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A biographical register of Australian colonial musical personnel–T (Ta-Thomp)

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–T (Ta-Thomp)", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 18 January 2021

- T - (Ta-Thomp)

Introductory note:

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

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

A major upgrade of the contents of this page was completed in September 2020, and newly added documentation (including genealogical data) and Trove tagging now brings the page content up to 1860 close to completion.

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

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

TAEUBER, Carl (Carl August Paul TAUBER [sic]; Carl TAEUBER [sic])

Professor of music, composer, piano tuner

Born ? Koben, Prussia, Germany, 1829
Married Linna Johanna Augusta GUNKEL (b. c. 1830-1910), Groeningen, Prussia, 1851
Arrived Melbourne, VIC, September 1858 (per Beejapore, aged 29, with wife and 2 infant sons) [PROV]
Arrived Adelaide, SA, 13 June 1859 (per Dunedin, from Melbourne, 7 June)
Died Adelaide, SA, 15 July 1882 (TROVE tagged by Australharmony) (shareable link to this entry)

TAEUBER, Oscar (Edward Gottlieb Oscar Carl TAEUBER [sic]; Oscar TAEUBER; also Oscar TAUEBER [sic])

Vocalist, pianist, teacher of music and singing

Born SA, 18 February 1871; son of Carl TAEUBER and Linna Augusta GUNKEL
Died (suicide) Largs Bay, SA, 29 December 1948 (TROVE tagged by Australharmony) (shareable link to this entry)

Carl Taeuber, 1868

Carl Taeuber, from the cover of his The song of Australia, 1868


"SHIPPING NEWS. ARRIVALS", The South Australian Advertiser (14 June 1859), 2 

Monday, June 13 . . . Dunedin, barque, 208 tons, H. Walker, master, from Melbourne, June 7 . . . Passengers . . . Mr. and Mrs. Tauber, Carl and Hermann Tauber . . .

"LYNDOCH VALLEY [From our Correspondent] October 31", South Australian Weekly Chronicle (3 November 1860), 2 

This day being the anniversary of the promulgation of the celebrated Ninety Theses by Luther was kept as a general holiday by our German neighbors. The afternoon was devoted to a rural fete, supplied by the parents and friends of the children attending the German school, conducted by Herr Carl Taeuber. A beautiful spot had been selected, a short distance from Lyndoch, for the occasion. The scholars, led by their teacher, marched in procession through the township, bearing several flags and banners, to the place of rendezvous, where they were joined by a numerous assembly, evidently bent on enjoying themselves, which they did most heartily; full justice being done to the good things provided, an amateur performer on the accordion played several capital airs, to which the company danced with great delight. The scene was very exhilarating, and the variety of the games provided prevented anything like monotony . . .

"TANUNDA ", Adelaide Observer (5 March 1864), 7 

On Tuesday, 23rd inst., the large room, of the Tanunda Hotel was crowded with a highly respectable audience to listen to the sweet sounds of music. A complimentary concert, for the benefit of Mr. C. W. Draeger, was arranged by the Tanunda "Music and Quartett Verein" . . . Mr. Fischer having given very effectively the celebrated Trumper, by Speyer, accompanied on the piano by Mr. Taeuber, the first part concluded by a grand chorus . . .

ASSOCIATIONS: Carl Wilhelm Draeger (leader, composer); George Fischer (vocalist)

[Advertisement], South Australian Register (10 February 1868), 1 

Piano, Violin, Harmonium, and Singing Taught. Schools attended to. Pianos Tuned correctly.
Enquire at Mr. Woodman's or at Mr. Marshall's.

"THE "SONG OF AUSTRALIA'", South Australian Register (3 March 1868), 2 

Mr. J. Woodman, of Rundle street, has just published a piece of music under this title. It is not, however, the "Song of Australia" which in 1859 gained the Gawler prize, but an entirely new production. The words are by "Ellie," a lady whose poetry is much admired. The music is by Carl Taeuber, a gentleman whose carte has been transferred to the title page. Messrs. Penman & Galbraith are the lithographers, and the work has been dedicated by the composer to His Worship the Mayor of Adelaide. In regard to the relative merits of the artists, as indicated by this production, we should be disposed to give the precedence to the lady, and to place the lithographers between her and the Teuton. The music has nothing very original about it, except, perhaps, the arrangement of the pianoforte accompaniment, which is given for both hands in the F clef, whilst it contains several errors, which it is difficult to account for or excuse. The poetry may be judged of by the first verse, as follows: -

"All hail ! Australia, noble isle,
Our own adopted land.
May Heaven for ever kindly smile
O'er all thy sunny strand.
We ask not for a home more fair,
We would not brighter skies:
Thy joyous bracing mountain air
No Briton will despise.
Hail! fair Australia, hail! all hail!
Queen of the Southern Sea;
What tyrant foe shall dare assail
The bold, the wild, the free?"

ASSOCIATIONS: Ellie (alias of Ellen Turner Debney); Joseph Woodman (publisher); Henry Robert Fuller (1825-1905, mayor)

"THE SONG OF AUSTRALIA. TO THE EDITOR", South Australian Register (7 March 1868), 3 

Sir, - As my name is being rather freely used in reference to the "Song of Australia" just published, and as I have a great dislike to anything like pilfering or plagiarism, I deny having ever written a song entitled "The Song of Australia." I wrote and published a song, (Signor Cutolo composing the music) entitled "Hail, Fair Australia." By your Tuesday's Issue I was indeed surprised to see again a critique on my poem set to music and published afresh, without even my knowledge, much more consent.
Mr. Taeuber wrote requesting a copy of the words of my song. They were sent him set to Cutolo's music.
This is all I have to say in the affair.
I am, Sir, &c., ELLEN E. DEBNEY. Semaphore, Thursday.

[Advertisement], Australische Zeitung (26 October 1880), 6 

Carl Taeuber, Piano-Stimmer, Castle Street, off Halifax Street.

"MR. OSCAR TAEUBER", Observer (6 November 1909), 39 

"LARGS BAY MAN FOUND HANGED", The Advertiser (30 December 1948), 3

Well-Known Music Teacher Oscar Edward Taeuber, 78, of Wigley street, Largs Bay, was found hanged at his home last night. The body was taken in a civil ambulance to the City Morgue. Largs-Bay police are preparing a report for the City Coroner (Mr. T. E. Cleland). Mr. Taeuber, who was one of the best-known members of the musical profession in Adelaide, was the son of the late Carl Taeuber. In 1910, Mr. Taeuber went abroad and studied singing in Berlin. An accomplished pianist also, he returned to Adelaide in 1912 and engaged in singing and music teaching. He was a former president of the Musical Association of South Australia.

[Advertisement], The Advertiser (1 January 1849), 10 

TAEUBER. - The friends or the late Mr. OSCAR EDWARD TAEUBER are respectfully informed that his Remains were privately cremated on FRIDAY. Major Farley kindly officiated.

Musical works:

The song of Australia, words by Ellie, composed & dedicated to his worship the Mayor of Adelaide by Carl Taeuber (Adelaide: J. Woodman, [1868]) 

Bibliography and resources:

Carl Paul Taeuber, Find a grave 


Professor of the Pianoforte, Harp and Singing, organist, choral conductor

Born England, 29 January 1809; baptised St. Benedict's, Cambridge, 26 February 1809; son of Peter TAPFILED (1775-1853) and Mary LAWSON (1773-1854)
Married Charlotte SCOTT (c. 1819-1863), St. George's church, Hanover Square, London, England, 15 June 1840
Arrived Hobart, TAS, 20 January 1853 (per Derwentwater, from London, 13 October 1852)
Died Hobart, TAS, 30 December 1873, "in the 65th year of his age" (TROVE tagged by Australharmony) (shareable link to this entry)

TAPFIELD, Frederick (Frederick TAPFIELD; Master TAPFIELD)

Boy soprano, music master, station owner

Born Cambridge, England, 1844; baptised St. Mary the Less, Cambridge, 4 October 1844; son of Samuel TAPFILED and Charlotte SCOTT
Arrived Hobart, TAS, January 1853 (per Derwentwater)
Married Frances Maria WALTER (d. 1926), St. John's church, Hobart, 10 January 1868
Died Melbourne, VIC, 25 March 1907 (TROVE tagged by Australharmony) (shareable link to this entry)


Samuel Tapfield was one of the town of Cambridge's leading keyboard musicians and teachers in the 1830s and 1840s. Together with violinist Robert Venua (1787-1868), he largely directed the activities of the Cambridge Philharmonic Society. He was also active in the university, reportedly resigning as organist of the university church, Great St. Mary, towards then end of 1838. He was apparently already by thenm also organist of the old parish church of All Saints in the Jewry (demolished in 1865), a post he retained until his departure for Tasmania in October 1852.

According to his obituary, Tapfield left England because of failing health. On arrival in Tasmania in January 1853, he advertised that, "Late of London and Cambridge", it was his intention to settle in Hobart Town, as a "Professor of the Pianoforte, Harp and Singing", offering testimonials from the Bishop of Chester, and others "of the highest respectability in England".

By July 1853, he was organist (harmonium player) of old Trinity penitentiary church. In November 1853, Master Tapfield first appeared in concert for John Jabez Salier. In March 1854, Tapfield was admitted to the Royal Society of Van Diemen's Land, to which his wife Charlotte also contributed in October that year:

a manuscript volume containing the characters used to express 54 different oriental and other languages, &c., ancient and modern.

In 1855, Henry Butler Stoney reported in his book A year in Tasmania:

A glee club has been organized under the direction of Mr. Tapfield, organist of Trinity Church, which has met with considerable success, and is patronised by some of the principal families.

He was founder conductor of the Hobart Town Glee Club (c. late 1850s) and of the Hobart Town Orchestral Union (from 1867).

Probably late Master Tapfield, Frederick was music master at Hobart High School in January 1870.


[Advertisement], Cambridge Chronicle and Journal (21 April 1826), 3

. . . THE WIDOW FIELD BEGS leave respectfully to inform her friends and the public that there will A CONCERT, For the Benefit of HERSELF & FAMILY, At the BLACK BEAR, On TUESDAY EVENING, the 25th of April . . . Leader of Band - Mr. VENUA . . . Piano-Forte - Mr. TAPFIELD . . .

The album of the Cambridge Garrick Club (Cambridge: Pub. for the Society, by W. H. Smith, 1836), 156

Elected during the first period of the Society . . . Sept. 23 [1833] . . . [Mr.] Samuel Tapfield . . .

[News], Cambridge Chronicle and Journal (17 May 1833), 2

On Wednesday last a numerous party of the members and friends of the Philharmonic society, of this town, dined together at the Red Lion inn, Dr. F. Thackeray in the chair. In the course of the evening a number of songs, glees, &c. were performed in a very excellent style (Mr. Tapfield presiding the piano-forte), and afforded much gratification to the company. To those gentlemen who have taken an active part in the promotion of this prosperous society, it must highly satisfactory to notice the efficiency to which it has so rapidly arrived.

Methods of harmony, figured base, and compositions, adapted for self-instruction by John George Albrechtsberger, translated from the last German ed. . . . vol. 1 (London: R. Cocks, [1834]), lxi (DIGITISED)

[Subscribers] . . . Mr. S. Tapfield, Organist, Cambridge . . .

"CAMBRIDGE PHILHARMONIC SOCIETY", Morning Post [London] (3 December 1836), 3

We hail the commencement of the fifth season of the Philharmonic Society, which took place on Tuesday last, with feelings of high gratification, and a confident anticipation that it will obtain a standard in the musical world we have hitherto scarcely deemed it capable of. The concert was given under auspices the most favourable. Whether we look to the able direction of Monsieur Venua, the leader; Mr. Tapfield, the conductor; the selection of the instrumental and vocal music, or the eminent talent engaged, we cannot but be liberal in our commendations. Miss Fanny Wyndham, R. A. M., and Mr. Purday, of London, rendered their powerful aid, in addition to the usual vocalists of the Society. The band executed both the overtures and accompaniments in a style that would have done credit to a London orchestra. - Cambridge Chronicle.

[News], Cambridge Chronicle and Journal (26 May 1838), 2

On Thursday last, a numerous and highly respectable party of gentlemen of this town, principally inhabitants of the parish of All Saints', dined together at the Sun hotel . . . Some excellent songs and glees were sung by the choir of All Saints, Mr. Tapfield presiding at the piano-forte.

"CAMBRIDGE PHILHARMONIC SOCIETY", Cambridge Chronicle and Journal (15 December 1838), 2

On account of the term being ended, this society could not boast of so full a room as on former occasions, although the selection was equally attractive. The first instrumental piece was Romberg's symphony in D, which was very effectively played - the latter part especially, in which there was an obligato part for the violoncello, which was very neatly executed by Mr. Gifford. The manner in which the orchestra performed this symphony was highly creditable, considering that they had no conductor throughout. - Miss Bruce made her appearance, with Messrs. Ling, Bradfield, and Piper, in Weber's favourite glee, "When winds breathe soft," which was sung with very good effect, and much applauded. Mr. Piper followed in a song of Attwood's, not remarkable for any particular beauty, but sung with such feeling to gain considerable praise. - A very pretty song, Knight, "She wore a wreath of roses," was Miss Bruce's first solo; and we must do her the justice to say, that though our opinion of her voice remains unaltered, yet she sang much better than at Mr. Venua's concert. Mr. Nicholls, we thought, never played with more taste and better tone than this evening, but in his case praises are only repetition. He was well accompanied by Mr. Tapfield - The great treat of the evening was the lovely scena from Der Freischutz, in which Miss Bruce acquitted herself with great merit. - The first part closed with a chorus from Alexander's Feast, - "The morning rend the skies," which would have gone better had it been rehearsed more. - The overture Anacreon was played with spirit and precision. - A glee, by Ford and Calcott, "Come over the brook," is a very charming composition (the old, "When first I saw your face"), and went off very well. - The duet between piano and violin (Mr. Tapfield and Mr. Venua) was played with great correctness, but we wished them a better composition . . .

"TOWN AND COUNTRY", Cambridge Chronicle and Journal (22 December 1838), 2

Miss Downton, of this town, was yesterday elected Organist of Great St. Mary’s parish, on the resignation of Mr. Tapfield. . . .

"THE PHILHARMONIC", Huntingdon, Bedford & Peterborough Gazette (19 January 1839), 2

About sixty of the members of this society dined together at the Red Lion, Petty Cury, on Tuesday . . . There was a rich vocal treat afforded after dinner the professionals, accompanied by Mr. Tapfield the grand piano-forte, in his usual happy and unassuming style . . .

"MARRIED", Cambridge Chronicle and Journal (20 June 1840), 2

On Monday last [15 June], at St. George's, Hanover square, London, (by the Rev. W. H. Dickinson,) Mr. S. Tapfield, of this town, to Miss Charlotte Scott, of Whitehall place, London.

"THE ORATORIO . . .", Cambridge Chronicle and Journal (18 July 1840), 2

. . . At Great St. Mary's church this evening was attended by as large an audience as we have ever seen on any similar occasion, every part of the church (with the exception of the throne and several of the back pews) being completely filled. The music consisted selection from the works of Handel, Haydn, Mozart, Spohr, Attwood, &c., and was altogether most admirably performed, under the able direction of Prof. Walmisley, who had been requested by the committee of the Philharmonic Society to conduct. - Mr. Tapfield presiding at the organ . . .

ASSOCIIATONS: Thomas Attwood Walmisley

[Advertisement], Cambridge Chronicle and Journal (13 March 1841), 3

Mr. S. TAPFIELD, Of Cambridge, BEGS to announce to the gentry of Royston, and its neighbourhood, that being engaged to give lessons in MUSIC in the family of John Bendyshe, Esq., or Kneesworth House, he will be happy to attend additional Pupils at their respective residences. No. 10, Tennis Court Road, March 12, 1841.

England census, 6 June 1841, St. Mary the Less, Cambridgeshire; UK National Archives, HO 107/86/12 (PAYWALL)

Samuel Tapfield / 30 / Music Master / [born this county] Y
Charlotte [Tapfield] / 20 / - / Y

"CAMBRIDGE", The musical world (5 May 1842), 142 (DIGITISED)

The Philharmonic Society's last subscription concert for the season, was holden on Monday the 18th inst. Three singers quite new to Cambridge were introduced upon the occasion - the two Misses Pyne, and Mr. J. L. Hatton. In the first part, the beautiful duet - "I know a bank," by the Misses Pyne, was warmly encored; and a similar honour was paid to an Italian air by Mr. Hatton, who substituted one of those agreeable comicalities, for which Mr. Parry is so famous. Mr. Sippell gave a solo on the cornet a piston, "They're a'noddin," with variations in a masterly manner, for which he was greatly applauded. The second part opened with Auber's overture to Masaniello, which was gone through in a creditable manner; after which Miss Louisa Pyne sang an air of Barnett's, in a style which called down very hearty applause. A duo concertante, pianoforte and violin, by Messrs. Tapfield and Venua, was admirably executed. Mr. Hatton was again encored in a laughing song by Balfe, and on each occasion he substituted something new. The thanks of the town are due to the Society for the gratification they have been the means of diffusing.

[Advertisement], Cambridge Chronicle and Journal (10 December 1842), 3

MR. S. TAPFIELD respectfully announces that he will be happy to give LESSONS, during the Christmas Vacation, on the PIANO-FORTE, THOROUGH-BASS, and SINGING, either at his own house, No. 10, Tennis Court Road, or at the residence of his pupils.

"MR. TAPFIELD"S CONCERT", Cambridge Chronicle and Journal (7 March 1846), 2

We have no doubt that Mr. Tapfield will have a bumper at his concert next Tuesday. His bill of fare is an exceedingly attractive one, and the name of Chatterton alone, the first harpist in Europe, ought to ensure a full room; to say nothing of the ever-charming Miss Birch. We hear a high character, too, of the performance of Mr. Wells upon the flute, and this is his first public appearance his native town, he must have hearty welcome. Independent, however, of Mr. Tapfield's attractive bill of fare, he has indisputable claims upon his fellow townsmen; for years he contributed to the gratification of us all, and to the promotion of the science of music amongst us, by gratuitously conducting the Philharmonic Concerts; and yet this is the first appeal he ever made to the public.

ASSOCIATIONS: John Balsir Chatterton (harpist)

"THE QUEEN'S BIRTHDAY. THE MAYOR'S BANQUET", Cambridge Independent Press (29 May 1847), 3

. . . After the singing of Non Nobis, the first toast was, of course, "Her Majesty" . . . Mr. Samuel Tapfield was kind enough to preside the pianoforte (Mr. Wood's splendid grand piano), and Mr. Piper, Mr. Ling, Mr. Eastes, Mr. Machin, and Mr. Piper, jun., of the college choirs, charmed the company with variety of most beautiful glees and songs, many of which were encored . . .

"Mr. Tapfield's Entertainments", Cambridge Chronicle and Journal (16 December 1848), 2

We daresay many of our readers have heard of certain agreeable entertainments, given under the auspices of Mr. S. Tapfield, for several years past. They consist of a concert by his pupils, succeeded by a ball on the following evening. These entertainments came off on Tuesday and Wednesday last, the former in the aldermen's parlour, and the latter in the Town Hall. It would hardly be becoming to dwell upon what may almost be considered private parties; and so we shall only say that both passed off remarkably well, the ball being attended by about 120 ladies, gentlemen, and young people, who enjoyed the evening's amusement greatly.

England census, 30 March 1851, All Saints, Cambridge; UK National Archives, HO 107/1760 (PAYWALL)

Jesus Lane / Samuel Tapfield / Head / 42 / Teacher of Music / [born] Cambridge
Charlotte Tapfield / Wife / 31 / - / Camb. Shelford
Mowbray L. [Tapfield] / Son / 9 / Scholar / Cambridge
Susan C. [Tapfield] / Dau. / 7 / [Scholar] / [Cambridge]
Frederick [Tapfield] / Son / 6 / [Scholar] / [Cambridge]
Constance [Tapfield] / Dau. / 4 / [Scholar] / [Cambridge]
Laura H. [Tapfield] / Dau. / 7 mths. / - / [Cambridge] . . .

"Mr. Tapfield's Pupil Concert", Cambridge Independent Press (13 December 1851), 3

On Wednesday evening last, the pupils of Mr. Tapfield, assisted by Mr. Eastes and one or two amateurs, assembled in the Alderman's Parlour, and afforded a high treat to their friends and relatives, by executing the beautiful and and somewhat difficult music of Weber's Opera of Oberon. The Overture, arranged for two performers on a piano, the chorusses and airs, were admirably performed by the young ladies, who must have devoted considerable time to attain such great proficiency, proving their own aptitude and ability, and the careful attention of a well qualified fie instructor. Mr. Eastes performed the difficult part of Huon, with great taste and precision, Mr. Tapfield, of course, presiding at the pianoforte. During the evening, the company were alsi delighted with a harp solo from a pupil, and a trio from Beethoven for piano, violin, and violoncello, given in first-rate style by Mr. Tapfield, Mr. Venua, and Mr. F. Sippel. While we see music of this description not only understood, but performed by pupils, we have no fear for the decadence of musical taste, or a non-appreciation of its beauties.

[Advertisement], Cambridge Chronicle and Journal (31 January 1852), 4


"All Saints", Cambridge Independent Press (2 October 1852), 3

In consequence of Mr. Tapfield having left Cambridge, we may safely say to the great regret of numerous sincere friends, amongst whom he and his family are highly respected, there is a vacancy, as organist, at All Saints Church, for which there are now three candidates, viz.: - Miss Apthorpe, daughter of Mr. W. H. Apthorpe, Mr. Hague Ingram, and Mr. Rowe, a son of Mr. Richard Rowe. The salary is, we believe, £25 a year. But it is doubtful if this sum will be paid Mr. Tapfleld's successor.

Tasmania (from 20 January 1853):

"SHIPPING NEWS. ARRIVALS", The Courier (21 January 1853), 2

20TH JANUARY, Derwentwater, ship, 623, Wrankmore, London . . .
TO CAPTAIN WRANKMORE, Ship DERWENTWATER. Hobart Town, January 20th, 1853. Dear Sir,- In testimony of the sense we entertain of your kind attention to our comforts, and the liberality you have evinced during our voyage from London, now come to a close . . .
[signed] . . . Samuel Tapfield, Charlotte Tapfield . . .

See also: "The Derwentwater", Cambridge Independent Press (4 June 1853), 3

We have been favoured with a copy of the Hobart Town Advertiser, which gives an account of the arrival of the Derrwentwater on the 20th Jan., after a moderate passage, which commenced on the 11th of Oct., and for six days the ship experienced very severe N.E. gales off the Cape. It gives great pleasure to state, and we are sure their numerous friends will be delighted to bear, that Mr. and Mrs. Tapfield, and the whole of their family, arrived in safety . . .

[Advertisement], The Courier (29 January 1853), 3

Late of London and Cambridge, RESPECTFULLY announces his intention of settling in Hobart Town, and will be happy either to attend Pupils at their own residences, or receive them at his house, No. 46, Macquarie-street. References permitted by:
The Bev. Tice Gellibrand
John Bisdee, Esq.
James Dunn, Esq.
Lieutenant Smith, R.N.
Walter Synnott, Esq.
In addition to which, Mr. Tapfield is favoured with testimonials from the Bishop of Chester, and from many others of the highest respectability in England.

[Advertisement], The Courier (14 July 1853), 1

MB. TAPFIELD, Organist of Trinity Church, will resume his lessons in music with his pupils an MONDAY, July 18.
46, Macquarie-street, July 12.

[Advertisement], The Courier (31 October 1853), 3

THURSDAY, NOVEMBER 3, 1853, A MUSICAL ENTERTAINMENT Will be given under the conduct of MR. SALIER.
PROGRAMME. PART I . . . Song - "The Spirit of Good" - Master Tapfield - A. Lee . . .

ASSOCIATIONS: John Jabez Salier

"MECHANICS' INSTITUTE . . . GRAND MUSICAL ENTERTAINMENT", Colonial Times (5 November 1853), 2

. . . The principal performers were Mrs. Dawson, Miss M. and Miss A. Hall, the former alto, the latter treble; Mr. Fryer, bass and second violinist, Master Tapfield, soprano; Masters W. and H. Henry, the former treble and the latter alto . . . The programme was varied and good . . . The glees "The Fairies," "Come let us all a Maying go," "The May Fly," "Awake, AEolian Lyre," and "Strike the Harp in praise of Bragela," were all well given; as also the chorus "May Day," by the Misses Hall, Masters Tapfield and the brothers Henry, aided by Mr. Salier and Mr. Fryer, accompanied by the piano and Mr. Russell's violin . . .

"ROYAL SOCIETY OF VAN DIEMEN'S LAND", The Courier (11 March 1854), 2

THE Monthly Meeting for March was held on Wednesday evening last, 8th instant, at the Museum; His Excellency the President, Sir W. Denison, in the chair. The following gentlemen were ballotted for and duly elected into the Society: - . . . Samuel Tapfield, Esq., of Hobart Town . . .

"ROYAL SOCIETY OF VAN DIEMEN'S LAND", The Courier (13 October 1854), 2

. . . The presentations were: . . . By Mrs. Tapfield, of Macquarie street, a manuscript volume containing the characters used to express 54 different oriental and other languages, &c., ancient and modern . . . Mr. Tapfield, of Macquarie-street, presented a few fine specimens of agate, cut and polished, and said to be from Germany . . .

[Advertisement], The Courier (10 January 1856), 3

TO BE DISPOSED OF, a very fine-toned SEMI-GRAND TRANSPOSING PIANOFORTE in elegant Sebucca wood case, with a set of covered strings.
Apply to Mr. Tapfield, Professor of Music, 129, Macquarie-street.

[Advertisement], The Courier (12 November 1856), 3 

A BOUDOIR PIANOFORTE to be disposed of, quite new. Apply to Mr. Tapfield, 127, Macquarie-street.

"SHIPPING INTELLIGENCE . . . IMPORTS", The Tasmanian Daily News (8 December 1857), 2 

Per Wellington, from London . . . 1 parcel music, Tapfield . . .

[Advertisement], The Hobart Town Daily Mercury (3 December 1858), 1 

"Mr. Tapfield can confidently recommend Mr. LOVEDAY as a very efficient Tuner, and one who thoroughly understands the Mechanism of the Pianoforte and Harmonium. Macquarie-street, January 12th 1858" . . .

ASSOCIATIONS: Henry William Loveday

"PLEASURE TRIP AND PIC NIC", The Hobart Town Daily Mercury (21 December 1858), 3 

To-morrow morning the steamer Monarch will proceed to Three Hut Point with a gay party on board, and Mr. Tapfield's Glee Club . . .

[Advertisement], The Hobart Town Daily Mercury (8 January 1859), 3

THE HOBART TOWN CLASSICAL AND COMMERCIAL ACADEMY, 90 Macquarie-street. R. Giblin - Head Master . . . N.B. - Music taught by Professors Tapfield and Buddee.

[Advertisement], The Courier (17 January 1859), 3 

MR. TAPFIELD will be happy to resume his LESSONS on the Pianoforte, Harmony, and Singing with his Pupils, on MONDAY, January 24. 127, Macquarie-street.

"COURT OF REQUESTS. CAMPBELL TOWN. Wednesday, 9th February. Whitchurch v. Boyd", Launceston Examiner (19 February 1859), 3 

This was an action brought by Mr. Whitchurch, pianoforte tuner, against Dr. Boyd to recover the balance of three guineas for account rendered for tuning a piano, retuning it, raising and lowering it all in the space of a week . . . Defendant, previous to his calling his witness, briefly addressed the bench . . . Although not admissable as direct evidence, he would read and hand in two letters, one from Mr. Tapfield, it professional gentleman of character and experience, the other from Mr. Williams, the well known professional tuner. [Mr. Tapfleld's letter characterised Mr. Whitchurch's charge as "most exhorbitant," and two of his items as: "unheard-of." It concluded by stating that he is most likely to suffer from the action, "as no judge, jury, or magistrate would grant his claim" . . .] . . .

[Advertisement], The Hobart Town Daily Mercury (11 January 1860), 4 

MR. TAPFIELD will resume his Instructions in Music, on MONDAY, January 16th, 1860. Lessons to Families by the hour, or two Pupils taken in the hour if preferred. 127 Macquarie-street, Hobart Town. January 10.

[Advertisement], The Hobart Town Daily Mercury (26 January 1860), 1 

Benevolent Society.
THE MEMBERS of the GLEE CLUB, assisted by many amateurs and Professionals, will perform HANDEL'S ORATORIO OF THE MESSIAH AT THE TOWN HALL, ON TUESDAY EVENING, The 7th February, 1860, In aid of the funds of the above Society . . .
Committee of management, Messrs. Brammall, Garrett, Kennerley, G. Salier, Tapfield, and Whitton . . .

"SAINT ANDREW'S CHURCH", The Mercury (9 October 1860), 2 

The beautiful organ which has been erected in this church, having been fully completed in all its parts, will be tested as to its power and qualities this evening, when a selection of sacred music will be played, Mr. Buddee, assisted by Mr. Tapfield, presiding. After the conclusion of the trial of the instrument the Managers of the church will report to Mr. Brindley, by whom the organ was built, upon its capabilities, and from what we learn we anticipate that this addition to the church will be proved to be of one the most powerful and best toned instruments in the colonies.


[Advertisement], The Mercury (24 October 1860), 1 

FOR SALE, Ex Heather Bell, (Captain Harmsworth,) DRAWING ROOM MODEL HARMONIUM, sixteen stops, Alexandre's last patent, with knee swell, vox celeste, additional bellows, &c., in handsome case of solid, dark, polished oak. Apply to MR. TAPFIELD, 127 Macquarie-street.

Testimonial to Samuel Tapfield, Hobart Town Glee Club, 7 January 1861; original MS, State Library of New South Wales (DIGITISED)

[Advertisement], The Mercury (12 January 1861), 1 

ON Monday, the 7th instant, a deputation from the members and friends of the Glee Club, consisting of Messrs. Garrett, Vautin, Whitton, Hunter, and Brammall, waited upon S. Tapfield, Esq., the President, for the purpose of presenting an address, beautifully illuminated and engrossed by Mr. Hunter and signed by about one hundred and thirty ladies and gentlemen . . . The following is a copy of the ADDRESS, TO SAMUEL TAPFIELD ESQ., PRESIDENT OF THE GLEE CLUB . . .

"HOBART TOWN BENEVOLENT SOCIETY", The Mercury (11 March 1861), 2 

. . . The Report having acknowledged obligations to Mr. Tapfield and the Glee Club . . . for performances in aid; proceeded to notice the liberality of subscribers . . .

"THE GLEE CLUB - ANTIGONE", The Mercury (29 March 1862), 2 

The performance of Sophocles' fine tragedy of "Antigone," with Mendelssohn's choral music, on Thursday evening, by the members of the Glee Club, was attended by a full and fashionable audience. On the whole the rending of the dialogue was effective, and the choruses and the orchestral accompaniments were very creditably rendered. Mendelssohn's music is very beautiful, and strikingly adapted to the sentiment of the play. It embraces some unison movements and modulations of an exceedingly effective and occasionally a startling character. The Quartette "O Eros!" and the chorus "Hear us, Bacchus!" were very fine. We must be excused for hinting to Mr. Tapfield to whom the credit belongs of bringing the Glee Club to its present state of efficiency, that the effect of some of the most beautiful passages was greatly marred by the too loud and demonstrative manipulation of the pianoforte. There were times at which we could almost have wished that instrument to be silent. We are sure Mr. Tapfield, as an old professional, whose reputation cannot be damaged by any honest criticism, will take our suggestion in good part. The part songs and glees, which succeeded the tragedy, brought a very pleasing entertainment to an agreeable close.

"THE ORATORIO OF THE MESSIAH", The Mercury (2 September 1862), 3

Handel's Oratorio of the Messiah was rendered last evening at the Theatre Royal, the occasion being for the benefit of the family of the late Mr. F. A. Packer. A very large number of lady and gentlemen amateurs volunteered their assistance for the furtherance of this object; the leader being Mr. Russell, and the conductor Mr. Tapfield. The attendance did credit to the musical taste and benevolent feeling of Hobart Town, the House being graced withe the presence of His Excellency and Lady, and the elite of the City . . . .

ASSOCIATIONS: William Wilkins Russell (violinist, leader); Frederick Alexander Packer

"DEATHS", The Mercury (17 July 1863), 1

On Thursday, 16th July, Charlotte, the beloved wife of Samuel Tapfield, Esq., in her 44th year.

"ENCORES AT CONCERTS. TO THE EDITOR OF . . .", The Mercury (1 November 1864), 2

DEAR SIR, - Reading in The Mercury a few days since a letter dated Campbell Town, wherein the writer complains of the manner in which certain visitors (probably some merry school boys) at a concert held there, evinced their pleasure and desire for a repetition of the music performed, it has occurred to me to make some remarks upon the subject of "encores" at concerts, and I know many persons to be of the same opinion as myself. I consider, in the first place, that a miscellaneous concert, whether professional or amateur, should not exceed two hours in the performance, and that can easily be calculated by the number of pieces, and the time each will occupy in being sang or played. Then, again, the "encore" is apt to create an unpleasant feeling of slight in the minds of those who have not received a similar compliment, considering themselves, and not unfrequently with justice, more entitled to it. I have witnessed a complete uproar at concerts in England, when an "encore" was demanded, by one party "hissing" against another "clapping," not so much because the former did not wish to hear a repetition of the music, but for the fun and excitement of opposition. One rule of the late "Glee Club" prohibited an "encore," and in consequence everything went smoothly on, and the concerts were always over by ten o'clock. I should much like to see a similar understanding between the audience and performers at amateur concerts in Hobart Town, and then the annoyance or nuisance, as the English papers frequently call it, would be avoided. We must remember, that on the orchestra we meet for amusement and the cultivation of music as a science, and in the spirit of Webbe's old glee, "Glorious Apollo,"
"Here every generous sentiment awaking, music inspiring unity and joy."
I am dear sir, Yours truly, SAMUEL TAPFIELD, Macquarie-street, October 28th, 1884.

"MARRIAGES", The Mercury (20 January 1868), 1

TAPPFIELD - WALTER. - On the 10th inst., at St. John's Church, Goulburn-street, Hobart Town by the Rev. J. Tice Gellibrand, assisted by the Rev. F. H. Cox, and the Rev. C. Brammall, Frederick, second son of Samuel Tapfield, Esq., to Frances Maria, eldest daughter of J. H. Walter, Esq., of Franklin, Huon.

"ORCHESTRAL UNION", The Tasmanian Times (6 May 1868), 3 

The members of the Orchestral Union gave their second concert last evening, at Del Sarte's Rooms. This society is entirely maintained by members' subscriptions, and admission is gained by invitation cards issued to member's friends. A well-selected programme attracted on this occasion a crowded audience, in which all sections of society were very fairly represented. Mr. Tapfield acted as conductor, presiding over a large and well-trained orchestra. Between thirty and forty ladies and gentlemen constituted the chorus. The orchestral parts of the programme were rendered with great truth and vigour. Haydn's Symphony in C Minor was played with great taste. The overture to the Merry Wives of Windsor (Nicholai), and the overture to Zampa (Herold), were also given by the orchestra with great effect - the latter, a very difficult piece, with great accuracy and finish; evidently the result of very careful practice and sedulous supervision by the conductor. A Concerto "pianoforte with orchestral accompaniments" (Weber), was also very well executed - a lady amateur presiding at the piano. The chorus performed their part very effectively and with great precision. The gem of the evening in the way of vocalisation was Bishop's "Echo Song" (flute obligato), which was given by Mrs. Cansdell, Mr. Tapfield, and Signor Gagliardi, with a grace and delicacy of expression that left nothing to be desired by the most fastidious critic. A duett by two male voices "Flow, gently Deva" (Parry), was very well given indeed, and loudly redemanded, but a wholesome rule of the Union forbids encores. A solo by Mr. Allen, "O 'tis a glorious sight," from Oberon, was very fairly sung and very well received. This Concert was an unquestionable success; and the public is greatly indebted to the Orchestral Union for thus providing periodically an entertainment, at which music of the highest class is conscientiously rendered by amateurs, whose skill and taste justly entitle them to the style of artistes.

ASSOCIATIONS: Giacinto Gagliardi; Edward Allen

"ORCHESTRAL UNION", The Mercury (18 June 1869), 2 

The sixth concert took place at the Town Hall, last evening, commencing at 8 o'clock. There was a numerous audience. His Excellency the Governor, who was accompanied by Mr. Chichester, was present. The programme comprised the Legend of St. Cecilia, by Jules Benedict, for the 1st part, and a miscellaneous selection for the concluding part. Mr. Tapfield conducted.

MUSIC: The legend of St. Cecilia (Benedict)

[Advertisement], The Cornwall Chronicle (26 January 1870), 1

HIGH SCHOOL, HOBART TOWN . . . Music Master - Mr. F. TAPFIELD . . .

"HOBART TOWN", Launceston Examiner (15 November 1870), 3

The lovers of music are promised a treat at Christmas when the oratorio of The Messiah is to be performed at the Town Hall for the benefit of the Church of England Cathedral Building Fund. The affair is to be under the joint management of Mr. Tapfield and Mr. Packer, and under such auspices a perfect entertainment will no doubt be ensured. The difficulty of harmonizing musical professionals is well-known, and it will be a pleasing thing to have those two peculiarly eminent masters co-operating for the promotion of the object contemplated.

ASSOCIATIONS: Frederick Augustus Packer

"ST. ANDREW'S CHURCH", The Mercury (15 December 1870), 2

. . . After tea the Rev. J. Storie presided at a public meeting, the proceedings of which commenced with the singing of the 100th psalm, to pianoforte accompaniment by Mr. Tapfield, organist of the church . . .

"MUSICAL. ORCHESTRAL UNION", Walch's Tasmanian almanac (Hobart: J. Walch and Sons, 1871), 136

MUSICAL. - ORCHESTRAL UNION. -Conductor, Samuel Tapfield. Secretary, H. L. Roberts, 54 Murray-street. Gives quarterly concerts open to members only. Subscription (family ticket), £1 1s.

"HOBART TOWN", Launceston Examiner (8 February 1872), 3 

. . . This evening, the sixteenth concert of the Orchestral Union is to come off, when Bellini's Sonnambula is to be a performed, Mr. Tapfield conductor . . .

"CITY COUNCIL . . . THE ORGAN RECITALS", The Mercury (18 February 1873), 3 

With reference to the organ recitals held in the Town Hall, the Town Clerk reported that letters had been sent to Messrs. J. Packer, Abbott, Russell, and Tapfleld, asking them if they would conduct the recitals in proper rotation at the fee fixed by the committee. Messrs. J. Packer and Abbott had consented. Mr. Tapfield declined, as he had left off playing at public entertainments. Mr. Russell also declined . . .

"DEATHS", The Tasmanian Tribune (31 December 1873), 2. 

Tapfield. - On the 30th December, 1873, at Hobart Town, Samuel Tapfield, Esq., in the 65th year of his age.

"DEATH OF MR. TAPFIELD", The Mercury (31 December 1873), 2 

Another has passed the bourne. His familiar figure and fine appearance will be missed from our streets and the high class entertainments with which he was associated. Many of our readers will regret to learn the demise of Mr. Tapfield, a gentleman connected with the musical profession, and for many years resident in this city. He died in the 63rd year of his age, at his residence Macquarie-street, yesterday morning. Mr. Tapfield was originally an organist at Cambridge, but failing health induced him to leave for this colony. He arrived here twenty years ago, and has always followed the musical profession. He started the Glee Club, and latterly he conducted the Orchestral Union. For many years also he has occupied the position of organist at St. Andrew's Church. As a private gentleman he had a numerous circle of friends, and he was very generally respected and esteemed by the community.

[Advertisement], The Mercury (5 January 1874), 4

THURSDAY, 8th January, 1874, At 11 o'clock sharp. GUESDON & WESTBROOK Have received instructions from the Executor to the Estate of the late Samuel Tapfield, Esq., to sell by public auction, on the premises, 127, Macquarie-street, at 11 o'clock sharp, on THURSDAY next, the 8th January, RESIDUE OF HOUSEHOLD FURNITURE AND EFFECTS, comprising valuable semi-grand pianoforte . . .

"THE LATE MR. TAPFIELD", Weekly Examiner (10 January 1874), 16 

Yesterday's Mercury says: - The service at St. Andrew's yesterday had special reference to the death of the late Mr. Tapfield, organist of the church. The Rev. John Storie alluded in most impressive and affectionate terms to Mr. Tapfield's general worth and long connection with St. Andrew's. At the conclusion of the service a funeral hymn composed by Mr. Tapfield was sung, and the Dead March in Saul was performed on the organ by Mr. F. A. Packer, who attended to pay a graceful mark of respect to the memory of the deceased.

"DEATH", The musical world [London, England] (28 February 1874), 128 (DIGITISED)

DEATH. At Hobart Town, Tasmania, on Tuesday, Dec. 30, 1873, SAMUEL TAPFIELD, Esq., Professor of Music, aged 63 [sic], formerly Organist in the City of Cambridge.

"CONCERNING PEOPLE", The Register (26 March 1907), 5

Our Melbourne correspondent telegraphed on Monday: Mr. Frederick Tapfield, aged 64, station owner, from Kingston, South Australia, died suddenly to-day. The deceased gentleman recently arrived here accompanied by his wife and son . . . Death is believed to have been due to natural causes.

Bibliography and resources:

Henry Butler Stoney, A year in Tasmania, including some months' residence in the capital . . . in 1853 (Hobart Town: William Fletcher, 1854), 162-63 (DIGITISED)

. . . Nor are the inhabitants of the good city without professors and masters in the elegant accomplishment of music; for there are several of no mean repute, and whose talents, judging from the multiplicity of their engagements, their frequent concerts and musical soirées, are not unappreciated by the Tasmanians. A glee club has been organized under the direction of Mr. Tapfield, organist of Trinity Church, which has met with considerable success, and is patronised by some of the principal families: the meetings of the club, each alternate week, when members can introduce two or three friends, are of a very recherche and pleasing character . . .

Henry Butler Stoney, A residence in Tasmania (London: Smith, Elder, and Co., 1856), 132-33

UK edition of the above

TAPP, John Charles (John Charles TAPP; J. C. TAPP)

Organist, violoncello player, composer, public servant, schoolmaster, convict

Born Stoke Lane, Somerset, England, 29 April 1825; baptised Stoke St. Michael, 5 June 1825; son of Caius Martius TAPP (1776-1849) and Sarah STEEDS
Sentenced, 14 years, Somerset Assizes, Taunton, at the session beginning 31 March 1847; trial 3 April
Arrived Hobart, TAS, 20 March 1852 (convict per Aboukir, from Plymouth, 24 December 1851)
Married Anne Amelia BALL (c.1836-1905), Hobart, TAS, 29 March 1853
Died Oatlands, TAS, 30 August 1875, in the 51st year of his age (TROVE tagged by Australharmony) (shareable link to this entry)

TAPP, John Charles Valentine (John Charles Valentine TAPP; J. C. V. TAPP)

Amateur musician, bandsman (Oatlands Brass Band)

Born Port Arthur, TAS, 14 February 1858; son of John Charles TAPP and Ann Amelia BALL
Died Oatlands, TAS, 8 August 1933 (TROVE tagged by Australharmony) (shareable link to this entry)


The youngest son of Caius Martius Tapp, a former schoolmaster and yeoman of Stoke Lane in Somerset, and his wife Sarah Steeds, John Charles Tapp was born on 29 April 1825.

A miller by trade, he was convicted of forgery at the Taunton Assizes in 1847 and sentenced to 14 years transportation. The 1851 England census lists him as a prisoner on the hulk The warrior. He was transported later that year on the Aboukir to Tasmania (only 14 further shipments of convicts to Tasmania followed, and transportations ended after the arrival of the last, 13 months later, on 26 May 1853).

Aged 26 on arrival in March 1852, Tapp was granted a ticket-of-leave in September 1853, and was recommended for a conditional pardon in August 1854 (granted July 1855). He was already connected with the Wesleyan Sunday School in Hobart in 1853, and two years later for that institution he published his Tasmanian sacred melodies, containing 10 original hymn settings, 3 double chants, and one incomplete item.

By June 1856, he was a clerk at Port Arthur (in charge of the bakery), having previously held a post as an assistant-superintendent at the prison. He was appointed postmaster at Port Arthur in 1859, where he continued to hold several other administrative offices.

In Hobart in 1872, Tapp and his family sold up their household belongings, intending to settle in New Zealand, perhaps to join there the family of his later elder sister Ann (1809-1850, Mrs. Thomas Allen).

One other musical attribution to a "J. C. Tapp", an arrangement, appears in a mid-19th-century organbook, a collection of hymn tunes and chants, British Library, Add. MS. 59873.

Old Trinity Penitentiary Church, Hobart, c. 1890s

The tower and nave of Old Trinity Penitentiary Church, Hobart, converted into a court house in 1858; Tapp was reportedly organist (harmonium player) there in 1855, apparently in succession to Samuel Tapfield, above (photo: c. 1890s; Libraries Tasmania) (DIGITISED)


Baptisms solemnized in the Parish of Stoke Lane / Stoke St. Michael / in the County of Somerset in the year 1825; register 1813-1836, page 50; Somerset Archives (PAYWALL)

No. 394 / 5 June [1825] / Born 29 April [1825] / John Charles son of / Caius Martius & Sarah / Tapp / Stoke / Yeoman . . .

1841 England census, Somerset, Parish of Kilmersdon, Coleford; UK National Archives, HO 107/948/7 (PAYWALL)

Martius Tapp / 65 / Yeoman / [born Somerset]
Sarah [Tapp] / 60 / [born Somerset]
John [Tapp] / 15 / [born Somerset]

"Charge of Forgery", The Dorset County Chronicle [England] (4 February 1847), 4

On Wednesday last, John Charles Tapp, a man of respectable capacity, living in the vicinity of Oakhill, was brought before the magistrates charged with having uttered a check (he had received from Messrs. Jillard and Co., of Oakhill, for the amount £9 15s., payable at Stuckey's Bank. Wells) which he ingeniously had converted into £90 15s., and presented the same, on Monday, the 25th inst., at the bank, obtained the money and went away. On Tuesday he was captured by Mr. Hall, the vigilant officer of Bath, and conveyed to Wells. The same night he was remanded till Thursday; but, in consequence of other evidence, which it was necessary to bring forward against him, he was further remanded until Monday, when he was committed for trial. On Thursday night he tried to effect his escape from custody, from the room in which was confined, at the Town-hall, by endeavouring to get through the window, but was prevented in his project and thereupon heavily ironed.

John Charles Tapp, 31 March 1847; County of Somerset, register of all persons charged with indictable offences at the assizes and sessions held within the county during the year 1847; UK National Archives, HO 27/83, page 31

John Charles Tapp / 21 / County Assizes 31st March / [Forgery] (Of an order for the payment of money) / 14 years

"WESTERN DISTRICT. TAUNTON . . . APRIL 3, FORGERY", The London Daily News (5 April 1847)

John Charles Tapp, a miller, was indicted for forging a cheque to the amount of 90l. 16s., with intent to defraud John and Samuel Rutter, and also Stuckey's Banking Company. The prisoner lived at Holcombe, near Shepton Mallet, and dealt with Messrs. Rutter, corn-factors at Bath. On the 23rd January last, he received from that firm a cheque for 9l. 16s., drawn on Stuckey's bank at Wells. On the 25th January, the prisoner went into the Royal Oak public-house in the market-place at Wells, carrying a smockfrock on his arm, and wearing a brown great coat. He called for a pen and ink, which were at once handed to him. He then took a piece of paper out of his pocket, and in the presence of several people wrote something upon it. Immediately afterwards he inquired for Stuckey's bank, and having tied a handkerchief round his neck, he went away, leaving the smock-frock on the table. It was then about three o'clock, and at that time cheque for 90l. 16s. was presented at the bank. It was cashed by Captain Giles, the manager of the bank, and he observed that the man presenting it had a muffler tied round his mouth, and a shade over his eye; the latter appeared to be attached to his hat. Captain Giles's firm belief was that the prisoner was the man. He stated that his name was Fussell, and that he lived at East Horrington. The rector of the parish being in the bank at the time, stated that he did not know a person named Fussell living in his district. Suspicion was therefore excited, but by that time the man was gone. The cheque was then examined closely, and it was found to have been altered, the syllable "ty " being added to the "nine" in the body the cheque, and the figures at the bottom being made to correspond. In the afternoon of the same day, the prisoner was seen at Shepton Mallet, a few miles from Wells, and he then wore a white smock-frock, but no shade over his eye. Various circumstances were deposed to leading to the conclusion that the prisoner had deliberately planned the forgery, and as deliberately carried it into execution. Verdict, Guilty. Sentence, 14 years' transportation.

Tasmania (from 20 March 1852):

Tapp, John Charles, convict records; Tasmanian names index; NAME_INDEXES:1439087; CON33/1/106$init=CON33-1-106P256 (DIGITISED)

25466 / Tapp, John Charles, Tried Taunton Ass. 31 March 1847, 14 years, Arr'd. 20.3.52, C. of E. can read & write /
Transported for Forging a cheque for payment of money with intent to defraud. Prison report Most exemplary. Single.
Stated this offence, Forging a cheque for £90. 0. 0 I altered it from £9 to £90 pros'r the Bankers at Wells. Single

Trade: Miller / Height: 6ft / Age: 26 / Complexion: Sallow / Head: Large / Hair: Dark brown / Whiskers: do. / Visage: long / Forehead: high / Eyebrows: black / Eyes: do / Nose: long / Mouth: wide / Chin: Med'm / Native place: Stokelane, Somerset / Remarks: High cheek bones

. . . T. of L. 30 August 1853 / C[onditional] Pardon 17 July 1855 / Died at Oatlands 30 30 August 1875


Southern Tasmanian Council of the Australasian League, March 27, 1852.
MY LORD, - We, the undersigned, as the Council of the Southern Tasmanian Branch of the League, had the honor to transmit to your Lordship, on the 27th January last, a Protest against the introduction of prisoners into this colony, and we now make the like Protest against the renewed breach of faith committed by Her Majesty's Government in pouring into this colony 279 convicts from the "Aboukir," recently arrived from London . . .
To the Right Hon. Earl Grey, Secretary of State for the Colonies.

"WESLEYAN SUNDAY SCHOOLS", The Courier (29 March 1853), 2

These Schools were yesterday, at 3 p.m., regaled with a feast of buns and cakes in the court-yard of Melville-street Chapel . . . At 7 o'clock the Annual Meeting of the Society took place in the Chapel adjoining, where a very numerous and respectable congregation was assembled. The meeting was opened by singing one of Wesley's hymns . . . Mr. Tapp had had great pleasure in listening to the eloquent addresses which had been delivered, but he did not think that people ought to be coaxed into doing their duty, but ought rather to do it because it was their duty; he was likewise sorry to see so large a balance in the Treasurer's hands, as it showed that enough had not been done during the last year, for if it had all the money would have been expended. They must try and get all the children together and teach them; they had listened the day before, (Sunday), to a beautiful oration from that pulpit, from the text of "the soul to be without knowledge is not good," and they must try and carry out the principle inculcated by that text . . .

"TICKETS-OF-LEAVE GRANTED", The Cornwall Chronicle (3 September 1853), 6

. . . John Charles Tapp, Aboukir . . .

"CONDITIONAL PARDONS RECOMMENDED", The Cornwall Chronicle (19 August 1854), 8

. . . John C. Tapp, Aboukir . . .

"MUSIC", The Cornwall Chronicle (27 June 1855), 5 

We understand that a publication of sacred music, composed and arranged for voices with organ and instrumental accompaniments, will shortly be laid before the public. It appears that the composer, Mr. Trapp [recte Tapp], organist of the penitentiary Trinity Church city, in connection with Messrs. Westbrook and Abbott, are devoting their attention and efforts for the benefit of the Campbell-street Sunday school, and that the profits arising from the sale of this music will be handed over in aid of the funds for the support of that institution. - H. T. Advertiser.

[Advertisement], The Hobarton Mercury (3 September 1855), 3 

Tasmanian Sacred Melodies.
COMPOSED and ARRANGED by MR. J. B. TAPP [sic], ORGANIST of this City, can be had of any of the Booksellers, price 3s 6d.

"SACRED MELODIES", The Hobarton Mercury (3 September 1855), 2

We have received a copy of Tasmanian Sacred Melodies, composed and arranged by J. C. Tapp, organist, of this city. They appear to be well suited to the purpose for which they are intended; and their being published by the teachers of the Campbell-street Sunday School shows they are appreciated, and worthy of a more extended circulation. There are nine tunes, besides chants and miscellaneis [sic], and the price is 3s. 6d. We have heard Mr. Tapp spoken of has [sic] having ability of a very high order, when applied to sacred music.


. . . James Douglas deposed that he was a passholder, on the 28th March he was at the penitentiary . . . On the 28th March he assisted in taking bread from the Penitentiary to the Brickfields Depot . . .
Mr. Tapp, clerk at Port Arthur, and late assistant-superintendent at the penitentiary, (sworn) - Examined by prisoner Burns - I had charge of the bakehouse from the first to the last day of March . . .

1858, births in the district of Port Arthur, Tasman's Peninsula; Tasmanian names index; NAME_INDEXES:1004712; RGD33/1/36 no 2004$init=RGD33-1-36P355 (DIGITISED)

[No.] 335 / 2004 / [born] 14th February 1858 / John Charles Valentine / [son of] John Charles Tapp / Ann Amelia Tapp formerly Ball / Clerk, Civil Com'd't's Office, Port Arthur . . .

"GOVERNMENT GAZETTE", The Hobart Town Daily Mercury (7 June 1859), 3 

. . . Mr. J. C. Tapp to be Postmaster at Port Arthur, vice Mr. Henry Sykes, resigned . . .

"FORGERY", The Hobart Town Daily Mercury (25 April 1860), 3 

Thomas Reynolds charged by D.C. Bryan with forging an order with intent to defraud Mr. Tapp, Port Arthur, was again brought up on remand, and after the examination of one witness the prisoner was further remanded to Tuesday next.

"APPOINTMENTS", Launceston Examiner (23 July 1864), 4

The Governor has appointed Mr. John Charles Tapp Deputy Registrar of Birtihs, Deaths, and Marriages, for the District of Tasman's Peninsular, in succession to Mr. Austin Kerr.

"PORT ARTHUR (From a Correspondent)", The Mercury (22 January 1868), 3 

The visit of H.R.H. the Duke of Edinburgh to Tasmania was celebrated by the employees of this, the only imperial establishment in the colony, in a manner worthy of the occasion. In the first place a ball was given, for which purpose the splendid large room of the new Asylum for the Insane was placed, by the kindness of the Civil Commandant, at the disposal of a committee appointed to carry out the arrangements of the demonstration . . . Dancing commenced about 9 o'clock, and was continued until midnight, when the whole of the company assembled in the refreshment room . . . Dancing was afterwards resumed with unflagging spirit until two o'clock, when the proceedings terminated, every one expressing satisfaction at the excellence of the arrangements . . . On the evening of Thursday, the 16th inst., a torchlight procession took place, starting from the Lime Kiln Point, along the north avenue, the esplanade, and up to the Civil Commandant's residence, the torch-bearers being followed by the band and the officers' children. The procession drew up in front of the Commandant's residence, upon the verandah of which were Mr. and Mrs. Boyd, and Messrs. B. and P. Boyd, when the children sang very successfully Mrs. Meredith's Ode of Welcome arranged by Mr. Packer. After which the procession re-formed and proceeded through the settlement, singing another Ode, the music of which was arranged by Mr. Tapp, of Port Arthur, to the flower garden in front of government cottage, which by this time was beautifully lighted up with torches, Chinese lanterns, fire-balls, &c.; bonfires were also made on the adjoining hills. Some well executed transparencies, by Mr. Hawkins, were exhibited at the residence of the Commandant and at government cottage. The Port Arthur band discoursed sweet music under the magnificent willow tree, in which numerous Chinese lamps were hung, and which had the effect of inducing a great many of the younger members to trip it on the light fantastic toe for an hour or so, when a most extensive and brilliant display of rockets and othor fireworks closed a very pleasant evening . . .

ASSOCIATIONS: Alfred (duke of Edinburgh); Frederick Augustus Packer; Louisa Meredith

"OFFICIAL NOTICES", Launceston Examiner (23 December 1869), 3

Mr. Joseph Louis Hill to be Deputy Registrar of Births, Deaths, and Marriages for the district of Tasman's Peninsula, in succession to Mr. John Charles Tapp.

"NEW NORFOLK", The Tasmanian Times (13 July 1870), 2 

On Sunday last the usual anniversary sermons in connection with the Wesleyan Sabbath School were preached by the Rev. T. F. Bird, and on Friday next the annual tea meeting will be hell in the schoolroom adjoining the Wesleyan Church; after which a public meeting will be held in the Church . . . Selections of sacred music will be rendered at intervals by the church choir; and as Mr. J. C. Tapp has kindly lent his valuable harmonium for the occasion, a great treat may be expected.

"NEW NORFOLK (From our own Correspondent)", The Tasmanian Times (21 July 1870), 3 

On Sunday the 10th the usual anniversary services in connection with the Wesleyan Sabbath Schools were preached by the Rev T. F. Bird . . . For some time past the children of the Sabbath School had been practising hymns for the occasion under the leadership of Mr. Alfred Taylor, assisted by the teachers. Three pieces were well rendered; and the Rev T. F. Bird and the Superintendent of the school expressed great satisfaction at the singing of the children.

TEA MEETING. On Friday the 15th inst. a Public Tea Meeting to celebrate the Anniversary . . .

THE VOCAL AND INSTRUMENTAL MUSIC. During the evening pieces of music were rendered by the Wesleyan Church Choir, and the music performed on this occasion deserves more than a passing notice.

