LAST MODIFIED Tuesday 16 October 2018 18:03

Isaac Nathan and family in Australia

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "Isaac Nathan and family in Australia", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 16 October 2018

Page directory (click on links)

Personal data (family)


Select documentiation (Britain)

Documentiation (Australia)

Selected works (England)

Works (Australia)


Archival collections

Bibliography and resources

Harry Nathan

For documentation on Nathan's collaborations with Eliza Hamilton Dunlop, see also: 

Isaac Nathan, anonymous portrait (detail), England, c.1815; National Library of Australia; (DIGITISED) (DIGITISED)


Professor of music, writer on music, composer

Born Canterbury, Kent, England, 1792 (? 1790), son of Menachem MONA (c.1850-1823) and Mary Mariana Goldsmith LEWIS (d.1842, aged 63 [sic])
Married (1) Eliza Rosetta WORTHINGTON (d.1824), St. Mary Abbot's, Kensington, London, 16 July 1812; Western Synagogue, 12 November 1812
Married (2) Henrietta BUCKLEY (d.1890), St. Mary Abbot's, Kensington, London, 1826
Arrived Melbourne, VIC, February 1841 (per York, from England)
Arrived Sydney, NSW, 5 April 1841 (per York)
Died Sydney, NSW, 15 January 1864 (TROVE tagged by Australharmony) (NLA persistent identifier) (WorldCat identities)



Died London, England, 1824

Elvington, a novel (1819) 

[Dedication] To Him whose example has taught me fortitude in adversity, and whose firm reliance on the dispensation of Providence presented a bright beacon of hope to guide me through the mazes of affliction. Whose unutterable tenderness has withstood the machinations of malevolence and duplicity, and whose cheering smile of approbation first encouraged me to present the following work to the public. To my Husband, these pages are dedicated as a very small tribute of gratitude by an affectionate wife.

Langreath, a tale (1822) 


Born London, England, 1806
Died Sydney, NSW, 9 June 1898, "in her 92nd year" (TROVE tagged by Australharmony)

Isaac Nathan, anonymous photographic portrait, Sydney, c.1860; State Library of New South Wales (copy presented by Vernon Nathan, September 1918) digitised item 


NATHAN, Barnett ("Baron NATHAN")

Dancing master

Born Canterbury, England, 1793
Died London, 1856 (TROVE tagged by Australharmony)

"THE BARON OF ROSHERVILLE", Punch, or the London charivari [London] (1846), 97 

"MISCELLANEOUS EXTRACTS", The Sydney Morning Herald (23 March 1857), 7 



NATHAN, Charles (Charles Braham NATHAN)

Baritone vocalist, musical amateur, surgeon

Born London, England, 7 February 1816
Died Sydney, NSW, 20 September 1872 (TROVE tagged by Australharmony) (NLA persistent identifier)

NATHAN, Caroline Louisa (1817-1897; Mrs. William Law GANE); did not migrate to NSW

Nathan reprinted two poems by his journalist son-in-law in The southern Euphrosyne, 72 

NATHAN, Marion (1818-1891; Mrs. Thomas H. B. VENOUR)

Married Thomas H. B. VENOUR, Sydney, 1842

NATHAN, Jane Selina (Mrs. John FOULIS)


Born UK, 1819
Married John FOULIS, St. John's, Parramatta, NSW, 25 June 1844
Died Sydney, NSW, 16 June 1871 (TROVE tagged by Australharmony)

NATHAN, Alfred (Alfred W. NATHAN)

Bass vocalist

Born England, 11 August 1822
Died Sydney, NSW, 26 September 1900, aged 80 (TROVE tagged by Australharmony)

NATHAN, Rosetta (Jessy Rosette NATHAN)

? contralto vocalist, musician

Born London, England, 19 January 1824
Died Sydney, NSW, 1 April 1843, in the 16th year of her age [sic] (TROVE tagged by Australharmony)


NATHAN, Temple Frederick Sinclair

Treble vocalist

Born UK, c. 1833
Died NSW, 24 January 1909 (TROVE tagged by Australharmony)

NATHAN, Ada (Adah NATHAN; Mrs. Frederick VIGNE)

Juvenile vocalist

Born London, England, ? c. 1830
Married Frederick VIGNE, St. James's Church, Sydney, 23 January 1850
Died Darlinghurst, NSW, 5 July 1897 (TROVE tagged by Australharmony)

NATHAN, Zylla (Zillah)

Born London, England, 1839
Died Buradoo, NSW, 1 December 1921

NATHAN, Henry Lynd

Born Sydney, NSW, 1844
Died Darlinghurst, NSW, March 1904 (TROVE tagged by Australharmony)

ASSOCIATIONS: Godson of Robert Lynd (c.1800-1851), barrack-master at Sydney in 1844, and author of the words of Nathan's Leichhardt's grave

NATHAN, Walter Byron

Born Sydney, NSW, 1845
Died QLD, 2 September 1894

NATHAN, Una Blanche (Mrs. Walter Leighton FELL)

Born NSW, 1850
Died NSW, 29 January 1921


3rd and 4th GENERATIONS

NATHAN, Alfred Woodward

Amateur vocalist, baritone/tenor

Born Sydney, NSW, (son of Charles NATHAN above)
Died Leura, NSW, 1914 (TROVE tagged by Australharmony)

NATHAN, Harry Alfred (son of Alfred NATHAN above)

See below Harry NATHAN

FOULIS, Lilian


Born Scotland, 15 June 1878 (grand-daughter of Jane Selina NATHAN and John FOULIS)
Died Kensington, London, England, 1956 (TROVE tagged by Australharmony)


- - -

Select documentation (Isaac in Great Britain)

April 1815, publication of first number of Hebrew melodies

[Advertisement], Morning Chronicle (6 April 1815), 2

HEBREW MELODIES. - Price, one guinea. A Selection of HEBREW MELODIES, with Symphonies Accompaniments by Mr. BRAHARM and Mr. NATHAN. The Poetry expressly written for the work by the Right Hon. Lord BYRON. To be had of Mr. Nathan, 7, Poland-street; Oxford-street.

"HEBREW MELODIES", Morning Post [London] (22 April 1815), 3

The masterly hand of Braham is visible throughout these compositions; to him it will be attributed that the sacred Songs of the Jews, and the peculiar character of their harmony, will have been rescued from obscurity, and preserved from the oblivion to which they were hastening. Like Orpheus of old, Braham's music is "The magic of sweet sounds," and a divine spirit breathes ever through his numbers.

Isaac Nathan, letter to Walter Scott, 22 November 1815; National Library of Scotland, MS 866 fol. 41r/v 

State Library of New South Wales, MLMSS 6184; photocopy of original above 

Letter, from 7 Poland Street, London, reminds Scott of his kind offer of assistance and hopes that he will consent to write some original English poetry for a set of Polish songs that Nathan intends to "melodize" on the same plan as the Hebrew Melodies.

April 1816, publication of second number of Hebrew melodies

[Advertisement], Morning Chronicle [London] (12 April 1816), 1

No. II. HEBREW MELODIES, - No. I, price 1l 1s.
A SELECTION OF HEBREW MELODIES; with Symphonies and Accompaniments, by Mr. BRAHAM and Mr. NATHAN.
The Poetry expressly written for the Work by the Right Hon. Lord BYRON. -
To he had of Mr. Nathan, 7, Poland-street, Oxford-street.

[Advertisement], Morning Chronicle [London] (2 April 1819), 1

NATIONAL MUSIC, price 2s. 6d. "God save the Regent," set to Music by Mr. Nathan, composer of Lord Byron's Hebrew Melodies, &c. - Printed for J. J. Stockdale, 41, Pall mall. - Mr. Stockdale having purchased all Mr. Nathan's Copyrights, that celebrated Professor's Songs and Music may be had as above, together with, just published, - price ls. 6d. "If then to love thee be offence," the words and melody by his Grace the Duke of Marlborough, the symphonies and accompaniments by Mr. Nathan. - Mrs. Nathan's new Novel, Elvington, 3 vols. price 1l. 1s. will be ready this day.

"COVENT GARDEN", Morning Chronicle [London] (17 January 1820), 3

Saturday night [15 January 1820], a Mr. NATHAN made his debut at this theatre, in the character of Henry Bertram, in the operatic play of Guy Mannering. Mr. NATHAN is not unknown in the musical world, having composed and published several melodies. This circumstance, and the report that he had for some time past been under the tuition of BRAHAM, had excited the curiosity of the public in a considerable degree, and the theatre was well filled at the rising of the curtain. It would have been most fortunate for this Gentleman's reputation, however, had his ambition for public fame slept on this occasion. The attempt of Saturday night was a failure: he possesses no one requisite for the stage; his figure is ungraceful, his action unpolished, and his voice weak and ineffective; this was very apparent in his first song, I love thee ever dearly. Such, however, was the attachment of Mr. Nathan's friends, of whom he had many in the house, and such their appetite for this delectable treat, that they insisted on an encore of Love's young Dream. An attempt to sing the popular air of Scots wha hae, in the third act, however, proved an absolute abortion; that part of the audience who had paid their half price, differed so materially in taste from those who had applauded Mr. Nathan's preceding efforts, that they refused to hear him beyond the first verse; the rest was lost in the cries of "Off," with which he was assailed from all parts of the house.

[Review], An Essay on the History and Theory of Music; and on the qualities, capabilities, and management of the Human Voice; by J. Nathan ...", The quarterly musical review (1823), 356-68 

"DEATHS", La belle assemblée; or, Bell's court and fashionable magazine (March 1824), 

In Cecil Street, in the Strand, aged 29, Eliza Nathan, the well-known author of "Langreath," &c. &c., in giving birth to her eighth child.

"NATHAN (ISAAC)", in [John Sainsbury (ed.)], A dictionary of musicians from the earliest ages to the present time . . . together with upwards of a hundred original memoirs of the most eminent living musicians . . . vol. 2 (London: For Sainsbury and Co., 1824), 209-12 

NATHAN (Isaac) was born at Canterbury in the year 1792, and being intended by his parents for the Hebrew church, was, at the age of thirteen, placed at Cambridge, under the care of Mr. Lyon, the Hebrew teacher to the university, where he made considerable progress in that language, as also in the German and Chaldean. It was only as a relaxation from his severer studies that he was permitted to learn the violin; a circumstance which led to an early display of his innate love for music, and eventually brought about an entire change in the views of his parents. His frankness of disposition and sweetness of voice, made him a favourite with his masters and schoolfellows; and so encouraged was he by the praises he received, and the pleasure he felt in the cultivation of his taste for the science, that crotchets and quavers usurped their dominion over his then more legitimate pursuits, and lost in the pleasing mazes of harmony, all his pocket money was laid out in the purchase of music paper, on which he felt anxious to try his talent at composition. Ignorant of the theory, his effusions of fancy were unintelligible to all but himself; and it was not a little singular to see him playing from a group of notes, without any guide as to time, &c. but such as his own ingenuity had furnished him with.

On his return home, his passion for music was so apparent that his relations determined on articling him to Dominico Corri, whose name inspired him with such awe, that his natural diffidence for a short time operated against his pursuits. His timidity, however, wore off, and the embarrassments of Mr. Corri, which kept him sometimes long without a lesson, acted as an additional stimulus to his own exertions. In the attic of his father's house was an old harpsichord, considered as useless, and this the young student made the seat of his indefatigable efforts. At this instrument did he regularly place himself by four-o'clock in the morning, and so intent was he on [210] application that no inducement would tempt him from it, his provisions often remaining untouched the whole day. Eight months after his apprenticeship commenced with Corri, he composed his first song, called "Infant Love," which was quickly followed by "O come, Maria," and "The Illiterate Boy." His next production was "The Sorrows of Absence;" from which a trifling dispute arose between him and his master, that, more than any other circumstance, tended to confirm him in his pursuits. Corri had pointed out a passage in the last-named song which he considered a breach of theory, and was so severe on his pupil, that young Nathan was roused to a pitch of confidence which made him contend for the accuracy of the passage objected to; a little argument followed, and the pupil having brought to the recollection of his master certain allowances granted to genius which he had overlooked, he came off victorious; a triumph which has often been mentioned by Nathan as having mainly contributed to the success of his future exertions.

From time to time be produced compositions which would have done credit to more established authors; and as "music is the food of love," it is not very singular that he should at an early age have felt a passion so general in its attack on mortals. He married a young lady of highly respectable connections, and whose literary talent has sent into the world works of no inconsiderable merit.

Possessing the natural feeling for music which we have described, it was not extraordinary that his compositions should keep pace in beauty with the subjects for which he wrote; and the poetry of Lord Byron presenting a field best calculated for the display of his genius, his acquaintance with his lordship's works brought with it the commencement of his acknowledged merit as a musician. His first selection from Lord Byron was those beautiful lines from the "Bride of Abydos" beginning "This rose to calm my brother's cares," which in a few hours was composed and placed in the hands of the engraver. He has since published from the same poem, "Think not thou'rt what thou appearest," "Ah, were I severed from thy side," and "Bound where thou wilt my barb." His song from the Giaour, "Yes, love indeed is light from Heaven," is one of his happiest efforts; and the "Yair Haide," "My life, I love you," with a variety of other selections from his lordship's poetry, are works of merit. Shortly after his composition of "Night wanes" appeared, Nathan was introduced to lord Byron by the honourable Douglas Kinnaird, and ever after experienced from his lordship proofs of his condescending kindness. To dwell on the merit of the Hebrew melodies is unnecessary, as their excellence has been so universally acknowledged; we cannot help, however, thinking, that while the tide of popular opinion is now directed to lord Byron's publications, it is but justice to direct the public mind to a contemplation of the sacred poetry written by his lordship for these melodies, than which nothing can be more truly sublime, or beautifully calculated to perpetuate a reverence for religion and piety.

A circumstance connected with the composition of these melodies deserves mention. Nathan was so totally absorbed in the poetry which relates the raising of Samuel by the witch of Endor, that, in setting it to music at the house of Mr. Basil Montague, (the chancellor counsellor) the son of this gentleman, on wishing Nathan good night, said, "I really think it better to depart, Nathan; for you look so wild, that I should soon imagine you Samuel himself." That the subject had entirely chained his mind to a corresponding feeling, appeared the next morning, when Nathan was seized with an alarming aberration of memory, which continued several hours. The subject forms a glee, and must be beard to be properly appreciated. His first theatrical composition was for Kean, "Scarce had the purple gleam of day," which met with enthusiastic applause.

Had Nathan been as great in worldly as in musical science, he must have enjoyed an early and abundant harvest: this, how- [211] -ever, was not the case; for naturally benevolent, the treachery of others involved him in embarrassments from which he found it difficult to extricate himself. He was at length compelled to be absent from London, and during a temporary sojournment in the west of England and Wales made every exertion, though unsuccessfully, to retrieve the losses he had sustained.

On his return to London, however, his creditors beset him, and hinting that he ought to make his voice available to their demands, he, solely to convince them of his integrity, consented to make a public trial; at the same time, with a feeling which redounded to his honour, offering to secure them a claim on the fruits of his industry should he be successful.

He appeared at Covent-garden as Henry Bertram, in Guy Mannering, and, in the unaccompanied duet, elicited enthusiastic applause; but when accompanied by the band, his want of sufficient power totally deprived him of the advantage which his acknowledged science would otherwise have given him, and a failure was the consequence. Though nothing would be more illiberal and ignorant, than to require our professors of music to abide a similar trial of their vocal capabilities, yet, as this circumstance has been sometimes unjustly urged against the vocal talent of Nathan, we subjoin part of a private letter (with which we have been favoured) from that gentleman to a friend, in which he adverts to his appearance:

"Of all risings and fallings in life," says Nathan, "the falling of the pocket is the most annoying, owing to certain little accompaniments in the form of angry creditors, who set a man thinking. Of two evils, according to custom, I chose the least, not considering 'durance vile' under the best auspices, as a bed of roses, more particularly when upwards of two hundred miles from those whose tender age and necessities required my exertions; and as desperate cases require desperate remedies, I deemed it prudent to purchase my liberty, by convincing those who had claims on my personal property, that I really did not possess a Stentorian power of lungs sufficient to fill Covent-garden theatre. As a proof that vanity had no hand in the business, I sent Mr. Harris a critique from Canterbury, (where I had tried the character proposed for me) not the most flattering to my feeble voice.

"For the Adonis-like state of my appearance, I cannot in honest truth say much; but I query, with a plaster on his breast, and an unhealed blister on his back, whether even the Apollo Belvidere, (to whom I beg it to be understood I bear not the slightest resemblance) would have looked so attractive as in a whole skin. Dressed and patched for the occasion by my much esteemed medical friend Mr. Hare, of Argyle-street, I dared my fate, and while I strutted "my hour on the stage," pardon me for most profanely altering the text of Shakspeare, "the curs snarled at me as I walked along." Let me disclaim any allusion to those whose condemnation proceeded from an honest expression of opinion; ignorant as they were of the disadvantages under which I laboured, I could but anticipate their sentence. I allude only to such, who, to serve party or private purposes, came with a premeditated design to crush me."

The popular music in "Sweethearts and Wives," by Nathan, though composed at a few hours' notice, powerfully exhibits the versatility of his talent: "Billy Lackaday's Lament," "Why are you wandering," "The Secret," and "I'll not be a maiden forsaken" are productions that must establish his talent as a theatrical composer; indeed the latter song is so original, and the connection of the poetry and music so intimate, that it would alone be sufficient to stamp his reputation. In his orchestral arrangements he is equally happy, and his accompaniments possess a richness of harmony that reach beyond the ear of the auditor.

As a singing-master, Nathan has few superiors; for while his voice affords an example of science in a high degree of cultivation, his late work, "An Essay on the History and Theory of Music, and on the Qualities, Capabilities, and Manage- [212] -ment of the Human Voice," evinces research and and comprehensive knowledge of that subject. The work here alluded to is dedicated to the king, and is valuable to the musical student. When it is considered that the information it contains has been accumulated by the perseverance and unwearied assiduity of a young man, whose unremitted industry has paved the way to the reputation he enjoys, the reflection should operate as a stimulus to others, whose circumstances or situations compel them, unassisted, to combat with pecuniary or other difficulties.

1827, re-publication of first two numbers of the Hebrew melodies

"LORD BYRON", The London and Paris Observer (11 March 1827), 142-43 

A Selection of Hebrew Melodies, Ancient and Modern newly arranged, harmonised, corrected, and revised, with appropriate Symphonies and Accompaniments. By J. Nathan. (From the Atlas) Our readers will be somewhat startled at the reappearance of this work, at a time when they must have thought it had been in the full enjoyment of well-merited oblivion. In raising the ghost of his deceased publication, Mr. Nathan has thought fit, in order to procure it a favourable reception before the public, to clothe it with a number of anecdotes and recollections of the late Lord Byron . . .

"MUSICAL", Morning Post (12 April 1827), 3

A new edition of NATHAN'S First and second volume of the Hebrew Melodies has lately been published with Annotations, which will be read with interest as they relate to the Noble Poet, now no more, who furnished Mr. Nathan with the words, for the most part extremely beautiful . . . The work is to he completed in four volumes, and if Mr. NATHAN proceeds with it as he has begun, we may venture to predict a successful issue, and that the "Hebrew" will become ss popular as the Irish, Scotch, and Welsh Melodies are.

"AFFAIR OF HONOUR", Cork Constitution [Ireland] (5 February 1829), 3

A meeting took place on Friday morning at 7 o'clock, near the Red House, Battersea, between Mr. Nathan, the celebrated composer, and P. Le Piper, Esq., C---n Office. The preliminaries being finished shots were exchanged, and the former received slight wound in the fleshy part of the right arm, after which matters were adjusted the interference of the seconds. The dispute arose through some strong personal allusions made on lady of high rank and talent whom both gentlemen had been in the habit of visiting.

[Notice], The London gazette 18733 (8 October 1830), 2120 

THE Commissioners in a Commission of Bankrupt, bearing date the 15th day of March 1830, awarded and issued forth against Isaac Nathan and Barnett Nathan, of the Mount-House Assembly-Rooms, Westminster-Road, in the Parish of Lambeth, and County of Surrey, Music-Sellers, Dealers and Chapmen, intend to meet on the 29th of October instant, at Eleven in the Forenoon, at the Court of Commissioners of Bankrupts, in Basinghall-Street, in the City of London, in order to Audit the Accounts of the Assignees of the estate and effects of the said Bankrupts under the said Commission, pursuant to an Act of Parliament, made and passed in the sixth year of the reign of His late Majesty King George the Fourth, intituled "An Act to amend the laws relating to Bankrupts."

See also: The bankrupt directory: being a complete register of all the bankrupts, with their residences, trades, and dates when they appeared in the London Gazette from December 1820 to April 1843, alphabetically arranged ... by George Elwick (London: Simpkin, Marshall, and Co., 1843), 296 

Nathan Isaac, Kingsdown, Gloucestershire, music seller, April 21, 1821.

Nathan Isaac, Wellington place, Shepherd's Bush, music seller, June 1, 1827.

Nathan Isaac; and Barnett Nathan; Westminster road, music sellers, Mar. 19, 1830.

Thomas Moore (ed.), The works of Lord Byron: with his letters and journals and his life . . . vol. 10 (London: John Murray, 1832), 71 

HEBREW MELODIES (1) (1) [Lord Byron never alludes to his share in these Melodies with complacency. Mr. Moore having, on one occasion, rallied him a little on the manner in which some of them had been set to music, - "Sunburn Nathan," he exclaims, "why do you always twit me with his Ebrew nasalities? Have I not told you it was all Kinnaird's doing, and my own exquisite facility of temper?" - E.]

"ISAAC NATHAN", The Georgian era: memoir of the most eminent persons, who have flourished in Great Britain, from the accession of George the First to the demise of George the Fourth, in four volumes, volume 4, political and rural economists, painters, sculptors, architects, and engravers, composers, vocal, instrumental and dramatic performers (London: Vizetelly, Branston and Co., 1834), 280-81 

ISAAC NATHAN was born at Canterbury, in the year 1792, and educated for the Hebrew church, under the care of Mr. Lyon, the Hebrew teacher to the University of Cambridge. He had made considerable progress in that language, as also in the German and Chaldean, when his growing fondness for music caused his parents to change their views with respect to his future destination. Having learnt the violin by way of relaxation, he not only became a tolerable player upon that instrument, but made an attempt, in his own way, to become a composer. "All his pocket money," says his biographer, "was laid out in the purchase of music paper, on which he felt anxious to try his talent at composition. Ignorant of the theory, his effusions of fancy were unintelligible to all but himself; and it was not a little singular to see him playing from a groupe of notes without any guide as to tune, &c. but such as his own ingenuity had furnished him with." He was now apprenticed to Dominico Corri, and, in eight months afterwards, composed his first song, called Infant Love, which was followed by O, come, Maria, The Illiterate Boy, and The Sorrows of Absence. Mr. Corri's embarrassments frequently caused his pupil to go without a lesson, but the latter's indefatigable study at home fully compensated for this disadvantage. He used to rise at four in the morning, to sit down to an old harpsichord in an attic of his father's house, and sometimes would pass the whole day before it, without rising even for his meals.

Disdaining to exercise his powers on words unworthy the name of poetry, Mr. Nathan selected from Lord Byron's [281] Bride of Abydos, such pieces, as he thought most adapted to music, for his first mature effort in composition. Among them we may mention: This Rose, to calm my Brother's cares; Think not thou art what thou appearest; Ah! were I severed from thy side; and Bound where thou wilt, my Barb. He subsequently set to music several other pieces of the same author, particularly his Hebrew melodies; many of which Mr. Nathan is said to have composed with the noble bard at his elbow. He fully entered into the spirit of the words; and whilst setting to music those lines relating to the raising of Samuel, by the witch of Endor, he so startled a friend present as to make him exclaim, "I really think it better to depart, Nathan; for you look so wild that I should soon imagine you Samuel himself."

Mr. Nathan's popularity as a composer was not to preserve him from pecuniary embarrassments; in consequence of which, he, for a short time, absented himself from London. On his return, he was urged by some of his creditors to try his success as a singer, and he accordingly made his débût at Covent Garden, as Henry Bertram, in Guy Mannering. As he had himself anticipated, he failed; the circumstances relating to his appearance are thus stated in a private letter, quoted by his biographer.

"Of all risings and fallings, in life," says Nathan, "the falling of the pocket is most annoying, owing to some little accompaniments, in the form of angry creditors, who set a man thinking. Of two evils, according to custom, I chose the least; not considering durance vile, under the best auspices, as a bed of roses, more particularly when upwards of two hundred miles from those whose tender age and necessities required my exertions; and as desperate cases require desperate remedies, I deemed it prudent to purchase my liberty, by convincing those who had claims on my personal property, that I really did not possess a Stentorian power of lungs sufficient to fill Covent Garden Theatre. As a proof that vanity had no hand in the business, I sent Mr. Harris a critique from Canterbury (where I had tried the character proposed for me), not the most flattering to my feeble voice. For the Adonis-like state of my appearance, I cannot, in honest truth, say much; but I query, with a plaster on his breast, and an unhealed blister on his back, whether even the Apollo Belvidere (to whom I beg it to be understood I bear not the slightest resemblance) would have looked so attractive as in a whole skin. Dressed and patched for the occasion by my much esteemed medical friend, Mr. Hare, of Argyle Street, I dared my fate, and while I strutted my hour on the stage, pardon me for most profanely altering the text of Shakspeare - 'the curs snarled at me as I walked along.' Let me disclaim any allusion to those whose condemnation proceeded from an honest expression of opinion; ignorant as they were of the disadvantages under which I laboured, I could but anticipate their sentence: I allude only to such, who, to serve party or private purposes, came with, a premeditated design to crush me."

As a composer, Mr. Nathan has considerably added to his fame, since the publication of the pieces before-mentioned, by his music to the play of Sweethearts and Wives. The song, Why are you wandering here, fair maid? is excelled in popularity by no other of the present day, and is alone sufficient to establish and perpetuate his reputation. No composer understood better the union of poetry with music; and, in his hands, each is aided, in expression, by the other. In his orchestral arrangements, he is said to be equally happy, and his accompaniments possess a richness of harmony that reach beyond the ear. Mr. Nathan is also eminent as a singing master, and has lately published a very valuable and profound work, in connexion with this branch of his profession, entitled An Essay on the History and Theory of Music, and on the Qualities, Capabilities, and Management of the Human Voice.

"UNION-HALL", Bell's Weekly Messenger [London] (31 August 1835), 5

Friday Mr. Isaac Nathan, author of essay on the history and theory of music, and composer of some Hebrew melodies, appeared on the authority of a summons granted against him, on the complaint of Lord Langford, who charged him on suspicion of having pawned or otherwise disposed of five paintings intrusted to his care. Pending the investigation of the case an assault was committed by Mr. Nathan on his lordship, which was the subject of another charge subsequently preferred against him.

Lord Langford stated, that between four or five months ago he intrustsd five paintings and a book into the hands of the defendant, who promised to take care of them. Since then two applications had been made to him for the restoration the pictures, but he refused to give them up, and on Tuesday last his lordship called upon him with the view of insisting on their being returned. At that interview the defendant still persevered in his determination to hold possession of the paintings, and spoke of his being indebted to his landlord, and that he intended to make money of them in order to liquidate the debt. Lord Langford added, that having reason to believe that the defendant had either pledged his property or otherwise illegally disposed of it, made application at this office on a former day fora summons against him.

The defendant, who was evidently labouring under excited feelings during the statement made against him, denied in the most positive terms that he had either pledged paintings, or had otherwise unlawfully disposed them. He accused Lord Langford of deliberate falsehood, reproached him for acting in the manner he had done, and said that he owed him 300l. He admitted having five paintings in his possession belonging to Lord Langford, but until his debt was liquidated he should not return them. "Did I not refuse your bond for the 300l you are indebted to me?" said the defendant, addressing his lordship.

Lord Langford responded, "No, it's no such thing."

Mr. Wedgwood said, that if the paintings were in the possession of Mr. Nathan, they (the magistrates) had no authority to act under such circumstances, it was only in cases where property was intrusted to individuals, and where it was either pledged or unlawfully disposed of, that the law empowered them as magistrates to put it in force. Here the case was different, the paintings were intrusted to Mr. Nathan, and he declared they still remained in his possession.

Lord Langford. - My impression still that the defendant has either pledged or made away with the paintings, and I request to know, if he has not parted with them, whether he cannot be restrained from doing so if they are still in his possession, which I very much doubt.

Mr. Wedgwood replied, that if the paintings were not delivered up to Lord Langford, his remedy against Mr. Nathan would be by civil action. The magistrate then suggested, that the most satisfactory plan, in his opinion, for both parties would be for the defendant, if he had no objection, to allow an officer to accompany him to his house, and there permit Langford to have a sight of the paintings, in order to convince him that they still remained in his possession.

Lord Langford and Mr. Nathan, accompanied by Newcomb, the officer, then left the office, with the intention of proceeding to Vauxhall, in order to have an inspection of the pictures. In about three quarters of an hour afterwards Lord Langford entered the office alone, with his head bound with a silk handkerchief. It was evident that had been assaulted during his absence, the bosom of his shirt, waistcoat, and trousers having spots of blood upon them. Soon afterwards Mr. Nathan and the officer arrived, upon which Mr. Wedgwood inquired whether the pictures had been produced at the residence of the former.

Newcomb, the officer, replied in the affirmative.

. . . Mr. Wedgwood, after having consulted with Mr. Jeremy, dismissed the charge, observing that Lord Langford had not made out his case, the onus being upon him to have proved, if he was in a condition to do so, that the paintings had been illegally disposed of.

Lord Langford, again addressing the magistrates, said that he had another charge to prefer against the defendant, namely, that of an aggravated assault having been committed upon him by Mr. Nathan, after leaving the office that morning for the purpose of inspecting his own pictures at that individual's house in the Vauxhall-road. His lordship then shortly stated, "In conformity with your worship's suggestion, I went to the defendant's house, - high words ensued between us, he called me names, and I called him names, upon which (said his lordship) he struck me violent blow on the side of the head with his fist, which blow I did not resent at the time."

Nathan, in answer the charge, did not deny the fact of his having struck Lord Langford, but declared that was most grossly treated before he had recourse such alternative . . .

. . . Lord Langford admitted that he had applied the epithet "scoundrel" to the defendant on the occasion, but not before words of similar tendency were applied to him.

Newcomb, the officer, stated that Lord Langford stood in the passage of the defendant's house, when high words and and offensive epithets were bandied about between them, but he could not say which of them had used the first offensive expression. They were both in a passion.

The magistrates consulted together, and afterwards said that they should inflict no fine on the defendant, but should make him enter into his own recognisance in the sum of 20l to answer the charge at the sessions, in the event of Lord Langford filing a bid of indictment against him.

Lord Langford appeared surprised at the decision, and left the office, expressing his determination to take the case before another tribunal.

Mr. Nathan said he was perfectly willing to have such a proceeding adopted against him, but he was convinced that his lordship would not risk such a step for fear of the exposure.

"MUSIC", The London Literary Gazette (28 November 1835), 763 

A Selection of Hebrew Melodies, Ancient and Modern. By J. Nathan. London, Fentum. WE have unfortunately mislaid the two previous Numbers of this most delightful collection of melodies, but think we remember noticing them with the same praise we now cordially give to the third Number, which contains nine melodies, each shewing great power. Our favourites are "Warriors and Chiefs," a spirited composition. "Herod's Lament" we have no scruple in naming one of the most exquisite (words and music) and touching things we ever heard. This alone is enough to recommend the volume. "The Vision of Belshazzar" is also strikingly beautiful; and the "Destruction of Sennacherib," a fine minor. After all, one volume of melodies like these is, in a musical library, worth a million of the commonplace and trashy songs of the day.


Oh, Hebrew Muse! replete with sacred fire.
Solemn with years, and bright with glory's rays,
Thou who hast charm'd my long-neglected lyre,
And taught my soul superior hymns of praise
To those renown'd in Greek and Roman days.
I leave thee yet awhile with pangs of grief,
Such as the voice of friendship oft displays
In many a broken sigh and sentence brief,
Wandering and mourning for the wish'd relief.
I leave thee, muse, or only seem to leave,
Since in my bosom thou remainest chief;
Bound with the fibres which my heart inweave:
Nor can by death the union sweet be riv'n;
Dying, I find thee sweeter still in Heaven.

"LAW REPORT. VICE-CHANCELLOR'S COURT. CAMPBELL V. CHAPPELL", Evening Mail [London] (5 November 1838), 8

Mr. K. BRUCE moved, ex parte, for an injunction to restrain the defendant, the music-seller in Bond-street, from publishing a song the copyright of which belonged to the plaintiff. The statement in the affidavit was, that the copyright of 26 poems, called "Hebrew Melodics," composed by Lord Byron, had been assigned by his Lordship to Mr. Nathan, who had set them to music, and that one of the poems, known by the title "I saw thee weep," which had since become the property of the plaintiff by assignment, had been adapted with two slight verbal alterations to different music, composed by Mr. Hodson of the Yorkshire Stingo, and published by the defendant under the same title. His Honor granted the Injunction.

The stage: both before and behind the curtain, from "Observations taken on the spot" by Alfred Bunn . . . volume 1 ([London]: Richard Bentley, 1840), (1845) 146-47 

[1845] . . . The fiftieth night of Gustavus was celebrated, on the stage of Covent Garden Theatre, by a supper, to which the many noble supporters of that opera were invited, to meet the united company of the two theatres*; and the fiftieth night of St. George and the Dragon was commemorated by a sumptuous dinner [146 NATHAN THE COMPOSER] given by Mr. Ducrow on the stage of his own theatre, the humorous incidents attendant upon which would form a volume of themselves. I had sooner by far hear any one of Ducrow's very shortest speeches, than listen to all harangues of at least eleven-twelfths of the enlightened British Parliament; and there is many a member of the senate who has heard both, and will say the same. The incident which here occurred to Nathan, the composer of the Hebrew Melodies (of whom the illustrious author of the words says, in a letter to Mr. Moore, "Sun-burn Nathan! Why do you always twit me with his vile Ebrew Nasalities?") literally convulsed the whole assembly. Nathan is partial to his own singing of his own melody, "Jephtha's Daughter;" a name which Ducrow confounded, or thought proper to do so, with one of a more theatrical sound; and wishing to amuse his friends, exclaimed, "Come, Mr. Nathan, tip us Jaffier's Daughter"? The Israelite obeyed the call, and sat down to an upright pianoforte, on the top of which a favourite and well instructed parrot, belonging to Ducrow, had perched. The moment after he had run down the keys, and warbled the first line,
"Since our country, our God, oh! my sire,"
[147] the bird chattered out, in quite as audible a voice, "D____d stuff, d____d stuff, Polly Ducrow." I almost fancy I can even now hear the shrieks of laughter it occasioned: but Nathan, unabashed, as soon as the company could command a more serious attention, "went at it again," and striking up that beautiful line,
"And the voice of my mourning is o'er,"
the parrot gave him another touch of "Gammon! "Gammon, Polly Ducrow," and there was an end to "The Song of Salem" for that evening, at all events. I have a proper respect I hope for Mr. Nathan's musical abilities, but I am certain I should burst out into a fit of laughter, if I were ever to hear him sing again . . .

Isaac Nathan, letter to an unknown correspondent, Lambeth, 29 June 1840; State Library of New South Wales, MLMSS 5912 

Prior to Nathan's departure for Scotland [sic], Nathan offers for sale the printing plates for the Hebrew Melodies and of his song Why are you wand'ring here I pray?, together with letter press copies of Hebrew Melodies; MS purchased from Otto Haas, London, 1994

MR. NATHAN AND LORD MELBOURNE, Sunday Times [London] (26 July 1840), 5

"MR. NATHAN AND LORD MELBOURNE", Sunday Times [London] (26 July 1840), 5 (PAYWALL)

TO THE RIGHT HON. LORD VISCOUNT MELBOURNE. My Lord - You cannot, after my reiterated applications . . .

27 July 1840, publication of the 4th (and final) number of Hebrew melodies

[Advertisement], Morning Post (21 July 1840), 1

ON the 27th of July instant will be published by FALKNER, 3, Old Bond-street, by Nathan, Author of the "Musurgia Vocalis." NEW MUSIC. No. 4, Hebrew Melodies, by Lord Byron, with original anecdotes, critical remarks, and observations, together with a corresponding new edition of Nos. 1, 2 and 3. each 15s., containing several original stanzas of the Noble Poet. Also the following Single Songs from the work . . .

[Advertisement], Morning Post (12 September 1840), 1

CAUTION. - Injunctions having been lately obtained against two Music Publishers for selling two of Lord Byron's songs, "I saw thee weep," and "Sun of the sleepless," the music of the first by Hodson, and of the second by Menelssohn, Musicsellers are CAUTIONED against publishing or dealing in any but the edition of the Hebrew Melodies, the music imposed by Nathan, to whom the copyrights of the poems were given by the late Lord Byron, and which is on sale, in numbers and single songs, at Falkner's Music Warehouse, Old Bond-street, the sole publishers thereof.
- Now just published, the 4th number of the Hebrew Melodies, and new editions of Nos. l, 2, and 3. each 15s. The songs may be had separately at Falkner's Music Warehouse, Old Bond-street.

After 1840

"MONEY MARKET & CITY INTELLIGENCE", Morning Advertiser [London] (22 June 1841), 2

. . . Port Phillip has been making rapid progress too, seemingly. The arrivals of vessels there last year were 313, of 54,938 tons, more, it is said, than was ever known in the history of colonization for young a settlement. Among the emigrants who had reached this part of Australia, we notice the name of Mr. Nathan, the celebrated composer, and adapter to music of Byron's Hebrew Melodies. This gentleman intended to settle permanently at Port Phillip, where we trust he will long live to delight the inhabitants with the refining art he professes . . .

"NEW MUSICAL PUBLICATIONS", London Daily News (14 February 1846), 7

The Poetry of Byron's Hebrew Melodies; with new music by STEPHEN GLOVER. - C. Jeffrys.

When Lord Byron's "Hebrew Melodies" were first published, the task of clothing them with music was executed by a very incompetent hand - that of Mr. Nathan, a person who gained some popularity about thirty years ago, but is now deservedly forgotten. Mr. Glover's new music to these fine sacred songs is much superior to Mr. Nathan's, though Byron's poetry demands music of a higher order still. "Jephtha's Daughter" too much in the style of an ordinary ballad, and does not give expression to the lofty sentiment of the words. "The Wild Gazelle" has a free and flowing melody, with brilliant accompaniment, and some good modulations . . . "Oh, weep for those that wept by Babel's stream," is a kind of aria parlante, which admits of clear and expressive utterance of the verses. "The Assyrian came down, like the wolf the fold," which, in respect to the poetry, is the most powerful of these pieces, is also the most successful respect to the music . . . "She walks in beauty," is pretty, but (like "Jephtha's Daughter") too much in the style of a common ballad. This, too, is the case with "My soul is dark;" but the air graceful, and the accompaniment, imitation of the harp, is ingenious and pleasing. On the whole, though Mr. Glover's music has not reached the height of Byron's poetry, yet it has much beauty, and will give pleasure, we think, to the most cultivated taste.

"TO CORRESPONDENTS", Illustrated London News (5 February 1848), 6

"Boston." Mr. Nathan, the composer, is dead. [sic]

Answer to question from correspondent identified as "Boston"; compare the later celebrated line, "he is (either) dead, or gone to Australia", see, Parliamentary papers, House of Commons . . . volume 48 (1853), 282 

"AUSTRALIAN CELEBRITIES", Dundee, Perth, and Cupar Advertiser [Scotland] (1 February 1859), 4

. . . The chief musical authority is that "sunburn Nathan" who set Byron's "Hebrew melodies" to music. He is a pleasant old man, makes a good white port wine, and talks quite charmingly over it of the ill-starred bard - Southern Lights and Shadows; or, Life in Australia. By Frank Fowler.

ASSOCIATIONS: Frank Fowler; Fowler's account of his recent Australian visit had just been published as Southern lights and shadows, see Bibliography below

Letter from Robert Bowning, to Miss Isa Blagden, 19 September 1869, page 2; Armstrong Browning Library, Baylor University, Waco, Texas (DIGITISED)

. . . Now, for something else, - don't join the cackle of the geese about the incredibility of that story about Byron: I have known it to be true, above five & twenty years, - with circumstances, unknown to Mrs. Stowe, which never left me in any doubt about it, - the first suspicion, indeed, if not certainty, having come of an anecdote communicated by my old singing master Nathan, before I was twenty: then came confirmation of it, from the Sister of the child's governess, to whom the child - (then dead - she was a wretched creature, - reduced, - who died an irreclaimable prostitute in the streets, preferring that life to any other,) - to whom the child used to boast of the fact of her parentage: and on my telling this story to Mrs. Jameson in the first year of my marriage when we traveled together, she, after receiving directions from Ly. Byron, - revealed the whole story, - all, - and very much [more] than you know: I only tell you, in strict trust, that you may not join in the nonsense I see in print. God bless you ever RB.

Letter from Robert Browning, to Abraham Hayward, 2 November 1869, page 1; Armstrong Browning Library, Baylor University, Waco, Texas (DIGITISED)

Dear Hayward, The first I heard of the ugly story, from Nathan through my cousin, was in London about the year 1833 . . .

Letter from Robert Bowning [on his musical training], to Henry Spaulding, 30 June 1887, page 3; Armstrong Browning Library, Baylor University, Waco, Texas (DIGITISED)

[1] . . . I may observe generally that whatever may be the profit I gained [2] by the study of Music, mine has been a serious one: John Relfe, my instructor in counter point was a thoroughly learned proficient . . . Under other masters I learnt what I once knew of the method of playing on the Violoncello, [3] Violin, and Piano-forte: and quite enough of this survives to keep me from slipping when touching on what is connected with it. As for "singing" - the best master of four I have, more or less, practiced with, was Nathan, author of the Hebrew Melodies: he retained certain traditional Jewish methods of developing the voice . . .

Documentation (Australia)

Before 1841

"THE MUSE", The Hobart Town Courier (3 May 1828), 4 

Dicky Dolus, sick of strife . . .

"LORD BYRON", The Sydney Gazette and New South Wales Advertiser (13 May 1830), 4 

Mr. Nathan, the musical composer, has just published a pleasant volume of "Fugitive Pieces and Reminiscences of Lord Byron," with a new edition of the celebrated "Hebrew Melodies," and some never before published, of which the following are three, with Mr. Nathan's Notes:-




. . . There are several other interesting anecdotical Recollections of Lord Byron, especially of his connexion with Drury Lane Theatre, and above all, a new light is thrown upon his lordship's affair, with Mrs. Mardyn. Appended are likewise some characteristic traits of the late Lady Caroline Lamb, with some pleasing specimens of her ladyship's poetical talent. Altogether, Mr. Nathan's is just the book for the season.

"ANECDOTES OF MADAME MALIBRAN DE BERIOT (From Mr. Nathan's Memoirs)", The Sydney Gazette and New South Wales Advertiser (23 February 1837), 4 

"THE ADELAIDE TAMBOURGI", Southern Australian (19 March 1840), 4 

A War-song AFTER Byron, I. Gazette, O ! Gazette, O ! Thy 'larum afar . . .

See also several pre-1841 Australian press references to Nathan's song, Why are you wandering here, I pray


To call up all the TROVE newspaper items tagged Isaac Nathan for 1841:

[News], Australasian Chronicle [Sydney, NSW] (28 January 1841), 2 

We are given to understand, from indubitable authority, that Mr. Nathan, composer of the music to the Hebrew Melodies, and the particular friend of Lord Byron, embarked from London with his talented family on board the York, bound for Sydney. The talents of this gentleman are too well known to need comment; and, being a man of immense capital, he cannot fail of being a considerable acquisition to the colony.

ASSOCIATIONS: William Augustine Duncan; editor of Sydney's Catholic party newspaper, Australasian Chronicle, Duncan was a well-informed amateur musician; he sang in the choir of St. Mary's Cathedral, Sydney, and was author of all of the articles in this journal below dealing with Nathan, and, after his removal from the Chronicle late in 1842, those in his own Weekly Register.

5 February 1841, arrival, per York, Melbourne, Port Phillip District, NSW (VIC)

"Shipping Intelligence. ARRIVED", Port Phillip Patriot and Melbourne Advertiser (8 February 1841), 2 

February 5 - York, ship, 1015 tons register. Captain Legg; from the Downs, 4th October, Plymouth 9th October, and Cape of Good Hope, 27th December. Passengers - Cabin - Mr. and Mrs. Dendy and son, Mr. and Mrs. Watson and family, Mr. and Mrs. Nathan and daughter, Miss Hoole, Mr. Bailey, Mr. Jeffries, Mrs. Henderson, Messrs. E. B. Wight, J. Hoole, Arthur, Garden, Addison, Wilson, Dunsford, Duncan and Veneur [sic], Captain O'Poole and son, and Dr. Nathan. - Twenty intermediate and thirty-four steerage passengers.

"THE YORK", Port Phillip Patriot and Melbourne Advertiser (8 February 1841), 2 

We have much gratification in announcing the arrival by the York of Mr. Nathan, an eminent scholar and musician, the bosom friend of the late Lord Byron, and the author of "The History and Theory of Music," "Hebrew Melodies," "Musurgia Vocalis," the music in the operas of "The Illustrious Stranger," "Sweethearts and Wives," &c., and of many other musical and literary works. Mr. Nathan has been deservedly patronized by every branch of the Royal Family of England - he had the distinguished honour of being appointed Professor of Singing to the late Princess Charlotte of Wales, and Musical Theorist and Composer to His Majesty George the Fourth, to whom his learned "History of Music" is dedicated. Mr. Nathan purposes fixing his residence permanently in Sydney, but should sufficient encouragement offer, we doubt not he might be induced to remain here. Mr. Nathan has a large family all of whom are musical, we may venture therefore, at all events, to hope that whether he fixes his residence here or proceeds to Sydney, the Melbourne public will be indulged with a Family Concert on an early day. Wherever Mr. Nathan may settle his arrival in Australia is matter for congratulation, and we sincerely hope that he will succeed in establishing a national character for melody for Australia as the ill-fated David Rizzio is said to have done for Scotland. The passengers by the York are a valuable acquisition to the colony both in point of capital and respectability. Among the number is Mr. Venour, nephew of Admiral Sir Thomas Briggs, Captain O. Poole, Lieut. Jeffreys, and several others equally respectable.

"NATHAN", Port Phillip Gazette (10 February 1841), 3 

"CONCERT", Port Phillip Patriot and Melbourne Advertiser (15 February 1841), 2 

Mr. Nathan, the eminent musician, whose arrival, by the York, we noticed in a late number, has announced his intention to give a Concert at the Caledonian Hotel, under the patronage of Mr. and Mrs. La Trobe, on the evening of Thursday the 18th instant.

ASSOCIATIONS: Charles La Trobe, superintendent (later lieutenant-governor) of the Port Phillip settlement, and his wife Hannah Sims; Nathan almost certainly would have known his father, the musician and composer Christian La Trobe

"SHIP YORK. To the Editor", Port Phillip Gazette (17 February 1841), 3 

SIR,- We the undersigned chief cabin passengers bound to Sydney, having paid for and been promised a comfortable and liberally supplied table throughout the voyage, feel great regret in being compelled with the view of restraining further indignities and impositions, to request you will lay before the public through the medium of your valuable Journal, the following facts, explanatory of the treatment we have endured for many a weary day, and which in many respects still continues to obtain, on board the "York": - . . .

. . . Captain James Legg's personal INSULTS and ASSAULTS upon his crew and passengers were, alas, lamentably prevalent since we left our native land for this splendid and highly interesting country.
We are, Sir, your obedient servants,
Henrietta Henderson ; T. B. H. Vernour
Henrietta Nathan ; C. Gordon
J. Nathan ; J. Addison
O. Poole ; J. Duncan
C. Nathan.
Port Phillip, February 13, 1841.

[Advertisement], Port Phillip Gazette (20 February 1841), 2 

"THE CONCERT", Port Phillip Patriot and Melbourne Advertiser (18 February 1841), 2

We need scarcely remind our readers that Mr. Nathan's Concert comes off at the Caledonian Hotel, this evening, for it would be a libel on the taste of the beau monde of Melbourne, to suppose that a Concert given by the author of the Hebrew Melodies, and the bosom friend of Lord Byron, could be thinly attended.

18 February 1841, concert, Caledonian Hotel, Lonsdale Street, Melbourne

[Advertisement], Port Phillip Patriot and Melbourne Advertiser (18 February 1841), 3 

TO be held on THURSDAY, the 18th instant,
at the Caledonian Hotel, Lonsdale-street.
Part I.
Glee - She walks in beauty, (Hebrew melody) - Nathan
Duet - Happy Land - Rimbault
Song - The Wolf - [Shield]
Glue - By the moon we sport and round about in a fairy ring - Callcott
Song - Jephtha's Daughter, (Hebrew melody) - Nathan
Duet - Vederlo sol viamo - Paer
Duet - Albion - Braham
Song - Meet me in the Willow Glen - Lee
Quartetto- On Jordan's Banks (Hebrew melody) - Nathan
Part II.
Quartetto - The wild Gazelle (Hebrew melody) - Nathan
Song - Non piace mesto - Rossini
Duet - Love and War - Cooke
Glee - The bark before the gale - Willis
Song - The destruction of Sennecharib (Hebrew melody) - Nathan
Duet - As it fell upon a day - Bishop
Song - Largo al factotum - Rossini
Song - Ballad - Lee
Glee - The Chough and Crow - Bishop
Mr. Nathan will preside at the pianoforte, and will in the course of the evening give extemporaneous performances on that instrument.
Single tickets of admission 15s., each; family tickets for two, £1 1s.; to be had at the "Herald" and " Gazette" Offices, and at Messrs. Kerr & Holmes' Stationery Warehouse, Collins-street. Doors open at half-past seven, and the Concert to commence at eight o'clock, precisely.
(Full Dress.)

NOTE: The Caledonian Hotel, on the south side of Lonsdale Street, east of Swanston Street, had been Presbyterian minister James Clow's house; see watercolour by W. F. E. Liardet: 

"NATHAN'S CONCERT", Port Phillip Gazette (20 February 1841), 3 

On Thursday evening the Melbourne public were highly gratified with a musical treat of no common order, especially in this hemisphere, in which the talents of this celebrated composer, and of his gifted family, were exhibited to an admiring audience. The concert was under the patronage of His Honor the Superintendent, whose attendance personally could not fail to ensure a full and respectable assemblage, the large room at the Caledonian not only being completely filled, but numbers of the company being obliged to remain in the verandah. A critique upon the performances, although probably expected by non-attendants, is a task too difficult of the attempt, for where there can be no fault found with the entire undertaking, there is little room left for the selection of individual portions, as meriting a superior claim of notice. If such in the present instance be not allowed, we should be disposed to acquiesce in the simultaneous and universal expression of the assembly, which the rapturous encores of, "As it fell upon a day," "Largo al Factotum," and "The Chough and Crow," elicited, as the favorite performances of the evening. To induce a repetition of this exquisite entertainment, the Masonic Body have requested Mr. Nathan to allow them to patronise another evening's concert, that gentleman being a member of the craft, and next Wednesday week, the 3rd of March, has accordingly been assented to, upon which occasion, according to usual custom, the brethren will attend in full masonic costume.

"MUSIC", The Sydney Herald (22 February 1841), 2 

We have the most unfeigned pleasure in announcing to our musical friends, that the celebrated composer, Nathan, has arrived by the York, from England, at Port Phillip, with his family, on his way to Sydney. The strength of our musical corps will thus receive a most important addition, and, with the aid of the band of the 28th, under the scientific superintendence of their able master, Cheodetti, and by the kind liberality of Colonel French, we may have the satisfaction of obtaining concerts of a superior description to any ever witnessed here. We greatly want public amusements, and we know of none more deserving of encouragement than music-national or foreign, or both, we care not, so that the pieces be well selected, and all the foreign piece confined to the instrumental music; but in our present state of advancement, we strongly object to vocal pieces in foreign languages, known to very few of the auditors. Whoever was present at the late concert at the Victoria Theatre, must have observed the vague and vacant stare from the pit and boxes directed at Mr. Bushelle, while singing the richly humorous buffo song of "Perpuccie." Not one of the points was comprehended, and the whole might as well have been acted in dumb pantomimic show, as accompanied by the unintelligible Italian words. How different his Blarney about the "Coronation" went off we need not say. The humour of Power was never more genuinely given, even by the inimitable Liston himself, or the lamented Jack Reeve. Let us have English, then, in all vocal pieces - and banish Italian till it can be fairly and generally understood. The following is the announcement in the Port Phillip Herald . . .

ASSOCIATIONS: Charles Kemp (journalist, literary editor, The Sydney Herald and later The Sydney Moninng Herald); Band of the 28th Regiment; Vincenzo Chiodetti (master); John Bushelle (bass vocalist)

"THE MUSICAL WORLD" Free Press and Commercial Journal (24 February 1841), 2 

We copy the following paragraph from the Port Phillip papers. Dr. Nathan, whose arrival is announced, is an eminent musician; he was, it appears, the person chosen by Byron, to compose the music for his Hebrew Melodies; he has produced a great variety of compositions, and his pupils rank high in the musical world at home. An attempt will be made to engage Dr. Nathan as organist for St. Mary's (Roman Catholic Chapel) when the splendid organ which has recently been imported shall have been set up. We anticipate, from the arrival of Dr. Nathan and his family, rich musical entertainments, oratorios, &c., and we trust that he will not regret having left, his friends and patrons at home to take up his sojourn amongst us . . . [paragraph from Port Phillip Herald]

"THE COMPOSER NATHAN", Australasian Chronicle (25 February 1841), 2 

WHILE some of our contemporaries - the Professor among the rest - are bewildering their readers respecting this eminent composer, in their anxiety to welcome him to Australia, we beg to pay our tribute to genius by giving our readers some more authentic information respecting his life and works . . .

NOTE: Reproduces entry from Sainsbury 1824, above

"THE CONCERT", Port Phillip Gazette (3 March 1841), 3 

Need we remind our fair friends that this evening Mr. Nathan's Concert takes place. We are satisfied that the reminiscence is perfectly useless, as the anticipation of such an evening's amusement requires no adventitious aid to ensure the attendance of all those who possess the "soul of music." The arrival of Mr. Nathan's own piano adds another attraction to the anticipated entertainment.

[Advertisement], Port Phillip Gazette (3 March 1841), 1 

MR. NATHAN'S Grand Vocal and Instrumental Concert, (At the especial request of the Freemasons,
ON Wednesday, March 3, Mr. Nathan's, Grand Vocal and Instrumental Concert will take place at the Caledonian Hotel, to commence at eight o'clock, p. m.
Part 1.
Glee - Thy days are done (Hebrew melody) - Nathan
Duet - Piu non si trovano - Masini
Song - Is there a heart - Braham
Song - Scenes of my youth - Benedict
Trio - Zitti Zitti - Rossini
Song - The Grave Digger - Kallievoda [sic, Kalliwoda]
Duet - The Butterfly - Sale
Glee - It was a Friar of orders grey - Callcott
Duet - (Piano Forte) Non mi parla D'Elisa - Mercadante
Part 2.
Glee - The Erl King - Callcott
Song - Where, where is the rover - Lee
Glee - The May Fly - Callcott
Duet - Care Pupille - Blangini
Song - Thou Morning Star
Song - As I view these scenes - Bellini
Glee - Saul (Hebrew melody) - Nathan
Part 3.
Duet - I know a Bank - Horn
Glee - Desolate is the dwelling - Callcott
Song - Bid me discourse - Bishop
Duet - (Piano Forte,) Overture Sargino - Paer
Song - Tho' love is warm awhile - Braham
Trio - Aldiboronto-phoscophorino - Callcott
Quartette - On Jordan's Bank - Nathan
To conclude with "God save the Queen."
Tickets, 10s. 6d each to be procured from the Stewards appointed by the Lodge.

"CONCERT", Port Phillip Gazette (6 March 1841), 3 

On Wednesday evening Mr. Nathan's second Musical Soiree (that being the fashionable phrase) took place. His Honor the Superintendent and Mrs. La Trobe graced the assembly with their presence, having accepted the invitation of the Freemason's Lodge, under whose especial patronage the evening's amusement was assumed and directed. The large room at the Caledonian was not only filled to an overflow, but the verandah also was crowded to excess, being by far the largest concourse that has yet taken place in Melbourne for any similar purpose. Comment upon the performances consequently would be useless, as every person of polished taste and refinement being presumed to have been present, to such any criticism would be unnecessary, to all others uninteresting. We shall therefore content ourselves by observing that the selection of Music was good, the execution was superior, and the tout ensemble "super excellent." It is with no small degree of pleasure we announce to our reader that the very foundation stone, the prop and nourishment of Port Phillip - the Merchants - have it in contemplation, before Mr. Nathan leaves the colony, to patronise a farewell benefit Concert for him, to conclude with a Ball, as a mark of admiration for the eminent talents of himself and family.

"ITALIAN MUSIC IN SYDNEY", The Sydney Herald (18 March 1841), 2 

. . . how are Italian words to be made intelligible in Sydney, where Hebrew itself is better understood? We expect Mr. Nathan shortly, and we should recommend him to eschew Italian, but if we must have outlandish songs, to let us have a specimen of Hebrew or High Dutch, or of the beautifully liquid Aboriginal tongues of Australia, Tahiti, or Tongataboo, superior to our ear, to all the smooth and oily, but feeble and strengthless Italian, which seems chiefly adapted for nursery lulabys or the puling madrigals of love sick sonneteers. It will not be our fault if these plain common sense views be not adopted so strongly by the Australian public, that we shall soon have exclusively good sterling English - "rich and rare" - instead of being buffoed and bambouzled with no-sterling-about-it Italian.

We have just seen one of Mr. Nathan's Melbourne Programmes, and are happy to observe only two Italian vocal pieces in the whole of it and we should not be so fastidious as to object to these in the light of mere specimens. But to make Italian the leading language to an English audience, is preposterous, absurd, and insulting.

See also, from London:

"MONEY MARKET INTELLIGENCE", Morning Advertiser [London] (22 June 1841), 2

. . . Port Phillip has been making rapid progress too, seemingly. The arrivals of vessels there last year were 313, of 54,938 tons, more, it is said, than was ever known in the history of colonization for young a settlement. Among the emigrants who had reached this part of Australia, we notice the name of Mr. Nathan, the celebrated composer, and adapter to music of Byron's Hebrew Melodies. This gentleman intended to settle permanently at Port Phillip, where trust he will long live to delight the inhabitants with the refining art he professes. Flour at Melbourne, the capital, was worth 35l. to 37l. per ton . . .

26 (cleared), 28 (sailed) March 1841, departure, Melbourne, per York

"Shipping Intelligence. CLEARED OUT", Port Phillip Patriot and Melbourne Advertiser (29 March 1841), 2 

5 April 1841, arrival, Sydney, NSW

[News], The Australian (6 April 1841), 2 

We are happy to announce to our musical friends, that Mr. Nathan will shortly arrive from Port Phillip. No doubt the accession of so useful a member to our "corps musical," will be hailed with satisfaction. We shall look for the amusement of a Concert without delay, and have no doubt that the Sydney public will patronize extensively the debut of Mr. Nathan, whom we wish every success in his professional career . . .

"ARRIVALS", Australasian Chronicle (6 April 1841), 3

From Port Phillip, same day [yesterday], whence she sailed the 28th ultimo, the ship York, Captain Legg, with sundries. Passengers, Captain Poole and son, Messrs. Vernon [sic], Duncan, Henderson, White, Villar, Derley Mr. and Mrs. Nathan, seven intermediate and four steerage passengers.

"Shipping Intelligence. ARRIVALS", Australasian Chronicle (6 April 1841), 3 

. . . Mr. and Mrs. Nathan and six children . . .

"MR. NATHAN", The Sydney Gazette and New South Wales Advertiser (8 April 1841), 2 

This gentleman, his wife, and family arrived here a few days ago from Port Phillip, to the infinite gratification of our musical savans, who are on the tiptoe of expectation to hear this celebrated master of vocal music. Mr. N. has, during the few weeks he remained at Melbourne, won golden opinions from the denizens of that fair city, and we trust his popularity here will not fall short of his deserts. We doubt not Mr. Nathan's debut will pass off with eclat. We have not as yet learnt when it will take place, but hope soon to lay this information before our readers. On this subject at present we shall not further enter, but beg to congratulate Mr. Nathan on his safe arrival in the capital of the far South. That step, we trust, he will never have any cause to repent.

"MR. NATHAN", Australasian Chronicle (8 April 1841), 3

Many of our readers will learn with real pleasure that this eminent composer and his talented family have arrived in Sydney. We have already drawn the attention of our readers to the merits of some of the works of this celebrated musician, and noticed the chief incidents in his life; and, observing with pleasure that the buoyancy of his spirits is not in the slightest degree diminished, after a chequered life, and a voyage half round the globe, we hope that he is destined to enjoy a long and brilliant career in his adopted land, with profit to himself, and with much gratification to the community. We shall look forward with much interest to his first concert.

[News], Australasian Chronicle (13 April 1841), 2 

We are happy to announce that this talented musician and his family have been engaged to conduct the choir of St. Mary's cathedral. A choir under such a conductor, accompanied by the splendid new organ, which is nearly ready for use, and performing the chefs d'oeuvre of Haydn and Mozart, must speedily become a musical attraction of no common kind, and tend in the highest degree to improve the musical taste of the colony. Mr. Bushelle has, we believe, announced his intention of retiring from the choir of St. Mary's, and we have no doubt that a proper testimonial will be awarded to him for his exertions during the time it has been under his direction.

ASSOCIATIONS: With bishop Bede Polding (vicar-apostolic of New Holland) being on leave in Europe (he returned in March 1843), the appointment was probably made by the vicar-general Francis Murphy

[News], The Australian (20 April 1841), 2 

By some of the late London papers, we perceive that Mr. Nathan, the composer, (who is now a resident among us,) has published a fourth number of Hebrew Melodies. We trust that Mr. N. has brought some few copies of such melody with him. If not, we shall have to wait some time before our "London Musical Correspondent" will ship to the colony new publications. By the bye, the public are waiting with some anxiety for the debut of Mr. Nathan and his family at a concert or oratorio. We can assure Mr N. that he need not fear of securing a fashionable attendance at his musical soirees.

NOTE: See London July 1840 above

[News], The Australian (24 April 1841), 2 

We have been making, within the last few years, great advances in the science of music, and we hope the arrival of Nathan the composer will tend to increase the love for it. We were favoured with that gentleman's "Musurgia Vocalis" (being an Essay on the History and Theory of Music). Our space and time forbid us entering into the merits of this really delightful work, but we cannot avoid selecting some few extracts: - . . .

