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Dr GRAEME SKINNER (University of Sydney)
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Graeme Skinner (University of Sydney),
Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):
http://sydney.edu.au/paradisec/australharmony/hinckesman.maria.php; accessed 25 March 2017
HINCKESMAN, Maria Theresa (from c. 1840, and in Australia usually HINCKESMANN; HINCKSMAN; HINKESMAN; HINKSMAN)
Pianist, Professor of the Sostenente, Harp, Pianoforte, Singing, and thorough Bass, composer
Born London, 12 March 1803 (baptised St. Bride's, Fleet Street, 11 April 1803)
Arrived Sydney, 11 July 1842 (assisted per Earl of Durham)
Departed Sydney, 15 March 1849 (per Johnstone, for London)
Died Islington Workhouse, London, 21 February 1853 (buried St. Mary, Islington, 25 February 1853, aged 49)
http://trove.nla.gov.au/result?l-publictag=Maria+Hinckesman (TROVE tagged by Australharmony)
Daughter of Fleet Street booksellers and stationers Richard and Mary Hinckesman, Maria came to the notice of The harmonicon with the publication of her vocal setting Hosanna! to the prince of light (BL) in 1823, and further songs in 1823, 1824, and 1826.
She advertised in The harmonicon in 1826 as a teacher of the sostenente (a novel piano sounded by a bow-like mechanism) and pianoforte, and of thorough bass according to the system of Augustus Frederick Chistopher Kollmann (1756-1829), with whom, and with visiting Polish pianist and composer Maria Szymanowska (1789-1831), she claimed to have studied. She was sued for insolvency in 1837, and later reportedly came "into great distress".
Lack of professional opportunity and success in London perhaps prompted her decision to migrate to Australia, describing herself as a "general servant" in order to gain free passage as a bounty emigrant. However, upon landing she advertised as a music teacher and payment of her passage was accordingly refused. In Sydney, as recently in London, she gave her name as "Hinckesmann", and this spelling is usually given in the Sydney press (her own advertisements included).
She gave her first Sydney concert in October 1842, with the assistance of the Bushelles, Gautrots, Wallaces, Deanes, and "a juvenile Pianist from London, (only eight years of age), pupil of Miss Hinckesmann". The concert included the only certain record of a composition of hers performed in Sydney, a song in honour of the birth of the Prince of Wales, "dedicated by special permission to the Queen, who was pleased to receive a copy sent to her by Miss H."
Her young pupil, henceforth regularly referred to as the "Juvenile pianiste", was Sophia Maria Forsythe, who had also arrived on the Earl of Durham, with her widowed mother Margaret.
Hinckesman later presented another pupil to the public, Miss Tuohy (probably Mary Tuohy, later, unhappily, to marry George William Worgan).
As a vocalist, she was billed to sing in James Johnson's performance of Messiah "with Mozart's accompaniments" in December 1845, though if so in a minor role, perhaps only in the chorus.
She sailed again for London in March 1849. In London in July 1851 she performed William Vincent Wallace's piano fantasy La Cracovienne there, but the following year an appeal was raised to help her after an accident left her unable to pursue her profession. She died at Islington Workhouse, at 4.30pm, on 21 February 1853.
Baptism register, St. Bride's, Fleet Street, London
Baptized April 10  Maria, d. of Richard & Mary Hinckesman, No. 146 Fleet street, born March 12th
[Review], The Harmonicon 2/17 (May 1824), 97
8. Hymn, "Hosanna! to the Prince of Light," composed for four voices, by Maria Hinckesman. (Whitaker and Co., St. Paul's Church Yard.) . . . The Hymn, - for so we have called this piece, the fair author not having bestowed a title upon it, - is in 4/2 time, and is the composition of a lady.
[Review], The Harmonicon 2/23 (November 1824), 209
. . . 4. The Snow-drop, a RONDO, with VARIATIONS for the SOSTENENTE, HARP, or PIANO-FORTE, by MARIA HINCKESMAN. (Cocks and Co., 20, Princes-street, Hanover-square.) . . . No. 4 is very short, and this is its best recommendation. We earnestly counsel the fair Authoress to compose less till she has studied more. And, if we may be allowed to offer her a little further advice, we would recommend more attention to the Italian and French words which she introduces: the jumble of these, and the errors so frequently found in them, are, however, by no means confined to the present case.
