LAST MODIFIED Wednesday 6 July 2022 17:04

William Vincent Wallace and family in Dublin, Hobart, and Sydney, 1826-1838, and Mary Pye's music book

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "William Vincent Wallace and family in Dublin, Hobart, and Sydney, 1826-1838, and Mary Pye's music book", Australharmony (an online resource toward the early history of music in colonial Australia),; accessed 11 August 2022

Introductory note:

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

Probably the earliest identified portrait of William Vincent Wallace; based on a sketch by Francois D'Avignon, lithographed by George Endicott, New York, c. 1843/44-50; National Library of Ireland; Wikicommons



* Ireland to 1835 - Documentation on the musical activities of William Vincent Wallace and family in Ireland (to 1835)

* Australia 1835-38 - Documentation on the musical activities of William Vincent Wallace and family in Australia, Hobart (late 1835) and Sydney (January 1836 to February 1838)

* Mary Pye's music book (commentary and inventory)

* Logierian system in colonial Australia (documentation 1835 onward)


This page is a chronicle of all of the early documented musical activities (to 1838) of William Vincent Wallace and his family - his father, Spencer Wallace, his brother Spencer Wellington Wallace, his sister Eliza Wallace, and his wife Isabella Kelly, first in Ireland, and then in Hobart and Sydney, up to the start of 1838, when he himself left the colony.

Basic biographical data on all family members, including on William Vincent Wallace himself, together with full documentation his first and second families, on his father Spencer Wallace (who died in 1846), his brother Spencer Wellington Wallace (died 1852), his brother's wife Caroline Wallace (died 1850), his Kelly cousins, together with a bibliography, are given in a second page: 

Meanwhile, the post 1838 career of his sister Eliza Wallace Bushelle (d. 1878), her husband, John Bushelle (d. 1843), and sons, John Butler Bushelle and Tobias Vincent Bushelle, is separately covered in the Bushelle family page: 

Complimentary documentation concerning the Wallaces' Ellard, Logan, Leggatt, and Chester cousins can be found in the relevant pages: 

This page also reported (in its first iteration in 2016) on a previously undescribed bound album of sheet music belonging to the Society of Australian Genealogists, and held in its library in Sydney.

The volume contains six items directly and uniquely associated with the activities of the the violinist, pianist, teacher and composer, William Vincent Wallace, during his two-year stay in Sydney from early 1836 to early 1838.

One item is a copy the Sydney first edition of Wallace's Walze favorite de Duc de Reichstadt arranged with variations.

Wallace's handwritten signature appears on each of the other five items, all published works by John Bernard Logier, four of which are manuals ("companions", or "sequels") to his chiroplast system of piano teaching.

Pencilled fingerings added into two of the items may also be in Wallace's hand.

Taken together, the above evidence suggests that the original owner of the book, Mary Pye, of Parramatta, was either a pupil of Wallace or his wife at their Sydney "academy", or, if not, a pupil then or slightly later of another member of Wallace's immediate family - his father, sister, or brother.

In any case, however, the volume itself contains important physical evidence of the early dissemination of the Logierian system in Australia, and testifies uniquely to the Wallaces' otherwise undocumented teaching practice in the colony.

Trove tags

William Vincent Wallace (TROVE tagged by Australharmony)

Spencer Wallace (senior) (TROVE tagged by Australharmony)

Spencer Wellington Wallace (TROVE tagged by Australharmony)

Eliza Wallace Bushelle (TROVE tagged by Australharmony)

Logierian system (TROVE tagged by Australharmony)

Owner bound albums of sheet music 


William Vincent Wallace, Wallace family, Mary Elizabeth Pye, John Bernard Logier, Johann Bernhard Logier, Logierian system, Logerian system, Logieran system, Chiroplast, Owner bound albums of sheet music

Documentation (Ireland to 1835)

4 July 1823 to 14 April 1826, Spencer Wallace senior's period of service in the 29th Regiment

Register of foot soldiers, 29th Regiment, 1826-31; UK National Archives, WO 25/364, fol. 52 (PAYWALL)

Spencer Wallace / [height at enlistment] 5 7 / [age at enlistement] 24 [sic, recte 34] / . . . / [born] Mayo / Kilmoremoy / Musician / [attested] Limerick / 4 July 1823 / [for] Unlimited [service] / enlisted by] Col. Sir J. Buchan / [promotion to serjeant] 27th August 1823 [discharged] 14 April 1826 / Waterford / Having Paid &20 / Character in discharge "Indifferent"

8 March 1825 to 17 April 1826, William and Spencer Wellington's period of service in the 29th Regiment

Register of foot soldiers, 29th Regiment, 1826-31; UK National Archives, WO 25/364, fol. 57 (PAYWALL)

William Wallace / [height at enlistment] 4 10 / [age] 14 / [born town] Waterford [parish] Waterford / Musician / [enlisted] Kinsale / 8th March 1825 / [for] unlimited [service] / [by] Col. Sir Jno. Buchan / [discharged] 17th April 1826 / Waterford / Having repaid the expenses attesting his Enlistment / Character in discharge "Very good"

Wellington Wallace / [height] 4 5 / [age] 12 / [bron] Galway Tuam / Musician / [all other details same as for William above] . . .

ASSOCIATIONS: 29th Regiment of Foot (colonel, John Buchan)

NOTE: Buchan evidently enlisted Wallace senior specifically to be master of the band, and accordingly promoted him to the rank of sergeant almost immediately

The Masters Wallace: [Advertisement], The Dublin Evening Post (3 June 1826), 1

[Advertisement], The Dublin Evening Post (3 June 1826), 1 (PAYWALL)

HENRY LADLEY, Proprietor, returns sincere thanks to his Friends and the Public for the decided preference given his Establishment, during the 12 Years he has had an opportunity of being honored with their commands, and begs leave to inform them, that in addition to the celebrated German performer on the Violin, "CARL F. VON PAUL," (who so eminently distinguished himself on the Continent,) he has engaged the MASTERS WALLACE, (the youngest only 8 Years old,) whose performance on the Piano Forte, Violin, and Flute is the admiration and astonishment of those who have witnessed it. They will play each Evening at 8 o'clock. VON PAUL and the elder MASTER WALLACE will occasionally perform DUETTS on Two Violins, selected from the Compositions of VIOTTI, ROMBERG, and other distinguished Authors. Those who admire a disposition to please, combined with science and brilliancy of execution, have now an opportunity never before to be met with in any Tavern, of hearing the most admired of the Foreign and National Airs played without adulteration.
An extensive Gallery has been made to prevent the possibility of disappointment or inconvenience to those who may visit the above Establishment.


[Advertisement], Saunders's News-letter (28 July 1827), 3 (PAYWALL)

STRUGGLER TAVERN, 147, Capel-street, opposite Abbey-street.
HENRY LADLEY, Proprietor, ever anxious to evince his gratitude for the decided preference given his Establishment for so many years, begs leave to inform his Friends and the Public, that having erected an extensive Orchestra fronting the Gallery and Box-room, and engaged Professional Gentlemen of experience and acknowledged talent, amongst whom is that inimitable Comic Singer, "Mr. WHITE" from the Royal Cobourg, and other London Theatres - the Vocal and Instrumental Musical Entertainments of each evening, will comprise a variety quite unprecedented in any other Tavern, among which will be Overtures, Glees, Duets, Sonates, Cavatinas, Quartetts and Songs, Comic and Sentimental. In the course of the ensuing week the following Comic Songs will be Sung in Character: - Mathew Mug - John Hobbs, the Cobler - Jack Robinson - The King's Visit to Ireland - Very well known to the Folk of the Town - I am the Boy for bewitching them - Neddy Noodle's Courtship or Sheep's Eyes - Says I every man to his Trade, Sir - Grist the Miller, and many others of equal celebrity. - Master Wallace will preside at the Piano Forte - Leader Mr. Ward.
Every article in the Tavern line will be found, as usual, of the best kind, and reasonable as any other respectable Tavern in Dublin.


According to Guernsey 1865, "when only fifteen . . . [William Vincent Wallace] was appointed organist of Thurles Cathedral, where he only remained a short period, when he returned to Dublin . . ."; Flood (1912, 10) places this later:

In January, 1830, the post of Organist of Thurles (Catholic) Cathedral was vacant, and Wallace was asked to make an application for it, doubtless on the recommendation of Haydn Corri. J. W. Glover (grandfather of "Jimmy" Glover, of Drury Lane Theatre) was about to apply for the position, but learning that Wallace was already in the field he did not care to appear as a rival, as he himself told me in 1877. Consequently, Wallace's application was favourably entertained, and he took up his residence in Thurles, being also appointed as Professor of Music at the Ursuline Convent, in that town. The organ had been procured by Archbishop Laffan in 1827, and was then regarded as a very fine instrument . . .

ASSOCIATIONS: John William Glover (musician, organist); Haydn Corri (musician, organist)


[Review], Freeman's Journal (? 24 May 1829), cited in Lamb 2012, 6-7

[Concert at the Allens' Logierian Academy of Music] The accompaniments were sustained by Messrs. Pigott, Wallace, and Forde, assisted by gentlemen of the Anacreontic Society.

"LOGIERIAN ACADEMY OF MUSIC, RUTLAND SQUARE", Saunders's News-letter (1 June 1829), 2

On Saturday last the pupils of Mr. and Mrs. E. C. Allen gave their fifth piano forte concert at the above institution, in presence of a full and fashionable assemblage of their parents and friends, whose delight was testified by their marked attention to every part of the performance. The concert commenced usual with a series of theoretical exercises, in which the pupils displayed perfect knowledge of the science in a variety of harmonic arrangements, one which they sang and accompanied from the lecture board at first sight, with great effect. This was succeeded by a portion of the elementary works of the system, in which we were particularly struck with the steadiness displayed in the performance of some lessons by two little creatures about seven years old, who had been only three weeks learning. This was followed by an admirable selection from great masters, viz. - Haydn's "grand symphony in D" on 12 piano fortes - Hertz's "Rondo de concert" - Hummell's "grand duet" - Hertz's "beautiful Swiss air," in which little Miss Allen exhibited most extraordinary powers of mind, memory and finger, by performing (without music) this difficult composition of thirteen pages the most finished style. After this came an exquisite "concertante for piano forte and violin," in which the masterly performance of Mr. Wallace the violin was most effectively by that of the pianiste. This was followed the admirable performance of Winter's "grand overture to Zaira" on twelve piano fortes, which concluded the first part the concert. The second part commenced with Rossini's beautiful overture to "Il Barbiere," after which we had a charming "concertante for piano forte and violoncello" by Hertz, in which the well known excellence of Mr. Pigott's performance on the violoncello, was ably assisted the young lady who performed the piano forte part of this elaborate composition. This was followed by Ries' "grand triumphal march" for twenty-four performers, and triumphantly it was executed. This was succeeded by Czerny's magnificent variations on an "Air de ballett" and Moschelles's chef d'oeuvre, "Au clair de lune" with the orchestral accompaniments; and the concert concluded with the overture to "Der Freischutz" on twelve piano fortes, in which the orchestral accompaniments were also introduced with surprising effect. The extraordinary excellence of the performance of Mr. and Mrs. Allen's pupils is too well known to require eulogium; but we must observe, that a concert on such an extensive scale was probably never before brought forward in any similar institution; and so admirable were all the arrangements, that every thing went off with the precision of practised veterans; and whether we contemplate the solos, duets, concertante, or simultaneous pieces, we cannot withhold our unequalled astonishment at the production and performance of a musical treat of such unprecedented excellence. The accompaniments were sustained by Messrs. Pigott, Wallace and Forde, assisted by some gentlemen of the Anacreontic Society. - Weekly Freeman.

"LOGIERIAN ACADEMY OF MUSIC. 56, RUTLAND SQUARE-WEST", Saunders's News-Letter (22 December 1829), 2

"LOGIERIAN ACADEMY OF MUSIC. 56, RUTLAND SQUARE-WEST", Dublin Evening Packet and Correspondent (24 December 1829), 3

On Saturday last, the above Institution, the Pupils of Mr. and Mrs. E. C. Allen entertained their Parents and Friends, with their Sixth Piano Forte Concert, (the first for the present season,) on which occasion they acquitted themselves every respect to the perfect satisfaction and delight very full and fashionable auditory, as was abundantly manifested by the numerous encores and continuous applause with which the performance was all through honored. To those who have already heard the very surprising effects which Mr. and Mrs. Allen's pupils produce at their Concerts, our observations may appear as a work of supererogation; to those who have not we shall simply say, that any thing even remotely approximating to them, whether we consider their extensiveness, (twelve piano fortes being all through employed in the simultaneous pieces,) the number of pupils engaged, or each particular, and every general effect, we never before witnessed. In fact these Concerts present one with rational idea of a proper School of Music. No trite or timid adherence to a beaten path, but a bold and successful introduction to those elevated walks, in which the highest of the modern Masters move - thus early familiarising the pupil with the style of all the great Composers. The decided advantage of which plan was highly exemplified in the present instance, by the chaste and spirited execution of a "symphony" of Haydn's; Rossini's Overtures to "Zelmira" and "Tancredi;" Overtures to "Nozze di Figaro" and "La Clemenza di Tito," and Winter's Grand Overture "Zaira," (which latter was loudly encored,) and in which we were astonished at observing an infant of seven years old perform with all the steadiness of a veteran. Here, indeed, the piano-forte became an instrument and not a bauble, as it but too frequently appears in most cases of pupil performances, and not unfrequently in the hands of those whose period of pupilage has long since passed away. In the early part of the Concert there was selection from the Chiroplast, and its sequel performed, in which several little children joined, who had only received about a month's tuition, the admirable steadiness of whose time, even in this incipient stage, gave ample hope of future excellence. Here we, perhaps, should conclude; but we really cannot help alluding to the scientific acquirement exhibited in the exercises in thorough bass and harmonic arrangements, in which the pupils proved themselves theorists. Nor can we refrain from noticing a beautiful Fantasia by Herts, for piano-forte and violin, in which the effective performance of Mr. Wallace on the violin was ably sustained by the young lady who presided at the piano-forte. Neither can we withhold our meed of approbation from a charming "Rondoletta of Czerney's," "Logier's Grand Duet," dedicated the King Prussia (a work of great beauty,) and splendid piece Hertz, "La Violette"; and, "though last not least," in our esteem, are we disposed to pass over in silence the spirited performance of Thomasine and Louisa Allen in a "Military Duet" of their grandfather's (Mr. Logier,) a composition which breathes all that fire and feeling for which his military music eminently distinguished. Mr. Pigott's professional avocations having prevented his arrival early enough to accompany Thomasine Allen in Haydn's celebrated sonata in A flat, in the order which it appeared in the concert bill, she came forward, at the desire her father, (whose pupil she solely is,) and gave Panormo's celebrated Bruce's Address (off book) in rare style; after which (as Mr. Pigott had arrived;) she performed the sonata alluded in the first style of excellence, even were she a veteran instead of an infant, particularly when is recollected that this is the first piece which she had been accompanied, and had only tried it once over with Messrs. Pigott and Wallace previously, whose masterly accompaniments vastly enhanced the beauty of this charming composition. Some idea of the difficulty of this sonata may be learned from the circumstance of its immortal author having brought out the great Hummel (then his pupil) in this very piece at the Hanover-square Concerts. In brief, the excellence of the arrangements, and consequent success of those very charming Concerts, leave nothing to wish for but a frequent repetition - an exception in which entertain no doubt of being heartily joined by all those who had the happiness of being present on this interesting occasion, and they alone can form just estimate of the truth of our eulogium.


"CHURCH STREET CHARITY SCHOOLS", Freeman's Journal (6 March 1830), 2

We earnestly beg to call public attention to the Charity Sermon which will be preached in Church-street Chapel on to-morrow, Sunday, 7th March in aid of the funds of Church-street Charity Schools . . . Previous to the Sermon a Concert of Sacred Music, Vocal and Instrumental, will be given by the following celebrated performers, in whom the greatest portion of musical talent is at present to be found in Dublin: Miss BYFELD, Miss MEADER, Mr. HORN (who has in the most obliging manner consented to give his valuable aid on this occasion), Messrs. Bedford, Brough, Morrissen, J. Barton, Pigott, Fallon, Wallace, Weidner, Bowden and R. Barton. Mr. Conran will preside at the grand Piano Forte . . .

[Advertisement], Dublin Morning Register (6 March 1830), 1

. . . PRINCIPAL INSTRUMENTAL PERFORMERS: Mr. JAMES BARTON, late of the Theatre Royal, will Lead the Orchestra; Mr. PiGOTT, Mr. FALLON, Mr. WALLACE . . .

"PIANO FORTE CONCERT", Dublin Evening Packet and Correspondent (16 November 1830), 3

On Saturday the pupils of Mr. and Mrs. E. C. Allen, at their Logierian Academy, entertained their parents with their ninth Piano Forte Concert . . . [the program included] Hertz and Lafont's Fantasie and Variations on Russian Themes, (violin - Mr. Wallace) . . .

ASSOCIATIONS: Ellen Louisa Logier (d. Dublin, February 1833) had married Edmund Christopher Allen, one of her father's pupils; on the Allens, see also Dublin literary gazette (1830), 14, 222, 335 (DIGITISED) (DIGITISED) (DIGITISED) (page 335 DIGITISED))


Celeste quadrilles (1831)

[Advertisement], Dublin Morning Register (10 January 1831), 1

JUST RECEIVED AT ALDAY AND CO.'S, 10 DAME STREET . . . Celeste Quadrilles, as danced at the Theatre - W. Wallace.

William Elliott Hudson, "TO THE EDITOR", Dublin Evening Post (19 July 1831), 3

A paragraph in The Dublin Evening Mail, headed "Proposed Musical Festival", has just been, by the kindness of a friend, brought to my observation . . . Our success is certain, no rational or well-disposed person will doubt. I will not dispute that . . . there may not be found in Dublin, societies and individuals, who might have furnished a more competent body than the Anacreontic and Philharmonic Societies, and the Mendicity Association, by deputations from which the preparatory committee, who made arrangements for the public meeting in July 1830, was formed, I feel assured that the public will care very little in whose hands the trouble is provided the work be well done, and of the prospects of that, the present state and progress of the arrangements will the best test. The list of our instrumental band is nearly complete, and it exhibits a strength at the least equal, and in some point superior, to that of the general bands at the English Festivals. Among our Violins, Violas, Violoncellos, and we reckon the names F. Cramer, Mori, T. Cooke, J. Barton, W. Penson, Mountain, J. R. M'lntosh, J. Zengheer Hermann, W. Wallace, W. H. Kearns, Lindley, Pigott, J. Lidell Herrmann, Jackson, Anfossi, C. Smart, Harrington, &c . . .

"GRAND MUSICAL FESTIVAL", Dublin Evening Mail (12 August 1831), 2

. . . There were four-and twenty fiddlers all in a row; Four-and twenty fiddlers all in a row - First Fiddles - Cramer - T. Cooke - and Mr. Mori: - And second: - Mr. James Barton, with Tom Cooke, alternate glory. Grand Solo - the Diabolo, Signor Paganini - Who plays the very deuce itself with first string of the Violini.

Mr. Anderson - Mr. Gugnemer, the German - Kearns, McIntosh, Piggot - and Mr. Zacharias Herman. Messrs. Thomas, White, Wallace and the Messrs. Etcetera. And so forth thro' the from back to the Letter A . . .

[Advertisement], Dublin Evening Packet and Correspondent (16 August 1831), 1

THE FIRST DUBLIN GRAND MUSICAL FESTIVAL, 1831 . . . SOLO PERFORMERS, VIOLIN - SIGNOR PAGANINI. FLUTE - MR. NICHOLSON. BASSOON - MR. MACKINTOSH. - CLARIONET - Mr. WILLMAN. VIOLONCELLO - MR. LINDLEY. TRUMPET MR. HARPER. Principal instrumental performers. VIOLINS - Mr. Anderson, Mr. Gugnemer, Mr. Z. Hermann, Mr. Kearns, Mr. Mackintosh, Mr. G. Pigott, Mr. Thomas, Mr. White, Mr. Wallace, &c . . .


Come to me (1832)

"MUSICAL NOTICES", The Dublin Weekly Journal (24 November 1832), 32 

Come to me, a Serenade, by W. Wallace: Ellard and Son, Sackville-street.

This production is creditable to the composer, and one that we would, at any time, rather take up, than half the London trash that has greeted our ears of late. In the music phrase, Mr. Wallace has spared no pains in working his subject; the accompaniments are appropriate, and judiciously chosen: the only thing to be feared, is, that the modulation from G major into E flat major may not prove something too abrupt for the ears of the half initiated.

ASSOCIATIONS: Andrew Ellard (publisher, Wallace's mother's brother-in-law)

On my own country (1832)

On my own country: a popular national song, the words & music from the German with symphonies & accompaniments by Willm. Wallace) (Dublin: A. Ellard, n.d. [? c. 1832]); copy at National Library of Ireland (CATALOGUE RECORD ONLY)


[Advertisement], Dublin Evening Packet and Correspondent (28 December 1833), 2

NEW ACADEMY OF MUSIC. MR. WALLACE, PROFESSOR of the Piano-Forte and Violin, (Leader of the Anacreontic Society's Concerts,) begs leave announce that he has opened an Academy at his residence, 16, Great Brunswick-street, for instruction the Piano-Forte and Violin, and will receive Pupils on Tuesdays and Fridays, from Ten to Three o'clock. Peculiar facilities are presented to Ladies and Gentlemen attending this Academy, as they have the advantages of Mr. Wallace's accompaniment on the Violin when necessary; and Ladies requiring to be similarly accompanied at their own residences, will be attended Mr. Wallace, on intimating their desire one day previously.

"MUSIC", Dublin Evening Packet and Correspondent (28 December 1833), 3

We refer our musical readers to Mr. WALLACE's Advertisement in another column. We have had an opportunity of hearing his performances on the Piano-forte and Violin at the meetings of the Anacreontic Society, of whose Concerts he is the Leader, (a fact in itself a test of superior qualification,) and can accord our testimony of his eminent ability as a Musician and instrumental performer.


[Advertisement], The Pilot (22 January 1834), 2

SACRED ORATORIOS. THE Committee the DUBLIN FESTIVAL CHORAL SOCIETY purpose having performed in THE ROUND ROOM of the ROTUNDA, FRIDAY EVENING NEXT, the January, 1834. THE REVELATION, An Oratorio, composed by John Smith, Mus. Doc, AND ALSO THE LAST JUDGMENT, An Oratorio composed by Louis Spohr. ALSO, GRAND MISCELLANEOUS SELECTION FROM THE CREATION, &c. Between the Oratorios Madame D'Alberti will sing an admired Cantata, accompanied by a Chorus. Principal Vocal Performers - Madame D'Alberti, Miss Ashe, Miss E. Hamilton, Doctor Smith, Mr. G. Stansbury, Mr. J. Barton, Mr. Sapio, Mr. Murphy, Mr. Morrisson, and Mr. Condon. Principal Instrumental Performers - Leader of the First Part, Mr. G. Stansbury; Leader of the Second Part, Mr. J. K. Mackintosh; Leader of the Miscellaneous Performances, Mr. Wallace; Violincello, Mr. Pigott; Second Violin, Mr. R. Barton ; Double Bass, Mr. Harrington; Tenors, Signor Bruni, Mr. Templeton; Flute, Mr. Wilkinson. Mr. Bussell will preside at the Piano-Forte during the Revelation, Mr. Conran during the Last Judgment, and Mr. Wilkinson during the Miscellaneous performances. The Orchestra will consist of upwards of One Hundred and Fifty Performers, assisted the Anacreontic and Philharmonic Societies. The Chorusses will he performed the Members of the Dublin Festival Choral Society. Conductor, Mr. J. Barton; Pianist, Mr. Bussell. Tickets 7s. each; to be had of the Principal Music Shops.

"SIGNOR A. SAPIO'S CONCERT", Dublin Observer (22 February 1834), 7

This splendid exhibition of musical talent came off on last evening in Morrisson's great room. The assemblage of beauty and of fashion was truly delightful, and the performance of the several pieces so judiciously selected by the Signor was not less so. The Septetto overture was particularly grand. The variations the violin and piano by Messrs. Conran and Wallace, and concerto - "Recollections of Ireland," from Moschelles, Mr. Conron on the piano forte, were executed in a style of equal excellence.

"DUBLIN SUBSCRIPTION CONCERT", Dublin Morning Register (23 April 1834), 2

The first concert for the season took place last night, in the great room of the Rotunda, which was splendidly fitted up for the occasion . . . The concertante for four violins, Maurer, presented our friends Barton, McIntosh, Wallace, and Fallon, and their individual and combined exertions justify us in believing that few cities could produce four more accomplished masters of the instrument . . .

"DUBLIN SUBSCRIPTION CONCERTS", Dublin Evening Packet and Correspondent (24 April 1834), 3

The first of these Concerts took place on Tuesday evening, the Round-room in the Rotundo . . . The concert opened with Beethoven's beautiful overture to Fidelio . . . The greatest gem of the evening was a Concertante of Maurer's for four violins, which Messrs. J. Barton, Mackintosh, Wallace, and Fallon played in exquisite style.

MADAME D'ALBERTI'S SECOND CONCERT", Belfast-News-Letter (20 May 1834), 3 (see also Lamb 2012, 10)

On Friday evening last, Madame D'Alberti gave her second concert in the Exchange-rooms, before one of the most numerous and fashionable audiences that we have ever seen collected on any similar occasion. A number of amateurs, connected with the Anacreontic Society and the Glee Club, had volunteered their services on this occasion, and to do them justice they performed their parts admirably, and received from the audience unbounded applause for the taste and scientific skill which they displayed. As a leader, Mr. Wallace was excellent . . .

"MADAME D'ALBERTI'S SECOND CONCERT", Dublin Morning Register (23 May 1834), 3

On Friday evening last, Madame D'Alberti gave her second concert in the Exchange-rooms, before one of the most numerous and fashionable audiences that we have ever seen collected on any similar occasion. A number of amateurs connected with the Anacreontic Society and the Glee Club, had volunteered their services on this occasion, and to do them justice they performed their parts admirably, and received from the audience unbounded applause for the taste and scientific skill which they displayed. As a leader Mr. Wallace was excellent . . .

"DUBLIN SUBSCRIPTION CONCERTS", Dublin Observer (31 May 1834), 7

Last evening the third of these concerts took place at the Rotundo. The audience was quite as numerous and select as at the two preceding concerts. The great attractions of the evening were, the performances on the violin. The concertos by Messrs. Mackintosh and Wallace, were played in excellent style; but nothing could be more magnificent, in point of execution than the quartetto concertante, from Maurer, Messrs. James Barton, Mackintosh, Wallace, and Fallon. This splendid piece of music was received by the audience with a manifestation of the most delighted applause. The grand overture to the Midsummer Night's Dream," from Mendlesheim [Mendelssohn], was performed in style of excellence surpassing any previous orchestral effort at these concerts . . .

"MUSIC", Warder and Dublin Weekly Mail (18 October 1834), 4

A few compositions from the pen of Mr. Wallace are now before public, as may be seen by our advertisements of this day. The melodies selected for the exercise of his genius are two Bohemian - and Beriot's celebrated air, originally composed for the violin. To these Mr. Wallace has put brilliant and pleasing variations, such as would be expected from such a master.

[Advertisement], Warder and Dublin Weekly Mail (18 October 1834), 2

THIS DAY PUBLISHED, DE BERIOT'S celebrated Air, arranged for Piano-Forte, by William Wallace. Celebrated Bohemian Melody, as sung by the Bohemian Brothers, Ditto [by William Wallace]. Introduction and Variations to Bohemian Melody, as sung by the Messrs Hermans, Ditto [by William Wallace]. To be had at ALDAY and CO'S, 10, DAME-STREET, Whose Ware rooms are now most extensively supplied with every description of Piano-Fortes for SALE or HIRE . . .

"MUSIC", Dublin Evening Packet and Correspondent (25 October 1834), 3

MR. HENRI HERZ. We understand that this celebrated composer and pianist has arrived in Dublin, and that he proposes giving a series of concerts. We have doubt they will be crowded, and that Mr. HERZ's time will be e fully employed, by our fair countrywomen taking advantage of his short visit by receiving instructions on the piano-forte.

We have seldom seen from the pen of so young a man, compositions of higher merit, or a display of greater genius, than those advertised in our columns this day, by our talented musical friend, Mr. WALLACE. The melodics have been chosen with judgment, and the variations arranged in a pleasing and brilliant style. They are deserving a place in every lady's musical portfolio.

[Advertisement], Dublin Evening Packet and Correspondent (4 November 1834), 2

HARP AND PIANO-FORTE WAREHOUSE, 10, DAME-STREET, ALDAY AND CO. . . . JUST PUBLISHED, DE BERIOT'S celebrated Air, arranged for the Piano-Forte, by William Wallace.
Celebrated Bohemian Melody, sung by the Bohemian Brothers, Ditto.
Introduction and Variations to Bohemian Melody, sung the Messrs. Hermans, Ditto.

[Advertisement], Dublin Morning Register (5 November 1834), 1

MR. HENRI HERZ, Principal Pianist and Composer to the Court of France, INTENDS GIVING A GRAND MORNING CONCERT, On THIS DAY (Wednesday), the 5th November, 1834. ON this occasion Mr. Herz will assisted the Misses ASHE, Signor COMELATE, Signor SAPIO, Messrs. WILLIAM WALLACE, W. S. CONRAN, WILKINSON, BARTON, PIGOTT, and other eminent Vocal and Instrumental Performers. PROGRAMME . . . PART II . . . 11. Fantasia - Violin - Mr. W. Wallace, . . .[composer] W. WALLACE.

"MR. H. HERZ'S CONCERTS", Dublin Evening Packet and Correspondent (6 November 1834), 3

Mr. HERZ's second concert took place yesterday morning at the Rotundo, and went off with much eclat . . . Before concluding, however, we must say that were never more delighted by any similar species of performance than Mr. HERZ's improvisations on the airs "Rule Britannia" and "The last rose of Summer." These beautiful airs were worked in a masterly style, perpetually varying as genius, taste, and fancy dictated. Mr. Wallace's fantasia on the violin also was executed with much brilliancy and expression - his exertions were rewarded with the warm approbation of a very distinguished audience . . .

[Advertisement], Dublin Morning Register (21 November 1834), 1

MR. HENRI HERZ . . . FAREWELL CONCERT . . . PART II . . . 12. Solo - Violin - Mr. Wallace - MAYSEDER.


"CONCERTS OF THE MISSES ASHE", Dublin Evening Packet and Correspondent (7 February 1835), 3

The attendance at the Concert given last night the Rotundo by these distinguished Artistes, was very numerous and fashionable. The entertainments and the entertainers were in every respect worthy of the entertained . . . The concerto on seven harps was truly grand. A duet by PIGOT and WALLACE on the violin and violoncello was justly admired for splendor execution. Mr. W. S. CONRAN presided at the piano with his usual ability. The Company departed shortly after eleven o'clock, evidently enraptured with the amusements.

[Advertisement], Saunders's News-Letter (9 February 1835), 2

NEW MUSIC, Just received . . . De Beriot's celebrated Air for the Violin, arranged for the Piano-forte . . . Wallace. 3 [shillings] M'CULLAGH AND M'CULLAGH'S MUSIC WAREROOMS . . .

[Advertisement], Saunders's News-Letter (25 March 1835), 2

ROTUNDO . . .MR. PIGOTT RESPECTFULLY begs leave to announce that his GRAND CONCERT . . .Will take place . . .on FRIDAY EVENING, the 3d of APRIL, 1835 . . .Concertante Duet, for two Violins, Mr. James Barton and Mr. Wallace With Orchestral Accompaniments, (first time) . . .The Performances will include BEETHOVEN'S GRAND OVERTURE EGMONT. AUBER'S CELEBRATED OVERTURE TO GUSTAVE, (First time in this Country). The first act will conclude with the GRAND FINALE, From Mozart's Opera of "Il Don Giovanni" . . .

[Advertisement], Dublin Morning Register (15 April 1835), 1

MR. G. STANSBURY . . . BEGS leave most respectfully to announce that his GRAND CONCERT OF SACRED MUSIC will take place in the Round Room of the ROTONDO, on THIS (Wednesday) EVENING . . . Leaders - Mr. J. Barton, Mr. Mackintosh, Mr. Wallace . . .

[Advertisement], Dublin Morning Register (28 April 1835), 1

ROTUNDO - MR. LEWIS . . .BEGS leave to inform the Nobility, Gentry, and his Friends, that his CONCERT will take place on THIS EVENING . . .LEADER - Mr. Wallace; Mr. W. S. Conran will preside at the Piano-Forte . . .

[Advertisement], Saunders's News-Letter (15 May 1835), 3

SENOR CASTRO HAS the honor to announce, that his MORNING CONCERT will take place TO-MORROW . . . . on which occasion he will assisted the following eminent Performers: The Misses Ashe, Mr. G. Stansbury, Signor Sapio, Mr. Pigott, Mr. Wallace, Mr. W. S. Conran, and Mr. Wilkinson . . .

PART II. Brilliantes Variations Concertante - Spanish Romance - Violin and Piano-forte - Mr. Wallace and Mr. W. S. Conran . . .. . .Lafont et Czerny.

Leader, Mr. Wallace. Conductor, Mr. W. S. Conran.


[Advertisement], Saunders's News-Letter (23 May 1836), 2

NEW MUSIC, Just received . . . PIANO FORTE . . . Bohemian Melody . . .Wallace, 3s 0d . . . M'CULLAGH & M'CULLAGH'S MUSIC WAREROOMS, 108, GRAFTON-STREET . . .

"MUSIC", Dublin Evening Packet and Correspondent (6 April 1837), 3

A musical festival took place at Sydney, New South Wales, in September, which Mr. Wallace (late of Dublin) conducted. The Sydney Herald says - "He led in his usual masterly style, and embraced only an opportunity of giving the audience one of his most delightful solos." The performance of the oratorio commenced with the seraphine, imported to that colony by Mr. Ellard, formerly of Dublin. The overtures Joseph and Zara were played amongst other pieces. Upwards of 330l. was collected. Major England allowed the band of the 4th regiment to aid in the performances.

Reminsicences (of contact with the Wallaces to 1835, recorded later)

Theatre Royal, Dublin, season of Italian Opera, commencing 14 October 1829

Recollection of Richard Michael O'Shaugnessy (1811-1899), violinist (and later, as "R. M. Levey", theatre historian), Theatre Royal, Dublin; concerning the Theatre Royal season of Italian Opera, commencing 14 October 1829]; in R. M. Levey and J. O'Rorke, Annals of the Theatre Royal Dublin 1821-1880 (Dublin: Joseph Dollard, 1880), 75-77

. . . The first properly organized Italian Opera Company in Dublin commenced then on the 14th October, 1829, under the management of Signor de Begnis; and many will doubtless learn for the first time of the production of such Operas in Dublin as Paer's "Agnese," Rossini's "Il Turco in Italia," "Tancredi," "Italiani in Algiere," "Otello," "La Gazza Ladra." The Company consisted of Madame Blasis (prima-donna), Castelle (seconda), Signor Curioni (tenor), Signor de Angeli (baritone), Signor Giubilei (basso), Signor de Begnis (buffo). Leader, Signor Spagnoletti; Prompter, Signor Rubbi. The campaign commenced with "Il Barbiere," then at the height of its popularity . . .

[76] . . . Signor Spagnoletti led with his bow, playing his violin at intervals (the conductor's baton had not as yet been introduced). [77] He was a great master of his instrument, and for years had kept together with a firm and powerful hand the fine band, chorus and principals of the Italian Opera House in London. He had, however, two great lieutenants, Lindley (violoncello), and Dragonetti (double bass). Signor Spagnoletti, in addition to his great musical genius, had a keen sense of the ridiculous, and frequently amused the members of his orchestra with some witty observation or droll action. On one occasion, after rehearsal, he descended from his elevated seat, stooped, and was observed to search closely as if under the music-stand of the violin players. W. Vincent Wallace (who, at this time, played from the same desk as Spagnoletti) asked him what he was looking for; when the Signor replied - "Ah, for a great many notes which I missed from some of the violin parts. I suppose I shall find them after two or three nights more." He added, at the same time, addressing Wallace - "You didn't drop any." The future eminent composer was a most accomplished violinist, and received much praise, and a souvenir from Signor Spagnoletti at the termination of the season. It will be new to many to learn that Rossini's "Il Turco in Italia," and "La Gazza Ladra" were produced during this engagement; also "Il Fanatico per la Musica," in which De Begnis seemed to revel . . .

Dublin Musical Festival, 30 August to 3 September 1831, featuring Nicolo Paganini

Heyward J. St. Leger, "Reminiscences of Wallace", The orchestra 116 and 117 (16 and 23 December 1865), 183, 204; ed. Lamb 2012, 9

We do I remember Wallace telling me he used to sit up all night practising the pieces Paganini played. But after the festival was concluded the violinist gave a series of concerts at which he played all his celebrated variations and concertos, including the splendid one, "God preserve the Emperor" [op. 9]. It was the advantage of hearing Paganini perform at the rehearsals that inspired the soul of the talented W. V. Wallace, and certainly the latter could play more of Paganini's music than any violinist I know, except, perhaps, Sivori.

Documentation (Wallace and family, Australia, October 1835-February 1838)

To call up all the TROVE newspaper items tagged William Vincent Wallace for 1835: 

Hobart Town, VDL

31 October 1835, Hobart Town, arrival (from Liverpool) of William Vincent Wallace, but without reported wife (? and child), as see 9 February 1836 below; and his sister-in-law ? Julia Kelly

List of passengers, per Rachel, 31 October 1835; Tasmanian names index; NAME_INDEXES:1594477; CSO92/1/1 p66$init=CSO92-1-1P69JPG (DIGITISED)

Arrived at the Port of Hobart Town, the Ship Rachael, 31st October 1835 . . .
[For] New South Wales / Cabin passengers / Mr. W. Wallace / Mrs. Wallace & Child / . . . Miss Kelly . . .

"SHIP NEWS", The True Colonist Van Diemen's Land Political Despatch (6 November 1835), 8 

Oct. 31. - Arrived the ship Rachael, 383 tons, Captain R. S. Potter, from Liverpool 9th July, with a general cargo. Passengers - Mr. and Mrs. Dodd and child, Mr. Archer, Miss Blair, Mr. and Mrs. Wallace and child . . . Miss Kelly . . .

NOTE: Isabella Wallace was not on the ship, as here stated, but came as "Isabella Kelly" on the James Pattison); her sister Julia Kelly was on the ship, however; it is unclear whether, or not, there was another Kelly sister, mistakenly reported as Mrs. Wallace, and whether or not William Wallace junior arrived with his father, or came with his mother

ASSOCIATIONS: Julia Kelly (Wallace's sister-in-law)

[News], The Hobart Town Courier (13 November 1835), 2 

We regret that the truly eminent musician Mr. Wallace, who has arrived by the Rachel, is to make so short a stay amongst us. He proceeds to Sydney we learn next week.

4 December 1835, Hobart Town, concert, William Vincent Wallace (1st and only Tasmanian benefit), Argyle Rooms, Hobart Town

[Advertisement], Colonial Times (1 December 1835), 3 

To the Public. MR. Wallace, recently arrived from Dublin, begs leave to announce his intention of giving a CONCERT, of Vocal and Instrumental Music, at the Argyle Rooms, on Friday evening next, the 4th December. The performance will commence at 8 o'clock. Tickets 7s. 6d. each, children 5s. to be had at Dr. Ross's Reading Room, at Mrs. Davis's Music Warehouse, at the Reading Room of the Hobart Town Library, and at Mr. Hedgers, Elizabeth-street. Dec. 1, 1835.

[News], The Hobart Town Courier (4 December 1835), 2 

We should be sorry to excite unreasonable expectation, which might lead to disappointment, but we may safely congratulate the lovers of music on the pleasure they will derive in attending Mr. Wallace's concert this evening. Though yet a young man, he has acquired a proficiency in his favourite art, which, without detriment to any one, we can safely say, has never been evinced in this colony before. We envy our Sydney neighbours the gratification they will have from his intended sojourn amongst them. For music is a science peculiarly suited to soften and ameliorate the manners in these back-and-face biting Austral-Asiatic regions. His Excellency we learn will be present with his family, and most of the principal inhabitants have taken tickets. It is hoped that the audience will assemble in good time, as the concert, it is arranged, will begin precisely at 8 o'clock.

ASSOCIATIONS: Sophia Letitia Davis (musicseller); "His excellency", the lieutenant governor of Van Diemen's Land, George Arthur

[Advertisement], The Tasmanian (4 December 1835), 1 

MR. WALLACE having been requested to give a CONCERT before his departure for Sydney, begs leave to announce that a Performance of VOCAL AND INSTRUMENTAL MUSIC WILL TAKE PLACE AT THE ARGYLE ROOMS, THIS EVENING, DECEMBER 4, 1835; On which occasion he will be aided by the talents of Mrs. Chester and Mrs. Logan, and also of some Gentlemen Amateurs.
Overture -
Glee -
Song - "The Misletoe Bough," Mrs. Logan
"Rondo characteristique pour le Piano-forte" (Herz) - Mr. Wallace
Song - "Come where the Aspens quiver" - Mrs. Chester
Glee -
Concerto - Violin - (Mayseder) - Mr. Wallace.
Song - "Tyrant soon I'll burst thy Chains," - Mrs. Chester.
Glee -
Duet - Piano-forte (Hertz) - Mrs. Logan & Mr. Wallace
Song - "Farewell to the Mountain" - Mrs. Chester
"Fantasia di Bravura" (Herz) - Mr. Wallace
Song - "Bid me discourse" - Mrs. Chester
Concerto - Violin (Spohr) - Mr. Wallace
[The Officers of the 21st Regiment have kindly allowed Mr. Wallace the valuable assistance of their Band on this occasion.] Tickets, 7s. 6d. each, to be had of Mr. Wallace, 20, Macquarie-street; at Dr. Ross's Reading Rooms; Mr. Carter, Derwent House; Mrs. Davis, Music Warehouse, and Mrs. Hedger's, Elizabeth-street. N.B. - Concert to commence at 8 o'clock. Dec. 4, 1835.

ASSOCIATIONS: Maria Logan (pianist and vocalist, Wallace's cousin); Marian Maria Chester (vocalist, possibly a cousin); Band of the 21st Regiment

NOTE: There do not appear to have been printed reviews of the concert; the closest to one is the following political squib, at the expense of the attorney-general, in the anti-government Colonial Times:

"Domestic Intelligence", Colonial Times (8 December 1835), 6 

Mr. Attorney General's concert took place on Friday last. About one hundred and twenty Government Officers and lawyers were present; none were admitted save those of known respectability, and every gentleman was obliged to produce his tree prior to his entrance. The concert was highly delightful, and when it was ended, the vocalists felt somewhat surprised at finding the audience all asleep.

ASSOCIATIONS: Attorney-general of Van Diemen's Land, Alfred Stephen

George Boyes, diary, Hobart, 4 December 1835 (MS, University of Tasmania, Royal Society Collection)

4th [December 1835] . . . Stone dined with us. Afterwards I went to a concert. Heard a Mr. Wallace upon the Violin. He played finely - an air of Spohr's full of double stops, was beautifully executed.

ASSOCIATIONS: George Boyes, an amateur violinist, had been a pupil of Paolo Spagnoletti in London before he first came to Australia in the mid 1820s.

11 December 1835, concert, Marian Maria Chester (benefit), Argyle Rooms, Hobart Town

[Advertisement], The Tasmanian (11 December 1835), 1

MRS. CHESTER, BEGS to announce to her friends and the public generally, that her CONCERT OF VOCAL AND INSTRUMENTAL MUSIC WILL BE GIVEN ON FRIDAY EVENING, DECEMBER 11, 1835; on which occasion MR. WALLACE, whose Performances were received with the greatest approbation, will afford his valuable assistance, and play Several celebrated pieces on the Piano-forte and Violin, ASSISTED BY THE TALENTS OF MRS. LOGAN, Who will kindly afford her gratuitous services on this occasion, and several Amateurs.
Overture -
Glee, "Should auld acquaintance be forgot"
Song, "Arise Zariffa" - Mrs. Logan
"Fantasia di Bravura" - Mr. Wallace
Song, "Alpine Maid," - Mrs. Chester
Glee, "See our Boat scuds o'er the main,"
Concerto, Violin - Mr. Wallace
Song, "Oh 'tis sweet when the moon is beaming," - Mrs. Chester
Glee, "Ye banks and braes,"
Song, "Savourneen deelish," - Mrs. Chester
Duett, piano-forte, by desire, (Hertz) - Mrs. Logan and Mr. Wallace
Song, "Say not woman's heart is bought," - Mrs. Chester
Concerto, Violin, by desire, in which will be introduced, the admired melody, "'Tis the last rose of summer," - Mr. Wallace
Song, "Tell me my heart," - Mrs. Chester
By the kind permission of the Officers of the 21st Regiment, Mrs. Chester is allowed the assistance of the Military Band. Tickets, 7s. 6d., children 5s , obtained of Mrs. Chester, Freemason's Hotel. Mr. Swan, Elizabeth-st., Mr. Davis, Music Warehouse, Mr. Carter, Derwent House. N.B. - Concert to commence at 8 o'clock. Dec. 8, 1835


To call up all the TROVE newspaper items tagged William Vincent Wallace for 1836: 

2/3 January 1835, Hobart Town, departure of William Vincent Wallace from Hobart and arrival in Sydney, 12 January

"TRADE AND SHIPPING", The Hobart Town Courier (8 January 1836), 3 

The Layton, Capt. Wade, proceeded on her voyage to Sydney in ballast on Saturday [2 January] - passenger Mr. Wallace.

The Siren, Capt. Marten, sailed on Monday [4 January] with goods and colonial produce for Sydney passengers - Mr. H. C. Bates, and Mr. and Mrs. Chester . . .

