THIS PAGE FIRST POSTED 1 FEBRUARY 2017
LAST MODIFIED Tuesday 21 February 2017 15:37
Dr GRAEME SKINNER (University of Sydney)
THIS PAGE IS CURRENTLY UNDER ACTIVE CONSTRUCTION
To cite this:
Graeme Skinner (University of Sydney),
Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):
http://sydney.edu.au/paradisec/australharmony/packer-family.php; accessed 25 March 2017
PACKER, Charles (senior)
Born Reading, Berkshire, England, 1786; baptised St. Mary's, Reading, 29 January 1786
Married Amelia Sandys (1788-1877), St. Dunstan in the West, London, 19 November 1808
Died Coleshill, near Amersham, Buckinghamshire, England, 26 July 1854
Born Dunkeld, Perthshire, Scotland, 28 May 1763
Married (2) Mary Hogg, 1814
Died Edinburgh, 19 January 1831
Bibliography and resources:
Sainsbury, Dictionary, 1827, 1, 292
PACKER, Charles Sandys
Pianist, vocalist, conductor, composer
Born Reading, Berkshire, England, 1809; baptised St. Mary's Reading, 19 November 1809
(son of Charles PACKER (1786-1854) and Amelia SANDYS (1788-1877))
Died Sydney, NSW, 1883
http://trove.nla.gov.au/result?l-publictag=Charles+Sandys+Packer (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1462470 (NLA persistent identifier)
On arrival in Hobart from Norfolk Island, Packer's was assigned as a passholder to judge Algernon Sidney Montagu (1802-1880), at the latter's request. Montagu described Packer as "a gentleman of extraordinary musical genius", and, instead of putting him to work on his estate at Rosny, permitted him to work independently as a professor of music, taking pupils and giving concerts. This arrangement was considered irregular enough to be used against Montagu by his opponents in the lead up to his dismissal in 1848. According to Jane Reichenberg (1923), Packer was organist of St. Joseph's Church, Hobart, in succession to her father Joseph Reichenberg, presumably in the brief period between Reichenberg's death and Packer's departure for Sydney in 1853. Packer's two major Australian works were the oratorios David, three numbers of which were performed in concert in December 1869 (the score, now lost, was once in the possession of August Huenerbein junior), and Crown of thorns, which was performed complete several times in Sydney and Melbourne before being published posthumously by the Huenerbeins for the Packer Memorial Fund; according to William Stanley's obituary (1902), "on the death of the late Charles Packer that composer's sacred cantata, "The Crown of Thorns", was completed by the late Mr. William Stanley", probably indicating that he at least edited the manuscript for publication.
"THE MONATGU DESPATCH", Launceston Examiner (16 December 1848), 2-3
(3) [Turnbull, Colonial Treasurer]: The Puisne Judge's explanation as to the transaction between the convict pass-holder "Packer" and himself reveals, as it appears to me, a case of collusive, or as he styles it, nominal hiring between that person and himself for the purpose of defeating the regulations of the government, with reference to the class of convicts to which "Packer" belonged.
"DESPATCH", Launceston Examiner (16 December 1848), 3-4
(4) ... In one part of this document Mr. Montagu refers to an allusion made by Mr. Young to some bill transactions of his with a man of the name of Packer, a ticket-of-leave holder; these formed no part of the charge against Mr. Montagu, but he enters into an explanation of the transactions, and, with reference to his connection with this man, who was a passholder a few months ago, he states, that I was aware of the position in which he stood with regard to him; this is explained in the minutes to have been altogether a mis-statement ...
"SOCIAL", The Sydney Morning Herald (28 July 1883), 11
Charles Sandys Packer, one of the most accomplished musicians Australia has known, died on July 13. He had reached the advanced age of 73 years, being born in Reading, Berkshire, England, in 1810. While very young, Charles Packer evinced such a love and talent for music that his father, himself a musician, placed him at the Royal Academy of Music, where he achieved the highest honours that institution was capable of bestowing, carrying off the best prizes awarded for composition, pianoforte playing, and singing. His masters were: for composition, Dr. Crotch, Regius Professor at Oxford, Mozart's pupil Attwood, Bochsa, the great orchestral master, and Weber, the celebrated composer, and for singing, Crivelli and Veluti. He was selected, when but a youth, to compose an opera for the opening of the new Royal Lyceum Opera House, a building erected in place of one which was destroyed by fire; and his literary coadjutor was Mary Russell Mitford, the authoress of "Our Village". The production was a successful one, and enjoyed a long run; and Mr. Packer's composition was favourably noticed bv the most eminent critics of England, France, and Germany. The young composer was favoured by the notice and friendship of such men as Thalberg, Hummel, and Weber; and he was the chosen accompanist of such great singers as Mario, Giulia Grisi, and Lablache. He frequently had the distinction of playing duets with her Majesty Queen Adelaide, consort of William IV, both of them being pupils of Hummel. His first composition was an aria, "Basta, Basta!" the words being from Metastasio's "Morte d'Abelle , and when, in 1825, this was performed at a concert given in the Hanover Square Rooms, the Harmonicon, the best journal of the day as regards musical criticism, spoke of it in terms of the highest praise, and predicted a bright future for the composer. His "Crown of Thorns" and "Song of the Angels", and some lighter efforts, are widely known and as widely admired. Mr. August Huenerbein has the scores of "David", an oratorio and of many other compositions, which will yet be published, and which will long preserve Charles Packer's name from oblivion. His life was a chequered one. ...
Bibliography and resources:
P. A. Howell, "Of ships and sealing wax: the Montagus, the navy and the law", Tasmanian Historical Research Association 13/4 (August 1966), 101-128
E. J. Lea-Scarlett, "Packer, Charles Sandys Stuart Shipley", Australian dictionary of biography 5 (1974)
PACKER, Frederick Alexander (senior)
Professor of music, music master, music seller, harpist, pianist, organist, composer
Born Reading, England, 7 May 1814
Arrived Hobart, TAS, 10 July 1852 (per Sylph with wife and 8 children)
Died Hobart, TAS, 2 July 1862, aged 48 years
http://trove.nla.gov.au/result?l-publictag=Frederick+Alexander+Packer (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1514964 (NLA persistent identifier)
In October 1855, having earlier that year had to correct rumours that he was leaving the colony, Packer released the first of his compositions to be published in Australia, The Queen of the polkas (lost). The Colonial Times judged it: "A little disfigured by repetition, or sameness, it is, nevertheless, without doubt, the best piece of the kind we have yet seen produced in this island."
At St. David's Cathedral on Christmas Day 1859, a Psalm chant by him was sung at morning prayer, and in the evening a canticle setting Deus Misereatur by his son. Until now, the hymn setting Nearer to thee, possibly his last surviving Australian composition, has also usually been incorrectly assumed to be the work of Frederick junior (and also attributed to his brother Charles). But both it and a Mazurka for piano belong, certainly, to Frederick senior. They were first published in May 1861, not in Hobart, but in Melbourne, where the Argus greeted them as "decidedly as original and talented as any colonial musical productions we have heard", and congratulated itself "on having in Australia so talented a composer as Mr. Packer". Nearer to thee was reportedly sung, under Packer senior's direction, at an ordination service at St. David's, Hobart, in July 1861. It went into a second edition by the end of the year, and in January 1862 it was sung at a concert by the Opheonist Society in Sydney (possibly programmed by his brother Charles Packer). Though a copy of the original 1861 edition has not been identified, an 1866 reprint Nearer to thee (Hymn CIX) is extant. Meanwhile, no copy of the 1861 print of the Mazurka has been identified either; however, it may have been identical with Packer's earlier Mazurka, published in London. Another pre-Australian publication by him was The Eglantine polka (London, ); copy at British Library, Music Collections h.967.(32.) .
"SHIPPING INTELLIGENCE", The Courier (14 July 1852), 2
[Advertisement]: "MR. FREDERICK A. PACKER", Colonial Times (20 July 1852), 1
"OFFICIAL SALARIES. To the Editor", The Courier (3 June 1853), 2
"A NEW POLKA", Colonial Times (12 October 1855), 3
"ROYAL SOCIETY OF VAN DIEMEN'S LAND", The Courier (16 November 1855), 2
"THE ORGAN AT ST. DAVID'S CATHEDRAL", The Hobart Town Daily Mercury (28 December 1859), 2
[News]: "We have received ...", The Argus (21 May 1861), 5
"ORDINATION", The Mercury (26 July 1861), 2
"AMUSEMENTS, FINE ARTS, &c.", The Mercury (22 August 1861), 3
[Advertisement], The Mercury (19 December 1861), 1
"SECOND CONCERT OF THE ORPHEONIST SOCIETY", The Sydney Morning Herald (7 January 1862), 4
"DEATH OF MR. F. A. PACKER", The Mercury (3 July 1862), 2
The public will learn with deep regret the death of this gentleman, which melancholy event took place after a few days severe illness, yesterday evening. Mr. Packer had suffered for some time past from an affection of the chest and other complaints associated with it, but it was not until a day or two back that serious apprehensions were entertained by his family. On Tuesday his eldest son [Frederick Augustus] arrived in town from Launceston, and with the exception of a married daughter, the whole of his children were present, we believe at the time of his decease, just prior to which the sacrament was administered to him by the Venerable Archdeacon Davis. Mr. Packer was an old resident in Hobart Town, and a gentleman greatly respected for his many estimable qualities. He has been for many years Organist of St. David's Cathedral, and had attained some eminence beyond the limits of the colony as a musical composer. Mr. Packer has left a widow and family of twelve children, the majority of whom are of too tender an age to provide for themselves under the melancholy circumstances of bereavement in which they are placed.
"DEATHS", The Mercury (4 July 1862), 1
"THE ORATORIO OF THE MESSIAH", The Mercury (2 September 1862), 3
Handel's Oratorio of the Messiah was rendered last evening at the Theatre Royal, the occasion being for the benefit of the family of the late Mr. F. A. Packer. A very large number of lady and gentlemen amateurs volunteered their assistance for the furtherance of this object; the leader being Mr. Russell, and the conductor Mr. Tapfield. ... The occasion is not inopportune for recording some brief notes of the career of a very gifted and accomplished man, who has been removed from our midst in the prime of life. Frederick Packer was in every sense a thorough musician, possessing to an extent rarely equalled, a profound knowledge of harmony, and a refined elegance of melody. His style as a composer was distinguished for its scientific counterpoint and striking and modulations and transitions. Possessing "a mind of Music's own", and a sweet though not very powerful tenor voice, he became a student of the Royal Academy of Music which has produced some of the first masters of Europe, and thus received a thorough musical education under some of the most celebrated professors of the day. Amongst his masters may be named Dr. Crotch, and Mr. Goss, for Harmony and Composition; Potter, for the Pianoforte; Crivelli, for Singing; and Bochsa and Alvars, for the Harp. The latter was Mr. Packer's solo instrument; and it will be long before those who have heard his performances on it will forget his mastery of the most difficult passages, and the inexpressible sweetness and elegance which characterised his manipulation of this instrument. The highest of all compliments was always awarded him, viz., the breathless silence of his audience until the close. Whilst playing Irish or Scottish airs, especially, the falling of a leaf might have been heard. As a Composer Mr. Packer ranked highly. We believe he has left numerous MSS. in the hands of his family, which were composed during the last few years. He has given few works however to the public since he left England. There he was constantly engaged on new publications, and several [of] the leading London publishers were purchasers of his copywrights [sic]. The beautiful hymn "Nearer to Thee", composed about two years ago, was his latest contribution to our sacred music, and bears signs of being the production of a master mind. For a considerable period of his life, upwards-we believe of fifteen years, Mr. Packer was a resident of Reading in Berkshire, where he was Organist of St. Mary's Church. He was induced with a view of providing for his increasing family to seek a more extended field in Australia, leaving a large practice and bringing with him substantial marks of the kindly estimation in which he was held at home. Whilst at Reading he was a constant guest at the evening entertainments at Strathfieldsaye, being a great favorite of the late Duke of Wellington; and on one occasion at Windsor Castle, was surprised by the Queen whilst playing one of his own songs, "Maureen", who paid him the compliment of requesting a copy of it. Amongst Mr. Packer's pupils in England were the present Duchess of Wellington, to whom he taught the Harp; the Duchess of Buckingham, the Ladies Lyttleton, the present Duke ot Newcastle, and members of the family of the Earl of Yarborough, Sir Robert Peel, the Earl of Chichester, and others. In Tasmania Mr. Packer had suffered much from repeated attacks of asthma, which greatly impeded him in the practice of his profession, and occasionally involved him in embarrassments that troubled him greatly. But he has left behind him a memory endeared to his family, and the reputation of an honorable as well as accomplished man, and an unassuming but true christain [sic]. The large audience which filled the Theatre last night must be in the highest degree gratifying to the feelings of his friends, as a testimony of public esteem.
[News], Reading Mercury [UK] (21 December 1889)
Old residents of Reading [writes a correspondent] will remember the Packer family, which has been associated with Reading and the county of Berkshire since the middle of the last century. Mr. Charles Packer, sen., was a well-known professor of music in Reading in the early part of the present century, and was for many years organist of the Minster [St.Mary's]. On leaving Reading for London he was succeeded by his second son, Fredk. Alex.Packer, who also was organist of St. Mary's, and who subsequently emigrated to Tasmania with his family, where he died in 1862. It will be very gratifying to those who remember him [and many will for his most genial character] to hear that his sons have made positions for themselves in Australia that reflect honour upon them and upon this their native town.
Bibliography and resources:
"Packer, Frederick Alexander (1814-1862)", Obituaries Australia
PACKER, Augusta (Miss Augusta GOW; Mrs. F. A. PACKER senior)
Musician, vocalist, music teacher
Born Edinburgh, Scotland, 13 July 1815 (daughter of Nathaniel GOW and Jane HOGG)
Married Frederick Alexander Packer, Edinburgh, 22 July 1837
Arrived Hobart, TAS, 10 July 1852 (per Sylph from London, 2 March)
Died Hobart, TAS, 23 February 1893, aged 77
http://trove.nla.gov.au/result?l-publictag=Augusta+Gow=Packer (TROVE tagged by Australharmony)
Daughter of the Edinburgh musician and composer Nathaniel Gow, and his second wife Mary Hogg (1777- ), was reportedly herself a pupil at the Royal Academy of Music in London (presumably c.1830), in July 1837 she married another former RAM student, Frederick Alexander Packer. Her appointment, in late 1840, as wet nurse to the infant princess royal, Victoria (her mother, queen Victoria, anyway famously averse to breast feeding) occasioned her first premature notice by the Australian press in W. A. Duncan's Chronicle in Sydney in April 1841:
"Mrs. Packer, who has been appointed wet nurse to the princess royal, is a native of Edinburgh, where she was well known as Miss Augusta Gow. She is a daughter of the late Nathaniel Gow, of this city, and grand-daughter of the celebrated Neil Gow. Mrs. Packer studied music at the Royal Academy, London, with the view of becoming a public singer, in which character she appeared here at several concerts. Mrs. Packer has, or at least had, a splendid figure, and no doubt possesses all the qualifications requisite for the proper performance of the duties of her important office.-Scotsman.