[Advertisement], John Cooper's Bull (14 May 1826), 8
[Review], The Quarterly Musical Magazine and Review 8 (1826), 505
. . . . The Snowdrop, a Rondo for the Sostenente Harp or Piano Forte, by Maria Hinckesmann. R. Cocks and Co . . . Mr. Chipp's lesson [My Heart is Sair, with Introduction and Variations for the Harp] is an easy and effective piece, and may be highly recommended to those who are not great proficients on their instrument. Miss Hinckesmann's is of the same kind and very pretty.
[Advertisement], English Gentleman (4 March 1827), 1
[Advertisement], London Age (1 April 1827), 1
"VOCAL", The Harmonicon 5 (1827), 70-71
"NEW MUSIC", New-York Mirror and Ladies' Literary Gazette 5/30 (2 February 1828),
"O Bonny was yon Rosy Brier." - Sung by Miss George, at the New-York Theatre, Bowery. The words by Burns, the music by M. Hinckesman. Engraved, printed, and sold by E. Riley, 29 Chatham-street . . .
"MUSICAL", The Morning Post (2 May 1828), 3
"NOUVELLES ÉTRANGÈRES. LONDRES", Revue musicale 3 (1828), 547
Le 1er mai, concert de miss Hinckesman, où rien ne fut passable.
[Review], The Harmonicon (1828), 184
12. Duet, between Prince Charles and Lady E. Wemyss, the words by Miss Paton, the music arranged by J. Hewitt. (Schwieso.)
13. Duet, "The Rose and the Thistle," and the Old Celtic March, arranged by Maria HINCKESMAN. (Mori and Lavenu.) . . . Nos. 12 and 13 are both the same tune, which is said to be that to which Prince Charles, the Pretender's son, danced, with Lady Eleanor Wemyss, at the last ball at which he was present in Holyrood palace, in 1745. The air is a very remarkable one, and deserves a good base and skilful accompaniment. Mr. Hewitt has nearly, but not perfectly, succeeded in his arrangement . . . Of the other version of this we are compelled to declare, and we seriously regret the necessity of appearing so ungallant, that a publication so full of the most intolerable errors, a work betraying so utter a disregard of the simplest laws of harmony, - nay, of those rules which a good ear alone would have taught, never came under our view. We would fain have considered the faults as blunders of the engraver, but they are too obviously arising from another cause, to admit of the excuse which we were willing to make. It would be a waste of paper to give a single example of them; and we must add, as an apology for our bluntness, that there is an air of unusual pretension in this, which shows that the author, who has before challenged criticism, ought now to hear the plain, undisguised truth, unpleasant as it will, doubtless, sound.
[Advertisement], The Harmonicon (May 1828), n.p.
[Advertisement], London Age (27 April 1828), 4
[Advertisement], The Morning Post (18 May 1831), 1
"PARTNERSHIPS DISSOLVED", The Bradford Observer (6 November 1834), 320
Maria Hinckesman and Julia Maria Astler (now Julia Maria Davies), Bath-house, Peckham, Surrey, schoolmistresses.
"THE COURT FOR THE RELIEF OF INSOLVENT DEBTORS", The London Gazette (January 1837), 185
Maria Hinckesman (sued as Maria Hincksman), formerly of Bath-place, Peckham-lane, then of Swiss Cottage, Crownhill, Norwood, both in Surrey, Composer and Teacher of Music and Schoolmistress, and late of Swiss Cottage aforesaid, carrying on business in partnership with Mary Ann Wolfe, under the firm of Hinckesman and Wolfe, as Schoolmistresses.
"INSOLVENT DEBTORS' COURT. FEB. 22", The Morning Post (23 February 1837), 8
IN THE MATTER OF MARIA HINKESMAN. This insolvent, whose case was before the Court a few days since, and which on the present occasion occupied nearly ten hours, was opposed by Mr. Woodroffe, on the part of several creditors, and supported by Mr. Cooke.
