Graeme Skinner
Under construction
as of 10 July 2014 at
as last updated in April 2014, can for a short while still be consulted here
A biographical register of colonial Australian musicians A-B
A biographical register of colonial Australian musicians C-D
A biographical register of colonial Australian musicians E-G
A biographical register of colonial Australian musicians H-J
A biographical register of colonial Australian musicians K-L
A biographical register of colonial Australian musicians M-N
A biographical register of colonial Australian musicians O-R
A biographical register of colonial Australian musicians S-T
A biographical register of colonial Australian musicians U-Z
An organisational register of colonial Australian music and musicians A-Z
Chronological checklist
A chronological checklist of colonial compositions 1788-1840
A chronological checklist of colonial compositions 1841-1850
A chronological checklist of colonial compositions 1851-1855
A chronological checklist of colonial compositions 1856-1860
A chronological checklist of colonial compositions 1861-1865
A chronological checklist of colonial compositions 1866-1870
Other content
A bibliography of colonial Australian music
Readings in colonial Australian music history
Nineteenth-century musical sources online
Searching for Stephen Marsh's The Gentleman in Black
1888 Melbourne Centennial Exhibition Orchestral Series
John Onions
convict musician
George Skinner
{fl. 1844-48}
Sydney Catch Club
Emile Coulon
Windsor Band
A lost colonial opera archive
Beethoven in Australia 1827


A biographical register of colonial Australian musicians: H-J


This register complements and updates data available in my
doctoral thesis. It serves as a checklist of vocalists, instrumentalists, dancers, conductors, orchestral players, bandsmen and bandmasters, professors of music, singing and dance, teachers, composers, arrangers, orchestrators, songwriters, librettists, lyricists, music publishers, musicsellers, instrument tuners, repairers, makers, and builders, music reviewers and journalists, music memorialists and historians, writers and lecturers on music, members of musical associations and societies, professional and amateur, agents and impresarios, venue owners and managers, entrepreneurs, active in Australia, whether in public or private, between 1788 and approximately 1860. However, later individuals are also gradually being included, with a view to covering the whole pre-Federation period (to the end of 1900). Entries on more tractable minor figures tend to be far more complete than on major figures who await fuller biographies.

These are the names that my initial scans of the period have produced. But I'd be pleased to hear from anyone who knows of others.


Graeme Skinner, “A biographical register of colonial Australian musicians: H-J”, Austral Harmony (a resource for music and musicians in colonial Australia), @; accessed [INSERT DATE]

- H -


HAAS, Meno
Professor of music (from Copenhagen)
Active Adelaide, by 1868
Died North Adelaide, 10 March 1870

References: [Advertisement], South Australian Register (3 November 1868), 1:; [Advertisement], South Australian Register (19 November 1868), 1:; “CONCERT”, South Australian Register (29 May 1869), 3:; [Advertisement], The South Australian Advertiser (13 January 1870), 1:; “DEATH”, South Australian Register (11 March 1870), 4:


HACK, Gulielma (Miss Guli HACK; Mrs. William Ashley MAGAREY)
Soprano vocalist, pianist, teacher
Born North Adelaide, 17 October 1867
Died Adelaide, 2 August 1951, in her 84th year

1891: The R.M.S. Victoria, which anchored at Largs Bay early on Monday morning, brought to these shores several persons whose names are familiar to all musicians in the colony. The steamer had on board Sir Charles and Lady Halle, Miss Gulielma Hack, Fraulein Fillunger, and Messrs. W. H. Jude, Ernest Hutcheson, and H. W. Wickens […] MISS GULIELMA HACK […] is well known as the daughter of Mr. Charles Hack, of Semaphore, and as the winner of the Elder Scholarship of Music. She has been studying in London, and from time to time we have published the reports of her examinations, which have been most satisfactory. The young lady will remain in the colony, and will enter the profession as teacher of music.

Obituary: A link with the early days of music in SA was broken by the death last week of Mrs. W. A. Magarey (Miss Guli Hack), who was the first singer to go overseas and return as an outstanding performer and teacher. MRS. Magarey was on the staff of the late Mr. I. G. Reimann’s College of Music before it merged with the Elder Conservatorium in 1898, and she carried on when the late Dr. J. M. Ennis became the first Professor of Music in the University of Adelaide and Director of the Conservatorium in 1902. Among the many tributes received this week from life long friends, musicians and former pupils was one by Madame Clara Serena, who said that on her arrival in London as an Elder Scholar the excellence of her training under Miss Hack had been commented on by the late Madame Ada Crossley. “Mrs. Magarey’s interest in all her students was paramount,” Madame Serena added, “and I well remember the enthusiasm of members of the choral classes which she conducted here. She was an outstanding figure in a golden age of Adelaide’s musical life and will ever be remembered with pride by all who were privileged to be associated with her.”

References: “BIRTHS”, South Australian Register (18 October 1867), 2:; “CONCERT AT WALKERVILLE”, South Australian Register (26 August 1885), 7:; “FAREWELL CONCERT TO MISS HACK”, The South Australian Register (13 January 1888), 7:; [News], The South Australian Advertiser (23 February 1889), 4:; “MUSICAL CELEBRITIES”, South Australian Register (26 May 1891), 6:; “MARRIAGES”, Chronicle (12 March 1910), 35:; “DEATHS”, The Advertiser (4 August 1951), 20:; Harold Tidemann, “Link With Early Days Of Music In S.A.”, The Asdvertiser (11 August 1951), 7:

Note: Her husband, William Magarey first awarded a player's medal for Australian-rules football in 1898, and on his death in 1929, Gulielma formalised the arrangement, and the Magarey Medal was first awarded publicly that year.



HAIMBERGER, (Antonius) Julius
Violinist, pianist, composer

HAIMBERGER, Margeritta (late Madame KRAMER; ? CRAMER)
Contralto vocalist, “Tyrolese songstress“

KRAMER, Marie (Mary)
Contralto vocalist
Active Melbourne, by August 1855; Ballarat, by July 1856; Sydney by January 1858; Brisbane, by January 1859
Julius died Lima, Peru, 30 March 1868, aged 40

Born VIC or SA, c.1855

Summary: Julius Haimberger was a young revolutionary and violinist befriended by Richard Wagner in Dresden in 1848. Wagner organised his escape to Zurich in 1851, where he appeared in one of Wagner’s concerts. By 1853 Haimberger was in London. In December 1854, he and his future wife Margaritta Kramer and her daughter Marie (Mary), as the Tyrolese Minstrels (later “Alpine and Tyrolese”), gave a concert in Hackney at which Julius “played several morceaux on the violin with excellent taste and execution”. They made their first appearance in the Australian colonies for George Coppin and G. V. Brooke in Melbourne in August 1855. In Adelaide in October they had been joined by the zither player Veit Rahm. Circumstantially, it is possible (though by no means certain) that Margeritta (already known as Madame Heimberger in Ballarat) was the Madame Cramer [sic] who is first heard of when she appared at Rahm’s farewell benefit in Sydney on 29 May 1856, when she Crouch's Kathleen Mavourneen and, with John Howson, Glover's duet What are the wild waves saying?, the latter though in soprano range. Billed as “Madame CRAMER, of the Princess’ Concert Room, London”, she gave her own concert on 30 June, assisted by Flora Harris, Charles Packer and the Band of the 11th Regiment. The last mention of this Madame Cramer is a report of her appearing in a minor role at Andrew Torning’s newly renamed English Opera House (Prince of Wales Theatre), on 7 July, in La Sonnambula, under the direction of Linley Norman. If so, however, as Margeritta Haimberger she was back in Ballarat, where Julius was then engaged at the theatre, by 21 July, as she later that month testified in a court action. In an advertisement, in Ballarat in December 1856, we learn that Margeritta “had the honor of appearing in company with Jenny Lind before Her Majesty the Queen”, and that Julius was a “Member of the Conservatories of Leipsic and Vienna, and from the Royal Polytechnic Institution, and St James’s Theatre, London.” The Haimbergers moved north via Goulburn back to Sydney (where, on 24 November 1858, Antonius Julius Haimberger, originally of Poland, was naturalised) and thence to Bathurst, and Brisbane by early 1859. At their first Brisbane concert, there was a “violin solo, composed and performed by J. Heimberger”, that the Courier judged to be “a gem”. Julius issued a prospectus for pupils in Ipswich, where he was intending to settle, in early February, and by the middle of the month had opened “JULIUS HAIMBERGER’S NORTH AUSTRALIAN MUSIC, STATIONERY, AND FANCY SHOP, BELL STREET, IPSWICH”. Back in Sydney in November 1863, Julius and William Stanley performed 2 movements from Beethoven’s Violin Sonata Op. 12 No 1. In Sydney in January 1868, he advertised: “A GENTLEMAN leaving tho colony has for SALE, 2 superior VIOLINS, a Tenor, a Violoncollo, a Cornopean, two Flutes, Instruction Books, Vocal and Instrumental Music.” But in August that year it was reported in the Queensland press: “Mr. Julius Haimberger, late of Ipswich, is dead. Most of the residents of Ipswich were well acquainted with the name of this gentleman, who was a first-class violinist; and, no doubt, the old residents of Toowoomba will remember, some seven years ago, a series of concerts being given by this gentleman, in conjunction with Mrs. Haimberger and Miss Cramer, who, subsequently went to Vienna. Mr. Haimberger died, on the 30th March, at Lima, Peru (after landing from Sydney) of yellow fever; he was forty years of age, and the eldest son of Baron Haimberger, of Vienna, Austria.”

Adelaide, October 1855: Madame Kramer’s vocalization is of a very superior order; she has a full rich voice, and her execution in the Wedding Song of the Alps, and Life’s Garden, was particularly happy. In the programme two solos were allotted to Madlle. [Marie] Kramer, a child of about 10 years of age; and she sang them so sweetly, and with such correctness and feeling, that she was encored each time. Her voice also blended beautifully in the duets and trios.

Adelaide, November 1855: Herr Haimberger’s performances on the violin were well received. If he does not merit the very high eulogium which Emerson pronounced upon Paganini of the ability to “produce rapture from a catgut”,  he is at least a thorough master of his instrument. His ability to produce a succession of chords with remarkable rapidity of execution is undoubtedly great, but his performances would be more fully appreciated if, like his coadjutors, he appeared rather more at ease.

Sydney, 1863: The first of a series of musical entertainments of a novel character will be given at the School of Arts this evening. Some years since Madame Kramer (now Madame Haimberger), with her daughter and Herr Haimberger, visited this city, after a long tour through Europe, and delighted our citizens, as they had previously gratified the sovereigns of the old world, with their beautiful national Tyrolese melodies and instrumental performances. […] Since their former visit to Sydney, the Haimbergers have been located at Ipswich, where they have had leisure to mature their talents […]

Sydney, 1867: Miss [Julia] Haimberger, a child of only twelve years, who not only acted as accompanyist, but executed her parts in two duets ina manner that elicited the surprise and marked commendations of the audience, the delicacy of touch, the expression, and the execution were alike remarkable. 

References: “HACKNEY”, The Musical World 32/52 (30 December 1854), 851:; [News], Colonial Times (7 July 1855), 2:; [Advertisement], The Argus (11 August 1855), 8:; [Advertisement], The Argus (1 September 1855), 8:; [Advertisement], The Argus (11 October 1855), 8;; [Advertisement], South Australian Register (23 October 1855), 1:; “THE TYROLESE MINSTRELS”, South Australian Register (24 October 1855), 3:; ; [Adverrtisement], South Australian Register (24 October 1855), 1:; “THE TYROLESE MINSTRELS”, South Australian Register (31 October 1855), 3:; “THE TYROLESE MINSTRELS”, South Australian Register (2 November 1855), 4:; “TYROLESE MINSTRELS AT MACCLESFIELD”, South Australian Register (8 February 1856), 3:; [Advertisement], The Argus (29 March 1856), 10:; [Advertisment], Empire (29 May 1856), 1:; [Advertisment], The Sydney Morning Herald (29 May 1856), 1:; “HERR VEIT RAHM’S FAREWELL CONCERT”, The Sydney Morning Herald (30 May 1856), 8:; [Advertisement], The Sydney Morning Herald (17 June 1856), 1:; [Advertisement], The Sydney Morning Herald (30 June 1856), 1:; “MADAME CRAMER’S CONCERT”, The Sydney Morning Herald (2 July 1856), 5:; “ENGLISH OPERA HOUSE”, The Sydney Morning Herald (8 July 1856), 2:; [Advertisement], The Star (19 July 1856), 1:; “POLICE COURT”, The Star (26 July 1856), 2:; [Advertisement], The Star (27 December 1856), 3:; “LAYING OF THE FOUNDATION STONE OF THE GOULBURN SCHOOL OF ARTS AND MECHANICS’ INSTITUTE”, Empire (9 January 1858), 4:; [Advertisement], The Sydney Morning Herald (30 January 1858), 1:; [Advertisement], The Sydney Morning Herald (20 March 1858), 5:; “GRAND CONCERT IN THE SCHOOL OF ARTS”, The Sydney Morning Herald (25 March 1858), 5:; [Advertisement], The Sydney Morning Herald (5 April 1858), 1:; “CARCAOR. THE TYROLESE MINSTRELS“, Bathurst Free Press (23 June 1858), 2:; [Advertisement], The Moreton Bay Courier (1 January 1859), 3:; “THE TYROLESE MINSTRELS”, The Moreton Bay Courier (8 January 1859), 2:; [Advertisement], The Moreton Bay Courier (2 February 1859), 4:; [Advertisement], The Moreton Bay Courier (19 February 1859), 3:; “BIRTHS”, Empire (12 October 1863), 1:; [Advertisement], The Sydney Morning Herald (7 November 1863), 1:; “CONCERT OF THE TYROLESE MINSTRELS”, Empire (11 November 1863), 4: [Advertisement], The Sydney Morning Herald (19 December 1867), 10:; “MR. HAIMBERGER’S CONCERT AT THE SCHOOL OF ARTS”, The Sydney Morning Herald (20 December 1867), 5:; [News], The Darling Downs Gazette (11 August 1868), 3:

Resources: Richard Wagner, My life, Volume 1 (London: Constable and Co., 1911; facsimile reprint edition), 491:;; Ernest Newman, The life of Richard Wagner, Volume 2: 1848-1860 (New York: Alfred Knopf, 1937), 88-89, 91, 450:; Curt Von Westernhagen (trans. Mary Whittal), Wagner: a biography (Cambridge: Cambridge University Press, 1978; pb: 1981), 175:; Joan Willmott-Clarke, “Wagner’s revolutionary years”, Bikwil:



HALE, Mrs.
Professor of Music
Arrived Adelaide, by 5 October 1852 (“lately arrived from England”)

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



HALL, Miss
Teacher of the Pianoforte and French, German and Italian Singing
Active Melbourne, 1857

Summary: A Miss Hall advertised as a teacher in Melbourne in June 1857 and that “She has high testimonials from Dr Sterndale Bennett“.

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



HALL, J. (Mr.)
Music importer
Arrived Melbourne, July 1857

Summary: In July 1857, one “J. HALL” begged “leave to inform the friends of Mr. Henry J. King, Organist, Pianist, and Singer, that he is expected to arrive at Melbourne in a few days by the ship Commodore Perry, with a choice selection of new Music”.

References: [Advertisement], The Argus (18 July 1857), 7:



Vocalist, bones player (New Orleans Serenaders, Howard’s Serenaders)
Active NSW, 1852

References: [Advertisement], Bell’s Life in Sydney (14 February 1852), 3:; [Advertisement], The Sydney Morning Herald (27 August 1852), 1:; [Advertisement], The Sydney Morning Herald (24 September 1852), 1:


HALL, John Thomsom
Violinist, conductor
Born Sydney, NSW, 28 February 1841
Died Kent Town, SA, 2 December 1883


References: “DEATHS”, The South Australian Advertiser (3 December 1883), 4:; Loyau, Notable South Australians (1885), 184-85:

Loyau, 1885: IT is somewhat remarkable that Australia has produced, or attracted to its shores to settle permanently, some of the best musical talent in the world. South Australia especially appears singularly favoured in this respect, and if we review the history of music here from its commencement, quite a galaxy of artists are recalled to memory. Among those who stand forth prominently to our mental vision, John Thomson Hall occupies premier place; a bom musician with soul in every touch of his master hand ; a genius, pouring forth from his instrument a flood of melody like the songs of British birds at eventide, thrilling the heart with every note. Such was Mr. Hall as we remember him at the Theatre Royal, Adelaide. He was bom in Sydney in February, 1841, and commenced to study the violin when but seven years of age. His progress was rapid, for he loved music, like the true poet, for its own sake, and ere he reached his twelfth year, he had played, in public, many difficult solos, such as Ernst’s Carnival de Venice. New South Wales was visited about that time by a distinguished violinist named Caranzani, bearing a noted Italian reputation, and Mr. Hall was placed under him and received lessons for two years, when he joined Winterbottom’s orchestra (an orchestra, which, if heard now, would shame many of those which theatrical audiences are compelled to listen to nightly). It consisted of thirty performers, each an artist capable of performing the most difficult compositions, and Mr. Winterbottom, the conductor, was the best bassoon player in the world. Mr. Hall continued playing in orchestra for many years, and at the same time studied theory under that eminent and inspired interpreter of melody, the late Charles Packer. At the age of 24 he was appointed leader in Lyster’s Opera Company, occupying that place for nearly five years, when he was elevated to the proud position of Musical Director, and produced some of the grandest operas that have been represented in Australia, viz. William Tell, Ernani, and others. About the year 1869 he arrived in Adelaide, and obtained the directorship of the Theatre Royal, and in this he remained until his death, which occurred in December 1883. We have had many musical celebrities here, but the familiar and sweet tones of John Hall's violin gained for him with the public of that day the right to rank as first of all his contemporaries.

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



HALL, George Hubert
Violinist, conductor, composer
Born Sydney, NSW, 14 November 1858 (younger brother of the above)
Died Tooting Bec, London, England, 12 March 1936

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

References: NSW Registry No. 244/1859; Reg. 1882/B7869; [News], The South Australian Advertiser (29 May 1885), 4-5:; GRO UK Volume No. 1d, page 587, June Q, 1910. Reg District Lambeth; GRO UK Volume 1d, page 697, March Q, 1936, Reg Dist. Wandsworth; GRO UK Volume 1a, page 611 Dec Q, 1932 Reg Dist. Marylebone)

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

Loyau, 1885: BROTHER of the above, was bom in Sydney, in November 1860. On completing his education, he, at the age of fifteen, took his first lessons on the violin from Mr. John Gibbs. He next was a pupil of Mr. W. Rice, and later on of Charles Packer. Under the able tuition of the latter, with whom he remained three years, he became proficient in piano and theory; so much so, that he was considered by his instructor one of his most advanced pupils. He was next associated with the eminent violinist, Herr Joseph Kretchman, and became a prominent member of that gentleman’s quartette. Being offered an engagement with Lyster's Opera Company to come to Adelaide, Mr. Hall accepted it, and arrived here in 1880, remaining about eight months, when he returned to Sydney. He was there connected with the Montague Turner Opera Company as leader for two years, when, in consequence of his brother's illness and subsequent death, he was sent for to take his place as director of the Theatre Royal Orchestra, Adelaide. He has held that position ever since; with what success we leave the theatre- going public to determine, though it is an undoubted fact that the dramatic orchestra he conducts is one of the best in the colonies. Mr. Hall is leader of the Adelaide String Quartette Club, and has for the last three seasons played many of the best works of the old masters, taking part also at intervals with the most famed of our visitors in the musical world, such as Remenyi and others.

Musical works: L’Aiglon (a musical play in 5 acts by Edmond Rostand, adapted into English by Louis N. Parker; Music by George H. Hall c.1904/6; J. C. Williamson, NLA; Ms. score and parts for orchestra; some parts signed and dated by G. H. Hall, 1904; some ms. parts for the overture bear the inscription “music by G.H. Hall, composed, selected and arranged“, some ms. parts for the overture bear the inscription “arranged and composed by Adrian Amadio“); see also Miss Tittell Brune in “L'Aiglon“ (the Eaglet): direction of J. C. Williamson; Flags of the Free (from the musical “Prince of Pilsen”; c.1908; J. C. Williamson production, Music by George H. Hall); My Hansom Girl (c. 1908) (music by Bert Gilbert & George H Hall)

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



HALL, Humphrey
Journalist, playwright, theatre and music historian
Born Maitland c.1870 (? July 1863)
Died Sydney, 28 December 1940  

References: “MR. HUMPHREY HALL”, The Sydney Morning Herald (30 December 1940), 7:

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



HALLAS, Nathaniel
Band master (Sandhurst Brass Band)
Arrived VIC, 1857
Died South Yarra, VIC, 2 January 1889, aged 52

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

References: “HAYMARKET THEATRE. THE PHILHARMONIC SOCIETY’S CONCERT”, Bendigo Advertiser (17 November 1860), 2:; “THE VOLUNTEER BAND”, Bendigo Advertiser (18 September 1863), 2:; “HALLAS’S BAND”, Launceston Examiner (24 February 1874), 2:; “DEATH OF MR. NAT. HALLAS”, Bendigo Advertiser (4 January 1889), 4:  



HALLÉ, Charles
Pianist, conductor
Born Hagen, Westphalia, Germany, 11 April 1819
Died Manchester, England, 25 October 1895

Born Brno, Moravia, 21 March 1838
Died Berlin, 15 April 1911

Arrived (1) Melbourne, 16 May 1890
Departed (1) Adelaide, 21 August 1890 (per Arcadia)
Arrived (2) Adelaide, 25 May 1891 (per R.M.S. Victoria)
Departed (2) Adelaide, August 1891 (per Oceana, for London)

HALLE, Clifford
Vocalist, teacher
Toured Australia, 1895

Dairy (1890): On Friday morning, the 16th, at about 9 o’clock, we arrived safe and sound at Williamstown, the port for Melbourne, and were met on board by Mr. and Mrs. Poole, Mr. Otter (in whom I recognised a former assistant at Chappell’s, and also at Schott’s), a representative of the Argus, and several other people. I received also a few letters of welcome, amongst which was one from Mr. Gurnett, my former pupil, and now musical critic of the Argus. The Captain went with us on shore, and we travelled together to Melbourne by rail, which took us about three-quarters of an hour. Here the Captain put us into a queer-looking cab, into which we got from behind, and on the way to the hotel we drove first to the Custom-house, where the polite secretary, to whom I had a letter from Mr. Cashel Hoey, told me that he had given orders already on the previous day to pass all our luggage unexamined. At the hotel we found our rooms ready for us. Wilma told me that whilst I was at the Custom-house our had held a conversation with her through the open window, addressing her at once as “Milady,” and telling her he felt sure we should have a great success; he would be proud to drive us to the concerts, and hoped that on our return to England “You will speak well of us,” meaning the public of Melbourne, himself included. At 1 o’clock the Captain called and took me to the head office of the P. and O. Company, where the manager in the most obliging manner secured for our return journey the very best cabin on the Arcadia; he also gave me a few good Manilla cigars, and offered me his further services in the most amiable way. Our luggage arrived shortly after, minus a large box, which, however, turned up next day, having caused us much anxiety in the meanwhile. At 3 o’clock a deputation from the resident professional musicians presented us with an illuminated address; other people called to welcome us; a very good semi-grand Bechstein was brought in from Allan’s, the largest musical firm here, and at 7 o’clock the Captain came to dinner, and we spent a most enjoyable evening together. The next morning I was interviewed by Mr. Hart, one of the staff of the Argus paper. Poole, who is staying at this hotel, paid us a visit. and offered us boxes for his theatre. Santley also came and told us of his disagreeable adventures. On Monday, the 19th, at 4 o’clock, we were received officially by the Mayor and welcomed to Melbourne in the Town Hall […]

References: “LADY HALLE”, Illustrated Australian News and Musical Times (1 May 1890), 9:; “MUSICAL CELEBRITIES”, South Australian Register (26 May 1891), 6:; “SIR CHARLES AND LADY HALLE”, The Argus (1 June 1891), 7:; “SIR CHARLES AND LADY HALLE ON BENDIGO”, Bendigo Advertiser (6 August 1891), 3:; “SIR CHARLES AND LADY HALLE’S FAREWELL SEASON MATINEE”, The Argus (15 August 1891), 10:; “COLONIAL TELEGRAMS”, South Australian Register (19 August 1891), 5:; “LADY HALLE”, The Sydney Morning Herald (31 May 1911), 5:; “MR. CLIFFORD HALLE. A MUCH-TRAVELLED VOCALIST”, The Argus (24 May 1895), 7:; “OBITUARY. SIR CHARLES HALLE”, The Advertiser (26 October 1895), 5:

Works: Life and letters of Sir Charles Hallé (being an autobiography, 1819-1860, with correspondence and diaries) [detailed account of 1890 visit] Associations: associate artist on the Halle’s second tour (1891) was soprano vocalist Marie Fillunger (1850-1930), partner of Eugenie Schumann



HALLIER, Henry Charles

Professor of music, piano tuner and repairer
Active Adelaide, Sydney, 1841-43

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

References: [Advertisement], South Australian Register (18 May 1841), 1s: ; [Advertisement], The Sydney Herald (3 December 1841), 3:; [Advertisement], The Sydney Morning Herald (1 August 1843), 3:



Convict, vocalist, actor, songwriter, evangelist
Born Toxteth Park, Liverpool, England, 1820
Arrived Tasmania, 26 April 1836 (convict per Layton, from London 26 August 1835)
Departed VIC, by 1850 (for California)
Returned to Australia, c.1884
Died ? Australia, 8 December 1889, aged 69

Summary: A freed convict, Hambleton was principally an actor, but was frequently billed singing songs and comic songs between the plays at the theatre in Launceston and Sydney, and briefly Maitland and Geelong. At Sydney in November 1848 he introduced “An entirely new Local Comic Song, Advance Australia, or Sydney as it was, and is (An entire new song … written by himself)”. He and his actor wife left Victoria for the Californian Goldfields in 1849 (in company with, among others, the former Mrs. Spencer Wallace). Later in England he underwent an extreme evangelical conversion, and returned to Australia to proselytise in the 1880s.

References: [Tickets-of-Leave], The Hobart Town Courier (10 January 1840), 2:; [Certificates of their Freedom], The Cornwall Chronicle (10 July 1841), 1:; [Advertisement], Launceston Examiner (9 July 1842), 3:; “ROYAL CITY THEATRE”, The Sydney Morning Herald (29 May 1843), 2:; [Advertisement], Bell’s Life in Sydney (11 November 1848), 3:; “ROYAL VICTORIA THEATRE”, The Sydney Morning Herald (11 November 1848), 2:; “THEATRICALS”, The Maitland Mercury (15 September 1849), 2:; “CALIFORNIA”, The Courier (29 June 1850), 3:; “MR. JOHN HAMBLETON”, South Australian Register (18 June 1884), 6:; “E. H. B.”, The converted actor : a true narrative of God's remarkable dealings with the late John Hambleton ([?], [?], [? 1899]):

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



Piano-forte maker, tuner, repairer
Arrived WA, 1842

Perth, WA, 1849: MR. HAMBLIN begs to inform the Youth of Perth and its vicinity, that he is receiving Pupils for instruction on the Flute, Violin, and Singing, in classes, on such terms as will give every one an opportunity of acquiring a knowledge of that which, in the absence of every other amusement, may be called a highly valuable science. A separate class for Boys under 14 years of age.

Kyneton, VIC, 1871: One of the local industries of Kyneton, Victoria, is pianoforte-making. The Observer says Mr. Joseph Hamblin, of that borough, sells excellent pianofortes of his own make. They have a compass of seven octaves, have patent metal bridges, and will bear the effects of the climate better than any imported instrument. The blackwood of the neighborhood serves for wrest planks as well as English oak, and the musk wood or native walnut, which has been found in the Dandenong Ranges, yields beautiful veneers that are susceptible of a magnificent polish. The timber, before being used, is kept from four to ten years in a room continually maintained at summer heat by a furnace. Mr. Hamblin imports the keys, wire, wrest pins, and all the smaller mechanism of his instruments.

References: [Advertisement], Inquirer (19 February 1845), 2:; [Advertisement], The Inquirer (29 August 1849), 1:; “INTERCOLONIAL NEWS”, The Queenslander (9 December 1871), 10:




HAMILTON, Octavia (Eliza Octvia SCRIVENOR; Mrs. Augustus MOON; Mrs. Thomas Holme DAVIS)
Soprano (mezzo soprano) vocalist
Born Maida Vale, London, 6 June 1835
Arrived Melbourne, by March 1854
Active until 1868
Departed Melbourne, 1874 (for England)
Died Edmontson, London, 1913

Identity and genealogy: My thanks to family historian Allister Hardiman for positively identifying this highly significant but mysterious singer as Eliza Octavia Scrivenor, daughter of John Walter Scrivenor (d.1864, aged 66, Queanbeyan, NSW), and his wife Frances, who had arrived in Melbourne with their family perhaps early in 1854. Octavia, had married Augustus Graham Moon, a lodger in the Scrivenor household and son of a baronet, in London on 7 June 1851, the day after her 16th birthday. According to Victoria and its Metropolis (1888), 329, A. G. Moon arrived in Victoria in 1855, though Octavia was certainly singing in Melbourne in March 1854. (The Octavius Scrivenor advertised for in Sydney in October that year was a cousin.) Allister thinks Octavia’s choice of professional name was due to her paternal great aunt Ann, who married baron Charles Hamilton (their son James emigrated in 1839 to New Zealand and died there in 1844). He suggests that she had her first child by her second husband, the wine-merchant Thomas Holme Davis, in Melbourne, possibly as early as 1866. The adverse publicity that began with reporting of a court action between Octavia and Moon (by then already living with Davis) in 1865, and climaxed in the claims of child desertion in 1868, brought her professional career irrevocably to an end. Nevetheless, she and Davis appears to have continued living in Melbourne until late 1873 or early 1874, when they sailed for England. Interestingly Thomas Davis visited Australia again in 1883, billed as “manager of the Australian Wine Association in London […] during the trip he calculates to purchase between 200,000 and 300,000 gallons of wine.” Young Augustus Moon junior appears not to have benefitted from his early start in the Industrial School, at least not if he was the same Augustus Moon, who, reportedly 30 years of age in October 1887, was arrested in Richmond “on a charge of behaving indecently to two young girls”. According to Allister, Octavia died in suburban London in 1913.


Summary: Octavia Hamilton, “from the Philharmonic Concerts”, first appeared in Melbourne at the Salle de Valentino in March 1854 with Maria Carandini and Lewis Lavenu. At John Winterbottom’s promenade concert in August, the Argus judged her “a vocalist of more than ordinary ability. […] This lady possesses a voice of excellent quality, and her intonation is true; she had certainly been gifted with many of the requisites of a singer, and the remainder of the qualifications may easily be acquired by her.” As the song by Charles Compton below suggests, she must have had a good low range. In Trovatore in January 1860, the Argus indeed noticed: “Miss Octavia Hamilton, in the part of Azucena, agreeably surprised us in the ungrateful task of a soprano singing music written for a contralto” [or, at least, mezzo-soprano].

1860: Misa Octavia Hamilton is a vocalist of great merit; without the slightest pretension to a contralto voice, the part of Azucena is beyond her power; but she poetesses a very aweet mezzo soprano, of great purity and clearness in the middle notes, and what is far superior, she sings in perfect tune.

1865: A case affecting a lady of some musical reputation in this colony was heard in the county court yesterday. The case occupied a place on the list under the title, Grose v. Moon, and was a plaint under a deed of settlement, dated 8th May, 1862, between Augustus Graham Moon and Eliza Octavia Hamilton; otherwise Moon, his wife, the claim being reduced to £49 19s. 11d. to bring it within the lower jurisdiction of the court. By the deed in question it was arranged that the defendant should pay £4 per week, but it was subsequently agreed, that the defendant, who is a Government clerk should make payments at the rate of £16per month. The plaintiff, as trustee, proved the execution of the deed, and said he did not always make the payments to Mrs. Moon herself; but left them at Mr. Davis’s wine Store for her. The defence was, that after the execution of the deed, Mrs. Moon had lived with the defendant for some days, and that a stipulation that debts should not be contracted in defendant’s name had been violated. The defendant in evidence proved that the deed was executed on a Friday; and that Mrs. Moon remained with him until the Monday evening following, and that he had been applied to for debts contracted by her. The judge held that the mere fact of Mrs. Moon remaining in the defendant’s house for a few days did not vitiate the deed; and as the defendant had only been applied to for payment of debts contracted since the commencement of the action, the verdict must be for the plaintiff for the amount claimed. 

1868: A certain married lady—as we suppose we must call her—named Moon, but who is well known under the professional pseudonymn of Octavia Hamilton, is married to a clerk in the General Post Office, by whom she had several children. Mrs Moon is a well-known public singer, and as she is a general stage favourite it is to be presumed that her income is at least sufficient for her personal expenses. Her husband has a salary of £6 per week, and, so far as has been made known, has always been willing to support both herself and his children. The lady however, is necessarily of peripatetic habits and therefore the domestic arrangements can never have been of the most comfortable description. It is certainly a great hardship to any man that he should be obliged to support a wife who does not perform her part of the marriage contract. But Mr, Moon does not seem to have complained of being deprived of his wife’s society, and probably he has sufficient reason for being tolerably satisfied with her periodical absence on professional business. At the same time, and while he recognises his liability to provide for his wife’s maintenance and that of the children born to him, it would be beyond everything unreasonable to expect that he should patiently submit to be saddled with the support of his wife’s offspring, whom by all the rules of nature he knows cannot by any possibility have been born legitimately. Moon, however, has the misfortune to know that his wife has on more than one occasion been inconstant to her vows […] It seems that this Mrs. Moon has for some time been separated from her husband, who to avoid scandal, has regularly for three years, paid his wife two-thirds of his income, although she herself must have been doing very well in her own business. Since this separation, the faithless wife has given birth to two children whose father or fathers are not known; and recently she has had the cool effrontery to call upon Mr. Moon to provide for their support […] Unable to keep this terrible family trouble any longer a secret, Mr. Moon took such steps as resulted in his being charged with deserting the children, and the whole of the disgraceful affair was brought out in court […]

1868: A lad eleven years of age, named Augustus Moon, was on Saturday sent by the Richmond bench to the Industrial School for five years, as a neglected child. The boy, who had all the appearance of having received a fair education, said he wished to be sent to the school to learn a trade, as by that means he was told he would become a “great man”. He is a son of the well-known vocalist, Octavia Hamilton, whose name has been made notorious by her systematic and brutal neglect of her offspring. We believe she is now travelling in India, and no doubt earning a very “respectable” livelihood while this colony is obliged to support her children. The boy in question is, we believe, the fourth child of this woman now in the industrial establishments.

References: ? “SHIPPING INTELLIGENCE”, The Argus (25 February 1854), 4:; [Advertisement], The Argus (3 March 1854), 8:; [Advertisement], The Argus (30 March 1854), 3: ttp://; [Advertisement], The Sydney Morning Herald (21 October 1854), 1:; “CONCERT HALL”, The Argus (15 May 1855), 5:; “PROMENADE CONCERT”, The Argus (15 August 1854), 5:; “THE ROVING FIDDLER”, Chambers’s Journal of Popular Literature 105 (5 January 1856), 14:; “MISSING FRIENDS”, The Sydney Morning Herald (10 February 1858), 9:; “THE PHILHARMONIC SOCIETY”, The Argus (22 September 1858), 5:; “THEATRE ROYAL”, The Argus (17 January 1860), 5:; [News], Empire (30 May 1860), 4:; DEATHS”, The Argus (9 May 1864), 4:; “THE MESSIAH ON CHRISTMAS EVE”, The Argus (26 Dcember 1864), 5:; [News], The Argus (25 February 1865), 4:; “VICTORIA”, Empire (1 March 1865), 8:; “HOW INDUSTRIAL SCHOOLS ARE STOCKED”, South Bourke Standard (1 September 1865), 3:; “LEFT TO A GRATEFUL COUNTRY”, Bendigo Advertiser (27 May 1868), 2:; [News], Empire (1 June 1868), 2:; [Advertisement], The Argus (15 January 1874), 4:; “CASTLEMAINE”, Bendigo Advertiser (2 May 1883), 3:; [News], The Argus (11 October 1887), 4:       

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



HAMILTON, Mr. St. George
Vocalist, pupil of Frederick Crouch
Active Melbourne, 1852

References: “THE CONCERT”, The Argus (13 March 1852), 5:; “THE CONCERT”, The Argus (18 March 1852), 3:; “THE CONCERT”, The Argus (20 March 1852), 5:; [Advertisement], The Argus (26 May 1852), 5:; “THE CONCERT”, The Argus (27 May 1852), 4:; [Adverisement], The Argus (3 June 1852), 5:; “THE WEEKLY CONCERTS”, The Argus (28 June 1852), 5:; [Advertisement], The Argus (10 December 1852), 5:



Active Melbourne, by ? 1837; or ? 1842-43

Summary: A copy in SL-VIC (MSS 12831, McCrae Family Papers) of the song The Shadow of the Heart (“the poetry by W. H. Harrison, Esq. to whom the music is respectfully inscribed by his obliged young friend, Adela A. Hammond, Melbourne”) has pencilled on cover: “This is the first song &​ music published in Melbourne prior to 1845”. According to an English review of the same song in 1837, the composer was 16 years old, but makes no mention of it being printed in Melbourne. If it had been, the music must have been at least 4-5 months in transit before the July 1837 review. In July 1837, the colonial settlement at Melbourne was barely two years old. A possibility, then, that there were two editions; the 1837 print English, and that this is a later local print. Neidorf, A Guide, 41-42, tentatively dates it to 1842-43, which seems far more likely.

References: [Review], The Musical World 6/69 (7 July 1837), 61; same page, review of “Sleeping in Lily Bells, by Miss Adela Hammond (Dale & Co. [London?])”; “NEW PUBLICATIONS”, The Literary Gazette and Journal of the Belles Lettres, Arts, Sciences, &c. (8 July 1837), 437:; “Sleeping in Lily Bells, Miss A. Hammond. Dale and Co.”, was announced in “NEW PUBLICATIONS”, The Literary Gazette (19 September 1835), 604:; Hammond’s Sleeping in Lily Bells was also later published in USA (Philadelphia, 1849), probably from the Dale UK edition; Hammond is not to be confused with the early 20th-century English song composer, Adela E. Hammond.



HANCE, William
Organist, organ keeper, organ builder
Arrived Hobart, 26 September 1823 (per Mariner)
Died Hobart, 10 October 1842, aged 50

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

April 1832: The friends of masonry will be pleased to learn, that a second lodge has been established in Hobart town. It is held at Mr. Whitaker’s, Freemason's Tavern, Harrington street. Mr. Hance, we are happy to learn, is engaged in building an organ for the lodge.

June 1832: The anniversary of the nativity of St. John the Baptist happening this year on a Sunday, our two masonic lodges, in order not to interfere with each other, agreed to observe the celebration of the day, the one on the Saturday previous and the other on the Monday after. The Brotherly Union being the junior lodge of the two had the precedence, and in the evening a very numerous and respectable assemblage of the craft dined at the Lodge room, Freemason’s Tavern […] On Monday the original Tasmanian Lodge observed the memorable day in a similarly agreeable and elegant manner, through the help of Mrs. Cox at the Macquarie hotel, Mr. Lempriere, the master, filling the chair. The splendid organ building by Mr. Hance for the Brotherly Union is, we are glad to see, already in an advanced state.

1834: [St. David’s Church, Hobart] […] Clerk, Mr. Smails; Organist, Mr. J. P. Deane; Organ Keeper, Mr. William Hance; Pew-opener and Sexton, Mr. J. Bryant; Clock-keeper, […]”

References: “AN ODE. Addressed to the Organ of St. David’s Church”, Hobart Town Gazette (13 May 1825), 3:; [News], The Hobart Town Courier (21 April 1832), 2:; [News], The Hobart Town Courier (29 June 1832), 2:; Van Diemen's Land Annual and Hobart Town Almanack (1834), 7; [Advertisement: insolvency], The Hobart Town Courier (5 May 1837), 3:; “CENTENARY OF ST. DAVID’S CHOIR”, The Mercury (21 June 1937), 3:

Resources: Graeme Rushworth. “Notes on some early Tasmanian organs and also on the commencement of the Hobart Town Choral Society”, OHTA Jounral (April 1999), 33-39:;



HANCHETT, John Justinian

Professor of Music
Active Launceston, by 1841
Died Northcote, Melbourne, 14 August 1894, aged 75

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

References: [Launceston news], Colonial Times (11 May 1841), 4:; [Advertisement], The Courier (22 September 1849), 1:; “QUARTER SESSIONS”, The Hobart Town Mercury (4 March 1857), 3:; “TOWN TALK AND TABLE CHAT”, The Cornwall Chronicle (7 July 1860), 4:; “DEATHS”, Launceston Examiner (16 October 1862), 4:; “INSOLVENCY COURT“, Launceston Examiner (17 August 1864), 2: ; “DEATHS”, The Argus (15 August 1894), 1:




Vocalist (pupil of Hullah)

Vocalist, teacher of singing
Arrived Melbourne, by December 1852

References: “ROYAL ACADEMY OF MUSIC”, The Musical World 25/22 (1 June 1850), 340:; [Advertisement], The Argus (6 December 1852), 8:; [News], The Sydney Morning Herald (10 December 1852), 2:; [Advertisement], The Argus (13 December 1852), 3:; [2 advertisements], The Argus (17 January 1853), 5:; [Advertisement], The Argus (24 January 1853), 8:; ‘THE WEEKLY CONCERTS”, The Argus (17 February 1853), 5:; [Advertisement], The Argus (23 February 1853), 7:; [News], The Argus (28 February 1861), 4:




HAND, Josiah
Ex-convict, publican, concert promoter, founder of Hobart Town Serenaders, occasional music publisher
Active Hobart, by 1853
Died Launceston, 9 June 1893, aged 80 years

1853: MELOPHONIC CONCERT ROOM, “WATERMAN’S ARMS,” LIVERPOOL-STREET. The Public of Hobart Town are respectfully informed by the Proprietor of the above Rooms, that he has now in his possession the original music and poetry of that deservedly popular and beautiful sentimental song, “BEN BOLT,” (As sung by Rainer’s Company of Serenaders at Launceston), The original Hobart Town Serenaders will sing the same on SATURDAY EVENING, Accompanied by an Eminent Performer on a powerful and rich-toned 6 ½ Octave PIANOFORTE, Being its first introduction to an Hobart Town Audience. The music and the words of the song can be obtained by application to the Proprietor any day between the hour of 11 and 12 o’clock. JOSIAH HAND, Proprietor.

1858: SERENADING. Recent reverses of fortune having befell Mr. Josiah Hand, the original introducer of Ethiopian Serenaders in this city, on appeal to the public, in the shape of a serenade for a benefit for him, is announced at the Albert Theatre on Monday evening next.

References: [Advertisement], The Courier (4 March 1853), 1:; “NEW INSOLVENT”, The Hobart Town Mercury (17 August 1857), 3:; “SERENADING”, The Courier (29 January 1858), 3:; “Deaths”, Launceston Examiner (10 June 1893), 1:



Double bass player (Salle de Valentino)
Active Melbourne, (1853) 1855

References: [Advertisement], The Argus (23 June 1855), 8:; [Advertisement], The Argus (18 August 1855), 8:

See also (?): George Washington Peck, Melbourne, and the Chincha Islands : with sketches of Lima, and a voyage round the world (New York: Scribner, 1854), 123; “At the theatre was a German Double bass player, whom I had known in Boston” (



HANSEN, Johann Christian
Organist (Pirie-street Chapel), composer
Active Adelaide, by 1858
Died Jardeland, Denmark, 18 May 1885, aged 70

1868: CORROBBERO—More music. The facilities offered by the lithographer and printer of music from moveable types tend very much to encourage the publication of compositions, the product of  “native industry”. Genius is not confined to any particular locality, clime, or country, and no fiscal laws can restrain its manifestation. The number of musical compositions that have issued from our own colonial press would fill a capacious folio. Their performance would occupy a long evening without an encore. “Corrobbero” is the name given to a composition by Mr. J. C. Hansen, just published by Marshall, of Rundle-street. The title-page informs us that it is “a musical picture, representing the performance of a sort of religious warlike rite among the natives of Australia at the time of full moon”. It has been lithographed by Penman and Galbraith, and dedicated to H.R.H. the Duke of Edinburgh. The front page is adorned with a gorgeous representation in coloured oils, of what a sprightly imagination might very well suppose to be an eruption of Vesuvius, were it not for the presence of a score or two of borbdignagian black spiders in impossible attitudes that stand on the aclivity of the mountain. The artist has evidently done his best. With regard to the music, though there are here and there some slight defects, it is on the whole one of the best compositions of the kind we have seen. It opens with an introduction in G major, compound common time, intended to awaken the peaceful and heart-cheering emotions produced in the mind by the full-orbed moon rising in “unclouded majesty”. The next strain is an adante in common time, commencing in E minor, and terminating in B minor. It is ritualistic, and preparatory to the grand corrobboree described in musical language in the next strain. This is an allegro, and the rubric informs the instrumentalists that it represents the “grotesk (sic) dancing among the aborigines of Australia at the time of full moon, accompanied with a national song”. The native “wabble, wabble, boo boo”, is cleverly indicate in this “song with out words”. An interlude follows. It is an adagio in E major for the organ, and is descriptive of the calm repose of “a beautiful moonlight night”. This is we think the most artistic part of the whole composition. The corrobboree is then repeated, and winds up (or down) with a rushing presto. The composer has manifestly taken much pains over the work. It will, we think, become a favourite with the pianist. It is not of difficult execution (if we except the impossible holding-note in alto upon the fourth page), and in other respects it possesses the elements of popularity. It might with advantage be further elaborated and arranged as a quartette or for a quadrille band.

References: “SCHOOL EXAMINATIONS”, South Australian Register (2 June 1858), 3:; “PIRIE-STREET CHAPEL”, South Australian Register (20 December 1862), 2: ; “CORROBBERO”, South Australian Register (23 March 1868), 2: “TOPICS OF THE DAY”, The South Australian Advertiser (24 March 1868), 2: [Advertisement], The South Australian Advertiser (3 June 1868), 1:; “DEATHS”, South Australian Register (21 July 1885), 4:; “OLD-TIME MEMORIES. AMUSEMENTS No.III”, South Australian Register (8 September 1891), 6:

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

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



Singer at the “Black Boy” Hotel, actor
Active Sydney and Adelaide, 1844-45

Summary: “From the Royal Pavilion Theatre”, Hardeman first appeared in an Oddfellows night at the Royal Victoria Theatre, Sydney, during which in character he sang the comic song Billy the Snob. He then appears to have become a pub singer, for two months later this advertisement appeared in the Herald: “NOTICE! NOTICE! NOTICE!  IF HENRY HARDEMAN, Singer at the Black Boy, George street does not call and pay the amount of his bill for board and lodging for himself and Samuel Marshall singer at the same place for whose expenses he became responsible, the conjuring machines woodcuts and bills of Billy the Snob, (the song which elicited such applause on the occasion of the benefit at the Theatre of one of the Brothers of the Odd Fellows Society) will be sold within ten days from this date, to defray the same. GEORGE BRIGGS. Miller's Point, Sydney, 26th December”. Having left for South Australia in January, and visited Melbourne in May, he opened “a little theatre named the Pavilion” in Currie-street, Adelaide, in September 1845, apparently a short-lived venture.

Reference: [Advertisement], The Australian (1 October 1844), 2: [Advertisement], The Sydney Morning Herald (27 December 1844), 3:; “SHIPPING INTELLIGENCE”, The Sydney Morning Herald (3 January 1845). 2:; [News], South Australian Register (17 September 1845), 3:



Bandsman (H.M.S. Galatea)
Active Australia, 1867-68

References: “The Attempted Assassination of the Prince”, Empire (17 March 1868), 2:; “THE MAGISTERIAL INQUIRY”, Empire (14 March 1868), 4:; “THE DUKE OF EDINBURGH PRELIMINARY MAGISTERIAL INQUIRY”, The Australasian (28 March 1868), 20:; “TRIAL OF THE PRISONER H. J. O’FARRELL”, The Sydney Morning Herald (22 April 1868), 7:; Votes and proceedings of the Legislative Assembly during the season of 1869  (Sydney: Thomas Richards, 1869), 340:



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

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

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

References: “DEATHS”, Kapunda Herald (24 April 1903), 2:; “THE LATE MR. T. HARDING”, The Advertiser (27 April 1903), 7:; “A FINE OLD COLONIST DEAD”, The Advertiser (30 April 1903), 7:; “THE LATE MR.THOMAS HARDING”, Kapunda Herald (1 May 1902), 3: 




Active Melbourne, by December 1853
Died Melbourne, 17 August 1891, aged 86, colonist of 38 years

References: “DEATHS”, The Argus (19 August 1891), 1:; “SEVENTY YEARS OF MUSIC. MR. A. MONTAGUE'S MEMORIES. GENESIS OP THE PHILHARMONIC. IV.”, The Argus (10 October 1925), 6:



HARLAND, Julia (Miss WALLACK; Mrs. William HOSKINS)
Soprano vocalist
Arrived Sydney (via Melbourne), 30 June 1856
Died Fitzroy, Melbourne, 19 August 1872

Summary: A pupil of Manuel Garcia, Harland arrived in Australia in 1856 as soprano of a touring operatic party including Walter Sherwin, Robert Farquharson and Linley Norman. She appeared regularly on Australian stages until late 1868, and then taught singing in Sydney in 1869.

References: “THEATRICAL”, The Argus (27 June 1856), 5:; “SHIPPING”, The Sydney Morning Herald (1 July 1856), 4:; [Advertisement], The Star (5 April 1864), 3:; “DEATHS”, The Argus (20 August 1872), 4:; [Advertisement], The Sydney Morning Herald (23 January 1869), 4:; “DEATH OF MISS JULIA HARLAND”, The South Australian Advertiser (29 August 1872), 3:; “Miscellaneous Items”, Australian Town and Country Journal (31 August 1872), 6:



Professor of Music, pianist, vocalist, organist
Active Adelaide, 1857-67

Summary: At a concert of sacred music in Adelaide in May 1857, the Register reported: “Miss Pettman, in conjunction with a young lady whose name we understood to be Miss Harper, received the honour of a recall in a duet from Fawcett’s Paradise” (John Fawcett's oratorio had been premiered in Britain only in 1853). Later a pupil of Cesare Cutolo, on his departure in 1859 Miss Harper offered her services as a teacher to his other lady pupils. In April 1861, as recently appointed organist of the Roman Catholic Cathedral, she accompanied a performance of Mazzinghi’s Mass in B flat on the harmonium.

