LAST MODIFIED Monday 6 November 2023 8:37

Ali-Ben Sou-Alle in Australia

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "Ali-Ben Sou-Alle in Australia", Australharmony (an online resource toward the early history of music in colonial Australia):; accessed 2 December 2023

SOU-ALLE, Ali-Ben (Charles Jean-Baptiste SOUALLE; ALI-BEN-SOU-ALLE; also Augustin Edouard SOUALLE; Augustin Edmond SOUALLE)

Musician, saxophone (turkophone, turkophonini, corno musa) player, clarinet / clarionet player, pianist, harmonium player, arranger, composer, improviser

Born Arras, Pas-de-Calais, France, 16 July 1824
? Arrived (1) Geelong, VIC, 24 December 1852 (per Windermere, from London, "Mr. Soualle, [aged] 28")
Active Melbourne, VIC, by June 1853
Departed (1) 20 February 1855 (for Auckland, NZ)
Arrived (2) Sydney, NSW, 28 May 1855 (from Auckland, NZ)
Departed (2) Sydney, NSW, ? 23 June 1855 (per Europa, for Manilla)
Died Paris, France, (registered) 21 September 1899 (16 August 1899 (TROVE tagged by Australharmony) (NLA persistent identifier) (BnF notice de personne) (


Ali-Ben Sou-Alle (? c.1860)

Ali-Ben Sou-Alle, with turkophone (alto saxophone), 1865 (R. J. Hamerton, lithographer)

The immediate purpose of this page, still under construction, is to present documentation on Ali-Ben-Sou-Alle's Australian tour of 1853 to 1855, along with a selection of the most useful contextual material on his earlier and later career.

A summary of his Australian visit will be added here in due course; but meanwhile, for a reliable recent account of Sou-Alle's whole career, see Stephen Cotterell's 2018 article.

Ali-Ben Sou-Alle (photograph by Adolphe Naudin, registered 4 October 1864; UK National Archives; Cottrell 2018, 13, figure 2

Ali-Ben Sou-Alle (photograph by Adolphe Naudin, registered 4 October 1864; UK National Archives; Cottrell 2018, 13, figure 2)


As generally in this site, the document transcriptions below preserve as closely as practicable the orthography of the originals, and spellings and other oddities are standardised or corrected only where confusion would otherwise arise.

Soualle Charles Jeanbaptiste / 16 Juillet [1824]

Arras, Table décennale des naissances, 1823-32; Archivesenligne, Pas de Calais (see Cottrell 2018, 179-80, and note 2) (DIGITISED - IMAGE 150)

Soualle Charles Jeanbaptiste / 16 Juillet [1824]



. . . 6o concours: CLARINETTE, classe de M. Klosé; quatre concurrens MM. Soler, deuxième prix de 1840, Parès, deuxième prix de 1841, Soualle et Leroy. Exécution: air varié composé par M. Klosé, morceau à Vue. Premier prix, M. Soler; deuxième prix, M. Soualle; accessit, M. Leroy.

"APPENDICE. CHRONIQUE. DECEMBRE [1842]", Annuaire historique universel (), 321-22 (DIGITISED)

[320] . . . 4 [Dec.]. Paris. Distribution solennelle des prix du Conservatoire royal de musique et de déclamation. Séance publique annuelle. . . . [321] . . . Clarinette. - Premier prix: M. Soler, cadet. - Second prix: M. Soualle. - Accessit : M. Leroy.

ASSOCIATIONS: Hyacinthe Klosé (professor of clarinet); see also Klosé at BNF


Le Conservatoire national de musique et de déclamation: documents historiques et administratifs, recueillis ou reconstitués par Constant Pierre (Paris: Impr. nationale, 1900), 893 (DIGITISED)

Soualle (Charles-Jean-Beptiste), né à Arras, 14 juil. 1824. Clarinette: 2d prix 1842, 1er prix 1844. Paris + [décès].


[Advertisement], Brighton Gazette [Sussex, England] (29 August 1850), 4 (PAYWALL)

It is respectfully announced that a series of
given by the following distinguished Artists of Her Majesty's Theatre, will take place at the above Hall, ON MONDAY NEXT, SEPTEMBER 2D.
The Orchestra will comprise the following Artists.
Herr KOENIG, Master of the Band, Royal Irish Hussars.
Herr HARTNAGELL, Mr. DAWSON, (Both of Her Majesty's Theatre),
M. PLASSY, of the Royal Academy, Paris,
M. B. PICKAERT, M. ISTA, (All of Her Majesty's Theatre,)
M. LEVY, of the Royal Academy, Paris; M. ANTOINE, Royal Opera, Covent Garden;
M. L. PICKAERT, of the Opera, Paris;
M. SOUALLE, the Philharmonic Society of Paris;
Conductor - M. A. VILLAIN;
VOCAL PERPOBMERS. Mme. RAYLOFF, Soprano, from the Grand Opera, Berlin; Mme. J. FERET, Contralto, from the Academie of Paris; M. ISTA, Artist of the Opera Comique, Paris; M. FERET, Artist of the Philharmonic Society, Paris.
SOLO PERFORMERS - Herr KOENIG, French Horn, Master of the Band, Royal Irish Hussars.
M. REMUSAT, Flute-Solo, Grand Opera, Paris, and of H. M. Theatre.
M. M. LEVY, Principal Violoncello, of the Opera, Paris.
M. SOUALLE, First Clarionet of the Philharmonic Society Paris,
who will perform on newly-invented Alto-Clarionet for the first time in this country.
M. A. VILLAIN, First Violin of the Grand Opera, Paris, and of Her Majesty's Theatre.
Pianist and Accompanyist M. FERET.
Reserved Seats, 6d; Promenade, 1s. - Doors open at Half-past Seven. Concerts to commence Eight o'clock.

A list of aliens, per ship Fame, from France, arrived at London, 3 October 1850; UK National Archives, HO3/58 (PAYWALL)

E. Soualle [sic] / Artiste Musicien / [native place] Arras

NOTE: Edmonde Soualle arrived at Dover on 3 March 1851, and Edmund Soualle again at Dover on 5 November 1851, although in neither case was an occupation or birthplace recorded; notably, in Mauritius in 1863, he gave his name as Augustin Edouard Sou-alle; so that if, as Cottrell has observed, "generating a certain ambiguity around his true identity appears to have been part of his act" (Cottrell 2018, 192), "Edmunde" may well be Soualle, variously sepending the summer and winter seasons of 1850 and 1851 in London, but returning to France in between

[Advertisement], The Examiner [London] (16 November 1850), 13

[Advertisement], The Examiner [London] (16 November 1850), 13 (PAYWALL)

First night of the NEW "QUADRILLE DES NATIONS."
M. JULLIEN has the honour to announce that the FRENCH CORPS DE TAMBOURS, of the 2nd Legion of the Garde Nationale of Paris, having arrived, his Grand
"QUADRILLE DES NATIONS," founded on the all-absorbing subject of the day (the Great Exhibition of 1851), will be performed
TO-MORROW, MONDAY, Nov. 18th, 1850.
In the production of this Quadrille. M. JULLIEN has endeavoured to bring together every possible element which could conduce to the true interpretation of the characteristic music of the different Nations therein introduced, and has made the following arrangements:
M. SOUALLE will perform "The Sicilian Serenade " on the New Instrument, the Corno-Musa.
The Brothers CIEBRA will accompany on the Guitar the Spanish Sapatieodo.
M. LERRY (from the Choir of the Church of La Madeleine, at Paris) will perform on the Monstre Ophicleide.
The New Octo-Basso, to which was awarded the First Prize by Messrs. Auber, Halevy, and Meyerbeer, at the French National Exposition of 1849, will be played by MR. A. WINTERBOTTOM.
The Castagnets in "The Neapolitan Tarentella," and "The Piedmontese Monferina," will be played by Signor BALDACCI. The Grand Morceaux d'Ensemble will be aided by The Band of her Majesty's Royal Artillery, under the direction of Mr. Collins;
The Band of her Majesty's 2nd Life Guards, under the direction of Mr. Grattan Cooke;
The Band of her Majesty's Coldstream Guards, under the direction of Mr. Godfrey (by the Permission of the Commanding Officers).
And the French Pas Accelerès, Pat Redoublès, the Reveilles Rappel, Marches, &c. and other Military Ordonances of the French Army, by the FRENCH CORPS DE TAMBOURS, under the direction of M. BARBIER, the Tambour-Major, being their First Appearance in this Country.
INTRODUCTION - Music of Northern Nations.
No 1. - The French Pas Acceleré, performed by the Corps de Tambours, including La Chamade, Le Chant d'Honneur, and Le Banc. The Grand Pas Redouble by the Three Military Band, and Roulement Serré, concluding with the Grand Chant Militaire.
No. 2. - The Spanish Sapatieodo, with variations for Oboe, by M. Delavigne: Flute, Mr. Pratten; Flageolet, M. Collinet; Guitar accompaniment, by the Messrs. Ciebra.
Introluction to No. 3. - The Aurora Serenade - a Sicilian lover to his mistress. Corno-Musa Solo, M. SOUALLE; Harp Obligato, Mr. STREATRERS.
No. 3. - The Piedmontese Monferina, concluding with the Neapolitan Tarentella. Castagnettes, by Signor Baldacci.
No. 4. - Partant pour la Syrie - French air taken from an old Eastern melody, with variations for Bombardon, by Herr Sommers: for Trombone, by Signor Cioffi; and Cornet a-Piston, by Herr Koenig.
No. 5. - March of all Nations to London. The morning of the inauguration of the Grand Exhibition is supposed to have arrived. The great city which for the first time shelters such wonderful masses from all parts of the known world, is as yet still, when at day-break the festival is ushered in by the sounding of the chimes of London, echoed far and near from each surrounding belfry. Soon the city is in movement, and the multitudes hasten towards the same goal, all eager to behold the most stupendous realisation of human industry recorded in the history of the globe. A tremendous shout bursts forth, and the welcomed Nations one and all join in the glorious cry- "GOD SAVE THE QUEEN." . . .

"M. JULLIEN'S CONCERTS", The musical world (23 November 1850), 753, and [Advertisements], 748, 764 (DIGITISED)

On Monday night M. Jullien produced his Great Exhibition Quadrille with a pomp and parade that put all his previous essays into the shade. "The all-absorbing subject," as M. Jullien styles the Great Exposition of 1851, was foreshadowed with an amount of noise, and a variety of effect, unparalleled in the history of promenade concerts . . . Figure No. 3 is preceded by a graceful Sicilian serenade, the subject of which, appropriately given to the corna musa, was played by M. Soualle, accompanied by Mr. Streather on the harp . . . (DIGITISED) (DIGITISED)

ASSOCIATIONS: Louis Jullien (conductor, entrepreneur)


"CAUSERIES MUSICALE", Le ménestrel: journal de musique (2 March 1851), 2 (DIGITISED)

. . . Un habile saxophoniste, M. Soualle, qui n'etait pas annoncé sur le programme, nous fait entendre une petite fantaisie variée sur l'air populaire: Le bonne aventure ô gué! M. Soualle a obtenu les honneurs de la séance sur le saxophone-alto, cet admirable instrument récemment inventé par Sax. Dès les premierès mesures, les applaudissements ont commencé, et n'ont cessé d'accompagner l'exécutant pendant tout le cours un morceau . . .

ASSOCIATIONS: Adolphe Sax (musical instrument maker, inventor)

SOCIÉTÉ DE L'UNION MUSICALE", Revue et gazette musicale de Paris (2 March 1851), 67 (DIGITISED)

La Société de l'Union musicale est la première qui ait élevé autel contre autel dans le culte rendu à la musique à grand orchestre, et, par cela, elle mérite la sympathie de la presse. M. Félicien David, qui dirige fort bien, nous a fait entendre, dans le troisième concert donné dimanche dernier, une nouvelle symphonie de M. Théodore Gouvy. . . . Le saxophone, - ce délicieux instrument qui seul aurait suffi à faire la réputation de Sax si d'autres créations non moins importantes n'avaient déjà assigné une place hors ligne à cet éminent facteur, - vient d'obtenir un véritable triomphe au concert de l'Union musicale. Le morceau exécuté par M. Soualle ne figurait pas sur le programme, et son succès, pour ainsi dire improvisé, n'en a été que plus flatteur pour l'instrument comme pour l'artiste. On savait que le saxophone avait un timbre mordant, velouté, et d'une suavité incomparable; qu'il était conséquemment tout-à-fait favorable aux développements d'un chant large, d'une mélodie expressive; mais qu'il fût égalemeut propre aux notes détachées, aux dessins les plus compliqués, aux mouvements les plus rapides, voilà ce que M. Soualle nous a prouvé: aussi des bravos ont accueilli le thème et chacune des variations de sa fantaisie. Une clarinette, une flûte, n'auraient pas fait mieux. Nous ne doutons pas qu'après cette épreuve décisive, d'habiles virtuoses ne s'empressent d'adopter un instrument qui leur promet de produire de nouveaux effets.

"Chronique musique", L'illustration: journal universel (13 March 1851), 175 (DIGITISED)

La société de l'Union musicale nous a fait entendre, à son troisième concert, une nouvelle symphonie de M. Théodore Gouvy . . . Dans le même concert, nous avons eu le plaisir de voir le saxophone triompher avec éclat des préjugés qui existent encore contre lui. Cet instrument a le tort d'avoir été inventé de nos jours; sans cela, il serait réputé l'un des plus suaves, des plus parfaits qu'on puisse entendre, et son inventeur, M. Sax, jouirait de toute la considération qui lui est due. Quoi qu'il en soit, le succès en quelque sorte improvisé qu'a obtenu la fantaisie exécutée par M. Soualle sur le saxophone (ce morceau ne figurait pas sur le programme) a été complet, décisif, aussi honorable pour le savant facteur que pour l'habile artiste: ce succès s'est traduit par quatre ou cinq bruyantes salves d'applaudissements.

ASSOCIATIONS: Félicien David (conductor)

Hector Berlioz, "Mouvement musical de Paris . . . Soualle - Le Saxophone", Journal des débats (13 April 1851), 1-2. (DIGITISED)

Les joueurs d'instrumens à vent ne restent pas en arrière, et sans être exposés à des ravissemens aussi singuliers, à des aventures aussi romanesques, ils produisent leur effet. Quelques uns de ceux qui ne donnent pas de concerts ont assez à se louer des maîtres de maison qui les invitent à leurs soirées. Tels sont M. Petiton, l'habile flûtiste de l'Opéra-Comique; M. Crass, qui chante d'une façon si touchante sur le hautbois, et M. Soualle, qui, récemment revenu de Londres, a produit une grande sensation en faisant entendre pour la première fois à Paris, avec tous ses avantages, le saxophone, chef-d'oeuvre de Sax. Cet instrument a des qualités expressives, incomparables; la justesse et la beauté des sons qu'il produit quand on en possède bien le mécanisme sont telles qu'il peut, dans les morceaux lents, défier les plus habiles chanteurs. Il pleure, il soupire, il rêve; il possède le crescendo, il peut affaiblir graduellement sa voix jusqu'à l'écho de l'écho de l'écbo, jusqu'au son crépusculaire. Dans quelques années, quand l'usage du saxophone se sera répandu parmi les exécutans, les compositeurs pourront, au moyen de cet admirable organe, produire des effets dont on n'a pas d'idée en ce moment.

Adolphe Sax and Co., display case of brass instruments, with a saxophone lower front centre, Great Exhibition, London 1851

Adolphe Sax and Co., display case of brass instruments, with a saxophone lower front centre, Great Exhibition, London 1851


[Advertisement], Freeman's Journal [Dublin, Ireland] (5 January 1852), 1 (PAYWALL)

[final item of part I] Quadrille - The Great Exhibition Quadrille."
founded on the Great Exhibition of 1851 . . . Introduction to No. 3. -
The Aurora Serenade" - a Sicilian Lover to his Mistress; Corno-Musa Solo, by M. Soualle . . .

"M. JULLIEN'S CONCERTS", Leeds Intelligencer [England] (17 January 1852), 5 (PAYWALL)

The annual visit of M. Jullien and his clever musical corps is always anticipated with pleasure, for the performances under the command of his "royal" baton are always satisfactory and often of a novel character. This grand concert at the Music Hall, Leeds, is advertised to be given on Friday next the 23rd inst. Speaking of M. Jullien's recent concerts at the Free Trade Hall, Manchester, which were attended by very large audiences, the Manchester Guardian says: - ". . . We observed two new musical instruments in the orchestra. One, the corna-musa, is a musical monster - neither fish nor flesh, nor good red herring; it is made of brass, has the reed and mouthpiece of a clarinet, bristles with keys, and has the bowl or bell of a horn. It has a mellow rich tone - a compound of the clarinet and the cornet, and was beautifully played by M. Soualle . . ."

"M. JULLIEN'S GRAND CONCERT", Yorkshire Gazette [England] (24 January 1852), 6 (PAYWALL)

Time has robbed us of another year. Its succeeding one again brings M. Jullien with his band, and so enriched with stars of the first magnitude, as to dazzle the vision and tingle the ears of all who witness their performance. M. Jullien gave his annual voucher ball, as above noticed, in the great Assembly Rooms, on Tuesday evening last, and his grand concert on the following night, in the Festival Concert Room, after which the lovers of the ball returned to the Assembly Room to enjoy the second ball . . . Another new instrument was introduced, called the "Corno Musa," performed on by M. Soualle. He performed the "Aurora Serenade," of a Sicilian lover to his mistress, in the Exhibition Quadrille. The tone is of the loveliest description, and no instrument could convey more pathetically and languishly [sic] the sad sighs of a desperate lover . . .


The first of a new series of seven concerts took place last evening. Mr. Braham, the veteran vocalist, was the principal attraction, and a very numerous audience was assembled to hear the great artist, who is shortly to take leave for ever of that public, to whose intellectual amusement he has powerfully contributed for more than sixty years . . . The performances, too, of M. Remusat on the flute, and M. Soualle on the saxaphone, a new instrument, which happily includes the qualities of the horn, bassoon, and clarinet, are of first-rate excellence . . .

ASSOCIATIONS: John Braham (vocalist); Jean Rémusat (flute)

"CITY WEDNESDAY CONCERTS", Illustrated London News (13 March 1852), 14 (PAYWALL)

At Crosby Hall, on the 10th instant, the fifth of the series took place, under M. Billet's direction; assisted by the Misses Cundell, Alleyne, Binckes, Brougham; Messrs. Tedder, Leffler, Rommi, Cloffi, Soualle, Goffrie, Engelke, Sonnenberg, and Aguilar.

"NOUVELLES", Revue et gazette musicale de Paris (22 August 1852), 278 (DIGITISED)

Le saxophone, dont nous avons eu plus d'une fois occasion d'entretenir nos lecteurs, fait des progrès aussi éclatants que rapides. Jullien vient d'engager, pour ses concerts de Londres, les deux plus habiles virtuoses sur ce nouvel instrument: Soualle, de Paris, et Wuille, de Bruxelles . . .

ASSOCIATIONS: Henri Wuille (c.1822-1871) also toured with Jullien to North America, and taking over the "corno musa" in Exhibition quadrille, thus first introduced the saxophone to New York in 1853

[Advertisement], Morning Chronicle [London] (26 November 1852), 5 (PAYWALL)

M. JULLIEN'S LAST ANNUAL SERIES of CONCERTS previous to his departure for America -
Last Week but Two. PROGRAMME for THIS EVENING, Friday, Nov. 26 . . .
the Great Exhibition Quadrille, founded on the Exhibition of 1851, with Solos by Mr. Lazarus, M. Remusat, M. Barret, M. Soualle, Mr. Trust, M. Collinet, and M. Prospere - Jullien . . .

NOTE: Sou-Alle could not have performed in this concert if he was Soualle who arrived in Geelong, VIC, on 24 December 1852 on the Windermere; see immediately below; it is possible, however, that the published list was copied from an out-of-date roster; Soualle was previosuly last reported playing in London in March, and obviously did not travel with Jullien to America, where he was replace by Wuille (as see above)

Names and descriptions of passengers, per Windermere, from London, for Port Phillip [arrived Geelong, VIC, 24 December 1852]; Public Record Office Victora; VRPS 947 (DIGITISED)

French men, all mechanics . . . have contracted to land at Port Phillip . . .
Mr. Soualle / 28 . . .


To call up all the TROVE tagged newspaper items for 1853:

Melbourne, VIC (arrived by early June 1853)

13 June 1853, Melbourne, VIC, concert

[Advertisement], The Argus (10 June 1853), 5

VICTORIA. Concert at the Mechanics' Institute, on Monday, 13th June, at eight o'clock. Mr. Fleury, violin; Ali Ben Soualle, turkophone; Mr. Buddee, pianist; Mr. Maffei, cornopean.

"THE SAXOPHONE", The Argus (11 June 1853), 5 

Amongst the flood of talent of various sorts which is setting in upon our shores, a foreign gentleman has lately arrived who performs with very considerable skill upon a newly invented and most remarkable instrument, styled the saxophone. This instrument is a sort of combination of the clarionet and the ophicleide, if our readers can understand such an union. The sound is produced by a reed, as in the manner of the clarionet, but the body of the instrument being metallic, of large size, and very elaborately keyed, a power is given to it of a most startling kind, a very astonishing compass, and a certain solidity combined with sweetness which is calculated to make the saxophone a very valuable addition to the orchestra, as well as a pleasing instrument for solo performances. Its first introduction is to take place at a grand concert on Monday evening at the Mechanics, the preparations for which are on a very extensive scale. The orchestra is, we believe, to be as well attended as on the evening of the concert given by Herr Strebinger, of which we had to speak so hlghly; and if the performance is equal to that, it will be very well worth hearing, as no such music was ever before heard in this colony.

"MUSICAL", The Argus (13 June 1853), 7 

We perceive that the saxophone of which we made honorable mentlon on Saturday is christened for this evenings concert by a new name. M. Sou-alle, availing himself of the fact of his being of Turkish extraction (literally, we believe, the son of a Turk), to add a little novelty to his entertainment, will appear in the picturesque costume of that country. The concert is expected to be a very good one.

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

Monday, June 13th, 1853.
Under the immediate patronage of HIS EXCELLENCY THE LIEUTENANT-GOVERNOR.
The celebrated ALI-BEN SOU-ALLE, will perform on the new and wonderful Turkophone in his grand national costume.
Assisted by the following eminent artistes -
Vocalists: Mrs. Testar; Mons. Barre.
1st Violin. M. Fleury De Recuson; Cornet-a-Piston, Sig. Maffei; Pianoforte, Mr. Buddee; And, The Full Band of the Fortieth Regiment. Conductors M. Fleury, Mr. Johnson, and Mr Buddee.
Overture. - Masaniello. - Full Band - Auber.
Romance - Mons. Barre - Allevy [Halevy]
Recitativo and Romanza - Eccomi Sola Alfine (Guilliaume Tell) - Mrs. Testar - Rossini.
Solo - Cornopean, with full band accompaniment - Signor Maffei - Bellini.
Napoleon Quadrille - Full Band - Larner.
Solo, Turkophone - In my Cottage - Ali-ben Soualle - Ali-Ben-Sou-Alle.
Ballad - Come Back! Come Back! - Mrs. Testar - Ali-Ben-Sou-Alle.
Overture - Zampa - Full Band - Herold
Duet - O Maritana - Mons. Barre and Mrs. Testar - Wallace
Duet - Piano and Violin - Mons. Fleury and Mr. Buddee - Fleury
Song - I love you dearly - Mons. Barre - Bishop
Valse - Full Band - Jullien
Song - O bid our faithful Ariel fly - Mrs. Testar - Linley
Drum Polka - Full Band - Jullien.
Single tickets, 5s.; Family tickets (to admit five) £1; to be had at Messrs. Wilkie's Music Saloon, Collins street, and at the Mechanics' Institute. Concert to commence at 8 o'clock precisely.

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

As a proof of the strong appreciation of the people of Melbourne of any novelty in the musical way, the concert-room of the Mechanics' was crowded last evening to excess; in spite of the threatening weather, and the almost impassable condition of the streets. M. Sou Alle made his debut in full Turkish costume, and being a fine-looking man, with a magnificent beard, he did full justice to the dress. His performance upon the new instrument, the turkophone, was extremely successful; and he was vehemently encored no fewer than three times, each time returning with a different instrument; to the intense amusement of the audience. These instruments dwindled gradually away till the last was a mere squeaking pipe, with a sound precisely resembling the bagpipe; and a few bagpipe tunes (if there be such things) were blown through very successfully, and with a great deal of humor. M. Fleury played a piece very beautifully on the violin, and led the orchestra with much spirit, although probably with a little too much rattle and drive. The experiment on the whole was very successful, and will, we have no doubt, lead to another exhibition of those fine new instruments before long.

ASSOCIATIONS: Elizabeth Testar (soprano vocalist); Anthony Barre (tenor vocalist); Achille Fleury (violin, conductor); Joseph Maffei (cornet-a-piston); Julius Buddee (piano, conductor); Band of the 40th Regiment (military band); Henry Johnson (master, conductor)

16 June 1853, second concert

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

GRAND CONCERT. Thursday, 18th June [recte 16th], 1853,
At the MECHANICS' INSTITUTE. Under the immediate patronage of His Excellency the Lieutenant-Governor.
The celebrated Ali-Ben-Sou-Alle, who has had the honor, of performing on the new and wonderful Turkophone,
with the greatest success, in Europe and in London, before Her Majesty and the jury at the Great Exhibition,
where this beautiful instrument obtained the First Council Medal,
and elicited the unqualified approbation of the many thousands who visited the Exhibition,
will make his second appearance in Melbourne on Thursday, 16th June, in his grand national costume.
Assisted by the following eminent artistes:
Vocalists: Mrs. Testar; Mons. Barre.
Premier Violin: M. Fleury de Recusson
Cornet-a Piston : Sig. Maffei.
Pianoforte: Mr. Buddee.
And, The Full Band of the 40th Regiment,
Conductor: M. Fleury.
Overture - Full Band.
Song - Mons. Barre - Donizetti.
Aria - Let the Bright Seraphim - (Trumpette and Quatuor Obligato) - Mrs. Testar - Handel.
Polka - La Chatelaine - Full Band - J. C. Van Maanen
Cavatina - Robert toi que J'aime - Solo de Cornet-a-piston - Signor Maffei - Meyerbeer.
Solo, Turkophone - Ali-ben-sou-alle - Ali-ben-sou-alle.
Duet - Norma - Mons. Barre and Mr. Testar - Donizetti [sic]
Australia Waltz, executed by Messrs. Buddee, Maffei, Fleury, Ali Ben-Sou-Alle - composed by - Ali-Ben-Sou-Alle.
Then remember me - Mons. Barre - Balfe.
Grand Fantasie - Sur la Fiancee - Piano and Violin - Per Messrs. Buddee and Fleury - Lafond [sic]
Ballad - I am thine - Mrs. Testar - Benedict.
My Cottage - Solo, Turkophone - By Ali-Ben-Sou-Alle - Ali-Ben-Sou-Alle.
Cavatina - Jane - Mrs. Testar - Meyerbeer.
Valse - Full Band - By J. C. Van Maanen.
God save the Queen.
Single tickets, 5s.; family tickets (to admit five), £1.
To be had at Messrs. Wilkie's Music Saloon, Collins-street, and at the Mechanics' Institute.
Concert to commence at Eight o'clock precisely.

? Late June 1853, Melbourne, VIC, promenade concerts

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

SIR, - On my arrival here last evening, I was much surprised to find my name inserted in the bills announcing the Concert; and that it was generally understood that I was to sustain a part in the performance of the evening, in justice to myself, and also from a wish to satisfy the public, from whom I received so flattering a reception on my first appearance in Melbourne, I beg to state that my name was made use of altogether without my sanction, and contrary to my desire. I distinctly stated to the manging gentlemen, before leaving for Geelong, that I was under other engagements, and that it would be impossible for me to appear at the Concert on Thursday evening. These being the simple facts of the case, I leave it with the public to judge who is to blame for the non fulfilment of last evening's programme.
I am, sir.
Your obedient servant,
Second appearance of ALI-BEN-SOU-ALLE in a few days.
Melbourne, 17th June, 1853.

[Advertisement], The Argus (22 June 1853), 8 

(Late Noble's Circus,) Top of Bourke-street, east.
MR. JAMES ELLIS, lessee of Cremorne Gardens, Richmond and formerly lessee of Cremorne Gardens, &c, London has the honor to announce to his numerous friends and to the enlightened public of Melbourne generally, that he has purchased the above property, and that having made extensive arrangements for the delight and comfort of his patrons, he will open the above as the
Beautifully Decorated and Embellished, regardless of expense and with taste and elegance worthy of the distinguished artistes employed. The season, necessarily brief, will commence with
A Series of First Rate PROMENADE CONCERTS,
a la Muzard
Conductor, Mons. Fleury
Assisted by a numerous troupe of
Who will in their turn be supported by the
Of Instrumental Performers ever heard in the Colony . . .
Musical Conductor and Director, Sou Ben Alle [sic] . . .
It is respectfully intimated that the whole of the promenade circle has been boarded over, the interior will now present the appearance of a vast and elegant Salon de Musique.