ASSOCIATIONS: Note also the departure of Marian Maria Chester for Sydney

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Herald (14 January 1836), 2 

From Hobart Town, same day [12 January], having sailed from thence the 3rd of this month, the ship Layton, Captain Wade, with sundries. Passengers, Lieutenant Wilkinson, 13th Regiment, Mr. William Wallace . . .

"SYDNEY THEATRICALS", The Sydney Gazette and New South Wales Advertiser (14 January 1836), 2 

Mr. and Mrs. Chester have returned to Sydney by the Syren. It is expected she will re-engage with Mr. Simmons, and favour the public with a treat of her very superior vocal powers.

Mr. Wallace, the celebrated violinist, sailed from Hobart Town in the Leda [Layton] for Sydney, and we understand he intends giving a series of Concerts, in which the first rate musical and vocal talent in the Colony will be engaged . . .

"DOMESTIC INTELLIGENCE", The Sydney Herald (18 January 1836), 3 

A gentleman of the name of Wallace, who has ranked high amongst the musical society of Europe, has recently emigrated to these shores, and intends to give a Concert in about ten days, in conjunction with all the musical strength of the Colony. Mr. Wallace and Mrs. Chester have recently given musical entertainments at Hobart Town with much success; it is hoped that Mrs. C. and Mr. W. will go hand in hand in the business of the Sydney Concerts. Mrs. Chester, we perceive, offers her services as a Teacher of Singing; Mr. Wallace, we hear, intends to instruct on the Violin and Pianoforte.

[Advertisement], The Australian (29 January 1836), 3 

MR. WILLIAM WALLACE (Leader of the Anacreontic Society, and Professor of Composition - Royal Academy) begs to announce his intention of giving A CONCERT OF VOCAL AND INSTRUMENTAL MUSIC, in a few days, in which he will be assisted by the first talent of the Colony.
By the kind permission of Colonel Despard, Mr. Wallace will be allowed the valuable assistance of the admired band of the 17th regiment.

ASSOCIATIONS: Richard Bourke, governor of New South Wales; Band of the 17th Regiment

[News], The Sydney Monitor (30 January 1836), 2 

A gentleman named Wallace recently arrived from London intends, we perceive, to give a concert in a few days. As it will be under the patronage of the Governor, and Col. Despard has promised to allow the use of the 17th band, there is no doubt of Mr. W.'s concert being well attended.

7 February 1836, Sydney, arrival (from Cork) of Isabella Wallace and Eliza Wallace, Charlotte Kelly, Spencer Wallace and Matilda Wallace, and ? Spencer Wellington Wallace; and the marriage of Charlotte Kelly to James Cromarty, captain of the James Pattison

Return of free persons who have arrived in New South Wales from 8 January to 7th February 1836 inclusive, assisted by Bounties made by the Government on account of their passage; State Library of New South Wales, microfilm reel CY652

[no.] 28 / Spencer Wallace / [James Pattison] / [aged] 41 / Musician / [Wife aged] 28 / [child male] 1 / [child female] 1 / [amount of bounty advanced £ ] 20

Assignments of female emigrants on James Pattison, February 1836; State Library of New South Wales, microfilm reel CY652

Charlotte Kelly / 25 years / Governess / [By whom engaged] Mrs. Wallace (her sister)
Mrs. Spencer Wallace / 24 years / [By whom engaged] Mr. Spencer Wallace (her husband)
Eliza Wallace / 16 years / Actress / [By whom engaged] Mr. Spencer Wallace (her father)

"SHIPPING INTELLIGENCE", Commercial Journal and Advertiser (8 February 1836), 2 

ARRIVALS . . . James Pattison, [from] Cork, 31st October, 324 female emigrants . . .

Letter, sender (illegible, Courthouse) to Alexander Macleay, 9 February 1836, Colonial Secretary's papers; State Archives NSW

Feby 9th 1836 / Courthouse
My Dear Sir, The wife of Mr. Wallace has arrived by the female emigrant ship to his surprise and satisfaction for he neither expected her so soon of that she would come in that way. She has come as Isabella Kelly (her own name) and Mr. Wallace is afraid it may not look well in the eyes of the public if she remained to be landed with the other females, and has therefore asked me to request of you to give and order to allows her to come on shore to day. His sister Miss Eliza Wallace is also with his wife & if you can include her in the order also he'd feel obliged. They were both supposed to come with Mr. Wallace when he left Ireland, but Mrs. Wallace fell unwell, which prevented her from coming with himself, though he is fearful her coming in this ship as Miss Kelly may be injurious to him. I applaud her economy & prudence [ . . ? . . ]
In haste / Yours very faithfully [ . . ? . . ]

ASSOCIATIONS: Alexander Macleay, colonial secretary of New South Wales; Macleay ("McLeay") were listed among the notable attendees at Wallace's first Sydney concert

"Concert", The Australian (2 February 1836), 2 

We are happy to hear that this intellectual amusement is about to be afforded to the Colonists under very favourable auspices; Mr. Wallace, whose abilities in that line are well known, being about to concentrate for an early occasion all the talent and celebrity of Sydney; he will be assisted it is said by several amateurs, as well as by the beautiful band of the 17th Regt. who have obtained the kind permission of Colonel Despard to attend on this occasion.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (2 February 1836), 3 

Who has signified his intention of being present.
MR. WM. WALLACE (Leader of the Anacreontic Society, and Professor of Composition to the Royal Academy (London),
begs to inform the Public that his CONCERT OF
VOCAL AND INSTRUMENTAL MUSIC, (in which he will be assisted by the first talent of the Colony), will take place on the 12th Instant, in the Saloon of the Royal Hotel.
By the kind permission of Colonel Despard, Mr. W. will be allowed the valuable assistance of the admired band of the 17the Regiment.

[News], Commercial Journal and Advertiser (11 February 1836), 2 

We perceive that Mr. Wallace holds his first Concert to-morrow night. He presents a most attractive Carte, and we hope the inhabitants of Sydney will evince their good taste by a numerous attendance.

"CONCERT", The Colonist (11 February 1836), 6 

A concert of vocal and instrumental music is announced to take place at the Royal Hotel, to-morrow evening, under the superintendence of Mr. Wallace, a young man of first-rate musical talent. His Excellency has signified his intention of being present, and we would recommend all the Haut ton to follow an example so laudable, which has for its object the creating in the people a taste for intellectual amusements, unalloyed by the vices and immoralities which are the inevitable attendants of a play-house. We wish Mr. W. every success.

[News], The Sydney Gazette and New South Wales Advertiser (11 February 1836), 3 

The Concert, under the management of Mr. Wallace, fixed for to-morrow night, is likely to be attended by many of the elite of Sydney, and the interior. His Excellency Sir Richard Bourke has promised to attend. Mrs. Chester will be the principal vocalist. Mr. Wallace, we hear, will be assisted in the flute concerto with the acknowledged brilliant talent on that instrument of Mr. Josephson, junior.

Royal Hotel, George Street, Sydney; drawn and engraved, c.1834, by William Wilson (detail); State Library of New South Wales

Royal Hotel, George Street, Sydney; drawn and engraved, c.1834, by William Wilson (detail); State Library of New South Wales 

12 February 1836, concert, William Vincent Wallace (1st benefit, NSW debut), saloon of the Royal Hotel, George Street, Sydney

"CONCERT", The Australian (12 February 1836), 2 

Mr. Wallace's Concert is fixed, as will be seen by advertisement, for this evening, when amateurs of music may expect a great treat; Mrs. Chester will sing several admired songs, while Mr. Josephson will exhibit his well-known talents on the flute and pianoforte. The Band of the Seventh [sic, recte 17th] Regiment will be also in attendance.

[Advertisement], The Australian (12 February 1836), 1 

On THIS EVENING, the 12th of February, 1836.
Overture - Guilluame Tell
Glee - Forrester
Variations, Brilliantes (Piano-Forte sur le trio Favori di Pre aux Clercs, with Orchestral Accompaniment - Mr. Wallace
Song - "Should he Upbraid," Bishop - Mrs. Chester
Potpouri - Flute, Nicholson - Mr. Josephson
Glee - "Merrily goes the Bark,"
Song - "Savourneen deelish," - Mrs. Chester
Concerto- Violin, Mayseder - Mr. Wallace
Overture - Gustavus, Auber
Glee - "Who is Sylvia"
Solo - Clarionet, Gambaro - Mr. Lewis
Song - "Glory from the Battle Plain", Rossini - Mrs. Chester
Grand Duett - Piano Forte, Herz, on the favourite March in William Tell - Mr. Wallace & Mr. Josephson
Song - "Come where the Aspens quiver" - Mrs. Chester
Fantasia di Bravura - Violin - dedicated to Paganini, in which will be introduced "'Tis the last Rose of Summer," - Mr. Wallace
By the Kind Permission of Colonel Despard, MR. WALLACE will be allowed the assistance of
Tickets 7s. 6d. each, to be had at Mr. Ellard's Music Warehouse, Hunter-street, and at the Royal Hotel.
N. B.- Concert to commence at Eight o'Clock.

ASSOCIATIONS: Joshua Frey Josephson (flute, piano); Thomas Lewis (clarinet, master of the band of the 17th regiment)
Francis Ellard (music seller, Wallace's maternal first cousin, son of Andrew Ellard of Dublin, and brother of Maria Logan of Hobart)

"MR. WALLACE'S CONCERT", The Sydney Monitor (13 February 1836), 3

FROM the lateness of the hour at which the Concert closed last night, we are prevented from giving a detailed account of the performances, but we feel called upon the allude to the splendid performance of Mr. Wallace. On the Piano and Violin he was equally successful, without the least disparagement to any other performer we may safely say he is unequalled in the Colony. The Fantasia di Bravura was an exquisite performance, and was rapturously encored. We shall recur to the subject in our next. Notwithstanding the state of the weather, there were upwards of three hundred persons present; among whom we noticed His Excellency the Governor and Staff, Mr. and Mrs. McLeay, the Chief Justice, Sir John Jamison, Colonel Snodgrass, Mr. Potter Macqueen, Mr. Plunkett and Lady, Mr. R. Therry and Lady, Mr. Wentworth and Family, Mr. Manning, Colonel Breton, Mr. Blaxland and Family, the Officers of the 17th Regt., &c, &c.

ASSOCIATIONS: In addition to Alexander Macleay and wife, mentioned above, notable attendees included: the Chief Justice of New South Wales Francis Forbes; prominent landowner and developer John Jamison; solicitor general of New South Wales, John Hubert Plunkett, a keen amateur violinist; barrister Roger Therry; and barrister and political activist William Charles Wentworth

[News], The Sydney Gazette and New South Wales Advertiser (13 February 1836), 2 

Of Mr. Wallace's Concert last night we have not time to say more at present, than that it was brilliantly attended, and passed off with eclat.

[News], The Sydney Herald (15 February 1836), 2 

Mr. Wallace's concert on Friday evening, we hear, was attended numerously, and the performances gave entire satisfaction. Mr. Wallace is spoken of as a young man of extraordinary abilities both on the violin and pianoforte. None of our reporters being present we are unable to give the particulars of the concert.

"MR.WALLACE'S CONCERT", The Sydney Gazette and New South Wales Advertiser (16 February 1836), 3 

On Friday evening, Mr. W. gave his first Concert at the Royal Hotel, and in spite of the inclemency of the weather, the room was crowded by much of the rank, beauty, talent, and fashion in the Colony. Among the visitors, we noticed His Excellency the Governor and family, Mr. Colonial Secretary McLeay and family, the Judges, Mr. Solicitor Plunkett and lady, and most of the principal civil and military officers.

The announcement itself excited so much interest among all lovers of good music, that it appeared all who could were determined to attend, and never did and audience appear to be more satisfied. Mr. Wallace's performances throughout were listened to with breathless attention; and his playing struck a peculiar awe into the hearts of his numerous hearers who every moment burst forth with rapturous and enthusiastic applause.

The Concert commenced with the overture to William Tell, which was played by the band of H. M. 17th Regt., who attended by the kind permission of their highly respected Colonel (whose early departure we regret) admirably, and during the evening some of the members of the band sung some glees very creditably. They do not come up to the acme of glee-singing certainly, yet by dint of industry and application, they will much improve; but with all their faults, they far surpass the generality of the glee-singers of the Theatre Royal. The focus of attraction rested in Mr. W.; every anxiety possible prevailed until he made his appearance; his reception was worthy of the talent he evinced. His first performance on the pianoforte was a concerto of Hertz's. The brilliancy of his playing - the delicacy of touch - the rapidity of the last movement - as also the fine tones which he brought forth in the variations, excited such emotions, that the applause which followed was unanimous and deafening. Such playing has never yet fallen to the share of the "Colonist" to hear; and so delighted were those present, that each successive performance was listened to with a degree of apathy until the "star of the evening" made his re-appearance.

Mrs. Chester sang exquisitely, but we think excelled in "Come where the Aspens quiver." Our talented young Colonist Mr. Josephson, lent his valuable assistance, and was very fine on the flute - as also in his accompaniments with Mr. W. He is a young gentleman of considerable musical attainments and promise, and we only regret he is not more often before the public. However great Mr. Wallace has convinced us he is on the piano, he is still greater on the violin. His Concerto by Mayseder, was a performance of considerable skill, and pleased much. The solo on the clarionet by Mr. Lewis, was very effectively played, but Mr. W. judiciously kept all his force to the last - his "Fantasia di Bravura," on the violin, dedicated to Paganini, was brilliant in the extreme, some of the tones resembling the human voice; the depths of some of his notes made many of his hearers shudder. The rapidity of his playing, the facility of the execution of some of the most difficult passages, as also the swiftness with which he introduces many extemporaneous introductions, is beyond description. On being encored, he introduced "Hope told a Flattering Tale" with Paganini's variations; the whole of that performance excited both wonder and admiration. We heard many gentlemen of some musical talent state, Mr. W., in many of his passages, reminded them very forcibly of the renowned Paganini. We ourselves have not heard that celebrated violinist, but should place some reliance on the assertion; our knowledge of music being limited, we dare not venture any remarks on the composition. If applause be a criterion of approbation and success, we compliment Mr. W. upon this his debut. The earlier his next Concert takes place, the better pleased will be the public; and we are positive from the very many persons who attended, and who were all highly satisfied, we should strongly advise Mr. W. to give a series of Concerts; they will be all as well attended, and he equally well remunerated; his talent is already very highly appreciated - and, besides the Drama, the public require some rational recreation to resort to. Mr. Wallace, we hear, is about becoming a resident among us, for his splendid and novel performance on Friday evening, has been hailed as the commencement of a new era in the chronology of music in this Colony.

"CONCERT", The Australian (16 February 1836), 2 

Last Friday Mr. Wallace's Concert took place at the Royal Hotel, and notwithstanding the rain falling in torrents the room was crowded to excess by all the fashion and respectability of Sydney and the neighbourhood. At a few minutes after eight, the Governor and suite arrived, and on his entrance into the saloon, the band played the national air. His Excellency was dressed in plain clothes.

The Concert opened with the beautiful overture to Guilliame Tell, which was most effectively performed. A glee by Forester followed, which was much and deservedly applauded. Then came some variations upon the air "les praux clercs" [sic] which were performed by Mr. Wallace with a degree of brilliancy of execution which astonished his hearers.

Mrs. Chester then sang the beautiful air "Savourneen Deelish" - very sweetly. She has considerable execution and flexibility of voice; her shake is very good, and in the song of "di piacer," she gave us an opportunity of judging of her full powers as a vocalist.

Mr. Josephson played the celebrated "Pot-pouri" for the flute by Nicholson with great taste and execution; and we are happy to congratulate him on his performances throughout the evening; he bids fair to become a first-rate performer.

Mr. Lewis's performance of the "solo" for the clarionette, as usual, was a great treat. We much regret that his instrument will be no more heard in this Colony; he will shortly depart to delight the ears of another, though not more gratified audience.

We pass, over various songs and glees, with all of which we were greatly pleased, to congratulate the Colonists on the arrival of a] great musical genius. Mr. Wallace's style of playing the violin is extraordinary, and caused universal astonishment and delight. Mr. W. was "encored" after both his performances, in every pause of which the company loudly applauded. It is impossible, in this necessarily short notice to do justice to his merits, or to give any idea of the extreme beauty of his play. We can only recommend all lovers of music to go and hear him; and we sincerely hope Mr. W. will soon give them another opportunity. There were, we understand, above 300 persons present; so large an assemblage collected on the credit of his fame, will, we trust, insure him a large audience, now that his "power to please," is known.

"CONCERT", The Colonist (18 February 1836), 4 

Mr. Wallace's Concert was held persuant [sic] to public notice at the Royal Hotel, on the evening of Friday last. A heavy fall of rain prevented a number of families from being present, however, as it was, there were between three and four hundred persons in attendance, amongst whom we noticed His Excellency the Governor and suite, the Colonial Secretary and family, the Officers of the 28th Regiment, and most of the wealth and respectability of Sydney. We have neither time nor space for a critique on the performance, but shall content ourselves with a single observation, viz. - that Mr. Wallace proved himself to be what we asserted in our list, namely, a young man of first rate musical talent, and the public cannot do better than attend his next display and judge for themselves.

[News], The Sydney Herald (18 February 1836), 2 

Mr. Lewis, the talented band-master of the 17th Regiment, we hear, intends to give a Farewell Concert previous, to his leaving the Colony for India; when we hope to hear Mr. Wallace. Mr. Lewis should endeavour to obtain the assistance of the lady who shone with so much brilliancy at Mr. Stubbs's Concert some time since.

ASSOCIATIONS: Thomas Stubbs, flute and Kent bugle player, composer

[News], The Sydney Gazette and New South Wales Advertiser (18 February 1836), 3 

It is reported that Mr. Wallace's next concert will shortly take place, when his brother, Mr. Wellington Wallace, will make his first appearance before the public as a musician, in which capacity report speaks very highly of him. We also understand that the vocal strength of his next Concert will be augmented. It caused some surprise why Mrs. Taylor did not sing at the last Concert, especially as she had sang at every Concert but one since she has been in the Colony; but arrangements are made for her appearance at the ensuing one.

ASSOCIATIONS: Spencer Wellington Wallace did not, in fact, appear at his brother's second concert (26 February), but gave his first public Sydney performance at Wallace's third concert (1 June); Maria Taylor, soprano vocalist, appeared at Wallace's second Sydney concert

[News], The Hobart Town Courier (19 February 1836), 2 

Mr. Wallace had given a concert at Sydney, assisted with all the musical talent of the place, with great applause. We are happy to learn that this eminent musician is about shortly to revisit Hobart town.

NOTE: There is no documentary evidence that Wallace ever returned to Hobart Town

[News], Commercial Journal and Advertiser (22 February 1836), 2 

We perceive that Mr. Wallace is about to give another Concert, and as we had the gratification of being present at his late debut, we are enabled to recommend to our readers to witness his next performances. His "Fantasia di Bravura" the finale of his late Concert, was a master-piece, and in some passages he forcibly reminded us of the singular personage to whom that piece is dedicated - Paganini. - We hope Mr. Wallace's exertions may be as profitable to himself as they are pleasing to others.

"CONCERT", The Australian (23 February 1836), 2 

It will be seen by an advertisement in another column, that the success which attended Mr. Wallace's first Concert, has encouraged him to set another going, in which he will have even greater attractions than on the former occasion; we are happy to find that the taste of the Public of New South Wales is not so contrary to the more elegant and refined portions of the social fabric as some writers would have us believe, and that talent is appreciated in other spheres than that of simple money making.

[News], The Sydney Gazette and New South Wales Advertiser (23 February 1836), 2 

We perceive by advertisement that Mr. Wallace's next concert takes place on Friday next. It is highly pleasing and creditable to the "profession" to find so much unanimity and goodfeeling, as is now evinced among its many clever members who purpose coming forward to aid Mr. W. who we are pleased to see has also secured the united talents of Mrs. Taylor and Mrs. Chester for Friday next.

"NOVEL ENTERTAINMENT", The Sydney Gazette and New South Wales Advertiser (25 February 1836), 2 

We perceive by the programme, of Mr. Wallace's second Concert, that that gentleman possesses, in addition to his other musical attainments, the peculiar facility of composition hitherto exclusively ascribed to the Italian Improvisatores. We doubt not he will be abundantly furnished with "tender themes" for the exercise of this rare talent, therefore beg to suggest to the fair competitors who may feel desirous of hearing their "love lorne tales" "descoursed in excellent music," the necessity of providing themselves, prior to their attendance at the Concert Room, with manuscript descriptions of their respective "ditties."

[News], The Colonist (25 February 1836), 4 

Mr. W. Wallace gives a second Concert on Friday evening (to-morrow), at eight o'clock, at the Saloon of the Royal Hotel. On this occasion Mr. W. will be assisted by additional vocal as well as instrumental performers, and has been kindly promised the aid of the Band of the 28th Regt.; a highly intellectual treat may be confidently anticipated.

26 February 1836, concert, William Vincent Wallace (2nd benefit), saloon of the Royal Hotel, George Street, Sydney

[Advertisement], The Australian (26 February 1836), 1 

On this occasion, MR. WALLACE will be assisted by MRS. CHESTER, MRS. TAYLOR, MR. JOSEPHSON, MR. WILSON, and MR. SIPPE.
PART 1st.
1 - Overture; Gazza Ladra - Rossini
2 - Song, Kate Kearney, Irish melody - Mrs. Taylor
3 - Concerto, Piano-forte - Mr. Wallace
4 - Song, (by desire), Glory from the Battle Plain, Rossini - Mrs. Chester
5 - Grand Fantasia (flute) Drouet - Mr. Josephson
6 - Duet, My Pretty Page, Bishop - Mrs. Chester, and Mrs. Taylor
7 - Paganini's Grand Concerto, on one string, for the violin - Mr. Wallace
PART 2nd.
8 - Overture - Semiramide - Rossini
9- Song, Cathleen O'More, (Irish melody) - Mrs. Chester
10 - Extemporaneous Performance on the Piano forte, on any subject or subjects which may be presented, (written) - Mr. Wallace
11 - Song, Cans't Thou Ask Me to Forget - A. Lee - Mrs. Taylor
13 - Song, She Sat Within the Abbey Halls - Barnett - Mrs. Chester
13 - Fantasia di Bravura - Violin - dedicated to Paganini, in which will be introduced (by particular desire) The last Rose of Summer - Mr. Wallace
By the kind permission of COLONEL FRENCH, MR. WALLACE
will be allowed the valuable assistance of the Band of the 28th Regiment.
N. B. - Tickets, 7s.6d. each, to be had at Mr. Ellard's Music Warehouse, Hunter-street, and at the Royal Hotel.

ASSOCIATIONS: From the orchestra of the Theatre Royal, George Sippe, cellist and pianist, and Mr. Wilson, violinist; the 17th Regiment being about tp sail for India, Wallace instead had the services of the newly-arrived Band of the 28th Regiment (master, Vincenzo Chiodetti

"MR. WALLACE'S CONCERT", The Sydney Monitor (27 February 1836), 3 

Mr. Wallace's second concert was held last evening. The performance of Mr. W., as on the former occasion gave universal satisfaction; his violin playing was excellent, especially the piece in which The Last Rose of Summer was introduced. Mrs. Chester and Mrs. Taylor were in good voice and sang well, and received much applause. The band of the 28th Regt. played the overtures in a very superior style. The room was crowded to excess with respectable persons, and the only drawback was the deficiency of seats, many gentlemen being obliged to stand the whole evening.

[News], The Sydney Gazette and New South Wales Advertiser (27 February 1836), 3 

Our fair vocalists, Mrs. Chester and Mrs. Taylor, people of musical taste will no doubt be glad to hear, propose holding a Concert, in concert, shortly, when we hope their united talent will be rewarded by a liberal attendance of the wealth, beauty, and fashion of this metropolis.

Notwithstanding the unfavourable state of the weather, Mr. Wallace's Concert was brilliantly attended. We have not room at present to say any more, but our next will probably exhibit a full critique.

[News], Commercial Journal and Advertiser (29 February 1836), 2 

Mr. Wallace's concert last Friday evening, was very crowded, and his performances elicited the the warmest plaudits.

[News], The Sydney Herald (29 February 1836), 2 

The public had the gratification of hearing Mr. Wallace at his second Concert, at the Royal Hotel on Friday evening, and to those of the visitors who possessed musical souls, a more intellectual treat could not have been afforded. We certainly do not remember ever hearing, even in that great focus of science - Europe, many whose violin-playing excelled that of Mr. Wallace, either in execution or expression. As a pianist, he is also enchanting, and must have made these instruments his study from his childhood - and an apt scholar too. What more delightful harmony could any one require than his "Rose Bud of Summer," [sic] every attribute of music being called into requisition, - the very eloquence of expression, - and the most unaccountable meanderings through an unlimited scale of notes, without the slightest confusion or discord. His harmonics were peculiarly grateful to the ear, and reminded us forcibly of the hautboy-swell in our church organs. Mr. Wallace was repeatedly interrupted by the applauses of the visitors, during the evening, and frequently appeared fatigued, attributable, we should say, to his accompanying every song allowing himself not the least cessation; Mr. W. should avoid this at his next appearance before the public. Our limits will not allow us to discuss the individual merits of the other performances, our readers, however, will be enabled to form an opinion of them when we state that the vocalists were Mesdames Taylor and Chester; instrumental performers, - Messrs. Josephson, Sippe, and Wilson, assisted with the Band of the 28th Regiment. The Concert Room was filled with families of respectability.

"LAST FRIDAY EVENING'S CONCERT (From a Correspondent)", The Sydney Gazette and New South Wales Advertiser (1 March 1836), 3

It affords us great pleasure to state that the second Concert given by Mr. Wallace, on Friday evening last, was a triumphant one, both as to performance and attendance. The room was crowded to an excess. The Concert commenced, with Rossini's overture to the "Barber of Seville," which was played in fine style by the band of the 28th Regiment (who attended by the permission of their Col. whom the public, as well as Mr. W. must thank) after which Mrs. Taylor warbled the beautiful ballad of "Kate Kearney," with exquisite taste and archness; Mr. Wallace played a concerto on the piano, and gave his numerous visitors the same delight as when they witnessed his first performance. Mrs. Chester sang "Di Piacer". It abounds with brilliant passages, and was most beautifully executed[;] then followed Mr. Josephson on the flute; during the fantasia, he introduced "Auld Lang Syne" with variations, and deserves much credit, for his talented performance; after which Mrs. Chester and Mrs. Taylor, sang the celebrated duet of "My Pretty Page" from Bishop's opera of "Henri Quatre", with fine effect. Their voices blended together so harmoniously that it was pronounced the best musical treat ever yet heard in the colony. It made a decided impression, and both ladies evinced great musical knowledge; it was rapturously applauded, and was honored with an unanimous encore. Mr. Wallace for the first time, played a concerto on ONE STRING a la Paganini, in which he exhibited great scientific skill, and brought forth such fine and deep sounds as baffle description. This performance was listened to, with breathless attention. Thus ended the first part.

The second part commenced with the overture to "Zampa". Mrs. Chester sang an Irish ballad "Kathleen O'More" rather pleasingly. Mr. Wallace was presented with various pieces of music, which he played extemporaneously, introducing occasionally some brilliant variations, which excited much general astonishment. He ended that performance with "Currency Lasses" (as composed by our talented towns lady, Mrs. John Paul senior,) adding to it some extemporaneous variations [;] many ladies and gentlemen were to be seen with scraps of music in their hands ready to present them, but being so well satisfied, no doubt did not wish to trouble him. New Song by "Lee" "Cans't thou ask me to forget" was sung by Mrs. Taylor. The author has infused a beautiful sentiment into the poetry of this song, and the composer has not neglected to wed it to an equally fine melody, which was most excellently and tastefully sung by Mrs. Taylor. Mrs. Chester also sung a new song by "Barrett" [Barnett], "She sat within the Abbey Walls". This song caused a great sensation at home, and was sang in that lady's best style. Both ladies were rapturously applauded in their respective songs. The Concert concluded with the "Fantasia di Bravura" by Wallace, with reference to which we cannot but repeat what we stated respecting his last concert, that his performance on the violin excites wonder and admiration. It received on Friday evening ample and deafening shouts of applause, throughout the whole of a scientific and talented performance.

Wishing as we most sincerely do every possible success; to Concerts, we congratulate the colony in the excellent start that Mr. W. has made. It having been so well attended, and patronised, we should strongly urge him to endeavour to establish "Subscription Concert Rooms." There is at present sufficient musical talent in the colony; Mrs. Chester and Mrs. Taylor, as singers, are more at home in the Concert Room, than in the Theatre, and heard to greater advantage - The generality of persons who attend Concerts, do not always patronise the theatre. Concerts will be patronized by the highest ranks of Society, as also by all lovers of intellectual and rational amusements. We hope Mr. W. in return for the public patronage will exert himself to raise musical talent in the colony, especially, understanding that Mrs. Wallace, Miss Wallace, as also his brother and father are all in the colony; they are excellent musicians, and in conjunction with Mrs. Taylor, and Mrs. Chester, could give concerts. Among the visitors on Friday evening last, were the honorable the Chief Justice and Lady, and several families of great respectability.

"Mr. Wallace's Concert", The Australian (1 March 1836), 2 

On Friday evening last, Mr. Wallace's second Concert came off, as notified by previous advertisement; the disappointment experienced by numbers at not having had an opportunity of attending at the first, was the cause of the short interval between the two, and the event fully justified the supposition, as not only was the room "to o'erflowing full" at an early hour, but amongst the audience we perceived great numbers from various parts of the country; of country residents there could not have been less than one hundred; while the number of persons altogether was about three hundred.

The evening's performance commenced by the overture of "Gazza Ladra," which was played with great skill and taste by the Band of the XXVIIIth Regiment; if, however, any further experience were necessary to confirm us in a previously expressed opinion of the superiority of the XVIIth Band in those qualifications which give pleasure rather than violent excitement, the performance of Friday would have been sufficient; in short, to the music of the XXVIIIth we could march to battle with a temporary oblivion of the forte accompaniment of' clashing swords and whistling bullets, while from that of the XVIIth we should gather "food for love," breathing as it does the sweetness which melted the soul of the enamoured Duke in the "Midsummer's Night's Dream."

Mr. Josephson played a grand Fantasia on the flute in very style; he not only brings out the richness of tone, of which the flute is only susceptible in the hands of an able performer, but executed the difficulties, as they may be called, of the instrument, in a manner to give great and general satisfaction.

The Duet of "My Pretty Page" followed by Mrs. Chester and Mrs. Taylor; it was admirably sung, but there wat too much sameness in the two voices to please in the same degree, as is afforded by those of different sexes.

Mr. Wallace then astonished and delighted the audience in the highest degree by "Paganini's Grand Concerto on one string;" we are not sufficiently acquainted with the instrument to speak en maitre - We can, however, bear testimony to a brilliancy of execution, and a delicacy of tone seldom indeed equalled on all four.

The second act commenced with the overture to "Il Barbiere," which was substituted, to our disappointment, for that to the "Semiramide;" we can only repeat our observations on the overture in the first act, with the addition that it seemed to be even better received than its predecessor. Mrs. Chester sang "Kathleen O'Moore" not much to our taste; her style is not the ballad singing, for which Mrs. Taylor is in voice and manner admirably adapted; indeed, though it is impossible not to admire the depth, power, and mellowness of Mrs. Chester's notes, these qualifications do not shew to their full extent in such songs as Mrs. Taylor excels in; a lover of music would walk ten miles to hear the latter in "She sat within the Abbey Walls" and the same distance back, to hear Mrs. Chester in "liquid Italian."

The performance concluded with a Fantasia on the violin, by Mr. Wallace, in which he introduced "The last Rose of Summer;" to this it is impossible for us to do justice - re-iterated bursts of applause at every pause, amply expressing the feelings of the audience.

We have omitted to notice Mr. Wallace's pianoforte performance, and have only space to observe, that he has the same mastery over this instrument as over the violin; we were particularly struck by his delicacy of touch, producing tones as soft and liquid as could be given by a musical snuff-box; Mr. Wallace has now established his reputation as a musician, as well as shewn himself an expert manager of a Concert; there was none of that delay or confusion which sometimes tires the patience of the audience, but every thing was orderly and as it should be. The full attendance which has rewarded him, on both the occasions will, it is to be hoped, induce him to repeat the experiment very often.

"THE CONCERT", The Colonist (3 March 1836), 4 

Mr. Wallace's second concert took place on Friday last, in presence of a most numerous and respectable audience, in the saloon of the Royal Hotel, which was literally filled to suffocation. A greater treat we have never experienced since our arrival in the colony, and can only hope that Mr. W. will make them frequent, and the price of admission less, in order that persons of every sphere in life may be enabled to attend - en passant. We cannot refrain from contrasting the extremely modest and unaffected deportment of Mrs. Chester when before the public, with the affectation displayed by Mrs. Taylor; it may perhaps be necessary in a theatre to produce what is called stage effect, but we conceive it to be bad taste, to say the least of it, at a concert.

"THE PAGANINI OF AUSTRALIA", The Sydney Gazette and New South Wales Advertiser (5 March 1836), 3 

We understand the Officers of the 28th Regiment intend availing themselves of Mr. Wallace's valuable services during his sojourn in New South Wales, for the improvement and instruction of the string musicians of their band.

{News], The Colonist (10 March 1836), 6 

Mrs. Chester and Mrs. Taylor give a Concert on the evening of Wednesday next at the Royal Hotel, assisted by the talented Mr. Wallace [;] we hope Mrs. Taylor will profit by the hint given in a former number she will not only appear to much greater advantage, but give infinitely more satisfaction to the respectable portion of her hearers.

"DOMESTIC INTELLIGENCE", The Sydney Herald (10 March 1836), 2 

Wednesday next, is fixed for the Concert for the joint benefit of Mrs. Chester and Mrs. Taylor, which is under the patronage of Colonel Wilson. Major England has kindly consented to allow the services of the band of the 4th Regiment, which will preside in the orchestra. The whole vocal and instrumental strength of the colony is engaged, and the bill of fare is new and interesting. Mesdames Chester and Taylor have engaged the celebrated violinist, Mr. Wallace, at the sum of twenty-five guineas for the night. Another such sum to a performer would render the concert a losing concern.

[News], The Sydney Gazette and New South Wales Advertiser (15 March 1836), 3 

We beg to remind the musical world, that Mrs. Chester's and Mrs. Taylor's joint concert is fixed for tomorrow night, to take place at the Royal Hotel. From the talent, both vocal and instrumental, engaged upon this occasion, it may be safely anticipated that it will be the most brilliant affair of the whole season. No expense, we understand, has been spared in retaining the services of all the leading performers in the Colony - Messrs. Josephson, Sippe, Wilson, and Wallace. The latter gentleman, we hear, rates his services so high as £25 for the night, and has declined playing under that ratio. His musical talents doubtless are first rate. Mr. Wallace, however, in this instance, has as certainly put a first rate price upon them. We hope the fair vocalists' expenses will be adequately met as they deserve to be, by a respectable and a flowing house.

"CONCERT", The Sydney Monitor (16 March 1836), 2 

Mr. Wallace has been engaged at the (for this Colony) enormous sum of £25 for his nights performance; he will give his celebrated Fantasia di Bravura, which has been twice received with so much applause. Major England, the commanding officer of the 4th Regiment, has given permission to Mr. Colman and the band of that regiment to attend.

ASSOCIATIONS: Band of the 4th Regiment (master, George Coleman)

16 March 1836, concert, Marian Maria Chester and Maria Taylor (joint benefit), saloon of the Royal Hotel, George Street, Sydney

[Advertisement], The Sydney Monitor (16 March 1836), 4 

Mrs. Chester and Mrs. Taylor,
BEG to announce to their Friends and the Public generally, that their CONCERT, Of Vocal and Instrumental Music, will be given at THE ROYAL HOTEL,
On WEDNESDAY Evening, March 16th, 1836,
On which occasion the following eminent talent will render their valuable assistance.
Principal Instrumental Performers,
1. Overture - Fra Diavolo - AUBER.
2. Song - I know who! - SEVERNE - Mrs. Taylor.
3. Grand Rondo Characterisque [sic] pour le Piano-forte - HERTZ - Mr. Wallace.
4. Song - Tyrant, soon I'll burst thy chains - ROSSINI - Mrs. Chester.
5. Concerto - Flute - NICHOLSON - Mr. Josephson.
6. Duett - Hark o'er the sea - CARL VON WEBER - Mrs. Chester and Mrs. Taylor.
7. Concerto Violin - SPOHR - Mr. Wallace.
1. Overture, Italiana an Algeri - ROSSINI
2. Song - Farewell to the Mountain - BARNETT - Mrs. Chester.
3. Concerto, (Piano Forte) - Mr. Wallace.
4. Duet - As it fell upon a day - BISHOP - Mrs. Chester and Mrs. Taylor.
5. Song - Sunshine o'er the brook, my love - A. LEE. - Mrs. Taylor.
6. Fantasia di Bravura (dedicated to Paganini) - Mr. Wallace.
7. Duet - My Pretty Page - BISHOP - Mrs. Chester and Mrs. Taylor.
By the kind permission of Major England, the Band of the 4th Regiment (or King's Own) will attend.
Tickets 7s. 6d.; Children 5s., to he obtained of Mr. Ellard, Hunter-street, Mr. Dunsdon, George-street, and of Mrs. Chester, opposite the Royal Hotel.

"CONCERT", The Australian (18 March 1836), 2 

The unfavorable state of the weather we regret to learn prevented the attendance of numerous families of high respectability who, in addition to those who honored the Concert Room with their presence, had promised their support. However, the performances so far from disappointing the visitors, far exceeded their expectations. The 4th Regiment, or King's Own band upon this occasion had raised them considerably in the estimation of the Australian public. The celebrated bravura, Una Voce, by Rossini, was given with good effect by Mrs. Chester. In the execution of the difficult and flowing passages she was peculiarly happy; in fact, it is in such pieces, (particularly in this composer's style), that she most excells, her voice being a contralto of great compass, depth, and pathos. Burnett's sweet ballad of Farewell to the Mountain, as originally sung by Mr. H. Phillips, was also given with great effect by this lady. I know who, by Mrs. Taylor, was sung with that naivette and sweetness, so truly characteristic of herself. We never saw Mrs. T. appear to more advantage; she was in excellent voice and entered fully into the spirit of the melody which she so sweetly warbled. The duetts by Mrs. Chester and Mrs. Taylor were, as might be expected from ladies possessing musical attainments of so high a caste, deservedly applauded and were adequately appreciated by the audience. We never heard two voices accord more melodiously than did those of our fair vocalists upon this occasion. A. Johnson, who volunteered his gratuitous services, is entitled to the highest praise, his execution was admirable. Of Mr. Wallace it would be superfluous to speak in terms of commendation, he did, as he has hitherto done, his very best, nevertheless, we cannot help thinking that the ladies have paid rather too dear for his whistle.

The Concert concluded at a seasonable hour, and every true lover of harmony retired highly gratified at the Evening's amusements; only regretting the absence of their friends from a participation in so rich a treat.

In the song of Sunshine o'er the brooks, my love, Mrs. Taylor was rapturously and most deservedly encored. In fact we can not speak too highly of this lady's exertions, (ill as she evidently was), we cannot speak in terms adequate to our feelings. The duet of My pretty page was unanimously and with great credit to the taste of the auditors, encored. - Correspondent.

[We shall perhaps be allowed to observe, now that the Concert is over and that our remarks can do no harm, that a worse selection of music could not very easily have been made: - I know who - As it fell upon a day - My pretty page - it was dreadful. - ED.]

ASSOCIATIONS: John Richard Hardy (editor of The Australian); the "A. Johnson" who performed the piano accompaniments, otherwise unmentioned in the pre-concert advertisements, was probably James Johnson, rather than his brother William, both also recent arrivals

"THE CONCERT", The Sydney Gazette and New South Wales Advertiser (19 March 1836), 2 

Owing to the unfavourable state, not of the weather, but of certain leading streets of which we have so repeatedly complained, the Concert of Wednesday evening last was not so numerously attended as might otherwise have been expected. Between 4 and 6 P. M., rain - delightful rain - poured down in torrents, and the most terrific thunder claps reverberated through the atmosphere, highly charged as it was with electric matter. This was enough to deter many, and did, from venturing from over the threshold of their homes. However, it has not been said that our fair Concertantes sustained any pecuniary loss by their joint exertions, if they have not gained much in pocket by them. How be it, we cannot for our own part say it would be advisable soon to repeat the treat, for whilst play goers can hear tolerable Olios, Melanges, and musical interludes performed at the Theatre, above all may have an opportunity of hearing Mrs. C. and Mrs. T. sing cheaply; it is not the extra expense, of Concert going will be any particular recommendation to that description of pastime. Five and twenty pounds for a night's fiddling (the sum demanded by Mr. Wallace, of his sister Syrens, and received), when people grudge a pound towards securing a House of Assembly, is beyond a joke.

Mr. Wallace (absurdly designated the "Australian Paganini"), clever as he may be, and unquestionably is as a musician, would do well to calculate and ponder upon the story of the "Goose and the golden eggs," before he again incurs the censure of a liberal minded public, by so enormously over-rating his services as he did on Wednesday night last. Mr. W. would do well to learn to conform to circumstances, and meet exigencies consistently. Five and twenty pounds for one night's FIDDLING!!! Che jam satis est!

"CONCERT", The Sydney Monitor (19 March 1836), 2 

On Wednesday evening, Mrs. Chester's and Mrs. Taylor's concert took place. Notwithstanding the stormy afternoon about 200 persons assembled. Mrs. Chester did not sing with that taste which usually characterises her; Mrs. Taylor, on the contrary, never appeared to more advantage, her song of Sunshine o'er the Brook was well sung and rapturously encored. Mr. Wallace did not appear to exert himself so much as he did for his own benefit; still his violin playing was of a very superior description. A Mr. Johnson made his first appearance in public as a pianoforte player; from the manner in which he accompanied the different songs, he appeared to be an expert performer. The band of the 4th regiment appear to have had a deal of practice during their absence from Sydney; the manner in which they performed the overtures was highly creditable.

"CONCERT", The Sydney Herald (21 March 1836), 2 

The "Joint Concert" for the benefit of Mesdames Chester and Taylor, took place at the Saloon of the Royal Hotel, on Wednesday last, under the patronage of Colonel Wilson. The weather was extremely unfavourable, and in consequence the room was but half filled - which augurs badly for the taste of the Australian public, who contrasted with the crowded state of the Theatre several nights in the week. The vocal selections were anything but good, seeing that most of the songs have been repeatedly sung by the same parties, either at Concerts or at the Theatre; and, however well a song may be sung, a constant repetition palls the senses, and is an uninteresting and partial renewal of pleasure, which might have been easily avoided. As a guide for the future, and to support of the foregoing remark, the expression of very many of the audience (who were nevertheless well pleased), "We could have heard the songs as well sung by the same parties, at the Theatre, for two shillings," is illustrative. The execution was good - nay, even faultless, and highly creditable to the Colony. Our reporter was unfortunately prevented from attending until after Mr. Josephson's flute solo, by business that could not be neglected, and entered at the duet of Hark o'er the sea, by Mesdames Chester and Taylor, was sung moderately well, but wanted that feeling which characterised the after songs. A concerto for the violin, by Sphor [Spohr], was played by Mr. Wallace with an astonishing facility of execution, and feeling, that justly obtained a corresponding applause.

The second part of the entertainment opened with an overture (Italiana in Algieri) by Rossini, played by the band of the 4th regiment - well performed, but too harsh for so small a room; instead of being in front, the band ought to have been placed at the furthest extremity of the platform, to have produced a good and pleasing effect. Mrs. Chester's Farewell to the mountain was brilliantly executed, and received the applause that Mrs. C's application to her profession and acquired proficiency demanded. Mr. Wallace's Concerto on the piano was a composition that would require a foreign and a peculiar ear to admire, the subject being for the most part lost in a variety of fuges [sic], the real beauties of which could only be relished by an accomplished taste; a simple air with extemporaneous variations would have a much greater impression on our audiences of New South Wales. Mr. W.'s execution is vivid, tasteful, and nervous, which gives a particularly agreeable effect to his playing. The old but beautiful duet "As it fell upon a Day" was delightfully given by Mesdames Chester and Taylor; the harmony was perfect, and the satisfaction appeared general. "Sunshine o'er the brook, my love," Mrs. Taylor, was a talented and beautiful performance; Mrs. T.'s voice was in its best keeping, being full and clear, her emphasis well placed, and her modulations perfect in the first performance; she was unfortunately encored, which was rather unreasonable after the former duet, and had to strain her voice in the second singing, which appeared painful to her. It is a pity that Mrs. Taylor will not dedicate a short space of her leisure time to improve her execution; Nature has done much for her in bestowing a voice that comprehends compass, power, and melody; a little more attention would render her a first rate singer in Australia, and a little more attention to her demeanor on the boards, would make her a universal favorite. As a finale, Mr. Wallace reserved his astonishing performance of a Fantasia di Bravura, dedicated to Paganini, followed by the duet of "My Pretty Page," by Mrs. Chester and Mrs. Taylor. In the former, the brilliancy of the tone, the transition from the lowest bass to the finely drawn natural tone in alt, the perfection in the precisely stopped harmonic, the wonderful mechanical execution, and the feeling displayed by the performer, were a delightful treat. The latter was well sung and encored.

We understand that Mr. Wallace intends to open a Music Saloon, where he will instruct a select number of pupils, who will have the advantage of playing in concert under Mr. Wallace's superintendence and instruction, a mode of education which is now generally practised in England, and found to excel private and single tuition. Young persons playing together in pieces scored for the purpose in parts to harmonize, acquire a taste and precision in playing, that can rarely be obtained by single practice. Mr. Wallace also intends giving lectures on Music illustrated by performances in his peculiar style of execution, with his experience on the easiest and most certain mode of attaining musical excellence. These lectures will no doubt be well attended by the young Ladies of the Colony, and patronised by the Ladies' Schools, combining, as they will, cheapness with interesting instruction.