References: “CONCERT OF SACRED MUSIC”, South Australian Register (9 May 1857), 2:; [Advertisement], South Australian Register (9 December 1859), 1:; “DIED”, South Australian Register (13 December 1859), 2:; “DEATHS”, South Australian Register (15 August 1860) 2:; “THE ROMAN CATHOLIC CATHEDRAL”, South Australian Register (2 April 1861), 3:; [Advertisement], South Australian Register (18 January 1864), 1:; “MARRIAGES”, South Australian Register (26 October 1865), 7:; [Advertisement], South Australian Register (25 January 1867), 1:



Vocalist, serenader
Active Sydney, 1853-56

References: [Advertisement], The Sydney Morning Herald (22 March 1853), 2:; [Advertisement], The Sydney Morning Herald (24 November 1854), 1:; [Advertisement], Empire (5 February 1856), 1:



HARRIS, Flora (Mrs. J. Sheridan MOORE)
Soprano vocalist, pianist, teacher of singing
Arrived Sydney, 15 November 1852 (per Benjamin Elkin, from London, 28 July)
Died Sydney, 29 January 1910, aged 80

Summary: The daughter of Robert Harris (1796- ) and Mary Ann Thew (b. c.1807), Flora was born c.1830 at St. Mary Newington, Surrey, London, and named after a noted ancestor in her paternal grandmother’s line, Flora MacDonald, the celebrated Jacobite heroine. Robert’s father having died early, he was largely brought up by his musician elder brother, Joseph Macdonald Harris (1789-1860), who was professionally active in musical life in London in the 1820s and 1830s, and a personal friend of Braham, Tom Moore and Isaac Nathan. Robert was later a legal officer for the City of London and was also particularly involved in health policy and sanitation reform. In 1852, he resigned and with his wife and 9 children sailed for Australia, “the salubrity of whose climate was enlarged on by other friends”. Flora, 22 at the time, was with them (as she testified at the Supreme Court in November 1874). Miss Flora Harris, “from the Exeter Concerts”, first appeared as a soloist with Mrs. St. John  Adcock for the Sydney Choral Society in April 1853, and at John Winterbottom’s promenades in May. At Coleman Jacobs’s Farewell in October, the generally rather ill-disposed reviewer for the Illustrated Sydney News noted: “Miss Flora Harris has improved, and with study and care may become a tolerable singer”. Again for the Sydney Choral Society in December, the Herald noted: “Miss Flora Harris sung the ‘Adelaide’ [Beethoven] with great taste. The particular charm of her singing is in the ease with which she varies her intonation, according to the character of each passage; and this, added to the sweet quality of her voice, renders her a thoroughly satisfactory singer.”

1864: The talented and favourite artiste, Madame Flora Harris, made a deep impression by her beautiful rendering of the air “Jerusalem, thou that, killest the prophets” [Mendelssohn].

1874: In the slander action brought by Mr. Joseph Sheridan Moore and Flora (nee Madame Flora Harris,) his wife, against Mr. Robert Glynn and Elizabeth, his wife, the plaintiff recovered a verdict for one farthing, and the Chief Justice certified for costs against the defendants. The slanderous words charged the female with being an expirée convict, &c, and were uttered by the female defendant during a neighbourly quarrel. There was no truth in the slander, as Mrs. Moore came to the colony with her parents, and has been highly respected, especially in musical circles, where she gained great celebrity as a singer.

Obituary: By the death, at the age of 80 years, of Mrs. Flora Sheridan-Moore, a regretted event which took place on Saturday at the residence of her daughter, at the post-office Elizabeth-street South a valued link is severed in the musical chain connecting present day concert goers with thoss of the last generation. As a girl “Miss Flora Harris” sang in the great choir at the opening of the Exhibition at the Crystal Palace, Sydenham, in 1851. Two years later she was soloist and chorister at St. James’s Church, Sydney, and in 1854 was soloist at St. Mary’s Cathedral where she remained five years. In those days, the soprano was associated on the concert platform with Catherine Hayes, Anna Bishop, Sara Flower, Lucy Escott, Mme. Carandini, and other famous artists. In 1857 the artist married Mr. J. Sheridan-Moore, a University coach and writer of that period and retired for 30 years from professional life. However, Mrs. Moore decided to join the Sydney Philharmonic Society’s choir, under Signor Hazon in 1889, and sang at nearly every concert, making, as she only too justly feared, her last appearance with it in the “Messiah” on Christmas afternoon last. The deceased had expressed a wish that she might live to see Signor Hazon on his return to Australia, a few days hence, her position as vice-president of the Philharmonic having given her especial opportunities of appreciating the Italian conductor’s personal worth. The deceased, who was highly esteemed by all who knew her, leaves two sons and two daughters.

References: “SYDNEY CHORAL SOCIETY”, The Sydney Morning Herald (23 April 1853), 4:; “PROMENADE CONCERT”, Empire (2 May 1853), 3:; [Advertisement], The Sydney Morning Herald (6 May 1853), 1:; “MR. COLEMAN JACOB[S]’S CONCERT”, Illustrated Sydney News (29 October 1853), 6:; “SYDNEY CHORAL SOCIETY”, The Sydney Morning Herald (2 December 1853), 4:; [Advertisement], The Sydney Morning Herald (17 August 1854), 1:; [D. H. Deniehy]: “To the Editor”, The Sydney Morning Herald (22 January 1859), 6:; “THE WAIL FROM ENGLAND”, The Sydney Morning Herald (18 September 1862), 4:; “MUSIC AND THE DRAMA”, Empire (20 August 1864), 2: “Supreme Court”, Australian Town and Country Journal (28 November 1874), 10:; “MISS FLORA HARRIS, 1855—MRS. SHERIDAN MOORE, 1905”, The Brisbane Courier (8 April 1905), 13:; “DEATHS”, The Sydney Morning Herald (31 January 1910), 6:; “PERSONAL”, The Sydney Morning Herald (31 January 1910), 6:; “MISS FLORA HARRIS”, The Brisbane Courier (23 September  1929), 17:

Related prints:
Agathe, or, When the swallows homeward fly (“sung by Miss Flora Harris […] music by Franz. Abt) (Sydney: Woolcott and Clarke, [1854])
I’m leaving thee, Annie! [George Barker] (“As sung by Miss Flora Harris“) (Sydney: Woolcott and Clarke, [1854])
Hearts and homes (as sung by Miss Flora Harris; composed by John Blockley) (Sydney: Woolcott and Clarke, [1854])
I love the merry sunshine ([music by] Stephen Glover; Sung by Miss Flora Harris) (Sydney: Woolcott and Clarke, [185-?])
The Wail from England (words: J. Sheridan Moore; music: W. J. Macdougall) [1862]
The beauty that blooms in Australia (a song; as sung by Madame Flora Harris; words by J. Sheridan Moore; music by W. J. Macdougall) (Sydney: Wilkie, Elvy & Co., 1863)

Resources: J. Sheridan Moore, Memorials of the Late Robert Harris (Parramatta: John Ferguson, 1882); Frances Devlin Glass, Moore, Joseph Sheridan (1828-1891), Australian Dictionary of  Biography 5 (1974); Barbara Short, Family secrets: stories from my mother’s side of the family (Epping, NSW: Barbara Short, 2012)



HARRIS, George Prideaux Robert
Amateur flautist, deputy surveyor (David Collins’ party), natural historian, magistrate
Born England, 1775
Arrived Australia 1803-04
Died Tasmania, 16 October 1870

NLA persistent identifier:

Summary: One of several early colonial naval officers who were amateur flautists (including Matthew Flinders and Daniel Woodriff), Harris was deputy Surveyor with David Collins’s party to Port Phillip, on board the Calcutta in 1803-04. In a letter to his brother, dated 14 February 1804, he asked to be sent “any new songs for the flute”.

Resources: E. R. Pretyman, Harris, George Prideaux Robert (1775-1810), Australian Dictionary of Biography 1 (1966); Barbara Hamilton-Arnold (ed.). Letters and papers of G. P. Harris, 1803-1812 Deputy Surveyor-General of New South Wales at Sullivan Bay, Port Phillip, and Hobart Town, Van Diemen’s Land North (Hobart: Hear A Book, 1995): North Hobart : Hear A Book, 1995):; Freda Gray, “Music of the early settlements of the 1800s”, Papers and Proceedings (Tasmanian Historical Research Association) 43/2 (June 1996), 59-62:



HARRIS, George
Piano tuner, repairer, articled apprentice (W. J. Johnson and Co.)
Active Sydney, 1857

1857: PIANOFORTES - GEORGE HARRIS, late with Messrs. W. J. Johnson and Co. pianoforte-makers, &c., Pitt-street, begs to inform the inhabitants of Sydney and its vicinity that his engagement under articles has ceased, and that he intends to follow the tuning and repairing department. Orders, from town or country, addressed to HUDSON, music-seller, l8, Pitt-street North.

References: [Advertisement], The Sydney Morning Herald (17 January 1857), 1: from; [Advertisement], The Sydney Morning Herald (29 January 1857), 8:; [Advertisement], The Sydney Morning Herald (3 October 1857), 10:




Teacher of Singing and Pianoforte
Active Adelaide, 1859 (“A pupil of […] Signor Crivelli”)

References: [Advertisement], South Australian Register (23 June 1859), 1:



Indigenous singer
Active Parramatta, NSW, ? 1817-24

Barron Field (1823): “From the neighbourhood of our settlements we have scared the kangaroo and the emu, and left these poor lords of the creation no created food but a few opossums, and a tenancy in common with us of fish. Together with their numbers, their customs and manners are in a state of decay […] But the corrobory, or night dance, still obtains. This festivity is performed in good time, and not unpleasing tune. The song is sung by a few males and females who take no part in the dance. One of the band beats time by knocking one stick against another. The music begins with a high note, and gradually sinks to the octave, whence it rises again immediately to the top. I took down the following Australian national melody from Harry, who married Carangarang, the sister of the celebrated Bennilong; and I believe it to be the first that was ever reduced to writing.”

Australian National Melody, in Barron Field, “Journal of an Excursion Across the Blue Mountains”, The London Magazine (November 1823)
Australian National Melody, in Barron Field, Geographical Memoirs on New South Wales; by Various Hands (London: John Murray, 1825), 433-34
No 2 Air de danse, in Louis de Freycinet, Voyage autour du monde: entrepris par ordre du roi ... exécuté sur les corvettes de S. M. l'Uranie et la Physicienne, pendant les années 1817, 1818, 1819 et 1820, Historique, Tome Deuxième— Deuxième Partie (Paris: Chez Pillet Ainé, 1839), 775

Web: Keith Vincent Smith, “Bennelong among his people”, Aboriginal History 33 (2009);   


HART, Francis
Amateur vocalist, librettist, journalist
Born London, c.1859
Arrived WA, 1880

References: “VALEDICTORY TO MR. FRANCIS HART”, The West Australian (1 April 1896), 6:


Lyrics and librettos: Exhibition Cantata (The Land of the Swan) (Music: Samuel Pascal Needham) (Perth, 1881) Predatoros, or The Brigand’s Bride [originally: The Handsome Ransom] (comic opera, in two acts) (Music: William Robinson) (premiered, 1894) published wordbook:; Unfurl the flag (patriotic song; music: William Robinson)


HART, Sidney Herbert
Born Gloucestershire, England, 1842/3
Arrived Melbourne, 1863
Married Linda Anabella ANDERSON, Goulburn, NSW, 1879
Died West Melbourne, 8 August 1892, aged 49

Obituary: […] The late Mr. Hart, who was a native of Gloucestershire, arrived in Melbourne in 1863, and was at once engaged by the late W. S. Lyster as first violoncellist in his celebrated operatic orchestra […] His connection with all performers of distinction who visited the colonies in itself is sufficient to prove his claim to be a thorough artist, and for many seasons of the Melbourne popular concerts, at which the works of the great masters were performed, he was the ’cello player of the celebrated Zerbini Quartette - a combination of players of concerted music which would find few to excel it even in the old world. The deceased gentleman had arranged the site of a concert in the North Melbourne Town Hall on Monday last, and, singular coincidence, it proved to be the date of his death. Mr. Hart married a sister of the late Alfred Anderson, a celebrated artist of his day, who was pianist to the Duke of Edinburgh. For six or seven years Mr. Hart had been in declining health […] In private life he was a generous friend, of a most modest, amicable, and affectionate nature. As an artist he had few equals, if any […] His funeral was largely attended by leading members of the musical profession […] The remains were interred in the Melbourne General Cemetery.

References: [Advertisement], The Argus (2 May 1864), 8:; [Advertisement], The Argus (22 January 1887), 16:; [News], The Argus (26 November 1889), 6:; “Deaths”, The Argus (10 August 1892), 1:; “DEATH OF MR. SIDNEY HART”, North Melbourne Advertiser (12 August 1892), 2:

Associations: Member of Zerbini Quartette, son-in-law of James Henri Anderson, brother-in-law of Alfred Anderson



HART, Thomas Henry
Amateur singer, publican
Active Sydney, by 1831
Died Sydney, October 1853

Summary: “Mr. Hart, the proprietor of the George and Dragon inn, bas established a sort of harmonic club at his house, the members of which meet once a week, and entertain each other with vocal music, ‘ soberly’.”

References: “SOCIAL AMUSEMENT”, The Sydney Monitor (30 April 1831), 3: [News], The Sydney Gazette (3 May 1831), 3: “HART’S CONVIVIAL HARMONIC MEETING … TO THE EDITOR”, The Sydney Monitor (11 May 1831), 4:; ? “FUNERAL”, The Sydney Morning Herald (4 October 1853), 3:



HARTIGAN, Jospeh William
Ophicleide player, band sargeant (40th Regiment), composer
Active Melbourne, by late 1852
Died Fitzroy, VIC, 20 July 1864, aged 33

Images (including obituary):

Summary: According to a much later recollection (1925): “The ophicleide is not found in drawing rooms, being noisy and not blending well with the piano or strings, but in the orchestra, in conjunction with the trombone, it is invaluable as forming the bass of the brass. In the hands of Hartigan it became an instrument of considerable beauty, rendering the airs of the best operas with variations and cadenzas. Hartigan’s death at the early age of 36 years [recte 33] was much deplored.” A Polka, “Matilda” (Hartigan) appears in programs by volunteer bands in March 1864. Hartigan himself was directing a volunteer band on St. Kilda Promenade in January 1864.

References:  [Advertisement], The Argus (17 March 1853), 12: [Advertisement], The Argus (18 March 1853), 12: (incorrectly HALLIGAN]; [Advertisement], The Argus (28 January 1854), 8:; [Advertisment], The Argus (1 November 1854), 8:; [Advertisement], The Argus (8 April 1856), 8:; [Advertisement], The Argus (18 August 1855), 8:; [Advertisement], The Argus (1 November 1856), 8:; [News], The Argus (7 August 1862), 4: ; [News], The Argus (29 January 1864), 4:; [News], The Argus (8 March 1864), 5:; “DEATHS“, The Argus (21 July 1864), 4:; [News], The Argus (23 July 1864), 5:; “SEVENTY YEARS OF MUSIC. MR. MONTAGUE’S MEMORIES. ARTISTS OF THE FIFTIES. No. II”, The Argus (26 September 1925), 7:



HARTNELLE, Madame (Miss Myers; Mrs. Hartwell [sic])
Dancing mistress
Active Sydney, 1844-45

Summary: For a short time in 1845 a colleague of Elizabeth Emanuel, “Madame H. having taught very successfully Dancing in this colony, intends at her residence to open an evening academy, for that accomplishment”.

References: [Advertisement], The Sydney Morning Herald (14 February 1844), 3:; “CLAIM FOR MAINTENANCE BY A WIFE”, The Sydney Morning Herald (12 February 1845), 3:; “MAITLAND”, Bell’s Life in Sydney (20 December 1845), 4:; [Advertising], The Sydney Morning Herald (13 October 1846), 3:



Dancing master, violinist
Active Sydney, 1830

Summary: Harvey, “late of the Surrey and Olympic Theatres”, London, and former pupil of Montgomery and Henry [sic] Elliston, advertised as in Sydney as a teacher of “Polite Dancing” in August and September 1830. He noted that he could attend private houses, since he played the violin.

References: [Advertisement], The Sydney Monitor (14 August 1830), 1:



Musician, multi-instrumentalist, composer
Active Adelaide, by 1869
Active QLD, from 1884

Summary: Harvey was active in Adelaide and environs in the 1870s as a sportsman and musician, specialising in performances on multiple instruments. At celebrations of the Prince of Wales’s birthday in 1869, he played sets of quadrilles and waltzes on four instruments, and by the same day in 1880 he had graduated to offering to play “selections on six different instruments”. In December that year at Gawler, “both of the overtures were given by Mr. W. S. Harvey on six instru ments, the manipulation of which fairly brought down the house.” Among his certainly published compositions, all lithographed and printed by Penman and Galbraith, were the Zillah Waltz and Zalina Schottische (both 1875) and a quadrille set The South Australian Lancers (1877). Advertised as “THE MUSICAL WONDER. Playing Six Instruments Simultaneously with Orchestral Effects”, he made his Queensland debut in June 1884. The Evening Shadows Schottische (1884), published in Brisbane, was “dedicated to Mr. H. J. Johnstons, the painter of the celebrated picture the title of which the composer has adopted”. At Ipswich, Queensland, in May 1887, “W. S. Harvey performed the fiend-like diabolism of playing the cornet and the piano at one and the same time.” The Old Memories Waltz “by the popular Australian composer W. S. Harvey” was advertised in September 1888.

References: [Advertisement], South Australian Register (8 November 1869), 1:; “NEW MUSIC”, South Australian Register (25 August 1875), 5:; [Advertisement], South Australian Register (13 November 1875), 1:; “NEW MUSIC”, South Australian Register (22 September 1877). 4:; ; [Advertisement], South Australian Register (6 November 1880), 1:; “THE GAWLER FRIENDLY SOCIETY FESTIVAL”, South Australian Register (30 December 1880), 4:; [Advertisement], The Brisbane Courier (9 June 1884), 1:; “NEW MUSIC”, South Australian Register (17 September 1884), 4:; [News], Queensland Figaro (14 May 1887), 6s:; [Advertisement], The Brisbane Courier (28 September 1888), 7:



HARWARD, Mr. (? Thomas)
Amateur vocalist, cornet-a-piston player, cornopean player
Active Adelaide from 1843; ? Tasmania, 1855
? Died Adelaide, 22 January 1856, aged 41 years

Summary: By 1843 an Adelaide victualer, and later briefly publican, Thomas Harward was declared insolvent in 1850. Harward was often billed as a glee singer, but from 1850 someone of that name also appeared in concerts as a cornet player. If the same person, he is perhaps also the McCullagh who was with Rachel Lazar-Moore’s theatre troupe in Tasmania in 1855.

Reference: [Advertisement], South Australian Register (27 December 1843), 2:; “MEMORIAL BY THE COLONISTS OF SOUTH AUSTRALIAN AGAINST THE INTRODUCTION OF CONVICTS”, South Australian (14 February 1845), 2:; “THE AGRICULTURAL SOCIETY'S PLOUGHING MATCH”, South Australian (8 August 1845), 2:; “THE AGRICULTURAL SOCIETY”, South Australian Register (9 August 1845), 3:; “MRS. MURRAY’S CONCERT”, South Australian (2 March 1847), 4:; [Advertisement], South Australian Register (13 June 1850), 2:; [Advertisment], South Australian (5 July 1850), 1:; “INSOLVENCY NOTICES”, South Australian Register (12 July 1850), 3:; [Advertisement], South Australian Register (23 September 1850), 4:; [News], South Australian Register (26 September 1850), 3:; “HOPE LODGE OF ODD FELLOWS”, South Australian (31 October 1850), 2:; [Advertisement], South Australian (11 March 1851), 1:; [Advertisement], The Cornwall Chronicle (20 January 1855), 5:; [Advertisement], The Courier (15 September 1855), 2:; “DIED”, South Australian Register (23 January 1856), 2:



HARWOOD, Charles William (R.A.M.)
Professor of the Pianoforte and Singing, organist, composer
Born UK, 1820
Active Sydney, by February 1853
Died Hunters Hill, 13 October 1904, aged 84

References: [Advertisement]: The Sydney Morning Herald (5 February 1853), 5:; [Advertisement], The Sydney Morning Herald (14 April 1854), 1:; “BIRTHS”, The Sydney Morning Herald (17 March 1855), 5:; [Advertisement], The Sydney Morning Herald (17 March 1855), 1:; [Advertisement], The Sydney Morning Herald (17 April 1855), 1:; [Advertisement], The Sydney Morning Herald (18 May 1855), 1:; [Advertisement], The Sydney Morning Herald (20 June 1857), 5:; [Advertisement], The Sydney Morning Herald (29 December 1858), 5:; [Advertisement], Empire (9 March 1860), 1:; [Advertisement], Empire (14 March 1860), 1:; [Advertisement], The Sydney Morning Herald (16 August 1861), 1:; [Advertisement], The Sydney Morning Herald (1 August 1862), 1: [Advertisement], The Sydney Morning Herald (1 January 1864), 6: “DEATHS”, Empire (4 July 1864), 1:; “ONLY OF THEE”, The Sydney Morning Herald (25 July 1864), 4:; “ONLY OF THEE LOVE”, Bell’s Life in Sydney (30 July 1864), 2:;  “NEW PUBLICATIONS”, Illustrated Sydney News (17 August 1864), 14:; “TO THE EDITOR”, Empire (3 July 1867), 3:; “MARRIAGES”, The Sydney Morning Herald (6 November 1877), 1:; [Advertisement], The Australian, Windsor, Richmond, and Hawkewsbury Advertiser (18 September 1880), 4:; [Advertisement], The Sydney Morning Herald (6 October 1883), 3:; “DEATHS”, The Sydney Morning Herald (14 October 1904), 4:

Musical works:
The Biological Polka (“composed by C. W. Harwood, and dedicated to Mr. Daly”) (cover: “dedicated to Mr. Daly, composed by W. C. Harwood” [sic]) (Sydney: W. J. Johnson, [1853])
The Catherine Hayes Polka (“in which an air sung by that celebrated Songstress is introduced”) (“Composed and dedicated with permission to Miss Therry”; “W. C. Harwood” on cover; “C. W. Harwood” inside) (Sydney: W. J. Johnson, [1855])
Thinkest thou of me (“dedicated to Miss Nina Spagnoletti”) (Sydney: Printed by Alonzo Grocott, [1861])
Only of Thee, Love! (song) (words: F. S. Wilson) (Sydney: Elvy & Co., [1864])



Comic vocalist, songwriter, entrepreneur
Active Melbourne, by 1859

Summary: Previously a Melbourne dancehall proprietor and agent in Ballarat for a woman who claimed to be able to walk 1000 miles in 1000 hours, Hatton described himself as “the well-known Local Comic Writer and Singer” when he toured Tasmania in 1861. He introduced his “New Local Comic Song” The Dyeing Attachment, or We are Off to Queensland in Launceston in July, and in August in Hobart The Hobart Town Shooting Match, or the Volunteer in a fix and The Death of the Gas Company, or much ado about nothing. The tour was not a success, and his Hobart landlady accused him of leaving her out of pocket. He claimed to have been about to leave for India. However, he was back in rural NSW in August 1863, where he introduced “a New Local Song Written expressly for Queanbeyan”.

References: [Advertisement], The Argus (21 April 1859), 8:; [Advertisement], The Star (4 June 1859), 3:; [Advertisement], The Cornwall Chronicle (10 July 1861), 5:; [Advertisement], The Mercury (5 August 1861), 1:; [Advertisement], The Mercury (10 August 1861), 1:; [Advertisement], The Mercury (30 August 1861), 1:; [Advertisement], Queanbeyan Age (20 August 1863), 3:; [News], Queanbeyan Age (21 January 1888), 2:


Viola player (New Queen’s Theatre)
Active Adelaide, 1848

References: [Advertisement], South Australian (6 October 1848), 3:



Violinist, traveller, diarist, composer
Born Pressburg, 1822
Arrived Sydney, 28 October 1854 (per Heloise, from Valparaiso, 23 August)
Departed Melbourne, 16 July 1858 (per Emeu, for Europe)
Died Vienna, 8 December 1887



Summary: A former associate of Lewis Lavenu in California, Hauser’s intention to visit Australia was reported in the Sydney press as early as May 1853. The precise outlines of his almost 4 years of touring are better followed in the contemporary Australian press than in his own despatches (duly reported in the foreign press, from San Francisco to Stockholm) and later edited account. Hauser was generally well received in Australia as a musician, but even before his departure some of the local press took umbrage at published accounts of his travels. Accordingly, in June 1859, the Empire seemed happy to produce a slighting review of Hauser’s recent Vienna concert. Further disquiet followed, when in July 1859, the Empire again reproduced am extended review from Bentley’s Magazine of Hauser’s travelogue. A year later, an editorial in the Empire, on the subject of mendacious testimonies of returned Australian colonists, cited as bywords “the ridiculous falsehoods of FRANK FOWLER, or the inventions attributed to MISKA HAUSER”.

Philadelphia, USA, August 1855: Miska Hauser was still enchanting the Australians with his magic violin when last heard from, and had found much favor in the eyes of the citizens of Sydney in particular, by the generous tender of a concert for the benefit of the Goulburn Hospital. Miska draws much gold, as well as a very fine bow.

New York, 8 September 1855: Miska Hauser is in the interior of Australia, and is everywhere received with marks of sympathy. At his departure from Abonmite-Bay, one of the cities recently constructed in the South of New Holland, a party of his admirers accompanied him into the forest, to protect him against the attack of the natives.

Melbourne, June 1858: TO MUSICIANS, &c. WANTED, to DISPOSE OF, a VIOLIN, Cremona. Apply early, Miska Häuser, Criterion Hotel.  

Sydney, June 1859: The receipt of the Vienna Gazette of the 27th February (says one of our correspondents), one of the most respectable and reliable papers of Germany, and known for its impartial criticism about all concerning music, enables us to show our colonial readers the light in which the “would-be Australian Paganini”, Miska Hauser, is viewed by an audience of connoisseurs. The said paper, after a lengthy comment on the virtuosi literal production of “Memoirs of a Virtuoso”, with its atrocious falsehoods through-out, and with its most unlucky attempts to make Australia and her capitals (especially Sydney), appear a second Sodom or Gomorrah—speaks in the following terms of Miska Hauser‘s concert: “Notwithstanding the 1200 concerts he has given (and it here suits us to believe his saying), Miska Hauser’s play is the same as before his departure. An European critic would denounce M. Hauser‘s tone as thin, his execution as very very moderate, his fluency not quite faultless, but his double notes out of time, and his musical production flat and without taste. Most undoubtedly Miska Hauser, in giving a concert in Vienna, never intended to show his proficiency, he merely meant to show us the entirely different taste of the countries in which he gained his (self appreciated) laurels. As an illustration of his memoirs he only meant to give us a specimen of music, with which he enraptured the hairdressers and Chinese of San Francisco, or the mulattoes and creóles of Santiago, or through what style of music only he was enabled to soften and enamour even the heart of Queen Pomare. Was Miska Hauser, however, in giving us this concert guided by other motives—did he but for one moment think to let us judge between himself and a Vieuxtemps, Ole Bull, Joachim, Wieniawski or others of their stamp—we can then not withhold our astonishment at M. Hauser‘s impertinence to treat a Vienna audience to so miserable a hash of ditties as the bird on the tree”.

References: “Clerkpret”, Teresa Parodi and the Italian Opera (New York: Wm. B. Parsons, 1851), 156-57:; [News], The Sydney Morning Herald (12 May 1853), 4:; “ARRIVALS”, Empire (30 October 1854), 4:; “THE VIOLINIST MISKA HAUSER”, Empire (31 October 1854), 5:; “THE VIOLINIST MISKA HAUSER”, Empire (14 November 1854), 5:; “THE CELEBRATED HUNGARIAN VIOLINIST MISKA HAUSER”, The Sydney Morning Herald (14 November 1854), 4:; “MISKA HAUSER’S CONCERT. To the Editor”, Empire (7 December 1854), 5:; [Editorial], Arthur’s Illustrated Home Magazine (August 1855), 111:; [News], Musical World (8 September 1855), 219:; “VALUE OF AN EDITOR’S TIME”, Ballou’s Monthly Magazine (February 1856), 180:; “En artist I Australien”, Ny Tidning för Musik (19 April 1856), 132:; [News], Dwight’s Journal of Music (24 January 1857), 135:; [Advertisement], The Argus (9 June 1858), 7:; “MISKA HAUSER”, South Australian Register (22 June 1858), 3:; “VICTORIA. July 2”, The South Australian Advertiser (16 July 1858), 3:; “MISKA HAUSER”, The Sydney Morning Herald (24 June 1859), 8:; “MISKA HAUSER”, Empire (5 July 1859), 3:; “AMUSEMENTS”, The Argus (15 July 1858), 7:; [Editorial], Empire (17 July 1860), 4:

Hauser’s travel reports and writings:
“THE ROVING FIDDLER”, Chambers’s Journal of Popular Literature (5 January 1856), 14:; “Eine Theaterscene in Melbourne (Aus Chambers’s Journal)”, Das Ausland (21 March 1856), 272: “Die Musik in Melbourne”, Niederrheinische Musik-Zeitung (28 May 1859), 169:
Miska Hauser, Aus dem Wanderbuche eines österreichischen Virtuosen: Briefe aus Californien, Südamerika und Australien (Leipzig: Grunow, 1860);

Hauser’s extant Australian prints:
The Bird Upon the Tree (“composed and arranged for the piano forte by Miska Hauser”; “Dedicated to Lady Macdonald”) (Sydney: J. R. Clarke, [1857] (in Australian Album 1857); arranged by the composer from The Bird on the Tree [Das Voeglein im Baume, Grande Caprice Burlesque pour Violon avec orchestre ou piano, Op. 34] (New York: Schuberth and Co., 1854)
Rain Drops in Australia (“Impromptu”; “Dedié a son ami Frederic Ellard”) (Sydney: Woolcott and Clarke, 1855 (in The Australian Presentation Album for 1855)
Ballad (“Thou’rt like unto a flower”) (“respectfully dedicated to Lady Mac Donnell”) ( [?:] [Composer?], [1856?])
Australian Flowers (Impromptu for the Piano Forte) (“2nd Impromptu”; “Dedicated to Miss Aldis”) (Sydney: J. R. Clarke, [1857]; in the Australian Album 1857)
The Fisher Maiden (Barcarolle) (Du Schönes Fischermädchen [Heine]) (“composed expressly for his friend Mr. Frederic Ellard”) (“transcrít par Frederic Ellard; composé par Miska Hauser”) (“Dedicated to Miss Barney, Wootonga, North Shore”) (Sydney: J. R. Clarke, [1859])

Resources: Jos. Wilhelm von Wasielewski, Die Violine und ihre Meister (Leipzig: Breitkopf & Härtel, 1869 ), 346:; Wikipedia:



HAYES, Catherine
Soprano vocalist
Baptised Limerick, Ireland, 8 November 1818
Arrived (1) Sydney, 10 September 1854 (per Fanny Major, from San Francisco, July 8, via Honolulu)
Departed (1), 28 November 1854 (per Norna, for Calcutta)
Arrived (2) Melbourne, 28 June 1855 (per Glendargh, from Batavia, 26 May)
Departed Melbourne, 24 May 1856 (per Royal Charter, for Liverpool)
Died London, 11 August 1861



Sydney, 7 April 1854: By a recent paper from America we learn that Catherine Hayes, a sort of Jenny Lind secunda, meditates a visit to Australia after her brilliant career in North and South America.

Sydney, September 1854 (press release): Miss Catherine Hayes.-We feel confident that our readers will thank us for presenting to them a few particulars of the career of the gifted cantatrice who has just reached our shores. Miss Catherine Hayes was born in Limerick. At an early age her beautiful voice won for her the patronage of the late Hon. and Right Rev. Edmund Knox, Bishop of Limerick. In Dublin, Signor Antonio Sapio was the first singing master of Miss Hayes, in 1841; and her first appearance in public took place at his annual concert in the great room of the Rotundo. In the December of that year she sang at the Concert of the Anacreontic Society. Liszt, the celebrated pianiste, heard her at a concert in January, 1843, and was so struck with her singing, that he wrote to the Bishop of Limerick’s daughter-in-law thus: “I do not know of any voice more expressive than that of Miss Hayes, I doubt if, among the singers of the day, there is one equal in extent and volume to what her’s will be.” During 1843, Miss Hayes continued to be the leading singer of the Anacreontic, Philharmonic, and other powerful concerts in Dublin. Lablache and Costa heard her at the close of this year, and expressed high opinions of her musical abilities. It was on hearing Grisi and Mario, in “Norma,” in this year, that Miss Catherine Hayes first experienced the desire to go upon the lyric stage ; and, after considerable opposition from her relatives and friends, she went to Paris in October, 1844, to study under Manuel Garcia (the brother of Malibran and Viardot, and the master of Jenny Lind), who after a tuition of a year and a half, advised her to proceed to Italy, in order to obtain the best experience for the stage. At Milan she became a pupil of Signor Felice Ronconi, brother of the great Giorgio Ronconi, and, through the kind intervention of the once famed Madame Grassini (Grisi’s aunt), she was engaged for the Italian Opera House, at Marseilles, where she made her debut on the 10th of May, 1845, as Elvira, in Bellini’s “Puritani”. She subsequently appeared in Lucia, and in Rossini’s “Mose in Eguitto” (Zora). After her return to Milan, she continued her studies under Felice Ranconi, until Morelli, the director of the Scala (the largest theatre in Europe), offered her an engagement. Her first character was Linda di Chamounix. She was recalled twelve times by the audience. Her next part was Desdemona, in Rossini’s “Otello,” her performance of which earned for her the title of “The Pearl of the Scala.” In the spring of 1S46, she sang at the Italian Opera in Vienna; and at the Carnival of 1846-7 was engaged at Venice: two new operas were composed for her, “Griselda,” by Ricci, and the “Albergo di Romano,” by Malespini. After a second season in Vienna, where Ricci wrote his “Estella” for her, and she also appeared in Norma. Miss Hayes visited Bergamo, Verona, Florence, and Genoa, enacting Maria di Rohan, and the leading parts in Verdi’s operas, with the most distinguished success. Rubini and Mercadante, the composer, and the late Madame Catalani, expressed the highest admiration of her talents. After the termination of her engagement at the Carlo Felice, at Genoa, Miss Hayes was offered a carte blanche for London, both by Mr. Lumley, for her Majesty’s Theatre, and by Mr. Delafield, for the Royal Italian Opera. She appeared at the latter house on the 10th of April, 1849, as Linda, and afterwards as Lucia, and sang at the private concerts at Buckingham Palace during the season: her Majesty graciously congratulating her on “her deserved success.” Having been engaged by Mr. Lumley for the season, 1850, at her Majesty’s Theatre, she made her debut there on the 2nd of April, in Lucia. Miss Hayes was engaged at Rome at the Grand Carnival, 1851 at the Apollo; and during the season of 1851 she was the star of the concert rooms in London, and of the performances at the Sacred Harmonic Society; while her singing in the sublime oratorios of Handel, Haydn, and Mendelssohn, have won universal admiration. Since that time she has been sojourning in America, where, as our readers are well aware, She has won literally golden opinions. The voice of Miss Catherine Hayes is of extraordinary compass: in the air of Fides, “Ah! mon fils,” from Meyerbeer’s Prophète, she descends to the low notes of the contralto register, after attacking the most elevated soprano tones, and her singing is eminently distinguished by the most intensely dramatic and artistic style. Her ballad singing, too, is perfection; her “Kathleen” is one of those exquisite interpretations in which the intellect and sentiment of the exponent are equally apparent. We need say no more to show to those of our readers who have not already enjoyed tho opportunity of listening to this all-accomplished and very excellent lady, that they have a treat in store such as has never before been presented to an Australian audience - one, the announcement of which we await with much impatience. 

Sydney, 13/14 September 1854: A party of amateur musicians, about thirty in number, and consisting chiefly of members of the St. Mary’s Choral Society [of which Isaac Nathan was then conductor], betook themselves, at a late hour last night, to Petty’s Hotel, on Church Hill, where Miss Catherine Hayes is residing, to offer a musical—to her, doubtless, the most appropriate—welcome to the distinguished songstress. Tho piece selected was Shield’s exquisite glee “Oh, happy, happy, happy fair!”' and was performed with great taste and effect.

Sydney, 18 June 1855: Many of our readers will be glad to hear that this gifted lady contemplates a second visit to our city; and her sojourn, we have reason to believe, will be of some duration. Miss Hayes writes in April from Batavia, where her success has been most complete, her magnificent powers of singing and acting being ably supported by the French operatic company located in that singular city. A file of Calcutta papers, just received, contains many enthusiastic critiques on her performances in the “city of palaces”, and although it seems the first three concerts did not command overflowing audiences, yet the remainder of the series were entirely successful, the proverbial apathy of the people being at length overcome. The voyage from Melbourne to Ceylon in the Norna must have been unusually agreeable, as the passengers, with Miss Hayes’ assistance, gave a succession of operatic and dramatic entertainments, and the addresses delivered on the several occasions written, we imagine, by our facetious friend, M. Lavenu, are very amusing. The programmes place Miss Hayes for Bishop’s glee, “Blow gentle Gales”, assisted by Lieutenant Woolridge, R.N., Captain Burne, and Mr. Bain; also a selection of her favourite songs, concluding on each evening with the National Anthem: the solos by Miss Hayes, M. Lavenu on the harmonium, a gentleman rejoicing in the patronymic of Fitz Stubbs on the guitar, with numerous vocal displays by the rest of the company.

Melbourne, 2 July 1855: On Friday next Miss Catherine Hayes will give a GRAND CONCERT in aid of the Destitute in and around Collingwood […].

References (Australia): “VALPARAISO”, The Courier (17 November 1853), 2:; “A MUSICAL TREAT FOR THE ANTIPODES”, The Sydney Morning Herald (7 April 1854), 5:; “THEATRICAL”, The Sydney Morning Herald (26 August 1854), 5:; [Advertisement], The Sydney Morning Herald (9 September 1854), 1:; “MISS CATHERINE HAYES”, The Sydney Morning Herald (12 September 1854), 5:; “SERENADE TO CATHERINE HAYES”, Empire (14 September 1854), 5:; “SHIPPING INTELLIGENCE”, The Maitland Mercury (13 September 1854), 2:; “TO MISS CATHERINE HAYES ON HER SINGING THE BALLAD OF HOME, SWEET HOME”, Bell’s Life in Sydney (30 September 1854), 3: [Advertisement], The Argus (7 November 1854), 8: “CLEARED OUT”, The Argus (4 December 1854), 4:; “CATHERINE HAYES”, Bell’s Life in Sydney (21 April 1855), 2:; “MISS CATHERINE HAYES”, The Sydney Morning Herald (18 June 1855), 5:; “ARRIVED”, The Argus (29 June 1855), 4:; “MISS CATHERINE HAYES”, The Argus (2 July 1855), 5:; [News], The Sydney Morning Herald (6 August 1855), 4:; “MISS. C. HAYES—OPERA”, The Sydney Morning Herald (24 August 1855), 8:; “MELBOURNE”, The Sydney Morning Herald (5 May 1856), 5:; “CATHERINE HAYES”, South Australian Register (19 May 1856), 2:; “CLEARED OUT”, The Argus (26 May 1856), 4:; “OBITUARY: MADAME CATHERINE HAYES”, The Sydney Morning Herald (12 October 1861), 5:

References (international): “CATHERINE HAYES”, Dublin University Magazine (November 1850), 584:; “CATHERINE HAYES (From the Cork Southern Reporter)”, The Musical World (21 June 1851), 389:; “SAN FRANCISCO”, The Musical World (23 July 1853), 466-67:; [Editorial], The Musical World (17 August 1861), 520:; “MADAME CATHERINE HAYES-BUSHNELL”, The Gentleman’s Magazine (September 1861), 331:;  Catherine Hayes, in Ellen Creathorne Clayton, Queens of song: being memoirs of some of the most celebrated female vocalists … Volume 2 (London: Smith, Elder & Co., 1863):  

Selected related prints:
W. V. WALLACE: Why do I weep for thee (as sung by Miss Catherine Hayes) (Sydney: Woolcott & Clarke, [September 1854]; [for later edition as printed in the Australian Presentation Album 1855]
W. V. WALLACE: Happy birdling of the forest (Composed expressly for and sung by Miss Catherine Hayes arranged by L. Lavenu) (Sydney: H. Marsh & Co., [? 1854])
H. R. BISHOP: Home sweet home (favorite melody as sung by Miss Catherine Hayes) (Sydney: Woolcott & Clarke, [1855])
G. BARKER: The Irish Emigrant (As sung by Miss Catherine Hayes) (Sydney: H. Marsh & Co., [1854]) Cuahla Machree (Oh! Erin my country) (Miss Catherine Haye’s favorite song) ([ ? Sydney: Woolcott And Clarke, 1855])
L. LAVENU, My Molly Asthore (As sung by Miss Catherine Hayes) (Sydney: H. Marsh and Co., [1855])
G. ALARY, Variations as Sung by Miss Catherine Hayes (Sydney: J. R. Clarke, 1857)

Resources: Dennis Shoesmith, Hayes, Catherine (?-1861), Australian Dictionary of Biography 4 (1972); Basil Walsh, Catherine Hayes: the Hibernian (Irish) prima donna (Irish Academic Press):



HAYWOOD, T. Julian (Timothy)
Organist, composer
Active Hobart, TAS, 1892-1909

NLA identifier:

Image: Mr. Timothy Julian Haywood - pianist and choirmaster at Hobart. A noted accompanist at Hobart concerts. Caricature drawn by Thomas Claude Wade Midwood, Hobart, Tasmania, 1854-1912: http:/​/​​14110/​1/​TJHaywood90.jpg (also:

Hobart 1899: Preliminary announcement is made of an attractive entertainment, in the shape of a Spanish Opera-Bouffe, entitled The Brigands of La Mancha, to be produced in the Theatre Royal on September 4 and 5 next, under the able management of Miss Harbroe, of Woodlands, New Town. The production has been initiated by Miss Harbroe solely for philanthropic purposes, namely, the Victoria Convalescent Home. The opera will be interesting, from the fact of its being entirely a local production. The librettist is a rising young law student of Hobart, and the music has been composed by Mr. T. Julian Haywood, the city organist.

Hobart 1909: At the Criminal Sessions to-day, Timothy Julian Haywood, civil servant and the city organist, pleaded guilty to an attempt to commit an unnatural offence. Mr. Justice McIntyre said that in view of the consequences to the prisoner he would temper justice with mercy, and sentence him to twelve months’ imprisonment.

References: “UNIVERSITY OF TASMANIA. ANNUAL MEETING”, The Mercury (5 July 1892), 4:; “LOCAL OPERA PRODUCTION”, The Mercury (29 July 1899), 2:; “THEATRE ROYAL. THE BRIGANDS OF LA MANCHA”, The Mercury (5 September 1899), 3:; “TASMANIA”, Kalgoorlie Miner (16 December 1909), 5: Resources:;



HEALY, George
Professor of Music
Active Bathurst, NSW, 1856

References: [Advertisement], Bathurst Free Press (16 February 1856), 3: htt



HEAPS, Alfred Walter
Violin maker
Born Leeds, England
Arrived Sydney, after 1875
Died Paddington, NSW, 14 May 1906, in his 54th year

References: “The Sydney International Exhibition”, Australian Town and Country Journal (17 April 1880), 6: “MUSICAL INSTRUMENTS IN THE GARDEN PALACE”, Australian Town and Country Journal (29 November 1879), 9:; “Answers to Correspondents”, Australian Town and Country Journal (9 August 1884), 20:; “DEATHS”, The Sydney Morning Herald (17 May 1906), 6:; “THE LATE MR. A. W. HEAPS, VIOLIN MAKER, A SKETCH OF HIS CAREER”, Australian Town and Country Journal (27 June 1906), 39:




HEARNE, John Alfred (alias DANIELS)
Died Sydney, 29 June 1857

Inquest: Yesterday, the coroner, Mr. Parker, held an inquest at the house of Charles Tibbey, Dowling-street Hotel, Woolloomooloo, on the body of John Alfred Hearne, alias Daniels, who died on Monday night, after a brief illness. From the evidence it appeared that deceased, who was a married man, and a musician by profession, lived at Duke-street, Woolloomooloo […]

References: “ANOTHER VICTIM OP INTEMPERANCE”, The Sydney Morning Herald (2 July 1857), 5:



HEARTH, Thomas
Pianoforte maker and tuner of musical instruments (from Clementi, Cheapside, London)
Active Sydney, from 1839; Launceston, from 1842; Adelaide, 1845

References: [Advertisement], The Sydney Monitor (22 July 1839), 3:; [Advertisement], The Sydney Monitor (2 December 1839), 1:; [Advertisement], The Sydney Herald (24 May 1841), 2:; [Advertisement], The Sydney Herald (12 September 1841), 1:; [Advertisement], The Cornwall Chronicle (6 August 1842), 3:; [Advertisement], Launceston Examiner (21 December 1842), 2:; “ATTEMPTED ROBBERY”, The Cornwall Chronicle (21 September 1844), 3:; [Advertisement], Launceston Examiner (19 October 1844), 1:; [Advertisement], South Australian (25 March 1845), 2:; [Advertisement], South Australian Register (18 June 1845), 2:



HEDGES, William Henry
Professor of Music
Active Mount Gambier, SA, by 1868

References: [Advertisement], Border Watch (11 July 1868), 3:; [Advertisement], Border Watch (27 October 1868), 1:; “NEW INSOLVENTS”, The Argus (4 May 1875), 5: “William Henry Hedges of Hamilton, music teacher. Causes of insolvency: Falling off of business, sickness of self and family, and bad debts. Liabilities £76.11s; assets £57. 15s. 6d., deficiency, £18.15s.6d.; [Advertisement], The Brisbane Courier (21 July 1881), 3: “I WILLIAM HENRY HEDGES, Professor of Music, now residing at Ipswich-road, near the Woolloongabba, in the district of Brisbane, do hereby give notice that it is my intention to apply at the next Monthly Licensing Meeting or Special Petty Sessions, to be holden for this district on the 9th day of August next ensuing, for a PROVISIONAL PUBLICAN’S LICENSE […]” 



HEDGELAND,  Frederick James (James Frederick)
Organist, teacher of the pianoforte, singing class instructor (Hullah’s system)
Born Marylebone, England, c.1831-2
Active Sydney, 1854
Died Prahran, VIC, 11 April 1911, aged 79 

1854: MR. FREDERICK HEDGELAND, late Organist of St. Matthew’s District Church, Marylebone, London, and now of St. Mark’s, Alexandria, will be happy to increase the number of his pupils for the Pianoforte.

Launceston 1879: INSTRUCTION IN CHORAL SINGING […] on the Wilhem method, as taught by Mr John Hullah, of London. MR. J. F. HEDGELAND, Professor of Music, Launceston (formerly organist of St. Matthew’s Church, Marylebone, London; St. Mark’s, Darling Point, and St. James’s Choral Society, Sydney; and late of St. John’s Church, Toorak), will shortly commence singing classes on the above method, at the Town Hall […] 

References: 1851 UK census: [HEDGELAND, FREDERICK JAMES 19 yrs, organist dwelling with father and older brother]; [Advertisement], Illustrated Sydney News (27 May 1854), 12:; [Advertisement], The Sydney Morning Herald (2 September 1854), 6:; “ MARRIAGE”, The Cornwall Chronicle (4 April 1879), 2:; “HULLAH SINGING”, Launceston Examiner (31 July 1879), 2:; [Advertisement], Launceston Examiner (1 August 1879), 1:; [News], Warragul Guardian (27 June 1893), 2: “DEATHS”, The Argus (12 April 1911), 9:




HEINE, Joseph
Blind violinist
Born England, 1830
Died USA, ? 30 April 1895

HEINE, Ada (Mrs.)
Arrived Melbourne, July 1864 (per Morning Light, from England)
Active Eastern Australia, between July 1864 and December 1865
Departed after ? April 1866 (for San Francisco)


Child-like Interpreter of Heaven,
While triflers win at folly's mart,
Yield thou to God what God hath given,
Who triumphs in triumphant art!

The common light which us surrounds
Is darkness to that light whose trace
We catch in those enchanted sounds,
And in the music of thy face.

And she who blends her notes with thine,
And hath, oh more! than eyes for thee,
Reflects a radiance more divine
Than aught our common eyes can see;

Echoes a music more than art,
Which yet a deeper spell controls,
The music of a loving heart,
The music of two married souls.


References: “ENGLISH EXTRACTS”, The Courier (21 August 1858), 3:; “CRYSTAL PALACE”, Dwight’s Journal of Music (5 January 1861), 328:; [Advertisement], The Argus (28 July 1864), 8:; “SOCIAL”, The Ballarat Star (24 January 1865), 1s:; “FRIENDS AT HOME”, Launceston Examiner (21 February 1865), 6:; “MR. AND MADAME HEINE”, The Mercury (2 March 1865), 2:; “MR. AND MRS. HEINE’S CONCERTS”, The Sydney Morning Herald (12 August 1865), 5:; “TO THE BLIND MUSICIAN, JOSEPH HEINE … J. LE GAY BRERETON”, The Sydney Morning Herald (23 August 1865), 5:; [Advertisement], Daily Southern Cross (25 December 1865), 1:; [Advertisement], Nelson Examiner (10 February 1866), 5:; [News], The Darling Downs Gazette (26 April 1866), 3:; [News], Launceston Examiner (30 March 1867), 5:



HELLER, Robert, R.A.M. (alias of William Henry PALMER)
Musico-magician, pianist
Born Britain, c.1830
Arrived Sydney, September 1869
Departed Geelong, September 1871
Died ? USA, 1878


Images: Robert:; Ada:

References: [Advertisement], The Sydney Morning Herald (14 September 1869), 8:; “MR. HELLER AS A MUSICIAN”, The Argus (22 November 1869), 5:; “PASSENGERS SAILED”, Illustrated Australian News (9 October 1871), 190:



HELY, Terrence
Musical instrument maker, convict
Arrived Sydney, 29 June 1834 (per James Laing, from Dublin)

Summary: Terence Hely, aged 18, a piano makers boy, was convicted in Dublin on 1 December 1833 of robbing a till. Sentenced to 7 years, he arrived in NSW per James Laing on 29 June 1834. In 1837, he was assigned to the music seller Francis Ellard, also originally from Dublin.




HELY, Miss
Amateur composer
Active Sydney, 1835

HELY, Frederick
Amateur ballad writer, ? composer
Born Tyrone, Ireland, 1794
Arrived Sydney, 1823
Died Sydney, 8 September 1836

Summary: In 1835 Francis Ellard issued his first two local musical publications, both of which had been expressly printed in Dublin, and which probably arrived in Sydney in a shipment he received in December. Of the two items, one survives The Much Admired Australian Quadrilles, dedicated “to Miss Hely of Engehurst”, a daughter of Frederick Hely, Superintendant of Convicts. While there was nothing Australian about its musical contents (based on melodies by, among others, Bellini, Adam, and Lover), the set‘s dedicatee, sale destination, and titles were clearly aimed at a colonial market. But the second Dublin print, no copy of which has alas been identified, was an Australian composition, a ballad The Parting, “composed by a young lady”, apparently Miss Hely herself, to words by her father, though the Herald was inclined also to attribute the music to Frederick Hely:  “AUSTRALIAN MUSIC. We have received from Mr. Ellard, the music-seller of Hunter-street, copies of some Colonial music, harmonised in Sydney, and printed by Mr. Ellard‘s father in Dublin. The music consists of a Ballad entitled The Parting, composed by a young lady, the words by F. A. H.—The initials are easily recognised as those of a gentleman in the Colony, whose production, both music and poetry are said to be. The ballad is in an appropriate and pretty key (flats), and its melody and arrangement display a pleasing simplicity of style, without much originality.” The issue was also reviewed in the Gazette: “We have before us a beautiful ballad (the music said to be by a lady), and The much admired Australian Quadrilles, published in Dublin by our enterprising fellowcolonist, Mr. Ellard, of Hunter-street, Sydney. There is a simplicity and beauty in the former which we are sure will attract the attention of all young ladies studying the pianoforte, and will be a very good addition to their initiatory studies.” Nothing more is known of this Miss Hely, except that she was one of three sisters, at least two of whom married and stayed on in Australia (both parents died within the next few years). For all his enlightened interest in music for the parlours of the Sydney gentry, Hely was much less supportive of the musical activities of the under classes. When sitting on the bench, Hely was typical of Sydney magistrates in taking a dim view of disorderly houses wherein occurred “fuddling, fiddling, and dancing”. On one occaion in February 1827 Hely sentenced a “Sydney Orpheus who kept the people capering at their midnight orgies to 5 days solitary confinement on bread and water”.

