THIS PAGE LAST MODIFIED : Sunday 18 April 2021 16:41

A biographical register of Australian colonial musical personnel–R (Ra-Riz)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–R (Ra-Riz)", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 19 April 2021

- R - (Ra-Riz)

RAAKE, Gotthard (Gotthard RAAKE; also Gothard, Godard; Francis Gotthard Richard RAAKE)

Teacher of music, professor of languages, convict, forger, larcenist

Born Warsaw, Poland, 1806 (? 1807)
Convicted Central Criminal Court, London, England, 9 July 1838; transportation for life
Arrived Sydney, NSW, 1 September 1839 (convict, per Parkfield)
Convicted Campbelltown, NSW, 18 November 1840; (secondary) transportation for life
Arrived Norfolk Island, c. late 1840
Arrived Hobart Town, TAS, 12 October 1845 (per Lady Franklin, from Norfolk Island)
Married Maria LAMBERD (1832-1932), St. Thomas's church, Avoca, TAS, 14 October 1852
Died Avoca, TAS, 23 September 1883, "aged 76 yrs & 7 months" (headstone) (TROVE tagged by Australharmony) (shareable link to this entry)

RAAKE, Elsie (Regina Elsie Alice RAAKE; Elsie RAAKE)


Born Fingal, TAS, 1 May 1871
Died Launceston, TAS, 29 October 1940 (shareable link to this entry)


England (1837-38):

"COUNTY PUBLIC OFFICE, SATURDAY, April 22 . . . SUSPICIOUS CASE", Leicestershire Mercury (29 April 1837), 1 (PAYWALL)

In our last week's Mercury we noticed that two silver table-spoons had been detained by a pawnbroker, and that they were lying the Station-house to be owned: since then the following circumstances have come to light in connection with them: - On Friday evening a countryman came to the Station-house and informed Mr. Goodyer that, while digging by the side the Knighton-road, he had found four silver table-spoons, a quantity of tea-spoons, and some eyeglasses, wrapped up in an old stocking, marked P. S. To Mr. Goodyer's surprise the four table-spoons precisely corresponded with the two already his possession, some of them having the name of "Lisseter" engraved on them, while on the others had been filed off. Learning that the spoons which had been detained at Mr. Watson's were brought by a Mrs. Knight, of Colton-street, Mr. Goodyer next inquired how they came into her possession, and she informed him that a German who was courting one of her lodgers (Ann Sherrin) asked her to pawn them for him, but that he left her house abruptly on hearing that the spoons were detained, and had not been seen since. Subsequently it was discovered that a German named FELIZ MYERS had been lodging at Mr. Mason's, Dover-street, in company with a young man of the name of Joseph Brant, gun-maker, who had recently come from the Edgeware-road, London, and the two prisoners were apprehended on Sunday night . . . Among documents in his [Myers'] possession was a begging letter, in which he was recommended by Mr. Raake, teacher German at the Collegiate School, to the notice of the Magistrates and other influential gentlemen, many whom had contributed their half crowns and crowns . . . Myers, in his defence, said that he had been in England thirteen months, and that got his living by teaching languages. He was acquainted with Mr. Raake in Belgium, and on his meeting with him again in Leicester, he asked him to recommend him to some gentlemen, to enable him to go to Manchester and Glasgow . . . the Mayor decided that both the prisoners should be remanded till Friday, by which time it is expected that Mr. Raake (who is at present on a journey) will be enabled to throw some light on Myers's former character.

"HEARTLESS ROBBERY", Leicester Journal (2 February 1838), 3 (PAYWALL)

Mr. Thomas Bell, late a townsman of ours, now residing at 35, Margaret-street East, Wilmington-square, London, has been the victim of one the most heartless and cold blooded thefts we have ever had to record. Mr. Raake, a German, teacher of the German language, formerly residing at Cambtidge, but for some time latterly, living in the New Walk in this town, about a fortnight-since visited the Metropolis, and was then in constant and friendly intercourse with Mr. Bell. On Friday evening last he requested Mr. Bell to accompany him to a place of public amusement; and, on Mr. B. doing so, he desired Mr. B. to place ten £10 notes in his desk during their absence, not choosing to carry large a sum about with him. With that sum this pretended friend has absconded, and no clue has yet been obtained. Mr. Bell has offered a £10 reward on his conviction, and has described him about five feet seven inches; of light complexion; not possessing a correct knowledge of the English language; but of gentlemanly and prepossessing, though somewhat unassuming, appearance . . .


Yesterday a man of very respectable exterior, named Gottherd Raake, was brought before the LORD MAYOR, in the custody of Daniel Forrester, charged with having forged a letter of credit upon Messrs. Rothschild, and also with having stolen 100l. from Mr. Bell, clerk to Mr. Wilke, the solicitor. - Remanded for a fortnight.

"To the EDITOR of the . . .", Morning Advertiser (8 June 1838), 4 (PAYWALL)

SIR, - As the report in your paper of yesterday of the examination of Mr. G. Raake, on charges preferred by Messrs. Rothschild and myself, is calculated to induce the impression that I was grossly imprudent in so far trusting a mere stranger, I am most anxious, through your columns, to observe, that I had for some years known Mr. Raake as a man of respectability in Leicester, where I formerly resided, and that I had every reason to treat him as an honest and hononrable man. -
I am, Sir, your obedient, THOMAS BELL. No. 55, Margaret-street East, Wilmington-square, June 7.

GOTTHARD RAAKE, Deception - forgery, 9 July 1838; Proceedings of the Old Bailey online

1744. GOTTHARD RAAKE was indicted for feloniously forging, on the 23rd of May, at St. Marylebone, an order for the payment of £60, with street to defraud Lionel Nathan Rothschild, and others.-
2nd COUNT, for uttering the same.-3rd and 4th COUNTS, like the 1st and 2nd, only calling it a warrant, instead of an order . . . GUILTY on the 2nd and 4th Counts. - Judgment Respited.

GOTTHARD RAAKE, Theft - simple larceny, 9th July 1838, Proceedings of the Old Bailey online

1745. GOTTHARD RAAKE was again indicted for stealing, on the 18th of January, 20 spoons, value 5l.; 4 forks, value 1l.; 2 ladles, value 2l.; and 1 pair of sugar-tongs, value 5s.; the goods of William Tyrrell, clerk . . . GUILTY. Aged 30. - Judgment Respited.

New South Wales and Norfolk Island (1839-45):

List of 240 male convicts, by the ship Parkfield . . . arrived from England, 1st September 1839; printed convict indentures, 1839; State Records Authority of NSW (PAYWALL)

39 / 787 / 16 / Raake, Gotthard / [age] 30 / R & W / Protestant / Single / [born] Warsaw / Professor of languages / Forgery / Central Criminal Court / 9 July, 1838 / Life . . .

Entrance books, Parramatta Gaol, NSW, 1840; State Records Authority of NSW (PAYWALL)

2382 / Gothard Raake / [per] Parkfield / 1839 / [born] 1804 [sic] / 5' 7" Stout / . . . / Life . . .

Transportation entrance book, Phoenix hulk, Sydney, NSW, week of 23 to 29 November 1840; State Records Authority of NSW (PAYWALL)

[No.] 2264 / Gotthard Raake / [per] Parkfield / 1839 / London / July 1838 / Forgery / Life / [colonial conviction] Campbelltown / Nov. 18 [1840] / Robbery / Life / Norfolk Island . . .

Tasmania (from 1845):

Convict record, Gothard Raake, per Lady Franklin, 12 October 1845; Tasmanian names index; NAME_INDEXES:1427729$init=CON33-1-71P50 (DIGITISED)

[No.] 16659 / Raake Gothard / Tried at Campbell Town [NSW] 18 Nov'r 1840 / Arrived 12th Oct'r 1845 / Life / Professor of Languages & Music / 5' 8" / [age] 38 / . . .

"CONVICT DEPARTMENT. Comptroller General's Office, 20th Sept,", Hobarton Guardian, or, True Friend of Tasmania (22 September 1852), 3 

IN accordance with the Act of Council 6th Victoria, No. 18, I hereby give notice, for the first time, that His Excellency the Lieutenant-Governor has been pleased to approve of the solemnization of Matrimony between the under-mentioned parties . . .
Gothard Raake, T. L., "Lady Kenaway," [sic] and Maria Lambert [sic], free, both residing at Avoca . . .

1852, marriages in the district of Fingal, 1852; Tasmanian names index; NAME_INDEXES:841951; RGD37/1/11 no 92$init=RGD37-1-11P38 (DIGITISED)

[No.] 104 / October 14th 1852, Parish Church Avoca / Gothard Raake / 39 [sic] / Music Teacher / . . .
Maria Lamberd / 21 / . . .

[Advertisement], Launceston Examiner (9 April 1853), 2

MR. G. RAAKE is prepared to receive a limited number of pupils to instruct them in Pianoforte, Guitar, Flutina, and English Singing.
Cards of terms, can be had of Mr. C. F. Wilson, Launceston Academy, York-street.
N.B. Pianofortes tuned and repaired.

"TRIAL OF DALTON AND KELLY, AT LAUNCESTON APRIL 7", The Tasmanian Colonist (14 April 1853), 4 

. . . Godard Raake, sworn. - Was overseer to Mr. Simeon Lord on the 6th January. About nine o'clock that morning, finding that the shearers whom I was superintending were not at work, I proceeded to the house. On the way I met a shepherd with a double-barrelled gun. I received the gun from the shepherd. Don't know whether it was loaded. Did not examine it. It was a percussion gun, and had no cap on. I went to the back door of the house, and knocked. The door was opened by the prisoner James Dalton, who presented a pistol at my breast, and requested me to be quiet and hand over the gun. I refused for a time, but afterwards did so, saying - "I suppose I may return now, James Dalton." He said I must go into the house with him, and I would find some company. I refused aud turned round. After going two or three yards, I heard a voice crying - "Don't shoot him," which I supposed to be that of a female. I turned round, and saw Dalton taking aim at me, saying he would blow my brains out if I did not stop. We then went into the dining-room, and I saw persons there, some tied, and some untied, sitting down . . .

ASSOCIATIONS: Simeon Lord junior (1810-1892), son of Simeon Lord

"LAUNCESTON", Colonial Times (11 September 1855), 3

A man named Godard Raake, formerly a teacher of music in this town, is in custody on charge of uttering a forged cheque for £64 at the shop of Mr. Upton, grocer, in Charles-street. The cheque purported to be drawn by Mr. J. Storey of Avoca. The case is remanded for the attendance of witnesses from the country. Raake was formerly in the service of Mr. S. Lord, of Avoca, and gave evidence at the trial of Dalton and Kelly. He was then a ticket holder. - Examiner.

"THE FORGERY CASE", The People's Advocate or True Friend of Tasmania (20 September 1855), 3 

Gothard Raake was again brought up on remand, on Tuesday last, on a charge of uttering a forged cheque . . . the prisoner was further remanded till Friday next.

"MORE FORGERIES BY GOTTHARD RAAKE", The Cornwall Chronicle (22 September 1855), 4

Mr. Evans, manager of the Bank of Tasmania, discovered to his horror on Monday, that he had also been victimised, by this accomplished scoundrel . . . It is very probable, that other forgeries perpetrated by Raake, remain yet undiscovered.

"SUPREME COURT. CRIMINAL SITTINGS . . . SATURDAY, October 6", Launceston Examiner (9 October 1855), 2

Gotthard Raake was placed at the bar charged with uttering a forgery . . . His Honor summed up, and the jury retired; and on returning into court found the prisoner guilty. His Honor, on referring to the prisoner's character, found that he had been originally transported for a daring forgery of £10,000 [sic] on the house of Rothschilds, for which he was sent to Norfolk Island [sic]; he had also committed two robberies and a forgery, and he had only received his conditional pardon a few weeks before the commission of the present offence. His Honor said that to let such a man loose on society would be to let loose a moral tiger, who would prey on all who could be imposed on. The prisoner here handed in a note, which he had received from his wife since he had been in gaol. It referred to the prisoner's family. His Honor continued, and said that he could make no difference in favour of the prisoner. It was said that a man who had children gave "hostages to the state" for his good conduct. His Honor then sentenced the prisoner to penal servitude for life.

[Notice], Tasmania, reports of crime (20 February 1863), 31 (PAYWALL)

The under-mentioned Prisoners and Invalids were discharged from Port Arthur on the 15th instant: - . . .
Gothard Raake, C. P., per Fortitude, tried S. C. Launceston, 6 October 1855, uttering, life, commuted to 10 years.

"SWANSEA (From our own Correspondent)", The Tasmanian (31 January 1874), 5 

Mr. Hacket Coulthurst, the well known negro "elocutionist, vocalist, and characteristic delineator," gave two entertainments at the Council Chamber, the one on Friday and thee other on Saturday nights last . . . The second part consisted of songs, Mr. G. Raake accompanying at the piano . . .

RECORDER'S COURT . . . FRIDAY, MARCH 19 . . . STEALING MONEY", Launceston Examiner (20 March 1875), 3 

Gotthard Raake, (a respectable looking elderly man) surrendered in discharge of his bail and was charged with stealing on the 27th Feb. a purse and certain moneys the property of Joseph Cocker. Plea, not guilty . . .
Sub-Inspector Willis stationeod at Avoca, deposed . . . Prisoner is a music teacher. I never told Dr. Lever that I would give Raake twelve years, if I could . . . Frederick Miller, storekeeper, Avoca, married to the prisoner's daughter, proved that the Sub-Inspector came to his store on the morning of the alleged robbery . . . He told him that Raake had stolen the money, and suggested that it should be settled or squared, and from the way he spoke, he seemed to say the money should be restored . . . His Honor observed to the jury that it was a remarkable case. He noticed the evidence, and the difficult points that had been urged, leaving it to the jury to say whether there had been mistake or whether the prisoner was guilty of the charge. The question was one of design. The jury returned a verdict of guilty.

"RELEASE OF GOTTHARD RAAKE", Launceston Examiner (108 July 1875), 2

The Executive Council having had under consideration the memorial sent in, with reference to Gotthard Raake, who was by the Recorder of Launceston sentenced to eighteen months' imprisonment, at the sitting of the Court, March, 19th last, at the meeting on Monday last, decided favorably, and Mr. Raake was released from H.M. Gaol here, yesterday morning, by order of the Attorney General . . . It will be remembered that Raake, having surrendered in discharge of his bail, was tried for stealing a purse and certain moneys, the property of a man at Avoca, named Joseph Cocker. He was defended by Mr. R. B. Miller, who called evidence to show that Sub-Inspector Willis, the principal witness against the accused, had been guilty of lying and subornation of perjury, and he asked the jury in fervent terms to do their duty by finding a verdict of not guilty, and restoring the old man to the position of respectability he has sustained. The jury, however, did not see their way clear to acquit the accused; of course giving credit to Willis's truthfulness. Since then, circumstances have transpired in the Fingal district to raise strong doubts of Raake's guilt, and Sub-Inspector Willis has been dismissed from the municipal police for gross misconduct, his veracity having been strongly impeached. Under the circumstances the action of the Executive cannot but meet with general approval in the district to which Mr. Raake, who is very respectably connected, belongs.

"CASE OF GOTTHARD RAAKE. To the Editor of . . .", The Cornwall Chronicle (14 July 1875), 3

SIR, - Will you allow me a comment on the notice in your issue of the 9th instant on the release of Gotthard Raake? In the first place, I maintain that it was not proved at his trial that Sub-Inspector Willes "induced" Raake to repay the money lost by Cocker . . . As to Willes, he either merited a criminal prosecution or to have retained his office, and it is held by a large number of residents in this district that he was dismissed on totally insufficient grounds, and the opinion is shared even by some members of the Municipal Council. Finally, with regard to a paragraph in the Examiner of the 8th instant on the same subject I may state that no "circumstances have transpired in the Fingal district to raise strong doubts of Raake's guilt" - or any doubts; and the general impression is, that by some influence there has been effected a gross miscarriage of justice.
Yours, TRUTH. Fingal, July 10th, 1873.

1883, deaths in the district of Fingal; Tasmanian names index; NAME_INDEXES:1165855; RGD35/1/52 no 270$init=RGD35-1-52P87 (DIGITISED)

415 / September 23rd 1883 / Gothard Raake / 77 Years / Music Teacher / Lung Disease . . .

"EARLY DAYS RECALLED. MRS. RAAKE'S GREAT AGE. AVOCA, Sunday", Examiner (15 February 1926), 3 

Mrs. Maria Raake celebrated her 94th birthday on Friday, February 12 . . . After her marriage Mrs. Raake resided for a short time in Launceston in premises now occupied by the Princess Theatre, Brisbane-street . . . Mrs. Raake has resided on the Benham estate for 67 years . . .

"MRS. M. RAAKE. Attains the Century To-day. Pioneer Reminisces", Examiner (12 February 1932), 6

. . . In 1852 she married Mr. G. Raake, tutor and music master to Mr. Lord's children, and had a family of six daughters, two of whom are deceased.

"DEATHS", Examiner (12 June 1932), 1

RAAKE - On June 11, 1932, at her residence, Avoca, Maria, relict of the late Gotthard Raake, in her 101st year. No mourning, by request. Interment took place at Avoca on Sunday, June 12, 1932.

"DEATHS", Examiner (30 October 1940), 2 

RAAKE. - On October 29, 1940, at her residence Avoca, Elsie, youngest daughter of the late Gothard and Maria Raake.

"OBITUARY", Examiner (2 November 1940), 7

The funeral of Miss Elsie Raake, of Avoca, youngest daughter of the late Mr. and Mrs. G. Raake, took place at the Church of England cemetery, Avoca, on Thursday. Rev. A. C. Dence conducted the service at the church. Miss Raake was born at Avoca, and was organist and Sunday school teacher at St. Thomas' Church for nearly 50 years. She will be greatly missed also at social functions . . .

Bibliography and resources:

Francis Gotthard Richard Raake, WikiTree

Richard Raake, Convict records 

Headstone of Francis Gotthard Richard RAAKE

Elena Gover, Russian convicts in Australia (2006)

Tim Causer, "'The worst types of sub-human beings'? The myth and reality of the convicts of the Norfolk Island penal settlement, 1825-1855"

. . . Clerks comprised the largest portion of professionals though there were a few teachers, notably the Polish military officer [sic] Gotthard Raake, who claimed to be a professor of languages and music, and who was transported for forgery and attempting to defraud Nathaniel Rothschild . . .

RABLIN, Henry (Henry Richard RABLIN; Sergeant Henry RABLIN)

Drum-major (former), ? musician

? Born Cornwall, England, 1807; baptised Lostwithiel, 30 August 1807; son of Henry RABLING [sic]; ? elder brother of the below
Enlisted c. 1819 (aged "14")
Married Mary Ann BURKE, Corfu (with regiment), 15 June 1831
Arrived (with regiment) Sydney, NSW, 21 November 1838 (per Earl Grey, from Plymouth and Portsmouth, 8th and 13th August)
Arrived (with regiment) Hobart Town, VDL (TAS), January-February 1839 (from Sydney)
Departed Hobart, VDL (TAS), March 1846 (invalided to England, discharged, aged "41")
? Died Redruth, Cornwall, England, October 1846 (shareable link to this entry)

ASSOCIATIONS: Henry's son was Henry Richard Rablin, born in Chatham in 1838 (d. 1918), and his grandson Henry Richard Rablin (1872-1918)


Clarinet, clarionet player, drum major, band sergeant, master of the band of the 51st Regiment

Arrived (with regiment) Sydney, NSW, 21 November 1838 (per Earl Grey, from Plymouth and Portsmouth, 8th and 13th August)
Arrived (with regiment) Hobart Town, VDL (TAS), January-February 1839 (from Sydney)
Master of the band, in the place of A. P. Duly (resigned), by mid 1845
Married Ann SAWYER (d. 1858), St. Joseph's Church, Hobart Town, 20 February 1845
Departed (with regiment) Hobart Town, VDL (TAS), 8 August 1846 (per Agincourt, for India) (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 51st Regiment


Although according to the paylists, John Rablin was still only a corporal at the time, he was regularly referred to as Sargeant Rablin from as eary as 1840, presumably in deference to his position as second-in-charge of the band under the master, (sergeant) Abraham Duly.


Membership register, Minden Lodge, 51st Regiment, 1836; Library and Museum of Freemasonry (PAYWALL)

1836 Oct. 4 / [Age] 29 / Rablin Henry Rich'd / Serjeant / with 51st Regiment . . .

Pay-list of the 51st (or the King's own) Regiment of Light Infantry from the 1st of April to the 31st of May 1837; Records of the UK War Office; Australian Joint Copying Project (DIGITISED)

[No.] 288 / Drum Major as Serjeant / Rablin Henry . . . (DIGITISED)

[Privates] [No.] 337 / Rablin John . . . Band

Pay-list of the 51st (or the King's own) Regiment of Light Infantry from the 1st of April to the 30th June 1840; Records of the UK War Office; Australian Joint Copying Project (DIGITISED)

[Corporals] [No.] 337 / Rablin John . . . Band

[Advertisement], Colonial Times (9 June 1840), 2

MRS. CLARKE begs most respectfully to announce to the Ladies and Gentlemen of Hobart Town and its Vicinity, that her
CONCERT of Vocal and Instrumental Music will take place on the above Evening, in which, by the kind permission of COLONEL ELLIOTT, she will, be assisted by the valuable services of THE BAND OF THE 51st REGIMENT.
PROGRAMME. PART 1. OVERTURE - Military Band. - Margarette d'Anjou - Mayerbeer [sic] . . .
MILITARY BAND. - Aria Lascia amai chi nel mio core.
PART 2. OVERTURE - From the National Drama of The Fair Maid of Corinth [sic] - Waddell . . .
CLARIONET SOLO - SERGT. RAVELIN, 51st Regiment . . .
MILITARY BAND - Aria tutto, from the Opera of Somnambula - Bellini . . .

ASSOCIATIONS: William Henry Elliott (commander); Anne Remens Clarke (vocalist, theatre proprietor)

MUSIC: Overture to The fair maid of Perth (James Waddell)

[Advertisement], Colonial Times (21 July 1840), 3

Grand Amateur Performance, For this Night only,
A Clarionet Solo by Sergt. Rablin 51st Regt . . .

ASSOCIATIONS: Charles Edward Jones (actor)

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (4 August 1840), 3 

Clarionet Solo, Serjeant Rablin 51st Regt. . . .

"Concert at the Assembly Rooms, Campbelton", Launceston Advertiser (6 May 1841), 3 

On Wednesday week last these rooms were filled with company to enjoy a Morning Concert . . . Such was the universal satisfaction with which both Ball and Concert came off, that the lists for the two coming meetings for October and March were numerously signed, so that these elegant periodical amusements may now he fairly considered and established. The Quadrille Band (at the Ball) gave entire satisfaction; their most attractive performance was, some entirely new sets of quadrilles, from the latest French operas, arranged by Musard for the piano forte, &c. These wore gone through with the greatest precision and spirit (as under).
First Violin - Mr. Kowarzik; Second ditto - Mr. Clair;
Tenor - John McLeod. Esq.; Double Bass - Mr. Russel;
Piano Forte - Dr. Hanchette; Clarionet - Mr. Rabelin; Cornupia - McDonald.

ASSOCIATIONS: Francis Kowarzik (violin); John McLeod (viola); William Wilkins Russell (double bass); John Hanchette (piano)

"MR. BUSHELLE'S CONCERT", The Courier (24 February 1843), 2

At an early hour on Friday evening last, the continued rolling of carriages towards the Victoria Theatre bespoke that the enticing programme - the merits of which had been so liberally discussed during the day - had produced the wanted effect, and at about eight o'clock the interior of the building presented a scene of profitable animation, beyond what could have been anticipated even by Mr. Bushelle's most sanguine well-wishers. So crowded were the boxes, that many of the gentlemen were under the necessity of taking seats in the pit, which was more select on this than on most other occasions. With the overture to "La Gazza Ladra" began the first division of the entertainment. The addition to the theatrical orchestra of several musicians from the 51st band had, it appeared to us, an effect rather prejudicial than otherwise, for though each performer undoubtedly possessed his individual merits, yet, as the augmentation lay principally in the wind instruments, the sounds from which are the most penetrating, it was at times somewhat difficult to trace the leading violin through its various themes. Mr. Deane certainly exerted himself to the utmost, but it is too much to expect a single performer, however great his talent, to resist the drowning of some fifteen others. An equipoise of instruments is one of the main desiderata in this kind of music, though but too often lost sight of when reduced to practice: for instance, in those numerous passages in which the clarionet is made to follow the flute in lower thirds, Serjeant Ravelyn completely overpowers the latter instrument by his unblended strength of tone, whilst Mt. Duly, junior, in each flute solo which falls to his share, exhibits his impression that the more the speed the greater the effect, at times almost transforming an intended andante into an allegro, notwithstanding the numerous checks which we have observed him to receive at the hands of the leader . . .

ASSOCIATIONS: John and Eliza Bushelle (vocalists); John Deane (violin, leader of the theatre band); George Frederick Duly (flute)

[Advertisement], Colonial Times (1 August 1843), 1 

Royal Victoria THEATRE, Campbell Street.
LAST BENEFIT. FRIDAY AUGUST 4, 1843. MR. J. DEANE (Leader of the Orchestra) . . .
Grand Entertainment of VOCAL and INSTRUMENTAL MUSIC, consisting of the following Songs, Duets, Solos, &c. . . .
Solo, Clarionet (with full orchestral accompaniments) - Mr. Rablin . . .

[Advertisement], The Courier (18 August 1843), 1 

Clarionet Solo - Mr. Rablin . . .

[Advertisement], Colonial Times (16 November 1844), 1

ORCHESTRA - 1st Violin - Mr. Russell; Mr. H. Howson.
2nd Violin - Mr. Singer; Master A. Howson. Tenor - Mr. Reichenberg; Mr. Duly.
Violincello - Mr. Curtis; Amateur. Contra Bass - Mr. Pyecroft; Amateur.
Flute - Mr. G. F. Duly. Clarionette - Mr. Rablin; Mr. W. Howson . . .
LEADER - Monsieur Gautrot . . .

ASSOCIATIONS: Joseph and Madame Gautrot (violinist and vocalist); Henry Howson (violin); John Singer (violin); Alfred Howson (violin); Joseph Reichenberg (viola); Abraham Duly (viola); Richard Curtis (cello); Joseph Pycroft (double bass); William Howson (clarinet)

1845, Marriages in the district of Hobart; Tasmanian names index; NAME_INDEXES:832339; RGD37/1/4 no 1766 

[No] 1766 / February 20th, St. Joseph's Church
John Rablin / full age / Sergeant 51st Regiment
Anne Sawyer / full age / [celebrant] Very Rev'd Wm. Hall / [witnesses] John Burke, Jane Sawyer . . .

"THE THEATRE", Colonial Times (29 March 1845), 3

On Wednesday Evening, Mr. Green, the Tight Rope Dancer, performed some clever feats in his line of business; he was much applauded. The performances, necessarily at present, confined to Vaudevilles and Farces, went off well, but to a very poor house. We cannot but notice the great improvement in the Orchestra; it was good before, it is now excellent. The admirable leading of Mons. Gautrot, and his excellent performance, greatly enhance the force and beauty of the music, which is selected with much taste, and arranged withe great skill and judgment. In addition to Mons. Gautrot, we have got back Mr. Duly, Junior, whose flute-performances are so excellent; we have also Sergeant Rablin, with his beautiful clarionet, a serpent player, and one on the Cornet-a-Piston, an instrument which claims especial favouritism at our hands. The extract from Mozart's splendid Overture to Don Giovanni, with which we were favoured on Wednesday, was given in a style and spirit which plainly proved that every player was a proficient. There is a distinctness - a crispness in Mons. Gautrot's bowing, which is well adapted to leading, while his time-keeping is correct. When required, too, this veteran Violinist can produce tones of "silvery sweetness" from his strings, which appear almost inconsistent with the very nature of the instrument. When Mrs. Clarke's expected auxiliaries arrive, we anticipate much entertainment.

[Advertisement], The Courier (15 April 1845), 3 

Mr. F. Howson's Grand Farewell Concert, Thursday, April 17 . . . Mechanics' Institute, Melville-street . . .
PROGRAMME: PART FIRST. Overture, "Don Giovanni," Mozart . . .
PART SECOND. Overture, "Don Pasquale" (2nd time in this colony) Donizetti . . .
Violins- Mr. Gautrot, Mr. Leffler, Mr. H. Howson, Mr. Russell, Mr. Singer.
Tenors - Mr. Reichenberg, Mr. Duly, sen. Violoncellos - Mr. F. Howson, Mr. -.
Contra Basso - Mr. Pyecroft. Flute - Mr. G. F. Duly.
Clarinette - Mr. Rablin . . .
Conductor and Pianist - Mr. J. Howson . . .

ASSOCIATIONS: Frank Howson (vocalist, cello); Edmund Leffler (violin); John Howson (piano)

[Advertisement], The Courier (26b June 1845), 1

MONSIEUR and MADAME GAUTROT'S GRAND CONCERT . . . Mechanics' Institute, Melville-street, on Tuesday, 24th June instant.
PROGRAMME . . . PART II . . . Solo, Clarionet - Mr. Rablin . . .
ORCHESTRA. 1st Violin - Mr. H. Howson . . . 2nd Violin - Mr. Singer . . . Tenor - Mr. Reichcnberg, Mr. Duly.
Violincello . . . Mr. Pyecroft. Flute - Mr. G. Duly.
Clarionet - Mr. Rablin . . . Mrs. Curtis will preside at the Piano.
Leader, Monsieur Gautrot . . .

ASSOCIATIONS: Emma Curtis (piano)

"MONS. GAUTROT'S CONCERT", The Courier (5 July 1845), 2 

As far as regards attendance, the concert on Tuesday evening was eminently successful. In almost every other respect we regret to say it was a failure. It is seldom that we have the gratification of witnessing in Van Diemen's Land such an assemblage of respectability, fashion, and intelligence as was collected on that occasion within the walls of the Mechanics' Institution. But the musical arrangements of the evening exhibited a series of casualties which, to a considerable extent, deprived an audience, numerous and gay, of the rich treat they were led to expect. The indisposition of Mrs. Stirling created a void which, in the paucity of vocal talent in this colony, could not be supplied, and the unexplained absence of other performers, whose assistance had been volunteered or engaged, reduced the orchestra in numerical strength, until, in spite of individual skill and exertion, it was rendered feeble and ineffective. It was in vain that Madame Gautrot put forth all her powers - it was in vain that Mrs. Curtis, who presided at the piano, combined delicacy of touch with brilliance of execution - that Mr. Rablin rendered all the relief that a fine clarionet solo could impart - that a young aspirant for fame, belonging to the military band, gave promise of future excellence on the piston - and that the veteran son of Apollo himself united the spirit and fire of vigorous youth with the confident skill and practised perfection of seventy years. A damp was cast over the whole performance that nothing could remove . . .

ASSOCIATIONS: Theodosia Stirling (vocalist)

"TO THE EDITOR OF . . .", The Courier (12 July 1845), 3 

. . . I am beholden to Messrs. Reichenberg, Rablin, Duly, sen., and the performer of the solo on the Piston . . . M. GAUTROT.

"THE 51ST REGIMENT", Colonial Times (23 September 1845), 3

This fine corps is mustering strongly at head quarters, preparatory to its embarkation for India in January next, and frequent parades will take place in the Domain in the meantime. On Friday last the soldiers in garrison, amounting to eight companies, were exercised under the surveillance of Major St. Maur, a clever officer, who appears to take, as a good officer should, great pains with his men. After executing a variety of manoeuvres, the regiment marched to the barracks, preceded by its fine band, now under the able mastership of Mr. Rablin, the talented successor of Mr. Duly. We were in error when we formerly mentioned that Mr. Rablin was a pupil of Mr. Duly: his preceptor was Mr. Williams, well known amongst military men as a very talented musician, and truly his pupil does him infinite credit. Many persons, especially with children, are deterred from walking in the Domain for fear of molestation by wild cattle. Their fears, however, may be allayed, as arrangements have been made to prevent a continuance of that dangerous nuisance; and we can assure them much gratification from a visit while the soldiers are exercising, no less from the beautiful performances of the band, than the manoeuvring of the regiment.

"THE 51ST REGIMENT", Colonial Times (3 October 1845), 3 

The men belonging to this fine Regiment having now arrived at headquarters, a succession of field-day parades will take place, till their embarkation to India, either at the latter end of February or the beginning of March, so that those who can spare time during the afternoon, for a stroll to the Domain, will be much gratified with the jaunt, the Band, under the direction of Mr. Rablin, "discoursing most eloquent music," and the men, under the able and experienced soldiership of Major St. Maur, performing their evolutions in a manner most pleasant to behold. The parades will commence, we understand, about 2 o'clock, a convenient hour for those who have dined, and those who have not.

"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.

ASSOCIATIONS: Mr. Hayne (? Hains; ? Henns)

Pay-list of the 51st (or the King's own) Regiment of Light Infantry from the 1st of July to the 7th August 1836; Records of the UK War Office; Australian Joint Copying Project (DIGITISED)

SERGEANTS . . . 337 / Rablin John / . . . Band Master . . .

"DEPARTURE OF THE 51ST REGIMENT", Launceston Examiner (8 August 1846), 4

About 500 of the troops, 63 women, and 90 children; in all 649 souls were to embark today, at Hobart Town in the Agincourt and China . . .


Flautist, lecturer, musical instrument designer

Born Liverpool, England, 6 December 1842
Arrived Melbourne, VIC, December 1883 (per Glendower)
Married Pauline RITA, Melbourne, VIC, 23 January 1884
Departed Sydney, NSW, March/April 1885 (for New Zealand)
Died London, England, 3 March 1917, aged 75 (shareable link to this entry)

RITA, Pauline (Pauline RITA; Mrs. John RADCLIFF)

Soprano vocalist, teacher of singing

Born England, c. 1842
Arrived Melbourne, VIC, 7 December 1881 (per Orient, from London, 27 October)
Married John RADCLIFF, Melbourne, VIC, 23 January 1884
Departed Sydney, NSW, March/April 1885 (for New Zealand)
Died London, England, 28 June 1920 (Wikipedia) (shareable link to this entry)


John Radcliff, c.1880s

John Radcliff, c.1880s

Pauline Rita, c. 1870s 


"COLONIAL ITEMS", The Argus (15 November 1881), 9

FROM THE EUROPEAN MAIL, OCT. 7 . . . Madame Pauline Rita sails for Melbourne on October 26, whither she is going to fulfil professional engagements.

"ARRIVED", The Australasian (10 December 1881), 23

"LATE TELEGRAMS", Bendigo Advertiser (24 January 1884), 3

LATE TELEGRAMS . . . Melbourne, 23rd January. Mr. John Radcliife, the world-renowned flautist, who is on a visit to Victoria, was married to-day to Madame Pauline Rita, the celebrated prima donna.

"Miscellaneous", Evening News (24 March 1884), 8

"PAN TO PINAFORE", Geelong Advertiser (24 May 1884), 3

"AMUSEMENTS", The Sydney Morning Herald (5 September 1884), 8

"AMUSEMENTS", The Sydney Morning Herald (20 February 1885), 5

[Advertisement], Oamaru Mail (16 April 1885), 3

[Advertisement], The Brisbane Courier (23 November 1885), 2

"RADCLIFF, THE FLAUTIST", Sunday Times (30 March 1913), 26

Mr. John Radcliff, who has a world-wide reputation as a flautist, and his wife, who before her marriage was Pauline Rita, a successful singer, have for some time past been in failing health and in very necessitous circumstances. Mr. Radcliff is seventy-one years of age, and his wife, who is now almost blind, is seventy. Their investments have proved unfortunate, and they are totally unprovided for. A fund for the benefit of Mr. and Mrs. Radcliff has been opened in London. Mr. Radcliff visited Australia with his wife, in 1884. The flautist and the soprano gave their Sydney concerts at the old Masonic Hall in York-street. At each concert Mr. Radcliff in a little lecture described the development of the flute, and introduced instruments of several periods before playing his own show pieces. During his fairly long stay in this city the genial artist was an honorary member of the Athenaeum Club. Mr. Radcliff helped to make many evenings pass pleasantly while telling stories of the Savage Club in London and its celebrities.

"Obituaries", Observer (12 May 1917), 13

"MUSIC AND MUSICIANS", Evening News (16 October 1920), 7 

Obituary notices in the English musical journals give details of the career of Madame Pauline Rita, who died recently at West Kensington. She was 78 years of age, and blind, at the time of her death. Before she entered upon her on the concert platform with Lablache, Patey, Santley, Celli, and other stars. She married Mr. John Radcliff, the celebrated flautist, and toured Australia and New Zealand.


John Radcliff, School for the flute (London: [s.n.], 1894) 

Bibliography and resources:

Adrian Duncan, "The genesis of the Radcliff model flute", webpage created 2007 

Radcliff remained with the Italian Opera for years, and did not miss a single performance there during the fifteen years following his initial appointment. When he finally did so, it was as a result of a romance with the celebrated singer Pauline Rita. Radcliff fell passionately in love with her, and the two became engaged. But his lady love was forced to seek a warmer climate for health reasons, and chose Australia as her haven. After an 18-month hiatus, the apparently love-sick Radcliff tired of waiting for her return and, immediately after fulfilling a final engagement at the Leeds Festival of 1883, he left for Australia himself, arriving in Melbourne in December of 1883. He and Pauline were married there in the next month.


Violinist, ? pianist

Active VIC, 1856-58 (shareable link to this entry)


[Advertisement], Bendigo Advertiser (29 November 1856), 3 

VIOLINIST is open to any Engagement on the following nights: - Tuesday, Wednesday, and Friday. W. Radcliff, Manchester Arms, Long Gully.

[Advertisement], The Argus (9 June 1858), 8 

QUADRILLES and EVENING PARTIES ATTENDED by first-rate violinist and pianist. W. Radcliff, 210 Lonsdale-street east.

? "THE EXHIBITION", Bendigo Advertiser (5 March 1887), 2 


Musician, professor of music, vocalist, choral singer, singing master, choir master, chorus master

Born Huddersfield, Yorkshire, England, 1815; baptised All Hallows, Almondbury, 9 April 1815; son of Amos RADCLIFFE and Olive JEPSON
Married Jane GRISEDALE (c. 1816-1895), Huddersfiled, England, 6 February 1840
Arrived Melbourne, VIC, 3 March 1853 (per Edmond, from Liverpool, 15 November 1852)
Died Creswick, VIC, 20 July 1891 (TROVE tagged by Australharmony) (shareable link to this entry)


Charles Radcliffe was born in Almondbury, near Huddersfield, Yorkshire, in 1815, the second child and eldest son of Amos Radcliffe, a clotheir, and Olive Jepson, who had married at All Hallows, Almondbury, on 28 February 1813. Charles's younger brothers Thomas (1825-1888) and Amos (1828-1909), and sister Hannah (1832-1811, Mrs. George Clissold) also emigrated to Australia.


Baptisms solemnized in the parish of Almondbury in the county of York in the year 1815; register, 1815, page 46; West Yorkshire Archives (PAYWALL)

[No.] 363 / 1815 9th Ap'l / Charles Son of / Amos Raclifee [and] Olive Jepson / Longely / Clothier . . .

1840, marriage solemnized in the parish church in the parish of Huddersfield in the county of York; register 1840, page 42; West Yorkshire Archives (PAYWALL)

[No.] 84 / 6th February 1840 / Charles Radcliffe / 24 / Bachelor / Clothier / Netherton, Parish of Almondbury / [father] Amos Radcliffe / Clothier
Jane Grisedale / 24 / Spinster / - / Kirkgate / [father] Richard Grisedale / Miner . . .

"Marriages", Leeds Intelligencer (8 February 1840), 8 (PAYWALL)

On Thursday last, at Huddersfield parish church, Mr. Charles Radcliffe, clothier, of Netherton, to Miss Ann [sic] Grisedale, of Huddersfield.

England census, 30 March 1851, St. George, Liverpool, Lancashire; UK National Archives, HO 107 / 2180 (PAYWALL)

5 Bridson's Building / Charles Radcliffe / Head / 36 / Musician / [born] Huddersfield
Jane [Radcliffe] / Wife / 35 / - / Yorkshire
Elizabeth [Radcliffe] / Dau'r / 5 / Scholar / born] Liverpool Lancashire
Mary Ellen [Radcliffe] / Dau'r / 2 / - / [born Liverpool Lancashire] . . .

Melbourne, VIC (from March 1853):

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

AMOS RADCLIFFE, who arrived per ship Lady Head, last October, will hear of his brother Charles, at William Clarke's, gold broker, 67, Collins-street.

ASSOCIATIONS: William Clarke (gold broker, musician)

[Advertisement], The Argus (21 May 1858), 8 

Haydn's Grand Oratorio "THE CREATION" Will be performed by the above Society, Assisted by several leading Members of the Melbourne Philharmonic and the Collingwood Harmonic Societies.
Tho Band and Chorus will consist of UPWARDS OF 100 PERFORMERS.
Principals: Miss Octavia Hamilton, Mrs. Fox, Mr. Ewart, Mr. W. H. Williams, Mr. Angus, Mons. Coulon.
Leader - Mr. Leslie. Organist - Mr. G. Tolhurst.
Conductor - Mr. Radcliffe.
Reserved Seats, 6s.; Unreserved Seats, 2s. 6d.
TIckets to be had at Mr. J. Wilkie's, Collins-street, Melbourne.
J. STOKES, Honorary Secretary.

ASSOCIATIONS: Henry Barkly (governor, patron); Octavia Hamilton (vocalist); Sarah Fox (vocalist); Thomas Ewart (vocalist); William Henry Williams (vocalist); Silvanus Angus (vocalist); Emile Coulon (vocalist); Alexander Leslie (violin, leader); George Tolhurst (organist); Prahran Philharmonic Society (organisation)

"DRAMATIC AND MUSICAL", The Age (15 June 1858), 6 

. . . To the Geelong Philharmonic Society belongs the honor of having been the first to produce Mendelssohn's "St. Paul" in the Australian colonies. Considering the great difficulty of the work, the performance was eminently successful. The conductor on the occasion was Mr. Charles Radcliffe . . .

NOTE: There is no record of a public or private performance of Mendelssohn's St. Paul in Geelong around this time, nor of Radcliffe being associatied with the Geelong Philharmonic Society

[Advertisement], The Argus (14 October 1858), 8 

When Handel's Oratorio "JUDAS MACCABAEUS" Will be performed by the above Society,
assisted by the Leading Members of the Melbourne and Collingwood Societies.
Principal Vocalists: MISS OCTAVIA HAMILTON. Mrs. Goodcliffe. Mr. Ewart. Mr. W. H. Williams. MR. FARQUHARSON.
Leader - Mr. Leslie. Pianist - Mrs. Lynch.
Conductor - Mr. Radcliffe . . .
J. STOKES, Hon. Sec.

ASSOCIATIONS: Mrs. Goodliffe (vocalist); Robert Farquharson (vocalist)

[Advertisement], The Argus (30 December 1858), 8 

A Christmas Performance Will be held in the Church of England School-rooms, Chapel-street
On THURSDAY EVENING, DECEMBER 30, 1858, When Handel's Oratorio,
THE MESSIAH, Will be performed by the above Society, assisted by the leading members of The Melbourne and Collingwood Societies.
Band and Chorus will consist of upwards of 100 Performers.
Principal vocalists: Mrs. GOODLIFFE, Master Johnson, Mr. Ewart, Mr. Blanchard.
Leader, Mr. Leslie. Pianist, Mrs. Lynch.
Conductor, Mr. Radcliffe . . .
R. P. LANGMORE, Hon. Sec.

ASSOCIATIONS: Master Johnson (vocalist); Charles Blanchard (vocalist)

"RICHMOND MECHANICS' INSTITUTE", The Argus (8 January 1859), 5 

A tea meeting was held last evening, in St. Stephen's School-room, Richmond, for the purpose of bringing together persons favorable to the formation of a Mechanics' Institute in that suburb . . . The proceedings were varied, and the interest increased, by a number of concerted pieces of music being sung at intervals. The principal vocalists were Mrs. Goodliffe, Mr. Ewart, Mr. Radcliffe, and Mr. Blandford [sic] - Mr. Russell presiding at the piano.

ASSOCIATIONS: John Russell (piano)

[Advertisement], The Argus (19 May 1859), 8 

Handel's celebrated DETTINGEN TE DEUM, And a selection from the Oratorio SAMSON,
Will be performed THIIS EVENING, THURSDAY, MAY 19, By the above Society, assisted by the leading members of the Melbourne Society.
Principal Vocalists: MISS OCTAVIA HAMILTON, Mrs. Goodliffe, Mr. Angus, Mr. Blanchard, Mr. Ewart.
Band and Chorus of 100 Performers.
Conductor, Mr. RADCLIFFE,
Organist, Mr. G. R. G. Pringle; Leader, Mr. Leslie; Pianist, Mrs. Lynch . . .
R. P. LANGMORE, Hon. Sec.

ASSOCIATIONS: George Pringle (organist)

[News], The Argus (20 May 1859), 4 

The members of the Prahran Philharmonic Society gave a concert yesterday evening in the Church of England School-room, Chapel-street. The object of the concert was a complimentary benefit to Mr. Radcliffe, the conductor of the society. In addition to the members of the Prahran Philharmonic, there were present Miss Octavia Hamilton, Mrs. Goodliffe, and Messrs. Ewart, Blanchard, and Angus. Mr. G. R. Pringle presided at an organ erected expressly for the occasion. The programme constisted of Handel's Dettingen "Te Deum" and a selection from the oratorio "Samson," by the same composer. The execution of each portion of the programme was exceedingly creditable to the members of the society, and the concert may in every respect be pronounced a successful one. The room was entirely filled with an audience chiefly composed of residents in the immediate locality and of St. Kilda.

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

The annual meeting of the Melbourne Philharmonic Society took place last evening at the Mechanics' Institute . . . The Secretary read the sixth annual report and balance-sheet, the important portions of which were as follows: . . . The principal vocalists who appoared at the Society's concerts during the year were: - Miss Octavia Hamilton, Mrs. Edward Hancock, Mrs. Goodliffe, Mrs. Ellis, Miss Macarthy, Madame Sara Flower, Miss Georgina Macarthy, Mr. Radcliffe, Mr. Ewart, Mr. W. H. Williams, Mr. Donaldson, Mr. Farquharson, Monsieur Coulon, Mr. Angus, Mr. Blanchard . . .

ASSOCIATIONS: Melbourne Philharmonic Society)

[Advertisement], The Argus (6 April 1864), 8 

MR. CHARLES RADCLIFFE (formerly conductor of the Prahran Philharmonic Society) is prepared to give LESSONS in VOCAL MUSIC to schools, classes, or choirs. Address High-street east, Prahran.

[Advertisement], The Argus (10 April 1865), 8 

THE FIRST SUBSCRIPTION CONCERT For the year will be held In the
EXHIBITION BUILDING, On TUESDAY EVENING, APRIL 11, 1865, On which occasion will be performed
MOZART'S "REQUIEM," Selected by the Committee as a tribute of respect to the memory of their valued coadjutor and Honorary Secretary, the late MR. W. G. DREDGE.
And For the second part, For the first time in Australia, MENDELSSOHN'S "ATHALIE,"
Band and Chorus of 200 Performers.
Organist - Mr. G. R. G. PRINGLE.
Principal Violin, Mr. W. C. FISHER . . .
Choir Master, Mr. CHARLES RADCLIFFE . . .
W. CHARLES FISHER, Acting Hon. Sec.

ASSOCIATIONS: William Gilpin Dredge (late secretary); Wilhelm Carl Fischer (violin, leader, secretary); Bertha Watson (vocalist); Sarah Mortley (vocalist); Maggie Liddle (vocalist); Edwin Exon (vocalist)

[News], The Argus (13 September 1865), 5 

A sacred concert, in aid of the organ fund of the Wesleyan Church, Punt-road, Prahran, was given last night by the choir, who received the valuable assistance of Mrs. Fox, Mr. Angus, and Mr. Ewart, of the Melbourne Philharmonic Society. The music, which consisted almost exclusively of selections from the "Messiah" and the "Creation," was fairly rendered by the choir, although the voices were scarcely numerous enough to give proper effect to the sublime choruses of Handel and Haydn. The representatives of the Melbourne society amply sustained their reputation; and Miss McPherson, a member of the local choir, was also very successful in Handel's beautiful aria, "But Thou didst not leave." Mr. David Lee, of St. Luke's Church, ably discharged the arduous duties of organist; and Mr. Charles Radcliffe, as conductor, gave perfect satisfaction. The audience was very numerous.

ASSOCIATIONS: David Lee (organist)

[Advertisement], The Age (3 September 1866), 8 

Ladies and Gentlemen who have enrolled their names as willing to lake part in the CHORUS at the forthcoming CONCERTS, are hereby informed that on MONDAY NEXT, the 3rd inst., PASS-TICKETS will be ISSUED . . . After Monday, no lady or gentleman can be admitted to a rehearsal without producing his or her ticket.

ASSOCIATIONS: Charles Edward Horsley (conductor)

[News], The Herald (7 December 1866), 2 

A meeting of the members of the Intercolonial Exhibition chorus look place after the rehearsal at Hockin's hotel, last night. Mr. G. O. Rutter was in the chair, and it was resolved that a deputation consisting of Messrs. Rutter, Kennedy, Dunning, Harvie, and Radcliffe, be appointed to wait on the Commissioners respecting the future employment of the chorus during the continuance of the Exhibition.

ASSOCIATIONS: George Oswald Rutter (musician); Montague Harvie (musician)

"THE MELBOURNE PHILHARMONIC SOCIETY. No. III", The Argus (15 January 1879), 6 

. . . The committee of resolved their respect to his memory by selecting the Requiem for performance at the first concert, the second part being Mendelssohn's "Athalie" for the first time in Victoria. On the programme appeared the name of Mr. Charles Radcliffe as choirmaster. This gentleman had been from the earliest days of the society one of the most prominent choral members. . . .

NOTE: Refers to the Dredge memorial, see 1865 above

"Deaths", The Age (25 July 1891), 5 

RADCLIFFE. - On the 20th July, at Creswick, Charles, the dearly beloved husband of Jane Radcliffe, professor of music, in the 77th year of his age, father of Mrs. J. Hawley, Prahran; Mrs. Giles, Mirboo; Mrs. C. T. Radcliff, Moonee Ponds; and Mrs. Lockwood, of Tatura; also brother of Mrs. H. Clissold, Moonee Ponds; Mr. Amos Radcliffe, Queensland; and Sir David Radcliffe, of Liverpool, England. Liverpool papers please copy.

Bibliography and resources:

Charles Radcliffe, WikiTree 

Charles Radcliffe, Find a grave 

RADFORD BROTHERS (shareable link to this entry)

RADFORD, Mark (Mark RADFORD; Mr. M. RADFORD; "Mack. RADFORD"; Mark Underhill RADFORD)

Musician, violinist, composer

Born Exeter, Devon, England; baptised Holy Trinity, Exeter, 3 August 1825, son of William RADFORD and Elizabeth UNDERHILL
Active Melbourne, VIC, by August 1853
Died Ballarat, VIC, 1 July 1880, aged "50" (TROVE tagged by Australharmony) (shareable link to this entry)

RADFORD, William (William Henry RADFORD; Mr. W. RADFORD; Mr. W. H. RADFORD)

Musician, violinist, viola player

Born Exeter, Devon, England; baptised Holy Trinity, Exeter, 30 August 1829, son of son of William RADFORD and Elizabeth UNDERHILL
Arrived Melbourne, VIC, 13 June 1854 (per Golden Era, from Liverpool, 17 March, "Samuel Radford", age "25")
Married Milbrew Jannetta LLOYD (c. 1835-1889), VIC, 1857
Died Spring Creek, via Beechworth, VIC, 28 March 1861, aged "32" (TROVE tagged by Australharmony) (shareable link to this entry)


Musician, violinist, band leader

Born Exeter, Devon, England; baptised Holy Trinity, Exeter, 1 July 1832, son of William RADFORD and Elizabeth UNDERHILL
Arrived Melbourne, VIC, 13 June 1854 (per Golden Era, from Liverpool, 17 March, age "22")
Married Sarah YOUNG (c. 1837-1913), VIC, 1856
Died Bendigo, VIC, 11 November 1870, aged "42" (TROVE tagged by Australharmony)'s+band+VIC+1855-71 (TROVE tagged by Australharmony) (shareable link to this entry)

William Radford, c. 1860

William Radford, ? c. 1860 (family photograph kindly supplied by Duncan Taggart)


The brothers Mark, William, and Sydney Radford, were sons of William Radford, musician, of Exeter, and his wife Elizabeth Underhill.

The eldest of William senior's sons, Walter Underhill Radford, was born in 1823 (baptised Holy Trinity, Exeter, 25 March 1823), and was working in Manchester as a musician at the time of his marriage there on 8 February 1841.

Mark was evidently the first to arrive in Melbourne, sometime before August 1853, when "new music composed by Radford" was billed at John and Charles Braids' assembly rooms.

Sydney and William duly arrived in Melbourne, on the Golden Era, in June 1854, and the three brothers first appeared billed together one of John Winterbottom's concerts in July 1854, as:

M. Radford, S. Radford, W. Radford, from the Manchester and Liverpool Philharmonic.

Sidney had settled in Bendigo by 1855, where he became well known as the leader of "Radford's celebrated band" (Radford's Quadrille Band). He died there in 1870.

William settled in Beechworth by around the same time, and died there in 1861. He and his wife had two daughters, Emily Jannetta (1857-1861), and Alice Milbrew (Mrs. John Poole, 1860-1898). His widow resettled in New Zealand, where in Dunedin in 1864 she married William Hugh Taggart.

Mark also gravitated toward the goldfields, and is documented in Beechworth, Ballarat, Castlemaine, and Hamilton. He died in Ballarat in 1880.

My thanks to Duncan Taggart (NZ), a Radford family descendent, for kindly sharing his research findings, 2020-21


England (to 1854):

England census, 6 June 1841; Warwickshire, St. Martin; UK National Archives, HO 107/1142/9 (PAYWALL)

Thomas Allwood / 20 / Professor of Music
John [Allwood] / 15 / [Professor of Music]
Mark Radford / 15 / [Professor of Music]

"STEALING APRICOTS", Exeter and Plymouth Gazette [Devon] (21 August 1847), 7 (PAYWALL)

Sidney Radford and John Bray, two respectably-dressed lads, were charged by Mr. Trace with stealing a number of apricots from the garden contiguous to the Lepers' Almshouses in the parish of Trinity.

Mary Lightfoot, an intelligent little girl, stated that on Saturday afternoon, about half-past four o'clock, as she was doing an errand, on Magdalen Bridge, she saw the prisoners going through Barrett's-lane. They then went around Trace's garden, and Bray helped Radford over the wall. Radford stayed in the garden about ten minutes, when he came back over the wall to Bray, who had remained outside, and she noticed that an apricot fell out of his pocket, and was picked up by Bray.

Cross-examined: - She was distant from the boys about as far as the Guildhall was from the Civet Cat; but she knew them very well. They had not the same clothes on then as now, and Radford had no jacket.

Mr. Trace said, early on Sunday morning he discovered that he had lost about sixty apricots. The garden was occupied Mr. Western, of whom he had bought the fruit on the trees. He had the garden key.

Mr. Laidman, for the prisoners, said he should be able to show that the little girl was mistaken in their identity.

John Hutchings, a hot-presser. said that on Saturday afternoon, at two o'clock, he went to the King's Arms, St. Sidwell's, to have some malt measured. He was accompanied by the prisoners. It was 5 o'clock when they returned. On such occasions there was always a quantity of beer to drink, and at the King's Arms they were furnished with five quarts and a pint. The beer made the prisoners tipsy, and when they came back he believed they went to bed.

The Mayor. - What clothes had the boys on?

Witness. - They had-jackets when they went away. I believe Radford's jacket was a brown one.

The Mayor. - What is their occupation? Witness. I don't know. I think one of them is a musician.

The Mayor. - What do you mean by a musician?

Witness. - He plays fiddle.

Elizabeth Radford, mother of one of the prisoners, stated, that her husband was a gardener. Her son wore no jacket on Saturday afternoon. Her husband had given the prisoner a severe thrashing at dinner-time, and told him he was not to go with the last witness; but he ran away without his jacket, and came home about five o'clock, tipsey. She said to him - You young villain, you have been drinking. He lay down on the bed, where he remained until nine the next morning, and she could scarcely undress him.

Mr. Laidman objected to the information, as being incorrect; it laid the stolen property in the name of Trace; but it had never been reduced into possession by him, not having been severed from the freehold.

The Mayor said this did not seem to him to be important. The Act applied to cases of "stealing" fruit from "any garden."

After the bench had consulted together, the Mayor stated that the Magistrates were of the opinion that the prisoners took the Apricots.

Mr. Laidman suggested that the boys were very respectable.

Mr. S. Kingdon.- Your own witness proves their respectability. The father of one of them whipt him, and he ran away without his jacket. It is ridiculous to talk such nonsense to the Bench.

The Mayor. - Respectable boys should not commit larcenies.

The prisoners were fined 10s. each and expenses, which the parents paid.

England census, 30 March 1851, Devon, Exeter; UK National Archives, HO 107/1868 <(PAYWALL)/p>

69 Magdalene St. / William Radford / Head / 48 / Musician / [born] Exeter
Elizabeth [Radford] / Wife / 48 / Tedham St Mary
Emily / Dau. / 7 / Exeter Devon . . .

England census, 30 March 1851, Lancashire, Bury; UK National Archives, HO 107/2214 (PAYWALL)

59 Market Street / George Hamilton / Head / 50 / Publican . . .
Sidney Radford / [Lodger] / 20 / Musician / [born] Exeter . . .

England census, 30 March 1851, Yorkshire, Sheffield; UK National Archives, HO 107/2338 (PAYWALL)

30 Eldon Street / Mary Burke / Head / Licensed Victualler . . .
Mark Radford / Visitor / 25 / Professor of Music / [born] Devon Exeter

"SHEFFIELD - Royal Adelphi Concert Hall (Proprietor, Mr. J. Scott)", The era [London] (17 August 1851), 12 (PAYWALL)

The selections from the pantomime of Don Juan continue to run successfully. Paddy Farren, the Irish vocalist, has appeared, and nightly creates roars of laughter. There is also a fresh arrival of rope dancers from London . . . There is also an extensive band, ably led by Mr. Mark Radford.

[Advertisement], Liverpool Mail (10 July 1852), 4 (PAYWALL)

WALHALLA CLASSIC ENTERTAINMENT with an entire change of Tableaux.
Living embodiment of the Works of Genius, Painting, Sculpture, Music and Poetry . . .
THIS EVENING (Saturday), and during the next week, will be produced
First appearance of Miss CLARA KENSH, the much-admired sentimental and Comic Vocalist, from the Theatre-Royal, Manchester.
Miss ANGELETTA QUIN, the celebrated Bravura and Ballad Singer from the Nobility's Concerts, London.
Mr. W. H. RADFORD, the Modern Paganini.
Mr. W. STUART, The old favourite Characteristic Comic Vocalist.
Leader of the Band, Mr. W. H. RADFORD . . .

[Advertisement], Liverpool Mercury (3 February 1854), 1 (PAYWALL)

THE MISSES ROBSON respectfully inform their friends and the public that they will give a
CONCERT in the above Rooms, on WEDNESDAY EVENING NEXT, the 8th instant.
Violin, Mr. W. H. RADFORD. Piano-forte, Mr. H. P. SORGE . . .

Victoria, Australia (from 1853):

? [Advertisement], The Argus (1 June 1853), 6 

BARQUE CIRCASSIA, From London. MR. RADFORD, carpenter, of the above vessel, is requested to return to his duty immediately, as the ship will sail in a few days, MATTHEW CREAK, Master.

[Advertisement], The Argus (3 August 1853), 8 

BRAID'S Melbourne Assembly Rooms, Russell-street, corner of Little Collins-street.
The Proprietors beg to inform their friends and the public that their second grand monthly Subscription Ball will take place this evening, August 3rd, at the above Rooms.
The following is the Programme, which contains some new and elegant dance music, composed expressly for these Rooms: -
1 Quadrille - Hungarian - Jullien
2 Polka - Bridesmaids - Jolly
3 Spanish Valse
4 Lancers
5 Schottische - Original
6 Valse - Wild Flowers - Jullien
7 Polka - Braid's Assembly - Radford
8 Quadillle - Canotier Parisienne - Bosisio
9 Schottische - Atherton
10 Galope - Flight of Haynau from Barclay and Perkins' draymen.
An interval of fifteen minutes.
11 Quadrille - Polka - Les dames de Varsovie
12 Valse a deux temps - Jullien
13 Polka - Abbotsford - Jones
14 Quadrille - Caledonian
15 Schottische - Hungarian - D'Albert
16 Valse - Lucrezia Borgia - Jullien
17 Quadrille - New - Radford
18 Polka - Argus - Ditto
19 Country Dance
20 Galope - Spirit of the Ball - D'Albert
21 National Anthem.
CHARLES & JOHN BRAID, Proprietors.

ASSOCIATIONS: Charles and John Braid (dancing masters)

[Advertisement], The Argus (19 August 1853), 8

NEW Music, composed by Radford, expressly for Braids' Rooms. "The Argus Polka," "Braid's Assembly Polka," "Herald of Hope Valses," "Express Galope," every Monday, Wednesday, and Friday evening.

[Advertisement], The Argus (25 August 1853), 8 

TO-Night. - Melbourne Thursday Concerts. - Mechanics' Institute. - Thursday Evening, 26th inst.
Vocalists. - Second appearance of Miss Meabella Smith and Mr. John Gregg.
Solo Instrumentalists. - M. Durant (cornet-a-piston), M. Cooze, M. Radford, M. Tucker, M. Winterbottom, &c. &c.
Part 1. Overture, Coriolan (second time this season) - Beethoven
Quadrille, La Guerre des Femmes - Boccio . . .
Valse, Faust (first time) - D'Albert . . .
Polka, Uncle Tom's Cabin - Montgomery.
Part II. Overture, Fidelio - Beethoven.
Valse, Primo Donna - Carl Bulla . . .
Polka Blue Bell - Koenig.
Solo Bassoon, Carnival de Cuba, M. Winterbottom - Winterbottom.
Galop, Duke of Cambridge, with cornet-a-piston obligato, M. Henri Durant - Ernesto.
Pianist, Mr. Salamon.
Leader of the Orchestra, Mr. Tucker.
Conductor, M. Winterbottom . . .

ASSOCIATIONS: John Winterbottom (conductor); Edward Tucker (violin); Henri Durant (cornet); Edward Salaman (piano); Meabella Smith (vocalist); John Gregg (vocalist)

[Advertisement], The Argus (10 September 1853), 12 

ROWE'S CIRCUS. - Winterbottom's Benefit Saturday next, September 10th.
Jullien's Exhibition Quadrille. Jullien's Drum Polka! Laughing Jackass Galop!
Vocalists: Miss Lewis, who will sing Shells of the ocean.
Mr. John Gregg, the renowned basso, who will sing The Slave Sale . . .
Solo Instrumentalists: M. Tucker, M. Edwards, Radford, Louthusl, Webb, Burgess, Chate, Boullemer, Tranter, S. Chapman, Wigney, Holt, Hore, Simpson, Wheeler, Oakey, Marks, Thatcher, &c.
Cornet-a-Pistons, M. Chapman.
Leader, M. Tucker.
Conductor, M. Winterbottom . . .

ASSOCIATIONS: Joseph Andrew Rowe (proprietor); Alfred Chate (musician); William Tranter (musician); Samuel Chapman (musician); Charles Thatcher (musician); Stephen Wheeler (musician); George Chapman (cornet)

[Advertisement], The Argus (10 December 1853), 8 

ROWE'S AMERICAN CIRCUS . . The Fifth of a series of GRAND PROMENADE CONCERTS will be given at the above place of amusement on
SATURDAY EVENING, December 10th, 1853. Mr. Alfred Oakey's celebrated Monster Orchestra . . .
Pianoforte, Mr. Alfred Oakey.
Violino primo - Mr. Radford and Mr. Peck . . .
Leader, Mr. M. Radford.
Conductor and composer, Mr. Alfred Oakey . . .

ASSOCIATIONS: Alfred Oakey (pianist, conductor); George Peck (violinist)

[Advertisement], The Argus (17 December 1853), 5 

ROWE'S AMERICAN CIRCUS, Corner of Stephen and Lonsdale streets.
The sixth of a Series of Grand PROMENADE CONCERTS will take place at the above place of amusement on
Saturday Evening, December 7th, 1853.
Mr. Alfred Oakey's Monster Orchestra, aided by several members of the band of the 40th Regiment, including Mr. Hartigan, the celebrated performer on the Ophicleide (by permission of Lieut. Colonel Valiant).
First night of a new descriptive Polka, entitled "The Morris Dancer," by Alfred Oakey.
Dawn of the Morning, The Lark, The Cuckoo Solo, Mr. Murrill; Home sweet home, duet - clarionets, Mr. Murrill and Mr. Colman; the Church Bell, the Ploughboy, the Shepherd's Pipe and Tabor, the Morris Dance, Sticks and Bells, Evening, the Church Bell.
Second performance of Oakey's New Grand Comic Medley Overture, which was honored with the most enthusiastic reception on last Saturday evening.
Second performance of the Adonis Galop with Solos - Flute, Mr. Murrill; Ophicleide, Mr. Hartigan. Dedicated to J. A. Rowe, Esq., by Alfred Oakey.
First night of the Matilda Polka, by J. W. Hartigan. Introduction, Clarionet solo, Mr. F. Colman.
Vocalists: Madame Sara Flower (the Australian Nightingale),
Miss Harland [sic], who will sing a new Irish Ballad entitled The Poor Irish Boy. Music by Alfred Oakey.
Mr. Walsh (the favorite buffo vocalist), and Mr. Riley.
Pianoforte - Mr. Alfred Oakey.
Violino primo - Mr. Bedford [sic, Radford] and Mr. Peck.
Vlolino Second - Mr. Mather and Mr. Burgess.
Viola - Mr. Telhurst [Tolhurst].
Violincello - Mr. S. Chapman and Mr. Minton.
Contra Basso - Mr. West and Mr. Chate.
Clarionetti - Mr. Colman and Mr. Murrill.
Flauto - Mr. S. Murrill.
Cornetti - Mr. P. C. Burke and Mr. Wood.
Saxe Horns - Mr. Hore and Sons.
Ophlcleide - Mr. J. W. C. Hartigan and Mr. Wigney.
Trombones - Mr. McNamara and Mr. Clansea.
Tambour - Mr. -
Gran Cassa of Cymbals - Mr. Cottiss.
Leader - Mr. M. Radford.
Conductor and Composer - Mr. Alfred Oakey.
For further particulars see the Programmes for the evening.
In Preparation:
Grand Indian Quadrille, by Jullien, the Band arrangement by Alfred Oakey.
In this composition the different styles of Music in India are introduced. The Rokatahs, Teranahs, Tuppahs, and Rasgniss. The Palankin March, the celebrated air Taza bu Tast, the Rohillahs or Warrior's March, and the Brahmin Hymn, as played in the procession which precedes the car of Juggernaut . . .

ASSOCIATIONS: Hore family (musicians); Peter Constantine Burke (cornet); Joseph Hartigan (ophicleide)

[Advertisement], The Argus (24 December 1853), 8 

ROWE'S AMERICAN CIRCUS . . . Grand Promenade Concert . . . Saturday Evening, December 24th, 1853, (Christmas Eve)
Mr. Alfred Oakey's Celebrated Monster Orchestra, augmented by the addition of several members of the band of the 40th regiment including Mr. Hartigan, the celebrated performer on the Ophicleide . . .
Grand Christmas Festival. Vocalists.
Madame Sara Flower - (The Australian Nightingale) will sing the Scena from Bellini's Opera of Norma . . .
Miss Hartland - "The Irish Boy" and a "Carol for Christmas Eve," written and composed by Alfred Oakey . . .
The First Night of Jullien's Grand Indian Quadrille, The Band arrangement by Alfred Oakey . . .
Second night of the new descriptive polka entitled The Morris Dancers by Alfred Oakey . . .
Last night of Oakey's Comic Medley Overture . . .
Conductor and composer, Mr. Alfred Oakey.
Leader, Mr. M. Radford . . .

ASSOCIATIONS: Sara Flower (vocalist); Band of the 40th Regiment

[Advertisement], The Argus (31 December 1853), 8 

ROWE'S AMERICAN CIRCUS . . . The Eighth of a Series of Grand Promenade Concerts will take place on Saturday, December 31st, 1853.
The Band will be under the direction of Mr. Alfred Oakey.
Vocalists, Madame Sara Flower - Miss Hartland - Mrs. Moore and Mr. Riley.
Conductor - Mr. Alfred Oakey.
Leader - Mr. M. Radford.

[Advertisement], The Argus (21 January 1854), 8 

ROWE'S CIRCUS. - Further augmentation of Orchestra.
The Eleventh of a series of Promenade Concerts will take place on Saturday evening, Jan. 21, 1854 . . .
Second night of the Chinese polka Tchong Kous, or the Middle Kingdom.
In consequence of the great applause bestowed upon the clever performance of Mr. Paltzer (late Violino Primo in the King of Belgium's Orchestra) he has been re-engaged, and will appear to-night.
Full night of Jullien's American Quadrilles. Solo, Saxe Clavicor, Mr. P. C. Burke.
Vocalists: Madame Sara Flower, (The Queen of Song), Mrs. Moore, Miss Hartland, and Mr. Riley.
Conductor - Mr. Alfred Oakey.
Leader - Mr. M. Radford . . .

ASSOCIATIONS: Jacques Paltzer (violin); Rachel Lazar Moore (vocalist); John Riley (vocalist)

List of passengers per Golden Era, from Liverpool, Melbourne, June 1854; Public Record Office Victoria (PAYWALL)

1265 / Samuel [sic] Radford / 25 / Farmer
Sydney [Radford] / 22 / [Farmer]

[Advertisement], The Argus (29 July 1854), 8 

WEEKLY MUSICAL PROMENADES, a la Jullien, at Rowe's Circus.
M. Winterbottom, in announcing his third Promenadee Concert, a la Jullien, To take place on Saturday, the 5th of August, 1854 . . .
Herr Strebinger, (whose performances on the violin have met with such unbounded success at these concerts) . . . has likewise been engaged as Leader of M. Winterbottom's Monstre Band, among which may be mentioned . . .
M. Radford, S. Radford, W. Radford, from the Manchester and Liverpool Philharmonic. Herr Handoff, Herr Kohler, Signor Reichart, &c., &c., &c. . . .

ASSOCIATIONS: Frederick Strebinger (violin); Franz Kohler (horn)

[Advertisement], The Argus (2 October 1854), 8\ 

MASQUERADE to-night. Casino, Victoria-street. Dancing to commence at nine. Admission, 5s.
MASQUERADE to-night. The Musical arrangements under the superintendence of Mr. S. Radford . . .
MASQUERADE to-night. - The Koenig of the Colonies, (Mr. P. Burke) will assist Mr. S. Radford . . .

ASSOCIATIONS: Peter Constantine Burke (cornet)

[Advertisements], The Argus (9 October 1854), 8 

ALL the most popular Quadrille Music by Mr. Sydney Radford's Band to-night, at the Casino, Victoria-street, opposite the north end of Stephen-street . . .

MELBOURNE CASINO. All the new Music at the Grand Ball to-night. Mr. S. Radford, leader.

[Advertisement], The Argus (13 October 1854), 8

QUADRILLES. - The best attendance is at the Melbourne Casino, where Sydney Radford and P. Burke's Band nightly enchant the million. Admission 2s. 6d.

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

TO-NIGHT! Melbourne Casino to-night.
The great night of the season.
For the Benefit of the Band.
On this occasion the following eminent Artists, among many other professional friends, have kindly volunteered their services:
First violins - W. and S. Radford.
Second violins - Chate, Edwards, and Griffiths.
Tenor - J. Baker.
Double basses - W. Tranter and Herr Plock.
Cornet-a-Pistons - P. C. Burke and W. Carey.
French Horn - Herr Khoeler.
Clarionett - G. Wilson.
Harp - T. King.
Principle Clavicore - C. Roe.
Trombone - J. Hawkes.
Oboe - H. Sorge.
Drums - Fred. Sharpe.
Piano - ?. Owen.
To commence with a Grand Concert in which Messrs. William and Sydney Radford will play a duet on one violin, first time in Australia; and the celebrated duet from Les Huguenots, for the cornet and violin, by P. Burke, and W. Radford.
To conclude with a Fancy Dress Ball. Admission, 5s.

ASSOCIATIONS: Joseph Griffiths (violin); G. Edwards (violin); Adam Plock (double bass)

[Advertisement], The Argus (1 November 1854), 8 

On Friday, November 3rd, The Philharmonic Society will perform Handel's Oratorio of The Messiah . . . Instrumentalists: Violin - Messrs. Griffiths, King, Fleury, Strebinger, W. Radford, M. Radford, Ryder, Pietzker, Fischer, Newton, Lewis, and Hurst . . .
Leader - Mr. Jos. Griffiths
Conductor - Mr. Jno. Russell . . .

ASSOCIATIONS: John Russell (conductor); Edward King (violin, leaser); Achille Fleury (violin); Melbourne Philharmonic Society

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

MELBOURNE CASINO.-The Criterion Band under the direction of Mr. Radford, at the Casino to-night.

[Advertisement], The Argus (15 February 1855), 8 

CASINO - Open to-night under new management, Mark Radford's Band in attendance. Admission, Half-a-Crown, RE-OPENING of the Casino in superb style, to-night. Radford's celebrated Band and new Music.

[Advertisement], The Argus (3 March 1855), 8 

SALLE DE VALENTINO. - This Night. Great Attraction. Concert and Ball. Admission One shilling.
GRAND PROMENADE CONCERTS . . . In the magnificent Concert Hall of the New Theatre Royal . . .
First appearance of Madame CARANDINI . . .
Band of Twenty Solo Performers. Director - Mr. Callen.
Mr. Johnson; Mr. Hartigan; Mr. Cooze; Mr. Radford;
Mr. Ryder; Mr. Prince; Mr. Luppe; Mons. Taulen; Mr. Grice; Mr. Thomas; Mr. Williams
Mons. Bial, pianist and accompaniment.
Programme of the evening: Part 1. Overture: "Le Cheval de Bronze" - Auber . . .
Part II. Overture - Figaro - Mozart . . .

ASSOCIATIONS: Maria Carandini (vocalist); George Douglas Callen (conductor, master of the Band of the 12th Regiment); Henry Johnson (musician, master of the Band of the 40th Regiment); William Cooze (flute); George Ryder (musician); Henry Prince (musician); Charles Bial (piano)

"Local and Domestic", Ovens and Murray Advertiser (14 April 1855), 4 

. . . The next that comes under notice is a ball that was given at the Freemasons' Arms on Thursday evening last . . . This ball was for the benefit of the musicians, Messrs. Radford and Edwards, whose exquisite performances on their respective instruments added considerably to the pleasures of the evening . . .


[Advertisement], The Argus (9 July 1855), 8 

THEATRE ROYAL, Melbourne. Grand Opening of THE THEATRE ROYAL, Bourke-street.
ON MONDAY NEXT, JULY 10th. Under the Sole Manangement of MR. JOHN BLACK . . .
Orchestra - Mr. B. Thom - Conductor; Herr Strebinger - Leader; Messrs. King and Radford - 1st violins . . .

ASSOCIATIONS: John Melton Black (proprietor); Bream Thom (conductor)

"PATRIOTIC FUND", Bendigo Advertiser (1 September 1855), 3 

. . . Mr. Pitman stated that Mr. S. Radford had promised that his excellent band would be at their service . . .

[Advertisement], The Argus (15 February 1856), 8

SALLE DE VALENTINO. Increased Attraction.
Re-engagement of MR. FRANK MORAN, The Renowned Negro Delineator, Singer, Banjoist, and Dancer, Who will appear for a limited number of nights at the above popular place of amusement.
MESSRS. WHITE AND MORAN Will present some of their most admired Duets, Dialogues, &c., Every Evening.
Comic Singing by Mr. BRENNAN.
Lucy Long and Fancy Dances in Character by MR. F. GEORGE,
New Songs, Glees, Concertina Solos, &c. by MESSRS. STANLEY, SEYMOUR, and REEVE.
Dancing as usual. Leader of the Band, Mr. Radford.
Admission, One Shilling.

ASSOCIATIONS: Frank Moran (serenader)

[Advertement], Ovens and Murray Advertiser [Beechworth, VIC] (12 March 1857), 4 


ASSOCIATIONS: Octavia Hamilton (vocalist); James Ellis (proprietor); John Ottis Pierce (minstrel, vocalist); W. H. Hammond (vocalist); S. Brenner (? vocalist, pianist)

[Advertisement], Bendigo Advertiser (5 March 1858), 3

BENEFIT and last appearance but one of MR. W. WHITE, (Formerly of Rainer's Serenaders.)
The following Gentlemen have kindly volunteered their valuable services :-
Mr. S. Radford - Violin (primo.)
Mr. James McEwan - Violin (secundo.)
Mr. R. McEwin [sic] - Cornet.
Mr. Andrew Kerr - Flauto.
Mr. John McEwan - Basso.
Mr. Hunter - Piano.
Mr. M. W. White - Banjo.
VOCALISTS: Mr. J. Small, the celebrated characteristic and local Singer . . .

ASSOCIATIONS: James and John McEwan; Joe Small; M. W. White (serenader, banjo)

[Advertisement], Ovens and Murray Advertiser (17 March 1858), 3

St. Joseph's Catholic Church, BEECHWORTH.
GRAND HIGH MASS, With Orchestral Accompaniments.
Mr. G. Griffiths, First Violin
" Weichman Second Violin
" J. P. Hurley, Flute
" W. Radford, Viola
" Mr. Barlow, Cornet
" Jenkins, Sax Tuba
" Wright, Violincello
Herr Esther, Double Bass.