Mr. J. C. Tapp had kindly lent his valuable Harmonium for the occasion. This instrument which took the prize medal at the Paris Exhibition, and which cost Mr. Tapp £100, was imported to his order, direct from Paris, by the late Mr. Williams, of Hobart Town. It is indeed a noble instrument, and the beautiful music produced on it added greatly to the success of our Anniversary. Mr. Tapp deserves our warmest thanks for the generosity which led to offer the use of an instrument so valuable.

The public meeting was commenced by the choir and congregation singing the 616th hymn to a very pretty tune called "Faith," composed by Mr. J. C. Tapp. The next piece performed was Mozart's grand "Hossanah" Voluntary, (organist Mr. Alfred Taylor, violincello Mr. J. C. Tapp.) This beautiful piece of music was well rendered and was greatly admired.

Then followed a well written anthem "I was glad, &c.," composed by Mr. J. C. Tapp. Owing to the absence ot our tenor voice, Mr. A. Taylor had to take the opening tenor solo "I was glad," &c. He also took the bass solo "For thither the tribes go up to give thanks unto the name of the Lord." The two recitatives commencing "For there is the seat of judgment," &c., and "Peace be within thy walls," &c., were beautifully rendered by Miss E. Salier and Mrs. W. Price; the duett "Our feet shall stand within thy gates" &c., being well rendered by Mrs. Bird and Mrs. W. Price. This anthem was greatly admired, and it showed off to advantage the power of Mr. Tapp's fine harmonium. Next followed an instrumental symphony, organist Mr. A. Taylor, violencello, Mr. J.C. Tapp; violin, Mr. J. Evenden, whose beautiful variations on the violin were much admired.

A fine anthem composed by Mr. J. C. Tapp came next on the programme, and was well rendered by the choir. The duett "Christ from the dead is risen," &c. was rendered with great taste by Mrs. Bird, and Mrs. W. Price. The Bass Solo "Christ being raised by power divine," &c. was sung by Mr. A. Taylor; the chorus parts were boldly and confidently delivered and at the conclusion of the anthem there was a strong burst of applause.

The choir next sung a doxology composed by Mr. Alfred Taylor, after which Mr. Tapp played a concluding voluntary - By skilful modulation he resolved the voluntary into the proper key, when the choir struck up with a will, the chorus "O that will be joyful, when we meet to part no more;" the congregation joining in.

I must not forget to mention that during the evening two young ladies from Hobart Town whom Mrs. Clewer had thoughtfully invited to attend the meeting, and who readily gave their services for the occasion - sung two duetts which were greatly admired and rapturously applauded. The voices of the young ladies without accompaniment, produced music that gladdened the ears of every lover of good music. Before the benediction was pronounced, the Rev. chairman highly complimented Messrs. Tapp and Taylor upon their musical compositions. He thought it worthy of particular notice that the music of all the pieces sung on the occasion had been composed by two residents in the district; this was something for New Norfolk to be proud of. He called upon Mr. Cooper to propose a vote of thanks to Messrs. Tapp and Taylor; to Mr. Evenden the ladies who had added to the evening's enjoyment; the members of the choir; and to Messrs. Graham, Crouch, and Brownell; expressing at the same time his appreciation of Mr. Tapp's kindness in lending his instrument for the occasion.

ASSOCIATIONS: John Williams (pianoforte maker, musical instrument importer and seller); Alfred J. Taylor (1849-1921)

MUSIC: Tapp's hymn "Faith" and 2 anthems, I was glad and Christ from the dead is risen, have not survived; Taylor's Doxology was later printed (1878); "O that will be joyful, when we meet to part no more" is the chorus to an anniversary Parting hymn (first line: How pleasant thus to dwell below, in fellowship of love")

[Advertisement], The Mercury (4 January 1872), 1 

CLIFTON HOUSE, NEW NORFOLK. The duties of this School will be RESUMED on the 10th instant. Vacancies for Boarders. J. C. TAPP.

[Advertisement], The Mercury (14 March 1872), 4 

ROBERTS & CO. Are instructed by Mr. J. Tapp, who is leaving the Colony, to sell by public auction, at Clifton House, New Norfolk, on FRIDAY, 15th instant, at 12 o'clock,
VALUABLE HOUSEHOLD FURNITURE AND EFFECTS, for the most part made to order, comprising:
Hair-covered sofa and chairs, easy chairs, loo tables. . . and the usual appointments of a comfortable home. ALSO An organ harmonium 7 ft. 6 in. x 4ft, gilded front, 16 stops, by Ruddolphe, of Paris, one of the finest instruments in the Colony, particularly adapted for chapel or Country church.
A pair of globes. A very useful piano. Cornet-a-piston, clarionette, music, etc. Terms as usual.

[News], The Mercury (20 March 1872), 2 

Also on Friday last [15 March] at New Norfolk the household furniture and other effects the property of Mr. Tapp, who is about leaving for New Zealand, when satisfactory prices were realised. The organ harmonium (a splendid instrument, and considered the best in the colony), not reaching the reserve, was withdrawn at £52.

"BIRTH", The Mercury (23 April 1872), 1 

TAPP. - On 21st April, at her residence, King-street, Mrs. J. C. Tapp, of a daughter.

"OATLANDS. POLICE COURT", The Mercury (1 April 1875), 3

. . . Mr. J. C. Tapp deposed to being in the employ of Mr. W. Jones, the Deputy Registrar of Births at Oatlands, and was so on 6th October last . . .

Deaths in the district of Oatlands, 1875; Tasmanian names index; NAME_INDEXES:1207878; RGD35/1/44 no 696 (DIGITISED)

"DEATHS", The Mercury (1 September 1875), 1

TAPP.- On the 30th August, at Oatlands, after a short illness, John Charles Tapp, in the 51st year of his age. The funeral will leave his late residence, Oatlands, on Thursday morning next, at 11 o'clock precisely. Friends kindly invited.

Probate, 1879, on the will of John Charles Tapp; Tasmanian names index; NAME_INDEXES:665001; AD961/1/5 (DIGITISED)

"Oatlands", The Colonist (11 May 1889), 24 

. . . [Easter] Wednesday, the 1st, was quite a gala day. The Warden, Mr. W. Burbury, laid the foundation stone of the new Rechabite hall. The members of the adult and juvenile tents, with some visitors from other lodges, marched in procession, headed by the Oatlands Brass Band . . . When the hall had been once more cleared, a temperance meeting was held . . . The Misses Burbury (2) and Ella Tapp, and Mr. E. Burbury, with Miss Edith Tapp as accompanist, contributed one very choice item with "Jubilate." Miss Belle Burbury also sang two solos, in exquisite style, and Misses Edith and Katie Tapp played a duet . . .

"MR. J. C. V. TAPP", The Mercury (10 August 1933), 5 

The death occurred at his residence, Wellington Street, Oatlands, on Tuesday of Mr. John Charles V. Tapp at the age of 75 years. He was well known and respected throughout the district, and had resided at Oatlands practically all his life. For many years he conducted a general business. In his early days Mr. Tapp took an active part in all sport, and was a member of the Oatlands Brass Band . . .

Published musical works:

Tasmanian sacred melodies (Hobart: Teachers of the Campbell Street Sunday School, [1855]; R. V. Hood. Litho.; Scripsit E. Myers, Hobarton) (DIGITISED)

CONTENTS: 1. Hobarton P.M. (peculiar metre, "Come let us unite with holy delight . . ."); 2. Launceston S.M. (short metre, "Ye mourning souls of hope . . ."); 3. Hallelujah (a parting piece); 4. Sorell 8.7.4 ("Pilgrim wait a little longer . . ."); 5. Longford ("O holy Father, Son and Spirit . . ."); 6. Ross ("Gentle Shepherd, Saviour, Guide . . ."); 7. Bridgewater S.M. ("when the last trump shall sound . . ."), 8. New Town L.M. (long metre, "To thee my God with troubled heart . . ."); 9. Brighton L.M. ("Dear saviour to thy arms I fly . . ."); 10. Franklin 4 6 & 2 8 ("Dear Lord on thee do we repose . . ."); 11. 3 double chants; 12. Incomplete untitled and semi-texted hymn (". . . Christians onward . . . Unto happiness and home.")

ASSOCIATIONS: Robin Vaughan Hood (lithographer); Edward Myers (music copyist) (TROVE tagged by Australharmony)

Bibliography and resources:

"Department of Manuscripts: Acquisitions, January-December 1977", The British Library journal 4/2 (Autumn 1978), 196-98 (PAYWALL)

Organbook containing a collection of English hymn tunes, chants, etc., including a few attributed to composers such as William Shrubsole, Samuel Wesley, John L. Hatton, arrangements by Vincent Novello, R. Crompton, J. C. Tapp, etc., and excerpts from works by Mozart, Handel and Haydn, and Flotow's opera 'Martha'; mid 19th cent. Presented by Miss Rosa Merrifield. Add. MS. 59873.

Luke Agati, "Recent discoveries in early Tasmanian music", Papers and proceedings: Tasmanian Historical Research Association 65/1 (April 2018), 31-36

https://search-informit-com-au/documentSummary;dn=061121850543482;res=IELAPA (PAYWALL)

John Charles Tapp, Founders survivors

TASCA, Carlotta = Mrs. Alfred PLUMPTON

TATE, Henry (Henry TATE)

Music reviewer, writer on music, poet, composer

Born Prahran, VIC, 27 October 1873
Died South Yarra, VIC, 6 June 1926 (NLA persistent identifier) (NLA persistent identifier)


Summary to 1900 (after Carmody ADB):

His interest in music began as a choirboy at Christ Church, St. Kilda; when the University of Melbourne opened its Conservatorium of Music in 1895, he enrolled as a student under George Marshall-Hall.


"THEATRES AND ENTERTAINMENTS", The Argus (6 May 1909), 6

"DEATHS", The Argus (8 June 1926), 1

"THE LATE MR. HENRY TATE. TO THE EDITOR", The Argus (9 June 1920), 20

"Australian Composers. Some Melbourne Figures", The Brisbane Courier (12 May 1928), 25

"The Bush and Aurora Australis", The Brisbane Courier (23 June 1928), 22

[Nettie Palmer] HENRY TATE, before his death about two years ago, had at least heard his most important completed work performed by a Melbourne orchestra; in addition to this, he had been accepted as a man of most fruitful musical ideas, expressed sometimes in his actual compositions, sometimes in words, as in his rare little book, "Australian Musical Possibilities." Henry Tate was a man of great fecundity (hindered often by ill health), and his fecundity was all used in the one direction, that of bringing Australia into music. From his tiniest piano fragment, "Bush Noon," to his impressive orchestral work, "Dawn in Australia," all was an experiment in the direction of writing down our own peculiar harmonies and rhythms. To this end he used an unusual scale; he based many of his themes on the rhythms of our bird-calls, and the "programme" of his longer compositions (as in "Dawn in Australia") was the programme of nature itself. It will be for later composers, vitalised by his wealth of suggestions, to say whether his works were final in themselves or not. If they suffered from any lack, it was never a lack of musical ideas. The creative spirit was at large in them. It is to be hoped that they will gradually all be published. In the meantime a book of his prose and verse has been announced, the prose being both his musical dogmas and a series of descriptive essays, notes of his responsive delight in the bird-calls of the bush. His verse, too, is of interest, as showing, in words, the dreams of a man who lived for music. His long, ascetic face, with the widely-set eyes of a dreamer, was crowned by a very fine head. To many he was known solely as a champion chess player, which was enough. His "lightly-moved and all-conceiving spirit" could spend itself in many directions, but his influence on music will be most profoundly felt as years go by.

Bibliography and resources:

John Carmody, "Tate, Henry (1873-1926)", Australian dictionary of biography 12 (1990)


Vocalist, pianist

Active Melbourne, VIC, by July 1853 (TROVE tagged by Australharmony) (shareable link to this entry)


"THURSDAY CONCERT", The Argus (28 July 1853), 5 

We are glad to see that that Signor Maffei is not satisfied with his attempt, and that he is not discouraged, though the attendance last week was not so numerous as the concert deserved. To-night promises even better, for the noble piano was banished on the last occasion, but is to be restored this evening, and presided at by Mr. Sullivan, who makes his first appearance, and of whom, both as a performer and composer, we have heard a very flattering report. This will be an improvement; for many of the songs before were spoiled by the loud orchestral accompaniment. Two new vocalists, Miss Martin and Mr. Taunton, also appear for the first time. M. Paltzer is an excellent conductor, and his solo-playing is rarely excelled here.

[Advertisement], The Argus (28 July 1853), 8 

This Evening, Thursday, 28th July, a grand concert will take place in the Hall of the above Institution, when the following artistes will appear:-
Vocal: - Mrs. Testar, Miss Martin, Mr. Taunton (Their first appearance).
Instrumental. - Harp, Mr. Edwards (his first appearance), Violin, M. Paltzer, Cornet a Piston, Signor Maffei and Mr. Stewart, Pianoforte, Mr. Sullivan (his first appearance).
Full Band. Director and Conductor - Mons. Paltzer.
PROGRAMME. PART I. . . . Song - The Old Arm Chair, Mr. Taunton (his first appearance in Melbourne) - H. Russell.
PART II . . . Song - Gathered Shells, Mr. Taunton - Loder . . .

"THURSDAY CONCERT", The Argus (29 July 1853), 5 

. . . Mr. Taunton was suffering from so severe a cold that it was impossible to judge of his abilities . . .

ASSOCIATIONS: Jacques Paltzer (conductor, violinist); Elizabeth Testar (soprano vocalist); Charlotte Martin (vocalist)

"ENTERTAINMENT", Portland Guardian and Normanby General Advertiser (24 March 1856), 3 

Mr. and Mrs. Alfred Phillips, with Mr. Taunton, gave their first Literary and Musical Entertainment in Portland, last Thursday evening, at Mr. Crouch's New Store, Gawler street. We should describe the entertainment as a description of the character and humour of the Irish, drawn from the early history and legends of Ireland, and illustrated by the national superstitions and national melodies. It might be termed an interesting lecture on Ireland and the Irish, with musical illustrations. The performance throughout afforded both instruction and amusement. The main object of an evenings performance of that nature was amusement, and this was abundantly afforded, in strict accordance with refined taste, and to the entire satisfaction of the audience. Indeed, we believe that those who attended on Mr. and Mrs. Phillips' entertainment were agreeably surprised. The character of the performance, and the degree of amusement afforded, surpassed expectation. Mrs. Phillips evinced a high degree of theatrical as well as musical power. Her voice, in the various songs she sang, had great compass and clearness, and was managed with very tasteful modulations. Mrs. Phillips is, undoubtedly a superior vocalist. Mr. Phillips' vocal powers evidently pleased the audience. Mr. Taunton, who presided at the piano, evinced great command over that instrument. His vocal performance in "The Old Arm Chair," and "The Sailor's Grave," showed great power and command of voice. The last part of the performance was a duet sung by Mr. and Mrs. Phillips, with which the audience appeared to be highly delighted. Mr. and Mrs. Phillips give another entertainment this (Monday) evening. And as their first performance last Thursday evening has raised them a respectable name in this town, while the price of the tickets is reduced from 7s. Gd. to 5s., there is every reason to expect a numerous audience this evening.

ASSOCIATIONS: Elizabeth and Alfred Phillips (vocalists, actors)

"Concert", Mount Alexander Mail [Castlemaine, VIC] (3 March 1858), 3 

Mrs. Moore announces a concert at the Criterion Hall to-morrow evening, which can not but prove highly attractive, especially in the present dearth of amusements. Mrs. Moore will have the assistance of Mr. Martin and Mr. Taunton, and Mr. Moore will perform several solos on the violin, on which instrument he is, we understand, a proficient.

ASSOCIATIONS: Rachel Lazar Moore (vocalist); Andrew Moore (violinist)

"MR. TAUNTON'S BENEFIT", Mount Alexander Mail (22 March 1858), 2 

Mr. Taunton announces a concert to take place for his benefit at Bedford's Hotel on Monday. This gentleman has within a short period attained high popularity as a vocalist and that most deservedly. We are not yet aware of the assistance on which Mr. Taunton reckons to assist him at his concert, but we are satisfied, under any circumstances so popular an artist deserves to have a large audience.

TAYLOR, Alfred Joseph (Alfred Joseph TAYLOR; Alfred J. TAYLOR; A. J. TAYLOR)

Musician, composer, librarian, reformer

Born Hobart Town, VDL (TAS), 24 March 1849; son of Thomas Joseph TAYLOR and Emma
Died Hobart, TAS, 8/9 October 1921 (TROVE tagged by Australharmony) (NLA peristent identifier) (NLA peristent identifier)

Alfred Joseph Taylor; photo: John Earle (1865-1932) (University of Tasmania)

Alfred Joseph Taylor; photo: John Earle (1865-1932) (University of Tasmania) (DIGITISED)


Baptisms solemnized in the parish of Trinity in the county of Buckingham in the year 1849; Tasmanian names index; NAME_INDEXES:1090382; RGD32/1/3/ no 3536$init=RGD32-1-3-P639 (DIGITISED)

No. 1475 / [baptised] 20th May [1849] / [born] 24 March [1849] Alfred Joseph / [son of] Thomas Joseph [and] Emma / taylor / High Street / School Teacher . . .

"NEW NORFOLK (From owr own Correspondent)", The Tasmanian Times (21 July 1870), 3 

On Sunday the 10th the usual anniversary services in connection with the Wesleyan Sabbath Schools were preached by the Rev T. F. Bird . . . For some time past the children of the Sabbath School had been practising hymns for the occasion under the leadership of Mr. Alfred Taylor, assisted by the teachers. Three pieces were well rendered; and the Rev T. F. Bird and the Superintendent of the school expressed great satisfaction at the singing of the children.

TEA MEETING. On Friday the 15th inst a Public Tea Meeting to celebrate the Anniversary . . .

THE VOCAL AND INSTRUMENTAL MUSIC. During the evening pieces of music were rendered by the Wesleyan Church Choir, and the music performed on this occasion deserves more than a passing notice.

Mr. J. C. Tapp had kindly lent his valuable Harmonium for the occasion. This instrument which took the prize medal at the Paris Exhibition, and which cost Mr. Tapp £100, was imported to his order, direct from Paris, by the late Mr. Williams, of Hobart Town. It is indeed a noble instrument, and the beautiful music produced on it added greatly to the success of our Anniversary. Mr. Tapp deserves our warmest thanks for the generosity which led to offer the use of an instrument so valuable.

The public meeting was commenced by the choir and congregation singing the 616th hymn to a very pretty tune called "Faith," composed by Mr. J. C. Tapp. The next piece performed was Mozart's grand "Hossanah" Voluntary, (organist Mr. Alfred Taylor, violincello Mr. J. C. Tapp.) This beautiful piece of music was well rendered and was greatly admired.

Then followed a well written anthem "I was glad, &c.," composed by Mr. J. C. Tapp. Owing to the absence ot our tenor voice, Mr. A. Taylor had to take the opening tenor solo "I was glad," &c. He also took the bass solo "For thither the tribes go up to give thanks unto the name of the Lord." The two recitatives commencing "For there is the seat of judgment," &c., and "Peace be within thy walls," &c., were beautifully rendered by Miss E. Salier and Mrs. W. Price; the duett "Our feet shall stand within thy gates" &c., being well rendered by Mrs. Bird and Mrs. W. Price. This anthem was greatly admired, and it showed off to advantage the power of Mr. Tapp's fine harmonium. Next followed an instrumental symphony, organist Mr. A. Taylor, violencello, Mr. J.C. Tapp; violin, Mr. J. Evenden, whose beautiful variations on the violin were much admired.

A fine anthem composed by Mr. J. C. Tapp came next on the programme, and was well rendered by the choir. The duett "Christ from the dead is risen," &c. was rendered with great taste by Mrs. Bird, and Mrs. W. Price. The Bass Solo "Christ being raised by power divine," &c. was sung by Mr. A. Taylor; the chorus parts were boldly and confidently delivered and at the conclusion of the anthem there was a strong burst of applause.

The choir next sung a doxology composed by Mr. Alfred Taylor, after which Mr. Tapp played a concluding voluntary - By skilful modulation he resolved the voluntary into the proper key, when the choir struck up with a will, the chorus "O that will be joyful, when we meet to part no more;" the congregation joining in.

I must not forget to mention that during the evening two young ladies from Hobart Town whom Mrs. Clewer had thoughtfully invited to attend the meeting, and who readily gave their services for the occasion - sung two duetts which were greatly admired and rapturously applauded. The voices of the young ladies without accompaniment, produced music that gladdened the ears of every lover of good music. Before the benediction was pronounced, the Rev. chairman highly complimented Messrs. Tapp and Taylor upon their musical compositions. He thought it worthy of particular notice that the music of all the pieces sung on the occasion had been composed by two residents in the district; this was something for New Norfolk to be proud of. He called upon Mr. Cooper to propose a vote of thanks to Messrs. Tapp and Taylor; to Mr. Evenden the ladies who had added to the evening's enjoyment; the members of the choir; and to Messrs. Graham, Crouch, and Brownell; expressing at the same time his appreciation of Mr. Tapp's kindness in lending his instrument for the occasion.

ASSOCIATIONS: John Charles Tapp

MUSIC: "O that will be joyful, when we meet to part no more" is the chorus to an anniversary Parting hymn (first line: How pleasant thus to dwell below, in fellowship of love")

"LOCAL MUSICAL COMPOSITION", Tribune (3 August 1878), 2 

We have received from Mr. A. J. Taylor, our versatile public librarian, a doxology composed by himself, and neatly written, also illuminated by him for the lithographer's stone. The remainder of the work was entrusted to Messrs. Davies Bros. It is a very pleasing theme, and one which should become a favorite in our local churches. We congratulate Mr. Taylor upon this public development of his assiduous studies.

"MUSIC", Tasmanian Evening Herald [Launceston, TAS] (3 August 1878), 2 

Mr. A. J. Taylor has just published a Doxology, the music of which he has written. The melody is easy and pleasant, and having already been rendered with much success some time since, there is no reason why it should not be extensively adopted. Mr. Taylor has long been known as an excellent musician, and there is no doubt that he is capable of a more pretentious work than this. We may add that the front page has rather a unique and pretty appearance. The design, and in fact, the whole of the music and words were prepared by Mr. Taylor for the lithographers, Messrs. Davies Bros. - "Mercury."

"THE DOXOLOGY", The Cornwall Chronicle (5 August 1878), 2 

We have received from Mr. Alfred J. Taylor, of Hobart Town, a copy of a doxology, the music by himself. The title page, music, and words were all prepared by Mr. Taylor for the lithographers, Messrs. Davies Bros.

"DEATHS", The Mercury (10 October 1921), 1

TAYLOR. - On October 8, 1921, at his residence, Rhondda, 28 Darcy-street, Alfred J., relict of Mary Anne Taylor, in the 72rd year of his age. For many years Public Librarian of this city.

"MR. A. J. TAYLOR DEAD", World (10 October 1921), 4 

Musical work:

Doxology, music by Alfred J. Taylor, dedicated to M. A. Taylor (Hobart Town: [Davies Brothers, printers], [1878])$init=SMU129750055_0 (DIGITISED)

TAYLOR, Ellis (Ellis TAYLOR)


Born Yorkshire, England, c. 1840; son of Henry TAYLOR and Ann
Died Newcastle, NSW, 16 April 1920 (TROVE tagged by Australharmony) (shareable link to this entry)


"A NEW SONG", The Maitland Mercury and Hunter River General Advertiser (16 September 1893), 4 

From Mr. F. G. Crofts, of Newcastle, we have received a copy of the song "The Old Old Home," words by Mr. W. Sadler, music composed by Mr. Ellis Taylor, an Australian composer, who in this case has wedded pleasant and melodious music to pathetic and flowing words. The song has an effective refrain, and we have no doubt it will become a favourite. We are pleased to see Australian composers come to the front.

ASSOCIATIONS: William Sadler (d. Newcastle, 1898, theatre and music hall proprietor, manager)

"The Late J. A. Delany", Freeman's Journal (16 May 1907), 18 

. . . Mr. J. A. Delany was born in London of Irish parents, and came to Sydney with his parents when he was a very small boy. He first studied music systematically with Mr. Ellis Taylor, of Newcastle . . .

ASSOCIATIONS: John Albert Delany (pupil)

"MR. ELLIS TAYLOR An Appreciation (By One of His Students)", The Newcastle Sun (19 April 1920), 1 

With the passing of Mr. Ellis Taylor, who died at his residence, Darby street, Cook's Hill, on Friday, another gifted musician is gone. His early musical activities were (like those of the late Edward King) in the position of organist, and teacher, in the Church of England. As a pupil of his in past years, I cannot let his death pass without a tribute to his greatness some 35 years ago, Mr. Taylor's pupils became the organists of churches in various parts of the district, he being at that time organist of St. John's Church of England, a position now occupied by his daughter, Miss Alice Taylor. Mr. Taylor was, in his day, an able organist, teacher, tuner and repairer of all manner of instruments, and his ability as teacher of the deeper studies of harmony, counterpoint and musical accoustics, is best known to those who, along with myself, have had the privilege of studying under him. Of later years, Mr. Taylor has not taken part as a public performer, but throughout his whole life, while his profession was his means of livelihood, he never once lost sight of his art. Mr. Taylor believed that the best advertisement was honest work well and faithfully done. It is gratifying to know that, though he has gone, he has left a trace of his genius in his daughter, Mrs. Casnau, of Sydney, and Miss Alice Taylor, the present organist of St. John's church. Deceased was 80 years of age, and was a native of Yorkshire, England. He had not been in the best of health since he received a fractured leg in a street in Newcastle three years ago. His wife predeceased him 12 years ago. The funeral took place on Saturday afternoon, to the Church of England portion of Sandgate cemetery.

Musical works:

The old old home, song, written by W. Sadler, music composed by Ellis Taylor ([Newcastle]: F. G. Crofts, [1893]) (DIGITISED)

TAYLOR, Henry (Henry TAYLOR)

Musician, labourer, convict

Born London, England, c. 1800
Sentenced Old Bailey, London, England, July 1818
Arrived Sydney, NSW, 24 December 1818 (convict per Hadlow, from London, August)
Married Susannah GODDARD (b. c. 1801), Sydney, NSW, c. 1821/22
Died Parramatta, NSW, 24 June 1869 (shareable link to this entry)


Case 956, 17 June 1818; Old Bailey Online 

956. HENRY TAYLOR, JOHN HOLLAND, HENRY FEATHERS, and JOHN GLOVER, were indicted for stealing, on the 27th of May, one handkerchief, value 5s., the goods of a certain person unknown, from his person . . . TAYLOR - GUILTY. Aged 18. HOLLAND - GUILTY. Aged 22. FEATHERS - GUILTY. Aged 18. GLOVER - GUILTY. Aged 20. Transported for Life.

Petition of Susannah Taylor for mitigation of her husband's sentence, 1822, to F. Goulburn; State Records Authority of NSW, Colonial Secretary's papers (PAYWALL)

Memorial of his wife Susannah Taylor, to Thomas Brisbane, 1822; State Records Authority of NSW, Colonial Secretary's papers (PAYWALL)

To his Excellency Sir Thomas Brisbane, K.C.B. Captain General and Governor in Chief in and over His Majesty's Territory of New South Wales &c. &c. &c.
The Humble Petition of Susannah Taylor
Respectfully Sheweth
That your humble Petitioner came to this colony in the Ship Fortune in the year 1813 free together with her Parents Benjamin and Catherine Goddard under Permission from the Secretary of State, that her father has since obtained the Indulgences granted by Government, but Petitioner has not heretofore applied for the same by reason of her minority.
That Your Petitioner is since married henry Taylor who holds a ticket of leave from His Excellency Governor Macquarie And by whom she has an Infant Child - her husband a Musician.
That Your Petitioner humbly hopes the aforementioned circumstances will induce your Excellency to grant her the Land to which she feels intitled under the circumstances first mentioned.
And Your Petitioner as in duty bound will ever pray &c. &c. &c.
Susannah Taylor

Letter, J. Atkinson, Sydney, 30 August 1822, to John Nicholson; State Records Authority of NSW, Colonial Secretary's papers (PAYWALL)

. . . Please allow Susan Taylor (wife of Henry Taylor a prisoner now proceeding on the Lady Nelson under sentence to Port Macquarie) . . . a passage on the Lady Nelson to Port Macquarie . . .

Letter, F. Goulburn, Sydney, 14 May 1823, to Captain Allman, commandant, Port Macquarie; State Records Authority of NSW, Colonial Secretary's papers (PAYWALL)

. . . Susan Taylor and her child are permitted to proceed by this opportunity to join her husband under sentence at Port Macquarie under a solemn promise of not returning to Head Quarters . . .

Petition of Susannah Taylor for mitigation of her husband's sentence, 29 March 1824, to F. Goulburn; State Records Authority of NSW, Colonial Secretary's papers (PAYWALL)

. . . That your memorialist about two years ago was married to one Henry Taylor . . . the same having one child and expected daily to be put to bed with another infant . . .

Petition of Susannah Taylor for mitigation of her husband's sentence, 12 August 1824, to F. Goulburn; State Records Authority of NSW, Colonial Secretary's papers (PAYWALL)

. . . That your Memorialist's unfortunate Husband has now been up from Port Macquarie about four months and still confined to Barracks.
That in consequence of such confinement she has been obliged to go to Service to support her Infant Children, and supply her husband with a few little comforts which from the nature of his situation he is unable to procure.
She therefore humbly prays the indulgence of having him assigned to her . . .

Bibliography and resources:

Henry Taylor, per Hadlow, convict records 

Henry Taylor, 1800-1869; Australian royalty 

Henry Taylor (c. 1800-1869), 


Band leader (European Saxhorn Band), ? band instrument seller

Active Sydney, NSW, 1859 (? 1879) (shareable link to this entry)


[Advertisement], The Sydney Morning Herald (9 April 1859), 12

NOTICE.-The European Saxhorn and Quadrille Bands, Nos. 16 and 27, Union-street, Sydney. Balls, Pic-nics, Excursions, Dinner Parties, Processions, &c., &c. attended with brass or string bands. Leaders, Saxhorn Band, Mr. J. Taylor; Quadrille Band, Mr. G. Arnold. Country engagements promptly attended.


? [Advertisement], The Sydney Morning Herald (13 September 1879), 2

MUSICAL INSTRUMENTS. - Cornets, Clarionette, Flute, Saxhorns. Trombones, Bombardon Circular Basses, Side and Bass Drums, Cymbals, &c., better and cheaper than any other Importation. J. TAYLOR, 105 and 82, Bathurst-street.

TAYLOR, James (James TAYLOR; Tally-ho TAYLOR)

Bugler, bugle player (Thomas Mitchell's expedition)

Died (drowned) near future town of Benalla, VIC, 13 October 1836 (shareable link to this entry)


In April 1834 it was reported that Francis Ellard had "completed a Bugle of a very superior description, to be used in Major Mitchell's exploring party." Having hired a bugler, James Taylor, especially, Mitchell used the instrument on his expedition mainly as a signal for members of his party, though, as he also recorded, it astonished some of the Indigenous tribesmen they encountered ("On hearing the bugle it appeared that they seemed much alarmed and drew up at a distance"). Taylor drowned near Benalla while crossing a river on 13 October 1836.


"DOMESTIC INTELLIGENCE", The Sydney Herald (24 April 1834), 3

Mr. Ellard, the Musical Instrument Maker, has completed a Bugle of a very superior description, to be used in Major Mitchell's exploring party.

Bibliography and resources:

Journal transcripts, Major Mitchell expedition

[14 May 1836] . . . Burnett reported when he returned that he had found our track after making a considerable circuit five or six miles from the camp; and as Piper, who accompanied him, was tracing my steps homewards, on perceiving some natives running along it, he concluded that we were just before them and sounded the bugle, when they proved to be the tribe before mentioned, all armed with spears. What their object was I cannot say, for three of them had been trotting along the footmarks, while the rest of the tribe in a body kept pace abreast of them. On hearing the bugle it appeared that they seemed much alarmed and drew up at a distance . . . 

[13 October 1836] . . . The man whom I usually employed on these occasions was James Taylor who had charge of the horses and who, on this unfortunate morning, was fated to lose his life in that swampy river. Taylor, or Tally-ho, as the other men called him, had been brought up in a hunting stable in England, and was always desirous of going further than I was willing to allow him, relying too much, as it now appeared, on his skill in swimming his horse, which I had often before prevented him from doing. I had on this occasion recalled him from different parts of the river, and determined to use the boat and swim the cattle and horses to the other side, when Tally-ho proposed to swim over on a horse in order to ascertain where the opposite bank was most favourable for the cattle to get out. I agreed to his crossing thus wherever he thought he could; and he rode towards a place which I conceived was by no means the best, and accordingly said so to him. I did not hear his reply, for he was just then riding into the water, and I could no longer see him from where I stood on the edge of a swampy hole. But scarcely a minute had elapsed when Burnett, going on foot to the spot, called out for all the men who could dive, at the same time exclaiming "the man's gone!" The horse came out with the bridle on his neck just as I reached the water's edge, but of poor Tally-ho I saw only the cap floating on the river. Four persons were immediately in the water - Piper, his gin, and two whites - and at six or eight minutes at most Piper brought the body up from the bottom. It was quite warm and immediately almost all the means recommended in such cases were applied by our medical attendant (Drysdale) who, having come from Newcastle-upon-Tyne, had seen many cases of that description. For three hours the animal heat was preserved by chafing the body, and during the whole of that time the lungs were alternately inflated and compressed, but all without success. With a sincerity of grief which must always pervade the breasts of men losing one of their number under such circumstances, we consigned the body of poor Taylor to a deep grave, the doctor having previously laid it out between two large sheets of bark. I was myself confounded with the most heart-felt sorrow when I turned from the grave of poor Tally-ho, never to hear his bugle blast again.* (*Footnote. How this man could have died in the water in so short a time we did not understand, but it was conjectured that he had received some blow from the horse, until we were subsequently informed when on the Murrumbidgee by a person there who knew Taylor that he was subject to fits, a fact which satisfied us all as to the sudden manner of his death.)

James (Tally-Ho) Taylor, Monuments Australia 


For another exploring expedition with a bugler, see J. R. Phillips's Hotham Expedition in 1835:

"THE HOTHAM EXPEDITION", The Perth Gazette (10 October 1835), 578

Soon afterwards the bugle sounded, prepare for the start . . . Cheers were echoed and re-echoed from either party; the faint note of the bugle playing Over the hills and far away, was the last remembrance left us of our departed friends.



Active Melbourne, VIC, 1857-61 (shareable link to this entry)


[Advertisement], Bell's Life in Victoria and Sporting Chronicle (27 June 1857), 1 

Licensed Pursuant to Act of Council. Crowded Houses Nightly.
Immense Success of Mr. McDONALD, the Scotch Vocalist.
The Propriotor has great pleasure in announcing to his Friends and the Public,
that he has made engagements with
Mr. JAMES HOUSTON, The Comic Singer; and
Mr. JOHN TAYLOR, The Admired Delineator of Dibdin's Songs,
Who will make their first appearance at the above Hall, in conjunction with -

[Advertisement], The Argus (6 July 1857), 8 

TILKE'S CITY CONCERT HALL . . . John Taylor, the admlrod delineator of Dibdin's songs.

ASSOCIATIONS: William Tilke; Alfred Oakey

MUSIC: Songs of Charles Dibdin

"NEW INSOLVENTS", The Argus (7 March 1861), 1 supplement 

John Taylor, Melbourne, vocalist. Causes of insolvency -
Losses in business through the misconduct of a partner, bad debts, and depreciation of property.
Assets, £23 10s.; liabilities, £149 17s.; deficiency, £126 7s.
Mr. Courtney, official assignee.

TAYLOR, Maria (Maria Maudelina HILL; Miss HILL; Mrs. John TAYLOR; Mrs. TAYLOR; Madame DHERMAINVILLE)

Soprano vocalist, actor ("daughter of the late Mr. Hill, of Covent Garden")

Arrived Hobart Town, VDL (TAS), 1833
Died Calcutta, 13 May 1841, "aged 27 years"

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Actor, comedian, stage manager, clown

Active Hobart Town, VDL (TAS), 1830s


Musician, bandmaster, brass instrument player, composer

Born Wiltshire, England, c. 1821
Active Melbourne, VIC, by 1860 or earlier
Active Castlemaine, VIC, by early 1861
Died Carlton, VIC, 8 August 1881 (TROVE tagged by Australharmony) (shareable link to this entry)


The fullest known account of Taylor's career appears in his advertisement of 1868, which indicates that, prior to arriving in Victoria, probably in the late 1850s, he had served in 6th Enniskillen Dragoons, and as a bandmaster in the Royal Navy.

Taylor was appointed founding bandmaster of the Castlemaine Volunteer Band in 1861. Programmes survive for many of the weekly recitals given by the Castlemaine band in the recently completed Market Hall from early 1862 onwards. Taylor notably programmed several of his own works, though the music of none of them is known to survive. He also programmed some music by other local and colonial composers, including John Rimmer Vincent and Charlotte Fatherley, and a band march by George Loder named after his wife Emma Neville.

On leaving Castlemaine for Melbourne early in 1864, Taylor was succeeded as bandmaster by August Christian Huenerbein.


? [Advertisement], The Argus (25 January 1860), 8 

MR. S. TAYLOR, PROFESSOR of DRILL, Marching, Fencing, and General Manual Exercises. Academy, 80 Fitzroy-street, Collingwood.

[Advertisement], The Argus (6 February 1860), 7 

VOLUNTEERS' BAND.- MEMBERS please attend REHEARSAL at half-past 4 THIS DAY. S. TAYLOR, B. M.

"THE VOLUNTEER CORPS", Mount Alexander Mail [Castlemaine, VIC] (4 February 1861), 3 

. . . The Hon. Sec. read a letter from Mr. Taylor, the appointed band master, who intimated that he had sent in his resignation to Capt. Champ, and that he would present himself the Commanding Officer on or about the sixth inst. . . .

ASSOCIATIONS: Captain Champ was commander of the Pentridge Rifles, the volunteer brigade to which Taylor was evidently previously attached, and to which he later returned.

"THE CASTLEMAINE VOLUNTEER CORPS", Mount Alexander Mail (22 February 1861), 5 

. . . The band master (Mr. Taylor) and Mr. Paulson, who had been sent to Melbourne to purchase instruments for the band, returned on Wednesday, having executed their mission successfully. Some difficulty was experienced in getting instruments of a first class character, but it was at last surmounted, and we are assured that in respect of quality of instruments the Castlemaine band will not be exceeded by that of any other corps in Victoria. Active practice by the members will be commenced immediately . . . By advertisement in another column, the band master requests the members of the band to meet him this evening at his residence in Campbell-street.

"THE CASTLEMAINE VOLUNTEER CORPS", Mount Alexander Mail (10 April 1861), 2 

. . . The band, we may remark, consists of 25 members; the instruments - including cornets, saxhorns, clarionets, piccolos, drums, and all others necessary to make up a full brass band - were purchased by the band master, Mr. Taylor, assisted by Mr. (band sergeant) Paulson, and were carefully selected from Melbourne houses, and in quality will vie with any in the colony; the band master is competent, his pupils are willing and apt, and we have no doubt that the general public will contribute liberally to maintain what will soon be to them a source of high enjoyment.

ASSOCIATIONS: George William Paulson (band sergeant)

"THE THEATRE", Mount Alexander Mail (7 June 1861), 5 

The public patronage of the Marsh troupe reached its climax on Wednesday evening . . . a complimentary benefit to Mr. Marsh. The house was literally crammed . . . . The burlesque of "Jack the Giant Killer," dancing and singing by the troupe, a few marches by the Volunteers band, and the farce of Mr. and Mrs. Toodles, were included in the programme of the evening's entertainment . . . The curtain drew up to the Volunteer Band, who were warmly greeted. They played several pieces, including the Marsh Troupe polka, composed by Mr. Taylor, the band master . . .

"THE THEATRE", Mount Alexander Mail (27 September 1861), 5 

Last night, the performances were for the benefit of the band of the Volunteer Rifle Corps. Mr. and Mrs. Younge and Mr. Winterbottom appeared; and some of the volunteers presented themselves on the stage, fencing with Mr. Winterbottom, but not with success. The Band of the Volunteers played during the evening, and obtained well-merited applause from the audience.

ASSOCIATIONS: John Winterbottom; Frederick and Emma Younge

[News], Mount Alexander Mail (11 December 1861), 3 

The Volunteer Band played for more than an hour on Monday evening, at the corner of Market Square and Hargreave-street, much to the delectation of a large number of people. The band will turn out in future every Monday evening, and the knowledge of that fact will probably cause a large attendance at their concerts. It is understood that the master, Mr. Taylor, will, change the venue occasionally, and that next Monday evening, the band will play at the corner of Market-square and Barker-street.

"THE VOLUNTEER BAND", Mount Alexander Mail (24 February 1862), 3 

The band of the Castlemaine Volunteer Rifle Corps, under the direction of Mr. Taylor, will perform the following selection of music, in the New Market House, this evening, at eight o'clock:
Grand March, Op. Massaniello - Auber
Waltz, Sherwood - Russell
March, Canadian - Russell
Polka, L'Esperance - D'Albert
Solo, Cornet-a-piston, "The Cottage by the Sea." - Thomas
March, "Bonny Dundee." - Sir W. Scott
Quadrille, Imperial (first time in the colony) - Coulon
March, "Castles in the Air."


Sir, - In justice to myself and the Castlemaine band, over which I have the pleasure to preside, I must protest against the very unfair manner in which the prize for the best volunteer band was awarded on Tuesday last, at the Werribee. The judges appointed were Captain Wilkie, and Messrs. Chapman and Glen. I was desired by Captain Wilkie to "play something short, merely a few bars - the shorter the better;" and, in accordance with these instructions, a march was played once through, lasting not more than three minutes. The Geelong band was next allowed to play a selection of music occupying twelve or fifteen minutes, giving the members an opportunity of showing their skill both in fast and slow movements.

I maintain that the instructions given to the Castlemaine band should have been rigidly enforced in every instance, or, at the least, the Castlemaine band should have been allowed to play a further selection, so that the contest should be fair.

One of the most amusing incidents connected with this competition remains to be told. At the conclusion of the performances, Captain Wilkie told me that he had nothing to do with the decision, but had merely to give in to the majority (Messrs. Chapman and Glen), as they decided in favour of Geelong. Immediately afterwards, I was accosted by Mr. Glen, who declared that he had nothing to do with the decision, as it rested between Captain Wilkie and Mr. Chapman, and the latter gentleman told me that the decision rested with Captain Wilkie and Mr. Glen, - no one of the three gentlemen having an opinion of his own. The judges also told me that my band was a credit to Castlemaine and myself, but the Geelong band had been formed much longer, and had played a much longer selection of music. I hope that the members of the Geelong band will not think this is written in an unfriendly feeling; nor do we envy them the possession of the paltry prize; but I maintain that the Castlemaine band has been treated with great injustice in not having been allowed the same privileges as their rivals in this contest; and I have no other remedy than to expose the whole proceedings, and leave the rest to public opinion. Begging your insertion,
I remain yours, &c., SAMUEL TAYLOR, Bandmaster, Castlemaine, April 25.


Sir,-I am extremely sorry in being under the necessity of replying to Mr. Taylor's letter in your issue of this morning. Mr. Taylor says he "must protest against the very unfair manner in which the prize for the best volunteer band was awarded." It is very remarkable that Mr. Taylor does not in one instance attempt to bring forward anything to prove that the prize was unfairly given. He certainly ought to have known better than to have listened to what Captain Wilkie or anybody else might have said, considering he was master of his own band, and was not bound to play any particular class of music. I, as a musician, consider he (Mr. Taylor) sacrificed his band by the selection he made in competing for the prize, and, as Bell's Life justly remark in their report, that the performance was "somewhat marred by an injudicious accompaniment of the bass drum."

The main object in my replying to Mr. Taylor's letter is because he has not confined himself to the truth. He says distinctly that I told him the decision was left with Captain Wilkie and Mr. Glen. I most emphatically deny it, for I never saw or spoke to Mr. Taylor on the subject after the prize was awarded. I, moreover, called on Mr. Glen this morning, and he also denies ever having said that the decision was left with Captain Wilkie and himself. By inserting this in your journal, you will oblige, -
Your obedient servant, GEORGE CHAPMAN. Music Warehouse, 117 Swanston-street, April 28.

ASSOCIATIONS: George Chapman; Joseph Wilkie; William Henderson Glen

[News], Mount Alexander Mail (6 January 1864), 2 

The Volunteer Band, under the direction of Mr. Taylor, will perform the following selection of music, in the Market Hall, this (Wednesday) evening.
Quick Step, Castlemaine Rifles - Taylor
Selection, Opera Matilda - Wallace
Quadrilles, Star of India - Shmuck
Air. Op. William Tell - Rossini
Troop, Aldershott - Spence
Polka, Bobbin around - Alary
Galop, The great excitement - Laroche
God save the Queen.

"CORRESPONDENCE. THE BAND-MASTER", Mount Alexander Mail (29 February 1864), 2 

SIR, - I would suggest that as Mr. Taylor is on the eve of leaving Castlemaine, some recognition of the valuable services he has rendered the Volunteer Band of this town should be made him, in the form of a suitable testimonial. Considering the very efficient manner in which Mr. Taylor has discharged his duties as Band-Master, and the perfection the band has attained since, under his superintendence, I feel sure that the lovers of music and the inhabitants generally, will not allow Mr. Taylor to depart without giving him a substantial proof of their appreciation of his ability as a Band-Master, and the energy displayed by bim in his successful endeavours, to organize the finest band in the colonies.
Yours, &c., HARMONY.

[News], The Argus (10 April 1867), 5

There was a goodly muster of the members of the Pentridge Rifle Corps in the East Collingwood Orderly-room last evening, for the purpose of conferring a parting compliment upon their late bandmaster, Mr. Samuel Taylor. The testimonial, engrossed and framed, expressive of the best feeling of the Pentridge Rifle Company to the recipient, was presented by Mr. Hardinge, who stated that every member of the corps regretted the severance of the tie which for the last three years had been of undoubted advantage to the company. Mr. Taylor returned thanks for the kindness bestowed upon him by his old comrades, which he said he could fully appreciate when he considered they had travelled five miles that evening to meet him. The new band now forming by the East Collingwood Rifles is to be placed under the direction of Mr. Taylor, who is succeeded at Pentridge by Mr. Johnson, late bandmaster of the 40th Regiment.


[Advertisement], The Argus (26 August 1868), 8

MUSIC. Mr. S. TAYLOR, BANDMASTER (late H. M. 6th Enniskillen Dragoons, formerly bandmaster in H. M. navy), begs to state he has erected a PRACTICE-ROOM expressly for all kinds of WIND INSTRUMENTS, fitted up with every regard to comfort, sound, &c, where persons desirous of learning the clarionet, cornopean, piccolo, saxhorn, euphonium, trombone, side drum, and all instruments required in military, naval, or volunteer bands, may do so at a reasonable expense.
Mr. T. has organised the following bands to the entire satisfaction of each corps, viz.- Original Head quarters,
Castlemaine Rifles,
Pentridge do.,
East Collingwood do.,
Eaglehawk do. (drum and fife);
Reformatory ship do.
Mr. T. may be consulted regarding terms Tuesday or Thursday evenings, at the East Collingwood Orderly room, or at his residence, Townham cottage, Station street, Carlton.
Music arranged for reed or brass bands. A juvenile class now forming.

"THE MAMMOTH PAVILION", Ovens and Murray Advertiser [Beechworth, VIC] (30 December 1873), 2 

This really clever company of Siamese artistes opened out their "big curiosity shop" in Beechworth, on Saturday night, to a well-filled house, upwards of 500 persons being present . . . Mons. Leon is the best and most graceful male trapezist we have seen in Victoria . . . It is seldom a travelling show can afford a good band, and yet more rare that the proprietors have the pluck to engage real talent. Messrs. King and Anderson, however, have seemingly determined to do a "big business" irrespective of the expense. We notice that Messrs. Samuel Taylor and Tom Hunter - the former as leader (and with out exception the best military band master in Victoria, formerly the band master of the Castlemaine Rifles), and the latter a capital musician and also a late band master - are in the orchestra. The music discoursed on Saturday and last night, was a treat to those who are delighted with sweet harmonious sounds, and was duly appreciated by the large audience . . .

[News], Gippsland Times (17 February 1879), 3 

If any one can reorganise the Sale Borough band, bring it to a state of complete discipline and concord, and make it second to none in the colony, it is Mr. Samuel Taylor, whom the committee have appointed to the position of band master. This gentleman is an accomplished musician, and for a considerable time occupied that post in one of the strongest provincial volunteer companies. It was then commonly admitted that the band of which he was head was second only to the head quarters band. For nine years after, Mr. Taylor was bandmaster to the Collingwood rifles. Under his tuition we trust that the difficulties which have beset the band from its inception, and latterly threatened its existence, will vanish, and that it may now be numbered in earnest among our permanent institutions.

"SALE BOROUGH BAND", Gippsland Times (24 March 1880), 3

. . . Recognising the necessity for a thoroughly efficient teacher, your committee, relying upon the help of the public, engaged the services of Mr. Samuel Taylor as band master, at a salary of £104 per annum. The result has justified their action, as they now practically show a clear balance sheet, and the efficiency of the Band speaks for itself. The open air concerts given by the Band have been so much appreciated by the public that your committee hope soon, through the building of a rotunda in the public gardens, to repeat such performances to greater advantage . . .

"NEWS OF THE DAY", The Age (12 August 1881), 2 

The medical officer reported as follows: - . . . deaths . . . Samuel Taylor, native of England, aged 60 years, on the 8th inst., of chronic hepatitis . . .

[News], Weekly Times (13 August 1881), 17 

. . . Samuel Taylor, native of Wiltshire, sixty years, on the 6th inst. [sic], of chronic hepatitis . . .

"DEATH", Gippsland Times (17 August 1881), 2

TAYLOR.- On August 8, at Barkly-street, Carlton, of dropsy, Samuel Taylor, late of Sale and Castlemaine.

[News], Gippsland Times (17 August 1881), 3

Our obituary records the death of Mr. Samuel Taylor, late master of the Sale Borough band, and formerly master of the band of the Castlemaine rifle corps. He died on the 8th inst. at his residence in Carlton. The deceased gentleman was an accomplished musician, his practical knowledge of all instruments which enter into the composition of a brass band making him invaluable as an instructor and leader. Under his tuition, the Castlemaine band acquired a deservedly high reputation in the early days of our volunteer force; and the Sale band was rapidly attaining much proficiency under his guidance, when illness compelled his removal to Melbourne. He leaves a widow and one child.


Bandmaster (Avoca Brass band)

Active Avoca, VIC, 1869
Active Adelaide, SA, 1880-82 (shareable link to this entry)


[Advertisement], Avoca Mail (21 August 1869), 3 

Avoca Brass Band. On MONDAT, 23rd instant, a VOCAL and Instrumental Concert . . .
T. P. TAYLOR, Bandmaster.

"THE SEMAPHORE", South Australian Register (10 April 1880), 5

An open-air concert will be given by the Port Band at the Semaphore this afternoon, beginning at 4.30 p.m. Mr. T. P. Taylor, late Bandmaster of the Prince of Wales's Light Horse, will conduct the musicians.

"THE 'BRASS BAND NEWS' IN SOUTH AUSTRALIA", Wright & Round's Brass Band News (1 April 1882), 2 

Messrs. Wright & Round -
Dear Sirs - I have very great pleasure in forwarding subscription for your Brass Band News. I cannot describe with what exceedingly pleasurable feelings I perused your first number. It is a paper that has been much needed for some time past. Out here in the Antipodes, we seem to know but little or nothing about the progress of bands in the old country, but in reading your News one seems to be quite at home among old musical friends, aye, and all over England in a few minutes. I do certainly from the bottom of my heart wish you the greatest success possible, and which your enterprise justly merits, an enterprise as unquestionably original as it is preeminently progressive and useful.
I am, dear Sirs, yours very truly,
T. P. TAYLOR, Bandmaster, Hackney, Adelaide, South Australia.

TAYLOR, Thomas (Thomas TAYLOR)

Bandmaster (The Adelaide Brass and Reed Band, late Leader of Wombwell's Brass Band)

Active Adelaide, SA, 1854-55 (shareable link to this entry)


"HITCHIN", Hertford Mercury and Reformer [England] (11 December 1847), 3

WOMBWELL'S MENAGERIE was exhibited here during Friday and Saturday, and attracted great number of visitors . . . The admirers of Sacred Music were highly gratified by the performance of Wombwell's Brass Band at the large room at the Cock Inn, at Hitchin, on Sunday evening last, of several pieces from the "Creation" and the "Messiah," and other Oratorios, before a crowded audience.

"TIVERTON RACES", Exeter and Plymouth Gazette [Devon, England] (1 September 1849), 8

. . . The races were at intervals enlivened by the strains of Wombwell's brass band, accompanied by the Lion Queen seated on her performing elephant . . .

[Advertisement], South Australian Register (29 March 1854), 1

THE ADELAIDE BRASS and REED BAND is now reorganized under the direction of Mr. Taylor, late Leader of Wombwell's Brass Band. Parties requiring the service of the above Band must apply on Tuesday or Friday evenings at the practice-room, Thistle Inn, Weymouth-street: or to Mr. Taylor, Everett's Cottage, Grote-street.
THOMAS OUGH, Band-Master.
Adelaide, March 24, 1854.


"MARTIAL MUSIC. TO THE EDITOR OF THE . . . ", South Australian Register (29 August 1854), 3

Sir - On behalf of the volunteers of North Adelaide (considering the unanimous manner in which they are coming forward), I claim the privilege of making an observation that has not as yet appeared in print, though quite applicable to the circumstances of the present time. All good men agree with the poet, when he says, "Music has charms," &c. Now, Sir, there is nothing that I can conceive more calculated to give life and vigour to our exertions, or imbue us with a patriotic and daring spirit than martial music. I felt the conviction of this the other evening while listening to Mr. Taylor's Saxe-horn brass band. I feel confident that if that gentleman and his band could be induced to volunteer, a week would not go by without your having any number of volunteers you could require. The members of that band are all old colonists except the leader, who has lately led Wombwell's celebrated brass band. Your insertion of the above will, I am sure, give joy to many a man who begins to feel the glow of military ardour, and much hope to

"PROPOSED DINNER OF THE VOLUNTEER OFFICERS", South Australian Register (12 May 1855), 2

. . . A letter was read from Mr. Thomas Taylor, offering to provide a brass band on the occasion of the dinner. It was referred to the committee . . .

TAYLOR, William Geddes (William Geddes TAYLOR, "Watty" Geddes TAYLOR; W. Geddes TAYLOR)

Amateur musician, clarinettist, composer, compositor, journalist, publican

Born Scotland, c. 1858
Active SA, by 1884
Died Adelaide, SA, 10 May 1909, aged 51 (TROVE tagged by Australharmony) (shareable link to this entry)


[Advertisement], South Australian Register (6 October 1884), 1

For Pianoforte. Price, 2s. net. By W. Geddes Taylor.
To be bad from Messrs. S. Marshall & Sons.

"NEW MUSIC", South Australian Register (27 May 1887), 5

[Advertisement], South Australian Register (28 May 1887), 1

MUSIC - JUST PUBLISHED, the "FOOTBALL POLKA" (for Piano). Copies can now be had from principal Musicsellers.

[News], The Advertiser (28 May 1890), 7

"Bits for Boniface", Quiz [Adelaide, SA] (28 May 1909), 8 

Mr. W. Geddes Taylor, whose demise took place on May 11, was for many years the popular proprietor of the Duke of Brunswick Hotel, Gilbert Street. Originally from Scotland, he contributed many letters to the press on the fishing industry. He was a compositor by trade, and was for years employed at the Register Office until the unfortunate strike, when "unionists" from Broken Hill and New Zealand took the places of the those who went out. Mr. Taylor then went into the hotel business. He was a good clarionet player, and a composer of music, one of his compositions being the "Kreutz Polka." "Watty," as his friends called him, was a good shot with the gun, and was a keen follower of Izak Walton.

"IN MEMORIAM", The Advertiser (11 May 1910), 8

TAYLOR. - In affectionate remembrance of William (Watty) Geddes Taylor, who died at Gilbert-street, Adelaide, on May 10, 1909. - Inserted by his brother, Charles J. Taylor, Parkside.

Musical works:

Austral dreams valse (Adelaide: S. Marshall & Sons, 1884)


The football polka (by W. Geddes Taylor; dedicated by permission to the Victorian and South Australian Football Associations) ([1887]) (DIGITISED)

TEGG, James (James TEGG)

Bookseller, publisher, printer (J. Tegg & Co.)

Born Cheapside, London, 16 January 1808; baptised All Hallows, Honey Lane, 17 March 1811; son of Thomas TEGG (1776-1845) and Mary HOLLAND (c. 1782-1852)
Arrived Sydney, NSW, 12 December 1834 (per John Craig, from London, 9 August, via the Cape of Good Hope, 18 October)
Married Eliza Rebecca SILVESTER (1809-1864), St. Philip's church, Sydney, NSW, 16 December 1836
Died North Shore, NSW, 16 May 1845 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)

TEGG, Samuel (Samuel Augustus TEGG; Samuel TEGG)

Bookseller, publisher, printer, music and instrument seller

Born London, England, 8 January 1813; baptised All Hallows, Honey Lane, 7 February 1813; son of Thomas TEGG (1776-1845) and Mary HOLLAND (c. 1782-1852)
Arrived Sydney, NSW, 12 December 1834 (per John Craig, from London, 9 August, via the Cape of Good Hope, 18 October)
Arrived Hobart Town, VDL (TAS), December 1836
Married (1) Caroline LEWIS (c. 1817-1865), St. John's, New Town, VDL (TAS), 23 February 1837
Married (2) Jemima WALDRON (1835-1902), St. Leonard's church, Shoreditch, London, England, 11 June 1866
Died Paignton, Devon, England, 5 December 1872 (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


Son of London bookseller and publisher Thomas Tegg, James Tegg was not generally involved with musical selling or publishing. However, in May 1842, he published the word-book to Charles Nagel's "musical burletta" Mock catalani in Little Puddleton (copy at British Library digitised). The music-seller Thomas Rolfe, from whom Tegg's wordbook was also available, meanwhile published music for the songs. (The Rolfe family, music sellers, had been neighbours of the Teggs in Cheapside, London.)