References: “Police Reports. SYDNEY”, The Sydney Gazette (24 February 1827), 3:; “Sydney General Trade List: IMPORTS”, The Colonist (10 December 1835), 7: “6 packages musical instruments, F. Ellard”; [News], The Sydney Gazette (12 December 1835), 2:; “NEW MUSIC”, The Sydney Monitor (12 December 1835), 3s:; “AUSTRALIAN MUSIC”, The Sydney Herald (24 December 1835), 2:; “ERRATUM”, The Sydney Herald (28 December 1835), 3:

Notes: Frederick Hely had three daughters, 2 of whom married and remained in Australia. Mary married Gother K. Mann, who later joined Leichhardt’s expedition, “MARRIED”, The Sydney Herald (4 January 1838), 3:; she died in 1901, aged 82; “THE LATER MRS. GOTHER MANN”, The Brisbane Courier (17 September 1901), 6: Georgina Fanny, married Edward Strickland; “MARRIED”, Australasian Chronicle (20 November 1841), 3:

Web: A. F. Pike, Hely, Frederick Augustus (1794–1836), Australian Dictionary of Biography 1 (1966)



HEMY, Henry Frederick (Henri F.)
Pianist, tenor vocalist, composer
Born Newcastle-upon-Tyne, England, 12 November 1818
Active Melbourne, byJanuary 1851
Departed Melbourne, April 1852 (per Blundell, for England)
Died Hartlepool, Cleveland, England, 10 June 1888

Summary: “Mr. Hemy, a German” was a prominent Newcastle-upon-Tyne musician in 1827; Henri Hemy (1780-1859) was born in Germany, volunteered for service as a military musician with the Duke of Buccleuch and came to England in 1797. One family historian claims that its was Henry senior who came to Australia and settled, along with other members of his family. This may well be so. However, this particular visitor to Australia was almost certainly his son, the famous Henry (billed in a Melbourne advertisement as “Henry F. Hemy“), best known later as author of the extraordinarily popular Royal Modern Tutor for the Pianoforte; published in 1858, it reached it 20th edition by April 1859, and remained in print well into the next century, including several Australian editions ( He was also composer of some of the most commonly sung English Roman Catholic hymns, including the tune commonly used for Faber‘s hymn Faith of our Fathers; usually known as St. Catherine, it first appeared in his collection Crown of Jesus (London & Dublin, 1864). Henry’s son, the artist Charles Napier Hemy (1841-1917) recorded in his memoir Days of my youth ( his travels with the family as a ten-year-old to and from Australia, and his adventures in the Victorian goldfields in 1851. Henry Hemy first appeared in Thomas Reed and Elizabeth Testar’s Melbourne concert series on 9 January 1851, when he was featured as pianist (playing a fantasia by Dohler), vocalist, and composer, the band playing for the “first time in Melbourne” his Chimes Polka and Birthday Quadrilles. On 11 January, he advertised that he had “commenced giving instruction on the pianoforte” from his residence in Stephen-Street and that “Drawing-room, Evening Parties, and Balls attended, either with Pianoforte Solo, Piano and Violin, or with Messrs. Hemy and Reed’s Select Quadrille Band. Terms as above, or at Mr. Reed’s Musical Repository, 34, Collins-street West,where also Mr. H. F. Hemy’s Compositions are on Sale.” In March, “four of the principal vocalists of Melbourne” announced that, as the Melbourne Glee Club, with Hemy as conductor pianist and conductor, they were open to engagement. He also took over the direction of a Mechanics‘ Institution Music Class. Hemy composed at least two local titles during his short stay in the colonies, in June The Victoria Quadrilles (“composed and dedicated to His Excellency Sir Charles Joseph La Trobe [...] by Henry F. Hemy”). In November, he advertised copies for sale of Hemy’s Melbourne Polkas, price 3s, “also Manuscript Copies of all his other Favorite Waltzes, Quadrilles and Polkas. The whole of the printed editions being sold”. Having last appeared in a concert in late September, in the same advertisement he indicated that he was resuming his professional duties from his residence at No. 1, Great Brunswick-street, Collingwood, so it was probably during October that he and his family visited to goldfields. Due to unexpectedly protracted arrangements for returning home to England, he gave two farewell concerts, in January and February 1852, and the family had still not finally left when his wife gave birth to a daughter on board ship but still in the bay in April.

References: [Advertisement], The Argus (9 January 1851), 3:; “THE CONCERT”, The Argus (10 January 1851), 2: ; [Advertisement], The Argus (11 January 1851), 3:; [Advertisement], The Argus (17 February 1851), 3: [Advertisement], The Argus (20 February 1851), 3:; “MECHANICS‘ INSTITUTION MUSIC CLASS”, The Argus (12 June 1851), 2:; [Advertisement], The Argus (24 March 1851), 1:; [Advertisement], The Argus (14 April 1851), 3:; MECHANICS’ INSTITUTION MUSIC CLASS”, The Argus (12 June 1851), 2:; “THE CONCERT”, The Argus (16 July 1851), 3:; “THE POPULAR CONCERTS”, The Argus (23 July 1851), 2:; [Advertisement], The Argus (4 August 1851), 3:; [Advertisement], The Argus (25 September 1851), 1:; [2 advertisements], The Argus (13 November 1851), 3:; [Advertisement], The Argus (2 January 1852), 3:; [Advertisement], The Argus (16 February 1852), 3:; “BIRTHS”, The Argus (13 April 1852), 2:

References (UK): E. Mackenzie, A descriptive and historical account of the town & county of Newcastle-upon-Tyne, including the borough of Gateshead, volume 1 (Newcastle-upon-Tyne: Mackenzie and Dent, 1827), 592:; “GATESHEAD MECHANICS’ INSTITUTE”, Local collections; or, records of remarkable events connected with the Borough of Gateshead 1848 (Gateshead-on-Tyne: William Douglas, 1848), 34:; “NEW MUSICAL PUBLICATIONS”, The Literary Gazette (9 April 1859), 473:




Active Hackney, SA, 1855

References: “POLICE COURTS”, South Australian Register (5 March 1855), 3:



Soprano vocalist
Arrived Melbourne, 17 January 1862 (per Voltigern, from London, 4 October 1861)

Summary: Ella Henderson arrived in Australia with Emma Neville and George Loder in January 1862, and appeared with them in Loder’s The Rival Prima Donnas in Ballarat in February 1862. In September, she made her first, and perhaps only, Melbourne appearance in a stage performance of Midsummer Night’s Dream with Loder conducting Mendelssohn’s music. She is perhaps the Mrs. Ella Henderson who gave a concert at London’s Hanover-Square Rooms in June 1858.

Ballarat, 1862: On Monday evening a numerous audience assembled within the walls of the Theatre Boyal tu do honor to the debut of Miss Emma Neville, Madame Ella Henderson, and Mr George Loder, three aspirants for artistic fame, who happen to form the first instalment of novelties which Mr. Hoskins intends in succession to place before his Ballarat patrons, on resuming the managerial sway […] After a short interval, the entertainment was followed by a soiree musicale, the stage being fitted up as a private apartment, and occupied by Miss Neville, Madame Ella Henderson, and Mr Loder, who presided at the pianoforte. This was preceded by an overture founded on airs from “Ernani”, in which Mr Thomas King, as leader, performed solos on the clarionet. This portion of the entertainment afforded an opportunity of Madame Henderson to show her capabilities. These were exhibited both in solos and concerted music, and she was most deservedly applauded.

References: “CONCERTS”, The Musical World (6 June 1857), 365: ; Morning Post (24 May 1858) and The Athenaeum (3 July 1858), 25:; “ARRIVED, JAN.17”, The Argus (18 January 1862), 4:; [Advertisement], The Star (10 February 1862), 3:; “THEATRE ROYAL”, The Star (18 February 1862), 2:; [News], The Star (21 February 1862), 2:; “NEWS AND NOTES”, The Star (25 February 1862), 2:; “NEWS AND NOTES”, The Star (27 February 1862), 2:; “NEWS AND NOTES”, The Star (28 February 1862), 2:; “NEWS AND NOTES”, The Star (3 March 1862), 2:; [Advertisement], The Argus (23 August 1862), 8:; ? “SHIPPING INTELLIGENCE”, The Argus (26 May 1866), 4:



Baritone vocalist, actor
Active Sydney, March-June 1839

Summary: With the Minards and Gautrots, Henry was the fifth member of the French operatic troupe that played at Wyatt’s Royal Victoria in Sydney in March-April 1839. Henry may already have been settled in Sydney, for he neither arrived with the rest of the party from Batavia on 1 March, nor left with the Minards for London in April. Indeed, at Simes’ benefit at the theatre in June 1839 it was advertised “Mons. Henry, of the French Operatic Company, who has with great kindness volunteered his assistance, will appear and sing the celebrated bravura of ‘NON PIU ANDRAI’ from the popular Opera of The Barber of Seville.”

19 March 1839: Mr Henry’s Naivete in this, and in the first piece, afforded considerable merriment to the audience.  Indeed, the performances throughout, received, as they deserved, the hearty and reiterated plaudits for the whole house. (26 March 1839): M. Henry sang Largo al Factotum, from the French adaptation of the Barber of Seville. He excused [sic] it with much energy and vivacity, but his voice (a baritone) has not sufficient stamina for such a piece.

References: “ARRIVALS”, The Colonist (2 March 1839), 2:; [News], The Australian (7 March 1839), 3:; [Advertisement], The Australian (14 March 1839), 3:; “THE FRENCH PERFORMERS”, The Sydney Herald (18 March 1839), 3:; “THE THEATRE”, The Sydney Monitor (18 March 1839), 3:; “THE FRENCH PERFORMERS”, The Sydney Gazette (19 March 1839), 2:; “THE THEATRE”, The Australian (19 March 1839),  2:; “ROYAL VICTORIA THEATRE”, The Sydney Herald (22 March 1839), 2:; “THE THEATRE”, The Australian (26 March 1839), 2:; “ROYAL VICTORIA THEATRE”, The Sydney Herald (5 April 1839), 2:; [Advertisement], The Sydney Monitor (12 April 1839), 3:; “SAILED”, The Australian (25 April 1839), 2:; [Advertisement], The Sydney Monitor (17 June 1839), 3:



Organist (St. John’s Church, Launceston)
Active ? 1850s

References: “REMINISCENCES.[BY. B]”, Launceston Examiner (12 November 1892), 2:



HENSLER, William L.
American composer

Musical work: Australia Polka (Baltimore: Miller and Beacham, 1854)



HENSLOWE, Francis Hartwell
Public servant, composer
Born London, England 1811
Arrived Sydney, 25 July 1839 (per Strathfieldsay, from Plymouth, 8 April)
Departed Hobart, April 1864 (via Melbourne, for India, per Bombay, 26 April)
Died Lee, Kent, England, 10 May 1878



Summary: Henslowe has the makings of one of the more interestingly varied early colonial biographies, having been a fine and quite prolific amateur composer, and a leading civil servant, a clerk of Tasmania’s Legislative Council from 1851 and of the elected Assembly from 1858. He also has a very interesting lineage. He was born in London, three years after the death of his celebrated composer grandfather, François Hippolyte Barthélémon (1741-1808), Haydn‘s London friend and host. His mother, presumably also his music teacher, Celia Maria Barthélémon-Henslowe (1767–1859), was also a concert pianist and published composer before her marriage in 1797. She, in turn, received lessons from her family‘s house-guest, Haydn. Her published works include the cantata The Capture of the Cape of Good Hope (1795), and three piano sonatas, the third, Op.3 (1794), dedicated to Haydn. She, and perhaps Francis too, believed that an ancestor, Anthony Young, had composed the tune of God Save the King. In July 1839, Henslowe and his wife arrived in Sydney, where her father Robert Allwood was a leading Episcopalian clergyman, intending to open a school. But they moved on to Hobart in 1841, where Henslowe was appointed private secretary to governor John  Franklin. In a letter, (Jane and John Franklin to Mrs Simpkinson, 23 February 1841), the Franklins write: “You will be glad to know that I find Mr. Henslowe a very good Secretary, he is gentlemanly and mild in his manners, and very assiduous in the performance of his duties. His wife is a lady-like person, both she and he keep very retired and have no desire to enter into any of the Society here.” When Franklin left Tasmania in 1842, he appointed Henslowe police magistrate of Campbell Town. Though Henslowe published a large number of musical works in Hobart, there are few documented references to performances. Henslowe left Australia for India in the mid-1860s, and died in England in 1878.  The English author and song composer Fanny Henslowe was his sister.

Obituary, Hobart: THE LATE MR. F. H. HENSLOWE. We have to record the death of another gentleman formerly resident in this colony, Mr. Francis Hartwell Henslowe, who died on the 10th May last, at his late residence, Lee, Kent, England. Deceased was son of the Rev. Mr. Henslowe (author of some beautiful sermons), and a brother of Miss Henslowe, the accomplished and celebrated poetess. He was also nephew of Professor Henslowe, who wrote on Botany, and also brother of Capt. Henslowe, R.N., a Knight of Windsor, still living in Hobart Town. Deceased originally went from his native county, Kent, to New South Wales with the view of starting an educational establishment; but his plans were altered and arriving in Tasmania in 1841, he became Private Secretary to Sir John Franklin, Lieut.-Governor of this colony. When His Excellency left in 1842, he appointed Mr. Henslowe, Police Magistrate of Campbell Town. After filling that situation for five or six years, he was appointed. Clerk of the Executive and Legislative Councils. On the establishment of Representative Government in 1856, he became Clerk to the House of Assembly, and in that capacity did good service in organizing the form of the Journals of Parliament, and from bis amiable and obliging disposition, secured tho esteem of the members of the House. He was recognised as an authority on constitutional points. He continued to hold the position until April, 1864, when he was permitted to retire on the ground of indifferent health and weak eyesight, the pension awarded him being £230, which by his death now of course falls in. […] Soon afterwards Mr. Henslowe embarked for India, and the change of climate having, it is presumed, favourably influenced his health, he accepted the position of manager of one of the large Madras Irrigation Companies, which he held for ten years with a salary of £1,500 a year, when the Company broke up, and he went back to England, three or four years ago. Mr. Henslowe married a daughter of Canon Allwood, of the diocese of New South Wales, by whom he had two sons and two daughters […] He had a great taste for music, and composed several songs, which were published in the colony. He was a member of the original Scientific Society, from which sprang the Royal Society of Tasmania […] As Mr. Henslowe was said to be 58 years old when he was pensioned, he must have been in his 72nd year at the time of his death.

References: “ARRIVALS”, The Sydney Gazette (27 July 1839), 2:; [Advertisement], The Sydney Herald (1 November 1839), 3:; “MECHANICS’ SCHOOL OF ARTS. PNEUMATICS”, The Colonist (1 July 1840), 4:; “GOVERNMENT NOTICE. No.44”, The Courier (5 February 1841), 2:; “CLERKSHIP OF THE ASSEMBLY”, The Mercury (6 April 1864), 2:; “MELBOURNE. CLEARED OUT”, Empire (2 May 1864), 4:; “THE LATE MR. F. H. HENSLOWE”, The Mercury (11 July 1878), 2:

Resources: G. T. Stilwell, Henslowe, Francis Hartwell (1811-1878), Australian Dictionary of Biography 1 (1966); Susan Wollenberg, “Barthélémon , Cecilia Maria (1767–1859)”, Oxford Dictionary of National Biography (2004; online edn: 2006)

Musical works:
Songs of Zion No 1, Psalm XIX, Thy glory, Lord, the heavens declare (“The Words by James Montgomery; The Music by Francis Hartwell Henslowe”) (Hobart: Thomas Browne, [1849])
Songs of Zion No 2, Psalm 39, Lord, let me know mine end (Words: James Montgomery) (Hobart: Thomas Browne, [1849])
Songs of Zion No 3, Psalm 43, Judge me Lord in righteousness (Words: James Montgomery) (Hobart: Thomas Browne, [1849])
Songs of Zion No 4, Psalm 130, Out of the depths of woe (Words: James Montgomery) (Hobart: Thomas Browne, [1849])
Where is thy home? (words: Robert Wilson Evans) (Hobart: Thomas Browne, [1849])
The Campbell-Town Waltzes (“Dedicated to the ladies of the district”) (Hobart: Thomas Browne, 1849) (autographed by the composed, Nov. 1851); another copy: The Campbell-Town Waltzes The Song of the Fairies (new vocal trio, from Bulwer’s Pilgrims of the Rhine) (performed at Lewis Lavenu’s Hobart concert July 1854)
The Northdown Bridal Polka (Hobart: Huxtable & Deakin, [1854])
The Wanderer’s Farewell (words: H. Butler Stoney). Hobart: Huxtable & Deakin, [1855] (in The Tasmanian Lyre)
The Song of the Fair Emigrant (words: John Abbott; view of Hobart Town on cover). Hobart Town: R.V. Hood, 1854
The Louis Napoleon Polka (“Exposition de 1855” [Paris]) (Hobarton : R. V. Hood, [1854])
The Dying Soldier’s Legacy (A Song of the War) (words: John Abbott) (“Patriotic Fund, Tasmania”) (Hobart: Huxtable & Deakin, [1855])
L’Espérance (duet for two tenors) ([Hobart: Henslowe, 1855]); (“lithographed and printed in colours by Mr. Henslowe, junior”)
The Charlie Parker Polka (“Midland Grand Steeple Chase Waltzes. No. 3”; Nos 1 & 2 unidentified) (Hobart Town: R. V. Hood, [1855])
Lord keep my memory green (“dedicated to Charles Dickens”; “19th November, 1856”) (Tasmania: F. B. Henslowe, Lith., 1856)
The Amethyst Polka and The Iris Waltz (“Composed by F.H.H., Hobart Town, Tasmania, 15th January 1859”) (London: J. H. Jewell, 1859)
Tomorrow: A Farewell Song (words: Mrs. C. Meredith) (“Addressed to Mrs. Alfed Wilkins”). (Hobart: [?], 1862)
Flowers (words: P. V. De Montgomery) (“Hobart Town, 30th September 1862”). (Hobart: [?], 1862)



Vocalist, actor
Active Hobart and Launceston, 1833-35

Summary: Mrs. Henson appeared in both concert and theatre for J. P. Deane from 1833 from 1835. Was she perhaps the wife of Charles Henson, whose household effects (including a pianoforte) were auctioned off in March 1836?

July 1833: The Duett “My Pretty Page”, Mrs. Henson and Master Deane, was very fairly sung—we have heard it much better performed by the same singers, at Mr. Deane's private concerts--but the audience were satisfied; it was encored, and certainly the repetition was an improvement; perhaps this may be owing to a little want of confidence on the part of Mrs. Henson. That lady's voice is certainly very sweet, it is not powerful, neither is there the least energy in her singing; this is, however, a failing which two or three public appearances will entirely dissipate. There is no trifling contrast between the manner of appearance of the two ladies, Mrs. Davis and Mrs. Henson; the first has all the little stage tricks, of such advantage to a public singer; nay, she has too much so; whereas Mrs. Henson, were she to copy a little from that lady, she would wonderfully improve, when presenting herself before an audience. 

March, 1834: Mrs. Henson’s “He was despised” was just suited for her voice. There is a melancholy sweetness about her singing which beautifully corresponds with the plaintiff music of the song.

References: [News], Colonial Times (30 July 1833), 2:; “Domestic Intelligence”, Colonial Times (18 March 1834), 5:; [News], Colonial Times (6 May 1834), 5:; [Advertisement], Colonial Times (7 October 1834), 3:; [Advertisement], The Hobart Town Courier (29 May 1835), 3:; [Advertisement], Launceston Advertiser (13 August 1835), 2:; [Advertisement], Colonial Times (29 March 1836), 2:



HENSON, Miss (The Misses)
Music teacher and dressmaker, soprano vocalist
Active SA, 1868-81

References: “WILLUNGA”, South Australian Register (16 May 1868), 2:; “HENSON V. CRADOCK”, South Australian Chronicle (5 November 1870), 2:; “PHILHARMONIC SOCIETY’S CONCERT”, South Australian Register (22 December 1874), 7:; [Advertisement], South Australian Register (4 June 1881), 1:



HENSON, Leota F.
Pianist, accompanist (Fisk Jubilee Singers)
Arrived Melbourne, May 1886 (per R.M.S. Orient)
Departed Adelaide, October 1889 (per R.M.S Orizaba, for Bombay)

Hobart 1888: Miss Leota F. Henson who has been a student of the Royal Conservatoire Leipzig played the accompaniment on the organ and piano very nicely.

References: “ARRIVAL OF THE ENGLISH MAIL”, The Sydney Morning Herald (13 May 1886), 7:; “FISK JUBILEE SINGERS”, The Mercury (27 January 1888), 3:; “R.M.S. ORIZABA”, The Sydney Morning Herald (19 October 1889), 12:

Resources: Lynn Abbott and Doug Seroff, Out of sight: the rise of African American popular music, 1889-1895 (University Press of Mississippi, 2003):



HENSMAN, Alfred Peach (Mr. Justice)
Violinist, conductor, judge
Born England, 12 May 1834
Arrived WA, 11 May 1884 (per Ballarat, from London)
Died England, 5 October 1902

Obituary: [...] Of Mr. Justice Hensman’s services in stimulating a love for the art of music, much might be said. For years he was the conductor of the Perth Musical Union, which, under his direction, produced “The Messiah,” “The Creation,” “Elijah,” and other great oratorios. An accomplished musician himself, playing the violin, almost with the magic charm of a master, and inspired with a classical taste which caused it to be said of him that he was “nothing, if not a purist in music.” He devoted no small amount of his leisure, before he was raised to the Bench, in encouraging the people of the metropolitan centre to enter the higher realms of music. Around him he gathered a large circle of men and women, infected with his own enthusiasm, and the result of the efforts thus put forth to raise the tastes of the people gained for Perth and Fremantle the name of being one of the most musical communities in Australia. Among those who joined with him in this work, may fitly be mentioned Mrs. Hensman, their daughter, the late Mrs. Adam Jameson, Sir Alexander and Lady Onslow, Miss Kelsall, and Mr. Henry Wright. Mr. Hensman’s violin was frequently heard at other concerts besides those of the Musical Union, and his playing was always beard with the keenest enjoyment.

References: “THE TWO WORLDS. COMPOSER AND AUTHOR AT LAW. DR. SUMMERS V. REV. FATHER DUFF”, The West Australian (20 August 1901), 7:; “DEATH OF MR. JUSTICE HENSMAN”, The West Australian (8 October 1902), 5:; “DEATH OF MR. JUSTICE HENSMAN”, Western Mail (11 October 1902), 10:

Resources: Wendy Birnam, Hensman, Alfred Peach (1834-1902), Australian Dictionary of Biography 4 (1972)



HERBELET, J. W. (Heberlet, Herberlet)
Professor of music, pianist, organist
Active Adelaide, SA, 1859-92

References: [Advertisement], The South Australian Advertiser (6 May 1859), 1:; “NORWOOD PHILHARMONIC SOCIETY”, The South Australian Advertiser (22 October 1861), 3:; “CATHOLIC  YOUNG MEN’S SOCIETY”, South Australian Register (21 July 1865), 2:; [Advertisement], South Australian Register (6 January 1879), 1:; [News], The South Australian Advertiser (9 May 1885), 6:; “WINTER ENTERTAINMENT”, South Australian Register (9 July 1892), 3:



Bagpiper, convict
Active Sydney, 1832

References: [Absconded], The Sydney Gazette (12 April 1832), 2: “Herbert[,] James, No. 29-3037, Larkins, 24, Bagpiper and Labourer, King’s County, 5 feet 5, hazle eyes, light brown hair, ruddy freckled comp. from Hyde Park Barrack.”



HERMANN, Frederick Z.
Active Brisbane-Rockhampton, by 1863; Maitland, by 1865

Professor of Music
Active Sydney, 1881

Active Sydney 1882

References: “SHIPPING”, The Courier (7 July 1863), 2:; “MR. P. C. CUNNINGHAME”, Rockhampton Bulletin (14 July 1863), 2:; [Advertisement], The Maitland Mercury (25 July 1865),  1:; “OLYMPIC THEATRE”, The Maitland Mercury (3 June 1865), 2:; “DR. CHAS. HORN’S AND MR. M. H. WILSON’S CONCERT”, The Maitland Mercury (7 October 1865), 2:; [Advertisement], The Maitland Mercury (21 December 1872), 1:; [Advertisement], The Sydney Morning Herald (20 August 1881), 2:; [Advertisement], The Sydney Morning Herald (2 May 1882), 2:; “CREMORNE GARDENS”, The West Australian (9 November 1896), 6:; “PERTH ORCHESTRAL SOCIETY”, The Daily News (18 May 1908), 6:



HERMANN, William Z.
Violinist, pianist
Active Sydney, by 1863

1866: HERR HERMANN’S CONCERT. The entertainment to be given at the Masonic hall tomorrow evening is one which cannot fail to attract the attention of those who really love music for the art itself. Herr Herrman, who, unfortunately for the cause of which he is so able an exponent, has been heard but too seldom in public, is acknowledged to be the best pianist now in Sydney, and a worthy successor to the lamented artist, Boulanger. He will on this occasion be assisted by Mr. John Hill, who will take part in this concert as violinist, pianist, and harmonium executant; by Mr. Deane, violoncellist, and two gentlemen amateurs as instrumentalists; whilst the vocal portion of the concert will be carried out by Mrs. Cordner and Mr. C. W. Rayner—the latter having attained a high position here as vocalist and teacher. The programme is peculiarly interesting, comprising classical music, which will, at the same time, be pleasing and varied, with several popular pieces. It will include Hummel’s grand quintet, for piano and stringed instruments […]

1866: HERMANN V. DESSAUR AND ANOTHER. This was an action for the recovery of £300, money lent, and £11 s. interest. The plaintiff was a music teacher, and the defendants had been in business in Sydney, ostensibly as merchants. The money was lent in April last, and was to have been returned in June with interest at 15 per cent.; but the defendants did not pay back the money, and hence the present action. Since the commencement of the suit the defendants had absconded, to California.

References: “ORPHEONIST SOCIETY”, Empire (22 December 1863), 5: ; “PHILHARMONIC CONCERT”, The Sydney Morning Herald (11 March 1864), 4:; ; [Advertisement], The Argus (28 April 1864), 8:; “CLEARANCES”, The Sydney Morning Herald (21 June 1865), 4:; [Advertisement], The Sydney Morning Herald (21 February 1866), 8:; “MUSIC AND DRAMA”, Empire (22 March 1866), 5:; “HERR HERRMANN’S CONCERT”, Empire (21 February 1866), 4:; “MR. W. HERMANN’S CONCERT”, Empire (23 February 1866), 4:; “SUPREME COURT”, Empire (25 August 1866), 3:; “INSOLVENCY COURT”, Empire (13 September 1866), 5:; “INSOLVENT COURT”, Empire (28 September 1866), 8:; [Advertisement], The Sydney Morning Herald (6 April 1881), 1:



Soprano vocalist
Born England, 13 December 1845
Arrived Melbourne, March 1879
Departed Melbourne, 11 February 1881 (per Sobraon)
Died England, 26 November 1924

References: “VICTORIA”, The Sydney Morning Herald (6 January 1879), 5:; [News], The Argus (17 March 1879), 4:; “THE OPERA. MADAME ROSE HERSEE”, The Argus (19 March 1879), 7:; “MRS. HOWITZ’S FAREWELL CONCERT”, The Argus ( 7 February 1881), 6:; “The Theatres”, The Australian Sketcher (26 February 1881), 74:

Resources: WIKI: Rose Hersee

Associations: ? teacher of Isabel Staff (Mrs. Horwitz)



Double bass player (New Queen’s Theatre)
Active Adelaide, 1848

References: [Advertisement], South Australian (6 October 1848), 3:



Active Sydney, September 1859; ? Melbourne, 1868

Summary: One or perhaps two theatre band violinists. At the Prince of Wales theatre in Sydney in September 1859, a Mr. Hertz took over as leader allowing Charles Eigenschenck to conduct. A Mr. Hertz was playing second violin under Thomas Zeplin at the Princess Theatre, Melbourne, in December 1868. The latter is not to be confused with Julius Herz.

References: “PRINCE OF WALES THEATRE”, Empire (5 September 1859), 5:; [Advertisement], The Argus (16 December 1868), 8:



Violinist, composer

HERWYN, Madame
Arrived Sydney, by February 1854
Departed Sydney, October 1855

Summary: The only early notice of Herwyn I have yet found in the Parisian press (April 1853) also mentions, though without connection, the curious English family of musicians, the Binfields, perhaps children of Richard Binfield, past rival of the Charles Packers, senior and junior, in Reading. Then, in London in October 1853, The Musical World reported: “M. Herwin, a violinist of repute from Paris, has arrived in London, en route to Australia”. On their arrival in Sydney in February 1854, the Herald printed in translation an extensive review by Pier-Angelo Fiorentino from the journal Le Constitutionnel. They also toured to Hobart, Launceston, Melbourne, and Geelong. On their departure from Sydney in October 1855, they sold off a Pleyel grand piano, “just imported by Mons. Herwyn, acknowledged by competent judges to be the finest piano that has ever reached the colony.” In 1859, previous to his returning temporarily to Paris, the French consul Louis Sentis sold “two fine toned cottage pianofortes, made to order in Paris, under the superintendence of Madame Herwyn, the celebrated pianist”.

Sydney, February [March] 1854: On no former occasion have we had to record more complete success than was achieved last night by these talented artists. Rumour had spoken highly of them, but the expectations which had been raised were fully realised, and the élite of Sydney present at the soiree last evening pronounced it the greatest musical treat that had been afforded in Sydney. Madame Herwyn’s brilliant and expressive playing—her perfect command of her instrument—her line and delicate perception of the lights and shades of every passage, and her free and correct execution of the most difficult and complicated combination of modern piano music, called forth repeated expressions of admiration. […] Of her husband we need only speak as of a violinist de premiere force; we should say that the peculiarity of his playing consists in the extreme softness of his touch; but again, in the Malbrouk (which was unanimously called for at the close) he displayed a vigour and nerve in the tours de force which quite equalled, if it did not surpass, the more subdued and expressive passages. We feel that in speaking thus in high praise of both these pleasing artists, we are but echoing the sentiments of every person present […]

March 1854: The novelty of the evening was M. Hervyn’s [sic] performance on an instrument which he denominates a monocorde, but which, to our uninstructed vision, was simply a violin with one string. On this instrument M. Hervyn played the Aria “Robert, toi que j’aime” with great effect, and elicited well deserved applause. 

Geelong, February 1855: These accomplished musicians, we are happy to announce, have permanently established themselves in Geelong, as teachers of music […]

Sydney, October 1855: The farewell concert of Monsieur and Madame Herwyn is advertised to take place to-night, at the Concert Hall, Royal Hotel, and will be under the patronage of the Governor General and Lady .Denison. The sojoum of this accomplished lady and gentleman amongst us has been prolonged to a considerable extent, and though not often popularly before the public, we believe their musical réunions, private and public, have done much to improve and correct musical education in the colony. It is difficult to say that either Madame or Monsieur Herwyn are musicians for the multitude, but that they have great Artistic skill, toned and disciplined by the purest appreciation of the art itself, none whose judgment is worth having will dispute […]

January 1857: Henry Herwyn, der vor nicht langer Seit aus Australien zurückgekehrt ist, wo er nach der gefohrt und abentevervollsten Ueberfahrt die größten Triumfe feierte, gab ein Konzert im Salon Herz. Man war von seinem kühnen, feurigen und gefühlvollen Vortrage auf der Violine entzückt; besonders erregten burleske Variazionen über das Lied von Marlborough Sensazion. Lacombe unterstützte ihn mit Vorträgen auf dem Pianoforte.

Paris, January 1858: M. Henry Herwyn, Anglais par le nom, mais qui est un de nos bons violonistes français, M. Henry Herwyn, après avoir visité l’Australie, Botany-Bay, est revenu à Paris.

London, 1864: M. Henry Herwyn, a French violinist of the highest order, now on a short visit to England, and who first made himself known in this country by playing several charming pieces of his own composition at the charitable fete given at the South Kensington Museum, presided over by Her Royal Highness the Princess of Wales, has since been electrifying the musical world in several private concerts. His tone and mechanism of touch are marvellous, whilst the varieties of his expression are full of touching sympathy and exquisite sentiment. If ever M. Herwyn should appear in public, we predict for him an exalted position that must lead to a brilliant and well-merited celebrity.

References: “THÉATRES. LES CONCERTS DE LA SEMAINE-SAINTE”, L’Athenaeum français (2 April 1853), 322:; “Miscellaneous”, The Musical World (15 October 1853), 664:; “MUSICAL”, The Sydney Morning Herald (11 February 1854), 5;; [Advertisment], The Sydney Morning Herald (27 February 1854), 1: “M. AND MADAME HERWYN”, The Sydney Morning Herald (28 February 1854), 5:; “M. AND MADAME HERWYN’S SOIREE MUSICALE”, The Sydney Morning Herald (1 March 1854), 5:; “M. AND MADAME HERWYN’S SOIREE MUSICALE”, Empire (8 March 1854), 2:; “MUSICAL SOIREE”, Illustrated Sydney News (25 March 1854), 2:; “M. HERWYN’S GRAND CONCERT”, The Courier (6 October 1854), 2:; “THE HERWYN’S CONCERT”, Colonial Times (7 October 1854), 2:; “THE HERWYN’S CONCERT”, Launceston Examiner (18 November 1854), 3:; [Advertisement], The Argus (7 December 1854), 8:; [Advertisement], The Argus (8 January 1855), 8:; “THE CONCERT AT THE THEATRE”, Geelong Advertiser (15 January 1855), 5:; [Advertisement], The Argus (12 February 1855), 8:; “M. AND MADAME HERWYN”, Geelong Advertiser (28 February 1855), 2:; “CONCERT”, The Sydney Morning Herald (8 October 1855), 5:; [Advertisement], The Sydney Morning Herald (10 October 1855), 6:; [News], Neue Wiener Musik-Zeitung (8 January 1857), 8:; “AUDITIONS MUSICALES”, Gazette musicale de Paris 25 (3 January 1858), 5:; “AUDITIONS MUSICALES”, Gazette musicale de Paris 25 (7 March 1858), 74:; “CONCERTS ET AUDITIONS MUSICALES”, Gazette musicale de Paris 25 (4 April 1858), 111:; “AUDITIONS MUSICALES”, Gazette musicale de Paris 25 (2 May 1858), 146:; [Advertisement], The Sydney Morning Herald (4 February 1859), 7: “HERWYN”, The Musical World (23 July 1864), 474:

Works (Henry Herwyn): Grand Fantasia for Violin (with variations and finale for one string only, in which the favorite airs of God save the Queen, Ye Banks and Braes, and Patrick’s Day): [Advertisement], Colonial Times (5 October 1854), 3:; Hommage à Paganini (“Variations burlesques for Violin”, on “Milbrook” or Marlborough”): The Courier (13 October 1854), 2:; [Advertisement], The Argus (12 December 1854), 8:; Grand Fantasia, on themes from Donizetti’s opera La Favorite: “Monsieur and Madame Herwyn’s Concert”, The Courier (8 November 1854), 3:



HERZ, Julius
Conductor, pianist, composer
Born Mecklenburg-Schwerin, 13 March 1841
Arrived Melbourne, 1866
Died Sandringham, Melbourne, 23 August 1898, aged 57

Summary: Julius Herz, “Professor of Music from the Conservatoire of Berlin”, was on the staff of Schott’s Victorian Academy of Music in April 1866. Two of his compositions were published by Charles Troedel in Melbourne in December, The Mill (impromptu for pianoforte), and the Byron song When we two are parted, which had been composed for and premiered by Miss Liddle in July. Herz conducted the first Australian performance of Beethoven’s Ninth Symphony on 27 December 1882. His Silver Chimes (Morceau Caractéristique) appeared in The Illustrated Australian News and Musical Times (1 August 1889), 12-13.

References: [Advertisement], The Argus (7 April 1866), 7:; [News], The Argus (3 July 1866), 5:; “NEW MUSIC”, The Argus (20 December 1866), 2: [News], The Argus (5 April 1867), 4:; “THE MELBOURNE MUSIC FESTIVAL”, The Argus (28 December 1882), 6:; “MR. JULIUS HERZ”, Illustrated Australian News and Musical Times (1 August 1889), 9:; “DEATHS”, The Argus (24 August 1898), 1:; “OBITUARY”, Launceston Examiner (24 August 1898), 6:; “DEATH OF MR. J. HERTZ”, The Advertiser (24 August 1898), 5:; [News], The Brisbane Courier (24 August 1898), 4:



HERZ, Richard
Pianist, violinist, composer
Active Sydney, 1859-60; Melbourne and Ballarat, 1864

Summary: Herz was based in Auckland, New Zealand from 1856 to 1858. A concert he gave there in August 1857 included two of his own compositions for cornet and piano, Advance New Zealand (Parade March) and The Darkies’ Quadrille. Herz was playing and teaching in Sydney in 1859 early 1860, but was back in New Zealand by mid year and until 1863. He was in Victoria in 1864. On his first appearance in Ballarat in 1864, he was advertised as “The brilliant Pianist, nephew of the great Pianist, Henri Herz”. Three of his compositions appeared in The Illustrated Melbourne Post, Riflemen’s Joy (“quick step composed for The Illustrated Post by Richard Herz”), Christmas Quadrille (24 December 1864), and The Victoria Galop (25 November 1865).

References: [Advertisement], Daily Southern Cross (21 October 1856), 1:; [Advertisement], Daily Southern Cross (18 August 1857), 3:; [Advertisement], Daily Southern Cross (26 February 1858), 1:; [Advertisement], Empire (26 May 1859), 1:; [Advertisement], The Sydney Morning Herald (2 July 1859), 1:; [Advertisement], The Sydney Morning Herald (14 January 1860), 8:; [Advertisement], Daily Southern Cross (4 September 1860), 2:; [Advertisement], Southland Times (30 November 1863), 3:; [Advertisement], The Star (9 April 1864), 3:; [Advertisement], The Argus (27 June 1864), 8:



HESTER, Mildred Vyner
Pianist (pupil of Kowalski)
Active Sydney, by 1887
Died Gordon, QLD, 19 September 1942

References: “MISS MILDRED HESTER’S DEBUT”, The Sydney Morning Herald (7 October 1887), 6:; “M. Henri Kowalski”, Australian Town and Country Journal (23 November 1895), 25:; “Marriages”, The Sydney Morning Herald (19 December 1896), 1:; “DEATHS”, The Courier-Mail (24 September 1942), 8:



HETZER, Madame Thekla
Pianist, piano teacher
Arrived Sydney, 3 February 1850 (per Balmoral, from the Downs, 19 October 1849)
Departed Sydney, 1867

Summary: Wife of the photographer William Hetzer, and “pupil of one of the first masters in German”, she first advertised as a teacher in October 1850, and first appeared public at Francesca Allen’s concert in December. Thereafter, childbearing appears to have curtailed her public musical activites. Her husband was secretary of the German Club responsible for the oragnisation of the concert in aid of Leichhardt’s mother in 1854. William died in Frankfurt-am-Main in 1891, aged 69.

References: “SHIPPING INTELLIGENCE”, The Sydney Morning Herald (4 February 1850), 2:; [Advertisement], The Sydney Morning Herald (4 March 1850), 1:; [Advertisement], The Sydney Morning Herald (12 October 1850), 3:; “MADAME ALLEN’S CONCERT”, The Sydney Morning Herald (23 December 1850), 2:; [Advertisement], Empire (4 March 1854), 1:; “DEATHS”, The Sydney Morning Herald (29 September 1891), 1:




Professor of Music, pianist, teacher of pianoforte and singing, composer
Active South Australia, by 1869
Died Angaston, 9 November 1897, aged 48

Obituary: The news of the sudden death of Mr. Heuzenroeder was received in the city with profound regret. He was known best in the musical world, and he was a great favourite with all with whom he came in contact. Some years ago Mr. Heuzenroeder carried on business in Gawler as a jeweller, and his intense love for everything musical induced him to save sufficient money to take a trip to Stuttgart, Germany, in order that he might further pursue his studies in music and voice-production. He returned to South Australia after having gained the highest honors from some of the leading musicians in Germany. Overtures were made to him to practice his profession at Stuttgart, but he preferred to return to his adopted home. Ultimately he settled down in Adelaide and began to practise as a teacher of music. In Germany he paid close attention to voice production, and studied under some very eminent professors of the art, and upon his return he took a prominent position in the ranks of singing masters in the colony. The deceased gentleman was the first conductor of the Adelaide Harmonic Society, which produced two operettas of his composition. The first of them was entitled Faust and Gretchen, the libretto being translated from the German, and the work was received with such warmth by the music-loving public that it was followed by another opera from his pen. The music was extremely pretty, and the press criticisms were favourable. In 1893, in collaboration with Mr. H. C. Evans, of Quiz, he produced the Australian opera Immomeena, which was performed for the first time in the Theatre Royal, Adelaide, with great success on October 6, 1893. He also wrote music for a number of songs, some of which have enjoyed a large sale, while others, although they have not been published, have been sung on the concert platform from time to time. Perhaps the most popular was Australia, the words of which were composed by the late Mr. C. C. Presgrave; but Thou art my Queen was equally popular for a long time […]”

References: “ALEXANDER VON HUMBOLDT”, South Australian Register (22 September 1869), 3:; [Advertisement], South Australian Register (24 December 1872), 1:; “DEATH OF MR. M. HEUZENROEDER”, The Advertiser (10 November 1897), 3:; “DEATHS”, The Advertiser (10 November 1897), 4:



Trombone player (New Queen’s Theatre)
Active Adelaide, 1848

References: [Advertisement], South Australian (29 February 1848), 2:; [Advertisement], South Australian (6 October 1848), 3:



Bandmaster (Hobart Town Band; Hewlins’ Band), theatre manager, dyer
Arrived Hobart, 1834

(Hobart, 1851): G. HEWLINS’S QUADRILLE BAND. G. HEWLINS, Dyer, of Liverpool-street, has succeeded in organizing a most efficient QUADRILLE BAND, from two instruments to seven, according to the dimensions of the room where the ball takes place. A competent Pianist can be also obtained where required. The newest music introduced.

(1858): QUADRILLE BAND. GEORGE HEWLINS […] his Quadrille Band, Composed of either Brass or Stringed Instruments, are ready at the shortest notice to attend Balls, Wedding Parties, Ploughing Matches, Pic-nics, and Water Parties, &c., on reasonable terms.

References: “TRADE AND SHIPPING”, The Hobart Town Courier (7 November 1834), 3:; [Advertisement], Colonial Times (25 July 1851), 4:; [Advertisement], Colonial Times (18 June 1852), 4:; “KANGAROO POINT. THIRD ANNUAL REGATTA”, Colonial Times (14 December 1854), 3:; [Advertisement], The Hobart Town Daily Mercury (8 june 1858), 1:; “SHIPPING NEWS”, The Courier (3 February 1859), 2:; “TASMANIAN POULTRY SOCIETY”, The Hobart Town Daily Mercury (29 July 1859), 3:



HEWSON, George
Bell-ringer (Trinity Church, Launceston)
Active Launceston, 1844

References: “SUPREME COURT”, Launceston Examiner (9 October 1844), 3:; “CRIMINAL SITTINGS”, Launceston Examiner (12 October 1844), 2:



HEYDECKE, Theodor W.
Clarinettist, bandsmaster, composer
Active Adelaide, by 1857
Died Melbourne, 29 January 1867, aged 35

Clarinettist, cornet and cornopean player
Active Adelaide, by 1861
Drowned St Vincent’s Gulf, 23-28 June 1872 (body not recovered)

References: [Advertisement], South Australian Register (18 September 1857), 1:; “ADELAIDE CHORAL SOCIETY”, South  Australian Register (1 April 1858), 2:; [Advertisement], The South Australian Advertiser (10 October 1861), 1:; “THE LATE HERR LINGER”, South Australian Register (18 February 1862), 2:; [News], The South Australian Advertiser (24 February 1863), 3:; [Advertisement], South Australian Register (31 January 1867), 1:; “DEATH OF HERR T. HEYDECKE“, South Australian Register (31 January 1867), 3:; “FUNERAL OF THE LATE HERR HEYDECKE”, The South Australian Advertiser (13 February 1867), 2:; [News], The South Australian Advertiser (27 February 1867), 2:; [Advertisement], South Australian Register (13 August 1866), 1:; [Advertisement], South Australian Register (13 December 1867), 4:; “THE FUNERAL OF THE LATE MR. G. LODER”, The Mercury (28 July 1868), 3:; “THE FLOWER SHOW”, The South Australian Advertiser (7 December 1870), 5:; “THE PHILHARMONIC CONCERT”, The South Australian Advertiser (23 September 1871), 3:; “LOSS OF A PLEASURE PARTY IN ST. VINCENT’S GULF”, South Australian Register (15 July 1872), 7s:; “ADELAIDE PHILHARMONIC SOCIETY”, South Australian Register (26 August 1872), 6:; [Advertisement], The South Australian Advertiser (15 January 1878), 1:; “JUDAS MACCABEUS”, The Regsiter (21 April 1903), 6:; “MR. CAWTHORNE’S REMINISCENCES”, The Register (8 June 1912), 7:; “AN HISTORIC PLAYHOUSE”, The Register (29 January 1914), 9:; P. A. Howells. “MUSIC AND MUSICIANS. REMINISCENCES FROM 1868. I”, The Register (5 October 1918), 10:; “OLD-TIME YACHTING TRAGEDY”, The Register (7 July 1922), 11:; “BANDMASTER THEODORE W. HEYDECKE”, The Register (8 July 1922), 12:; “GLENELG DROWNING TRACEGDY OF 1872”, The Register (1 May 1926), 7:

Some documented compositions: March of Australia (Heydecke) [February 1860]; Dead March (played at Carl Linger’s funeral) [February 1862]; Finnegan’s Wake Polka (arranged for the pianoforte by George Loder) (Adelaide: G. H. Egremont-Gee, [Ausgut 1866]; Slow March (T. Heydecke] [December 1866]; Waltz, “Rosebud” (Heydecke) [January 1867]; Galop, “Volunteer” (Heydecke) [January 1867]; Waltz, “The Cornet” (Heydecke) [January 1867]; March “My Angel” (Heydecke) [January 1867]; God Bless the Prince of Wales (Heydecke) [January 1867]; Parade March (Heydecke) [January 1867]; posthumous notices: Dirge composed by the late Theodore Heydecke” [July 1868]; Waltz, “The Adelaide” (Heydecke) [December 1870]; March, “Song of Australia” (Heydecke) [January 1878]



Auctioneer, seller of imported music
Active Sydney, 1843

1843: AN INVOICE OF NEW MUSIC, imported direct from the publisher’s, com prising the works of all the moat celebrated composers of the present day. Catalogues will be ready for distribution on Wednesday morning, when the music may be seen. In the mean time, the Auctioneer begs to annex the following brief outline: Instruction books for the pianoforte, violin, violon-cello, flute, bassoon, key bugle, trumpet, French horn, accordion, clarionet, and harp, by Bochsa, Jousse, Willman, Kalkbrenner,, and other celebrated masters; Pianoforte music; consisting of brilliant fantasias, rondos, overtures, duets, &c., and s very large selection from the most popular operas Sacred music, comprising the works of Handel, Haydn, Bishop, Loder, and others Concerted music, for the pianoforte, harp, flute, violoncello, &c. Quadrilles, waltzes, mazourkas, cachouchas, galops, contre dances, &c. WITH, A great variety of: songs, ballads, duets, &c. ALSO, A good seraphine. Terms, cash.

References: [Advertisement], Australasian Chronicle (1 June 1843), 3:



HIGGINS, Thomas William
Amateur vocalist, pianist, sheep farmer 
Active Port Elliot, SA, by 1861
Died Currency Creek, SA, 9 August 1915, aged 75

Amateur musician, pianist

Summary: The song The Bushman, first published in Adelaide in 1845, was still popular in South Australia in the 1860s. It was evidently a favorite of Higgins, a grazier, who sang it several times at public dinners, where the press variously referred to it as “The bushman’s life” and “The Bushman’s Song”, and positively identified it by its chorus: “[Then] Hurrah! for a Bushman’s Life”. Mrs. T. W. Higgins was also a regular performer at musical events in the Port Elliot region.

References: “PORT ELLIOT”, South Australian Register (20 May 1861), 3:; “OPENING OF THE INMAN AND HINDMARSH BRIDGES“, The South Australian Advertiser (3 August 1863), 3:; “DEATH”, Southern Argus (12 August 1915), 2:



HILL, Alfred
Violinist, conductor, teacher, composer
Born Richmond, VIC, 16 December 1869 (not 1870)
Died Sydney, 30 October 1960


Works: Hinemoa (cantata, Wellington, NZ, 1896); recorded extract, opening (conducted by the composer, 1952): 

Resources: Andrew D. McCredie, Hill, Alfred Francis (1869-1960), AAustralian Dictionary of Biography 9 (1983); John Mansfield Thomson, Hill, Alfred Francis, Dictionary of New Zealand Biography. Te Ara - the Encyclopedia of New Zealand




HILL, Arthur
Amateur vocalist, actor (publican, Rose and Crown Castlereagh-Street, printer)
Born England, 1784
Active Sydney, by 1826 (Sydney Amateur Concerts)
Died Sydney, 23 March 1834

(1826): I’m Parish Clerk and Sexton here”, was sung with much humour by Mr. Hill, but the want of those essential requisites to give such songs effect—namely dress and music [i.e. instrumental accompaniment]—greatly detracted from its comicality. The former we understand was objected to by the Directors upon some principle of Etiquette.

(1827): A Patriotic song by Mr. Hill, and Dulce Domum by Mr. Blanch were greatly applauded, the style of singing of each being well adapted to his subject. 

(1833/1): We understand that our respectable fellow-colonist, Mr. Arthur Hill, is engaged by the Proprietor of the Sydney Theatre, for the next season, to sustain a line of characters for which report states he is eminently qualified. We have never seen Mr. Hill “on the boards”, and therefore cannot speak from our own knowledge. (/2) Mr Arthur Hill, of the old school of legitimate Comedy, we are glad to hear, is engaged for the peculiar characters in which he is known to excel.

(1834): The comedy of The Rivals was the first piece, and with the exception of some two or three of the inferior characters, was creditably performed. […] The Sir Lucius of Mr. Simmons though a tolerable performance, was not equal to the representation that we have seen of it by the deceased Mr. Arthur Hill.

References: “MR. EDWARDS’S BENEFIT”, The Monitor (25 August 1826), 5:; “THE ANNIVERSARY DINNER”, The Monitor (27 January 1827), 5:; “Theatre”, The Sydney Gazette (22 June 1833), 2:;  [News], The Sydney Monitor (25 September 1833), 3:; “DIED”, The Australian (24 March 1834), 3:; “DIED”, The Sydney Monitor (25 March 1834), 3:; “THE THEATRE”, The Sydney Gazette (3 July 1834), 2:

Resources: Obituaries Australia:



HILL, Arthur S.
Flautist, bandsman, bandmaster (99th Regiment)
Active Sydney 1848; Hobart, 1849-55
Died Cork, Ireland, 7 May 1865

Summary: Hill's The Australian Grand Waltzes (“A New Year’s Gift … composed and arranged for the Piano Forte, by Arthur S. Hill, 99th Regiment“) were published in Sydney in 1848 (no copy identified), and his The Wivenhoe Quadrilles. and Geelong Schottisch respectively in Stoney's Tasmanian Lyre and Delacourt Bouquet in Hobart in 1854/55. He regularly appeared in Hobart as a concert flautist. In April 1854, at St. Joseph's Church, Hobart, he married Ann Sophie Hopkins, daughter of the former Hobart dancing master Gattey Hopkins. He was not bandmaster in Australia, although he may have been later. He died at Cork, Ireland, in 1865. Bandsman Bernard Hill (below) was his son, evidently by an earlier marriage.

