THIS PAGE LAST MODIFIED Tuesday 28 November 2017 10:49


A chronological checklist of Australian colonial musical works 1836-1840

Dr GRAEME SKINNER (University of Sydney)


THIS PAGE IS ALWAYS UNDER CONSTRUCTION


To cite this:

Graeme Skinner (University of Sydney), "A chronological checklist of Australian colonial musical works 1836-1840", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia): http://sydney.edu.au/paradisec/australharmony/checklist1836-1840.php; accessed 14 December 2017


Summary

This chronological checklist page, covering the years 1836-40, is intended to include all original Australia colonial musical works, significant arrangements, and musical editions specifically aimed at colonial audiences, documented or extant from the five years in question.

It tables musical works by Australian resident composers, in print and manuscript, lost and still existing, as well as new songs written by colonial songwriter/lyricists to existing imported tunes, and targetted colonial editions such as, for instance, popular songsters, musical albums, and hymnbooks. Also tabled are a small number of musical works composed specifically for Australian sale and use, by composers who never visited the colonies.

Not included in this page, however, are colonial manuscript copies or printed editions of the general run of imported musical works by composers or arrangers who never visited Australia, for example, local editions of internationally popular songs like Henry Bishop's Home, sweet home, or instrument music like George Osborne's waltz La plui de perles.

Where a digitised copy or electronic bibliographic record of a piece of music exists, it is live-linked to the title.

Like everything in Australharmony, the page is a work-in-progress, made available now for the use and information of interested others, but always subject to updates, corrections, and improvements.


Please contact me if you have, or know of, other relevant information, and which you are willing to share.


Go to:
1836
1837
1838
1839
1840


1836





31 December 1835 (first notice)

1 January 1836 (first published)

Sydney, NSW


STUBBS, Thomas (composer)

The minstrel waltz for 1836

THE MINSTREL WALTZ, for 1836, Dedicated by permission, to Mrs. E. Deas Thomson. Composed by T. Stubbs, Published for the Proprietor at Ellard's Music Warehouse, Hunter-street


PUBLISHED: [? Sydney: Francis Ellard, 1836]

NO COPY IDENTIFIED


Later also arranged for the Band of the 4th Regiment, by George Coleman

Later also arranged for flute and pianoforte by William Vincent Wallace


Documentation:

[Advertisement], The Sydney Herald (31 December 1835), 1

http://nla.gov.au/nla.news-article28654562

For the Ladies. On New Year's Day will be Published, THE MINSTREL WALTZ, for 1836, Dedicated by permission, to Mrs. E. Deas Thomson. Composed by T. Stubbs, Published for the Proprietor at Ellard's Music Warehouse, Hunter-street.

[Advertisement], The Sydney Herald (4 January 1836), 1

http://nla.gov.au/nla.news-article28654583

[Advertisement], The Sydney Herald (7 January 1836), 1

http://nla.gov.au/nla.news-article12853712

[News], The Sydney Herald (4 January 1836), 2

http://nla.gov.au/nla.news-article28654581

We have received a copy of a Musical trifle just issued from the Australian Press, entitled "The Minstrel Waltz," composed by Mr. Thomas Stubbs, of Sydney, which is intended as a New Year's Gift for the Ladies of the Colony. The sheet is very well engraved and printed; and the composition appears creditable to Mr. Stubbs, who, by-the-by, is a Native of the Colony. The Waltz is set in an easy key - C major - and arranged in the most simple manner, so as to bc accessible to juveniles. Some of the passages in Mr. Stubbs' production are extremely pretty - particularly that commencing from the third double bar; the finale is not so good. The Waltz is on sale at Mr. Ellard's.

The above reprinted verbatim: "EXTRACTS FROM OTHER PAPES", The Sydney Monitor (6 January 1836), 3

http://nla.gov.au/nla.news-article32150454 [and see also The Monitor's own 6 January notice below]

"THE MINSTREL WALTZ", The Sydney Gazette (5 January 1836), 3

http://nla.gov.au/nla.news-article2202100

THE MINSTREL WALTZ. Rarely have we been more truly gratified at any literary present, than by this unique New Year's Offering to the Muses. The composer of the piece is Mr. Thomas Stubbs. The artist who engraved and printed it is Mr. Wilson, of Hunter-Street, Sydney. We do not say too much when we set down this little work as a chef d'oeuvre in its way, considered as a Colonial production, and the first thing of the kind yet published here. Did it not possess all the merit of composition and ingenuity that it does, we should still applaud it as opening a way for the fine arts into New South Wales, of which, the composer, Mr. Stubbs, is a Native, and the engraver a Colonist of some years. No lady in the Colony should be without "The Minstrel Waltz."

"MUSIC", The Sydney Monitor (6 January 1836), 2

http://nla.gov.au/nla.news-article32150454

MUSIC. Mr. Stubbs has presented us with a piece of music composed by himself, called the "Minstrel Waltz," as a New Year's Gift. It is very neatly got up, and reflects credit on the engraver as well as the composer.

"Native Dinner", The Australian (27 January 1837), 2

http://nla.gov.au/nla.news-article36858753

About one hundred and seventy natives of the Colony dined together, yesterday, at the Royal Hotel, for the purpose of celebrating the Anniversary of the foundation of the colony ... The following is the order in which the Toasts were given.
1. The King - Royal Anthem.
2. The Queen - Adelaide Waltz.
3. The British Navy - Rule Britannia.
4. The British Army - British Grenadiers.
5. His Excellency the Governor - Garry Owen.
6. The Memory of General Macquarie - To be drank in solemn silence.
7. Our Fair Countrywomen - Currency Lasses.
8. The Fair Visitants of our Native Land - Minstrel Waltz - arranged expressly for the occasion by Mr. COLEMAN, 4th Regiment.
9. The Agricultural and Commercial Interests of the Colony - Speed the Plough, &c.
10. The Sister Colonies - Hail Australasia.
11. The Mother Country - Hearts of Oak.
12. Major England and the Officers of the Garrison - Regimental March.
13. The Civil Officers of the Colony - Money in both pockets.
14. The President - Australian Minstrel March, arranged expressly for the occasion, by Mr. COLEMAN.
15. The Vice President - Captain Piper's Fancy.
16. The Stewards - Fly not yet.
17. Civil and Religious Liberty all over the World. - The King, God bless him.

"UNITED AUSTRALIANS' DINNER", The Australian (30 January 1837), 2

http://nla.gov.au/nla.news-article36858631

"THE JUBILEE WALTZ", The Sydney Gazette and New South Wales Advertiser (6 February 1838), 2

http://nla.gov.au/nla.news-article2547425

THE JUBILEE WALTZ. - This delightful little waltz has been composed by Mr. Thomas Stubbs, a native of the Colony, also the composer of the Minstrel Waltz, both of which were arranged by Mr. William Wallace, the Australian Paganini. We have heard both of these pieces of music lately played by that talented performer, assisted by his brother on the flute; need we say that we were much delighted, not only with the performance but with the waltzes themselves ...


Bibliography:

McGuanne 1901, 41

"This WAS Australia", The World's News (19 January 1938), 28

http://nla.gov.au/nla.news-article137000251

Hall 1951-54

Australian Encyclopaedia 1958, 8, 334

Wentzel 1962, 32

Hall 1989-91, (February 1990), 23

https://books.google.com.au/books?id=U3XevRe6YKgC&pg=PA23

Neidorf 1999

CCMDA 2003, 550

Skinner 2011a


Resources:

-


Commentary:

This lost print is the first composed musical work by an Australian native settler-colonist on record to be published.


References:

-




16 January 1836 (first advertised, first performance)

Theatre Royal, Sydney, NSW


SIMMONS, Joseph (? composer, songwriter, arranger. dancer)

A Mock Italian Bravura

[Sung] by Mr. Simmons

A Mock Minuet de la cour

[Danced] by Mrs. Jones and Mr. Simmons


NO COPIES IDENTIFIED (? lost MS, perhaps partly improvised)


Documentation:

[Advertisement], The Sydney Gazette (16 January 1836), 3

http://nla.gov.au/nla.news-article2202266

Theatre Royal, SYDNEY ... THIS EVENING, SATURDAY, JAN. 16, 1836, ... WILL BE PERFORMED FOR THE SECOND TIME THE ADMIRED DRAMA OF THE INKEEPER OF ABBEVILLE ... To conclude with (for the first time this Season), the much admired and favourite Farce, called HIGH LIFE BELOW STAIRS ... IN THE COURSE OF THE PIECE "A Mock Italian Bravura" BY MR. SIMMONS. "A Mock Minuet de la Cour" BY MRS. JONES AND MR. SIMMONS.

[Advertisement], The Sydney Gazette (14 May 1836), 3

http://nla.gov.au/nla.news-article2204315

Theatre Royal, SYDNEY ... On MONDAY EVENING NEXT, May 16, 1836, The Theatre will OPEN for ONE NIGHT ONLY FOR THE BENEFIT OF MR. SIPPE, Composer and Director of the Orchestra, On which Occasion will be produced (for the first time in three Seasons) Coleman's celebrated and admired Comedy, in five Acts, called The Heir at Law ... The whole to conclude with the highly laughable Afterpiece, in two Acts, called HIGH LIFE BELOW STAIRS ... In which [Mr. SIMMONS] will introduce the celebrated MOCK ITALIAN BRAVURA AND A MOCK MINUET, with Mrs. JONES ...

[Advertisement], The Sydney Herald (16 May 1836), 3

http://nla.gov.au/nla.news-article12854323


Bibliography:

-


Resources:

-


Commentary:

Simmons perhaps revived the bravura as the Mock Italian Aria in Charles Nagel's Mock Catalani (or Sham Catalani) in 1842.


References:

[James Townley], High life below stairs: a farce of two acts; as it is performed at the Theatre-Royal in Drury-Lane (London: Printed for J. Newberry et al., 1759)

https://archive.org/details/highlifebelowsta00towniala

- Sixth edition (London: Printed for J. Newberry et al., 1760)

https://books.google.com.au/books?id=WhVXAAAAYAAJ

[Advertisement], The Sydney Gazette (7 May 1842), 2

http://nla.gov.au/nla.news-article2556440




1836-02-13 (first published)

Sydney, NSW


ANONYMOUS (words)

Lyrics-original, AIR - Kelvin Grove

Documentation:

"LYRICS ORIGINAL", The Sydney Gazette and New South Wales Advertiser (13 February 1836), 4

http://nla.gov.au/nla.news-article2202726 

Your letter I received, my dearest lassie O!
My heart is much relieved, my bonny lassie O!
Yes I'll e'en take your advice -
Get to Sydney in a trice
And his reverence ask to wed us, dearest lassie O!

... [10 stanzas in all]


And see also, possibly by the same author, or partly adapted from the above:

"A NEW SONG", Bell's Life in Sydney (22 May 1847), 4

http://nla.gov.au/nla.news-article59768053




26 February 1836 (first performance)

Saloon, Royal Hotel, Sydney, NSW


PAUL, Tempest Margaret (composer)

WALLACE, William Vincent (composer, arranger, pianist)


Currency Lasses

[Song] as composed by our talented towns lady, Mrs. John Paul senior

Extemporaneous Performance on the Pianoforte on Currency Lasses

Documentation:

[Advertisement], The Sydney Gazette and New South Wales Advertiser (23 February 1836), 3

http://nla.gov.au/nla.news-article2202868

Mr. W. Wallace, LEADER of the Anacreontic Society and Professor of Music, (Royal Academy), begs to announce that his Second Concert Of Vocal and Instrumental Music, will take place IN THE SALOON OF THE Royal Hotel On Friday Evening, 26th FEBRUARY, 1836, On which occasion Mr. Wallace will be assisted by MRS. CHESTER, MRS. TAYLOR, MR. JOSEPHSON, MR. WILSON, AND MR. SIPPE. PROGRAMME-CONCERT.
PART FIRST.
1. Overture - Gaza ladra. Rossini.
2. Song -Kate Kearney, Irish Melody. Mrs. Taylor
3. Concerto - Pianoforte, Mr. Wallace
4. Song - (by desire) Glory from the Plain. Rossini. Mrs. Chester
5. Grand Fantasia - Flute - Drouet. Mr. Josephson
6. Duet- My Pretty Page. Bishop. Mrs. Chester and Mrs. Taylor
7. Paganini's Grand Concerto (ON ONE STRING) for the Violin, MR. WALLACE.
PART SECOND.
8. Overture - Semiramide, Rossini.
9. Song - Kathleen O'Moore, Irish Melody. Mrs. Chester
10. Extemporaneous Performance on the Pianoforte on any subject or subjects which may be presented (written). Mr Wallace.
11. Song - Canst thou ask me to forget. A . Lee. Mrs. Taylor
12. Song. - She sat within the Abbey Walls. Barnett. Mrs. Chester
13. Fantasia di Bravura, Violin, dedicated to Paganini, in which will be introduced "'Tis the last Rose of Summer," MR. WALLACE.
By the kind permission of COL. FRENCH, Mr. Wallace will be allowed the valuable aid of the Band of the 28th REGIMENT. Tickets 7s. 6d each, to be had at Mr. Ellard's Music Warehouse, and at the Royal Hotel. Concert to commence at 8 o'Clock.

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

http://nla.gov.au/nla.news-article2202929

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

"LAST FRIDAY EVENING'S CONCERT", The Sydney Gazette (1 March 1836), 3

http://nla.gov.au/nla.news-article2203019

... He ended that performance with "Currency Lasses" (as composed by our talented towns lady, Mrs. John Paul senior,) adding to it some extemporaneous variations [ - ] many ladies and gentlemen were to be seen with scraps of music in their hands ready to present them, but being so well satisfied, no doubt did not wish to trouble him ...


Bibliography:

Skinner 2011a

Lamb 2012, 16-17


Resources:

-


Commentary:

-


References:

-




6-8 March 1836 (date of event/performance)

Albany, King George's Sound, WA


INDIGENOUS

DARWIN, Charles (reporter)

Image:

Albany, St. George's Sound, Syms Covington, March 1836 [detail]; State Library of New South Wales, ML PXD 41

http://www.acmssearch.sl.nsw.gov.au/search/itemDetailPaged.cgi?itemID=839582

Corrobery ... Kangaroo dance ... Emu dance

Report only


Documentation:

Darwin's Beagle diary (1831-1836), MS, English Heritage 88202366, Down House, Kent, ed. Roomaaker 2009

http://darwin-online.org.uk/content/frameset?pageseq=1&itemID=EHBeagleDiary&viewtype=text (modern edition online)

K. George's Sound. 1836. March 6th - 10th ... During the two first days after our arrival, there happened to be a large tribe called the White Coccatoo men, who come from a distance paying the town a visit. - Both these men & the K. George's Sound men were asked to hold a "Corrobery" or dancing party near one of the Residents houses. - They were tempted with the offer of some tubs of boiled [711] rice or sugar. As soon as it grew dark they lighted small fires & commenced their toilet, which consisted in painting themselves in spots & lines with a white colour. - As soon as all was ready, large fires were kept blazing, round which the women & children were collected as spectators. - The Cockatoo and King George's men formed two distinct parties & danced generally in answer to each other. The dancing consisted in the whole set running either sideways or in Indian file into an open space & stamping the ground as they marched all together & with great force. - Their heavy footsteps were accompanied each time with a by a kind of grunt, & by beating their clubs & weapons, & various other gesticulations, such as extending their arms or & wriggling their bodies. It was a most rude barbarous scene, & to our ideas without any sort of meaning; but we observed that the women & children watched the whole proceeding with the greatest pleasure. - Perhaps these dances originally represented some scenes such as wars & victories; there was one called the Emu dance in which each man extended one his arm in a bent manner, so as to imitate movement of the neck of one of those birds. In another dance, a one man took off all the motions of a Kangaroo grazing in the woods, whilst a second crawled up & pretended to spear it him. - When both tribes mingled in one dance, the ground trembled with the heaviness of their steps & the air resounded with their wild crys. - Every one appeared in high [712] spirits; & the group of nearly naked figures viewed by the light of the blazing fires, all moving in hideous harmony, formed a perfect representation of a festival amongst the lowest barbarians. - I imagine from what I have read that similar scenes may be seen amongst the same coloured people, who inhabit the Southern extremity of Africa. In T. del Fuego we have beheld many curious scenes in savage life, but I think never one where the natives were in such high spirits & so perfectly at their ease. - After the dancing was over, the whole party formed a great circle on the ground & the boiled rice & sugar was distributed to each in succession to the delight of all.

Darwin 1839, 537-38

https://books.google.com.au/books?id=WNlCAQAAMAAJ&pg=PA537

Darwin 1840, 537-38

https://books.google.com.au/books?id=MhsHaI3YlIMC&pg=PA537

A large tribe of natives, called the White Cockatoo men, happened to pay the town a visit while we were there. These men, as well as those of the tribe belonging to King George's Sound, being tempted by the offer of some tubs of rice and sugar, were persuaded to hold a "corrobery," or great dancing-party. As soon as it grew dark, small fires were lighted, and the men commenced their toilet, which consisted in painting themselves white in spots and lines. As soon as all was ready, large fires were kept blazing, [538] round which the women and children were collected as spectators; the Cockatoo and King George's men formed two distinct parties, and danced generally in answer to each other. The dancing consisted in the whole set running either sideways or in Indian file, into an open space, and stamping the ground with great force as they marched together. Their heavy footsteps were accompanied by a kind of grunt, and, by beating their clubs and weapons, and various other gesticulations, such as extending their arms, and wriggling their bodies. It was a most rude, barbarous scene, and, to our ideas, without any sort of meaning; but we observed that the women and children watched the whole proceeding with the greatest pleasure. Perhaps these dances originally represented some scenes, such as wars and victories; there was one called the Emu dance, in which each man extended his arm in a bent manner, so as to imitate the neck of that bird. In another dance, one man took off the movements of a kangaroo grazing in the woods, whilst a second crawled up, and pretended to spear him. When both tribes mingled in the dance, the ground trembled with the heaviness of their steps, and the air resounded with their wild cries. Every one appeared in high spirits, and the group of nearly naked figures, viewed by the light of the blazing fires, all moving in hideous harmony, formed a perfect representation of a festival amongst the lowest barbarians. In Tierra del Fuego, we have beheld many curious scenes in savage life, but never, I think, one where the natives were in such high spirits, and so perfectly at their ease. After the dancing was over, the whole party formed a great circle on the ground, and the boiled rice and sugar was distributed, to the delight of all.


Bibliography:

"THE WEST AUSTRALIAN NATURAL HISTORY SOCIETY", The West Australian (6 October 1892), 2

http://nla.gov.au/nla.news-article3040769

The following is the final portion of the annual address delivered at the meeting of the West Australian Natural History Society, on Monday evening, by the President of the society, Sir John Forrest: ... I will, now refer in a few words to the question of the close relationship of animals and plants, and conclude my remarks by relating a legend of the aborigines of Perth and Darwin's description of a corrobboree at Albany in 1836 ... In his naturalists voyage round the world, Darwin describes his visit to Australia in 1836, and after having visited Sydney and Hobart, came to King George's Sound. While at King George's Sound, he was able to see what we call a corroboree or native dance, and this is how he describes it:

"A large tribe of natives called the white cockatoo men happened to pay the settlement a visit while we were there - these men, as well as those of the tribe belonging to King George's Sound being tempted by the offer of some tubs of rice and sugar, were persuaded to hold a corroboree or great dancing party. As soon as it grew dark small fires were lighted, and the men commenced their toilet, which consisted in painting themselves white in spots and lines. As soon as all was ready, large fires were kept blazing round which the women and children were collected as spectators. The coekatoo and King George men formed two distinct parties, and generally danced in answer to each other. The dancing consisted in their running either sideways or in Indian file into an open space and Biamping the ground with great force as they marched together, their heavy footsteps were accompanied by a kind of grunt, by beating their elubs and spears together, and by various other gesticulations such as extending their arms, wriggling their bodies. It was a mest rude barbarous scene, and to our ideas without any sort of meaning, but we observed that the black women and children watched it with the greatest pleasure. When both tribes mingled in the dance the ground trembled with the heaviness of their steps, and the air resounded with their wild cries. Everyone appeared in high spirits, and the group of nearly naked figures viewed by the light of the blazing fires, all moving in hideous harmony formed a perfect display of a festival amongst the lowest barbarians. In Tierra del Fuego, we have beheld very curious scenes in savage life, but never I think one where the natives were in such high spirits and so perfectly at ease. After the dancing waa over, the whole party formed a circle on the ground, and the boiled rice and sugar was distributed to the delight of all."


Resources:

-


Commentary:

-


References:

-




17 March 1836 (date of event/performance)

NSW


INDIGENOUS

MITCHELL, Thomas Livingstone (reporter)

Corrobory

Report only


Corrobory (titlepage Mitchell 1838, 2)

Documentation:

Mitchell 1838, 2, 4-6, and title-page illustration

https://books.google.com.au/books?id=gwE-AQAAMAAJ&pg=PA4

Mitchell 1839, 2, 4-6

http://books.google.com.au/books?id=GIMrAAAAIAAJ&pg=PA4

(4 "CORROBORY OF THE NATIVES") ... March 17. - I put the party in movement towards Buree, and rode across the country, on our right, with Piper. We found the earth parched and bare, but, as we bounded over hill and dale, a fine cool breeze whispered through the open forest, and felt most refreshing after the hot winds of Sydney. Dr. Johnson's Obidah was not more free from care, on the morning of his journey, than I was on this, the first morning of mine. It was also St. Patrick's day, and in riding through the bush, I had leisure to recal past scenes and times, connected with the anniversary. I remembered, that exactly on that morning, twenty-four years before, I marched down the glacis of Elvas, to the tune of "St. Patrick's day in the morning," as the sun rose over the beleaguered towers of Badajoz. Now, without any of the "pride, pomp, and circumstance of glorious war," I was proceeding on a service not very likely to be peaceful, for the natives here assured me, that the Myalls were coming up ("murry coola," i. e. very angry) to meet us. At Buree I rejoined my friend Rankin, who had accompanied me from Bathurst to the camp, and Captain Raine, who occupied this place with his cattle. A hundred sheep and five fat oxen were to be furnished by this gentleman, to complete my commissariat supplies. In the evening the blacks, having assembled in some numbers, entertained us with a "corrobory," their universal and highly original dance. - (See the vignette title-page to this vol.: ) - Like all the rest of the habits and customs of this singular race (5) of wild men, the "corrobory" is peculiar, and, from its uniformity on every shore, a very striking feature in their character. The dance always takes place at night, by the light of blazing boughs, and to time beaten on stretched skins, accompanied by a song.* [* To this end they stretch a skin very tight over the knees, and thus may be said to use the tympanum in its rudest form, this being the only instance of a musical instrument that I have seen among them ... ] The dancers paint themselves white, and in such remarkably varied ways, that no two individuals are at all alike. Darkness seems essential to the effect of the whole; and the painted figures coming forward in mystic order from the obscurity of the back-ground, while the singers and beaters of time are invisible, have a highly theatrical effect. Each dance seems most tastefully progressive; the movement being at first slow, and introduced by two persons, displaying graceful motions both of arms and legs, others one by one join in, each imperceptibly warming, into the truly savage attitude of the "corrobory" jump; the legs then stride to the utmost, the head is turned over one shoulder, the eyes glare, and are fixed with savage energy all in one direction, the arms also are raised and inclined towards the head, the hands usually grasping waddies, bommerengs, or other warlike weapons. The jump now keeps time with each beat, the dancers at every movement taking six inches to one side, all being in a connected line, led by the first the line, however, is sometimes doubled or tripled, according to space and numbers; and this gives great effect, for when (6) the front line jumps to the left, the second jumps to the right, the third to the left again, and so on; until the action acquires due intensity, when all simultaneously and suddenly stop. The excitement, which this dance produces in the savage, is very remarkable. However listless the individual may be, laying perhaps, as usual, half asleep; set him to this dance, and he is fired with sudden energy, and every nerve is strung to such a degree, that he is no longer to be recognized as the same person, until he ceases to dance, and comes to you again. There can be little doubt that the corrobory is the medium through which the delights of poetry are enjoyed, in a limited degree, even by these primitive savages of New Holland.


Bibliography:

"AN AUSTRALASIAN CORROBORY", The London Saturday Journal 2/42 (October 1839), 261

https://books.google.com.au/books?id=ekEwAQAAMAAJ&pg=RA1-PA261

In the evening the blacks, having assembled in some numbers, entertained us with a "corrobory," their universal and highly original dance ... [as above]

Flanagan 1862, 1, 488-89

https://books.google.com.au/books?id=WicXAAAAYAAJ&pg=PA488

Orchard 1952, 214-15


Resources:

-


Commentary:

-


References:

-




31 March 1836 (first published)

Sydney, NSW


ANONYMOUS (songwriter, satirist)

The Family Man

A New Song; To be Sung at the next Concert ... Tune. - We'll run the risk for a' that


VIEW DIGITISED SOURCE 1 (words) (31 March 1836)


VIEW DIGITISED SOURCE 2 (words) (7 July 1836)


Source:

"Original Poetry", The Colonist (31 March 1836), 7

http://nla.gov.au/nla.news-article31717822

THE FAMILY MAN, A NEW SONG. To be Sung at the next Concert, BY A MEMBER OF THE ARTILLERY CORPS. TUNE. - We'll run the risk for a' that.

JOHN THOMAS was a Shropshire man,
And eke a worthy nailer;
He had a stout-built portly frame,
And his flame she was a Taylor;
Who, though she tried to fasten John
In Hymen's pleasant noose,
Found to her cost; alas! that he
Was not a Taylor's goose.

She bound him with a silken cord,
And then a cord of cotton;
But silk and cotton; flax and tow,
Snapp'd as if each were rotten!
She took to pouting then and vow'd
She'd sooner die of hunger,
Than e'er be bound with bullock chains,
Or wed an Ironmonger!

"What is't you say? said he, as she
Stood bolt upon the boards;
You're tenfold happier than if kept
By half a dozen lords.
There's not a show-room in the place
Can be compar'd with mine;
There's not a woman on the town
Has such a lot as thine.

"Why, there's the Sydney Theatre,
Its owners wish to let it;
'Twould be the noblest spec of all,
If we could only get it.
We'd take it either by the week,
Or by the month or year;
And there's my good friend B ... n,
Will back us out, my dear."

Said Parson H--- one day, as they
Were riding in their carriage,
"Why, you'll disgrace us all, friend John
If you don't make this a marriage.
The thing has got about the town
In fearful notoriety;
And, mind, we'll turn you out of each
Religious Society."