The insolvent had been in partnership with a young lady named Wolfe, as proprietor of a boarding-school at Norwood, and the question, which occasioned a lengthened inquiry, was the disposal of considerable property, sufficient, it was alleged, to have paid all the creditors in full. It appears that the insolvent, a professor of music, had chaises, ponies, &c, which she sold after her arrest, and the money had been paid away, under the direction of a respectable attorney. She had a large quantity of furniture, &c., which had been sold, under a distress for rent and taxes, at a tremendous sacrifice. The creditors had been offered terms by Miss Wolfe, but they alleged that, had a proper course been pursued by those who advised the insolvent, they would have been paid in full. A remand was pressed on their behalf.
The Learned Chief Commissioner expressed himself in a very feeling manner on the case, and would have been glad had his public duty permitted him to discharge the insolvent. The remand would not be on the ground of ascertained fraud, but under the discretionary clause, expressing a hope that the gentleman who had advised her in the disposal of her property would intercede with the creditors. He adjudged her, from the date of the petition, to a remand to the full modicum of the 47th section - viz., six months.
The case lasted till near six o'clock.
"WEEKLY LIST OF NEW PUBLICATIONS", The Musical World 4/51 (3 March 1837), 176
Hinckesman. Rondo Divertimento. JOHANNING
"MISS HINCKESMANN'S CONCERT", The Musical World (10 September 1840), 171
This lady's concert took place on Tuesday evening at the theatre of the Polytechnic Institution in Regent-street. Notwithstanding the lateness of the season and the empty state of the town, the concert was extremely well attended. Miss Hinckesman performed a Rondo Brillante by Hummel, and a Fantasia by Chaulieu upon one of Kollman's improved grand pianofortes in a manner that secured the deserved approbation of the auditory. The vocalists consisted of Miss Bruce, Miss Flower, Miss S. Flower, Miss Byfield, and Mrs. J. Fiddes; Messrs. Hobbs, Turner, A. Giubelei, Vinning and Ransford. Mr. Blagrove performed with his usual skill on the violin; Mr. G. Blagrove, Mr. J. Balsir Chatterton, and Mr. Carte, also contributed their professional talents.
"MISS HINCKESMANN'S CONCERT", The New Monthly Belle Assemblée (June 1841), 371
This lady's fourth Soirée Musicale was given on the 12th ult., at the Marylebone Institution. Miss Binfield Williams played a fantasia piano-forte very admirably, and was loudly applauded. The Misses Flower sung the duet "Sister mine," and the glee "Blow gentle gales," with Mr. Vinning very sweetly, and Mrs. Aveling Smith was in good voice; we never heard her sing better. But the gem of the evening was the Infant Sappho, whose musical ear and delicate execution of very dimcult passages excited enthusiastic applause. We were quite enraptured with her when she gave various national melodies; her style is perfect, and the easy gracefulness of her attitudes and action, the quickness of her eye, and the marked emphasis she gave to the bolder passages, seemed to fix the whole audience instantaneously to silent attention. Signor Sola gave a comic song, and Mr. Saynor a fantasia flute, with good effect. We must not omit to mention Master Blagrove's performance on the concertina, which was exceedingly graceful. Mr. Vinning sang "O the merry days," and "Farewell, my gentle Mary," very pleasingly, and Miss Hinckesmann gave two performances on the pianoforte, of which we cannot say much in praise; she wants execution.