NOTE: In addition to those listed below, newspapers ran several other extracts from the work; see:

[Advertisement], The Sydney Herald (29 April 1841), 3 

MR. NATHAN'S ACADEMY, in classes, for the formation, cultivation, and management of the human voice, by the exercise of intonation, articulation, execution, expression, solfeggi, sight-singing, solos, duets, trios, catches, glees, quartettes, madrigals, &c., will open in a few days, at his residence, Ada Cottage, Prince's-street. - Days of attendance, Mondays and Thursdays, from ten till four. A class for gentlemen only in the evenings of the same days, from eight till ten. Those who are desirous of availing themselves privately of the advantages of the academy may form their own select parties of four or six in a class. Tuesdays and Fridays will be exclusively set apart for private instruction in singing, piano forte, thorough-bass, or composition.

NOTES: Nathan gave Ada Cottage, in Prince Street, on The Rocks, as his address until September/October 1842; the architect Edmund Blacket lodged in another, probably typical cottage in Prince Street, c.1842; see his watercolour sketch: 

6 May 1841, local "publication" of Nathan's printed works

[Advertisement], Australasian Chronicle (29 April 1841), 3 

NEW MUSIC. Just landed from England, and on 6th May will be published in Sydney, and to be had of the author, at his residence, Ada Cottage, Prince's-street,
NATHAN'S HEBREW MELODIES, complete in four parts, 15s. each the poetry written expressly for the work by the late Lord Byron - newly arranged, harmonized, and revised, interspersed with original anecdote, critical remarks, and conversations of the noble poet, by the composer; including several (MS.) poems from the pen of his lordship never before published.
The following pieces from the work may be had singly:
"The harp the monarch minstrel swept"
"We sate down and wept"
"The Vision of Belshazzar"
"Fame, wisdom, love, and power"
"The destruction of Sennacherib"
"I speak not - I trace not - I breathe not thy name"
"In the valley of waters"
"When coldness wraps this suffering clay"
"A spirit passed before me"
"They say that hope is happiness"
"Were my bosom as false as thou deem'st it to be"
"Warriors and chiefs"
"She walks in beauty"
"Herod's lament"
"Thy days are done"
"On Jordan's banks"
"The wild gazelle"
"From the last hill"
"Sun of the sleepless"
"My soul is dark"
"Weep for those"
"Jephtha's daughter"
"I saw thee weep"
"It is the hour"
"If that high world."
Also may be had of the Author, Parts I and 2 of his "MUSURGIA VOCALIS," an essay on the history and theory of music, and on the qualities, capabilities, and management of the human voice
"The nameless grave"
"This rose to calm my brother's cares"
"Malibran's Farewell"
"When we two parted"
"What a lover should be"
"Why are you wand'ring here, I pray"
"Bright be the place of thy soul"
"How sad to live"
"This faint resemblance."
The following pieces have pianoforte and full orchestra accompaniments.
"When I roved a young highlander"
"Beauty's bower"
"Infant love."
The poetry of the following is from the pen of Lady Caroline Lamb.
"Weep for what thou'st lost, love"
"Amidst the flowers rich and gay"
"After many a well fought day"
"Sing not for others"
"Thou wouldst not do as I have done"
"Sir Henry de Vaux"
And all his latest publications.

See also: [Advertisement], Australasian Chronicle (8 May 1841), 3 

NEW MUSIC. THIS day is published, and to be had of the Author, at his residence, Ada Cottage, Prince's-street,
NATHAN'S HEBREW MELODIES, complete in four parts, 15s. each, the poetry written expressly for the work by the late Lord Byron - newly arranged, harmonized, and revised, interspersed with original anecdote, critical remarks, and conversations of the noble poet, by the composer- ; including several (MS.) poems from the pen of his lordship never before published.
The following pieces from the work may be had singly:
"The harp the monarch minstrel swept"
"We sate down and wept"
"The Vision of Belshazzar"
"Fame, wisdom, love, and power" "The destruction of Sennacherib"
"I speak not - I trace not - I breathe not thy name"
"In the valley of waters"
"When coldness wraps this suffering clay"
"A spirit passed before me"
"They say that hope is happiness"
"Were my bosom as false as thou deem'st it to be"
"Warriors and chiefs"
"She walks in beauty"
"Herod's lament"
"Thy days are done"
"On Jordan's banks"
"The wild gazelle"
"Front the last hill"
"Sun of the sleepless"
"My soul is dark"
"Weep for those"
"Jephtha's daughter"
"I saw thee weep"
"It is the hour"
"If that high world."
Also may be had of the Author, Parts 1 and 2 of his "MUSURGIA VOCALIS," an essay on the history and theory of music, and on the qualities, capabilities, and management of the human voice
"The nameless grave"
"This rose to calm my brother's cares"
"Malibran's Farewell"
"When we two parted"
"What a lover should be"
"Why are you wand'ring here, I pray"
Ditto, arranged with variations for the pianoforte
"Bright be the place of thy soul"
"How sad to live"
"This faint resemblance"
"Little fly"
The following pieces have pianoforte and full orchestral accomplishments [sic].
"When I roved a young highlander"
"Beauty's bower"
"Infant love"
"The lady bird"
"Long live our monarch"
The poetry of the following is from the pen of Lady Caroline Lamb. "Weep for what thou'st lost, love"
"Amidst the flowers rich and gay"
"After many a well fought day"
"Sing not for others"
"Thou wouldst not do what I have done"
"Sir Henry de Vaux"
The whole of his "Music" in the operas of "The Illustrious Stranger," "Sweethearts and Wives," "The Alcaid," &c., as performed at Drury-lane and the Haymarket Theatres
And all his latest publications.

[Editorial], The Sydney Gazette and New South Wales Advertiser (1 May 1841), 2 

. . . We love the legitimate drama, and consider the stage, under proper management, to be second only to the pulpit and the schools of public instruction, as a means of general improvement. We greet the arrival of the composer Nathan cordially, and we hope, that he will have energy and industry sufficient to elicit for us enlightenment, and for himself solid advantage, by introducing the spirit of harmony among the people of N. S. Wales - his practical inductions we trust will be similar to what he upholds in his published works, feeling and expression, in opposition to the mechanical display of the modern taste - musical metamorphoses and playing upon one string . - We are determined that we will never, while we have power, cease to agitate on the subject of open Courts!

"ORATORIO", Australasian Chronicle (4 May 1841), 2 

We are happy to announce that the organ of St. Mary's is now in progress of being tuned, and that in every respect its quality rather exceeds than disappoints our expectations. As many of our country friends are no doubt impatient to hear an instrument which, in point of size, if it were nothing else, is considerably larger than many of their cottages, we may state that a grand oratorio will be given about the beginning of June, on which occasion the entire musical talent of the colony will, under the direction of Mr. Nathan, be concentrated around this splendid instrument, in order to produce a musical treat, such as has never before been heard on this side of the equator.

NOTE: On the organ, by Bevington of London, see "New Organ for a Catholic Cathedral", The Penny Catholic Magazine (23 May 1840), 87

"ORGAN FOR ST. MARY'S CATHEDRAL", Australasian Chronicle (4 February 1841), 2 

"REVIEW", The Sydney Herald (15 May 1841), 4 

Musurgia Vocalis . . . By J. NATHAN. Pp. 353, 4to. Fentum, Strand, London, 1830. Sydney, Nathan, Prince-street. THIS is a most extraordinary book - one of the most extraordinary of many thousands, which have come under our perusal . . . From what we have said then, it will appear pretty evident that Mr. Nathan's Musurgia is not a book suited to every grade of Colonial readers . . .

[Advertisement], Australasian Chronicle (18 May 1841), 2

OPENING OF THE NEW ORGAN. IT is respectfully announced that early in June next will be given A GRAND ORATORIO; consisting of a SELECTION of SACRED MUSIC, from the works of Handel, Mozart, Beethoven, Haydn, Nathan, &c.; on which occasion, in addition to all the vocal talent of the colony, Mr. and the Misses NATHAN will assist. The Oratorio will be under the entire direction of Mr. NATHAN, who will preside at the ORGAN. Tickets for the nave and transepts of the Cathedral, 15s. each; under the organ gallery, 10s. each. Early application is requested, as no more tickets will be issued than accommodations permit. Tickets to he had of Mr. Nathan, at his residence, Ada Cottage, Princes-street; of the Music and Booksellers; and of the Committee.

[News], The Australian (20 May 1841), 2

Mr. Nathan has forwarded to us a copy of his very elaborate work upon music, entitled, "Musurgia Vocales." [sic] We have not space to devote to a review of this work, which contains a minute history of the art, and shews marks of very praise worthy erudition. The author quotes extracts written in half the languages of the world, and has produced a book equally instructive and entertaining, though some what eccentric both in its plan and details . . .

"NATHAN'S MUSURGIA VOCALIS [SECOND ARTICLE]", The Sydney Herald (22 May 1841), 4 

Many of our readers, who have perused our first article on Mr. Nathan's very extraordinary work, have been inclined to believe, that our account of it was drawn, not from the work itself, but from some imaginary work, whose image we had conjured up in our own fancy - a dreaming vision of some lost work of the admirable Crichton or of Maggliabecchi, the librarian . . . Well then, look at this our first extract from Mr. Nathan's preface, and say, whether we exaggerated, when we pronounced him to be a very miracle of learning . . .

22 May 1841, Supreme Court, Isaac Nathan v. James Legg, action to recover costs of two lost cases of music, Sydney, NSW

"SUPREME COURT, SATURDAY", The Sydney Herald (24 May 1841), 2 

. . . ISAAC NATHAN v. JAMES LEGG. In this case the defendant Legg, who is the master of the ship York, had been held to bail on the 20th of April last, for the non-delivery of two cases of music, the property of the plaintiff, who is a professor of music; and which had been valued by the plaintiff at £400 . . .

"Supreme Court. CIVIL SIDE.-SATURDAY, MAY 22", Australasian Chronicle (25 May 1841), 2 

(Before their Honors Mr. Justice Burton and Mr. Justice Stephen, in banco.)

Nathan v. Legg. -
In this case the plaintiff was Mr. Isaac Nathan, and the defendant James Legg, master of the ship York. From the affidavit of the plaintiff it appeared that he had arrived at Port Phillip by that ship from London, and from Port Phillip had come on to Sydney; and that he had brought with him from Port Phillip eleven cases of goods, nine of which had been delivered, and two of which the plaintiff had not received, although he had paid the freightage of the whole. The goods contained in the two cases were valued by the plaintiff at £400. An action for recovery of damages had been commenced against the defendant; but, in consequence of an advertisement having appeared in the public papers that the vessel of which he was commander was about to sail for Calcutta, an application had been made, and the defendant had been arrested, but had entered into a bail bond, and was released from custody. Mr. Justice Stephen had subsequently made an order in chambers for the discharge of the defendant's bail bond, as there did not appear to him sufficient grounds for the arrest. The present application was that the order made by Mr. Justice Stephen might be confirmed by the court, and that the defendant's bail bond might be cancelled.

Mr. Foster, for the plaintiff, argued at considerable length against the application, and was followed by Mr. Broadhurst on the same side. Mr. Windeyer appeared for the defendant.

After the arguments on both sides were heard the court confirmed the order in favour of the defendant; on the grounds that the plaintiff's affidavit was insufficient, and not such as was required by the colonial act, inasmuch as he had not stated what the goods were, but only that they were worth £400, of which the court had no means of judging, and which the act required; and also that it had not been sufficiently proved that the defendant was about to leave the colony. On that affidavit the defendant ought never to have been arrested, and the order must therefore be confirmed. Mr. Windeyer, for the defendant, applied for costs; but the court decided that costs should not be given.

Charles Nathan v. James Legg. - This case was similar to the above, and the decision was the same. A few other motions were made, and the court then adjourned.

"HER MAJESTY'S BIRTHDAY", The Sydney Herald (25 May 1841), 2 

. . . At one o'clock His Excellency the Governor held a Levee at Government House, which, in consequence of the wetness of the weather last week preventing country people from coming to town, was not so numerously attended as usual. The following is a list of the gentlemen who were presented: - . . . Dr. Charles; Nathan, Mr. Nathan . . .

ASSOCIATIONS: George Gipps (governor of NSW)

"GRAND ORATORIO", Australasian Chronicle (5 June 1841), 2 

Our numerous musical readers will now have an opportunity of perusing the programme of the approaching oratorio, which is being got up in a style of magnificence never before thought of in this part of the world. We believe Mr. Nathan has now engaged every professional musician in the colony, and that a host of amateurs, including many persons of great respectability, have volunteered their assistance. A new National Anthem has been composed for the opening of the selection, and we understand it is Mr. Nathan's intention to indulge in a little improvisation on the organ, upon a favourite subject of Mozart.

"The Oratorio", The Sydney Gazette and New South Wales Advertiser (8 June 1841), 2 

Without wishing to enter into religious disputes, we think it our duty to inform our subscribers and the public that the profits of the above musical entertainment are to be equally divided between Mr. Nathan, the "getter up," and the Roman Catholic Cathedral. We are therefore anxious to state this, as we happen to know that both to the members of the Cecilian Society and others, it has been represented that the Oratorio is for the sole benefit of Mr. N., and that in consequence of their belief that they were but assisting a brother chip, several amateurs have given their promise of assistance which they would not otherwise have done.

Some little misrepresentation too has been also used in the published advertisement in yesterday's Herald, as the names of parties who do not intend to sing there, and who, moreover, have never been even asked, are blazoned to the public as performers "to be about to be," at the approaching Oratorio - the name of Master C. Weavers is an instance.

As our contemporary the Australasian Chronicle is always particularly anxious to expose abuses, we hope he will not be backward in reading a tartish lecture to the practices of this disgraceful piece of deceit and double-dealing.

ASSOCIATIONS: Robert Howe (editor, Gazette); Master C. Weavers

15 June 1841, publication advertised, "new national anthem" Long live Victoria (words: W. A. Duncan; music: Nathan)

For documentation see: (TROVE tagged by Australharmony)

[News], The Australian (24 June 1841), 3 

In these, dull monotonous times, the approaching Oratorio must be viewed as an extremely welcome event. The genius of the most eminent composers has been specially engaged on sacred music, and some of the loftiest efforts of the Divine art are to be found in pieces dedicated to the service of the Church. When, therefore, an Oratorio is efficiently managed, with due appliances, it is the purest, most dignified, and in every respect, most satisfactory kind of public entertainment; for not only is the sense delighted, but, connected with the holiness of the place, the feelings are rendered susceptible of exquisite devotional sensations. It seems to us that the Oratorio, as announced, possesses the above requisites. To Mr. Nathan is confided the entire direction of the entertainment. The established reputation of this gentleman in the musical world, places him beyond the need of our humble commendation . . .

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

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

30 June 1841, oratorio, St. Mary's Cathedral, Hyde Park, Sydney

[Advertisement], The Sydney Monitor and Commercial Advertiser (30 June 1841), 1 

MR. NATHAN has the honour to announce that on
WEDNESDAY, June 30th 1841, will be given, at St. Mary's Cathedral, a
Vocal Performers.
Mrs. Bushelle, a Young Lady (pupil to Mrs. Bushelle), the Misses Nathan, Miss Baron, Miss Sullivan (pupil to Miss Baron), Miss Strickland, Miss Winstanley, Miss S. Smith, Mr. Bushelle, Mr. Nathan, Mr. Worgan, Mr. Griffiths, Mr. Edwin Grobety (organist to St. Peter's Church, Campbelltown), Mr. Boyce, Mr. Rigby, Mr. Allen, Mr. Falchon, Mr. Darley, Mr. Kelly, Mr. Wye, Master Leggatt, Master Edward Allen, Master A. Moore, and Master Reilly; with the aid of several amateurs, who have kindly volunteered their services on this occasion.
Instrumental Performers.
Mrs. Prout, Mr. Wallace, Mr. Leggatt, Mr. Deane, Mr. John Deane, Mr. Edward Deane, Mr. William Deane, Mr. Wallace, sen. Mr. O'Flaherty, Mr. Portbury, Mr. Sippe, Mr. Meyer, Mr. Strong and Mr. Walton; with the kind assistance of the gentlemen amateurs from the Cecilian Society, and (by permission of Colonel French) of the Band of the 28th regiment.
Leader, Mr. Wallace; Conductor, Mr. Leggatt.
The whole under the entire management of Mr. Nathan, who will preside at the organ.
New National Anthem. "Long live Victoria" - Nathan.
Overture - Handel.
Quartetto and Chorus. "Kyrie Eleison". - Beethoven.
Recitativo and Solo. "Comfort ye, my people," "Every valley" - Handel.
Recitativo and Solo. "For behold darkness shall cover the earth," "The people that walked in darkness". - Handel.
Quartetto and Chorus. "On Jordan's banks" - Nathan.
Recitativo and Solo. "Behold, I tell you a mystery," "The trumpet shall sound" - Handel.
Duet. "We sat down and wept by the waters of Babel" - Nathan.
Quartetto and Chorus. "The wild gazelle" - Nathan.
Solo. "He was despised" - Handel.
Recitativo and Solo. "The people of Jerusalem," "He was brought as a lamb to the slaughter". - Handel.
Solo. "O, had I Jubal's lyre" - Handel.
Duet. "The Lord is a man of war" - Handel.
(A selection from the Oratorio of Saul.)
Chorus. "How excellent thy name, O Lord". - Handel.
Trio. "Along the monster Atheist strode".
Chorus. " The youth inspired by thee Lord".
Chorus. " Our fainting courage soon restored".
Chorus. "How excellent".
Chorus. "Hallelujah".
A New Overture, composed for the occasion - Nathan.
Symphony - Mozart.
Chorus. "The heavens are telling" - Haydn.
Solo. "Jeptha's Daughter" - harp accompaniment - Mrs. Prout - Nathan.
Recitative and Solo. "Deeper and deeper still," "Waft her angels." - Handel.
Solo, "Why do the nations so furiously rage together" - Handel.
Quartetto. " O weep for those that wept" - Nathan.
Recitativo and Solo. "O let eternal honours." "From mighty kings" - Handel.
Solo. "The last Man" - Callcott.
Solo. " Gratias Agimus" - obligato accompaniment clarionet - Mr. Leggatt - Guglielmi.
Quintetto and Chorus. "Saul" - Nathan.
(Selections from the Oratorio of Saul.)
Solo. "Brave Jonathan". - Handel.
Chorus. "Eagles were not so swift as they".
Solo. "In sweetest harmony".
Chorus. "O fatal day".
Quartetto and Chorus. "Thy days are done" - Nathan.
Chorus. " Hallelujah" from the Messiah - Handel.
Tickets for the nave and transepts of the Cathedral, 15s. each; for the western end, 10s. each. Two Children admitted by one ticket.
Early application is requested, as no more tickets will be issued than the accommodation permit. Tickets to be had of Mr. Nathan at his residence, Ada Cottage, Princes street; off the Music and Booksellers; and off the Committee of the Cathedral.
The Oratorio will commence at half-past Seven, precisely.
A Libretto, containing the words of the selection is published. Price 10s.

ASSOCIATIONS: Thomas Leggatt (conductor); a notable absence from the vocalists was Elizabeth Clancy, previously a leading soprano in St. Mary's choir; entries on most of the performers listed can be found in the biographical registers, or in notes on later appearances below

'The Oratorio", The Sydney Monitor and Commercial Advertiser (2 July 1841), 2 

This Festival, to which the musical portion of the community of the colony had been looking forward for so long a time with the greatest interest, took place in St. Mary's Cathedral, on Wednesday the 30th ultimo. At a-little before half-past seven o'clock, the hour appointed for the commencement of the performance, numerous vehicles containing many of the families of our colonial aristocracy, began to arrive; and in a short time after the first opening of the doors, upwards off five hundred individuals were assembled within the walls of the Cathedral; the interior of this edifice presented a most brilliant appearance - in the words of Byron:

"Lamps shone bright, o'er fair women and brave men."

And in the present instance, the beauty of the ladies assembled was rendered conspicuous, by the brilliant light of gas. What by the beauty of the ladies, what by the effulgence of the gas, never before was St. Mary's so illuminated.

The arrangements made by the Committee of management, and their attention throughout the whole getting up of this festival, were highly creditable.

The audience occupying the centre of the Cathedral sat on rows of seats descending from the Altar (on the east) towards the organ (on the west). This part of the Cathedral was well filled, as also were the wings, both on the right and on the left. We noticed present,

The Hon. E. Deas Thompson, Sir John Jamison, C. D. Riddell, Esq., Parker. Esq., Private Secretary to the Governor, the Attorney General and Lady, Captain O'Connell and Lady, Messrs. Gore, Dawes, &c., and several military officers . . .

The Monitor also reproduced the list of performers and the sung texts from the advertised printed programme book (WHOLE PAGE) 

'The Oratorio", The Sydney Monitor and Commercial Advertiser (5 July 1841), 2 

"ORATORIO", The Sydney Herald (2 July 1841), 2 

"ORATORIO", The Australian (3 July 1841), 2 

"ORATORIO", The Sydney Gazette and New South Wales Advertiser (3 July 1841), 2 

"THE ORATORIO", Australasian Chronicle (3 July 1841), 2 

"THE GRAND ORATORIO", Sydney Free Press (3 July 1841), 3 

"BEETHOVEN IN SYDNEY", Australasian Chronicle (6 July 1841), 3 

That sublime composition, Beethoven's Mass in C, was sung for the first time in this hemisphere on Sunday last, by the choir of the cathedral, under the direction of Mr. Nathan. Some parts of this truly magnificent composition require a powerful chorus to give due expression to the composer's ideas, but in other respects the performance was good. The Agnus Dei was not Beethoven's, but was taken from Mozart's first mass, the solo part of which was sung by Miss Nathan with fine effect. We believe it is the intention to have Haydn's fine mass in B, No. 1, on Sunday next, which has never yet been heard in this country; and which, being much less difficult than Beethoven's, will be better adapted for the junior members of our infant choir. When we consider that it is only a very few years since Beethoven's masses were first attempted even in London, the successful effort of Sunday last, and the state of musical science in the colony, will be better appreciated.

[News], The Australian (17 July 1841), 2 

. . . It is gratifying to see a taste for music becoming so general amongst us. We are glad to see that our newly arrived, but old and well tried professional friend, Mr. Nathan, purposes to give a concert in the course of two or three weeks. We feel assured that we may, on the part of the public, venture to guarantee him a cordial, and an ample response to his call for encouragement and support. The young ladies, his daughters, debuted at the Oratorio under very disadvantageous circumstances, inasmuch as they were in fact convalescents from a severe attack of this fearful epidemic. However, we will not anticipate, we promise ourselves a treat at Mr. Nathan's Concert, and know that we shall not be disappointed.

"ST. MARY'S ORGAN", Australasian Chronicle (20 July 1841), 2 

It has been justly remarked that genuine talent is as free from envy as ignorant pretension is full of it. The following anecdote bears testimony to the justice of this remark. On Sunday evening Mr. Nathan, who presided at the organ at St. Mary's, played an extemporaneous voluntary, as is usual after the service. The composer, in the enthusiastic feeling of the moment, modulated from one key to the other by the diminished 7th, introducing the chord of the 9th, with its various accompanying harmonies, and seemed in the full glory of forgetfulness when he was reminded by one of his daughters that the people would not leave while he continued playing; upon which he replied "are they not gone?" and instantly jumped up and closed the instrument. Mr. Deane and his eldest son, both musicians of considerable talent, and also, we believe, organists, who were attracted by the performance to remain, with about a hundred other persons who listened to the voluntary, on seeing Mr. Nathan pass through the entrance of the church, caught hold of his hand, and exclaimed, "O, Mr. Nathan, I have been delighted; I never heard the organ played till this evening." It is well known that extemporaneous performances on the organ, though they cannot be always strictly confined "within the rules," have a much more powerful effect than ordinary compositions. The late Mr. S. Wesley used to produce the most astonishing effects by this kind of voluntaries.

ASSOCIATIONS: John Philip Deane (violinist)

"MR. NATHAN'S CONCERT", Australasian Chronicle (27 July 1841), 2 

Our readers will perceive that Mr. Nathan has fixed on Wednesday, the 4th proximo, to give his first concert. This concert will have two distinctive attractions; the music, being chiefly selected from his own popular English operas, will be a little variety from the stock pieces of our Sydney performers; and it will afford the colonial public, at the same time, a fair opportunity of estimating Mr. Nathan's abilities as a composer. The vocal corps will be numerous, and we expect a rich treat in the overtures and accompaniments by the united bands of the 80th and 28th regiments, in addition to the Sydney orchestra.

ASSOCIATIONS: Band of the 80th Regiment

"NATHAN'S CONCERT", The Sydney Gazette and New South Wales Advertiser (29 July 1841), 3 

It gives us great satisfaction to announce to our musical friends that Mr. Nathan the celebrated composer, intends to give a grand concert at the Victoria Theatre, on Wednesday evening next. That the affair may come off with the greatest possible eclat, we hear that Mr. Nathan is to spare neither trouble nor expense to ensure a rich treat to his patrons. To effect that object, all the vocal and instrumental performers of note in the colony, besides the bands of the 28th and 80th regiments are to be in attendance. The whole arrangements, from all that we can learn, are such as to ensure for the forthcoming concert, the highest patronage. Mr. Nathan, since his short sojourn among us, has earned from all persons and classes golden opinions, and on the occasion of the concert, we trust the same persons will shower upon him, golden testimonials, as he is certainly highly deserving.

[News], The Australian (31 July 1841), 2 

We would call attention to the Concert which is to be given on Wednesday next, by Mr. Nathan, as the Victoria Theatre. The entertainment will be almost entirely of a vocal character, and the songs will, altogether, be English. We are glad to see that Mr. Nathan has the good taste to select English singing for English audiences. The songs will have full orchestral accompaniments. The glees of Calcott and Bishop require no praise at our hands; nor is the public insensible to the merit of Mr. Nathan's own musical writings. We are able to state that there will be a numerous and select audience assembled to render justice to Mr. Nathan's professional merits. The Governor and Lady Gipps will occupy their box, and Captains Ross and Crozier, of the Erebus and Terror will be present. Both of the regimental bands will, by permission of the commanding officer, be in attendance.

"ORIGINAL CORRESPONDENCE. MR. NATHAN'S CONCERT. To the Editors", The Sydney Herald (2 August 1841), 2 

GENTLEMEN. - In the programme of my concert for Wednesday next - Willis's very beautiful and effective Glee, intitled "The bark before the gale," is announced as my composition! Now as I have not the least inclination to dress in borrowed plumes, you will oblige me by correcting in your next publication this error of the press, and by thus rendering unto "Caesar the things which are Caesar's," afford me the pleasing reflection, that not the slightest colouring can be laid to my charge of "Sic Vos non Vobis."
Gentlemen, I have the honor to be yours, very obliged,
31st July, 1841, Ada Cottage.

"DOMESTIC INTELLIGENCE", The Sydney Gazette and New South Wales Advertiser (3 August 1841), 2 

Mr. Nathan's first personal concert will take place at the Victoria Theatre, to-morrow evening, (we designate it thus in contradistinction to the joint-stock-concern at St. Mary's,) and will be patronised by the Governor and all the haut ton of Sydney. This gentleman is the first of established reputation as a musical composer, who has favored our shores with a visit, and it would be ungrateful, as well as impolitic, if we failed to show our sense of the obligation - he has not come, alone either, but has brought a host or talent in his family. We hail, however, Mr. Nathan's bill of fare most cordially, because of its intelligible character - we are assured, and can assure our readers, we shall have melody as well as harmony - we shall have poetry as well as music - we shall have sense as well as sound - these are old-fashioned practices, and we thank Mr. Nathan for reviving them - and so, in their sleeves, will many of the would be dilletanti, who while they affect to fall into raptures at the display of a foreign cantatrice, cannot for their lives, one in ten of them, tell whether they are listening to Italian German, or Otaheitan! Mr. N. may be sure he has taken the right course for his own emolument, as well us for the improvement of the public taste - which an artist of Mr. N.'s reputation will value still more. Such talent as he possesses is ever accompanied by ambition, and and it will be a pleasure to Mr. N. to say hereafter that he has given the first genuine impulse to the soul of music in New South Wales.

Royal Victoria Theatre, from Joseph Fowles, Sydney in 1848; State Library of New South Wales (DIGITISED)

4 August 1841, concert, Royal Victoria Theatre, Sydney

[Advertisement], The Sydney Herald (4 August 1841), 1 

MR NATHAN has the honour to announce that on
WEDNESDAY next, the 4th of August a CONCERT will be given at the Royal Victoria Theatre, chiefly to consist of the favourite pieces, serious and comic, from the operas of The Illustrious Stranger, The Alcaid, Birds without Feathers, and Sweethearts and Wives, as performed with so much success by Mrs. Wood, Madame Vestris, Miss Love, Mr. Harley, Mr. Liston, and Mr. John Reeves, at the Theatres Royal Drury-lane and the Haymarket.
In addition to the vocal and instrumental talent that can be procured in Sydney, the BAND of the 28th regiment, and also that of the 80th regiment from Parramatta, will (through the kind permission of Colonel French and Colonel Baker) attend, in order to assist in giving effect to the orchestral accompaniments and original overtures.
Leader, Mr. Deane; Conductor, Mr. Nathan, who will preside at the Pianoforte.
Overture - Alcaid - Nathan
Serenade - Oh lady rob'd in weeds of woe - Nathan
Song - When a trembling lover dies - Nathan
Duet - As it fell upon a day - Bishop
Song - When she said farewell for ever - Nathan
Song - Jabez' Lament - Nathan
Song - Where is the Rover - Lee
Trio - Hope once more - Nathan
Song - What a lover should be - Nathan
Glee and Chorus - The bark before the gale - Nathan [Willis]
Overture - Illustrious Stranger - Nathan
Glees - The Urchin's Dance - the Elves' Dance - Callcott
Song - Why are you wandering here I pray - Nathan
Song - Love and Folly - Nathan
Song - Dicky Dolus - Nathan
Song - - - - -
Duet - I know a bank - Horn
Song - Infant love - Nathan
Song - Do not mingle
Song and Chorus - Long live Victoria. - Nathan
Between the parts the celebrated March from the Illustrious Stranger will be performed by the whole strength of the Orchestra, including the Bands of the Eightieth and Twenty-eighth Regiment.
The Pit will be elegantly fitted up as a Concert Saloon, and will communicate with the boxes TICKETS, - Boxes, 7s 6d; Upper Boxes, 4s; Gallery, 2s 6d.
The Concert will commence at Eight o'clock.
Tickets to be had of Mr. Ellard, Mr. Tegg, and Mr. Evans, George-street.
Persons desirous of engaging Boxes will please to apply to Mr. Nathan, Ada Cottage, Prince-street.

"NATHAN'S CONCERT", Sydney Free Press (5 August 1841), 3 

"MR. NATHAN'S CONCERT", Australasian Chronicle (5 August 1841), 2 

"MR. NATHAN'S CONCERT", The Sydney Gazette and New South Wales Advertiser (7 August 1841), 3 

"MR. NATHAN'S CONCERT", The Sydney Herald (6 August 1841), 2 

"CONCERT", The Australian (7 August 1841), 2

"MUSICAL ART", Australasian Chronicle (17 August 1841), 2 

We have great satisfaction in stating that there is now something like a probability of our having the musical talent of this colony brought forth, not exactly like a phoenix from its ashes to redeem its fallen state - because it has as yet never risen to any thing like the cultivation of which it is capable - but rather like the small seed sown in a fertile field which fructifies an hundred fold. Mr. Nathan has, we are happy to state, taken seven clever native children under his able protection, to give them a general musical education, free from any charge; and we feel confident that such disinterestedness will meet with a double reward, in the complete success of the undertaking, and in the public approbation of so generous an act.

[News], The Australian (17 August 1841), 2 

Mr. Nathan is devoting a portion of his time, in instructing (gratuitously) three or four pupils in music and singing. This is the kind of feeling we are pleased to record; it will tend materially to cultivate the science among the native-born population, and at some future period we should have the gratification of hearing some of these persons assist, and probably (under the superintendence of such an instructor as Mr. N. is) lead at some of our future Concerts, more particularly as those who have heretofore been so generously treated by the public have formed an opinion, that they, and no others, have a right to dictate to the Colonists in all that relates to music and singing.

"IMPROVEMENT IN OUR SYSTEM OF EDUCATION", Australasian Chronicle (4 September 1841), 2 

. . . we are happy to see by late English papers British government has at length set up a music school in London, under the direction of Mr. John Hullah, for the purpose of grounding schoolmasters and others in musical science. Now, why should we in this colony be behind hand with England and the continent of Europe on a subject which, by the united testimony of all have directed their attention to it, exercises so high an influence over the the character of a people? If we were to mention the sum of money in our colonial budget which we consider best expended, we should probably say the annual grant of his Excellency to the Mechanics' School of Arts. Why not then expend a similar sum in the endowment of a musical academy at which our colonial [illegible] would be obliged to graduate. In for- [illegible] a difficulty might have presented itself in- [illegible] of a thoroughly educated professor of the science. But we have now among us a highly educated musician, who has also the advantage of being a scholar and a gentleman, and who, from his talented urbane deportment, is well qualified to be director of such an institution. Mr. Nathan, from pure love of his art, is at this moment giving gratuitous musical education to a considerable number of young persons; and while we mention this with a sincere praise, dictated by the same ardent love of the divine art, we cannot but express a hope that this primary academy, will, by the [illegible] of a grateful public and a liberal government be placed upon a more permanent footing.

[News], The Australian (4 September 1841), 3 

Mr. Nathan is making arrangements to have the first of his Subscription Concerts at the latter end of this mouth, or the beginning of next. We look forward to something very superior, and we think Mr. Nathan's plan is well worthy the attention of the lovers of music. His talents and those of his family entitle them to patronage, and the establishments of regular concerts would be of advantage to the public.

{Editorial], The Australian (7 September 1841), 2 

ALL-IMPORTANT as are the various subjects which directly or indirectly depend upon the great question of emigration, they are, nevertheless, beset by so many disappointments, they are so perplexed by ignorance and party-feeling, that it is a relief to the mind to turn occasionally to lighter matters, if it were only for the sake of refreshment, and so to speak, of consolation.

This will, we trust, be a sufficient apology to the public, if we now notice, at some length, a suggestion which appeared in an article of a contemporary (the Chronicle), to the effect that it would be highly useful and pleasing to establish in Sydney, a School, similarly to one recently created in London, for the purpose of grounding the Instructors of youth, and also young people themselves, in musical science. A small sum of money annually set apart for the endowment of a musical academy would, we fuel convinced, be productive of the best results.

The cultivation of music is in itself a blameless amusement, and, considered with regard to its tendency to elevate the mind and refine the manners of the people, is, in no small degree a preventive of crime. And if the unhappy stumbling-block of religious differences is still to retard the establishment of a system of comprehensive national education amongst us, at least one branch of instruction may be countenanced, without the hateful intrusion of party-feeling, namely, the creation of a Normal School of Music.

No doubt we shall have, on the bare mention of such a thing, the soul of Mr. Jones all in arms against the proposition -
"For little things are great to little men." He, who could concur in voting £100,000 for one year's police expenditure, and yet oppose the grant of £250 to the Mechanic's School of Arts, will surely pause ere he forfeits such an enviable character of consistency. And certainly the opposition of this gentleman would be a very serious obstacle in our path. Due weight, in the eyes of his Excellency, would doubtless be given to the veto of one whose natural turn of mind, whose exquisited perception of the imaginative and the beautiful, above all, whose comprehensive and accomplished education, exactly qualifies him to be a judge in these matters. Should a vote for the creation of a Normal Musical School be placed upon the estimates of next year, we anticipate an alarming issue from the probable opposition of Mr. Jones. We concur with our contemporary of the Chronicle in deeming this a fitting opportunity for bringing such a matter under public notice, inasmuch as it so happens that we have amongst us an individual of musical eminence, who is, in every way, peculiarly well qualified to conduct an Institution such as the one we would advocate.

We do not think that the people of Sydney appreciate Mr. Nathan. They do not appear to know the remarkable claims which he has upon their attention. Hence without any wish to exaggerate, and with no other end in view than the desire that true merit should be duly estimated, we shall convey some information to the Australian world, with reference to this gifted person.

Mr. Nathan enjoys the advantage of possessing, in a very extreme degree, both honourable birth, and polished education. The descendant in a direct line of the last King of Poland, the unfortunate Stanislaus, his immediate ancestors paid the usual penalty which is ever attached to scions of royalty in misfortune. His father was compelled, at a very early period of his life, to fly from his native land, and his great uncle forfeited in the cause of loyalty and family attachment those revenues, which, should the Russian despot ever be compelled to disgorge the spoil, would yield, to their true owner upon every recognized principle of descent, a princely independence.

One would have supposed that under these circumstances the education of the gentleman, whose cause we now advocate, would have been neglected. Quite the contrary, however. Adversity, in this instance, as in the instances of many other high-minded men, was the test of merit, and the pressure of difficulty was but the parent of an honourable ambition. In misfortune, much more than in prosperity, the mind recoils upon itself, and ministers to its own advancement the more assiduously in proportion as its sympathies are misunderstood or rejected by the surrounding vulgar. Hence, it has occurred that Mr. Nathan is, mainly we believe, a self-educated, but unquestionably a very highly educated man. There can be no greater proof of this than his extraordinary work entitled "Musurgia Vocalis" - a book which has quite exhausted the theoretical portion of the subject upon which it treats, which exhibits an astonishing range of information, gathered out of more than half of the languages under Heaven, and bringing all possible collateral topics to bear upon one great focus, namely, the origin, history, and progress of music in every civilized nation of the globe. Nor is the enormous industry which could collect together such an array of facts, and logical deductions from those facts, less remarkable than the general conception of the book itself. It is in every respect a singular and meritorious production.

We shall now turn to the musical capacity, and proportionate success of Mr. Nathan, and the theme is in truth a very inspiriting one. Ere, however, some facts are stated relative to the professional career of this gentleman, we shall be permitted to make a very few remarks.

We have always felt convinced, that no greater calumny was ever uttered against our fellow-countrymen than to declare that they are not a musical nation. It may, indeed, be granted, that in actual execution, in the fineness of touch, and in what may be comparatively termed the mechanical portion of the divine art, they are inferior to foreigners. But we will ever maintain, that in the appreciation of real music, they yield to the people upon earth, past or present. What then is the style of harmony which is most agreeable to English ears? This, we apprehend, is a question of national temperament. All manifestations of will, whether those manifestations are religious, political, literary, musical, or otherwise, wait upon the national character. They are but outward signs, indicative of the popular will and pleasure. They are but incarnations of the public mind, types of national sentiment, the "form and pressure," but not the "body" of the times.

Do we Britons then feel stirred by even the chef d'oeuvres of the later Italian school which is usually termed "fashionable"? Not so. And why? Because, brilliant as is the fancy, and impassioned as are the love cadences of Rossini and his disciples, there is somewhat of the florid and the frivolous which, pleasing as it is to French or Italian ears, is repugnant to the strong feeling, the manly breadth and grandeur of the British character.

"In ipso fonte leporum
Surgit amari aliquid."

But does the national music of Germany appeal more nearly to our hearts? Unquestionably. It does so because it is more adapted to the character of the British nation. The great German composers, Mozart, Weber, and Beethoven for example, appealed to a deeper class of feelings, than the masters of the lighter and more brilliant school of Italy. Religion, tenderness, fear, and veneration breathe throughout their works. The august genius of Beethoven struggles almost in vain to express itself through his grand, massive, and elaborate chords. The phrases of Weber are instinct with veneration.

Where then is the drawback which alone prevents our countrymen from altogether devoting themselves to the love of German harmony? It consists in the mystery of that music. To English ears it is too frequently unintelligible. In truth such is the character of the Germans. Their mind is essentially metaphysical. The spell of the Aristotelian philosophy, long since shaken off by the rest of Europe, lingers even yet amongst the Teutonic races of the Continent. But, be it recollected, that the English character is, though contemplative, essentially practical. Hence the German musical writers not seldom fail to please us by reason of their frequent obscurity. But withal, we love them far more deeply than we do the elegant frivolities of the rival school.

Where then was the English musical composer who first discerned this truth? Who was it who, for the first time since the days of Purcell, so studied English taste and character, as to unite simplicity and precision, with the tender grandeur of the authors whom he long and intimately studied? He is the subject of this article. He was Nathan. And now he is here, and we think no more of such a man than the veriest money-hunter who ever discounted bills at a bank!

Mr. Nathan, in early life, could not, with his many qualifications, fail of making friends in even the highest quarters. He was the musical historian of that accomplished monarch George IV., and instructed in singing the lamented princess Charlotte of Wales. He rapidly attained not an English only, but a Continental reputation. In home the Italians paid him the compliment of saying - "Non c'e compositore in Inghilterra come Nathan." In the same city the following Latin ode was written in his honor.

Barbitos, excidium Gentis Bellique ruina,
Eheu! quam quondam depulit arce Sacra,
Mellifluis, resonans fibris tua carmina, Nathan
Suspendit templo, ut serta decora, Dei,
Te Citharae valum jamjam recinente supersunt;
Nec tua jam tacuit Musa vetusta, Salem!

Nor could an English poet be silent in his praise - witness the following sonnet: -

Inscribed to Mr. Nathan, author of "The Hebrew Melodies."

Oh, Hebrew Muse! replete with sacred fire,
Solemn with years, and bright with glory's rays,
Thou who hast charm'd my long-neglected lyre,
And taught my soul superior hymns of praise
To those renown'd in Greek and Roman days.
I leave thee yet awhile with pangs of grief,
Such as the voice of friendship oft displays
In many a broken sigh and sentence brief,
Wandering and mourning for the wish'd relief.
I leave thee, muse, or only seem to leave,
Since in my bosom thou remainest chief;
Bound with the fibres which my heart inweave;
Nor can by death the union sweet be riven;
Dying, I find thee sweeter still in Heaven.

Bristol, Thomas Curnick.

To this we will add, from our own knowledge, that he was honoured with the special confidence of King William IV., and employed by that monarch in an important affair of great trust, in which he acquitted himself to the entire satisfaction of his royal master. Unfortunately for Mr. Nathan that good king died ere he had requited him for his services, and now, in the reign of her present Gracious Majesty, he is not the only existing instance of royal forgetfulness - as indeed the following letter written, and written in vain, to Lord Melbourne may shew.

"To the Right Hon. Lord Viscount Melbourne.
My Lord - You cannot, after my reiterated applications to your lordship, and numerous interviews in Downing-street, be unacquainted with the important services I had the honour to render the Crown and State, under the influence of patriotic zeal, by command of my late revered Sovereign William the Fourth, whose encouraging letter to me offering every consideration, protection and indemnity, has been admitted, and placed in the hands of your lordship. It has been clearly shewn to our lordship that those loyal services have involved me and my large dependent family in ruinous embarrassments. I have used every exertion privately to obtain a just and honourable settlement, which according to the common law of civilized nations is due from man to man, and which the meanest subject has an equal right to claim with a monarch; but with the exception of the trifling amount I received by your lordship's order from the Treasury, an amount barely sufficient to defray the actual expenditure out of pocket, I have only been fed on airy promises and empty expectations. My petition to the Lords of the Treasury, soliciting permission to lay my claim before the House of Commons, was withheld from their lordships, and I believe, privately conveyed to you, in Downing-street. My recent application to the Lord Chamberlain, for permission to present a memorial to her gracious Majesty, has, I fear, shared the like treatment. My letter to your lordship, dated 13th May last, a copy of which, with full particulars, I also forwarded to your lordship's nephew, the Hon. William Cowper, M. P., remains unnoticed. And since every effort I have have made for an equitable adjustment of affairs connected with the royal mandate has been treated with apathy; every attempt to lay my claim before the House [of] Commons frustrated; and that strict propriety of conduct which in early life secured me the friendship and acquaintance of almost every branch of your lordship's noble family, appears now no longer to have any claim upon your lordship's attention; and as I am not in the least disposed to play the sychophant and tamely to submit to oppression and to the violation of justice, even from ministers; I take this mode of making known to your lordship that I shall forthwith draw up a memorial to the Queen, embodying the whole of my correspondence with William the Fourth, Sir Herbert Taylor, and others, and leave copies at the different bankers in England for the signatures of a feeling and considerate public. From its consequence no blame can possibly hereafter be attached to me, - My lord, I have the honour to remain your lordship's very obedient humble servant,
ISAAC NATHAN, Author of "Musurgia Vocalis." July 26, 1840.

From this It may be gathered that his pecuniary resources became impaired.

We have little more to add. Thinking that, as far as England is concerned, "Sparta had many a worthier son than he," in other words, that he would succeed better in his profession here than at home, he has come amongst us. Will the Australian public appreciate his merits, or will they treat him with "apathy"?

Whether this question shall be answered in the negative or the affirmative, he will at least have the consolation of reflecting that be has been the friend or princes, and still more - that he has familiarly known such men as Byron and Shelley, Moore and Scott, Douglas Kinnaird and Hobhouse.

We will appeal, in conclusion, to the Australian public. Shall we have a public Normal Musical School? and if so, who is there who would not profit by Nathan's knowledge? Already, from the mere love of the "joyous science," he gives instruction to many Australian pupils gratis.

We will hope that some manifestation of public sympathy with this eminent man will even yet be shown.

ASSOCIATIONS: Wickham Mayer Hesketh (editor, The Australian); on Hesketh's editorship, see "GENERAL EDUCATION IN THE AUSTRALIAN COLONIES", The Spectator (18 July 1846), 302 

[Editorial], The Sydney Gazette and New South Wales Advertiser (9 September 1841), 2 

"God protect us from our friends and we will be prepared to defend ourselves against our enemies."

Many a public man has had occasion to say this, and none may say so, we think with more reason than Mr. Nathan after reading the fulsome article which forms the leader of Tuesday's Australian.

We were of opinion, and so were the rest of the Sydney public, that Mr. Nathan was a man of eminent rank and talent as a musician and composer - but all this extravagant puffery will make every one suppose that he is only a quack after all.

Mr. Nathan's musical performances have not sustained that high reputation - but we were quite willing to overlook that - for the immortal Shakspeare was but a bad actor, and was unable skilfully to embody his own divine conceptions - what could be the object of this absurd publication, we cannot imagine, but though it may minister to the vanity of Mr. N., we are sure it will be prejudicial to his interests.

What care we about his royal descent, "and his having been the friend of princes," his correspondence with Lord Melbourne, and his (asserted) familiarity with Byron, Moore, and Shelly - we only know him as an organist and a music master, in which character, no doubt, he will prosper in Sydney, if he does not swamp himself in this evil quagmire of self adulation.

"In ipso fonte surgit amari!"

You may well say that, Master Australian, but we verily believe he is like to drown himself in it. We should be glad to hear Mr. N. disclaim all act and part in this superlative piece of puffery.

10 September 1841, first announcement of Nathan's "New Australian glee", 'Tis true that all the world must live, later published as Humbug

See documentation in checklist: (TROVE tagged by Australharmony)

"THE CECILIAN CONCERT", Australasian Chronicle (16 September 1841), 2

The Cecilians got up a very elegant concert last evening, under the patronage of his Excellency the Governor. We have only time to state that among the pieces were three of the best overtures, which, everything considered, might be said to be well performed. Several of the best vocal pieces of Bishop, Nathan, Nelson (a pupil of Nathan, and one of the most voluminous song writers of the day), besides a se lection from Rossini, Auber, and Balfe. A lively new glee, composed by Mr. Nathan for the occasion, was sung by three very clever amateurs, who, how ever, did not "mind their hits" quite so well as they will probably do next time. Mrs. Prout played a good pianoforte solo, and, upon the whole, we must pronounce this the best concert the Cecilian Society has yet given.

ASSOCIATIONS: Cecilian Society; Maria Prout (pianist); Sidney Nelson (composer)

"BUSHELLE'S CONCERT", The Sydney Herald (24 September 1841), 2 

IT must have been very gratifying to Mr. and Mrs. Bushelle, to be received as they were on Wednesday evening by so crowded and fashionable a house - the most crowded indeed which has been witnessed at any concert for the last twelve months . . . In the second part . . . came the sublime piece of the night - JEPHTHA'S DAUGHTER, in which Nathan has in so masterly a manner "married the immortal verse" of one of Lord Byron's splendid lyrics, to most exquisite and appropriate music, and Mrs. Bushelle, with her powerful voice and no less powerful pathos, caused every word to thrill to the hearts of those who heard her. Not only every word, but every letter was enunciated so clearly and forcibly, that the poetry was felt in all its agonising force as strongly as the music; an argument from fact - unanswerable - unassailable - indestructible, by any sophistry or quibbling logic which can be brought forward, of the gross absurdity of thrusting unintelligible Italian on an English audience. To all such logic we reply, - produce one single Italian piece, that with its poetry and its music, even if sung by our Prima Donna, Mrs. Bushelle, will speak home to the heart like the electric and thrilling pathos of the great master piece of Jephtha's Daughter, and we will give up the task for ever of opposing Italian vocalism. It ought to be mentioned, that Mrs. Bushelle owes much of her superiority in singing this piece (it would almost be sacrilege to call it a song) to the skilful scientific training of Mr. Nathan; and those who have heard him sing it, will at once recognize in Mrs. Bushelle every tone, and turn, and trill, even to the minutest particular of accentuation, as having been learned from the master. We much admired the flute accompaniment to Jephtha's Daughter, of Mr. S. W. Wallace as well as Mrs. Prout's harp . . . Mrs. Bushelle's "Black eyed Susan," though well sung, did not seem to take, except in her fine point "on the deck he stands." We feel assured, that a few lessons from Mr. Nathan would be as greatly to her advantage in this beautiful song, as it was beyond doubt in Jephtha's Daughter . . .

ASSOCIATIONS: Eliza Wallace Bushelle (soprano vocalist); Spencer Wellington Wallace (flautist, violinist)

25 September 1841, first announcement of The Aboriginal mother (words: Dunlop; music: Nathan)

For documentation on this song, see: (TROVE tagged by Australharmony)

ASSOCIATIONS: Eliza Hamilton Dunlop

Letter, Eliza Hamilton Dunlop to Isaac Nathan, undated (before October 1841); unidentified original, ed. in De Salis, Two early colonials (1967), 101-02 

Isaac Nathan, Esq.
Ada Cottage, Prince Street

It is not I feel assured that to a mind so gifted as Mr. Nathan's I need to make apologies that without formal introduction present myself to his notice. If my Lahars (?) have merit they will require no other usher, and I who am in the Forest far from human habitation of civilized beings, may well be forgiven the want of due observance in this matter, Should my poetry be honored by your acceptance, pray do me the favor of a reply addressed Wollombi.

The Dark Lady of Doone [recte Doona], written by a relative, has a few of my songs published in it. A lady, a stranger in this land, but one to whom your eminent universal fame as an author and composer has long been known, thus begs permission to offer the accompanying poetry for your kind consideration. They are my favourites of a Collection which I hope to get published by Bentley of Broad Street. But were I so honored as to find those few worthy of acceptance to go forth into the world, [? with] the seal of your genius, it would be to me a source of pride and pleasure greater than I can say.

I wrote The Aboriginal Mother for the air, "When the seas were roaring". The massacre it commemorates took place a short period after my arrival in the Colony . . . And which as it has not been seen by any individual with the exception of Lady Gipps, I will if you give permission submit for your opinion.

My publications at home were confined to the magazines, but altered circumstances in this country where my husband has only £250 as police magistrate, induces my attempt to make my pen an aid for my numerous family. But more than this it would aid my way to future favor with the public if my poetry be honoured by your acceptance pray do me the favor of a reply.

I am Sir respectfully yours Eliza Hamilton Dunlop.

"CHARITY SERMON", Australasian Chronicle (5 October 1841), 2 

High mass was celebrated in St. Mary's on Sunday last by the Vicar General, assisted by the Very Rev. J. J. Therry, and Deacons Kenny and Magennis; and a very eloquent sermon was preached by the Rev. P. Farrelly in behalf of the Benevolent Asylum, after which about £40 were collected for that excellent institution. Mozart's grand mass No. 12 was very effectively performed by the choir, in addition to which Misses Jane and Rosetta Nathan sung with great taste an exquisite duett, arranged as an offertory, from Marcello, by an amateur member of the choir. During the collection Mr. Griffiths sung Clifton's "Ecce Deus" with much skill, and this part of the service concluded with Zingarelli's brilliant "Laudate," the solo by Mr. Allen . . .

ASSOCIATIONS: William Griffiths (bass vocalist); Mr. Allen (tenor vocalist)

"NATHAN'S CONCERT", Australasian Chronicle (16 October 1841), 2 

We are now enabled to lay the programme of this concert before our readers, which, for originality, variety, and taste in the selection, offers to be the best musical treat we have yet had in the colony. Mr. Nathan has written complete orchestral parts for all the songs, which comprise some of the best works of Rossini, Paer, and Bishop, and in addition to these we have not less than three original compositions, one of which, "the Aboriginal Mother," we have carefully examined, and consider equal to any thing that Mr. Nathan has yet written.

16 October 1841, first notice of new glee, Drink and a fig for all sorrow

For documentation, see: (TROVE tagged by Australharmony)

"MR. NATHAN AND HIS PUPILS", The Sydney Herald (23 October 1841), 2 

A few days ago we had the pleasure of hearing Mr. Nathan give his usual lesson to his interesting band of gratuitous pupils in vocal music, and a more delightful treat could scarcely be met with. Mr. Nathan has the true art of teaching - that of inspiring his pupils with his own buoyant ardour and enthusiasm, without which no knowledge can ever be acquired. With him it is actually infectious, and takes powerful possession of the looker on (it did in our own case) as well as of the delighted pupils. They seemed, indeed, one and all, to be more anxious to learn than he is to teach; and, consequently, are very certain to learn from him as much in an hour as they would learn from a commonplace, dull, lifeless, droning, dead, and non enthusiastic teacher in a year. It was quite enchanting to see the eagerness and ardour with which all of them caught the spirit and the fire of their all-alive instructor. Then we admired the extreme minuteness with which Mr. Nathan attends to the smaller punctillio of pronunciation and intonation. He watches most carefully the sound of every syllable, and every letter sung, and shows how the tongue and the lips are to be moved or held in bringing out the distinct and peculiar sound of each letter, particularly final consonants, a thing, indeed, which ought to be done at every school where reading is properly taught, but which we are certain is very rarely dreamed of by commonplace and non-enthusiastic teachers. Mr. Nathan has a dozen or twenty gratuitous pupils, all of whom are to sing at his concert on Wednesday. Amongst others, Miss Jones, of the Victoria, will sing in character, a song, in which an old lady upbraids her young protegee for rejecting her love for that of a girl of sixteen. It was originally composed for "birds without feathers."

ASSOCIATIONS: Matilda Jones (vocalist)

[News], The Australian (26 October 1841), 2 

To-morrow evening, Mr. Nathan's Concert is to take place at the Victoria Theatre. We entertain no doubt that the public sufficiently appreciate the acquisition the Colony has made by Mr. N.'s settling amongst us, to come forward liberally to encourage any efforts made by him for the advancement of the advancement of the music science in Australia. On this occasion we anticipate a full attendance, and we hope it may be such as to encourage Mr. Nathan to carry out his proposition to establish periodical Concerts.

27 October 1841, concert, Royal Victoria Theatre, Sydney

[Advertisement], The Sydney Herald (27 October 1841), 1 

Programme of
MR. NATHAN'S GRAND VOCAL and INSTRUMENTAL CONCERT (first of the series), to take place THIS EVENING, WEDNESDAY, the 27th of October, 1841.
The Misses Nathan, Miss Pettingell, Miss F. Pettingell, Miss Strickland, Mrs. Cook, Miss Jones, Miss Mears, Miss Lynch, Miss White, Miss Tuohy, Miss Donnelly, Miss Thomson, Miss Dolan, Master Tuohy, Master Reilly, Master Allen, and Master Temple Nathan.
Mr. Worgan, Mr. Allen, Mr. Falchon, Mr. Boyce, and Mr. Nathan.
Mr. Griffiths, Mr. Callaghan, Mr. Alfred Nathan.
OVERTURE. Rossini.
Quartetto and Chorus - The Wild Gazelle - Nathan.
Song - Meet me in the Willow Glen - Lee.
Song - Drink and a Fig for all Sorrow - Nathan.
Glee to the same words, composed expressly for the Sydney Harmonic Club - Nathan.
Trio - Hark, 'tis the India Drum - Bishop.
Duet (comic) - No, Mr. Gimbo, as sung by Mr. Harley and Miss Love in the "Illustrious Stranger" - Nathan.
Song - The Aboriginal Mother, a new Colonial composition, the words written by Mrs. Dunlop - Nathan.
Song (comic) - Skippity Whippity Nippity Hop - Nathan.
Solo and Full Chorus - Now with grief no longer bending, the celebrated finale to Cinderella - Rossini.
Overture - The Illustrious Stranger - Nathan.
Song - Bid me discourse - Bishop.
Song (comic) - Since 'tis plain you disdain, in character by Miss Jones (originally sung by an old Duenna, supposed to be seventy-five years of age, in the Opera of "Birds without Feathers," at the Theatre Royal, Haymarket - Nathan.
Duet - Vederlo sol Bramo - Paer.
Song (comic) - My Grandfather was a most wonderful man - Benedict.
Trio - Hope once more - Nathan.
Duet (comic) - How can you abuse an easy woman so? as sung by Mr. Liston and Madame Vestris in the Opera of "Sweethearts & Wives"
Song (by desire) - Where is the Rover - Lee.
Finale - Long live Victoria - Nathan.
The Band, assisted by that of the 28th, by the kind permission of Colonel French, will be select and complete.
Leader - Mr. Deane
Conductor - Mr. Nathan (who will preside at the pianoforte).
Boxes can only be secured by early application to Mr. Nathan at his residence, Ada Cottage, Prince street.
Tickets for the Boxes and Pit, seven shillings and sixpence each; Upper Boxes, five shillings; Gallery, two shillings and sixpence; may be had of Mr. Coyle, No. 102, George-street; Mr. Ellard, Music Saloon ; Mr. Evans and Mr. Tegg, Booksellers, George street; and Mr. Wright, Victoria Hotel, Pitt-street.
Doors open at seven, and the performance to commence at eight o'clock precisely.

"NATHAN'S GRAND CONCERT", Australasian Chronicle (28 October 1841), 2

. . . Of the "Aboriginal mother", given on this occasion for the first time, we have already expressed our opinion, and have only to add that it was sung by Miss Rosetta Nathan with great feeling. We shall he glad to hear it again; it will decidedly gain new favour by a better acquaintance. Rossini's "Now with grief" (Non piu mesta), which concluded the first part, was, we can say, without any exception, the best musical performance we have heard in the colony. It was loudly and very justly encored. Bishop's "Bid me discourse" was sung by Miss Jane Nathan with uncommon accuracy and taste. The orchestral parts to this song were also original, and would establish Mr. Nathan's abilities as a skilful harmonist if he had never written anything else. This song was duly encored . . . The exquisite duet "Vederlo sol bramo", by Paer, followed, sung by Misses Jane and Rosetta Nathan, and, whatever prejudice may say against Italian music, must have delighted every musical ear in the house. We wish we could hear such a composition so well sung every evening of our life, and for ever after. Mr. Alfred Nathan's, "[My Grandfather was a most] Wonderful Man" [Benedict] was beyond our expectations; the introduction of Port Phillip and Parramatta was very clever . . . "Where is the Rover" [Lee], was sung and repeated with renewed applause, by Miss Jane Nathan. The performance concluded by our excellent Australian anthem, "Long Live Victoria", which, being given with a very full chorus, was most effective. The solos were sung in succession by Miss Jane Nathan, Miss Pettingell, and Miss Strickland. Altogether, this was a very fine performance, and we cannot withhold our very decided praise from the beautiful juvenile academy with which Mr. Nathan was surrounded. As a contemporary has remarked, it is truly delightful to see Mr. Nathan giving his lessons to this little chorus; and we hope he will be encouraged as he really deserves in his efforts to advance his delightful art among us.

ASSOCIATIONS: Marianne Pettingell Adcock; Eliza Strickland

"NATHAN'S GRAND CONCERT", The Sydney Herald (29 October 1841), 2 

"MR. NATHAN'S CONCERT", The Sydney Herald (29 October 1841), 2 

"NATHAN'S CONCERT. TO THE EDITOR", Sydney Free Press (30 October 1841), 2 

"MR. NATHAN'S CONCERT", Sydney Free Press (30 October 1841), 3 

"CONCERT", The Australian (30 October 1841), 2 

"Mr. Nathan's Concert", The Sydney Gazette and New South Wales Advertiser (30 October 1841), 2 

[News], The Omnibus and Sydney Spectator (30 October 1841), 34 

"SYDNEY EXTRAVAGANZAS - FELTON - NATHAN". To the Editors", The Sydney Herald (3 November 1841), 2 

GENTLEMEN. - We shall infallibly render ourselves a laughing-stock among our friends at Home. Everybody knows, that the effect of faint praise is to damn the poor wight on whom it is bestowed; but nobody here seems to know that the effect of extravagant and undue praise is to doubly damn the unhappy jackdaw who is thus "tarred and feathered" with extraneous peacock's plumes. Some of our recent arrivals from the old country are persons of undoubted talent, and we ought to make the most of these in our little community, were it no more than to endeavour through their means to elevate the tone of our society and of our public manners which very greatly require this, from being hitherto in many respects so low in the scale when compared with England. But instead of making the most of the men of talent in the Colony, we seem disposed to make the least of them and perhaps with the best intentions of doing good - we in very fact do great harm - harm to the persons noticed - and more harm still, - to our population which might otherwise be greatly benefited by the exertions of superior men.

I shall give two instances - well known to prove my views - Felton and Nathan . . .

. . . It is not enough, that Nathan should be a good, or rather a first rate teacher, and a good, though certainly far enough from a first rate composer, but some foolish friend, or some wily enemy, commences to "tar and feather" him, and seriously injure him with all sorts of extravagant puffery. First we are told he is the grandson of Stanislaus, King of Poland, then that he was the personal friend of George the Fourth, of William the Third and of Lord Byron. What is all this to us? Nothing! worse than nothing, for it rouses the jealousy and dislike of all our thriving folks, who have no royal blood in their veins, and cannot boast of royal and noble chums. But if such ancestering and chumming go for nothing in Sydney, it is something and a great deal to us that we should have such a first rate musical teacher as Nathan, in whose instructions to our young people we can fully trust . . .