ASSOCIATIONS: George Griffith (violin); Heinrick Weichmann (violin); J. P. Hurley (flute); John Barlow (cornet); Carl Esther (double bass)

[Advertisement], Ovens and Murray Advertiser (23 June 1858), 3

DUO CONCERTANTE - Violin and Piano - sur des themes, Lucia di Lammermoor - Radford and Saqui . . .

ASSOCIATIONS: Austin Saqui (piano)

"THE STAR THEATRE", Ovens and Murray Advertiser (9 February 1859), 4

John Black still holds his place on the boards of the Star, and nightly he develops those vocal resources of which he is possessed, and which have captivated numerous and critical audiences. John seems to improve as he grows older. He gets more of life and power into him, and the voice, naturally strong, has more of volume infused into it. In some of the Irish songs, he is great! but, not being a native of that country, he lacks the smack of the brogue which gives a raciness to the style. He is supported by Percy, a sentimental singer of slight pretensions; but he is very ably upheld by Radford, on the violin, and Saqui, on the piano. Indeed, the overtures played by Radford and Saqui are nightly, and very deservedly, encored. We say, deservedly, because the instrumentalism of Radford is the best we have heard for years.

ASSOCIATIONS: John Reddie Black (vocalist); Percy = ? Charles Percival (vocalist)

"THE LATE MR. W. RADFORD", Ovens and Murray Advertiser (30 March 1861), 2 

It took many of the residents of this district by surprise on Thursday to be informed that this skilful musician had ceased to be. Mr. Radford had been a resident of this district for the last six years, and was held in high esteem by all who had the pleasure of knowing him. He was a great favourite in the musical circle in the Metropolis previous to his coming to Beechworth, and liberal inducements were held out to him by many in the hope of retaining him in the City. As a musician he possessed talents that cannot be found in every day walk, and his services were always sought after on occasions of great gatherings for amusement. His name was well known throughout the whole district, and deservedly appreciated. The news of his demise will draw forth from all classes the sad expression of regret, and his memory will be respected in all time to come. Mr. Radford had been unwell for some time from an attack of colonial fever, but nothing serious was entertained that his illness was to fold him in the cold arms of death. The remains of the deceased gentleman were conveyed from his late residence, Spring Creek, to the Beechworth cemetery at three o'clock on yesterday afternoon, followed by a large concourse of our townsmen. The profession of which Mr. Radford was a member were also present and the band played that, solemn dirge - the Dead March. Mr. Radford leaves a bereaved widow and three children to deplore his untimely death.

[Advertisement], Mount Alexander Mail (12 April 1861), 1 

MR. MARK RADFORD, Violinist, send your address to your brother, Sydney, immediately, Family matters of importance.

[Advertisement], The Argus (4 September 1869), 1 

MR. MARK RADFORD, violinist, please send your address to ship Hotel, Sandridge.

[Advertisement], Hamilton Spectator and Grange District Advertiser (8 December 1869), 3 

DUNDAS CONCERT-HALL, HAMILTON . . . Mr. MARK RADFORD, Musical Director; M. J. POWER, Stage Manager; Mr. J. THORN, Proprietor.

"IN MEMORIAM - SYDNEY RADFORD. To the Editor", Bendigo Advertiser (16 November 1870), 3

Although now living at a distance from Bendigo I am a constant reader of the ADVERTISER, and saw in this Saturday's issue the simple announcement of the death, at the hospital, of consumption, of Sydney Radford, a musician. Now I thought some old Bendigonian would have informed one of your staff that poor kind-hearted "Syd" was amongst you in former days. What old Bendigonian of fifteen or sixteen years ago does not remember listening to the strains of Sydney Radford's band? It was an institution in Bendigo at that period. Thousands of diggers could say that they "many a time and oft heard the band discourse most eloquent music." Sydney Radford came up with his band to Bendigo in the latter part of the year 1854, and played at the principal places of amusement in Sandhurst, then entered into an engagement at the Manchester Arms, Long Gully, for twelve months, obtained very great popularity there amongst the diggers, and afterwards played with considerable success at Eaglehawk. Sydney Radford was a good musician and a first-rate violinist. He was a kind-hearted creature, and an excellent friend to brother professionals. He left Bendigo and resided in the northern districts of the colony for some years. Alas! what changes come "o'er the spirit of our dreams." Poor "Syd" comes back again after an absence of years to the scene of his former triumphs, friendless and alone, dying of consumption, to end his days in the Bendigo District Hospital. What a strange coincidence that two such excellent violinists as Monaghan and "Syd" Radford should die at Sandhurst on the same day one at the height of fame, surrounded by troops of friends, the other unhonoured and unknown.
FELIX. Melbourne, 12th November.

"DEATHS", Illustrated Australian News for Home Readers (5 December 1870), 215   

RADFORD. - In the Bendigo Hospital, on Friday, 11th November, of consumption, Mr. Sidney Radford, musician, of Radford's band, aged forty-two, deeply regretted.

"DEATHS", Western Times [Exeter, Devon, England] (28 March 1871), 5 (PAYWALL)

Radford. - Dec. 11, at Bendigo, of consumption, Mr. Sidney Radford, aged 38, youngest son of Mr. William Radford, of this city.

"TOWN POLICE COURT . . . A DANCING DEN IN THE EAST", The Ballarat Courier (13 August 1875), 3 

John Pasco Sims was charged with being the occupier of a house frequented by persons having no lawful visible means of support . . . Senior-constable Irwin stated that he visited the house in Main street after twelve on Sunday morning last, when he found seven prostitutes and about two dozen larrikins there. He could not say whether defendant was the occupier of the house or engaged as a musician . . . Mark Radford said he was in occupation of the house; he had been put into it by Sims' son. Sims had a share of the proceeds for the use of his musical instruments . . .

Inquest in death of Mark Radford, Ballarat, 1 to 3 July 1880; Public Record Office Victoria, VRPS 24/P/407 (transcribed by Duncan Taggart) (PAYWALL - images 4517-32)

Mark Radford / At Ballarat / Verdict / Died by syncope caused by failure of the hearts action consequent on inflammation of the heart.
At a Magisterial Enquiry held at Ballarat this third day of July 1880 by Mr. David B. Macaw Esquire, one of Her Majesty's Justice of the Peace in and for the Southern Bailiwick upon the body of one Mark Radford Deceased.
I find that on the 1st day of July 1880 at Ballarat deceased died from syncope resulting from failure of the heart's action consequent on inflammation of the heart.
Dated at Ballarat this 3rd day of July 1880.
D. B. Macaw, J.P. . . .

City Police Court, Ballarat 7th July 1880.
The enclosed report from the Police re death of Mark Radford, regarding which a Magisterial Enquiry was held on Saturday last, should have been sent with the Depositions but was inadvertently omitted . . .

1st July 1880. I beg to report from the information of J. L. Thopmson, Esq. that a dead body now lyes at the Eglinton Hotel Park street Redan. Found this afternoon in an old hut in a paddock at the top of Darling street Redan. He was a stranger in this neighbourhood, and known only by the name of Mark.
Constable 735, J. L. Thompson Esq., Ballarat.

Margaret Hansen sworn saith - I am the wife of John Hansen who keeps an Hotel in Market Street . . . on Tuesday last decased left my house at half past six. He was complaining of having a bad cold when he was here. He told me he was going to an unoccupied hut at Mr. Laurie's to pass the night. The next day I saw him was on Thrusday at the hut lying on the ground with his head resting on two bricks quite dead. I went there to see how he was. I have known him previously, he has been at my house five or six times. He was a violinist, he earned his living by that means, I never saw deceased the worse for liquour. When he left my hotel on Thursday he was capable to taking care of himself quite sober . . .

Patrick Longhran sworn saith - I am aConstable at Redan . . . He was quite dead. I search him & found on him one shilling sixpence in cash two purses one knife and a pipe and some laces, and matches and a fiddle and bow . . .

Edward Martin sworn saith - I keep the Royal hotel Bridge Street. I knew deceased his name was Mark Radford. I have known him for 15 or 16 years. He was a fiddler & lived nearly always in Ballarat . . . I never saw him the worse for liquour but he drank a lot of beer.

. . . Richard Bruce . . . I made the post mortem . . . yesterday . . . the body was well nourished . . .

"OLD IDENTITIES OF BEECHWORTH [by] BEN. EAGLETON", Ovens and Murray Advertiser (24 July 1909), 12 

. . . I have spoken of the number of excellent musicians who made Melbourne their temporary home. Among these were some who, finding too much competition in the city, made their way to the goldfields with varying fortune. The only ones I became acquainted with were settled at Beechworth when I arrived there some years afterwards, towards the end of my seven years' practical experience of mining. These were Burke, a fine performer on the cornet; Radford and Griffiths, violinists; and Ruxton, a pianist. Of these, I became acquainted with Radford, who at the time was playing for the dances at the Clarence Hotel at Yackandandah, and who expressed to me the bitter disappointment to his early ambition, which many more had suffered. In converse with me one evening he said with a sigh - "I thought when I came to Australia I was going to make a name, perhaps a fortune, but I soon found there were plenty as good as me; and here I am now, a fiddler in a pot-house." Griffiths was a married man, with a family, and was reduced to dire straits. He ultimately went to New Zealand, and I never heard of him again . . .

ASSOCIATIONS: Benjamin Eagleton (memoirist); George Griffith (violin); Henri Ruxton (piano); Peter Constantine Burke (cornet)

RAFFAELLO, Charles = Raffaello CARBONI

Amateur vocalist

Active Ballarat, VIC, 1854-55

RAHM, Veit (Veit RAHM; Herr RAHM)

Musician, zither player, guitarist, vocalist, "Tyrolese minstrel", composer

Born Laimach bei Hippach, Zillertal, Austria, 14 June 1825
Arrived Melbourne, VIC, 28 April 1853 (per James L. Bogert, from London, 27 January, via the Cape)
Departed Melbourne, VIC, 11 January 1857 (per White Star, for Liverpool)
Married Amalia KATSCHTHALER (1822-1873), 16 November 1863
Died Hippach, Austria, 9 October 1904, aged 79 (TROVE tagged by Australharmony) (shareable link to this entry)


Veit Rahm was born on 14 June 14 1825 in Laimach, near Hippach, in the Zillertal of Tyrol, Austria. On 16 November 1863 he married Amalia Katschthaler, a sister of the future archbishop of Salzburg, Johannes Katschthaler. According to family tradition, Rahm invested the profits made during his English and Australian tours with a London bank, but to have lost most of his savings in a stock-market crash. He died at Hippach on 9 October 1904.

In mid 1851, Rahm first appeared in England as a junior member and zither player of a quintet of Tyrolese singers, led by Ludwig Rainer (1821-1893) and Simon Holaus, who had recently returned from a tour of north America, and had now come to England for the Great Exhibition. The group, which also included Fanny Marggreiter and an otherwise unidentified singer called Klier, gave a command performance for queen Victoria, before being engaged for the winter season at St. James's Theatre, London.

After an extensive tour of the provinces and to Scotland, the group reappeared in London in December 1852 before disbanding.

In January 1853, Rahm was one of a party of 8 Tyrolese emigrants (including Felix Rahm, aged 23, perhaps his younger brother) who sailed from London for Victoria on the James L. Bogert via the Cape of Good Hope. They landed in Melbourne on 28 April 1853, and a few days later, according to his own account, Rahm presented testimonials of his recent performances before queen Victoria to the governor, Charles La Trobe, and sought and gained his patronage for his forthcoming concerts.

Initially, in Melbourne and Geelong in May and June, Rahm appeared as leader of a company of five singers, including four of his Tyrolese fellow travellers, all of whose names and identities remain somewhat uncertain - Alois Holaus (probably a younger relative of Simon Holaus, Rahm's co-performer in England), Andre Gredler, Johann Dreml, and Johann Einhauser. The four came together again with Rahm as a performing company only once more, in May, June and July 1854, and nothing else is known of their activities or wherabouts thereafter.

Rahm left a charming, though not very informative manuscript account of his voyage and Australian tour, mainly later recollections of his early impressions of Victoria and Van Diemen's Land (Tasmania). Unfortunately, he gives little useful information about his Tyrolese colleagues, and little otherwise of musical interest. Moreover, several of the associates he does mention are not readily undentifiable, notably, the pianist he calls "C. Kohling"; and a "Herr Seeder", too early however to be Julius Siede.

In Australia Rahm's programs included several of his own works, including "aria The evening bells with variations (hand fantasia; zither)" The Tyrolese postilion (national song; in imitation of the trumpet; zither), and The crying peasant (comic song).


Britain (1851-52):

[News], Münchner Tagblatt (25 June 1851), 762 (DIGITISED)

Aus Tirol hat, eine Deputation eigener Art sich nach London aud den Weg gemacht, die dort in unde ausser dem Glaspallast willkommen sein wird - eine Sängergesellschaft aus dem Zillerthale, dem einzigen Thal Tirols . . . Ludwig Rainer und Simon Holaus, die vor mehreren Jahren schon mit einigen Benoffen das Lied aus den tirolischen und steierischen Bergen die Amerikaner haben hören lassen von Canada bis New-Orleans. Veit Rain [sic] und Fanny Marggreiter, die jüngsten der Gesellschaft, sind die frischesten Stimmen in derselben, über welche Simon Holaus eine Art musickalischer Zeitung führt . . .

[Advertisement], Morning Post [London, England] (25 November 1851), 1 (PAYWALL)

Under the distinguished Patronage of her Grace the Duchess of SOMERSET. - Mr. Mitchell respectfully announces that the celebrated TROUPE of TYROLESE MINSTRELS, Simon Holaus, Viet and Ludwig Rainer, Klier, and Madlle. Margreiter, whose recent performances at Windsor Castle and Frogmore House, in the presence of Her Majesty, H.R.H. Prince Albert, and H.R.H. the Duchess of Kent, were honoured by the most exalted approbation, are engaged for a MUSICAL ENTERTAINMENT comprising numerous national melodies, and concerted pieces at the above Theatre, which will take place on FRIDAY EVENING next Nov. 28th, commencing at half-past eight o'clock. The Minstrels wiil appear in their national costume . . .

"St. JAMES'S THEATRE", Morning Post (29 November 1851), 5 (PAYWALL)

Last evening, a novel entertainment was given at the above theatre, under the title of "Music of the Tyrol." It consisted of national Tyrolese airs harmonised for five voices, and executed by Herren Simon Holaus, Veit, Ludwig Rainer, Klier, and Madlle. Margretier - vocalists who have had the honour of eliciting most flattering demonstrations of approval from the most exalted personages in the realm, as the following testimonials will show . . . The Tyrolese minstrels have also testimonials from the Emperor of Austria, the Emperor of Russia, the King of Bavaria, the King of Saxony, the King of Wurtemburg, the Duke of Saxe Coburg, &c., &c. The music of these minstrels (who appeared in the quaint costume of their country) must be admired chiefly for its thoroughly national character. It brings the snow-clad mountains, the bounding chamois, the Alpine hunter's call, the goat-herd's pipe, and the rude but joyous festival of the Tyrolese village clearly to our mental vision. It comes freshly on the spirit as everything in this artificial age must do which bears the unalloyed impress of Nature's hand. These Tyrolese minstrels assuredly sing their national airs very delightfully. Their voices are, for the most part, good, and their ensemble excellent. Yet it is not for these qualities that we claim for them a marked superiority over all other vocalists of the kind whom we have heard. Such merits, most praiseworthy though they be, are by no means so uncommon, as to call for any special eulogy. It is rather the point and humour with which these performers deliver the words of their songs; their admirable acting, and the perfect originality of their general style, which induce us to rank them far above the herd of mere "jodlers" and glee-singers who have courted and received public patronage . . .

ASSOCIATIONS: St. James's Theatre (London); John Mitchell, proprietor

Veit Rahm, zither, and Tyrolese Minstrels, London, 1851

The Tyrolese Minstrels, from a photograph taken by Richard Beard, by desire of H.R.H. The Duchess of Kent

"THE TYROLESE MINSTRELS", The illustrated London news (6 December 1851), 13 (illustration above) (PAYWALL)

The company of artistes who sing the music of the Tyrol comprise Mdlle. Margreiter, Simon, Holaus, Veit, Ludwig Rainer, and Kleir. Their performances commenced on the 28th ult. at the St. James's Theatre, under the patronage of the Duchess of Somerset. The Tyrolese Minstrels have sung at Windsor Castle and Frogmore House, in the presence of her Majesty, Prince Albert, and the Duchess of Kent; and recently at the Pavilion, Brighton, before the Duchess of Gloucester. Testimonials of the Master and Comptroller of the Royal Households, expressive of the gratification of the Queen, Prince Albert, and the Duchess of Kent, have been granted to the singers, and they are also bearers of testimonials from the Emperors of Russia and Austria, the Kings of Bavaria, Saxony, and Wirtemberg, the Duke of Saxe-Coburg, &c. Nothing can be more picturesque than the costumes of the Tyrolese Minstrels, and nothing can be more curious and original than the harmonised melodies which they interpret; amateurs who are curious in studying musical nationalities, will find suggestive matter in listening to the music of the Tyrol.

This singing troupe are natives of the valley of Tullerthal [sic]; they came to England to see the Great Exhibition. Two of this company belong to the Rifleman corps of the Tyrol, and are decorated with silver medals from the Emperor of Austria. The bass singer, Herr Holaus, has travelled with the celebrated Rainer family through the United States of America, where they have met with the greatest success. M. Rainer, the son of the celebrated Rainer family, is in possession of a Tyrolean belt presented from George IV to his father. The belt has in front the Royal arms, and is of the most handsome workmanship.

ASSOCIATES: Richard Beard (photographer); Duchess of Kent

[Playbill], St. James's Theatre, Piccadilly, Music of the Tyrol. LAST DAY PERFORMANCE . . . FRIDAY, JULY 9th [1852] (DIGITISED)

[Advertisement], Cheltenham Journal and Gloucestershire Fashionable Weekly Gazette (27 September 1852), 3 (PAYWALL)

Assembly Rooms, Cheltenham.
MUSIC OF THE TYROL. MR. ANDREWS respectfully announces that in consequence of the very flattering patronage which is still bestowed on their CONCERTS,
The Tyrolese Minstrels, SIMON HOLAUS, VEIT RAHN [sic], LUDWIG RAINER,
KLIER, and MADLLE. MARGREITER. will have the honor of giving their
FAREWELL ENTERTAINMENTS, at the above Rooms, THIS PRESENT MONDAY, and TUESDAY, WEDNESDAY, and THURSDAY EVENINGS NEXT, Sept. 27th, 28th, 29th, and 30th, at Eight o'Clock; and on WEDNESDAY MORNING NEXT, September 29th, at Half-past Two, previous to their Departure for their Native Home, Zillerthal, in the Tyrol . . .

[Advertisement], Edinburgh Evening Courant [Scotland] (14 December 1852), 1 (PAYWALL)


"CONCERT", Huddersfield and Holmfirth Examiner (24 December 1852), 5 (PAYWALL)

On Wednesday evening the Tyrolese Singers gave one of their entertaining concerts in the Philosophical Hall, to a select, although (owing to the very unfavourable state of the weather) not very numerous audience . . . The aria, by Veit Rahm, on the zither, a national instrument of Tyrol, was remarkable, equally for the delicate beauty of some passages, and the harmonious fulness of others . . .

"THE TYROLESE SINGERS", The weekly review, and dramatic critic (3 December 1852), 24 (DIGITISED)

On Monday night the Queen Street Hall was filled with a crowded audience to witness the performances of the Tyrolese Singers. The party consists of five persons - Mlle. Maghreiter (soprano), and Simon Holaus, Veit Rahm, Ludwig Rainer, and Klier (tenors and basses) - whose voices blend harmoniously together, and produce a very pleasing and successful whole. The numerous and varied pieces executed in the course of the evening, were all performed with animation and effect. The performances have been repeated during the week.

Australia (1853-56):

Passengers by the James L. Bogert for Hobson's Bay, 26 April 1853; Public Record Office Victoria (PAYWALL)

Dremble [Dreml] Johan / 29 / Tyrolese
Einhauser Johan / 29 / Tyrolese
Gredler Andre / 30 / Tyrolese
Holons [Holaus] Alois / 31 / Tyrolese
Larch [? Lauch] Walhauser [? Waldemar] / 29 / Tyrolese
Margnuten Anton / 32 / Tyrolese
Rahm Veit / 28 / Tyrolese
Rahm Felix / 23 / [Tyrolese]

"MUSICAL", The Argus (4 May 1853), 9

We hear great things of a party of new musical performers which has arrived in the James L. Bogart [sic]. It consists of a number of Tyrolean chorus singers who have had the honor of appearing, with distinguished success, before Her Majesty at Windsor, and at many of the seats of the English nobility. The leader is named Herr Veit Rahm, and in addition to their vocal accomplishments, they perform on a peculiar national instrument, equal in antiquity (we perceive by their programme), with the bagpipe, but we trust resembling that most abominable of instruments in no other particular. We believe that arrangements are in progress for introducing their performances to a Melbourne public, but at present we can give no information as to the "when" or the "where".

"THE TYROLESE", The Argus (10 May 1853), 9 

Many of our readers lost a novel and interesting treat last evening, in the first entertainment of the Tyrolese singers, of whom we recently made mention. The performances had not indeed been announced in the usual way; the inhabitants of the Tyrol not yet being impressed, we presume, with the advantages of that highest privilege of intellectual man, the power of appealing to his fellows through the agency of an advertisement. The attendance was consequently not so numerous as it would have been, or as the performers deserved. The party consists of five male singers, and they perform quintettes, duets, with chorus and other pieces, in a very pleasing and original style, approaching the German quartettes more than any other musical performances which have been offered to a Melbourne audience. The alto and basses are particularly good, and long practice together gives the whole party great precision and correctness in their chorusses. They appear in their national dress, which is handsome but peculiar, with wide-brimmed peaked hats, decked with feathers, ribbons, and artificial flowers; scarlet waistcoats, gaily decorated black knee breeches, white stockings, and highlows, with belts of astonishing width, decorated in a style reminding one precisely of the Government stamp on a pill box. The whole group imparted so thoroughly a Tyrolean air to the large room at the Mechanics', that one could almost fancy a bust of Shakspeare hardening into an iceberg, wild strawberries clustering round the dusty waratah, and a living chamois perched upon the piano usually sacred to the genius of Buddee. The performance was varied by a a couple of fantasias on the national instrument called the "zitter," which is a species of guitar, but lying flat upon the table in stead of being held guitar fashion. It is a pretty little tinkling instrument, and the effects produced were pleasing enough to elicit an encore in both instances. It is the zitter which was lately spoken of as equalling in antiquity that pride of a Scotsman's heart, the bagpipe. In all other respects we confess we prefer it to that most execrable of noise producers. His Excellency was present, and although the room was not filled, we trust that the encouragement received would be sufficient to induce a repetition of the performance on an early day, of which we will endeavor duly to advise our readers.

ASSOCIATIONS: His excellency Charles La Trobe (governor)

[Advertisement], Geelong Advertiser and Intelligencer (12 May 1853), 2 

THEATRE ROYAL. MR. COPPIN begs to inform his friends and the public generally, that he has engeged, at an enormous expense, for THREE NIGHTS ONLY,
Viz :-Thursday, Friday and Saturday, the 12th, 13th and 14th instant, those celebrated
Who had the honor of giving their celebrated entertairment, BY COMMAND, and in the presence of her most gracious Majesty,
Her Majesty's pleasure was expressed, through the Master of the Royal Household, at both their
VOCAL AND INSTRUMENTAL MUSIC, Which Letter, bearing the Seal of State, they now have in their possession . . .

ASSOCIATIONS: George Coppin (proprietor)

[Advertisement], The Argus (14 May 1853), 12

(Under the Patronage of His Excellency, the Lieutenant-Governor),
HERR RAHM and Company, Tyrolese National Mountain Singers, who have been performing with immense success at St. James' Theatres, London, before Her Majesty the Queen, at Windsor Castle, and on several occasions before Her Royal Highness the Duchess of Kent, will have the honor to give a grand vocal and National Concert, at the Protestant Hall, Melbourne.
The company, who are five in number, will sing in their National Costumes . . .

"TYROLESE SINGERS", The Argus (18 May 1853), 9 

These astonishing vocalists gave their second entertainment in Melbourne last evening. The weather was most unfavorable, and the attendance consequently not numerous. The national instrument, the zitter, on which two arias were skilfully executed by Herr Rahm, has a tone not unlike the concertina, though somewhat more sonorous, its lower notes reminding the hearer of the bassoon or oboe. The melody and accompaniment were sustained with accuracy by the performer, and he was loudly applauded at the close. The whole of the five voices were heard with good effect in the Tyrolese national song, a quintette, displaying in an admirable manner that peculiar style of melody for which the inhabitants of the Tyrol are so justly celebrated. The comic chorus, interspersed with orchestral imitations, after the fashion of the old English melody, King Cole, excited much laughter. There is a degree of perfection in the singing of the melodies, which has rarely been attained by any except companies long in the habit of performing with one another. The author of a popular treatise on the art has termed this quality "togetherness," which imparts a charm to their pieces, rarely heard except in the performances of families of musicians, such as the Hutchisons and the Distins. God save the Queen closed the performance.

ASSOCIATIONS: Hutchinson family (singers); Distin family (brass players)

[Advertisement], The Argus (7 June 1853), 10 

GRAND CONCERT. Under the Patronage of His Excellency the Lieutenant Governor. HERR RAHM, and Company, Tyrolese National Mountain Singers . . . will give a Grand Vocal and National Concert,
at the Mechanics' Institution, Wednesday Evening June 8th,
Friday Evening, June 10th, at the Protestant Hall,
Saturday Evening, June 11th, at the Protestant Hall . . .

[Advertisement], Empire (22 June 1853), 1 

MR. RAHM, the celebrated Zither Player and Singer, has arrived in Sydney. He has had the honour to perform before her Majesty the Queen, the Duchess of Kent, and other members of the Royal family, several times. He was engaged fourteen mouths at St. James's Theatre, London, by Mr. Mitchel, the lessee. Mr. R. will be happy to enter into any engagement of a public or private character in connexion with his profession of the National Tyrolese Music. As he has heretofore done, he will sing in the Nation Costume.
The Zither is an instrument entirely new and original in England and Australia. It has twenty-eight strings. It has a tone sweeter than a pianoforte, but of much greater power and compass.
Mr. Rahm may be seen at Petty's Hotel, near the Scots' Chapel.

"MR. COLEMAN JACOBS' CONCERT", The People's Advocate and New South Wales Vindicator (2 July 1853), 2 

When expectation is highly raised, we too often find by sad experience that it is doomed to be disappointed, but we are gratified to state that the Concert given by Mr. Jacobs, at the Theatre, on last Thursday evening, presented an exception to this remark . . . Mr. Winterbottom made, it is said, his last appearance here, previously to his return to Melbourne, where his popularity is not attended as in Sydney, with "molto onore e poco cotante," plenty of praise, but very little pudding; his performance of an air from Sonnambula called forth an enthusiastic encore . . . Among the chief attractions of the evening was the appearance of a new arrival from Europe Veit Rahm, in the picturesque Tyrolese costume: he sang, accompanying himself, on a small instrument resembling in its effects the guitar, and his exertions were at the outset very cordially greeted, but after the charm of novelty has worn off, we fear are little calculated to earn a durable popularity . . .

ASSOCIATIONS: Coleman Jacobs (pianist); John Winterbottom (musician)

[Advertisement], Empire (5 July 1853), 1 

ROYAL HOTEL. Second Night of the celebrated ZEITER Performer,
V. RAHM, who was received with shouts of acclamation on his first appearance.
Grand Rerformance upon the National Instrument of Tyrol, the ZEITER, in full National Costume, as played before her Majesty Queen Victoria, August 7, 1852 - M. RHAM . . .
The next Concert will take place TO-MORROW (Wednesday) Evening.
E. TOTTEN, Agent.

"RAINER'S SERENADERS", Bell's Life in Sydney and Sporting Reviewer (23 July 1853), 2 

This talented and amusing company still continue to entertain crowded audiences at their concerts at the Royal Hotel . . . Herr Rahm's performance on his novel and sweet-toned instrument, the Zeiter, is well worth not only the first hearing, but a repented attendance.

ASSOCIATIONS: John Cragin Rainer (minstrel); Elbert Totten (manager); Rainer's Serenaders

Herr Veit Rahm, Sydney, July 1853

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (23 July 1853), 3 (with illustration above) 

14th Night of the celebrated vocalist and ZEITER performer, HERR RAHM . . .

[Advertisement], Empire (1 September 1853), 2 

Benefit of MR. FRANK MORAN, alias Brudder Bones; and positively the Last Night.
Programme . . . Part II . . . Duet, Herr Rahm and J. M. Foans . . .
Solo, "Postillion," Herr Rahm . . .

ASSOCIATIONS: Frank Moran (minstrel); James Milton Foans (minstrel)

[Advertisement], The Argus (6 September 1853), 8 

NOTICE. - Rainer's Original Ethiopian Serenaders, composed of Messrs. Rainer, White, Brower, Bryant, Foans, and Moran, will arrive here from Sydney on Tuesday, and proceed to Geelong, and give Two Grand Concerts, namely, on Friday and Saturday, 9th and 10th. In addition to the talented and celebrated Band, they have secured the services of Herr Rahm, who performs on the Tyrolese native instrument, the Zeiter: it is a very pleasing instrument, with a tone resembling that of a very thin guitar, while the lower notes resemble those of a large musical snuff-box, and, we imagine, are produced by plates of metal. Herr Rahm sings, also, a native Tyrolean Melody, in very tasteful style. The entertainment offered by this talented and celebrated company of musicians and Ethiopian delineators, cannot be equalled by any other Band in the Colonies. - E. TOTTEN, agent.

"THE ETHIOPIAN SERENADERS", The Argus (12 September 1853), 5 

These sable performers will give an entertainment at Rowe's Circus this evening, when it is anticipated that the talent of Messrs. Rainer, White, Brower, Bryant, Foans, Moran, and Herr Rahm, will draw around them an overflowing attendance.

"RAINER'S SERENADERS", The Argus (29 October 1853), 5 

We perceive that these favorite minstrels commence a series of entertainments this evening, at the ball-room of the Criterion Hotel . . . Herr Rahm is also announced to appear . . .

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

ROWE'S AMERICAN CIRCUS. Grand Promenade Concert. Saturday Evening, 12th November, 1853.
Under the direction of Mr. Alfred Oakey.
In announcing he the inhabitants of Melbourne the first of a Series of Saturday Evening Promenade Concerts, Mr. Rowe begs to state that he feels great confidence in submitting the Evening's Entertainments to his patrons . . .
The Monster Band Will embrace all the available talent in Melbourne, assisted by several members of the band of the 99th regiment.
Vocalists, Miss Hartland, her first appearances, Mr. Walsh, Mr. Foster, (his first appearance)
Herr Rahm and Herr Gross . . .

[Advertisement], The Argus (14 January 1854), 10 

ROWE'S AMERICAN CIRCUS . . . The tenth of a series of Grand Promenade Concerts . . . January 14th . . .
Mr. Rowe has also engaged the eminent violinist, Mr. J. Paltzer, late Violino Primo in the King of Belgium's orchestra . . .
Reappearance of Herr Rahm, the celebrated Tyrolean vocalist and performer on the Zeither . . .
Conductor - Mr. Alfred Oakey.
Leader - Mr. M. Radford . . .

ASSOCIATIONS: Joseph Andrew Rowe (proprietor); Alfred Oakey (conductor); Jacques Paltzer (violin); Mark Radford (violin, leader); Band of the 99th Regiment

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

EUREKA. Opening of the Royal Victoria Concert Hall, Monday, 6th March. Performers - Miss Miabella Smith, Herr Rahm, Mons. Paltzer, Herr Collins, and the celebrated Ethiopian Serenaders. Managers - Rahm and Paltzer.

ASSOCIATIONS: Meabella Smith (vocalist, pianist); Leopold Collin (musician); Ethiopian Serenaders (probably Rainer's Serenaders)

[Advertisement], Mount Alexander Mail (27 May 1854), 3 

GRAND CONCERT given by Herr Rahm's celebrated Tyrolese Singres, Herr Rahm, Holaus, Gredler, Dreml, and Einhauser, at "The Hall of Castlemaine," On Saturday the 27th of May, and Monday the 29th of May, the above Minstrels will perform in full national costume, as played before Her Majesty Queen Victoria, August 7th, 1852, and will sing Quintetts, Quartetts, Trios, Duetts, Solos, and Comic and Sentimental songs. - Herr Rahm will perform on the celebrated national Instrument the Zitter. Doors open at Half-past Seven, to commence at Eight. Reserved seats 7s. 6d.; Back seats 5s.

[Advertisement], Geelong Advertiser and Intelligencer (13 July 1854), 4

GRAND CONCERT. HERR RAHM'S celebrated Tyrolese Singers, HERR RAHM, HOLAUS, GREDLER, DREML, and EIYHAUSER [sic] . . . at the Music Hall, Geelong Hotel, on THURSDAY, FRIDAY, and SATURDAY, the 13th, 14th, and 15th of July . . .

[Advertisement], The Argus (28 July 1854), 10 

CRITERION HALL. Great Collins-street. This (Friday) Evening, July 28th, 1854.
Last Night but One of Herr Rahm's Company of Singers.
Only Six Nights more of Fakir of Ava . . . E. TOTTEN, Manager.

"THE TYROLESE MINSTRELS", The Courier [Hobart, TAS] (7 August 1854), 3 

Herr Rahm and his talented companions are so far successful that they obtain most abundant and unmistakeable applause from large audiences that understand not a word of the songs sung. The harmony of voices is so charming that a subject is unnecessary. Rainer's Serenades have been praised, and deservedly, for the skill with which they sing together. The Tyrolese Minstrels have the advantage of their national cultivation of a style of vocal music that admits of beautiful harmonic effects. Their performance too is novel, and is of a very refined kind, calculated to attract and please those who love music for itself. That it does so here is evidenced by the character of the audiences. It is to be wished that people who go merely pour passer le temps would less interrupt by their talking and noisy demeanour the enjoyment of those who can enter fully into the loftier enjoyment of music. Geese, it is true, have earned historic renown by saving the Capitol, but their performance is fatal to both melody, and harmony. Herr Rahm's solos on the Zither are dulightful. The tuneful chime of the "Evening Bells" would never tire the weary sense. Both he and his associates deserve well of the public for their introduction of a new entertainment of a really superior character. There can be little doubt that they will become highly popular, and that their present short engagement will have to be prolonged to an indefinite period before the public will cry "Hold, enough!"
- Melbourne Herald, July 27.

"LAUNCESTON", The Courier [Hobart, TAS] (18 September 1854), 2 

The Launceston papers contain nothing of importance. Herr V. Rahm, the celebrated Tyrolese minstrel, and grand performer on the national instrument the Zither, has arrived.

"HERR VEIT RAHM", The Courier (19 October 1854), 3

This talented performer takes his farewell benefit this evening, and is sure to be honoured with a bumper house, as, indeed his extraordinary performances on the Zither, and the praiseworthy courtesy he has evinced since following his professional career in Launceston entitled him to. M. Rahm has performed before His Excellency Sir William Denison since his arrival in Launceston, and Sir William highly complimented him on the wonderful skill he displayed on this almost unknown and extraordinary instrument.- Ibid. [Cornwall Chronicle, Oct. 18]

ASSOCIATIONS: William Denison (governor)

"To the Editor of the Cornwall Chronicle. CAN IT BE TRUE?", The Cornwall Chronicle (21 October 1854), 5 

MR. EDITOR, - A paragraph appears in the last issue of your journal stating that Herr Veit Rahm, the Tyrolese minstrel, was shot at on the George Town Road, while returning from Mr. Gardner's residence at Newnham on Monday night last. A report prevails in the town that the firearm was discharged by the agent of an assassin - Jesuitical - clique, notorious for its rancorous hatred to Sir William Denison, - who in the darkness of the night mistook the carriage of the musician for that of His Excellency, and nearly put an end of the existence of a Zither player, instead of that of an administrator of government . . .

[Advertisement], The Courier (13 November 1854), 3

HERR VEIT RAHM'S GRAND CONCERT, Under the Distinguished Patronage of COLONEL JACKSON, the Officer commanding the Troops.
HERR VEIT RAHM will perform in full Tyrolese National Costume, as played before Her Majesty Queen Victoria, 7th August, 1852, at Windsor Castle and Frogmore House.
1. Overture - Le Brasseur de Preston - Military Band.
2. Song - Dermot Astore - Mrs. Dawson - CROUCH.
3. Solo on the Piano, Fantasia - Mr. Buddee.
4. Duetto qual mare qual terra - Military Band.
5. Aria on the ZITHER - "The Evening Bells," with variations, composed by - HERR VEIT RAHM.
Song - Dearest Companions - - Mrs. Dawson. - BELLINI.
7. Waltz Nightingale - Military Band - JULLIEN.
An Interval of Eight Minutes.
1. Finale 1st Act Op. Lucia di Lammermoor. - DONIZETTI.
2. National Song "The Tyrolese Postilion," with accompaniment on the ZITHER - HERR VEIT RAHM.
3. Solo on the Piano - Avis il alienne - Mr. Buddee.
4. Polka Friederichen Ruhner - Military Band.
5. Song, Ballad - Under the Walnut Tree - Mrs. Dawson.
6. Comic Song - "The Crying Peasant who was robbed of his Sweetheart," with accompaniment on the Guitar - HERR VEIT RAHM.
7. Finale - God save the Queen. - Military Band . . .

"HERR VEIT RAHM'S CONCERT", The Courier (18 November 1854), 3

Herr Veit Rahm's concert at the Mechanics' Institute on Thursday was pretty well attended, although by no means so full as we might have expected from the novelty the entertainment presented, in the first appearance of a real live Tyrolean Minstrel, in full native costume. The Zither, which, we believe, is an instrument common enough amongst the Tyrolean peasantry, is so far of the guitar family that it possesses strings, but the strains it produces are very different. To our ears they were more curious than pleasing. The Herr sang two or three songs, one of which he obligingly informed the audience was the lamentation of a mistress in losing her sweetheart. Not understanding German, we could not of course enter into the full spirit of it. The audience were pleased, and laughed at it heartily. The fine band of the 99th was in attendance, and Mrs. Dawson sung three songs with her usual taste. Mr. Buddee's performances on the piano were the gems of the evening, and called forth rapturous encores. Altogether the entertainment was successful.

ASSOCIATIONS: Sarah Dawson (vocalist); d Julius Buddee (pianist); Band of the 99th Regiment

[Advertisement], The Cornwall Chronicle (25 November 1854), 5 

. . . Herr Veit Rahm will give a grand Concert at Evandale, on Monday, November 27, at the "Patriot King" . . . Herr Veit Rahm will give a Concert at Longford, the next week.

[Advertisement], The Argus [Melbourne, VIC], (9 December 1854), 8 

CREMORNE GARDENS. - Grand Gala and Nocturnal Fete. To-night, Saturday, entire change of Entertainments. Engagement of the Celebrated Herr Veit Rahm, the Tyrolese Singer and performer on the New Instrument, the Zither, in his national costume, as performed before Her Majesty, Mr. J. O. Pierce, the Renowned soloist on the Concertino and Flutina, will also have the honor of appearing, Mr. James Shaw, the admired Comic Vocalist, from the Theatre Royal, Liverpool, is also engaged . . .

ASSOCIATIONS: James Ellis (proprietor); John Ottis Pierce (minstrel, musician); James Shaw (vocalist)

[Advertisement], The Sydney Morning Herald (7 February 1855), 1

This celebrated Tyrolese singer, and Zither performer, will be assisted by Mrs. St. John Adcock and Mr. John Howson.
The performance will commence at eight o'clock.
Song - Shells of Ocean - Mr. John Howson.
Duet - When thy Bosom heaves a Sigh - Mrs. Adcock and Mr. Howson.
Hand Fantasia on the Zither, with imitation of the Bel1s, by Herr Veit Rahm.
Song - "Search thro' the Wide World," from La Figlla del Regimento - Mrs. Adcock.
Song - The Horn of Chase - Mr. J. Howson.
Song - The Tyrolese Postilion, with imitation of the Trumpet and accompaniment on the Zither by Herr Veit Rham [sic]
Song - A Young Lady's No! - Mrs. Adcock.
Song - The Irish Emigrant - Mr. J. Howson.
Comic Song - The Peasant who was robbed of his Sweetheart, accompaniment on the Guitar, by Herr Veit Rham.
During the evening Mr. Howson will preside at the Pianoforte, and will play some choice music.
The entertainment will conclude with a brilliant display of Chromatropcs, and music on the Apollonicon.
Admission, 3s.; children, half-price . . .

ASSOCIATIONS: Marianne Adcock (vocalist); John Howson (vocalist, pianist); Royal Polytechnic Institution (Sydney); James Smith Norrie (chemist, proprietor)

[Advertisement], The Argus [Melbourne, VIC] (28 April 1855), 8 

THEATRE-ROYAL. Bourke-street. Grand Promenade Concert Every Night.
Vocalists - Miss Swannell, Mrs. D'Alton, Herr Veit Rahm, the Tyrolse Minstrel.
Band of Twenty Solo Performers, acknowledged to be the best and most efficient ever heard in Melbourne . . .
Conductor - Mr. Callen. Promenade, 1s.; Upper Saloons, 2s, 6d.

ASSOCIATIONS: John Melton Black (proprietor, Theatre Royal, Melbourne); Louisa Swannell (vocalist); Mrs. D'Alton (vocalist); George Douglas Callen (conductor, master of the Band of the 12th Regiment)

"BALLAARAT (FROM OUR OWN CORRESPONDENT) . . . 11th June, 1855", The Argus (16 June 1855), 5 

The diggers find amusing and delightful recreation at the "Charlie Napier," nightly. Mrs. Hancock's sweet and thrilling ballads, Mr. Thatcher's inimitable local travesties, and Herr Rahm's singular but musical notes on the zitter, form a tout ensemble rarely to be met with. Mr. Underwood, the proprietor, enforces the greatest order and decorum . . .

ASSOCIATIONS: Mary Ellen Hancock (vocalist); Charles Thatcher (vocalist); Robert Underwood (proprietor, d. 1861)

"THE TYROLESE MINSTRELS", The Argus (13 October 1855), 5 

These popular vocalists gave a musical entertainment yesterday evening, at the Mechanics' Institution; and, although the audience was not so large as was to be wished, it was very select. The music chosen consisted chiefly of Tyrolese national airs, which were rendered with considerable effect by Mdme. and Mdlle. Kramer and Herr Rahm. The entertainment, although a very harmonious and interesting one, might not offer to the high art musician any great attraction. But it must not be understood that last evening's amusement is to be disparaged upon that account, for the national airs of every nation are interesting; and, when well rendered, always musical. "My Rifle Gun" was very well given by Mdme. Kramer; and the "Nightingale Solo," by Herr Rahm, drew down a good deal of applause. A fantasia on the violin by Herr Haimbergcr was well executed, the more rapid passages being given with marvellous precision. We would also especially notice Herr Rahm's performance on his national instrument, the "zither." This instrument resembles a small lyre, and is stringed with steel wire. It is laid flat upon a table, in order to cause the vibrations of the strings to reverberate, the table acting to the zither as the case to the piano. Its tone is harder than that of the guitar, but for musical effect the zither is preferable. Herr Rahm gave "The Mountain Bells" on this instrument in a masterly manner - the effect of the bells being produced by what aie popularly known as the "harmonics" on stringed instruments; and these tones the zither produced with unusual clearness. The audience seemed highly pleased with their evening's entertainment. Sir Wm. A'Beckett and his lady were present.

ASSOCIATIONS: Margaretha and Marie Kramer (vocalists); Julius Haimberger (violin); William A'Beckett (chief justice)

[Advertisement], Adelaide Times [SA] (23 October 1855), 1 

The Tyrolese Minstrels frill perform, in Full Tyrolese National Costume, and will give a selection of National Songs, as given before Her Majesty the Queen and the principal Nobility of England.
Her Vert Rahm will introduce some of his compositions on the new instrument, the Zeither.
The Concert will commence at 8 o'clock. October 22, 1855.

"THE TYROLESE MINSTRELS", Adelaide Times (31 October 1855), 2 

A select, though not very numerous assemblage, comprising many of the quality of Adelaide, amongst whom were his Excellency the Governor and Lady Macdonnell, attended at the Theatre last evening, to hear the first concert given by the Tyrolese Minstrels . . . The greatest novelty of the evening was the performance of Herr Rahm upon the zither, an instrument of great sweetness, although, rather deficient in power for so large a place; the peculiar capabilities would be better developed in a drawing-room. Herr Rahm displayed much ability in his manipulation of the instrument which, under his guidance "discoursed most eloquent music." The solo, "Mountain Bells," elicited a unanimous encore; and the "Last Rose of Summer" was substituted, and narrowly escaped the same fate. He also sang an original composition of great sweet ness and melody, with much taste, with imitations of the nightingale and horn; and, although Herr Rahm's voice is not very powerful, and resorts frequently to the falsetto, which is rich in quality, he fully makes up for the physical defect by the energy and vigour of his style . . .

ASSOCIATIONS: Richard and Blanche Macdonnell (governor and wife)

[Advertisement], South Australian Register (14 December 1855), 1 

HERR VEIT RAHM, the celebrated TYROLESE MINSTREL, who has been so sucssful in his provincial tour, will return to Adelaide this day, and will have the honour to give his FAREWELL BENEFIT in a few days.

"SHIPPING INTELLIGENCE . . . CLEARED OUT", Adelaide Times (29 December 1855), 2 

Thursday. December 27 - The screw-steamer Havilah, 387 tons, Lowrie, for Melbourne. Passengers . . . Herr Veit Rahm . . .

"KILMORE (FROM OUR OWN CORRESPONDENT) January 15th . . .", The Argus (18 January 1856), 5

We have been favored a second time during the past week with a visit from the celebrated German musician, Herr Veit Rahm, and we are only sorry the unfavorable state of the weather prevented a larger attendance at his concerts. Those who did attend, however, were amply repaid for their unpleasant walk through the rain and darkness. We seldom remember to have heard more pleasing and soothing music than his solo on the zither, - an instrument, we believe, peeuliar to the Continent. His Tyrolean national song, "The Happy Alps," accompanied with the guitar, also told with pleasing effect . . .

[Advertisement], Empire (18 February 1856), 1 

HERR VEIT RAHM, the celebrated Tyrolese singer and composer on the ZITHER, will give his first Musical Soirée, at the Royal Polytechnic, Pitt-street, THIS EVENING, Monday . . . Miss STEWART, the renowned Mezzo-Soprano singer, will sing some selections from the Italian, English, and Scotch repertoires . . .

ASSOCIATIONS: Eliza Stewart (vocalist)

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

THE DOMAIN. THIS EVENING, (MONDAY) the 25th instant (by the kind permission of his Excellency the Governor-General). The public will once more have an opportunity of attending most positively the LAST GRAND ENTERTAINMENT in the DOMAIN that can possibly take place. The amusements on this occisión will exceed anything hitherto attempted in these colonies.
Among other attruetlong, the BAND of H.M.'s XI. Regiment will, with the kind permission of Colonel Bloomfield, make their last appearance at a pyblic concert;
the celebrated GERMAN BAND will on this occasion perform in their new and magnificent costume;
the HUNGARIAN BAND will also appear in their new and splendid costume.
HERR VIET RAHM, the renowned Tyrolean singer, will, in conjunction with Miss ELIZA STEWART, the celebrated vocalist, have the honour of making their first and only appoarance. In course of the evening, a gorgeous and magnificent display of FIREWORKS . . .

ASSOCIATIONS: Band of the 11th Regiment

"FETE IN THE DOMAIN", Empire (26 February 1856), 5 

The grand entertainment, so long advertised, came off in the Domain, last evening, and drew together a large concourse of people. The attendance was as numerous, if not considerably more so, than on any previous occasion, there being about five thousand persons present. Everything was favourable:- the night was beautifully fine, which was a great inducement for the promenade - and the programme promised much; but, as usual, a fatal something unexpectedly interposed to prevent the fulfilment of its promises. There were three bands of music present the Military, the German, and the Hungarian - all of which performed their allotted parts to the entire satisfaction of the vast multitude assembled - judging from the plaudits that followed the conclusion of some of the favourite selections. The vocal performance there was but one - was a decided failure, open air agreeing with neither the ability nor the compass of Herr Veit Rahm, whatever that gentleman's abilities may be otherwise. An apology was made for Miss Eliza Stewart and the "grand chorus of thirty performers," the non-appearance of the former being excused on the plea of illness. There was considerable hubbub created by the announcement of this fact, and in the crush that ensued many persons crowded on one of the platforms erected for the accommodation of the musicians; the interference of the police, however, soon put matters right. The exhibition of fireworks was certainly gorgeous . . .

"DOMAIN GALA", The Sydney Morning Herald (26 February 1856), 5 

. . . Herr Veit Rahm took his seat at a table on the platform upon which the German band was stationed, having played a short symphony on his zither, he commenced singing the beautiful air "Fatherland;" but, scarcely had he sung twenty bars, which were not heard by a hundred of those present, than those who could not hear commenced creating a disturbance, by shouting and pushing violently towards the place where H. Rahm was sitting. As it became impossible to restore order, H. R. retired, it being obviously hopeless for him to attempt to get a hearing. Under these circumstances, Miss E. Stewart adopted the judicious course of not attempting to sing, and also immediately retired . . .

[Advertisement], Bathurst Free Press and Mining Journal (8 March 1856), 3 

Royal Victoria Theatre, Saturday, March 8, 1856. Herr Veit Rahm AND Miss Eliza Stewart . . . Miss Eliza Stewart, the celebrated Vocalist and Pianist, from the London Concerts and Theatre Royal, Melbourne, and the most powerful company in the colony, at White's, Royal Victoria Theatre, on Monday, Wednesday, and Saturday Evenings . . .

"CAMDEN", The Sydney Morning Herald (6 May 1856), 5 

On Saturday, the 3rd instant, Herr Veit Rahm, the celebrated Tyrolese vocalist and performer, gave a musical soiree, at the Woolpack Inn, but, owing to the unfavourable state of the weather, we were sorry to see so small an attendance . . . We understand that it is his intention to proceed to Goulburn tomorrow, staying at any place on the road where he is likely to get an audience . . .

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

This talented artiste took his farewell benefit yesterday evening, at the Prince of Wales Theatre. He appeared in the costume of his native land (Tyrol), in which he had the honor of performing before her Majesty, at Windsor Castle, in 1852. The programme contained, besides concerted music, choice selections from popular composers, which were executed with considerable taste and skill, by Mrs. Guerin, Madame Cramer [sic, Kramer], and Mr. J. Howson. Mr. Packer presided at the pianoforte. The chief attraction was the vocalization and instrumental performance of Mr. Rahm on the zither, a stringed instrument of his own invention. The songs sung by the Tyrolese minstrel were selected from his own compositions. They were meritorious productions, but they defy the efforts of every one not possessing a voice of very great compass. In the "Tyrolese Minstrel", Mr. Rahm gives an excellent imitation of the sound of the trumpet, only surpassed by his performance of the "Nightingale", with imitations. The grand aria on the zither, the "Mountain Bells", and the "Last Rose of Summer", with variations, were exquisite performances, requiring delicate and yet brilliant manipulation. The comic song, the "Crying Peasant", produced the usual exhilirating effects. Mr. Rahm proved himself deserving of the encores and applause he received.

ASSOCIATIONS: Theodosia Guerin (vocalist); Charles Sandys Packer (piano)

[Advertisement], The Argus (1 July 1856), 8 

IMMENSE ATTRACTION. - National Music-Hall, Bourke-street east. Engagement of Herr Veit Rahm, the celebrated Tyrolese Minstrel, whose performance on zither and guitar before the Queen met with her most gracious approval.

[Advertisement], The Argus (8 August 1856), 8 

The following Artists will appear Nightly:
MADAME BUTLER (The talented Soprano.)
MRS. G. WILLIAMSON (The celebrated comic vocalist.)
MR. G. WILLIAMSON (Who is acknowledged the most talented comic vocalist in the colony.)
M. BARDINI (The admired baritone.)
HERR VEIT RAHM (The celebrated Tyrolese minstrel.)
Pianoforte - Mr. E. J. PIPER.
Proprietor - W. HUTCHINSON. Admission Free.

ASSOCIATIONS: Emily Butler (vocalist); George Wilkinson (vocalist); Edward John Piper (piano)

[Advertisement], Williamstown Trade Circular [Mebourne, VIC] (6 September 1856), 1 

NATIONAL MUSIC HALL, Bourke-street. - Mr. Power, the admired baritone, and Herr Veit Rahm . . .
Madame Butler, the admired and popular vocalist, Every Evening.

ASSOCIATIONS: William Pierce Power (vocalist)

"THE DUNOLLY GAZETTE", Bendigo Advertiser [VIC] (10 October 1856), 3 

We have been favored with a copy of this journal . . . The following remarks, about amusements at Dunolly, will be found interesting: . . . There are the concert rooms of Dunolly, from several of which, immediately contiguous to each other, there may, at the moment of your passing by jointly issue a comingling of anything but harmonious sounds. Thus, from "Pearson's Harmonic Hall" may be heard the sounds of a lady's treble voice warbling a plaintive ballad, while from the "London Hotel," a few doors distant, may be heard the Tyrolese Song of Herr Viet Rham. Meantime, from the houses directly opposite sounds more stenatorian than musical are issuing from the throats of two rival comedians who are chaunting the productions of Thatcher. The lovers of music can, however, spend a really pleasant evening in listening to Rainer's far-famed Serenaders . . .

[Advertisement], The Argus (1 January 1857), 8

NATIONAL HOTEL MUSIC HALL. Bourke-street east, Near the Parliament Houses.
Great Attraction! Crowded Houses Every Night! The following Perforators will appear:
HERR VEIT RAHM, The Celebrated Tyrolose Minstrel.
MR. G. ELLIS, The Popular Comic Vocalist.
MR. KITTS, Basso, from the Theatre Royal.
MR. E. J. PIPER, Pianist and Conductor . . .

ASSOCIATIONS: George Ellis (vocalist); James Edward Kitts (vocalist)

London, England (by June 1857):

"THE ROYAL POLYTECHNIC INSTITUTION", London Evening Standard (2 June 1857), 1 (PAYWALL)

That this institution deservedly maintains its popularity is a fact which was practically shown last evening by the immense number of visitors. The building was crowded in every part, and the varied amusements provided for the holiday folks were well selected . . . The novelty was the appearance of Herr Veit Rahm, who had also performed in the morning, and who played some airs on the "cither," and afterwards sang and accompanied himself on the guitar, giving at the same time imitations of the horn, &c. Herr Rahm is a Tyrolean vocalist, and he sang a national air very pleasingly. The "cither" is an instrument which does not admit of much artistic display, though the performance was perhaps surprising. The Hungarian Band, conducted by Herr Kalozdy, executed four pieces with that exquisite precision and expression which characterise all their performances . . .

Musical works:

Music of the Tyrol, dance melodies; No. 1 Evening bells; No. 2 A Tyrolese air; arranged for the pianoforte by J. O. Smith (London: Mitchell, [1852])

Copy at the British Library 

"NEW MUSIC", Lady's Own Paper (25 December 1852), 11 (PAYWALL)

Music of the Tyrol. Dance Melodies. 1. Evening Bells. 2. A Tyrolese Air. Mitchell, Old Bond Street.

These sparkling productions of the composer, Herr Veit Rahm, originally performed on the "Zither," have been admirably arranged for pianoforte and harp by Mr. J. O. Smith, of Cheltenham, and will, no doubt, become special favorites. We shall be glad to see more of them.

ASSOCIATIONS: Jeremiah Oakwell Smith

Bibliography and resources:

Martin Reiter, Die Zillertaler Nationalsänger im 19. Jahrhundert (Egger-Rieser, Fiechtl, Gänsluckner, Hauser, Holaus, Leo, Rainer, Scheiring, Stiegler, Strasser und andere . . .) ([?, Austria]: Artina-Verlag, 1989)

Toni Rieser and Helmut Eberharter (eds), Die Abenteuer des Veit Rahm: Unterhaltung, Abenteuer u. Reisebeschreibung des wirklichen weltbereisten Tiroler Sängers und Zitherkünstlers Veit Rahm aus dem Zillertal vom Jahre 1851 bis 1857 Umfasst die Reise von Australien nach Vandiemensland der englischen Strafkolonie ([Austria]: Hemut Eberharter, 2008) (DIGITISED)

A partial facsimile and transcription of Rahm's manuscript Australian memoir

RAINE, Elizabeth (Elizabeth AZIRE; Mrs. John FULLOON; Mrs. Robert RAINE; Mrs. William John SPEED)

School teacher, ? teacher of dancing

Born London, England, 8 February 1781; baptised St. James's church, Clerkenwell, 18 March 1871; daughter of Robert and Pheby AZIRE
Married (1) John FULLOON (1780-1824), St. Mary's, Whitechapel, 11 April 1802
Arrived Sydney, NSW, 7 May 1824 (per Brothers, from England, via Hobart Town)
Married (2) Robert RAINE , St. Philip's church, Sydney, 13 November 1826
Married (3) William SPEED, St. James;s church, Sydney, 12 March 1832
Died Sydney, NSW, 12 June 1842, in her "63rd" year [sic] (TROVE tagged by Australharmony) (shareable link to this entry)

FULLOON, Maria (Maria FULLOON; Mrs. John Hunter CORMACK)

? School teacher, teacher of dancing

Born London, England, 19 November 1806; baptised, Christ church, Spitalfields, 1 January 1807; daughter of John FULLOON and Elizabeth AZIRE
Arrived Sydney, NSW, 7 May 1824 (per Brothers, from England, via Hobart Town)
Married John Hunter CORMACK (1800-1860), Scots church, Sydney, NSW, 5 March 1832
Died Redfern, NSW, 24 January 1869

FULLOON, Eliza Susanna (Eliza Susanna FULLOON; Mrs. Josiah GARNSEY)

School teacher, teacher of dancing

Born London, England, 3 April 1809; baptised, Christ church, Spitalfields, 18 June 1809; daughter of John FULLOON and Elizabeth AZIRE
Arrived Sydney, NSW, 7 May 1824 (per Brothers, from England, via Hobart Town)
Married Josiah GARNSEY (1800-1853), St. James's church, Sydney, NSW, 10 December 1836
Died Dubbo, NSW, 4 April 1873

FULLOON, Matilda Ann (Matilda Ann FULLOON; Mrs. Robert Charles ORMISTON)

School teacher, teacher of dancing

Born London, England, 3 May 1811; baptised, St. Mary's, Lambeth, 5 September 1813 [sic]; daughter of John FULLOON and Elizabeth AZIRE
Arrived Sydney, NSW, 7 May 1824 (per Brothers, from England, via Hobart Town)
Married Robert Charles ORMISTON (1806-1875), St. James's church, Sydney, NSW, 11 April 1832
Died Sydney, NSW, 17 December 1877


Elizabeth Fulloon, in company with her husband John and their children, served as the superintendent of the the female convict shipment per Brothers in 1824. John having died on the vovage, on arrival in Sydney in May Elizabeth was appointed superintendent of the Female Factory in Parramatta.

On completing her term, Elizabeth opened a girls school in Sydney with the assistance of at least two of her three daughters.


"GOVERNMENT AND GENERAL ORDERS", The Sydney Gazette and New South Wales Advertiser (20 May 1824), 1 

MRS. FULLOON, having been appointed by HIS MAJESTY'S SECRETARY of STATE for the COLONIES, Superintendent of the Female Factory at Parramatta, she is to enter upon the Duties of her Office immediately.

"MARRIED", The Sydney Gazette and New South Wales Advertiser (15 November 1826), 3 

By Special License, at St. Phillip's Church, on Monday last, by the Rev. W. COWPER, ROBERT RAINE, Esq. to Mrs. E. FULLOON of Parramatta.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (18 June 1828), 1 

MISS MATILDA FULLOON, announces to her Friends and the Public of Sydney, that she has Opened a DAY SCHOOL, at No. 12, O'Connell-street . . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (9 January 1830), 4 

Boarding and Day School for Young Ladies. No. 12, O'Connel-street, Sydney. MRS. ELIZABETH RAINE and Miss M. A. FULLOON, in returning thanks to their numerous Friends and the Public for the very liberal support they have received since the commencement of their Establishment, beg to announce, they have taken the whole of the premises above named, and fitted up the house for the reception of Boarders . . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (13 April 1830), 1 

A CARD. MRS. RAINE begs to apprise the inhabitants of Sydney, that having consulted lier friends, she is determined, in consequence of the death of Mr. Brunton, to open a select DANCING SCHOOL; And has engaged Mr. SAUNDERSON, a gentleman who teaches in the French, English, and Italian style, to give two Lessons weekly, and two Lessons will also be given by the two Miss Fulloon's. As it is unpleasant for young Ladies to go home after dark, the Master will, attend on Tuesday and Friday afternoons, from 3 till 5 o'clock. Terms Two Guineas per Quarter. Mrs. R. also begs to inform those Ladies and Gentlemen who may be pleased to honour her with their patronage, that any Pupil entering on the Quarter, must pay for the same whether they attend or not.
No. 12, O'Connel-street.

ASSOCIATIONS: Thomas Brunton (dancing master); William Saunderson (dancing master)

[Advertisement], The Sydney Gazette and New South Wales Advertiser (10 July 1830), 1

MRS. R. RAINE [sic] and the Miss FULLOON's, in returning thanks to their numerous Friends and the Public in general, for the patronage hitherto shewn them, beg most respectfully to inform thom that their HALF-YEARLY VACATION terminates on Monday, the 12th Instant, when they trust, by their unremitting attention to the moral as well as intellectual improvement of their Pupils, still to merit the good opinion of a discerning Public.
N.B. - Mrs. R. also returns her sincere thanks for the liberal support experienced since the commencement of her Dancing Academy, and begs to announce to her Friends, that the hours are from 4 until 6 on the afternoons of Monday, Wednesday, Friday, and Saturday, instead of as heretofore.

"MARRIED", The Sydney Gazette and New South Wales Advertiser (13 March 1832), 3 

At the Scots Church, on Monday last, the 5th instant, by the Rev. JOHN McGARVIE, A.M., Mr. JOHN HUNTER CORMACK, nephew of Dr. HUNTER, to Miss MARIA FULLOON, eldest daughter of Mrs. RAINE, of O'Connell-street, Sydney.

Yesterday, at St. James's Church, by the Rev. RICHARD HILL, WILLIAM JOHN JOHN SPEED, Esq., Lieutenant-Colonel Commandant of the late St. Vincent Rangers, and late an Officer in the Commissariat at Van Diemen's Land, widower, to Mrs. ELIZABETH RAINE, widow.

"MARRIED", The Sydney Gazette and New South Wales Advertiser (14 April 1832), 3 

On Wednesday last, at St. James's Church, by the Rev. R. HILL, Mr. ROBERT ORMISTON, of South Creek (son of JAMES ORMISTON, Esq., Agent to the original Bristol Brass and Copper Company), to Miss MATILDA ANN FULLOON, youngest daughter of Mrs. Speed, of O'Connel-street, Sydney.

"DEATHS", The Sydney Herald (14 June 1842), 3 

At her residence, O'Connell-street, on the 12th instant, Mrs. Speed, in her 63rd year, after a lingering illness, which she bore with Christian resignation.

RAINER, John Cragin (John Cragin RAINER; Cregin [sic]; J. C. RAINER; John C. RAINER)

Musician, bass vocalist, banjo player, musical director, arranger, theatrical agent and manager

Born New York, USA, c. 1820; son of George RAINER and Harriet DE BOWEN
Arrived Sydney, NSW, 19 September 1852 (per Speed, from San Francisco, 28 July)
Married Sarah MOUBRAY (c. 1831-1891), Rushworth, VIC, 20 August 1859
Died Coburg, VIC, 27 November 1889, aged 69 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


John Cragin Rainer was born in New York in 1820, a son of George Rainer and Harriet De Bowen. According to his obituary he took to the stage at age 21 (1841), and first came to notice outside the United States in England.

Aged 26, he sailed from New Orleans for Liverpool in December 1846 on board the John P. Harward, in company with Samuel Sanford (1821-1905), and three members of the Buckley family, James Buckley (billed as James Burke), George Swaine Buckley (who appeared as George B. Swaine), and the juvenile violinist Frederick Buckley ("Master Ole Bull"). Having landed in Liverpool on 23 January 1847, the troupe spent the next year and a half based in Britain, touring as the New Orleans Ethiopian Serenaders. By August 1848 they were back in the United States, appearing first in New York (Lawrence 1988, 555; for more on these early associates see References below).

In Australia Rainer later claimed that, while in England, he (with the Buckley troupe) had performed for Queen Victoria, which is not improbable, though the year must have been 1847 or 1848.

Later accounts of the Buckley troupe's English tour (from Edward Rice onwards) usually assumed that Rainer was an alias for a fourth member of the Buckley family, and adding to this confusion another Rainer (possibly indeed by then an alias) was later billed with the Buckleys on the east coast of the United States in 1852-53.

By March 1852, however, John Cragin Rainer was in San Francisco, performing with William B. Donaldson (1822-1873), as Rainer and Donaldson's Serenaders, the company already including two of the musicians (Brower and White) who in July would sail with him for Australia.

The "original" Rainer's Serenaders troupe arrived in Sydney on 19 September 1852, on board the Speed from San Francisco. It consisted of Rainer (musical director), Thomas P. Brower (minstrel), M. W. (Bill) White (minstrel), Neil Bryant (minstrel), James Milto n Foans (minstrel), Frank Moran (minstrel), and Elbert Totten (agent).

In Australia, the group remained remarkably stable for almost three years, with only a couple of outside additions to the regular lineup. The Tyrolean zither player Veit Rahm appeared with them in Sydney and Melbourne in 1853, and in mid 1854, J. P. Nash, formerly of the New York Serenaders, joined the troupe as agent and later also as a performer.

Following a regional tour of NSW in mid 1855, the "original" troupe finally disbanded in Sydney after the last performance of a short season for Frank Howson at the Prince of Wales Theatre on 3 September 1855.

Rainer had settled at Castlemaine in central Victoria by mid 1856, and reformed Rainer's Serenaders with several local men, Davis, Martin, and Hull as vocalists (about these three nothing else is known), and Andrew Moore as violinist, rejoined around the end of the year by M. W. (Bill) White from the original lineup. In this combination they continued to perform around central Victoria until mid 1857.


England (January 1847 to July 1848):

"THE SOUTHERN ETHIOPIAN SERENADERS", Liverpool Standard and General Commercial Advertiser (26 January 1847), 23 (PAYWALL)

A company of serenaders under the direction of Mr. B. Frankland Fuller, arrived here on Saturday last in the ship John P. Harward, from New Orleans. Amongst them is Mr. Rainer, a member of a family of vocalists known and celebrated as the Rainer Family; Mr. G. B. Swaine; a youth designated in the New World, from his Peculiar and unapproached talent on the violin, the "American Ole Bull;" Mr. Sandford, and Mr. Burke, both acknowledged superior vocalists. In the Southern States of America, the truly Ethiopian settlements, their success has exceeded that of any of their predecessors, and that they may here be distinguished from others they take the title of Southern Serenaders. Their songs are new to English audiences; and their ability has been so lauded that we cannot forbear giving insertion to the following from the Daily Cincinnati Commercial: -

"We have long since discarded the practice of speaking in high terms of praise of any and all performances gotten up to attract the multitude and make money. If we cannot praise where merit is, and censure where it is not, our remarks are utterly worthless or worse. In view of this position, which alone makes praise valuable, we feel warranted in speaking of the Ethiopian Serenaders. We have attended three times at Masonic Hall, and on each night was delighted by hearing the melodies, which this band have the exclusive right and title to sing and play. For originality, harmony, and melody, the vocal and instrumental powers of this band are not excelled in this country, as far as our knowledge extends, and we fancy we have seen all the negro delineators who have attained any considerable notoriety. It is not necessary for us to speak of the separate parts necessary to make a full and efficient band, because every intelligent person knows the parts of music necessary. We have only to say, that from the unapproachable bass of Rainer to the alto of Little Ole Bull, a harmony and beauty exist quite enchanting . . .

"SOUTHERN ETHIOPIAN SERENADERS", Liverpool Mail (6 February 1847) (PAYWALL)

This recent but superior importation of imitative sable minstrels have, as if by magic, at once attained an exalted position in public estimation. On Monday evening, their first public performance in England took place at the Assembly Rooms, Great George-street. The attendance was very numerous and fashionable. Their bill of fare was unusually racy, comprising many melodies of a truly delightful and original character. Unlike the minstrels who have heretofore fretted their hour before the public, amid extensive patronage, these performers introduce many popular overtures which are rendered with exquisite precision and fidelity. Some of the airs are perfectly new to us - from the touching native melody to the outre extravaganzas of [REDACTED] improvisitation. The harmonised songs are sweetly sung, the soft blending of the silvery voices enchanting all hearers. The youthful Ole Bull, besides possessing an alto voice of lute-like sweetness, performs upon the violin in a style not a whit inferior to the great artiste whose patronymic he has adopted. Mr. Rainer, the primo basso, is endowed with a fine bell-toned voice, of good depth, which gives a sterling solidity to the glees . . . The entire entertainxuen - comprising buffo and sentimental singing, negro converzaciones and witticisms, and burlesque imitations of scenes from the Italian opera - is of so unique and recherche a character that we advisedly request all lovers of music not to suffer the present opportunity to pass without spending an evening with these incomparable strangers. On Monday next, they will appear at tne Adelphi Theatre - Mr. W. J. Hammond, with his usual tact and discrimination, having engaged them for a short period.

ASSOCIATIONS: William John Hammond (actor, manager)

[Advertisement], Liverpool Mail (6 February 1847), 1 (PAYWALL)

THE AMERICAN OLE BULL - Alto (12 years of age;)
G. SWAINE - Tenore; J. BURKE - Contra Alto; S. SANFORD - Second Tenore;
J. C. RAINER - Primo Basso, for a limited number of nights.
ON MONDAY next, the 8th . . .

Princess's Theatre, London, 16 March 1847, New Orleans Ethiopian Serenaders

[Playbill] Princess's Theatre . . . Portland Place [London] Fourteenth appearance in this country of the celebrated New Orleans Ethiopian Serenaders . . . This evening, Tuesday, March 16th, 1847; Library of Congress (DIGITISED) (PAYWALL)

[Advertisement], Morning Post [London] (24 March 1847), 4 (PAYWALL)

PRINCESS'S THEATRE, OXFORD-STREET. TO-MORROW EVENING will be presented the Opera of NORMA . . . After which a Concert by the New Orleans Ethiopian Serenaders. Messrs. Sandford, Burk, Ole Bull, jun., J. C. Rainer, and Swaine . . .

[News], Cumberland Pacquet, and Ware's Whitehaven Advertiser (31 August 1847), 2 (PAYWALL)

The New Orleans Ethiopian Serenaders, conducted by Mr. Rainer, gave one of their musical entertainments at the Globe Hotel Assembly Room, Cockermouth, on Thursday evening last, which was very superior to any similar entertainment previously given in that town. They sang remarkablv well, and their instruments harmonised most pleasingly. Where all is good it difficult to particularize, but the song of "Mary Blane," "The Overture to the Second Part," "The Solo upon the Violin, by Ole Bull, jun.," and the "Banjo Solo, by Mr. Swaine," called for the warmest applause. They are a party of really clever and gentlemanly artistes, and their surpassing talent will be sure to earn for them a patronage unknown the shoals of "Ethiopian Serenaders" who for some time past have been perambulating the country from one extremity another. The musical entertainment given by the New Orleans Ethiopian Serenaders, at Keswick, on Friday evening last, was attended by a numerous and fashionable auditory, and their inimitable performances went off with great eclat, and gave general satisfaction.


These humourous caricaturists of the "ways and means" peculiar to the negro population of the southern states of America, have again, during the past week, been in possession of our Theatre-Royal, where they hare performed before very fair audiences, (notwithstanding the attraction held out at some of the other theatres,) and been received with unequivocal evidences of satisfaction. In addition to their numerous songs, overtures, &c., a new song by Mr. Rainer, the basso of the company, entitled "The [REDACTED] Funeral," has been introduced, and, from the serio-comic style of its execution and the plaudits which have greeted it, we have no hesitation in pronouncing one of the best of their dark gems. That universal favourite, the burlesque Italian Opera, still holds its place among the encores. After to-night, we understand, the serenaders proceed to fulfil professional engagements in the fashionable town of Cheltenham and the city of Oxford. We wish these gentlemen every success.

"NEW ORLEANS ETHIOPIAN SERENADERS", Liverpool Mail (26 August 1848), 2 (PAYWALL)

During the last week, this talented group of artistes have had possession of the Concert Hall, and nightly delighted numerous and respectable audiences. Since their previous visit, they have made a tour of the adjoining counties, and have met, we are glad to learn, with very general success . . .

NOTE: See partial reprint from this original review in Hobart press, below, 15 February 1853

United States (1848-52):

[Advertisement], Daily Alta California [San Francisco, CA] (2 March 1852), 3 

RAINER & DONALDSON'S SERENADERS, Whose Concerts in England aad America, for the last eight years, have been attended by the most fashionable audiences, respectfully inform the ladies and gentlemen of San Francisco that they will have the honor of giving a series of their INIMITABLE ENTERTAINMENTS at this Theatre, commencing MONDAY EVENING, March 1st.
The Concerts will be interspersed with selections from the best Operas, also the most admired and fashionable pieces now so popular in the States, accompanied by the Violin, Banjoes, Bones, Castanetts, Tamborine, &c., &c., &c.
The Company is composed of the following gentlemen: -
F. SOLOMON - Violin.
M. W. WHITE - First Tenor.
T. BROWER - Second Tenor.
W. B. DONALDSON - Tenor.
J. C. RAINER - Basso. . . .

"RAINER'S SERENADERS", Daily Alta California (25 July 1852)

This evening this excellent and popular band of Minstrels make their last appearance in California prior to the departure for the Australian colonies. Mr. J. C. Rainer, the leader of this famed troupe of serenaders, takes a benefit, and for which an unusually interesting programme is announced.

Australia (from 1852):

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (20 September 1852), 2 

September 19 - Speed, barque, 365 tons, Capt. Cannell from San Francisco the 28th July, in ballast. - Passengers . . . Messrs. J. C. Rainer. J. P. Brower [sic], M. W. White, N. Bryant, G. M. Jones [sic, J. M. Foans], F. Moran . . .

"THE ETHIOPIAN SERENADERS", The Sydney Morning Herald (20 September 1852), 3 

Amongst the passengers arrived yesterday by the Speed, from California, are a number of gentlemen who under the above title, had the honour of appearing before the courts of Europe. Report speaks very highly of this talented company, and it is to be hoped their exertions will meet with an adequate reward.

"MUSICAL ARRIVALS", Empire (21 September 1852), 2 

Among the passengers hy tho Speed, from San Francisco, a company of serenaders, whose musical talents are of a high order, arrived in Sydney. These gentlemen - six in number - have heen favourably known for some years past in the other hemisphere as Rainer's Compnnv. In 1846 they were honoured by performing before the Queen and Prince Albert, and before other distinguished audiences, in Enginnd, on which occasions their merits were flatteringly acknowledged by the Press. We believe it is their intention, as soon as the necessary arrangements can be made, to give the inhabitants of Sydney nn opportunity of judging of their accomplishments.

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

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

"THE NEW SERENADERS", The Sydney Morning Herald (24 September 1852), 2 

The company of Ethiopian Serenaders, who have recently arrived in the colony, made their first appearance last night to a most crowded audience; indeed, before the performance commenced the room was so crowded that the doors were closed and further admission refused. They are exceedingly clever and amusing, and gave the utmost satisfaction, several encores taking place in the course of the evening.

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (25 September 1852), 3 

ROYAL HOTEL. SECOND GRAND CONCERT of Rainer's original Ethiopian Serenaders - Messrs. Rainer, White, Brown, Bryant, Foams, and Moran. On this EVENING (SATURDAY), Septeniber 25th, at the Saloon of the Royal Hotel.
This company, the first to harmonise Negro Melodies, and originators of the present popular style of Ethiopian Entertainments, and their success during the past ten years in the United Srates is without precedent in the annals of public amusement, and who in their visit to England had the distinguished honour of appearing before her Majesty, Queen Victoria, Prince Albert, and the Court, respectfully announce to the musical public of Sydney that they will commence a series of their inimitable entertainments as above.
For programme see small bills . . . E. TOTTEN, Agent.

[Advertisement], The Sydney Morning Herald (8 October 1852), 1

Messrs. Rainer, White, Brower, Bryant, Foans, and Moran, will give another of their inimitable Entertainments, illustrative of Negro Life and Character, this (Friday) evening, 8th October, in the Saloon of the Royal Hotel.
Grand Introductory Overture - Full Band
Opming Chorus - Dinah's Wedding Day - Company
I'm off for Baltimore - Foans
Dolly Day - Moran
Old Folks at Home, (by desire) - Brower
Crows in the Corn Field, (first time.) - Rainer
Malinda May - White
The Drapers' Races, (2 miles long,) - Moran
Sweep's Refrain - (with Tyrolean imitations) - Brower
Carry me 'long - White
The [REDACTED]'s Barcarole - Rainer
Grand Finale to Part I. - The Phantom Chorus from Somnambula - Company
Solo - Flutina - Bryant
Ballad - White
Banjo Solo, by that Son of Momus - Moran
Solo - Banjo - The Soldier Boy
Quicksteps - White
Characteristic Banjo Trio - Brower, Moran, and White
Overture - Full Band
Let's be gay - Company
Sleigh Ride - White and Company
Nancy Tease - Moran
Negro Refrain - Company
To conclude with the laughable burlesque of The Blackshakers.
Musical Director - Mr. J. C. Rainer.
Cards of admission - Reserved seats, 4s.; middle seats, 3s.; back seats, 2s.; to be had of H. Marsh and Co., Music Sellers, 490, George-street, and at the Royal Hotel . . .
E. TOTTEN, Agent.