"MISS HINCKESMANN'S CONCERT", The New Monthly Belle Assemblée (August 1841), 122
This lady gave a concert at the Music Hall on the evening of the 5lh July. Miss Geary performed Dohler's grand fantasia, pianoforte, in very good style, and really has great power of execution. The Quartetto, Che mi Frenu, was sung by Mrs. Aveling Smith, Mr. Handel Gear, and the Signori Sola, and met with great approbation. Miss Dolby's Ombra Adoratu, and "My Jamie, thou wert cold to me," were very sweetly given. We always regret her want of animation; nothing can thaw her natural iciness of manner. "Still so gently o'er me stealing," was given by Mr. Handel Gear in his very best style, and he was loudly called for to repeat it, but owing to the lateness of the hour he did not respond to the call. That charming young debutante, Miss Fanny Russell, sung "Rejoice greatly" from the "Messiah," in a style that would have been highly creditable to professors of twice her standing in life. Her voice is fine, full and clear, and capable of very great execution, which her present timidity prevents her from exhibiting. In the aria, Come per me sereno, she evinced great improvement even since the short period of time that has elapsed since her first appearance. She is, we think, the principal native vocalist that this season has brought forward. Mademoiselle D'Espourrin's harp fantasia was excellent, as was also the trio for harp, horn, and flute, by that lady and Messrs. Jarrett and Saynor. Mrs. Aveling Smith was in good voice, and gave "Fatal Goffredo," and the ballad of the "Greek Girl," with great spirit and effect. We must not forget among all these full blown roses of song, our favourite little bud, the Infant Sappho, who elicited more applause man any other performer of the evening. She made two appearances, and sung a melody that she had heard tor the first time, a short time before she came upon the stage, with perfect correctness; as she did also an aria from "Norma," and several national melodies. She is indeed a wonderful little creature. Papataciao, by the Signori Sola, A. Sola, and Arizotti, wanted spirit. Miss Luigi sang a ballad very correctly; she also played a solo on the guitar, with good effect. Miss Hinckesmann played a fantasia on the pianoforte, by Moschelles, and was exceedingly well received. Mr. Vining met with much applause in the ballad "Oh! the merry days," and a very crowded audience were perfectly satisfied with the entertainment provided for them by the fair beneficiare. Miss Bruce Wyatt was to have assisted, but from some unknown cause, she left the Music Hall without singing even one of the songs that were allotted to her in the programme.
Immigration inquiry 1842-43
Francis L. S. Merewether (Immigration Office, Sydney) to E. Deas Thomson, 29 July 1842; HRA 1-22, 297
[The HRA's printed transcription of the handwritten original letters often gives her name as Hinckerman; corrected below]
With reference to the Report of the Immigration Board on statement the Immigrants per "Earl of Durham," in which was recommended the payment of Bounty on Maria Hinckesman, an unmarried female who arrived in that Ship.
I do myself the honor to submit for His Excellency's perusal an advertisement which appeared in the "Sydney Herald" of the 27th Instant enclosed, from which it appears that Maria Hinckesman or Miss Hinckesman is an accomplished Musician, and that she intends shortly to give an Evening Concert; Miss Hinckesman has also advertised for musical pupils.
As the recommendation that Bounty should be paid on account of this Lady was made on the supposition that she was, as she represented herself to be, a general servant, I do not think it necessary to bring the case before the Board for reconsideration, but will at once beg to request that the recommendation may not be acted upon.
In enclose the certificate produced in favour of Miss Hinckesman.
E. Deas Thomson (Sydney, 20 August 1842), to T. Gore [re immigrants per Earl of Durham], HRA 1-22 (1924), 762
. . . I am directed further to remark to you that, amongst the unmarried immigrants on whom bounty is claimed, there is one person, Maria Hinckesman, so clearly ineligible for Bounty, that it is difficult to look upon her case except as an unjustifiable attempt to obtain Bounties contrary to the intention and spirit of the Regulations. This Person, who was passed before the Board as a "Servant of All-Work" is confessedly a "Music Mistress," and has already advertised to give Concerts in Sydney."
George Gipps (Sydney, 22 September 1842) to Lord Stanley; HRA 1-22, 296-97
With reference to my Despatch No. 174 of yesterday's date, wherein I reported the circumstances under which I had declined paying Bounties on any of the Emigrants, said to have been sent to this Colony by Mr. Forsyth in the "Earl of Durham," I have now to request your Lordship's attention to the case of an unmarried female by that ship, named "Maria Hinckesman," on whom Bounty was peremptorily refused.