. . . Again, most warmly wishing all success to these over-praised and over-puffed meritorious men, and others I could name,
I am, gentlemen, yours to command,

[Mr. Thorough Bass is rather too hard on Nathan who is not to blame for the super-extra puffs which are bestowed upon him, and some of which we happen to know were written by persons who are good judges of music. - EDS.]

ASSOCIATIONS: Maurice Appleby Felton

"MR. NATHAN'S CONCERT", The Colonial Observer (4 November 1841), 6 

"THE FINE ARTS AND THE PRESS" [Letter to the Editor], Australasian Chronicle (4 November 1841), 2 

MR. EDITOR. - Some envious fiddler, under the signature of "Thorough Bass," has perpetrated a whole column of abuse in this day's Herald upon two of our best colonial artists, Mr. Nathan, the composer, and Mr. Felton, the portrait painter . . .
I have the honor to be, Mr. Editor, yours truly, G. B. PERGOLESI, Jun.
Hyde Park, November 3, 1841.

"THOROUGH-BASS AND NATHAN. To the Editors", The Sydney Herald (5 November 1841), 2 

GENTLEMEN, - It has been admitted by most nations that "Patience is a virtue." The French exalt it above science. The Romans pronounce the desirable virtue to be a splendid weapon against an enemy; for say they, "Patientia vincit;" - and say the former, "La patience passe la science;" but it has also been admitted by professors of a little Greek and a great deal of Scotch, as well as by other learned pundits, that a worm will turn upon its tormentor, so will patience be excited to anger if too grossly trampled upon - patientia laesa fit furor.

Now, Gentlemen, permit me to use that self-same personal pronoun I without imputing to me the cruel charge of egotism, and allow me without any further preface at once to say, that I have very strongly developed on my cranium the bump of patience, and a particular rise - hump - or bump, on that part of my head fixed upon by Craniologists for the dwelling of silence; both of which (patience and silence) I have exercised to an extraordinary degree since I have had the honor of visiting this colony, in refraining from replying to uncalled for and ungenerous remarks that have occasionally appeared in two or three of the Sydney papers relative to my family and self. I now feel that I am called upon to request you will afford me this opportunity of making known to the public, and to Mr. "Thorough-bass," alias a Tourner casaque, in particular, whose real object for his being on the present occasion so grievously infected with the Cacoethes scribendi, I fully appreciate - that with the exception of a letter you kindly inserted in your valuable columns for me some months ago, bearing my name in full, I have never written a single article for the Press since I have been in this colony; nor have I either directly or indirectly authorised or given sanction to any of the "puffs" alluded to by Mr. "Thorough-bass;" and I further pledge my word, on the honour of a gentleman, that I am up to the present day ignorant who are the real authors of them. So far from wishing to extend my own merits through the medium of a newspaper, I am only desirous to merit the good opinion of all, to encourage the cultivation of music in this colony, which I have studied so many years, and to support, at the same time, through my own exertions, those who have a claim upon my best endeavours.

It is, unfortunately, too often the case, that public characters are made the subject of remarks through the medium of the Press; and, although I do not deny the right the public have to speak their sentiments through the columns of your paper, still I am anxious your readers should be acquainted with the fact, that I have never sanctioned, nor did ever intend to sanction, any one of those articles of praise - my claim to which the public, from their own good sense and judgment, are themselves, as well as the writers, able to judge of. I leave these things to those "who write critiques on other men, and hypers upon them again."

Perhaps the present opportunity may not be untimely to mention that the kindness I have already experienced in this colony from so large a body of the community, convinces me that I have many friends and well-wishers for my success, and which hold out every inducement to persevere in the object I have in view. One word to Mr. "Thorough-bass," who has so kindly taken into consideration the mode of praise I ought to receive from the press, he will, perhaps, in future write all the critiques on music for Sydney, since, according to Thorough-bass and Juvenal,
Pauci dignoscere possunt
Vera bona, atque illis multum diversa.
Yes, Mr. "Thorough-bass" must in future lead the public taste in Sydney, he alone can tell them what is good and what is bad, "Praise undeserved is censure in disguise," he very properly exclaims. Mr. "Thorough-bass" knows everything, as the song says "he knows a sheep's head from a carrot," he can tell how many crotchets make a quaver, and how to cure pain in the eye-lash - he knows how to give praise and how to use the rod, which, as Lord Byron says, he'll lay on by -, so mind your hits, do not dare to receive praise from the public press without Mr. Thorough-bass's permission, in fact you must swallow opium or whip yourselves, if he commands it. I have reason to speak of him as I have found him - a friend; Oh, what a friend.

Mr. Thorough-bass might, perhaps, obligingly relieve my purse from the weight of a thousand pounds if it contained as much, and treat me with sovereign contempt if I did not believe he did so out of pure friendship, fearing too great indulgences of the luxuries of this life might injure my health.

Mr. "Thorough-bass" might feel inclined to do a thousand kind offices of this nature out of pure friendship - oh what a glorious thing it is to have one true friend in this wicked world ! ! ! My worthy kind-hearted Thorough-bass friend, you are the only man in the Colony fit to lead the taste of the public - the public press shall not dare to praise me any more; nor shall the haughty public read any eulogiums from the papers without your written authority; and I further promise you that at my next concert, which I shall very soon announce, not more than six of my songs shall be performed - and that I will, in addition to my own family, introduce all the talent of the Colony, and I mean to avail myself of your very modest and superior judgment to select that talent, taking it for granted you will not omit the introduction of your friend honest Iago, &c., &c.
I am for the present, yours, very obediently,
Ada Cottage, November 4, 1841.

"ST. PATRICK'S TOTAL ABSTINENCE SOCIETY", Australasian Chronicle (30 November 1841), 2 

. . . It is also in contemplation to raise a band, to be attached to the society, and to be composed of young men who are teetotallers. Mr. Nathan, we have been informed, has kindly consented to give instruction in music, gratis, to such young men as are willing to join it; those who wish to do so may send in their names to the committee of St. Patrick's Total Abstinence Society, at Vercoe's coffee house. Mr. Sloman has made a present of a very handsome German flute for the use of the band . . .

ASSOCIATIONS: St. Patrick's Band

"CHRISTMAS DAY - MOZART", Australasian Chronicle (25 December 1841), 2 

A solemn high mass will be celebrated this day in St. Mary's Cathedral, on which occasion Mozart's magnificent mass (No. 12 of Novello's set) will be performed complete, for the first time in this hemisphere. The choir of St. Mary's, under the laborious and judicious instruction of Mr. Nathan, will very soon be one of the best in the British empire. Indeed with respect to the chorusses, which (whatever persons of a vitiated taste may aver) are everything and solos nothing in sacred music, those of St. Mary's would be heard with delight at the Bavarian Ambassador's, in Warwick-street. A different opinion has been expressed, we know, but without entering into technical arguments, the number of respectable strangers that attend every Sunday, doubtless on account of the music alone, prove that we are correct; and that the pledge we gave in behalf of the new choir has been fully redeemed. Go on young friends - cantate Domino.

Letter, Eliza Hamilton Dunlop to Isaac Nathan, December 1841; unidentified original, ed. in De Salis, Two early colonials (1967), 104-05

[December 1841] Sydney, Ada Cottage.

I fear my dear Madam my long silence will not place me at number one in your estimation, the truth therefore must out. The same day that I did myself the honour to forward you the music of your beautiful aboriginal mother, I gave a copy to an engraver here, that I might testify by its immediate publication the delight I really felt in connecting my humble music with the words. unfortunately the engraver, who is infected with the gross air of Sydney I imagine, has not yet done his work and puts me off from day to day, and I fear will do so for some months to come. I not take leave to hand to your notice a simple French air which I would like to have sun at my next concert, to English words so that it may be published. If you can spare the time and will write on any subject you please, I shall feel highly flattered. Do not confine yourself to french words, I would rather make it an aboriginal subject, an Australian subject connected with native dance or festival. My object is to publish all I can in England as well as in Sydney and you may be certain that I shall not set a line of my music to any words of the Sydney writers whilst I may calculate on receiving productions from your powerful pen . . . I will lose no time in forwarding your "aboriginal mother" as soon as the engraver brings her home.

Dear Madam, Yours respectfully and obliged, I. Nathan.

NOTES: For Nathan's "simple French air", Dunlop produced the lyrics for The eagle chief, below



To call up all the TROVE newspaper items tagged Isaac Nathan for 1842:

[Advertisement], The Colonial Observer (26 January 1842), 133 

SINGING. - MISS RENNIE respectfully announces, that the very flattering patronage with which her School has been honoured, has induced her to engage Mr. NATHAN, to give all her music pupils lessons in Singing without any extra charge to them. Mr. Nathan will begin his instructions on Wednesday, the 3rd February, and after this, no new pupils can join this Singing Class, as such would be behind the others in the fundamental points so essential to highly finished scientific singing, of which Mr. Nathan is well known to be the first master and the best teacher in the colony . . .


"MARRIED", The Sydney Herald (2 February 1842), 3 

On the 1st instant, at St. James's Church, by the Rev. Mr. Allwood, Marion, daughter of Mr. Nathan, to T. H. B. Kenour [Venour], solicitor, Sydney.

5 February 1842, first notice of The eagle chief (words: Dunlop; music: Nathan)

For documentation see: (TROVE tagged by Australharmony)

"NATHAN'S CONCERT", Australasian Chronicle (3 March 1842), 2 

We understand that Mr. Nathan's concert has been postponed till the second week of April, to await the arrival from England of his eldest daughter, who has a rich contralto voice.

"MUSICAL", Australasian Chronicle (17 March 1841), 2 

The committee of the Sydney College have politely granted to Mr. Nathan the use of the spacious hall of the institution for a grand concert, which will take place about the end of April next. We understand that some of the most charming "flowers of the opera" will be selected for the programme on this occasion.

"ST. PATRICK'S DAY", Australasian Chronicle (19 March 1842), 2 

Thursday last being the festival of St. Patrick, in whose honor the Catholics of Sydney had determined upon having a procession in the morning, and a dinner in the evening . . . At seven o'clock about a hundred and thirty gentlemen sat down in the old court house to a substantial and excellent dinner . . . After the removal of the cloth, "Non nobis Domine" was sung by the band in excellent style . . . Mr. NATHAN then said he had the honour to propose the health of a race of men who stood paramount as far as personal appearance was concerned; the claims to talent in every art and science which they already evinced, whensoever they had enjoyed opportunities of displaying it, placed them on a level with any other nation; and when they should have established amongst them those educational institutions which he hoped shortly to see spring up he was convinced that they would be second to none in all respects.
He would give "The Natives of Australia."
Cheers. Air, " Advance Australia". . .

[Advertisement], The Sydney Herald (22 March 1842), 3 

Australian Harmonic Club.
THE MEMBERS of the above are requested to notice that the meeting will he held this week, on Wednesday Evening, the 23rd instant, in lieu of the 25th, (being good Friday). The musical department will in future be under the direction of J. Nathan, Esq., Composer.
J. C. CRISP, Hon- Sec.
Club Room, Pitt street, March 21.

ASSOCIATIONS: Australian Harmonic Club; James Chester Crisp

"MR. NATHAN'S CONCERT", The Colonial Observer (30 March 1842), 205 

We understand that Mr. Nathan is about to give a concert, and only awaits the arrival of his daughter to issue his programme. If the late concert given by Mrs. Prout, however, turned out a bad speculation, there is much reason to apprehend that the approaching musical treat will prove a miserable failure.

"MR. NATHAN'S CONCERT", Australasian Chronicle (19 May 1842), 3 

We have been favoured with a copy of the programme of this concert, which will take place on Friday, the 27th instant. It is only sufficient to mention the names of the composers to determine the high character of the selection; namely, Mozart, Paer, Rossini, Bellini, Sarti, Pucitta, Bishop, Morley, Calcott, Guglielmi, Kreutzer, Ford, Benedict, to say nothing of original compositions by Mr. Nathan himself and by Mr. Marsh. The concert opens with Paer's excellent overture to Sorgina [Sargino], which in itself, if well performed, will afford a rich treat to the real lover of music. The Governor, Lady Gipps, Lady O'Connell, &c., have, we are informed, signified their intention of being present at the concert.

ASSOCIATIONS: Stephen Hale Marsh (pianist, harpist, composer)

24 May 1842, first notice of Koorinda braia (music: Aboriginal; arr. Nathan)

For documentation, see: (TROVE tagged by Australharmony)

24 May 1842, first notice of Mable Macmahon (words: Dunlop; music. Nathan)

For documentation, see: (TROVE tagged by Australharmony)

"THE QUEEN'S BIRTHDAY", The Sydney Herald (25 May 1842), 2 

YESTERDAY, being the Anniversary of Her Majesty's Birthday, was as usual observed as a holiday in Sydney, the whole of the Government Offices, the Banks, and Public Institutions, and many of the shops being closed . . . At one o'clock His Excellency, the Governor, held a levee, which was attended by the following gentlemen: - . . . Mr. Marsh, Bligh-street; and Mr. Alexander McLeay; Dr. Charles Nicholson; Mr. Nathan; Mr. Charles Nathan, Elizabeth-street North . . .

27 May 1842, concert (Nathan benefit), Hall of Sydney College, Hyde Park, Sydney

[Advertisement], The Sydney Herald (27 May 1842), 1 

The Spacious Hall, Sydney College,
WILL be performed THIS EVENING, the 27th May, 1842.
The Overtures and the whole of the Music, expressly arranged for full orchestra (which, by the politeness of Colonel French, will include the Band of the 28th Regiment) by Mr. Nathan.
Madame Gautrot, a Young Lady (whose friends have favoured Mr. Nathan by permitting her to sing in public on this occasion only), the Misses Nathan, Miss F. Pettingell, the Misses Sullivan, Miss Ellison, Miss Jones, Miss Mears, Miss Lynch, Miss Riley, Miss Tuohy, Miss Cochlen, Miss Riely, Master Allen, Master Richards, Master Riley, Masters Tuohy, Master Nathan, and the Masters Weavers.
Monsieur Gautrot, Mr. Worgan, Mr. Whitfield, Mr. Allen, Mr. Richards, Mr. Kelly, and Mr. Nathan.
Mr. Griffiths, Mr. Bridge, Mr. Callaghan, and Mr. Waller.
Song and chorus, THE EAGLE CHIEF (a new Australian Melody, by Mrs. Dunlop, inscribed to Lady O'Connell,) a Young Lady - Nathan.
"Bid me discourse." Song.- Miss Nathan - Bishop.
"Now is the Month of Maying." MADRIGAL, - Composed in the year 1595 - Morley.
Cavatina, LUNGI DAL CARO BENE. - (With the original ornaments, as expressly written by Mr. Nathan, for Madame Malibran) - Miss R. Nathan - Sarti.
KOORINDA BRAIA.- Solo, quartetto, and chorus. (Inscribed to Mrs. Deas Thomson. A genuine Aboriginal Melody, sung by the Maneroo tribe of Australia - presented to Mr. Nathan, by a highly respectable merchant of this Colony, and its authenticity identified and fully established by several native blacks), a Young Lady, assisted by the whole vocal strength - Nathan.
VEDERLO SOL BRAMO. Duet. - The Misses Nathan - Paer.
"La Biondina in Gondoletta," A Venetian Air. - Madame Gautrot - Paer.
SOLO - HARP, (A Grand Melange, introducing "Farewell to the Mountain," "Oh come Nascondere," and his National Air, "Queen of merry England.") - MR. MARSH - Marsh.
AHI AHI AHI - Trio. Mr. and the Misses Nathan - Pucitta.
" Now with grief no longer bending", Finale to Cinderella - Rossini.
FAIRY DANCE - Glee. "By the Moon" and "round about." - Callcott.
CRUDEL PERCHE.- Duet. Madame Gautrot and Mr. Nathan - Mozart.
" Scenes of my Youth," - Song - Benedict.
"When I first saw your Face," (MADRIGAL.- Composed in the year 1620.) - Ford.
MABLE MACMAHON. - Song. (A new Australian Melody, by Mrs. Dunlop, inscribed to Roger Therry, Esq., the Attorney-General,) a Young Lady - Nathan.
DOLCE SPERANZA IN SENO. - Trio. Mr. and the Misses Nathan - Guglielmi.
"Love and Folly." Song - Nathan.
SOLO - VIOLIN - Nel cor piu non mi sento. MONSIEUR GAUTROT - Kreutzer.
"Do not mingle." Song - Bellinda.
"Long live Victoria." National Anthem - with extra parts, inscribed to his Excellency Sir George Gipps - Nathan.
Leader - Mr. Deane.
Conductor - Mr. Nathan.
Who will preside at the Pianoforte, upon which instrument he will, after the first part of the Concert, perform an
Modulating in the major and minor modes through thirty different keys [sic].
Doors will be opened at half-past seven, and Concert will commence precisely at eight.
Tickets 7s. 6d. each, to be had of Mr. Nathan, Ada Cottage, Prince-street; and of the Music and Booksellers.

ASSOCIATIONS: Anna Maria Deas Thomson (patron); Roger Therry (attorney-general); Joseph Gautrot (violinist); Madame Gautrot (soprano vocalist)

"NATHAN'S CONCERT", Australasian Chronicle (28 May 1842), 2 

"MR. NATHAN'S CONCERT", The Sydney Herald (30 May 1842), 2 

"CONCERT. To the Editor", The Australian (31 May 1842), 2 

"MR. NATHAN'S CONCERT", Sydney Free Press (2 June 1842), 3 

"Mr. Nathan's Concert", The Sydney Gazette and New South Wales Advertiser (2 June 1842), 3

"MUSIC", The Australian (2 June 1842), 3 

[Advertisement], The Sydney Herald (2 June 1842), 1

MR. MARSH BEGS respectfully to announce to those Ladies and Gentlemen who have honored him by subscribing to his CHAMBER CONCERTS, that from some misunderstanding with Mr. Nathan, Mr. Marsh has been induced to dispense with the assistance of the Misses Nathan at his Concerts, and will therefore have to make an alteration in his Programme for Thursday, and he requests that those Ladies and Gentlemen who may regret that such an alteration has become necessary, will withdraw their subscriptions. Bligh street, Tuesday Night, ten o'clock, May 31.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (2 June 1842), 3 

MR. NATHAN is induced, for the general expressions of delight manifested by the Public and the Press, at his first introduction of Madrigals into this Colony, as performed at the Sydney College, on the 27th May last, to give a series of Musical Entertainments, to consist of
Madrigals, Roundelays. Rounds, Catches, Glees, &c.,
Ancient and Modern, from the fifteenth century up to the present day. Selected from the Works of -
Christian Bach - Battichill [Battishill]
Nicolo Pasquali - Forn
Michael Cavendish - Travers
Stafford Smith - Bononcini
Thomas Weelkes - Hayes
Matthew Lock - Atterbury
Orlando Gibbons - Anon
Jeremiah Saville - Spofforth
John Wilbye - Baildon
Giovanni Croce - Ravenscroft
Gio Giacomo Gastoldi - Dr. Harrington
Joseph Corfe - Dr. Nairs
The Earl of Mornington - Dr. Popush [Pepusch]
Palestrina - Dr. Cooke
Purcell - Dr. Callcott
Dowland - Webbe
Danby - Shield
Morley - Dibdin
Leisley - &c.
With a sprinkling of the classical compositions of Gluck, Sacchini, Paer, Cherubini, Winter, Martini, Cimaroso [Cimarosa], Storace, Giardini, Mendelssohn, Meyerbeer, Beethoven, Mozart, Haydn, &c.
Full particulars will shortly be announced.

"BENEVOLENT ASYLUM", The Sydney Herald (20 June 1842), 2 

We are informed, from good authority, that Mr. Nathan has most generously volunteered his services to get up an Annual Concert, exclusively for the benefit of the Benevolent Asylum . . .

8 July 1842, concert (benefit for the Benevolent Asylum), Hall of Sydney College, College Street, Hyde Park, Sydney

[Advertisement], The Sydney Herald (8 July 1842), 1 

in aid of the Funds exclusively for the Benevolent Asylum, will take place, under the sanction of the Committee, at the spacious Hall, Sydney College,
THIS EVENING, the 8th of July, 1842.
The following gentlemen have kindly offered their services to act as Stewards on this occasion:
Honorable E. Deas Thomson, M. E. C.
His Honor Mr. Justice Stephen
Roger Therry, Esq., Attorney-General
James Donnithorne Esq.
Robert Lynd, Esq., Barrack Master
T. H. Braim, Esq., A. M.
Oeorge Cooper Turner, Esq., Crown Solicitor
Edye Manning, Esq., J. P.
H. T. Crozier, Esq , J. P.
William Dawes, Esq., J. P.
Dr. Bland
M. Metcalfe, Esq., &c. &c.
Leader - Mr. Deane.
Conductor - Mr. Nathan, who will preside at the pianoforte.
THE BAND OF THE 80th REGIMENT will attend, by the kind permission of Colonel Baker. PROGRAMME.
Overture - Arranged for full Orchestra, by Mr. Nathan - Paer
Madrigal - "When Flowery Meadows." - Composed in the year 1590 - Palestrina
"Where is the Rover." - Song - Lee
Medley, Rounds, Rotas, and Catches of olden times, expressly arranged by Mr. Nathan for this occasion -
"O Yes! O Yes!" "Half an hour past Twelve o'clock." "Cottons Burning." "I'm not Insured." "Three White Mice." "White Sand and Grey Sand." This beautiful piece of simple harmony was known in the sixteenth century: we find that it was sung at the time of the Great Plague of London, to the words "Bring out your Dead." To conclude with "Hark, the bonny Christ Church bells." "Sad News, Sad News." "Poor John is dead."
Solo. - Violin-Nel cor piu non mi sento - Kreutzer
Madrigal - "Now is the Month of Maying," - Composed in the year 1595 - Morley
Love and Folly - Song - Nathan
Koorinda Braia. Solo, quartetto, and Chorus - A genuine Aboriginal Air - Nathan
Solo. - Guitar
Care Pupille - Duet. - Blangini
"La Biondina in Gondoletta" - A Venetian Air - Paer
The Chough and Crow - Bishop
The Waits - Composed in the year 1667.- This was the finale to all the ancient Madrigal Meetings - Jerem. Savil
Overture - Nathan
Fairy Dance, Glee - "By the Moon"
and "round about".- Callcott
Crudel Perche - Duet - Mozart
Madrigal - "When first I saw your Face." - Composed in the year 1620 - Ford
Glee - Aldiborontiphoecophornio - Callcott
Mable Macmahon - An Australian Melody - Nathan
With full chorus - Saul, Samuel, and Witch of Endor - Nathan
"The Aboriginal Mother" - An Australian Melody, inscribed to Lady Gipps - Nathan
Quartetto - Two Violins, Tenor and Bass. "God Save the Queen," with variations - Onslow
"Now with Grief." Solo and chorus - Rossini
"Long Live Victoria." National Anthem. - Inscribed to His Excellency Sir George Gipps - Nathan
Tickets, 7s. 6d. each, to be had of Mr. Ellard, George-street, where also the full Programme, in a book, now ready, price One Shilling, may be obtained.
Families desirous of securing seats, will have the goodness to make early application to the gentlemen-Stewards. Doors will be open at half-past Seven, and to commence precisely at Eight o'clock.

"CONCERT", Australasian Chronicle (9 July 1842), 2 

"CONCERT FOR THE BENEVOLENT ASYLUM", The Sydney Herald (11 July 1842), 2 

"Mr. Nathan's Concert", The Sydney Gazette and New South Wales Advertiser (12 July 1842), 2 

"BENEVOLENT ASYLUM", The Sydney Herald (28 July 1842), 2 

YESTERDAY evening the annual meeting of the subscribers and friends to the Benevolent Asylum, was held at the Old Court House, Castlereagh-street . . . Mr. ALLEN then rend the report for the past year . . . The report further mentioned, that a concert had been given by Mr. Nathan, for the benefit of the Asylum (the proceeds, amounting to £16 having been handed over since the report was drawn up), and that an Oratorio was also proposed, for the benefit of the institution . . .

11 August 1842, first notice of Star of the South (words: Dunlop; music: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

"MARTIAL REDIVIVUS", The New South Wales Examiner (12 August 1842), 3

On reading in the Sydney papers certain fulsome praises of Mr. Nathan's musical compositions:-

The story runs, how NATHAN bold,
The unwelcome truth to DAVID told;
But in this age of lying well,
Who shall the truth to NATHAN tell?

"MR. NATHAN AND HIS AIRS IN AUSTRALIA", The Sydney Gazette and New South Wales Advertiser (18 August 1842), 3 

To any one at all conversant with the sublime science of music, it must appear that the land we love promises as fair as ever did Italia; and there may be found, yet, some day, a feminine admirer of the divinity of sounds equal to the celebrated, but unfortunate, Mary Queen of Scots, and a performer as Sardanapalian as the equally unfortunate Rizzio. Mr. Nathan, since his arrival amongst us, has earned "golden opinions of all sorts of men," and his endeavours to set to music the poetry of the highly gifted Mrs. Dunlop, adds another laurel to the crown won by his meritorious adaptation of Byron's Hebrew melodies. Still, "Koorinda Braia" strikes us, with all its nativeness, as a hoax on that science which is a kin to mathematics; and if any one more gifted than another with the rudiments of Apollo's school can descry a refinement of harmony in the aforesaid "Koorinda Braia," we lay our judgment on the shelf. "Star of the South," and "Mable Macmahon" have but an ordinary standing, in our opinion, to a good judge; still are there beauties of composition in the music, as well as the poetry, which deserved much admiration, and we would fondly hope that the fair authoress of the poetry, and the renowned composer of the music will long live to establish the fame of Australia.

[We insert the above facetious paragraph which has been written for our columns by an itinerant musician. Mr. N. cannot take offence at the jealousy of the poor unfortunate whose pocket and elbows bear a great similitude, being both out, - ED. SYD. GAZ.]

[Advertisement], The Sydney Morning Herald (25 August 1842), 3 

STAR OF THE SOUTH - Inscribed to His Honor Mr. La Trobe.
MABLE MACMAHON - Inscribed to Roger Therry, Esq., Attorney-General.
KOORINDA BRAIA - lnscribed to Mrs. E. Deas Thomson.
THE EAGLE CHIEF - Inscribed to Lady O'Connell.
THE ABORIGINAL MOTHER - Inscribed to Lady Gipps.
National Anthem LONG LIVE VICTORIA Inscribed to Sir George Gipps.
Published by the Composer, Ada Cottage, Prince street.

ASSOCIATIONS: Mary O'Connell (patron)

"MARRIED", The Sydney Gazette and New South Wales Advertiser (8 October 1842), 3 

On Tuesday, the 4th instant, at St. Lawrence Church, by the Rev. Mr. Walsh, Charles Nathan, Esq., Surgeon, to Harriett, fourth daughter of Henry Fisher, Esq., of Terrace Vineyard, North Richmond.

[Advertisement], The Sydney Morning Herald (28 October 1842), 3 

AUSTRALIAN MUSICAL ACADEMY, on the plan now so highly patronised by the Queen of England, and by most of the reigning monarchs on the continent of Europe, may be had at Mr. Nathan's residence.
October 27.

"MUSICAL EDUCATION", The Sydney Morning Herald (5 November 1842), 2 

We have before us a Prospectus of a Vocal Academy, which Mr. Nathan intends forming on the German plan, for the instruction of classes in sight-singing. The support that Messrs. Cooke and Bennett met with in London, also, the decided success of Mr. Hullah's national undertaking, fully warrant Mr. Nathan, we think, in expecting cordial co-operation here. That the system, if perseveringly supported and carried out, will be productive of immense good to society, we are convinced; that Mr. Nathan's efforts will be rewarded as they merit, it is but right to hope, and we cordially wish him success. The power and effects of music, and the advantages to be derived from its general cultivation, Mr. Nathan has said much, and much to the purpose, upon, even within the limits of his small Prospectus; and has most pertinently brought forward several very ancient authorities to his assistance. Our space will not permit us to expatiate at any length upon the subject; but we believe, and advisedly aver, that part-singing, if cultivated among the humbler classes of the community, would do much towards increasing happiness, and diminishing crime. We know not any recreation likely to take with the working classes, at once so cheap, rational, civilizing, and well calculated to promote family and neighbourly love. In part-singing, the voice is the only instrument required; several must enter into the amusement, and be dependent upon one another for the requisite effect. The parts in most instances require female voices. Thus, wives, daughters, and even children, are included. The working man no longer indulges in the tap-room and tavern; but looks forward to his home, and the assembling of his family for the usual madrigals or hymn. Persons who cannot sing at sight, (only because they have never learned) are imagining perhaps that we are indulging in a picture never to be filled up; and that singing music at first sight is only to be accomplished by the professional musician. The working classes in Germany could soon convince to the contrary; or a few evenings among the different amateur societies in London would be sufficient. Sight-singing, like reading, is to be learned by a little labour and attention to rule; a voice of the smallest compass and power may be made useful; no person who can sound a few notes need be left out. How great a change would the general cultivation of this simple art make in our congregational singing! How many appear even to forget that the psalms and hymns are a part of the service in which they ought to join! To say nothing of the torture to which their praiseworthy efforts sometimes put their more sensitive neighbours. Many of our readers, doubtless, are thinking that we are attaching far too much importance to the cultivation of this art; but we would be distinctly understood that we do not recommend it to the exclusion of duties, or other useful branches of education, or of more profitable employment; but that we do advisedly and fervently recommend as a recreation the cultivation of part-singing at sight, to all classes in society, but especially to the working class. With the latter class, the advantages we have spoken of can never be efficaciously diffused until the government assist by a making it a part of national education. The excellent effects resulting from this plan in Germany are most manifest. The system has been carried into England, and every file of papers we receive tells us of thousands benefiting by it: that it may be extended to this colony, and throughout the world, we cannot, as lovers of harmony and philanthropy, but wish.

Mr. Nathan's Prospectus, although of a private academy, gives us much satisfaction. The terms requisite to remunerate him, although very moderate, will be too high for the class of the community that we are most anxious about. It is only in a national academy that our wishes on this subject can be fully carried out; and we shall hail the establishment of such an institution in this colony as the beginning of essential good. Our limits oblige us to refer to Mr. Nathan and his Prospectus for further detail. We would venture one word to Mr. Nathan before leaving. Does he not think that six o'clock, p.m., the time fixed for the gentleman's class to meet, will be seriously interfered with by the turtle soup and other delicacies with which we hope to see this mercantile city abound, about that hour? If we might suggest, we think that seven, p.m., would suit more generally.

21 December 1842, first performance of Australia the wide and the free (words: Duncan; music: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

"THE MAYOR'S DINNER", Australasian Chronicle (22 December 1842), 2 

Yesterday evening the Right Worshipful the Mayor, John Hosking, Esq., gave a splendid dinner in the saloon of the Royal Hotel . . . The band of the 80th regiment was in attendance, and played several appropriate pieces during dinner. The company, consisting of 349 gentlemen sat down to dinner about eight o'clock, the band playing "The Roast Beef of Old England." Amongst the gentlemen present we observed his excellency the Governor in his vice-regal uniform . . . a number of appropriate toasts were drunk and several songs were sung, among the rest the following new song, composed expressly for the occasion, on the city and corporation of Sydney, was sung by Mr. Nathan, and received with very great applause:
A song for Australia, the wide and the free,
Will I sing, while the cup passes round . . .

ASSOCIATIONS: John Hosking (first mayor of Sydney)

John Hood, Australia and the east: being a journal narrative of a voyage to New South Wales in an Emigrant Ship: with a Residence of Some Months in Sydney and the Bush, and the Route Home by Way of India and Egypt in the Years 1841 and 1842 (London: John Murray, 1843), 352-53 

. . . I went last Sunday to the Roman Catholic chapel, or cathedral rather, for it enjoys and is worthy of the name; [353] High mass was celebrated, and a newly formed choir performed the chanting under the skilful leading of that celebrated composer and performer, Mr. N., formerly well known in London. The service is actually distressing. It is at once painful and astonishing to see the mummery and the almost ludicrous forms of this church, and to find men of powerful minds worshipping with such absurd ceremonies - the whisperings of the priests to one another - the ringing of little bells - the constant bowing, crossing, and kneeling - the incense fumes - the paintings - the comical dresses of yellow satin - the caps off and on perpetually - the eyes of the priests now cast up to the bone crucifix, and anon bent down to the floor every alternate second - the running after each other - the draining the cup twice, pouring in more Wine, and draining it again! How is it that rational men, sincere men, and good men, too, can so worship? But, then, the splendour of the temple - the pealing of the superbly toned organ - the rich full volume of the leader's manly mellow voice - the touching beautiful notes of one sweet vocalist, and the fine soprano of another! these redeem the vanities, in the opinion of many, and lead still more astray . . .




To call up all the TROVE newspaper items tagged Isaac Nathan for 1843:

19 January 1843, first notice of The Aboriginal father (words and melody: Aboriginal; translated: Dunlop; arranged: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

4 March 1843, first notice of opera Merry freaks in troublous times (libretto: Nagel; music: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

ASSOCIATIONS: Charles Nagel (librettist)

"DEATHS", The Sydney Morning Herald (3 April 1843), 3

On Saturday morning, at the residence of her father, Elizabeth-street, in the sixteenth year of her age, Rosetta Nathan, daughter of J. Nathan, Esq. This highly accomplished, amiable, and virtuous young lady, who was but a few hours ago the pride and delight of her family and friends, calmly slept in death after two short days' illness, leaving her afflicted family inconsolable for their sudden but irreparable loss.

"ROSETTA NATHAN'S DIRGE", The Sydney Morning Herald (25 April 1843), 2

[Advertisement], The Sydney Morning Herald (29 April 1843), 3 

MR. NATHAN'S Singing Class, on the plan originally proposed by him in his "Essay on the history and theory of music, and on the qualities, capabilities, and management of the human voice," dedicated, by special command, to his Majesty George IV. in 1823, and which plan is now so highly patronized by the Queen of England, her Majesty's Ministers, and by most of the reigning monarchs an the continent of Europe, has re-commenced at Mr. Nathan's residence, Elizabeth street South, opposite the Sydney College.
Mr. Nathan takes this mode further to make known to his pupils, that in future his classes 1 and 2, will be opened every Wednesday and Saturday mornings, from ten till twelve, and from twelve till two, for ladies only. Classes for gentlemen will continue at the usual hours, on the evenings of the above days.
Applications to join in class singing to be made between the hours of two and three, when a prospectus of terms, &c., may be procured.
On the 1st of June, will be published, No. 1, and to be continued, daily exercises for the cultivation of the voice, with various classical Pianoforte accompaniments, for the tyro's improvement in harmony.

"SINGING CLASSES", The Australian (1 May 1843), 2 

We have in a previous number adverted to the introduction, by Messrs. Johnson and Marsh, of the famous system of Class Singing, which has been so successfully pursued in London, by Hullah, and on the Continent by Mainzer. We have now the further pleasure of observing, that Mr. Nathan's singing class, on the plan originally proposed by him, is re-opened; and we trust that the hopes we have already expressed, in reference to the cultivation of this delightful study, may be deemed in a fair way to be realised, from the renewed activity which is discernible amongst its professors.

ASSOCIATIONS: James Johnson (organist, St. James's Church, Sydney)

"MUSIC AND MUSICIANS", The Australian (12 May 1843), 2 

"MUSIC AND MUSICIANS", The Australian (29 May 1843), 2 

"MUSIC AND MUSICIANS. MR. NATHAN'S OPERA", The Australian (12 July 1843), 2 

We are glad to learn that Mr. Nathan has completed his Opera of "Merry freaks in troublous times;" and that the Victoria is to be the theatre of its trial before an Australian audience. We understand that on on its first representation, several of the parts will be sustained by amateurs, who have studied the music under the composer's immediate auspices. On this occasion the performance will be for the benefit of Mr. Nathan, to whom Mr. Wyatt has with much kindness and consideration, granted the theatre on most liberal terms. As the stage arrangements will be directed by Mr. Lazar, who has displayed so much taste in the musical pieces which now so highly distinguish the Victoria, we may anticipate that every justice will be awarded to this first specimen of Australian Opera.

ASSOCIATIONS: Joseph Wyatt (theatre proprietor); John Lazar (actor-manager, vocalist)

Horbury Terrace, from Fowles, Sydney in 1848

Horbury Terrace, on the west side of Macquarie Street, Sydney, with Hunter Street corner at left; from Joseph Fowles, Sydney in 1848; State Library of New South Wales (DIGITISED)

From 1843 until 1853, Nathan lived at No. 1 Horbury Terrace, 105 Hunter Street - the only house of 8 in the terrace that did not front onto Macquarie Street. Other musical residents of the terrace were the brothers James Johnson and William Johnson in the 1840s (who also gave their address as No. 1), and Lewis Lavenu, who died there in 1859. Two of the houses, the second and third from the right (as pictured above), survive today.

[Advertisement], The Australian (28 November 1843), 1 

MR. NATHAN has the honour to acquaint his pupils and friends, that he has changed his residence from Elizabeth-street, to the top of Hunter-street, corner of Horbury Terrace; November 16, 1843.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1844:

"MR. NATHAN'S CONCERT", The Australian (13 January 1844), 3 

"BIRTHS", The Sydney Morning Herald (19 January 1844), 3 

In Hunter-street, Horbury Terrace, on Wednesday Morning, 17th instant, the lady of J. Nathan, Esq., of a son.

"THEATRICAL REGISTER', The Weekly Register of Politics, Facts and General Literature (10 February 1844), 427 

We are glad to hear that Rossini's Cinderilla [sic], as adapted to the English stage by Rophino Lacy, with orchestral accompaniments by Nathan and Gibbs, is in a state of forwardness, and will be produced on Monday, when we trust to see all our musical friends enjoying the treat.

ASSOCIATIONS: John Gibbs (violinist, leader of the theatrical band)

"CINDERELLA. To the Editors", The Sydney Morning Herald (12 February 1844), 2 supplement 

GENTLEMEN, - To forward the laudable object of the manager to cultivate, in this colony, the rising taste for good music and to promote the interest of Mrs. Bushelle by affording her a fair opportunity of displaying her vocal powers in an opera worthy her capabilities, I supplied the Theatre with the only copy, in Sydney, of the score of Rossini's elegant music to Cinderella; but, with the exception of the concerted finale to the 2nd act, "Midst doubt confusing," &c., - I disclaim any share of the orchestra arrangements, beyond that of advice, and of exerting my best efforts in giving instructions to the singers in their arduous undertaking. Some of the orchestra parts were written by that excellent theorist and great musician, Monsieur Gautrot. (I must here express my regret that so talented a man should have been forced from this colony for want of patronage.) The rest of the orchestra parts have been supplied by the joint efforts of Mr. Gibbs and Mr. Wallace. Having been excited into this explanation from a kind notice of the forthcoming opera in the Saturday's Weekly Register, giving me credit for more than I have any ambition to acknowledge, I have now only the honour, Gentlemen, to subscribe myself.
Yours, very obliged,
Saturday evening, February 10.
Horbury Terrace, Hunter-street.

"ROYAL VICTORIA THEATRE", The Australian (15 February 1844), 3 

The production at this theatre, of the opera of Cinderella, must be regarded as an epoch in the progress of Colonial taste, which will hereafter be referred to with feelings of pride and pleasure. An audience which crowded every part of the theatre welcomed its first performance, and testified the warm interest they took in the manager's attempt to do all the justice in his power to this charming effervescence of Rossini's happiest and most buoyant spirit . . . Rophino Lacy's score having been kindly lent to the Victoria by Mr. Nathan, the most effective portions were selected for the version of the opera which was produced on Monday evening, and arranged for the orchestra by Mr. Wallace, and Mr. Gibbs, - Mr. Nathan reserving for his own especial master-hand the brilliant concerted piece in the first act, "Midst doubts confusing," and a very able arrangement of "Miei rampolli," by Gautrot being also retained. The result is very gratifying. The vocal music, under the careful direction of Mr. Nathan, was most creditably performed; nor must a fair portion of praise be refused to the efforts of the orchestra . . .

"NEW INSOLVENTS", The Sydney Morning Herald (2 March 1844), 2 

Isaac Nathan, of Hunter-street, Sydney, composer of music, - there being an execution issued against him: Debts, £530 17s. 6d. Assets - personal property, £75. Balance deficiency, £455 [17s. 6d.] - JOHN WALKER Official Assignee.

"INSOLVENCY PROCEEDINGS", The Sydney Morning Herald (20 March 1844), 2 

In the estate of Isaac Nathan, a single meeting: A. Lenehan, £26 11s. 6d.; G. D. Wood, £23; James Reid, £28 10s.; W. A. Duncan, £16 7s. 6d.; Statham and Foster, £37 12s. 2d.; Thomas Holt, jun., £27 7s. 6d.; J. Levey, £8 12s.; C. M. Penny, £2 6s. 11d.; J. Smith, £15 14s.; F. Kostin, £2 12s. 9d.; Nichols and Williams, £128 19s. 10d. The meeting allowed the insolvent to retain his furniture and wearing apparel.

ASSOCIATIONS: Frederick Kostin, pork butcher; Andrew Lenehan, furniture and upholstery; J. Levey, drapery; C. M. Penny, chemist; Statham and Foster, publishers of The Australian; Nichols and Williams, attorneys

"THE NEW SYNAGOGUE", The Australian (29 March 1844), 3 

In a late number of the AUSTRALIAN, we alluded, in an article on the Church Establishments of the Colony, to the near approach to completion of the elegant structure which the Jewish religionists of Sydney have raised in York-street. The opening is fixed for Thursday next, when the ceremony of consecration will be performed with all the pomp and solemnity prescribed by the Hebrew faith. The musical arrangements will be superintended by Mr. Nathan, to whom the colonists are indebted for so many of their most classical musical associations. In reference to this gentleman's talent in the performance of sacred music, we will avail ourselves of this opportunity to copy the following complimentary tribute from Mr. Hood's excellent work on "Australia and the East" - a review of which lately appeared in our columns: -

"I went last Sunday to the Roman Catholic Chapel, or Cathedral, for it enjoys, and is worthy of, the name. High Mass was celebrated, and a newly formed choir performed the chanting, under the skilful leading of that celebrated composed and performer, Mr. Nathan, formerly well known in London. * * * The splendour of the temple - the pealing of the superbly toned organ - the rich full volume of the leader's manly mellow voice - the touching beautiful notes of one sweet vocalist, and the fine soprano of another! those redeem the vanities, in the opinion of many, and lead still more astray. Popery assails the mind through every sense - the sight, the smell, the hearing; if gratifies all, and insidiously are its snares laid; habit, education, and consistency stand with its votaries in the place of understanding" . . .

"CONSECRATION OF THE NEW SYDNEY SYNAGOGUE", The Australian (3 April 1844), 2-3 

The New Synagogue, in York-street, being entirely finished, the ceremony of Consecration was performed yesterday afternoon, in the presence of a numerous and highly respectable congregation . . . The Procession, headed by the Reader, then advanced until it arrived at the Ark, the Reader and congregation singing the following:

"Blessed be he who cometh in the name of the Lord; we bless ye from the house of the Lord."

This was harmoniously sung by the choir, who had been trained by Mr. Nathan; the music composed expressly by him was exceedingly appropriate. The melody - in common time - is simple, yet bold and energetic, whilst the modulations are natural and elegant.

At the conclusion of the verse, the Procession proceed to circumambulate the Synagogue Seven times; during each circuit, one of the following psalms was chaunted by the Reader and congregation: -

(1.) Psalm xci. - "Dwelling in the secret place of the most high, &c." A pleasing and gracefully flowing strain, in D major, common time, composed in England by Mr. Moss.
(2.) Psalm xxx. - A Psalm at the Dedication of the House of David - "I will extol thee, O Lord!"
(3.) Psalm xxiv. - A Psalm of David - "The earth and the fulness thereof." Arranged by Mr. Moss in G, common-time, verse and chorus; the soli parts expressively sung by Mr. Anderson, a pupil of Cipriani Potter, of the Royal Academy of Music, and who has recently arrived here.
(4.) Psalm Lxxxiv. - "How amiable are thy tabernacles." - Solo by Mr. Anderson, the music by Mr. Leo, a pupil of Mr. Nathan, and who in this very effective composition proves himself worthy of his master.
(5.) Psalm cxxxii. - "I rejoiced when they told unto me, let us go into the House of the Lord."
(6.) Psalm cxxxii. - "O Lord, remember David."
(7.) Psalm c. - "Make joyous acclamation unto the Lord, all ye lands."

. . . The service concluded with a new Hallelujah Chorus, composed expressly for the occasion by Mr. Nathan. It is set in G major, common time, and is a delightful composition. There is in it a solo movement, sung with much spirit by Mr. Anderson, and replete with classical modulations and harmonious combinations and dispersion of chords. The hand of a master is visible throughout, and we hope Mr. Nathan will be induced to publish it . . .

ASSOCIATIONS: James Henri Anderson (pianist, vocalist)

"POLICE INCIDENTS", The Australian (5 April 1844), 3 

Thursday, April 4. - Before the Mayor, Alderman Macdermott, and Colonel Shadforth.

Mr. Isaac Nathan, professor of music, appeared, on summons, at the instance of Mrs. Elizabeth Bushelle, the favourite vocalist of the Victoria Theatre, an indented pupil to Mr. Nathan, to shew cause why the said indentures should not be cancelled, on the grounds of insolvency on the part of Mr. Nathan.

The covenants and agreements of the Indenture, as set forth in Mrs. Bushelle's information, were, that Mrs. B. should serve Mr. Nathan as his indented pupil or apprentice, from the 7th of January, for the period or 7 years; that Mr. Nathan should receive all the profits and emoluments accruing from Mrs. Bushelle's professional engagements and services during that period; and, that for and in consideration thereof, and the sum of £150, Mr. Nathan would teach Mrs. Bushelle the art and mystery of music, provide for her and her family passages to England at his own cost, and procure for her professional engagement in England, where the residue of the period of her indenture is to be completed.

Mr. Nathan said - He labored under a great disadvantage in not having his solicitor, Mr. Nichols, in attendance; but, in the absence of Mr. Nichols, he, although no lawyer, submitted, with great deference, to the Bench, that their Worships had no jurisdiction in the case; he was informed that the Court had no jurisdiction in cases in which the premium given with an apprentice exceeded £25; and the premium in this case was 150 guineas.

Mr. Brenan, who appeared on behalf of Mrs. Bushelle, said he would recommend Mr. Nathan to consent to the cancellation of the indentures, otherwise he (Mr. B.) would be compelled to make disclosures, which would not be agreeable to the gentleman.

Mr. Nathan - Not at all; I will not consent, unless compelled by law.

Mr. Brenan - Very well; then he would go for deception and fraud; he charged him with deceiving and committing a fraud, upon a lone, unprotected female, who was ignorant of the law, by getting her to sign a document, the nature of which she did not understand.

Mr. Nathan - Oh fie! fie! You make assertions and charges here you would not, and you dare not make out of Court. Mr. Brenan repeated that he could prove the deception and fraud he charged him with.

Mr. Nathan said - If Mr. Brenan charged him as an insolvent, he should have summoned his trustee to answer this charge, and not himself. Mr. Brenan submitted, that by the Act of Council, 8 Geo. 4, No. 8, sec. 5, the Bench had jurisdiction in the case.

At this stage of the proceeding, Mr. Martin, from Mr. Nichols' office, entered the Court, and announced that he appeared for Mr. Nichols, on behalf of Mr Nathan.

Mr. Brenan proceeded to quote from Chitty's Justice, the numerous grounds of incapacity for holding an apprentice, bound by indenture; among which, were insolvency, and the apprentice coming of age, before the expiration of the term. He, therefore, contended, that Mr. Nathan, by his insolvency, become virtually incapable in common, as well as statute law, of performing the covenants and agreements of the contract; as to the 150 guineas premium, he would be able to show that it was all a fiction.

Mr. Martin objected to Mr. Brenan making any such statements, as there was no evidence of that fact; and Mr. Brenan was himself well aware that he could not contradict a sealed document.

Mr. Brenan - Perhaps your client has not instructed you as to the particulars of the charge; there is fraud and deception, at which Mr. Nathan seems quite surprised.

Mr. Nathan - Surprised at your remarks, which you would not make elsewhere.

Mr. Brenan - Oh, Mr. Nathan, that is all wind, like one of your own instruments; we stand on different ground here; I have nothing to do with you; you must blow your horns elsewhere!

By mutual consent, the hearing of the case was postponed till Saturday.

"BUSHELLE v. NATHAN", The Australian (8 April 1844), 3 

The Police Office was crowded with "amateurs and actors" on Saturday last, to hear the "case of music" between these two celebrated musicians. Their curiosity was, however, not gratified, as a "medical case" occupied the court all day, and the harmony of the parties was postponed to Tuesday next.

"BUSHELLE v. NATHAN", The Australian (10 April 1844), 3 

This case, which was adjourned to yesterday, was dismissed by the Bench on the ground that the Court had no power to adjudicate above the amount of £25 premium, and it appeared that Mrs. Bushelle had agreed to pay Mr. Nathan one hundred and fifty guineas to teach her the art of music.

[Advertisement], The Sydney Morning Herald (16 April 1844), 3 

ORIGINAL CORRESPONDENCE. [ADVERTISEMENT.] To the Editors of the Sydney Morning Herald.

GENTLEMEN, - Ever since the extraordinary and novel attempt on the part of Mrs. Bushelle's advisers to extort from me by foul charges her indentures, which on a respectful, straight-forward, honest application, I would have resigned without a murmur, I have been goaded, harassed, and tormented, on one side - solicited, entreated, and urged, on another side, - for an explanation of facts relative to the case in question, - which facts would have been clearly proved to my perfect satisfaction, and credit had my deluded pupil's adviser availed himself at the Police Office of Mr. Windeyer's willingness to go into the case on the sole charge of fraudulently obtaining the indentures; but as that offer on the part of his worship did not appear to meet the advocate's views, I have no other mode left me of satisfying the curious than through the medium of your valuable columns; you will, therefore, perhaps, honour me by inserting the following "unvarnished tale."

I am but mortal and confess my weakness. The sympathising pathetic temperament of my very sensitive nature will not allow me to resist the combustible influence of a tender supplicating look and soft melting tears from a woman's eye, and he who can tamely withstand such soul-stirring, spell-binding, inflammatory exciters, must be either more or less than man.

Oh bear him to some distant shore,
Or solitary cell,
Where non but savage monsters roar,
Where love ne'er deign'd to dwell.

My siren pupil, (Mrs. Bushelle), called at my house one morning in great dejection of spirits, all tears, like Niobe, with this difference, her mouth was really solid flesh and blood, for in lieu of those awful drops of sorrow (tears) words of honey flowed in liquid sweetness trippingly from her innocent tongue, and smiles of simplicity fascinatingly played round her pouting lip. I looked and she looked, she sighed and I sighed, we both "looked and sighed, sighed and looked again;" at length with melting gaze and mellifluous accent she thus addressed me, -

"Oh! Mr Nathan, will you give me some lessons? I have to sing your beautiful Jephtha's Daughter at the Catholic Church on Sunday, and I fear I shall not do it justice; I have entirely lost the style of singing it, which you so kindly imparted to me on your first arrival in this colony - do, Sir, give me your valuable instructions, and I will pay you honorably after my benefit night at the the theatre; or I will, if you will take me, become your articled pupil or apprentice, and do whatever you desire of me."

Gentle reader, what could I say or do, after such an attack on my feelings? I did, perhaps, what, under existing circumstances you would have expected from me, I handed her to the pianoforte, gave her above two hours' lesson, instructing her in a perfectly new style how to execute Jephtha's Daughter - without murder - that is, without destroying my music.

Mrs. Bushelle delighted me, and she appeared equally delighted, and in the full ecstacy of her nature, she expressed her gratitude by assuring me that if I would but continue my instructions she would faithfully and honourably pay me after her benefit: but she hoped I would receive her as my articled pupil, on my own terms.

"I will go to England with you or to any part of the world, only take me as your apprentice; I feel already, how much I have benefitted by your instructions."

When the sweet Siren's ardour had a little subsided, I addressed her nearly in these words.

"My terms, dear lady, for taking articled pupils are fixed, and so decidedly fixed, that, when in England, to prevent any attempt on the part of those who were desirous to be articled from bartering with me, I had all my indentures printed, and if you wish to become my apprentice you must conform to those indentures without the slightest deviation from the terms therein decidedly fixed upon.

I then handed over to her one of those printed indentures, and requested she would take it home with her to read, and show it to her friends. At the same time distinctly told her, that I had no desire to take her as an apprentice, - that she was at liberty to receive my instructions free from any charge whatever, and that it was an established rule with me never to receive pay from professional singers. She called on me the next morning, and said she had carefully read the indentures entrusted to her care, and that she would willingly sign them if I would consent to take her. I replied, that until the state of my wife's health was decided, which could not be ascertained for a few weeks, I would not receive any apprentice, but that on the very day Mrs. Nathan's safety was pronounced, and she (Mrs. Bushelle) should still be of the same mind, I would then enter into the desired articles with her; in the mean time, I promised to treat her in every respect as my apprentice, and requested she would avail herself of the benefit of mv instructions free from charge.

On the 17th of January last, Mrs. Nathan's health was favourably decided, through the kindness of Dr Bland, - and, to my astonishment, on that very day, Mrs. Bushelle waited on me to claim the fulfilment of my promise, I immediately took her under my arm and walked off with her to the Sydney College, where I solicited Mr. Braim's kindness to witness the signing of the indentures between Mrs. Bushelle and myself. The lady was eager to sign them at once without reading them, saying, "I have already read the printed copy, and I suppose these are the same." I replied, "Yes, Mrs Bushelle, with a slight alteration for this colony, they are the same in substance, but it is usual to have them carefully read over by all parties concerned before they are finally executed." Accordingly, Mr. Braim kindly read the indentures, whilst Mrs. Bushelle carefully looked over the copy placed in her hands; when Mr. Braim concluded reading the indentures, I distinctly asked Mrs. Bushelle if she had any objection to make to any part of the indentures which she was about to sign, and she distinctly, and with great cheerfulness, replied, "Oh no - they are exactly what I agreed to sign," and immediately signed them in the presence of Mr. Braim and a lady visitor, who kindly consented to witness the signing of the documents by both parties. Before Mrs. Bushelle signed the indentures she handed over to me some notes, saying, "I suppose I must now give you the premium," I took the notes, and after the indenture was properly signed and executed, I returned the money, saying, "I have taken you, Mrs. Bushelle, as my articled pupil, not to distress but to serve you; you are a widow and have three children to support - that money will be of use to you and them;" she exclaimed with warmth "I shall ever consider it is a debt of honour." I replied - "Mrs. Bushelle, when you become rich I will receive it from you again."

from this day up to the present time I never received or demanded a single shilling from Mrs. Bushelle, although by our indentures I am entitled to one clear half of whatever money she may make by her profession. I allowed her the whole of her weekly salary, and the whole receipts of the Theatre on her benefit night, which was considerably above £120.

Surely this statement will free me from the charge of sinister motives, and also exonerate me from the foolish charge of fraudulently getting Mrs. Bushelle to sign articles.

Mrs. Bushelle's advocate with Quixotic gravity unblushingly gave free scope to his whimsical windmill like imagination by emphatically exclaiming against my present inability to defray the expense attending the voyage of Mrs. Bushelle and the whole of her family to England. What miraculous optical delusion put the crotchet into his head that I was weak enough to undertake such a wild goose scheme? The present depressed state of the colony, my empty pockets, deserted purse, and all the cares of this life, have not yet, thank God, so far bewildered my brain, and so totally impaired my intellect, that I should madly undertake a charge so preposterous. It really would puzzle me very much if, even with the eyes of Argus, the aid of the newly invented magnifying glass, and the light from the lantern of Diogenes, the learned advocate could discover a clause in the existing indentures to warrant his making a charge so perfectly ludicrous. In the indentures I undertook to use my best endeavours to procure Mrs. Bushelle an engagement at one of the theatres in England, and after two or three years' practice and proper attention on her part, to my instructions, when I find her qualified for an appearance before a London audience, I will decidedly act upon my written promise, by writing to one of the managers, proposing terms for her passage to England, &c., &c.; but it does not follow that I am to accompany the lady, and quit this delightful colony, wherein I have long made up my mind and hope to become a squatter for life.

With reference to my qualification, or ability, to impart musical knowledge to Mrs. Bushelle, or to any other vocalist in New South Wales, I refer the lady's advocate to my royal quarto volume, entitled "An Essay on the History and Theory of Music, and on the Qualities, Capabilities, and Management of the Human voice," patronised by and under special authority, dedicated to the greatest musical amateur of his day - George the Fourth; the only copy of this work now extant is in the possession of Mr. Duncan, editor of the Weekly Register: for the merits of this work, see the published critiques of the Times, the Literary Gazette, the Quarterly Review, &c., wherein no gold could purchase favour. For further proofs of my pretensions as a teacher of music in all its branches, to the vocalist, or the theorist, I have only to remind the lady's advocate, that Mr. Beckwith apprenticed himself to me for seven years, at the very time he was the talented leader and and composer at the French theatre in England so highly patronised by the Queen and nobility. Miss Cubit, the acknowledged perfect singer of her day, was apprenticed to me for seven years by her father - both of them teachers of music and singing at the time the indentures were signed. Miss Hill was apprenticed to me for seven years, her mother at the time organist at Knightsbridge Chapel, and an excellent teacher of music. This pupil, after serving the full period of her apprenticeship, became the wife of Monsieur Bau, the celebrated harpist, that talented professor re-apprenticed his wife to me for seven years longer. Miss Blake was my articled pupil for seven years, and at the expiration of her term of apprenticeship re-articled herself to me for three years longer. Mr. Nelson, Mr. Leo, and others now flourishing in England as teachers and composers, were my apprentices.

If these stubborn facts do not satisfy Mrs. Bushelle's advocate of my capabilities as an instructor of singing and the theory of music, I must leave the gentleman to enjoy his happy ignorance, and have only to refer the public to Mrs. Bushelle's singing in the opera of Cinderella to any of her former best efforts. If the lady's advocate has suffered himself to be earwigged by such loathsome things as crawling, cringing, backsliding, fawning, toad eating, sycophantic swallowers of snakes, who are to be found blowing hot and cold in the same breath, - who will say any thing - do any thing - nay kiss his very toe, or any thing else at his bidding - I do not envy him his understanding. I am however much inclined to believe that some of Mrs. Bushelle's hungry dependants who have lately fattened off the lucre so plentifully poured into her lap, like the greedy noodles who killed the fabled goose to secure at once all the golden eggs, fancy their coffers will be the sooner filled by my removal from the lady's anticipated gainings.

In conclusion, I have only to advise Mrs. Bushelle to avoid the snares of avarice and folly; and believing, as I sincerely do, that she has against her better judgment been made the dupe of others, I invite her to return to my instructions as the best security for her own interest.
105, Hunter-street, April 15, 1844.

ASSOCIATIONS: Thomas Henry Braim (headmaster, Sydney College)

"SUPREME COURT - Civil Side", The Australian (22 April 1844), 3 

Bushelle v. Nathan. - The Attorney General applied for a mandamus in this case against Messrs. Windeyer and another, magistrates of the City of Sydney, to show cause why they refused to determine a case of apprenticeship existing between the above parties.

"BUSHELLE versus NATHAN", The Dispatch (27 April 1844), 2 

The Attorney-General on the part of the plaintiff in this case, moved before their Honors in Banco on Thursday, that a rule nisi obtained on a previous day might be made absolute, to compel the magistrates before whom the case had been heard to adjudicate thereon, they having dismissed the case as beyond their jurisdiction. Charles Windeyer, Esq., Police Magistrate, appeared in person to show cause against the rule, which was discharged by the Judges, who agreed in the decision of the bench.

"PHILHARMONIC SOCIETY", The Dispatch (25 May 1844), 2 

We are glad to announce the formation of a Philharmonic Society in Sydney, one of the arrangements of which will be, the holding of periodical concerts. The performers, with the exception of Mrs. Bushelle, will, it is believed consist entirely of amateurs, and the Society itself will be under the able direction of Mr. Nathan.

"AUSTRALIAN PHILHARMONIC CONCERTS", The Australian (27 May 1844), 3 

That the musical campaign has opened in reality in Sydney, Mr. Nathan enables us to bear witness, for he is setting an example which we trust will be duly estimated by the public. The first Philharmonic Concert in the Colony will take place, under his direction, on Wednesday next, and the zeal with which our dilettanti responded to his acceptable offering of La Cenerentola, has urged him to sustain the growing demand by the acknowledged value and the classical novelty of the works he intends to produce. The names of Gluck, Callcott, Vaccaj, Mozart, Paer, Cimmarosa, Berger, Müller, Hummel, Rossini, &c., appear in the affiche of the first Concert, and some of the most delightful compositions of these great masters from the larger proportion of its scheme. A glance at the programme will suffice to show the almost entirely classical calibre of the selection, and when the consistency in the direction of this society is considered, we think that it will, in its results, prove an instance, like that of the Parisian Conservatoire, of the fruits of well-timed discipline exercised by one master-mind and master-hand.

29 May 1844, Australian Philharmonic Concerts, concert 1

[Advertisement], The Australian (29 May 1844), 2 

THE FIRST PHILHARMONIC CONCERT In this colony, will take place at the Royal Hotel, THIS EVENING, the 29th MAY.
THE Vocal and Instrumental Department, with the exception of Mrs. Bushelle and other Professional Talent already engaged, will be sustained by Amateurs, who have kindly volunteered their services in aid of this great undertaking, assisted (by the kind permission of Colonel Baker and Officers)
The whole under the management and direction of
Overture - "Euridice" - Gluck.
Glee - "Desolate is the dwelling of Morna" - by Amateurs - Callcott.
Quartetto - "O figli miseri" - by Mrs. Bushelle, Mrs. Jarvis, and two Gentleman Amateurs - Vaccaj.
Solo - "Non piu de fiori," from "La Clemenza di Tito" - Mrs. Bushelle - Mozart.
Glee - "Who comes so dark" - by Amateurs - Callcott.
Solo - "Agitato da amania funesta" - An Amateur - Paer.
Cavatina, Violincello - "Di tanti palpiti" with an introduction - Mr. Thompson - Berger.
Finale - "Tho' storms and perils linger near us,' from the Opera of "Merry Freaks in Troublous Times" - Nathan.
Overture - "Griselda" - Cimmarosa.
Glee - "The May Fly" - by Amateurs - Callcott.
Quartetto - "Dal tuo stellato soglio," from "II Mose in Egitto" - by Mrs. Bushelle, Mrs. Jarvis, and two Gentleman Amateurs - Rossini.
Canzonetta - "Aure amiche" - Müller.
Glee and Chorus - "Alice Brand" - by Amateurs - Callcott.
Solo - "The Rapture dwelling" - Mrs. Bushelle - Balfe.
Solo, Pianoforte - Mr. Anderson, from the Royal Academy, his first public performance in Sydney - Hummell's "Rondo Brilliante," as performed by him at the Philharmonic Concerts - Hummell.
Finale - "Now with grief no longer bending," from the Opera of Cinderella - Mrs. Bushelle - Rossini.
The Orchestra Parts to both Overtures, and to the whole of the Music, (with the exception of the single piece from "La Clemenza di Tito,") by Mr. Nathan.
Those Amateurs whose capabilities could not be made available, from the lateness of their kind applications, are most respectfully assured that their assistance will be cordially accepted on the next Philharmonic night.
Principal Violins and Leaders, Mr. S. W. Wallace and Mr. Gibbs; Principal Tenor, Mr. Walton; Principal Flute, Mr. Wallace, Senr.; PRINCIPAL VIOLONCELLO, Mr. THOMPSON; Double Bass, Mr. Portbury; Principal Second Violin, Mr. O'Flaherty. Conductor, Mr. Nathan, who will preside at the Pianoforte.
Tickets 5s. each, to be had of Mr. Ellard, George street, and at the Royal Hotel.
Doors open at Half-past Seven, to commence at Eight precisely.