RAINER'S ETHIOPIAN SERENADERS", Bell's Life in Sydney and Sporting Reviewer (30 October 1852), 2 

This company have announced the first of their last six concerts to take place on Monday evening next, at the Royal Hotel; and their departure being fixed for Melbourne after Friday the 12th proximo, their patrons will do well to avail themselves of the few remaining opportunities of enjoying their unrivalled entertainments. We may also venture the expression of a hope, that His Excellency the Governor-General may be induced to countenance the "[REDACTED] band" before their flight to the southward; for numerous as have been the companies, laying claim to the designation of "The Original Sorenaders," we believe that Mr. Rainer's possesses the only legitímate claim to the distinction, and, as such, has been recognised by every country and state through which they have passed on their present tour around the world.

[Advertisement], The Sydney Morning Herald (19 November 1852), 1 

BENEFIT of Mr. J. C. RAINER. Most positively the last night of Rainer's Serenaders.
Rich Comic Stories, Fun, Frolic, Wit, Wisdom, Joy, Jokes, Repartee, Rigs, Whims, Waggeries, Bon Mots, Play upon Words, in fact, the Company will play on anything, except the feelings of the audience.
Mr. J. C. R. would respectfully announce to the ladies and gentlemen of Sydney, that his Benefit will take place as above, and flatters himself that the Entertainments will surpass anything of the kind yet given to the public.
For this occasion he has arranged a new Programme (introducing a few of the old favourites), also a Burlesque Scene of
And confidently expects that a refined community will approve the effort to join elevated and classical music with truly chaste and healthy humour.
1. - Overture - De fried sheep - Full Band
2. - Opening Chorus - From the Enchantress, hither we come (first time) - Company
3. - How is you White Folks? - Moran
4. - Open the Window, love one, do - White
5. - As I view now, (from La Sonnambula) - Rainer
6. - Come love, come, you need not fear - Foans
7. - The Ethiopian Dirge - Rainer
8. - We hear the hoofs, (from the Bronze Horse) - White
9. - I've a boat, I've a boat, and can give you a ride, New Orleans is my home, and Miss Dinah's my Bride, (first time) - Rainer
10. - The Old Folks at home - Brower
11. - The Hot Corn Maid, (first time), There lives in the place I forgot, a girl the colour of soot - Rainer
12. - I'm off for Melbourne - Moran
13. - Grand Finale to part first - Operatic Chorus - Company
Intermission of ten minutes.
Solo - Flutina, with variations - Bryant
Part II.
Arranged by J. C. Rainer.
Mad. Jenny Lindo, Tambo, J. M. Foans; Signor Lablache Rainorinio, J. C. Rainer; Signor Mario Banjo, M. W. White; Signor Bono Cavetino, F. Moran; Signor De-Big-Nees, T. P. Brower.
Leader of the Orchestra, of something less than 100 strong, C. Bryant.
Coloured Mutes, &c, by the whole of the Company.
Scene, First and Last. - Enter Signor Banjo Mario. He summons his lady-love, the Prima Donna, but she being (like most Prima Donnas when wanted) very sick, sends her faithful Page, Mad. Jenny Tambo, who delivers, as most Pages generally do, a Billy-do. At this critical moment, the infuriated Papa, Signor Lablache Rainorinio, (who, like all infuriated Papas, opposes the union of his daughter with any person who was ever known to sing) enters, seizes the latter, and upbraids them for their clandestine proceedings. Banjo entreats, Papa scorns, Tambo intercedes. Papa swears (N. B. in Italian,) and vows eternal separation and revenge. They quarrel - and of course words are exchanged - a blow is given, a challenge accepted - they fight, and alas, oh dreadful to relate, Banjo falls. Tambo weeps and prays - Rainorinio is struck with remorse and snivels. Banjo, oh terror, sings first, dies next, and afterwards - kicks the bucket. DEAD MARCH, enter Coloured Mutes, Moranio Bono et De-big-nees Browero, with appropriate banners and instruments. They remove the illustrious remains of Banjo to solemn and pathetic music, after which the audience is supposed to imagine that the curtain falls amidst showers of bouquets and bursts of applause. The call for the talented Artistes, by a delighted and enthusiastic audience, forming a grand, brilliant, and imposing finale.
Opening Recitative - Fatal Friday, Mario Banjo. Aria - Prendare un Drinko, Prima Donna la Toothacheo cannot performo, Lindo Tambo, Lucaexi Borgia, Recitative - Malledetteo influenza, non playo stop salarino, per Opera Paddy Whack in Italian Labach, Rainorinio. Duett - Tetzam in same way, leg off, Banjo Mario et Lablache Rainorinio. Aria Lindo Tambo, Sonnambula. Tezetto - Banjo, Tambo, Rainorinio. Aria - Banjo. Aria - Tambo Lindo. Grand Aria - Et Due Challengo, Puritana, Lablache il Bobblini look upo, Rainorinio et Banjo Mario, Grand Dying Scena - Fra Foker, I'm a Croker.
N. B. - Books of the Words in English, Low Dutch, and Half Spanish, can be procured at the Office, price £ 1s.
Banjo Solo, by that son of Momus, Moran
Ballad, Ben Bolt, (to be had at Marsh's Music Warehouse), White
LUCY LONG, in Bloomer costume, Foans
Banjo Trio - Hop Light Loo, Moran, Brower, and White
An Original Burlesque on Julien's Grand Promenade Concerts.
Solo on the Monster Tin Horn, J. C. Rainer
Solo on a pair of Kitchen Bellows, F. Moran, executed by the 6 Faint Orpheans on their Rush-ing Horn, Ex-tin-guishing all the Dis-tinguished performers of the age, and sufficiently seasoned without the aid of mustard.
This piece is supposed to commence in the Domain and proceed up George-street to the Royal Hotel, and thence to Port Adelaide, illuminated by a Drum and Light . . .
E. TOTTEN. Agent.

"A NOTE OF INTRODUCTION", Bell's Life in Sydney and Sporting Reviewer (20 November 1852), 2 

The departure of Rainer's accomplished company from this for the sister colony, cannot be suffered by us to pass by without a farewell word. To them we have been indebted for many an evening's sterling entertainment, and that of a character vastly superior to any of similar description previously introduced by illegitimate assumers of the name and fame exclusively belonging to "The Original Serenaders." Last evening Mr. Rainer made his parting bow to an over-crowded house, and on behalf of himself and brother professionals, gracefully acknowledged the liberal favours of the Sydney public, and expressed a sanguine expectation of repeating his visit, if his future arrangements would admit of the same. Our Melbourne contemporaries will, we trust, honour this brief note of introduction, and give these clever artistes a cordial welcome to Victoria's metropolis.

"SERENADERS", Colonial Times (15 February 1853), 2 

Rainer's Company of Southern Serenaders have arrived, and the citizens may expect some amusement. Judging from the testimonials given in America, England, and the adjacent colonies, their talent is beyond doubt. They have performed before the Queen, and many of the nobility, at home; and before the President of the United States; and the celebrated vocalist, Henry Russell, has borne testimony to their powers of harmony. We take the following from an English paper: -
"The performances of Swaine on the banjo and "bones" are still as exciting as ever, while his imitation of the drum, horse race, &c., evoked loud plaudits. The violin playing of young Ole Bull was, if possible, more effective, and the humorous eccentricities of Sandford, alias Tamburini, heightened the evenings' enjoyments; they were created of mirth and drollery. Among the new pieces lately introduced in the vocal department, we were much pleased by a song from Mr. Rainer, entitled "Carry me back to old Virginny," which with the "[REDACTED]'s funeral," by the same gentleman, constituted no ordinary treat; they are gems, to which he imparted a lustre, as well as that decided favorite, "The Italian Opera Burlesqued." His voice is a bass of exquisite sweetness and power, and on each occasion he received unequivocal proofs of public approbation. The Serenaders appear in the fancy dresses in which they performed before the President of the United States, which admirably pourtray the extraordinary love of gaudy articles so inherent in the nature of the negro, and produce an effect quite apropos to the character of the entertainment.

For original see: "NEW ORLEANS ETHIOPIAN SERENADERS", Liverpool Mail (26 August 1848), 2 (PAYWALL)

"The Serenaders", The Cornwall Chronicle [Launceston, TAS] (19 February 1853), 140 

On Thursday last, the people of Launceston were on the qui vive from the fact of it having been announced during the week, that Rainer's celebrated band of serenaders would perform at the Cornwall Assembly Rooms in the evening, and long before the time appointed for the entertainment to commence, crowds of persons were to be seen wending their way thither. On bowing to the audience, the serenaders were loudly applauded, and the remark was buzzed about the room that six finer "colored gemmen" never came from Ole Virginia. The first piece, "Grand Introductory Chorus" wus rendered with great spirit and precision, followed by an "Operatic Chorus," and "sounds of pleasure" also given con brio, and in true musical breathing. The gem of the evening, however, was most decidedly, "See, Sir See!" from the opera of La Sonnambula, by Bellini. In this piece the fine bass voice of Mr. Rainer told with most electrifying effect upon the audience. He is evidently quite at home in such scenes, and leads us to infer that we have a real colonial Lablache among us. He is affirmed by the elite musicale who were present to be the best singer who has ever made his debut before a Tasmanian audience. Taken as a whole, the efforts of the serenaders have produced a most unequivocal and agreeable impression upon those who have had the pleasure of hearing them. Purity of taste, comic and dramatic effect, essentials in their peculiar school of performance, are most conspicuous . . .

"The Serenaders", The Cornwall Chronicle [Launceston, TAS] (23 February 1853), 148 

The increased attendance at Rainers' fashionable evening entertainments, demonstrates the popularity the Serenaders are acquiring among the people of Launceston. On Monday and Tuesday evenings last, the house was filled to overflowing with gratified audiences, who shared their adpreciation of the merits of the performances, by loudly applauding them. The opening chorus of "Hither we come," is a beautiful composition, and was given with telling effect by the company, as also were the songs of Rosa Lee, by White, Juliana Brown, by Brower, Dinah Crow, by Fowns [sic]. In the Ethiopean dirge on Monday evening, Mr. Rainer's rich bass voice told with admirable effect, and on either evening it was worth the admission money, to see Fowns attired in full bloomer astume as Lucy Long. The Serenaders perform this evening, tomorrow, and Thursday evenings.

"THEATRE ROYAL", The Courier (14 April 1853), 2

There was a monster house last night at the benefit of "Bones," and the performances went off with much spirit and eclat. With respect to the "Bellows Solo," it is a complete take in, a dodge which ought to be beneath Moran, whose comicalities and eccentricities would always enrich a bona fide bill of fare. The musical conductor of the company, Mr. J. C. Rainer, takes his benefit to-morrow evening. Having secured the patronage of His Excellency, all that we could say cannot possibly induce any addition to the visitors; but we have a hope to report in this, as in all the other cases, that Mr. Rainer has reaped a good benefit.

"VICTORIA . . . RAINER'S SERENADERS", Hobarton Guardian, or, True Friend of Tasmania (25 March 1854), 3 

After delighting hundreds nightly for the last nine months, this talented and successful company have closed their performance in this city [Melbourne], and will shortly make their debut before the diggers of Bryant's Ranges, where it is their intention to remain for a time, and then visit the other gold-fields. We understand that Mr. Rainer, the spirited manager, has expended a large sum on the reqniste outfit for such an enterprise - and we hope and doubt not he will - nightly draw a densely crowded audience. All who enjoy a hearty laugh will not be disappointed on paying them a visit.

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

SALLE DE VALENTINO. - Rainer's Original Ethiopean Serenaders. - Messrs. Rainer, White, Bower, Bryant, Foans, and Moran . . . J. P. NASH, Agent.

"ROYAL VICTORIA THEATRE", The Courier [Hobart, TAS] (13 July 1854), 3 

Next week the laughter-exciting witticisms, and the sweet, pleasant voices of that highly popular company, Rainer's Serenaders, will supply the dearth which would otherwise have been felt in the world of amusement, owing to the closing of the theatrical season. Their programme will be changed every evening, and the first bill of fare is an attractive one. The agency of the company is now transacted by Mr. J. P. Nash, the popular vocalist of the New York Serenaders. The company have been very successful at Launceston during the week.

ASSOCIATIONS: J. P. Nash (minstrel serenader, agent), formerly of the New York Serenaders

"RAINER'S SERENADERS", The Argus (11 October 1854), 5 

Mr. Rainer and his clever band leave town to-day en route for the diggings. They are to perform on Thursday and the following evening at Castlemaine, and then proceed to Maryborough (Simson's Ranges), where they remain a week. Thence they pay a visit to Ballaarat.

"RAINER'S SERENADERS", Adelaide Times [Adelaide, SA] (26 January 1855), 3 

The dulness of the town was last night relieved by Rainer's well-known band of Serenaders, whose appearance before the curtain of the Victoria Theatre was greeted by a large and respectable audience. Although, to us, it was "the old thing over again," exciting comparisons sometimes favourable and occasionally the reverse, we are bound to say that we have frequently seen worse, and seldom better performances in Adelaide. Among the chief attractions of the evening must be mentioned Rainer's "Uncle Tom's Farewell," which was rendered with an amount of taste and expression that would have given as much pleasure to Harriet Beecher Stowe as it unmistakably afforded to the audience. Mr. Rainer adopts the subdued style, and seeks to win, rather than to startle. He sings to, and not at you. Hence his success . . .

"MR. RAINER'S FAREWELL BENEFIT", Adelaide Times (23 February 1855), p. 2 

As predicted in our notice of yesterday, Mr. Rainer's last appeal to the suffrages of the Adelaide public was responded to by one of the most crowded and respectable audiences we have for a long time seen assembled within the walls of the Victoria Theatre. "They Stole my Child Away," sung by Rainer with much taste and considerable expression - the grotesque rigmarole of "Walk in Joe," which Bones, with that twisty-ogling, comic eye, and here, there, and everywhere turn-about funny mouth of his, managed to render, with even more than his usual unction - the solo on the flutina by Bryant, whose performance was greeted with general applause - Nash's quiet but effective rendering of the air from the opera of "Don Pasquale" - and last, though not least, the singing and dancing of Foans, which perfectly victimised the audience into the belief that one of the "opposite sex" was before them - constituted the chief attractions of the evening. The burlesque scene on the Italian Opera was very good up to a certain stage; but, when the one-two-three-and-an-under business commenced, a mistake about as long as the fight was made, which almost proved fatal to the piece. A little judicious curtailment will, on another occasion, enable the serenaders to produce this part of the entertainment in a manner calculated to prevent a repetition of the objection specified. We must not close this necessarily hurried notice without bearing testimony to the exertions of Mr. Totten, who, as "Master of the Ceremonies" for the night, mainly contributed to the ease and comfort which every lady and gentleman in the house appeared to enjoy.

"Shipping Intelligence. ARRIVALS", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (14 April 1855), 2 

April 9. - Wonga Wonga, steamship Gilmore, from Melbourne the 7th inst. Passengers - Mr. aud Mrs. Foans, Mr. and Mrs. Nelson and family (4), Messrs. J. C. Rainer, Bryant . . .

"RAINER'S ETHIOPIAN SERENADERS", The Goulburn Herald and County of Argyle Advertiser (21 April 1855), 2 

. . . This week Rainer's Ethiopian Serenaders, of American and Australian fame, arrived among us, and made their debut on Thursday evening last, at Woodward's Commercial Hotel, before a crowded and delighted audience. Of all the serenaders we have hitherto heard, and they are many, Mr. Rainer's company take the precedence. There is an elegance and purity about their performances which we have often found wanting in other delineators of [REDACTED] life, and their thorough knowledge of the class they profess to imitate, gives them a decited advantage over most of their competitors at present in the field, and a feeling of self sufficient accuracy which prevents their either running into exaggeration or failing to carry out the imitation. The bye-play was first-rate, and exhibited to a nicety the droll conceits, and antic grimaces, which cannot and do not fail to bring on roars of laughter. Mr. Rainer's voice is a very deep bass, and was heard to very great advantage in "Uncle Tom's Farewell" and the "Virginia Rose-bud," both songs calculated to bring out his deep and rather melancholy voice . . .

"RAINER'S SERENADERS", Bathurst Free Press and Mining Journal (30 June 1855), 2 

Public amusements have for some time past been at a low ebb in Bathurst, and the arrival of Mr. Rainer's company of serenaders was therefore gladly hailed by that portion of our community who happen to be blessed with a musical taste and appreciation . . . On Saturday night last the first concert took place at the Royal Prince of Wales Theatre before a respectable and tolerably numerous audience, when the impression went forth which has since supplied bumping houses every evening in the course of the past week . . . Mr. Rainer is fortunate in the possession of a rich, round bass voice, which in its very lowest notes possesses a softness and flexibility of intonation which are most grateful to the ear. His higher notes are also soft and melodious. As the basis or foundation of a chorus its power manifests itself with excellent effect. On Wednesday evening the performances terminated with a burlesque opera entitled "the lost child," which afforded abundance of scope for the display of [REDACTED] peculiarities not less than the beauties of [REDACTED] melody, but our space does not permit a detailed criticism of particulars. By advertisements in to-day's issue we perceive that Mr. Rainer purposes paying a professional visit to Orange and Carcoar with his company where we doubt not they will be gladly welcomed.

[Advertisement], The People's Advocate and New South Wales Vindicator (1 September 1855), 15 

PRINCE OF WALES THEATRE. Castlereagh-street. Last Night of the Engagement of Rainer's Serenaders!
ON SATURDAY EVENING, September 1st . . . a very successful Drama, entitled SUNSHINE THROUGH THE CLOUDS . . .
To be followed by the celebrated Performance of RAINER'S SERENADERS!
Programme - Part First.
Overture, Full Band Opening Chorus - Dinah's Wedding Day - Company.
I'm off for Baltimore, Foams. Dolcey Jones, Moran. Strike boys, strike, Brower.
The Virginia Rose Bud, Rainer. My old Aunt Sally, Moran. Lilly Dale, Foans.
Part First to conclude with, She's gone to Alabama State, Moran.
Programme - Part Second.
Solo - Flutina, Bryant. Solo - Banjo, Moran.
Fancy Dance, (attired in the Bloomer Costume), Foans.
Characteristic Banjo Trio. Billy Biley, a great traveller, Moran.
Bob Williams, his friend, Brower. George Gretson, Bryant.
After which, Moran will appear in his celebrated Plantation Jig . . .

[Advertisement], Empire (3 September 1855), 1 

PRINCE OF WALES THEATRE. - To-night, Benefit and last appearance of RAINER'S SERENADERS . . . FOR THE BENEFIT OF RAINER'S SERENADERS . . . the celebrated drama, entitled LORD DARNLEY, in which Mr. J. MUNGALL will sustain his favourite character of SANDY MACSCREW . . . GRAND [REDACTED] FESTIVAL! GRAND CONCERT. DANCE, BY MISS LUCY LONG. VAGARIES OF BRUDDER BONES. Concluding with tho BURLESQUE OPERA, entitled THE LOST CHILD of ST. DOMINGO.

ASSOCIATIONS: John Mungall (actor); Frank Howson (proprietor)

"CLEARANCES", The Sydney Morning Herald (6 September 1855), 4

September 5. - City of Sydney (s.), 709 tons, Captain R. T. Moodie, for Melbourne. Passengers . . . J. C. Rainer . . .

"Rainer's Serenaders", Mount Alexander Mail [Castlemaine, VIC] (22 July 1856), 3 

This company of vocalists and instrumentalists on Monday evening, gave the first of a series of concerts at the Theatre Royal. The performance was highly attractive, and a full house attended to greet the efforts of the company. The old favorite songs were received warmly. Mr. Martin's solos were well done, and elicited merited applause, as did Mr. Rainer's. The entertainment comprised a solo on the violin by Mr. Moore, who was deservedly encored. The company play to-night, and to-morrow at the Theatre, on, Thursday at the Manchester Hotel, Forest Creek, and on Friday at Tarrangower, at Edwards's Hotel.

"Rainer's Serenaders", Mount Alexander Mail (25 July 1856), 5

These talented vocalists gave their' third and last entertainment at the Castlemaine Theatre, on Wednesday last, when a very good audience testified their appreciation of the company's merits. Rainer's Serenaders are now become a household word in this and the neighboring colonies, and many a one looks back with pleasure to the old entertainments provided by Mr. Rainer some two or three years ago. Then anything like merit was the exception, and how to extort the most money by the least possible exertion was on aim of the majority of the caterers for public amusement. Rainer proved an honorable exception, and we are glad to see that both here and at Ballarat he has received solid proofs of public esteem. On Wednesday night there was only one thing to complain of, and that was Mr. Rainer giving us Uncle Tom's Cabin instead of the well known and appreciated Ethiopian dirge, as announced in the bills, and upon which Mr. Rainer first founded his fame, both in New South Wales, Victoria, and at home. Many were greatly disappointed at not hearing this song, and we hope the omission will be repaired at the first opportunity; however good Uncle Tom's Cabin may be, the public prefer the Dirge. Mr. Davis's Rights of Woman was an admirable parody, and elicited a hearty encore. Mr. Morris' [sic, Moore's] violin solo obtained a similar compliment, and Messrs. White and Martin were called on to repeat their performance during the evening. We understand that Mr. Rainer intends giving an entertainment on Saturday next, prior, to proceed ing to Bendigo, and we can cordially recommend the votaries of pleasure; and the lovers of negro melody, to pay him a visit, when they will obtain an amply sufficient quid pro quo for their money.

ASSOCIATIONS: Andrew Moore (violin)

[Advertisement], Mount Alexander Mail (25 July 1856), 1 

First night of the GRAND TRIAL DANCE.
First Night of the [REDACTED] POSTMAN:
Gumbo Cuff, a love sick Mail Boy - Davis
Chas Grotson, esq. a retired Master Boot Black - Hull
Pete Williams, friend and second to Cuff - Rainer
Jos Silsby, professional adviser to Gretson, esq. - Moore
Bob Ridley, time-keeper and referee - Martin
Miss Fnnny, a pretty black bustling Coquette, very fond of having two strings to her bow - White . . .
The whole under the immediate direction of MR. J. C. RAINER.
E. Totten, Agent.

[Advertisement], Bendigo Advertiser (8 September 1856), 3 

CRITERION THEATRE, This (Monday) evening, SEPTEMBER 8th,
Mr. Leman, the celebrated basso, and Mr. Gibson, the Irish comic singer, late of the Shamrock concerts, have kindly volunteered their services. LOLA MONTES, A BURLESQUE on the SPIDER DANCE will be performed To-Night by RAINER'S SERENADERS, being for the BENKFIT of J. C. RAINER. Remember this is the Last Night.
WHITE HORSE HOTEL, California Gully. RAINER'S SERENADERS will appear as above on Tuesday Evening, September 9th. See bills of day.

ASSOCIATIONS: Frederick Leeman (vocalist)

"MUSIC AND THE DRAMA", The Age (29 December 1856), 5 

At Dunolly, says the Maryborough and Dunolly Advertiser, our old friends, the Ethiopian Serenaders, under the able direction of Mr. Rainer, gave three of their highly popular entertainments at the United States Hotel last week, and notwithstanding the disadvantage of having to contend with innumerable free concert rooms, in some of which talent of a high order is to be met, drew crowded houses. On Saturday night Mr Rainer took his farewell benefit, and the house was a "bumper," being literally crammed to suffocation.

[Advertisement], Mount Alexander Mail (9 January 1857), 1 

MOORE'S FRYER'S TOWN HOTEL, RAINER'S SERENADERS, In their Unrivalled Entertainments.
ON SATURDAY & MONDAY EVENINGS, January 10 th and 12th, 1857.
RAINER'S SERENADERS Will appear as above, in their Unrivalled Entertainments.
MOONLIGHT NIGHTS! Come and see WHITE, the Champion Dancer, who is open to dance any man in Australia for from £5 to £500.
Come and hear MARTIN in his favorite Ballads; DAVIS in his Budget of Comicalities; HULL and DAVIS in their laughable Banjo Duets.
Screaming Ethopian Farce, entitled VIRGINIA CUPID.
Programme - Part I.
Overture - Band.
Opening Chorus " Sounds of Pleasure" - Company.
Song - "It Suits this Child" - Hull.
Ballad - "The Old Gum Tree" (original) - Martin.
Song - "Doley Jones" - Davis.
Ethiopian Dirge (aa sung before her Majesty Queen Victoria) - Rainer.
Swasha - White.
Ballad - "Ellen Bayne" - Martin.
Song - "Brudder Gum" - Davis.
Song - "The Blighted Flower" - Rainer.
Song - "Yo, Yah, Yo" - Hull.
To concluded with the celebrated PHANTOM CHORUS, From the Opera of La Sonnambula.
An Interval of Ten Minutes.
Part II.
WHITE, THE CHAMPION DANCER Will appear, and dance his celebrated Juba Dance.
Vocal Duet - "If I had but a £1000 a year."
Robin Ruff - Rainer. Gaffer Green - Martin
Concertina Solo - Richardson Favorite Ballad - Martin
Laughable Banjo Duet.
Bill Biley (a great traveller) - Davis
Bob Gravier (a distressed manager in search of performers) - Hull
An interval of Five Minutes.
Part III.
Screaming Ethiopian Afterpiece, entitled
Gumbo Cuff, a love-sick Mail Boy - Davis.
Chaarles Gretson, Esq., a retired Master Boot black - Hull.
Pete Williams, a friend and second to Cuff - Rainer.
Bob Ridley, time keeper and referee - Martin.
Miss Fanny, a pretty, black, bustling coquette, very fond of having two strings to her bow - White.
The Performance will conclude with a Fancy Dance by Fanny.
Doors open at half-past 7 o'clock. Commence at 8 o'clock.
The whole under the direction of Mr. J. C Rainer.

"Rainer's Serenaders at Tarransower", Mount Alexander Mail (10 July 1857), 4 

This clever company will perform to-night and tomorrow night at the Kangaroo Hotel, Tarrangower . . .

"Concert at the Theatre Royal", Mount Alexander Mail (16 October 1857), 4 

Messrs. Woodin and Wallerstein gave a concert on Wednesday evening to a numerous and fashionable assembly at the Theatre Royal. The suitable audience gave unusual spirit to the performance. Mr. Wallerstein's fantasias were played with extra brilliancy, and Mr. Woodin's pleasantries were additionally piquant. Mr. Rainer and Mr. Martin were most valuable auxiliaries, and their songs received the honor of an encore. The universally favorite duet "If I had a thousand a year" was the gem of the performance, but indeed the "Life boat" and "the Maniac," sung by Mr. Rainer, were only less enthusiastically received.

ASSOCIATIONS: Frederick Woodin (musician); Henri Wallerstein (musician)

"DESTRUCTIVE FIRE", Mount Alexander Mail (13 November 1857), 5 

Castlemaine, for the first time since its foundation, has been visited by one of those destructive conflagrations which so frequently occur where human habitations are composed principally of wood and canvas. It has resulted in the total destruction ol the Royal Hotel and Theatre, with all the scenery and properties of that establishment, and much other property. The fire broke out about 1/4 past 11 on Wednesday night, in the boot and shoe store of Mr. Forster, a wood and canvass structure, separated from the Theatre only by a narrow right of way . . . The damage done by this fire amounts to several thousand pounds - not less than seven. Messrs. Rainer and Gingell of the Royal Hotel and Theatre, are the greatest sufferers. The building, which belonged to the late B. Cohen, Esq., is insured for £1000, but Messrs. Rainer and Gingell were totally uninsured. Much sympathy is felt for them in their misfortune, - a feeling that will be shared in by the members of the theatrical world to whom they are so well known . . . No accidents of any kind happened to persons, though Mr. Rainer had a very narrow escape from the hotel. Mr. Hoskins and his company have been severe sufferers by the event. The fire broke out almost immediately after the performance of the evening had concluded, and much of his property and dresses was lying in the Theatre. The whole of it is consumed . . .

ASSOCIATIONS: Frederick Gingell (proprietor, d. Bairnsdale, VIC, 17 October 1880); William Hoskins (actor, manager, English Opera Company)

[Advertisement], Mount Alexander Mail (16 November 1857), 3 

ASHTON'S ROYAL OLYMPIAN CIRCUS, Market Square, Castlemaine.
Mr. J. Ashton, deeply sympathising with Mr. Rainer in the severe loss he has sustained, begs respectfully to solicit the favors of the Castlemaine Public and environs for Mr. J. C. Rainer, he being one of the oldest and most respected caterers for the public amusement in these colonies . . .

ASSOCIATIONS: James Henry Ashton (circus proprietor)

"CASTLEMAINE (From our own Correspondent)", The Kyneton Observer (15 June 1858), 2 

You must not expect anything very voluminous from me to day, in fact it is the old story, "we are very dull here at present." I am glad, however, to tell you that, owing to the praiseworthy and go-ahead principles of Messrs. Rainer and Gingell, we are certain to have our new Theatre built, and that very shorfly. All that is, required is £2,000, and of that upwards of £1,700 has been taken up in shares of £5 each.

"CORRESPONDENCE, THE THEATRE", Mount Alexander Mail (1 April 1859), 5 

Theatre Royal, Castlemaine, 30th March, 1859.
Sir, - I was somewhat surprised at perusing a letter signed ROBERT OTTERY, published in your journal of this date, and reflecting upon the deficiency of theatrical performances in this town, whilst in Ballarat "operatic and dramatic performances" are presented in several places at once! I believe if that gentleman would take the trouble of making inquiries into the subject, he would find that theatrical speculations in his "model township" have resulted in considerable losses to the parties engaged therein, notwithstanding the much greater, because more compact, population of the township of Ballarat. For my own part, I can say that during a period of 14 years in America, Britain and the Colonies, that I have been engaged in catering for the amusement of the public, a want of liberality has never been laid to my charge; but I can scarcely be expected to offer in my own person a practical illustration of the Road to Ruin, and I can only state that by the engagement of that popular artiste, Miss MARY PROVOST, with whom, aided by an efficient corps dramatique, this Theatre was re-opened, I sustained a heavy pecuniary loss. This did not, however, prevent me from entering into an engagement with the Operatic Company - by whom your correspondent was so fascinated - but I regret to say that again a considerable loss was sustained by all parties concerned. Nothing daunted by these failures, I secured the services of the Serenaders, and again found the balance on the wrong side of the ledger. Once more I made the essay, by bringing under the notice of the public the Ballarat Company, the most efficient which had yet appeared in Castlemaine. The splendid burlesque of the "Sleeping Beauty" was produced at immense expense, and in the most unique style ever attempted in this town. By the new scenery above I was placed at an expense of £80 - and to the frequenters of the theatre, the "beggarly account of empty boxes" which the house too often exhibited, it must have been evident that loss not profit was the result of the enterprise. I have not, however, yielded to despair, the proof of which is that I have completed arrangements with Miss EMMA STANLEY, whose unique and wonderful entertainment has been presented for upwards of two hundred nights in these colonies, to the most crowded and delighted audiences, and who will make her first appearance on Tuesday evening next; an engagement which will be followed by that of Mr. G. V. BROOKS, Miss MORTYN, and a powerful company for six nights. This has not been a bad effort upon my part to allure to our "loved vicinity" all the available dramatic talent.
"Tis not for mortals to command successs,"
but from the opening of the theatre in November, to the present time, a period of five months, I have
"Endeavored to deserve it."
I trust this statement will satisfy Mr. Robert Ottery, and the public of Castlemaine, of my anxious desire to cater for their amusement, and that their extensive patronage of the engagements, I have now the honor to announce, will prove their appreciation of my humble efforts.
I am, sir, yours obediently,

ASSOCIATIONS: Mary Provost (actor); Gustavus Vaughan Brooke (actor); Emma Stanley (actor)

"MARRIAGE", The Argus (23 August 1859), 4 

On the 20th inst., at Rushbrook [Rushworth], near Woodend, the residence of the bride's brother, by the Rev. Mr. Barlow, Mr. John Cregin Rainer, to Sarah, third daughter of the late William Moubray, Esq., of the River Tamar, Tasmania.

"CASTLEMAINE POLICE COURT. Wednesday, September 14 . . . PUBLICAN'S LICENSE", Mount Alexander Mail (16 September 1859), 4 

The license of the Royal Hotel was transferred from Frederick Gingell to John C. Rainer.

"THEATRICALS AND MUSIC . . . CASTLEMAINE", Bell's Life in Victoria and Sporting Chronicle (4 February 1860), 2 

On Monday evening, at the Royal, the performance being for the benefit of Mr. J. C. Rainer, there was an unusually large attendance, and many persons were present who are by no means common frequenters. The attraction was "Rob Roy," in which the principal parts were filled by Messrs. J. Mungall, D. Murray, Graham, and Musgrave, Miss Marie Nelson, and Miss Josephine Fiddes. The drama was followed by a song and duet, in both of which Mr. Rainer exerted his vocal powers; and the "Irish Lion," with Mr. D. Murray as Tim Moore, brought a very pleasant evening's amusement to an end. On Tuesday "Guy Mannering" was performed; on Wednesday, "Gilderoy;" on Thursday, "Love's Fetters;" last evening "Cramond Brig," and to-night the "Dumb Man of Manchester," and "The Happy Man" are to be played.

ASSOCIATIONS: John Mungall (actor); Dominick Murray (actor); Marie Nelson (actor); Josephine Fiddes (actor)


J. C. Rainer, Royal Hotel, Castlemaine. The license was granted, but the Bench remarked that the entrance to the Theatre greatly needed alterations and improvements.

[Advertisement], The Argus (27 October 1860), 6 

IN the INSOLVENT ESTATE of JOHN CRAGIN RAINER, of Castlemaine, in the Colony of Victoria, Licensed Vlctualler - Whereas . . . the ESTATE of John Cragin Rainer, the abovenamed insolvent, was on the twenty-fifth day of October, one thousand eight hundred and sixty . . . PLACED UNDER SEQUESTRATION . . .

"MELBOURNE (FROM OUR OWN CORRESPONDENT) Monday, 10th June", Bendigo Advertiser (11 June 1867), 2

I see that Mr. J. C. Rainer, the original proprietor of Rainer's Christy Minstrels, has, after a life of comparative inaction as a licensed victualler at Daylesford, again taken the field, or rather the boards, this time as conductor of the Campbell troupe. Any one who knew Mr. Rainer's vocal ability in former years, and hears how little time has impaired his really fine voice, will be glad to learn that he has again resumed his profession.

"ITEMS OF NEWS", Mount Alexander Mail (13 June 1867), 2 

The Campbell Minstrels, under the direction of Mr. J. C. Rainer, made a second appearance in the Hall of the Mechanics' Institute last evening. The attendance was better than the previous niglit, but still below what it ought to be if there be any desire to encourage professionals to provide an entertainment in the town. The programme was of the usual grotesque description, with some fine melodies, which were received applaudingly. Mr. Rainer, according to announcement, came forward to sing "The Blighted Flower," and he met with that cordial reception which might have been expected from so old and deserved a favourite. He sang with his usual precision, and as his fine bass voice is unimpaired in its tone, the applause was the more enthusiastic. To-night the Minstrels play at Guildford, where it is to be hoped they will meet with good encouragement.

"NEWS AND NOTES", The Ballarat Star (5 January 1869), 2

The Daylesford paper says: - On Saturday evening, a rather severe accident happened to Mr J. C. Rainer, of the Theatre Royal, manager of Mr. W. Montgomery's entertainments. Mr. Rainer left Castlemaine on Saturday evening on his way to Daylesford, in a buggy and pair, driven by a man engaged in the former place. When they had nearly reached the Half-Way House, the wheels came against a stump that was covered with dust and pitched the driver out. By the fall he received so severe a sprain of the wrist that he could not retain the reins, and the horses bolted. Mr. Rainer then either jumped from the vehicle, or was thrown from it, and fell on his head. After an interval he was taken to the Half-Way House, apparently not much the worse for the shock, and went to bed. The pole having been broken, a messenger was despatched to Daylesford for a new one, but on his return Mr. Rainer was unable to leave. Attempting to get up from his bed, he staggered so that he was obliged to return to it. At nine p.m. on Sunday evening, Mrs. Rainer, accompanied by Dr. McNicoll, left for the scene of the accident, but we were unable to learn the exact nature of the injuries received by the sufferer. Mr. Rainer was on his way hither to make arrangements for the recitals of Mr. Montgomery on Tuesday and Wednesday.

"MR.RAINER'S CONCERT COMPANY", The Cornwall Chronicle (15 November 1869), 2 

By the s.s. Tamar on Saturday arrived Mr. J. C. Rainer who visits Tasmania with a concert company, embracing some of the best instrumental and vocal talent of which Victoria can boast. Mr. Rainer is one of the oldest managers in the Australian colonies, and last visited Tasmania about fourteen or fifteen years ago at the bead of one of the best companies of serenaders who have ever appeared in Australia. He now brings us one old favorite - Mr. Charles Lascelles - and a lady and gentleman, both of whom will, we believe, to-night fully substantiate their claims to stand in the same rank with Tasmanians. Miss Percy Easedown is a young lady who, with her sister, has made quite a reputation in Victoria, in connection with the concerts of the philharmonic, and amateur musical society's [sic], and since she has entered the professional world has won golden opinions. Of Barry O'Neil everyone has heard . . .

ASSOCIATIONS: Charles Lascelles (pianist, vocalist); Percy Easdown (vocalist); Barry O'Neill (actor)

[Advertisement], Daily Southern Cross ([Auckland, NZ] (3 March 1870), 1

Mr. J. C. RAINER, the Manager of this Company, well known in England, the Continental Cities, and America, who also had the honour of introducing to the Australian Colonies the famous Rainer's Serenaders, begs respectfully to inform his numerous friends and former patrons, that the members of this troupe have all been selected for some special excellence, and that they rank as Stars in their Profession. The following wellknown names, he hopes, will be a sufficient guarantee: -
Mr. THOMAS RAINFORD, the famous Christy Basso; Mr. Louis Braham, the Christy's Peerles Tenor; Mr. WILLIAM ROBSON, Ethiopian Comedian, and Prize American Jig Dancer; Mr. GEORGE CHITTENDEN, formerly Leader San Fraucisco Minstrels; Mr. W. F. SAYERS, Vocalist and Violinist from Lyster's Opera Company; Mr. ALF. PETERS, Double Bass, from Weston's Opera House; Mr. A. COLLINS and Mr. J. COLLINS, the Champion Danecers; Mr. W. H. BENT, the Ethiopian Comedian; Mr. SINGER, Pianist; and the Eminently Popular Comedian, Mr. JOHN COWAN . . . the whole under the direction of Mr. J. C. RAINER . . .

ASSOCIATIONS: Thomas Rainford (minstrel); William Robson (minstrel); George Chittenden (minstrel); W. F. Sayer [sic] (minstrel)

"DEATHS", The Argus (28 November 1889), 1

RAINER. - On the 27th inst., at his son's residence, Coburb, John Cragin Rainer, aged 69 years.

"ANOTHER OLD IDENTITY GONE", The Herald [Melbourne, VIC] (29 November 1889), 3 

An old Australian theatrical identity joined the great majority on Thursday last, in the person of Mr. Jno. C. Rainer. The deceased gentleman was born in America in 1820, and adopted the stage as a profession at the age of 21. Possessed of a tenor voice [sic] of exceptional quality, Mr. Rainer proceeded to England in 1846, and, among other successes, sang before Her Majesty the Queen, by command, at St. James's Theatre, London. Returning to America he narrowly escaped death when travelling in Mexico, he being the only survivor of a camp of twenty-eight persons attacked by Indians. In 1852 he arrived in Melbourne, at the head of the combination known as Rainer's Ethiopian Serenaders, which will be remembered by old identities as one of the best singing companies that had been heard here. The deceased built theatres at Castlemaine and Daylesford, and was associated as manager with G. V. Brooke, Anna Bishop and Jefferson, and later on, with Walter Montgomery. While driving with the latter, Mr. Rainer met with an accident which caused almost complete deafness, and prevented further public appearance as a vocalist. In 1870 he became the proprietor of the Panorama of the American War, in association with which his name will be best remembered by the younger generations, and he retired upon a competency some eight years ago. Mr. Rainer married a sister of Alderman Mowbray [sic] in 1859, and leaves a grown-up family of five, all of whom are well provided for. The remains of the deceased were interred in the Melbourne Cemetery this morning, in close proximity to those of his old friend, W. S. Lyster.

"DEATH OF MR. JOHN C. RAINER", The Lorgnette [Melbourne, VIC] (30 November 1889), 6 

We regret to have to record the death of the well known veteran manager, John Cragin Rainer, who was at the time of his decease perhaps the oldest living interpreter of negro minstrelsy in the world. He died on Wednesday, the 27th inst., at the residence of his son at the Commercial Bank, Coburg, in the 70th year of his age. Mr. Rainer, who in 1845 [sic, 1847/48] had the honor to appear before Her Majesty Queen Victoria, in his special performances, had for years been an institution in Australia, and until recently, had been for many years hardly absent a day from the Rialto, the haunt of his brother professionals, although he had for a long time seceded from active participation. He came from America to Australia in the early fifties, at the head of the then famous "Rainer's Serenaders," a minstrel troupe that achieved considerable in their day, and on their leaving the colonies, elected to remain behind, and share the fortunes of the new land of his adoption. For some time he was hotel keeping in Daylesford, but was best known of late years as the proprietor of the great panorama of of the American War, which achieved so marked a success, not only throughout Australasia, but also, under the management of his able lieutenant, Harry Stanley, in various other parts of the world. He was also proprietor of the panorama of the Turko-Russian War, and was for a time lessee of St. George's Hall in this city. For many years past Mr. Rainer had, however, retired, as we have said, from theatrical life, and lived as a private gentleman, finding his pleasure in visiting. the scenes of his former triumphs, and talking over, and thinking over, the memories of the past: Requiescat in Pace.

Musical works and related prints:

"WHO'S DAT KNOCKING AT DE DOOR? Sung by the New Orleans Ethiopian Serenaders", Lloyd's song book . . . third series (London: E. Lloyd, 1847), 73 (DIGITISED)

Ben Bolt (arr. Rainer)

Ben Bolt, as sung by M. W. White of Rainer's Minstrels, arranged by J. C. Rainer (Sydney: H. Marsh and Co., [first published October 1852]) 

Copies at the National Library of Australia (3) and Sydney Living Museums (1) (DIGITISED) (DIGITISED) (DIGITISED) (DIGITISED)

[Advertisement], The Sydney Morning Herald (28 September 1852), 3 

RAINER'S SERENADERS. THE undersigned beg to inform the musical public that they have made arrangements with the above Company of original Serenaders for the publishing of the whole of their most favourite NEGRO MELODIES, the first of which (BEN BOLT) will appear in a few days. HENRY MARSH AND Co., Wholesale Music Sellers and Publishers, 490, George-street.

ASSOCIATIONS: Henry Marsh (music publisher)

Old folks at home (arr. Rainer)

Old folks at home, as sung by by T. Brower of Rainer's Minstrels, as arranged by J. C. Rainer (Sydney: For the author by H. Marsh, [? 1853])

Copy at the National Library of Australia (DIGITISED)

Old folks at home arranged by J. C. Rainer (Sydney: J. R. Clarke, [after 1857]) 

Copy at Libraries Tasmania (DIGITISED)


H. Marsh & Co.'s Ethiopian Melodies, as sung by the New York & Rainer's Serenaders (Sydney: H. Marsh & Co., [1852-53])

Series of 12 titles listed; earlier editions of several numbers, under different covers, predated the arrival of Rainer's Serenaders

1. O, would I were a boy again; 2. Jenny Lane; 3. Virginia Rose Bud; 4. Rosa Lee; 5. Phoebe Morel; 6. Mary Blane; 7. Ben Bolt; 8. Old folks at home; 9. Nelly was a lady; 10. Dearest Bellusa; 11. Juliana Phoebiana; 12. The slave mother

[1] O would I were a boy again (DIGITISED)

[9] Nelly was a lady 

Bibliography and resources:

Benjamin Miller, The fantasy of whiteness: blackness and Aboriginality in American and Australian culture (Ph.D thesis, University of New South Wales, 2009), 128-29 (DIGITISED)

John Cragin Rainer, Find a grave 

Other references (New Orleans Ehtiopian Serenaders):

Buckley's Ethiopian melodies (New York: [for] James Buckely and Sons, [1853]) (DIGITISED)


"SAMUEL S. SANFORD", New York Clipper (18 February 1893), 1-2 (DIGITISED)

"LETTER FROM A VICTORIAN", Advocate (9 October 1909), 13 

Edward Le Roy Rice, Monarchs of minstrelsy, from "Daddy" Rice to date (New York: Kenny Publishing Company, 1911), 15-16, 34, 36 (DIGITISED)


. . . From 1843 to 1850 the minstrel bands multiplied . . . The Christy's claimed they were organized in 1842 but their earliest program is in August, 1843, and then they were called The Virginia Minstrels. The Buckleys, as the Congo Melodists, claimed to have organized in 1841 but their earliest bills are about 1843 . . . This latter troupe was composed of the Buckley Family (right name Burke), James, the father; Swaine Buckley, R. Bishop Buckley and little Fred Buckley, called Master Ole Bull Buckley. Ole Bull, the Norwegian violinist, was in America at the time and almost anyone who could perform upon a violin added the name of "Ole" to his name. The Buckleys were a grand troupe of skilled musicians and singers. One of their comedians was billed as S. Samuels, who afterwards adopted the name of Sanford, and then his name on the bills appears as S. Samuel Sanford. He gave many good songs and innovations to this company . . .

Vera Brodsky Lawrence, Strong on music: resonances, 1836-1850 (Chicago: University of Chicago Press, 1988), 555, 590 (PREVIEW)

[555] . . . The New Orleans Serenadres . . . returned [to New York] in August [1848] after two years in England. Appearing at first during intermission at the Bowery Theatre, they later moved into the Stuyvesant Institute, where for a period they appeared nightly . . .

Robert B. Winans, "Buckley family", Oxford music online (PAYWALL)

New Orleans Ethiopian Serenaders, JUBA project 

RAINFORD, Thomas Henry (Thomas HARRIS; alias Thomas Henry RAINFORD; Mr. T. H. RAINFORD; Tom RAINFORD)

Basso vocalist, composer, songwriter

Born c. 1831
Arrived Melbourne, VIC, 23 January 1863 (per Coonanbara, from London via the Cape of Good Hope)
Died Glebe, NSW, 9 November 1906, aged 75 (TROVE tagged by Australharmony) (shareable link to this entry)



Thomas Henry Rainford arrived in Melbourne on the Coonanbara, from London via the Cape of Good Hope, on 23 January 1863, a member of Anthony Nish's Christy's Minstrels company.


"SHIPPING. HOBSON'S BAY. ARRIVED", The Age (24 January 1863), 4 

JANUARY 23 . . . Coonanbara, A.S.N. Co.'s steamship, 700 tons, E. Fittock, Trom London, via Falmouth, St. Vincent, Table Bay, and King George's Sound 15th. Passengers - cabin: Miss Fennelley, Messrs Nish, Norton, Melvyn, Steele, J. Brown. Rainsford, Stewart, Brown, and Sinclair. W. P. White and Co., agents.

[Advertisement], The Argus (10 February 1863), 8

[Advertisement], The Sydney Morning Herald (23 September 1867), 8

"Music at the Great National Fair", The Sydney Mail (5 September 1891), 9


The last and now the sole survivor of the first Christy minstrel troupe that visited Australia - the company that used often to be styled, erroneously, of course, the "Original Christy Minstrel company, though it was only original as far as Australia was concerned - is Mr. T. H. Rainford, the well-known basso singer and teacher of singing and music, for many yearn permanently settled in Sydney. The company was organised in London in 1862, and consisted of the following: - T. H. Rainford, basso and middle man; Charles Stewart, first tenor and guitarist; Tony Wish [Nish], first violinist, baritone, and composer; Joe Brown, corner man and silver belt; Jigger Steele, 'cellist, pianist, and alto; Wash Norton, corner man and female Impersonator; James Melvyn, second tenor and second violin. The organisers were Rainford and Melvyn, both of whom were connected with the original Christy Minstrel Company in London, and were at the time playing at Her Majesty's Bijou Theatre, in the Haymarket. They were no less than two years getting the company together, the difficulty being to get "double-handed" men, that is, men who were artists in two or more lines. Their original tonor was Vernon Rigby, but though he agreed to join the company, his father objected, and his engagement was cancelled, and his passage money forfeited. But it will be better to let Mr. Rainford tell his own story, as he did the other day at his room in the Strand-arcade, Sydney, to one who had long known him, and who had seen and heard him in his prime.


"We got shipwrecked on our way to Australia, on the West Coast of Africa, after leaving Port Elizabeth. We were coming to Table Bay in the Waldensian, Captain Goss. There were 131 passengers on board, but no lives were lost; 31 of the passengers were clergymen, who were coming to some Church Conference. I was landed with only a shirt and pair of trousers, and we slept three nights on the beach, men, women, and children huddled together, with sand and soil for plllows. Our company lost all their properties and luggage. Melvyn, who was our treasurer, had £1850 in his possession, which we had received for an engagement of seven nights at Port Elizabeth and two nights at Grahamstown. The money was to be equally divided among us when we arrived in Capetown. Melvyn landed safely with the money. It was 11 o'clock at night when the ship struck, but we managed all to get ashore. The money was duly divided at Capetown. We subscribed £200 among us for Joe Brown, who had lost his trunk and his silver belt, and was at the time a heavier loser than any of us, and it was a strange thing that the only trunk of the company's that was afterwards recovered was Joe Brown's. It contained 200 sovs. besides the belt, and had never been opened; but he never returned the £200 to us. Joe thought he was worth more than any other member of the company, and he was not a good one to get along with, so we did what we thought was best, and gave him two shares.

"We left Africa in the old Coonamburra, then a new boat, bound for Australia, and a nice time we had in her; she lost her rudder for the second time, and we were nine weeks getting to Melbourne."


"Our first appearance in Australia was at the Theatre Royal, Melbourne, in February, 1863. We played for a month to crowded houses. The season was a tremendous success. Barry Sullivan was then lessee of the theatre, and W. S. Lyster sub-lessee. We followed his opera company, which included Lucy Escott, Squires, Wharton, Farquharson, Mme. Durand, Armes Beaumont, Kitts, Baker, and King. We all went and heard the last night of that splendid company. The opera was "The Huguenotts." We were almost disheartened at the prospect before us in having to follow on after such magnificent performances. It was Saturday night, and we had to appear on tho Monday. But our show was an immense success. Lyster afterwards told Sam Lazaar that he made more money out of us seven minstrels than out of all the opera companies he was ever connected with in his life. He took half the gross receipts, and we the other half. We had to cut ours up into eight shares. You see, Joe Brown, as I said, valued himself at twice any of us, for his silver belt jigging and corner man work, and refused to play at all unless he got two shares of the profits, and we had to agree to it. Well, with eight shares, and the sub-lessee taking half the receipts, my first week's share was £96 5s. That will tell you the sort of business we did. Lyster said he cleared £2000 out of the season - one month of negro minstrelsy. But our minstrelsy was quite a new thing.

"Well, we came on to Sydney next, and opened at the School of Arts in March. We played three months to crowded houses. Joe Brown left us in Sydney, and went back to London, and organised a second company, with John Smith, since deceased, which was the second company that visited Australia.

"By the bye, I saw it stated recently in a Sydney paper that a singer named Coward was one of the first Christy minstrel company that came out here, and the writer mentioned that I could throw some light on his fate. This is not all quite correct. Coward was one of the company that Joe Brown brought out - the second minstrel company - and he poisoned himself. Coward had a beautiful baritone voice. I knew him well, for it was I who induced him to join the original Christies in London. His real name was Henry Castor. He had taken the name of Murray, and why he ever took the name of Coward I naver knew. He was a pupil of the celebrated baritone, Jack Farmer, of Nottingham, of which place he was a native.

"Jow Brown's place was filled by taking Harry Leslie on. We left Sydney after our engagement was up, and started for Hobart, en route to New Zealand, under engagement to Shadrick Jones, who gave us £1600 for a month's playing. We opened in Dunedin, and played to crowded houses. Clarence Holt, father of Bland Holt, was lessee of the theatre during our season at Dunedin. From Dunedin we went to Christchurch "on our own," and then to Wellington, but the Maori war was then raging, and stalwart young men were in such demand that we thought it good enough to get back to Australia. We went to Melbourne, and opened at St. George's-hall, "on our own," and did very well.


"Ours was not, of course, the first black face entertainment in Australia. John Rainer's Serenaders and some other small companies had burnt cork before us, but ours was the first Christy minstrel company, and all our people were artists, and in its way it was far beyond anything ever seen before in this part of the world. In addition to tho ordinary black face business, we burlesqued operas. The first opera we burlesqued was "The Bohemian Girl." The burlesque was written by Brough, father of Mr. Robert Brough, of the celebrated B. and B. Company, and the author of the burlesque was present at the first performance, which took place originally (?) in London in 1862. We also burlesqued "Maritana," "Sonambula," "Lucretia Borgia," and "Lucia di Lammermoor." These, or most of them, were first produced in the old Prince of Wales Theatre in Castlereagh-street, Sydney, Mr. Dind being the lessee. The black opera season lasted two months, and we afterwards visited Newcastle, Maitland, Singleton, Bathurst, Parramatta, and other places."


"I can tell you a peculiar incident that happened in connection with our trip to Bathurst. We were billed to appear on a particular night. The train then only ran as far as Parramatta. Our company left Sydney on Sunday, at 8 a.m. I missed the train by a second or two; it moved off as I got on to tho platform, and I could have jumped in at the window, only the guard stopped me. I at once ordered my old mare to he saddled, and I rode for bare life to catch the coach at Penrith. The journey killed tho poor beast, and I got to Penrith in time to learn that the coach had just left. I got another horse, and rode as hard as the roads would allow to Hartley, only to find the coach just left again. There I was with the second horse knocked up. I got a "third" nag, and galloped on to Bathurst, arriving there at 20 minutes past 7 o'clock. on the night of our first performance, and one of the first things that caught my eye was the handbills announcing "that in consequence of Mr. Rainford missing the train" the opening performance was postponed until the following night. But the performance went on, and there was a crowded house. We gave the burlesque of "The Bohemian Girl," and I played the Count, and a sorer Count you never "saw" in your life, I can tell you. I was as glad when the performance was over as the boys were to see me.

"During our stay in Bathurst I was present at the trial of young Dunn, the bushranger, who was found guilty, and afterwards hanged. After we came back to Sydney we took Lee Braham on instead of Stewart, who left us; and Linley Norman took the place of Steel, pianist. Wash Norton was the next to go, and in his place we took Tommy Peel, so the original company gradually broke up. Melvyn and I, the originators, stuck together, and formed a burlesque, glee, and madrigal company. Melvyn afterwards settled in Hobart, and I took to English opera as prlmo basso under engagement to Mr. W. S. Lyster, for whom I played for several years; afterwards joining Alice May's English opera company."

Mr. Rainford has appeared in very many operatic characters besides those he has mentioned, one of his latest being Dick Deadeye in "Pinafore." His voice retains much of its power and quality. He has in his rooms, in the Strand Arcade, Sydney, a large number of portraits of the characters he has sung in, besides a fine group showing the first Christy Minstrel company that he and Melvyn brought to Australia. He frequently sings now at concerts for religious and charitable purposes, and is full of anecdotes and reminiscences.

"SERIOUS ILLNESS OF MR. RAINFORD", Singleton Argus (7 July 1903), 3

"DEATHS", The Sydney Morning Herald (10 November 1906), 12

RAINFORD. - November 9, at his residence, Dareen, 204 Glebe Point-road, Glebe Point, Tom H. Rainford, aged 75 years.

"THE LATE TOM RAINFORD", The Sydney Morning Herald (19 November 1906), 3

For six years Mr. Rainford was principal basso with Lyster's famous opera companies, appearing in 15 different operas. His repertoire ranged from Mephisto, Count Arnheim, Don Jose ("Maritana"), and parts in "La Sonnambula", "Daughter of the Regiment", "Der Freischutz", "Martha" and "Satanella", to the lightest opera bouffes by Offenbach and others, one of his famous characters being General Boom in "The Grand Duchess". Besides singing in the "Elijah" with the Melbourne Philharmonic Society in 1870, Mr. Rainford toured for six months with Mme. Arabella Goddard in 1874, with Mme. Christian in 1875, and Mme. Ilma de Murska in 1876 - a record which shows that his talents were freely recognised in what may be termed classic circles. The late Tom Rainford lived to such a ripe old age (75 years) that the various accounts of his career dealt chiefly with the latter part of it, prominence being given to the connection of the basso with the original Christy Minstrels in London, and with various comic opera companies in Australia. Miss Eva Rainford, who attended her father to the last, reminds us that he was an accomplished musician and "theorist", who could score for full band from a pianoforte setting. In his earlier years the basso appeared five times before Queen Victoria, and, arriving in Australia in 1863 he sang at the concert to the Duke of Edinburgh in 1868, and at Calcutta before the present King during his visit to India as Prince of Wales in 1870.

"Our London Letter", Advocate (5 April 1913), 14 

Musical works and related prints:

Beneath the Southern Cross (patriotic song; words by E. Mullarkey; music by Thos. H. Rainford ("Sung by Mr. Warwick Gainor with great success") (Sydney: Troedel, [1888]) 

Christmas bells by Thos. H. Rainford, in Violet's musical album (Sydney: H. J. Samuell, 1894) 

As sung by Rainford:

Oh! boyhood's days ("words by Frank Younge; music by George Loder; As sung by T. H. Rainford" (Melbourne: W. H. Glen & Co., [1877]) 

Ring the bell watchman ("composed by H.C. Work; Sung by T. Rainford of Weston & Hussey's Minstrels") (Melbourne: W. H. Glen, [? 1870s]) 

Sons of new Britannia ("Australian patriotic song; words by W. T. Goodge; music by Nicholas J. Gehde (Sydney: Nicholson & Co., [1899]) 


Actor, vocalist

Born England, c. 1819
Married Joseph RAINSFORD (1812-1887), St. Mary's, Lambeth, 12 December 1835
Arrived Adelaide, SA, 16 October 1837 (per Katherine Stewart Forbes, from London, 26 June)
Died Adelaide, 4 May 1876, aged 57, a colonist of 39 years (TROVE tagged by Australharmony) (shareable link to this entry)


Marriages solemnized in the parish of St. Mary Lamberth in the county of Surrey in the year 1835; register, 1831-35, page 294; London Metropolitan Archives (PAYWALL)

No. 882 / Joseph Rainsford of this parish bachelor and Jane Brown of this parish spinster a minor were married in this church by banss this twelfth day of December [1835] . . .

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

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

ASSOCIATIONS: Charles Fawcett Bonnar (actor); Philip Lee (musician); Mr. Elphinstone (vocalist)

[Advertisement], South Australian Gazette and Colonial Register (16 June 1838), 1 

Stage and Acting Manager, Mr. EASTHER.
Leader of the Orchestra, Mr. PORTBURY . . .
On Monday next will be performed, for the first time in this Colony, an admired Domestic Drama entitled
WORDOCK KENNILSON . . . Farmer Lister, Mr. Rainsford . . . Alice, Mrs. Rainsford . . .
Comic Song - Mr. Bailes. Favorite Song - Mrs. Rainsford. Song - Mr. W. H. Deane . . .

ASSOCIATIONS: Benjamin Portbury (musician)

"ORIGINAL CORRESPONDENTS", South Australian Record (12 December 1838), 2 

[Advertisement], Adelaide Chronicle and South Australian Advertiser (24 March 1840), 2 

VICTORIA THEATRE. For the Benefit of Mrs. Cameron . . .
TOMORROW EVENING (Wednesday) . . . 25th MARCH, 1840,
Will be produced, with New Music, Scenery, Dresses, Decorations, Machinery, &c., the celebrated Musical Play taken from Sir Walter Scott's Novel of the same name, called
GUY MANNERING; Or, The Gipsy's Prophecy . . .
Baillie Mucklethrift - Mr. Rainsford . . .
Julia Mannering - Mrs. Rainsford . . .
In the course of the piece the following Glees, Songs, Choruses, &c.:-
Glee - The winds whistle cold, Mrs. Mansfield, Mr. Gates, Mrs. Rainsford, and amateurs . . .
Finale to Act I. - The Fox jumped over the Parson's gate, Mrs. Mansfield, MRs. Rainsford, Mr. Buckingham, and amateurs. Act II . . . Song - Mrs. Rainford. Gipsy Glee and Chorus - The Chough and Crow to roost are gone, Mrs. Rainsford, Mrs. Mansfield, Mr. Gates, and amateurs . . .

ASSOCIATIONS: Cordelia and Samson Cameron (actors, manager); Mr. Gates (actor, vocalist); George Buckingham (actor, vocalist); Mrs. Mansfield (actor, vocalist)

MUSIC: The winds whistle cold (glee), The Fox jumped over the Parson's gate (glee), song (perhaps Sir Guy was a bold and hardy knight, or else an insertion song), and The chough and crow (Bishop, from Guy Mannering)

[Advertisement], South Australian Register (2 January 1841), 2 

THE Gentry and Public of Adelaide and its vicinity are most respectfully informed that the above elegant Theatre being now completed will open for the season, ON MONDAY, JANUARY 11, 1841, Under the exclusive Direction of Mr. Lazar (late Manager of the Victoria, and Theatre Royal, Sydney) . . .
The Company will consist of . . . Mrs. Rainsford . . . Leader of the Orchestra - Mr. Bennett . . .

ASSOCIATIONS: John Lazar (manager); George Bennett (musician)

"DEATHS", Evening Journal (4 May 1876), 2 

RAINSFORD. - On the 4th May, at Supreme Court, King William-street, Jane, the beloved wife of Joseph Rainsford, aged 57 years. A colonist of 39 years.


Precentor, singing leader

Active Melbourne, VIC, 1858 (shareable link to this entry)



On Tuesday evening last a congregational soiree was held in this church. The Pastor, the Rev. A. M. Ramsay, occupied the chair. The Hon. Charles Vaughan, J. P., John Dinwoodie, Esq., J. P., and other gentlemen, together with the Rev. Messrs. Taylor, Hamilton, Fletcher, Odell, Sunderland, McNicol, Mirams, and Young, were present . . . During the evening, Mr. Ramage, who until lately has very kindly given his gratuitous services as Precentor, was presented with a handsome mahogany writing-desk and a bible . . .

ASSOCIATIONS: Andrew Mitchell Ramsay (Presbyterian minister); Charles Vaughan (musical amateur)


Amateur vocalist, hairdresser, sawyer, convict (convicted of theft of musical instruments)

Born London, England, c. 1808
Arrived Sydney, NSW, 1828 (convict per Florentia, from England, 14 August 1827)
Married Esther SKELTON (c. 1820-1889), Oakville, Whittingham, Wollombi, NSW, 1840
Died Maitland, NSW, 18 August 1875, aged "68" (TROVE tagged by Australharmony) (shareable link to this entry)

RANDALL, Frederick (Frederick RANDALL)

Musician, flute and piccolo player (teacher of John Amadio)

Born Maitland, NSW, 1860; son of Charles RANDALL and Esther SKELTON
Married Sophia SUTTON (1863-1937), Sydney, NSW, 1882
Died Camperdown, NSW, 7 July 1939 (TROVE tagged by Australharmony) (shareable link to this entry)

Charles Randall, c. 1875

Charles Randall, c. 1875, shortly before his death, but after the saw accident in which he lost his hand (Taylor 2015, 127)


"WORSHIP-STREET", Public Ledger and Daily Advertiser (1 March 1827), 4 (PAYWALL)

S. Smith was charged with haying robbed Charles Randall, hair-dresser, in Hoxton, on Friday night, in the Curtain-road, of a watch (the particulars of which we gave on Monday). It since appeared that Randall told Hanley and Eagle, the officers, that he received a letter, threatening personal violence, if he attempted to prosecute Smith. Randall's father stated, that he strongly suspected his son was a villain; that he did not believe the robbery ever took place, and with respect to the threatening letter, was satisfied that it was his son who wrote it himself. The prosecutor not appearing. Smith was of course discharged.


Charles Randall was brought before Mr. BROUGHTON, charged with robbing his employer, Mr. Solomon Joseph, of No. 17, King-street, Tower-hill, a barber and musician. Mr. Joseph stated that the prisoner had been in his employment, only two weeks, and on that morning he left the prioner in care of his shop, and went to his private house in East Smithfield, for the purpose of celebrating the Jewish Sabbath. On his return, a little after 11 o'clock, he found the shop nearly filled with customers, and that the prisoner had decamped, taking with him three violins, a case, two bows, two music books, two valuable tortoiseshell combs, and a gentleman's dress wig.
Mr. BROUGHTON - I thought you stated yourself to be a barber. How came you to have so many violins?
Mr. Joseph - l am a barber and a dealer in music.
Richard Manning, an officer of Shoreditch, said he took the prisoner into custody, and on searching him he found a sovereign and a half in gold, and 11 1/2 d. in copper, and in his hat he had a wig and two combs.
Mr. Joseph identified the wig and combs as his property, and begged time, for the purpose of looking after the fiddles. The Magistrate granted the request, and remanded the prisoner.

"GUILDHALL", Public Ledger and Daily Advertiser (28 May 1827), 4 (PAYWALL)

Charles Randall, a journeyman barber, was charged with robbing his employer, Mr. Joseph, barber and musician, No. 17, King-street, Tower-hill. It appeared, that Mr. Joseph, on Saturday morning, the 19th inst. went to his private house, in East Smithfield, leaving the prisoner in care his shop, during the period he was engaged in celebrating the Sabbath. On his return, found his shop filled with customers, and that the prisoner had decamped, taking with him three violins, two bows, two flutes, two music books, two tortoiseshell combs, and a dress wig. Thomas Jameson, publican, Finsbury, deposed, that having heard of the robbery, he told the prisoner of it, on his calling at his house. The officer who apprehended the prisoner found part of the property on his person. Before was removed from the bar, Hanly and Eagles, two officers, recognised him, and they related a circumstance which occurred this Office a few months ago, in which the prisoner took a conspicious part. It appeared, that about that time he went to the officer, and said had been the night before, in the Curtain-road, near the turnpike-gate, he was knocked down, and robbed of his watch by a person y'clept Young Dutch, and p[r]oduced part of the chain, which the robber left on the road; Young Dutch was taken, and at his examination the prisoner (then prosecutor) positively persi[s]ted as to the facts. Upon the second examination, he told Mr. Bennett that did not know what to do, as the party which Young Dutch belonged had written him a threatening letter, which he produced, and was in effect -
"if you are the chap that means to prosecute Young Dutch, I am the chap that will rip up your b----y guts for it, so you had better let him go again.
The father of Randall appeared on that occasion, and, with tears in his eyes, after acknowledging the villainy of his son, said, that the watch which he swore Young Dutch had robbed him of was then at home, and that the threatening letter was written by him. The Magistrate ordered pen, ink, and paper, and, after he wrote his name, it completely corresponded with the threatening letter, and corroborated his father's statement. Young Dutch was discharged, and the Magistrate observed, that it would only waste of time offer any thing the shape of admonition or rebuke to so bardened a villain.

Proceedings of the Old Bailey, 31 May 1827; Old Bailey online (DIGITISED)

1059. CHARLES RANDALL was indicted for stealing, on the 19th of May, at St. Botolph without, Aldgate, 1 violin case, value 3s.; 3 violins and bows, value 4l. 10s.; 2 flutes, value 10s.; 2 music-books, value 3s.; 2 combs, value 25s., and 1 wig, value 20s., the goods of Solomon Josephs , in his dwelling-house . . .
GUILTY - DEATH. Aged 19. Recommended to mercy by the Prosecutor.

"ST. JOHN'S TOTAL ABSTINENCE SOCIETY", The Maitland Mercury and Hunter River General Advertiser (8 July 1843), 2 

On Monday last the members of the above society, and their friends, to the number of about 450, sat down to tea in a large store in the rear of the building known as Russell's butcher's shop, West Maitland . . . A band was in attendance, which during the night played many appropriate airs. When tea was over the Rev. Mr. Lynch, the president of the society, was called to the chair . . . Several excellent songs were sung by Messrs. C. Randall, Connor, Stapylton, Dr. Harrington, and Miss McMahon. The meeting was conducted throughout in the most orderly and harmonious manner, and did not break up until nearly two o'clock in the morning . . .

ASSOCIATIONS: John Thomas Lynch (d. 1884, Catholic priest)

"DEATH", The Maitland Mercury and Hunter River General Advertiser (21 August 1875), 1 

On the 18th inst., Mr. Charles Randall, aged 68 years, after a painful illness, 50 years a resident of Maitland, and highly respected.

"First-class Concert", Nepean Times (30 March 1895), 3 

. . . Professor Randall, of Her Majesty's Theatre was to have played a flute solo, but owing to a family bereavement, could not be present. His place, however, was taken by Misses Furness (2), relatives, who gave a Spanish waltz with great precision and effect, and in response to an encore, the younger one danced the Highland fling perfectly, to the great delight of the audience. She was loudly applauded.

"NEWTOWN CONGREGATIONAL CHURCH", The Sydney Morning Herald (5 November 1897), 5 

"MUSICIANS AT HOME", Evening News (13 June 1899), 7 

A duet for flutes (Messrs. Randall and Amadio) . . .

"SOCIAL ITEMS", Evening News (19 January 1900), 8

. . . fantasia, "Pastorale Hongroise," for flute, by Doppler, was beautifully played by Mr. F. Randall. Messrs. Allpress and Gehde shared the duties of accompanists . . .

"PROFESSIONAL MUSICIANS' SMOKE", Evening News (10 September 1900), 8 

"Deaths . . . CHARLES RANDALL", Nepean Times [Penrith, NSW] (10 June 1911), 3 

Frederick Randall (with flute, seated, front row, second from left) with the Melba Opera Company orchestra

Frederick Randall (with flute, seated, front row, second from left) with the Melba Opera Company orchestra, ? c. 1902 (Taylor 2015, 135)

Bibliography and resources:

Louise Westall Taylor, Recovering lives: 15 convicts in New South Wales (Ph.D thesis, Australian National University, 2015), 103-51, especially 129-33 (DIGITISED)

NOTE: Taylor (129-30) refers to the tenor singer "Mr. Randall", who appeared in musical programs in Maitland in 1873-74, assuming it was Charles; however, this Randall was described as from Newcastle when he sang at an Orange lodge event 1873

RANDALL, John (John RANDALL; REYNOLDS; "Black Randall")

Musician, flute and drum player, member of the "choir" (Parramatta church), bandsman (Band of the New South Wales Corps)

Born New Haven, Connecticut, north America, c. 1864
Arrived Sydney, NSW, 26 January 1788 (convict per Alexander, aged "24", from Portsmouth 13 May 1787, via Botany Bay, 21 January)
Married (1) Esther HARWOOD (d. 1789), Sydney, NSW, 21 February 1788
Married (2) Mary BUTLER (d. 1802), Parramatta, NSW, 5 September 1790
? Died Parramatta, NSW, December 1837 (shareable link to this entry)

ASSOCIATIONS: Band of the New South Wales Corps

Summary (after Statham and Fairall):

Randall was an African-American, from New Haven, Connecticut, born about 1764. He was convicted in Manchester, England, on 14 April 1785 for stealing a steel watch chain and sentenced to seven years transportation. He was sent to the Hulk Ceres early in 1786 and transferred to the convict transport Alexander on 6 January 1787. His name was recorded as Reynolds when mustered aboard, though he was arrested and tried as Randall. He enlisted in the NSW Corps at Sydney on 17 November 1800 and was discharged on 24 April 1810. He was accordingly serving in the Corps at the time of the convict insurrection at Vinegar Hill (5 March 1804) and the Rum Rebellion, 26 January 1808.

According to Statham and Fairall, he received an allowance for playing in the corps band for at least a year (1806). Jordan, however, found no documentation certianly linking him with the band.

In his memoir, Joseph Holt recalled he was a tall and "well-made fellow" and "a good musician on the flute and tambourine". Holt purchased Randall's farm in November 1800, at a discounted price on consideration of he (Holt) having petitioned colonel William Paterson to grant Randall membership of "the choir", presumably the paid group, mainly from the NSW Corps band, who sang and played at Parramatta church, and also at Toongabbie around this time (see Jordan 2012, 194).

This being the same month that Randall enlisted in the NSW Corps, he was evidently successful, and this suggests that he was very probably also active as a bandsman from this time.

He married fellow convict Esther Harwood (d. 1789) on 21 February 1788, the first marriage in the colony. He then married recently arrived Irish convict Mary Butler on 5 September 1790.

John Randall last appeared in the 1814 muster as a landholder, aged 50.


Statement of the periods of service of all the . . . privates of the New South Wales Regiment [to 24 June 1806]; Australian Joint Copying Project, from Records of the UK War Office (DIGITISED)

[Private] / Randall / John / [date of enlistment] 17 Nov. 1800 / [to] 24 June 1806 / [years] 5 / [days] 220 . . .

Bibliography and resources:

T. Crofton Croker (ed.), Memoirs of Joseph Holt, general of the Irish rebels, in 1798, edited from his original manuscript . . . vol. 2 (London: Henry Colburn, 1838), 142-44 (DIGITISED)

1801 [recte, 1800] November . . . While we were in conversation, a black man, named John Randall, passed by the window. Mr. Cox asked me who he was, and said, "Go and learn what he wants." Randall told me that he wished to dispose of his farm, and would sell it cheap, if I would promise to get him into the choir [sic, i.e. corps choir]. I told him I was busy at the moment, but would talk to him about the matter next day. This man had been sportsman to Governor Grose. His farm was about a mile and three quarters from Mr. Cox's estate; and I recommended Mr. Cox to purchase it. Mr. Cox looked at me for some time, as if hesitating, but at length, to my surprise, he said, "Holt, if you [143] like the farm, why not buy it for yourself? I am sure I can get him into the choir [sic, corps], and it is time you should be doing something for yourself and your own family" . . . The next day Randall came, and I went with him to view the farm; it was very well circumstanced, and convenient for me, being so near Mr. Cox's estate, and, as I hoped to continue with that gentleman, I considered it very eligible. I asked the price; Randall said £60, and to engage to get him into the choir [corps]. I told him that was more than I could do at present; but I would give him forty pounds if I could get him into the choir [corps], and fifty if I could not do it; and if he came with me he should have my letter to Colonel Paterson. This black was a well-made fellow, about six feet high, and a good musician on the flute and tambourine. I wrote to Colonel Paterson in as polite a manner as I was able, and sent it by Blackee. The Colonel returned me a very civil answer, to the effect that he would do what he could to accomplish my wishes, and would, if fit, take him into the choir [corps], on my recommendation. We then went to Mr. Cox, and he gave directions to have the deed of conveyance prepared against ten o'clock the next day. It was made out to my wife, Hester Holt, and her heirs; for although I had no indent against me, there might, nevertheless, be a legal question raised hereafter, about my capability to purchase. The deed was dated the 10th November, in the forty-first year of the reign of His Majesty King George the Third [i.e. 1800], the money paid down, and the writing witnessed by William Cox, Rebecca Cox, and James King. This conveyance I have now in my possession at Dunleary . . .

ASSOCIATIONS: Joseph Holt (political prisoner, farmer); William Cox (landowner); William Paterson (lieutenant colonel, NSW Corps)

Peter O'Shaughnessy (ed.), A rum story: the adventures of Joseph Holt, thirteen years in New South Wales (1800-1812) (Kenthurst: Kangaroo Press, 1988), 66-67

. . . This black played the flute and tambour. He was about six feet high, well made and straight . . .

Pamela Statham (ed.), A colonial regiment: new sources relating to the New South Wales Corps 1789-1810 ([Canberra]: P. Statham, 1992)

Ray Fairall, The Afro-Australians: the Randall/Martin families and the First Fleet, Sydney 1788, a work in progress (revised 25 October 2008)

B. and M. Chapman, "Private John Randall (Reynolds) (c.1764-1817)", Australia's red coat regiments (archived at Pandora) 

Robert Jordan, "Music and the military in New South Wales, 1788-1809", Journal of Australian colonial history 17 (July 2015), (1-22), 9;dn=428841963923204;res=IELHSS (PAYWALL)

See also Robert Jordan, "Music and civil society in New South Wales, 1788-1809", Journal of the Royal Australian Historical Society 98/2 (December 2012), (193-210), 194;dn=060857840144157;res=IELHSS (PAYWALL)

"John Randall", Australian royalty 

John Randall, Find a grave 

RANDALL, William (William RANDALL)

Amateur musician, violinist, organist, organ-builder

Born Idlicote, Warwickshire, England, 9 December 1820; baptised Idlicote, 10 December 1820; son of William RANDALL (1787-1844) and Elizabeth LATHAM (1794-1821)
Married Anne Girling WICKES (1820-1864), Thrapston Meeting House, Northamptonshire, England, 20 September 1844
Arrived SA, 19 December 1846 (per Duke of Richmond, from London via Plymouth)
Died Adelaide, SA, 4 January 1898 (TROVE tagged by Australharmony) (shareable link to this entry)


"SHIPPING INTELLIGENCE. ARRIVED", Adelaide Observer (26 December 1846), 3 

Saturday, December 19. - The barque Duke of Richmond, 450 tons, T. Barclay, master, from London and Plymouth. Passengers . . . Wm. Randall, Esq., and lady . . . in the cabin . . . In the steerage . . . Mr. Randall's servant.

[Advertisement], South Australian Gazette and Colonial Register (21 August 1847), 1 

A Concert of Sacred Music will be given, by the Adelaide Choral Society, for the above purpose, at the Large Room of the Freemasons Tavern (kindly granted by Mr. Robinson for the occasion), on Tuesday evening, the 24th instant.
Leader - Mr. Bennett; Organ (kindly lent by W. Randall, Esq,) - Mrs. Murray . . .

"Local News", South Australian (27 August 1847), 3 

. . . The pieces were chiefly selected from the Messiah, with the addition of some of Haydn's, Mozart's. Pergolese's [sic, Pergolesi], and Beethoven's . . . The organ, kindly lent by Mr. Randal, was well played by Mrs. Murray, who also sang, with her usual good taste and lady-like style, some beautiful solos . . .