She herself arrived in Hobart in July 1852, with her husband and family, including musician son Frederick Augustus Packer. For several years after her husband's death in 1862, she advertised as a teacher "giving instruction in Italian and English Singing, and on the Pianoforte (either to beginners or to those who may require finishing lessons) ... Mrs. Packer will also give lessons (separately) in Scottish Songs and the Music peculiar to Scotland."
"Mrs. Packer ...", Australasian Chronicle (3 April 1841), 4
"LATEST NEWS FROM EUROPE", South Australian Register (10 April 1841), 5
[Advertisement], The Mercury (18 December 1862), 3
[Advertisement], The Mercury (10 January 1863), 1
[Advertisement], The Mercury (29 December 1864), 1
? [Advertisement], The Mercury (19 July 1888), 1
"DEATHS", The Mercury (24 February 1893), 1
"PASSED AWAY", The Mercury (24 February 1893), 2
PASSED AWAY. Our obituary notices of to-day record the death of Mrs. Augusta Packer, a colonial of many years, who passed away yesterday, deservedly beloved and respected. The deceased lady, who died full of years, even beyond the allotted "three score and ten", was stricken by paralysis some years ago, but retained her faculties in singular brightness up to within two days of her decease. As the grand-daughter of Scotland's famous musician, Niel Gow, aid the daughter of his equally famous son, Nathaniel Gow (composer of Caller Herrin') it is not to be wondered at that her own musical abilities were of the highest order. At an early age-when Miss Gow-she studied at the Royal Academy of Music, and was regarded as one of its most accomplished students, Costa, Moscheles, and Cipriani Potter, the most celebrated men of the day, being among her instructors. The deceased lady leaves a large family, nearly all of which are married and settled in Tasmania, including Mr. F. A. Packer (Clerk of Parliament), Mr. John Packer (Under Treasurer), Mr. A. H. Packer (H.M. Customs), Mr. H. E. Packer (Ministerial Secretary), and Mr. R. K. Packer of the Queensland Telegraph Service.
"GOW, NATHANIEL", in Robert Chambers (ed.), A biographical dictionary of eminent Scotsmen, volume 3 division 4 (Glasgow: Blackie & Son, 1853), -487
GOW, Nathaniel, who, as a violinist and composer, well deserves a place in any work intended to perpetuate the names of Scotsmen who have done honour or service to their country, was the youngest son of the celebrated Neil Gow. His mother's name was Margaret Wiseman, and he was born at Inver, near Dunkeld, Perthshire, on the 28th May, 1766 . . .  . . . He was twice married. By his first wife, Janet Fraser, he had five daughters and one son, of whom two of the daughters only survive - Mary, married to Mr Jenkins of London; and Jessie, to Mr Luke, treasurer of George Heriot's Hospital. By his second wife, Mary Hog, to whom he was married in 1814, he had three sons and two daughters, only two of whom survived him - namely, John, who was educated in Heriot's Hospital; and Augusta, who became a teacher of music in Edinburgh, after having undergone five years' training in London. A spirited likeness of Mr Gow was painted by Mr John Syme of Edinburgh, which, with the portrait of his father Neil, the Dalhousie Goblet, and small kit fiddle, are in the possession of Mrs Luke. GOW, Neil, a celebrated violin player and composer of Scottish airs, was the son of John Gow and Catharine M'Ewan, and was born at Inver, near Dunkeld, Perthshire, on the 22d of March, 1727 . . .
PACKER, Frederick Augustus (junior)
Organist, conductor, composer
Baptised Reading, England, 14 September 1839
Arrived Hobart, TAS, 10 July 1852 (per Sylph)
Died Parramatta, NSW, 1 August 1902
http://trove.nla.gov.au/result?l-publictag=Frederick+Augustus+Packer (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-513028 (NLA persistent identifier)
"DEATH OF MR. F. A. PACKER", The Mercury (2 August 1902), 5
It will be heard with great regret that Frederick Augustus Packer, formerly Clerk of the House of Assembly, Tasmania, died on the 1st inst, at Sydney, where he had resided for some years past. Mr. Packer was the fourth generation of a race of musicians, on the mother's side. His great grandfather was Mr. Neil Gow, a Scotch musician of some celebrity in his day, and his grand-father was Mr. Nathaniel Gow, the composer of the favourite Scotch song, "Caller Herrin'"-in itself sufficient to give fame. Mr. Packer's mother was, in early life, a student at the Royal Academy of Music, where, among her masters, were the famous Moscheles, Cipriani Potter, and Sir Michael Costa. Miss Gow became the wife of Mr. Frederick Alexander Packer, R.A.M., of Reading, Berkshire, and died at the Military Barracks, Hobart, on the 23rd February, 1892, aged 77 years. Amongst her children, as well as the son who died on the 1st, were the late Mr. John Packer, Under-Treasurer; Mr. A. H. Packer, of the Customs Department, Mr. R. K. Packer, of the Queensland Telegraph Service; and Sir. H. E. Packer, now Secretary for Public Works. Mr. F. A. Packer, who has just died, was well-known as the composer of a number of admired songs, the best-known of which is "I am listening". He will be long remembered in Hobart musical circles as an organist of much capability. He had been in bad health for a long time past, and his death was hardly unexpected.
"DEATH OF MR. F. G. PACKER", The Sydney Morning Herald (4 August 1902), 5
We have to record the death at Parramatta on Friday last of Mr. Frederick Gow Packer, the well-known songwriter and composer. The deceased gentleman, who was born at Reading, Berkshire, came of musical stock. He came to Australia in his early manhood, and subsequently held for about 16 years the office of clerk of the House of Assembly, Hobart. About five years ago he retired on a pension and settled in Sydney, where, for about six months-during Mons. Wiegland's visit to Europe-he held the latter gentleman's position as organist at St. Patrick's. Shortly after paralysis set in, and now, after a weary struggle of four yours, the end is come. As a composer Mr. Packer excelled in the gift of melody. His ballad "Listening" and his "Ave Maria" are probably known throughout the English-speaking world. he also set to music Longfellow's "Wreck of the Hesperus", several fine cantatas for public functions, and a comic opera, "Sweet Simplicity", performed at the Hobart and Launceston theatres. He was organist at St. David's Church, Hobart, for many years. No musical movement in that city seemed complete without him, and he worked hard in assisting to raise the funds necessary to purchase the Hobart Town Hall and St. David's Church organs. He was twice married, leaving a grown-up family by his first wife, and two little boys by the young widow who survives him.
Bibliography and resources:
R. L. Wettenhall, "Packer, Frederick Augustus Gow (1839-1902)", Australian dictionary of biography 5 (1974)
"Packer, Frederick Augustus (1839-1902)", Obituaries Australia
PACKER, John Edward
Musician, pianist, organist, composer
Born Reading, Berkshire, England, 1840
Died North Sydney, NSW, 24 August 1900
"OBITUARY", The Mercury (27 August 1900), 3
Very general regret was expressed yesterday when it became known that Mr. John E. Packer, formerly Under Treasurer of the colony, had passed away at his residence in Sydney. ... Though his long residence in these colonies makes him almost an Australian, he was an Englishman by birth, and a native of the ancient Benedictine abbey city of Reading, capital of Berkshire, where his father, F. Alexander Packer (a member of the Royal Academy of Music), was for many years organist of the Minster (St. Lawrence's church). It was here the subject of this notice received his earliest musical education. He came out to Tasmania with his parents in the early fifties, and when in his teens entered the office of Messrs. Huybers and Hammond, merchants, Murray-street. He was an enthusiastic musician, his father being his chief instructor, though he was indebted for much of his musical education to his mother, an accomplished pupil of Costa's at the Royal Academy of Music, and the youngest daughter of Nathaniel Gow, composer of "Caller Herrin," and grand-daughter of Scotland's national musician, the celebrated Neil Gow, of immortal fame. Mr. Packer was for many years organist of All Saints' Church, and afterwards he occupied a similar position at St. George's, Battery Point, and through his strenuous exertions the choir of that church for many years held a position second to none amongst the southern churches ... He was the author of many musical compositions, which have been most favourably reviewed. That sweetly pretty hymn, "At even when the sun was set," came from his pen. Like his gifted uncle, the late Charles S. Packer, composer of the "Crown of thorns," and his brother, Mr. F. A. Packer, the generally recognised musician and composer of this colony, he was a skilled pianist. ... The deceased retired on a pension some four years ago, and, finding the climate of Tasmania not suited to his failing health, he took up his residence in Sydney. At St. George's Church yesterday the "Dead March" in Saul was played at both the morning and evening service, and reference made to his services in the parish.
Bibliography and resources:
"Packer, John Edward (1840-1900)", Obituaries Australia
Documentation (Great Britain)
Baptisms registered in the parish of St. Mary's, Reading, Berkshire, 1809
[Baptism date] 19 November 1809, [son of] Charles Packer, Amelia Sandys
[No documentary record yet for birth of Frederick Alexander Packer, 7 May 1814, Reading, Berkshire, England]
Births registered in the parish of Edinburgh, 1815
[Birth date] 13 July 1815, [daughter of] Nathaniel Gow, Mary Hogg
Royal Academy of Music, inaugural class, 1823
"ROYAL ACADEMY OF MUSIC", The musical world 32/15 (15 April 1854) [sic], 255
The following are the names of the first ten boys and girls who were elected at the institution of the Academy in 1823:-
GIRLS: Mary Euphrasia Lawson, Catherine Smith, Mary Chancellor, Susannah Collier, Emily Waring Jenkins, Mary Ann Jay, Charlotte Bromley, Hannah Mary Little, Josephine Palin, Catherine Porter.
BOYS: H. A. M. Cooke, Henry Greatorex, Thomas Mollison Mudie, Henry G. Blagrove, John Kellow Pye, William Henry Phipps, Alfred Devaux, Charles Alex. Seymour, Edwin John Nielson, Charles Sandys Packer.
"In the examination of these youthful candidates," says a musical journal of the time, "no great deal of talent was manifested, except by the son of Mr. T.Cooke, who distinguished himself much, by performing upon several instruments, and as the reward of his ingenuity and industry was placed by the ballot at the head of the list. Most, if not all, of these children have entered for the purpose of being instructed on the pianoforte or harp; a great proportion desiring to be taught the latter - claiming Mr. Bochsa as their master! But for the bassoon, hautboy, horn, and other instruments, so much wanted in our orchestras, not one pupil appeared; so that a principal object intended to be accomplished by the Academy, will not, for the present certainly, be carried into effect. If we are not mistaken, there are upwards of forty professors at this institution, and twenty scholars, which is at the rate of one pupil to two masters. No great fear, then, need be apprehended from a rebellion here."
A month later the following were elected as extra students, or "scholars, who contributed towards their maintenance and instruction:" - ...
"ROYAL ACADEMY OF MUSIC", The Morning Post (26 March 1823), 3
We are happy to learn that the instruction of the Pupils of this Institution has commenced; eleven Boys and ten Girls have been admitted - one of the Boys was admitted on the recommendation of his Majesty ...
"THE ROYAL ACADEMY OF MUSIC", The Quarterly Musical Magazine and Review 6 (1824), 77-86
On the morning of Wednesday, February 25, 1824, a public concert was performed by the pupils of this national seminary, for the first time ... (81) ... PIANO FORTE DUET, W. H. PHIPPS AND C. S. PACKER; Played in a clear and spirited manner by two promising boys; they produced the very best quality of tone that the instruments, which were excellent, would afford ...
[Advertisement], The Morning Post (24 February 1824), 1
ROYAL ACADEMY of MUSlC - Under the of Patronage of his MAJESTY. - By permission of the Right Honourable the Directors of the Concerts of Antient Music - At the King's Antient Concert Rooms, in Hanover-square, - The Nobility and Gentry are respectfully acquainted a MORNING CONCERT of VOCAL and INSTRUMENTAL MUSIC, will take place at the above Rooms, on WEDNESDAY next, the 25th of Feb. - To commence at One o'clock precisely. The Performances will be entirely by the Pupils of the Royal Academy of Music, being their the first public Exhibition.
Scheme of the Concert, Wednesday, Feb. 25, 1824. Act I - Symphonia, Haydn - Psalmo Marcello - Duet, two Piano Fortes, W. H. Phipps and C. S. Packer, Dussek - Song, Miss Perier, Zingarelli - Fantasia, Harp, Miss Morgan (with Orchestral Accompaniments), Bochsa - Solo, Violin, H. G. Blagrove, Viotti - Ode on the King's Accession to the Throne, Dr. Crotch; the words by the Rev. J. J. Conybeare, late Professor of Poetry, Oxford.
Act. II - Trio, Piano Forte, Miss Chancellor; Harp, Miss Jay, Violoncello, C. Lucas, Bochsa - Solo, Oboe, H. A. M. Cooke, (composed expressly for this occasion) Bochsa - Song, Miss Watson, Sarti - Duet, Piano Forte, Misses Chancellor and Goodwin, (never performed in this country), Hummell - Polacco, Violoncello, C. Lucas, Duport - Air and Chorus, C. Lucas and Misses Watson, Belchambers, and Chancellor, Mayer - Introduction to the Grand National Anthem, "God save the King," Bochsa.
The Tickets of Admission are now ready for delivery to the Stifrrribers and Honorary Members, who will be pleased to send for them; and Tickets, at lOs. 6d. each, may be had by Non-Subscribers at the Academy, and at the principal Music Shops. - Royal Academy of Music, Tenterdon-street, Hanover-square, Feb. 21, 1824. J. WEBSTER. Secretary.
"ROYAL ACADEMY OF MUSIC", The Morning Post (27 February 1824), 4
The Pupils of this munificent and highly laudable Institution produced, at the Hanover-square Rooms, the first public exhibition of their native talent for one of the most elegant of human acquisitions, and the progress they have made under the tuition of some of the first professors of the kingdom, both as composers and performers. This Scholastic Establishment, of which, we understand, the Noble Chairman, Lord BURGHERSH, enjoys the credit of being the original founder, and of which His Majesty was, on the first solicitation, graciously pleased to become the Special and Perpetual Patron, commenced its labours no longer ago than last March; and, after the display, we witnessed, of the advances made by the juvenile students, both male and female, in the acts of vocal and instrumental perfornwnce, we cannot but congratulate them on the advantages with which generally, they appear to be endowed by nature; and their further good fortune in being placed under such tutors as Dr. Crotch, Mr. Beale, Mr. F. Cramer, Mr. Bochsa, and other able Professors, aided by the educatory taste and talents of Madame Regnaudin ...