References: [Advertisement], Sydney Chronicle (1 January 1848), 3:; “NEW MUSIC”, The Sydney Morning Herald (5 January 1848), 3:; “CONCERT”, The Courier (10 March 1849), 2:; “MUSICAL. ROYAL VICTORIA THEATRE”, The Courier (27 January 1853), 2:; “ROYAL VICTORIA THEATRE”, The Courier (2 July 1853), 3:; “ATTENTION”, The Courier (5 April 1854), 2:; “MARRIED”, The Courier (18 April 1854), 2:; [Advertisement], The Courier (13 November 1854), 3:; Colonial Times (9 March 1855), 4:; [Advertisement], The Courier (6 April 1855), 3:; “DEATHS“, The Mercury (13 September 1865), 1:



HILL, Barnard (Bernard)
Sawyer and violin player
Arrived Van Diemen’s Land, by 1825
Active Hobart 1833-46
Died Huon Valley, TAS, 9 August 1858, aged 80 years

Summary: The Statistical view of Van Diemen’s Land (1832) lists “Bernard Hill, violin player” as living at 12 Goulburn-Street, Hobart in 1831. “Sawyer and violin player” Barnard Hill’s selection as a jury member in Hobart in 1833 became a subject of satire in the press. According to a police report, Hill was still playing the violin semi-professionally for Robert Fowler’s “dancing school” in 1846. He was an elector in Franklin in 1856. His descendent Anne Wilson kindly informed me (January 2014) that he died in a boating accident in 1858, aged 80.

1833: We are sure on this occasion Mr. Barnard Hill, with whom we have the honour to be personally acquainted, he having recently cut some rafters for our fowl-house at Knocklofty, and whose exquisite Paganini touches on the violin we so frequently have the pleasure to hear, urging, as we pass the corner, the fantastic toes of the ladies and gentlemen who frequent Mr. Walford’s ball-room, at the King George—we are sure he will excuse us for once, for paying that we fear he would not think himself fairly tried in a dispute about cutting rafters or the price of an hour’s catgut scraping by such men as Mr. Meredith or Major Schaw, any more than the latter gentlemen would fancy their rights and privileges, especially as regards the intricate points of literature and libel, fairly confided and adjusted by his unbiassed decision.

Reference: “McCABE”, Hobart Town Gazette (29 October 1825), 2:; Statistical view of Van Diemen’s Land (1832), 163:; [Editorial], The Hobart Town Courier (19 July 1833), 2:; “SCHAW v. MEREDITH”, The Hobart Town Courier (19 July 1833), 3:; “SCHAW v. MEREDITH”, Colonial Times (23 July 1833), 2:; [Letter] To the Editor”, Colonial Times (30 July 1833), 3:; [Editorial], The Sydney Gazette (17 August 1833), 2:; “THE LAWS OF LIBEL”, The Hobart Town Courier (31 January 1834), 4:; “POLICE”, The Courier (1 August 1846), 2:; [Advertisement], The Courier (10 June 1856), 1:; “DIED”, The Hobart Town Daily Mercury (11 August 1858), 2:; “FATAL ACCIDENT”, Launceston Examiner (12 August 1858), 2:



HILL, Bernard
Bandsman (99th Regiment) (Son of Arthur S. HILL)
Died Sydney, August 1845

References: “INCAUTIOUS USE OF MEDICINE”, The Sydney Morning Herald  (23 August 1845), 3: “Bernard Hill, once a bandsman in the 99th regiment, aged about 26 years, and who had lately been employed as an assistant in a druggist’s shop, in George-street, but had latterly been unemployed, feeling himself unwell on Thursday afternoon, got some medicine (supposed to be laudanum) which he took, and shortly after became insensible till mid-day, yesterday, when he expired in the room of his father, Serjeant Hill, of the 99th regiment.“



HILL, John
Musician, formerly Drum major (Band of the 99th Regiment)
Active Sydney, until 1858

References: “SHOCKING TRAGEDY”, Empire (13 March 1858), 4:; “PAINFUL TRAGEDY”, Empire (10 April 1858), 3:



HILL, John (K.S., R.A.M.)
Pianist, organist, conductor, Professor of the Pianoforte and Singing, violinist, composer
Arrived Sydney, by February 1865
Departed Melbourne (with Ilma De Murska), 1877
(In England after 1880, he was known as John HILLER)

March 1865: “On Monday, the 13th instant, Mr John Hill, lately from London, pianist and organist of considerable abilities, give his first concert at the Australian Library, whith was fashionably and well attended. The principal feature of the concert was the performances of Mr. Hill on the pianoforte and harmonium, which created a marked impression of his powers on both these instruments. In the Fantasie sur l’Opéra Lurline de Wallace, by Ascher, Mr. Hill displayed fine capabilities as a solo pianist, his enunciation being clear and distinct. A fine instrumental effect was a duet for harmonium and pianoforte, by Mr. Hill and Mr Frederic Ellard, which was admirably performed by both those gentlemen. The overture to William Tell, also performed by Mr. Hill on the harmonium, was a brilliant effort. These were decidedly the pieces de resistance of the evening. Mr Hill afterwards performed Boulanger’s celebrated Impromptu Polka.”

Summary: Hill succeeded George Loder as conductor of the Sydney opera season in 1866. A friend and colleague of Alfred Anderson, a decade later John Hill also played in the Ilma De Muska concerts, and within months of Anderson’s death, he notoriously married the recently bereaved singer in a ceremony on tour in New Zealand. Curiously, according to the recollections of Murska’s manager De Vivo (1897), at the time of Anderson’s death Murska had “detested” Hill. By 1881, he was conducting under the name John Hiller, and was still active in London in 1899.

References: [Advertisement], The Sydney Morning Herald (8 February 1865), 1:; “MUSIC AND DRAMA”, The Sydney Morning Herald (18 February 1865), 8:; [Advertisement], The Sydney Morning Herald (13 March 1865), 1:; “MR. JOHN HILL‘S FIRST CONCERT”, The Sydney Morning Herald (14 March 1865), 4:; “MUSIC AND DRAMA”, The Sydney Morning Herald (21 March 1865), 13:; “NEW SOUTH WALES”, South Australian Register (24 July 1865), 2:; “AMUSEMENTS”, The Sydney Morning Herald (5 May 1866), 7:; “AMUSEMENTS”, The Sydney Morning Herald (23 May 1866), 3:; “ST. ANDREW’S ORGAN”, Empire (13 August 1867), 4:; “MUSIC AND THE DRAMA”, The Sydney Morning Herald (8 September 1869), 10:; “Musical and Dramatic Review”, Australian Town and Country Journal (6 January 1872), 23:; “MR. GUENETT’S CONCERT”, The Argus (17 February 1873), 7:; “MUSIC”, The Australasian Skecther (9 August 1873), 90:; [News], The Argus (29 November 1873), 6:; “THE DE MURSKA CONCERTS”, The Argus (26 January 1876), 7:; [News], The Argus (15 May 1876), 4:; “NEW ZEALAND”, The Argus (16 May 1876), 5:; “MUSICAL”, The Mercury (10 October 1879), 2:; “BRITISH AND FOREIGN ITEMS”, The Mercury (19 February 1881), 1s:; “THE LOVES OF A CANTATRICE”, Kalgoorlie Western Argus (11 March 1897), 10:; “MUSIC AND DRAMA”, The Brisbane Courier (4 September 1899), 6:; “J. L. F.”, “A DISTINGUISHED CRITIC AND MUSICIAN. SOME PERSONAL REMINISCENCES”, The Mercury (10 April 1901), 5:; “ARTISTS IN AUSTRALIA. HISTORY: OLD AND NEW”, The Daily News (19 October 1925), 6:

Musical publications:
The Royal Arrival Galop (Sydney: [?], [ ])
The Sicilian Vespers Quadrille (“arranged by John Hill”) (Sydney: J. R. Clarke, [1869])
The Lorne Highland Schottische (arranged by John Hill, K.S., R.A.M.”) (Sydney: Elvy & Co., [?])
Love Among the Roses Schottische (Sydney: Elvy & Co., [?])
Kismet Waltz (Melbourne: [C. Troedel], [1873])
Mollie Darling (morceau de salon) (Melbourne: W. H. Glen &​ Co., [??])



HILL, Louisa (Mrs. Samuel Prout HILL; late Mrs. ODELL)
Teacher of music, singing, and painting
Arrived Hobart, by May 1847
Died Hobart, 19 May 1871, in the 68th year of her age

References: [Advertisement], The Courier (19 May 1847), 1:; [Advertisement], The Courier (26 May 1847), 1:; “MARRIAGE”, The Courier (21 April 1849), 2:; [Advertisement], The Mercury (14 November 1863), 1:; “DEATHS”, The Mercury (20 May 1871), 1:

Resources: Harry Buckie, Hill, Samuel Prout (1821-1861), Australian Dictionary of Biography 1 (1966);



HILL, Samuel
Active Bathurst, 1850

References: “MAL-APPROPRIATION”, Bathurst Free Press (21 December 1850), 7:



HILLCOAT, John William
Music retailer, music publisher
Active Maitland, 1860s
Died Sydney, 17 February 1907, aged 78

Summary: John William Hillcoat had been a sheep farmer and cattle dealer at Stradbroke in South Australia for several years when he was declared insolvent in October 1856. His case dragged on until March 1859, and in September that year a Mrs. Hillcoat, with references from the Lord Bishop of Adelaide, advertised that she would open a school for young ladies in Maitland, NSW. In April 1861 she was intending to hold dancing classes, while her husband, since he was “not fully occupying his time, offers his services to tradesmen to WRITE UP THEIR BOOKS and to MAKE OUT THEIR ACCOUNTS”. In August 1862, J. W. Hillcoat first advertised that he was selling music from his home, and in November opened a new shop, as “J. W. HILLCOAT, MUSIC SELLER, High-street, West Maitland”. On 4 March 1863, he issued the first number of his series THE MAITLAND MUSICAL BIJOU, the Night Parade Waltzes by Marmaduke H. Wilson, who was to compose the whole set. No 2 was I’m Saddest when I sing (April 1863), No 3 The Singleton Railway Galop (May), and No 4 Royal Wedding Polka (June). A New song, The Echo was advertised for 1 July, but in the event No 5 was The Aberglasslyn Schottische (July 1863). However, the August number was not going to be ready until the arrival of the English mail. In the event, neither Nos 6 nor 7 can be identified. In mid-November a new Wilson song Good Bye appeared, possibly No 8, and in December, the unattributed Christmas Polka Mazurka, possibly No 9. In February 1864, Hillcoat’s creditors held a meeting, but in June he and Wilson announced that they had completed the series with No 1o. Australia, The Land of My Birth; No 11 Varsovianna [sic]; and No 12 Anambah Polka. Hillcoat and Wilson immediately instituted a new twice-monthly series, “The Young Pianist’s Repertoire” (“published on the  1st and 15th of every month; price 1s, to be completed in twelve numbers”), the first number, according to the Mercury, “a selection from the opera L’Elisir d'Amore, arranged and marked for fingering by Mr. M. H. Wilson”), but though the first three numbers of which had appeared by early July it faltered thereafter. Probably Hillcoat and Wilson then produced nothing new until the appearance of their last joint effort, the Nervous Cures Quadrilles in 1867.

References: “INSOLVENCY NOTICES”, South Australian Register (3 October 1856), 3:; “INSOLVENCY COURT”, South Australian Register (7 July 1857), 3:; [Advertisement], The Maitland Mercury (17 September 1859), 3:; [Advertisement], The Maitland Mercury (13 April 1861), 1:; [Advertisement], The Maitland Mercury (9 November 1861), 1:;  [Advertisement], The Maitland Mercury (23 August 1862), 1:; [Advertisement], The Maitland Mercury (22 November 1862), 4:; [Advertisement], The Maitland Mercury (3 March 1863), 4:; “THE MAITLAND MUSICAL BIJOU”, The Maitland Mercury (5 March 1863), 2:; [Advertisement], The Maitland Mercury (28 March 1863), 8:; [Advertisement], The Maitland Mercury (5 May 1863), 1:; “THE MAITLAND MUSICAL BIJOU”, The Maitland Mercury (7 May 1863), 2:; [Advertisement], The Maitland Mercury (2 June 1863), 4:; “THE MAITLAND MUSICAL BIJOU”, The Maitland Mercury (6 June 1863), 2:; [Advertisement], The Maitland Mercury (27 June 1863), 1:; [Advertisement], The Maitland Mercury (30 June 1863), 4:; [Advertisement], The Maitland Mercury (1 August 1863), 4:; “NEW SONG”, The Maitland Mercury (17 November 1863), 3:; [Advertisement], The Maitland Mercury (5 December 1863), 1:; [Advertisement], The Maitland Mercury (16 February 1864), 1:; [Advertisement], The Maitland Mercury (29 April 1864), 1:; [Advertisement], The Sydney Morning Herald (29 April 1864), 1:; [Advertisement], The Maitland Mercury (11 June 1864), 1:; “MUSICAL PUBLICATIONS”, The Maitland Mercury (11 June 1864), 2:; [Advertisement], The Maitland Mercury (2 July 1864), 1:; [Advertisment], The Maitland Mercury (16 December 1865), 7:; “THE NERVOUS CURES QUADRILLES”, The Maitland Mercury (4 May 1867), 4:; “DEATHS”, The Brisbane Courier (5 March 1907), 4:




HIME, Charles E.
Piano tuner and maker (from Broadwood and Sons, London, and Hime and Son, Liverpool)
Active Melbourne, by 1852

References: [Advertisement], The Argus (16 September 1852), 5:; [Advertisement], The Sydney Morning Herald (3 June 1858), 8:; “BIRTHS”, The Sydney Morning Herald (18 June 1858), 1:; “CENTRAL POLICE COURT”, The Sydney Morning Herald (6 January 1863), 5:



Pianist, Professor of the Sostenente, Harp, Pianoforte, Singing, and thorough Bass, composer
Born London, 12 March 1803
Arrived Sydney, 11 July 1842 (per Earl of Durham)
Departed Sydney, 9 March 1849 (per Johnstone, for London)

English summary (after Kassler): Hinckesman was daughter of Fleet Street booksellers and stationers Richard and Mary Hinckesman. She came to the notice of The Harmonicon with the publication of her vocal setting Hosanna! to the prince of light in 1823,  and further songs in 1823, 1824, and 1826.  She advertised in The Harmonicon in 1826 as a teacher of the sostenente (a novel piano sounded by a bow-like mechanism) and pianoforte, and of thorough bass according to the system of A. F. C. Kollmann, with whom, and with visiting Polish pianist and composer Maria Szymanowska (1789-1831), she claimed to have studied. She was sued for insolvency in 1837, and later reportedly came “into great distress”, perhaps prompting her decision to migrate to Australia, describing herself as a “general servant” in order to gain free passage as a bounty emigrant. However, as Kassler found, upon landing she advertised as a music teacher and payment of her passage was accordingly refused. She sailed for London again in March 1849. In London in July 1851 she performed William Vincent Wallace’s piano fantasy La Cracovienne there, but the following year an appeal was raised to help her after an accident left her unable to pursue her profession.

(1828): Le 1er mai, concert de miss Hinckesman, où rien ne fut passable.

(1837): Maria Hinckesman (sued as Maria Hincksman), formerly of Bath-place, Peckham-lane, then of Swiss Cottage, Crownbill, Norwood, both in Surrey, Composer and Teacher of Music and Schoolmistress, and late of Swiss Cottage aforesaid, carrying on business in partnership with Mary Ann Wolfe, under the firm of Hinckesman and Wolfe, as Schoolmistresses.  

English &c references: [Reviews], The Harmonicon 2/23 (November 1824), 209: ; [Advertisement], John Cooper’s Bull (14 May 1826), 8; [Advertisement], English Gentleman (4 March 1827), 1; [Advertisement], London Age (1 April 1827), 1; “THE COURT FOR THE RELIEF OF INSOLVENT DEBTORS”, The London Gazette (January 1837), 185:; “VOCAL”, The Harmonicon 5 (1827), 70-71:; “NOUVELLES ÉTRANGÈRES. LONDRES”, Revue musicale 3 (1828), 547:; [Advertisement], The Harmonicon (May 1828), n.p.: [Advertisement], London Age (27 April 1828), 4; “WEEKLY LIST OF NEW PUBLICATIONS”, The Musical World 4/51 (3 March 1837), 176:  

Australian summary: Hinckesmann, as her name is usually given in the Sydney press (her own advertisements included) gave her first concert in October 1842, with the assistance of the Bushelles, Gautrots, Wallaces, Deanes, and “a juvenile Pianist from London, (only eight years of age), pupil of Miss Hinckesmann”. The concert included the only certain record of a composition of hers performed in Sydney, a song in honour of the birth of the Prince of Wales, “dedicated by special permission to the Queen, who was pleased to receive a copy sent to her by Miss H.” She later presented another pupil to the public, Miss Tuohy. Concerning her one locally published song, A Dream of the Mayor’s Fancy Dress Ball, documenation is less certain. The surviving copy was issued in Baker’s Heads of the People in mid 1847, however it may well be identical with the “song entitled THE GRAND FANCY BALL, published by Mr. Baker” in September 1845. A song and a “comic song” on the Fancy Ball were sung at the theatre in September 1845 and June 1847. As a vocalist, she was billed to sing in James Johnson’s performance of Messiah “with Mozart’s accompaniments” in December 1845, though if so in a minor role, perhaps only in the chorus.  

(20 July 1842): MISS HINCKESMANN, SOSTENENTE PIIANIST to their Majesties, Composer and Professor of the Sostenente, Harp, Pianoforte, Singing, and thorough Bass, begs respectfully to inform the Nobility and Gentry of Sydney, that having recovered from her late indisposition, she will be happy to receive pupils, at her residence, Castlereagh street North. July 20.

(8 October 1842): We beg to remind the public, that Miss Hinckesmann’s concert will take place on Wednesday next, when the following lines, written and set to music by that lady, will be sung by Mr. Griffiths. The piece of music was composed on the birth of H. R. Highness the Prince of Wales, and dedicated with permission to H. R. Highness Prince Albert:

Hail! welcome lovely infant! smile,
In thy Royal Mother’s face;
A future King of Britain’s Isle,
Bless’d Scion of a princely race […]

(W. A. Duncan, 13 October): “Hail lovely in infant,“ is a laboured melody, and received justice from Mr. Griffiths in the singing, but the poetry is so detestable in all but its loyalty, that the piece to us was as insufferable as if it had sounded of high treason. We do not remember a single chord of the accompaniment. God help royalty when it must smile upon such trash. Mr. Wallace’s flute solo was happy in everything but its extreme length. We come now to the star of the evening, Miss Hinckesmann herself, and we feel some difficulty in giving an opinion of her performance, because we are convinced she did herself injustice. Trumpeted forth as “Pianist (in ordinary or extraordinary) to the Queen”, we went to listen to her with expectations that nothing short of a ne plus ultra performer could have fulfilled, and Miss Hinckesmann is any thing but a Pythoness of this description. Accordingly we and every body else were disappointed. Not but that there is much, very much, to commend in her style of execution. In fact, her style, particularly in legato passages, may be characterised as decidedly good, and we have no doubt shat she will prove a very eligible instructress, as indeed the debut of her young pupil proved. This very young lady played some variations on Rossini’s “Non più mesta“ exceedingly well, and on being encored, substituted with good taste a waltz of no very thin or juvenile construction. There was a fair attendance, though a much larger audience might have been expected if sufficient publicity had been given to the intended performance.

(6 September 1845): We beg to  acknowledge the receipt of a song entitled THE GRAND FANCY BALL, published by Mr. Baker, of King-street […]

(Royal Victoria Theatre, 6 September 1845): […] The Grand Fancy ball” [sung] by Mrs. Gibbs […]

(Royal Victoria Theatre, June 1847): Comic Song, THE MAYOR'S FANCY BALL! Written expressly for this occasion, by a Gentleman of known literary attainments”).

(January 1849): MISS HINCKESMANN respectfully informs her pupils and the public generally, that she intends (by the advioe of her friends) giving a FAREWELL CONCERT of Vocal and Instrumental Music, at the City Theatre, on Wednesday Evening, 24th January, prior to her leaving this colony to procecd to England in the Waterloo. Miss H will perform (for the first time these five years) a Solo on the pianoforte, and she sin cerely trusts that the musical public of New South Wales will generously support her on this occasion: her sole object , in giving this Concert being io enable her to defray the expenses of her passage to her native country […]

References: [Advertisement], The Sydney Morning Herald (1 August 1842), 3:; [Advertisement], The Sydney Morning Herald (23 August 1842), 3:; “CONCERT”, The Sydney Gazette (8 October 1842), 2:; [Advertisement], The Sydney Morning Herald (8 October 1842), 3:; “CONCERT”, The Sydney Morning Herald (12 October 1842), 2:; “MISS HINKESMANN’S CONCERT”, Australasian Chronicle (13 October 1842), 2:; “CONCERT”, The Sydney Morning Herald (14 October 1842), 2:; “Miss Hinckesmann’s Concert”, The Sydney Gazette (15 October 1842), 2:; [Advertisement], The Sydney Morning Herald (28 November 1842), 3:; “To the Editor”, Australasian Chronicle (14 March 1843), 2: [Advertisement], The Australian (29 May 1845), 1: [Advertisement], Morning Chronicle (31 May 1845), 3: “MUSIC”, The Australian (1 July 1845), 3:; “Domestic”, The Atlas (6 September 1845), 491:; [Advertisement], The Sydney Morning Herald (6 September 1845), 2:; [Advertisement], The Sydney Morning Herald (6 December 1845), 1:; [Advertisement], The Sydney Morning Herald (21 October 1846), 1:; [Advertisement], The Sydney Morning Herald (23 March 1847), 1:; [Advertisement], The Australian (26 June 1847), 2:; [Advertisement], The Sydney Morning Herald (17 January 1849), 1:; [Advertisement], The Sydney Morning Herald (7 February 1849), 3:; “CLEARANCES”, The Sydney Morning Herald (10 March 1849), 4:

Resources: Michael Kassler, “The remarkable story of Maria Hinckesman”, Musicology Australia 29 (2007) 43-67: ; Hinckesman, Maria (NLA; biography by Michael Kassler): ; Michael Kassler, A. F. C. Kollman’s Quarterly Musical Register (1812): with an introduction (Aldershot: Ashgate, 2008), 138-39, 158:; Michael Kassler, “Correspondence”, Musicology Australia 30/1 (2008); John Carmody, “Songs of Praise”, The Sydney Morning Herald (16 June 2012):

Other musical works online:
O bonny was your rosy brier (Sung by Miss George at the New York Theatre, Bowery) The Words by Burns; The Music by M. Hinckesman) (New York: E. Riley, [? 1820s])


HOARE, Edward
Conductor of the psalmody (St. Philip’s Church, Sydney)
Arrived Sydney, ? 1821 (free per Speke)
Active Sydney, 8 September to 7 December 1825

Summary: Edward Hoare’s single musical notice appears in the payment accounts for the government Ecclesiastical Establishment for “conducting the psalmody, on Thursday evenings and Sunday afternoons” at St. Philip’s Church, Sydney, between 8 September and 7 December 1825. In this task, he succeeded John Onions, a convict servant of Edward Hall Smith. An Edward Hoare was appointed a constable in 1826, but dismissed in April 1828 “for highly improper conduct”. From a family history website (created by descendent Malcolm Kenneth Perrins: “Edward Hoare was born in the UK on 10 December 1802, the son of John Hoare (b.1860), originally of Lostwithiel, Cornwall. Edward and his wife, Sarah Marsden, had children baptised at St James (William Edward, 1824), St Philip’s (George Frederick, 1826; Henry, 1829), and again St James (Samuel, 1830; Edward 1832).”

References: “DISBURSEMENTS. ESTABLISHMENT […]”, The Sydney Gazette (Monday 3 October 1825), 1:; “Government Notice”, The Sydney Gazette (3 June 1826), 1:; “COLONIAL SECRETARY’S OFFICE”, The Sydney Gazette (4 June 1827), 1: “SYDNEY. [Constables] Dismissed”, The Sydney Gazette (9 June 1828), 1:



Drum major (102nd Regiment)
Active Sydney, 1810s

References: [Advertisement], The Sydney Gazette (3 May 1834), 1s:



HODGE, Sebastian (“Bass”)
Bandsman (11th Regiment), clarinettist, saxophone player, publican
Born 1833
In Australia with 11th Regiment, January 1846-September 1857
Returned to Sydney, January 1862
Died Sydney, 21 April 1889, aged 56

HODGE, William Bass
Musician, composer
Born 1855
Died Sydney, 1942

Summary: Not to be confused with Sebastian “Bass“ Hodge of Bathurst (a cousin), the musician was the first son of Sergeant William Hodge (b. 1811; d. Gundagai, NSW, 1863) of the 11th Regiment, and himself served in the regiment in Australia, perhaps in the band under its master Charles Stier. Hodge returned to Sydney with his wife and three children (including William Bass), in 1862. “By kind permission of Mr. W. S. Lyster”, in whose orchestra he was probably playing, Hodge appeared at Eliza Wallace-Bushelle’s concert in October 1863, and played an obligato to Anna Bishop in 1868. A prominent freemason and publican, Hodge went by the nickname “Bass” (as so too did his Bathurst cousins). He continued playing in Sydney theatre orchestras, and in 1883 was master of a new incarnation of the City Band. His son William Bass was composer of the patriotic song by She who gives her son (“words by Stephen Raffo, music by W. Bass Hodge”) published in March 1915, active in Sydney into the 1930s. Note his 1933 recollections of old time singers (including the Bushelles).

My thanks to Mark Pinner for bringing Hodge to my attention.

Obituaries (1): MMr S. HODGE - Everybody in Sydney who wanted to know anything about brass bands or military music had only to apply to Mr. Sebastian Hodge, at the Commercial Hodge, at the Commercial Hotel in King-street. He prided himself upon knowing these subjects perfectly; and his pride was well founded. We have now to record his death, which occurred last Sunday evening after the operation had been performed for the removal of a carbuncle on his neck. Mr. Hodge came to Australia many years ago as bandsman in the 11th Regiment; and after his term of service in the army he was appointed drill-sergeant at the Sydney Grammar School. Subsequently, he took over the well-known Commercial Hotel, of which he was the proprietor at the time of his death. Mr. Hodge was the founder of the once popular city band, and as a clarionet and saxophone player had not been excelled in Australia. He was president of the Licensed Victuallers' Association, and a staunch Mason. He was 56 years of age, and left a wife and several children. The remains were buried in the Waverley Cemetery with Masonic honors.

(2) WE notice by our telegrams the death of an old Sydney identity, Mr. Sebastian Hodge, a gentleman who was originally attached to one of Her Majesty’s regiments in the capacity of band master, and who since the Imperial troops left New South Wales had been well known as the proprietor and landlord of the Commercial Hotel in King Street, one of the most respectable hosteleries in Sydney. Mr. Hodge was also a good and enthusiastic musician, a splendid performer on the clarionette, and a specialist on that rarely played instrument, the saxophone, which had a telling effect in an orchestra, supplying the gap between the oboe and the bassoon. He was frequently engaged by the late W. S. Lyster in operatic orchestras, and his loss will be keenly felt in professional and private circles. Mr. John Hodge of the Bank of New South Wales, Charters Towers, is a son of the deceased gentleman under notice.

References: “SHIPPING”, The Sydney Morning Herald (4 January 1862), 4:; “BIRTHS”, Empire (24 September 1863), 1:; [Advertisement], The Sydney Morning Herald (21 October 1863), 1:; [Advertisement], The Sydney Morning Herald (12 December 1868), 1:; “DOUBLE BAY ANNUAL REGATTA”, Australian Town and Country Journal (3 November 1883), 35:; “Deaths”, The Sydney Morning Herald (22 April 1889), 1:; “CABLEGRAMS”, The Northern Miner (24 April 1889), 3: ; “OBITUARY”, Australian Town and Country Journal (27 April 1889), 43:; “RECEIVED”, Nepean Times (6 March 1915), 6:; “NEW MUSIC”, The Sydney Morning Herald (31 July 1915), 8:; [News], The Sydney Morning Herald (4 February 1926), 8:; “PERFORMING RIGHTS”, The Sydney Morning Herald (24 September 1932), 17:; “OLD-TIME SINGERS. TO THE EDITOR”, The Sydney Morning Herald (12 December 1933), 3:; “THE ANZAC MARCH. TO THE EDITOR”, The Sydney Morning Herald (26 April 1934), 3:




HODGHON, Benjamin
Drum major (48th Regiment)
Arrived Sydney, 1817
Died Liverpool, NSW, 12 September 1862

References: [News], The Sydney Gazette (19 February 1827), 2:




HODSON, Georgia (Mrs. William S. Lyster)
Contralto vocalist (Lyster’s company)
Arrived Melbourne, 1 March 1861 (per Achilles, from San Francisco)


References: [News], The Argus (2 March 1861), 5:



HOELZEL, Herman (Hermann HÖLZEL)
Lecturer on music, arranger, composer
Born Obuda (Budapest), Hungary
Arrived Hobart, 22 May 1853 (per Abberton, from London, 11 February)
Departed Sydney, April 1858 (per Victoria, for Southampton)

Summary: A native of Hungary, Hoelzel studied at the Hatam Sofer’s yeshivah in Pressburg, was a member of Jewish communities at Magdeburg (1836-40). In March 1841 he advertised a musical work, Israel’s Glaube (“gedichtet und fü Baritonstimme mit Begleitung des Pianoforte in Musik gesetat von Hermann Hölzel, Oberversänger de israelitichen Gemeinde in Magdeburg”). Later he reportedly served as a reader at Hambro Synagogue in London (1845-52). He arrived in Hobart in 1853 to become presiding rabbi, but in 1855 moved on to Sydney to become minister at York Street Synagogue. An interesting documwent from Hoelzel's later term at Sydney's York Street Synagogue is his signature and comments on a petition by Samuel Elyard to be allowed to “read and explain the Holy Scriptures [...] in all Australian and other Churches“.

References: [Advertisement], Allgemeine musikalische Zeitung 43/11 (March 1841), col. 247: :; “THE SYNAGOGUE”, The Courier (16 May 1853), 3:; “ARRIVALS”, The Courier (23 May 1853), 2: “ARRIVAL of DR. HOELZEL”, Empire (7 July 1856), 2: “SCHOOL OF ARTS LECTURES”, The Sydney Morning Herald (26 August 1857), 5:; [Advertisement], The Sydney Morning Herald (8 September 1857), 8: “TO THE JEWISH COMMUNITY.-Will be published in a few days, a Lithographic Portrait, by James Guy, of the Rev. Dr. H. HOELZEL, Presiding Rabbi of Sydney”; “LECTURE ON THE HISTORY OF MUSIC: TO THE EDITOR OF THE EMPIRE”, Empire (15 September 1857), 6:; “DR. HOELZEL’S LECTURE ON MUSIC [Letter] To the Editor”, The Sydney Morning Herald (24 September 1857), 2:; “DR. HOELZEL’S LECTURE ON MUSIC [Letter] To the Editor”, The Sydney Morning Herald (1 October 1857), 5:; “THE HISTORY AND USE OF MUSIC”, The Sydney Morning Herald (4 February 1858), 2:; [Advertisement], The Sydney Morning Herald (3 August 1858), 1:; [Advertisement], The Sydney Morning Herald (8 April 1858), 7: “PURKIS and LAMBERT have received instructions to sell by auction, at the residence of the Rev. Dr. Hoelzel, Liverpool-street East […] in consequence of that gentleman’s departure for Europe, The whole of the superior household furniture and effects, consisting Dining and drawing room furniture Pictures, engravings, A splendid tone pianoforte, by a first-rate maker, Part of his select and very valuable library […] 200 volumes valuable works”; “SHIPPING INTELLIGENCE”, The Moreton bay Courier (21 April 1858), 2:

Works: Hermann Hoelzel, The lecture on the history and use of music (delivered in the hall of the School of Arts, on the 25th August, 1857 […] to which is annexed […] (2). The music of the celebrated “Hosannah Hymn”, ascribed to King David; (3.) The music of The hymn of the dead, composed in time immemorial; the pianoforte arramgements to both hymns by the author (Sydney: J. R. Clarke, 1987): [also 2nd edition, 1858]

Other documentation: MS Papers of Hoelzel, AHJS:;

Resources: Todd M. Endelman, The Jews of Britain, 1656 to 2000, 119-20:



Vocalist, Teacher of the art of Vocalisation, conductor (Fitzroy Philharmonic Society), merchant
Active Sydney, 1860s
Died Geelong, VIC, 27 December 1874, aged 54 

(1862): Three singing lessons by Mr. Henry Hoffmann have been put into print at the request of several pupils and many friends. Considering the number and excellence of the many elementary works which are accessible to all learners at a very low price, we think the publication of Mr. Hoffmann's brochure is rather superfluous.

References: “CENTRAL POLICE COURT”, The Sydney Morning Herald (4 September 1861), 5:; “INSOLVENCY COURT”, Empire (28 June 1865), 5:; “MR. HORSLEY”S RECITALS”, Empire (11 May 1868), 2:; [Advertisement], The Sydney Morning Herald (8 July 1868), 8:; “MR. HOFFMANN’S CONCERT”, The Sydney Morning Herald (1 January 1869), 5:; [Advertisement], The Sydney Morning Herald (14 August 1869), 1:; “NEW SONG”, The Sydney Morning Herald (15 March 1870), 5;; “MR. HOFFMANN’S LECTURE. To the Editor”, The Sydney Morning Herald (9 June 1870), 3:; “Dramatic and Musical Review”, Australian Town and Country Journal (18 February 1871), 20:; “RECENT PUBLICATIONS”, The Argus (2 September 1872), 6:; [News], The Argus (27 February 1873), 5:; “Dramatic and Musical Review”, Australian Town and Country Journal (15 March 1873), 20:; “DEATHS”, The Argus (30 December 1874), 1:; “DEATHS”, The Sydney Morning Herald (8 January 1875), 1:



Active Ballarat, 1865

References: Ballarat and Ballarat District Directory (1865), 30:



Died Melbourne, 1870

References: ““Funeral Notices”, The Argus (2 July 1870), 8: 



HOLDEN, William
Musician, composer, journalist, music reviewer
Born Chichester, England, 7 April 1808
Arrived South Australia, May 1838 (per Trusty)
Died North Adelaide, 11 October 1897, aged 89

Pianist, teacher of music
Born Adelaide, 17 September 1858
Died Adelaide, 29 March 1892, aged 33

Summary: Holden arrived in Adelaide in 1838 with his friend Jacob Pitman, and June both men were elected to the committee of the newly formed Adelaide Mechanics’ Institution. Both were later involved in establishing the New Church or Swedenborgian Society. In 1848 it was reported that at the society’s “meetings music forms a considerable attraction … After the singing of a piece of sacred music, Mr. William Holden next addressed the meeting”. For the Gawler Institute, on 4 November 1859, Holden was one of the four judges (the others Dutton, Ewing, and Chinner) that awarded the first prize for musical setting of The Song of Australia to Carl Linger. A journalist, and a pioneer of phonography (Pitman shorthand), according to his obituary (1897): “His tastes for music and art were such as to allow the Editor to entrust criticism on these subjects to him with the utmost confidence. In his way he was a composer, but the fact that he shrank from anything like publicity was doubtless the reason why his compositions were not published for the benefit of his fellows generally.” A friend C. Williams also wrote: “To my knowledge more than one of the late Mr. Holden’s musical works have been printed, particularly a fine anthem which appeared in the Musical Herald. My old friend was an excellent violinist also. He was a prominent member of the Adelaide Philharmonic Society, where his thorough knowledge of the art and science of music was often brought into request. At rehearsals of oratorios his opinion as to how certain passages should be interpreted will always remain pleasant reminiscences. But, above all, as a musical critic I never knew his superior, for he was always kindly, never offensive; just, but never scathing; and he knew what he was writing about.” At least one composition was in fact published, as the musical supplement to Joseph Elliott and Walter Sims’s The Adelaide Miscellany (17 June 1869), Holy, Holy, Holy, “an original sanctus by Mr. W. Holden, very nicely printed from music types”. His vocal duet Ode to Music (words by J. H. Clark) was originally composed for the opening of Adelaide Town Hall, but was not performed on the occasion, and was introduced to the public by Anna Bishop and Charles Lascelles in June 1868. Another choral composition O! could I soar from star to star was sung at Watervale in November 1869, and his new sacred song Adoration was performed in Melbourne in February 1878. According to her obituary, his daughter Emma Holden “will be remembered by many as the writer of many able letters to the Register and of favourite stories. For many years she was a teacher of music, having studied the piano under the tuition of Herr Heuzenroeder, singing under Signor Zilliani, and composition and thorough bass under Herr Bertram. At one time she was organist at the New Church in Hanson-street. The deceased was thirty-three years of age.” She wrote the words for her teacher Hans Bertram’s descriptive song The wind in the trees, and posthumously, in 1895 a poem of hers served as words of Bertram’s cantata The New Year.

References: [Advertisement], Southern Australian (30 June 1838), 2:; “THE NEW CHURCH SOCIETY”, South Australian Register (19 July 1848), 3:; “BIRTHS”, South Australian Register (11 October 1858), 6:; [Advertisement], South Australian Register (7 October 1859), 1:; “GAWLER MUSIC PRIZE”, South Australian Register (5 November 1859), 2:; “MADAME ANNA BISHOP’S CONCERT”, South Australian Register (10 June 1868), 2:; “THE ODE TO MUSIC. TO THE EDITOR”, South Australian Register (13 June 1868), 2:; “NEW MUSIC”, South Australian Register (19 June 1869), 2:; “WATERVALE”, South Australian Register (30 November 1869), 2:; “MUSICAL NOMENCLATURE”, South Australian Register (21 February 1878), 3:; “DISSEMINATION OF PHONOGRAPHY”, South Australian Register (10 February 1887), 6:; “REGISTER SOCIAL”, South Australian Register (5 November 1888), 6:; “NORTH ADELAIDE INSTITUTE”, South Australian Register (29 March 1889), 7:; “OBITUARY”, South Australian Register (29 March 1892), 3:; “ORIGINAL MUSIC. THE NEW YEAR—A CANTATA”, South Australian Register (20 February 1895), 3:; “DEATH OF MR. WILLIAM HOLDEN. THE FATHER OF AUSTRALIAN JOURNALISTS. AGED 89½ YEARS”, South Australian Register (12 October 1897), 5:; “THE LATE MR. WILLIAM HOLDEN. A FUNERAL SERMON”, South Australian Register (18 October 1897), 3:



HOLDROYD, Hetty (“Esta D’ARGO”)
Soprano vocalist
Born England, 1880
Active by 1895
Died London, 1939

1928 (Gerald Marr Thomson): Mme. D’Argo [Mrs. J. H. Tillet, of Ibbs and Tillet], who now prepares professional singers for their career, was originally popular in Sydney as Hetty Holroyd. About the same time also flourished Florence Schmidt (soprano), who settled in London, and married the late Derwent Wood, R.A., the eminent English sculptor. While in her teens Hetty Holroyd (a pupil of Signor Steffani) won popularity as the soloist in the revelry scene of “The Sign of the Cross.” This young soprano sang to me at the Pleyel Piano Rooms, George-street, to oblige my old friend Henri Kowalski, with whom she was studying piano. I pronounced the timbre to be singularly charming, and predicted that if it developed with years and good training she would become a celebrity. She sang “Una Voce,” and was then 10 years of age.

References: [Advertisement], Launceston Examiner (11 January 1895), 2:; “WOMAN’S COLUMN”, Freeman’s Journal (28 December 1895), 10:; “Kowalski’s Concert”, Australian Town and Country Journal (8 February 1896), 34:; [News], Queensland Figaro (17 January 1907), 13:; “MUSIC AND THE DRAMA”, The Sydney Morning Herald (21 May 1910), 4:; “THE LONDON SEASON”, The Sydney Morning Herald (7 July 1928), 11:

Related works: Twilight of Love (song by Kowalski, dedicated to her)



Mouth organ (Pan-pipes) player, actor
Active Sydney, 1838

Summary: This perhaps unlikely identification somewhat wishfully assumes that the actor Mr. Hollis entered fully into his role as “Pan (a Professor of Music, and a Paganini on the Mouth Organ)” in Cupid, a Mythological, Musical Burlesque by Joseph Graves at Sydney theatre in September 1838.

References: [Advertisement], The Sydney Gazette (15 September 1838), 3:



Professor of Music and Singing (pupil of Sterndale Bennett)
Active Sydney, 1853-55

References: [Advertisement], The Sydney Morning Herald (11 October 1853), 5:; [Advertisement], The Sydney Morning Herald (23 December 1854), 2:; [Advertisement], Empire (8 January 1855), 1:



HOLT, Marie (BROWN; Mrs. Clarence HOLT)
Actor, dancer
Arrived Melbourne, 23 September 1854 (per Oliver Lang, from Liverpool, 29 June)

Melbourne September 1854: The theatrical world will learn with pleasure, that Mr. and Mrs. Clarence Holt, from the Royal Olympic Theatre, London, have come out in the Oliver Lang, for the purpose of following their profession in these colonies. The whole of the passengers, reaching nearly 500 souls, have enjoyed remarkably good health, and not a single death occurred during the passage.

Ballarat April 1856: Arriving as Mr. and Mrs. Holt did, at a time when nothing on Ballarat could create a feeling of interest, except it were something exciting as a second Eureka Stockade, it is truly wonderful, and a subject of general remark, how steadily and rapidly the public interest and favor have been growing with regard to these celebrities since their appearance on Ballarat, and whilst other places of amusement have been comparatively deserted, the Montezuma has gradually been increasing its receipts, until it now stands unrivalled as a place where amusement and recreation, combined with the most refined instruction in the true arts of life are to be enjoyed and taught.

Melbourne June 1856: The farce of “Lola Montez”, originally produced at the Haymarket Theatre, was performed after the play, Mrs. Holt burlesquing the terpsichorean and elocutionary peculiarities of Lola with immense success. The Spider Dance was an admirable parody of the original, and the speech that followed elicited shouts of laughter. Mrs. Holt is an excellent farce actress, and also a dancer of no ordinary calibre.

References: “SHIPPING INTELLIGENCE”, The Argus (25 September 1854), 4:; “GEELONG”, The Argus (11 October 1854), 4:; “MRS. HOLT’S BENEFIT”, Geelong Advertiser (31 March 1856), 2:; “COLEMAN’S LYCEUM”, The Argus (27 June 1856), 5:; “MELBOURNE”, Bendigo Advertiser (28 April 1863), 2:; [News], South Australian Register (22 January 1900), 5:; “OBITUARY”, The Daily News (6 October 1903), 5:  

Resources: Dennis Shoesmith, Holt, Joseph Thomas (Bland) (1851-1942), Australian Dictionary of Biography 4 (1972)



HOOD, Robin Vaughan (R. V. Hood)
Music publisher, lithographer
Born ? UK, 1802
Arrived 27 June 1833 (per Warrior)
Died Hobart, 1888
HOOD, Major Lloyd (M. L. Hood)
Music lithographer, artist
Born Hobart, 1 July 1834
Died Hobart, 16 January 1913

Summary: A colonist of many years standing, the lithographer and printer Robin Vaughan Hood (pictured) was directly associated with at least 4 (possibly 6 or more) music prints. He published and probably lithographed Francis Hartwell Henslowe’s The Song of the Fair Emigrant (1854), The Louis Napoleon Polka (1854), and The Charlie Parker Polka; and since the cover of the latter also mentions that it is the “Midland Grand Steeple Chase Waltzes. No. 3”, Hood may also have been responsible for the unidentified Nos 1 & 2. Reviewing the Louis Napoleon Polka, the Mercury observed: “Hood has lithographed a cover in a creditable style, but his execution of the polka itself is not so distinct as might be wished”. R. V. Hood is also named as the lithographer of John Charles Tapp’s Tasmanian Sacred Melodies (1855). His second son, M. L. Hood was co-proprietor, with John Henry Manly, of Tasmanian Punch (published from 21 July to 29 December 1866). A Mercury review identifies him as music lithographer of W. C. Robinson’s Anthem: Hundredth Psalm, published by J. Walch and Sons in March 1864. His other work for Walch includes Frederick Buck’s The Young Recruit March (undated), and he is positively identified on the cover as the lithographer of Adeline (“Composed by A. Y. Z. [i.e. “A Wise Head”]; written for the music by J. R. Betts”), published by Walch in 1867.

References: “MR. F. H. HENSLOWE”, Colonial Times (8 December 1854), 2:; “THE LOUIS NAPOLEON POLKA”, The Hobarton Mercury (27 December 1854), 2:; “SACRED MELODIES”, The Hobarton Mercury (3 September 1855), 2:; [Advertisement], The Hobarton Mercury (3 September 1855), 2:; “Tasmanian Contributions to Paris, 1855, No XIV”, The Courier (27 September 1855), 2:; “TASMANIAN CONTRIBUTIONS TO THE PARIS EXHIBITION”, The Courier (25 November 1854), 3:; [Advertisement], The Mercury (11 March 1864), 1:; “SACRED MUSIC”, The Mercury (11 March 1864), 2:; “MARRIED”, The Mercury (25 June 1866), 2:; [Advertisement], The Mercury (21 March 1867), 1:; [Advertisement], The Mercury (29 March 1867), 1:; [Advertisement], The Mercury (17 June 1870), 1:; “PERSONAL”, The Mercury (17 January 1913), 4:

Web: DAAO, Robin Vaughan Hood (1802-1888):; Hood, Major Lloyd (1834-1913):




HOOKE, Edwin
Active Hobart, by 1859

References: ““OPENING OF THE CATHOLIC CHURCH OF ST. JOHN THE BAPTIST, O’BRIEN’S BRIDGE”, The Hobart Town Daily Mercury (9 March 1859), 2:; “ORGANIST’S UNIQUE RECORD”, The Mercury (1 September 1923), 15:



Active Victoria, c.1850

Summary: Frank Hooper composed the music to W. J. D. Arnold’s words of the Victorian Separation song, Hark to the strains that triumphant are swelling (Melbourne: Edward Arnold, [c.1850]). He is perhaps Francis L. Hooper, a surgeon and medical officer who had arrived in Australia as a ship’s surgeon by 1849, and died in Mornington, VIC, on 30 November 1896, aged 74.

References: “POLICE COURT”, South Australian Register (18 August 1849), 3:; “GOVERNMENT GAZETTE”, The Argus (14 September 1859), 5:; “MORNINGTON”, Mornington Standard (3 December 1896), 3:



Dancing master
Active Hobart, 1843-52

Summary: Gattey Hopkins, “late of the Firm of Hopkins and Sons, of London”, first advertised as a dancing master in Hobart in June 1843. At his quarterly ball in April 1844, his band consisted of Duly, Gautrot, Curtis and Singer, and in August, “a hornpipe by a young gentleman amateur, a pupil of Mr. Gattey Hopkins, was very much admired ... Master Barfoot”. Hopkins was described “as late of this city”, when his daughter Ann Sophia, married the bandsman and composer, Arthur S. Hill, of the 99th Regiment, at St. Joseph’s Church, Hobart, in April 1854. A John Gattey Hopkins, professor of dancing, of  Cheapside, London, had been insolvent in December 1830.

References: “INSOLVENT DEBTORS”, The London Gazette 18755 (10 December 1830), 2596:; [Advertisement], Colonial Times (27 June 1843), 1:; [Advertisement], Colonial Times (9 January 1844), 2:; “MR. GATTEY HOPKINS’S BALL”, Colonial Times (30 April 1844), 3:; “THE THEATRE”, Colonial Times (19 August 1845), 3:; [Advertisement], The Courier (4 January 1845), 1:; [Advertisement], The Courier (23 October 1850), 4:; [Advertisement], Colonial Times (12 November 1852), 4:; “MARRIED”, The Courier (18 April 1854), 2:



HORE, Joseph
HORE, Joseph Percival
HORE, James
Sax-horn players (of Hore’s Sax Horn Band)
Arrived Melbourne, by August 1849
Joseph Percival died Fitzroy, VIC, 10 November 1859, aged 32
Joseph died 21 July 1865, aged 64
James died Abbotsford, August 1893, aged 57

Summary: “TUESDAY EVENING NEXT, the 28th inst., In the large room of the Prince of Wales Hotel. THE Songs will be accompanied by Mr. Buddee […] To give additional variety to the entertainment, the Messrs Hore will perform a quartette on the saxe horn, and Master Hore (12 years of age) will perform a solo on the same instrument.”

References: [Advertisement], The Argus (23 August 1849), 3:; [Advertisement], The Argus (6 September 1849), 3:; “THE CONCERT”, The Argus (11 September 1849), 2:; [Advertisement], The Argus (28 February 1850), 3:; [Advertisement], The Argus (4 October 1850), 1:; [Advertisement], The Argus (17 October 1850), 3:; “SEPARATION REJOICINGS. THE GARDENS”, The Argus (19 November 1850), 1s:; [Advertisement], The Argus (8 January 1851), 3:; [Advertisement], The Argus (3 April 1852), 6:; “MARRIED”, The Argus (15 August 1853), 4: ; [Advertisement], The Argus (13 February 1854), 8:; “AN OUTRAGEOUS ‘STICKING-UP’ CASE”, The Argus (10 May 1854), 5:; [Advertisement], The Argus (29 November 1854), 8:; “DIED”, The Argus (12 November 1859), 4:; “DEATHS”, The Argus (26 July 1865), 4:; “Death”, The Argus (19 August 1893), 12:



HORN, Annette Elise (Mrs. Charles LOWE)
Harp player (“daughter of the late celebrated harpist” [Henry Horn]), pianist
Active Adelaide, by 1854
Died Payneham, SA, by 1893

June 1859: We wish we could speak in warmer terms of the performance on the harp. The instrument was not precisely in tune, and one if not two of its strings snapped in the playing; and again the piece selected was not so popular as might have been chosen, so that Miss Horn laboured under disadvantages which even Bochsa himself might not have succeeded in surmounting. To our mind the harp is always heard to best advantage in combination with the piano, and an air such as the “British Grenadiers” arranged as a duet for the two instruments would, we make no doubt, have been as popular as any part of the evening’s entertainment.

References: “CONCERT”, South Australian Register (4 August 1854), 3:; [Advertisement], South Australian Register (23 April 1858), 1:; “SOUTH AUSTRALIAN INSTITUTE”, South Australian Register (28 April 1858), 3:; “SIGNOR CUTLOLO’S CONCERT”, South Australian Register (16 June 1859), 3:; “SIGNOR CUTOLO’S CONCERT”, The South Australian Advertiser (16 June 1859), 2:; “SIGNOR CUTLOLO’S CONCERT”, South Australian Weekly Chronicle (18 June 1859), 7:; [Advertisement], South Australian Register (26 May 1862), 1:; “MARRIED”, South Australian Register (19 May 1863), 2:; “PORT ELLIOT”, South Australian Register (29 April 1864), 3:; “GOOLWA”, South Australian Register (4 May 1864), 3:; [Advertisement], South Australian Register (12 September 1893), 2:



HORN, Charles H. (Dr.)