ASSOCIATIONS: George Bennett (musician); Georgiana Murray (organist, pianist, vocalist); Adelaide Choral Society

[Advertisement], South Australian Register (29 September 1847), 2 

FOR SALE - A SWEET TONED ORGAN, with five stops, and well adapted for a small church, a chapel, or a drawing room,. Apply to WILLIAM RANDALL, Rundle street, or at Woodside Cottage, near Kensington.

"A GOOD OLD COLONIST. THE LATE MR. W. RANDALL", South Australian Register (4 January 1898), 5 

We announce to-day the death of Mr. William Randall, an old and highly esteemed resident of Adelaide. The deceased gentleman was born on December 9, 1821 [recte 1820], and belonged to an old county family. In his early youth he was fond of field sports, and was an excellent shot and hunted regularly. Not being of robust health he was ordered abroad, and at first proposed to move to the south of France, but with his only brother, the late Mr. David Randall, he finally decided to emigrate to the new colony of South Australia. In December, 1846, he arrived in the ship Duke of Richmond, after a six months' voyage . . . He took up his residence with his brother David, who had preceded him by about twelve months, in the house erected for the Manager of the South Australian Land Company, Mr. Giles, in Rundle-street, not far from where the York Hotel at present stands . . . He is one of the few remaining specimens of the fine old English gentleman who are fast dying out. We are all sorry that he is going from us, but his kind face, gentle words, and unostentatious charity will live long in the memories of all classes of the community. Mr. Randall was an earnest member of the Church of England, and used to ride regularly twelve miles on Sundays to hold service at Yankalilla, and home again. He had musical tastes and in his youth played both violin and organ with ability. Almost the first if not the first pipe organ imported into the colony was one which he dismantled in the old English home and brought out with him . . .

Other sources:

Papers relating to the family of William Randall; State Library of South Australia 

NOTE: Should read Idlicote, Warwickshire (not Devon)

Bibliography and resources:

George E. Loyau, Notable South Australians; or, Colonists past and present (Adelaide: G. E. Loyau, 1885), 207-08 (DIGITISED)

BORN at Idlicot, Warwickshire, December 9, 1820. Emigrated from the county of Northampton to South Australia in 1846, and arrived here in December of that year by the "Duke of Richmond." In conjunction with his "brother, Mr. David Randall, who had reached this colony in 1845, he brought capital with a view to investment . . .

RANGER, Sampson (Sampson RANGER)

Amateur clarinet / clarionet player, composer, bricklayer, grazier

Born Beckley, Sussex, England, c. 1820; son of James RANGER (1798-1853) and Hannah MILLER (1797-1883)
Arrived Sydney, NSW, 16 January 1839 (assisted immigrant per Alfred, from Plymouth, 16 September 1838)
Married Hannah MURRAY (1826-1907), Goulburn, NSW, 1845
Died Collector, NSW, 19 November 1887, aged "67" (TROVE tagged by Australharmony) (shareable link to this entry)


[Notice], New South Wales Government Gazette (23 January 1888), 633 

. . . In the will of Sampson Ranger, late of Collector, in the Colony of New South Wales, farmer, deceased . . . who died on the 19th day of November, 1887 . . .

"C. OF ENGLAND DIOCESAN MUSEUM. HISTORICAL COLLECTION", Goulburn Evening Penny Post (4 September 1936), 4 

The nucleus of a valuable and interesting museum is now housed in the vestibule of the Church House, Goulburn . . . A clarinet, the first musical instrument used in church services in Goulburn a hundred years ago, is the gift of Mr. S. Ranger . . .

"MR. ALBERT RANGER", Goulburn Evening Penny Post (1 August 1938), 7 

Ransome T. Wyatt, History of the Diocese of Goulburn (Goulburn: Diocese of Goulburn, 1937), 122, 132

Ransome T. Wyatt, The history of Goulburn, N.S.W (Goulburn: Municipality of Goulburn, 1941), 122, 426 

. . . The first musical instrument ever used at a church service in Goulburn was a clarinet and is still in existence. It was brought to Australia by S. Ranger who in 1839 used it to accompany an anthem of his own composition. Afterwards it was used in the Anglican Church at Collector and later still in the Methodist Church. Then it was given to the diocesan museum by A. Ranger, of Goulburn, grandson of S. Ranger.

Bibliograhy and resources:

Sampson Ranger, Find a grave

RANGONI, Antonio (Antonio RANGONI; Signor RANGONI)

Musician, cornet player, trombone player

Active Melbourne, VIC, by June 1854
Active Beechworth, VIC, 1855-57 (TROVE tagged by Australharmony) (shareable link to this entry)


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

ROWE'S CIRCUS. Concert Extraordinary.
A Band of Italian Musicians, whose talent was unsurpassed in their native country, having recently arrived in this colony, will have the honor of making their first appearance in Melbourne, and giving a grand Concert at Rowe's Circus, on Saturday evening, June 10th, 1854.
Having made arrangements with with Caverly Volunteer Fire Company to appear with it on all public occasions, the Band has received permission to take its name and wear its uniform.
The Band will therefore be known as the Caverly Volunteer Band.
It consists of A. Rangoni, Manager, Cornet-a-pistons; Angelo Lagomarsino, Basso; Francesco Volpi, Clarinetto; Giacinto Gagliardi, Flauto; Giovanni Abba, Trombone; Allessandro Belloni, Basso; and Giovanni Grenno, Casa. Herr Ellerner [sic, Elsasser] will preside at the piano . . .

ASSOCIATIONS: Joseph Andrew Rowe (proprietor); Angelo Lagomarsino (musician); Francesco Volpi (musician); Giacinto Gagliardi (musician); Alessandro Bellomi (musician); Giovanni Grenno (musician); Charles Elsasser (piano)

[Advertisement], Ovens and Murray Advertiser (26 May 1855), 6

MUSIC SALOON, El Dorado Hotel, High-street, Beechworth.
Grand Concert Of Vocal and Instrumental Music, under the patronage of R. O'H. BURKE, ESQ., J.P., And the Stewards of the Races.
On Monday, May 28th, 1855, For the benefit of Messrs. Peck and Saqui.
THE following professionals and amaters have kindly offered their valuable services, and will during the evening sing and perform a choice collection of the most popular Overtures, Solos, Duets, Chorusses, Fantasias, &c., &c.:
Signor Rangoni, Mr. Johnson, Mr. Ellar, Mr. Small, Mr. Geo. Smith,
Mr. Peter Bruce, Mr. Hewitt, Mr. Hurley, Herr Schmidt,
In addition to Messrs. Peck and Saqui.
The best arrangements will he made for the comfort of ladies and families visiting this Concert, by a Committee of Management.
Mr. Ellar will sing Beethoven's magnificent solo, "Adelaide," acknowledged to be the most superb vocal composition in existence.
Messrs. Peck and Saqui will perform a brilliant duet, for violin and piano, variations on the favourite opera, Le Pre Aux Clercs, by De Beriot and Osborne.
Mr. Peter Bruce will perform a grand Invocation of Scottish National Music, on the Scotch Pipes, in full Highland costume, as played before the Duke of Buccleuch and the whole court of Queen Victoria, in Scotland.
Mr. Peck will perform Paganini's celebrated Burlesque Variations on the Carnival of Yenice.
Also his own favourite fantasia on popular airs, introducing "Auld Robin Gray," "Comin thro' the Rye," "Sally in our Alley," and "When the Swallows."
Mr. Saqui will play a solo on the piano, introducing the imitation of a musical box, and sing some of his admired songs.
Leader and Solo Violin, Mr. Peck.
Flute, Mr. Johnson; Cornet a-Piston, Herr Schmidt; Second Violin, Mr. Hurley;
Basso, Mr. Thompson; Trombone, Signor Rangoni.
Mr. Saqui will preside at the piano-forte . . .

ASSOCIATIONS: Robert O'Hara Burke (citizen); George Peck (violin); Austin Saqui (piano); Julius Henry Ellar (vocalist); Peter Bruce (bagpipes)

"POLICE COURT. Thursday, February 19 . . . SLY GROG CASE", Ovens and Murray Advertiser (20 February 1857), 2 

Antonio Rangoni was brought up on warrant charged with selling spiritous liquors without a licence at the Yackandandah . . .

[Advertisement], Ovens and Murray Advertiser (16 March 1857), 3

IN aid of the Funds for Building a Presbytery and Catholic Church in Beechworth, to be held in
Conductor - Mr. Hurley
Leader - Mr. Osborne
Violin Primo - Mr. Osborne
Violin Secundo - Herr Weichmann
Violin Secundo - Herr Carll
Harp - M. Zeplin
Pianoforte - M. Carrie
Contra Basso - Herr Esther
Picolo Solo - Mr. Hurley
Clarionet - Mr. Fowriere
Cornet a piston - Mr. Barlow
Trombone - Sig. Rangoni . . .

ASSOCIATIONS: J. P. Hurley (conductor, piccolo); Ferdinand Osborne (musician); Heinrick Weichmann (musician); Carl Esther (musician); George Frederick Zeplin (musician); John Barlow (musician)

RAPER, Jane (Jane RAPER; Miss RAPER; Miss Jane RAPER)

Contralto vocalist, teacher of piano and singing (pupil of Eliza Wallace Bushelle)

Born Sydney, NSW, 1843; daughter of Edward RAPER (c. 1806-1882) and Jane FEENY (1806-1881)
Active Sydney, NSW, by 1867
Died Sydney, NSW, 25 March 1916 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Sydney Morning Herald (22 August 1865), 1 

NEW SOUTH WALES LEICHHARDT SEARCH FUND. - A CONCERT . . . German Song - The Exile, Keller, Miss Raper (pupil of Madame E. Wallace Bushelle) . . .

ASSOCIATIONS: Eliza Wallace Bushelle (vocalist, teacher)

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

. . . Miss Raper made her first appearance in public since her return from England, and sang with great taste a cavatina from "La Donna Carlton," for which she was encored, and gave one of her favourite Irish ballads. She also sang in the second part a solo from "The Prophet," and received much applause . . .

"Music and the Drama", Australian Town and Country Journal (21 September 1878), 26 

We perceive from American papers that Miss Raper, formerly well known in Sydney as a successful teacher of the pianoforte and singing, has been giving concerts in Western America. A farewell concert was given by her in Denvers City, Colorado, in May last, which was largely attended, and the programme of which comprised some choice pieces. Miss Raper's singing was spoken of by the Denver press in terms of strong eulogy. We understand that Miss Raper is now in London, en route to Sydney, so her numerous friends in this city may anticipate having the pleasure of hearing her soon.

"MUSIC AND DRAMA", The Sydney Morning Herald (22 April 1916), 8 

The veteran contralto and teacher, Mrs. Kingsmill-Shaw, writes, in regard to the recent death of Miss Jane Raper, stating that well-known singer especially desired before she passed away that her career should be referred to in the "Sydney Morning Herald." It seems that Miss Raper was trained by Mrs. Bushelle (possibly the Mrs. Wallace Bushelle, who was a sister of Vincent Wallace, the composer, sang the role of Maritana in London, and returning to Sydney taught here for many years until her death). Miss Raper was a cultivated contralto singer, who appeared in public here a great deal some 35 or 40 years ago, and then became highly esteemed as a teacher. For many years she resided in Rosebank-street, Darlinghurst, and was a great friend of Mrs. Boesen, a prominent patron of musical affairs both at that epoch and later.

ASSOCIATIONS: Theresa Meillon Boesen (pianist); Clara Helen Kingsmill-Shaw (pianist)

Bibliography and resources:

"Edward Raper", Sydney's Aldermen 

RAUFER, Mary Ann Sarah (Mary Ann Sarah RAUFER)

Soprano vocalist, blind pupil

Born London, England, 1853
Died VIC, 1941 (shareable link to this entry)



"CONCERT IN AID OF THE BLIND ASYLUM", The Argus (19 September 1872), 6


Miss Raufer, a blind pupil, who possesses a very fine and cultivated voice, rendered "The Captive Greek Girl," and being encored gave "Smiles and Tears."

"CONCERT BY THE BLIND", Riverine Herald (2 November 1876), 3

"BLIND ASSYLUM CONCERT", The Argus (4 July 1879), 7

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

Bibliography and resources:

Judith Raphael Buckrich, Lighthouse on the boulevard: a history of the Royal Victorian Institute for the Blind 1866-2004 (Melbourne: Australian Scholarly Publishing, 2004)

RAVAC, Leopold (RAWACK, Leopold) = Leopold RAWACK
RAWACK, Amalia (Amalia MAUTHNER) = Amalia RAWACK

RAY, Edgar (Edgar RAY; Edgar LYON; Edgar Lyon RAY)

Tenor vocalist, magazine editor, journalist, publisher and printer, musical and theatrical agent

Born Bristol, England, 24 April 1828; baptised, St. Pancras Old Church, 27 February 1845 [sic]; son of Edward Adam RAY (1766-1853) and Eliza WELLER (c. 1793-1884)
Arrived Melbourne, VIC, 25 November 1852 (per Lady Eveline, from London, 29 June)
Married Charlotte Goodiff PITMAN (c. 1832-1907), St. Paul's church, Melbourne, VIC, 15 November 1853
Departed Melbourne, VIC, 7 October 1875 (per Nubia, for Venice, and England)
Died Kew, England, 23 August 1905 (TROVE tagged by Australharnony and others) (shareable link to this entry)


Family background and early years in England:

Edgar Ray's registered father, Edward Adam Ray was baptized in 1766 at St. Katherine By the Tower, London, and married his first wife Catherine Clarkson in 1788. For some time a London merchant, by 1803 Edward had become an actor and theatre manager. As recounted in Oxberry's dramatic biography (volume 7, 17-19), he:

evinced a strong predilection for every thing connected with the drama, and frequently indulged his favourite propensity, with some others of his friends, at a private theatre, till at length, unable to resist the ruling inclination of his mind, he relinquished the occupation of merchant, for which he was originally intended, and embraced the stage as a profession.

And famously, in 1810, his eldest daughter, Matilda Ray (c.1790-1842), already a successful and popular actor, married the musician and composer Charles Edward Horn.

According to his much belated baptism record of 1845, Edgar Ray was born on 24 April 1828, a son of Edward Adam Ray, then 62, and his soon to be second wife, Eliza Weller. Edward's first wife, Catherine Clarkson, was then still alive, but died a week later on 1 May 1828, allowing Eliza Weller, a "spinster", legally to marry the now widowed Edward at St. Pancras parish chapel, London, on 14 June 1828, almost 2 months after Edgar's birth. Eliza already had a much older daughter, Charlotte, and a slightly older son, William Charles Lyon (born c. 1826), whom Edgar later described as his "brother", perhaps suggesting that, if not a half brother, he was also an illegitimate son of Edward Ray.

On the night of the census of 6 June 1841, Edgar Ray, reportedly 12-year-old (he was 13), and William Lyon, aged 14, were boarding with their musical instructor, William Hawes (1785-1801), master of the choristers of the Chapel Royal and St. Paul's Cathedral, London.

On the night of the 1851 census, 30 March, Edgar Lyon [sic], then a solicitor's clerk, aged 21 [sic], was living in Hammersmith with his mother, now styled Eliza Lyon, a widow, suggesting that she had divorced Edgar's father, Edgar senior, who was then still alive, and married someone called Lyon, now deceased. Eliza's 35-year-old widowed daughter, Charlotte Mortimer (born c. 1816), was also living with them at the time.

The only clue as to the identity of Edgar's step father is in the death record of his brother William, which gives his father's name as Charles Lyon. It is of course possible that this Charles Lyon was indeed William's father; but also possible that he was likewise only a stepfather to William, whose name he prefered to take over that of his natural father, whoever that may have been.

Australia (1852-75):

Ray (spelt Rae in the manifest, aged "23") arrived in Melbourne, VIC, on the Lady Eveline from London on 25 November 1852, as secretary/manager and singing member of a musical party of four vocalists, the so-called City of London Glee and Madrigal Union, directed by his brother, William Lyon, and also including Mary Ellen and Edward Hancock.

Joined by another recent arrival from the London concerts, Harriet 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.

After early 1853, however, Ray largely seems to have turned his back on vocal performing more or less permanently, and his closest personal connection with the musical profession was severed with the death of his brother William Lyon in July.

He married Charlotte Pitman, at St. Paul's church, Melbourne, on 15 November 1853, and they had three children by 1860. Though they never permanently separated, and Charlotte outlived him, Ray later in England in the 1870s also had at least two children by a mistress, Elizabeth Wills.

By 1855, Ray was a publisher and printer of, among other titles, Melbourne Punch, and in the 1860s, of Sydney Punch. He occasionally appeared as an amateur in acting roles, as, for instance, in June 1856, for a charity benefit at Coppin's Olympic in which the cast also included Punch contributor Richard Hengist Horne.


England census, 6 June 1841; Middlesex, St. Martin in the Fields, Charing Cross, District 19, pages 6-7; UK National Archives, HO 107 / 739 / 6 (PAYWALL)

Adelaide Terrace / William Hawes / 55 / Musician . . .
Maria [Hawes] / 20 / Musician
John [Hawes] / 20 / Music seller . . .
George [Mulliner] / 12 / Singing Boy
[page 7] Marcellus Higgs / 14 / Singing Boy
William Lyon / 14 / [Singing Boy]
Theodore Genge / 13 / [Singing Boy]
George Woodhatch / 11 / [Singing Boy]
Edgar Ray / 12 / [Singing Boy]
William Rivett / 10 / [Singing Boy]
William Miller / 11 / [Singing Boy]
Henry Furrian / 10 / [Singing Boy]

ASSOCIATIONS: William Hawes (master of the choristers); William Charles Lyon (chorister, Edgar's elder "brother"); Henry Furrian (chorister)

England census, 30 March 1851, Hammersmith, Middlesex; UK National Archives, HO 107 / 1470 (PAYWALL)

Grove [Road] 8 Verulam Terrace / Eliza Lyon / Head / Widow / 58 / Annuitant / [born] Middlesexm Marylebone
Charlotte Mortimer / Dau'r / [Widow] / 35 /

Australia (1852-75):

[Advertisement], The Argus (4 December 1852), 1

Under the direction of Mr. WILLIAM C. LYON, professor of the Royal Academy of Music, and late Vicar Choral of St. Paul's Cathedral and Weetmlneter Abbey,
Beg to announce to the gentry and inhabitants of Melbourne, that their first grand concert will take place on Saturday, December 4th, 1852, on which occasion several of the finest glees, trios, duets, and songs, by the first authors, will be performed.
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,
assisted by Mrs. Fiddes, formerly Miss H. CAWSE.
Glee - O by the Rivers, Mrs. Hancock, Mrs. Fiddes, Mr. W. C. Lyon, Mr. Edgar Ray, and Mr. Hancock - Sir H. R. Bishop.
Duet - I would that My love, Mrs. Hancock and Mrs. Fiddes - Mendelssohn
Glee - The Gipsies' Laughing Trio, Mrs. Hancock, Mrs. Fiddes and Mr. Hancock - Glover
Song - My Boyhood's Home, Mr. E. Ray - Rooke
Glee - O who will o'er the Downs so free, Mrs. Hancock, Mrs. Fiddes, Mr. W. C. Lyon, Mr. E. Ray, and Mr. Hancock - Pearsall
Song - Why do I weep for thee, Mrs. Fiddes - Wallace
The Pirates' Chorus, Mrs. Hancock, Mrs. Fiddes, Mr. W. C. Lyon, Mr. E. Ray, and Mr. Hancock - Balfe
An Interval of Ten Minutes.
Glee - How merrily we live, Mrs. Hancock, Mrs. Fiddes, and Mr. Hancock - Michael Este
Song - Should she upbraid, Mrs. Hancock - Sir H. R. Bishop
A Christmas Madrigal, Mrs. Hancock, Mrs. Fiddes, Mr. W. C. Lyon, Mr. E. Ray, and Mr. Hancock - Dr Tom [Thomas Ions]
Song - Mr. W. C. Lyon
Duet - O, wert thou in the cauld blast, Mrs. Hancock, and Mrs. Fiddes - Mendelssohn
Glee - Sleep gentle lady, Mrs. Fiddes, Mr. W. C. Lyon, Mr. Edgar Ray, and Mr. Hancock - Sir H. R. Bishop
National Anthem.
Tickets, 5s each, to be had at the Institution, and Residence of the Secettary, 46, Russell-street.
EDGAR RAY, Secretary.

ASSOCIATIONS: Mary Ellen and Edward Hancock (vocalists); Harriet Cawse Fiddes (vocalist)

MUSIC: O by rivers [sic] (Bishop); My boyhood's home (Rooke); O who will o'er the Downs so free (Pearsall); How merrily we live (East); A Christmas madrigal (Ions); Sleep gentle lady (Bishop)

[Advertisement], The Argus (7 December 1852), 5 

BEG to acquaint the profession and inhabitants of Melbourne, that they are open to engagements for concerts.
For terms apply at thsir residence, 46 Russell-street.
N.B. - Mr. W. D. Lyon and Mrs. E Hancock, professors of the Royal Academy of Music London, give lessons in singing, pianoforte, and harmony.

[Advertisement], The Argus (17 December 1852), 7 

MECHANICS' INSTITUTION. THE GLEE and MADRIGAL UNION beg to announce to their patrons, the gentry, and inhabitants of Melbourne, that their second Grand Concert (and the first of a series of three) will take place on Tuesday, December 21st, 1852.
Reserved seats, 5s.; Unreserved, 3s.' Family reserved, admitting five, £1. Concert to commence at eight precisely.

[Advertisement], The Argus (21 December 1852), 8 

THE GLEE AND MADRIGAL UNION. Under the Direction of Mr William C. Lyon.
BEG to annouace to their Patrons, Gentry, and Inhabitants of Melbourne, that their Second, and the first of a series of Three Concerts, will lake place
Principa1 Performers - Mrs. Edward Hancock, Professor of the Royal Academy of Music;
Mrs. Harriet Fiddes, Mr. William C. Lyon, R A.M.; Mr. Edgar Ray, H.M.C.R.; and Mr. Edward Hancock, R.A.M.
Pianist: Mr. Buddee.
Programme -
Part I.
Glee - (five parts) Blow gentle Gales, Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, and Hancock - Bishop.
Duet - Giorno di orr ore, Mesdames Hancock and Fiddes - Rossini.
Song - Woman - Mr. Ray - Phillips
Glee - Ye spotted Snakes, Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, and Hancock - Stevens
Cavatina - O luce di quest anima, Mrs. Hancock - Donizetti
Duet - The sunny hours of Childhood, Mrs. Hancock and Mr. Ray - Roche
Glee - See the chariot at hard, Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, and Hancock.
Cavatina - Paga fui, Mrs. Fiddes
Madrigal - Down in a flow'ry vale, full chorus, Mesdames Hancock, and Fiddes, Messrs. Lyon, Ray, and Hancock - [Festa]
Glee - Hark the Lark, Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, & Hancock - Cook
Duet - The Ties of Friendship, Mesdames Hancock and Fiddes - Benedict
Song - Robin Hood, Mr. Hancock - Hatton
Glee - Why with toil thy life consuming, Mesdames Hancock and Fiddes, Messrs. Lyon, Ray, and Hancock - Pearsall
Duet - O my Beloved, Mr. and Mrs. Hancock - Nicholas
Song - A lowly youth, Mrs. Hancock - Wallace
Glee - The breath of the brier, Mesdames Hancock and Fiddes, Messrs. Bay and Hancock - Whittaker
Song - The Slave Girl's love, Mrs. Fiddes - Laud
Laughing Trio - Vadasi via di qua - Martini
National Anthem - Solo, Duet, Trio, and full chorus.
Concert will commence at Eight precisely . . .
EDGAR RAY, Secretary.

ASSOCIATIONS: Julius Buddee (piano)

MUSIC: Woman (Henry Phillips, in Hatton's Songs of England, vol. 3, 121-)

"THE WEEKLY CONCERTS", The Argus (23 December 1852), 5 

The following is the programme for this evening: -
Part 1.
Overture. - Zauberflote - Full band.
Glee. - O, by rivers. - Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, and Hancock.
Solo (Cornopean). - Air and variations - Mr. Chapman
Duet. - O wert thou in the cauld blast - Mrs. Hancock and Mrs. Fiddes.
Serenade.- Sleep lady mine. - Mr. E. Ray.
Grand Wedding March. - Full band.
Song. - Love now. - Mrs. Hancock.v Glee. - Sleep gentle lady. - Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, and Hancock.
Part II.
Overture. - II barbiere di Seviglia.
Trio - The magic wove scarf - Mrs. Hancock, Mr. Ray, and Mr. Hancock.
Waltz - Die Rheinfahrt. - [Labitzky]
Duet, - The May bells. Mrs. Hancock and Mrs. Fiddes
Overture - Guy Mannering. (By desire.)
Song. - Beautiful Venice. - Mrs. Fiddes.
Trio, - The gipsies' laughing trio. - Mrs. Hancock, Mrs. Fiddes, and Mr. Hancock.
National Anthem. - Solo, duet, and trio.

ASSOCIATIONS: George Chapman (cornopean); Thursday Concerts Melbourne (long-running series at the Mechanics Institution)

MUSIC: Sleep lady mine (James Howe)

[Advertisement], Geelong Advertiser and Intelligencer [Geelong, VIC] (24 December 1852), 2 

THE LONDON "GLEE & MADRIGAL UNION," on Friday Evening, December 24th, at the Theatre . . .
MRS H.FIDDES, MRS HANCOCK, MR. C. LYON [sic], MR. E. RAY, & MR. HANCOCK. This Evening, at the Theatre.

[Advertisement], The Argus (28 December 1852), 5 

THE GLEE AND MADRUGAL UNION, (under the direction of Mr William C. Lyon.)
beg to announce to their patrons, gentry, and inhabitants of Melbourne, that their Second Grand Concert will take place
Principal Performers - Mrs. Edward Hancock, Mrs. Harriet Fiddes,
Mr. Wiliam C. Lyon, R. A. M., Mr. Edgar Ray, and Mr. Edward Hancock.
First appearance at these Concerts of the celebrated bassoon player, Mr. J. Winterbottom, from Monsieur Jullien's Concerts.
Pianist, Mr. Buddee.
Part I.
Glee - The Gipsies' Tent - Mrs. Hancock, Mrs Fiddes, Messrs. Lyon, Ray and Hancock - Cook.
Duett - Come be gay - Mrs. Hancock and Mrs. Fiddes - Weber
Cavatina - As I view those scenes so charming - Mr. Hancock - Sonnambula
Trio - Turn on old Time (from Maritana) - Mrs. Hancock, Mrs. Fiddes, and Mr. Hancock - Wallace.
Song - Come good neighbours with chorus (from Der Freischutz) - Mr. Ray - Weber.
Solo Bassoon - Mr. J. Winterbottom, (of Monsieur Jullien's Concerts, London, his first appearance at these Concerts) Fra Poco a me recoveri - Donizetti.
Duett - Deh Conte, (from Norma) - Mrs. Hancock and Mrs. Fiddes - Bellini.
Cavatina - Dearest Companions, (Sonnambula) - Mrs. Hancock - Bellini.
Trio - This Magic Wove Scarf, (Mountain Sylph), Mrs. Hancock, Messrs. Ray and Hancock - [Balfe]
Cavatina - Nobile Signor, (Prophete) - Mrs. Fiddes - Meyerbeer.
The Huntsman's Chorus (Der Freischutz) - Weber.
Part II. Glee - O, who will o'er the Downs so free - Mrs. Hancock, Mrs. Fiddes, Messrs. Lyon, Ray, and Hancock - Pearsall.
Song - My Mother bids me bind my hair - Mrs. Hancock - Haydn.
Duett - Think a Sailor is faithful - Mr. and Mrs. Hancock - Balfe.
Song - The Maids of Merry England - Mr. Ray - Perring.
Glee - See the Chariot at hand - Mrs. Hancock, Mrs. Fiddes, Messrs. Ray and Hancock - [W. Horsley]
Song - Beautiful Venice - Mrs. Fiddes - [J. P. Knight]
National Anthem - Solo, Duett, Trio and chorus.
Concert to commence at Eight precisely.
Reserved seat 5s; unreserved 3s; family reserved, admitting five, 1l. To be had at the Institution; Mr. Joseph Wilkie's, Music Saloon Collins-street; and at the residence of the Secretary, 46 Russell-street.
The Third Concert will take place on Tuesday, January 3, 1853.
EDGAR RAY, Secretary.

MUSIC: The maids of merry England (James Perring)

"MUSICAL", The Argus (29 December 1852), 4 

With the valuable aid of Mrs. Fiddes, the "Union" has given several very high class concerts, which have well deserved the support of such portion of the public as has really a taste for good music. The most striking singer is the Mrs. Hancock who so completely took the audience of the last Thursday's weekly concert by surprise, in suddenly presenting to them one of the sweetest singers ever heard in Melbourne. Their programmes are full and varied, and everything presented is good of its kind. They lack, indeed, the agreeable variety furnished by a few overtures, &c., but if this difficulty were removed, these entertainments would probably become the most popular in the city. A novelty was presented last evening in the shape of a bassoon solo, most admirably played by a Mr. Winterbottom, who was very deservedly encored for his perfect mastery over an instrument usually considered a little gloomy and unmanageable.

ASSOCIATIONS: John Winterbottom (bassoon)

"CONCERT", The Argus (4 January 1853), 5 

We have to apologise for having yesterday omitted the programme of very superior entertainment, to be given this evening by the Glee and Madrigal Union of which we have already made very favourable mention. The concert is to consist entirely of sacred music of the highest class; and of the style in which these sublime compositions are likely to be given, we are justified in forming a very high conception when we find the names of Madames Testar, Fiddes, and Hancock figuring in the same programme. The lovers of really first-rate music may look forward to a treat.

[Advertisement], The Argus (17 January 1853), 5

GRAND SELECTION OF SACRED MUSIC, (In the Hall of the Mechanics' Institution),
UNDER the Patronage of the Right Worshipful the MAYOR OF MELBOURNE.
Principal Vocalists: Mrs. Testar, Mrs. Hancock, and Mrs. Fiddes,
Mr. Edgar Ray, Mr. Edward Hancock, and Mr Bancroft.
Accompanist - Mr. Buddee.
Part I.
Chorus - Theîr sound is gone out - (Messiah) - Handel.
Recit, and Air - O Death, where is thy sting? - Mrs. Fiddes and Mr. Ray, (Messiah) - Handel.
Air - O Lord have mercy upon me - Mr. Ray - Pergolesi.
Air - Ye men of Gaza - Mrs. Hancock, (Samson) - Handel.
Quartette - Alla Trinita - Mrs. Testar, Mrs. Fiddes, Messrs. Ray and Hancock - Mounsey.
Air - Jerusalem - Mrs. Testar, (St. Paul) - Mendelssohn.
Trio-- O Bone Jesu - Mrs. Testar, Mrs. Hancock, and Mrs. Fiddes - Novello.
Air and Chorus - The Marvellous Works - Mrs. Hancock, (Creation) - Haydn.
Duet - Quis est homo - Mrs. Testar and Mrs. Fiddes - Rossini.
Air and chorus - Inflammatus, Mrs. Testar - Rossini.
Recit. - Then shall the eyes of the blind - Mrs. Fiddes (Messiah) - Handel.
Air - He shall feed his flock - Handel.
Air - Come unto him - Mrs. Testar - Handel.
Quartet and Chorus - Lift up your heads (Messiah) - Handel.
Duet - Of stars the fairest - Mr. and Mrs. Hancock (Creation) - Haydn.
Recit. & Air - Consume them all - Mr. Hancock (St. Paul) - Mendelssohn.
Miriam's Song - Sound the loud Timbrel - Moore.
To commence at Eight precisely.
TICKETS, 5s. each, to be had at the Institution; Mr. Joseph Wilkie's, Music Saloon, Collins-street; and of Mr. W. C. Lyon, 46, Russell-street.

ASSOCIATIONS: Elizabeth Testar (vocalist)

MUSIC: O death where is thy sting (Handel, from Messiah); O Lord have mercy upon me (Pergolesi, arr. of Sanctum et terribile from Confitevor tibi domine)

"DIED", The Argus (22 July 1853), 4

On the 18th inst., at the residence of his brother, Mr. Edgar Ray, of 87, Little Collins-street, west, Mr. William Charles Lyon, aged 27.

"MARRIED", The Argus (16 November 1853), 4 

On the 15th inst., at St. Paul's Church, by the Rev. S. L. Chase, Edgar Ray, Esq., to Charlotte Goodriff, second daughter of George Joseph Pitman, Esq., Solicitor, Melbourne.

[Advertisement], The Argus (2 July 1855), 8 

MELBOURNE PUNCH, JUN., Esq , begs to announce that having emigrated to the City which bears his name (both he and the city were named in compliment to a late illustrious Whig Nobleman), he has determined to issue a WEEKLY PERIODICAL of a highly interesting and instructive character.
The first number will appear on or before Thursday, the 2nd ot August.
As it would ill become the modesty of youth to vaunt untested excellence, Mr. Punch, Junior, contents himself with observing that his Periodical win be in all respects superior to everything of the kind hitherto attempted in the universe.
Printed and published (for the proprietors) by Edgar Ray, at the Auction Mart, Daily Advertiser Office, 66 Collins-street east, Melbourne.
Price 6d. Subscriptions 6s, per quarter in advance.

[Advertisement], The Argus (2 June 1856), 8

In Aid of the Funds of the BENEVOLENT ASYLUM, Wednesday Evening, 4th June, 1856 . . .
THE MELBOURNE GARRICK CLUB Have the honor to announce that they will give a DRAMATIC ENTERTAINMENT . . .
Upon which occasion the Performances will commence with John O'Keeffe's celebrated Comedy, in five acts, entitled
Sir George Thunder - Mr. Edgar Ray . . .
John Dory - Mr. R. H. Horne . . .
Zachariah - Mr. James Smith.
Sim - Mr. J. E. Nield [sic] . . .
Lady Amaranth - Miss J. Fiddes.
Amelia - Mrs. Rogers.
Jane - Miss C. Nelson.
Previous to the rising of the curtain,
A PROLOGUE, From the pen of R. H. Horne, Esq., President of the Club, will be spoken by Mr. G. H. R. Ireland . . .

ASSOCIATIONS: Richard Hengist Horne (president); James Smith (amateur); James Edward Neild (amateur); Josephine Fiddes (actor); Carry Nelson (actor, vocalist); Emma Rogers (actor, vocalist)

"PRINCESS'S THEATRE", The Argus (6 March 1858), 4 

Mr. Rogers may attribute the ovation - for it was nothing less - which he received yesterday evening to his own popularity and merit; for, apart from these, the programme was not sufficiently attractive to draw one-half the number of persons who assembled at this theatre last night. We scarcely ever remember witnessing such a reception as the beneficiare obtained on his appearance as Mike in Buckstone's somewhat lugubrious drama of "Luke, the Laborer." Of the cast of the piece we need not say a word. The audience were evidently assembled for the purpose of giving a benefit to a well-known and respected actor; and a benefit they certainly gave him. The house was crowded throughout. Between the first play and the after-piece of "Secret Service," an admirable musical entertainmont, in which Miss Octavia Hamilton, Miss Chalker, Mons. Coulon, Mr. Gregg, and Mr. Rogers took part, was given, and a testimonial in the shape of a handsome silver cup was presented to Mr. Rogers. A number of gentlemen, who had subscribed towards the presentation, made their appearance on the stage, and Edgar Ray, Esq. acted as spokesman, offering the gift in a suitable address, and concluding by reading the inscription on the cup . . .

ASSOCIATIONS: George Herbert Rogers (actor, vocalist); Octavia Hamilton (vocalist); Marie Chalker (vocalist); Emile Coulon (vocalist); John Gregg (vocalist)

"CHRISTMAS IN OLD ENGLAND", The Argus (1 December 1863), 5 

Mr. Edgar Ray appeared for the first time at St. George's-hall, on Saturday night, in a drawingroom entertainment to which the above title has been given . . . there can, at least, be no doubt as to the merits of the diorama by which it is illustrated . . . It is the merest justice to the artists engaged in the work - namely, Mr. E. J. Greig, Mr. Chevalier, Mr. Hennings, Mr. J. Willis, Mr. E. A. Appleton, and Mons. H. Freyberger - to say that they have executed the task allotted to them in the most admirable manner. Such painting as most of the pictures exhibit is not always found off the stage, and rarely, if ever, on it . . . Mr. Ray himself is entitled to very considerable credit for the manner in which he gives effect to the literary part of the entertainment; and certainly makes the most of the materials at his disposal in their present shape. The incidental music has been arranged by Joseph Parker, who officiates as the nightly accompanist . . .

ASSOCIATIONS: Nicholas Chevalier (artist)

"THEATRE ROYAL. MR. EDGAR RAY'S ENTERTAINMENT", Mount Alexander Mail [Castlemaine, VIC] (1 February 1864), 3 

The first exhibition of Mr. Ray's beautiful panorama "Christmas in Old England" was given at the Theatre on Saturday night. The house was moderately filled, but we regretted to notice so poor an attendance in the "dress circle" . . . But while Mr Ray and Mr Wharton may have been disappointed with respect to the number of the audience, they certainly have no reason to complain of the appreciativeness of those present. The entertainment was, in every respect, a success . . . Mr Ray, who has materially altered his descriptive lecture since we witnessed the performance in Melbourne, was well received, and many of his anecdotes and jeu-de-mots were received with peals of laughter, as also were the comic songs which he sang "in character" . . .

ASSOCIATIONS: Henry Wharton (vocalist)

"INTERCOLONIAL. SYDNEY", The Herald [Melbourne, VIC] (22 September 1875), 3 

Mr. William Lyster, Mr. Edgar Ray, agent for the Williamsons . . . left by the City ot Adelaide yesterday . . .

"DEPARTURE OF THE ENGLISH MAIL", The Herald (7 October 1875), 2 

The R.M.S. Nubia with the European mails left her anchcorage to Hobsons Bay shortly after two o'clock today . . . The followiag is the passenger list . . . For Venice, Mr. Edgar Ray . . .

England (by December 1875):

[Advertisement], The Era [London] (21 November 1875), 1 (PAYWALL)

THEATRE ROYAL, CALCUTTA, INDIA, in November. Their only authorised Agent, Mr. Edgar Ray, will shortly visit England.

[Advertisement], The Era (12 December 1875), 1 (PAYWALL)

. . . All business communications to Mr. Edgar Ray, Criterion Hotel, Piccadilly.

Other sources:

A handbook to Mr. Edgar Ray's drawing-room entertainment entitled Christmas in old England; illustrated by a splendid diorama, executed in the first style of art (Melbourne: R. Stewart, 1863) (DIGITISED)

Bibliography and resources:

Marjorie J. Tipping, "Sinnett, Frederick (1830-1866)", Australian dictionary of biography 6 (1976)

. . . Sinnett's professionalism and infectious wit guaranteed him a place among the literary and artistic circles of the young colony. He had a hand in several ventures, and with Edgar Ray had helped to found in 1855 the splendid Melbourne Punch; he was a member of the group, including James Smith, R. H. Horne, N. Chevalier and James Stiffe, that met to plan its issues, and in 1856-59 he was editor. In May 1858, also with Ray, he began the Daily News in Geelong and was sole editor until its failure in August 1859.

Edgar Ray, AustLit 

"Melbourne Punch", Wikipedia 

RAY, Joseph = alias of Joseph SIMMONS

Actor, comic vocalist, songwriter (TROVE tagged by Australharmony)

RAYNER, Charles William (Charles William RAYNER; Mr. C. W. RAYNER)

Professor of music, bass vocalist, banjo player, teacher of vocal music, composer, songwriter

Born ? England or USA, c. 1833
Arrived Sydney, NSW, 14 February 1865 (per Northam, from Galle, 22 January, via Adelaide and Melbourne, 11 February)
Departed Sydney, NSW, by July/August 1869 (for San Francisco) (TROVE tagged by Australharmony) (shareable link to this entry)


Charles William Rayner, Sydney, 1867

Charles William Rayner (from the cover of Sleep gently, Sydney, 1867) (DIGITISED)


Almost nothing can be discovered about Rayner's early life, except, from a masonic enrollment record of 1866, that he was born around 1833, and that his given names were Charles William. In Sydney, Rayner advertised that he had been a pupil, probably in London in the mid 1850s, of Alberto Randegger and the American vocalist Henri Drayton (1823-1872). It was presumably in England that he was first recruited for a Christy's minstrel troupe, and he may have been English-born, if not American.

Rayner is first positively identified as a member of the Smith, Brown and Collins Original Christy's Minstrels troupe, that sailed from Southampton, England, on 27 September 1863, bound first for India, under the management of John Washington Smith. Having sailed from Galle (Sri Lanka), they arrived in Sydney (via Adelaide and Melbourne) on the Northam on 14 February 1865. With a mixed program including black-face minstrel numbers and operatic burlesque, they toured to Melbourne in March, Bendigo in April, Adelaide in May, Tasmania in July, and gave their farewell season for the reopening of the Victoria Theatre in Sydney in December 1865.

From his first Australian appearance, Rayner was especially known for his performances of an American Civil War song, Dear mother I've come home to die, with music by Henry Tucker, a local edition of which was published in Melbourne by W. H. Glen and in Sydney by J. H. Anderson and Son issued their own edition.

Rayner stayed on in Sydney after the rest of his troupe returned to Europe in December 1865, and advertised as a "professor of singing". The pianist Alfred Anderson (who was also his publisher) assisted by writing "accompaniments" of the first original song Rayner composed and published in Sydney, probably necessarily, because later it was reported that Rayner "for some time has been studying the theory of music" with Giovanni Gassner, master of Band of the 50th Regiment. Gassner also made and played band arrangements of several of Rayner's songs, as well as his own March on Rayner's Southern Cross (1867).

Rayner was last billed to appear in concert in June 1869, and probably sailed for California soon after. He was appearing with the so-called San Francisco Minstrels in Sacramento by October 1869, and by January 1870 was back in San Francisco, appearing on a program with, among others, Richard Wildblood Kohler.


Rayner is probably not to be confused with the American bass vocalist J. W. Raynor (1820-1900), who first appeared in New York in 1855, and arrived in England in mid 1857 with the Christy minstrel Earl Pierce. Raynor, billed as manager, conductor, and vocalist, was active in England from then until 1861 with the company, that at various times included Joe Brown, W. P. Collins, G. W. Moore, and Anthony Nish. Michael Balfe composed the song Gentle Nelly Gray specially for Raynor and this troupe. Notably, Charles Rayner, also a bass, is not known to have programmed this song in Australia.


[Advertisement], Bombay Gazette (5 November 1863), 1 

Patronised by Her most Graciore Majesty Queen Victoria, the Nobility of England and the Emperor and Empress of the French.
Overture (Fra Diavolo) - Christy's Minstrels.
Operatic Chorus (from Lurline by request) - Christy's Minstrels.
I long for my home in Kentuckey - W. H. Caster.
The Gal in Blue - W. P. Collins.
Annie Lisle - W. H. Herberte.
Anna Maria Jones - Joe Browne.
Sunny days will come again New (Henry Russell) - C. W. Rayner.
I'm going home to Dixie Land) - W. P. Collins.
come where my love lies Dreaming (by request) - Christy's Minstrel.
As performed only by the Chriaty's Minstrels, illustrative of a musical description of a Fashionable Sleight Ride in the Northern States. With the Departure. The Race on the Road. The arrival at the Hotel, the Ball. Preparing to return. All aboard. The Chorus, and arrival home at Daybreak.
Burlesque Fling - W. P. Collins.
Rock'd in the Cradle of the Deep (Description) - C. W. Rayner.
Prize Silver Belt Jig - Joe Brown.
Violin Solo - A. La Feuillade.
A Somnambilie, Trovatorean Traviatian Sketch, produced under the most unfavourable auspices, by Two Opeartic Connoisseurs. Entitled
Signora Donna Palliasso de Mattrasso - W. P. Collins.
signora Bruchabentypiego - Joe Brown.
Duet, on to the Field of Glory (Belisario) - Messrs. Rayner and Herberte.
To conclude with a Laughable, Quizzical, and Ludicrous Sketch, Entitled
PHOTOGRAPHICO PAR EXCELLENCIO; OR THE ARTIST'S STUDIO, with Lights end Shaded of the Profession.
Mr. Under-the sun, A Photographuc Artist of easy manners, particularly pleasing and attentive to his customers - A. La Feuillade.
James Francis Adolphus, An Apprentice in the First branch of the profession - Joe Brown.
Mr. Jeems Bluffum, a Coloured Lecturer on Astronomy and the Terrestrial Globe. Just arrived from Poona by the Train - W. P. Collins.
VISITORS, HEGROS, &c. &c. &c.
Plantation Festival - Johnny Rooke . . .
Books of the words to be had at the door.

"THE CHRISTY MINSTRELS", Bombay Gazette (4 November 1863), 2 (PAYWALL)

. . . "Toll the Bell" was given to perfection by Mr. Rayner. This gentleman has a rich mellow voice of considerable power, and to an admirable command of the organ, adds a genuine musical feeling, - singing pathetic airs with a tenderness and expression which leave nothing to be desired . . .

"De Christy's Minstrels", Java bode [Batavia, Java] (13 April 1864), 3-4 

[4] . . . Thans bestaan er verscheidene gezelschappen van neger- minnezangen in Engeland en Amerika; de minnezangerij mag zich als voor goed gevestigd beschouwen. Het meest beroemde is het gezelschap dat binnen kort te Singapore verwacht wordt, waartoe behooren W. P. Collins, Joe Brown, C. W. Rayner, Henry Herbert, W. H. Caster, E. Bryon, N. la Feuillade en John Smith, direkteur.

Zij verlieten Southampton in September [1863], en oogstten den meesten bijval in te Bombay, Madras en Calcutta. Er zijn ouder hen zeer goede stemmen; hun zingen mag werkelijk bekoorlijk genoemd worden. Hunne stukken zijn vol bevallige harmonie, en de uitvoering is meesterlijk; een goeden smaak eu muziekale kennis mag men de minstrels niet ontzeggen; - zij begrijpen ten volle de eischen van den tijd en van het volk dat zij bezoeken. "Beautiful star", "Let me kiss him for his molher," "Do they think of me at Home" en "Come where my Love lies Dreaming," zijn de meest, geliefkoosde liederen geworden, men hoort ze in de prachtigste salons, eu de naam van Christy in van algemeene bekendheid geworden.

[Advertisement], Java-bode (20 April 1864), 2 

De oorspronkelijke CHRISTY'S MINSTRELS. Met toestemming van den Resident van Batavia. Zaturdag, den 25sten April 1864 . . .
PROGRAMME . . . TOLL THE BELL (Oorspronkelijk) - C. W. Rayner . . .
Het WRAAKLIED uit "Lucretia Borgia" - C. W. Rayner . . .
J. W. SMITH, Directeur.

"THE ORIGINAL CHRISTYS' MINSTRELS", Bell's Life in Sydney (4 February 1865), 2

The admirers of the "concord of sweet sounds" will be glad to hear that the Original Christy's Minstrels, after a most successful tour through India, China, Java, Batavia, &c., &c., are about to extend their trip to the Australian colonies, and expected to arrive per next mail steamer, previous to appearing at our School of Arts. Their agent, the well-known Mr. John Smith, has preceded them, and placed in our hands published proofs of their success, popularity, and universally admitted ability, not only on their tour of the world, but also at the St. James's Hall, London, and throughout G. Britain generally, where they attracted crowded audiences for 7 years. They also were frequently patronised by Her Most Gracious Majesty the Queen, the elite of the Aristocracy, and the Emperor and Empress of the French (during a short visit paid across the channel). The company are nine in number including W. P. Collins (the "prima donna" and originator of the principal burlesque dances, and late proprietor of the London Company), C. W. Rayner (an eminent basso and first class musician), H. Herberte (tenor), and the inimitable "Joe Brown," who has already won golden opinions from all classes of the public of Sydney, by his versatile talents when in connection with the former troupe, who visited and delighted our community. The rest of the company are also reported to be first-class in their various departments . . .


FOR MELBOURNE [sic]. - . . . the Christy Minstrels - viz., Mr. and Mrs. Collins, Messrs. J. Brown, Rayner, Fenilade [sic], Byron, Herbert, and Castor . . .

[Advertisement], Bell's Life in Sydney and Sporting Chronicle (11 February 1865), 3 

CHRISTY'S. - JOE BROWN, the Champion Dancer. W. P. COLLINS, the Burlesque Prima Donna.
CHRISTY'S.- HENRI HERBERTE, Tenor. C. P. HARVEY, Second Tenor. W. H. CASTER, Baritone.
CHRISTY'S. - C. W. RAYNER, Basso. E. BYRON, Instrumental. N. LA FEUILLADE, Instrumental . . .

"PUBLIC AMUSEMENTS . . . THE ORIGINAL CHRISTY'S", The Sydney Morning Herald (25 February 1865), 7 

These talented minstrels, who made their debut before a Sydney audience on Monday last, have given nightly performances at the School of Arts during this week . . . On the opening night . . . Mr. C. W. Rayner, the possessor of a powerful voice, and one of the principal vocalists of the party, sang with much sweetness and power, "Sunny days will come again," and was rewarded with long-continued applause . . . Last night, the first part commenced with an overture by the minstrels, which was followed by a chorus from the Opera of Ernani. A new song, "Dear mother, I've come home to die," was very sw cetly sung by Mr. C. N. Rayner [sic] . . . What was considered the gem of the performance was a new quartette, "Celia's Arbour," by Messrs. Rayner, Herberte, Caster, and Collins; the singing of this was admirable, the voices blending beautifully . . .

"RE-OPENING OF THE VICTORIA THEATRE", The Sydney Morning Herald (4 December 1865), 4

The Christy's Minstrels have been engaged to perform a limited number of nights, prior to their departure for Europe . . . This kind of entertainment has always been acceptable to a Sydney audience, and in the hands of such clever performers as Brown, Collins, Abecco, and Rayner, is likely to continue so . . .

[Advertisement], The Sydney Morning Herald (25 January 1866), 8

[Advertisement], The Sydney Morning Herald (27 January 1866), 12

[Advertisement], Empire (8 February 1866), 1

Admission, 13 February 1866, The Zetland Lodge of Australia, Sydney, NSW, No. 941; United Grand Lodge of England; Museum of Freemasonry (PAYWALL)

[1866 February] 13 / . . . / Rayner / Charles William / 33 / [Sydney] / Professor of Music . . .

"MR. C. W. RAYNER", Freeman's Journal (17 February 1866), 98 

MR. C. W. RAYNER. - We notice that this gentleman has established himself in Sydney a professor of music, and we can with confidence recommend his services to any of our readers who may be disposed to place themselves under his supervision. Mr. Rayner was the principal basso in the late Christy's Minstrel Troupe, and the tone and quality of his voice were the subject of just and universal commendation. If any further recommendation of Mr. Rayner's qualifications were necessary, the very fact of his having been under the tuition of Signor Randegger and Henri Drayton, should satisfy the most exacting. We heartily wish Mr. Rayner every success in his new sphere.

[Advertisement], The Sydney Morning Herald (21 February 1866), 8

[Advertisement], The Sydney Morning Herald (30 June 1866), 1

[Advertisement], The Sydney Morning Herald (29 June 1867), 7

[Advertisement], The Sydney Morning Herald (22 August 1867), 4

"SATURDAY HALF-HOLIDAY ASSOCIATION", The Sydney Morning Herald (27 September 1867), 5 

. . . The musical society, in connection with the association, is in a rapidly improving state; upwards of forty members have now been enrolled. They usually meet for practice at the Temperance Hall, in Pitt-street, on Friday evening, when the class has the benefit of the able instructions of Mr. C. W. Rayner.

[Advertisement], The Sydney Morning Herald (12 October 1867), 4

[Advertisement], The Argus (6 November 1867), 1

"New Song", The Sydney Morning Herald (9 May 1868), 6

[Advertisement], The Sydney Morning Herald (18 July 1868), 7

[News], The Sydney Morning Herald (14 August 1868), 4

"Colonial Extracts", Queanbeyan Age (15 August 1868), 3

[Advertisement], The Sydney Morning Herald (24 February 1869), 1

MR. C. W. RAYNER, Professor of Singing, 155, Lauriston-terrace, Phillip-street.

"The Concert at the Victoria Theatre", The Sydney Morning Herald (19 June 1869), 3

Rarely, if ever, has the old Victoria witnessed such a large and influential audience as that which assembled on Thursday evening to hear tho second concert of the Australian Patriotic Association . . . Amongst the most noticeable features in the performance were the overtures to "Don Giovanni" (Mozart) and the "Siege of Rochelle" (Balfe), by a numerous orchestra, under the conductorahip of Mr. John Deane; two Australian songs, "The Southern Cross" and "Australian Stockman," composed and sung by Mr. C. W. Rayner . . . Messrs. Cordner and Packer acted as accompanyists. The concert concludad at about half-past eleven with Packer's National Hymn, "Australia hail!"

ASSOCIATIONS: William John Cordner (accompanist); Charles Sandys Packer (accompanist); John Deane (conductor)

"METROPOLITAN THEATRE", Sacramento Daily Union [California, USA] (12 October 1869), 3 

The San Francicco minstrels were greeted by a good house last evening, and rendered their programme, as is usual with this excellent company, in an acceptable manner. Joe Murphy and Ben Cotton, with their witticisms, frequently "brought down the house" . . . C. W. Rayner and W. T. Baker sang various ballads finely . . .

[Advertisement], Daily Alta California [San Francisco, CA] (9 January 1870), 6 

SAN FRANCISCO MINSTRELS . . . Ben Cotton, Billy Ashcroft. M. B. Leavitt, Mast. Bennie, W. F. Baker,
C. W. Rayner, Theo. Jackson, R. W. Kohler, And the Great Vocal and Instrumental Galaxy . . .

ASSOCIATIONS: Richard Wildblood Kohler (musician)

[Advertisement], Daily Alta California (16 April 1870), 4 

"ELLA ZOYARA", The Sydney Morning Herald (19 July 1870), 5

The Australasian states that a mammoth circus company has been organised by Messrs. Lake, Leihy, Wilson, and Co. . . . is now working its way over the mountains to Virginia City, at which latter place Mr. C. W. Rayner, late of John Smith's Australian Minstrels, is taking a spell teaching the young idea how to sing.

Musical works:

C. W. Rayner's elementary system, and course of study for singing classes, with examples in the art of phrasing, also exercises for the development of the voice (Sydney: F. White, Machine and General Printer, [1866]) 

Speak gently, composed & dedicated to his pupils C. W. Rayner; accompaniments by A. Anderson, R.A.M. [words by David Bates] ([Sydney]: Published by the composer, [1867]) (DIGITISED)

The Australian belles (caballetta) ([Sydney: Rayner, 1867])

I will brighter be tomorrow (romanza) ([Sydney: Rayner, 1867])

Australia's welcome to prince Alfred ("Ode to Prince Alfred") (words: J. H. Rucker)(Sydney: Published by the composer, [1867]) 

One word (song; words: Miss Parkes, music C.W. Rayner) (Sydney: To be had from the author [Rayner], [1868]) 

The southern cross (Sydney: Published by the Composer, [1868]), and later editions 

There's no such word as fail (words: F. S. Wilson) (Sydney: Published by the Composer, [1868]) 

The Australian stockman's song (a bush lyric; words: F. S. Wilson) (Sydney: Published by the composer, [1868]) 

ASSOCIATIONS: Frederick Sydney Wilson (lyrics)

Bibliography and resources:

William L. Slout, Burnt cork and tambourines: a source book of Negro ministrelsy (PREVIEW)

BROWN'S (JOE) CHRISTY'S: consisted of W. P. Collins, Joe Brown, C. W. Rayner, Harry Herbert, W. H. Caster, Ted Saunders and N. La Feuillade. They sailed from Southampton, England, September 27, 1863, under the management of J. W. Smith, on their way to India to oppose the Nish party, then in Australia. They visited Gibraltar, Malta, Alexandria, Cairo, Suez and Aden, reaching Bombay on October 29 and giving their first concert on November 2 in the Grand Road Theatre

RAYROUX, Adolphe Francois (Adolphe François RAYROUX; Adolph Francis RAYROUX)

Professor of music and languages (University of Paris), pianist, composer

Born France, c. 1843/44; son of François Louis RAYROUX and ? GUIGNARD
Arrived Melbourne, VIC, 7 June 1863 (per Wellesley, from London via Plymouth, 16 March, aged "20")
Married Maria Ashley CUMMINS, VIC, 1877
Died Melbourne, VIC, 4 August 1895



[Advertisement], The Argus (28 July 1864), 3

[Advertisement], Gippsland Times (12 January 1867), 4

"AMATEUR CONCERT", Gippsland Times (5 December 1868), 3

An amateur vocal and instrumental concert was given in the Sale Mechanics' Institute on Thursday evening by the local amateurs, in aid of the fund for the purchase of the piano now used in the hall . . . Mons. Ad. Rayroux presided at the piano, and the band was comprised as follows: - 1st violin, Mr. J. H. W. Pettit; 2nd violin, Mr. S. Lang; 1st flute, Mr. W. T. Sprod; 2nd flute, Mr. S. Slater; violincello, Mr. T. Thew . . . The concert was opened with an overture from "Massaniello", very creditably performed by the band . . . A quadrille "Le jour de naissance", composed by Mr. W. Legge was rendered by the hand in an inspiriting manner . . . The Waltz "L'Etoile du Berger", composed by Mr. Rayroux was also performed by the orchestra and elicited applause.

"M. RAYROUX. TO THE EDITOR", Gippsland Times (20 April 1869), 3

"CONCERT", Kerang Times (14 September 1877), 2

"INSOLVENT COURT", The Argus (21 March 1881), 5

"DEATHS", The Argus (5 August 1895), 1

RAYROUX. - Passed away on Sunday, 4th August, at Heidelberg Hospital, Adolphe Francois Rayroux, second son of Louis F. Rayroux, of Paris, the dear husband of Marie Ashley Rayroux, of Eastbury, St. John's Avenue, Camberwell. At rest.

REA, Alexander (Alexander REA; Alex REA)

Professor of music, organist, pianist, composer

Born Leominster, Herefordshire, England, 1 April 1830; baptised Moravian brethren, Leominster, 2 May 1830; son of Nathaniel REA (1781-1860) and Mary HAY (1791-1863)
Married Susan Ryall LUCAS (1840-1903), Leominster, England, 1861
Arrived Sydney, NSW, by June 1862 (via Melbourne, 10 March, per Marco Polo from Liverpool)
Died Enmore, Sydney, NSW, 13 March 1909, aged 79 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)



"BALMAIN CONGREGATIONAL CHURCH", The Sydney Morning Herald (9 June 1862), 4 

A tea meeting was held in the Congregational Church at Balmain on Friday evening last, to celebrate the settlement of the Rev. Alexander Rea as pastor of that church . . .

"CONGREGATIONAL MISSIONARY SOCIETY", The Sydney Morning Herald (29 July 1862), 5

[Advertisement], The Sydney Morning Herald (3 July 1863), 1

[Advertisement], The Sydney Morning Herald (2 June 1864), 1

"THE CHROMATIC RONDO", The Sydney Morning Herald (14 November 1864), 4

[Advertisement], The Sydney Morning Herald (17 December 1864), 12

"CATHEDRAL ORGAN OPENING", The Sydney Morning Herald (19 July 1867), 5

[Advertisement], The Sydney Morning Herald (9 February 1874), 8

[Advertisement], The Sydney Morning Herald (11 February 1874), 1

  "NEW MUSIC", The Sydney Morning Herald (14 February 1874), 7

"MUSIC", The Sydney Morning Herald (28 October 1874), 4

[Advertisement], The Sydney Morning Herald (29 October 1874), 1

[News], The Sydney Morning Herald (24 June 1879), 5

"MESSRS. WEEKES AND CO.", The Sydney Morning Herald (11 March 1882), 5

"THE CENTENNIAL ORGAN. TO THE EDITOR", The Sydney Morning Herald (26 September 1889), 13

"NEW MUSIC", The Sydney Morning Herald (26 July 1902), 6

"FUNERALS", The Sydney Morning Herald (15 March 1909), 12

"Mr. Alexander Rea . . .", The Sydney Morning Herald (16 March 1909), 6

"A MUSICAL AUTHORITY FOR 48 YEARS", Sunday Times (21 March 1909), 6 

Alexander Rea, Professor of Music, died on March 13 at his late residence, "Butleigh," Simmons-street, Enmore. Had he lived another month, the veteran organist would have reached his 79th year. Educated for the ministry, the deceased turned his attention to music, and he was one of the recognised musical authorities in Sydney for the long period of 48 years. There is a story that at one time Mr. Rea combined religion and music by preaching the sermon and playing the organ in a Congregational church. In a sense we are indebted to Alexander Rea for the possession of the largest organ in the world. When the City Council decided to have a Jumbo among organs for our Town Hall, the negotiations with Hall and Son, the famous English builders, were conducted by Mr. Rea. The resident organist helped Hill and Son to draw up the specification, and the monster instrument was erected in the Town Hall under his supervision. Mr. Rea ran his fingers over "the noisy keys" and tested the mechanism before the late W. T. Best "opened" the organ for the City Council in August, 1890. On Mr. Best's return to England, Mr. Rea gave a number of recitals at the Town Hall. The man who sent the order for the huge instrument to Hill had charge of what he called, "his baby" until the appointment of the late August Wiegand as City Organist. Compositions by Mr. Rea found their way from time to time into the Wiegand programmes. Mr. Rea heard all the organists who have played at the Town Hall since W. T. Best and A. Wiegand - Arthur Mason (who is now in London), Edwin Lemare, and Alfred Hollins (the blind organist) among the number. For several years Alexander Rea was the organist of St. John's Church of England, Darlinghurst. He was afterwards the unassuming master of the manuals at the Congregational Church, Pitt-st., and at St. Stephen's (Church of England), Newtown. The veteran resigned his appointment at Newtown some eight years ago. He "performed" many times on the organ in the Exhibition Building, Prince Alfred Park, and his name is part of the musical history of the Garden Palace. Mr. Rea, up to the day of his death, occupied the position of Vice-Warden in the Sydney College of Music, which was founded in 1894. Apart from the share he took in the carrying on of the Sydney College of Music, the deceased was, with Mr. Hector Maclean, Examiner in Music at the Sydney University. The modest musician played the organ at the University when the instrument was presented to the Senate by the late Sir Patrick Jennings. In his vigorous days, Alexander Rea published a goodly number of compositions for the organ, and he turned out studies and solos for the pianoforte. His name is also attached to several Church Services.

Mr. Rea was born in tho North of England. His father was a clergyman of the Moravian body; he was their third son. He won a scholarship at fifteen years of age at one of the Moravian schools which entitled him to five years' education on the Continent. He went to Germany, where, at the Moravian College, he studied divinity and music for seven years. Returning to England he was ordained, and worked among the Moravians in Fetter-lane (London), in Leominster (Herefordshire), and Fairfield (Manchester). At the age of thirty he met, and soon after married, his first wife. Shortly after his marriage he left England for Sydney in the Marco Polo. He acceptod a call to the Congregational Church at Balmain, where he remained for about two years. Soon his voice began to fail, owing to his suffering from clergyman's sore throat, and, acting on the advice of friends, he resigned from the Ministry, and began his career as a professor of music.

"SYDNEY COLLEGE OF MUSIC", The Sydney Morning Herald (21 April 1909), 12

Musical works:

Chromatic rondo (a study for the pianoforte) (Sydney: Reading & Wellbank, [1864]; London: Weekes & Co., [?])

Grand octave waltz (for the pianoforte) (Sydney: Reading & Wellbank, [1864]) 

Gathering rosebuds (a song written and composed by Alexander Rea) (Sydney: Elvy & Co., [1874]) 

Caprice ("for the pianoforte, composed and dedicated to Miss E. M. Woolley") (Sydney: Elvy and Co., [1874]) 

The promenade rondo (for the pianoforte) (Sydney: Elvy & Co., [1879]) 

Sonatina for the pianoforte no. 1 in C ([Sydney] London: Weekes & Co., [1882]) 

The chatterbox rondo (for the pianoforte) ([Sydney] London: Weekes & Co., [1887]) 

Reverie (song, the words by Albert G. Dawes) ([Sydney] London: Weekes & Co., [1888]) 

Good night, good night (song, the words by Albert G. Dawes) ([Sydney] London: Weekes & Co., [1888]) 

Beneath a broad elm tree (song, the words by Albert G. Dawes) ([Sydney] London: Weekes & Co., [1888]) 

Consolation (melody for the pianoforte) (Sydney: W. H. Paling & Co., [1902]) 

READ, Beaumont (William Henry READ; Mr. Beaumont READ)

Alto vocalist (student of John Hullah), sopranist, songwriter, photographer

Born London, England, 22 August 1833; baptised West Hackney church, 15 September 1833; son of William READ and Sarah BRISTOW
Married Jane SMITH (1833-1890), St. Pancras old church, London, England, 11 January 1857
Arrived Sydney, NSW, 24 November 1874 (per Parramatta, from England)
Died Unley Park, Adelaide, SA, 5 January 1910, "aged 77" (TROVE tagged by Australharmony) (shareable link to this entry)



[Advertisement], The Sydney Morning Herald (23 December 1874), 10

[Advertisement], The Argus  (9 January 1875), 12

"MADAME ANNA BISHOP'S CONCERT", The Argus (13 January 1875), 6

. . . Amongst these names the most interesting on the score of novelty will be that of Mr. Beaumont Read who sings with a voice which is rarely heard amongst men in these days. Of mature age he appears to have still preserved the fresh and high voice of a boys voice which has grown into power without that break which marks the period of adolescence. His selections were The Maid of Athens by Allen and this being encored he sang Little Sweetheart come and kiss me (a song noticed lately as being published in Melbourne). In the second part he sang another ballad of the plaintive kind suited to his exceptional voice entitled Please give me a penny, the composition of Siebert and as sung by Mr. Read as touching an appeal as any mendicant might hope to trade upon. This was very well sung indeed and it was encored with great warmth by the audience, who, by their applause, were evidently interested by the novelty of the singer's voice.

"MR. BEAUMONT READ", The Register (4 April 1903), 3


. . . When did I come to Australia? Let me see. It must have been 1874. I have a vivid remembrance of my Australian debut in Sydney. I was engaged to appear at the Exhibition Building on Christmas night, and I gave "He was despised". It happened that Madame Anna Bishop was also singing, and she was so pleased with my voice that she waited at the wings of the platform for me and arranged that I should make a tour of Australia with her company. At the conclusion of this trip I spent two years in New York, and came back to Australia, where I have remained ever since. I came to reside at Adelaide 11 years ago on the death of my wife, and immediately formed a male quartet consisting of Messrs. Holder, Nash, Middleton, and myself. We were a successful combination, and I think won considerable popularity while we were together.

"A NOTABLE SINGER", The Register (6 January 1910), 7

"A PROMINENT SINGER. MR. BEAUMONT READ DEAD", The Advertiser (7 January 1910), 8

Associated songs:

Don't go, Molly darling (ballad; "music by Edward Kearns; words by F. Mears"; "especially composed for Mr. Beaumont Read of Madame Bishop's company") (Melbourne: W. H. Glen & Co., 1875) 

Please give me a penny (by Wm. Seibert, as sung by Beaumont Read) (Sydney: J. R. Clarke, [1875]) 

Sweet by and by (words by Fillmore Bennett; music by J. P. Webster; as sung by Beaumont Read of the Kelly and Leon Troupe) (Melbourne: Nicholson & Ascherberg, [1877]) 

Sweet chiming bells *words by Beaumont Read; music by C. F. Shattuck) (Sydney: J. R. Clarke, [1879]) 

For the old land's sake (written and sung by Beaumont Read; music by N. La Feuillade) (Sydney: W. H. Paling & Co., [1885]) 

READ, Eliza (Eliza HOSKIN; Mrs. Charles READ)

Professor of Music and Dancing, Drawing from Nature (formerly of the Royal Leamington Spa), composer

Born Reading, Berkshire, 1822; baptised St. Lawrence's church, Reading, 14 August 1822; daughter of Robert HOSKIN and Rachel HOLLAND
Married Charles READ (1826-1884), Kenilworth church, Warwickshire, England, 6 July 1845
Arrived Sydney, NSW, 16 August 1853 (per Caroline Chisholm, from London, via Melbourne, 11 August, aged "30")
Died Sydney, NSW, 13 June 1905, aged 83 (TROVE tagged by Australharmony) (shareable link to this entry)

READ, Alfred (Alfred Alexander READ; Alfred READ)

Professor of dancing, dancing master, pianist, violinist

Born Leamington Spa, England, 1846 (first quarter); son of Charles READ and Eliza HOSKIN
Arrived Sydney, NSW, 16 August 1853 (per Caroline Chisholm, from London, via Melbourne, 11 August, aged "6")
Married Jane WILLIAMS (c. 1849-1905), St. Peter's, Woolloomooloo, NSW, 1 March 1870
Died Sydney, NSW, 28 May 1907, aged 61 (TROVE tagged by Australharmony) (shareable link to this entry)


Elizabeth Hoskin was born in Reading, Berkshire, in 1822, a daughter of Robert Hoskin, a hatter, and his wife Rachel Holland, and was baptised at St. Lawrence's church on 14 August.

A Miss Hoskin, already teaching and playing piano in Birmingham in 1832-33, was evidently not Eliza, who was too young, but was perhaps an elder sister or cousin. The "Misses Hoskin" were advertising as milliners at Leamington, by 1838, and in the 1841 census, Eliza, living there with her parents and aged 18, was listed as a "professor of music".


England census, 6 June 1841, Leamington Priors, Warwickshire; UK National Archives, HO / 107 / 1135 / 14 (PAYWALL)

Newbold Street / Richard [sic] Hoskin / 50 / Hatter / [not born in county]
Rachel [Hoskin] / 50 // Edward / 25 / Hatter // James / 21 / [Hatter] / Thomas / 15 [Hatter]
Eliza [Hoskin] / 18 / Professor of Music / [not born in county]

"LEAMINGTON, NOV. 13", Morning Post [London] (15 November 1841), 3 (PAYWALL)

Two excellent concerts took place in our Music Hall on Thursday [11 November], under distinguished patronage, for the benefit of Miss Elira Hoskins, a clever pianoforte player residing here. The London artists consisted of Miss Dolby, Miss Woodyatt [Mrs. W. Loder], Mr. Young, and Mr. John Parry. Conductor, Mr. G. F. Harris. The first part of the morning performance consisted of sacred music, and the second of miscellaneous compositions, which afforded the highest gratification. Miss Hoskins acquitted herself extremely well in a pianoforte duet with Mr. Harris . . .

[News], Bucks Herald (8 January 1842), 5 (PAYWALL)

Lately, a Concert was got up at the Greyhound Inn, Thame, by the Royal Thame Band, in honour of the birth of the Prince of Wales, and most of the leading residents of the town honoured it with their presence . . . The following able performers were engaged: - Miss Smith, from the Hanover-square Rooms; Miss Hoskins, and Signor Poznanski . . .

[Advertisement], Warwick and Warwickshire Advertiser (3 September 1842), 3 (PAYWALL)

MISS ELIZA HOSKIN HAS the honour to announce that she purposes giving a Vocal and Instrumental
EVENING CONCERT at the above Hall, on TUESDAY, SEPTEMBER 13, 1842, on which occasion she will be assisted by
MISS SMITH, MRS. LEA, (Her first appearance before the Public,)
SIONOR POZNANSKI, (Pupil of De Beriot, Paganin, &c.)
Miss ELIZA HOSKIN will preside at the Piano-forte . . .
PROGRAMME. DUETT - Guillaume Tell (Violin and Piano) Signor POZNANSKI and Miss HOSKIN - De Beriot and Osborn . . .

[Advertisement], Leamington Spa Courier (7 January 1843), 2 (PAYWALL)

MISS ELIZA HOSKIN'S ESTABLISHMENT FOR YOUNG LADIES, No. 2, Leam Terrace, Leamington Spa, WILL RE-OPEN on MONDAY Next, January 9th, 1843. At the Midsummer Vacation the Pupils will be publicly examined, in the presence of their parents and friends. Terms For Board and General Education, 18 guineas per annum ditto, including French, Drawing, and Dancing, guineas per annum.
The ACADEMY for MUSIC and SINGING, conducted by Miss E. Hoskin, will also Re-Open the same day . . .

"MISSES E. HOSKIN AND SMITH'S CONCERT", Leamington Spa Courier (14 January 1843), 2 (PAYWALL)

A Private Morning Concert took place at the Music Hall, on Saturday last, at which there was a numerous attendance of fashionables. Miss SMITH was encored in Migliorucci's cavatina, "Salve Regina," in which she displayed great power of voice, as well as a considerable degree of execution. The instrumental performances of the Misses HOSKIN, and Mr. T. R. BELL, also came in for their due share of approbation. Mr. PERCY, and Mr. H. MARSHALL (the Conductor), ably assisted in the vocal department . . .

[Advertisement], Leamington Spa Courier (25 February 1843), 2 (PAYWALL)

MISS ELIZA HOSKIN ESPECTFULLY informs the Nobility and Gentry, that she gives (as well her Class Instruction), Private Lessons in MUSIC, SINGING, and DRAWING, either at her Academy, or at the Residences her Pupils. References of the highest respectability can be given.

"MISS ELIZA HOSKIN'S CONCERT", Leamington Spa Courier (23 March 1844), 2 (PAYWALL)

We have, this week, had once more the opportunity of listening to Madame CARADORI ALLAN, in the provinces, and cannot but regret that those through whose spirited conduct this rich treat has been afforded us, must necessarily find themselves but ill remunerated by the proceeds of the above musical entertainment. The concerts, more particularly that of the morning, were attended by a highly respectable company, to whom the vocal and instrumental selections appeared to afford the highest satisfaction. It would be alike a waste of space and time, albeit a pleasing theme, to enlarge upon the performances of Madame CARADORI ALLAN, and therefore brevity of praise will, individually and generally, be the soundest policy . . . Mr. HARRISON and Mrs. N. MERRIDEW, were received with marks of warm approbation . . . Mr. BELL's flute solos were marked by much talent, and the conductorship of Mr. H. MANDER, gave promise of future excellence. The piano-forte performances of Miss HOSKIN, manifested much improvemenent since we last had the pleasure of hearing her. She evinces much taste in her style of playing.

[Advertisement], Leamington Spa Courier (11 January 1845), 2 (PAYWALL)

MISS ELIZA HOSKIN BEGS to inform her Friends that her Establishment will RE-OPEN on MONDAY next, the 13th Instant.
TERMS: Boarders 20 Guineas per annum. Ditto, including Accomplishment, 30 Guineas ditto. Day Scholars Shillings per Quarter.

"Marriages", Banbury Guardian (17 July 1845), 3 (PAYWALL)

July 6, at Kenilworth, Mr. Charles Read, to Miss Eliza Hoskin, both of Leamington.

[Advertisement], Leamington Spa Courier (12 July 1845), 2 (PAYWALL)

WARWICK HOUSE, HIGH STREET, LEAMINGTON. MRS. CHARLES READ (Late Miss Eliza Hoskin), BEGS to inform her Friends that her Establishment will RE OPEN on MONDAY next, the 14th inst. . . .

[Advertisement], Leamington Spa Courier (11 December 1848), 2 (PAYWALL)

ROYAL ASSEMBLY ROOMS. MRS. CHARLES READ BEGS to inform her Patrons aud Friends that a Grand MORNING & EVENING CONCERT, will take place On FRIDAY NEXT, the 17th Instant, UNDER DISTINGUISHED PATRONAGE.
VOCALISTS. MISS SARA HAWSON [sic, HOWSON] Sister of the late Madame Albertazzi, MRS. E. PAGE, MR. E. PAGE.
Conductor, on the Grand Pianoforte, MR. EDWARD PAGE . . .

ASSOCIATIONS: Sarah Howson (vocalist, sister of Frank Howson and John Howson of Sydney, and of Emma Albertazzi)

England census, 30 March 1851, Leamington Priors, Warwickshire; UK National Archives, HO 107 / 2072 (PAYWALL)

17 Bedford St. / Charles Read / Head / 24 / Coach Maker / [born] Middlesex Marylebone
Eliza [Read] / Wife / 27 / Professor of Music / [born] Berks. Reading
Alfred [Read] / 5 / Scholar / [born] Warwick Leamington //

Sydney, NSW (from 1853):

List of passengers per Caroline Chisholm, for Port Phillip and Sydney, August 1853; Public Record Office Victoria (PAYWALL)

[From] London / Read Chas. / 26 / Choachmaker / Eng. / [for] Sydney
[Read] Eliza / 30 / Wife // Alfres / 6 // Thomas / 4 // Eliza / 3 // George / [under 12 months

[Advertisement], The Sydney Morning Herald (21 October 1853), 3

MRS. STANIFORTH begs to inform her friends and the parents of her pupils that she has engaged Mrs. Charles Read, professor of Music and Dancing, as Instructress in both these accomplishments, and that a class is now forming at Ariel Cottage for the newest and most approved dances taught in London and danced at all the nobility's Balls, including the much admired Tempête. Dancing day, Tuesday in every week, commencing on the 26th instant. Hours from 4 in the afternoon. Private lessons in music. Ariel Cottage, Redfern, October 20.

ASSOCIATIONS: Amy Susanna Staniforth (1792-1868); Staniforth was declared insolvent towards the end of the following year, 1854

[Advertisement], The Sydney Morning Herald (2 January 1854), 1

A CARD - Mrs. C. READ, formerly of the Royal Leamington Spa, professor of music, and teacher of drawing from nature, Crown-street, Surry Hills.

[Advertisement], Empire (29 December 1855), 1

ROYAL HOTEL JANUARY 1ST, 1855.- Madlle. J. J. TISROUX, has fixed her grand morning concert for New-Year's Day, when she will introduce Madame Malibran's "Una boca poco fa"; also Madlle. Jenny Lind's songs, Fatherland; Our parting is near, &c., &c.
Madlle. TISROUX will sing a well known French air, "Au que la moire," with her own variations; Kathleen Mavourneen; The Irish Emigrant;
assisted by Mrs. C. Read, pianist; Mr. Turner, Mr. Banks, Mrs. Finch, from London.
Doors open at half-past one, to commence at two.
Tickets to be had at Messrs. WOOLCOTT AND. CLARKE'S; Messrs. SANDON'S, George-street.