[News], The Colonist (24 March 1836), 6-7 

The concert given by Mrs. Chester and Mrs. Taylor took place on Wednesday evening, the attendance was neither so numerous nor so respectable as on the two previous occasions, a result which might have been easily foretold, if they had considered, that it was the third performance of a similar kind following each other in rapid succession and at so high a price for admission. The band of the 4th Regiment played the second overture Italiana in Algeri, beautifully, Mrs. Chester and Mrs. Taylor sang pleasingly but were not much assisted by the gentleman who presided at the piano-forte who played most incorrectly. Of Mr. Wallace we can say nothing in his praise, after hearing his performance on two previous occasions, there appeared to be a degree of nonchalance about him during the whole of the evening, and more than that he was in deshabille, thereby offering a mark of disrespect to that public which has so liberally patronised and appreciated his talents. Mr. Josephson's performance on the Flute delighted the audience. That gentleman charged five guineas to his attendance on the occasion, but on finding that it was a losing concert to Mrs. Chester, very hand-[7]-somely enclosed the whole amount and sent it back. I we have not heard that his example has been followed by any other person engaged.

[News], The Sydney Gazette and New South Wales Advertiser (22 March 1836), 3 

Mr. Wallace, complains (perhaps not without cause,) that our remarks about the price he charged for his performance at the last concert, was inordinately high. We agree with Mr. W. that one story is all very well, till the other is told; Mr. Wallace says, he had been given to understand that at her [? his] first concert, Mrs. Chester was to sing gratuitously, and that after the bills were printed, he received a communication demanding 10 guineas, as the price of her engagement, that he treated the charge as a matter of business, and submitted to the price at once; and that he (Wallace) actually offered Mr. Chester five guineas, to let him off his bargain, considering it would injure a concert he was about giving shortly after. Mr. Wallace is certainly not to blame, for it was not his fault, that so few attended; he would doubtless have been better pleased to have played to a full house, than to an empty one.

[News], The Sydney Monitor (13 April 1836), 3 

It is said that preparations are about being made for the performance of a Grand Musical Festival, or Oratorio, at the Roman Catholic Chapel of St. Mary, at which the whole strength of the musical talent of the colony, vocal and instrumental, will be displayed.

Bridge Street, Sydney, with the corner of George Street at right; Fowles's Sydney in 1848

The residential end of Bridge Street, Sydney, with the corner of George Street at right, and the bridge colonnade and Tank Stream at left; from Joseph Fowles's Sydney in 1848

[Advertisement], The Sydney Gazette and New South Wales Advertiser (31 March 1836), 3 

MONDAY, THE 4TH APRIL, THEY will commence under the above distinguished Patronage, their Academy for the Instruction of Young Ladies, in Vocal and Instrumental Music, according to the System of Logier and Herz, in which they will be assisted by Miss E. Wallace, and Mr. S. Wallace.
The Course of Study will comprise the Pianoforte, Guitar, Singing, and the Theory of Music.
In addition to the usual Instructions, Pupils attending this ESTABLISHMENT, will, when sufficiently advanced, have the benefit of being accompanied by Mr. Wallace on the Violin, and Mr. S. Wallace on the Flute.
The Terms will be: -
First Class . . .£6 6s 0d per Quarter.
Second Class . . .£4 10s 0d Ditto
Third Class, or Beginners . . .£3 3s 0d Ditto
A deduction will be made in the First and Second Classes where two or more Ladies of the same Family attend.
In addition to the separate Lessons which each Pupil will receive, Mr. Wallace will devote an hour on Saturday's to each Class, instructing them in the Principles of Music.
Days of Attendance.
First and Third Classes, on Mondays and Thursdays.
Second Class, on Tuesdays and Fridays.
The Academy will be open on those Days from Ten until Three o'Clock.
Gentlemen desirous of receiving Lessons at Mr. Wallace's Residence on the Violin, Pianoforte, Flute, or Guitar, will be attended there on Saturday from Four o'clock until Seven P. M.
Mr. Wallace's terms for attending at the Residence of a Pupil, 7s. 6d per Lesson for the Pianoforte, and 10s 6d. for the Violin.
An Examination of the Pupils will take place every Four Months, to which their Parents and Friends will be Invited to attend.
Bridge street, Sydney.

ASSOCIATIONS: Mrs. E. Deas Thomson = Anna Maria Bourke, second daughter of the governor Richard Bourke, and wife of public servant Edward Deas Thomson; throughout her life, a notable musical amateur and patron; his advertisement ran in the Gazette until 9 April; thereafter Wallace placed no further advertisements for the academy, and there are no later unequivocal documentary references to it

"Domestic and Miscellaneous Intelligence", The Australian (1 April 1836), 2 

It will be seen on reference to an advertisement in our front page, that Mr. Wallace, the New South Wales Paganini, intends opening an Academy, on the 4th of April, for the instruction of young Ladies Vocal and Instrumental Music, according too the system of Logier and Herz, in which he will be assisted by Mrs. Wallace and the Misses E. and S. Wallace [sic]; and we are happy to state that the Academy will be under the patronage of His Excellency the Governor, and Mrs. E. Deas Thompson.

[News], The Sydney Monitor (2 April 1836), 2 

Mr. Wallace assisted by Mrs. W. intends we perceive to open an Academy for the instruction of Young Ladies in Vocal and Instrumental Music. From the talent exhibited by Mr. W. as a performer on the piano-forte, at his concerts, there is little doubt of his being extensively patronized.

"Domestic and Miscellaneous Intelligence", The Australian (5 April 1836), 2 

We call the attention of "heads of families" to the Academy of Music just instituted by Mr. Wallace, and an advertisement of which appears in this journal; it appears to be an useful and available [recte valuable] undertaking, and may supply any deficiency of instruction in that art which must be expected in young colonies.

[News], The Sydney Gazette and New South Wales Advertiser (26 April 1836), 2 

Mr. Dean (recently arrived from Hobart Town) intends holding a Concert at the Royal Hotel on the 3d proximo. Although he and his family are in themselves a host, we are happy to hear that with the feeling of concord usually found to exist amongst the votaries of harmony, all the local and instrumental talent (with one exception) have voluntarily proffered their assistance. However valuable Mr. W. may consider his services - to demand from a brother musician, twenty five guineas for a brief display of his talent upon cat-gut, is, to use the words of a celebrated person, "too bad."

[Advertisement], The Sydney Gazette and New South Wales Advertiser (28 April 1836), 3 

To the Editor of the Sydney Gazette.

SIR, I CONCEIVE I should be wanting in justice to myself, were I to allow the remarks contained in your journal of Tuesday last, respecting Mr. Deane's Concert, to pass by without notice, not that the unfair allusion made to me, is in itself of any importance, but I think this a fitting opportunity to explain publicly the light in which I stand to those in this Colony who make music a profession, and a profit-and to remove, if possible, the impression likely to be left on the public mind, by similar remarks made in this and another paper on a former occasion.

It was stated Sir, I think, in the Gazette, that I acted illiberally in receiving from Mrs. Chester, at the time of her concert £25 for my services, seeing that she profited little or nothing by it. Now whether Mrs. Chester gained or lost, is not my affair. I paid that lady ten guineas a few weeks before, for singing at a concert given by myself; and of course I exacted the sum for which I had been engaged at the one given by her. The justice of this every one must see, for it would be unreasonable to imagine, that the non success of her concert would rest with me.

As regards Mr. Deane's concert, I know nothing, although it is stated in your paper of Tuesday that I have asked twenty five guineas for my services - this I have not done, nor do I intend to play at it under any circumstances. Indeed it would be absurd in me to mix myself with everything that is got up here and called a concert. Music has been the study of my whole life, and has now become my profession and support, and no one, I think, would be so uncharitable as to desire that I should give the labour of years to assist at that, which from not being duly organised and supported, must inevitably become failure. Some have been so unreasonable as to consider, that because they have rendered some little assistance at my concerts, that I am bound to play for them gratuitously, and these too, with whom music has ever been a profession.

The thing is preposterous. I have had the honor to lead [a] tour of Paganini's concerts in Ireland, but I was never guilty of so great an act of rudeness at to ask him to play at one for me in return. I have the honor to be, Sir, your obedient servant,
Bridge Street, Sydney.
April 27, 1836.

"Domestic and Miscellaneous Intelligence", The Australian (3 May 1836), 2 

Mr. Wallace's Concert, we understand will take place early in June, under the patronage of his Excellency the Governor. It is not yet ascertained whether it will be given at the Royal, Pulteney, or Theatre. We also hear that Mr. Wallace, Miss Wallace, and Mr. Wellington Wallace will make their first public appearance in the colony on that occasion. Report speaks very highly of them as musicians. [Since writing the foregoing, we have received an advertisement, which will be found in another column, announcing the time when the Concert is to take place] . . .

Music - It has been said to be a certain indication of the progress of civilization, and the increase of wealth in a community, when the arts, and sciences flourish: - amongst the foremost of these has been ranked that of music; and if the number of professors in Sydney who gain a livelihood approaching something very like a competency, by the practice of and instruction in music, be any criterion whereby to judge of its progress here, we may safely set New South Wales down as having made such strides towards civilization as may warrant the hope that, one day, and that not very distant, she will be able to hold a distinguished position among the most polished nations of the world. For, in addition to the recent arrivals of Mrs. Chester and Mr. Wallace and family amongst us as instructors in music and singing, we have to draw public attention to the advertisement of Mr. and Miss Deane (from Hobart Town), in another column, announcing their having opened a Music Saloon, where they propose (besides private tuition), giving instruction in the "divine art." Mr. Deane is a member, we understand, of the London Philharmonic Society, and was for many years a teacher of music in the first families in Hobart Town, where he was highly respected. We sincerely wish him and his family success in New South Wales, and have no doubt of his obtaining it.

ASSOCIATIONS: John Philip Deane and his family had recently arrived from Hobart Town; his eldest of his several musical young children, Rosalie Deane, was a talented pianist

[News], The Australian (17 May 1836), 2 

The band of the 4th Regt. are enjoying for the present, the benefit of Mr. Wallace's tuition; the improvement made by this band during their sojourn at Parramatta is very perceptible, as well as creditable to Mr. Coleman, the Master, and this "finishing stroke" from the hands of Mr. Wallace will enable them with success to rival their predecessors of the 17th. The bands of the 4th and of the 28th Regiments will be in attendance at the Government House Ball on the 30th instant.

ASSOCIATIONS: Wallace would almost certainly have been among the 800 reportedly present at the governor's annual king's birthday ball, on Monday 30 May, and at the levee the previous Saturday, 28 May; see "THE BALL AT GOVERNMENT HOUSE", The Australian (31 May 1836), 2: 

"CONCERT", The Sydney Herald (19 May 1836), 3 

Mr. Deane's Concert took place last night at the Royal Hotel. There were about four hundred persons present, and at eight o'clock the Concert commenced with the Overture to Tancredi, performed in fine style by Messrs. Deanes, Cavendish, Wilson, Sippe, Stubbs, and the Bass of the excellent Band of the 4th Regiment, under the superintendence of Mr.- - - -, who gratuitously exerted himself, as did all the performers for Mr. Deane's benefit . . .

NOTE: Wallace is nowhere mentioned as having participated in John Philip Deane's first Sydney concert; just possibly, this single reference to "the superintendence of Mr.- - - -" could refer to him

ASSOCIATIONS: William Joseph Cavendish, bass viol player and pianist at the Theatre Royal; was also a regular "organist" (seraphine player) at St. Mary's Cathedral, see below

"MUSIC AND THE DRAMA", The Sydney Gazette and New South Wales Advertiser (21 May 1836), 3 

Mr. Dean's Concert at The "Royal," on Wednesday night last was the most pleasing entertainment of the kind throughout that has ever before been given in this Colony. The Saloon was crowded with some of the most respectable families in and about town. Of females, in particular, there was a perfect galaxy . . .

Mr. Wallace's Concert is fixed for the evening of the 1st proximo, when the admirers of consummate violin playing promise themselves a rich treat. Mr. W.'s family are all musical, and musical not in the ordinary way, but in very high favour with the sacred nine. His brother and sister it is said will give their assistance at the ensuing concert. The lady, on the piano forte, is reported to be perfected mistress.

[News], The Australian (24 May 1836), 2 

We were in error last publication in stating that Mr. Wallace's sister was a pianist. This lady is a singer, and will make her first appearance at her brother's Concert on Wednesday next, and sing Una voce poco fa.

22 May 1836, Whitsunday (Pentecost), high mass, St. Mary's Cathedral, Hyde Park, Sydney

"DOMESTIC", The Australian (20 May 1836), 2 

On Sunday next, (Whit Sunday,) the lovers of sacred music will do well to attend divine service at St. Mary's Church, Hyde Park; when, in addition to the usual excellent choir at that church, there will be collected nearly the whole of the professional musicians of Sydney, both instrumental and vocal, including Mrs. Rust, Mr. Wallace, Mr. Deane, Mr. Cavendish, and some others whose names we are not acquainted with, of distinguished ability, forming a phalanx of talent that can never be brought together at a concert, for the benefit of any individual.

[News], The Australian (24 May 1836), 2 

The admirers of sacred Music had a rich treat in the service at St. Mary's Church last Sunday, the whole of which, we believe, was under the superintendence of the Rev. Mr. Spencer, who displayed great taste in his selection of the music. Part of the mass was from Magginghi [Mazzinghi], which was peculiarly pretty, and part from that splendid composer Mozart. Mrs. Rust sung two beautiful solos, one "Ave verum," arranged by Myren, and the "Agnus Dei," from Mozart, which she executed with her usual brilliancy and feeling. The offertory was extremely beautiful, the treble by Mrs. Rust, the tenor by Mr. Clarke, and the bass by Mr. Bushell. We have never heard this gentleman before - his voice is a very fine bass, and he sung the last mentioned piece in admirable style. We also observed Mr. Deane and Mr. Wallace in the choir, who added their valuable assistance. Mr. Cavendish presided most scientifically at the Seraphine. We observed a great number of Protestant ladies and gentlemen in the body of the Church, which was crowded in every part.

ASSOCIATIONS: John Spencer (choir master); Margaret Rust (soprano); Mr. Clarke, probably Francis Clarke (amateur tenor vocalist); John Bushell (Bushelle), future husband of Eliza Wallace

"ST. MARY'S CHURCH", The Colonist (2 June 1826), 4 

WE copy the following article from The Australian of the 24th ult. -

The admirers of sacred music had a rich treat in the service at St. Mary's' Church last Sunday . . . [full text as above] . . . We observed a great number of Protestant ladies and gentlemen in the body of the Church, which was crowded in every part.

This article undoubtedly exhibits the character of the Protestantism of The Australian as vividly as it does that of the Romanism of St. Mary's; or rather, we should say, it exhibits in a sufficiently clear and intelligible manner the Heathenism of both, while it demonstrates the absolute necessity of having at least one Journal in this colony conducted on the principles of scriptural Christianity. To think of all the fiddlers and dancing-masters of the colony congregated on the Lord's day in the Roman Catholic chapel and engaged, under the direction of the Roman Catholic priesthood, in celebrating an act of divine worship - what a piece of gross profanation! To think of these worthies, in depreciation of whose moral character or professional talents we should be exceedingly sorry to say a single syllable; to think of their performing in Mr. Barnett Levey's Theatre on Saturday, and performing (for it is the same word that must be used in both cases) in Bishop Poulding's church (we had almost said theatre too) on Sunday - it is a positive outrage upon the Christian feeling of the community! And were we not right, therefore, in saying, as we did a few weeks ago, that a large portion of the superstructure of Popery had been erected on the foundation of Heathenism? Why, the professional singers, the violinists, the flute-players, &c., &c., who were performing on the late occasion in St. Mary's church, so much to the satisfaction of the Editor of The Australian and the other Protestant ladies and gentlemen who were' present, were acting precisely the same part in the observances of the day as the Nautch girls in the Hindoo temples. Now, will any man in his sound senses believe that when the apostle Paul "lived two whole years in his own hired house in the city of Rome," preaching the gospel to all that came unto him; and was thereby the honoured instrument in the hand of his divine master of laying the foundations of the once apostolic church of Rome, he would have allowed the psalmody to be conducted by a professed fiddler or opera singer, however excellent and unexceptionable in his proper vocation? Oh no, that glorious apostle was not the man "to give that which was holy unto the dogs!"

We perfectly understand the object of those unchristian exhibitions which are thus permitted to take place in St. Mary's church, and which our musical brother of The Australian extols so highly. They are intended, like Mr. Barnett Levey's theatrical bills of fare, "to fill the house," and especially to fill it with such "Protestant ladies and gentlemen" as have "itching ears," and can stand the desecration. Such Protestant ladies and gentlemen are in the fair way of becoming Roman Catholics, and we verily believe that they will just have as little of anything that constitutes genuine Christianity under the one designation as under the other. As genuine and not nominal Protestants, however, we enter our solemn protest against all such acts of profanation - against all such sinful compliances with the will-worship of the Roman Catholic Church.

ASSOCIATIONS: The author of this unsigned article was John Dunmore Lang, Presbyterian minister, and The Colonist's editor

"CHURCH MUSIC", The Tasmanian (23 September 1836), 6 

We apprehend nobody will deny that King George the 3rd was essentially, both, as religious and moral a man, as even Dr. Lang himself, or any other of the Australian Puritans. Who is ignorant of the splendid commemorations of Handel, and other "sacred music" composers, "got up" under the immediate direction of that revered Monarch, at which all the first musicians of Europe, "fiddlers and dancing-masters" as Dr. Lang calls them, were engaged? Yet, surely, it will not be said that George the 3rd was a "Heathen," or that he would be "an actor in the performances of the Hindoo Nautch girls." Surely Dr. Lang is as far behind the Spirit of the Age" as the "Baron of Australia" himself, or others upon whom he is so severe. We copy the following from Dr. Lang's journal, the Colonist: -

ST. MARY'S CHURCH. - The admirers of sacred music had a rich treat in the service at St. Mary's Church last Sunday . . . [as above]

This article undoubtedly exhibits the character of the Protestantism of The Australian as vividly as it does that of the Romanism of St. Mary's . . . [as above]

[News], The Sydney Herald (30 May 1836), 2 

Mr. Wallace's Concert takes place on Wednesday, at which Mr. S. W. Wallace, and Miss E. Wallace, the brother and sister of Mr. W. Wallace, make their debut in public. Report speaks very highly of Mr. Wallace's flute playing, that gentleman having studied that instrument as assiduously as his brother has done the violin. Miss Wallace's voice is of a superior order, and she has studied hard for the improvement of it. Mr. Wallace will be assisted by Mr. Cavendish, who is foremost on every occasion to advance the interests of his professional friends, Mr. Josephson, and several amateurs of no mean ability; Mrs. Chester also sings some of her most pleasing songs, and with Miss Wallace, will perform a favourite Duet. Of Mr. Wallace's violin solo, it is useless to speak.

1 June 1836, concert, William Vincent Wallace (3rd benefit), saloon of the Royal Hotel, George Street, Sydney

[News], Commercial Journal and Advertiser (1 June 1836), 2 

Mr. Wallace, of Musical celebrity, gives a Concert this evening. We perceived that this Gentleman lately deemed it necessary to reply to some remarks of a contemporary as to his terms of performance: that vindication we thought very superfluous, for we could see no right in any one to prescribe terms to him - and his high musical attainments place him much above mere reciprocity with any other of his profession here. To reach his proficiency on the Violin must have cost the assiduous, the intense application of years, and that too of a mind enthusiastically devoted to the science - a science in which, unlike most others, all the advantages of education and the drudgery of perseverance will never bestow eminence, unless fanned by the fervour of adapted genius. We have said that Mr. Wallace's execution reminded us of Paganini - that surprising personage dedicated his very existence to the cultivation of sound, and it was in the play of an exquisite passage that the depth and devotedness of his nature to that science were exhibited, - then, his every faculty and sense seemed centered in that moment; his instrument seemed part of himself - and the sounds seemed the workings, the breathings of his own spirit. Yet with all that rare devotedness of rare genius, it was not till after a quarter of a century of almost unintermitted study, that Paganini attained his celebrity; and even then he found that he earned his munificent rewards at the price of premature old age.

We approach no comparison of Mr. Wallace and this personage - we only allude to him as an instance of what is requisite to just celebrity; and thus the better enable us to appreciate that proficiency which it is difficult to attain. We were glad to see that Mr. Wallace settled amongst us, and shall be glad to see that his qualifications are duly esteemed. Report speaks highly of the two members of his family, who make their debut this evening; if they particulate in their brother's talents, they will doubtless share the plaudits of a most respectable audience.

[Advertisement], The Sydney Monitor (1 June 1836), 3 

UNDER THE PATRONAGE OF His Excellency the Governor,
Who has signified his intention of being present.
Leader of the Anacreontic Society, and Professor of Composition, Royal Academy.
BEGS to announce that his Concert of Vocal and Instrumental Music will take place in the Saloon of the Royal Hotel,
The 1st JUNE, 1836, on which occasion he will be assisted by
Mrs. Chester, Miss E. Wallace, Mr. Josephson, Mr. Cavendish, and Amateur, and Mr. S. W. Wallace.
1. Overture - Lestocq, Auber
2. Duet - Guillaume Tell, Rossini - Miss Wallace and Mrs. Chester
3. Grand Rondo Brilliante (Piano-forte), Hertz - Mr. W. Wallace
4. Song - Tell me my Heart, Bishop - Mrs. Chester
5. Concerto (Flute), Nicholson - Mr. S. W. Wallace
6. Song - Una Voce poco Fa, Rossini - Miss E. Wallace
7. De Beriot's Sixth Air, (Violin) in which will be introduced the Double Stop Movement from Paganini's Grand Concert in E - Mr. W. Wallace
PART II. 8. Overture - La Gazza Ladra, Rossini
9. Song - Love's Young Dream, Irish melody - Mrs. Chester
10. Swiss Air - The Spring time is coming - Miss E. Wallace
11. Fantasia - (Flute) Toulou - Mr. Josephson
12. Song - Let us seek the yellow shore, Bishop - Mrs. Chester
13. Extemporaneous performance on the Piano forte, on any subject or subjects which may be presented (written) - Mr. W. Wallace
14. Song - The Minstrel Boy, Irish Melody - Miss E. Wallace
15. (By particular desire,) Fantasia di Bravura, dedicated to Paganini, in which will be introduced 'Tis the last Rose of of Summer - Mr. W. Wallace
By the kind permission of Major England, Mr. Wallace will be allowed the aid of the Band of the 4th Regiment.
Tickets, 7s. 6d, each - to be had at Mr. Ellard's Music Warehouse.
Concert to commence at 8 o'Clock.

Diary of Alexander Brodie Spark, 1 June 1836; ed. in Graham Abbott and Geoffrey Little, The respectable Sydney merchant, A. B. Spark of Tempe (Sydney: Sydney University press, 1976), 63 

1st Attended Mr. Wallace's concert in the Saloon of the Royal Hotel. Such execution on the Piano and Fiddle I had never heard before. The Governor and his suite were present and most of the magnates of the land.

ASSOCIATIONS: Alexander Brodie Spark

[News], The Sydney Gazette and New South Wales Advertiser (2 June 1836), 2 

Notwithstanding the humid state of the weather, Mr. Wallace's Concert room last night was thronged; and the performance of which we have neither time or space for particulars, passed off to the general satisfaction of a rather critical auditory, of above three hundred.

[News], The Sydney Herald (2 June 1836), 3 

Mr. Wallace's Concert last evening, at the Royal Hotel, was most respectably attended, and went off much to the satisfaction of the audience. We have no room for further notice of the Concert in this paper, but will give the usual report in our next.

"MR. WALLACE'S CONCERT", The Australian (3 June 1836), 2 

Notwithstanding the inauspicious state of the weather, the attendance at Mr. Wallace's Concert on Wednesday evening was unquestionably greater than at any previous Concert in the Colony, and for the exertions he is making to improve the musical taste of the Colonists, he well deserves such a substantial mark of the public approbation. Upon His Excellency and suite entering the room, the whole company arose, and the band of the 4th Regiment struck up "God save the King." His Excellency received this gratifying tribute of respect with great affability of manner, bowing to the company as he passed to his seat.

The Concert opened immediately after with Auber's new Overture, "Lestocq;" but whether it be that a composition of that nature demands an orchestral, in place of a military band to realize the vivid conceptions of the author, or that it is impossible to appreciate properly on a first hearing the rich harmonies to be found in the pieces of one of Europe's most brilliant composers, we know not; but it certainly did not gratify us so much as his other overtures. "Lestocq" is one of Auber's latest productions, and was never before played at our Sydney Concerts. A duet from Rossini followed, in which Miss Wallace made her debut, and certainly if we judge from this and her subsequent songs during the evening, we may venture to predict that she will become the first singer in this hemisphere. Her voice is full and rich, and above all possesses that flexibility of intonation so indispensable to a perfect voice. If she continues to practice under the well directed taste of her brother, she will undoubtedly become a superior vocalist. The flute concerto by Mr. S. W. Wallace was a beautiful and difficult performance. His tone is a very perfect imitation of Nicholson's; and he executes the most rapid passages with great facility of fingering; at the same time giving every note its value. The Rondo on the Piano, and de Beriot's air on the violin, by Mr. W. Wallace, were alike wonderful in execution; and it is difficult to say on which instrument he excels, there being passages in both which none but the master-hand could perform.

The songs and the pieces in the second part were all well executed, particularly the flute Fantasia by Mr. Josephson, which was sustained throughout in his usual style of excellence. The songs by Mrs. Chester were all well sung, but she was not fortunate in selecting those best adapted for her voice and style of singing. We have heard many of her songs which pleased us much more. Let us seek the yellow shore is an indifferent imitation of Bid me discourse. For the extemporaneous performance by Mr. Wallace no subject was handed him; his own selection having been wisely conceded to his superior taste. He entertained the audience with a very brilliant description of Fantasia, introducing a beautiful little air from the Opera of the Pré aux Clercs, which in grace and melody was not surpassed the whole evening. The Concert terminated with a Fantasia in which was introduced the Last Rose of Summer, by Mr. Wallace on the violin, which alone was worth the price paid for the ticket. Indeed it was the most brilliant piece of music produced during the evening, and the delicacy of stop in the back Staccato passages was really quite electrifying.

We hope the full assembly at this Concert will encourage Mr. Wallace to continue them monthly during the season; but we would suggest to him to endeavour to find a larger room for his audience. We sadly want a Public Concert Room, which might and ought to be built by subscription. Almost every public officer's family, and the whole of the Military in Garrison, together with an immense number of the elite of the Colony were present.

"MR. WALLACE'S CONCERT", The Sydney Monitor (4 June 1836), 3 

Mr. Wallace's Concert was given on Wednesday evening, in the Saloon of the Royal Hotel. We do not know how many persons this room will hold. It was nearly full, and we congratulate Mr. Wallace on the increasing taste for music, which so large an assembly evinced; and also His Excellency, on the numerous company which his attendance, we the have no doubt, helped to bring together. If any one doubt whether the people of this Colony are getting powerful, some criterion might be formed from the great numbers of most respectable persons, both male and female, (very few of whom were known to us, though old Colonists,) as were congregated at this Concert. The efforts of our small band of Tories will be in vain. Numbers must carry it!

When the Governor entered the room with his staff, Mr. Wallace was in attendance, and preceded His Excellency as they penetrated the crowd who had stopt the entrance to the head of the room, the band playing God save the King, and the company all rising. His Excellency was dressed in a blue coat, wore his star, and looked remarkably well. The company seemed pleased to see him, and he to seemed pleased to see the company.

The concert immediately commenced. The songs and pieces were as follow; -

To the band of the 4th were apportioned -

Overture - Lestocq - Auber
Overture - La Gazza Ladra - Rossini

We were told by a judge of music present, that Auber's Lestocq is reckoned a very superior Overture. All we can say is, that neither of them had any charm for us. They appeared noisy, and without redeeming melodies or harmonies in any part. We could perceive no character in them. We pretend not to say they have no character, when played according to the arrangements of the Author, but we could not detect it. The performers however seemed very correct in their parts, and kept excellent time."

To Mrs. Chester were apportioned -

The second part in a Duet from Guillaume Tell (Rossini)
Tell me my Heart - Bishop
Love's Young Dream, an Irish melody
Let us seek the yellow shore - Bishop

Mrs. Chester did not seem to us in spirits - she sang none of these songs with feeling, and consequently could not sing them with any taste, save the habitual mechanical taste of a practised singer. Her first effort, in the duet, appeared to us the best.

To Miss E. Wallace were apportioned -

The first part in a Duet from Guillaume Tell
Una voce poco fa - Rossini
The Spring time is coming, a Swiss air
The Minstrel Boy, an Irish melody

Miss Wallace has a fine strong voice, similar to Mrs. Chester's, but not so much at her command, being yet so very young. She has feeling, but wants experience how to apply it. Thus she uses emphasis so continually, as to destroy its effect - and of course, no emphasis at all, is better than an excess, because an excess appears unnatural.

To Mr. W. Wallace were apportioned -

Grand Rondo Brilliante (Pianoforte), Hertz
A similar piece, in the absence of an extemporaneous performance on a subject presented, none being offered.

Mr. W. Wallace's execution on the Piano is admirable, but this instrument in a crowded concert room, solus, or even accompanied by the flute, has no effect. The mechanism of the fingers excites admiration, but the music makes no one feel.

To Mr. Josephson was apportioned -

Fantasia - Toulon [Toulou]

And a fantastical piece it was, exciting no pleasure from the execution, because every body knows Mr. Josephson's execution on the German flute is excellent. However, a Scotch air, introduced in the course of the Fantasia, made some amends for the everlasting mechanism of the evening. But its lieu of reserving all his powers for the air, to make it reach the heart by the tenderness of the notes, it was marred by the never-ceasing skipping up and down the gamut; as if we were all assembled to hear the performers practice; in lieu, of coming to hear our passions pleasingly excited. We have all of us, Heavens knows, mechanism enough at home. When, therefore, we go to a Concert or the Theatre, we go to feel; to be charmed and excited by novel and unusual sensations, which cannot be produced in ordinary life. Sorry, however, was the measure of this sort of enjoyment, doled out to us at this Concert.

The same remarks apply to the Concerto (Nicholson) on the flute, as performed by Mr. S. W. Wallace. The execution was good, but the mechanism of the lip and finger is not the chief thing at a Concert, to win the applause of the majority. By the bye, although the lower tones of Mr. Wallace's flute were full and reedy, we preferred those of Mr. Josephson's, as more in character with that sweet instrument.

And now we come to Mr. W. Wallace's performance on the Violin.

This was the only part of the Concert under which we did not feel impatient. We have read a deal about Paganini in the Spectator, Examiner, and other music-reviewing newspapers; and, better than this, we have, heard that wonderful man's performances described by an amateur who had often heard him, and seen Cramer, and Morey [Mori], &c. &c. sitting absorbed in astonishment; and to add to our conceptions of the man's genius, we have seen an engraving of him, in the attitude of striking his violin from his elevated bow, his countenance portraying the wild passions he was delineating in the terrific sounds from the simple instrument at his shoulder - himself the victim of his own wonderful inspiration, and evidently carried into some invisible unknown world of mind, by his self-created illusions; proving, that whether mind be matter, or matter be mind, makes no odds; for the living man was gone out of himself, and, though present in the body, his soul was in another region.

Mr. W. Wallace's performances on the Piano are exquisite; he makes it speak in different tones - but on the violin they are more so, because more uncommon, and (we should imagine) more difficult. But the Violin is music in a Concert room, even when crowded with 400 persons; accordingly, we could feel under the thrilling melodies and harmonies of Mr. Wallace's powerful bow. Nevertheless; they were much deteriorated by the old failing, namely, a perpetual running up and down the gamut; but here, the paltry tones of the upper keys of the Piano, were substituted by the extraordinary, and novel, and fine tones of an instrument never before (in this Colony) made to produce such bell-like sweetness; so that the odious monotony, of galloping up and down the gamut, was somewhat compensated to us.

We should like to have heard "The Last Rose of Summer," played without the usual galloping; but Mr. Wallace was too much the slave of the trade, too obedient to a vulgar custom, to give us such a treat.

We have heard an anecdote of Madame Mara, or some other great female singer, being in company with other singers, who were talking of the compass of their voices, when she asked them, whether they could sing eight notes in perfect tune, as they made eight slow steps across the room? They all expressed their astonishment, on account of the ease of the task. She begged them to try. They did so, and none of them accomplished it perfectly. She then rose and accomplished it herself - to their great admiration and surprise.

So we say to our Chesters, Wallaces, and Taylors. Do not mind so much about the the compass of your voices; what notes you do sing, let them be clear and soft, and in perfect tune; like the notes of a violincello, with the same powers of swell, and of retention, and of increasing volume. Infuse life and spirit into your common notes, when the words call for life and spirit. Sing not like the notes of a barrel organ. They are loud, and in tune, but they have no soul. A living man or a woman is not an organ, but a being full of judgment, IMAGINATION, and SYMPATHY; and if he or she cannot infuse them into her notes, when the sense of the words call for them, let her have the execution of a Catalani, but she is no singer. We would rather hear "Auld Robin Gray," or "The Soldier's Tear," and such like songs, sung with pathos and judgment by a sweet voice, than all the tweedledums of Rossini. And in the late reviews of the great musical festivals of York, Norwich, &c. the English taste had grown sufficiently cultivated, and the Reviewers (in consequence) sufficiently confident to condemn the ordinary Italian music as unnatural, and without feeling; and as being now sufficiently hackneyed in the ears of the British public, to be deemed COMMON-PLACE, if not vulgar. The duet between Mesdames Chester and Wallace, resembled the music proceeding from two fine-toned organs, turned by a handle. It was good instrumental music, but had not a bit of mind in it.

We will venture to say, that it will take more practice to be able, at command, to infuse a soul into a song, than to learn the most difficult Italian Bravura. Any person with a large pair of lungs, can run up and down the gamut to its extremities, and may shake like an organ played by Cramer; but who, like Braham, Paton, or Incledon, of the old school, can make you tremble with agitation; or like the prodigy Paganini, cause ladies to go into fits?

We shall illustrate our remarks on what we consider to be true music, by the following anecdote of the Irish bard Tom Moore.

"We all sat around the piano, and after two or three songs of Lady Blessington's choice, Moore rambled over the keys awhile, and sung "When first I met thee." with a pathos that beggars description. When the last word had faltered out, he rose and took Lady Blessington's hand, said good night, and was gone before a word was uttered. For a full minute after he had closed the door, no one spoke. I could have wished, for myself, to have dropt silently asleep where I sat, with the tears in my eyes and the softness upon my heart.

"Here's a health to thee, Tom Moore!"

The room was well lighted on entering it, but some of the company objected to the servants trimming the lamps, because the heat would have been thereby increased. The room therefore became gloomy the last half of the Concert.

The injustice and rudeness of part of the company, said very little for the state of manners in Sydney. Gentlemen, who for some reason or other, considered themselves entitled to the "upper seats in the synagogue" but who on account of the more early attendance of other gentlemen and of ladies, were intitled only to the vacant seats at the end of the room, thrust themselves into the avenue which led on the left to the orchestra. The consequence was, that the singers and the company, to those who had previously occupied the side seats on the left, became eclipsed. In self-defence, the occupants of these seats, when a singer made her appearance, were tempted to stand up. The ladies were of course then obliged to do the same. But in standing, females cannot see at all. In sitting on seats which are not erected on a gradually raised platform, females can scarcely see between the elevated shoulders of the other sex. In being compelled to stand, therefore, they are defrauded of their money, for they cannot see; not to mention, that the seats, in sitting down again, become soiled, and the dresses of the ladies damaged. We never in England, nor in Scotland, saw such injustice to both sexes, and such rudeness to the weaker sex, as was practised by those who, at this concert, seemed to consider themselves gentlemen, owing to their pushing and thrusting to get to the head of the room in violation of the equal rights of other spectators.

If our Concerts are to be distinguished from a pot house club, or a tavern ball, he who in future gives a Concert, must appoint a master of the ceremonies, to regulate the sitting and standing. And not until all the seats are occupied, ought any one to be allowed to stand in the avenue.

Many gentlemen at the left side, finding the singers and company eclipsed to their view, had to retire to the end of the room, in favour of those who came later, and who of course thus usurped the privilege of a more proximate view of the orchestra and performers.

[News], Commercial Journal and Advertiser (4 June 1836), 2 

Mr. Wallace's Concert on Wednesday evening was better attended than any Concert we have witnessed in the Colony; and the performances seemed to afford the most unqualified delight. Miss E. Wallace has at once placed herself in the foremost rank of our Vocalists. Mr. S. W. Wallace exhibited a most correct taste and execution. We should be glad to hear that Mr. Wallace had resolved to give his Concerts monthly.

"WEDNESDAY'S CONCERT", The Sydney Gazette and New South Wales Advertiser (7 June 1836), 4 

All admirers and good judges of music recherche join in acknowledging the exquisite treat afforded to the ear at Mr. Wallace's Wednesday Evening's Concert. Before eight o'clock, the hour appointed for the Concert opening, the Saloon of the Royal Hotel, where it was held, became respectably filled, and subsequently it was thronged to excess, indeed disagreeably so, especially to the female portion of the auditory, who in elegant profusion graced the several benches. It was some minutes after eight P. M. before the Governor appeared. The arrival of His Excellency, who was dressed in coloured clothes, and entered the room, leading in two ladies (one we believe his amiable and accomplished daughter Mrs. E. Deas Thomson) was announced by a full chorus of the military band which occupied the orchestra, and in token of respect, the whole of the assembled company received His Excellency standing until he had taken the seat reserved for his use in front.

The Concert then began with Bishop's overture in "Guy Mannering," which was well performed by the wind and stringed instruments of the band of His Majesty's 4th regt. of foot, politely lent by their commanding officer Major England for the occasion. This was followed by a Glee between Mrs. Chester and Miss E. Wallace, which both ladies sang with much science, but we cannot say that to our unrefined ears it sounded at all melodiously. Every allowance must be made for Miss Wallace's extreme youth, considering which, being, as we are told, only 14 years of age, throughout the evening she exhibited indeed a rather remarkable precocity of vocal talent. Her voice of course wants roundness. In this Glee it seemed to us thin, and some times even wiry. No doubt time will mellow it to a syren sweetness, if not too prematurely exerted and broken, as have been many natural excellent voices. Miss W. sings with great science, and her ear seems to be particularly correct. Mr. W. Wallace's performance next on the pianoforte delighted and astonished every body. He ran over the keys with wonderful distinctness and rapidity - now swelling to a lofty diapason, anon gradually sinking to the finest sweetest tinkle-tink. The most brilliant and difficult passages of one of Hertz' grand Rondos, Mr. W. executed without the printed copy, and as he rolled on to the finale, the effect of his magic fingers was electric - the climax was closed with a general round of loud applause. Mr. S. W. Wallace, a brother of the pianist, who now took up his violin, next thrilled over one of Nicholson's sweetest Concertos on the German flute. Mr. W. is not what can be called a finished flute player. He has, however, considerable command of the instrument, and no effort is visible in his intonation. Miss Wallace next charmed her auditory with a song of Rossini's, "Una voce poco." Her enunciation of the Italian was particularly correct, and the song on the whole better suited to her voice than the preceding glee. People affecting the reputation of " cognoscenti" pretend most to admire sometimes what they least understand. We must acknowledge ourselves so far un-Italianised as to prefer English, Scotch, or Irish melody in songs, to all Rossini's refined but unimpassioned airs. Italian when elegantly spoken however is the sweetest language that can possibly glide from beauty's lips. Mr. W. Wallace next performed various evolutions on the violin, every occasional close of which, was rewarded with rapturous applause (by the by, however flattering to the ordinary player, a very unseasonable interruption to all hearers of good taste who can express the highest gratification of the heart without beating their hands and kicking their heels against the unoffending boards.) To the extraordinary player it cannot be pleasant. As Hamlet says to the actors - we beg to be permitted without offence to say to the obstreperoud male order of attendants upon Concerts - "pray you avoid it". Thus concluded the first part.

The second part opened with a "Glee," which was succeeded by that sweet Irish Melody of Anacreon Moore's, "Oh! the days are gone when beauty bright my heart's chain wove." It was sung by Mrs. Chester with her usual success; the words "'Twas a light that ne'er may shine again on life's dull stream," Mrs. C. gave with peculiar expression. Mr. [sic, recte Miss] E. Wallace next sang a Swiss air. Mr. Josephson played a fantasia on the flute, which was greatly applauded. "Let us seek the yellow shore," by Mrs. Chester. "Oh! the Minstrel Boy to the War is gone," by Miss E. Wallace, and Mr. W. Wallace by a fantasia bravura dedicated to Paganini closed the evening's entertainment; after which the whole party dispersed, all who were well pleased expressing themselves highly delighted with every thing but the closeness of the room. We could have wished the concert had been held rather in the Theatre. However Mr. W. we are sure had no reason to complain on the score of a crowded benefit. Besides H. E. Sir Richard Bourke and suite, there were present many of the heads of departments, and respectable heads of families, with their wives, sons and daughters, as also red coats and batchelors in abundance.

"MR. WALLACE'S CONCERT", The Sydney Herald (9 June 1836), 2 

The encouragement given in a young Country to the Professors of the Fine Arts, is the best and most certain indication that can be afforded of the nascent taste, refinement and liberal spirit of its community - it has been, therefore, with especial pleasure that we have witnessed first, the arrival on our shores of such men as Mr. Wallace, Mr. Dean, Mr. Martin, and Mr. Nicholas, and then the enlightened appreciation of their merits, and the liberal support that has encouraged them in their efforts to form the taste of the public mind and give it a directing impulse; and it must, we think, be a source of secret satisfaction to these gentlemen to know, that they may be now laying the foundation-stone of future schools of art that may flourish in this far land, when the Institutions of the older nations of Europe (the sun of whose fame has probably already passed its zenith) may be dying and dwindling away into the inertness and inanity of exhausted energy and age-enfeebled efforts. And when we recollect that it is a question that has often been canvassed and propounded by philosophers, whether the artistic genius of the Greek, Roman, and Italian nations, as manifested in their great works in painting, sculpture, and music, did not in a great measure result from the inspiring influence of their fine climates - it is surely no far-fetched or unfair inference to suppose that the blue cloudless skies, and brilliant atmosphere of our own beautiful climate, will ultimately exercise the same moulding influence on the mental constitution and temperament of our community.

We have been led into these introductory observations, from witnessing the very numerous and respectable audience that attended Mr. W. Wallace's Concert on Wednesday last. The Saloon was full long before the period announced for the commencement; and immediately after His Excellency entered, the Band of the Fourth Regiment commenced with Auber's "Lestocq," which, although not the most popular or striking of his overtures, is still a very scientific and original composition, and is remarkable for its bold and rapid transitions, startling dramatic effects, rich instrumentation, and the progressive energy of its movement, rather than for its melody - but its merits did not seem to be very generally recognised or appreciated by the audience. The duet from "Guillaume Tell" was well sung by Mrs. Chester and Miss E. Wallace, but the power of the latter Lady was more finely developed afterwards in Rosini's beautiful cavatina "Una Voce," which she sang with a style, spirit, and feeling, superior to any thing we have yet heard in public, and justifies us in predicting, that under her brother's tuition she will become the "Prima Donna" of Australia."

Mr. S. W. Wallace proved himself also a worthy member of this able family, who seem to possess a monopoly of musical talent, by the style in which he executed "Nicholson's Flute Concerto" - his lower tones were particularly full, rich, and reedy, the upper notes sweet and liquid, and his execution very brilliant and effective. The "crowning glory" of the Concert, however was, of course, Mr. W. Wallace, and those who had never witnessed the astonishing performances of the great musical magician, Paganini, or who had only heard the performance of average violinists, must have been equally astonished and delighted with the mastery Mr. Wallace displayed in his concertos - his execution and intonation are of the very first order, and he plays the most difficult and complicated passages with perfect ease, facility, and freedom, producing in the quickest and most lightning-like passages the finest inflections and modulation of tone, with a delicacy and feeing quite magical - his fingers seem "to teach witchcraft to the instrumental strings;" when, after eliciting from the lower part of his instrument, tones of the most profound pathos and faultless purity, ho flies up and down the chromatic scale in staccato, and finishes with a sound

"So fine -- there's nothing lives twixt it and silence."

Indeed, it is no exaggeration to say, that the violin in Mr. Wallace's hand, becomes endowed with living properties, and speaks an articulate language. We must not omit to notice, however, that Mr. Josephson performed his part with his accustomed ability, and that the Concert as a whole, went off with great eclat and effect.

- (From a Correspondent.)

Although our correspondent has superseded our detailed report of Mr. Wallace's Concert, we have a word or two to say upon the subject. The writer of the above is a musical gentleman of talent, and in conjunction with all scientific persons amongst Mr. Wallace's audience on Wednesday evening, no doubt, was highly gratified with Mr. W.'s performance alone, without any reference to the other part of the evening's entertainment. But we are of the opinion that Mr. Wallace might cater much more agreeably to the general visitor at concerts in this Colony, if some alteration were made in his "bill of fare." For instance, instead of so many solos, and quartette or quintette of stringed instruments (as provided by Mr. Deane), a couple of duets at the least, one or two trios or quartettes (by the vocalists), and if it could be got up, a chorus. We certainly should have preferred hearing half-a-dozen violins and violincellos also in the overtures; a full military band in a small room like the "Royal" is by far too noisy, and loses its effect. We wish Mr. Wallace all the success a man of talent deserves, and with this sentiment offer these remarks.