ASSOCIATIONS: Mrs. Jervis (vocalist); Humphrey Walton (viola player); Spencer Wallace senior (flautist); John Charles Thompson (cellist); Benjamin Portbury (bassist); Henry Charles O'Flaherty (violinist)

"AUSTRALIAN PHILHARMONIC CONCERTS", The Australian (30 May 1844), 3 

"THE PHILHARMONIC CONCERTS", The Sydney Morning Herald (31 May 1844), 3 

"MUSICAL REGISTER", The Weekly Register of Politics, Facts and General Literature (1 June 1844), 619 

"AUSTRALIAN PHILHARMONIC CONCERTS", The Australian (4 June 1844), 3 

29 May 1844, Australian Philharmonic Concerts, concert 2 (program not published)

"THE SECOND PHILHARMONIC CONCERT", The Australian (7 June 1844), 3 

Is there, or is there not, love of music in the hearts of the Australian public? - and if there be, is it impassioned and sincere?. We feel that we are scarcely able to answer these questions; and remembering the musical glories of other lands, we relapse into dreams and visions of the "mighty orbs of song," and are mute. Mr. Nathan, however, seems resolved to qualify himself to reply to such queries as we have propounded, and is carrying out with ardour the plan of his weekly philharmonic concerts. The second one took place on Wednesday last, and we are glad to learn that the financial result (which, in these times, is necessarily the primary consideration where any outlay is concerned) encourages him in continuing the plan on even an extended scale. Several well-known amateurs have expressed their desire to enrol themselves under Mr. Nathan's banner, and some very delightful evenings may be looked forward to during the season . . .

12 June 1844, Australian Philharmonic Concerts, concert 3

[Advertisement], The Sydney Morning Herald (12 June 1844), 1 

26 June 1844, Australian Philharmonic Concerts, concert 4

[Advertisement], The Sydney Morning Herald (26 June 1844), 1 

"MARRIAGE", The Australian (27 June 1844), 2 

FOULIS, John, Esq., M. D., second son of the late Sir James Foulis, Bart., of Colington, near Edinburgh, North Britain, to Jane Selina, daughter of I. Nathan, Esq., of Sydney, on the 25th instant, at St. John's, Parramatta, by the Rev. R. Woodward.

"LEGISLATIVE COUNCIL. THURSDAY, JULY 4", The Sydney Morning Herald (5 July 1844), 2 

LAW OF APPRENTICES. Mr. LOWE presented a petition from Isaac Nathan, professor of music, on the subject of the Bill to amend the law relating to apprentices in this colony. The prayer of the petition was, that certain professions, and amongst others that of professor of music, might be excluded from the operation of the Act, so far as regarded the power of magistrates to cancel indentures, and also from that clause in the proposed bill, which provided, that in case of the insolvency of the master, the indentures should at once become void . . .

ASSOCIATIONS: Robert Lowe (MLC, and Nathan's neighbour)


. . . Isaac Nathan [Date of application] June 27. [When application is to be made] Aug. 8 . . .

11 July 1844, first performance of Wargoonda minyara (later published in The southern Euphrosyne)

For documentation, see: (TROVE tagged by Australharmony)

11 July 1844, Australian Philharmonic Concerts, concert 5

[Advertisement], The Australian (11 July 1844), 2 

The fifth Philharmonic Concert will take place at the Royal Hotel, on
Thursday next, July 11th, under the patronage of
On which occasion will be performed two Aboriginal melodies,
Also the favorite Songs -
"Kathleen mavourneen,"
"The Merry Castanet,"
"Do not mingle,"
"Love not,"
"The Recreant Soldier,"
"Black eyed Susan," - and the celebrated
Tickets 2s. 6d. each - See Programme.

"PHILHARMONIC CONCERTS", The Australian (12 July 1844), 3 

[Advertisement], Morning Chronicle (13 July 1844), 3 

THE Committee of Saint Patrick's Total Abstinence Society, beg leave to return their kind and warmest thanks, to Isaac Nathan Esq., for the very handsome compliment paid to them, and the Band of the Society, in admitting them free of expense to his Philharmonic Concerts at the Royal Hotel, which kindness they fully appreciate, as it shows how much that talented gentleman values the exertions of those persons who are engaged in advocating the cause of Temperance in Sydney. Sydney, 12th July, 1844.

"POETRY AND MUSIC", The Australian (25 July 1844), 4 

. . . We have observed with much gratification the increased interest which has attended the late agreeable SOIREES MUSICALES that have been given by Mr. Nathan and Mr. Marsh, and have had much pleasure in devoting some space in our columns to several records of their respective arrangements. At the concerts given by the former gentleman, there have been few pieces which have attracted more general applause than his own beautiful adaptation of Lord Byron's "Jeptha's Daughter" . . .

"AMUSEMENTS FOR THIS EVENING", The Australian (30 July 1844), 3 

We perceive that both Mr. Nathan and Mr. Marsh are in the field this evening; the former at the Royal Hotel, where the sixth Philharmonic Concert takes place, under the patronage of the Speaker, the Colonial Secretary, and the chief members of the Legislative Council - the latter at the City Theatre, with his fourth lecture, on Music, illustrated by performances on the pianoforte and harp, and enlivened by some of the most popular ballads from eminent, and modern authors.

30 July 1844, Australian Philharmonic Concerts, concert 6 (advertisements lack program, but list prominent patrons)

[Advertisement], The Australian (30 July 1844), 1 

"MUSIC AND MUSICIANS", The Australian (1 August 1844), 3

19 August 1844, Australian Philharmonic Concerts, concert 7 (advertisements lack program)

[Advertisement], The Sydney Morning Herald (19 August 1844), 1 

"PHILHARMONIC CONCERTS", The Weekly Register of Politics, Facts and General Literature (24 August 1844), 91 

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (14 September 1844), 3 

Sydney College, Hyde Park . . .
The educational department is under the direction of T. H. Braim, Esq., of St. John's College, Cambridge, as Head Master, assisted by gentlemen of superior attainments in the classical, mathematical, and commercial branches.
All the pupils will have the advantage of being taught the science of Singing by Mr. Nathan, and Drawing by a master of tried ability . . .

Horbury Terrace, Sydney, 2018

Horbury Terrace, Macquarie Street, Sydney, August 2018; the two remaining houses

[Advertisement], The Australian (28 December 1844), 2 

. . . HORBURY TERRACE. MR. MORT will sell by public auction, at his Rooms, George-street, ON FRIDAY, the 25th JANUARY, At 12 precisely, (By order of the Proprietor,) THAT PRINCELY PROPERTY, Consisting of all those Eight newly-built and beautifully-situated DWELLING-HOUSES known as
Seven of which front into Macquarie-street, and one adjoining thereto, into Hunter-street, immediately opposite the Residence of Roger Therry, Esquire, M. L. C.
THESE TRULY VALUABLE AND ELIGIBLE FAMILY RESIDENCES are three Stories high, and contain Dining and Drawing rooms, Bed-rooms, Kitchens, Store; besides the necessary Out-houses, Yard, &c. - Each house being supplied with the RACE-COURSE WATER;
And at present Let to the following highly respectable Tenants - viz:
Edward Broadhurst, Esq., barrister-at law. Robert Lowe, Esq., barrister-at-law. Adam Wilson, Esq. Hutchinson Bell, Esq. F. W Adam, Esq. Isaac Nathan, Esq. Mrs. Dyer. The Misses Randall . . . THE RENT ROLL, even in these days of reduced rentals shows an annual income of between £600 AND £700 . . .




To call up all the TROVE newspaper items tagged Isaac Nathan for 1845:

24 February 1845, first notice of song A good black gin (words: Dent; music: Nathan)


For documentation, see: (TROVE tagged by Australharmony)

NOTE: This is the earliest sheet music edition that Nathan produced using his own set of moveable music type, and the first Australian example of the technology.

25 March 1845, first notice of publication of Humbug

For documentation, see: (TROVE tagged by Australharmony)

"AUSTRALIAN HARMONIC CLUB", The Australian (10 June 1845), 3 

"AUSTRALIAN HARMONIC CLUB", The Weekly Register of Politics, Facts and General Literature (14 June 1845), 287 

"AUSTRALIAN HARMONIC CLUB", The Sydney Morning Herald (16 June 1845), 2 

10 July 1845, notice of publication of Sweet smiles and bright eyes and Oh! for the olden time (from Merry freaks)

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

2 August 1845, first notice of Leichhardt's grave (words: Lynd; music: Nathan)

For documentation, see:'s+grave+(Nathan) (TROVE tagged by Australharmony)

ASSOCIATIONS: Robert Lynd (lyrics); Ludwig Leichhardt (explorer)

20 September 1845, first notice of Lady O'Connell's waltz (music: Thomas Stubbs; arr. Nathan)

For documentation, see:'Connell's+waltz+(Stubbs) (TROVE tagged by Australharmony)


23 September 1845, first notice of song Sir Wilfred (words: Burn; music: Nathan; publication first noticed 29 November 1845)

For documentation, see: (TROVE tagged by Australharmony)


11 October 1845, first notice of The lord's prayer (music: Nathan)

For documentation, see:'s+prayer+(Nathan) (TROVE tagged by Australharmony)

ASSOCIATIONS: William Grant Broughton (dedicatee)

"WARD DINNER TO COUNCILLOR BROWN", The Australian (22 November 1845), 3 

On Wednesday evening last, a public dinner was given by a number of the citizens of Bourke Ward, to Mr. Councillor Brown, in commemoration of his recent re-election . . . Having been loudly called upon, Mr. Nathan rose and said - I know not why I have been selected to respond to this toast [the ladies of the colony], when so many gentlemen more able to do it justice are sitting round me. In their appreciation of the toast, however, I will yield to none, and if Sir, you will permit me, in answer to the call that has been made upon me, I will sing a song, instead of making a speech. - (Cheers.) Song, Mr. Nathan, "Is there a heart that never loved" [Braham] . . .

ASSOCIATIONS: John Brown; see "ELECTION OF CITY COUNCILLORS, 1845-6", New South Wales Government Gazette (7 November 1845), 1254



To call up all the TROVE newspaper items tagged Isaac Nathan for 1846:


17 January 1846, first notice of song The currency lasses (music: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

"SYDNEY NEWS", The Port Phillip Patriot and Morning Advertiser (14 April 1846), 2 

Dr. Leichardt continues to be the observed of all observers - the theme of leading articles, and of private conversazioni. The Mechanics' School of Arts have enrolled him as an honorary member - the Australian Club have done the same thing, and in fact the worthy Doctor has the entrée partout. Of course his musical and talented friend Nathan will favor us in due time with Leichardt Quadrilles, Waltzes, Polkas, &c. . . .

[Advertisement], The Sydney Morning Herald (22 April 1846), 1 

THIS EVENING, THE 22ND APRIL, When will be performed the
Travestie of the BEGGARS' OPERA, Previous to which, an expressly written Address will be delivered by MRS. XIMENES, ALIAS CAPTAIN MACHEATH . . .
To conclude with the Dramatic Burlesque of BOMBASTES FURIOSO . . .
Conductor, Mr. Nathan, Who will preside at the Pianoforte.
The Band of the 11th Regiment will be in attendance . . .

ASSOCIATIONS: Ann Winstanley Ximenes (vocalist, actor); Band of the 11th Regiment; on the New Zealand Wars (1845-46)

2 May 1846, first notice of song Leichhardt's return (words: Silvester; music: Nathan)

For documentation, see:'s+return+(Nathan) (TROVE tagged by Australharmony)

ASSOCIATIONS: Edward Kennedy Silvester (lyrics); Silvester's verses were also set by Stephen Marsh as The traveller's return

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (5 May 1845), 2 

THIS EVENING (TUESDAY,) MAY 5, 1846, Will be presented . . . To conclude with the favourite Drama of TRIBOULET THE KING'S JESTER; OR, THE BELL OF NOTRE DAME . . . Zeppa, Mr. F. Howson, with the original song of "Drink, drink, and a fig for all sorrow," composed and arranged by I. Nathan . . . Diana of Poicters, Mrs. Ximenes, with the original song "A pretty bird was moping," composed and arranged by I. Nathan . . . Zerlina, Mrs. Wallace, with the original song, "Good traveller do not pass my gate," composed and arranged by I. Nathan . . .

"Local Intelligence", The Spectator (25 July 1846), 321 

We understand that Mr. Nathan is actively engaged in the composition of a new Opera, the libretto of which is from the pen of a gentleman whose many contributions to the Sydney journals under the signature of Pasquin, and whose elegant translation of La Duchesse de Chevreuse, are favorably known to all conversant with our colonial literature. The subject is founded on some interesting passages in the life of "John of Austria"; and from the genius of the composer, and the talent of the author, we anticipate a work that will assert the claims of Australian poets and musicians to take honorable rank among their British contemporaries . . .

ASSOCIATIONS: Jacob Levi Montefiore ("Pasquin")


. . . Immediately after the administration of the oaths of office to His Excellency, a final salute of nineteen guns was fired from Fort Phillip. His Excellency and suite, accompanied by nearly all the heads of the various public departments, their Lordships the Bishops of Australia and Tasmania, and many of the Clergy, the Members of the Bar, the Mayor, and others, then entered the Audience-chamber, the doors of which were shortly afterwards opened, and the levee commenced. The following are the names of those presented: - . . . I. Nathan, C. Nathan . . .

ASSOCIATIONS: Charles FitzRoy (governor-general)

"SYDNEY COURT OF QUARTER SESSIONS", The Sydney Morning Herald (5 August 1846), 2 

William Mason was indicted for stealing some wearing apparel, the property of one Isaac Nathan. The Jury found the prisoner guilty, and he was sentenced to twelve months' labour in irons.

12 October 1846, first notice of the publication of Nathan's Lectures on music

[Advertisement], The Sydney Morning Herald (12 October 1846), 1 

THE First, Second, and Third of a Series of Lectures on the
Giving an historical account of the origin, rise, and, progress of the Science, from the earliest period up to the present time, with Progressive Exercises for improvement on the Pianoforte, Harmony, Modulation, and for the cultivation of the Human Voice, from the first rudiments to the most refined and elaborate details of a perfect mastery of the art: forming a work of instruction for the pupil, and a work of reference for the master.

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

"Miraculous Escape", Bell's Life in Sydney and Sporting Reviewer (12 December 1846), 2 

On Sunday, a gentleman whose name we have not ascertained, was amusing himself in the balcony, at the residence of Mr. Nathan, the composer, in Hunter-street, and whilst exhibiting some extraordinary feats of agility to the astonishment of the young ladies, unfortunately lost his balance, and fell into the street, a distance of about twenty feet, he was picked up insensible; medical aid being soon in attendance, it was discovered that the sufferer had miraculously escaped with a few slight contusions, and a broken finger.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1847:

"NEW OPERA", The Sydney Morning Herald (30 April 1847), 3 

An Opera called "John of Austria," is in course of rehearsal at the Victoria. The words are by a mercantile gentleman, who has taken for his subject Delavigne's celebrated Comedy of "Don Juan D'Autriche," some of the scenes being almost literal translations. The music is by Mr. Nathan, and is spoken of by the few amateurs who have heard it as the most successful of that gentleman's productions. We believe the original intention of Mr. Nathan in composing the music was to proceed to England with it, but the terms offered by the proprietors of the Victoria induced him to defer his project until the end of the year.

"THEATRICALS", Sydney Chronicle (1 May 1847), 3 

. . . we cannot help . . . remarking the great improvement in musical taste and musical fancies which has taken place of late. Some years since operas were at a discount, and scarcely brought an audience sufficient to pay the expenses of getting them up, but at present they are decidedly in demand, and as the present company of the Victoria is admirably adapted for their production, they have of late followed each other in quick succession and with decided success. A new era is now about to commence in the musical history of the Colony, for on Monday night a Colonial opera, the first of its kind, will be produced at the Victoria. The title of this opera is "Don John of Austria" - the words being by a gentleman whose name is not declared, and the music by that veteran composer Mr. Nathan. Both the words and music are said by those who have witnessed the rehearsal and are competent judges of such matters, to be first-rate; and we sincerely hope that it will meet with such a degree of patronage and encouragement, as shall induce the production of others, for why should we send to Europe for our operas, when we can have them got up for us in the Colony equally good and attractive . . .

3 May 1847, first performance of opera, Don John of Austria (libretto: Montefiore; music: Nathan)

For documentation, see: (TROVE public tag)

[Advertisement], The Sydney Morning Herald (14 May 1847), 1 

MONDAY, May 17th, 1847, will be produced Mr. Nathan's last new Opera, entitled
And (for the first time in this colony) the popular farce of
With Mr. Nathan's music, performed at the Theatre Royal, Drury Lane.
The clear receipts of the house of this night's performance will be presented to the composer.

"THE THEATRE", The Australian (20 May 1847), 3 

On Monday evening, a gay and glittering throng flocked to the Royal Victoria, to pay substantial tribute to the talented composer of DON JOHN OF AUSTRIA, to whose exclusive benefit the proceeds of the House were devoted. The entertainments were the Opera just named, and Mr. Nathan's popular musical farce, THE ILLUSTRIOUS STRANGER. Both performances elicited much applause from a full and fashionable audience. Indeed we never recollect to have seen the dress circle so crowded, the lobbies being packed with visitors eager to catch a passing glimpse of the doings on the stage. We trust Mr. Nathan may speedily again issue another budget of notes to an equal or more advantageous circulation - for, in the praiseworthy effort to inculcate a taste for the fine arts, music, one of the most exquisite and humanising, should experience that liberal share of patronage to which it is so pre-eminently entitled . . .

[Advertisement], The Australian (3 July 1847), 2 

. . . Song, "JEPTHA'S DAUGHTER," MADAME CARANDINI, Under the immediate tuition of Mr. Nathan . . .

ASSOCIATIONS: Maria Carandini (soprano vocalist)

"THE FANCY BALL", The Sydney Morning Herald (16 July 1847), 2-3 

THE Right Worshipful the Mayor having issued invitations for a Fancy Ball, to be held at the Victoria Theatre, on Wednesday last, upwards of eight hundred ladies and gentlemen accepted his worship's invitation . . . We subjoin a list of the parties present on the occasion . . . Mr. Nathan, Royal Arch Mason; Mrs. Nathan, Fancy Dress; Miss Nathan, Flower Girl; Mr. Charles Nathan, the Gentleman in Black; Mrs. C. Nathan, Lady C. Grandison; Mr. A. Nathan, Chinaman . . .

[Editorial humor], Bell's Life in Sydney and Sporting Reviewer (31 July 1847), 3 

Now ready, No. 1 of a weekly paper, edited by I. Nathan, Esq., called "The Cut and Shuffle Magazine." Contents - On the advantage of holding four honours. The readiest method of securing the King at ecarte, and Pam at loo. An essay on swift walking cribbage pegs, with practical directions how to turn the corner of the board and avoid the angle. General advice to tyros and youthful candidates after military honours. Ballad, by Miss _ _ _ "I want to be married, I do, I do."

NOTE: This was evidently a satirical take on rumours that Nathan was intending to publish a periodical, first advertised as The southern Euphrosyne, below:

[Advertisement], The Sydney Morning Herald (8 November 1847), 1 


THE SOUTHERN EUPHROSYNE, AND LADY'S MAGAZINE, will be ready for circulation the 1st of January, 1848, to contain interesting oriental moral tales, chiefly from the Hebrew, Persian, Chaldee, and Arabic; with notes, anecdotes, illustrations, original poetry, music for voice and pianoforte, &c. As a limited number only of this annual will be printed for this colony, those who desire to possess copies are solicited to make early application to the publishers, Messrs. W. and F. Ford, where names will be received until the 20th of December; the subscription list must then close. Form, royal quarto. Subscribers, £1; and to non-subscribers, £1 5s.

NOTE: In the event, the "annual" did not appear as advertised; probably printed by sometime in mid 1849, it was advertised for sale in Sydney in August 1850 (see below).

"LATEST FROM LONDON", The Moreton Bay Courier (13 November 1847), 2 

. . . He had heard it stated that the aborigines of Australia were in a state of the deepest human degradation, but he knew the contrary. He had received from his son an original war song, called "Coreenda Braiaa," which had been written and set to music by a respectable old native called Ngaythun. Of the beauties of this composition he would enable them all to judge, as he had made himself master of it, and would sing it to them now if they pleased. (Hear, hear.) [Mr. Fig Muggins then sang the song called "Coreenda Braiaa," accompanying himself on an inkstand and a ruler, and performing at the same time the appropriate war dance. The exhibition was received with great applause, after which Mr. Muggins proceeded.] He would now ask the meeting if a people boasting a musician like Ngaythun did not deserve their best assistance? (Hear, hear.) But it was not only in music that they excelled . . .


To call up all the TROVE newspaper items tagged Isaac Nathan for 1848:

"THEATRICALS", Bell's Life in Sydney and Sporting Reviewer (26 February 1848), 2 

Our crowded space forbids a lengthy critique this week on "things theatrical;" nevertheless, we cannot refrain from briefly adverting to the very favourable impression made on Monday evening last by Miss Mears, of the corps vocale, who, in the character of a youthful savoyard, in William Tell, introduced that delightful Swiss Melody, "I'm a merry Switzer Boy" with marked success. This pains-taking and clever young lady, was a pupil, we believe, of Mr. Nathan and Mrs. Bushelle.

ASSOCIATIONS: Sarah&Mears&(vocalist)

"LAW INTELLIGENCE", The Sydney Morning Herald (3 June 1848), 2 

Before His Honor Mr. Justice DICKINSON, and the following Special Jury: - Foreman, Isaac Nathan, Esq., John Little, R. W. Newman, John Mackie, James Milsom, jun., Jeremiah Murphy, Lewis Moore, John C. Lyall, John Lett, Alexander Kelly, George Rattray, and John Lord, Esquires. FRAUDULENT INSOLVENCY. John Terry Hughes, late of Sydney, gentleman, was indicted for that he before and after the 1st of February, 1843, to wit, on the 7th September, 1843, did fraudulently conceal, retain, and remove certain cattle depasturing . . . [acquitted].

"FANCY BALL", The Sydney Morning Herald (12 October 1848), 2 

THIS civic festival - decidedly the most popular demonstration of the Council of the city of Sydney - took place on Tuesday night last, at the Pantechnicon, late a portion of the premises of Mr. Robert Cooper . . . We subjoin below a list of the ladies and gentlemen who attended the ball, with the characters they represented . . . Mr. Isaac Nathan, Masonic Dress; Mrs. Nathan; Miss Nathan; Miss Norton; Mr. A. Nathan, Chinaman; Mr. Nathan, Mason; Mrs. Nathan, Fancy Dress; Miss Nathan . . .


To call up all the TROVE newspaper items tagged Isaac Nathan for 1849:

"THE DRAMA. To the Editor", Bell's Life in Sydney and Sporting Reviewer (10 February 1849), 3 

On Saturday evening was presented the "Ocean of Life," and the musical farce of "The Waterman." In the first piece the chief characters were admirably sustained by Mrs. Guerin and Mr. Nesbitt. In the after piece Mr. and Mrs. Bundle (Mrs. Gibbs and Mr. Rogers) and Robin (Mr. F. Howson) were quite "at home," and kept the house in constant cachinnation. Mrs. Guerin as Wilhelmina," arch, easy, and graceful, sung with great sweetness and naivete that favourite ballad (one of the happiest flights of genius of our talented composer Nathan), "Why are you wandering here, I pray." It was deservedly encored. Mr. J. Howson, as "Tom Tug," looked the beau Ideal of a trim jolly young waterman . . .

ASSOCIATIONS: Theodosia Guerin (mezzo-soprano vocalist); John Howson (tenor vocalist)

"Public Farewell Dinner to John Rose Holden, Esq.", Bell's Life in Sydney and Sporting Reviewer (24 February 1849), 2 

. . . At the dinner which took place at Mr. Entwisle's Hotel, York-street, last evening, between 70 and 80 gentlemen sat down to exchange a friendly farewell with one, whose actions, through a course of many years, have gained for him the heartfelt respect of all. The chair was taken by Mr. Wentworth, M.C. . . . On the removal of the cloth, Non nobis Domine was sung, in a very impressive manner by the Messrs. Howson and Mr. Nathan . . .

ASSOCIATIONS: John Rose Holden; William Charles Wentworth

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (1 October 1849), 2 

THIS EVENING, OCTOBER 1. Will be produced, a Drama, entitled The KING'S FOOL! OR, AN OLD MAN'S CURSE. With the original music, by I. Nathan, Esq. Francis the First, Mr. Arabin; Count de St. Vallier, Mr. Rogers; Chabannes, Mr. Hydes; Triboulet, Mr. Nesbitt; Cherubin, Mrs. Rogers; Melchior, Mr. Spencer; Zeppo, Mr. F. Howson; Diana of Poictiers, Madame Carandini; Blanch, Mrs. Guerin; Zerlina, Madame Torning; Dame Ferrette, Mrs. Gibbs . . .

[Advertisement], The Sydney Morning Herald (23 October 1849), 1 

MECHANICS' SCHOOL OF ARTS. THE Members of this Institution are informed that the first CONCERT for the present will be given by the MUSIC CLASS on Wednesday, the 24th instant . . . Finale and Chorus - Long live Victoria - Nathan . . .

NOTE: The king's fool was first advertised for performance on 24 September, with no mention of the original music by Nathan


To call up all the TROVE newspaper items tagged Isaac Nathan for 1850:

"MARRIED", The Sydney Morning Herald (24 January 1850), 3 

On Wednesday, 23rd instant, at St. James' Church, by the Rev. Robert Allwood, Frederick Vigne, Esq., of New England, to Ada, daughter of J. Nathan, Esq., Hunter-street, Sydney.

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (9 February 1850), 3 

Royal Victoria Theatre. This Evening, February 9, 1850 Will be presented, the Drama entitled SWEETHEARTS AND WIVES! In the course of the play, the following original songs and duet, composed by Mr. Nathan, will be sung: - Song, "Billy Lackaday's Lament," Mr. F. Howson; Duet, "How can you Abuse an Easy Woman so," Madame Torning and Mr. F. Howson; Song, " Why are you Wandering," Mrs. Guerin . . .

ASSOCIATIONS: Frank Howson (baritone vocalist); Eliza Torning (vocalist)

[Advertisement], The Sydney Morning Herald (13 August 1850), 1 

KERN AND MADER, HUNTER-STREET. COMPLETE IN ONE VOLUME, PRICE ONE POUND. THE SOUTHERN EUPHROSYNE, containing original Moral Tales, chiefly from the Hebrew, Persian, Chaldee, and Arabic, with illustrations, anecdote, poetry, and music, an historical sketch, with examples, of the ABORIGINAL MELODIES, put into modern rhythm, and harmonised (together with other original vocal pieces) as solos quartettos, &c., to a pianoforte accompaniment, by the Editor and Sole Proprietor, I. NATHAN.

[Advertisement], The Sydney Morning Herald (7 October 1850), 7 

"LOYALTY." A NATIONAL PAEAN, inscribed to His Excellency Sir Charles Augustus Fitz Roy. By I. NATHAN. KERN AND MADER, Hunter-street.

[News], The Sydney Morning Herald (7 October 1850), 2 

We are requested by Mr. Nathan to insert the following errata, which occurs in his National Paean, advertised in this day's issue - Verse 1, line 6, for "confusion light on thee," read "confusion light on ye."

[Advertisement], The Sydney Morning Herald (13 November 1850), 1 

THIS EVENING, WEDNESDAY, 13TH INSTANT, MESSRS. STANLEY and WALLER respectfully announce, that this evening they will give a Musical Entertainment in the Theatre of the above Institution, on which occasion one piece (only) from each of the more popular Operas, will be performed, by which arrangement their audience will have such an opportunity of becoming acquainted with the characteristic peculiarities of each Composer, as has never before been offered. The Operas chosen for the occasion are:

1. La Gazza Ladra. 2. The Mountain Sylph.
3. Bohemian Girl. 4. Il Don Giovanni.
5. Maritana. 6. Lucia di Lammermoor.
7. II Barbiere de Seviglia. 8. II Tancredi.
9. Fra Diavolo. 10. Siege of Rochelle.
11. Massanniello. 12. Merry Freaks in Troublous Times (Nathan). 13. Zampa; and 14. The Night Dancers . . .

ASSOCIATIONS: William Stanley (pianist, composer); James Waller (bass vocalist)

[Advertisement], The Sydney Morning Herald (27 November 1850), 1 

VICTORIA THEATRE. THIS EVENING, WEDNESDAY, NOVEMBER 27th, 1850. GRAND CONCERT OF SACRED MUSIC. MISS SARA FLOWER and MADAME CARANDINI'S third Subscription Concert. PROGRAMME . . . Song - "Jeptha's Daughter," (Nathan) - Madame Carandini . . .

ASSOCIATIONS: Sara Flower (contralto vocalist)

[Advertisement], The Sydney Morning Herald (3 December 1850), 1 

MUSICAL ENTERTAINMENT, SCHOOL OF ARTS, TUESDAY EVENING, DECEMBER 3, MESSRS. STANLEY and WALLER, flattered by the unprecedented success of their first Entertainment, and influenced by the wishes of their friends, beg respectfully to announce that they will give their SECOND ENTERTAINMENT in the Theatre of the above Institution, this Evening (Tuesday), December 3.
PROGRAMME . . . PART II . . . Song - Oh! for the olden Time! - Nathan . . .

"MESSRS. STANLEY AND WALLER'S SECOND ENTERTAINMENT", Bell's Life in Sydney and Sporting Reviewer (7 December 1850), 2 

. . . Mr. Waller also sang Nathan's "Oh! for the Olden Time," which, although scarcely known before, will, we predict, now become a popular song - it was most enthusiastically encored . . .

[Advertisement], The Sydney Morning Herald (11 December 1850), 1 

LAST MUSICAL ENTERTAINMENT. MESSRS. STANLEY AND WALLER'S Last Musical Entertainment, School of Arts, This Evening, Wednesday, 11th December.
PROGRAMME. First Part (Consisting entirely of productions by colonial Composers) . . . Song - Love, thy timid whispering tongue, Nathan . . . Overture - Don John of Austria, Nathan . . .

"MESSRS. STANLEY AND WALLER'S . . .", Bell's Life in Sydney and Sporting Reviewer (14 December 1850), 2 

. . . A song by S. H. A. Marsh, (published in London, and just arrived) "I drink to thee," received no applause, and will never (by this arrival) rival our esteemed Professor's melodious contrast, "Love, thy timid whispering tongue," which is Nathan all over; and another exertion, (by S. Marsh, and imported under the same crotchet) "The Queen of Merry England," must have left all its applause short-shipped, for it obtained none here . . .



To call up all the TROVE newspaper items tagged Isaac Nathan for 1851:

[Advertisement], The Sydney Morning Herald (22 February 1851), 1 

ST. MARY'S CHORAL SOCIETY. THE Committee of the above Society beg to inform the members, that Mr. NATHAN has accepted the office of CONDUCTOR, and that the first meeting for Choral practice will take place on MONDAY EVENING, the 24th instant, at 7 o'clock. Meetings for practice will be held in future twice a week, viz. -, on Monday and Thursday evenings, when Mr. Nathan will be prepared to give instruction to all members of the Society who desire to attend. Every Thursday evening the Committee will meet for the transaction of business, and to receive the names of new members.
R. K. SCONCE, Honorary Secretary.

ASSOCIATIONS: St. Mary's Choral Society; Robert Knox Sconce (d. 1852, former Episcopalian priest, Catholic convert)

"ST. MARY'S CHORAL SOCIETY", Freeman's Journal (27 February 1851), 10 

The first practice of this Society took place on Monday evening last. Mr. Nathan, whose able services have been secured as the Conductor of the Quoir [sic], gave some preliminary instruction to a class of about forty singers, and expressed himself much pleased with the voices he has undertaken to train. Mr. Nathan's reputation as a composer, of a very high order, has been established for many years, and he possesses also in a remarkably degree the rare power of teaching effectively. He has also the patience, and energy, and tact which are required for his arduous office, and we have not the least doubt that under his direction the St. Mary's Choral Society will soon take a stand such as no similar association as ever held in the colony. As the annual subscription of members is only ten shillings, there is reason to believe that many hundreds will join the Society, to obtain instruction at so cheap a rate. People who could not afford one-tenth portion of the ordinary sum paid for instruction in singing, will, by availing themselves of the Choral Society obtain the very best instruction that could be had for any price, at a cost which is almost too insignificant to name. At present we believe there are about one hundred members, but we shall he much surprised if in the course of a month the numbers are not increased to six hundred. An excellent organ recently imported from England, consisting of great organ and swell, with twelve or fourteen stops, has been erected in the room in which the Society holds its meetings. At the recent meeting a few stops only were used as the others were not in tune, but the tones we heard were of fine order, and the instrument, when complete, promises to be very effective.

"ST. MARY'S CHORAL SOCIETY", Freeman's Journal (8 May 1851), 10 

We understand that this society is steadily increasing in numbers, and progressing satisfactorily under the tuition of the indefatigable conductor, Mr. Nathan. The great majority of the singing members being beginners, a considerable time must be spent in persevering practice, before so large a body can be brought to sing together with accuracy and precision. It is impossible to speak too highly of the patience and energy of the conductor, who seems determined to overcome every difficulty.

[Advertisement], Empire (22 May 1851), 1 

MESSRS. STANLEY AND WALLER respectfully announce, that THIS EVENING (Thursday), May 22, 1851, under the distinguished patronage of HIS EXCELLENCY THE GOVERNOR, they will give a MUSICAL ENTERTAINMENT, in the Saloon of the Royal Hotel, on which occasion one piece from each of the more popular Operas will be performed, by which arrangement their audience will have such an opportunity of becoming acquainted with the characteristic peculiarities of each Composer as has never before been offered . . . PROGRAMME . . . 13. Song - "Merry Freaks in Troublous Times." - Nathan . . .

[Advertisement], The Sydney Morning Herald (30 June 1851), 1 

THE Committee beg to announce that the First Vocal Performance of the above Society -Will take place in the Hall of St. Mary's Seminary,
TIHS EVENING, MONDAY, the 30th instant.
Conductor, I. NATHAN, Esq.
Part 1.
1. The May Fly - Glee - Callcott
2. Desolate is the Dwelling of Morna - Glee - Callcott
3. The Wild Gazelle - Hebrew Melody - Nathan
4. Bright Sword of Liberty - Battle Song - Weber
5. The Chough and Crow - Gipsy Glee - Bishop
6. Vadasi via di qua - Laughing Trio - Martini
7. Alice Brand - Glee - Callcott
8. " Loyalty" - National Paean - Nathan
Part 2.
1. Galatea, dry thy Tears - Chorus - Handel
2. The Witches' Glee - (From Macbeth) - King
3. She Walks in Beauty - Hebrew Melody - Nathan
4. On Jordan's Banks - Hebrew Melody - Nathan
5. Urchins' Dance - Glee - Callcott
6. A Canadian Boat Song (arranged for seven voices, expressly for this Society)
7. Long Live Victoria! - National Air (the words by W. A. Duncan, Esq.) - Nathan
Visitors' tickets will be issued to members THIS EVENING, and the Committee will receive the names of new members. A subscription of £1 per annum entitles a member to three visitors' tickets for each concert, and of ten shillings to one ticket. A programme (containing the words of each piece) may be obtained 6d. each.
The performance will commence at half-past seven o'clock precisely.


THE following wretched verses formed part of the "First Vocal Performance of the St. Mary's Choral Society," in the Seminary Hall, on Monday last. We give them as they appeared in the "programme" of the performance.

"LOYALTY," A National Paean, respectfully inscribed to His Excellency Sir Charles Augustus Fitz Roy, K.C.B., &c., &c., &c. By I. Nathan.

Tho' distant far from Britain's strand,
Beneath Australia's sky,
For England's Queen, at her command,
"Who would not fight - nay die?
Thou democrat and traitor vain,
Confusion light on thee,
We'll guard our gracious Queen's domain,
Our watchword "Loyalty."

While treason stalks amid the crowd
Its passions to inflame,
And rebel minions, rude aloud,
Dire anarchy proclaim.
To England's Crown we'll firmly cling,
With hearts bold, true, and free.
And shout till through the land it ring,
Our watchword "Loyalty."

A fugitive piece of miserable and unmeaning doggerel would be nothing in itself more than the sentiment that appears to offend our eyes in an exhausted gutter. Such things are among the unpleasantnesses of this life, which people pass by with too much haste to allow themselves time even for loathing. Indeed they seldom remain exposed to the public view long enough to lose their original harmlessness. But if doggerel verses even, embodying the most contemptible mock-sentiments, are specially composed for a public performance, and for a public performance, too, that professedly aims at cultivating our finer tastes, and elevating our social feelings; and if this besotted exhibition is tamely endured by an audience not composed of Bedlamites; then the whole thing wears another and very different character. And to the disgrace of our city, this "paean," as it is drolly called, - contemptible in every possible sense as it is, - was actually sung before a considerable number of serious-looking persons on Monday evening, and received with some marks of applause.

We shall not subject ourselves to the pain of examining the motives which could have originated this beautiful twiform attempt at satire and homage; nor indulge in any speculation as to the appointment of a poet laureate to the Governor-General. We shall not attempt to criticise a composition enriched with such chaste idioms as "rude aloud;" its literary beauties are too involved in mystery for us; we have scarcely time to deal with the spirit - only more silly than Insolent, and more worthless than obsequious - which it displays. We have but few words to say in regard to that. Let this rank slavishness of sentiment be paraded before public audiences with the prostituted melody of the human voice, and it will be a grateful entertainment, doubtlessly, to certain narrow and adulatory minds, but it will do something, at the same time, towards poisoning the fresh feelings and enervating the buoyant hearts of the rising generation. Let selections from the glowing poetry of Moore and Byron, as in this case, be defiled by so execrable an intermixture of rubbish; and contracted and diseased minds may still be gratified, but the principles of taste will be perverted and debased. And if anything is calculated to render turbid the feelings of loyalty, this harlequin mockery of the sentiment assuredly is so. The truly loyal will not thank the conductors of this Fifteenth Century Choral Society for their barbarous paean.

We do not pretend to say how far this Society is identified with the congregation of St. Mary's; but we gladly acknowledge that some of that body repudiate the late insolent attempt to sing them into a meretricious "loyalty." If we could believe that these Choral Performances were under ecclesiastical direction, we might attribute the introduction of this spurious species of "loyalty," to the corroding effects of government support. We do not say it is so. But we say one thing, all proper-minded persons will stop away from it, if there be a re-production of these performances in the Choral Society.

ASSOCIATIONS: Henry Parkes (the Empire's editor and sole proprietor)

And see also: "To the Editor", Empire (5 July 1851), 2 

"ST. MARY'S CHORAL SOCIETY", Freeman's Journal (3 July 1851), 10 

The first public performance of vocal music by this excellent society took place on Monday evening, and notwithstanding the inclemency of the weather, the hall of the Seminary was crowded with the members and their friends. The singing was pronounced by all to be highly creditable to the conductor, who has, with great perseverance, formed an effective choir, composed mainly of persons who knew nothing of singing before they joined the class. The selection consisted of a variety of glees and chorus, by Handell, King, Callcott, and other great composers, but the audience received with the greatest enthusiasm the composition of Mr. Nathan himself - "She walks in beauty' was encored, and pronounced to be the gem of the evening. It was remarked by several excellent judges in the room, that the choruses were given with great precision, and that the effects of the piano-forte were admirably sustained. We trust that we shall be frequently favoured with the enjoyment of the choral music, now that the first difficulties have been overcome, and the society is fairly established.

"ST. MARY'S CHORAL SOCIETY", Bell's Life in Sydney and Sporting Reviewer (5 July 1851), 2 

The first vocal entertainment of this musical body was given on Monday evening, in the Hall of St. Mary's Seminary. The programme of the entertainment evinced a tasteful selection of music, which included some of the harmonious compositions of the English masters, mixed with brilliant bits of the German and Italian schools. The performance of the vocalists of the Choral Society exhibited a completeness which could scarcely have been expected, taking into consideration the short time which the society has been formed. Two things are perfectly clear, namely, that the choristers hive been sedulous in attention to their studies, and that the Maestro, J. Nathan, Esq., entered con amore into his task, and devoted all his great musical talent to the improvement of his pupils. Various encores throughout the evening proved the delight that was experienced by the audience, which was numerous and fashionable, despite the very unfavorable state of the weather. We heartily hope that the Director will shortly furnish us with a repetition of the treat.

"ST. MARY'S CHORAL SOCIETY", Freeman's Journal (10 July 1851), 9 

A repetition of the recent vocal performance of this Society takes place this evening in the hall of St. Mary's Seminary at half-past seven o'clock. As a great many members and their friends were detained from attending on the last occasion, it is anticipated that there will be a numerous audience, especially as the night will be one of bright moonlight. In a late paragraph we said that none of the singers in this society are persons who, until they became pupils of Mr. Nathan, had no knowledge of music. [sic] We believe this was not strictly the case. The observation should have been applied to the junior members, and to the intermediate parts. Many of the ladies and the bass singers are accomplished musicians.

[Advertisement], The Sydney Morning Herald (23 August 1851), 1 

THE Third Vocal Concert of this Society, under the direction of Mr. Nathan, will take place in St. Mary's Seminary, on Monday evening next, at half-past seven o'clock.
1. Vive le Roi - Grand Chorus - Balfe
2. O, Happy Fair - Glee - Shield
3. Mosellais Bowers - Trio - Kelley
4. Huntsman's Chorus - Weber
5. Now is the Month of Maying - Madrigal - Morley
0. The Rich Man's Bride - Solo
7. Laughing Trio - Martini
8. Saul - Hebrew Melody - Nathan
PART 2. 1. Viva Enrico - Chorus - Pucitta
2. Tarry yet Brothers - Chorus - Rooke
3. "Ballade", Melody - Weber - Chorus and Coda - Nathan (Flute Obligato accompaniment) - Mons. Longchamp
4. Wargoonda Min-ya-rah - Aboriginal Melody - Nathan
5. Rataplan - Chorus - Meyerbeer
6. Aldiborontiphoscophornio - Glee and Chorus - Callcott
7. God save the Queen (newly harmonised expressly for this Society) by - I. Nathan
Programmes may be had at the door, 6d. each,

ASSOCIATIONS: Jean Francois Lonchamp (flautist)

"ST. MARY'S CHORAL SOCIETY", Empire (26 August 1851), 3 

This Society gave another entertainment last night before a highly respectable, and, notwithstanding the inclement state of the weather, a very numerous audience. We are happy to state that the performances, both instrumental and vocal, were in the highest degree meritorious. Mr. Nathan, as conductor of the harmony, displayed his usual ability with remarkable effect, as was evidenced by the loud and frequent plaudits which were bestowed on him. The selection of the pieces, moreover, was made with judgment and taste. There was nothing in them, religious or otherwise, which could offend the most fastidious. We have the greater pleasure in making this acknowledgment, as we had occasion, a short time since, to animadvert on what we conceived to be a very great defeat in this respect.

"ST. MARY'S CHORAL SOCIETY", Bell's Life in Sydney and Sporting Reviewer (30 August 1851), 2 

On Monday evening this excellent and rapidly advancing Society gave their third public concert at St. Mary's Seminary, to a numerous and highly respectable audience, whoso love of music rendered them heedless of the inclement weather. The pupils went through a long and difficult, though very attractive, programme with great ability, and manifested a steady improvement upon their previous efforts. By constant practice under their able master, Mr. Nathan, they have attained a precision of time and power of expression [illegible] the confidence so essential to overcome timidity is a fatal barrier to singer and [illegible]. We believe it is the intention of the Society to repeat the entertainment in order that those who were debarred from attending may enjoy the musical treat.

[Advertisement], The Sydney Morning Herald (8 September 1851), 3 

THE Fourth Vocal Concert of this Society will take place in St. Mary's Seminary, under the direction of Mr. NATHAN,
THIS (Monday) EVENING, at half-past seven o'clock,
1. Vive le Roi! - Grand Chorus - Balfe
2. O Happy Fair - Glee - Shield
3. Mosellai's Bowers - Trio - Kelley
4. She walks in Beauty - Hebrew Melody - Nathan
5. Now is the month of Maying - Madrigal - Morley
6. On Jordan's Banks - Melody - Nathan
7. Vadasi via di qua - Laughing Trio - Martini
8. Saul - Hebrew Melody - Nathan
1. Viva Enrico - Chorus - Pucitta
2. Tarry yet Brothers - Chorus - Rooke
3. "Ballade", Melody - Weber - Chorus and Coda - Nathan (Flute Obligato accompaniment) - Mons. Longchamp
4. Wargoonda Min-ya-rah - Aboriginal Melody - Nathan
5. Rataplan - Chorus - Meyerbeer
6. Aldiborontiphoscophornio - Glee and Chorus - Callcott
7. God save the Queen (newly harmonised expressly for this Society by) - I. Nathan
ADMISSION, 2s. . . .

[Advertisement], The Sydney Morning Herald (13 September 1851), 1 

THE Committee of this Society beg to announce that an Elementary Class has been formed, which will be under the superintendence of W. WILKINS, Esq., and will meet every Wednesday Evening, at seven o'clock. The Committee would impress upon members the necessity of attending this Class punctually and regularly if they wish to become acquainted with the principles of Music.
The Conductor, I. NATHAN, Esq , will continue his Choral practice every Monday and Thursday.
The subscription to the Society is 10s. per annum, which entitles a member to attend and receive instruction on each of the above evenings, and to admission at the Concerts. Persons subscribing £1 per annum are entitled to three tickets for each concert.
September 12.

ASSOCIATIONS: William Wilkins (singing master)

[Advertisement], The Sydney Morning Herald (20 November 1851), 1 

THE next Concert of this Society will take place in St. Mary's Seminary, under the direction of Mr. NATHAN, on
MONDAY EVENING, the 24th instant, at half past seven o'clock.
1. Chorus - The Heavens are telling - Haydn
2. Recitative - Comfort ye my People; Air - Ev'ry Valley - Handel
3. Chorus - And the Glory of the Lord - Handel
4. German National Hymn - Haydn
5. Hebrew Melody - O weep for those - Nathan
6. Air - Angels ever bright and fair - Handel
7. Chorus - All we like Sheep - Handel
8. Chorus - Hallelujah - Handel
1. Glee - Alice Brand - Callcott
2. Air - Were my Bosom as false - Nathan
3. Chorus - Vive le Roi - Balfe
4. Glee - Urchins' Dance; Elves' Dance - Callcott
6. Air - Vision of Balshazzar - Nathan
6. Chorus - Viva Enrico - Pucitta
7. Glee - Desolate is the Dwelling of Morna - Callcott
8. Hebrew Melody - The Wild Gazelle - Nathan
9. Anthem - Long live Victoria! - Nathan
FINALE . . .

"ST. MARY'S CHORAL SOCIETY", Empire (26 November 1851), 2 

We have pleasure in testifying to the progress made by the Choral Society of St. Mary's, in the objects for which it has been established. The concerts given by the Society are really well worth going to hear, and the performance of the pupils does great credit to themselves and to their talented conductor, Mr. Nathan. Perhaps a little more variety might be introduced in the class of music selected for illustration; but this is a matter upon which tot homines tot sententiae. We therefore pass this consideration by, on the present occasion, reserving to ourselves all our critical privileges, to be exercised, en case de besoin. The performers at these concerts being all amateurs, we have no right, nor have we any inclination to particularize the various merits of the solo singers; but we may say generally that both the sacred and secular pieces were sung with great precision and effect. We are doubtful whether the chorus Vive le Roi! from Balfe's Seige of Rochelle should not have been sung rather faster; the time adopted by the conductor being rather too near the adagio for a piece of music eminently stirring and brilliant in its composition, and expressive of the highest and most enthusiastic feelings of loyalty from warrior-subjects to their Sovereign. On the other hand, Viva Enrico was very admirably sung; and we can scarcely say too much of the execution of the Laughing Chorus which was introduced, over and above the programme towards the close of the performance.

But we must turn from the general subject for a few moments to announce to the public of Australia, the existence of a perfect Musico on our shores. So unusual an occurrence calls for a word of notice; and although we are not inclined to, go into the history of that class of singers who are technically designated by the title of Musico, we may briefly state that a young man made his appearance at the concert on Monday evening, who, if we mistake not, will prove a resuscitation of the world-wide celebrité, Veluti.

Accidental circumstances, the details of which are "caviare to the general," but which can be easily ascertained by the curious in musical arcana, have brought before the public this candidate for vocal distinction; and although Mr. Palmer is but a tyro in the art, the strength and compass of his soprano voice are a certain guarantee that, with assiduous cultivation, he will become a very great acquisition to the musical world. The lower tones are exceedingly full, and the high notes of a richness and clearness which only soprano singers can boast. But there is in the medium considerable weakness, which, however, may fairly be ascribed to want of proper training. We understand Mr. Palmer intends to cultivate the gift he possesses, with the ultimate view of benefitting himself and of contributing to the support of a widowed mother. We shall be glad to have another occasion of commenting upon Mr. Palmer's vocal powers; and in the meanwhile we are sure that, for the scientific cultivation of his talent, and for the development of the voice, he cannot be in better hands than Mr. Nathan.

ASSOCIATIONS: W. J. Palmer (male soprano vocalist)

[Advertisement], The Sydney Morning Herald (27 November 1851), 1 

MECHANICS' SCHOOL OF ARTS. CONCERT. THE Members are informed that the Music Class will give the Monthly Concert on Friday Evening, the 28th instant. PROGRAMME . . . Part Second . . . 5. Song - Oh, for the Olden Time - Nathan . . .

"ST. MARY'S CHORAL SOCIETY", Empire (4 December 1851), 3 

We regret to learn that, owing to some misunderstanding between the directors of this society and Mr. Nathan, the talented conductor, that gentleman has resigned the post he held. We very much fear the society will find difficulty in supplying Mr. Nathan's place; for, whilst acknowledging the individual talent of the several professional men in this city, we feel convinced that Nathan alone is fitted to fulfil with anything like efficiency, the arduous duties of a Maestro. Cannot things be made up?

"MR. NATHAN", Empire (6 December 1851), 3 

In reference to the paragraph which appeared in yesterday's Empire stating that owing to some misunderstanding between the Directors of St. Mary's Choral Society and Mr. Nathan, that gentleman had resigned his post, we have been requested to state that there has been no misunderstanding with Mr. Nathan. The Committee were not in a position to continue Mr. Nathan's high scale of remuneration, and, consequently, his connexion with the Society terminated.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1852:

[Advertisement], The Sydney Morning Herald (9 January 1852), 4 

A CONDUCTOR is required for ST. MARY'S CHORAL SOCIETY. Applications from professional gentlemen may be made to the undersigned, at 189, Elizabeth-street, JAMES HART, Secretary. January 8.

[Advertisement], The Sydney Morning Herald (23 February 1852), 3 

ST. MARY'S CHORAL SOCIETY. THE FIRST Concert of this Society, for the present year will take place THIS EVENING, Monday, the 23rd instant, at half-past 7 o'clock.
Conductor - W. Wilkins, Esq.
Organist - W. A. Sigmont, Esq.
8. Anthem - God save the Queen (harmonized by) - I. Nathan . . .

NOTE: The concert was repeated on 8 March, with the same program

ASSOCIATIONS: William Abercrombie Sigmont

"MUSIC", The Sydney Morning Herald (20 March 1852), 4 

We have received a copy of Mr. Nathan's recent adaptation of the favourite air Lungi dal Caro bene, harmonized and revised, with variations expressly composed for Mr. Palmer, the young sofrano [sic] singer, who made his debut some months ago at the concert of St. Mary's Choral Society. Mr. Nathan's name is a sufficient guarantee for the correct treatment of the subject, and his acknowledged taste is fully displayed in the elegance and lightness of the fioriture.

"MUSICAL MEMS", Bell's Life in Sydney and Sporting Reviewer (20 March 1852), 3 supplement 

The beautiful air "Lungi Dal Caro Bene," has been newly harmonized, corrected and revised, and variations composed expressly for the soprano voice of Mr. Palmer, by the celebrated composer, Nathan. It is published by Messrs. Kern and Mader, of Hunter-street, in a very neat and cheap form. Some elaborate instructions are also appended to it, for the benefit of tyros.

"MUSIC IN THE METROPOLIS (From a Correspondent)", Empire (19 April 1852), 2-3 

Musical prospects have looked duller recently in Sydney than we remember for some years past. As a taste for the art is, we believe, rapidly progressing in the city, among private families and individuals, this state of things is rather surprising. Since Mr. Marsh's brilliant concert at the Victoria Theatre, and that of Mr. Frederick Ellard, almost immediately following it, we have had scarcely any public performance worth mentioning. The large portion of the community whose feelings and tastes are at all concerned in such matters, have, in this, entirely to blame themselves. Instead of wholly depending on individual speculation for opportunities of enjoying good music, efficiently executed, they should hare done something before now in the way of leaguing for mutual and general benefit. Measures, in fact, ought to have been taken for organising, on broad principles, a society for the cultivation of the art in all its departments, but particularly of chamber music, as most "coming home to the business and bosoms of men." We shall be at once, no doubt, reminded of the number of local attempts of the sort that have failed. One remark, however, will settle all this: the radical disease that killed most of them was a normal spirit of cliquerie - they were, for [3] the most part, mere clubs of amateurs. Now, we would propose the forming a public association on as wide a plan as possible, to consist of every man, woman, and child able and willing to pay ten shillings per annum, and who should, in return, of course, receive admission to the concerts, and any other privilege coming within the society's scopes. To govern the association, we would suggest a committee, to be chosen from the general body of the members, having full executive powers, except in matters of musical selections, arrangements, and detail, which we would have entrusted to a band of directors, to consist entirely of professional musicians, responsible to, and, in special cases, controllable by, the committee. One of the main objects of a society like this should be, that of instituting yearly or half-yearly festivals, on a scale of sufficient magnitude to have the works of the great classical composers worthily mounted. Considering this last as in connection with local education and the fine arts, the benefits it would confer on those of our native youth, who have had no opportunities of enjoying the varied popular advantages flowing from the great musical establishments of Europe, would be really immense. Another object might be that of opening courses of illustrated lectures, by members of the board, musical directors. These should have the sequence required in all lectures whose virtual purpose is not one of furnishing social divertissements, but of giving real and specific instruction. A matter of this kind properly managed, might easily enough be made the foundation of a local conservatoire, and the fees in that event paid by pupils, would defray all expenses incurred in forming it. With men of the creative musical powers of Mr. Nathan, and Mr. Marsh, and musicians like Messrs. Moore, Stanley, Johnson, Baly, and Gibbs, so far as professional ability is concerned, something like that described, might assuredly be done. As regards the public, we think there is little to fear, hearing as we recently did a spirited citizen state his willingness to contribute five hundred pounds towards erecting a music-hall in Sydney, and furnishing it with an organ . . .

ASSOCIATIONS: Frederick Ellard (pianist, composer); Andrew Moore (violinist); Edward Baly (flautist)

[Advertisement], Empire (22 April 1852), 1 

MRS. MOORE'S EVENING CONCERT. MRS. A. MOORE (late Miss Lazar), begs to inform her friends and the public, that she intends giving a Concert THIS EVENING, (Thursday,) the 22nd instant, at the Royal Hotel. PROGRAMME. PART 1ST . . . 8. Song - "Oh! for the olden time," - Mr. Waller, - Nathan . . .

ASSOCIATIONS: Rachel Lazar Moore

"MUDGEE", The Sydney Morning Herald (15 May 1852), 3 

MAY 6 . . . On Thursday evening, this day week [29 April], imagine yourselves introduced to a handsome room beautifully ornamented with roses and flowers of all descriptions, gaily intertwining with the chandeliers, and hanging in festoons from every corner, as well as borne most appropriately in the fair hands, and on the heaving breasts of the graceful nymphs that glided and flitted, as supported by their gallant partners, through the many circumvolutions that reigned supreme throughout the evening. Mr. Burton's band ably performed their part as musicians, relieved occasionally by some of the ladies, who sung, and played upon the piano to admiration. Mr. Nathan, from Sydney, likewise played and sung to the great delight of the company. We were honoured also by the attendance of the Chief Gold Commissioner, Mr. Hardy, and his brethren, Messrs. Green and Zouch, who proved veterans of the right sort on the "light fantastic toe." Elegant refreshments and a supper were set forth in adjoining rooms, and in time duly honoured, and all proceeded and concluded with the greatest hilarity and enjoyment . . .

ASSOCIATIONS: Henry Burton (circus proprietor)

[Advertisement], The Sydney Morning Herald (6 September 1852), 1 

MUSICAL ENTERTAINMENT. Under the immediate patronage of His Excellency the Governor-General, and the Hon. Mrs. Keith Stewart. IN THE THEATRE OF THE SCHOOL OF ARTS . . .
MR. WALLER has very great pleasure in announcing to his friends and the lovers of music generally, that THIS EVENING, MONDAY, September 6, he will give a MUSICAL ENTERTAINMENT, consisting principally of selections from the works of the the Great Masters, with observations on their peculiarities, &c, on the plan sketched in the the subjoined synopsis . . .
2ND PART. The utility of Music. Reasons for its popular cultivation. Biographical sketch of Handel, Jumping versus Singing. Song, "Revenge Timotheus Cries," from the Opera, "The Siege of Corinth." The following songs, with introductory observations, anecdotes, &c.; namely, Grand Scena - "The Fall of Zion." - Paesiello; Song - "Woman's Love." - Sola; Serio-comic Song - "Oh! for the Olden Time." - Nathan; Buffo Song - "Largo al Factotum." - Rossini.

ASSOCIATIONS: Mrs. Keith Stewart (daughter of governor FitzRoy)

"MR. WALLER'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (11 September 1852), 2 

. . . Paesiello's grand scena, "The Fall of Zion," a beautiful composition of a most dignified character, was rendered with great spirit and energy, as was Mr. Nathan's song, "Oh! for the Olden Time," into which the singer threw a lack-a-daisical humour highly amusing . . .

[Advertisement], The Sydney Morning Herald (21 September 1852), 4 

For sale by Tender, in Lots of one House or more. THIS splendid property consists of those
EIGHT CAPITAL HOUSES situate in the most desirable part of Sydney, and so well known by the above description. All the above houses are four stories high (including the cellar kitchens, which open out upon a level with the yards), and seven of them have access by a lane from Hunter-street, the eighth having a private entrance to the rear from Macquarie-street. They are all in excellent order, and, with one exception, have the city water laid on. They have always been occupied by highly respectable tenants ; and their rental has yielded as high a return as £156 per annum for each house . . .
The following are the names of the present tenants:
- Messrs. Morgan, Want, Campbell, Brett, Johnson, Mrs. Bodenham, Miss White,
and Mr. Nathan;
and parties tendering for one or more of the houses will please state the name, or names, of the tenants occupying the house or houses tendered for; but this is not necessary where the whole are tendered for in one . . .
For further particulars apply to THOMAS S. MORT, Auction Rooms, Pitt-street.



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

[Advertisement], The Sydney Morning Herald (16 February 1853), 3 

ST MARY'S CHORAL SOCIETY. NOTICE. - Mr. NATHAN having been re-appointed Conductor of this Society, the first general meeting of the Choir for practice will take place on Friday Evening next, the 18th instant, at half-past 7 o'clock. February 10.

[2 advertisements], The Sydney Morning Herald (4 April 1853), 3 

1853. Conductor - I. Nathan. Esq.
1. National Anthem - "God save the Queen," newly harmonised, expressly for the Society, by - NATHAN.
2. Hebrew Melody - "On Jordan's Banks," (Poetry by Lord Byron) - NATHAN.
3. Glee - "The May Fly" - CALLCOTT.
4. Quartetto - "O figli miseri," - VACCAI.
5. Hebrew Melody - "She walks in beauty," Lord Byron - NATHAN.
6. Glee - "The Urchins' Dance and Elves' Dance." - CALLCOTT.
7. Air - "Lungi del caro bene," (arranged with variations for Mr. Palmer, expressly for this Society, by Mr. Nathan) - SARTI.
8. Chorus - Viva Enrico - PUCITTA.
1. Glee - "Alice Brand," - CALLCOTT.
2. Air - "Jeptha's Daughter," Hebrew Melody, Lord Byron - NATHAN.
3, Gipsy Chorus -"The Chough and Crow" - BISHOP.
4. Glee - "O happy happy fair," - SHIELD.
5. Hebrew Melody - "The Wild Gazelle," - NATHAN.
6. Glee - "Desolate is the Dwelling of Morna" - CALLCOTT.
7. Laughing Trio - "Vadasi via di qua," - MARTINI.
8. National Air - "Long live Victoria !" - NATHAN . . .

- - -

THE Members of this Society meet every Tuesday and Friday Evening, at St. Mary's Seminary, Hyde Park, for practice. Ladies, who belong to the Society, also receive instruction at Mr. NATHAN'S residence every Saturday, from four to six o'clock in the afternoon. Sydney, March 26.