ASSOCIATIONS: Mlle. Tisroux (vocalist); John Turner (vocalist); Thomas Banks (vocalist); Mrs. Finch (vocalist); the concert was postponed till February

[Advertisement], The Sydney Morning Herald (27 February 1856), 1

ROYAL HOTEL. - MADEMOISELLE C. T. I. TISROUX has the honour to inform the ladies and gentlemen, her friends, and the inhabitants of Sydney, that her GRAND EVENING CONCERT will take place
THIS EVENING, Wednesday, 27th February, when Mademoiselle C. T. I. TISROUX will Introduce Madame Malibran's beautiful "Una Voce Poco Fa," "Do not mingle," "Katheen Mavourneen," a well known French air, "Oh, que l'amour," with her own embellishments.
Mademoiselle C. T. I. Tisroux has engaged Mr. T. L. VAN DE STADT, who will play "Bonheur De Se Revoir, Fantasia," for the flute, accompanied by Mrs. C. READ.
Also will sing the "Marseillaise," and the celebrated singer, Miss MONTAGUE, who will make her first appearance at this concert in Sydney, will sing "Love not," and "Happy Moments."
Mr. BANKS will introduce some favourite ballads. A fantasia on piano by Mrs. C. READ.
Tickets, 5s.; reserved seats, 7s. 6d.; to be had of Mr. Johnson, Pitt-street; Messrs. Sandon and Co. George-street; and at the Bar of the Hotel. Doors open at half-past seven, to commence at eight. Schools and children at half price.

ASSOCIATIONS: T. L. Van de Stadt (flute)

"COURT OF REQUESTS. £30 JURISDICTION . . . TISCROUX V. READ", Empire (24 July 1856), 3 

In this case, which had been previously tried on more occasions than one, the plaintiff sought to recover a sum of money for which the defendant had become liable under the following circumstances: - About a year ago, the plaintiff, who is a professor of music, gave a concert in the Royal Hotel, at which the defendant and his wife assisted the former as ticket-taker, the latter as a singer. Previous to the holding of the concert plaintiff gave a number of tickets to defendant's wife (130) all of which the latter signed with her initials, and by these tickets persons attending the concert were to gain admissions, an arrangement was entered into between the parties by which the defendant's wife was to pay herself from the proceeds of the sale of the tickets, for her professional services. It was stated in evidence that some two hundred persons attended the concert, at the close of which 135 tickets were returned by defendant, the ticket-taker, to plaintiff; of the proceeds, however, the sum received by the plaintiff was a mere trifle, and on her applying to Mrs. Read for an account of the tickets sold by her, the latter accounted for but a few of those alleged to have been entrusted to her for sale, in all 130. The number of tickets issued altogether was 177. There was some difficulty in eliciting the facts of the case, from the excitable temper of the plaintiff. A former action on the same plaint as the above was nonsuited, the plaintiff having in error proceeded against the defendant's wife. For the defence it was contended that Mrs. Read had not disposed of the tickets enumerated, nor had she retained them for sale - that she merely put her initials to them, after which they were returned, or most of them, to plaintiff. Evidence was also given to show that, a day or two previous to that named for the concert, the price of the tickets was reduced one-half, and also that plaintiff complained of having herself lost a number of those tickets, for which she was now suing defendant. It was also contended that defendant was not liable, as it was without his concurrence, knowledge, or eonscnt, that his wife had acted in the matter, his nonor, in submitting the case to the assessors, explained the law of liability of husbands for the acts of their wives, and showed that in this case the husband had shown by his own acts that he had acquiesced in those of his wife, making him, therefore, liable. The question as to the reduction in the price of the tickets, and how much should be allowed for that reduction, was left to tho assessors. The sum claimed was £27. The Court gave a verdict in favour of plaintiif; amount, £20 18s. Attorney for the plaintiff, Mr. Michael; for the defendant, Mr. Newbon.

[Advertisement], The Sydney Morning Herald (16 November 1859), 8

DANCING DEPORTMENT. - Mrs. C. READ'S CLASSES are held at her residence, 13, Macquarie-street South.

"COMPLIMENTARY BALL TO MRS. C. READ", Empire (8 September 1860), 5 

LAST evening a complimentary ball was given to the above lady by her pupils, at Mr. John Clark's Assembly Rooms. About sixty couples were present, and the ball was a very successful one in all its arrangements. The splendid and spacious room in which it was held was gaily decorated with a variety of flags. Mrs. Read has for many years, both in England and Australia, been a teacher of the Terpsichorean art, and this ball was the spontaneous expression of the esteem on the part of her many pupils in which she was held. The ball opened et nine o'clock with a quadrille, and dancing was continued spiritedly until half-past twelve, when the assemblage adjourned to the supper room. Here everything was prepared in a most recherche style, by Mr. Clark. Mr. W. H. Stephens occupied the chair . . .

ASSOCIATIONS: John Clark (dancing master); W. H. Stephens (chair)

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

COMPLIMENTARY BALL to Mrs. C. READ, on FRIDAY, 16th January, 1863. - To those friends desirous to honour with their presence, will please make early application, as the number being strictly limited. Names to be forwarded to the committee, to tho care of Mr. ALFRED READ, 75, William-street, where tickets can be had.

"PADDINGTON", The Sydney Morning Herald (10 August 1868), 2

A meeting of this Council was held, pursuant to notice, on Tuesday, the 4th instant . . . Letters were read . . . From Mrs. Charles Read, requesting permission to use the Council room on one night in each week for a select dancing-class . . . On motion . . . Moved by Alderman Stone and Westaway, - "That Mrs. Charles Read's request be not complied with." Carried . . .

[Advertisement], The Sydney Morning Herald (13 November 1874), 1

MR. ALFRED READ, Pianist, plays for private parties, violin if required. 66, Crown-street.

[Advertisement], The Sydney Morning Herald (5 December 1874), 4

NEWTOWN. - Mr. ALFRED READ intends having a private Quadrille Assembly, at the Town Hall, on FRIDAY next, 11th instant. 'Bus leaves for Sydney after the party. Tickets, 7s 6d.

[News], The Sydney Morning Herald (20 December 1902), 11

On Thursday evening last, at the Assembly Rooms, William street the pupils of Mrs. Charles Read presented her with an address and a 50-piece dinner service.

"DEATHS", The Sydney Morning Herald (15 June 1905), 6

READ - June 13, 1905, at her residence, 71 William-street, Eliza Read, relict of Mr Charles Read, 44 years a resident of William-street.

"DEATHS", The Sydney Morning Herald (17 June 1905), 10

READ. - At her residence, 71 William-street, Mrs. Chas. Read, 50 years teacher of dancing in this city, dearly loved mother of Mr. Alfred Read, dancing master.

"WOMAN'S COLUMN", The Newsletter: an Australian Paper for Australian People (24 June 1905), 13

Mrs. Read, mother of Mr. Read, the dancing master, passed away last week, at an advanced age. To live for 44 years in one street is in itself a feat, especially in a new country, whilst the road is yet a-making. Mrs. Read was a highly accomplished woman, and had a museum in miniature of curiosities which she showed to the many hundreds of friends and pupils which she possessed. Her long useful life was spent in teaching as well as bringing up a family of sons and daughters. For 22 years she was in the staff of professors at Subiaco Convent.

"PERSONAL", Freeman's Journal (1 July 1905), 18

A very old Sydney identity passed out last week in Mrs. Read, whose dancing rooms have been a feature of William-street for 44 years. She leaves a son who figures as a courtly master of ceremonies at many of Sydney's society dances.

[News], Australian Town and Country Journal (12 July 1905), 29

"L.W.: Fifty Years a Dancing Teacher in Sydney" was recorded of a lately passed-away lady, who had lived for 45 years in William-street, where her academy was, and where she had taught many hundreds of pupils the graceful art of dancing, deportment, and the etiquette of ballroom. But times have changed since the dear old lady so recently dead, first taught the waltz, as it was danced half a century ago. In 1814 the dances were the centre [contre] dance, jigs, and reels, the quadrille being then brought from Paris to England, when, it was a stately measure, only to be walked through. The measures trod after that notable ball before Waterloo written about by Lord Byron, "On with the dance-let joy be unconfined," may have included the then only coming in waltz, which was considered very improper by our ancestors. Fifty years ago the quadrilles we waltzed to very slow time, and the waltz was dignified, compared to now. It was considered "difficult to accomplish, and an art only suitable for ladies and gentlemen." When the polka first became fashionable, it was a little short jog, to "Pop goes the Weasle." Miss Piper, the daughter of Captain Piper, of the Point named after him, first introduced it in Bathurst, where she taught the young officers stationed there. Mrs. Read taught it to nearly everyone in Sydney in her day. But what shock to the artistic sensibilities of anyone who knows the ballroom of 50 years ago would it be to visit the Sydney Town Hall when a charity dance is in progress, or watch the young folk do a "barn dance," a "cakewalk," or the "Society Lancers." The "pas seuls" and "pirouettes" that distinguished the graceful dancer of other days have gone out with the court courtesy, or "curtsey," and now the "cheeky little bob" is all that remains of that graceful movement.

"DEATHS", The Sydney Morning Herald (30 May 1907), 6

READ. - May 28, at his residence, Maneroo, Belmore-road, Randwick, Alfred Read, Prof. of Dancing, of William-street, city, aged 61 years.

[Advertisement], The Sydney Morning Herald (10 May 1913), 2  

DANCING, SUPERIOR CLASSES. Conducted by The MISSIS READ. Successors to Prof. Alfred Read and Mrs. Chas. Read . . .

Musical and other works:

The irresistible galop (1865)

The irresistible galop, for the pianoforte, composed and dedicated, by permission, to His Worship, the Mayor of Sydney (C. J. Roberts, esq.) by Mrs. C. Read (Sydney: Elvy & Co., [1865]) (DIGITISED)

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


ASSOCIATIONS: Robert Hammond Elvy (publisher); see also Nervous cures galop by Montague Younger; Charles James Roberts (mayor, dedicatee)

"THE MUSICAL FESTIVAL", The Argus (9 April 1867), 5

. . . We could readily have dispensed with the "March of All Nations," which is the cheapest tinsel, and not worth the labour which Mr. Horsley has evidently expended on it . . . and the concert concluded with the galop " The Irresistible" . . .

ASSOCIATIONS: Charles Edward Horsley (composer, conductor)

The Sydney quadrilles (1868/69)

The Sydney quadrilles, dedicated to Mrs. James Martin, by Mrs. Charles Read (Sydney: J. Reading & Co., [1868]) (DIGITISED) (DIGITISED) (lacks cover)

[Advertisement], The Sydney Morning Herald (7 December 1868), 8

THE SYDNEY QUADRILLES will shortly be published, composed and arranged by Mrs. Charles Read, on the most popular airs of Sydney, dedicated, by permission, to Mrs. James Martin.

[Advertisement], The Sydney Morning Herald (15 January 1869), 1

THE SYDNEY QUADRILLES, by Mrs. Charles Read ; second edition. J. Reading and Co., George-st.

ASSOCIATIONS: Isabella Martin (dedicatee); James Reading (publisher)

Australian ball room guide (1874/75)

Australian ball room guide (1st edn. ? 1874/75); later edns. (DIGITISED)

[Advertisement], Australian Town and Country Journal (30 January 1875), 11

M. K. asks - Could you inform me whether there are any books for self-instruction in dancing and singing? where they are to be had? and what price? - Mrs. Read's Australian Ball-room Guide, by post 2s 2d.; Instruction in singing, by post 4s 6d. Both may be had from Cole, bookseller, King-street, Sydney.

"THE AUSTRALIAN BALL-ROOM GUIDE", The Maitland Mercury (29 January 1876), 4

We have received from the author, Mrs. C. Read, a copy of her "Australian Ball-room Guide," a little book that will be found of great value to those who are fond of the amusement of dancing. The bulk of the book is taken up with descriptions of -the various dances now in fashon, but there is a nicely-written preface in advocacy of the exercise, closing with some well chosen quotations having the same tendency, and followed by useful observations upon the etiquette of the ball room. There is also a variety of directions for calisthenics, at the end of the book. "The Ball room Guide" is well printed by Messrs. Gibbs, Shallard and Co., and ought to be very popular among young ladies and gentlemen who want a manual of dancing.

ASSOCIATIONS: Joseph Gibbs and Joseph Thomas Shallard (publishers)

[Advertisement], The Sydney Morning Herald (5 July 1888), 2

DANCING AS IT SHOULD BE. See Mrs. C. Read's AUSTRALIAN BALLROOM GUIDE. Price 1s 6d. 71, William-street, and stationers.

READING, James (James READING; J. READING; J. W. READING [? Warwick])

Music-seller, music publisher, stationer, printer

Born Warwickshire, England, 20 September 1811; baptised Brook Street chapel, Warwick, 27 October 1811, son of James READING and Sarah ?
Arrived Sydney, NSW, 26 September 1838 (per Lady Fitzherbert, from London, 17 May)
Married Tabitha THRELKELD (1821-1904), Independent chapel, Sydney, NSW, 18 May 1843
Active as "Reading and Wellbank", 1853-68 (taking over J. R. Clarke's premises, plates, and stock-in-trade, July 1864)
Active as "J. Reading and Co. Music Publishers and Sellers", 1868-78/79
Died Sydney, NSW, 15/17 June 1878, aged 67 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Isaac Wellbank (business partner)


James Reading arrived in Sydney on the Lady Fitzherbert on 26 September 1838, with his sister, Sarah, her husband John Fairfax, and their 3 children (including their second son James Reading Fairfax).

In 1843, Reading married Tabitha Threlkeld, daughter of Lancelot Edward Threlkeld.


Registers of births, Brook Street Independent chapel, Warwick, Warwickshire; UK National Archives (PAYWALL)

James, son of James and Sarah Reading of the Parish of St. Mary., Warwick, born September 20th 1811 and baptized Oct'r 27 1811 . . .

"Shipping Intelligence", The Sydney Monitor (28 September 1838), 3 

On Wednesday [26th] . . . the barque Lady Fizherbert, 386 Tons, Captain James Ferrier, from London, 17th May. Lading Merchandise. Cabin Passengers . . . Mr. and Mrs. Fairfax and three children, James Reading . . .

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

This Morning is Published. No. III. Of the New South Wales Monthly Magazine.
CONTENTS . . . Sacred Music, No. II . . .
Printed by James Reading King-street, opposite Messrs. O'Reilly and Bradley's, and sold by all Booksellers.

"MARRIAGE", The Sydney Morning Herald (22 May 1843), 3 

On Thursday last, at the Independent Chapel, by the Rev. Dr. Ross, Mr. James Reading, to Tabitha, second daughter of the Rev. L. E. Threlkeld.

[Advertisement], The Sydney Morning Herald (22 October 1853), 3

NOTICE. THE undersigned have this day entered into partnership, in the business of General Printers, &c.
October 22, 1853.

"BIRTHS", The Sydney Morning Herald (2 October 1855), 8

On the 1st instant, at her residence, Bourke-street, Surry Hills, Mrs. J. W. Reading, of a daughter.

[Advertisement], The Sydney Morning Herald (5 July 1864), 2 

MUSIC, BOOK, and PRINT DEPOSITORY . . . 356, George-street (late Clarke's), Sydney.
READING and WELLBANK beg respectfully to announce to their friends and the public of New South Wales, that they have purchased from the trustees of the estate of Mr. J. R. Clarke, the whole of the Stock, comprising Music, Oil Paintings, Engravings, Framed and Unframed Lithographic and other Prints, Photographs, Stereoscopes and Slides, Photographic Albums . . .
The large and choice selection of printed music, vocal and instrumental, for which the establishment is already celebrated, will be supplemented by monthly importations - per Overland Mail - of every new and popular publication from London.
Catalogues of the principal Songs, Pieces, &c., are in course of preparation, and, when ready, may be had on application gratis . . .

[Advertisement], The Sydney Morning Herald (16 July 1868), 1

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

NOTICE. - Mr. JAMES READING, the surviving partner in the firm of "Reading and Wellbank," of No. 366, George-street, and No. 13, Bridge-street, Book and Music Sellers, Stationers and Printers, having purchased from the Executrix of the late Mr. Isaac Wellbank all her interest in the business, begs to announce that in future it will be carried on under the name, style, and firm of JAMES READING and CO. Sydney, 28th August, 1868.

[Advertisement], The Sydney Morning Herald (12 October 1868), 8

God bless our Sailor Prince; Glover's popular patriotic song (with chorus), 2s 6d, per post 2s 8d; The Goodbye at the Door, sung by Mr. Lascelles, 2s, per post 2s 2d.
Who's at my window? 2s ; Ye tears, 2s; No one to love, 1s 6d; "I cannot sing the old songs," 2s 8d; Home, sweet home, 6d ; and Alice, where art thou? 2s; all sung by Madame Anna Bishop.
Per Mail Steamer. - The Songs, Duets, and Pianoforte Pieces from Verdi's "I due Foscari."
J. READING and CO., Music Sellers, 356, George-street.

[2 music advertisements], The Sydney Morning Herald (19 October 1868), 8 

POPULAR SONGS, Pieces, Solos, Duets, and Dance Music, for SALE by J. READING and CO., Music Sellers, 360, George-street . . . [stock list]

NEW MUSIC. KAIKOURA WALTZES, by Miss Drewe, 3s, post 3s 2d;
I'VE WAITED AND WATCHED, by J. C, Fisher, 2s 6d, post 2s 8d.
NO ONE TO LOVE, as sung by Madame Anna Bishop, price 2s, post 2s 2d.
J. READING mid CO., Music Publishers and Sellers, 356, George-street, Sydney.

[Advertisement], The Sydney Morning Herald (15 May 1871), 8 

POPULAR COLONIAL MUSIC - Kaikoura waltzes, 3s,; Bombay galop, 3s.; "Love among the roses," Schottische, 1s. 6d.; Australian mazurka, 2s.; Cornstalk polka, 2s 6d. J. READING and CO., Musicsellers.

"DEATHS", The Sydney Morning Herald (19 June 1878), 1

READING. - June 17, at his late residence, Premier-terrace, William-street, James Reading, late of Warwick, England, aged 63 years.

[2 music advertisements], The Sydney Morning Herald (3 February 1879), 10

JAS. READING and CO. respectfully intimate that in their Clearance Sale of


Musical editions:

Reading and Wellbank (sample): (TROVE tagged by Australharmony)

Be kind to the loved ones at home, Christy's minstrels song and chorus, sung by Mr. Charles Stewart (Sydney: Reading and Wellbank, [? 1863/64]) (DIGITISED)

The Molly Asthore waltzes composed by Douglas Callen (Sydney: Reading and Wellbank, [1864 or later]) 

From J. R. Clarke's plates

Grand octave waltz for the pianoforte by Alexander Rea (Sydney: Reading & Wellbank, [1864]) (DIGITISED)

Under the holly, a cantata, words written by Robert P. Whitworth; music composed by James C. Fisher, for the Sydney Tonic Sol-Fa Association [wordbook only] (Sydney: Reading & Wellbank, 1865) 

Royal sailor waltzes, by the composer Edward Lord, Jnr. (Sydney: Reading and Wellbank, [1868]) (DIGITISED)

Hymn, a tribute to Prince Alfred, to whom by special permission it is respectfully dedicated by Montague Younger [words by L. M. Harrison] (Sydney: Reading and Wellbank, [1868]) (DIGITISED)

J. Reading and Co. (from 1868): (TROVE tagged by Australharmony)

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 225-26 (DIGITISED)


Musician, vocalist, banjoist, flutina player, delineator, dancer, minstrel, serenader

Arrived (1) Sydney, NSW, by April 1850
Departed (1) Fremantle, WA, 10 December (per Royal Saxon, for Calcutta)
Arrived (2) Melbourne, VIC, 2 May 1853 (per Marlborough, from Calcutta, 12 March)
Active Sydney, NSW, until 1856 (TROVE tagged by Australharmony) (shareable link to this entry)


Nothing can be discovered of the identity of the minstrel-serenader James W. Reading before of after his first and last documented appearances in Sydney, respectively in 1850 (definitely) and 1856 (probably). As to nationality, he was perhaps more probably, like earliest-known associates, English-born, rather than north American, though this is by no means certain.

Reading was a foundation member of the Blythe Waterland Serenders in Sydney in March-April 1850, originally a quartet also consisting of Henry Burton (who performed as Blythe Waterland), and the brothers Charles and George Mason (who performed as Charles and George Howard). It is possible, therefore, that "Reading" was likewise a stage pseudonym. Burton had arrived in the colonies in Adelaide in December 1849, and the Mason/Howards were probably new arrivals in Sydney in March 1850, and it is perhaps likely that Reading arrived with one or the other of them.

After a provinvial tour northwards and into the Hunter region of NSW at the end of May, the Howards left the combination in Sydney in June and formed their own new troupe. Evidently smarting at the defection, Reading and Burton went on alone to Goulburn and Bathurst, and by late July were in Melbourne, rebranded as "Waterland and Reading's Serenaders".

By the time they arrived in Hobart in early August 1850, they had engaged two other company members, Lavater West and S. Walgrove.

By early November 1850 Burton/Waterland had also left the company. He was replaced by the well-known local actor and vocalist John Proctor Hydes, and under the banner of "Reading and Hydes' Ehtiopian Serenaders", the quartet appeared in Brisbane and Sydney before the end of the year, before apparently disbanding.

During the summer season of early 1851, Reading appears to have been a regular company member at the Royal Victoria Theatre, Sydney. By April, however, he had teamed up again with the Mason/Howards and in May and June toured with them to South Australia as the "Ohio Serenaders".

Back in Sydney in late September 1851, Reading joined the originally American company, the New York Serenaders for the remainder of their Sydney season, replacing Charles Cushing, who had returned to California. After their last Sydney performance in October, Reading and the company sailed on the Royal Saxon, bound for Calcutta, but made the most of layovers en route to give concerts in Hobart and Perth.

Having sailed from Calcutta via Ceylon, they were based in Bombay from July to November 1852, giving concerts at the Grant Road Theatre. Despite their earlier advertised intention to sail on for Europe, in March 1853 they left Calcutta on the Marlborough to return to Australia, and arrived in Melbourne in May. Travelling on to Sydney, the troupe then resumed performing there until December, when they decided to disband.

Reading was back in Sydney in the early part of 1854, billed to appear at the Victoria Theatre in January and March. Thereafter, his movements are undocumented until May-June 1855, when he joined one of the Mason/Howards, and Joseph Fairchild (alias Faulkner) and Frederick Harrington, all then Sydney-based, in an ad hoc minstrel combination engaged by Moreton Bay entrepreneur John Cooling to give concerts in Brisbane and Ipswich.

Finally, in Sydney in August 1856, he was probably the Mr. Reading who, as "Squibby", was one of trio of minstrels, also including Felix Garmone ("Sambo") and J. W. Brenni ("Bingy"), who were "engaged expressly to give effect to the delineation of slave life", in Frank Fowler's theatrical adaptation of Uncle Tom's cabin, at the Lyceum Theatre.


[Advertisement], The Sydney Morning Herald (5 April 1850), 1

ON account of the enthusiastic reception with which Blythe Waterland's Serenaders were received on both Monday and Wednesday Evenings, they will give another Ethiopian Concert on Saturday, the 6th April, when those who did not go on the other evenings, may have an opportunity of witnessing these graphic delineations of Ethiopian Character.
Part I.
Overture - Caliph of Bagdad - Company
Song and Chorus - Buffalo Gals - James W. Reading
Melody - (Banjo.) Pretty Little Dark-ey'd Maid - B. Waterland
Lament - Ole Uncle Ned - George B. Howard
Song - (Banjo.) Don't believe in Stephen - B. Waterland
Refrain - Lynchburg Town - Charles V. Howard
Song and Chorus - Walk along John - James W. Reading
Song - (Banjo.) Lucy Long - B. Waterland
Song and Chorus - (Two Banjos.) - Neber do to gib it up so - James W. Reading
Part II.
Solo - (Banjo.) Christ Church Bells - James W. Reading
Song and Chorus - (Two Banjos ) Oh, Susunnah - J. W. Reading
Ballad - Rosa Lee - George B. Howard
Medley - (Banjo.) De tinkling ob de Banjo - B. Waterland
Song and Chorus - Johnny Bicker - Charles V. Howard
Ballad - (Two Banjos.) Dearest Mae. - George B. Howard
Song - (Banjo.) Dandy Jim - B. Waterland
Refrain and Chorus - Ole Grey Goose - Charles V. Howard
De whole to conclude wid de celumbrated Slow Movement Quick Step known as de RAILWAY GALLOP!!
Doors open at half-past seven, to commence at eight precisely. Admission 2s.; reserved seats 3s.

"ETHIOPIAN SERENADERS", Bell's Life in Sydney (6 April 1850), 3

Mr. Blythe Waterland, Mr. C. V. Howard, Mr. G. B. Howard, and Mr. J. W. Reading, have given two concerts at the Royal Hotel, which have been remarkably successful. This company has the merit of being the first that has brought the peculiarities of the "[REDACTED]," in a contracted way, before the Sydney public. Mr. Hydes, at the Victoria Theatre, had preciously paved the way for these ebon eccentricities, and very cleverly he pourtrayed them; but he was alone, and did not possess the advantages which these gentlemen can boast. There are in the new quartette two excellent banjo players, one equally good accordianist, and a first-rate trambourinist [sic], and these musical abilities, added to a strong perception, and marked delineation of character, render the Ethiopian Serenaders' Concert one of the best features in the city. Their efforts have fortunately been rewarded. On Monday the room was crowded, and on Thursday there was (to use a theatrical term,) "a good house," although the attraction of Mr. Deane's Concert kept many away. It would be almost invidious, where the four are so good, to select any of their various performances; but we feel inclined to say, that Mr. Waterland's "Lucy-Long," Mr. Reading's "Christ Church Bells," Mr. G. B. Howard's "Rosa Lee," Mr. C. V. Howard's "Johnny Baker," and the "Railway Gallop," were the gems which sparkled most brightly in the "dark" mine of entertainment. These gentlemen will repeat their performances on Saturday, after which they will, we are given to understand, commence a provincial tour. Windsor, during "the race time," being their first country "meet." If they there meet with success proportionate to their merits, they will have nothing to complain of.

ASSOCIATIONS: John Proctor Hydes (vocalist, acor); Edward Smith Deane (musician)

[Advertisement], The Sydney Morning Herald (14 June 1850), 3 

THE ETHIOPIAN 8ERENADERS. MESSSRS. BLYTHE WATERLAND, and J. W. READING, beg to notify to the public, in reference to an advertisement which appeared in yesterday's Herald from the Messrs. Howards, that they have selected a SPLENDID NEW BAND OF SERENADERS, which is now in active practice, and who will in a few days solicit the patronage of the public.
Messrs. Waterland and Reading's motive for this announcement is to guard their former supporters from being imposed upon by pretenders, whose only claim is the circumstance of their having once been engaged as part of their Company.
Sydney, June 13.

"SHIPPING NEWS", The Courier [Hobart, TAS] (7 August 1850), 2 

6 - Arrived the schooner Martha and Elizabeth, 81 tons, White, from Port Phillip, with stock. Cabin - Mr. Waterland, Mr. Reading, Mr. West, Mr. Walgrove, the Ethiopian Serenaders.

[Advertisement], The Courier (31 August 1850), 1

MR. J. W. READING begs to inform the inhabitants of Hobart Town and its vicinity, that his BENEFIT is fixed for TUESDAY NEXT, the 3rd of September . . .
MR. J. W. R. for that night has chosen some of the best and choicest of the Ethiopian Melodies, being HIS LAST APPEARANCE in Hobart Town.

"THE SERENADERS", Bell's Life in Sydney (9 November 1850), 2

Mr. J. P. Hydes having fraternized with Mr. Reading, the original Bones of the Serenading Company, from which Mr. Waterland has retired, a series of Ethiopian Concerts have been announced by these gentlemen, who purpose giving farewell entertainments in the country districts and the metropolis prior to their departure for California. The popularity and unquestionable talent of Mr. Hydes augurs well for their success, and our best wishes will attend them on their profesional travels. They purpose leaving their P. P. C. cards with their Maitland and Newcastle friends during the ensuing week.

[Advertisement], The Moreton Bay Courier (23 November 1850), 4

MR. J. W. READING and. MR. J. P. HYDES respectfully to inform the inhabitants of IPSWICH and its vicinity, that they will give their
ETHIOPIAN ENTERTAINMENTS on SATURDAY, MONDAY, and TUESDAY Evenings, November 23, 25, and 26, 1850.
GRAND MEDLEY - Overture - Full Band
SONG & CHORUS - Ware am de spot - L. West
CHAUNT - Walk Jaw Bone - S. Walgrove
REFRAIN - Cynthia Sue - J. P. Hydes
SONG - Jonny Boker - J. W. Reading
LAMENT - Carry me back to Ole Virginny - L. West
SOLO - (Flutina) - J. W. Reading
CHAUNT - Ole Joe - S. Walgrove
SONG - Come Day, Go Day - J. W. Reading
(An interval of ten minutes.)
SOLO - (Banjo) - Bells - J. W. Reading
OPERATIC BURLESQUE - Stop dat Knocking - L. West
SONG - Ipswich Gals - J. P. Hydes
CHAUNT - Oh Susannah - J. W. Reading
EXTRAVAGANZA - Ole Dan Tucker - S. Walgrove
REFRAIN - Dearest Mae - L. West
Duet - Whistle and Bones - Reading & Hydes
MELODY - De Sandy Boy - J. W. Reading
SONG AND CHORUS - Ginger Blue - J. P. Hydes
The whole to conclude wid de RAILWAY GALLOP.
Front Seats, 3s.. Back Seats, 2s.-Doors open at half-past 7, to commence at 8 precisely.
*** An entire change on Tuesday Evening.

[Advertisement], The Sydney Morning Herald (9 December 1850), 3

First appearance in Sydney of Reading and Hydes' celebrated company of ETHIOPIAN SERENADERS.
MESSRS. READING and HYDES (the latter formerly of the Royal Victoria Theatre, Sydney,) having returned from a highly successful trip throughout the district of Moreton Bay, respectfully announce to their patrons and friends, that they will give a short series of THREE ETHIOPIAN CONCERTS, at the Royal Hotel, commencing on THIS EVENING, December 9.
The unprecedented success and boisterous applause that has hitherto attended these gentlemen's efforts, induces them confidently to invite the families of Sydney to their Farewell Concerts, where they will hear to the highest perfection the music of the American Banjo, by Professor Reading . . .

"ROYAL VICTORIA THEATRE", The People's Advocate and New South Wales Vindicator (8 March 1851), 2 

We understand that Mr. J. W. Reading, who short a time as he has been in Sydney, has become a special favourite, will take his first benefit at the Victoria on Thursday next. Those whom he has so heartily gratified on many occasions will not fail to go and listen to him, and all we regret is that we have heard it is his farewell to the Sydney stage. Poor "Bones" is going back to "ole Virginny."

[Advertisement], The Sydney Morning Herald (13 March 1851), 2 

THIS EVENING, MARCH 13, Being his farewell appeal to a Sydney audience, and his Last Appearance at this Theatre.
Mr. Reading for the last time as the real Virginian [REDACTED]! . . .
The Evening's Entertainments will commence with a Drama of great interest, entitled CARLINE, THE FEMALE BRIGAND.
After which, Mr. Reading will appear as the real Virginian [REDACTED], and sing, (first time) "Clar de Kitchen," in character, Banjo accompaniment, assisted by Mr. Strong, on the violin . . .
[REDACTED] Song, "Dandy Jim," Mr. Reading, bone castanets accompaniment.
The whole to conclude nilli the favorite und laughable Farce, entitled SLASHER AND CRASHER.
Boxes may be secured . . . of Mr. Reading, at his residence, Clarence-street North, near Petty's Hotel . . .

[Advertisement], Empire (4 April 1851), 1

MESSRS. HOWARD beg respectfully to announce that they will (in conjunction with Mr. J. W. Reading, late of the "Victoria Theatre,") give another of their popular Ethiopian Entertainments, in the Saloon of the Royal Hotel, THIS EVENING, Friday. April 4th, when several novelties will be introduced.
Admission, 1s.; Front Seats, 2s. Doors open at half past 7; to commence at 8 o'clock.
N.B. - Messrs. Howard and Reading, the original sorenaders of this colony, will, on and after this date, be known as the "Ohio Serenaders."

"DEPARTURES", Empire (14 May 1851), 2 

May 13. - Wild Irish Girl, brig, 125 tons, Captain Todd, for Adelaide. Passengers - Mr. Howard, Mr. G. Howard, Mr. Reading . . .

[Advertisement], Adelaide Times (13 June 1851), 2 

OHIO SERENADERS. THIRD FASHIONABLE ENTERTAINMENT. Change of Programme. MESSRS. HOWARD and READING . . . will gire their THIRD CONCERT in Adelaide THIS EVENING (Friday), June 13th, at the EXCHANGE ROOMS, King William-street . . .

[Advertisement], Empire (26 September 1851), 1 

ROYAL HOTEL. NEW YORK SERENADERS . . . will give their Thirty-sixth Ethiopian Musical Soiree at the abovo Hotel, This EVENING, Friday, September 26th, on which oocasion they will be assisted by Mr. Reading, who will also play one of his Banjo solos . . .

[Advertisement], Empire (22 October 1851), 1 

Banjo solo - "Christ Church Bells" - Mr. Reading.
done duet - Messrs. Lee and Reading . . .
Jenny get your hoe-cake done - Mr. Reading . . .
Juliana Johnson - Mr. Reading . . .

"DEPARTURES", The Sydney Morning Herald (27 October 1851), 2

OctobeT 26. - Royal Saxon, barque, 510 tons, Captain Charlesworth, for Calcutta via Hobart Town. Passengers . . . Messrs. J. C. Kitts, J. P. Nash, J. C. Lee, W. H. White, W. J. Reading, J. C. Pierce . . .

"THE NEW YORK SERENADERS", The Courier (15 November 1851), 3

. . . The Sydney journals bear ample testimony to their abilities. Upon their departure hence one of their number left them, but fortunately an able substitute was found in Mr J. W. Reading, formerly of the Ethiopian Serenaders of Sydney. Their route to Europe being by way of Calcutta, passages were taken in the Royal Saxon, which touched here to ship horses. Advantage was taken of this opportunity, and the company gave two soirees at the Theatre on Monday and Wednesday evenings last . . . Mr. Reading has assumed Mr. Cushing's place as a banjoist. Mr. Kitts performs the second instrument of that character . . .

"THE NEW YORK ETHIOPIAN SERENADERS", The Perth Gazette and Independent Journal of Politics and News [Perth, WA] (12 December 1851), 4 

A party of minstrels under the above name, arrived in the colony on Saturday last, per Royal Saxon, from Sydney, on their way to Calcutta, and on the evenings of Monday and Tuesday last, enlivened our metropolis with two vocal and instrumental concerts . . .

India and South Asia (early 1852 to March 1853):

[Advertisement], Bombay Gazette (28 June 1852), 1 (PAYWALL)

NEW YORK SERENADERS . . . intend giving a Series of ETHIOPIAN MUSICAL SOIREES IN BOMBAY, and will arrive in that City by the July Steamer from Ceylon . . .
This company was organized in the United States in 1848, and performed there with great success; and have since given their Entertainments in South America, California, Sandwich Islands, Society Wands, Van Diemen's Land, Australia, Bengal and Madras Presidencies, and Ceylon - and are now "En-Route" to the Continent of Europe and Great Britain . . .

"THE SECOND ETHIOPIAN SERENADE . . .", Bombay Gazette (20 October 1852), 3 (PAYWALL)

. . . since the return of the New York Serenaders to Bombay, came off on Monday evening et the Grant Read Theatre, but the house was not well filled . . . in the "Trio" Mr. Reading was very suceessful; he is decidedly a very humorous player. "The Locomotive Rail Road Overture" was very ingenious and entertaining . . .

[Advertisement], Bombay Gazette (15 November 1852), 1 (PAYWALL)

the company leave for Calcutta in the Steamer Ganges, on the 16th . . .

Australia (May 1853 to August 1856):

"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (3 May 1853), 4 

May 2 - Marlborough ship, 1210 tons, Allen Young, from Calcutta 12th March. Passengers - cabin: . . . . J. W. Reading, J. O. Pearce [sic], J. C. Lee, J. E. Kitts, J. P. Nash . . .

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (17 May 1853), 2 

May 16. - Mary and Ellen, schooner, 140 tons, Captain Tucker, from Melbourne 11th instant. Passengers . . . Messrs. Kitts, Pearce, Lee, Redding [sic] . . .

[Advertisement], The Sydney Morning Herald (1 December 1853), 5

ROYAL HOTEL. - This Evening, Thursday, December 1. - Mr. J. W. Reading's Benefit.
Grand Solo on the Bellows . . . Go and hear the Solo on the kitchen bellows . . . Last Concert but three of the New York Serenaders . . .

"NEW YORK SERENADERS", Illustrated Sydney News (3 December 1853), 6 

The farewell benefit of Mr. J. E. Kitts took place on Monday evening, as announced in our last, when we were glad to see such a good house, although, from his recognised popularity, this was no more than we anticipated. On Thursday evening, Mr. J. W. Reading, (we believe the oldest delineator of negro character in the colony,) took his farewell benefit, and, as we expected, from the excellent bill presented, was greeted with a bumper house. We would recommend Mr. Reading, however, to confine himself, in future, to his own legitimate instruments, upon which he is really clever, without attempting to bloae [sic], or bellow music out of a pair of Bellows, although it was certainly far from being a failure . . .

[Advertisement], Empire (16 January 1854), 3 

Mr. Reading will appear and perform his inimitable [REDACTED] Break Down . . .

ASSOCIATIONS: George Herbert Rogers (actor, vocalist)

[Advertisement], The Sydney Morning Herald (2 March 1854), 2 

ROYAL VICTORIA THEATRE. THIS EVENING, MARCH 2. For the Benefit of a portion of the Members of the Orchestra . . . | the splendid Band of the 11th Regiment will attend and perform several of their most popular airs . . . Negro Melody, Dandy Jim, Mr. Reading . . .

"SHIPPING INTELLIGENCE", The Moreton Bay Courier (26 May 1855), 2 

May 25 - Waratah, steamer, 360 tons, Warner, from Sydney, 21st instant. Passengers. - His Honour the Chief Justice, the Hon. the Attorney-General . . . Mr. Mason, Mr. Falconer [sic], Mr. Reading, Mr. Harrington . . .

"COOLING'S CONCERTS", The Moreton Bay Courier (9 June 1855), 2 

We regret that Mr. Cooling's Concerts at the School of Arts, have not met with that degree of patronage which his enterprise and the merits of the company deserved. No doubt the attractions of the circus, being so novel in Brisbane, materially contributed to thin the attendance at the concerts, but it is a great pity to think that loss should be sustained by the projector of these amusements. On Tuesday evening there were scarcely twenty persons present, and it evidently required painful efforts on the part of the performers to be at all facetious before such a beggarly account of empty benches. The singing was very good, and without particularising other songs, we may mention that of Mr. Faulkner in "My Skiff am by de Shore," and Mr. Howard in "My Canoe," were particularly happy. But as a personification of the "[REDACTED]," Mr. Reading decidedly bore away the palm, and kept the audience constantly on the broad grin with his extraordinary contortions of body and feature. At the close of the performances on Tuesday evening, Mr. Howard came forward and returned thanks, announcing that they were about to proceed to Ipswich, and would again appear at the School of Arts on Thursday next, not as Ethiopian Serenaders, but in their own proper colour, when they would be assisted by Mr. Diggles in a variety of songs, duetts, &c. We think this a wise resolution, and hope that it will be patronised. Mr. Reading, the "Bones" of the party, then came forward, and, without speaking, made a very significant pantomimic address to the slender audience, intimating plainly enough that they were much disappointed at the poor patronage they had received. This little bit of ballet action was taken in good part. Indeed it would have been impossible to have denied it justice.

"IPSWICH (From our Correspondent)", The Moreton Bay Courier (16 June 1855), 2 

MR. COOLING'S Concerts of the Ethiopian Serenaders were undertaken chiefly on the strength of promises of support made by the Brisbane people. There, however, they proved a failure, bringing the enterprising speculator nothing but loss . . . Of the Company I have formed the opinion that they are much above the average in talent, though unequal to the most celebrated companies in the great merit of faithful imitation. They are first rate melodists, and very clever actors, but do not seem to have studied from nature. They may be, as Mr. Howard says, like captains of slave ships, getting their living by taking off the [REDACTED], but it is in some other slave trade than that on the coast of Africa. Mr. Harrington is possessed of genuine humour. Mr. Reading has great natural capacity for broad force [sic, ? farce], Mr. Howard is a very clever performer upon the flutina, and a very clever singer also, and Mr. Faulkner has a voice which is both very rich and possessed of great compass . . .

ASSOCIATIONS: John Cooling (concert promoter); Howards Serenaders (minstrel troupe); Faulkner = Joseph Fairchild (vocalist); Frederick Harrington (minstrel); Silvester Diggles (piano)

"SHIPPING. ARRIVALS", The Sydney Morning Herald (25 June 1855), 4 

June 23 - Boomerang (s. ) 400 tons, Captain Henry O'Reilly from Moreton Bay the 18th Instant. Passengers . . . Howard, Harrington, Reading, Fairchild . . .

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

OUR LYCEUM THEATRE, under the management of Messrs. Craven and Stephens.
UNCLE TOM'S CABIN TO-NIGHT. Miss A. M. QUINN, Mr. J. H. VINSON, and the whole of the powerful company with numerous auxiliaries. On MONDAY, August 25th, the performances will commence with (first time) an entirely new dramatic story (founded on Mrs. H. B. Stowe's popular work), and written expressly for Miss A. M. Quinn, with new plot, scenes, situations, and characters by Frank Fowler, Esq.,
Member of the Literary Institute of the British Empire, &c, of EVA, or LEAVES FROM UNCLE TOM'S CABIN.
The overture and entire music composed and arianged by M. Winterbottom; the new and appropriate scenery painted by Mr. Guy; the panorama of New Orleans by Mr. Thomas; the [REDACTED] dances and serenades by the Ethopian Minstrels engaged expressly to give effect to the delineation of slave life! . . .
Squibby, Mr. Reading; Sambo, Mr. German; Bingy, Mr. Brenny . . .
In the course of the piece - Chorus - "I'll throw myself away," Messrs. Brenny, Reading, German, &c. . . .
Chorus - "Mississippi am a berry fine boat," with banjo and tamborine accompaniment, Messrs. Brenny, Reading, and Felix German . . .

ASSOCIATIONS: Henry T. Craven and W. H. Stephens (proprietors); Frank Fowler (playwright); John Winterbottom (conductor); Felix Garmone (minstrel); J. W. Brenni (minstrel)

Musical works:

Songs of the serenaders (1850)

Songs of the serenaders, sung nightly by them, with great applause, before his excellency Sir Charles Augustus Fitz Roy, the hon. Mrs. Keith Stewart, and the elite of the aristocracy of New South Wales, part 1 (Sydney: Printed at Trood's Printing Office, n.d. [1850])

Words only; 12 pages; copy at State Library of New South Wales

[Advertisement], The Goulburn Herald and County of Argyle Advertiser (29 June 1850), 5 

. . . NOTICE - No. 1, of SONGS of the SERENADERS just published by Messrs. Waterland and Reading, may be had at the door, price 1s. each.

[Advertisement], The Sydney Morning Herald (17 October 1850), 1 

. . . NOTICE. - No. 1 of "Songs of the Serenaders,"
containing 12 Ethiopian Melodies, just published by Messrs. Waterland and Reading, and may be had at the door, price 1s.

Disambiguation - J. Reading (Adelaide, July 1852; ? J. W. Reading then in Bombay): (TROVE tagged by Australharmony)

[Advertisement], South Australian Register (10 July 1852), 4 

Will appear as the ETHIOPIAN SERENADERS!!
And sing the following Melodies . . . Rosa Mae - Mr. J. Reading . . .

ASSOCIATIONS: Troy Knight (minstrel); Frederick Newson (minstrel)

Bibliography and resources:

Richard Waterhouse, "Blackface and the beginnings of bifurcation: the minstrel show and the emergence of an Australian popular stage," Australasian drama studies 14 (1989), (125–47), 129, 131

REED, John (Serjeant John REED, 48th Regiment) = Serjeant REID

REED, Thomas (1795-1871) - see main page Thomas REED

Violinist, cellist, double bass player, string player, orchestra leader, music class leader, composer, music retailer

REED, Emma (1832-1915) (daughter of the above) - see main page Emma REED

Pianist, music teacher

REES, Alice = Madame VOGRICH


Minstrel, serenader, delineator

Active Castlemaine, VIC, by June 1856
Active Melbourne, VIC, 1858
Active Sydney, NSW, until September 1862 (shareable link to this entry)

ASSOCIATIONS: ? Fanny Reeves and family below


[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (3 June 1856), 1 

ALBERT HOTEL. Wonders will never Cease!!
MR. JONES, ever anxious to do all in his power to procure amusement for his friends and public, has, at considerable expense, succeeded in effecting an engagement with the above celebrated troupe of Minstrels, consisting of
Mr. C. Reeves - Sambo; Mr. H. Sharpe - Banjo; Mr. P. J. Stanley - Concertina; Mr. A. Seymore - Bones,
who will appear nightly in their inimitable Entertainment, characteristic of Negro life in the Southern States.
Re-engagement of MR. SMALL, The celebrated Comic Singer. Admission, One Shilling.

ASSOCIATIONS: Joe Small (vocalist)

[Advertisement], The Age [Melbourne, VIC] (6 May 1858), 1 

McCOWEN'S, Late Tilke's, CONCERT HALL, Bourke-street east . . .
The usual CONCERTS Will be held every Evening. The ladies and gentlemen at present engaged are - Madame Leon Naej, Mrs. Alfred Oakey, Miss Louisa Sutherland, Mr C. F. Percival, Mr G. Ellis, Mr. Burgess, Mr. Luntly, Mr. Reeves, and Mr. Miller. Pianist - Mr. Alfred Oakey. Manager - Mr. J. Miller.

ASSOCIATIONS: Eliza and Alfred Oakey (vocalist, pianist); Madame Leon Naej (vocalist); Charles F. Percival (vocalist); Joe Miller (comic vocalist, manager); George Ellis (comic vocalist); Philip Luntley (entertainer)

[Advertisement], The Argus (7 May 1858), 8 

TO CONCERTROOM PROPRIETORS. - THE OHIO SERENADERS, Messrs. Reeves, Luntly, and Burgess, will complete an engagement of three months at McCowan's (late Tilke's) City Concert Hall, on Saturday, May 8th, and will then be open for Re-ENGAGEMENT in town or country.
Address C. Reeves, McCowan's Concert Hall, Bourke-street, Melbourne.

"COSMOPOLITAN OPERA TROUPE", The Sydney Morning Herald (15 September 1862), 5 

The Cosmopolitan Opera Troupe, consisting of Mr. George Ellis, Mr. Charles Reeves, Mr. P. J. Luntley, Mr. C. Battle, and James Johnson, gave their first entertainment at the Temperance Hall, on Saturday evening, and were well received. Their performances gave much pleasure to the audience who appeared fully to appreciate the talent displayed by this little Company. They are to give another entertainment this evening.

REEVES, Charles Thomas (Charles Thomas REEVES; Charles REEVES; Mr. C. REEVES)

Amateur bass vocalist, choirmaster, conductor, carpenter

Born Surrey, England, 25 July 1820; baptised St. Mary's, Newington, 27 August 1820; son of Thomas REEVES and Lydia LUTHMAN
Married Bethia [Bithiah] MUTTON (1818-1880), St. Mary Magdalene, Peckham, 18 April 1843
Arrived Melbourne, VIC, February 1854 (per Mirzapore, from London, 13 October 1853)
Died Thomastown, VIC, 24 May 1890 (TROVE tagged by Australharmony) (shareable link to this entry)

REEVES, Fanny (Bethia Frances REEVES; Fanny REEVES; Miss F. REEVES; Mrs. Charles Robert POWELL)

Contralto (mezzo-soprano) vocalist, oratorio singer (pupil of Charles Castelli)

Born Camberwell, Surrey, England, 1846 (3rd quarter); daughter of Charles Thomas REEVES (1820-1890) and Bethia MUTTON [MOULTON] (1818-1880)
Arrived Melbourne, VIC, February 1854 (per Mirzapore, from London, 13 October 1853, aged "6")
Married Charles Robert POWELL (1845-1905), All Saints' church, east St. Kilda, VIC, 20 May 1869
Died Gordon, NSW, 17 August 1934 (TROVE tagged by Australharmony) (shareable link to this entry)


Bethia Frances (Fanny) Reeves was born in Camberwell, Surrey, in greater London, in the summer of 1846, the second surviving daughter of Charles Thomas Reeves, a master carpenter, and his wife Bethia Mutton. The Reeve family sailed from London on the Mirzapore in October 1853, arriving in Melbourne in February 1854, Fanny aged 7.

According to her obituary (1934), Fanny Reeves "was a member of the Reeves talented musical family of Victoria". The first documentary notice of the family was at a Wesleyan school concert, given by George Frederick South in December 1863, when the 17-year old Fanny appeared with her father Charles (Mr. C. Reeves) and (probably) her younger sister Emma (Miss E. Reeves). The eldest sister Eliza Mary, "Lizzy" (1844-1935, from 1872 Mrs. Abraham Osborne), would usually be listed simply as "Miss Reeves", as, perhaps, later for Sarah Mortley's concert in July 1865. Probably, however, several of the Reeves were also already undocumented rank-and-file chorus members of one or more Melbourne musical societies, in Charles's case, perhaps as early as the late 1850s.

It is possible, but by no means certain, that the Charles Reeves above was her father (above).

Fanny Reeves, a pupil of Charles Castelli, made her major Melbourne debut singing in the Melbourne Philhramonic Society's annual Christmas Messiah in 1864.

In a review of a concert in August 1865, she was described as:

. . . a pupil of Castelli, and a debutante of some promise. She is a mezzo-soprano, very pleasing, particularly in the lower notes, and gave evidence, in the singing of the Maid of Judah, and the Parting, by Mendelssohn, of cultivation and good taste.

She also sang frequently for the Orpheus Union. In August 1865, however, it was reported that she failed to appear as advertised, due to a bereavement in her family. Her younger sister Emma Harriet Reeves (1848-1865) had died in Melbourne on 9 August.

Her last major Melbourne appearance was again in the annual Christmas Messiah in 1867.

She married Charles Powell in 1869, and the couple resettled in Maryborough, Queensland, where Fanny continued to perform as a musical amateur, and where her husband was president of the local School of Arts.


1843, marriage solemnized in the district parish church in the parish of St. Mary Magdalene in the county of Surrey; London Metropolitan Archives (PAYWALL)

[No.] 6 / Charles reves / full age / Bachelor / carpenter / High St. Peckham / [father] Thomas Reeves / Carpenter
Bithiah Mutoon / full age / Spinster / - / High St. Peckham / [father] William Mutton / Gardener . . .

England census, 30 March 1851, Dulwich, Camberwell, Surrey; UK National Archives, HO 107 / 1580 (PAYWALL)

Crescent Cottage / Charles Reeves / Head / 30 / Carpenter Master / [born] Surrey . . .
Bithiah [Reeves] / Wife / 33 / Dress Maker / [born] Kent Ramsgate
Eliza Mary [Reeves] / Daur. / 7 / Scholar / [born] Surrey Camberwell
Bithiah Frances [Reeves] / 4 / [Scholar] / [born Surrey Camberwell]
Emma Harriet [Reeves] / 3 / at Home / [born Surrey Camberwell]
Cha's Wm. Reeves / Son / 1 / At Home / [born] Surrey Camberwell . . .

Passengers, per Mirzapore, from London, 13 October 1853, for Port Phillip, February 1854; Public Record Office Victoria (PAYWALL)

Reeves, Charles / 36 / Bethia / 34 // Emma / 4 // Eliza / 9 // Bethia / 6 // Charles / 3 // William / 2 // Henry / 7 months

"THE NEWS OF THE DAY", The Age (23 December 1863), 5 

A Christmas concert of sacred and secular music was given last evening in the Wesleyan Grammar Schools, Church street, Richmond, by the principal of the schools, Mr G. F. South, assisted by the members of the Juvenile Philharmonic Society. The attendance was very large, and for the most part consisted of ladies. The evening's entertainment commenced with some pieces of sacred music, after which the cantata of "Christ Stilling the Tempest," composed by Mr. South, was produced with great effect and ability, the soloists being - soprano, Miss E. Reeves; contralto, Miss F. Reeves; tenor, Mr. Wilson; and bass, Mr. C. Reeves. The composition of the piece reflects great credit on the musical talents of the composer . . .

ASSOCIATIONS: George Frederick South (composer, conductor);

"THE NEWS OF THE DAY", The Age (12 March 1864), 4 

We perceive from an advertisement in our issue of to-day, that special services will be held tomorrow in the East Melbourne Congregational Church, at the bottom of Victoria parade. The Rev. J. Beer, the pastor, will preach in the morning; and the Rev. Dr. Cairns in the evening. Also, on Tuesday next, a public tea meeting will be held . . . The choir, under the management of Mr. South, of Richmond, and assisted by Miss Watson, Mr. and Miss Reeves and others will sing some selections from the works of Handel and others.

ASSOCIATIONS: Bertha Watson (vocalist)

[Advertisement], The Argus (24 May 1864), 8

Will be given by the Richmond Juvenile Philharmonic Society and the Richmond Music Class,
Assisted by Miss MORTLEY, Miss FANNY REEVES, Mr. H. Wilson, Mr. C. Wilson. Mr. Spenseley, Mr. N. Fletcher, and others,
In the ARTILLERY ORDERLY-ROOM, Bridge-road, Richmond. THIS EVENING. Conductor, Mr. G. F. South. Admission, 1s.; reserved seats, 2s.

ASSOCIATIONS: Sarah Mortley (vocalist)

"THE PHILHARMONIC CONCERT", The Age (27 December 1864), 5 

The twelfth annual performance of Handel's great oratorio "The Messiah" by the Philharmonic Society, took place on Saturday evening, at the Exhibition Building, which was well filled in all parts on the occasion. His Excellency tho Govornor, who was to have attended, was kept away by pressing engagements. Miss Octavia Hamilton and Mr. Farquharson, who had been advertised to take part in the concert, were both absent, having given notice of their inability to attend, and their places were filled up by Mrs. Testar and Mr. F. Howson respectively. Madame Stuttaford, Miss Fanny Reeves (who made her debut on this occasion), Mr. Exon and Sig. Castelli were the other solo vocalists, supported by a numerous and excellently-trained chorus and orchestra. The baton was wielded by Mr C. E. Horsley with excellent effect, and Mr. W. C. Fisher led as first violin . . . The gems of the whole performance were . . . the sweet air, in which words of blessed promise are wedded to inspired strains, sung with simplicity and unaffected yet touching pathos, by Miss Reeves; and the melancholy song, "He was despised and rejected of men," an air full of sublime grief, sung by the same lady . . .

ASSOCIATIONS: Elizabeth Testar (vocalist); Charlotte Stuttaford (vocalist); Charles Castelli (vocalist, teacher); Edwin Exon (vocalist); Charles Edward Horsley (conductor); W. Carl Fischer (leader, violin)

"THE NEWS OF THE DAY", The Age (29 December 1864), 5 

A very pleasant concert, the fourth of the season, given by the members of the Orpheus Union, took place last night in St. George's Hall, Bourke-street . . . Signor Castelli was in good voice . . . The fine old English glee by Stevens to the words of Shakspeare, "Blow, Blow, thou Winter Wind," was deservedly applauded, as were also the ballad of "O My Lost Love," sung by Miss Fanny Reeves, and the pretty song of "Agatha," by Miss Mortley. Mr. Schott played a solo on that difficult instrument to manage, the oboe . . . The solos upon the pianoforte by Mr. Horsley were very cleverly executed . . .

ASSOCIATIONS: James Schott (oboe); Orpheus Union

[News], The Argus (27 February 1865), 4

The fourth of the series of vocal and instrumental concerts at the Polytechnic hall last evening was well attended, and the varied programme rendered with the artistic excellence which has distinguished the efforts of Castelli, Schott, Christen, and Horsley. A better selection of instrumental music, or better executed, has rarely been heard in Melbourne . . . An additional Interest was given to the concert of last night by the first appearance of Miss Fanny Reeves, a pupil of Castelli, and a debutante of some promise. She is a mezzo-soprano, very pleasing, particularly in the lower notes, and gave evidence, in the singing of the "Maid of Judah," and the "Parting," by Mendelssohn, of cultivation and good taste . . .

ASSOCIATIONS: Hugo Christen (bass vocalist)

"THE NEWS OF THE DAY", The Age (25 May 1865), 4 

The opening concert of the Orpheus Union for the season, was given, last evening, in St. George's Hall . . . Miss Fanny Reeves sand the ballad, "Come out to me," with considerable taste and good feeling, and she was deservedly complimented by an encore. Miss Reeves is a young lady of great natural capabilities, and she is already a decided favorite, and time and study will no doubt render her a still more valuable acquisition to the musical world of Melbourne, if she has the good sense to resist the bewildering influence of over-praise . . .

[News], The Argus (1 June 1865), 5 

A concert of sacred music was given by the choir of the Brunswick-street Wesleyan Church, on Tuesday evening, in the Wesleyan Schoolroom, King William-street, Fitzroy. The programme was selected from the works of Handel, Haydn, Mendelssohn, Sphor, &c. Miss Fanny Reeves, Mr. C. Blanchard, Mr. G. A. Johnson, and Mr. D. Beaumont were the artistes, with Mr. C. Reeves as conductor. Mr. J. A. Fielding presided at the piano.

ASSOCIATIONS: Charles Blanchard (vocalist); Daniel Beaumont (vocalist)

"THE NEWS OF THE DAY", The Age (11 July 1865), 4 

Miss Mortley's announced concert of sacred music, in aid of the building fund of St. Philip's Church, Hoddle-street, came off, last night, at the East Collingwood orderly-room; and, although the weather was rough and wet, there was an attendance of about 350 persons. Miss Mortley had the assistance of Miss Reeves, Miss Fanny Reeves, and Messrs. W. H. Williams, G. A. Johnson, E. Emery [sic, Amery], C. Blanchard, and the full choir of St. Philip's Church, all having kindly volunteered their services for the occasion. The programme opened with the "Te Deum" and "Jubilate" (Whitfield), and comprised choice selections from Haydn, Handel and Mendelssohn, which were all rendered very creditably, and Miss Mortley and Miss Fanny Reeves were peculiarly happy in their solos . . .

ASSOCIATIONS: William Henry Williams (vocalist); Edwin Amery (vocalist)

"NEWS OF THE WEEK", Leader (19 August 1865), 2 

The second concert of the Orpheus Union for the present season was given at St. George's Hall, on Wednesday. The members of the society on this occasion, were assisted by Miss Octavia Hamilton, Miss Geraldine Warden, Miss Liddle, Mr. Coleman Jacobs, and Messrs. J. and F. Howson. Miss Fanny Reeves was announced to take part in the concert, but, in consequence of a family bereavement, she did not appear . . .

ASSOCIATIONS: Geraldine Warden (vocalist); Maggie Liddle (vocalist); John Howson junior (instrumentalist); Frank Howson junior (instrumentalist); Colman Jacobs (piano)

"THE NEWS OF THE DAY", The Age (18 November 1865), 5 

An amateur concert, in aid of the funds of the Melbourne Orphan Asylum, was given at St. Stephen's school room, Richmond, last evening, by a number of ladies and gentlemen. The programme embraced several well selected songs, glees, choruses, &c., the whole being under the able conductorship of Mr. C. Blanchard . . . Miss F. Reeves was in excellent voice, and rendered the song, "Maggie's Secret," with her accustomed taste and care . . .


. . . She sang "Oh! thou that tellest," "He shall feed his flock," and "He was despised," with earnest unaffected grace of manner, and a full rich depth of tone . . .

"THE PHILHARMONIC SOCIETY'S CONCERT", The Age (26 December 1865), 5 

. . . The rendering by Miss Fanny Reeves of the recitative "Behold a Virgin" &c., was such as to prepare the audience in some measure for her subsequent triumph in "O, Thou that Tellest" and "He shall Feed his Flock," and the embodiment of object grief, "He was Despised and Rejected of Men" . . .

[News], The Argus (25 July 1867), 5 

A concert of vocal and instrumental music took place in the Williamstown Mechanics' Institute on Wednesday evening, the proceeds being devoted to the funds of the local grammar school, Mr. Call presided, and about 400 persons were present. The principal vocalists were Mrs. Fox, Miss F. Reeves, Mr. Labertouche, and Mr. D. A. Beaumont; Mr. Marsh presiding at the piano, and Mr. Wigley playing the violin . . .

ASSOCIATIONS: Sarah Fox (vocalist); Stephen Hale Marsh (piano)

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

. . . The individual performances, which constituted the largest half of the entertainment, were very superior indeed, Miss Fanny Reeves proved once more her rare powers as a contralto singer in the ballad, "I'll speak of thee, and love thee too," but left in the minds of some regret that she did not choose more classic music . . .

"THE MELBOURNE PHILHARMONIC SOCIETY", The Argus (25 December 1867), 5

. . . Miss Fanny Reeves, the contralto of the evening, was also unsteady at first, but soon rallied, and her "He was despised" was a delicious rendering of that delightful air . . .

"THE NEWS OF THE DAY", The Age (26 December 1867), 5 

. . . Miss Reeves gave "He was despised" very feelingly, but had to struggle elsewhere with evident annoyance from the inefficiency of the instrumentalists. She was nevertheless eminently pleasing in her vocalisation, and showed that sympathy with the themes which is everything . . .

"MARRIAGES", The Argus (21 May 1869), 

POWELL - REEVES. - On the 20th inst., at All Saints' Church, St. Kilda, by the Rev. Mr. Fulford, Charles Robert, eldest son of the late Charles Powell, and nephew of the late Walter Powell, to Bithia Frances, second daughter of Charles Reeves, of Camberwell, Surrey, England.

[News], Maryborough Chronicle, Wide Bay and Burnett Advertiser (6 August 1870), 2 

The hall of the School of Arts was thronged from floor to roof on Thursday evening, to assist at the amateur musical entertainment . . . Mrs. Powell won vocal laurels in the splendid trio "Fair Flora Decks," im which she was assisted by Messrs. Illidge and R. Jones . . .

"AMATEUR CONCERT", Maryborough Chronicle, Wide Bay and Burnett Advertiser [QLD] (29 October 1870), 2 

On Wednesday evening, the 26th instant, a grand concert was given in the Theatre Royal, by lady and gentlemen amateurs, in aid of the building fund of the School of Arts . . . While all distinguished themselves by their correctness of time, expression, and harmony, we cannot for bear making special mention of the sweet contralto voice of Mrs. Powell . . . Mrs. Powell then gave with taste and deep pathos Mendelssohn's "O rest in the Lord" . . . after which Mrs. Powell sweetly sang "Longing for Home," which elicited hearty rounds of applause . . . We must not omit to state that the treat afforded to our citizens on this occasion is in a great measure due to the exertions of the promoter of the concert, Mr. C. Powell, who has been indefatigable in his endeavors to arrange and carry out the "makings" of a good concert . . .

[News], Maryborough Chronicle, Wide Bay and Burnett Advertiser (Q14 October 1871), 2 

The miscellaneous concert of vocal and instrumental music and popular readings, held under the supervision of the School of Arts, came off, as announced, on Thursday evening, at the Oddfellows' Hall. The president of the institution, C. Powell, Esq., officiated as chairman. It is almost invidious to express special thanks and pleasure where all were so kind in volunteering service, and all so admirably performed their parts, but we cannot refrain from a compliment to Mrs. Powell on her excellent rendering, in the fullness and richness of voice and the exquisite taste which regulated it, of her two songs "Jessie's Dream," and "Through every Chance and Change" . . .

"Musical Union Concerts", Maryborough Chronicle, Wide Bay and Burnett Advertiser (18 May 1878), 3 

The first concert of the Musical Union, under the conductorship of the Mr C. J. Miers, took place on Wednesday evening, with unbounded applause on the part of the audience . . . Amongst the many gems, particular mention may be made of "No more My country," exceedingly well sung by Mrs. Powell, and encored . . . the air and duett, "Canst Thou Recall," was awarded the greatest amount of applause, ending in a repetition, it being sang so well and effectively by Mrs. Powell and Miss Pollard . . .

"MARYBOROUGH", The Brisbane Courier (3 March 1885), 6 

The event of the week has been the production of Handel's "Messiah," for the first time in Maryborough. Last night an audience of five hundred, including nearly all the Maryborough elite, were treated by the Musical Union to perhaps a better exposition of the great oratorio than was expected in view of the too limited range of performers at the command of the conductor . . . Premier position for good execution among the soloists was taken by Mrs. Cantrell, "He was Despised ;" Mrs. Powell, "O thou that Tellest;" Mrs. Hunter, "Rejoice Greatly," with Mr. Jones in "Comfort Ye," and Mr. Thorburn, who sang "The Trumpet shall sound" . . .

"Death", Maryborough Chronicle, Wide Bay and Burnett Advertiser (27 May 1890), 2 

REEVES. - On the 24th May, 1890 at the residence of his son-in-law (Mr. James Thomas), "Thomaston," Melbourne, Charles Thomas Reeves, aged 70 years; father of Mrs. Chas. Powell, of Maryborough.

"DEATHS", The Courier-Mail (22 August 1934), 10 

POWELL. - On 17th instant, suddenly, at Gordon, Sydney, Bethia Frances, Relict of Charles Robert Powell, and dearly loved Mother of Charles (Maroochydore), Arthur (Scarborough), Herbert (Christchurch), Mesdames William Wood and Grosvenor Francis (Sydney).

"Obituary . . . Mrs. Charles R. Powell", The Courier-Mail (25 August 1934), 5 

The death of Mrs. Charles Roberts Powell occurred suddenly at Gordon, Sydney, on August 17. The deceased, who was 88 years of age, was born at Camberwell, Surrey, England, and arrived in Melbourne with her parents when she was eight years of age. The late Mrs. Powell, who was a member of a talented musical family, possessed a rich contralto voice, and, as Miss Fanny Reeves, was a leading oratorio vocalist. Upon her arrival in Maryborough, Queensland, as a bride in 1869, Mrs. Powell became one of the foundation members of the Musical Union. The late Mrs. Powell was predeceased by her husband 29 years ago, also by her youngest son, Mr. Percy Powell, solicitor of Rockhampton and Blackall, whose widow and family reside at Hendra. She is survived by her eldest sister, Mrs. A. S. R. Osborne, late of Ascot, but now of Tasmania, and a family comprising Messrs. Charles H. (Maroochydore), Arthur W. (of the head office, Commonwealth Bank, who resides at Scarborough), Herbert E. Powell (Christchurch, New Zealand, late general manager of Vestey Bros., in Australia), and Mesdames W. A. Wood and G. A. Francis (Sydney).

"LATE MRS. CHARLES R. POWELL", The Telegraph (30 August 1934), 7 

. . . Mrs. Powell was a member of the Reeves talented musical family of Victoria, and in the early days when a high-class musical union was formed in Maryborough (Queensland), Mrs. Powell generally took a leading part. She had a splendid contralto voice. Mrs. Powell was always gracious in her encouragement of young singers and many of them owed much to her kindly assistance.


There were several Miss Fannie/Fanny Reeves musically active in Britain during the second half of the century. Blanche Whiffen (1845-1936) recalled that at the Royalty theatre in London, in 1865, she was asked to step in as Prince Amabel when "Miss Fanny Reeves, who sang the contralto role in the opera, was taken ill". That opera singer, active at Drury Lane in the late 1850s, was later Mrs. Elliott Galer (d. 1897). Another singer of that name, a niece of Sims Reeves, was born in 1852. A "Miss Fannie Reeves, of the London Concerts" was advertised to make "her first appearance in Australia in Brisbane in August 1872.

"DRURY LANE", The musical world (29 March 1856), 204

[Advertisement], The musical world (2 January 1864), 1

[News], Evening News (18 November 1869), 2 

[Advertisement], The Brisbane Courier (5 August 1872), 1

"WHAT WOMEN ARE DOING", The Brisbane Courier (2 December 1897), 7

Mrs. Thomas [Blanche] Whiffen, Keeping off the shelf (New York: Dutton, 1928), 37


REICHENBERG, Angelica - see main page Angelica REICHENBERG

REICHENBERG, Eliza Frances (O'MEAGHER) - see main page Eliza REICHENBERG

REICHENBERG, Jane - see main page Jane REICHENBERG

Go to main page: 

REID, Serjeant (John REED [sic]; Serjeant REID; Sergeant REID)

Musician, bandsman, band-serjeant, Band of the 48th Regiment

? Arrived (with regiment) Sydney, NSW, 3/7 August 1817 (per Matilda, from Cork, 22 March)
? Departed (with regiment) Sydney, NSW, 5 March 1824 (per Greenock, for Madras)

ASSOCIATIONS: Band of the 48th Regiment


Pay-list of the 48th regiment of foot, 25 December [1816] to 24 March 1817, inclusive; Australian Joint Copying Project (from records of the War Office, London) 

[Privates] . . . Reed John . . .

Pay-list of the 48th regiment of foot, 25 December 1823 to 24 June 1824, inclusive; Australian Joint Copying Project (from records of the War Office, London) (DIGITISED)

[Serjeants] . . . Reed John . . . 15 May . . .

"DISBURSEMENTS. ECCLESIASTICAL ESTABLISHMENT", The Sydney Gazette and New South Wales Advertiser (3 October 1825), 1

Paid Serjeant Reid, and others of the band of the 48th Regt. for performing sacred music, from 1st April 1823, to 1st April 1824 - 42 00

REID, James Aquinas - see main page James Aquinas REID

Musician, composer

REID, Catherine (Mrs. W. BOWER) - see main page Catherine REID


REID, Mary - see main page Mary REID


Go to main page: 


Conductor, composer

Active Bendigo, VIC, by 1871
Died New York, USA, 6 February 1904 (shareable link to this entry)


Music retailer

Born Bendigo (cousin of the above)
Died Dunedin, NZ, 20 August 1916 (shareable link to this entry)



"A COMPLIMENTARY CONCERT", Bendigo Advertiser (31 August 1871), 2

. . . Two overtures were played on tho piano by Master Reidle and Herr Gollmick, and they were loudly applauded . . .

ASSOCIATIONS: William Gollmick

"THE EXHIBITION", Bendigo Advertiser (5 February 1887), 3

. . . No 1. Pianoforte solo, between the ages of 15 and 21 years . . . Over 15 . . . Carl Reidle . . .

[Advertisement], Launceston Examiner (5 December 1891), 3

"MELBOURNE NOTES. BY ONLOOKER", Otago Witness (16 October 1901), 57

"WILLIAMSON AND MUSGROVE'S 'SIGN OF THE CROSS' CO.", Bendigo Advertiser (2 December 1898), 3

"THEATRE ROYAL", The Brisbane Courier (31 March 1902), 6

"DEATHS", The Sydney Morning Herald (13 February 1904), 10

REIDLE - February 6, 1904, at New York, Carl Reídle (by cable) New Zealand and Melbourne papers please copy.

"OBITUARY", Bendegonian (21 November 1916), 20

The friends of Mr. J. A. X. Reidle, late of Bendigo, will learn with regret of his death, which occurred in Dunedin on 20th August. He was manager of the Dresden Piano Co. for over 25 years, and was well-known in musical circles throughout Australasia. His collection of autographed portraits of notable people was easily the finest in the Dominion, ranging from Queen Victoria to Little Gulliver. He was the eldest son of the late Mr. Joseph Riedle [sic], formerly a well-known furniture dealer in View-street, Bendigo.

REIFF, Anthony (Anthony REIFF junior; A. REIFF, jun.)

Musician, conductor (Lyster's opera company), composer, arranger

Born New York, USA, c. 1830
Arrived Melbourne, VIC, 1 March 1861 (per Achilles, from San Francisco)
Departed Melbourne, VIC, 26 September 1863 (per Northam, for England, via Ceylon)
Died New York, USA, 6 October 1916 (TROVE tagged by Australharmony) (WorldCat identities) (shareable link to this entry)



Anthony Reiff junior (not to be confused with his father, Anthony Reiff senior, who died in 1880) came to Australia as musical director with W. S. Lyster's opera company in 1861.

Several of his own compositions are documented, beginning with songs composed for his Lyster co-artists, Village bells (words by Louis L. Lewis) (for Lucy Escott) (September 1862), and To look upon her face once more (ballad; composed expressly for his friend Henry Squires) (Sydney: J. R. Clarke, [1862]).

Perhaps his most interesting Australian composition, historically, was the Funeral ode in memory of the deceased explorers of Australia, Burke and Wills ("Back from the Lonely Grave") (words by James Smith) (in 6 movements: Chorale; 4 solos; Quartette) (January 1863), the words only of which survive.

Two other works were The Poet Laureate's welcome to Alexandra (music composed expressly for this occasion [the marriage of prince of Wales]) (June 1863) and, at his Sydney farewell, Souvenir d'Australie (grand mazurka de concert) (pianoforte) (September 1863).


"BOUND TO AUSTRALIA", Empire (28 February 1861), 2

The English and Italian Opera troupe have arranged to start in the Achilles for Australia, and the passages have been prepaid by Mr. Lyster. They sail next week., The company consists of Miss Lucy Escott, Miss Rosalie Durand, Miss Georgia Hodson, Mr. Henry Squires, Mr. Fred. Lyster, Mr. Frank Trevor, and the Empresario or Director, Mr. W. Lyster - seven in all. Miss Ada King, Mr. De Haga, and Mr. Reiff, the leader, do not accompany the troupe. It is the intention of Mr. Lyster to return with them to California after a thorough tour of Australia. - Alta California. December 28.

[News], The Argus (2 March 1861), 5

The ship Achilles, which arrived from San Francisco yesterday, has brought to these shores a "complete operatic troupe," comprising the names of Madame Lucy Escott, and Miss Rosalie Durand, sopranos; Miss Georgia Hodson, contralto; and Madame Ada King, as seconda donna. The tenor, Mr. Henry Squires, is supported by Mr. Frank Trevor, as second tenor. The baritone is Mr. F. Lester [Lyster]. Mr. A. Reiff is the conductor; and the whole are under the supervision of Mr. W. L. Lester [W. S. Lyster] . . .

[Advertisement], The Sydney Morning Herald (16 September 1862), 1

"MUSIC", The Sydney Morning Herald (3 September 1862), 5

[Advertisement], The Argus (22 January 1863), 8

"THE OPERA", The Argus (22 January 1863), 5

"THE FUNERAL ODE", The Argus (23 January 1863), 5

[Advertisement], The Sydney Morning Herald (11 June 1863), 1

[Advertisement], The Sydney Morning Herald (14 September 1863), 1

[News], The Herald [Melbourne, VIC] (26 September 1863), 2 

"DEATHS", New York clipper (14 October 1916), 31 (DIGITISED)

ANTHONY REIFF, one of the two founders of the New York Philharmonic Society and the oldest surviving member of the society, died Octo. 6 at his home in this city. The deceased was one of the leading musicians here for many years and became an operatic leader at the age of eighteen. He Introduced grand opera in Australia, and was with the original Gilbert and Sullivan opera companies. Mr. Reiff wrote the music for the original "Humpty Dumpty," and the incidental music for the Forrest and Booth productions. As a boy he was a member of Jenny Lind's Orchestra at Castle Garden. Mr. Reiff was a former president of the Musical Mutual Protective Union and was the oldest living member of the American Institute.

Other sources:

Incomplete manuscript journal, 1856; Anthony Reiff Papers, Special Collections Research Center, Swem Library, College of William and Mary (DIGITISED)

Bibliography and resources:

Harold Love, The golden age of Australian opera: W. S. Lyster and his companies 1861-1880 (Sydney: Currency Press, 1981), passim

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Opera-Opera/Pellinor, 1999), passim

Katherine K. Preston, "Notes from (the road to) the stage (Travel narrative)", The Opera Quarterly 23/1 (Winter 2007), 103-17

Zoltán Román, Gustav Mahler's American years, 1907-1911: a documentary history, 239 note 92 (PREVIEW)

Katherine K. Preston, "Reiff, Anthony, Jr.", American national biography (PAYWALL)

Reiff, Anthony, Jr. (11 May 1830? - 06 October 1916), conductor, musical director, and composer, was born in New York City, the son of Anthony Reiff, a bassoonist, and Ann Dobbs. Some sources list his birth year as 1836 . . .

Katherine K. Preston, "Reiff, Anthony, Jr.", Grove music online (PAYWALL)

. . . he studied violin with U. C. Hill and piano with H. C. Timm as a youth. His first professional job was as a member of the orchestra that accompanied Jenny Lind in her New York concerts (1850). He served as leader of the orchestras at the National (1852-4), Bowery (1854-5), and New Olympic Theatres (1856-8) in New York; in 1857 he joined the Philharmonic Society, with which he remained associated for the rest of his life. He served as music director for the Pyne and Harrison (1856) and Lyster and Durand (1858-63) English opera companies on tours of the eastern United States and (in the latter case) the Far West and Australia, before returning to New York . . .

REILEY, Dennis (Dennis REILEY; Denis REILY)

Fiddler, convict

Born Co. Cork, Ireland, c. 1780
Sentenced Cork, Ireland, 8 August 1828, 7 years transportation
Arrived Sydney, NSW, 20 June 1829 (convict per Eliza, from Cork, 2 March)
Certificate of freedom, NSW, 2 May 1839 (shareable link to this entry)


[Convict notices], New South Wales Government Gazette (10 September 1834), 641 

Reiley Dennis, Eliza (5), 29-1204, 54, Cork, fiddler, 5 feet 4, dark ruddy comp., black hair, bright hazel eyes, scar top of forehead in right eye-brow, and right corner of upper lip, from No. 11 Road Party, since 15th July.

Certificate of freedom, Denis Reily, 2 May 1839; State Records Authority of NSW (PAYWALL)

39/653 / 2d may 1839 / 29/1104 / Denis Reily / Eliza 5 / . . . 1829 / [antive place] Co. Cork / labourer / [offence] Vagrant / [trial] 8 Augt 1828 Cork County / . . .

