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A biographical register of Australian colonial musical personnel–H

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–H", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 28 June 2017

- H -

HAAS, Meno

Professor of music (from Copenhagen)

Active Adelaide, SA, by 1868
Died North Adelaide, SA, 10 March 1870


[Advertisement], South Australian Register (3 November 1868), 1

[Advertisement], South Australian Register (19 November 1868), 1

"CONCERT", South Australian Register (29 May 1869), 3

[Advertisement], The South Australian Advertiser (13 January 1870), 1

"DEATH", South Australian Register (11 March 1870), 4

"THE LATE MR. HAAS", Adelaide Observer (12 March 1870), 3 

We regret to announce the death, at North Adelaide, of Mr. Meno Haas, a music-teacher of some talent. The deceased was a native of Denmark, and nephew of Mr. Thorup, of Gawler. He arrived in South Australia about two years ago, and for the last 12 months has followed his profession in Adelaide and the suburbs, where he leaves many to mourn his loss.

HACK, Gulielma (Miss Guli HACK; Mrs. William Ashley MAGAREY)

Soprano vocalist, pianist, teacher

Born North Adelaide, 17 October 1867
Died Adelaide, 2 August 1951, in her 84th year


"BIRTHS", South Australian Register (18 October 1867), 2

"CONCERT AT WALKERVILLE", South Australian Register (26 August 1885), 7

"FAREWELL CONCERT TO MISS HACK", The South Australian Register (13 January 1888), 7

[News], The South Australian Advertiser (23 February 1889), 4

"MUSICAL CELEBRITIES", South Australian Register (26 May 1891), 6

The R.M.S. Victoria, which anchored at Largs Bay early on Monday morning, brought to these shores several persons whose names are familiar to all musicians in the colony. The steamer had on board Sir Charles and Lady Halle, Miss Gulielma Hack, Fraulein Fillunger, and Messrs. W. H. Jude, Ernest Hutcheson, and H. W. Wickens ... MISS GULIELMA HACK ... is well known as the daughter of Mr. Charles Hack, of Semaphore, and as the winner of the Elder Scholarship of Music. She has been studying in London, and from time to time we have published the reports of her examinations, which have been most satisfactory. The young lady will remain in the colony, and will enter the profession as teacher of music.

"MARRIAGES", Chronicle (12 March 1910), 35

"DEATHS", The Advertiser (4 August 1951), 20

Harold Tidemann, "Link With Early Days Of Music In S.A.", The Advertiser (11 August 1951), 7

A link with the early days of music in SA was broken by the death last week of Mrs. W. A. Magarey (Miss Guli Hack), who was the first singer to go overseas and return as an outstanding performer and teacher. MRS. Magarey was on the staff of the late Mr. I. G. Reimann's College of Music before it merged with the Elder Conservatorium in 1898, and she carried on when the late Dr. J. M. Ennis became the first Professor of Music in the University of Adelaide and Director of the Conservatorium in 1902. Among the many tributes received this week from life long friends, musicians and former pupils was one by Madame Clara Serena, who said that on her arrival in London as an Elder Scholar the excellence of her training under Miss Hack had been commented on by the late Madame Ada Crossley. "Mrs. Magarey's interest in all her students was paramount," Madame Serena added, "and I well remember the enthusiasm of members of the choral classes which she conducted here. She was an outstanding figure in a golden age of Adelaide's musical life and will ever be remembered with pride by all who were privileged to be associated with her."

Note: Her husband, William Magarey first awarded a player's medal for Australian-rules football in 1898, and on his death in 1929, Gulielma formalised the arrangement, and the Magarey Medal was first awarded publicly that year.

HAIMBERGER, Julius (Antonius Julius)

Violinist, pianist, composer

Born ? Vienna, Austria, c.1828
Died Lima, Peru, 30 March 1868, aged 40 (TROVE tagged by Australharmony)

HAIMBERGER, Margeritta (Hedwig Margaretha TEUSEN; late Madame KRAMER; ? CRAMER)

Contralto vocalist, "Tyrolese songstress"

KRAMER, Marie (Mary; Maria; Mrs. J. C. ELLIS; Marie ELLIS)

Soprano (mezzo) vocalist

See Marie KRAMER

All 3 above:

Active Melbourne, VIC, by August 1855
Ballarat, VIC, by July 1856
Sydney, NSW, by January 1858
Brisbane, NSW (QLD) by January 1859
Departed Sydney, NSW, early 1868 (for South America)



Born VIC, 1855 (reg # 9666)


Julius Haimberger was a young revolutionary and violinist befriended by Richard Wagner in Dresden in 1848. Wagner organised his escape to Zurich in 1851, where he appeared in one of Wagner's concerts. By 1853 Haimberger was in London. In December 1854, he and his future wife Margaritta Kramer and her daughter Marie (Mary), as the Tyrolese Minstrels (later "Alpine and Tyrolese"), gave a concert in Hackney at which Julius "played several morceaux on the violin with excellent taste and execution".

They made their first appearance in the Australian colonies for George Coppin and G. V. Brooke in Melbourne in August 1855. In Adelaide in October they had been joined by the zither player Veit Rahm. Margeritta (already known as Madame Heimberger in Ballarat) was persumably the Madame Cramer [sic] who is first heard of when she appeared at Rahm's farewell benefit in Sydney on 29 May 1856, when she sang Crouch's Kathleen Mavourneen and, with John Howson, Glover's duet What are the wild waves saying?, the latter though in soprano range. Billed as "Madame CRAMER, of the Princess' Concert Room, London", she gave her own concert on 30 June, assisted by Flora Harris, Charles Packer and the Band of the 11th Regiment.

The last mention of "Madame Cramer" is a report of her appearing in a minor role at Andrew Torning's newly renamed English Opera House (Prince of Wales Theatre), on 7 July, in La sonnambula, under the direction of Linly Norman. However, as "Margeritta Haimberger" she was back in Ballarat, where Julius was then engaged at the theatre, by 21 July, as she later that month testified in a court action. In an advertisement, in Ballarat in December 1856, we learn that Margeritta "had the honor of appearing in company with Jenny Lind before Her Majesty the Queen", and that Julius was a "Member of the Conservatories of Leipsic and Vienna, and from the Royal Polytechnic Institution, and St. James's Theatre, London."

The Haimbergers moved north, via Goulburn, Sydney, and Bathurst, to Armidale, where, they briefly considered settling. On 24 November 1858, Antonius Julius Haimberger, originally of Poland, was naturalised, but by early 1859 the family had moved yet further north into what was shortly to become Queensland. At their first Brisbane concert, there was a "violin solo, composed and performed by J. Heimberger", that the Courier judged to be "a gem". Julius issued a prospectus for pupils in Ipswich, where he was intending to settle, in early February, and by the middle of the month had opened "JULIUS HAIMBERGER'S NORTH AUSTRALIAN MUSIC, STATIONERY, AND FANCY SHOP, BELL STREET, IPSWICH".

Back in Sydney in November 1863, Julius and William Stanley performed 2 movements from Beethoven's Violin Sonata Op. 12 No. 1. In Sydney again in January 1868, he advertised that he was leaving the colony. And in August that year it was reported in the Queensland press that he had died in Peru of yellow fever.


"HACKNEY", The Musical World [UK] 32/52 (30 December 1854), 851

A large audience assembled on Monday week, at the concert given at Hackney, by the Tyrolese Minstrels. Their singing was simple and unsophisticated, and had a natural charm, like the song of birds. Even professional singers might take a lesson from the "minstrels" in the emission of sound. The peculiarity of the so-called "Jodeln," only known in the Tyrol, baffles the experienced vocalist, whilst the natives can all accomplish it without study. Some of the songs executed by Madame Kramer and her interesting little girl, are extraordinary feats of natural vocalisation. Herr Haimberger performed several morceaux on the violin with excellent taste and execution. The audience encored with enthusiasm almost every piece.

[News], Colonial Times (7 July 1855), 2

Madame Bishop is on her way to Melbourne from San Francisco, as also Madame Kramer, the Tyrolese songstress.

[Advertisement], The Argus (11 August 1855), 8

[Advertisement], The Argus (1 September 1855), 8

[Advertisement], The Argus (11 October 1855), 8

[Advertisement], South Australian Register (23 October 1855), 1

"THE TYROLESE MINSTRELS", South Australian Register (24 October 1855), 3

[Advertisement], South Australian Register (24 October 1855), 1

"THE TYROLESE MINSTRELS", South Australian Register (31 October 1855), 3

Madame and Madlle. Kramer, Herr Veit Rahm, and Herr Haimberger gave their concert last evening, at the Theatre, under the patronage of His Excellency Sir Richard and Lady MacDonnell. The boxes were well filled. The programme included a great variety of pieces, chiefly Tyrolese national airs, the whole of which, without exception, were well received. Madame Kramer's vocalization is of a very superior order; she has a full rich voice, and her execution in the "Wedding Song of the Alps", and "Life's Garden", was particularly happy. In the programme two solos were allotted to Madlle. [Marie] Kramer, a child of about 10 years of age; and she sang them so sweetly, and with such correctness and feeling, that she was encored each time. Her voice also blended beautifully in the duets and trios ... Herr Haimberger executed two solos on the violin, and produced a strain of melody from it such as has seldom been heard in Adelaide. He showed a perfect mastery over the instrument, and proved himself to be an accomplished musician ...

"THE TYROLESE MINSTRELS", South Australian Register (2 November 1855), 4

Herr Haimberger's performances on the violin were well received. If he does not merit the very high eulogium which Emerson pronounced upon Paganini of the ability to "produce rapture from a catgut", he is at least a thorough master of his instrument. His ability to produce a succession of chords with remarkable rapidity of execution is undoubtedly great, but his performances would be more fully appreciated if, like his coadjutors, he appeared rather more at ease.