John Thomas blush'd and said " 'twas strange
How idle people CAVILL,
But he would tell him all the truth
And the whole case unravel.
He would have married long ago;
(He's of the marrying kidney:)
But when one has a wife at home,
He can't have one in Sydney."



Documentation:

"THE COLONIST", The Sydney Monitor (6 April 1836), 2

http://nla.gov.au/nla.news-article32151075

In the Colonist newspaper of Thursday last, there appeared a poetical squib on Mr. J. T. Wilson, commencing - "John Thomas was a Shropshire man," which alluded to some portions of Mr. W's conduct, and charged him with living in an immoral state. Mr. Wilson, accompanied by a friend, called at the Colonist Office on Thursday, and saw Mr. Bull, who was lying in his bed, very ill, and after asking him whether he would give up the author of the poetry, which he declined, left the house vowing he would have satisfaction. On Monday Mr Bull was walking down George Street when Mr. Wilson laying hold of his collar, commenced horse-whipping him. Mr. Bull made no resistance, and when Mr. W. had inflicted about a dozen lashes, Mr. Windeyer, the second Police Magistrate, interfered, and gave Wilson into custody for a breach of the peace ...

"POLICE OFFICE YESTERDAY", The Sydney Gazette and New South Wales Advertiser (5 April 1836), 3

http://nla.gov.au/nla.news-article2203597

"SUPREME COURT. WEDNESDAY JUNE 29. BULL v. WILSON", The Colonist (7 July 1836), 1

http://nla.gov.au/nla.news-article31718241


Bibliography:

Lang 1837, 1, 346 [reprints song complete]

https://books.google.com.au/books?id=maxCAAAAcAAJ&pg=PA436

"A KNOWLEDGE OF OUR ADOPTED COUNTRY", The Cornwall Chronicle (10 May 1848), 4

http://nla.gov.au/nla.news-article65979321

[John Richard Houlding], "Sketches from Real Life, BY OLD BOOMERANG, POLITICS IN BYGONE DAYS", Sydney Mail (12 November 1870), 11

http://nla.gov.au/nla.news-article166811800

McGuanne 1901, 41

"MUMMER MEMOIRS", Sydney Sportsman (11 October 1905), 3

http://nla.gov.au/nla.news-article167202899

"MUMMER MEMOIRS", Sydney Sportsman (25 October 1905), 3

http://nla.gov.au/nla.news-article167205386

Arthur Jose, "Calendars and Almanacks", The Brisbane Courier (31 December 1932), 16

http://nla.gov.au/nla.news-article21998415


Resources:

http://www.austlit.edu.au/austlit/page/C729032


John Thomas was a Shropshire man

Musical concordances:

The printed text names the tune as "We'll run the risk for a' that", which is clearly a reference to the Scots tune For a' that, an' a' that, popularised by Robert Burns in his songs "I am a bard of no regard" and "Is there for honest poverty" (also known as "A man's a man for a' that"). The variants of the melody most likely to be known and sung in Sydney in the 1830s were probably traceable back to the tune of Lady MacIntosh's Reel. Another, more elaborate tune to which the Burns songs were also sometimes sung was An gilleadh dudh

The version of the melody given by James C. Dick (ed.), The songs of Robert Burns now first printed with the melodies (London, Henry Frowde, 1903), 228 (above); and Donald A. Low (ed.), The songs of Robert Burns (London: Routledge, 1993), 165


Lady MacIntosh's Reel in Bremner's Scots Reels (c.1857/9), 52

http://hms.scot/fiddle/copy/2

http://tunearch.org/wiki/Lady_MacIntosh's_Reel_(1)


An gilleadh dudh ciar dhudh, in Simon Fraser, The airs and melodies peculiar to the highlands of Scotland and the Isles (Edinburgh: For the editor, [1815/6]), 35

https://books.google.com.au/books?id=adpWAAAAcAAJ&pg=PA35 


"HONEST POVERTY", in The musical casket (Edinburgh: T. & W. M'Dowall, and Oliver & Boyd, 1842), 81-82

http://digital.nls.uk/special-collections-of-printed-music/pageturner.cfm?id=90238184


Commentary:

The subjects of ridicule in this satirical song are John Thomas Wilson and Maria Taylor. Also mentioned are the chaplain, Robert Hill ("Parson H---"), Thomas Burdekin ("my good friend B---n"), and Mrs. Cavill.


References:

"'BETTER AND MORE OF IT", The Colonist (14 April 1846), 3

http://nla.gov.au/nla.news-article31717874

IF Mr. John Thomas Wilson had been one of those people who know when they have had enough, we should not have treated him to a second notice in this paper, as we feel ourselves compelled to do. But as he has publicly expressed his dissatisfaction with the portion allotted him in our last, and in such a way too as to aggravate tenfold the iniquity of his previous procedure, we must return to the subject, how ever reluctantly, once more. Mr. Andrew Wyllie was not aware till within the last few days of the extent of the injury that had been done to his unfortunate sister, Mrs. Cavill. It had indeed been hinted to him; it had even been thrown in his teeth repeatedly - but he did not believe it, till he had ascertained the fact incidentally from the editor of this paper - that the object of his sister's visit to Hobart Town was to conceal her own shame and the villainy of her unprincipled seducer. In such circumstances it was no wonder that the unfortunate young man should be tempted to use such threatening language respecting Mr. John Thomas, as to induce the latter to have him bound over to keep the peace. When this operation was in progress, Mr. John Thomas asked Mr. Wyllie whether his sister, Mrs. Cavill, was not a married woman at home; to which Mr. W. replied that, she was; and that he was well acquainted with all the circumstances of the case. Now the impression that Mr. John Thomas was evidently desirous of producing by such a question, upon the minds of the public, was, that Mrs. Cavill was a married woman who had deserted her husband at home, and whose relations were desirous of entrapping him into an adulterous marriage with her here; and that although he was a polluted adulterer, as far as Mrs. C. was concerned, which indeed he did not deny, he had managed (and he deserved some credit for doing so) to back out of the infamous connexion! And the public have received this representation from the smooth-tongued hypocrite! An Mr. John Thomas has succeeded by this means in casting unmerited aspersions on a virtuous family, whose prospects in life he had already blasted, whose peace of mind he had already destroyed, and whose reputation in society he had nearly entirely ruined! Now the simple fact in the case - and that fact, let the reader remember, was as well known to Mr. John Thomas Wilson as to the writer of this article - was that Mrs. Cavill was married to the Riding-master of a Dragoon Regiment in Edinburgh, in the year 1829; that she accompanied her husband to Dublin, with the regiment; and that when sitting with him at breakfast one morning in that city, she was horror-struck at the entrance of a female who claimed him as *her* husband, and who, he could not deny, was *his* wife. In such circumstances what could a poor unfortunate female, far from her home, far from her friends, do? She might indeed have instituted an action against the villain for bigamy, and sent for witnesses to Edinburgh; but that, which perhaps was impracticable in the circumstances in which she stood, would have been but a poor consolation under the deep and irreparable injury she had sustained. She therefore adopted the only course that remained for her, and that was to return to her friends in Edinburgh. From thenceforth, however, her marriage was null and void; but its dissolution left no imputation whatever on her character as a virtuous woman. Now for Mr. John Thomas Wilson, knowing all this, as he did perfectly, to insult Mr. Andrew Wyllie in the Police Office, by asking him whether his sister was a married woman at home, that the public of this colony might be left to form their own conclusion from his unexplained answer in the affirmative - we really never gave Mr. John Thomas credit before for such heartlessness and coldblooded iniquity as such a question evidently implied. And yet this is the man whom Mr. Thomas Burdekin supports with his capital, and enables to insult the good feelings of this community with his pestilential example! If a man is to be known by the *company* he keeps, we all know what to think now of Mr. John Thomas Wilson *and Co*.




13 May 1836 (date of event/performance)

Murrumbidgee River, NSW


INDIGENOUS

MITCHELL, Thomas Livingstone (reporter)

Corrobory

Report only


Documentation:

Mitchell 1838, 2, 77

https://books.google.com.au/books?id=gwE-AQAAMAAJ&pg=PA77

(77) [12 May] These natives proposed to amuse us with a corrobory dance, to which I did not object, but they postponed it until the following evening. May 13. - ...

Mitchell 1839, 2, 77

http://books.google.com.au/books?id=GIMrAAAAIAAJ&pg=PA77

(76) [12 May] ... The warriors of the Murrumbidgee were about to "plunge into the angry flood," ... The weather was cold, but the stranger who first swam across, bore in one hand a piece of burning wood, and a green branch. He was no sooner landed than he converted his embers into a fire to dry himself. Immediately after him followed a grey-haired chief (of whom I had heard on the Lachlan), and two others. It appeared, however, that Piper (77) did not at first understand their language, saying it was "Irish;" but it happened that there was with this tribe a native of Cudjallagong (Regent's lake), and it was rather curious to see him act as interpreter between Piper and the others. We learnt that the Murrumbidgee joined a much larger river, named the " Milliwa," a good way lower down, and that these united streams met, at a still greater distance, the "Oblawaiubiloa," a river from the north, which received a smaller one, bringing with it all the waters of "Wamboul," (the Macquarie.) These natives proposed to amuse us with a corrobory dance, to which I did not object, but they postponed it until the following evening. May 13. - ...


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




23 May 1836 (first notice)

1 June 1836 (date of performance)

Saloon, Royal Hotel, Sydney, NSW


WALLACE, William Vincent (composer, arranger, pianist)

Extemporaneous performance on the Piano-forte

Improvised; ? music never written down


Documentation:

[Advertisement], The Sydney Herald (23 May 1836), 3

http://nla.gov.au/nla.news-article12854373

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

http://nla.gov.au/nla.news-article32151453

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

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

http://nla.gov.au/nla.news-article36853546

... For the extemporaneous performance by Mr. Wallace no subject was handed him; his own selection having been wisely conceded to his superior taste.


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




13 June 1836 (first notice)

Sydney, NSW


ANONYMOUS (editor) (English)

A selection of psalms and hymns

Source (LOST)

A Selection of Psalms and Hymns for the principal Festivals of the Church of England, and for family and private use

([Sydney: Tegg, 1836])


Exemplars:

NO COPY IDENTIFIED


Documentation:

[News], The Sydney Herald (13 June 1836), 2

http://nla.gov.au/nla.news-article12854523

We have received from Mr. Tegg, the bookseller, a reprint of "a Selection of Psalms and Hymns, for the principal Festivals of the Church of England, and for family and private use." The work was originally printed in England, and ordered to be reprinted by the late Rev. R. Hill, for the use of the Churches in this Colony.

[News], The Australian (17 June 1836), 3

http://nla.gov.au/nla.news-article36857166

We beg to acknowledge the receipt of "A Selection of Psalms and Hymns," printed by Mr. Bull, and published by Mr. Tegg, at the suggestion, we understand, of the late Reverend Richard Hill. It is creditably printed, and will form a very acceptable companion to the well-disposed in their serious moments. We have selected, out of the number, a beautiful composition as a specimen. We have supplied the third and fourth verses, which, for some reason, were omitted. They were written by Lord Glenelg, the Secretary for the Colonies : -

When gath'ring clouds around I view,
And days are dark and friends are few;
On Him I lean, who not in vain
Experienced every human pain;
He sees wants, allays my fears,
And counts and treasures up my tears ...


Bibliography:

-


Resources:

-


Commentary:

Charles Grant (Lord Glenelg)


References:

-




25 June 1836 (first published)

Hobart Town, VDL (TAS)


ANONYMOUS (words)

Two new songs on Colonel Arthur's recall

"New Songs", Bent's News and Tasmanian Three-Penny Register (25 June 1836), 4

http://nla.gov.au/nla.news-article232485290 

JUST Published, at BENT'S NEWS" Office, price 3d each, or 2s. 6d. per dozen, two Songs, entitled "ARTHUR'S DAYS ARE GONE" and "THE FALL OF ARTHUR'S DYNASTY," written expressly on the occasion of Colonel Arthur's Recal, and intended as a record of the Public Feeling on that event.- For the convenience of those Persons who may not know the air for which he has adapted it, the Author requests the Publisher to observe, that the Masonic Air of "Burns' Farewell," or the old-Scotch Tune, "Green Grow the Rashes, O," will suit the measure of "The Fall of Arthur's Dynasty," equally well with "Over the Hills, and far away." Persons, wishing to have the Music arranged for either of the songs, with Symphonies ami Accompaniments for the Piano-forte, or harmonized for three or four voices, are requested to apply at Bent's News Office, where their orders will be expeditiously executed.


"The Fall of Arthur's Dynasty", Bent's News and Tasmanian Three-Penny Register (25 June 1836), 4

http://nla.gov.au/nla.news-article232485298

AIR - "Over the Hills, and far away."

Well, since my friends you all agree,
That-you will have a song from me,
I'll do uiy best, and my theme shall be,
The fall of Arthur's Dynasty !
For soon the deep toned cannon's voice,
From Mulgrave Battery, shall say
Rejoice! Van Dicmen's Land, rejoice!
Your Governor is called away!
Over the seas, and faraway.
Over the seas, and far away.
Your Governor is called away,
Over the seas, and far away.

... [5 more stanzas] ...


"Arthur's Days are Gone", Bent's News and Tasmanian Three-Penny Register (25 June 1836), 4

http://nla.gov.au/nla.news-article232485297 

TUNE - "Fairly shot of her."

Proudly swells the bounding billow,
Lovely bows the bending willow;
Maidens sing your twankadilio,
Arthur's days are gone!
CHORUS.
Now every cock may loudly crow,
And every day may cheerly daw,
Huzza! Huzza 1 Huzza! Huzza!
Arthur's days are gone!

... [6 more stanzas] ...




8 July 1836 (first notice)

13 July 1836 (first performance)

Theatre Royal, Sydney, NSW


WALLACE, William Vincent (? composer, arranger, improvisor)

Rondo brillante, for violin, in which will be introduced the Coolun

NO COPY IDENTIFIED (? composer's MS)

Concerto, for violin, in which will be introduced Savourneen deelish

NO COPY IDENTIFIED (? composer's MS)


Documentation:

FIRST: [Advertisement], The Australian (8 July 1836), 3

http://nla.gov.au/nla.news-article36857103

UNDER THE PATRONAGE OF HIS EXCELLENCY THE GOVERNOR, Who has signified his intention of bring present, MR. W. AALLACE, Leader of the Anacreontic Society, and Professor of Composition, Royal Academy, BEGS to announce that his CONCERT of VOCAL & INSTRUMENTAL MUSIC will take place on WEDNESDAY EVENING, the 13th of July, 1836, in the THEATRE ROYAL, on which occasion he will be assisted by Mrs. Chester, Miss E. Wallace, Mr. Josephson, and Mr. S, Wallace.
PROGRAMME CONCERT.
PART I.
1. OVERTURE - Red mask - Marliani.
2. GLEE - Hark, Apollo strikes the Lyre.
3. SONG - Di Piacer - Rossini - Miss E. Wallace.
4. FANTASIA, Flute, introducing 'Tis the last Rose of Summer - Nicholson - Mr. Josephson.
5. SONG - Triflor forbear - Bishop - Mrs. Chester.
6. QUARTETTE - Violin, Pianoforte, Flute, and Violoncello - Mayseder - Mr.. W. Wallace. Mr. Josephson, Mr. S. Wallace, and Mr. [blank]
7. SONG - Spring time it coming, (by desire) - Miss E. Wallace.
8. RONDO BRILLANTE, Violin, in which will be introduced the "Coolun," Irish Melody - Mr. W. Wallace.
PART II.
9. OVERTURE.
10. CHORUS, with Violin obligato accompaniment - Carl Maria Von Weber
11. SONG - Auld Robin Grey - Mrs. Chester.
12. CONCERTO, Flute - Mr. S. Wallace.
13. SONG - Ceasa thus to palpitate - Rossini - Miss E. Wallace.
14. GRAND DUO CONCERTANT, for two Pianofortes - Herz (as played by Henri Herz and Mr. W. Wallace) - Mr. W. Wallace and Mr. Josephson.
15. SONG - The Minstrel Boy - Mrs. Chester.
16. CONCERTO, Violin, in which will be introduced, by particular desire, Savourneen Deelish, Irish Melody - Mr. W. Wallace.
Dress Circle. 7s 6d; Upper Boxes 5 0; Pit 4 0; Gallery 3 0. To ensure comfort and respectability, care will be taken to prevent the admission of improper persons, and constables will be stationed throughout the upper part of the house. Tickets to be had at Mr. Ellard's Music Ware-house, Hunter-street; and of Mr. Sparke at the Royal Hotel. N. B. - By the kind permission of Major England Mr. Wallace will be allowed the assistance of the Band of the 4th Regiment.

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

http://nla.gov.au/nla.news-article32151738

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

http://nla.gov.au/nla.news-article36857344

MR. WALLACE'S CONCERT Took place on Wednesday night, and not withstanding the muddy state of the streets and roads from the late rains, a very numerous assemblage of rank and fashion appeared in every part of the Theatre; His Excellency and Suite, with all the Members of his Family honored Mr. W. with their presence ... and then the Rondo, by Mr. W. Wallace. During this, he introduced Coolun, with such exquisite taste and feeling, that his violin seemed a creature of life. His double stop shake is wonderful, and, which is seldom the case in passages of difficult execution, it was most beautiful. The second part opened with the Overture to Zauberflote, by the Military Band ... and the Concert concluded with a Violin Concerto, by Mr. Wallace, which it is sufficient to say was in his usual style, and rapturously encored.

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

http://nla.gov.au/nla.news-article32151780

... Mr. Wallace's Rondo, introducing the Coolun, elicited great applause, and was loudly encored ... The greatest treat during the evening was Mr. Wallace's performance of Savourneen Deelish, which held the feelings of all present in a temporary extacy [sic]. The soft notes of the instrument, now swelling, now dying away, until the ear could scarcely distinguish the sounds followed by the bell-like tones of the full drawn bow, induced a delicious melancholy, and was applauded sotto voce.

"DOMESTIC INTELLIGENCE", The Sydney Herald (18 July 1836), 2

http://nla.gov.au/nla.news-article12854741

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


Bibliography:

-


Resources:

-


Music concordances (themes):

-


Commentary:

-


References:

-




6 August 1836 (first published)

Sydney, NSW


"O" (songwriter, satirist)

A New Song to an Old Tune (The rampant lang Doctor has bolted awa')

VIEW DIGITISED SOURCE (words only)


Source:

"A NEW SONG TO AN OLD TUNE", The Sydney Gazette (6 August 1836), 3

http://nla.gov.au/nla.news-article2205890

A NEW SONG TO AN OLD TUNE.

THE rampant lang Doctor has bolted awa',
And in Downing-street you'll find him;
But the muckle black Deil has nae mercy at a'
On the guid folk left behind him!
And the Colonist, caught like a bull by the horns,
Has nought to do but bewail him;
And the Editor lies on a bed of thorns,
Lest John Thomas again assail him.

The Papist may now his religion pursue--
The Churchman indulge his devotion,
And mony braw thanks to Auld Hornie be due,
If Discord be drown'd in the Ocean:
For he said, "No religion on earth shall be,
"If it is not at my dictation,--
"No Priest--no Parson--no Bishop--no See--
"Except of my creation!

"No single act of domestic life
"But is subject to my revision--
"Let no man dare to caress his own wife,
"Except with my special permission;
"A' muck and tilt at all I run
"With matchless skill and bravery,
"And peace and protection shall be for none
"Who bow down not to me in slavery!

"With Hypocrite, 'Publicans, Pharisees,'
"And many such terms I'm taunted;
"BUT I NEVER LOOK INWARD, such phrases as these
"Leave my proud soul undaunted.
"And since the fools who surround me still
"Defy my self-aristocracy--
"Thought, Morals, Religion, shall bow to my will,
"Of all I will have a new stock, you see."

So off he's gone, and the world will see
How such swaggering comes to naught--
How the vaunt of the egotist, such as he,
Is forgotten like dreamer's thought;
For the vanity, bigotry, fury displayed
Thro' his whole career by this man of God,
For his final denouement a pickle has made
And the Doc or, poor D-----, must kiss the rod.

O.


Resources:

http://www.austlit.edu.au/austlit/page/A127922


Commentary:

The Rev. Dr. John Dunmore Lang had recently sailed from Sydney ("THE rampant lang Doctor has bolted awa' ") to pay a visit to London.


References:

-




23 August 1836 (first notice)

27 August 1836 (first performance)

Theatre Royal, Hobart Town, VDL (TAS)


PECK, George (composer, arranger, improvisor)

Reminiscences of Paganini

NO COPY IDENTIFIED (? composer's MS; or perhaps never written down)


Documentation:

"Domestic Intelligence", Colonial Times (23 August 1836), 7

http://nla.gov.au/nla.news-article8649319

Mr. M'Leod's benefit last evening was a regular bumper house, and very many persons were unable to enter the doors. The pieces went off remarkably well, and the soldier amateur, as Othello, gave great and deserved satisfaction. On Wednesday next the subscribers to the Hobart Town Assembly patronise the theatre, and of course there will be a crammed house. On Saturday, Mr. Peck's benefit takes place, and it is very certain he will receive that patronage and support which he so deservedly merits. Among other entertainments we notice that Mr. Peck intends performing the "reminiscences of Paganini," a performance which has already astonished as well as amused the audiences at several concerts in this town.

[Advertisement], Colonial Times (23 August 1836), 1

http://nla.gov.au/nla.news-article8649312

Theatre Royal, Hobart Town. MR. G. H. PECK, Leader of the Orchestra, most respectfully informs his friends and the public in general, that his BENEFIT is fixed on Saturday evening, August 27, 1836 ...


Bibliography:

-


Resources:

-


Commentary:


References:




? Mid to late 1836 (estimated date of publication)

Sydney, NSW


WALLACE, William Vincent (arranger)

Walze Favorite, du Duc de Reichstadt

[Waltz by Johann Strauss, the elder]


Source:

Walze Favorite, du Duc de Reichstadt, Arranged with Variations for the Piano Forte, and dedicated to L. Maclean, Esq., by Will[ia]m Wallace, Late Leader of The Anacreontic Society, Dublin

(Sydney: Printed from Zinc by W. H. Fernyhough, [?1836])


VIEW SOURCE 1 HERE [NLA]


Exemplars:

http://trove.nla.gov.au/version/12407455 (NLA) (DIGITISED)

Also photocopy (ABC, 1980s) of the above

http://trove.nla.gov.au/version/171072082 (NLA) (DIGITISED)


Later edition:

Walze Favorite, du Duc de Reichstadt, Arranged with Variations for the Piano Forte, and dedicated to L. Maclean, Esq., by Will[ia]m Wallace, Late Leader of The Anacreontic Society, Dublin

(Sydney: Engraved, printed, & published by W. Baker, [? 1837-1841])


VIEW SOURCE 2 HERE [NLA]


Exemplars:

http://trove.nla.gov.au/version/12407500 (NLA) (DIGITISED)


Documentation:

-


Bibliography:

Neidorf 1999

Skinner 2011a

Lamb 2012


Resources:

-


Music concordances (original waltz, and other arrangements):

"THE DUKE OR REICHSTADT'S WALTZ. Strauss", The amateur's musical library: a collection of piano-forte music, and songs ... selected from the most distinguished European authors (Philadelphia: Godey and McMichael, 1842), 73

http://books.google.com.au/books?id=RUP0AAAAMAAJ&pg=PA73

The Duke of Reichstadt's waltz ... arranged for piano forte by Henri Herz (Sydney: Grocott, [c.1840]; Hudson & Co., [early c.1840s])

http://trove.nla.gov.au/version/171072108

http://www.nla.gov.au/apps/cdview/?pi=nla.mus-vn5716407-s7-v


Commentary:

Son of the deposed emperor, Napoleon Francis Charles Joseph died of consumption at the palace of Schöbrunn, Vienna, on 22 July 1832, aged 21.

The original is from Der verfassers beste Laune, by Johann Strauss, the elder (1804-1849). The title-page of Fernyhough's print lists the three other works above available at Wallace's "Academy", which he first announced in March 1836; as nothing further is heard of Wallace's Academy after that year, the print can be tentatively dated to late 1836. William Henry Fernyhough (1809-1849), a recent arrival in Sydney, had commenced business and produced his first prints for sale by 22 September 1836.


References:

[Advertisement], The Sydney Gazette (31 March 1836), 3

http://nla.gov.au/nla.news-article2203514

UNDER THE PATRONAGE OF HIS EXCELLENCY THE GOVERNOR AND MRS. E. DEAS THOMSON. Mr. & Mrs. WM. WALLACE HAVE THE HONOR TO ANNOUNCE, THAT ON MONDAY, the 4th April, THEY will commence under the above distinguished Patronage, their Academy for the Instruction of Young Ladies, in Vocal and Instrumental Music, according to the System of Logier, and Herz, in which they will he assisted by Miss E. Wallace, and Miss [Mr.] S. Wallace. The Course of Study will comprise the Pianoforte, Guitar, singing, and the Theory of Music. In addition to the usual Instruction, Pupils attend this ESTABLISHMENT, will, when sufficiently advanced, have the benefit of being accompanied by Mr. Wallace on the Violin, and Mr. S. Wallace on the Flute. The Terms will be: - First Class, 6 6 0 per Quarter; Second Class, 4 10 0 Ditto; Third Class, or Beginners, 3 3 O Ditto. A deduction will be made in the First and Second, Classes where two or more Ladies of the same Family attend. In addition to the separate Lessons which each Pupil will receive, Mr. Wallace will devote an hour on Saturday's to each Class, instructing them in the Principles of Music. Days of Attendance: First and Third Classes, on Mondays and Thursdays. Second Class, on Tuesdays and Fridays. The Academy will be open on those Days from Ten until Three o'clock. Gentlemen desirous of receiving Lessons at Mr. Wallace's Residence on the Violin, Pianoforte, Flute, or Guitar, will be attended thereon Saturday from Four o'Clock until Seven P M. Mr. Wallace's Terms for attending at the Residence of a Pupil, 7s. 6d. per Lesson for the Pianoforte, and 10s 6d. for the Violin. An examination of the Pupils will take place every Four Months, to which their Parents and Friends will be invited to attend. Bridge street, Sydney.