ASSOCIATIONS: In addition to Wallace and John Philip Deane, the author lists two other recently arrived "Professors of the Fine Arts", both visual artists: "Mr. Martin", the painter Conrad Martens; and the etcher and lithographer William Nicholas

"Joe Love and the Australian Paganini", The Australian (14 June 1836), 2 

A son of the blind fiddler (Joe Love) some few days since went into the shop of a music seller to purchase a few strings of cat-gut for his parent's fiddle. The vender of music knowing the boy was in his line, asked him whether he had heard the performance of Mr. Wallace, and what he thought of it - to which the urchin replied "that for a Waltz or Quadrille or any thing in that 'ere way, Wallace was very well, but let him try father at a hornpipe or a jig, lad," said he with a knowing look and shrug of his shoulders, "and then you'll see which can play best."

ASSOCIATIONS: Joe Love, "The celebrated blind fiddler"

"ST. JAMES' CHURCH", The Sydney Monitor (15 June 1836), 2 

On attending St. James' on Sunday evening, we heard more real music from the very fine ton'd organ which is so great an attraction in that Church, than we heard at Mr. Wallace's concert. The late organist murdered this instrument. The present one plays with some skill and taste. But what would be produced if a first rate organist were to play this fine and powerful instrument? equal to that at the Magdalen or St. Paul's. The trumpet stop has a grand effect, and was judiciously introduced from time to time . . .

ASSOCIATIONS: The former organist of St. James's Church referred to was William Merritt; he had been succeeded by the recently arrived Johnson brothers, James (referred to above) and William.

"MUSIC", The Sydney Herald (13 June 1836), 3 

We understand that the Philharmonic Society is likely to be revived under the talented management of Mr. W. Wallace; a meeting of the Members takes place on Wednesday evening next.

ASSOCIATIONS: The Philharmonic Society was first formed in Sydney in April 1833 by John Lhotsky, and its members reportedly played during a performance at the Theatre Royal in October, possibly already a regular commitment; evidently consisting of both local professional and amateur musicians, it was most active during 1834; having been "revived" in 1836, the last reference to it was in February 1837, when Thomas Stubbs was its honorary secretary

For relevant documentation, see: (TROVE tagged by Australharmony)

"PHILHARMONIC SOCIETY", The Sydney Gazette and New South Wales Advertiser (18 June 1836), 2 

We are much pleased in being enabled to state, that a Society under the above designation is rapidly progressing. A Meeting of its promoters took place on Wednesday evening last at the house of Mr. Deane, when Mr. Francis Clark having been called to the chair, several resolutions (of which we are promised a copy) were adopted. Mr. W. Wallace is to be the leader, and a deputation will wait upon His Excellency the Governor, to solicit him to become the Patron, which, from the readiness be has always shewn to encourage institutions of this nature, will no doubt be favourably responded to. The Philharmonic Society may therefore be now considered as effectually put in operation, and it will only require the lovers of real harmony, whether Professors or Amateurs, (both of whom are, we learn, invited) to come forward at once to ensure its complete success.

[News], The Sydney Monitor (18 June 1836), 3 

A Glee Club is about to be established on a footing which will ensure its permanent establishment. Musical Associations have frequently been formed in Sydney, but have never arrived at maturity; owing to their meetings taking place in Public Taverns it has always been found necessary to abandon the idea after a few trials, from the evident impracticability of succeeding. The Association to which we now allude, is of a respectable character, whose Meetings will be held in the house of a private Gentleman, from which all persons, whatever their musical talents may be, who betray an attachment to habits of intemperance, will be carefully excluded. We learn also that a Philharmonic Society under the direction of Mr. Wallace is in progress of forming.

[Sydney news], The Hobart Town Courier (8 July 1836), 3 

The Philharmonic Society is likely to be revived under the talented management of Mr. W. Wallace; a meeting of the members takes place on Wednesday evening next. Ibid. [Sydney Herald]

"Concert", The Australian (24 June 1836), 2 

Mr. Deane and Mr. Wallace, it will be seen by referring to our advertising columns, have announced two more Concerts, - the one by the former gentleman will take place on Wednesday the 6th July, and the other on the 13th of the same month. Both of them are under the patronage of His Excellency the Governor, who has signified his intention of being present on both occasions.

"ORATORIO", The Sydney Herald (30 June 1836), 2 

A performance of sacred music, on a grand scale, is shortly to be given at St. Mary's Church Hyde Park, the objects of which, are said to be the advancement of the science of music and musical talent, and to assist in raising funds for an organ. The Oratorio is to be under the direction of Mr. Wallace. Mrs. Rust, Mrs. Chester, Miss Wallace, Mrs. Curtis, Messrs. Cavendish, Clarke, Deane, Stubbs, Spencer, Gordonovitch, Martin, the Choir of the Church, and many Amateurs, have already consented to perform. The two Military Bands are also engaged. The Oratorio is expected to take place on the 26th of next month.

ASSOCIATIONS: Mary Curtis (vocalist); George Gordonovitch (tenor vocalist); Mr. Martin (possibly Conrad Martens, mentioned above)

[News], The Sydney Herald (11 July 1836), 2 

The public will not want rational amusement for some months to come: - the Theatre is open four nights a week; Mr. Wallace's concert comes off on Wednesday, after which Mrs. Chester gives one, and some other concerts are talked of. Then comes the oratorio, the Theatre is also to be let to a military company for one night; concerts are now "the rage" at Government House, Mrs. Williamson gives a Fancy Ball in a few days; and a Fancy Dress Ball and Concert is talked of at Juniper Hall.

ASSOCIATIONS: Jane Williamson (dancing mistress)

13 July 1836, concert, William Vincent Wallace (4th benefit), Theatre Royal, Sydney, NSW

[News], Commercial Journal and Advertiser (13 July 1836), 2 

We beg to remind the public, that Mr. Wallace's Concert takes place this evening. We understand the reason it now takes place in the Theatre Royal, is from a wish to accommodate the public, who are eager to hear the delightful performances of Mr. W. We perceive that the air of the "The last Rose of Summer," gives place in Mr. W.'s "Arias Brilliantes," to the delightful Irish tune of "Coolun" and to the endearing melody of "Savourneen Deelish." It is said, that the Dress Circle tickets are already all taken, and that there is no doubt there will be a crowded audience.

[News], The Sydney Monitor (13 July 1836), 2 

Mr. Wallace's Concert takes place this evening, in the Theatre. The selection of songs appears good - we are not prepared to say how the vocal and instrumental part will succeed in the Theatre, but the advantage to the auditors must be apparent to every one; the inconvenience occasioned by the want of politeness evinced during the last Concert, will be in a measure obviated.

[Advertisement], The Sydney Monitor (13 July 1836), 3 

Under the Patronage of His Excellency the GOVERNOR,
who has signified his intention of being present.
CONCERT OF Vocal & Instrumental Music,
will take place on THIS EVENING, the 13th of July, in the THEATRE-ROYAL, on which occasion, he will be assisted by
Mrs. Chester, Miss E. Wallace, Mr. Josephson, Mr. S. Wallace, and Mr. Cavendish.
Programme Concert.
1. OVERTURE - Red Mask - Marliani
2. GLEE - Hark, Apollo strikes the Lyre
3. SONG - Di Piacer - Rossini - Miss E. Wallace
4. FANTASIA, Flute, introducing 'Tis the Last Rose of Summer - Nicholson - Mr. Josephson
5. SONG - Trifler Forbear - Bishop - Mrs. Chester
6. QUARTETTE - Violin, Pianoforte, Flute, and Violoncello - Mayseder - Mr. W. Wallace, Mr. Josephson, Mr. S. Wallace, and Mr. Cavendish
7. SONG - Spring time is Coming (by desire) - Miss E. Wallace
8. RONDO BRILLIANTE, Violin, in which will be introduced the "COOLUN," Irish Melody - Mr. W. Wallace
10. CHORUS, with Violin obligato accompaniment - Carl Maria Von Weber
11. SONG - Auld Robin Grey - Mrs. Chester
12. CONCERTO, Flute - Mr. S. Wallace
13. SONG - Cease thus to palpitate - Rossini - Miss E. Wallace
14. GRAND DUO CONCERTANTE, for two Piano Fortes - Herz
(as played by Henri Herz and Mr. W. Wallace) - Mr. W. Wallace and Mr. Josephson
15. SONG - The Minstrel Boy - Mrs. Chester
16. CONCERTO, Violin, in which will be introduced by particular desire, Savourneen Deelish, Irish Melody - Mr. W. Wallace.
Dress Circle - 7 6
Upper Boxes - 5 0
Pit - 4 0
Gallery - 3 0
To ensure comfort and respectability, care will be taken to prevent the admission of improper persons and constables will be stationed throughout the upper part of the house.
Tickets to be had at Mr. Ellard's Music Warehouse, Hunter-street; and of Mr. Sparke at the Royal Hotel.
N B. By the kind permission of Major England Mr. Wallace will be allowed the assistance of the Band of the 4th Regiment.

"DOMESTIC INTELLIGENCE", The Sydney Herald (14 July 1836), 3 

Mr. Wallace's Concert last evening, was attended by the first families in the Colony, and went off with éclat. We have only opportunity to state that Mr. Wallace's performances upon the violin almost electrified the audience. Full particulars in our next.

"THE CONCERT", The Sydney Gazette and New South Wales Advertiser (14 July 1836), 3 

Mr. Wallace's Concert, we hear took place last night at the Theatre Royal, but not having been complimented with the ticket of admission usual in such cases, we are unable to report particulars.

"MR. WALLACE'S CONCERT", The Australian (15 July 1836), 2 

MR. WALLACE'S CONCERT Took place on Wednesday night, and notwithstanding the muddy state of the streets and roads from the late rains, a very numerous assemblage of rank and fashion appeared in every part of the Theatre; His Excellency and Suite, with all the Members of his Family honored Mr. W. with their presence.

The Overture from the Red Mask, was played in very good style, by the Band of the IVth Regiment. The wind instruments were far more harmonious in the Theatre, where there is greater space for such a volume of sound, than in the Saloon. Indeed, the effect of all the night's performances manifested Mr. W.'s just discrimination in selecting the Theatre in preference to the Saloon.

The Glee by three of the Band was sung in good time and tune; the first soprano was very clear and musical. Miss Wallace was successful in Di Piacer. As we predicted, her voice is become more flexible by practice, and she now executed her turns and runs with great neatness. Nicholson's Fantasia, was played with very good taste, and the Air, 'Tis the last Rose of Summer, with great sweetness, by Mr. Josephson. His lower tones are full rich, but in executing rapid passages in the higher octaves the breath is heard in the embouchre [sic] of his flute.

Bishop's Trifler Forbear, was indifferently well sung by Mrs. Chester. The Quartette, by Messrs. W. and S. Wallace, Josephson, and Cavendish, was good; but Mr. Wallace's violin absorbed all attention. The song of Spring Time is Coming, by Miss Wallace, followed; and then the Rondo, by Mr. W. Wallace. During this, he introduced Coolun, with such exquisite taste and feeling, that his violin seemed a creature of life. His double stop shake is wonderful, - and, which is seldom the case in passages of difficult execution, it was most beautiful.

The second part opened with the Overture to Zauberflote, by the Military Band, which was played in a very spirited manner, though, in rather longer time than it is usually played by a London Orchestra. The Chorus, by Weber, by Miss Wallace, Mrs. Chester, and four of the Band, was in good harmony. Auld Robin Gray was sung with feeling, by Mrs. Chester; but it is not suited to her voice or style. Mr. S. Wallace's Flute Concerto, was very brilliant, and performed with vast execution. Rossini's Cease thus to Palpitate, was sung so beautifully by Miss Wallace, that the audience forgave its being in English and encored it. The Duet on two pianos, by Messrs. Wallace and Josephson, appeared rather tame, after many of the pieces which had preceded it, but it was calculated to display their respective execution upon the instrument. In our opinion, the Duet suffered a little from being played upon pianos differing in quality of tone. Mrs. Chester next sung pleasing enough, The Minstrel Boy; and the Concert concluded with a Violin Concerto, by Mr. Wallace, which it is sufficient to say, was in his usual style, and rapturously encored.

[News], The Sydney Gazette and New South Wales Advertiser (16 July 1836), 3 

At Mr. Wallace's late Concert, we understand the brilliancy of Mr. Josephson's execution on the pianoforte, was particularly admired, as well as his intonations of the flute. Mr. J. first studied under Mr. Sippe, musical professor. Mr. J. is an example of the precocity of talent of our native youth where care has been taken to nurture it, and occasion given to call it forth.

"MR. WALLACE'S CONCERT", The Sydney Monitor (16 July 1836), 2 

This concert took place on Wednesday evening, at the Theatre, in the presence of the Governor and a highly respectable audience. Miss E. Wallace sang Di Pacer with taste - Mr. Josephson played a Fantasia, in which was introduced The last Rose of Summer, which simple melody gave general satisfaction. Mrs. Chester did not appear in good spirits in her first song, but in the touching air of Auld Robin Grey, she displayed judgement and taste. Mr. Wallace evinced great tact in the management of his violin, and the quartette went off with eclat. Mr. Wallace's Rondo, introducing the Coolun, elicited great applause, and was loudly encored. We were glad to observe, that very little delay took place between the first and second parts, as we could perceive many of the female visitors in the dress boxes, who appeared to require their shawls. The cold air from the doors (which were constantly open) was rather painful to some. A simple and cheap remedy could be applied to this disagreeable, by putting springs on the doors, which would ensure their being closed, except during ingress and egress. The band of the 4th regiment performed excellently. A chorus, with violin accompaniament, was well executed. The introduction of female voices was a relief, and displayed the superior effect of chorusses when well performed over glees. Mr. S. Wallace shewed very great skill on the flute; but appeared to be labouring under some affection of the chest, which slightly affected his high notes. The greatest treat during the evening was Mr. Wallace's performance of Savourneen Deelish, which held the feelings of all present in a temporary extacy. The soft notes of the instrument, now swelling, now dying away, until the ear could scarcely distinguish the sounds followed by the bell-like tones of the full-drawn bow, induced a delicious melancholy, and was applauded sotto voce.

[News], Commercial Journal and Advertiser (16 July 1836), 2 

We understand that Mr. Wallace's Concert on Wednesday night last was the most brilliant of any of the past part of the Season.

[News], The Sydney Herald (18 July 1836), 2 

We intended to have given a full report of Mr. Wallace's Concert, on Wednesday, but it having gone the rounds of our contemporaries, renders it unnecessary. We, however, are compelled to say thus much, Mr. Wallace never played better upon the violin, - his performances were enchanting; and Miss Wallace displayed herself as a very promising singer.

[Advertisement], The Australian (15 July 1836), 3 

MR. WILLIAM WALLACE BEGS to announce his intention of giving another Concert towards the end of next month. Bridge-street, Sydney, 14th July, 1836.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (14 July 1836), 3 

Australian Seminary for Young Ladies and Gentlemen
MR. & MRS. CAMPBELL respectfully announces to the Parents and Guardians of Youth, that they have REMOVED their Establishment to a more airy and healthy situation, adjacent to the Catholic Chapel and King's School, Parramatta. Their present Residence being much more commodious than that lately quitted, Mr. and Mrs. C. will be enabled comfortably to accommodate an additional number of Boarders at their usual moderate terms, viz -
Board and Tuition 25 Guineas per annum. Washing included. Bedding provided at School.
One Guinea Entrance. Payments quarterly, to commence from the date of the Pupils arrival.
Weekly Boarders 21 Guineas per annum.
Day Scholars, £1 10 0 per Quarter; Dancing, £1 1 0 [per Quarter]; Drawing £1 1 0 per Quarter.
Music taught by Mr. Wallace.
FRENCH and ITALIAN taught if required.
Young Gentlemen are not received exceeding twelve years of age.
July 11, 1836.

NOTE: This advertisement ran, identically, and mentioning Wallace, in The Sydney Gazette until 16 July, and then in The Sydney Herald until 12 September.

It is not clear, however, whether the Wallace referred to was William Vincent, or, perhaps as likely at Parramatta, his father Spencer.

4 August 1836, private concert, Government House, Sydney

Diary of Alexander Brodie Spark, 4 August 1836; ed. Abbott and Little, The respectable Sydney merchant, 66 

4th . . . A musical party at Government House. Mrs. Thompson and Mr. Edye Manning, Mr. and the Misses Battley, were the only vocal performers. Mrs. Plunkett presided at the Piano, and Mr. Wallace astonished us with his violin. Dancing also formed part of the evening's amusement. Slept at Petty's Family Hotel.

ASSOCIATIONS: Anna Maria Deas Thomson (amateur vocalist); John Edye Manning (amateur vocalist); Maria Plunkett (amateur pianist); Thomas Cade Battley (1804-1892); Harriet Battley (b.c.1807-1892, married Willoughby Bean, 1838); Caroline Battley (c.1816-1879, married Edward Hely, 1838); Arabella Battley (b.1818; married Edwin Park, 1837); the Battleys arrived in Sydney on the Hercules, 27 July 1835

17 August 1836, concert, George Coleman (bandmaster, 4th regiment, benefit), saloon of the Royal Hotel, George Street, Sydney

[Advertisement], The Sydney Monitor (17 August 1836), 1 

Under the distinguished Patronage of His Excellency the Governor, who has signified his intention of being present.
MR. COLEMAN, Master of the Band 4th, or King's Own Regiment.
BEGS to announce that his CONCERT of Vocal and instrumental Music will take place on
WEDNESDAY EVENING, August 17, 1836, in the Saloon of the Royal Hotel
on which occasion he will be assisted by Mrs. Chester, Mr. Wallace, Mr. Deane and family, Mr. Cavendish, Mr. Sippe, Mr. Wilson, Mr. Stubbs and Mr. Josephson.
Programme concert,
1 - OVERTURE - Der Freitchutz, [sic] Weber
2 - CHORUS - Vive le Roi, Balf [sic]
3 - SOLO - My Own Blue Bell, Mrs. Chester
4 - SOLO - Flute, in which will be introduced Auld Robin Gray, &c., Nicholson, Mr. Stubbs
5 - GLEE - See our Oars, Sir John Stephenson
6 - Market Chorus, from the celebrated Opera of Masaniello, Auber
7 - Solo - Violin, Mr. Wallace.
1 - OVERTURE - Maniac or Swiss Banditi, Bishop
2 - GLEE - See our Bark, Sir John Stephenson
3 - SOLO - Pianoforte, Miss Deane
4 - FANTASIA - Flute, introducing the Coolun, Drouet, Mr. Josephson
5 - SONG - Bid me Discourse, Bishop, Mrs. Chester
6 - SOLO - Kent Bugle, Mr. Stubbs
7 - CHORUS - Hail, all hail our Patriot King.
Tickets 7s. 6d each, which may be had at Mr. Ellard's Musical Saloon, Hunter-street; Mr. Tyrer's Repository; Mr. Sparkes, Royal Hotel.

"CONCERT", The Australian (19 August 1836), 2 

Mr. Coleman's Concert took place, on Wednesday evening, according to announcement . . . Of Mr. Wallace's Solo on the Violin, it is unnecessary to make any further remark, than that it was a superior performance to any we have heard at his hands . . .

"MUSIC AND MUSICIANS", The Sydney Gazette and New South Wales Advertiser (23 August 1836), 2 

Mr. Wallace's next concert is fixed for the 24th of the month [recte 14th next month]

Mr. Coleman's Wednesday evening concert, was, we are sorry to hear, so indifferently attended, owing to the weather, and one chance cause or another, but no lack of merit of the performance, as scarcely to clear all expenses, which we regret the more as Mr. C. is a professor of no ordinary merit in the musical world. Not having been ourselves present on Wednesday evening, we subjoin such particulars of the concert as appear in the Australian of Friday last: - . . . [as above]

31 August 1836, concert, Marian Maria Chester (benefit), saloon of the Royal Hotel, George Street, Sydney

[Advertisement], Commercial Journal and Advertiser (31 August 1836), 1 

Under Distinguished Patronage.
RESPECTFULLY announces to her Friends, and the Public generally, that her
CONCERT OF Vocal & Instrumental Music,
Will take place on WEDNESDAY EVENING,
August 31st, 1836, in the Saloon of the Royal Hotel, on which occasion she will be assisted by
Also - a Gentleman Amateur has kindly consented to sing a German Song and an Italian Duett.
Programme Concert.
Overture - "Gustavus" - AUBER.
Glee - "Step as soft as Zephyr's dying" - ROSSINI.
Solo - Pianoforte - Air, Variations, & Finale, a la Militaire - HERTZ - MISS DEANE.
Song - "Soldier Tired" - DR. ARNE - MRS. CHESTER.
Trio - Pianoforte - Violin, Violincello, - MR. JOSEPHSON, MR. DEANE & SON.
Market Chorus - From Masaniello - AUBER,
(Will be repeated in consequence of the rapturous applause bestowed upon it on its first performances in this Colony,)
Solo - Violin - MR. W. WALLACE.
Overture - Der Frietchutz [sic] - WEBER.
Song - "Under the Walnut Tree - LINLEY - MRS. CHESTER.
Quartette - HAYDON. [sic]
Duett - "La Ci darem la mano," - MOZART - MRS. CHESTER and AMATEUR.
Chorus - "Hail, all Hail!" - AUBER.
Duett - "I know a bank," - HORN - MISS & MASTER DEANE.
Finale - "Rule Britannia," The Solos by MRS. CHESTER.
By permission of Major England, Mrs. Chester will be allowed the valuable aid of the Band of the King's Own Regiment.
TICKETS, 6s. each, to be had of Mr. Ellard, Hunter-street; Mr. Tyrer, George-street, and Mrs. Chester, No. 8, King-street.
Concert to commence at Eight o' Clock.

ASSOCIATIONS: John Philip Deane's two eldest sons, John Deane junior, a violinist, and Edward Smith Deane, cellist and vocalist; the amateur referred to is almost certainly the tenor singer Charles Rodius, better known as a visual artist

[News], The Australian (2 September 1836), 2-3 

Mrs. Chester's Concert took place on Wednesday evening last, and we were sorry to see the room rather thinly attended. We have not time to enter into a detailed critique of the various performances, but must not omit to mention the superior style in which Mrs. Chester executed the song of The Soldier Tired, in which she was rapturously encored. We have so often expressed our admiration of Mr. Wallace's performance on the violin, that [3] it is needless for us to do so now. There was an amateur sung a German song, in which he displayed a most pleasing voice and a great knowledge of music. We must not omit to notice Miss Deane's performance on the piano. This young lady has much improved since we last heard her; her solo was played with a great deal of animation; and we have no doubt that in the course of a few years she will be a first rate pianist. The whole of the arrangements appeared to give much satisfaction; indeed we do not recollect ever being at a concert in this colony where the performances, taken as a whole, elicited so much approbation.

"Mrs. Chester's Concert", The Sydney Monitor (3 September 1836), 3 

MRS. CHESTER'S Concert took place on Wednesday Evening, in the Saloon of the Royal Hotel, and notwithstanding the damp and chillness of the evening, the room was nearly full. Miss Deane displayed her usual skill and taste at the Piano. Mrs. Chester's The Soldier Tired, &c., received great applause and was loudly encored. This song requiring great exertion, it was rather inconsiderate we think, to call for it a second time. The trio which followed was performed by Mr. Deane, Mr. Josephson, and Master Deane, and was well executed. We cannot speak in too favorable terms of the taste with which the German song was executed by an amateur. His voice is manly, and at the same time very mellow, and he modulated well. This was loudly encored. The Market Chorus, from Masaniello, by eight Bandmen and Mrs. Chester, created universal applause, and was also loudly encored. The first part was concluded by Mr. Wallace's brilliant performance on the Violin, which was contrasted with the touching air, Hope told a Flattering Tale, and which Mr. W. introduced with variations. The audience was wrapt in silence during this piece, except at every pause, when the clapping was general. On the conclusion, Mr. W. was so loudly applauded that he returned and gave one more tune to the satisfaction of all present.

The second part opened with The Overture to Der Frieschutz [sic], which on the whole was performed well. The Horn was rather too sharp. Under the Walnut Tree, by Mrs. Chester was well sung, and encored. We cannot say much for the Quartette. The Italian Duett - La ci darem la mano, by Mrs. Chester and an amateur, was excellent and was encored. The audience as well as the performers appeared in excellent spirits for they encored almost every piece. The Chorus Hail! all Hail! was also executed very well by the Bandsmen and Mrs. Chester. This also was encored. Miss and Master Deane sang the Duet, I know a Bank - very prettily, but the boy appeared to have a cold, and Miss Deane was rather timid; nevertheless, the song pleased so well as to be encored and they sang it the second time with more spirit. Rule Britannia! concluded the Evening's entertainments by a full body of Choristers, the Solos by Mrs. Chester. This Concert seemed more generally applauded than any heretofore.

"CONCERT", The Sydney Gazette and New South Wales Advertiser (3 September 1836), 2 

We are informed that Mrs. Chester's Concert was not well attended, notwithstanding which drawback the performance was generally worthy of a better house. Mr. Wallace, as usual, was the star of the evening, and his performance on the violin seem to have the powerful charm of never tiring. We regret we were not present to have given the particulars.

[2 news items], The Australian (9 September 1836), 2 

. . . Mr. Wallace's Concert, under the patronage of His Excellency the Governor, takes place on Wednesday evening the 14th inst., in the Saloon of the Royal Hotel, and in addition to the talent engaged at his last concert, Mr. W. has secured the assistance of the Amateur who appeared at Mrs. Chester's Concert, and who was received so favourably . . .

. . . We understand that Mr. W. Wallace has received a letter per Waterloo, informing him of a large shipment of Pianos, which are consigned to him, and which have been selected by that celebrated pianist Henri Herz, from the house of Broadwood and Erard . . .

[Advertisement], Commercial Journal and Advertiser (10 September 1836), 2 

We hear that Mr. W. Wallace is about to receive a consignment of exquisitely toned piano fortes, selected at the Wharehouses of Broadwood & Co., London, by the celebrated H. Herz.

"MR. WALLACE'S CONCERT", The Sydney Gazette and New South Wales Advertiser (8 September 1836), 2 

We refer our readers to the Programe [sic] of that gentleman's entertainment, which takes place on Wednesday next, at the Saloon of the Royal Hotel - Mr. W. will be kindly assisted by Mr. Rhodius, the amateur who sang so beautifully, and with such powerful effect at Mrs. Chester's Concert; from the bill of fare, which is just such a one as we should expect Mr. W. to select; the public may confidently expect a rich treat, and Mr. W. an overflowing house.

"NEWS OF THE DAY", The Sydney Monitor (10 September 1836), 2 

Mr. Wallace, we perceive, has announced another Concert to take place, under the patronage of the Governor. The improved weather will, we doubt not, facilitate the attendance. We hope more real music, both vocal and instrumental, and less mechanical display, will distinguish this Concert, than what we have hitherto witnessed. Nobody wishes to see mere exhibitions of fingering and bowing. We hope Mrs. Chester also will indulge in a little more animation, if she sing at this Concert. Out of the Theatre she is too grave.

14 September 1836, concert, William Vincent Wallace (5th benefit), saloon of the Royal Hotel, George Street, Sydney

[News], Commercial Journal and Advertiser (14 September 1836), 2 

Mr. Wallace's Concert takes place this evening, in the Saloon of the Royal Hotel. This gentleman's transcendant talents as an artist well merits patronage; and it is with great pleasure that we see that his Excellency the Governor considerately and constantly attends his Concerts. It were well for the Colony that the taste for music were more cultivated, and that it displaced other modes of passing the leisure hours; and we would hope that its public patronage by the upper classes may induce attention to it by the lower. We believe that Mr. Wallace is much superior to any other violinist that has yet appeared in this part of the world, perhaps superior to the remuneration that the Colony can yet afford him, and we therefore trust that the public will make a point of affording him a patronage that will secure his permanent residence in the Colony.

[Advertisement], The Sydney Monitor (14 September 1836), 1 

Under the distinguished Patronage of His Excellency the Governor, who has signified his intention of being present.
Leader of the Anacreontic Society and Professor of Composition, Royal Academy.
BEGS to announce that his Concert of Vocal and Instrumental Music will take place on
THIS EVENING, September 14, 1836, in the Saloon of the ROYAL HOTEL,
on which occasion he will be assisted by
Mrs. Chester, Miss Deane, Miss E. Wallace, Mr. Josephson, Mr. S. W. Wallace, Mr. Cavendish, and the Amateur who was received so favourably at Mrs. Chester's Concert.
Programme Concert.
1. Overture
2. Glee, Vive le Roi - BALFE
3. Solo - Flute - NICHOLSON - MR. S. WALLACE
4. Come Dolce - MISS WALLACE
5. French Song - BOILDEAU [sic] - AMATEUR
6. Fantasia, Piano Forte, with orchestral accompaniaments - KALKBRENNER - MR. W. WALLACE
7. Song - Soldier Tired - DR. ARNE - MRS. CHESTER
8. Paganini's Grand Solo (to be performed on one string), Violin - MR. W. WALLACE
1. Overture
2. Trio and Chorus - Viva Enrico - PUCITTA - MRS. CHESTER, MISS WALLACE, AMATEUR and Chorus
3. Song - Rover's Bride - LEE - MRS. CHESTER
4. Duet. Pianoforte - HERTZ - MISS DEANE and MR. W. WALLACE
5. Song, Swiss Melody - MISS WALLACE
6, Duet - La ci darem la mano (by desire) - MOZART - MRS. CHESTER & AMATEUR
7. "Nel Cor pieu" [sic] Violin - by particular desire, MR. W. WALLACE
By the kind permission of Major England, Mr. Wallace will be allowed the assistance of the Band of the 4th, or the "King's Own," Regiment.
Single Tickets 7s 6d each; Family Tickets, to admit four £1 1s;
to be had of Mr. Ellard, Hunter-street; Mr. Chester, King-street, and Mr. Tyrer, George-street.
Concert to commence at 8 o'Clock.

[News], The Sydney Gazette and New South Wales Advertiser (15 September 1836), 2 

Mr. Wallace's Concert took place last evening in the Saloon of the Royal Hotel, under the patronage of His Excellency, the Governor. We were much gratified in observing so large and so respectable a company assembled on the occasion. We have only time to state, that every thing went off as well as the most sanguine admirer could wish. Full particulars in our next.

"THE CONCERT", The Australian (16 September 1836), 2 

On Wednesday evening Mr. Wallace indulged the lovers of harmony with another of his Concerts in the Saloon of the Theatre. We are gratified to observe such a friendly understanding existing among the professors of "la science joyeuse," as their united exertions on this occasion evidences. They certainly advance their own interests by combining their talents, as the Public will always more readily attend their Concerts when it feels assured that the best, if not the whole, musical talent of the Colony is called into action for their amusement. The Public are also really indebted to Major England, and the Officers of the 4th, for the readiness with which they so powerfully aid the most intellectual of all amusements, by affording the services of their excellent band.

To offer a critique upon each individual's performance would consume more space than we are able to afford; we shall therefore speak more generally than we might otherwise feel disposed to do, and than is in truth due to their efforts. The overtures of Lestocq and Massaniello were played in excellent style; though, from the comparative smallness of the room, the instruments in some parts were overpowering to those sitting near the orchestra. The Amateur, Mr. Rhodius, was an object of some attraction, in consequence of his performance upon a recent occasion. He sung a pleasing little French song, by Boildeau [sic], in a very plaintive style, without any attempt at display, either of compass of voice or power of execution, and was rapturously encored. He possesses neither of the latter great requisites, but the absence of these qualifications is well supplied by an uncommon sweetness of voice and flexibility of intonation. Mrs. Chester we never heard sing better; she executed the very difficult passages in The Soldier Tired with surprising facility, and we almost regretted that her powers should have been wasted upon such a hacknied song. The duet of La ci darem she sung with Mr. Rhodius very sweetly. Miss Wallace has acquired, by the few months' practice which she has had since she first essayed her vocal powers, considerable management over her very fine voice. In the difficult cavatina of Come dolce she executed the runs very cleverly. Her Swiss air, accompanying herself on the guitar, was deservedly encored. Mr. Deane and his highly talented family took a very conspicuous share in the performances of the evening. He had no solo part, but his pianoforte playing, and execution on his violin, proclaimed the proficiency of a master. Little Miss Deane is quite a prodigy; her execution of the brilliant passages in the long duet by Herz, with Mr. Wallace, was astonishing. Mr. S. Wallace's flute solo was one of the most pleasing, and, at the same time, shining performances throughout the programme. Each part in his solo terminated with the applause of the audience. Mr. W. Wallace threw out all his force in his variations upon Nel cor piu, and introduced some effects upon the instrument which we believe have not before been heard by an Australian audience. His solo with one string was unquestionably a wonderful performance, but we look upon the violin us an instrument for the introduction of beautiful chords as well as one of compass, and when its harmony in taken from it its melody is almost destroyed. As a sight we can admire an air played upon one string, but we should lament to see this magnificent instrument often so sacrificed, as it really is, even though in the hands of a master.

"Domestic Intelligence", The Sydney Times (17 September 1836), 3 

It is delightful to notice the progressive and rapid advancement of Australia, in the arts and sciences - in fact in civilization, as well as in pastoral and in commercial wealth. A twelvemonth ago, it would have been just as possible to walk from Sydney to old Drury, or to the English Opera House, as to get up such a Concert in Sydney, as that with which Mr. Wallace delighted the townsfolk on Wednesday evening last. Indeed Mr. W. Wallace, our fine violinist, and his charming nightingale sister - with Mrs. Chester, Mr. Dean and family, are a vast acquisition to the intellectual advancement of Sydney. So in the arts, it would have been next to an impossibility before the arrival of Mr. Fernyhough in the Colony a few months ago, to have obtained such excellent Lithograph and Zincographic prints, as may now be produced to embellish our Colonial Literature. We have been favored with a copy of a publication representing some well known aboriginal characters, which are entitled to praise, as being for the most part striking profile likenesses of our sable townsmen, and well executed. They will form a pretty present to friends in England; as characteristic of this country.

[News], Commercial Journal and Advertiser (17 September 1836), 2 

Mr. Wallaces' [sic] Concert on Wednesday Evening was very well attended, and gave the most unbounded satisfaction; his own performances were, as usual, rapturously received. In another part of this paper is the programme of the Oratorio, which takes place at St. Mary's Chapel, on Wednesday next. Its brilliant attractions, and its beneficent object, we trust will ensure a crowded attendance.

"Mr. Wallace's Concert", The Sydney Monitor (17 September 1836), 2 

THIS Concert took place on Wednesday evening last, at the Royal Hotel. The room was comfortably full, but very badly lighted; a great defect in all public amusements. Visitors are desirous to see and be seen. His Excellency the Governor was not in attendance, being, we understand, at Berrima. We were not unmoved by the brilliant involutions and evolutions of the greater portion of the pieces selected at this Concert. They were characterised by the old fault, a preference of unmusical AD LIBITUMS, &c. to real music. Real music is not to be found in a perpetual repetition of difficult passages. We would not exclude display of vocal and instrumental execution altogether, but we would render such display very subordinate to real music. The Italian style perhaps excels the German; but selections made from either, on account of their difficulty of execution, we shall ever condemn, as being made for the pleasure of the performers rather than the public.

With this general remark we have the pleasure to state, that the pieces and songs were executed with credit to the several performers. Mrs. Chester sang two songs, THE SOLDIER TIRED, and THE ROVER'S BRIDE. Miss E. Wallace sang COME DOLCE, and a SWISS MELODY. A Duett was sung by Mrs. Chester and an Amateur, and a Glee by Mrs. Chester, Miss Wallace, and the same Amateur. All these songs, &c went off with applause. Mr. Wallace played a FANTASIA on the Piano Forte, one of Paganini's solo's, on one string of the Violin, and grand variations, on the Violin also by Paganini. Of these the Company testified their approbation by rounds of applause. Mr. S. Wallace played one of Nicholson's solos on the German Flute, and was well received. An Amateur (the same who sang at Mrs. Chester's Concert) again gratified the Company with a simple French song, by Boildieu. The merited attention with which this Gentleman is listened to might teach our Concert-managers if [they] were teachable, of which we doubt; that real music however unadorned, will always command the general applause, because it commands the heart; where the heart is untouched, the head goes for very little in a Concert Room. The 4th Band executed the Overture of Lestocq in their best style.

"MR. WALLACE'S CONCERT", The Sydney Herald (19 September 1836), 2 

The Concert of vocal and instrumental music, given by Mr. Wallace in the Saloon of the Royal Hotel, on Wednesday evening last, was numerously attended; and, taken altogether, surpassed any entertainment of the kind, at which we have been present, in the Colony. It certainly was a rich musical treat, and such as (we heard the remark made by some gentlemen in the room, evidently strangers) would require a very sanguine imagination to anticipate at the antipodes of the musical world. We know not how to go about giving a detailed account of the various performances, vocal and instrumental - the most comprehensive plan, and the one which would best please ourselves, would be to say in very few words, "all the performers at Mr. Wallace's concert acquitted themselves well, and to the great gratification of every part of the auditors." We should thus get rid of the subject in a wholesale way, but then, do we not owe something more to the individuals from whose exertions we derived a few hours of harmless pleasure, of which the stock, we are glad to see, is daily increasing? We do; and we shall therefore particularize, though our notices must necessarily be brief.

Miss Wallace's singing of the very difficult Cavatina, Come dolce, showed that she possesses very considerable powers of voice, and that her style has been formed upon the very best model. It is forcible and effective, yet evidently controlled by sound judgment and refined taste. That this young lady has not only an ear, but also a soul for music, was evidenced by the beautiful parlante style in which she sang a Swiss melody, accompanied by herself on the guitar, which was rapturously, and most deservedly encored. Mrs. Chester's ability as a vocalist is so well known to a Sydney audience, that it is now quite unnecessary to point it out. Yet, though she has great power of voice, we admired her song of the Rover's Bride, more than the Soldier Tired; and her performance in the trio and chorus, Viva Enrico, more than either. She also sang with great taste and judgment the duet, La ci darem la mano, from the Giovanni of Mozart, with an Amateur, who delighted the audience by the manner in which he had previously song a French air.

Mr. Wallace played a Fantasia on the piano-forte, in the course of which he introduced the Irish air, which has become celebrated by Moore's words, commencing "Believe me if all those endearing young charms," but though Mr. W. played brilliantly, and with great confidence, we think him fully equalled, as a pianist, by Miss Deane, such is also the opinion of better judges than we profess to be, and we regret therefore that, instead of taking part in a duet on the piano-forte, Miss D. had not been allotted a concerto; satisfied as we are that she would not have suffered the slightest eclipse from the rays even of the musical meteor of Australia. Mr. S. Wallace's solo on the flute was a very masterly performance, and loudly applauded throughout; but we must cut short our remarks, and hasten to notice "the observed of all observers," - Mr. W. Wallace, whose performance on the violin has excited not only just admiration, but excusable astonishment. In this colony, certainly, nothing ever has been heard, a reference to which would afford the reader the slightest notion of what Mr. Wallace effects on the violin. We have heard several performers on the violin, who have brought a finer tone from the instrument, but, most truly we can say, that never did we hear one who possessed a greater command over it than Mr. W.; it seems in his hands, as if it were a sentient creature, perfectly obedient to the will. His playing is truly astonishing. Yet, with all our admiration, we cannot bring ourselves to delight in the playing upon one string. We admire the industry and skill of the performer; but it is precisely that sort of admiration with which Goldsmith's Chinese philosopher is called upon to admire, a vile daub which is shewn him as the greatest treasure in a splendid gallery of pictures, because the artist painted it with the pencil held between his toes! No, no, we like to hear Mr. Wallace play upon a violin with four strings. It is then he "discourses eloquent music" - the "one-string"-work is mere sleight of hand (difficult though it be); but Mr. Wallace's performance on the violin, strung as it ought to be, must excite little short of extatic delight in the breast of any hearer who possesses a soul tuned to harmony. How delightful are the flute-like notes he produces in alt, like enchanted sounds! how beautiful his double-stopping! how admirable is the ease with which he plays! But we must conclude, expressing a hope that we may often have an opportunity of being present at a concert, so well attended, and so admirably conducted and performed as the last we had the pleasure of hearing.

[News], The Sydney Gazette and New South Wales Advertiser (20 September 1836), 2 

Mr. Wallace, our celebrated violinist, met with a misfortune a day or two ago, which had well nigh disappointed the numerous auditors that patronised him so liberally at his last Concert; a stupid fellow, when carrying his violin, let it fall and broke it dreadfully, so much so, that it could not be repaired in time for his playing on at his Concert - those who, therefore, imagined that his tones were not so sweet, though the execution to us certainly appeared superior to any of his previous exhibitions on the instrument, and we confess ourselves to be of that number, can now readily assign the true cause. Could we play as well as Mr. Wallace, and had a violin as good as his, we would never trust it in the hands of any living soul except ourselves, and the more particularly in this Colony, where, in the event of an accident occurring, it could not be replaced. We hope soon to hear this gentleman announce his intention of giving another Concert before the weather gets too warm; by the bye, the Concert room, in consequence of the top part of the window being fixtures, admits of little ventilation, this was sensibly felt at the last Concert, and the room was miserably lighted - those inconveniences should be remedied.

John Skinner Prout, Interior of St. Mary's cathedral, Sydney, c. 1841-44; State Library of New South Wales

Interior of St. Mary's cathedral, Sydney, John Skinner Prout, c. 1841-44; State Library of New South Wales (DIGITISED)

ASSOCIATIONS: John Skinner Prout (artist)

21 September 1836, oratorio, St. Mary's Cathedral, Hyde Park, Sydney

"THE ORATORIO", The Australian (16 September 1836), 2 

The Programme is at length announced. From the review of the pieces selected, and the names of the professional persons engaged, and the advantages which the magnificent building of St. Mary s affords, this Oratorio promises to be a most unrivalled treat. Knowing that the proceeds of the sale of tickets are to be applied in aid of the funds for completing the building, and thereby assisting in the advancement of religion, we trust that the pious Protestant and Catholic will alike assist in the good cause, by attending at the festival. We dare venture the assertion, that he will not look upon the expenditure for his tickets, as money wasted, after he shall have been present at this grand array of musical genius. And we are gratified to observe that Mrs. Rust, who has once (and only once) given the public "a touch of her quality," occupies a prominent place in the Programme.

[Advertisement], The Sydney Monitor (21 September 1836), 1 

This Evening, Sept. 21, 1836,
Part First.
Selections from Handel's Sacred Oratorio,
1. Comfort ye my People - MRS. RUST
2. He shall feed his Flock - AN AMATEUR
3. Where is this Stupendous Stranger - MRS. CHESTER
4. He was despised - AN AMATEUR
5. I know that my Redeemer liveth - MISS WALLACE
6. Holy Lord - MRS. RUST
Part Second. -
Selections from Hayden's Grand Oratorio,
"Ave Verum," Solo and Quartett, MRS. RUST AND AMATEURS.
1. In the beginning (Recit.) - Now Vanish (Air) - AN AMATEUR
2. Chorus, a New Created World
3. And God said (Recit.) - With Verdure clad (Air) - MRS. CHESTER
4. Of Stars the fairest pledge of day - AN AMATEUR
5. Sanctus - Trio - MRS. RUST and AMATEURS
6. Graceful Consort - MRS. CHESTER and AMATEUR
7. GRAND DOUBLE CHORUS - The praise of God - the Solos by MRS. CHESTER
Tickets and Books of the words, &c. to be had at
MR. TYRER's, 81, George-street; and at MR. ELLARD's, Hunter-street.
Single Admission Tickets - 0 10 6
Family ditto, to admit four 1 11 6
Single Tickets to admit two children.
Books of Words ........ 0 1 0
Leader of the Band, Mr. Wallace.
Principal Second Violin, Mr. Deane.
Assisted by the Gentlemen of the Philharmonic Society.
By the permission of Major England, the Band of the King's Own Regiment.
To commence at Seven o'Clock.

Diary of Alexander Brodie Spark, 21 August 1836; ed. Abbott and Little, The respectable Sydney merchant, 67 

. . . Attended the Oratorio at St. Mary's Church, the first of its kind in the Colony. Much delighted at the singing of Mrs. Rust. Mr. Wallace was the leader of the Band, and the whole went off well.

NOTE: On the day of the second oratorio, 31 January 1838, Brodie recorded in his diary: "Intended going to the Oratorio, but the matter was mismanaged."

"THE ORATORIO", The Australian (23 September 1836), 2 

There was the most numerous assemblage of persons at the Oratorio, on Wednesday evening, that was ever convened under one roof in the Colony since its foundation. In the spacious area of St. MARY's Church seven hundred contributors to this festival were easily provided with suitable and pleasant accommodation. The Church, even in its unfinished state, had an imposing and impressive appearance. The long row of pillars, on both sides, were interlined with variegated lamps, hung in graceful festoonry; and, by a judicious distribution of lamps in the windows, and other portions of the building, a "dim religious light" was shed over the whole edifice, most favorable and accordant to the solemnity of sacred music.

It gratifies us to announce the success which has attended this incipient effort of the musical talent of the Colony to produce a vocal and instrumental performance on the extensive scale of an Oratorio. It will doubtless stimulate those who were engaged in it to fresh exertions in successive years. It was quite evident that they had laboriously studied every piece which they had undertaken to perform, else they could not have given to it that symmetry and polish which constant labor directed to the same end alone can produce. The incomplete state of the building, which is at present under repair, admitted of too many crevices and openings for the sound to disperse, and thus prevented at times the rich volume of notes and words to come upon the ear with due impressiveness - but for this the performers were not to blame. As far as in them lay they exerted themselves to the utmost, and with gratifying and complete success. But as in all well-wrought compositions some features stand out more prominently than others, so on this occasion, though we accord equal merit of motive to all, the talents of some were naturally distinguished and conspicuous. We commence with the vocalists, and among those the ladies assuredly were the most efficient contributors to the success of the performance.

