THIS PAGE LAST MODIFIED : Friday 10 February 2017 15:20
A biographical register of Australian colonial musical personnel–F
Dr GRAEME SKINNER (University of Sydney)
THIS PAGE IS ALWAYS UNDER CONSTRUCTION
To cite this:
Graeme Skinner (University of
Sydney), "A biographical register of Australian colonial musical
personnel–F", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):
http://sydney.edu.au/paradisec/australharmony/register-F.php; accessed 29 March 2017
- F -
FAHEY, E. (Mr.)
Bassoon player (12th Regiment)
[Advertisement], Empire (4 July 1859), 6
Drum major (12th Regiment)
Active ? Australia 1850s
"DEATHS", The Sydney Morning Herald (1 April 1930), 10
Bass-baritone vocalist, vocal and choral trainer
Arrived Adelaide, 1 July 1894
http://trove.nla.gov.au/result?q="Albert+Fairbairn" (TROVE search)
"ADELAIDE COLLEGE OF MUSIC", The Advertiser (2 July 1894), 6
"MR. AND MRS. FAIRBAIRN", South Australian Register (28 March 1900), 6
See Lulu GILLESPIE (Mrs Albert FAIRBAIRN)
Active Hobart Town, VDL (TAS), by January 1836
Active Sydney, NSW, from March 1838
Though principally an actor, Falchon was regularly programmed to sing between or within the pieces at Hobart and Sydney theatres during the 1830s and 1840s. He also sang in Isaac Nathan's Oratorio in Sydney in June 1841. His last advertised benefit was in Launceston in May 1851.
[Advertisement], Colonial Times (5 January 1836), 3
[News], The Sydney Gazette and New South Wales Advertiser (17 March 1838), 2
[Advertisement], The Courier (15 December 1840), 3
"The Oratorio", The Sydney Monitor (2 July 1841), 2
"Insolvent Debtors' Court", The Sydney Gazette and New South Wales Advertiser (30 November 1841), 2
[Advertisement], The Melbourne Argus (9 April 1847), 2
"Olympic Theatre", The Cornwall Chronicle (21 May 1851), 317
"SOME UNRECORDED PASSAGES IN THE HISTORY OF VAN DIEMEN'S LAND (From a Very Old Stager)", The Courier (25 April 1854), 2
FALCONER, F. S.
Active Bungendore, NSW, by 1887
"BUNGENDORE BAND", Goulburn Evening Penny Post (17 March 1887), 4
BUNGENDORE BAND. On last Thursday evening the members of the above band, under the leader ship of Mr. F. Falconer, played several well executed pieces of music on the flat opposite the Lake George Hotel. A great many persons were present, and expressed themselves well pleased with the progress made by the members of the band.
"BUNGENDORE", Goulburn Evening Penny Post (31 March 1898), 4
FALCONER, Travers (James Travers)
Professor of music, musician
Born Balmain, NSW, 1860 [2398/1860]
Died McMahon's Point, NSW, 20 February 1938
FALCONER, Mrs. = LAMBERT, Nellie (Ethel)
"Observations", Balmain Observer (24 March 1888), 1
A sequestration order on petition of creditors was made in the Bankruptcy Court on Monday, in the estate of Travers Falconer, Wharf-road, Balmain, professor of music. Mr. Lloyd official assignee.
"DEATHS", The Sydney Morning Herald (26 February 1938), 10
FANING, Edward (Edward FANING; Mr. FANING; FANNING)
Professor of Music, violinist, bandleader, composer
Active Maitland, NSW, by 1844
Died Lambton, NSW, 27 August 1870
http://trove.nla.gov.au/result?l-publictag=Edward+Faning+d1870 (TROVE tagged by Australharmony)
According to his obituary in The Maitland Mercury, Faning was "justly termed the father of music in this district". At his burial, a band was formed numbering 56 district musicians to play The Dead March from Saul. Fanning was already active as director of "the Orchestra" at the Maitland Amateur Theatre in May 1844, and continued throughout that season. In June he also directed his new teetotal band at a meeting of the Total Abstinence Society. Again for the Society in September 1845, the Mercury reported "the evening was much enlivened by the exquisite performance of that prince of fiddlers, Mr. Fanning". At the opening night of the Queen's Theatre, West Maitland, in August 1856, it was advertised that there was to be "the new overture, by Mr. Faning, composed expressly for this occasion, entitled The Queen's."
[Advertisement], The Maitland Mercury (27 April 1844), 3
"AMATEUR THEATRICALS", The Maitland Mercury (11 May 1844), 2
"TOTAL ABSTINENCE SOCIETY", The Maitland Mercury (15 June 1844), 2
"SINGLETON", The Maitland Mercury (20 September 1845), 3
"SINGLETON", The Maitland Mercury (14 February 1846), 2
... Mr. Fanning, we must say, contributed not a little to enliven the hilarity of the occasion; and from the manner in which he made his violin discourse sweet music, we almost fancied that Orpheus had visited the Ark of Peace and had become a teetotaller.
[Advertisement], The Maitland Mercury (16 December 1846), 3
"Government Gazette", The Maitland Mercury (25 December 1850), 4
[Advertisement], The Maitland Mercury (19 August 1856), 3
"MAINTENANCE", The Maitland Mercury (13 December 1859), 3
[Advertisement], The Maitland Mercury (30 December 1865), 1
"DEATH OF MR. EDWARD FANING", The Maitland Mercury (1 September 1870), 3
Old residents of this district, and especially all who have ever taken an interest in musical matters, will read with sincere regret of the death of Mr. Edward Faning, which took place at Lambton, on Saturday last. Mr. Faning had been ailing for some time past, but fatal results were not apprehended until a few days before his death, when his complaint turned to dropsy, and notwithstanding the unremitting attention of his medical attendant, he expired as above stated. Mr. Faning has been justly termed the father of music in this district. In all matters where the art he professed was in question he took a deep interest, and among the many musicians on the Hunter (who in a great measure owe to Mr Faning's teaching the knowledge they possess), there should be a general feeling of sorrow that one so useful should have been taken away. The remains of the deceased were interred in the Roman Catholic cemetery on Monday after noon, and were followed to the grave by a large number of persons. Musicians from all parts of the district testified the respect they entertained for the memory of the deceased, by forming a band, numbering in all fifty six performers, and playing the Dead March in Saul in front of the body. At the grave the burial service was read by the Rev. Father Ryan.
[Advertisement], The Newcastle Chronicle (30 August 1870), 1
ALLOW ME to tender my sincere and heartfelt THANKS to the Members of the LAMBTON BAND, Mr. Blimm, Mr. Prince, the Members of the Waratah Band, the Newcastle Amateurs and Professionals, and the public of the mining districts, and the city generally, for the marks of respect and esteem accorded to my late father, Mr. Edward Faning, both before and after his death. Again heartily thanking them in a manner I cannot explain in an advertisement, I have the honor to remain, respectfully, CHARLES F. FANING.
"THE LATE MR. EDWARD FANING THE MUSICIAN", Empire (3 October 1871), 2
"The Late Monsignor Lynch", The Maitland Mercury (19 February 1884), 4
"AN ORIGINAL SONG", The Maitland Mercury (24 December 1892), 5s
Bibliography and resources:
FANING, Charles Frederick
Died Newcastle, NSW, 12 April 1879, aged 35 years
FANING, Edward (junior)
Died Newcastle, 27 March 1891, aged 37
Died South Africa, 6 December 1915
"DEATH", Newcastle Morning Herald and Miners' Advocate (12 April 1879), 4
"THE LATE CHARLES FANING", Sunday Times (16 January 1916), 6
THE LATE CHARLES FANING. Charles Faning, who died in South Africa on December 6 last, was the son of the late Mr. Charles Faning, musician, of Newcastle. For thirty years he has been before the theatrical public in Australia, England, and South Africa as a comedian. Stage efforts commenced early - at 16 years of age - when he took a leading part in the entertainments in connection with St. Bridget's Church. His first big professional hit was at the Sydney Alhambra. Here he stayed for years, and also had a company of his own at the Protestant Hall. Mr. Faning visited all parts of Australia, and was for a long time with Harry Rickards' Tivoli Company. In 1900 he went to England, and later made a big name at the Brighton Alhambra as an Australian entertainer. His next great success was achieved in South Africa, where he remained until his death last month.
FANNING, Bernard ("Barney the blind fiddler")
Violinist, blind fiddler (at the Crooked Billet Inn)
Died Bathurst, NSW, September 1851
"INQUEST", The Sydney Morning Herald (19 September 1851), 4s
On Tuesday, the 16th instant, an inquisition was held by Captain Sutherland, at the Crooked Billet Inn, Bathurst, on view of the body of Bernard Fanning, who had been found dead with his throat cut, on the afternoon of the previous day. The evidence of the different witnesses who were examined, showed that the deceased was living, as fiddler, at the Crooked Billet, and that on the last Sunday night he was ill after drink, and had been to Dr. Machattie, who administered some medicine to him. After dinner on Monday, he obtained from the cook some hot water, a razor, and looking-glass; and after having shaved himself he went into the kitchen, which he shortly left, and was about an hour or an hour and a half afterwards found lying on the floor of a little bed-room with his throat cut, he being then quite dead. When found his throat was frightfully gashed, and the floor of the room was deluged with blood. The razor was lying open on the floor alongside of him, and on a wooden bench was the little looking-glass raised up against a brick, both the razor and looking-glass were covered with blood. The deceased was much addicted to drinking, and was deposed to by one witness as being known by the name of Barney, and by another as being commonly called the blind fiddler. Dr. Machattie deposed, that on Sunday night last, about twelve o'clock, the deceased came to his house, and was then suffering from delirium tremens. He seemed to be in great despair, and said he had been drinking very hard for some time past. He prescribed for him, and deceased then went away; he returned next day, and seemed better, and he did not see him again until he was dead. On examining the body he found a deep cut on the left side of the neck, penetrating through the skin, cellular tissue, and muscles; the left carotid artery was also cut, and the larynx was cut through. He had no doubt that death was produced by the above described injuries, as when the carotid artery is cut through it is always fatal, from the hemorrhage that ensues, except the artery is instantly tied. The deceased, he believed, told him his name was Bernard Fanning. The wound had been made by a sharp cutting instrument, such as a razor, and might have been inflicted by his own hand. The jury returned for their verdict, that the deceased cut his throat whilst in a state of insanity, during a fit of delirium tremens, produced by continued intemperance.
FARLEY, Edward (HUGHES)
Bass baritone vocalist
Active Melbourne, by 1870
Died Waverley, NSW, 10 March 1916, aged 69
[2 advertisements], The Argus (4 May 1871), 8
"DEATHS", The Sydney Morning Herald (11 March 1916), 16
"DEATH OF MR. EDWARD FARLEY", The Sydney Morning Herald (13 March 1916), 8
Old operagoers will regret to learn of the death of Edward Farley which occurred at his residence Canberra, Ashton street, Waverley on Friday evening. His last stage appearance was as Monthalbor, the grizzled drum major in William Anderson's production of "La Fille du Tambour Major" at the Theatre Royal in February 1906 after which he was seen at his benefit at the Royal Standard Theatre at the end of 1907. The veteran basso or baritone, for the range of his voice enabled him to sing either class of operatic character effectively, had been ill for some years. The late Edward Farley (whose surname was originally Hughes) was born in Wales and began in the chorus of the Carl Rosa Company, but his grand opera career in Australia dates from 1870 at the Melbourne Theatre Royal, and the following year he made a hit in opera-bouffe as General Boom in "The Grand Duchess". Under Lyster he created several then famous roles in French opera-bouffe. In 1875 Mr. Farley visited the United States, returned here with Emily Soldene's opera-bouffe combination in 1876; he was much associated with Mr. and Mrs. Henry Bracy and he then sang in London for a time with D'Oyley Carte's English Opera Company. Whilst in England, the baritone appeared as Escamillo to the Carmen of Emily Soldene, and then he returned to Australia singing for many years with Lyster's Italian Opera Company and with the Montague-Turner English Opera Company, varied by a long tour of India and the East with Emily Melville's company, and by residence as a teacher in Newcastle (New South Wales) until he settled down in this city. Mr Farley, who possessed a fine voice, sang frequently in oratorio before his final retirement ...
The ship in full sail (a jovial song sung with unbounded applause by Edward Farley; words and music by Fearnleigh L. Montague) (Melbourne: Allan & Co. (Wilkies), )
FARQUHARSON, Robert (SMITH)
Born UK, 1820
Arrived Sydney (via Melbourne), 30 June 1856
Departed Melbourne, after August 1865
Died London, England, 14 February 1880, aged 60
Robert Farquharson Smith was articled to Harris, chorus-master of Drury Lane; he sang at the coronation in 1838, and later joined Sims Reeves opera troupe taking the stage name of "Robert Farquharson" (almost without exception in Australia, simply "Mr. Farquharson"). He arrived in Australia in 1856 as tenor of a touring operatic party including Julia Harland, Walter Sherwin, and Linley Norman. He toured with the Carandini company until he finally left Australia in 1865.
"THEATRICAL", The Argus (27 June 1856), 5
"SHIPPING", The Sydney Morning Herald (1 July 1856), 4
[Advertisement], Empire (17 October 1857), 1
LAST APPEARANCE, SATURDAY, OCTOBER 17TH.- It having been reported that Mr. Farquharson will most likely have two or three more "last appearances" in Sydney in the course of the ensuing week, Mr. F. begs to inform his friends that there is no foundation for the same. Mr. Farquharson is aware that a practice has obtained of announcing "a last appearance" then "positively last appearance" then "A farewell" "A last farewell" "A last final farewell" "A positively last final farewell." and, perhaps, to conclude with, by special desire of a number of friends, a "Most positively last final farewell." Mr. F. objects to this fashion, and therefore simply announces his farewell performance for SATURDAY, the 17th instant
"THEATRICAL AND MUSICAL MEMS.", The Sydney Morning Herald (8 December 1868), 5
"FARQUHARSON", The Argus (17 April 1880), 8
Twenty five years ago there came to this colony from England a small dramatic and musical company, one member of which was Robert Farquharson who had been known in England as Robert Farquharson Smith. For a while the little company kept together appearing first at the old Queens theatre in Queen street but afterwards they separated and went their several ways and Farquharson at once became the most popular vocalist in the colonies. He had one of the finest baritone voices ever heard - clear rich deep, resonant and flexible - but he had also a manner which for brightness, geniality, cheeriness could not be excelled. ... He was an excellent pianist, and nothing could be pleasanter than listening to his comic ballad romances or those serious descriptive songs with which the name of Henry Russell is associated. But in ordinary concert work, Farquharson was equally at home, and equally popular, and in oratorio, too, when the Philharmonic Society was the chief musical body in this city, his name in the programme was always a powerful attraction. When opera in its more complete form was presented on the Melbourne stage, Farquharson's name, after a while, was included in the company, and if he had been known only in connexion with the earlier lyric performances in this city, he would deserve to be held in high regard. His Marcel in "The Huguenots" is a memory of the most enduring kind to all who remember what was substantially the beginning of our opera experience here, for it was not only a grand example of vocalisation, but it surprised even his warmest admirers by its rare and true dramatic force. ... Thus of his public life. But the feelings which have been awakened in many minds by the mention of his death (which, as already announced, took place in February last) have reference more to his private than his public relations. Farquharson was one of the largest-hearted, happiest-dispositioned men it was the good fortune of any one to know No member of the theatrical or musical profession in Melbourne ever had a larger number of private friends, and he had only one enemy - himself. Like many other brilliant men, he had a single weakness, but it was in company with such a host of good qualities that you at once forgave him. He seemed to diffuse brightness where ever he went, his handsome, merry face involuntarily brought smiles upon the faces of those about him. He left these colonies a good many years ago, and probably it would have been better for him if he had stayed in Melbourne instead of going back to London. For some time but little has been heard of him, and to many here now the announcement of his death revives no memories. But to those who knew him at his best, and especially to those who knew him in that large circle of private friends by whom he was beloved, the news of his decease comes as a sorrowful record, for he was one of those sunny influences which help to make life less dreary and weary, and he w ill always be thought of therefore with a warmth of affection far beyond the mere liking which the average public favourite evokes.
"DRAMATIC AND MUSICAL NOTES", Otago Witness (1 May 1880), 19
Bibliography and resources:
Boase, Modern English biography ... A-H (1892), 1858
Teacher of music and singing
Active Sydney, NSW, 1854
[Advertisement], The Sydney Morning Herald (23 May 1854), 1
FATHERLEY, Charlotte Crofton (Miss ROWE; FATHERLY; Mrs. George Crofton FATHERLEY; Mrs. CROFTEN FATHERLEY; Charlotte FATHERLEY)
Organist, pianist, violinist, composer, actor
Born Brighton, England, 1829
Arrived Victoria, c.1855
Active Bendigo, by 1866; Hamilton, 1876
Died Hamilton, VIC, 10 January 1877
http://trove.nla.gov.au/result?l-publictag=Charlotte+Crofton+Fatherley (TROVE tagged by Australharmony)
"Royal Academy of Music", The Literary Gazette (26 April 1851), 303
CHARLOTTE ROWE Is a native of Brighton, and learnt music at first only as young ladies usually do at school; but showing a decided fondness for it, when eleven years old she was removed to London, and studied some time under Mr. Haydon, making such progress that it was considered advisable to educate her for the profession, and with this view she entered the Royal Academy of Music in 1846. Here, for four years and a half, she pursued her studies with much industry, and was appointed a Sub-Professor for piano, and, on leaving the Academy, was raised to be an Assistant Professor, and subsequently was made an Associate. Miss Rowe has had her compositions frequently performed at the Academy Concerts, embracing both the secular and sacred styles. In conclusion, we may be allowed to hope, that the talent and industry which have placed her in so good a position in the profession will not be suffered to flag, and that her previous efforts, however creditable, are but an earnest of future and greater excellence.
"ROYAL ACADEMY CONCERTS", The Musical World (30 April 1853), 272
William W. Cazalet, History of the Royal Academy of Music (London: T. Bosworth, 1854), 314
[Advertisement], The Illustrated London News (15 August 1857), 182
[Advertisement], The Argus (15 January 1858), 3
MUSIC- On the arrival of the Windsor from London, MISS CHARLOTTE ROW, Associate of the Royal Academy, will be prepared to TEACH PIANOFORTE, Concertina, also English and Italian Singing.