[News], The Colonist (22 September 1836), 3

http://nla.gov.au/nla.news-article31718522

A gentleman, named Fernyhough, who has not been long in this colony, has commenced business in Bridge Street, as an artist-one of the first productions of his genius has just made its appearance, in the shape of twelve lithographic drawings of the Aborigines of New South Wales, the likenesses of the various profiles are truly admirable, but the other parts of the figures are extremely stiff and ill-done, indeed quite unnatural in appearance. The printing part is exceedingly well performed, and we hail this advancement in the practice of the arts in Australia with unfeigned pleasure, at the same time, that we call on a generous public to support Mr. Fernyhough and remunerate him for the exercise of his talents, which are considerable, and extraordinary, for the whole of these likenesses have been taken from memory - we would suggest the propriety of his not making too high a demand for his publications, which in this instance we are of opinion is the case.

William Henry Fernyhough

http://nla.gov.au/nla.party-477985




? Mid to late 1836 (estimated latest date of publication)

Sydney, NSW


WALLACE, William Vincent (composer)

Come to me (song)

PUBLISHED: [as advertised on title-page of Fernyhough's edition of Wallace's Walze Favorite]

NO COPY IDENTIFIED

Bohemian Air with Brilliant Variations

PUBLISHED: [as advertised on title-page of Fernyhough's edition of Wallace's Walze Favorite]

NO COPY IDENTIFIED

Rondo Brilliante in E flat

PUBLISHED: [as advertised on title-page of Fernyhough's edition of Wallace's Walze Favorite]

NO COPY IDENTIFIED


Documentation:

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

https://books.google.com.au/books?id=NbM2AQAAMAAJ&pg=PA32 

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

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

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

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

At foot of titlepage of W. H. Fernyhough's Sydney edition of Wallace's Walze Favorite [c. late 1836, see above]

http://nla.gov.au/nla.mus-an10348980

The following compositions may be had at his Academy,

Bohemian Air with Brilliant Variations
Come to me (Song)
Rondo Brilliante in E flat


Bibliography:

Skinner 2011a

Lamb 2012


Resources:

-


Music concordances (possible):

Brilliant Variations on a Favorite Bohemian Melody ... by William Vincent Wallace (London: Cramer, Beale & Co., 1851)

Copy at British Library, Music Collections h.771.(9) [004727345] (NOT DIGITISED)

Bohemian Melody with Brilliant Variations ... by Wm. V. Wallace (New York: Wm. Hall and Son, 1851)

http://hdl.loc.gov/loc.music/sm1851.141820


Commentary:

Wallace first advertised his academy on 31 March 1836.


References:

[Advertisement], The Sydney Gazette (31 March 1836), 3

http://nla.gov.au/nla.news-article2203514




4 October 1836 (date of event/performance)

Bong Bong, NSW


INDIGENOUS (singers, songmen)

BACKHOUSE, James (reporter)

A new song

Report only


Documentation:

Backhouse 1838, part 4, 14

http://books.google.com.au/books?id=rdUpAAAAYAAJ&pg=RA3-PA14

We set forth for Bong Bong. There are now three tribes of blacks on the Kangaroo-ground; one of which belongs to the neighbourhood, the others are from Shoal Haven and Bong Bong. I counted forty men in one of these tribes. They are going to Cow-pastures, to learn a new song, that has been invented by some of their country people there. For an object of this kind they often travel great distances.


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




22 October 1836 (first report)

Residence of Charles and Maria Logan, Macquarie Street, Hobart Town, VDL (TAS)


INDIGENOUS

LOGAN, Maria (transcriber, arranger)

Song of the Aborigines of Van Diemen's Land ( Popela / Popeller )

For main entry see:

Checklist of musical transcriptions of Indigenous songs 9





17 December 1836 (first notice)

26 December 1836 (first performance)

Theatre Royal, Sydney, NSW


SIPPE, George (composer, arranger)

Oberon, or The Charmed Horn

Grand Romantic Fairy Tale ... The Music composed and arranged by Mr. Sippe [? after Weber]


NO COPY IDENTIFIED (? composer's MS, MS parts)


Documentation:

[Advertisement], The Sydney Gazette (17 December 1836), 3

http://nla.gov.au/nla.news-article2208354;

Theatre Royal, Sydney ... OBERON will be produced very shortly, with New Dresses and Decorations, of the most superb description, by Mr. Simes; the New and Splendid Scenery, by Mr. Shribbs; and the New and Appropriate Music composed and arranged by Mr. Sippe.

"THE THEATRE", The Australian (27 December 1836), 2

http://nla.gov.au/nla.news-article36856977

... Oberon was brought out last night. In our next we shall probably review it.

[Advertisement], The Australian (27 December 1836), 3

http://nla.gov.au/nla.news-article36856967

[Advertisement], The Sydney Gazette (29 December 1836), 3

http://nla.gov.au/nla.news-article2208594;

"DRAMA", The Sydney Gazette (29 December 1836), 2

http://nla.gov.au/nla.news-article2208591;

On Monday night was produced for the first time, the Grand Romantic Fairy Tale, as it is called, of "Oberon" or the "Charmed Horn;" a more heterogeneous mass of absurdities, as it was performed on that occasion, never before graced the Sydney boards . . . From the announcement we were led to expect something extraordinary, especially in the music, which was stated to have been composed and arranged for the occasion; it was a dead failure; a barrel organ, or hurdygurdy for us in preference. Even the gods growled out their dissatisfaction ... "Oberon" was again played on Tues-day night to a middling house. There was no alteration whatever in the performance, except, perhaps, that some of the performers were rather more perfect in their parts ...

"DRAMA", The Sydney Gazette and New South Wales Advertiser (31 December 1826), 2

http://nla.gov.au/nla.news-article2208619

On Thursday night last was produced for the third time the fairy spectacle of "Oberon." We thought that some time having elapsed since the piece first was performed, that any little defects or omissions to which we were lenient in our first comments, might have been remedied; the reverse, however, was the fact, the actors, if possible, were more defective, and the scenery was shifted with less promptitude; but these annoyances might have been overlooked if even an attempt had been made to get up the piece according to the author's intention. We thought that plenty of time had elapsed during which a tiger might have been manufactured, or, at all events, a head of that animal could have been got up, and being mounted upon a spear, would have answered all the purpose. Again, only one song is introduced out of several, and the choruses, are totally omitted; pieces like "Oberon," where every thing depends upon illusion and stage effect, should he strictly followed according to the intent of the author, who always finds it difficult to work his piece up too high. The omission of the singing is to he regretted, as several of the actresses can sing; but one especially, according to the performer's own account, is but little interior to Miss Paton, making the omission still more to be wondered at ...

"DRAMA", The Sydney Gazette (3 January 1837), 2-3

http://nla.gov.au/nla.news-article2208658

On Saturday night ... The evening's entertainment concluded with "Oberon". [We] could see no alteration in the performance of the piece; the scenery certainly was shifted with more alacrity, but in respects it was a facsimile of the previous representations. It is a pity it was [got] up - it must have been expensive never could have been expected (3) in this Colony. The orchestra had brushed up their wits, and gave the audience something more lively and agreeable than usual. The house was tolerably filled, and the audience appeared gratified withe the amusement; the best criterion, perhaps, after all, by which performances should be judged. If those for whom they are provided, are satisfied, who has a right to complain?

"THE THEATRE", The Australian (10 January 1837), 3

http://nla.gov.au/nla.news-article36855618

The Fairy tale of Oberon; or, the Charmed Horn, has been produced with no inconsiderable degree of splendour under the circumstances of the Colony. It is of course glittering throughout its scenes, and the "fairy elves that be" are apparelled with all becoming brightness ... Oberon (Mrs. Jones) the King of the Fairies, (not the Queen, as stated by the Gazette a few numbers since), in a fit of disgust at some terrestrial scenes which he had witnessed, asserts to his Queen Titania (Mrs. Taylor) that there was not such a being as a constant woman to be found. Anxious to vindicate the honor of her sex, Titania pledges herself to produce one, and retorts the charge upon the other sex; where upon Oberon makes a similar pledge; and in the presence of their Fairy Court they vow to hold no intercourse together until their respective pledges are redeemed. Oberon fixes his eye upon Sir Huon of Guyenne (Mr. Knowles) who to expiate an offence had been ordered by Charlemagne to proceed to the Crusades, and among other "labours," to bring back the daughter of the Caliph of Bagdad converted to Christianity. Oberon exercises his fairy powers, and by means of a dream instils a violent passion for Amanda the Caliph's daughter (Miss Douglass) in the breast of the sleeping knight, and at the same time places near him a charmed horn to assist the knight in his desired object. Amanda is the lady selected by Titania, and she controls the fair damsel's dreams in such a passion as to inspire her with an inveterate dislike for Prince Badekan, a lover favored by her father, and a proportionate love for Sir Huon, whom her dream presents to her. Events in abundance follow, wherein the constancy of the knight and lady are sufficiently put to the test; and in which the charmed horn plays a most efficient and conspicuous part ...


Bibliography:

-


Resources:

-


Commentary:

Sippe was the first professional musician in Australia whose particular interest in the music of Weber is on record. He must have brought with him to Sydney, as master of the band of the 57th Regiment, copies of a wind arrangement (probably 2 clarinets, 2 horns, 2 oboes, 2 bassoons) of the overture to Der Freischütz, which in due course became the basis for the first documented Australian public performance in the Sydney Amateur Concerts in 1826. Perhaps Sippe eventually did take this opportunity of a retelling of the story of Oberon to perform other pieces by Weber, perhaps even movements from the opera Oberon itself.


References:

"THE THEATRE", The Australian (11 October 1836), 3

http://nla.gov.au/nla.news-article36853695

... The Music Department demands some reformation, in playing the accompaniment to When will you meet me, Love, one or two of the instruments were out of tune. The Director does not offer the same variety, which with very little trouble he might afford, a few of their tunes have become so hacknied, that in mercy to the names of their composers, not to mention the ears of the audience, some little respite ought to bo allowed. If they want to give enlivening and at the same time easy tunes, why not select one or two of the Chorusses from Masaniello and Der Freschutz [Freischutz] and some of Beethoven's and Weber's Waltzes? They would be more within the compass of their ability, and please the audience more than some of their selections from Oberon and other difficult pieces, which require a good sized and clever orchestra to perform decently. The airs in these last a musical ear can detect, but it is impossible to recognize the style of the composer, as given by the orchestra.



1837





5 January 1837 (first notice)

9 January 1837 (first performance)

Theatre Royal, Sydney, NSW


SIPPE, George (composer, arranger)

The £100 Note

The Music composed and arranged by Mr. Sippe


Documentation:

[Advertisement], The Sydney Gazette (5 January 1837), 3

http://nla.gov.au/nla.news-article2208687

Theatre Royal, SYDNEY, Splendid Novetly! BUCKINHGAM'S NIGHT, Under the Patronage of the Independent Order of Odd Fellow. ON MONDAY, Jan. 9, 1837 ... The whole to conclude with, for the first time at this Theatre, the highly laughable Farce, called THE £100 NOTE. The Music composed and arranged by Mr. Sippe.

[Advertisement], The Sydney Gazette (7 January 1837), 1

http://nla.gov.au/nla.news-article2208742

"DRAMA", The Sydney Gazette and New South Wales Advertiser (12 January 1837), 2

http://nla.gov.au/nla.news-article2208827

... The after piece was a farce called "The £100 Note," brought out the previous evening [Wednesday], for the benefit of Mr. Buckingham. It is a lively little piece, and the following is the plot: ...


Bibliography:

Skinner 2011a


Resources:

-


Commentary:

-


References:

-





26 January 1837 (first performances)

Royal Hotel, Sydney, NSW


ANONYMOUS (composers)

STUBBS, Thomas (composer)

COLEMAN, George (arranger)

Currency Lasses

[? Tempest PAUL]

Minstrel Waltz

[Thomas Stubbs], arranged expressly for the occasion by Mr. COLEMAN, 4th Regiment

Hail Australasia
Australian Minstrel March

[? By Thomas Stubbs], arranged expressly for the occasion, by Mr. COLEMAN

Captain Piper's Fancy


Documentation:

"Native Dinner", The Australian (27 January 1837), 2

http://nla.gov.au/nla.news-article36858753

About one hundred and seventy natives of the Colony dined together, yesterday, at the Royal Hotel, for the purpose of celebrating the Anniversary of the foundation of the colony ... The following is the order in which the Toasts were given.
1. The King - Royal Anthem.
2. The Queen - Adelaide Waltz.
3. The British Navy - Rule Britannia.
4. The British Army - British Grenadiers.
5. His Excellency the Governor - Garry Owen.
6. The Memory of General Macquarie - To be drank in solemn silence.
7. Our Fair Countrywomen - Currency Lasses.
8. The Fair Visitants of our Native Land - Minstrel Waltz - arranged expressly for the occasion by Mr. COLEMAN, 4th Regiment.
9. The Agricultural and Commercial Interests of the Colony - Speed the Plough, &c.
10. The Sister Colonies - Hail Australasia [given in the Gazette as: Hail Australia].
11. The Mother Country - Hearts of Oak.
12. Major England and the Officers of the Garrison - Regimental March.
13. The Civil Officers of the Colony - Money in both pockets.
14. The President - Australian Minstrel March, arranged expressly for the occasion, by Mr. COLEMAN.
15. The Vice President - Captain Piper's Fancy.
16. The Stewards - Fly not yet.
17. Civil and Religious Liberty all over the World. - The King, God bless him.

"United Australians' Dinner", The Sydney Gazette (28 January 1837), 2

http://nla.gov.au/nla.news-article2209082

"UNITED AUSTRALIANS' DINNER", The Australian (30 January 1837), 2

http://nla.gov.au/nla.news-article36858631

"Dinner of the United Australians", The Sydney Herald (30 January 1837), 2

http://nla.gov.au/nla.news-article12861100


Bibliography:

"This WAS Australia", The World's News (19 January 1938), 28

http://nla.gov.au/nla.news-article137000251

Skinner 2011a


Resources:

-


Music concordances (possible):

The Australian March. Thomas Stubbs ([Sydney]: [George Peck], [c.1860]; or [James Fussell], [c.1861] (in The Australian Musical Bouquet)

http://www.nla.gov.au/apps/cdview?pi=nla.mus-an6572805-s4-v


Commentary:

The 30 January report in The Australian gives the air to which the Vice President was toasted as "Highland Laddie", so perhaps this was popularly known in Sydney as Captain Piper's Fancy; the Herald report identifies it as Should auld acquaintance be forgot.

These are the only references to an Australian Minstrel March, and it is merely supposition to attribute its composition to Thomas Stubbs, on the basis of his Minstrel Waltz. If it was indeed by Stubbs, however, it could perhaps be the same work as that much later published as The Australian March.


References:

-





1 February 1837 (reported date of publication)

Sydney, NSW

2 February 1827 (date of first notice)


WALLACE, William Vincent (composer)

STEWART, Robert (lyricist, songwriter)


Echo's Song

VIEW DIGITISED COPY [NLA]


Source:

Echo's Song. The Words by Robert Stewart, Esq[ui]re. Composed and dedicated to his friend, Mrs. C. Logan of Hobart Town by Will[ia]m Wallace, Late Leader of "The Anacreontic Society Dublin"

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


Exemplars:

http://trove.nla.gov.au/version/29359497 (NLA)


Documentation:

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

http://nla.gov.au/nla.news-article31719000

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

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

http://nla.gov.au/nla.news-article12861416

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

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

http://nla.gov.au/nla.news-article32154767

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

"SYDNEY NEWS", The Hobart Town Courier (17 February 1837), 2

http://nla.gov.au/nla.news-article4173144

Mr. Wallace, and our old townsmen, J. P. Deane, gave a concert on the 2nd instant, which was very numerously attended: the whole of the performances gave the most entire satisfaction. Mr. Wallace, whom many of our readers may recollect, during his short sojourn here; has composed a song, called the "Echo Song," the words by Mr. R. Stewart. The Colonist styles it "simple and pretty."


Bibliography:

Neidorf 1999

Skinner 2011a

Lamb 2012


Resources:

-


Commentary:

For the first appearanace of the text, see Echo's Song above. Mrs. Charles (Maria) Logan, of Hobart, was Francis Ellard's sister and Wallace's cousin.


References:

"Original Poetry: ECHO'S SONG", The Australian (20 March 1835), 4

http://nla.gov.au/nla.news-article42009740;




23 September 1837 (first published)

Launceston, VDL (TAS)


ANONYMOUS (songwriter)

Keeping Up Appearances

A New Song to an Old Tune (Hail! to the Insolvent Law, all hail!)


Words only; not tune indicated


VIEW DIGITISED SOURCE (words)


Source:

"KEEPING UP APPEARANCES", The Cornwall Chronicle (23 September 1837), 1

http://nla.gov.au/nla.news-article65953428

KEEPING UP APPEARANCES.

A NEW SONG TO AN OLD TUNE.

Hail to the Insolvent Law, all hail!
Unite in gladsome chorus:
It matters not, however you fail,
Numbers have gone before us.
Hasten, then, to join the ranks of those who get their clearances,
Believe me, Lads, there's nothing like the keeping up appearances.

The man who through misfortune sinks,
And to his fate resigned;
Who never from enquiry shrinks,
True sympathy will find.
Hasten, then, to join the ranks, of those who get their clearances,
Believe me, Lads, there's nothing like the keeping up appearances.

But he, who lives alone by fraud,
Deems Bankruptcy - a merit,
Should scouted be, with one accord,
And our deep scorn inherit.
Hasten, then, to join the ranks of those who get their clearances,
Believe me, Lads, there's nothing like the keeping up appearances.

Some drown themselves to save their necks,
When of all hope bereft;
Whilst others coolly clear the decks,
And pocket all that's left.
Hasten, then, to join the ranks, of those who get their clearances,
Believe me, Lads, there's nothing like the keeping up appearances.

By swearing hard, some gain their end,
Nor hesitate a minute. -
What's perjury to save a friend,
Or self - there's no harm in it.
Hasten, then, to join the ranks of those who get their clearances,
Believe me, Lads, there's nothing like the keeping up appearances.

False Schedules are a good resource,
Drop here, and there an item:
If undetected, - who's the worse,
The gain will help to right them.
Hasten, then, to join the ranks of those who get their clearances.
Believe me, Lads, there's nothing like the keeping up appearances.

Throughout the world, in every land,
Credulity is assailable,
And the greatest rogue's the greatest man.
He sacks whate'er's available.
Hasten, then, to join the ranks of those who get their clearances,
Believe me, Lads, there's nothing like the keeping up appearances.

Lives well, clothes well, spares no cost,
Appearance to maintain;
And when his game is played - and lost,
He tries the Act again.
Hasten, then, to join the ranks of those who get their clearances.
Believe me. Lads, there's nothing like the keeping up appearances.


Documentation:

-


Bibliography:

-


Resources:

-


Music concordances (possible tunes):

-


Commentary:

-


References:

-



1838





4 January 1838 (date of Miago's departure)

Perth, Swan River, WA


INDIGENOUS

GREY, George (recorder, reporter)

Songs composed on Miago's departure and return

Words only recorded


VIEW DIGITISED SOURCE (words)


Source and documentation:

Grey 1841, 2, 310

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA310

It is very rarely that any remarkable circumstance occurs but songs are composed in order to perpetuate the remembrance of it. For example, when Miago, the first native who ever quitted Perth, was taken away in H.M. surveying vessel Beagle in 1838, the following song was composed by a native and was constantly sung by his mother (at least so she says) during his absence, and it has ever since been a great favourite:

Ship bal win-jal bat-tar-dal gool-an-een,
Ship bal win-jal bat-tar-dal gool-an-een.
etc. etc. etc. etc.

Whither is that lone ship wandering,
Whither is that lone ship wandering,
etc. etc. etc. etc.

Again, on Miago's safe return, the song given below was composed by a native after he had heard Miago recount his adventures:

Kan-de maar-o, kan-de maar-a-lo,
Tsail-o mar-ra, tsail-o mar-ra-lo.
etc. etc. etc. etc.

Unsteadily shifts the wind-o, unsteadily shifts the wind-o,
The sails-o handle, the sails-o handle-ho.

Grey 1841, 2, 70

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA70

[16 April 1839] ... Poor Kaiber alone lay crouching by my fire, occasionally feeding it with fresh fuel and chanting to himself these two songs, in his own language:

Thither, mother oh, I return again,
Thither oh, I return again.

The other had been sung by the mother of Miago, a native who had accompanied Captain Wickham in the Beagle from the Swan River, and it had made a great impression on the natives.

Whither does that lone ship wander,
My young son I shall never see again.
Whither does that lone ship wander.


Bibliography:

-


Resources:

-


Commentary:

On 4 January 1838, The Beagle sailed from Swan River, for the north-west coast. On board was Miago, "the first native who ever quitted Perth" by sea.


References:

-




From 1837

Wellington Valley Mission, NSW

PLACEHOLDER

Journals and papers of Gunther and Porter

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/




16 January 1838 (first notice)

Sydney, NSW


STUBBS, Thomas (composer)

WALLACE, William Vincent (arranger)

Australian Jubilee Waltz

VIEW DIGITISED SOURCE [NLA]


Source:

Australian Jubilee Waltz. Composed by Thomas Stubbs, Author of The Minstrel and arranged for the piano forte by Wm. Wallace, Late Leader of the Anacreontic Society Dublin.

(Sydney: W. H. Fernyhough, Lithographer, [1838])


Exemplars:

http://nla.gov.au/nla.mus-an5415301 (NLA) (DIGITISED)


Documentation:

[Advertisement], The Australian (16 January 1838), 3

http://nla.gov.au/nla.news-article36855681

In the Press And will be published on the 26th Instant, the day after the Jubilee, or 50th Anniversary of the Colony, THE AUSTRALIAN JUBILEE WALTZ, (composed expressly for the occasion,) by Thomas Stubbs; Author of the Minstrel; and arranged for the Pianoforte by William Wallace, Member of the Anacreontic Society, London.

[Advertisement], The Australian (19 January 1838), 1

http://nla.gov.au/nla.news-article36855428

"THE JUBILEE WALTZ", The Sydney Gazette (6 February 1938), 2

http://nla.gov.au/nla.news-article2547425

This delightful little waltz has been composed by Mr. Thomas Stubbs, a native of the Colony, also the composer of the Minstrel Waltz, both of which were an arranged by Mr. William Wallace, the Australian Paganini. We have heard both of these pieces of music lately played by that talented performer, assisted by his brother on the flute; need we say that we were much delighted, not only with the performance but with the waltzes themselves, and particularly with the Jubilee, which is certainly a most delightful little piece of music; as such we can confidently recommend it to the notice of the public.

[Advertisement], The Australian (23 February 1838), 1

http://nla.gov.au/nla.news-article36856304

[Advertisement], The Goulburn Herald and Chronicle (19 October 1867), 6

http://nla.gov.au/nla.news-article101479597


Bibliography:

Australian Encyclopaedia 1958, 8, 334

Clark, 3, 1973, 138

Neidorf 1999

Skinner 2011a


Resources:

-


Modern editions:

Divall 2000 (arranged and orchestrated)

http://trove.nla.gov.au/version/39500589


Commentary:


References:




25 January 1838

Flinders Island, VDL (TAS)


The natives dance for Franklin

Documentation:

[News], Launceston Advertiser (25 January 1838), 2

http://nla.gov.au/nla.news-article84750902

The Lieutenant-Governor, accompanied by Lady Franklin, and his usual suite, proceeded last Monday by land to George Town; whence, as we learn, His Excellency embarks for Flinders's Island, for the purpose of in specting the Aboriginal Settlement there. We believe an Executive Council was held one day last week at the Government Cottage, the Colonial Secretary and the Chief Police Magistrate being both on this side of the Island.

George Augustus Robinson, journal, 25 and 26 January 1838; Plomley 1987, 525, 530

... The Governor was surprised to find such preparation on Flinders Island. After the usual ceremony was over, tea was prepared and rooms allotted to the guests. The Governor having intimated that his stay would be short, thought it advisable to lose no time and expressed a desire to see the natives dance, and directions were given accordingly. During tea time and at the time of the Governor's arrival the natives thronged to the house. After tea the whole of the party proceeded to the native square to see the natives dance. Chairs were provided for the occasion. Sir John placed Lady Franklin under my protection and I had the honour to escort her ladyship. They were highly gratified by the various dances of the natives, and the natives were equally pleased with their visit. The Governor and Lady Franklin asked a variety of questions relative to the aborigines and their customs and amusements and seemed heartily to participate in their hilarity. Said they had a set of portraits of the natives by Bock for which they paid him thirty guineas. The natives exhibited their war dance, kangaroo ditto, emu ditto, horse ditto and a variety of others. After visiting several of the native cottages the party returned to my quarters highly pleased with the evening's amusements.

[530] [26 January 1830] ... The Governor and his lady were highly pleased with their visit to Flinders, which they repeatedly expressed and in the strongest possible terms. On our way the natives sang several hymns and joined in chorus in which Sir J and Lady F took a part. On our arrival at the beach found two of the Eliza's boats in readiness to take His Excellency and suite on board. His Excellency bid me a most cordial adieu, as did Lady F and suite, and thanked me for the kind attention during this visit. Said they were highly gratified and hoped to again visit the settlement next summer. On the boats leaving the shore he was saluted with three times three cheers from all present which was responded to by the Governor and suite ...

"Flinders' Island", The Sydney Monitor (4 May 1838), 2

http://nla.gov.au/nla.news-article32159956

The following picture of the deplorable condition of the aboriginal natives of Van Diemen's Land is from the Cornwall Chronicle ... The aborigines imprisoned on Flinder's Island continue to die at the rate of 20 per cent., without any births to supply their loss. Ninety are now the sum total that remain of all the various and large aboriginal tribes of Van Diemen's Land, so that the utter extinction of the race is hastily approaching. Can anything be done for these injured beings? ...


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




25 January 1838

Perth, WA


Songs in the Two editors

A naval man my James was born

Tune - The white cockade


"THE TWO EDITORS", Swan River Guardian (18 January 1838), 284

http://nla.gov.au/nla.news-article214041995

Clark: Come Mac, now do not get angry at my remarks. Fill your glass - and I'd give you a song ... Take a bumper and now for the song. I give it to the tune of the "White Cockade":

A Naval man my James was born
Our wishes a' he held in scorn,
But he still was faithful to that Crew;
Whom the Guardian has made, to look so blue!

Sing hey ! my upright naval man
Sing ho ! my Brazen Naval man,
There's not a lad on a the Swan,
Was match for my bright naval man!

In his own way and wilful course
He has made laws without remorse,
And men there are, who urge him on,
But will shew another face, when he is gone!