The celebrity of Mrs. Rust was not unknown, we believe, to any who were present - but as this lady has once (and we regret to say once only) appeared in public before, by far the majority of the audience heard her for the first time on Wednesday evening. On this occasion she not only sustained but enhanced her high reputation. Comfort ye my people was sung by her with a deep and impressive solemnity which made every note sink into the hearts of her hearers. The beautiful Air, Every Valley, most felicitously displayed the fine and flexible voice of this very accomplished singer. In this Air, as well as in Holy, Holy Lord, her notes lingered on the ear like an involuntary echo to the music - as if the sentiment were blended with, and trembled on her voice. Besides great compass, there is a chrystalline clearness in this lady's voice, as if the notes fell from her lips like the liquid drops from the bending flower. More than once throughout the evening her singing brought our memory back to the days in which we were familiar with the sweet and silvery tones of Sontag. The Ave Verum and Sanctus were of corresponding merit, but we thought the singers were too far from the instruments that accompanied them, to give full effect, or render justice to the excellent music of Mazzinghi. We hope we have said enough to induce this lady to break through the resolution (if she has formed one) of not appearing in public - at all events if she is determined to abide by it, we hope she will make a clause of reservation in it in favor of sacred music.

An Amateur, Mr. Aldis followed Mrs. Rust - we thought him injudicious in doing so - we do not say this for the sake of any invidious comparison, but for our own sakes, and partly for his sake, and not a little for the sake of the public. The Pastoral Symphony Where is this stupendous Stranger [sic], by Mrs. Chester was remarkably well sung by that lady. A little timidity prevented her from imparting to it all the impressiveness of which her fine voice is so susceptible; but she afterwards sang, with all her power, and with great sweetness, simplicity, and effect, With verdure clad the fields appear. Indeed we have not heard her to greater advantage, and one opinion appeared to pervade the whole audience as to the excellence with which she executed this air. Mrs. Chester's voice is one of great variety as well as compass - and she does herself injustice by the partiality she evinces for singing at the top of her voice. In the fine Hallelujah Chorus it was transcendant over every sound. She possesses very many of the attributes of a fine singer, the efficiency of which the cultivation of a subdued tone would greatly improve.

I know that my Redeemer liveth, by Miss Wallace, gave convincing proof that this young lady possesses a fine flexible and powerful voice, capable of great modulation, variety, and manifestly marking her out for future eminence in the musical world, in which her family and herself assert so great and legitimate an ascendency. It was hardly fair to give a song of this character to so young a lady as Miss Wallace. The exulting hope - the glowing rapture which pervades this and other songs of Handel, can only be discovered and disclosed by a singer of corresponding genius. Without the spirit breathed into them they are often dull, monotonous, and uninteresting. I know that my Redeemer liveth is precisely a song of this description - usually a very tiresome occupation of a quarter of an hour; yet those who have heard Mara sing it will carry the recollection to their graves of one of the greatest triumphs of the vocal art. He was despised and rejected of men was sung with great sweetness by Mr. Rhodius. His cadences were soft and sweet, and quite delightful. He possesses more power than he displayed: and were he to sing more boldly he would sing more successfully. In the duet of Graceful consort by thy side, with Mrs. Chester, he evinced the correctness of his taste and judgment; but here, as in his other songs, an apparent timidity had the influence of inducing him to suppress rather than to put forth the fulness of his very fine voice.

To Mr. Wallace, who presided, we can pay no higher compliment than that he was equal to himself. The Oratorio has raised the musical profession, of which he is the head, in this Colony; and this together with the consciousness of his having promoted a charitable object constitute his reward. Mr. Deane and family rendered good service, and the talents of the Philharmonic Society and other musical Amateurs were marshalled in emulative excellence on this occasion. The Band of the King's Own acquitted themselves most creditably - indeed without the anxious and zealous co-operation which they gave this Oratorio could not have taken place with the success which crowned it.

Among the company we observed, Colonel Snodgrass, C. B., Mrs. Snodgrass, the Attorney General, Mrs. and Miss Plunkett, Sir John Jamison, K. G. V., Mr. Donnithorne, the Roman Catholic Bishop and Clergy, Mr. and Mrs. Manning and family, Captain and Mrs. Hunter, Colonel and the Misses Wilson, Mr. and Mrs. Stephen and family, Mr. and Mrs. Therry, Mr. and Mrs. Barker, Mr. P. Macqueen, Mr. Hayward, Mr. Windeyer and family, Mr. and Miss Foster, Dr, and Mrs. Wilson, Mr. and Mrs. Ryan Brennan, Mr. A. B. Spark, Mr. and Mrs. Carter, Lieut, and Mrs. Espinasse, Mr. and the Miss Aspinalls, Mr. Boydell, Mr. Gisborne, Dr. Lewis, &c. &c.

"ORATORIO", Commercial Journal and Advertiser (24 September 1836), 2 

It affords us the most unfeigned pleasure to say that the Musical Festival in St. Mary's Church, on Wednesday evening, was successful beyond our most sanguine expectations. It was attended by about 700 persons, which testified the interest it excited, and who we believe participate with us in gratification at its result. The Orchestra mustered about 25 instruments, which, though more than we had expected, was scarcely sufficient for the massive and lofty edifice, and the more so as in its unfinished state much of the sound was lost. The Church was brilliantly lighted up, and the arrangements made in a manner that afforded the most ample accommodation, and prevented the slightest confusion. We are sorry to perceive that space obliges us to be brief in our notice of the performances.

Mr. Wallace conducted the whole in a manner that showed him not less au fait as a Leader than he is brilliant as a performer, and if it did not, or could not, enhance his reputation as a violinist, in [it] enhanced his claims on us, as a public, for we believe that it is to his gratuitous and laborious exertions in the preparation and conduct of the Festival that we owe much of the favorable result. Mrs. Rust's clear & musical soprano voice, - her tones, so beautiful, & so beautifully modulated - her execution so perfect without effort, made a deep and delightful impression in all her performances. Her "Comfort, ye, Comfort, ye," was delightfully sung, and must have surpassed the expectations of every one who was aware that it is not intended for the female voice. Her "Every Valley," was executed pleasingly, though perhaps those who remember Braham in the same part may have wished it had been somewhat slower. Her "Ave verum" was the most finished, exquisite piece of vocal music of the evening. Mrs. Chester did not sing the Pastoral Symphony, as a contemporary has it - that piece was played by the Band - her "Where is this Stupendous Stranger," was sung most pleasingly, but with a diffidence that denied it much of that effect that she could have imparted to it - but her "With Verdure Clad" amply redeemed her, and replaced her high in the rank of Vocalists, for in this piece she gave scope to her rich and flexible voice. Miss Wallace sung "I know that my Redeemer liveth," and we never heard her to such advantage, her rich powerful voice augurs the eminence at which we are sure she must speedily arrive. The manner in which Mr. Rhodius sung "He was despised," with his usual sweet and tasteful style and baratone voice, made a great impression, and left no regret that in this part other music had been substituted for Handel's. Mr. Gordonovitch sung his air with much neatness and beauty. The richest piece of the evening was the Chorus of Hallelujah and perhaps it was to be regretted that it did not not form the finale.

"THE ORATORIO", The Sydney Gazette and New South Wales Advertiser (24 September 1836), 2 

The first musical treat of this description in the Colony, took place at Saint Mary's Chapel on the evening of Wednesday last. At seven o'clock the Chapel was crowded with all the fashion and beauty of Sydney, nearly seven hundred visitors mustered on the occasion, who, we think, must have been highly gratified with the arrangements made for their accommodation, as well as the exhibition and talent displayed by the respective performers, both vocal and instrumental. At about half-past seven the performance commenced with an introductory hymn on the saraphine [sic]; the principal attraction was Mrs. Rust - her powers as a vocalist were known to many, but as this lady only once before appeared in public, there were many who had heard of her talent only. We cannot however attempt to do justice to this lady's splendid abilities; her voice, which commands great compass, at the same time combines that most exquisite sweetness of tone, that nothing we ever heard of in this Colony, either public or private, at all comes up to. We trust this accomplished lady will throw off the timidity that has restrained her from appearing before the public oftener. Miss Wallace acquitted herself, better than we ever heard her; the size of the building gave her full scope for her very powerful voice; she certainly ranks, in our estimation, to Mrs. Rust, but the latter lady has the decided superiority of sweetness of tone, which cannot be expected in so young a girl.

Mrs. Chester was perhaps not quite so happy, in her first song, Where is this stupendous stranger? but she more than made up for the deficiency in her subsequent performances in the Hallelujah chorus, where the powers of her voice were finely developed. This lady appeared to much greater advantage than at Mr. Wallace's Concert. Her voice, indeed, is perhaps better adapted for the Theatre than a confined room. Mr. Aldis did not come up to our expectations in He shall feed his flock; his voice, though sweet, is too weak, and the circumstance of his following Mrs. Rust was quite sufficient to shew him in the greatest possible disadvantage. Mr. Rhodius, we are glad to see, is appearing oftener in public; he has a particularly sweet voice, but wants nerve. His duet of Graceful consort by thy side, was the happiest of his efforts, and he sang it with much taste and judgment. This gentleman has no male competitor in the Colony. Mr. Gordonovitch sang Of Stars the fairest in good tone, but he does not come up to Mr. Rhodius.

Of Mr. Wallace, it is superfluous to speak - suffice it to say, he led the orchestra and displayed his usual skill and execution; his violin was distinctly heard above the whole performers in the choruses. Mr. Dean and son, Mr. Cavendish, and the Members of the Philharmonic Society contributed also their valuable assistance, for which they certainly deserve every credit. The Chapel was very prettily and neatly illuminated with pale lamps, hung in festoons between the columns of the building. The Band of the 4th (or King's Own) were in attendance, and assisted not a little to the success of the performances. Major England has always, in the most handsome manner, done all in his power to promote musical entertainments. We cannot conclude without stating the high satisfaction the arrangements made by the Stewards, Messrs. Plunkett, Therry, and Wilson, &c., gave to the Company, who exerted themselves to the utmost, by paying the greatest possible attention to the arrangement of the seats. which prevented the confusion which must otherwise have taken place. The net proceeds, we learn were upwards of 3OO guineas, which is to be appropriated for the purchase of an organ.

"The Oratorio", The Sydney Monitor (24 September 1836), 2 

We had been afraid, that an Oratorio, selected from that giant in music, Handel, was more than the musical force of this colony could accomplish in a degree at all adequate to the great conceptions of the first of composers. We were most agreeably disappointed; the chorusses were so well arranged, the instruments at command divided the chorus so equally, that the loss of mere strength was not felt. The chorusses were full, and efficient in their kind. As to power, if the thunder were to lend its aid to man in celebrating the praises of the Almighty in Handel's Hallelujah chorus, the effect would not exceed the conception of that mighty author. It is a great honor that men are enabled to celebrate the praises of Jehovah in so exalted a manner. To join in heart in such celebrations, is a sublime enjoyment, and proves that man, though encumbered with flesh, is still of an angelic nature. In such Divine services men feel a superior state of existence, of which the present life is but the forerunner. How deeply is this presentiment fastened on the mind, when words like the following are sung in the strains of Handel.

"I know that my Redeemer liveth, and that he shall stand at the latter day upon the earth; and though worms shall destroy this body, yet in my flesh shall I see God. Hallelujah! For the Lord God Omnipotent reigneth!"

We consider it would not be in good taste to criticise the performances of Wednesday evening as if it had been a concert, or a theatrical performance. An Oratorio is a DIVINE service, and our criticisms therefore must be of that general nature, which would be tolerated in speaking of the psalmody of a Church. Mr. Wallace is a splendid leader. He has the command which is the result of confidence, and in him that confidence is well founded. The whole of the instrumental performers seconded him with precision and effect. We expected nothing so good in New South Wales.

The vocal performers also acquitted themselves with great satisfaction to a most respectable and most numerous audience (we suppose there were 700 persons present). We cannot however deprive ourselves of the pleasure of expressing the delight which seemed universal, whenever Mrs. Rust executed the portions of the performance assigned to her. This lady's voice is powerful, yet clear and melodious. But that which captivates in Mrs. R.'s singing, is the great FEELING she displays. You can see in her features, that the soul of the anthem is in full possession of her judgment and sympathies. And thus inspired, she delivers her inspiration with exquisite taste.

If there were points in the performance more striking than the rest, we should say it was when Mrs. Rust sang the words in repetition - "Keep silence!" The accompaniment by the Orchestra was transporting. The whole sentence is this - "The Lord is in his holy temple; let all the earth keep silence before him." The accompaniment to the words - "Let there be light, and there was light;" was also exciting in the highest degree. The rush of the music did well portray the spread of the light over the great abyss of darkness in the instant execution of the fiat of the Creator.

Messrs. Rhodius and Gordonovitch sang well; but there is a delicacy of intonation in Mr. R.'s voice which is universally admired.

Mrs. Chester executed the many portions assigned her with great effect; and Miss Wallace sang far beyond her years that fine air - "I know that my Redeemer liveth." Her voice is powerful, and she bids fair to render her a first-rate singer, provided she study a few years under a good teacher.

The following is the published list of the evening's services [program]; and we have only to hope that this musical festival will be repeated every year.

The cathedral was well lighted, and the coup d'oeil from the western end was imposing. That from the gallery over the Orchestra was still more striking. From the town, the Cathedral looked like an ancient gothic structure of Europe, lit up on some great festival. The chorusses were heard by a thousand spectators who surrounded the buildings, and whom the moonlight evening, and the charms of the music, had led to saunter from their habitations. We understand that Mr. Cavendish was the original promoter of this Oratorio. His bass viol was of infinite service. Mrs. Chester exerted herself with fine effect in the chorusses. Her voice in the Hallelujah was heard above the whole Quire. The gentlemen of the Orchestra gave their services gratis. When all deserve the thanks of the audience, it would not be decorous to mention individuals. We were sorry that any symptoms of applause shewed themselves. Being a divine service, they were in bad taste. We hope this will not be repeated at the next Oratorio. We are happy to say they were not general.

We have noticed Mrs. Rust's singing chiefly on account of the deep feeling of that lady's manner. A compliment to her understanding full as great as to her skill as a singer. The following description of the nature of her voice, we copy from the Australian, on account of its goodness. "Like the liquid tones of a silver bell," should however have been substituted for "liquid drops of the bending flower," to follow out the metaphor, flowers having no sound, though exquisite in scent -

"Comfort ye my People was sung by her with a deep and impressive solemnity, which made every note sink into the hearts of her hearers. The beautiful air, Every Valley, most felicitously displayed the fine and flexible voice of this very accomplished singer. In this air, as well as in Holy, Holy Lord, her notes lingered on the ear like an involuntary echo to the music - as if the sentiment were blended with, and trembled on her voice. Besides great compass, there is a christalline clearness in this lady's voice, as if the notes fell from her lips like the liquid drops from the bending flower. More than once throughout the evening, her singing brought our memory back to the days in which we were familiar with the sweet and silvery tones of Sontag."

The Monitor article also reproduced the full printed program ("book of words"):

"PART FIRST", The Sydney Monitor (24 September 1836), 2 

"PASTORAL SYMPHONY", The Sydney Monitor (24 September 1836), 2 

"PART SECOND", The Sydney Monitor (24 September 1836), 2 

"THE ORATORIO", The Sydney Herald (26 September 1836), 2 

The Musical Festival which has been for some time announced took place on Wednesday evening at St. Mary's Church, and more than realised the expectations of the Public. This entertainment was first suggested, we understand, by Mr. Cavendish, upon whom the whole weight of the arrangements of the performances have fallen - and through whose exertions it was finally completed. Mr. Cavendish is therefore deserving of all the praise the Public can bestow as the projector and manager of the Oratorio. The audience on Wednesday evening consisted of nearly one thousand persons, principally of the middling classes, besides many government officers and others of the first classes of society. There were also in the gallery about one hundred of the best behaved soldiers in the garrison, who were allowed admission in consideration of the services of the bandsmen. A neat stage was erected over the altar, and judiciously arranged for the musicians, in front of which were the vocalists. The Church was lighted principally with lamps hung in festoons, and notwithstanding the unfinished state of the building, produced an effective appearance. Some of the heads of the Roman Catholic Church were in attendance at each of the entrances to usher the company to their seats. At half-past seven the Seraphine struck up a Voluntary, and at the conclusion the musicians and vocalists entered and took their places.

The performances commenced with the celebrated Overture of Joseph, and amply repaid the leader (Mr. Wallace) for his indefatigable exertions at the various rehearsals; we have never yet heard any instrumental performance equal to Joseph, or the Overture of Zara performed in the second Act. Mrs. Rust was decidedly the star of the evening, and shone with brilliancy. We cannot particularise any one piece of music more beautiful than the rest - performed by this very talented lady - they were all transcendently superior to anything we have before heard in the musical profession of Sydney. The only solo allotted to Miss Wallace was the very heavy one of Handel's - "I know that my Redeemer Liveth" - and, although it will be some time before she arrives at the mature perfection of Mrs. Rust, we were much gratified with her talents; her voice is peculiarly strong and delightfully mellow - and in the course of years, if she does not practice over-much, will acquire a greater brilliancy of tone. Nature has given her the material, and family connexions have thrown in her path the means of becoming a first-rate singer. Mrs. Chester sung in her usual excellent manner, and appeared to more advantage in Haydn's very delightful song of "With Verdure Clad" than we ever had the pleasure of hearing her before. In the chorusses Mrs. Chester was invaluable. Mr. Rhodius stands pre-eminent amongst his brethren in the profession, and sung with much expression "He was despised," and also in a Duet with Mrs. Chester. If Mr. R. will but throw off a little timidity he would appear to much greater advantage. Mr. Gordonovitch has certainly improved since he last appeared before the Public. Mr. Spencer performed with much energy the difficult Recitative and Air at the opening of the "Creation," and a number of amateurs assisted in the chorusses, &c.; the most gigantic effort of the evening was the "Hallelujah Chorus," into which the whole vocal and instrumental strength were thrown. We understand that such was the grand effect of this chorus, that it was distinctly heard nearly a mile from the Church. The gentlemen of the Philharmonic Society lent their valuable assistance, and Major England with his usual kindness allowed the Band of the 4th. There must have been altogether about fifty performers. As a concluding remark we must say that Mr. Wallace lead in a masterly manner and embraced the only opportunity of giving the audience one of his most delightful solos in the symphony to Mr. Gordonovitch's song. It is said that there was about £350 collected upon this occasion.

[News], The Sydney Gazette and New South Wales Advertiser (27 September 1836), 2 

In our account of the performance at the Oratorio, our Overseer made a mistake, which we take the first opportunity of rectifying. Speaking of Miss Wallace we say - "she certainly ranks in our estimation to Mrs. Rust," it should have been - "next to Mrs. Rust," for high as is our opinion of this young lady's vocal abilities, it would be foolishness to say she equals Mrs. Rust, who is a most accomplished, and in sacred music we should say, a first-rate singer; indeed, it could not be expected, that a young lady of Miss Wallace's age, could have her voice so completely set as one of riper years. Miss Wallace, however, we can not but remark, visibly improves, and under the able tuition of her brother, must eventually rise to the top of her profession.

"Domestic Intelligence. THE ORATORIO", The Colonist (29 September 1836), 2 

WE insert the following critique on the performances at the Oratorio in the Roman Catholic chapel, from the pen of a talented correspondent; but beg, at the same time, to record our protest against such exhibitions in any place set apart to the worship of the Creator. We do not conceive that the pieces chosen for the performance, being what is usually denominated sacred music, alters, in any degree, the impropriety of the proceeding. Our opinion on the subject of employing "fiddlers and dancing masters" to celebrate, professionally, the praises of the Almighty has been long on record; and, assuredly, the fact of Jews, and Christians of every denomination, being congregated together for such a purpose in a Roman Catholic place of worship, savours rather strongly of something approaching to sacrilege; at all events, it is not that worship of the heart which can alone be acceptable to our Redeemer. We could scarcely help smiling on reading the childish twaddle of our friend The Monitor, on the subject of the Oratorio, which he wishes his readers to consider as divine worship! Divine worship, forsooth; is there not something worse than ludicrous in the idea of buying ten shillings-and-sixpence-worth of divine worship? : -

Mrs. M. Ah! Mr. T, good morning, why you are quite a truant, this is the first time you have called since the evening of the Oratorio; pray be seated, as I wish to have your opinion on some parts of the evening's performance. In the first place, do you not think the Cathedral was splendidly illuminated and very tastefully arranged?

Mr. T. Certainly the disposition of the interior arrangement did infinite credit to the good taste of the committee of management, especially when we consider the present unfinished state of the Cathedral itself.

Mrs. M. Of course you cannot sufficiently admire the sublimity and imposing grandeur of The Messiah as one of the finest pieces of sacred music ever composed; but what think you of the different performers? How did you like Mrs. Rust in "Comfort ye my people?"

Mr. T. Why, I think that lady's exertions were certainly meritorious, yet it appeared to me that she made the difficulty of the part too obvious, wanting a natural ease and flow of melody, which when really heard and enjoyed from one performer, better conveys to the understanding the loss of it in another. She, however, deserved applause, but that applause should not have been bestowed upon her, or any other of the vocalists, in sanctuary erected and consecrated to the praise alone of an allwise and ever-boun-[3]-tiful Creator, and I consider it an unpardonable breach of decorum in an audience.

Mrs. M. An audience in a Cathedral, Mr. T.!

Mr. T. Yes, ma'am, I say an audience, for in my opinion when, however religious, an assembly of individuals take upon themselves to express their feelings as an audience, the character of the place should not prevent their being considered as such, and, as I said before, it was at once inconsistent, and indecorous (to say the least of it) for the arches of a Cathedral to reverberate with the tapping of heels against its sacred floor to the praise of mortals, however deserving.

Mrs. M. It should certainly have been omitted; but to return to our subject. What think you of the Amateur? I mean Mr. Aldis.

Mr. T. Why, I think he was out of tune, out of time, out in point of taste, and, in fact, out in every way, but where he should have been, that is - out of the performance. He might have been prompted by charitable motives to render his assistance, but I doubt very much whether the taking of a few tickets would not have much more benefitted the Committee, and would certainly have been more charitable to his hearers. I do most cordially hate to see a man thrust himself forward without the shadow of a pretension to excellence, or even to passing ability, struggling as it were for notoriety, heedless of its being obtained by superiority, or the reverse. In fact, my dear Madam, not that I mean to compare a theatrical representation to an Oratorio, but if ever an actor was accused of murder, surety Mr. A. ought to be accused and decidedly found guilty of sacrilege.

Mrs. M. You are very severe, Mr. T. Pray what think you of Mrs: Chester's abilities.

Mr. T. Mrs. Chester fortunately possesses a powerful and decidedly a very melodious voice, she shone conspicuous in every thing she attempted; when I say shone - you heard her voice above every other both in point of power and in alt. notis; yet there is a something wanting in this lady's style of singing; she astonishes the ear by her natural voice and the command she has acquired over it, never falsifying a note, or being out of tune; that is, she sings correctly, and that to a great nicety: but it is not solely the ear that a vocal performer should study to delight, the heart should be captivated and held during the whole performance; a powerful voice, be it ever so melodious, will not of itself do this, it must be done by an expression of feeling; the whole soul must be wrapt up in the character of the piece under representation, and reflect to an assembly the colouring and glow as well as the figure of the object or subject represented. If this lady would but convince herself of the necessity of reaching the hearts as well as the ears of her hearers, I am positive the benefit would soon become apparent to her.

Mrs. M. I must confess I agree with you on that point, and now you express it, I feel what it was I looked for in Mrs. Chester, and did not find it; at one time I was astonished by her execution and something beyond what I actually heard, and felt quite disappointed when she finished the air. The amateur who sung in the choruses, and also, "In the Beginning," deserved praise, did he not?

Mr. T. In the choruses, I grant you, he did, to them he was of considerable assistance, and ought, perhaps, on that account, to be praised; but his ambition, in attempting to soar above his element, cancels his apparent deserts; could he but have been contented with not doing amiss in the choruses, it would have been well, and he would not have to experience the mortification of being told that he not only failed in "The Beginning," but continued to fail on to the end of "The Beginning;" I call that over-straining a small quantity of talent, in order to show it off to a greater advantage, and, consequently, failing in the whole. Now, Miss Wallace has evidently a fine and powerful voice, far beyond what her age would lead you to suppose; but, if she neglects to modulate it, and acquire a proper command of it, it will never be what it now (with study and application) promises to become. She appears to sing with considerable effort, which must be subdued; and that will never take place if she is ambitious enough to aim at once at excellence and superiority; she should be satisfied at first with singing simple airs and pieces, with natural ease and judgment; and so gradually school herself into the more and most difficult performances, and not desire to sing a song simply because it was sung by Miss "this" or Madame "the other."

Mrs. M. Yes: I think you are perfectly right. What have you to say with respect to the amateurs Messrs. Rhodius and Gordonovitch?

Mr. T. I much admire Mr. R.'s style of singing, he does sing feelingly, but he sadly wants power; I think, by exerting himself, he might in a great measure obviate this difficulty. Mr. G. sang "Of stars the first pledge of day," with a great deal of taste and an evident knowledge of music; but, I prefer Mr. R.'s style of singing, as expressive of much more feeling and study of nature. Taking every thing into consideration, the Oratorio, being the first ever attempted in the colony, cannot fail to be spoken of with feelings of delight; it speaks as to the advancement of the fine arts, and the cultivated taste of the inhabitants; and, add to that, the purport of its representation, which, I believe is, to purchase an organ, or to complete the interior of the Cathedral. Well, ma'am, they have the best of my wishes for their success, in spite of my severity, as you term it; but, when I am asked for my opinion, I give it freely as I feel it, and should do the same were I reporter to a newspaper.

Mrs. M. I am obliged to you; and believe it to be an impartial one. - Give my respects to Mrs. T. - Good morning.

"MUSIC", Dublin Evening Packet and Correspondent [Ireland] (6 April 1837), 3

A musical festival took place at Sydney, New South Wales, in September, which Mr. Wallace (late of Dublin) conducted. The Sydney Herald says - "He led in his usual masterly style, and embraced only an opportunity giving the audience one his most delightful solos." The performance of the oratorio commenced with the seraphine, imported to that colony by Mr. Ellard, formerly of Dublin. The overtures to Joseph and Zara were played amongst other pieces. Upwards of 330l. was collected. Major England allowed the band of the 4th regiment to aid the performances.

Letter, John Bede Polding, Sydney, to Mr. Hepton [Paulinus Heptonstall] (6 May 1838); ed. in Birt, Benedictine pioneers, 1, 320-21 (DIGITISED)

. . . Our choir goes on prosperously. It is far superior to what it was under Mr. [321] S's management. Apropos, Mr. S has taken with him or put out of the way, a quantity of music arranged for the last festival [i.e. the 31 January oratorio]. I cannot say how much he is censured by the musicians for this nonsense. To him it cannot be of any service; to us, of great. It has much injured him in the esteem of those by whom he wished to be deemed a badly used man . . .

ASSOCIATIONS: John Benedict Spencer (who had since left the colony)

Diary of Alexander Brodie Spark, 30 September 1836; ed. Abbott and Little, The respectable Sydney merchant, 67 

30th . . . Viewing some good paintings at James & Co.'s Rooms, consigned to Wilson Brothers. Introduced by Mr. Plunkett to Mr. Wallace the Musician who wishes me to import Pianos on his account . . .

ASSOCIATIONS: John Hubert Plunkett

21 October 1836, theatrical performance, 4th Regiment (benefit for Sydney Dispensary), Theatre Royal, George Street, Sydney

"Amateur Theatricals", The Australian (18 October 1836), 2 

The soldiers of the King's Own Regiment, play on Friday next for the benefit of the Sydney Infirmary. If there were no other motive, this would be sufficient to bring a full house. We are happy to hear of the few hours of relaxation which the duties of a soldier allow him, so creditably employed. We hear that Mr. Wallace has very generously promised to play on the occasion, and that Mr. Josephson has made the same liberal offer.

"NEWS OF THE DAY", The Sydney Monitor (19 October 1836), 2 

The soldiers of the 4th will act a play at the Theatre on Friday evening, for the benefit of the Sydney Dispensary. It is said that Messrs Wallace and Josephson have offered to assist the band of the 4th on the occasion.

[Advertisement], Commercial Journal and Advertiser (19 October 1836), 1 

[News], The Australian (25 October 1836), 2 

The soldiers of the 4th Regiment performed at the Theatre on Friday night for the benefit of the Sydney Dispensary. The performance went off with eclat, but the principal attraction of the evening was Mr. Wallace, who executed one of his favourite pieces on the violin. The house was crammed.

[News], The Australian (25 November 1836), 2 

We hear that it is the intention of Mr. Wallace to give a Concert in the course of a fortnight in Parramatta.

"NEWS OF THE DAY", The Sydney Monitor (30 November 1836), 2 

. . . Mr. Wallace's Parramatta Concert is announced for the 7th December; to the great gratification of the ladies of that town . . .

7 December 1836, concert, William Vincent Wallace (6th benefit), Nash's Hotel, Parramatta, NSW

[Advertisement], The Sydney Gazette and New South Wales Advertiser (6 December 1836), 1 

Mr. W. Wallace
BEGS to ANNOUNCE that his
On this Occasion be will be assisted by
Miss E. Wallace, Mrs. W. Wallace, Mr. S. W. Wallace, and the Gentlemen amateur who was so favourably received at Mr. Wallace's last Concert in Sydney.
1. Overture to Semiramide - Rossini 2. Song - Cease thus to palpitate - Rossini - Miss E. Wallace
3. Brilliant Variations (Pianoforte) - Herz - Mr. Wm. Wallace
4. La Sentinelle - French Air - Amateur
5. Song - Rise gentle Moon - Barnett - Miss E. Wallace
6. Concerto Flute - Drouet - Mr. S. W. Wallace
7. Duet - O Pescator del Onda - Mozart - Miss E. Wallace & Amateur
8. Concerto Violin - Introducing the Favorite Irish Melody of Savourneen Deelish - Mr. Wm. Wallace.
9 Overture to Gustave - Auber
10. Cavatina - Una Voce - Rossini - Miss E. Wallace
11. Duet - Flute and Pianoforte - Mr. S. W. Wallace & Mr. W. Wallace
12. Quel Plaisir de Soldat - Boildieu - Amateur
13. Swiss Melody - Miss E. Wallace
14. Duet - La ci darem la Mano - Mozart - Miss E Wallace & Amateur
15. Fantassia Violin (Paganini) in which will be introduced (by desire) 'Tis the last Rose of Summer - Mr. W. Wallace
16. Finale - Overture to Fra Diavolo - Auber
By the kind permission of Colonel French, Mr. Wallace will be allowed the aid of the Band of the 28th Regiment.
Tickets 7s. 6d. each, to be had at Mr. Nash's Hotel, and Mr. S. Wallace, George-street, Parramatta.

ASSOCIATIONS: The "amateur" was almost certainly, again, Charles Rodius

"Music", The Sydney Monitor (21 December 1836), 3 

We request such of our readers as love good music to read the following -

"In music, the Greeks, if we may judge from their poetry and all their arts, or from the Celtic music of the present day, possessed only a simple melody. Nay, we are told, that they actually proscribed harmony, as leading to abuse; to a mistake of the means to the end; of the resources of the instrument, for the power of expression. German music, on the contrary, is a complicated harmony, in which all these mistakes are made; a sort of arithmetical music, or musical arithmetic; an exhibition chiefly of instrumental power, which has no further influence over the affections, than in producing (its most suitable attribute) that sort of grin, which those who affect to understand and be pleased with it, assume; and which is admirably contrasted with the natural expression of delight with which the very same faces beam, when a simple melody I happens to spring forth, from the nonsense and the horrors of complicated and arithmetical harmony." (Walker on Physiognomy.).

The author has, perhaps, rather caricatured his subject, but still, even a caricature gives the main likeness of the persons and things caricatured. In like manner, the above description gives the main likeness of the thing described.

The taste of New South Wales in music, has yet to be formed. From what we have seen of Mr. Wallace, he is just the man to give us a false German taste. He is an exquisite artist, but no musician. He handles the violin with the legerdemain of a conjuror; he touches it with exquisite manual delicacy; but that is all. He brings out tones, but seldom any music. He is an artist; but music he does not seem to understand; or, if he understand it, he is too much an artist to display it. He pleases lovers of the legerdemain, but he makes nobody feel. He excites surprise, but he never kindles sentiment. He commands our admiration, but he neither fires our passions nor melts us into tenderness. In short, he is like a good watch-maker.

Miss Wallace's style is too much like her brother's; all mechanism. In Miss Deane's, we sometimes perceive a soul. If Miss Deane will but permit that soul to break forth, in defiance of mechanical precision and obstruction, she will be a musician. Mr. and Miss Wallace are too much of barrel-organs. After you have heard them once, it is the same thing over and over again. In short, if you want to hear music in Sidney, you must go to St. Mary's Chapel of a Sunday; and even at St. James's you may be made to feel. But as to our concerts, they have never exhibited any music; the Oratorio excepted.

While we thus object to the taste of Mr. Wallace, we are not insensible to the great talents of that gentleman, both as a violinist and as a pianist. In both instruments, his efforts appeared to us, who never heard Paganini, astonishing. As a timist also, he excels. His command, energy, and precision at the Oratorio, raised him high in public estimation.

"DOMESTIC INTELLIGENCE", The Sydney Herald (22 December 1836), 2 

We are requested to state that Mr. Wallace's Concert, at Windsor, is postponed for a week.

[Advertisement], The Sydney Herald (26 December 1836), 1 

Postponement. MR. W. WALLACE BEGS to acquaint his Friends and the Public, that his CONCERT, advertised to take place at Windsor on the 28th December, is unavoidably postponed till Wednesday, the 4th January, 1837.

1837 (Britain and Ireland)

"AUSTRALIA", The atlas [London, England] (26 February 1837), 2

. . . The Australian Reformer gives a flourishing account of music in Sydney. Messrs. Wallace and Dane [sic], it says, will raise young musicians to make a creditable colonial orchestra . . .

"SYDNEY PAPERS", Saunders's news-letter [Dublin, Ireland] (3 April 1837), 2

A musical festival look place in September, which Mr. Wallace conducted. The Sydney Herald says, "He led in his usual masterly style, and embraced only an opportunity of giving the audience one of his most delightful solos." The performance of the oratorio commenced with the seraphine imported to that colony by Mr. Ellard, formerly of this city. The overtures to Joseph and Zara were played amongst other pieces. Upwards of 300l. was collected. Major England allowed the band of the 4th regiment to aid in the performances.

"MUSIC AT SYDNEY", Chambers Edinburgh journal [Edinburgh, Scotland] 275 (6 May 1837), 117

A FILE of colonial newspapers is apt to be a source of considerable entertainment. It is particularly so if the colony be new and small, and things be only, as it were, in the bud. It is then most amusing to observe how minds, which, at home, would be making a stir about great matters, go to work when they have to agitate about things comparatively little, and how the terms and modes of speech customary here, look, when applied with the same seriousness to the miniature concerns of one of these infant states. The squabbles, too, and bickerings which are incessantly going on amongst colonial editors, are extremely amusing at this cool distance, where nothing is intelligible but that two or three honest gentlemen have been grievously offending each other's love of approbation.

Number three of "The Reformer," a fortnightly paper commenced in June 1836, at Sydney, contains an article under the title of "Music in Australia," in which the editor gives an account of certain concerts which had recently taken place in the Australian capital. Both for the information it conveys, and the designed or undesigned humour which lurks in the composition, this article is worthy of the notice of our readers. The writer commences by stating that, when he arrived in the colony four years ago, music was little in fashion, partly in consequence of the troubles at the end of Governor Darling's administration. For six months, sad to relate, there had not been a single concert in Sydney.

"It was the arrival of Mrs. Taylor, and then subsequently of Mrs. Chester, that roused, as it were, the musical lethargy of New South Wales; but it cannot be said that music was fairly established amongst us, until the tide of emigration brought to our shores Messrs. Wallace and Deane. When the first of the named gentlemen arrived in Sydney, there were persons who said, it was an act of folly that a man of his acquirements should have ventured to come to Botany Bay, and it was asserted, that he would have to expiate such a want of judgment as this. We were never of the same opinion; and we were not mistaken. The first and the second concerts, although succeeding each other rapidly, were crowded to excess; and as it is required to speak sometimes in figures, we believe that L.80 at least were cleared each time. But what must have been the astonishment of the idiots and circumscribed amongst us, when, about six months after the arrival of Mr. Wallace and his family, Mr. Deane also (member of the Philharmonic Society of London) removed him self and family from Van Diemen's Land to New South Wales. As we are never despairing, we did not despair either, in seeing such a vast accumulation of musical talent pour into our colony. We said to ourselves, there are capitalists and settlers of from fifty thousand to five and six thousand pounds of income a-year, there is a high-salaried governor, there are well-paid public officers amongst us. It is impossible that they should not imitate, I would not just say the king, but the respectability and wealth of Great Britain. * * * Several concerts were given both by Mr. Wallace and Mr. Deane; and it must be said, as being very creditable to our public, that every one of them (with the exception of one) was very well attended - and the indifferent attendance of that one was caused by excessive bad weather. We have heard, beginning with Beethoven and Paganini, almost every virtuoso in Europe; we have practised music ourselves in the happier days of our youth; we have therefore some right to review freely the prominent talents which the colony possesses at the present moment."

He then describes Mr. Wallace as one who would be considered "a good solo-player, even in one of the first-rate theatres at home." There are "tones of his" that the colony "does not yet thoroughly comprehend," but he believes it will "grow up to them." Mr. S. W. Wallace is "a very feeling, nay, original flute-player;" and Miss E. W. is "a juvenile performer," whose voice is "even now sweet and melodious," though she is as yet deficient in the pronunciation of Italian. Mr. Deane is "a very diligent and attentive leader, a good performer, and well versed in the theoretical part of music. How beautifully did he lead the quintette of Haydn; such a thorough-wrought piece of music must affect every mind. * * * * It creates a very homely feeling to see Mr. Deane busying himself about his numerous family, for the sake of procuring us recreation, elation, and refinement of mind. Miss Deane labours under the same advantageous predicament as Miss Wallace - she is also very young. It is very creditable to Mr. Deane, to have formed such a skilful pupil as his daughter is. Many hours and days must have passed by, to bring forth such precocious accomplishments. There is no hesitation, there is no mistake in Miss Deane's playing. Look at her Greek March! There she begins, and there it runs on clear and perfect to the very end. Some passages are even sublime, and who can say how far Miss Deane will improve, when she also will have become a big girl. Master E. Deane is rather a phenomenon, and we have never before seen a boy of his age managing the violoncello as he does."

Mrs. Chester, "although the last in our article, is not the least among our colonial performers. She has the strongest, most sonorous, and expressive voice, we have heard in the colony. Amongst other songs, her Auld Robin Gray is an admirable piece, which we would not be tired to hear day after day. But having spoken of Mrs. Chester and our other virtuosoes, we must now observe, that all and every one of them are labouring under a most perplexing disadvantage, and this is the want of a proper orchestra. Look how things are going on at home. There is a band of, say a hundred, or sixty, or forty musicians; the leader with the roll of paper in his hand gives the majestic sign; a whirlwind, a thunder of tones is coming forth; the minds of the audience, as well as that of the virtuoso, are wound up to a proportionate degree of elation; and lo! out of that chaos of tones emerges, like upon celestial wings, the glaring utterance of the virtuoso. He dwells some longer or shorter time in the regions of his fancy and imagination, and when he arrives at a certain stop, a mass of tones is echoing him, mingling, as it were, their joy with the applause and cheering of an electrified audience. How different to this are our present concerts! The tones of a Wallace, of a Chester, of a Miss Deane, are accompanied by the confounded scraping of some botching fiddler; and if there is not a superabundant stock of feeling in the minds of the principal performer, it is certainly not by this accompaniment that such can be ever elicited.

We want therefore a regular orchestra. We want a regular orchestra for the new theatre now erecting - we want one for each of our two cathedrals, &c. The colony is advanced enough, and the treasury is rich enough, that such and similar refinements might be now expected. It would be very expensive to have the performers written for from England, especially as fate, as it were, has cast on our shores a superabundance of musical talent. It was to such immigration of foreign talent, that in the middle ages the Italian states were indebted for that splendour in arts and sciences to which they finally arrived. It was not by sorcery and magic that they reached that splendour. It was because their Sir R. Bourke's, their H. McArthur's, their Sir J. Jamieson's, S. Terry's, &c. were men possessing national pride, and willing to give bread to such immigrants as well out of their own pocket as out of the public revenue. It is said, that the present governor is fond of music, and so it may be. But we beg leave to remind his excellency, that it is not by taking a few tickets that such national improvements as the above will ever be accomplished. If fate had cast during his reign painters on our shores - well, then it would have been in his power to give, in the first instance, this direction to the colony. As things stand now, it is in his hands to make it an eminently musical country."

The article ends with some specialties more for the consideration of the governor than of our readers.

ASSOCIATIONS: The anonymous author of the article, thus lambasted and quoted at length, was the editor of The reformer, John Lhotsky.

1837 (Sydney)

To call up all the TROVE newspaper items tagged William Vincent Wallace for 1837: 

Windsor Court House, c.1870

Windsor Court House, built 1821, design by Francis Greenway (1777-1837), photograph c.1870s

3 January 1837 (postponed from 28 December 1836), concert, William Vincent Wallace (7th benefit), court house, Windsor

[Advertisement], The Australian (3 January 1837), 1 

Leader of the Anacreontic Society, and Professor of Composition, Royal Academy
Will take place on WEDNESDAY, January 4th, 1837,
1. OVERTURE - Der Freischutz - Weber
2. SONG - Cease thus to palpitate - Rossini - MISS E. WALLACE.
3. SOLO, Piano Forte - Herz - MR. WALLACE.
4. FRENCH AIR - La Sentinelle - Boildieu - AMATEUR.
5. SONG - Rise gentle moon - Barnett - MISS E. WALLACE.
6. CONCERTO, Flute - Drouet - MR. S. WALLACE.
7. VOCAL DUET - O Pescator dell'Onda - Mozart - MISS E. WALLACE and AMATEUR.
8. GRAND CONCERTO, Violin - Mayseder in which will be introduced the favorite Irish Melody, Savourneen Deelish - MR. W. WALLACE.
9. OVERTURE - Italiana in Algieri - Rossini
10. CAVATINA - Uno Voce - Rossini - MISS E. WALLACE.
11. DUET, Piano and Flute - Henz - W. & S. WALLACE.
12. IRISH MELODY - Believe me if all those endearing young charms - AMATEUR.
14. VOCAL DUET - La ci Darem la Mano - Mozart - MISS E. WALLACE and AMATEUR.
15. FANTASIA - Dedicated to Paganini, introducing 'Tis the last Rose of Summer, Violin - MR. W. WALLACE.
16. FINALE - Overture to Il Barbiere de Siviglia
Tickets 7s. 6d. each, to be had at Mr. L. WHITE'S, Windsor.
By the kind permission of Colonel Wodehouse, Mr. Wallace will be allowed the aid of the Band of the 50th, Queen's Own Regiment.
In order that Families residing at some distance from Windsor may have an opportunity of attending this Concert, Mr. W. Wallace is induced to commence it at Four o'Clock, P. M., which arrangement will enable them to reach their Homes at an early hour in the evening.

ASSOCIATIONS: Band of the 50th Regiment; the "amateur", again, almost certainly, Charles Rodius; Alfred Cox was probably among the audience

"THE RIVAL CHIEFTAINS", The Sydney Gazette and New South Wales Advertiser (10 January 1837), 3 

Mr. Deane and Mr. W. Wallace both announce their intentions of giving a concert on Wednesday the 18th instant. Surely there must be some mistake in this. We should be sorry to find that musicians like doctors sometimes differ. We cannot afford it here at all events, where these gentlemen are so scarce.

NOTE: In fact, on the same page of the same issue, Wallace and Deane advertised that they were giving the concert together

[Advertisement], The Sydney Gazette and New South Wales Advertiser (10 January 1837), 3 

[Correction], The Sydney Gazette and New South Wales Advertiser (12 January 1837), 2 

A curious mistake occurred in our last Journal under the head of "The Rival Chieftans." It arose from two advertisements in the Commercial Journal, one being under the other setting forth that Messrs. Wallace and Deane intended each to have a concert upon the same evening, not having consulted each other upon the subject, and consequently unacquainted with the circumstance. Upon matters being explained, it appeared one had obtained the band and the other the room; it was, therefore, thought most beneficial that the concerts should he combined, and it was acted upon accordingly.

"SMALL TALK", The Sydney Monitor (11 January 1837), 2 

. . . Mr. Wallace and Mr. Deane we are happy to say have joined issue, and propose giving a Concert in Concert, on Wednesday the 18th Inst. This is as it should be . . .

. . . We have received a communication from an inhabitant of Campbell Town, calling the attention of Mr. Wallace to that neighbourhood and expressing a wish that he would favour them with a concert. Mr. Wallace must be the best judge of his own interests and provided he thought it would PAY would no doubt acceed to the proposal.

[2 news items], The Sydney Gazette and New South Wales Advertiser (19 January 1837), 2 

In consequence of the inclemency of the weather, the contemplated concert of Messrs. Wallace and Deane was postponed from last evening till Wednesday, 1st February. The quantity of rain which has fallen within the last two days has had the effect of rendering the road at the back of the Barracks totally impassible, the depth of mud in some places is nearly two feet. 

It is a somewhat singular coincidence that Mr. Wallace, during the period he has taken up his abode amongst us, has always held his concerts upon a Wednesday, and upon each occasion it has invariably rained, no matter whether summer or winter; but, as a set off to these disappointments, Mr. Wallace's concerts were always respectably and fully attended.