In Hobart in July 1838, Samuel Tegg advertised publication of the The first set of the Van Diemen's Land quadrilles ("by the late music master of H.M S. Wellesley and Alfred"; no copy identified


Baptisms solemnized in the parish of All Hallows, Honey Lane in the City of London, in the year 1813; London Metropolitan Archives (PAYWALL)

No. 1 [baptised] 1813 Feb'y 7 / [born] 8th Jan'y / Samuel Augustus Son of / Thomas & Mary / Tegg / Cheapside / Bookseller . . .
No. 8 [baptised] 1815 Jan. 8th / [born] 10th of Dec'r 1814 / John Son of / Thomas & Mary / Tegg / Cheapside / Bookseller . . .

"SHIPPING INTELLIGENCE", The Sydney Herald (15 December 1834), 2 

From London and the Cape of Good Hope, on Friday last [12 December], having sailed from the former port on the 9th of August, and the latter the 18th of October, the barque John Craig, 550 tons, Captain Currie, with Merchandize. Passengers . . . Mr. James Tegg; Mr. Samuel Tegg . . .

"COLONIAL LITERATURE", The Colonist (26 March 1835), 4 

. . . The Messrs. Tegg, sons of the famous cheap bookseller of Cheapside, London, have lately opened a shop in George Street, not unworthy in appearance of the British metropolis itself . . .

"CONTENTS OF WEDNESFDAY'S New South Wales Government Gazette", The Sydney Monitor (17 October 1835), 3 

20-MESSRS. James and Samuel Augustus Tegg give notice, that the partnership hitherto existing between them has been dissolved.

"Shipping Intelligence . . . DEPARTURES", The Sydney Monitor (24 October 1835), 2 

On Tuesday, the American ship Tybee, Captain Rogers, for [NZ and] the United States, with a cargo of Colonial produce. Passengers . . . Mr. Samuel Tegg . . .

"STATIONER'S SHOP", Bent's News and Tasmanian Three-Penny Register (17 December 1836), 2 

One of the most splendid stationer's and bookseller's shops ever witnessed in Van Diemen's Land, is, we understand, about to be forthwith opened in Hobart Town, by Mr. Tegg, who has just arrived from England, with an extensive and very valuable investment of stationery and publications. Mr. Tegg is brother of Mr. Tegg, the Bookseller of Sydney; and son of the celebrated Bookseller and Publisher of that name in Cheapside . . .

"Marriages", The Sydney Herald (22 December 1836), 2 

On Friday last, the 16th instant, by Special License, at St. Phillip's Church, by the Rev. W. Cowper, Mr. James Tegg, Bookseller and Publisher, of George-street, to Miss Eliza Rebecca Silvester, late of London.

"Domestic Intelligence", The Colonist (29 December 1836), 3 

Mr. Tegg, who some months since returned to England, via the United States, is on his way to the sister-colony in the Wave, with a large stock of stationary and books, to open a branch establishment in connexion with his brother here, and his father, the celebrated publisher of Cheapside, London.

Marriages solemnized in the parish of St. John's New Town . . . in the year 1837; Tasmanian names index; NAME_INDEXES:823575; RGD36/1/3 no 3777$init=RGD36-1-3P91 (DIGITISED)

No. 50 / Samuel Augustus Tegg . . . Caroline Lewis . . . [23 February 1837] . . .

[Advertisement], The Tasmanian (29 March 1839), 1 

NEW MUSIC, Ex Appoline,
CONSISTING of the last Songs, Operas, Harp, Exercises, &c.
Also on Sale, - One of Tomkinson's [sic] Grand Pianos. Purchasers of any of the above Music can try the Pieces.
S. A. TEGG, Derwent Circulating Library, March 26, 1839.

ASSOCIATIONS: Piano by Thomas Tomkison [sic]

[Advertisement], Port Phillip Patriot and Melbourne Advertiser (21 April 1842), 3 

MR. TEGG, HOBART TOWN, had just received a large assortment of SACRED MUSIC, from the works of Haydn, Mozart, Beethoven, Handel, and others; and as many of these are large works, he has been advised to put them in LOTS, varying in value from £20 downwards, and offer the same to the public by tickets at 30s. each. Parties who know, and can appreciate the works of the above GREAT MASTERS, would do well to avail themselves of such an opportunity, as probably so valuable a collection may never again be offered. Every information concerning this music can be had at Mr. Tegg's Stationery Warehouse, Hobert Town, or from his agent, Mr. Clarke, Professor of Music, Swanston-street, Melbourne, where tickets are now on sale. Early application is necessary, as the drawing will take place on the 21st of MAY NEXT.

[Advertisement], The Australian (7 June 1842), 3

THE MOCK CATALANI IN LITTLE PUDDLETON, a Musical Burletta, in one act, by Charles Nagel, Esq., as performed at the Royal Victoria Theatre, Sydney, New South Wales.
Sold by James Tegg, printer, George-street; and Thomas Rolfe, music-seller, Hunter-street.

"ORIGINAL CORRESPONDENCE. To the Editor", The Australian (9 June 1842), 3

Sir, Feeling an interest to witness the representation of the "Mock Catalani", I attended the Theatre on Tuesday evening last, having first provided myself with the pamphlet of the piece, as published at Tegg's . . .

[2 advertisements], Colonial Times (8 August 1843), 1

SACRED MUSIC, WILL BE PUBLISHED IN A FEW DAYS, PART NO. I. OF THE PSALMIST, being a Collection of Psalm and Hymn Tunes, arranged for general Congregational Worship. Sold by Rolwegan, Collins-street; and Tegg, Elizabeth-street.

NEW MUSIC. PUBLISHED, THIS DAY, TASMANIAN WALTZES, COMPOSED BY JOHN HOWSON. On Sale, at Tegg's Music Repository, Elizabeth-street; at the Author's; and at Mr. F. Howson's, Liverpool-street. July 18.

"DIED", The Sydney Morning Herald (17 May 1845), 3 

On Friday, 16th instant, at the North Shore, Mr. James Tegg, formerly bookseller of this City; son of Thomas Tegg, Esq., Cheapside, London, aged 37 years.

[Advertisement], Colonial Times (2 September 1845), 2 

Pianoforte for Sale. A FIRST-RATE UPRIGHT GRAND PIANO, by Tomkinson. -
For particulars, apply to MR. S. A. TEGG, Bookseller, Elizabeth-street, Sept. 2, 1845.

"THE LATE MR. TEGG", Geelong Advertiser (30 September 1846), 1

Obituary and biography of their father, Thomas Tegg, of London

"Shipping Intelligence. ARRIVED", The Melbourne Argus (17 December 1847), 2 

December 16. - Shamrock, steam-ship, Gilmore, commander, from Launceston. Passengers (cabin) - Samuel Tegg, Esq. . . .

"ODDS AND ENDS", Port Phillip Gazette and Settler's Journal (27 November 1848), 2 

By a late London paper we perceive that a Mr. Keys, a clerk in the Bank of England, is in custody undor rather singular circumstances. Mr. Samuel Augustus Tegg, who will be recollected by many as an extensive bookseller in V. D. Land, but who latterly returned to England, missed a miniature of his wife in a gold frame, and other property to the value of £700 or £800, some portion of which was subsequently found in the possession of Keys, between whom and Mrs. Tegg it is believed an improper intercourse had long existed. The lady had absconded.

Bibliography and resources:

"Tegg, Thomas (1776-1845)", Dictionary of national biography (1898),_Thomas_(DNB00)

"THE OLDEST FIRM OF BOOKSELLERS IN AUSTRALIA", The publishers' circular and booksellers' record (22 June 1901), 676

"DEVONSHIRE-STREET CEMETERY", Truth (22 September 1901), 3 

The "Publishers' Circular" (London) of a recent date contains an account of the "oldest firm of booksellers in Australia," of which the following is an extract: "On January 1, 1846, in Hobart, Tasmania (then, and for many years afterwards, known as Van Diemen's Land), was established the publishing, bookselling and stationery business of J. Walch and Sons. The bookselling business is of older date, for it was started in 1836 by Mr. Samuel A. Tegg, a son of Mr. Thomas Tegg, the well-known publisher in Cheapside. Mr. S. A. Tegg, on the death of his father, decided to sell his business and return to London, when it was purchased by Major J. W. H. Walch, a retired officer of Her Majesty's 54th Regiment." This is only partially true. In the Sandhills Cemetery, as mentioned on a former occasion, is the grave of Mr. James Tegg, bookmaker of this city, son of Thomas Tegg, Esq., of. London, etc." This Mr. Tegg arrived in Sydney in 1834, two years before S. A. Tegg settled in Hobart Town . . .

L. F. Fitzhardinge, "Tegg, James (1808-1845)" and "Tegg, Samuel Augustus (1813-1872)" [shared entry], Australian dictionary of biography 2 (1967)

Victor Crittenden, James Tegg: early Sydney publisher and printer: the Tegg Brothers, the Australian arm of the book empire of Thomas Tegg of London (Canberra: Mulini Press, 2000)

TEICHELMANN, Christian Gottlieb (Christian Gottlieb TEICHELMANN; C. G. TEICHELMANN)

Recorder of indigenous language, songs, and customs, Lutheran missionary

Born Dahme, Saxony, 15 December 1807
Arrived Adelaide, 12 October 1838 (per Pestonjee Bomanjee)
Died Stansbury SA, 31 May 1888 (NLA persistent identifier) (shareable link to this entry)


In their Vocabulary . . . of the Aboriginal languages of South Australia (1840), Teichelmann and his co-authorClamor Wilhelm Schürmann transcribed and translated the words of two songs, Kadlitpiko palti (Captain Jack's song) and Mullawirraburkarna palti (King John's song), and also reported the existence of a Nguyapalti (small-pox song) belonging to people of the Adelaide region.

See onsite entries:


Outlines of a grammar, vocabulary, and phraseology, of the aboriginal language of South Australia: spoken by the natives in and for some distance around Adelaide by C. G. Teichelmann, [and] C. W. Schürmann . . . (Adelaide: Published by the authors at the native location, 1840), 34, 73 

Pindi mai birkibirki parrato, parrato. (Da capo bis.)
The European food, the pease, I wished to eat, I wished to eat.

Natta ngai padlo ngaityarni-appi; watteyernaurlo tappandi ngaityo parni tatti. (Da capo.)
Now it (viz. the road or track) has tired me; throughout Yerna there is here unto me a continuous road. 

Ngunyawaieti, s. play; dance; corrobberee . . .

Nguya, s. pustule; the disease of small-pox, from which the aborigines suffered before the Colony [SA] was founded. They universally assert that it came from the east, or the Murray tribes, so that is not at all improbable that the disease was at first brought among the natives by European settlers on the eastern coast [NSW]. They have not suffered from it for some years -, but about a decennium ago it was, according to their statement, universal; when it diminished their numbers considerably, and on many left the marks of its ravages, to be seen at this day. They have no remedy against it, except the nguyapalti.

Nguyapalti, small-pox song, which they learnt from the eastern tribes, by the singing of which the disease is believed to be prevented or stopped in its progress.

Bibliography and resources:

Heide Kneebone, "Teichelmann, Christian Gottlieb (1807-1888)", Australian dictionary of biography Suppl. (2005)

TEMPLER, James Lethbridge (James Lethbridge TEMPLER; "J. L. T."; TEMPLAR [sic])

Mariner, pastoralist, painter, poet, songwriter, Indigenous culture reporter

Born Bridport, Dorset, England, 9 November 1811;baptised St. Mary's, Bridport, 19 November 1811, son James TEMPLER and Catherine LETHBRIDGE
Arrived Sydney, NSW, 27 May 1839 (per Young Queen, from Canton; via Hobart, 10 April)
Died South Creek, near Penrith, NSW, 14 August 1845 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Nephew of Phillip Parker King; nephew of Robert Copland Lethbridge (who was father of Robert Copland Lethbridge, and grandfather of Harold Octavius Lethbridge)


"Shipping Intelligence", Colonial Times (16 April 1839), 4 

April 10 - Arrived the ship Young Queen, 328 tons, Robert Atkins master, from Canton, with a cargo of tea, sugar, segars, &c. Passengers - Captain James L. Templer, and William Walkinshaw, Esq. Agents, Hewitt & Co.

"MELANCHOLY ACCIDENT", The Sydney Morning Herald (18 August 1845), 3 

We are sorry to have to announce the death by accident of Mr. J. L. Templar, of Penrith. We have not heard the full particulars of the melancholy event, but believe that Mr. Templar and two friends were returning from a party on Thursday morning, when the horse took fright and ran away, his friends not being able to keep up with him, and it was not until Friday afternoon that his body was found quite dead, his skull having been fractured.

"DEATH", The Sydney Morning Herald (20 August 1845), 3 

Killed, instantaneously, on the 14th August; by fall from his horse, James Lethbridge Templar, of Erskine Park, Penrith, Esquire, eldest son of James Templar, Esquire, of Bridport, Dorset.

"SYDNEY NEWS", Port Phillip Patriot and Melbourne Advertiser (27 August 1845), 2 

Mr. J. L. Templar, of Penrith, was unfortunately killed on Saturday last by a fall-from his horse. This gentleman was in good circumstances, and of some literary attainments; he is known as the author of various clever articles in the colonial newspapers. His untimely end is so much the more melancholy, as he and his brother were making arrangements for their return to England.

"Old District History", Nepean Times (3 June 1911), 7 

. . . Lieutenant P. P. King, afterwards a Rear-Admiral of the Blue, was a son of Governor King, and the family were among the founders of South Creek, and were the chief original benefactors of St. Mary Magdalene Church in which cemetery they are buried, where the visitor may see their graves and read their epitaphs . . .

. . . "JAMES LETHBRIDGE TEMPLAR", of Erskine Park, Accidently killed while returning on horseback from Richmond, 14th August, 1846, in the 33rd year of his age, and buried in St. Mary's Churchyard, on the 17th following." . . .

Published works (in The Atlas, 1845):

J. L. T., "TO THE MEN OF GUNDAGAI, The Atlas ((22 February 1845), 150 

Ye Watermen of Gundagai . . .

J. L. T., "PUNCH'S PARALLELS", The Atlas (1 March 1845), 162 

In Moses' day, a Gipsy-king . . .

J. L. T. "JOHNNY AND MELBOURNE - NO FABLE", The Atlas (8 March 1845), 176 

J. L. T., "PROMETHEAN PUPPETS", The Atlas (15 March 1845), 184 

J. L. T., "THE DESTRUCTION OF THE SQUATOCRACY", The Atlas (22 March 1845), 194 

The Commissioner'll come with his wolves to my fold . . .

J. L. T., "SONG. TUNE - Young Lochinvar", The Atlas (29 March 1845), 207 

Oh Governor Gipps is come out of the west . . .

J. L. T., "HORACE IN SYDNEY", The Atlas (5 April 1845), 218 

J. L. T., "THE MODERN MILO", The Atlas (26 April 1845), 254 

There lived a man in days of yore . . .

J. L. T., "THE BARE'D. A PINDARIC ODE", The Atlas (10 May 1845), 278 

J. L. T., "SIR GEORGE'S FATE", The Atlas (24 May 1845), 304 

J. L. T., "SONG. AIR - Farewell! but whenever you welcome the hour", The Atlas 31 May 1845), 314 

Farewell! but whenever we think of the hour . . .

Other published works:

Poems, by the late James Lethbridge Templer, commander of the "Minerva" East Indiaman, edited by his brother John Charles Templer (London: W. J. Johnson, 1872) (DIGITISED) (DIGITISED)

Portrait of the author, frontispiece; biography of the author, 5; contents include:
"To - - - / I swear to be thine, love", 92-94 . . . [These lines have been set to music by his nephew, Frederick Gordon Templer]; SONG . . . The banks of the Bride, of the bonny, bonny Bride, 101, . . . [These lines have been set to music by his nephew, Frederick Gordon Templer]; several songs with indicated airs and tunes, 120, 122, 123, 132 (Tune - "The King of the Cannibal Islands"), and especially:

Song, "Indemnity Gipps", Erskine Park, June, 1844, 155-57 [on George Gipps]: (DIGITISED)

Other sources:

Papers, Templer family (1827-95); State Library of New South Wales 

James Lethbridge Templer journal, 14 February 1839 to 15 February 1842; State Library of New South Wales 

Begins 14 Feb. 1839 aboard the barque Young Queen on a voyage to New South Wales. Describes Hobart and surrounding areas, 10 April-15 May 1839, arrival at Sydney 27 May, subsequent stay with Robert Copland Lethbridge's family at the property Werrington, near Penrith, visit to Port Stephens, July - Dec., where he stayed with Phillip Parker King's family at Tahlee, return to Sydney where he again stayed with the Lethbridges.

Describes social life of the families and at Tahlee - also kangaroo hunting, mustering and Aboriginal ceremonies. Daily entries end 25 February 1840. A further entry, 15 February 1842, at Erskine Park near South Creek, introduces the verses which fill the remainder of the volume. Some of these were later published.

Bibliography and resources:

"James Lethbridge Templer", Design & art Australia online (DAAO) 

TEMPLETON, Charles (Charles TEMPLETON) = Charles Lempriere PRINGLE

Pianist (daughter of Charles TEMPLETON and Nellie LAMBERT)


Bandsman, Band of the NSW Corps, Band of the 46th Regiment (? also 73rd, 48th, 3rd regiments)

Born ? East Stonehouse, Plymouth, Devon, 10 June 1782; son of William TERNAN senior
Arrived Sydney, NSW, 1793 (free with parents, father in the NSW Corps, per Scarborough)
Enlisted NSW Corps, as drummer, ? 21 June 1793 (aged 11 or 12)
Member of band 1806 and 1807
Married Margaret HUGHES (c. 1790-1866), Sydney, NSW, 1807
Transferred to the 73rd, Sydney, 24 April 1810
Transferred to the 46th, 1814; 48th, and 3rd regiment)
Pensioned Sydney, NSW, December 1824
Died Sydney, NSW, 3 January 1845 (TROVE tagged by Australharmony) (shareable link to this entry)

See also:

Band of the NSW Corps

Band of the 46th Regiment


"LAW INTELLIGENCE. THE QUEEN V. MCINTOSH", The Sydney Morning Herald (16 June 1851), 2

Margaret Ternan: Knew old McIntosh and the defendant twenty-seven years ago; defendant is like old McIntosh in his features more like him than his mother; witness' husband was a bandsman in the 46th Regiment, under old McIntosh; knows John McIntosh, he was eighteen months old when she first saw him.


[Joseph Michael Forde], "OLD SYDNEY . . . Corporal William Ternan, of the New South Wales Corps", Truth (30 April 1911), 12 

In answer to E.T.: Extract from Historical Records, Land Granted, etc.: - William Ternan, Corporal In New South Wales Corps, 25 acres on iron Cove creek, 13th December, 1794. Also, a grant of 30 acres at Field of Mars, 22nd July, 1795. On a solid slab in the old cemetery on Belmore-road (now the new railway station site) was: - "Sacred to the memory of William Ternan, Esqr., who departed this life, January 3, 1845, aged 63 years. He arrived in this city, A.D. 1790. Deeply regretted by a numerous circle of friends and relatives." The tombstone is, presumably, now at La Perouse.

Bibliography and resources:

Frank Murcot Bladen (ed.), Historical records of New South Wales: vol. 2, Grose and Paterson, 1793-1795 (Sydney: Charles Potter, 1893), 353 (DIGITISED)

Pamela Statham (ed.), A colonial regiment: new sources relating to the New South Wales Corps 1789-1810 ([Canberra]: P. Statham, 1992), 348

B. and M. Chapman, "Private William Ternen", Australia's red coat regiments

TERRY, Jane (Jane HUNTER; Mrs. Charles TERRY)


Born England, 1828; baptised Bottisham, Cambridgeshire, 23 October 1828; daughter of John HUNTER (1794-1869) and Caroline WILKINSON (1790-1862)
Married Charles TERRY (b. c. 1822), Brussels, Belgium, 12 February 1851
Arrived Melbourne, VIC, 22 November 1852 (per Admiral, from . . ., aged "24")
Active Melbourne, VIC, 1854
Died Worthing, Sussex, England, 18 January 1919 (TROVE tagged by Australharmony) (shareable link to this entry)


Charles Terry married Jane Hunter, daughter of John Hunter of Bruges, at the British legation in Brussels on 12 February 1851. Charles and Jane and their infant child arrived Melbourne in November 1852, in company with Charles's brother George Howard Terry (aged 26, d. Daylesford, VIC, 1889).

An inventor and mining speculator, Charles was insolvent in December 1854, the same month that Cyrus Mason announced the publication of the Victorian waltz by his wife Jane.

A daughter, Jane Eva, was born and died in 1854, and another daughter Caroline Jane (Mrs. Beckles, d. 1923), was born in 1856. Jane had returned to London by 1861 with her daughter Caroline, and was living with her parents in Paddington.


Copy of affidavit of Charles Terry and Jane Hunter, witnessed Brussels, 11 February 1851; UK National Archives (PAYWALL)

. . . Jane Hunter, born in the parish of Bottisham in the county of Cambridge, and both now residing at Bruges . . . about to enter into the Holy Estate of Matrimony . . . at Brussels . . . sworn . . . at Antwerp . . . in the presence of (signed) John Hunter . . . that this is a true copy . . . Brussels Feb'y 11th 1851.

"MARRIAGES", Bath Chronicle and Weekly Gazette [England] (20 February 1851), 2

Feb. 12, at the British Embassy, Brussels, by the Rev. Michael Terry, Charles Terry, Esq., of Clifton, to Jane, the second daughter of John Hunter, Esq , of Bruges.

[Advertisement], The Age (16 December 1854), 1 

VICTORIAN WALTZ, composed by Mrs. Charles Leny [recte Terry]. Price 4s. CYRUS MASON, 35 Swanston Street.

[Advertisement], The Age (21 December 1854), 7 

VICTORIAN WALTZ, composed by Mrs. Charles Terry. Price 4s. CYRUS MASON, 35 Swanston Street.

England census, 7 April 1861, Paddington, London; UK National Archives, RG 9 / 2 (PAYWALL)

John Hunter / Head / 67 // Caroline [Hunter] / Wide / 70 . . .
Jane Terry / Dayg. / 32 . . . // Caroline J. Terry / gd. dau'r / 4 / [born] Australia Melbourne

National probate calendar, UK, 1919 (PAYWALL)

TERRY Jane of Roslin Gelden-road Worthing widow died 18 January 1919 probate London 7 March to Caroline Jane Beckles widow. Effects £440 6s.

Musical works:

The Victorian waltz (composed by Mrs. Chas. Terry) (Melbourne: Cyrus Mason. Lith., [1854])

Copy in bound album collected, contents c. 1853-1856, by Marianne Rolfe Sargood, private collection

TESTAR, Elizabeth (Elizabeth TURNER; Miss E. TURNER; Mrs. Thomas Hitchins TESTAR; Mrs. TESTAR)

Soprano vocalist, teacher of singing

Born England, 16 June 1819; baptised Chatham, Kent, 14 July 1819; daughter of Frederick TURNER (b. c. 1787) and Eleanor HETLEY
Married Thomas Hitchins TESTAR (1821-1903), St. James's chapel, Spanish Place, London, 6 February 1850
Arrived Melbourne, VIC, 27 October 1850 (per Northumberland, from London, 26 June, and Plymouth, 9 July, via Adelaide)
Died VIC, 20 March 1908, in her 89th year (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


As Miss E. Turner (with her elder sister Mary, "Miss Turner", b. Chatham, Kent, 1817), and a pupil of Frederick Crouch, she appeared in London concerts during the 1840s.

Having recently married, she arrived in Australia with her husband Thomas Testar in October 1850, and made her Melbourne concert debut in December.

She was Melbourne's principal resident soprano vocalist throughout the 1850s, appearing with visiting artists such as Lewis Lavenu, Anna Bishop, and Miska Hauser, and in 1859 also appearing in Sydney in Lavenu's University Musical Festival. In 1854, George Wathen noted:

the performances of Mrs. Testar, the prima donna of Melbourne, are duly appreciated and loudly applauded.

Her much younger sister, Eleanor Turner, also appeared briefly in Melbourne as a vocalist in 1857.

The Melbourne Exhibition Building of 1854, in William Street

The Melbourne Exhibition Building of 1854 ("our own Crystal Palace"), in William Street; Elizabeth Testar sang there at the opening ceremony and at many later concerts


[Advertisement], The musical world (23 June 1842), 200 (DIGITISED)

QUEEN'S CONCERT ROOMS, HANOVER SQUARE. G. F. COOK has the honour to announce that his Morning Concert will take place on THURSDAY, June 30th, under the most distinguished patronage. - To commence at Two o'clock. Performers: - Miss Birch, Miss Turner, Miss E. Turner, Miss Galbreath, and Mrs. Cooke; Mr. John Parry, Mr. H. Smith, Master Cooke, Master T. Cooke, and Mr. Cooke. - Tickets, 10s. 6d. each; and Family Tickets, to admit Three, One Guinea, to be had at No. 28, Dorset-street, Portman-square, and at the principal Music Shops.


. . . Was held in Freemasons' Hall, London, on Wednesday the 17th June . . . The following ladies and gentlemen volunteered their gratuitous services in the concert, which was most admirably conducted; we never witnessed any musical entertainment that gave greater delight: Miss Hill, Miss Turner, Miss E. Turner; Signors Negri, L. Negri, Puzzi, (horns), and Brizzi; the Distin family on the Saxe horns; Herr Kallmarke, (grand piano); Messrs. F. Chatterton, (harp), Jolley and pupils, N. Crouch, Collyer, Binge. Mr. Broadwood also generously contributed the use of the pianos in the hall and the ladies' room.

"MUSICAL CHIT CHAT", The illustrated London news (1 May 1847), 10 (DIGITISED)

Mr. W. Rea gave the third and last of his Concerts of Classical Chamber Music, at Crosby Hall, on Tuesday evening . . . He is a clever and rising pianist, and played Beethoven's Sonata in flat with great skill. A pretty song of his writing, "The stormy night," sung by Mr. Ferrand, gained an encore; as also a ballad by J. J. Harte, "When the daylight departing," nicely sung by Miss E. Turner . . .

"SOCIETY OF BRITISH MUSICIANS", The Era [London] (16 January 1848), 11

The last concert of the series was given on Monday evening, and contained an unusual proportion of native compositions. The concert commenced with a manuscript quintet, in C minor, for pianoforte and stringed instruments, by Mr. Westrop; played by the composer, and Messrs. Thirlwall, Day, R. Blagrove, and Reed . . . Spohr's beautiful trio, "Night's tingeing shades," was sung by Miss A. Hill, Miss E. Turner, and Miss Duval, accompanied by Mr. H. Boys, whose frequent presence at the pianoforte would be a welcome novelty at these concerts . . . A manuscript terzetto, "Sweet Zephyr's dainty breath" - a very elegant piece of part-writing, well adapted for the drawing-room - was nicely sung by Miss A. Hill, Miss E. Turner, and Miss Duval, and accompanied by the composer, Mr. Rockstro . . . A song by Mr. Rea, "I arise from dreams of thee," was sang by Miss E. Turner . . .

ASSOCIATIONS: Thomas Reed (later also of Melbourne)

"UXBRIDGE", Windsor and Eton Express (13 January 1849)

At the Messrs. Birch's oratorical performance of sacred music, on Thursday evening, at the Public Rooms, there was great display talent, and the performers, although for the most part unknown to most of the audience, have established fair meed of approbation with the admirers of sacred music. The vocalists were the Misses Turner and the Misses Dubois; Mr. F. Smith and Mr. C. Kenny (all from the London Concerts), supported by good array of chorus singers. Miss E. Turner gave "The marvellous work" with great taste and effect, and was encored . . .

Melbourne, VIC (from October 1850):

"Shipping Intelligence. ARRIVED", The Argus (28 October 1850), 2

October 27 - Northumberland, ship, 811 tons J. McKerlie, commander, from Plymouth July 9th, and Adelaide 18th instant. Passengers . . . Mr. and Mrs. Tester [sic] . . .

[Advertisement], The Melbourne Daily News (5 December 1850), 3 

Principal Vocalists: MRS. TESTAR, (late Miss E. Turner,) MRS. RIVIERES, From the London Concerts.
Pianoforte Accompanyist, MR. WILKIE. Mr. Hore's full Band will assist during the evening.
Overture - Crown Jewels - Full Band
Glee - Chough and Crow - Bishop
Song - What's a the Steer Kimmer - Mrs. Rivers
Song - The Last Adieu - Mr. Kaverau
Instrumental - Separation Polka - The Band - Joseph Wilkie
Song - I'm a Merry Zingara - Mrs. Testar - Balfe
Glee - Oh, Stranger - Stevenson
Song - O'Luce di Quest' Anima - Mrs. Rivers - Donizetti
Instrumental - Railway Galop - The Band
Overture - Fra Diavalo - The Band
Cavatina - Il Souve Bel Contento, Mrs. Testar - Pacini
Glee - Snow Storm - Nelson
Song - The Keepsake (sequel to the Cavalier), Mrs. Rivers - Glover
Duet - I've Wandered in Dreams, Mrs. Testar and Mr. Kaverau - Wade
Instrumental - Hallelujah Chorus, The Band - Handel
Scotch Ballad - Auld Robin Grey, Mrs. Testar
Glee - It was a Friar of Orders Grey
God Save the Queen . . .

"LAST NIGHT'S CONCERT", The Melbourne Daily News (6 December 1850), 2 

The expectations formed of this event were more than realised. The concert was most successful, and the attendance inconveniently large . . . A song, from an opera by Balfe, "I'm a Merry Zingara," served for the debut of Mrs. Testar, who is evidently quite at home in such matters, and although we do not much admire the production, this lady sang it with great spirit, vigour and effect. Mrs. Testar possesses a strong flexible and full toned soprano, and is decidedly the best singer we have heard in this part of the world, - no mean praise when we include the beautiful voice of Miss Sara Flower. This however might be expected, Mrs. Testar as Miss Turner enjoying a most flattering reputation in the great Metropolis. It was not, however, until her second effort in the second part of the programme that she displayed her really splendid powers, and most appropriate was the score upon which she rested them. A scena from Puritani ("Il Souve Bel Contento") replete with all the rich and variegated harmony for which Bellini's works are so remarkable, and especially calculated to test the taste and capacity of the singer, was magnificently rendered by Mrs. Testar. It was sung with great dramatic force, abandon and truth, and enabled the artiste to develop every quality of a melodious, powerful, and well-trained organ. The ornaments were chastely and accurately performed, while the voice of the singer appeared to improve at every fresh bar. The chromatic runs were perfect, clear, true, and marked, and a beautiful liquid shake was frequently introduced with the happiest effect. This performance was a continued gush of gorgeous melody displaying every shade of passion, thought or feeling and the power sustained with astonishing brilliancy throughout a very elaborate and trying score. The singer was frequently interrupted by the approbation of the audience and as she concluded, was vociferously encored, a compliment to which she responded by performing a portion of the Scena. Not the least remarkable of the excellencies of Mrs. Testar's vocalization is the perfect ease with which her voice is produced. It must be borne in mind, too, that the only accompaniment available was a piano, (a very good one by the bye,) and we must not omit to mention the very admirable assistance given by the excellence of Mr. Wilkie's accompaniment. We have no hesitation in saying, (and we are not the most easily pleased in such matters) that Mrs. Testar is the Prima Donna of the Colonies, and it is to be regretted that such an artiste must be buried in private tuition. In Opera this lady would astonish the natives, but under existing circumstances we have little chance of hearing her abilities in that form . . .

. . . Wade's sweet duet, "I've Wandered in Dreams," was very pleasingly performed by Mrs. Testar and Mr. Kaverau, but was beneath her powers . . . Mrs. Testar again delighted her audience by the masterly and touching style in which she gave "Auld Robin Gray" - old indeed as the hills, (being composed in 1771) but ever new when entrusted to such a vocalist as Mrs. Testar. This ballad, one of the most perfect, tender and touching tales of humble life, and none oftener warbled forth,
"When the sheep are in the fauld, and the kye at hame."
commanded breathless silence throughout, and long and loud applause followed its conclusion. Altogether, the evening's entertainment was eminently successful . . .

ASSOCIATIONS: Joseph Wilkie; Hore family; Theodore Kawerau

[Advertisement], The Argus (9 December 1850), 3 

A CARD. MRS. TESTAR has the honor to announce that she has commenced giving Lessons in Singing. For terms apply at her residence, 19, Stephen-street.

"THE CONCERT", The Argus (10 January 1851), 2 

A crowded audience last night did justice to the capital programme issued by the Music Class and the concert passed off with considerable spirit. Mrs. Testar, both in appearance and manner, seemed slightly indisposed, but sang several of the pieces allotted to her with all her own effect and brilliancy. We may particularise the scena from Lucia di Lammermoor, which received a somewhat unfeeling encore, and for which Mrs. Testar substituted the ballad of Auld Robin Gray. One or two of her ballads, too, were exquisitely sung, and received the warmest approbation . . .

"THE CONCERT", The Argus (22 February 1851), 2 

The crowded state of our columns yesterday prevented our noticing the very capital concert of the evening before. We think that it may be pronounced the very best, ever given by the music class, and Mr. Reed deserves all praise fur his industry and perseverance in overcoming the thousand obstacles, which have beset his path. The instrumental portion of the entertainment was good, and very well performed; the opening overture equal to any we ever heard in Melbourne. The concert was too long, not being over till nearly eleven o'clock, but interest never flagged, and the audience sat cheerfully to the last. Dear Mrs. Testar (we could not help calling her so if her husband were seven feet high) dear Mrs. Testar, then, came out stronger than ever. She never sang so well, and never appeared in better spirits. Her performance of Weber's grand scena would have called the composer from his grave, if it had been situated 1 inch short of the established 16,000 miles. A very brilliant Italian song in the second part was equally successful, and in fact this delightful singer never appeared without a triumph. Her last effort was the Echo Song, with the flute obligato of Mr. Cooze, and late as was the hour, and severe the evening's exertions of the little lady, human nature could not stand the temptation, and a rapturous encore indicated admiration run mad, almost into want of feeling . . .


George Henry Wathen, The golden colony, or, Victoria in 1854 (London: Longman, Brown, Green, and Longmans, 1855), 44

. . . Public amusements partake of the anomalous character of the community. They are almost wholly in the hands of, and patronised by, the lower and working classes. This applies to the theatre, to an equestrian circus in an immense tent, and to numerous cheap concerts. The cause of this is readily explained. Melbourne has always a large floating population of unlettered men, with plenty of money, low vicious tastes, and wholly debarred from the attractions of domestic comfort, - their home being a miserable, overcrowded, and dirty boarding-house. Such persons naturally resort in numbers to all places of public amusement; and others, of more refined habits and nature, on finding that they are subjected to close proximity with coarse brutality and disgusting scenes and sights, of course keep away. There is, however, a weekly concert, attended by a smaller and selecter audience, where the performances are very creditable, and the exertions of a Mrs. Testar, the prima donna of Melbourne, are duly appreciated and loudly applauded . . .

ASSOCIATIONS: George Henry Wathen

"THE CREATION", The Argus (3 August 1854), 5 

Thanks to the existence of a Melbourne Philharmonic Society, we were last night treated to a repetition of this glorious oratorio, which was most effectively rendered. Throughout the whole of it there was little to censure, much to commend. Mrs. Testar acquitted herself admirably; and especially excelled in that magnificent air "On Mighty Pens Uplifted," which, with the recitative and terzetto that succeeds, was the gem of the evening . . .

ASSOCIATIONS: Melbourne Philharmonic Society

"OUR BENEFACTRESS", The Argus (30 August 1854), 5 

A public soiree to welcome Mrs. Chisholm will be held . . . in the Mechanics' Institution tomorrow evening . . . Many of our leading officials, including the Colonial Secretary, come gladly forward to render their tribute of admiration to this truly great and good lady. Mrs. Testar and the Philharmonic Society have promised their assistance . . .

ASSOCIATIONS: Caroline Chisholm

"THE EXHIBITION", The Age (17 October 1854), 9 

The great event to which Melbourne has so long looked forward with interest and expectation - the opening of our own Crystal Palace - came off yesterday . . . His Excellency arrived shortly after twelve o'clock . . . and the National Anthem was sung with fine effect by the members of the Philharmonic Society, accompanied by their fine organ and in each repeated stanza by the voices of the multitude. Mrs. Testar took her part, and produced a thrilling effect by her clear powerful notes . . .

"GRAND CONCERT AT THE EXHIBITION", The Argus (18 November 1854), 5 

The Philharmonic Society's Concert last evening was in every way a great triumph. The attendance amounted to no less than 1100 persons, being much greater than on any previous occasion. Upwards of forty performers assisted. Mr. Jos. Griffiths was leader, and Mr. John Russell was conductor. The principal vocalists were Mrs. Testar, Mrs. Hancock, Mr. Hackett, Mr. Ewart, Mr. Lyell, and there were no less than thirty-three instrumentalists, among whom were some of our best artists. We need not say that the effect was magnificent. The number of visitors for the first time was extraordinary, and it was quite refreshing to hear their remarks upon the building, the exhibition, and the performances. It was quite evident that they had not believed such a scene was possible in the Southern hemisphere. The performances consisted of selection from Handel's Serenata, "Acis and Galatea," with a miscellaneous selection of secular music, which were exceedingly well executed . . .

"MRS. TESTAR'S FAREWELL CONCERT", The Age (15 April 1857), 5 

This able and favorite vocalist gave a farewell concert yesterday evening, on the occasion of her retirement from professional into private life. There was a large and brilliant attendance, but owing to the pressure of other matters, his Excellency the Governor and Lady Barkly were unable to be present. The concert consisted of a selection of miscellaneous music, including several compositions by Mozart, Donizetti, Bishop, Verdi, Mendelssohn, Wallace, and others. Mrs. Testar was assisted by Miss Laura Baxter, from the Royal Academy; Mr. J. H. Pollard, from the same excellent school; Miss Emilie Smith, the able pianist; Mr. Julius Siede, and a number of the members of the Philharmonic Society.

Mrs. Testar was exceedingly well received, and her singing was characterised by her usual ability. This lady is now about to retire from public life, but in doing so she may rest assured that she will carry with her the best wishes and regards of a public towards whose enjoyment she has for so long a period success fully administered. Nor was the opportunity of conferring this compliment confined to the general public - two of the brightest ornaments to the profession, Madame Anna Bishop and Madame Sara Flower, took the opportunity of testifying their appreciation of the private merits and the artistic ability of the fair beneficiare, by volunteering to sing between the parts, Cimarosa's delightful terzetto from "II Matrimonio Segretto" - "Le Facchio un inchino," originally sung by Miss Adelaide Kemble, Miss Rainsforth, and Mrs. Alfred Shaw. With all due deference to the other performers, this was the achievement of the evening, and was most deservedly encored. The flute-like voice of Madame Bishop, the brilliant tones of the beneficiare, and the rich deep contralto of Madame Flower were in the most perfect accord, and completely entranced the audience, while they were highly amused by the lively character of the music. Every one seemed to appreciate the graceful compliment paid to Mrs. Testar by the artistes in question, and no one more than Mrs, Testar herself . . .

Mr. Julius Siede, accompanied Mrs. Testar with admirable taste in Bishop's beautiful air "Lo here the Gentle Lark" . . . Mrs. Testar took part in Bishops Trio "Blow Gentle Gales," with Miss Baxter and Mr. Pollard; and in Mendelssohn's lovely duett "O wert thou in the cauld blast," with the most entire success; and in conjunction with several members of the Philharmonic Society she took the brilliant solo passage in the Bishop's [sic] "Tramp Chorus," a composition which never wearies by repetition. In conclusion we must not omit to pay a well merited compliment to Mr. Wilkinson, whose accompaniments on the pianoforte were of the most tasteful character.

"MRS. TESTAR'S FAREWELL CONCERT", The Argus (15 April 1857), 6 

. . . In concluding this brief notice, and in bidding farewell to Mrs. Testar as a public singer, we cannot avoid expressing the hope that the success of the concert of last evening will ever remain as evidence of the respect and esteem gained during a long period devoted to the cultivation of the sacred art.

ASSOCIATIONS: Anna Bishop; Sara Flower

After official retirement from concert stage (1857-1908):

"MELBOURNE NEWS (From Thursday's Papers)", Bendigo Advertiser (4 December 1857), 3 

Mr. Krom's concert at the Mechanics' Institution last evening was noticeable for bringing to light Miss E. Turner, a sister of Mrs. Testar. The debutante did not excite very high expectations, nor did she appear particularly anxious to create a favorable impression, her manner being careless in the extreme, so that it was really impossible to form any positive idea as to her capabilities. The principal and only other professional vocalist was Miss Octavia Hamilton, whose voice has improved greatly since we last heard her, but her singing is as devoid of expression and feeling as ever.

ASSOCIATIONS: Eleanor Turner (contralto vocalist, younger sister of Elizabeth)

"SYDNEY UNIVERSITY FESTIVAL", The Sydney Morning Herald (21 July 1859), 5

. . . In both the solo and terzetto pieces Mrs. Testar sang with the same exquisite taste which we remarked in her performance of the "Messiah;" giving at the conclusion of the air "On mighty pens," in the description of the "nightingale's delightful notes, no grief affected yet her breast," all the plaintive sweetness required to give effect to this exquisite melody . . .

[Advertisement], The Age (22 April 1861), 1 

For the Benefit of the Widow and Seven Fatherless Children of the late Mr. W. B. WRAY.
The Members of the above Society intend to give a performance of Haydn's Oratorio, THE CREATION,
At the Exhibition Building, on TUESDAY, APRIL 23.
PRINCIPAL VOCALISTS: Mrs. Testar, Mrs. Edward Hancock, Miss Amelia Bailey . . .

ASSOCIATIONS: William Beresford Wray

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

. . . Mrs. Testar, who has long retired from public performance, appeared at short notice because of Miss O. Hamilton's illness, but she did not fail to prove that she retained all her well remembered powers. Bred in the best sacred musical school, she exhibited an exquisite taste and a delicacy of expression which many better singers of secular music often fail to give. Her crowning effort was the lovely air, "I know that my Redeemer liveth", and the audience would fain have heard it repeated . . .

"THE PHILHARMONIC SOCIETY'S CONCERT", The Age (26 December 1865), 5 

A large and enthusiastic audience thronged the Exhibition Building, on Saturday night, on the occasion of the thirteenth annual performance, of Handel's oratorio, "The Messiah," by the members of the Melbourne Philharmonic Society . . . Mrs. Testar fully sustained her reputation in her rendering of the recitative, "There were Shepherds abiding in the Field," but more especially in the solo, "Rejoice greatly, O daughter of Zion," and that sublime impersonation of exultant faith, "I Know that my Redeemer Liveth" . . .

"MELBOURNE PHILHARMONIC SOCIETY", The Argus (26 December 1865), 5 

. . . There was, too, an appreciable want of solemnity in the demeanour of the performers which was not aided by the occasional click of the conductor's baton. Mrs. Testar sung as she only of all our sopranos ever did sing here in sacred music. Others, with finer voices and more brilliant execution, have surpassed her in secular pieces or in single vocal efforts, but her evenness, her excellent taste, and the style she was enabled to acquire in the course of her experience in London oratorio performances, make her as welcome to her hearers, as her mode of delivery is a pattern to her sister vocalists. For the lovely air, "I know that my Redeemer liveth," she had evidently reserved herself, and she was then once more the Mrs. Testar of fourteen years ago . . .

"The Metropolitan Stage", Bell's Life in Victoria and Sporting Chronicle (20 October 1866), 2 

The name of Mrs. Testar, since she retired from professional life, has been often connected with any movement in aid of our charitable institutions. This week she was the prime mover in causing a very excellent concert to be given at the Town Hall, Prahran, for the benefit of that grand charity, the Melbourne Hospital. It was a most brilliant gathering, if a crowd of fashionably dressed people may be so designated, and included the Governor and his family, and most of the leaders of ton. The success of the concert, in every way, must be most gratifying to Mrs. Testar and the ladies and gentlemen who assisted her charitable efforts in such a good cause.

[News], The Argus (22 February 1867), 5 

The Cutolo Memorial Concert took place the Theatre Royal last evening . . . Mr. Horsley's new arrangement of the National Anthem commenced the performance. Then followed the duet from "Le Prophète" by Mrs. Young and Mrs. Testar . . . Two compositions of Signor Cutolo were given - his last composition, "Oh sing that simple song," and his Choral March, composed for the opening of the Exhibition. Mrs. Testar sang the first-named, and in the latter the orchestral effects completely drowned the voices of the chorus. Mrs. Testar sang with great sweetness and expression the "Robert, toi que j'aime;" but received an encore in the more popular "Lo! hear the gentle lark," with flute accompaniment by Herr Siede . . .


"ST. PATRICK'S CHURCH ORGAN", The Ballarat Star (11 March 1867), 1 supplement 

The opening of the organ recently erected in St. Patrick's Church, Ballarat, was celebrated on Sunday, 10th March, when the Roman Catholic Bishop of Melbourne performed a pontifical high mass, and Mozart's 12th Mass was sung by the choir . . . The ordinary church choir was assisted on this occasion by Miss Julia Mathews, who has attained colonial eminence as an accomplished vocalist; Mrs. Testar, for many years principal soprano of the Melbourne Philharmonic Society's concerts; Mr. Madden and Mr. Plunkett from Melbourne - the latter gentleman being the designer of the organ . . .

"Mrs. Testar. A FORGOTTON PRIMA DONNA", Table Talk (23 January 1891), 4 

To us, of tlae present generation, events which occurred forty years ago are considered ancient history, and yet when turning over a volume of a Melbourne newspaper of the year 1850, a vivid panorama passes before the mental eye . . .

Music, then as now, asserted its empire, and so Mr. Wilkie announces his first vocal concert at Mechanics' Hall, on Thursday evening, December 5, 1850, under the patronage of His Honour C. J. Trobe Esq,, when Mrs. Testar, who had recently arrived from London, and Mrs. Rivers, a pupil of Signor Crivelli, would make their first appearance. On this occasion Mrs. Testar's numbers were "I'm a Merry Zingara " (Baylie), the Cavatina "II Soave bel Contento" (Pacini), and the ballad "Auld Robin Gray," besides taking part in duet and a trio. She created the greatest possible enthusiasm, was encored and recalled repeatedly, and the critic of the Argus thus discourses next day: -

"Mrs. Testar possesses a fine soprano voice of considerable compass, richness and sweetness; she manages it with very great judgment, and keeps it under the control of a refined taste. [5] In passing from the glee to the aria, from the aria to the ballad, each was sung with purity and good sense; the playful ornament of the one giving way in the second to the high embellishment of the Italian School; and contrasting beautifully with the artless simplicity of the Scottish ballad."

The words are certainly not those of Henry Keiley, but though artlessly expressed the praise is evidently the highest that could possibly be given to any artist, and to those who remember, however dimly, as heard in earliest childhood, the singing of Sara Flower even in her last days, that the critic further proceeds to put Mrs. Testar on the same high plane as regards style, seems a further confirmation of that lady's claim to be considered a really great singer.

So successful was Mrs. Testar's first appearance that in less than a fortnight Mr. Wilkie announced a second concert at the same place and under the same patronage. Mrs. Testar was to sing, and a Miss Panormo, who apparently never made a second appearance, was to sing and accompany herself on the guitar. Master Hoare [Hore], aged 12 years, was to perform a solo on the Saxe horn. "The programme will be made as attractive as possible," adds Mr. Wilkie in a weak-sort of footnote, and tickets 5s. each, are to be had at his music and pianoforte saloon, Collins-street. At this second concert Mrs. Testar repeated the cavatina "II Soave bel Contento," and gave also "Lo! Here the Gentle Lark," and "Where the Bee Sucks," was received even more enthusiastically than on her first appearance, and received the public's sign-manual of being the prima donna assoluta of the Southern Hemisphere - for the present, at least.

Poets, we know, are born, not made, and so are singers; nevertheless, both are improved by a little training, and it is time we gave, as far as the very meagre materials at hand will permit, some account of the early life and career of Miss Elizabeth Turner, afterwards Mrs. Testar, who appeared upon the Australian firmament in the way we have described.

Miss Elizabeth Turner, who had made a considerable reputation for herself in London before coming to Melbourne, was born in Chatham, Kent, in June, 1819, and was thus only a few weeks younger than Her Majesty the Queen, herself then a puling infant in the lobster stage. Mr. Turner père was a druggist and a clever man, with a head full of crotchets. He married, at the early age of twenty-one, a delicate wife who did not live long, but left him with a son, Charles, whose son Charles, also, is now at the head of a business said to he the largest in London in the hands of one man. The name of Charles Turner, manufacturer, of Black Varnish, is even to be seen sometimes in the advertising columns of Australian papers. Mr. Turner waited until he was thirty before marrying a second time, but living until 87 he came very near celebrating his diamond wedding. His second wife - Miss Hetley - bore him twelve children, of whom the subject of this sketch was the seventh. Apparently she had brought ill-luck with her, for the family circumstances then began to be the reverse of satisfactory, and "unmerciful disaster followed faster and followed faster" until in 1827 the family removed to London, when the hand of fate stayed a little.

The bringing up of a large family offers a rich field for a man with ideas of his own to try experiments in, and the result came nearly to leaving young Elizabeth without any training whatever. But it is hard to extinguish talent, especially when accompanied by great energy of character, as in this case. Present her older sister's pianoforte and singing lessons, the younger one listened and profited by the instruction given, so that for hours she would practise in the attics with the window open, where no one could hear her. That she was refused to be taught drawing did not prevent her trying to draw, until the drawing master one day, picking up some of her work, declared that his pupil had much improved. French she picked up from hearing it much spoken about her; German she taught herself with grammar and dictionary. At last she was permitted to learn drawing, and was placed first under Mons. Chastellan and then under Signor Pistrucci, and subsequently she studied at the British Museum and National Gallery.

At last it was discovered that she had a voice like a bird, pure and sweet, and of wonderful flexibility; but she had been so diligent a student and so unremitting in her practice that she could already sing well, and it was thought that she did not need much more tuition. In fact Miss Turner never had more than about eighteen direct lessons in the whole course of her life. The first half-dozen or so of these were from Crouch, the best 'cellist of his day, but better remembered by posterity as the composer of "Kathleen Mavourneen." Crouch was so delighted with her voice and the intelligence of his pupil that he almost insisted upon her adopting the lyric stage, and then assuredly Melbourne would never have seen its favourite, Mrs. Testar. Parental authority, however, armed with the prejudices of Puritanism, still lingering in England, interposed a stern "No." The rest of Miss Turner's vocal instruction was received from B. and L. Negri, a father and son, well known in their day as teachers of singing, who may have been collateral or lineal descendants of the sisters Negri, who sang in England, under the direction of Handel, from 1733 to 1737. But better than any set instruction for this young and intelligent as well as enthusiastic creature was it to hear Grisi, Persiani, Mario, Lablache, Tamburini, the exquisite Clara Novello, the "divine" Malibran - in their very prime and pride. On these models she formed her style.

In course of time the Misses Mary and Elizabeth Turner became well-known on the concert platform, singing in conjunction with stars like Persiani and Madame Sainton-Dolby, but our heroine also earned a good deal of money by the accomplishment which had been so reluctantly conceded. She did a great deal of book illustrating and similar commissions of that kind. A commission received from one Campanari may be mentioned as illustrative of the "middleman," a personage still railed against and apparently not to be got rid of. Campanari had been commissioned to execute the illustrations for a work on Italian Antiquities, but he employed Miss Turner to execute the drawings, some of which had to be done at the British Museum, others at the houses of owners of some well-known vases. For those he paid her the munificent sum of eight guineas. Miss Turner was not allowed to put her name to the drawings, and was never even told the name of the book, and in fact never saw it printed.

At last the usual fate befel Miss Turner, and after a rather long engagement she married in February, 1850, Mr. Thomas Testar, a gentleman of French descent; the name having originally been "Testard." With her husband Testar left England in the good ship Northumberland on June 26, and arrived in Melbourne on October 20 of the same year.

We have seen how quickly Mrs. Testar became the favorite singer of Melbourne, and must briefly summarize her brilliant career.

The bush fires of February, 1851, occupied public attention for a time and stopped all sorts of amusement, "Black Thursday" in particular seemed to involve the whole colony in mourning. Just twenty seven years later Mr. and Mrs. Testar were to experience another "black" day of the week. Mr. Wilkie got up a grand concert in aid of the sufferers by the fire, and at this, which took place on March 14, 1851, Mrs. Testar made her fourth appearance in the colony. At this concert Mr. Henry T. Holny [Henry F. Hemy] appeared in the threefold role of pianist, composer and singer. For years Mrs. Testar sang regularly at the Thursday evening concerts at the Mechanics' Institute, from which the Governor was seldom absent, and where the same people wore to be seen in the same seats week after week, notably the late Mr. Edward Wilson, of the Argus. Besides assisting at the formation of the Melbourne Philharmonic Society, Mrs. Testar sang at their concerts until her retirement. At the opening of the first Theatre Royal, Mrs. Testar sang the solo in "God Save the Queen," and when the old Princess Theatre was opened with a series of six concerts, she was the presiding genius. A series of concerts was given on the opening of the first Melbourne Exhibition, and at those also Mrs. Testar was prima donna, besides giving concerts of her own, both in Melbourne and Geelong, and on one occasion singing all the musical illustrations, bass and tenor, as well as soprano solos for a lecture by one Frederick Lord Clay. When Catherine Hayes and Anna Bishop visited the colonies, she appeared at concerts in connection with them, refusing more than one flattering invitation from managers to "tread the boards" with both those illustrious ladies.

Mrs. Testar also was leading soprano at St. Francis' Church from her arrival until her retirement from the profession, which took place on April 14, 1858, after a most successful "last appearance" at the Exhibition. Her very last public appearance was made en amateur - i.e., without fee - at the musical festival in celebration of the opening of the Sydney University, in July, 1859. As paternal authority had in early life interposed to prevent her adopting the career for which she was most eminently fitted, so now marital persuasion induced her to retire from the profession she both loved and adorned, whilst still in the full zenith of her powers, according to a mass of outside evidence. For it is one of the best tests, not only of Mrs. Testar's former popularity, but of the merit which entitled her to it, that she is not yet forgotten - that her reputation lives here much as Grisi's does in Europe - although a generation has elapsed since last her voice was heard publicly. "Ah! I have never heard any body 'shake' since I heard Mrs. Testar 'shake,'" said a good judge of music to the writer at a concert lately.

The Hon. H. C. E, Childers came to Victoria in 1850 also, and next year, when he was forming the Education Department, he appointed Mr. Testar to the position of paymaster. This position that gentleman held until, with so many others, he fell a victim to "mob rule" on "Black Wednesday," 1878. This, as it happened, was not any great calamity, for it left Mr. Testar free to attend to certain investments he had made, which have all resulted favourably. It being impossible for a woman of Mrs. Testar's energetic character to remain idle, she has been now for many years associated with certain charitable institutions, having been or being at present, president of the Children's Hospital, vice-president of the Infant Asylum, and vice-president of the St. Kilda Ladies' Benevolent Society.

On February 22, 1851, the day after her third appearance in Melbourne, the Argus critic writes "dear Mrs. Testar sang," and as she has been "dear Mrs. Testar" for a great many years to those who know her, we feel we are echoing the wishes of a large circle of friends in hoping that she and her husband may live long past the golden wedding day in the enjoyment of that complete life and home happiness which has been theirs for 41 years.

"DEATHS", The Argus (21 March 1908), 11

TESTAR. - On the 20th March, at "Maisemore," Hotham-street, East St. Kilda, Elizabeth Testar, in her 89th year. No flowers, by request. R.I.P.

"ABOUT PEOPLE", The Age (27 March 1908), 5 

At the meeting of the committee of the Children's Hospital yesterday a minute was recorded deeply deploring the death of Mrs. Elizabeth Testar, who for 27 years was connected with and took the keenest interest in the hospital, and only resigned as president and member of committee upon attaining her 80th birthday.


Continuing his reminiscences of musical life in Melbourne in the early decades of the last century, Mr. Alfred Montague, the veteran teacher of music, says - "Mrs. Testar, Mrs. Hancock, and Julius Buddee were conspicuous figures at concerts given in the Mechanics' Institute . . .


Mrs. Testar was one of the most admirable singers known to Melbourne, her voice and method of singing being of the highest quality. She had none of the detestable tremolo which while leaving you uncertain of the predominance of either of the three quarter tones composing it, makes you quite sure that it is not the note written by the composer. While Mrs. Testar had not the brilliance of our great opera singers of later days like Rosa Hersee, Ilma de Murska, and others, her singing, especially when accompanied by Buddee, a kindred spirit, was quite as delightful to listen to. Mrs. Testar continued to sing for several years, appearing at the Philharmonic concerts as late as 1866 . . .