Chorus, in which Macfaul joins

He's ranged a' from Sound to Bay
And sadly wants to feel his way,
But Moore in his rambles, now has found,
There's no good land, to the east of the Sound.

Chorus.

Then up all Swans and soar aloft
Let it not be supposed we are too soft,
But fly to the North without delay,
And the Naval man's Sound, will be held at bay!

Macfaull: - That's an excellent song Clark, but not your own.

Clark: Whether it is my own or not Mac, is a matter of little signification. It may have been composed by the "muse of Swan River." Now for your song?

Macfaull: - I have not arrived at the singing pitch yet, but when I get more on I daresay I can manage it. I'm not a Member of the Temperance Society ...


Our James he is a glorious man

Tune - Daintie Davie


"THE TWO EDITORS, continued", Swan River Guardian (25 January 1838), 299

http://nla.gov.au/nla.news-article214042020 

Macfaull: ... I promised you a song last week and I will not forfeit my word ...

Clark: - Now Mac enjoy yourself after this long interview with the Governor ... Kings and Governors are composed of flesh and blood like other men. Your good health Mac. Never mind a blowing up now and then from me. Your friend George Leake calls me petulant, but I am not half so petulent or proud as he is. Pride in this Colony looks like a beggar on horseback. Pride precipitated Satan from Heaven along with his Crew, and will produce its usual consequences at Swan River ...

Macfaull: - I'll first relate a morceau. Scott has turned Victualler! The first Lieutenant of the Pelorus had a Raffle for a Gun, and Scott persuaded him to hold it at his house ; after the raffle a Bill for refreshments was handed in to the amount of £3. The Officers immediately quitted the house.

Our James he is a glorious man
    Bold and clever, bold and clever,
My talents all he tried to scan
    And make a mighty Lever.

But James found with all his art
    That some folks would not take his part,
The Guardian's ta'en a higher stand -
    And banged the whole Armada.
            Toll de roll &c.

To please the men at home 'tis said
    Wise as ever, wise as ever,
He taxes raised, and Laws were made,
    Which puts us in a quiver.

But Quakers came, and soon found out,
    That Jamie's laws were round about,
As Council ruled without a doubt,
    Each men must take his grog sir,
            Toll de roll &c.

Clark (in utter amazement): - Why Mac, are you mad? Do you expect the new Governor soon? You are following in my wake; but come, never mind, that's a very good song to the tune of "Daintie Davie'' and is no doubt composed by yourself ...




19 April 1838 (first notice)

Launceston, VDL (TAS)


MUNDY, Henry (composer)

Eight sets of quadrilles

Composed by Mr. H. Mundy, of Ellinthorpe Hall, in this Island, dedicated to his Pupils, very recently published


Source:

Eight Sets of Quadrilles, for the Piano Forte, Composed and Dedicated to his pupils by Henry Mundy

(London: Robert Cocks, [? 1837])


Exemplars:

Launceston, Queen Victoria Museum and Art Gallery, Peter Sims Collection (NOT DIGITISED)

www.qvmag.tas.gov.au


Documentation:

[Advertisement], Launceston Advertiser (19 April 1838), 1

http://nla.gov.au/nla.news-article84755070

NEW MUSIC,

JUST received, a few copies of EIGHT SETS OF QUADRILLES, composed by Mr. H. Mundy, of Ellinthorpe Hall, in this Island, dedicated to his Pupils, very recently published, each set in a neatly printed wrapper, by Cocks & Co., London.

The novelty of this being the first publication of music having any pretention to merit, emanating from a resident in the Colony, it is supposed would ensure to the work an extensive and rapid sale here: but the undersigned feels confident that his friends will find the work entitled to their attention upon higher ground than mere novelty. It is valuable from its intrinsic merit; and desirable to be possessed by every piano-forte player in the Colony. These Quadrilles have had an extensive sale in England. May be had of the undersigned, and of Mr. Tegg, Hobart Town.

HENRY DOWLING.

[Advertisement], Launceston Advertiser (17 May 1838), 1

http://nla.gov.au/nla.news-article84751180

[Advertisement], The Courier (21 July 1843), 1

http://nla.gov.au/nla.news-article2952410

PIANOFORTE MUSIC. - Now on SALE, a few copies of Eight Sets of QUADRILLES, composed for and dedicated to his pupils, by Henry Mundy; also a set of brilliant WALTZES, at Davis's Stationery Warehouse, 23, Elizabeth-street. July 21.

[Advertisement], Colonial Times (25 July 1843), 2

http://nla.gov.au/nla.news-article8753768


Bibliography:

Sims 2014


Facsimile edition:

Sims 2014

http://trove.nla.gov.au/version/200879131 





13 July 1838

Hobart Town, VDL (TAS)


ANONYMOUS (late Music Master of H.M S. Wellesley and Alfred)

The first set of the V.D.L. quadrilles

NO COPY IDENTIFIED


Documentation:

[Advertisement], The Hobart Town Courier (13 July 1838), 3

http://nla.gov.au/nla.news-article4163863 

Now Publishing, The 1st Set of the V.D.L. Quadrilles, Composed and Arranged for the PIANOFORTE, By the late Music Master of H.M.S. Wellesley and Alfred, and most respectfully dedicated to the Ladies of this colony. To be had at Mr. Tegg's, Elizabeth street, Hobart town, and at Mr. Dowling's, Launceston.

[Advertisement], The Tasmanian (13 July 1838), 3

http://nla.gov.au/nla.news-article232803128 

[News], The True Colonist (13 July 1838), 7

http://nla.gov.au/nla.news-article203147419 

We have seen the first proof sheet, lithographed, of a set of quadrilles composed and dedicated to "the Ladies of the Colony", by a late band master of an English frigate. It is executed in a very creditable style, and if the music be in accordance with the outward appearance, no doubt the composer will find ample compensation for his trouble.


The convict ships Henry Wellesley and Alfred both arrived in Sydney in December 1838 (see "From the Sydney papers ...", Colonial Times (16 January 1838), 7 http://nla.gov.au/nla.news-article8650410




12 October 1838, and c.1838

Moreton Bay, NSW (QLD), and Maitland, NSW


Corrobaree at the Hunter, war song and dance at Moreton Bay

Documentation:

Mann 1839, 152-53

https://books.google.com.au/books?id=0q9TAAAAcAAJ&pg=PA152

... The aborigines of this colony are harmless, except some tribes near Moreton Bay. They pursue their pristine rambling, lazy life, hunting and fishing, and in their excursions calling at the settlers' houses for food; they are fond of bread and animal food, but care little for salt-provisions. When on a visit to a friend who resides on the banks of the River Hunter, about a hundred miles north of Sydney, we were visited by a tribe of natives who were going to join some other tribes, in order to have a Corrobaree, that is, a native dance, where they assemble in great numbers, and continue their innocent amusement for days and nights together. The foremost of the party had a quantity of honeycomb, on a piece of bark, on his head, which he supported with both his hands: the honey streaming down his head and face, with the wild bees flying about in pursuit of their treasure, made him appear an extraordinary figure. He asked for a vessel to mix the honey with some water, which mixture they call bull; the same term is applied if sugar be the substitute for honey. This [153] they drank with great glee, which excited them almost as much as the same quantity of wine would affect Europeans. They went through the maneuvres of the emu and kangaroo dance, mimicking the motions of these animals. They threw the spear at each other, which they caught on their targets with great dexterity. After receiving a few shillings, which they call white money, they retired from Mr. Nowlan's farm, where this occurred, to that of Mr. Hobler, on the opposite side of the river, where they also regaled themselves, and proceeded to their rendezvous at Maitland. They were quite naked, accompanied by children, but no gins (or wives); for their drapery being generally rather scant, they had the modesty to remain at a distance. They appeared of the middle size, well-made, and robust, with large heads, black bushy hair, and beards-their complexion of the same sable hue; their legs and arms wanted that muscular plumpness which distinguishes persons accustomed to laborious and active life.

Mann 1839, 155-57

https://books.google.com.au/books?id=0q9TAAAAcAAJ&pg=PA155

Extract of a Letter from Moreton Bay, dated 12th October, 1838: Since I last wrote to you, I was present at a fight between three tribes whose hunting grounds are contiguous to the settlement, and three other tribes who are farther removed from us; and I was fearful that the settlement tribes would have been beaten, having heard the men speak very highly of the mountaineers: but the result was otherwise. The battle was fought in a valley at the foot of a range of mountains, about five miles from the settlement, called Taylor's Range. The three strange tribes encamped at the base of the mountain, and the settlement tribes on a small ridge on the opposite side of the valley. After painting themselves, and covering their heads and bodies with the gaudiest parrots' feathers, they sent three of their skippers, or young men, armed with spears and bomerangs, to challenge the hostile tribes, who were similarly painted and dressed, and stood with spear and shield in hand at the foot of the mountain, and presented a most formidable appearance, The skippers ran up to the enemy's camp; and after boasting of the superior valour of their tribes, the goodness of their sight, the force with which, they threw their spears and bomerangs, returned unmolested to their camp. The skippers of the mountain tribes then rushed out, and [156] repeated nearly the same words to the settlement tribes, threw their spears, and also returned unmolested. After waiting for some time, and nothing being done, I began to think that the settlement tribes were afraid of the mountaineers, whose chosen warriors advanced in a line, striking their shields with their waddies, singing their war-cry, wa-ah! wa-ah! wa-ah! a-a-ho! a-a-ho! a-a-ho! hi-hi-hi! - I should have told you that many of the Amity Paint tribe, which is more numerous than the other two settlement tribes, were deficient of spears and shields, having nothing but waddies and bomerangs. Our friends kept on the defensive, and waited till the mountaineers had thrown their spears, which they turned off with their shields, or avoided with wonderful activity. The gins of the settlement tribes collected the enemy's spears, and gave them to their friends, who, by a feigned retreat, drew the hostile tribes farther from the mountains. They then halted, and commenced throwing spears, waddies, bomerangs, stones, and every missile they could lay their hands on, leaping and singing when any of them took effect; and after four hours' hard fighting, they beat the mountaineers back, stormed their camp, which they plundered of their nets, opossum cloaks, &c., and returned to their own camp. After the struggle hadceased, I went to the opposite tribes, and found that eighteen of them were [157] wounded, some very badly; but they were not at all dispirited. The fight was renewed on the following morning, and the settlement tribes were again victorious. One of the mountaineers was killed with a spear, and they were again driven back to the'mountains. The day'was uncommonly fine, and the spot where they fought was beautifully diversified with mountain, hill, and dale. The imposing attitude of the men-their shouts of triumph and defiance as they met each other in the valley-the fierce struggle, in which were displayed the skill, activity, and cunning of man in a state of nature-the cries of the gins, who were in the rear of each party, either of triumph or despair, as the fate of the battle changed-all combined, made such an impression on my mind as will never be forgotten. Man is indeed here "lord of the creation," bearing nothing but his instruments of war, his gins supplying his wants, and carrying all he is possessed of.


Bibliography:

-





22 November 1838

Sydney, NSW


DUNLOP, Eliza Hamilton (songwriter, poet)

Songs of an exile (no. 2)

Adapted to the music of I stood among the glittering throng


Documentation:

"Original Poetry", The Australian (22 November 1838), 3

http://nla.gov.au/nla.news-article36860702

Original Poetry.

SONGS OF AN EXILE - (No. 2)

Adapted to the music of I stood among the glittering throng.

SHE WAS - yet have I oft denied,
Veiling the secret in my heart,
SHE was my dearest - my pride:
For whom those bitter tear drops start,

Now happy voices fill mine ear
And dancing footsteps throng around -
Yet hers amid them all I hear!
A sound of music from the ground.

Still, MY lorn spirit, seeks the clay,
Where her young limbs in darkness rest -
While her's, in light of endless day,
Reposes on a Saviour's breast.

E. H. DUNLOP.


Bibliography:

-


Resources:

Dunlop, Eliza Hamilton (NLA persistent identifier)

http://nla.gov.au/nla.party-618587

http://www.austlit.edu.au/austlit/page/A31624


Music concordance (tune):

I stood amid the glitt'ring throng; a balled, written by F. W. H. Bayley Esq.; composed by H. R. Bishop (New York: Bourne, [1827])

http://dc.lib.unc.edu/cdm/ref/collection/sheetmusic/id/19398


Commentary:

-


References:

"SONGS OF AN EXILE (No. 1) THE DREAM", The Australian (8 November 1838), 3

http://nla.gov.au/nla.news-article36859656

"SONGS OF AN EXILE (No. 3)", The Australian (29 November 1838), 3

http://nla.gov.au/nla.news-article36861886

"SONGS OF AN EXILE (No. 4) THE ABORIGINAL MOTHER (From Myall's Creek)", The Australian (13 December 1838), 4

http://nla.gov.au/nla.news-article36861275

"The Vase, comprising songs for music and poems by Eliza Hamilton Dunlop", 1814-1866; State Library of New South Wales

http://archival-classic.sl.nsw.gov.au/item/itemDetailPaged.aspx?itemID=931107




1 December 1838 (date of composition)

13 December 1838 (first published)

Sydney, NSW


[ANONYMOUS] "AN AUSTRALIAN"

I am not grieved a fortune to lose

Air - Roslin Castle [Roslyn Castle] (Dec. 1. 1838)


Words only; tune extant in concordances


VIEW DIGITISED SOURCE (words)


VIEW DIGITISED MUSIC (selected tune concordance) (JHU)


Source and documentation:

[Advertisement], The Sydney Gazette (13 December 1838), 3

http://nla.gov.au/nla.news-article2548797

ADVERTISEMENT.

MR. EDITOR, by inserting the following Lines you will greatly oblige the under-signed.

AIR--Roslin Castle.

I am not grieved a Fortune to lose,
Yet love the paths that she doth chose;
First you smil'd, then you frowned,
Until you have another crowned.

Fair Psyche thou enchanting Goddess,
With thy rib what has there been amiss;
Through thou my ambition has been broke,
And my desires bereft of hope.

But Fortune why dost thou me rebuke,
I have no desire to be a Duke;
You have me ill-used and trampled on,
To satisfy the desires of another one.

Steer your course towards the Curtiss,
And prove yourself not amiss;
There you may see the lovely Psyche,
Who disavows all love for thee.

Fortune thou hast done amiss,
You have yielded to a sickly Norriss;
In me you found a manly heart,
From thee I never thought to part.

Farewell for a long while,
Upon thee I ne'er again shall smile;
Deceit embraces thy lovely body,
Away! away! thou false one from me.

Caroline, unto thee I own my love,
And with thee the Ocean I'll rove;
Shouldst thou prove to me non est,
Thy sex I ever shall detest.

Caroline, with thee I'll lead the dance
Our mirth and happiness to enhance.
Let Fortune smile or frown,
Upon thy head I'll place a crown.

Thou shalt find me a whaler,
When storms arise a perfect sailor;
Midst rocks reefs, and even other danger,
Thy constant companion and manager.

AN AUSTRALIAN.

"LITERATURE", The Sydney Gazette (13 December 1838), 2

http://nla.gov.au/nla.news-article2548802

We would seriously recommend Mr. Beverly Suttor to look to his laurels, lest they should be wrenched from his brow almost before they have begun to sit easy. In our advertising columns of to-day our readers will find the maiden effusion of a nautical songster, which, although but the first effort of a youthful Australian sea-poet, nevertheless, contains some touches of which even Mr. Beverly Suttor might be proud. In the equitable spirit which characterized the lays of Dryden when, in former days, he sang the musical praises of St. Cecilia, in the lines:

"Let old Timotheus yield the prize,
Or both divide the crown:-
He raised a mortal to the skies
She drew an angel down;"

in the same spirit we would say, if Mr. Beverly Suttor is destined to become the Moore of Australia, our embryo poet may well be styled the Colonial Dibdin.

"To the Editor", The Sydney Gazette (22 December 1838), 3

http://nla.gov.au/nla.news-article2538099

Bibliography:

-


Resources:

-


Tune concordances:

"Roslin Castle", The Musical Repository (Glasgow: Printed by Alex. Adam, for A. Carrick, 1799), 46

http://digital.nls.uk/special-collections-of-printed-music/pageturner.cfm?id=87746348

Roslin Castle (Philadelphia: Published by G. Willis, [nd])

http://jhir.library.jhu.edu/handle/1774.2/27364

Roslyn Castle, melodie favorite transcrite pour piano par W. Vincent Wallace (souvenir d'Ecosse, Fantasie de salon) (New York: William Hall and Son, 1856)

http://www.loc.gov/resource/sm1856.290710


Commentary:

-


References:

-




23 December 1838

Melbourne, Port Phillip, NSW (VIC)


Corobbery with veiled women

Documentation:

Stokes, volume 1, 284-85

https://books.google.com.au/books?id=TThCAAAAIAAJ&pg=PA28

[23 December 1838] ... At the western extremity of Melbourne is a low round hill, fifty-seven feet above the level of the sea by our observations, and about thirty above the town. There are now none of the aborigines in the neighbourhood of Melbourne; but I learned that some of their old men remember the time when the site of the town was under water, in consequence of one of those sudden inundations that happen in Australia, and are so much in keeping with the other strange things that occur there. Having alluded to the natives, I may here mention a singular custom that came under notice some time after, at the Protectorate in the valley of the Loddon, in the vicinity of Melbourne. Several women were observed having their faces completely concealed by their opossum skin mantles. Not satisfied with this moreover, in passing a party of men, they moved in a sidelong manner, so as to render it impossible, even if the covering came to be displaced, that their faces should be seen. In the evening at the Corobbery, these persons, three in number, were seated in the circle of women, so as to have their backs turned to the dancers or actors, their faces still being wholly concealed. They remained [285] seated, motionless, taking no part in the singing or the gestures of encouragement indulged in by the other women. It was subsequently explained by a protector, that these were women who had daughters betrothed to the men of their tribe, and that during the period of betrothment the mothers are always thus rigidly veiled.


Bibliography:

-


Resources:

-


Commentary:

-


References:

-



1839





28 March 1839

Melbourne, Port Phillip, NSW (VIC)


A grand corrobora

Documentation:

George Augustus Robinson, journal, 28 March 1839; ed. Clark

Thursday 28 March 1839. 11 am went to the entertainment given by me to the Native Trives: Waverong, Boomerong, Port Phillip Aborigines, and the Daung.ger.rong - Goulburn Blacks, between 4 and 500. Refreshment was also provided: choice wines and viands for the respectable white inhabitants. Six tents were provided for the white visitants. All the respectable inhabitants were present on this occasion all in best attire ... I served out the dinner to the Natives. Mrs. Dredge and Thomas assisted a little. Very slow. After dinner the Natives engaged in different amusements: racing for tommahawks which I gave them; climbing a greasy pole for handkerchiefs; throwing the spear. In the evening corrobery and a grand display of fire works. The white inhabitants, of which there were a large assembly behaved very orderly, and the entertainment went off with exclamation. The natives highly pleased altho much difficulty wasd experienced in allaying their suspicions. They having been told by the depraved whites that the feast was a decoy where they would be prisoned or surrounded and sent off to VDL and be shot. This was what I had expected and it therefore caused me no manner of surprise.

Port Phillip Gazette (30 March 1839)

"Port Phillip", The Colonist (20 April 1839), 3

http://nla.gov.au/nla.news-article31722940

IN our last, at the end of our extracts under this head, we announced the arrival of Melbourne papers up to the 30th ultimo, from which we now continue to select ...

ABORIGINAL FETE. The Blacks, it appears, having been generally informed of the characters and duties of the gentlemen sent over to protect them, had made a simultaneous move throughout the country with an evident desire of forming a nearer acquaintance with their white friends. Nearly four hundred of them having collected, Mr. Robinson considered it an advisable method of gaining their confidence to give them a grand fete, the programme of which should be a feed followed by a corroborie. Thursday being the day appointed, a large concourse of spectators began to throng the ground; at the hour of four in the afternoon large rations of beef and bread were liberally distributed on all aides, which being rapaciously swallowed, not without some snarling objections raised by the lean dogs as to their due share in the gorge, different parties were induced to run over a given course for tomahawks, knives, &c., which, with attempts to climb a greasy pole, formed the whole of the day's amusement. At night, after much palaver, some forty of the least lazy were persuaded to show off in their native dance, which concluding by ten o'clock tihe assembly broke up. There was much difficulty from want of interpreters to discover the impressions made upon the aboriginals; but if we might judge by outward signs, they seemed well satisfied of the good intentions of their friends, and willing to confide their interests into the hands of the Protectors.

"PORT PHILLIP", The Asiatic Journal and Monthly Register (October 1839), 135

https://books.google.com.au/books?id=F6dFAQAAMAAJ&pg=RA1-PA135

On the 28th March, Mr. Robinson, the chief protector of aborigines, gave a grand feast to between three and four hundred of the blacks in the neighbourhood of Melbourne. The feast was succeeded by foot races, throwing of spears, boomerangs, &c., and was concluded by a grand corrobora.


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




4 April, 15 October, 18 November 1839

Port Phillip, NSW (VIC)


WOIWURRUNG

BOONWURRUNG

FRANKLIN, Jane

ROBINSON, George Augustus

Arranmilly (corroborees) given for colonial dignitaries

Documentation:

George Augustus Robinson, journal;

[4 April 1839] ... Her ladyship having expressed a wish to see the Port Phillip natives' corrobbery, I attended to the natives camp and succeeded in getting up a corroberry, among the Waverong natives ... It was the best corrobbery I have seen, but Lady Franklin did not come ... Very late in the evening her ladyship and suite arrived ... Her ladyship much pleased with her reception. Said to me it was very interesting.

Jane Franklin, journal; Russell 2002, 30

[4 April 1839] ... About eight or nine o'clock we went out to see Corroberry of the natives who are encamped in the outskirts and who, consisting of the tribes usually frequenting this port and of several more distant ones, are supposed to amount just ust now to about four or five hundred. The Coroberry of one of the stranger tribes was over before we arrived on the ground. After a long delay during which the men were painting themselves the home tribes began their dances. For this purpose they had thrown aside their skins or blankets and were perfectly naked (except bundles of heavy fringes hanging round their loins like aprons), their breasts, arms and thighs, and legs were marked with broad white belts of pipe clay and borders of the same were traced round their eyes. Round their ancles [sic] they wore large ruffs of the gum tree branches and in each hand they held a piece of hardwood which they were constantly employed in striking against each other. The leader of the band was an elderly man, dressed in a blanket who stood with his face towards a group of women squatted on the grass, and who beat time with their hands on some folded opossum skins, thus producing a dull, hollow accompaniment. They sang also the whole time, in the style of the. Flinders Island people, led by the old man.

George Augustus Robinson, journal

[15 October 1839]

George Augustus Robinson, journal

[18 November 1839]


Bibliography:

Clark 1998, volume 1, 24

Russell 2002, 30

Clark and Heydon 2004, 21


Resources:

-


Commentary:

-


References:

-




5 April 1839 (first notice, first performance)

Royal Victoria Theatre, Sydney, NSW


GAUTROT, Joseph (composer)

Barcarole with variations

On a discordant violin composed by himself [Gautrot], in the style of Paganini


NO COPY IDENTIFIED (? composer's MS)


Documentation:

[Advertisement]: "ROYAL VICTORIA THEATRE", The Sydney Herald (5 April 1839), 2

http://nla.gov.au/nla.news-article12857931

ROYAL VICTORIA THEATRE. THIS EVENING, April 5, 1839, the French Operatic Company will have the honor of representing THE DINNER TO MADELON, or, THE EAR CLIPPER, a Vaudeville in one Act, by Desaugiers ... After which, THE BUFFO, Opera Buffo, in one Act ... In the course of the evening, Monsieur Gautrot, will execute, on a discordant violin, a barcarole, with variations composed by himself, in the style of Paganini ... The evening's performance will terminate by THE CHAMPAGNE PHILTRE, a Vaudeville in one Act, by Mellesville ...


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




6, 16, and 18 April 1839

Between Hutt River and Water Peak, WA


INDIGENOUS (Swan River district)

KAIBIR (singer)

GREY, George (reporter)

Native songs sung by Kaiber

See also Songs on Miago's departure and return (1838)


Sources and documentation:

Grey 1841, 2, 25

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA25

[6 April 1839] ... Although we had walked very slowly many of the party were completely exhausted, and one or two of the discontented ones pretended to be dreadfully in want of water, notwithstanding they carried canteens and had only walked eight miles since leaving the bank of a river; I was therefore obliged to halt, and could not get them to move for three hours ... Mr. Smith, with his usual spirit, was for pushing on, although his strength was inadequate to the task. I laid under the shade of a bush lost in gloomy reveries and temporary unpopularity; Kaiber by my side lulled me with native songs composed for the occasion, and in prospective I saw all the dread sufferings which were to befall the doomed men who sat around me, confident of their success under the new plan; but like all prophets I was without honour amongst my own acquaintance; and after considering the matter under every point of view I thought it better for the moment to succumb to the general feeling, yet to lose no opportunity on every subsequent occasion of endeavouring to rouse the party into a degree of energy suited to our desperate circumstances.

Grey 1841, 2, 70

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA70

[16 April 1839] ... Poor Kaiber alone lay crouching by my fire, occasionally feeding it with fresh fuel and chanting to himself these two songs, in his own language:

Thither, mother oh, I return again,
Thither oh, I return again.

The other had been sung by the mother of Miago, a native who had accompanied Captain Wickham in the Beagle from the Swan River, and it had made a great impression on the natives.

Whither does that lone ship wander,
My young son I shall never see again.
Whither does that lone ship wander.