"Domestic Intelligence", The Sydney Times (21 January 1837), 2 

We are pleased to notice the co-operation of Mr. Wallace and Mr. Deane, who give a Concert at the Pulteney on Wednesday Evening, the 1st proximo, for their mutual benefit. Sydney is about to sustain a serious loss in the person of Mr. Wallace, who is preparing to return to England to lead the Orchestra of Govent Garden Theatre; a proof that his great musical talent as a Violonist is appreciated at home. This Concert was to have taken place on Wednesday last, but from the inclemency of the weather was very judiciously postponed.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 January 1837), 3 

MR. W. WALLACE REQUESTS leave to inform those Ladies and Gentlemen who may be desirous of completing their Studies on the Pianoforte or the Guitar, under his direction, that he purposes leaving this Colony for England in three months from the present date. Bridge Street, 20th Jan., 1837.

26 January 1837, anniversary day, high mass, St. Mary's Cathedral, Hyde Park, Sydney

"DOMESTIC", The Australian (24 January 1837), 2 

On Thursday next, the Anniversary of the foundation of the Colony, High Mass will be celebrated, an appropriate sermon will be preached, and there will be a performance of some delightful sacred music. The band of the 4th Regiment will be in attendance, and Mr. and Miss Wallace, and the principal vocal and instrumental performers have volunteered their services on this interesting occasion. Some of the pieces performed at the late Oratorio will be repeated on this occasion.

"DOMESTIC INTELLIGENCE", The Sydney Herald (30 January 1837), 2 

High Mass was celebrated by Doctor Poulding, and a variety of Sacred Music performed, in the Roman Catholic Church of St. Mary, Hyde Park, on Thursday last, in solemnization of the Anniversary of the foundation of the Colony . . .

ASSOCIATIONS: John Bede Polding (Catholic bishop of Sydney)

Other advertised occasions at St. Mary's at which the Wallaces probably assisted:

[News], The Sydney Gazette and New South Wales Advertiser (18 February 1837), 2 

The Rev. Mr. McEncroe will preach a subscription sermon at St. Mary's Church, in aid of the funds of the Benevolent Asylum, (not the temperance society!) on Sunday, the 20th instant, on which occasion high mass will be performed by the Bishop, and a selection of sacred music will he performed on the occasion.

"DOMESTIC", The Australian (21 March 1837), 2 

We understand that there will be a grand performance of sacred music at St. Mary's Church on Easter Sunday.

[News], The Sydney Gazette and New South Wales Advertiser (4 May 1837), 2 

A grand Musical Performance will take place at the Catholic Chapel on Witsunday [sic], at which it is expected all the vocal talent of Sydney will assist.

1 February 1837, concert, William Vincent Wallace (8th benefit) and John Philip Deane (benefit), saloon of the Royal Hotel, George Street, Sydney

[Advertisement], The Sydney Gazette and New South Wales Advertiser (31 January 1837), 3 

Postponed to the 1st Proximo.
BEG to announce their intention of giving a Concert of Vocal and Instrumental Music, in the Saloon of the Royal Hotel on
Wednesday evening, the 1st of February, 1837.
On this occasion they will be assisted by Miss Deane, Miss E. Wallace, Miss C. Winstanley, Mr. S. W. Wallace, Master J. P. Deane, Master E. Deane, Mr. J. F. Josephson (who has kindly consented to play a Solo on the Flute), and the Gentleman Amateur who was so favourably received at the last Concert.
1. OVERTURE - Der Freischutz - - Weber - 4th Band
2. GLEE - The Foresters - Bishop
3. CAVATINA - Una Voce - Rossini - Miss E. Wallace
4. SOLO - Piano-forte - March in Otello - Herz - Miss Deane
5. SONG - Portrait Charmant - French Melody - Amateur
6. SONG - Rise gentle moon - Barnet - Miss E. Wallace
7. DUET - Flow on thou shining river - Moore - Miss Winstanley & Mr. E. Deane
8. Concerto - Violin - Mayseder - Mr. W. Wallace
9. OVERTURE - La Dame Blanche - Boildieu - 4th Band
10. GLEE - Viva Enrico
11. Duet - O Pescator dell'Onda - Mozart - Miss E. Wallace and Amateur
12. CONCERTO - Flute - Tulou - Mr. J. F. Josephson
13. SONG - Black-eyed Susan - Miss E. Wallace
14. SOLO - Violoncello - Master E. Deane
15. DUET - As it fell upon a day - Bishop - Miss Deane and Master E. Deane
16. FANTASIA - Violin - In which will be introduced the Coolun, an Irish Melody - Mr. W. Wallace.
N. B. - By the kind permission of Major England the aid of the Band of the 4th (King's Own) Regiment will be allowed.
Single tickets, 7s. 6d. each; Family ditto, to admit Four, £1 1s. To be had at Mr. Ellard's Music Warehouse, and of Mr. Tyrer, George-street.
Concert to commence at Eight o'Clock.

ASSOCIATIONS: the "amateur", again, almost certainly, Charles Rodius

[News], The Colonist (2 February 1837), 2 

The Concert given by Messrs. Wallace and Dean last night, was numerously, and respectably attended, and the performances were such as to do credit to those concerned. We were particularly pleased with Miss Wallace's style of singing Black Eyed Susan; this young lady is greatly improved since we last had the pleasure of hearing her. Mr. Rhodius distinguished himself as usual by the sweetness of his voice and purity of style. Master Dean astonished the audience by the correctness with which he performed a difficult piece on the violencillo [sic]. We have heard Mr. Wallace play better than he did last evening, yet his performance was such as to cause us to regret that we shall shortly loose this talented gentleman.

"Concert", The Sydney Monitor (3 February 1837), 3 

On Wednesday evening Messrs. Wallace and Deane gave a Concert at the Royal Hotel. There were about 200 persons present. As a whole the performance was highly creditable to the Managers. The band of the 4th regiment contributed to the evening's entertainment, as well by their vocal as by their instrumental performances. Miss E. Wallace sang Una Voce with skill; but the public taste, we are happy to find, is gradually getting weary of the Rossini style, and to our imagination Miss W. appeared to much more advantage in the famous old English ballad of "Black eyed Susan" which displayed the full rich compass of her voice to advantage. An amateur was greatly admired in the French melody Portrait Charmant and encored. Flow on thou shining River, as a juvenile performance between Miss Winstanly and Master E. Deane was, notwithstanding the former's timidity, well sung, and on being encored elicited applause. O Pescator dell'Onda was very sweetly sung by Miss E. Wallace and an Amateur. Master E. Deane's performance on the violincello was encored; he displayed great skill considering his extreme youth. Mr. J. F. Josephson contributed much to our pleasure by his execution on the flute. The violin performances of Mr. Wallace, we need not say, gave ample satisfaction; in fact, to be fully appreciated, they must be heard. Miss Deane appeared unwell, it is not fair therefore to judge of her singing, her performance on the piano displayed taste. A grand piano should, if possible, be procured for concerts; the upright piano's not giving sufficient body to the music.

"CONCERT", The Australian (7 February 1837), 2

On Wednesday night last we did ourselves the pleasure to attend the musical entertainment given by Messrs. Wallace and Deane. To those who are already acquainted with the respective excellence which these gentlemen have attained in their profession, it will not now be necessary to say more in their praise. To those (and we hope they are few,) who know it but by report, we can only say that we regret they were not present on this occasion, to witness how truly that report has spoken.

The Concert opened with the overture to Der Friestchutz [sic], which was executed by the Band of the Fourth, with their usual success. Miss Wallace sang the difficult air of Una Voce, and the ballad of Black-eyed Susan, with all the effect that can result from the union of power of voice, scientific method, and diligent study. Portrait Charmant was beautifully sung by the gentleman amateur, who has lately made his debut at our Sydney concerts. The Concerto on the flute of Mr. Josephson was played well, although in our opinion, some of his performances at previous Concerts were far superior. The Solo on the Violoncello, by Master Deane, was as a juvenile performance, surprising, and clearly shewed that the natural talent of this young gentleman must be very great, and his study unremitting. He also distinguished himself in two Duets with Miss E. Winstanley. This young lady, as far as her tender age will allow an opinion to be formed, possesses great capabilities as a singer, and we have no doubt that under the able tuition of Mr. Deane (of whom she is at present a pupil), they will be brought into such celebration as to render her in time a most excellent singer. O Pescator dell'Onda was sung as a duett by Miss E. Wallace and the Amateur, in a manner both tasteful and harmonious. We must not forget Miss Deane's performance on the pianoforte, which obtained for her high and well merited applause. Of Mr. Wallace's performance on the violin, it is really unnecessary for us to write, his execution on that instrument being so well known; but we cannot refrain from a passing tribute to his Concerto of Mayseder, and to express our deep regret at the public announcement of his intended departure from this Colony.

The members of the Band sung two glees in the course of the evening, and were much applauded. The room was nearly full, and every person left highly delighted with the various performances of the evening.

1 February 1837, publication, William Vincent Wallace (music composed), John Gardner Austin, Sydney

Echo's song, Wallace (Sydney, 1837), 2

Echo's song

Echo's song; the words by Robert Stewart Esqre.; composed & dedicated to his friend Mrs. C. Logan of Hobart Town by Willm. Wallace, late leader of The Anacreontic Society Dublin

(Sydney: Printed by J. G. Austin & Co., [1837])

Copy at the National Library of Australia (DIGITISED)

[News], The Colonist (2 February 1837), 2 

A piece of colonial music was ushered into existence yesterday. It is entitled, Echo's Song - the words by Mr. R. Stewart, and the music by Mr. W. Wallace; it is simple and pretty.

"MUSIC", The Sydney Herald (2 February 1837), 2 

We have received from Messrs. Austin and Co., a new musical production called the "Echo Song; the words by George [sic] Stewart, Esq., composed and dedicated to his friend Mrs. Logan, of Hobart Town, by William Wallace, late leader of the Anacreontic Society, Dublin." We have not had leisure to look into the merits of the publication - the name of William Wallace, however, is a sufficient recommendation to the musical folks of Sydney.

[News], The Sydney Gazette and New South Wales Advertiser (2 February 1837), 2 

Mr. Stewart, the Chairman of the Quarter Sessions, has composed a very pretty little song , called "Echo's Song," which he has dedicated to Mrs. C. Logan, of Hobart Town; it has been set to music by Mr. W. Wallace, and is printed by Austin & Co., in a style that does these gentlemen credit. The printing of the music is excellent, but the printing of the words have not been taken the same pains with. It is to be had at Messrs. Ellard, Tyrer's and at the printers.

"NEWS OF THE DAY", The Sydney Monitor (3 February 1837), 3 

We have been favoured by the publisher with a copy of a new piece of music, styled "THE ECHO'S SONG - the words by R. Stewart, Esq., the music by Mr. W. Wallace. We shall take an early opportunity of obtaining the opinion of some of our fair friends on its beauties. It is rather out of our line.

ASSOCIATIONS: Robert Stewart (magistrate, amateur poet); John Gardner Austin (printer, publisher); Mrs. C. Logan, the dedicatee, is Wallace's maternal cousin, Maria Logan

[News], The Australian (3 March 1837), 2 

We understand that Mr. W. Wallace has just received from England a number of superior Piano-fortes of all descriptions, and of the first class. They were selected by Mr. Herz in England.

[News], The Sydney Monitor (27 March 1837), 2 

We understand, that it is in contemplation to give a concert of vocal and instrumental music on the return of His Excellency from Port Phillip, for the benefit and relief of the unfortunate survivors of the Lady McNaughton, under the immediate patronage of the Ladies' Committee and Sir Richard himself. All the musical fraternity have generously volunteered their assistance upon the occasion; and we are convinced there is not a single individual in our community, who has the means, but will be proud of the opportunity afforded him, of contributing his mite in aid of a distressed fellow creature. - Gazette.

[If this be true, we hope Bishop Poulding will lend St. Mary's Chapel on the occasion, and that the price of the tickets, and all the arrangements, with Mr. Wallace for leader, which took place on the last concert in that superb structure, will be the determination of those, who may humanely get up so excellent a species of public benevolence. We are certain that a crowded Chapel would be the result. - ED.]

[News], The Sydney Gazette and New South Wales Advertiser (28 March 1837), 3 

Mr. S. Levien, the respectable Host of the Pultney Hotel, has authorised us to state, that in the event of a Concert being given (as stated in our last number), for the benefit of the unfortunate Emigrants by the Lady McNaughton, he will be happy gratuitously, to light up and allow the use of his Ballroom for the occasion. While we cannot but give Mr. Levien every credit for his generosity, we should be inclined to prefer the Saloon of the Royal Hotel, as being the larger of the two, and we are sure every one who has the slightest spark of compassion in his composition will come forward and patronise so praiseworthy a motive. Mr. W. Wallace the Australian Paganini, we learn proposed the Concert in the first instance, and offered his powerful assistance.

[Advertisement], The Sydney Monitor (31 March 1837), 3 

MR. WILLIAM WALLACE begs to invite the attention of the Public to the must splendid and valuable consignment of Piano-fortes ever imported to this Colony. They are selected expressly for Mr. Wallace, by the celebrated composer and pianist, Henry Herz, and may be seen at Mr. Ellard's Music Saloon, George-street.
N. B. - Mr. W. has also received an elegant assortment of the newest Music, by the most eminent composers.

6 April 1837, theatrical performance, George Sippe and Mr. Wilson (joint benefit), Theatre Royal, George Street, Sydney

[News], The Australian (4 April 1837), 2 

Messrs. Sippe and Wilson, the conductor and the leader of the Orchestral Band at the Theatre, take their Benefit on Thursday next. The pieces to be performed are entitled the Chelsea and Greenwich Pensioner, and the Dog of Montargis. Mr. W. Wallace the Australian Paganini will perform a grand concerto on the violin, and the Orchestra will be supplied with the talent of Mr. Deane and Sons and the Band of the 4th or King's Own Regiment.

[Advertisement], The Sydney Herald (6 April 1837), 1 

Theatre Royal, Sydney.
THE Public are respectfully informed that the Benefit of
will take place THIS DAY, 6th April, 1837,
oh which occasion Mr. Wallace has kindly offered his valuable services, gratuitously . . .

[News], The Sydney Gazette and New South Wales Advertiser (6 April 1837), 2 

There are but three nights of the present season of the Sydney Theatre under the Lesseeship of Mr. Wyatt, which will be disposed of in the following manner: - This evening Messrs. Sippe and Wilson will take a joint benefit; the one being the composer and arranger, the other the leader of the orchestra. The great novelty of the evening will be the performance of Mr. Wallace, who will perform upon the violin the grand variations on NEL COR PIU, composed by Paganini . . .

"NEWS OF THE DAY", The Sydney Monitor (7 April 1837), 2 

Yesterday evening, during the performance of Mr. Wallace on the violin, a Tar who had been sitting on the front of the upper boxes was so carried away by the performance that he found himself making a descent to the dress circle through the canopy of the Governor's box, much to the amusement of the audience . . .

"DRAMA", The Sydney Gazette and New South Wales Advertiser (8 April 1837), 2 

On Thursday evening the Theatre was opened for the benefit of Messrs. Wilson and Sippe, when "Chelsea and Greenwich; or, the Pensioners," was played for the first time. The grand attraction of the evening was Mr. Wallace's grand variations on Nil Cor Pui [sic], which were of the most splendid description. A variety of entertainments followed, and the evening's amusements wound up with the "Dog of Montargis." The house was but thinly attended.

"THEATRE", The Australian (11 April 1837), 2 

On Thursday evening Sippe and Wilson's benefit took place, and a very respectable audience filled the dress circle, the other parts of the house were well attended. During the evening some very fine overtures were played. The performance commenced with a new drama, called the Chelsea Pensioner . . . Mrs. Taylor as the Heroine of the drama . . . introduced an old English Ballad, named Far, far at Sea, and executed it most ably; her performance gave abundant satisfaction. The denouement is not well managed, the fault is the Author's. After which, Mr. Wallace played a solo; we have so often spoken of this great Master of his Art, that we need but now say he played as he is wont to do. Mrs. Taylor again sang the Broom Girl; certainly she was in very fine voice, and introduced many more embellishments than this trifle requires, her excellent singing, combined with her humourous bye-play, called forth an unanimous encore.

[News], The Australian (14 April 1837), 2 

Nothing can be a surer indication of the prosperity of the Colony than the number of costly and splendid pianofortes sold at Mr. Ellard's within the last month, which were lately imported by Mr. Wallace. Among the purchasers we find the names of Messrs. Deas Thomson, Edye Manning, Plunkett, Robert Scott, Colonel Wall, and many other highly respectable Colonists. We understand that a partnership is about to be entered into between Mr. Wallace and Mr. Ellard. By the combination of Mr. Wallace's taste in the selection of instruments and music and the thorough knowledge acquired by Mr. Ellard in a most extensive manufactory, of the mechanical part of the profession; we could boast of possessing a musical establishment that might be compared with propriety to any in the Mother Country. The resources of the piano and violin were never completely displayed until the arrival of Mr. Wallace on our shores, and the magical effects produced by that "Virtuoso," have certainly led our "Dilletanti" to enter "Con Anima" into the systematic cultivation of an art so conducive to social intercourse, and to the abolition of discord among our Colonial gentry - "a consummation devoutly to be wished." - Correspondent.

View of the town of Parramatta from May's Hill, c.1840; attributed to G. E. Peacock (detail); State Library of New South Wales

View of the town of Parramatta from May's Hill, c.1840; attributed to G. E. Peacock (detail); State Library of New South Wales (DIGITISED)

[News], The Sydney Gazette and New South Wales Advertiser (15 April 1837), 2 

Mr. W. Wallace Senior, Professor of Music, Parramatta, has purchased about 2,000 volumes of Standard Works, preparatory to opening a circulating library, and reading room. The premises which are lining up for the purpose, are Harvey's buildings. This is the first step to introduce literary pursuits, and we hope it may be crowned with success.

9 May 1837, theatrical performance (benefit for the emigrants on the Lady McNaughton), Theatre Royal, George Street, Sydney

[News], The Australian (25 April 1837), 2 

The Performance for the Benefit of the Emigrants, per Lady McNaghten [sic], will take place on Tuesday next, under the patronage of His Excellency the Governor. Mr. Wallace and Mrs. Taylor have very handsomely consented to add to the attraction of the evening by offering their performances gratuitously. This, together with the laudable object in view, will probably attract a full house.

NOTE: As a result of contagion, over 50 assisted immigrants on the Lady McNaughten from Cork, reportedly died on the voyage out; on arrival in Sydney in March 1837, the surviving passengers were quarantined, some further deaths eventuating; funds were subscribed from the public for the benefit of the arrivals

[Advertisement], The Sydney Gazette and New South Wales Advertiser (9 May 1837), 1 

Theatre Royal, Sydney . . .
ON TUESDAY EVENING, 9th May, 1837, His Majesty's servants of the 4th (the King's Own) Regiment, will perform the Romantic Melo Drama of
Bampfylde Moore Carew;
When, by particular desire, the Performances will open with Overture
Who has Kindly offered his services, will perform
A Grand Fantasia on the Violin.
In which will be introduced the favourite Scotch Airs

"THE THEATRE", The Australian (19 May 1837), 2

Theatricals have lately dwindled into such utter insignificance, that but for the advertisements, we had almost forgotten the existence of a Theatre in the Town. During the past week, however, they have had considerable claims on our attention, not only from the rich and varied talent engaged in the representations, but from the recollection that the noble object of those representations was to raise means to comfort the distressed, and to provide for the friendless - that the services of all those engaged on those occasions were rendered gratuitously; and that the Public most cordially co-operated in this benevolent undertaking.

Oh Tuesday evening the Theatre presented a very animated scene. His Excellency and Suite were present, which, with inducements of philanthropy, doubtless occasioned so numerous an attendance of most of the distinguished inhabitants of Sydney. The pieces represented were Bamfylde Moore Carew, and the Mock Doctor. The performers were volunteers from H. M. 4th Regiment . . . Mrs. Taylor, whom we have always observed to be extremely ready to contribute her powerful aid, whenever either public or private benevolence was the avowed object of the performance, sang her admired songs of Kate Kearney and Buy a Broom . . . Mr. W. Wallace also, who at all times manifests a congenial spirit of liberality and kindness, played one of his beautiful fantasias on the violin . . .

[Advertisement], The Australian (5 May 1837), 3 

MR. S. WALLACE, Professor of Music, is desirous of taking a respactable Youth as in Apprentice. He will have an opportunity of hearing the practical and theoretical part of the profession. Application to be made to Mr. S. Wallace, Professor of Music, George-street, Parramatta. A Premium will be required.

[Advertisements], The Sydney Herald (8 May 1837), 3 

PARRAMATTA. CIRCULATING LIBRARY. MR. S. WALLACE begs respectfully to inform the Ladies and Gentlemen, residents in Parramatta and its vicinity, that he intends opening his Circulating Library on the 8th of May. Catalogues, price One Shilling. George-street, Parramatta.

28 May 1837, opening mass, St. Patrick's Church (RC), Parramatta

"Opening of St. Patrick's Church, Parramatta", The Sydney Monitor (29 May 1837), 2 

Yesterday being the day appointed - the Right Rev. Bishop Poulding accompanied by the clergy, performed First Mass with the usual ceremony of opening a Church. There were about 1000 individuals present. The musical profession of Sydney rendered their gratuitous assistance on the occasion. Miss E. Wallace sang Ave verum, and Ah Perdona, in her best style. Messrs. Wallace rendered their able assistance, a collection was made during the service amounting to £45 . . .

[News], The Sydney Gazette and New South Wales Advertiser (6 June 1837), 2 

Mr. Wallace intends in the course of three weeks to get up a concert at Maitland: this will be a treat for the residents in that district of the Hunter, who are partial to a scientific, amusing, and rational recreation.

[News], The Australian (7 July 1837), 2

We understand that it is the intention of Mr. W. Wallace to give a Concert in Sydney shortly. We hope that the rumour is true, as some change of amusement is much wanting at present, and we have no doubt that it would repay Mr. W. for the trouble of getting one up.

"NEWS OF THE DAY", The Sydney Monitor (24 July 1837), 2 

A woman named Margaret Rancke was brought before Colonel Wilson, the other day, for absconding from the service of Mr. S. Wallace, of Parramatta. The case was remanded in order to procure the attendance of Mr. Wallace. On Friday he attended, and the case was gone into, and the woman sent to the factory for two months . . .

"POLICE INCIDENTS", The Sydney Gazette and New South Wales Advertiser (5 August 1837), 3 

Margaret Collins, assigned to Mr. Wallace of Parramatta, made her appearance before the bench to show cause why she should not be punished for being picked up in Sydney without a pass, contrary to the rules and regulations in such cases made provided. Margaret slated that it was some time since she had the pleasure of seeing her friends, and feeling inclined for a change of scene she took French leave, being well aware that she would only have spent her breath in vain to ask her mistress's permission. The bench disapproving of such conduct, ordered her to forwarded to Parramatta for the opinion of the magistrate in that district.

July - August - September 1837, correspondence relating to applications by Wallace and William Baker for assignment of convict engravers and printers

Letter from Raphael Clint, to the Colonial Secretary, 28 July 1837; State Archives NSW, Colonial Secretary's Correspondence, 4/2372.4 - 37/6922

[CS ANNOTATIONS] 37/6922 28th July 1837; R. Clint - Stating certain applications for assignment of a Copper Plater Printer are contrary to Requirements

Sydney, July 28th 1837

Sir, I beg to apply for the cancellation of the following previous applications for the assignment of convict mechanics on the ground of disqualification not having had any opportunity of objecting at special sessions.

1st / Mr. William Wallace, Musician, for a copper plate printed, and for a copper plate engraver - he not being qualified under the 16th section of the regulations, and not exercising either of these trades himself or by others.

2nd / Mr. Wm. Kellet Baker, a copper plate printer, and for a copper plate engraver being disqualified first as being now and at the time of application a government clerk in the office of the inspector general of hospitals - secondly under 16th section as not being an engraver, but a grocer and petty dealer to the best of my belief.

And I found the propriety of my application on the ground that those persons improperly stand in the way of the supply of those mechanics which I most require, and interpreting the 16th section according to the plain meaning that mechanics will be available in Sydney only to masters exercising the trades specified.

I have the honour to be Sir, you most obedt. servant.
Raphael Clint

The Honorable The Colonial Secretary

[DIRECTIONS TO ACTION] The Commis. of Assignments is requested to report, stating the names of the magistrates by whom the applicants referred to were recommended - July 31 1837. E. T.

The Commissioner of Assignments has the honor to report that the applications alluded to are both recommended by Mr. Windeyer and Mr. Gisborne and the applicants stated to be Engravers and Printers. Geo. M. Slade, Cm. of Ass.

Letter from Charles Windeyer and Henry Gisborne, police magistrates, to the Colonial Secretary, 22 August 1837; State Archives NSW, Colonial Secretary's Correspondence, 4/2372.4 - 37/7821

[ANNOTATIONS] 37/7821 22nd August 1837. Explanatory of recommending certain applications for Copper Plate Printers

Police Office Sydney August 16th

Sir, We have the honour to acknowledge the receipt of your letter of the 9th instant transmitting a communication from Mr. R. Clint, and requesting our explanation of the circumstances under which we recommended the applicants therein mentioned for the assignment to them of Engravers and Printers. In reply we beg to state, that the usual enquiries were made at the sessions, and the applicants considered eligible; since which a more minute investigation has been made, and it appears that -

- W. K. Baker is a copper plate engraver and works at his business.

- W. Wallace is a Musician, and seller of Music, and requires the mechanics for whom he applied for the purpose of engraving the music which he sells.

It may be that these and other parties applying for mechanics do not exclusively employ themselves in their respective trades, but the sessions have not hitherto considered that circumstance disqualifying.

We have the honor to be, Sir, you most obedient servants.

Chas. Windeyer, 2nd Police Magistrate
H. F. Gisborne, 3d Police Magistrate

[DIRECTIONS TO ACTION] Request the Commis. of Assignments to stop the assignment of these tradesmen to Mr. Wallace, as they do not come within the meaning of the 16th section of the regulations of 9th May 1835, which limits the supply to persons actually exercising the trade of the convict to be assigned which it appears Mr. Wallace does not.

Request the magistrates to act strictly in future upon this interpretation of the Regulation in question, and to inform Mr. Wallace that his application having been recommended upon an erroneous view of the same, it cannot be complied with. E.D.T. Sept 10.

MY THANKS: To Megan Martin for kindly bringing this documentation to my attention

ASSOCIATIONS: William Baker (printer); Raphael Clint (printer, engraver); Charles Windeyer (magistrate); Henry Gisborne (magistrate); Edward Deas Thomson (colonial secretary)

1 August 1837, concert, William Vincent Wallace (9th benefit), Theatre Royal, George Street, Sydney

"NEWS OF THE DAY", The Sydney Monitor (26 July 1837), 2 

We perceive by an advertisement in another column that Mr. Wallace has consented to give a Concert on Tuesday evening next, we are informed it is at the particular desire of some of the first classes in Sydney. Major England has consented to permit the band of the 4th to attend for the last time previous to their departure for India. The Glee singers of this band have proved favorites with the public, and it is expected there will be a full attendance.

[Advertisement], The Australian (1 August 1837), 2

BEGS to Announce that his CONCERT
MUSIC, will take place THIS EVENING,
August 1st, 1837, in the Theatre Royal, on which occasion he will be assisted by Miss Deane, Miss E. Wallace, Mr. Deane, Mr. S. Wallace, and Mr. Josephson, who has kindly given his gratuitous services.
1. Overture to Masaniello - Auber
2. CHORUS - Vive Enrico - Puchitta
3. INTRODUCTION & BRILLIANT RONDO, Pianoforte - Herz - Mr. W. Wallace
4. CAVATINA - Dall'asilo della Pace - Costa - Miss E. Wallace
5. Fantasia, Flute - Drouet - Mr. S. Wallace
6. CHORUS - Vive le Roi - Balfe
7. SONG - Buy my Flowers - Rodwell - Miss E. Wallace
9. OVERTURE - La Dame Blanche - Boildieu
10. Chorus - Hall our Patiot King - Auber
12. SONG - Oh! believe me if all those endearing young charms - Irish Melody - Miss E. Wallace
13. GRAND QUARTETT Pianoforte, Violins, & Violoncello - Herz - Mr. W. Wallace, Mr. Josephson, Master E. Deane, & Mr. Deane
14. SONG (by particular desire) - Black Ey'd Susan - English Melody - Miss E. Wallace
15. CONCERTO, Violin, in which will be introduced the favorite Scotch Melody - Ye Banks and Braes o' bonnie Doun - Mr. W. Wallace
16. Finale - God Save the King.
By the kind permission of MAJOR ENGLAND, Mr. Wallace will be allowed the valuable aid of the Band of the 4th Regiment, who will perform some of their favorite pieces, for the last time previous to their departure for India.
On this occasion the Pit and Boxes will be the same Price. The entrance to the Pit will be through the Dress Circle, and the Seats will be covered the same as on the night of the performance of the Soldiers of the 4th Regiment.
BOXES AND PIT, 7s. 6d.
GALLERY. 2s. 6d.
Tickets of Admission may be had at Mr. Ellard's, Music Saloon; and at Mr. W. Wallace's residence, Regent Terrace, Hunter-street.
The Concert will commence at Eight o' clock precisely.

Diary of Alexander Brodie Spark, 1 August 1837; ed. Abbott and Little, The respectable Sydney merchant, 80 

1st . . . to a Concert at the Theatre given by Mr. William Wallace. We were not a little delighted with his performance on the Fiddle, with his sister's singing, and Miss Deane's execution on the Piano.

"THE CONCERT", The Sydney Gazette and New South Wales Advertiser (3 August 1837), 3 

Mr. Wallace's Concert came off on Tuesday evening pursuant to announcement, at the Theatre Royal, before a most numerous attendance, comprising a large portion of the fashionable and respectable inhabitants of Sydney, interspersed with a pretty tolerable admixture of the military and of the naval officers now in our harbour. We are not sufficient connoisseurs to do justice to the various performances. The chorusses Vive Enrico and Vive le Roi were executed in good style by the glee singers of the Band of the 4th; the latter was loudly encored. Hail our Patriot King by the same singers we thought a great failure. Miss. E. Wallace has a superb voice, but her notes were pitched on too high a key to be altogether pleasing to the ear. Her Dall'asilo della pace pleased us more than any other of her performances. Miss Deane's performance on the piano was admirable, and was most rapturously received by the audience. Mr. S. Wallace plays very divinely on the flute, but the hero of the evening was Mr. Wallace himself. His execution on both the violin and piano were of the most masterly description. Notwithstanding the performances were all good, we should have left the Concert without feeling altogether satisfied but for Mr. Wallace's performance of Ye banks and braes o'bonny Doon, which exceeded in execution, far beyond description, any thing we had ever before heard. After all it is at the performance of simple airs like these, that audiences are most gratified, for one that can appreciate the merits of difficult pieces there are fifty that know nothing of the matter, and we would advise Mr. Wallace at his future Concerts to give them in greater abundance. The receipts of the house must have been something considerable, and sufficient, we should imagine to induce Mr. Wallace to get up another evening's entertainment.

"THE CONCERT", The Australian (4 August 1837), 2 

On Tuesday evening last, we once again had the pleasure, though after much too long an interval, of being present at one of Mr. William Wallace's Concerts. The Theatre was engaged for the occasion, and the attendance was as flattering as rank and numbers could make it. Indeed, nothing but the presence of His Excellency seemed wanting to render this entertainment the most gratifying one of the kind that the Colony has yet presented. We cordially congratulate Mr. Wallace on his well merited success - the talents of this gentleman are of an order to do honor to the country he owns, and to the land that now calls them into action. We think the youthful portion of the Colony much indebted to Mr. Wallace. He has presented them with a model of musical taste and excellence, and has exemplified the capabilities of the instruments he professes, far beyond any thing of the kind that had been produced (at least professionally) previous to his arrival. While, therefore, we congratulate him on the public acknowledgment of his talent on Tuesday evening last, we think it one to which he is eminently entitled.

The Concert, we are sure, must have amply gratified the most sanguine expectations. We feel the impossibility of confining within the limits of our scanty space, anything like a satisfactory analysis of its manifold excellencies. The Band of the 4th Regiment which has so often entertained us on similar occasions, entertained us on the present one for the last time previous to their departure for India. The public will not soon forgot the uniform kindness of the commanding Officer of the 4th, in allowing the services of his Band, nor the cheerful and efficient manner in which those services have been rendered. On this, their last appearance, they played the overtures to "Masaniello," and "La Dame Blanche" - their execution of these two pieces, particularly the latter, will long be a memento of the excellence of the Band in the ensemble, and of the matured talent, as a musician, and skill as a leader of Mr. Coleman. Certain of the band also sang three chorusses, Viva Enrico," "Hail our Patriot King," and "Vive le Roi." The latter was encored and was much better sung the second time than the first - manifestly the result of increased confidence. Miss Wallace sang the animated cavatina "Dall'asito della pace" with grant precision, and undoubtedly purity of style. Some of the elaborate passages, indeed, seemed not to have received that close study, requisite to their being satisfactorily mastered - this, however, Miss W. can easily remove. It is a fine energetic air, the sympathy [symphony] is tastefully imagined, and the accompaniment impressive. Miss Wallace next sand the innocent, but tender little melody of "Buy my Flowers," in which she was most deservedly encored. This little ballad is from Bulwer's "Last Days of Pompeii." This young lady also sang with considerable effect, her old favorite ballad of "Black ey'd Susan." Miss Deane's performance on the pianoforte, obtained for her the unqualified approbation of all present, and when her extreme youth, and necessary want of strength in the fingers and the wrist are considered, her facility of touch, her very accurate taste, and power over the instrument, really excite our astonishment as well as admiration. If these young ladies continue in the same progressive developement [sic] of their respective talents, as they have done, since we first had the pleasure of hearing them, a few years will bring them, if not in the first rank of their profession, at least within its precincts. Mr. Wellington Wallace's performance of one of Drouet's Fantasias on the Flute, was highly, and deservedly applauded. The excellence to which this young gentleman has attained on the flute, can be the result only of rich musical feeling and unremitting study. The lower notes are perfect, and it is well known that the embouchure necessary to produce them can be acquired only by the diligent practice of years. The effect of the Quartette by Messrs. William Wallace, Josephson, Deane, and Son, was what might be expected from the respective and united talent of those gentlemen. In speaking of Master Deane, we, of course, speak of him only as a juvenile performer. Both he and his brother, who took a part in the concerto, deserve the highest commendations. Mr. Wallace favoured us with a Rondo on the Piano, and two Concertos on the Violin, in the last of which he Introduced the air of "Ye Banks and Braes." Of Mr. W.'s performance it would be difficult to speak without some degree of enthusiasm - there is this peculiarity in his performance, that while complicated passages and occasional flashes of striking effect, afford the most exquisite treat to the most cultivated musical feeling, and the fastidious connisseur [sic], the ears and the hearts of the uninitiated, are equally electrified.

We observe with great satisfaction that a spirit of music seems generally infused throughout the Colony; indeed, the encouragement given to this fascinating science seems to be more than proportionate to our advances in other respects, in the refinements and advantages of our opulent and civilised community. We have ample provision for professional talent amongst us - and the attendance on Tuesday evening's Concert sufficiently proves, that there is both taste to appreciate good music and readiness to reward those who are engaged in its introduction.

"THE CONCERT", The Sydney Monitor (4 August 1837), 2 

. . . It is to be hoped that Mr. Wallace received commensurate remuneration for his trouble. The Concert nights have heretofore been generally unfavorable, and the numerous expenses attending the getting up of a Concert have not been so adequately remunerated as to induce the leaders of our musical world to renew them.

"MR. WALLACE'S CONCERT . . .", The Sydney Herald (7 August 1837), 2 

MR. WALLACE'S CONCERT, on Tuesday evening last, was rather numerously attended. Seeing that this description of entertainment usually draws together so many respectable persons - male and female - while theatrical performances obtain (certainly, with some exceptions) a rather dubious patronage - it is somewhat surprising that it has not been of more frequent occurrence than it has been of late. Considering the low state of the drama in this Colony, at present - that we cannot command a sufficient body of ordinary talent to represent, even decently, a paltry two-act farce - and as the Colony does possess a good deal of musical talent, vocal and instrumental, one cannot but feel surprised that it is not oftener made available for the gratification of the public. We are quite satisfied that a series of Concerts, combining the instrumental and vocal talent which Sydney can furnish, would amply remunerate the conductors. But besides this, so formidable a rival amusement, would put theatrical showmen - who raise money "under false pretences" - to the "right about;" and stimulate them to the representation of something better than tales of murder and robbery, with "new music, scenery, dresses, and decorations;" which the gulled audience at last find out to be the old dittoes they have been contemplating and listening to, ab initio; which, for the benefit of the unlearned, we translate "from the first night of the season." Who, for instance, possessing a scruple of taste, would not rather pay five shillings to hear one of Mr. Wallace's beautiful solos on the violin, than pay one shilling to witness the performance of a cut-throat melo-drama? The number of persons of undoubted respectability who were present at the Concert on Tuesday evening, furnishes a complete answer to this question. We saw there some whom we never saw present at any dramatic entertainment in the Colony; and it is evident, therefore, that a reform in the character, and mode of conducting public amusements, is the one thing needful to command respectable patronage.

Mr. Wallace was deficient, on this occasion, in a muster of vocal strength. With the exception of the glee singers from the band of the 4th regiment, Miss Wallace was the only vocalist; and her best effort certainly was the simple melody of Black Ey'd Susan, which was sung in a manner highly creditable to that young lady's taste and judgment. She also sang a pretty ballad, composed by Rodwell, called Buy my Flowers, the words by Mr. E. L. Bulwer, which was encored. Miss Wallace's singing is distinguished by clear enunciation, far beyond that of vocalists of much higher pretension. Miss Deane had little to do; but her execution of the variations in the march in Othello manifested not only a judicious instructor, but also her own capability of becoming a first-rate performer on the piano-forte. We do not think that, even now, she is very much behind Mr. Wallace himself on that instrument. Of the other instrumental music - second to the solos on the violin by Mr. Wallace - that which pleased us most was the Quartett, in the second part of the Concert, by Messrs. Wallace, Deane, Josephson (piano-forte), and Master E. Deane. But the lion of the evening upon this, as upon all similar occasions, was Mr. W. Wallace. His performance on the violin was, indeed, splendid. The first solo (Mayseder's third Polonaise) is remarkable for its intricacies; but the towering skill of the performer carried him triumphantly throughout. And yet, with what ease he handles the instrument! In his grasp, the violin seems a creature obedient to his will! This performance was a treat for the musical amateur; but the Concerto in the second part struck home to all hearts. We can hardly imagine anything finer than the rich, varied, and liquid tones which he drew from the instrument, in the beautiful Scotch air - Ye Banks and Braes. This was, as it deserved to be, not only honoured by a most enthusiastic encore by the audience generally, but by the marked plaudits of the ladies present. We had almost forgotten to notice that Mr. S. Wallace played a Fantasia on the flute, by Drouet, in a manner worthy of that composer, and celebrated performer on the instrument. The lower notes drawn from the instrument by Mr. S. Wallace, and his execution of chromatic passages are in our opinion, fully equal to some of the best players we have ever heard.

"By the kind permission of Major England" (as the bills say) the band of the 4th played several of their favourite pieces, and sung some glees in a highly creditable manner. The band of this regiment, which is now about to leave us, will be associated with many pleasurable recollections; and the readiness with which Major England has always afforded his "kind permission" for it to contribute towards the public gratification, whenever he has been solicited to afford it, will not readily be forgotten. We wish him and his well-behaved corps, a sale and pleasant passage to their destination from this Colony.

Among the company present at the Concert, we noticed - the Colonial Secretary and family; Colonel Snodgrass and family; Mr. Justice Burton and family; the Attorney-General and family; the Commissioner of the Court of Requests and family; Drs. Bowman and Mitchell and a party of ladies; several of the Magistrates of the Colony; Naval and Military Officers, &c., &c., &c.

"THE CONCERT", The Sydney Times (12 August 1837), 3 

After an unusually long interval, Mr. Wallace gave a Concert at the Theatre on Tuesday sen'night, that was most fully and fashionably attended. The band of the "King's Own" filled the Orchestra for the last tune, and during the evening sang some chorusses of Balfe's and Auber's with considerable spirit and effect, and the two talented families, the Deanes and Wallaces, united their powers to give efficacy to the attractions of the evening's entertainment. In the "first part," the pieces that pleased us most were Costa's fine Cavatina, very sweetly sung by Miss Wallace, and admirably accompanied by her brother and Mr. Deane, &c. and Mayseder's pleasant Polonaise, played with great gusto, and in masterly style by Mr. Wallace on the violin. Indeed, it is one of the principal merits of this gentleman's performance, that he ever seems to enter with the intuitive feeling of a kindred spirit into the true perception of the peculiar powers and purpose of his author; and in the present instance he elicited from his instrument a sweetness, depth, and purity of tone, and gave a delicate, flowing, and refined expression to the graceful and melodious movements of Mayseder, that was quite characteristic, and perfectly appropriate.

In the "second part" Miss Deane developed the expanding powers of a fine pianiste, in some difficult variations on a march of Rossini's from the "Otello;" Mr. Wallace, Mr. Josephson, and Mr. Deane and son, gave a lively quartette of Hezzo [Herz], that is about the most simple and natural composition of that clever compounder of mechanical difficulties, that we have hitherto come across. Miss Wallace sang the fine old "home heart" ballad of Black Eye'd Susan" with true pathos and feeling, and Mr. Wallace finished with a violin Concerto, in which he introduced the plaintive old Scottish air "Ye Banks and Braes," apparently much to the pleasure ot a gratified and encoring audience.

There has been so much to praise, perhaps it may not be deemed invidious in us to fancy we can detect a flaw - and we think even Mr. Wallace himself will admit, on looking over his printed "Programme," that the selection is not what it ought to have been - it scarcely includes a composition of even third-rate merit, and we must confess, that on this, as on other occasions, we have been constrained to acknowledge ourselves somewhat disappointed, that an artist of Mr. Wallace's undoubted ability and reputation, and one in every way so thoroughly acquainted with the finest works of the great ancient and modern masters of music, should not now attempt to give a higher and purer direction to the public taste. We have been dosed "usque ad nauseam" with the brilliant trickeries, and scrambling meaningless fantasias of Herz - we think we have almost had enough of the light and lively Boildieu - we begin to fear we shall soon tire even of the pleasant time overtures of the popular Auber, and we do therefore entreat Mr. Wallace when he next gratifies the public with a Concert - to treat [the] "initiared" with one of Beethoven's magnificent Concertos - with a Quartette of Sphor's [sic, Spohr] - or, at least that he will recollect there are such time-honoured names as Mozart and Haydyn, and such modern ones as Weber, Rossini, and Mendelsohn.

[News], The Australian (25 August 1837), 2 

The lovers of music will be gratified to hear that it is the intention of Mr. Wallace, to have another Concert shortly, and some Musical Amateurs of great promise, will be introduced to make their debut on the occasion.

29 September 1837, concert, William Vincent Wallace (10th benefit), Theatre Royal, George Street, Sydney

"NEWS OF THE DAY", The Sydney Monitor (25 September 1837), 2 

Mr. Wallace's vocal and instrumental concert will take place in the Theatre, on Friday evening. The band of the 50th regiment will be in attendance. We call the attention of the public to the programme of the concert, in another column. We are informed that the selection of the violin pieces has been made with a view of contrasting the style of the Viotti with that of the Paganini school. A grand new quartette, which had but just been performed by the Philharmonic Society previous to the Honduras leaving London, will also be introduced. This will be the last concert this season.

NOTES: The ship Honduras, which arrived in Sydney on 19 September, had left London on 13 May; though far from "new", Beethoven's Quartet in G, op. 18 no. 2 had been performed at the second Philharmonic concert of the season, in London, on 13 March 1837; the genuinely "new" last Quartet in F, op. 135, was given, for the "first time" in London, at the fourth Quartett Concert at the Hanover Square Rooms on 13 April, and it may have been this work that Wallace hoped to perform; in the event, one of the op. 18 quartets was advertised, the first Beethoven quartet to be performed in public in Australia, though whether it was given entire, or perhaps more likely only in part, is not clear.

[News], The Australian (26 September 1837), 2 

The Concert of our talented musician and townsman, Mr. Wallace, takes place on Friday evening next, at the Theatre, under the patronage of the Governor. Among the many novelties which are promised, we are glad to perceive that Mr. W. intends to afford the lovers of music an opportunity of hearing a piece of composition from the classical Viotti, as also a Quartette from Beethoven; the very same that has been played recently at the Philharmonic Concert at home, with great success. We understand that these two pieces are introduced chiefly as an experiment, in order to form a taste for superior compositions than we have hitherto heard; in addition to these attractions, Miss Deane will play on the piano; Mr. S. Wallace on the flute, and Miss W. will delight her hearers with some favourite songs in Italian and English. The Gentleman Amateur who has been so flatteringly received at former Concerts, will also lend his assistance.

"MR. WALLACE'S CONCERT", The Sydney Herald (28 September 1837), 2 

That accomplished musician, Mr. W. Wallace, we perceive, will give a concert of vocal und instrumental music, at the theatre to-morrow evening - under the patronage of his Excellency the Governor. We trust that so rational and delightful a source of amusement may be well attended. The programme of the Concert promises a rich musical treat, and contains two new (in this Colony) instrumental pieces - one by Vioti, and one by Beethoven. Mr. Wallace has had scarcely one of his concerts so fully attended as talent like his might have anticipated. One cause and that not a very amiable one - may, we think, be assigned for this - Mr. W. frequently plays for the amusement of the guests at Government House, and at private parties, and many ladies and gentlemen who have an opportunity of enjoying the exercise of his talents gratuitously, forget to attend his benefit concerts. This is very unjust, and it is, therefore, to be hoped that every generous mind who may have derived pleasure from Mr. Wallace's performances, free of expense, will not fail to patronise, in a substantial manner, his occasional concerts.