REILOFF, Madame = Madame Reilloff JACKSON

REKEL, Jeanne = Jeanne ROECKEL

Vocalist (active Australia 1873-75)

REKEL, Joseph = Joseph ROECKEL

Pianist, composer (active Australia 1873-75)


Violinist, composer

Born Miskolc, Hungary, 17 January 1828
Arrived Melbourne, VIC, September 1884
Departed Brisbane, QLD, September 1885
Died San Francisco, USA, 15 May 1898 (TROVE tagged by Australharmony)ényi (Wikipedia) (shareable link to this entry)

ASSOCIATIONS: Isidore Luckstone (pianist), Hattie B. Downing (soprano vocalist), Rudolf Himmer (tenor vocalist)



"ARRIVAL OF THE SAN FRANCISCO MAIL", The Argus (26 September 1884), 5

"EDUARD REMENYI", The Sydney Morning Herald (30 September 1884), 8

"M. EDOUARD REMENYI ON POPULAR MUSIC", The Argus (6 October 1884), 6

"REMENYI'S CONCERT", The Brisbane Courier (27 August 1885), 3

This evening M. Remenyi will perform the following solos, namely: - "Concerto Romantique," [Benjamin] Goddard - (1) Allegro moderato, (2) Recitativo and adagio non troppo, (3) Canzonetta, (4) Allegro molto - being its second performance in the colonies; "Invitation à la Valse," Weber; "Hommage a Paganini," Remenyi; and in addition to the above selections, M. Remenyi will execute his new "Australian Hymn," composed by himself during his tour through New Zealand, and, by special request, his soul-stirring "Liberty Hymn," assisted by the members of the Remenyi concert party.

"Farewells", Queensland Figaro and Punch (5 September 1885), 6

[News], Morning Bulletin (9 September 1885), 4

. . . The applause that followed the conclusion of the several pieces was an indication that there are many in our midst who can appreciate high-class music rendered by an artist of such ability as M. Remenyi, and that Rockhamptonites are willing to recognise genuine talent. The most pleasing number was the Carnival de Venice with introduction and improvisation by M. Remenyi, and the storm of applause that succeeded it could only be stopped by that gentleman re-appearing.

"SHIPPING", The Brisbane Courier (9 September 1885), 4

RENNIE, James (James RENNIE; "Professor RENNIE")

Public lecturer, journalist, teacher, controversialist, naturalist, entymologist, lecturer on music

Born Sorn, Scotland, 26 February 1787
Arrived Sydney, NSW, 25 September 1840 (surgeon per Richard Webb, from London, 3 May)
Died Adelaide, SA, 25 August 1867, aged 80 (TROVE tagged by Australharmony) (WorldCat identities) (shareable link to this entry)


"Shipping Intelligence. ARRIVALS", Commercial Journal and Advertiser (26 September 1840), 2 

"ORIGINAL POETRY. To the Editor", The Sydney Herald (17 December 1840), 4 

[Editorial], The Sydney Herald (21 December 1840), 2 

The Proprietor of the Sydney Herald has much pleasure in announcing to his subscribers, that in a few days the editorial management of this paper will be assumed by Mr. James Rennie, M. A., formerly a Professor in the King's College, London, and who is well known in the literary and scientific world. Of the advantages likely to accrue to the numerous subscribers to the Sydney Herald, and he may add to the interests of the Colony generally, it is not for the proprietor to speak, it may be safely left to the test of experience.

ASSOCIATIONS: Frederick Michael Stokes (proprietor; d. 1891)

"MARRIED", The Sydney Herald (2 January 1841), 2 

"THOROUGH-BASS" [? Rennie], "SYDNEY EXTRAVAGANZAS - FELTON - NATHAN". To the Editors", The Sydney Herald (3 November 1841), 2 

ASSOCIATIONS: Maurice Appleby Felton (painter); Isaac Nathan (composer)

Isaac Nathan, "THOROUGH-BASS AND NATHAN. To the Editors", The Sydney Herald (5 November 1841), 2 

Letter, Isaac Nathan, Sydney, NSW, 3 December 1841, to Eliza Hamilton Dunlop; unidentified original, transcribed in De Salis papers, State Library of New South Wales (also incomplete ed. in De Salis, Two early colonials (1967), 104-05)

Sydney, Ada Cottage, 3rd Dec'br 1841
I fear my dear Madam my long silence will not place me at no. 1 in your estimation . . .
Yours respectfully & obliged, I. Nathan.
Private I suppose you know that [semi-legible: Professor Rennie] [and] "Thorough Bass" to be one & the same - I have no doubt on the subject.

ASSOCIATIONS: Eliza Hamilton Dunlop (poet, songwriter, lyricist)

[Advertisement], Colonial Times (18 June 1847), 1 

MR. RENNIE'S LECTURES ON MUSIC. UNDER THE DISTINGUISHED PATRONAGE OF HIS EXCELLENCY SIR W. DENISON AND LADY DENISON. SIX LECTURES ON MUSIC, Vocal and Instrumental, will be delivered in the Hall of the Mechanics' Institute, by James Rennie, M.A., A.L S., Author of the "Art of Improving the Voice and Ear;" published by S. Prowett, Bond-street, London. The Lectures will be very fully illustrated by the performances of a number of the best available vocal and instrumental musicians in the colony (as per programmes), so as to combine amusement with instruction - the utile et dulce. The first Lecture will be given on Thursday next, at half-past 7 o'clock P.M. Tickets for the course, 10s. 6d. each; family tickets for two, 18s.; for three, 25s.; and for four, 30s. To be had at the Book-shops, and of Mr. Rennie, Battery Point. Single admission, 2s. P.S. - Each Lecture will be advertised separately. June 11, 1847.

"LECTURE", The Courier (19 June 1847), 2 

The first of a course of lectures on Music - Vocal and Instrumental - was delivered by Mr. Rennie, in the Mechanics' Institute, on Thursday evening last. Several members of the Choral Society were in attendance to illustrate the lecture by their performances. The lecturer, in treating upon this subject, rather disappointed us. We expected that the lecture would have been of a more elementary character, making us acquainted with music as a science, and not as in relation to phrenology, &c. We regret to perceive such a limited attendance; and also, that we have not space to advert at greater length to the substance of the lecture. The opening overture was well performed, but we cannot do otherwise than depreciate the taste which led to the adoption of a set of quadrilles as the concluding music of the evening.

"Mr. Professor Rennie's Lecture", Guardian, or, True Friend of Tasmania (26 June 1847), 3 

A sense of public duty alone, compels us to give any notice to the first Lecture on Music, delivered by Mr. Rennie, at the Institute. We were wholly disappointed - we had almost said disgusted, at beholding one of the noblest of human arts and attractive sciences, not only unelucidated, not only unexpanded, but really turned into frothy mockery, by depreciating tirades against Sydney better-paid Lecturers, of course less illustrious than Mr. Rennie; and made a silly jest of, in a "Saturday Magazine" sort of phrenological lecture about bumps, with the indiispenslble concomitants of repellingly coarse and vulgar illustrations! Mr. Professor Rennie, this is altogether too Scotch-like for Tasmania! It will not do! It is too much of the clap-trap of the Highland encyclopaedia lecture-room! Taste and chivalry are not yet buried here in the same grave. We tell you, Mr. Professor, that neither the intellects, nor the morals, of Tasmanians are quite so imbruted, so stultified, as your Courier, anti-pollutionist encomiasts, would fain make distant lands spppose! Play the man of intellect - not the mountebank - and you will have, even here, honor and appreciation, for your reward!

"LECTURE", The Courier (10 July 1847), 2 

The second of a course of six lectures on Music was given in the Hall of the Mechanics' Institute on Thursday evening last, by Professor Rennie. After remarking innt the character of the individual was often stamped upon the lineaments, and written as it were upon the faces of men, a proposition which he illustrated by the citation of various examples, the lecturer proceeded to reason by analogy upon the varieties of "the musical ear." He instanced the fact of persons who had, strictly speaking, no ear for music, who felt exquisite pleasure upon hearing a musical performance, and yet could nut recollect a note. This he attributed in some mensute to the awakened associations of early life, of departed scenes, or times gone by. It was also not less remarkable that pain would sometimes usurp the place of pleasure through the influence of melody. He instanced a lady who could not bear the "Exile of Erin" sung without bursting into tears. "The Minstrel Boy," on some individuals, had a corresponding effect; while the melody of "Sweet Home" would depress a young gentleman whom he mentioned to an extraordinary degree.

The lecturer then proceeded to explain the causes of the musical affection of the ear, and quoted a long extract from Dr. Brown, the only writer who had endeavoured to investigate the subject. The doctor's opinions were ingeniously stated; but, as the lecturer observed, were not particularly intelligible. The periodicity of musical sounds being a subject too important to form part of a lecture, Mr. Rennie postponed his original intention of entering upon the subject; instead of which, he directed the attention of his hearers to the means of improving the ear, and considered that the best method of attaining to a correct appreciation of musical sounds was to learn music by the tuning of instruments. In this pursuit minuteness of tact was easily acquired by exercise. The violin, harp, and guitar were the best instruments for the purpose. As proofs of the efficacy of the plan recommended, it was a well-known fact, that most of the pianoforte tuners in the metropolis could only play one tune. This tune bad been mechanically acquired for the exercise of their profession only; and yet they were able to tune the instruments to nicety and perfection. Madame Mara, who was once considered equal to Catalani or Malibran, of former years, and Jenny Lind of the present day, could play the violin at an early age. By constant exercise she acquired the finest delicacy of ear, and had often said, that should she have a daughter whom it was necessary to teach to sing, she should first be taught the violin. These instruments were better adapted than a pitched instrument to convey an impression of the slightest variation of melody, as by sliding the finger over the strings almost imperceptible differences could be created, and the ear would become acute and acquire the finest perceptions. That exercise would improve, was evident from the fact of a schoolfellow of the lecturer, who, without musical ear, learned one song only, and by constant practice became a good singer before he was twenty years of age. Mr. Bacon, of Norwich (the organist,) in a work on "Music" dwelt much upon intonation. A correct intonation would not be obtained if there »as an ignorance of the desired interval. The lecturer therefore recommended that the exercise of tuning should be blended with the practice of the first elements of music. Mr. Rennie dwelt at considerable length upon this subject, and at the conclusion notified his intention to introduce a lady at his next lecture who was an extraordinary adept at the pianoforte.

"DEATHS", The Sydney Morning Herald (7 September 1867), 1 

On the 25th of August, at Adelaide, in the 81st year of his age, JAMES RENNIE, A.M., A.L.S., formerly Professor of Zoology King's College, London, author of "Insect Architecture" and many other works on Natural History and in various departments of Literature.

"Death of Professor Rennie", The entomologist's monthly magazine (January 1868), 191;view=1up;seq=201 

Recent advices from Sydney, New Sonth Wales, announce the decease there of this gentleman, at the advanced age of 81. He was some time Professor of Zoology at King's College, and was well known in London, some thirty years since, as the author of "Insect Architecture," "Insect Miscellanies," &c.; and, though he was essentially only a book-maker, there are few Entomologists who have not derived at one time or other much useful information from the first-named work. The appearance of his "Conspectus of British Butterflies and Moths" occasioned the memorable law-suit between Mr. Rennie and the late J. F. Stephens for piracy of the "Illustrations" of the latter author. To the present generation of Entomologists the name of Rennie will appear as a thing of history only; but there are yet living those to whom the above-mentioned litigation was a cause of much excitement and regret.

ASSOCIATIONS: James Francis Stephens

Musical writings:

The art of improving the voice and ear, and of increasing their musical powers on philosophical principles, adapted to public speakers, musicians, and actors, and particularly useful for the instructors of youth (London: Septimus Prowett, 1825) 

Bibliography and resouurces:

B. B. Woodward, "RENNIE, JAMES", Dictionary of national biography 48 (1896), 18-19 

Frederick G. Page, "James Rennie (1787–1867), author, naturalist and lecturer", Archives of natural history 35/1 (2011), 128-42 (PAYWALL)

"James Rennie", Wikipedia 

RENNIE, James Campbell (James Campbell RENNIE; J. C. RENNIE)

Musician, singing master, school teacher

Born Pentridge, VIC, 1846; son of Hugh RENNIE (1816-1858) and Jean Campbell ROBERTSON (1816-1894)
Married Martha Emily HOY (1846-1926), VIC, 1867
Died Caulfield, VIC, 21 August 1933, aged 87 (TROVE tagged by Australharmony) (shareable link to this entry)


Rennie's parents, Hugh Rennie, a labourer, and Jane (or Jean) Campbell Roberston, housekeeper, arrived in Victoria, as assisted immigrants in November 1841, both aged "22" (recte 25), having married in Scotland on the eve of their departure.

Their second Australian child, James Campbell Rennie was born in the Coburg-Pentridge district, north of Melbourne, in 1846.

Rennie presumably received his early musical training during the 1850s and early 1860s. In 1867, having been choir leader for the Pentridge Presbyterian congregation, he married, and by 1869 was certified as a singing master by the Board of Education and active in the Bendigo area.


"THE NEWS OF THE DAY", The Age (20 February 1867), 5 

THE PRESBYTERIAN CONGREGATION at Pentndge, held their annual tea meeting last evening . . . A very efficient choir (under the leadership of Mr. Rennie) added very much to the enjoyment of the meeting. Mr. Rennie was presented with a purse of sovereigns for his services in connection with the psalmody of the church . . .

[Advertisement], Bendigo Advertiser (20 March 1869), 3 

MR. JAMES RENNIE, Professor of Singing, late of Melbourne, certificated under the Board of Education, is now prepared to make arrangements with the various Teachers in the Sandhurst district. Address - Mr. Evans, View Place. Private lessons given.

"RECENT PUBLICATIONS", The Argus (13 July 1872), 6 

A collection of songs, rounds, and catches, has been made by Mr. James Rennie, who is a teacher of singing under the Board of Education, for the use of young pupils. It is preceded by a simple and intelligible exposition of the rudiments of music.

"Local Intelligence", South Bourke and Mornington Journal [Richmond, VIC] (27 August 1879), 2 

We have received No.2 of "The Victorian Schoolmaster." Among the contents . . . a lecture by Dr. Hullah, on "School Music," and a song by Mr. J. C. Rennie, "Hurrah for Dear Victoria."

[Advertisement], The Argus (27 February 1880), 8 

GRAND CONCERTS, TO DAY (FRIDAY), FEBRUARY 27, 1880, Afternoon at 3 p.m.,
By 350 scholars from the Hotham, Williamstown, and Footscray State Schools
Conductor - Mr. J. C Rennie.
Pianiste - Madame Pett.
PROGRAMME . . . 6. "Hurrah for Dear Victona" - Rennie
13. "The Mountain Boy's Song" - Rennie . . .

"SKETCHES OF PROMINENT LOCAL MEN. Training the Little Birds to Sing. A Popular Singing Master. The Conductor of the Musical Festivals. Mr. James C. Rennie", The Prahran Telegraph (5 December 1891), 3 

. . . Over 30 years ago, when there were National schools and Denominational schools in Victoria, it was considered necessary that the children attending these schools should receive instruction in singing, and teachers were employed, and paid a fixed salary by the respective boards. About the year 1862 an Act was passed, and called the Common schools Act, but the provision made for these subjects was partly by fees from the children, supplemented by the Government. In 1872 the present Act was passed, but no provision was made for the teaching of singing. In January 1873 a circular was issued by the Education Department, determining all aid and throwing the masters entirely upon the fees collected from the children, the department claiming 25 per cent of the fees thus collected to form a fund with a view to payments by result. Under this arrangement the singing masters suffered greatly, but in respect of that year a sum was voted by Parliament, which, with a return of the 25 per cent, was supposed to recoup them for their losses. In 1874 another circular was issued, offering payment at a rate per hour, which offer was accepted by the masters. The subject having thus been made free rendered it impossible ever again to establish classes upon the principle of payments by the children. In 1875 the masters were appointed to certain districts at a fixed salary, and continued their duties without interruption until the 31st January, 1878 (Black Wednesday), when the whole of the teachers were dismissed. In May and June of the same year they were reinstated temporarily, and at a reduced salary, but were restored to their former positions by the Hon. Herbert Ramsay, when Minister of Public Instruction. Again on the 31st December, 1880, fifteen singing masters were dispensed with, the eleven masters retained being supposed to perform the duties hitherto done by the 26 masters. This could not but prove a failure, and on the 10th July, 1881, the majority of those last dismissed were re-appointed, and have enjoyed ten years of comparative peace, and although the policy of the Education Department is to have the subject ultimately taught by the ordinary staff, the singing masters feel tbat it will be many years before such a system can be thoroughly accomplished and that then a number will be required for instruction and supervision. From this brief history it will be seen that music in State schools has been subjected to many discords, and the life of a singing master not all harmony.

Mr. James Campbell Rennie, our local singing master, hails from Scotia, and is a distinguished member of the Caledonian society having many times carried off the annual prize as the best dressed Highlander at the gatherings of the clans. He is also prominent in Freemasonry, being at the present time W.M. of the Malvern Lodge. He first began teaching in the year 1867, and has been subjected to the many ups and downs mentioned in the above history. His first efforts were in Melbourne and its suburbs; but after about three years he went to Bendigo, and remained six years, when he was transferred to North Melbourne. In 1880, when the majority of the singing masters were dismissed, Mr. Rennie was retained and appointed to the Geelong, Ballarat, Ararat, Stawell and Horsham districts. In 1881, when the teachers who had been dismissed were reinstated, Mr. Rennie was appointed to Prahran and St. Kilda, but recent changes have caused the St. Kilda schools to be included in another district. Mr. Rennie refers with pleasure to his years of teaching in Bendigo, and the successful concerts which took place annually; and in Ballarat, where, although, only there for a few months, he was called upon to give a concert in aid of the prize fund, one thousand children being gathered together as performers, in the Alfred Hall, the concert proving so successful that it had to be repeated, thus placing a handsome sum towards the fund. While in the North Melbourne and Williamstown districts the concerts were of frequent occurrence, and always proved successful. The success which has attended the concerts in Prahran is well-known. It is only since Mr. Rennie took charge of the Prahran district that he has wandered from the usual style of school concerts, by producing those charming cantatas which we have had of late years, and which have proved so interesting to all concerned. Mr. Rennie's knowledge of the terpsichorean art has enabled him to place these cantatas on the stage in such a degree of perfection that the dancing and marching of the pupils will ever be remembered as one of the triumphs of these musical festivals, and in this connection it may be said that Mr. Rennie received valuable assistance from his daughter, who has uniformly acted as pianist at the various concerts.

Mr. Rennie, although a strict disciplinarian, is on the best of terms with his pupils, and speaks feelingly of the willingness they display to carry out his wishes.

"DEATHS", The Age (24 August 1933), 1 

RENNIE. - On the 21st August, at his residence, Palm-avenue, Caulfield, James Campbell Rennie, loved father of Constance (Mrs. E. F. Archer, Armadale), May (Mrs. E. P. George, Castlemaine), Campbell (Moorabbin) and Hugh (deceased), loved friend of Mr. and Mrs. F. Hodson, aged 87 years. Privately interred Melbourne Cemetery 23rd August.

"Spencer's, North Melbourne. TO THE EDITOR OF . . .", The Age (8 February 1936), 6 

Sir, - It was good to see the picture of the old school which I attended over seventy years ago. But in my early days it was called Hemington Bank Common School . . . Afterwards it was called Boundary-road, Hotham, and still after Boundary-road, North Melbourne . . . Does anyone remember Jolly-faced Mr. Rennie, the singing master . . . ? One of the songs of Mr. Rennie was Put Her Playthings All Away, a very sad one; also Snow, Beautiful Snow, and many others.
- Yours, &c., JIMMIE G. Silvan.

"MEMORIES OF BOYHOOD. BY H. G. C.", Williamstown Chronicle (11 June 1938), 6 

. . . Those of us who attended in the days when Mr. Blom was head master and who at first attended in the old school buildings of the Church of England in Little Nelson street and who marched from the Wilkinson fountain at the Gem Pier to the opening of the school will never forget the day . . . Our singing master was Mr. J. Rennie, and it would strike scholars as being queer to see him take a tuning fork to get the "C" for a start of the scales, and then with what gusto would we sing "Sweet Chiming Bells" and a round named "Cold the blast may Blow." Our school was musical and we were selected to go to the Exhibition and sing . . .

Musical works and editions:

Songs for the school room: a collection of songs, rounds and catches for the use of schools, families, &c., selected from the original sources by James Rennie (Sandhurst: J. Brockley, 1869) 

Collection of songs, rounds, catches, &c., rudiments of music, manuscript paper, vocabulary of musical terms; intended for the use of schools, families, classes, &c., selected and compiled by James Rennie (Sandhurst: J. W. Pearson & Co., 1872) 

REYHER, Oscar (Oscar F. von REYHER; O. F. V. REYHER; Herr Oscar REYHER; Herr von REYHER; Oscar de REYER)

Professor of music, pianist, composer, teacher of pianoforte and singing, piano tuner

Born Riga, Russia (Latvia), c. 1828/29 (? 1825); son of Carl REYHER
Arrived (1) Adelaide, SA, by August 1854
Married Ida Sophia REMMEK, St. Paul's church, Adelaide, SA, 23 September 1861
Departed Adelaide, SA, January 1872 (for London)
Arrived (2) Adelaide, SA, late 1873
Died Adelaide, SA, 4 July 1908, in his 80th year (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], South Australian Register (21 August 1854), 1

OSCAR REYHER, TEACHER of MUSIC, and TUNER of PIANOS, Flinders-street, opposite the Pulteney-street School.
Applications also received by Mr. C. Gries, Bookbinder and Stationer, Rundle-street.

[Advertisement], Adelaide Observer (6 January 1855), 1 

THE ADELAIDE INSTITUTION FOR THE EDUCATION OF YOUNG LADIES, Tavistock-building, Rundle-street (Mr. Heathcote's House), Will be OPENED on WEDNESDAY, 17th January, I855 . . . Principal and Lady Superintendent, Mrs. J. M. BELL, late of the Edinburgh Institution, Charlotte-square . . .
COURSE OF INSTRUCTION . . . 3. PSALMODY, together with the Practice of Solfeggio, Elementary Exercises, and instruction in the Theory of Vocal Music - Mr. Daniel.
4. DANCING AND DEPORTMENT - Mr. Watts, Rundle-street.
8. SINGING - Mrs. Jupp.
9. PIANOFORTE - Mr. Reyher, Flinders-street and Mrs. Jupp, assisted by Mrs. Nash, and other well-qualified Teachers . . .

ASSOCIATIONS: Mary Bell (principal, Mary Flint, Mrs. Jeremiah Bell); Josiah Daniel (musician); Catherine Jupp (musician); Christiana Nash (musician); James Watts (dancing master)

[Advertisement], South Australian Register (15 June 1858), 1

KANGAROO POLKA, - Polka de Concert, pour le Piano, dedie a Madame Bentham Neales, par O. F. V. Reyher.
Sold by PLATTS, 95 and 97, Hindley-street.

ASSOCIATIONS: Margaret Williams (dedicatee) wife of John Bentham Neales (politician); Charles Platts (bookseller)

[Advertisement], The South Australian Advertiser (26 July 1858), 3

KANGAROO POLKA and EMU POLKA, by O. F. V. REYHER, to be had by all Book and Music sellers in Adelaide.

"SIGNOR CUTOLO'S CONCERT", South Australian Register (27 November 1858), 2 

When we mentioned a few days ago the arrival of this extraordinary Neapolitan, we were only able to speak of his musical powers from report . . . But now, having had the pleasure of hearing him at White's Room on Friday evening . . . we can say with confidence that even the highest accounts of it . . . were not exaggeration but simple truth . . . Among those present on Friday we noticed the Hon. B. T. Finniss (Treasurer), the Hon. Francis Dutton (Commissioner of Crown Lands) . . . Messrs. Boothby (Sheriff), Ewing, Reyher . . .

ASSOCIATIONS: Cesare Cutolo (pianist, composer); Boyle Travers Finnis (politician); Francis Dutton (public servant, musical amateur, pianist); Alexander Ewing (public servant, musical amateur, pianist)

[Advertisement], The South Australian Advertiser (22 September 1859), 1 

FOR SALE, a Rosewood Cottage PIANO, just imported, of a very superior quality. Its sounds being most powerful, render it suitable for a large drawing-room. Can be seen at the residence of Mr. Reyher, Professor of Music, Flinders-street East, near the Norwich Arms.

"SIGNOR CUTOLO'S FAREWELL CONCERT", South Australian Register (5 December 1859), 3 

. . . Signor Cutolo will himself perferm several of his favourite pieces, and the evening will be enlivened by the vocal contributions of Mr. Christen, Mrs. Perryman, and the Signor's talented young pupil, Miss Bryan. The programme also contains the name of Mr. Reyher, a gentleman well known in many of the best families of the colony as an accomplished pianist. We believe he has not on any previous occasion performed in public, his attention having been for some time past exclusively devoted to tuition; but we are sure his appearance will be greeted warmly by the numerous ladies and gentlemen whose regard and respect he has secured, as much by his gentlemanly conduct of his professional ability. We must not omit to mentiou among the attractions of Thursday a serenade, which is to be sung by Signor Cutolo himself; nor must we fail to remind the South Australian Volunteers that the song which the Signor composed expressly for them, to the words of Mr. H. E. Smith, will form a portion of the evening's entertainment.

[Advertisement], The South Australian Advertiser (8 December 1859), 1 

Assisted by Mrs. PERRYMAN, Miss BRYAN, and Mr. CHRISTEN.
At Signor Cutolo's request, Mr. O. REYHER has kindly promised his assistance in the direction of the Vocal Part.
1. Fantasia - "Bohemian Girl" (by special desire), Signor Cutolo - Cutolo
2. "Beautiful Star," Mrs. Perryman - S. M. Tayles
3. "Love's Serenade," sung by Signor Cutolo - T. G. Reed
4. Bird Duet, Mrs. Perryman and Miss Bryan - Braham
5. " Volunteers' Song," (four verses only, will be sung by all the Performers) - Cutolo
Interval of Ten Minutes.
1. Terzetto Finale, "Ernani," Signor Cutolo - Arranged by Cutolo
2. "The Welcome," Miss Bryan - F. N. Crouch
3. "Fatherland for Me," Mr. Christen - F. Gumbert
4. "The Friar of Orders Gray," Mrs. Perryman, Miss Bryan, and Mr. Christen - Callcott
5. Grand Fantasia from " Sonnambula," - Signor Cutolo - Thalbergv "God Save the Queen" . . .

"SIGNOR CUTOLO'S FAREWELL CONCERT", South Australian Register (9 December 1859), 3

The concert given by Signor Cutolo on Thursday evening was extremely well attended . . . Mrs. Perryman and Miss Bryan were honoured with repeated and deserved plaudits. The ballads sug by each were warmly encored; whilst, in "The Bird Duet," they sang "responsive each to other's notes" with so much sweetness and effect as to call forth the most enthusiastic demonstrations of delight. They were in each instance accompanied by Mr. C. Reyher on the piano. This gentleman, who is well known by many families of distinction as a teacher, has seldom or never before appeared before a South Australian public. His abilities as a pianist are evidently of a high order, though, of course, on this occasion there was no opportunity for their display. The first part of the entertainment was concluded with the "Song of the Volunteers," composed by Signor Cutolo . . . Mr. Christen made his first appearance during the evening in the second part, when he essayed a solo named in the programme "Fatherland for me," by Gumbert. A dirge in Adagio with muffled drums as an accompaniment, could not have gone off heavier. Mr. Christen has a splendid bass voice, but either he had made an injudicious selection or his interpretation of the composer's ideas was defective. In the concerted pieces his fine voice told with much greater effect. The evening's entertainment was concluded with the national anthem, the whole company standing.

ASSOCIATIONS: Caroline Peryman (vocalist); Jane Elizabeth Bryan (vocalist); Hugo Christen (vocalist)

"SHIPPING INTELLIGENCE . . . IMPORTS", South Australian Register (10 April 1860), 2 

Cargo of the Peter Godeffroy, from Hamburg, via the Cape . . . 1 [case] books, Oscar Reyher . . .

"MARRIAGE", South Australian Register (24 September 1861), 2 

REYHER - REMMEK. - On the 23rd September, at St. Paul's Church, Pulteney-street by the Rev. A. R. Russell, Incumbent, Herr Oscar Reyher, professor of music, to Ida, daughter of the late Bernard Remmek, Esq., both of Riga, Russia.

"COLONIAL MUSIC", South Australian Register (26 December 1861), 5

A collection of the musical pieces composed and published in the colony would form quite a volume. We remember to have seen the productions of Mrs. A. J. Murray, Signor Cutolo, Herr Linger, Miska Hauser, Mrs. H. F. Price, Messrs. Draeger, O. F. V. Reyher, E. K. Daniel, W. C. Oldham, H. Pounsett and J. Elliott. An addition to the list has recently been made by the publication of "The Adelaide Schottische," composed by Mr. Joseph Elliott . . .

ASSOCIATIONS: Georgiana Murray (composer); Miska Hauser (composer); Mary Frances Price (composer); Carl Draeger (composer); Emma Daniel (composer); William Oldham (composer); Henry Pounsett (junior) (composer); Joseph Elliott (composer)

[Advertisement], South Australian Weekly Chronicle (13 September 1862), 1 supplement 

Flinders-street east, near St. Paul's Church.

[Advertisement], The Adelaide Express (4 April 1864), 1 

HERR OSCAR REYHER, PROFESSOR OF MUSIC, having lately finished several pupils who were entrusted to him for upwards of eight years, has VACANCIES now for the Pianoforte. Flinders-street East, near St. Paul's Church.

[Advertisement], South Australian Register (16 September 1864), 1 

ST. PAUL'S CHURCH, - The BAZAAR will be continued This Day . . . The following will be the ENTERTAINMENT:
1. Two pieces on the Piano, by Oscar Reyher, Esq.
Song without words, for the left hand only (Schmitt). Grand Tremolo (Mayer) . . .

"ST. PAUL'S CHURCH", South Australian Register (26 September 1864), 5 

The bazaar in aid of the Building Fund of St. Paul's Church was continued in White's Rooms on Friday, September 16 . . . In the evening a conversazione held in the room was well attended. His Worship the Mayor of Adelaide occupied the chair, and after a few preliminary remarks called on Mr. Oscar Reyher, who, in an excellent manner performed a song without words on the pianoforte with his left hand only, and elicited loud applause . . . Mr. O. Reyher recommenced the entertainment by giving a grand tremolo on the piano forte, which was well received by the audience . . .

MUSIC: Either Le tremolo (op. 61 no. 2) or Nouveau tremolo (op. 189) (by Charles Mayer)

[Advertisement], The Express and Telegraph (26 December 1867), 3 

HERR OSCAR REYHER, Professor of Music, has removed to North Adelaide, Ward-street, Mr. Hussey's Buildings.

[Advertisement], Evening Journal (17 May 1870), 1 

HERR REYHER, PROFESSOR of MUSIC, begs to inform his Friends and the Public that he has REMOVED to Mr. Pulsford's Buildings, GRENFELL-STREET EAST.

"THE CONVALESCENT HOME", Evening Journal (14 October 1870), 2 

On Thursday evening, October 13, an amateur concert, announced as under the patronage of His Excellency the Governor, Lady Edith Fergusson, and Mrs. Short, was held at the Christchurch Schoolroom, North Adelaide, in aid of the Convalescent Home . . . The proceedings commenced with a piano duet, selections from "Oberon," very nicely played by Mrs. and Miss Price; followed by Mrs. T. U. Taylor singing with taste and precision "Casta Diva," from the opera of "Norma." Herr O. Reyher excellently rendered a piano solo . . . The remainder of the programme comprised a song by Mrs. Taylor, pianoforte solo by Herr Reyher . . .

[Advertisement], Evening Journal (16 November 1871), 1 

PROGRAMME. 1. Overture - "Norma" - Herr Reyher and Miss Cate . . .

[Advertisement], Evening Journal (17 November 1871), 1 

HERR REYHER, who is Leaving the Colony, begs to inform Teachers and the Musical Public that he has DISPOSED OF his ENTIRE STOCK of MUSIC to Messrs. E. S. WIGG & SON, Rundle-street, to whom he recommends intending Purchasers to apply. November 16, 1871.

[Advertisement], South Australian Register (23 November 1871), 1

HERR REYHER'S MUSIC. - We have purchased from Herr Reyher (who is leaving the colony) the whole of his Music, consisting of
NEARLY TWO THOUSAND PIECES of high class Music, chiefly Operatic and Classical, by foreign composers and publishers. Also a good Selection of Instruction Books.
This collection is well known as being unrivalled for quality. Teachers and the Musical Public should apply early to

"SHIPPING INTELLIGENCE . . . CLEARED OUT", South Australian Register (15 December 1871), 4 

THURSDAY, December 14. YATALA, ship, 1,127 tons, J. Legoe, master, for London via Cape Town. Passengers - Mr. and Mrs. Oscar Reyher, Misses Annie and Helen and Master Gordon Reyher . . .

[Advertisement], South Australian Register (18 December 1871), 2 

HERR REYHER begs to APOLOGIZE to those of his esteemed Friends to whom he has been unable personally to bid farewell (having unfortunately met with an accident), and trusts they will accept the present intimation of his grateful remembrance of their many kindnesses during his residence in Adelaide.
December 18, 1871.

"THE STRANDING OF THE YATALA", Evening Journal (6 May 1872), 3 

The public will have learnt with regret of this disaster, which occurred at Andrassels, near Boulogne, on April 6. The crew and passengers were saved, and the masts were cut away to prevent the ship breaking up . . . She left Port Adelaide last on December 18, 1871, with the following passengers : - Mr. and Mrs. Oscar Reyher, Misses Annie and Helen and Master Gordon Reyher . . .

"THE STRANDING OF THE YATALA", South Australian Register (3 June 1872), 8

. . . Mr. Oscar Reyher, a passenger per the ship Yatala, wrote to Mr. Charnock, from London, on April 9 : - "You will kindly allow me to give you an account of the misfortune we had with the ill-fated good ship Yatala, on which we were during all the voyage so comfortably placed. I hardly think of blaming any one direct, although somewhere a mistake must have been made, so as to run us almost high and dry on the rocks on quite the opposite coast. I am deeply grieved about Captain Legoe that such should have happened to him. Although every one on board lost more or less, myself included, what the captain lost may be quite irrecoverable, as it concerns his reputation. I have great respect for the captain, who deserves to be esteemed by every one. He is all that can be desired as a seaman, and in every respect a perfect gentleman. More or less we were all much hurt when being rescued by means of ropes and one lifeboat" . . .

"THE ENGLISH MAIL . . . HERR OSCAR REYHER", South Australian Register (8 April 1873), 5 

This well-known professor of music and teacher of the pianoforte, who has lately been with his family upon a visit to his relations in Europe, intends, as we understand, returning to South Australia by an early vessel, and resuming his professional pursuits. It may be remembered that this gentleman, with his wife and their three children, were among the cabin passengers who were wrecked with the Yatala upon the coast of France.

"HERR OSCAR REYHER", South Australian Register (10 July 1873), 5

We lately mentioned that Herr Oscar Reyher, who has been for some time in England and on the Continent of Europe, was about to return to resume in Adelaide the practice of his profession as a teacher of the pianoforte. A letter received by the last mail informs us that, on his arrival in London from Switzerland, he found the ship full by which he had hoped to sail, and that he consequently engaged passages for himself and family by the Darra, Capt Winckler, which vessel, as already reported, sailed on May 15. Herr Reyher may therefore be expected here very shortly.

"SHIPPING NEWS . . . ARRIVED", The South Australian Advertiser (20 August 1873), 2 

TUESDAY, AUGUST 19 . . . DARRA, 999 tons, A. R. Winckler, from London May 15 . . . Passengers - Mr. and Mrs. Reyher, Misses L. and A. Reyher, Master G. Reyher . . .

"HERR OSCAR REYHER", Evening Journal (21 August 1873), 2 

Among the passengers by the Darra we welcome back the accomplished and highly-respected musical professor Herr Oscar Reyher, who has returned with Madame Reyher and their young family from a visit to Europe. We are happy to say that they are in excellent health, and that the little girl, who received rather severe injuries by the wreck of the Yatala on their homeward voyage, has entirely recovered.

[Advertisement], Evening Journal (22 August 1873), 1 

HERR OSCAR REYHER, PROFESSOR OF MUSIC, Having RESUMED the PRACTICE of his PROFESSION, all applications are requested to be Sent, for the present, to Messrs. E. S. Wigg and Son, Rundle-street.

"DEATHS", The Register (6 July 1908), 4

DE REYHER.- On the 4th July, at his residence, No. 11 Tavistock street, Oscar de Reyher, in his 80th year.

"MUSIC AND MUSICIANS. REMINISCENCES FROM 1868 [I. - By P. A. HOWELLS]", The Register (5 October 1918), 10 

. . . the musicians I remember in Adelaide were instrumentalists and teachers of music - Misses Senner, Thwaites, Phillips, Congreve, Crabb, Shawyer, West (who afterwards became Mrs. Cawley, and was one of the supporters of music in the city), and Tilney; Mesdames Sibree, Evans, and Wastell; Messrs. George Loder, O. Esselbach, von Reyher (who made a competency, and was returning to Europe, but was shipwrecked on the coast of France in the ship Yatala, and lost all his savings, and returned to Adelaide to begin again) . . .

ASSOCIATIONS: Philip Arthur Howells (musician)

"CONCERNING PEOPLE", The Register (24 November 1919), 6 

The death occurred on Saturday at a nursing home at Prospect of Mrs. Sophie Ida De Reyher, widow of Mr. Oscar De Reyher, at one time a well-known Adelaide music teacher. Mrs. De Reyher was 94 years of age. Both she and her husband were natives of Riga, in Russia, and the latter came to South Australia and established himself as a teacher of music about 60 years ago. His intended wife followed him, but Adelaide was not a port of call for the vessel in which she travelled, and Mr. De Reyher had to go to Melbourne to marry her [sic]. Part of their early married life was spent in a little house in Hindmarsh square, and afterwards they lived for 30 years in Tavistock street. Mr. De Reyher died about 15 years ago. There were three children - two daughters and one son. Miss De Reyher died last year. The other daughter is Mrs. Wharton, of Sydney. The son, Mr. Gordon De Reyher, went to the Boer war, and afterwards settled in Africa.

Musical works:

The emu polka (1854)

The emu, an elegant and brilliant polka, 1854, composed by O. F. V. Reyher (Adelaide, Penman & Galbraith, lithographers, 1854)

Copy at the State Library of New South Wales 


Vocalist, actor (? wife of captain John REYNOLDS below)

Active Melbourne, NSW (VIC), by November 1848
Active Melbourne, NSW (VIC), until January 1850 (TROVE tagged by Australharmony) (shareable link to this entry)


"AMATEUR CONCERT. MECHANICS' INSTITUTE", The Melbourne Daily News (22 November 1848), 2 

The first of a series of concerts to be given by this Society, was given last night at the Mechanics' Institution to a very crowded audience. The instrumental portion of the Programme was admirably managed. The performers appear to have had frequent rehearsals, or in other words must be rather advanced for a "class." The overtures went off with sparkling precision. We were agreeably surprised by the singing of Mrs. Reynolds, who appeared to much more advantage than in her recent debut at the Queen's Theatre. Her voice there, whether from nervousness or indisposition, we cannot say, seemed harsh and unmusical - last night it was quite the reverse, and appeared to be a high contralto of power and tone. The notes produced were round and full, and appeared tolerably under control. She has had a narrow escape of being a very accomplishcd singer. She requires practice and plenty of it, and instruction in style particularly . . .

"THE CONCERT", The Argus (26 January 1849), 2

We were very glad to find that our predictions of a favourable result to this second experiment of our amateur musicians, were fully borne out. A very respectable audience completely thronged the theatre of the Mechanics' Institute, on Tuesday evening, and the whole affair passed off with the greatest eclat . . . One of the most remarkable features in the present concert, was the very marked improvement in the performance of the lady who kindly lent her services on the occasion. With a voice of fair compass, and great sweetness and richness, an increase of that flexibility and facility of execution which practice will bestow, is all that is wanting to place Mrs. Reynolds at the head of the female vocalists that have as yet favoured this district with their strains. A contemporary, with equal want of gallantry and discrimination, fixes upon the only lady performer as the object of an attack, which is as undeserved as it is indecent. The fact of her efforts having been gratuitously given would have protected her from criticism from any man with the aaintest spark of gentlemanly feeling, even if the song cavilled at had not received the most flattering sign of approbation, from parties far more competent to decide upon its merits . . .

"CONCERT", The Melbourne Daily News (19 April 1849), 3 

. . . "In the joyous [lacuna]" a very sweet morceau of the Haynes school, (although written by Nelson,) was exceedingly well sung by Mrs. Reynolds, who has vastly improved since we first heard her . . . The song was warmly encored . . . [the] universal favorite "Dermot astore" was remarkably well sung by Mrs. Reynolds . . .

MUSIC: Dermot Astore (Crouch)

"THE CONCERT", The Argus (20 April 1849), 2

The musical treat, presented by the amanteurs connected with the Mechanics' Institution, went off in the first rate style which we predicted, and the room was more crowded than upon any former occasion, in spite of the weather being very unsettled. The programme was good, and contained more than the usual share of novelty. A Mr. Griffiths, newly arrived, made his debut, and left a very favourable impression upon his audience . . . Mrs, Reynolds was suffering from a bad cold, but with her usual affability, did her best, rather than disappoint the large audience assembled, and was kindly accompanied on the piano by Mr. Clarke. Two of the Germans lately arrived, also contributed their share to the amusements of the evening, the one as a vocalist the other as the performer of a solo on the piano . . . Mr. Megson so far opened his heart, as again to favour us with one of his brilliant fantasias on the violin, which, of course was rapturously applauded, and encored; an honor also both deserved and accorded to Mr. Pritchard's beautiful solo on the flute, both the songs of Mr. Griffiths, and one of those by the German gentleman . . .

ASSOCIATIONS: Joseph Griffiths (vocalist); Joseph Megson (violin); Osgood Pritchard (flute); William Clarke (piano)

"THE MUSIC CLASS CONCERT", The Melbourne Daily News (14 June 1849), 2 

Despite the dense fog that prevailed on Tuesday evening, and raw chill that reminded one of "England, home, and chilblains," the Mechanics' Hall was crowded by (we presume) "the rank and fashion" of the town of Melbourne. The performances throughout were good, and we think an improvement on the last . . . Mr. Young (evidently labouring under a severe cold) led off in the vocal department by singing Lover's popular song, "The four-leaved Shamrock," and got through it with very considerable success . . . Mrs. Reynolds was loudly applauded in her song - "I dreamt I was a fairy." Megson's violin solo (variations on the Merry Swiss Boy) was the gem of the evening . . . A magnificent descriptive song of Russell's - "The Dream of the Reveller," was very correctly and sweetly sung by Mr. Griffiths . . .

MUSIC: I dreamt I was a fairy (H. Deval)

"THE THEATRE", The Melbourne Daily News (15 June 1849), 2 

This evening will ness Mr. Quin's last exhibition to the rope, and it is certainly a performance worth seeing. He draws crowded houses. On Monday next the management is about to produce Rob Roy, in a force not yet attempted. The whole of the music will be produced. Mrs. Reynolds plays Diana, Mr. Griffiths Francis Osbaldiston, Mr. King enacts "Rob."

"MR. GRIFFITHS CONCERT", Port Phillip Gazette and Settler's Journal (16 June 1849), 2 

This concert came off on Thursday evening, and being the second in one week, was very respectably attended. The singing was admirable, and the lady amateur (Mrs. Reynolds) gave general satisfaction; she sang with confidence and precision, her song of "Bid me Discourse," which was excellent . . .

MUSIC: Bid me discourse (Bishop)

"ROB ROY", Port Phillip Gazette and Settler's Journal (21 June 1849), 1 supplement 

On Monday evening, 18th June, the very interesting melo-drama of "Rob Roy," or, "Auld Lang Syne," was produced at the Queen's Theatre, and the cast of characters, for variety and repute, was so attractive, that before the curtain was raised, the house was densely crowded, box, pit, and gallery. Mr. Moreton King appeared as "Rob Roy" . . . "The Baillie"(Mr. Forsythe) gave ample proof that he had studied his part with good judgment and discretion . . . Mr. Griffiths was not happy in "Francis Osbaldiston." This gentleman stands high as a musical professor; but, as a theatrical performer his want of tact, or stage acquirements, was very observable. Mr. Thompson's "Rashleigh," was excellent, take it all for all, and Mr. Young's "Dougal Creature," was the very best we remember . . . The lady amateur who represented "Diana Vernon," sang the part chastely and prettily, but the action was by no means correspondent with the meaning and purpose of the author. It is but justice to remark, that under Mr. King's excellent management, the strictest order was observed, ao that the greatest variety of positive talent at present engaged in the Queen's Theatre, combined with its superior management, renders it very highly worthy of support and patronage.
J. R. M. Melbourne, June 19.

ASSOCIATIONS: Morton King (actor); John Charles Thompson (actor, cellist); Charles Young (actor, vocalist); James Ruthven McLaughlin (reviewer)

MUSIC: Rob Roy Macgregor; or, Auld lang syne (by Isaac Pocock; music by Henry R. Bishop and John Davy)

"MUSIC CLASS CONCERT", The Argus (7 December 1849), 2 

A very well attended concert took place at the Mechanics' Institute last evening, being the seventh given by the Music Class in connexion with that institution. A most beautiful quartette of Haydn's, was performed under the auspices of Mr. Reed, of whom we made favorable mention the other day: besides several overtures, and a capital solo on the violoncello. The vocal portions of the concert consisted of a few German quartettes, and one or two songs by Mrs. Reynolds, and Mr. Young, the latter of whom sang a comic version of Cinderella, which excited great amusement.

ASSOCIATIONS: Thomas Reed (musician)

"THE CONCERT", Port Phillip Gazette and Settler's Journal (8 December 1849), 2 

The concert which came off on Thursday evening last, was well attended, and the performances were excellent. Mrs. Reynold's song of the "Gipsey Girl" was admirable and deservedly encored. The other performances were also good of their kind.

"GRAND CONCERT FOR THE BENEFIT OF MRS. REYNOLDS", Port Phillip Gazette and Settler's Journal (3 January 1850), 2 

The grand concert of the season for the benefit of Mrs. Reynolds will come off in a few days, and from the great popularity of the lady and the excellent arrangements in progress for the concert we expect it will be far before any other concert of the season.

"MR. MEGSON'S CONCERT", The Argus (4 January 1850), 2 

The large room at the Mechanics' Institute was last night filled with a very respectable audience to enjoy the fifth annual Concert given by Mr. Megson . . . The concert was a very good one . . . but it was a little disordered by the absence of Mr. Young, who so kindly comes forward on all these occasions but who, in this instance, was prevented by the serious illness of his lady . . . made amends for by a capital solo on the violin, by Mr. Megson, avery brilliant fantasia on the piano by Mr. Buddee, and an admirable duet by those two gentlemen. A quartette of Beethoven, was also very well performed, and highly appreciated, and Mrs. Reynolds contributed her share to the pleasures of the evening, in several songs, one of which was sung with a correctness, sweetness, and pathos, which richly deserved the encore that it received.

ASSOCIATIONS: Jane Eliza Young (actor); Julius Buddee (piano)

[Advertisement], The Argus (24 January 1850), 3

CONCERT. MRS. REYNOLDS, BEGS to announce her intention of giving a Concert at the Mechanics Institute, on Thursday week next, 31st Instant. The Programme will be given in a future advertisement. January 18, 1850.

"MRS. REYNOLDS' CONCERT", The Melbourne Daily News (28 January 1850), 2 

The best programme, that is, the must attractive we have seen for sometime, will he found in our advertising columns, announcing a "benefit" concert for Mrs. Reynolds, on Thursday evening next. As this lady, independently of her musical merits, has exhibited great readiness to contribute to the musical entertainments given during the last two years, it is to be hoped that her claims upon the forthcoming occasion will not be overlooked.

"MRS. REYNOLD'S CONCERT", The Argus (31 January 1850), 2 

We hope it is unnecesssry for us to remind our readers of the Concert which Mrs. Reynolds is to favor them with, to night. A little volume might be written of the claims which this lady has upon the musical public of Melbourne. Without her kind assistance, rendered gratuitously, and often to our personal knowledge under circumstances of severe effort from illness and other obstacles, many of our best concerts would have been dull and tame enough. In this her first public appearance, she has very strong claims to support, but wisely abstaining from resting upon them, Mrs. Reynolds has issued a programme, which will compare favorably with any that has been offered to a Melbourne audience, combining as it does considerable novelty and variety with a large proportion of that lighter musical matter, which we have generally noticed to be the most favorably received by audiences of a popular character.

"MRS. REYNOLDS' CONCERT", Port Phillip Gazette and Settler's Journal (31 January 1850), 2 

We would not he doing our duty to the public did we not remind them that the concert of Mrs. Reynolds take place this evening, in the hall of the Mechanic's Institution. This enchanting singer has done much for the amusement of the ladies and gentlemen of Melbourne, having sung at all the Concerts of the Music Class, as an amateur. She possesses talent of a high order, accompanied by a little timidity, which is not much to be wondered at in one so new to public life. The selections for the evening have been made with great care, and the Programme actually sparkles with gems. We have no doubt then that Mrs. Reynolds will receive the patronage to which she is justly entitled. Above all - a lady - particularly so fair a one - ought to receive due encouragement in so polite a society as ours, and we believe it is the second time in Melbourne, that one of the fair sex has solicited the patronage of the public for a concert. We may state, that family tickets are only £1 to admit the whole family, or five grown up persons.

[Advertisement], The Melbourne Daily News (31 January 1850), 3

MRS. REYNOLDS, INDUCED by the flattering patronage promised her, and being assisted by the whole of the available Musical Talent of Melbourne, begs respectfully to announce that her
MRS. REYNOLDS will be kindly assisted in the Vocal Department by several Amateur Singers.
Leader of the Band - MR. MEGSON.
Solo Violinchello - MR. THOMPSON.
Solo Violin - MR. MEGSON.
Pianist - MR. PIETZKER.
OVERTURE - "Le Nozze di Figaro" - Mozart
SONG - "We may be happy yet" Mrs. Reynolds - Balfe
SOLO - Violin - Mr. Megson - Maurer
DUET - "Jeannette and Jeanot" - Mrs. Reynolds and Mr. Young - Glover
SONG - "Afloat on the Ocean" - Mr. Salter - Loder
SONG - "I knew him in his childhood," - Words by Mr. Reynolds - Music by Mr. Megson.
SONG & CHORUS - "Rosa Lee" - Mr. Young and gentlemen -
OVERTURE - "Semiramide" - Rossini
SONG - "Rataplan" (by desire) - Mrs. Reynolds - Donizetti
SOLO - "Violinchello -
SONG - "The old Watermill" - Mr. Young -
DUET - "I'll watch for Thee" - Miss Somers and Mrs. Reynolds - Loder
SONG - "Drink, Sing, Laugh" - Mr. Salter - Romer
DUET - Singing Lesson, Sol Fa - Mrs. Reynolds and Mr. Young - Parry
FINALE - (Vocal and Instrumental) - "God save the Queen".
The concert will commence precisely at eight o'clock.
Tickets, 5s. each; or family tickets to admit five, one guinea, to be had from Messrs. Pullar, Pittman, and Clarke, Booksellers, Collins-street; Mr. Reed's Musical Depot, Great Bourke-street; Mr. Roycroft, at the Mechanics' Institute; and at Mrs. Reynolds' residence, Little Flinders-street.
Melbourne, 25th January 1850.

ASSOCIATIONS: William Pietzker (piano)

"THE CONCERT", The Argus (1 February 1850), 2 

The elements were sadly against poor Mrs. Reynolds' success last evening, the rain pouring in torrents at the very time that the room ought to have been filling. The consequence was a rather thin attendance, in spite of which the evening passed off with tolerable spirit.

"THE CONCERT", Port Phillip Gazette and Settler's Journal (2 February 1850), 2 

We regret to say that in consequence of the inclemency of the weather the concert for the benefit of Mrs. Reynolds was not any thing like what it otherwise would have been; this unfortunate contra temp is generally regretted by all parties, particularly as the performances were first-rate.

? "SHIPPING INTELLIGENCE", The Melbourne Daily News (8 February 1850), 2 

SYDNEY SHIPPING. CLEARANCES. - January 30. - Waterloo. ship, 868 tons, Captain Neatby, for London. Passengers . . . Captain and Mrs. Reynolds . . .

REYNOLDS, Barnard (Barnard REYNOLDS; ? Bernard)

Amateur actor, poet, songwriter, "composer"

Active Melbourne, NSW (VIC), 1847
Departed Melbourne, NSW (VIC), June 1849 (per William Watson, for California) (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], Port Phillip Gazette and Settler's Journal (24 May 1847), 3 

First Night of Richard Brinsley Sheridan's admired Tragedy in five acts, entitled
in which, MR. BARNARD REYNOLDS Has kindly consented to take the part of OROZEMBO for this night only . . .
MONDAY, MAY 24, 1847 . . . ROLLA - MR. ELRINGTON . . .
Song - Mrs. Wallace.
Song - "Jack Rag" - By an Amateur.
Song - "The New Policeman" - By an Amateur.
Song - "The Shepherd's Lament" - Mr. Hambleton.
Composed by Mr. Barnard Reynolds . . .
J. T. SMITH, Proprietor.

ASSOCIATIONS: John Hambleton (actor, vocalist); Caroline Wallace (vocalist)

"VALEDICTORY", The Argus (27 June 1849), 2 

Among the victims of Californian yellow fever, who leave our shores by the William Watson, we regret to perceive the name of Mr. Bernard Reynolds, who as a public speaker and a poet has occupied a prominent position in the community, since he first electrified the Melbourne public by his appearance as an orator, in bush costume, at the great anti-transportation meeting at the Queen's Theatre in 1847. We regard Mr. Reynolds' emigration as a serious loss to the community . . .


Amateur vocalist, sailor

Active Melbourne, NSW (VIC), September 1849

ASSOCIATIONS: ? Mrs. Reynolds (vocalist, above)


"SHIPPING INTELLIGENCE . . . IMPORTS", The Sydney Morning Herald (18 September 1848), 2 

September 17. - Sophia, schooner, 50 tons, Captain Reynolds, from Port Phillip: 38 bales wool, Griffiths, Fanning, and Co.

"Shipping Intelligence . . . CLEARED OUT", The Melbourne Daily News (4 July 1849), 2 

July 3. - Sophia, schooner, 42 tons, John Reynolds, master, for Port Fairy aud Portland . . .

"RECHABITES", The Argus (10 September 1849), 2 

On Thursday evening last, the Honorable and Independent Order of Rechabites in connexion with the Salford Unity, held a tea meeting in honor of the first establishment of a Tent in Melbourne. After the enjoyment of the cheering beverage, several speeches were delivered on the benefit of teetotalism. The sax-horn band was in attendance, and performed some enlivening airs during the evening. A few of the brethren sang some appropriate songs, and Mr. Reynolds, late of the Sophia brig, gave "The Anchor's Weighed," in flrst-rate style. There were 300 persons present.

MUSIC: The anchor's weighed (Braham)

? "SHIPPING INTELLIGENCE", The Melbourne Daily News (8 February 1850), 2 

SYDNEY SHIPPING. CLEARANCES. - January 30. - Waterloo. ship, 868 tons, Captain Neatby, for London. Passengers . . . Captain and Mrs. Reynolds . . .

REYNOLDS, Walter James Jones (Walter James Jones REYNOLDS; W. J. J. REYNOLDS)

School master, bass vocalist, music and singing class teacher, choral conductor

Born Abingdon, Berkshire, England, 3 May 1839
Married (1) Annie Maria ROSS (1843-1891), St. Paul's church, Marylebone, London, 5 January 1864
Arrived Melbourne, VIC, January 1866 (steerage passenger, per Sussex, from Gravesend, 21 October 1865)
Arrived Hobart, TAS, 27 January 1866 (per Derwent, from Melbourne, 25 January)
Married (2) Ethel KERMODE (1879-1967), Hobart, TAS, 22 December 1908
Died Hobart, TAS, 10 May 1915, aged 76 (TROVE tagged by Australharmony) (shareable link to this entry)



"EDUCATIONAL", The Mercury (21 February 1866), 3 

THE Board of Education have filled up the vacancy of master at the Upper Goulburn-street public school by the appointment of Mr. Reynolds a gentleman lately from England, who was shortly recommended by the Right Rev. Bishop Bromby . . .

ASSOCIATIONS: Charles Henry Bromby (bishop)

"BOARD OF EDUCATION . . . DRAWING AND SINGING CLASSES", The Cornwall Chronicle (14 July 1866), 3 

An elaborate report was read from the Inspector stating that the present time afforded a favourable opportunity for resuming the practice of elementary singing, and [drawing] instruction in the schools, and advocating a moderate degree of encouragement as an experiment, and pointing out the times of attendance, and the modes of conducting the different classes. The report recommended Mr. Reynolds of the Central Schools for the important duty. The chairman remarked that the report coincided with his own views, and spoke warmly in favor of the movement, and suggested 50l a year, for the hours of 10 to 12, one day a week, viz, on Saturday to teach all the schools. Further conversation ensued, in which the value and advantages of music, and drawing were recognized, when the subject was deferred to the next meeting.

"MECHANICS' INSTITUTE", The Tasmanian Times (6 November 1868), 2 

MR. REYNOLDS and his adult singing class gave last evening at the Mechanics, a very excellent concert, comprising a well-selected programme of vocal and instrumental music. The choral pieces were very effectively rendered. A very noticeable and praiseworthy feature of this branch of the entertainment was the extreme precision of the "time" and the accurate unison of the combined voices . . . Mr. Reynolds sang "Give me a freshening breeze," in the first part, and "A Friar of orders gray" in the second. Both were encored . . . Mr. Reynolds deserves great credit for the pains he has bestowed upon his pupils, who certainly do their master justice. He is anxious to extend his class, we hear, and those who desire to improve their voices by steady training could not do better than join his ranks.

"DEATHS", The Mercury (11 May 1915), 1 

REYNOLDS. - On May 10, 1915, at his residence, Iffley, Montpelier-street , Major W. J. J. Reynolds, AGED 76 years. Funeral Private.

"PERSONAL", The Mercury (11 May 1915), 4 

We regret to announce the death of Mr. W. J. J. Reynolds, who was for over 20 years headmaster of the Central State school, Hobart. He began his education at the Blue Coat School, England, and left there to become a pupil teacher in a leading school in London, where he remained five years. He then entered as a student the Cheltenham Normal College where he gained a first-class Queens scholarship. He left that college with high certificated, and after being headmaster of Bassaleg school, in the West of England, for three years, came out to Tasmania at the invitation of the Board of Education to take charge of the Goulburn-street State school, Hobart, where great success attended his work. In 1881 Mr. Reynolds was promoted to the Central State school, which long enjoyed the distinction of having the largest average attendance of any school in the city. An indication of his fine qualities as a teacher may be gained from the fact that when a headmaster was required for the Timaru State-school, New Zealand, he was chosen out of 67 applicants for the position. He was, however, persuaded to remain in Tasmania. Mr. Reynolds was always an enthusiast in music. Possessed of a fine bass voice, he was for years the most prominent bass singer of the State, and frequently took leading parts in operas and oratorios. In 1872 Miss Amy Sherwin, Mr. F. A. Packer, and her competed at Melbourne as Tasmanian representatives in the first inter-colonial musical festival, the trio gaining great succsss. He was equally prominent as a conductor, and led the massed choir of 5,000 voices which took part in the Queen's Jubilee of 1887, and the choir of 6,000 voices which assembled at the Diamond Jubilee in 1897, the latter performance being witnessed by from 25,000 to 30,000 people. Mr. Reynolds also played a prominent part in the defence movement in this State, and was for five years a captain in charge of B Company of the Tasmanían Rifle Regiment, and was later promoted to major. He retired from the headmastership of the Central school about six years ago, and had since then resided on his farm in the New Norfolk district. He leaves seven sons and daughters, one of whom is Lady McCall, wife of the Agent-General. He was 76 years of age.

ASSOCIATIONS: Frederick Augustus Packer (musician); Amy Sherwin (vocalist)

RICARDS, Jessie Elizabeth (Jessie Elizabeth INGLES; Mrs. Benjamin RICARDS; Mrs. B. RICARDS)

Actor, vocalist

Born London, England, 1826; baptised Christ Church, Southwark, 15 March 1826; daughter of James and Jane INGLES
Married Benjamin RICARDS (1821-1861), Lnycombe and Widcombe church, Bath, England, 3 December 1851
Active VIC, 1855-57 (TROVE tagged by Australharmony) (shareable link to this entry)


1851, marriage solemnized at the parish church in the parish of Lycombe and Widcombe in the county of Somerset; register, 1851-61, page 15; Somerset Archives (PAYWALL)

[No.] 29 / Dec'r 3rd 1851 / Benjamin Ricards / full age / bachelor / Auctioneer / Edgar Buildings / [father] Robert Ricards / Auctioneer
Jessie Elizabeth Ingles / full age / Spinster / - / Elm Place / [father] James Ingles / Commission agent . . .

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

SALLE DE VALENTINO - Songs by Mrs. Ricard and Others, both Comic and Sentimental.

[Advertisement], Bendigo Advertiser (9 February 1856), 3 

PRINCESS'S THEATRE. CRITERION HOTEL. (Under the management of Mr. Coleman.)
BENEFIT OF MRS. GILL. WEDNESDAY, 13th FEBRUARY . . . The following Laadies and Gentlemen will appear -
Madame Sara Flower, Mrs. R. Macgowan, Miss Hudson, Mrs. Ricards, Mr. Sam Howard, Mr. Ryan, Mr. Richardson, Mr. B. Coleman, Mr. Ricards, Mr. Styles, Sig. Gagliadi [sic] . . .
Ballad - Mrs. B. Ricards.
New Medley Dance - Mrs. H. Macgowan.
Song - Madame Sara Flower.
Solo, Flute - Sig. Gagliadi.
With Pianoforte Accompaniment - Mrs. GILL.
Song - Madame Sara Flower . . .

ASSOCIATIONS: B. J. Coleman (manager); Sara Flower (vocalist); Sam Howard (actor); Giacinto Gagliardi (flute)

[Advertisement], Bendigo Advertiser (23 July 1856), 3 

THURSDAY NIGHT, JULY 24th. MR. McGAURAN has much pleasure in announcing that he has made arrangements with the following Artistes, from Coleman's Criterion Theatre, to give an entertainment on the above night -
Mr. H. Richardson, Mr. B. Ricards, Mr. C. Cooper, Mr. H. Hunter, Mrs. Gill, and Mrs. B. Ricards.
The Performances will commence with the petite Comedy of THE RIVAL PAGES - King Louis XIII - Mr. H. Richardson . . .
Solo Concertina, Mr. H. Richardson.
Comic Recitation, Mr. B. Ricards.
Ballad, Mrs. B. Ricards.
Comlo Song, Mr. C. Cooper . . .
PIANIST - MR. H. HUNTER . . . Admission, Four Shillings.

ASSOCIATIONS: Henry Richardson (agent, concertina)

[Advertisement], The Argus (31 March 1857), 1 

MRS. B RICARDS - Letters from home at Denham's, Queen's Arcade.

[Advertisement], Bendigo Advertiser (13 June 1857), 3 

CLYDESDALE HOTEL, Kangaroo Flat. This Evening, SATURDAY, JUNE 13th,
A GRAND DRAMATIC PERFORMANCE Will take place, in which the following Artistes will appear:
MR. J. M. WOLFE (Leading Actor from the Criterion Theatre), MRS. GILL, MRS. RICARDS, MR. E. RAMSAY, AND MR. B. J. COLEMAN . . .

[Advertisement], Mount Alexander Mail (28 August 1857), 1 

"SUDDEN DEATH OF AN ACTOR", The Age (25 March 1861), 7 

Yesterday morning, a little after nine o'clock, Mr. Benjamin Ricards, lately one of Evans' Dramatic Company, lately one of Evans' Dramatic Company, expired suddenly while in the act of conversation with Mr. Nicholas, the brewer. From the evidence furnished at the magisterial inquiry, held in the afternoon before John Phillips, Esq., J.P., at the Court-house, it appeared that the deceased had determined to leave his dramatic friends and remain in Deniliquin, hoping to be able to establish a school and obtain a livelihood in a more settled mode than heretofore. He had called on Mr. Nicholas, and was in conversation on the subject, when he suddenly fell backwards, and, being instantly raised, was found to be dead. Mr. Noyes, the medical practitioner, was immediately sent for, and as quickly attended, but the vital spark was irrevocably quenched, and the poor player's life-drama finished. Mr. W. Evans deposed that he had known the deceased since 1849; he had been witness's partner; and said that deceased had complained for the last three weeks of a pain in his chest, but he had been somewhat better since he had been in Deniliquin. He was a married man, but had been living separate from his wife for some time. At Waligunyah, where they had played lately, deceased heard that his wife, whom he supposed had gone to England, was still residing in Melbourne. From that time deceased appeared gradually to break down. Deceased, he believed, came originally from Bath, where in 1850-52 he carried on the business of an auctioneer. Witness thought deceased had lived somewhat fast during his life. The above was corroborated by other members of the theatrical company . . . Pastoral Times, March 22nd.

RICE, Walter John (Walter John RICE; W. RICE; Walter J. RICE; W. J. RICE; "Watty" RICE)

Violinist, viola player, orchestra leader, composer

Born Exeter, Devon, England, 1834; baptised Holy Trinity, Exeter, 1 June 1834; son of Michael RICE (1806-1861) and Harriet BAKER (1810-1842)
Arrived Melbourne, VIC, 1854
Married Jane Agnes SPENCER (1838-1914), St. James's church, Sydney, NSW, 23 June 1859
Died Paddington, NSW, 18 October 1898 (TROVE tagged by Australharmony) (NLA persistent identifier0 (shareable link to this entry)

RICE, Herbert Henry (Herbert Henry RICE; H. H. RICE)

Musician, violinist, orchestra leader, conductor, teacher of the violin, viola and piano

Born Woolloomooloo, NSW, 20 May 1865; son of Walter John RICE and Jane Agnes SPENCER
Died NSW, 15 March 1954, aged 88 (TROVE tagged by Australharmony) (shareable link to this entry)

RICE, William Walter (William Walter RICE; W. W. RICE)

Musician, orchestral player

Born Sydney, NSW, 5 February 1869; son of Walter John RICE and Jane Agnes SPENCER
Died Chatswood, NSW, 30 July 1931 (TROVE tagged by Australharmony) (shareable link to this entry)

RICE, Horace Michael (Horace Michael RICE; H. M. RICE; "Horrie" RICE)

Musician, viola player, tennis player

Born Sydney, NSW, 6 September 1872; son of Walter John RICE and Jane Agnes SPENCER
Died Chatswood, NSW, 18 January 1850 (TROVE tagged by Australharmony) (shareable link to this entry)

RICE, Edgar John (Edgar John RICE; E. J. RICE)

Amateur musician, violinist

Born Sydney, NSW, July 1878; son of Walter John RICE and Jane Agnes SPENCER
Died Chattswood, NSW, 1955 (TROVE tagged by Australharmony) (shareable link to this entry)

Walter John Rice, c. 1890 (photo: Brand, Sydney)

Walter John Rice, c. 1890 (photo: Brand, Sydney) (DIGITISED)


Walter John Rice was born in Exeter, Devon, in 1834, and baptised at Holy Trinity church, South Gate, on 1 June. He was the second surviving son of Michael Rice (1806-1861), a musician and violinist, and his first wife Harriet Baker (1810-1842). His elder brother, also Michael (1831-1890), also became a professional musician.

According to his obituary, Rice arrived in Melbourne, VIC, in 1854, and went first to the central Victorian gold fields, spending six months mining and working as a station hand. Returning to the musical profession, he spent three months playing viola in one of the Bendigo theatres, and when the season closed went with his colleagues to Melbourne. There they were engaged by John Winterbottom for four months, before Rice followed the band to Sydney.

On 23 June 1859, at St. James's church. Sydney, Rice married Jane Agnes Spencer (1838-1914), a native of Launceston, VDL (TAS). In that year, he was a member of the orchestra of the Royal Victoria Theatre, then being led by Alfred Usher. Towards the end of the year, Rice was also a member of the committee of the theatrical and musical union organising protests against the management of theatre proprietors Charles Poole and Samuel Colville.

Documentation (Walter):

England census, 30 March 1851, Devon, Exeter, Holy Trinity; UK National Archives, HO 107/1868 (PAYWALL)

221 Trinity Street / Flora Rice / Head / 30 . . .
Walter J. [Rice] / Step Son / 16 / Clerk to Land Draining Company / [born] Exeter
Henry [Rice] / [Step Son] / 15 / [Clerk to Land Draining Company] / [born Exeter] . . .

[Advertisement], The Sydney Morning Herald (25 June 1859), 1 

ROYAL VICTORIA THEATRE. - Sole Manager and Lessee, Mr. Samuel Colville.
Unequalled combination of attraction for the BENEFIT of the great artiste, Miss MARY PROVOST, tendered by the members and attaches of the Theatre . . .
We beg to subscribe ourselves, your obedient servants . . .
[members of company, including orchestra] . . . Alfred Usher, A. Grebbet, W. Rice, A. Chate, E. Holloway, F. Howson, F. Sharp, F. Prince [sic] . . .

ASSOCIATIONS: Samuel Colville (manager); Mary Provost (actor); Frank Howson (actor, vocalist); Edmund Holloway (actor, vocalist); Alfred Usher (violin, leader); Adolphe Grebet (violin); Alfred Chate (double bass); Henry Prince (cornet)

"MARRIAGE", Empire (28 June 1859), 1 

On the 23rd instant, by special license, at St. James's Church, by the Rev. Mr. Morton, Walter John Rice to Jane Agnes, eldest daughter of Mr. Thomas Spencer, of Pitt-street.

[Advertisement], Empire (2 July 1859), 3

On TUESDAY, July 19th, and THREE FOLLOWING DAYS, a series of GRAND MUSICAL PERFORMANCES Will be held to celebrate the opening of the HALL of the Sydney University in which the performances will take place . . .
FIRST VIOLINS - Mr. John Deane Conductor of the Philharmonic Society; Mr. Eigenschenk, leader of Orchestra at the Prince of Wales Theatre; Mr. Alfred Usher, leader of Orchestra at the Victoria Theatre . . .
VIOLE. - Mr. Walter Rice; Mr. William Friedlander; Martin Josephson; With the gentlemen amateurs of the Philharmonic Society . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor); John Deane (violin); Charles Eigenschenck (violin); Alfred Usher (violin); William Friedlander (viola); Martin Josephson (viola); Sydney University Musical Festival (July 1859)

[Advertisement], Empire (21 November 1859), 1 

GENERAL MEETING of the THEATRICAL PROFESSION, held November 19th, 1859.
It was Resolved, That none of the following Members of the Profession shall receive any engagement from Mr. CHARLES POOLE, or any deputed manager of his, until the present pecuniary claims of the whole professional body shall have been indemnified in full. In guarantee whereof the following signatures were affixed:
[members of the companies, including orchestras] . . . W. J. Rice . . . A. Usher . . . Frank Howson; Frank Howson, junr.; M. Josephson; A. H. Chate . . . R. W. Kohler . . . Charles Eigenschenck . . . J. Davis; J. Hall . . . Robert Vaughan . . .
R. STEWART, Chairman.
FRANK VARLEY, Secretary.

ASSOCIATIONS: Charles Poole (proprietor); Richard Stewart (actor, vocalist); Frank Varley (secretary); Frank Howson junior (cello, arranger); Richard Wildblood Kohler (cornet); Isaac Davis (violin); John Thomson Hall (violin); Robert Vaughan (flute)

[2 advertisements], The Sydney Morning Herald (22 November 1859), 1 

The first of a series of MONSTER CONCERTS, for the benefit of the Dramatic and Musical Artistes, late of the Victoria and Prince of Wales Theatres, will take place on WEDNESDAY, 23rd instant, at the SCHOOL OF ARTS, when the following combination of talent will appear.
Pianist - Mr. C. Packer.
Leaders - Messrs. Usher and Eigenschenck.
Second Violins - Messrs. Josephson and Hall.
Tenori - Messrs. Rice and Davis.
Violoncello - Mr. F. Howson, jun.
Contra Bassi- Messrs. Chate and Brown . . .
PART I. Overture - "Guillaume Tell" - Rossini - By Double Orchestra . . .
Quadrille - "L'Indienne," with brilliant variations, and new effects. first time in Sydney . . .
PART II. Overture - "La Bayadere "- First time in Sydney (Auber) . . .
Finale - "Galope Champagne"- With original effects by Mr. R. W. Kohler . . .
R. STEWART, Treasurer.
FRANK VARLEY, Secretary.

A degree of excitement having prevailed amongst the play-going patrons of the community, in consequonce of the sudden closing of the Prince of Wales Theatre, and various misstatements having been propagated, and erroneous impressions caused, by Mr. Colville's appeal to the profession, we feel it a duty that we owe, both to ourselves and patrons, to lay before them a plain "unvarnished" account of the causes which have driven us to adopt the course which we have pursued. The facts, then, are simply as follows, - and in stating them we feel confident that we shall ensure the cordial sympathy and co-operation of the public, that has ever proved a warm and discriminating supporter of our efforts:
- In the first place, it is necessary to promise that, some short time ago, Mr. Charles Poole appealed to his company to grant him the proceeds of one week's business as a loan to meet pecuniary liabilities. This was not only done, but two complimentary benefits included in the week. At the same time Mr. C. Poole was indebted to members of his company in sums varying from one pound to fifty. What did Mr. Charles Poole do with this money, so unanimously and generously lent to him by his brother professionals? He obtained the lease - or, at any rate, the right to play - at the Victoria and Lyceum Theatres, from Mr. Colville, for the sum of £600, and at once instituted a monopoly - thus using the friendly assistance of his company as a weapon against them.
His next return for the kindness shown him was an imperative demand from the members of the companies, orchestras, and operatives of the two theatres to consent to a reduction of twenty-five per cent, on their salaries up to Christmas, or a further loan. This movement was, very properly, repulsed by the whole dramatic body, all confidence having been lost in Mr. Poole's sincerity. What, then, follows? The ensuing week no salaries are paid, and the entire members of the two companies are thus unexpectedly thrown out of employment.
Mr. Samuel Colville now steps in - while playing an engagement under Mr. Poole's lesseeship at the Prince of Wales Theatre - and offers engagements to about one third of the profession for three weeks, to carry out Miss Provost's starry engagement - Mr. Poole having announced his intention of closing the Victoria Theatre for an indefinite period. Thus, the companies were expected to quietly submit to their losses, and assist another irresponsible manager to place them, in all probability, in a similar position.
It may be argued that there is no ground for this assertion. Let us, however, review the past conduct of Mr. Colville, and then decide what confidence can be placed by the company in this gentleman's management. Mr. Colville commenced his theatrical managerial career in this city at the Victoria Theatre, engaging his company for six weeks' positively. This engagement he abruptly terminated at the expiration of a fortnight; and Mr. James Simmons was compelled to resume the management. Again Mr. Colville obtained the Victoria; and, after a prosperous season, according to his own admission, of nearly four months - taking an average of £400 per week - he let the theatre to Miss Emma Stanley, and discharged the whole of his company at a moment's notice; thus violating his word of honour that the season should last six months. At the expiration of a month, he again assumed the management - again offered engagements for six months, positively, and brought the season to a termination at the end of three weeks, selling his interest in the theatre to Mr. Poole.
Now, as men of common sense, how could the members of the profession place any reliance on the word of a man who had thrice violated it? No; there was every probability that should the starring engagement at the Prince of Wales prove unsuccessful - which was more than likely, for Miss Provost has ceased to be the great attraction in this city - the actors would have shared the same fate as they had done previously. With reference to the offer of Saturday night's receipts to the unengaged members of the protession, as stated by Mr. Colville, it must be remembered they were to be given less the expenses of rental of TWO THEATRES, printing, &c., &c. The salaries of the past week, together with the previous loan, were to be foregone, and also all claim for the Saturday night; so that, in point of fact, those employed would lose an additional night, to recompense their brother actors' claims of £250 with a donation of from £20 to £30. This proposition was, of course, unanimously rejected; and yet Mr. Colville, apparently with the view of misleading the public, puts it forth in Monday's issue as an act of great benevolence!
The assertion made by Mr. Colville, that he has fulfilled all engagements, is hereby proved to be incorrect.
Summonses have already been granted against him, and others are forthcoming.
To the public of Sydney, therefore, the dramatic and musical professions appeal to assist them in battling against such an evident and cruel attempt to speculate and impose on the talents and energies of men worthy of more honourable treatment at the hands of theatrical managers.
Signed by theatrical committee, FRANK HOWSON in the chair.
FRANK VARLEY, Secretary.

ASSOCIATIONS: Charles Sandys Packer (pianist); Sam Howard (actor)

[Advertisement], The Sydney Morning Herald (24 November 1859), 1

The Second MONSTER CONCERT, for the Benefit of the Dramatic and Musical Artists, late of the Victoria and Prince of Wales Theatres, will take place THIS EVENING, Thursday, November 24th, at the SCHOOL OF ARTS,
when the following combination of talent will appear . . . Tenori - Messrs. Rice and Davis . . .
PROGRAMME. PART I. Overture - "Massnniello" - Auber . . .
Part II. Overture - "Don Giovanni" - Mozart . . .
Quartette - "Instrumental" - Haydn - First violin, Mr. Usher; second ditto, Mr. Eigenschenck; viola, Mr. Rice; violincello, Mr. F. Howson, jun. . . .