Grey 1841, 2, 86

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA86

(83) [18 April 1839] . . . We now entered upon a more hilly country than we had traversed yesterday; the hills were steep, being composed of sand and recent limestone, whilst the valleys were thickly wooded with grass trees and stunted Banksias. The general line of route I followed was S. by E., and we had not travelled more than nine miles when we came suddenly upon a valley, with a river running rapidly through it. The sight of this cheered us up; and when on tasting the water we found it excellent, and saw adhering to the banks a species of freshwater muscle [mussel], (Unio,) called by the natives Ma-rayl-ya, our joy was complete. I proceeded therefore to collect wood for my fire, and ordered Kaiber to make haste and gather some of these muscles, an order which, considering the hungry state he was in, I imagined he would gladly have obeyed; but to my astonishment he refused positively to touch one of them, and evidently regarded them with a superstitious dread and abhorrence. My arguments to induce him to move were all thrown away; he constantly affirmed that if he touched these shell-fish, through their agency the "Boyl-yas" [native sorcerers] would acquire some mysterious influence over him, which would end in his death. He could not state a recent instance of any ill effects having happened from handling or catching the muscle; but when I taunted him with this, he very shrewdly replied, that his inability to do so only arose from the fact of nobody being "wooden-headed enough" to meddle with them, and that he intended to have nothing whatever to do with them. This much he assured me was certain: that a very very long time ago, some natives had eaten them, and that bad spirits had immediately killed them for so doing. Kaiber was a great deal too sensible a fellow to (85) be allowed to remain a prey to so ridiculous a superstition as this was; I therefore ordered him instantly to go and bring some of these muscles to me; that I intended to eat them, but that he could in this respect please himself. He hereupon, after thinking for a moment or two, got up to obey me, and walked away for this purpose; but I heard him, whilst occupied in the task, lamenting his fate most bitterly. It was true, he said, that he had not died either of hunger or thirst, but this was all owing to his courage and strong sinews, yet what would these avail against the supernatural powers of the boyl-yas. "They will eat me at night, whilst, worn out by fatigue, I must sleep." Amidst these and sundry other similar exclamations, he brought the muscles to me: by this time my fire was prepared, and in a few minutes I was making such a meal as the weak state of my stomach would admit of. No inducement of mine could, however, prevail upon Kaiber to share with me, and I therefore handed him the remains of the cockatoo . . . In the afternoon we travelled about three miles in a S. by E. direction, and then came to the bed of a small stream, which ran from east to west, but as now merely a chain of pools. Across the bed, where we passed it, was a native weir. Our route (86) during the whole evening lay over hills of a nature similar to those we passed yesterday. We did not halt until it was so dark that we could not see to walk, and then just dropped at the spot where we ceased to move. The men made their fire, and I lighted mine from theirs; but scarcely was this done ere the rain fell in torrents. I had no blankets or protection of any kind against this, and Kaiber was in the same predicament; so that when the fire was extinguished, our position became pitiable in the extreme, for I know not if I ever before suffered so much from cold; and to add to my annoyance, I every now and then heard Kaiber chattering to himself, under its effects, rather than singing, -

"Oh wherefore did he eat the muscles?
Now the boyl-yas storms and thunder make;
Oh wherefore would he eat the muscles?"

At last I so completely lost my temper, that I roared out, "You stone-headed fellow, Kaiber, if you talk of muscles again, I'll beat you." "What spoke I this morning?" replied Kaiber; "you are stone-headed. We shall be dead directly; wherefore eat you the muscles?" This was beyond what my patience in my present starved state could endure, so I got up and began to grope about for a stick or something to throw in the direction of the chattering blockhead; but he begged me to remain quiet, promising faithfully to make no more mention of the muscles. I therefore squatted down, in a state of the most abject wretchedness.

Grey 1841, 2, 310

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA310


Bibliography:

-





9 April 1839 (first notice)

Hobart Town, VDL (TAS)


LOGAN, Maria (composer)

STEWART, Robert (songwriter, lyricist)

ELLISTON, William Gore (printer, publisher)

The vow that's breathed in solitude

The vow that's breathed in solitude, the words by Mr. [Robert] Stewart, the music arranged by Mrs. Logan

([Hobart Town]: Elliston, [1839]

NO COPY IDENTIFIED


Documentation:

"Colonial Music", The Austral-Asiatic Review, Tasmanian and Australian Advertiser (9 April 1838), 7

http://nla.gov.au/nla.news-article232477127 

Who shall say that the march of civilization, one of the greatest blessings which man can know, is now rapidly progressing here, when we find a gentleman finishing the poetry, and a lady the music of a beautiful little composition recently published by Mr. Elliston. The melody and the harmony are agreeably creditable to the taste and ability of Mrs. Logan. The impression, we understand, consists but of a limited number, which will of course soon be disposed of.

[News], The Hobart Town Courier (26 April 1839), 2

http://nla.gov.au/nla.news-article4158722

A song, entitled "The vow that's breathed in solitude" - the words by Mr. Stewart - the music arranged by Mrs. Logan - has been forwarded to us, and, according to our judgment, affords a very creditable specimen of "immortal music married unto verse." This is the first Van Diemen's Land melody it has been our fortune to encounter, and is well worthy of being hailed by all the lovers of song and of Tasmania, with all the gladness and rejoicing of a new birth.

Also: Hobart Town Advertiser (10 May 1839)

We must not pass lightly by the music of Mrs. Logan, a lady who has the merit of being the first musical compositor in the colony.

[Editorial], The Hobart Town Courier (17 April 1840), 4

http://nla.gov.au/nla.news-article8748254

We are not blessed with hurdy-gurdies or barrel-organs in this hemisphere, but claim some exemption from the tomb of oblivion, in an occasional offering to the muses, which passes through the colony with the swiftness of the Highland fire-brand, visiting the mansion and the cottage, and thereby indicating a taste for the "tender and true". We allude more particularly to The vow that's breathed in solitude


Bibliography:

-





18 April 1839

Murray River, NSW


JEM

FRANKLIN, Jane

Jem invited to dance

Documentation:

Jane Franklin, letter to John Franklin, 20 April 1839; Russell 2002, 62

Jem was invited on the evening of our arrival to dance at the fire but he seemed to have little inclination for it, whenever he began to attempt it the dogs barked at him, and he seemed as much afraid of the dogs as our horses at the Ovens were of his own black fellows ...


Bibliography:

-





24 May 1839 (first notice)

28 May 1839 (first performance)

Theatre Royal, Campbell Street, Hobart Town, VDL (TAS)


GAUTROT, Joseph (composer)

Variations on the Violin
O Dolce Concento with variations

["Das klinget so herrlich", from Die Zauberflöte by Mozart] variations composed by Mons. Gautrot for Madame Gautrot (soprano)


Documentation:

[Advertisement], The Hobart Town Courier (24 May 1839), 3

http://nla.gov.au/nla.news-article4158477;

GRAND CONCERT. UNDER DISTINGUISHED PATRONAGE. MONSIEUR AND MADAME GAUTROT HAVE the honour to announce that their Concert will take place on Tuesday next, the 28th May, 1839, at the Theatre Royal, Campbell-street. By the kind permission of Lieutenant-Colonel Elliott, the Band of the 51st Regiment will attend.

PART I.
Overture - Militaire.
1. Air, Il Barbiere de Seviglia - 'Una Voce', Rossini. Madame Gautrot.
2. Variations on the Violin, Gautrot. Monsieur Gautrot.
3, Air from 'Tancredi,' Rossini. Madame Gautrot.
4. Solo, Clarionet. M. Reichenberg.
5. Air, Francais ( Le plaisir des Dames), Auber. Madame Gautrot.
PART II.
Symphony - Militaire.
1.- 'O Dolce Concento,' with variations, composed by Mons. Gautrot. Madame Gautrot.
2. - Quartette, Instrumental.
3. - Air with variations, De Beriot. Monsieur Gautrot.
4. - Air, Francais, from ' Pre Au Clercs,' Herrold. Monsieur and Madame Gautrot.

Finale - Rule Britannia. Mr. Leffler will preside at the Pianoforte. The Concert will commence at Eight o'Clock. Tickets 7s 6d each - Children's do 5s each. To be had of Monsieur Gautrot, Ship Hotel; Mr. Tegg, Circulating Library; Mr. Guesdon, Musical Repository; Mr. Hedger, Confectioner ; and Mr. Lester, Ship Inn.

[Advertisement], Colonial Times (28 May 1839), 8

http://nla.gov.au/nla.news-article8749724

"THE CONCERT", The Hobart Town Courier (31 May 1839), 2

http://nla.gov.au/nla.news-article4158367

The Concert of Monsieur and Madame Gautrot took place at the Theatre on Tuesday evening last, and as if to punish us for making a mistake about his temple and to vindicate hit offended deity, that two-headed gentleman Janus had nearly afforded us a practical illustration of the absence of concord, which we had predicted as likely to attend upon the doors of the Theatre being thrown open, and convinced us that a more safe remedy to have produced any such effect would (in one sense at least) have been to have kept them closed. We were led to this conclusion by a very extraordinary scene which was enacted in the boxes previously to the commencement of the performance. The plot was as follows. The box appropriated for the reception of the Governor and his party was one in the centre of the tier, the front row of which a party of young ladies, disappointed in procuring seats in another part of the Theatre, unhesitatingly took possession. The circumstance excited some slight surprise, and when at length it was announced that His Excellency had arrived, all eyes were most anxiously directed to the fair objects of attraction who were determined to dispute the possession of the Governor's box. ln vain were the luminaries borne before the Lieutenant-Governor - in Vain did Monsieur Gautrot herald His Excellency with all that innate polite, ness which distinguishes the French character, while unspeakable surprise agitated his features - in vain the imploring looks of the Aide-de-Camp and the ardent solicitations of friends-all were exhausted upon the tacit indifference of the party who remained in the full pride of the victory which they had so gracefully achieved. We are informed that there was a gentleman of the party also in the box, who exhibited a similar spirit of independence and indifference to all entreaty. As if to make the conduct the more conspicuous, on the box itself was seen the inscription "EMOLLIT MORES" in large letter, which we may translate for the benefit of those whom it most concerns, into the REFINEMENT of manners! After pausing for some time at the top of the box, with Lady Pedder on his arm, His Excellency turned round to a different part of the Theatre, when, after some little confusion, and a clatter of seats, we had at length the satisfaction of seeing him occupy a position whence he acknowledged the warm greetings of the audience. We are willing to believe that some unfortunate mistake must have occurred, for otherwise a more outrageous insult was never offered to the representative of royalty. Had His Excellency left the Theatre, we are quite sure he would have been accompanied by the majority of persons present; but not wishing to prejudice the interests of Monsieur and Madame Gautrot, he consented to take his seat in another box, and in so doing showed himself superior to any feeling of temporary annoyance, which so gross a violation of all decorum was calculated to excite. The vulgar triumph was thus disappointed, and the audience evinced their sense of the treatment by most enthusiastically and repeatedly cheering His Excellency at the close of the evening's entertainment. There was but one sentiment pervading all present, whether politically opposed, or otherwise, to His Excellency's government; and if we lament that such an occurrence took place, our regret is materially diminished by the universal expression of public feeling which it called forth. The exception is said to prove the rule, and it never did more effectually than in the present instance. Thus much concerning this part of the performance. We are happy to revert with more satisfaction to the voice of Madame and the violin of Monsieur Gautrot. Madame sings with great taste, but the compass of her voice is too powerful for a small theatre. Some of the tones are exceedingly rich, but as she proceeds it seems to want more melody and modulation, and its great power in so limited a space astonishes sometimes more than it delights. We were, however, much gratified by several of her performances, which we hope to see repeated before her departure from this colony, as they serve to remind us that we are not altogether excluded from the excellencies of the old world. Madame Gautrot was applauded enthusiastically throughout the evening, and one or two airs which she sung were vigorously encored. With regard to Monsieur Gautrot - in his case, music may be said most fairly to be married to song. His execution on the violin is rapid, and at the same time possessing that ease which denotes a thorough command over the instrument. We must not omit to mention, that in the absence of Mr. Leffler, who was to have presided over the pianoforte, Mrs. Logan consented at once to relieve Monsieur and Madame Gautrot from the embarrassment in which they must otherwise have been placed. The audience failed not to appreciate the kindness, and she was led on the stage amidst universal applause. Through the courtesy of Lieutenant-Colonel Elliott, the fine band of the 51st was permitted to be present, and relieved the interludes with several delightful pieces of music.


Bibliography:

-


Resources:

-


Commentary:

After sailing from their former base in Batavia for a short Sydney season in March 1839 as members of a small French operatic company, violinist Joseph Gautrot and his wife, a soprano, arrived in Hobart Town on 16 May. Their first Hobart concert was noticed less for the music and performances than for some ticketholders who refused to give up the seats they had occupied in the governor's allotted box. In Sydney, the Gautrots' colleague Mons. Henri, a tenor, had been advertised to sing the "ANDANTE DE MOZART O DOLCE CONCENTO". Another popular set of vocal variations on this air from Mozart's The Magic Flute was popularised by Angelica Catalani (either her own, or by G. G. Ferrari) as an insertion aria in productions of Fioravanti's La Virtuose in Puntiglio (London, 1808) and Paisiello's La Frascatana.


References:

Catalani/Ferrari variations (1808), arranged for piano or harp, in later US lithographic reprint

https://jscholarship.library.jhu.edu/handle/1774.2/21581 (DIGITISED)

http://www.worldcat.org/oclc/20164143

[Advertisement], The Sydney Monitor and Commercial Advertiser (22 March 1839), 3

http://nla.gov.au/nla.news-article32163326

"Shipping Intelligence", The Hobart Town Courier (17 May 1839), 2

http://nla.gov.au/nla.news-article4158566

[News], The Hobart Town Courier (24 May 1839), 2

http://nla.gov.au/nla.news-article4158500

The Theatre, which has so long and so obstinately remained closed to amusement, is, we are happy to perceive, at length about to open its doors - like the Temple of Janus - to concord. This is promised to us next week by Mons. and Madame Gautrot, two distinguished artistes, who have just arrived from Sydney, and who have announced their intention of giving a Concert next Tuesday. The lovers of vocal and instrumental music are promised a rich treat upon the occasion; and we arc confident, that as such visits to our colony are like those of angels, "few and far between," the attendance will in every way correspond to the expectations of Mons. Gautrot, whose reputation as a violin player, is understood to be of the very highest order.




15 June 1839 (date of performance)

Near Perth, WA


GREY, George (recorder, reporter)

Funeral songs for Mulligo

VIEW DIGITISED SOURCE (words)


Source and documentation:

Grey 1841, 2, 320-321

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA320

June 15. Soon after daybreak I reached the entrance of Mulligo's hut: he was alive but his respiration was scarcely visible. His head rested on his mother's knees, and her withered breasts now rested on his lips as she leant crying over him; other women were seated round, their heads all verging to a common centre over the wasted frame of the dying man; they were crying bitterly and scratching their cheeks, foreheads, and noses with their nails until the blood trickled slowly from the wounds. The men in the front of the huts were busied in finishing off their spears, ready for the coming fight. I stood for some time watching the mournful scene, but other native females soon began to arrive; they came up in small parties, generally by threes, marching slowly forward with their wan-nas (a long stick they use for digging up roots) in their hands; the eldest female walked first, and when they approached within about thirty or forty yards of the hut in which the dying man lay they raised the most piteous cries, and, hurrying their pace, moved rapidly towards the point where the other women were seated ... CEREMONY ON MULLIGO'S DEATH. As they came up to the bark hut many of them struck it violently with their wan-nas, producing by the blow a dull hollow sound; they then seated themselves in the circle, scratching their faces and joining in mournful chants, of which the one already given above was that most frequently uttered, and which, as I sat by the young men's fire, they slowly repeated to me.

The female relatives standing in the relation of mothers to Mulligo, sang:

Mam-mul, Mam-mul,
My son, my son.

Those in the relation of sister, sang:

Kar-dang, kar-dang.

And the next part was sung indifferently by both of them:

Garro. Nad-joo,
Meela, Nung-a-broo.
Again, I shall
Not see in future.

Then one of the women, having worked herself to a pitch of frenzy, would now and then start up and, standing in front of the hut whilst she waved her wan-na violently in the air, would chant forth dire imprecations against certain boyl-yas, or magicians, or rather wizards, who she believed to be the cause of the death of poor Mulligo. Whilst thus chanting she faced and addressed her words to the men who were grouped around their huts, and it was strange to see the various effects produced on their minds by these harangues working in their savage countenances: one while they sat in mournful silence; again they grasped firmly and quivered their spears; and by-and-bye a general "Ee-Ee" (pronounced in their throat with the lips closed) burst forth as sign of approbation at some affecting part of the speech.


Bibliography:

Perron d'Arc 1869, 248

https://books.google.com.au/books?id=DWBq12kWPOgC&pg=PA248

Voici une strophe d'un des plus courts, fort en vogue dans les forêts de l'Illawara [sic] ...


Resources:

-


Commentary:

-


References:

-




19 July 1839 (date of republication, Hobart)

Melbourne, Port Phillip, NSW (VIC) (place of earlier publication)

Yass, NSW (? place of composition)


BESNARD, Thomas (? songwriter)

"H. K." (songwriter, satirist)

Song at Yass by Tom Besnard (?)
If you were at Yass you may have heard a song (Oh! Squatting we will go)

Words only; no tune indicated


VIEW DIGITISED SOURCE (words)


Source:

"PORT PHILLIP", The Hobart Town Courier (19 July 1839), 4

http://nla.gov.au/nla.news-article8747485

If ever you were at Yass you may have heard a song,
That showed new chums in settling, were generally wrong;
And Squatting they should go!
On, on they rolled with sheep and cattle along their dreary way,
And staggering on amused themselves with pouring forth their lay.
Oh ! Squatting we will go!

The song was made by Tom Besnard, and well he sang it too;
But things are strangely altered now, as I will prove to you.
And Squatting we won't go !
They raised the price of Crown Land a good while ago.
And Settlers left off buying then, as probably you know;
And Squatting they would go!

To check them in squatting, the Government set to work,
And began to use the Squatters worse than Jew or Turk.
Yet Squatting they would go!
And now they're laying on a fresh tax every day;
We are all beginning to see that Squatting will not pay,
And Squatting we won't go!

They have laid a tax on sheep, and calculate the grass they eat;
And if they could, no doubt they would too, lower the price of meat.
So Squatting we won't go!
You may talk of Saxon ewes and Merino rams so pure,
But a Government situation now, is a better thing I'm sure.
So Squatting we won't go!

For if a Squatter come to town, to enjoy a glorious revel,
He's sure to find on his return, his stock all going to the devil.
So Squatting we won't go!
Then there's the cursed blacks too, if they choose to come and bang you,
And you should knock them down, a Protector 'll try to hang you.
So Squatting we won't go!

H. K.


Bibliography:

-


Resources:

-


Commentary:

The last stanza clearly refers to the Myall Creek Massacre, on 10 April 1838, and the ensuing executions, on 18 December 1838, of five of the white men found guilty of murder.


References:

-




13 August 1839 (first notice)

Sydney, NSW


REID, James Aquinas (composer)

Oratorio Paradise Lost

Documentation:

"Concert for the benefit of the Poor", Australasian Chronicle (13 August 1839), 1s

http://nla.gov.au/nla.news-article31726208

We have great pleasure in calling the attention of our Readers to Dr. Reid's advertisement in our present number. The object of the Concert would be itself a sufficient argument to induce an attendance; but when Dr. Reid's first-rate talents, both as a composer and director of Concerts, which are not unknown in any part of Europe, are taken into consideration, we feel confident the old Court House will not be too large for the audience. We hope Dr. Reid will be induced to bring forward some of his own compositions on this occasion. There are some beautiful movements in his Oratorio of Paradise Lost, which we think would surprise the ears of the sons of Australia.


Commentary:

Reid's oratorio is almost certainly that mentioned in "Music in Scotland" 1901 below. There is no suggestion that the work was actually performed in Australia, though W. A. Duncan (editor of the Australasian Chronicle), who had known of it and Reid previously in Scotland, suggested it might be.


References:

[Advertisement], Australasian Chronicle (13 August 1839), 4

http://nla.gov.au/nla.news-article31726207

Concert. J A. REID, Member of the Royal Bavarian Academy of Music, has the honor to inform the Gentry and the Public of Sydney and its Vicinity, that he intends giving a Concert in the Old Court House, Castlereagh-street, on Wednesday, the 21st August - the proceeds to be applied to the Relief of the Distressed Poor. Particulars in future Advertisements.

"Music in Scotland: A BRIEF HISTORICAL SURVEY", The Musical Times (1 November 1901), 725

... In 1833 the Glasgow Amateur Musical Society took part in the Creation. The same oratorio was performed a year later in the Episcopal Chapel by a body of seventy-eight executants, stated to be 'the largest Band ever collected together in Glasgow.' An oratorio, the subject taken from Milton's 'Paradise Lost,' was performed (in April, 1837) in St. Andrew's Catholic Chapel, Great Clyde Street, by eighty-six performers, of whom sixty were choralists. The announcement intimated that 'the chapel will be splendidly lighted with gas.'




16 August 1839 (first notice)

21 August 1839 (first performance)

Old Court House, Castlereagh Street, Sydney, NSW


REID, James Aquinas (composer)

Overture to Zriny
Scena and Aria O thou sweet star of love on high (from a new opera)
Chorus and Solo Spring is come and the wars are all over (from a new opera)

NO COPIES IDENTIFIED (? composer's MSS)


Documentation:

[Advertisement], Australasian Chronicle (16 August 1839), 4s

http://nla.gov.au/nla.news-article31726249

CONCERT, For the Benefit of the Distressed Poor.
DR. REID RESPECTFULLY informs the Public, that he will give a CONCERT of Vocal and Instrumental Music, in the Old Court-House, Castlereagh-street, on Wednesday, 21st August, the proceeds to be handed over to the Committee of the Association for the Relief of the Poor.

Programme.

PART I.

1. Overture to Zriny - Reid.
2. Terzetto - The village curfew tolls afar - Miss Reid, Miss M. Reid, and Dr. Reid - Eisenhofer.
3. Solo on the Harp - Mrs. Curtis - Labarre.
4. Recitative and Air - Fortune's frowns - Mrs. Bushell - Rossini.
5. Fantasia on the Flute - Dr. Reid - Berbiguier.
6. Cavatina - So all' impero - Miss M. Reid - Mozart.
7. Song - The Wolf - Mr. Bushel - Shield.
8. Chorus of Warriors - Away, away, the sword is drawn - C. M. v. Weber.

PART II.

1. Symphony - No. 12 - Haydn.
2. Duetto - Se vedete una ragazza -Miss Reid and Miss M. Reid - Cimarosa.
3. Solo - Violin - Mr. Peck - Mayseder.
4. Duetto Buffo - Pa-pa-pa - Mr. and Mrs. Bushell - Mozart.
5. La Parisienne, with variations - Miss M. Reid - Herz.
6. Song - The Warrior's Farewell and Battle Song - Dr. Reid - C. M. v. Weber.
7. Scena and Aria - O, thou sweet star of love on high' - Miss M. Reid - Reid.
8. Chorus and Solo - Spring is come and the wars are all over - Mr. Bushell - Reid.

Mr. Deane and family, Mr. Curtis and several, other gentlemen have kindly offered their services in the Orchestra. Tickets 7s. 6d. each, to be had at Mr. Ellard's, .George-street; Mr. Curtis's, Hunter-street; Mr. Moffit's, Pitt-street; Mr. Ellard's, Senr., Pitt-street; Mr. Tegg's, George-street; and Dr. Reid's, 15, Bridge street. Mr. Wallis, builder, has liberally offered the use of material and labour for fitting up the Orchestra. Doors open at 7 - Performance to commence at 8 o'clock precisely.

[Advertisement], The Australian (17 August 1839), 3

http://nla.gov.au/nla.news-article36862661

[Advertisement], The Sydney Herald (21 August 1839), 1

http://nla.gov.au/nla.news-article12864741

[W. A. DUNCAN], "Concert", Australasian Chronicle (23 August 1839), 1s

http://nla.gov.au/nla.news-article31726296

Dr. Reid's Concert took place according to announcement on Wednesday, on which occasion a most numerous and brilliant assemblage was present. We may look upon this concert as the first introduction into this colony of that style of orchestral accompaniment generally known under the designation of the German School. Orchestral music, in its present acceptation, is comparatively of modern invention. Before the end of last century, a harpsichord, or at most a first and second violin, a tenor and a bass, moving in simple harmony, were all that the greatest composers could avail themselves of, to give effect to their conceptions. The introduction of wind instruments playing distinct parts, and thus enriching the harmony by producing innumerable new and beautiful effects, we owe to Haydn. This wonderful genius pursued his researches into the regions of harmony, to an extent alike unknown to his predecessors and contemporaries, until towards the close of his career, he himself was outstripped by Mozart; who united the melody of the Italian school to the rich harmony of the German; and left a name, which, in all probability, it will defy the powers, both of time and nature, to equal. This style of instrumentation, though at first like every improvement, violently opposed, is now obtaining ground wherever talent and good taste are found united; and if the severe simplicity of the old classical music gave way to its power, the miserable opposition which it now meets with from those musicians who are carried away by the fantastic vagaries of Rossini and his imitators, will soon yield up its passing influence to the claims of sound taste and enlightened criticism. The performance, considering the short time for preparation, was highly creditable to Dr. Reid, and to the performers generally. The Overture to Zriny, which we heard for the first time, is a piece of excellent music, and seemed to to be a general favourite with the audience ... We pass over the others to come to the last Solo and Grand Chorus, which we believe are from a new opera by Dr. Reid. These pieces are of such a character, both as to their merit and the manner in which they were performed, as would have fully atoned for all the rest had they been deficient, but were a most pleasing termination to a performance in which, throughout, there was much to praise and little to blame. After all, as we have said, we chiefly value it as the introduction of a peculiar style of music among us, which we are in hopes to see widely cultivated.

"DR. REID'S CONCERT", The Sydney Monitor (23 August 1839), 2

http://nla.gov.au/nla.news-article32165280

"DR. REID'S CONCERT", The Colonist (28 August 1839), 4

http://nla.gov.au/nla.news-article31723606

Contrary to anticipation, the weather was fine, and the Old School room was crowded. His Excellency Sir George Gipps and Lady Gipps, the Colonial Secretary and Lady, the Attorney-General, and a large party of ladies and gentlemen, Sir John Jamison, and a number of other distinguished members of our community, were present. The concert commenced with an overture composed by Dr. Reid, which was received with great applause. Dr. Reid, as leader, exerted himself to the utmost, and was well supported by the other performers. Miss Reid and Miss M. Reid were deservedly well received throughout the evening. We think the accompaniment was too powerful for them, and that the latter had too much to do for one evening. A portion of the audience were un reasonable in encoring her; and we trust that she felt the opposite demonstration as it was meant, namely, that although she was heard with considerable gratification, it was wished not to fatigue her unnecessarily ... Altogether, the evening's amusement was a treat. Dr. Reid has a very powerful voice, and his perfect knowledge of music enables him to make the most of it ... We trust the reception which Dr. Reid and his sisters met with on Wednesday evening is an omen of future success, which is already enjoyed by some of those who assisted on the occasion.