... The principal evidence of the wonderful progress made by this Royal Establishment towards its stimulating and ultimate object, was given by Masters Phipps and Packer in their Piano-forte Duet, their execution of which was more neat, distinct, and expressive, than we could in reason expect; by Miss Porter ... ; by Miss Morgan ...; Master Cooke ...; Miss Watson ...; and by Master Lucas ...
The room was filled to an overflow with company of the most genteel description. The Duke of CLARENCE was present; and in the compartment reserved for the accommodation of the Ladies Patronesses, we observed the Duchess of KENT, the Duchess of CLARENCE, the Princess AUGUSTA, and the Duchess of GLOUCESTER.
[Advertisement], The Morning Post (27 May 1824), 2
THE ROYAL ACADEMY of MUSIC, under the Patronage of his MAJESTY ... A MORNING CONCERT, for the BENEFIT of the ROYAL SOCIETY of MUSICIANS, and the NEW MUSICAL FUND. - By Permission of the Directors of the Royal Academy of Music, a MORNING CONCERT wil! be given by the Pupils of thai Institution at the Argyll Rooms, on SATURDAY MORNING, the 29th inst .... Scheme of the Concert: -
Part I. Symphony in E Flat (Hadyn); Psalmo, Marcello; Quartetto, two Violins, Tenor and Bass. C. A. Seymour, H. G. Blagrove, W. H. Phipps and C. Lucas (Haydn); Terzetto, Misses Watson, Bellchambers, and C. Lucas; from Cosi fan tutti (Mozart); Concerto, Pianoforte, Miss Chancellor (Moschelles).
Part II. Otetto, Pianoforte, Harp, Violin, Tenor, Iwo Violoncellos, Oboe, and Bassoon, Misses Goodwin, Shee, C. A. Seymour, W. H. Phipp, C. Lucas, T. W. Cooke, H. A. M. Cooke, and D. Smith (composed expressly for this occasion), Bochsa; Canon, Misses Porter, Chancellor, and C. Lucas, Lindley, Nicolini; Concertanto, two Pianofortes, W. H. Phipps and C. S. Packer (with orchestral accompaniments), Bochsa; Song, Miss Porter, Mayer; Duet, Violin and Violoncello, H. G. Blagrove, and C. Lucas, Lindley; Finale - lntroduction to the Grand National Anthem, "God save the King," Bochsa.
The Performances will commence at Two o'Clock precisely. Tickets Half-a-Guinea each ...
"ROYAL ACADEMY OF MUSIC", London Courier and Evening Gazette (31 May 1824), 3
A Morning Concert was given on Saturday at the Argyll Rooms by the pupils of this establishment. On a previous occasion we noticed the proficiency which some of the pupils have already attained in the performance of instrumental music, and in this instance they gave fresh proofs of their ability. The Concert opened with a symphony by Haydn in E flat. As a whole it was played with tolerable precision, and in particular parts there was a fine accordance of sounds. A Psalmo, Marcello, followed, sung the female pupils. A quartetto by Haydn for two violins, viola, and violoncello, was really extremely well played by Masters C. A. Seymour, H. G. Blagrove, W. H. Phipps, C. Lucas. In a concerto on the pianoforte Miss Chancellor was most deservedly applauded; as was Miss Goodwin in an otetto. They have both great facility in execution, mark their music well, and play with spirit, freedom, and effect. C. S. Packer, in a concertnnte, touched the pianoforte in very masterly style, but the instrument is hardly worthy extraordinary attention, and though pleasing in a drawing room, can rarely give celebrity to the performer. We were astonished to find the name of Handel excluded from the bill of fare, and that of Bochsa inserted as a composer not less than three times. This is monstrous, and should be amended. In the things given as Mr. Bochsa's compositions there was nothing new; they were made from French ballets and all the hackneyed music the King's Theatre. The frippery is pleasing enough in its proper place; but it can never improve the taste, the judgraent, the science, or the feeliog, of the pupil. We notice this impertinence once, for we have yet to learn what claims Mr. Bochsa has to such distinction, as to have three, or even one of his pasticcios performed by the pupils of the Roval Academy of Music, whether in public or in private. With the exception of these trumpery displays, the whole of the instrumental department might be commended, and even in these abortions the pupils evinced great talent and for Letter things. Dr. Crotch attended, but we cannot imagine that the selection of the performances rested with a musician of his fine taste and solid acquirements.
ROYAL ACADEMY OF MUSIC, The Morning Post (28 March 1825), 3
A Concert was performed by the Pupils of this Institution on Friday evening, at the Hanover-square Rooms, under the immediate patronage of the Vice-Piesidents, and if we may estimate the quality of the merit displayed, by the quantity of applause bestowed, we may pronounce it superlative.
The progress the young Gentlemen have made since their last public exhibition is wonderful; their spirited performance of MOZART's difficult symphony, Jupiter, quite astonished the company, and elicited the warmest marks of their approbation. Dr. CROTCH's beautiful quartetto of "Lo! star-led Chiefs," was sung extremely well, by Misses M. BELLCHAMBERS and PORTER, CHARLES LUCAS, and C. S. PACKER, and the chaste accompaniments, were delicately executed by the band. MOZART's quartetto in D, for two violins, a tenor and bass, was performed in a very superior manner, particularly the beautiful andante, by Little BLAGROVE, SEYMOUR, PHIPPS, (pupils of Mr. F. CRAMER), and C. Lucas, pupil of LINDLEY. Miss Chancellor executed the first movement of DUSSEK's celebrated Military Concerto on the pianoforte, in a manner that reflected the greatest credit on herself and her eminent master, Mr. J. B. CRAMER. ROSSINI's fine Finale to the first act of II Tancredi, brought the whole choir into action. There were nearly twenty young Ladies ranged in front of the Orchestra, dressed uniformly, whose modest demeanour aad genteel appearance, rendered the scene a very pleasing one. The Finale was exceedingly well performed, particularly the slow movement "Gl'infelice affetti miei," by Miss J. BELLCHAMBERS, Miss CHANCELLOR, Masters LUCAS and PACKER, which called forth repeated cries of "bravo! bravo!" The whole was encored.
The second act commenced with Cherubini's Anacreon, and played with such spirit and effect, that we could scarcely fancy ourselves listening to mere children; towards the conclusion, a Crescendo passage for the violin, was executed so neatly, and yet with such energy, that it was interrupted by loud plaudits, which by the bye, though well intended, were not judiciously timed, but we plead guilty ourselves. Master PRICE, son of Mr. PRICE principal flute player to Drury-lane Theatre, performed a Solo, by TULOU, on that instrument, delightfully, and gave promise of a second NICHOLSON. To this succeeded a Quartetto, for Voice, Pianoforte, Harp, and Violin, by Miss J. BELLCHAMBERS, PHIPPS, NIELSON and MAWKES. The subject was a ballad by BLANGINI, "Nunzia ognor di dolci incanti" sung by Miss BELLCHAMBERS, with obligito solos, selected from the works of MOSCHELES, MAYSEDER and BOCHSA, as intermediate symphonies, exquisitely executed by each Performer - encored. Then followed MOZART's Sestetto from Don Giovanni, "Sola, sola in bujo loco," and the evening's entertainment closed with WEBER's Overture to Der Freischutz.
That we may meet with many children possessing extraordinary abilities, we grant; but to place together a number of boys, who shall execute difficult compositions, and, above all, accompany vocal pieces in a manner that would not disgrace so many veterans, would be considered wonderful in any but this wonderful age.
We learn that Mr. BOCHSA has the sole management of the orchestra, and that he has taken immense pains to bring it to what it now is. IT is allowed that Mr. BOCHSA is the best writer for the harp, he also writes well for the pianoforte, and no man can fathom a score with greater facility; that he has proved himself an excellent conductor of an instrumental band, the result of Friday night fully proves. We have only now to add, and we are sure we shall be borne out by those who were present, that no Concert ever excited more interest, or afforded more general satisfaction.
Royal Academy of Music, library, MS465; from online catalogue record (http://lib.ram.ac.uk):
Round: The academy roll call to dinner (We all love our homes), by William Crotch (1775-1847) 
"To Holmes, Hart, Mudie, Nielson, Lucas, Pye, Seymour, Cooke & Packer this effusion is inscribed by the Author"
[Advertisement], Berkshire Chronicle, Windsor Herald, and Forest Vale, and General Advertiser (10 May 1828), 2
Just published. SCENA, RECITATIVE, Basta Basta, ED ARIA, Del fallo m'Avvedo; from Metastasio's La Morte d'Abelle, sung by Mr. A. SAPIO. - Composed and respectfully dedicated (by permission) to the Right Hon. the Committee of the Royal Academy of Music, By C. S. PACKER, Member of that stitution. London: published for the Author, by S. Chappel, 135, New Bond-street, and to be had of Mr. C. Packer, Music Saloon, 123, Castle-street, Reading.
"NEW MUSIC", The Athenaeum 2/34 (18 June 1828), 539
A very correct, clever, and well-imagined production, certainly exhibiting excellent promise about the incipient production of so young a writer ...
Scena Recitativo, "Basta! Basta!" ed aria, "Del fallo m'avvedo." The words from Metastasio's "La Morte d'Abelle. Sung by Mr. A. Sapio; composed, and respectfully dedicated (by permission) to the Right Honourable the Committee of the Royal Academy of Music, by C. S. Packer, Member of that Institution, Chappell. 3s.
A VERY correct, clever, and well-imagined production, certainly exhibiting excellent promise about the incipient production of so young a writer. We cannot but fear that the vocal part, being necessarily written (to be sung by A. Sapio) in the bass clef, this scena will scarcely obtain circulation sufficient to render it popular, and to repay the expense of publication; but it deserves, therefore, the greater credit, from the independence with which it is offered to notice.
The recitativo abounds with ingenious modulation, and must be very effective with orchestral accompaniments; the andante Larghetto (in a flat, 3-4 time) exhibits a pleasing aria to the words "Del fallo m'avvedo;" and the concluding Presto Furioso, is clever and characteristic.
[Advertisement], Berkshire Chronicle (29 November 1828), 1
ROYAL ACADEMY OF MUSIC, PATRON, HIS MOST GRACIOUS MAJESTY. MR. C. PACKER HAS the honor to announce, that having obtained permission of the RIGHT HONOURABLE THE DIRECTORS OF THE ROYAL ACADEMY OF MUSIC to give a CONCERT, to be performed the Students of that Institution, the Concert will take place (by permission of the Worshipful the Mayor), at the TOWN HALL, Reading, On THURSDAY Evening, December 11, UNDER THE MOST DISTINGUISHED PATRONAGE.
PRINCIPAL VOCAL PERFORMERS, MISS BELCHAMBERS, MISS WILLIAMS, MISS CHILDE, Mr. HODGES, Mr. A. SAPIO, and Mr. SEGUIN. SOLO INSTRUMENTAL PERFORMERS, VIOLINS: Mr. T. MAWKES and Mr. G. H. BLAGRAVE; OBOE, MR. H. A. M. COOKE; VIOLONCELLO, Mr. C. LUCAS; PIANO-FORTE, Mr. C. S. PACKER; LEADER, MR. C. SEYMOUR; CONDUCTOR, Mr. Charles S. PACKER. The whole under the Direction of MR. C. PACKER.
Every department of the Orchestra will filled the Students of the ROYAL ACADEMY, and will be complete and highly effective. After the Concert there will be a BALL, for which J. WEIPPERT'S celebrated Quadrille Band is engaged.
Single Tickets (including refreshments) half a guinea each, or twelve tickets five guineas, to be had of Mr. C. PACKER, 123, Castle-street, and the Berkshire Chronicle and Mercury Offices. BOOKS OF THE CONCERT SIX PENCE EACH. 123, Castle Street, Nov. 21, 1828.
"ROYAL ACADEMY OF MUSIC. MR. C. PACKER'S CONCERT", Berkshire Chronicle (13 December 1828), 2
... we were present at Mr. Packer's concert in our Town hall, on Thrusday night, when the performers were pupils of the Royal Academy of Music, and we, in common with the hundreds who attended on the occasion, experienced unqualified delight in such a treat, so truly rich and varied ... amongst the company present, we noticed her Grace the Duchess of Wellington, the Marquis and Marchioness of Downshire, Sir C. S. Hunter ...
... The Concertante Duet, composed by Mr. C. S. Packer, for the piano-forte and violin, evinces the most refined taste and brilliancy of conception; it was performed by himself and Mr. C. Lucas, in a manner that might be distinctly said to have called for the most reapturous and well-desreved applause from every part of the room. The Scena, "Basta, Basta", also composed by our young townsman, being the first composition published by any pupil of the Institution, has been fully criticised in the musical reviews, and spoken of highly. Our expectations were fully realised - it is one of those [?] effusions of genius which points with certainty to the first eminence of professional ability, and was sung in the most effective and finest manner, by Mr. A. Sapio ...
This was the FIRST performance of the Royal Academy of Music in the country ...
"MR. PACKER'S CONCERT", Berkshire Chronicle (20 December 1828), 2
The distinguised but certainly not undeserved success, which has marked the first performance of the pupils of tbe Royal Academy in this town, must be most gratifying to Mr. Packer's feelings as a professional man, as well as a father and a native of the borough. On no previous occasion had there been a more numerous and respectable assemblage ... [A list of prominent local attendees follows ...] The performances generally gave unqualified satisfaction, and Her Grace the Duchess appeared to be highly gratified. We have no doubt, after such an auspicious and successful first essay, but what Mr. Packer will be again induced to place the extraordinary accomplishments of the Royal Academy pupils before the enlightened and tasteful tribunal of a Reading audience.
"LONDON. MONDAY, DECEMBER 7", Salisbury and Winchester Journal (14 December 1829), 1
On Saturday evening Rossini's Italiana in Algieri was performed by the pupils of the Royal Academy of Music at the King's Theatre. The principal characters devolved on Miss Childe, Miss Tucker, Miss Bromley, Mr. Seguin, Mr. Brizzi, and Mr. C. S. Packer. Miss Childe sustained her part in a manner which would have done credit to many a more experienced prima donna on the Italian stage. A great improvement has taken place both in the compass and flexibility of her voice; and the progress of her studies had enabled her do ample justice to the difficult music assigned to Isabella. Miss Tucker evinced great progress of vocal attainment, and holds out good promise. Miss Bromley distinguished herself as an able vocalist. Mr. Seguin's voice has acquired a deeper and fuller tone, and its cultivation has evidently been industriously kept up. Indeed, is difficult to meet with a bass voice at once so flexible, and of so deep a compass in a person of his years. Mr. Brizzi's musical taste and style of singing have undergone great improvement. Mr. Packer filled his part with much comic humour, and to the great amusement of the audience. One of the most remarkable features of this performance was the superior manner in which the orchestra went through its duties.