Professor of Music, composer
Active Sydney-Newcastle-Maitland, from 1857
Died Redfern, 19 April 1887, in his 63rd year

Summary: Described in his death notice as “of Hamburg, Germany“, and his death certificate as son of Frederick H. and Elizabeth Horn, this perhaps precluding a near relationship with the German-English Horns, Charles Frederick Horn (1762-1830), born in Nordhausen, and his English-born son Charles Edward Horn (1786-1849). He may be the Dr. Horn who was a teacher of modern languagues at the King's School, Parramatta, in 1857, though perhaps more like the Dr. H. Horn below (or, perthaps, they were the same person). A glee Tell me not by “Dr. Horn“ sung in a concert at Maitland in 1858, when our Charles was already living there, was probably (though perhaps we should not conclude certainly) the song Tell me not in sorrow by Charles Edward Horn (not a Dr.), whose popular compositions were anyway regularly sung in Australia, and some also published (the ballads Long time ago and My dark hair'd girl and the duet I know a bank whereon the wild thyme grows, both issued by Francis Ellard in Sydney). None of the Australian Dr. Horn's musical works were published or are otherwise known to survive, though he introduced two at his own concerts: in December 1860 There is a happy land (“hymn […] composed by Dr. Horn for three voices”), and in March 1865 Magnificat (“composed by Dr. Chas. Horn, conductor of the choir, and produced on this occasion for the first time”). Horn was billed as “Leader of the orchestra” for a performance of messiah by Sydney Choral Society in December 1871.

References: [Advertisement], The Sydney Morning Herald (17 July 1857), 12:; [Advertisement]: “BENEFIT CONCERT”, The Maitland Mercury (18 November 1858), 3:; “MAITLAND HIGH SCHOOL“, The Maitland Mercury (21 December 1858), 2:; [Advertisement], The Maitland Mercury (29 December 1859), 1: ; “THE NEWCASTLE SINGING ACADEMY CONCERT”, The Maitland Mercury (25 December 1860), 2:; [Advertisement], The Maitland Mercury (2 September 1862), 1:; “THE LATE REV. DEAN GRANT. REQUIEM MASS“, The Sydney Morning Herald (3 May 1864), 4:; “SACRED AND SECULAR CONCERT”, The Maitland Mercury (21 March 1865), 3:; [Advertisement], The Sydney Morning Herald (21 December 1871), 8:; [Advertisement], The Sydney Morning Herald (27 December 1873), 8: ;“DEATHS“, The Sydney Morning Herald (21 April 1887), 1:; “SYDNEY“, The Maitland Mercury (21 April 1887), 5:

Web: “Dr. Charles H. Horn“ (DAAO):



HORN, Dr. H.
Professor of Modern and Ancient Languages and Music, singing class instructor, organist
Active Sydney, 1856-58

References: [Advertisement], The Sydney Morning Herald (27 February 1856), 8:; [Advertisement], The Sydney Morning Herald (4 July 1857), 1:; [Advertisement], The Sydney Morning Herald (10 October 1857), 2:; [Advertisement], The Sydney Morning Herald (31 July 1857), 1:; [Advertisement], The Sydney Morning Herald (31 March 1858), 6:; [Advertisement], The Sydney Morning Herald (6 May 1858), 1:



HORNCASTLE, Frederick William
Professor of Music, vocalist, lecturer, composer
Born Ireland, ? 1790
Arrived Adelaide, 23 January 1847 (per David Malcolm)
Died Botany Bay, NSW, 21 January 1850

Summary: In the 1830s and 1840s a composer of popular songs and piano pieces widely published both in England and the United States, Horncastle had been “Principal Tenor of Her Majesty’s Chapel Royal” before arriving at Adelaide in January 1847. As well as presenting the first of his popular entertainments, he advertised copies of his Music of Ireland for sale, and as a teacher and piano tuner. George Coppin engaged “Professor Horncastle” for his New Queen’s Theatre. He arrived in Sydney in early July, and soon began his series of Lectures on Music and entertainments at the School of Arts, at the seventh of which, in mid-September, he was assisted by local singer James Waller, to remain a close associate. Toward the end of that month he also appeared for J. P. Deane’s concert. In April 1848 he advertised “to his personal friends that, in consequence of repeated accidents, losses, and vexations, he has become a confirmed invalid—he therefore cannot continue his usual entertainments, but will attempt one he calls justly INVALID MUSIC”. Nevertheless, having, by May, “materially renovated his health by a residence in the country“, he was able to continue his activities for a while; he toured to Goulburn, and in July to Maitland with Abraham and Elizabeth Emanuel as co-artists. Trove user Archivist1788 discovered: “Horncastle's health led to his admission to Gladesville Hospital on 14 August 1848 (SRNSW: [4/7654 fol.269-270]). Thereafter, Horncastle went into retirement as a permanent resident at James Waller’s Sir Joseph Banks Hotel at Botany Bay, until the announcement in the Herald of his “sudden death … from natural causes” there in January 1850.

Sydney, November 1847: MR. HORNCASTLE wishes to dispose of some Manuscripts, and printed Music Manuscripts, chiefly of his own composition ; also literary articles written to suit popular taste. The music combines Purcell, Handel, Arne, Loder, Rossini, Callcot, &c, Glees, Catches, Duetts, and Scenas. Royal Hotel, Friday, October 17.

References: “SHIPPING INTELLIGENCE”, South Australian Register (27 January 1847), 3:; [Advertisement], South Australian Register (27 January 1847), 1:; “LOCAL INTELLIGENCE”, South Australian Register (27 January 1847), 3:; “LOCAL INTELLIGENCE”, South Australian Register (30 January 1847), 2:; [Advertisement]: “MUSIC OF IRELAND”, South Australian Register (3 February 1847), 1:; [Advertisement]: “NEW QUEEN’S THEATRE”, South Australian Register (3 February 1847), 1:; “LOCAL INTELLIGENCE”, South Australian Register (3 February 1847), 3:; “LOCAL INTELLIGENCE”, South Australian Register (10 February 1847), 2:; “PROGRAMME. Mr Horncastle’s Dress Concert”, South Australian Register (13 March 1847), 1:; [Advertisement], South Australian Register (7 April 1847), 7:; “HORNCASTLE  v. COPPIN”, South Australian Register (24 April 1847), 3:; “SHIPPING INTELLIGENCE”, The Sydney Morning Herald (3 July 1847), 2:; [Advertisement], The Sydney Morning Herald (12 July 1847), 1:; “LECTURE ON MUSIC. [Letter] To the Editors”, Bell’s Life in Sydney (17 July 1847), 3:; “MR. HORNCASTLE’S LECTURE ON MUSIC. [Letter] To the Editors”, Bell’s Life in Sydney (24 July 1847), 3:; “SCHOOL OF ARTS LECTURE”, The Australian (24 July 1847), 3:; [Advertisement], The Sydney Morning Herald (15 September 1847), 1:; “MR. DEANE’S CONCERT”, Sydney Chronicle (30 September 1847), 3:; [Advertisement], The Sydney Morning Herald (1 November 1847), 1:; [Advertisement], The Sydney Morning Herald (13 April 1848), 1:; [Advertisement], The Sydney Morning Herald (4 May 1848), 1:; “MR. HORNCASTLE’S ENTERTAINMENTS”, The Maitland Mercury (29 July 1848), 2:; “SUDDEN DEATH”, The Sydney Morning Herald (23 January 1850), 2:; “DEATHS”, The Sydney Morning Herald (23 January 1850), 3:

Writings: “PLAGIARISM“, Quarterly Musical Magazine and Review 4 (1822), 156:; “To the Editor [SCHOOL OF COMPOSITION], Quarterly Musical Magazine and Review (1827), 304:;
The Music of Ireland, as performed in Mr. Horncastle's Irish Entertainments in which are introduced the Bardic & Connaught Caoines, Songs, Fairy Chant & Songs, Rural Ballads, Songs of Occupation, Marches, Jigs &c. Harmonized & arranged with an Accompaniment for the Harp or Piano Forte, by F. W. Horncastle, etc.
; review: “THE MUSIC OF IRELAND AS PERFORMED IN MR. HORNCASTLE’S IRISH ENTERTAINMENTS”, The Athenaeum 906 (8 March 1845), 251; “THINGS IN NAME AND REALITY BY F. W. HORNCASTLE”, Bell’s Life in Sydney (9 October 1847), 3:

Musical works:
Notturnino A Thought at Twilight for the piano-forte, in The Harmonicon (1832), part 2, 145:
Marcia Funebre, in the Harmonist: a collection of classical and popular music, vol 2. (London: Limbird, 1841), 353:
Buddelow: An American Song, in Godey’s Magazine and Lady’s Book 32 (March 1846), 187:
The Infant’s Prayer, in Godey’s Magazine 33 (1846), 89:
The Maypole:
Spring the sweet spring:
Men of Old (ballad):
By the side of the fairy lake (barcarolle):

Bibliography: Thomas Mooney, A history of Ireland, from its first settlement to the present time, 236:

Web: Born London, 1790?, died 1850. Horncastle was a chorister of the Chapel Royal, London, and then organist of Stamford Hill Chapel and Berkeley Chapel, London. III He was appointed organist of Armagh in 1816. Evidence suggests that he became a little careless in his attitude to his duties, absenting himself frequently to make excursions to Warrenpoint and Rostrevor. These absences together with Horncastle's unwillingness to take part in weekly choral concerts in the Music Hall led to a dispute with Richard Allott. Further problems of the same nature led to a visitation held by the Archbishop in November 1822, purely to conduct a disciplinary hearing. Subsequently certificates of expulsion bearing the Primate's seal were fixed to Horncastle's residence and the Chapter Room door at the cathedral: “Therefore We, John George, Archbishop aforesaid and Visitor of said College of Vicars and Organist, on account of the turbulence, contention, insolence and contumacy of said Frederick William Homcastle do pronounce and decree that the said Frederick William Homcastle be removed from his said office of Organist and Master of the Choiristers [sic] and that the licence or Patent heretofore granted to him be revoked, cancelled and declared null and void, the peace and good order of said College of Vicars in said Cathedral so requiring.” His expulsion from his post is unique at Armagh. The correspondence, charges, dismissal etc. are preserved in a collection of letters in the Public Record Office of Northern Ireland. Horncastle returned to London and became a gentleman of the Chapel Royal in 1826. He was composer of a mass, glees, songs, pianoforte pieces, etc. In 1828 Horncastle collaborated with T. Cooke, Stansbury, Parry, Clifton and Taylor in a work entitled “The Passions“ for the Melodists' Club.



HORNE, Richard Hengist (Henry)
Vocalist, guitarist, pianist, librettist, author, poet
Born Edmonton, England, 31 December 1802
Arrived Melbourne, September 1852
Departed Melbourne, June 1869 (for England)
Died Margate, England, 13 March 1884

Summary: Horne wrote librettos for four historically significant Australian musical works, The South Sea Sisters, a Lyric Masque, set to music by Charles Horsley for the opening of the Melbourne Intercolonial Exhibition in 1866; the cantata Galatea Secunda, with music by Joseph Summers, celebrating the arrival of prince Alfred in 1867, followed the next year with a Threnody on the assassination attempt on the prince, also set to music by Summers; and, for composer Carl Schmitt, a three-act opera Cazille, excerpts only from which were first performed in concert in Sydney in 1872. Horne also appeared in public as a singer and guitarist and occasional pianist. Not for the first time (see July 1855 below), at a benefit for the actress Mrs. Brougham at Melbourne’s Theatre Royal in November 1855, it was advertised that “R. H. Horne, Esq., will Sing a Spanish Romanza and Serenade”, evidently a personal favourite (as much later attested by Gosse), for yet again in Melbourne in March 1869, only shortly before he left Australia finally to return to England, the Argus reported: “Mr. R. H. Horne sang a Spanish serenade with much feeling and expression, accompanying himself on the guitar very skilfully but the song did not seem to be appreciated by all present.” A musical “drawing-room” entertainment (also advertised as a “literary and musical lecture on national songs”) he gave at the School of Arts in Sydney in December 1862 was reviewed in the Herald:

In a brief introductory address Mr Horne stated, in explanation of his falling into the autobiographical vein, that he had travelled through many foreign countries, and had always taken an interest in learning their characteristic songs. He would have liked to have given some of the patriotic songs of those countries, but as they would produce very little effect without an orchestra, be must give up the thought of singing them. Mr. Horne proceeded to give a selection of the characteristic songs of different nations, accompanying himself upon the pianoforte or upon the guitar. The first of these was a German song entitled “Alexi”, describing a lady sending a love message by a bird, which was followed by a German Student’s duelling song. The next performance, which was a cazonetta, the words and music by Salvator Rosa, the celebrated painter, was stated by Mr. Horne to have been selected for the purpose of trying the acoustic properties of the hall. The piece, which affords good scope for vocal display, was sung with much power and animation [… ] As a further test of the acoustic properties of the hall, Mr. Horne gave a solo on the guitar, “The Last Rose of Summer” […] Other pieces in the first part of the entertainment were a Spanish fantasia “Vamos a las montanas”, the Welsh song “Of a noble race was Shenkin”, and a Tyrolese song. After a short interval Mr. Horne gave, with the guitar accompaniment, the Quirka Marjorr, a Mexican song dance, and described the dance as he had seen it at the Government balls at Vera Cruz, the effect being extremely brilliant and romantic. […].

 In The Southern Cross in December 1859, he also published a “Chinese Song”.

(July 1855): Mr. R. Horne subsequently made his appearance in a Spanish costume, and sang a very pretty romance in that language. Although deficient in vocal power, the singer imparted such an exquisite delicacy of finish to his execution of the graceful melody he sang, that the audience complimentcd him by demanding an encore, and the morceau which Mr. Horne substituted was similarly treated. In addition to manifesting considerable ability as a singer, Mr. Horne proved himself, by his guitar accompaniment, a good musician.

(Gosse): He had been baptized Richard Henry Home, but in late middle life he had changed the second of these names to Hengist. It was in 1874 that I set eyes on him first, in circumstances which were somewhat remarkable. The occasion was the marriage of the poet, Arthur O'Shaughnessy, to the eldest daughter of Westland Marston, the playwright. There was a large and distinguished company present, and most of the prominent “ Pre-Raphaelites,“ as they were still occasionally called. In the midst of the subsequent festivities and when the bride was surrounded by her friends, a tiny old gentleman cleared a space around him, and, all uninvited, began to sit upon the floor and sing, in a funny little cracked voice, Spanish songs to his own accompaniment on the guitar. He was very unusual in appearance. Although he was quite bald at the top of his head, his milk-white hair was luxuriant at the sides, and hung in clusters of ringlets. His moustache was so long that it became whisker, and in that condition drooped, also in creamy ringlets, below his chin. The elder guests were inclined to be impatient, the younger to ridicule this rather tactless interruption. Just as it seemed possible something awkward would happen, Robert Browning stepped up and said, in his loud, cheerful voice: “That was charming. Horne! It quite took us to ‘the warm South’ again”, and cleverly leading the old gentleman's thoughts to a different topic, he put an end to the incident […] This scene was very characteristic of Horne, who was gay, tactless, and vain to a remarkable degree. […] When he came back from Australia, I think about 1869, he was in very low water. He had managed very deeply to offend Charles Dickens, who had taken up the cause of Horne's neglected wife […] A little later Robert Browning, who had always felt a sincere regard for Horne, was able to be of practical service to him. […] In these days one used to meet him at afternoon parties, carrying with great care, under his arm, the precious guitar, which he called “my daughter”, and was used ceremoniously to introduce as “Miss Horne”. A little later in the evening Home would be discovered on a low stool, warbling Mexican romances, or murmuring with exaggerated gallantry to the prettiest girl in the room. All this time he was thirsting for publicity — if he could only be engaged to sing in public, to box in public, to swim in public, how happy he would be!

References: “LATE ENGLISH NEWS”, Colonial Times (17 September 1852), 2:; “NEW MAGISTRATES”, The Argus (1 September 1853), 5:; “QUEEN’S THEATRE. GARRISON THEATRICALS”, The Argus (4 July 1855), 5:; “AMATEUR PERFORMANCE”, The Argus (28 July 1855), 5:; [Advertisement], The Argus (28 November 1855), 8:; [Advertisement], The Sydney Morning Herald (17 December 1859), 12:; [Advertisement], The Sydney Morning Herald (8 December 1862), 1:; “MR. HORNE’S MUSICAL ENTERTAINMENT”, The Sydney Morning Herald (10 December 1862), 5:; [News], The Argus (8 March 1869), 4:; “NEW OPERA”, Australian Town and Country Journal (24 June 1871), 8:; “Musical and Dramatic Review”, Australian Town and Country Journal (13 April 1872), 20:; “THE LATE R. H. HORNE”, The Argus (17 March 1884), 6:; “BOOK OF THE WEEK”, The Advertiser (8 September 1928), 28:

Bibliography: Edmund Gosse, “ORION HORNE”, Portraits and Sketches (London: Heinemann, 1913), 97ff:; Ann Blainey, The farthing poet: a biography of Richard Hengist Horne 1802-84: a lesser literary lion (London: Longmans, 1968):;

Resources: Ann Blainey, Horne, Richard Henry (1802-1884), ADB 4 (1972); Clau Djubal



HORSLEY, Charles Edward
Pianist, conductor, organist, composer
Born London, 16 December 1822 (son of William Horsley)
Arrived Melbourne, 10 December 1861 (per British Trident)
Arrived Sydney, June 1867 (per Wonga Wonga)
Arrived Melbourne, 1870
Departed Melbourne, ? August 1871 (per Great Britain, for England)
Died New York, USA, 28 February 1876  


(1897): Horsley, Charles Edward, composer and organist, son of William Horsley, was born in London, December 16, 1822. He studied under his father, Moscheles, and at Leipzig under Hauptmann and Mendelssohn. Organist of St John’s, Notting Hill, London. He went to Australia in 1868 [sic], and afterwards  settled in the United States. He died at New York, May 2, 1876. WORKS. Oratorios: David, Joseph, Gideon: Glasgow, 1860; Comus, cantata for solo and chorus (Milton), 1874, Impromptu for pf., op.12 , Trio, No. 2, for pf ., viola and cello, op. 13; Sonata for pf . and cello (1844);  Quartet for pf. and strings, 1845; six Lieder for voice and pf., op. 21, Anthems, Pf.pieces, various, Songs, part-songs, etc. Text-book of Harmony for schools and students.”

(February 1862): On Saturday afternoon, the first of a series of four instrumental concerts, arranged by Mr. Horsley, a gentleman lately arrived in Melbourne, took place at the Mechanics’ Institute, Collins street. The first piece selected was one of three quartets composed by Mozart, in G minor, in which the piano is one of the instruments. It was performed by Messrs. Horsley (piano), King (violin), Thomas (viola), and Reed (violoncello). The music is of a character rather classical than generally pleasing, though in the rondo movement the ear is delighted with the beauty of the modulations introduced. The piece, on the whole, was well played, but would have been better for more distinctness and less sound in the piano passages. The violin part had scarcely justice done to it. The piano generally was too loudly played, and Mr. Horsley does not seem entirely free from the very general error to which pianists are lialble of forgetting the greater power and compass  of their instruments as compared with the others, and by which these last are placed at a disadvantage. The difficulty and art of stringed instrument playing is to bring out the tone satisfactorily, whereas the greater amount of tone, or noise, with the piano, is often exhibited by the most inexperienced performers. While making these comments, however, we must not omit to state that many passages in this and the other pieces were played by Mr. Horsley with much delicacy and neatness. The next pieces were selections from Mendelssohn’s beautiful “Songs without Words,“ played on the piano by Mr. Horsley […] The third pieee was a quartet for two violins, viola, and tenor, a selection in which, next to the quintet, the most perfect balance of sound is preserved. It was one of Haydn’s in G major, known as including the best of his minuets and trios. The quartet was performed by Mr. King, first tiolin; Herr Strebinger, second violin; Mr. Thomas, viola; and Mr. Reed, violoncello, and would have gone off much better, to our thinking, had the second violin changed places with the first. It is difficult to precieve why so accomplished a violinist as Herr Strebinger should play “second fiddle” to any artist at present in Melbourne, and although such arrangements may sometimes be done simply that each performer may have a turn, yet the public have a right to expect the best man will be placed foremost, as they do not meet to hear how this or that gentleman can do this or that, but how the composer’s music may be best rendered. The next piece is known as the “Moonlight Sonata” of Beethoven. Mr. Horsley’s rendering of this difficult piece was very fair, but themost brilliant and finished touch is required to bring the creation of the composer’s genius to the mind’s eye. The concert concluded with Mendelssohn’s trio in D minor, by Messrs. Horsley, Strebinger, and Chapman […]

Charles Wehle, August 1870: Having no local interest to guard, and no part to take—Mr.  Horsley having no rival—I may say, without fear of having my opinion misinterpreted, that he is, without any doubt, the greatest musician in this part of the globe; and the colony of Victoria may and should congratulate itself on the possession of an artist of such value. 

(Reminiscences, 1872): In the summer of 1832 I saw Mendelssohn for the first time. I was then a mere child barely ten years old, but I well recollect the occasion. My father's house was the rendez-vous of all great artists both English and foreign, and invitations were immediately given to all who either brought letters or were introduced to my father by his numerous professional friends. My father himself, the most distinguished Glee writer and soundest musician that England has yet produced, was the most genial host, and it is to his constant desire to collect around him all that was good and great in his own profession, as well as the cream of the painters and literary men of the time, that his children owed the privilege of seeing all those whose genius and talent so largely contributed to the art progress of England since the commencement of the century. Thus among the musicians constantly at the house, were Moscheles, Hummel, Paganini, Mendelssohn, Spohr, Thalberg, Benedict, Sir George Smart, Mr. Neat, Mrs. Anderson, and many others; amongst the painters, Sir Augustus Calcott (my mother's uncle), Sir Thomas Lawrence, F. R. A., Collins, Wilkie, Etty, Redgrave, Mulready, Webster, Stone, Dyce, Sir W. Boxall, Uwins, &c. Our most intimate friends in literature were Dr. Rosen, the celebrated Oriental scholar, Carl Klingemann, the Secretary to the Hanoverian Embassy, Mr. H. F. Chorley, Hogarth, &c., &c.; and of the engineering celebrities, we constantly saw the Brunels, father and son, the latter having married my sister in 1836. Thus I may truly say that I and my family were constantly surrounded by an atmosphere of art, literature and science; and to this fact is of course traceable the great love of Music and Painting which seems almost hereditary amongst us.

(Obituary): By the mail steamer Bangalore news has  been received of the death of Mr. Charles Edward Horsley, the well-known musician, on the 2nd of March [sic], at New York, where he had been living for the last two years. Mr. Horsley received his musical education in London, and arrived in Melbourne about 15 years ago, and at once took a leading position in the musical world. Shortly after his arrival he succeeded Herr Elsasser as conductor of the Melbourne Philharmonic  Society, and he was so earnest in his endeavours to make the society take a leading position, that he succeeded in giving it the prestige which it has ever since maintained. During this time he had a large musical practice in the city, and when the Intercolonial Exhibition of 1866 was proposed, he was engaged to compose a cantata. This he did, and it was performed with great success. The cantata was named the “South Sea Sisters”, and the words were written by Mr. R. H. Horne, the author of “Orion”. One chorus in the cantata, viz., the Corroboree Chorus, has since been frequently performed in Melbourne, and always with success. Mr. Horsley was of an easy genial disposition, and by some means he got into difficulties, and about 1868 left Melbourne for Sydney. He was not at all successful there, and he decided upon again returning to Melbourne. Here he obtained the appointment of organist to St Francis’ Church, was not so successful as he desired, but when the new Town-hall was opened, during the mayoralty of Mr. S. Arness, he was engaged to write a cantata for the occasion, and “Euterpe” was produced. In the following year Mr. Horsley left by the s.s. Great Britain for England, and settled down in Liverpool, About two years since he went across to New York, and obtained the appointment of conductor to one of the oldest musical societies in that city. He also obtained the appointment of organist to St. John’s Church, which he held at the time of his death.

Disambiguation: Many colonial performances of works by William Horsley are documented, beginning with the song The Tempest in the Sydney Amateur Concerts in 1826, and up to, for instance, at Charles Horsley’s own concert in Melbourne in March 1863, when “Two well-known glees by Mr. W. Horsley, the father of Mr. C. E. Horsley, By Celia’s Arbour, and See the chariot at hand, were given in a style worthy of the composer. The former is one of the loveliest glees over written”.

References: “THE SYDNEY AMATEUR CONCERT”, The Australian (21 June 1826), 3:; [Advertisement], The Argus (17 January 1862), 3:; [News], The Argus (24 February 1862), 5:; “MR. HORSLEY’S CONCERT”, The Argus (6 March 1863), 5:; “THE PHILHARMONIC SOCIETY’S CONCERT. HORSLEY’S DAVID”, The Argus (2 July 1863), 5:; [News], The Argus (12 September 1864), 5:; “INSOLVENT COURT”, The Argus (16 September 1865), 6:; “L’AFRICAINE. TO THE EDITOR”, The Argus (17 July 1866), 7:; “INTERCOLONIAL EXHIBITION 1866. INTRODUCTORY CONCERT”, The Argus (17 September 1866), 5:; “THE EXHIBITION”, The Argus (24 October 1866), 5:;  “LAW REPORT”, The Argus (6 June 1867), 6:; “METROPOLITAN DISTRICT COURT”, The Sydney Morning Herald (11 August 1868), 2:; “Mr. C. E. Horsley […]”, The Argus (29 May 1869), 5:; “MR. HORSLEY’S CANTATA. TO THE EDITOR”, The Argus (11 August 1870), 7:; “MR. KENDALL’S NEW VERSION OT EUTERPE”, The Argus (5 September 1870), 6:; [News], The Argus (5 April 1871), 4:; “INSOLVENCY COURT”, The Argus (29 April 1871), 6:; “MR. HORSLEY’S FAREWELL CONCERT”, The Argus (15 May 1871), 6:; [News], The Argus (24 January 1872), 4:; “DISTANT MUSIC (by Henry C. Lunn, From the London Musical Times)”, Dwight’s Journal of Music (4 May 1872), 226-27:; [News], The Argus (1 May 1876), 5:; [News], The Argus (9 May 1876), 5:; “MUSIC”, The Australian Sketcher (8 July 1876), 58:; “THE LATE MR. C. E. HORSLEY. TO THE EDITOR”, The Argus (16 October 1876), 6:

Sample musical works:
- Trio in B minor (published years since in Germany), Melbourne September 1864
- Violin Concerto in D minor (1849), MS parts in NLA (Papers of J. S. Kruse); modern edn. by Richard Divall
- Piano Concerto in C minor, Op. 24 (copy of incomplete MS in British Library)
- Gideon, a sacred lyrical oratorio, op. 50 (London: G. Rodwell,  1860)
- Too Late (Choral Scene; first time): [Advertisement], The Argus (7 July 1862), 8: 
- Comus (cantata, England 1854), Melbourne 7 December 1862
- The Evening Star (“song with flute obligato”), Melbourne March 1863 
- David (oratorio, England ?), Melbourne, 30 June 1863; “THE PHILHARMONIC SOCIETY’S CONCERT”, The Argus (2 July 1863), 5: 
- String Quartet No 2 in E major (Melbourne, 1864) (modern edition: Richard Divall) also fascimile edition of manuscript in the Musical Society of Victoria’s Library
- The Song of the Nuns at Amesbury (“a new motete”): “In the world of music […]”, The Argus (25 April 1865), 1s:
- Motett (Collect for the First Sunday in Advent; composed expressly for the Orpheus Union): [Advertisement], The Argus (23 December 1865), 8: 
- Intercolonial Exhibition March 1866, Op. 62 (Melbourne: W. H. Glen, 1866)
- The South Sea Sisters a lyric masque written for the opening of the Intercolonial Exhibition, Op. 73 (Melbourne, 1866; words: R. H. Horne), Melbourne, 24 October 1866; original 1866 edition of the words only:, and
- The Galatea Waltz (Sydney: The Composer, 1867)
- England’s Welcome Galop (Sydney : H.Marsh, [1868])
- Tell me Mary how to woo thee [Hodson]; newly edited and arranged by C. E. Horsley) (Sydney: J. R. Clarke, [1868?])
- My Bud is in heaven [Massett] (pianoforte accompaniment newly edited by C. E. Horsley) (Sydney: J. R. Clarke, [1868?])
- A Musical Joke (the famous nursery rhymes, Jack and Gill; and Sing a song of sixpence /set to music, and arranged as four-part songs by Charles Edward Horsley) (Sydney: J. R. Clarke, [1868])
- Chota Waltz (played at Madame Bishop’s concert by the composer) ([Sydney: ?, 1868]): [Advertisement], The Sydney Morning Herald (7 December 1868), 8:
- Communion Service Responses (MS: Sydney, Christ Church; facsimile: Forsyth, 528 (532):; September 1869) 
- Euterpe, Op. 76: an ode to music (words: Henry Kendall), Melbourne, 9 August 1870); extracts: chorus All hail to thee, Sound (modern edn. by Philip Legge); Ah and when that meek eyed maiden from Euterpe (Melbourne: published for the composer by W.H. Glen, [1870?]); also: Three pieces from “Euterpe“ (arranged for Florence Mary James by the composer, Charles Edward Horsley. Florence Mary James, from C. E. H. 1871) (1 Slumber song (MS); 2 Waltz chorus from “Euterpe“ (MS); 3 Ah and when that meek eyed maiden (printed edition,  Melbourne: W. H. Glen)) 
- Dreams of the Past (ballad: words: Eliza Cook; Composed by Charles Edward Horsley for Mr. T. B. Browning, Melbourne 1871) facsimile of MS

Other writings: Charles Edward Horsley, “Reminiscences of Mendelssohn, by his English pupil”, Dwight’s Journal of Music (14 December 1872), 345-47:; [continued] (28 December 1872), 353-55:; [continued] (11 January 1873), 361-63:

Resources: “Horsley, Charles”, British Musical Biography (1897), 209:; Thérèse Radic, Horsley, Charles Edward (1822–1876), ADB 4 (1972); Clay Djubal, “Charles Horsley”:; Anna Bunney (cataloguer), Papers of the Horsley family, 18th-20th cent. (University of Oxford, Bodleian Library, 1990; online resource, 2011:



Vocalist, teacher of Music and Singing (pupil of the Royal Academy of Music)
Active Melbourne, 1853

References: ? [Advertisement], The Argus (4 January 1853), 5:; [Advertisement], The Argus (19 February 1853), 8:; [Advertisement], The Argus (9 April 1853), 8:



HOULDING, John Richard (“Old Boomerang“)
Author, songwriter/recorder
Born Essex, England, 22 April 1822
Arrived Sydney, 26 January 1839
Died NSW, 25 April 1918

References: “OLD BOOMERANG. SEVENTY-SEVEN YEARS IN AUSTRALIA”, The Sydney Morning Herald (26 December 1916), 4:; “OLD BOOMERANG. DEATH OF MR. JOHN R. HOULDING”, The Sydney Morning Herald (27 April 1918), 9:; “HISTORY OF MUSIC … MORE CURIOSITIES”, The Sydney Morning Herald (22 January 1829), 10:

The Australian Emigrant’s Song (written by Old Boomerang; composed by E. K.) (London : Chappell &​ Co., [1867])
Song of the Australian Squatter (Air, “Rory O’More”), in Australian capers: or, Christopher Cockle's colonial experience, by Old Boomerang (London: George Routledge and Sons, 1867), 229-30:

Ruth Teale, Houlding, John Richard (1822-1918), Australian Dictionary of Biography 4 (1972)



HOWARD, George B
Vocalist, instrumentalist, leader (Ethiopian Serenaders)
Active Hobart, by 1849; Sydney, until 1853

HOWARD, Charles V.
Vocalist, tambourine player, leader (Howard’s Serenaders), agent, theatre manager

(1850): Mr. Blythe Waterland, Mr. C. V. Howard, Mr. G. B. Howard, and Mr. J. W. Reading, have given twe concerts at the Royal Hotel, which have been remarkably successful. This company has the merit of being the first that has brought the peculiarities of the “Nigger”, in a contracted way, before the Sydney public […]

(1852): HOWARD'S SERENADERS. Increased attraction of the SydneyFriday Concerts: Favourito and eccentric Programme: The Company consists of five performers, each and all unrivalled, vis., Charles V. Howard, tambourine; J.W. Sandford, Guitar; E. W. Pierce, Flute; Walter Howson, Banjo; and J. P. Hall, Bones.

(1861): A musical entertainment, consisting of literary reminiscences and illustrations of Moore's Irish Melodies, will be held tonight at the Exchange Hall, Dr. J. J. M'Gregor being the chief performer. The services of Mr. Brookes, the celebrated harpist, and of Mr. Cordner, have been secured […] We observe that the arrangements have been left to Mr. Charles V. Howard, which is in itself a fair guarantee of success.

(1863): Mr. Charles, V. Howard, the indefatigable agent, is the secretary to [Emma Neville and George Loder’s] forthcoming entertainment.

References: “THE VICTORIA THEATRE”, Colonial Times (19 January 1849), 2:; [Advertisement], Bell’s Life in Sydney (6 April 1850), 2:; “ETHIOPIAN SERENADERS”, Bell’s Life in Sydney (6 April 1850), 3:; [Advertisement], The Sydney Morning Herald (21 May 1850), 1:; “BLYTHE WATERLAND’S SERENADERS”, The Maitland Mercury (1 June 1850), 2:; [Advertisement], The Sydney Morning Herald (13 June 1850), 1:; “THE SERENADERS”, Bathurst Free Press (29 June 1850), 5:; “ETHIOPIAN SERENADERS”, Geelong Advertiser (23 July 1850), 2:; “HOWARD’S ETHIOPIAN SERENADERS”, The Maitland Mercury (11 September 1850), 2:; “MUSWELL BROOK”, The Maitland Mercury (25 September 1850), 2:; “To the Editors”, Bell’s Life in Sydney (7 February 1852), 3:; [Advertisement], The Sydney Morning Herald (27 August 1852), 1:; [Advertisement], The Sydney Morning Herald (14 January 1853), 3:; [Advertisement], The Sydney Morning Herald (24 September 1852), 1:; [Advertisement], Empire (14 February 1853), 1:; “CONCERT”, Empire (11 November 1861), 4:; “DRAWING ROOM OPERATIC ENTERTAINMENT”, Empire (23 July 1863), 5:; [Advertisement], The Sydney Morning Herald (12 June 1873), 8:



HOWELLS, Phillip Arthur
Musician, music-seller, reviewer, memorialist, music publisher
Active Adelaide, by 1868
Died Adelaide, 24 August 1921, aged 65

Summary: According to his own account, Howells started in the Adelaide music business as a shop boy for Samuel Marshall in 1868.

References:  “THE GROWTH OF MUSIC IN ADELAIDE”, The Advertiser (29 March 1913), 6:; P. A. Howells. “MUSIC AND MUSICIANS. REMINISCENCES FROM 1868. I”, The Register (5 October 1918), 10:; “MUSIC AND MUSICIANS. REMINISCENCES FROM 1868 [II]”, The Register (5 November 1918), 6:; “MUSIC AND MUSICIANS. REMINISCENCES FROM 1868 [III]”, The Register (12 November 1918), 5:; “MUSIC AND MUSICIANS. REMINISCENCES FROM 1868 [IV]”, The Register (30 November 1918), 10:; “MUSIC AND MUSICIANS. REMINISCENCES OF 1891-2-3” [V], The Register (14 December 1918), 5:; “MUSIC AND MUSICIANS. REMINISCENCES OF 1893”, The Register (18 January 1919), 5:; “MUSIC. From P. A. HOWELLS”, The Register (25 February 1919), 7:; “DEATHS”, The Register (26 August 1921), 6:; “DEATH OF MR. P. A. HOWELLS”, The Advertiser (25 August 1921), 7:

Musical publications:
Gladys Gavotte (“pour piano par W. R. Knox”) (Adelaide: P. A. Howells &​ Co., [189-])
Tarantelle in E mineur  (“pour piano par W. R. Knox”) (Adelaide: P. A. Howells &​ Co., [189-])
When love is done (“a reverie; Dedicated to and sung by Miss Ada Crossley;  music by A. Wyatt Mortimer) (Adelaide: P.A. Howells &​ Co., [1892])



HOWITZ, Samuel
Music Master
Active Adelaide, 1850

References: Reportedly “a German“, “Samuel Howitz” was allegedly victim of an assault in Adelaide on 26 December 1849; according to the court report Howitz, “described himself as a merchant, but seems also to be a hawker and music master”. A “Horwitz, Samuel Julius, Adelaide, Confectioner” appears in a later list.

References: “LAW AND POLICE COURTS”, South Australian Register (1 January 1850), 3:




Summary: Introducing his printed Lectures in 1846, Isaac Nathan noted Sydney’s recent good fortune to have added to its musical ranks such fine voices of ―quality, intonation, and flexibility” as those “of Messrs. F. and J. Howson (the talented brothers of Madame Albertazzi)”. Frank and John Howson have rightly been credited with an important foundational role in professional opera performances in Hobart and Sydney in the 1840s, carried on by Frank’s several singer children in Australia, and later also in the United States. Frank, with his wife, Emma, and child Frank Alfred (later the famous American songwriter-composer Frank A. Howson), and his brother John, arrived from London at Hobart on the ship Sydney on 28 January 1842, along with another brother, Henry,  having been recruited in London for the Hobart theatre by Anne Clarke. Though they left behind their celebrated sister, the contralto singer, Emma Albertazzi, and at least one other singer sister, they were joined in Hobart in 1843 by two more (?) brothers, Mr. W. Howson and Mr. A. [Alfred] Howson, and in 1844 by their father Francis senior, a sister Miss Howson, and yet two more very young brothers, Masters W. and F. Howson [Walter and Frederick], perhaps twins, their mother, Sarah, having died in London in 1839 before the family migration began. Sarah Howson had earlier attracted public attention by writing to the British press from the family home in Chelsea to ascertain the fate of her husband, Francis, and two sons, Frank and John, then serving as bandsmen in the British Auxiliary Legion in the Carlist wars in Spain. Three children born to Frank and Emma Howson in Hobart—John junior, Emma, and Clelia—went on to have significant careers in Australia in the early 1860s, and from 1866 in the United States. A fifth child, Charles Edwin, born in Sydney, later worked as an administrator for the actor Henry Irving’s company in London.


? Soprano vocalist
Arrived Sydney, 11 February 1844 (per Alfred, from London, 2 November 1843) Arrived Hobart, 2 March 1844 (per Louisa, from Sydney, 17 February)
Mezzo soprano vocalist
Born London, 1 May 1814 (Never came to Australia)
Died London, 25 September 1847]

Summary: A Miss Howson sailed for Tasmania in November 1843 with (? her father) Francis Howson senior, and (? two very young brothers) Masters F. and W. Howson. Whether she is the same Miss Howson who had made her debut only the previous month, and who would later continue her European singing career is unclear. However, I have as yet found no record of a Miss Howson singing in Tasmania. The London debut of a daughter of Emma Albertazzi was reported in the Sydney press in 1858.

(1843): A Miss Howson (we will not have her foreign assumption of Mdlle. Albertazzi) performed Marcelle [Balfe’s Siege of Rochelle] in a very creditable manner, considering it was a first apperance, and was deservedly encored in one of her songs.

(1847): The Queen has sent to Miss Howson a donation of 10l. for the benefit of the children of her late sister, Madame Albertazzi.

(1848): The salons of Kent House were completely thronged by an elegant and aristocratic audience, who were highly gratified with the musical programme provided for them by Herr Goldberg […] Miss Howson, (a sister of poor Albertazzi) […] possesses a charming voice, and sings with taste and expression […]

(1849): In connection with operatics, we are glad to observe that Miss Howson, the sister of the late Madame Albertazzi, and Messrs. Howson, has taken a prominent stand at the Italian Opera in Paris, she having replaced the talented Madame Corbari, who has obtained an engagement at St. Petersburgh.

(Emma Albertazzi, obituary): Madame Albertazzi. Sept. 25. At her residence in St. John's Wood, aged 34, of a rapid consumption, Madame Albertazzi. Albertazzi was a native of London, and her maiden name was Emma Howson, the daughter of Mr. Francis Howson, a teacher of music. Having manifested a disposition for singing, her father put her, in 1827, with Signor A. Costa as his articled pupil. She improved rapidly, and in 1827 M. Costa took her to live in his house, that he might superintend and perfect ber instruction. In May 1828 she made her first appearance in public at the concert of Mme. Cittadini, at the Argyle Rooms, and then gave every promise of future excellence. In June 1829 she again sang at the King's Theatre, at the concert of Signor Grazziani, and with increased success. In the same year she became acquainted with Signor Albertazzi, a teacher of the Italian language, who was also a pupil of Signor Costa; and in Nov. 1829 she left Signor Costa’s house to be married to Signor Albertazzi; she was then only sixteen years and a half old. In August 1810 she and Signor Albertazzi went to Brighton, where she was well received in concerts, and gave one herself. In 1831 she returned to London, and gave a concert on the 8th of June, at Mr. Rolandi’s, in Berners-street. She and Signor Albertazzi left London immediately after, aud in 1832 she appeared at Milan; from thence she went to Madrid; and her fame still increasing, she had an engagement for Paris. She there pleased highly in the Cenerentola. From thence she went to Turin, where she performed with success. In 1836 she again returned to Paris, and increased her reputation. Albertazzi made a very successful debut at Her Majesty’s Theatre in Cenerentola, April 19, 1837. After that she sang at the Ancient and Philharmonic Concerts, and in 1840 she appeared at Drury Lane in the opera of La Gazza Ladra, and was eminently successful. She was also engaged at the Princess's Theatre, but her voice was then failing fast. Her voice comprised the three distinct limits usually found in the contr'alto, mezzo-soprano, and soprano. The least agreeable was the middle part. The pearly notes in the upper part of her voice were of exquisite quality, and the facility with which she pounced on them at the extremity of her compass was delightfully gratifying. Her temperament was not indicative of that sensibility more common to the inhabitants of la bella Italia! nevertheless, the justness of her intonation, the quality and flexibility of her extensive voice, added to her good taste, were more than an acceptable substitute for the rant and exaggeration of many singers who possess more anima and less voice.

References: “MUSICAL WORLD-TREBLES AND TROUBLES”, The Idler, and Breakfast-Table Companion (6 January 1838), 8:; “SUPERIOR COURTS”, The Legal Observer (21 April 1838), 474:; “DRURY-LANE THEATRE”, The Illustrated London News (7 October 1843), 235:; “ARRIVED”, The Australian (17 February 1844), 2:; “CLEARED AT CUSTOMS”, The Australian (17 February 1844), 2:; “SHIPPING INTELLIGENCE”, Colonial Times (5 March 1844), 2:; “THE DRAMA”, Bell’s Life in Sydney (20 January 1849), 2:; “METROPOLITAN”, The Dramatic and Musical Review (1 April 1849), 108:; [News], The Spectator (30 October 1847), 1040:; “MADAME ALBERTAZZI”, The Gentleman’s Magazine (March 1848), 320:; “HERR GOLDBERG’S MATINEE MUSICALE”, The Musical World (1 July 1848), 429:; “MADAME V. ALBERTAZZI”, Bell’s Life in Sydney (4 December 1858), 2: 



HOWSON, Alfred
Violinist, orchestra leader
Arrived Hobart, 21 August 1843 (per Eamont, from London, 15 February)

Summary: A “Mr. A. Howson” appears in the incoming passenger lists at Hobart in August 1843, in company with Mr. W. Howson (Walter?). W. and A. Howson duly appeared with John, Frank, and Henry (? their brothers) among the “gentlemen” assisting at the Gautrots’ concert in Hobart in November 1844. It was perhaps, then, slightly more likely that young Frank Alfred appeared on stage as a “child” in Launceston in June 1846 billed as “MASTER ALFRED HOWSON”. Nevertheless, Alfred is also next heard of in Launceston in 1846, performing with his father Francis. At the Royal Olympic Theatre by June 1848 “A. Howson” was “Leader of the Orchestra”. Since 1846 this role had been attributed merely to “Mr. Howson”, circumstantially perhaps more likely to be Francis Howson senior, though this is by no means certain. In February 1849 “Alfred Howson” was “Leader of the Band”; and in August he made his debut in character “on the boards”. In Hobart in April 1849, for Maria Carandini’s concert, “A. Howson” played second violin to (? his brother) Henry. In April 1852 he was leader and violinist of Jacobs’s “Louisianna Harmonists” in concert in Geelong. He is last positively documented at Geelong in September that year, though (? his brother) Walter Howson played in Geelong in November

(Launceston, 1846): We cannot forbear noticing the orchestral arrangements, which, under the direction of Mr. Rolfe, comprised all tbe musical talent of Launceston, and amply compensated by their judicious exertions for their paucity of numbers. Led by Mr. A. Howson, and ably sustained by Messrs. Howson, senior, and Rolfe, and the intermediate instruments, we were truly astonished at the pretty effect produced by the united exertions of the above gentlemen, on considering the disadvantages, under which they laboured through their platform being at least three feet too high, and being surrounded by evergreens. The general satisfaction evinced, shows the propriety of engaging a private band, instead of the military — not only in justice to them as professional men — but from their more perfect knowledge of tbe proper effect to be produced in a ball-room by their respective instruments, of which the military necessarily cannot be so cognizant.

References: “ARRIVALS”, The Courier (25 August 1843), 2:; [Advertisement], Colonial Times (16 November 1844), 1:; [Advertisement], The Cornwall Chronicle (20 June 1846), 472:; “ST. ANDREW’S BALL”, The Cornwall Chronicle (5 December 1846), 941:; [Advertisement], The Cornwall Chronicle (28 June 1848), 1:; [Advertisement], The Cornwall Chronicle (7 February 1849), 358:; [Advertisement], Colonial Times (13 April 1849), 1:; “Amusements”, The Cornwall Chronicle (11 August 1849), 784:; [Advertisement], The Cornwall Chronicle (2 November 1850), 763:; [Advertisement], Geelong Advertiser (27 April 1852), 2:; [Advertisement], The Argus (27 August 1852), 3:; [Advertisement], Geelong Advertiser (28 August 1852), 2:; [Advertisement], Geelong Advertiser (1 September 1852), 2:


HOWSON, Charles Edwin
Vocalist, violoncellist, theatrical administrator
Born Sydney, 15 January 1848 (son of Frank and Emma HOWSON)
Departed Adelaide, 1873 (for USA)
Died London, 4 November 1907

(Sydney, 1862): Charles E Howson, about 13 years of age, pleaded guilty to a charge of having discharged fireworks in Palmer-street and was fined 10s.

(Sydney, 1864): Master Charles Howson also made a successful debut by playing a violincello obligato to Mrs. Cordner’s song [True Love], in a manner that gives reason to hope that he will soon become a proficient on the instrument he bas chosen for his study.

(Adelaide, 1869): Solo Comique (By particular desire) - Japanese Fiddle - Mr. Charles Howson.

(January 1873): This evening Mr. C. E. Howson, who for so long has held a prominent position in the orchestra of the Royal, will receive a complimentary farewell benefit at the Theatre, the best available dramatic talent having been secured for tbe occasion. Mr. Howson, we understand, is about to leave this country for America […]

(October 1873): Miss [Emma] Howson left [London] for Milan on September 4, accompanied by her brother, Mr. Charles E. Howson, who will also study under the best masters in Italy.

(Chicago Exhibition, 1893): In connection with Mr Irving's company (writes my Chicago correspondent) many readers of this journal may feel interested to hear something about the members of a family whose name has played so importan a part in the history of the opera and drama, not only in Australia but also in America and England. I allude to the sons and daughters of the evergreen and favourably known Frank Howson, one of the pioneers in Australia of opera. The other day I had the pleasure of meeting one of his sons in the person of Mr. Charles E. Howson, the genial and popular treasurer of Mr Henry Irving’s London Lyceum Company. At the end of the present year he will have been associated with Mr. Irving for 15 years, having joined him on December 30, 1878, on the occasion of his assuming the managerial reins of the justly celebrated Lyceum Theatre. During the time Mr. Howson has been associated with Mr. Irving he has played many parts, not on the stage, but in various departments connected with the theatre-musical, press agent, interpreter (he being a fluent Italian scholar), treasurer, and acted in many other capacities of a fiduciary nature.

References: “CENTRAL POLICE COURT”, The Sydney Morning Herald (23 May 1861), 5:; “SYDNEY PHILHARMONIC SOCIETY”, Empire (10 March 1864), 4:; “SYDNEY PHILHARMONIC SOCIETY”, Empire (21 March 1864), 2:; [Advertisement], The Sydney Morning Herald (28 December 1866), 8:; [Advertisement], The South Australian Register (10 July 1869), 1:; “DEATHS”, South Australian Register (21 December 1869), 2:; “MR. FRANK HOWSON”, South Australian Register (21 December 1869), 2:; [Advertisement], South Australain Register (28 January 1873), 1:; [News], The South Australian Advertiser (28 January 1873), 2:; “THE HOWSONS”, South Australian Register (21 October 1873), 5:; “MUSIC & THE DRAMA”, Launceston Examiner (20 December 1893), 3:; “MUSIC AND MUSICIANS. REMINISCENCES OF 1893”, The Register (18 January 1919), 5:

NOTE: It was perhaps his son, Charles Edwin Howson, reportedly “a member of the prominent theatrical family and himself an actor of repute”, who was killed at Eaucourt L’Abbey, France, on 1 October 1916; see The New York Dramatic Mirror (4 November 1916), 9


Dancer, actor
Arrived Hobart, 28 January 1842 (per Sydney, from the Downs, 3 October 1841)
Departed Newcastle, 10 April 1866 (per Japan, for San Francisco)
Died New York, 7 December 1869

Summary: Emma Richardson married Frank Howson in London on 9 October 1839 and the couple, together with their first child Frank, arrived in Hobart in January 1842 in Anne Clarke’s retinue of new talent for the theatre there. Despite meanwhile giving birth in quick succession to three children in Tasmania, she appeared frequently as a dancer (with Gerome Carandini and Emma Young) and actor, and appeared on the Sydney stage as late as June 1847.

(1842): The Pas de Trois, composed by Signor Carandini, and danced by him with Mrs. Howson and Miss Young, is a composition rather intended for grace of posture than any aim at character, and certainly in the former full justice was done to the intention, and reflected great credit on the performers.

(1843): The appearnnce of Mrs. Howson and Miss Young, in the Sylphide, was quite enchanting, and their dancing admirable.

(Sydney, November 1845): On Monday evening, Mrs. F. Howson debuted as a danseuse, and we must not omit to award to her exertions the praise they deserve. Her dancing is characterised by ease and elegance. It is to be hoped she will be engaged for the ensuing season.

(1847): Grand pas de trois, from Rossini’s opera of Guillaume Tell, Mrs. F. Howson (her first and only appuarance this season), Madame Torning, and Signor Carandini.

(Obituary): Mrs. Emma Howson, the widow of Frank Howson, and mother of Miss Emma Howson who lately made her debut in this city [New York] with the Richings’ Troupe, died in this city on the 7th December last, and was buried on the 9th. Misfortune has indeed come to this family. Full of joy and hope for the future, the family, consisting of Mr. and Mrs Frank Howson, their two daughters and two sons, left California, whither they had arrived from Australia, to try their fortunes in this city. On arriving at Omaha the father was taken sick, and the family were detained there until 10th September last, when, after a lingering illness, he died. The widow and her children arrived in this city, and on 15th November, Clelia and John appeared at Wood’s Museum, and were gutting along very aceptably. On 20th November, Miss Emma made a successful debut as Maritana with the Hichings Barnard Troupe, and in the midst of life, when everything was giving promise of a brilliant future, death again entered thc family circle, and added another name to the list of his victims as above stated.