"TOTAL LOSS OF THE EMIGRANT SHIP WINDSOR", The Sydney Morning Herald (29 April 1858), 3
"THE EXHIBITION", The Argus (7 October 1861), 5
... and a lady rejoicing in the name of "Charlotte Fatherly," has sent some manuscript music, which, it is to be presumed, has a local application.
"THE CONCERT IN AID OF THE GERMAN COMMON SCHOOL", Bendigo Advertiser (1 May 1866), 2
... The second portion of the programme was of a miscellaneous character; in it were several choice morceaux from "Gideon", an oratorio composed by Mrs. Fatherly, and just enough to make one wish to hear more of the composition, which we understand, is to be sung, at an early date, by the Philharmonic Society.
"SANDHURST PHILHARMONIC SOCIETY", Bendigo Advertiser (13 August 1866), 2
"ALL SAINTS CHURCH" & "SONG OF LOYALTY ", Bendigo Advertiser (11 October 1867), 2
... Mrs. Fatherley presided at the new organ and led the choir, which consisted of between twenty and thirty singers. A number of pieces of sacred music were performed ... The members of the choir who are, on the occasion of the Duke of Edinburgh's visit, to sing "the song of loyalty", composed by Mrs. Fatherly, are requested by advertisement to meet for rehearsal at the Town Hall to-night.
"OPENING OF THE VOLUNTEER RIFLE CORPS' ORDERLY ROOM", Bendigo Advertiser (19 December 1867), 2
"AMATEUR CONCERT", Bendigo Advertiser (8 May 1868), 2
"SANDHURST FINES ARTS EXHIBITION", The Argus (31 July 1869), 5
"THE HAWTHORN. A BALLAD", The Mercury (18 January 1870), 2
"MISS KATE WARDE AT THE TOWN HALL", The Cornwall Chronicle (15 April 1870), 2
"THEATRE ROYAL", Launceston Examiner (30 April 1870), 5
... Mrs. Fatherley is a host in herself, and her appearance on the stage is always the signal for that peculiar general movement of the audience indicative of anticipated amusement. Her Cornelia is the very broad light acting as a foil to the rather sombre and deep shadows of the plot. Her son, Master Willie Fatherley, performs his by no means easy part with remarkable fidelity to the meaning of the author ...
"THEATRE ROYAL", The Cornwall Chronicle (6 June 1870), 2
"THEATRE ROYAL", The Cornwall Chronicle (13 June 1870), 2
"WEEKLY REGISTER", Empire (30 October 1871), 4
[Advertisement], The Argus (25 November 1873), 1
MRS. CROFTON FATHERLEY, associate R.A.M. (pupil of Thalberg, Sterndale Bennett, Schira, Crivelli), PIANO, English, Italian Singing, Organ, Composition. 120 Moray-street, Emerald-hill.
[Advertisement], Border Watch (10 April 1875), 1
[News], The Argus (8 October 1875), 6
"NEW MUSIC", South Australian Register (30 December 1875), 5
"MUSIC RECEIVED", Portland Guardian (11 January 1876), 2
"DEATH OF MRS. FATHERLEY", Bendigo Advertiser (12 January 1877), 2
It will be learnt with regret by her wide circle of friends and acquaintances that this talented lady expired at residence, Hamilton, between three and four o'clock on Wednesday. The deceased lady, nee Charlotte Rowe, was a pupil in the Royal Academy of Music when Sir Cypriani Potter was the principal, and through that celebrated man obtained a license to teach music, singing, and harmony, which in those days was considered a great thing for any lady pupil to obtain. A gentleman in Hamilton remembers Miss Rowe very well, he being from 1839 to 1849 proprietor of "The Musical World." This gentleman states that in addition to being an accomplished instrumentalist, Miss Rowe possessed a clear, ringing soprano voice of good compass. Miss Rowe came out here in 1858, and first proceeded to practice her profession, that of a teacher of music, at Castlemaine. Subsequently, she removed to Sandhurst, where she was married to Mr. Fatherley, and on leaving that town came to Hamilton, where for years previous to her death she taught at the colleges, and also gave private tuition. As a conductor of a large number of vocalists, we have never seen her surpassed by any member of the weaker sex. Those who saw her conduct the singing at the opening of our State school, will agree with the remark. She leaves one son, and although she was kept very busy, it is to be feared her circumstances when she died were not affluent.
"DIED", Hamilton Spectator (23 January 1877), 2
FATHERLEY - At Hamilton, on the 8th January, Mrs. Fatherley, A.R.A. Lond., aged 44.
"DEATHS", The Age (17 September 1912), 1
A motet by Miss C. Rowe (London, 1851)
Conrad (a scena from an opera entitled Conrad, including choruses and solos for soprano and tenor, by Miss Charlotte Rowe) (London, 1853)
The fairy dream [?] (Miss Lascelles's New Ballad. composed by Charlotte Rowe)
All the air is filled with sound (MS cantata) [? LOST]
Gideon (MS sacred oratorio) [? LOST]
The hawthorn (a ballad written and composed by Charlotte Fatherley) (Melbourne: Clarson, Massina, )
The Exhibition waltzes (composed in commemoration of the Melbourne and Philadelphia Exhibition by C. C. Fatherley) (Melbourne: W. H. Glen & Co., )
Leah, the forsaken (play, given at Kate Warde's Benefit, "the music for which has been composed and arranged expressly for the occasion by Mrs. Crofton Fatherley, Associate Royal Academy of Music, London." (Launceston, June 1870)
Cordelia (morceau de salon) (in Colonial musical cabinet, Christmas number) (Melbourne: W. H. Glen & Co., )
Bibliography and resources:
George Mackay, Annals of Bendigo, 115; rootsweb
FAURE, Gustave (Gaspar)
Active Ballarat and Melbourne, VIC, from 1857
For his QUADRILLE ASSEMBLY at his Academy, 80 Fitzroy street, Collingwood. Mr J. Watts in August 1858 "engaged the celebrated clarionet performer, Mons. FAURE, late of Jullien's Concerts at the Crystal Palace, Sydenham, who, on this occasion, will perform Bear's Great Solo, accompanied by Mr. Piper, the eminent pianist". Faure was playing for Fleury's bands is Ballarat in 1858 and 1859, where in November 1857 a Gaspar Faure also signed a published petition as a Ballarat East ratepayer. In Melbourne in October 1853, "CLARIONET SOLOIST, Gaspar Faure, Belgian Horseguards" advertised that he was open to engagement, from 41 Hanover-street, Fitzroy. With Edward King, violin and Henry J. King, piano, Gustave Faure appeared in concert at the Wesleyan Bazaar, Emerald Hill, in December 1863. In 1864 Faure was playing in Frederick Coppin and Frank Howson junior's orchestra at Melbourne's New Haymarket Theatre.
[Advertisement], The Star (4 November 1857), 3
[Advertisement], The Argus (2 August 1858), 8
[Advertisement], The Star (23 December 1858), 3
[Advertisement], The Star (6 June 1859), 3
[Advertisement], The Argus (19 October 1863), 1
[Advertisement], The Argus (5 December 1863), 8
[Advertisement], The Argus (16 January 1864), 8
"THE NEW HAYMARKET THEATRE", The Argus (5 August 1864), 7
Announced Melbourne, VIC, and Sydney, NSW, 1853
Advertisements for Coleman Jacobs's farewell in Sydney in October 1853 announced the "Celebrated Vocalist from the Italian Opera in Paris - her first appearance in this country, who is expected from Melbourne daily". However, neither she nor fellow debutant, Ernesto Spagnoletti, appeared for the concert. While Spagnoletti did eventually make his Sydney debut, nothing more is heard of a Madame Ferari (Ferrari/Ferarri).
[Advertisement], The Sydney Morning Herald (15 October 1853), 1
[Advertisement], The Sydney Morning Herald (25 October 1853), 2
"MR. COLEMAN JACOBS'S CONCERT", Illustrated Sydney News (29 October 1853), 6
"MR. COLEMAN JACOBS'S CONCERT", The Sydney Morning Herald (26 October 1853), 5
"MR. COLEMAN JACOBS'S CONCERT", Empire (27 October 1853), 3
"MR. COLEMAN JACOBS'S CONCERT", Bell's Life in Sydney (29 October 1853), 2
Musician, vocalist, composer, artist
Born England 1818
Arrived VDL (TAS), 1846 (per Aden)
Died Sale, VIC, 21 October 1878
Image: Self-portrait, at NLA
The Tasmanian artist, Susan Fereday composed an unidentified song (words by W. A. Gardiner) that was advertised for publication in Huxtable and Deakin's The Tasmanian lyre in 1854, but which, inexplicably, does not in fact seem to have been included in the finished series. She was an active musician, appearing as a vocal soloist for the Launceston Philharmonic Society in February 1856, in a duet composed by its director John Adams. The words of her song were written by a former Manchester philanthropist, William Atkinson Gardiner (d.1855), who in 1851 brought out to Launceston, Tasmania "at his own entire charge and expense, twelve young women, as a donation to the colony".
[Advertisement], The Courier (13 November 1854), 3
[Advertisement], The Courier (15 November 1854), 1
"ANNUAL COMMEMORATION. CHRIST'S COLLEGE", The Courier (26 December 1854), 2
"LAUNCESTON PHILHARMONIC SOCIETY", Launceston Examiner (28 February 1856), 2
"George Town", The Cornwall Chronicle (17 July 1867), 5
"George Town", The Cornwall Chronicle (20 January 1869), 3
"DEATH", Gippsland Times (23 October 1878), 2
"FEMALE EMIGRATION", Launceston Examiner (12 March 1851), 3
"THE LATE W. A. GARDINER", Colonial Times (27 June 1855), 3
Bibliography and resources:
"Fereday, Susan", Biography, Council of Heads of Australasian Herbaria, Australian National Herbarium
(from Women of flowers, by Leonie Norton (2009), National Library of Australia)
Susan FEREDAY DAAO
Comic vocalist, ? black-face impersonator
Active Sydney, NSW, 1838
The American black-face vocalist and impersonator Thomas D. Rice (1808-1860) in his famous role as Jim Crow" had already come to the attention of the Sydney press in 1833, when this extract was reprinted from a New York paper: An earlier American performance of the song by Rice was mentioned:
When Mr. Rice came on to sing his celebrated song of "Jim Crow," they not only made him repeat it some twenty times, but hemmed him in so that he actually had no room to perform the little dancing or turning about appertaining to the song ...
Rice later introduced his character and song ("I come from ole Kentucky ... I jump Jim Crow") to British audiences at the Surrey Theatre, London, in 1836. Rice's performance was much commented on the press (several reports copied in the colonial press during 1837), and a copy of the first British sheet music edition of the song was plausibly used by Ferguson for his first Sydney performances at the Royal Victoria Theatre on 28 August and 1 September 1838, and in the following fortnight also by John Herman Selwyn Lee. There had been an earlier performance of the song at Hobart theatre on 15 January 1838. In April 1838, retired captain John Piper entered a 5-year-old horse named Jim Crow in the Bathurst Races, and on the last Sunday of that month in Sydney the Band of the 50th Regiment reportedly played the tune at as it marched back to Barracks Square from the service in St. Phillip's Church.
There is no other record of someone called Ferguson being associated with Sydney theatre, or indeed with singing, around this time.
[Advertisement], The Sydney Gazette and New South Wales Advertiser (25 August 1838), 3
... After which (for the first time in this Colony), Mr. Ferguson will sing the celebrated popular Comic Song, entitled "JIM CROW."
"THE VICTORIA", The Sydney Herald (12 September 1838), 2
... A mass of vulgar buffoonery and impiety, called "Jim Crow," has been sung several times, but we trust the managers will not allow the ears of decent people to be annoyed by it any more.
Jim Crow, the celebrated Nigger song, sung by Mr. Rice with unbounded shouts of applause at the Royal Surrey Theatre (London: [?], n.d. )
Australian copy of the same London edition, as above, in owner bound album originally belonging to Lillias Dowling (1818-1869; Mrs. Willoughby Dowling), of Sydney and Bathurst; collection of Rouse Hill Farm and House, Sydney Living Museums (Historic Houses Trust of NSW)
Bibliography and resources:
http://trove.nla.gov.au/result?l-publictag=Jim+Crow+song (TROVE tagged by Australharmony)
"RICE, THOMAS D.", in Brown's history of the American stage (New York: Dick & Fitzgerald, n.d. ), 310
Matthew Stephens, "Songs and scandal uncovered: the Dowling music project", Sydney Living Museums (Historic Houses Trust of NSW), website
FERNANDEZ, Lucy Knight (Mrs. George Frederick SMYTHE; SMYTH)
Pianist (pupil of Cramer and Moscheles)
Born London, England, 31 January 1809; baptised St. Pancras Old Church, 17 April 1809
Arrived Sydney, NSW, 24 July 1839 (passenger per Ferguson, from the Downs, 29 March)
Married George Smythe, Sydney, 15 February 1840
Died East Melbourne, 2 January 1862
http://trove.nla.gov.au/result?l-publictag=Lucy+Fernandez+1809-1862 (TROVE tagged by Australharmony)
Lucy Fernandez appears only to have performed in public between her arrival in Sydney in mid-1839 and her marriage early in 1840. However, the impression given in other sketch histories that she was merely a visitor to Sydney proves to be incorrect, as I reckon also incorrect is their unfounded imputation that her claim to be a pupil of Cramer and Moscheles must, by her very presence in Australia, have been bogus. Having meanwhile given birth to and raised several children, she advertised again as a teacher of the pianoforte in May 1847, and in July announced the publication of:
EXERCISES AND STUDIES FOR THE PIANOFORTE, selected, arranged, and fingered expressly for the use of her pupils, by MRS. SMYTH. To be had at her residence, Wyatt's Cottages, Hyde Park.
Having again advertised as a teacher in 1849 and 1852, in March 1853 she offered her piano for sale "in consequence of the owner removing to Melbourne", following her husband who had already taken up a position there in an insurance company. I have found no record of her teaching in Melbourne.
"ARRIVALS", The Sydney Gazette and New South Wales Advertiser (25 July 1839), 2
[Advertisement], The Sydney Herald (30 August 1839), 3
"Miss Fernandez' Concert", Australasian Chronicle (24 September 1839), 1
Truly this is becoming a musical people. Night after night, we see crowds assembling to enjoy this innocent and enobling amusement, and every Concert surpasses its predecessor in presenting before us concatenations of all that is beautiful, and elegant, and dignified. This was really a fashionable Concert. The Governor, with his Lady and Suite, the families of Sir J. Dowling, Sir Maurice O'Connell, the Colonial Secretary, the Attorney General, &c., were present; nor could we distinguish the absence of any whose names could have added to the brilliancy of the scene. Come we then to the performances, and first of all to those of the "star of the evening", Miss Fernandez, whom we have no hesitation in saying, has no rival as a pianiste in the Colony. Her playing is really faultless. She has abundant execution - so have others, but she understands what she executes. She has great powers of wrist - so have others, but she knows when to exert and when to diminish these powers. Above all, she has feeling and expression, which constitute the soul of music, and without which mere execution is nothing better than tricks of legerdemain. Her performance of Herz's Solo, introducing the air "Suoni la tromba", was exquisite; and we do not recollect to have heard anything that gave us more pleasure than the fugue which concluded the admirable Trio from Beethoven. This is music, both in composition and performance ...We are sorry to say ... that the Orchestra was a failure. Fortunately Miss Fernandez had an Orchestra in her own hands, which went far to make up the deficiency. In fact there is a such a soul of music joined to such a modest, domestic appearance in this young lady, that if the young Colonists are at all of our taste, we are much afraid the musical world will soon have to regret her loss, TO IT. Happy he whose home shall be blest with such harmony. We wish Miss Fernandez every success.
"MISS FERNANDEZ' CONCERT", The Australian (24 September 1839), 2
"Married", The Australian (18 February 1840), 3
"BIRTH", The Australian (16 March 1841), 3
[Advertisement], Sydney Chronicle (8 May 1847), 3
[Advertisement], The Sydney Morning Herald (21 June 1847), 1
"BIRTHS" [Peregrine Fernandez Smyth], The Sydney Morning Herald (19 February 1849), 3
[Advertisement], The Sydney Morning Herald (12 April 1849), 1
[Advertisement], The Sydney Morning Herald (9 March 1852), 1
[Advertisement], The Sydney Morning Herald (16 March 1853), 3
"DEATHS", The Argus (12 November 1859), 4
"DEATHS", The Argus (3 January 1862), 4
"DEATHS", The Argus (27 April 1867), 4
"MARRIAGES", The Sydney Morning Herald (1 July 1871), 1
Bibliography and resources:
HRA series 1, 23 1843-44 (1925), 477-78
[Letter, George Gipps (governor NSW) to Lord Stanley (London), 14 August 1844] In my Despatches enumerated in the Margin, the suspension of the Matron, Sub-Matron and House Steward of the the Female Factory at Parramatta ... and I have appointed Mr. and Mrs. George Smyth to be House Steward and Matron of the Establishment ... He was until lately a Merchant in Sydney; and though he, like numbers of others, sank beneath the Commercial embarrassments of the last three years, his failure was attended with no circumstances impeaching his  conduct or integrity. He was employed by me a short time as an Inspector of Distilleries, and disclosed to the Government some attempts which were made to corrupt him. He is a Member of the Society of Friends, but does not object to attend the Church of England. Mrs. Smyth, his Wife, is a member of the Church of England, and fitted, I think, in a remarkable degree for the employment in which I have placed her; during the few weeks she has already been at the Factory, she has given me entire satisfaction. She was formerly a Miss Fernandez, the daughter of a British Officer (I think a Lieut. Colonel Fernandez), and is known to Mr. Frederick Elliot of the Colonial Land and Emigration Board ...