[Advertisement], The Sydney Morning Herald (26 November 1859), 1 

THEATRICAL UNION. - To the Public - We, the undersigned members of the theatrical Profession, who have fixed our names to a resolution purporting that we should not perform for Mr. Poole, or any sub manager of his, hereby beg to express our regret, and disapprobation at the line of conduct pursued by Messrs. Burford, Rayner, Hasker, and Newton, in taking engagements at the Prince of Wales under Mr. Colville's management, and in dircct violation of their words and signatures . . .
E. Holloway, R. H. Cox, Alfred Usher, A. C. Chate, W. J. Rice, F. Slinvpp, E. Gallagher, M. Dwyer, H. Maynard, W. Burbury, W. J. Brown, M. Josephson, Henry Prince, F. B. Cooper, G. R. Morton, Frank Howson, sen., F Howson, Jun., Robert Vaughan, Edward Wright, C. Fredericks, R. Murray, J. Davis, J. Hall, R. W. Kohler, C. Eigenschenck, S. Howard, W. Dind, W. Walter, and eighteen others.
R. STEWART, Treasurer.
FRANK VARLEY, Secretary.
November 24th, 1859.

"OLYMPIC THEATRE, MAITLAND", Bell's Life in Sydney and Sporting Reviewer (24 December 1859), 2 

The members of the Sydney Dramatic Company commenced their reason at this elegant little theatre on Monday evening last . . . The orchestra, under the the direction of Mr. W. Rice, played some first rate selections in brilliant style . . .

"COPY OF PROTEST", Empire (12 June 1860), 8 

COPY OF PROTEST. Prince of Wales Theatre, Sydney, Tuesday Morning, May 22nd, 1860. WE, the undersigned, professors of music, vocal and instrumental, and also the chorus engaged in the forthcoming Opera season, deem it a bounden duty, taking into consideration an article appearing in this morning's Empire, to protest against the ability of Sig. CUTOLO, as a conductor of grand opera, at the same time believing him to be, without doubt, an excellent pianist; but from inexperience, unable to wield the baton as conductor. GIOVENINA BIANCHI; EUGENIO BIANCHI; OCTAVIA HAMILTON; CLELIA HOWSON . . . E. COULON; _ PALTZER; F. HOWSON, senior; F. HOWSON, junior; H. GROSSI; H. SCHLUTER; H. BENHAM; C. EIGENSCHENK, leader; _ PRINCE; J. MAN; W. RICE; J. DAVIS; _ WALKER; A. CHATE; E. FAHY . . .

ASSOCIATIONS: Cesare Cutolo (pianist, conductor); Giovanna and Eugenio Bianchi (vocalists); Octavia Hamilton (vocalist); Clelia Howson (vocalist); Emile Coulon (vocalist); Jacques Paltzer (violin, replacement conductor); Enrico Grossi (vocalist); Adolph Schluter (vocalist); Henry Benham (vocalist); Edward Fahey (bassoon)

"MR. WINTERBOTTOM", Empire (14 August 1861), 5 

A very gratifying testimonial was presented to Mr. Winterbottom, the eminent bassoonist and conductor, previous to his departure from Sydney, yesterday, for Melbourne, en route for England, by several of the artistes who have been members of the corps d'orchestre, under Mr. Winterbottom, since he arrived in these colonies. The testimonial consisted of a handsome frame, containing photographic portraits, very beautifully executed by Mr. Glaister, of Pitt-street, of Mr. Winterbottom himself (in the centre), surrounded by those of the following artistes: Mr. Eigenschenck (leader), Mr. J. Hall (second violin), Mr. Rice (viola), Mr. Vaughan (flute), Mr. Chate (basso), Mr. Prince (cornet), Mr. Seamore (trombone), and Mr. Sharp (drums); all of whom, we understand, have, with slight intermission, been connected with Mr. Winterbottom during the last nine years in his professional career in Australia. The manner in which they have thus testified their regard and sympathy for their late talented conductor, is at once appropriate and suggestive, and we doubt not, will be long cherished by the accomplished artiste to whom it has been offered, and whose departure from these colonies will create a vacuum in the musical world which it will be extremely difficult to supply.

ASSOCIATIONS: John Winterbottom (conductor); Thomas Glaister (photographer); Frederick Sharpe (drums); Mr. Seamore (trombone)

"SYDNEY PHILHARMONIC SOCIETY", Empire (28 November 1864), 4 

After an unusually long recess caused partly by the serious indisposition of the conductor, and partly to his anxiety that the new season should commence with a performance worthy the reputation of the society and satisfactory to its patrons, the first concert is announced to take place on Tuesday (to-morrow) evening next, at the Masonic Hall commencing as usual at 8 o'clock. The first part of the programme consists of Handel's "Acis and Galatea" . . . The second part contains several musical gems of instrumentation, as it is the desire of conductor and committee to produce both vocal and instrumental music of the highest class, and perform them in first-class style. Among these may be noted Mozart's overture to "Don Giovani," a trio for two violins and piano, from "Il Trovatore;" and last, but by no means least, one of those enchanting compositions of the immortal Beethoven, an instrumental quartett, Op. 18 No. 2, for two violins, viola, and violincello. This will be performed by Messrs. Haimberger, W. Rice, W. J. Cordner, and C. Howson [sic, Frank Howson junior]. It is a composition worthy the attention of all musicians, and very great care has been taken in its preparation, and it is hoped the enjoyment of its performance will not be marred by the audience leaving during its execution, to prevent which the committee - having thought it wise to provide for this by an interval of a few minutes previous to its commencement . . .

ASSOCIATIONS: William John Cordner (conductor, violin); Julius Haimberger (violin); Sydney Philharmonic Society

[Advertisement], Empire (17 April 1865), 1 

Commencing MONDAY, May 1st, 1865 . . .
Conductor and Composer - MR. G. LODER.
Leader - M. FLEURY.
ORCHESTRA. 1st Violins: M. Eigenschenck; Mr. Hall; Mr. Hoare; 2nd Violins: Mr. Jager; Mr. Putman; Viola: Mr. Rice; Violoncello: Mr. Hart; Double Bass: Mr. Brown . . .

"THE OPERA", The Sydney Morning Herald (4 May 1865), 5 

Another crowded and fashionable audience yesterday evening, assembled at the Prince of Wales Theatre . . . We may again refer in terms of approbation to the orchestra and chorus, and to the excellent violin playing of M. Fleury, who as a leader is unquestionably of the first order. There are so many first-class instrumentalists - including Messrs. Rice, McCoy, Eigenschenck, Hodge, Chase [Chate], Creed Royal, and the performers on the French horn - that it would be strange indeed if the instrumentation were not superior to what has been heard here before . . .

"PUNCH AT THE THEATRE", Sydney Punch (6 May 1865), 1 

The admirers of the "concord of sweet sounds" had ample cause for gratification at the Prince of Wales on Monday evening last, when Mr. W. S. Lyster's Royal Italian and English Opera Company commenced their fourth season in Sydney . . . Suffice it to say the house was crowded in every part, and Mr. George Loder received a cordial welcome as he took his seat as conductor to, unquestionably, in point of talent and numbers, the most efficient orchestra ever collected under one baton in Sydney. Monsieur Fleury, the leader, also received the recognition due to the acknowledged reputation which preceded his advent in Sydney. The term elite may be applied without hesitation to the orchestra, which ranks among its members the names of Eigenschenck, Hall, Rice, Hart, Lunenborg, Kohler, Creed Royal, Brown, Hodge, and many others less known to Sydney fame. After a finely-executed overture, the curtain rose on Donnizettis charming "Lucretia Borgia" . . .

ASSOCIATIONS: George Loder (conductor); Achille Fleury (violin, leader); Ernest Jager (violin); Sidney Hart (cello); Thomas McCoy (bassoon); John William Lundborg (clarinet); Franz Kohler (horn); Creed Royal (flute); Sebastian Hodge (musician)

[Advertisement], The Sydney Morning Herald (27 March 1866), 8 

Conductor and composer - Mr. George Loder.
Leader - Mr. J. Hall.
ORCHESTRA. 1st Violins: M. Eigenschenck; Mr. Isaacs; Mr. Hoare; 2nd Violins: Mr. Jager; Mr. Devereaux; Viola: Mr. Rice; Violoncello: Mr. Hart; Double Bass: Mr. Brown . . .

ASSOCIATIONS: John Devereux junior (violin)

[Advertisement], The Sydney Morning Herald (4 December 1869), 9

in honour of the visit of the FLYING SQUADRON to New South Wales.
the splendid BRASS BAND of the NAVAL BRIGADE will attend and play all the most popular music of the day.
Bandmaster, T. BUDD.
Leader: Mr. W. J. RICE . . .

ASSOCIATIONS: Thomas Budd (bandmaster)

[Advertisement], The Sydney Morning Herald (15 January 1870), 4

ANNIVERSARY DAY AT BOTANY, 1870 . . . WEDNESDAY, January 26th instant . . .


. . . The orchestra left behind them on the Friday night, so as to be in readiness for the mid-day performance of the Pantomime intended for Saturday, the whole of their musical instruments, many of them of much value. These articles have been totally consumed in the destruction of the Opera House. Mr. Walter Rice, the leader of the orchestra has also, through the calamity, lost a valuable collection of manuscript music . . .

"Music and the Drama", Australian Town and County Journal (21 January 1882), 13

At this concert an efficient and well balanced orchestra, under the leadership of Mr. Walter Rice, performed the well-known overture to "Masaniello".

"Funerals", The Sydney Morning Herald (19 October 1898), 12

"THE LATE MR. W. J. RICE", The Daily Telegraph (20 October 1898), 6 

Many Sydney playgoers will learn with regret of the death ot Mr. Walter John Rice (intimately spoken of as "Watty"). The late gentleman came to the colony in 1854, and belonged to a well-known musical family. Since his arrival here he has been the musical director in turn of the Princess of Wales, Victoria, Royal, Lyceum, and Her Majesty's Theatres. He will also be greatly missed at the Easter and Christmastide masses at St. Mary's Cathedral, the orchestra of which he led for the last 40 years continuously. The funeral, which left his late residence Oatley-road, Paddington, yesterday, was attended by a large number of his old friends and associates . . . The principal mourners at the funeral were his three sons, Messrs. H. H., H. M., and E. J. Rice, and his grandson, Master H. Rogers. Amongst those also present were Signor Hazon, Mr. J. Delany, Mr. H. Leatherby (representing the Permanent Artillery Band) . . .

ASSOCIATIONS: Roberto Hazon (musician); John Delany (musician)

"The Late Mr. Walter Rice", The Sydney Mail and New South Wales Advertiser (29 October 1898), 1052 

The name of Mr. Walter John Rice, who has just died at Paddington, is familiar to every instrumental performer in Australia, and especially to everyone connected with the theatrical profession, which he had been connected as a conductor or instrumentalist for over 40 years. He was the son of a well known musician, the late Michael Rice, conductor of the Exeter Orchestral Society, and a member of a family of musicians. His brother Michael played with Patti on her tours, and when he died three or fours years ago, Patti gave a concert for his widow and family. Another brother, manager of a Welsh Bank, died but the other day; and the death of Mr. Walter Rice closed his generation. Mr. Walter Rice was connected with orchestras of the firm of Williamson and Musgrove since its formation, and three of his sons (one of them the champion tennis player) are in "the firms" orchestras now. One of them, Mr. W. W. Rice came up from Melbourne the bearer of a splendid wreath from the Princess Theatre Orchestra, arriving just too late for the funeral. Her Majesty's Theatre Orchestra, Williamson and Musgrove, their manager (Mr. Goodmann) stage manager (Mr. Bracy) Opera conductor (M. Caron) all sent wreaths, and the funeral was quite a professional gathering at which the Rev. Mr. Gillett was the officiating minister.


Besides his conductorship of the theatre orchestras Mr. Walter Rice for 40 years conducted the orchestra at the Easter and Christmas festivities in St. Mary's Cathedral. While be was conducting the orchestra during the Potter-Bellew season at Her Majesty's, about 12 months ago, it was his custom to hurry out of the theatre to the Paddington tram. One night he was doing this when two men apparently opened out to let him pass, and as they did so he fell over a third who had crouched down to trip him up. The three them tried to rob him. The fall and struggle injured his heart, aud was the beginning of the illness which resulted in his death.


In going through the deceased's papers the family found a copy of a letter sent to his father after his arrival here, which we cannot do better than reproduce as a picture of life in the colonies over 40 years ago and the experiences of a musician of those days. This letter proceeds: -

"Being now comparatively settled in Sydney, I think a sketch of my career in the colonies would prove interesting. When we dropped anchor in Hobson's Bay the first important fact that presented itself to me was that my stock of cash had, from various amusements on board, dwindled down to the enormous sum of 10s, which was all expended in conveying my chest from the ship to the shore, leaving me without a cent. I looked eagerly for some scheme to raise 'tin,' and after long dubitation I turned auctioneer, got a lot of clothes, boots and shoes, picks and shovels, books, shirts, etc., etc., from my fellow-passengers, erected a sort of shed on the roadside, sold off on commission, raised £10, joined a party of five, and then - hurrah! for Forest Creek diggings! It was a long and fatiguing journey. We used to rise at daybreak, breakfast, then walk on till about 12, or as near that as we could, find the good camping-ground and water; dinner, then walk until sunset: turn out the horses, light our camp fire, boil a pot of tea, broil some mutton in the hot embers, smoke our pipes, and yarn till we rolled in our blankets and slept, to dream of finding immense nuggets - so on for eight days. The roads were in a fearful state, especially through the Black Forest, being nothing but swamp, thick forest, and mountain. You could not go a mile without seeing the putrid carcase of a bullock or horse, broken down by fatigue and left to the wild dogs and crows. It rained four days out of the eight; but we arrived at Forest Creek at last, very sore-footed and dirty. At the creek we had very bad luck, and very hard work - up to our middle in water - for a long time; then I and Jarman left the party. Fortune still persecuted us, and we had to eke out our means with odd jobs for storekeepers, till the climax of our ill-luck arrived, and we were reduced to sixpence, with which we bought a sheep's pluck, and having break-fasted on it set out to try our luck once more across a gully. We tried an old hole about 18ft. deep, and half-full of water and mud: cleared it out, and struck a tunnel on one side. We worked very hard, and the first day's washing produced 1/2oz., which put us in spirits; second day, 11/2oz; third, 3oz.; fourth, 6oz. Then we fouud the ground was worked out, and sank another hole as near as we could get to the old one, aud after about a week's work cleared about 21b. weight of gold each."/p>


"Instead," the letter continues, "of saving our money for a rainy day, we gave a supper in a large empty store to some of our shipmates and friends - porter 7s a bottle, grog £1 - and altogether behaved absurdly. Don't censure us too severely, but take into consideration the spirit of the times. After our spree we shouldered our blankets and guns and after three days' walk arrived at Bendigo. We built a comfortable log hut 12ft. x 14ft., then struck in at work. We had very bad luck, sometimes plenty, sometimes nothing, and in about four months I bad but £10 of my money, and not wishing to get to 6d again I determined to start for Mr. Godfrey's sheep and cattle station. George preferred to try the diggings a little longer, so with my heavy swag over my shoulder and my old green violin case in my band I started on my long and solitary walk. It rained the first day, and I got wet through, but fortunately came up with a man with a horse team about 4 o'clock, who gave me a pot of tea and let me sleep in his dray. The second day it rained harder than ever, and I only got as far as Donald Campbell's public-house at Bullock Creek, about 10 miles. Here were a lot of diggers weather bound, who seeing me with a fiddle raised a shout, seized me, carried me in the large room, and there I was obliged to fiddle for them and drink with them until about midnight, when, luckily for me, a row began, knives were drawn, deep oaths were sworn, and in the confusion I slipped off to bed very tired. This is the last public-house on the road, so for the rest of the journey I had to trust to the hospitality of shepherds and settlers, and found the violin an invaluable friend. After a fine day I stopped with a shepherd on the banks of the Loddon, and next morning crossed the river at Morton's station, and had a miserable walk over flooded plains, where I had to swim two or three creeks before reaching Malcom's station. After this the road was a dray track, in places scarcely discernible, and I often had great difficulty in keeping it. Next night I slept at an out station belonging to Peter's near Mount Korong. During the day the only things I saw were wild cattle. I expected to reach Mr. Godfrey's this day, but missed the way and at dark found myself among the mountains, and Was preparing to pass the night when I found some fresh sheep tracks, and about a quarter of a mile along them found a hut with the flock camped in front. Here I found I had come 30 miles out of my road, and was still 28 miles from Godfrey's - another solitary day's journey. Throughout the journey when I felt lonely I would light my pipe, lean against a gum tree, and fiddle to the parrots, cockatoos, etc., which were evidently astonished at the unaccustomed sound. My food was cold mutton and damper procured from the shepherds with whom I passed the nights. My costume simple, but not unpicturesque - a blue shirt, corduroy pants, a belt with a large knife at the back, and a black sombrero - something after the style of a melodramatic ruffian."


"Here the young musician was in turn but keeper, shepherd, and storekeeper, and saw savage life in all its nakedness, and a more degraded, treacherous, lazy species of the genus homo it was never my lot to witness. He found the life horribly monotonous, and at last became dull and discontented. Mr. Godfrey drove him to Bendigo, where, after an absence of six months, I returned perfectly satisfied that the bush was not my forte."

The letter concludes,

"Here I joined the musical profession and accepted a position as tenor in the theatre at £5 per week. All was smooth work for three months, when the theatre closed, and we (the band) started for Melbourne, and directly we arrived were engaged by Winterbottom, who was giving promenade concerts, and had a large casino called the Argyle Rooms in Great Collins-street. This lasted about four montbs. We had an offer from Sydney for self and band, which we accepted, and here, to close a long, and I am afraid prosy, story, we have been for two years. I had no idea when I began it that it would prove such a long job, and I have been obliged to leave out a great deal of what I intended saying from want of time and space. If I were to relate all my little adventures, narrow escaypes in mining from holes falling in, wild cattle, bush fires, bushrangers, it would fill a book, so I have merely given au outline of my travels which will afford you some amusement."

This letter was evidently intended as a resume of his life to date, as in it be refers to having sent shorter previous letters. Evidently a musician's life in the fifties was full of incident.


Among Mr. Rice's experiences were 15 years' leadership of the Theatre Royal orchestra. The Winterbottom referred to was a member of Jullien's celebrated London band, and arrived in Sydney in 1853. He was a bassoon player, and organised promenade concerts here on the Jullien model in the only hall then available - the saloon of the old Royal Hotel. Mr. Rice was with the various Lyster opera companies, and with Charles Matthews, who was wont to tell the performers in the rehearsal scene in "The Critic" to look up if they wanted to see the gods, but down to "Watty Rice" if they wanted to see Apollo. He was an expert with the single sticks, and one incident was his getting the best of Carandini, a marquis, and an expert Italian swordsman, who was ever after a good friend. In the old Royal days the sailors used to climb down from the gallery to the stage, insist on Mr. Rice as conductor drinking rum and the orchestra playing while they filled the interludes with songs and step-dances. He was burnt out at the old Prince of Wales, and three times at the Royal, where be lost a valuable violin and much music. Mrs. Rice (nee Miss Spencer) is left with a grown-up family of sons and a married daughter, W. W., H. H., H. M,, and E. J. are the sons.

[News], Australian Town and Country Journal (29 October 1898), 16

The remains of the late Mr. Walter John Rice, who was in turn musical director of the Princess of Wales, the Victoria, the Royal, the Lyceum, and Her Majesty's Theatres, were interred in Waverley Cemetery on October 19 in the presence of a large number of friends and acquaintances. The deceased gentleman came to the colony in 1854, and for the past forty years led the orchestra at the Easter and Christmas masses at St. Mary's Cathedral.

"SNAP SHOTS", Freeman's Journal (29 October 1898), 14 

Lady Halle being a foreigner and a "star," the Sydney papers, on receipt of the announcement of her death, published portraits and flowery "in memoriams." When Walter John Rice, a true soldier of art, who had done local service as a musician for forty years, passed away last week, these papers could find room for only a few straggling lines. But it's the way of the world. A wealthy butcher, baker, or candlestick-maker would have had a column, "with portrait." Poor old "Watty" Rice, while he was alive, didn't bother his head what the papers said about him, and it is a safe thing to say that his rest will not be disturbed now by any feeling of annoyance. He did not look to the newspapers to give him a character or to pass a post-mortem verdict on his merits. His friends will write his epitaph - "A good artist and a good man." Living pretty well all his life in an atmosphere "poisoned with jealousies, conceits, scandals, and moral lawlessness," as one amiable critic has described the theatrical world, he kept himself healthy and wholesome. From the beginning, forty-four years ago, to the very end he was the same manly, honest, good-hearted gentle man - a model in patience and regularity, scrupulous in the performance of every duty, loyal in his friendships, and blessed with a disposition in which no sort of meanness could find a place. This is a good name to leave.

The pity is that he did not leave us, too, his musical and theatrical recollections. "My Memories - By Watty Rice." What a bright book we might have had. Perhaps he read Emily Soldene's "Recollections" and paused. No one was better able to tell us of the "palmy days" of the Prince of Wales theatre, the old Vic. in Pitt-street, the old Queen's in York-street, and the Royal, to say nothing about the modern Lyceum and Her Majesty's. In his position as musical director in these theatres be knew everybody and saw every thing. He could have told us all about G. V. Brooke and Barry Sullivan: all about the grand old days of Lyster's Italian Opera Company; all about Catherine Hayes and Adelaide Ristori - all about every big singer and actor who has faced the foot lights in Sydney since 1854. Apart from his theatre work, Mr. Rice did great service in helping to popularize orchestral music. He was Paolo Giorza's righthand man, and later, when Roberto Hazon established his excellent professional orchestra - unhappily a thing of the past - the portly "first violin" worked with unsurpassable enthusiasm. Mr. Rice was not a Catholic, yet singularly enough he found his purest pleasure in playing on feast days in Catholic churches. His knowledge of our Church music must have been extraordinary. I do not mean to say that Archbishop O'Reily might not have put him a "puzzler" if Church music was being discussed within the strict stern lines of rubrical orthodoxy. But this I do assert, that Mr. Rice was familiar with every bar of the Mass music of Mozart, Haydn, Rossini, Cherubini, Weber, Gounod, and the other masters who are classed as "secularists" by the white-robed purists of Gregorian unadorned.

I have heard it stated that Mr. Rice played in old St. Mary's at the end of the fifties. Certainly he led the orchestra there on Christmas Day, 1862, William Cordner, the organist, conducting. Cordner, "the grand old man" of Church music in Australia, selected Rice as his leader on all special occasions at St. Mary's - both in the old Cathedral and in the Pro-Cathedral. In a way, Mr. Rice was closely connected with the whole history of St. Mary's choir. He knew old St. Mary's when the Benedictines were the guardians and ministers of the holy place - in the days when Archbishop Polding, still in his dreams, pictured his black-robed brethren established in prosperous communities all over Australia. He was privileged to know the saintly Bishop Davis, distinguished alike as a musician and as a scholar, whose quiet, gentle fancy it was to steal up to the organ-gallery, and there, as in a reverie, play with masterly touch and melting sweetness - his "audience" a few humble souls who happened to be praying in the dim-lit nave or chancel. When Cordner died, John Hill, R.A.M. (whose name cropped up in last week's "Snaps"), was appointed organist. Hill was a gifted and most brilliant player, and his genuinely-improvized solos were truly wonderful. As an organist he was in every respect a first-class artist. Perhaps it was on account of their very high appreciation of his powers that the Cathedral authorities did not have any "state occasion" orchestra while Hill dominated the key-board. This lasted for two or three years. On Mr. Hill's resignation, Mr. John A. Delany (Cordner's favourite pupil) was appointed organist, and the orchestra, with Rice as leader, was again engaged for the festivals.

After Mr. Delany had been for five years organist, the choir was, with the sanction of Archbishop Vaughan, broken up. Under the new regime there was a semi-juvenile choir, and "Professor" Hughes was appointed organist. Father Barsanti, who had a decided weakness for operatic airs, took charge of the evening choir, and introduced a well known melody from "Lucia di Lammermoor," to which the Litany was sung. During this period - about eighteen months - an orchestra, chiefly made up of amateurs, played several times, but not under Rice's leadership. With the restoration of the old order of things, Tom Banks left St. Patrick's to take the organistship, and little Mr. Sussmilch was made conductor. Rice returned to his old post when "the band" was required. And so musical matters went on till the time came for the opening of the new Cathedral. The musical direction of the Triduum was handed over to Mr. Delany, who at once secured Mr. Rice to lead the professional orchestra. That three days' festival, in September, 1882, is "a shining white stone" in the musical history, not of Sydney alone, but of Australia. Would it be possible to ever get together again so magnificent a choir - 300 voices - and all the singers familiar with the music? It was the last great effort of the united Catholic choirs - Delany conducting, Rice leading the orchestra, and Banks at the organ. On the opening day Haydn's Imperial was sung. For the second day (Saturday) Mercadante and Gounod (the St. Cecilia Mass) were the composers selected, and on the third day Mozart's Twelfth was sung. Miss Moon, the brilliant soprano from St. Patrick's, Jim Hinchy, Jack Flynn, McLean the bass, and McCarthy the tenor, were among the soloists. These singers have passed - "where beyond the voices there is peace." The other soloists, all still happily living, were Mrs. F. J. Riley, Mrs. J. I. Hunt, Mrs. Addy, Miss F. Nowlan, Mrs. Banks, Mr. F. J. Hallewell, Mr. Frank Brewer, Mr. J. A. Gread, Mr. W. O'Sullivan, Miss Elsa Sherwin (now Madame Caron), and Mr. T. O'Sullivan. Mr. Delany, whose majestic Triduum March was splendidly performed both at the beginning and at the end of the festival, was presented by the Triduum choir and orchestra with a baton of ebony richly ornamented with gold.

From 1882 to 1898 "Watty" Rice had been a prominent figure in the Cathedral choir on 'extra special' days. He led when Leon Caron was conductor; then when "Daddy" Hallewell took the stick, and continued when Delany (who had been absent from Sydney) again assumed control with the late Neville Barnett as organist. On Barnett's death the post of conductor was abolished, and Delany returned to the organ seat, surrendering it to Ernest Truman on festivals in order to conduct. The steady "leader," with his strong, clear tone, contributed to the grandeur and the solemnity of many memorable scenes in old St. Mary's, in the Pro-Cathedral, and in new St. Mary's. And what a crowd of historic associations spring up with the mention of them!

There was the Te Deum for the recovery of the Duke of Edinburgh. A dark cloud hung over the whole Irish-Catholic community. Men with evil in their hearts and malice on their tongues were basely endeavouring to involve the Irish colonists in "the huge Fenian conspiracy" which never existed. Old Archbishop Polding intended the Te Deum as the Catholic public protest against the act of the wretched mad man O'Farrell. A Sunday afternoon was set apart, and a crowded congregation, including many liberal Protestants, listened to a grand and stately performance. Later on the same Te Deum (Romberg's) was played on the occasion of the welcome to Archbishop Vaughan. Rice was leader again in Mozart's Requiem on the day that all that was mortal of Archbishop Polding was carried to the grave. When Senor San Just, the Spanish Consul, was knighted, and when Sir Patrick Jennings received his Order of St. Gregory, the "first violin" was in his place. On the Jennings day the music was exceedingly fine. To give a summary of Rice's musical services in connection with the new Cathedral, it will suffice to mention the Mozart Requiem for Archbishop Vaughan; Romberg's Te Deum for the arrival of Archbishop Moran; the same Te Deum for his Eminence's reception as Cardinal; Cherubini's Requiem on the day set apart by the Holy Father for a Requiem throughout the whole Catholic world; the Cathedral festival during the Jubilee celebrations of 1888; the Cherubini Requiem for William Bede Dalley during the same year; and the festival on the completion of the sanctuary portion of the Cathedral in 1890.

On Easter Sunday last the veteran violinist remarked, "I believe this is my last time in St. Mary's." I wonder if anyone ever heard Rice play a "show" solo? I never did. In this respect he was without a particle of vanity. When Madame Albani sang in St. Mary's this year, it was Allpress who played the violin obbligato in Gounod's "Ave Maria." Albani did not sing in any other church in Australia. The Cardinal invited her to sing at the Cathedral, and without consulting her concert managers, the eminent Catholic artist at once consented. From time to time one sees Albani's name figuring in the reports of the "festivals" held in the big English Cathedrals, which were built by Catholics, and are used by the Church of England. These are purely professional engagements, admission being at high-class concert rates. So scrupulous was Albani that she would not sing in any of these Protestant places of worship until she had obtained an indulgence from the Holy Father. She has since at a couple of these festivals since her return from Australia. Some "crank" wrote to the Gloucester papers last month complaining that during the Musical Festival he was not admitted to the Cathedral free, that being a place of worship. The "crank" turned up at the Cathedral, and was told he could not be admitted without a ticket. "Do you mean to tell me," he excitedly argued, "that I shall require a ticket to enter the Kingdom of Heaven?" "Well, no," explained the heretical door-keeper; "but you won't hear Mme. Albani in Heaven."

Musical works:

Up in a balloon galop (1870)

Up in a balloon galop by Walter J. Rice, Conductor of Orchestra, Prince of Wales Theatre (Sydney: J. R. Clarke, [1870]) (DIGITISED)

"NEW GALOP", Empire (6 January 1870), 2 

Mr. Walter J. Rice, the talented conductor of the orchestra at the Price of Wales Opera House, has brought out a delightful galop for the musical public. It is published by Mr. J. R. Clarke, of Hunter-street, and the executant is Mr. J. A. Engel, of York-street. The theme may be gathered from a description of the title page, which represents a select party "Up in a Balloon," sailing roundabout the stars and gentle moon. The engraving is neatly executed, and the colours are well brought out, while the music printing may vie with the best productions of Europe. As a composition, the work is one of considerable merit, and Mr. Rice may be complimented upon the manner in which he has handled the popular melody. It is hoped that this is only the precursor of similar efforts from the composer.

[Advertisement], The Sydney Morning Herald (21 January 1870),8 

WITH ACCLAMATION NIGHTLY. - The Up in a Balloon Galop, by the Opera House Orchestra (Prince of Wales Theatre). Composed by Walter Rice. Price 2s 6d, posted 2s 8d. CLARKE, 23, Hunter-street.

ASSOCIATIONS: Jacob Richard Clarke (publisher); John Alexander Engel (lithographer)

Love among the roses schottische (1871)

Love among the roses schottische, adapted by Walter T. Rice from the popular ballad sung by Frank Hussey (Sydney: J. R. Clarke, [1871]) (DIGITISED)

"Dramatic and Musical Review", Australian Town and Country Journal (6 May 1871), 20 

A very neat, elegantly printed, and correct edition of that very popular song, "Love among the Roses," as sung by Miss Bessie Gregory and Frank Hussey, has been published by Mr. J. R. Clarke, of Hunter-street, who is once more taking his proper place in Sydney, as our most enterprising music publisher. This song is an American piece, and like most of this character, the refrain may be given as a solo or chorus. This edition contains the original dance and Hussey's dance. The air is heard about town day and night, and the sale will no doubt be immense. Mr. Clarke has in the press a schottische on the same theme, arranged by Walter Rice, the well-known conductor of the Prince of Wales orchestra.

ASSOCIATIONS: Frank Hussey (vocalist, composer)

The shoo fly galop (1871)

Grand galop, the shoo fly by Walter J. Rice [Shoo! fly galop; Shoo fly galop] (Sydney: J. R. Clarke, [1871]) (DIGITISED)

"NEW DANCE MUSIC", The Sydney Morning Herald (29 July 1871), 4

. . . The popular [REDACTED] melody, "Shoo fly," furnishes Mr Walter Rice, the leader of the Prince of Wales Opera House band, with the basis of an excellently arranged galop, set in E, and A sharp. It is very pleasing, and well marked. The latter is published by Mr. J. R. Clarke, music seller, of Hunter street.

Little high-heeled boots (arr. Rice, 1872)

"NEW SONG", The Sydney Morning Herald (14 August 1872), 5 

Mr. J. R. Clarke has published a negro song, written by Mr. F. Hussey, entitled "Little high-heeled boots." The music was also composed by him, and it has been arranged by Mr. W. Rice, the conductor of the orchestra of the Victoria Theatre. The song was admirably given by the composer in the play of "Hazard." The title page is neat and contains a lithograph portrait of Mr. Hussey.

The Australian eleven grand galop (1878)

Grand galop, the Australian eleven [by Walter J. Rice] (Sydney: J. R. Clarke, [1878] (DIGITISED)

"NEWS OF THE DAY", The Sydney Morning Herald (30 October 1878), 5 

We have received from Mr. J. R. Clarke, a grand galop entitled "The Australian Eleven," by Mr. W. J. Rice. The most noticeable feature about it is the first page, which contains a very good photograph of "the eleven."

[Advertisement], The Sydney Morning Herald (23 November 1878), 15 

MUSIC RECENTLY PUBLISHED . . "The Australian Eleven Grand Galop." with photograph of the famous cricketers, 2s 6d . . . J. R. CLARKE, 67 Pitt-street, opposite Excahnge.

Bibliography and resources:

George Loyau, Notable South Australians; or, colonists - past and present (Adelaide; Carey, Page, & Co., 1885), 185 

George Hubert Hall. 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 . . .

ASSOCIATIONS: George Hubert Hall (violin, much younger brother of John Thomson Hall)

Documentation (second generation):

"BIRTHS", The Sydney Morning Herald (23 May 1865), 1

"THE METROPOLITAN LIEDERTAFEL", The Sydney Morning Herald (11 November 1886), 8

[Advertisement], The Sydney Morning Herald (7 January 1888), 4

"THE OPRHEUS SOCIETY", The Sydney Morning Herald (4 September 1889), 10

"MR. H. H. RICE'S PUPILS' CONCERT", The Sydney Morning Herald (13 December 1890), 10

"SYDNEY QUINTET SOCIETY", The Sydney Morning Herald (2 March 1895), 12

"THE RICE BROTHERS IN LAWN TENNIS", Arrow (8 September 1921), 11

"THE RICE FAMILY", Sunday Times (6 November 1921), 6

Although the Rice family scarcely holds in lawn tennis the position held by the Gregory family in cricket, because so far it has only run through one generation, it certainly is as well known in all the lawn tennis centres of Australia as that of Gregory in N.S. Wales. First and foremost comes Horace Rice, better known as Horrie, who seems to go on from decade to decade with almost unfading lustre, and will shortly go down to Melbourne with his 55th N.S. Wales team, playing still in the first two, and having in practise matches not lost one set.

The Rice family begins with the father of the four brothers, well known for many years in musical circles in Sydney as the conductor for 40 or 50 years of the orchestras at many of the theatres in turn; and he trained his four sons to the same profession. Herbert, the eldest of his sons, is the only one who has remained wholly in the profession. He has been for many years one of the foremost teachers of the violin in Sydney. He lives at Killara, where he has a fine tennis court and garden, and his life has deservedly, fallen in pleasant places. Two of his sons went to the war, and had the good fortune to return well and hearty after some years of service. Billie Rice, the next in age, is still in the musical profession to some extent, but has joined his brother Horace, assisting him in his agency for. F. H. Ayres and Co., and Horace Rice has been agent for this large sporting goods firm of England for many years, and though this agency keeps him busy enough, it also leaves him free to indulge in his favorite sport in Sydney and the other Australian capitals.

The youngest of the family, Edgar, has gone wholly away from the musical profession, and is handling a fairly large retail business in sporting goods, such as rackets, cricket bats, etc. While away in France he did good service when behind the lines, after service at the very front, in organising concerts for the soldiers on leave and sick; when his own musical abilities were of great assistance to his fellow soldiers in refreshing their jaded minds, with music from his violin and his abilities as a conductor.

As a family, the Rice brothers are open to take on any other family of brothers in Australia at lawn tennis, and one would be fairly safe in putting one's money on them.

Documentation (Rice family in England):

[Advertisement], Sherborne Mercury (20 May 1843), 1 

. . . TOWN HALL, SHERBORNE . . . TWO CONCERTS, MORNING and EVENING, on MONDAY next, the 22d day of May, 1843 . . . Mr. R. LINTNER . . . INSTRUMENTAL PERFORMERS: Mr. Michael Rice, (the celebrated Violinist,) Mr. Bull, (the eminent Double-bass player,) from the Royal Academy of Music, and Mr. Ricardo Linter, (Grand Piano) . . .

"CHAMBER CONCERTS", Western Times (29 December 1849), 5 (PAYWALL)

Mr. Rice, the eminent violinist, has commenced a series of subscription chamber concerts. The first was held on Wednesday at the Subscription Rooms. The classical programme presented to his patrons, attracted a considerable portion of the most distinguished amateurs of the city. Mr. Rice was assisted by Mr. Cooper, Mr. Chadwick, Mr. Newman, Mr. Michael Rice, and Mr. Angel, and the performances throughout were all that could be desired, and were warmly applauded by the auditory.

[News], Exeter and Plymouth Gazette (14 June 1861), 5 (PAYWALL)

We regret to record the death, on Tuesday last [11 June], of Mr. Michael Rice, professor of music. The deceased, who was a native oif Topsham, had, during 35 years' residence in this city, obtained considerable reputation in his vocation and won the respect of some of the most eminent in the musical profession. He was the founder of the Exeter Oratorio Society, which owes to him much of the success which has attended its career.

"Death of Mr. Michael Rice", Torquay Times, and South Devon Advertiser (14 February 1890), 8 

Musical circles, not only in Torquay, byt throughout the West of England, have sustained an irreparable loss, in the death of Mr. Michael Rice, the well-known violinist and musical conductor, which sad event occurred yesterday morning, after only a few days' illness. It was not only as a cultured musician, of rare and varied experience, that Mr. Rice won the admiration of his fellow-townsmen, but the geniality of his nature and his warm-hearted disposition gained for him a host of friends, by whom his sudden demise will be sincerely mourned . . . Mr. Rice, who was 59 years of age, was a native of Exeter, but had been resident in Torquay for upwards of twenty years, during which lengthened period he had been associated with all the movements in the town having for their object the development of the study of high-class music . . . Mr. Rice's highly cultured training, and his accurate and careful reading of music were well known throughout the West of England, and he was often in request in the principal cities and towns as first violin in an orchestra, or as loading violinist in classical chamber concerts. Mr. Rice was also a composer, and his Tarantella for the violin was well and favourably known amongst violinists . . .


Tenor vocalist



Active Sydney, NSW, 1842 (shareable link to this entry)


[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 May 1842), 3

THE SPACIOUS HALL, SYDNEY COLLEGE, Having been kindly granted for this occasion to MR. NATHAN,
SOPRANOS AND TREBLES . . . Master Allen, Master Richards, Master Riley, Masters Tuohy, Master Nathan, and the Masters Weavers.
TENORS - Monsieur Gautrot, Mr. Worgan, Mr. Whitfield, Mr. Allen, Mr. Richards, Mr. Kelly, and Mr. Nathan . . .

ASSOCIATIONS: Isaac Nathan (conductor, vocalist)

RICHARDS, Henry Augustus (Henry Augustus Lyell/Lisle RICHARDS; Henry RICHARDS)

Musician, violinist, vocalist, theatre orchestra leader, teacher of music and drawing, artist

Born London, England, 12 June 1816; baptised St. John's, Wapping, 31 August 1817; son of William RICHARDS and Elizabeth ?
Married Dorothea EARL, Maitland, NSW, May 1840
Arrived Melbourne, VIC, by April 1844
Arrived Adelaide, SA, 11 July 1847 (per Sister, from Melbourne and Portland)
Died Adelaide, SA, 30 April 1850, aged 34 (TROVE tagged by Australharmony) (shareable link to this entry)

RICHARDS, Dorothea (Dorothea EARL; Dorathea; Mrs. Henry Augustus RICHARDS; Mrs. James CAMPBELL)

Theatrical vocalist, ? mezzo soprano

Born at sea, 4 January 1823; baptised St. Philip's church, Sydney, 22 August 1823; daughter of John EARL and Ann MOUNSEY (1787-1875)
Arrived Sydney, NSW, 17 June 1823 (per Thalia, from England, 2 November 1822, via Falmouth and Hobart Town)
Married (1) Henry Augustus RICHARDS, Maitland, NSW, May 1840
Married (2) James CAMPBELL, Camden, NSW, 19 August 1852
Died Mount Hunter, NSW, 30 September 1901 (TROVE tagged by Australharmony) (shareable link to this entry)


Musician, bandsman (? Henry's younger brother or cousin)

Active Adelaide, SA, 1847


In a letter to the colonial office in London dated 10 August 1822 (Public Records Office, London, 1822, 352), John Earl of Patterdale, Ullswater, Westmoreland (now Cumbria), a dancing master, stated that had been brought up to farming, wished to farm in NSW, had a perfect understanding of the management of sheep, and capital upwards of £500. John had recently married the twice widowed Ann Wilson (born Mounsey, previously Holmes). The application was successful and he arrived on the Thalia in June 1823, with his wife and family, including three of Ann's children by her first (Holmes) marriage, and the couple's own first child, Dorothea, who was born on the voyage. They settled near Singleton (Patrick's Plains), where, in 1828, John was listed as an inkeeper, and from where, in 1830, he also briefly advertised again as a dancing master. John finally sold up his property, "Glenridding", in 1840, and returned to England alone; Ann stayed on and died in 1875.

At Maitland in May 1840, just before Earl left for England, the 17-year-old Dorothea Earl married Henry Augustus Richards. He was perhaps the Henry Augustus Richards who was a wine and spirit merchant in Sydney in 1839.

The Richards first remained in country NSW, and Henry was listed in the 1841 census living with Dorothea's family at Patrick's Plains. But by December 1842 were in Launceston, VDL, where on the birth record of their second son, John Earl (d. 1922), Henry gave his profession as "artist".

Financial pressure perhaps led to Dorothea accepting her first public engagements as a concert singer early in 1843, first for visiting vocalists John and Eliza Bushelle in March and April, and next for Catherine Nairne's oratorio in June. Only further pressure can have forced Dorothea to take what she later suggested was the "repugnant" step of accepting an engagement to sing regularly at Launceston's Olympic Theatre, under the management of Feltham Watson. She was duly first billed to sing an unspecified song between the plays on 14 August, and again to sing "A favorite song" in the following months. Meanwhile, on 25 November, Henry, now described as a "musician", was declared insolvent.

On the discharge of Henry's insolvency, probably in February 1844, the Richards relocated to Melbourne, where, in April, Conrad Knowles engaged Dorothea to sing at the theatre, and Richard for a short while to lead the orchestra. It was perhaps recurring illness that brought the letter remunerative engagement to an end, forcing them, apparently in some distress, to give a concert or concerts in Geelong in October.

They were both engaged at the theatre in Geelong in January 1845, and in May Henry advertised as a teacher of music and drawing, offering in particular lessons, on the one hand, in thorough bass and arranging, and, on the other, in flower painting.

By late 1846, however, they were back in Melbourne, where, in December and into January 1847, Dorothea was again singing between the plays at the theatre.

In July 1847 the Richards relocated to Adelaide, where they were engaged at the New Queens Theatre. Henry's soon to be fatal illness probably continued to interrupt his musical work, and almost certainly forced Dorothea to continue performing. Henry died of consumption in April 1850, and Dorothea remained working until close to the end of the year, by which time she had evidently raised sufficient funds to return with her children to NSW. There in 1852, she remarried.


Baptisms solemnized in the parish of St. John, Wapping, in the county of Middlesex in the year 1817; register, 1813-55, page 61; London Metropolitan Archives (PAYWALL)

[No.] 486 / [baptised] Aug't 31st [1817] / [born] June 12th 1816 / Henry Augustus Lyell son of / William and Elizabeth Richards / Wapping / Mariner . . .

"SHIP NEWS", The Sydney Gazette and New South Wales Advertiser (19 June 1823), 2 

Yesterday arrived the ship Thalia, Capt. Munro, from Hobart Town; after a boisterous and tedious passage of 18 days . . . Cabin Passengers . . . Mr. John Earl, wife, and 5 children . . .

? [Advertisement], The Sydney Gazette and New South Wales Advertiser (NSW : 1803 - 1842), 23 July, p. 3. , viewed 06 Apr 2021,

NOTICE is hereby given that Henry Augustus Richards, of Bridge-street, Sydney, Wine and Spirit Merchant, and Commission Agent by Indenture of Assignment bearing date the 22nd day of July instant, hath for valuable considerations therein mentioned assigned and disposed ot the above Business, Stock in Trade, dohts, and effects of or belonging to the same, unto William Richards the Younger, of the same place . . .

"MARRIAGE", The Australian (14 May 1840), 2 

Married by special license, at Maitland, Henry Augustus Richards to Dorothea, daughter of John Earl, Esq., of Patrick's Plains.

Launceston, VDL (TAS) (by December 1842 to early 1844):

1842/43, births in the district of Launceston; Tasmanian names index; NAME_INDEXES:1105274; RGD33/1/23/ no 1297$init=RGD33-1-23-P713 (DIGITISED)

1297 / December [1842] / [John Earl, d. 1922] / Male / [father] Henry Richards / [mother] Dorothea Richards formerly Earl / [father's profession] Artist . . .

[Advertisement], Launceston Examiner (29 March 1843), 5

GRAND CONCERT. Under distinguished patronage. - MR. and MRS. BUSHELLE, with MR. HENRI ANDERSON (student of the Royal Academy of Music, London) begs to announce that they purpose holding their first CONCERT OF VOCAL AND INSTRUMENTAL MUSIC, at the new concert rooms, (opposite the court-house) Patterson-street, which have been elegantly fitted up, on THURSDAY, the 30th March. Vocal performers - Mrs. Bushelle, Mrs. Richards, Mr. Turner, Mr. Bushelle, and several amateurs. Instrumental performers - Mr. Kowarzik, leader and conductor of the orchestra; grand pianoforte, Mr. Anderson; Mr. Megson, Mr. Richards, Mr. Bishop, Mr. McDonald, Mr. Beckford, and (by permission of Colonel Cumberland) the orchestra will be strengthened by the excellent band of H. M. 96th regiment . . .

ASSOCIATIONS: Eliza and John Bushelle (vocalists); James Henri Anderson (piano); Francis Kowarzik (conductor, leader); Joseph Megson (violin); Thomas Beckford (cello); Band of the 96th Regiment, master Edward Bishop

[Advertisement], The Teetotal Advocate (10 April 1843), 3 

ON Tuesday, the 11th April, 1843 AND ON SATURDAY, the 15th Inst. . . .
Programme. PART I . . . 1. The beautiful Duet, "I know a bank," Mrs. Bushelle and Mrs. Richards . . .

MUSIC: I know a bank whereon the wild thyme grows (Charles E. Horn)

"MRS. NAIRNE'S ORATORIO", Launceston Examiner (14 June 1843), 3

. . . The performance of Mrs. Richards, as a professional singer, is more open to criticism: but:
"It is a meaner part of sense
To find a fault than taste an excellence."

She possesses a sweet voice, of considerable compass: it however lacks that mellow richness which greater command and more careful practice would produce: she sings correctly, and perhaps our readers will understand us when we say, that she hops rather than glides into each note: her execution of "He was cut off" was loudly applauded. In a few words, we may state that the instrumental performance was unexceptionable, and the vocal highly creditable.

"ORATORIO", Launceston Advertiser (15 June 1843), 3 

The attendance at Mrs. Nairne's Oratorio was very respectable, but the same remark is scarcely applicable to parts of the performances. We can only speak in terms of special praise of Mrs. Richard's recitative "He was cut off," and air "But thou didst not leave," and Mr. Turner's solo, "Why do the nations." The latter failed at Mr. Bushelle's concerts, principally by comparison. He shone as a star at this Oratorio, but Mr. Bushelle put him out altogether. The same applies to Mrs. Richards, compared with Mrs. Bushelle. The chorusses were generally good, and gave more satisfaction than the solos. The programme was unfortunately very similar to Mr. Bushelle's, and those who had not forgotten his performances, could scarcely be pleased with a pigmy imitation. The odds were at least Niagara Falls to the Cataract, against their succeeding . . .

ASSOCIATIONS: Catherine Nairne (musician)

[Advertisement], The Cornwall Chronicle (12 August 1843), 3 

THEATRE ROYAL OLYMPIC. MONDAY, AUGUST 14. Second appearance of Mr. Nesbitt in the character of Richard III . . .
Song - Mrs. RICHARDS . . . F. B. WATSON, Manager.

ASSOCIATIONS: Francis Nesbitt (actor); Feltham Bold Watson (actor, manager)

[2 advertisements], The Cornwall Chronicle (23 September 1843), 3

A favourite Song, by Mrs. Richards. Comic Song, Mr. Rogers . . .
Song and Chorus from Jack Sheppard of NIX MY DOLLY, PALS . . .

Theatre Royal Olympic. FALCHON'S BENEFIT!! THURSDAY, Sept. 28 . . .
Song - Mrs. Richards. Comic Song - Mr. Rogers. Highland Fling - Mrs. HARROLD . . .

ASSOCIATIONS: Samson Cameron (actor); George Herbert Rogers (actor, vocalist); Arthur Falchon (actor, vocalist)

[Advertisement], Launceston Examiner (16 November 1843), 3

THEATRE ROYAL OLYMPIC . . . Benefit of Mrs. Falchon, ON MONDAY, NOVEMBER 20th . . .
Song (Maid of Judah) - Mrs. Richards . . .

MUSIC: The maid of Judah (by Charles Sloman)

[Advertisement], The Teetotal Advocate (18 November 1843), 2 

THEATRE ROYAL OLYMPIC . . . On Wednesday evening next, November 22 . . . Song, The bonny English rose, Mrs. Richards . . .

MUSIC: The bonny English rose (by Sidney Nelson)

[2 advertisements], The Teetotal Advocate (25 November 1843), 2 

THEATRE ROYAL OLYMPIC . . . WEDNESDAY, NOVEMBER 29th, 1843 . . . After the Drama, Master John Cameron, who was received with such universal approbation on the night of Mrs. Cameron's Benefit, will sing, for this night only Paddy's Wedding (in character.) A Favorite Song, Mrs. Richards . . .

In the matter of the insolvency of Henry Richards, of Launceston, in Van Diemen's Land, Musician. To the Creditors of the above-named insolvent or their agents. WHEREAS, I, the above-named Henry Richards, did this day present a petition, with schedules thereunto attached, to Wm. Gardner Sams, Esq., a Commissioner for insolvent estates for Launceston, praying amongst other things to be declared insolvent under the provisions of an act of this island, entituled An Act to make provision for the more effectual distribution of insolvent Estates, and the said petition having come on to be heard before the said Commissioner, the said Henry Richards was declared insolvent and John Atkinson, Esq., of Launceston, was thereupon appointed provisional assignee of the estate and effects of the said insolvent; and Wednesday the 6th day of December, instant, at the Court House in Launceston, at ten o'clock in the forenoon, was appointed for the first meeting of the creditors, proof of debts, the election of a permanent assignee, and further proceeding with the said insolvency. Dated this 25th day of November, 1843. HENRY RICHARDS, (In person.)

"INSOLVENT COURT, Wednesday, January 31", Launceston Examiner (3 February 1844), 4 

In re Henry Richards. - Insolvent did not appear, and the meeting was adjourned to 21st February.

[Advertisement], Launceston Examiner (14 February 1844), 2 

In the matter of the insolvency of Henry Richards, of Launceston, Van Diemen's Land, musician. To the creditors of the above-named insolvent, or their agents. WHEREAS an adjourned meeting of the creditors the above-named insolvent on discharge was held at the court house, Launceston, on the 31st day of January, which meeting the commissioner has adjourned to Wednesday, the twenty-first day of February next, at the same time and place. - Dated this ninth day of February, 1844. HENRY RICHARDS, in person.

Melbourne and Geelong, NSW (VIC) (early 1844 to July 1847):

[Advertisement], Port Philip Gazette (6 April 1844), 3 

EASTER MONDAY . . . MR. KNOWLES has much pleasure in announcing that MRS. RICHARDS will make her second appearance before the Melbourne public, and sing two new and highly popular songs.
In the course of the evening an entirely new set of Irish Quadrilles and Gallopades, arranged expressly for this occasion by MR. RICHARDS, will be performed by the Orchestra; the Quadrilles, together with the accompaniments to Mrs. Richards' songs will be conducted by Mr. Richards . . .
A CONCERT consisting of the following songs, duets, &c., &c. The popular ballad, Oh give me but my Arab Steed, by MRS. RICHARDS . . . The famous Irish melody, (also for the first time) "Kathleen Mavourneen" BY MRS. RICHARDS . . .

THE THEATRE. MONDAY NIGHT", Port Philip Gazette (10 April 1844), 2 

. . . The songs that followed were well-selected, and served to introduce the second appearance of Mrs. Richards in "Oh give me but my Axab steed," a very beautiful melody (by Bishop [sic]); the ballad is familiar to most persons, and would have been admirably sung but for the absence of animation and expression, without which the fine organ of this lady loses its principal charm . . . Mrs. Knowles in the "Mountain Maid," gave a good picture of that sprightliness and animation in which the new cantatrice is so deficient. "Kathleen Mavournnen," one of Lover's most popular and touching ballads, unequalled in plaintive melody but but by its answer of "Dermot Asthore," by the same author, was given by Mrs. Richards in a style which evinced the power and rather extensive scale of her voice, through which a peculiar vein of sweetness and pathos run; but in this we have also to regret the absence of that expression and tendresse which heighten the beauties of the ballad, and impart such a witchery to this style of music. Mrs. Knowles in Bishop's "Tell me, my heart," was, as usual, more than successful . . .

ASSOCIATIONS: Conrad Knowles (actor, manager); Harriet Knowles (actor, vocalist)

MUSIC: Oh give me but my Arab steed (Hodson); Kathleen Mavourneen (Crouch)

"THE THEATRE", Port Philip Gazette (21 September 1844), 2 

. . . Mrs. Knowles was in good voice. The orchestra was execrable; Richards and his assistant musicians should be re-engaged . . .

"CONCERT", Port Philip Gazette (28 September 1844), 2 

Mr. Richards, late leader of the theatrical orchestra, gave a concert at the Mechanics' Institution on Wednesday evening last. From want of sufficient announcement many parties were ignorant of the amusement until it was over. The instrumental portion of the concert was very fair; the two overtures were and deserved to be encored. We cannot speak so favorably of the vocal department. Di piacer is a composition adopted [sic] only to the most practised and flexible voice. "When time hath bereft thee," was bereft of both time and tune in the mouth of the singer. There were about sixty people present, or about £12 in the room. Mr. Richards will doubtless profit by the experience this concert has given him; his next attempt will doubtless be more successful.

"THE CONCERT", Geelong Advertiser (17 October 1844), 2 

The visit of Mr. and Mrs. Richards to Geelong, has somewhat disspersed [sic] the dullness which usually prevails at this season; and the concert given by them on Monday evening was taken advantage of by a number of our citizens (for the country residents are too busy gathering in their fleecy harvest to have any time for recreation.) The difficulties which attend the attempt to give a really good concert in a remote township, where no professional assistance is obtainable, must be very great; and even if there were grounds for dissatisfaction we should be disposed to look upon them leniently. We do not consider ourselves competent to give a detailed, scientific critique on the many difficult pieces performed; but as a whole the manner by which they were executed was creditable, and in many ways effective and tasteful. The room in which the concert was held was certainly the most ill-adapted for the purpose that could possibly be conceived - a rickety wooden building festooned with boughs - which absorbed the sound, if we may use such an expression. To be sure the power and compass of Mrs. Richards' voice was sufficient to overcome the disadvantage, but not so with Mr. Richards and the amateurs, whose voices were comparatively lost. The audience was not so numerous as might have been wished . . .

"MRS. RICHARDS", Geelong Advertiser (21 October 1844), 2 

We beg to direct the attention of our readers to the advertisement announcing the holding of a Concert on Tuesday evening for the benefit of the above named accomplished lady. The circumstances under which she has been left in Geelong with her infant child, separated from the rest of her children in Melbourne, are of a very distressing nature, and present strong claims upon the public sympathy and support . . .

"ST. ANDREW'S SOCIETY", Port Philip Gazette (4 December 1844), 2

The annual dinner of the St. Andrew's Society was held on Friday last, in the hall or the Mechanics' Institution . . . A select band was in attendance and the elevation upon which the Council hold their meetings was turned into an orchestra upon the occasion . . . Messrs. P ---, and S ---, and S ---, amateurs, accompanied by Mr. Clarke on the piano, singing "God save the Queen," and "Rule Britannia," the beautiful and correct execution of which being equally admired and applauded, and the band, under the very able management of Mr. Richard's, performing the "Duke of York's March" . . .

ASSOCIATIONS: William Clarke (piano)

[2 advertisements], Geelong Advertiser (25 January 1845), 3 

ALBERT THEATRE. CORIO-STREET, GEELONG. SATURDAY EVENING, JANUARY 25, 1845 . . . A Musical Interlude COMPRISING Song . . . Mrs. Richards; Hornpipe . . . Mr. Jacobs; Song . . . Mr. Boyd; Song . . . Mrs. Richards . . . The Orchestra will be conducted by Mr. Richards, assisted by Messrs. Wilkins, Easman, &c., &c . . .

. . . FOR THE BENEFIT OF MRS. RICHARDS AND MR. SEARLE. Tuesday, 28th January . . .
A Musical Melange. Cavatine - "I dare not love thee" - Mrs. Richards . . . Duet - Mrs. Richards and Amateur . . .
The Orchestra will be conducted by Mr. Richards, assisted by Messrs. Wilkins, Easman, &c., &c . . .

[Advertisement], Geelong Advertiser and Squatters' Advocate (6 May 1846), 3 

A CARD. HENRY RICHARDS begs to acquaint Parents and others residing in Geelong, that his terms for Tuition in Music and Drawing are as follow, viz. Thorough Bass and arranging, per quarter, half payable in advance, 2 0 0; Violin, per ditto . . . 3 0 0; Drawing, Flower Painting, &c., per ditto, 2 6 0; South Geelong, April, 7, 1845.

"THE QUEENS THEATRE", Port Philip Gazette and Settler's Journal (30 December 1846), 2 

. . . [of] Mrs. Richards as a vocalist, we can say little for at present. The song she sung on Monday evening was evidently beyond the compass of her voice; - she may improve. Mr. Hambleton's song "The Unfortunate Man" was well executed; and if the third encore was an extemporaneous effusion, it was a successful hit. The orchestra consume so much time in doing little, and that little occurs so unfrequently, that the public have little opportunity of judging of their talents.

"QUEEN'S THEATRE", Port Philip Gazette and Settler's Journal (9 January 1847), 2

. . . Mrs. Richards as a songstress is improving considerably; her "Land of the West," though not so well executed as we have heard it before is tolerable, and if she was accompanied in a proper manner by the Orchestra her singing would be more effective . . .

MUSIC: The land of the west (S. Lover)

Adelaide, SA (July 1857 to late 1850):

"Shipping Intelligence", South Australian (16 July 1847), 2 

July 11. - The schooner Sister. 77 tons, Korff, from Melbourne and Portland. Passengers . . . Mr. and Mrs. Richards and three children . . .

"LOCAL INTELLIGENCE", South Australian Register (28 August 1847), 2 

Mr. Hall's benefit came off on Thursday night, in the New Queen's Theatre, and was in perfect unison with all those wretched theatrical essays to which we have we lately adverted . . . The song by Mrs. Richards was good, but we would earnestly advise our fair entertainer, for mercy's sake, to throw some at attitudinal grace into her performances. Mrs. Oliffe gave a good "smile-illustrated" song, as usual . . .

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

The Royal Adelaide Theatre was reopened on Monday night last, under the auspices of Mr. Brewer, of the "Bush Club House," and the Stage Management of Mr. Jacobs, under rather favourable circumstances; the performers and musicians being principally the malcontents from Coppin's. Since we last visited this Theatre, considerable improvements have been made, both as respects its ornamental decorations and scenery; and with some additions in the latter, which we understand are in progress, it will be pronounced a very neat little place of amusement. A well-filled orchestra, under the leadership of Mr. Richards (late of the Queen's Theatre), is not inferior to any theatrical band we have heard in the colony.

ASSOCIATIONS: John Lewis Jacobs (stage manager, dancing master)

[Advertisement], South Australian Register (11 December 1847), 1 

Mr. Richards's Concert. To the Editors of the South Australian Register.
GENTLEMEN.- Although Mr. Richards has taken the liberty to use the term Choral Society, in the announcement of his concert on Tuesday next, I must beg to state that no sanction of the kind has ever been obtained, or even solicited from the Committee, therefore, be it understood, that the Choral Society (as a body) has nothing to do with the performance.
I am, Gentlemen, Your obedient servant M. FOOKS. Adelaide Bazaar, Dec. 10, 1847.

ASSOCIATIONS: Mark Fooks (correspondent); for the Adelaide Choral Society

[Advertisement], South Australian (14 December 1847), 2 

SIR - Perceiving an advertisement in the Register of Saturday last, relative to the Concert for this evening, which is calculated to prove detrimental to my interest, I beg to give the following explanation: -
Having solicited the assistance of several members of the Choral Society, at their meeting of last Friday week, who kindly consented to give their services for two Glees, I considered this assent on the part of the members an authority to use the name of the above Society.
I am, Sir, Yours, &c, &c., HY. RICHARDS.
The Concert will take place at the Music Saloon, this evening, at 8 o'clock. Adelaide, Dec. 14, 1847

[Advertisement], Adelaide Observer (18 December 1847), 8 

J. L. JACOBS, Teacher of Dancing, respectfully aannounces . . . that his QUADRILLE ASSEMBLY will take place on TUESDAY EVENING, DEC. 21st, and on every Tuesday, at Mr. Ottaway's spacious rooms, Rundle-street. A full and efficient band is secured, under the direction of Mr. Richards, assisted by Messrs. W. J. Richards, Smith, Cower, and Portbridge.

ASSOCIATIONS: Thomas Paltridge junior (cornet)

"ROYAL ADELAIDE THEATRE", South Australian Gazette and Mining Journal (29 January 1848), 2 

For the Benefit of Mr. Jacobs, Stage Manager . . . MONDAY Evening, January 31st, 1848 . . .
Favorite Song, Mrs. Richards; Jockey Hornpipe, Miss Lee, (Mr. Jacob's pupil); Waterman's Hornpipe, Mr. Carroll; Duet, "I know a Bank," Mrs. Oliffe and Mrs. Richards . . .

[Advertisement], South Australian (18 February 1848), 2 

NEW QUEEN'S THEATRE . . . The Orchestral Department will be considerably augmented, and consist of - Mr. Lee (leader), Mr. Richards (second violin), Mr. Thomson (violincello), Mr. Poltridge (cornet-a-piston), Mr. Hewitt (trombone), Mr. Swift (tenor), Mr. Kaebet (master of the German Band, flute).

ASSOCIATIONS: John Charles Thompson (cello); Thomas Swift (viola); Kaebet (flute)

[Advertisement], South Australian (29 February 1848), 2

ON WEDNESDAY, MARCH 1, 1848 . . . A choice selection of the most admired pieces from the Operas of Maritana, Cinderella, Tancredi, La Gazza Ladra, &c., &c., will be performed.
VOCAL PERFORMERS: MISS LAZAR (her first appearance these five years), Mrs. Richards, Mrs. Oliffe, Mr. Howard, Mr. Lazar.
INSTRUMENTAL PERFORMERS: Leader, Mr. Lee; Mr. Richards (second violin); Mr. Thompson (violoncello); Mr. Kaebet (flute); Mr. Swift (tenor); Mr. Smith (double bass); Mr. Hewett (trombone); Mr. Poltridge (cornet a piston); Mr. Barnett (drum); Mr. Bennett will preside at the Pianoforte.
PROGRAMME. PART I. Overture - "Il Barbierre di Saviglia" (Rossini) - Orchestra . . .
3. Ballad - "See'st thou at Even" - (Violin Obligato) Kalivoda, Mrs. Richards . . .
PART II. Overture - "Massaniello" (Auber), Orchestra . . .
3. Ballad - "Oh, Moment of Pleasure" (Bellini), Mrs. Richards . . .

ASSOCIATIONS: Rachel Lazar (actor, dancer, vocalist); George Bennett (piano)

[Advertisement], Adelaide Times (9 October 1848), 1 

NEW QUEEN'S THEATRE . . . A Choice Selection of the most admired pieces from the Operas of Cinderella, Bohemian Girl, Fairy Lake, Crusaders, La Somnambula, etc., etc. . . .
Instrumental Performers: Leader - Mr. Lee, Mr. Richards (second violin), Mr. Thompson (violoncello), Mr. Kaebet (flute), Mr. Hewitt (trombone), Mr. Hertz (double bass), Mr. Hauffman (tenor) . . .

[Advertisement], South Australian Gazette and Mining Journal (15 February 1849), 2 

NEW QUEEN'S THEATRE, LIGHT-SQUARE. FOR THE BENEFIT OF MISS LAZAR, THIS EVENING (Thursday), February 15th . . . The entertainments will commence with Rossini's opera . . . CINDERELLA; or, The Fairy and the Glass Slipper,
For which purpose the orchestra will be considerably augmented and LED BY MR. LEE . . . Scenery, machinery, and transformations by Mr. Douglass. Dresses by Mr. Strong. Music, arranged for this orchestra, by Mr. Richards . . .

ASSOCIATIONS: Philip Lee (leader, violin);

[Advertisement], South Australian Gazette and Mining Journal (28 February 1850), 2 

MR. BELMONT, late Ballet Master from the Pavilion Theatre, in the splendid Ballet Divertisement of the MOUNTAIN SYLPH.
THIS EVENING, THURSDAY, FEB. 28, 1849 . . . Scenery and Machinery by Mr. Douglass; Music by Mr. Richards; Fire-works by Mr Atkins.
DONALD, a young Villager - Mr. BELMONT . . .

"LAW AND POLICE COURTS . . . LAZAR v. STEPHENS", South Australian Register (4 March 1850), 3 

. . . Harriet Lambert, actress, also contradicted in the most unqualified terms that portion of the evidence which related to herself. In cross-examination she stated that she had never seen Mr. Lazar perpetrate any act of indecency. She did not think him capable of doing so. He played best in broad farce. Henry Richards, leader of the orchestra, corroborated the previous testimony so far as his duties at the theatre permitted him to be an observer of what occurred . . .

ASSOCIATIONS: John Lazar (actor); Harriet Lambert (formerly Harriet Knowles and Harriet Oliffe)

"LAW AND POLICE COURTS . . . LAZAR v. STEPHENS", South Australian Register (4 March 1850), 3 

. . . Henry Richards, leader of thn orchestra in the Queen's Theatre - Saw the "Quadrupeds" on the 12th January. His wife performed in it. His fiddle played so fast that he had enough to do to attend to his score. At the fall of the curtain the characters were "all of a heap" . . .

"THE THEATRE", South Australian Gazette and Mining Journal (30 March 1850), 3 

On Monday, night last, Mr. Lazar, on the occasion of his benefit, produced the fine musical drama of the Slave to a crowded house - the pit being literally crammed, and the boxes well filled with ladies and gentlemen . . . We cannot, however, close the notice of a performance which gave such general satisfaction, without awarding to Mrs. Richards the mede of praise to which she is entitled for her sweet song, "the Lass of Gowrie," and to Mr. John Lamb for the unlooked-for agility with which he used his legs in Blancher's hornpipe, previous to dancing off to California in the Broadaxe.

MUSIC: The Lass of Gowrie (song)

"THEATRE", Adelaide Times (24 April 1850), 3 

The announcement of Mrs. Richards's benefit filled the house on Monday night, it being well-known that, with the most persevering industry, she has solely maintained her husband, now some months confined to his bed, from a severe and apparently fatal sickness, and a family of young children. The manager and company of the Theatre kindly volunteered their services gratis, and, judging from their animated acting, they really seemed to have entered into the benevolent project with the most lively interest. Mr. Coppin also made an effective display of his comic talents on the occasion. The performances, on the whole gave entire satisfaction; and Mrs. Richards herself, notwithstanding her heavy afflictions did her utmost to entertain the audience, and sang "The Lass O'Gowrie" in fine style. The brass band also added greatly to the attractions of the evening . . . We understand that Mrs. Richards netted about £6O, a sum that will save herself and family from penury for some time to come.

ASSOCIATIONS: George Coppin (actor, manager)

1850, foreign deaths in the district of Adelaide; BDM Registration office, Adelaide

When died: April 30th 1850 / Henry Richards / Age Thirty Full years / Consumption / Musician Grote Street . . .

"MR. RICHARDS", Adelaide Times (6 May 1850), 3 

This well-known member of the orchestra of the New Queen's Theatre, died on Tuesday last, after a severe and protracted illness that confined him to his bed for some months. He was followed to the grave, next day, by all the members of the Theatre, including the manager, who had done his utmost during Mr. Richard's sickness, to alleviate the sufferings of the family. It is only just to repeat that Mrs. Richard's was most assiduous in her attentions, and underwent the most severe privations in maintaining her sick husband and a helpless family of young children. We are happy to say, that the generous support of the public at her late benefit, has placed her above any danger of immediate want.

"DEATHS", The Maitland Mercury and Hunter River General Advertiser (10 August 1850), 3 

At Adelaide, on the 30th April, Mr. Henry Augustus L. Richards, formerly of New England; aged 32 years.

[Advertisement], Adelaide Times (3 October 1850), 2

NEW QUEEN'S THEATRE . . . for the benefit of MISS LAZAR . . . THIS EVENING, OCT. 3RD, 1850 . . .
GRAND CONCERT OF VOCAL AND INSTRUMENTAL MUSIC. Song - "I dare not love thee." Mrs. Richards . . .

[News], South Australian Register (12 October 1850), 3 

The friends of Mrs. Richards, anxious to remove her from her present occupation, suggest that her forthcoming benefit at the Theatre may be made the means of securing to her a sufficient sum to commence a small business that would enable her to bring up her young family in a respectable manner, which is quite impossible under existing circumstances. Loss of property and other misfortunes induced her late husband to make the Theatre a means of subsistence - a line of life totally repugnant to her feelings. Those who are always ready to assist the widow and the fatherless will not be appealed to in vain in this instance, and it is hoped that those who do not attend the Theatre will give their aid by adding their subscriptions to the lists opened for this laudable undertaking.

"LOCAL NEWS", South Australian (14 October 1850), 2 

We understand that Mrs. Richards is very anxious to quit the stage, a profession for which her feelings and previous habits had ill prepared her, and to enter into some business by which she can support herself and her orphan children. It is, we believe, pretty generally known that this lady was brought up in affluence, and was driven to a calling she disliked, by the loss of fortune. We therefor fully sympathise with those who have kindly determined by patronising her approaching benefit, or forwarding their separate contributions, to aid her in what is certainly a very desirable object.

"THEATRE", Adelaide Times (22 October 1850), 3 

Mrs. Richards took her farewell benefit last night, in the character of "Lucelle," in "Joan of Arc," under the patronage of the Forresters, who thronged the house in full regalia. The house was crowded, and the performances went off pretty well, but we have no available space to particularize.

"LOCAL NEWS", South Australian (7 November 1850), 2

The Stewards of the races and a large number of ladies and gentlemen attended the Queen's Theatre, last evening, when Mr. Coppin performed in "The King's Gardener," and "Hercules King of Clubs." It is hardly necessary to say that in both he was highly amusing. The other characters were well sustained by Miss Lazar, Opie, Lambert, &c. We must not omit to mention the duet by the young lady just named and Mrs. Richards, "I know a bank whereon the wild thyme grows" which was well executed, and received with much applause.

"MRS. RICHARDS", Adelaide Times (11 November 1850), 3 

Subscription lists have been opened in town for the purpose of raising funds to enable Mrs. Richards to retire from the stage, which is a life not suited to her inclination or previous position in society, in New South Wales, but to which she was reduced by adverse fortune. Notwithstanding the late damping quarrels, so calculated to harden the public against entertaining such benevolent projects, we have no doubt that the present object of assisting a helpless widow, with a large family, dependant solely on her exertions, will be liberally supported.

[Advertisement], South Australian Register (26 November 1850), 2 

Mr. A. Moore's PROMENADE CONCERT . . . at the Exchange Rooms, This Evening (Tuesday), Nob. 26th . . .
PART I . . . 2. Song, "Should he upbraid," Bishop, Mrs. Richards . . .
PART II . . . 2. Song, "By the Sad Sea Waves", Benedict, Mrs. Richards . . .

ASSOCIATIONS: Andrew Moore (violin)

MUSIC: Should he upbraid (Bishop); By the sad sea waves (Benedict)

New South Wales (1851-1901):

"Obituary. MRS. DOROTHEA CAMPBELL. AEAT. 78", Camden News (3 October 1901), 4 

Alas we have to chronicle the demise of one of our founders of the Mount Hunter district, Camden. Mrs. Campbell has passed away to her Home. The lady died on Monday morning, the 30th September. Her end was peaceful, succoured by her children's attendance at the bed side. A Christian woman, devoted solely and wholly to the glory of God and for the welfare of her children. The deceased was until the past twelve months a most robust, woman, and daily followed out her many home duties. At her daughter's residence, Mrs. S. Wheeler, the old lady by some unaccountable cause whilst standing on the steps at the front of the house fell, when she sustained a fracture of the hip bone, and from that date she was bedridden. The beginning of the end. She never rallied. The subject of our obituary was born at sea so long ago as 1823. Her parents, John and Annie Earl, were of English birth, first settling then in the new and vast district of Maitland. From enquiries we find the deceased was married in Maitland at an early age to the late Mr. Henry Augustus L. Richards, who after only a few years passed away. The deceased with her then tender children came to our Camden district, and which she has never left. After years of widowhood she married Mr. James Campbell, then farming at Mount Hunter. Mr. Campbell survives his wife. The deceased lady was deeply and honorably respected, and leaves behind her a tribute of remembrance in her sons and daughters. The last sad rites were performed at St. John's cemetery on Tuesday afternoon, by the Rev. C. J. King, M.A., at the church and the grave side. Her memory will be long and affectionately remembered. The funeral was most largely attended by many old residents now toiling in our midst, the immediate descendants of the late Mrs. Campbell are Mr. Henry Richards, Queensland; Mr. John Richards, Narrabri; Mr. William Richards, Mount Hunter; Mrs. S. Wheeler, sen., Mount Hunter; Mr. Thomas Campbell, Deniliquin; Mr. Edwin Campbell, schoolmaster, of Moonbi; Mr. R. Bruce Campbell, Mount Hunter, and Mrs. Serjeant, Sydney. The grand children cannot be less than fifty.


Music publisher, music seller

Active Sydney, NSW, until 1843 (as J. Richards and Co.) (TROVE tagged by Australharmony) (shareable link to this entry)

See also in checklist of sheetmusic to 1850: 

ASSOCIATIONS: George Hudson (successor)


Low's City of Sydney directory for 1844-45

Hudson & Dolan (late Richards), music sell[e]rs, 277 [sic], Pitt st.

Musical publications:

Les etrangeres pour le piano forte . . . composees par Henry Herz (Sydney: J. Richards & Co., [before 1843] (DIGITISED)

Still so gently o'er me stealing composed by Bellini and adapted to the English stage by H. R. Bishop (Sydney: J. Richards & Co., [before 1843] (DIGITISED)

See also reprint from the same plates by Richards's successor, George Hudson: (DIGITISED)

See also another edition from different plates by Francis Ellard: (DIGITISED)

Bibliography and resources:

Not in Neidorf 1999


Teacher of pianoforte, harp, and singing

Active Geelong, VIC, 1849-51 (shareable link to this entry)


[Advertisement], Geelong Advertiser (24 July 1849), 3 

MISS RICHARDSON will be prepared to receive pupils on the 1st August, at the late residence of Mr. Grove, Ryrie-street, Geelong. The branches taught are English, (including Writing and Cyphering, History, Geography, Composition, &c.) French, Italian, Drawing, the Planoforte, Harp, Singing, Calisthenics, Dancing, Ornamental Needlework, &c. Ladies will have an opportunity of receiving private lessons in any of the above branches. Charge, five shillings an hour. Miss R. can accommadate two or three Boarders.

[Advertisement], Geelong Advertiser (8 December 1849), 1 

Wanted. SOME books on Hullah's system of singing at Miss Richardson's, Ryrie Street. Persons wishing to attend Miss R.'s class, are requested to make immediate application.

ASSOCIATIONS: John Hullah (English singing instructor)

[Advertisement], Geelong Advertiser (10 July 1851), 3 

MISS RICHARDSON, of Ryrie street, begs to announce that she has entered into partnership with Miss McKeand, from Portland, a lady much respected for her long experience and good method for teaching . . .

[Advertisement], Geelong Advertiser (26 August 1850), 3 

SINGING ON HULLAH'S SYSTEM. PERSONS are invited to join Miss Richardson's second class of singing; to commence 9th September. Terms moderate. Bellerine-street.

[Advertisement], Geelong Advertiser (14 January 1851), 3 

MISS RICHARDSON begs to inform her friends that she has removed to Little Ryrie-street, where her pupils are expected to re-assemble on Tuesday, 14th instant. Also. that she intends opening a Singing Class, assisted by Mr. Robert Boyle, to prepare persons for joining the Harmonic Society. The first meeting to takeplace, as above, at 7 o'clock, p.m., when it is hoped there will be a large attendance.
January 8, 1851.

ASSOCIATIONS: Geelong Harmonic Society

? "DEATHS", Geelong Advertiser and Intelligencer (12 June 1854), 4 

At Barwon Bank, on the 11th instant, Miss Anna Richardson [aged 30]

NOTE: There was also a Miss Richardson active musically in Geelong as a pianist in the 1860s; she was probably Lucy Richardson (born London, c. 1820, daughter of Thomas Richardson and Sarah Fisher), a school teacher and later governess, who died in Geelong on 18 May 1905.