Maria Hinckesman came out as a domestic servant; and the fact of her being such is regularly certified in the Paper (an original one) which I transmit herewith, No. 1, by two persons described as respectable householders, namely, Edward James Hewitt and Henry Hays, residing at Nos. 188 and 168, Regent Street. Very shortly however after the arrival of Maria Hinckesman in the Colony, an advertisement was published by her, to which m y attention was very properly drawn by the Immigration Agent. I enclose a Copy of the Immigration Agent's letter, accompanied by the " Sydney Herald " Newspaper of the 27th July last, containing the advertisement, by which Your Lordship will perceive, that Maria Hinckesman styles herself "Professor of Music, and Sostenente Pianiste to his late Majesty."
I have also further to report that I have myself seen Miss Hinckesman, who has stated to me that she never was a domestic servant; but that, before she was reduced by unexpected misfortunes, the nature of which she did not explain, she considers that she held a high place among the professional performers and teachers of Music in London, and that she kept her own carriage; and she further stated to me that, when she applied for a free passage to New South Wales, she was accompanied by a gentleman, who explained to Messrs. Carter and Bonus all the circumstances under which she desired to emigrate.  If this statement be true, and from the air, manner, and appearance of Miss Hinckesman, I see no reason to doubt that it is so, it must be evident to Your Lordship that an imposition or, more properly speaking, a gross fraud has been attempted on this Government; and I would respectfully suggest that the case "' m am" should be enquired into by the Commissioners of Colonial Lands and Emigration.
MEMORANDUM. R. B. Cooper (Colonial Land and Emigration Office, London, 8 April and 22 May 1843); HRA 1-22, 780-81
IN obedience to the orders of the Commissioners, I this day called on Mr. Henry Hays, Seal and Copper Plate Engraver, No. 168 Regent Street, and showed him the Certificate of Maria Hinkesman (No. 7285 s) which purported to bear his signature as attesting her character, etc.
Mr. Hays stated as follows: - He would not say the signature was his; he did not know such a person as Maria Hinckesman or any such name; he could not say the signature was not his, but afterwards he remembered having signed a document, and stated that Maria Hinckesman was, to the best of his recollection, a servant to Edward James Hewitt, by whom the certificate was brought to him for his signature, that he signed it upon Mr. Hewitt's representation and at his request; further that he was much surprised to hear that she was giving concerts at Sydney and that he would state in writing all that he had now said, if required.
 I also called on Mr. Edward James Hewitt, Confectioner, 188 Regent Street; Mr. Hewitt stated that he knew Maria Hinkesman; she was a Professor of Music; she once had Apartments in his house; she taught his sister music; she used to give concerts in London; never heard that she was Pianist to His late Majesty; she met with reverses in circumstances and afterwards went to live in a Gentleman's family in Regent's Park; thinks the name of the family was Dodsworth, and that Mr. Dodsworth was a Clergyman: She was a sort of Governess, and he considered therefore a Domestic Servant; He understood she was going to take a similar situation in New South Wales; he did not take the certificate to Mr. Hays and believes that Mr. Hays had signed it before it was brought to him; Will have no objection to state what he knows in writing if required.
22nd May 1843. I called again this morning in pursuance of the directions of the Board on Mr. Hays, who now states that Maria Hinkesman never lived in his family but that she did live in the capacity, he thinks, of a Cook or Houskeeper to Mr. Shankarim, states to be an eminent Professor of Music, who lodged at Hayes's Sisters, No. 183 Regent Street; His Sister is Dead; He does not know where Mr. Shankarim now lives. He repeated that Mr. Hewitt's signature was attached to Hinkesman's Certificate when he signed it; and he stated that Hinkesman might perhaps have gone into Mr. Shankarim's service, merely to qualify herself for a free passage.
Hayes's statement on both occasions were made in so equivocating a manner that I could attach no credit to his testimony.
Letter, Rev'd W. Dodsworth (Gloucester Gate, 10 April 1843) to S. Walcott; HRA 1-22, 781
I knew very little of Maria Hinkesman. She was introduced some years ago to a connect of mine by Mr. Mott, the Inventor of a Musical Instrument, as a person competent to give lessons in Music, and was so employed for a short [time]. But she never lived in my family. She afterwards came into great distress, and I afforded some little relief, but, finding her guilty of some misrepresentation, I refused to do anything more for her.