"TYROLESE MINSTRELS AT MACCLESFIELD", South Australian Register (8 February 1856), 3

[Advertisement], The Argus (29 March 1856), 10

[Advertisement], Empire (29 May 1856), 1

[Advertisement], The Sydney Morning Herald (29 May 1856), 1

"HERR VEIT RAHM'S FAREWELL CONCERT", The Sydney Morning Herald (30 May 1856), 8

[Advertisement], The Sydney Morning Herald (17 June 1856), 1

[Advertisement], The Sydney Morning Herald (30 June 1856), 1

"MADAME CRAMER'S CONCERT", The Sydney Morning Herald (2 July 1856), 5

"ENGLISH OPERA HOUSE", The Sydney Morning Herald (8 July 1856), 2

[Advertisement], The Star (19 July 1856), 1

"POLICE COURT", The Star (26 July 1856), 2

[Advertisement], The Star (27 December 1856), 3


[Advertisement], The Sydney Morning Herald (30 January 1858), 1

[Advertisement], The Sydney Morning Herald (20 March 1858), 5

"GRAND CONCERT IN THE SCHOOL OF ARTS", The Sydney Morning Herald (25 March 1858), 5

[Advertisement], The Sydney Morning Herald (5 April 1858), 1

"CARCAOR. THE TYROLESE MINSTRELS", Bathurst Free Press (23 June 1858), 2

"THE TYROLESE MINSTRELS", The Armidale Express and New England General Advertiser (16 October 1858), 2 

... we have had pleasure in learning that Mr. Haimberger intends to settle in Armidale, with his family; and from notices in another column it will be seen that Mr. Haimberger has effected arrangements which we imagine must be attended with decided success.

[Advertisement], The Moreton Bay Courier (1 January 1859), 3

"THE TYROLESE MINSTRELS", The Moreton Bay Courier (8 January 1859), 2

[Advertisement], The Moreton Bay Courier (2 February 1859), 4

[Advertisement], The Moreton Bay Courier (19 February 1859), 3

"BIRTHS", Empire (12 October 1863), 1

[Advertisement], The Sydney Morning Herald (7 November 1863), 1

"CONCERT OF THE TYROLESE MINSTRELS", Empire (11 November 1863), 4

The first of a series of musical entertainments of a novel character will be given at the School of Arts this evening. Some years since Madame Kramer (now Madame Haimberger), with her daughter and Herr Haimberger, visited this city, after a long tour through Europe, and delighted our citizens, as they had previously gratified the sovereigns of the old world, with their beautiful national Tyrolese melodies and instrumental performances ... Since their former visit to Sydney, the Haimbergers have been located at Ipswich, where they have had leisure to mature their talents ...

[Advertisement], The Sydney Morning Herald (19 December 1867), 10

"MR. HAIMBERGER'S CONCERT AT THE SCHOOL OF ARTS", The Sydney Morning Herald (20 December 1867), 5

Miss [Julia] Haimberger, a child of only twelve years, who not only acted as accompanyist, but executed her parts in two duets in a manner that elicited the surprise and marked commendations of the audience, the delicacy of touch, the expression, and the execution were alike remarkable.

[Advertisement], The Sydney Morning Herald (21 January 1868), 7 

A GENTLEMAN leaving the colony has for SALE, 2 superior VIOLINS, a Tenor, a Violoncello, a Cornopean, two Flutes, Instruction Books, Vocal and Instrumental Music. JULIUS HAIMBERGER, 11, Stanley-st.

[News], The Darling Downs Gazette (11 August 1868), 3

We are sorry to observe, by the Queensland Times, that Mr. Julius Haimberger, late of Ipswich, is dead. Most of the residents of Ipswich were well acquainted with the name of this gentleman, who was a first-class violinist; and, no doubt, the old residents of Toowoomba will remember, some seven years ago, a series of concerts being given by this gentleman, in conjunction with Mrs. Haimberger and Miss Cramer, who, subsequently went to Vienna. Mr. Haimberger died, on the 30th March, at Lima, Peru (after landing from Sydney) of yellow fever; he was forty years of age, and the eldest son of Baron Haimberger, of Vienna, Austria.

Bibliography and resources:

Richard Wagner, My life, volume 1 (New York: Dodd, Mead and Company, 1911), 491

... he [Bakunin] received me, seated on mattresses which lay distributed over the floor of the [Dresden] Town Hall side was a very young Pole (a Galician) named Haimberger, a violinist whom he had once asked me to recommend to Lipinsky, in order that he might give him lessons, as he did not want this raw in inexperienced boy, who had become passionately attached to him, to get drawn into the vortex of the present upheavals. Now that Haimberger had shouldered a gun, and presented himself for service at the barricades, however, Bakunin had greeted him none the less joyfully. He had drawn him down to sit by his side on the couch, and every time the youth shuddered with fear at the violent sound of the cannon shot, he slapped him vigorously on the back and cried out: "You are not in the company of your fiddle here, my friend. What a pity you didn't stay where you were!"

Ernest Newman, The life of Richard Wagner, Volume 2: 1848-1860 (New York: Alfred Knopf, 1937), 88-89, 91, 450

)88) It would seem, however, as if, before leaving Dresden, he [Wagner] plunged once more into the inner part of the town the neighbourhood of the Annenstrasse in order to take a last glance at the condition of affairs there. Some time before this, a young Galician violinist named Haimberger had been recommended to him by Bakunin, who wished Wagner to obtain for him a post in the Opera orchestra. If Praeger is to be believed, Haimberger told him in later years that at about eight o'clock one morning (presumably the 8th) he was with Wagner at the barricades when a young girl of eighteen was shot by a Prussian; whereupon Wagner, mounting a cart, cried out, "Men, will you see your wives and daughters fall in the cause of our beloved country, and not avenge their cowardly murder? All who have hearts, all who have the blood and spirit of their forefathers and love their country, follow me, and death to the tyrant." "So saying ", continues Praeger, "he seized a musket, and heading the barricade they came quickly upon the few Prussians who had strayed too far into the town, and who, perceiving that they were outnumbered, gave themselves up as prisoners." Praeger adds that he told the story afterwards to Wagner, "and he agreed entirely as to the truth of Haimberger's recital". While Praeger is, in general, an unreliable witness, there is no apparent reason ... why he should have invented a story of this peculiarly circumstantial kind. While it may be doubtful whether the episode occurred precisely as he tells it, the probability is that something of the kind did happen. Further according to Praeger, (89) Haimberger alleged that on an earlier day Wagner, who was at the barricades with him, sent him for an ice for the relief of his parched throat again an incident which we can hardly believe anyone taking the trouble to invent. Finally Max von Weber, the son of the composer, is said to have told Praeger that he had seen Wagner with a gun on his shoulder, and that Wagner had advised the insurgents to strip the lead from the house-roofs for the casting of bullets. Of this, however, we have no confirmation ...

(88 footnote) Haimberger fled to Switzerland after the rising, and in January, 1851, Wagner found a place for him among the violins of the Zurich orchestra for the season of that winter. With his usual kindness towards deserving young musicians, he did all he (89) could to assist Haimberger later, recommending him first to Röckel's brother Eduard in London, then to Vieuxtemps in Brussels, and using his influence with Sulzer in the matter of a passport for the young man ... His innocent association with Haimberger in Zurich did him no good in the eyes of the police, to whom, of course, all political refugees were more or less criminals, carrying on their nefarious activities under the pretext of being concerned with art. In January, 1851, it was reported to Dresden that Wagner, "one of the coryphaei of the Swiss revolutionary party", was much in the company of "the Lemberg fugitive Haimberger", both of them having sinister connections with Austria.

Curt Von Westernhagen (trans. Mary Whittal), Wagner: a biography (Cambridge: Cambridge University Press, 1978), 175 (PREVIEW)

Joan Willmott-Clarke, "Wagner's revolutionary years", Bikwil

HALE, Mrs.

Professor of Music

Arrived Adelaide, by 5 October 1852 ("lately arrived from England")


[Advertisement], South Australian Register (5 October 1852), 1

HALL, Miss

Teacher of the Pianoforte and French, German and Italian Singing

Active Melbourne, 1857


A Miss Hall advertised as a teacher in Melbourne in June 1857 and that "She has high testimonials from Dr. Sterndale Bennett".


[Advertisement], The Argus (4 June 1857), 8

HALL, J. (Mr.)

Music importer

Arrived Melbourne, July 1857


In July 1857, one "J. HALL" begged "leave to inform the friends of Mr. Henry J. King, Organist, Pianist, and Singer, that he is expected to arrive at Melbourne in a few days by the ship Commodore Perry, with a choice selection of new Music".


[Advertisement], The Argus (18 July 1857), 7


Vocalist, bones player (New Orleans Serenaders, Howard's Serenaders)

Active NSW, 1852


[Advertisement], Bell's Life in Sydney (14 February 1852), 3

[Advertisement], The Sydney Morning Herald (27 August 1852), 1

[Advertisement], The Sydney Morning Herald (24 September 1852), 1


HALL, John Thomson

Violinist, conductor

Born Sydney, NSW, 28 February 1841
Died Kent Town, SA, 2 December 1883



"DEATHS", The South Australian Advertiser (3 December 1883), 4

Loyau, Notable South Australians (1885), 184-85

IT is somewhat remarkable that Australia has produced, or attracted to its shores to settle permanently, some of the best musical talent in the world. South Australia especially appears singularly favoured in this respect, and if we review the history of music here from its commencement, quite a galaxy of artists are recalled to memory. Among those who stand forth prominently to our mental vision, John Thomson Hall occupies premier place; a born musician with soul in every touch of his master hand; a genius, pouring forth from his instrument a flood of melody like the songs of British birds at eventide, thrilling the heart with every note. Such was Mr. Hall as we remember him at the Theatre Royal, Adelaide. He was born in Sydney in February, 1841, and commenced to study the violin when but seven years of age. His progress was rapid, for he loved music, like the true poet, for its own sake, and ere he reached his twelfth year, he had played, in public, many difficult solos, such as Ernst's Carnival de Venice. New South Wales was visited about that time by a distinguished violinist named Caranzani, bearing a noted Italian reputation, and Mr. Hall was placed under him and received lessons for two years, when he joined Winterbottom's orchestra (an orchestra, which, if heard now, would shame many of those which theatrical audiences are compelled to listen to nightly). It consisted of thirty performers, each an artist capable of performing the most difficult compositions, and Mr. Winterbottom, the conductor, was the best bassoon player in the world. Mr. Hall continued playing in orchestra for many years, and at the same time studied theory under that eminent and inspired interpreter of melody, the late Charles Packer. At the age of 24 he was appointed leader in Lyster's Opera Company, occupying that place for nearly five years, when he was elevated to the proud position of Musical Director, and produced some of the grandest operas that have been represented in Australia, viz. William Tell, Ernani, and others. About the year 1869 he arrived in Adelaide, and obtained the directorship of the Theatre Royal, and in this he remained until his death, which occurred in December 1883. We have had many musical celebrities here, but the familiar and sweet tones of John Hall's violin gained for him with the public of that day the right to rank as first of all his contemporaries.