ASSOCIATIONS: James Ellis (entrepreneur); Salle de Valentino (concert venue)

15 July 1853, Melbourne, VIC, concert

"MUSIC", The Argus (15 July 1853), 5 

The turbaned Turk solicits the suffrages of the Melbourne public this evening, when the great expense to which this clever performer has gone for the occasion, will render necessary a higher admission fee than is now usual. However, we all remember the time when no one ever thought of giving a respectable concert here for less than five shillings, and no one grumbled, even in those days of comparative poverty. Surely now, when everybody's purse is bursting, we shall not grudge "a little advance on former rates," as our mercantile friends would say. We believe this evening's entertainment will be something extraordinary; and we see one new name, at all events, upon the list of vocalists; so that, with a clear moon and favorable sky, M. Sou Alle may calculate on at least as many as the room will hold. Our own duty is merely to apprise the universal public, that both M. Sou-Alle and his splendid new instrument, are very well worth hearing, and that we do with equal confidence and pleasure.

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

ALI-BEN-SOU-ALLE, who has had the honor of performing on the new and wonderful Turkophone, with the greatest success, in Europe and in London, before Her Majesty and the Jury at the Great Exhibition, where this beautiful instrument obtained the First Council Medal, and elicited the unqualified approbation of the many thousands who visited the Exhibition, will make his second appearance in Melbourne, in his grand national costume, assisted by the following eminent artistes:-
Vocalists: Mrs. Testar, Mons. Valere, and Mr. Power.
Leader, Herr Strebinger.
Conductor, Mr. Buddee.
Cornet-a-Piston, Mr. Chapman.
And the Full Band of the 40th Regiment.
Part I.
1. Overture - Fra Diavolo, Full Band - Auber.
2. Celebrated barcarole from the opera of Haidee, Mons. Valere - Auber.
3. Valse - Faust, Full Band - D'Albert.
4. Song - Beating heart, Mrs. Testar (first time) - Beethoven.
5. Turkophone - Ali-Ben-Sou-Alle - Ali-Ben-Sou-Alle.
6. A thousand a year, Mr. Power.
7. Ugalde-Sultana Polka, with cornet-a-piston obligato by Mr. Chapman (first time) - Ali-Ben-Sou-Alle.
Part II.
1. Overture - Gustavus, Full Band - Auber.
2. Ballad - The Tear, Mrs. Testar - Kucken.
3. Solo - My skiff is on the shore, Ali-Ben-Sou-Alle - Ali-Ben-Sou-Alle.
4. Cheerily, men (the sailors' song, composed expressly for this concert), Full Band - Ali-Ben-Sou-Alle.
5. Scotch Ballad - O why I left my home, Mrs. Testar -
6. Song, Ben Bolt, Mons. Valere
7. Carnival de Venise - Violin, Herr Strebinger - Paganini.
8. Post-horn Galop, Full Band -
God Save the Queen.

"ALI-BEN-SOU-ALLE", The Argus (16 July 1853), 5 

The old hall of the Mechanics' never presented so splendid an appearance since we knew it, as on the occasion of the above gentleman's concert last evening. Outside, a flambeau flared on each cornerstone of the entrance-steps, while, over the door-way, a row of thirteen elegant variegated lamps, each bearing a letter of the singular name, showed a hotter light than visitors to the Institution have ever yet been favored with. Inside, the coup d'oeil presented was quite magnificent, one end of the hall being covered with variegated drapery, supposed to represent a Turkish pavilion; the musicians' seats and music-stands being also richly hung, while the profusion of lights was quite dazzling to behold. The orchestra, under the able direction of Herr Strebinger, acquitted themselves with great brilliancy and effect. The Turk was great, as on a former occasion, with his four instruments, amply meriting the repeated encores he obtained. His turkophoneis certainly a most wonderful instrument, reminding us at once of Winterbottom and Creed Royal. Almost every part of the entertainment was well received, and we sincerely congratulate this enterprising gentleman on the success of the attempt; the hall having been crowded throughout, and many persons desirous of entering the reserved seats having been content to gain in by paying only the second price.

ASSOCIATIONS: Monsiuer Valere (tenor vocalist); William Pierce Power (vocalist); Frederick Strebinger (violinist, leader); George Chapman (cornet-a-piston); John Winterbottom (bassoonist); Creed Royal (flautist)

25 July 1853, Melbourne, VIC, concert

"CONCERT", The Argus (25 July 1853), 5

Ali-Ben-Sou-Alle again makes his dignified salaam to a Melbourne audience to-night, with a very capital programme, when we have no doubt that the spirited style in which he gets up his concerts, added to the attractions of his beautiful new instrument, and his own great musical abilities, will secure a bumper audience. Amongst his other talents, we perceive that Mr. Sou-Alle is a composer of considerable merit. A piece composed by him, representing a storm at sea, and containing an adaptation of the well-known sailor's song, was very well received at the last concert, and is to be repeated to-night.

[Advertisement], The Argus (25 July 1853), 3 

"ALI-BEN-SOU-ALLE", The Argus (26 July 1853), 5 

This gentleman's concert last evening was again very well attended, although it was not as crowded as on former occasions. The illness of M. Valere deprived us or the pleasure of hearing the duet, which was almost the first, we are sorry to say, that has been announced since dear Mrs. Hancock deserted us. M. Valere's place was filled by Mr. Simonson, a German, whose efforts were not very successful. The solos of Mrs. Testar, Herr Strebinger, and M. Sou-Alle, were by far the best parts of the concert, and incessant encores prolonged the entertainment till a most unseasonable hour.

ASSOCIATIONS: Mrs. Edward Hancock (vocalist); Mr. Simonson (vocalist)

4 August 1853, Melbourne, VIC, concert

[Advertisement], The Argus (1 August 1853), 8 

GRAND Musical Soiree, at the Mechanics' Institute this day, (Monday), First of August.
The last appearance but two of All-Ben Sou-Alle, who will perform on the new and wonderful Turkophone, in his grand national costume. He has performed on this beautiful instrument with the greatest success, in Paris and in London, before her Majesty and the Jury at the Great Exhibition, where it obtained the First Council Medal.
The following Eminent Artists will assist:
Miss Arabella Smith (first soprano of the Philharmonic and Ancient Concerts in Dublin, first appearance),
Mr. Valere, Mr. Power. Leader, Herr Strebinger. Conductor, Mr. Buddee. Cornopean, Mr. Chapman. Full Band.
Part 1.
Overture - Les Diamans de la Couronne - Auber
Song - I'm afloat - Mr. Power - Russell
Sultana Ugalda Polka - Solo, for Cornopean, by Mr. Chapman - A. B. S. A.
Song - Casta Diva, from the opera of Norma - Miss Smith - Bellini
Fantasia - Ali-Ben-Sou-Alle - A. B. S. A.
Quartette - Moise In Egypto - Miss Smith, Messrrs. Valere, Power and Barre - Rossini
Cheerily Men - The Sailors' Song - A. B. S. A.
Part II.
Overture - Zauberfloete - Mozart
Duo - From the opera La Lucia - Miss Smith and Mr. Valere - Donizetti
Solo - Ali-Ben-Sou-Alle
Irish Melody - Savourneen Deelish - Miss A. Smith.
Solo - Violin. Rondo Russe. Mr. Strebinger - Beriot
Valse - L'Australienne (first time), composed expressly for this concert - A. B. S. A.
Song - Ben Bolt - Mr. Valere.
God Save the Queen . . .

"ADVERTISEMENTS", The Argus (2 August 1853), 5 

The unfavourable change in the weather, which took place yesterday morning, caused the postponement of Mr. Sou-Alle's Concert, at the Mechanics' Institution, and of Professor Parkers's entertainment, at the Protestant Hall. They will both take place some day this week, weather permitting.

[Advertisement], The Argus (4 August 1853), 8

MECHANICS INSTITUTE. Friday, 5th August.
Grand Musical Soiree. The last appearance but one of ALI-BEN-SOU-ALLE, who will perform on the on the new and wonderful Turkophone, in his Grand National Costume.
He has performed on this beautiful instrument with the greatest success, in Paris and in London, before her Majesty and the Jury at the Great Exhibition, where it obtained the First Council Medal.
The following Eminent Artists will assist:
Miss Miabella Smith, First Soprano of the Philharmonic and Ancient Concerts in Dublin (her first appearance).
Mr. Valere. Mr. Power. Leader - Herr Strebinger. Conductor - Mr. Buddee. Cornopean - Mr. Chapman. Full Band.
Overture, from "Les Diamans de la Couronne" - Auber
Solo - "I'm afloat" - Mr. Power - Russell
Sultana Ugalda Polka - Solo, Cornet-a-piston, - Mr. Chapman - Ali-ben-sou-Alle
Solo - "Casta Diva," from the opera of Norma - Miss Miabella Smith - Bellini
Fantasia - Ali-ben-sou-Alle - Ali-ben-sou-Alle.
Quartette - "Mose In Egypto" - Miss M. Smith, Messrrs. Valere, Power, and Mr. Roberts - Rossini
"Cheerily Men," the Sailors' Song - Ali-ben-sou-Alle
By desire, a piece of descriptive music composed expressly for this concert.

The storm threatens in the distance - it approaches nearer and nearer - the rain beats - the wind blows - the captain's voice rises above the storm - pipe all hands - he cheers and encourages the men - all burst forth together with "Cheerily, Men!" - the sea runs high, but the brave ship at last weathers the storm - it gets less and less - it dies away - joy and safety succeed to danger and despair - all rejoice, sing, and dance - the port is in sight - each brave heart thinks of home and its fond ties - passengers, crew, and all on board heartily sing "Cheerily, Men!" as they enter the port, and the anchor is cast.

Overture - La Flute Enchantee - Mozart
Duo - From the opera "La Lucia di Lammermoor" - Miss M. Smith and Mr. Valere - Donizetti
Solo - Ali-ben-sou-Alle - Ali-ben-sou-Alle
Irish Melody - Savourneen Deelish - Miss M. Smith.
Rondo - Herr Strebinger - Beriot
Valse - L'Australienne (first time), composed expressly for this concert - Ali-ben-sou-Alle
Song - The Standard Watch - Mr. Valere - Lindpainter
God Save the Queen . . .

"CONCERTS", The Argus (5 August 1853), 5 

Mr. Winterbottom was prevented by illness from being present at his concert last evening. An additional damp was thrown over the entertainment, we are sorry to say, by another rather meagre attendance; it is evident that vigorous exertions must be made, or these concerts will be apt to dwindle away altogether. The first appearance of Madame Duval may be considered successful, if an encore to each of her songs be a sign of approbation. As far as that lady, however, is concerned, Queen Testar has no reason to tremble for her throne. The orchestra last night was a little meagre, and altogether the concert was scarcely such as the name of the conductor always leads us to expect. Bishop's dirge-song on the death of the Duke of Wellington was the most beautiful part of the performance, and was well delivered by Mr. Gregg. We trust our readers will not be so weary of the now almost continuous chorus of sweet sounds as to neglect the very attractive bill of fare provided by our Ottoman friend this evening. The bad weather, and consequent postponement of the concert on Monday, cannot fail to have produced a serious increase of expense, which we trust to see made up by the attendance this evening. We perceive that, in addition to the composition founded upon the "Cheerily men," sailor's air, Mr. Sou-Alle comes forward this evening with a new waltz, also of his own composition.

ASSOCIATIONS: Meabella Smith (vocalist); John Winterbottom (bassoonist, band leader); Madame Duval (vocalist); John Gregg (vocalist)

12 and 13 August 1853, Geelong, VIC, concerts

[Advertisement], Geelong Advertiser and Intelligencer (10 August 1853), 5 

will perform on the new and wonderful TURKOPHONE, in his grand National Costume,
assisted by the following artistes:
Vocalists - Mrs. TESTAR, Miss SMITH, Mons. VALERE.
Conductor - Mr. BUDDEE. Violinist - Mr. THOM.
Ali-Ben-Sou-Alle has performed on this beautiful instrument, with the greatest success, in Paris and in London, before her Majesty and the Jury at the Great Exhibition, where it obtained the First Council Medal.
The Stage will represent a Turkish Pavilion.

"SATURDAY EVENING'S CONCERT", Geelong Advertiser and Intelligencer (15 August 1853), 2 

We can appreciate a good thing, and without making any pretensions to talents of criticism on the "Divine Art," fully accord to his Highness Ali-Ben-Sou-Alle the celebrity he has attained. His performance is as extraordinary as the shape of the instruments he makes discourse such exquisite music. Nobody, under the rank of a Pacha, could make a silver meershaum emit such soul-stirring sounds, rich, full, sonorous, and streaming out with liquid beauty. He is an illustrious Turk, possessed of dangerous powers over our susceptibilities, with many instruments to enforce it. Mrs. Testar sang as she always sings, which is the highest compliment we can pay this perfect "artiste." Miss Smith acquitted herself admirably, and, when possessed of a "leetle" more confidence, will prove a valuable addition to the musical world, should her taste and ambition tend in that direction. M. Valere is endowed with a good strong voice, and sang well. Mr. Thom's performance on the violin was masterly, brilliant, and evoked a burst of enthusiastic applause. We presume that "encores" must be flattering; but, on behalf of vocalists and instrumentalists, permit us to submit to our readers, whether they are not at times too exacting? Honors of this nature were conferred in profusion; and, if it be but one tithe as pleasurable to the performers as to the audience, the close of the concert, on Saturday evening, must have left both in a blissful state. The house was well attended.

ASSOCIATIONS: Bream Thom (violinist, band leader)

20 September 1853, Geelong, VIC, dinner for the commencement of the Geelong Railway

"RAILWAY ANTHEM", Geelong Advertiser and Intelligencer (13 September 1853), 2 

We regret to hear our friend Ali-Ben-Sou-Alle has been suffering from temporary indisposition, and has been compelled to take a little relaxation in Geelong. He, however, has not forgotten his kind patrons here, and is now occupied in composing a splendid piece of music, and arranging it for full band. It is dedicated to the Geelong and Melbourne Railway Directors by this gentleman, and we trust it will be so far completed as to either be sung or played on the great event which is about to take place on the 20th.

"THE INAUGURATION FETE OF THE GEELONG RAILWAY", Geelong Advertiser and Intelligencer (21 September 1853), 2 

. . . During the Dejeuner, the anthem from the pen of M. F. Tupper, set to music by the celebrated Ali Ben Sou Alle, was sung by Mr. Hancock, and received with rapturous applause . . .

"THE INAUGURATION FETE OF THE GEELONG RAILWAY", The Banner (23 September 1853), 5 

. . . During the Dejeuner, the following anthem from the pen of M. F. Tupper, set to music by the celebrated Ali Ben Sou Alle, was sung by Mr. Hancock, and received with rapturous applause:

Advance, Australia! on, speed on,
Stout old England's brave young son;
Advance! set forth that standard on high,
Thy bright "Southern Cross" on the southerly sky:
Stretch forward the banners of freedom and truth,
In the freshness of hope and the fervor of youth;
And gain, in prizes of zeal in the van,
The glory of God, and the welfare of man . . .[2 more stanzas] . . .

"THE INAUGURATION FETE OF THE GEELONG RAILWAY (Abridged from the Geelong Advertiser)", The Sydney Morning Herald (7 October 1853), 2

ASSOCIATIONS: Edward Hancock (vocalist); Martin Farquhar Tupper (lyrics)

Having arrived from England, the words of the anthem by Tupper, "ADVANCE AUSTRALIA. AN ANTHEM EMBODYING THE CHRISTIAN HERALDRY OF A NEW NATION (signed and dated "Albury, Surrey, December 27th, 1852") had appeared in The Argus only shortly after Sou-Alle's arrival in June:

"ORIGINAL POETRY", The Argus (15 June 1853), 9 


To call up all the TROVE tagged newspaper items for 1854:

"ALI-BEN-SOU-ALLE", Geelong Advertiser and Intelligencer (23 January 1854), 4 

We have the pleasure of announcing to our readers that our friend Ali-Ben-Sou-Alle has now arrived at [a] complete state of convalescence, and is about to depart for Melbourne, where he intends giving a series of grand concerts early in the month of February next. We are given to understand that the whole of his music has been composed by himself, during his convalescence, and is, of course, entirely original. The music is arranged both for Turkophone, and likewise a grand orchestra, and at the present moment is, by permission of Colonel Valliant, being rehearsed by the band of the 40th Regiment. After his Melbourne concerts he will return hence, and favor his friends with the result of his labours, whilst amongst them. He will then leave for Adelaide, for a short time, and on his return here will give one grand concert for the benefit of the Hospital; and, considering the great expense our friend will be put to in obtaining what may be termed a "sufficient orchestral support," we do hope that our fellow Geelong inhabitants will appreciate his intention, and give him a bumper.

"MUSICAL. To the Editor", The Argus (24 January 1854), 5

Sir, - The patronage with which you were king enough to honor me at my first appearing in Melbourne, makes it a duty to me to inform you of my labors and my intentions. As yourself, full of hopes in the future of this country, I have well understood my task in touching at the same time all the branches useful to the country, Religious, Classical, Patriotic, Romantic and Military. The different piece for the great orchestre and chorus are for the last month in rehearsal by the splendid band of the 40th Regiment. The following are the titles:-

Australian Anthem for great orchestre, and chorus, poetry by Tupper, from your paper.
Cheerily Men, with great orchestre, poetry, Prayer and chorus.
The Australian Banner, military march.
The Australian Flowers, grand waltz.
Diggers Polka
Turkish March, and several other new pieces for my instruments.

Will you be kind enough to make the readers of your paper acquainted with my early arrival in Melbourne, to finish those rehearsals, and begin a new series of grand concerts. I remain, Sir, Your humble obedient servant, ALI-BEN-SOU-ALLE, Geelong, 19th January, 1854.

9, 13, and 17 March 1854, 3 concerts, Mechanics' Institution, Melbourne, VIC

"ALI-BEN-SOU-ALLE", The Banner (7 March 1854), 10 

We observe Ali-Ben-Sou-Alle advertises a grand concert in the Mechanics' Hall, on Thursday evening, the 9th instant. The day ought to be distinguished by colonists, as it is the anniversary of the discovery of Australia. We hope to meet a large company on Thursday evening.

[Advertisement], The Banner (7 March 1854), 14 

ALI-BEN-SOU-ALLE. PERSONS who wish for ENGAGEMENTS to Sing in CHORUS in a series of CONCERTS, are requested to call on Mr. PATTERSON, at the Mechanics' Institution.

[Advertisement], The Banner (7 March 1854), 1 

HAS the honor to announce that he will give a
at the Mechanics' Institution, on THURSDAY, 9th Inst, being the eve of the
The Music, with Solos, Prayer, and Chorus, has been expressly composed for the occasion.
Further particulars will be published in the programme.

"ALI-BEN-SOU-ALLE", The Argus (8 March 1854), 5 

We perceive that his gentleman has recovered from his recent illness, and will tomorrow proceed to redeem his pledge of again appearing before a Melbourne public. We trust that he may be successful in his undertaking, and we acknowledge that our appreciation of the beauties of both the turkophone and the dress accompanying it will be enhanced by recollection of the proceedings at Kalafat and Oltenitza, and by admiration at the gallant style in which the wearers of that costume have thrashed their insolent and overbearing invader.

"GRAND MUSICAL FESTIVAL", The Banner (10 March 1854), 9 

Yesterday evening, Ali-Ben-Sou-Alle gave a grand concert, which drew together a tolerably good audience. On entering the hall, evidences of oriental taste struck the eye, displayed in the adornments of the platform, and by a liberal supply of fans, which saved the necessity of open windows, and the audience from exposure to draught. The dignified person of the Turkish musician, dressed in his native costume, was in admirable keeping with the scene; and his dusky hue relieved somewhat the glitter of the regimental attire of the 40th, whose services were engaged for the evening. The instruments on which the Ali performed were various, including a shepherd's reed, but they only served to recommend to the ear of the audience his Turkophone, an instrument of singular power and sweetness. It appeared, to our eye, to be fashioned after the model of the Turkish howka, but its influences were greatly more effectual than the "calumet of peace." The music selected was for the most part of a soothing nature, probably the better suited for the feverish pulse of a commercial city. The "Sailor's Song," a subject in which considerable animation was required on the part of the vocalists, fell rather short of excellence, we thought, from the excessive power of the band, which, though in admirable tune and training, is scarce heard to advantage in a small room. But nearly all the other pieces were deservedly encored; and his fantasia from "La Favorita," conveyed to our mind such an exquisite source of pleasure, that we hurried off in case the feeling should be at all marred. Mrs. Tester was in excellent voice, and sang well. We observe another Concert is advertised for Monday evening, which, wo trust, will be well attended.

"ALI-BEN-SOU-ALLE'S CONCERT", The Argus (10 March 1854), 5 

"This gentleman's Musical Festival, in commemoration of the Discovery of Australia, came off last evening, at the room of the Mechanics' Institute, in a manner most satisfactory to the audience and the musician. The room was crowded, and the entertainment excellent. Mrs. Testar sang in her usual pleasing style,' displaying the tact of the true artiste by keeping within her power, a very rare thing among singers - the majority of whom, by attempting too much, fall as far below their natural capacity as they attempt to rise above it. That the simple and chaste will always tell in the long run, is evidenced by the success of Catherine Hayes, who is alike charming to the uninstructed "child of the people," and the highly cultivated musician. The "Dove Sono" was deservedly applauded, and Mrs. Testar did for Knight's ballad "What shall my song be tonight," all that could be done for so poor a musical plagiarism. As for Ali-Ben-Sou-Alle he fully sustained his reputation. One could not fail to admire the versatile talent he exhibited on so many instruments, from the Turkophone to the " slender oaten pipe" of old Virgil. From the former he drew melodious and well sustained notes, while with the latter he excited the merriment of his audience. His Digger's Polka, though not fully appreciable to the fairer portion of his hearers, was interesting to many present, who would be reminded of the difference between the dash of the lucky miner's cradle and the slow plaintive tone of that of the solitary man who gloomily collects his pennyweights. His polka justified the poet that "there's music in the ocean's roar." Mr. Elsasser played the accompaniment on the piano very creditably, and the band of the 40th Regiment gave a completeness to the entertainment that cannot otherwise be supplied in the colony. In the selection of music for a full band much judgment is requisite. Grand music is only fit for great rooms. What excites and produces a pleasurable sensation in the one case, grinds and pains in the other; and merit is due for the greater portion of the selection in the present instance. If the majority of the people of this country enjoy each successive anniversary as the audience must have done last evening, we can only say that Victoria will be well entitled to the name of Australia Felix.

ASSOCIATIONS: Charles Elsasser (piano)

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

Who will perform on the New and Wonderful
He has performed on this beautiful instrument with the greatest success in Paris and in London, before Her Majesty and the jury at the Great Exhibition, where it obtained THE FIRST COUNCIL MEDAL.
The Orchestra will comprehend the Full Band of the Fortieth Regiment.
Conducted by Mr. JOHNSON. Solo sung by Mrs. Testar, Pianist, Mr. Elsasser.
Overture, from the Opera of Der Freyschutz - Weber.
Cavatina, "Da Quel Di," from the Opera of "Belisaria" - Donizetti.
Valse, "L'Australienne," - Ali-Ben-Sou-Alle.
Song, "Hopeful Hearts should Banish Care" - Balfe - Mrs. Testar.
Mahahrajpore March, (first time). In commemoration of the eventful battle of the 40th regiment in the East Indies - Ali-Ben-Sou-Alle.
Solo, Turkophone, Fantasia and Variations on Various themes of the Opera, "La Somnambula" - Ali-Ben-Sou-Alle.


Turko-Russian Historical Polka - Ali-Ben-Sou-Alle.

(Composed on the arrival of the news of the late victories of the Turks at Kalafat and Oltenitza.)

In the distance is heard the roll of drums by the sound of squadrons of cavalry galloping to martial music; the trumpet sounds, the Turkish troops gather round their banners and their crescents, and join together in a warlike march; suddenly the gallop of the dreaded Don Cossacks is heard, shaking the earth like distant thunder, on they come like a sweeping whirlwind, uttering their furious war cry, the well-known "Hurrah," which ever accompanies their attacks. Nothing daunted, the Turks reply by a flourish of trumpets, giving the signal for the attack. The Russians unite in their anthem to St. Nicholas, their patron sain; on their side the Turks repeat their flourish of trumpets and the march they play blends with the National anthem, "God save the Queen" played by the British troops on their junction with the Turks; the note of preparation is heard in the different camps, and at last the battle commences, ushered in by the Turkish march, which is played simultaneously with the national airs of England and France, "God save the Queen," and the "Marseillaise."

SCOTCH BALLAD - "My boy Tammy" - Mrs. Tester.
AUSTRALIAN ANTHEM, sung by Mrs. Testar, in Chorus with grand Orchestra accompaniments.
Words by MARTIN FARQUAR TUPPER, ESQ. Music by - Ali-Ben-Sou-Alle.
SOLO - Turkophone - Ali-Ben-Sou-Alle.

"CHEERILY, MEN," The Sailor's Song - Ali-Ben-Sou-Alle.

A piece of Descriptive Music, with Solos, Prayers, and Choruses. Solo sung by Mrs. TESTAR, with grand Orchestra and Piano-forte accompaniments:

The storm threatens in the distance - it approaches nearer and nearer - the rain beats - the wind blows - the captain's voice rises above the storm - Pipe all hands - He cheers and encourages the men - All burst forth with "Cheerily, Men!" - The sea runs higher every moment - the storm is at its highest pitch, and the ship is in danger - the sailors are unable to work the ship - the captain calls all on deck to unite in a prayer to God, that he may save them from despair - At last the brave ship weathers the storm - it gets less and less - it dies away - joy and safety succeed to danger and despair - all rejoice, sing, and dance - but remembering the past danger, some of them thank God in a prayer that he has relieved them. - At once the land is in sight - each brave heart thinks of home and its fond ties - passengers, crew, and all on board heartily sing "Cheerily, Men!" as they enter the port, and the anchor is cast.


Doors open at 7, Concert commences at 8 o'clock precisely. Tickets, 10s. each, may be obtained at Mr. WILKIE'S MUSIC SALOON, Collins Street; and of Mr. PATTERSON, Secretary to the Institution.

"CONCERTS", The Banner (14 March 1854), 10 

Ali-Ben-Sou-Alli gave a second grand concert last evening which we regret having been unable to attend. A third one is advertised for Friday next, of which we would recommend all lovers of the "divine art" to avail themselves.

"MUSICAL", The Argus (16 March 1854), 5 

Mons. Soualle's Concert on Monday evening was not so fully attended as some former ones have been. Possibly the prestige of the high price has worn away. The orchestra composed of the band of the 40th, was, as might have been expected, au fait of the peculiar pieces in which M. Soualle delights, and the Turco-Russian Polka and the Storm piece were therefore effectively produced. By the way, the latter composition reminds us very strongly of some of Roch Albert's maritime melodies, both in general style and in some of the detached passages; in the words some lines were identical. Ali-Ben gained great applause for his very pleasing performance on the Turkophone and other instruments. Mrs. Testar was scarcely up to standard, but she was at a disadvantage with the overwhelming brass accompaniment. M. Elsasser placed his accompaniments very tastefully and judiciously. The Australian Anthem is a dreary affair enough, and is not so original or characteristic as to prevent an acute ear from detecting fragments of the music of all nations in the course of it. A concert in which Irish Melodies predominate, is announced for to-morrow being St. Patrick's Day.

[Advertisement], The Banner (17 March 1854), 1 

FRIDAY, THIS DAY, 17th March.
Who will perform on the New and Wonderful TURKOPHONE,
He has performed on this beautiful instrument with the greatest success in Paris and in London, before Her Majesty and the jury at the Great Exhibition, where it obtained THE FIRST COUNCIL MEDAL.
The Orchestra will comprehend the Full Band of the Fortieth Regiment.
Conducted by Mr. Johnson. Solo sung by Mrs. Testar, Pianist, Mr. Elsasser.
Overture, "Libellen" (first time) - Reissiger.
Ballad, "The Angels Whisper" - Lover, MRS. TESTAR.
Lismore Quadrille - Jullien.
Ballad, "She is far from the land" - MRS. TESTAR.
Digger's Polka (by desire) - Ali-Ben-Sou-Alle.
Solo, Turkophone, Concerta Romantique, with grand Orchestra and Pianoforte Accompaniment, on the theme, "The last Rose of Summer," (first time) - ALI-BEN-SOU-ALLE.
Selections from Irish Melodies - Johnson.
Ballad "Terence's farewell" - MRS. TESTAR.
Royal Hibernian Waltz (first time) - Ali-Ben-Sou-Alle
Solo, Turkophone - Fantasia on theme "My lodging is on the Cold Ground," (first time) - Ali-Ben-Sou-Alle.
Ballad, "Kathleen Mavourneen" - Crouch - MRS. TESTAR.
Royal Irish Quadrilles - Jullien.
Doors open at 7, Concert commences at 8 o'clock precisely.
Tickets, 5s each; and 10s. reserved seats, which may be obtained at Mr. WILKIE'S MUSIC SALOON, Collins Street; and of Mr. PATTERSON, the Secretary of the Institution.