This is all I know of her from the sort of person she was, I should doubt very much whether she ever filled the capacity of Domestic Servant.
Letter, Messrs. Carter and Bonus (11 Leadenhall Street, 18 May 1843) to S. Walcott; HRA 1-22, 781
. . . We presume it is the intention of His Excellency to charge us with having claimed Bounty for Maria Hinkesman as a Domestic Servant with a knowledge that she was above the class of persons entitled to a free passage, and we have therefore thought it right to meet that charge with a direct negative in the most positive terms we could use; at the same time we must request attention to the fact that the charge in question rests entirely on the unsupported statement of the young woman herself, who by that statement was self-convicted of being a party to fraud, as she had signed the application to us for a passage in which she was described as a domestic servant . . .
DECLARATION BY R. CARTER. I, ROBERT CARTER, of Sussex Place, Regent's Park in the County of Middlesex . . . that application was made to me, in January, 1842, by James Kidd for a passage to Sydney by the ship "Earl of Durham" for himself, his Wife and five children, also for Margaret Forsyth and Ellen Kidd his sisters, and for Maria Hinkesman, Maria Bayley and Patience Bayley. And I further declare that I believed the said James Kidd, from his appearance and the Certificates he produced, to be a respectable Mechanic, and that he informed me that Maria Hinckesman had been and then was employed as a Domestic Servant, and she produced me a certificate to that effect, signed by Edward James Hewitt, a Confectioner, and Henry Hayes, a Seal Engraver residing in Regent Street, Westminster. And I further declare that I saw the said Maria Hinkesman on one occasion only, and that she was then accompanied by the said James Kidd and Margaret Forsyth and by no other person whatever to the best of my knowledge and belief. And I do further solemnly and sincerely declare that I was not at that time or at any other time informed by either of the said parties, or by any gentleman, or by any other person whatever, that the said Maria Hinckesman was or had been a musician, or a Professor or Teacher of Music, or that she then was or ever had been in any situation of life superior to or other than that of a Domestic servant . . .
Land and Emigration Commissioners (London, 30 May 1843), HRA 1-22, 779-80
. . . We have now the honor to state that, in pursuance of the wish expressed in Sir George Gipps' despatch No. 175 of the 22nd September, 1842, we have inquired into the circumstances under which Maria Hinksman, a Professor of Music, obtained a Passage . . .
 It is quite obvious that Maria Hinkesman was a Musician, and never was a servant, and that, in getting a passage in that capacity, she would have passed a deception on the Government, had she not been detected in time and the Bounty withheld. But the question, to which we think that the Governor wished us more particularly to direct our attention, is how far she had also attempted an imposition on the Bounty Agents, or whether they were cognizant before hand of the real circumstances of the case. She stated to the Governor that, in applying for a passage, "she was accompanied by a gentleman," who explained "all the circumstances under which she was desirous to Emigrate."
. . . We beg to say that, on referring to the list of Emigrants by the "Earl of Durham," we observe that a man named James Kidd was duly passed by the Board as a House Carpenter. We conclude that under these circumstances, seeing that Miss Hinkesman is by her own account self convicted of a deception.
Lord Stanley (London, 14 June 1843) to George Gipps; HRA 1-22, 779
. . . on the subject of the Immigrants introduced into New South Wales by Mr. Forsyth, I now transmit to you for your information the copy of a report from the Commissioners of Colonial Land and Emigration containing the result of their enquiry into the circumstances, under which "Maria Hinkesman" now describing herself as a Professor of Music, obtained a passage amongst the Emigrants by the "Earl of Durham" under the description of a servant . . .
[Advertisement], The Sydney Morning Herald (1 August 1842), 3
MISS HINCKESMANN, SOSTENENTE PIANIST to their Majesties, Composer and Professor of the Sostenente, Harp, Pianoforte, Singing, and thorough Bass, begs respectfully to inform the Nobility and Gentry of Sydney, that having recovered from her late indisposition, she will be happy to receive pupils, at her residence, Castlereagh street North. July 20.