HALL, George Hubert

Violinist, conductor, composer

Born Sydney, NSW, 14 November 1858 (younger brother of the above)
Died Tooting Bec, London, England, 12 March 1936


According to Hoyer, Hall married Mary Winifred McCullum, a musician, in Brisbane on 8 August 1882; they had three children before divorcing in 1892. George remarried the Victorian-born soprano Beatrice Izett (formerly Miss English), widow of the vocalist Frederick Standbridge Izett, in London on 21 April 1910. The couple travelled back and forth regularly between Australia and England, until their final trip in 1927, after which they remained in London until their deaths. Beatrice died in Wandsworth, London, on 18 December 1932, aged 54. In 1885 he acquired a violin that had previously belonged to Richard B. White, said to be a "Ruzerius [recte Ruggerius], some 200 years old".


NSW Registry No. 244/1859; Reg. 1882/B7869; [News], The South Australian Advertiser (29 May 1885), 4-5

GRO UK Volume No. 1d, page 587, June Q, 1910. Reg District Lambeth; GRO UK Volume 1d, page 697, March Q, 1936, Reg Dist. Wandsworth; GRO UK Volume 1a, page 611 Dec Q, 1932 Reg Dist. Marylebone)

Loyau, Notable South Australians (1885), 185-86

BROTHER of the above, was born in Sydney, in November 1860. On completing his education, he, at the age of fifteen, took his first lessons on the violin from Mr. John Gibbs. He next was a pupil of Mr. W. Rice, and later on of Charles Packer. Under the able tuition of the latter, with whom he remained three years, he became proficient in piano and theory; so much so, that he was considered by his instructor one of his most advanced pupils. He was next associated with the eminent violinist, Herr Joseph Kretchman, and became a prominent member of that gentleman's quartette. Being offered an engagement with Lyster's Opera Company to come to Adelaide, Mr. Hall accepted it, and arrived here in 1880, remaining about eight months, when he returned to Sydney. He was there connected with the Montague Turner Opera Company as leader for two years, when, in consequence of his brother's illness and subsequent death, he was sent for to take his place as director of the Theatre Royal Orchestra, Adelaide. He has held that position ever since; with what success we leave the theatre- going public to determine, though it is an undoubted fact that the dramatic orchestra he conducts is one of the best in the colonies. Mr. Hall is leader of the Adelaide String Quartette Club, and has for the last three seasons played many of the best works of the old masters, taking part also at intervals with the most famed of our visitors in the musical world, such as Remenyi and others.

Musical works:

L'Aiglon (a musical play in 5 acts by Edmond Rostand, adapted into English by Louis N. Parker; Music by George H. Hall c.1904/6; J. C. Williamson, NLA; Ms. score and parts for orchestra; some parts signed and dated by G. H. Hall, 1904; some ms. parts for the overture bear the inscription "music by G.H. Hall, composed, selected and arranged", some ms. parts for the overture bear the inscription "arranged and composed by Adrian Amadio"); see also Miss Tittell Brune in "L'Aiglon" (the Eaglet): direction of J. C. Williamson

Flags of the Free (from the musical "Prince of Pilsen"; c.1908; J. C. Williamson production, Music by George H. Hall); My Hansom Girl (c. 1908) (music by Bert Gilbert & George H Hall)

My thanks: To family historian Sharon Hoyer for sharing with me information on the Hall brothers.

HALL, Humphrey

Journalist, playwright, theatre and music historian

Born Maitland c.1870 (? July 1863)
Died Sydney, 28 December 1940  


"MR. HUMPHREY HALL", The Sydney Morning Herald (30 December 1940), 7

Bibliography and resources:

[Humphrey Hall and Alfred John Cripps], The romance of the Sydney stage by Osric (Sydney: Currency Press in association with National Library of Australia, 1996)

HALLAS, Nathaniel

Band master (Sandhurst Brass Band)

Arrived VIC, 1857
Died South Yarra, VIC, 2 January 1889, aged 52



"THE VOLUNTEER BAND", Bendigo Advertiser (18 September 1863), 2

"HALLAS'S BAND", Launceston Examiner (24 February 1874), 2

"DEATH OF MR. NAT. HALLAS", Bendigo Advertiser (4 January 1889), 4

The many friends of Mr Nat. Hallas, so long and favorably known in musical circles in this city, will be surprised to hear of his sudden death, which occurred at his residence, Clara street, South Yarra, on Wednesday night. The sad intelligence of his death was received yesterday morning by Mr. J. A. Whitlam, an old friend of the deceased. Mr. Hallas arrived in the colony in  1857, after having studied under the late Mr. James Mellen, the celebrated bandmaster, of the Staley Bridge Band, Lancashire. The deceased gentleman was first engaged in this colony by Mr. J. B. Lewis, of Melbourne theatrical fame. In 1858 Mr. Hallas came to Sandhurst and accepted an engagement in the orchestra in the old Haymarket Theatre in Market Square, after which he took the leading parts in the orchestra of the old Theatre Royal at the Shamrock Hotel, and at the Lyceum Theatre in Pall Mall. Shortly afterwards Mr. Hallas formed the first brass band in connection with the volunteer movement in Bendigo. Subsequently he was appointed band-master of the Phoenix brass band of this city and gained great credit by the excellent manner in which he conducted his pupils. After a professional tour to New South Wales, New Zealand and the other Australian colonies, Mr. Hallas returned and again assumed the lead of the volunteer band, which was then mostly composed of young Bendigonians. This body some time afterwards seceded from the volunteers and formed themselves into the well-known Hallas' Sandhurst city band, of which the deceased acted as band master. The many pleasant evenings' open air musical concerts given the citizens by this band in the Lower Camp Reserve will for ever cause the name of Nat. Hallas to be remembered by those who were fortunate enough to listen to the various selections. Whilst under his charge the band also gained renowned praise in this and the adjoining colonies by carrying off the leading prizes in the different competitions and contests in which they took part. In 1884 Mr. Hallas left Sandhurst to fulfil an engagement under Messrs. Williamson, Garner and Musgrove, of Melbourne, and in whose orchestras he was a general favorite, whilst his genial face and hearty laugh will be greatly missed by those with whom he was connected. Mr. Hallas was 52 years of age, and leaves a widow and large family to mourn his demise, whilst in Sandhurst he will be sadly missed by his old pupils and comrades, amongst whom may be mentioned-Messrs. G. and C. Forster, T. A. Whitlam, R. Crawford, R. J. Meakin, T. Sayer. I. Moore, V. H. Byrne and others. His funeral takes place to-day, and several of his Sandhurst friends have decided to pay the last tribute to the remains of one who was respected by both young and old.

HALLÉ, Charles (HALLE)

Pianist, conductor

Born Hagen, Westphalia, Germany, 11 April 1819
Died Manchester, England, 25 October 1895



Born Brno, Moravia, 21 March 1838
Died Berlin, 15 April 1911

Arrived (1) Melbourne, 16 May 1890
Departed (1) Adelaide, 21 August 1890 (per Arcadia)
Arrived (2) Adelaide, 25 May 1891 (per R.M.S. Victoria)
Departed (2) Adelaide, August 1891 (per Oceana, for London)

HALLE, Clifford (HALLÉ)

Vocalist, teacher

Toured Australia, 1895


"LADY HALLE", Illustrated Australian News and Musical Times (1 May 1890), 9

"MUSICAL CELEBRITIES", South Australian Register (26 May 1891), 6

"SIR CHARLES AND LADY HALLE", The Argus (1 June 1891), 7

"SIR CHARLES AND LADY HALLE ON BENDIGO", Bendigo Advertiser (6 August 1891), 3


"COLONIAL TELEGRAMS", South Australian Register (19 August 1891), 5

"LADY HALLE", The Sydney Morning Herald (31 May 1911), 5


"OBITUARY. SIR CHARLES HALLE", The Advertiser (26 October 1895), 5


Life and letters of Sir Charles Hallé; being an autobiography, 1819-1860, with correspondence and diaries, edited by his son, C. E. Hallé (London: Smith, Elder, & Co., 1896)

(368; Diary entries, May 1890) ... On Friday morning, the 16th, at about 9 o'clock, we arrived safe and sound at Williamstown, the port for Melbourne, and were met on board by Mr. and Mrs. Poole, Mr. Otter (in whom I recognised a former assistant at Chappell's, and also at Schott's), a representative of the Argus, and several other people. I received also a few letters of welcome, amongst which was one from Mr. Gurnett [recte Guenett], my former pupil, and now musical critic of the Argus. The Captain went with us on shore, and we travelled together to Melbourne by rail, which took us about three-quarters of an hour. Here the Captain put us into a queer-looking cab, into which we got from behind, and on the way to the hotel we drove first to the Custom-house, where the polite secretary, to whom I had a letter from Mr. Cashel Hoey, told me that he had given orders already on the previous day to pass all our luggage unexamined. At the hotel we found our rooms ready for us. Wilma told me that whilst I was at the Custom-house our had held a conversation with her through the open window, addressing her at once as "Milady," and telling her he felt sure we should have a great success; he would be proud to drive us to the concerts, and hoped that on our return to England "You will speak well of us," meaning the public of Melbourne, himself included. At 1 o'clock the Captain called and took me to the head office of the P. and O. Company, where the manager in the most obliging manner secured for our return journey the very best cabin on the Arcadia; he also gave me a few good Manilla cigars, and offered me his further services in the most amiable way. Our luggage arrived shortly after, minus a large box, which, however, turned up next day, having caused us much anxiety in the meanwhile. At 3 o'clock a deputation from the resident professional musicians presented us with an illuminated address; other people called to welcome us; a very good semi-grand Bechstein was brought in from Allan's, the largest musical firm here, and at 7 o'clock the Captain came to dinner, and we spent a most enjoyable evening together. The next morning I was interviewed by Mr. Hart, one of the staff of the Argus paper. Poole, who is staying at this hotel, paid us a visit. and offered us boxes for his theatre. Santley also came and told us of his disagreeable adventures. On Monday, the 19th, at 4 o'clock, we were received officially by the Mayor and welcomed to Melbourne in the Town Hall . . .