"ALI-BEN-SOU-ALLE'S CONCERT", The Banner (21 March 1854), 9 

St. Patrick's day (Friday) was brought to a close by a concert, given by Ali-Ben-Sou-Alle, which passed off with tolerable eclat, and was very well attended. The programme was, of course, Irish in character. Ali-Ben-Sou-Alle played as usual, pleasingly, and he displayed considerable skill in diversifying the entertainment, chiefly through the aid of [the] band of the 40th regiment whose influence relieved the nearly monotonous music of the Turkophone, as a storm blast enables us all the more to appreciate the generally prevailing warmth of our atmosphere. Mrs. Testar seemed somewhat dispirited, but she sang very sweetly, and what was equally good, very naturally, especially her concluding ballad, "Kathleen Mavourneen," which was deservedly encored. The pleasure of the evening was much enhanced by the admirable play of the pianist, Mr. Elsasser.

Mid April to 10 May 1854, nightly concerts, Criterion Hotel, Melbourne, VIC

[2 advertisements], The Argus (17 April 1854), 8 

CRITERION HALL, Criterion Hotel Great Collins-street, Melbourne Grand Concert Promenade (a la Gungle) [Gungl'] THIS EVENING (Monday) 17th April, 1854 and every evening during the week, with change of programme. Madame Maria Carandini, accompanied by Mons. Lavenu, Ali-Ben-Sou-Alle, Herr Strebinger, Herr Harendorf, Mr. George Chapman, Mons. Frank Koehler, Mr. Johnson and a full Orchestra, carefully selected from the best talent of the colony. Price of admission to all parts of the Hall 2s. 6d. Doors open at half past seven. Concert to commence at eight. These Concerts are respectfully dedicated to the Ladles and Families of Melbourne. Gentlemen are politely instructed that smoking will on no consideration be tolerated. Leader of the Orchestra - Herr Strebinger. Conductor - Mr. George Chapman.

CRITERION HALL - Madame Carandini has the honor to announce to the public that her Benefit at the above magnificent Hall, will take place on Tuesday evening, April 18th, on which occasion the most distinguished artists in the colony will appear, including Mrs. Testar (her first appearance here) . . . Ali Ben Sou Alle . . .

[Several advertisements], The Argus (24 April 1854), 8 

A CARD - ALI-BEN-SOU-ALLE respectfully announces to the public that his Benefit at the CRITERION HALL Will take place on Tuesday Evening next, April 25, when an entertainment will be held forth that shall vie with all previous musical endeavors, and on which occasion
Mrs. Testar, Madam Carandini, Herr Strebinger, Mr. Hartigan, Mr. Johnson, together with an Orchestra of the most chosen Artistes in the colony will appear, combining the Entire Talent of the country!!
Hoping to meet indulgence, equivalent to the deserts of the festival, he humbly subscribes himself the public's obedient,

"MELBOURNE. CRITERION HALL", The Sydney Morning Herald (28 April 1854), 4 

WE have Melbourne and Geelong papers to the 24th instant. The following are extracts . . .

CRITERION HALL. - We were agreeably surprised on Saturday evening by the splendid performances of a new violinist, Herr Iverson, who bids fair to become a dangerous rival to Herr Strebinger. His execution is brilliant, as was shown in his playing "Yankee Doodle" of Vieuxtemps, which was rapturously encored. The tone of his instrument is very beautiful, and we listened to the "Tyrolienne" with great pleasure. Madame Carandini was in splendid voice; the Turk played beautifully, and with the exception of the orchestra, every performance was first-rate.

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

Wednesday, May 10th.
Farewell benefit and positively last appearance in the colony of
Overture - Zampa - Orchestra.
England - Quadrille - Orchestra.
Ballad, "I'm leaving thee in sorrow, Annie" (Barker) - Miss Hamilton.
Solo, Turkophone, on entirely new Themes and variations - Ali-Ben-Sou-Alle.
Australian Waltz (Ali-Ben-Sou-Alle) - Orchestra.
New Solo on the Violin (De Beriot) - Herr Strebinger.
Aria, "Il soave e bel contento" (Pacini) - Mrs. Testar.
Great Exhibition Quadrille by Jullien, with Solo on the Turkophone, expressly written by Jullien, for Ali-Ben-Sou-Alle (first time in the colony) - Orchestra.
Song, "Why do I weep for thee" (Wallace) - Miss Hamilton.
Solo on the Violin, Tremolo (De Beriot) - Herr Strebinger.
Song, "Lo! hear the gentle Lark" [sic] Words by Shakspeare, Music by Bishop - Mrs. Testar, Accompanied by Ali-Ben-Sou-Alle.
Alice Polka - Orchestra.
Cheerily Men, the Sailors' Song, by particular desire (Ali-Ben-Sou-Alle) - Orchestra.
Ballad - Mrs. Testar.
Solo on the Turkophone - Ali-Ben-Sou-Alle.
Song, "The spell is broken" - Miss Hamilton.
Storm March Galop - Orchestra.
To commence at 8 o'clock. Price of admission, 5s.

ASSOCIATIONS: Maria Carandini (soprano vocalist); Lewis Henry Lavenu (pianist, conductor); Louis Iverson (violinist); Herr Harendorff (instrumentalist); Frank Kohler (horn player); Joseph Hartigan (ophecleide, Band of the 40th Regiment); Octavia Hamilton (soprano vocalist)

26 May 1854, concert, Seeton's Geelong Hotel, Geelong, VIC

{Advertisement], Geelong Advertiser and Intelligencer (25 May 1854), 3 

A GRAND CONCERT will take place in the LARGE HALL of the above Hotel for the BENEFIT OF THE HOSPITAL AND ORPHAN ASYLUM, on FRIDAY EVENING NEXT, the 26th Instant,
on which occasion the following artistes will appear:
M. Ali-Ben-Sou-Alle.
Mrs. Testar.
Mde. Carandini.
Miss Octavia Hamitlon.
M. Lavenu.
Herr Strebinger.
This Select Concert will be admissible only by Ticket, 12s. 6d. each, to be obtained from six gentlemen whose names appear in today's issue. No Tickets will be sold at the door.
GRAND DUET, Concertante, pianoforte, and violin, Theme from William Tell - Herr Strebinger and Mr. Lavenu - De Beriot and Osborne.
CAVATINA, "Roberto, dearest Roberto (Robert le Diable) - Miss Octavia Hamilton - Meyerbeer.
GRAND FANTASIA, on airs from La Somnambula - Ali-Ben-Sou-Alle - Ali-Ben-Sou-Alle.
SCENE & ARIA, "Ernani involami" (Ernani) - Madame Carandini - Verdi.
GRAND CONCERTO, Violin - Herr Strebinger - De Beriot.
ARIA, "I soave e bel contento," Mrs. Testar - Pacini.
GRAND TRIO, "My Lady the Countess" - Mrs. Testar, Miss Octavia Hamilton, and Madame Carandini - Cimarosa.
GRAND DUETT, Piano Forte, and Violin, on airs from Masaniello - Herr Strebinger & Mr. Lavenu.
NEW BALLAD, "I'm leaving thee in sorrow, Annie" - Madame Carandinl - Barker.
FANTASIA, "In my Cottage near a Wood," - Ali-Ben-Sou-Alle - Ali-Ben-Sou-Alle.
SONG, "Lo here the gentle Lark," Mrs. Testar, with accompanyment of Little Clarionet Obligato - Ali-Ben-Sou-Alle - Sir. H. Bishop.
BALLAD, Why are you wandering here I pray" - Miss Octavia Hamilton - [Nathan]
VARIATIONS BURLESQUE - "Carnival de Venice" - Herr Strebinger - Paganini.
GRAND DUETT, (Norma) - Madame Carandini and Mrs. Testar - Bellini.
VARIATIONS on "Old Folks at Home." - Ali-Ben-Sou-Alle - Ali-Ben-Sou-Alle.
BALLAD, "Why do I weep for thee" - Madame Carandini - Wallace.
FANTASIO, "I tremolo" - Herr Strebinger - Beriot.
SCOTCH BALLAD, "Annie Laurie." - Mrs. Testar.
GOD SAVE THE QUEEN, Mrs. Testar, Miss Octavia Hamilton, and Madame Carandini. Herr Strebbinger, M. Lavenu, and Ali-Ben-Sou-Alle.

"TO-NIGHT'S CONCERT", Geelong Advertiser and Intelligencer (26 May 1854), 4 

"A BILL TO PROVIDE FOR THE PROTECTION OF GEELONG, FROM FOREIGN INVASION", Geelong Advertiser and Intelligencer (29 June 1854), 4 

Whereas it is rumoured that a Russian fleet is now in the Pacific ocean, with no pacific intention towards the Felician Land, and that it is the desire of Nicholas Czar, to establish a Rus in Urbe, whereby he may propagate the doctrine of knoutism - an out-an-outism dangerous, heterodox, presumptuous and extreme. And whereas the inhabitants of the town of Geelong desiring to worship Mammon without disturbance therein, have besought the social council in symposium, assembled for advice in this their emergency and tribulation. And, whereas, it is not desirable that the Bears of the said town, should be encreased, be it therefore enacted by the social council aforesaid-

I. - That it shall be lawful for every man to carry the usual number of arms but not akimbo in public places . . .

X. That the services of a foreign ally being desirable and the employment of the same consistent with the custom of nations, it shall be lawful for the said burghers to enter into alliance with Ali-Ben-Sou-Ali, and the better to achieve the downfall of the said hordes, he, the said Ali-Ben-Sou-Ali, shall, if he object not thereto, advance before the said burghers' host, playing the Turkophone, or Turkophant, or any other phoni or phant, save the sycophant, so hereby the souls of the burghers may be in arms and eager for the fray . . .

In a similar vein, see this earlier: "RUMOUR", Geelong Advertiser and Intelligencer (12 May 1854), 4 

16 August 1854, public ball associated with vice-regal visit, Geelong, VIC

"THE GOVERNOR'S VISIT TO GEELONG. THE BALL", Geelong Advertiser and Intelligencer (17 August 1854), 5 

By nine o'clock the youth and beauty, rank and fashion of Geelong began to assemble in Hooper's splendid room, which was fitted up in a style very different from the usual tawdry decorations of colonial ball-rooms. At ten o'clock, his Excellency and Lady Hotham entered the room, and were conducted to the seats set apart for them but which they soon left, to mix with and make the acquaintance of those who were introduced to them. The band of the 40th occupied the orchestra. The musical event of the evening was the performance of a new waltz, arranged by M. Ali-ben Sou-Alle, entitled the "Queen of the South," and dedicated to Lady Hotham. Its excellence as a piece of music is great, but it appeared to us that it did not receive sufficient orchestral effect. The dancing is no doubt going on, and the assembly enjoying themselves, while our machines are striking off this description, so far, of the proceedings.

ASSOCIATIONS: Charles Hotham (governor)

5 October 1854, arrived Launceston, TAS (from Geelong, previous day)

"ALI-BEN-SOU-ALLE", The Courier (6 October 1854), 2

ALI-BEN-SOU-ALLE, the celebrated performer on the Turkophone, intends to give one or two concerts in. Hobart Town, on his way to Sydney, prior to starting for Europe, where he has an engagement to perform at the approaching Exhibition at Paris. One of the numerous notices which his concerts have received in the Port Phillip press runs as follows, and may serve to give some idea of the nature of his concerts. Ali may be expected to arrive about the 15th instant:

"This gentleman's Musical Festival, in commemoration of the Discovery of Australia, came off last evening, at the room of the Mechanics' Institute, in a manner most satisfactory to the audience and the musician . . . [see above, Argus (10 March 1854)]

"Ship News", The Cornwall Chronicle (11 October 1854), 4 

Passengers per Royal Shepherd, from Geelong.- Messrs. W. Hart, French, Rout, Seignor Ali-Ben-Sou-Alle, and three in the steerage.

The shuttle steamer Royal Shepherd left Geelong on Wednesday morning, 4 October, and entered the Tamar heads on Thursday afternoon, 5 October

7 October 1854, concert, Launceston, TAS

"ALI-BEN-SOU-ALLE", The Cornwall Chronicle (7 October 1854), 5 

Amongst the various wonders which the discovery of gold in the Australian Colonies has brought to our door for our improvement and amusement, that, of the performance on the new musical instrument, the Turkophone may be regarded as equal to, if not surpassing them all. The talented performer whose name heads this notice, has created the greatest astonishment, and given the most unbounded satisfaction at his several performances in Melbourne and Geelong. We gladly announce in our columns to-day his arrival in this town, on his way to Sydney via Hobart Town. He will give a concert this evening at the Cornwall Assembly Rooms . . .

[Advertisement], The Cornwall Chronicle (7 October 1854), 5 

Grand Musical Festival, GIVEN BY
He has performed on this beautiful instrument with the greatest success in Paris and London, before Her Majesty, and the Jury at the Great Exhibition, where he obtained the first Council Medal.
1. Introduction - Piano - Leffler.
2. Solo - Turkophone - "In my Cottage" - Ali-Ben-Sou-Alle.
3. Qnadrille - Piano - Leffler.
4. Solo - Cavatina, - Linda de Chamouni - Petite Clarionette - Ali-Ben-Sou-Alle.
5. Waltz - Leffler.
6. Turkophone - "My Lodging is on the Cold Ground" - Ali-Ben-Sou-Alle.
1. Piano - Leffler.
2. Air - Varièe, for Clarionette - Ali-Ben-Sou-Alle.
3. Scotch Bagpipes - Ali-Ben-Sou-Alle.
4. Pianoforte - Waltz - Leffler.
5. Favorite Air, La Somnambula, Turkaphone, Ali-Ben-Sou-Alle.
6. Finale - God Save the Queen.
Admission. 4s. Children, half-price. Doors open at 7, commence at half-past seven. Tickets to be obtained at the "Cornwall Hotel."

"LAUNCESTON. ALI-BEN-SOU-ALLE", The Courier (11 October 1854), 3 

The Examiner regrets not having space to notice fully this gentleman's performance last evening on the Turkophone, which was excellent, - the tone delightful; his execution on the clarionet wonderful; and his imitation on the Scotch bagpipes so perfect, that it "brought back olden times unto us, passed with the old folks at home." The whole of the pieces performed by Ali-Ben-Sou-Alle were encored, but regret was generally expressed that he was not better sustained. He strongly recommends the lovers of sweet sounds to judge for themselves.

ASSOCIATIONS: Edmund Leffler (pianist)

11 October 1854, concert, Campbell Town, TAS

"MIDLAND AGRICULTURAL ASSOCIATION", The Courier (12 October 1854), 2 

The Sixteenth Annual Show of this Association was held yesterday, in the yards of the late Rainbow Hotel, Campbell Town . . . Amongst the distinguished visitors who showed most auspiciously at intervals during the day was the great musician, Ali-Ben Sou-Alle, who gives a concert on Friday evening at the Assembly rooms.

"THE TURKOPHONE", The Courier (13 October 1854), 2 

The Turkish gentleman, Ali-Ben-Sou-Alle, visited Campbell Town on Wednesday last, and gave a concert, on which occasion he played on the above magnificent instrument.

It is shaped precisely like a Turkish pipe and is made of silver. The mouthpiece is like that of a clarionet, and the combined effect of reed and metal is very peculiar and most pleasing. The lower tones resemble those of a mellowed ophicleide; the high ones those of a powerful flute, or rather of the flute stop of an organ. The brilliancy of the performer's execution - the rapidity with which he made treble and bass notes pursue each other, and almost literally to mingle - was truly admirable.

He also played on the Saxophone (a miniature Turkophone), an instrument equally sweet in its tones as the other, but of less power, and on two clarinets of an improved kind, and different register.

On the whole, to the lover of music, Mons. Ben-Sou-Alle gave a delicious treat. The writer of this brief notice retains a lively recollection of Prospere on the monster ophicleide, of Laurent and König on the cornet-a-piston, of Jullien on the piccolo and clavicor, and of Miss Day on the piano; and he would much prefer to any of these the performance of the Turk on the new and delightful instrument whose name is prefixed to this article.

16 and 18 October 1854, Launceston, TAS; 19 October (and or 26 October), Oatlands, TAS

[News], Launceston Examiner (14 October 1854), 3 

We remind our readers that Ali-Ben-Sou-Alle's next concert will take place at the Cornwall on Monday, when, in addition to the programme, an original piece, entitled the "Tasmanian Polka," composed by All-Ben-Sou-Alle, will be performed. Those who wish for an evening's amusement, we advise to go and hear this astonishing musician.

"ALI-BEN-SOU-ALLE", The Cornwall Chronicle (14 October 1854), 5 

The inhabitants of Launceston will have an opportunity of hearing this talented musician, on his five instruments, on Monday evening next. Those who have not yet heard Ali-Ben-Sou-Alle, should not lose this opportunity.

[2 advertisements], Launceston Examiner (14 October 1854), 3 

Last Grand Musical Festival but one by ALI-BEN-SOU-ALLE,
Who will Perform on the new and Wonderful TURKPOHONE,
In his Grand National Costume.
His engagement from the Council of the Paris Exhibition prevents him staying any longer.
HERR IMBERG has kindly proffered his services to Ali-Ben-Sou-Alle, and will accompany him on the pianoforte.
Tickets 4s. each; to be had at the Cornwall Assembly Rooms, and at Mr. Duthie's, stationer, Brisbane-street. Doors open at half-past Seven, to commence at Eight o'clock precisely. The programme to be given at the doors.

Musical Martinée. [sic]
MORNING CONCERT, By the kind permission of the Rev. H. P. Kane, at St. John's School-room, Upper Elizabeth-street, on TUESDAY, 17th instant.
Doors to open at half-past one, the entertainment to commence at two o'clock precisely.
Number of tickets limited to salt the size of the room.
Tickets' of admission, 5s. each, to be obtained of Mr. Duthie, Stationer, Brisbane-street, and at the Cornwall Hotel.
ON WEDNESDAY EVENING Ali-Ben-Sou-Alle will give a Concert at OATLANDS.

"ALI-BEN-SOU-ALLE", Launceston Examiner (17 October 1854), 2 

This gentleman gave another of his brilliant musical treat last evening. In speaking of his performances it is impossible to employ terms too laudatory. He is a musician of the first order, and his instruments yield the most perfect obedience to the inspiration of his touch. Our readers should not allow an opportunity to hear such a performer to pass.

"ALI-BEN-SOU-ALLE", The Cornwall Chronicle (18 October 1854), 5 

This unequalled artiste gave another of his incomparable performances at the Cornwall Assembly Rooms on Monday evening to a crowded house. It is a difficult thing to furnish even an outline of the performances of Ali-Ben-Sou-Alle; they are unique, as are the instruments on which he plays. Ali is an original musician - an artiste by himself in the wide world, - unequalled - alone - without compeer or rival; he must be heard and seen to be appreciated, and those who enjoy that privilege, cannot fail to feel, however much they may have indulged in musical entertainments in this town, that heretofore they have not heard MUSIC. Each instrument of the five he plays, gives forth, under his touch, a brilliancy of tone, and perfection of execution, which astonishes no less than delights. On Monday night Mr. Imberg accompanied Ali, and in the interim of his performances played a solo on the Piano, with graceful and efficient action. Ali gives his farewell concert this evening; it is uncertain whether he performs here on his return from Hobart Town, on his way to Paris, via Sydney. We recommend those of the inhabitants who have not heard Ali's performances, not to lose the opportunity.

[2 advertisements], The Cornwall Chronicle (18 October 1854), 5 

THIS EVENING, (Wednesday.)
Positively the LAST and Farewell CONCERT given by ALI-BEN-SOU-ALLE,
Who will perform on the new and Wonderful TURKOPHONE, IN A NEW COSTUME,
Piano Accompaniment, by Herr Imberg.
He has performed on this beautiful instrument with the greatest success in Paris and London, before Her Majesty, and the Jury at the Great Exhibition, where he obtained the FIRST COUNCIL MEDAL.
1. Overture - Herr Imberg.
2. Fantasia, "In my cottage," Turkophone - Ali-Ben-Sou-Alle.
3. Piano - Herr Imberg.
4. Cantata, "Vision of the Reveller" - Mr. J. D. Jackson.
5. "My Lodging is on the Cold Ground," Turkophone - Ali-Ben-Sou-Alle.
6. Piano - Herr Imberg.
7. Song - "Far, far upon the Sea," (concertina accompaniment) - Mr. J. D. Jackson.
8. Imitation Scotch bagpipes - Ali-Ben-Sou-Alle.
An interval of ten minutes.
9. Tasmanian Polka - Dedicated to His Excellency Sir Wm. T. Denison, by Ali-Ben-Sou-Alle.
10. Song - English Emigrant - Mr. Jackson.
11. Fantasia, Don Giovanni - Ali-Ben-Sou-Alle.
12. Piano - Herr Imberg.
13. Song, "I love the Free," Concertina Accompaniment - Mr. Jackson.
14. Cavatina - Petite Clarionet - Ali-Ben-Sou-Alle.
15. Fantasia, English, Irish, Scotch National Airs - Ali-Ben-Sou-Alle.
16. Cinderella Buffo - Mr. Jackson.
God Save the Queen.
ALI-BEN-SOU-ALLE, IN returning his best thanks to the inhabitants of Launceston for their attendance at his previous Concerts, begs to apologise for his inability to perform yesterday morning at the Schoolhouse in Elizabeth-street, according to announcement, in consequence of illness.
Ali-Ben-Sou-Alle will give THIS EVENING, Wednesday, Oct. 18th,
HIS LAST CONCERT At the Cornwall Assembly Rooms, to commence at eight o'clock. Doors open at half past seven, tickets 4s., children half price.

ASSOCIATIONS: Julius Imberg (pianist); John Dettmer Dodds Jackson (vocalist); William Denison (governor)

31 October and 2 November 1854, Mechanics' Institute Hall, Hobart Town, TAS

"ALI BEN-SOU-ALLE", Colonial Times (21 October 1854), 3 

THIS gentleman has arrived in town, and announces his intention of giving a series of two concerts only in the course of the next week. The reason for the announcement of two only is, we believe, that he has accepted an engagement in Paris, which will compel his almost immediate return to Europe. His stay can be but very short therefore, particularly as he purposes visiting Sydney before his departure for Constantinople by the Overland mail, en route for Paris. The Melbourne and Launceston journals speak very highly of his musical skill. He plays on some five or six instruments. On returning to Launceston, he will on the way give concerts again at Oatlands and Campbell Town, to make amends for the disappointment of the goodfolk there last week.

"ALI-BEN-SOU-ALLE", The Hobarton Mercury (25 October 1854), 2 

ALI-BEN-SOU-ALLE, As our readers see by our advertisement columns, will give two concerts at the Mechanics' Institute, under the patronage of His Excellency the Lieutenant-Governor. The instrument on which Ali-Ben-Sou-Alle performs is one of great compass and power, and a novelty in this city. We understand that the performer himself is a native of Shumla, with which name the readers of our European intelligence must be by this time tolerably well acquainted. Both from the novelty and intrinsic merit of the entertainment it is well worth a visit.

[Advertisement], The Hobarton Mercury (25 October 1854), 3 

. . . Ali-Ben-Sou-Alle's Concert takes place at OATLANDS on THURSDAY EVENING next, 26th instant.

"ALI-BEN-SOU-ALLE", Colonial Times (31 October 1854), 3 

WE would remind our readers that the first of this gentleman's limited series of Concerts will take place this evening, at the Mechanic's Institute. The instruments he plays, five in number, are remarkable for their power and delicacy. It was a justly founded objection to many of the older metal instruments, that however good their tone might be, they were exceedingly difficult to manage. Ali is himself the inventor of several of those he plays, and has, by a series of improvements, obviated the recurrence of such objections to a very great extent. To judge from a specimen of his powers with which he favored us the other evening, he brings forth the most exquisite notes with equal facility and precision. Some of this belongs to his instruments, but at the same time a good deal belongs to his own skill. His Entertainment of to-night, besides some musical attractions, will have the charm of novelty and variety. And when we add that he is to be assisted by Mr. Buddee, and that Mrs. Dawson will sing some pretty ballads, we shall not need to say any more.

[Advertisement], The Courier (31 October 1854), 4 

The First on TUESDAY EVENING, October 31,
under the immediate patronage of HIS EXCELLENCY SIR W. T. DENISON.
ALI-BEN-SOU-ALLE HAS the honour to announce that he will give the first of his series of Two Concerts, under the above distinguished patronage, as above, when he will perform upon the new and wonderful TURKOPHONE And Four other Instruments,
He has performed with the greatest success in Paris and London, before Her Majesty And the Jury of the Great Exhibition, where be obtained the FIRST COUNCIL MEDAL.
1. Introduction.
2. Fantasia Sonnambula - TURKOPHONE - ALI-BEN-SOU-ALLE.
S. Song - Lovely Night - Mrs. Dawson - Tully.
4. Solo - My lodging is on the cold ground - TURKOPHONE - ALI BEN-SOU-ALLE.
5. Solo - Lucia di Lammermoor. Piano (by desire) - Mr. Buddee - Prudent.
6. Song - In happy moments - Mrs. Dawson - Wallace.
7. Cavatina - Linda di Chamouni - Petite Clarionette - ALl-BEN-SOU-ALLE - Donizetti.
1. Tasmanian Polka, dedicated to His Excellency Sir W. Denison by ALI-BEN-SOU-ALLE.
2. Song - Lo, hear [sic] the gentle lark - Mrs. Dawson - Bishop.
with PETITE CLARIONET obligato accompaniment - ALI-BEN-SOU-ALLE.
3. Solo - Piano - Mr. Buddee.
4. Solo - In my cottage - TURKOPHONE - ALI-BEN-SOU-ALLE.
5. Song - I'll speak of thee - Mrs. Dawson - Hawes.
6. Solo - GRAND CLARIONET - German theme - ALI-BEN-SOU-ALLE - Beer.
7. Song - The Dream - Mrs. Dawson - Knight.
8. Solo - TURKOPHONE - Kate Kearney - ALI-BEN-SOU-ALLE.
9. Fantasia on National Tunes English, Irish, and Scotch - GRAND CLARIONET - ALI-BEN-SOU-ALLE.
Tickets 5s each; may he obtained at Messrs. Huxtable and Co. and Mr. Walch stationers; the Waterloo Hotel; the Mercury Office; and of the Librarian at the Mechanics' Institute. The performance will commence at eight o'clock.
N.B - The Concert on Thursday evening next will be the last that can be performed in this colony, Ali-Ben-Sou-Alle being under engagement to proceed to the Panis Exhibition by the next Overland Mail.

"ALI-BEN-SOU-ALLE", Colonial Times (1 November 1854), 3 

ALI-BEN-SOU-ALLE's first Concert was given last evening, at the Mechanics' Institute. The attendance was very good, all things considered, but will be much better we suppose tomorrow night, which is, we would remind our readers, positively the last he can give in this Town. His appearance evidently took the audience by surprise. The accounts given of him by the journals on the other side had aroused a feeling of curiosity not easily to be allayed. The Turkophone, as he calls it, charmed the auditory by the sweetness and variety of its tones. And the power displayed in the other instruments played by him was no less remarkable. The imitation of the bagpipe was very capital, the illusion being perfect. The audience were of course thrown into ecstacies of delight, and roars of laughter in which the player was himself compelled to join interrupted him for a time. We have not room for more particulars, so must content ourselves by saying that Mrs. Dawson sang in excellent style. Mr. Buddee's performances are too well known to need our praise. His playing last night was quite of its usual character. We were rather glad to learn that he intends giving a Concert himself in the course of this month.