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




29 August 1839 (first notice)

Launceston, VDL (TAS)


MUNDY, Henry (composer)

A set of six waltzes

A set of Six Waltzes composed by Mr. Henry Mundy, just published by Cocks and, Co., London

(London: Cocks and Co., [? 1839])


NO COPY IDENTIFIED


Documentation:

[Advertisement], Launceston Advertiser (29 August 1839), 2

http://nla.gov.au/nla.news-article84752037

NEW MUSIC. A SET of SIX WALTZES, composed by Mr. Henry Mundy, just published by Cocks and, Co., London, may be had at H. Dowling's, Bris- bane-street, Launceston.

[Advertisement], Launceston Advertiser (5 September 1839), 1

http://nla.gov.au/nla.news-article84752604

[Advertisement], The Courier (21 July 1843), 1

http://nla.gov.au/nla.news-article2952410

PIANOFORTE MUSIC. - Now on SALE, a few copies of Eight Sets of QUADRILLES, composed for and dedicated to his pupils, by Henry Mundy; also a set of brilliant WALTZES, at Davis's Stationery Warehouse, 23, Elizabeth-street. July 21.

[Advertisement], Colonial Times (25 July 1843), 2

http://nla.gov.au/nla.news-article8753768


Bibliography:

Sims 2014


Resources:

-


Commentary:

-


References:

-




27 September 1839 (first notice)

2 October 1839 (first performance)

Royal Victoria Theatre, Pitt Street, Sydney, NSW


PECK, George (composer, arranger, improvisor)

Imitations of Paganini on the Violin

[? Based on Paganini's variations on "Nel cor più non mi sento" from L'amor contrastato by Paisiello]


Documentation:

[Advertisement], The Sydney Monitor and Commercial Advertiser (27 September 1839), 3

http://nla.gov.au/nla.news-article32165686

GRAND CONCERT. UNDER DISTINGUISHED PATRONAGE. MR. PECK BEGS TO INFORIM HIS FRIENDS AND THE PUBLIC, THAT HE WILL GIVE A GRAND MISCELLANEOUS CONCERT OF VOCAL AND INSTRUMENTAL MUSIC, AT THE ROYAL VICTORIA TIIEATRE, PITT-STREET, On WEDNESDAY Evening, Next, October 2nd, WHEN he will be assisted by the entire musical talent of Sydney, being his FARE-WELL BENEFIT CONCERT prior to his departure for England. The Instrumental and Vocal Departments will be upon the most extensive scale, comprising upwards of SEVENTY PERFORMERS. PRINCIPAL VOCAL PERFORMERS. Madame Gautrot, Mrs. Bushelle, Mrs. Clarke, Mr. Bushelle, Mr. Worgan, and Mr. Griffiths. PRINCIPAL INSTRUMENTAL PERFORMERS: Miss FERNANDEZ, Monsieur Gautrot, Mr. Deane and Family, Mr. Peck, Mr. Leggat, Mr. S. W. Wallace, Mr. Wallace, sen., Mr. and Mrs. Curtis, and (by the kind permission of Colonel Wodehouse) the Band of the 50th Regiment. Leader, Monsieur Gautrot; Conductor, Dr. Reid; Violin Obligato, Mr. Peck; Flute Obligato, Mr. S. W. Wallace; Harp, Mrs. Curtis; Pianoforte, Miss FERNANDEZ.

PROGRAMME.

PART 1.
Overtures - Les Avuegles de Toledo - Mehul. Song - Mrs. Bushell - "King Death," accompaniments full orchestra - Neukomm.
Duett - Harp and Violin - Mrs. Curtis end Mr. Peck - Labarre and De Beriot.
Glee - Five Voices - "Blow gentle Gales," accompaniments full orchestra - Mrs. Bushelle, Mrs. Clarke, Mr. Bushelle, Mr. Worgan, and Mr. Griffiths - H. R. Bishop.
Grand Duett - Mr. and Mrs. Bushelle - "Let the Trumpet sound," with full orchestra and cornet a piston obligato, by Mr. Leggat - Bellini.
Solo - Pianoforte - Miss Fernandez (her second appearance in public)
Song - Madame Gautrot "Oh! Je suis dans mon Coeur," accompaniments full orchestra - Auber.
Grand Chorus (from the Knights of Snowdoun) Soprano obligato, Mrs. Clarke, and full orchestra - "Now tramp o'er moss and fell" - H. R. Bishop.

PART II.

Overture - The Maniac - Bishop. Ballad - Mrs. Bushelle - "Mary of Castle Carry," (by particular desire).
Solo - Flute - Mr. S. W. Wallace - Nicholson.
Favorite Buffo Song - Mr. Bushelle - "Miei Rampolli," as sung by Signor Lablache, in the Cenerentola, which was received with unbounded applause on its last perfromance -Rossini.
Comic Glee (Finale to to First Act of Guy Mannering) - Five Voices - "The Fox jump'd over the Parson's Gate" - Mrs. Clarke, Mrs. Bushelle, Mr. Bushelle, Mr. Worgan, and Mr. Griffiths.
Imitations of PAGANINI on the Violin. (for this night only) - Mr. Peck.
Chorus (from Masaniello) - "Come hither all who wish to buy," accompaniments full orchestra - Auber.
"Rule Britannia" (by particular desire) - Verse and Chorus - Madame Gautrot, who will sing it with English words.

The Pit will be elegantly fitted up as a Concert Saloon, and will communicate with the Boxes. The Orchestra will be erected on the Stage, which will be extended for the occasion. Tickets, and books of the words, with the Italian translated, to be had of Mr. Elliott, George-street; Mr. Tegg, George-street; Mr. Evans, bookseller, Bridge-street; Mr. Barlow's Repository, Bridge-street; Mr. Ellard, Pitt-street; Mr. Moffit, Stationer, Pitt-street; and of Mr. Gibson, Victoria Hotel, where also Boxes may be taken. Tickets - Boxes and Pit, 7s. 6d; Upper Boxes, 4.s. The Gallery will be closed. For further particulars see hand-bills.

[Advertisement], The Australian (28 September 1839), 3

http://nla.gov.au/nla.news-article36861814

[Advertisement], The Sydney Herald (2 October 1839), 2

http://nla.gov.au/nla.news-article12858352

"Mr. Peck's Concert", Australasian Chronicle (4 October 1839), 1

http://nla.gov.au/nla.news-article31726559

Amongst the passing events of the day, Concerts now form a prominent feature, and we could wish that they might long continue to do so if well conducted and got up with a view towards the advancement of the science. Music, although not a recognised agent in political economy, has always exerted a powerful influence over the progressive civilization of a people, and it is therefore of paramount consequence that in a young country the taste of the inhabitants receive a good direction in the beginning. We are sorry to say that the tendency of some of the late concerts has not been favourable to the cultivation of a sound musical taste. To begin our criticism with the overture Mr. Peek has proved himself a musician of decided talent, and still he selects two such overtures as the "Two Blind Men," and the "Maniac," the first (at least as performed at this concert) being a very poor oboe solo, with as poor orchestral accompaniments; the second, one of Bishop's most miserable compilations. Surely, with the wide range of modern concerted music, two more unmeaning pieces could not have been selected to bring out the power of so numerous an orchestra. We beg leave to remind the leader or leaders, that any orchestra ought to move as one mass of sound, and not drag its unwieldy, disjointed limbs in such a straddling manner as was the case on this occasion. Of the individual performances, we have the less to say ... Of Mr. Peck, individually, we have already spoken on a former occasion; good musicians are scarce; and we are sorry that he is leaving us, but wish him every success wherever he may go - there is only a slight discrepancy between his mathematics and ours, as we could never count more than some forty odd performers, instead of the seventy as announced. [The digitised copy, from the NSW Colonial Secretary's archive, has a pen annotation / attribution ? in Duncan's hand: "Dr Reid"].

"MR. PECK'S CONCERT", The Sydney Monitor and Commercial Advertiser (4 October 1839), 2

http://nla.gov.au/nla.news-article32165787

Mr. Peck had the good fortune to see "a good house" on Wednesday evening, which, considering the numerous demands lately made on the public for their time and money on behalf of musical recreation, was almost more than we expected. The songs and pieces which gave most satisfaction at this Concert, were, the two Overtures, Suoni la Tromba by Mr. and Mrs. Bushelle, Mary of Castle Carry by Mrs. Bushelle, Miei Rampoli by Mr. Bushelle, and Imitations of Paganini by Mr. Peck. The Overtures were full of music, and generally well played. Now and then there was a jar ... Mr. Peck's Imitations of Paganini were capital. This gentleman felt his subject; he played not only with exquisite skill, but with powerful feeling. The skill helped the feeling, and the latter helped the skill; but the feeling did more to bring out the skill, than the latter did to excite the feeling. What is skill without feeling? It is abortive. Look, for instance, at Mr. Wallace's Erin go Bragh. This gentleman has no feeling. But, in lieu, a most inordinate quantity of self-competency ...

"MR PECK'S CONCERT", The Australian (5 October 1839), 2

http://nla.gov.au/nla.news-article36859340

The programme of this Concert led us to expect a rich and varied evening's entertainment, and the performance fully justified our anticipations; Mr Peck is entitled to the highest praise as well for the selection of the pieces, as in having secured the assistance of all the musical talent in the colony ...

Mr. Peck's imitations of Paganini, were certainly very clever, and very pleasing, and were rewarded by a well merited encore; but we who have heard the magic tone of the matchless Paganini himself, could not avoid -

"Turning from all he brought, to all he could not bring."

Such is the fate of all endeavours to Imitate what is inimitable ...

"MR. PECK'S CONCERT", The Sydney Herald (7 October 1839), 1 Supplement

http://nla.gov.au/nla.news-article28653803

We derived great pleasure from our attendance at this concert. Being familiar with such performances "at home," we may venture an opinion, and state that the arrangement, (especially of the orchestra), of Mr. Peck's concert surpassed any thing of the kind which has hitherto been seen in the Colony ... It is not our purpose to catalogue the performances - but it would be unjust in making mention at all of the concert to omit special notice of the duet "harp and violin," by Mrs. Curtis and Mr. Peck. It was the most elegant - thc most drawing-room-like of any performance we have ever heard in the Colony. There was no particular display about it - but there was an immensity of refinement. It was elegants - it was (yes we will use the word) it was classical. Hearing it, you forgot that you were in a public concert-room, to which all might obtain admittance who paid at the door, - you felt as if carried back upon the wings of memory - while memory called up the "light of other days," to your home. It was, certainly, the most elegant performance of the evening. Until this concert, Mr. Peck has never had a fair trial as a violinist. He is a beautiful player - he has a great command of the instrument - he produces tones rich and true. With the utmost attention we could not detect a false note. His playing was "true as the needle to the pole." He is equal to Wallace. He played the air "Hope told a flattering tale," (nel cor piu) beautifully; and the tricks (that's the word) which he played in the variations must have been as surprising to the uninitiated, as they were laughable to the amateur performer. We heard one gentleman - evidently a matter-of-fact man - ask another whether the player did not intend to burlesque the music! ...


Bibliography:

-


Resources:

-


Music concordances (Paganini):

Introduction et variations sur le Thème Nel cor piu non mi sento pour le violon seul de Nicolo Paganini (Mainz: B. Schotts Söhne, [? 1829])

http://imslp.org/wiki/Category:Paganini,_Niccol%C3%B2


Commentary:

Wallace had reportedly played some variations on Nel cor piu mi sento in Sydney in August 1836, perhaps Paganini's.


References:

"MR. WALLACE'S CONCERT", The Sydney Gazette and New South Wales Advertiser (17 September 1836), 2

http://nla.gov.au/nla.news-article2206672

... Mr. Wallace's solo on the one string, we have heard before, and only as a novelty will it please. We were regretting all the time he was playing, that he did not use the four; we could have listened to him then the whole night long, with increased rapture; his power over the violin was fully exhibited in his variations on nel cor piu. We would, however, suggest to this gentleman, that in his future Concerts he plays less for execution. A simple melody in his hands with us would absolve him from his sins for ever ...

"THE MUSICAL WORLD", The Colonist (25 September 1839), 2

http://nla.gov.au/nla.news-article31723761

When we reflect on the number of Concerts which have been got up of late, and the numerous and respectable attendance which they secured, we consider them as a very satisfactory proof of the talent and enterprise of the musical profession in this colony, and of the decided taste and passion for music that characterize the colony. There have been the Concerts of Dr. Reid, of Mrs. Bushelle, of Mr. Deane, all following on the heels of each other, and now there has been some talk in the papers of Mrs. Rust giving a Concert ... We understand, however, that Mr. Peck, one of the leading orchestra musicians of the Victoria theatre, will soon be setting out for England to exhibit his model of Hobart Town there, and that he intends before his departure to get up a farewell Concert. The lovers of music know and appreciate Mr. Peck's talents as a musician, and will no doubt testify their good wishes for his welfare, and their esteem for his acknowledged merits, both professional and private, by giving their patronage to his forthcoming entertainment. The Victoria Theatre will be fitted up as a Concert Room for the occasion, and Mr. Peck will be assisted by the whole strength of the corps musique in Sydney.




October-November 1839

Dundunemawl, on the Macquarie River, NSW


MEREDITH, Charles and Louisa (reporters)

Corrobbory

Documentation:

Meredith 1844,90-92

https://books.google.com.au/books?id=Iy9kAAAAcAAJ&pg=PA90

About three miles from Bathurst, near a pretty cottage on the Macquarie (in a district chiefly granite), is a singular group of low rocks rising abruptly from the turf of the plains, and perfectly white; they appeared to me to be masses of pure quartz, of which many specimens occur a few miles higher up the river. [91 - NATIVE DANCE AND CEREMONY] Pebbles of very clear quartz crystal are sometimes found in the neighbourhood, but the natives search for them so successfully, that I only picked up one or two small ones.

These crystals, although by no means rare, are preserved as "charms" by the Aborigines, being given to them by their doctors, or "Crodjees," after a variety of ceremonies, which Mr. Meredith describes to me as highly absurd, he having been present at the rites, when performed by a tribe at Dundunemawl on the Macquarie, about forty miles below Wellington Valley. Great preparations were made, as for a grand Corrobbory, or festival, the men divesting themselves of even the portions of clothing commonly worn, and painting their naked black bodies in a hideous manner with pipe-clay. After dark they lit their fires, which are small, but kept blazing with constant additions of dry bark and leaves, and the sable gentry assembled by degrees as they completed their evening toilettes, full dress being painted nudity. A few began dancing in different parties, preparatory to the grand display, and the women, squatting on the ground, commenced their strange monotonous chant, each beating accurate time with two boomerangs. Then began the grand corrobbory, and all the men joined in the dance, leaping, jumping, bounding about in the most violent manner, but always in strict unison with each other, and keeping time with the chorus, accompanying their wild gesticulations with frightful yells and noises. The whole "tableau" is fearfully grand: the dark wild forest scenery around - the bright fire-light gleaming upon the savage and uncouth figures of the men, their natural dark hue being made absolutely horrible by the paintings bestowed on them, consisting of lines and other marks done in white and red pipe-clay, which give them an indescribably ghastly and fiendish aspect - their strange attitudes, and violent contortions and movements, and the unearthly sound of their yells, mingled with the wild and monotonous wail-like chant of the women, make altogether a very near approach to the horribly sublime, in the estimation of most Europeans who have witnessed an assembly of the kind. In the midst of the performance on this occasion, two men advanced, bearing between them a large piece of bark, about six feet high and three feet wide, rudely painted with red and white clay, the design consisting of a straight line [92 CONJURERS] down the middle, and diagonal ones thickly marked on each side. The exhibition of this wonderful and mystic specimen of art caused extreme excitement and admiration, and the bearers held it in the midst of the dancers, who bounded and yelled around it with redoubled energy. Presently the oldest "Crodjee" present approached the charmed bark, and walked slowly round and round, examining it in every part, and then carefully smelling it, up and down, before, behind, and on all sides, with grave and reverential demeanour. This was to "find where the charms lay," which charms, consisting of small crystals, he had of course concealed about his person. After a great deal of smelling and snuffing, he commenced violently sucking a part of the bark, and, after some other manoeuvres, spat out a "charm" into his hand, and went on sucking for as many as were then required.

These charmed crystals are kept with great care by the possessor, his wife usually having charge of the treasure, which she carries in the family "wardrobe," and the loss of one is esteemed an awful calamity. The charm-sucking ceremony takes place at the full moon, the time generally chosen by the natives for such celebrations. In this instance the Crodjee's part of the performance was very clumsily done, and Mr. Meredith asked one of the men, the following day, "if he were such a fool as to believe that the Crodjee really sucked the crystals out of the bark?" The fellow winked, nodded, and looked wondrously wise, and intimated that he certainly knew better, but that it would not do to say so. And thus is fraud perpetuated, alike by savage and by civilized men, and thus ever do policy and expediency take the place of truth and honesty!

One of the aboriginal dances is called "the Kangaroo dance," and one man, wearing a long tail, drops down on his hands and feet, pretending to graze, starting to look about, and mimicking the demeanour of the animal as nearly as possible; the others, in the character of dogs and hunters, performing their part of the play in a circle round him, at a very short distance ...


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




27 October 1839 (first performance)

St. Mary's Cathedral, Sydney

29 October 1839 (first notice)


REID, James Aquinas (composer)

Mass No. 1 in C

NO COPY IDENTIFIED (? composer's MS, vocal parts MSS)


Documentation:

[News], Australasian Chronicle (29 October 1839), 1s

http://nla.gov.au/nla.news-article31726755

ON Sunday, a solemn Mass was celebrated in the Cathedral in thanksgiving for the safe arrival of the French missionaries who are about to proceed to New Zealand. The altar was neatly fitted up, and the grand and impressive ceremonies of the Pontifical were gone through with much dignity and effect. After the Gospel, the Vicar General delivered an eloquent discourse, suitable to the occasion, of which we regret much we cannot give an outline.

The new choir and orchestra of the Cathedral performed publicly for the first time on this occasion, and we have pleasure in adding in a style which surprised and delighted every body. The Mass was Reid's No. 1 in C, which is, upon the whole, a charming composition. The Kyrie, which, like Mozart's No. 12, is written upon the dominant of the key, is a beautiful piece of genuine church music, in which every part is a melody, and the combined effect of which is truly fine. The Gloria is chiefly remarkable for its combining brilliancy with a full body of harmony. But the Credo is our especial favourite. Its opening and concluding movements contain some of the finest natural modulation with which we are acquainted, and the melody is throughout most pleasing. We venture to predict that the succession of sounds of which this piece consists, will be speedily heard resounding in all parts of our capital, as the Jager Chor of Weber was formerly in every part of Europe.

The Benedictus, as sung by the Misses Reid, accompanied by the Seraphine and Violoncello produced a very fine effect. The subject of the Agnus Dei is the same as that of the Kyrie, and forms the conclusion of a musical composition, of which any composer might be proud. To criticise severely a first performance would be unfair, but severity itself would here be compelled to admit, that if there was evidence of its being a first attempt, there was, on the other hand, realized all the success that could be looked for.

At the conclusion of Mass, the clergy, including the missionaries, chaunted the Te Deum, which carried the mind back to other days, and must have warmed every heart present. We hope to see these solemnities often renewed. They have the best tendency, and admirably confirm the truth of Dr. Johnson's remark, that whatever carries our minds into the past, the distant, or the future, advances us in the scale of rational beings.


Bibliography:

Skinner 2011a


Resources:

-


Commentary:

-


References:

-




29 October 1839 (first performance)

Mechanics' School of Arts, Sydney, NSW

1 November 1839 (first notice)

Sydney, NSW


DEANE, John Philip (composer)

Trios (for 2 violins and violoncello)

Documentation:

"MR. DEANE'S SOIREE", Australasian Chronicle (1 November 1839), 1s

http://nla.gov.au/nla.news-article31726771;

This entertainment was rather thinly attended on Tuesday, on account of the weather, but it went off with more than the usual effect. Two songs by Mrs. Clancy were deservedly encored; a Fantasia of Herz, by Miss Deane, a Violoncello Solo, by Master E. Deane, and a Trio, by Messrs. Deane, were much applauded. These concerts continue to be given at the School of Arts every Tuesday evening.

[Advertisement], Australasian Chronicle (1 November 1839), 4

http://nla.gov.au/nla.news-article31726761

[Advertisement], Australasian Chronicle (8 November 1839), 4s

http://nla.gov.au/nla.news-article31726817

WEEKLY CONCERT. MR. DEANE begs to inform the Gentry and Public that his Weekly Concert of Vocal and Instrumental Music will take place at the Mechanics' School of Arts, on TUESDAY EVENING NEXT, Nov. 12, 1839.

PROGRAMME.

PART 1ST.

1. Trio, two Violins and Violoncello - Mr. Deane, Mr. J. Deane, and Master E. Deane.
2. Song, "Roland the Brave," Mr. Thomson.
3. Song, ''Mountain Maid," Miss Deane.
4. Song, "Let us seek the Yellow Shore," Mrs. Clancy.
5. Solo, Pianoforte - "The Fall of Paris," Moschleles - Miss Deane.
6. Glee - Master Weavers, Mr. Thomson, and Mr. Deane. 7. Song, "Pilgrim of Love," Mrs. Clancy.

PART 2ND.

1. Trio, Two Violins and Violoncello - Mr. Deane, Mr. J. Deane, & Master E. Deane.
2. Song, "Meet me in the Willow Glen Love", Miss Deane.
3. Solo, Violincello - Master E. Deane.
4. Duetto, "The Singing Lesson," Miss Deane, and Mr. Deane.
5. Song, "'Roy's Wife." Mrs. Clancy.
6. Song, "Death of Nelson," Mr. Thomson.
7. Glee, "Hark, 'tis the Indian Drum," Miss Deane, Mr. Thomson, and Mr. Deane.

To commence at 8 o'clock precisely. Admission 2s. 6d. Quarterly Subscription Tickets 21s. Double Ticket to admit Lady and Gentleman. 30s. To be had of Mr. DEANE, Macquarie-street. Nov. 8, 1836.

[Advertisement], Australasian Chronicle (3 January 1840), 4s

http://nla.gov.au/nla.news-article31727178


Bibliography:

Orchard 1952, 27

A Deane concert in September, 1845, was distinguished by his own Chamber Music in the form of a trio for two violins and 'cello, played by the Deane family ...

Skinner 2011a, 90-91

Deane himself has also previously been imagined to be the composer of the earliest documented piece of Australian chamber music, usually reported as a (single) lost trio for 2 violins and cello, composed in Sydney, on the basis of which, for instance, Peter Sculthorpe based the scoring of the concertante string trio in his Port Essington (1977) on that of Deane's work - 2 violins and cello ...


Resources:

-


Commentary:

The preceding are the first of many references to Deane and his sons playing trios for 2 violins and violoncello; these works are unattributed, though several later such trios were attributed to "Deane"; a further trio was attributed to "Pixis" and "Muller".


References:

[Advertisement], Australasian Chronicle (10 December 1839), 3

http://nla.gov.au/nla.news-article31726995

[Advertisement], Australasian Chronicle (21 January 1840), 1

http://nla.gov.au/nla.news-article31727355




8 November 1839 (first notice)

13 November 1839 (first performance)

Saloon, Royal Hotel, George Street, Sydney, NSW


GAUTROT, Joseph (composer, arranger)

Air, with Variations

Solo, violin, composed and executed by Monsieur Gautrot

Australia, A Pastoral

Composed for the Ladies of the Colony for violin solo

The Soldier Tir'd

[Arne] with new orchestral accompaniments by Mons. Gautrot


NO COPIES IDENTIFIED (? composer's MSS)


Documentation:

[Advertisement], The Sydney Herald (8 November 1839), 3
http://nla.gov.au/nla.news-article12855686

GRAND CONCERT. MONSIEUR and MADAME GAUTROT have the honor to announce that their CONCERT will take place on WEDNESDAY EVENING, November 13, in the Saloon of the Royal Hotel. Monsieur and Madame Gautrot will have, on this occasion, the valuable assistance of Mrs. Bushelle, Mr. Bushelle, Mr. Worgan, Miss Fernandez, Mr. S. W. Wallace, Mr. Peck, Mr. Leggatt, Mr Deane and Sons, and, by permission of Colonel Wodehouse, the Band of the 50th Regiment will attend.

PROGRAMME.
Part I.

Overture - "The Siege of Rochelle."
1. Trio - "Mid these shades, (from Il Crociato) Meyerbeer, Mr. and Mrs. Bushelle and Mr. Worgan.
2. Song - "Le plaisir du rang supreme," Auber. Madame Gautrot
3. Song - "As burns the charger," Shield, Mr. Bushelle.
4. Song - "Fatal Goffredo," Donizetti . Mrs. Bushelle.
5. "Recollections of Scotland," (Piano) Moscheles. Miss Fernandez.
6. Duet - "Se a caso Madama", Mozart. Madame Gautrot and Mr. Bushelle.
7. Song - "The magical Maydew," (Irish Melody), Lover. Mrs. Bushelle.
8. Solo - Violin - Air, with Variations, composed and executed by Monsieur Gautrot

Part II.

Overture - Il Barbiere de Seviglia."
1. Duet - Opening duet "Le Nozze di Figaro", Mr. and Mrs. Bushelle.
2. Song - "Quando un guerrier splendido". Madame Gaulrot
3. Solo - Clarionet. Mr. Leggatt. 4. Song - "Qui sdegno," Zauberflote. Mr Bushelle.
5. Song - "The Macgregor's gathering". Mrs. Bushelle.
6. Solo - "Australia," a Pastoral, composed by Mons. Gautrot, for the Ladies of the Colony. Mons. Gautrot.
7. Song - "The Soldier Tir'd of war's alarms," Arne, with full orchestral accompaniment, arranged by Mons. Gautrot. Madame Gautrot.
8. "Laughing Glee," Martini, Mr. and Mrs. Bushelle and Mr. Worgan.

The Concert will commence at eight o'clock. Tickets may be had at Mr. Ellard's Music Saloon, George-street; Mr. Tyrer's; Mr. Sparke's, Royal Hotel; Mr. Aldis, Tobacconist, George street; and at Monsieur Gautrot's residence, 105 Pitt-street.