Associate artist on the Halle's second tour (1891) was soprano vocalist Marie Fillunger (1850-1930), partner of Eugenie Schumann

HALLEWELL, Frederick John (F. J. "Dad" HALLEWELL; also, especially 1880-81, HALLIWELL)

Bass, baritone, vocalist (basso cantante), teacher of singing

Born Leeds, England, 1846
Arrived Melbourne, VIC, 13 December 1880 (per Potosi, from London, 30 October)
Died North Sydney, NSW, 5 October 1899, aged 53"F.+J.+Hallewell" (TROVE search)"Hallewell+Glee+Club" (TROVE search)

Frederick Hallewell, 1898

Image: F. J. Hallewell, 1898 


[News], The Argus (14 December 1880), 5

"ARRIVED", The Australasian (18 December 1880), 14

[Advertisement], The Argus (18 December 1880), 12

[News], The Mercury (3 January 1881), 2

Mr. George Musgrove, long connected with the late Mr. W. S. Lyster, has returned to Melbourne with a new English Opera Company. Miss Patty Laverne is the leading lady, Mr. Albert Brenner the tenor, Mr. Fred. Mervin baritone, and Mr. F. Halliwell bass. Mr. J. J. Wallace and Mr. H. Harwood are also among the company.

[Advertisement], South Australian Register (30 April 1881), 1

"MR. HALLEWELL'S MATINEE", The Sydney Morning Herald (22 July 1881), 6

A grand concert was to have been given at the School of Arts yesterday afternoon by Mr. F. J. Halewell, who is at present playing at the Theatre Royal; but, as circumstance happened, the entertainment was sadly shorn of the advertised proportions . . . Mr. Hallewell came upon the stage, and stated that he had been served by Mr. Musgrove, director of the "Tambour Major" company with a writ of injunction against his singing that afternoon, he having signed an agreement before leaving England to sing only for Mr. Musgrove. The gentleman, he said, was legally right, but morally wrong, in the action he had taken, and the speaker offered, if the audience chose him to do so, to defy the writ, and proceed with the concert . . . The Revd. Dr. Ellis, who was present in the hall, proposed that Mr. Hallewell should not sing, but that the remaining numbers on the program should be given . . . [by Miss Liddle, Mr. C. B. Foster, and Mr. Huenerbein].

"MUSIC & DRAMA", The Sydney Mail and New South Wales Advertiser (23 July 1881), 170

"Insolvency Court", Evening News (11 October 1883), 2

INSOLVENCY COURT. SURRENDERS. Frederick John Hallewell, of William-street, musician. Liabilities, £262 ls; assets, £3. Mr. L. T. Lloyd, official assignee.

"AMUSEMENTS", The Sydney Morning Herald (18 December 1885), 10

[Advertisement], The Sydney Morning Herald (3 March 1891), 1

"IN THE BANKRUPTCY COURT", Evening News (25 February 1892), 6

IN THE BANKRUPTCY COURT. Frederick John Hallewell, professor of music and singing, attended before the Registrar in Bankruptcy yesterday for examination. He said he had been insolvent before, but he did not ask for his certificate. His present failure was due to a falling off in his business. He owed one Murray £14, and Frank Waddell £6 for labor. Fairfax and Roberts's debt should be £118 16s 8d instead of £116, and Alexander Martin £40 odd instead of £58 19s. A. C. Johnston's debt amounted to over £6. He had two pianos. which he purchased in the ordinary way and not on the time-payment system. Twelve months after the purchase of the instruments Mr. Huenerbein wanted him to sign an agreement making them under the time-payment system. At the conclusion of the examination a resolution was carried on behalf of the creditors allowing bankrupt his furniture and personal effects, and also the pianos, which, it was explained, it was necessary he should be permitted to retain in order to enable him to carry on his business.

"Music", The Sydney Mail and New South Wales Advertiser (15 October 1898), 917

"MR. F. J. HALLEWELL", Evening News (4 October 1899), 4

"DEATH OF MR. HALLEWELL", The Sydney Morning Herald (5 October 1899), 8

The news of the death of Mr. F. J. Hallewell, which occurred at his residence, Nalgar, Campbell-street, North Sydney, at 1 o'clock yesterday morning, came as a painful surprise even to his more immediate friends. The basso, though in reality far from well, appeared in fairly good health on Saturday, when he saw a number of people at that musical rendezvous, Pleyel House, but he returned home to take to his bed, and on Sunday night his life was in danger, the specific complaint being inflammation of the bowels. Early on Wednesday he passed away at the comparatively early age of 53 years. The deceased musician will be greatly missed here, as he was, when in his prime, a fine singer of the English cathedral school, and possessed besides a mellow bass voice of considerable volume and unusually extensive range. His was one of those useful voices of the basso cantante class which enable the fortunate possessor to sing baritone parts. It will be remembered that during the oratorio festival here, at which Signor Foli was the principal figure, Mr. Hallewell replaced that famous basso at a moment's notice, and rendered the high music of "Elijah" with excellent affect. It was, however, in Handel's music that Mr. Hallewell especially shone, his stately yet fluent delivery of the coloratura passages being a pleasure to hear. During the last few years the singer was not at his best, and nearly a year ago he was tendered a farewell benefit concert to enable him to revisit England. In the meantime his health improved, so that he reappeared recently with the Philharmonic Society in Haydn's "Seasons," and he had accepted engagements for the "Judas Maccabeaus" next month, and for the "Messiah" at Christmas. Although Mr. Hallewell's reputation rested chiefly upon his ability as an oratorio artist, he originally came to this country (in 1880) as the basso of Mr. George Musgrove's "Tambour Major" Opera Company, in which he played the part of the inn-keeper. He soon gave up the stage, however, settled in Sydney as a teacher of singing, joined Mr. Harry Leston and Mr. J. J. Hinchey in founding the Hallewell Glee Club, and sang frequently with the Orpheus Club and other well-known societies. In the concert-room he was noted for his rendering of "Simon the Cellarer." From time to time he also visited Brisbane, Melbourne, and the other Australian capitals. As regards his earlier career, the deceased was at the age of 5 or 6 years a chorister at the great parish church of Leeds, at which city he was born in 1846. Later in life he was soloist at York Minster, and for years he was bass soloist at New College, Oxford. He had many pupils during his residence at the ancient University, amongst whom was numbered Mr. Herbert Gladstone. Mr Hallewell was married, and leaves a widow and several children in England. Two or three years ago he was joined in Sydney by a daughter, who kept house for him and tended him affectionately to the last. Mr. F. Aengenheyster, who kindly undertook the task of giving directions in regard to the funeral, states that the cortege will leave Campbell street at 4 o'clock today for St Thomas' Church where the interment will take place.

"Death of Mr. Hallewell", The Sydney Mail and New South Wales Advertiser (14 October 1899), 927

"Musical Jottings", The Bega Gazette and Eden District or Southern Coast Advertiser (25 October 1899), 3 

"DADDY" Hallewell died in straitened circumstances; funds are being put together to enable his daughter to return to England.

Bibliography and resources:

Williams 2002, vol. 1, 63-64, vol. 2, 11: online 

HALLIER, Henry Charles

Professor of music, piano tuner and repairer

Active Adelaide, Sydney, 1841-43
? Died Cape Province, South Africa, 1871


Hallier was active in Adelaide by May 1841. Later that year he was in Sydney, working for Francis Ellard, and, from December, as a freelance piano tuner. Hallier was in Cape Town South Africa, advertising as a piano tuner, by 1847


[Petition], The South Australian Government Gazette (13 May 1841), 3 

[Advertisement], South Australian Register (18 May 1841), 1s

[Advertisement], The Sydney Herald (3 December 1841), 3

[Advertisement], The Sydney Morning Herald (1 August 1843), 3


Convict, vocalist, actor, songwriter, evangelist

Born Toxteth Park, Liverpool, England, 1820
Arrived Tasmania, 26 April 1836 (convict per Layton, from London 26 August 1835)
Departed VIC, by 1849/50 (for California)
Returned to Australia, c.1884
Died Geelong, VIC, 8 December 1889, aged 69


A freed convict, Hambleton was principally an actor, but was frequently billed singing songs and comic songs between the plays at the theatre in Launceston and Sydney, and briefly Maitland and Geelong. At Sydney in November 1848 he introduced "An entirely new Local Comic Song, Advance Australia, or Sydney as it was, and is (An entire new song ... written by himself)". He and his actor wife left Victoria for the Californian Goldfields in 1849 (in company with, among others, the former Mrs. Spencer Wallace). Later in England he underwent an extreme evangelical conversion, and returned to Australia to proselytise in the 1880s.


[Tickets-of-Leave], The Hobart Town Courier (10 January 1840), 2

[Certificates of their Freedom], The Cornwall Chronicle (10 July 1841), 1

[Advertisement], Launceston Examiner (9 July 1842), 3

"ROYAL CITY THEATRE", The Sydney Morning Herald (29 May 1843), 2

[Advertisement], Bell's Life in Sydney (11 November 1848), 3

To be followed by an entirely new Local Comic Song, "Advance Australia, or Sydney as it was, and is," Mr. Hambleton.

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (11 November 1848), 2

"THEATRICALS", The Maitland Mercury (15 September 1849), 2

"CALIFORNIA", The Sydney Morning Herald (10 June 1850), 2 

"CALIFORNIA", The Courier (29 June 1850), 3

"SUICIDE", The Sydney Morning Herald (22 March 1851), 4 

"Suicide of Mrs. Hambleton", Bell's Life in Sydney and Sporting Reviewer (29 March 1851), 1 

"MR. JOHN HAMBLETON", South Australian Register (18 June 1884), 6

"MR. JOHN HAMBLETON", Evening Journal (18 June 1884), 3 

"DEATHS", Leader (14 December 1889), 42 

"E. H. B.", The converted actor : a true narrative of God's remarkable dealings with the late John Hambleton ([?], [?], [? 1899])

Bibliography and resources:

Eli Daniel Potts and Annette Potts, Young America and Australian gold: Americans and the gold rush of the 1850's (Brisbane: University of Queensland Press, 1974), 123, 148


Piano-forte maker, tuner, repairer

Arrived WA, 1842


[Advertisement], Inquirer (19 February 1845), 2

[Advertisement], The Inquirer (29 August 1849), 1

MR. HAMBLIN begs to inform the Youth of Perth and its vicinity, that he is receiving Pupils for instruction on the Flute, Violin, and Singing, in classes, on such terms as will give every one an opportunity of acquiring a knowledge of that which, in the absence of every other amusement, may be called a highly valuable science. A separate class for Boys under 14 years of age.

"INTERCOLONIAL NEWS", The Queenslander (9 December 1871), 10

One of the local industries of Kyneton, Victoria, is pianoforte-making. The Observer says Mr. Joseph Hamblin, of that borough, sells excellent pianofortes of his own make. They have a compass of seven octaves, have patent metal bridges, and will bear the effects of the climate better than any imported instrument. The blackwood of the neighborhood serves for wrest planks as well as English oak, and the musk wood or native walnut, which has been found in the Dandenong Ranges, yields beautiful veneers that are susceptible of a magnificent polish. The timber, before being used, is kept from four to ten years in a room continually maintained at summer heat by a furnace. Mr. Hamblin imports the keys, wire, wrest pins, and all the smaller mechanism of his instruments.