ASSOCIATIONS: Alfred Montague

Bibliography and resources:

"Elizabeth Testar", Design & Art Australia Online (DAAO)


Indigenous musician, vocalist, bugler, dancer, circus performer

Active Scotland, and Brisbane and Stradbroke Island, QLD, 1840s-50s
? Died (suicide, drowning), QLD, October 1863 (TROVE tagged by Australharmony) (shareable link to this entry)


"A Travelled Aboriginal", The Moreton Bay Courier (31 July 1852), 2

By the last trip of the Eagle and aboriginal native returned to Brisbane, for the purpose of visiting his relatives, who belong to Amity Point, in Moreton Bay. His native name is Tetaree, and his mother is tolerably well known by the name of Wogawai. About seven years ago a gentleman named Oliphant, who was about to return to Scotland, took with him Tetaree, then a young lad. He has since been in London and other parts of England, in Edinburgh and Glasgow, and in Belfast and Antrim in Ireland. He returned to Sydney in the ship Bermondsey, a few weeks ago. His description of the sights he has seen is highly amusing. The great Exhibition, with its big house of glass; her Majesty the Queen "walking about" as he says; the Life Guards with their tin hats and long swords; the kelted Highlanders in Scotland; and the rapid flight of the puffing Railway carriages, have all been observed by Tetaree, who, by the bye, has now adopted the name of James Alexander. It appears from his statement that the performance at an equestrian circus had great attractions for him, he was himself employed for some time as a performer at Franconi's circus, in Edinburgh. Here he learned to stand upon a horse when in full gallop, and perform many of the feats usually witnessed at such places. His bugle imitations of popular tunes are very good, and he sings some of the Ethiopian Serenaders' songs with very creditable attempts at musical execution. He has learnt a polka tune to perfection, and goes through that popular dance with correctness. He says that he has danced it "with some ladies". He can write his name, and recognises the letters of the alphabet, which he pronounces with a strong Scottish accent. He heard talk, he says, of "the row in France", and under-stood that the Edinburgh soldiers wanted to fight the French soldiers, but the latter would not come. This impression has no doubt been caused on his mind by the talk of invasion, and the preparations lately made to resist it. Altogether, "James Alexander" is a curiosity. He came down as steward's assistant, we believe, in the Eagle. Of his future movements he seems to be uncertain; but his first object is to visit his friends at Amity Point.

"MUSICAL ENTERTAINMENT", The Moreton Bay Courier (29 January 1853), 3 

On Monday evening last a musical entertainment, under the direction of Mr. G. F. Poole, was given at the Brisbane School of Arts. The attendance on the occasion was the most numerous that had ever been witnessed there, amounting to about three hundred and twenty persons, comprising most of the principal families of Brisbane . . . Mr. Poole, who was received in a most complimentary manner, opened the entertainment with some appropriate remarks upon the origin and power of music, and then introduced his assistants to the audience. Mr. Humby, who had given his services gratuitously, presided at the Pianoforte, and was assisted by two young ladies, his pupils . . . In the course of the evening, "James Alexander," a travelled aboriginal, whose case we mentioned in a former issue of this journal, was introduced, and created much amusement by his musical imitations on the walking stick, and his attempts to sing some of the popular Ethiopian airs . . .

ASSOCIATIONS: George Poole; John Cross Humby

Henry Stobart, papers, journal (4 August 1853), National Library of Australia, MS1033 (transcribed Love 1985, 58-69, 60 (DIGITISED)

AUGUST 4th., 1853 . . . We left at 7 a.m. on Monday morning (25th [July]) in the Custom House boat . . . As we drew near to the shore of Stradbroke Island we saw a boat belonging to the Blacks (given them by Government for saving the lives of 2 or 3 persons) also approaching and several blacks awaiting on the beach. Several came to meet us as we landed . . . We were anxious to witness a "borobbarey" [Corroboree] or native dance, and about nine o'clock after some persuasion and promises of tobacco &c. a few men, some 8 or 9, with 3 women came; the remainder had overeaten themselves and were too much oppressed to join in it. The dances, for there were 3 or 4 kinds, consisted chiefly in moving from side to side and throwing their arms and wheeling about, accompanying themselves at the same time with wild singing but keeping excellent time. The women sat on the ground and joined in the singing and beat time with both hands on their bare stomachs!

All the Blacks have English names - Jackey or Tommy or Charlie &c. One young fellow called "Jimmy Alexander" who was as naked and savage as any of them had, strange to say, been seven years in England, been taught to read and write and could talk English perfectly. He however pined, I suppose, after his own land and returned about 2 years and a half ago. For some little time he kept aloof from his own people and did work in Brisbane and dressed well; but, induced I suppose by his tribe, he returned to them and is again a perfect savage. He talked about England, danced a Polka for us, sang English songs and imitated the Flageolet capitally. He said his people did not believe all the stories he was accustomed to tell about England. How strange it is that he should return again for this . . .


"POLICE CASE", The Moreton Bay Courier (22 October 1853), 3 

On Wednesday "Jemmy Alexander" a well known Moreton May black, whose visit to England was some time back noticed in this journal, was charged at the Police Office, with having been found on the premises of Mr. H. B. Watson, at Kangaroo Point, for an unlawful purpose. Mr. Watson deposed that Jemmy had been dancing and singing there for the amusement of himself and friands, and that he went away at about 9 at night; but at three in the morning Mr. Watson found him in the house, and attempted to seize him. He made his escape, and was subsequently apprehended by Constable Watts, in Capt. Geary's kitchen. The constable deposed that prisoner was then sober. A written statement in favour of Jemmy, was handed in by some white friend of Jemmy's and read by Mr. Duncan, who, with Capt. Barney, presided. The statement was to the effect that Nr. Watson, Mr. Alcock, and others, had made Jemmy drunk, and had forced him to drink, and that it was very cruel to force "a poor black fellow" to drink against his will, and then put him in the watch-house because he missed his way. This affecting appeal of clever Master Jemmy's advocate seemed to have considerable effect on the Bench, and Mr. Duncan closely questioned Mr. Watson as to supplying the prisoner with drink. Witness denied having done so himself, but said that he believed Mr. Alcock had given a glass of gin, and Mr. Garling a glass of rum. Mr. Duncan directed informations to be filed against those parties, and sentenced Jemmy to forty-eight hours in gaol; commenting at the same time upon the impropriety of Mr. Watson making the prisoner drunk - a statement, however, which certainly did not appear in evidence.

ASSOCIATIONS: William Augustine Duncan

"CENTRAL POLICE COURT. WEDNESDAY", The Courier (5 March 1863), 2 

. . . Jemmy Alexander (an aboriginal) was fined 5s., or twenty four hours imprisonment, for drunkenness and disorderly conduct . . .

[News], The Courier (24 October 1863), 3 

We have received the following information with reference to the well known aboriginal Jemmy Alexander, who, as many of our readers are aware, was taken to Europe some years since by Mr. Oliphant. Our informant arrived from Amity Point, where he had been detained for some days by stress of weather, on Thursday. It appears from the statement of the blacks from whom he obtained his information that on Sunday, the 11th instant, two boats, containing a number of native blacks, and a black from the islands named Donald Blow, to whom one of the boats belonged, and a man named Phillips, who is engaged on some Government contracts at Dunwich, were cruising about the bay in the vicinity of Cleveland. It was thought that Donald's boat was too heavy, and Phillips and Jemmy Alexander, in order to lighten her, got into the other boat. The men in Donald's boat were surprised to find that the other boat, instead of keeping company with her consort, bore down to leeward; and they were still more surprised to see him them take down the sail, and Jemmy Alexander throw Phillips overboard. Donald's boat immediately bore down, but by the time she reached the other boat Phillipa managed to get on board again. The two then proceeded in company to one of the small islands in the bay, where it was intended to pass the night. It then appears that whilst the whole of the party were asleep, or seeming to be asleep, with the exception of Jemmy Alexander, that individual went to the beach and took away one of the boats into deep water. Nothing more is known of him; but upon his absence being discovered in the morning, his mates searched for him, and after some trouble succeeded in finding the boat, but no Jemmy Alexander. The impression of the blacks is decidedly that it was a case of determined suicide, although, as far as we know, it is the first case of the description on record.


Bibliography and resources:

W. R. F. Love, "Some references to Aboriginal life in the Moreton region from Stobart's journal 1853", Queensland archeological research 2 (1985), 58-70 (DIGITISED)

Shirleene Robinson, "The unregulated employment of Aboriginal children in Queensland, 1842-1902", Labour history 82 (May 2002) (PAYWALL)

THACKERAY, James Robert (James Robert THACKERAY; Rev'd. J. R. THACKERAY)

Lecturer on music, Anglican priest

Born England, December 1827; baptised St. Peter's (cathedral), Bradford, 30 January 1828; son of Henry THACKERAY (c. 1786-1856) and Hannah HAMMOND (c. 1798-1876)
Married Marianne GUMMERY (c. 1824-1909), Leamington Priors, Warwick, England, 23 September 1847
Arrived Melbourne, VIC, 1854
Active Maitland, NSW, by March 1856
Died Rockhampton, QLD, 22 February 1902 (TROVE tagged by Australharmony) (shareable link to this entry)

James Robert Thackeray (Samuel Calvert, 1865)

"THE REV. JAS R. THACKERAY, INCUMBENT OF ST. PAUL'S, WAST MAITLAND" (by Samuel Calvert), Illustrated Sydney News (15 April 1865), 1 (with portrait)

THACKERAY, Emily (Emily THACKERAY; Mrs. J. St. V. WELCH; Amy; Aimee; Aimée)

Organist, composer

Born Yorkshire, England, 7 April 1850; baptised St. James's, Bradford, 9 May 1850; daughter of James Robert THACKERAY and Maryanne GUMMERY
Arrived Melbourne, VIC, 1854
Active Maitland, NSW, by 1859
Married John St. Vincent WELCH, St. Mark's church, Darling Point, NSW, 10 May 1877
Died North Sydney, NSW, 19 October 1927 (TROVE tagged by Australharmony) (shareable link to this entry)

Emily Thackeray Welch (Tom Roberts, 1898); National Gallery of Australia

Mrs. J. St. V. Welch (Tom Roberts, 1898); National Gallery of Australia (DIGITISED)


In 1870 her Song of Saul before his last battle (words by Byron; composed by Aimee, and dedicated to Sir Alfred Stephen) was advertised for sale in Sydney by J. R. Clarke.

In England in 1870, she was elected a member of the College of Organists.

At St. Paul's Maitland in June 1872, she introduced her anthem Praised be the Lord, and another vocal setting, Eloi, Eloi, lama Sabacthani was printed in England by Novello, Ewer, and Co.


Baptisms solemnized in the Parish of Bradford, in the county of York in the year [1828]; West Yorkshire Archives (PAYWALL)

No. 66 / [baptised] 30 Jan. [1828] / James Robert Son of / Henry & Hannah / Thackeray / Bradford / Book-keeper . . .

Baptisms solemnized in St. James's Church, Bradford, in the Diocese of Ripon in the year [1850]; West Yorkshire Archives (PAYWALL)

No. 153 / [baptised] 1850, May 9th / Emily dr. of / James Robert & Maryanne / Thackeray / born April 7th 1850 / Bradford / Gentleman . . .

England census, 30 March 1851, Preston, Cumberland' UK National Archives, HO 107 / 2437 (PAYWALL)

St. bee's Abbey / James R. Thackeray / Head / 23 / Clerical Student / [born] Yorkshire Bradford
Marianne [Thackeray] / Wife / 23 / Clerical Student's Wife / Warwickshire . . .
M. H. Thackeray / Daur. / 2 / - / [born] Yorkshire Bradford
Emily [Thackeray] / Daur. / 12 months / [born Yorkshire Bradford]

"ST. PAUL'S CHURCH, BAKERY HILL, BALLARAT", The Age (12 March 1855), 3 

This church was opened on Sunday last, March 4th, for Divine service. The Rev. J. R; Thackeray, M.A., incumbent, of. the parish, preached in the morning . . . and in the evening . . . There was an able choir, presided over by Capt. Rochlite [sic] with his usual ability. Great credit is due to our worthy incumbent and those who assisted him, as a short time ago such a building upon Bakery Hill as St. Paul's was not even thought of, and now, by their energy and perseverance, and the support they received from miners, storekeepers, and others, we have a nice suitable building, with tower and a good bell - quite an ornament to the place . . .

ASSOCIATIONS: Julius Albert Rochlitz

"HUNTER DISTRICT . . . DIVISION OF THE PARISH OF WEST MAITLAND", The Sydney Morning Herald (20 March 1856), 8 

The parish of West Maitland was last week divided into two, or rather, the first steps were taken to make the division, by the members of the Church of England. The parish attached to the old church will now form the western division . . . and the new church parish will include all from Free Church-street eastward . . . The Rev. J. R. H. Thackeray, M.A., has been appointed to the newly formed parish, by the Lord Bishop of Newcastle, and has commenced performing service in the Grammar School, which is used temporarily as a church till the new building shall be erected . . .

"MAITLAND PHILHARMONIC INSTITUTE", Northern Times [Newcastle, NSW] (7 April 1858), 2 

The first annual general meeting of the members of the Maitland Philharmonic Institute was held on Monday evening, in the Hall of the School of Arts . . . That the following gentlemen be appointed Officers and Committee for the ensuing year, viz : - President, Rev J. R. Thackeray; Vice President, W. K. ColIyer; Treasurer, Mr. Hart; Secretary, E. P. Capper, jun.; Auditors, Mr. G. Weller and Mr. Ross Coulter; Committee, Dr. McCartney, Messrs. Briggs, B. Lee, Hitchens, J. Dean, H. Capper, Tyter, J. Pender, Ewing, and Sloane. Conductor, W. Kellermann, Esq . . . There is now belonging to the institute a large and well-selected stock of sacred and secular music, composed by the most distinguished masters, which may be mentioned as follows -
Vocal: Handel's Oratorio of "Judas Maccabaeus;" 2 vols. of the "Lyra Harmonica;" 9 large bound and 2 unbound vols, of glees, anthems, solos, &c.; 30 numbers of the celebrated "Orpheus" glee selections; and about 200 glees, catches, &c, in loose copies.
Instrumental: 2 sets of Pleyel's quartetts; 1 set of Haydn's quartetts; 1 set of Mozart's quartetts; 1 set of Mozart's quintetts; and a large selection of trios, by Bellini and other celebrated composers. This music, when bound, will prove a valuable library for the use of our performing members . . .

ASSOCIATIONS: William Kellermann

"MAITLAND SCHOOL OF ARTS", Northern Times (3 September 1859), 3 

A full attendance ot the hall of the above Institute, greeted the Rev. J. R. Thackeray, on Thursday evening, to hear his lecture on Church Music. The chair was occupied by the President, Mr. T. W. Robinson, who, after a few appropriate remarks, introduced the lecturer to the meeting. The lecturer, on coming forward, was warmly applauded. He said: A recent writer on music has observed . . . [detailed summary of lecture]

"MAITLAND SCHOOL OF ARTS", The Maitland Mercury (3 September 1859), 3

[Another detailed summary of the above lecture]

"MUSICAL LECTURES", The Maitland Mercury and Hunter River General Advertiser (28 April 1860), 2 

We observe that the first of a series of lectures is announced, illustrating English, Irish, and Scottish music, by the Rev. J. R. Thackeray, in aid of the fund for erecting reading-rooms at the School of Arts, West Maitland. The first lecture, illustrating English music, will be given on Thursday, the 10th May, at the School of Arts, Mr. Bateman presiding at the pianoforte, and a number of ladies and gentlemen kindly assisting. These lectures, we are informed, will not be formal dissertations on the theory or practice of music, but will be descriptive and entertaining in character, and the illustrations will be drawn from varied sources. Lectures on music so illustrated have always been popular; and the known ability of the lecturer, whose success when treating of Church music afforded valuable assistance to the funds, will doubtless attract large audiences, and, though increasing the obligations of the institution to him, go far to free the new building from pecuniary debt.

"THE REV. MR. THACKERAY'S LECTURE ON ENGLISH MUSIC", The Maitland Mercury (12 May 1860), 3

A lecture on English music, being the first of a series on English, Irish, and Scotch music, with appropriate illustrations, was delivered at the School of Arts on Thursday evening, by the Rev. J. R. Thackeray, for the benefit of the Institute, the proceeds being added to the fund for building the reading and class rooms. The hall was crowded in every part, and many were unable to obtain admission. After an appropriate overture on the piano, brilliantly executed by Mr. Bateman - the lecturer, who was introduced by the chairman, Mr. Robinson, was enthusiastically received by the audience, and commenced his lecture by an allusion to the power of music as exemplified by the ancient poets. He delineated the power of music over the mind and affections, and showed its infinite value even from the most utilitarian motives, proving that it would cultivate those feelings which pertain to the higher orders of our faculties. It would twine the woodbine round our door, and place a beautiful flower upon our window-sill; it would bring merry faces and happy hearts round our hearth stone; it would make us gentle toward all, and throw gleams of sunshine across our path; it would bear up our hearts against trial and distress, and would cheer us in many an hour of solitude. He explained that he did not mean a love of music, as rendered by others, or a love of her sister song, as merely written; but the cultivation by their means of a proper refinement, which should spread itself over our whole lives, and be seen in all that we do, giving us a spirit that would teach us to see good in everything. He showed that without this refinement life would be a burden, and man would sink to a mere animal, with no higher object than the gratification of his passions, and whose existence would be bounded by the present life. He showed that our attention is generally engrossed by the passing wants and stern realities of life, to the too often neglect of the things that pertain to the higher order of our faculties.

In drawing attention to the more immediate subject of his lecture, he remarked that it had been frequently affirmed that the English, whatever they are at present, were not a musical people, and at some length he met the objection that the English have not, and never had, any national music. Drawing attention to the fine melodies that delighted our ancestors in days of old, in illustration of which the fine old madrigal, "Now is the month of Maying," was rendered, the lecturer mentioned the causes that had operated to bring these beautiful and peculiarly characteristic melodies into neglect, showing that they had been wedded in too many instances not to immortal, but to immoral verse. He alluded to several beautiful exceptions, and, as an illustration, the favorite old ballad, "Sally in our Alley," was sung. In speaking of old songs he showed, at some length, that they were associated with all kinds of fond and endearing reminiscences, showing in their progress down the stream of time their influence and power upon our forefathers, as well as upon ourselves, illustrating this part of his subject by one of Dr. Arne's compositions, "Go Gentle Youth," and "The Thorn," by Shield. With reference to naval music, he pointed out that the manifold vicissitudes incident to the life of a sailor furnish a bold and beautiful variety of subjects, capable of being turned to good account. In a song or ballad, touching by the way, upon some exceptions, yet pointing out many noble things in this branch of the service amply sufficient to redeem it from dislike, giving us examples the works of Gray, Dibdin, Pearce, and others. A concerted piece, "To all you ladies now on land," was sung in illustration.

The street music of London occupied a considerable portion of the lecture, and elicited shouts of merriment from the audience. The lecturer gave a rapid sketch of how, when, where, and under what circumstances the street music could be best heard to be fully appreciated. He traced the origin and progress of the different popular airs that have been familiarized, from time to time, in the London streets. After a humorous sketch ot the incidents contained in it, a well known ditty, the "Ratcatcher's Daughter," was sung. The duet, "My Pretty Page," by Sir Henry Bishop, was next rendered, the lecturer first noticing the lines alluded to in it. Mr. Thackeray then drew attention to the feelings of the emigrant on leaving his native country, quoting an exquisite poem commencing, "Farewell to thee, England, O land of our birth," noticing, first, the emigrant's despondency, and then his after resolution to brave the world again, and with a stout heart and by God's blessing to overcome every difficulty. "Cheer, Boys Cheer," was sung; two rounds and catches were given as an illustration of a style peculiarly English.

The hallowed influences of music as associated with tile family circle wire next treated upon, being Illustrated by Hearts and Homes." The heroism of those who brave the dangers of the sea, on behalf of their fellow men, in saving from wreck and disaster, was dwelt upon, and illustrated by "The Minute Gun at Sea." The lecturer then spoke of that part of his subject which teaches that music inspires devotional feeling, referring to the times of early infancy, and showing that little hymns taught by a mother's love, are often the most holy, and have the first place, in our memory; this was illustrated by a solo, "The Infant's Prayer." Mr. Thackeray concluded his lecture, which had lasted a considerable time, by speaking of music as constant in its devotion to the fair sex. The last piece that was sung, "Here's a health to all good Lasses," had reference thereto.

The lecture was listened to throughout with the greatest attention, and the various illustrations, which were well sung, were loudly applauded. Dr. Scott in moving a vote of thanks to the talented lecturer and his assistants expressed the great pleasure he had received and anticipated the same for the remainder of the series, remarking on an error recently published, stating that clergymen take no interest in Schools of Arts, when in Maitland it is well known they are among its chief supporters. The motion was seconded by the Rev. Mr. Griffith and carried by acclamation Mr. Robinson called attention to a soiree, which is to take place on the 22nd. After singing "God save the Queen," the audience dispersed. As many were unable to obtain admittance, it has been suggested that the next lecture, which is to be on Irish Music, should be delivered, if possible, in a larger building.

"MUSICAL LECTURE", The Maitland Mercury (19 June 1860), 3

On Thursday evening the Rev. J. K. Thackeray delivered the second of his course of lectures on music, in aid of the building fund of the Maitland School of Arts, in the hall of that institution. The lecture was delivered under great disadvantages, Mr. Thackeray himself suffering from the effects of a recent fall with his horse, and the prevalence of Influenza together with the state of the weather tending to diminish the numbers of the audience. Notwithstanding these discouragements, the lecturer was punctually in his place, and the hall was well filled. The subject of the lecture was Irish music; but before proceeding to treat upon the characteristics of that music, particularly, the lecturer offered some introductory observations upon the rise and progress of music generally, from the days of Hermes Trismegistus, its reputed inventor, noticing in his hasty survey how, amongst the Egyptians, its practice was confined to the priesthood; now amongst the Hebrews it was interwoven with the religious ceremonies, and appeared prominently in the processions on funeral occasions; now, also, it was then probably of a noisy character, the instruments being mostly instruments of percussion, the language of the singers being harsh, and the number of musicians assembled at the various ceremonies, being great. Lastly he referred briefly to the music of the Greeks, whose early poets held a position similar to that of the bards and skalds of the northern nations, and to the music of the Romans, who had in their early days a music of their own, but who subsequently borrowed from the Greeks.

It had been said that much could be adduced in favour of the antiquity of Irish music; but the best of it was comparatively modern, and those wild strains which were at once the offspring and the solace of grief dated but a century or two back. The attachment of the Irish to their country was a marked feature of their character; with them absence strengthened their love for the country of their birth. The Irishman far from his native land remembered only its virtues and misfortunes, its love of freedom and generous spirit. This sentiment was admirably expressed in the song, "She is far from the land where her young hero sleeps." It had been remarked that the truest commentary on the history of Ireland was the music of the country, with its mixture of mirth and sadness. The varied aspects of that history were faithfully pourtrayed in melodies of the character of which "Erin go Bragh" might be taken as an illustration. The air named after the national emblem, the Shamrock, was also full of a grace peculiar to the national music. To many ears, a new air was not to pleasing as one which, often heard, had become familiar, and surrounded by associations, though the less popular air was in itself of equal beauty; but in Irish music the most popular songs were at the same time the most beautiful. As a sample of these, he cited "The meeting of the Waters," which, like the songs previously named, was given as an illustration. Most justly did the Irish estimate their national airs, because they breathed the language of nature. The bravura of the Italian song awakened no sentiment; but the touching Irish air called forth feelings peculiar and indescribable. Of this class "Norah Creina" was given as a specimen. After relating the tradition of the origin of the Lakes of Killarney, the universally popular air of "Kate Kearney" was referred to by the lecturer, in connection with Lover's parody, the "Castle of Blarney;" and the Irish songs of the affections were next spoken of, as peculiarly happy and affecting, appealing to feelings that actuate alike the monarch and the peasant. "Terence's farewell to Kathleen," was given as a song fall of pathos, and indicative of strong affections of the heart - the music being as singularly mournful and pathetic, as the words to which it was wedded. Irish music was indeed either singularly mournful or heartily comic. As a specimen of another class of songs, in which the blandishments of the fair were pourtrayed with force and witching simplicity, "Molly Bawn," was noticed and given - a song, the talented author of which had done much for the literature of his country.

One of the national institutions of Ireland was the pipes. The piper was always in great request. At weddings and christenings he was indispensable; and he always received a hearty welcome. Many of the old pipers were well-descended, and took pride in looking back to the past; but they were becoming a thing of the past; and Carolan was said to have been the last of the Irish bards, though he still lived in his own deathless strains. Without pausing over the comic music of Ireland, the lecturer remarked unfavourably upon much of it; but as an illustration of the better kind, he noticed the well-known song, "Widow Machree." Lover's songs were next referred to - those illustrative of national characteristics as truly racy of the soil, and those which were of an amatory character as full of genuine feeling. The "Low-backed Car," was given as one of Lover's songs, and was followed, after a brief reference to the older music, by "The Black Thorn." - Some remarks upon the Irish harp - the Instrument of the poet rather than the musician - the subordinate accompaniment to the voice of the minstrel - were an appropriate introduction to "The Harp that hung in Tara's halls;" after which the lecturer concluded with an apology for omitting reference to the military, political, and religious music for want of time, and to the bacchanalian, for want of inclination. "Flow on thou shining river," and "The young May moon is beaming," were the remaining illustrations - excepting a performance upon the Irish pipes, given by Mr. O'Brien with great spirit and success, which displayed the difference between that instrument and the Scottish.

The illustrations were given by Mr. Bateman and ladies and gentlemen of the Philharmonic Institute, who kindly lent their aid. At the conclusion a vote or thanks was passed to the lecturer, to the members of the Philharmonic Institute, and to Mr. Bateman, and there was an expression of much regret that the last named gentleman, to whose services the Institution was so much indebted, was about to leave the town. The Rev. J. R. Thackeray, in responding, reiterated the expression of regret at Mr. Bateman's departure to Queensland, and assured him of a cordial welcome should he return. We understand that at a meeting of members of the School of Arts and of the Philharmonic Institute held immediately afterwards, it was resolved that a complimentary concert should be given on Wednesday evening as a mark of appreciation of Mr. Bateman's exertions.

ASSOCIATIONS: Mr. Bateman; Mr. O'Brien

"PHILHARMONIC INSTITUTE", The Maitland Mercury and Hunter River General Advertiser (11 October 1860), 2 

. . . The following gentlemen were then chosen by ballot as the Committee for the half year: - Messrs. Hart, Capper, Rev. J. R. Thackeray, Messrs. P. Logan, Tyler, Cracknell, Pender, Rourke, Sloan, and Coulter . . .

"MEETINGS, LECTURES . . .", The Maitland Mercury (30 October 1860), 2

. . . On Thrusday evening, the Rev. J. H. Thackeray will lecture on Scottish music, with illustrations, at the School of Arts, West Maitland, and for the benefit of that institution . . .

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (30 March 1861), 1 

A LECTURE will be delivered on WEDNESDAY EVENING NEXT, April 8, by the Rev. J. R. Thackeray, for the benefit of the St. Paul's Church Organ Fund. Subject - "Mahomedanism - past and present" . . .

"MAITLAND PHILHARMONIC INSTITUTE", The Maitland Mercury and Hunter River General Advertiser (9 May 1861), 2 

. . . The Rev. J. R. THACKERAY contended that, as it was apparent Maitland could not do without a Philharmonic Society, he believed it to be injudicious to suspend the affairs at the present time. He should therefore like to wait a little, and see whether secular and sacred concerts could not be alternately got up . . .

"LECTURE IN AID OF THE VOLUNTEER BAND FUND", The Maitland Mercury and Hunter River General Advertiser (4 November ), 3 

Our readers are reminded that a lecture will be delivered this evening in the School of Arts by the Rev. J. R. Thackeray in aid of the band (and of the West Maitland Volunteers), The subject will be Prince Charles Edward, a subject interesting in itself but likely to be rendered still more so by being illustrated with Jacobite songs and music.

"WEST MAITLAND CHURCH UNION", The Maitland Mercury (2 April 1863), 2

. . . There have been six monthly meetings held . . . September 11, 1862. - The society was inaugurated. The Rev. President delivered the Inaugural Address, and 25 new members were admitted. - October 6. . . . Anthems: "O Praise the Lord;" "Praise God in His Holiness." - November 3rd. . . . Anthems: "Hear My Prayer," Kent; "Lord of All Power and Might;" December 1st . . . Anthems: "Sound the Loud Timbrel;" "Vital Spark;" - February 10, 1863 . . . Anthem: "Go, Let Me Weep;" Dr. Horn's singing class sung several pieces from Hullah's Manual. - March 5 . . . "Taller is Thy Throne, O Israel;" "Miserere," and a trio; anthem sung in Rome on Christmas Eve . . . There has also been a class formed, under the able conductorship of Dr. Horn, for the study and practise of sacred music, which has been hitherto very successful . . .


[Advertisement], The Maitland Mercury (24 September 1864), 1


"PRIVATE ORGAN RECITAL AT ST. PAUL'S CHURCH", The Maitland Mercury (25 July 1868), 4

We were indebted to the courtesy of the Rev. J. E. Thackeray, for the opportunity of being present at a private organ recital, given by Miss Amy Thackeray, upon the grand instrument in St. Paul's Church, on Thursday evening. This young lady has devoted herself to the study of the noble instrument, which enabled her on the night in question to delight and charm the audience invited, and the result of the recital gave evidence of the mastery she has attained over every key, stop, and pedal. Miss Thackeray plays with a firmness, vigour, and delicacy of touch, a brilliancy of execution, and a feelingness of expression, which gave the fullest effect to the magnificent specimens of the masters which were presented, and the selections had been made with the several objects of varying the music to suit the differing tastes of the audience, exhibiting the skill of the fair organist, and testing in the completest manner possible all the capabilities of the instrument. The programme opened with the chorus, And the glory," from Handel's Messiah, and was followed by an aria, "O rest in the Lord" (Mendelssohn's Elijah), which gave an opportunity for the introduction of the tender and mellow effect of the claribel flute stop; than succeeded an introduction and fugue (Bach) ; and then the ever-acceptable air from the Creation (Haydn), "With verdure clad," with its sustained tone of description, and undercurrent of adoration; next came that glorious chorus, from Handel's Messiah, "Worthy is the Lamb," sweeping the soul upwards in its stormy blast of praise; then a movement for the left hand and pedal, in which the sweet and clear notes of the viola stop rose piercingly above the deeper sounds; then a touching Kyrie, from Haydn's second service - sad and solemn in its first burden, but gradually towards the olose swelling into a song of joyfulness; then a war march from Athalie (Mendelssohn), and the Jewish war march from Judas Maccabaeus sounded grandly through the aisles, and awakened thoughts "with martial ardour strong;" then a movement in B flat from Nixon, bringing out the dulcet tones of the flute harmonic stop and the viola; then Beethoven's last march; and, lastly, an introduction and fugue by Neukomm. We must not omit to mention the brilliant extemporisations, by way of prelude to the various pieces, which the accomplished performer indulged in, to the gratification of the listeners; and we have to refer to the hours spent in St. Paul's, on Thursday night, as to the memory of a season of pure enjoyment.

"CHORAL SERVICE", The Maitland Mercury (29 June 1869), 4

On Friday evening an organ recital, in addition to a full choral service, took place at St. Paul's church, West Maitland. The attendance was very large, almost every seat in the church being filled. The choir was largely supplemented by a number of lady and gentlemen amateurs, whose voices contributed greatly to the effect of the choral portions of the service. The favorite anthem by Calcott, "I was glad," was rendered with good effect by the choir, although in the opening portion a slight unsteadiness indicated either want of practice or nervousness on the part of the performers; the conclusion of the anthem, however, was given with vigour and precision. Bridgewater's "Cantate, in A," and King's "Nunc Dimittis, in F," were well performed, and the evening psalms were sung to some of those grand old Gregorian Tones, which for pure and simple harmony have never been surpassed. The performance of Miss E. Thackeray on the organ, we need scarcely say, was characterised by her usual firmness of touch and delicacy of feeling. It is rarely we find a lady organist exhibit so much power as Miss Thackeray possesses over the "king of instruments," but in addition to this she performs with feminine feeling and taste. The gem of the programme, to our thinking, was the concluding piece, chorus and fugue "Praise ye the Lord," by Neukomm, in which the resources of the instrument and the performer's skill were alike brought out. The "Dead March in Saul" was well performed, although in giving it effect as a musical composition, the fair organist seemed to lose sight of its character as a march. Her rendering of Chopin's Marche Funèbre was, however admirable, and it would be hypercritical to find fault with the execution of the voluntaries and other selections on the programme. During the service, at the conclusion of the prayers, a collection was made, which amounted to £11 12s. 6d, which will be devoted towards the fund now being raised for the purpose of procuring a peal of bells for the church, and also in aid of the building fund.

"THE TWO MAITLANDS. No. II", The Sydney Morning Herald (25 November 1869), 5

. . . Of the two Episcopalian churches . . . St. Paul's is, to my mind, by far the prettiest . . . It is remarkable for two things in particular - a very beautifully sculptured stone pulpit, and a large fine toned organ. I had subsequently the advantage of hearing the latter played by Miss Emily Thackeray, a daughter of the incumbent, who acts as organist of St. Paul's. Her power over the instrument appeared to me to be something wonderful. I do not pretend to be much of a judge of music, but I know "sweet sounds" when I hear them, and can distinguish good execution from ordinary key thumping and pedal scamping. I have never heard music that I thought sweeter, or playing which I thought better, than I heard that evening at St. Paul's. To this organ, by the way, there hangs a tale. The incumbent of St. Paul's-the Rev. J. Thackeray (a relative of the great novelist of that name), holds the office of gaol chaplain, and he set apart the salary allotted by the Government for his services in that capacity, until the principal and interest amounted to nearly £600. With this money he paid for the organ . . .

"FLOOD RELIEF COMMITTEE, WEST MAITLAND", The Maitland Mercury (7 May 1870), 3

. . . After referring to the visit of the deputation to the Colonial Secretary, Mr. Thackeray explained that by the kindness of the Rev. George Hurst, the Rev. Mr. Gaud had been induced to place the York-street Wesleyan Church and its fine organ at the disposal of Miss E. Thackeray for an organ recital; that all arrangements would be undertaken in Sydney, and tickets at 2s. 6d. would be issued, it being thought more advisable to make definite charge than trust to voluntary contributions. Miss Thackeray had consented to proceed to Sydney, although at some inconvenience to herself, and the disturbance of her engagements with her pupils, and accordingly he would that evening send an advertisement to the Herald announcing the recital for next Tuesday evening . . .

"SOCIAL", Empire (18 May 1870), 3

On the 9th May, an organ recital was given in the Wesleyan Church, York-street, Sydney, by Miss Thackeray, organist of St. Paul's, Maitland, for the benefit of the sufferers by the late floods in the Maitland district. There was a good attendance, and the performance of Miss Thackeray elicited much admiration.

"ORGAN RECITAL IN SYDNEY", The Maitland Mercury (25 June 1870), 2

On Tuesday evening last an event of some interest to the people of this district - an organ recital in aid of the Maitland Flood Relief Fund was given in the York-street Wesleyan Church, Sydney, the performers being Miss E. Thackeray, of St. Paul's, West Maitland; Mr. Rae, of St. John's, Darlinghurst; and Mr. C. Packer, of the York-street Church . . . Mr. Rae opened the proceedings . . . Miss Thackeray then made her appearance at the instrument. Of this lady the Empire says - "She exhibited great proficiency, and á surprising power for a lady performer: her execution was wonderful. Bach's Fugue was so decidedly and distinctly rendered that the audience were unanimous in their appreciation of it." We may add to the foregoing criticism that Miss Thackeray possesses a control of the pedals rarely to be met with in a lady performer, and that her execution generally is distinguished alike by power and by feeling. Her portion of the programme consisted of an "Andante and Allegro" by Nixon ; "Coro nel Orfeo," by Gluck; a "Fugue" by Bach, and the magnificent "Kyrie and Gloria" from Haydn's second service. The whole of these pieces were listened to by the audience with rapt attention, and with evident appreciation . . .

[Advertisement], The Sydney Morning Herald (3 September 1870), 5

NEW MUSIC - Song of Saul before his Last Battle words by Byron - composed by, and dedicated to, Sir Alfred Stephen by Aimee, 2s 6d.
CLARKE, 23, Hunter-street.

"MISS EMILY THACKERAY", The Maitland Mercury (6 September 1870), 2

We have pleasure in announcing that by the last English mail Miss Emily Thackeray, organist of St. Paul's Church, West Maitland, was advised of her election, by an unanimous vote, as a member of the College of Organists of England.

"Dramatic and Musical Review", Australian Town and Country Journal (17 September 1870), 21

I have received for notice three pieces of music, all of a sacred character, and from the publishing office of Mr. J. R. Clarke, of Hunter-street . . . though last not least, No. 3 is "The Song of Saul," composed to Byron's words by "Aimee," a signature which represents, I believe, Miss Thackeray, of Maitland, who lately pleased here very much by her organ performances. It is a fine stirring air, and exhibits great musical talent and skill in the arrangement and accompaniment. One or two passages are peculiar. The first two pieces are engraved and printed in Sydney . . .

"CONCERT AT EAST MAITLAND", The Maitland Mercury (5 January 1871), 2

An amateur concert, which was given in St. Peter's school-room. East Maitland, on Tuesday evening, will be remembered as the most successful concert of the season, and the selection of the music was in the highest degree judicious, as it avoided too great a quantity of classical pieces on the one hand, and the inclusion of any of the so-called comic selections on the other . . . Miss Emily Thackeray presided at the pianoforte . . .

[Advertisement], The musical times and singing class circular 15/351 (1 May 1872), 484 (DIGITISED)

THACKERAY, EMILY. Songs for the Twilight. No. 1, Eloi, Eloi, lama Sabacthani, 1s. 6d.

[Advertisement], The Maitland Mercury (11 June 1872), 1

S. PAUL'S, MAITLAND - THURSDAY June 13th. Harvest Thanksgiving Service, 7.30 pm - Choral Service - Tallis in F - Evening Psalms to Gregorian Tones, Cantate Russell in E, Deus Purcell in F. Anthem, "Praised be the Lord," Emily Thackeray . . .

"THANKSGIVING SERVICE AT ST. PAULS'S", The Maitland Mercury (13 June 1872), 3

Our readers will have observed that a "Harvest Thanksgiving Service" is to take place in St. Paul's Church, West Maitland, on the evening of-Thursday (this day ) . . . the anthem is the composition of Miss Emily Thackeray.

[Advertisement], The Maitland Mercury (6 July 1872), 1

JUST PUBLISHED. Price 1s. 6d, SONGS OF THE TWILIGHT No. 1, "ELOI ELOI, LAMA SABACTHANI", The Poetry by D. P. Carter, Esq., Hereford, England; the Music by Emily Thackeray, Organist of S Paul's, Maitland. LONDON NOVELLO, EWER, & CO.; WEST MAITLAND: W. LIPSCOMB.

[Advertisement], The Sydney Morning Herald (12 August 1872), 1

ELOI, Eloi, Lama Sabacthani. - New Sacred Song, composed by Miss E. Thackeray. Price 1s. 6d. ELVY and CO.

[Advertisement], The Maitland Mercury (6 February 1873), 1

MISS THACKERAY, M.C.O.E. (Organist of S. Paul's, Maitland), WILL RECEIVE HER PUPILS on TUESDAY, Feb 11th. Miss Thackeray has leisure for Two or Three more Pupils, either for Organ or Pianoforte. S. Paul's, Maitland.

"MARRIAGES", The Sydney Morning Herald (14 May 1877), 1 

WELCH - THACKERAY. - May 10, at St. Mark's, Darling Point, Sydney, by the Rev. Thomas Kemmis, assisted by the Rev. Thomas Horton, John St. Vincent Welch, to Emily (Aimée) Thackeray.

"HOLY WEEK SERVICES AT ST. PAUL'S", The Maitland Mercury (29 March 1890), 4

. . . On Good Friday the order of service will be - Litany, 9 a.m.; Matins, 11 a.m.; Evensong, with anthem "Eloi, Eloi," - Aimee Thackeray . . .

"DEATH OF THE REV. J. R. THACKERAY, M.A.", Morning Bulletin (28 February 1902), 4 

"DEATH OF MR. J. ST. VINCENT WELCH", The Sydney Morning Herald (27 December 1918), 7 

Mr. John St. Vincent Welch, a well-known city figure for many years, died suddenly, at his home, Standish, Greenwich, yesterday morning, after a brief illness. He was born in Devonshire, and settled down in this State many years ago. A lover of the arts, and more especially of music, the deceased claimed a big circle of old-established friends. He was 74 years of age, and retired from business nine years ago. He combined with his aesthetic tastes, which were revealed in many ways, a keen business mind . . .

"DEATHS", The Sydney Morning Herald (25 October 1927), 10 

WELCH. - October 19, Emily, widow of the late John St. Vincent Welch.

Bibliography and resources:

Graeme Rushworth, Historic organs of New South Wales (Sydney: Hale & Iremonger, 1988), 108, 158

THATCHER, Charles (Charles Robert THATCHER; "the inimitable THATCHER") see MAINPAGE
THATCHER, Annie (Mrs. Charles THATCHER) = Annie DAY (Madame VITELLI)

THAYER, Kate (Miss Kate THAYER, Madame Kate THAYER; Mrs. W. E. CHAPMAN)

Soprano vocalist

Born c. 1850
Arrived Sydney, NSW, 30 June 1881 (per City of Sydney, from San Francisco)
Departed Adelaide, SA, January 1884 (per Caledonian, for London)
Died London, England, 14 December 1914 (shareable link to this entry)

Kate Thayer, New York 1879

Kate Thayer (New York, 1879) (DIGITISED)


Kate Thayer arrived in Australia in 1881 as a member of Wilhelmj Concert Company.

For August Wilhelmj in Sydney in July and Henri Kowalski in Melbourne in August, she sang the Queen of the Night's aria from Mozart's The magic flute (previously introduced to Australia by Ilma de Murska and Carlotta Patti).

She and her husband and agent, W. E. Chapman, settled in Adelaide in 1882, where Chapman worked as a journalist, and she teaching and singing until the end of 1883, whereafter they sailed for London.


"Amusements", Evening News (27 June 1881), 3

Herr August Wilhelmj, the great violinist, whose fame has spread into all lands, is on board the in-coming mail steamer from San Francisco. The lovers of music may therefore expect to shortly hear the violin in the hands of a master, the equal of whom has never visited our city before. The company of which Herr Wilhelmj is the star, includes Miss Kate Thayer (soprano), and Herr Vogrich (pianist), both of whom have been enthusiastically praised by the American Press.

"KOWALSKI'S EXHIBITION CONCERTS", The Argus (15 August 1881), 6

. . . A new prima donna made her first appearance in Melbourne on this occasion. Miss Kate Thayer is a lady of elegant appearance. Her voice is a soprano of high and resonant quality, her execution correct, facile, and extremely brilliant. Her qualifications as an artiste were at once admitted and approved in the great outburst of applause which followed the conclusion of her first aria, the celebrated " Gli Angui d' Inferno,' from the 'Flauto Magico' of Mozart. Her performance of the high staccato passages in this remarkable and beautiful composition, to an excellent accompaniment played by Signor Zelman, was of a kind which has not been heard here of late, and the first impression she made was wholly in her favour. This impression was confirmed and improved by her subsequent performances. In the second part of the programme she sang "La Capricciosa," a vocal waltz by Mattei - a decidedly taking composition showing great variety of brilliant ornamentation, which was executed by Miss Thayer with such verve and finish as to gain for her the honour of an uproarious encore. To this demand she replied by singing " The Postilion," by Abt, a highly ornate and very charming morceau, requiring much facility in execution to do it justice, and rendered by this lady in perfect style. Miss Thayer had gained another encore previous to this, when she sang "Comin' thro' the rye," after the Mozart air first mentioned. Her final performance was in a charming little song, "We banish love," written by the late Mr. Marcus Clarke and composed by Henri Kowalski. It forms part of an opera which M. Kowalski has just finished. The tune is tender and grave, and is very sweetly modulated, and it was sung by Miss Thayer with very good feeling. It is of a kind which would be best appreciated in the scene in which it is properly set - we do not think it bears transplanting to the platform of a great promenade concert. In dismissing the name of Miss Thayer for the present, we may conclude by saying that she thoroughly deserved the hearty reception and approval she met with.

"MISS KATE THAYER", The South Australian Advertiser (19 August 1882), 7

"SUMMARY PER IBERIA", South Australian Register (14 January 1884), 6 

By the Caledonien Madame Kate Thayer, the well-known vocalist, and her husband. Mr. W. E. Chapman, formerly of the Register staff, left for England, where Madame Thayer will pursue her professional career.

[News], South Australian Register (18 August 1893), 4

Madame Kate Thayer. Mr. P. A. Howells has received a letter from Madame Thayer, who will be remembered as one of the most popular concert artists that has appeared in Adelaide. The lady is now in London, where, since her return from an American tour, she has been assiduously studying under high-class masters. The result has been a marked improvement in the quality of her voice. Accepting but few offers for the platform, she has been professionally engaged principally in teaching and lecturing. Madame Thayer, being desirous of renewing her pleasant relations with the patrons of music in this city, wishes to negotiate for an Adelaide season. Her return would be hailed with pleasure by all those who remember her highly cultivated voice and artistic singing.

"PERSONAL NOTES FROM ENGLAND", The Register (20 July 1903), 6

"AUSTRALIANS ABROAD", Evening News (10 February 1915), 6

The many friends of Mme. Kate Thayer will learn with regret of her death, which took piece on December 14 at Pillimore Place, W. Since the foundation of the Lyceum Club, Mme. Thayer had bean one of its keenest supporters and most prominent members. Since the foundation of the American Club, Mme. Thayer held the position of president, only resigning it last November on account of ill health. Both in Australia and England she was widely known; and for many years she devoted her time and energies to her "Scholarships for Women Scheme" on similar lines (she hoped) to the Rhodes scholarships.

"EARLY PRESS CLUBS", The Mail (18 May 1918), 3 

Another notable man at that time was W. E. Chapman, who introduced the column called "Crumbs" into the "Journal." He married Madame Kate Thayer, a famous singer of the day. Chapman's mental endurance was remarkable. He could work all day, play cards all night, and never apparently require any sleep.


Violinist, comedian, minstrel serenader, vocalist, pianist (of Totten's Harmoneons)

Born ? USA, c. 1830
Active Geelong and Melbourne, VIC, June to August 1854
Arrived Adelaide, SA, 19 August 1854 (per Bosphorus, from Melbourne, 14 August, age "24")
Departed Fremantle, WA, 4 January 1855 (per Eleanor, for Mauritius, from Adelaide, 25 November) (TROVE tagged by Australharmony) (shareable link to this entry)


There is no record of Thayer before his first appearance with J. O. Pierce and Elbert Totten's troupe in Melbourne in June 1854.

When the remnant of group, led by James Edward Kitts, left Adelaide, without Totten and Pierce, late in November, they were reportedly bound for Mauritius, Thayer evidently with them.


[Advertisement], Geelong Advertiser and Intelligencer (17 June 1854), 5 

SATURDAY EVENING, JUNE 17. Positively the last night.
Grand Complimentary Benefit to Mr. E. TOTTEN . . . a Grand Select Glee and Ethiopian Entertainment . . .
First Night of the Harmoneons in WHITE FACES.
The Company will on this evening appear in white faces and offer to the public a collection of Glees, Quartets, Solos, &c.
Second night of the truly laughable and side-splitting Afterpiece, entitled the
DOCTOR AND HIS PATIENT; Or, the First Lesson in Surgery.
Mr. BAKER will appear as the King of Australian Juba Dancers, in the Virginia Breakdown.
Opening Glee - "The Sun's Gay Beams," from Weber's :Eurianthe" - Kitts, Pierce, Thayer, and Dixon.
Comic Song - Thayer
Quartet - "Napoleon's Grave" - Thayer, Dixon, Pierce, and Kitts
Solo - Concertina, with Harp accompaniment - Pierce
Glee - "To Greece we give our shining blades" - Pierce, Dixon, Kitts, and Thayer.
An interval of ten minutes.
Medley Overture and Chorus - Company
"Come to the Husking." (New) - Company
"Dandy Broadway Swell" - Kitts
"Cynthia Sue" - Baker
"Lilla Dale" - Dixon
"How do, John" - Thayer
"Old Coon Hunter's lament" - Clarke
"Fire down below" - Pierce
"Sukey Lane" (New) - Dixon
"Boteman Dance" - Lee
Finale to part second "The Old Jaw Bones" by Kit., (A paltry Parody on the Misletoe Bung.)
Solo - Banjo - Clarke
Sailor's Hornpipe - Mr. Jones (Who has kindly volunteered his services.)
Sol0. Flutina - Medley - Pierce
Virginia Breakdown - Baker
The whole to conclude with the laughable Negro Extravaganza, entitled
THE DOCTOR & HIS PATIENT; Or, the First Lesson In Surgery.
Professor Squash, a doctor who has seen better days, Mr. Thayer
Caesar (not Julius) - Mr. Lee
Mr. William, the Patient - Mr. Baker
For the better accommodation of the public, seats will be placed in the ring.
Dress circle, 3s; Boxes, 5s.; Pit, 3s.

ASSOCIATIONS: James Edward Kitts; J. O. Pierce; J. C. Lee; Frederick Dixon; Elbert Totten

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

CRITERION HALL, Great Collins-street.
Open Every Night, by TOTTEN'S HARMONEONS.
Acknowledged to be the largest and the most talented in the colonies.
This company is composed of the following gentlemen: -
Pierce, Kitts, Thayer, Dixon, Clarke, Baker, and Lees.
The best selection of Songs and Chorusses.
E. TOTTEN, Manager.

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

QUEEN'S THEATRE, Saturday Evening, August 12th, 1854,
Farewell Benefit of MR. E. TOTTEN, Previous to his departure for Calcutta. Totten' Harmoneons . . .

[Advertisement], Adelaide Times (7 September 1854), 1 

THIS EVENING (Thursday), September 7th, 1953.
Messrs. Pierce - Concertina and Flutina.
Kitts - Guitar.
Thayer - Violin.
Clark - Banjo.
Baker - Tambourine.
Lee - Bone Castanets . . .
Every care shall be taken that nothing shall be introduced into these Concerts to offend the most fastidious - in short, the Company intend combining strictly classical music with genuine wit and humour. The Music consists chiefly of the gems of different Operas, which have been parodied and adapted to the Ethiopian character.
With these few remarks we beg to submit our first
Part I.
Introductory Overture - Wrecker's Daughter - Full Band.
Opening Chorus - Let's be Gay (Music from "Robert le Diable") - Company.
Old Aunt Sally - Pierce.
Dandy Broadway Swell - Kitts.
Massa's in the Cold, Cold Ground - Thayer.
Merry is the Minstrel's Life (Duet) - Pierce & Kitts.
Brudder Gum - Baker.
All the Old Folks are Gone - Kitts.
Boatmen Dance (with a Paraphrase) - Lee.
Finale to Part First - Stop dat Knocking (An Operatic Burlesque) - Pierce and Company.
An intermission of ten minutes.
Part II.
Miscellaneous Olio.
Solo - Flutina - Pierce.
Solo - Banjo - Clark.
Song - Blue Tail Fly (with imitations) - Baker.
A short intermission.
Part III.
Medley Overture and Chorus - Company.
How do, John - Thayer.
Commence, you Darkies - Clark.
Niggers from the South (Laughing Chorus) - Pierce and Company.
The Evening's Entertainments to conclude with the celebrated
PLANTATION DANCE By Mr. BAKER, as danced by him at all the principal Theatres in the United States . . .

[Advertisement], South Australian Register (5 October 1854), 1

ROYAL VICTORIA THEATRE . . . THIS EVENING (Thursday), October 5th, 1854.
FOR THE BENEFIT OF MARK THAYER, Violinist and Negro Comedian.
First Appearance in Adelaide of the Harmoneons with White Faces . . .
PROGRAMME . . . Ballad, "The American Indian Captive's Lament," (Music by L. Heath, of Boston, now sung for the first time in the Colonies,)
Thayer, accompanying himself on the Pianoforte . . .
Finale to Part First, a New and Original Comic Song (written by Mr. Thayer for this particular occasion, relating to Local Events which have come under the as observation of the entire public of Adelaide), Thayer . . .
The Evening's Entertainment to conclude with a New and Laughable Afterpiece, original with this Company, and never acted here, entitled THAYER IN DISTEESS; or, WANTED, A COMPANY OF SERENADERS.
Mr. Mark Thayer, in search of Performers - Thayer.
Young Pegg, in want of a Situation - Clark.
Uncle Tom, a noble specimen of the African Race - Kitts.
Mr. Crow, a Nigger of some talent - Baker.
Mr. Snowball, a Banjo-player short of funds - Pierce.
Mr. Pompey Dummy, a solo performer of great merit - Lee . . .

[Advertisement], South Australian Register (11 October 1854), 1

MISS PETTMAN and MR. W. CHAPMAN beg to inform their friends and the public generally, that they will give a GRAND CONCERT of Vocal and Instrumental Music on the evening of WEDNESDAY, OCT. 11th, 1854, at the PANTHEON, King William-street, for which occasion MR. P. LEE. has kindly offered his services, as also the following well-known talent . . .
Instrumentalists: 1st Violins - Mr. P. Lee and Mr. Chapman
2nd Ditto - Mr. Wm. Cobbin, jun., Mr. Watts and Mr. Mark Thayer, who has also kindly offered his services . . .
PROGRAMME. PART I. 1. Overture, Don Juan, Orchestra - Mozart . . .
7. The Star of the Night Valses, - Orchestra Par Charles D'Albert . . .
PART II. 1. Overture, Il Barbiere di Siviglia, Orchestra - Rossini . . .
8. The Etna Galop, Orchestra - Par Charles D'Albert . . .

ASSOCIATIONS: Mary Ann Pettman; William Chapman; Philip Lee; William Cobbin, junior

[Advertisement], Adelaide Times (13 November 1854), 1 

Most positively the Last Appearance of this talented company in Adelaide . . .

"TOTTEN'S HARMONEONS", South Australian Register (14 November 1854), 3

This company completed their short but successful season last evening. The Exchange-room was full, and the audience evinced its approbation of the performance by a continued series of plaudits and frequent encores. The first part, although not exactly a new feature, was novel to many who had frequently enjoyed the nigger ditties, and proved that the Harmoneons need not be ashamed to show the faces nature gave them, nor afraid to attempt the more elaborate productions of musical science. The second part went off with even more than usual spirit, but Thayer pretty well monopolised the whole of the Miscellaneous Olio to himself. He commenced with a local imitation of "That beats me," a comic song which had a prodigious run in Melbourne, and, as it abounded in happy hits, elicited a boisterous encore. For that, however, he substituted another, and when a repetition was loudly called for gave a third comic song of considerable merit, which predicted a return of the golden times that made Adelaide such a prosperous place "about two years ago." Pierce, in a short valedictory address, acknowledged gratefully on the part of the company, the success which has attended their South Australian campaign; and the entertainment concluded with "The Coloured Fancy Ball," which was repeated in compliance with an enthusiastic requisition. As on every other occasion, Mr. Totten was active in securing the comfort of the audience, and was as successful as usual in his peculiar office of "Master of the Ceremonies." We understand the performance announced to take place this evening at the Port will be most positively the last appearance of the Harmoneons in South Australia.

[Advertisement], Adelaide Times (16 November 1854), 1 

THIS IS TO CERTIFY that we, the undersigned, do from this day resign all connection with the Company of Serenaders, known as TOTTEN'S HARMONEONS, having by mutual consent DISSOLVED PARTNERSHIP. ELBERT TOTTEN. JOHN O. PIERCE.

"BREACH OF CUSTOMS LAWS", Adelaide Observer (2 December 1854), 4 

The Eleanor, barque, for the Mauritius, put to sea on Saturday morning, without clearing at the Customs, and also without her register, which we believe remains in the hands of her agents, who have, it is said, some reason to regret her expected and hurried departure. The tide-surveyor with one of the water-police went in chase of the vessel in a whale-boat a few hours after her illegal departure became known, but were obliged to return without success.

"Shipping Intelligence . . . SAILED", The Perth Gazette and Independent Journal of Politics and News [WA] (12 January 1855), 2 

On the 4th instant, the barque Eleanor, Cook, master, for the Mauritius. Passengers - 6 New York Serenaders, and two others.

"SHIPPING INTELLIGENCE . . . MISCELLANEOUS", South Australian Register (25 January 1855), 2 

The barque Eleanor, Cook, master, from Adelaide (stated to be bound for Port Louis), was compelled to put into Fremantle in a leaky condition. She arrived there on the 11th December, and was to undergo repairs at Garden Island. The passengers reported are Captain Robinson and lady, and a party of six New York Ethiopian Serenaders, among whom were Messrs. Kitts and Lee, so favourably known by their performances here.

"UP TO SNUFF, AND A PINCH OR TWO OVER", Adelaide Times (13 February 1855), 3 

The Daphne, whom arrival from Swan River was announced in our shipping columns yesterday, has brought us some "fast" news respecting the Eleanor, which vessel, it will be remembered, left these shores a few months ago under "peculiar circumstances." On the arrival of this craft at the Swan, it appears that her commander (Captain Cooke) managed to obtain an interview with the Lieutenant-Governor, who, not being able "to read the mind's construction on the face," suffered himself to be cajoled into the belief that the Eleanor's register and clearance, and a large sum of money, had inadvertently been left behind at Port Adelaide. His Excellency, so the report goes, looked upon the captain as a most unfortunate being, and accordingly granted him an order to sail for Mauritius. It further appears that the cool captain of the Eleanor succeeded in introducing "Ada," "some moons wasted," the "Diana" of the "York," into the most fashionable circle of Western Australia as Mrs. Cooke. Totten's Ethiopian deserters, and Adelaide hotel keeper's friends, carried on Captain Cooke's bravado in a serenading style calculated to excite the admiration of every true friend of dishonesty.