[Advertisement], The Sydney Gazette (9 November 1839), 3

http://nla.gov.au/nla.news-article2550699;

[Advertisement], The Sydney Herald (13 November 1839), 1

http://nla.gov.au/nla.news-article12857239

"M. GAUTROT'S CONCERT", Australasian Chronicle (15 November 1839), 1s

http://nla.gov.au/nla.news-article31726856

This Concert was rather thinly attended on Wednesday evening, at which we were much disappointed, considering the pains that had been taken to select good music. The performances were, notwithstanding this discouragement, very creditable, at least to the vocal performers. The instruments being entirely left to themselves, went every one his own way in glorious confusion. The best executed vocal pieces were Shield's "As burns the charger," and Lover's "Magical Mildew" by Mrs. Bushelle - "Le plaisir du rang supreme," by Madame Gautrot, and a Duett from Figaro by Mr. and Mrs. Bushelle. Martini's "Vadasi via di qua" was by-far too melancholy. Mr. Worgan should never attempt to laugh, for he is a "melancholy man." Miss Fernandez was deservedly encored in her Scotch medley. We should have had something to say in favour of Mr. Leggatt's "Exile of Erin," if he had not put us out of all patience previously to his performing it, by his conceited capers on the platform playing voluntaries, interludes and symphonies, and God knows what. Mons. Gautrot's first solo was good, and performed with great taste and purity of tone. We cannot say that it is very original, having anticipated every bar before we heard it; but, as we have said, it was good. The solo "Australia" was also well performed and much more original; but que diable, Monsieur, what do you mean by calling this a pastoral? - you might as well call it an opera or a mottet! On the whole, this Concert ought to have attracted much more notice; and we shall be glad to see M. Gautrot's next effort crowned with better success.

"MONSIEUR GAUTROT'S CONCERT", The Sydney Herald (18 November 1839), 2

http://nla.gov.au/nla.news-article12857551

... With Monsieur Gautrot's violin playing, the public are now pretty familiar. He is the most chaste player we have ever heard is the Colony. His must, indeed, be a nice ear, which can detect a false note in Monsieur Gautrot's stopping. There is no mountebankism about his playing. He is of the school of Mori, the most classical violinist of modern times. We fear that Monsieur and Madame Gautrot will not realise much by their concert ...

{Advertisement], Australasian Chronicle (3 December 1839), 4

http://nla.gov.au/nla.news-article31726951

WEEKLY CONCERT. MR. DEANE begs to inform the Gentry and public that his Weekly Concert of Vocal and Instrumental Music will take place at the Mechanics' School of Art, on Tuesday Evening Next, 3 December ... [Part 1, No. 7] Air, with variations on the Violin - Monsieur Gautrot ...

[Advertisement], The Sydney Monitor (11 December 1839), 3

http://nla.gov.au/nla.news-article32166553

... [Part 2 No. 8] "The Soldier Tir'd," (with new Orchestral accompaniments by Mons. Gautrot). Mad. Gautrot

[Advertisement], The Sydney Gazette (14 December 1839), 1

http://nla.gov.au/nla.news-article2549780

"Mrs. Bushelle's Concert", The Sydney Monitor and Commercial Advertiser (20 December 1839), 2

http://nla.gov.au/nla.news-article32166645

"MRS. BUSHELLE'S CONCERT", The Sydney Herald (25 December 1839), 2

http://nla.gov.au/nla.news-article12856037

... Madame Gautrot afforded just cause to sustain the opinion we have formed and expressed of her. With a pleasing appearance, she brings a powerful voice, and, evidently, very considerable acquaintance with musical science. She sang that showy but meagre composition of Arne's - The Soldier tired - with very great power ...


Bibliography:

-


Resources:

-


Music concordances (Arne):

The Soldier Tir'd, Compos'd by Dr. Arne ([unidentified edition, ? US, c.1800])

http://jhir.library.jhu.edu/handle/1774.2/7149 (DIGITISED)


Commentary:

-


References:

-





December 1839

Sydney and environs, NSW


INDIGENOUS (NSW)

DRAYTON, Joseph (transcriber)

Australian native chants

See main entry:

Checklist of Indigenous musical transcriptions 11





Before end of 1839 (1837, 1838, 1839)

South-west and North-west regions, WA


INDIGENOUS (WA)

GREY, George (transcriber, reporter)

1 Fighting song

Translation only

VIEW DIGITISED SOURCE


Source:

Grey 1841, 2, 301

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA301

2 Warbunga's Song

A very favorite song of the natives north of Perth

Words and translation only


VIEW DIGITISED SOURCE


Source:

Grey 1841, 2, 306

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA306

3 One of their comic songs

Often sung by the natives in the vicinity of King George Sound

Words and translation only


VIEW DIGITISED SOURCE


Source:

Grey 1841, 2, 307

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA307

4 Funeral Chant

Sung by a chorus of females of all ages

Words and translations only


VIEW DIGITISED SOURCE


Source:

Grey 1841, 2, 308

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA308

5 War chant or song

Of the men ... working themselves up into a passion

Words and translation only


VIEW DIGITISED SOURCE


Source:

Grey 1841, 2, 309

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA309

See separate entry on Songs composed when Miago was taken away from Perth and on his safe return (1838)

6-10 Five further songs

No 7, Song of natives a few miles to the North of Swan River";

No 10, "given by Ugat"

11-12, collected by Alfred P. Bussell

Words and translation only


VIEW DIGITISED SOURCE (Nos. 1, 2)


VIEW DIGITISED SOURCE (Nos. 3, 4, 5)


Source:

Grey 1841, 2, 311- 12

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA311

11 Chant to old Weer-ang her husband

Translation only


VIEW DIGITISED SOURCE


Source:

Grey 1841, 2, 313

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA313

12 Chant to incite the men

Chant sung by an old woman, to incite the men to avenge the death of a young man

Translation only


VIEW DIGITISED SOURCE


Source:

Grey 1841, 2, 313

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA313


Source and documentation (complete):

Grey 1841, 2, 300-16 "SONGS AND POETRY

300, "GENERAL PRACTICE OF SINGING"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA300

Like all other savage races the natives of Western Australia are very fond of singing and dancing: to a sulky old native his song is what a quid of tobacco is to a sailor; is he angry, he sings; is he glad, he sings; is he hungry, he sings; if he is full, provided he is not so full as to be in a state of stupor, he sings more lustily than ever; and it is the peculiar character of their songs which renders them under all circumstances so solacing to them. The songs are short, containing generally only one or two ideas, and are constantly repeated over and over again in a manner doubtless grating to the untutored ear of a European, but to one skilled in Australian music lulling and harmonious in the extreme, and producing much the same effect as the singing of a nurse does upon a child.

Nothing can give a better idea of the character of these people than their songs. In England an

301, "SONG OF AN OLD MAN IN WRATH"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA301

elderly gentleman, who has been at all put out of his way by encroachments and trespasses upon his property, sits over his fire in the evening, sipping his port and brooding over vengeance by means of the law; but the law is tortuous, expensive, and uncertain; his revenge is very distant from him; under these circumstances the more the elderly gentleman talks the more irate he becomes. Very different is the conduct of the elderly Australian gentleman. He comes to his hut at night in a towering passion; tucks his legs under him, and seats himself upon his heels before the fire; he calls to his wife for pieces of quartz and some dried kangaroo sinews, then forthwith begins sharpening and polishing his spears, and whilst thus occupied, sings to himself:

I'll spear his liver,
I'll spear his lights,
I'll spear his heart,
I'll spear his thigh,
etc. etc. etc.

After a while he pauses and examines the point he has been working at; it is very sharp, and he gives a grunt of satisfaction. His wives now chime in:

The wooden-headed,
Bandy-legged,
Thin-thighed fellows--
The bone-rumped,
Long-shinned,
Thin-thighed fellows.

The old gentleman looks rather more murderous,

302, "SCENE PRODUCED BY IT

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA302

but withal more pleasant, and as he begins to sharpen his second spear he chants out:

I'll spear their liver,
I'll spear their bowels,
I'll spear their hearts,
I'll spear their loins.

As he warms on the subject he ships his spear in the throwing-stick, quivers it in the air, and imitates rapidly the adventures of the fight of the coming day: then the recollections of the deeds of his youth rush through his mind; he changes his measure to a sort of recitative, and commences an account of some celebrated fray of bygone times; the children and young men crowd round from the neighbouring huts, the old gentleman becomes more and more vociferous, first he sticks his spear point under his arm and lies on his side to imitate a man dying, yet chanting away furiously all the time, then he grows still more animated, occasionally adjusting his spear with his throwing-stick and quivering it with a peculiar grace. The young women now come timidly up to see what is going on; little flirtations take place in the background, whereat the very elderly gentlemen with very young wives, whose dignity would be compromised by appearing to take an interest in passing events, and who have therefore remained seated in their own huts, wax jealous, and despatch their mothers and aged wives to look after the younger ladies. These venerable females have a dread of evil spirits, and

303, "INFLUENCE OF THEIR SONGS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA303

consequently will not move from the fire without carrying a fire-stick in their hands; the bush is now dotted about with these little moving points of fire, all making for a common centre, at which are congregated old and young; jest follows jest, one peal of laughter rings close upon the heels of another, the elderly gentleman is loudly applauded by the bystanders, and, having fairly sung the wrath out of himself, he assists in getting up the dances and songs with which their evening terminates.

Is a native afraid, he sings himself full of courage; in fact under all circumstances he finds aid and comfort from a song. Their songs are therefore naturally varied in their form; but they are all concise and convey in the simplest manner the most moving ideas: by a song or wild chant composed under the excitement of the moment the women irritate the men to acts of vengeance; and four or five mischievously inclined old women can soon stir up forty or fifty men to any deed of blood by means of their chants, which are accompanied by tears and groans, until the men are worked into a perfect state of frenzy.

A true poet in Australia is highly appreciated. Simple as their songs appear, there are in them many niceties which a European cannot detect; it is probable that what is most highly estimated by this people is that the cadence of the song, and the wild air to which it is chanted, should express well to their ideas the feelings and passions intended to predominate in the mind at the moment in

304, "NATIVE POETS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA304

which it is sung: hence we find that the compositions of some of these poets pass from family to family, and from district to district, until they have very probably traversed the whole continent; the natives themselves having at last no idea of the point where they originated, or of the meaning of the words which they sing, successive changes of dialect having so altered the song that probably not one of the original words remains; but they sing sounds analogous to these, to the proper air. And this is not confined to Western Australia, for Mr. Threlkeld, in his Australian Grammar, [page 90] says:

There are poets among them who compose songs which are sung and danced to by their own tribe in the first place, after which other tribes learn the song and dance, which itinerates from tribe to tribe throughout the country, until, from change of dialect, the very words are not understood by the blacks.

A family seldom make a distant friendly visit to other tribes, but they bring back a new song or two with them, and these, for a time, are quite as much the rage as a new fashionable song in England. Occasionally the songs also bear the name of the poet who composed them, though this is not often the case; there are however two or three poets in Australia who enjoy a great celebrity, but whether they are living, or belonged to ancient times, or whether they are merely imaginary beings I have never been able to discover.

305, "DISREGARD OF EUROPEAN MUSIC"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA305

Their own songs are, according to their idea, the very perfection of harmony, rude and discordant as they are to our ears; perhaps no more extraordinary instance of the force of habit and diversity of taste than this could be advanced. A native sings joyously the most barbarous and savage sounds, which rend asunder the refined ears of the European, who turns away in agony from the discordant noise while the surrounding natives loudly applaud as soon as the singer has concluded. But should the astounded European endeavour to charm these wild men by one of his refined and elegant lays they would laugh at it as a combination of silly and effeminate notes, and for weeks afterwards entertain their distant friends, at their casual meetings, by mimicking the tone and attitude of the white man; an exhibition which never fails to draw down loud shouts of applause.

Some of the natives are not however insensible to the charms of our music. Warrup, a native youth who lived with me for several months as a servant, once accompanied me to an amateur theatre at Perth, and when the actors came forward and sang God save the Queen he burst into tears. He certainly could not have comprehended the words of the song, and therefore must have been affected by the music alone.

The only accompaniment to their songs used in the southern parts of the continent is the clapping of hands or the beating of a short round stick against the flat board with which they

306, "ADAPTATION OF DANCES TO THEIR SONGS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA306

throw their spears; in this latter case the rounded stick is held in its centre, between the fingers and thumb of the right hand, and its ends are alternately struck against the flat board in such a manner as to produce a rude kind of music, in time to the air they are singing. Although this appears to be so very simple an instrument it requires some practice to beat the time accurately, and by young men who desire to have the reputation of being exquisites this is considered to be a very necessary accomplishment.

Some songs have a peculiar dance connected with them; this however is not always the case, and I have occasionally seen the same dance adapted to different songs.

Having given this general outline of their songs I will now add such a selection of them as will convey some idea of the character of their poetry, at the same time there is reason to believe that a good deal of it is traditional, and may date its origin from a very remote epoch. Some of their dances have also a very peculiar mystical character about them, and these they very unwillingly exhibit in the presence of Europeans.

The following is a very favourite song of the natives to the north of Perth; it is sung to a wild and plaintive air, and relates to some action of a native who lived in that part of the continent, of the name of Warbunga. A little boy, a descendant of his, is still living, who bears the same name.

307, "SPECIMENS OF SONGS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA307

Kad-ju bar-dook,
War-bung-a-loo,
War-bung-a-loo.
Kad-ju bar-dook,
War-bung-a-loo,
War-bung-a-loo,
War-bung-a-loo.

They then commence again, constantly repeating these words in the same order.

TRANSLATION.

Thy hatchet is near thee,
Oh Warbunga,
Oh Warbunga.
Thy hatchet is near thee,
Warbunga-ho,
Warbunga-ho,
Warbunga-ho.

A favourite song of the natives in the district of the Murray in Western Australia is:

Kar-ro yool, i, yool-a!
Kar-ro yool, i, yool-a!
etc. etc. etc.

And these words they go on singing for an hour together, in the event of the absence of any of their relatives or friends upon a hunting or war excursion.

TRANSLATION.

Return hither, hither ho!
Return hither, hither ho!

The following is a very good specimen of one of their comic songs. It is often sung by the natives in the vicinity of King George's Sound.

308, "FUNERAL CHANT"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA308

Mat-ta, mat-ta,
Yungore bya,
Mat-ta, mat-ta,
Yungore bya,
etc. etc. etc.

TRANSLATION.

Oh what legs, oh what legs,
The Kangaroo-rumped fellows,
Oh what legs, oh what legs,
etc. etc. etc.

Nothing can awake in the breast more melancholy feelings than the funeral chants of these people. They are sung by a whole chorus of females of all ages and the effect produced upon the bystanders by this wild music is indescribable. I will give one chant which I have heard sung upon several occasions.

The young women sing: Kar-dang.
The old women sing: Mam-mul.
Together: gar-ro.
Me-la nad-jo
Nung-a-broo.
Kar-dang.
Mam-mul.
Together: gar-ro.
Me-la nad-jo
Nung-a-broo.
etc. etc. etc.

TRANSLATION.

My young brother
My young son
(again)
In future shall I
never see.
My young brother
My young son
(again)
In future shall I
never see.

309, "WAR-CHANTS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA309

In this chant the old and young women respectively sing "my young son," and, "my young brother:" the metre and rhyme are also very carefully preserved, and the word Kardang is evidently expressly selected for this purpose; for were they speaking in prose they would use a term denoting eldest brother, youngest brother, second brother, or some similar one; whilst I have heard the word Kardang always used in this chant whether the deceased was the first, second, or third brother.

The men have also certain war-chants or songs; these they sing as they go walking rapidly to and fro, quivering their spears in order to work themselves up into a passion. The following is a very common one:

Yu-do dan-na,
Nan-do dan-na,
My-eree dan-na,
Goor-doo dan-na,
Boon-gal-la dan-na,
Gonog-o dan-na,
Dow-al dan-na,
Nar-ra dan-na.
etc. etc. etc.

TRANSLATION.

Spear his forehead,
Spear his breast,
Spear his liver,
Spear his heart,
Spear his loins,
Spear his shoulder,
Spear his thigh,
Spear his ribs,
etc. etc. etc.

310, "SPECIMENS OF SONGS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA310

Thus rapidly enumerating all the parts in which they intend to strike their enemies.

It is very rarely that any remarkable circumstance occurs but songs are composed in order to perpetuate the remembrance of it. For example, when Miago, the first native who ever quitted Perth, was taken away in H.M. surveying vessel Beagle in 1838, the following song was composed by a native and was constantly sung by his mother (at least so she says) during his absence, and it has ever since been a great favourite:

Ship bal win-jal bat-tar-dal gool-an-een,
Ship bal win-jal bat-tar-dal gool-an-een.
etc. etc. etc. etc.

Whither is that lone ship wandering,
Whither is that lone ship wandering,
etc. etc. etc. etc.

Again, on Miago's safe return, the song given below was composed by a native after he had heard Miago recount his adventures:

Kan-de maar-o, kan-de maar-a-lo,
Tsail-o mar-ra, tsail-o mar-ra-lo.
etc. etc. etc. etc.

Unsteadily shifts the wind-o, unsteadily shifts the wind-o,
The sails-o handle, the sails-o handle-ho.

I will now add several other songs which are composed in different dialects; these will serve both as examples of their metre and style of poetry and as specimens for the purpose of comparison with the songs of the natives of the other portions of the continent.

311, "SONGS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA311

No. 1.

One voice:
Djal-lee-lee-na.

Chorus:
Mong-a-da, mong-a-da,
Mong-a-da, mong-a-da,
Mong-a-da, mong-a-da.

One voice:
Eee-dal-lee-na.

Chorus:
Wun-a-da, wun-a-da,
Wun-a-da, wun-a-da,
Wun-a-da, wun-a-da.
etc. etc. etc.

They all join in the chorus of:

Mong-a-da, etc. etc.
Wun-a-da, etc. etc.

And clap their hands in time to the air to which this chorus is sung, so that the effect produced is very good. I am unable to render this song into English.

No. 2.

Dow-al nid-ja kotiay bool-a,
Woor-ar wur-rang-een,
Dow-al nid-ja kotiay bool-a,
Woor-ar wur-rang-een
Dow-al nid-ja kotiay bool-a,
Woor-ar wur-rang-een.

These lines are repeated three times more, and then follows the chorus:

Chorus:
Ban-yee wur-rang-een,
Koong-arree, wur-rang-een,
Ban-yee wur-rang-een,
Koong-arree, war-rang-een.
etc. etc. etc.

312, "SONGS AND [EXTEMPORANEOUS CHANTS]"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA312

Number 3.

Kat-ta ga-roo,
Ngia
Bur-na-ri-noo.
Yar-dig-o-roo,
Ngia
Bur-na-ri-noo.
etc. etc. etc.

Number 4.

Yerib-a-balo, may-il boyne ga-ree,
Yerib-a-balo, may-il boyne ga-ree.
etc. etc. etc.

Number 5.

Mar-ra boor-ba, boor-ba nung-a,
Mar-ra gul-ga, gul-ga nung-a.

These songs give however no idea of the manner in which they chant forth their feelings. When irritated by any passionate emotions they then pour out with the greatest volubility torrents of reproach, all in a measured cadence and with at least the same number of syllables in each line, but even the rhyme is generally preserved; the two following translations of chants of this sort are rendered as literally into English as the great difference between the languages permits.

The reader must imagine a little hut, formed of sticks fixed slanting into the ground with pieces of bark resting against them, so as to form a rude shelter from the wind; underneath this were seated round a fire five persons--an old man, and his four wives; one of these was considerably younger than

313, "[SONGS AND] EXTEMPORANEOUS CHANTS"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA313

the others, and being a new acquisition, all but herself were treated with cold neglect. One of her rivals had resolved not to submit patiently to this, and when she saw her husband's cloak spread to form a couch for the newcomer she commenced chanting as follows, addressing old Weerang her husband:

Wherefore came you, Weerang,
In my beauty's pride,
Stealing cautiously
Like the tawny boreang,*
On an unwilling bride.
'Twas thus you stole me
From one who loved me tenderly:
A better man he was than thee,
Who having forced me thus to wed,
Now so oft deserts my bed.

Yang, yang, yang, yoh--

Oh where is he who won
My youthful heart,
Who oft used to bless,
And call me loved one:
You Weerang tore apart,
From his fond caress,
Her, whom you now desert and shun;
Out upon thee faithless one:
Oh may the Boyl-yas** bite and tear,
Her, whom you take your bed to share.

Yang, yang, yang, yoh--

Wherefore does she slumber
Upon thy breast,
Once again to-night,
Whilst I must number
Hours of sad unrest,
And broken plight.
Is it for this that I rebuke
Young men, who dare at me to look?
Whilst she, replete with arts and wiles,
Dishonours you and still beguiles.

(*Footnote. Boreang is the word for a male native dog.)
(**Footnote. Boyl-ya is the native name for a sorcerer.)

314, "CHANTS OF JEALOUSY AND REPROACH"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA314

This attack upon her character was more than the younger female could be expected to submit to, she therefore in return chanted:

Oh, you lying, artful one,
Wag away your dirty tongue,
I have watched your tell-tale eyes,
Beaming love without disguise:
I've seen young Imbat nod and wink,
Oftener perhaps than you may think.

What further she might have said I know not; but a blow upon the head from her rival, which was given with the stick the women dig up the roots with, brought on a general engagement, and the dispute was finally settled by the husband beating several of his wives severely about the head with a hammer.

The ferocity of the women when they are excited exceeds that of the men; they deal dreadful blows at one another with their long sticks, and if ever the husband is about to spear or beat one of his wives the others are certain to set on her and treat her with great inhumanity.

The next translation is that of a chant sung by an old woman to incite the men to avenge the

315, "CHANT EXCITING TO REVENGE"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA315

death of a young man who died from a natural cause, but whose death she attributed to witchcraft and sorcery; the natives, who listened to her attentively, called her chanting goranween, or abusing. She stood with her legs wide apart, waving her wanna, or long digging stick in the air, and rocking her body to and fro, whilst her kangaroo-skin cloak floated behind her in the wind. She was thus quite the beau ideal of a witch. The following is the sense of the words she used, at least as nearly as it is possible to express their force and meaning in English.

The blear-eyed sorcerers of the north,
Their vile enchantments sung and wove,
And in the night they issued forth,
A direful people-eating drove.
Feasting on our loved one,
With gore-dripping teeth and tongue,
The wretches sat, and gnawed, and ate,
Whilst their victim soundly slept.

Yho, yang, yho yang, yang yho.

Aye--unconsciously he rested
In a slumber too profound;
The vile boyl-yas sat and feasted
On the victim they had bound
In resistless lethargy.
Mooli-go, our dear young brother,
Where is another like to thee?
Tenderly loved by thy mother,
We again shall never see
Mooli-go, our dear young brother,

Yho, yang yho, ho, ho.

Men, who ever bold have been,
Are your long spears sharpened well?

316, "FEMALE ENERGY IN CHANTING"

http://books.google.com.au/books?id=s0QbAAAAYAAJ&pg=PA316

Is the keen quartz fixed anew?
Let each shaft upon them tell.
Poise your meer-ros long and true:
Let the kileys whiz and whirl
In strange contortions through the air;
Heavy dow-uks at them hurl;
Shout the yell they dread to hear.
Let the young men leap on high,
To avoid the quivering spear;
Light of limb, and quick of eye,
Who sees well has nought to fear.
Let them shift, and let them leap,
When the quick spear whistling flies;
Woe to him who cannot leap!
Woe to him who has bad eyes!

When one of these old hags has entered upon a chant of this kind nothing but complete exhaustion induces her to stop, and the instant she pauses another takes up the burden of her song. The effect some of them produce upon the assembled men is very great; in fact these addresses of the old women are the cause of most of the disturbances which take place. The above translations, without being exactly literal, are as near the original as I could render them. As they are entirely uttered on the spur of the moment there is generally abundant evidence of passion and feeling about them; and although I might have added a great variety, I think that the above will give the English reader as good an idea of the peculiar mode of address of this people as it is in my power to do.


Bibliography:

Bleek 1858, 36 [no. 43], 37 [46a], 37-38 [48], 38 [49]

http://books.google.com.au/books?id=hoE-AAAAYAAJ&pg=PA36

Perron d'Arc 1869

Calvert 1892, 31-34

https://archive.org/stream/aboriginesofwest00calvuoft#page/31/mode/2up 

Calvert 1894, 32-34

https://archive.org/stream/aboriginesofwest00calv#page/32/mode/2up 


Resources:

-


Commentary:

-


References:

-




1839 - New Year 1840

Wollongong area, NSW


AGATE, Alfred Thomas (artist)

CLARKE, William Branwhite (reporter)

Wollongong corroborees

https://commons.wikimedia.org/wiki/File:Corroboree_dance.png


Documentation:

-


Bibliography:

Organ and Speechley 1997

The last record of a corroboree / initiation rite (bunan ceremony) in Wollongong occurred in the New Year of 1839-40. On that occasion a number of Aborigines from various parts of coastal New South Wales were in attendance. As a new song was acted out in the darkness by people from Kiama, Wollongong, Liverpool, Brisbane Water and Newcastle, a recently arrived Anglican parson by the name of W. B. Clarke observed the proceedings. He recorded the following in his diary:

[5 January 1840] On inquiry I find the burden of the song to be: "that the white man came to Sydney in ships and landed the horses in the saltwater". It is of such ridiculous subjects that the Blacks of New Holland make their songs - and any trifling event is celebrated by a song.


Resources:

-


Commentary:

-


References:

-



1840





28 February 1840 (first notice)

3 March 1840 (first performance)

Old Court House, Castlereagh Street, Sydney, NSW


GAUTROT, Joseph (composer)

Success

Words by Linsburg - Music by Mons. Gautrot


Documentation:

[Advertisement], Australasian Chronicle (28 February 1840), 1

http://nla.gov.au/nla.news-article31727704

UNDER THE PATRONAGE OF LADY O'CONNELL. MRS. CLANCY HAS THE HONOUR TO ANNOUNCE THAT HER Concert Will take place in THE OLD COURT HOUSE, Castlereagh Street, On TUESDAY EVENING, March 3, 1840, On which occasion she will be assisted by Madame and Monsieur Gautrot, Mr. Worgan, Mr. Deane and Family, Mr. Leggett, Mr. Curtis, Mr. Sippe and the Cecilian Society, who have kindly offered their assistance. Leader of the Orchestra, Mr. S. W. WALLACE, Piano, Mr. Johnson, who have also kindly given their assistance.
Programme Concert:

PART 1.