Bibliography and resources:


Amateur musician, composer

Born Paris, France, 1 September 1835
Died York, WA, 14 January 1921


"YORK", The West Australian (1 February 1921), 8 

The death occurred at Wilberforce, on January 14, of Mr. Edward Hamersley, who was one of the early pioneers of this state. The deceased gentleman was 84 years of age. He was a member of an ancient English family, who in the fifties, came to Western Australia and settled at Pyrton. Guildford, Wilberforce, where the late Mr. Hamersley settled as a young man, was purchased from the Clarkson family, and there Mr. Hamersley made his home. He was a man of scholarly attainments. He was an accomplished musician, as well as composer, had a thorough knowledge of astronomy and was a gifted linguist.

Bibliography and resources:

"Hamersley, Edward (1835-1921)", Obituaries Australia


Scottish vocalist

Arrived Sydney, NSW, by November 1880 (from England)
Departed Sydney, NSW, after June 1894 (for England) (TROVE tagged by Australharmony)


[Advertisement], The Sydney Morning Herald (20 November 1880), 18 

MISS CLARA HAMILTON, Scottish Vocalist, newly-arrived from Crystal Palace, is open for ENGAGEMENTS. Phillip-street, near Cameron-street, Balmain.

[Advertisement], Evening News (12 July 1886), 1 

LOYAL ORANGE INSTITUTION OF NEW SOUTH WALES . . . GRAND MUSICAL FESTIVAL . . . in the EXHIBITION BUILDING, PEINCE ALFFED PARK, MONDAY EVENING, the 12th instant. PROGRAMME: ... 20. Scottish Ballad - "The Bonnie Bonks o' Clyde" (first-time) - Miss Clara Hamilton.

"MISS CLARA HAMILTON'S BENEFIT", The Sydney Morning Herald (5 June 1894), 6 

Last night being Tannahill's anniversary, the friends and admirers of Miss Clara Hamilton celebrated the occasion by tendering her a benefit in view of her early departure for Scotland. Miss Hamilton, who formerly had a considerable following in Glasgow, and purposes returning there, has become recognised during her 12 years' residence in Australia as a notable exponent of Scottish ballads.

Accordingly there was a large audience on her appearance at the Protestant Hall. Mr. James Muir and Captain Murray presided, and a tuneful programme was presented. Miss Hamilton herself first sang "The Braes o'Glenifier," and in response to the general enthusiasm the singer added, with spirit and feeling, "The Star o'Rabbie Burns." The Scottish soprano also rendered "Caller Herrin" (in character) so as to win continued applause, and was, in fact, repeatedly encored during the evening. Miss Edward Deane, Miss Jessie Gilchrist, Messrs A. Edward, Arthur Deane, Thompson Brown, and P. Nesbit were all called upon to increase the number of their vocal contributions during the evening. Mr Monro's pupils were encored for their Highland dance and other miscellaneous items were included in the entertainment. Miss Naylor was the accompanist of the evening, and Mr. Hamilton was Highland piper. Before Miss Hamilton finally sails by the Austral it is probable that she will be tendered a farewell concert in Balmain.

"FAREWELL CONCERT TO MISS CLARA HAMILTON", The Sydney Morning Herald (19 June 1894), 6 

In the Central Hall, Darling-street, Balmain, last night, a large gathering assembled on the occasion of a farewell concert to Miss Clara Hamilton, the Scottish vocalist, on the eve of her departure for England . . .

Other resources:

The bonnie banks o' Clyde, new Scottish ballad, dedicated to Miss Clara Hamilton, the favourite Scottish vocalist (Sung with great success at the Exhibition Hall, Prince Alfred Park, Sydney)

(Sydney: C. G. W. Schulze, Lithographer, [? 1886]) (DIGITISED)

HAMILTON, Octavia (Eliza Octavia SCRIVENOR; Mrs. Augustus MOON; Mrs. Thomas Holme DAVIS)

Soprano (mezzo soprano) vocalist

Born Maida Vale, London, 6 June 1835
Arrived Melbourne, VIC, by March 1854
Active until 1868
Departed Melbourne, VIC, 1874 (for England)
Died Edmontson, London, England, 1913 (TROVE tagged by Australharmony)


Identity and genealogy:

My thanks to family historian Allister Hardiman for positively identifying this highly significant but mysterious singer as Eliza Octavia Scrivenor, daughter of John Walter Scrivenor (d.1864, aged 66, Queanbeyan, NSW), and his wife Frances, who had arrived in Melbourne with their family perhaps early in 1854. Octavia, had married Augustus Graham Moon, a lodger in the Scrivenor household and son of a baronet, in London on 7 June 1851, the day after her 16th birthday. According to Victoria and its Metropolis (1888), 329, A. G. Moon arrived in Victoria in 1855, though Octavia was certainly singing in Melbourne in March 1854. (The Octavius Scrivenor advertised for in Sydney in October that year was a cousin.)

Allister thinks Octavia's choice of professional name was due to her paternal great aunt Ann, who married baron Charles Hamilton (their son James emigrated in 1839 to New Zealand and died there in 1844). He suggests that she had her first child by her second husband, the wine-merchant Thomas Holme Davis, in Melbourne, possibly as early as 1866. The adverse publicity that began with reporting of a court action between Octavia and Moon (by then already living with Davis) in 1865, and climaxed in the claims of child desertion in 1868, brought her professional career irrevocably to an end. Nevertheless, she and Davis appears to have continued living in Melbourne until late 1873 or early 1874, when they sailed for England. Interestingly Thomas Davis visited Australia again in 1883, billed as "manager of the Australian Wine Association in London ... during the trip he calculates to purchase between 200,000 and 300,000 gallons of wine."

Young Augustus Moon junior appears not to have benefitted from his early start in the Industrial School, at least not if he was the same Augustus Moon, who, reportedly 30 years of age in October 1887, was arrested in Richmond "on a charge of behaving indecently to two young girls". According to Allister, Octavia died in suburban London in 1913.


Octavia Hamilton, "from the Philharmonic Concerts", first appeared in Melbourne at the Salle de Valentino in March 1854 with Maria Carandini and Lewis Lavenu. At John Winterbottom's promenade concert in August, the Argus judged her "a vocalist of more than ordinary ability. ... This lady possesses a voice of excellent quality, and her intonation is true; she had certainly been gifted with many of the requisites of a singer, and the remainder of the qualifications may easily be acquired by her." As the song by Charles Compton below suggests, she must have had a good low range. In Trovatore in January 1860, the Argus indeed noticed: "Miss Octavia Hamilton, in the part of Azucena, agreeably surprised us in the ungrateful task of a soprano singing music written for a contralto" [or, at least, mezzo-soprano].


? "SHIPPING INTELLIGENCE", The Argus (25 February 1854), 4

[Advertisement], The Argus (3 March 1854), 8

[Advertisement], The Argus (30 March 1854), 3


[Advertisement], The Sydney Morning Herald (21 October 1854), 1

"CONCERT HALL", The Argus (15 May 1855), 5

"PROMENADE CONCERT", The Argus (15 August 1854), 5

"THE ROVING FIDDLER", Chambers's Journal of Popular Literature 105 (5 January 1856), 14

"MISSING FRIENDS", The Sydney Morning Herald (10 February 1858), 9

"THE PHILHARMONIC SOCIETY", The Argus (22 September 1858), 5

"THEATRE ROYAL", The Argus (17 January 1860), 5

[Il trovatore, Verdi] ... Misa Octavia Hamilton, in the part of Azucena, agreeably surprised us ia the ungrateful task of a soprano singing music written for a contralto.

[News], Empire (30 May 1860), 4

... Miss Octavia Hamilton is a vocalist of great merit; without the slightest pretension to a contralto voice, the part of Azucena is beyond her power; but she poetesses a very sweet mezzo soprano, of great purity and clearness in the middle notes, and what is far superior, she sings in perfect tune.

DEATHS", The Argus (9 May 1864), 4

"THE MESSIAH ON CHRISTMAS EVE", The Argus (26 December 1864), 5

[News], The Argus (25 February 1865), 4

A case affecting a lady of some musical reputation in this colony was heard in the county court yesterday. The case occupied a place on the list under the title, Grose v. Moon, and was a plaint under a deed of settlement, dated 8th May, 1862, between Augustus Graham Moon and Eliza Octavia Hamilton; otherwise Moon, his wife, the claim being reduced to £49 19s. 11d. to bring it within the lower jurisdiction of the court. By the deed in question it was arranged that the defendant should pay £4 per week, but it was subsequently agreed, that the defendant, who is a Government clerk should make payments at the rate of £16per month. The plaintiff, as trustee, proved the execution of the deed, and said he did not always make the payments to Mrs. Moon herself; but left them at Mr. Davis's wine Store for her. The defence was, that after the execution of the deed, Mrs. Moon had lived with the defendant for some days, and that a stipulation that debts should not be contracted in defendant's name had been violated. The defendant in evidence proved that the deed was executed on a Friday; and that Mrs. Moon remained with him until the Monday evening following, and that he had been applied to for debts contracted by her. The judge held that the mere fact of Mrs. Moon remaining in the defendant's house for a few days did not vitiate the deed; and as the defendant had only been applied to for payment of debts contracted since the commencement of the action, the verdict must be for the plaintiff for the amount claimed.

"VICTORIA", Empire (1 March 1865), 8

"HOW INDUSTRIAL SCHOOLS ARE STOCKED", South Bourke Standard (1 September 1865), 3

A certain married lady - as we suppose we must call her - named Moon, but who is well known under the professional pseudonym of Octavia Hamilton, is married to a clerk in the General Post Office, by whom she had several children. Mrs. Moon is a well-known public singer, and as she is a general stage favourite it is to be presumed that her income is at least sufficient for her personal expenses. Her husband has a salary of £6 per week, and, so far as has been made known, has always been willing to support both herself and his children. The lady however, is necessarily of peripatetic habits and therefore the domestic arrangements can never have been of the most comfortable description. It is certainly a great hardship to any man that he should be obliged to support a wife who does not perform her part of the marriage contract. But Mr, Moon does not seem to have complained of being deprived of his wife's society, and probably he has sufficient reason for being tolerably satisfied with her periodical absence on professional business. At the same time, and while he recognises his liability to provide for his wife's maintenance and that of the children born to him, it would be beyond everything unreasonable to expect that he should patiently submit to be saddled with the support of his wife's offspring, whom by all the rules of nature he knows cannot by any possibility have been born legitimately. Moon, however, has the misfortune to know that his wife has on more than one occasion been inconstant to her vows ... It seems that this Mrs. Moon has for some time been separated from her husband, who to avoid scandal, has regularly for three years, paid his wife two-thirds of his income, although she herself must have been doing very well in her own business. Since this separation, the faithless wife has given birth to two children whose father or fathers are not known; and recently she has had the cool effrontery to call upon Mr. Moon to provide for their support ... Unable to keep this terrible family trouble any longer a secret, Mr. Moon took such steps as resulted in his being charged with deserting the children, and the whole of the disgraceful affair was brought out in court ...