References: “SHIP NEWS”, Colonial Times (1 February 1842), 2:; [Advertisement], The Courier (18 February 1842), 3:; “THE ALBERT THEATRE”, The Courier (18 March 1842), 2:; [Advertisement], The Courier (20 January 1843), 1:; “THE THEATRE”, Colonial Times (7 February 1843), 3:; “THE THEATRE”, The Courier (1 September 1843), 2:; “THE THEATRE”, Colonial Times (24 September 1844), 3:; “THEATRICALS”, The Australian (15 November 1845), 3:; “ROYAL VICTORIA THEATRE”, The Sydney Morning Herald (5 June 1847), 3:; “DEATH OF MRS. EMMA HOWSON”, Empire (11 April 1870), 2:


HOWSON, Francis (senior)
Professor of music, violinist, organist, composer
Born Surrey, England, 1794
Arrived Sydney, 11 February 1844 (per Alfred, from London, 2 November 1843)
Arrived Hobart, 2 March 1844 (per Louisa, from Sydney, 17 February)
Died Parramatta, 13 April 1863, aged 68

Summary: On 12 January 1828 “Francis Howson, Croydon […] professor of music” came to an agreement with “[Michael] Andrew Costa, professor of music” that “Emma Howson, his daughter, aged twelve years and nine months” should become an articled pupil of Costa, who had first heard her sing a year and a half earlier (in August 1826). In 1838, this agreement became the subject of a legal dispute between Costa and Emma Albertrazi, by then a famous stage contralto. An later Australian report of the death of Emma Albertazzi (1814-1847) rightly mentions that she was the “daughter of Mr. Howson, of Launceston”. Francis Howson senior’s wife Sarah, who died in 1839 before the males of Howson family came to Australia, had earlier attracted public attention by writing to the British press from the family home in Chelsea to ascertain the fate of her husband and two eldest sons, Frank and John, then serving as bandsmen in the British Auxiliary Legion in the Carlist wars in Spain. Howson senior arrived in Hobart early in 1844, and in March at the Victoria Theatre it was reported that Anne Clarke had “secured the services of Mr. Francis Howson, Senior, who will preside at the Grand Pianoforte as Director of the Music, &c.” Howson was possibly an occasional composer, certainly an arranger. On 15 March 1844, last night of the Hobart season, Gerome Carandini took his benefit, and respectfully informed the public that: “The Evening‘s Entertainments will commence with (for the first time in this Colony) the very beautiful Opera, with New Scenery, Dresses, and Decorations, entitled KATE KEARNEY; Or, THE FAIRY OF THE LAKES OF KILLARNEY, The whole of the Music arranged by Mr. Francis Howson, Senior.” Presuably Francis, along with all other available Howsons, was in the orchestra when Frank and company presented “Weber’s Grand Opera of DER FREISCHUTZ, with the whole of the original Music” at Launceston theatre in June 1844. Francis had settled in Launceston by early in 1845, and appears to have remained there until at least the early 1850s. In May 1845 he was reportedly training the choir for the forthcoming opening of Launceston Synagogue. Francis is probably usually the “Mr. Howson” referred to in the Launceston press, for instance leading the orchestra at the Olympic Theatre in 1846 and early 1847, until in either later 1847 or 1848 his son Alfred took over the position of leader at the theatre, whereafter Francis is usually advertised as “Mr Howson Senior”. In May 1848, for the amateur composer F. H. Henslowe, Francis directed the music for the Campbell Town Ball, for which: “[…] the arrangements were superintended by Mr. Henslowe, the police magistrate […] The band was under the directorship of Mr. Howson, senior, and was of a first rate character; we are glad to find that Mr. Howson‘s services are appreciated in the interior, as well as in the town, and he had best wishes from numerous friends.” That month too he played violin with the composer on piano in a Hobart performance of Charles Packer‘s Duo Concertante, and in September was leader of the orchestra at Radford’s Amphitheatre. In 1849, Howson advertised that he was “leaving the colony”, but then “relinquished the intention”, only to end up in the insolvency court later in the year. Having apparently followed his three sons to Sydney sometime after mid 1852, he was teaching at Parramatta and Windsor in 1859. Howson died at Parramatta NSW, in 1863; “death had been caused by exposure, while under the depressing influence of liquor”.

(Hobart, April 1844): Mr. JOHN HOWSON begs most respectfully to inform the Ladies and Gentlemen of Hobarton and its vicinity that he intends giving a GRAND CONCERT upon a scale of magnitude never before attempted in this colony […] The Orchestra will be complete in every department. The greater part of the music is entirely new, and just imported by Mr. F. Howson, sen., amongst which will be found a selection from Rossini’s celebrated “Stabat Mater”, which has created a great sensation throughout Europe; as also several pieces from Bellini’s beautiful Opera of “Norma”, now playing at the Theatre Royal, Drury Lane, London, with the greatest possible success.

(Launceston, 1845): “To the Gentry of Launceston: MR. FRANCIS HOWSON, Senior, begs leave most respectfully to inform the Ladies and Gentlemen of Launceston that he had just arrived from London to Hobart Town, and having accepted engagement with Mrs. Clark[e] as Director of the Music Department at the Theatre in this town, is desirous to devote a portion of his time in giving instruction in Music and Singing, in which he has been engaged in London for the last twenty-five years, during which times he has been eminently successful in his methods of tuition […] one striking instance, which is that of his daughter Mad. Albertazzi […] Mad. Albertazzi’s education as a Musician and Singer was given by Mr. Howson, (her father), and he feels that her splendid success must in a great measure be attributed to his superior method of instruction.

(February, 1846): Mr. Howson, senior, performed several pieces on the violin, accompanied by Mr. Rolfe on the piano-forte. Of these performances we cannot speak too highly […] Mr. Howson’s exertions were highly applauded. Those who have had the opportunity of witnessing Paganini’s extraordinary feats on one string, must have been reminded of them while listening to this performance.

(July 1846): Mr. Howson takes a benefit for himself and [the] little boys [his “sons”, Masters W. and F. Howson] on Friday […] Among the novelties for this occasion only, Mr. Howson will perform on the violin on one string a la Paganini.

(1848): On Friday morning, the bishop of Tasmania and his lady visited Trinity Church school, when the children, who are instructed by Mr. Howson, underwent an examination in the theory of music. The progress made by the pupils excited the astonishmelt and delight of the visitors […] Mr. Howson adopts a system by which the theory is so simplified, that it is readily comprehended even by children; ; and his pupils often arrive at practical proficiency really surprising in persons of their age.

(1852): Olympic. On Monday evening, this little theatre vvus full to overflowing. Mrs. Moore seems an especial favorite. The song of, “The Port Phillip Widows”, was loudly encored and a goodly shower of money, rained upon the stage, as a present to the songstress, Mrs. Moore. The music of the song here spoken of is by F. Howson, senr.

(1859): TO THE GENTRY of PARRAMATTA, WINDSOR, and their vicinity. Mr. F. HOWSON, sen., father and teacher of the late Madame Albertazzi […] To schools for gentlemen, the violin, violoncello, flute, and clarionet taught; also Congregational Psalmody. Address, Post Office, Baulkham Hills.

(Launceston, 1892): Old Mr Howson used at one time to play and train the choir, which mainly consisted of sweet-voiced little boys. One of them, Bobby Sage (now dead), became a timber merchant, predeceesor to Mr. John Ellis. During the time of Mr. Howson’s leaderlship at Trinity I was taking music lessons from him, and one evening, passing the chilrch, I entered and stood in the porch listening to the choir practice. Next time I waited on Mr Howson to receive my lesson I remarked that I was very much pleased with the singing of his choir boys. He replied, “Yes, the little toads can do very well if they like, but they are sosmetimes car[e]less.” Poor old gentleman! He was a sound musician, but like many other men of talent was too much given to convivialities.

References: “SUPERIOR COURTS”, The Legal Observer (21 April 1838), 474:; “ARRIVED”, The Australian (17 February 1844), 2:; “CLEARED AT CUSTOMS”, The Australian (17 February 1844), 2:; “SHIPPING INTELLIGENCE”, Colonial Times (5 March 1844), 2:; [Advertisement], Colonial Times (12 March 1844), 1:; [Advertisement], The Courier (22 March 1844), 3:; [Advertisement], The Courier (12 April 1844), 3:; [Advertisement], The Cornwall Chronicle (27 April 1844), 3:; [Advertisement], The Cornwall Chronicle (18 May 1844), 1:; [Advertisement], Launceston Examiner (8 January 1845), 1:; [Advertisement], Launceston Examiner (14 February 1846), 5:; “JEWISH SYNAGOGUE”, The Cornwall Chronicle (14 May 1845), 2:; “ARRIVALS”, Launceston Examiner (7 June 1845), 4:; “To the Editor”, The Cornwall Chronicle (19 July 1845), 9:; “MADAME GAUTROT’S CONCERT”, The Cornwall Chronicle (18 February 1846), 132:; “OLYMPIC THEATRE”, The Cornwall Chronicle (27 May 1846), 400:; “THE THEATRE”, The Cornwall Chronicle (8 July 1846), 520:; [Advertisement], The Cornwall Chronicle (8 July 1846), 522:; “ENGLISH NEWS”, The Sydney Morning Herald (26 January 1848), 2:; “THE CONCERTS”, Colonial Times (2 May 1848), 3:; “CAMPBELL TOWN BALL [from Cornwall Chronicle, May 20]”, Colonial Times (23 May 1848), 3:; “TRINITY CHURCH SCHOOL”, Launceston Examiner (17 June 1848), 6:; “MUSICAL”, Launceston Examiner (6 January 1849), 6:; [Advertisement], The Cornwall Chronicle (29 September 1849), 898:; “INSOLVENCY COURT”, Launceston Examiner (24 October 1849), 6:; [Advertisement], The Cornwall Chronicle (2 January 1850), 8:; “MUSIC”, Launceston Examiner (26 January 1850), 6:; “SINGING”, Launceston Examiner (2 April 1851), 5:; “Olympic”, The Cornwall Chronicle (14 July 1852), 443:; “THE BACHELOR’S BALL”, The Cornwall Chronicle (19 July 1851), 452:; [Advertisement], The Cornwall Chronicle (24 July 1852), 469:; [Advertisement], The Sydney Morning Herald (28 November 1859), 1: ht; [Advertisement], The Argus (3 February 1852), 1s:; “PARRAMATTA”, The Sydney Morning Herald (14 April 1863), 4:; “INQUEST”, The Sydney Morning Herald (15 April 1863), 3:; “PARRAMATTA”, The Maitland Mercury (16 April 1863), 2:; “REMINISCENCES”, Launceston Examiner (12 November 1892), 2:

Bibliography: Edward M. Brett, The British Auxiliary Legion in the First Carlist War in Spain, 1835-1838 (London: 2005), 190

Note: Kate Kearney was based on the script of William Collier‘s Kate Kearney, or, The Fairy of the Lakes, A Musical Romance in Two Acts (London: Samuel French, 1836), with Alexander Lee‘s original music; Gyger, 42, calls it “a bit of a puzzle”, but, for the musical contents of Anne Clarke’s production a year earlier, see [Advertisement], Colonial Times (13 May 1845), 1: h


HOWSON, Frank (Francis)
Baritone vocalist, conductor, arranger
Born London, 22 September 1817
Arrived Hobart, 28 January 1842 (per Sydney, from the Downs, 3 October 1841)
Departed Newcastle, 10 April 1866 (per Japan, for San Francisco)
Died Omaha, USA, 16 September 1869, aged 52

Image: From Nellie Stewart, My life’s story (1923)


Brisbane, 1865: Mr. Frank Howson had been settled in New South Wales about fourteen years, and may be regarded as the pioneer of the opera in Australasia. He and his brother John, we believe, served as volunteers in the Carlist war in Spain, after which they devoted themselves and their undoubted musical accomplishments to the public. His name is associated in the minds of old colonists with everything that is pleasureablo in the history of the theatre in these colonies.

Obituary: An American paper informs us of the death, on the 16th September, of Mr. Frank Howson, father of the Muses Emma and Clelia Howson, who, with their brothers, are well known in connection with the Australian stage, and won much admiration and respect in Adelaide. Mr. Howson was but 52 years of age, and was a native of London, his father having been an eminent professor of music. The deceased was one of the British Legion which fought in the Carlist war, and in that struggle he won distinction in a regiment of Lancers. In 1842 he first came to Australia, and was well known some years later as manager during the visits of Madam Anna Bishop, Catherine Hayes, and other musical and histrionic celebrities. Since then a family of sons and daughters have grown up around him, and won a position in their profession. About three years ago Mr. Howson, with most of his children, went to California, and was particularly successful in the San Francisco Theatres, but unfortunately his health broke down, and the family decided to travel overland, following their profession at leading towns, till they reached New York, where they would be able to secure the best medical skill of the country, in the hope of saving the life of the loved husband and parent. At Omaha, however, Mr. Howson became worse, and succumbed to his complaint. He leaves, besides his two sons and two daughters in America, two sons in Australia. A very large concourse of people attended his funeral, including a long procession of Freemasons, the deceased having been an influential and useful member of the Order, both in America and Australia.

(Nécrologie): A Omaha (Californie), en décembre 1869, à l’âge de 52 ans, M. Frank Howson, chanteur anglais et frère de feu Mme Albertazzi. Il s’établit en Australie, en 1842, et associé avec Mlle. Catherine Hayes, Mmes. Anne Bishop et Don, il exploita les  colonies avec un truple d’opéra qui portait son non et don’t faissient partie ses enfants Mlle Emma et Clelia, MM. A. Frank et J. Jerome Howson. Depuis trois ans ils s’était fixé ave sa famille à San Francisco.

(1880): Mr. Frank Howson was a baritone vocalist of no inconsiderable local reputation, who left England in 1842 for the Australian colonies, where he engaged in theatrical pursuits. He was the first to present complete English and Italian operas to an Australian public. He acted as stage manager to Madame Anna Bishop and the gifted Catherine Hayes, and other celebrities who visited Australia many years ago. He died at Omaha, Nebraska, U.S.A., September 16, 1869. 

References: “SHIP NEWS”, Colonial Times (1 February 1842), 2:; [Advertisement], The Courier (4 March 1842), 1:; [Advertisement], Colonial Times (11 July 1843), 1:; Isaac Nathan, Lectures (Sydney, 1846) [unpaginated]:; “THE DRAMA”, The Brisbane Courier (28 March 1865), 3:; “BRISBANE”, The Musical Times (1 January 1866), 214:; [News], South Australian Chronicle (25 December 1869), 11:; “DEATH OF MR. F. HOWSON”, The Brisbane Courier (1 January 1870), 6:; “WAIFS”, The Musical World (5 March 1870), 170:; “NÉCROLOGIE”, Le guide musical (14 April 1870), n.p.:; “Mr. Frank Howson”, in Charles Eyre Pasco, Our actors and actresses. The dramatic list (London: David Bogue, 1880), 188 footnote to main entry on his daughter Emma:

Bibliography: “Howson, Frank”, in Frederic Boase, Modern English biography (London: Netherton and Worth, For the author, 1921); Edward M. Brett, The British Auxiliary Legion in the First Carlist in Spain War, 1835-1838 (London, 2005), 190


HOWSON, Frank Alfred Girolamo (junior)
Tenor vocalist, violinist, cellist, pianist, arranger, conductor, composer
Born London, 28 March 1841
Arrived Hobart, 28 January 1842 (per Sydney, from the Downs, 3 October 1841)
Departed Newcastle, 10 April 1866 (per Japan, for San Francisco)
Died USA, 28 June 1826, aged 85

Summary: It was perhaps young Frank who appeared on stage in Launceston in June 1846 billed as “MASTER ALFRED HOWSON”. His mature career was underway in Sydney by July 1859 when he was cellist in Lewis Lavenu’s orchestra for the Sydney University Musical Festival. In June 1861, at the theatre, “a selection from Wallace’s very popular opera The Amber Witch, very skilfully arranged by Mr. F. A. Howson, was performed by the orchestra”. As a conductor he made his debut at Sydney’s Lyceum on 14 November 1861, with the Bianchis, Sara Flower, and John Gregg, in Verdi’s Il Trovatore. He appears to have done less well in the United States, where Dwight’s Journal (1877), 74 described him as “a self-made man of very limited ability”, though he was a regularly published song composer.

(Sydney, November 1861): The orchestra is strong and well balanced, the introduction of a bassoon being a great improvement (an instrument which the late Mr. Lavenu used very freely in the instrumentation of “Trovatore“). One of the most pleasing circumstances connected with the performances of last night was the debut, as conductor, of Mr. Frank A. Howson, junior, who, on taking his seat met with a warm reception from all parts of the house, and though very young for so important a position, the manner in which he fulfilled the duties drew forth the highest commendations. He kept his orchestra well together, and displayed more firmness than is usually found in those who wield the baton for the first time. With experience and study he must shortly, as a conductor, become a very valuable addition to the musical world of the Southern hemisphere.

(January 1864): “La Sonnambula” was repeated for the second time at the Haymarket Theatre last evening, and the large audience testified by their applause as well as by the presence the interest now taken in this opera troupe-mainly absorbed, of course, by the new prima donna, Miss Emma Howson. […] It would be an injustice if we were not to mention in terms of high praise the exertions of Mr. F. A. Howson, the conductor. His orchestra is thin, but in tune and good condition, while the way in which he has made a tolerable chorus out of materials which include only five or six persons fit to sing in any capacity is a marvel.

(Brisbane, September 1865): The announcement that the Rev. Mr. Graham is about to deliver a lecture on Friday next, in Mason’s Concert Hall, on the life of the late President Lincoln, has been so well received, that we are informed that nearly all the tickets for the reserved seats have been purchased […] we may mention that the members of the Howson family have, in the most handsome manner consented to sing the National Anthem, previous to the commencement of the lecture, and at the termination of it the American national hymn of “Hail Columbia”. Both pieces have boon arranged by Mr. F. A. Howson specially for the occasion—the latter will be for a solo and quartetto for the first verse, and a duett and a quintetto for the second. In the absence of any properly organised musical society in Brisbane at the present time, it is a matter of congratulation that the Howson’s should come forward and voluntarily give their services.

(Adelaide, 1872): Miss Rosina [Carandini] sang a song written by a local composer (Mr. F. A. Howson) It is entitled “Nora is Pretty” [1870], and it is a pleasing and graceful ballad, which is likely to become popular. The compour could not have had a more accomplished interpreter of his music than he found in Miss Rosina […] Nora is pretty was composed by Mr. Frank A. Howson, now in America, and produced for the first time in Australia last evening. It is a good song, but of a kind more to be appreciated for its technical beauties than for its popular qualities. It could not, however, fail to be pleasing when sung by Rosina Carandini.

(Obituary) Mr. Frank Alfred Howson, the Australian composer and musical director, died at 85 today. He had been a resident in the United States for sixty years. He first came here with the Howson Opera Company. Last year he composed new musical settings for Rudyard Kipling’s “Rolling Down to Rio”.  

References: “SHIP NEWS”, Colonial Times (1 February 1842), 2:; ? [Advertisement], The Cornwall Chronicle (20 June 1846), 472:; [Advertisement], Empire (2 July 1859), 3:; “THE DRAMA”, Empire (21 June 1861), 5:; [Advertisement], The Sydney Morning Herald (13 November 1861), 1:; “THE OPERA”, The Sydney Morning Herald (15 November 1861), 8:; “The New Adelphi Theatre”, The Star (25 December 1862), 1s: [News], The Argus (21 January 1864), 4:; [Advertisement], The Argus (16 June 1864), 8:; [News], The Brisbane Courier (14 September 1865), 2:; “THE HOWSON OPERA COMPANY”, The Maitland Mercury (20 March 1866), 2:; “AMUSEMENTS”, The Sydney Morning Herald (2 April 1866), 4:; “NEWCASTLE. DEPARTURES”, The Sydney Morning Herald (12 April 1866), 4:; [News], The South Australian Advertiser (6 July 1872), 2:; “ROSINA CARANDINI’S BENEFIT”, South Australian Register (6 July 1872), 4:; “THE HOWSONS”, South Australian Register (21 October 1873), 5:; “AN AUSTRALIAN COMPOSER”, Launceston Examiner (1 July 1926), 5:




Violinist, conductor, arranger
Born ? London, 1821/22
Arrived Hobart, 28 January 1842 (per Sydney, from the Downs, 3 October 1841)
Died Castlemaine, 18 April 1893, aged 71

Summary: Henry Howson, son of Francis Howson senior, and a violinist, joined the Hobart Theatre on arrival with his brothers Frank Howson (1817-1869) and John Howson in January 1842 in the party of London singers and musicians recruited by Anne Clarke. He was one of the leaders of the orchestra there, a billing he shared with A. P. Duly (leader of the winds), and later with fellow violinists Gautrot and Leffler. He is probably also the but once-mentioned “W. H. Howson”, who played double bass for the Hobart Choral Society in 1844. At the Victoria Theatre Hobart on 3 February 1845, for his brother Frank‘s benefit, it was advertised that: “The Evening‘s Entertainments will commence with (for the first time in these Colonies) the very celebrated Opera, in three Acts, by Auber‘s MASANIELLO […] The whole of the Music arranged by Mr. Henry Howson.” Henry was also later in Sydney, working with his brothers at the Royal Victoria. Notably, at a benefit for John Howson in June 1850: “Production of the Operetta of the Two Figaros [Planché, London, November 1836], the Music selected from the Operas of The Barber of Seville, and The Marriage of Figaro, arranged for the Orchestra by Mr. Henry Howson.” He had settled in central Victoria by 1854, and was leader of the Sandhurst Philharmonic Society by 1866 and as late as 1877.  

(Hobart, December 1843): The musical department was entrusted to the Messrs. Howson and Duly who acquitted themselves in their usual good style. Henry Howson is an improving violinist, and shines in a ball-room […] Verily, Howson’s fiddlestick was as Merlins wand, it changed all the characters in an instant.

(Hobart, November 1845): A CARD. MR HENRY HOWSON, Teacher of the Violin and Guitar. Quadrille parties attended. For terms, enquire at Mr. Tegg’s, or at the residence of Mr. H., corner of Argyle and Brisbane Streets.

(Obituary): Death has removed another of the early pioneers of Castlemaine in the person of Mr. H. Howson, whose remains were interred today. After working on the Forest Creek Gold Fields in their prosperous days deceased started a music repository here, and for many years was conductor of an orchestra, Mr. Howson having been an efficient violinist.

(Obituary): News came to hand today announcing that Mr. H. Howson, for many years the leading musician in Castlemaine, had died at the advanced age of 71 years. Howson’s band was for many years acknowledged to be the best musicial combination in the district. Mr. Howson came to Castlemaine when musicians were very scarce in the colony; and by his energy and instruction succeeded in forming the first orchestra the town possessed. The fame of the Howson family, it is needless to say, was known through out the length and breadth of the colonies. A few years ago the fine old musician, while attending the service at Christ Church, was stricken down in his pew with paralysis. He recovered partially, but never was restored to his usual health and strength again. He retired from business, and peacefully passed away iu the midst of his talented sons and daughters. The deceased gentleman's remains will be brought to Campbell’s Creek, for interment.  

References: [Advertisement], The Courier (17 February 1843), 1:; “THE GOVERNMENT BALL”, Launceston Examiner (7 December 1843), 2:; “THE THEATRE”, Colonial Times (12 March 1844), 3:; “HOBART TOWN CHORAL SOCIETY”, The Courier (22 October 1844), 3:; [Advertisement], Colonial Times (1 February 1845), 1:; “ARRIVALS”, Launceston Examiner (7 June 1845), 4:; [Advertisement], Colonial Times (18 November 1845), 3:; [Advertisement], Colonial Times (9 December 1845), 1:; [Advertisement], The Sydney Morning Herald (4 May 1850), 1s:; “ROYAL VICTORIA THEATRE”, The Sydney Morning Herald (3 June 1850), 2:; [Advertisement], Bathurst Free Press (17 September 1851), 3:; [Advertisement], The Sydney Morning Herald (2 December 1851), 1:; [Advertisement], The Sydney Morning Herald (8 December 1851), 1:; “VICTORIA THEATRE”, Colonial Times (22 February 1853), 2:; “MARRIED”, The Argus (9 January 1854 ), 5:; [Advertisement], Bendigo Advertiser (13 August 1866), 1:; “AMUSEMENTS”, Bendigo Advertiser (4 November 1874), 3:; [Advertisement], Bendigo Advertiser (21 December 1877), 1:; “DEATH OF AN OLD MUSICIAN”, Bendigo Advertiser (19 April 1893), 3:; “FUNERAL OF AN OLD RESIDENT’, Bendigo Advertiser (20 April 1893), 3:; “CASTLEMAINE”, The Argus (20 April 1893), 6:



Tenor vocalist, pianist, trombonist, arranger, composer
Born London, c.1819
Arrived Hobart, 28 January 1842 (per Sydney, from the Downs, 3 October 1841)
Died Melbourne, 4 September 1871

Image: From Nellie Stewart, My life’s story (1923)

THIS ENTRY IS A STUB (concentrating so far largely on his compositions)

Summary: When Anne Clarke returned to Hobart in 1842 from her talent scouting trip to England, she brought with her a formidable batch of young talent, fresh from the Drury Lane Theatre in London—in addition to the Howson brothers, the singer/dancers Gerome Carandini and Emma Young, and the soprano Theodosia Stirling (by later marriages Guerin and Stewart, and mother of Nellie Stewart). The Howsons showed themselves in short order to be artists of the most flexible kind, singing in Italian opera, concert, oratorio, ballads, ballet, theatre, acting, and dancing (Frank’s wife Emma also acted, and danced with Carandini), playing the piano, as well as teaching, among much else, “thorough Bass”, the precursor of composition. John also regularly varied theatre and concert programs with trombone solos, some probably his own compositions, or semi-extemporised variations on well-known airs, as for example on Balfe’s ballad The Light of Other Days, performed at the family‘s Hobart debut, in February 1842, at Anne Clarke’s concert. At Mrs. Clarke’s “Theatrical Olio and Musical Melange” at the Theatre on 1 March 1842, John sang one of his own compositions, the song When I was in that happy place. On 29 August 1842, between the plays Carandini danced A New Pas Seul “(the Music composed by Mr. J. Howson)”, and in December A New Characteristic Venetian Furlana, “The Music composed by Mr. J. Howson”. The first of John‘s surviving publications, the Tasmanian Waltzes—a set of five plus introduction and coda—appeared in mid July, “printed for the author” by James Alexander Thomson, who was evidently a musical friend, and a fellow Catholic. This was followed, in mid-November, by the Tasmanian Waltzes, Second Series, again a set of five, with introduction and a substantial—almost orchestral—coda. They were dedicated to Lieutenant George Bagot, at the time the governor‘s acting aide-de-camp, and they were possibly first played (arranged for band) at a governor’s levee Bagot organised in late August. At the Theatre in February 1845, during “(for the first time in this Colony) a very celebrated Domestic Drama, of the most intense interest, entitled Blanche of Jersey”, John Howson, as Desvaux, sang another of his own compositions, the song In one of Jersey’s peaceful vales. But, on 4 March, after three years in Hobart, the Courier noted that John and Frank had advertised “[...] a Farewell Concert [...] Messrs. Howsons, with one or two others, are about to visit Launceston and Sydney, being at leisure, now that their engagement with the lessee of the Theatre has finally terminated.” Dating from two years into their time at Sydney theatre, John Howson‘s next surviving composition is the ballad The Bride’s Farewell to Her Mother. It was billed to be sung by Maria Carandini, at the Royal Victoria in October and December 1847. “At the request of a number of ladies”, it was published by James Grocott, on New Year’s Day 1848. John was also responsible for the music of at least two full-length colonial operas, one a pastichio, the other entirely original. The pastichio was based on a libretto by Charles Selby, adapted in turn from Auber‘s opera Lac de Fées, which had opened in London in 1839. In Hobart in 1843, Howson turned Selby’s shell into a “New Grand Romantic Opera, in Three Acts”, The Fairy Lake, or the Magic Veil, by adapting music not only by Auber, but also Hérold, Boildieu, Marschner, and Rossini. Apparently, little or none of Auber‘s original Lac de Fées music was then readily available in Hobart, for Howson’s score opened with Auber’s Masaniello overture, “Gautrot’s violin, and the bass horns of the bandsmen, adding much to the attraction of the music”. The Fairy Lake was revived several times, both in Hobart, and later in Sydney in May and June (twice) 1845, and again in 1846. The first performance, on 17 July 1843, was for John’s benefit,  and a supportive preview in the Courier left no doubt that the propular and deserving Howson’s labours on the adaptation were almost on a par with original composition: “With good judgment and a considerable share of painstaking, this young man has succeeded, by the completion of original scores to the melodies attainable in this place […] The trouble thus bestowed, away from the public gaze, may not meet with general appreciation; and it is with that impression that we urge for consideration merits, at all events of intention, which might, otherwise, escape notice. For Monday evening next Mr. J. Howson has 'got up' the interesting Opera entitled The Fairy Lake, on the musical partitions of which he has laboured for several months past. Amid other scenery will appear a moonlight view of the Romantic Pass in the Hartz Mountains, painted expressly for the occasion. Those who are acquainted with the names of Rossini, Auber, Herold, Boildieu, and Marschner, may justly imagine the music to be of no mean order, and, in itself, an attraction hardly to be withstood […].” The score is lost, though it is not entirely implausible that some of the ballet music from Howson's Fairy Lake survived in his Tasmanian Waltzes, the first set of which was first advertised on the morning after the premiere. His entirely original full-length opera (though also lacking its own overture; that to Herold's Zampa reportedly sufficed) was performed at least twice, first in Sydney on 4 December 1848, and again in January 1849. The Corsair (or Conrad and Medora), “the whole of the music composed by Mr. J. Howson”, was on the same libretto as—but on a larger scale than—G. F. Duly's 1846 Corsair in Hobart. As with Duly’s opera, it was probably also occasioned by the original music by Frank Romer not arriving in Sydney on time. John Howson himself was Conrad, Theodosia Guerin sang Medora, Frank Howson was the Pacha Seyd, and Maria Carandini played Gulnare. No list of numbers appears to survive, although something approximating it can probably be surmised from the original book and Duly’s numbers list from Hobart. Additionally, during “the course of the opera, a new grand Turkish Pas de Trois” was danced by the Misses Griffiths and Signor Carandini, possibly also to Howson’s music. On a humbler scale, John composed a ballad, Angry Words for Sara Flower, sung by her in June 1850. His last printed composition was advertised by Woolcott and Clarke at Christmas 1852; The Christmas Present Polka, though incomplete at the end in the NLA copy, is rather more than the run-of-the-mill dance music, taking off from the third page into a surprisingly flashy and idiomatic piano piece. John toured widely with Frank and family’s opera troupe in the early 1860s, but when they moved on to the United States in 1866, John alone remained behind. He had married Margaret Galvin in Sydney in January 1849, and they had a daughter and two sons. A third child born to Margaret in 1866 was subject of a paternity dispute as late as 1889. As was reported then: “Howson and his wife for some time before he left for Melbourne lived very unhappily. They were both addicted to habits of intemperance, and they used when under the influence of drink to quarrel with one another. John Howson, towards the end of the year 1863 or beginning of 1864, went down to Melbourne [...] And in the month of June, 1864, he got permanent employment in the establishment of Kilner and Co., piano manufacturers, as tuner, and he occupied that position permanently from that time until the time of his death in the year 1870 or 1871 […] The evidence relative to John Howson going down to Melbourne was that he was leaving his wife [...]”. He emerged from relative obscurity and “kindly volunteered his services” to sing Pollio to Anna Bishop’s Norma in a concert version in Melbourne in September 1868. He was killed in a road accident in September 1871.

Obituary: Our readers will remember the brothers Frank and John Howson, who, in the early days of opera in this colony, sustained the baritone and tenor characters [...] we now learn from the Melbourne journals that John Howson was knocked down by a spring-cart, in Queensberry-street, Melbourne, on the 4th instant, on received such injuries that he died shortly after.

Obituary: Death, with his unerring scythe, has been mowing the ranks of artistes known in Sydney […] In days long past the voice of no singer awakened sweeter echoes or roused greater enthusiasm than that of Mr. John Howson, the most gifted of the clever family of that name, and the one who had been allied in song with almost every artiste who visited this country. But the demon of intemperance hovered over his career, ruined his prospects, and was finally the cause of his death, apart from all his friends, by means of a lamentable accident, whilst still in the prime of life.

References: “SHIP NEWS”, Colonial Times (1 February 1842), 2:; [Advertisement], The Courier (4 March 1842), 1:; “THE CONCERT”, Colonial Times (15 February 1842), 3:; “MRS. CLARKE’S CONCERT”, The Courier (18 February 1842), 2:; [Advertisement], Colonial Times (1 March 1842), 1:; [Advertisement], The Courier (26 August 1842), 1:; [Advertisement], Colonial Times (15 November 1842), 1:; [Advertisement], The Courier (16 December 1842), 1:; “ROYAL VICTORIA THEATRE […] MR. J. HOWSON‘S BENEFIT”, The Courier (14 July 1843), 1:; “MR. JOHN HOWSON‘S BENEFIT”, The Courier (14 July 1843), 2:;  [Advertisement], Colonial Times (18 July 1843), 1:; [Advertisement], Colonial Times (6 February 1844), 1:; [Advertisement], Colonial Times (15 February 1845), 1:; “CONCERT”, The Courier (4 March 1845), 2:; [Advertisement], The Sydney Morning Herald (15 October 1847), 1:; [Advertisement], The Sydney Morning Herald (30 December 1847), 1:; [Advertisement], The Sydney Morning Herald (30 December 1847), 1:; “ROYAL VICTORIA THEATRE”, The Sydney Morning Herald (4 December 1848), 2:; “ROYAL VICTORIA THEATRE“, The Sydney Morning Herald (4 January 1849), 2:; “MARRIED”, The Sydney Morning Herald (20 January 1849), 3:; “BIRTHS”, The Sydney Morning Herald (8 November 1849), 3:; “DIED”, The Sydney Morning Herald (1 February 1850), 3:; [Advertisement], The Sydney Morning Herald (25 June 1850), 1:; “BIRTH”, The Sydney Morning Herald (27 May 1851), 4:; [Advertisement], The Sydney Morning Herald (22 December 1852), 3:; “BIRTH”, The Sydney Morning Herald (28 January 1853), 2:; “THEATRE ROYAL”, The Mercury (19 August 1863), 2:; [News], The Argus (20 June 1864), 5:; [Advertisement], The Argus (4 September 1868), 8:; [Advertisement], The Argus (31 December 1870), 1:; [Advertisement], The Argus (7 January 1871), 1:; “MR. JOHN HOWSON”, The Sydney Morning Herald (18 September 1871), 4:; “INQUESTS”, The Argus (7 September 1871), 7:; “Musical and Dramatic Review”, Australian Town and Country Journal (30 September 1871), 20:; “LAW REPORT […] HOWSON V. ROBINSON”, The Sydney Morning Herald (6 March 1889), 5:  


HOWSON, John junior (John Jerome)
Vocalist, violinist, cellist, composer
Born Hobart, TAS, 17 November 1842
Died Troy, NY, 16 December 1887
Soprano (mezzo) vocalist
Born Hobart, 28 March 1844
Died New York, 28 May 1928
HOWSON, Clelia (Sarah Clelia)
Soprano vocalist
Born Hobart, 8 June 1845 (registered Sydney, 1845)
Died Brooklyn, NY, 14 April 1908
Departed Newcastle, 10 April 1866 (per Japan, for San Francisco)

Images: John Jerome (above); Emma:; Clelia:;

Summary: John Jerome’s second name is presumably that of (? his godfather) Jerome Carandini. Curiously, Sarah Clelia’s birth was registered in NSW in 1845 [V1845785 35/1845], after “Mrs Howson and three children and servant” arrived in Sydney, on 5 August, to join Frank, who had been at Sydney theatre since May. As “Miss Sarah Clelia Howson”, she made her debut in a program of selections from Mendelssohn’s Elijah in September 1857, in “Go up, child, and look towards the sea” with her father Frank. Emma and Clelia made their stage debuts at their father’s benefit at the Royal Victoria in Sydney on 23 December 1858, in the third act of the opera The Night Dancers.

(Hobart, 1863): We leam with pleasure that there is every prospect of the [Theatre Royal] being opened for a brief season within a few weeks from tho present time by a company of professional artists, already long and favorably known throughout the Australian colonies, and some of them at least personally familiar to the residents of Tasmania. We refer to Messrs. Frank and John Howson, sen., Frank and John Howson, jun., and Misses Emma and Cecilia [sic] Howson, sisters of the last named gentlemen. The elder Messrs. Howson are, we need scarcely say, those to whom we have referred as personally known in this island, the junior members of the corps, although most, if not all of them natives of the colony, having left it at too early an age to admit of their having established professional reputation prior to their departure. These ladies and gentlemen have met with marked success wherever they hare appeared on the boards of the neighboring colonies. Miss Emma Howson (a native of Hobart Town) especially having created quite a furore as an operatic prima donna […]

(Brisbane, 1865): Miss Emma, the eldest, has a mezzo-soprano voice of wonderful sweetness that has been carefully cultivated, and Miss Clelia’s voice is a soprano, of exquisite purity, equally charming.

(1880): HOWSON, EMMA, was born in Hobart Town, Tasmania. She is a daughter of the late Frank Howson, and niece of Madame Albertazzi (Emma Howson), who some forty years ago was a favourite mezzo-soprano singer at Her Majesty's Theatre; sister also of the under-mentioned John Howson. As a child, Miss Howson was possessed of considerable musical ability, which developed under her father's instruction. At an early age she sang in concerts in Australia in conjunction with him and her brothers. She made her first appearance in English opera, June 1866, at Maguire’s Academy of Music, San Francisco, as Amina in “La Sonnambula”. After playing several successful engagements in California and other cities on the Central Pacific Railway route to the Eastern States {see Howson, John), Miss Howson made her debut in New York in 1869 in the opera of *Maritana” at Fiske's Opera House.  A twelve months’ season followed with the Riching’s “English Opera Combination”. Subsequently Miss Howson entered into a contract with Mr. C. D. Hess to play in English opera, and visited all the principal cities of the United States and Canada, playing the prima donna roles in Maritana, Fra Diavolo, Bohemian Girl, Martha, Oberon, The Marriage of Figaro, Der Freyschutz, and Trovatore. At Niblo’s Theatre, New York, she acted the character of Eily O’Connor in The Colleen Bawn. At the end of 1873 Miss Howson left the United States for Europe, and went to Milan to study the Italian repertory and language under Signor Lamperti. In March 1875 she made her debut in Italian opera at the Teatro Manoel, Malta, in the part of Amina (La Sonnambula). Afterwards Miss Howson appeared at the same theatre in Martha, and during the season sang in these two operas. In the autumn of the same year she went to Leghorn, and sang there in Meyerbeer's Dinorah with considerable success. In the beginning of 1876 she accepted an engagement for a provincial tour in England in Italian opera, during which she performed the prima donna roles in Le Nozze di Figaro, Lucia di Lammermoor, Rigoletto, Don Giovanni, Maritana, Der Freyschutz, Les Huguenots. Her various performances were very favourably noticed in the local press. Miss Howson made her debut on the London stage at the Opera Comique, on Saturday, May 25, 1878, as Josephine , first performance of H.M.S. Pinafore, comic opera, by MM. W. S. Gilbert and Arthur Sullivan, her “clear and pure soprano voice, and refined and unaffected style, rendering full effect to the music of her part” (Daily News, May 27, 1878). In this opera Miss Emma Howson appeared from the date of its first performance down to April 1879. She subsequently went to New York to appear in the same role.

(1880): HOWSON, JOHN, was bom in Hobart Town, Tasmania, November 17, 1844 [recte 1842], and is second son of the late Frank Howson and brother of the above-named Emma Howson. He first appeared on the stage as a lad at the Royal Victoria Theatre, Sydney, N.S.W., under his father’s auspices. During the period of the gold fever in Australia, and the engagement of Catherine Hayes, he sang in the chorus in La Sonnambula at the same theatre. After various fortune incidental to colonial life, “serving for a time in a lawyer’s office, then a ship chandler’s, afterwards, for two years, as assistant to a fashionable dancing master, devoting spare hours to education, the study of music, and practice of the violin”, John Howson formed, in conjunction with other members of his family, a concert company to visit “the Diggings”, Ballarat, Victoria, &c. Of this organization he was the principal violinist and “general utility” man. In 1865, at Brisbane, Queensland, “tasting the sweets of applause in a burlesque character, that of Phineas in Perseus and Andromeda, he decided on adopting the stage as a profession. In March 1866 he left Australia with his family for San Francisco. Touching at Tahiti, Society Islands, the Howsons gave two concerts under the patronage of Queen Pomare and other notabilities. Mr. Howson was for three years resident in San Francisco, appearing at the theatre in the “usual round of comedy and character business”. In May 1869, en route to the Eastern States, he played the part of General Boom in La Grande Duchesse at the theatre Great Salt Lake City—“a piece which the Prophet and President, Brigham Young, witnessed on three consecutive nights.” Mr. John Howson made his first appearance on the New York stage in November 1869, at Wood's Museum, as Upton Spout in the old Adelphi farce The Pretty Horsebreaker, and as the Widow Twankay in H. J. Byron’s burlesque of Aladdin. He was for a time a member of the company of Booth’s Theatre, and in the orchestra of the Grand Opera House as violinist. […] He first appeared on the English stage at Brighton, September 3, 1877 […]

References: “BIRTH”, The Cornwall Chronicle (14 June 1845), 2:; [Advertisement], Empire (3 September 1857), 1:; [Advertisement], The Sydney Morning Herald (23 December 1858), 1:; [Advertisement], The Sydney Morning Herald (1 September 1859), 1:; [Advertisement], Empire (21 January 1862), 1:; “COMPLIMENTARY CONCERT TO MR. CORDNER”, The Sydney Morning Herald (31 January 1862), 5:; [Advertisement], The Sydney Morning Herald (6 September 1862), 4:; “THE THEATRE”, The Brisbane Courier (23 September 1865), 4:; “THE HOWSON OPERA COMPANY”, The Maitland Mercury (20 March 1866), 2:; “AMUSEMENTS”, The Sydney Morning Herald (2 April 1866), 4:; “THEATRE ROYAL”, The Mercury (19 August 1863), 2: “THE DRAMA”, The Brisbane Courier (28 March 1865), 3:; “NEWCASTLE. DEPARTURES”, The Sydney Morning Herald (12 April 1866), 4:; “THE HOWSONS”, South Australian Register (21 October 1873), 5:; “HOWSON, EMMA”, “HOWSON, JOHN”, in Charles Eyre Pasco, Our actors and actresses. The dramatic list (London: David Bogue, 1880), 188-89:; “JOHN HOWSON. To the Editor”, The Brisbane Courier (27 April 1923), 5: 

Resources: Emma Howson, Wikipedia; Nicole Anae, “The new prima donnas”: “homegrown” Tasmanian “stars” of the 1860s Emma and Clelia Howson, Journal of Australian Studies 28/84 (2005), 173-181:


HOWSON, Walter
Clarinettist, vocalist, banjo player, blackface minstrel
HOWSON, Frederick
Arrived Hobart, 21 August 1843 (per Eamont, from London, 15 February)
HOWSON, Master W.
HOWSON, Master F.
Arrived Sydney, 11 February 1844 (per Alfred, from London, 2 November 1843)
Arrived Hobart, 2 March 1844 (per Louisa, from Sydney, 17 February)

Summary: I have yet to satisfactorily untangle the identities of two documented arrivals, Mr. W. Howson (who arrived with Mr. A. Howson, presumably Alfred) in 1843, and “Master W. Howson”, who arrived with Master F. Howson (apparently not Frank Alfred Howson junior) in company with Francis Howson senior, in 1844. At the Masonic Bespeak in Hobart in September 1844 “Mr. W. Howson” was said to have improved on the clarinet. It appears likely to have been the latter pair, however, that appeared at the Launceston Theatre Royal Olympic in June 1846 in a “COMIC SONG, “The Werry Identical Flute”, by MR. OSBORNE, with drum and whistle accompaniment, by Masters F. and W. HOWSON, pupils of Mr. Osborne”. On 10 July, “Mr. Howson and Sons” (presumably then Francis senior and Masters F. and W., the “little boys”) took their benefit, which included:

SONG, “Parody on the Misletoe Bough”, Mr OSBORNE
AIR, with Variation (Violin) MR. HOWSON
By particular desire, SONG, “Parody on Buy a Broom, Mr. OSBORNE.
By particular desire, NAVAL HORNPIPE, by MR.COONEY
VENETIAN STATUES By Masters W. & F. Howson, pupils of Mr. Osborne.

A year later in Sydney, at John Howson’s benefit, was billed the “FIRST APPEARANCE OF MASTERS F. & W. HOWSON, In the classical delineation of Grecian and Roman Sculpture”.  

By 1848, Master W. Howson was showing “considerable comic talent in his Nigger Melodies”, and was being billed still as “Master W. Howson” for his Ethiopian melodies in August 1852. Having appeared in a family minstrel troupe in Bathurst in September 1851, by December he had joined Howard’s Serenaders on tour as banjoist and vocalist. Evidently the same person, he finally appeared as Walter Howson as “the great Banjo Soloist and Primo Buffo”, together with pianist and composer Richard Herz, in April Ballarat in 1864.

(September 1844): Of the musical selection from La Somnambula we have formerly spoken. Mr. W. Howson improves, we think, on the clarionette.

(Sydney, December 1848): After the opera, Master Walter Howson exhibited considerable comic talent in his Nigger Melodies; particularly in the duet of Lucy Long, in which he had the able assistance of Mr. Hydes.

(Bathurst, 1851): MR. F. HOWSON Violoncello & Pianoforte. MR. J. HOWSON Tenor Trombone, Pianoforte, and Tambo. MR. H. HOWSON Leader: Violin. MR. W. HOWSON Banjo, &c, MR. HYDES Flute, Cornet-a-Piston, and Bones. MR. GUERIN Violin; &c.

 (Hobart, 1853): Mr. and Mrs. Upson and Mr. Frederick Howson, from the Sydney Theatres, having arrived, they will have the honour of making their first apperance in the course of the week.

(Hobart, 1853): “Sudden Thoughts” blught forward Mr. Frederick Howson as Jack Cabbage, his cabbage-stalks preposterously decorated with drapery of pickled cabbage hue, and who proved himself but a raw vegetable in representing the unfledged goose of the metropolitan shop-board. The sudden thought, or impulse, which has induced him to believe he can vegetate upon the stage has deceived him grossly […] and it was with a deep sensation of regret we heard a patriarchal old gentleman, sitting near us, possibly, the nearest paternal relation of the stage struck hero, in hopeless despair, ejaculate, “How-Son! How-Son! How hast thou acted, Son!”

(Perth, November 1870): A grand complimentary benefit was given to Mr. Walter Howson by the Fremantle Colored Opera Troupe at the Town Hall on Monday evening. The room was well filled, and the audience highly appreciated the very excellent performances arranged for the evening’s amusement. His Excellency the Governor kindly extended his patronage and was present, accompanied by Mrs. Weld and suite.

References: “ARRIVALS”, The Courier (25 August 1843), 2:; “ARRIVED”, The Australian (17 February 1844), 2:; “CLEARANCES”, The Sydney Morning Herald (17 February 1844), 2:; “CLEARED AT CUSTOMS”, The Australian (17 February 1844), 2:; “SHIPPING INTELLIGENCE”, Colonial Times (5 March 1844), 2:; [Advertisement], The Courier (16 August 1844) 3:; “THE THEATRE. MASONIC BESPEAK”, Colonial Times (17 September 1844), 3-4:; [Advertisement], Colonial Times (16 November 1844), 1:; [Advertisement], The Cornwall Chronicle (17 June 1846), 461:; “THE THEATRE”, The Cornwall Chronicle (8 July 1846), 520:; [Advertisement], The Cornwall Chronicle (8 July 1846), 522:; [Advertisement], The Australian (19 June 1847), 2:; [Advertisement], Bell’s Life in Sydney (16 December 1848), 3:; “THE DRAMA”, Bell’s Life in Sydney (23 December 1848), 2:; [Advertisement], Bell’s Life in Sydney (11 August 1849), 3:; “ROYAL VICTORIA THEATRE”, Empire (10 August 1852), 2:; [Advertisement], Bathurst Free Press (17 September 1851), 3:; [Advertisement], The Sydney Morning Herald (2 December 1851), 1:; [Advertisement], The Sydney Morning Herald (27 August 1852), 1:; [Advertisement], The Sydney Morning Herald (24 September 1852), 1:; [Advertisement], The Argus (2 November 1852), 6:; [Advertisement], The Courier (28 May 1853), 2:; “ROYAL VICTORIA THEATRE”, The Courier (2 June 1853), 2:; [Advertisement], The Courier (13 October 1853), 2:; [Advertisement], The Star (12 April 1864), 3:; “MR. WALTER HOWSON”, The Brisbane Courier (17 March 1866), 4:; “MR. HOWSON’S BENEFIT”, The Inquirer (30 November 1870), 3:



HUDSON, George W.
Member of the theatrical orchestra, bandmaster (City Band), music seller, music publisher
Born ? UK,
Active Sydney, by 1844
Died Sydney, 27 July 1854, aged 46

HUDSON, Master (? George,  junior)
Orchestral musician
Active by 1854

Summary: George Hudson first appeared as a music publisher in 1844 with the release by “Hudson and Co.” of 99th Regiment bandsman, William Cleary’s original ballad My loved my happy home, from his musical retail premises at 377 Pitt Street North. Hudson’s connection with this bandsman was perhaps not incidental, for he was later a bandmaster himself, and as a publisher took a special interest in popular songs and dance band music, especially polkas. He was apparently also a member of the orchestra at the Royal Victoria under John Gibbs. Gibbs went briefly into a business partnership, nominally with Hudson’s wife Elizabeth, in 1850-51, perhaps not unconnected with the fact that by February 1852 George was newly insolvent. He must have continued trading, at least sufficiently to be the subject of a good-natured Bell’s Life lampoon in July that year. In 1853-54 he published two polkas by his young orchestra colleague, violinist George Strong. Early in July 1854 he was advertising the services of a band along with John Gibbs and William Johnson, but died after a short illness later that month. In August, Master Hudson was listed as a member of Lewis Lavenu and John Gibbs's orchestra for the season at the Royal Victoria Theatre, presumably the son taking the place of his late father. Elizabeth Hudson appears to have continued her late husband's business until she sold up the stock and good-will early in 1858.

January 1849: Music. The charming little ballad, Will you love me then as now? so effectively sung by Madame Carandini, at the Victoria Theatre, has been published by Mr. G. Hudson, music-seller, Pitt-street. It is got up in excellent style, and the thanks of the public are due to Mr. Hudson for having dashed into the spcculation of music publishing for their convenience, in a time of unparalelled gloom and depression [see also ? earlier Hudson edition: Will you love me then as now?]

September 1849: […] the lively Polkas of the military band, responded to by those of the city [band], led by the illustrious Hudson, “the railway galop king”, roused us from our reverie, and recalled us to our usual observing mood. 

1858: FOR SALE. The Music and Musical Instruments, &c, belonging to the late G. W. Hudson, and also the goodwill, fixtures, &c., of the shop. Apply at No. l8, Pitt-street North, opposite the Union Bank.