1. Overture - Preciosa, Weber
2. Song - Success, (Words by Linsburg, Music by Monsieur Gautrot,) Madame Gautrot ...

[Advertisement], The Colonist (29 February 1840), 3

http://nla.gov.au/nla.news-article3172464

[Advertisement], The Sydney Herald (2 March 1840), 1

http://nla.gov.au/nla.news-article12864130

[Advertisement], Australasian Chronicle (3 March 1840), 1

http://nla.gov.au/nla.news-article31727723

[News], The Australian (5 March 1840), 2

http://nla.gov.au/nla.news-article36860961

Mrs. Clancy's concert was very flatteringly attended on Tuesday, and presented on the whole a very pleasant evening's entertainment. There was nothing perhaps very brilliant, but there is more gratification in a quiet, unobtrusive exhibition, than one with higher pretensions which may not effect what it promises ... Madame Gautrot sang two pieces in very good style, the first, a French air, was animating and melodious, but somewhat lengthy; the second, Black Eyed Susan, was very successfully executed, and with few exceptions her defect of accent was not perceptible ...

"LOCAL", Australasian Chronicle (6 March 1840), 2

http://nla.gov.au/nla.news-article31727767


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




19 March 1840 (first published)

Adelaide, SA


ANONYMOUS = ? HAILES, Nathaniel (songwriter, satirist)

The Adelaide "Tambourgi"

A War-Song after Byron (Gazette, O! Gazette, O! Thy 'larum afar)


VIEW DIGITISED SOURCE (words)


VIEW DIGITISED CONCORDANCE (music)


Sources and documentation:

"THE ADELAIDE TAMBOURGI", Southern Australian (19 March 1840), 4

http://nla.gov.au/nla.news-article71619057

THE ADELAIDE "TAMBOURGI."

A War-Song AFTER Byron.

I

Gazette, O ! Gazette, O !. Thy 'larum afar
Gives hope to the valiant and promise of war;
Lo the sons of the City arise at the note
From Rundle Street, Hindley Street, Grenfell and Grote.

2

Oh who are so gay as our own bold Dragoons,
With their "forage caps, jackets," and cheap "pantaloons."
To the flies and the dust they leave storehouse and shop
To frighten the parrots with clatter and pop.

3

Will Adelaide men like tame citizens live?
To their sons an example so dastardly give?
No! forth as a torrent of valour they go.
To annihilate (when they can find one) the foe!

4

Woe, woe to the Emu and tall Kangaroo!
Woe, woe, to the native, now we've spear men too!
Though fierce, and as black as black-berry he be,
Our Berry's a far fiercer lancer than he!

5

Go, savage, and seek thy last bed in the waves!
Or hide thy dark form in interior caves !
For thine "Olivers" now (howe'er ample the store)
We have "Rowlands" and 50 good cavalry more!

6

There are Berkeley, and Hardy, McPherson, and Holmes,
Who on horseback are noble as fairies or gnomes!
Our Wigley, too, rules on both saddle and hench,
Now facing a felon - now leaping a trench!

7

0 ! who is so brave as Colonial hussar!
That is - who so fearless of bullet and scar!
What thought (as his ranks rusk like waves of the sea)
What thought of defeat, or of dying has he?

8

O! think, and with awe, of the first Grand Review!
The drum's rub-a-dud, and the fife's tu-tu-tu!
The Artillery's thunder, and clatter, and flash!
And the War Timors prancing, and plunging slap-dash!

9

O think of our phalanx of grim grenadiers,
Nobly charged by light-horsemen with pennons and spears!
While advancing, retiring, and dodging between,
Lo ! the greenest sharp-shooters that ever were seen!

10

Hurra! To the field! fear not shot-wound nor scar!
And we, the unmartial, will watch ye from far!
And beholding your feats betwixt mountains and shore,
Should we quite die with laughter - we'll see you no more!

 "ORIGINAL CORRESPONDENCE", Southern Australian (2 April 1840), 4

http://nla.gov.au/nla.news-article71619109

THE ARMY. To the Editor of the Southern Australian. Mr. Editor, - In common with all well meaning and patriotic inhabitants of Adelaide, I have felt some sorrow and much indignation, at a copy of verses which you published in a late Number of the Southern Australian, entitled, "The Adelaide Tambourgi." I trust that with that spirit of fairness which should characterise a public Journalist, and which I believe has always characterised you, you will give insertion to the following remarks thereon, or rather, on the subject to which they relate. The writer of those verses is, I presume, a very young man. At least he is a very flippant and malicious one, or he would not attempt to cast ridicule on the gallant defenders of the people of South Australia ...

"THE ADELAIDE TAMBOURGI", The Hobart Town Courier (17 April 1840), 3

http://nla.gov.au/nla.news-article8748257

Bibliography:

-


Resources:

http://www.austlit.edu.au/austlit/page/C455949


Music concordances:

Tambourgi! Tambourgi! Sung by Mr. Braham at the Oratorios, Theatre Royal, Covent garden, Poet Lord Byron, Composer I. Nathan (London : H. Falkner, [1831])

http://nla.gov.au/nla.mus-vn5716194 (NLA, 1980s ABC photocopy of copy in SL-NSW) (DIGITISED)


Commentary:

-


References:

[Music reviews], The Athenaeum 200 (27 August 1831), 556

https://books.google.com.au/books?id=Ai1HAQAAIAAJ&pg=PA556




1840-04-04

"PADDY'S CORROBORY AT MAITLAND", The Colonist (4 April 1840), 2 http://nla.gov.au/nla.news-article31724826 




25 May 1840 (first performance)

Norfolk Island, NSW


WITTON, Henry John (composer, songwriter)

Old England for ever

Song, H. Witton [1840]


NO COPY IDENTIFIED (? composer's MS)

Old England I live but for you

The poetry by F. Drake, Esq.; an officer late of H.M. Service; composed and arranged with accompaniments for the piano forte, by H. J. Witton, R.A.M. [1846]

Unidentified printed edition


NO COPY IDENTIFIED


Documentation:

[Playbill], "ROYAL VICTORIA THEATRE, Norfolk Island (25 May 1840)

http://trove.nla.gov.au/version/29717150 (NLA MS 2738)

"ROYAL VICTORIA THEATRE. NORFOLK ISLAND", The Sydney Herald (24 June 1840), 2

http://nla.gov.au/nla.news-article12857518

ROYAL VICTORIA THEATRE, NORFOLK ISLAND.
On Monday, 25th May, in honour of HER MAJESTY'S BIRTH-DAY,
Will be Performed, by Permission, Two Acts of the admired Comic Opera of the
CASTLE OP ANDALUSIA;

Don Caesar. John Lawrence
Scipio. George Rolfe
Fernando. James Walker
Alphonso. Henry Witton
Spado. James King
Pedrillo. James Monds
Sanguino. James Cranston
Rapino. James Porter
Calvette. William Smith
Vasquez. R. Sanderson
Lorenza. [blank]
Banditti, &c.

AFTER WHICH, A MUSICAL MELANGE;

Glee - Prithee, Brothers, speed to the Boat, Witton, Walker, Porter, Cranston, Sanderson, Smith
Song - Old England for ever, H. Witton
Comic Song - Walker, the Two-penny Postman, J. Monds
Song - Bound 'Prentice to a Waterman, J. Lawrence
Glee - Fisherman's Glee, same as first
Song - Paddy from Cork, J. Walker
Song - Powder Monkey Peter, J. Lawrence
Glee - As before
Song - Spirit of the Storm, H. Witton
Song - The tight Irishman, J. Porter
Glee - Some love to roam, as before
Song - The Old Commodore, J. Lawrence.
The Tent Scene in Richard III, by H. Witton.

A CELEBRATED NAVAL HORNPIPE, by Michael Burns.
Dance - Tyrolese Waltz, by Thomas Barry.

After which, the. Musical Entertainment of THE PURSE; OR, THE BENEVOLENT TAR.

The Baron. James Cranston
Theodore. G. Rolfe
Edmond. W. Yelverton
Will Steady. John Lawrence
Sally. James Monds
Page. John Rae

After which, Paddy Carey, in character, by John Lawrence.
Song - Banner of War, H. Witton.

The whole to conclude with the National Anthem GOD SAVE THE QUEEN.

"NORFOLK ISLAND", The Sydney Herald (24 June 1840), 2

http://nla.gov.au/nla.news-article12857514

"PROCLAMATION", The Sydney Herald (24 June 1840), 2

http://nla.gov.au/nla.news-article12857516

"NEW MUSIC", Morning Chronicle (24 January 1846), 2

http://nla.gov.au/nla.news-article31747234

We have to acknowledge the receipt of a new piece of music, entitled "Old England I live but for you;" the poetry by F. Drake, Esq., an officer late of H.M. Service; composed and arranged with accompaniments for the piano forte, by H. J. Witton, R.A.M. The work is very neatly executed; but, as it is our misfortune not to be versed in "harmony divine," we are unable to speak as to the merits of the composition.

"OLD ENGLAND, I LIVE BUT FOR YOU", Bell's Life in Sydney and Sporting Reviewer (21 February 1846), 2

http://nla.gov.au/nla.news-article59764008

We have been favored, with a rehearsal of this song, from which we are disposed to think it will become a great favorite. Its poetical merit is rather questionable; but the air is beautifully adapted to the words, and the accompaniments are appropriate, simple, and harmonious. It would, perhaps, have better suited the generality of voices in B flat, but where it can be sung in the present key (C) it is preferable. We earnestly recommend it to all lovers of the "divine science" as [much for] its own deserts as from the circumstance [of its having been] produced in the colony.


Bibliography:

West 1852, 2,

Never was Norfolk Island so gay, or its inhabitants so joyful, as on the 25th May, 1840. A proclamation had been issued by Maconochie, describing the pleasures and festivities he contemplated. On this occasion he resolved to forget the distinction between good and bad, and to make no exception from the general indulgence; but he entreated the men to remember that on the success of this experiment his confidence would greatly depend: he warned them to suppress the first tokens of disorder, and by retiring to their quarters at the sound of the bugle, prove that they might be trusted with safety. On the morning of the day, the signal colours floated from the staff, crowned with the union jack: twenty-one guns, collected from the vessels and from the government-house, were mounted on the top of a hill, and fired a royal salute. The gates were thrown open, and eighteen hundred prisoners were set free, and joined in various amusements, of which Captain Maconochie was a frequent spectator. Eighteen hundred prisoners sat down to dinner, and at its close, having received each a small quantity of spirits with water, they drank health to the Queen and Maconochie - three times three for Victoria and the captain rent the air. They then renewed their sports, or attended a theatrical performance. New scenery, dresses, music, and songs, contributed to the hilarity of the party. The performances were, the Castle of Andalusia, in which the comic powers of the prisoners were exhibited to their companions, a variety of glees and songs, the tent scene of Richard III., the Purse, or the Benevolent Tar, and finally the national anthem.[235] At the termination, no accident had occurred; the gaol was entirely unoccupied; no theft or disorder had disgraced the day; and thus the notion of Maconochie seemed to be illustrated by the experiment. The contrast with the past system created the greatest [Pg 285] amazement, and the description of this extraordinary scene excited universal laughter.

Wills 2009


Resources:

http://www.ausstage.edu.au/pages/event/86092


Commentary:

Unidentified edition was possibly printed at Norfolk Island, while Witton was a prisoner there.


References:

-




13 June 1840 (first notice of publication)

Adelaide, SA


INDIGENOUS (South-East region, SA)

TEICHELMANN, Christian Gottlieb (transcriber)

SCHÜRMANN, Clamor Wilhelm (transcriber)

Kadlitpiko palti (Captain Jack's Song)

Words and translation only


VIEW DIGITISED SOURCE (words)

Mullawirraburkarna palti (King John's Song)

Words and translation only


VIEW DIGITISED SOURCE (words)

Nguyapalti (Small-pox Song)

Which they learnt from the eastern tribes, by the singing of which the disease is believed to be prevented or stopped in its progress


VIEW DIGITISED SOURCE (report only)


Source and documentation:

Teichelmann and Schürmann 1840, 73

http://books.google.com.au/books?id=ru8UAAAAYAAJ&pg=PA73

KADLITPIKO PALTI.
Pindi mai birkibirki parrato, parrato. (Da capo bis.)
CAPTAIN JACK'S SONG.
The European food, the pease, I wished to eat, I wished to eat.

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

Teichelmann and Schürmann 1840, 34

http://books.google.com.au/books?id=ru8UAAAAYAAJ&pg=PA34

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

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

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


Bibliography:

Russell 1840, 82-83

https://books.google.com.au/books?id=9fQNAAAAYAAJ&pg=PA83

As there are no military in this province, the constabulary force musters strong, and some natives are employed at times as such. Amongst them [83] are three called by the Europeans king John, Captain Jack, and Rodney, who were instrumental in bringing to justice those two natives who were recently executed in front of the government stores for murder; the natives generally acknowledging the justice of their punishment, attended the execution of the two unfortunates, till their bodies were interred within the precincts of the jail, a small building on the south side. It is said that the criminals themselves made some rather singular dying requests, two of which being so very opposite may be instanced. The first was, that they might have plenty of bread and cheese before execution. The other was, that they might be buried on their own hunting ground.

King John appears to be as proud of his office as a constable, as in the dignity of his kingship. Captain Jack is a very active looking fellow, and crossed lately with an exploring party to Port Lincoln, in the hope of his being able to negotiate with the natives there, but found the language of that tribe quite different from that of the Adelaide one.

Eyre 1845, II, 240-241

http://books.google.com.au/books?id=b_soAAAAYAAJ&pg=PA240


Resources:

-


Commentary:

-


References:

-




16 June 1840 (first publication)

? Illawarra, NSW


ANONYMOUS (songwriter, satirist)

A favourite new song of the Wollongong Blacks

VIEW DIGITISED SOURCE


Source:

"Original Poetry", Australasian Chronicle (16 June 1840), 4

http://nla.gov.au/nla.news-article31728478

A favourite new song of the Wollongong Blacks, sung by Chief "Frying Pan" at the last corroboree

Tune - "The Sea!"

My farm! my farm! my goodly farm;
My rich, my gay, any fertile farm;
My gay, my fertile farm.
I know its marks, I know its bounds,
I've march'd it, paced it round and round;
It feeds my cows, my grain supplies,
And in its bosom a quarry lies.
And in its bosom a quarry lies.

I'll keep my farm, I'll keep my farm,
I care not who may think it harm.
The bishop above or the flock below;
And so I talk where'er I go.
If scandal arise, and awake my sheep,
No matter! I my farm will keep.
I my farm will keep.

I love ; oh ! how I love to stand
Over my men with their hoes in hand,
Their hoes, their hoes in hand !
When every man strains his sinewy arm,
To my "FIFTY" tune, and my "LASH" alarm,
Or works the quarry within my lawn
To evening's dusk from morning's dawn.
To evening's dusk from morning's dawn.

I never think of the vulgar poor,
But I love my own farm more and more;
I prize it more within my breast,
Like a bird that loveth its mother's nest.
And a goodly mother I count my farm,
Rich in potatoes, wheat, and corn
Potatoes, wheat, and corn.

The fields were green, the landlord warm,
When I fell in with this lucky farm
This lucky, lucky farm.
The dewdrops glistened, the garden smiled,
The woods, festooned with their tapestry wild
Of green leafed creepers, sang the song
Of joy, by the notes of the feathered throng.
Of joy, by the notes of the feathered throng.

I've lived since then, midst hoes and ploughs,
A farmer's life, milking forty cows,
With a quarry to lend, and a power to range.
Oh ! I'd never sigh, nor seek for change.
Avert, ye fates, the direful morn,
When I shall have to resign my farm !
Shall have to resign my farm !

Omnes - Budgerry ! Budgerry ! Budgerry !


Bibliography:

-


Resources:

-


Music concordances:

-


Commentary:

It would seem uncharacteristic of the Chronicle's liberal editor W. A. Duncan to include what appears to be this Indigenous parody. But it's real subject probably relates to settler Protestant bigotry concerning the new Catholic Church in Wollongong. See also The Chief Fryingpan Again below.


References:

"FRYINGPAN JUNIOR. MR. EDITOR", Australasian Chronicle (24 October 1849), 2

http://nla.gov.au/nla.news-article31729613




6 July 1840 (first advertised)

8 July 1840 (first performance)

Theatre Royal, Sydney, NSW


GAUTROT, Joseph (composer)

Quintett

For two Tenors, two Violoncellos, and one Double Bass


Documentation:

[Advertisement], The Sydney Herald (6 July 1840), 6

http://nla.gov.au/nla.news-article12864988

ROYAL VICTORIA THEATRE. GRAND CONCERT under the distinguished Patronage of Lady Gipps, Lady O'Connell, Miss Deas Thomson, Miss Gibbs, and other ladies of distinction. - Mr. DEANE begs to inform his friends and the public that, under the above distinguished patronage his CONCERT of Vocal and Instrumental Music, on a very extensive scale, will take place at the Theatre Royal, on WEDNESDAY, July 8th, 1840 ...

[Part II] 4. Quintett - Composed by Mons. Gautrot, for two Tenors, two Violoncellos, and one Double Bass. 1st Tenor, Mons. Gautrot; 2nd, Mr. Deane; Violoncellos, Mr. Curtis, and Mr. E. Deane; Double Bass, Mr. Parbury.

[Advertisement], Australasian Chronicle (7 July 1840), 1

http://nla.gov.au/nla.news-article31728656

[Advertisement], The Sydney Herald (8 July 1840), 1

http://nla.gov.au/nla.news-article12865019

"MR. DEANE'S CONCERT", Australasian Chronicle (9 July 1840), 2

http://nla.gov.au/nla.news-article31728671

We have just returned from this concert, and have only time to say that it went off with great eclat; ... that Monsieur Gautrot's and Master Deane'e fiddles were in good tune; and that all would have been well but far certain stupid rascals who had got themselves perched among the gods aloft, and who took it into their heads to encore everything; in consequence of which his Excellency the Governor took his departure in the middle of the second part ...

"CONCERT", The Sydney Herald (10 July 1840), 2

http://nla.gov.au/nla.news-article28651864

Mr. Deane's concert in the Victoria Theatre on Wednesday, went off remarkably well. The house, notwithstanding the weather, and the state of the streets, was very nearly full ... Monsieur Gautrot's quartette [sic] was ably led by himself his tenor violin playing being a perfect master piece.

"ORATORIO", Colonial Times (19 October 1844), 3

http://nla.gov.au/nla.news-article8755483

ORATORIO. - A performance, somewhat novel here, took place on Tuesday evening last in the hall of the Mechanics' Institute, by the members of the Choral Society, of an oratorio, the second since the formation of this very admirable Society. There were thirty-six performers, including vocal and instrumental; and when we say that the oratorio went off with eclât, we shall, we are quite sure, be amply borne out by some three or four hundred hearers, who were all abundantly gratified. The instrumental department was the most efficiently managed, especially the opening overture, and Monsieur Gautrot's exquisite quintette, the composer himself conducting ...


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




22 August 1840 (first published)

The Illawarra, NSW


ANONYMOUS (songwriter, satirist)

The Chief Fryingpan Again

Words only; no tune indicated


VIEW DIGITISED SOURCE


Source:

"Original Poetry", Australasian Chronicle (22 August 1840), 4

http://nla.gov.au/nla.news-article31729029

THE CHIEF "FRYINGPAN" AGAIN.

[An incorrect version of the following speech having appeared in the Sydney Herald, we are induced to publish the following, which we have just received from our Illawarra correspondent, whose proximity to the scene enables him to picture it with accuracy.]

The chief is enraged with his tribe for hunting the opossum while he was absent in pursuit of the kangaroo; his royal wrath is the more enkindled, inasmuch as he returned from the chase without one kangaroo fat enough for the butcher's shop: and, whenever he falls in with the vassals of his territory in corrobora assembled, he bursts forth into impassioned speeches, as loud and incoherent as a drunken man in a public-house.

Know ye not, sons of Koomla* that I am your chief?
As sable+ as midnight--uncurbed as the deep!
I'm your master at boomerang, spear, and canoe,
I am foremost in chasing the wild kangaroo.

Behold me then, vassals dark, foaming in wrath;
I am choking with rage--I'm almost out of breath
At your daring presumption, while I was away
After game, at the kangaroo grounds, t' other day.

Yes! have ye not daringly hunted for food,
For your poor piccaninies, through my royal wood?
You have traversed my mountains, have fished my lagoons,
To procure meat and drink for your low-bred gossoons.

Hear my voice, sons of Koomla, nor breathe while I speak,
Impressed be my words in your hearts long and deep;
I'm the natural guardian of Wollongong's youth--
And you'd feed your young fry in my absence, forsooth.

To the cries of your offspring mean, craving relief,
You have hearkened, and slighted the pride of your chief;
You've sought for your children the daintiest food,
Though ye knew I would keep it for children of blood.

Neither wallaby, emu, opossum, nor fish,
Was reputed for beggars too dainty a dish.
Oh! "Disgrace!" oh! "Dishonour!!" "Impertinence" too!!!
I'm surprised you don't treat them to fat kangaroo.

Ye are wheedled and puzzled, confounded as mules,
Ye have given the lie to your chiefs, stupid fools;
Go undo what you've done, else the fire of my brow
Will be kindled against you, I'll kick up a row.

Let immediate reaction take place, out of hand,
Come, besiege the old Gonieu at my dread command:
What! hesitate! stammer!! explain!!! disobey!!!!
Oh, thou ghost of thy father! I envy thy day.

Haste, thy spirit infuse in the veins of thy son;
Thy Fryingpan's checked in his pride, he's undone:
My glory is tarnished--it remains for the grave,
To commingle my bones with the dust of the slave.

* Koomla is a prominent and noble mountain in the Illawarra range.

+ Of their sable colour the blacks of Illawarra are as proud as ever were the Yorkites of Knickerbocker; they bless their stars that, born black and beautiful, they are free from all tinge of the half-caste orange hue.


Bibliography:

-


Resources:

-


Commentary:




15 November 1840

Liverpool, England (report of observation at King George Sound (WA)


LANG, John Dunmore (reporter)

GREY, George (reporter)

EYRE, Edward John (reporter)

NEIL, John (reporter, artist)

Kangaroo dance

Image:

Kangaroo Dance of King George's Sound, from drawing by J. Neil, Eyre 1845, plate before 229


Documentation:

Grey 1841, volume 2, 232-36, espeically 234-35

https://books.google.com.au/books?id=JUNCAAAAcAAJ&pg=PA234

[232]... I cannot establish the fact and the universality of this institution better than by the following letter addressed by Dr. Lang, the Principal of Sydney College, New South Wales, to Dr. Hodgkin, the zealous advocate of the Aboriginal Races

[233] Liverpool, 15M Nov. 1840 ...

[234] ... But particular districts are not merely the property of particular tribes; particular sections or portions of these districts are universally recognised [235 EFFECTS OF EUROPEAN APPROPRIATION] by the natives as the property of individual members of these tribes; and when the owner of such a section or portion of territory (as I ascertained was the case at King George's Island) has determined on burning off the grass on his land, which is done for the double purpose of enabling the natives to take the older animals more easily, and to provide a new crop of sweeter grass for the rising generation of the forest, not only all the other individuals of his own tribe, but whole tribes from other districts, are invited to the hunting party and the feast and dance, or corrobory that ensue; the wild animals on the ground being all considered the property of the owner of the land. I have often heard natives myself tell me, in answer to my own questions on the subject, who were the Aboriginal owners of particular tracts of land now held by Europeans; and indeed this idea of property in the soil, for hunting purposes, is universal among the Aborigines ...

Eyre 1845, volume 2, plate before 229 (image above), 297-99

https://books.google.com.au/books?id=RiAQAAAAYAAJ&pg=PA229

https://books.google.com.au/books?id=RiAQAAAAYAAJ&pg=PA298


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




15 October 1840

Aboriginal camp, outside Melbourne, Port Phillip, NSW (VIC)


ROBINSON, George Augustus (reporter)

Murrene.cole.leen

Documentation:

George Augustus Robinson, journal, 15 October 1840; ed. Clark

Last night, 15 October '40, saw Murrene.cole.leen with governor at camp.

Bandbedorra [...] throw spear [? readed] ones like hail. They are thrown by an invisible hand and come like a shower of hail and kill children and women.

The dance last night was a religious ceremony, like a white man's Sunday. It consisted of certain mystic ceremonies, Each individual had a torch of dried leaves in each hand they then walked in single file and walked and ran in a serpentine manner among the tress alternately waging the lighted torches. It lasted about a half an hour and when the sun went down the ceremony ceased. They said it could not go on after that or they should die. I visited all the camp and the governor was pleased and so was the natives. Parker came at the conclusion of the ceremony. Ningkallerbell to go with him in reply to which Ningkallerbell very sarcastically said who tell your governor and Mr. Robinson tell you when I explained it Mr. La Trobe laughed heartily at the wit &c.


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




1840-11-11 (first performance)

Campbell Town, VDL (TAS)


KOWARZIK, Francis Frederick (music composed, arranged)


Air and variations, on I give thee all

Violin solo, variations, composed for the occasion, with full orchestral accompaniments

LOST MS


[Advertisement], The Cornwall Chronicle (7 November 1840), 1

http://nla.gov.au/nla.news-article66022252 

"THE CAMPBELL TOWN BALL AND CONCERT", Launceston Courier (23 November 1840), 2

http://nla.gov.au/nla.news-article84675458

Then followed the violin solo by Monsieur Kowarzik. An air, with variations, composed for the occasion, with full orchestra accompaniments, from the air of "I give thee all" ...


I give thee all = My heart and lute (Thomas Moore)

My heart and lute, a ballad, sung with great applause by Mr. Pearman, written & arranged by Thomas Moore esq. (New York: Dubois & Stodart, n.d.)

http://levysheetmusic.mse.jhu.edu/catalog/levy:111.006 (DIGITISED)




1840

Emerald Hill, Port Phillip, NSW (VIC)


LIARDET, Wilbraham Frederick Evelyn (reporter, artist)

Ngargee on Emerald Hill

Image:

Ngargee on Emerald Hill, 1840; W. F. E. Liardet, c.1875 [detail]; State Library of Victoria

http://trove.nla.gov.au/work/19030518

http://handle.slv.vic.gov.au/10381/41280


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




? c.1840

Southern NSW


INDIGENOUS

PHELPS, P. H. F. (artist)

State Ball in Australia - Kangaroo Dance

Source:

From "Native Scenes", by P. H.F. Phelps, ? Moruya, c.1840-41

http://acmssearch.sl.nsw.gov.au/search/itemDetailPaged.cgi?itemID=447925


Documentation:

-


Bibliography:

-


Resources:

-


Commentary:

-


References:

-




© Graeme Skinner 2014 - 2017