FERNYHOUGH, William Henry (W. H. FERNYHOUGH)
Music lithographer, printer
Born Rugeley, Staffordshire, England, 17 March 1809
Arrived Sydney, 1836
Died Sydney, 15 August 1849, aged 40
http://nla.gov.au/nla.party-477985 (NLA persistent identifier)
http://trove.nla.gov.au/result?l-publictag=William+Henry+Fernyhough (TROVE tagged by Australharmony)
Fernyhough produced two musical prints, of which the earlier is probably the undated Vincent Wallace piece Walze favorite du duc de Reichstadt ("arranged with variations for the piano forte", "printed from Zinc by W. H. Fernyhough"). The title-page lists 3 other works by Wallace available at his "Academy", though perhaps these had been printed previously in Britain. Wallace first announced his Academy in March 1836, and nothing is heard of it after that year, so the waltz print can be tentatively dated to late 1836. Fernyhough, a recent arrival, had commenced business and produced his first prints for sale by September 1836. Fernyhough's second musical print, of Thomas Stubbs's Australian Jubilee waltz ("arranged for the piano forte by Wm. Wallace") can be very precisely dated to January 1838.
[News], The Colonist (22 September 1836), 3
[Advertisement], The Australian (19 January 1838), 1
"THE JUBILEE WALTZ", The Sydney Gazette and New South Wales Advertiser (6 February 1938), 2
"DIED", The Sydney Morning Herald (25 August 1849), 3
Bibliography and resources:
Richard Neville, William Henry Ferneyhough, Design & Art Australia Online (1992; 2011)
Neidorf 1999, 167-68
FIDDES, Harriet Catherine (Miss H. CAWSE; Miss Harriet CAWSE; Mrs. FIDDES; Mrs. Harriet FIDDES)
Contralto vocalist, professor of music, composer, actor
Born London, 5 October 1811; baptised St. George, Bloomsbury, 25 October 1811
Married John Fiddes, St. Pancras Old Church, London, 16 April 1835
Arrived Melbourne, 4 November 1852 (per Marlborough, from London, 14 August)
Departed Australia, ? before 1860
Died Luddenden, Yorkshire, England, 18 February 1889
http://trove.nla.gov.au/result?l-publictag=Harriet+Fiddes (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1586613 (NLA persistent identifier)
FIDDES, Josephine Marianne (Mrs. Dominick MURRAY)
Vocalist, actor, playwright
Born Kilburn, London, May 1839
Arrived Melbourne, 4 November 1852 (per Marlborough, from London, 14 August)
http://trove.nla.gov.au/result?l-publictag=Josephine+Fiddes (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1640568 (NLA persistent identifier)
On 14 August 1852, the day of her departure, The Illustrated London News reported: "Mrs. Fiddes, late Miss H. Cawse, is about to imitate the example of Miss Sara Flower, the contralto, by visiting Australia, where the amateurs, instead of bouquets, throw nuggets and ingots to the singers". As Miss Harriet Cawse, she sang Puck in the premiere season of Carl Maria von Weber's Oberon in April-May 1826. Weber wrote to his wife from London on 9 March 1826: "The young fellow who was to have sung Puck has lost his voice, but I have a charming girl, who is very clever and sings capitally."
A well-known vocal veteran of the London stage, and since the 1840s also a prolific song composer, she arrived in Melbourne in November 1852, with her daughters. That month she advertised that she, "(formerly Miss H. CAWSE, of the Theatres Royal, Drury Lane, the Italian Opera House and Opera Buffa, the Philharmonic and Ancient Concerts, and likewise one of the Choir of the Foundling Hospital Chapel), begs to announce that she has just arrived from London, and intends taking up residence in Melbourne for the purpose of giving Lessons in Singing, pianoforte, guitar and the harp". In December she sang in concert for Edward Hancock, and at the Melbourne Mechanics' Institution beginning in January 1853, gave a vocal masterclass, or "Select Vocal Academy for Young Ladies", in eight sessions covering a substantial repertoire of oratorio and opera arias by Handel, Mendelssohn, Donizetti, Kucken, Benedict and others. At Rachel Moore's concert in February she sang Il segreto from Donizetti's Lucia, and her own composition, the duet Childhood (words by Walter Scott) was sung. In Sydney in April, from her residence on the North Shore and care of Henry Marsh, she offered to teach "Singing, Pianoforte Playing, Harp, Guitar, &c, likewise [...] Harmony and Composition".
In August 1855, she and her daughters (Josephine and Harriet F.) arrived back in Australia, via Hawaii, with Lola Montez and company, having spent eight months touring in California. By October 1855 she was back in Melbourne. There in December 1857 and January 1858 she was advertising her school, Hamilton House, in Richmond. Several of her compositions are documented. In April 1856, at Coppin's Olympic:
"The Australian schottische", composed by Mrs. Fiddes was performed by the band subsequent to the tragedy [Macbeth] and was pronounced a success, by those who heard it. The melody is striking and rather Beethovenish, but the noise in the house and general restlessness of the audience prevented its reaching the ears of many.
In November 1856 a pair of songs entitled The souvenir was published in Melbourne.
Jospehine Fiddes last performed at the Lyceum in Sydney in January 1862, and again in 1870 it was reported that "Mr. and Mrs. Dominick Murray (Miss Josephine Fiddes), are coming to Australia (under engagement to Mr. Coppin), by way of San Francisco".
"SHIPPING INTELLIGENCE", The Argus (6 November 1852), 4
[Advertisement], The Argus (15 November 1852), 7
"MUSIC AT THE DIGGINGS", The Maitland Mercury (1 December 1852), 3
[Advertisement], The Argus (3 December 1852), 8
[Advertisement], The Argus (20 January 1853), 8
[Advertisement], The Argus (26 February 1853), 8
[Advertisement], The Sydney Morning Herald (9 April 1853), 6
"SHIPPING INTELLIGENCE", The Maitland Mercury (22 August 1855), 3
"ROYAL VICTORIA THEATRE", Empire (27 August 1855), 4
"MUSICAL", The Courier (16 October 1855), 2
[Advertisement], The Argus (3 November 1855), 1
"COPPIN's OLYMPIC", The Argus (22 April 1856), 7
"NEW MUSIC", The Argus (25 November 1856), 5
[Advertisement], The Argus (14 January 1858), 3
[Advertisement], The Argus (3 February 1859), 1s
[Advertisement], Empire (9 January 1862), 1
"Death of an Old Theatrical Favourite", The Era (2 March 1889), 16
We have to record the decease, at the advanced age of seventy-seven, of Mrs. Harriett Catherine Fiddes, who expired on Feb. 18th, at the residence of her son-in-law, Luddendenfoot, Yorkshire. As Miss H. Cawse her memory will be pleasantly cherished by old playgoers on account of her personal attractions and the extent of her musical accomplishments. Miss Harriett Cawse was the youngest daughter of Mr. Cawse, a portrait-painter held in considerable estimation half-a-century ago, and made her first appearance upon the stage at Drury-lane Sept. 22d, 1832, as Daphne, in Midas. The next year her services were transferred to Covent-garden Theatre, where her elder sister had established herself as a popular vocalist. As the Fairy Queen in the opera of Cinderella, and in similar characters, Miss H. Cawse attracted general admiration. Her retirement from professional life took place on her marriage with Mr. Fiddes. The deceased had been for many years a member of the Covent-garden Theatrical Fund.
Transcriber of Indigenous song, judge, opera and drama reviewer (The Times)
Born England, 23 October 1786
Arrived Sydney, February 1817 (per Lord Melville)
Departed Sydney, February 1824 (per Competitor)
Died Torquay, England, 11 April 1846
On account of his collections of poetry, First fruits of Australian poetry ([Sydney: George Howe, 1819]) ("I first adventure. Follow me who list; / And be the second Austral Harmonist"), Field has been called the "First Austral Harmonist". As a former dramatic and opera reviewer for the Times (see Fenner), it is likely that Field had sufficient musical skill to have made his famous transcription of an Australian National Melody from the singing of Harry. The three earliest sources are: (1) Australian National Melody (Barron Field, "Journal of an Excursion Across the Blue Mountains", The London Magazine (November 1823), 465); (2) Australian National Melody (Barron Field, Geographical Memoirs on New South Wales; by Various Hands (London: John Murray, 1825), 433-34); (3) No 2 Air de danse (Louis de Freycinet, Voyage Autour du Monde: Entrepris par Ordre du Roi ... Exé cuté sur les corvettes de S. M. l'Uranie et la Physicienne, pendant les anné es 1817, 1818, 1819 et 1820, Historique, Tome Deuxième - Deuxième Partie (Paris: Chez Pillet Ainé , 1839), 775). A later copy appears as the last of four Australian Native Chants in Charles Wilkes, Narrative of the United States Exploring Expedition during the Years 1838, 1839, 1840, 1841, 1842, Volume 2 (Philadelphia, 1844?); later printing, (Philadelphia: [?], 1849), 189-90.
From the neighbourhood of our settlements we have scared the kangaroo and the emu, and left these poor lords of the creation no created food but a few opossums, and a tenancy in common with us of fish. Together with their numbers, their customs and manners are in a state of decay ...But the corrobory, or night dance, still obtains. This festivity is performed in good time, and not unpleasing tune. The song is sung by a few males and females who take no part in the dance. One of the band beats time by knocking one stick against another. The music begins with a high note, and gradually sinks to the octave, whence it rises again immediately to the top. I took down the following Australian national melody from Harry, who married Carangarang, the sister of the celebrated Bennilong; and I believe it to be the first that was ever reduced to writing."
[News], The Sydney Gazette and New South Wales Advertiser (3 February 1825), 2
"REVIEW OF JUDGE FIELD'S POETRY", The Sydney Gazette and New South Wales Advertiser (25 November 1826), 3
"MR. BARRON FIELD", The Australian (8 December 1825), 2
"DEATHS", The Sydney Morning Herald (19 August 1846), 3
Letter from Charles Lamb to Barron Field (31 August 1817)
Letter from Louis de Freycinet to Barron Field (6 July 1820)
Papers relating to Barron Field (1820-ca. 1930)
Image: Barron Field, c.1820 (Richard Read)
Bibliography and resources:
C. H. Currey, Field, Barron (1786-1846), Australian Dictionary of Biography 1 (1966); http://peopleaustralia.anu.edu.au/biography/field-barron-2041
David Higgins, "Writing to colonial Australia: Barron Field and Charles Lamb", Nineteenth-Century Contexts: An Interdisciplinary Journal 32/ 3 (2010), 219-33
Theodore Fenner, Opera in London: views of the press 1785-1830 (Southern Illinois University Press, 1994)
Active Melbourne, 1855-67
[Advertisement], The Argus (23 June 1855), 8
[Advertisement], The Argus (18 August 1855), 8
[Advertisement], The Argus (11 September 1855), 3
[Advertisement], The Star (23 December 1858), 3
[Advertisement], The Argus (10 February 1866), 1
"INSOLVENCIES", The Victorian Gazette (15 February 1867), 356
[Advertisement], The Argus (7 December 1867), 8
FILLMORE, Henry William
Pianist, comic vocalist, "public house player on the Pianoforte"
Arrived Sydney, NSW, by March 1841
Died Sydney, NSW,
In March 1841, H. W. Fillmore advertised that "he has lately arrived in Sydney for the purpose of playing the Pianoforte at Quadrille parties". He was advertised regularly as pianist at George Coppin's (later George Skinner's ) Saloon from April through to November 1844 (most not referenced below, but easily to be found in Trove). Described as a "public house player on the pianoforte", Henry Fillmore was before the court for, by reason of drunkenness , "having committed a breach of his agreement sa a musician and general servant, with William Stone, publican, of Pitt-street." On 9 November 1848, the Herald ran a private advertisement: "THE friends of the late Henry William Fillmore, are requested to attend his Funeral, at four o' clock, this day, from Wilmot-street, Pitt-street."
[Advertisement], The Sydney Herald (29 March 1841), 2
[Advertisement], The Sydney Morning Herald (12 April 1844), 1
[Advertisement], The Sydney Morning Herald (14 June 1844), 4
"A HIRED SERVANT", The Sydney Morning Herald (2 March 1847), 2
[Advertisement], The Sydney Morning Herald (9 November 1848), 1
Bibliography and resources: ancestry.com cites original passenger list that Fillmore arrived in Sydney in 4 February 1841; that he was born about 1819, and that he was previously in the parish of St. Paul's, Covent Garden, London.
Organ Builder, Tuner, and Cleaner
Arrived Melbourne, 1852
Died Hawthorn, Melbourne, 21 December 1910, in his 83rd year
[Advertisement], The Argus (17 February 1853), 3
"MUSICAL INSTRUMENTS", The Argus (6 November 1872), 4s
"DEATHS", The Argus (23 March 1901), 9
"PERSONAL", The Argus (23 March 1901), 12
"PERSONAL", The Argus (25 March 1901), 5
"DEATHS", The Argus (22 December 1910), 1
"PERSONAL", The Argus (22 December 1910), 7
Bibliography and resources:
John Henwood, George Fincham, Australian dictionary of biography 4 (1972)
FINDLAY, James (FINLAY)
Amateur musician, vocalist and violinist
Born Scotland, ? 1819
Arrived Australia, ? 1842
Died Towong, VIC, 8 November 1905
James Findlay migrated from Scotland c.1842. He took over the Towong Station in 1854 after managing the Bonagilla run, just east of Wodonga and employment with the Buchanans further east again at Tallangatta. The naturalist Ferdinand von Mueller sometimes stayed with Findlay, and named a red-flowered shrub found in the vicinity of Yellow Boy Creek "Berlayii Findlayii" after his host. Findlay and his wife and family lived on the Towong Station until 1889, when they moved to Upper Towong where James died in 1905, aged eighty-six.
"RENTS OF RUNS FOR 1867", Gippsland Times (7 December 1867), 3
"LAND TAX COURT", The Australasian (16 November 1878), 20
"A TRIP TO MOUNT KOSCIUSCO", North Melbourne Advertiser (13 May 1887), 3
"TURF GOSSIP", The Australasian (20 April 1889), 21
"CORRYONG TO JINGELLIC", Albury Banner and Wodonga Express (5 March 1897), 35
"DEATHS", The Argus (9 November 1905), 1
"Upper Murray", Albury Banner and Wodonga Express (24 November 1905), 3
Death of an Old Resident. Mr. James Findlay, sen., formerly of Towong Station, Upper Murray, Victoria, died at his son's residence on Tuesday, 7th inst., and was interred in the Corryong cemetery on the following Thursday. The deceased gentleman was in his 87th year, and leaves a family of six sons and five daughters. Mrs. John Pierce, of Greg Greg, is one of the latter. Mr. Findlay was a fine specimen of the old school of settler, and was one of the earliest pioneers of the Upper Murray. He was a well-known horse breeder, and his equine stock and their progeny have a more than local fame. With James Findlay passes away one of the few remaining links between the past and present of this district.
Bibliography and resources:
"Findlay, James (1819-1905)", Australian National Herbarium (2011)
James Findlay Manuscript: This mainly manuscript volume consists of songs tunes with words and dance tunes for violin. The book is twice inscribed "James Findlay, 12th December 1841" and, in a different hand, "Mr James Finlay, Penpont Nov. 11th 1841". There is a printed vocal item, Where the thistle proudly waving (Sung by Mr. Wilson at the London Concerts written, composed . . . by George Croal (Edingurgh: Wood and Co., [n.d.]), and 2 folios from an unidentified large-format printed collection of violin or flute tunes, the four pages, 69-72 (each with an issue mark at bottom left: "No 18. 500 M."), containing 21 complete items. It can be tentatively dated to c.1846-40 by the presence of Herz's "Now the night her mantle closes", other English editions of which date from no earlier than 1836. The manuscript section is in several layers and hands. Graham Dodsworth has digitised the manuscript at the request of Findlay descendants:
According to Dodsworth:
It is assumed at this point  that James (also known as Jim) Findlay from Penpont in Dumfrieshire Scotland compiled this mainly handwritten collection of tunes, which was found alongside four leather bound volumes, two each of Sir Walter Scott and Robert Burns, in a sea chest, in a barn, on a farm in the Upper Murray at Towong Upper by his grand-daughter, Ada Findlay [in 2000] . . . the notation of music within the book varies from tune to tune in style of notation in ways that suggest the type of quill alone is not explanation enough and that perhaps it was the owner of the books habit to ask others to notate tunes within its pages which the owner may have wished to play. Many of the tunes appear to be attributed to a 'P. McLeod' and there are other references to persons such as Wilson, Riddle, Braham, Neil Gow (fiddler) and other members of the musical Gow family from Dunkeld.
The full contents, as indexed by Dodsworth, can be accessed directly
Dodsworth (2003-04) also taped interviews, concerning the collection and the family's musical history,
with Harry Findlay: http://trove.nla.gov.au/version/20308733
and Jill Findlay
FINSTER, Arthur Guido
Musician, music teacher
Active Sandhurst, by 1866
FINSTER, Alwyn Guido (junior)
Bandmaster, piano tuner
Ballarat and Ballarat District Directory (1865), 59
The Victoria Post Office Directory (1866), 240
"FINE ARTS EXHIBITION", Bendigo Advertiser (13 September 1869), 2
Miss Finster, a lady of tender years, proved herself quite a prodigy in her brilliant execution of solos on the piano from "La Somnambula" and "Robert le Diable".
"THE LYCEUM THEATRE", Bendigo Advertiser (22 October 1870), 2
"COMPLIMENTARY CONCERT AND BALL", Bendigo Advertiser (14 November 1870), 2
"COMMERCIAL INTELLIGENCE", Bendigo Advertiser (7 January 1878), 2
[Advertisement], The Mercury (11 October 1919), 1
FIREBRACE, William Piggott
Amateur musician, vocalist
Born New Amsterdam, Guyana, 24 January 1832
Arrived Melbourne, VIC, March 1850
Died Prahran, VIC, 25 June 1908
"MR. W. P. FIREBRACE'S FUNERAL", The Argus (29 June 1908), 8
Mr. Firebrace was born at New Amsterdam, Berbice, British Guiana, and was the eldest son of Judge Firebrace, of Demerara, a division of British Guiana. He was educated in Great Britain, and came to Melbourne in March 1850. In the following year he entered the service of the Victorian Government as a clerk in the office of the registrar of the Supreme Court under Mr J. D. Pinnock and subsequently became chief clerk. On the death of the prothonotary (Mr J. Alfred Carter) he carried on the duties of the department until 1883, when he received the appointment of prothonotary-a position he held until his retirement from active duty about 12 years ago. Besides being a great reader and collector of books, Mr Firebrace was an enthusiastic musician. For many years he was a leading member of the choirs at St Peter's Eastern hill, and All Saints', East St Kilda. Latterly he was a constant attendant in St Paul's Cathedral, and a generous contributor to its musical library, his gifts being always representative of the soundest school of English church music.