6 April 1853, first notice of publication of Angels ever bright and fair (Handel; arr. Nathan)

For documentation, see: (TROVE tagged by Australharmony)

6 April 1853, first notice of publication of The names of Christ (words: Laughton; music: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

[Advertisement], The Sydney Morning Herald (6 April 1853), 3 

JEPHTHA"S DAUGHTER and Lungi dal Caro Bene - the two songs so unanimously received with enthusiastic marks of approbation on Monday last at St. Mary's Choral Society - as sung by Mr. Palmer - are now published, 2s. each; with Angels ever Bright and Fair, - The Lord's Prayer, - The Names of Christ, - and all Mr. Nathan's works. At W. J. JOHNSON's Music Warehouse, 314, Pitt-street.

ASSOCIATIONS: William Jonathan Johnson (music publisher)

"ST. MARY'S CHORAL SOCIETY", Bell's Life in Sydney and Sporting Reviewer (9 April 1853), 2 

This Society gave one of their attractive concerts in the hall of St. Mary's Cathedral on Monday evening, which was attended by a numerous and aristocratic audience. Amongst others we observed the Chief Justice and Mr. Justice Therry and parties, and many of the principal residents in the city. Under the able conductorship of Mr. Nathan, the concert afforded general satisfaction and was warmly applauded.

"ST. MARY'S CHORAL SOCIETY", Freeman's Journal (9 April 1853), 8 

The character acquired by this Society at a very early period of its history was admirably sustained on Monday evening last. Although the weather was unpropitious, with occasional light showers, the Hall of St. Mary's Seminary was filled at the hour of commencement. The audience comprised individuals of the highest respectability, a circumstance exceedingly flattering to the society, since the selection of music could not certainly offer the charm of novelty, and the attendance consequently was a mark of their appreciation, rather than a mere gratification of curiosity. Amongst several leading members of society we noticed His Honor Mr. Justice Therry and family, Colonel Macarthur, the Crown Solicitor, Dr. Alleyn, Mr. Claxton and family, Miss Raymond, Mr. Castilla and others.

Precisely at eight o'clock the concert commenced. The opening anthem, (an unfortunately exceptionable affair by the way as regards the graces of composition,) was executed with much taste and fullness, and was loudly applauded. The remainder of the selections might be disposed of with an almost similar observation, with the exception, of the exquisite air Lunghi del caro bene, sang by Mr. Palmer. This young gentleman's voice and musical faculty have already formed the subject of high commendation, but after his perfect performance on this occasion, we feel some difficulty in adequately expressing our sense of its beauty. The volume and thrilling tenderness, the perfect ease, and impassioned expression, the apparent absence of labour, with the justest execution, form a whole that we cannot properly eulogise, and in the confession of our incompetency can only exhort our musical friends, if they should again have an opportunity, to embrace it, and judge for themselves. The most rapturous applause continued for some time, caused the reappearance of Mr. Palmer, who kindly favoured the audience with a repetition of the air. We know not whether the preceptor, or the pupil is entitled to the greater praise, but doubtlessly the care of the former must have been unwearied, since the execution of the latter was so perfect.

Of the other performers we cannot speak too highly. The great courtesy evinced towards the visitors, the desire to render the proceedings of the evening as entertaining as possible, and the marked improvement of the greater portion of them were pleasingly manifest. Mr. Nathan, the conductor, and patriarch of the society, needs not any acknowledgment from us. He must have been sufficiently lauded in the reiterated applause extended to his arrangements and the performance of his pupils. The evening was passed delightfully, and the visitors separated at an early hour. By an advertisement in another column the nights of meeting for practice in this society will be seen. We trust with an augmented list of members it may be enabled to offer more frequently to the public the pleasing entertainments of its periodical concerts.

[Advertisement], The Sydney Morning Herald (30 April 1853), 1 

COLONIAL PUBLICATIONS.. . . The whole of Mr. Nathan's Music is published by the undersigned, and can be purchased of them, or at the composer's residence, No. 1, Horbury Terrace . . . W. J. JOHNSON AND COMPANY, 314, Pitt street.

[Advertisement], The Sydney Morning Herald (23 May 1853), 1 

THE next Concert of this Society will take place in the Hall of St. Mary's Seminary on
Monday, 23rd May, 1853.
Conductor, I. Nathan, Esq.
1. National Air - God save the Queen, harmonised by - Nathan
2. Solo and quartette - "Hark the Vesper Hymn" - Sir J. Stephenson
3. Chorus - "Vive le Roi" - Balfe
4 Trio - "Hope once more" - Nathan
5. Solo - "Lungi dal caro bene" (arranged with variations for Mr. Palmer expressly for this Society by Nathan) - Sarti
6. Trio - "Vivan tutto le vessozo" - Unknown
7. Trio - "Zitti Zitti" - Rossini
8. Air and chorus - "'Tho Storms and Perils" (finale to "Merry Freaks") - Nathan
1. Glee - "The Red Cross Knight" - Callcott
2. Recitativo and Aria - "Oh Patria," "Tu che acendi," "Di tanti palpiti" - Rossini
3. Quartetto - "Lutzow's Wild Hunt" - Weber
4. Glees - "The Urchins and Elves' dance" - Callcott
6. Solo and quartetto - "Dal tuo Stellato Soglio" - Rossini
6. "Vadasi via di qua" (the generally admired laughing trio) - Pucitta [sic]
7. Madrigal- "Now is the Month of Maying" - Morley
8. National Air - "Long live Victoria" - Nathan . . .

"ST. MARY'S CHORAL SOCIETY", The Sydney Morning Herald (25 May 1853), 2 

The Concert on Monday was very fully attended, and went off with considerable eclat. Some of the pieces were encored, and the laughing chorus was given so capitally at to command a second call. At the request of some of the company the beautiful Hebrew melody "Jephtha's daughter," was sung by Mr. Palmer, and another of Nathan's own, "She walks in beauty," was also introduced by request, although they were not in the programme. The Governor of Singapore, the honorable Captain and Mrs. Keith Stewart, and many other persona of distinction, honoured the Society with their company on the occasion.

"ST. MARY'S CHORAL SOCIETY", Freeman's Journal (28 May 1853), 10 

There was a full and fashionable attendance at the society's concert on Monday. Among the visitors we noticed the Hon. Mrs. Keith Stewart and the Governor of Singapore. The selection of music was indeed most excellent, and performed in a style that reflects the highest credit upon the members and their talented Maestro - Mr. Nathan. The company frequently evinced by their applause the gratification they enjoyed. Mr. Palmer's solo "Lungi dal caro Vene," [sic] arranged expressly for him by Mr. Nathan, was beautifully given. This gentleman to a voice of great flexibility and sweetness joins a very expressive style that renders his singing very effective. The laughing trio "Vadasi via de qua," was sung with great spirit, and was honoured with a double encore. By request, Mr. Palmer sang the "Gentleman's Daughter" in his most felicitous manner. The concert was most creditable to all connected with the society. It is gratifying to see by the very numerous attendance on Monday evening that public taste is rapidly undergoing a change that must shortly be attended with the most beneficial results.

"THE MAYOR OF SYDNEY'S FANCY DRESS BALL", The Sydney Morning Herald (9 July 1853), 5 

THE tone given to even trifling amusements makes perceptible the true spirit of the times. Warlike as was the majority of the male costumes worn on the occasion of the Mayor of Sydney's Fancy Dress Ball on Thursday evening, it could not but occur to any reflecting mind that in the warm and friendly greetings of the representatives of almost all the nations of the world, the presence of Peace, with her attendants, Industry, Wealth, and Happiness, was fully recognised . . . Shortly before ten o'clock, His Excellency the Governor-General, and the Honorable Mrs. Keith Stewart, with their suite, arrived, and were received by the Mayor and Mr. George Hill; the band of H.M. 11th regiment performing the National Anthem. At this time there were about 1200 persons in the Theatre . . . The following is the list of the visitors, and the characters assumed by them . . . Mr. Nathan, Mason; Mrs. Nathan; Mr. Temple Nathan, costume, reign Queen Elizabeth; Miss Nathan . . .

[Advertisement], The Sydney Morning Herald (8 August 1853), 3 

THE next CONCERT of this Society will take place in the Hall of St. Mary's Seminary, on
Monday (this evening), August 8th. 1853.
Conductor . I. Nathan, Esq.
1. Chorus - The Heavens are telling - Haydn
2. Solo - Angels ever bright and fair (arranged expressly for Mr. Palmer) - Handel
3. Quartetto - Weep for those that wept by Babel's stream - Nathan
4. Solo - Recitative, Comfort ye my people; Air, Ev'ry valley - Handel
5. Chorus - And the glory of the Lord - Handel
6. Sestetto - The names of Christ - Nathan
7. Solo - Jephtha's Daughter - Nathan
8. Terzetto and Chorus - Most beautiful appear; The Lord is great - Haydn
9. Quintetto Chorus and Solo - Saul, Samuel, and the Witch of Endor - Nathan
1. Glee and Chorus - Alice Brand - Callcott
2. Solo-Recitative, "Oh Patria." "Tu che a cendi." Aria, "Di tanti palpiti" - Rossini
3. Trio and Chorus - Hope once more - Nathan
4. Quartetto and Chorus - Viva Enrico - Pucitta
5. Quartetto - Dal tuo stellato soglio - Rossini
6. Glee - Urchins' and Elves' dance - Callcott
7. Quartetto and Chorus - On Jordan's banks - Nathan
8. Trio - (by special desire) Vadasi via di qua - the generally admired laughing trio - Martini
9. Finale - "Merry Freaks." Tho' storms and perils - Nathan . . .

[Advertisement], The Sydney Morning Herald (27 August 1853), 1 

ST. MARY'S CHORAL SOCIETY. MONDAY, SEPTEMBER 6. IN compliance with the generally expressed wishes of the members of this Society, and to prevent disappointment to many persons who were unable to be present on account of the inclemency of the weather, there will be a repetition of the Concert lately given by the Society, on Monday, September 25th, 1853 . . .

3 September 1853, Isaac Nathan purchases 5 acres of land at Randwick for £120, outright

Documentation from the online indexes of NSW Land Registry Services; my thanks to Steve Ford, 2018, for sourcing and transcribing this document, and others below, concerning Nathan's Randwick property 

Randwick near Coogee Subdivision Allotment Number Thirteen Commencing on the North East side of the Coogee Road at point bearing East One Chain Sixteen Links from the Easternmost corner of S. H. Pearce's Seven Acres Two Roods and Thirty Seven Perches and bounded on the North by a line bearing East Thirteen Chains Six Links, On the East by a line bearing South Four Chains Ninety Links to the Coogee Road and on the South and South West by that Road bearing Westerly Seven Chains Forty Two Links, and then North Westerly to the Point of Commencement being the land Sold as Lot 42 in pursuance of the Proclamation of 22 July 1853.

Nathan's property, the site of Byron Lodge, was on the north-east side of what is now the corner of Belmore and Coogee Bay Roads, opposite the High Cross Park, and the Children's Asylum (now the Prince of Wales Hospital); Don Juan Lane (now Avenue) later bordered the original property on the north and east sides

[Advertisement], The Sydney Morning Herald (5 September 1853), 1 supplement 

THE next CONCERT of this Society will lake place in the Hall of St. Mary's Seminary, on
Monday (this evening), September 5th.
Conductor - I. Nathan, Esq.

As for 8 August 1853 above

"MR. COLEMAN JACOBS' CONCERT", The Sydney Morning Herald (26 October 1853), 5 

Last evening a full and fashionable audience assembled in the large saloon of the Royal Hotel, on the occasion of Mr. Coleman Jacobs giving his farewell concert . . . We must make favourable mention of Mr. W. J. Palmer, a young vocalist of some promise (a pupil, we believe, of Mr. Nathan), of Miss Armfield, Mr. John Howson, Mr. Baly, and Mr. Stanley . . .

NOTE: Palmer sang Nathan's Sarti arrangement, Lungi dal Caro bene "(by desire)", immediately before the finale.

ASSOCIATIONS: Coleman Jacobs (pianist); Miss Armfield = Lilie Armfeldt (vocalist)

[Advertisement], The Sydney Morning Herald (14 November 1853), 3 

THE next Concert of this Society will take place in the Hall of St. Mary's Seminary on Monday next, November 14, 1853.
Conductor. I. NATHAN, Esq.
1. Quartette and Chorus, from Oberon in Fairy Land, Stevenson.
2. Madrigal, "When first I saw your face," Ford.
3. Glee, "Go, happy heart," Horsley.
4. Trio, "Hope once more," Nathan.
5. Solo, "Thou art gone from my gaze," Linley.
6. Quartette, Tenors. "Soldier's Chorus, from Goethe's Faust," Werner.
7. Duet, Sopranos, "What are the wild waves saying?" S. Glover.
8. Quartetto, "Dal tuo stellate soglio," Rossini.
1. Glee, " Aldiborontiphoscophornio Crononhotonthologos, Callcott.
2. Madrigal. " Now is the month of Maying," Morley.
3. Glee, "The Red Cross Knight," Callcott.
4. Solo, "Were my bosom as false as thou deem'st it to be," Nathan.
5. Trio, " Zitti Zitti," Rossini.
6. Glee, "Witches' Glee," M. P. King.
7. Quartetto, "The Wild Gazelle," Nathan.
8. Finale, " O figli miseri," Vaccaji . . .

[Advertisement], Empire (17 November 1853), 1 

ST. MARY'S CHORAL SOCIETY CONCERT. IN consequence of the unfavourable state of the weather on Monday evening last, the Concert WILL BE REPEATED THIS EVENING, Thursday, the 17th instant, at Eight o'clock . . .

"ST. MARY'S CHORAL SOCIETY CONCERT", Illustrated Sydney News (19 November 1853), 2 

This Society, under the musical direction of I. Nathan, Esq., gave a Concert on Thursday evening in the Hall of St. Mary's Seminary, a building better adapted for choral music than any other in the colony. It was very numerously attended by the most select and fashionable audience we have ever before seen assembled in this city, there being upwards of two hundred ladies present. About sixty voices sent forth such sweet harmony that the audience, as far as we could judge from appearances and our own feelings, felt far removed from the minor things of earth, and the soothing and happy influences that such music as was selected on the occasion is bound to create in all persons, no matter what their temperament, was, no doubt, enjoyed by the most stoic present. The programme was very judiciously made out, by the talented conductor, to please all, nearly every song being encored. Miss Armfield, a young lady of undoubted musical talent, having a well controlled, and powerful voice, sang "Thou art gone from my gaze." - Lindley - and "Were my bosom as false as thou deem'st it to be" - Nathan - in excellent style. She also sang a duett with Miss Nagal - "What are the Wild Waves Saying" - S. Glover - with exquisite taste, and was loudly encored. Among the selections of the evening, and which we're received with the greatest favour, were the "Laughing Chorus" - Pucitti [sic] - the "Red Cross Knight" - Callcot - and the "Witches Glee," by M. P. King. We understand that Mr. Nathan will be prepared to favour our citizens with a similar treat in about six weeks, when we hope to be able to notice the efforts of the Society as their merits deservedly entitle them to.

ASSOCIATIONS: "Miss Nagal" is almost certainly a daughter of Nathan's erstwhile librettist, Charles Nagel; his second daughter Caroline Nagel married William Dolman at St. Mary's on 27 December 1853; see "MARRIED", The Sydney Morning Herald (30 December 1853), 5 

[Advertisement], The Sydney Morning Herald (15 December 1853), 2 

ROYAL HOTEL. - Programme of Mr. Charles S. Packer's Grand Concert of Vocal and Instrumental Music. - Thursday Evening, December 15th, 1853. Part, 1st. - Madrigal, Now is the Month, Morley . . . Song, I dare not tell, Nathan - Mr. Palmer . . .

ASSOCIATIONS: Charles Sandys Packer



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

Isaac Nathan, at the piano, Illustrated Sydney News (21 January 1854), 4

"OUR PORTRAIT GALLERY", Illustrated Sydney News (21 January 1854), 4 


"I. NATHAN, ESQ.", Illustrated Sydney News (21 January 1854), 3 

Mr. ISAAC NATHAN, whose portrait appears in another part of this paper, was born at Canterbury, in the year 1792. His friends intended him for the Church, and for this purpose placed him under the care of Mr. Lyon, Professor of Hebrew to the University. Under the tuition of this gentleman he made considerable progress, not only in that language, but also in the German and Chaldean. As a relaxation from his several studies he was permitted to learn the violin, a circumstance which led to an early display of his inate [sic] love for music, and eventually, brought about an entire change in the views of his parents. On his return home his relations determined on articling him to Dominico Corri, a celebrated musician of that day. Eight months after this he composed his first song "Infant Love," which was soon followed by a number of others. From time to time he published pieces that would have been a credit to more established authors. Had Mr. Nathan been as great in worldly as in musical science, he must very soon have reaped an abundant harvest. This, however, was not the case, for the treachery of others involved him in great difficulties. He appeared in public at Covent Garden, as Henry Bertram, in Guy Mannering; but, when accompanied by the band, his want of sufficient power totally deprived him of the advantage which his acknowledged science would otherwise have given him, and a failure was the consequence. Mr. Nathan, as a singing master, has few superiors; for, while his voice affords an example of science and a high degree of cultivation, his work on the History and Theory of Music, evinces a research and comprehensive knowledge of that subject.

Mr. Nathan, possessing such qualifications, could not fail to make friends among even the highest personages. He was Musical Historian to George IV., and instructor to the Princess Charlotte of Wales. He rapidly attained not only an English, but a Continental, reputation.

Mr. Nathan arrived in Sydney in 1841. Since his residence in these colonies, he has well sustained his reputation for musical talent and ability. The rapid advancement of church music, and choral societies in Sydney, are owing to his exertions; and of the success of his endeavour to carry out the performance of our English composers, our readers may convince themselves by a visit to the Choral Society, held at St. Mary's School, where Mr. Nathan presides as director.

6 February 1854, first advertised performance of Hey diddle diddle the cat and the fiddle (arr. Nathan; published first notices 13 December 1861) (TROVE tagged by Australharmony)

[Advertisement], Empire (6 February 1854), 1 Supplement 

THE First Concert of the present year, to be given by this Society, will take place in the Hall of St. Mary's Seminary,
THIS EVENING, Monday, the 6th February, 1854.
Conductor - I. NATHAN, Esq.
1. Glee - Here in Cool Grot - LORD MORNINCTON.
2. Quintetto - Five Times by the Taper's Light"- S. STORACE.
3. Glee - Mark the Merry Elves - CALCOTT.
4. Solo - The Spirit of the Past - MACDONALD HARRIS.
5. Duet - Could a Man be secure - PURCELL.
6. Round - Hark! 'tis the Indian Drum - BISHOP.
7. Glee - The Bark before the Gale - WILLIS.
8. Trio and Chorus - The Curfew - ATTWOOD.
1. Trio - The Flock shall leave the Mountain - HANDEL.
2. Nursery Rhyme - Hey diddle diddle, the Cat and the Fiddle - NATHAN.
3. Glee - Peace to the Souls of the heroes - CALCOTT.
4. Solo - "The Mariner's Child lo his Mother" - MACDONALD HARRIS.
5. Quartette - Dital Dital Ba-Loo-Nai, (Native War Song,) newly harmonised by - NATHAN.
6. Glee - The Gipsies' Glee - REEVE.
7. Quartette - Kate Kearney, (newly harmonised for this Society,) - NATHAN.
8. Chorus - Galatea, dry thy tears - HANDEL.
Visitors' tickets, 3s. each, may be obtained at the Music-sellers and Stationers.

"ST MARY'S CHORAL SOCIETY", The Sydney Morning Herald (7 February 1854), 5 

The concert of this society last evening was on the whole very successful. We noticed, however, too great a preponderance of male voices, which would have drowned the sopranos, but for the strong clear notes of Miss Harris, who was a host in herself. This young lady sang two solos with great feeling. "Nursery Rhyme," "Hey diddle diddle," harmonized by Mr. Nathan, was a decided hit, eliciting general laughter. The native war song, Dital dital valonni [sic] fell very flat. The concert room was completely filled; and among the company we noticed as usual many of the leading families.

ASSOCIATIONS: Flora Harris (vocalist)

"ST MARY'S CHORAL SOCIETY, Illustrated Sydney News (11 February 1854), 6 

This Society gave an entertainment to its friends on Monday evening, and the numerous company assembled, appeared to be highly delighted. Miss Harris lent her powerful aid on the occasion, and was of great service in leading the sopranos, which are frequently the weakest and most unsteady portion of a chorus. We were glad to perceive that the selection was nearly all part music. The practice of singing in parts should be extensively encouraged. It is a most delightful adjunct of a family party, and we are convinced that it might be made an important agent indirectly, in stemming the tide of intemperance which all so much deplore. If the joining people would form means and practice together, Sydney might become eminent as a musical city. The favourite song of the Indian Drum, by Bishop, met with great applause, as it deserved, and the laughable ditty of High Diddle, Diddle, met with a unanimous encore. Mr. Nathan, the conductor, was as enthusiastic as usual, and infused much of his superfluous energy with his collaborateurs.

[Advertisement], The Sydney Morning Herald (17 February 1854), 1 

PIANOFORTE and SINGING. - Miss TROY has the honor to announce to her pupils and friends that she has entered into an arrangement with Mr. Nathan to superintend the musical department at her establishment, Bourke-street, Woolloomooloo. February 16.

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

MR. W. I. PALMER'S Grand Evening Concert, Royal Hotel, MONDAY, the 20th February, 1854. Under the distinguished patronage, of the CHIEF JUSTICE and LADY STEPHEN, SIR OSBORNE and LADY CURTIS. PROGRAMME . . . Part 2. Song - "Queen of Evening," Mr. W. I. Palmer - Nathan . . . Song - "Lungi dal caro bene," (by particular desire) - Mr. W. I. Palmer - Sarti . . .

[Advertisement], Empire (26 June 1854), 1 

ST. MARY'S CHORAL SOCIETY, THE NEXT CONCERT to be given by this Society, comprising a selection of SACRED MUSIC, chiefly from Handel's Oratorio of the MESSIAH, will take place in the Hall of
St. Mary's Seminary, on Monday, the 26th June, 1854.
Conductor - I. Nathan, Esq.
PART I [first part of Messiah] . . .
PART II . . .
Solo, Duet, and Quartetto, "The names of Christ." - Nathan . . .
Quartette, Chorus, and Solo - "Saul. - Nathan . . .

"ST. MARY'S CHORAL SOCIETY", Empire (27 June 1854), 2 

The members and friends of this Society were entertained last evening to a Concert of Sacred Music, at the Hall of St. Mary's Seminary. The principal pieces were selected from Handel's Messiah, consisting of airs, recitatives, and choruses. lt would not be just to criticise severely the performance by the choir of compositions, whose classic beauties it requires not only extended practice, but great manual skill to execute effectively. The efforts of the performers, although falling short of this object, afforded two hours' refined enjoyment, and the company expressed themselves well pleased with the attempt. The soprano solos were sung with great taste and effect by Miss Harris and Mrs. Bridson, especially in Mr. Nathan's sacred anthem - "The Names of Christ." Mr. Nathan acted as conductor with his usual enthusiastic abandon. The audience, which comprised the Governor-General and several members of the Legislative Council, was very numerous; and we understand that in consequence of the disappointment of many who were unable to obtain admission, the concert will be repeated in the course of a few days. We hope that the success attending the performance will induce its promoters to repeat it periodically.

ASSOCIATIONS: Sara Bridson Kinloch (vocalist)

"MUSICAL", Empire (6 July 1854), 5 

The public practice of the St. Mary's Choral Society will be repeated this evening, in the Hall of St. Mary's Seminary. The Music will principally consist of selections from Handel's Messiah.

[Advertisement], Empire (2 October 1854), 1 

THE THIRD CONCERT of the present year to be given by this Society, will take place in ST. MARY'S HALL, This Evening - to commence at 8 o'clock precisely.
Conductor - I. Nathan, Esq.
1. Chorus, from Oberon in Fairy Land - Stevenson
2. Quartetto, "Dal tuo stellato sogllo." - Rossini
3. Hebrew Melody, "She walks in Beauty" - Nathan
4. Caoinan, "Callino," an ancient relic, harmonised by Matthew Lock, as it was supposed to be sung by the Keeners of Ireland about the year 850 - Unknown
5. Solo, Quintetto and Chorus," Viva Enrico" - Pucitta
6. Quintetto, "Mimanca la voce" - Rossini
7. Hebrew Melody, "On Jordan's Banks" - Nathan
8. Canon, "Perflda Clori" - Cherubini
9. Solo and Chorus, "The Storms and Perils" - Nathan
1. Solo and Chorus, " Long live Victoria" - Nathan
2. Glee, and Chorus, "Britons strike home" - Purcell
3. Duet and Chorus, "Rule Britannia" - T. Arne
4. Trio, "Gia fan ritorno" - Mozart
5. Glee, "Happy Land" - Rimbault
6. Laughing Trio, "Vadasi via di qua" - Martini
7. Duet, "Vederlo sol bramo" - Paer
8. Solo, Trio, and Chorus, "The Chough and Crow" - Bishop
9. Finale, "God Save the Queen," National Anthem, harmonised by Nathan - John Bull . . .

"ST. MARY'S CHORAL SOCIETY", Empire (3 October 1854), 4 

A concert of secular music was given yesterday evening in the Hall of St. Mary's Seminary, by the members of the above society. The previous well-received performances of these amateur musicians, in connection with a rather extensive programme, attracted a numerous and respectable audience. The pieces were performed as advertised; Mr. I. Nathan acted as conductor, and entered into the engagement with his accustomed energy and abandon. Wo are sorry we are unable to congratulate the choir upon this occasion, on either the general success of their performances, or upon the approval with which they were received. There were, however, one or two pieces on behalf of which an exception must be made. The quartetto and chorus, "Viva Enrico," were sung with considerable taste and feeling, as were also the conductor's admired composition, "Through Storms and Perils," the performance of which obtained an enthusiastic encore. A similar compliment was paid to the execution of the Laughing Trio, "Vadasi via di qua," but the favour it received seemed rather an ebullition of contagious laughter than the judicious appreciation of musical skill. The favourite solo and chorus - "Chough and Crow," was sung with great animation, and was heartily applauded. The Italian trios and quartettos were tolerably well sung, but the style does not seem very popular with Sydney audiences. One great defect in the performances of these amateur singers - which we mention less in reference to last night's concert, than with a view to correction in future practices - is the want of distinct articulation; they seem to regard the pronunciation of the words of little consequence, so long as they sound the proper notes. This defect was glaringly observable in the performance of "Rule Britannia," arranged as a duet, and also of "Happy Land;" the words of which, though well known to every hearer, were so imperfectly articulated, that it was scarcely possible to ascertain which verse of the piece was being sung. It would also be well if previous to the future Concerts, all the necessary preliminaries were arranged, so as to prevent the confusion observable last evening. The precaution should also be taken to have a a sufficient number of copies of the music, so as to prevent any necessity for the singers to stoop over the pianoforte. Although the ladies and gentlemen engaged in these Concerts, are amateurs, and may thus plead exemption from strict criticism, yet the circumstance of the entertainments being public lays the performers open to such animadversions as the above, and which it is hoped there will be no subsequent occasion to mention. The musical talent possessed by several members of the Society will well repay patient cultivation.

"CONCERT", The Sydney Morning Herald (3 October 1854), 4 

St. Mary's Choral Society's concert took place in the hall of St. Mary's Seminary yesterday evening. The attendance was excellent, the room being crowded. The programme contained a selection of pieces comprising some of the best compositions of the old and modern masters, which were performed with ability and taste. Pucitta's " Viva Enrico" was beautifully executed. The following pieces were rapturously encored:- "Tho' storms and perils," (a most exquisite composition, by the talented conductor, Mr. Nathan), Martini's laughing trio, "Vadasi via di qua," and Paer's duet, " Vederlo sol bramo."

"ST. MARY'S CHORAL SOCIETY", Bell's Life in Sydney and Sporting Reviewer (7 October 1854), 2 

The third concert of this society was given in St. Mary's Hall on Monday evening, and gave unqualified satisfaction to a numerous and fashionable assemblage. The programme was a brilliant one, and amongst its principal items were Rossini's celebrated prayer, "Dal tuo stellato soglio," and the elegant quartetto, "Mi manca la voce," from Mose in Egitto, which were sung with exquisite taste and feeling, and gave general delight. The leading tenor parts of Osiride were executed by a French gentleman, who possesses a splendid tenor voice, with the Barrytone quality, and whose singing called forth just demonstrations of approval. The part of Elicia was well executed by Mrs. Bridstone, whose voice is a soprano of considerable compass and flexibility. She was rapturously encored in Nathan's finale of his Opera in "Merry freaks in troublous times," "Though storms and perils" - Paer's Duet Vederlo solbramo - was executed in first-rate style, and deservedly encored. Martini's laughing trio "Va dasi via di qua," was in this instance (as it has always been under Nathan's conducting) loudly called far a second time, and cheerfully repeated.

Royal Polytechnic, cnr Pitt and Bathurst Sts, Sydney, 1854

J. S. Norrie's Royal Polytechnic Exhibition, first opened at the corner of Pitt and Bathurst Streets, Sydney, in February 1854; this illustration, Illustrated Sydney News (25 March 1854), 4 

[Advertisement], The Sydney Morning Herald (25 October 1854), 1 

ROYAL POLYTECHNIC - THIS EVENING, Wednesday, a lecture will be delivered on the heavenly constellations, nebulae and milky way, comets, &c., illustrated with dissolving scenery of immense magnitude. After which, a dissolving panorama of London and its environs, with choice music and chromatropes. Reserved seats, 3s; front seats, 2s. Children, half price.

ROYAL POLYTECHNIC - NOTICE. - After the expiration of the present week, the magnificent views at present exhibited, and those arriving by the overland mails, will, every TUESDAY and FRIDAY EVENINGS, be represented and illustrated with new descriptive matter, and the most important addition of original compositions, choice selections, and extemporaneous performances, characteristic of the music peculiar to different nations, by Professor NATHAN, the proprietor having had the good fortune to secure the powerful aid of that gentleman to assist him in the grand object of blending scientific and classical harmony with the interesting evening's entertainment. The admission on these evenings will be as usual . . .

ASSOCIATIONS: James Smith Norrie (chemist, proprietor); Royal Polytechnic Institution (Sydney)

[Advertisement], The Sydney Morning Herald (31 October 1854), 1 

ROYAL POLYTECHNIC. - NOTICE. - The proprietor begs to state that the engagement of Miss Harris has terminated, and that the musical department is now under the superintendence of Professor Nathan.

NOTE: Flora Harris had taken her departing benefit the previous night, 30 October; see [Advertisement], The Sydney Morning Herald (30 October 1854), 1 

[Advertisement], The Sydney Morning Herald (3 November 1854), 1 

ROYAL POLYTECHNIC - THIS EVENING, (Friday) Professor NATHAN will give an example of the principle about to be carried out as advertised, and as it is next to impossible to be quite ready, in the object contemplated, in consequence of the immense difficulty of the subject in arranging descriptive matter to music, the latter will this evening be given as usual.

[Advertisement], Empire (7 November 1854), 1 

ROYAL POLYTECHNIC - LECTURE NIGHTS, - Mondays, Wednesdays, and Thursdays, with Dissolving Views, Chromatropes, and Music. Reserved seats, 2s.; front seats, 1s.; Children, half price. GRAND NIGHTS - Tuesdays and Fridays. Musical Director, Professor Nathan. The Dissolving Scenery on these occasions embrace the most choice views in various parts of the world, accompanied with vocal and instrumental performances of a most recherché character. Reserved seats, 3s.; front seats, 2s.; no half price . . .

"THE POLYTECHNIC", Empire (18 November 1854), 4 

A considerable addition had recently been made to the attractions of this little theatre, in the shape of a variety of new dissolving views, embracing some of the most remarkable scenes, public buildings, and classic views throughout Great Britain, Ireland, and the continents of Europe and Asia. Among the new scenes are several illustrating ancient history, sacred and profane . . . The musical department of the theatre, embracing both vocal and instrumental performances, which has recently been transferred to the management of Mr. Nathan, has undergone considerable improvement, inasmuch as the songs and airs are now, in all instances, appropriate to the views represented.

[Advertisement], The Sydney Morning Herald (27 November 1854), 1 

ROYAL POLYTECHNIC. - THIS EVENING, Monday, November 20th, will be exhibited a superb dissolving panorama, on a scale of great magnificence and beauty, being a tour from Liverpool to Scotland, and thence to Ireland, embracing the most important castles, cathedrals, and lakes (just received by the overland mail), accompanied by the most classic vocal and instrumental performers, by a full company, under the direction of Professor Nathan. Doors open at half-past 7, commencing at 8 o'clock precisely. Admission as usual. Half price at 9 o'clock.

"ROYAL POLYTECHNIC", The Sydney Morning Herald (28 November 1854), 5 

This place of amusement, considering the attractions presented in other places last night, was pretty well attended. The performance exhibited was the tour from Liverpool to Scotland, and thence to Ireland, embracing views of the most important castles, cathedrals, and lakes, accompanied by a full and efficient choir, under the direction of Professor Nathan. Those persons who may feel any inclination or wish to visit this place and view the beauties of natural und architectural wonders pictured to them, will not find their time wasted, and therefore should not lose the favourable opportunity thus presented them.

[Advertisement], The Sydney Morning Herald (29 November 1854), 1 

POYAL POLYTECHNIC. - TO-MORROW EVENING, Thursday, November 30th, will be exhibited one of the grandest Dissolving Panoramas ever seen, consisting of a tour through ENGLAND and WALES, embracing the METROPOLIS, and including the stupendous CHRYSTAL PALACE at Sydenham, and the wonder of the age, the TUBULAR BRIDGE over the Menai Straits in Wales, and other entirely new views; the tableau presenting an actual surface of 600 square feet, accompanied by the most efficient choir ever got together for a similar purpose, under the superintendence of Mr. Nathan. The vocal performances embracing some of the most beautiful Glees and Choruses. Concluding with the splendid new CHROMATROPES . . .

[Advertisement], The Sydney Morning Herald (6 December 1854), 1 

ROYAL POLYTECHNIC. TO-MORROW EVENING, December 7th - Grand Exhibition Night - A TOUR THROUGH ENGLAND, IRELAND, SCOTLAND, and WALES, new dissolving scenery, just arrived, with the most choice vocal und instrumental music, by a choir of 20 performers, under the direction or Professor Nathan. Concluding with the splendid New Chromatropes . . .

[Advertisement], The Sydney Morning Herald (27 December 1854), 1 

ROYAL POLYTECHNIC . -THIS EVENING, Wednesday, December 27th. First part commencing at 8 o'clock, precisely. An entertaining MELANGE of vocal music, consisting of cheerful glees, quartettes, &c., from the words of the most classical authors, under the sole direction and conductorship of Mr. Nathan. The second part will consist of a series of the most splendid views in the collection of the Institution, 1st. London Bridge from the Surry side, Somerset House by moonlight, St. Paul's Cathedral and Westminster Abbey, Hampton Court, the New Palace at Sydenham in three views, High-street, Oxford, Dover Castle from the Ramsgate Road, Frigate leaving Ramsgate Harbour and appearing off Dumbarton Castle, Edinburgh from the Carlton Hill, Holyhead Chapel, Custom House, Dublin, and thence to Sydney; concluding with the most splendid new chromatropes, and a new series of music on the Apollonicon . . .

"ROYAL POLYTECHNIC", The Sydney Morning Herald (30 December 1854), 5 

We again draw attention to this institution. It has now been open continuously to the public for the last nine months, during the whole of which time a constant anxiety has been kept up by the proprietor - to cater well for all classes of the community - combining instruction with sterling amusement, both in the shape of lectures on the various sciences - the production of superior concerts, and the magnificent dissolving scenery, the greatest attraction of the institution. From the enthusiastic manner in which the concert of last Wednesday was received, it will be repeated on Monday evening.



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

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

ROYAL POLYTECHNIC- NEW YEAR'S NIGHT. - From the enthusiastic manner in which the Concert of last Wednesday was received, it will be repeated THIS EVENING. The selections are from Mozart, Weber, Werner, Calcott, and Nathan, under the conductorship of the last named Gentleman, assisted by a full company of vocalists.
Commences at 8 o'clock precisely, consisting of the following celebrated Glees, Quartettes, &c.
1.- "From Oberon in Fairy Land"
2.- "Bright Sword of Liberty"
3.- "By the Moon and round about"
4.- "United here are heart and voice" - trio
5 - "Dal tuo stellato soglio"
6.- "Lordly Gallant"
7.- "Hark, 'tis the Indian Drum"
8.- "Viva Enrico"
9.- "Via du s1, Via di qua"
10.- "Hey diddle diddle, the cat and the fiddle"
11.- "She walks in beauty"
12.- "Alice Brand"
To comprise a selection of the most superb dissolving scenery and chromatropes it is possible to produce. Admission as usual.

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (6 January 1855), 4 

ROYAL POLYTECHNIC. NOTICE. THE magnificent views at present exhibited, and those arriving by the overland mails, will, every TUESDAY and FRIDAY EVENINGS, be represented illustrated with new descriptive matter, and the most important addition of original compositions, choice selections, and extemporaneous performances, characteristic of the music peculiar to different nations, by Professor NATHAN, the proprietor having had the good fortune to secure the powerful aid of that gentleman to assist him in the grand object of blending scientific and classical harmony with the interesting evening's entertainment . . .

NOTE: This general advertisement, run the previous year, continued to appear regularly until April, and then weekly in Bell's life until the middle of July 1855

[Advertisement], Empire (8 January 1855), 1 

ROYAL POLYTECHNIC - OPEN CONCERT. AMONGST the selection of choice trios, glees, &c., to be performed in the Melange, THIS EVENING, Monday, January 8th, will be found, in the Programme, Part 1. - Martini's celebrated laughing trio, Via-dasi, Via-di-qua, and the effective Nursery glee, Hey Diddle Diddle, the Cat and the Fiddle, which has been received with so much enthusiasm; will be repeated also, Dal tuo stellato soglio, quartette, Rossini's beautiful prayer from Mose in Egitto, (Moses in Egypt,) and Pucitta's Viva-Enrico, together with Calcott's celebrated glee, It was a Friar of Orders Grey, and other choice compositions, under the sole direction and conductorship of Mr. Nathan. Part 2nd. - The tableau will consist of some of the most magnificent views in London, Liverpool, Scotland, and Ireland, all recently arrived, to conclude with a rich display of Chromatropes . . .

[Advertisement], The Sydney Morning Herald (18 January 1855), 1 

ROYAL POLYTECHNIC. - OPEN CONCERT. THIS EVINING, Thursday, January 18th. In the musical melange some beautiful glees, trios, and songs will be found in the programme, to be executed by a full company of vocalists, among whom is Mr. J. HOWSON, who his volunteered his services for the occasion.
Bishop's Chorus - Hark, to the Indian Drum
Song - By the Sad Sea Waves
Mozart's Quartillo [sic] - From Mose in Egitto [sic]
Song - Mary O'More
Italian Trio
Song - Unfurl the Flag
Martini's Laughing Trio, by particular desire
Song - When I Roved a Young Highlander
Pucitta's Chorus Viv' Enrico
Song - Madoline
Calcott's Glee - Here In Cool Grot
Nathan's - Nursery Glee for the delight of juveniles
Nathan's Glee - On Jordan's Bunks, from the Hebrew Melodies
The entertainment will conclude with a selection of brilliant chromatropes, and music on the celebrated Apollonicon, equal to a full military band, and the Nation Anthem.

[Advertisement], The Sydney Morning Herald (25 January 1855), 1 

THIS EVENING, January 25th. A melange of vocal consisting of choice pieces from the most classic authors, in which, to meet the wishes of general satisfaction, the following programme has been selected, in which Mrs. ST. JOHN ADCOCK and Mr. JOHN HOWSON will take the leading parts, with the other performers.
Nathan's National Air - Long Live Victoria.
Ballad - My Mountain Home - Mrs. Adcock
Calcott's Glee - Here in Cool Grot
Song - Mary O'More. Mr. Howson
Calcott Glee - Blow, Warder, blow!
Song - Farewell to the Mountain - Mr. Hosier
Mozart's Quartette - Del tuo stellata soglio
Song - From La Figlia del Regimento (the Song [sic] of the Regiment) - Mrs. Adcock
Martini's Laughing Trio - Va da se Vice di qua
Duo - Come, come to the Willow Fall - Mrs. Adcock and Mr. Howson
Pucitta's Chorus - Viv' Enrico
(By desire) Ballad - Ben Bolt - Mr. Howson
The concert will conclude with a brilliant display of chromatropes, and music on the Apollonicon.

ASSOCIATIONS: Marianne Pettingel Adcock (vocalist)

"ROYAL POLYTECHNIC", Empire (26 January 1855), 5 

The weekly concert at the Polytechnic was held yesterday evening, and a very select, fashionable, and numerous body of subscribers attended. The singing of Mr. John Howson and Mrs. St. John Adcock was much admired, and was greeted with frequent tokens of approval. Several glees and duos were sung in good style. The national air, "Long live Victoria," with which the concert opened, was deservedly applauded, and the evening's amusements terminated with a brilliant exhibition of chromatropes. Mr. Nathan presided at the pianoforte.

"CONCERT AT THE POLYTECHNIC", The Sydney Morning Herald (26 January 1855), 5 

Mr. Norrie gave an agreeable and interesting concert last night at the above place of amusement. The concert room was completely filled with a fashionable class of visitors. The singing gave general satisfaction, and met with great applause. Mrs. St. John Adcock was warmly applauded in the pretty ballad "My Mountain Home," a song selected from the opera of La Figlia del Regimento, and in fact in all her songs. Mr. J. Howson sung Ben Bolt and Mary O'More in excellent style. Mr. Nathan presided with his usual skill. After the close of the concert a brilliant display of chromatropes was exhibited.

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

ROYAL POLYTECHNIC. - OPEN CONCERT. THIS EVENING will be introduced a Melange of Vocal consisting of the following choice selections. in which Mrs. St. John Adcock and Mr. John Howson will take part with the other performers, under the direction of Mr. Nathan.
National Air - Hail, Victoria
Ballad - The Dream of Love - Mrs. Adcock
Catch, by Danby - O, let the merry peal go on
Ballad - One Faithful Friend - Mr. Howson
Calcott's Oleo - The Red Cross Knight
Nathan's Nursery Glee for the Juveniles - Hey diddle diddle
Italian Trio, by Mozart - Gia fan Ritorno
Hagar's Lamentation, Descriptive Song - Mr. Howson
Martini's Laughing Trio - Via dasi, Via-di-qua
Ballad - The Young Lady's No! - Mrs. Adcock
Nathan's Glee - On Jordan's Banks
Duet - Come, come to the Willow Dell - Mrs. Adcock and Mr. Howson
Quartette and Chorus - Vivo Enrico.
To conclude with the Waits, as it was sung in the year 1667, at the conclusion of every Madrigal Society in England.

[Advertisement], The Sydney Morning Herald (22 February 1855), 1 

MUSICAL MELANGE. - ROYAL POLYTECHNIC. TO-MORROW EVENING, a Melange of Vocal Music will be introduced, under the direction of Mr. Nathan, when several rotas, catches, glees, &c, will be performed.

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

ROYAL POLYTECHNIC - THIS EVENING. A MUSICAL MELANGE IN OPERA CONCERT, conducted by Mr. Nathan, consisting of choice pieces from the most celebrated composers. Among which will be performed the following:-
Chorus - Chough and Crow, Bishop
Glee - On Jordan's Banks, Nathan
Song - by Mrs. Adcock
Trio - Hope once more, Nathan
Song - When I roved a young Highlander - by Mr. Hosier
Glee - The Red Cross Knight, Callcott
Song - by Mrs. Adcock
Song - The Heart bowed down - by Mr. Hosier
National air - Long live Victoria.
PART 2ND will terminate with local views, shipping - comic scenes, and dazzling chromatropes . . .

ASSOCIATIONS: Frederick Hosier (vocalist)

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

ROYAL POLYTECHNIC - Opera Concert, THIS EVENING. Among the selection of vocal music in the melange will be executed the following madrigals, songs, &c, conducted by Mr. Nathan.
Madrigal, - Down in the Flowery Vale.
Song, - Down among the Dead Men - Mr. Hosier.
Trio, - Oh, Happy Fair, (Shield).
Song, - They've Welcomed Me Again, (as sung by Madame Sontag) - Mrs. Adcock.
Glee, - The Wild Gazelle, (Nathan).
Song, - The heart bow'd down - Mr. Hosier.
Trio, - Hope Once More, (Nathan)
Song, - The Fairy Tempter, (by Lover)
Quartette and Chorus, - Vive Enrico (Pucitta).
Glee, - Hark, 'tis the Indian Drum, (Bishop).
Finale, - Long Live Victoria.
Dazzling Chromatropes, and music on the Apollonicon . . .

[Advertisement], The Sydney Morning Herald (15 March 1855), 1 

ROYAL POLYTECHNIC - A VOCAL MELANGE, consisting of the following selection, will be introduced THIS EVENING, under the direction of Mr. Nathan.
PROGRAMME - Part 1st.
Round - "Hark! 'tis the Indian Drum."
Solo - "Farewell to the Mountain."
Madrigal- "Now Is the Month of Maying."
Solo - Mrs. Adcock.
Quartette- "Hark! the Vesper Hymn is stealing."
Solo - "The Heart bow'd down."
Madrigal - "Down in the flowery Vale."
Duett - "Could a Man be secure."
Solo - Mrs. Adcock.
Glee - "On Jordan's Banks."
Finale - "The Chough and Crow."
Concluding with a brilliant display of Chromatropes - the "Marseilles Hymn," and "the National Anthem." Doors open at half-past 7, and commence at 8 o'clock. Admission as usual.

[Advertisement], The Sydney Morning Herald (22 March 1855), 1 

A VOCAL MELANGE, conducted by Mr. Nathan, which will embrace the following choice selections, performed by a full company of vocalists.
Glee - "Here in Cool Grot."
Madrigal - "Now Is the Month of Maying."
Solo - :Tho Fairy Tempter," Mrs. St. John Adcock,
Glee - "It was a Friar of Orders Grey."
Solo - "Madeline," Mr. Hosier
Glee - "The Rod Cross Knight."
Trio - "The Crows in a Cornfield."
Solo - "They've welcomed me again."
Trio - "Via dasi via di qua."
Solo - "Unfurl the Flag," Mr. Hosier.
Glee- "Viv' Enrico."
Finale- "Long Live Victoria."
To conclude with a brilliant display of Chromatropes - the "Marseillaise Hymn," and "the National Anthem."
Doors open at half-past 7, and commence at 8 o'clock. Admission as usual.

NOTE: That of 22 March 1855 above is the last weekly concert program at the Royal Polytechnic advertised with Nathan named as conductor. Thereafter, Marianne Adcock and the zither player Veit Rahm were main the advertised musical attractions during April, and although Nathan continued to be named in weekly repeats of the 6 January 1855 advertisement above until the middle of July, it is perhaps more likely that these advertisements outlived his professional association with Norrie by several months. Norrie ultimately advertised the effective closure of the Polytechnic at the end of November 1855.

[Advertisement], Empire (10 September 1855), 7 

SALES BY AUCTION; IMPORTANT TO CAPITALISTS. By order of the mortgagees, and with the consent of John Morris, Esq., Official Assignee in the insolvent Estate of John Woods . . .

LOT 5. - LAND AT AVAVERLEY . . . only a few minutes' walk from the picturesque and beautiful BAY OF COOGEE . . . This delightful spot is already surrounded by several beautiful villas, and other residences of many respectable families, amongst whom may be named Mr. COMMISSIONER PEARCE, Mr. I. NATHAN, Mr. HEBBLEWIIITE, &c., whose gardens and orchards are in a very forward state of cultivation, abundantly stocked with fruit trees, shrubs, and vegetables of all descriptions, whose luxuriance give unmistakable evidence of the richness of the soil in this locality . . .



To call up all the TROVE newspaper items tagged Isaac Nathan for 1856:

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (9 February 1856), 3 

To the Electors of the South Riding of the County of Cumberland.

GENTLENEN - I feel highly flattered by your polite offer of support if I would stand the test of election for the county of Cumberland. Two powerful reasons must deprive me of the pleasure of availing myself of the intended honor.
- 1st, I have neither the ambition to become a member nor the intention to incur the expense of its attainment.
- 2nd, my political notions are so firmly fixed and determined that I would not have any man indulge the crotchet in his head that I would pledge myself to any particular party.

The intonation - flexibility - transposition - volubility - resolution - melody modulation - gravity and acuteness of tone from the voce di petto or voce di testo - must be arranged - harmonized and regulated agreeably to the major or minor mood of the leading subject - which I should treat and execute according to the key note or fundamental root of the chord to be played upon, with due regard to the Larghetto or the Allegretto, the crescendo or diminuendo, prestissimo or Fortissimo - Delicatezza or scherzando, animato or risoluto, even the maestoso and if necessary the Furioso, keeping in view all the diatonic, chromatic, and enharmonic degrees, intervals and transitions which the various themes may require: and as I trust not a shadow of doubt can be entertained of my qualification to draw the line between harmonious and discordant sounds, I bar every attempt to force me into a promise to perform a solo or take a part in a canon - fugue or chorus of any composition not in unison with my theoretical notions of harmony and tune; or chant or respond to every crude ditty or recitative where rhythm - inversions and progressions are at variance with the laws of melodious combinations and whilst I agree with Plutarch that it is against all good taste and fashion for a man to be his own trumpeter, I must be permitted to aver that I am not the man who would tremulously turn, pause, or shake "like an aspen leaf" when called upon to raise his voice against the oppression of the poor; nor would I suffer either distance, space, or time, to retard my movements in the support of their interest.

When the egregious buffoonery of a King, ambitious to display a chin more smooth and pretty than any of his subjects, by his gracious mandate that all men in his dominions should shave only on one side their face! When the arrogant spirit of a Queen, wishing to stand in shape and form paramount to her own sex, by devising the amputation of the right breast of every woman throughout her realm! When the heartless tyrant stains his diadem by taking the life of his fellow man for humanely rolling a loaf of bread to a starving woman! When the poor labouring man is not allowed to carry from the baker a dish of hoy meat and patatoes to enjoy a Sunday's meal with his hungry children without the risk bf having his ear torn off or nailed to a post in the public streets! When low cunning, scheming factory weavers, drovers, pigstickers, and potatoe-digging limekiln burners are taken from their original occupations to spy over the actions of their masters, and placed on horse back to ride to the Tartarean palace across the Styx, to inform against poor children who had gathered a few broken branches of wood to kinkle [sic] a distressed parent's fire! When such things in human form are tolerated and Elevated to the office of a gentleman, to direct, command, and ensnare with coarse gibes and threats, a la "Sir Giles Overreach", their superiors with impunity! and when bread, meat, and all such necessary comforts and wants of life are placed beyond the reach of the poor, then, and then only, would I even to the death, fearlessly oppose the Government of my country.
With every acknowledgment of your kind attention,
I have the honour to be yours obliged.
Byron Lodge, Coogee, Feb. 5, 1856.

[Advertisement], The Sydney Morning Herald (29 July 1856), 8 

STONE MASONS. - Tenders are required for carrying up the walls of a Dwelling-house at Coogee. Plan and specification to be seen on application to Mr. NATHAN, Byron Lodge, Coogee, to whom tenders are to be addressed, on or before SATURDAY, August 9th. No tender will be accepted unless perfectly satisfactory.

[Advertisement], Empire (5 September 1856), 1 

OUR LYCEUM THEATRE.- Under the management of Messrs. CRAVEN and STEPHENS. Great attraction for the BENEFIT of Miss A. M. QUINN . . . THIS EVENING, Friday, September 5th . . . MUSICAL MELANGE . . . Grand Overture, by Winterbottom's admired Lyceum Band; Song, "Why are you wandering here, I pray" (Nathan). Mrs. H. T. Craven . . .

ASSOCIATIONS: Eliza Nelson Craven (daughter of Nathan's former pupil Sidney Nelson); John Winterbottom

"COURT OF REQUESTS - £30 JURISDICTION. THURSDAY, DECEMBER 18, 1850", Empire (19 December 1856), 4 

NATHAN V, O'BRIEN. This action was brought by Mr. Isaac Nathan, against Mr. O'Brien, a stonemason, to recover the sum of £30, as an amount of money over-paid in reference to certain building work done to the plaintiff's house at Coogee. It appeared that an agreement had been entered into on the 17th May last, by which the defendant undertook to quary [sic] and properly dress and set the stones required to complete a house called Byron Lodge, situated at Coogee. The whole of the mason work was to be set up within six months, and to be completely finished in a workman-like manner. The defendant's condition being necessitous, two payments of £7 each were made before any of the work was done. There were afterwards two payments of £15 and one of £30, which made altogether an advance of £74. The quantity of work actually performed was 83 perches and 18 feet. This at the stipulated price of 17s. per perch amounted to a little above £44. The materials used were considered bad. The defendant knowing he was over-paid neglected his work, and letters were read showing a disposition to settle for the work that had been done, and ratifying the agreements. The defendant shut out the defence by admitting the over payment, and the question for consideration was whether on or after the 22nd of August (when a formal demand upon the contractor was made,) there was an abandonment of the contract, as up to that time there had been no breach. The Court gave a verdict for the full amount sued for. Mr. Michael, assisted by Mr. Roberts, conducted the plaintiffs case; Mr. Brown was attorney for the defendant.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1857:

Baron Nathan dancing his celebrated egg dance blindfolded between 50 eggs, in the Gothic Hall, Rosherville (detail)

Baron Nathan dancing his celebrated egg dance blindfolded between 50 eggs, in the Gothic Hall, Rosherville (detail)

"MISCELLANEOUS EXTRACTS", The Sydney Morning Herald (23 March 1857), 7 

Mr. Baron Nathan, so well and so long known as master of the ceremonies at Rosherville Gardens, Gravesend, died on Saturday, the 6th instant [December 1856], at his residence, Kennington Cross, from a rupture of a blood-vessel in the head. An one of the "old familiar faces" at a place of popular resort, the deceased will be missed and regretted, and no less so by a circle of private friends, by whom he is said to have been deservedly respected.

9 October 1857, Isaac Nathan took out a loan for £1250 from John Gouldsbury Lennon using his Randwick property to secure the mortgage

Mortgage / 1250 pound / Book: 51 No: 985 /
Dated: 9 October 1857 / Registered: 2 November 1857
1st Part: Isaac Nathan of Coogee, Esquire, Henrietta Nathan his wife
2nd Part: John Gouldsbury Lennon of Sydney Esquire.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1858:

"OPENING OF ST. JUDE'S CHURCH, RANDWICK", The Sydney Morning Herald (27 May 1858), 5 

This beautiful little church was opened for divine worship on Sunday morning last, by the Bishop of Sydney, who preached an impressive sermon from the 14th of John, 16th verse. The afternoon service was conducted by the Rev. W. H. McCormick, taking his text from St. Jude's Epistle, from which the Rev. gentleman gave his intended congregation an outline of his views of the relative duties of pastor and people. The choral arrangements were conducted by Mr. J. Nathan . . .

[Advertisement], The Sydney Morning Herald (11 October 1858), 1 

SACRED CONCERT. - THIS EVENING (Monday) October 11th, the last of the Monthly Concerts for the season will be given at the School of Arts, when the following selection of Sacred Music will be performed with organ accompaniment: -
. . . Solo and Double Quartet - "The Names of Christ," 1853 - I. Nathan . . .
Organist - C. S. Packer
Conductor - C. Chizlett
Books of the words may be had In the Hall, 6d. each.

ASSOCIATIONS: Charles Chizlett (singing master)

[Advertisement], The Sydney Morning Herald (15 November 1858), 5 


"THE SYDNEY VOCAL HARMONIC SOCIETY", The Sydney Morning Herald (20 November 1858), 6 

A numerously attended and spirited meeting was held in the Castlereagh street Schoolroom, on Thursday evening, the 18th instant, to establish a society under the above designation. The chair was taken by Mr. Charles Nathan F.R.C.S., at a few minutes past eight o'clock. There were present in the room a large number of gentlemen who have taken part in the transactions of musical societies in Sydney, and considerable satisfaction was expressed at the prospect which the meeting afforded that Sydney was at last shaking off the apathy that has been be long evinced in musical matters here. The musical profession was also represented by several of the leading members. At the request of the chairman, Mr. Dyer read the advertisement convening the meeting, and also the prospectus explanatory of the objects of the society. This prospectus has appeared in our advertising columns . . .

ASSOCIATIONS: Sydney Vocal Harmonic Society; Joseph Dyer (secretary, amateur vocalist)

"ORANGE [FROM OUR OWN CORRESPONDENT]. MUSIC", Bathurst Free Press and Mining Journal (1 December 1858), 2 

The "magic spell is broken," and the elite of Orange (notwithstanding the magniloquent exhibition of their "Travelling" champion to the contrary a short time ago,) actually listened to and expressed applause at the performances of the Buckingham family on Wednesday evening last . . . I ventured to imagine that the conciliated "leader of ton" might possibly (if the hint came from any other quarter than the alleged "familiar spirit" of the Free Press,) be persuaded to give his influence towards an amateur exhibition of talent, anent replenishing the exhausted funds of the Bathurst hospital, to which, Mr. Editor, Orange as a "rural district" stands prominently forth, deeply indebted . . . As every section of our social community ought to be represented in an affair of this description, we might possibly induce a total abstainer to warble " Drink to me only with thine eyes;" while the lovers of the weed would certainly produce the "Smoking Catch," and the attendance of the fair sex might be ensured - (not by the production of "nips," and terming them "bricks," Mr. Times correspondent,) by placing on the programme Mozart's trio "United here are heart and voice." Nathan's "Koorinda Braia," embracing all the known " Kooee's" for sixteen, and chorus for twenty-one voices, would as certainly attract the dwellers of the bush, as the production of a good Kooee in the streets of London has been proved to assemble all the Australians within, hearing. The presence of every "Sir Boniface" for a circuit of twenty miles would gravitate in Orange, on the merits of the "Bluestone and 'baccey" excitement, that lately convulsed the town to its centre, and the production of a good comic song on that subject would certainly result in their again "laying their heads together" - a circumstance, by-the-bye, that but for the direct appliance of the hated compound, would possibly never have happened . . .

Randwick Asylum, c.1857 (S. T. Gill)

Destitute Children's Asylum, Randwick (S. T. Gill, c.1857); National Library of Australia (DIGITISED)

[Advertisement], The Sydney Morning Herald (23 December 1858), 1 

PATRON, HIS EXCELLENCY THE GOVERNOR GENERAL. STEWARDS: Sir Alfred Stephen, Chief Justice; J. H. Plunkett, Esq., M.L.A.; The Honorable R. Campbell, M.L.A.; Sir Daniel Cooper, Hon. Speaker M.L.A.; The Honorable E. Deas Thomson, C.B.; The Rev. A. H. Stephen, B.A.
CONDUCTOR: Mr. Nathan.
It being in contemplation to get up a selection of vocal music on a grand scale in Sydney, in February next, in two parts, the first to consist of sacred music only, the second a juvenile entertainment of madrigals, catches, canons, &c., the funds to be applied exclusively for the benefit of the helpless inmates of the Asylum for Destitute Children at Randwick, those amateur bass, tenor, alto, or soprano singers, who may be philanthropically disposed to volunteer their valuable aid in furtherance of this benevolent object, by taking part in the concerted pieces (in which upwards of two hundred children have been already instructed to join in chorus), are earnestly solicited to forward their names and address by post to Mr. Nathan, Byron Lodge, Randwick, who, on the receipt of sufficient names, will be happy to give his professional attendance in Sydney one night in every week for the necessary practice of the concerted pieces.

"DESTITUTE CHILDREN'S ASYLUM", The Sydney Morning Herald (30 December 1858), 4 

The annual examination of this Institution, at Randwick, took place yesterday. The committee provided an omnibus for the conveyance of visitors, which was well filled inside by ladies and outside by gentlemen, besides which there were several private carriages. The examination commenced at 2 o'clock. The Rev. George King was called to the chair, and Mr. McRoberts conducted the examination, which consisted of recitation, history ancient and modern, English history, Bible Statistics, geography - especially Australian geography, English grammar, and natural history. The children answered the several questions very satisfactorily. They all looked remarkably healthy, and were neatly and cleanly clad, and exhibiting a degree of order, quietness, and attention highly creditable. Mr. Nathan enlivened the examination by the singing of sacred music, which concluded with the National Anthem "God Save the Queen," in which all joined most enthusiastically. The visitors expressed themselves highly gratified with the proceedings of the day.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1859:

[Advertisement], The Sydney Morning Herald (1 February 1859), 1 

FOR THE BENEFIT of the DESTITUTE CHILDREN, at the Asylum, Randwick. - The Ladies and Gentlemen who honoured me by expressing their willingness to join the Choir in the contemplated selection of sacred and secular music, in aid of the funds for the above charitable institution, are respectfully invited to attend the first general MEETING at six o'clock on FRIDAY next, February 4th; at St. James' Infant Schoolroom; and as I intend writing full orchestra parts, to give every possible effect to the choruses and concerted pieces to render this Musical Festival impressive, that it may be remembered and looked for periodically, with pleasing anticipations, by the charitable patrons of this institution. All instrumental performers, who may feel inclined to volunteer their services, are solicited to attend with their respective instruments. J. NATHAN, Byron Lodge, Randwick.

"SOCIETY FOR RELIEF OF DESTITUTE CHILDREN", The Sydney Morning Herald (10 February 1859), 3 

THE annual general meeting of this society was held on Tuesday evening, in St. James' School-room, Castlereagh-street, at half past 7 o'clock, his Excellency Sir William Denison, the patron of the institution, being in the chair . . .

The report was as follows: - "Report of the Directors of the Society for the Relief of Destitute Children, for the year 1858". "In presenting their report for 1858, the directors of the Society for the relief of Destitute Children have great pleasure in congratulating the subscribers on the occupation of the Asylum at Randwick, which took place on Monday, the 28th March. This edifice, which consists of the north and east wings of the building, as intended to be completed in after years, is delightfully situated on the heights above Coogee Bay . . .

"Your directors have endeavoured in every possible way not only to ensure the children's health, but to make them cheerful and happy. With this view they are taken out to walk twice a week, gardens of their own have been aligned them, and latterly, through the kindness of Mr. Bonar, gymnastic poles have been erected to encourage them in the practice of athletic exercises.

"The directors must here express their grateful sense of the highly valuable services of Mr. I. Nathan, of Byron Lodge, Randwick, in gratuitously instructing the children in singing. They look forward with great delight to the lessons of their kind teacher, whose benevolent efforts have met with a success which must be witnessed to be adequately appreciated . . .

"There are 80 boys and 82 girls, making a total of 162 children in the institution. Of these 101 are Protestants and 61 Roman Catholics; 155 attend school . . .