THEE, John Henry (John Henry THEE; J. H. THEE)

Amateur musician, composer, grazier (Europambela Station)

Born Germany, c. 1834
Arrived Sydney, NSW, 24 April 1853 (per Java, from Hamburgh, via the Downs, 22 November 1852) (TROVE tagged by Australharmony) (shareable link to this entry)


"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (25 April 1853), 2 

April 24 - Java, Hamburgh ship, 968 tons, Captain Christiansen, from the Downs November 22nd, and the Cape March 6. Passengers - Mr. and Mrs. Welbanke, Mr. Thee, Dr. McLoghlin, Surgeon Superintendant, Mr. Blake, Religious Instructor, and 452 Government emigrants.

Certificate to naturalize . . . John Henry Thee, 1854; State Records Authority of NSW (PAYWALL)

Whereas . . . the said John Henry Thee is a native of Germany, twenty years of age, and having arrived in the ship Java, in the year 1853, he is now residing at Bombala in the district of Maneroo, and wishing to settle in the said colony and to enjoy the rights of a British subject . . . Given . . . this [28 December 1854] . . .

"DONATIONS TO THE AUSTRALIAN MUSEUM", The Sydney Morning Herald (7 May 1859), 5

. . . Skin of an albino variety of the Petaurista Taguenoides, or Taguan flying opossum, from New England. By John Henry Thee, Esq. . . .

[Advertisement], The Sydney Morning Herald (13 February 1864), 9

JUST PUBLISHED. - The New England POLKA, by J. H. Thee, Esq. of Europambela, Arranged for the Pianoforte by A. Anderson, R.A.
J. H. ANDERSON, 360, George-street.

[Advertisement], The Sydney Morning Herald (11 April 1864), 1

JUST PUBLISHED, the NEW ENGLAND POLKA, arranged by A. Anderson, R.A.
J. H. ANDERSON, 360, George-street.

"THE NEW ENGLAND POLKA", The Sydney Morning Herald (9 April 1864), 7

A gentleman residing at New England, Mr. Thee, has composed a very pretty polka, which indicates that, even in the wilds of Australia, music holds its influence over the squatter, and that the growing of wool and rearing of cattle may be accompanied with a little music. The composition is really good, and it has been well arranged for the piano by Mr. Anderson, jun., whose ability in dealing with the melody is quite evident. It will no doubt become a favourite, particularly in the locality from which the polka takes its name.

Musical work:

The New England polka, composed by J. H. Thee, esq. of Europambella, arranged for the piano-forte by Alfred Anderson, R.A. (Sydney: J. H. Anderson, [1864]) (DIGITISED) (TROVE tagged by Australharmony)

ASSOCIATIONS: Alfred Anderson; James Henri Anderson

THEOBALD, Robert Bishop (Robert Bishop THEOBALD; R. B. THEOBALD)

Professor of music and languages, orchestral musician, composer, schoolmaster

Born Halstead, Essex, England, c. 1817; son of Thomas and Elizabeth THEOBALD
Married Matilda Sophia TAYLOR, St. James's church, Clerkenwell, 21 October 1843
Arrived Sydney, NSW, 23 June 1853 (assisted emigrant per Bolton)
Died Newcastle, NSW, 24 January 1876, in the 59th year of his age (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


Theobald and his family arrived in NSW as assisted emigrants in 1853. He advertised in Sydney as a professor of music and languages, and teacher of the flute, in 1859. From 1867 or earlier he ran the Collegiate School in Newcastle. A former pupil recalled in 1936:

There was a collegiate school established in the sixties by Mr. Kenny, and carried on after his death by Mr. R. B. Theobald, one of the best teachers I have known, and a most lovable man. I have heard that he was an English master at Dulwich College, England.

His only daughter, Adeline, married James Edward Hannell in 1868, and died the following year, having given birth to a daughter.


1843, marriage solemnized at the parish church . . . St. James Clerkenwell . . .; London Metropolitan Archives (PAYWALL)

107 / [married] October 21st / Robert Bishop Theobald / of age / Bachelor / School master / 5 Upper Wharton St. / [father] Thomas Theobald / Clothier
Matilda Sophia Taylor / of age / Spinster / - / 5 Upper Wharton St. / [father] William Taylor / Merchant . . .

Baptisms solemnized in the parish of St. Margaret, King's Lynn . . . at St. Nicholas's Chapel in the year 1844; Norfolk Archives (PAYWALL)

No. 279 / 6th July 1844 / (born April 4, 1844) / Matilda Adeline Daughter of / Robert Bishop & Matilda Sophia / Theobald / [/] Clough Lane / School Master . . .

England census, 30 March 1851, Dulwich, Camberwell, Surrey; UK National Archives, HO 107 / 1580 (PAYWALL)

11 [High St] / Joseph Townshend / Head / 27 / Bed & Bedstead manufacturer . . . .
Robert Theobald / Visitor / 34 / Schoolmaster / [born] Essex Halstead
Maria [Theobald] / Wife / 36 / - / Gloust. Stroud
Adeline [Theobald] / Dau'r / 7 / Scholar / Norfolk Lynn

List of immigrants per ship Bolton . . . June 1853; State Records Authority of NSW (PAYWALL)

Theobald, Robert Bishop / 36 / [ ? ] / [born] [? ] Essex / [parents] Thomas and Elizabeth - Father and Mother living at Chelmsford . . .
Mary / 39 / Wife / Devonshire / Parents both dead / A Sister Mrs. Gerrad - [?] at Darling point
Adeline Matilda / Daughter / 9 / [?] Norfolk / Parents on board . . .

[Advertisement], Empire (25 August 1854), 1

ROYAL VICTORIA THEATRE. Andrew Torning, Sole Lessee and Manager . . .
will open for dramatic and operatic performances (on a scale superior to any yet attempted in the colonies) on MONDAY, August 2d. with the following company: -
Mr. Frank Howson, Operatic Manager.
Mr. Lavenu, Musical Director.
Mr. John Gibbs, Leader of the Orchestra . . .
ORCHESTRA. Messrs. Lavenu, John Gibbs, C. Riffel, G. Strong, J. Guerin, Davis, R. Vaughan, M. Vaughan, Wright, Wheeler, Turner, Seymour, McLauglin, Bing, Theobald, Earle, and Master Hudson . . .

ASSOCIATIONS: Andrew Torning; Frank Howson; Lewis Henry Lavenu; John Gibbs; Robert Vaughan

[Advertisement], The Sydney Morning Herald (26 March 1859), 1

MR. R. B. THEOBALD, Professor of Music and Languages, has removed from 59, to 38, Liverpool-street.

[Advertisement], The Sydney Morning Herald (14 May 1859), 10

EIGHT-KEYED CONCERT FLUTES, 30s. each, warranted. Mr. THEOBALD, teacher of music, 38, Liverpool-street.

[Advertisement], The Sydney Morning Herald (26 September 1859), 1

ROSELLA SCHOTTISCHE, illustrated. Just published price 2s. 6d. To be had at the Music-shops.

[Advertisement], The Sydney Morning Herald (5 November 1859), 6

JUST PUBLISHED, The "Rosella Scottische," [sic] illustrated (2s. 6d.) L. MOSS, music publisher, Hunter-street.


[2 advertisements], Empire (27 March 1862), 1

EDUCATION. - Mr. and Mrs. THEOBALD'S Establishment for Young Ladies, 35, Stanley-street, Hyde Park.

CRICKETERS' QUADRILLE (The). - 2nd Edition, JUST PUBLISHED. Price, 3s. Sold by all Musicsellers.

"NOTES OF THE WEEK", The Sydney Morning Herald (29 March 1862), 5

A very lively set of cricketer's quadrilles, dedicated to the United Elevens of New South Wales and Victoria, have been published by Anderson, of George-street. The composer, who used only the initials T. E. O., is stated to be "an old cricketer."

ASSOCIATIONS: James Henri Anderson

"DEATH", Empire (18 May 1867), 1

THEOBALD. - On the 12th March, 1867, at Chelmsford, Essex, England, aged 75 years, Mrs. Elizabeth Theobald, the beloved mother of Mr. R. B. Theobald, M.C.P., Collegiate School, Newcastle.

[Advertisement], The Sydney Morning Herald (13 March 1868), 1

NEW MUSIC - The Galatea Polka, by R. B. Theobald, illustrated, price 3s. Sold at all Music Shops.

ASSOCIATIONS: Alfred (duke of Edinburgh, for the royal tour)

"NEW MUSIC", The Maitland Mercury (11 May 1869), 1

Mr. R. B. Theobald, of Newcastle, has composed a new polka mazourka, entitled "La Mystère de Kiama," which is spoken of as an excellent production, containing good and sparkling music, set to capital dance time.

[Advertisement], The Sydney Morning Herald (24 September 1870), 3

NEW MUSIC - Just published, "PRINCE ARTHUR'S MARCH," for the pianoforte, by R. B. Theobald. "THE PRINCE'S RETURN, POLKA MAZURKA," by the same author, will be ready for circulation in a few days. Both pieces can be had at any of the music shops.

"New Music", Illustrated Sydney News (26 October 1870), 3

"Prince Arthur's March," by R. B. THEOBALD, Newcastle, N.S.W. E. Turner, Hunter-street, Sydney.

FOR some two or three years the Sydney market overflowed with the musical efforts of all kinds of colonial composers - song, dance, and instrumental music - following in quick succession. Since then there has been a dearth of this kind of publication, and we have pleasure in noticing this pleasant little addition to our stock of colonial music, recently brought out by Mr. Theobald. The medley is just of that description which fastens itself readily on the ear, and has been very pleasingly harmonised. We have little doubt that in these days of military excitement, it will soon be added to the repertoire of each volunteer band, and that we shall forthwith hear the sweet strains of "Prince Arthur's March" on our local parade grounds.

[News], Empire (2 August 1873), 2

The Volunteer Artillery Brigade band will perform this day at 3 p.m., in the Botanic Gardens. Programme; 1. Prince Arthur's March; Theobold, 2. Selection, "William Tell;" Rossini. 3. "Lucia di Lammermoor;" Coote. 4. Waltz, Pipele; Zelmain [Zelman]. 6. Selection, "Grande Duchesse;" Offenbach. 6. Galop, My Valentine; Relle. 7. God save the Queen. W. Cork, conductor.

"The Cricketers' Quadrille", Australian Town and Country Journal (4 April 1874), 23

The "Cricketers' Quadrille," by Robert B. Theobald, dedicated to the united elevens of Victoria and New South Wales, and printed for the composer by Turner, of Hunter-street, in this city, deserves the highest praise which can be bestowed on a composition of this kind, namely, that it is lively and pretty dance music. The only scope which a set of quadrilles affords to a writer is in the department of melody, the accompaniments being necessarily pomaphonic [sic], that is, serving to sustain and embellish the melodies. It is the melodies and their rhythm which set the toes and heels of the dancers in motion, and, consequently everything else, must be subordinate. From this cause it follows, that most quadrille music is harmonised in the free style, - and often in an outrageously free style, - with tum-tum accompaniments, the skill of the composer being shown in the selection of as many agreeable chords, and as few dissonances as possible. Mr. Theobald has made the most of whatever liberty the subject allowed him, and as a result, his harmonies are very smooth and agreeable. When he introduces discords, he does so skilfully, and soon resolves them, and thus prevents his readers' ears from becoming fatigued by a succession of harsh sounds. Some writers carry the freedom of the free style to an unwarrantable extent, giving their readers whole progressions of discords; and they do so, not because they have some great object to accomplish, some poetic idea to express, such as are found in the works of Beethoven or Wagner, but simply as a tum-tum accompaniment to a simple melody. Mr. Theobald has carefully avoided this fault, and, in doing so, has shown his skill and taste. The melodies of these quadrilles are very pretty, and, like most pretty melodies, are very simple. The harmonies lie well under the hands, and are very easy to play. The music in nicely, and, with the exception of a mistake or so, such as D for C, in a progression of octaves, correctly lithographed, We are glad to see works of this kind issuing from our colonial press, for their issue denotes progress in the fine arts, and shows that we have people of taste residing amongst us.


[Advertisement], The Sydney Morning Herald (6 April 1874), 6

JUST PUBLISHED. - The CRICKETERS' QUADRILLE, by R. B. Theobald. Copies, 3s each, can be had at Mr. Turner's Book-shop, Hunter-street, Sydney; and at Mrs. Paine's, Newcastle.

[Advertisement], The Maitland Mercury (28 November 1874), 1

Vocal and Instrumental Concert,
BY MR. CHRISTIE AND FAMILY . . . Wednesday Evening Next, December 2nd, at Eight o'clock . . .
Introduction (Full Band) - Prince Arthur's March - R. B Theobald, Newcastle, N.S.W. . . .
Polka, "Galatea" - R. B. Theobald, Newcastle - FULL BAND
Quadrille, "Cricketers'" - R. B Theobald, Newcastle - FULL BAND . . .

ASSOCIATIONS: Colin Christie

"DEATHS", The Sydney Morning Herald (3 February 1876), 1

THEOBALD. - January 24, at Newcastle, in the 59th year of his age, Robert Bishop Theobald, greatly regretted by his sorrowing wife and friends.

"HISTORIC SCHOOLS. TO THE EDITOR", The Sydney Morning Herald (19 June 1936), 8

. . . My parents brought me to Newcastle from England in 1857, when I was three years of age, and I lived there until 1877. There was a collegiate school established in the sixties by Mr. Kenny, and carried on after his death by Mr. R. B. Theobald, one of the best teachers I have known, and a most lovable man. I have heard that he was an English master at Dulwich College, England. I went first to the collegiate school . . . I am, etc.,
Moss Vale, June 17.

Extant musical works:

Rosella schottische (1859)

Rosella schottische, composed by Bobert Bishop Theobald (Sydney: Published by the Author, [1859]) 

ASSOCIATIONS: Alexander Archibald Park (lithographer)

The Barnstaple Manor quadrille (? c. 1860-62)

The Barnstaple Manor quadrille composed and respectfully dedicated to Mrs. B. C. Rodd by Robt. B. Theobold, Esq. (Sydney: published by James C. Fussell, n.d. [? c. 1860-62]) (DIGITISED)

ASSOCIATIONS: Sarah Janet Robertson (1821-1896; Mrs. Brent Clements Rodd); James Fussell

The cricketers' quadrille (1862; 3rd edition, 1874)

The cricketers' quadrille, dedicated to the "united elevens" of Victoria and N. S. Wales by Th. E. O., an old English player (Sydney: J. H. Anderson, [1862]) (DIGITISED) (DIGITISED)

The cricketers' quadrille, by Robert B. Theobald, dedicated to the "United Elevens" of Victoria and New South Wales, third edition (Sydney: For the composer by E. Turner, [1874]) (DIGITISED)

1 L'assemblée des jouers; 2 Le premier jeu des Anglais; 3 Les premier jeu de Alliés; 4 Le second jeu des Anglais; 5 Victoire pour les Alliés

Galatea polka (1868)

Galatea polka, by R. B. Theobald, composed in honor of H.R.H. the duke of Edinburgh's visit to Australia (Sydney: J. H. Anderson & Son, [1868]) (DIGITISED) (DIGITISED)

Le mystère de Kiama, polka mazurka (1869)

Le mystère de Kiama, polka mazurka pour le piano, respectfully dedicated to the wives and daughters of Australian politicians, by Robert B. Theobald (Sydney: Reading & Wellbank, [1869]) (DIGITISED)

The "Kiama Mystery" referred to claims, made by Henry Parkes in a speech at Kiama, that the assassination attempt on Prince Alfred in March 1868 had been the result of a conspiracy; See: "THE KIAMA MYSTERY EXPLAINED", Empire (29 September 1868), 2

See also Charles Lyne, Life of Sir Henry Parkes, C.M.G., Australian statesman (Sydney: George Robertson & Company, 1896), 224-25 (DIGITISED)

Prince Arthur's march (1870)

Prince Arthur's march, R. B. Theobald (Newcastle: Published by the Author, [1870]) (DIGITISED) (DIGITISED)

The prince's return, polka mazurka (1870)

The prince's return, polka mazurka, by Robert B. Theobald (Newcastle: Published by the author, [1870]) (DIGITISED)

THÉRÈSE, Mademoiselle (Mdlle. THÉRÈSE; THERESE) = Thérèse SCHMIDT



Active Portland, VIC, 1866 (shareable link to this entry)


The Victoria Post Office directory (1866), 232

Thesinger, Jacob, musician, Hurd st. Portland

THIERRY, Charles de (Charles de THIERRY)

Piano teacher, composer, traveller

Born ? Netherlands, 1793
Died Auckland, NZ, 8 July 1864, aged 71 (TROVE tagged by Australharmony) (shareable link to this entry)


"NEW MUSIC", Empire (26 May 1862), 4

. . . We may also notice that the lithography of some new music called the "Waitematta Polka," composed by Baron de Thierry, in allusion to a river of that name in New Zealand, has been most creditably executed by the same publisher [James Fussell], for Webb's eminent Music Hall, at Auckland.


[Advertisement], New Zealand Herald (15 October 1866), 3 

La Folle Galop, by Baron de Thierry; illustrated. Price 3s.
North Star Valse, by Baron de Thierry; illustrated. Price 3s. . . .

Musical works:

The Waitemata polka composed by baron De Thierry of Auckland, New Zealand (Sydney: James C. Fussell, [1862]) (DIGITISED)

La folle galop composed by a Pakeha Maori (Auckland, N.Z.: Henry Cucksey; Melbourne: M. Stewart; London: J. Cucksey, [? 1865/66] 

Bibliography and resources:

Richard Taylor, The past and present of New Zealand; with its prospects for the future (London: William Macintosh, 1868), 263-66

J. D. Raeside, "Thierry, Charles Philippe Hippolyte de", Dictionary of New Zealand biography 1 (1990)

"Charles de Thierry", Wikipedia 


THIODON, Eugénie (Eugénie THIODON; Mrs. Edward KING)

Born Paris, 1814; daughter of John Francis THIODON (1784-1862) and Mary Rose PETIT (c. 1786-1846)
Married Edward KING, Bristol, England, 7 November 1836
Arrived Melbourne, VIC, 23 April 1854 (per Indian Queen, from Liverpool, 19 January)
Departed Melbourne, VIC, 5 March 1864 (per Kent, for London)
Died at sea (drowned), Bay of Biscay, 11 January 1866 (returning to Australia from Europe, per London) (TROVE tagged by Australharmony) (shareable link to this entry)

THIODON, Josephine Pauline (Josephine Pauline THIODON; Mrs. Thomas Henry ASPINALL; Madame THIODON; ASPINALL-THIODON)


Born England, c. 1818; daughter of John Francis THIODON (1784-1862) and Mary Rose PETIT (c. 1786-1846)
Married Thomas Henry ASPINALL, Edgbaston, Warwickshire, England, 23 October 1847
Arrived Melbourne, VIC, 18 August 1870 (per Hampshire, from England)
Died Petersham, NSW, 13 July 1904, aged 85 (TROVE tagged by Australharmony) (shareable link to this entry)

THIODON, Aspinal (Thomas Henry ASPINALL; Aspinall THIODON)


Born England, c. 1821-23
Married Josephine Pauline THIODON, Edgbaston, Warwickshire, England, 23 October 1847
Arrived Melbourne, VIC, 18 August 1870 (per Hampshire, from England)
Died Petersham, NSW, 27 July 1897 (TROVE tagged by Australharmony) (shareable link to this entry)

THIODON, Rosa (Rosa Adelina ASPINALL; Mademoiselle THIODON; Mrs. CLEARY)

Vocalist, pianist, entertainer

Born England, 1848
Arrived Melbourne, VIC, August 1870 (per Hampshire, from England, aged "16")
Married Edward CLEARY, St. Mary's cathedral, Sydney, 16 June 1873
Died NSW, August 1923, aged 75 (TROVE tagged by Australharmony) (shareable link to this entry)

THIODON, Josephine (Josephine Pauline ASPINALL; Mademoiselle THIODON)


Born England, c. 1850
Arrived Melbourne, VIC, 14 November 1875 (per Northumberland)
Died Strathalbyn, SA, 21 October 1876 (TROVE tagged by Australharmony) (shareable link to this entry)

THIODON, Tom (Thomas Henry ASPINALL, junior; Thomas Henry ASPINALL-THIODON; Tom THIODION)

Musician, magician, pianist, vocalist, teacher of music and dancing, composer, piano tuner

Born c. 1857
Arrived Melbourne, VIC, 18 August 1870 (per Hampshire, from England, aged "11")
Married Minnie Cunningham KING, St. James's church, Sydney, 5 April 1879
Died NSW, October 1915 (TROVE tagged by Australharmony) (shareable link to this entry)

THIODON, Minnie (Minnie Cunningham KING; Sarah Mary Cunningham THIODON-ASPINALL; Madame THIODION; Madame THIODON-ASPINALL)

Pianist, teacher of piano and music

Born ? Bristol, ? 1857; daughter of Frederick Augustus KING and Eliza Anna SOUTH
Married Thomas Henry ASPINALL THIODION, jnr., St. James's church, Sydney, 5 April 1879
Died Kelvin Grove, Brisbane, QLD, 20 January 1930 (TROVE tagged by Australharmony) (shareable link to this entry)


John Francis (Jean-François) Thiodon (1784-1862) and his wife Mary Rose (Marie-Rose) Petit (c. 1786-1846) arrived in England from their native France in 1814, and in January 1815 were exhibiting their "Mechanical and Picturesque Theatre" in Salisbury:

The public curiosity in this city has been, during the last week, much excited and amply gratified by Mons. Thiodon's exhibition of his Mechanical and Picturesque Theatre, which will close evening, at our Assembly-Rooms. The beauty and variety of the paintings, with the excellence their perspective, charm and astonish the spectators, who admit, without hesitation, that the numerous pieces of mechanism displayed are also chefs-d'oeuvre of art.

Salisbury and Winchester Journal (30 January 1815), 4

The Thiodons' first Australian imitator was George Peck, who advertised his "Theatre of Arts" in Hobart in January 1835, as:

. . . an Entertainment of the most novel and amusing description, on the plan of the celebrated Monsieur Thiodon's Theatre of Fine Arts, which consists of a Series of beautiful Ciews, varied from time to time, of all the most celebrated places in the world, not on a flat surface, but by absolute scenic models, retiring from the spectator, ships, Boats, Figures, &c., moving by mechanical means, forming a charming coup d'ail, that will delight and surprise the beholder.

[Advertisement], Colonial Times (20 January 1835), 3 

The Thiodons' eldest daughter, Eugénie, married the musician Edward King in Bristol in 1836, and with her family emigrated to Victoria in 1854.

Aspinall and Josephine Thiodon, with their children Rosa and Tom arrived in Melbourne on the Hampshire in August 1870, to appear for George Coppin. Aspinall returned to Europe briefly in 1875, and on his return to Melbourne in the Northumberland in November was accompanied by his daughter Josephine.

In 1879 Tom married Minnie King (also related to the musical King family of Victoria, through her mother Anna South King).


1847, marriage solemnized at the parish church in the parish of Edgbaston, in the county of Warwick; Library of Birmingham (PAYWALL)

No. 181 / [married] October 23 / Thomas Henry Aspinall / full age / bachelor / Engraver / . . .
Josephine Pauline Thiodon / full / Spinsetr / - / [father] John Francis Thiodon / Artist . . .


. . . Thiodon's Museum of Arts, an exhibition well known in the midland and other districts, has been shipped in the Hampshire to Melbourne.

[News], The Argus (30 August 1870), 5 

The latest addition to the list of Melbourne "entertainments" is Thiodon's Exhibition of Art and Wonders, which has been brought hither by the enterprise of Mr. George Coppin, and was opened at Weston's Opera-house last evening. There seems to be much ignorance in many quarters as to its nature, but it is in fact a mechanical theatre, the scones representing certain well-known views, in which moving figures - men, women, horses, dogs, birds, monkeys, and what-not-are introduced, giving life to the aspect, and illustrating as it were the minor wonders of mechanism. Although the performance of last evening showed that the preparations were scarcely complete, and that the roughness of the voyage from Europe had so seriously damaged the painted scenery as to render renovation imperative, yet it was a decided success, and the exhibition is certain to obtain a large share of public patronage. For comparatively young people a better night's amusement could scarcely be provided . . . The musical accompaniments were under the direction of Mr. Harcourt Lee, and were creditable, as also was the singing of a few ballads by Miss Percy Easdown and Miss Rogers between the representations.

[News], The Ballarat Courier (4 November 1870), 2 

Thiodon's Exhibition of Arts and Wonders was pretty fairly attended in the Mechanics' Institute last night. The entertainment consisted of a number of views, with really good mechanical effects, together with vocal and instrumental music, supplied by Mr. Margetts and Mademoiselle Thiodon . . .

"ITEMS OF NEWS", Mount Alexander Mail (17 December 1870), 2 

Thiodon's panorama at the Theatre Royal last evening was worthy of a larger audience than the scant publicity given to the entertainment secured to witness it . . . It must also be mentioned that the evening was interspersed with songs well rendered, and the pianoforte performance of Madame Thiodon was also very effective . . .

"MARRIAGES", The Sydney Mail and New South Wales Advertiser (5 July 1873), 29 

CLEARY - THIODON - June 16, by special license, at St. Mary's Cathedral, Sydney, by the Rev. Father Mahoney, Edward D. Cleary, Esq., of Newcastle, New South Wales, to Rosa Adelina, eldest daughter of T. Aspinall Thiodon, Esq., of Gloucestershire, England.

[Advertisement], Border Watch (25 December 1875), 2 

ODDFELLOWS' HALL. MOUNT GAMBIER. Christmas Holidays. The Greatest Attraction of the Day.
THIODON'S WONDERS . . . MR. T. MARGETTS, Gentleman Comic vocalist.
MR. THIODON, Jun., in his amusing Lecture and Anecdotes.
MADEMOISELLE THIODON, Pianist (Pupil of the Conservatoire de Musique, Paris.) . . .

[Advertisement], Yorke's Peninsula Advertiser and Miners' and Farmers' Journal [SA] (4 July 1876), 2 

MR. THIODON. JUN., In his Amusing Lecture, with Anecdotes and FAVORITE COMIC SONGS . . .
MADEMOISELLE THIODON! PIANISTE, Pupil of the Conservatoire de Music, Paris . . .

"DEATHS", Evening Journal [Adelaide, SA] (27 October 1876), 2 

THIODON. - On the 21st October, at Strathalbyn, South Australia, of consumption, Josephine Pauline, aged 22 years, youngest daughter of Aspinall Thiodon, Esq., much beloved and deeply regretted by a large circle of relatives and friends. Melbourne and Sydney papers please copy.

"Marriages", Evening News [Sydney, NSW] (17 April 1879), 2 

THIODON - KING. - April 5 at St. James's, by the Rev. J. Hough, Thomas Henry, youngest son of Aspinall Thiodon, Esq., of the Royal Polytechnic, Pitt-street, to Minnie Cunningham, only daughter of Frederick Augustus King, Esq., of Torquay, England.

"Deaths", The Sydney Morning Herald (28 July 1897), 1 

ASPINALL (Thiodon). - July 27, at his residence, 8 Gordon-street, Petersham, Thomas Henry Aspinall, for many years proprietor of Thiodon's Wonders, the beloved husband of Josephine Aspinall, in his 74th year.

"PERSONAL". The Daily Telegraph [Sydney, NSW] (29 July 1897), 5 

Mr. Thomas Henry Aspinall, better known to most people as Aspinall Thiodon, died at his residence, Gordon-street, Petersham, on Tuesday, at the age of 73. Mr. Aspinall was the proprietor of "Thiodon s Wonders," an exhibition of mechanical scenes that was shown throughout Australia more than 20 years ago. The "Wonders" wore made by Mons. Thiodon. and bequeathed by him to his daughter, who became Mrs. Aspinall. Mr. Aspinall was a mechanic and engraver, and he succeeded in making the "Wonders" a remarkable success . . .

"DEATHS", The Sydney Morning Herald (14 July 1904), 6 

ASPINALL-THIODON. - July 13, at her residence, Eastview Gordon-street, Petersham, Josephine Pauline, relict of the late Thomas Henry Aspinall-Thiodon, aged 85 years. ASPINALL-THIODON. - July 13, at her residence, Eastview Gordon-street, Petersham, Josephine Pauline Aspinall-Thiodon, relict of the late Thomas Henry Aspinall-Thiodon, aged 86 years [sic].

[Funeral notice], The Sydney Morning Herald (22 October 1915), 5 

THIODON.- The Funeral of the late Mr. THOMAS HENRY THIODON (late of Bayliss-street, Wagga) will leave F. Dangar and Co.'s Funeral Parlours, THIS MORNING, at 9.30, for Church of England Cemetery, Rookwood.

"MRS. R. A. CLEARY", The Sydney Morning Herald (1 September 1923), 17 

At Omrah private hospital last week the death occurred of Mrs. Rosa Adelina Cleary (formerly Asplnall-Thiodon). at the age of 75 years. Mrs. Cleary was a prominent figure in theatrical circles half a century ago, as the principal vocalist of the company known as Thiodon's Wonders, which played at the Polytechnic in Sydney. The deceased is survived by three sons and six daughters.

[Funeral notice], The Brisbane Courier (21 January 1930), 14 

Thiodon -The Funeral of the late Madam Thiodon is appointed to leave Alex Gow's Funeral Parlour, Queen street, Petrie Bight, This (Tuesday) Afternoon at 4 o'clock for the Toowong Cemetery. ALEX GOW, Funeral Director

Musical and other works:

Hero and Leander, an entirely novel operatic extravaganza in two acts, libretto by Anna King; incidental music by T. Thiodon (Brisbane: H. J. Whittington, 1881) 

ASSOCIATIONS: Anna South King (librettist; Tom Thiodon's mother-in-law)

The Brisbane waltz, by T. Thiodon, composer of the operatic burlesque "Hero and Leander", &c., &c. (Brisbane: Gordon & Gotch, [18- ]) (DIGITISED)

Bibliography and resources:

Richard Bradshaw, "Thiodon's wonders: a mechanical theatre in nineteenth-century Australia", Australasian drama studies 51/2 (October 2007), 18-35;dn=200800094;res=IELAPA (PAYWALL)

Robyn Lake, "George Peck's Theatre of Arts", in Graeme Skinner (ed.), Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia) 

THIRKELL, Christiana Matilda (Christiana Matilda HUDDLESTONE; Mrs. H. W. THIRKELL; formerly Mrs. Alfred NASH)

Professor of Music, pianist, harmonium player, composer

Born Lincoln, England, 1822; baptised St. Swithun's, Lincoln, 17 December 1822, daughter of William HUDDLESTONE and Easter DRUMMOND
Married (1) Alfred NASH (c. 1813-1855), Lincoln, England, 21 August 1845
Arrived Adelaide, SA, 23 January 1853 (per Mayflower, from London, 26 August 1852, and the Cape, 9 December)
Married (2) Henry William THIRKELL, Gawler, SA, 16 July 1857
Died Adelaide, SA, 31 March 1861

Christiana+Matilda+Huddleston+Nash+Thirkell+1822-1861 (TROVE tagged by Australharmony) (shareable link to this entry)


Mrs. Alfred Nash, organist of St John's, Adelaide, advertised that she was giving lessons in pianoforte, organ and singing in July 1853. After her husband, sexton of the public cemetery, died in August 1855, leaving her with four small children, she briefly set up an infants school. She was left temporarily destitute and without a piano on which to teach after her second husband was declared insolvent in 1858. She resumed teaching, however, and in October 1860 Penman and Galbraith published her Volunteer waltz (no copy identified). She died after giving birth to a stillborn child in March 1861.

ASSOCIATIONS: John Penman and William Galbraith


England census, 30 March 1851, Gravesend, Kent; UK National Archives, HO 107 / 1608 (PAYWALL)

15 Kempthorne St. / Alfred Nash / Head / 37 / Accountant / [born] Middles'x London
Christiana [Nash] / Wife / 28 / - / Leicestershire Leicester
Alfred Osborne [Nash] / Son / 4 / Scholar / [Leicestershire Leicester]
William H. [Nash] / Son / 3 / [Scholar] / [Leicestershire Leicester]
Patrick D. [Nash] / Son / 7 mo. / - / Kent Gravesend

"SHIPPING INTELLIGENCE. ARRIVED", South Australian Register (24 January 1853), 2 

Sunday, January 23 - The barque Mayflower, Marshall, master, from London, 26th August and from the Cape, 9th December. Passengers . . . Mr. and Mrs. Nash and four children . . .

[Advertisement], South Australian Register (6 July 1853), 1

MUSIC. MRS. ALFRED NASH, Organist of St. John's, begs to inform the Inhabitants of Adelaide and the vicinity that she gives lessons on the Pianoforte, Organ, and also in Singing, on moderate terms, which may be known at her residence, Pirie-street, nearly opposite the Golden Rule.
Adelaide, July 4, 1853.

[Advertisement], South Australian Register (31 July 1854), 1

MUSIC. MRS. NASH, PROFESSOR of MUSIC and SINGING, will be happy to receive a limited number of Pupils at her own residence, to give instructions on the Pianoforte and in Singing.
Families and Schools attended.
Reference to pupils of the highest respectability.
Pirie-street, opposite the Freemasons' Tavern.

"DIED", South Australian Register (6 August 1855), 2

On Saturday, the 4th instant, at the Cemetery, West-terrace, Mr. Alfred Nash, sexton, aged 42 years. He has left a wife and four children to lament his irreparable loss.

[Advertisement], South Australian Register (17 August 1855), 1

MRS. ALFRED NASH begs to inform her friends and the inhabitants of Adelaide that, being now left a Widow, with four young children, she intends OPENING a LADIES' SCHOOL, in Hobson's-place Schoolroom, as soon as the necessary arrangements are completed.
Terms can be known on application at the Cemetery, West-terrace; or to The Rev. James Pollitt, Parsonage-house, Sturt-street, to whom reference is kindly allowed.
Mrs. Nash continues giving Private Lessons on the Pianoforte, Harmonium, and in Singing.
The Cemetery, West-terrace, August 14, 1855.

[Advertisement], Adelaide Times (8 July 1856), 1 

MUSIC. MRS. NASH is prepared to receive PUPILS for INSTRUCTION on the PIANOFORTE, at her residence, Wright-street, opposite St. Luke's Church. Schools and Families attended. Adelaide, July 7, 1856.

"CONSECRATION OF ST. LUKE'S CHURCH", South Australian Register (15 February 1856), 3

. . . The Venite and some of the responses were chaunted by the choir, accompanied by Mrs. Nash on the harmonium. Jackson's "Te Deum" and "Jubilate," a well-known musical composition named "Denmark," Mozart's anthem, "The Lord reigneth," and other pieces were also performed in a very creditable manner . . .

"MARRIED", South Australian Register (6 August 1857), 2

On the 16th July, by Episcopal licence, at St George's Church, Gawler, by the Rev. W. H. Coombs, Henry William, youngest son of William Thirkell, Esq., Sydenham, Kent, to Christiana Matilda, relict of the late Mr. Nash, of Adelaide, and only daughter of the late William Huddleston, Esq., Northfleet, Kent, England.

"DESTITUTE BOARD . . . KOORINGA", South Australian Register (13 July 1858), 3

A correspondence was read respecting the removal of a Mrs. Thirkell and three children to town, and for which the Beard had refused to pay the account . . .

"SUPREME COURT. CIVIL SITTINGS. MONDAY, MARCH 14", South Australian Register (15 March 1859), 3

Slander. Mr. Moulden for the plaintiffs; Mr. Stow for the defendants.
The declaration alleged that the female defendant, on hearing that Mr. Sayers intended to become security for the plaintiffs for the use of a piano, said "the last piano she (Mrs. Thirkell) had was in the same way. Mr. Poulden and Mr. Pollitt were security, and Mrs. Thirkell sold it and pocketed the money, and Mr. Moulden and Mr. Pollitt had to pay for it. That, it was alleged, had injured the plaintiffs, who kept a school and taught music, and the damages were laid at £100. The defendants denied that they used the words alleged.

Mr. Moulden stated the plaintiffs' case, and called Charles Henry Sayers, gentleman, who stated that the plaintiffs were his tenants. Mrs. Thirkell kept a school. She had the tuition of his children and taught them music. He had in January last a conversation with Mrs. Amanda Row, with whom he was on very friendly terms. He told her that he intended to send his children to Mrs. Thirkell to learn music. He said she had not a piano, but he had given her the use of his piano for the instruction of his own children. They were, he added, about to become his tenants, and as soon as they did, he said he intended to become security for a pianoforte for them. Mrs. Row then said if he knew the class of people they were he would not have anything to do with them; and that the last piano Mrs. Thirkell had was in a similar way, as Mr. Moulden and Mr. Pollitt were security for it, or had a bill of sale over it. She also said that they sold it without letting Mr. Pollitt know of it. In consequence of that conversation he told the plaintiffs that he had altered his mind, and would not become responsible for a piano for them. He had previously seen a piano at Platts's which he intended to procure for the plaintiffs. He afterwards bought a piano for the plaintiffs. He thought that was before the present action was brought. Having had a conversation with the plaintiffs, in which they positively denied that Mr. Pollitt or Mr. Moulden had anything to do with the piano which they sold, he determined on buying a piano and letting it to the plaintiffs on the terms which they were willing to hire an instrument from Mr. Platts.

By Mr. Stow - He was on friendly terms with the defendants. He called on Mrs. Row and spoke as a friend of what he intended to do with regard to his children's education. The words used by Mrs. Row were addressed to him. No person except witness and the members of Mrs. Row's family were present. He had spoken to other people about Mrs. Thirkell (late Mrs. Nash). Notwithstanding all he had heard he let the plaintiffs have a piano. In the first instance he intended to become security for the piano, but he afterwards bought one and let it to the plaintiffs.

W. H. Thirkell, one of the plaintiffs, stated that a piano had been lent to him by the last witness. He got it about the 8th February. The last witness called on him before that, and stated that in consequence of what Mrs. Row had said he would not become security for the piano. Upon that he (plaintiff) entered into an explanation of the whole of the circumstances connected with the former piano, which satisfied the last witness. During the month of January he (plaintiff) had not the use of a piano.

By Mr. Stow - He had not a piano before the month of January. The conversation with the last witness was about the 8th or 10th January. The last witness appeared to be satisfied with his explanation. That was the plaintiffs' case.

Mr. Stow submitted that the plaintiffs must be non-suited - first, on the ground of variance between the declaration and the evidence; secondly, on the ground that the alleged slander was a privileged communication; and thirdly, that there had not been any evidence of special damage.

His Honor - What have you to say, Mr. Moulden, to the point that this was a privileged communication? Mr. Moulden presumed that the plea of not guilty put it out of the question that it was a privileged communication.

His Honor - Certainly not. There is no malice in speaking such words. Can you show anything beyond the mere speaking of them?

Mr. Moulden apprehended that there was no such relation shown between Mr. Sayers and Mrs. Row as to enable the defendants to raise the question of privileged communication. The statement was a voluntary one, spoken of his client in her capacity of schoolmistress, and asserted that she was unworthy of credit.

Mr. Stow wished to call His Honor's attention to the fact that while the declaration averred that Mr. Moulden and Mr. Pollitt were security for the piano, it appeared by the evidence that it was put in the alternative, or they had it as a security by Mrs. Row - a very different thing, and which, if averred, would have enabled him to put in a plea of justification.

His Honor - The evidence as to the words, "had a bill of sale on it," certainly alters the sense considerably; but that variance could be got over by amendment of the declaration, and allowing the defendants to plead justification. The great objection is, however, that it was a privileged communication. How dangerous would it be if the law did not protect communications of this nature, where a party is going to part with goods or become security for another, a warning may be given. Even if the statement was false, evidence as to that must come from you (Mr. Moulden).

Gentlemen of the Jury, I must hold this to be a privileged communication, otherwise you could not go and ask a brother tradesman a necessary business question. Supposing you go to John Smith, and you ask him whether John Jackson is worthy of credit or not, and he says John Jackson got credit for goods and he has not paid for them to this day. Why, gentlemen, if such words were to be made the subject of actions for slander the business of the world wonld be at a standstill.

Mr. Moulden - If that is your Honor's opinion I can go no further.

His Honor - You see, gentlemen, how it stands with common sense. All the deductions of English law agree with common sense. Call the plaintiffs. Nonsuit.

[Advertisement], South Australian Register (11 September 1860), 1

LESSONS in MUSIC and SINGING. - Mrs. Thirkell, West-terrace.

"NEW VOLUNTEER WALTZ", The South Australian Advertiser (20 October 1860), 2

We are informed that Mrs. H. W. Thirkell, of West-terrace, has composed a new volunteer waltz, dedicated by permission to His Excellency and Lady MacDonnell. It is now in course of publication, and will be announced in a few days.

"THE VOLUNTEER WALTZ", The South Australian Advertiser (8 November 1860), 2

A very pretty waltz by Mrs. W. H. Thirkell, and dedicated by permission to His Excellency and Lady MacDonnell, has just been published, as will have been seen from the advertisements in the public papers. This new contribution to our musical portfolios has appeared very opportunely, and we doubt not it will have an extensive sale. The waltz is got up by Messrs. Penman and Galbraith in a really superior style; in fact, it reflects very high credit upon their skill and taste as colonial engravers.

"THE VOLUNTEER WALTZ. TO THE EDITOR OF THE . . .", South Australian Register (7 December 1860), 3 

Sir - About a month since a lady called at my house and requested me to subscribe for a copy of a new waltz which she had composed in honour of our volunteers, and which she proposed to publish here at 3s. 6d. A copy was accordingly ordered and paid for, and was found on delivery to be "dedicated to His Excellency and Lady MacDonnell," and ornamented with an interesting picture of our gallant defenders.

A favourable notice of the production appeared in your columns, which I think hardly did justice to the talents of the fair composer. I presume that her modesty must have prevented her from mentioning on the title-page that the celebrated musician, J. Strauss, was so struck with the beauty of the piece when she played it to him more than a dozen years ago that he actually copied it note for note into his "Erinnerung-en-Berlin" waltzes, and had the impudence to publish it as his own composition!

I feel that such a gratifying instance of the estimation in which genuine South Australian talent is held on the continent of Europe should not be allowed to pass unnoticed by our press, and I am sure that Lady MacDonnell and the volunteers will appreciate the compliment to their musical taste and knowledge which has been so delicately paid by the reproduction in their honour of a composition which the greatest master of dance music was not ashamed to copy and claim as his own!

I trust that the gifted authoress will pardon me for thus calling attention to the singular merits of this remarkable "specimen of colonial manufacture," as I expect that the musicsellers' shops will be besieged by purchasers anxious to compare the copy with the original, and the original with the copy; but I hope you will allow me to add that in case of the demand exceeding the supply, I shall be happy to dispose of my copy of "The Volunteer Waltz" at half-price, as for many years I have possessed the identical music among my selection of Strauss's waltzes.
I am, Sir, &c.,

[The German work which our correspondent has sent us contains almost an exact copy of the music recently published in Adelaide. - Ed.]

MUSIC: Erinnerung an Berlin (Strauss)

"THE VOLUNTEER WALTZ. TO THE EDITOR OF THE . . .", South Australian Register (10 December 1860), 3

Sir - Having observed the anonymous and undeserved remarks of "An Amateur Detective" in reference to "The Volunteer Waltz," I feel reluctantly called upon, in justice to Lady MacDonnell, myself, and the public generally, to deny most unequivocally having copied or being aware that there was any waltz in existence whose singular similarity could have made me the innocent victim of such bitter sarcasms.

"The Volunteer Waltz" was composed by me from recollections of bygone days, which I must "modestly" admit was impressed upon me many years previous to the time specified by the clever amateur detective, and can only say that if a facsimile of my waltz can be produced it is a most extraordinary coincidence that my ideas should have dictated such incomparable music as the celebrated composer Strauss.

Having been acquainted with music from the early age of five years, and taught by one of the best masters in England, I do not require the aid of other productions to enable me to write music. I know well by experience there are persons in Adelaide who are capable of performing the amateur detective to perfection - who delight to injure the innocent, under the proviso of the communication being strictly confidential - go about like a snake in the grass endeavouring to undermine the upright man in the estimation of his employer by insinuations which he dare not publicly substantiate, for the best of reasons - he is unable to do so. If the clever detective could really produce a facsimile of my waltz - which I defy him to do without he takes a copy of it himself - I think it would be more in accordance with a gentleman (if he really is worthy of the appellation) had he privately communicated with me on the subject previous to making me the subject of his imaginary eloquence and sarcastic remarks, which are to me as utterly contemptible as they are unpardonable.
Hoping you will pardon my intruding on your valuable space,
I am, Sir, &c.,

[We have already stated that the writer of the letter signed "An Amateur Detective" sent us Strauss's music, and that it was almost identical with that published in Adelaide under the name of "The Volunteer Waltz." - Ed.]

"THE VOLUNTEER WALTZ. TO THE EDITOR OF THE . . .", South Australian Register (11 December 1860), 3 

Sir - It is of course quite impossible for a gentleman to doubt a lady's word, and I feel that Mrs. Thirkell's explanation of the "singular similarity" between Strauss's musical ideas and her own, as given in her elegant epistle of this morning, must be so perfectly satisfactory to every unprejudiced mind, that I am compelled to confess with shame that my "sarcastic remarks" were "utterly contemptible and unpardonable." With this abject apology, which I trust will be soothing to the fair composer's wounded feelings,
I am, Sir, &c.,

PS. - I will leave Strauss's "Erinnerung-en-Berlin Waltzes" at your office for a few days, so that those curious in "extraordinary coincidences" may, with your permission, compare the "facsimile" with the original.

[This letter must close the correspondence. - Ed.]

"DEATHS", South Australian Register (2 April 1861), 2

THIRKELL - On the 31st March, after giving birth to a stillborn infant, Christiana Matilda, the beloved wife of Mr. H. W. Thirkell, of West-terrace, aged 35 years, deeply lamented. Her end was peace.

Bibliography and resources:

Christiana Matilda (Huddleston) Thirkell, WikiTree 

THOM, Bream (Bream THOM; Mr. THOM; Mr. B. THOM)

Violinist, orchestra leader

Born 6 April 1817, Portsea, Hampshire, England; baptised Independent chapel, Portsea, 7 August 1817; son of Alexander THOM and Jane URRY
Married Eliza Allen PHILLIPS, St. Nicholas, Brighton, England, 5 September 1843
Arrived Melbourne, VIC, 16 November 1852 (per Delgany, from London, 30 July)
Departed Melbourne, VIC, 28 December 1855 (per Blackwall, for London)
Died Westow Hill, Surrey, England, 2 January 1867 (TROVE tagged by Australharmony) (shareable link to this entry)

THOM, Eliza (Eliza Allen PHILLIPS; Mrs. Bream THOM)

Actor, ? vocalist

Born London, England, c. 1816; daughter of Matthew PHILLIPS
Married Bream THOM, St. Nicholas's church, Brighton, England, 5 September 1843
Arrived Melbourne, VIC, 16 November 1852 (per Delgany, from London, 30 July)
Departed Melbourne, VIC, 28 December 1855 (per Blackwall, for London) (TROVE tagged by Australharmony) (shareable link to this entry)


At Melbourne's Thursday Evening Concerts in 1853, it was reported:

Mr. Thom, as leader, deserves great credit for the manner in which he has got together his band at so short a notice, as well as for the masterly style in which the instrumental performances were executed, not forgetting his own beautifully performed fantasia on the violin.

Later, Thom led Lewis Lavenu's orchestras in Melbourne in July 1855, both in concert at the Exhibition Building with Catherine Hayes, and at the Theatre Royal; as the Argus reported:

The orchestra has been well organised by Mr. Thom, and its members consist of the 'pick' of our colonial instrumentalists.

She was perhaps the "Eliza Ann Thom", aged "77", who died at Kingston, Surrey, in the second quarter of 1887.


Orange Street (later King Street) Independent chapel, Portsea, register of baptisms, 1785-1837; UK National Archives, RG 4 / 867 (PAYWALL)

Bream Thom Son of Alexander and Jane Thom was born April 6 1817 and baptized Aug't 7 1817 in the Parish of Portsea by me John Griffin

"PORTSMOUTH, DEC. 17", Public Ledger and Daily Advertiser [London, England] (19 December 1834), 4

A grand musical performance took place at the Swan Inn Assembly-rooms, Chichester, on Thursday evening, under the patronage of the Catch and Glee Society. Several pieces of music were performed in admirable style . . . Several solos on the violin, and a duet, entitled "Paganini's Wonder," was executed by Master B. Thom in a manner that drew down thunders of applause. This young gentleman promises fairly to be violinist of the first order. Mr. Page presided the pianoforte . . . The whole was under the direction of Mr. Fletcher, of the cathedral.

[News], Hampshire Chronicle [England] (23 November 1835), 1

Signor Lanza's grand Musical Festival, at the Society Hall, Portsea, on Wednesday evening, was well attended. A divertimento of Mayseder, on the violin, by Mr. B. Thom, accompanied on the piano forte by Mr. J. H. Page, was greatly applauded . . .

[News], Hampshire Independent [England] (10 September 1836), 2

The Hampshire Catch and Glee Club commenced with a full flowing board of musicians, on Tuesday evening, at the Mitre Tavern, Portsea . . . Mr. B. Thom led the band, and executed De Beriot's Fantasia on the violin admirably.

? "OPENING OF THE HAYMARKET THEATRE", The spectator (17 June 1837), (566), 567 (DIGITISED)

The "little Haymarket" - once the pet of playgoers, but by mismanagement become a bore - has got into new hands. Morris has let it to Webster, of Covent Garden; who has opened with a well-chosen corps, composed of the best of the old Haymarket favourites, and a selection from Covent Garden and other companies, for the performance of tragedy, comedy, and farce. We have seen a performance of each kind . . . The School for Scandal was very strongly cast. No need to speak of FARREN in Sir Peter Teazle . . . Miss E. Phillips is a lady-like girl, but she is too uniformly frigid and precise: she makes Maria as cold as an icicle whom Charles's love cannot thaw . . .

[News], Hampshire Chronicle [England] (18 December 1837), 1

The entertainment of the Hampshire Catch and Glee Club, at the Mitre Inn, Portsea, on Tuesday evening, was a great treat to the lovers of music. The orchestra was very effective, and led by Mr. B. Thom, whose violin fantasias were enthusiastically encored. Mr. Page, the talented pianist of the society, ably presided on the occasion.

"BRIGHTON", The musical world (26 December 1839), 553 (DIGITISED)

Thalberg's concert on Friday evening was one of the most brilliant assemblies that ever took place at Brighton. The Royal Newburgh Rooms were crowded with persons of the highest rank and fashion. The performance of the great pianist in two solos was hailed with the most rapturous plaudits, and a duet on subjects from Norma, played by him and Madame Oury on two of Erard's grand pianofortes, was a delightful treat; the lady afterwards accompanied M. Oury in a brilliant solo on the violin, which was loudly applauded. Mr. Richardson played "The Swiss Boy" and "Rule Britannia" with variations on the flute, in a manner worthy of his late eminent instructor, Mr. Nicholson. The vocalists were Signora Ernesta Grisi, Mrs. A. Toulmin, and Mr. John Parry, who sang a variety of popular compositions with the greatest possible success. The same parties gave a concert at Worthing on Saturday morning, with great success, and in the evening they exhibited their talents at the theatre, which was crowded with a highly respectable audience. There were several things called for a second time, among others Richardson's "Nel cor piu," with variations on the flute, and Mr. Thom's solo on the violin; also Parry's buffo trio . . .

[Advertisement], Coventry Standard [England] (11 March 1842), 1

GRAND CONCERT. MR. GORE HAS the honour of announcing to the Nobility and Gentry of Coventry and its vicinity, that he intends give a Grand VOCAL & INSTRUMENTAL CONCERT, ON TUESDAY, MARCH 15, 1842, At Saint Mary's Hall, Coventry. PRINCIPAL VOCAL PERFORMERS. MISS BIRCH, From the Nobility's Concerts, London. MR. HARRISON, Of the Cathedral, Lichfield.
SOLO VIOLIN AND LEADER OF THE BAND, M. BREAM THOM, Late of Paris, now of the Queen's Concerts, Brighton.

Post office directory of the six home counties . . . (c. 1851), 705 (PAYWALL)

BRIGHTON [SUSSEX ] . . . Cranbourn Street / 4 Thom Bream, musical repository . . .

"COUNTY COURT", Brighton Gazette [England] (20 February 1851), 6

RICHARD HENRY NIBBS the elder v. GEORGE MONTAGUE HICKS, otherwise BELCOUR. Claim of £3 4s. for preparing overture for the Christmas Pantomime at the Theatre. The money was ordered to be paid immediately.

BREAM THOM v. SAME. - Claim of £9, balance due for supplying the theatre with music, at £8 week. - To be paid forthwith.

[News], Brighton Gazette [England] (20 March 1851), 5

The Brighton Amateur Symphony Society gave their first public entertainment of the season last evening at the Town Hall, when, notwithstanding the inclemency of the weather, the large room was nearly filled by a fashionable company. This Society has opened what may be termed a school for classical music; and the performance yesterday evening afforded a rich treat to the lovers of good music. Haydn's symphony, No. 10 in E flat, and Beethoven's No. 2 in D, are replete with grand and imposing effects, and the instrumentation throughout was admirable. A duet of Donizetti from Marino Faliers, arranged for horn and bassoon, was exquisitely rendered by Herr Koenig, band master of the 8th Royal Irish Hussars, and M. Leuliette; and the whole performance went off with great eclat. The orchestra was about forty strong, including some fourteen or fifteen professionals, with Mr. Thom as leader.

England census, 30 March 1851, The Palace, Brighton; UK National Archives, HO 107 / 1646 (PAYWALL)

4 Cranbourn St. / [B]Ream Thom / Head / 33 / Teacher violin / [born] Hampshire Portsea
Eliza [Thom] / Wife / 35 / - / [born] Middlesex London

[News], Brighton Gazette [England] (4 March 1852), 5

Mr. R. Carte, the author of a book of instructions for the Boehm Flute, delivered the members of the Brighton Athenaeum, on Monday evening, a lecture on music, or, as the bills announced it, "the changes which have taken place in the character and form of instrumental composition, classical and unclassical." The illustrations were by Mr. Thom, violin; the lecturer, violin and flute; violincello, Mr. R. H. Nibbs; violin and pianoforte, M. De Paris . . .

[Advertisement], Brighton Gazette [England] (10 June 1852), 5

TOWN HALL, BRIGHTON. - THIS EVENING. AMATEUR SYMPHONY SOCIETY. Extra night, for the benefit of Mr. N. COOKE . . . Leader, MR. THOM. Pianoforte, Mr. E. DE PARIS . . .

See also summary "Fifty years ago", 1902 below

"EMIGRATION TO AUSTRALIA", Brighton Gazette [England] (24 June 1852), 7

The news from the "diggings" continues to be encouraging, and numbers are about to quit this town for the Australian colony. Some fifty or more purpose leaving Brighton this morning, to embark on board the "Statesman," which was towed down the Thames to Gravesend on Saturday afternoon, from which place she sailed on Tuesday afternoon for Portsmouth, and is intended to leave the latter place to-morrow. Among those who are either going or gone, are Mr. Mussell, North Street, and his son George; Mr. Wight, the landlord of the Regent Hotel; Mr. Thom (musician) and wife . . . Mr. Tucker, jun., musician . . . Mr. J. Bambridge, musician . . . Mr. Alfred Chate, tailor [also a musician] . . .

"BRIGHTON AMATEUR SYMPHONY SOCIETY", Brighton Gazette [England] (25 November 1852), 5

. . . During the past year the society sustained two serious losses, one the person of its indefatigable Secretary, Mr. Woledge . . .. the other in that of Mr. Thom, the Leader, who has quitted this town for Australia.

Australia (16 November 1852 to 28 December 1855):

List of passengers per Delgany, [November 1852]; Public Record Office Victoria (PAYWALL)

Thom Bream / [Adult] / Cabin / Gentleman / French [sic]
Thom Mrs. / [Adult] Cabin / Lady / [French]
Thom John / 21 / Gentleman / [French]
Thom Alexander / 17 / Gentleman / [French]

"SHIPPING INTELLIGENCE. ARRIVED", The Argus (17 November 1852), 4 

Nov. 16. - Delgany, ship, 909 tons, Rbt. Ogg, commander, from London, July 30th. Passengers, cabin - Mr. and Mrs. B. Thom . . .

"THE CONCERT", The Argus (14 January 1853), 5

The reproduction of the Thursday evening concerts was attended with a remarkable degree of success. Besides Mrs. Testar and Mr. Gregg, we had vocal and instrumental talent, quite new to a Melbourne audience. Mr. Thom, as leader, deserves great credit for the manner in which he has got together his band at so short a notice, as well as for the masterly style in which all the instrumental performances were executed, not forgetting his own beautifully performed fantasia on the violin. Mr. Creed Royal, as a solo flautist is quite up to our idea of Richardson, and will, no doubt, be a great acquisition to our instrumental corps. Mr. Sayers is a very neat tenor singer, with a sweet voice, although perhaps with scarcely power sufficient for a crowded room. He was well received, and encored in one of his songs. Upon the whole we congratulate Messrs. Thom, Reid, and Co., upon the success attending their first attempt to cater for our music-loving people. The orchestra is first rate, both in strength and knowledge of their duties, and many of the instrumental pieces were, last night, given in a style quite worthy of an English concert-room . . .