Bibliography and resources:
"Firebrace, William Piggott (1832-1908)", Obituaries Australia
Baritone vocalist, concert manager
Active Adelaide, 1889
Died (suicide), Colac, VIC, March 1901
"The Adelaide Liedertafel", South Australian Weekly Chronicle (22 June 1889), 15
"DETERMINED SUICIDE. MR. HUGO FISCHER STRANGLES HIMSELF", The Argus (23 March 1901), 13
[News], Camperdown Chronicle (26 March 1901), 2
...The deceased [Hugo] was about 50 years of age, and was a widower, his family being all grown-up. He was a well-built man, over six feet in height, and was a native of Germany. He came to Victoria many years ago with his brother, Mr. Otto Fischer, who is now a baritone singer in London. The deceased was also a good baritone singer, and had been a concert manager for many years, and in this capacity he was well-known through the state. He was at times agent for Mr. Ernest Hutcheson, Mr. Phillip Newbury, and other popular concert organisations, and was also a fair pianoforte player himself. The deceased was of a genial disposition, and during his short stay in Colac made many friends who will regret to learn of his tragic end.
Adelaide Liedertafel; manager for Ernest Hutcheson, Philip Newbury
Vocalist, vocal teacher
George Clutsam's wife Minnie [sic] Fischer was a notable singer. She received her early music education from Frederick Ellard in Adelaide and Madame Chambers in Melbourne, and aged 16 joined the Italian Opera Company. After touring New Zealand and Australia and undertaking further study in Germany, she performed concerts in London and taught voice production. She married Clutsam in 1908.
"MUSIC AND DRAMA", Australian Town and Country Journal (20 October 1877), 24-25
Bibliography and resources:
FISCHER, Wilhelm Carl
Amateur violinist, conductor, composer (leader, Melbourne Philharmonic Society)
Active Melbourne, by 1863
FISCHER, Mrs. Carl (Sara Jenny)
Music reviewer/critic, concert annotation (program note) writer, journalist
Born Gloucester, England, 1834
Arrived Melbourne, 1856
Died Darlinghurst, 6 October 1896, aged 62
Carl Fischer's March, "composed especially for the Festival of the German Association", was first performed on that occasion in Melbourne in December 1863. During that year and the following Fischer led the orchestra for the Melbourne Philharmonic Society, and his personal music library was source of two sets of parts performed in 1863, as the Society recorded its thanks: "At the third subscription concert, the honorary leader of the society placed at the disposal of the committee the complete parts of Meyerbeer's overture L' Etoile du Nord, and of Weber's overture Euryanthe. By this means these two compositions wore introduced to the Melbourne musical world. A vote of thanks was accorded by the society to Mr. W. C. Fischer for his kindness". He married Mrs. Sara Jenny Dredge, widow of his friend the Philharmonic's late secretary W. G. Dredge, in 1866, and in 1870, shortly before they moved to Geelong to open a ladies academy, Fischer auctioned "Two genuine Cremorna violins, one an undoubted 'Stradivarius' ...to be disposed of by Art Union in Melbourne, on the 12th inst. They are the property of Mr. W. C. Fischer, an amateur musician of some note in Melbourne. The two instruments are valued at 200 guineas." The Fischers were well-established in Sydney by the time this report appeared in 1881: "Some time since Mr. Lewis Scott, a well-known adapter and play-writer, in proposing the toast of 'The Press' at a picnic, said: 'The press and pressmen; may they never wear petticoats." This was considered to be an allusion to Mrs. Carl Fischer, the [Sydney Morning] Herald critic, who is not very popular; and the other night, at the Austrian Band performance, Mrs. Fischer's husband took the opportunity to insult Mr. Scott, calling him derogatory epithets, for which Fischer was fined to-day at the Police Court in a sum amounting to three guineas. Judge Windeyer was a witness in the case."
Obituary (1896): "Mrs. Fischer was from 1870 to 1877 the conductor of a ladies' school in Geelong, which was established on a large scale. During that period her taste for journalism induced her to contribute musical critiques to several of the Melbourne papers. In 1879 she came to Sydney, and became associated with the Sydney press. She was an indefatigable, as she was a talented writer, her specialties being musical and dramatic contributions and social notes ... Mrs. Fischer was entrusted with the responsibility of writing annotations for the organ recitals given by M. Wiegand, the City Organist, and she also discharged a similar commission in respect of the Hazon series of concerts. In respect of Mrs. Fischer's annotations for the organ recitals Sir W. P. Manning wrote a flattering letter in acknowledgment of the ability she brought to bear upon the work ...."
"MARRIED", The Argus (9 June 1857), 4
"The Festival of the German Association", The Argus (29 December 1863), 5
"Das zweite deutsche Turn und Musikfest in Melbourne", Süd Australische Zeitung (15 January 1864), 3
"THE MELBOURNE PHILHARMONIC SOCIETY", The Argus (20 January 1864), 5
"MARRIAGES", The Argus (25 June 1866), 4
[News], The Argus (10 September 1868), 4
[News], The Maitland Mercury (5 February 1870), 2
"NEW SOUTH WALES", The South Australian Advertiser (8 March 1881), 5
"Bankruptcy Court", Australian Town and Country Journal (16 August 1890), 13
"Deaths", The Sydney Morning Herald (7 October 1896), 1
"DEATH OF MRS. CARL FISCHER", The Sydney Morning Herald (7 October 1896), 5
Musician, baritone vocalist
Arrived Adelaide, 6 December
1848 (per Alfred, from Hamburg, 20 August, via Rio de Janiero, 17
Died Jolimont, Melbourne, 9 February 1882, aged 59
In December 1848, Fisher "lately arrived from Hamburg" advertised his willingness to sing at parties and tune pianos. With his fellow new arrivals, Frederick and Albert Seyler, he appeared in a quarterly Conversazione with Mrs. Murray in January 1849. He presented his own concerts in Adelaide in 1850 and 1851. He later settled in Tanunda, but died in Melbourne in 1882.
"SHIPPING INTELLIGENCE", South Australian Register (9 December 1848), 3
[Advertisement], South Australian Register (23 December 1848), 2
[Advertisement], South Australian Register (17 January 1849), 2
[Advertisement], South Australian Register (27 January 1849), 2
"LOCAL NEWS", South Australian (2 February 1849), 2
"NATURALIZATION OF ALIENS", South Australian Register (21 July 1849), 1s
[Advertisement], South Australian (18 December 1849), 3
"MR. FISCHER's CONCERT", South Australian (22 January 1850), 2
"DECLARATION OF CONFIDENCE IN MR JOHN STEPHENS", South Australian Register (7 March 1850), 2s
[Advertisement], South Australian (2 April 1850), 3
[Advertisement], South Australian (19 April 1850), 3
[Advertisement], South Australian (10 January 1851), 3
"DEATHS", South Australian Register (11 February 1882), 4
Singing master, composer, music educator
Born Portsmouth, England, 22 March 1826
Arrived Sydney, ? December 1852
Died Parramatta, 22 March [sic] 1891, aged 65
Summary (after Stevens):
Fisher arrived in Sydney in 1852 and brought with him a knowledge of Curwen's method employed in his adult singing classes in Sydney. He produced the first Tonic Sol-fa publication in Australia The singing class manual in 1853 [recte 1855]. Fisher's work led to his appointment as conductor of the Sydney Choral Society. William Wilkins, secretary to the Council of Education, arranged for Fisher's appointment in 1867 as singing master to the Fort Street Model and Training School, and his method was officially adopted in public schools. Fisher also published a Manual of the tonic sol-fa method (1869) and several school song books. As a composer Fisher produced school cantatas and a secular cantata entitled The emigrants (c.1880).
Of considerable historical interest, in 1879 Fisher addressed the dispute raised by Hector McLean, among others, over Paolo Giorza, a "foreigner", being appointed musical director of the Sydney International Exhibition (McLean himself "British", despite only having arrived in Sydney from London five years earlier):
Sir. In troubling you with a few remarks on the letter of Mr Hector R. M'Lean, in your issue of Tuesday last, I do not share Mr. M'Lean's alarm and dissatisfaction at the appointment of Signor Giorza ...I agree with Mr. M'Lean in his opinion that the cantata and march should perhaps have been thrown open to com petition. But I question whether much would have been gained by such a course. All experience proves that compositions 'got up to order' for special occasions are almost invariably very doubtful successes. The subjects being generally of local and ephemeral interest musical works of that character are seldom heard more than once, and certainly never by their publication repay the time, trouble, and brain waste of their production. We have few 'laureates', whether poetical or musical in Australia, and I do not think any of us, however ambitious of artistic renown, need envy Signor Giorza the barren honours he may gain by the performance of his cantata and march. Neither do I think that his nationality will induce him to ignore the claims of compositions other than those of the Italian school ...
"MARRIAGES", The Sydney Morning Herald (20 March 1854), 8
[Advertisement], Empire (11 July 1855), 1
;"CHORAL SOCIETY'S CONCERT", The Sydney Morning Herald (11 May 1855), 4
[Advertisement], The Sydney Morning Herald (30 January 1862), 1
[Advertisement], The Sydney Morning Herald (27 January 1866), 12
"TELEGRAPHIC", The Brisbane Courier (26 March 1866), 2
[Advertisement], The Sydney Morning Herald (19 February 1868), 8
[Advertisement], The Sydney Morning Herald (28 December 1868), 1
Advertisement], The Sydney Morning Herald (21 November 1868), 6
"INSOLVENCY COURT", The Sydney Morning Herald (14 November 1870), 2
"NEW MUSICAL WORK", The Sydney Morning Herald (22 June 1875), 5
"TO THE EDITOR", The Sydney Morning Herald (20 May 1879), 5
"Mr. James Churchill Fisher", Australian Town and Country Journal (22 July 1882), 17
[Advertisement], The Sydney Morning Herald (3 March 1885), 3
"Death of Mr. J. C. Fisher", Australian Town and Country Journal (4 April 1891), 25
By the death of Mr. J. C. Fisher, which occurred at Parramatta on March 22, Australia has lost a true son of art. As a composer and musician he had few equals in Australia; and although it is not generally known, the deceased gentleman was also an artist of no mean order, some of his landscapes being worthy of more than passing praise. His first great musical composition was the Christmas cantata, Under the Holly, first produced in the old Masonic Hall, Sydney, about 1864 [recte 1866], when it made a great impression, and established for Mr. Fisher a reputation which he enjoyed till his dying day. The words of the cantata were by Mr. E. P. Whitworth. The emigrants , the libretto of which was from the pen of 'Australie', was produced some years later, and in some respects was more successful, than the first. The bass solo in this cantata took first prize at the New Zealand Exhibition in a contest among resident Australians for best original solo. Mr. Fisher also composed numberless capital voice exercises, dance pieces, and school songs, the latter being noted for their beautiful harmony. Mr. Fisher at one time was the possessor of an excellent tenor voice and sang with Mr. C. Santley in a duet on the occasion of that gentleman making his first public appearance in the old country. He also often sang with 'Jack' Hatton, with whom he was a fast friend. He was for several years teacher in the national schools of this colony, and his great musical abilities soon manifesting themselves he was appointed, a few years later, musical instructor under the Council of Education, which position he held till a few years back. Mr. Fisher's name is also associated with many of the leading musical societies of Sydney. The deceased gentleman had been ailing for a long time past from paralysis, and his death on March 22 cannot be considered other than a happy release. His remains were interred at Rookwood on March 23, the Rev. C. Taylor, of Parramatta, officiating.
Good night (MS partsong: "composed expressly for this occasion by Mr. J. Fisher" [GRAND COMPLIMENTARY CONCERT [to] W. J. CORDNER] (1862)
Under the holly (cantata; words: R.P. Whitworth) (word book only: Sydney: Reading & Wellbank, 1865
He's leaving his own native shore, mother (MS ballad) (1868)
The emigrants (cantata; words: 'Australie' [Manning, Emily Matilda (1845-1890)] (1875) [text
Hang out the banner ([Sudan campaign] "Australian patriotic song and chorus; [words] written by O.S. Wheeler") (Sydney: By the composer, )
Bibliography and resources:
Robin S. Stevens, "James Churchill Fisher: Pioneer of Tonic Sol-fa in Australia" (copy of this paper downloadable at
http://www.australian-music-ed.info/History/Fisher.html), or in Jane Southcott and Ros Smith (eds), Community of Researchers: Proceedings of the XXIInd Annual Conference (Melbourne: Australian Association for Research in Music Education, 2002), 172-182. http://trove.nla.gov.au/work/39328623
FISHER, Thomas Edmondson
Musician, bandmaster, mayor of Grenfall, composer
Born France, February 1830
Arrived Adelaide, SA, 1852
Died Grenfell, SA, December 1912
[Advertisement], The Grenfell Record (4 October 1879), 2
"SONG", The Grenfell Record (25 November 1882), 2
"The Hospital Ball", The Grenfell Record (12 November 1898), 2
...For some time past, there had been indications that the mobilisation of Mr. Fisher's orchestra was in progress: oft in the stilly night the air vibrated with the deep tones of the double bass, at the offset, causing dwellers in suburbs or the stranger within the gate to wonder whether they heard a voice from the tombs, or the warning note of Mr. Wragge's latest meteorological demon, Marco Polo. Coming nearer, many other instruments were heard under skilful manipulation, and one harmonious whole evidenced the successful efforts of a strong combination: cunning players upon stringed instruments, persuasive whisperers into brazen ears; a deft tintinabulator of ivories, and a r-r-r-rat-tat-tatter on the tenor-drum ...On Wednesday night, the music was a great attraction, and completely justified anticipation. The band, winch was stationed below the stage, and occupied an orchestral-like enclosure, not far from the madding crowd, consisted of: - First violin, Mr. T. E. Fisher; second violin, Mr. R. Newman; cornet, Mr. J. Quigley; piano, Mr. E. H. Howarth; 'cello, Mr. T. Rabbets; double bass (string), Mr. W. Rabbets; tenor drum, Mr. H. Howarth (Mr. J. Dickinson - trombone - was unavoidably absent). Conductor, Mr. T. E. Fisher.
"OBITUARY", The Grenfell Record (17 December 1912), 2
...Mr. Fisher was born in France, but his school days were passed at Everton, Lancashire; he would have been 83 in February next. He received a superior education, and had travelled in many parts of the world. He was an excellent musician, and was at home with many instruments, and this accomplishment enabled him to render invaluable service, both in the social life of the town and in aid of its many institutions. Mr Fisher came to Grenfell in 1866, and with the exception of a short residence in Parkes, from whence he returned in 1875, has been here ever since, and for many years and until quite recently, was senior partner in the well-known firm of Fisher and Frazer, of the Union Brewery. For many years he took an active part in the chief affairs of the town, and was perhaps the most outspoken and independent of all our public men. [...]
FITTIPALDI, Eduardo (Chevalier)
Pianist, teacher, conductor, composer
Born Italy, 1844/5
Arrived Victoria, by 1884
Died Mosman, NSW, 27 June 1910, aged 65
1891 (FP; Oct. 1890): The opening number was a novelty in the shape of an overture by Chevalier Fittipaldi, a Melbourne musician. It was composed in 1887 as the prelude to an opera under the title of "Bianca Capella" which has never seen the light of the stage. The overture is written in a good style, and met with a favourable reception.
[Advertisement], The Horsham Times (14 March 1884), 4
[News], The Argus (24 October 1890), 4
[News], The Argus (9 January 1891), 5
"SIGNOR FITTIPALDI'S ARRIVAL", The Sydney Morning Herald (3 July 1907), 12
"DEATHS", The Sydney Morning Herald (29 June 1910), 8
Works: List unto my pleadings (romanza; words from the Italian by Albert G. Dawes; music by E. Fittipaldi) (Melbourne: Atkin, Crawford & Co., [188-]); For Britain, one and whole (song for one or two voices written and composed for the Imperial Federation League of Victoria, words by H. D' Esterre Taylor; music by Chevalier Ed. Fittipaldi) ([Melbourne]: G. Tytherleigh for the Imperial Federation League of Victoria, [1895?])
Active Sydney by January 1834, until May 1847
[Advertisement], The Sydney Gazette and New South Wales Advertiser (11 January 1834), 1
[Advertisement], The Sydney Herald (13 January 1834), 3
"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (14 January 1834), 2
Between the play, and After-piece, Mr. Fitzgerald performed a Comic Dance in such a manner, as justly called forth the warmest plaudits of the audience. Mr. F. would be considered no contemptible acquisition at the second rate London Theatres.
"ROYAL VICTORIA THEATRE", Australasian Chronicle (9 January 1841), 2
[Advertisement], The Australian (27 October 1846), 2
... Aboriginal dance, by Mr. Fitzgerald ...
