (played at Carl Linger's funeral) [February 1862]

Slow march (T. Heydecke] [December 1866]

Waltz, "Rosebud" (Heydecke) [January 1867]

Galop, "Volunteer" (Heydecke) [January 1867]

Waltz, "The cornet" (Heydecke) [January 1867]

March "My angel" (Heydecke) [January 1867]

God bless the prince of Wales (Heydecke) [January 1867]

Parade march (Heydecke) [January 1867]

Posthumous notices:

Dirge composed by the late Theodore Heydecke" [July 1868]

Waltz, "The Adelaide" (Heydecke) [December 1870]

March, "Song of Australia" (Heydecke) [January 1878]

Bibliography and resources: 

HEYDON, Jabez King (J. K. HEYDON)

Auctioneer, seller of imported music

Born c. 1816
Active Sydney, NSW, 1843
Died Sydney, NSW, 10 June 1885, in his 70th year


[Advertisement], Australasian Chronicle (1 June 1843), 3

AN INVOICE OF NEW MUSIC, imported direct from the publisher's, comprising the works of all the most celebrated composers of the present day. Catalogues will be ready for distribution on Wednesday morning, when the music may be seen. In the mean time, the Auctioneer begs to annex the following brief outline: Instruction books for the pianoforte, violin, violon-cello, flute, bassoon, key bugle, trumpet, French horn, accordion, clarionet, and harp, by Bochsa, Jousse, Willman, Kalkbrenner,, and other celebrated masters; Pianoforte music; consisting of brilliant fantasias, rondos, overtures, duets, &c., and a very large selection from the most popular operas Sacred music, comprising the works of Handel, Haydn, Bishop, Loder, and others Concerted music, for the pianoforte, harp, flute, violoncello, &c. Quadrilles, waltzes, mazourkas, cachouchas, galops, contre dances, &c. WITH, A great variety of: songs, ballads, duets, &c. ALSO, A good seraphine. Terms, cash.

"DEATH OF MR. J. K. HEYDON", Freeman's Journal (14 February 1885), 16 

© Graeme Skinner 2014 - 2024