RICHARDSON, Albert (William Albert RICHARDSON; after 1865, Albert RICHARDSON; Alberto RICCARDI)

Musician, baritone (basso) vocalist, singing teacher, choirmaster, organist, singing master (Board of Education)

Born Huddersfield, Yorkshire, England, 17 June 1839; baptised St. Patrick's (RC), Huddersfield, 14 July 1839; son of William RICHARDSON and Ellen HIRST
Arrived Melbourne, VIC, 23 June 1853 (per Ajax, from Liverpool, 19 February)
Married William Albert RICHARDSON, St. Patrick's cathedral, Melbourne, 24 September 1870
Died Dutton Park, South Brisbane, QLD, 11 August 1927 (TROVE tagged by Australharmony) (shareable link to this entry)


Pianist (pupil of Horsley), contralto vocalist, music teacher

Born Adelaide, SA, 5 March 1853; daughter of James MACKERETH (1816-1880) and Henrietta Lucia SCHUMACHER (c. 1817-1902)
Married William Albert RICHARDSON, St. Patrick's cathedral, Melbourne, 24 September 1870
Died Brisbane, QLD, 17 February 1926 (shareable link to this entry)


William Albert Richardson, a native of Huddersfield, arrived in Melbourne in June 1853, aged 14, with his father William, a jeweller and watchmaker, stepmother Elizabeth Berry, and their other children, as unassisted immigrants on the Ajax.

By 1862, and perhaps slightly earlier, he was a registered singing master for the Victorian Board of Education, with responsibility for central Melbourne's Catholic schools. He may also have been associated that year with Lyster's opera company (as he claimed in England in 1865), perhaps as a chorus singer.

There being, as he wrote to the Herald in 1862, no possibility of a singing master "ever becoming an adept at the science he teaches", he resigned from his post with the Board of Education and sailed for Europe, intending to study in Italy.

Accoring to his own later account he had lessons with Gaetano Nava (1802-1875) in Milan, probably in late 1863 or 1864. Having also meanwhile, according to his advertisements, taken lessons with Charles Furtado (1816-1898) in London, he gave a concert in his native Huddersfield in April 1865.

Richardson also claimed to have been a pupil of Manuel Garcia (the younger), and of Sims Reeves.

Having returned to Melbourne towards the end of 1865, and described as "a pupil of Furtado and Garcia", he made his debut as an operatic principal with Lyster's company early in 1866.

Thereafter, he was moderately successful as a principal with the Lyster and Simonsen touring companies (Australia and NZ). He was also a church organist and choir conductor (St. Patrick's cathedral choir, Melbourne, 1876), and managed his own concert and opera presentations. But it was as singing teacher that he appears to have been most prominent (a notable pupil was Benjamin Clark).

He married Adelaide-born contralto Mathilde Mackereth (1853-1926), a pupil of Charles Edward Horsley, in 1870. According to information kindly supplied by family historian Chrissie Macken (2015), a Miss Richardson who sang under his baton around this time was perhaps one of his two half-sisters, Mary Helen or Hilda Margaret.

As well as returning to England (1884-88, where Albert advertised as a singing teacher under the name Alberto Riccardi), they then lived for short periods in Adelaide, SA (1879-80); Launceston, TAS (1881-82, where he was probably not to be confused with a musical petty thief of the same name, known as the "Harmonious Blacksmith"); New Zealand (1893-95); and Sydney, NSW (1896).

They had moved to Queensland by 1898, and, with short periods in Toowoomba (1906-07) and Bundaberg (1913), Albert was based in Brisbane until his death at an advanced age. Mathilde's eldest sister, Ellen Harriet Mackereth (d. 1915), was an Adelaide-based musician and teacher, and leader of Mackereth's Mandoline Band.


"SHIPPING INTELLIGENCE", The Argus (25 June 1853), 2 

June 23 - Ajax, ship, 536 tons, V. Dunstan, from Liverpool 19th February. Passengers - cabin: Mr. and Mrs. Richardson and family, Mr. G. Stewart; steerage, sixteen. Willis, Merry and Co., agents.

[News], The Argus (3 July 1862), 5 

There vas a numerous attendance at the concert and ball given under the auspices of the German Association, at the Prince of Wales Hotel, Flinders-lane, last evening. The chief portion of the concert programme consisted of selections from national music, which were executed with considerable spirit by the Liedertafel, the "Morgenlied," or morning song, being most effectively rendered. The solo and duet singing of Miss Liddle, Miss K. Morton, and Mr. Richardson, agreeably varied the more sonorous vocalists of tho German Musical Association. The places of Messrs. Siede and Strebinger, who have gone to Sydney with the Lyster opera company, were ably supplied by Messrs. Elsasser and Lundborg. Dancing was inaugurated shortly after the termination of tho concert, and maintained with vivacity until an early hour.

ASSOCIATIONS: Maggie Liddle (vocalist)

"SINGING IN CATHOLIC SCHOOLS. To the Editor of . . .", The Herald (4 December 1862), 5 

SIR, - A desultory discussion on the education question appears to have generated a swarm of theorists who, in their blind crusade against everything in general, and singing and drawing in particular, do not hesitate to make assertions of the most unscrupulous and ignorant character. Permit me, sir, through the medium of your valuable columns, to give an unqualified contradiction to a statement contained in a letter which appeared in your issue of yesterday, and signed by "An Old Teacher." In mentioning the appointment of a Catholic singing master in the Catholic schools, he says "that, on enquiry at six of the principal Catholic schools, I find that while they have been dosed with operas, a single note of a Catholic hymn or litany has not been taught." Now, sir, this assertion, whether originated by "An Old Teacher" or by the teachers of the six schools aforesaid, is simply a falsehood. The greater portion of the Catholic hymns which are usually sung with English words, and several with Latin words, have been taught to the children; and, moreover, but for the difficulty experienced by young children in acquiring a fluent rending of the Latin language, the whole of the evening service of the church would ere this have been taught. The operatic "dose," so contemptuously alluded to by your correspondent, consists of three simple airs from the operas of "Rigoletto," "Satanella," and "Sonnambula," respectively, with appropriate words, written expressly for young children. A step in this direction I think will commend itself to all true lovers of music, tending as it does to improve and refine the taste of those who will ultimately furnish a considerable quota to our list of public vocalists, the sneers of "An Old Teacher" notwithstanding. Perhaps "An Old Teacher" is not sufficiently acquainted with the Education Bill to have perceived that four hours a-day must be devoted to secular education, and, therefore, that since September last, no master under the board (strictly speaking) had any power to teach religious music. In return for "An Old Teacher's" complimentary allusion to my teaching as "a transparent sham," and as a reward for his disinterested vigilance in this matter, I beg the favour of his presence at our annual festival, to be held during the present month, when he will receive "doses" of operatic, religious, and miscellaneous music, performed in a manner which should convince "An Old Teacher" that he may be as "transparent a sham" as are the thousand and one nostrums proposed by such as he for the regeneration of our educational system.
I am, sir, yours, very obediently,
Singing Master in Catholic Schools.
Wednesday, 3rd Dec., 1862.

See the original letter, "EDUCATION. To the Editor of . . .", The Herald (3 December 1862), 7 

See also these other replies, "EDUCATION. To the Editor of . . .", The Herald (4 December 1862), 5 

"SINGING IN OUR PUBLIC SCHOOLS. To the Editor of . . .", The Herald (5 December 1862), 7 

"SINGING IN OUR PUBLIC SCHOOLS. To the Editor of . . .", The Herald (11 December 1862), 7 

SIR, - A considerable space in your valuable columns has of late been monopolised by the lucubrations of an individual signing himself "Aristides." I have hitherto abstained from replying to them on the following grounds: - Firstly, being content to leave the refutation thereof to those whose interests are more immediately concerned; and, secondly, feeling sure that sophistry will in the long run prove its own overthrow. On Thursday last I was compelled to reply to a scribble of the same brood, in the person of an " Old Teacher." His statement, that he had called at six of the principal Catholic schools under my tuition and there received certain information, I did not then deny, not having sufficient time to investigate the matter. I am now, however, in a position to inform "Old Teacher" that his assertion is a falsehood at once contemptible and cowardly, and this I can prove by the testimony of the teachers, who know nothing whatever of this individual, and, consequently, could not have afforded him any assistance in his search after truth. My remarks are called forth by a letter which appeared in your issue of Monday last, and signed "Aristides." I confess my surprise to find the cudgels taken up by this person on behalf of such an able writer as "Old Teacher," who, I suppose, is engaged in digesting the flat and unqualified contradictions which his statements have received in your pages from correspondents who are not afraid to sign their names. The " Old" gentlemen, however, appears to have found a true Samaritan in the person of "Aristides," and to him I propose to reply. The first four paragraphs in his letter I pass over, though containing the same illogical claptrap with which we are all familiar. Paragraph No. 5 informs us that "Aristides" is indignant at my "attempting to teach odd bits of operas to a parcel of ragged urchins, eight years old." Now, Sir, a fair proportion of the children under my tuition are young girls of from 12 to 16 years of age; they are neither "ragged nor "urchins," but respectable clever children, and endowed with feelings sufficiently refined to enable them to appreciate such a gross and unwarrantable insult as is contained in the sentence above quoted. The next paragraph is the veriest piece of bunkum and misrepresentation [7] that ever was penned. A totally wrong construction is here placed upon a portion of my letter, which referred to the possibility of a certain number of the best children ultimately furnishing a considerable quota to our public vocalists. "Aristides" has drawn a painful picture of unfortunate young men and maidens earning their bread and butter at theatres and concert rooms. It is almost needless for me to remark that my meaning is the reverse of this. I still maintain that many of the children will be "public vocalists," but their sphere will be the Philharmonic and other amateur societies and church choirs, of which many are already members. I now come to a sentence which is a gratuitous and personal insult to myself - he says that "if your pupils don't excel their master, your quota of public vocalists will not command any very extensive patronage." To this I may reply that the very duties of a singing master are of such a nature as to prevent the possibility of his ever becoming an adept at the science he teaches. I am not aware that there are any singing masters under the board who are competent to sing in public, so that, admitting an equality in this respect, I am not worse off than my neighbours. In conclusion, I may inform "Aristides" that there are those who affect to sneer at what they cannot understand, but 'tis well for such that, snarling, they cannot bite. Trusting to your usual courtesy to insert this necessarily lengthened reply,
I beg to subscribe myself, your's most obediently,
Singing Master in Catholic Schools.
Melbourne, 9th December.

"EDUCATION. To the Editor of . . .", The Herald (12 December 1862), 6 

Sir, - When I took the liberty of addressing a few words to you last week, respecting singing and drawing in the public schools, and stating a few facts in connection therewith, I very well knew that I was drawing the ire of the whole Barnacle family on me, and I have not been disappointed. I had determined not to enter into a controversy where the replication of one at least is very little better than the common street retort, "You're another," but that I see Mr. Richardson, not content with a flat contrdiction, exults in your issue of this morning as if he had achieved a great victory. I am therefore induced to crave space of you to defend my assertions. Mr. G. L. Allan contradicts my statement respecting the original appointment of singing master[s] . . . A plain statement of the facts that led to Mr. Richardson's appointment and the way that I acquired the knowledge how he discharged its duties will, I believe, teach that young man to be more cautious before he rushes into print again. About two years ago a schoolmistress at St. Francis' asked the singing master to teach the class to sing a metrical translation of a few verses of Scripture known as the "Magnificate." [sic] He refused, as it might be idolatrous. The affair was reported to the Catholic Education Committee, and on inquiry it was ascertained that no hymns or sacred music were taught in any of the schools. Orders were at once issued to the teachers under it to admit in future no singing master without a written order from the secretary of the committee. None of the singing masters procured that authority, and vocal music was stopped. After some time Mr. Richardson appeared on the scene for the ostensible and publicly paraded object of teaching Catholic music. At the end of twenty months I have mado inquiries quietly of six teachers if he has taught the music proper to the ceremonies of the Catholic Church in their schools, and they all deny it. I go and examine some of the best attenders and most advanced pupils at St. Francis', St. Patrick's, St. George's, St. Mary's, St. Augustine's, and of another school in North Melbourne, the name of which I do not now recollect, and while I found those children possessing a commendable knowledge of comic ditties and operas, not one could I find who knew a single stave of the music he was appointed to teach; not one who even knew the words of the Magnificate. Now, Sir, these are the facts on which I grounded my statements to you, and if Mr. Richardson should feel annoyed at the revelation, he may console himself with the reflection that he forced me to speak out.
I am, Sir, yours etc., AN OLD TEACHER.

ASSOCIATIONS: George Leavis Allan (singing master)

And see also ARISTEDES's reply, "SINGING IN OUR PUBLIC SCHOOLS. To the Editor of . . .", The Herald (12 December 1862), 5 

[Advertisement], The Herald (7 April 1863), 2 

PRELIMINARY ANNOUNCEMENT. - Mr. W. A. RICHARDSON (late Singing Master under Board of Education) having made arrangements to visit Italy, with the intention of studying in that country, begs most respectfully to inform his friends and the public generally, that assisted by many of the leading vocalists and instrumentalists in Melbounre (including Mr. C. E. HORSLEY), he will give a GRAND CONCERT, under most distinguished patronage, at Hockin's Rooms, on Thursdav, 23rd April.
To be followed bv a BALL. Programmes will shortly he published.

[News], The Argus (23 April 1863), 5

At Hockin's Booms, this evening, a grand concert and ball will be given by Mr. W. A Richardson, late singing-master under the Board of Education, on the occasion of his departure for Italy; assisted by Miss Amelia Bailey, Mr. C. E. Horsley, Mr. Marquis Chisholm, and other leading vocalists.

"NEWS OF THE DAY, The Age (24 April 1863), 5

Mr. W. A. Richardson, for some time singing master under the Board of Education, gave a concert and ball last evening, in Hockin's Assembly Rooms, prior to his departure for Italy, where he intends to prosecute his musical studies. There was a large attendance. The artistes were Miss Amelia Bailey, Miss Isoline Mercante, Miss Liddle, and Messrs. Donaldson, Woolf, Isaacs, Sylvanus Angus, W. Power, Kursteiner, C. E. Horsley, Marquis Chisholm, and L. L. Lewis. Mr. Richardson sung "II balen," from "II Trovatore," better known as "When I behold those glances," or "The tempest of the heart" . . . Without entering into further details, we may say that the concert was in every way deserving of the patronage it secured. The ball which followed was kept up most merrily until an advanced hour this morning.

[News], The Argus (24 April 1863), 5 

Mr. W. A. Richardson, late singing-master under the Board of Education, who is about to leave for Italy, gave a concert at Hockin's Hotel last evening. The room was quite full, and the entertainment passed off successfully. The principal singer of the evening was Miss Amelia Balley . . . Mr. Marquis Chisholm played most of the accompaniments with his usual skill. Perhaps the best performance of the evening was a fantasia upon a few airs from Il Trovatore, played upon the pianoforte by Mr. C. E. Horsley, who, in compliance with a unanimous encore, played another fantasia upon the prayer in Mose in Egitto. The remaining portion of the programme consisted of the vocal efforts of Mr. W. A. Richardson and Messrs. Woolf, Isaacs, Donaldson, Kursteiner, and Power, who, as amateurs, sang with much taste.

ASSOCIATIONS: Charles Edward Horsley (piano); Amelia Bailey (vocalist); Isoline Mercante (vocalist); Charles Alexander Donaldson (vocalist); Silvanus Angus (vocalist); William Pierce Power (vocalist); Alfred Kursteiner (vocalist, architect); Marquis Chisholm (piano)

England (? late 1864 to mid 1865):

[News], Huddersfield Chronicle (1 April 1865), 5 (PAYWALL)

We understand that a grand concert will be given by Mr. W. A. Richardson, (late of the Italian and English Opera, Theatre Royal, Melbourne, and pupil of Signor Furtado,) at the Philosophical Hall during the present month, when he will have the assistance of several leading London artistes. The programme will contain features of especial interest, full particulars of which will shortly appear.

"CONCERT AT THE PHILOSOPHICAL HALL", Huddersfield Chronicle (29 April 1865), 5 (PAYWALL)

After an absence of some years, Mr. W. A. Richardson returns to the place of his nativity; and on Wednesday evening made his debut in Huddersfield as a vocalist before a tolerably large audience . . . All were anxious no doubt to hear Mr. Richardson, the promoter of the concert. He, however, failed to produce as favourable an impression as had been anticipated. The romanza "Ah, non avea" and Arditi's song "The stirrup cup" were sung but indifferently by him; but it must not be forgotten that this was an induction concert, and that, in all probability Mr. Richardson was labouring under no small degree of excitement. He has an average power, and, with tact and perseverance, he may hope to gain popularity . . . Mr. J. Wood presided, at the pianoforte.

Melbourne (by December 1865):

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

The Lyster Opera Company, we learn, will commence a new season at the Theatre Royal on boxing night, with "Oberon." Mr. W. A. Richardson, a new English baritone, pupil of Garcia and Furtado, engaged by Mr. Lyster in London, will make his debut as Count di Luna, in "Il Trovatore." It is stated that Mr. Richardson has an organ of very rich quality.

ASSOCIATIONS: W. S. Lyster (opera company proprietor)

[Advertisement], The Herald (26 December 1865), 2 

[Advertisement], The Argus (5 January 1866), 8

[News], The Argus (6 January 1866), 5

The successful performance of "II Trovatore" by the opera company, at the Theatre Royal, on Saturday evening, was marked by the debut of Mr. Albert Richardson, the new baritone of the troupe . . . Mr. Richardson's appearance warrants an expression of pleasure in that the Australian public have a new and able performer in a style that is very grateful . . . representation of Il Conte di Luna proved him to be possessor of a sweet cultivated baritone voice, capable of much expression, and perhaps force. It is not robust; and its resonant quality has been scarcely developed, but experience will give it more freedom.

[Advertisement], The Argus (23 April 1868), 8

"MARRIAGES", The Argus (26 September 1870), 4 

RICHARDSON - MACKERETH. - On the 24th inst., at St. Patrick's Cathedral, by the Rev. J. O'Meara, William Albert Richardson to Mathilda, second daughter of Mr. James Mackereth, of Sandridge. No cards.

[Advertisement], The Argus (5 November 1870), 8 

[News], The Argus (4 May 1874), 5 

The ceremony of opening St. Monica's Church, a Roman Catholic place of worship just completed at Footscray, was performed yesterday . . . The musical arrangements were superintended by Mr. Albert Richardson. An efficient choir was present. The principal vocalists were Madame Florence Wekey, Mrs. Richardson, Mr. Charles Beverley, Miss Richardson, and Mr. J. B. Whitty. The musical service comprised the Kyrie, Gloria, and Sanctus, from Mozart's Twelfth Mass, and the Credo, and Agnus Dei from Haydn's No. 1. The offertory piece was Curschman's "Te Prego," which was sung by Madame Wekey, Mrs. Richardson, and Mr. Beverley.

"ST. PATRICK'S CHOIR", Advocate (5 February 1876), 6 

Mr. Albert Richardson has been appointed conductor of the choir of the Metropolitan Church. Mr. C. A. Tracy continues to act as organist and director.

ASSOCIATIONSL Charles Austin Tracy (organist)

[News], Evening Star (25 February 1876), 2 

Mr. Talford Young, agent for the Simonsen Opera Troupe, informs us that his advices by the Albion and a cablegram last night intimate the completion by Mr. Simonsen of his arrangements for bringing over an opera troupe, the principal members of which will be Prima donna assoluta, Madame Fanny Simonsen mezzo-soprano, Miss Florence Fisher contralto . . . primi baritoni, Mr. Albert Richardson (formerly with Lyster's English Company), Signor Pietro Luisette, Mr. Henry Hodgson; . . . The Company leave Melbourne on the 29th inst.

"RECENT PUBLICATIONS", The Argus (1 November 1878), 7 

"MR. ALBERT RICHARDSON'S FAREWELL CONCERT", The Argus (28 February 1879), 7

A farewell benefit concert was given last night in favour of Mr. Albert Richardson, a gentleman who has for many years past maintained a prominent position in Melbourne musical circles as teacher of the art of singing, and who now brings his professional career to a close in this place in the midst of a large number of friends, who have been his former pupils.

[News], The South Australian Advertiser (31 March 1880), 4 

At the conclusion of the service at St. Laurence's Church, North Adelaide, on Easter Sunday morning, the members of the choir adjourned to the vestry, where the Rev. Father Cormac, on their behalf, presented Professor Richardson with a copy of Mozart's Twelfth Mass, Haydn's Imperial Mass, and Rossini's Stabat Mater, elegantly bound up in one book, as a slight token of esteem and an acknowledgment of the efficient manner in which that gentleman had conducted the musical portion of the service . . .

[News], Launceston Examiner (28 September 1881), 2 

MRS. ALBERT RICHARDSON, pianiste, notifies that she visits and receives pupils.

"OPERATIC CONCERT", Launceston Examiner (1 February 1882), 2 

[Advertisement], Hastings and St. Leonards Observer [UK] (4 October 1884), 2

SIGNOR ALBERTO RICCARDI (From London, Milan, and Naples) (éléve of the famous Milanese and Neapolitan Schools), PROFESSOR OF SINGING, Primo-Baritono Assoluto Royal Italian Opera, Instruction in Italian Method of Voice Production and Development, and the Art of Singing.
RESIDENCE: "NAPOLI", CAREW ROAD, THE AVENUE, UPPERTON, EASTBOURNE. St. Leonards visited every Week. Circulars at Whittaker and Williams' Library.

[Advertisement], Hastings and St. Leonards Observer [UK] (5 May 1888), 2

"THE HARMONIOUS BLACKSMITH AGAIN", Daily Telegraph (31 January 1887), 2 

About six years ago William Albert Richardson, known here as "the harmonious blacksmith," and employed at good wages in a coachbuilder's establishment, managed by his musical ability and insinuating manner to get into respectable society. He was introduced to Mr. M. Susman, who was then staying at the Brisbane Hotel, and during Mr. Susman's absence he entered his bedroom and stole a travelling bag containing over £500 worth of watches and jewellery, a considerable portion of which was sometime afterwards found secreted in the bush over the Windmill Hill . . .

[Advertisement], The Age (19 May 1891), 8 

VOICE PRODUCTION and ARTISTIC SINGING Notice of Arrival from London. Mr. ALBERT RICHARDSON (Signor Alberto Riccardi of the London Musical World), Principal Baritone Italian and English Opera; and of the Royal Albert Hall, St. James's Hall, Crystal Palace and Promenade Concerts, Her Majesty' Theatre, London, has COMMENCED TUITION At his rooms, Austral-buildings, Collins-street east. Day and Evening Lessons. Circulars at Allan's, Glen's, and 8 Avoco-st., S. Yarra.

"MR. RICHARDSON'S CONCERT", Evening Star (26 October 1893), 2 

"HIS MAJESTY'S THEATRE. MARITANA", The Brisbane Courier (1 May 1902), 4 

"MR. ALBERT RICHARDSON", Darling Downs Gazette (16 March 1906), 5 

"OBITUARY", The Brisbane Courier (15 August 1927), 15 

The musical public of Brisbane and abroad will regret to learn of the death of Mr. Albert Richardson, which occurred on August 11 at his residence, Deighton-road, Dutton Park. The late Mr. Richardson was a pupil of the celebrated Manuel Garcia, the master of Patti, Mario, and Marchesi. During a long and successful career on the operatic stage Mr. Richardson was principal baritone of Lysters, Carl Rosa's and Simonsen's Italian and English opera companies. For many years he was a leading teacher of singing in Melbourne, and conductor of St. Patrick's Choir. He gave many concerts in that city for charitable causes, and in consequence was made a life governor of the Melbourne Hospital. A great number of singers owe their success on the operatic stage to the training imparted by him. Later in his career Mr. Richardson began activities in Brisbane, where he successfully produced, with his own pupils, the English opera "Maritana," in His Majesty's, which was from a musical standpoint a great advance on any previous production from local talent of grand opera. Although Mr. Richardson lived in retirement during the past few years his expert advice on all matters pertaining to the voice was constantly sought, and he also was a frequent contributor to the "Courier" on musical matters. An extract from the Melbourne "Age" of January 8, 1866, records the debut in Melbourne of Mr. Richardson in Verdi's "II Trovatore," in the heavy part of Count di Luna. It records an enthusiastic reception, and "acquitted himself so well as to bring down the curtain amidst a perfect tumult of applause." Mr. Lyster was congratulated on having secured the new baritone, who was confidently expected to make other and even more decided triumphs.

Publihsed works:

The art of singing and the formation, development, & cultivation of the voice: after the methods of the old Italian masters: to which is added a biographical and descriptive list of the most celebrated vocalists of the present century by Albert Richardson (Melbourne: George Robertson, 1878) 

Bibliography and resources:

Harold Love, The golden age of Australian opera: W. S. Lyster and his companies 1861-1880 (Sydney: Currency Press, 1981), 78, 88, 89, 192

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Opera-Opera/Pellinor, 1999), 136, 155

William Albert Richardson, The Rex Sinnott Site: Genealogy of the Sinnott and related families 


Organ builder

Born London, England, 25 July 1847
Arrived Sydney, NSW, October 1882
Died Stanmore, NSW, 22 May 1926 (NLA persistent identifier) (shareable link to this entry)


Bibliography and resources:

G. D. Rushworth, "Richardson, Charles (1847-1926)", Australian dictionary of biography 11 (1988)


School teacher, teacher of psalmody

Active Hobart, VDL (TAS), 1844-47; NSW, 1848-49 (TROVE tagged by Australharmony) (shareable link to this entry)


"SUPREME COURT - CIVIL SIDE. MONDAY, JUNE 17 . . . Richardson, widow, v. Armytage", The Courier (21 June 1844), 2 

This was an action for slander, brought by Mrs. Eleanora Richardson, a lady of considerable personal attractions, the proprietress of a school for young ladies (which, as is well known to most of our readers, was of high character) at Pontville, against Mr. George Armytage, a gentleman of considerable property in the same neighbourhood . . .

[Advertisement], The Courier (1 April 1845), 3 

SIR.- Disagreeable as it is to my feelings, and prejudicial as it must be to my character as a female, to have my name so continually before the public, I nevertheless feel it a duty which I owe to myself as well as to the highly respectable friends with whom I have the pleasure of associating, thus publicly to contradict a statement which has been with most gratuitous cruelty circulated respecting me . . .
ELEANORA RICHARDSON. 69, Macquarie-street, Hobart Town, April 1st, 1845.

"SUPREME COURT. TUESDAY, MARCH 18 . . . Richardson v. Armytage", Colonial Times (22 March 1845), 2

. . . The Rev. Mr. Fry was then examined: he had known the plaintiff about two years, as a school-mistress at Brighton . . . witness had engaged Mrs. Richardson to teach the children of his school Psalmody . . . I selected Mrs. Richardson for this purpose from motives of compassion, and because I myself did not believe the accusations against her: I saw no reason why I should not have employed her teaching the children music . . .

"Supreme Court - Civil Side . . . WEDNESDAY, MARCH 18TH. Richardson v. Armytage", The Observer (20 March 1846), 3 

"FALSE IMPRISONMENT", Sydney Chronicle (17 February 1848), 3 

On Tuesday morning last, Mr. John Davis, chief constable of Wellington, appeared on summons at the City Police Court before the Right Worshipful the Mayor, to answer a charge of assault and false imprisonment, preferred against him by Mrs. Eleanor Richardson, a lady whose name has lately become known in Sydney by her having been a partner in the flight from Hobart Town of Mr. Stracey . . .

"SUPREME COURT. TUESDAY . . . RICHARDSON v. POWELL", The Sydney Morning Herald (14 March 1849), 2 

. . . The circumstances of the case are these: - The plaintiff, during the month of January, 1848, left Launceston for this colony in the company of a well-known person of the name of John Charles Stracey, an auctioneer of that colony, who, it was understood, was absconding furtively from his creditors there. She had, it was true, travelled from thence with Stracey as his wife, and though she was not his wife . . .

ASSOCIATIONS: John Charles Stracey (d. 1871) (TROVE tagged by Australharmony)

RICHARDSON, George Bouchier (George Bouchier RICHARDSON; G. B. RICHARDSON)

Visual artist, journalist, honorary secretary Melbourne Philharmonic Society, ? amateur vocalist

Born Newcastle-upon-Tyne, England, 26 October 1822; baptised St. Andrew's, Newcastle, 22 December 1822; son of Moses Aaron RICHARDSON (1793-1871) and Ann BOUCHIER (1802-1875)
Arrived Melbourne, VIC, 19 August 1854 (per Great Britain, from Liverpool, 12 June)
Died Adelaide, SA, 28 November 1877 (TROVE tagged by Australharmony) (NLA persistent identifier) (WorldCat identities) (shareable link to this entry)

ASSOCIATIONS: Melbourne Philharmonic Society


Richardson, a printer and bookseller, was also active as a local historian and public lecturer in his native Newcastle. His father having preceded him to the colony in 1849/50, he sailed from Liverpool on the Great Britain in June 1854, arriving in Melbourne on 25 August. Richardson was already secretary of Melbourne's Mechanics' Institution when he also assumed a similar role for the Philharmonic Society, by mid 1855 or earlier. His brother was the artist John Thomas Richardson.


[Advertisement], Newcastle Journal (4 December 1847), 2 (PAYWALL)

This Day is Published, (the Illuminations by George Bouchier Richardson,) AN ILLUMINATED CHRISTMAS CAROL, for Eighteen-Hundred and Forty-Seven. By MISS E. HODGES. Price One Shilling. M. A. Richardson, Grey Street, Newcastle-upon-Tyne, Of whom may be had, a few Copies of "The ALIEN CHILDS' HOLY CHRIST," by the same Author.

[Advertisement], Newcastle Journal (7 July 1849), 2 (PAYWALL)

Grey Street, Newcastle, 6th July, 1849.
Considerations of Health compelling to relinquish Business with view of proceeding to a Warmer Climate, at the End of the present Month, I take the present Opportunity, not only tendering to Friends and the Public, my most hearty Thanks for the Liberal Support they have afforded during the Twenty-five Years I have been in Business, but, to announce that my Son, G. B. RICHARDSON, will continue it in all its Branches without Interruption, and earnestly solicit the continuance of your Favours on his behalf. My Son's long Connexion with me, the active Part he has taken in my Concern, and the Experience he has acquired, render me certain that your Confidence will not misplaced. Trusting to your favourable Consideration, I have the Honour to remain, Your obedient Servant, M. A. RICHARDSON . . .
Removal will effected to a New and more Commodious Shop and Printing Office in Clayton Street, of which due Notice will given .

[News], Newcastle Guardian and Tyne Mercury (10 June 1854), 5 (PAYWALL)

On Tuesday, a farewell dinner was given to Mr. Bouchier Richardson, printer and bookseller, who is about to leave this town for Australia. Between twenty and thirty gentlemen sat down to an excellent dinner, at Mr Thompson's, the Royal Hotel, Wm. Newton in the chair.

Australia (from August 1854):

[Advertisement], The Argus (12 September 1855), 8 

PHILHARMONIC SOCIETY, Mechanics' Institution.
Selections of Sacred Music From Handel's "Judas Maceabaeus" and "Israel in Egypt," and Mendelssohn's "St. Paul" and "Elijah." Chorus of One Hundred. Tuesday, 18th September, at half-past seven precisely. Reserved scots, 6s.; unreserved, 4s.. To be at Messrs. Wilkie's, Blundell's, and Slater, Williams, and Hodgson's; and at the Institution.

[Advertisement], The Argus (14 November 1855), 8 

PHILHARMONIC SOCIETY, Mechanics' Institution. - Fifth Subscription Concert will be given on Tuesday, 20th November, at half-past seven p.m. Principal vocalists: Mrs. Testar, Mrs. Goodliffe. Tickets, 5s. each, to be had of Messrs. Blundell, Wiklie, and Slater, Williams, and Hodgson; and at the Institution. N.B. Subscribers who have not received their tickets, or who have altered their addresses, are requested to communicate with

"MELBOURNE PHILHARMONIC SOCIETY", The Argus (4 January 1856), 5 

The second annual meeting of this society was held yesterday evening in the hall of the Mechanics' Institution. The meeting was very well attended, though apologies for absence were received from the President of the Society, Mr. Justice Barry, and the Vice-President, the Rev. Mr. Jarrett. Mr. Russell was voted to the chair, and called upon the Hon. Secretary, Mr. G. B. Richardson, to read the report, which he did as follows - . . .

The election of office-bearers for the ensuing year was made . . . Mr. Justice Barry was re-elected president . . . The Rev. Mr. Jarrett and Captain Pasley were appointed vice-presidents. The further offices were filled up as follows: - Conductor, Mr. Russell; leader, Mr. Griffiths; organist, Mr. Goold; treasurer, Mr. J. J. Blundell; librarîan, Mr. Stead; honorary secretary, Mr. G. B. Richardson . . . committee for the ensuing year:- W. G. Dredge; Thomas Ewart; Richard Bradford; Thomas Holme Davis; Benjamin Horton; W. H. Williams; E. Keep; Joseph Edwards . . .

ASSOCIATIONS: Redmond Barry (persident); William Jarrett and Charles Pasley (vice-presidents); John Russell (conductor); Joseph Griffiths (violin, leader); Thomas Green Goold (organ); James John Blundell (treasurer); William Gilpin Dredge (committee); Thomas Ewart (committee); Thomas Holme Davis (committee); William Henry Williams (committee)

[Advertisement], The Argus (30 January 1856), 8 

On Wednesday, 13th February, will he performed Haydn's Grand Oratorio THE CREATION.
Annual Subscribers of two guineas will be entitled to two tickets for each Concert; and of four guineas, five tickets.
Non-Members' tickets - Reserved seats, 7s. 6d.; Unreserved, 5s.; Reserved family tickets, 30s.; Unreserved, 20s., - to be had of the book and music sellers.

[Advertisement], The Age (6 January 1857), 1 

PHILHARMONIC SOCIETY. The Annual General Meeting of the subscribers and nembers of this society will be held at the Mechanics' Institution, on Tuesday evening, the 6th of January, at half-past seven precisely, to receive the report for the past year, and accounts of receipts and expenditure, to elect the committee and office bearers, and to transact general business. The following special business having been duly notified, according to the rule in that case provided, will be brought forward: - 1. By Mr. W. J. Thomas, in reference to the appointment of a paid secretary, defining his duties and fixing the amount of his salary. 2. By Mr Thomas Ewart: That, in future, performing members shall only be admitted on the recommendation of a sub-committee to be appointed for that purpose. G. BOUCHIER RICHARDSON. Hon. Sec.

"DEATH OF MR. G. B. RICHARDSON", South Australian Register (29 November 1877), 5 

Mr. G. Bouchier Richardson, artist, of North Adelaide, died suddenly at his residence at 10 o'clock on Wednesday morning . . . Mr. Richardson was formerly a journalist, having been for some years Sub Editor of the Star in Ballarat, and afterwards Editor of the Wallaroo Times in this colony. He left Yorke's Peninsula two or three years ago, and has since been teaching drawing in Adelaide. He leaves a widow and two children, who are, we believe, totally unprovided for.

Other sources:

G. B. Richardson, Creek and old watering stage, on the Yarra, East Collingwood, 1854; Kew Historical Society 

Diary of George B. Richardson; State Library of South Australia 

George Bouchier Richardson 1822-1877; ArtUK 


Concertina player, comedian, actor, agent, manager

Born England, c. 1830
Arrived Melbourne, VIC, by November 1852
Arrived Sydney, NSW, December 1854 (per Titan, age "24") (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], The Argus (17 November 1852), 3 

Between the vocal examples, MR. HENRY RICHARDSON, Professor of the Concertina, the only accomplished performer on that beautiful instrument in the Colony, who arrived from London on Saturday last, will make his first appearance before a Melbourne audience on this occasion, and perform
Three Grand Solos, and several popular Melodies.
Pianist - Mr. BUDDEE . . .

ASSOCIATIONS: James Waller (vocalist); Julius Buddee (piano)

"THE WEEKLY CONCERTS", The Argus (18 November 1852), 5 

The following is the programme for this evening. We are glad to see that the band is still to be assisted by our omnipresent friends of the 40th regiment, and that Mr. Waller is to lend his valuable assistance to enrich the programme: - . . .
PART II. Overture - Marriage of Figaro.
Ballad - When Maggie gangs awa, Mrs. Bourn.
Concertina Solo - Austrian Air, with variations, Mr. Richardson . . .

ASSOCIATIONS: Georgina Bourn (vocalist); Band of the 40th Regiment (military band); Thursday Concerts (Mechanics' Institution, Melbourne)

"MR. WALLER", The Argus (19 November 1852), 5

This gentleman's entertainment, so novel to a Melbourne audience, came off on Wednesday evening, and we must congratulate him upon the success attending his debut. He is fully deserving of the high opinion expressed by our Sydney neighbours. We could scarcely expect such a diversity of musical talent in one born and bred on the soil, and therefore not being in a position to partake of those advantages enjoyed by our English vocalists, by having continually before him as examples such men as Duprez, Mario, Lablache, and others. Russel's fine scena, "The Ship on Fire", was rendered with a fine combination of passion and artistic skill; but to particularise any one song would be almost doing an injustice to the others. Mr. W. has a fine voice, not of very great compass, but full and round in tone. Between each of his performances Mr. Richardson entertained the audience upon the concertina in a very creditable manner, considering it was his first appearance.

"DOMESTIC INTELLIGENCE", The Argus (25 November 1852), 5 

"DOMESTIC INTELLIGENCE", The Argus (27 November 1852), 5 

"DOMESTIC INTELLIGENCE", The Argus (2 December 1852), 5 

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

MECHANICS' INSTITUTION. TO-NIGHT. - Mr. Charles Miran's Grand Concert . . .
Mr CHARLES MIRAN Of the Theatre Royal Drury Lane, has the honour to announce that he will give a
GRAND CONCERT, On Friday Evening Next, December 10,
On which occasien the following distinguished artists will appear:
VOCAL - MISS LEWIS, of the Royal Italian Opera; Signor Georgi, of the Opera Francais and the leading Concerts of Paris;
Mr. Gregg, the favorite Bass singer; Mr. Moseley, of the principal London Concerts;
Mr. George Lunt, of the Liverpool Concerts, his first appearance; and Mr. Hamilton, of the leading Concerts.
INSTRUMENTAL - Cornet a Piston, Signor Maffei of Her Majesty's Royal Italian Opera.
Violin, Mr. Boulimier of the Royal Italian Opera, Paris and Jullien's Concerts, his first appearance.
Concertina, Mr. H. Richardson, his last appearance previous to his departure for Sydney;
and Mr. Salomon, pianist of the nobility's concerts, London . . .
PROGRAMME. PART I . . . Solo, Concertina - Tyrolean air, with variations, Mr. Richardson - Warren . . .
PART II . . . Solo, Concertina - La Sonnambula with introduction, variations and Coda, Mr. Richardon - Arranged by Henry Farmer . . .

ASSOCIATIONS: George Lunt (vocalist);

[Advertisement], The Sydney Morning Herald (30 December 1852), 1

MR. HENRY RICHARDSON, Professor of the Concertina,
(Pupil of Signor Guilio Regondi and Mr. George Case) who has recently arrived from London, is desirous of giving publicity to his intention immediately to commence the practice of his profession. As the Concertina has never been heard at a public performance in this colony, the greater portion of the community are necessarily un-acquainted with the merits and capacity of this delightful instrument; the facility of execution, purity of intonation, harmonic effect, and variety of expression, in every style of composition, sacred and secular, of which it is capable, have secured for it an unqualified supremacy in the higher circles in the United Kingdom, where it is now practised, by both ladies and gentlemen, to a wonderful extent, its recent invention considered. With the view of affording an opportunity to judge of the merits of the instrument, Mr. Richardson purposes giving a Concert, (in conjunction with Mr. Waller, the eminent vocalist) upon which occasion he will perform some of the most admired compositions, selected from popular operas . . .

ASSOCIATIONS: Guilio Regondi (musician, teacher); George Case (musician, teacher)

[Advertisement], Empire (18 January 1853), 1

MR. HENRY RICHARDSON, previous to introducing the Concertina for the first time to the musical publie of Sydney, respectfully avails himself of tho present opportunity of inviting the attention of Amateurs and others to the very numerous merits and capabilities of this delightful instrument, which is, without doubt, the most fashionable and popular of the present day in the United Kingdom. As the forthcoming Concert is projected principally with the view of introducing the Concertina, a considerable portion of the evening will be devoted to an exhibition of its capabilities.
Mr. Richardson will, in order to illustrate and exemplify tho capacity of the instrument, perform four Grand Solos and an Obligato Accompaniment, so selected as best to demonstrate the divorsity of style and effect, of which the Concertina is capable, and which Mr. R. feels assured will gain for it the like celebrity and popularity it has acquired in London.
MESSRS. WALLER AND RICHARDSON have the honour to announce that their
MUSICAL ENTERTAINMENT AND CONCERTINA SOIREE will take place in the Theatre of the School of Arts, THIS EVENING (Tuesday), JANUARY 18.
1. Song, "I'd be a Soldier still," Opera "Joan of Arc," (Balfe) - Mr. Waller.
2. Solo Concertina, "Theme," " La Sonnambula," with Introduction, Variations, and Coda, Mr. H. Richardson.
3. Song, "My happiest moments are flown," (G. Linley) - Mrs. St. John Adcock.
4. Solo, Pianoforte, (Herz) - Mr. Sigmont.
5. Duet, "Claudio" (Mercadente) - Mr. Waller and Amateur.
6. Solo, Concertina, Tyrolean air, with variations, Mr. H. Richardson.
7. Song, "The Smile," (Sigmont) - Amateur.
8. Song, "Simon the Cellarer," (J. L. Hatton), Mr. Waller.
1. Song, "Sweet love arise," (Henrion) - Mrs. St. John Adcock.
2. Solo, Concertina. Introduction and Air (Austrian), with variations - Mr. H. Richardson.
3. Song, "The Women of Euglaud," (Blockley), Amateur.
4. Song, "Hear me! gentle Maritana," (Wallace), Mr. Waller.
5. Duet, "Friendship," (Godbe) - Mrs. St. John Adcock and Mr. Waller.
6. Solo, Concertina, "Oh! Summer night," Opera "Doa Pasquale," (Donizetti) - Mr. Richardson.
7. Cavatina Buffo, "Largo al Factotum," (Rossini) - Mr. Waller . . .

"DOMESTIC INTELLIGENCE", The Sydney Morning Herald (20 January 1853), 2 

"THEATRICALS", The People's Advocate and New South Wales Vindicator (22 January 1853), 2 

[Advertisement], The Sydney Morning Herald (26 January 1853), 3

MESSRS. WALLER AND RICHARDSON, have the honour to announce that their Second Musical Entertainment and Concertina Soiree will take place in the saloon of the Royal Hotel, on Monday next, January 31st . . .

"CONCERTINA SOIREE", The Sydney Morning Herald (16 February 1853), 2

Messrs. Waller and Richardson announce another of their agreeable entertainments for this evening, at the School of Arts. The selections are from the best masters, and display the good taste of the entrepeneurs.

[Advertisement], Empire (17 August 1853), 1

[Advertisement], The Sydney Morning Herald (20 August 1853), 7

MESSRS. JOHN HOWSON and HENRY RICHARDSON have great pleasure in announcing that their Musical Soiree is fixed to take place on Wednesday next, the 24th instant, at the Royal Hotel, for which occasion all the available talent in Sydney is engaged. The programme will appear on Monday.


[Advertisement], The Sydney Morning Herald (24 August 1853), 1 

[News], The People's Advocate and New South Wales Vindicator (24 September 1853), 3 

"Royal Victoria Theatre", Bell's Life in Sydney and Sporting Reviewer (19 November 1853), 2 

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (17 December 1853), 6 

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (3 January 1854), 2 

THIS EVENING . . . the celebrated nautical Drama entitled MY POLL AND MY PARTNER JOE . . . Joe Tiller, Mr. Richardson . . . Solo on the Concertina, Mr. Richardson. The Swiss Boy, with new variations . . .

"ROYAL VICTORIA THEATRE", Empire (21 January 1854), 4

THIS EVENING . . . Solo, concertina, Mr. Richardson . . .

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (8 March 1854), 4

THIS EVENING . . . Solo, Concertina, Mr. Richardson.
To conclude with the drama of NICHOLAS NICKLEBY . . . Lord Verisopht, Mr. Richardson . . .

[Advertisement], Illustrated Sydney News (11 March 1854), 6 

[News], Bathurst Free Press and Mining Journal (15 April 1854), 2 

[Advertisement], Bathurst Free Press and Mining Journal (15 April 1854), 3 

[Advertisement], The Sydney Morning Herald (22 April 1854), 8 

HENRY RICHARDSON, Professor of the Concertina, is earnestly requested to communicate immediately with his friends in England, it being of the utmost importance that he should do so without delay. Or any information respecting him will be most thankfully received. Address, K. ONWHYN'S Nowspaper Office, Catherine-street, Strand, London.

[News], Bathurst Free Press and Mining Journal (22 April 1854), 2 

[News], Bathurst Free Press and Mining Journal (9 December 1854), 2 

"LOCAL INTELLIGENCE", Bathurst Free Press and Mining Journal (16 December 1854), 2 

? [Advertisement], The Argus (21 December 1855), 8

MRS. THOM to the undersigned Ladies and Gentlemen of tho Theatrical and Musical Profession in Melbourne . . .
. . . H. Richardson . . .

ASSOCIATIONS: Eliza Thom (actor)

[Advertisement], Bendigo Advertiser (23 July 1856), 3 

THURSDAY NIGHT, JULY 24th. MR. McGAURAN has much pleasure in announcing that he has made arrangements with the following Artistes, from Coleman's Criterion Theatre, to give an entertainment on the above night -
Mr. H. Richardson, Mr. B. Ricards, Mr. C. Cooper, Mr. H. Hunter, Mrs. Gill, and Mrs. B. Ricards.
The Performances will commence with the petite Comedy of THE RIVAL PAGES - King Louis XIII - Mr. H. Richardson . . .
Solo Concertina, Mr. H. Richardson.
Comic Recitation, Mr. B. Ricards.
Ballad, Mrs. B. Ricards.
Comlo Song, Mr. C. Cooper . . .
PIANIST - MR. H. HUNTER . . . Admission, Four Shillings.

[Advertisement], Mount Alexander Mail (23 February 1859), 3 

And Last Night but one of their performances in Castlemaine.

[Advertisement], Mount Alexander Mail (25 February 1859), 5 

Programme . . . Part 3. Part 3: Master C. Risley's American medley song (by request). Song, Mrs. Bourne. Solo, Concertina, Deh Conte (Norma), Mr. H. Richardson . . .

ASSOCIATIONS: Richard Risley Carlisle (gymnast, entertainer); Georgina Bourn (vocalist)

? [Advertisement], The Star [Ballarat, VIC] (12 June 1862), 3 

BURTON IS COMING! LOOK OUT! BURTOKNS NATIONAL CIRCUS. Established in the Colonies 1851 . . .

ASSOCIATIONS: Henry Burton (proprietor)

Bibliography and resources:

Warren Fahey, "The concertina in Australia" (Current chronicle for Australia, 1), The concertina journal 


Musician, teacher of the violin and cornopean

Active Melbourne, VIC, 1859


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

CORNOPEAN and VIOLIN TAUGHT, by James Richardson, of Theatre Royal. Apply Chapman's music warehouse, Swanston-street.

1859 'Advertising', The Age (Melbourne, Vic. : 1854 - 1954), 1 June, p. 1. , viewed 08 Apr 2021,

1864 'Advertising', The Telegraph, St Kilda, Prahran and South Yarra Guardian (Vic. : 1864 - 1888), 30 April, p. 2. , viewed 08 Apr 2021,

1864 'THE NEW HAYMARKET THEATRE.', The Argus (Melbourne, Vic. : 1848 - 1957), 5 August, p. 7. , viewed 08 Apr 2021,

1867 'NEWS AND NOTES.', The Ballarat Star (Vic. : 1865 - 1924), 20 September, p. 2. , viewed 08 Apr 2021,

1867 'THEATRE ROYAL.', The Ballarat Star (Vic. : 1865 - 1924), 24 September, p. 3. , viewed 08 Apr 2021,

1868 'THE PHILHARMONIC SOCIETY'S CONCERT.', The Argus (Melbourne, Vic. : 1848 - 1957), 25 November, p. 5. , viewed 08 Apr 2021,

1869 'Advertising', The Herald (Melbourne, Vic. : 1861 - 1954), 5 March, p. 3. , viewed 08 Apr 2021,

1869 'MADAME BISHOP'S FAREWELL CONCERT.', The Argus (Melbourne, Vic. : 1848 - 1957), 13 April, p. 5. , viewed 08 Apr 2021,

RICHARDSON, John James Malcolm

Flautist, amateur musician

Born UK, 1 January 1788
Arrived Sydney, NSW, 25 May 1852 (on the Euphrates, from Plymouth, 16 February)
Died Sydney, NSW, 25 December 1880 (TROVE tagged by Australharmony)


"SHIPPING INTELLIGENCE", Empire (26 May 1852), 2

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

"GRAND CONCERT", The Sydney Morning Herald (21 September 1857), 7

[Advertisement], The Sydney Morning Herald (10 December 1858), 1

[Advertisement], The Sydney Morning Herald (14 January 1860), 8

"MR. FREDERICK ELLARD'S CONCERT", Bell's Life in Sydney (21 January 1860), 3

"Deaths", The Sydney Morning Herald (27 December 1880), 1

"Obituary", Australian Town and Country Journal (8 January 1881), 8

During the past week the death has been announced of one who for nearly half a century has been connected with the development of musical art in Sydney, and who as an amateur musician was as well-known in every musical circle as the most noted professional artist. On Saturday week, Christmas Day, Mr. John James Malcolm Richardson expired at his residence in William-street, at the advanced age of 93 years (not 94, as stated in the papers), which he would have reached had he lived another week, having been born on January 1, 1788, the year on which - on the 26th of the same month - our colony was founded. From this circumstance his friends, when conversing with the deceased gentleman, used facetiously to call him "Old Colony." Mr. Richardson was in no way infirm or feeble, but when we met him some few weeks before his death, was as hale, hearty, upright, brisk, and jovial as though his "round of days" had still some 20 or 30 years to run, and he spoke of playing his flute "as well as ever." The deceased had always been a most abstemious and temperate gentleman, and his death was the result of a break up of nature. In early life Mr. Richardson had been a lieutenant in the army, and had gone through the wars of the Spanish Peninsula with the great captains of the age, having been present at the battles of Salamanca and Fuentes d'Onoro and others. He was for many years in business in Sydney, and was for some time connected with the wholesale house of Messrs. J. and J. Thompson, of Pitt-street. He had amassed considerable means, and the pretty little cottage which he possessed in Palmer-street, Woolloomooloo, was the scene of constant hospitality dispensed to amateur and professional musicians, by whom he was delighted to be surrounded. Mr. Richardson was a flautist of great skill; he was one of the first founders of the Philharmonic Society, in 1853, and played in its orchestra with Mr. J. Plunkett, Judge Josephson, Messrs. M'Donnell, Rawack, the Deanes and others. He accompanied Catherine Hayes, and Anna Bishop in various pieces at nearly all their concerts, and possessed numerous reminiscences of the latter, including many letters, and a copy of the "Gratias Agimus," written and arranged for flute accompaniment especially by the great artiste. He was particularly proud in the possession of a magnificent silver Boehm flute. He frequently played gratuitously in the opera orchestra, and at various public and private concerts, whenever his exertions could render any service to the cause of music. Mr. Richardson leaves a son in the colony, who has been devoting himself to agricultural pursuits.

"THE MUSICAL CONTROVERSY. To the Editor", The Sydney Morning Herald (15 March 1887), 8

Sir, - I desire, with your permission, to be allowed to make a few remarks on this vexed question, not necessarily for the purpose of opposing any opinions advanced hy M. Henri Kowalski, "Anglo-Australian Musician," or the other writers on the subject, but rather with the object of defending our past musical career against the slurs which are constantly being directed at it . . . M. Kowalski is also very hard on these poor unfortunate past "twenty-five years" of ours; and it is to this point that I wish to direct attention . . . Twenty-five years ago - and for many years afterwards - we had a Philharmonic Society, whose committee and performing members numbered amongst their ranks many of our foremost men in the worlds of art, literature, and commerce. Need I mention other names than the Hon. J. Hubert Plunkett (Attorney-General), Leopold Rawack, W. MacDonnell, Dr. Foucart, J. J. M. Richardson (the vigorous septuagenarian flautist), Mr. W. Deane, the solicitor, and a dozen or two others, who with commendable regularity, scarcely to be found now-a-days, appeared on the platform at rehearsal and performance, and obeyed the directions of their conductor, as disciples follow the instruction of their Master. The conductor was Mr. John Deane, a thorough, zealous, and skilled musician, one who, like his compeers of that day, was content to practise (with veneration) the works of the great masters to the exclusion of his own pieces. Have there been in the various capitals in the world families like that of the Deanes - and the celebrated Gebrüder Müller, of Brunswick - whoso famous quartet party was kept together in the family for generations? There are many still living, and residing here, who remember the delightful renderings of the great classical quartets given us at the Philharmonic concerts by the brothers John, William, Edward, and Henry Deane . . .


Musician, organist, pianist

Born George Town, TAS, 19 June 1866
Died Launceston, TAS, 14 December 1941

Bibliography and resources:

"Richardson, Kate (1866-1941)", Obituaries Australia


Pianist, composer

Born 1835
Arrived Victoria, early 1850s
Active Geelong, VIC, 1859
Departed Melbourne, VIC, 1888 (for Germany)
Died Munich, Germany, 26 November 1896

RICHARSON, Ethel Florence (= Henry Handel RICHARDSON)

Pianist, music teacher, composer, novelist

Born Fitzroy, VIC, 3 January 1870
Died Hastings, England, 20 March 1946 (NLA persistent identifier)

Musical works (Mary Richardson):

Chamber of Commerce galop ("composed by request, and respectfully dedicated to the stewards of the Chamber of Commerce Opening Ball, Geelong, 1859") (Geelong: [?], [1859]) 

Musical works (Henry Handel Richardson):

Guide to the papers of Henry Handel Richardson, MS 133, series 7, songs; National Library of Australia

Bibliography and resources:

Dorothy Green, "Richardson, Ethel Florence (Henry Handel) (1870-1946)", Australian dictionary of biography 11 (1988)

Jodi Clark, "Music in the life of Henry Handel Richardson: a provisional catalogue of her musical compositions: work in progress", Australasian Music Research1 (1996), 353-363

Elizabeth Webby and Gillian Sykes (eds), Walter and Mary: the letters of Walter and Mary Richardson (Melbourne: Melbourne University Press, 2000)

Michael Ackland, "Only 'a well-schooled interpreter': Henry Handel Richardson's final year at the Leipzig Conservatorium and its authorial recasting", Australian Literary Studies 22/1 (May 2005), 51-60



Active Adelaide, SA, c.1859-66 (TROVE tagged by Australharmony)


[Advertisement], The South Australian Advertiser (24 December 1859), 1 

THIS EVENING. AT THE SHADES, The NONDESCRIPT will give his New Song abounding with local hits, particularly upon CLARKS AND TAILORS. THE SONG OF AUSTRALIA, Music by Herr Ling, will be given by an old favorite. Russell's Songs by the Basso. Solos by Messrs. Schrader, White, and Richelieu.

[Advertisement], The South Australian Advertiser (6 February 1860), 1 

WHITE'S BOOMS. TUESDAY, February 7, 1860.
Pianist - Mr. Richelieu. Cornet-a-Piston - Mr. McCulloch.
Vocalists- Mrs. A. Wallis (first appearance since her arrival from Melbourne).
Miss Louisa Grant (from tho City Hall, Glasgow), her first appearance in Adelaide.
Tenor - Mr. Nash. Basso - Mr. Ball.
Local Songs by the celebrated Nondescript, and Sam Cowell's burlesques in character. The strictest order will be observed, and the study of the Manager will be to provide a cheap, rational, and first class entertainment.


Violinist, band leader, orchestra leader, composer, teacher

Active Ballarat, VIC, by May 1856
Died Adelaide, SA, 18 Octover 1888 (TROVE tagged by Australharmony)


Richty was leader of the band at Ballarat's Charlie Napier Theatre by March 1857. He took his benefit there in August, and later that month, with Achille Fleury as his assistant leader, he brought together a "Monster Band" for a "grand musical treat a la Jullien" (see advertisement for complete list of personnel). When his engagement with the theatre came to an end in November 1858, he advertised for other engagements.

He was directing the Star Orchestra at the Alhambra in Bourke-street, Melbourne, in May 1862, and in 1869 was victim of an assault in Carlton. He continued to work in Melbourne throughout the decade, toured to Sydney with the Lyster Opera in 1870, and played in Zelman's opera orchestra in Melbourne in 1873. According to his own later account, he was the first teacher of the young Melbourne-born violin virtuoso, John Kruse.

He directed and arranged music for many light theatrical productions, during one of which, in Sydney in June 1871, his own composition, The New South Wales anthem (lost) was given for the first time. He also toured to New Zealand in 1868 and 1879, and to Tasmania in 1878. In semi-retirement in Adelaide in 1886, he advertised:

HERR CARL RICHTY, the first teacher of the greatest violinist in Europe (Herr Kruse) is desirous of giving instructions to a few pupils, either at their own homes or at his private residence, No. 6. GRENFELL-STREET EAST.


"BALLARAT", The Age (28 May 1856), 3 

. . . Great praise is due to the leaders of the orchestra, Mons. Fleury and Herr Richty, for the able manner in which they performed their parts, and it is to be regretted that their efforts failed to draw a better filled house.

[Advertisement], The Star (7 March 1857), 3

"CHARLIE NAPIER", The Star (6 August 1857), 3

[Advertisement], The Star (18 August 1857), 3

[Advertisement], The Star (20 August 1857), 3 

. . . The Proprietor having determined upon affording the inhabitants of Ballarat, and its environs, a grand musical treat - a la Jullien - has engaged the most celebrated artistes in the colonies, thus forming
A MONSTER BAND, The solo performers consisting of
Herr Richty and Herr Weideman, 1st Violins.
Monsieur Feon, and Herr Rodi, 2nd Violins.
Herr Keitel, and - Navaiski. Tenor.
Herr Elliott, Contra Bass.
Herr Bohler, Flute.
Herr Bouleke, 1st Clarionet.
Herr Holzapfell, 2nd Clarionet.
Herr Vohr, Oboe.
Herr Ide, 1st Cornet.
Herr Busse, 2nd Cornet.
Herr Schulze, Trombone.
Mr Parker, Pianist.
Monsieur PIETRO CANNA, on the Drums.
Leader of the Band, HERR RICHTY . . .

"THE TORCH LIGHT PROCESSION", The Star (20 January 1858), 3

[Advertisement], The Star (16 September 1858), 3

[Advertisement], The Star (5 November 1858), 3

[Advertisement], The Argus (29 May 1862), 8

[Advertisement], Grey River Argus (18 July 1868), 3

"INTERCOLONIAL NEWS", Grey River Argus (16 February 1869), 3

"SHIPPING", Australian Town and Country Journal (29 October 1870), 28

[Advertisement], The Sydney Morning Herald (8 June 1871), 8

[News], The Argus (27 February 1873), 4

"THEATRE ROYAL", The Mercury (28 august 1878), 2

[Advertisement], Auckland Star (26 June 1879), 1

[Advertisement], The South Australian Advertiser (25 February 1886), 1

"Sudden Death", The Express and Telegraph (19 October 1888), 2 

About 10 p.m. on Thursday a musician named Carl Richty died suddenly at his house in Grenfell street. Dr. Ellison was called in, but could do nothing. Deceased was in his usual health on Wednesday evening when he played at the Theatre, The coroner is making enquiries.

Bibliography and resources:

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


Comic vocalist, actor, music hall impresario, philanthropist

Born London, 4 December 1843
Arrived Melbourne, VIC, 28 November 1871 (per Lammermuir, from London, 6 September)
Died London, 13 October 1911 (NLA persistent identifier)



[News], The Argus (30 September 1871), 4

"SHIPPING INTELLIGENCE", The Argus (29 November 1871), 4

"THE LATE MR. HARRY RICKARDS. DEATH IN LONDON YESTERDAY", The Sydney Morning Herald (14 October 1911), 17

"THE LATE MR. HARRY RICKARDS. A REPRESENTATIVE FUNERAL", The Sydney Morning Herald (25 December 1911), 5

"THE HARRY RICKARDS DINNER", The Sydney Morning Herald (26 December 1911), 6

Relevant musical items:

Doing the block (music by Henry Benjamin; words by Marcus Clarke; sung by Harry Rickards) 

Prints with portraits of Rickards:

My darling mignonette (song; words by William Carlton; music by E. N. Catlin; sung by Harry Rickards) (Melbourne: W. H. Glen, [1872]) 

Walking in the starlight (written by W. H. Delehanty; composed by E. N. Catlin; Sung . . . by Harry Rickards) (Melbourne: W. H. Glen, [1873]) 

Bibliography and resources:

Martha Rutledge, "Rickards, Harry (1843-1911)", Australian dictionary of biography 11 (1988)

Gae Mary Anderson, Harry Rickards: a performance-centred portrait from music hall to Vaudeville (Ph.D. thesis, University of Sydney, 1998/1999) (DIGITISED)


Master of the band of the Royal Artillery, ? bandsman (40th Regiment), ophicleide, trombone, horn player, composer

Born Lewes, Sussex, England
Arrived (with 40th Regiment), 1852
Died Sydney, NSW, April 1872 (TROVE tagged by Australharmony)

See also Band of the 40th Regiment

See also Band of the Royal Artillery


Riddett served in the 40th Regiment from 1829. Presumably a member of the band on arrival in Australia late in 1852, he then took his discharge in 1853. He was master of the band of the Royal Artillery in Sydney from 1858 to 1860, possibly longer.

He played professionally in orchestras, including for Lyster during 1865 and 1866. By 1869 was landlord of the Imperial Hotel, East Sydney.

His documented compositions are a Bohemian quadrille and a National quick march.


[Advertisement], The Sydney Morning Herald (3 December 1858), 1

[Advertisement], Empire (2 July 1859), 3

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

"FUNERAL", The Sydney Morning Herald (21 November 1859), 8

"BOTANIC GARDENS", The Sydney Morning Herald (2 March 1860), 5

"BOTANIC GARDENS", The Sydney Morning Herald (23 March 1860), 5

[Advertisement], "YOUNGE'S ATHENAEUM", The Sydney Morning Herald (25 March 1863), 1

"Newcastle Volunteer Artillery Band . . .", The Newcastle Chronicle (19 December 1863), 3

"CLEARANCES", Empire (16 August 1865), 4

[Advertisement], South Australian Register (8 September 1865), 1

[Advertisement], The Mercury (3 January 1866), 1

[Advertisement], The Sydney Morning Herald (26 March 1866), 8

"SHIPPING NEWS", The South Australian Advertiser (20 September 1866), 2

[Advertisement], Empire (29 November 1866), 1

[Advertisement], The Sydney Morning Herald (27 July 1869), 8

"FUNERALS", The Sydney Morning Herald (10 April 1872), 10

"JURORS FINED FOR NON-ATTENDANCE AT A CORONER'S COURT", The Sydney Morning Herald (11 April 1872), 4

Bibliography and resources:


RIDDLE, Sophia (Sophia RIDDLE; Mrs. Robert GIBSON)

? Vocalist, pianist, owner of bound album of sheet music

Married Robert GIBSON, Geelong, VIC, 1864
Died Geelong, VIC, 1906 (TROVE tagged by Australharmony)

RIELY, Miss (? Miss REILLY; Miss RILEY)


Active Sydney, NSW, 1842

RIELY, Master

Boy vocalist

Active Sydney, NSW, 1844


[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 May 1842), 3

[Advertisement], The Sydney Morning Herald (10 June 1844), 3


Orchestral musician

Active Sydney, NSW, 1854


[Advertisement], Empire (25 August 1854), 1

[Advertisement], Bell's Life in Sydney (26 August 1854), 3



Active Sydney, NSW, 1842


[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 May 1842), 3



Active Hobart, TAS, 1855


"THE FIRE IN BATHURST STREET", Colonial Times (24 July 1855), 3

. . . Mr. Riley is a musician . . .

RILEY, James (James RILEY)


Active Sydney, NSW, c. 1832


"AUSTRALIA ADVANCE! Air - Sprig of Shillelah", Hill's Life in New South Wales (24 August 1832), 4 


Comic vocalist, Irish comic vocalist

Born England/Ireland, 16 June 1819
Arrived VDL (TAS), c. 1840
Active Sydney, NSW, 1840s Active Melbourne, VIC, by c. 1850
Died North Fitzroy, VIC, 17 December 1911, "the day previously 92 years and 6 months of age" (TROVE tagged by Australharmony)

RILEY, Elitia (Miss Elitia RILEY; Mrs. Edwin BRASSEY)

Dancer, vocalist, entertainer

Born ?, daughter of John RILEY
Married Edwin BRASSEY, VIC, 1871


"THE VICTORIA THEATRE", Bendigo Advertiser (3 May 1859), 2 

This pretty little theatre continues to sustain us reputation, and attracts nightly a large number of visitors. A great addition has lately been made to the usual entertainments in the performances of Mr. Riley, who is highly successful as an Irish comic singer, and gives other amusing descriptions of song in a manner that really deserves very considerable praise. Mr. John Robertson, the Scotch vocalist, and dancer, adds in no small degree to the interest of the entertainments, and Master Burgess seems to improve vastly both in his ballad singing and dancing. A visit to this place of amusement will amply repay those who wish to pass a really pleasant evening.

"STAGE VETERANS", Examiner (20 January 1903), 6 

Out at Clifton 'Hill there are the old Actors' Homes, where some of the veterans, after a long career on the stage, are able, through the actors' fund, to live in peaceful retirement after a long and faithful service on the boards. Mr. John Riley, or "Old Johnny Riley," as he is fondly remembered by his old associates, is, next to Mr. George Coppin, the oldest professional in Australia, having made his debut as a comic singer at the Queen's Head Concert Rooms, Lincoln's Inn Fields, in 1835. As he was singing before the public as recently as 1898 it will be seen that his stage career extends over a period of 63 years.

Mr. Riley came to Tasmania as far back as 1840, and during 11 years' experience in the tight little island he appeared in Ratford's Circus - the first circus ever held in Australia - and he made his first appearance in Melbourne at the old Queen's Theatre, under the management of Charles Young, in 1851, where he sang the comic songs in the interludes. In those days the bill included a Short comedy, a drama, an interlude, and a side-splitting farce - dramatic fare to suit all tastes. The veteran cannot calculate a tenth of the songs he has sung or the comic parts he has acted. He has played clown in both circuses and pantomimes, and in spite of his age is a hale and vigorous old man. He can sit down at a piano to-day and sing a comic song as lively as a much younger man . . .

"THEATRICAL TATTLE", Truth (20 October 1906), 8 

John Riley, one of the inmates of Melb. Distressed Actors' Homes, is 87 years of age. He commenced his career as a comic singer with Rowe's Circus in 1852.

"OLD COLONISTS' HOME", The Argus (31 March 1909), 9 

. . . Among those present were two old-time actors - Mr. John Riley, who will be 90 years old next month, and who in 1840 arrived in Melbourne, and sat under a giant gum-tree in Lonsdale-street - and Mr. W. D. Bates, aged 82 years.

"THE LATE JOHN RILEY", Weekly Times (23 December 1911), 8 

The death, occurred on Dec. 17 at the Old Colonist's Homes, North Fitzroy, of Mr. John Riley, who the day previously was 92 years and six months of age. The old gentleman was at one time a well-known comedian, and as far back as 1849, he was a performer with Radford's circus. He also appeared behind the footlights at the old Queen's Theatre in Queen street, near Little Bourke street, and toured the States with variety shows. For a considerable time he was a resident of the Old Actors' Homes at North Fitzroy, which were subsequently taken over by the old Colonists' Association. Mr. Riley, who had been ailing for a long time, was carefully tended by his daughter, and he passed away peacefully at 11 o'clock on Sunday morning.

RILEY, John Augustus

Tailor and Professor of Music

Active West Maitland, NSW, 1857 (brother-in-law of Marcella KELLY)


"MARRIED", The Sydney Morning Herald (13 August 1857), 1

On the 10th instant, at the Roman Catholic Church, West Maitland, by the Very Rev. Dean Lynch, and afterwards by the Rev. W. Curney, at the Wesleyan Chapel, Mr. John Augustus Riley, tailor and professor of music, brother of Francis Leigh Riley, Esq., resident apothecary of the Maitland Hospital, and second son of Mr. John Riley, tailor, to Harriet, relict of the late Edwin Hinchcliffe, of the Staffordshire Ware and Glass House, and second daughter of J. Hazel, Esq., formerly of Ship Quay-street, Londonderry, Ireland.

RILEY, William Russell

Composer, songwriter, musicseller, publican, newspaper editor

Born London, 1829
Arrived Sydney, NSW, 1847
Active Goulburn, NSW, by 1855
Died Goulburn, NSW, 11 August 1910


[Advertisement], The Goulburn Herald (23 June 1855), 3

AT the Goulburn Herald Office, price 2s., "THE GOULBURN POLKA." COMPOSED BY W. R. RILEY.

"COMPLIMENTARY DINNER TO DR. GERARD", The Goulburn Herald (6 October 1855), 2

Mr. Sigmont Presided at the pianoforte . . . The Chairman, in proposing the health of His Excellency the Governor-General, remarked that Sir William Denison was evidently a man of talent and energy. Although comparatively a stranger amongst the colonists, he was favorably known to them by his anxiety to promote railway communication, and, therefore, he deserved to be regarded as a friend of the people. (Loud applause, and drank with all the honors.) Air: The Railway Galop. On the motion of the Noble Grand, three cheers were given for the Railway. Air: The Goulburn Polka.

[Advertisement], The Goulburn Herald (19 April 1856), 5

"COMMERCIAL. GOULBURN", Goulburn Herald (2 February 1891), 3

"New Music", Goulburn Evening Penny Post (7 April 1900), 2

WE have received a copy of "Australia Fights for Britain's Rights," composed by Mr. Percy F. Hollis, conductor of the Goulburn Liedertafel. The words are by Mr. W. R. Riley, and, as their title implies, reflect the prevailing warlike sentiment of the time . . . The song is one of the best which the present national feeling has brought forth.

"DEATH OF MR. W. R. RILEY. A VETERAN JOURNALIST", Goulburn Evening Penny Post (11 August 1910), 2


Goulburn polka ([Goulburn: Herald Office, 1855]; NO COPY IDENTIFIED

Selections from the humourous [sic] writings of W. R. Riley (Goulburn: Herald Works, Goulburn, 1884)

Australia fights for Britain's rights ( words by W. R. Riley; music by Percy F. Hollis) (Sydney: W. H. Paling, [1900])

Bibliography and resources:

Ransome T. Wyatt, Goulburn writers and literature [manuscript], NLA


Woolcott and Clarke in Sydney also advertised that they had published a Goulburn polka, no copy of which has been identified, and was probably an imported title.

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

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


Song composer

Active Melbourne, VIC, 1854


[Advertisement], The Argus (22 December 1854), 1

[Advertisement], The Argus (26 December 1854), 8

THE Song of the Bush. Tonight, at the Theatres, principal Grand Concert, and Assembly Room.

[Advertisement], The Age (1 January 1855), 6 

"NEW SONG", The Argus (23 January 1855), 5

We have received a copy of an original song, published by Mr. Cyrus Mason. which has for its title The Song of the Bush. It is illustrated by a lithograph of rather primitive execution, which depicts four hirsute bush men, engaging themselves with a smoke and bottled beer, in the foreground a fifth frying chops, and three old men kangaroos hopping about in the distance. The melody of the song, which is in C, is light and pretty, but the poetry may be excepted to in some few particulars . . .

Musical works:

Australian song: The song of the bush ("words by Velocipede") ([Melbourne: Cyrus Mason, lithographer, 1854])


RING, Mrs.

Teacher of music (Pianoforte, theory of music on the Logierian system, singing)

Hobart Town, VDL (TAS), 1844


[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (5 January 1844), 2 

[Advertisement], The Courier (5 January 1844), 1 

EDUCATION, - Mrs. RING begs to announce that the vacation will close the 24th of January, at which time she has arranged to form a class for pupils who are desirous to obtain instruction in the English, French, Italian, and Spanish Languages, the Pianoforte (theory of music on the Logerian system) and singing, which will be available both to private pupils who may attend for class instruction only, as also to the resident and daily pupils. For terms and prospectus, apply to Mrs. Ring, No. 19, Davey-street, Hobart Town. January 5.

RING, James

Convict, vocalist, singer, Windsor Church, St. John's Church, Parramatta

Born c.1799
Arrived NSW, 11 October 1816 (convict per Mariner, from England, May)
Active Parramatta, until c.1825


[Convict notice], The Sydney Gazette and New South Wales Advertiser (12 February 1824), 4 

[Advertisement], The Australian (4 August 1825), 4 

To the editor of the Express . . . Ring was especially assigned to and maintained by the Reverend Clergyman, for the purpose of singing in church, and was never known to be absent from this important religious service . . .

HRA, I, 11, 309, 718, 722-63 (inquiry into charges against James Ring, August 1825)

[309] [statement by Samuel Marsden] . . . I felt much hurt for my Servant that he should be punished for my kindness to him, which his good conduct merited for the last seven years. Ring was afterwards moved from Prison to the Convict Barrack, and prohibited from Coming to Church on the Sabbath-day, tho' he had been one of the Singers, and ordered to work in the Gaol Gang, the most degrading of all Situations in the Colony, until he was removed to Sydney Convict Barrack.

[718] . . . Soon after this, Ring was recommended to The Revd. Samuel Marsden, Senior Chaplain of the Colony, by the Revd. Mr. Cartwright and also by William Cox, Esquire, a Magistrate at Windsor. Whether Mr. Cox informed Mr. Marsden of the Conviction of Ring does not expressly appear. Mr. Cox himself states, as one of his reasons for recommending Ring to Mr. Marsden, that he wished to get him out of the Gaol Gang at Windsor, because he was under an imputation of stealing from his Master, which he did not consider to have been proved; which rather leaves the inference that something must have been said about the suspicion, at least, under which Ring had fallen, as his conviction and punishment were then circumstances of recent occurrence; and this inference would seem to be strengthened by the statement of Mr. Cartwright that he had enquired into the circumstances of Ring's case, and the impression produced upon his mind was favorable, and it was in consequence of such impression that Mr. Cartwright recommended him to Mr. Marsden as a Singer.

[723] . . . It appears that Dr. Douglass was sometimes in the habit of attending Mr. Marsden's family worship, and that Ring was usually present on such occasions; but it seems also that Ring was a Singer in the Church, and attended at Mr. Marsden's house in Company with other Singers from time to time . . .

[728] WILLIAM COX . . . Examined . . . I knew James Ring. He was in the Government Town Gang at Windsor, two or three years before he was assigned to Mr. Marsden. He was employed at Windsor as Painter and Glazier in doing the Government work. During the time he was at work, I observed that he was a remarkably clean well-dressed man and attended the Church regularly, which first brought him to my notice. He was a regular Singer in the Church. I recommended him to Mr. Marsden as a Singer in the Church, as I thought he would be of more service at Parramatta than at Windsor, as our Choir was very bad. I assigned him to Mr. Marsden as a Singer, for which he had applied, stating at the same time that he was a Painter and Glazier. Mr. Marsden mentioned something, I do not recollect what, of his first singer being dead. He was assigned to Mr. Marsden, as Magistrates had been in the habit of assigning Servants to other persons . . .

[729] THE REVD. ROBERT CARTWRIGHT. Examined . . . He was a quiet well-conducted man, and. when I saw him in Mr. Marsden's service, he thanked me for procuring him so good a place. I fell satisfied, from the confidential manner with which Mr. Marsden and his family and in particular Mrs. Marsden treated him, that he had proved himself a faithful Servant. I believe that he acted as a Singer in Mr. Marsden's Church, as he came always to me to know the Psalms he should sing, when I have officiated for Mr. Marsden.

[736] SUSAN PRISCILLA BISHOP . . . Cross-examined . . . Mr. Kenyon and one or two of the Singers at the Church have been in the habit of attending at Mr. Marsden's family worship. It is not, that I am aware, a common understood thing that any respectable person may attend at Mr. Marsden's Worship on a Sunday evening. I know a person named Pritchard. He is a Ticket of Leave Man, and he was one of the Singers. I know a man named Newsome. He was a Singer . . .

JAMES ELDER . . . Examined . . . [738] . . . Mr. Marsden said, "You know he [Ring] is one of my Singers and I allow him to lodge at the Clerk's [Kenyon's] because he is one also."

[779] . . . Mr. [William] Cox adds that it was he that assigned Ring to Mr. Marsden, who said he wanted a Singer for the Church, and it was proved that he was always employed as such Singer on Sundays and in whatever Mr. or Mrs. Marsden had to do on Week days . . .

Bibliography and resources:

"James Ring", Convict Records 


Professor of Music (Pianoforte, Singing, Harmony, Composition)

Active Melbourne, VIC, 1855


[Advertisement], The Argus (28 September 1855), 3

RISLEY, Monsieur

Dancer, acrobat

Active Launceston, VDL (TAS), 1846


[Advertisement], The Cornwall Chronicle (2 May 1846), 340

"THE THEATRE", The Cornwall Chronicle (20 May 1846), 384

Monsieur Risley's "posturing feats" are extraordinary, and gave unlimited satisfaction. Mr. Newton's dancing in the ancient highland fling was good, but was witnessed on Monday under the disadvantage of certain vociferations by the "gods" which we will not further allude to. [Thereafter, the Sailor's Hornpipe was billed to Risley.]

[Advertisement], The Cornwall Chronicle (10 June 1846), 440

[Advertisement], The Cornwall Chronicle (17 June 1846), 461

[Advertisement], The Cornwall Chronicle (4 July 1846), 512

RITA, Pauline (Pauline RITA)

See joint entry with her husband John RADCLIFF

RITCHLER, Mr. (? Carl)


Active Adelaide, SA, by 1855


[Advertisement], South Australian Register (9 April 1855), 3 

[Advertisement], Adelaide Times (12 April 1855), 1 

? "POLICE COURT - ADELAIDE", Adelaide Times (24 September 1857), 3 

RIVERS, Mrs. (Mrs. RIVIERES, from the London Concerts)


Active Melbourne, VIC, late 1850


[Advertisement], The Argus (28 November 1850), 4

[Advertisement], The Argus (5 December 1850), 3


© Graeme Skinner 2014 - 2021