"LEFT TO A GRATEFUL COUNTRY", Bendigo Advertiser (27 May 1868), 2

A lad eleven years of age, named Augustus Moon, was on Saturday sent by the Richmond bench to the Industrial School for five years, as a neglected child. The boy, who had all the appearance of having received a fair education, said he wished to be sent to the school to learn a trade, as by that means he was told he would become a "great man". He is a son of the well-known vocalist, Octavia Hamilton, whose name has been made notorious by her systematic and brutal neglect of her offspring. We believe she is now travelling in India, and no doubt earning a very "respectable" livelihood while this colony is obliged to support her children. The boy in question is, we believe, the fourth child of this woman now in the industrial establishments.

[News], Empire (1 June 1868), 2

[Advertisement], The Argus (15 January 1874), 4

"CASTLEMAINE", Bendigo Advertiser (2 May 1883), 3

[News], The Argus (11 October 1887), 4       

Other resources:

When I was young (song; words: Henry F. Chorley; music: Charles H. Compton; "Sung by Miss Octavia Hamilton" (Melbourne: For the composer by Clarson, Shallard & Co., 1859)

HAMILTON, Mr. St. George

Vocalist, pupil of Frederick Crouch

Active Melbourne, VIC, 1852


"THE CONCERT", The Argus (13 March 1852), 5

"THE CONCERT", The Argus (18 March 1852), 3

"THE CONCERT", The Argus (20 March 1852), 5

[Advertisement], The Argus (26 May 1852), 5

"THE CONCERT", The Argus (27 May 1852), 4

[Advertisement], The Argus (3 June 1852), 5

"THE WEEKLY CONCERTS", The Argus (28 June 1852), 5

[Advertisement], The Argus (10 December 1852), 5

HAMMOND, Adela Ann


Born Kensington, Lambeth, England, 21 October 1821
Active England, 1835-44


A pencil annotation on the State Library of Victoria's copy (

MSS 12831, McCrae Family Papers) of a printed song, The Shadow of the Heart ("the poetry by W. H. Harrison, Esq. to whom the music is respectfully inscribed by his obliged young friend, Adela A. Hammond, Melbourne") notes that "This is the first song & music published in Melbourne prior to 1845."

The song was certainly not composed or first published in Melbourne, but in London in 1837, where it appeared under the title: "The Shadow of the Heart. The Poetry by W. H. Harrison, Esq.; the Music by Adela A. Hammond", apparently without any reference to Melbourne. But could it have have been reprinted there later? Prue Neidorf identified Henry Lingham, active in Melbourne by the mid-1840s, as the lithographer. Perhaps Lingham had also previously produced the original London print in 1837. Neidorf tentatively dates the Melbourne print, if that is what it indeed is, to 1842-43, though it could have been closer to 1845, as the annotator stipulated, though why "prior to 1845" is not clear. Another of Hammond's compositions appeared in London in 1844, so if she did indeed come out to Melbourne herself, it could still have been just "prior to 1845".

Adela Ann Hammond was the daughter of a London businessman, Munden Hammond, with interests in newspapers and printing, and editor of Hammond's List of London and Provincial Newspapers (1850s). Her first work, Sleeping on Lily Beds, was published when she was "a child of 13 years of age". Her father, probably, appears to have had it and her later two works privately engraved and printed. In 1844 she published The Language of Love, and Nature's Music. Two Songs, the Music composed by Miss Adele Hammond. Hammond is not to be confused with the early 20th-century English song composer, Adela E. Hammond.


"NEW MUSIC. VOCAL", Court Journal (12 September 1835), 589

"NEW PUBLICATIONS", The Literary Gazette (8 July 1837), 437

The Shadow of the Heart. The Poetry by W. H. Harrison, Esq.; the Music by Adela A. Hammond.

We are given to understand that the composer of this beautiful air is but sixteen; if so, she is indeed a young lady of the greatest promise, for the composition would do credit to one of sixty - ay, even one who had grown gray among gamuts. There is what Dyer happily calls "the sweet diapason melancholy," sadly, and thrillingly interwoven with the words, which not only chains down the ear to "marble listening," but sinks deeply into the heart, like feelings arising from the remembrance of happy and bygone days. The poetry, too, is of an order such as we seldom meet with in songs of this class. It is exquisitely simple, without being maudlin, and touches the sweet cord of sympathy by the natural emotions which it awakens; for who has not sighed while con templating the past? We give one stanza:

"The bird sings as sweetly his melody wild,
From the old hazel copse, as when I was a child;
And the sun shines as bright upon blossom and tree,
And the river goes dancing as blithe to the sea.
Whence the change that I feel? not in Nature, I trow,
For she smiles at the mourner, and mocks at his wo.
'Tis my heart! my own heart - which once know not a care -
Casts the shade of its sadness o'er all that is fair."

We would fain extract the whole song, were it not for infringing too much upon the rights of the publisher. To those, however, who understand and can feel poetry, we are certain that this verse will be sufficient to create an appetite for the remainder.

"REVIEWS OF MUSIC", The Idler and Breakfast-table Companion (15 July 1837), 76

The Shadow of the Heart. The Poetry by W. Harrison Esq.; the Music by Adela A. Hammond.
The Words and the Music of this song are alike commendable. The former are so sweet, and yet simple withal, that we subjoin a specimen: -

"The bird sings as sweetly his melody wild,
From the old hazel copse, as when I was a child;
And the sun shines as bright upon blossom and tree,
And the river goes dancing as blithe to the sea.
Whence the change that I feel? not in Nature, I trow,
For she smiles at the mourner, and mocks at his wo.
'Tis my heart! my own heart - which once know not a care -
Casts the shade of its sadness o'er all that is fair."

The air is plaintive, and pleasingly melancholy; and affords ample proof of the talent, ability, and soul of the fair composer.

"NEW MUSIC", Court Gazette (15 June 1844), 13

Bibliography and resources:

Neidorf 1999, 41-42

"Henry Lingham", DAAO 

HANCE, William

Organist, organ keeper, organ builder

Arrived Hobart, 26 September 1823 (per Mariner)
Died Hobart, 10 October 1842, aged 50

Summary (after Rushworth):

In 1825 Hance erected the John Gray organ, imported from London, in St. David's Church. He was also for a while organist, prior to the appointment of J. P. Deane. He worked variously as a schoolmaster, farmer, publican, poundkeeper and postmaster. In 1832 he was building an organ for one of Hobart's masonic lodges, the first documented instance of an organ being built in the colonies.


"AN ODE. Addressed to the Organ of St. David's Church", Hobart Town Gazette (13 May 1825), 3

[News], The Hobart Town Courier (21 April 1832), 2

The friends of masonry will be pleased to learn, that a second lodge has been established in Hobart town. It is held at Mr. Whitaker's, Freemason's Tavern, Harrington street. Mr. Hance, we are happy to learn, is engaged in building an organ for the lodge.

[News], The Hobart Town Courier (29 June 1832), 2

The anniversary of the nativity of St. John the Baptist happening this year on a Sunday, our two masonic lodges, in order not to interfere with each other, agreed to observe the celebration of the day, the one on the Saturday previous and the other on the Monday after. The Brotherly Union being the junior lodge of the two had the precedence, and in the evening a very numerous and respectable assemblage of the craft dined at the Lodge room, Freemason's Tavern ... On Monday the original Tasmanian Lodge observed the memorable day in a similarly agreeable and elegant manner, through the help of Mrs. Cox at the Macquarie hotel, Mr. Lempriere, the master, filling the chair. The splendid organ building by Mr. Hance for the Brotherly Union is, we are glad to see, already in an advanced state.

Van Diemen's Land Annual and Hobart Town Almanack (1834), 7

[St. David's Church, Hobart] ... Clerk, Mr. Smails; Organist, Mr. J. P. Deane; Organ Keeper, Mr. William Hance; Pew-opener and Sexton, Mr. J. Bryant; Clock-keeper ...

[Advertisement: insolvency], The Hobart Town Courier (5 May 1837), 3

"CENTENARY OF ST. DAVID'S CHOIR", The Mercury (21 June 1937), 3

Bibliography and resources:

Graeme Rushworth, "Notes on some early Tasmanian organs and also on the commencement of the Hobart Town Choral Society", OHTA Journal (April 1999), 33-39

HANCHETT, John Justinian

Professor of Music

Active Launceston, VDL (TAS) by 1841
Died Northcote, Melbourne, 14 August 1894, aged 75


Hanchette, "Member of the Conservatoire Royale, Paris", was active in Launceston as a musician and medical doctor by 1841.


[Launceston news], Colonial Times (11 May 1841), 4

[Advertisement], The Courier (22 September 1849), 1

"QUARTER SESSIONS", The Hobart Town Mercury (4 March 1857), 3

"TOWN TALK AND TABLE CHAT", The Cornwall Chronicle (7 July 1860), 4

"DEATHS", Launceston Examiner (16 October 1862), 4

"INSOLVENCY COURT", Launceston Examiner (17 August 1864), 2

"DEATHS", The Argus (15 August 1894), 1

Bibliography and resources:


Bass vocalist

HANCOCK, Mary Ellen (Mrs. Edward HANCOCK, Miss BARTON)

Soprano (mezzo) vocalist

Arrived Melbourne, VIC, late 1852
Departed Melbourne, VIC, 25 May 1861 (per Suffolk, for London)


"ROYAL ACADEMY OF MUSIC", The Musical World (1 June 1850), 340

[Advertisement], The Argus (3 December 1852), 8

MECHANICS' INSTITUTION. GRAND CONCERT. December 4th, 1852. THE CITY OF LONDON GLEE AND MADRIGAL UNION. Under the direction of Mr. WILLIAM C. LYON, professor of the Royal Academy of music ... Artists: Mrs. Edward Hancock, Professor of the Royal Academy of Music, Mr. W. C. Lyon, R.A.M., Mr. Edgar Ray, late of her Majesty's Chapel Royal, St. James, and Mr. Edward Hancock, R.A.M. assisted by Mrs. Fiddes, formerly Miss. H. Cawse.