"MUSICAL REHEARSAL: DESTITUTE CHILDREN'S ASYLUM", The Sydney Morning Herald (12 March 1859), 3 

Last night another weekly rehearsal for the approaching Concert of Sacred and Secular Music, on behalf of the Asylum for Destitute Children at Randwick, took place in St. James's School-room, Castlereagh-street, at seven o'clock. The attendance of the ladies and gentlemen who have volunteered their services in aid of the funds of this admirable institution was apparently more numerous than on any previous occasion. About thirty of the children were also present, and joined in the choruses in such an effective and pleasing manner as to reflect the highest credit in every way upon their kind and indefatigable instructor, Mr. I. Nathan. A large number of ladies and gentlemen - not far short of 300 persons - were in attendance, and, by their well-timed and hearty applause, proved how keenly they appreciated the talent with which the pieces were performed; indeed, the style in which these amateurs displayed their vocal powers was so decidedly excellent, the audience so large and select, and the applause so frequent, that this rehearsal seemed more like an actual concert than the mere preparation for one. Amongst the pieces which were most effectively given were "The names of Christ," Handel's chorus, "And the glory of the Lord;" "Hallelujah" of the same great composer; "Long live Victoria," by Nathan; a solo and chorus of Pucitti; Martini's well known laughing trio and chorus, and several others. The solo and chorus of "Tho' Storms and Peril" was a great success, and very loudly and deservedly applauded. It is understood that a final rehearsal at the Prince of Wales Theatre will take place at noon, on Wednesday next (the day before the concert), at which it is hoped there will be a large attendance of vocalists. Mr. Nathan in his efforts at uniting a very high amount of talent has been pre-eminently successful, and especially in securing the invaluable assistance of a lady amateur, with a very sweet and flexible voice, to lead the contralto and mezzo-sopranos.

"THE DESTITUTE CHILDREN'S ASYLUM", The Sydney Morning Herald (26 February 1859), 5 

Our readers are probably aware that spirited preparations have been making of late for a Concert, upon a grand scale, for the benefit of the Asylum for Destitute Children, - Mr. Nathan, of Byron Lodge, Randwick, having voluntarily undertaken the duty of getting it up. Last night a rehearsal took place in the Infant School-room, Castlereagh-street, the muster of amateurs being very strong. Considerable interest was added to the occasion by the presence of a party of thirty boys and girls from the Asylum, who took a most pleasing part in the exercises of the evening: it being, we understand, the intention of Mr. Nathan, to have one hundred and sixty inmates of that noble institution engaged in the Concert, when it comes off. Several pieces of sacred music were first executed, the voices of the children telling very effectively, particularly in the choruses. Afterwards, a number of songs were sung - that fine old English madrigal, "The Month of Maying," affording a favourably opportunity for the display of the vocal powers of the children (particularly in the piano passages), which they sang with much taste, precision, and feeling. The "Laughing Chorus" was also well rendered. Altogether, under the able training of Mr. Nathan, this promises to be a musical treat of no ordinary character; the ladies and gentlemen who have volunteered their services appearing to enter into the undertaking with great spirit.

"THE CONCERT FOR THE DESTITUTE CHILDREN'S SOCIETY", The Sydney Morning Herald (16 March 1859), 5 

As the day draws near, the interest felt in the success of the forthcoming concert in aid of this truly philanthropic charity is very great, and sanguine hopes are entertained by its friends that the funds of the institution will be considerably augmented thereby. The last rehearsal is to take place this forenoon, at the Prince of Wales; it being quite a private affair, the admission on this occasion is very properly restricted to those only who are to be actually engaged in the concert, which comes off on Thursday forenoon. We understand that the orchestra will be more than 300 strong, besides the German Gymnastic Choral Society, and the Philharmonic Choir. A very neat plan for the fitting up of the stage, to accommodate the performers, has been prepared. According to this sketch (commencing at the front of the stage), the theatrical orchestra with amateur performers will occupy the usual place at the footlights; to the right front of the stage, on raised seats, will be twelve gentlemen amateurs, and two rows of lady amateurs; close by will be placed the pianoforte, presided over by Mr. Nathan; to the left front of the stage are to be twelve lady amateurs, Mr. F. Howson, Madame Sara Flower, and Mrs. Bridson; close by will be placed the grand organ, presided over by Mr. Packer; in centre of the stage, on raised benches, will be 200 children from the Asylum, and other children who join in full chorus; behind them, higher up, about 50 lady amateurs, sopranos, contraltos, and mezzo-sopranos; and, higher up still, a platform for the military band, numbering about 30; to the right of the stage, on elevated seats are to be forty tenors and counter-tenors; to the left, also occupying an elevated position, are to be forty basses and barytone singers. The effect of such a display, viewed from the front of the theatre, will be grand in the extreme, approaching nearer to the sights witnessed in Exeter Hall than anything ever before seen in these colonies. The exertions of Mr. Nathan in getting up this concert are worthy of high commendation, and we hope a liberal return will flow into the coffers of the Asylum through that gentleman's instrumentality, its funds being at the present time very low.

17 March 1859, morning concert, Randwick Asylum for Destitute Children (benefit), Prince of Wales Theatre, Sydney

[Advertisement], The Sydney Morning Herald (17 March 1859), 1 

THIS DAY, 17th March, 1859, for the BENEFIT of the ASYLUM FOR DESTITUTE CHILDREN, Randwick.
PATRON-His Excellency the Governor-General . . .
CONDUCTOR - Mr. Nathan.
1. OVERTURE. - Gluck, arranged by - I. Nathan
2. The Heavens are telling - Haydn
3. The Names of Christ - Nathan
4. Consider the Lilies. - Amateur - (Mr. WALLER).
5. Comfort ye, my people - Handel
6. Ev'ry valley -
7. And the Glory of the Lord - Handel
8. He was cut off -
9. Thou did'st not leave his soul in hell - Handel
10. O! weep for those - Nathan
11. Lord God of Abraham - Mendelssohn
12. The wild Gazelle - Nathan
13. He was despised - Handel
14. SOLO PIANOFORTE - Madame JAFFA - Beethoven
15. Long live the Queen - Nathan
1. OVERTURE - Nathan
2. Viva Enrico - Pucitti
3. GLEE - by the Gentlemen Amateurs of the Gymnastic Choral Society
4. The Urchin's Dance. The Elves' Dance - Callcott
6. Alice Brand - Callcott
7. Laughing Trio and Chorus - Martini
8. Spring's Delights - By the Gentlemen Amateurs of the Philharmonic Society
9. Madrigal. - Now is the month of maying - Morley
10. Glee. - By the Gentlemen Amateurs of the Gymnastic Choral Society
11. Aldiborontiphoscophornio - Callcott
12. Tho' storms and peril - Nathan.
Bv the sanction of the Colonel and Officers, the highly efficient Band of the 12th Regiment will attend.
Leaders of the Orchestra - Messrs. Paling, Eigenschenck, and Winterbottom.
Leader of the Bass Choir - Mr. F. Howson.
Leader of the Tenors - Mr. Cordner.
Leader of the Sopranos - A Lady Amateur.
Lender of the Contraltos and Mezzo-sopranos - Madame Sara Flower.
Organ - Mr. Packer.
The whole under the direction of the Conductor, who will preside at the pianoforte.
Tickets and books of the words can be had of the Treasurer, Mr. S. Hebblewhite, 292, Pitt-street. Doors open at 2 O'clock, to commence at half-past 2 precisely.

ASSOCIATIONS: Rebecca Jaffa (pianist); Frederick Evans Sloper (saxe-horn player); William Henry Paling (violinist); Charles Eigenschenck (violinist); William John Cordner (choral section leader); Sydney Philharmonic Society; Band of the 12th Regiment

"CONCERT FOR THE DESTITUTE CHILDREN'S SOCIETY", The Sydney Morning Herald (18 March 1859), 8 

This concert in aid of the funds of this philanthropic institution was given yesterday afternoon, at the Prince of Wales Theatre. This society, established for the purpose of rescuing and educating the children of profligate parents, has enlisted general interest and approval, but latterly the public support had not been adequate to the required outlay. The announcement of an entertainment, the receipts of which should help to replenish its exchequer, together with the array of musical talent in the programme, favoured too, perhaps, by a general half holiday, attracted a very large and respectable audience, completely filling the spacious building. Indeed, the attendance far exceeded the expectations of the promoters, and we are happy to learn that about £180 will be handed over to the treasurer from the receipts. This being the principal object of the concert, we have no hesitation in calling it a successful one.

The programme comprised about twenty-six pieces, all of a very popular character, and we need only mention the services of Mesdames Sara Flower and Jaffa, Mrs. Bridson, Mr. Waller, and of the Gymnastic Choral Society, to report that the company enjoyed a very rich treat, and that they would have been satisfied with less of the other music, much of which was, however, creditable. The objects of the charity, numbering altogether about 160 children, seated in the centre of the stage (who have been gratuitously taught singing by Mr. Nathan), sang two or three pieces, one of which, "The Urchin's Dance," was loudly cheered and encored by the audience, as much for the pleasing effect of so many voices in unison, as on account of the interest attached to the occasion. The same cannot be said of the elder chorusses, or of the instrumentalists who attended in great numbers, and probably put forth their best efforts, but with indifferent success; the consequence apparently of the military and theatrical bands being unaccustomed to the sacred music, of which the concert largely consisted, and also of the want of a conductor, the services of Mr. Nathan being chiefly confined to the pianoforte. With this exception the concert was a satisfactory one; the services of Mr. Packer at the organ, and the performance of Mr. Sloper on the Sax-horn, and of some gentlemen amateurs were evidently appreciated. The entertainment commenced at half-past two, and did not terminate till a quarter-past six o'clock.

"CONCERT FOR THE DESTITUTE CHILDREN'S SOCIETY. TO THE EDITOR", The Sydney Morning Herald (21 March 1859), 8 

SIR, - In your notice of the above concert in this morning's Herald, a degree of censure is thrown upon the theatrical and military instrumentalists for their apparent ignorance of sacred music, the consequence of which was that instead of assisting, they only helped to mar the performance of certain choruses. This is the inference to be drawn from your remarks, the correctness of which I cannot admit; I beg, therefore, to trouble you with a few observations. When a number of musicians are brought together to perform in concert, it is presumed that each has a sufficient knowledge of his instrument to be enabled to play the part alloted to him - individual display (except in solos) is not required. Where many play or sing the same part, if that part is properly marked, all should execute it with the same mechanical precision; not one voice passing from interval to interval with the portamento, whilst another takes it staccato, nor a violinist shew his skill in the glissade and his neighbour bowing the same; no, everything depends on the conductor, who, if he be skilful, will produce every effect of light, shade, movement, &c., that the character of the composition requires whether it be sacred or secular.

Would the stops of an organ express for themselves if they were not in the hands of a clever organist? An organ is a machine, so is an orchestra, both require a competent person to sit and keep them in motion, and the timpani has no more to do with the first violin in the one, than the flute in the swell has to do with the double diapason in the other. I have proved that individual display is not required in a mass, neither does it signify if one part of that mass has been unaccustomed to the particular music to be performed by the whole, therefore, if every performer is competent in the mechanical use of his instrument, he has nothing more to do than follow the baton of his conductor.

Before I conclude, allow me to ask whose fault it was that in the Hallelujah Chorus the bassi commenced the fuge, "And He shall Reign," in about 70 crotchet, Maelzel, - and the tenori followed at about 80, making it a fuge in more senses than one, for it became a complete flight or race to the end, it being doubtful which would arrive there first? Again, in the "Heavens are Telling," was it the fault of the orchestra, that, after the pauses in the middle of the chorus, when the tenori and bassi lead off "The Heavens," &c., imitated in the next bar by the soprani and contralti, that the latter, fearful of being left behind, exerted themselves to the utmost to overtake the former, which they did in a few bars, and subject and imitation jogged on together for some time, forming a most extraordinary cacophony of sounds? I do not, in either case, attach the slightest blame to soprani, contralti, tenori, or bassi, they had a right to choose the time for themselves, as they had no one to do it for them.

I trouble you with these remarks on behalf of my brother artists, as I think it but fair that after the gratuitous services they had rendered, no odium should he cast upon them undeservedly.

I beg to state that I took no part in the performance, but was present at the only general rehearsal, and at the concert as a listener.


March 19th.

"HARMONY AND DISCORD. To the Editor", The Sydney Morning Herald (23 March 1859), 5 

SIR, - I regret exceedingly that your impartial notice of the morning concert, given by me on the 17th instant, for the benefit of the poor children of the Asylum for the Destitute, should have been misunderstood, and have created discordant emotions in the breast of an individual who has dubbed himself "Harmony." I am sorry the gentleman withheld his name, for I really can have but one opinion of an anonymous writer. Yet I must agree with him that "no odium should be cast upon his brother artists undeservedly," especially after their gratuitous services; and, in justice to the editor's critique, I most positively assort that no odium has been cast. The critique alluded to, after generously speaking of the children's sweet singing, correctly observes that "the same cannot be said of the elder choruses," - it does not say all the elder choruses. Why, then, does Mr. Harmony so inharmoniously try to fit a cap on the head of any friend of his who has no desire to wear it, but who might with justice exclaim thou can'st not say 'twas I that did it." Some of the elder singers were not equal (nor within a shadow's shadow of equality) with the children of the Asylum in time, intonation, articulation, nor in expression. I cannot, with Walter in the Children of the Wood, say "I saw them galloping;" but I most assuredly heard a stentorian-lunged tenor trotting off a full bar in advance of his neighbour, and two other tenors also singing in different counters. They likewise sang gratuitously: this is a double claim on my silence. I am, therefore, not disposed to mention names, but as a proof that I fully expected this disaster, I actually placed four leaders over them to keep time - two talented amateurs and two professional gentlemen, Mr. Cordner and Mr. Wilson.

The Editor's remarks about the military band ought not to be censured, it must have appeared to him exactly as he stated, therefore Mr. Harmony is here out of tune again; and I beg most distinctly to state that, having had the gratification to listen to the performance of this military band of the 12th Regiment, at the Barracks, in their private room, for practice, I am perfectly able to affirm that a more efficient band never appeared in Australia during my time here, and I question if any so perfect. With regard to the theatrical band, the only piece we really practised together, which I had arranged for Mr. Waller, was as beautifully played as it was sung; we had but one rehearsal, and that rehearsal only for one hour. With only three violins, one double bass, and a violoncello, we could only once run through half the music, or, even with so scanty a number of stringed instruments, we should have had a glorious treat. I did not feel any inclination to trifle or to allow trifles to interfere with the arrangements I had made in an economical point of view for the children's welfare, I therefore made up my mind that, with Mr. Packer at the organ, and myself at the pianoforte, I might safely brave danger; but, to my annoyance, when I seated myself down to conduct, as a conductor should do, I found the piano not in tune with the organ by a quarter of a tone. Now, for the first time, Mr. Harmony can tell where the imperfection commenced. I could not, in justice to that elegantly classical performer on the pianoforte, Madame Jaffa, avail myself of that instrument provided by Mr. Johnson for her exclusive use, for fear of putting it out of tune by the "touzy mouzy" of my touch, but the moment I got the use of it I then felt, as I always do when so situated, perfectly happy and independent. I hope this explanation will remove all discordant emotions from the breast of "Harmony," and if he will favour me with his name, or honor me by a visit, I will, either in public or private, be he amateur or professional, convince him of his little knowledge of music, and point out to him what appears now beyond his comprehension.

I shall now close my observations by a few hints relative to the movements of a conductor; with whose real calling and importance Master C - - , (I beg pardon, Harmony), seems as little acquainted as he is with "The heavens, are telling." I advise the gentleman not to compel me to pronounce his name.

A conductor need not appear to be writhing under the influence of Saint Vitus' dance, nor under any other convulsion of the body; nor is it necessary for him to assume the grimace and antics of an Esquimaux Indian, nor the fantastic gestures of an aboriginal native of Australia. It is perfectly ludicrous to see men with ears so like that species of animal on which Balaam rode, who really cannot sing three notes of the diatonic a scale in tune, dance about in an orchestra like pease in a fryingpan, mechanically beating - often against accents and emphasis - for the amusement of the audience only; for the performers, unless gifted with a delightful squint, cannot notice his fugleman-like antics, and look into their music-book at the same time.

In my History and Theory of Music, inscribed by Royal command to the most accomplished musical amateur in Europe - King George IV., - I boldly exclaimed against the arrogance of those who, to display their little knowledge, violate every sense of good feeling by flourishing a white roll or a dandified cane over the heads of celebrated performers, with a most authoritative air of timely consequence. It is quite a mistake to suppose that those beat most who have the finest sensibility for musical composition; on the contrary, they have the least; for the more arms and legs are contorted, the greater is the defect of the ear and feeling which it is necessary to supply. One or two of our great men are celebrated for gestures more manifold than those of a Chocktaw in a solemn assembly of his countrymen; yet, if we look to the Germans and Italians, we shall find that their habits of feeling the character of the music before them makes the mechanical act of beating almost nugatory. It would be well in many instances if this act of beating were transferred to the backs of its perpetrators!

There can be no possible objection to the conductor marking the first two or three bars of a composition that there may be an uniform agreement in the orchestra as to its precise movement, because twenty musicians may all play the same air in excellent time as regards the true value of notes and rests; yet no two of them may agree in slowness or quickness of time. But after the conductor has once decided the time, and the sight has been impressed with the exact movement from the motion of the hand, all further antics may be dispensed with, for the mind, not the sight, should govern time; and those who cannot carry the time in their own thoughts will never be able to sing or play from the thoughts of others. They will resemble the ass in Kemal Pasha Zadek's Synonyms, who, after his journey to Jerusalem, still continued as much an ass as ever.

I am, Sir, yours obediently,


ASSOCIATIONS: Marmaduke Henry Wilson

[Advertisement], The Sydney Morning Herald (26 March 1859), 4 

TO THE ELECTORS OF COOGEE and RANDWICK MUNICIPALITY - Friends and Brothers, - Having had the honour (unsolicited on my part) to be warmly proposed, on the nomination day, by two old-standing, honest-hearted market gardeners, to represent one of your six councillors; and it having since been intimated that I did not there and then freely express my sentiments - I now take leave to observe that I felt no inclination to allow myself to be masked and dressed up in borrowed plumes to court your favour, nor would I lend myself to any sort of scheming to tempt that very eloquent orator, Dr. Dickson, the returning officer, to influence your votes by trumpeting forth my praise! - not only because from that gentleman, as an official officer, it would be against all order and decency, and because such unheard-of doings might here-after cause the legality of the election to be questioned, but because I would not be thrust forward from the bottom of the original list, and forced upon you against your better judgment! With the same open dealing - and I really like all clear above board - I frankly and positively declare that I will not ask any man for a vote; nor will I in any way canvass for votes. If, therefore, I should have the honour to be elected, it shall be done by the free voice of the people. Now then for my declaration as (to use your own words) - "Nathan, the friend of the poor." I most solemnly affirm, pledge, and bind myself, without any evasion, equivocation, or mental reservation whatever, that I will boldly proclaim and protect your rights and redress your grievances; fearlessly and energetically put my veto against any oppression, or encroachments on your privileges; prevent monopoly of power, where the object is only tyrannical patronage, petty scheming, over-bearing screwing, pinching, cutting, and cramping the poor man's means of life - HIS WAGES - for carting and other labour that may be required for the absolutely necessary improvements in road-making, &c.; and, above all, I shall ever keep in mind that the wants of the poor man, in his bark hut, has an equal claim on our sympathy with that of an emperor in his palace!!!

My first step (should you think proper to elect me on Tuesday next) will be to get a good road down to the beach, if the coffers contain funds for it, in fact, "I will do all that may become a man - he who dares more is none."

Friends and brothers, I am yours, with truth,


Byron Lodge, 24th March.

_ _ _ _

In the present instant I feel called upon to stand my ground, if elected by the free will of the people, and I beg leave here to quote from my advertisement the following paragraph, which appeared in the HERALD and other papers in 1856, when I refused to stand for the South Riding contest. My loyalty cannot be questioned, and I am proud to call myself a loyalist, but that man is a traitor to his king and his country, who would trample on the feelings of his countrymen.

"Gentlemen, - I feel highly flattered by your polite offer of support . . .
"Byron Lodge, Coogee, February 8th, 1856."

Text as above, Bell's Life in Sydney (9 February 1856)

"THE MUNICIPALITY OF RANDWICK", The Sydney Morning Herald (31 March 1859), 5 

THE official declaration of the poll of the candidates elected as councillors for this district, will not be made until this day at noon; but we believe the following may be considered as the correct state of the number of votes given in: -
S. Pearce - 62
S. Hebblewhite - 46
William Hanson - 44
- Thompson - 43
Charles Kidman - 41
William Ellis - 40
William Grant - 36
Isaac Nathan - 24
Charles Simmons - 11

ASSOCIATIONS: Dr. John Dickson (returning officer); Simeon Henry Pearce (first elected mayor of Randwick, market gardener)

"THE MAYOR OF RANDWICK, THE JERUSALEM PONY, AND DR. DICKSON'S PIG", Bell's Life in Sydney and Sporting Reviewer (2 April 1859), 3 

. . . Alas! Alas! for the stability of mundane joys. The Randwickites had forgotten that within their borders dwelt an "Ebrew of the Ebrews." Nathan was exceedingly wrath, and threatened vengeance on those who had so foully insulted him and his race . . .

"GRAND MUNICIPAL PICNIC", Bell's Life in Sydney and Sporting Reviewer (2 April 1859), 2 

It is currently rumoured that tbs Right Worshipful the Lord Mayor of Sydney has despatched an Ambassador Extraordinary to the neighbouring Independencies of Randwick and Wollongong, congratulating his brother Mayors on their creation, and inviting them to a pic-nic under a gum-tree in the Civic Domain. It is, however, a condition of their Worships' acceptance of the invitation, that each shall bring his own tin pot with him, and find himself in rum and tobacco. - Should the weather prove unfavorable, it is understood that the entertainment will take place at the Cat and Skittles, under the purveyorship of the Flying Pieman. Covers will be laid for three, and Non nobis Domine, will be caroled by Professor Nathan, who has also kindly volunteered to perform the National Anthem on a small tooth-comb. N.B.- Wheelbarrows will be in waiting at midnight, and the police arrangements will be notified in the next Government Gazette. VIVANT REGINA ET GEORGIUM SIDUS!

"MORE ABOUT THE RANDWICK PIG, AND THE FIRST CHAPTER OF THE BOOK OF SIMEON", Bell's Life in Sydney and Sporting Reviewer (9 April 1859), 3 

. . . The document has been kindly translated for us from the original Hebrew by our friend Nathan to whom we wish thus publicly to return our most sincere thanks for the great obligation under which he has thus laid us. It is called -
The Book of Simeon the Eye-Opener . . .
. . . And a certain man of the Hebrews called Isaac, whose surname was Nathan, poked much fun at the Doctor, and Simeon, and the elders; and the scribes of the city jeered them . . .



. . . [In Sydney] The chief musical authority is that "sunburn Nathan" who set Byron's "Hebrew Melodies" to music. He is a pleasant old man, makes a good white port wine, and talks quite charmingly over it of the ill-starred bard . . .


"DESTITUTE CHILDREN'S ASYLUM, RANDWICK", The Sydney Morning Herald (21 July 1859), 5 

On Tuesday evening the children of this excellent institution were highly amused and delighted by an exhibition of dissolving views, in one of the large rooms of the building . . . The scene was greatly enlivened, and the pleasures much enhanced, by the performance of Mr. Nathan who, in the kindest manner, presided at the harmonium. Several madrigals, &c., were sung by the children. Many of the directors and friends of the institution, with their famines, were present, and appeared greatly amused with the astonishment exhibited by the children.

24 September 1859, Isaac Nathan, refinanced loan from John Gouldsbury Lennon (see 9 October 1857 above) to James Norton

This loan for £2000, 1250 used to repay Lennon, the remaining 750 to Nathan; to be repaid by 24 September 1864, interest £7 pound per centum per annum (£35), paid quarterly due 24 December, March, June, and September

Mortgage / 2000 pound /
Book: 63 No: 235 Dated: 24 September 1859 Registered: 26 September 1859
1st Part: John Gouldsbury Lennon of Sydney Esquire.
2nd Part: Isaac Nathan of Coogee, Esquire.
3rd Part: James Norton of Sydney, Solicitor.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1860:

"SOCIETY FOR DESTITUTE CHILDREN", The Sydney Morning Herald (17 January 1860), 4

The annual examination of the children of the above institution was held in the buildings of the Society, at Randwick, yesterday. A very large number of persons interested in the progress of the institution were assembled on the occasion, amongst these we noticed Lady Denison, Sir A. Stephen and family . . . the Hon. E. D. Thomson, C.B., and lady . . . Before separating, Mr. Nathan performed on the harmonium, while the children sang several appropriate pieces of music . . . Under the auspices of Mr. Nathan, who, presided at the harmonium the children then executed a pastoral chorus from Acis and Galatea, with very good effect, though there was one remarkable feature in this, which was that principally the young children sang, while those who had been most forward in answering the questions during examination remained immovable . . .

"DESTITUTE CHILDREN'S ASYLUM", Empire (21 February 1860), 8 

The Annual General Meeting of the Destitute Children's Asylum, adjourned from the 6th instant, was held yesterday evening, in the Castlereagh-street School-room, the Hon. E. Deas Thomson in the chair . . . The general Report was as follows: . . .

. . . 11. Before speaking of the donations so liberally made during the past year, the directors have to perform the pleasing duty of acknowledging the services rendered to the institution by Mr. Nathan, of Byron Lodge, Coogee, who, with great perseverence and at the sacrifice of much time, planned, and brought to a successful termination a concert in aid of the society's funds, in which many of the children took part, and which realised the sum of £160. The directors recommend that Mr. Nathan be elected a Life Governor, in testimony of the subscribers' appreciation of his liberality, not only on this occasion, but in devoting so large a portion his time and talent in gratuitously instructing the children in music . . .

[Advertisement], The Sydney Morning Herald (30 March 1860), 1 

BYRON LODGE, RANDWICK. - With every proper sense of feeling for the honour done me by authors who so condescendingly transmit to my care their poetical effusions to be united to my musical strains - to save misconstrued opinions as to the motive of my declining such proffered kindness - I consider myself called upon to state that I have unfinished works and valuable MSS. from the pens of the leading poets of my day, which, chiefly from want of time, I have not yet been able to lay before the public. I must, therefore, under such circumstances, be excused the intimation to poets who desire their stanzas set to music by me to enclose with such stanzas a fee of ten guineas - reserving to myself all right and title to the copyright.

In reply to applications for my professional card, my terms are - For singing and theory of music, in town, one hour's visit, one guinea. In the country, within running stages, not less than two hours' visit, two guineas.


[Advertisement], The Sydney Morning Herald (23 July 1860), 6 

BYRON LODGE, RANDWICK. - This substantial and elegantly built first-class Dwelling, standing on three acres of land, consisting of eleven rooms, together with detached ash-house and servant's room, well paved, and securely drained; stabllng for ten horses, four stalls, and a box for six; coachman's room, double coach-home, loft about 100 feet in length, and other conveniences. Will be sold by public auction in September next, unless previously disposed of by private contract. Title unexceptionable. The deeds may be inspected at the office of Messrs. NORTON, SON and . . . [ illegible]

24 September 1860, Isaac Nathan, takes out further loan of £300 from James Norton

Further Charge / 300 pound /
Book: 69 / No: 398 / Dated: 24 September 1860 / Registered: 13 October 1860 /
1st Part: Isaac Nathan of Coogee, Esquire,
2nd Part: James Norton of Sydney, Solicitor.

[Advertisement], The Sydney Morning Herald (6 November 1860), 8 

READY for press and will be published in Sydney, when the author finds himself indemnified from all risk by the engagement of 200 Subscribers at two guineas each.

The CYCLOPAEDIA VOCALIS containing exercises for the cultivation and strengthening of the human voice; with complete instructions in singing, from the first rudiments to a perfect mastery in the art. The vocal exercises are progressively arranged for the daily practice of time, rhythm, intonation, articulation, expression, flexibility, enunciation, and elocution, with various fanciful and classical Pianoforte and Organ accompaniments and modulations in all the major and minor keys, making the ear acquainted with the variety of basses, concords, discords, and progressions of harmony, which one and the same melody is capable of producing. The work will be replete with the origin and definition of every musical term; and illustrations on the use and abuse of every branch of the science.

Mr. NATHAN'S "Musurgia Vocalis," his "Essay on the history and theory of music, and on the qualities, capabilities, and management of the human voice," dedicated, by command to George IV., - which Garcia, David, Braham, Catalani, Podore, and Malibran, did not think derogatory to their high standing to use as morning exercises; and to recommend to their musical friends, as a sure mode of acquiring correct intonation, expression, and flexibility - both publications having been honoured by flattering eulogiums from all the leading papers of England, THE LITERARY GAZETTE, July 26th and September 6th; MORNING POST, June 7th; THE SUN, May 24th; BELL'S LIFE IN LONDON, May 18th; NEW TIMES, October 23rd; QUARTERLY MUSICAL REVIEW, No. xix; LA BELLE ASSEMBLEE, &c., &c., in the year 1823, and in the press of France, and Rome, where the author has never been; REVUE ENCYCLOPEDIQUE, 15th October, 1823; and DIARIO DI ROMA.

"Barbitos, excidium Gentis Bellique ruina,
Eheu! quam quondam depulit arce sacra
Mellifluis resonans fibris tua carmina, Nathan,
Suspendit templo, ut serta decora, Dei
Te cithara vatum jam jam recinente supersunt
Nec tua jam tacuit Musa Vetusta, Salem!"

These works, now long out of print, and repeatedly enquired for, as is also the book of three lectures, of '30, which were printed here, as delivered by Mr. Nathan at the Old Sydney College - he has been encouraged to revise and prepare for publication the whole of them with historical illustrations, and other interesting matter connected with every branch of musical science, forming the Cyclopaedia above named, in one royal quarto volume. Price Two Guineas. Subscribers names, (which will be published with the work) received by the author at Byron Lodge, Randwick.



To call up all the TROVE newspaper items tagged Isaac Nathan for 1861:


THE annual examination of the children in this Asylum took place yesterday afternoon; and the prizes were given to the successful scholars by the Governor-General . . . The next thing was the singing of "God save the Queen," by the children, accompanied by Mr. Nathan, on the harmonicon . . .

Nathan, explanatory note to The white owl (by May 1861) 

. . . The most High and Wonderful Geometrician of the universe has in his infinite mercy and goodness granted me that health and strength which enables me to stand over my letter-press and music fount, nightly and daily, week after week, for at least twenty hours out of every four and twenty, setting up the type for the whole of my musical works, with my own fingers, thus doing the duty of Compositor and Composer.

Worthy Critique, I have not for the last five and forty years of my life taken more than two hours sleep out of the 24 hours of each day, nor do I desire more, - I drink about two gallons of water daily, - not after the fashion of "Mynheer Van Dunk" - but in its perfect state of purity: I find however that my memory (at three score and ten) is not so good as "it used to was." - I therefore make free to request those who may have done me the honor to possess themselves of the music, to which I have alluded, to write on its title page the following decided signification of time, [ crotchet = 72]: - and, kindly, bear in mind, that I work as a Compositor, not from choice, but from necessity - to satisfy the vulgar inward cravings of bairns who are still unprovided for - strange as it may appear, among the many first-rate printers in Sydney, there is not one of them can set up Music-type. I. Nathan.

22 May 1861, first notice of publication of three songs, Circumstance, The day dream, and The white owl (words: Tennyson; music: Nathan) (TROVE tagged by Australharmony) (TROVE tagged by Australharmony) (TROVE tagged by Australharmony)

"ORIGINAL MUSIC", The Sydney Morning Herald (22 May 1861), 5 

We have just received three musical pieces, "The White Owl," "The Day Dream," and "Circumstance," the words being by the poet laureate, Tennyson, and the music by I. Nathan. The two former have the singularity of being written in the now obsolete measure termed the quintuple, or five crotchets to the bar; but this innovation upon the present system, or rather reversion to an old system, the composer defends in a few lines of letter-press, attached to one of the pieces. Independently of their merit as a musical composition, these pieces may be regarded almost as a literary curiosity, being the production of one who, to use his own expression, "has passed the age allotted to man;" who, before most of the present generation were, had set to music Byron's beautiful Hebrew melodies, and who, with his own hand, has at his advanced age set up the type of the music which he has himself composed. With regard to the melody, on that we shall leave the fairer portion of our community to pronounce a judgment.

[Advertisement], The Sydney Morning Herald (11 November 1861), 1 

GRAND VOLUNTEER CONCERT, IN AID OF BAND FUND, SOUTH SYDNEY VOLUNTEER RIFLES - MASONIC HALL, York and Clarence streets, TUESDAY, NOVEMBER 12th. Under the patronage of J. Sutherland, Esq., Mayor, M.L.A. The following ladies and gentlemen have kindly volunteered their services: Madame Flora Harris, Mrs. Cordner, Messrs. J. and E. Deane, G. Peck, W. Stanley, several amateur performers, the gentlemen of the Orchestra (Philharmonic Society), Portion of Band of 12th Regiment, and the Volunteer Band of No. 2 Battery Volunteer Artillery . . . PROGRAMME . . . [final number] Solo and Chorus (with instrumental accompaniment)-" Long live Victoria" - Nathan - Madame Flora Harris and full Chorus. Conductor: Mr. J. DEANE. Director and accompanyist: Mr. W. STANLEY . . .

ASSOCIATIONS: Ellen Cordner Miles (vocalist); John Deane (violinist); Edward Smith Deane (cellist), George Peck (violinist)

"VOLUNTEER CONCERT", Empire (13 November 1861), 5 

One of the most brilliant musical entertainments which it has ever fallen to our lot to notice in this city, took place at the Masonic Hall, in the presence of a very numerous and fashionable audience last night . . . A volunteer song, "Watch and wait," the words by Henry Kendall, and composed expressly for the occasion by Lieutenant Macdougall . . . was sung with good effect by Madame Flora Harris, accompanied by the composer; and that lady also sang the solos in Sir Henry Bishop's Tramp Chorus and Mr. Nathan's "Long live Victoria" (a composition of considerable pretension, hardly borne out by its performance last night), with all her accustomed grace and ability . . .

[Advertisement], The Sydney Morning Herald (22 November 1861), 6 

FRIENDS, NATIVES, COUNTRYMEN, lend me your aid, by kindly affording me an honest exchange of your notes for mine. It may spare me the pain of quitting Byron Lodge for wiser men to occupy. With every desire to assist the needy, and to pay strict obedience to the command of the Most High and Great Geometrician of the Universe, I am still no more than fallible; and with that mortal weakness peculiar to those who become infected with a cacoethes for building, I had the vanity to believe that during my very short sojourn upon this earth, I might live peaceably in the House I built at Randwick, which I named after my departed friend - the Noble Poet. For the attainment of that object, I published largely, and wrote much more; I likewise at considerable expense advertised to publish by subscriptions my cyclopaedia on the origin, use, abuse, theory, and practice of every branch of vocal and instrumental music, illustrated with anecdote and interesting historical matter. Reader, "Tell it not in Gath, nor publish it in the streets of Australia," I did not receive one single subscriber!!!

It is thus evident that this colony is too young for the encouragement of any science unconnected with lambswool and mutton fat. Permit me here to indulge in a small digression merely to observe - that according to the laws of acoustics sound cannot [by concussion or otherwise] be propagated in wool, nor through wool; and however we may admire and estimate the just proportions of the diatonic scale, so faithfully handed down to us from Greece, I would not advise even Jenny Lind to risk her reputation by singing through a barrel of mutton fat. I contemplate getting up a concert in December next, at the Freemasons' Hall, which I shall continue quarterly, after the fashion of the olden times, of Purcell and other classical writers of whom it has been justly said -

"We are truly blest,
With good musicians here,
If not the best,
As good as anywhere."

In those days music spake the language of nature, when sense and sound went hand in hand - when simplicity of melody and purity of intonation, articulation, and expression was not outraged by the introduction of extraneous matter foreign to the subject; and by other monstrous absurdities, to compel ladies to twist their pretty mouths in search of notes more difficult to obtain than those of the Commercial Bank; and when men sang with manly dignity, pathos, and energy, melodies of the heart; and thought it no degradation to their dignified dignity to take part in old English madrigals, canons, glees, &c., without the egregious folly of attempting florid solos, and difficult concerted music, which singers - from want of correctly-cultivated ears - could not understand, and from want of physical powers, could not execute but in a CRIMINAL sense.

Sensitive render, do not fancy shafts are here levelled at your unwrung withers, with a desire to adorn your brow with a Garibaldi or any other sort of cap. No; "My Essay on the Theory and Practice of Music, published in 1823, and dedicated by royal mandate to George the Fourth, contains a chapter of several pages on the "abuse of music," and since greatly enlarged upon in my "Musurgia Vocalis." The abuse alluded to has no reference whatever to the singing of those amateurs who so generously exert themselves, and are the music prop of all the choruses. Among them there are two basses, one baritone, and a counter tenor, I should like to secure for any musical entertainment in which I might be engaged. In fact, there is plenty of musical talent in this colony much tampered with and abused. The Australian ladies (owing, no doubt, to the delightful climate) have remarkably fine voices, and equally good ears, which, if properly cultivated, must place them on a level with those of any nation. This assertion will, in a very few years, be looked upon as a prophecy from Nathan, THE COMPOSER, - when you hear of a young, intelligent, interesting Australian (here in her own country scarcely noticed) taking the lead in London, as prima donna, above all other English singers - and it would surprise me much if her genius did not secure her admiration and lucrative engagements throughout the continent of Europe. Independently of her sublime vocal powers - as an instance of the innate genius of this dear girl, on Monday last I paid a complimentary visit to that highly accomplished artist, Signor Bianchi, on the stage of the Lyceum, during rehearsal, when my heart thrilled with unbounded delight at the style in which the singers were accompanied on the pianoforte - the touch, execution, accentuation, rythm [sic] and expression were so distinctly clear and perfect in every point that (not being composed of milk and water) I could not refrain from thrusting my head between the singers to look at the pianist. It was this wonderfully gifted child, the youngest daughter of Frank Howson.

I have mentioned the foregoing fact to prove my anxiety to uphold real talent, and if I express myself in strong terms against namby-pamby, wishy-washy quackings of would-be judges, who presume to animadvert on the works, performance, and capabilities of professional men, my natural frankness, my bent-down spirits (though not broken), and my long standing as an author must plead my excuse. Miss Cubit, whom I brought out at Drury-lane Theatre in Madame Storace's characters, was apprenticed to me for seven years by her father, a professor of singing of high standing, and formerly chorus-master for many years at Covent Garden Theatre. Madame Barr was re-articled to me for seven years by her husband, the greatest harpist of his day. This lady had previously been articled to me by her mother, then organist at Knightsbridge Chapel.

Mr. Henry, composer and leader at the French Theatre [La Portes Company], apprenticed himself to me for seven years.

Miss Blake, who appeared with great eclat at the Haymarket and Drury Lane Theatres, in the characters in which Madame Vestris had so highly distinguished herself, at the expiration of her seven years' apprenticeship to me, re-articled herself to me for three years longer. Among the number of Professors who have served their apprenticeship to me, I may mention Nelson, who appeared in Sydney a few years ago, with his talented family; and Mr. Leo, nephew to the late celebrated violinist. Both Nelson and Leo have sent forth to the musical world several talented compositions; and I may add that there was scarcely any theatrical or concert singers who did not avail themselves of my instructions.

Mr. Packer [the late Lavenu's instructor], the greatest musical genius in this colony, received his first impressions of the science from his father - my pupil. I hope Packer will crave forgiveness from his God and sin no more, as did the divine Psalmist, who became a man, &c., &c.

Reader, while I thus blazon forth what I have done as a teacher of more than fifty years' standing, and while confess how grateful is the recollection that I was the only composer that Lord Byron would write for, I still feel, that in the science I profess, I am but an infant: with my very little knowledge, however, I fancy I can do much in aiding others to raise music from its fallen state. My allusion here is confined to the English only, for my dear countrymen you are at least 200 years behind the Italians, French, and Germans in musical science, and even far, very far, below mediocrity in musical taste, compared with the Scotch, Irish, and Welsh.

If, therefore, those ladies and gentlemen amateur singers who are willing to take in good part my estimate of our countrymen's present standing in the scale of musical knowledge, and who are disposed to assist me in removing the only stumbling block that checks their rise to the level of others, by kindly joining in the music I shall select for my first quarterly concert, I will feel pleasure in giving them my gratuitous instruction every Thursday evening, from seven until nine o'clock, at W. J. Johnson's Music Warehouse, Pitt-street.

Friends, natives, countrymen,
Yours with truth,
Byron Lodge, Randwick.

[Advertisement], The Sydney Morning Herald (2 December 1861), 8 

BYRON LODGE, Randwick. - To be LET or SOLD, this first-class dwelling, upon 5 acres of land, fronting the sea, containing eleven lofty rooms, the drawing-room 23 feet by 20, dining-room and bed-chambers in proportion, with detached laundry, dairy, coachman and servants' rooms, four-stall stables, extra box for six horses, double coach-house, hay-loft 100 feet long, continual supply of water, &c.

[Advertisement], The Sydney Morning Herald (5 December 1861), 1 

ACIS and GALATEA. - A selection of this sublime composition and chef d'oeuvre of Handel's works will be REHEARSED with orchestral accompaniments, at St. James' Schoolroom, on WEDNESDAY next, when those lady and gentlemen amateurs kindly disposed to join in the chorusses or instrumental parts, with the available professional talent already engaged, are respectfully invited to attend. The overture will commence precisely at 7 o'clock. This meeting must be considered exclusively private to the performers. Every purchaser of a ticket to the concert, which will take place on the 30th instant, at the Freemasons' Hall, will have free admittance there to the last rehearsal.
J. NATHAN, Byron Lodge, Randwick.

30 December 1861, first advertised performance of The winged fate (words: unattributed [Charles Rann Kennedy]; music: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

30 December 1861, concert, Nathan (benefit), Freemasons' Hall, Sydney

"MR. NATHAN'S QUARTERLY CONCERT", The Sydney Morning Herald (25 December 1861), 4 

This veteran musical composer has provided all sorts of attractions for his first quarterly concert. He has selected from the choicest works of Handel and Martini, as well as from his own, and he has secured the assistance of some of our popular performers. Mr. Nathan, thirty years ago, was reckoned among the first European masters; he published works which were for a long time heard at every concert and in every drawing room. Some of these will be recognised as old familiar sounds. The celebrated tune, "Why are you wandering here" was once whistled by every boy and ground by every barrel-organ in the British metropolis. Mr. Nathan announces that he will present a copy of his chorus, "Hey diddle diddle, the Cat and the Fiddle," to every young lady present at the concert .- Communicated.

[Advertisement], Empire (30 December 1861), 1 

MASONIC HALL, THIS EVENING, Monday, 30th December, 1861.
That every effort may be given to "Acis and Galatea" and the whole of the music arranged for full orchestra by Mr. Nathan, all the available vocal talent of the colony have kindly consented to sing in and lead the choruses.
Mr. GREGG, immediately on his return to Sydney last night, attended the rehearsal, and by his rich, powerful-toned, and first-rate intonation, added great brilliancy to all the choruses and concerted pieces. He has generously compelled Mr. Nathan to accept his gratuitous services at the Concert THIS EVENING, and if time will admit, he will sing a Solo.
A Cheerful Selection from Mr. NATHAN'S Operas, nightly honoured with enthusiastic approbation, at Drury Lane and the Haymarket Theatres. These compositions must tend to cultivate musical taste in youth, without offending the most refined ear of the adult.
Overture - "Don John of Austria" - Nathan.
Chorus - "When the Cats away the Mice will play" (Don John of Austria) - Nathan.
Quartette - "The Wild Gazelle," from the Hebrew Melodies, written by Lord Byron expressly for - Nathan.
Chorus - "Hey diddle diddle, the Cat and the Fiddle" - Nathan - 1000 copies of which have been printed exclusively for the pleasure of presenting to every Young Lady (at the Concert) a copy as a New Year's gift.
Trio - "Hope once more" (Illustrious Stranger) - Nathan - Mr. F. Howson and the Misses Howson.
Song - "The Winged Fate" (composed expressly for this occasion) - Nathan - Miss C. Howson.
Serenade - "Oh Lady robed in Weeds of Woe: (Alcaid) - Nathan - Mr. F. Howson, John Howson, and the Misses Howson.
Laughing Trio and Chorus - "Vadasi via di qua," - Martini.
Song - "Why are you wondering here I pray" (Sweethearts and Wives) - Nathan - Mrs. Cordner.
Aboriginal Melody - "Koorinda braia;" this genuine melody, as sung by the Aborigines, has been faithfully transmitted to paper and harmonised by - Nathan.
Finale - "The Storms and Peril" (Merry Freaks) - Nathan
Choice pieces from Acis and Galatea.
Overture - "Acis.and Galatea," - Handel.
Chorus - "O, the Pleasures of the Plains," - Handel.
Recitative - "Ye Verdant Plains", Air - "Hush, ye Pretty Warbling Choir" - Handel - Miss Emma Howson.
Chorus - "Happy we" - Handel
Recitative - "O, Didst thou bear the Pain", Air - "As when tba Dove" - Handel - Madame Flora Harris.
Recitative - "Cease, O cease thou Gentle Youth", Trio - "The Flock shall leave the Mountain" - Handel - Madame Sara Flower, Miss E. Howson, and Madame F. Harris.
Recitative - "I rage, I melt, I burn", Air - "O, Ruddier than the Cherry" - Handel - Mr. Hooper.
Recitative - "Help Galatea"
Chorus - "Mourn all ye Muses" - Handel
National Anthem - "Long Live Victoria" - Nathan
Leader. - That highly accomplished professor, Mr. King, who, with his talented quartett party, will perform all the delicate solo passages. In addition to the powerful auxiliary, the following list, of Professional Gentlemen have handsomely tendered their gratuitous services:
Violins - Mr. King, Mr. Ernest King, Mr. F. Howson, Mr. Strong. Mr. Freelander.
Viola - Mr. Davis.
Violoncello - Mr. W. Howson.
Bass - B * * *
Flauto - Mr. Palmer.
Drum - Mr. Sharp.
Oboe - Mr. B * * *
Clarinet - Mr. * * *
Cornet - Mr. Thompson.
Organist. - Mr. Cordner.
Conductor. - Mr. Nathan, who will preside at the pianoforte.
Tickets, 10s. 6d. each.
One Ticket will admit two Ladies. Two Gentlemen admitted to the back seats with one Ticket. Children from five to twelve years of age (accompanied by their friends) will pass free.
Tickets may be obtained from Mr. NATHAN, Byron Lodge, Randwick, and at all Music and Booksellers in Sydney.
Doors open at half-past 7, to commence at 8 o'clock.

ASSOCIATIONS: Emma Howson (vocalist); Clelia Howson (vocalist); John Gregg (vocalist); Edward King (violinist, leader Lyster Opera orchestra) and Ernest King, his son; George Strong (violinist); William Friedlander (violinist, viola player); William Henry Palmer (flautist)

"CONCERT", Empire (31 December 1861), 5 

If ever Mr. Nathan should invite his friends or the public to witness the peculiarities of a musical rehearsal, he cannot do better than give them an exact repetition of the entertainment supplied at the Masonic Hall last evening. The audience which assembled was less numerous than respectable, but they were evidently determined to be pleased; and accordingly many of the oddities presented before them were received with exuberant applause. The same feelings that actuated Mr. Nathan's supporters yesterday shall influence us now, and out of the respect we always entertain towards all vestiges of antiquity, we shall abstain from that criticism upon which, under any other circumstances, we should feel it to be a public duty to enter.

The first part of the programme comprised selections from Mr. Nathan's compositions, and although more than once the whole of the performers had to submit to a stoppage in the middle of a piece, in order to "begin again," no exception can be taken to the manner in which the several pieces were rendered by the performers, while we give all praise for the admirable patience and good humour with which the submitted to the interruptions. Miss Clelia Howson sang "The winged fate" with much sweetness, and deservedly obtained an encore; but the gem of this portion of the entertainment was the delightful old song from "Sweethearts and wives"; "Why are you wandering here I pray? an old man asked a maid one day." In this Mrs. Cordner achieved a great success, she sang it with even more than her accustomed power, and her clear full intonation has seldom been beard to better advantage. The instrumental accompaniments were too forte, a defect which we noticed more than once, but with that exception we should desire no improvement. The so-called aboriginal melody might, without much loss, be put upon the shelf.

The second part of the programme consisted chiefly of sedations from Handel. The strange but pretty little air "Hush ye pretty warbling choirs," and the recitative "Ye verdant plains" were very beautifully sung by Miss E. Howson in the absence of Mrs. Bridson, whoso name appeared upon the bills; and we must also speak in terms that cannot be too favourable of Madame Flora Harris in the recitative "O didst thou bear the pain," and air "As when the dove." At this period, however, there was one conductor too many, for the effect would have been enhanced if the clapping of hands and beating of an incidental drum for the apparent purpose of marking time, had been omitted. Mr. Nathan will understand us. The entertainments concluded with a National anthem composed by Mr. Nathan, and to which ample justice was done by Madame Flora Harris and the rest of the company, but we are not prepared to say that it is any improvement upon the National Anthem, although some parts are not without merit. Everybody seemed pleased, and after all, perhaps, that is everything, so we will only hope that Mr. Nathan has benefited by his concert to the extent of his most sanguine expectations; and after that we will await patiently, yet not without curiosity, his second quarterly appearance.

"MR. NATHAN'S CONCERT", The Sydney Morning Herald (31 December 1861), 4 

The first of a series of concerts, announced to be continued quarterly, was given yesterday evening by Mr. Nathan at the Masonic Hall. The reputation which Mr. Nathan enjoys, both as an English composer and in connexion with the practice of music in this colony, would be sufficient at any time to attract an audience to a concert like that given last night, especially when such popular vocalists as Mesdames Sara Flower and Flora Harris, and Mr. F. Howson and his daughters, were engaged. The attendance at the concert about half-filled the hall, consisting chiefly of admirers of Mr. Nathan's reputation, who, being probably acquainted with his mode of conducting concerts, were not disposed to take exception to those peculiarities which would not be tolerated in any less privileged musician. With one exception, the vocal and instrumental performers who had been advertised were present, but the chorus of amateurs was deplorably small.

The first part of the programme consisted of "a cheerful selection from Mr. Nathan's operas," and even if there had been nothing particularly cheerful in the character of the music, the exertions of the composer would have rendered it so, the hearty demonstrative manner in which he alternately officiated as conductor, leader, accompanyist, and instructor having an equally stimulating effect on the musicians and on the audience. The concerted pieces were very correctly rendered, but the voices were occasionally over-powered by the instrumentation. A trio, "Hope once more," was very finely sung by Mr. J. Howson and the Misses Howson, and Miss C. Howson's singing of "The winged fate" (a song composed expressly for the occasion) was extremely admired, and encored. Mrs Cordner has a good voice, and sang very effectively the song "Why are you wandering here, I pray!"

The second part of the entertainment consisted of choice pieces from Handel's Acis and Galatea, in the performance of which both the vocalists and instrumentalists were thoroughly successful. The gem of the selection was undoubtedly the air, "Hush, ye pretty warbling choir," which was most charmingly sung by Miss Howson; and the trio, "The flock shall leave the mountain," by Madame Sara Flower, Miss Howson, and Madame F. Harris, was scarcely less admired. Mr. Hooper, who was announced as from St. Paul's Cathedral, gave the air "O ruddier than the cherry" very correctly, but not in a powerful or an impressive manner. The National Anthem, "Long Live Victoria," closed a concert which, from the well-known abilities of those who took part in it could not have been otherwise than successful, and which was unmistakably approved of by the audience. We omitted to state that Mr. Cordner presided very efficiently at the pianoforte during the second part of the entertainment. It is hoped that, upon any subsequent concert being given at the Masonic Hall, the Clarence street entrance will not be closed, great inconvenience and annoyance being caused yesterday evening by the only entrance to the hall being that in front of the audience.

ASSOCIATIONS: I have found no other mention of a Mr. Hooper being musically active in Sydney around this time; if an amateur, he may perhaps be George Hooper (1816-1888), market gardener, Randwick councillor and honorary surveyor, later of Queensland, where he died.

"Metropolitan Correspondence", Bathurst Free Press and Mining Journal (4 January 1862), 2 

Sydney, Wednesday afternoon [1 January] A happy new year to everybody . . . Concerning Christmas, as I have been unavoidably silent for a week, I may as well say that it was very slow . . . Many matters ought to be detailed, but can only be glanced at. For instance, Pye's exultation at leading the Municipal poll at Parramatta, and his grandiloquent bosh on the occasion; old Nathan's Concert, with the pleasing and romantic melody of "hey diddle diddle, the cat and the fiddle," of which the venerable humbug caused some thousands of copies to be printed for the instruction and entertainment of the young ladies. Then there was the attempt of Saturday, happily immediately detected, to set fire to the ship La Hogue . . .



To call up all the TROVE newspaper items tagged Isaac Nathan for 1862:

[Advertisement], The Sydney Morning Herald (6 January 1862), 2 

MR. NATHAN has RESUMED his Professional Inductions in singing and theory of music. Terms, per lesson - One guinea. Classes, by the hour - One guinea. Ladies in the country by enclosing their song (with the above fee), stating their compass of voice, may receive Mr. Nathan's written instructions by return of post. Byron Lodge, Randwick.

[William Wilkes], "NEWS AND NOTES. BY A SYDNEY MAN. CLXXVIII", The Courier (7 January 1862), 4 

. . . Mr. Nathan, the author of "Koreenda Braaia," "Hey diddle diddle," and other romantic poems, and well known as the bore of Lord Byron with his Hebrew Melody music, gave a concert last night, which I hear was good for the megrims, and kept the audience in rare laughing exercise. The poor old gentleman is quite a character, and evidently has become utterly unconscious of what he must surely have known in his earlier days - namely that he is a hum - - - guess the rest.

ASSOCIATIONS: William Wilkes (journalist)

"DESTITUTE CHILDREN'S ASYLUM", The Sydney Morning Herald (7 February 1862), 5 

The children belonging to the Destitute Asylum at Randwick were yesterday treated to a pleasure excursion per train to Campbelltown, accompanied by the masters and matrons of the institution, several clergymen, various members of the committee of management, and a large number of ladies and gentlemen who have generally taken an active part in promoting the objects of this very excellent charity . . . After the little ones had been attended to, the visitors sat down to luncheon in a marque erected for the purpose on the ground, the Hon. George Allen officiating as chairman. After satisfying the cravings of appetite, Mr. Allen called upon the company to join him in drinking to "The Queen," a challenge which, it is needless to say, was at once accepted with enthusiasm. Mr. I. Nathan next proposed "The health of Dr. Douglass," complimenting that gentleman on the great interest he had always evinced in the institution, of which, according to Mr. Nathan's remarks, he was the original founder. - A conversation which ensued on the point, however, went to show that the circumstances attending the origination of the Asylum are somewhat in doubt, the honour being equally due to several persons, amongst others to Mr. Allen himself, and the late lamented Dr. Cuthill, whose magnificent bequest of £11,000 was the means of placing it on a permanent basis. Mr. J. G. Raphael subsequently proposed "The founders of the Institution," alluding in the course of his remarks to Dr. Cuthill, Miss Catherine Hayes, Mr. Alderman Hogan, and others who had warmly assisted the society in its laudable objects, and also to the progress which it had made during the last few years . . .

ASSOCIATIONS: Catherine Hayes (Irish vocalist)

"THE WINGED FATE, BY MR. ISAAC NATHAN", The Sydney Morning Herald (18 February 1862), 4 

This exquisite little song - rendered with so much admirable grace and tenderness by Miss Clelia Howson, at the concert of Mr. Nathan, held at the Masonic Hall, on the 30th of December last - is now published for the talented composer, and is, we believe, to be had at all the musicsellers and booksellers in the city. It is a light and pleasing strain, with a dash of the melancholy and mystic in its character, in perfect keeping with meaning and the rhythm of the words, which are cast in a rather unusually short metre. The piece commences in G minor, 6-8 time, and afterwards (in the second part of the first verse) the movement changes to B flat major, in common time. In the charming bird-like refrain at the end of the verse, the music again returns to six-eight time, with a striking and peculiar effect. The third movement begins at the commencement of the second verse, in G major, and then, in conclusion, the air reverts, in a very expressive manner, to the original key. It is difficult to convey any idea of the merit of this delightful little song, which is, emphatically speaking full of music, at the same time that the air is so simple that it might readily be learnt and sung by moderately gifted child. We do not know who is the author of the words. Whoever he may be, he cannot be insensible to the honour of having them immortalised by the eminent composer and unfading veteran genius, who, in his earlier days, did ample justice to the Hebrew Melodies of Byron.

"MUSIC AND DRAMA", The Sydney Morning Herald (19 February 1862), 12 

. . . A variety of pleasing musical compositions of no inconsiderable merit still continue from time to time to make their appearance - polkas, marches, ballads, and so forth - all finding, more or less, an amount of sale which shows that talent is here not unappreciated. One of the latest of these pieces is a very pleasing little song entitled "The Winged Fate," by Mr. Isaac Nathan, that veteran genius, who, in his earlier days, set Lord Byron's Hebrew melodies to music. Age seems to have dealt kindly with Mr. Nathan, for it does not appear to have in any degree interfered with his remarkable powers of composition . . .


"THE QUEEN'S BIRTHDAY. THE LEVEE", The Sydney Morning Herald (26 May 1862), 4 

AT three o'clock in the afternoon his Excellency Sir John Young held a levee at Government House . . . In accordance with the usual custom on these occasions, cards of entrée were given to the principal officers of the Government, and to other gentlemen holding high official positions . . . The following gentlemen were also presented: . . . Mr. Nathan, Mr. Charles Nathan . . .

12 June 1862, auction sale, published music by Nathan, George Street, Sydney

[Advertisement], The Sydney Morning Herald (7 June 1862), 8 

On THURSDAY, June 12th, at 11 o'clock. At 230, George-street, the Old Bank of Australasia. To the Musical and Learned Public of New South Wales. MESSRS. WALTER BRADLEY and CO. have been instructed by I. Nathan, Esq., to submit to public competition, on THURSDAY, June 12th, at 11 o'clock, The following most valuable, curious, and rare editions of standard works (the collection of upwards of fifty years), after which will offered a large selection of songs, &c, many of which were expressly written by Lord Byron, for his friend, Mr. Nathan, and set to music by the latter: -

[Various classical and other philosophical and theoretical works by others, including John Locke, John Milton, Flavius Josephus, Plutarch, Cicero, Thomas Morley] . . .

Nathan - Southern Euphrosyne: moral and religious interesting original oriental Tales; notes, anecdotes, observations, and arguments from Erudite and Divine writers; true account of the aboriginal musical scale in reference to the affinity of its intonation to that of the ancient Greeks, illustrated by several native melodies, cooeys, &c, to modern rhythm, harmonized for one to one-and-twenty voices, and may be sung by a single voice or in full chorus.

Nathan - History of Music, and its effects on the mind.

Lord Byron - "Hebrew Melodies" (48 in number) complete in 4 volumes, and all set to music by Nathan, with notes, anecdotes, interesting conversations, and observations made by the noble poet.

Nathan - Three Lectures of the 30 delivered by him at the old Sydney College, on the origins of notes and scales of music. Instructions, illustrated by daily exercises, for framing, cultivating, and strengthening the various tones in the human voice, from the first rudiments to the most delicate masterly climax of singing, as regards intonation, rhythm, flexibility, and correct expression.

[Various musical theoretical works, and musical scores, by others]

Nathan - Opera, "Merry Freaks in Troublous Times," composed in this colony, and sent off to England for representation at Covent Garden Theatre.

Nathan - Opera, "Alcaide."

Nathan - Choice selections from above 200 of his songs, &c. Many of these songs are out of print. Among these are several with full orchestral parts, stated by Jordan in the LITERARY GAZETTE (and admitted by all professors of Science) to be "a perfect study for all musical theorists in Europe."

Nathan - Variations for the pianoforte on "Why are You wandering here, I pray?" . . .

[Editorial note], The Sydney Morning Herald (12 June 1862), 5 

WE are requested by Messrs. Walter. Bradley and Co., to direct attention to their sale of the antiquarian and musical library of I. Nathan, Esq., comprising rare editions of historical, biographical, and lyrical compositions, by eminent, ancient, and modern authors, to take place at their rooms, 329, George-street, this day, Thursday, 12th June, at 11 o'clock precisely. For detailed particulars see last Saturday's Herald. - ADV.

[Advertisement], Empire (30 June 1862), 1 

. . . 3. Bass-Solo - "Consider the Lilies," Glover, with septett accompaniment by Nathan . . .

"CONCERT OF THE SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (1 July 1862), 2 

The sixth concert of the Sydney Philharmonic Society took place, yesterday evening, at the Freemasons' Hall, in York-street, in the presence of a very large and fashionable audience. The programme was divided into two parts; the first part being devoted to sacred music - the pieces therein presented consisting of selections from the works of Spohr, Cherubini, Glover, Nathan, Mendelssohn, and Haydn . . . Glover's solo - "Consider the lilies how they grow" (with a septet accompaniment by a veteran composer of European reputation in this colony) next followed, and was done every justice to, both by the vocalist and the accompanyist . . .

"AUSTRALIAN CATHOLIC YOUNG MEN'S SOCIETY", The Sydney Morning Herald (5 August 1862), 4 

Yesterday evening an interesting lecture, in connection with the Australian Catholic Young Men's Society, was delivered in the hall of that institution under the Sacred Heart Church, by Mr. Henry Milford, - the subject being the Life and Writings of Lord Byron. There was a numerous and attentive audience, but not perhaps so large as might have been expected . . . Mr. Milford had occasion to advert to the Hebrew Melodies, set to music by their fellow townsman Mr. Isaac Nathan - the mention of whose name was received with hearty applause . . .

18 August 1862, first notice of publication of God bless you (words: Reeve; music: Nathan)

For documentation, see: (TROVE tagged by Australharmony)

[Advertisement], The Sydney Morning Herald (18 August 1862), 1 

£660 FOR THE STARVING MANCHESTER WEAVERS. - TO-MORROW will be Published, price 3s., "God Bless You." 5000 copies of this pathetic poem, secular music, by Mr. Nathan, and given as a donation for our starving brethren, will, after deducting all necessary expenses, leave £660 free of all charge whatever.