"ALI-BEN-SOU-ALLE'S CONCERT", The Courier (1 November 1854), 3 

[Advertisement], The Courier (1 November 1854), 3

ALI-BEN-SOU-ALLE HAS the honour to announce that he will give the last of his series of Two Concerts,
as above, when he will perform upon the new and wonderful TURKOPHONE And Four other Instruments, IN HIS GRAND NATIONAL COSTUME.
He has performed with the greatest success in Paris and London before Her Majesty and the Jury of the Great Exhibition, where he obtained the FIRST COUNCIL MEDAL.
1. Introduction.
2. Fantasia varie - Don Juan - Mozart - TURKOPHONE - ALI-BEN-SOU-ALLE.
3. Song - The Slave Mother - Mrs. Dawson - Linley.
4. Solo - TURKOPHONINI - Old Folks at home, varie, with Bolero finale - ALI-BEN-SOU-ALLE.
5. Solo - Piano - Norma - Mr. Buddee - Prudent.
6. Song - The Young Nadir - Sicilienne - Mrs. Dawson - Balfe.
7. Solo - GRAND CLARIONET- My skiff is on the shore - ALI-BEN-SOU-ALLE.
PART II. 1. Tasmanian Polka (by desire), dedicated to His Excellency Sir W. Denison by ALl-BEN-SOU-ALLE.
2. Song- Scenes of my Youth - Mrs. Dawson - Benedict.
4. Solo - Piano - Lucrezia - Mr. Buddee.
5. Song - Robert, toi que j'aime - Mrs. Dawson - Meyerbeer.
6. Solo - PETITE CLARIONET - Linda di Chamoni - ALI-BEN-SOU-ALLE.
7. Lo, hear the gentle lark [sic] - Mrs. Dawson - Sir H. Bishop with Petite Clarionet obligato accompaniment. ALI-BEN-SOU-ALLE.
8. Solo - TURKOPHONINI - My lodging is on the cold ground - ALI-BEN-SOU-ALLE.
Tickets, 5s. each, may be obtained at Messrs. Huxtable & Co. and Mr. Walch, Stationers; the Waterloo Hotel; the Mercury-office; and of the Librarian at the Mechanics' Institute. The performance will commence at Eight o'clock.

"Public Amusements: ALI-BEN-SOU-ALLE'S concert . . .", The Courier (4 November 1854), 2

ALI-BEN-SOU-ALLE'S concert on Thursday evening went off spiritedly, the attendance being pretty numerous, and the visitors not sparing of their applause to the gifted performer, whose instruments seem to be of that class which the Jurors of the Great Exhibition considered to possess charms equal to the originality of their tone and carry to the highest degree of perfection, la voix expressive de l'orchestre. The Tasmanian Polka, dedicated to Sir William Thomas Denison, was one of the best received pieces. Owing to the rather delicate state of health of Mrs. Dawson, A. B. S. Alle performed several extra pieces upon the occasion. We believe this talented musician, when he leaves here, will first visit Geelong, and then proceed to Adelaide, where he may be expected to arrive at the end of the present month. A. B. S. A. gives an entertainment at New Norfolk on Tuesday next; and another in Hobart Town next Monday, at Del Sarte's Rooms.

"ALI-BEN-SOU-ALLE", The Hobarton Mercury (4 November 1854), 2 

Seldom have so many opportunities presented themselves within the same limited period, to the music loving portion of our community for an indulgence in their favorite relaxation as occurs at the present time, when not only musical entertainments are unusually frequent, but also especially pre-eminent in character. We recently had occasion to speak in terms of commendation respecting the concert at Government House, and again it devolves upon us to eulogise in no very measured terms the performance that has, on two evenings during the present week, been greeted with the acclamations of audiences such us have rarely been equalled in the Hall of the Mechanics' Institute.

The introduction of any new instrument is usually accompanied with so many laudatory recommendations, both as regards its own powers and those too of the performer, that disappointment frequently succeeds an exalted expectation. Ali-Ben-Sou-Alle refrained from such preliminary laudations, and truly he did not need them, either on behalf of himself or either of his instruments.

The Fantasia on Somnambula on the first evening sufficed to convince the audience that a treat of no ordinary description was in store, nor could the most sanguine expectations have been other than fully gratified.

In the brief notice to which we must necessarily confine ourselves, it were impossible sufficiently to describe the varied powers, both in tone and compass, exhibited on the Turkophone; an instrument combining the fulness of the Ophicleide, and much of the tone and power of the Cornopean, with the flowing softness of the flute. Ali-Ben-Sou-Alle is a perfect master of the instrument in all its capabilities; but this is saying little: he is evidently a performer of high musical ability, and possessed of a degree of talent such as is seldom exhibited before a Colonial or even an European auditory. His execution of "The last Rose of Summer" (with variations) amply justifies this expression of our opinion, as too, the imitation of the Scotch Bagpipe. This is a favorite piece of exhibition among many instrumental performers, and we have heard it admirably performed both on the violin and some wind instruments in England, but seldom, we think we may say never, with so much perfection as by our Turkish visitor on Tuesday evening last.

In a series of pieces, each of which was given with all the care and taste for effective display which characterises the perfect musician, it were not expedient to attempt a selection of any with a view to place its merits pre-eminently forward; generally this universal perfection is not found to obtain, but in the case of Ali-Ben Sou-Alle, an exception, and that of a most marked kind, must certainly be acknowledged; his skill in execution upon each of the four instruments he introduced is of the most accomplished grade; his power of perception and the spirit infused into every piece were equally signal; in short, Ali-Ben-Sou-Alle may with justice claim a place among the ablest musicians of the present day, not only as a performer, but also as possessing a deep theoretical knowledge of the art together with a facility for the just appreciation of an author. We must also say a word of congratulation upon the nature of the music selected on occasion of both concerts, as of that kind best adapted for gratifying the tastes of a mixed audience, while it contained portions from the best composers, which, as examples of melody could be appreciated by all.

Nor must we close our remarks without a passing eulogy on the performance of Mr. Buddee. This gentleman sufficiently maintained a high reputation as a pianist of considerable ability; he ably supported the endeavours of Ali-Ben-Sou-Alle to render the concert one of more than usual perfection, and in the solo on "Lucia di Lammermoor" displayed powers both of taste and execution, which justly earned the unanimous applause of the audience.

As we premised, the Second Concert on Thursday evening proved equally as attractive as its predecessor, Ali-Ben-Sou-Alle perfectly electrifying his auditory by the immensity of his execution upon the several instruments he has so perfect a command of. Mr. Buddee's solo from Norma was brilliantly executed, and called forth an unanimous encore. Mrs. Dawson sang several pieces in her usual style.

We trust that Ali-Ben-Sou-Alle will not depart without affording the inhabitants another opportunity of listening to his delightful and extraordinary performance.

"ALI-BEN-SOU-ALLE", Colonial Times (4 November 1854), 3 

ASSOCIATIONS: Sarah Dawson (soprano vocalist); Camille Del Sarte (tenor vocalist, composer, venue owner)

6 November 1854, concert, Del Sarte's Rooms, Hobart Town, 7 November, concert, Court House, New Norfolk, TAS

[2 advertisements], The Courier (6 November 1854), 3 

Has the honour to announce that at the request of many persons who were disappointed in hearing him upon a former occasion, he will give a Concert as above, when he will perform upon the new and wonderful
And Four other Instruments,
He has performed with the greatest success in Paris and London before Her Majesty and the Jury of the Great Exhibition, where he obtained the
Upon this occasion he will be assisted by M. Buddee and M. Del Sarte, who have kindly given their services for the occasion.
1. Solo - TURKOPHONE - In my cottage - ALl-BEN-SOU-ALLE.
2. Song - Shells of the ocean - Mrs. Dawson.
3. Solo - TURKOPHONE (by desire) Old folks at home - with Bolero finale - ALI-BEN-SOU-ALLE.
4. Song - Sounds so joyful - Cavatina Sonnambula - Mrs. Dawson - Bellini.
8. Romance - Vous n'etre plus de meme - Mons. Del Sarte - Louisa Puget.
6. Solo - TURKOPHONE - The celebrated Polka from the opera Le Prophète - Meyerbeer - ALI-BEN-SOU-ALLE.
An Interval of Ten Minutes. PART II.
8. Solo - Kate Kearney - TURKOPHONE - ALI-BEN-SOU-ALLE.
9. Solo - Robert, toi que j'aime - Cavatina - Mrs. Dawson - Meyerbeer.
10. Solo - TURKOPHONE - Fantasia from Sonnambula - ALI-BEN-SOU-ALLE.
11. Romance - Sur un air chinois, composée par M. Del Sarte - P. Harrison [? Henrion].
12. Song - Lo, hear the gentle lark - with Petite Clarionette accompaniment - MRS. DAWSON & ALI-BEN-SOU-ALLE.
13. Solo - TURKOPHONE - My lodging is on the cold ground - ALI-BEN-SOU-ALLE.
Tickets, 5s. each, may be obtained at Messrs. Huxtable & Co. and Mr. Walch, stationers; the Waterloo Hotel; and at M. Del Sarte's Rooms.
The performance will commence at Eight o'clock.

On TUESDAY EVENING, 7th November.
HAS the honour to announce that he will give a GRAND CONCERT as above,
upon which occasion he will perform upon the new and wonderful TURKOPHONE, And four other Instruments, and sing two Romances
In his Grand National Costume.
He has performed with the greatest success in Paris and London, before Her Majesty and the Jury of the Great Exhibition, where he obtained the First Council Medal.
1. Solo - TURKOPHONE - In my cottage - ALI-BEN-SOU-ALLE.
2. My skiff is on the shore, varié, for grande Clarionette - ALI-BEN-SOU-ALLE.
3. Solo - TURKOPHONINI - My Lodging is on the cold ground - ALI-BEN-SOU-ALLE.
4. Song - La fleur du souvenir - ALI-BEN-SOU-ALLE.
5. Solo -TURKOPHONE - The celebrated Polka from the Opera Le Prophète - Meyerbeer.
6. Imitation of Scotch Bagpipe.
An Interval of Ten Minutes.
1. Solo - TURKOPHONINI - Old folks at home - with Bolero finale - ALI-BEN-SOU-ALLE.
2. Cavatina - from the Opera Linda da Chamouni, for Petite Clarionette - Donizetti.
3. Solo - TURKOPHONE - Fantasia - from the Opera Sonnambula - ALI-BEN-SOU-ALLE.
4. Song - Les Cannottiers de Paris - ALI-BEN-SOU-ALLE.
5. Fantasia for Grande Clarionette - English, Scotch, and Irish Airs - ALI-BEN-SOU-ALLE.
Family tickets, to admit five, £1. Single tickets, 5s. Children half-price. To be had at Allwright's Hotel. The Performance will commence at Eight o'clock precisely.

"ALI-BEN-SOU-ALLE'S FAREWELL CONCERT", The Courier (8 November 1854), 3 

The farewell concert of Ali-Ben-Sou-Alle, at M. Del Sarte's Rooms, on Monday evening, was not so numerously attended as it ought to have been, considering the very great claims this gentleman possessed on the support of the admirers of the highest order of musical talent. The company, however, although few in number, were extremely select, including many of the leading families of Hobart Town and its vicinity. The beauties of that extraordinary instrument, the Turkophone, were never made so strikingly apparent as on this occasion; indeed, in his hands it appears capable of producing any sound, from the softest note of the gentle flute to the more inspiriting but harsher sound of the thrilling bagpipe.

The concert commenced with a solo on the Turkophone, by Ali Ben-Sou-Alle, on the simple air of "In my cottage near a wood," which was used by the gifted musician as a theme on which to found his own comments, in the shape of some of the most clever and brilliant variations we ever remember to have listened to. It was received with rapturous applause. The second solo, on the well known air of "The old folks at home," was equally successful. The imitations of the Scotch bagpipes were irresistible. We could not have believed that an instrument capable of discoursing such sweet music could have sent forth sounds as harsh and shrill as those which proceed from the Scotch bagpipe, an instrument which to our ears produces about as pleasant music as the scream of a steam whistle.

Mrs. Dawson, whose valuable services, as well as Mr. Buddee's and M. Del Sarte's, had been engaged for the occasion, sang some sweet ballads with great taste. She was in remarkably good voice. In the second part of the concert, Ali-Ben-Sou-Alle created even more sensation, his solos on the grande and petite clarionettes being master-pieces. The solo accompaniment on the latter instrument, to Mrs. Dawson's song, "Lo, here the gentle lark," was exquisite.

Mr. Buddee's accompaniment throughout the evening left nothing to be desired. It is scarcely possible to give it higher praise than to say it was worthy of his acknowledged talent. The entertainment gave great satisfaction; indeed, we seldom remember to have been present at one where the interest was so fully sustained throughout.

"ALI-BEN-SOU-ALLE", The Tasmanian Colonist (9 November 1854), 2 

The farewell concert of this talented musician, came off on Monday evening, at M. Del Sarte's rooms, Harrington-street. The attendance was not good, but the performances went off with considerable eclat. The performance on the Turkophono was admirable, particularly the air and variations, "In my cottage near a wood." M. Del Sarte sang two very pleasing Romants which were loudly applauded. Mrs. Dawson sang a beautiful ballad called "Songs of Ocean," which elicited unanimous applause; and "Lo [here] the Gentle Lark" with the accompaniment by Ali-Bon-Sou-Alle, on the clarionette. But the grand feature of the evening was the imitation of the Scotch Bagpipes, which elicited the rapturous applause of the audience. There has seldom been a greater treat presented to a Tasmanian audience, and should the talented artist who has won "golden opinions" from the admirers of melody, again visit our shores, we feel confident that a hearty welcome will be his.

"Shipping Report. DEPARTURES", The Hobarton Mercury (11 November 1854), 2 

Nov 8 - Steamer City of Hobart, 363 tons, G. V. Bentley, for Melbourne; passengers . . . Miss Pitt, Miss Pearce, Ali-Ben-Sou-Alle, and 44 steerage.

17 November 1854, letters sent from Geelong, VIC, to Launceston and Sydney

[Open letter], The Cornwall Chronicle (22 November 1854), 5 

'To William L. Goodwin, Esq., Launceston.

My Dear Sir, - I cannot allow the opportunity of the Royal Shepherd's departure for Launceston to pass by without writing you a few lines to inform you of my safe return to this town, and of the grateful feeling I entertain of the overwhelming kindness which I experienced during my short but delightful stay in Launceston. To you, Dear Sir, and to all those friends who so favourably received me, a stranger, on your hospitable shores, I wish thus publicly to convey the sense of the deep and lasting impression which this kindness has aroused in my heart, and shall consider that you are adding one more favour to the many already conferred upon me, by announcing the same in your columns.

In a few days I intend starting for Sydney, and on my return hither I hope I shall still find time (letters received per Overland Mail allowing me a delay of two months) to visit your town once more and tender my thanks in person.

Among the numerous friends to whose memory I would particularly wish to be recalled, I may be allowed to name Messrs. Duigan, Robertson, J. W. Hatton, W. T. Bell, Dr. Harrington (Campbell Town), Dr. Casey, the Rev. H. V. Kane (of the Grammar School), Messrs. Douglas, Clyne (Cornwall Hotel), Quinlan (Oatlands), M. L. Goodwin, Gibson, and several others, whose names, though not their kindness, have escaped my memory.

In the fervent hope that my wish to see you and thank you in person, prior to my departure for Europe, may be realised - I have the honour to remain, my Dear Sir, your ever grateful and obliged,
Geelong, November 17, 1854.

P.S. - May I request you to correct any error I, as a foreigner, may have committed in the names of my friends in Launceston?

ASSOCIATIONS: William Lushington Goodwin

"MUSICAL", Empire (22 November 1854), 5 

A Turkish gentleman, bearing the name of Ali-Ben-Sou-Alle (who is spoken of by our contemporaries in Victoria and Tasmania as a musician of the highest order), has forwarded to us the following communication respecting his contemplated professional visit to Sydney, by the next steamer from Melbourne: -

"Geelong, l7th November, Sir, - If I have broken faith with my friends and the public in Sydney as to the period of my visit, it is owing to an accident which, for several weeks, deprived me of the use of my arm. If, sir, as I expect, I find in Sydney those facilities for getting up grand orchestral music, (which I missed in my late tour in Launceston and Hobart Town,) I shall endeavour to avail myself of the same to allow the music-loving and discriminating public of Sydney an opportunity of judging of my compositions for full orchestral bands. I have the honour to remain, sir, yours obediently, ALI-BEN-SOU-ALLE."

"ALI-BEN-SOU-ALLE", Freeman's Journal (25 November 1854), 3 

"ALI-BEN-SOU-ALLE", Bell's Life in Sydney and Sporting Reviewer (25 November 1854), 2 

2 December 1854, concert, Queen's Theatre, (Emile Coulon's benefit), Melbourne, VIC

"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. Amongst the attractions of the evening are the "Marsellaise," and the celebrated "Choeur des Girondins," which will be sung in character by M. Conlon; a duet, by Mrs. Testar and M. Coulon; another in which Ali-Ben-Sou-Alle will take part . . .

ASSOCIATIONS: Emile Coulon (bass vocalist)

13 December 1854, arrived, Sydney, NSW

"ALI-BEN-SOU-ALLE", Freeman's Journal (16 December 1854), 11 

This highly accomplished Musician, who has been so favourably spoken of by the Press of the neighbouring colonies, arrived in Sydney by the Governor-General on Wednesday last, and intends giving his first concert on Thursday evening next.

21 December 1854, concert, School of Arts, Sydney, NSW

[Advertisement], Empire (20 December 1854), 1 

Thursday, December 21.
First appearance of ALI-BEN-SOU-ALLE, who will perform on the new and wonderful Turkaphone,
and four other instruments, in his grand national costume.
He has performed on this beautiful instrument with the greatest success in Paris and in London, before Her Majesty and the Jury at the great Exhibition, where it obtained THE FIRST COUNCIL MEDAL.
On this occasion he will be assisted by Miss Flora Harris, Mons. Valere (his first appearance), and Mr. Charles S. Packer.
Overture, Kreutzer - BAND.
Song - " Vieni la mia vendetta" (Lucrezia Borgia), Donizetti - MONS. VALERE.
Song - "Oh Charming May," Rodwell - Miss FLORA HARRIS.
Grand Fantasia - "In My Cottage" - Turkophone - ALI-BEN-SOU-ALLE.
Duet - "What are the Wild Waves," Glover - Miss FLORA HARRIS AND MONS. VALERE.
Fantasia - Pianoforte (Don Juan), Schulhof - Mr. CHARLES S. PACKER.
Cantata - "Adelaide," Beethoven - Miss FLORA HARRIS.
Cavatina - Petite Clarionette (Linde di Chamouni) - ALI-BEN-SOU-ALLE.
Imitation of the Scotch Bagpipes - ALI-BEN-SOU-ALLE.
Polka, Wallerstein - BAND.
Song - "Summer" - Miss FLORA HARRIS.
Grand Fantasia - "In My Lodging" - Turkophonini - ALI-BEN-SOU-ALLE.
Barcarolle - "Oh que la nuit est belle" (Haidee), Auber - MONS. VALERE.
Fantasia - "La Sonnambula - Turkophone - ALI-BEN-SOU-ALLE.
Ballad - "The Bonny Wee Wife" - Miss FLORA HARRIS.
National Song - "La Marseillaise" - MONS. VALERE.
Grand Fantasia - Grand Clarionette - English, Irish, and Scotch Airs - ALI-BEN-SOU-ALLE.
Tickets, 5s. each; Reserved Seats, 7s. 6d. each: - obtainable of Messrs. Johnson and Co., Musical Repository, Pitt-street; Messrs. Woolcott and Clarke, George-street; and at the School of Arts.
Doors open at half-past seven; to commence at eight o'clock precisely.

"ALI-BEN-SOU-ALLE'S FIRST CONCERT", The Sydney Morning Herald (21 December 1854), 5 

This evening, at the Theatre of the School of Arts, this artiste gives his first concert before a Sydney audience. He will perform on the Turkophone, an instrument of his own invention, and which he obtained high approval from the best critical circles of Paris and London. He will be assisted by Miss Flora Harris, formost amongst whose selections is the beautiful "Adelaide" of Beethoven; and by Monsieur Valere, who will sing Auber's barcarole from Haidee, "Oh que la nuit est belle," and "La Marsellaise." Mr. Charles S. Packer conducts the concert.

"ALI-BEN-SOU-ALLE'S CONCERT", Empire (22 December 1854), 5 

This gentleman gave a concert, yesterday evening, at the School of Arts, in Pitt-street. It was very well attended, the theatre of the institution being as full as it could be with comfort. Some curiosity has been excited with regard to the musical powers of this performer, who has undoubtedly acquired a very high reputation in the neighbouring colonies. There can be no doubt but that his reputation is well deserved, for he is an accomplished musician, and introduces to the world perfectly novel instruments. The turkophone, as it is called, is a wind instrument, with all the sweetness of the flute and the roundness and depth of the French horn. It possesses a peculiar richness and fulness of tone, and is of great compass - nearly three octaves - while it is capable of the most rapid execution. In the hands of M. Sou Alle it can "discourse most excellent music," as the plaudits of the large audience last night fully proved. He was unanimously encored, and favoured the audience with a repetition of the performance. He subsequently performed on the grand and petite clarionet; and also gave a most excellent imitation of the Scotch bagpipes, upon an instrument that somewhat resembled the hautboy. This was a very complete delusion. It would have been impossible, we think, for a "canny Scot," without the aid of' his eyes, to have decided that he was not listening to his national instrument, except that we never heard the bagpipes played so harmoniously. This effect was loudly cheered and encored. Altogether this gentleman established his claim to be regarded as a distinguished musician, and we are convinced that a great success awaits him here, for his versatility of accomplishment is so great that he is capable of amusing an audience for a whole evening by his own exertions. He was assisted last evening by Miss Flora Harris, who has recently returned from the Moreton Bay district, where she has, we see, by the journals, been earning golden opinions and delighting enthusiastic audiences, so much so, that they broke out in a testimonial. She sang with great taste and expression the songs allotted to her. The concert also introduced a new candidate for public favour in the person of a Mons. Valere, who sung several solos and assisted Miss Harris in a duet. This gentleman possesses a voice very similar in quality to that of Monsieur Coulon, and he is evidently a cultivated musician. He is a decided acquisition to the Sydney musical world. Mr. Charles Packer accompanied M. Sou Alle on the pianoforte in a masterly manner. Altogether the concert was an excellent one, and all present seemed to be highly delighted.

"MUSIC", The Sydney Morning Herald (22 December 1854), 5 

Miska Hauser, after a series of five most brilliant and successful concerts, takes his leave of Sydney. The lovers of music of the highest order will regret this announcement. With respect to his extraordinary effects as a violinist, it has been our pleasurable task to speak in terms of the highest praise; but beyond this, we have invited attention to the classical taste - which has been evinced in his own compositions, and in his selections and arrangements, distinctly marking the true musician. We understand that, previous to Christmas, Miska Hauser proposes to visit Windsor; and, after the holidays, to proceed to Newcastle and Maitland, where, we feel assured, he will receive a most cordial reception. Last evening, at the School of Arts, Ali-Ben-Sou-Alle made his first appearance before a Sydney audience, and performed on the turkophone, and four other instruments, varying in tone and effect from the opheclide, clarionet, and flageolet. He names these instruments the turkophone, turkophonini, grand clarionette, and petite clarionette. The programme was well arranged, and Ali-Ben-Sou-Alle was supported by Miss Flora Harris, Mr. C. S. Packer, and Monsieur Valere. The latter gentleman made his first appearance, and sang Donizetti's "Vieni la mia vendetta," Auber's "Oh que la nuit est belle," and "La Marseillaise," with great success. Miss Flora Harris, who has just returned from a trip to the Moreton Bay district, where she was received with the greatest favour, sang, after some national ballads, Beethoven's Adelaide, which elicited great applause. Mr. Charlea S. Packer, to whose careful conduct of the concert we must especially refer, performed Schulholf s grand fantasia for the pianoforte, from Don Juan. Of the various effects produced on as various instruments by Ali-Ben-Sou-Alle, it would be impossible to speak without entering into technicalities, which would necessarily be tedious.

THE MUSIC OF THE WEEK", Bell's Life in Sydney and Sporting Reviewer (23 December 1854), 2 

Want of space prevents our giving the lengthened criticism on the three great musical events of the week which we should wish to do. For the opera of Tuesday night, "The Night Dancers", suffice it to say that it was very well put on the stage, the scenic effects good, and the company, individually and collectively, did their best. MISKA HAUSER'S concert was successful in every way but that of remuneration to so deserving an artiste . . . Of Ali-Ben-Sou-Alle it must be allowed that he is a great player on his beautiful self-invented instruments, and fully evinces himself a thorough musician. He will appear again next week, and should be heard by all who seek novelty in "sweet sounds." His first appearance at the School of Arts, on Thursday evening, was warmly greeted by a fashionable and crowded audience.

"ALI-BEN-SOU-ALLE", Freeman's Journal (23 December 1854), 10 

This accomplished musician gave his first concert on Thursday evening last, at the School of Arts, Pitt-street. There was a very good attendance, considering the other attractions of the week - the theatre of the Institution being nearly full. His performances upon various instruments are beyond our power of description, and elicited the warm plaudits of the delighted auditory. His execution on the Turkophone was really wonderful, and his imitation of the Scotch Bag-pipes on an instrument resembling the hautboy, was so perfect, that it enthralled the celtic portion of the audience. The whole of the pieces performed by ALI-BEN-SOU-ALLE were rapturously encored, to which he courteously responded. He was ably supported by Mons. Valere and Miss Flora Harris. Monsieur V. sang the Marseillaise in a manner that forcibly reminded us of M. Coulon. To such of our fellow citizens as did not avail themselves of the first opportunity of listening to this distinguished musician, all we can say is, the sooner they do so the better, when they will have an opportunity of seeing his splendid Oriental Costume. We have no doubt that Ali-Ben-Sou-Alle will become a favourite with the Sydney public, and that the School of Arts will be too small for the audiences that will greet him upon future occasions.

ASSOCIATIONS: Flora Harris (soprano vocalist); Charles Sandys Packer (pianist, conductor); Miska Hauser (violinist, composer)

Ali-Ben Sou-Alle Illustrated Sydney News 23-12-1854

[Advertisement], The Illustrated Sydney News (23 December 1854), 460

Possibly a portrait of Sou-Alle taken from life by a Sydney artist; but perhaps as likely, given the lack of any musical reference, a stock image of a theatrical "Turk"; notably, it was not reused with Sou-Alle's later, and smaller, advertisement in the same journal, nor known to have been reused elsewhere; compare other image below

26 December 1854, concert, Williams's Hotel, Parramatta, NSW

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (23 December 1854), 3 

PARRAMATTA. ALI-BEN-SOU-ALLE. - Being about to prolong his stay in this country, begs to inform his friends and the public of Parramatta, that he will give a Grand Concert, on Tuesday, the 26th Dec., 1854, at Williams' Hotel, (late Nash's). The public of Sydney are respectfully reminded that his last two Concerts will be given on Wednesday and Thursday, 27th and 28th Dec., when he will perform, &c., &c.

27 and 28 December 1854, 2 concerts, School of Arts, Sydney, NSW

[Advertisement], The Sydney Morning Herald (27 December 1854), 2 

SCHOOL OF ARTS. - WEDNESDAY, December 27th. - GRAND CONCERT. - Last appearance but one of ALI-BEN-SOU-ALLE, on which occasion he will perform on the new and wonderful Turkophone and four other instruments, in his grand national costume. He has performed on this beautiful instrument with the greatest success in Paris and in London, before her Majesty and the jury at the Great Exhibition, where it obtained the first Council medal. He will also be assisted by Mons. Valere and Mr. Charles S. Packer.
Overture - Band, Kreutzer.
Song - "Vieni la mia vendetta" (Lucrezia Borgia), Donizetti - Mons. Valere
Waltz - Band
Grand Fantasia - "Don Juan," turkophone, - Ali-Ben-Sou-Alle - ALI-BEN-SOU-ALLE.
Song - (Triste Exile), Opera Reine de Chypre, Halevy - Mons. Valere
Fantasia - Pianoforte (Don Juan), Schulholf, - Mr. Charles S. Packer
Polka - Band Cavatina - Petite clarionette (Linda di Chamouni), - Ali-Ben-Sou-Alle - ALI-BEN-SOU-ALLE.
Imitation of the Scotch bagpipes, - Ali-Ben-Sou-Alle - ALI-BEN-SOU-ALLE.
Overture - Band, Wallerstein
Grand fantasia - "Old Folks at Home," Turkophonini, - Ali-Ben-Sou-Alle - ALI-BEN-SOU-ALLE.
Barcarolle - "Oh que la unit est belle" (Haidee), by desire Auber, - Mons. Valere
Fantasia - "La Sonnambula," turkophone, - Ali-Ben-Sou-Alle - ALI-BEN-SOU-ALLE.
National song - "La Marseillaise," - Mons. Valere.
Grand fantasia - Grand clarionette - English, Irish, and Scotch airs, - Ali-Ben-Sou-Alle - ALI-BEN-SOU-ALLE.
Finale - "God save the Queen."
Conductor - Mr. CHARLES S. PACKER.
Admission, 5s.; reserved Beats, 7s. 6d.; numbered ditto, 10s. 6d.
Tickets may be obtained of Messrs. Johnson and Co., Musical Repository, Pitt-street; Messrs. Woolcott and Clarke, George-street; Mr. Mader, George-street; and at the School of Arts. Doors open at half-past seven; to commence at eight o'clock precisely.