[Advertisement], The Sydney Monitor (29 September 1837), 1 

Under the Patronage of his Excellency the Governor, who has signified his intention of being present.
On which occasion he will be assisted by Miss Deane, Miss E. Wallace, Mr. S. Wallace, Mr. Deane and Sons, and the Amateur, who so kindly assisted at Mr. Wallace's previous Concert.
2 - Cavatina - Oh! Come Risorgere - VACCAJ - Miss Wallace
3 - Grand Fantasia, (Pianoforte) - La Fete Pastorale - HERTZ - Mr. Wallace
4 - Song from the Opera of Preciosa - WEBER - Amateur
5 - Concerto Flute - TOULOU - Mr. S. W. Wallace
6 - Song - The Light Guitar - Miss Wallace
7. Concerto, with Orchestral Accompaniaments, (Violini) introducing the favorite Irish Melody Savourneen Deelish - VIOTTI - Mr. W. Wallace
8- Overture - Il Barbiere di Siviglia - ROSSINI.
9 - Song from Massaniello, When the sigh long suppressed, AUBER - Miss Wallace
10 - Brilliant Variations on an Air from Norma (Pianoforte) - HERTZ - Miss Dean
11 - Duet - My Pretty Page - BISHOP - Miss Wallace & Master Dean
12 - Song - From the Opera, of La Dame Blanche - BOILDIEU - Amateur
13 - Quartet - Opera 18 BEETHOVEN (the first time in the Colony) Two Violins, Tenor and Violincello - Mr. Wallace, Mr. Deane, Master Deane, and Master E. Deane
14 - Song - The Deep Sea - HORN - Miss Wallace
15 - Fantasia, Violin, in which will be introduced by particular desire the Scotch Melody - Ye Banks and Braes of bonnie Doon - Mr. Wallace.
16 - FINALE - God Save the King.
N.B. - By the kind permission of Col. Wodehouse, Mr. Wallace will be allowed the aid of the Band of the 50th Regiment.
On this occasion the Pit and Boxes will be the same Price. The entrance to the Pit will be through the Dress Circle, and the Seats will be covered the same as on the night of the last Concert.
Boxes and Pit 7s. 6d.; Upper Boxes, 4s.; Gallery, 2s. 6d.
Tickets:of Admission may be had at Mr. Ellard's Music Saloon; and at Mr. W. Wallace's residence, Regent Terrace, Hunter-street.
The Concert will commence at 8 o'Clock precisely.

"CONCERT", The Sydney Times (30 September 1837), 3 

The Concert went off last evening with great eclat. We have not space remaining for a critique on the performances; but we may say with great truth and satisfaction, that His Excellency and Mrs. Deas Thomson, who is perhaps the finest female amateur in the colony, as a vocalist - we believe, as well as pianist and harpist, appeared to be highly gratified, as did the Australian Fair, their swains and husbands, with whom the pit and lower boxes were filled. Indeed, we never witnessed a more respectable attendance on any similar occasion. The house was filled literally with the rank, beauty, and fashion of Sydney. Mr. Wallace was, as he ever is, great, on his own peculiar instrument - the violin, and his brother, scarcely inferior to him in a flute concerto. Miss Wallace also delighted us with her unrivalled and unaffected singing. In company with Master E. Deane, in the admired duet of "My Pretty Page," this young lady was rapturously encored. But the most astonishing, and perhaps most meritorious performance of the evening, was Miss Deane's splendid execution of some truly "brilliant variations" on an air from Norma, by Herz. This to be appreciated must be heard, for it is impossible to describe it.

"THE CONCERT", The Sydney Herald (2 October 1837), 2 

Mr. W. Wallace afforded the lovers of music a rich treat on Friday evening last. His Excellency the Governor was present with his suite. We have had such frequent occasion to notice in terms of commendation, the talents of the performers who usually assist at Mr. Wallace's Concerts, that really we have almost exhausted our vocabulary of praise. Miss Wallace sings with taste and science, but we like her English better than her Italian songs. The lower tones of her voice are particularly effective, and were heard to advantage in Horn's song of The Deep Sea; this young lady also sung the pretty little air called The Light Guitar, with a suitable accompaniement by herself; and, with that clever boy, Master E. Deane, the duet of My Pretty Page, which was honoured with an unanimous encore.

The chief attraction of the evening, however, was the instrumental music, which embraced a novelty in the performance of one of Beethoven's splendid Quartettes, by Messrs. Wallace and Deane, and Masters Deane and E. Deane. We know not whether this particular Quartette was chosen from the works of its great composer, as the one best adapted to display the taste and skill of the performer on the first violin; but, certainly, it had that effect, for not the most brilliant passages in Mr. Wallace's solos on the violin told more delightfully upon the ear than than the subdued melody which he drew from the instrument in this performance. He was, also, ably assisted by Mr. Deane and his sons.

Mr. S. Wallace plays with with much skill; his concerto on the flute, in the course of which he introduced that beautiful Irish air, more generally known by the commencement of Moore's words to it - "Oh, blame not the Bard" - was most deservedly applauded. Miss Deane and Mr. W. Wallace each performed a solo on the pianoforte, in a very scientific manner, we have no doubt; but we do not profess ourselves admirers of the music - if music it can be called - of Herz. His compositions are, in our opinion (perhaps from want of taste), merely brilliant inanities - combinations of notes which seem as if constructed rather to display the mechanical skill of the performer in mastering their intricacies, than with any view to the production of melody.

The performance of Miss Deane, particularly for one so young, is deserving of great praise. Of Mr. W. Wallace's concertos on the violin, we have lastly to write. Why lastly? We know not; unless it be for the same reason that children, having a variety of sweetmeats, generally preserve the most luscious morsel for the last, as if to enjoy the height of retrospective pleasure. After all this "note of preparation," however, we know not what more we can say, but that - Wallace was "himself again!" He was listened to with breathless delight; and his evident consciousness that he was so, called forth his utmost energies - and he was triumphantly successful. In the hard, working style of Viotti, and in the brilliant, erratic flights of the Paganini school, he was equally powerful. The Irish air introduced in the first concerto, and the Scotch air in the second, were, of themselves well worth the price of admission to hear. The audience all appeared well pleased; and we hope that Mr. Wallace may be induced to give still more occasional concerts, and be regarded with increased pecuniary encouragement.

"Mr. Wallace's Concert", The Sydney Monitor (2 October 1837), 2-3 

The Concert on Friday, was well attended. The Governor was present, and the Grenadiers under arms, received His Excellency at the door of the Royal Hotel.

It is above a year, since we heard Miss Wallace sing. It appeared to us she has greatly improved in the management of her voice, and in her expression. When we heard her before, there wanted expression, this being the soul of music. Miss W's improvement rendered her singing interesting on Friday evening. Mr. Rhodius sung well, the want of volume being compensated by the sweetness of his tones. The Band executed the Overtures with great correctness; the second was full of good music. Mr. Wallace and Miss Deane, did all we could ever wish to be done on the Piano. And provided these Fantasias, (a good name for the frivolities now in fashion) were interspersed, each with half a dozen of the best Scotch and English airs, we should like them. But without such agreeable and refreshing interludes, we take the same sort of pleasure in witnessing the engine-like precision and rapidity of the fingers as we would regard a juggler with his cups and balls. The art of fingering is purely the art of mechanism, for the music is not worth the name. The Violin, however, is an instrument which will make music, however fantastically played, and Mr. Wallace made it produce tones exquisite and surprising. The duet between Miss Wallace and Master Deane, pleased the audience well.

"THE CONCERT", The Australian (6 October 1837), 2 

The entire absence of anything approaching to rational public entertainments in the Colony, combined with the general disposition that undoubtedly prevails to encourage them, have rendered the concerts under the direction of Mr. Wallace an event of very great interest and excitement. And here we cannot but repeat what we have on many former occasions ventured to say, that this gentleman appears amongst us with pre-eminent claims to patronage and reward. As a musician, as well practical as theoretical, he is unquestionably without any equal in the Colony. And when we consider the many years of anxious application and diligent study necessary to the perfection which he has attained in his profession, it cannot be too much to expect that the fullest encouragement will be given to his talents when ever he comes before the public to exert them.

The attendance at his concert on Friday evening, most flatteringly verified this expectation. We have seldom, if ever, had the pleasure of seeing on a like occasion so distinguished an audience. The dress circle which was filled with the very elite of our society, was perfectly radiant with elegance and beauty; and in the pit, which was thrown open from the lower boxes not a seat was unoccupied. His Excellency (the steady patron of every thing that is liberal and refined), with his suite honored the concert with his attendance, which of course gave an interest and a spirit to the scene which it would not otherwise have possessed. Mr. Wallace was assisted by his brother Mr. Wellington, Miss Wallace, Mr. Deane and his family, the gentleman amateur who has appeared on many former occasions, and by the band of the 80th regiment [recte Band of the 50th Regiment]. Miss Wallace sang Oh Oome Risorgere with considerable science and effect. Her duet My Pretty Page, with Master Deane, was very prettily sung. Miss Dean's performance on the piano did us much honor to herself as it gave pleasure to the auditors. The advances which these young ladies make respectively in their profession, command unqualified praise. The gentleman amateur sang two songs from Preciosa, and La dame Blanche with his usual sweetness and effect. M. Wellington Wallace's concerto on the flute was very beautifully played.

The refinement of his tones in general, and the peculiar richness of the lower ones certainly entltle him to the same rank as a flute player as his brother occupies at the violin and piano forte. One of Beethoven's Quartettes by Mr. Wallace, Mr. Dean and Sons was an excellent performance; but indeed the quartettes of this great man are so divine that if their spirit and harmony be but moderately preserved, they cannot fail to delight. Gratified as we have always been at Mr. Wallace's exertions, we certainly think that on Friday evening, he produced more from the violin than we have heard on any former occasion. There was a fulness and delicacy of tone with a mastery over his instrument which incline us to think (and we have most piously attended all his concerts) that he has never before, in public, called forth his energies so effectively. We cannot however, abstain from remarking, yet, with the utmost tenderness towards those concerned, that, in the accompaniment, justice is not done to Mr. Wallace's playing; this perhaps may be occasioned by the insufficiency of the rehearsals, but it ought, and may be remedied. Mr. W. played the beautiful descriptive piece of La Féte Pastirale [sic] with great effect. The band of the 80th [sic] played the overtures to Tancredi, and Il Barbiere very creditably, but they have very much to acquire. The musicians seem to be all of them young men, possessing capabilities, by diligence and good tuition, are no doubt susceptible of every improvement. We could not help thinking that the style and tone of the leader in Tancredi were any thing but desirable for a band which aimed at either taste or harmony. Their was a coarse reedy tone from his Clarionet, which we should like to see ameliorated. He is but young in years, and will no doubt soon effect this by diligent study and practice. It is to be hoped that the abundant success of Mr. W. on Friday last, will induce him to favor us ere long with another concert.

Regent Terrace, Hunter Street, corner of Pitt Street at left; from Fowles's Sydney in 1848

Regent Terrace, running west along the south side of Hunter Street, from corner of Pitt Street (at left); from Joseph Fowles's Sydney in 1848; Skinner's Hotel, at right, is still on the corner of George Street today

[Advertisement], The Sydney Gazette and New South Wales Advertiser (14 October 1837), 3 

MR. S. W. WALLACE BEGS to inform the Public that he is now residing in Sydney, and intends giving Lessons on the FLUTE, GUITAR, and VIOLIN, at his Brother's residence, Regent-terrace, Hunter-street.

October 1837, shipment of pianos, by the William Bentinck, from London,

[Advertisement], The Sydney Gazette and New South Wales Advertiser (14 October 1837), 3 

Ex Lord William Bentinck.
BEGS to apprise his Friends and the Public in general, that he has received by the above vessel from his London Agents, a few elegant modern Pianofortes, from the well-known makers,
and selected expressly for him, by HENRI HERTZ, the celebrated Pianist, and they will be on view in a few days at his residence, Regent Terrace, Hunter-street.
A large assortment of the latest compositions for the Pianoforte, by Herz, Czerny, Hummel,
N. B. - The present investment is the second portion of those Pianos he received, ex Royal George, which have been so highly approved of.

19 October 1837, theatrical performance (benefit of the widow Levy), Theatre Royal, George Street, Sydney

[Advertisement], The Sydney Monitor (18 October 1837), 1 

THE Public is most respectfully informed that as a tribute of respect for the memory of the late Proprietor Mr. B. LEVY, and with a view to assist his respected Relict and Family, the Performers, the Gentlemen of the Orchestra, and all Persons connected with the Establishment, have felt it their duty to present their gratuitous services to the Widow, for one night, for her BENEFIT, to whom they most heartily wish every success in her present arduous undertaking. The Members of the Theatre most respectfully solicit the support and assistance of the Australian Public.
THURSDAY, October 19, 1837,
The Performance will commence with the celebrated Comic Opera in Three Acts, entitled
The Castle of Andalusia;
Has with much kindness, and unsolicited, given his valuable services gratuitously, and will perform the celebrated FANTASIA, (Violin) introducing the favorite Irish Melody, "'Tis the last Rose of Summer," accompanied on the Piano Forte by Mr. J. F. JOSEPHSON, who has also presented his services for this occasion . . .

NOTE: Founder and proprietor of the Theatre Royal, Barnett Levey, having died on 2 October 1837

ASSOCIATIONS: Theatre Royal (Sydney); Sarah Emma Levey (proprietor)

26 October 1837, theatrical performance John Philip Deane and Sons (benefit), Theatre Royal, George Street, Sydney

[News], The Sydney Gazette and New South Wales Advertiser (24 October 1837), 2 

By an advertisement in another column it will be seen that Mr. Deane, the leader of the orchestra at the Theatre, takes his benefit on Thursday next. Mr. Deane had provided a rich treat for the occasion, in the shape of a musical feast. We feel much pleasure in being enabled to recommend Mr. Deane to the Public, as the head of a respectable and talented family, who have long contributed to rational recreation - in fact, who have furnished nearly the only amusement which the Theatre affords. We are convinced the public will consider him as well deserving a full share of patronage; and, when wo state that in addition to this, the Australian Paganini has handsomely stepped forward to his friend's assistance, and given notice of his intention to play two of his most favorite airs on the violin - can we reasonably expect other than that the house will be filled to overflowing?

"DOMESTIC INTELLIGENCE", The Sydney Herald (26 October 1837), 2 

The performances at the Theatre this evening will be for the benefit of Mr. Deane and his sons. The entertainments announced are attractive - combining the eminent talent of Mr. W. Wallace. Mr. Deane has been the means of bringing the orchestra into its present comparatively efficient state, and has always been attentive to his duties. He is, therefore, entitled to that ample support which we hope he will receive.

[Advertisement], The Sydney Herald (26 October 1837), 1 

Theatre Royal, Sydney.
For the Benefit of Mr. Deane, Leader of the Orchestra, and Sons.
MR. DEANE MOST respectfully informs the Ladies and Gentlemen of Sydney, that his Benefit will take place this Evening, October 26, 1837, on which occasion will be performed, for the first time at this Theatre, the popular Legendary Drama, in two Acts, from the pen of C. A. Somerset, entitled
. . . After which,
A Vocal and Instrumental Melange, In which Mr. Deane will be assisted by Mr. W. Wallace, (who has kindly offered his services gratuitously on this occasion) and will play a Solo on the Violin.
Song - Bid me discourse (Bishop) - Mrs. Clarke
Solo, Pianoforte - Pre aux Clercs (Hertz) - Miss Deane
Song - Green Hills of Tyrol - Miss A. Winstanly
Glee - The Swiss Boy, (accompanied by four Guitars) - Miss Deane, Masters J. and E. Deane, and Mr. Deane
Song - Batti, Batti, O' Bel Maseto (Mozart) - Mrs. Clarke
Solo, Violoncello - Master E. Deane Duet - My pretty Page - Mrs. Clarke and Master Deane Violin - in which will be introduced Ye Banks and Braes - by Mr. W. Wallace.
The whole to conclude with the broad and laughable Farce called
My Husband's Ghost; OR, THE CORPORAL AND THE DRUMMER . . .

"THE THEATRE", The Australian (31 October 1837), 3 

Mr. Deane took his benefit on Thursday evening last . . . His Excellency the Governor and several families of distinction had engaged boxes for the evening, but were of course prevented attending by the intelligence of the death of the King . . .

. . . Master Deane's Solo, (nel cor piu) on the Violoncello was really admirable. We have frequently admired him, but we never heard him play with a taste and mastery over his instrument at all approaching to his efforts on Thursday evening. He has evidently been a vigilant observer of our musical cynosure Mr. Wallace, and from his efforts to imitate him, he displays a perception of what is excellent, which leads us to anticipate very highly of him. The finale to this well selected melange was the Corinthian capital to the pillar. Mr. Wallace played a solo on the Violin, introducing the air of "Ye Banks and Braes." As we presume that there is no reader of the Australian who has not heard Mr. Wallace, we think it quite sufficient to say that he played, to enable them to fill up the measure of the gratification he imparted to his audience. Mr. Wallace, we perceive gave his services gratuitously on this occasion, a professional liberality which we should be glad to see more generally cultivated . . .

ASSOCIATIONS: Anne Remens Clarke (soprano vocalist); Ann Winstanley (vocalist); on the day of the performance, the accession of queen Victoria was proclaimed in the colony

"THE PROCLAIMING QUEEN VICTORIA", and "THE THEATRE", The Australian (31 October 1837), 2 

Pursuant to the Government notice from the Colonial Secretary's office of the 26th Instant, on Friday last the Royal Standard was displayed at sun rise from Dawes's Battery, and in front of Government house, half staff high. About 11 o'clock, the troops in garrison under the command of Colonel Wodehouse, of H. M. 50th Regiment were marched to the domain, and drawn up in line on the lawn in front of Government house. The proclamation by the Governor and Civil Officers, &c, given elsewhere, announcing the accession of Her Majesty Queen Victoria, to the throne of the British Empire, having been previously signed by His Excellency, the Judges, the Clergy, the Civil and Military Officers, and some of the principal Inhabitants of the Colony, was brought out into the verandah of Government House at 12 o' Clock, and read by the Sheriff, at the conclusion of which three hearty cheers were given by the assembled spectators for Her Majesty's long and prosperous reign. A royal salute was immediately fired from Dawes's Battery, in honor of the auspicious event; and the colors of the 50th Regiment, (or Queen's own,) were lowered under a general salute, and the royal standards were hoisted to the staff head. The military then fired a feu-de-joie, the band playing the national anthem at each discharge of the musketry, and at the conclusion of this portion of the ceremony, the soldiers gave three cheers in honor of their new Sovereign. The procession then moved off through Bridge-street, and up George-street, to the Police Office . . .

THE THEATRE. Mr. Deane took his benefit on Thursday evening last, and judging from the very full attendance with which he was favored, Mr. Deane must have derived at much profit, as his audience derived pleasure from the evening's entertainment . . . Master Deane's Solo, (nel cor più) on the Violoncello was really admirable. We have frequently admired him, but we never heard him play with a taste and mastery over his instrument at all approaching to his efforts on Thursday evening. He has evidently been a vigilant observer of our musical cynosure Mr. Wallace, and from his efforts to imitate him, he displays a perception of what is excellent, which leads us to anticipate very highly of him. The finale to this well selected melange was the Corinthian capital to the pillar. Mr. Wallace played a solo on the Violin, introducing the air of "Ye Banks and Braes." As we presume that there is no reader of the Australian who has not heard Mr. Wallace, we think it quite sufficient to say that he played, to enable them to fill up the measure of the gratification he imparted to his audience. Mr. Wallace, we perceive gave his services gratuitously on this occasion, a professional liberality which we should be glad to see more generally cultivated . . .

[Advertising], The Australian (27 October 1837), 3 

MR. WM. WALLACE has much pleasure in respectfully acquainting the Public, that he has just received by the latest arrivals, a really splendid assortment of Piano fortes from the best London makers. The whole of these Instruments having been expressly, and with great care, selected by Mr. Henry Herz; and, Mr. W. having made a personal examination of each, he may be allowed most confidently to speak of them, as surpassing, as well in moderateness of cost, as in every other point of view, any that have yet appeared in the Colony.

Mr. Wallace has been most anxious to obtain a supply of superior instruments, such as those now received, for the more immediate advantage of those whom he may have the honor to instruct, knowing how materially the style and proficiency of a pupil are dependent upon the instrument used in practice. Mr. W. most unfeignedly assures the residents of the Colony, that in inviting them to an early inspection of these instruments, it is solely from a desire to promote the culture and advancement of a science, in which, from its having been the exclusive pursuit of his whole life, and being now adopted by him as a profession, he cannot but be supposed to feel a deep and intense interest. The anxiety of Mr. W. in this respect, added to the frequent recommendations of those, whose advice it would be ungrateful in him to disregard, have determined him, though not without much inconvenience to his private arrangements, to open a Repository, where he proposes constantly to furnish the most carefully selected Pianofortes and other Musical Instruments, with the newest and most ample collection of Music from the whole range of the most approved Standard Composers. Mr. W. trusts that he may not be thought to say more than is allowable, when he expresses his opinion, that it must be of considerable advantage in the purchase of so important an article as a Piano, to have it upon the recommendation and warranty of a professional man.

With reference to the supply of Music which Mr. W. proposes always to have on hand, he begs most particularly to bring under the attention of those residing in the Interior, who may favor him with their commands, that in furnishing new Music, he will always be enabled, by being informed of the last piece played by the pupil, and the length of time they may have been engaged in that study, to select for them such pieces as will be best adapted to facilitate their progress.

Hunter Street, Sydney.

[News], The Australian (3 November 1837), 2 

It is with great satisfaction that we perceive a taste for music becoming so great throughout the colony. There cannot perhaps be a greater indication of increasing opulence and refinement than this. Seven years ago the appearance of a piano forte in the interior was quite a novelty - at present there are few houses of respectability without one. It cannot be denied that the appearance of Mr. Wallace amongst us has contributed to this result more than any other circumstance - he gave an impetus to the study of music which goes on increasing. We perceive that this gentleman has at length done what we think he ought to have done at the outset, namely, to open a music repository. At all events if he has begun late he has begun well. The choice and elegant assortment of instruments (amongst which is the phenomenon of a self-acting piano) with which he has opened are really "pleasant to look upon." In this undertaking we wish Mr. Wallace all the success he deserves, and we doubt not he will find it.

[News], The Colonist (9 November 1837), 5 

The subjoined paragraph in a contemporary . . .

It is with great satisfaction that we . . . [as above]

"DOMESTIC INTELLIGENCE", The Sydney Herald (26 October 1837), 2 

We understand that Mr. Wallace intends shortly to give a Concert at Maitland.

"THE THEATRE", The Sydney Times (25 November 1837), 3 

During the recess, we hear, that the Stage is to be new floored, and various alterations and improvements made for the public accommodation; and the house re-opened on the evening after Christmas Day, with a piece called "Adelaide" which is in preparation in a very superior style, and at great expense to the Proprietress. The orchestra is to be conducted by our great violinist Mr. W. Wallace.

ASSOCIATIONS: Sarah Emma Levey (proprietor)

[Advertisement], The Australian (28 November 1837), 3

W. WALLACE BEGS to inform his friends and the public in general that he has removed his
AUSTRALIAN MUSIC REPOSITORY from Regent Terrace, Hunter-street, to King-street.
N. B. - A splendid collection of Musical Instruments.

26 December 1837, Christmas pantomime (first night), Theatre Royal, George Street, Sydney

[Advertisement], The Sydney Gazette and New South Wales Advertiser (26 December 1827), 2 

THE Public is most respectfully informed, that the THEATRE will RE-OPEN for the Season, on Tuesday, December 26, 1837. . .
. . . The Performances will commence with, for the first time here, the grand Grand Romantic Eastern Spectacle, in 3 Acts, entitled
With entire new Scenery, Machinery, Dresses, and Decorations.
The Music, which has been selected expressly for this Piece, will be furnished for the Orchestra through the kindness of Mr. W. WALLACE . . .

MUSIC: The overture, and the whole of the music in Aladdin; or, The wonderful lamp; a fairy opera in three acts, performed at the Theatre Royal Drury Lane . . . Henry R. Bishop 


To call up all the TROVE newspaper items tagged William Vincent Wallace for 1838: 

[News], Commercial Journal and Advertiser (6 January 1838), 2 

A considerable addition has been made to the Orchestra of the Theatre in the person of Mr. Wellington Wallace, a professor upon the flute, and brother to Mr. William Wallace, the Paganini of Australia, of whom report speaks highly. Mrs. Levey has acted judiciously in so doing, since Mr. Deane and his talented family, have retired from the Orchestra, an addition of strength has been much required.

26 January 1838, musical publication, Thomas Stubbs (composer), William Vincent Wallace (arranger)

[Advertisement], The Australian (16 January 1838), 3 

In the Press. And will be published on the 26th Instant, the day after the Jubilee, or 50th Anniversary of the Colony, THE AUSTRALIAN JUBILEE WALTZ, (composed expressly for the occasion,) by Thomas Stubbs; Author of the Minstrel; and arranged for the Pianoforte by William Wallace, Member of the Anacreontic Society, London.

Australian jubilee waltz (Stubbs; arr. Wallace)

Australian jubilee waltz composed by Thomas Stubbs and arranged for the piano forte by Wm. Wallace (Sydney: W. H. Fernyhough, [1838])

Copy at the National Library of Australia (DIGITISED)

View from Hyde Park, Sydney; Sydney Hospital (left), Hyde Park Barracks (centre), St. Mary's Cathedral (right), 
with glimpse of Woolloomooloo Bay, harbour, and North Head; initialled J.B. 1840 (detail); State Library of New South Wales

View from Hyde Park, Sydney; Sydney Hospital (left), Hyde Park Barracks (centre), St. Mary's Cathedral (right), with glimpse of Woolloomooloo Bay, harbour, and North Head; initialled "J.B. 1840." (detail); State Library of New South Wales (DIGITISED)

31 January 1838, oratorio, St. Mary's Cathedral, Hyde Park, Sydney

[News], The Australian (12 January 1838), 2 

We understand that an Oratorio will be held at St. Mary's Chapel, Hyde Park, on the 26th instant, in honor of the 50th Anniversary of the Foundation of the Colony.

[Advertisement], The Sydney Monitor (26 January 1838), 4

ORATORIO. THE COMMITTEE who conducted the former Musical Festival at St. Mary's Cathedral, respectfully announce their intention of repeating it, with variations, on WEDNESDAY the 31st Instant. On this, as on the former occasion, the combined musical talent of the Colony has been most generously offered. Single admission Tickets, 7s. 6d; family ditto, to admit four, £1 1s.; and Books of Words, 1s. each; to be had of Mr. Wallace, Professor of Music, King-street; Mr. Ellard, George-street; and at Mr. Tyrer's Repository, George-street. To commence precisely at 7 P.M.
Sydney, Jan. 23, 1838.

"THE ORATORIO", The Sydney Gazette and New South Wales Advertiser (3 February 1838), 2 

The grand musical festival at the Roman Catholic Chapel, Hyde Park, came off on Wednesday evening last in presence of a very crowded audience numbering among them, the Acting Governor and most of the fashionables of Sydney. The principal female performers were Miss Wallace, Mrs. Clarke, Mrs. Clancy, and some amateurs. Miss Wallace and Mrs. Clarke sang with their usual ability, and in some pieces elicited rapturous applause. Mrs. Clancy, whom we never had the pleasure to hear before, sang with much taste and feeling; her voice, which must be very effective in a smaller room, did not however possess sufficient power and compass to enable her to do herself justice in so large a building, perched up as the performers were in the out of the way gallery in which the managers had mewed them up. A gentleman amateur sang in several pieces and was much applauded. Mr. Wallace led the orchestra with his usual ability. The performances for the evening were concluded with the National Anthem of God save the Queen, which was sung very pleasingly by Miss Wallace, the audience standing up. We have just one hint to give to the gentlemen managers of the Roman Catholic Chapel; as it is presumed that all pay alike, it follows that each has as good a right as his neighbour to take possession of whatever seat he or she may choose on Wednesday night, so far was this from being the case that several families who arrived early in the evening were prevented by the check-taker from taking possession of the vacant seats from which a full view of the performance could be obtained, and compelled to sit in the side seats where, in addition to the discomfort of the seats, the view is completely shut out by the scaffolding. In all Theatres, or places of public amusement, all who pay alike should receive alike treatment, and we trust that the managers of the Oratorio, when they again convert the Roman Catholic Chapel into a place of public amusement, will not lay themselves open to the repetition of this complaint.

"THE ORATORIA" [sic], The Sydney Herald (5 February 1838), 2 

A grand Musical Festival took place at St. Mary's Church on Wednesday evening last, which was attended by upwards of five hundred persons. The selection of music was from the best authors; and the professionals of Sydney, who gave their assistance gratuitously, mustered strong on the occasion. Mr. Wallace, as usual was the star of the instrumental performers, and was assisted by Mr. W.'s brother, Messrs. Deane, Cavendish, Edwards, Spyer, Josephson, Lane, and the full Band of the 50th regiment. Amongst the female vocalists we observed Miss Wallace, Mrs. Clark, and several of the Choir of the Chapel. In the vocal department of the other sex there was an evident want of tenors and counter-tenors, which were however judiciously supplied by the stringed instruments. From the short notice of the entertainment, we did not think it possible that such an intellectual treat could have been produced. Such was the effect of the performance that the audience could not be restrained from exhibiting their approbation and applause at the termination of every piece. We regret that our limited space will not allow us to enter more into detail, and do individual justice to the performers. We must conclude by saying that it was altogether highly creditable to the musical profession of Australia.

ASSOCIATIONS: Elizabeth Clancy (vocalist); Lawrence Spyer (violinist); the "amateur" bass mentioned in the reviews below was Eliza Wallace's future husband, John Bushelle

[Edward Smith Hall], "The Oratorio", The Sydney Monitor (5 February 1838), 2 

WE have already noticed the Oratorio at St. Mary's Chapel, or, as it rather deserves to be called, Cathedral, in Hyde Park. We now proceed to describe it. This Cathedral is, as all Cathedrals are, very lofty, and no quantity of light, consistently with the economy necessary to be preserved at an Oratorio in this Colony, could do much more than render "the darkness visible." The lights consisted of variegated glass lamps, used on public occasions, and at public places of entertainment, which were hung in festoons in the body or nave of the Cathedral. The light shed by these lamps is much inferior to that of the argand lamps. They had, however, a very pretty appearance, and were as numerous as the occasion could afford, or the Colony supply. The Orchestra last year was stationed on the side of the altar; this year it was placed in the gallery. A contemporary describes the performers, in consequence of this arrangement, as wanting room. We could not discover this from below, nor have we heard that the performers were not at their ease through want of room. But the effect of the Orchestra was much finer from above than it was last year from below; and if, by any contrivance, the performers can make room enough for themselves in the gallery, that is the place for them, so far as the effect of the music is considered; which effect, at a musical assembly, should of course be the paramount consideration.

The semi circular gallery was lit up with variegated lamps, the same as the body, of the Cathedral, arranged as follows: In the centre of the semi-circular wall, which incloses or forms one side (so to speak) of the gallery was a magnificent cross, formed of variegated glass lamps, containing some scores, not to say hundreds of them. We guessed this cross to be eight or ten feet long; six at the cross part, and wide or thick in proportion. It had an imposing effect. On the right and left of the cross were two very large and brilliant stars, which were equally striking. With this mass of light, one would have supposed the Orchestra would have been brilliantly lit up. The effect, however, was sombre. It was that of the glimmering of lights in a gaunt room.

This defect can easily be remedied. The pannelling in front of the gallery should he removed on such occasions as these. It ought to be made to shift with ease. On the floor (which by a little scaffolding and boards could be extended in front) and fastened to the outer edge next the audience, argand lamps, to act as foot-lights, should be placed, and as close together as possible. Two of the three magnificent hanging argand lights belonging to the ball-room of the Pulteney should be hired for the next Oratorio, in addition to such foot-lamps, and be suspended from the ceiling of the gallery; and they should be fixed in such part of the ceiling as that the lights might fall exactly between the cross and the two stars. The desks of the orchestra should also be studded thickly with argand lamps, so that the gallery and orchestra might produce one blaze of light.

With respect to the expense, we will venture to say, that if such expense be incurred, it will pay, by attracting a much larger company. In short, these sort of public festivals will not answer their end, unless there be a sufficient and effective outlay, or investment of capital. The gallery, lit up by the cross and stars, though brilliant in itself, had little effect on the nave and wings of this lofty and magnificent building - a building which does such great honour to the architectural taste and noble conceptions of its founder, the Rev. John Joseph Therry, and to the laudable ambition, which, in the infancy of the Colony, soared above common rules, and dared to look forward half a century, in giving effect to his enlarged views of what was due to his people; and to the venerable Church and Institutions of his father land.

Brilliant, therefore, in themselves, as the cross and the stars were, the orchestra and performers being between these lights and the audience, the former cast a shade on the visages of the latter, deep and gloomy in proportion to their brilliancy. Hence, we could not see the face of the chief singer who placed him or herself in front. Had the singer worn a mask of black crape, his features could not have been more obscured. We sat in a bad place; a little to the right of the nave, just withinside the southern wing. Hence we could not distinguish a single performer. We could distinguish the beautiful strains of Mr. Wallace, but we could neither see him nor his instrument. Say what we please, the sight of a living performer when he can be seen (as is the case with a violinist) aids the imagination. We like to see the performer's countenance; its expression; and the gesture and attitude of the artist who gives us delight. The same holds in degree of all the performers. Who that witnessed the inspirations of Paganini, but would admit, that if he had played behind a screen, a considerable portion of the pleasure would have been lost?

Having thus described the external arrangements of the Oratorio, we proceed to consider the music itself, both vocal and instrumental.

Miss Wallace, by her powerful voice, is well adapted for cathedral singing; and she sang well the whole evening.

Mrs. Clarke might have succeeded, but she injured her tones by appearing to sing under the impression, that she must always and throughout every piece, sing at the top of her voice. She executed a very difficult piece, ("Let the bright Seraphim") but it was too laboured. Had she kept her voice within commanding compass, she would have done herself and the piece more justice. Of Mrs. Curtis, Mrs. Clancy, and an amateur Lady we do no know which to prefer. They do not affect execution, but their voices being soft and musical, they gratified the audience by their exertions.

But the star of the evening, was an amateur who sang bass. Even in the higher notes, this gentleman's voice is very musical. When he puts forth all his powers, it is for strength and volume like the pealing of an organ. He filled the cathedra1 as completely as an ordinary singer would fill a small room. His precision in time, and his accuracy in tune, are equal to the strength and melodiousness of his voice.

The most striking and imposing piece of the evening, was the very short Quartette and Chorus with which the Oratorio commenced, and which, as the opening of a sacred festival, contained words as appropriate as they are sublime; while the music is heavenly. The words are those of the Psalmist of Israel, namely-
"The Lord is in his holy temple;
let all the earth keep silence before him."
The repetition of the words "Let all the earth keep silence before Him," supported by the fine full round bass of the amateur just mentioned, was enchanting. We saw the tear stand trembling in the eye of some devotees to music who were near us; while their lips quivered as Wallace drew his celestial bow, and their y bosoms heaved with transport. The reason of their agitation was, not that they were gifted with a passion for music only; this is but a corporeal sensation; but their minds were doubtless cultivated, and their hearts bowed down with reverence and humility, when called upon in the language of one of the first of poets and prophets to keep silence and to feel silence before the Creator of worlds, of angels, and of men. They felt themselves exalted [3] and dignified by this monition of the King of Israel. They felt that even in this despised quarter of the globe, they were still members of the great family of God; were linked to the unseen world of immortality and glory; though for the present clothed with clay, and having "a habitation and a name" among the children of men.

An overture followed this sublime air and chorus which was in itself excellent, and beautifully executed. Then succeeded an air by Miss Wallace, as follows:-

"I know that my Redeemer liveth, and I that he shall stand at the latter day upon the earth; and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, and become the first fruits of them that sleep."

The famous passage from Handel's "Messiah," was well executed by the powerful voice of Miss Wallace, who perhaps shines in sacred music more than in (what for distinction's sake is called) profane.

The chorus of "Magnificat anima mea Dominum" followed, which gave great satisfaction. It was full of genuine music.

A bass solo, "Jesu potissime!" [O Jesu potentissime] followed. The amateur beforementioned showed in this fine solo, that his higher notes, were as musical as his lower. In this solo he evinced his judgment, by reining in his voice, which of course he delights (for it must be a delight to him to exercise his full strength when called for) to put forth.

The trio "Te ergo quaesumus" by Mrs. Clarke, Master Deane, and an amateur, was well received, but the inefficiency of Master Deane's voice, which is not yet formed, rendered it less effective than it otherwise would have been. We mention this not as a fault, for looking to his youth, Master Deane acquitted himself admirably.

Miss --,and Mrs. Curtis then sang "Gloria in excelsis Deo," and elicited due applause. They have sweet voices.


After three quarters of an hour's rest, a beautiful Overture was executed, which gratified all amateurs present, but which not being so popular as vocal singing among the great body, the applause was not so great as this piece merited.

"Ave verum corpus natum" followed by Mrs. Curtis and amateurs, and gave much satisfaction.

Handel's recitative and air which opens his famous "Messiah" succeeded. We once heard Braham sing this, and were delighted to be reminded of that great singer by the commanding voice of Miss Wallace, who sang it with great taste and feeling. The chorus was full and complete as usual, and gave the colonists an idea of Handel's musical mind.

A trio, "O salutaris Hostia" followed, by Miss Wallace and amateurs, and was received with applause. No discordances in this trio were perceived below. Every one sang in tune, and the effect was good in proportion. It contains much rich harmony.

Mrs. Clancy sang "With verdure clad." This is a sweet pastoral air, and after our ears had been gratified with the grander efforts of musical talent, the soft symphonious strains of this piece, sung in a very sweet and chaste, though not powerful manner, had an excellent effect. The music attached to the words "here vent their fumes the fragrant herbs; here shoots the healing plant; to shady vaults are bent the tufted groves; the mountain's brow is crowned with closing woods;" rendered this piece a delicious contrast with the lofty conceptions of Handel and other great composers which had preceded.

A Duet in Latin by Miss Wallace and an amateur, and a Latin hymn by Mrs. Clancy and amateurs, closed the evening's entertainments, (except the Queen's Anthem) and gave general satisfaction.

The Queen's Anthem from some cause or other disappointed the audience. One of the defects was, the too great loudness of the singers, and especially of Mrs. Clarke. That lady seemed to be unaware of the power of the voice from the gallery of this building. The music ascends to the ceiling, (now nearly completed, and which is a complete sounding board) and pours down on the audience like a torrent. Even Mrs. Clancy, whose voice is not strong, was distinctly heard. The Queen's Anthem was the only failure of the evening.

The company, however, departed highly gratified with the evening's performances.

Owing to the badness of the times, this Oratorio was not so numerously attended as last years', and the numbers deficient included many principal families. His Excellency the acting Governor was present, but he attended as a private individual, rather than as Governor. We did not even know that he was present, till we saw the circumstance noticed in the Sydney Gazette.

By the bye, we differ with that journal in thinking, that the managers acted unbecomingly in reserving the front seats for the civil officers and principal families of the Colony. Though we are Radicals, we do not expect to see monarchy and its accompaniments to be shorn of its pomp and feudal distinctions and separations in our time . . . [extended political disquisition] . . .

In the meantime, modesty and humility will ever be the rule of conduct of christian men, whether they be republicans in their politics, or monarchists . . . Take, for example, the 14th chapter of St. Luke's Gospel, and which, lest our Tory contemporary should have forgotten it, we will here kindly and condescendingly transcribe for his special use at the next Oratorio.

"When thou art bidden of any man to a festival, sit not down in the highest seat, lest a more honourable man than thon be bidden of him, and he that bade thee and him, come and say to thee, give this man place; and thou begin with shame to take the lowest room. But when thou art bidden, go and sit down in the lowest seat, that when he that bade thee come, he may say unto thee, friend, go up higher. Then shalt thou have worship in the presence of them that sit down with thee."

[Review], The Australian (6 February 1838), 2 

At the Musical Festival, last Wednesday evening, which took place at St. Mary's Church, which we briefly noticed in our last, the performance began with a quartett and chorus, "The Lord is in his Holy Temple," which though simple in its harmony, had a very pleasing effect. Miss Wallace then sang "I know that my Redeemer liveth,' in a very chaste classic style; the great power of her mezzo soprano voice made every note effective; her avoiding any extraneous embellishments proved the correctness of her taste. The audience then enjoyed a treat never before given in this Colony, a bass solo, by a gentleman styled in the programme "an amateur," but we understand is choral master at St. Mary's. Mozart's sublime "O Jesu potentissime," was sung in a style that its immortal composer would have pronounced unexceptionable; he gave the opening with great pathos and a sweetness that we never before heard in a bass voice; the words "Deus noster, Deus fortes," were given with immense power, and the "Ave Maris Stella" in which the time was accelerated, displayed a combination of flexibility and tone, in the style of Lablache, by which the audience were induced to give vent to their feelings by loudly expressing their delight.

"Let the bright Seraphim," was then sung by Mrs. Clarke; this lady's shake is very fine - we trust the next time this lady sings with trumpet obligato, she may have a more efficient performer on that instrument to accompany her; but yet, with all these disadvantages she was much applauded. The "Gloria in excelsis," was undoubtedly the most effective chorus ever given in the Colony, and was repeated by particular desire. Miss Wallace's "Comfort ye my People," and the delicious duett she sang with the bass singer above mentioned, realised our beau ideal of perfection - the voices blended in a manner that ought to be held up as a model to all those who cultivate the vocal art in this Country.

We heard for the first time Mrs. Clancy, who sang "With verdure clad," with great taste and feeling, leaving us nothing to regret but the want of proportion between her physical powers and the size of the edifice; her voice is a beautiful soprano. The overtures to "Joseph" and "Zara" were led by Mr. William Wallace, to the magic of whose bow we must attribute the very credible manner the band of the 50th performed their part - it formed a very striking contrast to their diurnal display in the Barrack Square. Mrs. Curtis also exerted her vocal powers to the utmost, and added much to the effect of the performance by her talent; but want of space prevents us entering into more particulars. To the other performers the greatest praise is due for their prompt co-operation in the cause of charity. We shall terminate by wishing that the public may soon enjoy a similar treat, and that a longer notice may be given, by which the lovers of good music may be enabled to prove at the same time their charitable disposition and their love of music.

See also this fictionalised account of the performance, which nevertheless includes further corroborating musical details:

"EXTRACTS FROM A REPORTER'S NOTES", The Australian (13 March 1838), 1 

The program, partly reconstructed from the above reviews, included the following works:

Overture to Zara, probably by Thomas Arne, from his mostly lost incidental music to Aaron Hill's 1736 play

Overture to Joseph, Handel

O Jesu potentissime, "Mozart" (attributed, as arr. by Vincent Novello)

12 February 1838, Sydney, departure of William Wallace

"SHIPPING INTELLIGENCE", The Sydney Herald (15 February 1838), 2 

DEPARTURES . . . For Valparaiso, via New Zealand, on Monday last, the ship Neptune Captain Nagle, with sundries. Passengers, Mr. Wallace, Captain Salmon, Mr. P. McKew, Mrs. McKew, and four children.

[News], The Sydney Gazette and New South Wales Advertiser (17 February 1838), 2 

Mr. W. Wallace, the Australian Paganini, left the Colony in a clandestine manner on Wednesday last, and has sailed for Valparaiso, after having contracted debts in Sydney amounting to nearly £2,000. In one or two instances which we could mention his conduct has been heartless in the extreme. We shall forward this paper to that part of the world, with the hope that this paragraph may catch the eye of some of the residents there, and thus be the means of preventing this man again imposing on the public.

Later recollections (of contact with the Wallaces, Australia 1835-38)

[c. 1836-37] Mrs. Edward Cox's journal (written about 1877) [in pencil: 1880]; transcribed by Andrew Houison (1850-1912) 

[c.1836-37] . . .and [I] was then married to my dear Husband and then went to live at Mulgoa Cottage. It was a very pretty place [MS transcript page 37] . . . besides which we had a grand neighbour in Sir John Jamison, about four miles from the Cottage. It was a fine residence, a large Stone house: he entertained in a liberal manner. My husband and I used to meet many pleasant people there among which I remember Sir Francis Forbes, Sir Richard Bourke, W. Charles Wentworth, Esq., Wallace, the Composer of Maritana, Mr. Manning, the Father of Sir W. Manning, Commissary General and Mrs. Laidley and many other Military Men. It was there I first met Lady Deas-Thompson, whose singing enchanted me.

ASSOCIATIONS: Jane Maria Cox (1806-1888) arrived in New South Wales with her parents, Richard and Christiana Brooks, in 1814. In 1823 the Brooks family moved from Sydney to Denham Court near Liverpool. In 1827 Jane married Edward Cox (1805-1868) of Fernhill, Mulgoa; Alfred Cox, below, was her much younger brother-in-law.

Alfred Cox, recollections of 1836-37; Cox 1884, chapter 5, 29

[29] CHAPTER V. Music - William Vincent Wallace.

I HAVE already spoken of my having been taught to play the flute when I was a youngster. My music-master was Samuel Wallace, an old bandmaster in the 17th Regiment [sic]. He was a charming player, warbling exquisitely on the flute, and playing upon many other instruments nearly as well. He was the father of William Vincent Wallace, the well-known composer, who was a first-class performer on the violin and pianoforte.