"MR. HORNE'S MUSICAL ENTERTAINMENT", The Sydney Morning Herald (17 December 1862), 5 

Mr. R. H. Horne gave, on Monday Evening, at the School of Arts, another of his "Drawing-room entertainments." In the course of some introductory remarks, Mr. Horne referred to the change that public taste had of late years undergone with regard to music, and instanced the popularity that for a long time attached to the operas of Mozart and Rossini - works which had more recently given place to others that afforded scope for theatrical display, such as the "Trovatore," and the "Traviata," operas bearing some resemblance to the sensation dramas of the present day. Mr. Horne then made a passing allusion to the English opera, and mentioned the names of some of the most eminent English composers such as Bishop, Nathan, Barnet, Balfe, and Wallace. He considered the musical extravaganzas and burlesques that were in the present day so popular to have done much to prevent the chance of living composers getting a fair hearing . . .

"LANCASHIRE RELIEF FUND", Freeman's Journal (24 December 1862), 6 

A public meeting was held in the Masonic Hall at four o'clock on Monday afternoon to consider what steps were to be taken in consequence of the misappropriation of the funds collected in this colony for the relief of the distress in the manufacturing districts of England. The chair was taken by the Mayor of Sydney . . . Mr. Buckland deprecated the course adopted by the previous speakers in passing sentence on the gentlemen who had been commissioned to appropriate the funds without giving them an opportunity of defending themselves. The distressed operatives had received the full benefit of the money subscribed here, while, at the same time, they had the advantage of the sum raised at Home. Great uproar prevailed throughout the speech of this gentleman, who concluded by moving as an amendment to the original motion - "That, in the opinion of this meeting, the instructions sent home by the secretaries should have been more explicit." Mr. Nathan, senior, seconded the amendment . . .



To call up all the TROVE newspaper items tagged Isaac Nathan for 1863:

"THE OPERA", Empire (29 June 1863), 4 

. . . We entertain a hope that the production, this evening, of Rossini's splendid opera of "La Cenerentola" - Cinderella - will cause a reaction in favour of the lyrical drama. This was the first opera whioh was ever performed, in its entirety in Sydney, and it had a long and successful run. It is exactly twenty years since it was produced at the Royal Victoria Theatre. The manager, Mr. Lazar, was anxious to enact the Baron Pompolino, but be had no copies of the libretto, nor of the orchestral score. These were serious difficulties, but they were overcome. Mr. Richard Thompson wrote the libretto from memory, and Mr. Nathan, and Mr. John Gibbs, arranged a pianoforte score for the band and chorus, with the exception of two arrangements by Wallace, "Ye Tormentors," and "Sir a secret," which were lent to the manager by that eminent composer's sister, Mrs. Bushelle, who was engaged for Cinderella. Her sister-in-law, Mrs. Wallace, was the Fairy Queen; Mrs. Gibbs, the Prince; Mr. Lazar, the Baron; and Mr. Joseph Simmons, Dandini. The opera, thus cast, created quite a furore in Sydney . . .

ASSOCIATIONS: Richard Thompson T(journalist)

[Advertisement], The Sydney Morning Herald (16 July 1863), 1 

ORPHEONIST SOCIETY. - GRAND OPERATIC EXTRA CONCERT, at the Masonic Hall, Under the special Patronage of his Excellency Sir JOHN YOUNG, and LADY YOUNG,
1. National song - soli and chorus - "Long Live Victoria". - I. Nathan . . .

"OPENING OF THE NEW WING OF THE RANDWICK ASYLUM", The Sydney Morning Herald (21 July 1863), 4 

THE great south wing of the Randwick Asylum for the Relief of Destitute Children was formally opened for use yesterday afternoon, in the presence of his Excellency the Governor and a large number of gentlemen . . . We also observed the Mayor of Sydney Mr. Alderman Raphael, Mr. Alderman Hurley, Mr. I. Nathan, Mr. Edward Joy, Mr. S. H. Pearce, M. Dutruc, Mr. T. May, and several others . . .


To call up all the TROVE newspaper items tagged Isaac Nathan for 1864:

Registers of Coroners' Inquests, 1862-1881, page 119; State Records NSW 

January 1864 / 16th / Isaac Nathan age 74 years came by his death by being crushed under the tram car while in slow motion and just upon alighting therefrom and that it was the result of accident, but we think the communication between the front and back breaksmen to be very imperfect and that more caution should be used in future. Dr. Walker, exd. Sportsmans Hotel, Pitt Street.

"CORONER'S INQUEST", Freeman's Journal (20 January 1864), 3 

The City Coroner held an inquest on Saturday, at the Sportsman's Arms Pitt and Goulburn Streets, on the body of Mr. Isaac Nathan aged 74, who was killed on Friday afternoon by falling under the wheels of the tram-car at the corner of Goulburn-street . . .

The intelligence of the sudden death of Mr. Nathan caused a profound sensation of sorrow throughout Sydney, where he was universally respected. He was a most accomplished musician and has composed a large number of well known songs and other pieces though the greater part of his music, among which are some operas are not so well known as they deserve to be. Probably now that death has snatched him away from us, his musical talents may be better appreciated than they were during his life time. His remains were interred on Sunday, but at the desire of his family the funeral was a strictly private one.

"DEATHS", The Sydney Morning Herald (21 January 1864), 1 

On the 15th instant, at Sydney, New South Wales, in the 74th year of his age, Isaac Nathan, Esq., composer of music.

"THE LATE MR. ISAAC NATHAN", The Sydney Morning Herald (21 January 1864), 8 

A FATAL and most distressing casualty, which resulted in the death of Mr. Isaac Nathan, occurred on the tramway, in Pitt-street, at its intersection with Goulburn-street, on the afternoon of 15th January. It appears that Mr. Nathan was a passenger by No. 2 tramway car, which at about five o'clock was going along Pitt-street in the direction of the Redfern railway terminus. At about that hour the car was stopped at the corner of Goulburn-street, where a number of its occupants got out - some of them by the front of the vehicle, and others at the back of it. Mr. Nathan, who lived at No 442, Pitt-street, a few yards distant, alighted from the car at the southern end, but before he had got clear of the rails the car moved onwards, and the deceased gentleman was unhappily crushed beneath one of its wheels. It is said that, either in getting out or in trying to avoid the car, Mr. Nathan grasped hold of the railing in front of it, and he was thus whirled round by the sudden motion of the carriage and his body was brought under the front wheel. The wheel did not actually pass over Mr. Nathan, but was dragged on to his body, crushing his back and shoulders in a frightful manner. The unfortunate gentleman died almost instantly. He was removed to his residence, where Dr. Charles Nathan of Macquarie-street (deceased's son), Dr. O'Brien, and Dr. Walker were soon afterwards in attendance, though, as it is understood, not before he was extinct.

Mr. Nathan was in the seventy-fourth year of his age, and was born in Canterbury, England. He was widely known and greatly respected, and his untimely death will be heard of by many with sincere regret. He had lived in the colony for twenty-three years, and he for some time dwelt at Randwick before removing to his late residence in Pitt-street. He was an accomplished musician and, as is well known, he was for a long time conductor of the different musical associations in Sydney. Mr. Nathan was a music composer of acknowledged ability, and as such he had, before coming to settle in this colony, achieved a European reputation. The music set to the Hebrew Melodies of Lord Byron was from the pen of this talented composer, and he was also the author of a work on the theory of music. Mr. Nathan's last composition was a piece entitled "A song to Freedom," a copy of which it may be mentioned, was sent through his Excellency Sir John Young, to her Majesty the Queen.

An inquest was subsequently held by the City Coroner, and the evidence of the several witnesses was substantially the same as stated above. We append Dr. Walker's evidence, who, in conjunction with Dr. O'Brien made an examination of the body. Dr. Walker states that on examining the chest great mobility of the ribs, together with crepitation, was observable; the lower half of the thorax, from the third rib downwards was severely injured, the ribs on the right side being broken into numerous comminuted fragments, whilst those on the left half of the chest had been broken near their attachment to the spine. Witness was of opinion that the injuries were the result of a severe crush, and that a wheel had not passed over the chest of the deceased; the injuries to the ribs, and compression of the heart, lungs and liver were the cause of death, which must have been instantaneous; the extremities of the deceased were not injured; the body must have been dragged or pushed forward; deceased had apparently been on his back in the first instance, and had then been turned on to his left side; witness judged from the injuries done to the deceased's clothes that the carriage must have been in motion; he had seen deceased a day or two before his death, when he appeared to be in perfect health. The Coroner summed up, and the jury, after about half-an-hour's deliberation, returned the following verdict: - "We consider the death of Mr. Isaac Nathan resulted from his being crushed under a tram car while it was in slow motion and just upon his alighting therefrom, and that it was the result of accident; but we think the communication between the front and back breaksmen is very imperfect, and that more caution should be used in future." The remains of the late Mr. Nathan were intered on the 17th instant, in the Cemetery, at Camperdown.

[William Wilkes], "NEWS AND NOTES. BY A SYDNEY MAN. CCLXX. SYDNEY, JANUARY 18", The Courier [Brisbane] (23 January 1864), 3 

. . . We have been startled by another fatal accident. Poor old Professor Nathan, the composer of the "Hebrew Melodies," for which Byron wrote the words, has been killed by falling out of a tramway car. The circumstances of the case ware thus detailed at the inquest:

"Charles Edward Morris stated that he got on tram car No. 2 at twenty-five minutes to five o'clock on Friday afternoon; he was inside, towards the front of the car, with the deceased gentleman; when the car stopped at Goulburn-street, deceased left the front for the purpose of getting out; witness fancied he used both hands; he was sure the car was not in motion when deceased placed his left foot on the ground, but it might have moved before his other foot reached the ground; he was getting out backwards, when he immediately fell on to his side; the car caught him on the right side of the chest, and he was forced against the connecting rod; witness jumped out, and found him jambed under the car; the car had then only proceeded a couple of yards and stopped; they had to run the car back eighteen inches to get him from beneath, and witness was satisfied the wheel never touched him; he fell behind the dashboard, his head towards the wheels; he was crushed against a piece of iron upon which the springs worked, and which was about a foot from the rails; he was carried to the footpath; the men in charge did not appear to be in a hurry - Dr. Walker stated that about a quarter after five o'clock on Friday afternoon he was called to see the deceased, who had been removed to his house; he arrived at the same moment as Dr. O'Brien and Mr. Charles Nathan, but deceased was dead; Dr. O'Brien and witness, at the request of Mr. Charles Nathan, examined the body; they found the left side of the coat and trousers much tattered from having been dragged over an uneven surface; the body presented no marks of violence, but on examining the chest great mobility of the ribs with crackling or crepitation was observable; severe injury had been inflicted from the third rib downwards, the ribs on the right side were broken into numerous fragments, and those on the left half of the chest were broken near their attachment to the spine. He was of opinion that the injuries were the result of a severe crush, and that no wheel had passed over the chest; the injuries to the ribs and compression of the heart, lungs, and liver, were the cause of death, which must have been instantaneous; deceased's extremities were uninjured. By Coroner: The body must have been dragged or pushed forward; witness thought he was first on his back, and then turned on to his left side.

Verdict: We find that the deceased, Isaac Nathan, aged seventy-four years, came by his death by being crushed under the tram-car while in slow motion, and just upon alighting therefrom; and that it was the result of accident; but we think the communication between the front and back breaksmen to be very imperfect, and that more caution should be used in future."

Most people whom I have heard express an opinion on the subject think that there must be some mistake about the age of the deceased, and that he is much older than is here stated. I cannot at this moment refer to the date of publication of the Hebrew Melodies, but it must have been, I think, about forty-five years ago. Most people are familiar with the disgusted manner in which Byron used to speak of his share in those melodies; but, after all, it must be remembered that Lord Byron was about this time in high feathers with the dandies of the age, and that in those days a Jew was nearly as much a Pariah in the fashionable world as Shylock is represented to have been amongst the promenaders on the Venetian Rialto. If the late Mr. Nathan had preserved a faithful journal of his times, it would have been interesting, and its publication would have been a good speculation, for he must have been thrown occasionally into the society of some very remarkable men at a very remarkable time. The sayings and doings of such men as Byron, Moore, Shelley, Scott, Wordsworth, Coleridge, Southey, &c., with most of whom he had probably in some degree associated, have still a charm for the literary gossip. But whether rightly or wrongly I cannot say, there has always been a strong impression of late years that Mr. Nathan's intellect was impaired. On his first arrival in the colony he did some very ridiculous things - published, with a most fearful flourish of puffing trumpets, a sort of musical lexicon, with a jaw-breaking Greek title; composed music for the Australian nigger melody, "Coreenda Braaia," as he called it, and, if I mistake not, got a whole chorus to chant it somewhere, like a lot of blackfellows. Then, when he became disgusted at what he considered want of appreciation, he wrote and composed what was meant to be a suitable song for Sydney, or Botany Bay, the burden being a complimentary remark and injunction as to the manner of succeeding in this part of the world:

Knavery is sure to thrive,
And flattery's an estate,
So live by your wits, and mind your hits,
To hum the rich and great!

The language and the sentiment would, no doubt, have been very appropriate in such a place as Newgate, for instance, but they were not taken in very good part here at the time . . .

"THE MUSICAL YEAR", The London review (7 January 1865), 43 

Among the deaths of musical celebrities during the year, that of Meyerbeer (on May 2nd) involves the greatest loss to the art, as, although he had reached the age of seventy, he had shown no signs of diminished powers . . . Prince Poniatowski, an aristocratic musical amateur, died during the year . . . and Madame Garcia, mother of Malibran and Viardot-Garcia, are to be added to the foreign musical obituary. Of our own nation, we have to chronicle the deaths of Mrs. Wood (as Miss Paton, the original Roza in Weber's "Oberon") and Mr. Nathan, a composer of small merit, but helped into some notoriety as the coadjutor of Lord Byron in the Hebrew melodies.


1 October 1868, Henrietta Nathan released her right to a Dower and appointed Trustees

Release of Dower Book: 110 No: 772 / Dated: 1 October 1868 / Registered: 22 October 1868 1st Part: Henrietta Nathan of Sydney, Widow of the late Isaac Nathan, deceased 2nd Part: James Norton of Sydney, Henry Edward Augustus Allan of Sydney, Henry Norton of Sydney

18 October 1868, the trustees sold the Randwick property, the mortgage of 24 September 1859 being in default; the property was purchased by John Tait for £1100.

Conveyance 1100 pound /
Book: 110 / No: 773 / Dated: 18 October 1868 / Registered: 22 October 1868
1st Part: James Norton of Sydney, Henry Edward Augustus Allan of Sydney, Henry Norton of Sydney
2nd Part: James Norton
3rd Part: John Tait

Mackerras 1963, The Hebrew melodist, 73:

Mrs. Stephen Nathan, widow of one of Isaac's grandsons, told the present writer that her husband's father, Alfred Nathan, who of course remembered his father's death, had said that his widow Henrietta had burnt all his music, declaring it to be "rubbish" and worth nothing. Poor Henrietta, she had had bitter experience of how little profit his compositions had brought him in Australia! . . .

Documentation (after 1864)

"MR. CHARLES NATHAN, F.R.C.S.", The Sydney Morning Herald (21 September 1872), 7 

Our obituary records the removal of Mr. Charles Nathan, an event which multitudes will receive with regret, and many with sorrow. He has long been familiar to the eye of our citizens, pursuing his laborious profession. His bright and pleasant countenance was seen in all quarters of this city, where his professional duties called him by night and by day . . . For many years he was constantly in attendance upon the public hospital, and willingly gave the advantage of his superior surgical skill to the poor. This he often did independently of hospital arrangements, and without fee or reward . . . Mr. Nathan valued the pleasures of society when his pressing duties permitted him to enjoy them. The love of music was an hereditary passion. Nothing gratified him more than to unite with a number of amateurs of similar taste, and to contribute and share in those heavenly harmonies left by the great masters of music and song. All his pleasures were of a pure, social, and elevating character; and, while they did not obstruct his more serious labours, calmed and refreshed his spirit. Every man is better for having some pursuit apart from his profession, which may employ his leisure without obstructing his duty. Mr. Nathan, in early life, had to win his own way. We have heard him say that from thirteen years of age he had to gain his own bread. It is easy to see what personal merit he must have possessed to mount the steep to professional reputation, that he must have had capacity and perseverance, that his conduct must have won those facilities which smooth the path, and often make the self-taught man of genius the superior of those who have been favoured with all the aids that fortune can procure. Such men become more robust in intellect, more self-reliant, and therefore more successful than those who have never known a tugged path . . . Mr. Nathan's final illness was not protracted. He relinquished his practice some five or six weeks ago, and died yesterday, at noon. Mr. Nathan practised his profession upwards of thirty years, and at the time of his death had attained the fifty sixth year of his age. During the long period of his residence in this city he gave the invaluable assistance of his great talents to many public institutions. To the Sydney Infirmary more particularly has he rendered eminent services, and he acted as honorary surgeon of the Sydney Female Refuge from the date of its establishment. He took an active interest in educational as well as philanthropic movements, and as a member of the Senate of the Sydney University and a Fellow of St Paul's College participated in the government of those institutions.

"THE FUNERAL OF MR. NATHAN", Freeman's Journal (28 September 1872), 2 

The funeral of the late Mr. Charles Nathan took place on Wednesday afternoon, and was attended by a large number of persons who wished to pay a last tribute of respect to the deceased gentleman. The funeral cortege left the house lately occupied by Mr. Nathan shortly before 3 o'clock, and proceeded to St. James's Church, where the corpse having been removed into the building the funeral service was read by the Rev. Canon Allwood and a sermon appropriate to the solemn occasion preached by the Bishop of Sydney. The Church was crowded in every part and at the conclusion of the service the dead march in Saul was played on the organ by Mr. Furley, as the corpse was carried to the hearse. The funeral procession which at one point extended from Liverpool-street as far as the Railway Terminus, passed down King street, along George-street, thence to the New Town Cemetery, where the prayers were said at the grave by the Rev. Canon Allwood. The carriage of His Grace the Archbishop followed the hearse and there were also present the Rev. Dean Forde, Fathers E. Athy, M. J. Dwyer, P. O'Farrell, besides many of the clergy of other denominations, and nearly all the leading members of the community.

"NATHAN THE COMPOSER", Notes and queries series 6 volume 8 (22 December 1883), 494 

NATHAN, THE COMPOSER. Can any of your readers inform me who Nathan, the composer of the music of Byron's Hebrew Melodies was, and whom he married? D. A. K.

"NATHAN THE COMPOSER", Notes and queries series 6 volume 9 (1884), 71-72, 

NATHAN THE COMPOSER (6th S. viii. 494) was born at Canterbury in 1792, and named Isaac by his parents, who intended him for the Hebrew priesthood, and sent him to Cambridge to be educated by the Hebrew professor; but his evident passion for music caused them to alter their plans, and he was articled to Domenico Corri, a celebrated musician of the day. He composed several successful songs, which brought him under the notice of Lord Byron, to whom he was introduced by the Hon. Douglas Kinnaird. Nathan's acquaintance with the poet resulted in the joint production of the Hebrew Melodies. He was a sweet singer, but his voice was not strong enough for Covent Garden, where he failed. He wrote An Essay on the History and Theory of Music, and was much esteemed as a teacher. He emigrated to New South Wales, where he was accidentally killed by a tram-car in Sydney, Jan. 15, 1864.


This gentleman was a well-known musical composer and historian residing in London. He composed the music for, and subsequently became, by purchase, possessor of the copyright of the Hebrew Melodies of Lord Byron, and is several times alluded to, or quoted from, in the notes to Murray's editions of the Poems. He published an interesting volume, not readily attainable now, entitled:

"Fugitive Pieces and Reminiscences of Lord Byron containing an entire New Edition of The Hebrew Melodies, with the Addition of Several never before published; the whole Illustrated with Critical, Historical, Theatrical, Political, and Theological Remarks, Notes, Anecdotes, Interesting Conversations and Observations made by that illustrious Poet; together with his Lordship's Autograph; also some Original Poetry, Letters and Recollections of Lady Caroline Lamb." London, 1829, 8vo. pp. 196.

From the autograph letters reproduced in facsimile in this volume, it would appear that Nathan was on the most intimate terms of familiarity with the noble poet. In one of them "my dear Nathan" is invited to dine with his lordship at the Albany at seven, with the intimation that "no refusal" will be taken; and in another, dated January, 1815, permission is asked for Murray to include the Melodies in a "complete edition" of the writer's "poetical effusions." Byron adds, "I certainly wish to oblige the gentleman; but you know, Nathan, it is against all good fashion to give and take back. I cannot grant what is not at my disposal." From this it would appear that Byron gave the copyright to the musician; but against this is the distinct assertion of the latter, in a letter to Braham, inviting him to join in the republication of the Melodies, that "he had purchased the copyright from S___'s assignees."

Looking at these proofs of the intimacy which at one time must have existed between Byron and Nathan, it seems odd that no reference to the matter is to be found in the Index to Moore's edition of the Poems, or in that to the Life and Letters. Possibly some rupture had taken place. Anyway, Moore was wont to carp at "the manner in which some of the melodies had been set to music"; extorting, on one occasion, the exclamation from the poet, "Sunburn Nathan! Why do you always twit me with his 'Ebrew nasalities?" On another occasion (Feb. 22, 1815), writing to [72] Moore, who says in a note that "he had taken the liberty of laughing a little" at the music, Byron says, "Curse the Melodies and the Tribes to boot! Braham is to assist or hath assisted but will do no more good than a second physician. I merely interfered to oblige a whim of Kinnaird's, and all I have got by it was a 'speech' and a receipt for stewed oysters." Somewhat at variance this with the statement put into the mouth of Byron when some one in his presence insisted upon the necessity of bringing out the Melodies in a luxurious style: " Nathan, do not suffer that capricious fool to lead you into more expense than is absolutely necessary; bring out the work to your own taste: I have no ambition, to gratify, beyond that of proving useful to you" (p. 94).

Mr. Nathan states that on the first publication of the Hebrew Melodies he was visited at his residence in Poland Street by Sir Walter Scott. "I sang," says he, "several of the melodies to him, he repeated his visit, and requested I would allow him to introduce his lady and his daughter: they came together, when I had the pleasure of singing to them 'Jephthah's Daughter,' and one or two more of the most favorite airs; they entered into the spirit of the music with all the true taste and feeling so peculiar to the Scotch."

"Mr. Scott," he adds, "again called upon me to take leave before his visit to Scotland; we entered into conversation respecting the sublimity and beauty of Lord Byron's poetry, and he spoke of his lordship with admiration, exclaiming, 'He is a man of wonderful genius he is a great man.' " - P. 85.

Nathan was also author of an important work, An Essay on the History and Theory of Music, and on the Qualities, Capabilities, and Management of the Human Voice, Lond., royal 4to., 1823, price 2l.


[137] NATHAN THE COMPOSER (6th S. viii. 494; ix. 71). I have been much interested in the answers concerning Nathan the composer, but would much like to learn some further particulars of his personal history. Was he married, and to whom; and do any descendants exist? What was his nationality; was he a Pole? DELTA. 

[178] NATHAN THE COMPOSER (6 th S. viii. 494; ix. 71, 137). I knew Nathan, and am sure he was not a foreigner. J. HOW. 

[197] NATHAN THE COMPOSER (6 th S. viii. 494; ix. 71, 137, 178). Nathan the composer married, but whom I am not aware, nor do I know how many children he had; but I know that one was a medical man of high repute and much esteemed in Sydney. He married and had a large family. Both he and his wife are dead. One of their sons (Robert) is at present an officer in the New South Wales Regular Artillery, and A.D.C. to his Excellency Lord Augustus Loftus, Governor of New South Wales. I cannot say what countryman the grandfather was. GUNNER. 

[355] NATHAN THE COMPOSER (6th S. viii. 494; ix. 71, 137, 178, 197). - Several years ago I rescued from the hands of the butterman a copy of a work by Nathan, printed at Sydney by Forster, 334, Pitt Street, North, entered at Stationer's Hall, and published by Whittaker & Co., Ave Maria Lane, London, and at the editor's residence, 105, Hunter Street, Sydney. The book is in small quarto, undated, but by some advertisements of musical compositions, an "Index to a Series of Lectures on the Theory and Practice of Music, delivered by the Author at the Sydney College, New South Wales," and other matters, I gather that it must have appeared about the year 1845 or 1846; and, from internal evidence, probably in monthly or weekly numbers. Among "Replies to Communications is a paper headed "Victim," from which it appears that the cause of Nathan's leaving England for Sydney was his failure to obtain from the Melbourne Ministry a recognition of a claim of 2,326l. which he had, or fancied he had, for work done and money expended in the service of the Crown. The odd sum of 326l, seems to have been paid, and the larger balance of 2,000l disallowed. Nathan insinuates that there was a good deal of shuffling and foul play on the part of Lord Melbourne and the Treasury in withholding the whole sum from him. The following copy of the title-page will give an idea of the miscellaneous contents of this work:

"The Southern Euphrosyne and Australian Miscellany, containing Oriental Moral Tales, Original Anecdote, Poetry, and Music; an Historical Sketch, with Examples of the Native Aboriginal Melodies, put into modern rhythm, and harmonized as Solos, Quartetettes, &c., together with several other original vocal pieces, arranged to a piano-forte accompaniment by the Editor and sole Proprietor, I. Nathan, author of The Hebrew Melodies, The Musurgia Vocalis, the successful Music in Sweethearts and Wives, The Illustrious Stranger, The King's Fool, &c."

E. McC___. Guernsey.

ASSOCIATIONS: William Hayman Cummings (musician)

"Australian 'At Home' in London", Evening News (26 August 1885), 6 

"AUSTRALIAN 'AT HOME' IN LONDON", Morning Bulletin (10 September 1885), 6 

. . . The European Mail gives the following additional or fuller particulars:

There was a very large and influential gathering at Mrs. J. Henniker Heaton's "At Home," at De Vere Gardens, Kensington Palace, on July 13. Several Australians who had not seen each other for many years were thus brought together, giving rise to the wish that "At Homes" were more frequent among colonists than they are. The programme of the amusements provided for the guests was both ample and recherche. It included the Australian Coo-ee song (as arranged by Isaac Nathan), by Madame Sanderini and Mr. Cattermole, with a chorus of ten voices from the Savoy Theatre. This song, which was capitally rendered, was received with much applause . . .

Fred Lyster, "MOZART'S IDEA OF CONFORMANCE", Belford's Magazine [New York] 5 (1890), 238-41

In the year 1865 [sic] I was the manager of an opera company in Australia, and in the course of business I commenced a season in Sydney, N. S. W. In our repertory were, of course, Mozart's "Don Giovanni" and "Le Nozze di Figaro." The first-named opera was sung with success, emboldened by which I put up the latter for performance the following week. While rehearsing I dropped into the music store of Mr. Elvy, on George street, to see how the sale of seats was going on. While there an aged gentleman, with long white hair and a gracious, polished manner, accosted me. "I beg pardon, Mr. Lyster," said he, "but I should like to introduce myself as an old musician and to compliment you on the manner in which your company has interpreted the great work of my friend and master, Mozart." I gazed at the old gentleman in blank astonishment. "The friend and pupil of Mozart," said I, "and alive?" "Alive and kicking, as you see," ejaculated the ancient musician. "My name is Nathan, and I am the composer of the music to Lord Byron's "Hebrew Melodies." "Good gracious!" I ejaculated; "why, the composer of the 'Hebrew Melodies' has been dead these twenty years!" "I am quite aware," answered Mr. Nathan, "that my name is registered among the defunct musicians, but I am alive and well for all that. The fact is, that I was a martyr to asthma, and found the climate of England too severe for me, so I came out to Australia in search of good health, and have been here for many years. My son is a physician in good practice in this city, and I am satisfied to be dead to the world, so long as I am alive to my family and friends." So we chatted along and the old gentleman called up many reminiscences of former days. Stories of Lord Byron, Mme. Pasta, Rubini, Tamburini, and Lablache fell from his lips as if anecdotes of yesterday; it was like going back a couple of generations. At last be said: "Now, my dear sir, you really did 'Don Giovanni' very creditably, considering that you have lost the tradition of the style of Mozart, and, if you will allow me, I shall be glad to show you scores of that great opera and the scarcely less important 'Nozze di Figaro,' annotated and embellished by Mozart himself, in his own handwriting, by which you may guide your singers in the next production." I was delighted and expressed my gratitude to Mr. Nathan for his kindness. "Suppose you dine with me tomorrow," said the old man, "and we can have a good long talk over the way in which Mozart should be sung." "With pleasure," I assented, and we parted with that understanding. On the morrow I did not fail to turn up, and, after a pleasant little dinner, Mr. Nathan produced the scores of both operas in the rough but legible type of the period in which they were composed. "Now," said he, "there scores are, as you see, all annotated, and, I give you my word, by the great master himself. You will perceive that the bald modern manner of singing these melodies was not contemplated by the composer. In his day vocalists were artists and composers trusted to their taste to introduce florituri [sic] and graces of their own, thereby enlivening the work and displaying their own particular excellence of cadenza, scales, volata, and shakes. For instance, examine this air." Turning to the beautiful song "Vedrai Carino," in "Don Giovanni," I looked and was amazed. Instead of the plain melody, I saw a cloud of penciling; nearly every note was surrounded by turns, grace notes, shakes, and other flights of fancy. "There," said the old musician, "that Is the true Mozart style, and I shall be happy to teach you prima donna lirica, Mme. Durand, who is a very clever girl, to give the proper effect to her part in the future." "My dear sir," said I, "I am infinitely obliged for your offer, but if I should dare to have the music of Serlina sung in that florid manner, I should be hunted out of town by the critics." "What!" indignantly replied Mr. Nathan, "would the ignorant boys who write stupid notices in the newspapers have the impudence to find fault with Mozart's own embellishments?" "Aye, that would they," said I; "they would call them forgeries. A chaste simplicity is, in modern opinion, the distinguishing characteristic of classical music" "Bother!" exclaimed Mr. Nathan. "It was a singer's business to ornament his music with all the resource of his art. Volate. gruppetti, trille e la scala cromatica e diatonica were the tools of his trade. Do you imagine that Farinelli, Caffarelli or Mara ever sang the music as it was written? Why, my dear sir, those great artists would as soon have gone on the stage undressed as to give the bare melody. The composer furnished the body; the singer clothed it. It was not till Rossini limited that extravagance of ornament by writing his own fiorituri that this modern school of purists was thought of. He first began to destroy the art of singing with his confounded restrictions and it has been going down ever since, till now it is mere declamation. There are no vocalists now. Mozart, sir, would have laughed at them." I respected the old gentleman's opinions, backed as they were by the master's own writing, but, much to Mr. Nathan's disgust, I had not the courage to give "Don Giovanni" or "Le Nozze" as Mozart intended they should be given. Nous avons changé tout cela - FRED LYSTER.

ASSOCIATIONS: Fred Lyster (member Lyster Opera company)

[News], The Sydney Mail and New South Wales Advertiser (4 November 1893), 949 

The ranks of Australians studying music in Europe have been lately increased by the joining of Mr. Alfred Nathan, the amateur baritone, who purposes joining the operatic stage, and has already deserted legal for musical studies.


A NUMBER of exhibits of especial interest to co-religionists were included in a collection belonging to Mr. Coleman P. Hyman, displayed at the conversazione recently held in the great hall of the Sydney University in connection with the Library Association of Australasia.

Among autographs was one (written in 1858) of Baron Lionel de Rothschild, the first Jewish member of Parliament and father of Lord Rothschild, the first Jewish peer. Another was a holograph letter written in 1844 by Sir Moses Montefiore, the first Jew knighted by the Queen. Others were of Sir Julian Goldsmid and Sir Philip Magnus. Dated from "Byron Lodge," Coogee, was a letter by Isaac Nathan, composer, song-writer, musical historian to King George IV., and intimate friend of Lord Byron, whose "Hebrew Melodies" he set to music prior to settling in Sydney, where he was subsequently killed in 1864 by falling from one of the first steam trams in the city . . .

"Deaths", The Sydney Morning Herald (27 September 1900), 1

"DEATH OF MR. ALFRED NATHAN", The Daily Telegraph (28 September 1900), 4 

Mr. Alfred Nathan, an esteemed colonist, died at his residence, Alberto-terrace, Darlinghurst-road, on Wednesday. Deceased, who was in his 80th year, had enjoyed the best of health up to within a very short time of his demise, which is attributed to a general break-up of the system. He came to the colonics as far back as 1841, in company with his father and the late Dr. Charles Nathan, and followed mining pursuits at Sofala for some time as a colleague of Sir Saul Samuel. Subsequently he became one of Sydney's most prominent merchants, occupying large premises at the Haymarket. Deceased was a benevolent, kindly gentleman, and had earned the regard of all classes of the community . . . The sons are . . . and Mr. H. A. Nathan, who is at present absent from the colony. The only daughter is Mrs. Judge Gibson . . .

"FUNERAL OF THE LATE MR. ALFRED NATHAN", The Sydney Morning Herald (1 October 1900), 5

"SYDNEY MOSS: Master Musician. AN APPRECIATION", Jewish Herald (6 June 1902), 4 

"News and Views", The Hebrew Standard of Australasia (17 June 1910), 9-10 

A recent "Bulletin" says there is talk of reproducing some of Isaac Nathan's old aboriginal melodies. Very few Australians, even in Sydney, where Nathan was once a musical guide, can show a copy of any of the author's numerous productions. His work ranged from oratorios to aboriginal songs; and his setting of Byron's Hebrew melodies won the praise of England and the Continent of Europe. A local piece [10] consisting of solo, quartette and chorus, intended to represent aboriginal life, was taken as a work of genius by the public of the '40's and '50's; it would certainly be worth reproduction now. Nathan arrived in Sydney in his prime in 1841, threw himself heartily into the local musical life, and worked up a splendid organisation for the development of local talent. He might have achieved a great deal more, but a tram accident was the cause of his untimely death.

"DEATH OF MR. A. W. NATHAN", Evening News (26 October 1914), 4 

. . . Mr. Nathan was a son of the late Dr. Charles Nathan, who was a leading physicians in Sydney. He was educated at the Sydney Grammar School. At one period he entered upon the study of singing, with the intention of taking up an operatic career, he having a rich tenor voice, but he abandoned the idea and became a partner in the firm of Westgarth and Nathan . . .

Selected works (England)

KEY: Extant works (published or MS); Lost works (or no copy yet identified)


Essay on the history and theory of music 1824

An essay on the history and theory of music, and on the qualities, capabilities and management of the human voice by I. Nathan, author of The Hebrew melodies &c. &c. &c.

(London: G. and W. B. Whittaker, 1823) 

No digitised copy identified

Fugitive pieces 1829

Fugitive pieces and reminiscences of Lord Byron: containing an entire new edition of the Hebrew melodies, with the addition of several never before published; the whole illustrated with critical, historical, theatrical, political, and theological remarks, notes, anecdotes, interesting conversations, and observations, made by that illustrious poet: together with his lordship's autograph; also some original poetry, letters and recollections of Lady Caroline Lamb, by I. Nathan, author of An essay on the history and theory of music, The Hebrew melodies, &c. &c.

(London: Whittaker, Treacher, and Co., 1829) 

Copy at Duke University Libraries (DIGITISED F/C)

Copies at Harvard University Library, and University of California Library (DIGITISED B/W) (DIGITISED B/W)

Mursurgia vocalis 1836

Musurgia vocalis: an essay on the history and theory of music and on the qualities, capabilities, and management of the human voice, second edition, enlarged and considerably improved, by I. Nathan

(London: Fentum, 1836)

Copy at the University of Toronto Library (DIGITISED)

Copy at the University of Chicago Library (DIGITISED B/W) (DIGITISED B/W)

Memoirs of Malibran 1836

Memoirs of Madame Malibran de Beriot by I. Nathan, author of "The Hebrew melodies," "Musurgia vocalist," etc.

(London, 1836) 

Second edition (London: Joseph Thomas; Cramer, Addison, and Beale; Simpkin and Marshall, 1836)

Copy at the State Library of New South Wales (not digitised)

Third edition (London: Joseph Thomas, 1836)

Copy at the British Library (DIGITISED)

Also German trans., 1837

* * *


Sweethearts and wives 1823

Sweethearts and wives; comic opera, in 3 acts, play by J. Kenney; FP" London, Haymarket, 7 July 1823; music by Nathan, John Whitaker, T. S. Cooke and George Perry

Word book:

Songs, duets, chorusses, &c. &c. in the new operatic comedy of Sweethearts & wives; the music by Messrs. Whitaker, Nathan, T. Cooke, & Perry; first performed at the Theatre Royal, Haymarket, on Monday, July 7th, 1823

(London: John Miller, 1823)

Copy at the British Library (DIGITISED)

Complete play book, after later US production:

Sweethearts and wives, in three acts . . . carefully corrected from the prompt books of the Philadelphia Theatre

(Philadelphia: A. R. Poole, and Ash & Mason, 1827) (DIGITISED)

Separate numbers:

Billy Lack-a-day's lament; written by James Kenney Esq.; the music composed & arranged for the pianoforte by I. Nathan

(London: J. Fentum, [1823]) (not digitised)

How can you abuse an easy woman so; the celebrated duet, written by James Kenney Esq.; the music (subject from the French) composed & arranged by I. Nathan

(London: J. Fentum, [1823]) (not digitised)

The offerings, Love, we bring to thee, the popular duet; written by James Kenny Esq.; the music composed & arranged for the piano forte by I. Nathan

(London: J. Fentum, [1823]) (not digitised)

Why are you wandering here I pray, the popular ballad; written by James Kenney esqr.; the music composed and newly arranged with appropiate ornaments, &. by I. Nathan

(London: J. Fentum, [1823]) 

4th edition (London: J. Fentum, [1823]) (DIGITISED)

[Review of 1823 sheet music prints] "SWEETHEARTS AND WIVES", The harmonicon 1/1 (October 1823), 147 

1. "Go Rover, Go," a Song sung by Madame Vestris, in the Operatic Comedy, entitled Sweethearts and Wives. Composed and Arranged for the Piano-Forte, by John WHITAKER. (Whitaker and Co. St. Paul's Church-yard.)
2. "MY LAURA'S SMILE, WHEN LAST WE MET," a Rondo, sung by Mr. Davis, in the same. Composed and published by the same.
3. "THE OLD STORY OVER AGAIN," a Ballad sung by Mrs. Jones, in the same. Composed and published by the same.
4. "HOW CAN YOW ABUSE AN EASY WOMAN SO?" A Duet sung by Miss Love and Mr. Liston, in the same. The Music arranged from a French subject, by I. NATHAN. (Fentum, 76, Strand.)
5. "BILLY LACK-A-DAY'S LAMENT," sung, by Mr. Liston, in the same. Composed by I. NATHAN. (Fentum.)
6. "THE OFFERINGS, LOVE, WE BRING TO THEE," a Duet, sung by Mr. Davis and Mad. Vestris, in the same. I. NATHAN. (Fentum.)
7. "A SECRET," sung by Mrs. Jones, in the same. I. NATHAN. (Fentum.)
8. "I'LL NOT BE A MAIDEN FORSAKEN," sung by Miss Love in the same. I. NATHAN. (Fentum.)
9. "WHY ARE YOU WANDERING HERE, I PRAY?" a Ballad sung by Madame Vestris, in the same. I. NATHAN. (Fentum.)
10. "THY CHEEK, MY SWEET FAIR," a Ballad, sung by Mr. Davis, in the same. Composed by GEORGE PERRY, Composer to the Theatre Royal, Haymarket.
(Mayhew and Go., Music-sellers to the Royal Family, 17, Old Bond Street.)

The "Operatic Comedy" of Sweethearts and Wives has had a most fortunate career; it has run through a whole season, unrelieved by any other novelty, and continued to draw as much at the close as it did at the commencement. To the performers, namely, to Mr. Liston, whose exertions gave most effect to it, and to Madame Vestris, its next best support, must be mainly ascribed the applause and popularity which it has gained, for it is not very strong in itself; and the music, of which it is our chief business to speak, has no marked feature in it, and can have aided but little in sustaining the drama to which it is joined. Four gentlemen united their talents to compose the songs, &c., of which the operatic part of this piece consists. The portion supplied by Mr. Cooke, does not appear to be published. All of the remainder is, we believe, comprised in the above list. In those pieces which Mr. Whitaker has produced, an entire absence of all enterprise, a cautious determination not to travel out of the common track . . . are abundantly apparent . . . Mr. Nathan has been more adventurous than his colleague; greater effort is evinced in his compositions, and they have been the most successful. The duet, No. 4, from a French subject, has considerable dramatic merit. We are in the habit, in this country, of decrying French music, without being aware how much of it, in a disguised form, we applaud at our theatres, mistaking it for native produce, Mr. Nathan's renouncement of his claim to this duet is manly, and much to his credit. His ballad, No. 9, is very pretty, but most of its phrases are common; though the opening of it with an inversion of the diminished 7th, is new. For its popularity it is in a great measure indebted to the arch and insinuating manner in which it is sung, by one of the most fascinating women on the stage. Mr. Perry would have shewn his discretion in not publishing his ballad, its triteness is oppressive . . . Before quitting this opera, we have to acknowledge the attention which its composers have paid to the language of the songs; if amongst them any perversion of the sense, or any error in prosody, is to be found, we can only say that it has escaped our observation.


The alcaid 1824

The alcaid; or Secrets of office; a comic opera in 3 acts (James Kenney); FP: London, Haymarket Theatre, 10 August 1824

List of musical numbers: 

Vocal score (composite):

The alcaid; or, The secrets of office, as performed at the Theatre-Royal, Haymarket, written by James Kenney; the music by I. Nathan

(London: J. Fentum, [1824])

Copy at the State Library of New South Wales (not digitised)

Word book:

[James Kenney], The alcaid; or, The secrets of office, a comic opera in three acts

(London: John Cumberland, [1824])

Later edition (London: John Cumberland, [1827])

Copy at the Library of Congress (DIGITISED)

Separate numbers, all (London: J. Fentum, [1824]), unless otherwise indicated:

Befriend us! Befriend us . . . (DIGITISED)

Haste, haste, I prythee haste away. . . (not digitised)

(Philadelphia: Published by G. E. Blake, n.d.) (DIGITISED)

Joy to the Alcaid . . . (not digitised)

Love thy timid whisp'ring tongue . . . (DIGITISED)

Sleep, sleep, those watchful eyelids close, a duet . . . (not digitised)

"THEATRES. THE HAYMARKET THEATRE", Morning Post (11 August 1824), 3

A Comic Opera was last night produced at this Theatre, entitled, The Alcaid, or the Secrets of Office.

The business of this Opera arises out of the irregularities which occur in the family of Don Christopher, the Alcaid, a very self-sufficient personage, who believes that nothing can escape his observation, and who considers his wife, his son, his niece, and himself, to furnish "a constellation of virtue, not to be equalled in all Spain." But the wife who can only find pleasure in obedience, desires to go to a masquerade, which the Alcaid wishes her not to visit. She and her niece are enabled to go by the connivance of a faithful Secretary, who is as great a paragon in his way, as the other individuals, who are so many ingredients in the Don's cup of bliss. Some embarrassment arises out of the masquerading as the Lady loses the key of her chambers, and cannot regain her apartment without being seen. The Don's suspicion is roused by seeing the wife and niece in their evening finery at an early hour in the morning; but the Secretary Petroso, who lies for the whole dramatis personae, gets them out of the scrape by pretending they had resolved on celebrating the Alcaid's birth-day a month before it arrives. The same story accounts for the sudden appearance of the son who was supposed to be studying at Salamanca, but who has been detained by a love affair at no great distance from the residence of his father. Both son and niece give their hearts where it was not the intention of the Alcaid to see them bestowed; but after a good deal of confusion, concealment, and discovery, he is reconciled to the choice which they make for themselves, and two additions are supplied by marriage to this exemplary family, with a fair prospect of a further increase.

This Opera is understood to be furnished by Mr. KENNEY; and, like most of that Gentleman's performances, is, we believe, taken from the French. We cannot say we find all that vivacity which we have admired in some of his former pieces; but there is a great deal of bustling contrivance, infinite confusion, and some pleasantries are thrown in, which enable the body of humourists comprehended in the cast to attack the gravity of the audience with great success.

The music by NATHAN is uniformly pretty. The Overture was very much applauded. Two songs by Madame VESTRIS and Miss PATON were encored, as was a duet between them, and a comic song by HARLEY. The former Lady acted the part of the Son with all her wonted playfulness. Mrs. GLOVER and Mrs. GIBBS contributed much to the general effect of the representation. The part sustained by Mrs. GARRICK was intended for Miss LOVE, who, we understand, has been lately indisposed. The readiness with which Mrs. GARRICK came forward to undertake it, and the manner in which she acquitted herself upon a short notice, were highly to her credit. We are happy to learn that Miss LOVE is convalescent, and likely soon to take the character intended for her by the author. FARREN gave an amusing picture of short-sighted sagacity in the Alcaid. LISTON, in a lying Secretary, played the rogue with infinite humour; and HARLEY, as a jealous husband, furnished a whimsical burlesque on some of the evils of matrimony. The Opera thus powerfully supported could not fail to please. It met with no opposition in its course, and was announced for repetition with universal applause.


The illustrious stranger 1827

The illustrious stranger; or, Married and buried, an operatic farce, in two acts (James Kenny); FP: London, Drury Lane Theatre, 4 October 1827

Word book:

[James Kenney], The illustrious stranger; or, Married and buried, an operatic farce, in two acts, as performed at the Theatre Royal, Drury Lane, the music by Mr. Nathan

(London: Wm. Kenneth, 1827)

Copy at Harvard University Library (DIGITISED) (DIGITISED)

Separate numbers, all:

(London: J. Fentum, [1827])

Dicky Dolus . . . (DIGITISED)

See also "THE MUSE', The Hobart Town Courier (3 May 1828), 4 

Hope once more . . . (DIGITISED)

Oh! I weep for the hour . . . (DIGITISED)

To catch my Sukey's sighs . . . (DIGITISED)

This union the Gods have ordained . . . (DIGITISED)

"THEATRICALS. DRURY LANE", Public Ledger and Daily Advertiser (5 October 1827), 3

Last night Mr. Kean, jun. made his second appearance in the character of Douglas . . . After the Play of Douglas, a new Musical Farce, entitled The Illustrious Stranger; or, Married and Buried, was performed for the first time. It is founded on a story in The Arabian Nights, and has been dramatised before at some of the Minor Theatres with success. The story is simply this: - A custom prevails in the Island Malabar, that when married woman dies, her husband must be buried alive with her. Benjamin Bow Bell, (Mr. Liston) a Cockney, having voyaged with a cargo of tripe and butter in the Polly, Captain Swipes, has the misfortune to be shipwrecked, and cast shore on a hencoop at Malabar. He there meets with an old friend, Gimbo (Mr. Harley) who is in the service the King of the Island, Aboulifar (Mr. Thompson) has daughter, the Princess Irza (Mrs. Geesin), who is in love with Arzan (Mr. Bland); but Arzan had been exiled. Gimbo introduces his friend Bow Bell to the King, and the law of the land authorizing him to marry the Princess, the marriage takes place, and Bow Bell is invested with all the rights appertaining to his new rank. The marriage, however, does not sit easy the mind of Irza, who pines, and at length dies. Bow Bell is informed the necessity there is for his conforming to the laws of the land, and to be buried alive with his wife. This announcement produces some ludicrous situations. In the interim Arzan returns, and obtains a secret opportunity of meeting with Irza, and it is agreed that she shall buried when the denoument is to take place. The necessary preparations are made for the funeral, and some whimsical situations arise in consequence of the anxiety of Bow Bell to avoid premature interment. At length Arzan comes forward in disguise, and offers himself as substitute to be buried. This offer the law of Malabar recognizes, they are buried, and Bow Bell rejoices at his escape. Soon after, however, while the assembled Court are prostrate before the tomb of the supposed defunct, the doors suddenly open, and Arzan and Irza come forth, the latter being restored to life, her death being purely counterfeit. The King restores Arzan to favour, and the Piece concludes.

It will be seen that the piece is principally attractive in consequence of the ludicrous situation in which the Illustrious Stranger, Bow Bell, is placed, who lands in ragged and miserable plight, meets with a splendid wile, walks in his grave clothes to his funeral, and commits many foolish excesses in the course of the piece.

The Music, which is by Nathan, was very beautiful. Indeed, we should say, too good for such a piece. There were several very pretty songs, which were encored, one sung by Miss Love, called "Folly and Love." Harley had a comic song, entitled "Mrs. Dolus," which was also encored. The Overture was beautiful composition.

The Piece was given out for second representation with some very slight disapprobation; but we suspect it will have run, aided the attraction the music, which, as we have before observed, is of a higher character than generally falls to the lot of musical farces.

"NATHAN. V. PRICE", London Courier and Evening Gazette (30 May 1828), 4

The plaintiff is a celebrated musical composer, and the defendant is the lessee of Drury-lane Theatre. The action was brought to recover a compensation for the time and labour which the plaintiff had spent in the composition of the music of piece called the Illustrious Stranger, lately produced at Drury-lane.

Mr. Sergeant JONES stated the plaintiff's case. He said, that his client was a gentleman of great eminence as a musical composer; that he had been selected by the late Lord Byron to compose the music of the "Hebrew Melodies," and was the author of a work called, The History and Theory of Music, which had been, by permission, dedicated to his present Majesty, was no less judge than a patron of musical talents. The Learned Sergeant then proceeded to state the circumstances which led to Mr. Nathan's undertaking the composition of the music of the Illustrious Stranger. After the piece had been produced, it was found that some additional music would be necessary, and the secretary of Mr. Price addressed a letter to Mr. Nathan, stating this fact, and describing the nature of the addition required. [Here Mr. Sergeant Jones read the following instructions, the reading of which produced loud laughter in the Court.]

"ACT 2., SCENE 1. - Solemn music for marriage ceremony - Goes into a bustle - (Princess fainting.)

"SCENE LAST. - March in a soft strain, end in a crash - soft sound of wind instruments (celestial) to raise the Princess from the tomb - then rush into bold music."

The Learned Sergeant said that it was evident from these instructions what opinion Mr. Price entertained of the extent and variety of Mr. Nathan's abilities.

THE LORD CHIEF JUSTICE. - Brother Jones, they seem to have attributed to him the power of raising the dead.

The Learned SERGEANT proceeded to detail other facts, and called

James Mapleson, who deposed that he was copyist at Drury-lane Theatre, and that by Mr. Price's directions he had written to Mr. Nathan to expedite the completion of the music.

Mr. Wallack, the Stage-manager, was next called, but did not answer. He was then called upon his subpoena, but did not appear.

Andrew Smith, musical composer, said that Mr. Nathan had been known to the musical world for a dozen years. The witness thought that two or three hundred pounds would be reasonable compensation for the labour of composing the music of the Illustrious Stranger.

Henry R. Bishop was then called. He said that he had never read or seen any of the music of the Illustrious Stranger. The score was then put into his hands, and he ran with great rapidity over it, and said that it would probably occupy two or three months in composing, and was worth about 250l., exclusive of the purchase money of the copyright, which would belong to the author.

Mr. Sergeant WILDE, for the defendant, said that this was a case of express contract, and that no contract whatever had been proved. The fact was, that Mr. Nathan had, like other musical composers, asked it as a favour that he should be allowed to compose the music of the piece in question, and had relied for remuneration upon the sale of the copyright of the whole or the separate parts, if the piece were successful. The Learned Sergeant then called some witnesses, who proved that such was the custom at the great theatres.

Mr. Kenny deposed that he was the author of the piece called Sweethearts and Wives, of which the music had been composed by Mr. Nathan, and for which Mr. Nathan had not received any compensation whatever. He also said that he was the author of the piece which was the subject of the action, and that Mr. Nathan had undertaken the composition of the music of that piece without any promise of payment by Mr. Price, or any hope of compensation entertained by Mr. Nathan himself.

Mr. Sergeant Jones replied for the plaintiff, and contended that the hope of notoriety to be obtained by the success of a piece at Drury-Lane could never have been the sole inducement to a man of Mr. Nathan's reputation to devote himself for two months to the composition of an Opera.

THE LORD CHIEF JUSTICE then charged the Jury, who, after very short consultation, found for the defendant.

"THEATRICAL MUSIC", The annual register 2 (June 1828), 70 

Nathan v. Price. - The plaintiff in this case was a celebrated musical composer, and the object of the action was to recover a compensation from the defendant, the patentee of Drury-lane Theatre, for certain musical compositions which the plaintiff had furnished in the opera of "The Illustrious Stranger." It was proved that instructions had been given by the defendant to the plaintiff, to compose the music, that he had accordingly done so, and that it had been performed with great success for many nights. Messrs. Bishop and Smith, composers of music, said, that a fair remuneration to the plaintiff for such music, would not be less than from 200l. to 300l., exclusive of the sale of the copyright. For the defendant, it was contended, that it was not usual for the patentees of the large theatres to pay any thing to composers for the music furnished by them, when they reserved to themselves the sale of the copyright. The performance of their music at the theatres was of infinite advantage to them, inasmuch as that it gave a popularity to their pieces, which could not otherwise be obtained. In support of this case, Mr. Kenny, the author of Paul Pry, The Illustrious Stranger, and several other dramatic works, was called, and his evidence, with that of Mr. T. P. Cooke, fully bore out the statement, that no compensation was made by the proprietors of the larger theatres, where the sale of the copyright was reserved to the composer. Upon the strength of this evidence, the jury, after some hesitation, found for the defendant.

"AUSTRALIAN HARMONIC CLUB", Sydney Free Press (2 October 1841), 2 

The members of the above Society on Wednesday the 29th last, gave a supper at their club room in Pitt-street; Mr. Slatterie in the chair. Mr. Simmons officiating as Vice-President. The members of the Cecilian Society, who assisted in the performances at the Theatre on Tuesday evening, were of course invited, and added greatly to the hilarity and conviviality of the evening. There were also among the guests assembled upon this occasion, nearly all the leading musical talent of Sydney: Mr. Nathan, Mr. Wallace, Mr. Dean, Mr. Morgan [Worgan], and many other deserving public favourites. After the cloth was removed, several very neat and appropriate speeches were delivered. After Mr. Slatterie had proposed the health of Mr. Simmons, which was received with great applause, Mr. Nathan rose and addressed the meeting, in substance somwhat to the following effect:

"Gentlemen, in rising to second the toast which has been proposed by the chairman, and so cordially responded to by you, I will take the liberty of offering a few observations, which I feel assured, will not be deemed out of order. When I visited the Theatre on Tuesday evening last, I went there impressed with the idea that the performance of the after-piece Married and Buried, or as it was called when produced with my music in England, The Illustrious Stranger, would certainly fall far short of what I had seen in the Mother Country when aided by the united talents of LISTON, HARLEY, and others of equal notoriety. But I must here promise to you, gentlemen, that this piece, although assisted by the talents of the leading comic actors, by some strange fatality, was damned on the first night of its representation at the Haymarket Theatre. The idea after wards struck me, that by composing some new music for it, it might still become a favourite. I hinted this to the managers of Drury Lane Theatre, and the consequence was, they acted upon the suggestion. The result fully answered my expectations; The Illustrious Stranger, was received with the most decided marks of the public approbation, and has continued a favourite ever since. But I now, gentlemen, candidly confess to you, that never during the whole course of my professional career, has my vanity received so great a check as it did in the Victoria Theatre on Tuesday evening last. Here, seventeen thousand miles distant from the Mother Country, The Illustrious Stranger is produced with scarcely a note (except one song) of the original music, and owing to the illimitable acting of Mr. Simmons is received with that applause which his most excellent representation of the character so justly merited. I have now no hesitation in saying, had Mr. Liston hit upou the same style in his person ification of the character of "Bowbell," as was struck out by Mr. Simmons, the piece never would have required my music to render it a favourite, with a London audience" . . .


The king's fool 1833

The king's fool; or, The old man's curse; an historic play in three acts (J. G. Milligan); FP: London, Royal Victoria Theatre, 17 July 1833


Word book:

The king's fool; or, The old man's curse, an historic play in three acts by J. G. Milligan . . . the music by MM. Nathan and Wade

(London: John Miller, 1833) (DIGITISED)

[Advertisement], The national standard, of literature, science, music 36/2 (31 August 1833), 139, 156 

No. 1. The Spur of the Soldier is Beauty.
No. 2. A Pretty Bird was moping.
No. 3. Drink! and a Fig for Sorrow!
"Mr. Nathan has been very successful in setting the poetry from Dr. Millingen's new drama. The first of the three songs (the Spur of the Soldier,) is a very elegant and sprightly composition, and reflects infinite credit upon him as a composer: indeed, we have not heard anything for some time past which has afforded us more real pleasure than this song. The second we do not think quite so interesting, but it will nevertheless please from from its simple elegance. The third, we need scarcely say, is a bold spirited effusion, and well worthy the reputation it will doubtless acquire. Altogether, we think these three songs well calculated to add another sprig or two to Mr. Nathan's already well-earned laurels." - Vide Musical Review.
London: George and Manby, 85, Fleet street; Where may be had the following highly successful Songs:
Bound where thou wilt, my Barb! and
She sought that Grave to weep. The Poetry by Lord Byron, the Music composed by J. Nathan.

"TO CORRESPONDENTS", South Eastern Gazette (4 February 1834), 4

We have received . . . Mr. Nathan's Songs in Mr. Millingen's new piece, "The King's Fool" and some other works, which shall all noticed in our next . . .

The play was also produced in Sydney as "Triboulet, or the King's Jester", 29 May 1844

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (1 October 1849), 2 

THIS EVENING, OCTOBER 1. Will be produced, a Drama, entitled The KING'S FOOL! OR, AN OLD MAN'S CURSE. With the original music, by I. Nathan . . .

* * *


Hebrew melodies 1815-40

First number, first published, 1815; second number, 1816; new edition of numbers 1 and 2, 1827; third number, 1835; fourth number, 1840

[words only] Hebrew melodies by Lord Byron (London: John Murray, 1815) (DIGITISED)

Hebrew melodies, 2nd number, 1816, title page

A selection of Hebrew melodies, ancient & modern with appropriate symphonies and accompaniments, by J. Braham and J. Nathan, the poetry expressly written for the work, by the Right Honorable Lord Byron. 2nd number (London: Published and sold by I. NATHAN, [1816])

4 numbers complete:

A selection of Hebrew melodies, ancient and modern, newly arranged, harmonized, corrected and revised with appropriate symphonies & accompaniments by I. Nathan; the poetry written expressly for the work by Lord Byron (London: 1 [new edition], For the proprietor, [1827]; 2 [new edition], For the Proprietor, [1827]; 3, For the proprietor by M. A. Fentum, [1835]; 4, For the proprietor by Falkner, [1840]) 

Copy at the National Library of Australia (DIGITISED) (DIGITISED)

First Number: She walks in beauty, 1; The same, harmonized, 6; If that high world, 15; The same, harmonized, 19; Jephtha's Daughter, 25; The Wild Gazelle, 33; The same, harmonized, 41; It is the Hour, 52; Oh! weep for those, 57; The same, harmonized, 61

Second Number: On Jordan's banks, 67; The same, harmonized, 71; Oh! Snatch'd away in beauty's bloom, 79; The harp the monach minstrel swept, 85; The same, harmonized, 91; I saw thee weep, 99; My soul is dark, 105; Thy days are done, 111; The same, harmonized, 117

Third Number: Warriors and chiefs, 125; We sate down and wept (Duet), 133; Herod's Lament, 140; The Vision of Belshazzar, 147; Francisca, 154; The same arranged as a Duet, 158; From the last hill that looks on thy once holy dome, 165; Fame, wisdom, love, and power, 172; The destruction of Sennacherib, 179

Fourth Number: Saul, 187; I speak not - I trace not - I breathe not thy name, 201; In the Valley of Waters, 207; Sun of the Sleepless, 217; When coldness wraps this suffering clay, 222; A spirit pass'd before me, 231; Were my bosom as false as thou deem'st it to be, 237; They say that hope is happiness, 243

* * *


This rose to calm my brother's care, the words taken from the celebrated poem of The bride of Abydos, the music composed and arranged for the pianoforte, by I. Nathan, and most respectfully dedicated to Lord Byron (London: Falkner's, [1813])

Copy at the British Library (DIGITISED)

The fair Haidee: a translation of a romantic song by Lord Byron (London: Falkner, [1830])

Copy at Bavarian State Library (DIGITISED)

* * *


Glenarvon 1816

[Caroline Lamb] Glenarvon: in three volumes, volume 2

(London: Printed for Henry Colburn, 1816) 

Waters of Elle, thy limpid streams are flowing . . ., 169 

"Farewell, ah, sigh not thus . . .", 191-92 and sheet with music after 192 

Ada Reis 1824

[Caroline Lamb, with music by Isaac Nathan], Ada Reis, a tale

(London: J. Murray, 1824), 3 volumes 

Copy at University of Illinois Urbana-Champaign Library (VOLUME 1 DIGITISED F/C) (VOLUME 2 DIGITISED F/C) (VOLUME 3 DIGITISED F/C)

Vol. 2 has 4 pages of music, after page 120, numbered *119-*122:

"Weep for what thou hast lost, love; the music composed expressly by Mr. Nathan" (DIGITISED)

Other musical extracts:

Sir Henry de Vaux, song, the words from Ada Reis, the music by I. Nathan

London : H. Falkner, [1824]) (DIGITISED)



Infant love, a favorite song, written by Sam. Carpenter Tooke, the music by Mr. Nathan, a favorite song sung with universal applause by Miss Isaacs, at Astley's Amphitheatre, Westminster Bridge (London: J. Fentum, [? c.1807]) (DIGITISED)

Works (Australia)

KEY: Extant works (published or MS); Lost works (or no copy yet identified)


Lectures 1846

The first, second, and third of a series of lectures on the theory and practice of music, delivered at the Sydney College, New South Wales, giving an historical account of the origin, rise, and progress of the science, from the earliest period up to the present time, with progressive exercises for improvement on the piano-forte, harmony, and modulation; and for the cultivation of the human voice, from the first rudiments to the most refined and elaborate details of a perfect mastery of the art: forming a work of instruction for the pupil, and a work of reference for the master, by I. Nathan, musical historian and theorist to his late reverend majesty, George IV., professor of singing and composer to her late royal highness, the princess Charlotte of Wales, author of the "Hebrew Melodies," the "Musurgia Vocalis," &c.