[Advertisement], Empire (28 December 1854), 1 

Last appearance of ALI-BEN-SOU-ALLE, on which occasion he will perform on the new and wonderful Turkophone, and four other instruments, in his Grand National Costume. He has performed on this beautiful instrument with the greatest success in Paris and in London, before Her Majesty and the Jury at the Great Exhibition, where it obtained THE FIRST COUNCIL MEDAL.
He will also be assisted by Mons. VALERE (his third appearance) and Mr. CHARLES S. PACKER.
Overture - Band - Widmann
Air - Joseph - Mehul - Mons. Valere
Grand Fantasia - Turkophone - ALI-BEN-SOU-ALLE
Polka - Band
Standard-Bearer - Lindpainter
Solo - Petite Clarionette - ALI-BEN-SOU-ALLE
Imitation of the Scotch Bagpipes - ALI-BEN-SOU-ALLE.
Overture - Band
Solo - Turkophonini - ALI-BEN-SOU-ALLE
Serenade - Melodii - Schubert - Mons. Valere
Solo - Pianoforte - Mr. Charles S. Packer
Grand Fantasia - Sonnambula (by desire) - ALI-BEN-SOU-ALLE
Grand Fantasia - Grand Clarionette - ALI-BEN-SOU-ALLE
Finale - "God Save the Queen."
Conductor - Mr. Charles S. Packer.
Admission. 5s.; Reserved Seats, 7s. 6d.; numbered ditto, 10s. 6d.
Tickets may be obtained of Messrs. Johnson and Co., Musical Repository, Pitt-street; Messrs. Woolcott and Clarke, George-street; Mr. Mader, George-street; and at the School of Arts. Doors open at Half-past Seven; to commence at Eight o'clock precisely.


To call up all the TROVE tagged newspaper items for 1855:

1 January 1855, projected concerts, Liverpool, NSW; 2 January, Campbelltown; 3 January, Camden

"ALI-BEN-SOU-ALLE", Freeman's Journal (30 December 1854), 10 

We beg to apprise our country friends that this distinguished Musician intends to make a tour through the provincial towns of the colony, where he intends giving a series of Musical entertainments that cannot fail to be attractive. Ali-Ben-Sou-Alle requires no puffing, as he is a host in himself, and he will be accompanied by that charming Vocalist Mons. Valere. On Monday next he will give a concert at Liverpool, on Tuesday in Campbelltown, on Wednesday in Camden, and on Thursday he will start for Goulburn.

"ALI-BEN-SOU-ALLE", Bell's life in Sydney (30 December 1854), 2

17 January 1855, concert, Yass

"YASS. JANUARY 20", The Sydney Morning Herald (26 January 1855), 5

On Thursday evening the inhabitants of Yass were indulged with a treat which they do not often enjoy. Ali-Ben-Sou-Alle, who is now taking a tour through the southern districts, announced a concert at the Royal Hotel. The large room was completely filled: the audience being composed of all classes of this little community. We cannot exactly tell how the celebrated instrument which this performer calls peculiarly his own, may be described, Jones calls it a little ophicleide - others characterise it as something between the sax-horn and the cornopean. At any rate it can in the hands of its master, bring forth tones of exquisite sweetness as well as of no little power. From another instrument we had a most delightful morceau, introducing a variation on the favourite air "Believe me if all your endearing young charms." Other instruments also gave forth their magic notes, making in all five, on which this very clever artiste performed, and in all of which he excels. Ben-Sou-Alle is of commanding appearance, refined manners, and as a musician must rank as of the first order. He was greeted with continued rounds of applause, frequently encored, and his reception on the whole may be said to have been enthusiastic. He was accompanied by a Mons. Valere, who was announced as "the celebrated baritone." We had previously heard the gentleman in Goulburn, and confess we were then disappointed. At Yass he was certainly in far better voice, and in some songs acquitted himself most creditably. He should, however, confine himself to French and Italian music: English songs we have all heard sung much better, even though some of his audience did insist on demanding an encore for "Ben Bolt." He has undoubtedly a fine voice, but it seems not to possess much flexibility, and is therefore wanting in those sweet cadences which so constantly delight us in the finished artiste. With care and cultivation, however, he may become a singer of no mean order. The performances closed with "God save the Queen," performed by Ben-Sou-Alle, and here we have a word to say. At Goulburn, the first notes of the National Anthem were a signal for the whole audience, ladies not excepted, to rise, and they continued standing during the whole performance. In Yass, some of the gentlemen seemed rather to hesitate whether they would stir from their seats, and a few (only a few) continued as immoveable as their hearts would appear to be unimpressible. It may be a form, but at the present juncture, at least, it is not an unmeaning one. We do not doubt the loyalty of the good people of Yass, but we hope none will ever in future fail, on every fitting occasion and in every fitting form, to show it. On Wednesday night, Miska Hauser, who has been starring it in Goulburn, is to visit this town. We have heard this celebrated artiste, and have to thank him for the richest musical treat we have enjoyed since we left England. He reminded us of the sweet melody evoked by Ole Bull, and in some parts of his performance so reminded us as to induce us to give the palm to himself. We cannot criticise or enter into details. We can almost hear the thrilling sweetness now. The remembrance will long, long remain. A thing of beauty is a Joy for ever!

15 and 20 January 1855, 2 concerts, and 22 January, public breakfast, Goulburn, NSW

[Advertisement], The Goulburn Herald and County of Argyle Advertiser (13 January 1855), 3 

[Advertisement], The Goulburn Herald and County of Argyle Advertiser (20 January 1855), 2 

"MUSIC IN THE COUNTRY", The Sydney Morning Herald (23 January 1855), 5

Ali-Ben-Sou-Alle has been making a musical tour through the southern districts. He gave two concerts at Goulburn during the last fortnight with marked success. He then proceeded to Yass, and was expected to give a concert in Windsor on the 25th instant. His range of instruments, which he terms turkophones (but which, in truth, are the saxophones of the celebrated house of Sax, Adolph, and Co., of Paris), seem to have produced an extremely favourable impression on our country friends. Were it not for the miserable state of the roads, the cordial welcome given in the various distant towns of the interior to musical talent would much more frequently attract artistes of ability to their locales.

"BREAKFAST TO ALI-BEN-SOU-ALLE", The Goulburn Herald and County of Argyle Advertiser (27 January 1855), 2

A dejeuner à la fourchette was given at the Goulburn Hotel, on Monday morning last [22 January], at nine o'clock, to Ali-Ben-Sou-Alle, the distinguished musician, prior to his quitting for Windsor, by several gentlemen of this town. Capt. Plunkett, Police Magistrate, presided at the breakfast table, and among the guests was the celebrated violinist Miska Hauser, the other of the twin stars that have shone in our musical firmament. It must be gratifying to Ali-Ben-Sou-Alle to know that he takes away with him from Goulburn the esteem and kind wishes of so many made his friends by his winning manners and disposition, and his highly cultivated mind irrespective of his professional claims as a musician.

[Daniel Deniehy], "MATTERS MUSICAL. - THE HUNGARIAN AND THE TURK", The Goulburn Herald and County of Argyle Advertiser (27 January 1855), 4 

"There is sweet music here, that softer falls
Than petals from blown roses on the grass,
Or night-dews on still waters between walls
Of shadowy granite, in a gleaming pass;
Music that gentlier on the spirit lies,
Than tir'd eyelids upon tir'd eyes."

ALI-BEN-SOU-ALLE gave his second concert on Monday Evening last, at Roberts' Rooms. The audience was much larger than on the former occasion, and expressed their gratification in terms of decided enthusiasm. The instrumental section of the programme consisted of performances by Ali-Ben-Sou-Alle, not only on his really marvellous turkophone, but also on the turkophonini, and the large and small clarionets, Mr. Sigmont executing piano-forte accompaniments. The entertainments were opened by M. Valere with "Vieni la mia Vendetta," from Lucrezia Borzia. His baritone has extraordinary strength and compass, and is full of brilliant resources for every purpose of fioritura. His style of vocalisations too, is airy and fluent - the freedom and fluency essentially those of the Parisian Opera Comique. We can conceive few more agreeable thing of the kind than his rendering in succession the choicer morceaux of Auber, or of Balfe, whose opera is essentially as French as Auber's - the solos in The Black Domino, The Brazen Horse, La Bayadere, or in La Bohemienne. In the course of the evening he sang the barcarolle in Haidée, "Que la nuit est belle," so full of that jubilant voluptuous beauty with which youth and passion deepen even the perfect loveliness of the night, and sang it with such success as to interpret it in the subtlest essence - the most delicate bouquet of French operatic melody. He was followed by Ali-Ben-Sou-Alle, when for the first time we heard the capabilities of his extraordinary instrument. He executed a fantasia of his own on the airs in Don Giovanni - those "divine melodies," as De Quincey calls them, when ranking their sweetness beside the sublimities of the "Paradise Lost," and the stupendous magnificence of Rome, as monuments of the capabilities for grandeur and beauty of the human soul. The range of the turkophone, runs from the rich breadth of a sax-horn of the fullest timbre to the tenderest note of the clarionet. Ali-Ben-Sou-Alle rendered Mozart's music as we have never before heard it in Australia. His manipulation is exquisite; indeed there is in the performer more that intimates the musician of genius than we have seen in any artiste for years. His execution has an individuality of its own - a character of sensibility, or rather of passion - passion subjugated and calm - full of rich, mellow repose; disciplined, we conceive, by a perception the most exquisite of that symmetry which is the true beau ideal classique. In his solos on the large and small clarionettes - even in his variations on "My Skiff is on the Shore" - and they were full of unspeakable delicacy and grace, the characteristic of the artist was this classic luxe. Besides a fantasia on La Somnambula, moulding "Still so gently," and "Oh do not mingle," into countless novel and capricious graces, his performances on the turkophone included a selection from Le Prophete. Into the superb shadows - the dusky magnificence of Meyerbeer's music, glided this wonderful instrument with an adequacy of power that was in point of fact orchestral. Here Ali-Ben-Sou-Alle gave an interpretation of high musical art, in which no little of a maestro's thought and learning lay beneath the skill of the musician. To the connoisseur, we believe this to have been the most perfect gratification that the present carnival of sweet sounds in Goulburn has furnished. The noble cathedral-like severity and elevation of adagio movement were there, - but mellowed, softened, - tinged as it were by a colouring of the specific artistic execution. Some charming variations on the fine airs of "Old folks at Home," and "My Lodging is on the Cold Ground," were given on the turkophonini, an instrument smaller but of construction similar to the turkophone. Ben-Sou-Alle played, too, a delicious little cavatina of Donizetti's on the small clarionet as with the fingers of an Ariel. This was to the full Keats's "liquidity of dewy piping." The fantasia on popular British airs was encored. M. Valere by no means succeeded in that at best but gaudy bravura "The Standard Bearer," and his attempt to embellish "La Marseillaise" was in the last degree injudicious - he might as well have sought to dress a hymn or to have introduced variations on "Rule Britannia."

MISKA HAUSER, the celebrated Hungarian violinist, gave his first concert on Tuesday evening and his second concert on Thursday. He was assisted by Miss Flora Harris and Mr. Frederick Hamilton, Mr. Sigmont conducting at the piano-forte . . .

ASSOCIATIONS: Daniel Deniehy (reviewer); William Abercrombie Sigmont (piano); Frederick Hamilton = Frederick Hamiton Dicker (vocalist)

"MISKA HAUSER", Freeman's Journal (10 February 1855), 10 


[Editorial], Freeman's Journal (17 March 1855), 9 

Some few weeks since, that distinguished musician, Miska Hauser, accompanied by Miss Flora Harris, and some male vocalists, proceeded to Goulburn, and there gave two or three concerts, which we believe met with the success which such masterly performances deserved. Shortly after there appeared in the Goulburn Herald a notice of these concerts, in the shape of a long, turgid, rhapsodical rigmarole, which, however the reader might estimate it, the writer evidently deemed to be a specimen of first rate criticism. This notable production would, with other effusions of the writer, have met with its obvious deserts of utter forgetfulness, but having been copied by a kindred spirit into the Empire, it obtained a momentary attention, which the author could never otherwise have hoped for. It was accordingly briefly adverted to in what the Goulburn Aristarchus subsequently described as "two obscure weekly newspapers" of Sydney . . .

26 January 1855, concert, Windsor

[Advertisement], Empire (23 January 1855), 1 

ALI BEN SOU ALLE begs to announce that his Concert at Windsor will take place on FRIDAY EVENING, the 26th instant, being the Anniversary Day. Full particulars will be duly announced.

26 and 27 January 1855, 2 concerts, Windsor, NSW

"WINDSOR. ALI-BEN-SOU-ALLE", The Sydney Morning Herald (30 January 1855), 4

This accomplished musician gave two concerts at the Court-house, Windsor, on the evenings of Friday and Saturday last. Owing to insufficient notice of his intended visit having been given, there was not, we regret to say, so numerous an audience on the occasions as we should have expected to have seen, and which the talents of the gentleman deserved. However, a considerable number of the inhabitants of the district, including several of our leading families, honoured the house with their presence, and one and all of them, we believe, felt highly gratified and pleased with the entertainments presented. Ali-Ben-Sou-Alle quite astonished the listeners with his extraordinary execution upon the difficult, yet beautiful wind instruments which he plays. A piece from the opera of the Sonnambula, with variations, in particular delighted the audience, and received an encore. For ourselves, we never thought that metal could emit such melody, approaching as it did in some instances to the softness of the finest human voice; the imitation of the bagpipes, too, in which the air of "Johnny Cope" was introduced surprised every one present. If the piper of the 42nd produced such sounds, we do not wonder at the gallant Highlanders slashing away as they did at Balaclava. Mons. Valere, who shared in the evening's performances, and justly termed in the programme "the celebrated barytone," enraptured the audience with the tones of his powerful voice. In some Italian songs of Donnizetti, and the French national air of "The Marseillaise," he appeared to great advantage. He is in our opinion decidedly the best male singer which has visited this quarter of the country. Mr. Packer presided at the pianoforte, with his usual ability and gentlemanlike demeanour. What with Miska Hauser and Ali-Ben-Sou-Alle, the good people of Windsor have been highly favoured of late by the rich musical treats afforded them by these eminent artistes. All we regret is that more overflowing houses had not greeted them than they experienced, and as was their due.

? 1 (or later) February 1855, concert, Maitland, NSW

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (24 January 1855), 3 

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (3 February 1855), 3 

6 and ? 7 February 1855, 2 concerts, Bathurst, NSW

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

"ALI-BEN-SOU-ALLE", Bathurst Free Press and Mining Journal (10 February 1855), 2 

The fame of this celebrated artiste having been uttered trumpet-tongued through the columns of the metropolitan press, and certainly with a stunning clarion in those of our Goulburn contemporary, the good people of Bathurst were prepared for a musical treat of no ordinary pretensions; and expectation was none the less on tip-toe when the musician himself made his appearance in our streets, attired in the Turkish costume. Situate though we be - almost a world's width from the theatre of events, which are now absorbing the attention of civilized mankind over the face of the globe, - we nevertheless feel a lively interest in everything appertaining to Turkey and the East; and, therefore, are disposed to regard Ali-Ben-Sou-Alle with more than ordinary curiosity. We regret, however, to say, that his success has by no means been proportionate to his deserts. On Saturday evening (the night upon which he announced his first concert) rain set in, and there was no attendance. Some confusion about charges - which were at first fixed at a guinea, and afterwards at half a guinea - operated injuriously; and it had also transpired that he purposed giving two concerts at the Prince of Wales's Theatre on easier terms. For these and other reasons, his audience was so small on Monday night that he refused to perform. On Tuesday night, however, the theatre was crowded to excess, and the first appearance of Ali-Ben-Sou-Alle, with his turkophone, was awaited with eager expectation. Words are weak to express musical sounds; and we must satisfy ourselves by remarking that nothing could be finer than the skilful ascent from the rich, deep mellow bass to the flute-like notes of the treble. The instrument possesses immense compass, and its inventor the magic faculty of propelling from it almost heavenly sounds. The turkophonini is also a splendid instrument in the hands of our musical Turk, but possesses not the softness and melody of its associate. Still it is lusciously sweet, and appears at the will of the performer to emit such music as angels would listen to. The imitation of the bagpipes was undeniably faithful, the only difference being, if any, that the imitation was sweeter music than the original. In fact, the perfect mastery over his instrument displayed by Ali-Ben-Sou-Alle was a subject of general admiration; - the easy grace with which he glided, as it were, through the intricacies of difficult music, and the unspeakable beauty of his cadences, all, in turn, drew repeated plaudits from his enraptured auditory. Where all was excellent, it would be useless to enter upon a minute criticism of particulars. Suffice it to say that our Bathurst atmosphere never before lent its aid in the manufacture of melody at once so sweet, polished, and powerful. Monsieur Valere's French songs were loudly and deservedly applauded. His voice is a round, rich baritone, and the facility with which he dashes out of his natural voice into a clear thrilling falsetto, is marvellous. In English songs he is not so happy. Broken English, however exquisite the notes in which it is expressed, jars upon the cultivated ear. The Frenchman wants the heartiness necessary to give effect to the language and sentiment of our English ballads, to about the same degree as the Englishman would be found wanting in the polish and enthusiasm which pervades French national music. Hence his Ben Bolt was not the Ben Bolt we have heard sung by far inferior voices. It was easy to perceive that its melancholy reminiscences came not from him with the same life-like, natural vivacity as the Marseillaise, which at once appeared to light up the warmest emotions of his heart, and send his blood coursing through his veins at railway speed. Mr. Cull shone like a star of the fifteenth magnitude in his comic songs - the first of which was vociferously encored. We refrain, for the present, from dilating upon the beauties of his style; they are too well known, and must, for the present, be left to the imaginations of our readers . . .

THEATRICALS. - Ali- Ben-Sou-Alle's first concert was divided into two parts by the interposition of a farce entitled "a phenomenon in a smock frock," which was performed with great spirit. Mr. Cull looked very sour vinegar as Mr. Sowerberry - . . .

"ALI-BEN-SOU-ALLE'S RECOLLECTIONS OF GOULBURN", The Goulburn Herald and County of Argyle Advertiser (10 February 1855), 2 

A letter dated from Bathurst, from this gifted musician, has been received in town, enclosing his last musical composition "The Goulburn Waltz," dedicated to his friends in Goulburn. The piece is simple but very charming, and full - though but a sketch, of the fine musical feeling of the distinguished author. To us in Goulburn, thus honoured, the piece is doubly interesting, as showing the deep sense and genial recognition on Ali-Ben-Sou-Alle's part of all the kindness with which he was received in the Mother Town of the South.

"THE TURKOPHONIST", Bathurst Free Press and Mining Journal (17 February 1855), 2 

Many have been the guesses at the nationality of Ali-Ben-Sou-Alle. He has been fixed as an Irishman, under the name of Alick Ben Sullivan - again as a Scotchman, with the patronymic McSewell, joined to the christianized Alexander Benjamin. Many people believe him to be a thorough-bred, volatile Frenchman, with as little dislike to good wine and roast pig as any non-Musselman in the universe. If there be anything in these various guesses we are inclined to the latter faith, but should be sorry to name any little incidents in confirmation thereof which may have occurred during his sojourn in Bathurst. At all events, whether familiar with mosques, minarets, and the Alcoran, his music is much more French than Turkish, but sounds none the worse from a turbaned head, and a body in embroidered jacket, with thighs clad in loose silk breeches, and well rounded calves in hose of the same texture. Nobody, however, believes Ali-Ben-Sou-Alle to be a Turk, whilst a few profess to know that the turkophone, turkophonini, and clarionet are instruments played upon by a clever and polished Celt, whose native country is bounded on one side by the Straits of Dover and another by the Rhine.

"SYDNEY (From our own Correspondent), Wednesday, Feb. 21st, 1855", The Cornwall Chronicle [Launceston, TAS] (3 March 1855), 3 

Reprints the above, with comment

"CLEARANCE", The Sydney Morning Herald (21 February 1855), 4

February 20 - William Denny (s.), 454 tons, Captain Mailler, for Auckland. Passengers - . . . Messrs. . . . Bensonall [sic], Valere . . .

New Zealand (28 February to 19 May 1855)

[Advertisement], Daily Southern Cross (9 March 1855), 2 

Under the Immediate Patronage of His Excellency Colonel Wynyard, C. D., the Officer Administering the Government.
On which occasion he will perform on the new and wonderful TURKOPHONE, AND FOUR OTHER INSTRUMENTS.
He has performed on this beautiful instrument with the greatest success in Paris and in London, before her Majesty and the Jury at the Great Exhibition, where it obtained the First Council Medal. He will be assisted by MONS. VALERE. PIANIST, Mr. BROWN.
Part I.
Introduction - "Guillaume Tell," Rossini, Band.
Vieni la mia Vendetta (from Lucrezia Borgia) - Donizetti, - M. Valere.
Solo, Turkophone - Grand Fantasia on the Opera la Somnambula, composed and executed by Ali-Ben-Sou-Alle.
Polka - "Governor Wynyard," - Davis, Band.
The Celebrated Song "Standard Bearer," Lindpainter, M. Valere.
Solo - Cavatina on the Petite Clarionette, from the Opera Linda de Chamounix - Donizetti, Ali-Ben-Sou-Alle.
Imitation of the Scotch Bagpipes - Ali-Ben-Sou-Alle.
An Interval of Ten Minutes.
Part II.
Introduction - Op. "The Bohemian Girl," Balfe, Band.
Celebrated Barcarolle (Ah! que la nuit est belle) from the Opera Haydee - Auber, Mons. Valere.
Solo Turkophonini - "My lodging is on the cold ground," Varie by Ali-Ben-Sou-Alle.
Waltz - Prince R. Metternich, Band.
Marseillaise (national song) - Rouget de Lisle.
Grand Fantasia - Grande Clarinette, English, Irish and, Scotch airs, by Ali-Ben-Sou-Alle.
God Save the Queen!. . .

"ALI-BEN-SOU-ALLE'S CONCERT", New-Zealander (14 March 1855), 2 

If it be correct that the golden discoveries of Australia have precipitated her from a colony to a nation, it is, we take it for granted, equally true that the establishment of steam communication, by means of the William Denny, introduced, and is calculated to introduce, us to a class and amount of visiters and immigrants, of which, without such a medium, we should have been for many years to come unconscious.

Among the casual visiters thus induced to pay us their respects, we have to note the arrivals several public performers of known merit and European reputation. To Professor Lees and his sons, who for the last few weeks have been attracting crowded and delighted audiences, we have now to add the names of Ali-Ben-Sou-Alle and Mons. Valere, who on Monday evening, made their debut to a select, rather than crowded, audience at the Odd Fellow's Hall, the entertainment of the evening being an instrumental and vocal concert of an original and singularly pleasing description.

Familiar as we had become with the name of Ali-Ben-Sou-Alle, by means of the lavish encomiums bestowed upon him by all the sister colonies, we confess we were utterley unprepared for a performance of such an admirable description, as that which it was our privilege to hear on Monday evening. We went expecting to witness a musical curiosity; we retired with the tones of a musician of the highest order lingering in our delighted ears, and vibrating upon our heart.

The introductory piece, chosen by the performer, was a Grand Fantasia on the Opera of La Sonnambula; and the instrument employed was the celebrated Turkophone. This is called a beautiful instrument in the bills, and if that description be meant to refer to its appearance, the epithet is well chosen; but if it be applied to its tone and power of expression, we should be more disposed to term it an exquisite instrument, since for purity and sweetness of sound, together with extent and depth of compass, it far transcends any wind instrument we have ever heard. It required but a bar or two to enrapture the audience with this charming instrument and its accomplished performer; who handled it in a masterly manner, his brilliancy and rapidity of execution never leading him to sacrifice the melody to mere ornament, or to lose sight of that pathos and tenderness which is at once the poetry and the essence of true music.

It is somewhat difficult to describe the Turkophone. It is neither a horn, a trombone, more an ophicleide. It possesses all the depth and power of the latter, combined with the higher range and clearness of the piccolo. Its notes are of an extraordinary purity and liquidity, and, when sustained, partake, but in a far more distinct and definite degree, of that beautiful resonance which characterizes the musical glasses. Upon such an instrument, and in the hands of such a performer, the charming music of Sonnambula was exquisitely discoursed, and greeted at its conclusion with a perfect storm of long continued applause; so long indeed, as to become and encore to which Ali-Ben-Sou-Alle responded by the introduction of the Turkophonini, another silver instrument which resembled an enlarged clarinet, and upon which, after a few preliminary flourishes, he breathed in touching tones the beautiful Irish melody "Kate Kearney."

A Cavatina, on the Petite Clarionette, was the next, and was as loudly and as deservedly applauded as it was vociferously encored. An imitation of the Scotch Bagpipes followed; so perfect were the strains, and so spirited the delivery of "Johnnie Cope," that anyone might have imagined that the far famed piper of the 71st was himself blowing up his chanter. In the second part, after the performance of "My Lodging is on the Cold Ground," on Turkophonini, Ali replied to an encore with an air upon his most choice instrument the Turkophone. His last was a Fantasia upon the Grande Clarionelte. In this the ability and taste of the accomplished musician was as conspicuous as all his previous efforts. Not only did he play upon, but play with all his instruments in most brilliant and beautiful style, breathing into them as if the inspiration proceeded from his heart, and was uttered to subdue and fascinate the imaginations of the hearers. Of the airs introduced into this admired Fantasia, - "My ain kind dearie," "Home, sweet home," "St. Patrick's Day," and "John Anderson my Jo," - we shall only remark, that they spoke home to every heart . . .

ASSOCIATIONS: Professor Lees and sons (entertainers, fl. 1853-55)

[News], Daily Southern Cross (3 April 1855), 3 

We understand among the passengers for the South, by the "Nelson," are Ali-Ben-Sou-Alle and Monsieur Valere, those gentlemen after making the tour of the Southern Provinces, will return to Auckland and give a farewell concert.

[Advertisement], Taranaki Herald (4 April 1855), 2 

"NEW ZEALAND [FROM OUR OWN CORRESPONDENT] Auckland, 5th April, 1855", The Sydney Morning Herald (30 May 1855), 4

. . . Ben Sou Alle and Monsieur Valere return to Sydney by the steamer. They have made a successful tour of the New Zealand provinces, where they have been well received, and where the beautiful instruments and masterly skill of Monsieur Sou Alle have elicited the liveliest admiration.

"ALI-BEN-SOU-ALLE'S CONCERT", Nelson Examiner and New Zealand Chronicle (11 April 1855), 2 

"Shipping Intelligence", Nelson Examiner and New Zealand Chronicle (11 April 1855), 2 

SAILED . . . [April] 9, steamer Nelson, 215, Martin, for Wellington, with sundry goods shipped at Manukau and Nelson. Passengers - Ali Ben Sou Alle, Monsieur Valere . . .

"WELLINGTON", Nelson Examiner and New Zealand Chronicle (21 April 1855), 3 

Ali Ben Sou Alle had given a concert in Wellington, which was exceedingly well attended, and the performance appears to have afforded much satisfaction.

[News], Nelson Examiner and New Zealand Chronicle (5 May 1855), 2 

ALI-BEN-SOU-ALLE gave another Concert, in the School-room, Bridge-street, last evening, which was numerously attended, there being no standing-room left. The audience appeared delighted with the entertainment, if we may judge from the rapturous applause and the encores which they demanded. M. Valere was encored in several of his songs; and Ali-ben-sou-Alle kept his hearers in a roar of laughter in the song, "Les Canotiers de Paris," and received a similar compliment. The Concert was announced for repetition this evening.

[Advertisement], New-Zealander (16 May 1855), 2 

By Particular Desire. ALI-BEN-SOU-ALLE BEGS to announce to the Inhabitants of Auckland, that inconsequence of the detention of the "WILLIAM DENNY," he will give A GRAND FAREWELL CONCERT at the Odd Fellow's Hall, On FRIDAY EVENING, 16th inst. . . .

"DEPARTURES", New-Zealander (23 May 1855), 2 

May 19 - William Denny, s. s., 423 tons, Mailler, for Sydney. Passengers - . . . Ali-Ben-Sou-Alle, Monsieur Valere . . .

24 May 1855, concert, at sea

SHIPS' MAILS", Empire (29 May 1855), 4 

On the Queen's birth-day, at sea, Ali Ben Sou Alle and Monsieur Valere gave a concert on board the Denny in aid of the Patriotic Fund, the proceeds of which will be handed to the treasurer. The William Denny was detained several days at Auckland through the inclemency of the weather. - Empire, May 29.

Sydney and regional NSW (QLD) (28 May to ? July 1855)

28 May 1855, arrived Sydney, NSW, from New Zealand

"ARRIVALS", The Sydney Morning Herald (29 May 1855), 4

May 28. - William Denny (s.), 700 tons, Captain Mailler, from Auckland 19th instant. Passengers - . . . Mons. Ali-Ben-Sou-Alle, Mons. Valere . . .