[Advertisement], The Argus (13 December 1852), 3

[Advertisement], The Argus (4 January 1853), 6

[2 advertisements], The Argus (17 January 1853), 5

MRS. EDWARD HANCOCK begs to inform in her Pupils and Friends that she has removed to No. 44, Elizabeth-street, where she will give lessons in Singing, as usual.

[Advertisement], The Argus (27 January 1853), 6

[Advertisement], The Argus (7 September 1853), 3

MECHANICS' INSTITUTION.- MRS. EDWARD HANCOCK begs to announce to her friends and the public, that she will give a Grand Vocal and Instrumental Concert on Monday, the 13th September, under the patronage of the Right Worshipful the Mayor, at which the following Artistes will appear: - Vocalists: Mrs. Testar, Miss Mabella Smith, Mrs. Hancock, and Mr. Hancock; Instrumentalists; Solo Piano, Miss E. Smith, pupil of Madlle. Clara Lovedey. Clarionet, Mr. Johnson; accompaniment, Mr. Buddee.

[Letter], "TO THE EDITOR", Geelong Geelong Advertiser and Intelligencer (13 August 1853), 2

[Advertisement], Geelong Advertiser and Intelligencer (31 October 1853), 6

[Letter], THE GEELONG MONDAY CONCERTS. To the Editor", Geelong Advertiser and Intelligencer (20 October 1853), 2

"L'ELISIR D'AMOUR", The Age (29 July 1856), 3

This delightful opera buffo was produced at the Royal for the first time on Saturday evening, with the most decided success. Madame Bishop as Adina, Laglaise as Nemorino, Howson as Belcore, Coulon as Dulcamara, and Mrs Hancock as Gianetta, were all admirable, and the chorus sang with unwonted spirit, precision, and effect. The only thing we had to regret was the wretchedly thin house which I assembled to hear this high musical treat. The applause however was enthusiastic, and encores very numerous; Coulon's make up was exceedingly good, and his acting and gestures eminently provocative of laughter.

[Advertisement], "TO THE PUBLIC. OPERA AND MR. NEILD", The Age (16 November 1858), 1

[Advertement], The Argus (28 September 1859), 6

[Advertisement], The Argus (7 October 1859), 8

"MELBOURNE.- HANDEL CENTENARY CELEBRATIONS", The Musical Times (1 November 1859), 151

[Advertisement], The Argus (24 December 1859), 8

"PHILHARMONIC SOCIETY", The Argus (18 January 1860), 5

[News], The Argus (18 July 1860), 4

On Friday night next Mrs. Edward Hancock, a lady most favourably known to the musical world of Melbourne for the last eight years, and whose talents, though unassuming, have been fully appreciated, both in opera and at the concerts of the Philharmonic Society, takes a benefit at the Theatre Royal. An opera will be produced on the occasion; and as that class of entertainment has at present something of novelty for the public, independent of the claims of Mrs. Hancock to support, it may be expected that there will be a large attendance.

[News], The Age (20 July 1860), 5

Mrs. Hancock, an old favorite among the theatre-going and music-loving people of Melbourne, takes her benefit tonight at the Theatre Royal. The entertainments are to commence with "The Sonnambula," with Madame Carandini as Amina, and Mrs. Hancock as Liza. The names of Messrs. Sherwin and Farquharson also appear. The opera is to be followed by a concert, in which the Philharmonic Society lend substantial aid, and the whole is to conclude with the burlesque of "The Miller and his Men." Mrs. Hancock is sufficiently well known, and her talents are so well admired, that the announcement of her benefit should alone fill the house; but with the attractions offered in the bills, we can scarcely deem it likely that any invitation is needed from us to the admirers of musical entertainments to give a befitting reception to one of their oldest favorites.

"HOBART TOWN", The Musical World (2 February 1861), 79

The long expected Italian Opera Company arrived in Hobart Town, from Launceston, and opened a short campaign at the Theatre Royal, on the evening of the 22nd ultimo. The company consisted of Signor and Signora Bianchi, M. Paltzer, Mr. and Mrs. Hancock, Messrs. J. Gregg, Megson, and Winterbottom, the well-known bassoon-player. They remained only a week, and although they introduced, and well performed, some of the choicest works of the modern lyric drama, they were not patronised so liberally as they deserved to be. Hobart Town Mercury Puff, Nov. 22.

[News], The Argus (15 May 1861), 6

We understand Mrs. Edward Hancock has determined finally to leave Melbourne, and has taken her passage in the ship Suffolk, to sail on the 25th inst. The members of the choir of St. Peter's Church intend giving that lady, on Monday evening next, in the schoolroom adjacent to the church, a complimentary benefit concert, as a parting token pf their regard and esteem; and wo trust that Mrs. Hancock's friends will muster in sufficient numbers to give this lady a substantial recognition of her professional abilities. As a singer of sacred and church music Mrs. Hancock has held a first position, and her absence from the choir of St. Peter's will be much felt by members of the congregation of that church.

[Advertisement], The Age (21 May 1861), 1

Musical editions:

My ain dear Nell (a new Scottish ballad written and composed by A. Hume; Sung by Miss Emma Stanley & Mrs. Hancock, fourth edition) (Melbourne: McCulloch and Stewart, [1859; new edition 1860])

Bibliography and resources:

Gyger 1999, 103, 106, 116

Thanks: To Kurt Ganzl for biographical information (January 2015)

HAND, Josiah

Ex-convict, publican, concert promoter, founder of Hobart Town Serenaders, occasional music publisher

Active Hobart, by 1853
Died Launceston, 9 June 1893, aged 80 years (TROVE tagged by Australharmony)


[Advertisement], The Courier (4 March 1853), 1

MELOPHONIC CONCERT ROOM, "WATERMAN'S ARMS," LIVERPOOL-STREET. The Public of Hobart Town are respectfully informed by the Proprietor of the above Rooms, that he has now in his possession the original music and poetry of that deservedly popular and beautiful sentimental song, "BEN BOLT," (As sung by Rainer's Company of Serenaders at Launceston), The original Hobart Town Serenaders will sing the same on SATURDAY EVENING, Accompanied by an Eminent Performer on a powerful and rich-toned 6 1/2 Octave PIANOFORTE, Being its first introduction to an Hobart Town Audience. The music and the words of the song can be obtained by application to the Proprietor any day between the hour of 11 and 12 o'clock. JOSIAH HAND, Proprietor.

"NEW INSOLVENT", The Hobart Town Mercury (17 August 1857), 3

"SERENADING", The Courier (29 January 1858), 3

Recent reverses of fortune having befell Mr. Josiah Hand, the original introducer of Ethiopian Serenaders in this city, on appeal to the public, in the shape of a serenade for a benefit for him, is announced at the Albert Theatre on Monday evening next.

"Deaths", Launceston Examiner (10 June 1893), 1

"BY ELECTRIC TELEGRAPH", The Mercury (10 June 1893), 1 

Josiah Hands, an old colonist, died today, aged 80. He was at one time connected with the police in Launceston, and some years ago was licensee of a hotel in Hobart. Latterly he was engaged as a bailiff in the North. He was of a quiet unassuming disposition, and generally respected by all who knew him.


Double bass player (Salle de Valentino)

Active Melbourne, (1853) 1855


[Advertisement], The Argus (23 June 1855), 8

SALLE DE VALENTINO.- Mons. Fleury will perform on Monday, 25th inst - Newly decorated by the celebrated artists, Messrs. T. Pitt and and Brogden. - Fleury's Band, comprising the leading talent of the colonies, will consist of the following artistes: Mons. Fleury, Conductor and Leader; Messrs. Reid, Fihon, 2nd Violins; Handoff, Double Bass; Kinzella, Clarionet; De Labestries, Cornopean; Baker, Saxe Horn; Hartigan, Ophecleide; Brown, Flute; Kummons, Bassoon; Sterne, Drum.

[Advertisement], The Argus (18 August 1855), 8

... Double-bass - Herr Hendorff ...

[Advertisement], The Star (25 September 1858), 3 

... 1st double bass ... H. Herndorff, 2nd ... H . Elrot ...

[Advertisement], The Star (23 December 1858), 3 

... Double Bass ... Mons. Havendoff ...

HANSEN, Johann Christian

Organist (Pirie-street Chapel), composer

Active Adelaide, by 1858
Died Jardeland, Denmark, 18 May 1885, aged 70


"SCHOOL EXAMINATIONS", South Australian Register (2 June 1858), 3

"PIRIE-STREET CHAPEL", South Australian Register (20 December 1862), 2

"CORROBBERO", South Australian Register (23 March 1868), 2

CORROBBERO - More music. The facilities offered by the lithographer and printer of music from moveable types tend very much to encourage the publication of compositions, the product of "native industry". Genius is not confined to any particular locality, clime, or country, and no fiscal laws can restrain its manifestation. The number of musical compositions that have issued from our own colonial press would fill a capacious folio. Their performance would occupy a long evening without an encore. "Corrobbero" is the name given to a composition by Mr. J. C. Hansen, just published by Marshall, of Rundle-street. The title-page informs us that it is "a musical picture, representing the performance of a sort of religious warlike rite among the natives of Australia at the time of full moon". It has been lithographed by Penman and Galbraith, and dedicated to H.R.H. the Duke of Edinburgh. The front page is adorned with a gorgeous representation in coloured oils, of what a sprightly imagination might very well suppose to be an eruption of Vesuvius, were it not for the presence of a score or two of borbdignagian black spiders in impossible attitudes that stand on the aclivity of the mountain. The artist has evidently done his best. With regard to the music, though there are here and there some slight defects, it is on the whole one of the best compositions of the kind we have seen. It opens with an introduction in G major, compound common time, intended to awaken the peaceful and heart-cheering emotions produced in the mind by the full-orbed moon rising in "unclouded majesty". The next strain is an andante in common time, commencing in E minor, and terminating in B minor. It is ritualistic, and preparatory to the grand corrobboree described in musical language in the next strain. This is an allegro, and the rubric informs the instrumentalists that it represents the "grotesk (sic) dancing among the aborigines of Australia at the time of full moon, accompanied with a national song". The native "wabble, wabble, boo boo", is cleverly indicate in this "song with out words". An interlude follows. It is an adagio in E major for the organ, and is descriptive of the calm repose of "a beautiful moonlight night". This is we think the most artistic part of the whole composition. The corrobboree is then repeated, and winds up (or down) with a rushing presto. The composer has manifestly taken much pains over the work. It will, we think, become a favourite with the pianist. It is not of difficult execution (if we except the impossible holding-note in alto upon the fourth page), and in other respects it possesses the elements of popularity. It might with advantage be further elaborated and arranged as a quartette or for a quadrille band.