ASSOCIATIONS: Elizabeth Testar; John Gregg; Creed Royal; W. F. Sayer; Thomas Reed

"THURSDAY CONCERTS", The Argus (20 January 1853), 5 

. . . PART I. Overture - (full band)- Zauberflote . . .
Grand Duet - Pianoforte and Violin - Mr. Buddee and Mr. Thom . . .
PART II. Overture - Semiramide . . .
Finale - Pot Pourri, from Martha (full band).

"THE WEEKLY CONCERTS", The Argus (2 February 1853), 5

. . . tomorrow night . . . PART I. Overture - "Guy Mannering (Band) - Bishop . . .
Concertante duet - Violin and pianoforte Mr. Thom and Mr. Buddee - Hertz and de Beriot
Part II. Overture - "Tancredi (Band) - Rossini . . .
Solo - Violin, Mr. B. Thom, "The Carnival of Venice" - Paganini . . .


"AMATEUR SYMPHONY SOCIETY", Brighton Gazette [England] (12 May 1853), 4

. . . If our recollection serves us correctly, this Symphony Society originated with a few individuals, some eight or nine years ago, with Mr. Thom as leader, and Mr. Nibbs, jun., a powerful adjunct in the bass department. In fact, it was a mere septette party, including Mr. Henry Woledge, his brother, Mr. F. Woledge, Mr. P. Black, Mr. Streeter, Mr. Verly, &c. . . . till a silent and melancholy check was put upon the exertions of the Society by the death of . . . Mr. Woledge, and the subsequent change of residence of Mr. Thom, its leader, who left England to seek his fortune on the shores of Australia . . .

"THEATRICALS", Geelong Advertiser and Intelligencer (27 June 1853), 2 

Mrs. Thom, better known to play-going world as Miss Phillips, of the Haymarket, takes her benefit this evening. Shakespere's "Tempest" will be played for the first time here . . .

"THE DIGGINGS", Brighton Gazette [England] (3 November 1853), 7

A great number of letters from Brighton emigrants have lately been received here their friends . . . Mr. Henry Chate, tailor, has received a letter from his son. It appears that he has been with Winterbottom's musical corps in Sydney; and has done pretty well. They have latterly returned to Melbourne. Mr. Tucker, son of Mr. Tucker, Western Road, is the leader. He is called at Melbourne the English Paganini. Mr. Thom, who also went from Brighton, is engaged at the Theatre in Geelong. He leads the orchestra, and Mrs. Thom is engaged as an actress. Mrs. Thom took her benefit the Theatre, on July 16th, when nearly £100 was taken at the doors. Mr. Thom took his benefit the next night, and £107 was taken. The performances were Guy Mannering and a Concert. Many of our readers will doubtless remember Mr. Creed Royal, an excellent flute player. He is engaged in the same orchestra as Mr. Thom.

ASSOCIATIONS: Alfred Chate; Edward (John) Tucker

"MUSICAL", Geelong Advertiser and Intelligencer (14 February 1853), 1 supplement 

At the Concert on Saturday Mr. Royal made a very creditable first appearance in Geelong. He is a flute player of great excellence, and his two solos were loudly encored. Mr. Thom's solos on the violin were also well received and deservedly applauded. Mrs. Fiddes had not fair scope for displaying her vocal talents . . . The overture, Guy Mannering, was not very effective, no blame to the performers. Two violins, flute, tenor, tuba-basso, and piano-forte Costa himself, the prince of leaders, could not do much with. We cannot conclude this short critique without mentioning the very sweet singing of Mrs. Hancock, and the orchestral accompaniments to her songs, under Mr. Thom's leadership.

ASSOCIATIONS: Harriet Fiddes; Mary Ellen Hancock

"Music, Singing, &c. (Professors of)", The Geelong commercial directory and almanac for 1854 (Geelong: For the proprietors, 1854), (61-) 62 

Hancock, Mrs. E. Myers-street, East; Royal, Mrs. Creed, Ryrie-Street; Royal, Mr. Creed do.; Thom, B. Malop-street; Swift, Mr. Yarra-street, South

"THE NELSON FAMILY", The Argus (23 October 1854), 5 

An admirable evening's entertainment was given at the Queen's Theatre, on Saturday, by this family, assisted by Herr Berg and Herr Lunberg. The orchestra, conducted by Mr. Thom, performed their work in excellent style . . .

ASSOCIATIONS: Nelson family; Charles Berg; John William Lundborg

[Advertisement], The Argus (6 November 1854), 8

QUEEN'S THEATRE . . . MISS CATHERINE HAYES . . . On Tuesday Evening, 7th November . . .
Programme . . . Selections from Donnizetti's favorite Comic Opera of La Figlia del Reggimento . . .
Marie - Miss Catherine Hayes; Marchesa - Mrs. Thom; Sulpizio - Mons. Emile Coulon . . .
Conductor - M. Lavenu; Leader - Mr. Thom . . .

ASSOCIATIONS: Catherine Hayes; Emile Coulon; Lewis Henry Lavenu

"GEELONG (FROM OUR OWN CORRESPONDENT) Thursday, 23rd November, 1854", The Argus (25 November 1854), 5

The concert given by Miss Catherine Hayes, at Mack's Hotel on Tuesday night, was remarkably well attended; too well, indeed, for the room was crammed to suffocation. The concert opened with a duetto between those two celebrated artistes, Mr. Thom (violin) and Mr. Lavenu (piano) . . . After an interval of about ten minutes, Mr. Thom opened the second part of the concert with one of his exquisite violin solos . . .

"M. COULON", The Argus (30 November 1854), 5

This gentleman gives a grand concert on Saturday evening at the theatre. He will be supported by Mrs. Testar, and the celebrated Ali-Ben-Sou-Alle, in addition to a full orchestra, led by Mr. Thom and M. Strebinger . . .

ASSOCIATIONS: Ali-Ben Sou-Alle; Frederick Strebinger

"BOXING DAY - PUBLIC AMUSEMENTS . . . THE QUEEN'S THEATRE", The Argus (27 December 1854), 4

The house was crammed to the ceiling, money being refused at the doors half an hour after they had been opened . . . the first piece, "Box and Cox," was listened to with much attention, that amusing farce being well sustained by Messrs. Young and Hydes, both of whom played with their usual vivacity and humor. The "Argo Polka," which is a collection of familiar melodies arranged in polka time by Mr. G. Coppin, was spiritedly performed by the excellent band under the directorship of Mr. Thom. The airs have been arranged for full orchestra in a musician-like manner, and the polka is an extremely effective one. It was vociferously applauded by the audience in spite of the general anxiety to come to the grand feature of the evening. "Riddle-Me-Riddle-Me-Ree, or Harlequin and Conundrum Castle," is the name of the pantomime . . . from the pen of Nelson Lee . . .

ASSOCIATIONS: Charles Young; John Proctor Hydes; George Coppin

"MUSICAL WELCOME TO MR. G. V. BROOKE", The Argus (26 February 1855), 5

At ten o'clock on Saturday night the members of the orchestra of the Queen's Theatre performed a selection of instrumental music in front of the Prince of Wales Hotel, where Mr. G. V. Brooke occupies apartments. The musicians assembled at the theatre shortly before that hour, and, preceded by four or five of the employees of the establishment, bearing gas-lights, walked in procession to the hotel, accompanied by a large number who were attracted by the unusual display on arriving at the hotel a dense crowd had already collected, occupying the entire space in front, and completely closing up that part of Flinders-lane which commands a view of it. Many respectable citizens with their ladies were present, and, altogether, there could not have been fewer than a thousand persons assembled. From the circumstance of the crowd gathering round, the performers the effect of the music was much deteriorated, the strains of the band appearing weak and muffled, although, as we have repeatedly stated, the efficiency of Mr. Thom's little corps of musicians is undeniable. The performance opened with the "Hayes Serenade," which, as will be remembered, is an arrangement by Mr. Lavenu of several of the most popular of the songs and ballads sung by that favorite cantatrice, and was performed by the same band on her arrival in Melbourne. Then followed a pot pourri, including some of the most familiar airs introduced in Shakspeare's plays. The selection, which has been arranged by Mr. B. Thom, has been judiciously made, and is cleverly cemented, the which being worked up in a thoroughly musician-like manner. It opens with Mendelssohn's magnificent "Wedding March," and this is followed by a portion of Locke's "Macbeth" music, and some airs from the "Tempest." The various solos were well performed, and some elicited great applause from those assembled. The labors of the musicians who, from the crowding referred to, had scarcely room to wield their instruments, concluded by the performance of the air of "Billy Barlow " arranged as a solo for the trombone, the Marseillaise, and our own national anthem. Loud shouts for Mr. Brooke then proceeded from the crowd to which at length that gentleman good naturedly responded by making his appearance in the balcony, and bowing his approbation of the honor done him. Miss Cathcart and Messrs. Coppin and R. Younge were subsequently loudly called for, and on their appearance were received with tremendous plaudits. The large crowd then soon dispersed.

"THEATRICAL AND MUSICAL CHIT-CHAT", The Argus (9 April 1855), 5

. . . Mr. Thom, the leader of the orchestra at the Queen's, took a benefit on Wednesday, when the drama of "La Sonnambula" was performed, Madame Carandini sustaining the role of Amina with great effect. The house was only moderately attended . . .


. . . we can confidently direct attention to the public generosity displayed by Miss Catherine Hayes in volunteering her powerful aid in behalf of the distressed among the inhabitants of Collingwood . . . The concert commenced with the performance of the overture to "La Fille du Regiment," - a light and effective composition, although evincing the peculiarity which Carl Maria Von Weber so wittily described as appertaining to the instrumental works of the Italians, by the phrase, "a rumbling in the orchestra." It was, however, admirably played by a band of about twenty performers, including the best of our colonial instrumentalists, led by Mr. B. Thom, and conducted by Mr. Lavenu . . .

"CONCERT AT THE EXHIBITION", The Argus (16 July 1855), 5

. . . The entertainment commenced with the sparkling overture to "Zampa," which was spiritedly rendered by a very effective orchestra, led by Mr. B. Thom, and conducted by Mr. Lavenu . . .

"THEATRE ROYAL", The Argus (19 July 1855), 5

The occupation of our columns yesterday by the European intelligence which arrived by the White Star, necessitated the holding over of an account we had prepared of the inauguration on Monday evening of the Theatre Royal . . . The performance of the National Anthem, the solos in which were given by Mrs. Testar, who had been specially retained for the occasion, and the choruses by the whole of the company, was the signal for the commencement of the evening's entertainment. This was followed by "Partant pour la Syrie," played with great spirit by the band.

The orchestra has been well organised by Mr. Thom, and its members consist of the 'pick' of our colonial instrumentalists. The overture to "Der Freischutz" was splendidly rendered, and the selection from the "Lucia di Lammermoor" was also very finely played, the performance in the latter of the fine melody of "Fra Poco," by Messrs. Berg and Prince, the former on the tuba basso, and the latter on the cornet-a-piston, being especially worthy of remark. The noble march in the "Prophete" was also splendidly given, and even better when repeated the next evening. It is very certain that the orchestral performances at this establishment will form a most attractive item in the programme . . .

NOTE: Opening performance at the new Theatre Royal; ASSOCIATIONS: John Melton Black (proprietor, Theatre Royal, Melbourne); Henry Prince (cornet)

"THEATRE ROYAL. MR. AND MRS. THOM"S BENEFIT", The Argus (20 November 1855), 4-5 

We were glad to find that the public appreciation of the merits of Mr. and Mrs. Thom was manifested in, no doubt to the beneficiaires, the most pleasant manner by a large attendance last evening at the Theatre Royal on the occasion of their benefit. In the announcement in yesterday's issue of this journal of the performances for the evening, reference was made to the high desert of this meritorious couple, and it was gratifying to find that our opinion was so generally coincided in. The colonial stage does not possess a more useful and intelligent actress than Mrs. Thom, of whom it has been truly said that she never did aught but embellish any part she undertook. Our readers well know that we are not given to fulsome adulation, but it is indeed a pleasant duty to award praise which has been well earned. In no instance of our recollection has this reward been so unqualifiedly merited than in the case of Mrs. Thom, whom the Victorian boards can ill afford to lose. Her husband shares with her the public esteem; the fine band of the Theatre Royal, which he organised, may be pointed to as being an admirable example of his professional tact. As has been already stated, Mr. and Mrs. Thom leave shortly for England, by the Blackwall. We hope, however, for the sake of the of the public of this colony, that their absence will be but temporary - the shorter, indeed, the better . . .

The following address, written by Mr. W. M. Akhurst expressly for the occasion, was spoken by Mrs. Thom, who appearance was greeted with the most enthusiastic applause: -

Few moments are there in the Actor's days,
When to the world his own true part he plays,
His life is one of mimicry, and when
He walks the pathways of his fellow-men,
There seems a magic circle round him thrown
Marking him isolated, and unknown
So when he quits the stage that many a year,
Has bounded all the hopes of his career,
The audience seldom his own loss lament,
But only what he used to represent.

But now our case a different feature shows;
If aught is missed - twill be myself and spouse
No Norma lost to the colonial boards,
No Miska Hauser's single string and chords.
No star goes out with me - upon my honor,
No prime Tragedian, or Prima Donna,
Merely a walking lady - who has got
A most unenviable and stupid lot,
Which renders her (the fate you'll own a seedy 'un)
An easy victim to the light comedian
And in my husband 'twould require no riddler,
At once to recognise - the plainest fiddler.

Still let us hope, since you have been our hosts
That, though no friendly walls, and genial posts,
Have reddened with our names, as though from drink
And not with "Argus Jobbing Office" ink,
The walking lady's simpers and grimaces
Have promenaded into your good graces
And, though you may not fasten up a hatchment,
To show my spouse your violint attachment,
You still may deem that in this same locality,
Some good's been done by his instrumentality.

Oh! let us cherish hopes like these I say;
Indeed we've had assurance that we may;
Your generous sympathies, so oft displayed,
Our future lightened by your kindly aid,
Demand our gratitude - a trifling proof,
To say we honor the colonial roof,
Or, that we'll recommend (for so we ought)
The school where that scarce sentiment is taught.

The walking lady (myself understood),
Bids you farewell! her memory is good,
And ever faithful to a kindness done
From you she has experience many a one.
The violinist also says "good bye,"
And, being constitutionally shy,
Begs me - but there I'II break off in the middle,
His motto will be ever "toujours fiddle."

Considerable applause followed the delivery of the address and, Mrs. Thom having retired, her husband being loudly called for, acknowledged from his place in the orchestra the honor done him . . .

"THEATRE ROYAL", The Age (20 November 1855), 5 

Mrs. Thom has never aspired to be considered a great actress, and yet she is much more of a favorite with the Melbourne theatre going world than several members of the profession histrionic, whose struggles to arrive at popularity have amounted to something like a moral spasm . . . The house which testified last night to this truth, though, not an overflowing one, was apparently unanimous. Mr. and Mrs. Thom's benefit had drawn together what might fairly be considered a select audience, for it consisted of those who were not induced to be present as a result of pertinacious solicitation but of thorough theatre-loving and merit-apprehending people who went to pay a deserved tribute of respect, and to offer a consciousness of agreeable reminiscences due to the excellent conduct and estimable character of two highly deserving artistes. It will be a subject of pleasing remembrance to Mr. and Mrs. Thom to know that though a crowded house did not attend them at their formal conge to the Melbourne public, a sincere and heartfelt adieu was tendered to them. The Beggars' Opera, the first piece selected for the evening's entertainment . . .

"GRAND PROMENADE CONCERT", The Argus (23 November 1855), 5

From au advertisement in another column, we per- ceive that a promenade concert will take place tbis dav and to-morrow, from three to live o'clock, in the large Hall of the Theatre Royal, when the orchestra of the thcatro, lod by Mr. Thom, will perform.

[Advertisement], The Argus (21 December 1855), 8 

MRS. THOM to the undersigned Ladies and Gentlemen of the Theatrical and Musical Profession in Melbourne.
Ladies and Gentlemen, - I cannot leave this city without offering you my very sincere thanks for the handsome testimonials of your esteem and regard with which you have presented me. To leading members of our profession such testimonials are not unfrequent; but for one like myself, holding a subordinate rank to number amongst my friends such names as are here appended is indeed an honor as well as gratification. During the three years I have been in this country I have always met with the utmost cordiality and kindness from each and all and I should be most ungrateful could I ever forget it. I must take this opportunity to thank the gentlemen of the Press (which I do very sincerely) for the flattering notice they have taken from time to time of my humble efforts. Allow me, in conclusion, Ladies and Gentlemen, to bid you all Farewell! with best wishes for your health and happiness.
I remain, Very faithfully yours, ELIZA THOM.

[ADDRESSED TO]: Miss Catherine Hayes; Mrs. C. Poole; Madame Carandini; Mrs. E. Hancock; Madame Strebinger; Mrs. Chester; - Moor; Mr. John Gregg; - Lyall; - E. Hancock; Signor Carandini; G. V. Brooke, Esq.; G. Coppin, Esq.; C. Poole, Esq.; Mr. Richard Younge; - H. N. Warner; - G. H. Rogers; - E. H. Burford; - S. Howard; - E. Russell; - T. Nunn; - W. Chester; - J. E. Renno; - Charles; - Radford; F. L. Bayne, Esq.; J. Baurie, Esq.; Mr. F. Webster; - L. McGowan; - H. Richardson; - H. R. Chapman; - H. H. Oates; - J. Welsh; - J. Byron; - J. Lavenu [sic]; - F. Strebinger; - F. Coppin; - H. Berg [sic]; - Sundborg [recte Lundborg]; - Prinz [Prince]; - E. D. King; - A. Moore; - H. Johnson; H. Kohler [recte R. or F. Kohler]; - H. B. Gover; - P. Thomas; - Hurlerbein [Huenerbein]; - Kohler; - A. Plock; - J. Murrell; - G. Naughton; - R. Ilsay; W. Bushnell, Esq.; - Jacomb, Esq.

Melbourne, December 19th, 1855.

"THEATRICAL AND MUSIC", The Argus (24 December 1855), 6 

. . . Among the recent departures for England of ladies and gentlemen who have been connected with theatricals in these colonies we may mention Mrs. Waller, who is under engagement to appear at Drury Lane, next year; and Mr. and Mrs. Thom, who leave by the Blackwall, which is expected to sail this week . . . Mr. and Mrs. Thom have, since the opening of the Theatre Royal, been engaged there, the former as leader of the orchestra, and the latter as a general actress. They were both great favorites, and deservedly so, and their secession from the company, of which they were so long members has left a gap which will not easily be filled up.

England (from 1856):

"THE PAVILION BAND", Brighton Gazette [England] (24 July 1856), 6

On the proceedings of this Committee being produced, Mr. LAMB, referring to the minutes, said he found that at the meeting of the Committee on July 7th, a letter was read from Mr. B. Thom, requesting the use of the Music Room upon the same terms as the Pavilion Band, every Tuesday, Thursday, and Saturday, commencing the 9th August next. And on the 14th of July the minutes said, "The letter of Mr. B. Thom, requesting the use of the Music Room, was again considered, and adjourned until the next meeting." At the same meeting he observed that a letter was read from Mr. Oury requesting the use of the lower suite of rooms for two promenade concerts the 6th and 7th August next, and the Committee resolved, "That Mr. Oury's request complied with, on condition that no dancing be permitted, for the sum of £16, to be paid in advance." Now he should like to know why the Committee took so long to consider Mr. Thom's application, which even now stood adjourned, whilst Mr. Oury's request was instantaneously complied with. Mr. Thom had recently returned from Australia, and desired to get the use of the Pavilion Room for a band. It might said that Mr. Thom was not a ratepayer, but other gentlemen had applied, who were rate payers, and had been refused, and these ratepayers had been treated with anything but a proper respect . . . Mr. COBB said that Mr. Thom complained bitterly in not receiving consideration from the Committee . . . Now, Mr. Thom was prepared to carry out a good stringed band; . . . It was to be a Town Band, and they now call it a Pavilion Band . . .

[News], Brighton Gazette [England] (30 October 1856), 5

The Soirees at the Pavilion, by the Royal Literary and Scientific Institution, Albion Rooms, may now be ranked (through the perseverance of the members of the Committee) among the most attractive and agreeable of the season . . . The Conversazione on Monday [27 October] was, in point of attendance and attractiveness, equal to any of its predecessors . . .. The Concert, which was held in the Music Room, was supported by Miss Messent, Herr Kuhe, Herr Bonn and the Pavilion Band under the leadership of Mr. Thom. Miss Messent did not appear to advantage, but obtained an encore; Herr Kuhe was enthusiastically received, and the performance of the Pavilion string and wind band, gave great satisfaction.

National probate calendar, 1867, England and Wales (PAYWALL)

THOM Bream / Effects under £1,500 / 18 January / The Will of Bream Thom late of Westow Hill Upper Norwood in the County of Surrey Musician deceased who died 2 January 1867 at Westow Hill aforesaid was proved . . . by the oath of Eliza Thom . . . Widow the Relict the sole Executrix.


"FIFTY YEARS AGO. NAT COOKE'S BENEFIT CONCERT", Brighton Gazette [England] (14 June 1902), 2

A concert was given on Thursday by the Brighton Amateur Symphony Society for the benefit of Nathaniel Cooke, an old and esteemed member of the musical profession, in the Upper Room of the Town Hall. The band, conducted by Mr. Bream Thom, gave the overture to Rossini's "La Gazza Ladra," Mendelssohn's "Wedding March," Herold's overture to "Zampa," an Allegretto in A minor from Beethoven's Symphony No. 7, and Fessy's fantasia on airs from "Lucia di Lammermoor" . . . Master Brown astonished his listeners with Mayseder's Solo, Op. 40, for the violin . . . Mr. E. De Paris accompanied. The concert was a pecuniary as well as artistic success.



. . . Mrs. Testar, Mrs. Hancock, and Julius Buddee were conspicuous figures at concerts given in the Mechanics' Institute. Later arrivals were Mrs. Fiddes, Messrs. W. C. Lyon-Sayers, Edgar Ray, E. Hancock[,] Thom (a good violinist), and Creed Royal . . .

Bibliography and resources:

George Dubourg, The violin, some account of that leading instrument and its most eminent professors, from its earliest date to the present time . . . (London: Robert Cocks and Co., 1852), 303, 337 note (DIGITISED)

BREAM THOM, a native of Portsmouth, dating his days from 1817, made his first approaches to the Violin at eight years of age, having from infancy evinced a predilection for music, although no other member of his family was that way inclined. He studied hard, and, at seventeen, was appointed Leader of the Orchestra at the Portsmouth Theatre. He appeared, in 1838, at the Hanover Square Concert-Room, in London, and was favourably received. Shortly afterwards (by the advice of Mr. Oury), he went to Paris, and placed himself under Monsieur Robretch, a professor to whom belongs the credit of having had some share in the tuition of De Beriot, and of Artot. Returning to England, he settled eventually at Brighton, where he has for some time officiated as Leader at the Theatre, Amateur Concerts, &c.

[337, note] Among the meritorious doings of provincial Amateurs (albeit not in the way of Quartetts), I would here take occasion to mention the Brighton "Choral Society," commenced in 1835, under the zealous management of Mr. H. Woledge, whose funds, as well as his time and talent, were liberally contributed to the undertaking. That social combination, although not continued beyond its third season, has been followed by the Brighton "Amateur Symphony Society," which, with Mr. B. Thom for its Leader, and Mr. Woledge as its Secretary, is at this time pursuing its career of recreative euphony. Such Societies as this last, though they do not form quartett-players, can qualify their members to supply, with creditable effect, some of the demands of an orchestra.

ASSOCIATIONS: Antonio James Oury; André Robberechts; Henry Woledge (d. 1852, collector of taxes at Brighton, musical amateur)

? James C. Dibdin, Annals of the Edinburgh stage with an account of the rise and progress of dramatic writing in Scotland (Edinburgh: Richard Cameron, 1888), 377 (DIGITISED)

. . . The Adelphi opened for the summer season on June 27th 1840 with a very strong company. The opening pieces were Charles XII., in which Miss Eliza Phillips, from Covent Garden, appeared as Ulrica, and the comic drama Court Favour . . .

An image of the same Eliza Phillips as Ida in Werner (by Richard James Lane; London: John Mitchell, 15 February 1839) (DIGITISED)



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


[Advertisement], The Sydney Morning Herald (23 June 1855), 3

MUSICAL - Mr. THOMAS, violinist, begs to inform the gentry of Sydney that he is prepared to attend quadrille parties. A quadrille band of English musicians can be engaged if required. 121, Elizabeth-street, Hyde Park.

THOMAS, Herbert (Herbert THOMAS; Mr. H. THOMAS; Mr. THOMAS)

Amateur violinist, viola (tenor) and violincello player, legal clerk

Born c. 1828; son of William THOMAS
Arrived Melbourne, VIC, January 1852 (per Eagle, from Liverpool, age "25")
Active Melbourne, VIC, by 1854
Married Lydia CULL, VIC, 1864
Died (suicide by drowning), Barwon River, Geelong, VIC, 4/5 December 1873 (TROVE tagged by Australharmony) (shareable link to this entry)


England census, 30 March 1851, St. Paul, Birmingham; UK National Archives, HO 107 / 2059 (PAYWALL)

6 Caroline Street / John Loach / Head / 41 / Master Japanner . . .
Emma Loach / Wife / 40 . . . [and their 9 children]
Herbert Thomas / Lodger / 24 / Attorney's Clerk / [born] U. K.

[Advertisement], The Argus (9 November 1854), 8

Friday Evening, November 10th. The Philharmonic Society will perform a selection from Handel's Grand Oratorio of Judas Maccabaeus.
Principal Vocalists: Mrs. Testar, Mrs. Hancock, Miss Edwards, Mr. Hackett, Mr. Ewart.
Instrumentalists: Violins - Messrs. Griffiths, King, Fleury, Strebinger, W. Radford, M. Radford, Ryder, Pietzker, Fischer, Newton, Lewis, and Hurst; Violas - Messrs. Thomas, King, Izard; Violoncellos - Messrs. Reed, Hailes, and Kent; Basso - Messrs. Hardman, Gover, and Harndorf; Flute - Mr. Cooze; Clarionets - Messrs. Johnson and King; Bassoon - Messrs. Biggs and McCay; Trumpet - Mr. Lewellyn; Trombones - Messrs. Phair, Macnamara, and Trystram; Ophecleide - Mr. Hartigan; Horns - Messrs. Kohler and Naughton; Leader - Mr. Joseph Griffiths; Conductor - Mr. Jno. Russell . . .

ASSOCIATIONS: Melbourne Philharmonic Society; John Russell (conductor); Joseph Griffiths (leader)

"CHAMBER MUSIC", The Argus (13 February 1856), 5 

We were much gratified yesterday in being present at a performance of classical instrumental music at the Mechanics' Institution. The entertainment, although private, was understood to be a kind of rehearsal of what is contemplated to be offered to public criticism in a few days. The performance consisted of Mozart's No. 1 quartett in G, Beethoven's quartetts in F and A, and a movement from Haydn's quartett founded upon the popular melody "God save the Emperor." The performers were - first violin, M. Miska Hauser, second violin, Herr Strebinger, viola, Mr. Thomas and violoncello, Mr. Lavenu. With such a cast unequalled in these colonies, it is scarcely necessary for us to assure our readers that the splendid selection was done every justice to. It is in contemplation to have a series of six classical concerts, to be guaranteed by subscription; and although the music is probably of too recondite a character to ensure general popularity with pleasure seekers, we feel pretty sure that there is taste in Melbourne to support an undertaking of the kind. We shall probably have further to say on this subject.

ASSOCIATIONS: Miska Hauser; Frederick Strebinger; Lewis Henry Lavenu

MUSIC: String quartet in G, K 387 (Mozart); Variations on the Emperor's hymn, from the String quartet in C, op. 76 no. 3 (Haydn); String quartet in A, op. 18 no. 5, and String quartet in F, op. 18 no. 1 (Beethoven)

"MISKA HAUSER'S CONCERT", The Argus (24 February 1857), 5

Last evening Miska Hauser gave his concert of classical music before a select and numerous audience, in the Hall of the Mechanics' Institute. Independent of the fame of the maestro himself, great interest attached to the concert from the production, for the first time in this colony, of a species of music of the highest class. The performance of Beethoven's, No. 4 Quartette, in C minor, must be considered as an event, and we trust that the experiment, which was last night in every point perfectly successful, will be repeated while the public taste is still alive to it. Miska Hauser, Mr. E. King, second violin, Mr. H. Thomas, tenor, and Mr. S. Chapman, violoncello, were the instrumentalists, and it was satisfactory to find that we were in possession of sufficient musical talent to enable M. Hauser to attempt so difficult and critical a work. The various movements, four in number, were executed with commendable precision, the andante, in particular, was delightfully rendered, and elicited the loudest tokens of satisfaction from the audience . . . In the third part M. Hauser and his three assistants performed Onslow's variations on "God save the Queen." It was a musical treat of a very attractive character

ASSOCIATIONS: Edward King; Samuel Chapman

MUSIC: String quartet in C minor, op. 18 no 4 (Beethoven); Variations on "God save the king", from String quartet in G minor, op. 9 no. 1 (Onslowe)

"MISKA HAUSER'S FAREWELL CONCERT", The Age (28 February 1857), 5 

Last evening, the celebrated Hungarian violinist, Miska Hauser, who has now occupied nearly two years in making a professional tour of the Australian colonies, took his leave of them in a grand classical conccrt, at the Mechanics' Institution . . . Now that the public have had a taste of the enjoyments to be derived from an acquaintance with really classical music, we trust that Messrs. E. King, H. Thomas, W. Reed [sic], and S. Chapman, the able collaborators of Miska Hauser, will not be slow in making us further acquainted with works which they have shown themselves so well qualified to render . . . The performances of the evening commenced with Mayseder's quintett No. 2, A minor, in which the artistes we have mentioned were all engaged. The symphony selected is one of the most pleasing productions of this well known composer, and was rendered with a delicacy and success which we have seldom heard excelled. During the performance of the work, the audience listened with rapt attention, and at the close of each of the four movements applauded with a heartiness, which showed how highly they appreciated the treat which had been placed before them . . . The third part commenced with an instrumental quartette performed by Messrs. Hauser, King, Thomas, and Chapman, being variations on Haydn's German hymn, "God save the Emperor" . . .

ASSOCIATIONS: Probably correctly Thomas Reed

MUSIC: String quintet in A minor, no. 2, op. 51 (Mayseder)

"MISKA HAUSER'S THIRD CONCERT", The Argus (6 March 1857), 5 

. . . We shall not enter into any critical details of his performances last evening, for the technicalities of criticism are as incapable of conveying an adequate notion of the charm of a musician's execution, as any arrangement of words would be to describe the scent of a flower, or the glories of a tropical sunset. We will simply remark that he was applauded to the echo, and that he was most ably assisted by Messrs. King, Thomas, and Chapman in the two quartettes . . .

"MISKA HAUSER'S FAREWELL CONCERT", The Argus (16 July 1858), 4 

Among the numerous leave-takings, which occurred yesterday, special mention must be made of Miska Hauser and the Melbourne public. This gentleman has so often said (or bowed) farewell, and so often come back, bow in hand, to charm us with his instrument, that people began to suppose he would go on giving farewell concerts, at periodical intervals, for many years to come. We believe, however, that . . . Miska Hauser has really appeared for the last time before a Melbourne audience, and is by this time on his way to the other hemisphere . . . The last piece which he performed last night (omitting mention of the encore) will always constitute an agreeable souvenir of the violinist . . . Besides the solos, Miska Hauser took part with Messrs. King, Ryder, Thomas and Chapman, in two of Mayseder's quintettes; while Miss Hamilton and M. Coulon agreeably varied the character of the entertainment by their vocal performances . . .

ASSOCIATIONS: George Ryder; Octavia Hamilton; Emile Coulon

"SATURDAY NIGHT CONCERTS", The Age (31 January 1859), 5 

The success which attended the concert, given at the Mechanics' Institution on Saturday evening, ought to justify the projectors, Messrs. E. King, Megson, and S. Chapman in continuing similar entertainments once a week . . . The band, numbering fourteen persons, and including Messrs. King, Thomas, Chapman, Johnson, and Hartigan, was most effective. Nothing could be finer than their execution of Rossini's splendid overture to "Semiramide," or that to the "Masaniello" of Auber, and we can unhesitatingly affirm that better instrumentation has not been heard in the colony. The dance music was also admirably performed, as were the accompaniments to several of the songs. The classical music of Mozart and Beethoven was skilfully and tastefully interpreted by the veteran quartette party - King, Megson, Thomas, and S. Chapman. In accordance with a custom which seems to be obtaining here, Mozart's quartette was played at twice . . .

ASSOCIATION: Joseph Megson; Henry Johnson; Joseph Hartigan

"MR. HORSLEY'S CONCERT", The Argus (6 March 1863), 5 

Last night Mr. C. E. Horsley gave a concert of vocal and instrumental music, at Hockin's Assembly-rooms. The programme was of a miscellaneous description, and contained items to suit every variety of taste. To commence with the most classical portion of the entertainment, the first and last pieces deserve especial notice. The concert commenced with Mozart's celebrated G minor quartett, which was admirably given by Mr. Strebinger, Mr. Chapman, Mr. Thomas, and Mr. Horsley. Mr. Strebinger's violin has seldom been heard to greater advantage than last night. In the orchestra at the opera, a soloist of such a high order of merit is almost thrown away, and it is only in chamber concerts that his talent can be fully appreciated. The quartett went admirably, especially in the sublime andante movement, which was interpreted by the performers with great taste and expression . . .

ASSOCIATIONS: Charles Edward Horsley; Frederick Strebinger

MUSIC: Piano quartet in G minor, K 478 (Mozart)

[Advertisement], The Argus (9 June 1865), 8 

THE SECOND SUBSCRIPTION CONCERT FOR THE YEAR Will be hold In the Exhibition Building,
ON TUESDAY EVENING, JUNE 13, When MENDELSSOHN'S "ATHALIE" (Repeated by desire of numerous subscribers)
Principal Vocalists - Miss Bertha Watson. Miss Geraldine Warden. Miss Fanny Reeves. And Signor Castelli.
Band and Chorus of 200 performers.
Principal Violin, Mr. Herbert Thomas . . .

"THE PHILHARMONIC SOCIETY'S CONCERT", The Age (26 December 1865), 5 

A large and enthusiastic audience thronged the Exhibition Building, on Saturday night, on the occasion of the thirteenth annual performance, of Handel's oratorio, "The Messiah," by the members of the Melbourne Philharmonic Society . . . The instrumental portion of the programme was exceedingly well rendered. It included Mr. Herbert Thomas, as principal violinist; Mr. David Lee, organist; and Herr Schott, on his favorite instrument - the oboe . . . under the conductorship of Mr. G. R. G. Pringle, who wielded the baton with his usual ability.

ASSOCIATIONS: George R. G. Pringle; David Lee; James Schott

"MELBOURNE PHILHARMONIC SOCIETY", The Argus (17 January 1866), 7 

The annual meeting of this society was held, at the Mechanics' Institute, Collins-street, yesterday evening. The attendance was numerous; and Mr. J. Russell, vice-president, took the chair . . .
THE CHAIRMAN read the list of officers nominated at the last meeting. Of these the following were appointed without contest: - . . . organist, Mr. D. Lee; leader of orchestra, Mr. Herbert Thomas . . . [and by ballot] For the conductorship - Mr. Pringle, 42 votes; Mr. Horsley, 25 votes . . . committee . . . H. Thomas . . .

[Advertisement], The Argus (11 September 1866), 8 

The SECOND CONCERT of this society for the prosent year will be given in St. GEORGE'S-HALL,
Oh TUESDAY, 11th SEPTEMBER, By a Band and Chorus of 200 Performers.
The subjects selected for this occasion are Spohr's Grand Oratorio, "The Last Judgment," And Mendelssohn's March from "Athalie," and "As the Hart Pants"- (42nd Psalm).
Principal Vocalists: Mrs. J. C. Ellis; Miss M. Liddle; Mr. C. A. Donaldson; Mr. W. H. Williams; Mr. Chas. Blanchard; Mr. Edwin Amery.
Principal Violin - Mr. Herbert Thomas.
Harmonium - Mr. J. A. Edwards.
Conductor - Mr. David Lee . . .

"BALLARAT HARMONIC SOCIETY", The Ballarat Star (26 October 1866), 2 

The production of Haydn's "Seasons" by the Ballarat Harmonic Society is one more addition to the triumphs of that body . . . Mr. Robson, as usual acted as conductor, Mr. T. King, as leader, and Miss Binder as harmoniumist . . . The band was composed as follows: - First violins, - Mr. T. King, Mr. Thomas, principal violin, Melbourne Philharmonic Society . . .



The Melbourne Philharmonic Society gave their first subscription concert for the present year, in St. George's Hall, yesterday evening, and presented to their subscribers and the public Mendelssohn's "Elijah" . . . The principal vocalists were Madame Carandini, Miss Rosina Carandini, Miss Fanny Carandini, Mrs. Cunningham, Mr. P. Cazaly, Mr. Walter Sherwin and Mr. D. A. Beaumont. Mr. David Lee officiated as conductor; Mr. Herbert Thomas was the principal violin; and the band and chorus were unusually numerous and efficient . . .

[Advertisement], The Age (16 July 1867), 8 

"CURRENT TOPICS", Geelong Advertiser (11 November 1868), 2 

Miss Roche, whose name as a talented musician is well and favourably known throughout the district, announces her intention, in conjunction with Mr. H. Thomas, violoncellist and violinist (late principal violin and leader of the Philharmonic Society's concerts, Melbourne), and assisted by other artistes of ability, intends shortly to give two grand classical concerts, one on the 24th instant, the other on the 1st proximo. . . .

"CURRENT TOPICS", Geelong Advertiser (2 December 1868), 2 

Miss Roche's Grand Classical Concert took place last evening, at the Mechanics' Institute . . . The entertainment commenced by a grand trio composed by Beethoven, and arranged for the pianoforte, violin, and violoncello. From the manner in which this was executed by Miss Roche, Mr. Gabb, and Mr. Thomas, the audience soon became aware that a rich treat was in store for them . . .

ASSOCIATIONS: Theresa Roche; John Gough Gabb

"MR. HORSLEY'S CONCERT", Geelong Advertiser (14 July 1870), 3 

. . . A sonata by Beethoven, with Mr. Thomas on the violin, and judiciously divided into three parts, gave much satisfaction. We may congratulate Geelong on possessing so good a violinist as Mr. Thomas. His reading of the immortal master's inspiration is artistic, his tone firm and round, and his intonation admirable. We trust frequently to hear Mr. Thomas . . .

"THE OPERA. TO THE EDITOR", Geelong Advertiser (1 October 1870), 3

Sir, - I cannot in justice to myself allow the remarks of your "musical" critic, in your issue of to-day, to pass unnoticed. It is evident upon the face of this critique that he assumes I have never before taken part in performances of a higher class than those generally presented to a Geelong audience by our local celebrities, therefore I ought, in Mr. Lyster's orchestra, to feel highly gratified at "being allowed to be in such company." Doubtless, your critic intended this as a compliment to Mr. Lyster's band, but without some knowledge of my musical antecedents it should not hare been at my expense. I may state that I have on this occasion assisted Mr. Lyster at his express wish and to oblige him, and although playing in a good orchestra like that under the direction of my friend Mr. Siede is to me a source of considerable gratification and pleasure, still it is not to me of so special a nature as the remarks of your critic would imply, from the fact of my having been specially engaged by Mr. Lyster on several previous occasions in Melbourne and elsewhere, and also from the following facts (which I state for the special information of your musical critic), namely - having sustained the parts of principal violoncello and principal viola respectively, in company with several of the leading members of Mr. Lyster's present orchestra throughout the operatic performances in this colony of the late Miss Catherine Hayes and Madame Anna Bishop, under the late Messrs. Lavenu and George Loder (both accomplished instrumentalists and musicians), and subsequently for a period of nearly three years, and up to the time of my leaving for Geelong, filling the office of leader of the Melbourne Philharmonic Society. Trusting you will find space for this in your next issue,
I am, &c. H. THOMAS. Latrobe-terrace, Sept. 30, 1870.

ASSOCIATIONS: W. S. Lyster; Catherine Hayes; Anna Bishop; George Loder

"THE BOHEMIAN GIRL", Geelong Advertiser (19 November 1873), 3 

The Philharmonic Society commenced the season of 1873-74 last evening at the Mechanics' Institute . . . It mast be confessed it was thought when the society selected Balfe's popular opera of "The Bohemian Girl," for the first concert of the season, they were flying at rather high game, but the result has proved they did not over estimate their powers . . . The band, which was under the leadership of Mr. Andrews, was composed as follows - Strings - violins, Messrs. Andrews, Wilton, and Hobday; violincellos, Mr. H. Thomas and Mr. Mulder; wind instruments, Messrs. G. W. Walker, G. Ashmore, Bennett, Smith, and Herr Deimling, from Melbourne; drum, Mr. P. Ritchie; pianist, Mr. W. D. Goodall. Seldom have we heard an orchestra so often applauded . . .

ASSOCIATIONS: Geelong Philharmonic Society; Robert James Andrews (d. 1921)

"TOWN TALK", Geelong Advertiser (10 December 1873), 2 

The body of Mr. H. Thomas, supposed to be drowned in the Barwon, was discovered in the river yesterday at the bottom of Yarra street, and about two hundred yards from the place where the deceased's hat was picked up on Friday last. The police had a boat dragging the river during the afternoon, and it is supposed they must have disturbed the body, which was observed floating on the surface of the water between four and five o'clock. It was taken to the Young Queen hotel, where an inquest will be held to-day. Although only a few days in the water, the body appeared to be much decomposed, the skin being discolored and blackened, while the features, and especially the eyes were partially destroyed, the flesh having apparently been eaten by fish. Various rumours of a more or less painful character have been circulated in reference to the circumstances connected with the disappearance of the deceased, but it would be injudicious to refer to them, seeing that an investigation is pending . . .

"CORONER'S INQUEST", Geelong Advertiser (11 December 1873), 4 

Yesterday the coroner, F. Shaw, Esq., held an inquest at the Barwon Bridge Hotel, on the body of Mr. Herbert Thomas, recently a conveyancing clerk in the employ of Messrs. Taylor and Buckland, and which had been found in the Barwon on the previous day. The following is a digest of the evidence taken: -

Samuel Metcalfe deposed to seeing the body in the river opposite Yarra street, on Tuesday; and Constable Casey related how he and Sergeant Chamberlain had procured a boat and towed it ashore; there were no marks of injury on it, and in the pockets were found a razor, some keys, blank cheques, and notepaper. Herbert Dupe stated he found the hat belonging to the deceased on Friday morning last; there were marks of footsteps on the bank of the river opposite the spot where the hat was found, but no indications of any struggle having taken place.

Mrs. Thomas, widow of the deceased, stated that she last saw her husband alive at about twenty minutes past ten on Thursday night, when they went to bed. Nothing unpleasant had occurred that day. The deceased followed her into the room and taking the baby out of the cot she said it was more like him than any of the others, he merely nodded his head as he was undressing. He emptied his waiscoat pockets on the dressing table and left the room with only his trowsers on. Thought he had gone to put out the light in the children's room and fell asleep, did not awake until 6.30 a.m., and then found her husband missing. There was no sign on the pillow as if her husband had been in bed. Cried out, "Oh! Papa has drowned himself." - Jumped out of bed, ran into the yard, and found the back door and back gate open. Told her son, who was eight years old, to dress himself and come to her room whilst she dressed herself. Said to him, "Oh! Papa is gone; he has drowned himself; let us go to the tank." Went there and probed with a long stick, but found nothing. Then sent the boy to Mr. Buckland's office to see if he was there, and then to Bennett's to see if he was buying breakfast there. Could not say what made her think the deceased had drowned himself, but had a presentiment that such was the case. Thought if he continued to speculate in mines as he had been doing he might be ill and die suddenly, as he was not strong, and frequently had attacks of diarrhoea and dysentery. Told him what her impression was. He never said he would destroy himself, but he slept badly, and was easily aroused. Never knew him to be otherwise than kind, and he never spoke an angry word to her in her life. Used, when in Melbourne, to frequently speak to him about speculating; they were then in independent circumstances, but had not been so in Geelong. Observed nothing wrong about him till Thursday, when at tea time she observed he frequently looked at her, and she never knew him to empty his pockets in such a manner before. Three weeks previously they had some words about his speculating in mines, and she told him if he continued to do so she would leave him and go to Melbourne; he promised to sell out as soon as he could and have nothing more to do with mining shares. Said to him, "Then I won't leave you." He was generally cheerful, but latterly he had been dull; he was always very fond of the children and herself. Six months previously she had told him he should not sleep with her. He said, "Very well," took his top coat, went to an inn in Malop-street and slept there for two nights; that was the first and only time he did so. He met her son on the second day, and came home again that evening. He was regular in all his habits to the last; and told her he had lost money lately. Never knew him to carry a razor about him before.

Mr. S. V. Buckland gave the deceased an excellent character. He was steady, sober, and industrious, and he never had a complaint against him. On the previous Tuesday the deceased had gone into his room, and asked him if he had offended him. Witness said he was not aware that there was anything wrong. Deceased said he had not been attending to his duties as well or as quickly as he should, and assured witness he would do so in future. He several times, notwithstanding witness had repeatedly told him that he was not aware, that he had not attended to his duties, or given offence repeated the expression - "I hope, sir, I have, not irretrievably offended," and at this witness was very much surprised.

Mr. J. H. Gray said he saw deceased a few minutes before he left the office on Thursday afternoon; his manner was the same as usual, but on the Tuesday preceding it he was very strange, he labouring under an impression that he had offended Mr. Buckland, and regretting he had dabbled so much in mining matters.

The jury returned a verdict of "Found drowned;" also that they were further of opinion deceased had committed suicide while in a state of temporary insanity.

ASSOCIATIONS: Stephen Vine Buckland (solicitor)

"Births", The Argus (5 May 1874), 1 

THOMAS. - On the 3rd inst., at 27 Latrobe-terrace, Geelong the wife of the late Herbert Thomas of a son. Home papers please copy.

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

[In second concert of the 1865 season] . . . Mr. Herbert Thomas, for many years the leading viola player in the colony, acted as leader. Beethoven's Sinfonia No. 2 and Mendelssohn's overture "Son and Stranger," were the important numbers in the second part . . .

Bibliograhy and resources:

Melbourne Philharmonic Society (1859-69) [British Library], Concert programmes 

THOMAS, Llewellyn (Llewellyn THOMAS; Mr. L. THOMAS)

Harpist, Welsh harpist

Born Penybont-ar-Ogwr, Bridgend, Glamogan, Wales, c. 1839; son of John Thomas (1807-1895) and Catherine JONES (1806-1863)
Active Ballarat district, VIC, 1859-64
Married Agnes Emeline WHITE, NZ, 1867
Active VIC, 1876 until 1888
? Died Melbourne, VIC, 16 August 1889, aged "47" (TROVE tagged by Australharmony) (shareable link to this entry)


As reported in the press in Wales in 1854 and in Victoria in 1876, Llewlleyn Thomas was a younger brother John Thomas (1826-1913), and thus also a brother of the harpists Thomas Thomas (Thomas Ap Thomas, d. Canada, 1813), William Thomas, and Mary Catherine Thomas (from 1853, Mrs. Thomas Miles).

Billed as the "celebrated harpist", Llewellyn first appeared in public in Australia in December 1859 at Ballarat's Montezuma theatre on the same bill as the San Francisco Minstrels.

With John Williams, a blind harpist (perhaps the same "blind youth of Aberdare" who had appeared with Thomas in Wales in 1853), and the Sebastopol Welsh Choir, he participated in a Welsh Eisteddfod in Ballarat in December 1863. Williams awarded Thomas the 10 pound harp prize, and the two played together the Caerphili march "with wonderful effect".

Thomas spent the later 1860s and the early 1870s in New Zealand, where he married in 1867.

His wife having died in Melbourne in 1883, Thomas had disappeared entirely from view by mid 1888.

He was probably (as Graham Hall reported in 2007) the Llewellyn Thomas who died in Melbourne, of consumption, in 1889, reportedly aged 47.


England census, 30 March 1851, Brighton, Sussex; UK National Archives, HO 107 / 1645 (PAYWALL)

27 Jubilee street / Catherine Thomas / Wife / 45 / Tailor's wife / [born] Glamorganshire Bridgend
Llewllyn Thomas / Son / 12 / Scholar / [born Glamorganshire Bridgend]
Rachel Thomas / Dau. / 6 / [Scholar] / [born Glamorganshire Bridgend]

"BRIGEND MECHANICS' INSTITUTION", Cardiff and Merthyr Guardian, Glamorgan, Monmouth, and Brecon Gazette (9 October 1852), 3 (DIGITISED)

. . . The PRESIDENT said there were four competitors for the first prize - "for the best performance of Welsh airs, with variations, on the single harp." In the absence of Mr. W. P. Williams, of Swansea, a lady undertook the duties of adjudicator. - The President (in proceeding) said he had heard Mr. Chatterton, the well-known harpist -probably the most celebrated harpist in England - give a lecture on "the Harp;" and took occasion to ask him whether he had seen Welsh harping, and what he thought of it. He said he had seen a great deal of it, and had found the Welsh infinitely more capable of appreciating harp-music than the English. He also found that the native performers of South Wales had attained considerable proficiency. The Welsh harp had but one row of strings; and by having the triple stringed harp a bold attempt was made to cure the natural defect of a single string; and if a performer could get at them - and it would take a very clever fellow to achieve the feat - much of the inconvenience of a single string would be obviated. Welsh harpers played on the triple stringed instrument with success.

The competitors were, Mr. Evans, of Cardiff, Mr. Williams of Bridgend, Master Llewellyn Thomas, and Miss Catherine Thomas - both also of Bridgend. In introducing the third player to the company the president alluded to the musical talent which had been conspicuously displayed in members of the Thomas family. An objection was taken by one of the competitors to the harp used by Mr. Evans, inasmuch as it was a pedal harp; but as he did not use the pedals the objection was overruled. Mr. Evans, who won the first prize at Newport Eisteddfod last week, was unsuccessful upon this occasion, as the palm of merit was awarded to Mr. Williams. The audience received the decision with much cheering . . .

"LLANGYNWYD EISTEDDVOD", Cardiff and Merthyr Guardian, Glamorgan, Monmouth, and Brecon Gazette (11 June 1853), 3

On Thursday, the 26th of May, a Bardic Meeting (Eisteddvod) was once more held within the classic precincts of Tir Iarll (Earl's Land) . . . A prize of £2 for the best harper, (given by Mrs. Jenner, of Bryngarw), and a certificate of merit, were awarded to Mr. H. Williams, of Bridgend; a second prize was awarded to a youth named Llewellyn Thomas . . . A prize of £1 1s., given by the Misses Williams, of Aberpergwm, for "The best Female Performer on the Welsh Harp," was awarded to Miss Thomas, of Bridgend . . .


The pleasing reunion which annually takes place of the members and friends this association came off on Thursday evening, in the large room of the Shire-hall . . . The fine organ was brought into use, and several pieces were ably executed by Mr. J. Taylor, jun. Mr. R. Blagrove again delighted the company with his exquisite performances the concertina; while Master Llewellyn Thomas (known as the Welsh harpist), excited both astonishment and delight by the manner which be executed numerous airs on his small but powerful harp. One of the most interesting features of the evening's entertainments was the demonstration the earth's diurnal motion by the vibration of a long pendulum suspended from the roof of the building . . .

"CADAIR TIR IARLL - THE IVORIATE ESISTEDDFOD AT ABERAVON", Silurian, Cardiff, Merthyr, and Brecon Mercury, and South Wales General Advertiser (25 June 1853)

This Bardic Festival which had excited a considerable amount of interest, not only in the immediate neighbourhood, but also throughout a very extensive circle of country, took place Thursday last, the 23rd inst. . . . Llewellyn Thomas, a youth from Bridgend, then performed an Air on the Harp . . . A prize of £2 2s. for the best performance on the harp. There were only two competitors - first prize awarded to John Williams, a blind youth of Aberdare, and the second to Llewellyn Thomas, a lad from Bridgend. Invested by Miss Walters, Neath . . .

"BRIGEND MECHANICS' INSTITUTE", Silurian, Cardiff, Merthyr, and Brecon Mercury, and South Wales General Advertiser (1 July 1854), 3

On Tuesday last two Concerts were given at the Town hall in aid of the above society . . . In the Evening Concert a large company was present, and the performance ran as follows . . . During interval of twenty minutes Master Llewellyn Thomas played several solos on the harp. The familiar Welsh air, "Rising of the Lark," with variations, was executed with spirit; the noble performance evinced the boy's talent and skill by the dexterous manner in which he glided his fingers over the strings. Master Llewellyn is brother to the renowned harpist, Mr. John Thomas, of London, who, during a tour he made the last few years, had the honour of performing before many European princes. His name stands high in the musical world, and he, along with Mr. Brinley Richards, shine as stars as composers and performers. Indeed Gwalia should be proud of these her sons. Mr. Thomas native of Penybont-ar-Ogwr . . .

Australia and New Zealand (from December 1859):

[Advertisement, The Star [Ballarat, VIC] (12 December 1859), 3 

THEATRE ROYAL. STURT STREET. MR. LLEWELLYN THOMAS, The great Welsh Harpist, Begs to announce his benefit for TUESDAY, 13th DECEMBER . . .
Mr. Llewelyn Thomas will play a selection of popular Welsh airs an Monday for Mr. Hoskins' Benefit.

ASSOCIATIONS: William Hoskins

"LYCEUM THEATRE", Bendigo Advertiser (14 February 1860), 2 

. . . The performance of the drama was succeeded by the appearance of Mr. L. Thomas, the Welch harpist, whose performance of several Welch airs, with variations, it is certainly no stretch of praise to designate as unparalleled in the colonies. He executes some of the most rapid passages with the most consummate skill and taste, and his playing was complimented by a crowded house, with a demand for repetition four times, in answer to which he played English airs, also with variations. As a musical treat it was one of the best ever offered in Sandhurst, and during his short stay he is well deserving of a visit. To-night the same performances will be repeated.

"MINING INTELLIGENCE. NEW RUSH, INGLEWOOD, March 15", Geelong Advertiser (22 March 1860), 3 

On Saturday night Messrs. Henderson and Murray opened their new theatre, called the Pavilion, in Lower Commercial-street, with the celebrated San Francisco Minstrels, amongst whom, in addition to several members of the old troupe, there are Mr. Stewart McCauley, the leader of the Christie Minstrels, and Mr. Thomas the celebrated harpist.

[Advertisement], The Age (3 December 1860), 1 

PRINCE OF WALES THEATRE. The Promised Return and Farewell Engagement Of the Far Famed
Mr. J. E. KITTS, the Eminent Basso, Also,
Mr. THOMAS LLEWELLYN, the Celebrated Harpist,
Together with the Established Favorites, Mr. O. N. Burbank, Mr. Dave Carson, J. O. Pierce, Charles Walsh, Geo. Chittenden, T. P. Brower, And Mr. G. W. DEMEREST . . .

ASSOCIATIONS: James Edward Kitts; San Francisco Minstrels

[Advertisement], The Star (22 January 1861), 3

I. O. O. F. M. U.
THE Anniversary of the Loyal Ballarat Lodge will take place at the Lodge room "British Queen," on Wednesday next, the 23rd instant, at seven o'clock p.m. . . .
N. B. - Messrs. Llewellyn Thomas (the Welsh harpist) and Labalestrier (the violinist) will be in attendance.

ASSOCIATIONS: Alfred Labalestrier

[Advertisement], The Star (8 March 1861), 3 

MUSIC - To the Ladies of Ballarat and vicinity. - Mr. LLEWELYN THOMAS having received (per Themis) a new Harp, sent by his patron in London, therefore places the Harp he brought out with him at the disposal of the public. The ladies and gentry who visited the Royal during Mr. T.'s engagement are able to judge what a sweet toned and well finished instrument is offered to their notice. The same may be seen and heard at the Fire Brigade Hotel, Barkly street. Tickets for the Raffle, 10s 6d each. Tickets to be obtained at Mr. Humffray's, stationer; Mr. Sutton's, musicseller, Main road; and of Mr. Thomas himself, Fire Brigade Hotel, Barkly street.

"THE NEWS OF THE DAY", The Age (2 March 1861), 4 

St. David's Day was celebrated by the Welsh residents of Melbourne at the Albion Hotel on Tuesday evening, about a hundred gentlemen sitting down to dinner and a varied entertainment. . . The proceedings were varied by some excellent music from the harps of Mr. Llewellyn Thomas, of Penybont, and Mr. John Morris Morgan, of Tredegar. Mr. Robert Mackie most ably filled the office of pianoforte accompanyist . . .

[Advertisement], The Star (21 June 1861), 3

CHARLIE NAPIER THEATRE. Complimentary Benefit to MR. W. MATHER, (Leader of the Orchestra at the Charlie), Who has sustained great losses by the late fire, will take place on WEDNESDAY EVENING, 12th JUNE, On which occasion, and by kind permission of Major Wallace, the Band of the Ballarat Volunteer Rifle Rangers will appear in full military costume, and perform several of their admired selections under the direction of Mr. T. Ellis, Band Master, together with the following artistes, who have kindly given their services . . .
Mr. Llewellyn Thomas, The celebrated Welsh harpist, will perform one of his favorite solos . . .

ASSOCIATIONS: William Mather; Thomas Ellis

"CIRCUIT COURT . . . ASSAULT AND BOBBERY", The Star (12 April 1862), 5

Thomas Meyer (30) pleaded not guilty to an indictment for assaulting and robbing one Llewellyn Thomas at Clunes. Llewellyn Thomas, the prosecutor, deposed that he was passing through North Clunes, and being invited thereto, went into a tent to "shout" for a woman . . .