[Advertisement], The Sydney Morning Herald (23 August 1842), 3
"CONCERT", The Sydney Gazette and New South Wales Advertiser (8 October 1842), 2
We beg to remind the public, that Miss Hinckesmann's concert will take place on Wednesday next, when the following lines, written and set to music by that lady, will be sung by Mr. Griffiths. The piece of music was composed on the birth of H. R. Highness the Prince of Wales, and dedicated with permission to H. R. Highness Prince Albert:
Hail! welcome lovely infant! smile,
In thy Royal Mother's face;
A future King of Britain's Isle,
Bless'd Scion of a princely race . . .
[Advertisement], The Sydney Morning Herald (8 October 1842), 3
"CONCERT", The Sydney Morning Herald (12 October 1842), 2
[W. A. Duncan], "MISS HINKESMANN'S CONCERT", Australasian Chronicle (13 October 1842), 2
"Hail lovely in infant," is a laboured melody, and received justice from Mr. Griffiths in the singing, but the poetry is so detestable in all but its loyalty, that the piece to us was as insufferable as if it had sounded of high treason. We do not remember a single chord of the accompaniment. God help royalty when it must smile upon such trash. Mr. Wallace's flute solo was happy in everything but its extreme length. We come now to the star of the evening, Miss Hinckesmann herself, and we feel some difficulty in giving an opinion of her performance, because we are convinced she did herself injustice. Trumpeted forth as "Pianist (in ordinary or extraordinary) to the Queen", we went to listen to her with expectations that nothing short of a ne plus ultra performer could have fulfilled, and Miss Hinckesmann is any thing but a Pythoness of this description. Accordingly we and every body else were disappointed. Not but that there is much, very much, to commend in her style of execution. In fact, her style, particularly in legato passages, may be characterised as decidedly good, and we have no doubt shat she will prove a very eligible instructress, as indeed the debut of her young pupil proved. This very young lady played some variations on Rossini's "Non più mesta" exceedingly well, and on being encored, substituted with good taste a waltz of no very thin or juvenile construction. There was a fair attendance, though a much larger audience might have been expected if sufficient publicity had been given to the intended performance.
"CONCERT", The Sydney Morning Herald (14 October 1842), 2
"Miss Hinckesmann's Concert", The Sydney Gazette (15 October 1842), 2
[Advertisement], The Sydney Morning Herald (28 November 1842), 3
"To the Editor", Australasian Chronicle (14 March 1843), 2
[Advertisement], The Australian (29 May 1845), 1
[Advertisement], Morning Chronicle (31 May 1845), 3
"MUSIC", The Australian (1 July 1845), 3
"Domestic", The Atlas (6 September 1845), 491
We beg to acknowledge the receipt of a song entitled THE GRAND FANCY BALL, published by Mr. Baker, of King-street . . .
[Advertisement], The Sydney Morning Herald (6 September 1845), 2
. . . "The Grand Fancy ball" [sung] by Mrs. Gibbs . . .
[Advertisement], The Sydney Morning Herald (6 December 1845), 1
[Advertisement], The Sydney Morning Herald (21 October 1846), 1
[Advertisement], The Sydney Morning Herald (23 March 1847), 1
[Advertisement], The Australian (26 June 1847), 2
Comic Song, THE MAYOR'S FANCY BALL! Written expressly for this occasion, by a Gentleman of known literary attainments") [sung by] MRS. GIBBS
[Advertisement], The Sydney Morning Herald (17 January 1849), 1
MISS HINCKESMANN respectfully informs her pupils and the public generally, that she intends (by the advice of her friends) giving a FAREWELL CONCERT of Vocal and Instrumental Music, at the City Theatre, on Wednesday Evening, 24th January, prior to her leaving this colony to proceed to England in the Waterloo. Miss H. will perform (for the first time these five years) a Solo on the pianoforte, and she sincerely trusts that the musical public of New South Wales will generously support her on this occasion: her sole object, in giving this Concert being to enable her to defray the expenses of her passage to her native country . . .
[Advertisement], The Sydney Morning Herald (7 February 1849), 3
"CLEARANCES", The Sydney Morning Herald (10 March 1849), 4
"MUSICAL EVENTS", The Illustrated London News (27 April 1850), 293
. . . Miss Hinckesmann's concert will take place the same evening [Monday], in the City . . .