[Theatrical news], Empire (4 June 1855), 5 

Ali Ben Sou Alle has returned from New Zealand. The papers of that colony speak of him in the highest terms and most deservedly, for he is an artiste of sterling merit, not only as a performer, but likewise as a composer. Some of his productions composed expressly for the inhabitants of Wellington and Auckland, where he was received with the greatest enthusiasm, were effective in obtaining for him a very favourable notice from the musical critics. M. Valere, who has considerably improved in his study as a vocalist, which, joined to the excellent quality of his voice, promises to make him the best singer in the colony, came in for a large share of approbation. Before leaving Wellington, Ali Ben Sou Alle gave a concert, the proceeds of which were divided between the Patriotic Fund and the charitable institutions of the Town. Another concert given by him on board the steamer Nelson produced forty pounds, which he also devoted to the Patriotic Fund. Before leaving Australia for India, he Intends to visit Illawarra and Moreton Bay, where it is to be hoped he will meet with the success which his great ability deserves.

9 to 18 June 1855, NSW south coast; 9 and 12 June, 2 concerts, Wollongong; 11 June, concert, Dapto; 18 June, Kiama

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

WOLLONGONG- ALI BEN SOU ALLE, the celebrated TURKOPHONIST, assisted by M. VALERE, will give a CONCERT in this Town, on THURSDAY, the 7th Instant.

[Advertisement], Empire (7 June 1855), 1 

WOLLONGONG.ALI BEN SOU ALLE, the celebrated TURKOPHONIST, assisted by M. VALERE, will give a CONCERT in this Town, on SATURDAY, the 9th instant; and on MONDAY, the 11th, at Dapto.

[Advertisement], The Sydney Morning Herald (8 June 1855), 1 

WOLLONGONG. - ALI-BEN-SOU-ALLE, the celebrated Turcophonist, assisted by M. VALERE, will give a Concert in this town on SATURDAY, the 9th, and at Dapto on MONDAY, the 11th Instant; at Wollongong, on TUESDAY, 12th. - KIAMA- On MONDAY, 18th, All-Ben-Sou-Alle will give a Concert in Kiama.

? Mid June, likely departure from Sydney, ? for Brisbane and Singapore, with Monsieur Valere

? late June 1855, concerts, Brisbane, QLD (? en route for Singapore)

"MORE CONCERTS", The Moreton Bay Courier (16 June 1855), 3

We are glad to be able to announce that this celebrated performer upon the newly invented wind instrument called the "Turcophone," intends to visit Moreton Bay, where he will give a series of concerts, before the end of the present month. His performances in the Australian colonies and New Zealand have elicited the most hearty applause of the press, and we may confidently expect a musical treat. Ali Ben Sou Alle will be accompanied by M. Valere, who is spoken of as a most accomplished vocalist, and who will assist in the concerts.

"ALI BEN SOU ALLE", The Sydney Morning Herald (19 June 1855), 5

ALI BEN SOU ALLE. After a professional tour through the chief provinces of New Zealand, where his success throughout was of the most flattering, and, we are glad to add, the most substantial character, this clever artiste has returned to the colony, and previous to giving a series of concerts in Sydney, he has accepted a pressing invitation to visit Wollongong and its vicinity. He was accompanied to New Zealand by Monsieur Valere, a tenor singer of much promise, and who continues to assist in the concerts which he is now giving. On the 8th and 11th instant, he gave concerts at Wollongong to crowded audiences, the "familie" of the Turkophone-Saxe, from la petite turkoponini upwards, being most cordially received. The extraordinary efforts produced on each of his instruments, and the exquisite taste displayed in the execution of the classical music selected elicited the warmest demonstrations. On the 10th, he gave a concert at Dapto, with equal success, and was to give another last evening at Kiama, We shall be glad to see Ali Ben-Sou-Alle return to Sydney, and assist in various musical entertainments which are in contemplation for the winter season. He is a musician of great attainments, and we hope that his reception on his return to Sydney, will induce him to prolong his stay.

"ENTERTAINMENTS TO COME", The Moreton Bay Courier (7 July 1855), 2 

That talented musician, Miska Hauser, having been on a tour to the southward, was about to give another series of concerts in Sydney, according to the metropolitan papers. We understand that he will pay another visit to Brisbane shortly, with an efficient staff of assistants. Ali-Ben-Soualle, the Turcophone player, may be expected by next steamer, so that the lovers of sweet sounds will have entertainment in prospectu. Miss Catherine Hayes is about to revisit Australia. Is there any overwhelming difficulty in the way of securing a visit from the Irish Nightingale to Brisbane? Moreton Bay is wealthy enough, although the population is scattered. Let a Committee be formed, and communicate with the wealthy stockholders in the bush, and we shall not despair of hearing the Swan of Erin pour forth the dulcet notes of "Savournean Deelish" in this good town.

August 1855, the Deniehy affair continues in court

D. H. DENIEHY, "To the Editor", The Sydney Morning Herald (7 August 1855), 2

SIR, - In the report in your issue of this morning of the libel case heard at the Police Office on Saturday - myself v. D'Arcy and McEncroe - I am made to say, after declaring that I had never sat with my hat on while the National Anthem was being sung, that "on one occasion I did keep my seat by way of a lark, incited to do so by seeing the ladies stand up - a thing I had never before seen." "By way of a lark," is an expression that did not at all occur in the proceedings of Saturday, and is one of a class of phrases I never make use of. The evidence actually given was that at a concert of Ali-Ben-Sou Alle's at Goulburn, prior to the concerts of Miska Hauser, at which latter it is that the Freeman's Journal has charged me with certain foolish and indecent displays of disloyalty, I had retained my seat, in common with others, when the National Anthem was performed as a finale; that my retaining my seat on that occasion was a joke perfectly understood by those beside me, and in some shape prompted by the simultaneous standing up of the ladies, to me a novel sight. Your reporter has simply mentioned my counsel's refusal to accept Archdeacon McEncroe's apology, and has set forth the reverend gentleman's statement in defence at full length. You will, therefore, as a matter of justice, permit me also to mention the reason for the refusal, assigned at the trial, viz.- That though Archdeacon McEncroe might not have seen the first libel nor even the re-publication of it with a commentary, after the late action in the Supreme Court, yet as I had been subjected for the last three months to systematic attacks in the newspaper of which he is proprietor, I held him to be morally culpable in the matter, if for no other reason simply because of the reckless neglect with which he allowed those conducting the Freeman's Journal to carry on a set warfare of vilification and insult against a private individual. And further that on two occasions, when apologies had been given, they had been made only under stress of legal proceedings I had adopted, and even then in an uncandid and unsatisfactory form.
I am, Sir, your obedient servant,
August 6th.
[Police proceedings, Mr. Deniehy knows, are never reported in full. With respect to the objectionable word, if it was not expressed by Mr. Deniehy he more than once adopted it by giving his assent to questions in which it was used. -REPORTER.]

"Sydney News. SYDNEY POLICE COURT. CHARGE OF PERJURY AGAINST A YOUNG LADY", The Goulburn Herald and County of Argyle Advertiser (11 August 1855), 4 

Miss Flora Harris, a popular young vocalist, of considerable talent and personal attractions, was charged before the magistrate, at the suit of Mr. D. H. Deniehy, with wilful and corrupt perjury. Mr. Frederick Hamilton Dicker was also charged with a similar offence, but neglected to attend, and subsequently the charge against Mr. Dicker was ordered to stand over until the following Thursday. The court was thronged with people evidently feeling sorrow for the poor young lady, compelled as she was to appear as defendant on so grave an occasion.

In opening the case, Mr. Martin stated that some months since, Miska Hauser and Miss Flora Harris gave a series of concerts at Goulburn; after which, a critique, written by the prosecutor in the present case, appeared in the Goulburn Herald; and subsequently a criticism on that critique appeared in the Freeman's Journal, which was of so libellous a character on the prosecutor as to necessitate him to commence an action against the proprietors of the paper, which resulted in a verdict in his favor, with damages to the amount of 40s. Subsequent to the trial, the Freeman's Journal republished the original libel in the report of the trial, with the exception of the last two lines. Mr. Deniehy afterwards applied to the Supreme Court for a rule nisi, calling on the publisher and proprietor of the Freeman's Journal to show cause why a criminal information should not be filed against them for a libel on himself. Certain affidavits were filed in response, amongst them were those of the present defendant (Miss Flora Harris) and Mr. Dicker, who had failed to appear. These affidavits were in part answered by Mr. Deniehy, but the Court discharged the rule without costs. One of the affidavits sworn to by Miss Flora Harris, set forth that at nearly the termination of one of the concerts, and previously to the National Anthem being sung, Deniehy took up his hat, and said to Doak, "Come along; don't let us stay to listen to such damnable infernal trash" . . .

Henry Zouch deposed that he is a Magistrate of the territory and Commandant of the Patrol on the Southern Road; "attended all of Miska Hauser's concerts in Goulburn, with the exception of one; on every occasion of visiting them he saw Deniehy there; never heard him express an opinion respecting the National Anthem; never heard Deniehy say to Doak, "Don't let us stay to hear that damnable trash," in allusion to the National Anthem; he might have used such words to Doak; but it must have been in a whisper; witness was there to watch Deniehy; a watch was kept on him; if was expected he would be kicked out of the concert room, as it had been the talk of the town that he had sat down at a concert given by Ali Ben Sou Alle while the National Anthem was being sung; witness believed that Deniehy was out of the room on each occasion of Miska Hauser's concerts when the National Anthem was being sung; did not believe that he could have sat down with his hat on while God Save the Queen was being sung, as so many people vere watching him . . .

Cross-examined by Mr. Hillyer - [Zouch] Recollected a supper being given at Captain Plunkett's. The National Anthem was sung there. Deniehy was in a measure forced by badinage to join in it; Deniehy was not drunk, he was quite capable of knowing what he was doing; he did not get on the table; he made many French speeches; All Ben Sou Alle was the only foreigner present; all joined except Mr. Dicker.

. . . the fair defendant was discharged on her own recognizance of £100 to appear on that day fortnight.

October 1855, publication of The Goulburn waltz, Goulburn NSW

[Advertisement], The Goulburn Herald and County of Argyle Advertiser (6 October 1855), 1 

Just Published, And on Sale at the Goulburn Herald Office, PRICE 2s. 6d. THE GOULBURN WALTZ, composed by ALI-BEN-SOU-ALLE.

Manila (Philippines) (September-October 1855)

MY THANKS (March 2019) to Emeritus Professor William John Summers for kindly sharing with me his research findings into Sou-Alle's two concerts during his brief Manila visit

[Advertisement], Boletín oficial (15 September 1855)

Orquesta de ciento veinte músicos de las bandas de Artilleria, núm 6 y núm 7, dirigida por ALI-BEN-SOU-ALLE El cual tocará el nuevo Turcophono, con cuyo admirable instrumento obtuvo los mayores aplausos en París y Londres y el 1er premio en la gran exposición de año 1851, ante S. M. la Reina de Inglaterra y el jurado. PARTE VOCAL= SEÑOR VALERE . . .

"NOTICIAS DEL PAÍS. CAPITAL", Boletín oficial (19 September 1855)

El sábado en la noche asistimos al gran concierto vocal é instrumental que tuvo lugar en el teatro de Sibacon dirigido por el eminente artista Alli Ben-Sou Alle. Las celebridad justa que precediera á esta notabilidad musical, y el deseo de contemplar sus concepciones brillantes tan encomiadas por la prensa periódica de los diferentes países que ha recorrido, atrajo en esa noche una concurrencia numerosa, pudiendo decirse se hallaba reunido en el teatro lo mas selecto y escogido de nuestra sociedad.

El excito ha excedido á nuestras esperanza. La función principió por una brillante obertura á toda orquesta dirigida por Alli-Ben-Sou-Alle, en la que tuvimos el gusto de admirar las grandes facultades de nuestro indígenas, que dirigidos por tan distinguido profesor han dado una prueba de lo que son susceptibles, si pudiera sacárselos de su acostumbrada rutina por medio de una instrucción mas activa y variada.

El aria de Lucrecia Borjia cantada por el Sr. Valero á continuación, no pudo hacernos formar una idea exacta de mérito de este Artista, pues es sabido que al hacer su debut los de mas valía, se hallan dominados por un natural, temor que les impide desarrollar sus facultades; naciendo de aquí sin duda el que no fueran acordes sus primeras notas con las del piano que tocaba un acreditado profesor; sin embargo después le hemos visto poseerse suficientemente en el Barbero de Sevilla y la Barcarola de "Hayden" demostrado tener una excelente voz de barítono a pesar de la falta de torna voz que hacia desaparecer los piano, y la mala situación de la escena. El público no obstante aplaudió con entusiasmo como prueba de lo que sabe apreciar los talentos artísticos. En cuanto al Sr. Alli-Ben Sou-Alle, hubiéramos deseado con otra pluma mas inteligente que la nuestra en esta materia, se hubiera ocupado en hacer la reseña de su triunfo, pues no falta voces con que poder expresar la emoción y el interés que difundió en los espectadores el oír los primeros ecos de su armonioso instrumento. Desde el do grave del O'figle hasta el si agudo del clarinete, recorría la escala doble en su turcophono con tal colorida y expresión que solo puede compararse á una banda que simultáneamente fuese tocando su diversidad de instrumentos. El público admirado á la vez que satisfecho, prorrumpía á cando paso en aplausos estrepitosos, concediendo de este modo el lauro mas brillante á que pude aspirar el artista estudioso y acreditado. También en el clarinete dio muestra de sus grandes talentos musicales manejándolo con una precisión y finura que causó la admiración de cuantos le escuchaban. La función terminó con la Gran Polka, a toda orquesta, relativa á la guerra de Oriente, la que si bien no excito en nuestro pechos el entusiasmo que habrá causado en otros países, por efecto de nuestra neutralidad en esa cuestión, agradó bastante por su mérito artístico, siendo repetidamente aplaudida.

Damos la mas sincera enhorabuena al Sr. Alli-Ben-Sou-Alle y compañero Valere por el feliz excito de su primer concierto, no dudando que continuarán por algún tiempo favoreciendo al público con otros que creemos obtendrán el mismo resultado.

[Advertisement], Boletín oficial (4 Oct 1855)

Para sábado 6 del corriente. Orquesta de ciento veinte músicos de las bandas de Artillería, núm. 6 y núm. 7, dirigido por ALI-BEN-SOU-ALLE.
El cual tocará el nuevo Turcophono, con cuyo admirable instrumento obtuvo los mayores aplausos en París y Londres y el primer premio en la gran exposición de año 1851, ante S. M. la Reina de Inglaterra y el jurado. PARTE VOCAL= SEÑOR VALERE.

"NOTICIAS DEL PAÍS. CAPITAL", Boletín oficial (16 October 1855)

El sábado último tubo lugar en el Teatro de Sibacon el 2o. Concierto monstruo dado por los Sres. Ali Ben-Sou-Alle y Valere. Apesar de la escasa concurrencia que asistiera à este espectáculo y que dolo puede atribuirse à las repetidas funciones dramáticas habidas en le semana anterior, el écsito fué tan brillante como en el primer concierto, obteniendo los aplausos mas justos y repetidos. El Sr. Valere con mayor estension de voz y entonacion que en la primera funcion, demostró que puede desempeñar con acierto los papeles de tenor y baritono. En cuanto al Sr. Ali-Ben Sou Alle, volvemos á repetir que es un distinguido artista y que en su melodioso turcophono, habra muy pocos que le igualen. Para el prócsimo concierto, que será el último, se han rebajado los precious á su mitad y se ha suprimido la parte de orquesta, puesto que el Sr. Ali, ha de tocar cinco instrumentos diferentes, aumeniandose á la vez la parte de cánto y trabajando unidos, á la compañía dramática de aquel coliseo.

Singapore (November 1855)

[News], The Straits Times and Singapore Journal of Commerce (13 November 1855), 4 

For some months past we have advertised the expected arrival here from the Colonies of Mr. Ali Ben Sou Alle, a musician of most eminent talents, whose performances at the World's Exhibition of 1851 secured for him the Great Medal of the Council, and the special approbation of Her Majesty, Queen Victoria. Mr. Ali Ben Sou Alle (whose paternal parent was a Turk and his mother a French lady) was educated in France under the most distinguished masters of that musical nation; he plays on seven different instruments, of which four are unknown, except by name, in this part of the world; the exercise of great musical powers on these several instruments has secured for him the most signal approbation from crowded audiences in Europe, the Colonies, and elsewhere. M. Ali Ben Sou Alle will give a Concert at the Theatre Royal on Thursday Evening, after which he will proceed in the Dutch steamer to Batavia, and again oblige us with a repetition of his performances on his return here en route to Calcutta and other cities of India and Asia. We have now before us lengthy notices of the performances of M. Ali Ben Sou Alle, his composition, harmony, and execution, confirmed by the statement of gentlemen who have heard the bewitching music of his great and varied talents: the undisguised praise in which all agree, tempts us to expect on Thursday evening next no ordinary entertainment, of which we are assured that no disappointment will ensue.

[Advertisement], Straits Times and Singapore Journal of Commerce (13 November 1855), 4 

[Advertisement], Singapore Free Press and Mercantile Advertiser (15 November 1855), 2 

Batavia (November-December 1855)

"Aangekomen Vreemdelingen", Java-bode: nieuws, handels- en advertentieblad voor Nederlandsch-Indie (28 November 1855), 1 

HOTEL DER NEDERLANDEN . . . Ali Ben Sou Alle van Singapoere . . .

"BATAVIA", Java-bode: nieuws, handels- en advertentieblad voor Nederlandsch-Indie (5 December 1855), 5 

Op Woensdag 1.1. berigtten wij in No. 95 van ons Blad, de aankomst alhier van den Turkophone-speler Ali Ben Sou Alle en zijn voornemen om eenigen tijd in deze hoofdplaats te vertoeven. Thans kunnen wij mededeelen, dat die toonkunstenaar eerstdaags, met de welwillende medewerking van HH. liefhebbers van zang en muzijk ter dezer hoofdplaats, in den Schouwburg een Concert zal geven . . .


[Advertisement], Samarangsch advertentie-blad (4 January 1856), 3 

"SAMARANG", Samarangsch advertentie-blad (11 January 1856), 3 

"Soerabaya den 16den Junij 1856", De Oostpost: letterkundig, wetenschappelijk en commercieel nieuws- en advertentieblad (11 June 1856), 1 

De Heer Ali Ben-Sou-Alle wiens uitstekende muzikale talenten reeds in de Indische nieuwsbladen veelvuldig zijn bespreken . . .

[Advertisement], The Argus [Melbourne, VIC] (6 June 1856), 8

By the kind permisión of Col. Valiant, the Band of tho 40th Regiment will perform in this fashionable promenade on Saturday, June 7th, from half-past two till half-past four o'clock, when the following choice Pieces of Music will be executed.
Overture - Zamper [sic, Zampa] - Horald [Herold]
Seliction - Robert le Diable - Meyerbeer.
Waltz - Star of the West - Montague.
Grand Selection from Mendelssohn's celebrated Eliza [Elijah] - Mendelssohn.
Polka - The Diggers - Ali Ben Sou Alle.
Quadrille - Perruge - Ernot.
Galop - L'Australienne - Mildmay.

[Advertisement], The Age [Melbourne, VIC] (13 June 1856), 1 

By the kind permission of Col. Valiant, the Band of the Fortieth will perform in this fashionable Promenade, on Saturday, June 14th, from half-past 2 till half-past 4 o'clock, when the following choice selection of Music will be executed:
Overture, "Zanetta," - Auber
Aria, "La Fidanzata del Merinajo," - Ricci
Waltz, "Die Aelpler," - Lanner
Selection, "La Sonnambula," - Bellini
Polka, Turkish, - Ali-Ben-Sou-Alle
Galop, Californian - Labitzky

[Advertisement], Straits Times and Singapore Journal of Commerce (28 October 1856), 4 (DIGITSED)

MR. ALI BEN SOU ALLE, HAS the honor to announce his intended departure from Hongkong for Singapore by the Calcutta steamer in about 15 or 20 days, and whilst at Singapore he will give a FAREWELL CONCERT before leaving for Calcutta, and Europe. Hongkong Oct, 15th, 1856.

{News], The Straits Times (2 December 1856), 4 

On Wednesday evening last Mr. Ali Ben Sou Alle gave a Concert at Mr. Debarr's temporary Theatre. There was a large and fashionable audience, but unfortunately the peculiar construction of the building did not allow justice being done to the great talents of the performer, who played on the Turkophone, Turkophonini, Grand Clarionet, Petit Clarionet, and an instrument which produced sounds in imitation of the Scottish Bagpipes, and elicited great applause. Mr. Ali Ben Sou Alle also displayed his vocal powers by singing "Partant pour la Syrie" and "Les Canotier de Paris" accompanying himself on the Harmonium. Mr. Hewetson Junr., presided at the Piano Forte. The Band of the 38th M.N.I., was present and played several pieces of Music, one of which, the "Battle of the Alma Polka," - composed by Mr. Ali Ben Sou Alle - was much praised.

Mr. Ali Ben Sou Alle proceeded in the Lancefield to Calcutta; after making a professional tour through India he will embark for Europe.


"ALI-BEN-SOU-ALLE. Pondichery, 1er mai 1857", Revue et gazette musicale de Paris 2/25 (21 June 1857), 204-05 (DIGITISED)

[FOOTNOTE, cued to title] (1) La curieuse note que l'on va lire est extraite du Moniteur officiel des établissements français dans l'Inde.

Deux brillants concerts en cinq jours, et cela par une chaleur de 30 degrés: c'est un véritable phénomène auquel nous venons d'assister et dont on n'avait pas eu d'exemple encore à Pondichéry.

On dit même que, mercredi soir, un certain nombre de personnes, craignant sans doute de ne pas trouver place dans les salons, avaient envahi la toiture des dépendances du cercle. C'est un fait que nous n'avons pas vérifié, mais qui a dû procurer à ses auteurs le moyen de passer une agréable soirée, avec plus de fraîcheur et surtout plus d'économie.

C'est que l'attrait était si grand! C'est que nous avions lu dans les journaux d'Australie, de Calcutta, de Madrid, et aussi dans les journaux de Paris, de tels récits du merveilleux talent d'Ali-ben-sou-alle, que chacun était empressé d'entendre le célèbre artiste.

Aujourd'hui, nous pouvons l'apprécier en pleine connaissance de cause, et c'est pour nous un devoir de déclarer qu'il possède un talent hors ligne.

Nous l'avons entendu avec le plus grand plaisir sur ses divers instruments: le turcophone, le turcophono, le turcophonini, la grande et la petite clarinette.

Il a aussi un timbre de voix très-agréable, et malgré la fatigue que doit nécessairement lui faire éprouver l'usage de tous les instruments à vent, il a chanté avec goût quelques romances et quelques chansonnettes.

Les différentes sortes de turcophones d'Ali-ben-sou-alle sont à peu de chose près les saxophones, déjà connus depuis quelques années; c'est donc par erreur que les journaux lui en ont attribué l'invention.

Le véritable inventeur est le célèbre M. Sax, qui a opéré une révolution fort heureuse dans les instruments de cuivre, et dont le talent lui a valu la croix de la Légion d'honneur, plusieurs décorations étrangères et une foule de médailles.

Quand les saxophones parurent, ils présentaient des difficultés telles, que peu d'exécutants purent jouer de ces instruments avec la précision qu'ils exigeaient, et surtout en tirer la qualité de sons qu'ils peuvent produire. Notre artiste fut le premier qui, sous la direction de M. Sax lui-même, et sous les yeux de M. Berlioz, de Félicien David et de quelques professeurs et compositeurs célèbres, en obtint les merveilleux effets que nous connaissons à présent.

Premier prix de clarinette au Conservatoire de Paris, en 1854 [sic], M. Soualle, qui depuis a repris son nom oriental d'Ali-ben-sou-alle (2), [FOOTNOTE (2) M. Soualle est né en France, dans le département du Pas-de-Calais] éprouva de prime abord un entraînement irrésistible vers ces nouveaux instruments à anches, qu'il jugea avec raison devoir bientôt remplacer complètement et fort avantageusement les anciens.

Il y avait fait quelques légères modifications, dont il ne parle même pas; il s'est livré avec ardeur à leur étude; il se les est appropriés, en quelque sorte, et nous devons reconnaître qu'il y a parfaitement réussi.

Sur ces divers instruments, Ali-ben-sou-alle joue sa propre musique et composition et exécution ne laissent rien à désirer.

Sur le turcophone, il nous a fait entendre de délicieuses variations sur l'air fort ancien et fort connu: la Bonne aventure, les Souvenirs de Manille, une fantaisie sur la Sonnambula, de Bellini, le sextuor et la cavatine de Lucie: Mon bel ange, o ma Lucie! etc.

Il n'est pas possible d'imaginer quelque chose de plus doux et de plus suave que les sons qu'il en retire. En l'entendant, on se souvient qu'autrefois il y avait un instrument qu'on appelait le basson, mais c'était alors l'enfance de l'art.

Sur le turcophono nous avons eu une délicieuse fantaisie sur une mélodie irlandaise: la Dernière rose d'été, une autre sur l'opéra de Don Juan, de Mozart.

Ce dernier morceau était on ne peut mieux choisi pour nous donner une idée des ressources que présente cet instrument; il est vraiment impossible de rendre avec plus d'expression qu'il ne l'a fait, celte musique si belle et si savante.

Le turcophonini, que nous avons entendu, à tort, appeler autour de nous, une clarinette en cuivre, rappellerait beaucoup mienx tout ce qu'il y a déplus agréable et de plus doux dans les sons du hautbois, dont il se rapprocherait d'ailleurs par sa forme, nous ne dirons pas par ses dimensions, car le hautbois est beaucoup plus petit.

Sur cet instrument, Ali-ben-sou-alle nous a fait entendre des Souvenirs irlandais, des Souvenirs de Java et une Shangaï, rédowa-valse, qui est un souvenir, car ce joli morceau a été composé à l'arrivée de notre artiste à Schangaï, après avoir échappé à un affreux typhon.

Il y a dans tous ces souvenirs un cachet d'originalité, une sorts d'empreinte de localité dont on savoure le parfum avec délices.

En entendant les Souvenirs de Java, nous y trouvions une réminiscence des chants indiens. Certainement il y a quelque source commune dans la musique des peuples malais et des peuples malabars.

Quel que soit l'instrument qui serve d'interprète à sa pensée, on reconnaît dans Ali-ben-sou-alle le véritable artiste. L'inspiration et le génie se peignent sur ses traits, et son âme tout entière vient se fondre en sons harmonieux.

Sur la clarinette, il a choisi des morceaux de l'exécution la plus difficile, et il les a joués avec une passion et un succès qui lui rappelaient sans doute ses premiers triomphes.

Que dire de ce petit instrument à l'aide duquel il nous a fait entendre les Souvenirs de la Bretagne, le Clocher du Finistère, etc.? rien, sinon que l'illusion était complète, que chacun de nous a véritablement cru entendre le biniou, et que toutes les imaginations se sont transportées sur le sol lointain de la patrie.

Les romances et les chansonnettes ont fait beaucoup de plaisir.

Le Petit oiseau est un morceau délicieux; Différence et ressemblance et les Grands Pères, de G. Nadaud, ont été dits avec beaucoup d'esprit.

Somme toute, nous devons à Ali-ben-sou-alle deux délicieuses soirées, et il nous en promet pour dimanche soir une troisième dans laquelle il nous associe à une bonne action.

La générosité chez lui est la compagne du talent, et avant de quitter Pondichéry, il nous donne un concert au bénéûce de la famille d'un [205] artiste aimé des habitants de notre ville et que nous venons de perdre tout récemment.

Les salons du gouvernement seront mis à la disposition de l'artiste pour celte fête de la bienfaisance.

Ali-ben-sou-alle a été parfaitement secondé par MM. Defries, Chevalier et Laville.

"ALI-BEN-SOUALLE", Figaro: journal non politique (4 October 1857), 7-8 (DIGITISED) (DIGITISED)

"THE MAURITIUS", The Age [Melbourne, VIC] (24 November 1857), 5 

We have files of the Port Louis Gazette to the 9th of October . . .
Amateurs of good music - and who are not - have a rich treat in store. The arrival of the renowned Ali-Ben-Sou-Alle amongst us and the announcement of a concert for Thursday next is welcome news. We know that it is not prudent at all times to offer opinions on the faith of others, but as the reputation of this distinguished musician is so firmly established we feel satisfied we risk nothing. For these last 3 or 4 years Ali-Ben-Sou-Alle has been delighting and astonishing all parts of Australia and India with his extraordinary talent. His principal instrument is the turkophine [sic] which combines all the melody and sweetness of the flute with the roundness and depth of the French Horn. It possesses a peculiar richness and fulness of tone and is of great compass, while it is capable of the most rapid execution. Besides this instrument Ali-Ben-Sou-Alle plays on the turkophinini with which he imitates the Scotch bagpipes and sings the Scotch airs in such a way as to entrance the patriots of Scotland. The most popular of Moore's melodies he plays admirably, as well as an endless variety of selections from the most familiar operas. With all these attractions besides a picturesque and graceful costume, and a handsome and commanding appearance Ali-Ben-Sou-Alle will be sure to attract a well-filled theatre.