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (27 May 1847), 2
Musician, choir trainer, school-mistress
Born Ireland, 1785
Arrived Sydney, 2 July 1811 (per Providence, with convict husband)
Died Sydney, 31 July 1861, aged 76
Choral singer, historian
Born Dublin, 1810
Died Goulburn, NSW, 8 November 1877, in his 68th year
Having lived at Parramatta and Windsor, the Fitzpatricks moved into Sydney in 1817, and shortly afterwards Catherine formed a choir for the Catholic chapel, which originally met at the house of James Dempsey, as her son Columbus remembered in 1865: "I knew [James Dempsey] when I was a boy; he was then a rich man and used to often say nothing on earth gave him so much pleasure as to have it in his power to oblige a Catholic ... when Father Therry came to the Colony [in 1820] he was surprised and delighted to find a couple of boys able to serve Mass and a good few people who could sing the church services, for my mother and a man named McGuire used to meet at Mr. Dempsey's to teach the youth of both sexes to sing, long before the arrival of Father Therry." Catherine apparently continued to train and direct the choir into J. J. Therry's tenure, though, on Columbus's testimony, probably handed over control to the military bandmasters Joseph Reichenberg and Thomas Kavanagh while they were in Sydney between 1824 and early 1827. Thereafter, according to Lea-Scarlett and Smith, Catherine continued directing the choir, and Waldersee notes an incident, one Sunday in April 1829, when she engaged in a dispute with the priest Daniel Power, who "went up into the gallery where Catherine and two of her sons were singing in the choir. An argument ensued and the priest finally turned the Fitzpatricks out." A year later when St Joseph's Chapel opened, she continued to conduct a choir there into the early 1830s. Columbus's reminiscences, published originally in newspapers in the 1860s, are our main source of specific information about Catholic chapel music in the 1820s, and in particular details of the activities of Reichenberg and Kavanagh and their bands.
"DEATHS", The Sydney Morning Herald (3 August 1861), 1
"DEATHS", Australian Town and Country Journal (17 November 1877), 41
"REMINISCENCES OF CATHOLICISM IN THE EARLY DAYS OF THE COLONY (To the Editor of the Goulburn Argus.)", Freeman's Journal (25 November 1865), 741
Bibliography and resources:
E. J. Lea-Scarlett, Fitzpatrick, Columbus (1810-1877), Australian dictionary of biography 4 (1972)
Kit Smith, "The Veech Library Australian church music collection", The Australasian Catholic Record 82/2 (April 2005), 189-201
Edmund Campion, "A Tradition in Voice: Catherine Fitzpatrick", in Great Australian Catholics (Richmond: Aurora Books, 1997), 14
J. Waldersee, "Father Daniel Power", Journal of the Australian Catholic Historical Society 2 (1967), 37
C. J. Duffy (ed.), Catholic religious and social life in the Macquarie era: as portrayed in the letters of Columbus Fitzpatrick (1810-1878) (Sydney: Catholic Press Newspaper Company, Ltd., 1966), 17-19
Patrick O'Farrell, Documents in Australian Catholic history: 1788-1883 (Sydney: G. Chapman, 1969), 32-33
Born Ireland, 1804/5
Died Sydney, NSW, 26 September 1879, aged 74
"SUICIDE BY DROWNING", Evening News (29 September 1879), 2
"CORONER'S INQUESTS", The Sydney Morning Herald (30 September 1879), 3
Active Beechworth, VIC, 1858 (? see above)
"SMALL DEBTS", Ovens and Murray Advertiser (25 May 1858), 2
FITZ-STUBBS, Madeline Schiller (Mrs. Frank BLADEN)
FITZ-STUBBS, Maud (Ada Maud FITZ-STUBBS; Mrs. Harry WOODS)
FITZ-STUBBS, Percy (Thomas)
Go to main page Thomas Stubbs and his descendents:
FLATAU, Berta Maud
Composer (aged 10 years)
Born Morpeth, NSW, 28 June 1871
Died Forest Lodge, Sydney, 17 November 1882, aged 11 years
"BIRTHS", The Sydney Morning Herald (3 July 1871), 1
[News of the day], The Sydney Morning Herald (16 May 1882), 5
"Music and Drama", Australian Town and Country Journal (27 May 1882), 12
"Deaths", The Sydney Morning Herald (18 November 1882), 1
The Berta waltz ("composed by Berta Maud Flatau, aged 10 years") (Sydney: Elvy & Co., )
Musician, band musician
Active Melbourne, 1850
"THE VAGRANT ACT", The Argus (12 December 1850), 2
... Charles Fletcher ... was also charged with being a vagrant. He admitted that music was his "profession", and that he had been brought up to it from infancy. He was ... discharged upon the distinct promises that he would eschew music for the rest of his life ...
FLEURY, Achille (Mons.; FLEURY DE RECUSSON)
Violinist, band and orchestra leader
Arrived Melbourne, VIC, 1853 (from Mauritius)
Died Calcutta, India, 31 October 1875
Possibly the Achille Fleury active in opera orchestras in Rouen in 1833. Billed as "M. Fleury, from the Mauritius, the best solo violin known in the colonies", he first appeared for fellow violinist Joseph Megson in Melbourne in April 1853. In June, at James Ellis's new Salle de Valentino, he advertised a series of Promenade Concerts a la Muzard. "The Modern Paganini", as he was billed by George Lewis as Astley's in 1855, stayed on in Melbourne leading theatre and concert bands throughout the 1850s. An advertisement from August 1855 lists the members of his band at the Salle de Valentino. He relocated to Ballarat between 1858 and 1862, and, in addition to continuing his musical activities, was contentiously granted a publican's license in 1859. He toured to New Zealand with George Loder in 1862, and stayed on in Otago, later in Canterbury where in 1872 he was declared insolvent, and Dunedin. During these years he returned to Australia to lead George Loder's Lyster opera orchestras in Sydney and Brisbane in 1865, and Allen's Royal English Opera Company on tour in 1875. He died of dysentery while with Allen's company in Calcutta.
[Advertisement], The Argus (5 April 1853), 12
[Advertisement], The Argus (13 June 1853), 5
[Advertisement], The Argus (23 June 1853), 5
[Advertisement], The Argus (23 June 1853), 8
[Advertisement], The Argus (29 June 1854), 8
[Advertisement], The Argus (24 May 1855), 8
[Advertisement], The Argus (18 August 1855), 8
[Advertisement], The Argus (2 August 1859), 8
"News and Notes", The Star (16 November 1859), 2
[Advertisement], Otago Daily Times (22 October 1862), 3
"THE OPERA", Empire (25 April 1865), 4
[Advertisement], The Brisbane Courier (1 July 1865), 1
"MEETING OF CREDITORS", The Press (31 January 1872), 3
"DEATH OF M. FLEURY", Southland Times (27 December 1875), 2
[News], The South Australian Advertiser (11 March 1876), 4
"OPERAS OF LONG AGO", The Register (11 April 1925), 10
Bibliography and resources:
Adrienne Simpson, Alice May: Gilbert and Sullivan's first prima donna (New York & London: Routledge, 2003), 61
Joann Élart, Catalogue des fonds musicaux conservés en Haute-Normandie: Tome I (Rouen: Universite de Rouen, 2004), 154, 239, 250
Flautist, songwriter, navigator
Born Donington, Lincolnshire, England, 16 March 1774
Active Australia, 1795-1800, 1801-03
Died London, 19 July 1814, aged 40
Flinders's father recorded spending 8 shillings buying his son a German flute in November 1788, when the boy was 14 (Dooley). Flinders's journals and letters, especially during his detainment at Mauritius, mention music and playing his flute as one of his principal solitary and social pastimes (also briefly noted in his A voyage to Terra Australis, Vol.2, 393
http://books.google.com.au/books?id=Ax1JAAAAcAAJ&pg=PA393), especially playing his part in duos and quartets by Ignace Pleyel.
My Evening Song (Why Henry didst thou leave me, thus leave me here to mourn?) (MS song, music "by Haydn" [unidentified], words by Flinders, left incomplete at end, sent from Mauritius to his wife Ann, November 1805)
MS at National Maritime Museum, Greenwich; facsimile in Catharine Retter and Shirley Sinclair, Letters to Ann (Sydney, Angus and Robertson, 1999), 76. Edition by Gillian Dooley
Bibliography and resources:
H. M. Cooper, Flinders, Matthew (1774-1814), Australian Dictionary of Biography 1 (1966); Gillian Dooley, "My Evening Song", Alas! for the pelicans: Flinders, Baudin and beyond: essays and poems (Adelaide: Wakefield Press, 2002) 123-25; archived at Flinders University academic commons
Gillian Dooley, " 'When tired of writing, I apply to music' : music in Matthew Flinders' life", Journal of the Britannia Naval Research Association 5/1 (2011); archived at Flinders University academic commons
FLOOD, William Haydn
Professor of music, teacher of the pianoforte, composer
Born England, 1830
Active Melbourne, VIC, 1862-63 (formerly organist of St. Mary Redcliffe, Bristol [1855-62])
Died Wellington, NZ, 17 July 1908
"ST. GEORGE'S, GLOUCESTER", The Music Times (1 April 1860), 252
[Advertisement], The Argus (6 December 1862), 3
[Advertisement], The Argus (24 February 1863), 7
Le Bouquet de Victoria Quadrilles (most respectfully dedicated to the Ladies of Victoria, by W. HAYDN FLOOD, professor of music, teacher of the pianoforte.
[News], The Argus (4 March 1863), 5
[Advertisement], The Argus (4 March 1863), 7
"BIRTH", Daily Southern Cross (20 July 1866), 4
"PERSONAL", Wanganui Chronicle (21 July 1908), 4
Mr. William Haydn Flood, who died in the Ohiro Home on Saturday, says the "Times" at the age of 78 years, was an old Maori war veteran, having served in the Wanganui Cavalry. The deceased, who was an able musician, practised as a music teacher in Napier many years ago. He was a First Life Guardsman and witnessed the funeral of the Duke of Wellington. In 1867 he was appointed conductor of the Wanganui Choral Society, and was also for a time organist of Christ Church, Wanganui.
Bibliography and resources:
The Akaroa Waltz (for the pianoforte by W. Haydn Flood)
The Canterbury Volunteer Galop (1875); The Clifton Waltz
FLOWER, Sara (Mrs. Sam HOWARD)
Contralto vocalist, teacher of singing
Born Grays, Essex, England, 1823
Arrived Melbourne, VIC, 12 February 1850 (assisted immigrant per Clifton, from Land's end in 84 days)
Died Woolloomooloo, NSW, 20 August 1865
http://trove.nla.gov.au/result?l-publictag=Sara+Flower (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1467323 (NLA persistent identifier)
THIS ENTRY IS A STUB
Sara Flower arrived with John Dunmore Lang's immigrant shipment, on the Clifton, first in Melbourne, on 13 February 1850, intending to sail on with the ship to Sydney. On the layover, she appeared "positively for this night only" in Thomas Reed's Melbourne concerts on 28 February 1850, when her solo numbers were Schubert's The wanderer ("as sung by Miss Flower at the London Concerts"), Benedict's By the sad sea waves, and Crouch's balled Dermot Asthore. The ship's departure being delayed, however, she appeared several more times for Reed in Melbourne and Geelong, finally missing the Clifton's vovage and being afforded a Melbourne farewell at the Queen's Theatre on 26 March, before sailing out on the Asia on 6 April.
Note that, as at November 2012, the wikipedia article on Sara Flower appears to be closely based on material from Ann Beedell's illuminating (but sadly inaccessible) doctoral thesis, by far the best and fullest study to date of Flower's life, voice, and career.
"MADAME DULCKEN", The Musical World (25 January 1844), 29
[Concert notice], Theatre Royal, Covent Garden, Friday April 26  [2004.1637]
"HAMMERSMITH", The Musical World (27 June 1844), 215
"ROYAL ACADEMY CONCERT", The Musical World (4 July 1844), 223
"MUSIC", The Polytechnic Review 2 (1845), 230
"MUSICAL AND DRAMATIC GOSSIP", The Athenaeum 925 (19 July 1845), 721
The musical news of the week may be told in a very few words: Concerts have been given by Madame Eugenie Garcia and Sig. Mecatti; rehearsals held or announced for the Worcester and Norwich Festivals. Herr Pischek is gone - and Miss Sara Flower going for that course of two years' study in Italy, which too often produces no results; the reason of said unfruitfulness lying in the receipt being tried too late ...
"THE THEATRES", The Spectator (31 October 1846), 1043
"PRINCESS'S THEATRE", The Fine Arts Journal (26 December 1846), 113
... Miss Flower, as a contralto, is the first singer we have, the clear, rich, beautiful quality of voice, the soft blending of her tones, and the execution, form altogether a specimen of the singing art, we have not had for a long time; indeed, we may be proud of her as the first vocalist of the day in her peculiar style.
"A MUSICAL TREAT", The Melbourne Daily News (27 February 1850), 2
Without any wish to "puff" off the abilities of Miss Sara Flower, who "stars" it at Mr. Reed's concert to-morrow evening, it is but justice to mention that this lady is a thorough musician, and possesses a beautiful contralto voice of great register nnd flexibility. She first became a public favourite by undertaking, at a few hours notice, the leading score in an opera, a duty that devolved upon her in consequence of the sudden indisposition of the prima donna. Miss Flower, (a passenger per Clifton), proceeds to Sydney with the vessel, and we, therefore, recommend our musical friends, who desire to hear a really leading singer, one possessing all the natural and acquired requisites that constitute a first-rate vocalist to attend the Mechanics' Institute to-morrow evening. Miss Flower does not, we hear, purpose practising her profession in Sydney, whither she proceeds to join her brother.
[Advertisement], The Argus (28 February 1850), 3
"CONCERT", The Argus (28 February 1850), 2
Mr. Reed is the kind gentleman who this month undertakes to do musical homage to the full moon, and if one half the things we hear respecting his concert be true, it will present a treat. Of his Prima Donna, Miss Sara Flower in particular, fame speaks loudly. We have some recollection of hearing her in England, and if our recollections do not deceive us, she is possessed of a voice of extreme richness and compass, which we beliee has lately been further cultivated under the advantages of continental tuition ...
"CONCERT", The Argus (1 March 1850), 2
Mr. Reed's Concert last evening was very well attended, and passed off with considerable spirit. The principal singer Miss Sara Flower came fully up to the most flattering reports of her performances, and Mr. Reed deserves very great credit for having pounced upon a bird of passage of so high a class, and introduced her to a Port Phillip audience. Possessed of a rich contralto of a very high character, Miss Flower's execution is fully equal to her natural gifts, and every effort she made, was most warmly and justly applauded by her audience ... One of the most pleasing incidents of the concert was a little ballad not in the programme, but "interjected", as a late mayor would call it, by Miss Flower, with that redundant good nature which embonpoint rarely fails to inspire, and which, consisting of the usual ingredients of a love story, in the shape of rope ladders, faithless maidens, and bereaved swains, was both exceedingly pretty and very well received and encored by the audience. Some little amusement was excited in the course of the evening by the entrance of two or three squatters who had evidently been dining with their friend Doctor Lang, or in some equally congenial society, and were scarcely in a condition usually considered presentable in a concert room ...
"MUSICAL", The Argus (2 March 1850), 2
[Advertisement], The Argus (5 March 1850), 3
"MR. REED'S CONCERT", The Argus (6 March 1850), 2
[Advertisement], The Argus (9 March 1850), 2
[Advertisement], The Argus (16 March 1850), 3
[Advertisement], The Argus (26 March 1850), 2
"ARRIVALS", The Sydney Morning Herald (16 April 1850), 2
"THE DRAMA", Bell's Life in Sydney and Sporting Reviewer (20 April 1850), 2
... Wallace's Opera of MARITANA waa played on Thursday night on which occasion Miss Sara Flower, the newly arrived cantatrice, was present, incog. to all save the disguise-piercing optics of "our own critic" ...
"DEATHS", The Sydney Morning Herald (25 December 1850), 3
"MARRIAGES", The Sydney Morning Herald (23 December 1851), 2
"ROYAL ENGLISH OPERA. COVENT GARDEN", The Saturday Review 10 (24 November 1860), 662
The revival of the Night Dancers was a praiseworthy attempt on the part of the management to familiarize the public with the music of a writer [Edward Loder] who stands quite in the foremost rank of our English opera composers, but who, unfortunately both for himself and the public, has been for some time prevented by severe illness from the exercise of his powers. 'The opera was originally produced fourteen years ago [October 1846], under Mr. Maddox's management, at the Princess's Theatre, since which time it has never been performed ... The rest of the act  consists a song for Bertha (Miss Lefller) ... Miss Leffler's song is scarcely suited to her voice, as it was originally written for Miss Sara Flower, who had a very deep contralto ...
[Advertisement], The Sydney Morning Herald (11 January 1865), 1
"FUNERAL", The Sydney Morning Herald (21 August 1865), 9
"SARA FLOWER", Empire (6 September 1865), 5
"DEATH OF MADAME SARA FLOWER", The Sydney Morning Herald (21 September 1865), 5
MADAME Sara Flower, a vocalist well known in England, died in Sydney on the 20th ultimo. The late contralto arrived in Melbourne in the early part of March 1850 and sang at two concerts given in that city - her reputation as a vocalist of the highest order suffered no diminution when she first appeared in Australia. Madame (then Miss) Sara Flower left Melbourne in the ship Asia, and arrived in Sydney on the 15th April 1850, and sang for the first time in this city on the 3rd May, in the same year, at a grand concert given by Messrs. S. and H. Marsh at the Victoria Theatre. The tones of her rich and highly cultivated voice acted like a spell on the audience - very few of whom had probably heard the only other great contralto in the world, Madame Alboni, her amazing compass from E flat in contralto to the higher range of the mezzo soprano, astonished and delighted all her hearers. Her debut on that occasion was thus noticed in the Sydney Morning Herald of the 8th May.
"It is the opinion of the musical public of Sydney, both professional and amateur, that Miss Sara Flower is beyond any comparison the most gifted and accomplished vocalist that has ever visited Australia."
The cavatina "Nume che intence" which was selected for Miss Sara Flower's first appearance before a Sydney audience, afforded a fine opportunity for the display of that lady's quality and power of voice; also of the judgment, taste, and excellent enunciation of the artiste, and rapturous applause burst forth at its conclusion. Miss Flower's taste and purity of style in simple ballad was manifest in "By the Sod Sea Waves" which with the "Wanderer", and "Swiss Girl" elicited such tones that must have "astonished the natives". When Bellini's Norma was first produced in Sydney, Madame Sara Flower sustained the character, and though the music was not written in her register of voice, her great skill as a musician overcame difficulties that would have been fatal to an ordinary artiste. She also appeared in, conjunction with the late Catherine Hayes, and side by side with that popular cantatrice, in the opinion of those whose judgments had not been warped by certain prejudices, her vocal powers suffered no eclipse. It was in the concert room, however, where Madame Flower was most popular, and the "Old Arm Chair", "The Exile", "By the Sad Sea Waves", "Evangaline to Gabriel", and many other pieces will perhaps not again he heard to such perfection for many years to come as when sung by her whoso voice was so familiar to all classed of people in this colony, but which is now silent for ever. Madame Sara Flower had been a severe sufferer from rheumatism for the last few years, and it is to be regretted that providence was not made during health for the hour of sickness. Although an excellent teacher of music, she was too ill lately to earn more than a precarious livelihood, and her last hours were passed without those comforts and nourishments which could alone have proved beneficial. Her good nature was proverbial - she gave her services willingly for our public charities, and for the benefit of any brother or sister artist who sought them, and she was ever foremost to assist those of her profession who were in straitened circumstances. The funeral took place on the 21st ultimo, a solitary mourning coach containing the mourners.