"KING'S THEATRE", The Harmonicon (January 1830), 43
On Saturday the 5th ult. the pupils of the Royal Academy of Music performed Rossini's Italiana in Algeri, in the great room, - now fitted up with a stage and scenery, - of the King's Theatre. Considering the difficulties the Committee had to encounter, owing to the desertion of one or two of those who were bound in gratitude to render the institution every possible assistance, the opera was got up tolerably well. So far as singing was concerned, the parts of Mustafa (Seguin) and Isabella (Miss Childe) were surprisingly well performed. Mr. Brizzi has so little voice, that Lindor, in his hands, was any thing but a first character; and the character of Taddeo, - good-naturedly undertaken at very short notice by Mr. Packer, the ingenious composer, who does not pretend to any vocal talent - though acted with spirit, suffered from want of physical force in its representation.
[Advertisement], The Reading Mercury (12 April 1830), 3
ROYAL ACADEMY OF MUSIC. PATRON: His Most Gracious Majesty.
Mr. PACKER HAS the honour to announce, that the Right Hon. the DIRECTORS of the ROYAL ACADEMY of MUSIC have again permitted him to give a CONCERT, to be performed by the PUPILS of that Institution, (with permission of the Worshipful the Mayor) At the TOWN-HALL, READING, On THURSDAY EVENING, APRIL 15, 1830
UNDER THE IMMEDIATE PATRONAGE OF Her GRACE the DUCHESS WELLINGTON, The Right Hon. VISCOUNTESS SIDMOUTH, Lady HUNTER, Mrs. MAYNE, Mrs. BEAUCHAMP, Mrs. POWIS, Mrs. J. BREEDON, Mrs. RUSSELL, Mrs. CHOWNE, Mrs. STORER, Mrs. D. GRIFFITH, Mrs. THOYTS, Mrs. DICKENSON, Mrs. VANDERSTEGEN, Mrs. GARTH, Mrs. WHEBLE; STEWARDS: JOHN WALTER, Esq. High Sheriff. The Right Hon. Sir G. WARRENDER, Bart. M.P. Major-General Sir A. F. BARNARD. K.C.B. Sir CLAUDIUS STEPHEN HUNTER, Bart. Lieut-General CHOWNE, Rev. H. H. MILMAN, Admiral DUNDAS, Major OAKES, Dr. BAILEY, R. PALMER, Esq. M.P., Rev. S. BRISCALL, J. PRETTEJOHN, Esq., F. BUCKERIDGE, Esq., Captain PURVIS, J. BULLEY, Esq., H. ROSE. Esq., Major CAMERON. H. RUSSELL, Esq.. Rev. J. CONNOP, R. SIMONDS. Esq., S. DICK, Esq., Dr. P. SMITH, T. H. A. EARLE, Esq., T. F. SOWDON. Esq., Captain GARTH, R.N., WM. STEPHENS, Esq., EDWARD GOLDING, Esq., WM. STONE, Esq., ROBERT HARRIS, Esq., JAMES WHEBLE, Esq., A. HUME, Esq., Rev. Dr. WISE, Colonel MAYNE.
PRINCIPAL VOCAL PERFORMERS: MISS CHILDE & MISS WILLIAMS, Mr. BRIZZI and Mr. E. SEGUIN.
Solo Instrumental Performers: Violin Mr. H. G. BLAGROVE; Viola Mr. W. DORRELL; Violoncello, Mr. C. LUCAS; Double Bass, Mr. J. HOWELL; Flute, Mr. BRETT; Oboe, Mr. H. A. M. COOKE; Corni, Mr. DANIEL and Mr. HOPGOOD; Fagotto, Mr. BAKER; Piano-Forte, Mr. C. S. PACKER; Harp, Mr. F. A. PACKER.
Leader, Mr. C. A. SEYMOUR; Conductor, Mr. C. S. PACKER. The whole under the Direction of Mr. C. PACKER. Every department of the Orchestra will be filled the Students of the Royal Academy, and will be complete and highly effective.
OVERTURE - L'Italiani in Algieri ... Rossini.
GLEE - "In peace Love tunes," ... Misses CHILDE & WILLIAMS, & Mr. E. SEGUIN ... Attwood.
Duo - "Ah non Lasciarmi," (Didone,) Misses CHILDE and WILLIAMS ... Mercandante.
QUARTETTO - "Mi Manca la Voce," Misses CHILDE and WILLIAMS, Messrs. BRIZZI and E. SEGUIN, (Harp Obligato, Mr. F. A. PACKER.) ... Rossini.
SCENA - "The last Man," Mr. E. SEGUIN ... Callcott.
QUARTETT - Flute, Oboe, Horn, and Bassoon, Messrs. BRETT, H. A. M. COOKE, DANIEL, and BAKER ... Tulou.
GRAND SEPTUOR - Piano-forte, Flute, Oboe, Horn, Viola, Violoncello, & Double Bass, Messrs. C. S. PACKER, BRETT, COOKE, HOPGOOD, DORRELL, C. LUCASS, and J. HOWELL ... Hummell.
TRlO -"Eccomi a te Gualtiero," (ll Pirata), Miss CHILDE, Mess. BßlZZi & E. SEGUIN ... Bellini.
Overture - Oberon ... C. M. Von Weber.
Ballad - "I'll watch for thee," Miss WILLIAMS ... Sir J. Stevenson.
Duetto - "Deve Vai," (Guillaume Tell), Messrs. BRIZZI and E. SEQUIN ... Rossini.
Solo Violin - Mr. H. G. BLAGROVE ... Mayseder.
SCENA - "Ab me infelice," Miss CHILDE, composed and dedicated, by permission, to Her Grace the Duchess of Wellington, by C. S. Packer.
Grand Trio - Piano-Forte, Harp, and Violoncello, Messrs. C. S. PACKER, F. A. Packer, and C. LUCAS ... Bochsa.
Duett - "Come, let's be gay," Misses CHILDE and WILLIAMS ... C. M. Von Weber.
Finale - "God save the King, newly arranged expressly for this Concert, by C. S. Packer.
After the Concert there will be a BALL.
Single Tickets, Half-a-Guinea wach - Seven Tickets for Three Guinea - or Twelve Tickets for Five Guineas, (Tea end Coffee included), to be had of Mr. PACKER Castle-street; the Office of this Paper; and of Mr. G. H. Lamb, bookseller, High-street, Reading. Doors opened at Seven, and the Performance to commence at Eight o'Clock, precisely. Books of the Concert, Sixpence each.
"ROYAL ACADEMY CONCERT", Berkshire Chronicle (10 April 1830), 2
We present our readers with the full particulars of Mr. Packer's concert, and on no occasion have our predictions been more completely verified than on the present. - We stated that it would offer a superior gratification to the lovers of good music; and we may now add, that it would be impossible to bring together into one evening's performance a greater variety of more beautiful compositions: Amongst others, we perceive there is a Scena, by Mr. C. S.Packer, dedicated to her Grace the Duchess of Wellington. We have never heard this piece performed, nor has yet been subjected to the ordeal criticism but we are convinced, from its announcement, that it will add to the highly-merited reputation of the author of "Basta, Basta," which drew forth such elaborate critique in the Harmonicon of last year. - First amongst the vocalists stands Miss Childe: this lady has indeed realized all that was anticipated of her early talent, and ranks with the most accomplished of our native singers. When Miss Williams was here at the last grand concert, she was so much indisposed as to be unable to perform; but from the acknowledged ability of this young lady, we anticipate much, as we also from Mr. Brizzi. Mr. E. Seguin is already too well known to call for any observation; he is allowed to be the legitimate successor to the inimitable Bartleman more we need not say, particularly to those of our readers who heard him on a previous occasion. Amongst the instrumentalists, there are many names which revive the most agreeable recollections of past pleasure. Our limits will not allow us to particularize their individual merit, but we cannot omit observing, how much we are gratified to see the names of Mr. Blagrove, Mr. Cooke, and Mr. Lucas, and of the able and talented leader, Mr. C. Seymour. Mr. C. S. Packer appears again both a composer and a performer, and we have no doubt will again delight his hearers and friends by the same masterly and elegant style of playing, which distinguished his last performance here. Mr. F. A. Packer makes his debut as a harp player in a trio (with Mr. C. S. Packer and Mr. C. Lucas), and from all we have heard, are confident this young gentleman will realise our high expectations of him. The whole arrangement reflects the greatest credit on Mr. Packer, whether we consider these concerts only as affording a great musical treat to the town and neighbourhood, or as a means of bringing before the public, the members of this institution so purely national, and who have already fulfilled the hope of its being permanently useful in cultivating and encouraging the native talent of the country, under the fostering patronage of our most excellent Monarch. There is an intensity of interest felt for the success of this institution, and the distinguished patronage with which Mr. Packer is honoured, leaves no doubt that the present concert will be attended by an exceedingly brilliant and numerous audience, as nothing short of that can repay him the anxiety and very heavy expense, which we know to be attendant on these concerts. After the concert there will be a ball - and, on the whole, we confidently anticipate an evening of most delightful and rational entertainment.
"MR. PACKER'S CONCERT", Reading Mercury (19 April 1830), 3
MR. PACKER'S CONCERT on Thursday evening, by the pupils of the Royal Academy, boasted a most numerous audience. The vocal music chosen for the occasion was a selection from the works of Rossini, Mercandante, Tulon, Weber, Callcott, Attwood, Hummell, and Bellini. Miss CHILDE, whose voice is an extensive soprano, acquitted herself in a manner which evinced much progress in the science. In the Scena, "Ah me infelice," she was particularly successful. - Miss WILLIAMS sang with great taste and execution and was hightly applauded in very pretty Ballad, "I'll watch for thee." - The Quartetto, "Mi Mancha la voci," was very ably given by Misses CHILDE and WILLIAMS, Mr. BRIZZI, and Mr. E. SEGUIN, and they all displayed superior vocal acquirements. - Mr. E. SEGUIN gave the Sceua, "The last man," in an effective manner, as to place him in the first rank of his profession. - Mr. BRIZZI's talents have been well cultivated and he did full justice to the [?] alloted to him. - The other vocal pieces were executed in the first style, and received the most vehement marks of approbation from the distinguished company which honoured the performance with their presence.
The Grand Trio, Pianoforte, Harp and Violoncello, Messrs. C. S. Packer, F. A. Packer, and C. Lucas, abounds in expressive and brilliant passages, particularly calculated to exhibit the mechanical powers as well as the musical judgment of the performers, who did credit to the composition, and received great and highly deserved applause. - Mr. SEYMOUR, who was the leader, executed the solos with a great deal of assurance and precision, thus showing his capacity a solo performer to be equal to his competency as a leader. - We must not omit mentioning the orchestra, which was entirely composed of pupils of the establishment, and who acquitted themselves in a manner fully worthy the applause directed to them more than once in the course of the evening. Their execution of the overture "Oberon" received the rare compliment of encore.
"Concert of the Royal Academy of Music at Reading", Berkshire Chronicle (1 May 1830), 4
Want of time and room, rather than of inclination, obliged us last week to notice this delightful concert in very brief and general terms; but we are sure our musical readers would scarcely excuse the omission a second time of a more detailed criticism on the performances of the evening. To those who heard the pupils of this most deserving institution in the same place last year, we cannot but think a very marked and gratifying advance towards perfection must have been perceptible; and this more particularly in the vocal department .. In the the beautiful Scena, the composition of Mr. C. S. Packer, which, much and deservedly as it was admired, woule have been better appreciated, had the youthful conductor placed it in an earlier part of the evening, when the powers of the performers were more equal to its difficulties, and to give effect to it expressive harmonies ...
... Miss Williams ... in the ballad "I'll watch for thee" was loudly encoured. We cannot help here noticing the beautiful accompaniment of Mr. C. S. Packer to the song, whose requisite delicacy touch, delightfully relieved the somewhat monotonous character of the air itself ...
It remains for us now more particularly to mention the performances of the two very talented natives of our town, Mr. C. S. end Mr. F. A. Packer, and to congratulate the spirited director of these concerts, on the possession of two sons of such high excellence and higher promise. Though there was not much, either in the harp obligato accompaniment to "Mi manca voce," or in the trio with Mr. C. S. Packer and Mr. Lucas, to display rapidity of execution, yet the fullness of tone and steadiness and precision of touch of Mr. F. Packer, showed great command and knowledge of his instrument. Mr. C. S. Packer, his part of Hummel's Septour or rather pianoforte concerto, left nothing to be wished: the wildest passages of that composition gained a harmony and polish by the rapidity and finish of his touch, that nothing but science capable of appreciating the designs of Hummel, and fingers to taught rival his, alike in strength aud celebrity, could confer on them. The other performers in this piece deserved and gained much praise ... On the whole we are sure we are justified in stating, that notwithstanding the scientific nature of the generality of the music, more adapted for the frequenters of the Philharmonic, than to catch the ears of a mixed audience, very few concerts have ever been given with greater credit to the performers and conductors, or more pleasure to the auditors. (Omitted last week.)
"ROYAL ACADEMY OF MUSIC", The Harmonicon 8 (1830), 322
Charles Packer's name is not on the list of those who had completed their tuition.
"MUSIC. OPERA CONCERT ROOM", The London Literary Gazette and journal of belles lettres, arts, sciences ... (25 June 1831), 412
The pupils of the Royal Academy of Music are already beginning to take upon themselves all the rights, privileges, and immunities belonging to the profession; and they seem well entitled to do so. Mr. Charles Packer, a young musician who has already accomplished much, and bids fair to do more, gave a concert at this room on Monday, which we notice on account of the singulare exhibition of juvenile talent that it presented ... Mr. Packer himself played capitally a concerto of Hummel, and part of a duet with Mr. Potter, in both of which the young professor proved himself to be a master of the instrument. Some of his own vocal compositions were performed by Lablache and others; and we were particularly struck by a trio called Di Luna, which was encored. The room was well filled.