References: [Advertisement], The Sydney Morning Herald (23 August 1847), 1:; “MUSIC”, Bell’s Life in Sydney (20 January 1849), 2:; “Australian Botanic and Horticultural Society”, Bell’s Life in Sydney (29 September 1849), 2:; “Gala-Day at Botany Gardens”, Bell’s Life in Sydney (5 January 1850), 2:; [Advertisement], The Sydney Morning Herald (25 February 1850), 1:; [Advertisement], The Sydney Morning Herald (23 March 1850), 1:; [Advertisement], The Sydney Morning Herald (25 March 1850), 1:; [Advertisement], The Sydney Morning Herald (10 April 1851), 3:; [Advertisement], The Sydney Morning Herald (1 December 1851), 3:; “NEW INSOLVENT”, The Sydney Morning Herald (7 February 1852), 4:; “A CARD”, Bell’s Life in Sydney (31 July 1852), 2:; [Advertisement], The Sydney Morning Herald (25 November 1852), 3:; “CENTRAL POLICE COURT”, The Sydney Morning Herald (28 February 1854), 5:; [Advertisement], The Sydney Morning Herald (10 July 1854), 1:; “DEATHS” and “FUNERAL”, The Sydney Morning Herald (29 July 1854), 5:; [Advertisement], Empire (25 August 1854), 1:; [Advertisement], Bell’s Life in Sydney (26 August 1854), 3:  [Advertisement], The Sydney Morning Herald (17 January 1857), 1: from; “DONATIONS TO THE AUSTRALIAN MUSEUM DURING FEBRUARY, 1858”, The Sydney Morning Herald (5 March 1858), 5:; [Advertisement], The Sydney Morning Herald (10 August 1858), 12:

Selected publications:
William CLEARY, My loved my happy home (Sydney: G. Hudson, [1844]): “NEW MUSIC”, The Sydney Morning Herald (21 August 1844), 4:
Charles NAGEL: The Banner of Old England (Sydney: G. Hudson, [1845]): [Advertisement], The Sydney Morning Herald (9 August 1845), 1:
George STRONG: The Escort Polka (Sydney: G. Hudson, [1853]): “ROYAL VICTORIA THEATRE”, The Sydney Morning Herald (7 January 1853), 2:
George STRONG, Catodon Polka (Sydney: G, Hudson, [1854]): [Advertisement], Empire (14 January 1854), 1:




HUENERBEIN, August Christian
Pianist, band musician, clarinettist, trombone, tuba and ophicleide player, music retailer and publisher, composer
Born Germany, 1823
Active Adelaide, by 1850; Melbourne, by 1852
Died Sydney, 29 November 1882, aged 59

HUENERBEIN, August (jun.)
Musician, music retailer

Summary: An associate of Andrew and Rachel Moore, George Coppin and Wellington Wallace, “Augustus Huenerbein, musician, Pirie street” was active in Adelaide concerts, theatre and choral society in 1850 -51. By June 1852, along with serveral other Adelaide musicians (including his friend C. A. F. Mater) he was in Geelong and Melbourne, where 20 years later he opened a new music warehouse in Russell Street, later trading under his late friend’s name as “Mater and Co.” Having both recently been elected associates of Musical Association of Victoria, August and his son Charles moved themselves and their business to Sydney in the mid to late 1870s. At Aimee Saclier’s concert there in November 1879: “The songs were accompanied hy Mr. A. C. Huenerbein, who took part in the duet with Miss Saclier, and also in the tutti portions of the Mendelssohn Concerto.” August senior having recently died, Charles and his brother August junior were pallbearers at Charles Packer's funeral in July 1883, and they later raised funding for the publication of an edition of Packer's oratorio, which became available in April 1886. According to a report of Packer's death: “Mr. August Huenerbein has the scores of “David,“ an oratorio and of many other compositions, which will yet be published, and which will long preserve Charles Packer’s name from oblivion.“ Charles and August dissolved their business partnership in 1888.

(1886): MANY in this colony will remember the late Charles Packer, and probably several have had the pleasure of hearing his “Crown of Thorns“ unformed in the adjoining colony. Since the death of the composer the publication of this charming compoiition has been undertaken by subscription, and the subscribers, and musicians generally, will be glad to learn that the work has arrived by the Liguria, and is being delivered by Mr. August Huenerbein, of Sydney, the honorary secretary of the Packer Fund. As this is a purely Australian production it is to be hoped we shall have the pleasure of hearing it rendered by our Musical Union. 

References: “DECLARATION OF CONFIDENCE IN MR JOHN STEPHENS”, South Australian Register (7 March 1850), 2s:; [Advertisement], South Australian (2 April 1850), 3:; [Advertisement], South Australian (5 july 1850), 1:; [Advertisement], South Australian Register (28 August 1850), 2:; “PROMENADE CONCERT”, South Australian Register (27 November 1850), 3:; [Advertisement], South Australian (11 March 1851), 2:; [Advertisement], South Australian Register (16 September 1851), 1:; [Advertisement], The Argus (3 June 1852), 5:; [Advertisement], The Argus (27 August 1852), 3:; [Advertisement], Geelong Advertiser (19 June 1852), 2:; [Advertisement], Geelong Advertiser (28 August 1852), 2:; “SATURDAY'S CONCERT“, Geelong Advertiser (30 April 1855), 2:; “Melbourne”, Süd Australische Zeitung (23 October 1863), 3:; [Advertisement], The Argus (30 August 1872), 3:; [Advertisement], The Sydney Morning Herald (13 July 1874), 8:; [Advertisement], The Sydney Morning Herald (24 March 1875), 2:; [News], The Argus (14 August 1876), 4:; “TO THE EDITOR”, The Sydney Morning Herald (1 January 1877), 6:; “Deaths”, The Sydney Morning Herald (1 December 1882), 1:; “Funerals”, The Sydney Morning Herald (1 December 1882), 16: h; [Advertisement], The Sydney Morning Herald (3 April 1886), 15:; “SOCIAL”, The Sydney Morning Herald (28 July 1883), 11:; “Musical Echoes“, The Queenslander (1 May 1886), 690:; [Advertisement], The Sydney Morning Herald (13 April 1888), 2:

Performances and musical compositions:
Waltz The Victoria ([Advertisement], South Australian Register (15 October 1850), 2:; [News], South Australian Register (16 October 1850), 3:; [Advertisement], South Australian Register (29 October 1850), 2:
March Adelaide ([Advertisement], South Australian Register (29 October 1850), 2:
Duet for 2 clarinets ([Advertisement], South Australian Register (26 November 1850), 2:
Galop Sonnambula ([Advertisement], South Australian Register (26 November 1850), 2:
Solo for Tuba basso on a Theme from Mozart’s opera Don Giovanni ([Advertisement], South Australian Register (12 March 1851), 2:
Vaterlandslied (Worte von Freiherr v. Boden, comp. von Hünerbein) (“Victoria”, Süd Australische Zeitung (26 July 1862), 3:
Jagdlied (Chor und Orchester) v. Hünerbein (“Victoria”, Süd Australische Zeitung (26 November 1862), 2:
March (composed especially for the Festival of the German Association) (“The Festival of the German Association”, The Argus (29 December 1863), 5:

Reminiscence of the Garden Palace Schottische (by Charles S. Packer) (Sydney: A. Huenerbein, [1882])
Paddy’s Polka (Composed by Chas. S. Packer; “To my friend August Huenerbein”) (Sydney: A. Huenerbein, [1883])
The Crown of Thorns (or, Despair, Penitence, and Pardon, an oratoio, words and music by Charles S. Packer (Sydney: A. & C. Huenerbein, [1886])



Pianist, concert manager, music retailer and publisher, composer
Born Melbourne, 1859/60
Died Sydney, 11 March 1908, aged 48

HUENERBEIN, Maria (Mrs. Charles)
Pianist, teacher of piano and accompanying

(1882): The chief musical events of the past few days have been the Scotch concert of Miss Clara Hamilton, and the concert given on last Saturday afternoon in the Garden Palace by Mr. Charles Huenerbein. […] The Konoowarra Polka, composed by Mr. C. Huenerbein, was then performed by the orchestra, aided by six young lady pianists, and went so well that Terpsichore herself, had she been prosent, might have justly placed a garland on the brow of the author.

Obituary: The death of Mr. Charles Huenerbein, who in his palmy days was recognised as the best accompanist in Australia, occurred in Sydney on Wednesday. He played for all the leading singers who visited Sydney, and was an old friend of Madam Melba and of many other vocalists of great fame. The “Australian Star”, referring to his death, said: “Recognising the artistic qualities of Madame Melba before her “discovery” by the English and foreign critics in 1887 the late Mr. Huenerbein was one of those who induced the Melbourne singer to visit this city in 1885. This was shortly after David Mitchell’s daughter had made her debut in Melbourne as the late Signor Cecchi’s best pupil. Mr. John Lemmone made his first appearance the same year in Melbourne as a flautist. The singer and the flautist appeared on the same platform. In Sydney in 1885 Madame Melba sang at the Theatre Royal with John Kruse, the violinist, as the star performer, and she also assisted at a Sydney Liedertafel concert under the baton of the late John A. Delaney. A little later the brillant Melbourne singer was taken on tour by the late Mr. Huenerbein. During her visit to Australia in 1902, and again while she was singing in Sydney towards the end of last year, Madame Melba made enquiries about the man who used to play her accompaniments divinely; but the pianist and the singer did not meet. For the past six or seven years the late Mr. Huenerbein had been in bad health and he was also in “low water” financially, having lost his income as a teacher.

References: [News], The Argus (2 October 1876), 4:; [Advertisement], The Sydney Morning Herald (1 February 1877), 12:; [Advertisement], The Sydney Morning Herald (28 July 1879), 2:; “Music and the Drama”, Australian Town and County Journal (21 January 1882), 13:; [Advertisement], The Sydney Morning Herald (3 March 1885), 3:; “DIED” , The Sydney Morning Herald (12 March 1908), 6:; “PERSONAL”, The Advertiser (16 March 1908), 4:; “THE ART OF ACCOMPANYING”, The Sydney Morning Herald (13 March 1909), 14:; [Advertisement], The Sydney Morning Herald (30 March 1912), 9:

Musical works:
Rodondo Schottische (Sydney: [Huenerbein], [1881]) 
Rodondo Schottische (Third Edition)
Konoowarra Polka (Sydney: Charles Huenerbein, [1881])
Leura Waltz (Sydney: A. &. C. Huenerbein, [1884])
To the front (“Raise high Australia’s banner”; a patriotic song) (Sydney: A. & C. Huenerbein, [1885])
Bushmen to the front (patriotic song: “Raise high Australia’s banner) (Sydney: H. S. Chapman, [1900])
The Plateau Valse (Sydney, [1886])
Lisgar March ([Sydney, [1886])
The Beatrice Waltz (Sydney, [1894])



HUENERBEIN, Franz (Francis)
Professor of Pianoforte, Singing, Organ
Active Melbourne, by 1872

References: [Advertisement], The Argus (2 October 1872), 1:; [News], The Argus (6 March 1875), 7: h; “Funerals”, The Sydney Morning Herald (1 December 1882), 16: h; [Advertisement], The Sydney Morning Herald (1 August 1883), 2:; [Advertisement], The Sydney Morning Herald (1 August 1884), 2:; [Advertisement], The Sydney Morning Herald (3 June 1885), 11:  


HUGHES, Henry S. (Professor)
Professor of music, violinist, organist, choirmaster, composer
Arrived Melbourne, by December 1863


Summary: Professor Hughes, “pupil of the celebrated violinist and composer Herr Molique” (Bernhard Molique), first advertised violin classes in Melbourne in December 1863, and in February 1864 the Theatre Royal announced that its “unrivalled band […] has been placed under the baton of the distinguished composer and instrumentalist, Professor HUGHES, who has just arrived from London”. In 1868, Hughes was victim of a curious case of musical larceny, where one Edward Goodliffe tried to pass off some of Hughes’s manuscript compositions as his own. Hughes’s operetta (“opera di camera”) Les Fleurs de Savoie, in which “all the characters sustained by ladies”, was produced at the Melbourne Athenaeum in 1874-75. In the 1890s Hughes was active in Sydney, Perth and Adelaide (as late as 1898). According to an 1874 death notice for his mother (died in Dublin), she was the widow of “the late P. H. Hughes, Esq., formerly of Corfu, Santa Maura, and Zante“. At the Theatre Royal in April 1854, Professor Hughes introduced P. H. Hughes's The Pantomime Galop, copied of which had also been “Just received by Wilkie, Webster, and Co.“, and performed by Zeplin’s Band.

References: [Advertisement], The Argus (7 December 1863), 8:; [Advertisement], The Argus (20 February 1864), 8:; [Advertisement], The Argus (15 March 1864), 8:; [Advertisement], The Argus (25 June 1864), 8:; [Advertisement], The Argus (22 June 1865), 8:; [Advertisement], The Argus (11 April 1866), 8:; “RECEPTION AND PROFESSION OF SISTERS OF MERCY”, The Argus (19 October 1866), 6:; [Advertisement], The Argus (11 August 1868), 8:; [News], The Argus (18 November 1868), 4:;  [News], The Argus (26 November 1868), 4:; “DEATHS”, The Argus (8 April 1874), 1:; [Advertisement], The Argus (11 December 1874), 8:; “MUSIC”, The Australian Sketcher (26 December 1874), 155:; “MUSIC”, The Australian Sketcher (12 June 1875), 42:

Extant musical works:
Geneviève (ballad) (Melbourne: Paling & Co., [?])
Miss Lizzie Watson's serio-comic casket (containing six of her original and copyright songs, never before published arranged for the voice and pianoforte by Professor Hughes) (Melbourne: Clarson, Massina, and Co., 1872)
God is forever with man! (Sydney: Nicholson &​ Co., [1886])
Three times three (Sydney: Published by the Composer, [?])

Works attributed to P. H. Hughes:
O salutaris (composed expressly for the Convent of Mercy, Melbourne by P. H. Hughes) ([Melbourne: Convent of Our Immaculate Lady of Mercy, 1865])
Santa Maria! [Meyerbeer] (arranged by P. H. Hughes) ([Melbourne: Convent of Our Immaculate Lady of Mercy, 1865])
The Cricketers’ Waltz (composed expressly) (The Illustrated Melbourne Post (25 January 1864))



HUMBY, John Cross

Professor of Music, pianist, music retailer
Arrived Moreton Bay, 1850 (per Mount Stuart Elphinstone, from England, 1 June 1849)

Summary: Within months of his arrival, Humby was granted a ticket of leave, and he set himself up as a shoemaker “from London” in December 1850. He appeared as an accompanist-pianist for G. F. Poole, presented musical entertainments, and advertised as a music retailer, “Having publicly introduced Music into Moreton Bay”. His business seems to have failed by late 1854 and some of his stock was auctioned off by a creditor in 1855.

References: “TICKETS OF LEAVE”, The Moreton Bay Courier (30 March 1850), 3:; [Advertisement], The Moreton Bay Courier (14 December 1850), 1:; “BREACH OF TICKET-OF- LEAVE REGULATIONS”, The Moreton Bay Courier (23 August 1851), 2:; [Advertisement], The Moreton Bay Courier (23 October 1852), 3:; [Advertisement], The Moreton Bay Courier (29 October 1853), 3:; [Advertisement], The Moreton Bay Courier (30 September 1854), 3: ; [Advertisement], The Moreton Bay Courier (12 May 1855), 3:




HUNT, Joseph
Vocalist (Emu Plains Theatre), ballad singer, convict
Arrived NSW, 12 July 1824 (per Countess of Harcourt, 16 March 1824)
Died Bathurst, ? 1861, aged 67; or 2 April 1846, in his 56th year

Summary (O’Connell, 1836): The was also a theatre at Emu plains, about thirty miles from Sydney, on the Bathurst road […] Here I first heard Hunt sing. Hunt was transported as a confederate of Thurtle in the murder of Ware ; a crime which was perpetrated in England about the year 1823 […] Hunt by turning king's evidence had his punishment commuted to transportation […] Hunt’s sentence was the most severe one ever known in the colony […]  he was sentenced perpetually to a chain-gang. He was an excellent ballad singer, and this accomplishment procured him the temporary alleviation of his sentence enjoyed while singing songs and ballads upon the stage. I believe, however, this was but temporary; as when, by the interest of the Sydney theatre-goers with the Bathurst authorities, Hunt was permitted to ‘star it’ in Sydney, the papers took the authorities so severely to task for permitting it, that Hunt was remanded to the chain-gang, after his first appearance.

References: “DIED”, Morning Chronicle (8 April 1846), 3:; “A BYGONE SPORTING NOTORIRTY”, The Queenslander (9 January 1869), 9:

Other references: A full account of the atrocious murder of the late Mr. W. Weare (London: Sherwood, Jones, and Co., 1823), 70:; James O’Connell, A residence of eleven years in New Holland and the Caroline Islands: being the adventures of James F. O’Connell edited from his verbal narration (Boston: B. B. Mussey, 1836), 43:;view=image;q1=music;start=1;size=100;page=root;seq=51;num=43; Roger Therry, Reminiscences of thirty years’ residence in New South Wales and Victoria (London: Sampson Low, Son, and Co., 1863), 99:

Web:;; Eric R. Watson (ed.), Trial of Thurtell and Hunt: “Hunt was placed on board the Countess of Harcourt, convict ship, on 8th March; she sailed on the 16th, and Hunt, instead of being murdered on the voyage, as Ballantine has related, duly landed in Botany Bay, was moved inland to ‘The Felons’ Paradise’ in Wellington Valley, and later on was assigned as a servant to a Mr. Jonathan Slattery at Bathurst, where he was living when her late Majesty ascended the throne” (45-46)




Architect, choirmaster, vocalist
Born Nottingham, England, 10 October 1832
Arrived South Australia, 1848
Active Hobart, 1856-88
Died Brisbane, QLD, 17 October 1892

1859: As usual the music was excellently performed, Mr. Edwin Hooke presiding at the organ, and Mr. II. Hunter leading the choir. The following was the music selected for the occasion: Kyrie in B flat—Haydn I; Gloria, Credo, Sanctus, and Benedictus—Van Bree; Agnus Dei in B flat—Haydn I. This pretty little church was built under the auspices of Mr. Henry Hunter, to whose architectural taste it bears full testimony […]

References: “CAMPBELL TOWN”, Launceston Examiner (1 July 1856), 3:; “OPENING OF SAINT MICHAEL’S CHURCH CAMPBELL TOWN”, The Hobart Town Mercury (5 October 1857), 3:; “OPENING OF THE CATHOLIC CHURCH OF ST. JOHN THE BAPTIST, O’BRIEN’S BRIDGE”, The Hobart Town Daily Mercury (9 March 1859), 2:; [Advertisement], The Mercury (20 June 1864), 1:; “RELIGIOUS”, The Mercury (24 December 1867), 3:; “COMPLIMENTARY TEA PARTY”, The Mercury (26 August 1874), 2:; “DEATHS”, The Brisbane Courier (18 October 1892), 4:; “ORGANIST’S UNIQUE RECORD”, The Mercury (1 September 1923), 15:; “THE LATE MISS REICHENBERG”, The Mercury (13 July 1932), 6:

Resources: D. I. McDonald, Hunter, Henry (1832-1892), Australian Dictionary of Biography 4 (1972);



HUNTER, William
Pianoforte maker and tuner
Active Melbourne, 1853

Teacher of the Pianoforte

References: [Advertisement], The Argus (25 January 1853), 7:; ? [Advertisement], The Argus (8 November 1858), 1:



Piano maker, tuner, selector, importer (Hurford and Co.)
Active Sydney, by 1853

References: [Advertisement], The Sydney Morning Herald (7 May 1853), 3:; [Advertisement], The Sydney Morning Herald (10 July 1856), 8:; [Advertisement], The Sydney Morning Herald (24 January 1866), 3:; “INDUSTRIAL EXHIBITION”, Empire (20 march 1861), 5:; “ANNUAL MEETING OF THE SYDNEY PHILHARMONIC SOCIETY”, The Sydney Morning Herald (17 August 1864), 5:



Violinist, conductor, flautist
Active Beechworth, VIC, by 1855

References: [Advertisement], Ovens and Murray Advertiser (26 May 1855), 6:; [Advertisement], Ovens and Murray Advertiser (17 March 1857), 3:; [Advertisement], Ovens and Murray Advertiser (17 March 1858), 3:



Musician, pianist, piano-tuner

Pianist, composer, music educator
Born Melbourne, 20 July 1871
Died USA, 9 February 1951


Debut (1877): Ernest Hutcheson, aged five years and a few months (says the Daily, Telegraph, of February 27), is the son of Mr. David Hutcheson, of Carlton, and the little fellow is undoubtedly a prodigy. The child was introduced to a few musical people yesterday at Mr. Allan’s in Collins street. Perched on his knees in a chair; he performed the fantasia, by Gautier, from “ll Trovatore”; a fantasia, by the same composer, from Don Giovanni; the Seige of Rochelle, by Chotek; “La Sympathie” by Comettant and a number of other difficult selections, and the execution, time, and expression of the performances was more than extraordinary. The child had not muscular strength enough to bring out the full tones of the piano where they were required, but he proved that he knew exactly what should be done though he could not do it. Mr. Julius Herz tasked him severely by striking chords on the piano when his back was to the instrument, but the child named every note in each case without any hesitation, and never made a mistake. It is ten months since he first touched a piano, and he has had no tuition further than what he has received from his father, who states that the boy has chiefly taught hitnself. He sits down to the piano and sometimes plays for four hours without stopping, reading the most difficult music with ease. Mr. Herz Herz will probably take charge of the little wonder, and it will be interesting to watch his career.

Court evidence (1878): The statement of David Hutcheson, of 2 Grattan terrace, Grattan street Carlton, was in substance as follows: In my youth I was apprenticed us a blacksmith and fitter, but now I am a musician and pianoforte tuner I teach piano playing. Before I was 15 years of age I was a band master and an organist of a church. Before Rosina Brown cohabited with me, she knew that I had been married in Scotland, and that my wife was alive. […]

References: [News], Camperdown Chronicle (20 February 1877), 2:; “Ernest Hutcheson, aged five years …”, Grey River Argus (15 March 1877), 2:; “NEW INSOLVENTS”, The Argus (5 September 1877), 5:; “THE INFANT MOZART”, The Argus (14 January 1878), 7:; “MUSICAL CELEBRITIES”, South Australian Register (26 May 1891), 6:  “INSOLVENCY COURT”, The  Argus (21 May 1892), 10:



Professor of Music
Active Melbourne, 1860

References: [Advertisement], The Argus (6 January 1860), 3:; [Advertisement], The Argus (7 July 1860), 8:; [Advertisement], The Argus (14 January 1863), 7:



HUTCHINSON, William Forbes
Bandmaster, composer
Born Island of St. Helena, 1844
Active Sydney, by 1885
Died Sydney, 17 May 1901, aged 56

March 1886: The bands of the Second Regiment and of the Volunteer Artillery were the performers, numbering together over 40 players. Mr. Hutchinson, bandmaster of the Second Regiment, led off with his forces in a march of his own composition “N.S.W. Cavalry.”

 September 1897: Brigade Bandmaster W. F. Hutchinson’s new “Federation Cantata” will be performed in the presence of his Excellency the Governor at the York street Centenary Hall tomorrow night. The composer will conduct a full chorus and orchestra of about 370 performers, with Miss Edith O. King, Mr. Woodhouse, Herr Staedtgcn, Mr. Sam Poole, Mr Edgar Straus, and others as soloists.

Obituary: The death is announced of Mr. William Forbes Hutchinson, Brigade Bandmaster of the New South Wales Regiment, Royal Australian Artillery, which took place yesterday afternoon. The deceased had been ailing for several months, and for the past fortnight was treated at the Sydney Hospital, where he succumbed at the ago of 56. The late bandmaster, who was known throughout Australia as an accomplished musician, was born at St. Helens, where, at the early age of 12 years, he enlisted in the St. Helens Regiment as a bugle boy. After a few mouths’ service he left for England for the purpose of pursuing his musical career, in which he gave great promise. He studied principally at the Royal Military Musical College, Kellner Hall, Whitton Hounslow, and also under the late Sir Arthur Sullivan for the flute. Five years later he, at his own desire, returned to St. Helens, and was appointed band- master to the 12th Regiment when only 17 years of age. He subsequently journeyed to Ireland, and went into barracks at Cork, and was attached to the Manchester Regiment as bandmaster. At the time of the Afghanistan war his regiment was ordered to India on service. He remained in India for a period of 12 years, during which time he not only performed his duties to the regimental band, but formed several bands amongst the native regiments. At the close of an active career in India, the late bandmaster proceeded to New Zealand, and saw active service in the New Zealand campaign at Waikato. Subsequently the late Mr. Hutchinson came to New South Wales, and followed up his musical career, and was appointed brigade bandmaster of the New South Wales Military Forces in July 1895. During his connection with the local military forces he did much towards raising the standard of military music in the various regiments. In addition to his military duites the deceased gentleman devoted considerable time and attention to the encouragement of band music, and was instrumental in forming bands in connection with the Blind Institution, the Sydney Amateur Military, St. Mary’s High School, the Hibernian Society, and the New South Wales Police Band (of which he was until a few weeks ago bandmaster). The late Mr. Hutchinson was also well known as a composer.

References: “Amusements”, Evening News (27 August 1885), 3:; “MOONLIGHT PROMENADE CONCERT”, The Sydney Morning Herald (18 March 1886), 10:; “INDUSTRIAL BLIND INSTITUTION”, The Sydney Morning Herald (29 April 1890), 9:; “FEDERATION MARCH”, The Catholic Press (17 April 1897), 16:; “THE FEDERATION CANTATA”, The Sydney Morning Herald (22 September 1897), 8:; “MILITARY MATTERS”, Evening News (22 June 1900), 7: [short authorised biography]; “DEATH OF BRIGADE BANDMSATER HUTCHINSON”, The Sydney Morning Herald (18 May 1901), 10:; “LATE BRIGADE BANDMASTER HUTCHINSON. A MILITARY FUNERAL”, The Sydney Morning Herald (20 May 1901), 9:

Works: Grand Federation March (from The Federal Cantata composed by W. F. Hutchinson, Brigade Band Master, N. S. W. Military Forces) (Sydney: W. H. Paling, c1897); Federation cantata (words by various Australian and British poets; music by William Forbes Hutchinson) (words only: Sydney: [William Brooks &​ Co.], 1897)



HUTTON, David John
Composer, organist, vocalist, songwriter
Born Brighton, Sussex, England, c.1829
Arrived SA, 1839
Died North Adelaide, 30 September 1904

References: [Advertisement], South Australian Register (15 February 1858), 1:; “EXTENSION OF MILANG JETTY”, The South Australian Advertiser (20 December 1859), 4:; “MILANG”, The South Australian Advertiser (12 November 1862), 3:; “NOARLUNGA”, South Australian Register (4 May 1866), 3:; “SOUTHERN RIFLE ASSOCIATION MATCHES”, South Australian Register (20 October 1866), 3:; “DEATHS”, The Advertiser (3 October 1904), 4:; “MOUNT COMPASS”, The Advertiser (8 December 1908), 5:

Works: Australia, the Queen of the South (“words of this song were written by Mr. Kemp; the music composed by Mr. Hutton, both of Milang”) [1859]; Dirge on the death of Prince Albert (“written and composed by D. J. Hutton, McLaren Vale”) (In The Adelaide Musical Herald, 30 January 1863, 20-21); We’re Volunteers! (“Original Colonial Song”) (Musical Supplement No 2 to The Adelaide Miscellany, 10 September 1868))



HUXTABLE, John Alfred
Music retailer, music publisher, concert entrepreneur
Arrived Tasmania, by 1841

Summary: Huxtable was selling music and instruments from his general repository in Hobart by December 1850, having recently returned from a stock-buying trip to London and Europe. In partnership with J. A. Deakin from March 1854, as Huxtable & Deakin, in 1854/55 he published the two major series of colonial compositions, The Delacourt Bouquet, and The Tasmanian Lyre, both edited by Henry Butler Stoney. At late item under their imprint was the song Tasmania the Lovely, “composed by a Lady” (“NEW MUSIC”, Colonial Times (14 May 1857), 2: In fact by then, “After many years residence in Tasmania, and experience, both there and at London”, Huxtable and Co. announced the opening of its “Music Warerooms and General Repository” in Ballarat in February 1857. He is last heard on in 1907 when it was reported: “A very old business man of Launceston, Mr. John Alfred Huxtable, who, away in the early fifties, carried on the book-selling business now conducted by Mr. Birchall, is at present visiting the scene of his commercial operations. He has been residing in Dunedin, New Zealand, during the last thirteen years. Mr. Huxtable bought the Brisbane street business from Mr. Tegg, who belonged to a well-known family of publishers in London. While engaged in business in Launceston, Mr. Huxtable had also a book-shop in Murray-street, Hobart, in the house now occupied by Messrs. Bidencope and Son … Mr. Huxtable brought out from England, at the age of 84, his father, Dr. Huxtable, who settled at Evandale.”

References: [Advertisement], The Cornwall Chronicle (23 January 1841), 3:; [Advertisement], The Courier (1 September 1849), 3:; [Advertisement], Colonial Times (4 January 1850), 1:; [Advertisement], The Courier (6 November 1850), 1s:; [Advertisement], Colonial Times (17 December 1850), 1:; [Advertisement], The Courier (18 March 1854), 4:; [Advertisement], The Star (16 February 1857), 3:; “POLICE COURT”, The Star (14 March 1857), 2:; “LAUNCESTON REVISITED”, The Mercury (10 August 1907), 6:



HYAMS, Miss E. (Esther Eliza) (Mrs. William Mears)
Professor of pianoforte and singing (pupil of Boulanger)
Active Melbourne, 1860-63

References: [Advertisement], The Argus (23 January 1860), 8:; [Advertisement], The Argus (18 March 1862), 8:;“MARRIAGE”, The Argus (27 February 1863), 4:  



HYDES, John Proctor
Vocalist, flute, cornet-a-piston, bones player, songwriter
Born c.1825
Active Sydney, by 1848
Died Melbourne, 22 October 1882, aged 57
HYDES, Mrs. J. P. (Miss Harriet GORDON)
Born c.1837
Active Victoria, by 1852
Died Auckland, NZ, March 1869, aged 32 

(1848): Mr. J. P. HYDES, Congo Minstrel, and successful delinieator of Negro Eccentricities, will make his first appearance in Sydney, and sing a variety of Ethiopian Melodies, with the Congo Bone Castinet accompaniment, interspersed with original conundrums, funnyicities, &c., illustrative of the Negro Life in Kentucky after “de labor ob de day.”

(1850): Mr. J. P. Hydes having fraternized with Mr. Reading, the original Bonos of the Serenading Company, from which Mr. Waterland has retired, a series of Ethiopian Concerts have been announced by these gentlemen, who purpose giving farewell entertainments in the country districts and the metropolis prior to their departure for California.

(December, 1850): Refrain-Sydney Gals, J. P. Hydes

(1882): The veteran comedian J. P. Hydes, one of the oldest actors in the colonies, was recently married to Miss Madge Herrick, an actress at the Theatre Royal, Christclurch, New Zealand.

(1882): Mr. J. P. Hydes, a well known colonial actor, lately took a benefit at Invercargill, and we learn from the Otago Witness gave some interesting reminiscences of his career. After describing his experiences in Sydney, Mr. Hydes passed on to speak of Melbourne in 1852 and 1853, the time of the gold fever. […]

(Obituary): Mr. J. P. Hydes, the well known actor, died yesterday after along and painful illness. He was well known in the early days of the drama in this colony, and with the late Mr. Charles Young very successfully managed the old Queens Theatre when that house was the only theatre in Melbourne. He returned to thia city when the BIJOU was opened, and was for some time connected with the company there, but for several years past he has been in New Zealand. He finally came back to Melbourne about two months ago, quite broken in health. Mr Hydes always had the reputa tion of being a very capable actor, and he was at one time a great favourite both with tho profession and the public. His age was 57.

References: [Advertisement], Sydney Chronicle (25 April 1848), 3:; “THE SERENADERS”, Bell’s Life in Sydney (9 November 1850), 2:; [Advertisement], The Moreton Bay Courier (23 November 1850), 4:; [Advertisement], The Sydney Morning Herald (9 December 1850), 3:; [Advertisement], Bathurst Free Press (17 September 1851), 3:; [Advertisement], The Sydney Morning Herald (2 December 1851), 1:; [Advertisement], The Sydney Morning Herald (8 December 1851), 1:; [Advertisment], Geelong Advertiser (10 April 1852), 2:; [Advertisement], The Argus (25 September 1852), 5:; “WORK OF ART”, The Courier (8 December 1853), 2:; “THE CRITIC AND THE ACTOR”, Empire (17 April 1867), 5:; “BANKRUPTCY ACT NOTICES”, Otago Daily Times (8 July 1873), 6:; “FUNERAL OF THE LATE MRS. J. P. HYDES”, New Zealand Herald (16 March 1869), 4:; “DEATH OF MISS HARRIET GORDON”, The Maitland Mercury (6 April 1869), 2:; “MARRIAGE”, The Press (8 February 1882), 2: [News], Launceston Examiner (8 March 1882), 1s:; “THEATRICAL EXPERIENCES”, Launceston Examiner (18 April 1882), 2: [News], The Argus (23 October 1882), 7: 


- I -


IMBERG, Julius Samuel
Pianist, professor of music, composer (native of Berlin)
Arrived Adelaide, 22 January 1846 (per George Washington, from Bremen)
Died Melbourne, 14 February 1863, aged 55

Summary: Having arrived in Adelaide only a couple of months earlier, Imberg teamed up in April with violinist Leopold Ravac to give concerts there. They toured on to Hobart, where in June 1846 the Courier wrote that the “great merit of Mons. Imberg is as an accompanist. This part of his duty was discharged with superior judgment and taste. The task was not an easy one. No one but a person thoroughly accustomed to Mons. Ravac's style, could have accomplished it.” In September, Imberg announced his intention to stay in Sydney and give instruction on the piano “according to the principles of Herz and Moscheles”. But a year later, Imberg returned to Hobart. There the “pupil of Thalberg and Moscheles, and Member of the Conservatoire Royale at Paris”, took pupils and appeared in concert with Charles Packer, Maria Prout, and Henry Howson. At his concert in January 1848, the finale was a Tasmanian Polka, played by the band of 96th Regiment, which though unattributed may have been his. Imberg‘s “grand soiree” at the Royal Victoria a year later also included a Pas Seul Tableaux Vivants from Mrs. Young in costume “with Music expressly composed for the occasion”, which in the circumstances perhaps means that Imberg was responsible. Music being still a risky business, Imberg was declared insolvent in August 1849. In January 1851, the Colonial Times noted that it had received a copy of “Mr. Imberg’s Quadrilles […] highly spoken of by all the votaries of Terpsichore”, and in April at a meeting of the Royal Society of Van Diemen‘s Land, “a note was read from Herr Imberg presenting a copy of his Quadrilles, with a request to have it placed in the library of the Royal Society”. This was his The Tasmanian Quadrilles, lithographed by Thomas Browne in Hobart, and dedicated to Lady Denison. Curiously, copies of neither the original print, nor an (? second) edition issued by Henry Marsh in Sydney in 1855, seem to have survived. Imberg also advertised the set for sale on his arrival to settle in Melbourne in 1856, when the press there described them in review as being “of a light pleasing character [...] directed to the interests of beginners”. In July 1851, his Welcome to the Spring Polka was published. Notably, he was not among the contributors to either of Henry Stoney‘s Tasmanian anthologies in 1855. Perhaps he was not invited, or simply forgotten; in 1852, he‘d left Hobart for Launceston, and in 1856 he and his Tasmanian wife Janet, and their young daughter, moved to Melbourne. There in 1861 he self-published The Victorian Quadrilles (1 Melbourne; 2 Bendigo; 3 Ballarat; 4 Geelong; 5 Toorak). Having in the meantime practised as a “professor of music and music seller”, he had the management of “a first class band” for a fancy dress ball, in honour of the visiting British cricket team, on 14 January 1862. In an announcement of another ball the following January, he was described as “a very old member of the music profession in Melbourne”. He died the following month, February 1863.

References: “ADELAIDE SHIPPING”, South Australian Register (24 January 1846), 2:; [Advertisement], South AustralianRegister (14 February 1846), 1:; [Advertisement], South Australian Register (15 April 1846), 1:; “LOCAL INTELLIGENCE”, South Australian Register (22 April 1846), 3:; “LOCAL INTELLIGENCE”, South Australian Register (25 April 1846), 3:; “MUSIC”, The Australian (26 May 1846), 3:; “THE CONCERT”, The Courier (17 June 1846), 2:; “MR. RAVAC’S Concert”, The Sydney Morning Herald (14 August 1846), 2:;  [Advertisement], The Sydney Morning Herald (7 September 1846), 1:; “SHIPPING NEWS”, The Courier (15 December 1847), 2:; [Advertisement], The Courier (8 January 1848), 1:; [Advertisement], Colonial Times (7 January 1848), 1:; [Advertisement], The Courier (10 January 1849), 3:; “INSOLVENCY CASES”, The Courier (8 August 1849), 2:; “MR. IMBERG‘S QUADRILLES”, Colonial Times (28 January 1851), 2:; [Advertisement], Launceston Examiner (25 January 1851), 6:; “ROYAL SOCIETY OF VAN DIEMEN’S LAND”, The Courier (16 April 1851), 2:; [Advertisement], Launceston Examiner (25 January 1851), 6:; “TASMANIAN QUADRILLES”, The Courier (1 February 1851), 3:; “TASMANIAN QUADRILLES”, Launceston Examiner (19 April 1855), 2:; “THE TASMANIAN QUADRILLE”, The Argus (6 August 1856), 6:; “THE TASMANIAN QUADRILLE”, The Argus (1 August 1856), 5:; “NEW POLKA”, Colonial Times (29 July 1851), 3:; [Advertisement], The Courier (30 July 1851), 1:; [Advertisement], Launceston Examiner (15 September 1852), 3:; “MUSIC”, Launceston Examiner (18 September 1852), 6:; [News of the day], The Argus (10 May 1861), 4:; [Advertisement], The Argus (11 January 1862), 8:; [News], The Argus (22 January 1863), 5:; [Funeral notice], The Argus (16 February 1863), 8:; “DEATHS”, The Cornwall Chronicle (28 February 1863), 4:



Cornet a pistons player
Active Perth, 1845

Summary: Perhaps A. H. Irby, lieutenant and later captain of the 51st Regiment.

May 1845: Luther’s Hymn, air, and chorus, with an obligato accompaniment on the cornet a piston, by Mr. Irby, was admirably performed.

August 1845: The music for which the company was indebted entirely to amateurs, was extremely good ; we noticed especially the admirable performance of Mr. Irby on the Cornet a Piston, an instrument of great sweetness and power, aud admirably adapted to a ball room.

References: “Performance of Sacred Music”, Inquirer (14 May 1845), 1:; [News], Inquirer (19 August 1840), 10:



IRONSIDE, Frederick James
Active Sydney, 1865-66

Reference: “MARRIAGE”, The Sydney Morning Herald (3 July 1861), 1:; “FREE CHURCH OF ENGLAND”, Empire (20 July 1865), 5:; “ANNIVERSARY OF THE FREE CHURCH OF ENGLAND”, Empire (12 January 1866), 5:



ISAACS, Edward
Singer (Hobart Synagogue)
Born London, 1821
Arrived Hobart, 1842, free

Summary (Levi): Draper by trade; in 1872 was living in Auckland NZ; Australian Israelite 1872 quotes Isaacs on his arrival in Hobart: “In the year 1842 I arrived in Hobart Town in company with a number of young Jewish men (the majority under twenty years of age) and all having been brought up rather orthodox. We were very much surprised on discovering there was no place of worship in connection with our faith. (Service was held on New Year at the ‘Rose and Crown Hotel’ [owned by Israel Hyams in New Town] for want of better accommodation.” Thereafter he became involved in the building of the synagogue, and was a chorister at the Consecration. [Levi, These are the names (2006), 303-04]

References: “OPENING OF THR SYNAGOGUE ARGYLE STREET”, The Observer (8 July 1845), 3:; “THE SYNAGOGUE”, The Observer (15 July 1845), 3:; “THE SYNAGOGUE”, Colonial Times (11 July 1845), 3:



ISSELL, Henri (Henry Walter)
Bandmaster, conductor (The Curlew Orchestra), musicseller, composer
Active Melbourne, by 1888

ISSELL, Louis Vernon
Amateur vocalist and orchestral player
Born Melbourne, 1887
Died Hobart, July 1947, aged 60

References: “MARRIED”, The Argus (11 May 1886), 1:; “THE YOUNG MEN’s CHRISTIAN ASSOCIATION”, The Argus (20 June 1888), 5:; [Advertisement], The Mercury (15 October 1892), 3:; “OBITUARY. MR. L. V. ISSELL”, Examiner (31 July 1947), 2:



IZARD, Mr.  (? Henry John)
Viola player, vocalist, bandmaster, oboe player
Active Melbourne, by 1854

References: [Advertisement], The Argus (29 November 1854), 8:; [Advertisement], The Argus (14 February 1857), 8:; [Advertisement], The Argus (22 May 1861), 8:; “East Collingwood Volunteer Rifle Company …”, The Argus (17 January 1865), 4:; [Advertisement], The Argus (4 June 1867), 8:; ? “DEATHS”, The Argus (7 July 1903), 1:


- J -


JACKSON, Charles James
Organ builder
Arrived Melbourne, 1865
Died Haberfield, NSW, 19 May 1920, aged ? 80

1866: TO CLERGYMEN and ORGANISTS. C. J. JACKSON, Organ Builder, Manufactory, Richmond, Melbourne. Mr. J. during his stay in Sydney will be glad to examine and give estimates for re-building, enlarging, &c, or for cleaning, re-voicing, and tuning of organs. Mr. J. would call the attention of clergymen and organists to having, on his previous vísit to Sydney, tuned and regulated the organ of St. John’s, Parramatta, All Saints’, ditto, and St. Mary’s Cathedral, Sydney. All communications addressed to Mr. CORDNER, Organist of St Mary’s Cathedral, 135, Bourke street, Woolloomooloo, will receive prompt attention.

Obituary: Mr. Charles James Jackson, whose death occurred last week, at an advanced age, was for many years in business in Sydney as an organ builder, several large instruments having been produced at his factory in Newtown- road. He arrived here from England in 1865, and the first organ which he built was at the Exhibition Building, for which he was presented with a silver medal and a certificate. Amongst other organs which he built were those at the Garden Place, which was destroyed by fire; St. Mary’s Cathedral, St. Mark’s Church, Darling Point, the Pitt-street Congregational Church, the old Methodist Centennial Hall in York-street, and the Congregational Church at Glebe.

References: [Advertisement], The Sydney Morning Herald (28 February 1866), 8:; “ORGAN RECITAL IN SYDNEY”, The Maitland Mercury (25 June 1870), 2:; “DEATHS”, The Sydney Morning Herald (20 May 192), 6:; “MR. C. J. JACKSON”, The Sydney Morning Herald (27 May 1920), 10:



JACKSON, George Forbes
Amateur tenor vocalist, tailor
Died Glebe, NSW, 27 March 1900, aged 63

JACKSON, Rachel (Clarke, Fowler)
Soprano vocalist, pianist, teacher of piano and singing

Soprano vocalist

Summary: Rachel Clarke, of Sydney, married the visiting English journalist Frank Fowler (1833-1863) on 9 February 1856. The pianist and composer Frank Fowler (1857-1893) was their son. After her first husband’s death in London, Rachel and her children returned to Sydney, where on 23 April 1868, she married Sydney amateur vocalist George Forbes Jackson. Previously George had written the words for Madame Eliza Wallace-Bushelle’s new song, The Destruction of St. Mary’s, which he first sang at the Orpheonist Society’s concert in aid of the cathedral restoration fund in August 1865. At a Christmas Night Oratorio in the Prince of Wales Opera House in 1869, one of Charles Packer’s early appearances after his release from prison, George sang in extracts from Creation and Elijah, as well as from Packer’s Crown of Thorns, and thereafter the couple often appeared in Packer’s concerts. In London, Rachel had been a pupil of pianist and composer Bennett Gilbert (1833-1885), and in September 1875, she (as Mrs. G. F. Jackson) and her son Frank Fowler advertised jointly in Sydney as teachers of singing and piano. After Charles Packer’s death, George, who was a pallbearer at his funeral, served as a committee member of the Packer Memorial Fund, with August Huenerbein junior and clarinettist Sebastian Hodge.

Update (May 2013): I’m going to let the above stand for the time being. However, I need to introduce variously Mademoiselle or Madame Reiloff, who, from 1867, appeared regularly in concerts with Jackson, and who, in June 1869, was styled Madame Reiloff Jackson, whereafter she disappears from record. I find, too, that George Forbes Jackson (re)married Agnes Roache in 1878,  and as his widow she indeed advertised an in memoriam in 1904 giving her name as Agnes. But were Madame Reilloff and Rachel Fowler the same person, or was Reilloff perhaps Jackson's sister? A Madame Reiloff, meanwhile, was active in London in 1866.

October 1865: Mr. G. F. Jackson, who is getting rid of the mannerism that used to beset him, sang with feeling and effect “Annie, dear, good-bye”, as well as “My heart’s first home”, and we think that by continued careful study and practice this gcntleman will become a valuable acquisition to our concerts […] Mr. Douglas Callen was accompanyist, and played in his usual careful and effectivo style, greatly aiding the amateurs in their singing.

June 1867: To that succeeded the ever fresh “Wapping Old Stairs,” sung by Madame Reiloff in a way that elicited a rapturous encore, when Madame Reiloff substituted Franz Abt’s beautiful cuckoo song, and afforded her auditory a rare musical treat by the pure taste and perfectly clear articulation which distinguishes her delivery of the words of the songs that she executes. The public may be congratulated on possessing so excellent a vocalist.

References: [Advertisement], The Sydney Morning Herald (28 December 1864), 1:; [Advertisement], Empire (2 August 1865), 1:; “CONCERT” The Sydney Morning Herald (3 August 1865), 4:; “MARRIAGES”, The Sydney Morning Herald (13 May 1868), 1:; “AMATEUR PERFORMANCE”, Empire (22 June 1869), 2:; “TEMPERANCE-HALL CONCERTS”, The Sydney Morning Herald (19 July 1869), 5:; “HERR SIPP’S CONCERT”, Empire (19 October 1865), 4:; [Advertisement], The Sydney Morning Herald (21 November 1868), 6:; [Advertisement], The Sydney Morning Herald (22 December 1869), 8:; “Centenary Musical Festival in the Exhibition Building”, Australian Town and Country Journal (8 October 1870), 5:; [Advertisement], The Sydney Morning Herald (28 August 1883), 2:; “Deaths”, The Sydney Morning Herald (28 March 1900), 1:

References (Reiloff): [Advertisement], The Musical Standard (15 September 1866), 169:; [Advertisement], Empire (4 May 1867), 1:; “MASONIC HALL”, The Sydney Morning Herald (17 june 1867), 4:; [Advertisement], The Sydney Morning Herald (1 April 1868), 10:; “MUSIC AND DRAMA”, The Sydney Morning Herald (6 November 1868), 9:; [Advertisement], The Sydney Morning Herald (21 June 1869), 8:; “DRAMATIC AND MUSICAL ENTERTAINMENT AT THE SCHOOL OF ARTS”, The Sydney Morning Herald (22 June 1869), 4:



Key bugle player
Active Sydney, 1832

References: “POLICE INCIDENTS”, The Sydney Herald (24 September 1832), 1s:



JACKSON, John Dettmer Dodds




JACKSON, William
Violinist, pianist, composer, band leader
Active McIvor, by 1866
Died Mansfield, VIC, 28 January 1872

1866: Mr. Jackson and his fair friend were recalled when they played in capital style the pretty little polka The Rose of Heathcote composed by Mr. Jackson. 

Obituary: Many of our readers who knew Mr. Jackson when he undertook to form and instruct the Heathcote Amateur Band, will be extremely sorry to hear of his death, which occurred at Mansfield on the 28th of January. We are in debted to Mr. J. B Morris, of Alexandra for the intelligence. It appears that Mr. Jackson, on New Year's Day, met with an accident in stepping out of a buggy; he broke his leg above the ankle. On the 28th of January it was considered necessary to take the limb off, but the patient expired before the operation was performed. Mr. Jackson was the only son of a highly respectable couple of old identities on McIvor, who have enjoyed the friendship and respect of a large circle of acquaintances since the earliest days of gold digging in this locality, and much genuine sympathy is felt for them in their bereavement. There was that about William Jackson that made him welcome everywhere; his good natured smile, his musical talent, as shown by the manner in which he handled the violin and bow; his choice collection of songs which he used to sing in public; his frank manner and good temper, all combined to make him a general favorite while here.

References: “ENTERTAINMIENT IN AID OF THE MECHANICS’ INSTITUTE”, The McIvor Times and Rodney Advertiser (24 August 1866), 2:; “MR. ADAMSON’S CONCERT”, The McIvor Times and Rodney Advertiser (16 November 1866), 2:; “AMATEUR CONCERT IN AID OF THE FUNDS OF THE HEATHCOTE HOSPITAL”, The McIvor Times and Rodney Advertiser (23 August 1867), 3:; “DEATH OF MR. WILLIAM JACKSON”, The McIvor Times and Rodney Advertiser (2 February 1872), 2:  



JACOBS, Coleman
Pianist (pupil of Thalberg; Pianist to HRH the Duchess of Gloucester)
Active Melbourne, by October 1852, until after 1883

 Summary: According to the The Metropolitan (1845, 529), Jacobs’s debut “will create no small sensation … [Jacobs] has been for some time engaged in giving private lessons on the pianoforte in families of distinction, by whom his talents as a professor of music are held in the highest estimation”; the writer had “repeatedly heard him in private” and had “no hesitation” in declaring him a most able pianist. Nevertheless, by October 1851, “Coleman Jacobs, Hill-st Walworth, Surrey, teacher of music” was befire the insolvency court. A year later still, in Octover 1852, he was in Melbourne, co-presenting with Henry De Grey a “Grand Masquerade” and fancy dress ball “A La Jullien”. He moved in Sydney by April 1853 when he appeared with John Winterbottom in a concert for the relief of the survivors of the wreck of the Monumental City. According to the Empire: “But the great treat of the evening, to the musician, was the pianoforte solo by Mr. Coleman Jacobs. Mr. Jacobs is a pupil of Thalberg, and has acquired much of the style of that great master. The brilliancy of his fingering in rapid passages, and the feeling and taste with which he brought out the air, created quite an excitement. The effect of his performance was much assisted by the beautiful grand pianoforte, by Erard, which was kindly lent by Mr. Thomas Woolley, of the Glebe, for this occasion.” In October 1853 W. J. Johnson published an edition of Talexy’s Mazurka Brillante as “Performed by Mr. Coleman Jacobs at his Farewell Concert” (he spent much of 1854 in Tasmania). Two years later, in June 1855, Henry Marsh advertsed a Mazurka Brillante (“by Coleman Jacobs”) as No 5 of his The Australian Cadeau, but no copy of this has been identified. His Domain Polka was played for the first time by the German Band on Sydney ‘s Domain in February 1856. By April, however, the press reported that, after giving “a few musical entertainments” at the City Theatre, he had “become non est, and that he had victimised his creditors to a large amount”. In October, Jacobs advertised to warn the public against confusing him with Wizard Jacobs, and in December moved on to Adelaide. There, after a promising early reception in January, he was again indigent. “Having failed in his profession since his arrival in Adelaide […] with his wife and family destitute”, he was reduced to working under a pseudonym, Gerard Jones, pasting circulars for a small business, for which he was arrested for defacing public property, and sent to City Gaol in April. He had moved on to Ballarat by June, where in July he advertised that he was the “nephew and pupil of the great composer and vocalist, Henry Russell”. Thereafter he disappears from record until mid 1860 when he advertised in Melbourne that he had “returned to his profession”. He was still teaching pianoforte and singing in Melbourne in 1883. His only surviving work is The Young Hero Schottische, published in Melbourne in July 1878 and dedicated to “Thomas Pearce, the Gallant Suvivor” of the wreck of the Loch Ard, in aid of the Loch Ard fund.