"CONCERT", Cape Argus [South Africa] (6 March 1858), 2; transc. Steltzner 2016, 151

Mons. Ali-Ben-Sou-Alle's concert was given in the large room of the Commercial Exchange on Thursday evening; and fully realised our anticipations of its superior character. The performances on the Turkophone (an instrument of great compass) were excellent; the powerful and extremely clear notes produced, called forth deserved applause. The solos "In my cottage near a wood," and "My lodging is on the cold ground," were exquisitely executed. Monsieur Ali-Ben-Sou-Alle's performances on the Turkophonini and the grand Clarionet were of an equally high character; and the audience were fully convinced of his superior musical abilities. The Rifle Corps Band were present during the evening; and their performances were very excellent, and such as to lead us to desire that they will in future more frequently favor the public with such an entertainment. Some amateurs, who were to assist in singing glees, did not come forward during the evening; but Mons. Ali-Ben-Sou-Alle amply compensated for the disappointment occasioned by this circumstance. His first public entertainment has met with a decided success, and we have no doubt the result of a second will be still more gratifying.

"ZUID AFRIKA", De Oostpost: letterkundig, wetenschappelijk en commercieel nieuws- en advertentieblad [Surubayah] (3 May 1858), 5 (DIGITISED)

De heer Ali Ben Sou Alle, onlangs alhier aangekomen, is voornemens dezer dagen een Concert te geven . . .

? Patent, Paris (6 February 1858), in "MUSIQUE, INSTRUMENTS", Bulletin de la Société de'encouragement pour l'Industrie Nationale 2/5 (May 1858), 384 (DIGITISED)

M. Soualle, à Paris; instrument de musique dit harmoniphone. (6 fév. - 15 ans.)

[News], The Sydney Morning Herald (15 October 1858), 3

The following curious information is given by a correspondent of the Port Elizabeth Telegraph:- "A most interesting bet took place a few days since, as to whether our respected townsman, Hector McKenzie, Esq., had not a larger calf than the great musician, "Ali-Ben-Sou-Alle," and decided by the following measurement: - H. McKenzie, Esq., 18 1/2 inches, "Ali-Ben-Sou-Alle," 18 inches. I report this, as I question if another two such calves are to be found in the colony." - Cape Paper.


"ISLE OF FRANCE", The Sydney Morning Herald (17 March 1860), 5 

WE translate the following monthly summary of local intelligence at the Mauritius from the Mauricien newspaper of Tuesday, the 7th ultimo [February] . . . M. Ali-Ben-Sou-Alle gave his farewell concert on Saturday, in the presence of a numerous and select audience. It was the eleventh concert which he has here given, five of which alone were for his individual advantage, and so much is he liked that his last concert was as well attended as his first. M. Ali-Ben Sou-Alle ought to take with him pleasant recollections of our island, which we hear that he quits with regret.

Patent, Paris (22 September 1860); in Description des machines et procédés pour lesquels des brevets d'invention . . . 77 (1872), 242 (DIGITISED)

BREVET D'INVENTION DE QUINZE ANS, En date du 22 septembre 1860,
Au sieur Ali-ben-sou-alle, à Paris, Pour des perfectionnements apportés aux instruments de musique à clefs . . . [Sou-Alle's full summary follows]

Draft translation (from the above):

FIFTEEN-YEAR INVENTION PATENT, On September 22, 1860. Ali-ben-sou-alle, Paris, For improvements to key musical instruments.

Especially for instruments known as saxophones or sax-turcophones, my modifications are also applicable to other key instruments which must be more or less considered of the same family, such as oboe, clarinet, bassoon, etc.

The saxophone, as it was invented and established by Mr. A.Sax, left much to be desired in terms of accuracy and skill.

On this magnificent instrument, chromatic scales, certain notes, arpeggios, perfect chords . . . were of an execution either defective or difficult, and some trills or cadences were even impossible.

After many years of studies and observations, I have convinced myself that these numerous and serious defects come from the mechanism of the keys, and the efforts that I have done to remedy it have been crowned with such success that the difficulties have all been reduced to nothing, and that nothing is today which can not be executed in a perfectly just manner and easy in all given tones.

One of the parts of my invention consists in the adoption of the Boehm flute system, with some necessary modifications, and in that of A. Buffet's clarinet system, for the use of double keys.

It then remained to triumph over another great difficulty.

It is known that two so-called blowholes are necessary to traverse the upper octave in which the change of key takes place with the thumb of the left hand, on certain saxophones, between ground and the g and a; on others, between the a and b.

This passage from one key to the other was painful and very defective; the problem was therefore to find a way to remove it.

I succeeded in a completely satisfactory way, by the application of a new key.

It must have been remarked again that the spatula which governs the key is not integral with it, since this key is controlled by four spatulas; but it serves, by its independent articulation, to close at the same time two keys, for the execution of the a.

Here are some changes in the position of some keys:M

The old spatulas, for the respective notes d, d sharp, and e, received by me a new and particular disposition on the body of the instrument.

This change brought them back to an infinitely more natural and convenient position for the maneuvering of the index and medium of the left hand.

All the observations which form the course of my present description are necessarily applicable to all the notes and to all the aforesaid intervals taken in the inverse order, that is to say with the corresponding notes flattened.

In short, the principal improvements which constitute my invention and which I have introduced into so-called saxophones or turkophones, and into those with which they have a greater or lesser analogy, such as bassoons, oboes, clarinets, etc., can to be summarized as follows:

1o - The creation of new keys with spatulas, with hollow broken branches, and each mounted freely on a shaft or steel rod, all combined to establish and facilitate the communication of the keys between them and their multiple operation, by different spatulas or fingers, as he has already been explained;

2o - A new arrangement given to the spatulas, to facilitate the fingering;

3o - The combination of the springs of the levers, the mechanism of the spatulas and the keys that govern and control the two torches for their alternative movements in a timely manner, in a manner that is somewhat automatic, which removes the double function of the left thumb, in the old mechanical system of torches, which is reduced to the sole operation of a spatula;

4o - The application of the mechanism of the keys and the fingering of the Boehm flute;

5o - The application of the system of double keys and fingering of the A. Buffet clarinet;

6o - The complete disappearance of all the difficulties presented by the Sax system for the execution in major tones, such as f sharp, f, b flat, e flat, a flat, d flat, g, c flat, and their relative minor, as well as that their arpeggios and perfect chords, the dominant seventh and the diminished seventh;

7o - Execution made possible impassable cadences and trills in the Sax system, such as those between low b and c, c sharp and d sharp, a flat and b flat, b and middle c medium, e sharp and f sharp, b and upper c.

Patent and Certificate of Addition dated September 2, 1861.


"FOREIGN PATENTS", The Commissioners of Patents' Journal (12 February 1861), 215 (DIGITISED)

46,837. ALI BEN SOU ALLE, represented by Mathieu, of 45, Rue St. Sébastien, Paris, for "Improvements in keyed instruments." - Dated 22nd September, 1860.

"MUSIQUE POUR PIANO", Bibliographie de France (30 November 1861), 574 (DIGITISED)

Souvenirs d'Ecosse. - Souvenirs de la Chine. - Souvenirs d'Irlande. -
Souvenir du cap de Bonne-Espérance. - Souvenirs d'Angleterre. - Souvenirs de France. -
Souvenirs de l'Inde. - Souvenirs d'Australie et de Manille. - Souvenirs de l'Ile Maurice. -
Souvenirs de Bade. - Souvenirs de Natal. - Souvenirs de Java. -
Adieu à la Nouvelle-Zélande. - Ballade irlandaise. - Le Retour, polka. -
Shanghaï, redowa-valse. - Le Trouvère. - Grande fantaisie sur Lucie de Lammermoor. -
Fantaisie sur don Juan, de Mozart. - Fantaisie sur Lucrèce Borgia. - Fantaisie sur li Favorite. -
Caprice. - Caprice sur le Prophète. - Deux souvenir, schottisch. Paris, l'auteur. [2332


"386.o", Bulletin des lois de la République française 1027 (1 January 1862), 793 (DIGITISED)

386'o. Le brevet d'invention de quinze ans, dont la demande a été déposée, le 22 septembre 1860, au secrétariat de la préfecture du département de la Seine, par le sieur Ali ben Sou Alle, artiste musicien, représenté par le sieur Mathieu, à Paris, rue Saint-Sébastien, no. 45, pour des perfectionnements apportés aux instruments de musique à clefs.

Patent, Mauritius (24 October 1862); in The Mauritius almanac and colonial register (1870), 271 (DIGITISED)

Date of patent / 1862 October 24 / Ali-Ben-Sou-Alle / Paste for the manufacture of Paper / [duration years] 14 / [expiry] 29 Oct. 1876

See also "PATENTS GRANTED IN THE BRITISH COLONIES AND DEPENDENCIES. MAURITIUS", The Commissioners of Patents' Journal (27 August 1872), 1812 (DIGITISED)

"SCHOOL OF ARTS. - LECTURE BY MR. R. H. HORNE", Goulburn Herald [NSW, Australia] (12 November 1862), 4 

. . . The lecturer noticed, amongst other modes in which the public had been successfully imposed upon, the pretensions of professors of the occult arts, whose advertisements were still to be seen in the New York Herald, and alluded to the large fortune recently made in these colonies by the Irish impostor who passed under the name of Ali-Ben-Sou-Alle . . .

ASSOCIATIONS: Richard Hengist Horne (writer, dramatist, musical amateur)


"ORDONANCES", A collection of the laws of Mauritius and its dependencies, Volume 9 (1862-65), 160-61, 198 (DIGITISED)

[160] ORDONNANCE No. 8 De 1863. M. C. JOHNSTONE. -
Décrétée par Son Honneur l'Officier Administrant le Gouvernement de l'Ile Maurice et de ses Dépendances, de l'avis et avec le consentement du Conseil du Gouvernement de la dite Ile / TITRE. Pour naturaliser Mr. Augustin Edouard SOU-ALLE alias ALI-BEN-SOU-ALLE.
(Cette Ordonnance a été confirmée; voir la Proclamation du 2 Juillet 1863)

[161] ORDINANCE No. 8 Of 1863. M. C. JOHNSTONE. -
Enacted by His Honor the Officer Administering the Government of Mauritius and its Dependencies, with the advice and consent of the Council of Government thereof. TITLE. For the naturalization of Mr. Augustin Edouard SOU-ALLE alias ALI-BEN-SOU-ALLE.
(Confirmed; see Proclamation of 2nd July 1863. (DIGITISED)

ORDONNANCES (3) . . . [No.] 26 [de 1863] Pour naturaliser M. Augustin Edmond SOU-ALLE, alias ALI-BEN-SOU-ALLE.

"CHRONIQUE", La Semaine des familles 6/32 (7 May 1864), 512 (DIGITISED)

. . . et enfin, Ali-Ben-Sou-Alle, qui s'est fait vivement applaudir sur le saxophone-contralto et soprano.

Qu'est-ce donc qu'Ali-Ben-Sou-Alle? direz-vous. C'est précisément ce que j'entendais demander autour de moi pendant la soirée. Les avis étaient partagés. Les uns voulaient qu'il arrivât de Chine, les autres d'Afrique, plusieurs des Grandes-Indes, et son costume oriental prêtait à des commentaires à perte de vue.

" - C'est un prince dépossédé par les Anglais, disait un auditeur. - C'est un Japonais venu à la suite de l'ambassade, reprenait un autre. - C'est un cousin d'Abd-el-Kader, reprenait un troisième, qui n'avait cessé de partager son attention entre le concert, la fenêtre voisine dont il demandait l'ouverture tous les quarts d'heure, sauf à en réclamer la fermeture aussitôt, et son gendre, auquel il prodiguait les boules de gomme et les câlineries. Voyez quel beau type oriental présente sa figure."

Rien de tout cela n'est vrai. Ali-Ben-Sou-Alle est tout simplement Français, et, si je ne me trompe, Parisien.

- Mais alors pourquoi ce nom de Mamamouchi?

- Si vous voulez bien me laisser la parole trois minutes, vous allez le savoir. Il y a quelque dix ans, l'artiste dont il s'agit portait un nom parfaitement français, et il obtint à cette époque le premier prix de clarinette au Conservatoire. Comme il avait l'humeur aventureuse, au lieu d'aller s'implanter, à l'instar d'un champignon, dans l'orchestre d'un théâtre, il fit la réflexion que les chemins de fer et les bateaux à vapeur n'étaient pas inventés pour rien, et il commença à voyager. D'abord il fit son tour d'Europe, puis son tour du monde. Il visita l'Amérique, l'Afrique, l'Asie, enchantant les échos du monde ancien et du monde nouveau, non pas avec sa clarinette qu'il avait abandonnée commme un instrument qui sentait son ci-devant, mais avec le saxophone habilement modifié par lui, et dont il tire un bon parti. Ses courses errantes le conduisirent chez un prince indien qui avait le malheur d'avoir l'oreille musicale et une musique militaire qui jouait de manière à mettre sa propre armée en déroute. Il entendit noire ancien premier prix de clarinette et fut ravi.

- Ne pourriez-vous pas me réformer ma musiquel lui demanda-t-il.

- Envoyez-moi vos premiers sujets, je les ferai jouer, et je vous dirai ce qu'il y a de possible, répondit notre compatriote en homme de sens.

Après une audition, il trouva la chose possible, et le prince indien, ravi, le nomma chef de sa musique, avec trente mille francs d'appointements; en outre il le défraya de toutes ses dépenses et mit quatre chevaux à sa disposition. Vous le voyez, le proverbe qui dit: Pierre qui roule n'amasse pas mousse, n'a pas toujours raison. Il est vrai qu'ici la pierre s'est fixée.

C'est ainsi que l'ancien premier prix de clarinette du Conservatoire de Paris est devenu Ali-Ben-Sou-Alle, et que sa physionomie a pris ce type oriental qui faisait rêver plusieurs des spectateurs à Abd-el-Kader.

De temps en temps le chef de la musique du prince indien obtient des congés; l'amour du nid natal ramène chez nous cette hirondelle émigrée. Vous comprenez maintenant comment, se trouvant à Paris, Ali-Ben-Sou-Alle, qui sous ce nom étranger a conservé un coeur français, a été heureux de contribuer au succès de cette soirée de charité, l'une de celles qui a obtenu le plus de succès dans toute la saison.



"MUSIC", The London review (13 August 1864), 177 (DIGITISED)

MR. ALFRED MELLON'S series of promenade concerts commenced, for the fourth season, on Monday; the Royal Italian Opera-house being, as on the previous occasions, converted into a gigantic concert room for the purpose. The magnificent band of one hundred performers, selected from the orchestras of the Royal Italian Opera and the Musical Society of London, is alone a sufficient attraction to draw crowds of shilling visitors to hear the mixture of classical and popular music of which the programmes consist . . . The new instrument introduced (the Turkophone) and performed on by a gentleman (Ali Ben Sou-Alle) in Oriental costume, appeared to be a brass instrument with a reed, the tone bearing some resemblance to that of a clarionet, but somewhat more muffled in quality, and with even less variety of expression. The performer showed great skill in the management of his instrument, which, however, does not seem destined to take any very special place in the orchestra . . .

"METROPOLITAN NEWS", The Illustrated London News (13 August 1864), 163 (DIGITISED)

Mr. Alfred Mellon's Concerts, which were resumed for the fourth time on Monday evening, promise to be as successful as ever. The grand promenade into which Covent Garden has been converted for the purpose was crowded, and the band, with its one hundred performers from the orchestras of the Royal Italian Opera and the Musical Society of London, played with its wonted efficiency. Mdlle. Carlotta Patti has been retained this year, and displayed her wonderful powers of voice . . . Another novelty was introduced in the person of a Turkish performer, in Oriental costume, who played a solo on a new instrument called the turkophone, the tone of which somewhat resembles that of the corno di bassetto. Ali Ben Sou-Allé - so this artist is named in the programme - displayed a perfect command over his instrument in a fantasia on airs from "La Sonnambula," which was re-demanded . . .

[Advertisement], The Illustrated London News (13 August 1864), 170 (DIGITISED)

ALI-BEN-SOU-ALLE. - This gifted Artiste now performing so successfully at
Mr. ALFRED MELLON'S CONCERTS, and who has had the honour of performing before H.R.H. the Prince of Wales, has appointed S. WARD, of 437, Strand, his sole Publisher.
Various compositions from the Royal Album, dedicated to and accepted by H.R.H the Prince of Wales are in the press.

MR. ALFRED MELLON'S CONCERTS. THE OPENING NIGHT (Times - Aug. 9)", The musical world [London] (13 August 1864), 514 (DIGITISED)

. . . Next we had a solo upon an instrument entitled the "Turcophone" (evidently one of the numerous Sax-Tubic family), upon airs from the Sonnambula, executed (in Oriental costume) by a gentleman bearing the name of Ali Ben Sou-alle - formerly, if we are not mistaken, a member of the late M. Jullien's famous band - so much to the gratification of the audience that they forced him to repeat the last movement . . .

ASSOCIATIONS: Alfred Mellon (conductor)

"MR. ALFRED MELLON'S CONCERTS", The musical times [London] (1 September 1864), 350 (DIGITISED)

THE first concert for the season of these popular entertainments took place at the Royal Italian Opera on the 5th ult. We have already expresised our opinion upon these performances on former occasions; and see no reason for altering it on referring to the published announcement of the present series. In the attempt to offer sufficient attraction to the educated and uneducated in art, a middle course is pursued, which has the effect of disappointing both. The programme of the opening concert contained the usual number of classical works mixed up with vapid fantasias (including one on the "Turkophone," a new instrument played upon by a gentleman vith the unmistakably Oriental name of Ali ben Sou-Alle), quadrilles, and hashes from operas, called by musical cooks pot-pourris; the vocal portion of the entertainment being entirely supported by Madlle. Carlotta Patti. The admirable manner in which these pieces were executed made us doubly regret that the programme was not composed of more solid materials. Let us hope, however, that with such artists as Madlle. Krebs (pianoforte) and Mr. Carrodus (violin), one or two really good concerts may be given duling the season. The "classical" nights, as they are termed, merely signify that one part is devoted to one composer; but the meaning of the "volunteer" nights we confess to be utterly beyond our comprehension.

"A VISIT TO THE PROMENADE CONCERTS", Punch [London] (3 September 1864), 100 (DIGITISED)

(AIR. - "The Low-backed Car.")

To MR. MELLON'S Concerts,
I went the other day;
(I should say night), 'twas that I might.
Hear his musicians play,
But the Programme told me what I had
Before that time not known.
That among the men was ALI BEN,
Who would play on his Turkophone.
Now what was his Turkophone?
I couldn't make out, I own;
I asked all around, but no one could be found.
Who was up to the Turkophone.

Miss HUDDART well I knew,
And a German maid, who sweetly played
On the grand pianny, too;
And Mr. LEVY who had
Charmed LOUIS on his throne;
But somehow very few had
Ever heard of a Turkophone.
Now what was a Turkophone?
I couldn't make out, I own:
I asked all around, but no one could be found.
Who was up to the Turkophone.

I didn't mind ROSSINI,
I wearied of Mozart;
And the worst of bores I considered the pause,
'Twixt the first and second part.
I grew so agitated that,
I scarce could stand alone;
And I cried out, "When will ALI BEN
"Come and play on his Turkophone?"
Oh, what is a Turkophone?
I cannot make out, I own.
Is it wind, is it string, oh what sort of a thing,
Is this wonderful Turkophone?

'Twas very near eleven,
MR. MELLON gives a rap:
And a man in a fez cries out, "Oh, yez,"
Like a foreign sort of chap.
And then was the great ALI BEN,
To the English public shown;
He was dressed in his best, in a Turkish vest,
And he carried the Turkophone.
But was it the Turkophone?
I couldn't make out, I own.
'Twas a lute, or a flute, or a hautboy; but no boy
Could swear 'twas the Turkophone.

He handled it so neatly
Before the list'ning crowd,
And he piped and wiped, and he wiped and piped,
Then looked around and bowed.
And the people all applauded,
For he brought out such a tone,
And the man at the harp had to look very sharp
To keep up with the Turkophone.
As he tootled the Turkophone,
The player on the trombone
Put his hand to his ear,
and then let fall a tear
As he grinned at the Turkophone.

'Twas the Last of Summer Roses
He played, and then I smiled,
When very soon we lost the tune
In his variations wild.
So away we went to supper,
For hungry had we grown,
And ordered some "Fizz," which the right thing is
With a devilled Turkeybone.
That wonderful Turkophone!
But a grilled peppered Turkeybone.
And Champagne at the Raleigh would make e'en BEN ALI,
Cry, "Bother the Turkophone!"

MUSIC: The low back'd car (Samuel Lover)

[Musical news], The Illustrated London News (17 September 1864), 286 (DIGITSED)

At a season of the year when, in common parlance, "London is empty," Covent Garden Theatre is full to overflowing every night, crowded with visitors to Alfred Mellon's Promenade Concerts. One of their attractions, and not one of the least, consists of the performances of Ali-Ben-Sou-Alle on his newly-invented instrument, performances which excite great curiosity and interest. He is a handsome man - an Arabian, we presume, from his name and his magnificent Oriental attire. He plays on a new variety of the extensive class of brass instruments invented by M. Sax, from whom they derive their general name of "Sax-horns." Ali-Ben-Sou-Alle's instrument possesses the general properties of the family to which it belongs. Its compass seems to be that of the bass clarinet or "corno di bassetto," which it also resembles in the melancholy character of its tone. Hence it is peculiarly fitted for music of a tender and mournful expression; and though he does not confine himself to such music, yet it is in pieces of this kind that he is most effective. He plays airs from favourite operas, arranged with variations or as fantasias; and it is very charming to hear him sing (as it were) the finest vocal melodies with all the grace and pathos of a great Italian performer. We may add that he generally plays with an accompaniment on the harp, the reason being that his instrument is a little under the English concert pitch and the orchestra cannot conveniently be tuned to it.

[2 advertisements], The Illustrated London News (17 September 1864), 292 (DIGITISED)

From the Royal Album, dedicated to and accepted by H.R.H. the Prince of Wales . . .

An excellent set, and new and original melodies. Illustrated with Portrait in Colours. Price 6s.
S. WARD, 487, Strand, W.C.

"M. JULLIEN'S CONCERTS", Morning Post [London] (27 September 1864), 8 (PAYWALL)

The celebrated band of the Danish Guards, with the Danish national vocalists - after experiencing many moving accidents by flood, if not by field, on their way from Copenhagen to London, to carry out the engagement which M. Louis Jullien, who seems to inherit all his father's spirit, contrived, in the face of considerable difficulties of all kinds, to make with them - appeared for the first time last night before a British audience, and met with most brilliant success - such success, indeed, as will probably ensure crowded houses to M. Jullien until the termination of his present brief season . . . The house was crowded. M. Lotto, the violinist, Madlle, Mariot de Beauvoisin, the pianiste, with Madlle. Liebhart, the famous Liedersingerinn, were, as on former occasions, enthusiatically applauded; and great success of a certain kind was won by a certain Ali Ben-Jen-Kins, brought forward, we presume, as a rival to Ali Ben-Sou-alle, introduced by Mr. Mellon at Covent-garden Theatre.

ASSOCIATIONS: Louis Jullien, senior, having died in 1860, the M. Jullien referred to here is Louis Jullien, junior, only son and member of the band, who re-established the Jullien concerts in 1863; he had reportedly resettled in North America by c. 1870

"OUR DRAMATIC CORRESPONDENT", Punch [London] (1 October 1864), 140 

. . . At [Covent Garden] the solitary Swell who is on his way to Stubbleshire may go to one of Mr. ALFRED MELLON's cheap but charming Concerts, where, besides some pleasant dance-tunes which, if he be young enough, will set his toes a-tingling, he will hear some real music by BEETHOVEN or MENDELSSOHN, performed to a good audience by a famously good band. Moreover, he will hear CARLOTTA PATTI, who sings so high at times that you expect her, like a skylark, to sing clean out of sight; and he will hear the wondrous Turkophone played by ALI BEN SOUALLE so early in the evening that by ten o'clock or so he may criticise its merits in company with a cigar and with his old friend PADDY GREEN . . .

"ALFRED MELLON'S CONCERTS (To the Editor)", The musical world [London] (22 October 1864), 682 (DIGITISED)

SIR. - Mr. Alfred Mellon's concerts were brought to a conclusion on Saturday week . . . Signor Bottesini, whose wondrous performances have been the most legitimate attraction of the concerts, took the opportunity, in a duet concertante from his own pen, for clarionet and contra-basso, in which he was joined by a worthy coadjutor, Mr. Lazarus, of proving that he has original ideas as well as marvellous executive facility. In striking contrast with Signor Bottesini, the performer on the so-called "Turkophone" should claim some mention. He selected for this evening's display Le derniere Pensee; and I cannot but hope that this "thought" of Mr. Mellon's will really be the last of its kind. The conductor, however, has been sufficiently punished for his blunder of engaging Ali-Ben-Soualle by the mocking rivalry of Ali-Ben-Jen-Kins at Jullien's concerts . . .

See also [News], The Sydney Morning Herald [NSW, Australia] (16 January 1865), 8 

Mr. A Mellon having introduced to the English public, during his promenade concerts, a soi-disant Turkish musician called Ali-Ben Soualle, M. Jullien has retorted by brining forward Ali-Ben Jen-Kins, a Welsh performer, who plays remarkably on the saxophone.

The Natal Mercury (6 October 1864), 2; transcribed Steltzner 2016, 158

A musical friend in London has kindly furnished us with the following "scraps," which will not be uninteresting to your readers: -
"About five or six years ago there appeared at the Cape a most singular being calling himself 'Ali Ben Soala, [sic]' a performer on several brass instruments, and the clarionet. He gave concerts at Cape Town, Simon's Bay, and at all the towns and villages situate between the Cape and Algoa Bay, then went to Grahamstown, and through Kafirland to Natal. Well, this curiosity in the shape of a man disappeared, and since then has been reported to have lost his life in a fire, to have been thrown out of a balloon, to have burst his windpipe practicing, and a dozen other extraordinary finales; but he is actually alive, and this evening, after leaving my office and taking a cup of tea, I shall put a fiddle under my arm and go down to Covent Garden theatre to the second rehearsal of Mellon's concerts. About the middle of the first part of the programme, a weird looking object in Turkish costume appears on the platform and performs on his "Turkaphone," [sic] the saddest and most melancholy music you ever heard in your life. "Ali Ben Soala" yes, I recognize him at once as Patrick Sullivan, who went to America in Jullien's band; he is a good performer, and does not need his Turkish dress and outlandish name for any body to be more delighted with his performance. This eccentric player is engaged by Mellon as a novelty, and as such he is likely to cause a sensation. I send you these particulars because he has been an object of interest at the Cape ever since he appeared there.

Journal général de l'imprimerie et de la libraririe 2/8 (1864), 531 (DIGITISED)

283 - ANGLETERRE. MUSIQUE. Ali-Ben-Sou-Alle. L'Oiseau-mouche (the Humming bird), rondo-valse, from the royal Album. Londres, S. Ward.


"PARIS (From our own Correspondent)", The musical world [London] (8 April 1865), 212 

. . . Herewith is a memoir in little of your friend - or rather, Mr. Alfred Mellon's friend - Ali-Ben-Soualle, who has been creating a sensation recently in Paris and has been enchanting royal and polite ears at the Tuileries - even, haply, those of the renowned Mr. Ap'Mutton himself. Ali-Ben-Soualle is a true Frenchman and was born at Arras where he first made his musical studies. Admitted to the Conservatoire of Paris he gained the first prize for clarinet playing. He then proceeded to London and was engaged at Her Majesty's Theatre, and devoted himself particularly to the study of the saxophone. Ali was a rover in his heart and quitted England to travel in the East, where he became director of music to the Rajah of Mysore. The desire to revisit his native home and to make his great talent more thoroughly appreciated has brought him back to France, having first paid a visit to England and been presented to the Queen and the Prince of Wales, who deigned to accept from him a musical album of his own composition. I am sorry I cannot send you at the same time a counterpoise sketch of the life of Ali-Ben-Soualle's great rival, the other renowned saxophonist, Ali-Ben-Jenkins.

- MONTAGUE SHOOT, Paris, April 6.