"ROYAL ACADEMY OF MUSIC", London Evening Standard (16 April 1832), 3
The pupils of this institution performed a Concert on Saturday at the Hanover-square rooms. The vocalists were Miss Childe, Miss Turner, Miss Osbourne, Miss Wagstaff; Messrs. Allen and Stretton. Miss Childe sang a dramatic scene, written Miss Mitfurd, and composed by C. S. Packer, with much applause; the concluding chorus, "Oh, pleasant land of France, farewell," was exceedingly good and effective. Masters Gledhill and Richards performed a concertante duo for violins in a highly creditable manner; and the band played, in a superior style, Handel's occasional overture and Beethoven's symphony in D; but the star of the morning was Miss Dettmer, a pupil Mr. J. B. Cramer's, who performed a concerto of Hummel's on the pianoforte with a degree of taste, precision, expression, and brilliancy, that was quite astonishing for one so young, for she appeared not above twelve years of age; she reflects infinite credit on her highly talented instructor, and gives promise of becoming performer of the very first order in the true and legitimate style of pianoforte playing. Mr. Seymour led the first act, and Mr. Patey the second. The room was crowded with the friends and patrons of the Academy.
"ROYAL ACADEMY OF MUSIC", Morning Advertiser (16 April 1832), 2
On Saturday morning the second concert of the season of the pupils of the Royal Academy took place, at the Hanover-square Rooms, before a crowded and fashionable audience. The chief novelty in the selection was a dramatic scene, the words by Miss Mitford, the music by C. S. Packer of the Academy, which was sung by Miss Child. The subject is Mary Queen of Scots returning from France to Scotland, after the death of her first husband King Francis. The first few lives [sic - lines] are a literal translation of her well-known song, "Adieu plaisant Pays de France." The following is a portion of the introductory lines of Miss Mitford's scena:
Oh, pleasant land of France, farewell!
My country dear,
Where many year,
In peace and bliss I hoped do dwell,
Oh, pleasant land of France, farewell!"
So sang the Scottish Queen what time she stood
On her proud galley's prow, and saw the shores
Of France receding, the beloved shores
That she should never see again! Big tears
Drop’t from her eyes, and from her lips the words
Broke in fond repetition, "Pleasant land,
Farewell! farewell!" Then silently she stood,
The lovely one! silent and motionless
Amidst her weeping train; her lofty head
Thrown back, - her fair cheek colourless, - her eyes
Fixed on the cloudy heaven.
Miss Child gave both aria and recitative in a very tasteful and feeling manner. Beethoven's symphony in D, and some of Handel's compositions, elicited marked applause.
[Advertisement], Western Times (16 March 1833), 1
ROYAL ACADEMY OF MUSIC, LONDON ... UNDER THE IMMEDIATE PATRNAGE OF THEIR MAJESTIES. H. I. HAYCRAFT, Student of the above Institution, begs respectfully to announce that his CONCERTS ARE FOR THE PRESENT POSTPONED, In consequence of the principal Students of the Royal Academy having been commanded to be in attendance on their Majesties, at Windsor during the Easter Holidays. In fixing a period for the Performances, sufficient notice will be given, to prevent inconvenience to Subscribers. H. I. H. trusts that his arrangements will ensure a continuance of that distinguished patronage has already experienced, and which he has the honour gratefully to acknowledge. Her Majesty having been most graciously pleased to grant leave of absence on the occasion to several Members of HER MAJESTY'S PRIVATE BAND, The following Instrumental Performers are positively engaged: Mr. C. A. SEYMOUR, Leader Ordinary of Her Majesty's Private Band; Mr. H. G. BLAGROVE, Solo Violinist to her Majesty; Mr. C. A. PATEY, Solo Violinist of the King's Theatre; Mr. C. LUCAS, Principal Violoncello, and Composer to her Majesty; Double Baas, Mr. HOWELL, Of the King's Theatre, Philharmonic, and Ancient Concerts; Oboe, Mr. GRATTON COOKE, Of the King's Theatre, Philharmonic, and Ancient Concerts; Horns, Messrs. DANIELLS and MUDIE, Of the King's Theatre, and Theatre Royal, Covent Garden; Harp and Drums, Mr. NICKSON; Trumpets, Messrs. HAYCRAFT and HARPER, Jun; Conductor, Mr. C. S. PACKER. Vocal Performers will announced future advertisements. The profits arising from the Concerts, wiU appropriated IN AID OF THE EXETER DISPENSARY. Subscriptions (One Guinea) received at the Exeter Bank, City Bank, Messrs. Trewmans' and Woolmer's Printing Offices, and Curson's library.
[Advertisement], The Morning Post (18 June 1833), 1
MR. STRETTON has the honour to announce that his CONCERT, under the Patronage of the Right Hon. Lord Burghersh ... the Right Hon. Sir Gore Ousley, Bart., will take place at the ROYAL ACADEMY OF MUSIC, Tenterden-street, Hanover-square, by the kind permission of tbe Noble Director of that Institution, TO-MORROW EVENING, June 19,1838 (to commence at Nine o'Clock). Vocal Performers - Madame De Meric, Miss Bruce, Miss Turner, Mrs. Seguin, Miss Wagstaff; Signor Begrez, Signor Brizzi, Mr. A. D. [? ]. and Mr. Bennett; Mr. Seguin, Signor Giubilei, and Mr. Stretton. Conductor, Mr. C. S. Packer. Leaders, Messrs. Blagrove and Patey. The Band will be numerous and complete. Solo Performers — Pianoforte, Mr. C. S. Packer; Violin, Mr. Blagrove; Violoncello, Mr. Lucas; Harp, Mr. J. B. Chatterton; Contra Basso, Mr. Howell. Tickets Half-a-gninea each, to be bad at the Royal Academy of Music, Tenterden-street, Hanover-square ...
[Advertisement], Berkshire Chronicle (20 September 1834), 2
MUSICAL SALOON, 123, CASTLE-STREET, READING.
MAUREEN." an Irish Ballad; composed and dedicated, by permission, to H. R. H. the Princess Victoria, by F. A. Packer, of R.A. of Music ; the words by Boulger, Esq.
"Come, Kate, with me;" composed and dedicated to Mrs G. Bruin, by F. A. Packer; the words the late Mrs. Field.
"Take the Flower;" composed and dedicated to the Right Hon. Lady Kennedy Erskine, by F. A. Packer; the words from Dr. Beattie's Journal of Residence in Germany.
"I could not dream;" words by W. Boulger, Esq. F. A. Packer.
"I think of thee;" from Goethe's Poems - F. A. Packer.
"Oh think of me;" composed and dedicated to Lady Colvile, by C. S. Packer.
"May Day;" words by Miss Mary Russell Mitford - C. S. Packer.
"How often in that silent hour;" ballad, composed C. S. Packer.
"Basta, Basta," Grand Scena, composed and dedicated to the Right Hon. the Committee of the Royal Academy Music - C. S. Packer.
"De Luna al Raggio;" Terzettino, composed expressly for and dedicated to the Misses Carlisle - C. S. Packer.
"Oh me infelice;" Grand Scena; composed and dedicated, by permission, to her Grace the Duchess of Wellington - C. S. Packer.
Mr. Packer returns his best thanks to his friends and the public for past favors. Anxious by every means in his power to merit a continuance of the same flattering patronage, he has been solicitous to afford to them a choice selection of the newest Musical Publications and the best Instruments, by approved makers, and now respectfully solicits their inspection of some very superior Piccolo Piano Fortes, as well as other, which he is determined to offer for sale or hire on the most liberal terms.
A very superior VIOLINCELLO and CASE (the property of a gentleman) for Sale.
An experienced Tuner sent to any part of the country on the shortest notice.
Sept. 19th, 1834.
[Advertisement], The Reading Mercury (1 December 1834), 3
BY PERMISSION of tne WORSHIPFUL the MAYOR. GRAND MUSICAL ATTRACTION. MORI'S MORNING CONCERT, Miss CLARA NOVELLO. Miss BRUCE. Mr. HENRY PHILLIPS. Mr. MORI.
MR. MORI has the honor to announce to the Nobility, Gentry, and Inhabitants of READING, that he will give A GRAND MORNING CONCERT, On FRIDAY, DEC. 5, 1834, precisely at One o'clock, AT THE TOWN HALL, on which occasion will be performed a Selection of Music, from the Operas of "THE MOUNTIAN SYLPH," composed by Barnett, "GUSTAVUS THE THIRD," ditto Auber; and a Variety of other Compositions ... Mr. C. S. PACKER will preside at the PIANO-FORTE.
PROGRAMME. PART I ... Concertante Duet, Violin and Piano-Forte - Mr. MORI and Mr. CHARLES S. PACKER. De Beriot & Osborne ...
Tickets 7s. each and Family Tickets, to admit four, One Guinea, to be had at Mr. Binfield's and Mr. Packer's Music Warehouses.
"MORI'S MORNING CONCERT", Reading Mercury (1 December 1834), 3
The dilettanti of Reading and its vicinity will be gratified to learn that our talented countryman Mori, is likely to be soon amongst them. He has announced a musical entertainment for the 5th of December, (see advertisement) of the highest possible merit ... In addition to his own unapproachable talent, Mr. Mori has obtained the co-operation of our highly-talented young townsman, Mr. C. S. Packer, of the Royal Academy of Music, and, we presume, at no trifling expense, secured the services of Mr. H. Phillips, Miss Clara Novello, and Miss Bruce, all vocalists from London, and too eminent to require any comment of ours. His programme is replete with beauties, in addition to compositions which are established in the public favor, he announces several novelties, among which may be classed a Concerto and a Fantaisie to be performed by himself for the first time, a Grand Concertante Duet, Violin and Piano-forte, by himself and Mr. C. S. Packer, and a selection from Barnett's New Opera, the Mountain Sylph ...
"ENGLISH OPERA-HOUSE", Morning Advertiser (21 April 1835)
Last night Mr. Arnold commenced the English Opera-house season with great spirit, presenting to his numerous holiday visitors three new compositions of considerable merit: the first was a "grand opera," from the practised pen of Miss Mitford, called Sadak and Kalasrade, or the Waters of Oblivion; the second farcetta called My Fellow Clerk; and the "original drama," entitled The Shadow on the Wall. With regard to the first of these, it may be observed that the accomplished lady who owns it has taken her materiel from one of the Tales of the Genii by (we believe) Sir C. Morrell, late British resident at Poonah. Without troubling ourselves or our readers much about the plot itmay be necessary to mention that Miss M. has not adhered strictly to the original story; but n'importe. Contrary to the usual arrangement of voices, the tyrant Caliph Amurath is represented by Wilson, while Phillips sustains the character of Sadak, the persecuted husband of the beautiful and virtuous Kalasrade. The Caliph becomes enamoured of Kalasrade, who refuses to listen to his guilty passion; he is exasperated in consequence, and sets fire to her dwelling. Sadak, who it appears has been absent, returns, and is condemned by the tyrant to procure the waters of oblivion, that may drink, and so forget the charms of Kalasrade, at great personal hazard, for the waters are only to be found in a deep, guarded by all manner of evil spirits. The oblivious draught is obtained, the tyrant quaffs, and finds too late that death and oblivion are synonymous. Sadak, of coarse, is then allowed to enjoy his wife undisturbed. The scenery is very splendid, especially so the pleasure-garden of Kalasrade; arcade in the gardens of Amurath; the enchanted island, volcano, mystic rock, and magic tree; and the locale of the waters of oblivion. The music (which ought to be the chief thing in all operas, as truly observed by acute critic) is composed by Mr. Packer, an elève of the Royal Academy. Taken whole, it is of mediocre class; but that has long been essential characteristic of the English school of music. Mr. Packer, however, possesses a good musical education, and evinced considerable taste and skill in several portions of the opera, especially so towards its close. Wilson plaved the tyrant very well, and gave the music much better. This gentleman has been rising in public esteem for several seasons past. He sang several of the morceaux last night with spirit, taste, and judgment alike creditable to himself, as to his able tutor Crevelli. H. Phillips has some good music set down to him, and he sang it admirably. Miss E. Romer, as Kalasrade, dressed and looked like an eastern bride, fresh as the dawn, and gave her music with taste and expression. The opera was given out for repetition by Phillips amidst great applause, although there were some ill-natured hisses mingled with it. After the fall of the curtain "God save tbe King" was sung in capital style by the whole vocal strength of the company, Miss F. Healey leading with the first verse.
My Fellow Clerk is lively dramatic sketch, and affords Mr. Wrench ample opportunity for the display of his extravagant humour. The Shadow on the Wall terminated at so late an hour, and possesses so much intrinsic merit as an original drama, that we must take another occasion to speak of it in detail. The house was exceedingly well attended.
"LYCEUM AND ENGLISH OPERA HOUSE", Morning Post (21 April 1835), 3
A crowded audience attended last night the opening of the season of the popular establishment devoted to the fostering and encouragement or native talent. During the recess the proprietor has put forth additional claims to public patronage, by extending the accommodation, already so liberally apportioned for comfort and convenience in this most elegant theatre. Thus the gloomy-looking boxes which were formerly in the rear of the balcony have been thrown into the dress circle, and the three private boxes on each side of the first circle have been added to it. The effect has been to relieve the heaviness or the former arrangement, and to add considerably to the pleasure of the visitors. The entertainments consisted or three new pieces, namely, a new opera in two acts, the libretto from the pen of Miss MITFORD, and the music composed by Mr. PACKER, of the Royal Academy, under the title of Sadak and Kalasrade, or the Waters of Oblivion; a new farcetta, called My Fellow Clerk; and a new and original drama, written by Mr. SERLE, entitled The Shadow on the Wall. There was much spirit on the part of Mr. ARNOLD in producing entire novelties for the first night, and we wish that we could conscientiously record the triumph which his exertions ought to have achieved. But whilst in the two last-mentioned dramas we can announce a deserved and decisive success our report rannot extend to the prominent attraction of the evening. A new opera from a British composer is indeed entitled at our hands to every indulgence, and to all the support which can be extended to it in our columns. That we have evinced on former occasions every disposition to promote the interests and encourage the prospects of native genuis will not be denied by the members of the profession; and, however painful it may be, we must now show cause against Mr. PACKER. There is one objection which we have to urge against this opera, which must be carefully eschewed by future English composers. It is true it may be urged that the defect which we are about to point out has for its origin and excuse the example of the modern Italian school; but the fault is of serious consequence to the general effect, and if persevered in must prove fatal to the reputation of the maestro. We mean the introduction of a bass voice in the leading character, "to the manifest injury," as Lord MOUNT EDGCUMBE has ably observed in his "Musical Reminiscences," "of melody, and total subversion of harmony, in which the lowest part is their peculiar province." The noble author whom we have just quoted, further observes in support of his position, that a bass ought to occupy the last place:-
"These new first singers are called by the novel appellation of basso cantate (which, by-the-bye, is a kind of apology, and an acknowledgment that they ought not to sing), and take the lead in operas with almost as much propriety as if the double bass were to do so in the orchestra, and play the part of the first fiddle. A bass voice is too unbending and deficient in sweetness for single songs, and fit only for those of inferior character, or of the buffo style. In duettos it does not coalesce well with a female voice, on account of the too great distance between them, and in fuller pieces the ear cannot be satisfied without some good intermediate voices to fill up the interval, and complete the harmony."