References: “INSOLVENT DEBTORS” The Jurist (11 October 1851), 365:; [Advertisement], The Argus (19 October 1852), 8:; [Advertisement], The Argus (21 March 1853), 7:; ; [Advertisement], The Sydney Morning Herald (16 April 1853), 1: ; “MONUMENTAL CITY”, Empire (6 June 1853), 2:; [Advertisement], The Sydney Morning Herald (23 February 1856), 1:; [News], The Maitland Mercury (3 April 1856), 2:; [Advertisement], The Sydney Morning Herald (10 October 1856), 1:; [News], South Australian Register (24 December 1856), 3:; “MR. COLEMAN JACOBS’S CONCERT”, South Australian Register (5 January 1857), 3:; “POLICE COURTS”, South Australian Register (2 April 1857), 3: ; “NOTICE TO CORRESPONDENTS”, The Star (29 June 1857), 2:; [Advertisement], The Star (4 July 1857), 3:  “OPENING AT KEW ATHENAEUM”, The Argus (9 May 1860), 5:; [Advertisement], The Argus (25 July 1878), 8:; ““PUBLICATIONS,” The Mercury (6 August 1878), 2:; [Advertisement], The Argus (20 July 1860), 8:; [Advertisement], The Argus (28 July 1883), 1:



Active Melbourne, 1857

References: “POLICE. CITY COURT”, The Argus (3 June 1857), 6: “Samuel Jacobson, a musician, was charged with lunacy. He was so violent that he could not be brought into Court, and had to be taken from his house in Bouverie-street, North Melbourne, for the safety of his wife and children. His madness was stated to be the effect of almost constant drunkenness.“



JAFFA, Madame (Rebecca)
Pianist, composer
Born London, ? 22 September 1839
Arrived (1) Sydney, by 1855; departed Newcastle, November 1866 (per Golden Sunset, for San Francisco)
Arrived (2) Sydney, December 1888 (from San Francisco); departed August 1889 (for NZ and San Francisco)
Died ? San Francisco, 1911

Summary: According to later reports, Jaffa has studied in Brussels. She and her husband Henry (Herzl) were in Australia by 1855 when their eldest daughter was born in Sydney. She was playing in public by 1857, whereafter she had a considerable teaching and concert career into the mid 1860s. She left for San Francisco with her husband and three children late in 1866, and arrived safely though their ship was wrecked. She made a return tour of Australia in 1889. Two compositions by her are documented, both lost. Sweet and Low (words: Alfred Tennyson; composed expressly for the occasion for Sara Flower) was published ([Sydney; Mader; Wilkie, Elvy and Co., 1863]), and The Message (“the music […] composed by Madame Jaffa; [sung] by Mr. Charles Stewart” [MS, July 1864].

References: “SYDNEY PHILHARMONIC SOCIETY”, The Sydney Morning Herald (18 April 1857), 4:; “THE PHILHARMONIC CONCERT”, The Sydney Morning Herald (28 January 1859), 5:; “MADAME JAFFA”, Empire (30 August 1859), 5:; “MADAME JAFFA’S CONCERT”, The Sydney Morning Herald (12 July 1864), 4:; [Advertisement], The Sydney Morning Herald (16 August 1862), 1:; “NEW SONG”, The Sydney Morning Herald (2 April 1863), 4:; “MADAME JAFFA’S CONCERT”, The Sydney Morning Herald (26 September 1866), 4: “SHIPPING INTELLIGENCE”, The Maitland Mercury (15 November 1866), 3: “LOSS OF THE GOLDEN SUNSET. PRIVATIONS OF THE PASSENGERS AND CREW. (From the Newcastle Chronicle.)”, The Mercury (24 July 1867), 3:; “ARRIVAL OF THE ENGLISH MAIL AT AUCKLAND”, The Sydney Morning Herald (10 December 1888), 8:; “SHIPPING”, The South Australian Advertiser (11 January 1889), 7:; [News], The South Australian Advertiser (22 January 1889), 4:; “MADAME JAFFA’ S RECITAL”, The Mercury (30 March 1889), 3:; “PIANOFORTE RECITAL”, The Sydney Morning Herald (2 July 1889), 8:; [News], The Argus (1 August 1889), 5:; “SHIPPING INTELLIGENCE”, The Argus (5 August 1889),4:

Web: Northern California Composers (Finding Aid, San Francisco Public Library):

Notes: According to a California history, Ruby [sic] Jaffa was daughter of violinist Myer Marks Hurwitz. From family history notes: Herzl (Henry S.) and Rebecca S. Jaffa emigrated from the Pale of the Settlement around 1850, via Warsaw. Four children were born in Sydney, including Fannie (1855) and Rachel Alice (1860). By 1872 the Jaffa family was living at 730 Howard in and Henry and Rebecca were teaching music and languages at the French Spring Valley Grammar School for the San Francisco School District. By 1885 the family had moved to 2420 Bush Street, and both Fannie and Rachel had also become music teachers. Rachel using the name Rose Alice Jaffa was also a pianist. Henry naturalized under on 10 Aug 1875, giving his country of origin as Germany.



JAGER, Ernest A.
Professor of music, violinist and viola player, band leader, concert annotations (program note) writer (president, Musical Artists’ Society)
Active Melbourne, by 1867
Died Ascot Vale, Melbourne, 21 April 1921, aged 74

Summary: Passenger lists show that Jager was playing in George Loder’s orchestras as early as 1864 (for the Rainfords) and 1865 (Lyster’s company), and he was a member of the Victorian Musical Association in November 1867. While advertising as a professional music teacher, he was leading band rehearsals for the Melbourne Exhibition in November 1872. He was elected a member, along with Julius Herz, of the Musical Association of Victoria in July 1876, and was viola player of the Melbourne Quartett Society in September. He was president of the Musical Artists’s Soecity by April 1878 and in June the Argus noted a significant innovation: “The musical artists have sent us a copy of the annotated programme with which they will present their visitors on Monday night. It is highly creditable to the annotator, Mr. E. A. Jager, the president o£ the society, and will be found to be a most valuable adjunct to the enjoyment of the music by those who will be present at the concert. This programme heralds the introduction here of an excellent plan which is carried out in London and the larger cities on the Continent.” And again, in July 1879: “The annotated programme whnch they distribute amongst their visitors is a most interesting and valuable production, of great use to the audience and highly creditable to the “E. A. J.” whose initials are appended at the foot of it, a musical artist whom we have no difficulty in identifying as Mr E. A. Jager, the energetic and intelligent president of the Society […]”. In March 1890, the Argus published a detailed précis of his lecture, “The Orchestra, its Material, and How to Listen to it“.

References: “CLEARANCES”, The Sydney Morning Herald (22 April 1864), 4:; “CLEARANCES”, Empire (16 August 1865), 4:; [News], The Argus (27 September 1867), 5:; [News], The Argus (2 November 1867), 4:; [Advertisement], The Argus (2 November 1872), 8:; ; [Advertisement], The Argus (2 january 1874), 8:; [News], The Argus (25 December 1875), 5:; [News], The Argus (26 July 1876), 4:; [Advertisement], The Argus (23 September 1876), 12:; [News], The Argus (1 April 1878), 7:; [News], The Argus (1 June 1878), 6:; “THE MUSICAL ARTISTS' SOCIETY OF VICTORIA”, The Argus (11 July 1879), 6:; “ROYAL SOCIETY. LITERATURE AND ART SECTION”, The Argus (4 March 1890), 3:; “UNIVERSITY CONSERVATORIUM. TO THE EDITOR”, The Argus (10 September 1908), 7:; “DEATHS”, The Argus (26 April 1921), 1:; “MUSICAL SOCIETY OF VICTORIA”, The Argus (17 March 1926), 26:

Musical works:
Mollie Darling ([by ? W. S. Hayes or John Hill] “transcribed for pianoforte by E. A. Jager” (in The Australian Musical Magazine (Christmas number, 1875) (Melbourne: Nicholson and Ascherberg)



JAMES, Henry
Musician (of a strolling band)
Active Sydney, 1856

References: “CENTRAL POLICE COURT”, The Sydney Morning Herald (23 September 1856), 2:



Professor of Music (from Bath), teacher of pianoforte and violin
Arrived Melbourne, May 1839

1888: In May 1839 there arrived our first professor of music, Mr. Jameson, from Bath, and next year Mons. and Mme. Gautrot took up their quarters in Little Collins-street and began a series of instrumental and vocal concerts [...]

References: [Advertisement], Port Phillip Gazette (8 June 1839), 1:

Resources: Alexander Sutherland, Victoria and its metropolis, past and present (Melbourne: McCarron, Bird, 1888), 173:



Music copyist, school teacher
Active Maitland, 1846

References: [Advertisement], The Maitland Mercury (22 August 1846) , “MUSIC COPIED at 3d. per page, by Mr. J. Jamieson, Teacher, Wesleyan School, West Maitland.”



JEFFERIES, Richard Thomas
Violinist, conductor, composer, music-seller
Born Hoxton, England, 2 November 1841
Arrived Queensland, late 1871
Died Brisbane, 4 August 1920

(Obituary): The death of Mr. R. T. Jefferies has removed an old and respected citizen, who laboured during long and strenuous years to advance the cause of good music in Brisbane. He was one of the founder of the Musical Union, and for years its conductor. Born in 1842, Mr. Jefferies early showed his taste for music, and was educated in London. Arriving in Brisbane in 1871, he established a music warehouse in Queen-street, and for some years carried on business successfully, part of the time on his own account, and at a later date in partnership with Messrs. Paling and Kaye. When he retired he still continued to practise his profession, and took a prominent part in festivals, concerts, and music generally, For years, in association with his daughters, he devoted himself to the cultivation of public taste for chamber music, and the Jefferies quartette was as well known as it was popular. Perhaps the latest musical event at which he was present was a rehearsal of the Verbrugghen Orchestra, and this was the more noteworthy, in that in 1893 the gifted leader was conductor of the Alhambra Orchestra in London, which Mr. Jefferies himself had conducted in 1871. A thoroughly, sound musician, it would be impossible to overestimate the good effect of his teaching and his earnestness in the earlier days of musical development in Brisbane.

References: [Advertisement], The Brisbane Courier (1 February 1872), 1:; [News], The Brisbane Courier (10 June 1876), 5:; [Advertisement], The Brisbane Courier (21 August 1876), 1:; “Mr. R. T. Jefferies’ Farewell”, The Queenslander (21 May 1887), 820:; “Social Gossip”, The Queenslander (21 August 1920), 8:; “RICHARD T. JEFFERIES”, The Western Champion (28 August 1920), 15:; “R. T. JEFFERIES. AN APPRECIATION”, The Brisbane Courier (4 September 1920), 12:

Works: Australian Anthem (Words by Brunton Stephens) (Brisbane: Paling, Kaye, & Jefferies, [1877-84]) [composed by 1876]

Resources: Robert K. Boughen, Jefferies, Richard Thomas (1841-1920), Australian Dictionary of Biography 9 (1983)



JENKINS, William Stitt
Poet, songwriter, choral singer (Corio Total Abstinence Society chorus)
Born England, 30 June 1812
Arrived VIC, ? 1850s (late of Liverpool)
Died West Melbourne, 1 August 1878

Obituary: Mr. Stitt Jenkins, a colonist well known by virtue of his so called poetical productions, died at Rosslyn-S treet, West Melbourne, yesterday, at the age of 66 years. Mr. Jenkins was for many years a resident of Geelong, and was a steady contributor to the “poets corner” of the local press, chronicling with much assiduity every possible social event in verse. Latterly he removed to Melbourne, and was for a short time private secretary to Mr. Berry. He will be buried at Geelong on Saturday next.

References: [News], The Argus (2 August 1878), 5:; “A Rhymester’s Will”, Australian Town and Country Journal (12 July 1879), 26:

Works: William Stitt Jenkins, Australian anthem (Geelong: Printed by James Curtis, 1858):




Teacher of Music, composer, piano tuner and repairer,  poet (? Wesleyan minister)
Active Hobart, by November 1858
Died Germantown, NSW, 31 May 1896, aged 86

References: “METHODIST FREE CHURCH”, The Hobart Town Daily Mercury (20 October 1858), 3:; [Advertisement], The Hobart Town Daily Mercury (17 November 1858), 1:; [Advertisement], The Hobart Town Daily Mercury (27November 1858), 1:; [Advertisement], The Mercury (10 June 1865), 1:; “MASONIC FESTIVAL”, The Mercury (19 July 1866), 2:; [Advertisement], The Mercury (15 January 1874), 1:; “FATA MORGANA”, The Mercury (5 November 1881), 2:; “Deaths”, The Mercury (9 June 1896), 1:

Musical works: AMO: A Masonic Song (words and music by Henry Jephson; (Hobart Town: J. Walch & Sons; Launceston: Walch, Brothers & Birchall, [1860s?] (Hobart: M.L. Hood, Lith.) (“Suggested by certain slanderous reports being circulated against the Ancient and Honorable Order of Masons; Affectionately dedicated to his brethren of 345 by Henry Jephson”)

Literary work (NB: not by Henry Lorenzo Jephson): Fata Morgana, Or the Bristol Sculptor’s Idol (Hobart: T. L. Hood, 1881): downloadable PDF:; see review in Melbourne Review 7/26 (April 1882), 224-225



Active Sydney, 1844-45

References: [Advertisement], The Sydney Morning Herald (10 June 1844), 3:; [Advertisement], The Sydney Morning Herald (25 June 1844), 3:; [Advertisement], The Australian (29 May 1845), 1:



JOEL, Mrs. C. (? Caroline; Miss DAVIS)
Soprano vocalist, widow
Born ? UK, 1813
Active Sydney, by 1860
Died Sydney, 9 May 1868, aged 54 and 9 months

Sydney April 1863: A new candidate for public favour makes her debut before a Sydney audience this evening. Mrs. C. Joel bas for a long period been known in this city as an amateur vocalist of considerable ability. She will give her first professional concert at the Masonic Hall, this evening, and will he assisted by Madame Sara Flower, Madame Flora Harris, Mrs. W. J. Cordner, Messrs, Sussmilch, Banks, and a gentleman amateur. The programme consists entirely of vocal music, from the popular works of the day. Mrs. Joel herself is ardently partial to the compositions of Bishop; she will sing, “Should he upbraid,” and “Lo, here the gentle lark,” and with Madame Sara Flower, the duet, “As it fell upon a day.”

Sydney April 1863: Mrs. Joel selected an unfavourable period for her debut in Sydney as a vocalist. The theatre, occupied by a good company, is attracting large audience; whilst the musical portion of the community devote their attention to the Christy Minstrels. These causes, added to the fact of Mrs. Joel being unknown to the general public, had the effect of a very limited attendance at the concert last evening. The debutante belongs to the old school of vocalists - the bravura florid style, and her voice is sufficiently flexible to meet all the requirements of this class of music. It is also very powerful, and Mrs. Joel infuses considerable taste and spirit in her execution. An apology was again made for Madame Sara Flower, on the score of indisposition, and Mr. Banks did not make his appearance for the “kindly promised” buffo song. The audience, which no doubt, composed many personal friends of Mrs. Joel, were enthusiastic in her favour, and she was consequently (very deservedly) encored in Bishop’s “Should he upbraid,” (substituting the ballad, “I’ll follow thee,”) and in the same composer’s “Lo, here the gentle lark,” (substituting Lavenu’s “Cushla Machree.”) Bishop’s “Blow, gentle gales,” commenced the concert, and his “Indian drum,” formed the termination.

References: “ACCIDENT AT WATSON'S BAY”, The Sydney Morning Herald (1 October 1860), 5:;  “MRS. C. JOEL’S CONCERT AT THE MASONIC HALL”, Bell’s Life in Sydney (11 April 1863), 2:; “MUSICAL ENTERTAINMENT”, Empire (15 April 1863), 4:; “CONCERT AT THE MASONIC HALL”, Empire (16 April 1863), 5:; “MRS. C. JOEL’S CONCERT”, Bell’s Life in Sydney (18 April 1863), 3:; “MUSIC AND THE DRAMA”, The Sydney Morning Herald (21 April 1863), 3:; “BENEFIT OF MR. AND MRS. CHARLES JONES”, The Sydney Morning Herald (30 June 1863), 4:; “INSOLVENCY COURT”, The Sydney Morning Herald (3 March 1864), 2:; [Advertisement], The Sydney Morning Herald (8 June 1864), 1:; “DEATHS”, The Sydney Morning Herald (11 May 1868), 1:



Drums and triangle player (Royal Lyceum)
Active Sydney, 1861

References: [Advertisement], The Sydney Morning Herald (5 August 1861), 1:



JOHNSON, Charles
Musician, vocalist
Active Hobart, 1853

References: “POLICE COURT”, The Courier (28 March 1853), 3: Charles Johnson, free, musician, was charged, under the now Hiring and Servants Act, by Mr. Hand, proprietor of the Waterman’s Arms, with non performance of his engagement. The defendant pleaded Not Guilty. Mr. Hand deposed that he had engaged tho defendant to sing for two hours every night at his Melophonic Concert, at a weekly salary of £1, in addition to his board; that the defendant would sometimes be absent for two or three nights together […] The defendant argued in his defence, that being a professional man he could not be tried as a servant. 



Band master (40th Regiment; Volunteer Rifles), clarinettist, composer
Born Kent, c.1813
Arrived Melbourne, 1852 (with regiment)
Died Melbourne, 10 June 1895, aged 82

Summary: At the time of his marriage at Norwich in 1833, Johnson was a trumpeter with the 7th Hussars. In 1843 he transferred to the Grenadier Guards and on discharge in 1846 became bandmaster of the 40th Regiment. In May 1856 he celebrated his tenth anniversary in that post as reported in Melbourne papers. Post Office Directories for 1863-1864 list him as a Professor of Music living in Wellington Parade, East Melbourne. In a Grand Military Concert at the Exhibition Building in January 1857, Johnson introduced his Grand Battle Sinfonie (“Descrptive of British Troops Leaving their Native Shores for the Seat of War”), consisting of 20 separate numbers, according to the Argus, “his clever […] composition in which all the sounds incidental to an engagement, even the dead silence of suspense, were described in music”. Also documented in band programs are Polka, “Maria” (Johnson) [June 1856], Selection, “Irish melodies” ( Johnson) [February 1864], and Selection, “Ecosse” (Johnson) [March  1864].

References: [Advertisement], The Argus (13 November 1852), 8:; [Advertisement], The Argus (20 April 1853), 10:; [News], Colonial Times (3 December 1853), 2:; [Advertisement], The Argus (28 June 1856), 8:; [Advertisement], The Argus (16 January 1857), 8:; [Advertisement], The Argus (22 January 1857), 8:; “MR. JOHNSON’S MILITARY CONCERT”, The Argus (23 January 1857), 5:; “JOURNAL OF LITERATURE AND ART”, The Illustrated Journal of Australasia 2 (1857), 95:; “CONCERT AT THE BOTANICAL GARDENS”, The Argus (14 March 1859), 5:; “THE BAND IN THE BOTANICAL GARDENS. TO THT EDITOR”, The Argus (28 November 1860), 5:; [News], The Argus (12 February 1864), 5:; [News], The Argus (8 March 1864), 5:; “DEATHS”, The Argus (12 June 1895), 1:




Juvenile alto vocalist
Active Melbourne, 1858-61

(1860): The Philharmonic Society's third subscription concert in the Exhibition Building, last night, was less numerously attended than those which have preceded it. Perhaps the influenza had something to do with the circumstance, and perhaps the absence of the names of Miss Octavia Hamilton and Mr. Farquharson from the programme had also something to do with it […] The attraction of the evening was, of course, the first performance of a new sacred cantata by Herr Elsasser, which had been for some time expected by the musical world. […] It is entitled “Praise the Lord”, and contains three quartetts in the compass of a not very long work, airs for tenor, bass, and contralto voices, and some well- written choruses […] The contralto air, “My heart is glad,“ in the absence of Mrs. Button, was capitally taken in alto by a Master Johnson, who was honoured by the only encore awarded.

References: [Advertisement], The Argus (22 December 1858), 8:; [Advertisement], The Argus (12 December 1859), 8:; [News], The Argus (27 March 1860), 5:; [News], The Argus (4 July 1860), 4:; [Advertisement], The Argus (25 January 1861), 8:




Organist, conductor, teacher of music, vocal class instructor lecturer on music, composer
Arrived Sydney, 1 January 1836 (unassisted per Salacia, from London, 6 August 1835)
Died Sydney, 13 April 1860, aged 57

Summary: James Johnson and his musician brother William Jonathan Johnson arrived in Sydney on New Year’s Day 1836 to join their father Richard Johnson, “Clock and Watch Maker“, and another brother Richard, who had been in the colony since 1833. Also described in one arrival report as a “jeweller”, James appears to have worked mainly as a musician, as organist of St. James, member of the Cecilian Society, founder of the Sydney Choral Society, and later involved with the Sydney Vocal Harmonic Society. Barnett Levey mentioned a Johnson as being among his theatre musicians in March 1837.

1836: We are given to understand that Mr. Johnson, son of Mr. Johnson, Watch and Clock Maker, George-street, has undertaken to preside at the Pianoforte, on the evening of the joint Concert of Mrs. Chester and Mrs. Taylor.

1838: MESSRS J. AND W. J. JOHNSON. Organists of St. James’s Church, BEG to remind the Inhabitants of Sydney that they give Lessons on the Practice and Theory of Music, the Organ, Piano forte, Flute, Singing, &c; and as from circumstances to which it is needless to do more than allude, many Families must be in want of a Master in their profession […]

March 1841: Yesterday Mr. W. Ward appeared at the Police office before Mr. Windeyer, for having in his possession books belonging to the Cecilian Society, alleged to have been stolen from the Society’s press. Mr. Denne appeared for the prosecution and identified about ten volumes of music as being his property which he had lent to the Cecilian Society, and which had been to his knowledge kept with the property of the society in a press in the old Court House, and had been abstracted from that place of safety about the 17th instant. In consequence of information a search warrant was issued for the house of Mr. Curtis, but the property was ultimately found in the house of Mr. Ward, who immediately gave up the property, and also gave every information ns to bow the property claimed came into his possession. Mr. Rogers the secretary of the society also identified some of the properly as belonging to the society and said that about twenty pounds worth of the same had been purchased from Mr. Curtis. Mr. James Johnson proved that on Tuesday evening the 16th instant the books in question were lodged in the society’s press in the old Court House, Mr. Allen proved that he had locked the press in which the society’s music was contained, and also that when he locked the press on last Tuesday night there was a wide space vacant from the lock having been forced. Mr. Josephson proved that on Friday morning Mr. Cosgrove called him in for the purpose of seeing the press in which the society’s hooks were contained, as it had fallen down, and be was afraid some of the books were missing […] The case occupied the Court for nearly three hours, and from the great number of musical gentlemen that were present it evidently excited great interest among the profession.

July 1848: Sydney Choral Society. On Wednesday evening last, visitors were again admitted to the practice of this Society, being the second time within the last two months. The programme consisted chiefly of the compositions of the great masters, Handel, Haydn, Beethoven, and Mozart. There was also a judicious selection from the cathedral services of Smith, of Dublin, which, consisting of alternate verse, and chorus, formed a pleasing contrast with the more ponderous choruses of the Messiah. The whole was executed in a manner that would have done credit to musicians much more experienced than the members of the Sydney Choral Society. The organ accompaniments were by Mr. James Johnson, the indefatigable conductor. It may be new to some of our readers that this Society was formed with the twofold object of furnishing volunteer choirs for the parish churches of Sydney, and of cultivating a taste for really good music, and in both these objects we believe the Society has been eminently successful.

Sydney in 1848 (28-29: St. James’s Church is a building of considerable dimensions, the foundation of which was laid on the 7th October, 1819 […] There is a well toned and powerful organ, and an excellent choir under the direction of Mr. James Johnson, to whom the Colony is indebted for the first introduction of this branch of music. The Choral Society, mentioned above, owes its origin to the meetings originally held for practice for the service of this Church.

Obituary: We are sure that our readers will learn with deep regret, that this universally esteemed gentleman died yesterday afternoon, at his residence in Pitt-street. On Wednesday, the 4th instant, he was riding a vicious buck jumping horse, which was let out for hire at Manly Beach, when he was thrown violently over the head of the animal, and fell upon his elbow. Being a stout, heavy man, he suffered a compound fracture of the arm, which, from the first, assumed a serious aspect. Inflammation rapidly set in, rendering it impossible to set the fractured limb; ultimately the wounds suppurated, and the virus becoming absorbed into his system, caused his deeply lamented death. It is superfluous to say that Mr. Johnson had the best medical aid that the colony could afford [Charles Nathan], and that the sympathy and condolence of an unusually large circle of attached friends alleviated his last illness. He had filled the situation of organist at St. James’s Church for twenty-four years, and conducted the important part of public worship which fell to his charge, with most becoming reverence, great musical ability, and undeviating punctuality. By the congregation at St. James’ he will, we are sure, be much regretted. He also held the office of assistant secretary at the Benevolent Asylum for many years, a position where his business habits, his long experience, and unflinching rectitude, were of great public service. Tho musical circles of Sydney have lost a warm supporter in Mr. Johnson, who was the founder of the Sydney Choral Society, and lost no opportunity of promoting the art of which he was an enthusiastic admirer, and a sound and skilful professor. Indeed, it may be said that he had the high honour of being the father of choral singing in Australia.  

1862: The late Mr. James Johnson, for many years organist of St. James’s church, composed a hymn for Christmas Day, “High let us swell our tuneful notes”, which, however, he never published; and the approach of this “joyous time” has been taken advantage of by Messrs. W. J. Johnson and Co. to give it publicity. The hymn is arranged for four voices, with an organ or pianoforte accompaniment. The subject is set in A sharp with a symphony in C natural. The composition is in the style of the old church music, full, extremely harmonious, and well adapted for all places of worship where the congregations join in the singing. Mr. Johnson was devoted to that part of his profession pertaining to choral music, and the respect in which his memory is held will, no doubt, induce many to possess themselves of this unpretending but meritorious “Hymn for Christmas Day”.

References: “ARRIVALS”, The Sydney Monitor (2 January 1836), 2:; [News], The Sydney Gazette (15 March 1836), 3:; [Advertisement], The Sydney Gazette (23 June 1836), 3:; [News], The Sydney Monitor (12 October 1836), 2: ht; “To the Editor”, The Sydney Monitor (31 March 1837), 3:; [Advertisement], The Australian (23 February 1838), 3:; [Advertisement], The Sydney Gazette (19 May 1838). 3:; [Advertisement], The Colonist (5 January 1839), 3:; “THE CECILIAN SOCIETY”, The Sydney Herald (25 March 1841), 2:; “HANDEL’S MESSIAH”, Australasian Chronicle (20 August 1842), 3:; “SCHOOL OF ARTS”, The Australian (16 September 1845), 3:; “THE ORATORIO”, The Sydney Morning Herald (25 December 1845), 2:; “CONCERT”, The Sydney Morning Herald (16 October 1846), 3:; “SYDNEY CHORAL SOCIETY”, The Sydney Morning Herald (21 July 1848), 2:; “MECHANICS’ SCHOOL OF ARTS, SYDNEY”, The Courier (28 February 1849), 2:; [Advertisement], The Sydney Morning Herald (26 May 1849), 3:; “SYDNEY CHORAL SOCIETY”, The Sydney Morning Herald (9 June 1857), 4:; SYDNEY VOCAL HARMONIC SOCIETY”, The Sydney Morning Herald (15 January 1859), 4:; “DEATH OF MR. JAMES JOHNSON”, The Sydney Morning Herald (14 April 1860), 13:; “DEATHS”, The Sydney Morning Herald (21 April 1860), 4:; [Advertisement], The Sydney Morning Herald (26 April 1860), 1: ttp://; “CHRISTMAS HYMN”, The Sydney Morning Herald (18 December 1862), 7:; [probably another setting, see “COUNTRY NEWS”, The Sydney Morning Herald (2 January 1860), 3:]

Musical works: The First Hymn for Christmas-Day: High let us swell our tuneful notes (Sydney: W. J. Johnson, [1862])

Resources: Graeme Rushworth, Historic organs of New South Wales, 365ff



JOHNSON, William Jonathan
Organist, conductor, teacher of music, organ builder, music retailer and publisher, composer
Born Islington, England, 1811
Arrived Sydney, 1 January 1836 (per Salacia, from London, 6 August 1835)
Died Erskineville, NSW, 3 October 1866, aged 55


Summary: “Just Arrived from London”, on first advertising his services in Sydney in February 1836, Johnson stated that he had “been for a considerable length of time employed in the Manufacture and Tuning of Piano-fortes”. By February 1838 (or perhaps considerably earlier), with his elder brother James, Johnson was joint organist of St. James’s Church, Sydney, and in his own right organist of Christ Church from April 1843 or earlier (when he was “ instructing the Parochial School Children in Sacred music“), until his death. In July 1843 he was advertising as a “pianoforte-maker” in Hunter Street, and by November 1844 he had completed building an organ for St. Andrew’s Temporary Church. Johnson continued to work as a piano and organ builder and tuner for the rest of the decade. He was trading from his “Pianoforte Manufactory, 314 Pitt-Street”, by December 1849, continuing at this address until August 1854, and from September 1854 at 57 Pitt-Street. In addition to his other services, by February 1853 he was also advertising as “Johnson and Co., Music Publishers”, after he published his own The Chusan Polka on 27 August 1852. Numerous copies of his prints of works by local and European composers survive. However, no copies are known to survive of the 11 advertised issues of his music periodical, The Sydney Harmonicon, which ran from December 1855 to March 1856, including new works by many local composers. His own Te Deum and Jubilate (the latter issued just two months before his death) were among his last publications. His widow and children carried on the business under the same style and at the same address until July 1867, when the whole stock was auctioned. A sixth edition of Johnson’s piano arrangement of Nearer, my God, to Thee was advertised in November 1868.

Sydney, April 1862: Church music has always been my primary object in musical matters, and if I have been in the smallest degree the means of enlivening the devotion of any, I am heartily thankful to Him, from whom alone come all good gifts.

Obituary: Our readers, and especially those who take an interest in the cultivation of music will read with much regret of the death of Mr. William J. Johnson. This talented gentleman for thirty years pursued the duties of his profession in our midst, and in his department of life has rendered valuable service to the community. On Wednesday evening last after a lingering and painful illness, he died at his residence, Erskineville Road, Newtown. Mr. Johnson came to this colony in company with an elder brother (also an accomplished musician) in the early part of 1836. He brought I with him the result of careful training and diligent study, and above all, the devotion of a true artist. Those who remember his exertions in relation to choral music at St. James’s will be not be slow to admit that his efforts have had a large influence in promoting that efficiency which now commonly characterises the “Service of Song”. When Christ Church was consecrated he accepted the position of organist and choir master, and retained it to the day of his death. Mr. Johnson was also wall known as a composer. His “Te Deum” and “Jubilate” are familiar to most lovers of church music. An anthem composed by him for one of the collects, and published in England was very highly spoken of by Novello. Among the latest of his compositions was a phasing arrangement of the hymn, “Nearer, my God, to Thee”. In these and other pieces, Mr. Johnson proved the thoroughness of his musical knowledge. In private life he was justly esteemed by all who had the privilege of his friendship and his memory will be long revered for his public services, his domestic virtues, the strict integrity of his life, and the quiet and unobtrusive charities of home. Mr. Johnson was in the fifty sixth year of his age and has left a widow and eight children.

References: “ARRIVALS”, The Sydney Monitor (2 January 1836), 2:; [Advertisement], The Sydney Herald (1 February 1836), 3:; [Advertisement], The Australian (20 February 1838), 4:; “NEW INSOLVENTS”, The Sydney Morning Herald (12 June 1848), 3:; “LAW INTELLIGENCE”, The Australian (28 September 1848), 3:; [Advertisement], The Sydney Morning Herald (14 July 1843), 3:; “THE ORGAN OF ST. ANDREW’S TEMPORARY CHURCH”, The Sydney Morning Herald (30 November 1844), 2:; “THE NEW ORGAN AT ST. ANDREWS. To the Editor”, The Sydney Morning Herald (2 December 1844), 4:; [Advertisement], The Sydney Morning Herald (12 December 1849), 3:; [Advertisement], The Sydney Morning Herald (23 August 1852), 5:; [Advertisement], The Sydney Morning Herald (5 February 1853), 5:; [Advertisement], Empire (8 December 1853), 8:; [Advertisement], The Sydney Morning Herald (31 August 1854), 1:; [Advertisement], The Sydney Morning Herald (12 September 1854), 1:; [Advertisement], The Sydney Morning Herald (16 September 1854), 8:; “THE SYDNEY HARMONICON”, The Sydney Morning Herald (24 December 1855), 2:; [Advertisement], The Sydney Morning Herald (2 February 1856), 9: [with complete listing of the contents of issues 1-7]; “THE SYDNEY HARMONICON”, The Sydney Morning Herald (26 February 1856), 5:; [11th issue] [Advertisement], The Sydney Morning Herald (1 March 1856), 12:; [Advertisement], The Sydney Morning Herald (1 April 1862), 2:; [Advertisement], The Sydney Morning Herald (23 August 1866), 16:; “DEATHS”, The  Sydney Morning Herald (5 October 1866), 1:; “THE LATE MR. W.  J. JOHNSON”, The Sydney Morning Herald (5 October 1866), 4:; [Advertisement], The Sydney Morning Herald (7 November 1866), 8:; [Advertisement], The Sydney Morning Herald (10 July 1867), 9:; [Advertisement], The Sydney Morning Herald (14 November 1868), 6:; [Advertisement], The Sydney Morning Herald (21 April 1869), 1:; “JOHNSON V. PARK”, The Sydney Morning Herald (24 December 1869), 2:; “OBITUARY. MR. F. H. JOHNSON”, The Sydney Morning Herald (21 April 1931), 13:

Musical works:
The Chusan Polka (“Performed by the band of Her Majesty’s XIth Regiment, at the Ball given in honor of the arrival of the first Steam Ship [Chusan] from Great Britain […] and published at the request of his friends”) (Sydney: W. J. Johnson. [1852])
Fancy Ball Polka  (“performed by the band of Her Majesty’s XIth Regiment, at the Mayor’s Fancy Dress Ball”; “Dedicated to Mrs. Egan”) (Sydney: W. J. Johnson, [1853])
A collection of psalm tunes (comprising the best compositions in general use, harmonized for four voices, with an arrangement for the organ or piano forte edited by W. J. Johnson) (Sydney: W. J. Johnson, [1854])
Ladies’ Ugly Schottische ([Sydney: W. J. Johnson, 1856; in The Sydney Harmonicon] NO COPY IDENTIFIED
Hallelujah, Amen (before the gospel) MS: Sydney, Christ Church; edition: Forsyth, 536 (540):
Third Hymn for Christmas Day (While Shepherds Watched their Flocks) Or William Stanley; MS: Sydney, Christ Church; edition: Forsyth, 537 (541):
Anglican Chants MS: Sydney, Christ Church; edition: Forsyth, 545 (549):
Good Night (terzetto; composed expressly for the society); “OPRHEONIST SOCIETY”, The Sydney Morning Herald (6 January 1862), 5:; “MUSICAL AND DRAMA”, The Sydney Morning Herald (21 January 1862), 4:
An Easter Anthem: Christ being raised from the dead. (“Composed for the use of St. Paul's College Chapel”) (Sydney: W. J. Johnson, [1862])
O Lord God (anthem) (Sydney: [W. J. Johnson], [1863]) Copy at British Library. Transcription, Forsyth, 546 (550):
Nearer to Thee [F. A. Packer, senior] (transcribed for pianoforte by W. J. Johnson; Dedicated to Signor Cutolo) (Sydney: W. J. Johnson, [1864])
Te Deum and Jubilate in D ([Sydney: W. J. Johnson, [1866]) NO COPY IDENTIFIED

Resources: Graeme D. Rushworth, Historic organs of New South Wales: the instruments, their makers and players 1791-1940 (Sydney: Hale &​ Iremonger, 1988);; Prue Neidorf, A Guide to Dating Music Published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of  Wollongong, 1999);; James Forsyth, Music of the Anglican churches in Sydney and surrounding regions: 1788-1868 (Ph.D thesis, University of Sydney, 2002):



Precentor, conductor of psalmody (at a salary of £10 a year)
Active Mortlake, VIC, 1866

Resources: J. E. Murdoch, Fifty Years of Presbyterianism in Mortlake, 1847-1897 (Mortlake: Printed at the Dispatch Office, 1917):; online:



JOLLY, William
Musician, blind violin player
Died North Melbourne, 20 January 1857, aged 30

Inquest: “An inquest was held yesterday […] on the body of a man named William Jolly, a musician, thirty years of age, who shot himself at North Melbourne on Tuesday last […] Thomas Jolly, father of the deceased, said: The deceased was my oldest son, and was by profession a violin player. He had been blind from three weeks from his birth. For the last four or five months his mind had been much disturbed, and he appeared quite melancholy. He often said that he wished something would kill him or run over him. Ho has been in the habit of carrying loaded pistols about him since arriving at the period of maturity. He was in the habit of staying out late at night from his professional attendance at parties, and it was with an idea of defending himself at such times that he carried the pistols about with him. […]”

Reference: “SUICIDE”, The Argus (22 January 1857), 6:; “SUICIDE OF A BLIND VIOLIN PLAYER“, Bendigo Advertiser (23 January 1857), 3:



JONAS, Moritz
Music teacher, organist, pianist
Born Braunschweig, Germany, 8 December 1817
Arrived Victoria, June 1855 (per Marco Polo)
Died Mount Gambier, 13 May 1902

1868: The Deutsche Liedertafel did excellent service upon the occasion under the leadership of Mr. Jonas. Since we last heard them we could hot fail to observe a marked improvement, and the increased number of tenor voices, rendered their singing everything that could be wished.

Obituary: Mr. C. M. Jonas, an old colonist, died last night. The deceased, who was in his 84th year, and was born at Brawnscheig, Germany, arrived in Victoria in June, 1855. After spending about twelve years in that State he carne to Mount Gambier in 1867 and had resided here ever since. For some years he conducted a school, and after relinquishing that he started music-teaching. He was organist at the Lutheran Church for several years and was a member of the Mount Gambier Masonic Lodge. The late Mr. Jonas had no relatives in Australia.

References: “AMATEUR CONCERT IN AID OF THE NEEDHAM MEMORIAL WINDOW FUND”, Border Watch (25 January 1868), 2:; “HERR JONAS’ CONCERT”, Border Watch (11 August 1877), 2:; “DEATH OF HERR M. JONAS”, Border Watch (17 May 1902), 2:; “MOUNT GAMBIER”, The Advertiser (17 May 1902), 8:



JONES, Sergeant
Bandsman (51st Regiment)
Departed Hobart, August 1846
Died India, 1846/47

1847: We regret to record that, since the arrival of the head-quarters of this fine regiment in the China and Agincourt, at bangalore, there have been many deaths, among whom we may mention [… ] sergeant Jones (of the band,) […] Kelly (of the band,) Simpson (of the buglers.)

References: [News], The Courier (12 August 1846), 3:; “THE 51ST REGIMENT IN INDIA”, The Courier (15 May 1847), 2:



JONES, Mr. (from London)
Professor of Dancing, the violin, double bass, quadrille parties attended with violin and harp
Active Melbourne, 1852

References: [Advertisement], The Argus (15 November 1852), 7:



JONES, Charles
Itinerant musician, fiddler
Active Bendigo, 1873

1873: Charles Jones,. an itinerant musician—a well known character, often to be seen marching through the streets with an old fiddle and a basket of confectionery, crying “pies, cakes, lollies, and music“ …

References: “YOUNG AND OLD IN CRIME”, Bendigo Advertiser (30 September 1873), 2:



JONES, David
Harpist, harp maker
Active Victoria, 1865

Summary: At St. David’s Day celebrations in 1865, it was reported that “and a new harp, manufactured by David Jones, of Williamstown, was presented to Mr. Thomas Morgan, an amateur harpist.”

References: [News], The Argus (2 March 1865), 4:; “CELEBRATIONS OF ST DAVID’S DAY”, The Australian News for Home Readers (18 March 1865), 5:



Vocalist (? contralto), ? actor
Active Sydney, by 1826 (Sydney Amateur Concerts) [very probably = Harriet KNOWLES]

Summary: That Mrs. Jones, who lived at 7 Macquarie-street, claimed a benefit during the 1826 Amateur Concerts suggests she aspired to be a musical or theatrical professional, the first female vocalist in the colony to do so. The committee of the Amateur Concerts responded by advertising: “that the Benefit announced […] for Mrs. Jones […] is entirely without their sanction or approbation, they having rejected her application, upon the ground that she had been amply remunerated for her services, by the payment of £3 per night, for performance, and that too, upon the express understanding she would dispense with a benefit.” Jones reportedly responded by “[throwing] herself on the liberality of the public, and [preparing] an evening's entertainment independent of the Amateur committee.” Favourable comments on her lower range and criticism of her higher suggest she was perhaps a contralto. She was perhaps the same Mrs. Jones who appeared in a concert at Nash’s in Parramatta in April 1827. The next Mrs. Jones to be mentioned in theatrical notices was Harriet Jones (later Mrs. Conrad Knowles) in March 1833.

25 August 1826: Mrs. Jones sang the old Ballad “No, my Love, no”, with great simplicity and sweetness of style; this lady is we hear a ci-devant daughter of the Thespian Muse, and in the event of the erection of a Theatre, we are inclined to think she will find herself as much at home as in the Concert Room.

30 September 1826: Mrs. JONES, then, was welcomed by the most cordial greetings of the audience […] on her appearance; and throughout the two songs allotted to her, “Rest thee, Babe”, and “The Garland of Love”, both of which were rapturously encored, fully sustained, and even enhanced, the opinions formed of her on her former appearances. The grace and propriety of her manner, the sweetness of her tones, and the deep compass of her voice altogether, but most particularly in the lower notes, establish her as really a most charming songstress, and one who, there cannot be the least doubt, must rise progressively in public favour.

13 October 1826: Cease your Funning, by Storace, was very unaptly allotted to Mrs. Jones. We, in common with the company, felt surprised that a song so entirely out of her line of singing, should have been selected for this lady. It was doing her real talents an injustice.

1 November 1826: The Concert. on Monday evening last, for the benefit of Mrs. Jones, was most respectably attended. Wealth, beauty, and fashion were congregated together  […] Home sweet home by Mrs. Jones [was] sweetly sung and encored.

25 November 1826: TO THE EDITOR […] I did intend taking 50 Tickets, in aid of the Benevolent Funds, for my Friends, at the coming Amateur Concert, but understanding that Mrs. Jones, from illiberal and gross private pique, mixed up with envy, is not allowed to bear part in the amusements of the evening […].

References: [Deaths], The Australian (12 July 1826), 2:; “FOURTH CONCERT”, The Monitor (11 August 1826), 5:; “MR. EDWARDS’S BENEFIT”, The Monitor (25 August 1826), 5:; “Sydney Amateur Concert”, The Sydney Gazette (26 August 1826), 3:; “The Concerts”, The Sydney Gazette (30 September 1826), 3:; “MR. SIPPE’S BENEFIT CONCERT”, The Monitor (13 October 1826), 5:; [News], The Monitor (20 October 1826), 2:; [Advertisement], The Sydney Gazette (28 October 1826), 1:; [Advertisement], The Australian (28 October 1826), 1:; “AMATEUR CONCERT”, The Sydney Gazette (1 November 1826), 3:; “TO THE EDITOR”, The Sydney Gazette (25 November 1826), 3:; “To the Editor […] Parramatta”, The Australian (7 April 1827), 2:; [News], The Sydney Monitor (23 march 1833), 2:; [Advertisement], The Sydney Gazette (13 July 1833), 1:; “COURT OF REQUESTS”, The Australian (6 January 1834), 2:



Active Sydney, 1842

References: [Advertisement], The Sydney Gazette (24 May 1842), 3:



JONES, Harriet (see Harriet KNOWLES)
And see also Mrs. JONES above



JONES, Thomas Frederick Fitzsimmons
Professor of Music, composer
Active Parramatta, 1854-56

References: [Advertisement], The Sydney Morning Herald (9 August 1854), 1:; “PARRAMATTA QUADRILLES”, The Sydney Morning Herald (22 August 1854), 3:; [Advertisement], The Sydney Morning Herald (5 February 1856), 2:



JORDAN, William
Band musician
Active Adelaide, 1855

References: “LAW AND CRIMINAL COURTS”, South Australian Register (19 November 1855), 4: : This was an action to recover £60 for the services of a band of musicians at the East Torrens election […] 17 musicians at £2 each a day



Amateur musician, organ builder, cellist, violinist
Born Bocking, Braintree, Essex, England, 23 January 1802
Arrived Melbourne, 1852
Died Launceston, 20 June 1877, aged 75

Summary (after Maidment): Sixth of 15 children on Benjamin Joscelyne, cabinet-maker at Braintree since 1778. Samuel was at Sudbury, Suffolk listed as a cabinet-maker at Market Hill in the 1830 and 1844 county directories. His son, Charles Walter Joscelyne, was born in 1848. It is not known whether Joscelyne made organs at this time. In 1852, Joscelyne emigrated to Australia, first to Melbourne, shortly afterwards to Launceston, Tasmania, where he established a furniture warehouse in Charles Street and later in St John Street.  He sold both imported and made “colonial furniture” on the premises, and also acted as an undertaker. Joscelyne was a committee member of the Launceston Mechanics Institute (where the Charles Brindley organ in the Albert Hall was initially housed), an organist, and also a performer on the viola, violoncello and double bass. His son, C. W. Joscelyne, became the Launceston agent for George Fincham, Melbourne organbuilder, and his grandson Stan Joscelyne ran a music shop in Launceston and was music critic until his death in the 1970s. Joscelyne built at least three pipe organs, notably that at Bothwell Church, making most of the wooden pipes, parts and casework himself, but obtaining the metal pipes from Britain.

References: [Advertisement], Launceston Examiner (6 October 1855), 1:; “NEWS OF THE WEEK”, Launceston Examiner (2 October 1869), 2:; “GRAND CONCERT AT THE MECHANICS’ INSTITUTE”, The Cornwall Chronicle (4 September 1872), 2:; “PUBLIC AMUSEMENTS”, The Cornwall Chronicle (25 January 1875), 3:; “DEATHS”, The Cornwall Chronicle (6 July 1877), 2:

Resources: John Maidment, “Samuel Joscelyne (1802-1877), 19th century Tasmanian organbuilder”, OHTA News 7/ 4 (October 1983), 24-26 (minor changes):  



JOSEPHSON, Joshua Frey
Pianist, flautist, organist, composer, judge
Born Hamburg, Germany, 1815
Arrived Sydney, 1820 (free per Morley to join convict father)
Died Bellevue Hill, NSW, 26 January 1892 


July 1836: 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, aud occasion given to call it forth.

References: [News], The Sydney Gazette (16 July 1836), 4:

Resources: H. T. E. Holt, Josephson, Joshua Frey (1815-1892), Australian Dictionary of Biography 4 (1972)



Viola player

Active Sydney, 1859

References: [Advertisement], Empire (2 July 1859), 3:; [Advertisement], The Sydney Morning Herald (24 November 1859), 1:



JOSSELIN, Marie Louise Adelaide de (Mrs. James TODD) (DE JOSSELIN)
Teacher of Pianoforte and French (pupil of C. S. Packer, R.A.M.)
Born Sydney, 5 May 1864

References: “BIRTHS”, The Sydney Morning Herald (9 May 1864), 1:; [Advertisement], The Sydney Morning Herald (25 July 1883), 2:; “Marriages”, The Sydney Morning Herald (7 June 1884), 1:



JUDE, W. H. (William Herbert)
Pianist, organist, vocalist, entertainer, hymn writer, evangelical revivalist, composer
Born Westleton, Suffolk, England, September 1851 Arrived Adelaide, SA, 25 May 1891 (per Victoria)
Also visited New Zealand, October-November 1892
Departed Adelaide, 17 January 1894 (per Arcadia, for England)
Died London, 8 August 1922

1894: Mr W. H. Jude, the musical composer, who was converted whilst visiting Australia, is devoting himself to mission work. He was much impressed, it seems, originally by a sermon by Mr Moody on “What think ye of Christ?” He was again influenced by a sermon on the same text which he had heard in Yorkshire, and was ultimately converted in Sydney after hearing a third address on the same text by a female Salvation officer.

Note (1891): Jude arrived on same steamer as Charles Halle, and returning Australian music students Ernest Hutcheson and Gulielma Hack.

NLA Persistent Identifier:

References: [News], South Australian Register (22 May 1891), 4:; “MUSICAL CELEBRITIES”, South Australian Register (26 May 1891), 6:; “MR. W. H. JUDE’S ENTERTAINMENT”, The Argus (9 June 1891), 6:; “MR. W. H. JUDE’S ENTERTAINMENT”, Evening News (10 August 1891), 2:; [Advertisement], The Advertiser (18 January 1894), 2:; “AROUND THE CAMPFIRE-AUSTRALIAN SONG AND STORY”, The Inquirer (19 January 1894), 27:; “MR. W. H. JUDE”, Border Watch (20 January 1894), 2:; [News], Barrier Miner (10 April 1894), 3:; “MUSIC & THE DRAMA”, Launceston Examiner (8 August 1894), 3:




Professor of music
Arrived Sydney, by December 1878

December 1878: Mr. C. JUNGHENN, an experienced teacher of music, lately arrived from Germany, begs to announce to the inhabitants of Sydney and suburbs that to intends giving lessons in the art of pianoforte-playing.

References: [Advertisement], The Sydney Morning Herald (6 December 1878), 4:; [Advertisement], The Sydney Morning Herald (9 January 1879), 3: ; “TO THE EDITOR”, The Sydney Morning Herald (23 October 1879), 3:; [Advertisement], The Sydney Morning Herald (2 April 1880), 2:; [Advertisement], The Sydney Morning Herald (28 April 1880), 1:



JUNIPER, William
Bass vocalist
Active Melbourne,  by 1860
Died Hawthorn, VIC, 24 July 1899, in his 61st year

References: “Members of the newly-formed Fitzroy Musical Union …”, The Argus (11 May 1860), 4:; “PHILHARMONIC SOCIETY’S CONCERT”, The Argus (27 September 1869), 6:; “CHORAL SOCIETY’S CONCERT”, Williamstown Chronicle (8 October 1870), 5:; “HAWTHORN AND KEW HARMONIC SOCIETY”, The Argus (6 August 1881), 7:; “DEATHS”, The Argus (25 July 1899), 1:



JUPP, Mrs. Edward

Vocalist, pianist
Arrived Adelaide, 5 October 1849 (per Trafalgar from London)
Active Adelaide, 1849-54

References: “SHIPPING INTELLIGENCE”, South Australian Register (6 October 1849), 2:; “MECHANICS INSTITUTE”, South Australian (2 November 1849), 2:; “MR. GALE’S CONCERT”, South Australian (16 November 1849), 2:;  [Advertisement], South Australian (20 November 1849), 3:; “MR. GALE’S CONCERT”, South Australian (23 November 1849), 2:; [Advertisement], South Australian (9 July 1850), 3:; [Advertisement], South Australian Register (8 April 1851), 4:; “MRS. JUPP’S CONCERT”, South Australian Register (11 April 1851), 2:; “DIED”, South Australian Register (17 January 1853), 2:; [Advertisement], South Australian Register (1 August 1854), 1:


Graeme Skinner © 2014