Journal général de l'imprimerie et de la libraririe 2/9 (1865), 55 

ANGLETERRE ... MUSIQUE. Ali-Ben-Sou-Alle. A Sailor's life for me. Pr. 3. Come Back thou hapy dream, poetry by Frederick Enock. Pr. 3/. Londres, S. Ward [26

Ali-Ben-Sou-Alle. The Voice of the flower (Oh! forget me not), poetry by Frederick Enock. Pr. 3/. Londres, S. Ward [27

DELGARDE (E.). - The Ali-Ben-Sou-Alle, waltz, arranged on original mélodies composed bv Ali-Ben Sou-Alle. Pr. 4/. - The Ali-Ben-Sou-Alle polka. Pr. 3/. Londres, S. Ward [28

DELGARDE. - The Ali-Ben-Sou-Alle, quadrille. Pr. 4/. Londres, S. Ward . [29 ...


"1175", Bulletin des lois de la République Française 30/1522 (5 December 1866), 414 

Le brevet d'invention de quinze ans . . . le 19 août 1865 . . . par les sieurs Rabier (Jean-Marie), architecte, et Soualle (Charles-Jean-Baptiste-Alexandre) négociant, à Paris, le premier ...


R. SAINT-MARC, "LE FORTUNE ET LA CLARINETTE. NOUVELLE", Le Monde illustré (9 November 1872), 287, 290 (DIGITISED) (DIGITISED)



"UNE FUTURE CÉLÉBRITÉ PARISIENNE", La vie parisienne (18 December 1875), 714 (DIGITISED)

Les personnes qui assistaient au concert des Tuileries, le 25 mars 1865, doivent se rappeler y avoir entenduun exécutant bizarre, jouant d'un instrument bizarre et portant un nom bizarre - Son existence aussi, disait-on, ne le cédait en étrangeté ni au costume brodé d'or et de pierreries, ni au gigantesque saxophone, ni au nom d'Ali-Ben-Sou-Alle, - qui était du reste un Français d'Arras, revenu maintenant-parari nous et dont voicî l'histoire rapidement esquissée.

Premier prix du Conservatoire de Paris, 1844; puis directeur de la musique de la marine au Sénégal. - Première clarinette au théâtre de la reine à Londres, 1848. - Présentation par lui au public parisien, en 1851, du saxophone dans une audition du Désert de Felicien David. - Voyage artistique en Europe, et départ pour l'Australie, la terre Van Diemen, la Nouvelle-Zélande (où l'on lance un bâtiment portant son nom, tant était grand l'enthousiasme des populations), Manille, Singapore, Java, Madura, Hong-Kong, Canton, Makao, Shang-hai, Calcutta, Madras, Pondichéry et Mysore, - où le radjha le retint, le nomma chef de sa musique à des appointements invraisemblables, et le décora de ses ordres.

Ali-Ben-Sou-Alle était à Mysore quand éclata la révolution des Indes dont notre compatriote fut une des premières victimes: ses blessures étaient telles que, de retour en Europe, les médecins dirent lui extraire deux côtes.

Tandis qu'il gisait sur son lit, un rhumatisme s'empara de tout son organisme; seuls, les yeux n'étaient pas atteints. Le traitement fut long et incomplet. Ali-Ben-Sou-Alle se ressouvint alors de certaines herbes indiennes dont il avait appris les vertus, et, se traînant à peine, s'embarqua pour-les aller chercher lui-même' et se guérir radicalement.

Depuis il vivait tranquille parmi nous, lorqu'ùn voisin, ayant été pris de goutte, il le guérit et le voisin ayant redit l'histoire, il en vint un autre, puis dix, puis cent, y compris des médecins ... Et Ali-Ben-Sou-Alle, qui a repris en France son vrai nom de Soualle, les guérit tous. Sa réputation a grandi à tel point que, ne pouvant suffire à toutes les sollicitations de ceux qui l'appelaient, il a installé un établissement luxueux où rien ne manque et où sont venus les malades de toutes classes, - depuis les plus infimes jusqu'aux princes des familles couronnées. Le passage de ces derniers a laissé d'éclatants souvenirs.

M. Soualle, qui guérit les névralgies les plus tenaces, comme la goutte et les rhumatismes, ne procède que par fumigatiens, frictions et pulvérisations, et ne prescrit pas de remèdes. Il ne fait pas de médecine. Il vous ôte la maladie avec la main, - comme diraient les bonnes femmes; il chasse immédiatement les douleurs les plus aiguës. - Nous ne sommes pas ennemis d'une douce gaieté, le public le sait, mais nous savons compatir aux douleurs des gens qui souffrent; c'est pourquoi nous indiquons à ces derniers l'établissement du 350, rue Saint-Honoré. Ils y trouveront M. Soualle, celui qui, probablement, sera demain une célébrité parisienne.


Soualle Charles Jean Baptiste ([sign ?]) / 21 Septembre 1899

Arrondissement 11, 1893-1902, DécÈs, D1M9 928; Archives de Paris, Archives en ligne (See Cottrell 2018, 198) (search 11th Arrondissement, 1899, Soualle)

Soualle Charles Jean Baptiste ([sign ?]) / 21 Septembre 1899

Musical works (Australia)

KEY: lost works (MS, no copy identified); extant works (original or later editions)

In my cottage near the wood ("J'aime mieux m'amie") (1853)

Performances: 13 June 1853, Melbourne, VIC; 26 May 1854, Geelong, VIC; 7 and 18 October 1854, Launceston, TAS; 31 October and 6 November 1854, Hobart, TAS; 7 November 1854, New Norfolk, TAS; 21 December 1854, Sydney, NSW

Probably an early MS version of the surviving published work Souvenirs de France (Paris, 1861), based on the same melody 

See also modern edition by Paul Wehage: 

For an earlier edition of this melody, see the popular arrangement by T. Latour; US edition, New York, [c.1819]: (DIGITISED)

Come back! Come back! (ballad) (1853)

Performances: 13 June 1853, Melbourne, VIC

Probably an early MS version of the surviving published work Come back thou happy dream (London, 1864) 

See also modern edition by Paul Wehage: 

My skiff is on the shore (1853)

Performances: 15 July 1853, Melbourne, VIC; 2 November 1854, Hobart, TAS; 7 November 1854, New Norfolk, TAS; 20 January 1855, Goulburn, NSW

Probably an early MS version of the surviving published work Souvenirs d'Angleterre (Paris, 1861), based on the same melody 

See also modern edition by Paul Wehage: 

For an earlier print of this melody, see US edition (New York: Wm. Hall and Son, 1848): (DIGITISED)

Cheerily men (sailors' song) (1853)

Cheerily, men; the sailors' song; descriptive vocal and instrumental work

Performances: 15 July 1853, Melbourne, VIC ("composed expressly for this concert"); 1 and 5 August 1853, Melbourne, VIC; 13 March and 10 May 1854, Melbourne, VIC

? Unpublished MS


Perhaps partly based around an early MS version of the surviving published song A sailor's life for me (London, 1864) 

See also modern edition by Paul Wehage: 

Ugalde-Sultana polka (1853)

Ugalde-Sultana polka

Performances: 15 July and 4 August 1853, Melbourne, VIC

? Unpublished MS


Valse l'Australienne ("Australian waltz") (1853)

Performances: 4 August 1853, Melbourne, VIC ("first time; composed expressly for this concert"); 13 March and 10 May 1854, Melbourne, VIC

? Unpublished MS (? perhaps same as Goulburn waltz below)


Fantasia and Solo (1853)

Probably = works more fully described elsewhere

Performances: 4 August 1853, Melbourne, VIC


Australian anthem (1853)

Australian anthem (words: M. F. Tupper) ["Advance, Australia! on, speed on, / Stout old England's brave young son . . ."]

Performances: 20 September 1853, Geelong, VIC; 13 March 1854, Melbourne, VIC

? Unpublished MS

NO COPY OF MUSIC IDENTIFIED; words survive separately

The Australian banner, military march (1854)

The Australian flowers, waltz (1854)

Turkish march (1854)

Performances: January 1854, Melbourne, VIC (rehearsal, Band of the 40th Regiment)

? Unpublished MSS


The digger's polka (1854)

Performances: January 1854, Melbourne, VIC (rehearsal, Band of the 40th Regiment); 9 and 17 March 1854, Melbourne, VIC

? Unpublished MSS


See also Turkish polka (performed by the 40th Band, 13 June 1856)

Fantasia from La Favorita (1854)

Performances: 9 March 1854, Melbourne, VIC (unadvertised encore, noticed in review)

Probably an earlier MS version of the surviving published work Fantaisie sur La Favorita de Donizetti (Paris, 1861) 

See also modern edition by Paul Wehage: 

Fantasia and variations on themes from La somnambula [sic] (1854)

Performances: 13 March 1854, Melbourne (VIC); 26 May 1854, Geelong, VIC; 7 October 1854, Launceston, TAS (extract); 21 and 27 December 1854, Sydney, NSW; 20 January 1855, Goulburn, NSW

Probably an earlier MS version of the surviving published work Fantaisie sur La somnabule de Bellini (? Paris, 1861)

See also modern edition by Paul Wehage: 

Mahahrajpore march (1854)

"In commemoration of the eventful battle of the 40th regiment [regiment] in the East Indies"

Turki-Russian historical polka (1854)

"Composed on the arrival of news of the late victories of the Turks at Kalafat and Oltenitza"

Performances: 13 March 1864, Melbourne, VIC (both "first time")

? Unpublished MSS


My lodging is on the cold ground [Believe me if all those endearing young charms] (1854)

Performances: 17 March 1854 (St. Patrick's day concert), Melbourne, VIC ("first time"); 7 and 18 October 1854, Launceston, TAS; 31 October, 2 and 6 November 1854, Hobart, TAS; 7 November 1854, New Norfolk, TAS; 21 December 1854, Sydney, NSW; 20 January 1855, Goulburn NSW

Probably an earlier MS version of the surviving published work Divertissement sur une ballade irlandaise (Paris, 1861), on the same melody 

See also modern edition by Paul Wehage: 

The last rose of summer (1854)

Concerta [sic] Romantique, with grand Orchestra and Pianoforte Accompaniment, on the theme, "The last Rose of Summer," (first time); The last rose of summer with variations

Performances: 17 March 1854 (St. Patrick's Day concert), Melbourne, VIC ("first time"); 31 October 1854, Hobart, TAS (not listed program, but see review)

Probably an earlier MS version of the surviving published work Souvenirs d'Irlande (Paris, 1861), on the same melody 

See also modern edition by Paul Wehage: 

Royal Hibernian waltz (1854)

Performances: 17 March 1854 (St. Patrick's Day concert), Melbourne, VIC ("first time")

? Unpublished MS


Solo on entirely new themes and variation (1854)

Performances: 10 May 1854, Melbourne, VIC

? Unpublished MS; probably = a work below


Tasmanian polka (1854)

Tasmanian polka (dedicated to the governor William Denison)

Performances: 16 and 18 October 1854, Launceston, TAS; 31 October and 2 November 1854, Hobart, TAS

? Unpublished MS


Fantasia on themes from Don Giovanni (1854)

Fantasia, Don Giovanni; Fantasia varie, Don Juan; Grand Fantasia, Don Juan;

Performances: 18 October 1854, Launceston, TAS; 2 November 1854, Hobart, TAS; 27 November 1854, Sydney, NSW; 20 January 1855, Goulburn NSW

Probably an earlier MS version of the surviving published work Fantaisie sur Don Juan (Paris, 1861) 

See also modern editions by Fabien Chouraki and Paul Wehage: 

Fantasia on English, Irish, and Scotch airs (1854)

Fantasia on national tunes English, Irish, and Scotch; Grand fantasia . . .

Performances: 18 October 1854, Launceston, TAS; 31 October 1854, Hobart, TAS; 7 November 1854, New Norfolk, TAS; 21 and 27 December 1854, Sydney, NSW

Old folks at home (1854)

Variations on Old folks at home; Old Folks at home, varie, with Bolero finale; Grand fantasia, Old folks at home

Performances: 26 May 1854, Geelong, VIC; 2 and 6 November 1854, Hobart, TAS; 7 November 1854, New Norfolk, TAS; 27 December 1854, Sydney, NSW; 20 January 1855, Goulburn, NSW

Probably an earlier MS version of the surviving published work Souvenirs d'Australie et de Manille (Paris, 1861) 

See also modern edition by Paul Wehage: 

Selection from Le prophète (1854)

The celebrated polka from the opera Le prophète; a selection from Le prophète

Probably an earlier MS version of the surviving published work Caprice sur Le prophète (Paris, 1861) 

See also modern edition by Paul Wehage: 

Goulburn waltz (1855)

Goulburn waltz, a mes amis de Goulburn, Ali Ben Sou Alle ([Goulburn]: [n.p.], [1855])

Copy at National Library of Australia (detail of page 1, above) (DIGITISED)

Copy at Sydney Living Musuems 

This is the only known Australian print of music by Sou-Alle

"ALI-BEN-SOU-ALLE'S RECOLLECTIONS OF GOULBURN", The Goulburn Herald and County of Argyle Advertiser (10 February 1855), 2 

A letter dated from Bathurst, from this gifted musician, has been received in town, enclosing his last musical composition "The Goulburn Waltz," dedicated to his friends in Goulburn. The piece is simple but very charming, and full - though but a sketch, of the fine musical feeling of the distinguished author. To us in Goulburn, thus honoured, the piece is doubly interesting, as showing the deep sense and genial recognition on Ali-Ben-Sou-Alle's part of all the kindness with which he was received in the Mother Town of the South.

[Advertisement], The Sydney Morning Herald (29 September 1855), 3 

NEW MUSIC - Just published, the following popular pieces: . . .
"Lola Montez Polka," and the Goulburn Waltzes."
C. T. SANDON and CO., Music-sellers, Print-sellers, and Stationers, 171, George-street.

[Advertisement], The Goulburn Herald and County of Argyle Advertiser (6 October 1855), 1 

Just Published, And on Sale at the Goulburn Herald Office, PRICE 2s. 6d. THE GOULBURN WALTZ, composed by ALI-BEN-SOU-ALLE.

Later publications (select)

Souvenirs d'Australie et de Manille (by 1861)

Souvenirs d'Australie et de Manille [turcophone en si b, piano] ([Paris]: [Author], [BnF copy accessioned 1861]); publisher's number "A.B.S.A.(7)"

Copy at Bibliothèque nationale de France 

Souvenirs de l'ile Maurice (by 1861)

Souvenirs de l'ile Maurice, Al-Ben-Sou-Alle à son ami Armand Bergstein [turcophone en si b, piano] ([Paris]: [Author], [BnF copy accessioned 1861]); publisher's number "A.B.S.A.(1)"

Copy at Bibliothèque nationale de France (DIGITISED)

Souvenirs de la Chine (by 1861)

Souvenirs de la Chine. Loc-tee-kun-tzin, air chinois ([Paris]: [Author], [BnF copy accessioned 1861]); publisher's number "A.B.S.A.(9)"

Copy at Bibliothèque nationale de France 

Souvenirs de Java (by 1861)

Souvenirs de Java [turcophone en si b, piano] ([Paris]: [Author], [BnF copy accessioned 1861]); publisher's number "A.B.S.A.(13)"

Copy at Bibliothèque nationale de France 

Adieu à la Nouvelle-Zélande, valse (by 1861)

Adieu à la Nouvelle-Zélande, valse (pour piano) par Ali-Ben-Sou-Alle (Paris: Imp. de L. Parent, [1861])

Copy at Bibliothèque nationale de France 

Arrangements by Eugene Delgarde, London, 1864-65

1865 titlepages have colour illustration, portrait of Ali-Ben-Sou-Alle, holding a Turkophone by R. J. Hamerton

The Ali-Ben-Sou-Alle! quadrille for the piano forte on original melodies by Eugeène Delagarde (London: S. Ward, [1864]) 

The Ali-Ben-Sou-Alle waltz arranged on original melodies composed by Ali-Ben-Sou-Alle par Eugeène Delagarde (London: S. Ward, [1864]) 

The Ali-Ben-Sou-Alle polka arranged on original melodies composed by Ali-Ben-Sou-Alle par Eugeène Delagarde (London: S. Ward, [1864]) 

Select bibliography and resources

Lassabathie 1860

Théodore de Lassabathie, Histoire du conservatoire impérial de musique . . . (Paris: Michel Lévy, 1860), 

1842 . . . CLARINETTE. 1er Prix. M. SOLER cadet (Narc); 2e Prix. M. SOUALLE (C. J. B.); Accessit. M. LEROY (A. M.) 

1844 . . . CLARINETTE. 1er Prix. M. SOUALLE (C. J. C. [sic]); 2e Prix. M. SOURILAS (T. F.); Accessit. M. LECERF cadet (C. A. A.) . . .

Cardevacque 1879

"SOU-ALLE (Ali-Ben)", in Adolphe de Cardevacque (ed.), Dictionnaire biographique du département du Pas-de-Calais (Arras: Sueur-Charrney, 1879), 482 

SOU-ALLE (Ali-Ben) né à Arras le 11 octobre 1824. Il entra à l'école de musique de cette ville en 1839, - en août 1840, il remporta le premier prix de clarinette, et le 2e prix de solfége. Il vint à Paris en 1841 et entre au conservatoire le mème année. En 1842, il remporta le 2e prix de clarinette, et en 1844 le premier prix lui est décerné. En décembre de la même année, il part pour le Sénégal en qualité de chef de musique, à bord du Caraïbe, sous le commandement du comte Boüet Willaumey, aujourd'hui vice-amiral. Pendant trois années, il parcourait la côte orientale d'Afrique et les îles du Grand Océan. En compagnie de comte Bouét, il quitta son navire en décembre 1847, et peu de jours après le Caraï perdait corps et biens. Il accompagna le comte Bouét dans son voyage à travers l'Espagne. De retour à Paris il fit partie successivement des orchestres de l'Opéra National et de la Porte Saint-Martin. C'est à cette époque, 10 décembre 1848, qu'il composa Une cantate au prince Louis-Napoléon-Bonaparte, qui fut gracieusement acceptée. Il partit alors à Londres, engagé qu'il était pour le théâtre de Sa Majesté. Sax, venait d'inventer son nouvel son instrument. Après de nombreuses études, Ali s'en rendit maítre. Il revint à Paris en 1851 et pour la premiàre fois, ou entendit le saxophone dans on grand concert de l'Union musicale, dirigé par Félicien David. Il se fit entendre encore deux autres fois. La première chez le comte de Newerkerke, et la seconde, chez notre célèbre peintre de marine, Gudin. Retournant à Londres, il parcourut l'Ecosse, l'Irlande et toute l'Angleterre. Après de nombreux succès, Ali voulut, en considération de son talent, faire le tour du monde. Il partit en 1852 pour l'Australie qu'il visita dans toutes ses parties civilisées. Le conseil municipal de Milbourne le choisit pour composer la musique de l'Hymne national Australien. Il parcourut successivement l'île de Van-Diémen, la Nouvelle-Islande [? New Zealand] où, à la suite d'un concert donné pour les hôpitaux, elles fonds patriotiques, (durant la guerre de Crimée), les habitants de Wellington lui firent l'honneur de baptiser un de leurs navires de son nom. Il retourna ensuite en Australie, et partit de Sydney à bord de l'Europe de Brémen et traversa le dangereux détroit de Torrès. Arrivé à Manilo, il donna plusieurs concerts avec le concours de trois musiques militaires composées de naturels du pays et là il prouva ce qu'on était en droit d'attendre des magnifiques organisations . . .

Brewer 1892

F. C. Brewer, The drama and music in New South Wales (Sydney: Charles Potter, Govt. Printer, Sydney, for the New South Wales Commission for the World's Columbian Exposition (1893: Chicago, Ill.), 1892), 62 (DIGITISED)

Ali-Ben-Sou-Alle, a Turk, but generally supposed to be either a Frenchman or an Irishman dressed in Turkish costume, gave concerts, the novelty being his performance on an instrument styled the "Turkophone," something like a bass clarionet with a curved bell at the end. The tone was rich and sonorous. "Ben Sullivan," as he was familiarly called, was a good executant on this particular article . . .

ASSOCIATIONS: The author, Francis Campbell Brewer (1826-1911), who began his long career as a Sydney newspaperman as an office boy with the Monitor in 1836, would almost certainly have seen and heard Sou-Alle himself in Sydney late in 1854

Jackson 1970

George S. Jackson, Music in Durban: an account of musical activities in Durban from 1850 to the early years of the present century (Johannesburg: Witwatersrand University Press, 1970), 14 

Perhaps the strangest of musicians ever to visit the town arrived in December of the same year. Ali-Ben-Sou-Alle was an Irishman masquerading in Turkish costume. With the help of Mrs. Cubitt and Mr. W. A. Frazer, an amateur violinist, he gave three concerts: two in Winder's masonic Hall and the third at the residence of Mr. William Hartley. He remained in Durban for a few weeks as the guest of Mr. W. A. Frazer, and in March 1859 gave another concert prior to visiting Pietermaritzburg. [The Natal Mercury (10 March 1859), 3] Ali-Ben- Sou-Alle, whose real name was Patrick Sullivan, was a highly-gifted pianist who cleverly improvised variations on popular tunes. He also executed difficult solos on the clarinet and two exotic but doleful-sounding instruments which he called the "turkophone" and "turkophonini". A contemporary account describes him as "a performer on several brass instruments and the clarionet". After giving concerts in Cape Town and in many of the villages between the Peninsula and Port Elizabeth, he visited Grahamstown and from there found his way overland into Natal. Six years later he was seen at Covent Garden where he was engaged as a novelty artist by Alfred Mellon whose concerts were held there in the eighteen-sixties. [The Natal Mercury (6 October 1864), 235].

Lea-Scarlett 1970

Errol J. Lea-Scarlett, "Music-making in early Sydney", Miscellanea musicologica: Adelaide Studies in Musicology 5 (1970), 27, merely 

Ben Sullivan attracted crowds when he became "Ali-Ben-Sou-Alle," dressed "in his grand national costume" (Illustrated Sydney News 23 December 1854) gave recitals on the turkophone, an instrument "soemthing like a bass clarinet with a curved bell at the end." (Brewer 1892, 62)

Berthelot 1987

Lilian Berthelot, "Carvalho et Ali-ben Soualle: deux artistes hors du commun", La gazette des Iles de la Mer des Indes 17 (December 1987)

Haan 1989

J. H. Haan, "Thalia and Terpsichore on the Yangtze, a survey of foreign theatre and music in Shanghai 1858-1865", Journal of the Hong Kong Branch of the Royal Asiatic Society 29 (1989), (158-251), 172-73, 198-99 (PAYWALL)

[198] 19.9.1856 (Fri) Concert by Ali Ben Sou Alle and some local amateurs . . . Programme: G. ROSSINI: Two overtures, V. BELLINI: Selections from "La Sonnambula", F. MENDELSSOHN-BARTHOLDY: "The Fairest Flower" (song). Some German songs. The "Shanghai Redowa Walse", Medley of English, Scottish and Irish airs . . . the occasion of the first real concert in the Settlement's history. It was given by Mr. ALI BEN SOU ALLE, a Turk who, after a study at the Conservatoire de Paris, had been appointed Directeur de Musique de Marine in Senegal . . . in 1844. In 1847 he returned to Paris to enter the orchestra of the Opéra comique, but the following year he went to London where he found employment in the orchestra of Her Majesty's Theatre at the Haymarket. . . . In Hong Kong and even Canton he had appeared in August and October 1856 . . . In between he gave two recitals in the Yangtze port . . . The artist interpreted a selection from Bellini's "La Sonnambula" on the "Turkophone" and the critic wrote that "the compass of the instrument is very great but we confess to some disappointment as regards its quality of tone, and correctness of tone also, in some few notes, and altogether we think it an imperfect instrument - it may, however, improve on further acquaintance but we had no other opportunity of judging during the evening". . . . [199] . . . The Shanghai Redowa Walse . . . which had been "compassed expressly for this Concert and dedicated to the Ladies of Shanghai" . . . [was] also performed on the Turkophonini . . .

29.9.1856 (Mon) A second concert by Ali Ben Sou Alle. No review was published in the Herald, only an announcement (NCH 27.9.1856)

Cottrell 1991

Stephen Cottrell, The saxophone (New Haven: Yale University Press, 1991), 111-18 (PREVIEW)

Relevant chapter "The saxophone in the nineteenth century" also available separately at JSTOR: (PAYWALL)

Thomson 1991

John Mansfield Thomson, The Oxford history of New Zealand music (Oxford University Press, 1991), 23, 29 

Ingham 1998

Richard Ingham, The Cambridge companion to the saxophone (Cambridge: Cambridge University Press, 1998), 13 (PREVIEW)

Whiteoak 2002

John Whiteoak, "Unorthodox adlibbers [Australia ad lib]", Sounds Australian (Journal of the Australian Music Centre) 59 (2002)

Whiteoak 2003

John Whiteoak, "Improvising music", and Ralph Whiteoak, "Saxophone", in John Whiteoak and Aline Scott-Mexwell (eds), Currency companion to music and dance in Australia, 324, 597

Segall 2005

Michael Segell, The devil's horn: the story of the saxophone, from noisy novelty to king of cool (New York: Farrar, Straus and Giroux, 2005), (PREVIEW)

. . . the [saxophone] attracted some quirky early proponents who quickly capitalized on its potential as a novelty. One was Charles Jean-Baptiste Soualle, who was born in Ares, studied at the Paris Conservatory, where he won a first prize in 1844, and became director of the Marine Musical Troops of Senegal . . . Soualle took refuge in England when Louis Philippe was deposed in 1849 (and the decree of 1844 admitting Sax's instruments to regimental bands was repealed) and studied the saxophone. He made a few adjustments to the instrument - most importantly, he fabricated a single octave key that replaced two separate octave keys, anticipating a design change that would become permanent forty years later. He renamed the modified instrument the turcophone, which reviewers said was capable of producing a sound "soft and suave." Occasionally, Soualle, a master of self-promotion, called the instrument the zouave . . .

Wehage 2008

Paul Wehage, Ali Ben Sou Alle : 19th century Saxophonist and composer - works published, Google groups, 19 April 2008!topic/ 

French 2009

Paul French, Through the looking glass: China's foreign journalists from opium wars to Mao (Hong Kong: Hong Kong University Press, 2009), 55-56 (PREVIEW)

Skinner 2011

Graeme Skinner, Toward a general history of Australian musical composition: first national music 1788-c.1860 (Ph.D thesis, University of Sydney, 2011), 47, 58, 343-44, 423, 492, 494, 496, 500, 502, 508, 517 (DIGITISED)

Chouraki 2016

Fabien Chouraki, Ali-Ben Sou-Alle, biography, a mysterious 19th century saxophonist (Paris: Editions Lemoine, 2016) 

Steltzner 2016

Beckey Steltzner, The history of the clarinet in South Africa (Ph.D thesis, South African College of Music, University of Cape Town, 2016), 149-64 (DIGITISED)

Transcribes documentation on Sou Alle's stay in South Africa, and reviews international literature; she also reports (162):

Private correspondence from Sophie Lévy (23 June 2014), who is in charge of the Conservatoire archives . . . confirms that the winner of the 1844 clarinet first prize was registered as "Charles Jean Baptiste Soualle", and further, that he was born in Arras on July 14, 1824.

Wehage 2017

Paul Wehage, "Ali Ben Sou Alle: Was this 19th century Frenchman the Pied Piper of Mysore? He may have been director of the Royal Music for the Maharaja of Mysore. Or, he may have invented the story out of thin air", Scroll magazine (5 June 2017) 

Paul Wehage, "The forgotten voyager", Serenade magazine (30 July 2017), posted at Interlude (HK website) 

Paul Wehage, "How a Muslim convert from France introduced saxophone to Indian classical music in the 19th century; the contributions of Ali Ben Sou Alle, a saxophonist in the Maharaja of Mysore's royal band, are only just being discovered", Scroll magazine (4 September 2017) 

Cottrell 2018

S. J. Cottrell, "Charles Jean-Baptiste Soualle and the Saxophone", Journal of the American Musical Instrument Society 44 (2018), 179-208 (DIGITISED) 

Wehage current

Paul Wehage, "Ali Ben Sou Alle" (website) 

Links to Wehage's performing editions (for purchase) of most surviving works

On the "turkophone", and turkophonists, see also:

Alexander Dumas, The son of Clemenceau (English translation; US edition: Chicago: M. A. Donohue & Co. [n.d.]), 16, 19, 69, 128 (DIGITISED)

[128] . . . "Mr. Daniels! not the old Jew who played that queer straight trumpet at Munich - "

"Yes, the turkophone! Ah, he has no need to go about the music halls now - he is, if not rich, the man who leads rich men by the nose, to come and deposit their superfluous cash in our strong-box" . . .

© Graeme Skinner 2014 - 2023