In the preceding observations few persons who heard Mr. Packer's production will be disposed to differ; but we must do this Gentleman the justice of stating that we do not believe he ought to be blamed for the course which he has pursued. The evil, we are afraid, has arisen in this instance from the selfish and narrow-minded teelings of certain singers, who, to gratify their own vanity, will nol hesitate to sacrifice composers and adapters who have industriously laboured to draw them out of their insignificance and bring them into public notice. Against such a disgraceful system, so blighting to genius, and so degrading to its despicable originators, we do most emphatically protest. We have witnessed in LODER's Nourjahad, replete as that opera is with beauties, the monotonous issue of the baritone being the leading singer, and in Sadak and Kalasrade we have now to record a similar result. At the production of AUBER's Lestocq we considered it to be our duty to expose the impediments thrown in the way of the adapter by the overweening conceit and capricious airs of some leading singers; and from the notice which had been taken or our remarks, as much by our contemporaries as by publications of a less ephemeral character, we had hoped not to have found it necessary to recur to the subject. But with all our personal predilections, and they are somewhat strong - and with all our juvenile recollections, and they are no less endearing - we cannot allow this tyrannical monopoly to be continued without a solemn warning to singers that they act not only with manifold injustice towards others but contrary to their own and most substantial interests. We tell them that they are but the mimics of "sweet sounds," and those sounds must emanate from the inventive as well as mechanical faculties of the composer. If the latter is to be cramped by the regulations imposed on him the mere imitators will find the love of music retrograde, for novelty is as essential to enjoyment as variety of style for due expression. The manifold defects of Sadak and Kalasrade we have as little disposition to examine as it would be tedious to mention them. The general character of the music is not dramatic, and is not applicable to the situations or the dramatic portion. Here and there may be found snatches of good writing, but the deficiency of melody was apparent throughout. Although the whole execution was extremely imperfect, the chorusses most disgraceful, and the leading performers in bad voice, it was impossible to come to any other conclusion than that the opera is an entire failure, and the demonstrations in corroboration or our opinion were unequivocal when Mr. H. Phillips attempted to announce it for repetition. We have said nothing of Miss Mitford's libretto, as it was intended as a vehicle for music which has not left a trace on our memory ...
"LYCEUM AND ENGLISH OPERA HOUSE", London Courier and Evening Gazette (21 April 1835), 3
A crowded audience attended last nigbt the opening of the season of popular establishment devoted to the fostering and encouragement of native talent. During recess tbe proprietor has extended the accommodation, already so liberally apportioned for comfort and convenience in this most elegant theatre. The gloomy looking boxes which were formerly in tbe rear the balcony, have been thrown into tbe dress circle and three private boxes on each side of tbe first circle have been added to it. The effect has been to relieve the heaviness tbe former arrangement, and to add considerably to tbe pleasure of the visitors. The entertainments consisted of three new pieces, written and composed for this theatre. The first an opera, founded on the well known eastern tale of "Sadak and Kalasrade," written by Miss Mitford, and composed by Mr. Packer, of the Royal Academy of Music; an interlude, called My Fellow Clerk; and a drama, by Mr. Serle, with music by Mr. Thomson, called The Shadow on the Wall. From the first of these pieces much was expected, from the great beauty of the story on which it was founded, the reputation of its distinguished authoress, and the known talent of the young composer. It proved, however, a failure. The wild and romantic beauties of the Oriental fiction were effectually squeezed out of it in the process of dramatizing, and all that remained was caput mortuum of the most insipid kind. Such a drama was sufficient to weigh down music of a higher order than Mr. Packer's, though it gave indications of very considerable genius. The music is well written, and exhibits skill end judgment in the management of the instruments; but it is heavy and monotonous, and very deficient in the first of all qualities, melody. The piece went off very heavily; and, at the conclusion, so much disapprobation was expressed, that Mr. Phillips, who came forward to give it out for repetition, retired without doing so. No part of tbe failure of this piece can ascribed management or the performers. The scenery and decorations were splendid, the chorus efficient, and every effort was made by Miss Romer, Miss Somerville, Mr. Phillips, and Mr. Wilson to justice to their parts ...
"THE THEATRES", The Evening Chronicle (21 April 1835), 3
... At the English Opera House there were three new pieces. The first an operatic version of the well-known Eastern tale of Sadak and Kalasrade, was failure, though it proceeded from the practised pen of Miss Mitford. The music, by a young composer of the name of Packer, was not happy; and the whole was very unfavourably received ...
"ENGLISH OPERA HOUSE", The Literary Gazette, and Journal of the Belles Lettres (25 April 1835), 269 [sic]
... Of this opera we cannot speak in terms of very high praise, for we found it monotonous, both as entertainment and music ...
"ENGLISH OPERA HOUSE" Bell's New Weekly Messenger (26 April 1835), 7
Mr. ARNOLD, with his usual liberality and enterprise, commenced his season on Monday night with an opera, an interlude, and a melo-drama - all novelties. Sadak and Kalasrade (the opera) is founded on the well-known tale of the Waters of Oblivion, though there are some few alterations in the leading points of the plot, many of which, susceptible of the most beautiful touches, are wholly set aside. The story is told in few words: Sadak (PHILLIPS) is the husband of Kalaerade (Miss ROMER) and a General in the service of the Sultan (Mr. WILSON). The Sultan falling in love with Kalasrade, eventually get her into his power, and imprisons her. Sadak soon hears of his wife's misfortune, and determines to obtain her freedom. He enters the Sultan's presence while the latter is in the act of entreating the graciousness of Kalasrade, and demands his wife; but not even his remonstrances, threats, or supplications, nor the tears and prayers of the lovely bride, succeed in obtaining her liberty; the Sultan will grant it her but on one condition, which is, that Sadak shall seek the Stream of Oblivion, and return with goblet filled from its waters. Sadak does all this, and the Sultan, drinking from the goblet, dies, leaving the hero and heroine to enjoy the happy results of his decease. Of Miss MITFORD'S share in the merits and demerits of this opera, we shall not speak. Mr. Hazlitt said that Mr. Moore ought not to written Lalla Rookh for 5,000l. Miss MITFORD ought not to have written Sadak for 5,000l. Many thousands more than five should not have tempted the authoress of Rienzi to publish such an opera. The scenery is in many parts very beautiful; the "getting-up" is upon a scale of the greatest liberality and splendour.
- With regard to Mr. PACKER'S music, it is very clever and very promising, very learned, and we must add, with pain, very, very dull. There is not one effective piece in the whole opera, not one even attractive, with the exceeption of trio in the third act. We had, here and there, bits of WEBER (Huntsmans' Chorus), SPOHR (The Jessonda) and ROSSINI continually. The opera, as a piece, is without an object: there is no prevailing intention on the part of the composer that accompanies you throughout - whole airs, of those sung by PHILLIPS most particularly, are futile (we use the term in its abstract sense) they might just as well sung by Alexander the Great, Tam o'Shanter, or the Marquis of Londonderry - to each and all they would be equally suited. Throughout the whole opera there is a straining at fine things - at musical learning - it full of theoretic intricacies - in short, it is clever; of genius there is not the smallest spark; it holds out great promise of increased learning on the part the composer, but it gives no reason to suppose that he will ever write a Mountain Sylph, equal Mr. BISHOP'S glees, or be ever a partaker of the simplicity and purity of the ballads of Dr. ARNE, or the pathetic solemnities of the composers of the Elizabethan era. The singers did their best; they felt, we are convinced (as we did ourselves) an interest in the success of an opera by so young a native composer, produced at a period when English musical talent is greatly on the increase. PHILLIPS and WILSON sang the two heroes, of course, beautifully. A Mr. EDWARDS, from the Bath Theatre, made his first appearance. He has a voice not unlike WILSON'S, with the same sweetness and fullness, of a rather higher quality. The part he played was one of little prominence, however, but we trust an opportunily will be shortly given him to display his abilities more fully. Of Miss ROMER we must not speak. If we felt savage with Mr. Packer during the whole evening, it was for writing such music for such a heart and voice. Why must she, whom we had reserved to ourselves as the one singer on the stage whose sweet nature the music master had suffered to appear divested of all the astonishments of difficult science, whose frame we have seen shake like the leaf of a sensitive plant at the expression of ever so small an emotion - the fawn of the opera - why must she be selected to become the victim of the impossibility of notes an octave higher than Mrs. Billington could reach? why must she execute roulades, chromatics, and intentionless up and down's without end, that "mar her murmurings," and turn "the simplicity of Venus' dove" into the incongruous gimcrackism of a many-coloured mountebank. Skill is a fine thing, per se, but it is a very horrible one when it thus draws its sword against feeling and sentiment. Let it be with them, subserviently, but not without them, revelling in all its fatiguing wilfulnesses. Skill, without tenderness or emotion to poetize it, is mere "show off." But we shall have her in The Mountain Sylph soon. It is promised us ....
"ENGLISH OPERA HOUSE", Bell's Life in London and Sporting Chronicle (26 April 1835), 1
This theatre opened on Monday night for the season, with three new pieces. The first is an opera, from the pen of Miss Mitford; the music is composed by a Mr. Packer, of the Royal Academy. There is nothing very striking in the language or in the music of this production. The reputation of Miss Mitford is fortunately too well secured by some of her former writings to render the diminution of it dependent upon the success or failure of this production. Sadak and Kalasrade, the new opera, is founded on the story of the same name in the Tales of the Genii. It is not a tale which can be told well in a dramatic form, and notwithstanding some tolerably good airs and some pretty poetry, it went off but heavily. The announcement for repetition was received with mixed disapprobation and applause - we should say the opposition was far from equivocal ...
"THEATRICALS", Figaro in London (26 April 1835), 69-70
The managers of amateur theatricals, who, like quacks and lawyers, live by the folly of mankind, have an excellent plan of making the degree of vanity, with which the stage-stricken apprentices are infected, the means of a proportionate profit to themselves. Thus, Hamlet is murdered for one guinea and a half, and Othello never smothers under two guineas; Roderigo and Cassio are seven shillings each, and Hotspur may storm and rage for half a guinea. This is the plan which Arnold should pursue with the young fidlers and fools, who come with "An Opera by an English composer," requesting its performance; and thus, and thus only, could he get paid for the trouble and expense of producing these melancholy abortions; for let him be certain that the public will never patronise such trash. Sadak and Kalasrade is a dreadfully dull affair, the mingled production of vanity and stupidity. Its author, Mr. Packer, is a pupil we believe, of the English Academy of Music - a meritorious institution, originally destined for the education of musicians - and an opera by a pupil of this Academy is about as absurd as "the Iliad, an Epic Poem, by a Westminster Boy," would appear if announced in the newspapers of the day. We do not blame Mr. Packer for composing this opera. We blame him for producing it - and we are seriously annoyed with Arnold for being instrumental in boring the public to his own loss with this, the mere raw material of an opera. Every composer has his own particular style - the royal sublimity of Handel, the graceful simplicity, and harmonious elegance of Haydn, the melodious richness and feeling expression of Mozart, the mysterious and picturesque harmony of Weber, the sparkling gaiety of Rossini, the military brilliancy of Auber, are known and marked as features on the face of music. Mr. Packer, likewise, had his style, the distinctive characteristics of which are squeaking and hooting; the fiddles and the females had a struggle which could squeak the loudest and the longest, while the bassoon, the serpent, the trombone, the big drum and the chorus of devils contested the palm in the deep, deep, bathos of bombastic bass. The laughing chorus in the last Act, had a double accompaniment from the pit and orchestra and the "Waters of Oblivion" must roll over the music of Sadak and Kalasrade before Mr. Packer's merits as a composer can again be put forward to punish the afflicted ears of the public. A few words regarding the faults of this opera may be productive of advantage to juvenile composers - there was a want of contrast, a deficiency of vigour, an absence of effect, and of light and shade. All the music was of a melancholy tinge, as if it had been written in low spirits, and when the Author, like his Opera, was out of tune; - one of the characters, at least, should have been lively - but, jam satis! If the opera be withdrawn, we will say no more of it - Poor Miss Mitford! ...
(70) ... We omitted to mention, that in the last act of "Sadak and Kalasrade," when the Nymph of the Fountain offered Sadak the Waters of Oblivion, Philips, with his fine sonorous voice, and in a most pompous recitative, thus sang:
"Man is born to remember, not to forget!"
An ingenious discovery, which can only be paralleled by the well-known poetical lines in Gustavus:-
"I can scarcely believe the intelligence you bring,
Tho' I hold in my hand the letter from the King!"
A contretemps in this Opera was very ludicrous. At one time a most inharmonious and noisy seraphine was accompanying a squeaking chorus of squalling girls; the audience were in doubt whether or not to hiss when Miss Romer unhappily asked, with the most innocent and unconscious look:
"Whence comes this ravishing music?"
A roar of laughter followed. The serpent's head and shoulders in the cave, and the ludicrous effect of its motions, can never be forgotten.
"ENGLISH OPERA HOUSE, The Musical Library: Monthly Supplement (May 1835), 48
This remarkably pretty and convenient theatre opened for the season on Easter Monday, the 20th of April, with three new pieces. But before noticing these, we will briefly state what alterations have been made in the house during the winter ... The first piece was an opera in two acts, Sadak and Kalasrade, written by Miss Mitford, and composed by Mr. Packer. The story is taken from the most popular of The Tales of the Genii, the title of which is retained. The following are the characters: - The Caliph, Mr. WILSON; Vizier, Mr. BLAND; Sadak, Mr. H. PHILLIPS; Kalasrade, Miss ROMER; Her Attendant, Miss SOMERVILLE.
The very interesting tale on which this is founded is so well known, that it is unnecessary to repeat it. Miss Mitford has only taken the main incidents of it, - the unhallowed love of the Caliph for the wife of his faithful general, Sadak, the latter being sent, at the peril of his life, to obtain a bottle of the waters of oblivion, and the death of the tyrant in consequence of taking a draught of these when in his possession. We cannot say that she has either managed these well, or availed herself of the improvements which ought to have suggested themselves during the rehearsals. Situations that would have been perceived by a practised dramatist have been neglected; and many points which might have been made in the dialogue have been lost. In the tale, the last scene is remarkably striking; in the opera, it is no less distinguished by an unaccountable flatness. Probably the strength of this piece is in that in which Miss Mitford excels, in its poetry; but, unfortunately, the books of the opera were not printed, and few singers take the trouble to pronounce a single syllable distinctly.