The first concert that I ever attended was one given by Wallace the son, in 1837 or 1838. He alone performed at this concert, first on the violin and then on the piano. It is hardly necessary to say that I had never before heard such music. I sat by the side of my dear old grandmother, who, always ready to indulge me, had taken me with her to listen to Wallace's warblings. I was fairly entranced, confessing that I had at last heard something that I could never forget, and I then and there resolved that I would try and become a player myself.

This man, William V. Wallace, who had thus tickled my ears and filled my young soul with indescribable sensations, became, not many years after this, a very great man indeed in the musical world, establishing a reputation that has outlived him . . .

ASSOCIATIONS: Alfred Cox (amateur musician, memorist)


. . . No. 105 Phillip-street, the house in question, was built, as far as can be ascertained, about 70 or 75 years ago, probably between the years 1825 and 1830 . . . As will be seen from our illustration, the building is a commodious one of two storeys, double-fronted, with attic rooms, and a verandah and balcony running along the entire width of the front . . . The late Sir Alfred Stephen, the one hundredth anniversary of whose birth, by the way, occurred last month, lived for some time in this house after his arrival in N.S.W. from Tasmania, on being appointed to a vacant judgeship here by Sir George Gipps . . . Tradition states that, prior to the late Sir Alfred's occupancy, the house was for a time the residence of William Vincent Wallace (the composer of "Maritana"), and of Mrs. Bushell, his gifted sister. In 1843 Lyons' Terrace, in Liverpool-street, was built, and Sir Alfred (then "Mr. Justice") Stephen - who succeeded to the Chief Justice ship of N.S.W. in the following year (1844), and attained the dignity of knighthood in 1846 - took one of the new houses, where he afterwards resided for a great many years . . .


. . . It was in 1836 that Vincent Wallace, who arrived in Sydney three years before [sic], gave a grand concert in the saloon of the Royal Hotel in the presence of the Governor. He was assisted by the band of the 17th Regiment, the members of a Glee Club which then existed, and some Sydney amateurs. The tickets were 7s 6d, and the concert was an immense success. The press said that Mr. Wallace's performance marked the commence ment of a "new era in the chronology of music in the Colony."

William Vincent Wallace was born at Waterford in 1815, his father being band master of the 29th Regiment. When only 14 years of age Vincent was placed in the orchestra of the Theatre Royal, Hawkins-street, Dublin. He took the direction of the orchestra in 1831 - 16 years of age! - but his health failed, under the labor, and his father found him an easier billet in the R.C. Church at Thurles. In 1833 he was recommended to try a sea voyage, and came to New South Wales, where he commenced as a teacher of music. In Sydney he was joined by his sister Eliza, a vocalist of fine repute. The brother and sister gave many excellent concerts, and may be esteemed the pioneer of high-class music in Sydney. The sister subsequently married Mr. John Bushelle, a singer of excellent standing, known in Sydney society as "The Knave of Diamonds," from his alleged resemblance to that card, but more likely from a certain connection with "brilliants" which brought him to Sydney.

Wallace and his sister gave a concert in aid of St. Mary's Cathedral, which realised £1000. While in Sydney Wallace commenced the composition of his opera "Maritana." He was then living at the corner of Castlereagh-street and Brougham-place - now Rowe-street - the Australia Hotel being on the spot. In 1845 [sic] Wallace left Sydney, via America, for London, where he completed "Maritana." His fame, however, does not rest solely on this opera, as he composed many others. He died in Paris in 1865. The sister, Madame Wallace Bushelle, died at her residence, 149 William-street, Woolloomooloo, in August, 1878 . . .

ASSOCIATIONS: Joseph Michael Forde (journalist, historian)

Recollections of the Cruikshank family and their connections with the Wallaces and Bushelles

"RANDOM RECOLLECTIONS. BY (THE LATE) J. E. RICHTER", Sydney Mail (18 June 1913), 8, 9, 46 

[8] Shortly before his death, which occurred at Royal Prince Alfred Hospital, recently, Mr. John Ernest Richter, the well-known Australian explorer, prepared for the "Mail" a lengthy budget of Reminiscences, the first instalment of which is here published. Mr. Richter, who arrived in Sydney, at the age of two, 71 years ago [1842], had an adventurous and varied career in Australia and New Zealand, and his recollections will deeply interest members of the younger generation as well as the older residents, some of whom will doubtless be able to recall many of the incidents related in the articles . . .

[9] . . . IN [Castlereagh] street was established in 1835 the business of James Norton, solicitor, who carried it on until his death, when his son, the late Hon. Dr. Norton, M.L.C., succeeded to the practice . . . The influence of James Norton with some of the Maori chiefs who were brought from New Zealand in 1839, and the promptitude with which he prepared the deeds for land purchased in large blocks by settlers from Sydney, really helped largely to secure to Great Britain the colony of New Zealand, at a time when that country was trembling in the balance . . . THE writer was well acquainted with one purchase from the chief, Tewaiki, better known as "Bloody Jack," of a block of 20 miles square (400 square miles) for a few whaleboats, guns, fishing tackle, flour, etc., in value about £70. This block was sold to Thomas Jones, who was then a wine and spirit merchant in Bathurst-street, Sydney. He was a brother of David Jones, the founder of the large drapery business still carried on in George-street . . .

[9] WHILE on this theme it may be mentioned that there was then in the office of James Norton, as chief clerk, a Mr. Cruikshank. He was one of the three who purchased a 7000-acre portion out of Jones's block, and lost both the land and the money spent in carrying out the conditions of improvement. For this purpose he had taken in partnership Mr. Bessant, who was to reside upon and improve the land. Cruikshank would probably have been granted 100 or 200 acres had he subsequently applied for it. Jones bought the large block for material that cost him about £70, and resold three 7000 acre pieces out of it for £70 each, also giving no better title to the purchasers at second hand that what he had himself. In 1849 Cruikshank chartered a vessel to take a cargo of flour to San Francisco. He was never afterward heard of. It was thought that, after realising on the cargo, he had met his death in some mysterious way, such occurrences being rife in California at that time. In 1833 Mr. Cruikshank married a young Englishwoman emigrant at Sydney. After marriage Mrs. Cruikshank carried on a residential boarding establishment in a house situated in Jamieson-street, whereat a young man named Vincent Wallace became a resident for several years. He was a gifted Irishman. and had just come from Tasmania, where he had been reconnoitring for an opening in the sheep-farming industry. Not being suited in this direction, he came to Sydney, and in 1836 appeared before Sydney audiences to delight them with his unique and able performances on the violin. It was in Jamieson-street where the greater part of his beautiful opera "Maritana" was composed, an opera that will always remain a standard work so long as music hath charms. In connection with the composition of this opera a curious and pathetic story, which has never been narrated in print, was told by Mrs. Cruikshank to the writer.

A New Wallace Anecdote.

IN pursuance of the sheep-farming industry still, Wallace had made terms with a squatter for 12 months to obtain experience of the industry at his station on the Maneroo, near Cooma. Previous to going on the journey per mail coach, Wallace by invitation stayed overnight at the squatter's residence, a few miles out of Sydney, and played a number of pieces on the piano for the delectation of the company present - pianos were scarce and dear in those days, £100 often being given for a very ordinary instrument at auction sale - winding up the entertainment by rendering in his best style two of his own arias from "Maritana." Now, it so happened that the squatter had a 15-year-old daughter who was also an adept in matters musical. She had been ill for several months, but was now convalescent, though yet too weak to leave her bed. During conversation her name or illness had not been mentioned, and, so far as Wallace was concerned, he was unaware of such a person being in existence. Her bedroom opened on to the sitting-room where the company had assembled, and she had opened the door to the extent of three inches in order the better to hear the music. She was acquainted with most of the selections rendered, and had played some of them herself; but the last two were new to her. These she committed to the storehouse of her memory. Wallace left next day, and was absent for the stipulated time. During his absence the young lady had practised on these new arias until she could reproduce them perfectly. After 12 months Wallace in returning to Sydney again approached the squatter's residence. It was a calm evening in the summer-time. Drawing towards dusk the notes of the piano floated in the welkin. He stopped to listen. Yes, they were his own two pieces that were so well rendered. His brain was soon awhirl. How came it all to pass? How did the pianist come by those arias? Visions racked his thoughts and assumed this form: - That the manuscript of the opera "Maritana," which he had left in the care of Mrs. Cruikshank at Jamieson-street during his absence had been stolen - had been taken to London and published, or possibly published in Sydney - that the person now playing his pieces was playing them from a printed copy, which probably was for sale at the music shops in Sydney and elsewhere! If so, he was a ruined man!

[46] WALLACE depended on the opera yielding enough to give him a good start in life, and now those hopes were dashed to the ground - for from what other source could the pianist have obtained the score? As he neared the house, his heart in palpitation, the squatter came out on to the verandah and greeted him effusively. Among his first acts was to introduce Wallace to his beautiful daughter, and when explanations followed, describing how she had come by the two pieces he had heard on nearing the house, a load of doubt and fear was lifted from his mind, and all was well again.

Production of the Opera.

THE writer does not recollect when the opera was first produced in Sydney - 1843, probably [sic]. It was first heard at the old Victoria Theatre in Pitt-street, the site of which is now occupied by the drapery house of Hordern Bros. This theatre was first opened to the public in 1838. His sister, then or afterwards Mrs. John Bushelle, was in the cast. The opera met at once with an enthusiastic reception. Wallace and some of the actors were located in Spencer's Hotel, opposite, at the time, and it was said that the composer was so far in arrears of his work that he had to work day and night in transcribing the score for the use of the other musicians, the opera having not yet been published. Later the opera was produced at the same theatre in 1849 by John and Frank Howson, Signor and Signora Carandini and daughters, one of whom afterward became Mrs. Stewart, the mother of our incomparable Nellie Stewart. Wallace left Sydney about 1844, and never returned. Mrs. Bushelle also left, but returned to Sydney in 1864, and carried on her profession as teacher of music until she died. "Maritana" was first produced in London in 1845. After that it was presented by Wallace at the principal towns in the Spanish republics of South America. It being a drama with a Spanish setting and character, Wallace was there worshipped almost as a god. He then went to San Francisco, where he carried on his profession until he died in 1867 [sic]. His son, of the same name, also died in San Francisco in 1895 [sic]. His widow died in 1901 in Dublin, where another son was engaged in the Charter House. One of his sisters was married to a man named Clancy, in New South Wales, whose whereabouts or descendants, if any, have not been traced to satisfaction. There are other relatives still resident in the State, descendants of Mrs. Bushelle.

ASSOCIATIONS: John Ernest Richter (author)

ASSOCIATIONS: William Cruikshank (Crookshanks / Cruikshank / Cruickshank / Crickshanks) was born in Birmingham, England, c. 1808; sentenced, Southampton, England, 28 February 1825, 14 years transportation; arrived Sydney, NSW, 3 January 1826 (per Marquis of Hastings, from England, 19 August 1825); in 1830 he was serving his sentence at Wellington Valley, NSW, where he probably first met John Bushelle; he married Zoephielle [Zophiel] Bloomfiled (c. 1810-1892), Sydney, NSW, 27 June 1836; c. 1840 he was a law writer and agent of Pitt Street, Sydney; [Advertisement], The Colonist (18 December 1839), 4:; he is named as one of the ticket vendors in advertisements for Eliza Bushelle's concert in December 1839, see: [Advertisement], Commercial Journal and Advertiser (18 December 1839), 1:; on William's interest in Jones's NZ block, and later in the Californian diggings, see [Advertisement], The Sydney Herald (26 August 1840), 1:; "Shipping Intelligence", Australasian Chronicle (29 December 1840), 3:; and Reminiscences of the early settlement of Dunedin and south Otago (Dunedin: J. Wilkie, 1912), 111:; "California", The Maitland Mercury and Hunter River General Advertiser (13 February 1850), 4:; when Eliza Wallace Bushelle sailed for England in 1847, she left her eldest son John Butler Bushelle in the Cruikshanks' care; in 1853, having heard nothing from Eliza in the meantime, they petitioned the Supreme Court of NSW to arrange and apprenticeship for John with the government printer (see Documentation here); in 1891 John Butler Bushelle bequeathed the use of 3 Paddington properties to Zophielle Cruikshank; she died the following year; as reported in her death notice, Zophielle was the niece of the late Stephen Evangelist Bloomfield (d. Woollahra, 1891), see also: "DEATHS", The Sydney Morning Herald (24 March 1856), 8:

Mary Elizabeth Pye, portrait, c.1838, artist unknown (Society of Australian Genealogists)

Mary Elizabeth Pye, portrait, c.1838, artist unknown; Society of Australian Genealogists, Sydney, SAG 15/149; reproduced here with permission

Mary Elizabeth Pye's music book

Genealogical Society of Australia, library, item 2/55; owner-bound volume of sheet music, c.1830s-1840s, bound for owner by W. Moffit, cover title: "Miss M. E. Pye"; donated to the society by her grand-daughter, Enid Whitling, in 1979

William Moffitt's stamp

Binder William Moffitt's stamp (Mary Pye's book, inside front cover)

ASSOCIATIONS: William Moffitt (binder)


Early in 2016, my colleagues at Sydney Living Museums, for whom I have been researching and writing website content on their colonial music collections, brought to my attention a bound volume of sheet music, believed to date from the 1840s, belonging to the Society of Australian Genealogists (New South Wales), at Richmond Villa, Kent Street, Sydney.

When the society kindly allowed me to examine the volume (call number 2/55) in March 2016, I found that it had been neatly half-bound by William Moffitt (1802-1874), the well-known ex-convict bookbinder, bookseller, and stationer of Pitt-street, who glued his paper stamp at the top left of the inside front cover, and stamped the outside cover in gold:


The owner, Mary Elizabeth Pye (1827-1910) was one of the first third-generation settler Australians. Granddaughter of the former convict and Parramatta landowner, John Pye (1768-1830, arrived per Britannia 1791), she married a prominent racing identity, Samuel Jenner (1810-1867), on 25 February 1847, and so her book was evidently bound earlier. It was donated to the society in 1979 by Mrs. Jenner's grand-daughter, Enid Whitling.

The content consists of copies of London editions, with the exception of one printed in Australia, most of which can be more or less firmly dated to the late 1820 or 1830s. A complete descriptive inventory of the contents appears below.

The first 10 items include songs, quadrilles, and other piano pieces, all of them probably first issued in the late 1820s and 1830s. All are by little known minor British composers, of which 5 are by James McCalla. None of the works enjoyed any popularity even in London, nor do they appear to have been of any great interest to the book's owner, Mary Pye, as they show no sign of being regularly used. None of these 10 items bears a sale stamp of a Sydney music seller, and none is inscribed with an owner's name or any other personal marks.

Not so the single Australian piece of sheet music - a copy of the original William Fernyhough edition of William Vincent Wallace's Walze favorite de Duc de Reichstadt arranged with variations, printed in Sydney. Though undated, it was probably issued in late 1836 (by which time Fernyhough was in business), or during 1837; in any case, probably before Wallace unexpectedly embarked for New Zealand early in 1838.

The NLA has digitised it's copy of the print, but it lacks the last page, whereas this copy is complete. The music anyway also survives complete in a later engraved edition (closely copied from, though not using the same plates as, the first) by William Baker (the NLA's copy also digitised).

What is particularly interesting, given the later contents of Mary Pye's book, is that her copy has apparently original pencilled fingerings added for passages in the waltz and the first variation.

Though there are no other marks, stamps, or user inscriptions on the Walze, all five of the remaining items in the book - prints of music and teaching manuals by John Bernard Logier (1877-1846) of Dublin - bear the stamp of the Sydney music-seller Francis Ellard, and are neatly signed in ink at the bottom right, "W. Wallace". The signature may be compared with other later attested examples of Wallace's signature, after he began to use Vincent as a middle name (something he never did, at least publicly, in Australia or earlier in Ireland).

One item is also initialled, dated, and priced, "J. G. Sept. 14/36, Pr. 7", probably by the publisher of all five Logier items, John Green, himself, almost certainly on or close to the date that he shipped them to Sydney to fill Ellard's (and probably originally Wallace's own) order. Directly above Wallace's signature in each case is another stamp, of unknown significance, but which was perhaps meant to indicate that the loan or on-sale of the copy was authorised by Wallace himself, most likely to a pupil at his Sydney academy, as Mary Pye would appear to have been, at least for a short time before Wallace's departure. There are also a couple of pencilled marks and fingerings on at least one page in item 16.

When Wallace and his wife advertised their Sydney teaching practice in March-April 1836, they indeed described it as an "Academy for the Instruction of Young Ladies, in Vocal and Instrumental Music, according to the System of Logier and Herz". And though after April, there was no other mention of the academy in newspapers, it was mentioned on the cover of the Walze. Wallace was later credited with having taught the daughters of several leading Sydney families, but the music in Mary Pye's book is the only physical evidence that Logier's popular but controversial "chiroplast" manuals were in fact used by Wallace in his Sydney teaching.

Wallace himself had almost certainly known Logier personally, and may even have studied with him. He was certainly he was associated with Logier's family. Logier's only daughter Ellen Louisa (1795-1877), for whom his chiroplast system was originally conceived, married his pupil Edmund Christopher Allen (1794-1876) in London on 19 March 1819.

Back in Dublin, by 1821 the Allens were running their own "Logierian Academy", in the first instance out of Logier's former apartments at 27 Lower Sackville Street. Andrew Lamb (2012, 6-7) found that Wallace performed at a concert at the Allens's academy (by then at 56, Rutland Square West) as early as May 1829; and in another concert in December 1829, Wallace (on violin) and the cellist Samuel Pigott accompanied the Allens's barely 10-year-old pianist daughter (Logier's granddaughter), Thomasina Allen (1819-1876), in a performance of Haydn's A-flat piano trio (HobXV:14). Wallace also played at the Allens's pupils concert in December 1830.

As documented below, Wallace's cousin Maria Logan was a pupil of Logier; and at least three other Sydney teachers claimed both to have been pupils and advertised that they would teach his system, Jane Lightfoot Dodsworth (Mrs. William Phelps Pickering) and Thomas and Sarah Bridson. Others, such as James Boulton, advertised that they taught the system.

Thanks to Dr. Bonny H. Miller, who is researching the early dissemination of the Logierian system in North America, for kindly sharing information (September 2016) about Logier's daughter and son-in-law, Ellen Louisa and Edmund Christopher Allen.

Mary Pye's music book, outside front cover; Society of Australian Genealogists, Sydney, SAG 2/55



Page 1 of item 1

Unidentified set of 5 quadrilles

With figure names only, titlepage missing


Modern antiques (song, 1828)

Modern antiques, a new & original comic song written by W. H. Freeman, and sung by Mr. Sloman with distinguished applause at the Cobourg Theatre, the music arranged by J. F. Reddie (London: published by E. Dale, 19 Poultry, [1828])

Josiah Ferdinand Reddie (1797-1860) was apprenticed in London to John Purkis and S. S. Wesley, and published his compositions regularly from 1818, and had been appointed organist at St. Margaret's, King's Lynn, in 1826

E. Dale advertised this song as "new" in June 1828, which according to Kidson (see Joseph Dale, 29), was his first year operating out of 19, Poultry. Since Kidson also indicated that he had quit that address by 1835, the other two Dale editions, items 4 and 6, can at least be dated accordingly

[Advertisement], The Harmonicon (June 1828), [171] (DIGITISED)

James D. Brown and Stephen S. Stratton, British musical biography . . . (Birmingham: S. S. Stratton, 1897), 337-38 (DIGITISED)


The token flowers (quadrilles)

The token flowers, a first set of quadrilles for the piano forte, with new figures composed and arranged by E. C. Bessell, the music composed & respectfully inscribed to E. C. Bessell Esq. and his pupils, by James McCalla (London: T. Welsh, at the Royal Harmonic Institution, New Argyll Rooms, 246 Regent Street [? c.1828-30])

ASSOCIATIONS: James McCalla (d. London, 3 April 1847); Thomas Welsh (1770-1848); Royal Harmonic Institution

Brown and Stratton 1897, 258 (McCalla); 439 (Welsh) (DIGITISED) (DIGITISED)

Kidson 1900, 112 

F. H. W. Sheppard (ed.), Survey of London: the parish of St. James Westminster: part two, north of Piccadilly (London: County Council, 1963), 306 

. . . Welsh kept the corner house, No. 246 Regent Street, as a music shop until 1836, when it was taken over by a fur company . . .

Philip H. Highfill, jr., Kalman A. Burnim, and Edward A. Langhans, A biographical dictionary of actors, actresses, musicians . . . volume 15 (Carbondale and Edwardsville: Southern Illinois University Press, 1993), 358-60 (DIGITISED)

Argyle Rooms, Wilipedia 


Invocation to May, duett (vocal duet)

Invocation to May, duett, the poetry by Miss de Pontigny, the music by S. Gödbé, and inscribed to William James, Esqre, by the publisher (London: E. Dale, 19, Poultry, [1828-35])

[Samuel Gödbé (d. 1841)]


Siciliana (a rondo for piano)

Siciliana, a rondo for the piano forte, respectfully inscribed to Mrs. John Bull, by James McCalla, op. 12 (London: Published by T. Welsh, at the Royal Harmonic Institution, New Argyll Rooms, 246, Regent Strt, [? 1833])

Other copies/editions: 


William & England for ever huzza! (song)

William & England for ever huzza! a national song, sung by Mr. Fitzwilliam, the words by W. H. Freeman, the music composed by T. Badland (London: E. Dale, 19, Poultry, [1828-35])

On Thomas Badlands, see Brown and Stratton 1897, 21 (DIGITISED)


Alpen Sanger's march (piano)

The celebrated Alpen Sanger's march, played by the Guard's Band, arranged for the piano forte and respectully dedicated to Miss Lynde, by James McCalla (London: Published by T. Purday, 50, St. Paul's Church Yard, successor (in this branch of the business) to Collard & Collard (late Clementi & Co.), [? c. 1835-36])

Other copies/editions: 

Purday elsewhere in 1835 and 1836 advertised as successor to Collard and Collard; he published McCalla in 1835

"MUSIC", Morning Advertiser (13 April 1835), 3

The Pupil's New Daily Exercises. Composed by James McCalla. Purday, St. Paul's Church yard. This is a set of judiciously-scored exercises, by practising which any pupil, with moderate attention, may acquire considerable advancement in fingering and scalar execution.

[Advertisement], Morning Post (22 July 1835), 2

. . . T. E. Purday, 50, St. Paul's Churchyard. Successor (in the publishing department) to Collard and Collard, late Clementi and Co.


Introduction and brilliant variations on . . . Donne l'amore (piano)

Introduction and brilliant variations on the celebrated Venetian canzonet, Donne l'amore, composed for & respectfully inscribed to the Misses Kenrick, by James McCalla (London: J. Alfred Novello, music seller by special arrangement to Her Majesty, 69, Deane Street, Soho, [ ? 1838])

Joseph Alfred Novello (1810-1896), son of Vincent Novello; since Novello was already advertising a special arrangement with "her majesty" in 1836, he perhaps refers here to Queen Adelaide, rather than Victoria, who came to the throne in 1837.


The star of love polacca (song)

The star of love, polacca, written especially for Madame Malibran, & adapted to the popular organ tune, by James McCalla (London: Published by J. Warren, 42, Bishopgate St, Within, [c. 1834-36])

Maria Malibran (1808-1836), in England from 1834 until her death on 23 September 1836


The celebrated Bohemian melody, called Matali (song)

The celebrated Bohemian melody, called Matali, as sung with the greatest applause at the Argyll Rooms, by the Bohemian Brothers, arranged as a rondo, with an introduction for the piano forte, and dedicated to Miss Ashton, by James McCalla, op. 13 (London: Published by T. Welsh, at the Royal Harmonic Institution, New Argyll Rooms, 246, Regent Street, [1834])

"NEW MUSIC", Morning Advertiser (17 April 1834), 3

[Two previous titles listed] . . .
"Matali." A Bohemian Melody, on F, composed by McCalla. Published by T. Welsh.
These three compositions possess considerable merit, and are worthy of a place on the music table.

Compare also: "NEW MUSIC", The Athenaeum (29 July 1829), 477 (DIGITISED)

Walze favorite de Duc de Reichstadt by William Vincent Wallace (Sydney: Fernyhough)

Walze favorite de Duc de Reichstadt (on a theme by Johann Strauss; Wallace)

Walze favorite de Duc de Reichstadt, arranged with variations for the piano forte and dedicated to J. Maclean Esq. by Willm. Wallace, late leader of the Anacreontic Society, Dublin (Sydney: printed from Zinc by W. H. Fernyhough, [c.1836-37])

Wallace Reichstadt waltz, page 1, fingerings (Mary Pye's book)

Page 2, thema (opening), with pencilled fingerings probably for a beginner, indicating performance of the right hand octave passages with only the upper or lower voice, not both

Wallace Reichstadt waltz, page 4, fingerings (Mary Pye's book)

Page 4, variation 1, with pencilled fingerings

ASSOCIATIONS: William Fernyhough (publisher)

Other copies/editions: (Fernyhough's edition) (Baker's edition)

Australian editions of an arrangement of the same waltz, attributed to Herz:

(Sydney: F. Ellard, [after 1839]) 

(Sydney: J. T. Grocott, [after 1844]) 

On a similar arrangement of Strauss's original waltz, published in London in 1836, see "NEW MUSICAL PUBLICATIONS", The Spectator (19 March 1836), 19 

The favourite music of the Vienna fashionables just now are the Waltzes of JOHAN STRAUSS. To one of these Mr. HARRIS has appended an appropriate introduction; hoping, and not without reason, that it will find admirers among the fair pianistes of London . . .


Strains of other days, no. 1 (piano)

Strains of other days, no. 1, containing the Irish melodies, Kitty Tyrrel, or Oh! blame not the bard, and The Legacy, arranged for the piano forte by J. B. Logier (London: J. Green, 33, Soho Square, publisher of all Mr. Logier's music, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed at bottom right: "W. Wallace"

ASSOCIATIONS: Francis Ellard

No other copy of Green's edition appears in the bibliographic record; but see Logier's own edition:  (DIGITISED)

Logier's Sequel to the first companion to the chiroplast; initialled by the publisher Green in London, stamped by Francis Ellard, and signed by Wallace, Sydney; Mary Pye's music book; Society of Australian Genealogists, Sydney, SAG 2/55


Sequel to the first companion to the chiroplast (Logier)

Sequel to the first companion to the chiroplast, consisting of instructive lessons fingered for the piano forte and arranged to be played if desired in concerts, by J. B. Logier, eleventh edition (London: Published by J. Green, 33, Soho Square, publisher of all Mr. Logier's music, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "J. G. Sept. 14/36, Pr. 7"; inscribed at bottom right: "W. Wallace" (image below)

Wallace's signature, and John Green's initials; Logier's Sequel to the first companion of the chiroplast (Mary Pye's book)
W. V. Wallace's signature from letter, New York, 25 May 1844, private collection

Above: W. Wallace's signature (Mary Pye's Book), compared with W. V. Wallace, signature, from letter (New York, 25 May 1844) (private collection)

And see also, Letter from William Vincent Wallace . . . (5 December 1864); National Library of Ireland (DIGITISED)

Other copies/editions: 

12th edition (Boston Public Library) (DIGITISED) (DIGITISED)


Sequel to the second companion to the chiroplast (Logier)

Sequel to the second companion to the chiroplast, being a succession of progressive lessons, arranged as to be played in concert, with the easy lessons contained in that work, composed & dedicated to his pupils, by J. B. Logier . . . (London: Published by J. Green, 33, Soho Square, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "W. [?]"; inscribed at bottom right: "W. Wallace"

Other copies/editions: 


The first companion to the Royal patent chiroplast (Logier)

The first companion to the Royal patent chiroplast, or hand-director, a new invented apparatus for facilitating of a proper execution on the piano forte by the inventor J. B. Logier, the 17th edition ([London]: Printed for the author by J. Green, 33, Soho Square, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "W. [?]"; inscribed at bottom right: "W. Wallace"

Other copies/editions: 

Ninth edition; copy at the British Library; digitised by Google Books 


The second companion to the Royal patent chiroplast, or hand-director, calculated to accompany the progressive advancement of the musical student, by J. B. Logier . . .

(London: Published by J. Green, 33, Soho Square, . . . , [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "W. [?]"; inscribed at bottom right: "W. Wallace"

Other copies/editions: 

References (Logier and other contents)

An authentic account of the examination of pupils, instructed in the new system of musical education; before certain members of the Philharmonic Society, and others, by J. B. Logier, the inventor of the system (London: Printed for R. Hunter, 1818) (DIGITISED)

An exposition of the musical system of Mr. Logier; with strictures on his chiroplast, &c., &c. by a committee of professors in London (London: Printed for Budd and Calkin, 1818) (DIGITISED)

George Cruikshank, The Logierian system, or unveiling the new light to ye musical world!! With the discovery of a general thoro' base discord in the old school (London: Pub[lishe]d April 23d 1818 by G. Humphrey) (DIGITISED)

J. Eager, A brief account, with accompanying examples, of what was actually done, at the second examination of Mr. Eager's pupils in music, educated upon Mr. Logier's system . . . to which are added, some observations on the chiroplast . . . (London: Printed for R. Hunter, 1819) (DIGITISED)

"LOGIER (John Bernard)", in John Sainsbury (ed.), A dictionary of musicians from the earliest ages to the present time . . . vol. 2 ((London: Sainsbury, 1824), 78-82 (DIGITISED)

A system of the science of music and practical composition; incidentally comprising what is usually understood by the term thorough bass by J. B. Logier (London: Published by J. Green, 33, Soho-Square, 1827) 

[82] . . . From Mr. Green, of Soho-square, who is sole proprietor of the chiroplast, and publisher of Logier's works connected with his system, we have been able to ascertain, that there have been already published of the elementary works upwards of fifty thousand copies, and of the chiroplast nearly sixteen hundred have been sold. He further informs us, that about one hundred professors have paid Logier one hundred guineas each to be initiated in his method . . .

R. v. Steele (1839) 1 Legge 117; [1834] NSWSupC 111; Decisions of the Superior Courts of New South Wales, 1788-1899; Macquarie University 

. . . John Maclean, Assistant Superintendent of Botanical Gardens, proved that he planted trees on the land for Government in 1832; he was six years in the Colony, and considered the land in possession of Government; there were Government-men living in the windmill, and the tools for working were kept there . . .

"THE LEVEE", The Australian (31 May 1836), 2 

. . . John Maclean, . . . William Wallace, . . .

ASSOCIATIONS: John Maclean (1797-1840), of Sydney Botanical Gardens, the dedicatee of the Walze favorite du duc de Reichstadt

[Government notice], The Sydney Gazette and New South Wales Advertiser (16 September 1837), 4 

Colonial Secretary's Office, Sydney, 12th September, 1837. HIS Excellency the Governor has been pleased to appoint the following Gentlemen to be Magistrates of the Territory, namely:- John Maclean, Esquire, Principal Superintendent of Convicts . . . By His Excellency's Command, E. DEAS THOMSON.

Retired military officer, John Maclean, another perhaps slightly less likely dedicatee of the Walze

William Gardiner, Music and friends: or, Pleasant recollections of a dilettante (London: Longmans, Orme, Brown, and Longman, 1838), volume 2, 647-69 (DIGITISED)

[Obituary], The Athenaeum (25 July 1846), 769 (DIGITISED)

"DEATH OF JOHN BERNARD LOGIER", The Illustrated London News (25 July 1846), 58-59 (DIGITISED)

"OBITUARY. - Mr. J. B. Logier", The Gentleman's Magazine and Historical Chronicle 26 (October 1846), 434-37 (DIGITISED)

R. Eitner, "Logier, Johannes Bernhard", Allgemeine Deutsche Biographie 19 (1884), S. 110–114,_Johannes_Bernhard (DIGITISED)

J. C. Haddon, "Logier, John Bernard", Dictionary of national biography . . . vol. 34 (1893), 90-91,_John_Bernard_(DNB00) (DIGITISED)

Frank Kidson, British music publishers, printers and engravers . . . (London: W. E. Hill, 1900) (DIGITISED)

Bernarr Rainbow, "Johann Bernhard Logier and the chiroplast controversy", The musical times 131/1766 (April 1990), 193-96 (DIGITISED)

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999) [vol. 2], 134, 135, 167 (DIGITISED)

Michael Kassler, A. F. C. Kollmann's Quarterly musical register (1812): an annotated edition with an introduction to his life and works (Aldershot: Ashgate, 2008), 122-31 (PREVIEW)

Jennifer O'Conner, The role of women in music in nineteenth-century Dublin (Ph.D thesis, National University of Ireland, Maynooth, 2010) (DIGITISED)

On "Mrs. Allen and the Allen Academy", 41-47; "Mrs. Allen and the influences of her father, brother and husband", 232-34

Graeme Skinner, Toward a general history of Australian musical composition: first national music, 1788-c. 1860 (Ph.D thesis, University of Sydney, 2011), 51-52, 126 (DIGITISED)

JWSM, "Formalities of the past: a stroll through a colonial garden" [Bungarribee House], Facebook post, 2007-12

Other documentation on the Logierian system in Australia, from 1835

ASSOCIATIONS: John Bernard Logier

[Advertisement], The Sydney Gazette and New South Wales Advertiser (31 March 1836), 3 

MONDAY, THE 4TH APRIL, THEY will commence under the above distinguished Patronage, their Academy for the Instruction of Young Ladies, in Vocal and Instrumental Music, according to the System of Logier and Herz, in which they will be assisted by Miss E. Wallace, and Mr. S. Wallace.
The Course of Study will comprise the Pianoforte, Guitar, Singing, and the Theory of Music.
In addition to the usual Instructions, Pupils attending this ESTABLISHMENT, will, when sufficiently advanced, have the benefit of being accompanied by Mr. Wallace on the Violin, and Mr. S. Wallace on the Flute.
The Terms will be: -
First Class . . .£6 6s 0d per Quarter.
Second Class . . .£4 10s 0d Ditto
Third Class, or Beginners . . .£3 3s 0d Ditto
A deduction will be made in the First and Second Classes where two or more Ladies of the same Family attend.
In addition to the separate Lessons which each Pupil will receive, Mr. Wallace will devote an hour on Saturday's to each Class, instructing them in the Principles of Music.
Days of Attendance.
First and Third Classes, on Mondays and Thursdays.
Second Class, on Tuesdays and Fridays.
The Academy will be open on those Days from Ten until Three o'Clock.
Gentlemen desirous of receiving Lessons at Mr. Wallace's Residence on the Violin, Pianoforte, Flute, or Guitar, will be attended there on Saturday from Four o'clock until Seven P. M.
Mr. Wallace's terms for attending at the Residence of a Pupil, 7s. 6d per Lesson for the Pianoforte, and 10s 6d. for the Violin.
An Examination of the Pupils will take place every Four Months, to which their Parents and Friends will be Invited to attend.
Bridge street, Sydney.

ASSOCIATIONS: William Vincent and Isabella Wallace (teachers); Eliza Wallace (teacher); Spencer Wellington Wallace (teacher); Anna Maria Deas Thomson (patron), daughter of the governor Richard Bourke, and wife of public servant Edward Deas Thomson; throughout her life, a notable musical amateur and patron; this advertisement ran in the Gazette until 9 April; thereafter Wallace placed no further advertisements for the academy, and there are no later unequivocal documentary references to it

"MR. STUBBS'S CONCERT", The Australian (24 April 1835), 2 

. . . Mr. Josephson played a concerto by Lozier [Logier], and did full justice to the composition of that celebrated pianist . . .

ASSOCIATIONS: Joshua Frey Josephson (pianist); Thomas Stubbs (musician)

Maria Logan, advertisement, Sydney, January 1843

[Advertisement], The New South Wales magazine 1/1 (January 1843), [advertising page 1] 

BEGS to intimate, that she has removed from Castlereagh-street, to No. 6 College-street (Mr. Burdekin's new buildings), opposite the Hyde Park.
Mrs. Logan has already announced, that, in her teaching, she adopts the system of Logier,
combining theory of Music with its practical exercise, as pursued in the best Continental schools.

ASSOCAITIONS: Maria Logan (pianist, music teacher, cousin of the Wallaces

[Advertisement], Launceston Examiner (26 August 1843), 5 

JAMES HENRI ANDERSON, Student of the Royal Academy of Music, Hanover-square, London, pupil of Cipriani Potter, Principal Professor of the above institution, begs leave to announce his intention of entering upon his profession in Launceston, to the study of which he has devoted the greater part of his life under the above celebrated master.
Instructions given in the various branches of composition, the theory of music, singing, and the piano-forte. In the event of Mr. Anderson obtaining a sufficient number of pupils to form a class at any academy, he will devote an hour each week, gratuitously, to illustrate the theory of music, under the much admired system introduced by Logier, and universally adopted.
Cards of terms, &c. to be had at the stationery warehouse, Brisbane-street. August 16.

ASSOCIATIONS: James Henri Anderson (pianist, teacher)

[Advertisement], The Courier [Hobart, TAS] (5 January 1844), 1 

EDUCATION, - Mrs. RING begs to announce that the vacation will close the 24th of January, at which time she has arranged to form a class for pupils who are desirous to obtain instruction in the English, French, Italian, and Spanish Languages, the Pianoforte (theory of music on the Logerian system) and singing, which will be available both to private pupils who may attend for class instruction only, as also to the resident and daily pupils. For terms and prospectus, apply to Mrs. Ring, No. 19, Davey-street, Hobart Town. January 5.


[Advertisement], The Courier [Hobart, TAS] (24 April 1845), 1 

A LADY, who has had considerable experience in education, is desirous to form a CLASS for INSTRUCTION of YOUNG LADIES for tuition in the English and French languages, the pianoforte, theory on the Logierian system, and singing. Parents will have the privilege to attend during the hours of instruction, and an examination of pupils will be made the last Saturday in each month. The proposed plan has been found very successful with juvenile pupils, the use of books not being the required means of instruction. For terms, &c, apply to Mr. Russell, at his residence, Collins-street.

"THE DEATH OF MR. LOGIER", Launceston Advertiser (16 November 1846), 3 

We announced the death of Mr. Logier, the composer, near Dublin, in the 65th year of his age. It may be in the recollection of many of our readers, that about thirty years ago Mr. Logier started a new mode of musical instruction in classes, and that he had many disciples, who paid him a round sum for the secret, &c. In 1817, a committee was formed of eminent musical men to inquire into the merit of the new system, and to report thereon. Logier published, in a pamphlet, all his letters pro and con; and a most violent and discordant war raged for a long time. Mr. Logier was born at Hesse Cassel, in 1780 [sic], but be came to Ireland at a very early age; he was a good performer on the flute, violin, and piano forte; indeed, he could play, more or less, on every wind instrument. He invented the keyed, or as it was called, the Kent bugle, the precursor of the cornopean; also the chiroplast, a frame to guide the hands for persons learning the pianoforte. He composed a great deal of military music, and was altogether a highly talented man.

[Advertisement], The Sydney Morning Herald (7 January 1848), 1 

MUSICAL CLASS INSTRUCTION. Mrs. PHELPS PICKERING (formerly pupil of Kalkbrenner, and J. B. Logier), proposes to receive a limited number of young ladies for class instruction of Practice and Theory of Music. Terms, and hours of attendance, to be ascertained at the residence of Mrs. P. Pickering, Palmer-street, near William-street, Wooloomooloo.

ASSOCIATIONS: Jane Phelps Pickering (pianist, teacher)

Hannah Villiers Boyd, Letters on Education; addressed to a friend in the bush of Australia (Sydney: W. and F. Ford, 1848), 64-66, esp. 65 

LETTER IV. MY DEAR MRS. ADAM, I regret to say that I have as yet been unsuccessful in my efforts to procure you a pianoforte. Musical instruments are, just now, very scarce in the colony, and I could not get one which I should consider worth sending such a distance, for the price you mention. In a few months I may be more successful, as, no doubt, there will be a supply sent from England, when it is known there is such a demand for them. In the mean time I advise you not to defer teaching Fanny all you can without an instrument. You say you have forgotten a great deal of what you learned yourself for want of a piano to practise on; however I think you will be able to revive your knowledge with the assistance of the little book I send you, called "The Juvenile Pianist." If you will devote an hour or half an hour every day, to studying the theory (which is very clearly explained by Miss Rodwell) with Fanny, you will find that by the time you get a piano, she will have conquered many of the [65] difficulties. I also send you Logier's "First Companion to the Chiroplast." And as soon as she thoroughly understands the difference between lines and spaces, crotchets, quavers, minims, &c., and the various kinds of time, you should make her go regularly through the "Companion to the Chiroplast," telling you the names of all the notes both in the treble and bass, and reckoning the number of semiquavers, &c., which are equal to a minim or crotchet, and comparing each lesson with the rules which she has previously studied in "The Juvenile Pianist." You will perceive that Logier's first lessons are "five-finger exercises," and the Chiroplast, which they are intended to be played with, is an instrument placed over the keys of the piano, which keeps the four fingers and the thumb of each hand in a steady position. It is very useful in Schools and Musical Academies, as it saves a teacher a good deal of trouble; but I think it unnecessary where a teacher can devote half an hour daily to each pupil, and thus watch that the hands do not acquire careless habits. One of the chief objects in putting a child to practise the piano early, is to give the fingers exercise while they are young and tractable; but if you will make Fanny exercise hers for half an hour every day, on the table, it will nearly answer the same purpose, and have this advantage, that she will have no opportunity [66] of being guided by her ear, until she has conquered the difficulty of learning to read music with facility. You should raise her chair a little, so that when sitting at the table, the elbow, wrist, and back of the hand, should be about three inches above it, in an even horizontal line, and the tips of the fingers touching it. Be particular in those exercises where there is only a succession of single notes, not to let her keep more than one finger down at a time, and exercise the hands well alternately, before she puts both down together. By pursuing this plan steadily, you will exercise the reasoning and observing intellectual powers, which are most useful auxiliaries to the organs of Tune and Time . . .

ASSOCIATIONS: Hannah Villier Boyd

[Advertisement], The Sydney Morning Herald (27 June 1855), 1

EDUCATION. - Miss B. RANDALL'S Establishment for YOUNG Ladies will re-open on MONDAY, 9the July, No. 19, Elizabeth-street North.
Miss B. R. has lately received from England the whole of Logier's system of Instruction in music, and from the proficiency most of her pupils have made in that branch of education, she can safely solicit a share of public patronage.
Private lessons may be given after 4 pm. Miss B. R. will have the assistance of a young lady for some time a pupil of Mrs. Logan's.
One or two young ladies can be accommodated as boarders.

ASSOCIATIONS: Maria Logan (as above)

[Advertisement], The Argus [Melbourne, VIC] (22 January 1856), 7 

PIANO, Singing, on the celebrated Logierian system. Mrs. McGill receives Pupils at 79 Chancery-lane.


[Advertisement], The Courier [Hobart] (24 June 1856), 3 

MRS. FITZGERALD purposes opening on the 1st of August next a Boarding and Day School for a limited number of Young Ladies . . .
Music taught on the Logierian system, now generally prererred at home, from the clear and comprehensive manner in which it imparts a complete knowledge of the science, as testified by some of its most eminent professors . . .

[Advertisement], The Sydney Morning Herald (8 April 1865), 7 

Mr. and Mrs. BRIDSON, pupils of Logier, the former of whom taught in his Academy, now conduct classes on his System, at their residence, 15, Lower Fort-street.
Attention is particularly drawn to the special advantages which beginners derive from the proper use of the chiroplast, and the books adapted to it, which ensures the correct position of the hands.
Classes meet from 9 to 10 a.m., and 4 to 6 p.m.

[Advertisement], The Sydney Morning Herald (7 July 1870), 8 

Mrs. BRLDSON, pupil of Logier, teaches on his system, which, by by the use of the chiroplast and the books adapted to it, enables beginners to learn the piano rapidly and easily.
Terms at her residence, 21, Wynyard-square ; or at Elvy and Co.'s, George-street.

ASSOCIATIONS: Thomas and Sarah Bridson (teachers)


. . . Whilst in Sydney, Wallace gave instruction on the pianoforte, in families of the highest distinction, who were anxious to avail themselves of his talents, amongst them were the ladies of Sir Alfred Stephen's family, Judge Josephson, Lady Mitchell, the sister of Sir William Macarthur, Lady Parker, and many others.

ASSOCIATIONS: Though Wallace may have met Alfred Stephen in Hobart in 1835, Stephen and his family did not move to Sydney until after Wallace had left NSW early in 1838; Joshua Frey Josephson is correctly identified here as having been associated with Wallace

See also: "MUSIC AND MUSICIANS: MARITANA", The Mercury (22 June 1932), 3 

. . . Sir Richard Bourke, the Governor, heartened him, and in 1836 Wallace gave three concerts, at which he played some of his own works. Two of the concerts, it is said, brought £1,000 each, and in one case the proceeds were given to St. Mary's Cathedral, Sydney. He was for a time tutor to the families of Sir Alfred Stephen and Judge Josephson.

"MEMORANDA", The Telegraph, St Kilda, Prahran and South Yarra Guardian [VIC] (14 March 1874), 3 

. . . We understand that that Mr. Arthur West has just opened as a book and music seller, at No. 19 Chapel-street north. He intends taking pupils for theory and singing, on Logier's system; also for flute and piccolo, having been a pupil of Mr. Creed Royal, flautist to the Royal Italian Opera. He has had nine years colonial experience, and we may mention that he was for seven years a member of the choir of Corpus Christi College, Cambridge. We wish him every success.

ASSOCIATIONS: Creed Royal (flautist)

"Madame Lucy Chambers", The Argus (25 November 1884), 7 

. . . Madame Chambers, the daughter of Charles Henry Chambers, is a native of Sydney, where her father was in practice of the law. Early developing a contralto voice of superior quality, she began to cultivate it under the tuition of Mrs. Logan, a pupil of Logier, and cousin of Wallace, the composer of "Maritana."

ASSOCIATIONS: Lucy Chambers (vocalist)

© Graeme Skinner 2014 - 2022