"NEWS AND NOTES", The Star (26 December 1863), 2

The long promised Eisteddfod, or gathering of Welsh people, was held on Christmas and Boxing day, in the hall of the Mechanics' Institute, under the presidency of Mr. Robert Lewis. The gathering - or "sitting," as the word Eisteddfod signifies - is for the purpose of reading and giving prizes, for essays and poetry, for recitations, addresses, and musical performances; and we are informed that this Eisteddfod was the most numerously attended of all that have been held in the colony. Nearly the whole of the proceedings were in Welsh, and very few other than Welsh people were present, but there were occasional addresses in English, and the singing by the Sebastopol Welsh choir, and the exquisitely beautiful harp music by Mr. Williams, the blind harper from Williamstown, and Mr. Llewellyn Thomas, were of course intelligible to all ears. We postpone a full report of the proceedings of the two days sitting, in order that we may avail ourselves of the assistance obligingly offered by Mr. Williams, the secretary of the Eisteddfod, who has engaged to supply us with translations of certain portions of the Welsh addresses and so forth. For the present, therefore, we content ourselves with stating that there was an inaugural address in Welsh by the President, which was followed during the three sittings of the first day by other addresses, by recitations, by adjudications on essays and poetry, and by vocal and instrumental music, the business of the day being closed by some remarks from the chair, and the performance by the choir and the harpers of the National Anthem. The actual business of the Eisteddfod was brought to a close at the second sitting on the ensuing day, precisely the same class of duties being performed, varied with the singing of the choir and the strains of the harpers . . .

"THE WELSH EISTEDDVOD", The Star (30 December 1863), 4

. . . Mr. Williams, harper - "Jenny Jones," with variations. The artist's manipulation of this most delicious of instruments was admirable, and if the whole Eisteddvod had been harp music, we could have no difficulty in imagining the Sassenach to be as elated with joy as the most enthusiastic and impressionable Cambrian that ever mounted leek or spoke in the mellifluous tongue of the ancient Gael. Mr. Llewellyn Thomas subsequently put in an appearance, and the two harpers played together in nearly all the concerted music sung by the choir during the sittings, besides performing on their instruments unaccompanied by the choir. Of these executants it is difficult to speak in too high terms, and a sober Englishman by our side was so moved by the music they discoursed that he protested it was "seraphic." Few persons who have not heard the harp in the hands of such accomplished artists could easily conceive it to be capable of producing such a volume of the softest and mellowest "concord of sweet sounds" . . .

. . . Mr. Williams and Mr. Thomas, the harpists, played together "Caerphili March" with wonderful effect. The applause was most enthusiastic . . .

. . . The choir and the harpists performed "Hen wlad fy nhadau" (My nativeland) . . .

. . . The "Merionethshire March" was then played on the harps . . .

. . . The harpers played "Codiad yr ehedydd" (The rising of the lark) . . .

. . . The choir and harpers performed "Merch Megan" (Megan's Daughter) . . .

. . .The harpers played "Glan Medd dod Mwyn" . . .

The harpers then performed some music, and the proceedings of the day were concluded by the cboir singing, and the harpers playing, "God Save the Queen."

The Eisteddvod was resumed on Saturday morning . . . The harpers played the "Merionethshire March," (encored), followed by the "March of the Men of Harlech" . . . After the performance by the harpers of the Caerphili March, the meeting broke up for the time.

In the afternoon there was a large attendance . . . The harpers played " Nos Galan" (New Year's Eve) . . . The harpers played "Megan's Daughter" . . .

Mr. L. Thomas played "Pen Rhaw" on the harp . . .

. . . Mr. Llewellyn Thomas was the sole competitor for the £10 prize for harp playing, as Mr. Williams, being judge, was not entitled to enter the lists. The subject was a Welsh air with variations, and Mr. Thomas excelled himself in its performance. At its conclusion loud cheers greeted him. Mr. Williams stood up and pronounced himself higly delighted with the performance, and Mr. Thomas to be well worthy of the prize. - A fresh round of applause followed the announcement.

Both the harpers then played "Pen Rhaw," to the intense gratification of the audience. This concluded the actual business of the session . . .

In the evening the hall was again crowded for the purpose of listening to the performances of the Welsh choir and the harpers. There was no special programme, but the audience was put in possession of the materials of the concert in the shape of a collection of the words of the songs and part songs in the Welsh and English languages . . . Much of the music sang or played on this occasion had already been heard during the Eisteddvod and so does not require special mention. The vocal soli were generally well sung and rapturously encored, and the exertions of the harpers were rewarded by the most enthusiastic approbation. And well might it be so, for it is not probable that we shall ever hear two more competent executants on the delightful instrument they have made, as it were, their own . . .

MUSIC: Caerphilly march; Pen Rhaw;

"NEWS AND NOTES", The Star (13 September 1864), 2 

A novel special match, was held on Saturday evening, at the British Queen Hotel, Piggoreet, for £10 aside, viz. a dancing match between a Welsh harper, named Llewellyn Thomas, and a famous Irish dancer, named J. T. Trembath. The harper played both for himself and Trembath. The execution of both dances was considered by the large assembly present to be excellent, but the umpires awarded the prize to the Welshman.

[News], West Coast Times [Hokitika, NZ] (3 March 1870), 2 

In our report yesterday of the banquet held in honor of St. David's Day, the performances on the harp by Mr. Llewellyn Thomas were inadvertently omitted. Mr. Thomas is a harpist of a higher order than is ordinarily met with, and it is not too much to say that he contributed in no small degree to the enjoyment of the evening.

"FATAL ACCIDENT AT WAITAKI", North Otago Times [NZ] (19 January 1875), 2 

A very painful sensation was created throughout the town yesterday, by a rumor (which, unfortunately, proved to be only too true) that Miss Jennie Anderson (Mrs. Frank Verten) had been drowned while endeavoring to cross the Waitaki River on Sunday . . . It appears that the troupe, comprising Mr. and Mrs. Verten, Mr. Llewellyn Thomas (harpist), and Mr. J. H. Gregg (the Herd Laddie) with his two performing dogs, started from Oamaru on Sunday morning, at seven o'clock, in a two-horse express, driven by Mr, George Bentley, accompanied by his brother, Mr. Charles Bentley, for the Waitaki Ferry, en route for Waimate und Timaru, at which places they were announced to appear. As a matter of course they took with them their properties, including a harp value 100 guineas belonging to Mr. Thomas, and a considerable sum in cash, which was enclosed in one of the packages . . .

"MELBOURNE (FROM OUR OWN CORRESPONDENT) March 2", Hamilton Spectator (4 March 1876), 3 

The men of Wales are a happy and comfortable people; and they celebrate with not a little enthusiasm the anniversary of their patron saint, the worthy St. David. This year they have done so with even more devotion than ever . . . On Tuesday night a Welsh concert was given successfully in the Temperance Hall . . . Yesterday I had the pleasure, being half a Welshman myself, of accompanying the members of St. David's Society on an excursion down the Bay and a pic-nic at Portsea. The "Williams" is a comfortable steamer, and she carried some six hundred passengers . . . A fine band was on board, with an evident inclination for Welsh music. Mr. Llewellyn Thomas, the brother of the harper to the Queen, delighted those who could get near enough to hear him. A young Welsh lady, with several assistants from North and South Wales, kept the piano going in the cabin, and in the evening a Welsh concert delighted the company . . .

"NEWS OF THE DAY", The Age (29 November 1879), 5 

An attractive programme is announced for this evening's People's Concert, in the Temperance Hall, Russell-street, including the first appearance of Mr. Llewelyn Thomas, the Welsh harpist, in favorite solos, and La Petite Osborne in national dances.

Sands & McDougall's Melbourne and suburban directory, 1880, 792 (DIGITISED)

Musicians . . . Thomas, Llewellyn (harpist) 62 Victoria-st, W. M. . . .

"BALLARAT. FROM OUR OWN CORRESPONDENT. BALLARAT, March 5", Camperdown Chronicle (9 March 1880), 3

. . . I never saw a better house at the Academy of Music than gathered to the Welsh Eistedfodd on St. David's day. The evening seance was best attended, of course, on which occasion £123 was taken. Alice Rees sang, and Llewellyn Thomas played the harp - the best harpist we have ever had . . .

[News], The Argus (25 June 1881), 7

An attractive programme has been provided for this evening's People's Concert in the Temperance-hall, Russell-street, including a harp solo by Mr. Llewellyn Thomas, a performance on the roller skates by Mr. Chas. Silvester, and the burlesque "Little Red Riding Hood" by the Misses Coutts.

[News], The Argus (18 April 1882), 6

A banquet was held in St. Patrick's Hall last night to celebrate the centenary of Irish independence . . . The toast of the evening - "The Memory of Grattan and Irish Legislative Independence" was proposed by Mr. J. G. Duffy . . . Between the toasts Mr. Llewellyn Thomas played appropriate airs on the harp . . .

"DEATHS", Leader (20 January 1883), 40 

THOMAS. - On the 11th January, at her residence, 58 Leveson-street, Hotham, Agnes Emeline, the beloved wife of Llewellyn Thomas, Welsh harpist.

"THE HUMFFRAY BENEFIT CONCERT", The Ballarat Star (3 March 1888), 4 

For the first time for several years St. David's Day has been allowed to pass without the holding of the usual Welsh national festival. The memory of the annual Eisteddfod was, however, revived last evening, the occasion being a benefit concert tendered to Mr. J. B. Humffray by some of our most popular amateur vocalists, assisted by the Barak Dramatic Company, the whole being under the direction of Mr. Phillip Jones. Many of the items in the programme were selected from the national melodies dear to the Cymru, giving to the entertainment a sufficiently Welsh character to render it an acceptable substitute for the usual Eisteddfod celebration . . . Mr. Llewellyn Thomas, the popular exponent of the sadly neglected harp music of Wales gave three solos, which, if they did not exhibit all the varied resources of the instrument - its voluptuous freshness, its soft sonorousness, and delicate crystalline effects, were undoubtedly clever and inimitable performances, and were heartily applauded . . .

Bibliography and resources:

"JOHN THOMAS", The musical times and singing class circular (1 November 1899), 725-30 

John Thomas was born on St. David's Day (March 1), 1826, at Bridgend, Glamorganshire. He showed remarkable musical talent at a very early age. When he was only six years old he was quite a skilful piccoloist. His father belonged to an amateur reed and brass band . . .

Anne Doggett, "And for harmony most ardently we long": musical life in Ballarat 1851-1871 (Ph.D thesis, University of Ballarat, 2006), volume 1, 134, 157; volume 2, 126, 127, 134, 135, 137, 140, 330 (DIGITISED)

Rosemary Margaret Hallo, Erard, Bochsa and their impact on harp music-making in Australia (1830-1866): an early history from documents (Ph.D thesis, University of Adelaide, 2014), 170, 203 (DIGITISED)

[203] 1861 - Mr. Llewellyn Thomas, Ballarat - Erard harp purchase - [serial number] 4103 . . .

Llewellyn Thomas (c. 1842-1889), Find a grave 

John Thomas (harpist), Wikipedia

"THOMAS, JOHN Pencerdd Gwalia (1826-1913), musician", Dictionary of Welsh biography 

Graham Hall, "Bridgends hoyal harpist, The genealogist (posted 26 April 2007) 

. . . In the 1841 Census for London, [Jones] . . . John 35, wife Catherine 35, son John 15, son William 12, son Thomas 10, daughter Mary (Catherine) 7, and son Llewellyn 2 . . .
[John's] younger brother Llewellyn emigrated to Australia. He too was a harpist, but died at the relatively young age of 47 of T.B. He was buried in New Cemetery Melbourne [1889] . . . Catherine [Jones] Thomas, died on December 1st 1863 aged 56 and was buried at St. Illtyd's churchyard Bridgend . . . John Thomas senior died on January 30th 1895 aged 87 and was also buried there with his wife. On the reverse is an inscription which shows there was an earlier Llewellyn who died at only 20 months old on the 15th February 1833 . . .

THOMAS, William (William THOMAS)

Bandmaster (2nd Hobart Rifles, 2-14th Regiment), gardener, horticulturist

Born Swansea, Wales, c. 1813-15; son of David THOMAS
Married Sarah LEWIS (d. 1881), St. James's church, Bristol, England, 11 September 1839 (age "26")
Arrived Hobart, TAS, by 1858
Died Hobart, TAS, 17 June 1884, age "70" (TROVE tagged by Australharmony) (shareable link to this entry)

See also (c. 1862-68): (TROVE tagged by Australharmony)

THOMAS, Arthur George (Arthur George THOMAS; A. G. THOMAS)

Bandsman, musician

Born Swansea, Wales, c. 1839/40
Arrived Hobart, TAS, by 1858
Married M. Frances HOLLOWAY, Hobart, TAS, 28 February 1861
Died Melbourne, VIC, 21 January 1892 (TROVE tagged by Australharmony) (shareable link to this entry)


Wales census, 30 March 1851, Swansea, Glamorgan; UK National Archives, HO 107 / 2466 (PAYWALL)

6 Prince Str. / William Thomas / Head / 36 / Gardener / [born] Glamorganshire Swansea
Sarah [Thomas] / Wife / 30 / [born Glamorganshire Swansea]
Arthur G. [Thomas] / Son / 12 / Scholar / [born] Glamorganshire Swansea
Sarah A. / 10 // Elizabeth I. / 9 // Matilda / 7 // William H. / 6 // Mary Ann / 4 // Llewellyn / 2

"SECOND RIFLES BAND", The Mercury (26 February 1863), 3

The newly organised band of the Second Rifles, under the leadership of Mr. Thomas, will give its first promenade performance for the public recreation, in pursuance of one of the objects for which it was formed, this afternoon, at 4 o'clock, on the proposed site of the new Town-hall. We believe that it will play weekly at the Botanical gardens and the Military Barracks alternately.
The following is the programme for to-day: -
Garibaldi's Slow March - E. BERGER.
Cavatina, Torquato Tasso (by desire) - DONNIZETTI.
Quickstep, Phoebus - BALDIANA.
Varsovina, La Narwa - TALLOT.
Napoleon's Grand March -
Quadrille, Le Pere Simon - S. MEUNIER.
Blanch Waltz - FARMER.
God save the Queen.
W. THOMAS, Band-master.

"THE VOLUNTEERS", The Mercury (7 May 1864), 3

The dinner announced in yesterday's Mercury as about to be given in Webb's new rooms last evening, by the volunteers of the South to the members of the Northern corps who visited the metropolis for the purpose of contesting the Champion Rifle Prize, came off in due course . . . Mr. D'EMDEN rose and said that with the permission of the Chairman he desired to propose a toast. They all knew the pleasure they had derived from the performances of the band, and as it was to the kindness of the officers of the 2nd Rifles they owed the presence of the band, he proposed the health of "the officers of the 2nd Rifles and their band." (Cheers).
The toast having been drunk, Captain DAVIES returned thanks. All men had their weak points, and Mr. D'Emden had touched his. He was vain of the band of his corps, and he believed in saying so that he uttered the sentiments of his brother officers also. It was due to Lieutenant Lewis that the band honored that occasion with their presence. That officer, who had been on the ground during the whole of the rifle matches, as soon as he heard the proposal to get up the dinner, suggested that the Band should attend, and he (Captain Davies) and Lieutenant Palmer immediately concurred. His (Captain Davies's) friend the bandmaster, Mr. Thomas took a most lively interest in rendering the men as efficient as he believed all present would admit them to be. It would, however, be absurd for him to dilate on the merit of the band; it was sufficient for him that it was appreciated by his friends present that night. (Applause) . . .

"BAND PERFORMANCE", The Mercury (18 January 1866), 2

We have to remind the citizens that the Band of the Second Rifles, under the direction of Mr. W. Thomas, the band-master, will perform this afternoon in Franklin Square, commencing at four o'clock, weather permitting. The public will have an opportunity of being present. Men have been engaged in perfecting the footpaths, and rendering the Square fit for pedestrians.
The programme is as follows: -
Overture - "Tancredi"
Quadrille - "Lurline" - C. D'Albert
Selection - "William Tell" - Rossini
Polka Mazurka - "La Campanule Pyramidale" - Tournatoire
Overture - "Le Val D'Amour" - Blancheteau
Fantasia on American Airs - Couturier
Galop - "En Avant" - Tollard
God Save the Queen.

"BIRTHDAY BALL", The Mercury (25 May 1866), 4

. . . A quadrille band by Messrs. Dentith, Gagliardi, A. G. Thomas, Bryant, &c, occupied the gallery.

ASSOCIATIONS: Alfred Jackson Dentith; Giacinto Gagliardi

"ARRIVAL OF THE MILITARY", The Mercury (24 November 1866), 3

. . . The troops [2-14th Regiment from New Zealand] were landed on the following day by the steamer Kangaroo when, by permission of Captain Davies, 2nd Rifles, the fine band of that corps was in attendance, under the leadership of Bandmaster Thomas, and played the troops into barracks, the "British Grenadiers" and the "Jolly Dogs March" being the chief pieces played.

"SECOND RIFLES BAND", The Mercury (23 January 1867), 2

The band will perform in Franklin Square this afternoon, under the leadership of Mr. Bandmaster Thomas, weather permitting.
The following is the programme: -
Overture - "Les Sirenes" - E. Marie
Polka - "Souvenirs du Camp de Boulogne" - Duhamel
Valse - "La Reine Marguerite" - E. Marie
Fantasia - "Sonnambula" - Bellini
Quadrille - "Los Rosieres du Carnival" - Couturier
March - "Hurrah! Hurrah!" - Riviere
Schottische - "La Petite Vivandiere" - Preau
Galop - "En Avant" - Blancheteau
"God Save the Queen."

[Advertisement], The Mercury (27 February 1868), 1

A. G. THOMAS begs most respectfully to inform the ladies and gentlemen of Hobart Town and its vicinity, and the public generally, that he is prepared to supply STRING or MIXED BANDS of from 6 to 16 members for Orchestra, Concerts, Balls, &c., . . . For small Balls or Parties, A.O.T. can safely recommend his CHAMBER BAND, consisting of Violin, Cornet, Contra Bass, and Pianoforte, or for small Rooms either Cornet and Pianoforte, Violin and Pianoforte, or Flute and Pianoforte. The most fashionable English and French Music received by every mail. . . . Tuition supplied for the Harp, Guitar, Violin, Flute, Cornet, Pianoforte, Reed or Brass Instruments on the most reasonable terms. BRASS and REED BANDS furnished of from 5  to 20 members, as required. N.B.-The proficiency and sobriety of the Band can be relied on. Address - A. G. THOMAS, Queen's-road, Sandy Bay, Hobart Town.

[Advertisement], The Mercury (10 February 1874), 3

MONDAY EVENING, 12th October . . . BEAUTIFUL DRAMATISED PANORAMA, Depicting Life and Scenery in
The plot and dialogue from the pen of Garnet Walsh, Esq. . . .
THE GREAT HIBERNICON ORCHESTRA, Under the direction of that popular Instrumentalist
SIGNOR G. GAGLIARDI, Includes the following first-class Artists:

"VOLUNTEER COURTESY. TO THE EDITOR OF . . .", The Mercury (17 September 1879), 3

SIR,- In contrast to the conduct of the Band master of the Artillery Band in causing his men to play when passing the Town Hall on the night of Signor Pompei's concert, it deserves to be recorded that on the night of Signora Fabris' concert, Mr. Thomas, the Bandmaster of the Rifles, stopped his band while passing the Hall so as not to cause any annoyance to the performers.

"Deaths", The Mercury (18 June 1884), 1 

THOMAS. - On June 17, at his late residence, Collins-street, William Thomas (late of Sandy Bay), aged 70 years.

"DEATH OF A WELL-KNOWN COLONIST", The Mercury (18 June 1884), 2

Mr. William Thomas, after several years of suffering, expired at his late residence, Collins street yesterday, in the 70th year of his age. Mr. Thomas arrived in Hobart with his family over a quarter of a century back, and, until laid aside by illness, successfully pursued his calling as a nurseryman at Sandy Bay. He was a leading man amongst the Rechabites and various Friendly Societies. He was an accomplished musician, and, when the Band of the 2nd Rifles, in years gone by, held prominent place in the Volunteer Force, he was the respected master. He leaves a large but grown up family to mourn the loss of a father who, from his many excellencies, was universally respected as a man and prized as a friend.

"DEATHS", Leader (30 January 1892), 46 

THOMAS. - On the 21st January, at his daughter's residence, 183 Rosslyn-street, West Melbourne, Arthur George Thomas, musician, aged 53.

"Deaths", The Mercury (3 February 1892), 1 

THOMAS. - On January 21, at Melbourne, George Thomas, musician, formerly of Hobart. Inserted by his friend, J.B.

"OLD TIME MEMORIES", The Mercury (16 December 1903), 2

. . . I was, at the time, a member of the 2nd Rifle Volunteer Band, and we were engaged to supply the musical portion of the programme. Mr. Thomas was our bandmaster, and the late Captain J. Davies, then the proprietor of "The Mercury," was the Commanding Officer of our Company. I cannot now call to mind the names of many members of our band, but I recollect very well that associated with us were our leader's three sons, and Signor Gaglardie [Gagliardi]. Our Drum-Major Mr. Cook, I shall never forget. He was a tall, handsome man and in his scarlet and gold uniform looked what he was, the very model of a drum-major. Him and his stick were a perfect terror to the "small boys" as they gathered round the band when we were out for a march with the Company. At the ceremony above referred to . . . we (the band) played "God bless the Prince of Wales," and we certified to the planting of the second [tree] with the "Danish National Anthem" But, oh! Didn't it rain. We were all soon soaked, and were not at all sorry when the signal was given for us to play "God save the Queen".

"MUSICAL DAYS. HISTORY OF THE HOBART BANDS", The Mercury (30 August 1917), 2

. . . About 1863 the 2nd Rifles started a band of their own, under Wm. Thomas as bandmaster. He came to this State for the purpose of laying out the Royal Society's Gardens.

THOMAS, William (William THOMAS)

Indigenous culture recorder

Born London, England, 1791
Arrived Sydney, NSW, 3 August 1838
Died Brunswick, VIC, 1 December 1867 (NLA persistent identifier) (shareable link to this entry)


"THE LATE WILLIAM THOMAS, GUARDIAN OF ABORIGINES", Illustrated Australian News for Home Readers (20 December 1867), 3


William Thomas papers, 1834-1868, 1902; State Library of New South Wales

MS 214/24 Item 1-11 Microfilm CY 3131 Frame 18 letter to Mr. Duffy Manners & Customs of Aborigines: No 5 - Songs & Dances Merri M lodge (1 August 1858)

Bibliography and resources:

Marie Hansen Fels, "I succeeded once": the Aboriginal protectorate on the Mornington Peninsula, 1839-1840 (Aboriginal History Monograph 22) (Canberra: ANU Press; Aboriginal History Inc, 2011) (DIGITISED) (DIGITISED)

THOMPSON, Clara see Clara Thompson BRACY

THOMPSON, Gerald Marr (Gerald Marr THOMPSON)

Journalist, art, music, and theatre critic, reviewer

Born Paddington, London, 11 September 1856; son of John ThOMPSON and his Emma HITCHCOCK
Arrived Adelaide, SA, 10 June 1881
Married Eleanor Lucy COLE, St. Philip's church, Sydney, NSW, 7 April 1887
Died Double Bay, NSW, 28 February 1938 (NLA persistent identifier) (shareable link to this entry)

THOMPSON, Henry Osborn (Henry Osborn THOMPSON; "Monsieur LAMOUREUX"; H. O. THOMPSON)

Bass (baritone) vocalist

Born Stonehouse, Devon, England, c. 1811; son of Nicholas THOMPSON (c. 1781-1858) and Mary LAMOUREUX (
Married (1) Ann ADDICOTT, Stoke Damerel, Devon, 15 August 1834
Married (2) Sarah PALMER, St. John, Wapping, London, England, 8 February 1854
? Arrived Sydney, NSW, 18 October 1855 (per Nimroud, from the Downs, 21 June)
Active Sydney, NSW, by 1857
Married (common law) Clara BOOTH, by c. 1859
Married (3) Clara PHILLIPS BOOTH, Sydney, NSW, 1871
Died Fitzroy, VIC, 1 July 1887, aged 76 (TROVE tagged by Australharmony) (shareable link to this entry)


Mezzo-soprano vocalist

Born Bermondsey, Surrey, England, c. 1830; daughter of Henry and Clara PHILLIPS
Married Henry BOOTH, England, by c. 1850
Arrived Sydney, NSW, 18 October 1855 (per Nimroud, from the Downs, 21 June)
Married (common law) Clara BOOTH, by c. 1859
Married (3) Clara PHILLIPS BOOTH, Sydney, NSW, 1871
Died South Melbourne, VIC, 10 July 1899 (TROVE tagged by Australharmony) (shareable link to this entry)


England census, 30 March 1851, St. James, Clerkenwell; UK National Archives, HO 107 / 1516 (PAYWALL)

45 Percival Street / Henry O. Thompson / Widower / 40 / Clerk / [born] Stonehouse Devon

England census, 30 March 1851, Brompton, Kensington; UK National Archives, HO 107 / 1469 (PAYWALL)

4 Brompton Terrace / Henry Booth / Head / 25 / Corn dealer / [born] Surrey Bermondsey
Clara [Booth] / Wife / 22 / - / [born Surrey Bermondsey]

1854, marriage solemnized in the parish church of St. John of Wapping, in the county of Middlesex; London Metropolitan Archives (PAYWALL)

No. 432 / Feb'y 8 / Henry Osborn Thompson / 43 / Widower / Mariner (ship Nimroud) / Hermitage Street / [father] Nicholas Thompson / Inspector of Shipping at Devonport Dockyards
Sarah Palmer / 23 / Spinster / - / Hermitage Street / [father] James Palmer / Physician . . .

List of assisted immigrants per Nimroud, from England, June 1855, for Sydney, NSW, October 1855; State Records Authority of NSW (PAYWALL)

[No] 406 / Booth Clara / 27 / Servant // [Booth] Henry / 4 // [Booth] Florence / 8 months

[Advertisement], Empire (5 May 1857), 1 

PARRAMATTA. THE BUCKINGHAM FAMILY'S CONCERT, at Mr. Williams's Hotel, Woolpack Inn, on THURSDAY next, assisted by Mr. I. DAVIS, the Inimitable Violinist, from the Prince of Wales Theatre, and Monsieur LAMOUREUX, the eminent Basso, from the Hanover-square Rooms, London. Seats, 2s. 6d.; reserved ditto, 5s. To commence at 8 o'clock.

ASSOCIATIONS: George Buckingham and family; Isaac Davis

"LAW. SUPREME COURT. WEDNESDAY . . . WOOLLEY AND ANOTHER V. MACKENZIE", The Sydney Morning Herald (28 May 1857), 4 

This was an action of trover by Messrs. Thomas Woolley and Edward Salamon, against the official assignee of the insolvent estate of Messrs. David and Henry Perrier, for the alleged conversion of a quantity of household furniture and fittings formerly in use at the building known as Perrier's Club-house, Pitt-street . . . There was evidence also that formal possession had been held of the goods, in plaintiff's name, by one Thompson, a waiter . . .

[Advertisement], The Sydney Morning Herald (2 September 1857), 1 

OUR LYCEUM ASSEMBLY ROOMS, YORK STREET -This beautifully decorated saloon, under the management of H O. THOMPSON, late manager Perrier's Club, is open every evening for dancing.
On MONDAY next, and following SATURDAY, the prices for admission will be reduced , gentlemen 2s, ladies 1s. The other four nights admission by ticket only, being subscription nights. The German Band is engaged.

"BENEFIT OF MR. JOHN GREGG", Empire (19 October 1857), 4

This popular vocalist, who is tolerably well known to the colonial public in connection with the operatic company established by Madame Bishop, will take a benefit at the Prince of Wales Theatre this evening, on which occasion he is promised the assistance of the following eminent performers:- Madame Sarah Flower, Mr. Frank Howson, Mr. C. Packer, Mr. J. Howson, Mr. H. O. Thompson, and Signor Cavallini. The entertainments will comprise selections from "Gabrielli di Vergi," "Les Huguenots," and "Don Pasquale." By the permission of Colonel Stratton, the splendid band of the 77th will attend, and perform several choice pieces during the evening.


[Advertisement], The Sydney Morning Herald (24 October 1857), 1 

A GRAND VOCAL and INSTRUMENTAL ENTERTAINMENT will take place at the above Theatre, under the distinguished patronage of Lieutenant-Colonel Straton, C.B., and the Officers of the 77th Regiment; by whose kind permission the magnificent
BAND of the above Regiment, will perform . . .
Assisted by the following artistes:
Madame Sara Flower, Mr. J. C. Fisher, Mr. Frank Howson, H. O. Thompson, John Howson, John Gregg, T. Banks, Signor Cavalini.
PROGRAMME . . . PART II . . . Prize Duet - "Love and War" (T. Cooke) - Mr. H. O. Thompson and Mr. John Howson . . .


MUSIC: Love and war (Cooke)

"OUR LYCEUM", Bell's Life in Sydney and Sporting Reviewer (7 November 1857), 3 

This theatre has been leased by Mr. H. O. Thompson, who purposes giving a series of Equestrian performances, to commence on Monday next, under the title of the Olympic Circus.

"SYDNEY NEWS", The Maitland Mercury and Hunter River General Advertiser (11 February 1858), 3 

. . . The other insolvents are Henry Osborne Thompson of York street, licensed victualler. Liabilities, £248 9s , assets £177 6s.; deficiency £71 3s. Mr. Adam Wilson, official assignee

"THEATRICALS . . . TOOGOOD'S SALOON", Bell's Life in Sydney and Sporting Reviewer (17 April 1858), 2 

The entertainments at this popular place of resort continue to prove as attractive as ever. In addition to the Buckingham Family, we observe that Mr. H. O. Thompson's services have been secured, and the singing of this able professional must prove an additional inducement to take a peep into the Saloon.

ASSOCIATIONS: Alfred Toogood (proprietor); Buckingham family

[Advertisement], Empire (15 June 1858), 1 

PROGRAMME Of the First Evening's Entertainment.
Scene 1. - National Song and Chorus - "Rule Britannia" - Company. Calcutta near Sunset, the Port, Ships in Harbour. Song - "The Merry, Merry Sunshine" - Madame Flora Harris.
Scene 2.- Embarkation of the 77th Regiment from Sydney for Calcutta, Sydney Harbour. Time - Morning- (Gloomy Sky). The Magoala Transport. Song - "Hurrah! for the Red, White, and Blue" - Mr. H. Osborne Thompson.
Scene 3.- City of Benares, Rich Indian Sky, Book Ground, Oriental Landscape, at Noon. Song and Chorus - "Come to those Yellow Sands" - Company.
Scene 4. - Port of Agra, Surrounding country, Time - Noon. Duet - "Love and War" - Madame F. Harris and Mr. H. O. Thompson.
Scene 5. - The Mohurrim or Grand Assemblage of Mussulman Priests and Devotees, Actual Costume Procession. Turkish March from the "Battle of Prague."
Scene 6. - Sacred Meeting of the Brahmins, Actual Costume, Devotees bearing Gifts for the Poor within the Temples. Introductory Movement from "Norma."
Scene 7. - Grand Indian - Moonlight Scene, Rich Landscape, a Christian Church lit up in centre. Time Near Midnight. Trio - "O Salutaris Hostia" - Madame F. Harris, Messrs. Ryall and Thompson.
Scene 1. - The City of Lucknow as seen from the Balcony of the Residency - Moslem Temples - Time, two hours before noon. Trio - "The Campbells are Coming," "Auld Lang Syne."
Scene 2. - Ancient City of Cawnpore - Moslem Temple, Hindoo Pillar, Temple, and Theatre - Back Ground, the Scene of the First Revolt - The Ganges - Time, Noon. Song - "What will they say in England," Mr. H. Osborne Thompson.
Scene 3. - The Well of Cawnpore, the Scene of the wholesale butchery of British Women and Children - Landscape Scene from the Well - The Monument erected in memory of those massacred. Trio - "Forgive, Blest Shade," Madame F. Harris, and Messrs. Ryall and Thompson.
Scene 4. - Blowing Rebels from Guns - Rebel Chiefs bound to the Mouth of the Cannon - Muster of Troops - Sentence of Death being read - Time, Morning. Cries of the Wounded, from "The Battle of Prague."
Scene 5.-Camp of Sepoys - Interior - Occupation of Rebels - Actual Costume. Trio - "Hark! 'Tis the Indian Drum," Madame F. Harris and Messrs. Ryall and Thompson.
Scena 6. - Palace of the King of Delhi, the Pride of the Universe - Scenery around the Palace. Song, "Scenes that aro Brightest," Madame Flora Harris.
Scene 7. - Fugitives from Delhi - Jungle Scenery - Fugitives have forded a River - The Forest, Moonlit. Glee-" Desolate is the Dwelling of Morna," Madame F. Harris and Messrs. Ryall and Thompson.
Finale - "God Save the Queen," Company . . .

ASSOCIATIONS: Flora Harris; John James Ryall

"PEOPLE'S CONCERT", The Sydney Morning Herald (30 January 1860), 5 

Another of these popular entertainments comes off this evening at the Temperance Hall, Madame Sara Flower, Mrs. Bridson, Madame Flora Harris, Miss Ryan (pupil of Mrs. Bridson), Mr. John Howson, Mr. Banks, Mr. H. O. Thompson, are engaged. Visitors may anticipate a musical treat. Every encouragement should be given; and from the exceedingly moderate charge for admission-namely, one shilling, and sixpence for children - the committee of the New South Wales Alliance deserve the patronage and thanks of the community.

"MUSIC AND DRAMA", The Sydney Morning Herald (21 November 1860), 7 

. . . Signor Enrico Grossi gave a concert at the Temperance Hall on the 8th instant, that was tolerably well attended. The music was from the works of Donizetti, Barnet, Keller, Rossini, Meyerbeer, and other eminent composers. In addition to the vocalists already named, Mr. H. O. Thompson, Mr. Farquharson, Herr Sussmilch, and Mr. Brooks, gave their professional assistance . . .

ASSOCIATIONS: Enrico Grossi; Robert Farquharson

[Advertisement], The Sydney Morning Herald (24 November 1860), 4 

SHAKESPERE Concert Hall. - Selection, "Linda di Chamounix." John Howson, Leveson, Hetherington, and H. O. Thompson.

[Advertisement], Empire (26 December 1860), 1 

PRINCE OF WALES MUSIC HALL will open on BOXING NIGHT, and continue during the week. The company comprises Madame CLARA LAMOUREUX, JOHN HOWSON, LEVESON, THOMPSON, HETHERINGTON, and MACKNEY, in his inimitable Entertainment. Admission, by refreshment ticket, 1s. Entrance through the upper circle of the late Theatre, Castlereagh-street, to the Soiree Musicale.


[Advertisement], Empire (4 February 1861), 1 

CONCERT TO-NIGHT, Lecture Hall, Jamison-street, in which Clara Lamoreux, John Howson, Leveson, H. O. Thompson, Wilson, and gentlemen amateurs will take part. Admission, 1s. . . .

"MUSICAL PERFORMANCE", Empire (6 February 1861), 8 

On Monday a very entertaining harmonic meeting took place at the Lecture Hall in Jamison-street, when a number of selected pieces from the gems of the first operatic composers were sung by the performers with considerable taste and judgment - a lady named Madame Clara Lamoureax, with Messrs. John Howson, John Leveson, H. O. Thompson, John Wilson, and several amateurs acquitting themselves in a manner far superior to what might have been anticipated from the very unassuming manner in which the performance was got up. Many concerts have taken place in Sydney, heralded forth with high sounding announcements, which Monday night's minor entertainment might well have rivalled. The threatening aspect of the weather about the time the performance was to commence, and the short notice given of the concert taking place, affected, we regret to say, the number which would have attended.

"NOTES OF THE WEEK", The Sydney Morning Herald (15 April 1865), 5 

Mr. H. O. Thompson's concert, in aid of the sufferers by the late boiler explosion at the "Waterview Dry Dock, took place last Saturday night in the Oddfellows' Hall, Balmain, The programme was well selected, and rendered with accuracy and good taste.

"THE NEWS OF THE DAY", The Age (28 July 1866), 5 

A little fracas at one of the rehearsals of the opera company gave rise to an action in the county court, yesterday, the defendant in the case being Mr. W. S. Lyster, and the plaintiff a member of the chorus, named Bachrach, who charged Mr. Lyster with an assault . . . Henry Thompson said that he was standing between Bachrach and Kiebel, at the rehearsal, and that Bachrach was the first to commence the fight, taking Kiebel by the throat. The latter then hit Bachrach with a stick, and Mr. Lyster interfered . . .

"INSOLVENCY COURT . . . SURRENDER", The Sydney Morning Herald (3 August 1872), 5 

Henry Osborn Thompson, of Castlereagh-street, Sydney, vocalist. Liabilities, £85 9s. 4d. Assets, £50 15s. Mr. Humphery, official assignee.

[Advertisement], The Sydney Morning Herald (14 January 1873), 8 

Engagement of the following Artistes: Madame LAMOUREUX, from the Opera Company . . .
Mr. OATEN, English Concertina . . .
Steamer GOOLWA leaves Circular Quay at halt-past 7 o'clock prompt, returning at ll o'clock p.m.
W. H. WARDLE, Proprietor.

[Advertisement], Wagga Wagga Express and Murrumbidgee District Advertiser (22 March 1873), 3 

FIRST NIGHT. BALLAD CONCERT. And scenes, in character, from Offenbach's World Renowned Opera THE GRAND DUCHESS!
Fitz - Mr. Vernon Howard (late tenor Madame Simonsen's Opera Company) . . .
The Grand Duchess - Miss Alice May (late Prima Donna, Lyster's English and Italian Opera Company) . . .
SECOND NIGHT. BALLAD CONCERT. And Wallace's Romantic Opera MARITANA . . .
"Trovatore," "The Daughter of the Regiment," "The Belle of Woolloomooloo," &c., will follow.
H. O. THOMPSON, Agent.

[Advertisement], The Sydney Morning Herald (10 June 1873), 8

will be given THIS EVENING, June 10, 1873, at the ODDFELLOWS' HALL, WOOLLAHRA.
PROGRAMME. Part I . . . Song - "The Robber's Boast" - Mr. H. O. Thompson . . .
PART II . . . Duet - "Home to our mountains" (Trovatore) - Mrs. Thompson and Mr. Howell . . .
Song - "Man of War"- Mr. H. Tompson [sic] . . .

"ARRIVAL OF THE ALHAMBRA FROM NEW ZEALAND", The Age (22 November 1876), 3 

The S.S. Alhambra, Malcom Muir, from Bluff Harbor, N.Z., arrived at an early hour this morning. The following are her passengers: - Saloon . . . Mr. and Madam Simonsen. Mr. and Mrs. H. Benham, Misses Perston, Blanche Harris, Lameroux, Stewart, C. A. Lambert, M. Fisher, May Somers, A. H. Norris, E. Kaye, E. Beaumont, Kate Osborne, Blanche Osborne, L. Aitchison, Messrs. R. Levison, H. O. Thompson, J. P. Thomas, W. T. Keith, M. M. L. Raphael, W. Stoneham . . .

[Advertisement], Ovens and Murray Advertiser [Beechworth, VIC] (20 January 1877), 5 

MARITANA . . . Alcalde - Mr. H. Lamoureux . . .
M. L. RAPHAEL, General Manager; H. O. THOMPSON, Agent . . . .

[Advertisement], The Lorgnette (16 August 1879), 1 

the new Comic Opera . . . THE LITTEL DUKE . . . Marion - Mrs. H. O. Thompson . . .

"Deaths", The Age (2 July 1887), 5 

Thompson. - On the 1st July, at his residence, 194 Gore-street, Fitzroy, Henry Osborn Thompson, aged 76, late of Lyster's Opera Company.

"DEATHS", The Age (11 July 1899), 1 

THOMPSON.- On the 10th July, at her son-in-law's residence, 48 Withers-street, South Melbourne, Clara Thompson, relict of the late H. O. Thompson; also, loved mother of Blanche Holmes and Florence Love.

THOMPSON, John Charles (John Charles Royer THOMPSON; John C. THOMPSON; J. C. THOMPSON; Mr. THOMPSON)

Professor of music, violoncellist, pianist, violinist, organist, theatrical musician, music teacher, piano tuner, composer

Born Cork, Ireland, c. 1820; son of John Vaughan THOMPSON (1779-1847) and Martha SOLOMON (d. Ireland 1832)
Arrived Hobart Town, VDL, 4 February 1836 (per Boadicea, from London, with parents, father the ship's surgeon)
Arrived Sydney, NSW, 18 March 1863 (per North Briton, from Hobart Town, 3 March)
Active Sydney, NSW, by 1844
Active Adelaide, SA, by December 1846
Active Melbourne, VIC, by June 1849
Married Anne WILKINSON (d. 1909), St. Peter's Church, Melbourne, VIC, 2 July 1850
Active Sydney, NSW, 1851-52
Active Hobart, TAS, by June 1853
Active Melbourne, VIC, by April 1857
Died Carlton, VIC, 14 August 1886 (TROVE tagged by Australharmony) (shareable link to this entry)

THOMPSON, William Henry William Henry THOMPSON; W. H. THOMPSON)

Orchestra leader

Born Melbourne, VIC, c. 1852; son of John Charles THOMPSON and Anne WILKINSON
Active Melbourne, VIC, by 1873
Died ? VIC, 1900; ? buried Melbourne, 24 February 1900 (shareable link to this entry)


John Charles Thompson was born Cork and grew up Cork, Ireland, a son of the English-born medical doctor and naturalist John Vaughan Thompson, and his Irish wife, Martha Solomon.

As Thompson later advertised in Australia, he spent several years, probably in his early and mid teens, c. 1832-35, serving an "apprenticeship in the establishment of a first-rate Pianoforte Maker and Tuner."

He sailed from London with his parents in October 1835, aged 15 or 16, his father, a government deputy inspector-general of hospitals, having been appointed to NSW.

On arrival in Sydney, he may well have continued his training as a piano repairer and tuner, perhaps for Francis Ellard.

He first appeared in Sydney as a public performer in mid-1844, aged 23 or 24, as a cellist in Isaac Nathan's series of Australian Philharmonic concerts.

Thereafter, Thompson is an interesting case of a professional theatrical musician who, within the space of a decade, worked in four different colonial capitals.

George Coppin next engaged him for a short season in the orchestra at Melbourne's Queen's Theatre in August 1845. Coppin again imported Thompson from Sydney to Adelaide, where, for his debut in December 1846 at the New Queen's Theatre, he was billed as "from the Royal Victoria Theatre, Sydney".

By June 1849 he was in Melbourne where he participated regularly in the weekly Thursday concerts at the Mechanics' Institute.

In June 1853 he was in Hobart, playing in the theatre there, as well as teaching and piano tuning.

In Hobart in December 1855 the Christmas pantomime Harlequin Jack and the bean stalk had "new and original music composed expressly by Mr. Thompson".

He was back in Melbourne in 1857, and was still appearing as a pianist, with his eldest son, William, in Melbourne as late as 1873.

Disambiguation (Thompson actor):

An actor named Thompson played leading roles in the main theatre companies in Hobart, Launceston, Sydney, Melbourne, and Adelaide, from 1840 until 1850. Alec Bagot (Coppin the great, 1965, 119, 122, 123) understandably assumed that the melodramatic actor Thompson (Thomson), who was part of Coppin's Adelaide company at the same time as J. C. Thompson, were one and the same. The actor Thompson, however, had already been appearing for Coppin in Melbourne before J. C. Thompson arrived there in August 1845, and reportedly had left Adelaide, with his wife, for Melbourne, at New Year 1849, more than a month before J. C. Thompson likewise left for Melbourne, and had again been appearing with the Melbourne company in January and February, before J. C. Thompson's arrival there. A fuller identification of the actor, who reportedly specialised in serious and veteran roles, has yet to be made.

"MR. THOMPSON", Adelaide Times (1 January 1849), 2 

This actor, who has so long appeared on the boards in Adelaide, left the colony last week, by the Souvenir, for Melbourne. Whatever may have been the cause of Mr. Thompson's abrupt departure, the play-going public of Adelaide cannot but regret the exit of an actor so accomplished in certain favourite characters, which he invariably acted so well, and which seemed so natural that there apparently appeared no effort on his part to sustain them admirably throughout. We allude in particular to his personification of old veterans, and similar characters of dignified deportment - characters in which he has invariably received the unanimous and warm plaudits of the numerous audiences before whom he so effectually performed for so long a period without a single exception. He, in short, commenced his career by becoming a favourite actor with the public, and continued to be so to the last.

"Shipping Intelligence. ARRIVED", The Argus (16 January 1849), 2 

January 15 - Souvenir, schooner, 64 tons, Skey, master, from Adelaide. Passengers . . . Mr. and Mrs. Thomson . . .


Sydney, NSW (1836-46):

"TRADE AND SHIPPING", The Hobart Town Courier (12 February 1836), 2 

The Boadecia has brought out 216 free females, with Dr. Thomson, the Deputy Inspector of Hospitals for Sydney, Mrs. Thomson and 4 children.

"SHIPPING INTELLIGENCE", The Sydney Gazette and New South Wales Advertiser (19 March 1836), 2 

From Leith via Hobart Town, yesterday, having left the former port the 16th September, and the latter 3d instant, the ship North Briton, Captain Lyall, with merchandise. Passengers . . . Dr. Thompson, Deputy Inspector of Hospitals for Sydney, Mrs. Thompson, Miss Ellen and Martha Thompson, Masters John and Joseph Thompson from Hobart Town . . .

[Advertisement], The Australian (25 May 1844), 2

THE FIRST PHILHARMONIC CONCERT In this colony, will take place at the Royal Hotel, THIS EVENING, the 20th MAY . . .
The whole under the management and direction of MR. NATHAN.
PART FIRST . . . Cavatina, Violincello - "Di tanti palpiti" with an introduction - Mr. Thompson - Berger . . .

"AUSTRALIAN PHILHARMONIC CONCERTS", The Australian (30 May 1844), 3 

. . . The instrumental solo performers were, Mr. Thompson, on the violincello, and Mr. Anderson,, on the Pianoforte, both of whom, were well received - the tones of the former gentleman were remarkably brilliant . . .

ASSOCIATIONS: James Henri Anderson

"THE PHILHARMONIC CONCERTS", The Sydney Morning Herald (31 May 1844), 3

. . . Nor must we omit to notice the instrumental solos. Mr. Thompson performed some very pleasing variations upon Rossini's Di tanti palpiti on the violoncello . . .

[W. A. Duncan], "MUSICAL REGISTER", The Weekly Register of Politics, Facts and General Literature (1 June 1844), 619 

. . . Among the other instrumental pieces, we must notice an elegant violoncello solo of Berger, by Mr. Thomson, an amateur of very fine musical feeling . . .

[Advertisement], The Sydney Morning Herald (12 June 1844), 1 

PART II . . . Solo - Violincello, Mr. Thompson - Meyseder . . .

[Advertisement], The Sydney Morning Herald (26 June 1844), 1

. . . THE Fourth Weekly PHILHARMONIC CONCERT in this Colony, will take place at the Royal Hotel, THIS EVENING, the 26th June, 1844 . . .
PART I. Overture - Paer . . .
PART II. Overture - Cimarosa . . .
SOLO - Violoncello, "Di tanti palpiti," with an introduction, Mr. Thompson - Berger . . .
LEADER - Mr. Edwards. First violin, Mr. Wilson; second violins, Mr. O'Flaherty, Mr. Guerin; principal tenor, Mr. Walton; principal flute, Mr. Wallace, Sen.;
principal violoncello, Mr. Thompson; oboe, Mr. Leggatt; double bass, Mr. Portbury; conductor, Mr. Nathan, who will preside at the pianoforte . . .

"PHILHARMONIC CONCERTS", The Weekly Register of Politics, Facts and General Literature (29 June 1844), 660 

. . . Mrs. Ximenes sung Russell's Woodman spare that tree with much sweetness, and Mr. Thompson again delighted the audience with the fine tones of his violoncello in one of Berger's arrangements.

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

Mr. THOMPSON, the celebrated violoncellist, will perform in the course of the evening the following solos, viz.;
"Der Zieken" ar[r]. Yass.
"Solo" Rhodes [? Rode].
"Fantasia" Lindley.
MR. FILLMORE will sing a new selection of COMIC SONGS,
accompanied by Mr. Thompson on the Pianoforte . . .

ASSOCIATIONS: George Skinner (proprietor, landlord, having only just taken over from George Coppin); Henry Fillmore (vocalist)

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

MR. THOMSON, whose performance on the Violoncello on Saturday was, for novelty of tone, delicacy of touch, and elegance of execution, the theme of general delight, will play a Hungarian Air, with Variations, and Valz de Weber.
MR. FILLMORE will sing the "Literary Dustman," "Steam Pills," &c,, and a variety of favorite songs, accompanied by Mr. Thomson on the piano . . .

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

Mr. FILLMORE will give - "Steam Pills," "Billy Vite," "Literary Dustman," and "Little Pigs."
Mr. THOMSON will execute on the Violincello - "A Grand Russian March," and a splendid Fantasia; and will sing, for the first time, "A Goblet of Burgundy" . . .

"DEPARTURES", The Sydney Morning Herald (31 July 1845), 2 

July 30 - Christina, brig, Captain Saunders, for Port Phillip. Passengers . . . Messrs. Palliser, Thompson, Portbury, and Vine.

ASSOCIATIONS: Benjamin Portbury

Melbourne, NSW (VIC) (August and September 1845):

[Advertisement], Port Phillip Patriot and Melbourne Advertiser (15 August 1845), 3 

MR. COPPIN Most respectfully informs the Inhabitants of Port Phillip he has entered into an arrangement with the Proprietor (Mr. J. Smith), to open the above Theatre for a SHORT SEASON, ON SATURDAY EVENING, AUGUST 16th, 1845 . . .
Orchestra: Messrs. Megson, H. Howson, A. Howson, Stanby [? Stainby], Hully,
Thompson, (from Sydney,) Portbury, (from Sydney,) Coal, McDonald . . .

ASSOCIATIONS: Joseph Megson; Henry Howson

Adelaide, SA (by December 1846 to 9 February 1849):

[Advertisement], South Australian (1 December 1846), 4

New Queen's Theatre . . .
First appearance of Mr. J. C. Thompson, from the Royal Victoria Theatre, Sydney.
First appearance of Mr. Macdonald, from the Queen's Theatre, Melbourne . . .
Solo, violoncello, "May Sedor" [Mayseder] - Mr. J. C. Thompson.
Mr. Coppin will then open his AMERICAN BUDGET.
Solo, "Comet a Piston," Rossini - Mr. Macdonald . . .

ASSOCIATIONS: Alexander McDonald

"THE THEATRE", South Australian (4 December 1846), 6

Last evening was performed for the second time, "The Lady of Lyons" before a crowded and respectable house. The characters throughout were well sustained, and the costume of the performers, taken together with the scenery, does the spirited proprietor great credit. After a comic song by Mr. Howard, which was, as usual, warmly applauded, Mr. J. C. Thompson gave a solo upon the violoncello, from Mayseder, which was well received. Mr. McDonald's solo on the cornet a piston, from Rossini, elicited thunders of applause, which lasted for several minutes after the talented musician had retired.

"LOCAL INTELLIGENCE", Adelaide Observer (12 December 1846), 6 

Want of space has prevented our noticing the proceedings at the New Queen's Theatre for the last week. Novelties have been the order of the day, amongst which we may mention as the most successful productions, Bulwer's celebrated play of the Lady of Lyons . . . [6] . . . After the play the Manager gave the musical portion of his patrons a treat by introducing Messrs. Thompson and Macdonald before them on the Violoncello and Cornet-a-Piston. These gentlemen favoured us with two solos in a masterly style, and were warmly received . . .

It is with pleasure we draw the attention of the musical portion of our community to an advertisement of Mr. Thompson, of the New Queen's Theatre. His performances on the violencello have stamped him as a first-rate musician, and we make no doubt of his capabilities to teach the whole of his announcement. We trust the amateurs will embrace this opportunity of improving themselves; and we certainly look forward with pleasure to a series of concerts so long wished for by the inhabitants generally.

[Advertisement], Adelaide Observer (12 December 1846), 1 

J. C. THOMPSON, late of the Theatre Royal of Sydney and Melbourne, having just arrived in the colony, begs leave to inform the ladies and gentlemen of Adelaide that he intends giving lessons on the Piano-forte, Guitar, Violin, and Violoncello. Terms can be known by application to Mr. T., residing at Mr. Mellor's, Weymouth-street.
N.B. - Piano-fortes tuned.

"NEW QUEEN'S THEATRE", South Australian (19 January 1847), 4

New Queen's Theatre . . . Thursday evening, Jan. 21, 1847 . . .
Solo (Violoncello) - Mr. Thompson.
New version of " Billy Barlow," by MR. COPPIN . . .

"LOCAL INTELLIGENCE", Adelaide Observer (3 April 1847), 5 

On Thursday evening last the New Queen's Theatre was under the patronage of the Gentlemen of the Adelaide Pigeon Club . . . In the course of the evening two solos, were performed, one on the violoncello, by Mr. Thompson, and the other by Mr. McDonald, on the cornet-a-piston, with very full accompaniments. All we can say is that they may have been equalled, but they were never excelled in the colony.

[Advertisement], South Australian (29 February 1848), 2 

MISS LAZAR Begs leave most respectfully to acquaint the Public generally, that her first
GRAND EVENING CONCERT, Under the distinguished patronage of
HIS EXCELLENCY THE GOVERNOR, (Who has signified his intention of honoring her with his presence),
A choice selection of the most admired pieces from the Operas of
Maritana, Cinderella, Tancredi, La Gazza Ladra, &c., &c., will be performed . . .
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 II . . . Solo - Violencello, Mr. Thompson - Divertisement - "Sur les Airs Favoris" - (Hagart) . . .

ASSOCIATIONS: Rachel Lazar; Philip Lee; Henry Richards

[News], South Australian (10 March 1848), 2

Miss Lazar's Grand Evening Concert took place at the Theatre on Wednesday week . . . We cannot close our notice of this Concert without giving Mr. Thompson our mead of praise for his very clever solo on the violoncello; his execution was clear and rapid, and was apparently listened to with great pleasure by the audience . . .

[Advertisement], Adelaide Times (9 October 1848), 1 

NEW QUEEN'S THEATRE. MISS LAZAR . . . Grand Evening CONCERT . . . on Monday (this day), October 9th, 1848 . . .
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).
PROGRAMME: PART I. Overture - Bohemian Girl (Balfe), - Orchestra . . .
5. Overture - "Guy Mannering" (Bishop) - Orchestra . . .
PART II. Overture - "Massiniello" (Auber) - Orchestra . . .
4. Overture: Caliph Bagdad (Boildieu) - Orchestra.
5. Solo Violoncello: "My sister dear" (Auber) - Mr. Thompson . . .

"MISS LAZAR'S CONCERT", South Australian Gazette and Mining Journal (14 October 1848), 3 

The public acknowledged Miss Lazar's well grounded claims for support on Monday night last by a bumper house . . . Mr. Thompson's solo on the violoncello, "My Sister dear," was exquisitely performed . . .

"SHIPPING INTELLIGENCE . . . CLEARED OUT", South Australian Register (10 February 1849), 4 

Friday, February 9th - The schooner Souvenir, 64 tons, Skey, master, for Portland and Melbourne. Passengers - . . . Mr. J. C. Thompson . . .

Melbourne, VIC (22 February 1849 to c. May 1853):

[Advertisement], The Melbourne Daily News (9 March 1849), 3 

Queen's Theatre. LAST NIGHT OF THE SEASON . . . THIS EVENING, MARCH 9, 1849 . . .
Closing Address, by the Manager. Dance - Master Chambers. Song - Mrs. Chester.
Solo, Violincello - Mr. THOMPSON, from ADELAIDE . . .
Mr. MORETON KING, Manager.

ASSOCIATIONS: Marian Maria Chester

[Advertisement], Port Phillip Gazette and Settler's Journal (7 June 1849), 3

[Advertisement], Port Phillip Gazette and Settler's Journal (7 June 1849), 3 (above)

J. C. THOMPSON BEGS to Inform the ladies and gentlemen of Melbourne, that he intends to give Lessons on the Piano Forte, Violin, Violincello, and Guitar.
He likewise begs to say, that having had three years practice under a first-rate Tuner, he is qualified to tune Piano Fortes in a superior manner.
Music carefully copied. A considerable reduction made for Schools.
Heasman's Music Warehouse, Great Bourke-street, Next to the Cornwall Arms.

[Advertisement], The Argus (8 June 1849), 3 

Mechanics' Institution. MUSIC CLASS . . . will give their Fourth Public Concert . . .
PROGRAMME: 1ST PART. Overture - L'ltaliana in Algieri - Rossini . . .
SECOND PART. Overture - Cenerentola - Rossini . . .
Solo - Violoncello - (by Mr. Thompson) . . .

"THE MUSIC CLASS CONCERT", The Melbourne Daily News (14 June 1849), 2 

. . . The Violincello Solo was exceedingly beautiful, and would have excited the approbation of Linley himself - this performance was encored . . .

"THE CONCERTS", The Argus (15 June 1849), 2

. . . The respective solos of Mr. Megson on the violin and Mr. Thompson on the violoncello were also admirably performed and highly appreciated . . .

[Advertisement], The Argus (6 December 1850), 3 

Mechanics' Institute. MUSIC CLASS . . . SEVENTH PUBLIC CONCERT . . .
ON THIS EVENING (THURSDAY) 7th December . . . PROGRAMME . . . Solo: Violoncello . . .
God preserve the Emperor - Haydn (introduced under Mr. Reed)
Principal Violin: Mr. Megson.
Second Violin: Mr. Pietzker.
Violin: Mr. Reed.
Violoncello: Mr. Thomson . . .