But whatever had been the merit of the drama, it could not have stood under the weight of the music. The composer, four or five years ago, published a scena, in which strong feeling, taste, and musical knowledge were equally conspicuous. From such a beginning we certainly expected a corresponding continuation. However, the musician's as well as the poet's muse is sometimes unwilling, and Mr. Packer's certainly was in any sort of humour rather than a favourable one when he sat down to this work. And here we must observe, that whoever had the inspection of his manuscript, - his score, - ought at once to have seen and declared its inefficiency. Such a proceeding would have been a proof of discernment, of kindness, and of a sense of what is due to the public.
Sadak and Kalasrade was heard through with exemplary patience, though a laugh or two at the expense of the piece was not to be resisted. Still it went to the end without interruption. But when Mr. Phillips appeared to announce a second performance, the roar of negatives was like that of a cataract. Some few claqueurs, who had, most indiscreetly, got an encore for the overture, again used their hands, though they could not be heard. The condemnation was unequivocal. But let not the young composer be discouraged: on the contrary, this should prove a useful lesson. Let him hereafter reflect well before he appeals to the public, and submit his next essay to a sensible friend, ere he suffers it to be put into a manager's hands ...
"PROGRESS OF PUBLICATION", Morning Advertiser (2 May 1835), 1
Sadak and Kalasrade, or The Waters of Oblivion, a Romantic Opera, in two Acts. By MARY RUSSELL MITFORD.
For the sake of Mr. Arnold, who has striven hard to raise the character of the English school of music, for the sake of Miss Mitford, who has written many clever works, and, lastly, for the sake of the Royal Academy Music, which has never done anything - but to which Mr. Packer, the composer of the above-named opera belongs - we wish we could speak in praise of Sadak and Kalasrade. On its first representation, some days ago, we candidly gave an opinion upon its musical pretensions, and we now have few words to offer regarding it as a literary production. On this head Miss Mitford herself appears to have some misgiving, for she says "it is not with English tragedies, whether written by myself or by betters, but with German and Italian operas that Sadak and Kalasrade can fairly be brought into comparison as a literary composition." Does our accomplished writer insinuate that the German and Italian opera is destitute of literary merit? that there is no beauty of composition, in short, poetry, to be found in the libretto of Medea, the Semiramide, the Zauberflote? But Miss M. states that she only designed her piece as a vehicle for music; we can only say that the music and the vehicle are worthy of each other.
"THEATRICALS", Figaro in London (2 May 1835), 76
... "Sadak and Kalasrade" is being withdrawn, by degrees, from the bill of performance at the English Opera House, and the manager will find his advantage. By-the-bye, what has become of an opera composed by a daughter of Glossop of the Victoria theatre, and which was to have been produced there. It was said at the time to have exhibited genius of the highest order. At any rate it must be better than "Sadak and Kalasrade." Serle's "Shadow on the Wall," gains nightly on public favour; and Wrench's Tactic, in "My Fellow Clerk," is a genuine character ...
[News], Morning Post (27 June 1835), 4
Mr. Packer, whose concert was announced for Wednesday morning, in proceeding to the Opera House was thrown out ot a cab and seriously hurt; inconsequence of which the performance did not take place, to the great disappointment of a number of persons who proceeded thither, unconscious of the accident which had befallen the beneficiaire.
Thomas Oliphant, A brief cccount of the Madrigal Society: from its institution in 1741 up to the present period
(London: Calkin and Budd, 1835)
[Joined as member] 1833 † C. S. Packer ... The names of the Thirty-five members constituting the Society in the year 1834, are printed with a †
Marriages soelmnized in the parish of St. George the Martyr, Queen's Square [? Holborn], 1836
Charles Sandys Packer, esquire of the district of All Souls Saint Marylebone ... and Eleanor Mary Teresa Grogan, a spinster, of this parish ... 18 May 1836
"READING ELECTION PETITION. THRUSDAY, MARCH 15th", Reading Mercury (17 March 1838), 2
CHARLES PACKER, 855 on the register, for a house in Castle-street, and 181 on the poll, parish of St. Mary, was objected to by counsel for the sitting member. Mr. Frederick Alexander Packer deposed, he is son of the voter who is a music master; he did not to reside in London in the latter part of 1836; did so early in August, 1837, when he left Reading; he often went to London on business; he was in Reading two-thirds of June, 1837; he did not quit it until 4th August, 1837. Mr. Hill said he had an adverse witness and could not support his case - Good vote.
"BOW STREET", Morning Chronicle (28 December 1838), 4
CHARGE OF FORGERY. - Charles Sandys Packer, a music master, was placed at the bar, charged with forging and uttering four bills of exchange, one for £400, another for £380, a third for £800, and tile fourth for £700, with intent to defraud Messrs. Stone, Martin, and Stone, bankers, Lombard-street.
The prisoner was apprehended on Friday, the 14th Inst., brought up for examination the following day, and remanded till Saturday last.
The witnesses necessary to prove the charge, however, could not then be brought forward, and the case was again remanded. This day, the principal witnesses being in attendance, the case was proceeded with.
Mr. Bush, solicitor for the Society of Bankers, formed for the prevention of frauds and forgeries, attended to prosecute, and Mr. Humphreys appeared for the prisoner.
Mr. George Stone, jun., one of the partners of the firm of Stone, Martin, and Stone, bankers, 68, Lombard-street, City, deposed that on the 17th of January last he received the letter produced from the prisoner, and he believes it to be in his handwriting. In consequence of some arrangements which were subsequently made, the prisoner opened an account at the banking-house on the 5th of March last. He paid in bills and money, and also got bills discounted on several occasions. From March up to the end of July last such bills were paid, with one exception, and the account was regular up to that time.
From July to the 12th of December the prisoner paid in other bills, and on the 13th of October he brought the two bills marked A and B, the one for £400, and the other for £380, to the bank. They are both drawn by himself upon, and purporting to be accepted by, Messrs. Stoddart and Son, Golden-quare, and are made payable at Messrs. Ransom and Company's banking-house.
Mr. BUSH: Was the bill for £400 discounted on the same day? - Witness: Yes, it was.
Mr. BUSH: Did you discount it at the prisoner's request? - Witness: Yes.
Mr. BUSH: Was the other bill also discounted by you at the prisoner's request? -Witness: Yes, it was discounted on the 5th of November. I believe the prisoner almost always applied to me about his account.
Mr. BUSH: On the 17th of November was this bill for 800, marked C, discounted by your house at the prisoner's request? - Witness: Yes, it was. The bill is drawn by the prisoner upon, and purporting to be accepted by, Messrs. Broadwood and Sons, Pulteney-street, Golden-square. The amount of it was placed to his credit.
Mr. BUSH: Do you know that any of those bills have been paid? - Witness: None of them have been paid, they are not yet due.
Mr. BUSH: How many partners are there in your house? - Witness : There are six altogether.
Francis William Fry: I am clerk to Messrs. Stone, Martin, and Stone, bankers, of Lombard-street. I remember the prisoner coming to the banking-bolise on the 12th of December instant. He delivered to me the bill for 700, marked D, now produced. It is drawn by him upon, and purporting to be accepted by, Messrs. Broadwood and sons.
Mr. BUSH: What did he say to you when he came in? - Witness: He handed me the bill, and asked if Mr. George Stone, jun., was in the way. I said I did not know, but I would see, and I went to ascertain; but when I came back the prisoner had left the house.
Mr. BUSH: Have you seen the prisoner again until to-day? -Witness: No, I have not.
Mr. BUSH: Did he leave the bill with you? - Witness: Yes, it has remained in the custody of the house, but it has not been placed to the prisoner's account. The following morning tnere was some conversation about it.
Daniel Giles Rose: I manage the business of Broadwood and Son, pianoforte-manufactuters, No. 33, Pulteney-street, Golen-square. There are three partners in the firm.
Mr. BUSH: Have you seen them write? - Wltness: Yes, often.
Mr. BUSH: Are you well acquainted with the hand-writing of all the partners? - Witness: Yes.
Mr. BUSH: Will you look at these two acceptances (marked C and D), and tell us if the handwriting is that of any of the partners? - Witness: It bears no resemblance to the handwriting of either of them, and I believe it is not their handwriting.
Mr. BUSH: Do you believe these bills to be forgeries? - Witness: I do; I have no doubt of it.
Mr. BUSH: Do you know the prisoner? - Witness: I do.
Mr. BUSH: Had he any right, or was he authorised or entitled to draw those bills on your firm? - Witness: No.
Mr. BUSH: If presented to you for acceptance, would they have been accepted? - Witness: They would not have been accepted with my sanction.
Mr. BUSH said that this was all the evidence he had at present. He was sorry Mr. Stoddard had not yet come to town, but he was willing either to postpone the case or let it remain as it was. After soane conversation, it was ultimately arranged that the prisoner should be remanded until Friday, the 4th of January next.
"POLICE", Reading Mercury (19 January 1839), 4
BOW-STREET. - On Tuesday, Charles Sandys Packer, the music teacher, who stands charged with forging and uttering four bills of exchange, amounting to 2,480l, with intent to defraud Messrs. Stone, Martin, and Co., the bankers, was brought before Sir F. Roe for final examination. The following evidence, in addition to that which was given at the previous examinations, was gone into. Mr. Henry Broadwood, jun., of the firm of Messrs. Broadwood and Co., piano-forte makers, and Mr. Matthew Stodart, of the firm of Messrs. Stodart and Co., piano-forte manufacturers, Golden-square, severally proved that the bills of exchange produced were not accepted by the witnesses or any of their partners. The prisoner, when called on for his defence, replied that he had nothing to say. The witnesses were then bound over to appear, and give evidence against him, at the next session of the Central Criminal Court, and he was fully committed to Newgate.
"POLICE. BOW-STREET", Bell's New Weekly Messenger (20 January 1839), 7
CHARGE OF FORGERY. - On Tuesday, Charles Sandys Packer, who is charged with forging and uttering four bills of exchange, one for 400l., another for 380l., a third for 700l., and a fourth for 800l., was brought up for final examination. - The prisoner, who is a music-master, and resided in Albany-street, Regent's-park, on the 5th of March last opened an account at the banking-house of Messrs. Stone, Lombard-street, and commenced to pay in bills and money, and to transact business with the bank. In October last he brought the two bills for 400l. and 380l. (marked A and B) to the bank, and got the amount placed to his credit. They were drawn by himself upon, and purporting to be accepted by, Messrs. Stoddart, Golden-square. The following month hw brought the bill for 8001. (marked C) to the bank, and got it discounted, and in December he appeared with the fourth bill for 700l. (marked D) which, however, was not discounted, but remained in the hands of the bankers until the prisoner's apprehension. The bills marked C and D were drawn by the prisoner upon, and purporting to be accepted by Messrs. Broadwood, Great Pulteney street, Golden square. - Mr. H. P. Broadwood stated that he was a partner of the firm of Broadwood and Son, Great Pulteney street. The two bills of exchange, marked C and D, were not accepted by any of the partners of the firm, and the prisoner had no authority to accept them for Broadwood and Son. Witness never saw them until he came to this office to be examined in the case. They never give bills of exchange. - Mr. M. Stoddart, of the firm of Stoddart and Son, Golden square, gave similar evidence in reference to the other two bills marked A and B. - Joseph Shackell, a Bow-street officer, deposed that he apprehended the prisoner at the Old Ship, Brighton, and on searching him found a bill for 490l., drawn by himself, but unaccepted, and a blank check upon Messrs. Stone, in his possession. When he was told that was apprehended on a charge of forgery, he said, "Oh, dear!" and appeared very much agitated. - The prisoner declined to state his defence in the mean time, and was fully committed Newgate for trial.
"CHARGE OF FORGERY", Bell's Life in London and Sporting Chronicle - Sunday 20 January 1839, 4
Charles Sandvs Packer, who is charged with forging and uttering four bills of exchange, one for £400, another for £3BO, a third for £700, and a fourth for £8OO, has been fully committed for trial. The prisoner was a distinguished member of the Royal Academy of Music, and possesses rare musical talents. He has plunged a young and beautiful wife into the deepest affliction by his reckless conduct.
"CENTRAL CRIMINAL COURT", Evening Mail (8 February 1839), 3
Wednesday, Feb. 7. (Before Mr. Justice VAUGHAN and Mr. Justice WILLIAMS.) Charles Sandys Packer, described as a musician, and aged 29, was indicted for forging and uttering a bill of exchange for 700l., purporting to bear the acceptance of Messrs. Broadwood and Co., the pianoforte makers, with intent to defraud Messrs. Stone, Martin, and Stone, bankers. The prisoner was further indicted for forging and uttering other bills of exchange, amounting in the whole to 2,250l [sic]. Mr. Bodkin and Mr. Doane appeared for the prosecution, and Mr. C. Phillips for the defence. The prisoner had in the course of the morning pleaded guilty to the first indictment, and at being again placed at the bar before the judges, Mr. PHILLIPS said that the unfortunate young man for whom he appeared had, by pleading guilty, made the reparation in his power for the offence he had committed, and his punishment now rested with the Court. He was desirous, however, of calling several most respectable witneeses who would speak to the previous character of the prisoner. Mr. Broadwood, one of the prosecturs, Mr. Perry, a barrister, and Mr. Serjeant Talfourd, were then called, and gave the prisoner an excellent character for houeety. The latter said, that he had known the family of the prisoner, who were highly respectable persons, for many years, and he had known the prisoner himself from his infancy. He became more intimately acquainted with him on one occasion, when he composed the music of an opera written by Miss Mitford, and he considered him an upright honourable young man. Mr. Justice VAUGHAN said, that the character which the prisoner had received was quite satisfactory, but it would be necessary for him to look into the depositions in order to possess himself of the facts of the case before he pronounced the sentence of the Court. The prisoner waa then removed from the dock ...
"POLICE: CENTRAL CRIMINAL COURT", The Musical World 153/59 (14 February 1839), 105
CENTRAL CRIMINAL COURT, Wednesday, February 10. (Before Mr. Justice Vaughan and Mr. Justice Williams.)
Charles Sandys Packer, described as a musician, and aged 29, was indicted for forging and uttering a bill of exchange for 700l., purporting to bear the acceptance of Messrs. Broadwood and Co., the pianoforte makers, with intent to defraud Messrs. Stone, Martin, and Stone, bankers. The prisoner was further indicted for forging and uttering other bills of exchange, amounting in the whole to 2,250l.