(Sydney: W. Ford; London: Cramer, Addison & Beale, 1846)

Copy at National Library of Australia (DIGITISED) (DIGITISED)

For documentation, see: (TROVE tagged by Australharmony)

Southern Euphrosyne 1848-49

The southern Euphrosyne and Australian miscellany, containing oriental moral tales, original anecdote, poetry and music, an historical sketch with examples of the native aboriginal melodies put into modern rhythm and harmonized as solos, quartettes &c., together with several other original local pieces, arranged to a piano-forte accompaniment by the editor and sole proprietor I. Nathan

(Sydney: [Nathan]; London: Whittaker & Co., [1848-49]) 

Copy at National Library of Australia (DIGITISED) (DIGITISED)

Copy at Bodleian Library, Oxford (DIGITISED)

Copy at State Library of New South Wales, with a letter of introduction by Isaac Nathan to Stuart Donaldson inserted, dated 29 July 1857, MLMSS 6227 (olim ML QA828/4A1, bequeathed by D. S. Mitchell, 1907) 

For fuller documentation, see main checklist entry: (TROVE tagged by Australharmony)

Cyclopaedia vocalis (first advertised 6 November 1860, see in documentation above)

A revised compilation of Musurgia vocalis, and the 1846 Lectures, it was never published, Orchard 1952 (90) notwithstanding


Merry freaks in troublous times (1843)

Opera in 2 acts; words: Charles Nagel; no complete staged performance; first noticed: March 1843; publ: after May 1851 (vocal score) 

See also 1 number ("God save the queen", Act 1 scene 10) published separately in Lectures (1846) above, 2 songs separately as listed below (1845); and 1 song adapted as Loyalty (1850) below

The queen's love ("Sir Wilfred") (1845)

1 song "Sir Wilfred"; words; David Burn; FP: 29 September 1845; publ: November 1845 (voice and piano)

Don John of Austria (1847)

Opera in 3 acts; words: Jacob Levi Montefiore (after Casimir Delavigne); composer's unpublished MS vocal score complete (digitised) 

See also the overture and 4 songs published in The southern Euphrosyne (1849), above, and separately as listed below (1848-49)



Long live Victoria (1841)

"National anthem"; words: W. A. Duncan; FP: 30 June 1841; publ. June 1841 (solo voice, chorus SSATB, piano); new ed. November 1861 (orchestral accompaniments); full details in checklist entry: (TROVE tagged by Australharmony)

The Aboriginal mother (1841)

Song; words: E. H. Dunlop; FP: 27 October 1841; publ: ? January 1842 (voice and piano) (TROVE tagged by Australharmony)

The eagle chief (1842)

Song; words: E. H. Dunlop; pub: April 1842 (voice and piano); FP: 27 May 1842 (TROVE tagged by Australharmony)

Koorinda braia (1842)

Song and chorus; words and melody: Indigenous (Monaro district); FP: 27 May 1842; publ: July 1842 (solo voice, chorus SSTTB) (TROVE tagged by Australharmony)

Mable Macmahon (1842)

Song; words: E. H. Dunlop; FP: 27 May 1842; publ: July 1842 (voice and piano) (TROVE tagged by Australharmony)

Star of the south (1842)

Song; words: E. H. Dunlop; publ: August 1842 (voice and piano); "Australian melodies no. 5" (TROVE tagged by Australharmony)

Australia the wide and the free! (1842)

Song ("A national song"); words: W. A. Duncan; FP: 21 December 1842; publ: December 1842 (voice and piano) (TROVE tagged by Australharmony)

The Aboriginal father (1843)

Song; words and melody: Indigenous (Monaro), arr. Nathan, trans. E. H. Dunlop; publ: January 1843 (voice and piano) (TROVE tagged by Australharmony)

Wargoonda minyarah (1844)

Song and chorus; words and melody: Indigenous (Wellington Valley); FP: 11 July 1844; publ. 1849 (solo voice, chorus SSTB, piano; in The southern Euphrosyne) (TROVE tagged by Australharmony)

A good black gin (1845)


Song; words: J. W. Dent; publ: February 1845 (voice and piano) (TROVE tagged by Australharmony)

Humbug (1845)

Glee; publ: March 1845 (voices TTB, piano): FP: June 1845 (TROVE tagged by Australharmony)

Nathan reconstructed it from memory of the lost music of 'Tis true that all the world must live (1841) below

2 songs from Merry freaks in troublous times; published separately (July 1845)

Sweet smiles and bright eyes (voice and piano)

Oh, for the olden time (voice and piano) (TROVE tagged by Australharmony) (TROVE tagged by Australharmony)

Leichhardt's grave (1845)

Song; words: Robert Lynd; publ: September 1845 (voice and piano); FP: 15 September 1845's+grave+(Nathan) (TROVE tagged by Australharmony)

Lady O'Connell's waltz (Stubbs; arr. Nathan) (1845)

Publ. September 1845 (piano solo)'Connell's+waltz+(Stubbs) (TROVE tagged by Australharmony)

The lord's prayer (1845)

Liturgical church setting; publ: October 1845 (1 or 4 voices and organ)'s+prayer+(Nathan) (TROVE tagged by Australharmony)

The currency lasses (1846)

Song; words: "*********** Esq" (? "Currencylad"); publ. January 1846 (voice and piano) (TROVE tagged by Australharmony)

Leichhardt's return (1846)

Song; words: E. K. Silvester; publ. June 1846 (voice and piano)'s+return+(Nathan) (TROVE tagged by Australharmony)

Overture and 4 songs from Don John of Austria; published separately (? 1848-49)

Overture (piano)

The visions of youth (voice and piano)

I dare not say how much I love (voice and piano)

Canst thou bid the hand its cunning forget (Agnes)

I'll go to sleep (Don Quixado) (TROVE tagged by Australharmony)

Loyalty (1850)

Song; words and music adapted from chorus (act 2 scene 1) in Merry freaks in troublous times; publ. October 1850 (chorus TTTB and piano) (TROVE tagged by Australharmony)

The meeting of the east and west (? c. 1850)

Song; words: Thomas Livingstone Mitchell; lithographed: ? (voice and piano) (TROVE tagged by Australharmony)

Lungi dal caro bene (Sarti, arr. Nathan) (? 1842; 1852)

Song (cavatina); FP: ? 1842; ? 1851/52; publ: March 1852 (soprano voice, piano) (TROVE tagged by Australharmony)

Long live our gracious queen (? c.1851-53)

Song; words: [anonymous]; publ: ? 1851-53, before mid 1853 (voice and piano) 

The names of Christ (? 1853)

Sacred song; words: James B. Laughton; publ: by April 1853 (chorus SSTTBB and piano or organ) (TROVE tagged by Australharmony)

Angels ever bright and fair (Handel; arr. Nathan) (? 1853)

Song; publ: by April 1853 (voice and piano) (TROVE tagged by Australharmony)

Hey diddle diddle the cat and the fiddle (arr. Nathan) (1854; published 1861)

Part song; publ: December 1861 (voices and piano) (TROVE tagged by Australharmony)

Circumstance (1861)

Song; words: Alfred Tennyson; publ: May 1861 (voice and piano); also 2nd edition

The day dream (1861)

Song; words: Alfred Tennyson; publ: May 1861 (voice and piano)

The white owl (1861)

Song; words: Alfred Tennyson; publ: May 1861 (voice and piano) (TROVE tagged by Australharmony) (TROVE tagged by Australharmony) (TROVE tagged by Australharmony)

The winged fate (1861)

Song; words: unattributed [Charles Rann Kennedy]; FP: 30 December 1861; publ: February 1862 (voice and piano) (TROVE tagged by Australharmony)

God bless you (1862)

Song; words: Edward Reeve; publ: August 1862 (voice and piano) (TROVE tagged by Australharmony)

The origin of freedom (1863)

Song (also known as "A song of freedom); words: ? Nathan; publ: after August 1863 (voice and piano) (TROVE tagged by Australharmony)



See also Mackerras 1963, The Hebrew melodist, 73:

Mrs. Stephen Nathan, widow of one of Isaac's grandsons, told the present writer that her husband's father, Alfred Nathan, who of course remembered his father's death, had said that his widow Henrietta had burnt all his music, declaring it to be "rubbish" and worth nothing. Poor Henrietta, she had had bitter experience of how little profit his compositions had brought him in Australia! . . .

A new overture, composed for the occasion (1841)

Orchestral; FP: 30 June 1841

Go to checklist entry: 

An extemporaneous voluntary (1841)

Organ solo; FP: 18 July 1841 

'Tis true that all the world must live (1841)

"Australian glee" (? voices and piano); FP: 15 September 1841 

Nathan later reconstructed the music from memory as Humbug (1845) above, in which form it survives

Drink, drink, and a fig for all sorrow (1833/1841)

Song, in The king's fool (1833), with newly arranged chorus (glee); FP: 27 October 1841 (TROVE tagged by Australharmony)

An extemporaneous capriccio (1842)

Piano solo; "modulating in the Major and Minor modes through thirty different keys" [sic]; FP: 27 May 1842 

Blessed is he who cometh in the name of the Lord (1844)

A new hallelujah chorus (1844)

Liturgical synagogue settings (voices, ? harmonium); FP: 2 April 1844

Alice Brand (Callcott; arr. Nathan, glee and chorus for 3 voices) (1845)

Here in cool grot (Mornington; arr. Nathan, with full orchestral accompaniments) (1845) 

Overture (1859)

Overture (Gluck; arr. Nathan) (1859)

? Orchestral; performance: 17 March 1859



The Adelaide Tambourgi (1840)

Song; words: anonyous (? Nathaniel Hailes); to Nathan's air - Tambourgi; words FP: 19 March 1840 

Song of the Aborigines (1844)


Song; words: Samuel Prout Hill; to Nathan's air - Tambourgi; words FP: 23 April 1844 

Sound & video recordings

Hebrew melodies (selection / streamed sound)

A selection of Hebrew melodies; Romantic-era songs (website: 2009, Paul Douglass and Frederick Burwick) (STREAMED)

She walks in beauty; If that high world; The wild gazelle; Oh weep for those; On Jordan's banks; Jephtha's daughter; O snatch'd away in beauty's bloom; We sate down and wept; The vision of Belshazzar; The destruction of Sennacharib; Saul; Francesca; Sun of the Sleepless

Caroline Lamb song (streamed sound)

Songs of Lady Caroline Lamb; Romantic-era songs (website: 2009, Paul Douglass and Frederick Burwick) (STREAMED)

Sir Henry De Vaux; Weep for what thou hast lost, Love; Sing not for others, but for me; Amidst the flowers rich and gay; Waters of Elle (arr. Nathan, folk version)

Don John of Austria (CD / streamed sound)

Isaac Nathan, Don John of Austria (arr./orchestrated Charles Mackerras); Sydney Symphony Orchestra, Alexander Briger (conductor) (Sydney" ABC Classics, 2011) (STREAMED SAMPLES / PAYWALL) (CD BOOKLET FREE DOWNLOAD)

Leichhardt's grave (streamed video)

Performed by Nyssa Milligan (soprano vocalist) and Katrina Faulds (piano); Sydney Living Museums; recorded at Elizabeth Bay House, Sydney, 2017 (STREAMED)

Leichhardt's return (streamed video)

Performed by James Doig (tenor vocalist) and Katrina Faulds (piano); Sydney Living Museums; recorded at Elizabeth Bay House, Sydney, 2017 (STREAMED)

The Aboriginal father (streamed synthesised sound)

Synthesised sound file, Australharmony 2016

Ah! Wy-a-boo-ka (streamed synthesised sound)

Synthesised sound file, Australharmony 2016

Koorinda braia (streamed synthesised sound)

Synthesised sound file, Australharmony 2016

Archival collections (music and other documentation)

Nathan 1864

Songs composed by I. Nathan; with words by Lord Byron, and others; State Library of New South Wales 

Album, Nathan; State Library of New South Wales 

Eliza Hamilton Dunlop 1866

"The Vase, comprising songs for music and poems by Eliza Hamilton Dunlop", 1814-1866; State Library of New South Wales, B 1541 (CY 1238, frames 1-121) 

Henry Lynd Nathan 1904

Owner bound album of early 19th century sheet music, cover labelled "H. L. Nathan" (Henry Lynd Nathan, b. 1844); the contents probably originally belonging to his father, and used by him in Australia in the 1840s and 1850s 

Marks 1917

Collection of letters to Percy J. Marks from Mr. Israel Solomons and Mrs. Phillips both of London and extracts of newspaper articles, dated 1854-1917 

Isaac Nathan (McCoy et al.) 1919

Isaac Nathan - Sheet music, ca. 1820-1862; State Library of New South Wales, MLMSS 5937 

1. Isaac Nathan - sheet music published in London, ca.1820-ca.1841 

2. Isaac Nathan - sheet music published in Sydney, 1842-1862 

Foulis c.1954

Lilian Foulis - collection of music by Isaac Nathan and others, with biographical and pictorial material relating to Isaac Nathan, 1820-ca.1954; State Library of New South Wales, MLMSS 6152 / PXA 700

1. Lilian Foulis - collection of music by Isaac Nathan and others, ca.1824-1904 

2. Lilian Foulis - papers relating to Isaac Nathan and Nathan family history, 1820-ca.1954 

3. Lilian Foulis - photographic copies of portraits of Isaac Nathan 

Catherine Mackerras 1971

Catherine Mackerras - papers, 1889-1971; State Library of New South Wales, MLMSS 3539

Mackerras family 1988

Mackerras family papers, 1900-1988; State Library of New South Wales, MLMSS 5682; Box 82 / Item [26] 

Charles Venour Nathan 1992

C. V. Nathan - papers, including collection of printed music by Isaac Nathan, manuscript volume of medical notes by Dr Irving, and portrait of Charles Nathan, ca.1810-1991; State Library of New South Wales, MLMSS 6334 

1. Collection of printed music and lectures by Isaac Nathan, ca.1810-1862; State Library of New South Wales, MLMSS 6334/1 

2. Papers and printed items, mainly relating to Isaac Nathan, 1811-1991 

William J. Palmer (Neylon) 1994

William J. Palmer - Bound collection of sheet music by Isaac Nathan and others, ca.1820-ca.1854; State Library of New South Wales, MLMSS 6132 

Alfred Nathan (Weeden) 1995

Alfred Nathan - Collection of manuscript and printed music by Isaac Nathan and others, with associated realia, ca.1816-ca.1870; State Library of New South Wales, 120008 

Series 01: Alfred Nathan - music manuscript by Isaac Nathan, ca.1843 

Series 02: Alfred Nathan - sheet music by Isaac Nathan published in Sydney, 1842-1864 

Series 03: Alfred Nathan - sheet music by Isaac Nathan and others published in London, ca.1820-ca.1870 

Series 04: Alfred Nathan - Indian dagger and photoprints of candlesticks presented to Isaac Nathan by Lord Byron, probably in 1816 

Pont 1999

Graham Pont papers, 1956-1999; State Library of New South Wales, MLMSS 9070, box 89 (restricted) 

Isaac Nathan (Spode) 2010

Bound collection of sheet music by Isaac Nathan and others, ca.1820-ca.1850; State Library of New South Wales, MLMSS 8032 

Bibliography and resources

Fowler 1859

Frank Fowler, Southern lights and shadows; or, Life in Australia; being brief notes of three years' experience of social, literary, and political life in Australia (London: Sampson Low, Son, and Co., 1859), 38 (DIGITISED)

. . . The chief musical authority is that "sunburn Nathan" who set Byron's "Hebrew melodies" to music. He is a pleasant old man, makes a good white port wine, and talks quite charmingly over it of the ill-starred bard . . .

Heaton 1879

John Henniker Heaton, Australian dictionary of dates and men of the time . . . to May, 1879 (Sydney: George Robertson, 1879), part 1 151-52; also part 2 168 (DIGITISED)

NATHAN, Isaac, born at Canterbury, England, in 1792. He was intended for the Church, and studied under Professor Lyon; but his love of music was so great that he was articled to Dominico Corri. Eight months afterwards, he composed his first song, "Infant Love," which was followed by others. One of the most celebrated of these compositions is the well-known song "Why are you wandering here, I pray?" He wrote a "History and Theory of Music," and was considered one of the finest theoretical musicians of the day. He set to music many of Byron's "Hebrew Melodies," and the poet, in his "Memoirs" speaks of him as " Hebrew-Melody Nathan." He was appointed Musical Historian to George IV, and instructor to Princess Charlotte of Wales. He came out to Sydney in 1841, and did much service in developing musical talent and improving church music and choral societies. As a teacher, he maintained a very high position, especially in vocal music, some of the first artists of the day having been amongst his pupils. He took [152] great interest in the Randwick Asylum for Destitute Children, and in 1859 organised in aid of its funds, a monster concert at the Prince of Wales Theatre (now the Theatre Royal). He named his residence at Randwick opposite the Institution "Byron Lodge," in memory of the Poet with whom he was intimately acquainted. He was accidentally killed whilst getting out of a car of the old Pitt Street Tramway, July, 1863 [sic]. He was twice married and left several children, one of whom was the late well-known and much esteemed Surgeon, Charles Nathan, Esq., F.RC.S., and a daughter who was married to the late Dr. Foulis, of Sydney. 

[Part 2 168] . . . Isaac Nathan, the great pianist and composer, arrived in Melbourne February 5, 1841. [He gave some concerts prior to his departure for Sydney.]

Brewer 1892

Francis Campbell Brewer, The drama and music in New South Wales (Sydney: Charles Potter, Govt. Printer, 1892), 57 (DIGITISED)

. . . Mr . Isaac Nathan, a musician and composer, who set some of Byron's Hebrew melodies to music, came to Sydney in 1841, and had not been many weeks in the Colony when he arranged for a performance of sacred music in St. Mary's Cathedral. It was described as an "oratorio," and consisted of selections from the works of Handel, Mozart, Haydn, and some of his own compositions. The vocalists were - Mr . John Bushelle, sen., Mrs. Bushelle (nee Miss Wallace), the Misses Nathan (2), Miss Strickland, Miss Anne Winstanley, and Messrs, Morgan [recte Worgan], Goherty [Grobety], Boyce, Eigby, Allen, Falchon, Derby, Kelly, and Wye; a number of boys from the various church choirs in Sydney formed part of the chorus. The tickets for the nave were 15s. each, and for the western end 10s.; even at these prices there was a large audience. On May 27, 1812, Nathan gave a Madrigal Concert in the hall of the Sydney College (now the Grammar School). At this concert an aboriginal melody, composed by him and dedicated to Mrs. Deas-Thomson, was given. It was divided into solo, quartette, and chorus; the melody was entitled "Koorinda Braiee." For many years Mr. Nathan was foremost in musical matters in Sydney giving concerts and presiding over oratorial performances. An accident befell him when alighting from a tram in Pitt-street. He fell, and was so severely injured by the wheel that he died shortly after.

The production of opera in Australia commenced on February 12, 1841, when Rossini's "Cenerentola" was performed at the Victoria Theatre, with a cast that at the present day would be considered ludicrous - if the principal character is excepted. There was then but one copy of the score of the opera in the Colony, and that was in the possession of Mr. Nathan. No English version of the libretto could be found, and a translation had to be made by Mr. Richard Thompson, then on the Press, who took great interest in the matter . . .

ASSOCIATIONS: Francis Campbell Brewer (journalist, musical amateur)

Table Talk 1893

[? Francis Campbell Brewer], "A Musical Family", Table Talk (17 November 1893), 6 

The announcement of the intelligence that Mr. Alfred [Woodward] Nathan, of Sydney, one of the partners of the well-known firm of solicitors, Messrs. McNamara and Nathan, has abandoned the legal profession to adopt an artistic career, calls forth reminiscences of a remarkable progenitor of his family, in which musical talent and literary ability have developed themselves for several generations past, and which affords an illustration in favour of the much discussed subject, "Heredity."

The late Isaac Nathan, the grand father of the gifted young Australian, was a distinguished musician and composer, of Hebrew parentage, born at Canterbury in 1792. His parents, being orthodox in their religious views, resolved to train their son for a Rabbi, and on his having attained the age of thirteen years, he was sent to college to devote his time specially to the study of the Hebrew language. His inborn love for the divine art of music, however, predominated, and his parents were compelled to accede to his wishes and allowed him to adopt music as a profession. Placed in the hands of the celebrated Italian instructor, Domenico Corri, whose special care and training so quickly developed his young pupil's ability that at a very early age he began to compose, though devoting his attention principally to singing, he made his first appearance in public as Guy Mannering at Covent Garden Theatre. After composing several songs, which gained much popularity, in 1822 he wrote the music to Lord Byron's Hebrew Melodies, which, although generally, of a simple character, are exquisitely beautiful, besides possessing the charm of the ancient Jewish airs. Having achieved much success with these sacred compositions, he determined to devote all his time to musical literature and composition. The many productions from his pen showed his wonderful ability and intellectuality. The popular little song, "Why are you wandering here, I pray," a selection from the music he wrote for the comedy Sweethearts and Wives, brought him still greater success and increased his fame. His essay on "The History and Theory of Music, the Qualities, Capabilities and Management of the Human Voice" proved a great help at the time to those directing their studies to the same art. After composing in 1824 The Alcaid, a comic opera, and The Illustrious Stranger, an operatic farce, his next literary effort published was entitled The Life of Madame Malibran de Beriot, which is interspersed with original anecdotes and remarks on her musical ability and power.

Subsequently Isaac Nathan emigrated to Sydney in 1841 and in consequence of a fight with a nobleman in London, which led to a police court case. Arrived in Sydney he took up his residence in the vicinity of the then "Coogee Bay," the poetical surroundings of which helped to bring fresh ideas to his cultivated and artistic mind. Australians who had the privilege of enjoying his society found him a charming companion and an excellent raconteur. His energy seemed unbounded, and it was wonderful how he trudged from his "little hut" at Coogee, as, he termed it, for one so advanced in years. Unlike most men who are gifted with genius, eccentricity cannot be attributed to him, except as far as appearance was concerned. He had a peculiar style of wearing his hair in "pipe stem ringlets." He had not been many weeks in the colony when he arranged for a performance of sacred music at St. Mary's Cathedral, Sydney. It was described as an oratorio and consisted of selections from the works of Haydn, Mozart, Handel and some of his own compositions. In this performance two of the artist's daughters took a prominent part, together with other musical Australians, and a number of boys from the various church choirs in Sydney formed part of the chorus. At the expiration of a year Mr. Nathan gave a Madrigal concert in the hall of the Sydney College, now the Sydney Grammar School, at which he produced for the first time in public, an aboriginal melody entitled "Koorinda Braiee." It is divided into solo, quartet and chorus, and was supposed to be first sung at a "Coroboree" of Australian natives, not the modern association, but the real aboriginals. The music is original in style and character, and the word "coooe" is often repeated in it. From all accounts it was a most amusing spectacle to see the genial old musician rushing about among the tenors and basses teaching them how to shout "cooee."

Often during rehearsal he would leave off his work suddenly to tell some passing fancy. On one occasion when rehearsing an oratorio in the Old Country, he said he wished to have a startling effect produced by the manner of rendering the part where it says "Saul saw, and fell to the earth as falls the oak." He rose from his seat at the piano and brought his hands down with a great crash on the body of the instrument, quite frightening the listeners, and so the desired impression was produced in true Wagnerian style. He rendered his own compositions, especially the Hebrew melodies, with such fervour and pathos that he brought tears to many listeners' eyes, and his charming little gem, entitled Jeptha's Daughter, must ever be a thing of beauty to those who are acquainted with the sweet melody. This was originally sung by Madame Malibran, but when the talented composer had an edition of it published in Sydney, he took out the words as "sung by Madame Melibran" and substituted "sung by Miss Wallace," an Australian lady afterwards known as Madame Wallace-Bushelle, who was gifted with more than ordinary powers, and who, according to Mr. Nathan's opinion, rendered that special composition with greater sympathy than her rival artiste. Mr. Nathan also published in Sydney an opera called Don John of Austria, or Merry Freaks in Troublous Times [sic]. He wished to have this printed in musical moveable type, and having ascertained that there was, even in those days, a fount of musical type in a printing office in Sydney, but no compositor, the clever old gentleman, with wonderful energy, actually studied the mysteries of type-setting, and succeeded in becoming quite and expert type-setter.

Apart from his great ability as a musician, Isaac Nathan was a great humourist, and had the happy faculty of always carrying his listeners with him. In rehearsing a laughing chorus, "Vadaci via di qua," the old gentleman would laugh in real earnest and with such an amount of humour that the whole of his audience would laugh with him. He took the keenest interest in everything connected with the advancement and culture of music in Sydney; was an excellent instructor, commanding large fees for his tuition, and his pupils wore not lacking in numbers. Mr. Nathan was foremost in musical matters in Sydney for many years, giving concerts and rendering his own compositions. He was the conductor of St. Mary's Choral Society, and presided over many oratorio performances. His numerous friends and acquaintances in the land of his adoption regretted the sad end of the great musician who was accidentally killed by a horse-tram in Pitt-street, Sydney, in 1864. The late Dr. Nathan, of Sydney, and who, strange to say, was also killed by a horse-tram, was a son of the musician and father of Mr. Alfred Nathan, who is now exchanging a legal for a musical career. Dr. Nathan had inherited his father's talent, wit, and ability, but having adopted the medical profession, in which he distinguished himself as a clever, successful, and able practitioner, he had little leisure for Art. There are still many members of the family living in Sydney.

DNB (Legge) 1894

"R. H. L." [Robin Humphrey Legge], Dictionary of national biography 40 (1894) 121-23,_Isaac_(DNB00) 

NATHAN, ISAAC (1791?-1864), musical composer, teacher of singing, and author, was born at Canterbury, Kent, about 1791, of Jewish parents. Being by them intended for the Hebrew priesthood, he was sent early in life to Cambridge to study Hebrew, German, and Chaldean, in all of which he made rapid progress, with one Lyon, a teacher of Hebrew in the university; but in his leisure he diligently practised the violin, and showed such uncommon aptitude for music that his parents were persuaded to give their consent to his abandoning the study of theology for that of music. With this object, Nathan was taken away from Cambridge and articled in London to Domenico Corri (1746-1825), the Italian composer and teacher. Under Corri's guidance Nathan advanced rapidly. Eight months after the apprenticeship began the young composer wrote and published his first song, "Infant Love." There followed in quick succession more works in the same style, the best of which was "The Sorrows of Absence." 

[122] About 1812 Nathan was introduced by Douglas Kinnaird [q. v.] to Lord Byron, and thus commenced a friendship which was only dissolved by the death of the poet. At Kinnaird's suggestion Byron wrote the 'Hebrew Melodies' for Nathan to set to music, and Nathan subsequently bought the copyright of the work. He intended to publish the 'Melodies' by subscription, and Braham, on putting his name down for two copies, suggested that he should aid in their arrangement, and sing them in public. Accordingly the title-page of the first edition, published in 1815, stated that the music was newly arranged, harmonised, and revised by I. Nathan and J. Braham. But Braham's engagements did not allow him to share actively in the undertaking, and in later editions his name was withdrawn (cf. Pref. to 1829 ed.). The melodies were mainly ‘a selection from the favourite airs sung in the religious ceremonies of the Jews' (cf. Nathan's 'Fugitive Pieces,' Pref. p. ix, ed. 1829 p. 144; cf. advertisement by Byron in his collected works, London, 1821). Lady Caroline Lamb [q. v.] was also among Nathan's friends, and wrote verses for him to set to music. In 1829 he published 'Fugitive Pieces and Reminiscences of Lord Byron . . . together with his Lordship's Autograph; also some original Poetry, Letters, and Recollections of Lady Caroline Lamb.' Despite Nathan's claim to long intimacy with Byron, Moore avoids mention of him in his 'Life' of the poet. A note affixed to the earlier editions of Byron's works stated that the poet never 'alludes to his share in the melodies with complacency, and that Mr. Moore, having on one occasion rallied him a little on the manner in which some of them had been set to music, received the reply, "Sunburn Nathan! Why do you always twit me with his Ebrew nasalities? Have I not already told you it was all Kinnaird's doing and my own exquisite facility of temper?" ' (see Notes and Queries, 6th ser. 1884, ix. 71). Nathan's 'Fugitive Pieces' gave him a wide reputation, but the success of the volume was not sufficient to keep him out of financial difficulties. He contracted a large number of debts, was compelled to quit London, and for a time lived in retirement in the west of England and in Wales. On returning to London he was advised to appear on the stage in an attempt to satisfy his creditors. He accordingly made his debut in the part of Henry Bertram in Bishop's opera, 'Guy Mannering,' at Covent Garden about 1816 [sic]. His voice was, however, too small in compass and strength to admit of this being an entirely successful experiment, though his method was declared by competent judges to have been decidedly good. As his next resource he essayed opera writing, and several operas, pantomimes, and melodramas of his composition were produced at Covent Garden and Drury Lane Theatres, one or two of which obtained a certain amount of favour. Among them may be mentioned "Sweethearts and Wives," a comedy with music by Nathan and libretto by James Kenney [q. v.], which ran for upwards of fifty nights after its production at the Haymarket Theatre on 7 July 1823. It included two of Nathan's most popular songs, "Why are you wandering here?" and "I'll not be a maiden forsaken." Nathan's comic opera, "The Alcaid, or the Secrets of Office," the words also by Kenney, was produced at the Haymarket on 10 Aug. 1824. Nathan's musical farce, "The Illustrious Stranger, or Married and Buried," the words written for Liston by Kenney, was first given at Drury Lane in October 1827 (see Cat. Sacred Harmonic Soc. Library, 1872, p. 95).

In 1823 Nathan published 'Musurgia Vocalis: an Essay on the History and Theory of Music, and on the Qualities, Capabilities, and Management of the Human Voice, with an Appendix on Hebrew Music' (London, 4to), which he dedicated to George IV. The issue of an enlarged edition was begun in 1836, but of this only the first volume seems to have appeared. Contemporary critics considered the work excellent (see Monthly Review, June 1823; Quart. Mus. Rev. vol. xix.; Révue Encyclopédique, p. 156, October 1823; La Belle Assemblée, July 1823). Nathan also gave to the world a 'Life of Mme. Malibran de Beriot, interspersed with original Anecdotes and critical Remarks on her Musical Powers' (1st and 3rd ed. London, 1836, 12mo). He was appointed musical historian to George IV, and instructor in music to the Princess Charlotte of Wales.

In 1841 Nathan emigrated to Australia, because, it is said, of his failure to obtain from Lord Melbourne's ministry recognition of a claim for 2,326l. on account, he asserted, of work done and money expended in the service of the crown. The precise nature of the work is not stated by Nathan, but his treatment at the hands of the 'Melbournitish Ministry' weighed heavily upon him. The odd 326l. was paid him, but the remaining sum was disallowed (Notes and Queries, 6th ser. ix 355). The matter is fully dealt with by Nathan in 'The Southern Euphrosyne,' pp. 161-7, though again the precise nature of the business is omitted. He first took up his abode in Sydney at 105 Hunter Street, but later removed to Randwick, a suburb of that city; and there, and indeed in the entire colony, he did a great deal to benefit church [. . . 123] 

[123] music and choral societies. In 1846 [sic] he published simultaneously in Sydney and in London 'The Southern Euphrosyne and Australian Miscellany, containing Oriental Moral Tales, original Anecdotes, Poetry, and Music; an historical Sketch with Examples of the Native Aboriginal Melodies put into modern Rhythm, and harmonised as Solos, Quartets, &c., together with several other vocal Pieces arranged to a Pianoforte Accompaniment by the Editor and sole Proprietor, Isaac Nathan.' He also frequently lectured in Sydney on the theory and practice of music. The first, second, and third of a series of lectures delivered at Sydney Proprietary College were published in that city in 1846.

While resident at Randwick, where he named his house after Byron, he took great interest in the Asylum for Destitute Children, for whose benefit he arranged in 1859 a monster concert at the Prince of Wales's Theatre, Sydney. He subsequently went to live at 442 Pitt Street. He was killed in Pitt Street, 'in descending from a tramcar,' on 15 Jan. 1864. He was in his seventy-fourth year. His last composition was a piece entitled 'A Song of Freedom,' a copy of which was sent, through Sir John Young, to the Queen. Nathan's remains were interred on 17 Jan. 1864 in the cemetery at Camperdown (Sydney Morning Herald, 19 Jan. 1864). He was twice married, and left a number of children. One son, Charles, was a F.R.C.S., enjoyed a wide reputation as a surgeon, and died in September 1872. Another son, Robert [sic ?], was an officer in the New South Wales regular artillery, and aide-de-camp to the governor, Lord Augustus Loftus.

In the music catalogue of the British Museum no less than twelve pages are devoted to Nathan's compositions and literary works, all of which savour strongly of the dilettante. Of those not hitherto mentioned the best are: 1. A national song, 'God save the Regent,' poem by J. J. Stockdale (London, fol. 1818). 2. 'Long live our Monarch,' for solo, chorus, and orchestra (London, fol. 1830).

[Authorities cited above; also Notes and Queries, 6th ser. viii. 494, ix. 71, 137, 178, 197, 355; Cat. Anglo-Jewish Hist. Exhib.; Letters from Byron to Moore, 22 Feb. 1815; Allibone's Dict. of Engl. Lit. 1870, Philadelphia; Georgian Era, iv. 281; Heaton's Australian Dict. of Dates, 1879, p. 150; Jewish Chronicle, 25 March 1864.]

Cohen 1895

Francis L. Cohen, "Hebrew melody in the concert room", Transactions (Jewish Historical Society of England) 2 (1894-95), 7-13 (PAYWALL)

Bulletin 1904

"PERSONAL ITEMS", The bulletin (24 March 1904), 15 

Memories of Isaac Nathan, composer of Byron's Hebrew Melodies, are recalled in the death of one of his sons, Henry Lynd Nathan, and the arrival in Sydney of his granddaughter Miss Lilian Foulis. Isaac Nathan came to Sydney in 1841 and built himself a residence at Randwick which he named Byron Lodge, after his friend and patron, the poet. He was accidentally killed while getting out of a tram car on the old Pitt street tramway in 1863. He left several children. Dr. Charles Nathan being one. The recently deceased Henry Lynd Nathan was godson of Capt. Lynd, who was Barrack-Master in Sydney when the military were housed in Wynyard Square, and the personal friend of Leichhardt, the explorer. Captain Lynd was a poet of some note, his elegy on the supposed death of Leichhardt being very pathetic. Nathan set the elegy to music, and the piece was to be given in the old Victoria Theatre on a certain night, but while Captain Lynd was dressing for the theatre Leichhardt turned up at the barracks. The loseable explorer went to the theatre and heard his own elegy sung. A daughter of Isaac Nathan married Dr. Foulis, of Glebe Point, the vocalist just arrived being a descendant.

Leader 1904

"WOMEN ARTISTS", Leader (16 April 1904), 39 

Students of literary history are reminded by the appearance in Melbourne of Miss Lilian Foulis that the talented artist is a granddaughter of Byron's "Sun-burnt Nathan," who was the principal musical authority in Sydney 50 years ago. Isaac Nathan was born in Canterbury, England, in 1792, and was intended for the the Hebrew priesthood, but he loved music, and was placed under Domenico Corri, a celebrated Italian musician. His ambition was to sing at Covent Garden, but his voice, although sweet, was not strong enough for the stage. He then devoted himself to composition, and several of his successful songs brought him under the notice of Lord Byron, to whom he was introduced by the Hon. Douglas Kinnaird. Nathan's acquaintance with the poet resulted in the joint production of the Hebrew Melodies. When Sir Walter Scott was in London he visited Nathan in Poland-street and asked him to sing Jephtha's Daughter. Scott was so charmed that he asked permission to bring his wife and daughter - afterwards Mrs. Lockhart. The ladies entered into the spirit of Nathan's Hebrew music with all the true taste and feeling so peculiar to the Scottish people. Nathan was accidentally killed in Sydney by an omnibus on 15th January, 1864. The students of the University Conservatorium will entertain Miss Lilian Foulis at their weekly concert on Wednesday, next, 13th April. . .

Lipkind 1906

Goodman Lipkind, "NATHAN, BARNETT (known as Baron Nathan)", Jewish encyclopedia (1906) 

English dramatic and musical entrepreneur; born in 1793; died in London Dec. 6, 1856. Nathan was also a teacher of dancing from 1844 till his death. He acted for many years as master of the ceremonies and managing director at Rosherville Gardens, near Gravesend, and was a well-known personality. On his benefit night he used to perform the feat of dancing blindfold the egg-hornpipe. Bibliography: Jew. Chron. Jan. 23, 1857.

Cohen 1906

Francis L. Cohen, "Nathan, Isaac", Jewish encyclopedia (1906) 

Osric 1911 (ed. 1996)

The romance of the Sydney stage, by Alfred J. Crips and Humphrey Hall, MS, National Library of Australia 

Published as: The romance of the Sydney stage by "Osric" (Sydney: Currency Press, 1996), 61, 72, 93, 99, 108, 111, 112, 267 

As reported in the 1996 edition, page xi, extant letters dated November 1911 (to Cripps from Harold Wright, Mitchell Librarian) and November 1913 refer to the manuscript

Bertie 1922

Charles H. Bertie, Isaac Nathan, Australia's first composer; a lecture delivered at the Conservatorium of Music, Sydney . . . with a foreword by Henri Verbrugghen, director of the Conservatorium (Sydney: Angus & Robertson, 1922) (DIGITISED)

"PUBLICATIONS RECEIVED", Newcastle Morning Herald and Miners' Advocate (9 March 1922), 6 

"ISAAC NATHAN, AUSTRALIA'S FIRST MUSICIAN", The Hebrew Standard of Australasia (10 June 1922), 10

ASSOCIATIONS: Charles Bertie (librarian, historian)

AusEnyc 1926

J. V. C.-B., "Nathan, Isaac", in Arthur Wilberforce Jose and Herbert James Carter (eds) with the collaboration of T. G. Tucker, The Australian encyclopaedia, vol. 2 Mab-Z (Sydney: Angus and Robertson, 1926), 174 

NATHAN, Isaac (1790-1864), born at Canterbury in Kent, England, in 1790; studied Hebrew, German, and Chaldean at Cambridge under professor Lyon as a preparation for Jewish priesthood. In his leisure he practised the violin, and showed so great an aptitude for music that his parents allowed him to pursue the study of it under Domenico Corri, an Italian composer and teacher. After eight months he published his first song, 'Infant Love.' About 1813 Douglas Kinnaird introduced him to Lord Byron, who wrote his 'Hebrew Melodies' for Nathan to set to music. The first edition, which appeared in 1815, included several of the favourite airs sung in Jewish religious ceremonies. His intimacy with Lord Byron was interrupted only by the poet's death. For a later edition the "Melodies" were revised in collaboration with Braham. His debts forced him to leave London for the west of England and Wales, but in 1816 he was persuaded to return and retrieve his fortune on the stage. He appeared at Covent Garden as Henry Bertram in Bishop's opera 'Guy Mannering,' but his voice was too weak and its compass too small. In 1818 he published a song, "God Save the Regent," following it up with a number of operas, pantomimes, and melodramas, some of which were staged at Covent Garden and Drury Lane theatres. In 1823 he published Musingia [sic] Vocalis, an Essay on the History and Theory of Music, which he dedicated to George IV - at this time he was the musical librarian to that King, and instructor to the Princess Charlotte.

On 7 July 1823 he produced at the Haymarket theatre a musical comedy, Sweethearts and Wives, which contained two of his most popular songs, "Why are you wandering here?" and "I'll not be a maiden forsaken." At the same theatre on 10 August 1824 a comic opera, The Alcaid, or the Secrets of Office, was successfully staged, and in October 1827, a musical farce, The Illustrious Stranger, or Married and Buried.

In the musical catalogue of the British Museum no fewer than 12 pages are occupied by his musical compositions and literary works. His best known literary works are Fugitive Pieces and Reminiscences of Lord Byron (1829), and The Life of Madame Mailbran de Beriot (1836). In 1841, failing to obtain £2000 from the government (on account, he asserted, of work done and money expended in the service of the Crown), he migrated to Australia, where he performed a signal service in developing musical talent and improving music in the churches and choral societies. In 1841 he gave a sacred concert (which included some of his own compositions and works of Handel, Mozart, and Haydn) in St. Mary's cathedral at Sydney; this realized a large sum for the church. On 27 May 1842 he gave a madrigal concert in the hall of what is now the Sydney grammar school. In 1846 he published simultaneously in Sydney and London his Southern Euphrosyne and Australian Miscellany, which included examples of aboriginal melodies put into modern rhythm and harmonized as solos, quartets, etc. He also delivered many lectures on music; three given at the Sydney College were published in 1846. On 3 May 1847 Nathan produced at the Victoria Theatre, Sydney, his Don Juan [sic] of Austria, the first opera written, composed, and produced in Australia. On 15 January 1864 he was killed while alighting from the old Pitt-street horse0-tramway. See Bertie's Isaac Nathan (Sydney, 1922) - J.V.C.-B.

Trilling 1926

Lionel Trilling, "A friend of Byron," The menorah journal 12/4 (August-September 1926), 371-83

Rubens 1933

Arthur Rubens, "ISAAC NATHAN: CARICATURES", Notes and queries (15 April 1933), 236

Isaac Nathan, Australia's first composer, friend of Lord Byron, is the subject of two caricatures, both dated 1820, one entitled "David and Bathseba," and the other "The Black Joke, or the Jew Harper and demi-rep Countess." Can any readers supply the explanation to these caricatures? In 1829 Nathan fought a duel with Mr. P. Lepiper as the result of "some strong personal allusion allusion made on a lady of high rank and character" (Standard, Jan. 31, 1829), and in 1835 he was summoned for assaulting Lord Langford (Times, Oct. 28, 1835).

The Black Joke!! or, the Jew Harper and Demi-rep Countess, alias the Amorous Chambermaid, in her Cabin, in board the Polacre. Published September, 1820, by John Fairburn, Broadway, Ludgate Hill; probably not, as formerly believed, a representation of Nathan and Lady Langford, but to "Countess Colombiere", a Swiss chambermaid to Queen Caroline, and a wandering musician, see: 

Philips 1940

Olga Somech Philips, Isaac Nathan: friend of Byron (London: Minerva Publishing, 1940) 

[Review]: "WANDERING JEW", The Sydney Morning Herald (18 January 1941), 8 

Dibdin 1941

Edward Rimbault Dibdin, "Isaac Nathan", Music and letters 22 (1941), 75–80 (PAYWALL)

DAB (Serle) 1949

"NATHAN, ISAAC", in Percival Searle (ed.) Dictionary of Australian biography (Sydney: Angus and Robertson, 1949); modern online edition, Project Gutenberg Australia 

NATHAN, ISAAC (1790-1864), musician, was born at Canterbury, England, in 1790. He was intended for the Jewish ministry and was sent to Cambridge university to continue the study of Hebrew. His love of music, however, was so great that his parents allowed him to give up his course and study under Domenico Corri, a well-known musician of the time. He was introduced to Byron the poet by the Hon. Douglas Kinnaird, and wrote the music for his "Hebrew Melodies". In 1816 when Byron left England he gave Nathan £50 (Byron's Letters, vol. III, Murray's 1899 Ed., p. 283, note). In 1823 Nathan published An Essay on the History and Theory of Music, which brought him under the notice of George IV who appointed him musical historian and instructor in music to the Princess Charlotte. He wrote several songs, some of which were successful, and appeared at Covent Garden as a singer, but his voice was not strong enough for so large a theatre. His comedy with songs, Sweethearts and Wives, was played at the Theatre Royal, Haymarket, in 1823, a comic opera, The Alcaid, on 10 August 1824, and in 1827 an operatic farce, The Illustrious Stranger, was produced at Drury Lane.

In 1829 Nathan brought out Fugitive Pieces and Reminiscences of Lord Byron, in 1836 appeared Memoirs of Madame Malibran de Beriot, and about this period he undertook some work of a secret nature for William IV. Nathan was promised "consideration, protection and indemnity from his Majesty's Ministers", but when he subsequently put in a claim for £2,326 he was unable to recover more than the odd £326. He consequently became financially embarrassed, and about the end of 1840 emigrated to Australia. Landing first at Melbourne he went on to Sydney and became well known there as a musician and conductor. On 7 May 1847 his Don John of Austria, the first opera to be written, composed and produced in Australia, was performed at the Victoria theatre, Sydney. He also established a high reputation as a teacher. He published in 1846 The First, Second and Third of a Series of Lectures on the Theory and Practice of Music, and, probably early in 1849, The Southern Euphrosyne and Australian Miscellany. This has sometimes been dated 1848, but a note on the last leaf shows that the book could not have been issued until after the news of the death of Lord Melbourne had reached Sydney. Nathan had done a useful piece of work in recording some of the songs of the aborigines, which, put into modern rhythm and harmonized, are printed in this volume. He continued in high repute as a musician and teacher until he was accidentally killed when alighting from a tram on 15 January 1864. He married (1) Elizabeth Rosetta Worthington and (2) Henrietta Buckley. He was survived by sons and daughters. One of his sons, Dr. Charles Nathan, was a well-known Sydney surgeon.

[C. H. Bertie, Isaac Nathan, Australia's First Composer; J. H. Heaton, Australian Dictionary of Dates; The Sydney Morning Herald, 16 and 21 January 1864; Notes and Queries, 11th series, vol. IX, pp. 71, 197; I. Nathan, The Southern Euphrosyne, pp. 161-7; Olga Somech Phillips, Isaac Nathan Friend of Byron.]

Orchard 1952

W. Arundel Orchard, Music in Australia: more than 150 years of development (Melbourne: Georgian House, 1952), 7, 23, 25, 26, 27, 28, 34, 51, 91, 121, 168, 213-4 (DIGITISED)

[90] . . . In every known instance, all music composed in Australia during the nineteenth century was written by musicians who came to this country and became residents for a time. There is little or no evidence of Australian-born composers before the beginning of the present century; therefore it will be right to begin with the earlier group who came here to remain.

An inspection of several of the works of that period discloses nothing of great merit, yet for historical reasons they are mentioned here.

The first of whom there is any record is John Phillip Deane . . . his contemporary in the 1830's, Vincent Wallace, penned violin fantasias . . . 

[91] . . . The next in order was Isaac Nathan, mentioned in the earlier pages of this book. He arrived in Australia in his fifty-first year and was already a London composer of some considerable experience. Therefore the title of "Australia s First Composer", given to him by his biographer Mr. Charles H. Bertie in his excellent brochure Isaac Nathan (Angus & Robertson), is a little misleading. Although during the remaining years of his life, spent in Sydney, Nathan wrote and produced his operas Don John of Austria and Merry Freaks, besides several lesser compositions, most of his creative work appears to have been done before his arrival in Australia. This included at least three major works, two of which were performed at The Haymarket Theatre and a third at Drury Lane. Besides these he had composed and published his Hebrew Melodies, a volume of thirty-six songs, mostly settings of poems by Lord Byron, with whom Nathan appears to have been closely associated. The composer's Musurgia Vocalis, an essay on the History and Theory of Music and the Management of the Human Voice, was a London publication, his later treatise The Cyclopaedia Vocalis being published in Sydney, where he also published his arrangement of several Australian Aboriginal Melodies. His choral song, Star of the South, to words by Mrs. Dunlop and inscribed to His Honor Mr. La Trobe, and his song - with chorus - Long Live Victoria, to words by W. A. Duncan and dedicated to His Excellency Sir George Gipps, were sung by Mrs. Bushelle (sister of Vincent Wallace). Both songs were published, the first by Thomas Liley, of Brougham Place, and the second one by F. Ellard, of George Street, formerly of Hunter Street, Sydney.

From all this it is evident that Nathan was the first composer of importance to become resident in Australia, though he could not be regarded as an Australian composer any more than Charles Horsley the composer-pianist, a near-contemporary of Nathan and a far abler musician . . .

Hall 1952

James Lincoln Hall, "A history of music in Australia . . . [nos. 15, some mentions 17-26]" (1952-54), The canon: Australian journal of music

Especially, ". . . 15: Early period - New South Wales, 1841: Isaac Nathan - 'Australia's first composer'", 5/8 (March 1952), 361-64

Slater 1952

Joseph Slater, "Byron's Hebrew Melodies", Studies in philology 49/1 (January 1952), 75-94 (PAYWALL)

Kenny 1957

John Kenny, "Composer And His Secret Service", The Sydney Morning Herald (5 January 1957), 8

AusEnyc 1958

The Australian encyclopaedia, volume 6 Marsupials to Parliament houses [2nd ed., 1958] (digitised US edition: [East Lansing]: University of Michigan Press, [1958]), 243-44;view=1up;seq=287 

NATHAN, Isaac (1790-1864), musician, was born at Canterbury, England, of Polish-Jewish parents. He was sent to Cambridge University to prepare for the Jewish ministry, but his gift for music was so marked that his parents allowed him to change his career and study under Domenico Corri, a well-known musician of the time. He became friendly with Lord Byron and set his "Hebrew Melodies" to music. He was also a member of the eccentric circle which surrounded Lady Caroline Lamb, wife of Lord Melbourne. In 1823 Nathan's Musurgia Vocalis, an Essay on the History and Theory of Music and . . . the Management of the Human Voice, was published and he was appointed musical librarian to George IV and instructor to Princess Charlotte. In the same year his musical comedy, Sweethearts and Wives, was played at the Theatre Royal, Haymarket. A comic opera, The Alcaid, was performed the next year and in 1827 an operatic farce, The Illustrious Stranger, was produced at Drury Lane. Fugitive Pieces and Reminiscences of Lord Byron, which Nathan edited, appeared in 1829. In 1837 Nathan did some work of a secret nature for William IV, but the King died later in the same year and Nathan could not obtain payment, even though he repeatedly interviewed and petitioned Lord Melbourne on the subject. As he had a large family to support and his financial position was precarious, Nathan decided to emigrate to Australia. After a brief stay in Melbourne, he arrived in Sydney in April 1841 and immediately gained a reputation as a musician. He was indefatigable in developing musical talent and in improving music in churches and choral societies. Within a month of his arrival he was forming plans for the opening of an academy of music. In June 1841 Nathan directed what he called a "Grand Oratorio" at the opening of the new organ at St. Mary's Cathedral, of which he was the organist. In October of the same year two of his compositions were performed at a concert; these were "The Aboriginal Mother", probably his first Australian composition, and an Australian anthem entitled "Long Live Victoria", to words by W. A. Duncan (q.v.). Six months later his "Eagle Chief" was acclaimed in the Press as "the first concerted musical production of Australia". A collection of Nathan's Australian and aboriginal melodies was published in 1842, when he also issued a prospectus for an Australian Musical Academy. In 1843 Nathan produced his own light opera, Merry Freaks, with success, and in May 1847 his Don John of Austria, the first opera to be written, composed and produced in Australia, was performed at the Victoria Theatre, Sydney. In 1846 he published The First, Second and Third of a Series of Lectures on the Theory and Practice of Music and, probably in 1849, The Southern Euphrosyne and Australian Miscellany; the latter contained some aboriginal songs put into modern rhythm and harmonized. In 1845 he set to music some verses written by Robert Lynd (q.v.) in memory of the explorer Ludwig Leichhardt, then believed to be missing. Nathan was killed in a vehicular accident in a Sydney street on 15th January 1864. He was twice married, to Elizabeth Rosetta Worthington in 1812 and to Henrietta Buckley in 1826. He was survived by sons and daughters.

One of his sons, Charles Nathan (1816-72), was a well-known Sydney surgeon. Trained at Westminster Hospital, London, he became a member of the Royal College of Surgeons in 1837 and in 1857 was honoured with an honorary fellowship "for the excellence of his work". He commenced to practise in Sydney in 1842 and during the next 30 years attained great eminence in his profession. He was one of the first to use ether as an anaesthetic in Australia. Charles Nathan became one of the first surgeons to the Sydney Infirmary and Dispensary (later the Sydney Hospital) in 1845 and retained his connection with it until his death. He was also consulting surgeon to St. Vincent's Hospital and honorary surgeon to the Sydney Female Refuge. He was a member of the Senate of the University of Sydney, a Fellow of St. Paul's College, and an examiner in medicine at the university. He was a connoisseur of art, a fine musician, and a brilliant conversationalist. He died on 20th September 1872. There is a tablet to his memory in St James' Church, Sydney, of which he was a warden.

BIBLIOGRAPHY: C. H. Bertie, Isaac Nathan, Australia's First Composer (1922); O. S. Phillips, Isaac Nathan, Friend of Byron (1940). (See also MUSIC.)

Wentzel 1962

Anne Wentzel [Carr-Boyd], "Early composers of music in Australia", Quadrant 6/2 (Autumn 1962), 29-36

Mackerras 1963

Catherine Mackerras, The Hebrew melodist: a life of Isaac Nathan (Sydney: Currawong, 1963) 

Covell 1967

Roger Covell, Australia's music, themes of a new society (Melbourne: Sun Books, 1967), 13-15, 59-60, 68-69, 293 and 298-99 (notes), 304 (note 235), 317 and 325 (music examples) 

De Salis 1967

Margaret de Salis, Two early colonials, by a great grand-daughter ([Sydney]: [Author], 1967), 101-05 

On Eliza Hamilton Dunlop

Ashton 1972

Thomas L. Ashton, Byron's Hebrew melodies (London: Routledge & Kegan Paul, 1972) (PREVIEW)

Ashton 1972a

Thomas L. Ashton, "Byronic lyrics for David's harp: The Hebrew melodies", Studies in English literature, 1500-1900 12/4 (nineteenth century) (Autumn 1972), 665-81 

ADB (Mackerras) 1974 (Isaac)

Catherine Mackerras, "Nathan, Isaac (1790-1864)", Australian dictionary of biography 5 (1974) 

ADB (Mackerras) 1974 (Charles)

Catherine Mackerras, "Nathan, Charles (1816-1872)", Australian dictionary of biography 5 (1974)

Wood 1979

Elizabeth Wood, Australian opera, 1842-1970: a history of Australian opera with descriptive catalogues (Ph.D thesis, University of Adelaide, 1979), 71-83 (DIGITISED)

Grumet 1984

Elinor Grumet, "The apprenticeship of Lionel Trilling", Prooftexts 4/2 (May 1984), (153-73), 166-67 (PAYWALL)

Hort 1987

Harold Hort, "An aspect of interaction between Aboriginal and Western music in the songs of Isaac Nathan" [Paper presented at the International Musicological Society, International Symposium (3rd: 1979: Adelaide)], Miscellanea musicologica 12 (1987), 207-11

Burwick and Douglass 1988

Frederick Burwick and Paul Douglass (eds), A selection of Hebrew melodies, ancient and modern, by Isaac Nathan; and Lord Byron (Tuscaloosa: University of Alabama Press, 1988) 

Rushworth 1988

Graeme D. Rushworth, Historic organs of New South Wales: the instruments, their makers and players 1791-1940 (Sydney: Hale and Iremonger, 1988), 368-69, 460 (endnotes) 

Rosen 1990

Carole Rosen, "Lord Byron's Hebrew melodies: a curious episode reconsidered - a review essay" [review of Burwick and Douglass], Musica Judaica 11/1 (5750/1989-90), 86-92 (PAYWALL)

Pont 1993

Graham Pont, "The rediscovery of Isaac Nathan; or 'Merry Freaks in Troub'lous Times'", Journal of the Australian Jewish Historical Society 12/1 (November 1993), 42-53

Weinberg 1996

Barry Weinberg, "Aspects of Jewish contributions to musical life in Britain, 1770-1820", Jewish historical studies, 34 (1994-96), 225-36 (PAYWALL)

Gyger 1999

Alison Gyger, Civilising the colonies (Sydney: Pellinor, 1999), 21, 32, 40, 46, 49-50, 52-56, 58-59, 123, 248 

Neidorf 1999

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), passim (DIGITISED)

NG2 (Wood) 2001

Elizabeth Wood, "Nathan, Isaac", New Grove 2 / Oxford music online (2001) 

Wells-Green 2005

James Harold Wells-Green, Contrivance, artifice, and art: satire and parody in the novels of Patrick White (Ph.D thesis, University of Canberra, 2005), especially 65-69 

On White's constructing the character in Voss of Dr. Topp, from accounts of Stephen Hale Marsh and Isaac Nathan

Ben-Merre 2006

David Ben-Merre, "Reading Hebrew melodies", Shofar 24/2 (special issue: The cultural and historical stabilities and instabilities of Jewish orientalism) (Winter 2006), 11-32 (PAYWALL)

Spector 2008

Sheila A. Spector, "The liturgical context of the Byron-Nathan "Hebrew melodies", Studies in romanticism 47/3 (Fall, 2008), 393-412 (PAYWALL)

Pfeffer 2010

Jeremy I. Pfeffer, "The skeleton in Isaac Nathan's cupboard", Journal of the Australian Jewish Historical Society 20/1 (November 2010), 5-21

Pont 2010

Graham Pont, "Isaac Nathan's songs in Glenarvon and Ada Reis: leaves from a secret history", Journal of the Australian Jewish Historical Society 19/4 (June 2010), 26-42 

Spector 2010

Sheila A. Spector, Byron and the Jews (Detroit: Wayne State University Press, 2010), 35-53 (PREVIEW)

Conway 2011

David Conway, Jewry in music: entry to the profession from the enlightenment to Richard Wagner (Cambridge: Cambridge University Press, 2011), 91-100 (PREVIEW)

Lloyd-Jones 2011

Ralph Lloyd-Jones, "Byron and the Jews: the Jewish Byron?", in Peter Cochran (ed.), Byron's religions (Newcastle upon Tyne: Cambridge Scholars Publishing, 2011), 228-42 (PREVIEW)

Skinner 2011

Skinner 2011, First national music, especially 167-237 (DIGITISED)

Skinner 2011a

Graeme Skinner,

"Australian composers and arrangers of early colonial synagogue music: new light on Isaac Nathan, James Henri Anderson, Joseph Reichenberg, and Herman Hoelzel"

The Australian Jewish Historical Society Journal 20/2 (June 2011), 193-214

Skinner 2017

Graeme Skinner (University of Sydney), "Recovering musical data from colonial era transcriptions of Indigenous songs: some practical considerations", in Jim Wafer and Myfanwy Turpin (eds), Recirculating songs: revitalising the singing practices of Indigenous Australia (Canberra: Asia-Pacific Linguistics, 2017), 349-74, especially 369-70 ("And a final word on Isaac Nathan") 


R. H. Legge, revised by David J. Golby, "Nathan, Isaac (1790-1864)", Oxford dictionary of national biography (online) (PAYWALL)  (original 1894 text) (PAYWALL)

"Isaac Nathan", Wikipedia 

Graeme Skinner, "Isaac Nathan and family in Australia", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia) 

"Baron Nathan (1793-1856)", Canterbury Historical & Archaeological Society (CHAS), website 

"Rosherville Gardens", Wikipedia 

"Isaac Nathan (1790-1864)", Canterbury Historical & Archaeological Society (CHAS), website 

Paul Douglass and Frederick Burwick, Romantic-era songs, curated web resource (2009-current) 

Site includes streamed recorded performances of songs

A Selection of Hebrew Melodies, Ancient and Modern, by Isaac Nathan and Lord Byron 

Songs of Lady Caroline Lamb 

"Nathan v. Legg [1841] NSWSupC 49", Decisions of the Superior Courts of New South Wales, 1788-1899; Macquarie University Law School 

NATHAN, Harry Alfred (Harry A. NATHAN)

Professor of music and theory, pianist, organist, lecturer, composer

Born Sydney, NSW, 10 February 1866 (son of Alfred NATHAN, grandson of Isaac NATHAN)
Died Brisbane, QLD, 17 March 1906 (TROVE tagged by Australharmony)


"BIRTHS", The Sydney Morning Herald (15 February 1866), 1

[Advertisement], The Sydney Morning Herald (7 January 1893), 2

"New Music", Australian Town and Country Journal (16 September 1893), 43

"An Australian Musician", Evening News (16 February 1895), 4

"ELOCUTION AND MUSIC", The Sydney Morning Herald (4 May 1895), 10

"NEW MUSIC", Australian Town and Country Journal (28 December 1895), 27

"WOMAN'S COLUMN", Freeman's Journal (28 December 1895), 10

[News], The North Queensland Register (5 August 1896), 37

Mr. Harry Nathan, from Sydney, late organist and choirmaster at St. Mary's Church, Waverly, arrived on the Towers last night, having secured the appointment as organist to St. Paul's Church, and takes up his duties next Sunday. Mr. Nathan is the grandson of Mr. Isaac Nathan, the well known musician who composed the famous Hebrew melodies, and the popular ballad "Where are you going to my pretty maid,' and was tutor to their majesties George the Fourth, and William the Fourth. Mr. Isaac Nathan left England for New South Wales a little more than sixty years ago, owing to some disagreement with Lord Melbourne. His grandson comes to us with the highest credentials and encomiums, having gained his professorship in the theory of music, piano and organ and voice production in England in 1892. He was accompanist for the Ballad Singers' Club, and the Guildhall School of Music from 1889 to 1891 where he studied. He also composed the well-known waltz "Langreath." Mr. Nathan was for some time tutor at Palings, of Sydney, and now intends to commence business as a professor of music, organ and piano-forte, singing, and voice production.

"DEATHS", The Sydney Morning Herald (30 March 1906), 4

NATHAN. - March 17, at Brisbane, Harry Alfred Nathan, beloved husband of (Daisy) E. M. Nathan.

Published musical works:

Langreath waltz, by Harry A. Nathan (Sydney: W. H. Paling & Co., [1893])

Violet's musical album . . . no. 2 (Sydney: H. J. Samuell, 1895) [includes Isaac Nathan's song Where are you going, my pretty maid)

To arms! Australians; words by K.S. Dillon; music by Harry A. Nathan (Townsville: McCullagh & Co., 1900)

Manuscript sources:

Materials relating to Waltzing Matilda (1900/1903/1905; words; Banjo Paterson); National Archives of Australia, A1716, 261) (7 pages digitised): music by Harry A. Nathan, composed 1900; copyright 1903.; dated "1905 Aug. 10"

'Waltzing Matilda, words by A. B. Paterson - music by Harry A. Nathan - 1900', manuscript copy of words and score, made by H. A. Nathan, August 1905; State Library of New South Wales, A 3642 

Materials relating to Waltzing Matilda; National Library of Australia, MS 1377 (photograph and photocopies of originals in State Library of New South Wales)

Select bibliography and resources:

Roger Covell, Australia's music, themes of a new society (Melbourne: Sun Books, 1967), 59-60, 298 (note) 

John Manifold, "The long march with Matilda", Australian left review 1/40 (1973), 18-21 

Greg Pemberton, "Waltzing Matilda's origins and chain of ownership murky", Sydney Morning Herald online (14 August 2015) 

© Graeme Skinner 2014 - 2018