[Advertisement], The Morning Advertiser (12 June 1852), 1
HIGHBURY GRAND MUSICAL FESTIVAL, in the Large Assembly Room, Highbury Barn, on THURSDAY EVENING next, June 17, in AID of the FUND now forming to ASSIST Miss HINCKESMANN who has been incapacitated by accident from following her profession, and thereby deprived of her only means of support - Vocalists: Madlle. Eugenia Garcia, Miss Messent, Miss Rebecca Isaacs, Miss Lowe, Miss Poole, Mrs, Alexander Newton, the Misses Brougham, Miss Hayes, Miss Constable, Miss Rafter, and Miss Crichton; Mr. George Tedeer, Mr. Rafter, Mr. Frazer, Mr. W. H. Wesii (by permission of B. Webster, Esq.), and Mr. H. Drayton. Instrumentalists: Pianoforte, Mr. Charles Salaman; violoncello, Mr. Demunck; trumpet, Mr. harper; harp, Mr. F. Chatterton; flute, Mr. Richardson; concertina, Mr. G. Case. Conductor, Mr. Charles Salaman. - Admission, 1s; reserved seats, 2s.; stalls, 3s. Tickets to be had at the bar of the Tavern; and of all Musicsellers and Librarians. To commence at Eight o'clock.
Burial register, Parish of Islington, 1853
Hinckesman, Maria Theresa, [late of] Liverpool Road, buried 25 February, age 48
Hinckesman, Maria (NLA; short biography by Michael Kassler)
Michael Kassler, A. F. C. Kollman's Quarterly Musical Register (1812): with an introduction (Aldershot: Ashgate, 2008), 138-39, 158
Michael Kassler, "Correspondence", Musicology Australia 30/1 (2008)
John Carmody, "Songs of Praise", The Sydney Morning Herald (16 June 2012)
Hosanna! to the prince of Light [a hymn] written by Isaac Watts . . . for four voices. Op. Prima. Maria Hinckesman (London: Printed & publish'd by the Author, Union Row, Peckham. and sold by Messrs Whitaker & Co., [1823-?])
The Zostera, More near to the orb of her ardent devotion: a favorite plaintive song: composed & arranged with an accomp. for the sostenente, piano forte or pedal harp (Peckham: Printed & published by the authoress, [1824?])
The snow drop, a rondo with variations for the sostenente, harp or Piano Forte. Maria Hinckesman (London: Published for the Author, by R. Cocks & Compy., )
Andante con variazioni per il Piano Forte e flauto ad libitum. Maria Hinckesman (London, Published for the proprietor by J. B. Cramer, Addison & Beale, )
A rose bud drenched in April's show'r; a favorite song composed and arranged with an accompaniment for the piano forte or pedal harp ([London]: Printed & published by the author, [? 1824])
Ye tell me shepherds I'm too gay, a favorite song: composed and arranged with for the piano forte or pedal harp. Maria Hinckesman (London : Printed & published (for the author) by the Royal Harmonic institution, [1823?])
The blue eyed lassie ["I gaed a woeful gate"] the words by Robt. Burns. Maria Hinckesman (London, ) (British Library)
There is a mystic thread of life [a song] written by Lord Byron. Maria Hinckesman (London: R. S. Whitaker, )
Wae is my heart! a Scotch ballad 
O bonny was yon rosy brier (Sung by Miss George at the New York Theatre, Bowery) The Words by Burns; The Music by M. Hinckesman) (New York: E. Riley, )
The old Celtic march performed by the Highlanders on the landing of George the fourth in Scotland, arranged for the Piano Forte by M. Hinckesman (London, )
The rose and the thistle, arranged as a duet . . . from the tune to which Prince Charles & Lady Eleanor Wemyss danced at the last ball given in Holyrood Palace in the year 1745, by M. Hinckesman (London, Published by the author, )
"A dream of the Mayor's Fancy Ball, composed by M. T. Hinckesmann", in The heads of the people (10 July 1847) [Sydney: W. Baker], plate facing page 106 (National Library of Australia)
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