"NECROLOGIE", Le Guide Musical (2 November 1865)
"MEMORABILIA", The Era Almanack (1869), 8
A significant number of London and colonial song editions advertised that they were sung by Sara Flower.
An album, bound in Sydney in the early 1850s by Kern and Mader, now in the State Library of New South Wales, may originally have belonged to her
Bibliography and resources:
... The first vocal "star" to appear in the colonies was Miss Sara Flower. This gifted contralto came quite modestly before the public. The announcement of her début was simply that -Miss Flower from the Nobility Concerts in London would make her first appearance at a concert given by the Messrs. Marsh at the Victoria Theatre on May 8, 1850. One of the songs chosen for that occasion was "By the Sad Sea Waves", and for the first time the pure contralto tones were heard in Sydney. Her visit to Australia, now forty-two years ago, astonished persons in England, where she held a good position on the concert platform, as much as it did many colonial residents, who could appreciate the splendid quality of her voice. The audience at the concert on May 3 were surprised and charmed; and it might be thought the critics would have been elated. Her first appearance was dismissed with the following brief notice in the leading journal of that year in Sydney:
"The concert given by the Messrs. Marsh last night at the Victoria Theatre was most successful. The great interest of the evening was the début of Miss Sara Flower, of whom much was expected, and contrary to what usually occurs in such cases the expectations were fully realised. Miss Flower's voice is of great compass and power, rich in tone, and her enunciation most distinct."
The fact is that so perfect a voice of the quality has not to this day been heard in Australia, not one better cultivated. The contralto parts taken by her in opera here have never been equalled musically, and as a proof of the extraordinary range of her voice, as well as her ability in lyric drama, it need only be mentioned that she was the first Norma in Australia. Two characters in which she afterwards appeared - Azucena in Trovatore, and Maffeo Orsini in Lucrezia Borgia - have not been equalled by any other artiste in Australia; though a splendid acting representation of the former was once given in Melbourne by Lucy Escott, who declared that she would not attempt the part again. Sara Flower married Mr. Sam. Howard, actor and manager, never returned to England, which probably accounts for the omission of her name in Grove's Musical Dictionary, and after a somewhat chequered career died about twenty years ago, in comparatively poor circumstances, in a cottage in Victoria-street, Darlinghurst.
Alison Gyger, "Flower, Sara Elizabeth (1823-1865)", Australian dictionary of biography supplementary volume (2005)
Ann V. Beedell, Terminal silence: Sara Flower and the diva enigma (Ph.D thesis, Griffith University, 1999)
FOGART, John (FOGGETT)
Died Richmond, VIC, 5 August 1874
"SHOCKING DEATH", Bendigo Advertiser (7 August 1874), 3
"MELBOURE", The Sydney Morning Herald (7 August 1874), 7
Hymn singer, executed convict
Executed Sydney, 14 July 1814
"EXECUTIONS", The Sydney Gazette and New South Wales Advertiser (16 July 1814), 2
On Thursday Bartholomew Foley, condemned for sheep stealing at Port Dalrymple, was also executed. He came a prisoner to this Colony about 13 years ago, a boy not exceeding 12 or 13 years of age ...From the moment of his condemnation, however, he became the repentant sinner - the prodigal restored to hope. His temporal destiny he acknowledged to be just, and hoped forgiveness of his crimes in Heaven, as his penitence was sincere and full. At the place of execution he appeared with that firmness which the hope of mercy can alone bestow upon a suffering criminal. He sung two hymns, loudly, distinctly, and with such animated fervour as to give peculiar melody to his accents ... About nine o'clock he was launched into eternity ...
Died (suicide) North Melbourne, VIC, 1 August 1862
[News], The Argus (2 August 1862), 4
Yesterday forenoon, a Frenchman named Folly, a musician, residing in Lansdowne-street, North Melbourne, was found dead in his own house, his throat cut, and a razor covered with blood lying at his feet. The last time he was seen in life was about four o'clock on the previous after- noon, when he appeared to be sober; but be had been drinking lately. He was also understood to be in trouble about his wife and family, who are in France. It is presumed that the deceased committed suicide, and an inquest will be held on the body to-day.
Professor of the Flute on Nicholson's principle, flautist
Active Melbourne, 1856
[Advertisement], The Argus (13 February 1856), 1
[Advertisement], The Argus (29 March 1856), 10
Professor of music, choral conductor, singing class instructor, conductor and secretary (The Musical Union)
Active Melbourne, by 1861
? Died Ivanhoe, VIC, 19 June 1921, aged 89
[Advertisement], The Argus (23 February 1861), 8
[Advertisement], The Argus (9 October 1861), 8
[Advertisement], The Argus (25 March 1867), 8
[Advertisement], The Argus (3 July 1867), 8
[Advertisement], The Argus (7 October 1867), 8
"THE ORPHEUS UNION CONCERT", The Argus (15 October 1867), 7
"RECEPTION OF THE DUKE OF EDINBURGH", The Argus (21 November 1867), 5
"HORSLEY AND KENDALL BENEFIT CONCERT", The Argus (29 August 1870), 7
[Advertisement], The Argus (19 January 1871), 8
[News], The Argus (13 September 1872), 5
[News], The Argus (8 May 1876), 4
[Advertisement], The Argus (6 February 1880), 8
"SIDELIGHTS ON THE SIXTIES", The Argus (5 December 1916), 5
Among those classes for whom these forms of amusement had no attraction we find at this time a widespread interest in the cultivation of vocal and instrumental music. The Philharmonic Society was already an institution of some years' standing; while in the late fifties various suburban singing classes and glee clubs had come into being. In 1860 a "Musical Union" which strove to foster the formation of a good amateur orchestra, and an "Orpheus Union", in which part-singing was to have its highest development, began their closely-associated career, Mr. Thomas Ford, who is still enjoying a green old age amongst us, being honorary secretary of both bodies. It is noteworthy that at the first public concert given by the Musical Union, on May 10, 1860, when the "Creation" was produced in a church in George street, Fitzroy, the tenor soloist was a young clerk of 17 or 18, named Edward Armes Beaumont, who shortly afterwards was to enter upon a career as an operatic singer, which terminated recently enough to make it a sort of connecting link between present and past generations of music-lovers ...The Orpheus Union practised for about twelve months in private before venturing to invite public criticism. On February 27, 1861, they took part in a concert given in the Mechanics' Institute (now the Athenaeum), in Collins street, before an audience consisting of the Governor (Sir Henry Barkly), Lady Barkly, and "nearly all the professional celebrities and well-known amateurs and musical connoisseurs in the city". Mr Ford's recollections of this occasion are interesting. The first item, rendered by the part-song society, was Mendelssohn's "Song of the Night", and when its members, taking their cue from a softly-hummed keynote, rose to their feet and burst forth into harmony without any instrumental accompaniment, the audience sat spell-bound, under a new sensation. The close of the number was received in breathless silence, and as the singers resumed their seats a whisper went round among them that their initial effort had been a failure. But the rapturous applause which greeted them when they stood up to essay their second number soon re- moved the misapprehension; and the news-paper report of the concert admits that "the Orpheans established their right to high consideration".
? "DEATHS", The Argus (20 June 1921), 1
Orpheus Union (honorary secretary, conductor); South Melbourne Glee and Madrigal Society (conductor)
Bookseller, printer, music retailer, music publisher
Arrived Sydney, 1844
Died Pambula, NSW, 6 January 1901, "a colonist of 57 years", aged 82
http://trove.nla.gov.au/result?l-publictag=William+Ford+d1901 (TROVE tagged by Australharmony)
Arrived Sydney, NSW, 1847
Formerly of Exeter, England, the "master printer" William Ford arrived in Sydney in 1844. As a stationer and bookseller and printer, William first traded alone in George Street, often advertising catalogues of large shipments of music. In October 1847 he advertised that he had "admitted my brother, Mr. Frederick Ford, recently arrived from England, a partner." Ford printed and published Isaac Nathan's musical and literary works from 1846 until 1848. Their business was taken over by Waugh and Cox by October 1853.
[Advertisement], The Sydney Morning Herald (4 February 1847), 1
[Advertisement], The Sydney Morning Herald (2 October 1847), 3
"MARRIED", The Sydney Morning Herald (4 April 1851), 3
[Advertisement], The Sydney Morning Herald (21 October 1853), 1
"Deaths", The Sydney Morning Herald (10 January 1901), 1
Bibliography and resources:
Neidorf 1999, 169
Blind musician, organist
Active Melbourne, by 1869
1869: ...a boy named Henry Forder, only ten years of age, and so small that those in the room could scarcely see him perched on the organ stool, performed a voluntary on that instrument, the theme of which was Handel's Hailstone Chorus. He had only been a pupil for four or five months, and his instrumentation was surprising. The musical education of the children reflected great credit upon Mr. Greenwood's teaching, as did their general appearance upon the general management.
1873: H. Forder, the well-known blind musician, who is an inmate of the asylum, played on the organ. 1882: It has been mentioned to us that Henry Forder, a former pupil of the institution has lately been appointed organist at the Presbyterian Church, St. Kilda.
1900: A sensational bolt took place in High street, Armadale, yesterday afternoon about 4 o' clock, which resulted in injuries to Mr Henry Forder, a blind piano-forte tuner, living at 110 Newry street, North Carlton, and also to his wife, Kate.
[News], The Argus (1 February 1869), 5
"VICTORIAN ASYLUM AND SCHOOL FOR THE BLIND", The Argus (5 December 1873), 6
[News], The Argus (31 March 1882), 5
"A WORLD WITHOUT LIGHT", The McIvor Times (26 April 1883), 3
"BLIND MUSICIANS", Grey River Argus (23 August 1898), 3
"A SENSATIONAL BOLT", The Argus (12 December 1900), 8
"MELBOURNE GOSSIP", Examiner (18 January 1907), 8
"HARMONY AND DISCORD", The Argus (22 January 1907), 8
FORSYTH, Sophia Maria (Miss FORSYTH, the juvenile pianiste)
Juvenile pianist, vocalist, dancer
Born ? Scotland, c.1835
Arrived Sydney, NSW, July 1842 (assisted immigrant per Earl of Durham, from London)
Departed Sydney, July 1845 (for England)
Married Charles BATLEY, Paris, France, 24 July 1852
http://trove.nla.gov.au/result?l-publictag=Sophia+Maria+Forsythe (TROVE tagged by Australharmony)
Sophia arrive in Sydney in July 1842 with her mother Margaret (widow of a Major Forsythe), apparently as assisted immigrants per the Earl of Durham, the same ship on which Maria Hinckesman came. Sophia first appeared in public, billed as "a JUVENILE PIANST, from London (only eight years of age), pupil of Miss Hinckesmann" at her teacher's 12 October concert at the Royal Hotel. According to W. A. Duncan, she "played some variations on Rossini's Non più mesta exceedingly well ... and a waltz of no very thin or juvenile construction" (the variations most likely some, if perhaps not all, of Henry Herz's famous op. 60 set).
Another concert was organised for Sophia's own benefit by leading local professionals (including the Band of the 80th Regiment) in January 1843, no doubt in response to her mother's financial plight (Margaret was declared insolvent later that month). Having meanwhile taken vocal lesson with Madame Gautrot, she was advertised, as well as playing a piano solo, to sing a duet with Eliza Gibbs. Hinckesman, however, did not appear at the benefit (plausibly, as Sophia's teacher, she was one of Margaret's creditors). The press documented nothing further of Sophia until January 1845 when a fancy ball was advertised, again for her benefit, at the Royal Victoria Theatre. A second benefit ball was held for Sophia in July, "previous to her departure for England", during which she introduced another new talent, dancing the "much admired Cachouca".
Sophia was not the first to dance the "much admired Cachouca" (perhaps to the castanet song Cachoucha by Charles Blondel) in the colonies. Rachel Lazar had done so in 1839 in Sydney and 1841 in Adelaide, and Mrs. Brock and Mr. J. Chambers had done so again in Sydney in March 1842. A import parcel of music sold by J. K. Heydon in June 1843 included print editions of "Quadrilles, waltzes, mezourkas, cachouchas, galops, contre dances, &c."
"THE MUSICAL WORLD", The New South Wales Examiner (13 July 1842), 3 http://nla.gov.au/nla.news-article228247335
We are informed that by the Earl of Durham, the musical world has received a valuable addition by the arrival of Miss Hinckesmann, together with Mrs. and Miss Forsythe. Miss Hinckesmann, it is said, was pianist to her Majesty Queen Victoria, and will in the course of a few weeks give a concert in Sydney - the full particulars of which will be shortly announced.
[W. A. Duncan], "MISS HINKESMANN'S CONCERT", Australasian Chronicle (13 October 1842), 2
... In fact, [Miss Hinckesman's] style, particularly in legato passages, may be characterised as decidedly good, and we have no doubt shat she will prove a very eligible instructress, as indeed the debut of her young pupil proved. This very young lady played some variations on Rossini's "Non più mesta" exceedingly well, and on being encored, substituted with good taste a waltz of no very thin or juvenile construction. There was a fair attendance, though a much larger audience might have been expected if sufficient publicity had been given to the intended performance.
"Miss Hinckesmann's Concert", The Sydney Gazette and New South Wales Advertiser (15 October 1842), 2
We were much pleased to see a good attendance at Miss Hinckesman's concert on Wednesday evening. The fair Bénéfieiare, though labouring under great nervous excitement, displayed talents as a pianiste, that decidedly qualify her as a teacher. Her juvenile pupil contributed at least as much as her own performance to justify her claim to the latter title ...
[Advertisement], The Sydney Morning Herald (5 January 1843), 3
Mr. and Mrs. Gibbs's first appearance at a Concert in Sydney. A GRAND EVENING CONCERT will be given at the Royal Hotel, on Wednesday, January 11th, to commence at eight o'clock for the Benefit of Miss Forsythe, the JUVENILE PIANIST, who will appear as a Vocalist on this occasion ... Mrs. Gibbs (who will sing a duet with Miss Forsythe, pupil of Miss Hinckesmann, and Madame Gautrot) ...
"CONCERT", The Australian (11 January 1843), 2
"THE CONCERT", The Sydney Morning Herald (12 January 1843), 3
"INSOLVENT COURT", The Australian (27 January 1843), 3
SCHEDULSS REGISTERED JAN. 24. Margaret Forsyth of Castlereagh-street, Sydney widow: amount of debts, £120 1s.; assets. £89 15s.; deficiency, £31 6s.
"SCENE AT THE ROYAL HOTEL ON THE CONCERT NIGHT OF THE JUVENILE PIANIST", The Satirist and Sporting Chronicle (4 February 1843), 2
[Advertisement], The Sydney Morning Herald (28 January 1845), 3
"FANCY BALL", The Australian (29 January 1845), 3
A Fancy Ball is to take place at the Royal Hotel this evening, for the benefit of Miss Forsythe, whose precocious musical accomplishments have obtained for her a name and celebrity in New South Wales. We hope that the young lady will be well supported, and from the preparations that have been made, we doubt not that a numerous assemblage of the young ladies will take place. Mr. Alderman Wilshire and other respectable citizens have, we are informed, signified their intention of patronising Miss Forsythe.
[Advertisement], The Sydney Morning Herald (7 July 1845), 1
A GRAND FAREWELL BALL for the benefit of MISS FORSYTHE, previous to her departure for England, at Mr. Clark's Assembly Rooms, King-street on WEDNESDAY, July 9, 1845 In the course of the evening Miss Forsythe will play some favourite airs on the pianoforte; and will also dance the much admired Cachouca.
"MARRIED", Empire (7 January 1853), 2
MARRIED, At the British Embassy, Paris, on the 24th July, 1852, Sophia Maria, only daughter of the late Major Forsythe, to Charles Batley, Esq., Maida Hill, London. Miss Forsythe gained much celebrity in Sydney, some few years back, as the Juvenile Pianiste.
FORTUNE, Mary Helena
Born Belfast, Ireland, c.1833
Arrived Victoria, 1855
"SONG OF THE GOLDIGGERS. By M. H. F.", Bendigo Advertiser (27 December 1855), 3
Bibliography and resources:
FOWELL, Newton Digby
Midshipman, amateur musician, guitarist, contact reporter
Born South Brent, Devon, England, 30 July 1868
Arrived Botany Bay, NSW, 20 January 1788 (midshipman per Sirius, from Portsmouth, 13 May 1787)
Died at sea, 25 August 1790
http://nla.gov.au/nla.party-923039 (NLA persistent identifier)
Fowell was a junior officer on the Sirius on its voyage to Australia in 1787-88. Before leaving England, he added at the end of a letter to his parents dated 4 March 1787:
There is Music for Rosina set for the Guitar. Thank you to send it if the ship comes to Porstm[ou]th.
Presumably from Shield's Rosina, if it did indeed arrive with him in Australia, it is the earliest identification of an actual copy of a piece of art European music to have been landed. If he also brought a guitar, it may have been, along with Worgan's piano, one of the first European instruments imported. So, too, the fife Fowell mentioned in another letter (12 July 1788), reporting on events on his third day in the colony:
January 21 . The Governor accompanied by Capt. Hunter & some other officers went in Boats to examine Port Jackson . . . The next day [22nd] one of the Party took a fife on Shore played several tunes to the Natives who were highly delighted with it especially at seeing some of the Seamen dance.