Mr. Bodkin and Mr. Doane appeared for the prosecution, and Mr. C. Phillips for the defence.
The prisoner had in the course of the morning pleaded guilty to the first indictment, and on being placed at the bar before the judges:
Mr. Phillips said that the unfortunate young man for whom he appeared had, by pleading guilty, made the only reparation in his power for the offence he had committed, and his punishment now rested with the Court. He was desirous, however, of calling several most respectable witnesses who would speak to the previous character of the prisoner.
Mr. Broadwood, one of the prosecutors, Mr. Perry, a barrister, and Mr. Serjeant Talfourd were then called, and gave the prisoner an excellent character for honesty. The latter said, that he had known the family of the prisoner, who were highly respectable persons, for many years, and he had known the prisoner from his infancy. He became more intimately acquainted with him on one occasion, when he composed the music of an opera written by Miss Mitford, and he considered him an upright, honourable young man.
Mr. Justice Vaughan said, that the character which the prisoner had received was quite satisfactory, but it would be necessary for him to look into the depositions, in order to possess himself of the facts of the case before he pronounced the sentence of the Court.
The prisoner was then removed from the dock.
[The age and previous reputation of the prisoner, the extreme respectability of the witnesses to character - one of them being a prosecutor - and the magnitude of the offence, combine to give a peculiar interest to this case, and the sentence of the Court will be looked for with some concern. - Ed. M. W.]
Central Criminal Court session papers ... Fourth session, held February 4, 1839 (London: George Hebert, 1839), 495
Before Mr. Justice Vaughan.
551. CHARLES SANDYS PACKER was indicted for feloniously forging and uttering a bill of exchange for £800, at St. Marylebone, with intent to defraud George Stone and others. - Other Counts, stating his intention to be to defraud Henry Fowler Broadwood and others; to which he pleaded
GUILTY. Aged 29. - Transported for Life.
(Mr. Henry Fowler Broadwood, pianoforte-maker; James Martin, hosier and oufitter, Oxford-street; Erskine Perry, Esq., barrister at law; and Mr. Sergeant Talfourd, M.P., deposed to the prisoner's good character.)
"CENTRAL CRIMINAL COURT", Bell's New Weekly Messenger (17 February 1839), 7
CONVICTION FOR FORGERY. Charles Sandys Packer was then brought up, and Mr. Justice Vaughan, pronounciug judgment, remarked that had been convicted on his own confession of forging bill of exchange for 800l, with intent to defraud Messrs. Stone, Martin, and Stone, bankers, Lombard-street. He had also been charged with uttering the said bill with intent to defraud other parties. His lordship was not aware, until he looked at the depositions, that there were any other charges against the prisoner; but having now read these carefully over, he found that he was also charged with forging bills of exchange for the sums of 700l, 400l, and 300l, making altogether between 2,000l, and 3,000l. The learned judge then sentenced the prisoner to be transported beyond the seas for the term of his natural life.
CENTRAL CRIMINAL COURT, The Charter (17 February 1839), 13
Forgery. Charles Sandys Packer was, on the same day, brought up to receive judgment. The learned judge told him that he had been convicted upon his own confession, of the offence of having forged a bill of exchange for 800l., with intent to defraud Messrs. Stone, Martin, and Stone, the bankers; and the indictment also charged him with feloniously uttering the same bill with a like intent. In his (prisoner's) case, the fact had not been overlooked that he had received a very high character from several most respectable persons, some of whom were personally known to the Court. But still character, however high, could not avail in a case of this description, and it was absolutely necessary, for the protection of the commercial interests of the country, that the full sentence of the law should be carried into effect; and that sentence was, that the prisoner be transported beyond the seas for the term of his natural life.
[Advertisement], Berkshire Chronicle (14 March 1840), 3
MR. F. A. PACKER Begs leave to return his sincere thanks to the Inhabitants of Reading and its vicinity, for the very liberal patronage with which they have honoured him, and begs to say, he still gives instructions on the Harp, Pianoforte, and Singing.
Mr. P. has always on Sale a large Stock of the Instruments manufactured by Messrs. Towns and Packer in London, and flatters himself they will be found by those who favour them with a trial, in every respect unsurpassed by any other. Mr. F. A. Packer has constantly in his employ a competent Tuner, who will proceed to any part of the Country on very moderate terms, and to avoid the expense of sending to town, Mr. P. has made arrangements for having repairs executed at his Warehouse, in Castle-street, where may be also seen a large assortment of the most popular Music.
To prevent further disappointment, from the very short notice generally given for the attendance of Mr. Packer's Assistant at Quadrille Parties, Mr. Packer would feel extremely obliged by persons letting him know as early as possible. 128, Castle-street, Reading.
"THE ROYAL WET NURSE", Bell's New Weekly Messenger (6 December 1840), 1
Mrs. Packer, who has been appointed wet nurse to the Princess Royal, is a native of Edinburgh, where she was well known as Miss Augusta Gow. She is a daughter the late Nathaniel Gow, and grand-daughter of the celebrated Neil Gow ("Famous Neil"). Mrs. Packer studied music at the Royal Academy, London, with the view of becoming a public singer, which character she appeared several concerts. Mrs. Packer has, or at least had, a splendid figure, and no doubt possesses all the qualifications requisite for the proper performance the duties important office.
[Advertisement], Essex Standard (19 November 1841), 1
PAUL AGGIO AND SON, CARVERS & GILDERS, HIGH STREET, COLCHESTER ... P. A. and SON beg also respectfully to announce that they are appointed Sole Agents in Colchester for the Sale of PIANO-FORTES manufactured by Towns and Packer, 20, Oxford Street and Hanway Street, London. Mr. Towns having been for nearly 20 years engaged in the manufactory of Messrs. Broadwood, these Instruments are manufactured by Messrs. Towns and Packer with all the recent Modern Improvements, on the same principles as Broadwood's, and cannot be surpassed in brilliancy and sweetness of tone, nor yet in durability; at the same time they are offered on such terms as must prove that they do not calculate upon the profit of individual instruments, but rather rely on the patronage and support of a discerning public for such increased demand as shall justify them in offering great advantages to purchasers of instruments of their manufacture. Particulars of Terms and Prices may be had of Mr. P. Aggio and Son, High Street, Colchester, who have had the honour to sell a great number of the instruments manufactured by Messrs. Towns and Packer, and which have given universal satisfaction. Piano-fortes Let on Hire as usual.
[Advertisement], Reading Mercury (9 November 1850), 3
Mr. FREDERICK A. PACKER, (Pupil of Sig. Crecelli and Associate of the Royal Academy of Music) Begs to inform the Inhabitants of Reading and its vicinity that he CONTINUES TO GIVE INSTRUCTION in the HARP, PIANO FORTE, and ENGLISH and ITALIAN SINGING, his terms for which may be known at his residence. Mr. Packer considering a knowledge of the elements of THOROUGH BASS as indispensable to the Musical Student, will be happy to devote a portion of each lesson to that study, should it be required. Lime Tree Cottage, Bath Road, Reading.
1851 England census; Middlesex; St. Marylebone; All Souls, 26, 845
No. 115 / 21 Oxford Street / Thomas Towns, Head, 60 / Charles Packer, Partner, 65 / Amelia do., wife, 63
"Died", Herts Guardian, Agricultural Journal, and General Advertiser (5 August 1854), 4
On the 26th ult., at Coleshill, near Amersham, Bucks, Charles Packer, Esq., late of Oxford Street, London, aged 68.
William W. Cazalet, The history of the Royal Academy of Music (London: T. Bosworth, 1865), 41, 47, 81, 106, 110, 138, 139, 140, 142, 143, 149, 150, 161, 163, 206, 223 (F. A. Packer), 226, 240, 267 (Mr. [? G.] Packer, Mr. F. Packer)
Towns and Packer pianos in Australia (1850-1870)
http://trove.nla.gov.au/result?l-publictag=Towns+and+Packer+pianos (TROVE tagged by Australharmony)
"Norfolk Island", The Sydney Gazette and New South Wales Advertiser (30 April 1842), 2
We beg to direct the attention of our readers to an important letter (from a Correspondent) in this days' publication, which exposes in an able manner, the absurd, we might add, insane system of government, pursued by Captain Maconochie, at Norfolk Island, a system, which, instead of reclaiming the hardened criminal from his evil ways, has tended to foster vice in its most gross and revolting shape. We earnestly implore the attention of Sir George Gipps to the fearful extent to which crime has reached, the increasing depravity of the prisoners, and the enormous additional expense incurred by the Utopian crotchets of the music mad Captain, whose "soothing system" has proved a curse, instead of a blessing, to the country which he mis-governs.
Letter, Jane Franklin to Mrs. Simpkinson, 5 September 1842 (in G. Mackenness, Some private correspondence, 5/10 September 1842)
The Beauforts will hear of it all if they do not know of it already, but I would not have you be the first to communicate it. Its notoriety here precludes all possibility of its being kept a secret in England. It has already been plainly alluded to in one of our newspapers.
Sir John received yesterday some very interesting and confidential letters from Sir George Gipps - that wretched girl Mary Ann Maconochie was at that moment in his house - she was brought to Sydney from Norfolk Island by the first opportunity, attended by Sion, Mrs. Maconochie's most faithful servant and his, Sion's brother. Sir George and Lady Gipps with the most noble and generous kindness, for such it assuredly is, took her into Government House till the ship (Jubilee [recte Jupiter]) sailed which was to be in the first week of September. She was of course in the utmost seclusion, had not been seen by Sir George but was frequently visited by Lady Gipps - Sir George says the affair was one of notoriety at Norfolk Island - how it was first discovered ... not exactly known - but all of a sudden the man who had been living in the house as tutor to the boys and music master to Mary Ann, was thrown into prison and she was shut up in her room - the man had been a musician and composed in England and was transported for forgery - he is of good address and handsome person - all these details, most of which I knew before were given to us by Sir George who at the close of his letter says Lady Gipps begs that what he has said on her authority be kept secret. I have omitted but little except the name of the villain [Charles Packer]. The girl is to be sent to Mrs. Oldham, Captain Maconochie's illegitimate sister whom you may recollect having seen and she lives at Cheltenham ...
Packer, Charles, convict record, Van Diemen's Land (commenced 27 Sepetmber 1844); Tasmanian names index; NAME_INDEXES:1423881; CON33/1/55 Page 14120
Passenger list, Shamrock, Launceston, TAS, 18 January 1851, to Melbourne; Tasmanian Names Index; NAME_INDEXES:592418; POL220/1/1 p313
https://stors.tas.gov.au/POL220-1-1 (DIGITISED, page 313)
Charles Packer [arrived in TAS on ship] Lady Franklin
"SHIPPING NEWS", The Courier (14 July 1852), 2
Marriages in the district of Hobart, 1852; Tasmanian names index; NAME_INDEXES:842929; RGD37/1/11 no 384
[No]384 / 1591 / 21 August 1852 / St. George's Church / Charles Sandy Packer 35 [sic] / Mary Frances Moore 21 / [winesses] Helend Agnes Moore, James Freeman
Passenger list, Nautilus, Launceston, 1 January 1853, to Melbourne; Tasmanian names index; NAME_INDEXES:592422; POL220/1/3 p6
https://stors.tas.gov.au/POL220-1-1 (DIGITISED, page 3)
Charles Packer ...
"OFFICIAL SALARIES. To the Editor", The Courier (3 June 1853), 2
... I am now suddenly compelled to close, as I am distracted. My eldest daughter, a pupil of Packer's, is strumming upon that remnant of Barnacle gentility - our decayed piano - that everlasting "Ben Bolt" (would I was a "Bolter!"); my second, a "colonial youth," is pathetically invoking me to "carry her back to Ole Virginny" ... I am, Sir, your obedient Servant, ZACHARIAH MOULDES.
[Advertisement], The Sydney Morning Herald (22 December 1869), 8
"ORGANIST'S UNIQUE RECORD", The Mercury (1 September 1923), 15
Bibliography and resources
"Sadak and Kalasrade", Victorian English opera
"Packer, Charles" [senior], Pianoforte-makers in England, Histoire de pianos (website 2004-2017)
"Towns, Thomas", Pianoforte-makers in England, Histoire de pianos (website 2004-2017)
Musical works (Charles Sandys Packer)
3 canons (1824)
Royal Academy of Music, library, MS203 [Royal Academy of Music students' compositions, 1823-33], from online catalogue record (http://lib.ram.ac.uk):
Packer, Charles Sandys ... Canon 3 in 1, 8've above [in E major]: Nov 19th, 1824 (pp. 41-42)
... Canon 4 in 2 on the 8've above [in C minor]: Decr 11th, 1824 (pp. 46-47)
... Canon 2 in 1, 12th above [in B flat major]: March 25th,  (p. 55)
This 250 page collection of bound manuscripts contains student exercises by many of those pupils named in other documentation presented, and also including several by Anne Riviere (Anna Bishop)
Symphony in D (n.d. ? c.1830s)
Royal Academy of Music, library, Orchestral library 282; from online catalogue record (http://lib.ram.ac.uk):
Packer, Charles Sandys ... Symphony in D, MS orchestral parts; brass includes bass trombone; no string parts (2222-2010-timp1-perc0-strings0; 2222/221btbn.0)
Crudo ciel (recitativo: "Oh me infelice"): scena nell'opera "Bayardo e Gastone"
(London: Chappell, [ ])
Copy at Royal Academy of Music library (47.51 PACKER, C.S.)
Del fallo m'avvedo (recitativo: "Basta! Basta!"): scena
(London: Chappell, n.d. )
Copy at the British Library, 780, Music Collections H.2832.f.(6.) 
Copy at Royal Academy of Music library (47.51 PACKER, C.S.)
Di luna al raggio pallido (Terzettino)
Copy at the British Library, Music Collections H.2826.c.(26.) ;
Sadak and Kalasrade; or, The waters of oblivion (opera in 2 acts, 1835)
MS performance materials at British Library
Wordbook, published May 1835
Sadak and Kalasrade; or, The waters of oblivion, a romantic opera in two acts by Mary Russell Mitford ... first performed at the New Theatre Royal, Lyceum and English Opera House, on Monday, April 20, 1835, the whole of the music composed by Mr. Packer of the Royal Academy
(London: Printed for the proprietor by S. G. Fairbrother, 1835)
? O come again tomorrow (words: R. R.; music: Charles Packer)
(London: n.d. [? 1858])
Copy at British Library, Music H.1771.o.(1.) , dated "1858" in catalogue
Musical works (Frederick Alexander Packer)
Musical works (Frederick Augustus Packer)
© Graeme Skinner 2014 - 2017