ASSOCIATIONS: Thomas Reed; William Pietzker

"LAST NIGHT'S CONCERT", The Melbourne Daily News (27 March 1850), 2 

We are pleased to see such exertions as those displayed by Mr. Reed meet with the patronage bestowed upon them by the citizens; and so stimulating has been the result, that Mr. Reed feels warranted in a determination to import musical talent from London . . . The band appeared to have more strength than on former occasions, and got through Fra Diavolo, the opening overture, very efficiency. Miss Flower's singing throughout was, if possible, more admired than on the occasion of her debut . . . The other items in the programme, Mr. Megson's duett with Miss E. Reed and Mr. Thopson's violoncella solo [sic], were loudly applauded.

Marriages solemnized in the parish of St. Peter's Melbourne in the county of Bourke in the year 1850; St. Peter's Eastern Hill (PAYWALL)

No. 200 / John Charles Thompson of this parish bachelor and
Anne Wilkinson of this parish spinster were married in this church by banns . . . this [2 July 1850] . . .

"THE CONCERT", The Argus (18 December 1851), 3

The following is the programme of the concert for the evening:
PART I. Overture - "Don Giovani" . . .
Solo - "Violoncello," Mr. Thompson . . .

"THURSDAY'S CONCERT", The Argus (12 April 1852), 5

. . . Duet - Violoncello and Piano - Messrs. Thompson and Buddee . . .

"THE WEEKLY CONCERTS", The Argus (29 July 1852), 3

We are very glad to notice signs of vigorous measures in reference to the weekly concerts, consequent upon the placing them under the entire control of Herr Mater. Those who have so long been in the habit of visiting them, will be glad to see the names of their old friends Mrs. Testar and Mr. Buddee again . . . The programme for to-night is as follows:
PART II. Overture - Il nozze del Figaro . . . Violoncello Solo - Mr. Thompson . . .

ASSOCIATIONS: Charles Mater; Julius Buddee

[Advertisement], The Argus (25 September 1852), 5 

THE NINTH GRAND CONCERT . . . Principal Instrumental Performers:
Violins - Mr. Megson, Mr. Seymour; Viola - Mr. Jenkins; Violoncello - Mr. Thompson
Flautist - Mr. Cooze; Cornet-a-piston - Mr. Wheeler
Contrabassi - Mr. Tranter, Herr Zeigler; Clarionetto - Mr. Hobson
Leader and conductor - Mr. Megson; Pianiste - Mrs. Wheeler.
PROGRAMME. PART I. Overture - Nebucodonosor - Verdi . . .

Hobart, TAS (by May 1853 to April 1857):

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

THE LESSEES have the pleasure to announce that the alterations and improvements having been completed, in a style so as to render the Theatre, in point at elegance and comfort, second to none in the Australasian colonies . . .
Leader of the Orchestra, Mr. THOMPSON
1st. Violin - Mr. MYERS.
2nd do. - Mr. DIME.
Clarionet - Mr. GASCOYNE.
Violincello - Mr. FOTHERINGHAM.
Ophoclelde - Mr. WOOD.
Horn - Mr. J. THOMSON.
Cornet-a Piston - Mr. THOMSON.
Tympani - Mr. AITCHIE . . .
Acting Manager - Mr. F. B. Watson
Stage Manager - Mr. Arabin . . .
Lessees - Messrs. Davies and Watson . . .

ASSOCIATIONS: Edward Myers (violinist); Feltham Bold Watson (lessee); Gustavus Arabin (actor, manager)

"VICTORIA THEATRE", Colonial Times (26 May 1853), 2-3 

On Monday evening the theatre opened for the season under the new management . . . [3] . . . A very excellent orchestra, conducted by Mr. Thompson, enlivened the intervals of performance with waltzes, quadrilles, &c. . . .

[Advertisement], Colonial Times (7 June 1853), 3

J. C. THOMPSON BEGS to inform the Musical Public of Hobart Town that he intends giving Lessons on the Piano-forte, Violin, and Violoncello.
Mr. Thompson engages to tune Piano-fortes with the most perfect brilliancy of effect, and on very moderate terms - and will not charge unless they give satisfaction.
Mr. T. would be happy to engage as Organist, and would be willing to give one month's trial gratis. He possesses a large collection of the finest organ music extant.
Devonshire Terrace, Melville street, (Next door to Mr. Gibins's School.) June 3.

"ROYAL VICTORIA THEATRE", The Courier (2 July 1853), 3

. . . Mr. Thompson, the leader of the orchestra, played a solo on the violinceilo, as also did Mr. Hill on the flute, and both proved themselves complete masters of their instruments . . .

ASSOCIATIONS: Arthur Silvester Hill

"THE CONCERT", Hobarton Guardian, or, True Friend of Tasmania (27 July 1853), 3 

On Saturday evening Mr. Megson gave a concert in the Hall of the Mechanic's Institute . . . Mr. Megson's playing is of a very superior character; his time is correct, and his style chaste and elegant: which, combined with a brilliant execution, renders him, in our opinion, fully entitled to be considered the first violinist in the island. A solo on the violoncello, by Mr. J. C. Thompson, was executed in a manner which reflected great credit on the artistic skill of the performer . . .

[Advertisement], The Courier (7 March 1854), 3 

THE Undersigned begs to intimate to the Ladies and Gentlemen of Hobart Town that, having served an apprenticeship in the establishment of a first-rate Pianoforte Maker and Tuner, and having had fifteen years' constant practice in the art of tuning, both in England and the adjacent colonies, he is fully qualified to tune with the utmost perfection of art, and all orders entrusted to him will he attended to with punctuality. He begs leave to append the following testimony of Mr. Mills:

"I hereby certify that Mr. Thompson has tuned Pianofortes for me since his arrival in this colony, and am happy to say that he has given every satisfaction not only to me but likewise to those ladies and gentlemen for whom he has bad the honour of tuning their pianofortes; and in the numerous orders I have entrusted to him I have always found him punctual and very attentive to his duties. HENRY MILLS, Importer and Repairer of Pianofortes, Devonshire House, Upper Murray-street."

Terms - For tuning a Pianoforte, 10s. All orders left at Mr. Walch's, Stationer, Wellington Bridge, will be attended to.
J. C. Thompson. Hobart Town, March 7.

ASSOCIATIONS: Henry Mills; James Walch

[Advertisement], The Courier (1 August 1854), 3 

PART I. Overture, "Daughter of the Regiment," (arranged by L. Lavenu) - Donizetti.
PART II. Overture, "Stradella," (arranged by L. Lavenu) - Flotow.

ASSOCAITIONS: Lewis Henry Lavenu

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

MR. J. C. THOMPSON, having served his time in the establishment of one of the first makers and tuners in Britain, besides many years' practice both at home and in these colonies, will be happy to receive orders for TUNING or REPAIRING PIANOFORTES. Numerous references of the highest respectability can he given. Apply at the Colonial Times office, Collins-street.

[Advertisement], The Courier (6 December 1854), 3

PROGRAMME . . . Solo - Violoncello - Romance - Mr. Thompson - G. HAUSMANN . . .

ASSOCIATIONS: Camille Del Sarte

"ROYAL VICTORIA THEATRE", The Courier (26 June 1855), 3 

. . . The orchestra acquitted themselves of their task last night with a greater degree of satisfaction by the public than has usually been the case of late. At those intervals where music is most desirable - in fact requisite, there was, at least last night, no lack of it; it was good, it was more continuous, and in fact the pieces selected, and the manner in which they were played, showed that Mr. Thompson, the leader, knew the just taste and requirements of the audience, and most skilfully and pleasingly acknowledged the claim they had upon the band . . .

"ROYAL VICTORIA THEATRE", The Courier (22 December 1855), 2

"Custom exacts, who denies her sway,
A Pantomime on every Christmas holiday."
On BOXING NIGHT, WEDNESDAY. Dec. 26th, and THURSDAY and FRIDAY EVENINGS, Dec. 27th and 28th, will be produced the new grand mythological, comic, melo-dramatic, partly operatic, in Dubious, historical and local Christmas Pantomime, written expressly for the occasion, entitled
HARLEQUIN JACK AND THE BEAN STALK; or the Inhabitants of the Moon and Fairies of the Golden Cataract."
The pantomime written and produced under the direction of Mr. Osborne; the novel and splendid scenery by Mr. J. Lewis; the unique machinery and magic transformations by Messrs. Turner and Thompson; the decorations, masks, and appointments, from undoubted authorities, by Mrs. Upson and assistants; the costumes, from original designs, by Mrs. Watson and assistants;
the new and original music composed expressly by Mr. Thompson . . .

ASSOCIATIONS: Robert James Osborne

[Advertisement], The Courier (18 March 1856), 3 

N.B.: The Malicious Report of his having left the Colony is false. Old residence, No. 5, Kemp-street.

[Advertisement], Colonial Times (20 June 1856), 2 

SIR, - A letter, signed "A Play Goer," which appeared in your journal of the 18th instant, having been brought under my notice, I beg, as the leader of the orchestra, to request the writer to point out any incompetency which he may discover in my conduct as the leader. The persons at present composing the orchestra, are, in my opinion, the best performers that can be procured in this colony.
June 19.

[Advertisement], Colonial Times (24 June 1856), 3 

SIR, - In my letter to you, inserted in the "Colonial Times" of the 20th instant with reference to a communication reflecting upon my ability as the leader of the orchestra of the Royal Victoria Theatre - which was published in your journal of the 18th, I requested the writer to point out my incompetency, and his having declined doing so, I presume that he feels himself incapable of the task. I would therefore recommend him to be more cautious for the future who he attempts to criticise.
J. C Thompson. June 22.

Melbourne, VIC (by April 1857):

[Advertisement], The Argus (14 April 1857), 2

PIANO-FORTFS TUNED, &c. by J. C. Thompson, highest testimonials of ability. No. 188 Spring-street.

[Advertisement], The Age (16 November 1858), 1 

Our position and professional efforts being thus at the mercy of a person, who hides ignorance under the mask of facetiousness, we call upon the public in future to give their own verdict on our merits, and not to place any credence in the statements made by Mr. Neild in the columns of the Argus and Examiner.
[signed] L. H. Lavenu; Julia Harland; Maria Carandini; Octavia Hamilton; E. Hancock; L. Laglaise [sic]; Emile Coulon; Adolph Schluter; Walter Sherwin; E. King; H. Megson [sic]; S. Chapman; Julius Siede;
J. C. Thompson; H. Schmidt; M. Josephson; J. T. Hore; T. McCoy; Linly Norman; A. L. Llewellyn; Charles Manuell; W. C. Harris; W. Baker; Franz Kohler; George Naughton; Cas [? ?] Faur; Lewis Benham; Henry Benham; Edward Hancock; E. Mathews; M. Collins; Theresa Andrew; Emma Parsons; James Mitchell; J. B. Tate; Henry J. King.

ASSOCIATIONS: James Edward Neild

[Advertisement], Hamilton Spectator and Grange District Advertiser (18 August 1869), 3 

MR. J. C. THOMPSON, PROFESSOR FROM THE ROYAL ACADEMY OF MUSIC, (Acknowledged to be one of the finest Accompanyists and Soloists in the colony), and will introduce pleasing Operatic Selections, Solos, and Fantasias on the piano. Front seats, 2s 6d; Second do., 1s. Doors open at half - part I. to commence at 8 o'clock.

[Advertisement], The Argus (23 May 1873), 8

[Advertisement], The Argus (23 May 1873), 8 

APOLLO HALL. SATURDAY, MAY 24 (Queen's Birthday), And Monday, May 26 . . .
Leader of the Orchestra - Mr. W. H. Thompson. Pianist - Mr. J. C. Thompson. Cornet - Mr. Demlin . . .

ASSOCIATIONS: Richard Stewart

[Advertisement], Geelong Advertiser (6 September 1873), 3 

VICTORIA MUSIC HALL, MALOP STREET. GRAND OPENING NIGHT, Saturday, September 6th . . . FRANK LEETHWOOD, The Renowned Concertina and Banjo Soloist; Pianist: - Professor J. C. Thompson . . .

"Deaths", The Age (16 August 1886), 1 

THOMPSON - On the 14th August, at 9 Elgin-street, Carlton, Melbourne, after a long illness, John Charles Royer Thompson, professor of music, of Cork, Ireland. Home papers please copy. His end was peace.

"STAWELL", The Ballarat Star (1 March 1898), 4 

William Henry Thompson, who was well known in Melbourne musical circles, has been committed for trial at Ararat Supreme Court on the 10th of March for an attempted assault, the evidence as to which was of a most shocking nature.

"DEATHS", The Age (16 September 1909), 1

THOMPSON. - On the 15th September, at 19 Lynch-street, Carlton, Anne, relict of the late John Charles Thompson, and dearly beloved mother of William, John, Emily, Frederick and Charles, aged 78 years.

Bibliography and resources:

Frederick William Gamble, "Thompson, John Vaughan", Dictionary of national biography 56 (1885-1900),_John_Vaughan_(DNB00)

Peter David, "Thompson, John Vaughan (1779-1847)", Oxford dictionary of national biography (PAYWALL)

David Murphy, "Thompson, John Vaughan", Dictionary of Irish biography;jsessionid=A491B48465687C941437BF4684BEE919?articleId=a8522 

David M. Damkaer, "John Vaughan Thompson (1779-1847), pioneer planktonologist: a life renewed", Journal of crustacean biology 36/2 (1 March 2016), 256-62 

. . . Thompson married Martha Solomon (1800-1832), a girl from Cork, on 1 May 1817. They had six surviving children, two sons and four daughters, all born in Cork . . . In July 1830, Thompson was promoted to Deputy Inspector General of Hospitals. Through a service-wide reduction in force, however, he was retired on half pay at the end of the year, just when he had the highest hopes for his Zoological Researches. By the end of 1832, he was a widower with six young children. In June 1835, he accepted a new position in Australia as chief medical officer for both the colonial army and the convict immigrants of New South Wales. He apparently left Cork sometime in July to settle his affairs . . .

THOMPSON, Richard (William Fane WOODESON; William FANE; alias Richard THOMPSON)

Convict, journalist, theatrical and musical reviewer

Born London, England, 25 September 1810; baptised St. Pancras old church, 7 October 1810, son of Thomas William WOODESON and Harriet WEATHERLEY
Convicted Middlesex, England, 17 October 1833 (as Richard THOMPSON), sentenced 14 years transportation
Arrived Sydney, NSW, 11 June 1834 (convict per Hive, from England, 15 January 1834)
Assigned to government service, Port Macquarie, NSW, 1834; ticket of leave, 1840; conditional pardon 1842
Active Sydney, NSW, by late 1842
Married Mary Ann RIGHTON, St. James's church, Sydney, NSW, 5 November 1846 (as William FANE)
Died Sydney, NSW, 31 March 1865, aged 54 years (TROVE tagged by Australharmony) (NLA persistent identifier) (shareable link to this entry)


Knight's assertion (ADB) that Thompson worked on newspapers in Port Phillip district in 1842-43 is almost certainly incorrect, probably the result a confusion with the newspaper publisher Joseph Thompson (of Kerr and Thompson). Rather, Thompson appears to have remained in Port Macquarie until mid 1842. He was in Sydney in August 1842, when he published his Map of a portion of north-eastern Australia, and in March and April 1843, when he was selling of a shipment of Port Macquarie stone lime from premises at 7 King Street.

The earliest indication that he was writing for a newspaper, The Australian, was in February 1844.

This was the same report in which it was explained that Thompson had thoroughly revised the libretto used for the 1844 Sydney theatre production of Rophino Lacy's English adaptation of Cinderella, to bring it closer to the original as set by Rossini.

As a journalist and editor, Thompson may well have been responsible for writing some theatrical and musical reviews in The Australian during 1844, and certainly so in the series of of short-lived Sydney newspapers on which he worked, The atlas (which he edited for Robert Lowe, from November 1844 to March 1845), the Commercial journal (for William Jones, April to July 1845), The examiner (August to November 1845), and The spectator (for William Bland, 1846).


Proceedings of the Old Bailey, 6 September 1832; online ref: t18320906-170 (DIGITISED)

1895. WILLIAM FANE WOODESON was indicted for stealing, on the 14th of July, 2 copper flanges, value 5s.; 26 rivets, value 6s., and 15 copper bolts, value 12s., the goods of Joseph Norbury and another, his masters . . . WOODESON - GUILTY. Aged 22. Recommended to Mercy . - Confined Three Months.

"NEW COURT", Morning Advertiser (11 September 1832), 3

William Fane Woodeson, a highly respectable young man in appearance, was indicted for stealing from his master, Mr. Norbury, residing in Whitechapel, on the 18th of August, large quantity of copper and brass bolts; and Mary and William Clarke, mother and son, were indicted for receiving the same, knowing it to be stolen. A surveyor of the Thames police, named Crevor, stated that on the evening of the day mentioned in the indictment he called the house of the prisoner Clarke, in Cape-street, when saw in her possession about 15 or 16. of copper. This excited his suspicion, and caused him to inquire how she became possessed of it, when she said her son had bought of a respectable young man the previous day. James Fogg, an officer of the Thames-police, stated that the prisoner William Clarke stated to him that he bought the copper from person named Watson, who gave him a bill of parcels with it, which on being produced showed evident signs of erasure having been made in it; the name of Glascote was altered to Clarke. The bill stated the goods to have been purchased from Mr. Norbury, and was in the handwriting of the prisoner Woodeson. On Clarke's being taken to the house of Mr. Norbury, Woodeson was behind the counter, and he instantly recognized him as the person from whom he purchased the metal. Woodeson instantly admitted that he had stolen the property from his master, promised not to do the like again, and begged for his forgiveness. This the prosecutor refused to do, in consequence of the repeated thefts which had been committed. Mr. Norbury identified the metal and bolts as his property. A letter produced, written by the prisoner to his master , admitting the robbery. Several respectable persons gave Woodeson an excellent character. The Common Sergeant directed the Jury to acquit the two Clarkes, against whom nothing had been proved. With respect to Woodeson do doubt could be entertained of his guilt, as he had himself admitted it. The jury found Woodeson Guilty, and The Common Sergeant sentenced him to be imprisoned three months in the House of Correction.

Newgate calendar of prisoners; Middlesex prisoners on orders, under sentence of imprisonment for felony and misdemeanors, 39, 1832; UK National Archives (PAYWALL)

William Fane Woodeson / 22 / [Sept. 1832] / For three months

Proceedings of the Old Bailey, 17 October 1833, page 23 (817); online ref: t18331017-23 (DIGITISED)

NEW COURT. Thursday, October 17, 1833.
Third Middlesex Jury, before Mr. Common Sergeant.
1427. RICHARD THOMPSON was indicted for stealing, on the 4th of October, 1 silver spoon, value 14s.; the goods of Thomas Ragless, and that he had been before convicted of felony; to which he pleaded GUILTY. Aged 23 - Transported for Fourteen Years.

Convict indents, 1834; State Records Authority of NSW (PAYWALL)

34-891 / 127 / Richard Thompson / 23 / R & W / protestant / Single / [born] London / [trade or calling] Author / [offence] Stealing silver spoons / [tried] Middlesex gaol delivery / 17 October, 1833 / 14 years / [former conviction] 3 months / 5 ft. 6 1/2 in. / Sallow and freckled / Dark brown hair / Chestnut eyes / Lost canine tooh left side of under jaw

"THEATRICALS", The Sydney Morning Herald (14 February 1844), 3 

We mentioned yesterday morning, that the Opera of CINDERELLA had been brought out at the Victoria Theatre in a highly creditable manner. The difficulties to be overcome are very great; for instance, there was but one copy of the music, which is in the possession of Mr. Nathan, and no English version could be found in the colony; the libretto was from the pen of Mr. R. Thompson. It is by far the most successful attempt at an opera that has been made in this colony, and the scenery as well as the arrangement and performance of the music, and the efforts of the singers call equally for the support of all who wish music and the drama keep pace with our other improvements. I would not be right for theatrical critics to be hypercritical, especially with the first performance; time and repetition frequently effect improvements. We have simply therefore to express our surprise and delight at the manner in which CINDERELLA has been got up . . .

[W. A. Duncan], "THEATRICAL REGISTER", The Weekly Register of Politics, Facts and General Literature (17 February 1844), 436 

At length we have the satisfaction of congratulating our musical readers on the production of an Opera at the Victoria, and with a success which, under all circumstances, surpasses every expectation which we could have formed. The Cenerentola of Rossini has been performed during the present week to fuller houses than we have ever seen in Sydney; a just reward for the uncommon exertions which must have been made in the getting up both of the music and scenery . . . The English edition by Rophino Lacy, used in this instance, is, however, if our memory be correct, an improvement on the original, being partly compiled from the author's other works; and the plot (the famous fairy tale of the glass slipper) admits of some clever acting, and dialogue, which of course are not admitted into the original Italian Opera, although custom has rendered such additions necessary in adaptations for the English stage. The libretto has undergone for the present occasion a complete rifacimento by Mr. Richard Thompson, of the Australian, whose fertile pen is equally ready, whether the subject be theatricals or theology - politics or poesy; on each and all of which he has put forth things far from common place. This arrangement of the dialogue of Cinderella is marked by a style of diction in which good taste and dramatic skill are predominant . . .

"To the Editors of the Sydney Morning Herald", The Melbourne Argus (17 November 1846), 2 

Gentlemen - Observing, in your paper of this morning, the following paragraph:

"MARRIED. Yesterday the 5th instant, by special license, at St. James's Church, by the Rev. Thomas Bodenham, Richard Thompson, of Elizabeth-street, to Mary Ann, only daughter of the late Charles Righton, Esq., of the Hon. E. I. C. Service."

I shall feel obliged by your stating, in contradiction to it, first, that no person of the name of "Richard Thompson" was married by me yesterday; and secondly, that the name of the person I married to "Mary Ann Righton" was "Wm. Fane."
I am, gentlemen, Your obedient servant,
THOMAS W. BODENHAM. Friday, Nov. 6.

(The hero of this amusing little romaunt is understood to be the "from the Nor-ard" Editor of the Sydney Spectator, and the valued correspondent of the Port Phillip Herald, -ED. M. A.]

"DEATHS", The Sydney Morning Herald (1 April 1865), 1 

On the 31st March, at 20, Francis-street, after a long and painful illness, Mr. Richard Thompson, in the 54th year of his age, many years connected with the Sydney Press.

Writings on music, reviews, etc. (selected only):

"ROYAL VICTORIA THEATRE", The Australian (15 February 1844), 3 

The production at this theatre, of the opera of CINDERELLA, must be regarded as an epoch in the progress of Colonial taste, which will hereafter be referred to with feelings of pride and pleasure. An audience which crowded every part of the theatre welcomed its first performance, and testified the warm interest they took in the manager's attempt to do all the justice in his power to this charming effervescence of Rossini's happiest and most buoyant spirit. The first adaptation of La Cenerentola to the English stage was by Rophino Lacy, under whose immediate direction it was produced at Covent Garden, in 1831 - Mrs. Wood, then Miss Paton, enacting Cinderella. It was then produced, with unusual splendour, at the Surrey Theatre for the purpose of exhibiting Miss Somerville's remarkable talents as a vocalist, and there was again eminently successful. Since that period, it has been the favorite opera for vocal debutantes, and Miss Inverarity, and other sterling favorites with the London public, may date their triumphs from the evening of their appearance as Cinderella.

Rophino Lacy's score having been kindly lent to the Victoria by Mr. Nathan, the most effective portions were selected for the version of the opera which was produced on Monday evening, and arranged for the orchestra by Mr. Wallace, and Mr. Gibbs, - Mr. Nathan reserving for his own especial master-hand the brilliant concerted piece in the first act, "Midst doubts confusing," and a very able arrangement of "Miei rampolli," by Gautrot being also retained. The result is very gratifying. The vocal music, under the careful direction of Mr. Nathan, was most creditably performed; nor must a fair portion of praise be refused to the efforts of the orchestra. The respective characters of Cinderella, the Fairy Queen, the Two Sisters, Prince Floridor, II Magnifico, and Dandini, were filled by Mrs. Bushelle, Mrs. S. W. Wallace, Mesdames Louise and Torning, Mrs. Gibbs, Mr. Lazar, and Mr. J. Simmons; and to each and all must our cordial praise be awarded.

Mrs. Bushelle was in excellent voice, and executed the whole of the music, from the opening ditty of "Once a King," to the sparkling and delicious finale "Now with grief no longer bending," with charming taste, and brilliant expression. Mrs. Gibbs, as the pensive Floridor, who seeks a resting place in the breast of his ideal Aurora - "The nympholepsy of some fond despair," - made a very favorable impression on the audience and deserves every credit for her execution of the music, her expressive acting, and last, though by no means least, for her very graceful dancing. Mr. Lazar's delineation of the pompous and foolish old Baron was in capital keeping, and his humourous and clever vocalization in the version of the famous Buffo Scena, "Miei Rampolli," will add considerably to his fame. Mr. Simmons entered with great zeal into the vivacity of Dandini. In the Quartette, "Midst Doubts Confusing," he displayed all the liveliness and whim which are so essentially requisite for the music of Rossini; and in the celebrated duetto "Segreto d'lmportanza," (admirably arranged by Wallace) he and Lazar seemed each at utmost effort to excel the other, and so produced one of the richest ensembles of musical joyancy that has ever been attempted before a Sydney audience.

Mrs. S. W. Wallace as the Fairy Queen sang the delightful music of the character with much taste: her duet with Mrs. Gibbs, "Music floats in the Air," was among, the most pleasing of the selected music. Mesdames Louise and Torning acted and dressed the Sisters to perfection, and in ic ball room scene joined in a pas de trois with Mrs. Gibbs, in very charming style.

Having thus glanced very cursorily at the commendable points of this opera, we will pass still more briefly, to our fault-finding list. We have again to regret that, in a theatre where such really first-tate scenery has been, until lately, exhibited, such very dauby attempts should now be offered to its patrons. Very little has been done by either the scene painter or the mechanist for Cinderella, and that little is in very mediocre taste. We must also advert to the bad judgment which permitted the introduction of Mr. Torning's repulsive buffoonery in the palace scenes. Coarse vulgarity, however it may be endured in a Christmas pantomime, is akin to sacrilege in an opera of Rossini's, and as Cinderella promises to attract full and fashionable audiences, we trust that we shall have no further occasion to revert to this offensive stain in the performance.

ASSOCIATIONS: Isaac Nathan; John Gibbs; Spencer Wellington Wallace; Joseph Gautrot; Eliza Wallace Bushelle; Caroline Wallace; Eliza Gibbs; John Lazar; Joseph Simmons; Madame Louise (Mrs. James); Eliza Torning; Andrew Torning

"MUSIC AND MUSICIANS", Commercial Journal and General Advertiser (14 May 1845), 1 

"MUSIC AND MUSICIANS", Commercial Journal and General Advertiser (24 May 1845), 2 

"MUSICAL EXAMINER", The Examiner (9 August 1845), 4 

"THE THEATRICAL EXAMINER", The Examiner (9 August 1845), 4 

"MUSICAL EXAMINER", The Examiner (16 August 1845), 13 

"THE THEATRICAL EXAMINER", The Examiner (30 August 1845), 29 

When we heard that the management of the Victoria intended to produce Weber's Der Freischütz, with the present inadequate company, we had a gloomy presentiment of the painful disappointment which awaited the lovers of German music; and we sincerely wished that some judicious friend of the proprietors, would urge them to follow the advice, we took leave to offer on the occasion of the late violence done to Auber's Fra Diavolo . . .

"MUSICAL EXAMINER", The Examiner (6 September 1845), 37 

"MUSICAL EXAMINER", The Examiner (20 September 1845), 53 

"MUSICAL EXAMINER", The Examiner (27 September 1845), 61 

"MUSICAL EXAMINER", The Examiner (25 October 1845), 93 

"Theatricals", The Spectator (24 January 1846), 7 

"Theatricals", The Spectator (14 February 1846), 44 

"An amateur performance . . .", The Spectator (25 April 1846), 166 

"HIS EXCELLENCY'S VISIT TO THE THEATRE", The Spectator (2 May 1846), 179 

"Theatricals", The Spectator (16 May 1846), 199 

"MUSIC", and "PARRAMATTA", The Spectator (16 May 1846), 202 

"Music", The Spectator (30 May 1846), 224 

"Music. MRS. BUSHELLE'S FAREWELL CONCERT", The Spectator (20 June 1846), 261 

"Theatricals", The Spectator (18 July 1846), 308 

"Theatricals and Music", The Spectator (25 July 1846), 319 

[Review], "The Life of Mozart. By Edward Holmes. Chapman and Hall", The Spectator (1 August 1846), 329 

"Life of Mozart . . . (Continued from our last)", The Spectator (8 August 1846), 341 

"Music", The Spectator (8 August 1846), 340 

"Music", The Spectator (29 August 1846), 376 

Bibliography and resources:

R. L. Knight, "Thompson, Richard (1810-1865)", Australian dictionary of biography 2 (1967) 

. . . Thompson dabbled in the theatre in Sydney, furnishing scripts, translating librettos, and acting as critic. The pages of the publications which he edited reveal him as a skilful though unoriginal poet and an able editor . . .


General importer, publisher, music publisher

Active Sydney, NSW, 1880s-90s (shareable link to this entry)

Musical publications (selected)

Musical bits no. 1 (Sydney: R. A. Thompson, [1888]) (DIGITISED)

Musical bits no. 2 (Sydney: R. A. Thompson, [1888]) (DIGITISED)

The Australian Kangaroo; or, The kangaroo and the British lion; an Australian song of the Transvaal War, music and words by Alfred Padley . . . 2nd edition ((Melbourne, Sydney: R. A. Thompson, [1900]) (DIGITISED)

When Britain calls her sons to duty, words and music by Alfred Padley . . . 3rd edition (Melbourne, Sydney: R. A. Thompson, [1900]) (DIGITISED)

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 238 (DIGITISED)

THOMPSON, William Alexander (William Alexander THOMPSON; W. A. THOMPSON; W. THOMPSON)

Cornet player, bandsman (Band of the 11th Regiment), band sergant (Volunteer Brigade Band), bandmaster (Head Quarters Band), publican

Born c. 1832
Active Sydney, NSW, with regiment, before 1850
Married (1) Elizabeth ALLEN (1839-1872), NSW, 3 November 1855
Departed Sydney, NSW, 23 October 1857 (for England)
Arrived (2) Sydney, NSW, by 1863
Married (2) Elizabeth Esther WOODMAN, Sydney, NSW, 15 March 1873
Married (3) Mary Jane ELVIN (Mrs. William CROFT), Sydney, NSW, 14 January 1881
Died East Sydney, NSW, 18 January 1890 (TROVE tagged by Australharmony) (shareable link to this entry)

ASSOCIATIONS: Band of the 11th Regiment

THOMPSON, William Alexander (junior)

Cornet player

Born Paddington, NSW, 16 January 1857; son of William Alexander THOMPSON and Elizabeth ALLEN
Married Rose Mary FLANAGAN, Woollooomooloo, NSW, 16 June 1879
Died Cook County, Illinois, USA, 1915 (TROVE tagged by Australharmony) (shareable link to this entry)


Musician, bandmaster

Born Paddington, NSW, 1861; son of William Alexander THOMPSON and Elizabeth ALLEN
Married (1) Ada Caroline WEBB (1862-1884), Sydney, NSW, 1883
Married (2) Ruth FURNISH (1862-1917), Sydney, NSW, 1888
Died Sydney, NSW, 31 July 1901 (TROVE tagged by Australharmony) (shareable link to this entry)

THOMPSON, Richard Alfred (Richard Alfred THOMPSON; R. A. THOMPSON)

Musician, naval bandmaster (H.M.S. Wallaroo)

Born Paddington, NSW, 22 June 1868; son of William Alexander THOMPSON and Elizabeth ALLEN
Died Melbourne, VIC, 23 June 1898 (TROVE tagged by Australharmony) (shareable link to this entry)


"SYDNEY POLICE COURT. THURSDAY . . . STEALING A GOLD WATCH", Empire (29 September 1854), 8 

Timothy Shine, private, belonging to the 11th Regiment, was placed in the dock, charged with having had in his possession the following stolen articles: - A gold watch, value £20, a gold brooch, value 5 guineas and two bracelets, the said articles being the properly of James H. Atkinson, residing in Waverley, who deposed, that on the morning of Tuesday, the 19th instant, he was driving home in a gig, Mrs. Atkinson being seated beside him at the time, from a party with whom he had spent the previous evening. On the way he became drowsy, and being exhausted with dancing, and some wine which he had drank, he irresponsibly fell asleep; when awakened to consciousness, he found himself on the road near the gaol at Darlinghurst; it was a bandsman of the 11th regiment who roused him up, and who kindly offered to drive him home, which offer he accepted. When he reached home he missed his watch and ring, and Mrs. Atkinson missed the brooch and bracelet. These articles were subsequently all recovered. From the evidence of William Thompson, a bandsman of the 11th regiment, it appeared that on the morning in question, having had leave of absence from barracks, he was on his return about 4 o'clock a.m., when he saw Mr. Atkinson's gig on the road, Mr. and Mrs, Atkinson were both sitting in the gig asleep, he roused them up and subsequently drove them home. At a later hour of the same day, Mr. Atkinson suspecting that it was witness who had rifled him, stated the circumstances (such as he conceived them to be) of the robbery to the officer on duty, and witness was placed in confinement; while in the guard room, the prisoner an some other soldiers were likewise confined, and among the party a dispute arose about some money which one of them had lost. Witness suggested the propriety of each undergoing a search, to which the remainder, with the exception of defendant, assented; as he would not submit to be searched, suspicion fell particularly upon him, and the matter was reported to the Sergeant of the guard; the result was, that he was searched, and in a belt which he wore near his person, the missing watch and other things were found. These were subsequently identified, and the prisoner was given in charge to the civil authorities. Further evidence was taken, which clearly proved that the bandsman Thompson was free from any participation whatever in the robbery. The prisoner was committed to take his trial at the next sitting of the Criminal Court.

"CENTRAL POLICE COURT, THURSDAY", The Sydney Morning Herald (29 September 1854), 5

. . . William Thompson, bandsman of the 11th Regiment, deposed that at nearly four o'clock on the morning of Tuesday, the 19th instant, he and the Sergeant of the band were returning to the barracks from the Madras ball, and had arrived as far as the Darlinghurst Gaol, when he saw a lady and a gentleman in a gig standing near the Church of the Sacred Heart . . .

Paylist, 11th regiment, July to September 1857 [last paylist Australia] (DIGITISED)

[Privates] 1963 / Callaghan James / Band
2606 / Cunningham Henry / Band
2607 / Cunningham Michael / Band
1445 / Doolan Andrew / Band
2070 / Grovenor Richard / Band
1592 / Taylor John / Band
894 / McKenna John / Band
2402 / Roycroft William / Band
1277 / Sykes George / Band
2346 / Thompson Wm. Alexander / Band
2449 / Tyler George / Band (DIGITISED)

Two companies 11th Regiment paid by the Colonial Gov't of New South Wales . . .
[Serjeants] 1691 / Pritchard Thomas / Band
[Privates] 1757 / Browne Charles / Band
2604 / Griffin Michael / Band
2517 / Hodge Sebastian / Band
761 / McNeill John / Band
3026 / Smyth James / Band

Paylist, 11th regiment, October to December 1858 [UK] 

[Privates] . . . 2546 / Thompson Wm. Alex / Band . . .

[Advertisement], The Sydney Morning Herald (25 March 1863), 1

THIS EVENING, positively the LAST NIGHT of this charming piece of amusement.
BENEFIT of Messrs. PECK and RYALL.
Operetta called NO!! Miscellaneous CONCERT of Vocal and Instrumental Music.
Vocalists - Madame Flora Harris, Mrs. Younge, and gentleman amateur (Mr. J. Levison).
Instrumentalists - Violino prima, Mr. G. Peck; clarionette obligato, Mr. Hodge;
cornet, Mr. W. Thompson; bassoon, Mr. G. Wright;
contra basso, Mr. Redett; harmonium, Mr. Charles Packer;
repieno violins, by gentlemen amateurs, who have kindly volunteered their services on this occasion.
Mr. Ryall will preside at the piano . . .

"DEATHS", The Sydney Morning Herald (9 February 1864), 1 

On the 8th instant, suddenly, at Darlinghurst, Mr. Philip Mulligan, one of the officers of the Gaol, and late of H. M. XI. Regiment, aged 48 years.

"FUNERAL", The Sydney Morning Herald (9 February 1864), 8 

The Friends of Mr. W. A. THOMPSON, of the Volunteer Rifle Band, are requested to attend the Funeral of his late Step-father, Mr. PHILIP MULLIGAN, formerly of the XI. Regiment. The procession to move from his late residence, No. 3. Gipps-street, Paddington, at 11 o'clock TO-MORROW.

[Advertisement], The Sydney Morning Herald (25 November 1864), 1 

BAND of the ROYAL FORESTERS will MEET for practice at 7 o'clock, THIS (Friday) EVENING. Foresters' Hall, South Head Road, W. A. THOMPSON.

"VICTORIA THEATRE", Empire (14 September 1865), 4 

This evening, Sergeant W. A. Thompson, of the Volunteer Band, will take his benefit under the patronage of the Ancient Order of Royal Foresters. Mr. Thompson is well known to all Volunteers, having been for four years connected with the band, and will, doubtless receive from them and the general public a fair support, seeing they have often been indebted to the band for many pleasant hours. The Band, under the directorship of Mr. Callen, will play during the evening a good selection of music, consisting of the "Overture, to Fra Diavolo," "Eclipse Polka," "Puritani Quadrille Concertina," and "The echo Solo," composed by Mr. Callen . . .

ASSOCIATIONS: George Douglas Callen

"INSOLVENCY COURT - FRIDAY . . . SURRENDER", Empire (25 November 1865), 3 

William Alexander Thompson, South Head Road, publican. liabilities, £183 1s, 11d. Assets, £87. Deficiency, £96 1s. 11d. Mr. Humphrey, official assignee.

"BIRTHS", The Sydney Morning Herald (25 June 1868), 1 

On the 22nd instant, at her residence, Gipps-street, Paddington, the wife of Mr. WILLIAM A. THOMPSON, of a son.

[Advertisement], The Sydney Morning Herald (24 July 1869), 4 

Solo, Cornet - "Vi ravviso." (La Sonnambula) - Bellini - Master W. THOMPSON . . .

[Advertisement], The Sydney Morning Herald (31 July 1869), 4

. . . Solo, cornet - "Robert toi que j'aime" (Robert) - Meyerbeer - Master W. THOMPSON . . .

"CONCERT AT THE SCHOOL OF ARTS", The Sydney Morning Herald (4 August 1869), 5 

A concert was given last evening at the School of Arts, in connection with the No. 1 Company Duke of Edinburgh's Highland Volunteer Corps. There was a good attendance, the hall being well filled. The entertainment was opened by a performance on the bagpipes by the pipers to the Highland Corps . . . Master W. Thompson's playing of a solo on the cornet was decidedly admired . . .

"CONCERT AT THE SCHOOL OF ARTS", Bell's Life in Sydney (7 August 1869), 3

. . . Master W. Thompson gave a solo on the cornet with great success. Mr. W. J. Cordner presided at the pianoforte.

"MUSIC. SIGNOR DEVOTI'S CONCERT", Sydney Mail (15 January 1870), 5 

. . . Master W. Thompson's cornet solo was a clear and powerful performance, and in deference to impatient calls for an encore it was repeated . . .

"MASTER THOMPSON'S CONCERT", The Sydney Morning Herald (1 February 1870), 5

Master W. Thompson gave a concert last night, at the School of Arts, under the patronage of his Excellency the Earl of Belmore, the Countess of Belmore, and other influential names. The hall and gallery were comfortably filled, and the audience were very enthusiastic in the expression of their approval of the performances of the different artistes. Perhaps the most important feature of the concert consisted in the performances of the Volunteer band, which, on this occasion, mustered between twenty and thirty strong. Under the accomplished leadership of their conductor (Mr. G. D. Callen) the band played the overture, "Le Cheval de Bronze," some charming selections from the opera of "Un Ballo in Mascher," and a galop . . . Master Thompson's performances on the cornet at several concerts lately given in Sydney have received very high encomiums, and the popularity of the young player will probably be enhanced by the success which attended his efforts last night. The notes of his instrument were remarkably clear and full, and his performances were characterised by delicacy and facility of modulation. Master Thompson was very warmly greeted on his first appearance, and at the close of each of his performances the audience were lavish of their applause. In the absence of Mr. Dalley, Major Jaques presented Master Thompson with a valuable cornet-a-piston, on behalf of a number of gentlemen who took that method of expressing their admiration of the boy's ability. Major Jaques accompanied the gift with a few congratulatory and complimentary remarks, and Master Thompson testified his appreciation of the kindness of the donors by a brief performance on his newly acquired instrument. Mrs. W. J. Cordner sang three English ballads . . .

"MASTER WILLY THOMPSON'S BENEFIT", Empire (1 February 1870), 2

. . . Master Willy Thompson's cornet playing must be heard to be appreciated; it is surprising what a beautiful tone he brings out. He has been taught by a very good master, his father, Mr. W. Thompson, who has for many years been engaged at the Prince of Wales Theatre. The duet for the two cornets created a furore . . .

"Theatrical and Amusements", The Sydney Mail and New South Wales Advertiser (13 May 1871), 338 

Last night terminated the run of Mr. Cooper's new play, after attracting good houses to the Prince of Wales for four weeks. On Monday night the author took a complimentary benefit, under the patronage of his Excellency the Governor, Sir James Martin, the members of the Ministry, and the Corporation. The attendance was large, and the performance admirable. On that occasion, Master Willie Thompson, a cornet player, aged 14, created a very favourable impression by the artistic manner in which he performed the solos. This lad promises to become a great musician, and even now nas wonderful command over this very difficult instrument. Australia has already produced other "infant prodigies," amongst whom he may be classed as one of the most talented . . .

"SUDDEN DEATH FROM HEMORRHAGE OF THE LUNGS", The Sydney Morning Herald (18 November 1871), 7 

The City Coroner held a third inquest, yesterday afternoon, at the Rose and Crown public-house, Glenmore Road, Paddington, on view of the body of Mary Ann Mulligan. William Alexander Thompson deposed that he was a musician, residing at Bourke-street, Surry Hills; deceased was his mother; she was 56 years of age, a widow, and had been in the colony about twenty-seven years; she had been living in a house in Gipps-street, Paddington, seventeen years, seven of those alone; he last saw her alive on Sunday last . . . she had always been a very temperate woman, the house in which she lived was her own . . .

[Funeral notice], The Sydney Morning Herald (17 November 1871), 8 

THE FRIENDS of Mr. W. A. THOMPSON are invited to attend the Funeral of his late beloved MOTHER, Mary Ann Mulligan; to move from her late residence, Gipps-street, Lower Paddington, THIS (Friday) AFTERNOON, at half-past 2 o'clock, to the Necropolis . . .

"THE VOLUNTEER CAMP AT RICHMOND", The Sydney Morning Herald (15 April 1873), 2 

. . . A pleasing feature in the programme of the day was the presentation by the brigade band of a handsome silver cornopean to Sergeant Thompson. This was handed over to him upon parade by Lieutenant-Colonel Richardson, who read the following address:

"To Sergeant W. A. Thompson, volunteer brigade band. We, the undersigned members of the volunteer brigade band join in expressing our appreciation of the valuable services rendered by you to the brigade band during a period of twelve years. We beg you will, accept the accompanying instrument as an indication of our gratitude. Although small, we hope you will look upon it as a sure sign of the respect you have gained for yourself. In conclusion, we hope you will be long spared to be amongst us.
(Signed on behalf of the brigade band.) G. D. Callen, Lieut."

The cornopean bore the following inscription, - "Presented to Sergeant W. A. Thompson, by the members of the volunteer brigade band, as a token of esteem. Ham Common encampment, April 14th, 1873."

"BRIGADE PICNIC", Evening News (22 January 1875), 2 

The complimentary picnic, tendered by the members of the Brigade Band to Mr. M. Cherry, their late bandmaster, came off yesterday, at Clifton Gardens, Chowder Bay . . . the ladies amnsed themselves on the light fantastic in the spacious pavilion, to the enlivening strains of the Brigade Band, which was under the conductorship of sergeant Thompson . . .

"THE CORNET CONTEST", The Sydney Morning Herald (9 June 1879), 5 

The concert given at the Exhibition Building, Prince Alfred Park, on Saturday night, was remarkable as introducing to the Sydney public a contest of cornet players . . . The contest was open to the musicians of the colony, and there were eight entries; but before the trial of skill commenced, three players withdrew their names, and a fourth, by declining to play the test piece, disqualified himself. Four competitors then were left Messrs. Gotting, W. Thompson, H. McMahon, and Wareham - and between these the struggle lay. Exactly a week ago, the competitors were supplied each with a copy of a difficult fantasia upon the German air "Du Du," and this was made the test piece of the contest, points being given for time, tune, tone, lipping and tonguing, expression, style, and general ability. In addition each competitor was required to play a composition of his own selection, and to prove his musical education by reading at sight. The judges were Messrs. C. A. Packer [sic, C. S. Packer], M. Younger, W. H. Paling, and W. Cork, and four gentlemen better qualified for the positions they accepted it would be difficult to find . . . Mr. Massey accompanied them very accurately and well . . .

. . . In the sight reading Thompson headed the list with 8 points out of a possible 10, his reading being remarkably accurate . . . The test piece was a difficult number, and 100 points represented perfection in its performance. Thompson again topped the list with 60, showing good time and tune, round full tone, flexible and precise manipulation, and commendable expression and style. It was not expected that the composition would have been performed as well as he did it, and his was a capital effort, failing only in that expression and finished style which comes by practice. His lipping and tonguing were good, and the second number, that of his own selection, "Robert toi que j'aime," gained him a very hearty burst of applause. Mr. Thompson gained the first prize . . . The first prize was a splendid silver cornet by Besson, of Paris, which Mr. Thompson should feel proud to have won . . .

ASSOCIATIONS: Charles Packer; Montague Younger; W. H. Paling; Joseph Massey

"AMUSEMENTS", The Sydney Morning Herald (20 June 1879), 5 

At the School of Arts to-night, Mr. R. W. Kohler, one of the most versatile und accomplished musicians who has ever visited Sydney, will take a benefit. In addition to the attractions of the glass-blowers, their numerous and beautiful gifts, the phonograph, and the usual instrumental concert, a cornet quartette will be performed, for the first time in this colony. The Brothers Kohler, Mr. Conduit and Mr. W. Thompson, prize taker at the recent cornet contest, will be the performers, and the quartette is already anticipated with interest by musicians.

ASSOCIATIONS: The Kohler brothers

"Marriages", The Sydney Morning Herald (30 June 1879), 1 

THOMPSON - FLANAGAN. - June 16, at the Manse, Palmer-street, by the Rev. Dr. McGibbon, William Alexander, eldest son of Mr. William Alexander Thompson, of Sydney, to Rose Mary, eldest daughter of Mr. Patrick Flanagan, of Sydney.

[Advertisement], Evening News (17 July 1879), 3 

TO THE EDITOR. SIR,- I wish you would allow me a space in your valuable paper to explain to the public of Sydney how it is that the proposed cornet contest has fallen through. Mr. Sweetman challenged me to a trial of skill as a cornet player for the sum of £50, in a week's time. I accepted his challenge to play him for £50 or £100, but I would not play in a week's time, but was willing to play in a month's time. We could not arrange matters as to time, Mr. Sweetman insisting on playing in a week's time, and myself only willing to play in a month. Now, the fact of it is this. When I won the cornet contest (for which Mr. Sweetman entered and withdrew his name) on the 6th of June, he met me on the 8th of June in Hunter-street, when I was in company of several gentlemen, and spoke very disgracefully of my abilities as a comet player at the same contest, and then he said he would challenge me in a couple of days. Instead of that, he lets a month elapse, and then challenged me to meet him in a week. I then challenge to meet him in a month's time, when he accepted it, and had to meet me at Hodge's Hotel yesterday, at 3 p.m., in answer to my challenge. He did not put in an appearance. In his acceptance he also states that I refused to play him before the musical judges in this city. I say it is false, because at the meeting I did have with him, I proposed that such gentlemen as Signor Giorza, Zelman, and Mr. Packer, &c., should be asked to stand as judges. I should like to know if Mr. Sweetman could procure better, unless it was as he proposes - amateur brass band bandmasters. He then again proposes that he should play at Captain Cook's statue, and let the people judge; then it would be a certainty that whoever had the most friends would win. Perhaps that is why Mr. Sweetman proposes such a thing? So, from now, I decline taking any notice of any publication that Mr. Sweetman thinks fit to publish. And I, at the same time, take this opportunity of letting the public know that I intend, in a couple of weeks, giving an exhibition of my skill as a cornet player, when I will perform several solos, as performed by Levy, the great cornet soloist; like wise I will play what Mr. Sweetman's friends consider his masterpiece, the "Whirlwind Polka."
Thanking you for your valuable space, I am, sir, yours truly,
Winner of Cornet Contest.

ASSOCIATIONS: Charles Sweetman

"NEWS OF THE DAY", The Sydney Morning Herald (29 July 1879), 5 

A concert tendered by a number of his friends to Mr. W. A. Thompson, cornet-soloist, will take place at the School of Arts, on Wednesday evening. Mr. Thompson will play the "The Whirlwind" polka, Levy's "The Favourite," and the test-piece at the recent Exhibition cornet contest.

"The Froliques", Newcastle Morning Herald and Miners' Advocate (27 October 1879), 2 

. . . Amongst the orchestra, the name of Mr. W. A. Thompson, the champion Exhibition cornet player, stands pre-eminent . . .

"Deaths", The Sydney Morning Herald (23 February 1880), 1 

THOMPSON. - February 22, at Victoria Barracks, Elizabeth Esther, the beloved wife of W. A. Thompson, sen., leaving a large family and circle of friends to mourn her loss, aged 44 years.

"Music and the Drama", Australian Town and Country Journal (25 September 1880), 14 

Mr. W. A. Thompson, the well-known cornet player, has, we learn, accepted an engagement with Simonsen's Opera Company, now in Melbourne, for which city he left Sydney on Friday afternoon. We wish him every success.

"Funerals", Evening News (3 July 1882), 3 

VOLUNTEER FORCE. - The Members of the Headquarters Band are requested to attend the Funeral of their late comrade, HENRY WOOD; to move from his late residence, Marshall-street, Surry Hills, at 2 p.m. TO-MORROW. Members of other branches of the Volunteer Forces are also respectfully requested to attend. W. A. THOMPSON, Bandmaster.

"CATHOLIC VOLUNTEERS BANQUETTED", Freeman's Journal (28 February 1885), 15 

Almost every club and association in the metropolis has its ranks thinned by the recent "call to arms" . . . it is not surprising that our literary societies, formed as they are of ardent and brilliant young spirits, should have contributed their quota to the contingent which is, in a day or two, to leave our shores for the Soudan. Among the first batch of volunteers were no less than four members of the Literary and Debating Society connected with the Church of the Sacred Heart, Darlinghurst. The guests were Sergeant A. O. Butler, Corporal William Seymour, Private Thomas Mulready, Bugler William Mulready. Private Seymour, Band-Sergeant Philip Thompson, and other members of the contingent were present by invitation . . .

"THE CONTINGENT BAND", Evening News (7 July 1885), 5 

The Contingent Band attracted a great crowd of visitors on Saturday afternoon, when some really excellent music was rendered. A march, entitled "The Garb of Old Gaul," the music of which was presented by the 70th Regiment Band in Egypt, was well worth listening to, and obtained great applause. Two other numbers are deserving of special note, viz., "The Death of Nelson," and a cornet solo, "The Nightingal," by Mr. Thompson, jun. [i.e. Richard Alfred Thompson] Mr. Philip Thompson, the bandmaster, intends to take the band through the country. The excellence of the performance under his leadership will prevent any idea arising among those who have heard it, that the band will travel on its name alone.

[Advertisement], The Sydney Morning Herald (13 March 1886), 2 

PROGRAMME. Overture - "Bronze Horse" - Auber . . .
Cornet Solo - "Brilliant Star Polka" - Thomas - Master R. A. THOMPSON, Jun. (late of Contingent Band) . . .

"DEATH OF AN OLD SOLDIER", Evening News (22 January 1890), 6 

Bandmaster Wm. Alexander Thompson, one of the best known and most competent bandmasters ever in the N.S.W. forces, died on Saturday last, at the age of 58. The deceased came to the colony with the H.M.'s 11th Regiment, in which he was a comrade of the late Lieutenant-Colonel Baynes, and after serving with that regiment for thirteen years he joined the N.S.W. staff as bugle-major, and for seven years held that position, as well as being bandmaster. He then took charge of the Premier band, which, however, he left to take command of the Naval Artillery Volunteers' band. He was afterwards identified with other bands and musical movements, and by his general courtesy and great ability he won the respect and esteem of all who knew him. The deceased leaves a widow and three sons, the latter all having followed their father's taste for music. "Phil" Thompson, bugle-major of the 1st Regiment V.I., is one of the sons. The funeral took place at Rookwood on Sunday, when representatives of the following bands followed the deceased to his last resting place: Permanent Artillery, 1st Regiment, 2nd Regiment, Naval Artillery Volunteers, Centennial, City, Newtown, Young Australian, and others. Bandmasters Devery, McMahon, Kearns, Miller, and Harding were also present, the total number of musicians and military men who took part in the cortege being close on 100.

"DEATHS", The Sydney Morning Herald (24 January 1890), 1 

THOMPSON. - On January 18, 1890, at his residence, College Hotel, Francis-street, Hyde Park, William Alexander Thompson, aged 58 years, late of H. M. 11th Foot. Loved and respected by all who knew him.

"A BANDMASTER'S DEATH", The Age (27 June 1898), 3 

An inquest concerning the death of Richard Alfred Thompson, aged 37 [sic], late bandmaster on H.M.S. Wallaroo, was held at the Melbourne Hospital on Saturday. Ernest Phillips, signalman on board the Wallaroo, said that at 10.30 p.m. on the 5th inst. the vessel was lying between the two piers at Port Melbourne. Deceased, who was about to get into a boat at the pier to reach the Wallaroo, slipped through stepping on an oar, and fell into the boat. Medical evidence was given that deceased was operated on for his injuries, to which he succumbed on the 23rd inst. A verdict of accidental death was returned. After the inquest deceased was accorded a naval funeral, attended by the officers and a large number of blue jackets from the Wallaroo. The coffin was conveyed to the General Cemetery on a gun carriage. A feature of the funeral was the very fine floral display.

"DEATHS", Evening News (27 June 1898), 4 

THOMPSON. - June 23, at the Melbourne Hospital, Richard Alfred Thompson (late Bandmaster of the H.M.S. Wallaroo), youngest son of the late William Alexander Thompson, and dearly beloved brother of Mrs. Alfred Nesbitt, of Sydney . . .
THOMPSON. - June 23, . . . Inserted by his loving sister, Milly.

"DEATHS", Evening News (1 August 1901), 4 

THOMPSON - July 31, at his residence, 13 Chapman-street, Moore Park, Philip Thompson, late of Government Printing; Office, second son of late Bandmaster William Thompson, of Francis-street, Sydney.


Violinist, bandmaster (Melbourne Teetotal Band)

Active Melbourne, NSW (VIC), 1847 (shareable link to this entry)


"NEW TEETOTAL BAND", The Port Phillip Patriot and Morning Advertiser (11 February 1847), 2 

We have great pleasure in announcing to our readers, that a new band, composed of wind and stringed instruments, has been formed in this town, called the Australia Felix Teetotal Society's Band, and from the judicious manner in which the regulations for its management are framed, we have no doubt it will stand on a very respectable footing as a musical society. Mr. W. W. S. Thompson, a highly talented violinist, has been appointed master of the band, which already numbers among its members, several of considerable ability. We wish to draw the attention of amateurs to this society; the members are not strictly called upon to be teetotallers, but at the same time to be guided by such discretion as will bring no disgrace to the the society. The members of the band will meet on Monday and Thursday evenings at eight eight o'clock, in Napier's room, Great Collins-street, and we heartily wish them success

"TOTAL ABSTINENCE", The Melbourne Argus (12 March 1847), 2 

A meeting of the Total Abstinence Society will be held this evening in the Mechanics' Hall, to commence at half past 7 o'clock, on which occasion the new band, under the management of Mr. Thompson, will make its first appearance before the public.

"The Teetotal Band", The Melbourne Argus (23 March 1847), 2

The band which has recently been formed in connexion with the Australia Felix Total Abstinence Society, and which appears to have attracted some notice, played for the first time before the public on Friday evening, March 12, at a public meeting of that society, held in the hall of the Mechanics' Institution. The performance has been favorably spoken of by persons allowed to be judges of music. The following are some of the tunes played on the occasion, viz. -
Calcutta, Rosseau's Dream, Melbourne Quickstep, Green grow the Rashes, Birks of Invermay, Roy's Wife, Temperance Quickstep, and the National Anthem.
Taking into account that not more than half the members were present on the occasion, we are disposed to believe that they acquitted themselves in a manner that reflects the highest credit both upon the members and upon the leader, Mr. Thompson. Much praise is undoubtedly due to this gentleman for the time and attention which he has devoted to the formation and improvement of the band at present under notice. He has arranged and written all the music, framed rules for the regulation of the band, and met it two and sometimes three nights in a week for practise; we are bold therefore to say, if he continue to he thus deeply interested in its welfare, that should the band ultimately fail, the fault will be in the members themselves and not in its leader. For the future this band will meet for private practise in a room off Bourke-street, which has been engaged for the purpose, and in which a music stand, on the military principle, has been constructed.

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