Letter, Newton Fowell to his parents, 4 March 1787; SL-NSW, ML MSS 4895/1/7
Letter, Newton Fowell to his parents, 12 July 1788; SL-NSW, ML MSS 4895/1/18: http://acmssearch.sl.nsw.gov.au/search/itemDetailPaged.cgi?itemID=411983
Bibliography and resources:
Newton Fowell Papers and Letters in the Mitchell Library [transcripts], University of Sydney, SETIS
Heather Clarke, "Sailor's hornpipe", posted 10 February 2011, Australian colonial dance
Clarinette player (12th Regiment)
Active Sydney, NSW, 1859
[Advertisement], Empire (4 July 1859), 6
Journalist, playwright, writer on music
Born London, 1833
Arrived Sydney, NSW, by December 1855
Departed, by mid 1858
Died London, 22 August 1863
http://nla.gov.au/nla.party-562484 (NLA persistent identifier)
Fowler wrote a characteristic preface for the deluxe Australian album 1857 published by Jacob Clarke, who also published Fowler's literary journal The month. Fowler's Eva ("ostensibly based on Uncle Tom's Cabin") played at the Lyceum in Sydney in August 1856, with music by John Winterbottom.
Fowler also commented on Sydney and Melbourne music in his Southern lights and Shadows (esp. page 34 below), published after he returned to London. However, an editorial in the Sydney Empire in July 1860, on the subject of mendacious testimonies of returned Australian colonists, cited as bywords:
... the ridiculous falsehoods of FRANK FOWLER, or the inventions attributed to MISKA HAUSER.
Fowler's most interesting and substantial musical remain, however, is the bullocky song, transcribed in Southern lights, below
While in Sydney in 1856, Fowler married Rachel Clarke. Their eldest son was Frank Harry Fowler (below), musician and composer. Rachel and her children returned to Australia after Fowler's death. She remarried, and was active as a singer and music teacher as Mrs. G. F. Jackson.
[Advertisement], Empire (25 December 1855), 1
"OUR LYCEUM. EVA", Empire (26 August 1856), 4
"REVIEW", The Sydney Morning Herald (6 July 1857), 8
[Editorial], Empire (17 July 1860), 4
"DEATH OF MR. FRANK FOWLER", The Sydney Morning Herald (13 October 1863), 8
Preface to Australian album 1857 (Sydney: J. R. Clarke, 1857)
...The idea of a purely musical album - that is, a book filled with the original productions of our own artistes - is, I think, peculiarly happy, and one which the Australian public will readily appreciate. The value of such a work must be apparent to every one. For instance: Miska Hauser - may the shadow of his Cremona never grow less! - enraptured us all with that glorious bit of musical tessellation called the Bird on the Tree; and yet had not the publisher of this book obtained the composition from the Miska it must have been entirely lost and forgotten ... And so with other pieces in this volume. They are all new - all colonial. Here, in this city - they were played, printed, and published. True, some of the composers are foreigners; but still this book is as much an Australian production as a cluster of grapes from the German vineyards at Kissing Point. We can send the work home as a specimen of what we can do out here at Botany Bay - as an index of our education, refinement, art-feeling. And it is fitting we should attest our social progress by some unusual publication of this character. Nothing else will do it so completely and so well. It vindicates our connexion with old-world genius and skill; and proves that we are not destitute of some of the haughty lineaments of European civilization.
Southern lights and shadows: being brief notes of three years' experience of social, literary, and political life in Australia (London: Sampson Low, 1859)
(34) ... The "Prince of Wales" was generally devoted to opera, and here I have heard Bellini, Meyerbeer, and even Verdi and Beethoven as carefully rendered as at any theatre in London, the two Italian opera houses only excepted. Madame Anna Bishop was generally first-lady, Miss Sarah Flower contralto; Messrs. Laglaise and Coulon - not quite unknown names - tenor and bass; and Messrs. Lavenu and Loder, men of some English reputation, leaders of the orchestra. At the "Prince of Wales" I heard a Miska Hauser fiddle. He plays Beethoven like Ernst, Paganini like Sivori ...
(108) ...... This bullock-driving cannot be a very pleasant life, although there is a certain smack of romance in camping out at night with a mob of oxen bellowing around, and the companion-drivers on watch attending to the fires - where the damper is cooking and the iron kettle boiling for to-morrow's breakfast - or only leaving their warm occupation for the warmer one of driving in "strays," with song and shout loud enough to make the deserters scamper. These bullock-songs are uncouth snatches generally improvised by the drivers themselves, but not destitute of a wild, runic poetry, as the following verses from one of them will show: -
Blow your horns, blow,
Blow the Southern Cross down if you will;
But on you must go
Where the fresh gullies flow,
And the thirsty crane wets his red bill.
Drink, boys, as we go,
Pass the brandy - let each take his fill:
On, "Strawberry," on,
Run, "Blossom," come run,
There is light enough left for us still.
There is water spread out for us here,
Fill horns while you may,
There is no one to pay,
But Mine Host up above, for such cheer!
[Of course "any schoolboy" knows the Southern Cross is the great Constellation of Transpacifica.]
 Now, there may be some who object to that last line; but to me, when I heard it roared out by an olive-complexioned semi-ruffian tearing along after a mob of cattle with a brandy flask and revolver at his side, and the moon rising above a mass of "mackerel" clouds, and throwing long level lines of light upon a more advanced portion of the herd standing, some with their heads turning back, upon the summit of a wooded hill, in the distance, - I thought that same last line, rudely clothed as the idea involved in it may be, really orthodox and devotional. Strange that the boisterous fellow who, in these Australian solitudes, first thundered out the song after his loitering cattle, should have thought of Mine Host at all!
Bibliography and resources:
S. B. Clark, Fowler, Francis Edmund (Frank) (1833-1863), Australian dictionary of biography 4 (1972)
FOWLER, Frank Harry
Musician, teacher, composer
Born Sydney, NSW, 11 March 1857
Died Sydney, NSW, 10 December 1893, aged 36
http://trove.nla.gov.au/result?l-publictag=Frank+Harry+Fowler+1857-1893 (TROVE tagged by Australharmony)
FOWLER, Fannie Adele (Mrs. Frank Harry FOWLER)
= Fannie Adelle ELLARD = Miss Ethel ADELE
Son of the author and journalist Frank Fowler (1833-1863) (above). In 1885, Frank junior married the pianist, and later actor, Fannie Adele Ellard (who appeard in public as Miss Ethel Adele), only daughter of the pianist and composer Frederick Ellard. Having returned to Sydney with his Sydney-born mother and musician, Rachel, after Fowler senior's death in London in 1863, Frank was a pupil of Charles Packer.
His mother, who had since remarried the singer and composer G. F. Jackson, had been a pupil of Bennett Gilbert in London, and in September 1875, mother (as Mrs. G. F. Jackson) and son advertised jointly in Sydney as teachers of singing and piano.
"BIRTHS", The Sydney Morning Herald (12 March 1857), 1
"SCOTTISH CONCERT", The Sydney Morning Herald (25 May 1875), 5
[Advertisement], The Sydney Morning Herald (7 September 1875), 1
"Marriages", The Sydney Morning Herald (24 November 1885), 1
"MISS SHERWIN'S FAREWELL CONCERT", The Brisbane Courier (10 October 1887), 7
One of the notable features of [Amy Sherwin's farewell] concert was the excellent performance by the orchestra under Dr. Walters's baton, of a set of waltzes entitled "Triste Pensieri", which has just been written by Mr. Frank Fowler, of Brisbane. This gentleman has long enjoyed a high reputation both as a pianist and composer, but we think this latest work excels anything he has as yet given to the public. These waltzes contain none of those tiresome musical, or rather non-musical, maunderings which seem to be the stock-in-trade of most waltz writers of the day. They are original conceptions, crisp and tuneful, and treated in a thoroughly musician-like manner.
"THE AUSTRALIAN MARSELLAISE", Warwick Argus (28 July 1888), 2
"Deaths", The Sydney Morning Herald (11 December 1893), 1
[News], The Brisbane Courier (20 December 1893), 5
Mr. W. A. Caflisch, in a letter warmly appreciative of the late Mr. Frank Fowler, a well known Brisbane musician, who died very suddenly in Sydney a few days ago, makes an appeal which is likely to meet with hearty response. Mr. Fowler, he tells us, has left a widow and four children, the youngest only a few weeks old, almost if not quite unprovided for. The appeal is to Mr. Fowler's old friends, to his pupils, and to all musicians, both professional and amateur, that they will do something to help in their deep affliction the family of one who never allowed the suffering to appeal to him in vain.
"BRISBANE LIEDERTAFEL", The Brisbane Courier (23 May 1894), 6
"MARRIAGES", The Argus (17 January 1914), 13
"FUNERALS", The Sydney Morning Herald (13 August 1928), 9
"Miss Ethel Adele", The Brisbane Courier (20 August 1928), 12
? "FIFTY YEARS AGO", The Courier-Mail (7 December 1937), 12
The Australian Marseillaise (words: A. Meston) (Brisbane: H. J. Pollard, )
The Queensland national march: supplement to Queensland Figaro (26 May 1888)
Serpent player, bandsman (99th Regiment)
Born Tottenham, Middlesex, 17 January 1822
Regiment active Australia, 1843-56
Died Hobart, 14 August 1910
"THE BAND OF THE 99TH", The Sydney Morning Herald (4 September 1844), 3
[Advertisement], The Australian (29 November 1845), 1
"Professor of dancing"
Active Hobart Town, VDL (TAS), 1846
Fowler, sometime barber, was before the court in Hobart in 1846 for running an unlicensed "dancing school" at which Barnard Hill assisted as violinist.
"DISORDERLY HOUSES", Colonial Times (31 July 1846), 3
"POLICE", The Courier (1 August 1846), 2
FOX, Sarah Hannah (Mrs. J. H. FOX; BEAUMONT)
Baptised 16 December 1838, Ingham, Norfolk, England
Married John Henry Fox, Victoria 1856
Active Melbourne, by 1857
Died North Melbourne, 17 June 1913, aged 74
One of two active singer sisters of tenor Armes Beaumont, Sarah (married John Henry Fox, ? Melbourne 1856) was one of Melbourne's leading soprano vocalists for over 20 years, first as an oratorio soloist for the Melbourne Philharmonic in the late 1850s and 1860s, and later, following her brother's move to the dramatic stage, appearing in opera roles in the early 1870s.
[Advertisement], The Argus (23 December 1857), 8
"PHILHARMONIC SOCIETY'S CONCERT", The Argus (26 December 1857), 4
"PHILHARMONIC CONCERT", The Argus (6 September 1865), 5
"GALATEA SECUNDA", The Argus (4 October 1867), 5
"OPENING OF THE NEW TOWN HALL. SECOND INAUGURAL CONCERT", The Argus (15 August 1870), 5
[Advertisement], The Argus (16 June 1870), 8
"ORPHEE AUX ENFERS", The Argus (30 March 1872), 6
"DEATHS", The Argus (21 June 1913), 13
"SINGER OF BYGONE YEARS. DEATH OF MR. ARMES BEAUMONT. FINE CAREER CLOSED", The Argus (18 July 1913), 5
Bibliography and resources:
FRAHLIG, Harry (? H. FELIX)
Died Dapto, NSW, 1856
Mark St. Leon reports a German musician, Harry FRAHLIG, who died at Dapto NSW in July 1856 while travelling the Illawarra with Ashton's circus (possibly also identified as H. Felix).
Bibliography and resources:
Mark St. Leon, "Horseman or no horseman: circus in Van Diemen's and, 1847 to 1851", Tasmanian Historical Research Association: Papers and Proceedings 55/2 (July 2008), 86-107
Amateur vocalist, merchant, publican
Active 1826 (Sydney Amateur Concerts)
Died Sydney, 18 May 1873, in his 78th year
[Advertisement], The Australian (29 December 1825), 4
"MR. SIPPE'S BENEFIT CONCERT", The Monitor (13 October 1826), 5
Braham's delightful song, "Is there a heart that never loved", introduced a candidate for vocal fame, viz. Mr. B. Francis; this gentleman possesses a voice at once melodious and powerful, and needing only cultivation and a greater degree of confidence. Reiterated cries of encore were at length silenced by a repetition of this universal favourite.
[Advertisement], The Australian (3 January 1827), 2
"DEATHS", The Sydney Morning Herald (19 May 1873), 1
FRANCIS, Sophie (Madame FRANCIS)
Pianist, teacher of music and French
Arrived Melbourne, October 1854
Died Fitzroy, Melbourne, 29 November 1873, aged 57
"Pianist, pupil of Thalberg and of the Conservatoire Opera de Paris, arrived by the Calcutta, begs to inform the nobility and gentry of Melbourne, that she will give instructions on the pianoforte, after a new method, which has been so successful in England." Her death was reported in Fitzroy late in 1873: "Sophie Francis, aged 57, a teacher of music and French. She was always called 'Madame Francis,' and said she had no relatives."
[Advertisement], The Argus (21 October 1854), 8
"INQUESTS", The Argus (5 September 1873), 6
Active Hobart, 1834
"Mr. Gordonovitch's concert ...", The Hobart Town Courier (31 October 1834), 3
... Mr. A. Frankland kindly assisted Mr. Leffler in his performance on the Seraphine, a new instrument, combining in a small compass the sostenuto effect of the organ with the distinctness and sweetness of the piano forte; Mr. A. Frankland, on this occasion, by means of a pedal, inflated the instrument with air - he was much applauded.
Active Tasmania, 1854-55
The early advertisements for The Tasmanian Lyre in November 1854 refer to the inclusion of a "Galop, by Miss Fraser", though the work that finally appeared in March 1855 was the The Louisa Schottische (Hobart: Huxtable & Deakin, ).
[Advertisement], The Courier (13 November 1854), 3
Colonial Times (9 March 1855), 4
Precentor, singing class instructor
Active Bendigo, VIC, 1856
"PRESBYTERIAN CHURCH", Bendigo Advertiser (15 August 1856), 3
...the chief object of the meeting ...was to present their late Precentor, Mr. Fraser, with a mark of the esteem and respect the congregation bore him, and a slight memento of their grateful appreciation of his valuable services during the last eighteen months, while leading the psalmody of the congregation. ...They afterwards proceeded to elect a Precentor in the place of Mr. Fraser; and the establishment of two flinging classes was agreed on - one perfectly elementary, the other more advanced.
FRASER, Katherine Sandell (HILL; Madame Colborne Fraser)
Pianist, teacher, composer
Arrived Sydney, by January 1876 (from Canada and USA)
Died Surry Hills, NSW, 26 October 1883, aged 39
[Advertisement], The Sydney Morning Herald (17 January 1876), 2
MRS. COLBORNE FRASER, Teacher of Vocal and Instrumental Music. Pupil of "Thalberg" "Brinley Richards" and "Loder." Mrs. Fraser has been a teacher for ten years - was organist at the Church of the Ascension, in Chicago, U.S., but ill-health obligated her removal to a warmer climate, The following testimonial from Mdlle. Ilma De Murska will speak for itself: - "I have heard Mrs. Fraser, play, and can certify that she is a very good musician and can recommend her as a clever teacher of music ...
"PROTESTANT HALL", The Sydney Morning Herald (5 October 1881), 6
[News], The Sydney Morning Herald (30 January 1882), 6
"PENRITH POLKA", Australian Town and Country Journal (29 April 1882), 27 
"READING AT THE TEMPERANCE HALL", Evening News (29 August 1882), 3
"MRS. COLBORNE FRASER'S CONCERT", The Sydney Morning Herald (19 July 1883), 8
"Deaths", The Sydney Morning Herald (27 October 1883), 1
FRASER, Simon (junior)
Precentor, singing instructor
Active Hobart, by 1847
? [Advertisement], The Sydney Gazette and New South Wales Advertiser (14 July 1821), 1s
[Advertisement], The Courier (27 November 1847), 5
Vocal Music. THE undersigned intends, on the second Monday of January next, to open a VOCAL MUSIC SCHOOL for the reception of pupils (juvenile and adult), where the advantage of all the scales will be correctly explained and taught, and especially adverting to the table of transposition, without a knowledge thereof many who are not readily brought to see the necessity of thus transposing the semitones in the manner described, because they cannot perceive more difficulty in singing a tune in E with four sharps, than in C without any. The table of transposition will be taught with the solfeggio, which is according to the established rules of modulation and harmony; this will at once strengthen the pupil's mind, and show forth the science in its true light. The solfeggio, on which the science so much depends, will be taught and read in every key in the different series; after the learner has made himself perfect master of the scales and tables will attend to the first lessons for practice, &c. Terms for teaching, £3 3s. per quarter. Simon Fraser, Junr., Precentor, St John's Church, Macquarie-street.
"DIED", Colonial Times (13 January 1853), 2
"THIRTY POUND COURT", The Mercury (8 February 1861), 2
"COURT OF REQUESTS", The Mercury (8 March 1861), 2
Bagpiper, violin, flute, concertina, and accordion player, stockman
Born Port Arthur, TAS, 1845
Died Mansfield, VIC, 17 April 1934
http://nla.gov.au/nla.party-1464405 (NLA persistent identifier)
Bagpiper, pipe major
THIS ENTRY IS A STUB
Summary (from Gillison):
The Frasers were all musical and Simon played the violin, flute, concertina, accordion and bagpipes. His mother, who claimed descent from the MacCrimmons, traditionally hereditary pipers to the clan MacLeod, taught him the piobaireachd (pibroch) vocables, secretly handed down by word of mouth and by lilting from mother to eldest son. These vocables are known as "canntaireachd". He was also taught the secret language of the pipers in which by inserting extra notes a warning could be given. About 1816 Simon's father had written down the canntaireachd direct from Iain Dubh MacCrimmon and these he handed on to his son. When an appeal came from folklorists in Scotland, seeking lost piobaireachd vocables, Simon Fraser sent tunes; many of these letters and manuscripts are now in the National Library of Scotland, Edinburgh ... He learned the craft of making stock-whips from Nangus Jack, an Aboriginal stockman whose whips were treasured by pioneer stockmen ... On 25 November 1872 at Mount Battery station, Mansfield, he married Florence (Flora) MacMillan, a skilled Scottish dancer. With five of their eight children Fraser formed a band, touring Victoria and once playing on request at Government House. Two daughters played clarinet and piccolo; three sons, piano, second violin and harp; Simon played first violin. His son Hugh was a champion piper of Australia and, taught by his father, also made excellent stock-whips; both men declared that plaiting kept their fingers supple for fingering the pipes.
"THE HIGHLAND PIPE AND ITS MUSIC (by Simon Fraser, Warrnambool)", The Colac Herald (23 September 1910), 6
"THE HIGHLAND PIPE AND ITS MUSIC. (by Simon Fraser)", The Colac Herald (16 December 1910), 4
"MANSFIELD", The Argus (18 April 1934), 10
At a meeting of the Mansfield Jockey Club it was decided to abandon the race meeting this season - Mr Simon Fraser a past champion piper of Australia who at one time held the world's championship for whip plaiting and who presented a whip to the present King when he visited Australia as Duke of York died in the Mansfield hospital aged 81 years. He was the father of Pipe Major Hugh Fraser.
Bibliography and resources:
 [Simon Fraser] himself did not play the pipes seriously until he was 40 [1884-5]. He said he was then the only pupil of Peter Bruce, son of the great piper Alexander Bruce, who had been taught by both Gesto and Donald Ruadh MacCrimmon. Peter left his pipes to Simon in his will, an indication of a close teacher-pupil bond.
Bibliography and resources:
Joan Gillison, "Fraser, Simon Alexander (1845-1934)", Australian dictionary of biography 8 (1981)
Pupil, c.1884-85, of Peter Bruce
FRAYLING, George Park
Violoncellist (pupil of the celebrated John Boatwright)
Born ? 1851/2
Arrived Sydney, NSW, 3 September 1879 (per John Duthie, from London via Deal, 22 May)
Died Horsham, VIC, 18 July 1933, aged 81
"ARRIVALS", Australian Town and Country Journal (6 September 1879), 36
[News], The Brisbane Courier (19 September 1879), 2
[Advertisement], The Brisbane Courier (8 May 1880), 1
"Mdlle. Olga Duboin's Concert. TO THE EDITOR", The Brisbane Courier (13 May 1880), 3
"POPULAR CONCERT AT PORT ADELAIDE", South Australian Register (22 August 1882), 5
"THE ORCHESTRA", The Argus (2 August 1888), 5s
[Advertisement], The Sydney Morning Herald (17 May 1889), 2
[Advertisement], The Horsham Times (13 December 1898), 3
"DEATH", The Horsham Times (21 July 1933), 4
Centennial Exhibition Orchestra (player); Marshall-Hall Orchestra (player); Horsham Working Men's College (professor of music)
Musician, cornet player, bandmaster
Active Sydney, 1860
Died Lambing Flat, Burrangong, NSW, January 1861
In July 1859, Fredericks played cornet (with Kohler and Prince) in the orchestra for Lavenu's Sydney University Musical Festival, and at Charles Packer's orchestral union concert in November. In May 1860, Fredericks (listed as bandmaster, aged 31, native of Hanover) and five colleagues (including Conrad Appel) worked was a ship's band for some or all of a voyage on board the Malta between Suez and Sydney. He died at Lambing Flat in January 1861, perhaps having witness the beginnings of the troubles that would lead to the famous anti-Chinese riots in June. "A valuable lot of music and musical instruments [...] the effects ...of the well-known musician, Mr. Christian Fredericks", was offered at auction in Sydney in September- October.
[Advertisement], Empire (4 July 1859), 6
[Advertisement], The Sydney Morning Herald (24 November 1859), 1
"LAMBING FLAT ("From our Correspondent"), Empire (28 January 1861), 5
...This is emphatically a "poor man's diggings". Great finds are not spoken of, nor expected ...Diarrhoea has been very prevalent, owing principally to the badness of the water ... On Sunday, a deceased musician, who is said to have been well known, and distinguished in the orchestras of Sydney, Christian Fredericks, was buried. Several members of the order of Odd Fellows followed, wearing the regalia of their order. The band of which deceased had been the leader, played selections from oratorios during the passage to the grave, the lowering of the coffin, and the filling of the grave. The burial service was read by Dr. Temple, who, by his urbanity, gentlemanly deportment, and reputation for medical skill is winning golden opinions for himself.
[Advertisement], The Sydney Morning Herald (28 September 1861), 9
[Advertisement], The Sydney Morning Herald (1 October 1861), 6
Bibliography and resources:
Singing instructor (Tonic Solfa Singing Class; Victorian Tonic Sol-fa Association)
Active Melbourne, VIC, by 1875
Died Melbourne, VIC, March 1943
"MELBOURNE HEBREW SCHOOL", The Argus (1 February 1875), 6
"MR. FREDMAN'S CONCERT", Williamstown Chronicle (8 December 1883), 3
"RECENT MEETING", The Argus (19 December 1887), 8
[Advertisement], The Argus (15 February 1890), 16
"DEATHS", The Argus (6 March 1943), 13
Bibliography and resources:
R. M. Fredman, "Joel Fredman", Australian Jewish Historical Society Journal of Proceedings 8 (1979), 345-362
Active Sydney, NSW, 1880
"NEW MUSIC", The Sydney Morning Herald (20 February 1880), 6
"A SONG BY THE LATE PETER POSSUM", Illustrated Sydney News (21 February 1880), 9
Before the flowers (words: "Peter Possum"; "sung by Mr. Vernon Reid") (Sydney: W. H. Paling & Co., )
FREYCINET, Louis-Claude Desaulses de
Indigenous culture and music reporter
Born Montélimar, Drôme, France, 7 August 1779
In Australia (1) 1801-03; (2) Port Jackson, Sydney, 19 November-26 December 1819 (on L'Uranie)
Died 18 August 1842
http://nla.gov.au/nla.party-779052 (NLA persistent identifier)
FRIEDLANDER, William (Samuel Wilhelm FRIEDLANDER, GERSHON, FREEDLANDER)
Violinist, viola (tenor) player (theatrical orchestra), teacher, convict
Born Germany, c.1797
Arrived Port Macquarie, 1838 (convict per Bengal Merchant)
Active Sydney, NSW, by 1845
Died Sydney, NSW, 1869, aged 72 (BDM NSW 1044/1869)
http://trove.nla.gov.au/result?l-publictag=William+Friedlander+d1869 (TROVE tagged by Australharmony)
A music teacher before his conviction in London, aged 40 on 23 October 1837, for stealing watches, William Friedlander was transported to NSW for 7 years, and was sent to Port Macquarie. He received a ticket of leave in August 1842, and in mid-1845 was listed as a viola player at Sydney theatre for the winter season. He was still active in July 1859, when he played in the orchestra for the University Music Festival. He taught violin at Lyndhurst College for Anselm Henry Curtis.
"WILLIAM FRIEDLANDER, Theft, simple larceny, 23rd October 1837", Old Bailey Online
2441. WILLIAM FRIEDLANDER was indicted for stealing, on the 31st of July, 3 watches, value 9l., the goods of Bernard Lawley . . . GUILTY. Aged 40. Transported for Seven Years. Before Mr. Sergeant Arabin.
Convict record (transcribed Levi 2013, 251)
Dark sallow complexion; dark hair with grey, brown eyes; lame right leg; lower front teeth irregular. Roman nose. Friedlander had a counting house in Lime Street and took three watches as samples from a watch manufacturer. He then pawned them and could not redeem them. On a previous occasion he had given the manufacturer a forged bill. He was sentenced on 25 October 1837 for the theft of the watches, but was acquitted of the second charge of passing forged notes.
[Tickets of leave], Australasian Chronicle (25 August 1842), 4
[Unclaimed letters], Australasian Chronicle (7 January 1843), 4
"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (12 April 1845), 2
[Advertisement], Morning Chronicle (28 May 1845), 3
[Advertisement], The Australian (29 November 1845), 1
[Advertisement], The Sydney Morning Herald (6 December 1845), 1
[Advertisement], The Sydney Morning Herald (20 June 1846), 3
[Advertisement], The Sydney Morning Herald (29 July 1846), 1
[Advertisement], The Sydney Morning Herald (5 December 1846), 1
[Advertisement], Bell's Life in Sydney (24 March 1849), 3
[Advertisement], The Sydney Morning Herald (2 April 1850), 1
[Advertisement], Empire (2 July 1859), 3
[Advertisement], The Sydney Morning Herald (29 December 1868), 8
COMPLIMENTARY BENEFIT TO MR. FRIEDLANDER. As a token of respect to this gentleman, a Committee, composed of the principal English, French, and German residents of this city, have determined to devote the proceeds of a MUSICAL ENTERTAINMENT for his special benefit. It is not alone that Mr. Friedlander is now the oldest musician in Sydney, he has attained to a ripe old age, and is, doubtless, on that account worthy of public support; but this appeal on his behalf is now made, not only in recognition of his long and meritorious services, but because, also, unfortunate events have deprived him of his former means of maintenance. The Committee, therefore, beg to solicit the patronage of the public generally on behalf of this well-known honourable and greatly respected citizen. All available artists, vocal and instrumental, will generously give their assistance. The Concert will take place on THURSDAY, January 7th, 1869, at the School of Arts, and an attractive programme will be duly announced.
[Advertisement], The Sydney Morning Herald (7 January 1869), 8
"MUSIC AND DRAMA", The Sydney Morning Herald (29 January 1869), 3
On the 7th instant a benefit concert was given to Mr. Friedlander, an aged violinist, who has for many years occupied the position of tutor in this city.
Waugh's Australian almanac for the year 1860 (Sydney: Ames William Waugh, 1860), 187
"FRIEDLANDER V. ATKINS", The Sydney Morning Herald (18 December 1869), 7
Bibliography and resources:
Levi 2013, These are the names, 251-52
FRITZSCHE, Gotthard Daniel
Amateur musician, church musician, Lutheran pastor
Born Liebenwerda, Saxony, Germany, 1797
Arrived Adelaide, 1842 (per Skjold, from Hamburg)
Died SA, 22 October 1863
... [Fritzsche] was distinguished above all for his devotion to the cause of education. He encouraged the pioneer settlements to support schools and build churches. At Lobethal he started in 1842 the first Lutheran theological seminary in Australia. Himself an excellent musician, he encouraged music in his congregations.
"WOODSIDE", The South Australian Advertiser (4 November 1863), 3
Bibliography and resources:
D. Van Abbè, Fritzsche, Gotthard Daniel (1797-1863), Australian dictionary of biography 2 (1967)
FRYER, James Robertson
Bass vocalist, violinist (Hobart Town Philharmonic Society, Hobart Town Glee Club Concerts)
Active Hobart, by 1853
Died 5 February 1897, in his 72nd year
[Advertisement], The Courier (31 October 1853), 3
"MECHANICS' INSTITUTE ... GRAND MUSICAL ENTERTAINMENT", Colonial Times (5 November 1853), 2
"THE CONCERT", Launceston Examiner (31 May 1860), 3
[Advertisement], The Hobart Town Daily (1 June 1860), 3
[Advertisement], The Cornwall Chronicle (7 July 1860), 2
"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle (1 August 1860), 4
"DEATHS", The Mercury (20 February 1897), 2s
FULLARD, James Henry
Musical Instrument Maker, convict
Arrived Sydney, 3 August 1833 (per Waterloo)
Active Parramatta, 1844
Fullard, a 25 year old musical instrument maker from Dublin, was convicted in the Nottingham Assizes on 10 March 1832 for stealing from his employer, and sentenced to 14 years. He arrived in Sydney on the Waterloo on 3 August 1833, and in 1837 was assigned to the music seller Francis Ellard, also originally from Dublin. He was awarded a ticket of leave in 1838, but was before the courts again in Parramatta in 1845 for reselling a cornopean he had been engaged to repair. His ticket of leave (apparently issued at Maitland) was cancelled, so he was back in Maitland in 1846.
"PARRAMATTA. POLICE OFFICE", The Australian (28 December 1844), 3
"PARRAMATTA. POLICE OFFICE", The Australian (13 February 1845), 4
"TICKETS-OF-LEAVE CANCELLED", The Sydney Morning Herald (3 March 1845), 4
"LAW INTELLIGENCE", The Sydney Morning Herald (10 April 1845), 2
[Advertisement], The Maitland Mercury (21 November 1846), 1
"A HINT TO THE MAITLAND POLICE", Bell's Life in Sydney (16 January 1847), 2
Bibliography and resources:
New South Wales Government Gazette (28 February 1845)
Born Kelvedon, near Colchester, England, 2 October 1845
Arrived Melbourne, May 1871 (per Oxford)
Died Moonee Ponds, VIC, 10 June 1923, in his 78th year
"VICTORIA. XI. MUSICAL INSTRUMENTS", The Argus (23 December 1880), 58s
[Advertisement], The Argus (2 April 1881), 12
http://nla.gov.au/nla.news-article5984096 "NEW CHURCH ORGAN", Bendigo Advertiser (8 November 1882), 3
"ST. PAUL's CHURCH ORGAN", Bendigo Advertiser (23 April 1883), 2
"SUMMARY OF EVENTS", Illustrated Australian News (8 November 1884), 162
"DESCRIPTION OF THE ORGAN", Oakleigh Leader (18 March 1893), 4
[Advertisement], The West Australian (24 May 1897), 1
"WILLS AND BEQUESTS", The Argus (20 June 1903), 14
Bibliography and resources:
Graeme Rushworth, "Alfred Fuller, Melbourne 19th century organ builder - his life and work"
Active Melbourne, 1855
[Advertisement], The Argus (19 February 1855), 8
[Advertisement], The Argus (24 April 1855), 8
[Advertisement], The Argus (25 April 1855), 8
Organist, composer, arranger
Born England, 1831
Arrived Sydney, NSW, 1860
Died Cronulla, Sydney, NSW, 27 October 1912, aged 81
[Advertisement], The Sydney Morning Herald (31 May 1860), 1
[Advertisement], The Sydney Morning Herald (17 December 1860), 1
[Advertisement], The Sydney Morning Herald (12 June 1861), 1
[Advertisement], The Sydney Morning Herald (26 August 1861), 1
[Advertisement]: "JUST PUBLISHED", The Sydney Morning Herald (29 March 1862), 12
"MUSIC", The Sydney Morning Herald (28 April 1862), 4
"BIRTHS", Empire (25 August 1862), 1
"ST. ANDREW'S ORGAN", Empire (13 August 1867), 4
"ST. JOHN'S, BISHOPTHORPE", The Sydney Morning Herald (9 March 1868), 4
"NEW MUSIC", Empire (13 September 1870), 2
"DEATHS", The Sydney Morning Herald (28 October 1912), 8
"MUSICAL AND DRAMATIC", The West Australian (9 November 1912), 9
The death is announced in Sydney of Mr. James Furley, the veteran organist of St. Silas's Church of England, Waterloo. The late Mr. Furley came to Sydney about 50 years ago, and when the Duke of Edinburgh visited that city in 1868 was appointed to conduct the singing by the children of the united churches. He was for some years organist of St. James's, Sydney.
Christmas Hymn: Star of the east ([by the] "Organist of St. James"; "first time in Sydney") (December 1860)
Nunc Dimittis ("by Mr. James Furley, organist and choir master, St. James' Church, Sydney") (Sydney: J. R. Clarke, : 2 copies at SL-NSW; Q786.46/M2; and Q786.4/MU2
The Pilgrims of the Night ("sacred song written by F. Faber; for four voices with accompaniment of the organ or harmonium arranged by James Furley, Organist of St. James Church") (Sydney: J. R. Clarke, ) (Copy at NLA; Trove Bookmark
compare an earlier edition of the same by Clarke, without Fussell's arrangement; copy at SL-NSW
FURLONG, William R.
Bass vocalist, choral conductor, composer
Active Melbourne, VIC, by late 1860s
[News], The Argus (20 April 1869), 5
[Advertisement], The Argus (15 July 1869), 8
[News], The Argus (21 December 1872), 5
"THE TOWN HALL. NATIONAL CONCERT", The Argus (18 March 1878), 7
"ST. PATRICK'S CATHEDRAL", The Argus (24 October 1887), 9
Free Selector's Daughter (words: Henry Lawson), in The Tatler (London, 2 July 1898)
Babbie (Scotch Ballad) (Melbourne : W.R. Furlong, )
Bibliography and resources:
The SL-VIC holds a large collection of music, both printed and MS (25 items associated with the choir of St. Francis's Church), belonging to W. R. Furlong, donated by the Furlong family.
FUSSELL, James Coldham (J. C. FUSSELL; James FUSSELL)
Music publisher, newspaper proprietor and publisher, bookseller
Born Owslebury, Hampshire, England, 25 March 1810
Arrived Melbourne, VIC, 29 May 1853 (passenger per Marco Polo, from Liverpool, 14 March)
Active Sydney, NSW, by 1858, as music publisher, from c.1861
Died Sydney, 19 January 1876, aged 65
http://trove.nla.gov.au/result?l-publictag=James+Fussell+1810-1876 (TROVE tagged by Australharmony)
"INSOLVENCY COURT", The Sydney Morning Herald (12 May 1859), 3
"DEATHS", The Sydney Morning Herald (20 January 1876), 1
[Advertisement], The Sydney Morning Herald (1 February 1876), 2
"Old Chum", "OLD SYDNEY. No. 256", Truth (15 September 1912), 12
James Fussell, an old book agent, died on the 19th [January 1876], aged 65 years. Mr. Fussell was of Crabbe Hall, Owlsbury, Hants, born in March, 1810 [recte 1820], and sailed for Melbourne, in 1853, in the Marco Polo, Captain Forbes (the same who ran the Schomberg at the Barwon Heads a couple of years afterwards). His family followed in 1854. Mr. Fussell came from a good Hampshire family, one of his ancestors being organist to theF historic Winchester Cathedral.
Extant musical publications:
http://trove.nla.gov.au/music/result?l-publictag=James+Fussell+1810-1876 (TROVE tagged by Australharmony)
Fussell published the series "Australian musical bouquet", in 1861-62, earlier variously published by George Peck and Alonzo Grocott
http://trove.nla.gov.au/result?l-publictag=Australian+musical+bouquet (TROVE tagged by Australharmony)
Bibliography and resources:
© Graeme Skinner 2014 - 2017