"TOPICS OF THE DAY", The South Australian Advertiser (24 March 1868), 2

[Advertisement], The South Australian Advertiser (3 June 1868), 1

"DEATHS", South Australian Register (21 July 1885), 4

"OLD-TIME MEMORIES. AMUSEMENTS No.III", South Australian Register (8 September 1891), 6

Musical works and publications:

Corrobbero ("a musical picture, representing the performance of a sort of religious war-like rite among the natives of Australia, at the time of full moon, composed by J. C. Hansen") (Adelaide: S. Marshall, [1868])

The Holy Bible (sacred song; respectfully dedicated to Lady Daly by her Ladyship's very obedt. servt. James G. Gibbs, the words by the Rev. J. Hall, M.A., the German translation by Joh. Chr. Hansen, musical professor) (Adelaide: S. Marshall, [186-])


Writer on music

Active Launceston, TAS, 1867


"MUSINGS ON MUSIC. To the Editor", Launceston Examiner (30 May 1867), 5


Singer at the "Black Boy" Hotel, actor

Active Sydney and Adelaide, 1844-45


"From the Royal Pavilion Theatre", Hardeman first appeared in an Oddfellows night at the Royal Victoria Theatre, Sydney, during which in character he sang the comic song Billy the Snob. He then appears to have become a pub singer, for two months later this advertisement appeared in the Herald:

"NOTICE! NOTICE! NOTICE!  IF HENRY HARDEMAN, Singer at the Black Boy, George street does not call and pay the amount of his bill for board and lodging for himself and Samuel Marshall singer at the same place for whose expenses he became responsible, the conjuring machines woodcuts and bills of Billy the Snob, (the song which elicited such applause on the occasion of the benefit at the Theatre of one of the Brothers of the Odd Fellows Society) will be sold within ten days from this date, to defray the same. GEORGE BRIGGS. Miller's Point, Sydney, 26th December.

Having left for South Australia in January, and visited Melbourne in May, he opened "a little theatre named the Pavilion" in Currie-street, Adelaide, in September 1845, apparently a short-lived venture.


[Advertisement], The Australian (1 October 1844), 2

[Advertisement], The Sydney Morning Herald (27 December 1844), 3

"SHIPPING INTELLIGENCE", The Sydney Morning Herald (3 January 1845). 2

[News], South Australian Register (17 September 1845), 3


Bandsman (H.M.S. Galatea)

Active Australia, 1867-68


"The Attempted Assassination of the Prince", Empire (17 March 1868), 2

"THE MAGISTERIAL INQUIRY", Empire (14 March 1868), 4


"TRIAL OF THE PRISONER H. J. O'FARRELL", The Sydney Morning Herald (22 April 1868), 7

Votes and proceedings of the Legislative Assembly during the season of 1869 (Sydney: Thomas Richards, 1869), 340


Musician, instrumentalist

Born Devon, England, 3 April 1810
Arrived SA, 17 October 1839 (per Recovery)
Died St. Peters, SA, 21 April 1903, aged 93


"DEATHS", Kapunda Herald (24 April 1903), 2

"THE LATE MR. T. HARDING", The Advertiser (27 April 1903), 7

... For many years, when in the prime of life, Mr. Harding was a musician of local fame, the double bass viol being the instrument which he played. When the local Wesleyan Church singing was led by a string orchestra Mr. Harding was a leading instrumentalist, and at that time Kapunda possessed some of the best violinists in the State. 

"A FINE OLD COLONIST DEAD", The Advertiser (30 April 1903), 7

Mr. Thomas Harding, who died at St. Peters recently, was born on April 3, 1810. His father was a builder of Plymouth and Devon, but the son was educated for the law. He preferred his father's calling, and until 1839 he assisted him in his trade. In that year, with his wife and family, he sailed for South Australia in the ship Recovery, arriving here on October 17 of the same year. Mr. Harding assisted in the building of Government House, Government Offices, police barracks, Frome-bridge, and other prominent public erections. He then went to the River Murray, then Cockatoo and Lyndoch Valleys, and thence to Angaston. In 1850 he came to Kapunda, where he assisted in the erection of the smelting works on the Kapunda mine. He built many houses and other premises in Kapunda, and was one of the builders of the Methodist Church here. He was a great lover of music, and played a violoncello in the parish church, Plymouth, having previously been a flautist in the same choir. When in Adelaide his services were in great request, and he sometimes played in two or three places in the same evening. He was a member of the first band formed in Adelaide, when a drum had to be improvised from bullock hides. In the Kapunda Wesleyan Church he was the leading instrumentalist in the choir, which had a fame throughout the State. Mrs. Harding died about eight years ago since when Mr. Harding had resided with his daughters in Kapunda (Mrs. A. Menhennett and Mrs. Joel Carter), Mrs. Chinner (Angaston), and Mrs. Magor (St. Peters). He has left eight children, 57 grandchildren, about 120 great-grandchildren, and two great-great-grandchildren.

"THE LATE MR.THOMAS HARDING", Kapunda Herald (1 May 1902), 3 

... He helped to build the smelting works and the bull-engine smoke stack on the Kapunda Mines and afterwards built many houses in and around Kapunda, including the present Wesleyan Church. He was a great lover of music, and played well on several instruments, but his favorite was the violoncello. This old instrument, which is still in the town, he played at the Parish Church at Plymouth when he was 17 years old, and before that he played a flute in the same choir. When in Adelaide he was in great request, and sometimes played in two and three places in one nighty getting £2 2s. payment at each place, he was in the first band formed. They had their instruments, but were unable to get a drum, and made a substitute, using a bullock hide for the ends. On settling in Kapunda he joined the Wesleyan Church, and was leader of the choir, which was then known all over the colony. Two violins (Messrs. Thos. Rose and G. Fry), two flutes (Messrs. J. Rowe and Williamson), and two cellos (Messrs. Harding and J. Rose), and the four parts were well represented with singers. Often he was heard, in Mrs. Rose's absence, leading the singing and playing the bass at the same time. Afterwards for many years he played in the Philharmonic Society (late Mrs. Howe, pianiste), until, in 1882, his hand getting cramped he was unable to finger the strings, he resigned, and was presented with a handsome silver snuff box which he always greatly prized ...


Violoncellist, double bass player, ophicleide player, chamber music quartet player, vocalist, haridresser, hatter, licensed victualer

Born Yorkshire, England, 18 September 1806
Active Melbourne, VIC, by April 1853
Died Melbourne, VIC, 17 August 1891, aged 86, colonist of 38 years (TROVE tagged by Australharmony)


Daniel Hardman was the son of Edmund Hardman (1768-1840), hairdesser, and his wife Anne Duke (c.1864-1834), and grandson of John Hardman, musician. He and his eldest brother William (1792-1855 suicide) both started out in their father's trade, but turned to music professionally, as string players, William being appointed Music Seller in York to the queen and duchess of Kent in 1839 (Daniel was a partner), which was probably the pretext for Daniel's later claim to have performed before the queen and her mother, and to the infant prince Alfred, at Windsor. William and Daniel were both also founder members of the York Choral Society. He was appointed a York City Wait (York Waits) in 1829. By 1833-34, he and James Walker were also leading the so-called "Orange" (whigs) election brass band, in which he played, among other instruments, the ophicleide. He was reportedly insolvent in 1847. He emigrated to Victoria in 1852.


York corporation minutes, 15 January 1829 (transcr. in J. Merryweather, York music)

Daniel Hardman of York, musician, appte one of the City Waits with the usual salary.

"MARRIAGES", York Herald (14 May 1831), 3

Lately, at Nottingham, Mr. Daniel Hardman, of this city, musician, to Miss Elizabeth Pultney, of the former place.

Municipal Corporations act, discussed in York Corporation minutes, 1836 and 1837 

The number of City Waits was formerly five, but is now reduced to two, the vacancies occasioned by death not having been supplied. Mr. Christophee Brown and Mr. Daniel Hardman are the survivors. Their salaries are £4 per annum each, with Livery Coats and Hats found once in six years, the expense whereof has averaged £1:1:0 per annum each. Your Committee are of the opinion that the Waits and the Tipstaves may be dispensed with, and they recommend those offices to be abolished. 8th February 1836.

Resolved ... that bonds be given under the Common Seal to Mr. Daniel Hardman and Mr. Christopher Brown, late City Waits, for securing the payment of an Annuity of £2:13:4 to each of them, for his life, being compensations directed by the Lords of the Treasury to be paid to them respectively for the loss of their said office. 13th February 1837.

"TOKEN OF RESPECT", York Herald (11 May 1839), 3

At the annual meeting the York Choral Society, last week, it was determined to present Mr. Daniel Hardman, of Bridge-street, with some testimony regard for his faithful services as Vice President of the society. Accordingly a very richly chased and handsome silver snuff-box, the value five guineas, has been provided ...

"MALTON CONCERT", Yorkshire Gazette (1 April 1843), 5

... The vocal performers were Mr. Kaye, with Miss Andrews and Mr. Ruckley, from York. The instrumental performers were Mr. D. Hardman, the double bass, Mr. G. Hick, who presided at the piano forte, both of this city; and the rest the band was composed of native talent, being members of the Malton Harmonic Society ... Instead of the Fantasia Extempore on the piano Mr. Hick, an overture from the "Caliph of Bagdad" was played that young gentleman, accompanied by Mr. D. Hardman on the double bass, and Mr. Kaye on the violin - it gave great satisfaction ...

"STILLINGTON CHORAL SOCIETY", York Herald (1 January 1844), 7

... Our space will not allow us further to mention the beautiful pieces which were admirably performed, but we must not omit "O Liberty," which was sung by Mr. Wilkinson, to a very pleasing style, accompanied by W. D. Hardman on the violoncello. Handle's anthem "The waves of tbe Sea rage horribly," was given by Mr. Reader, with contra basso obligate, by Mr. D. Hardman ...

"YORK CHORAL SOCIETY", York Herald (1 October 1853), 9

Many of our readers will be aware that the above society, which has greatly promoted the taste for music in this city, has existed for many years, and that on most occasions it has tended much to promote the gratification of our fellow-citizens ... Mr. North next proposed the healths of the instrumental performers, and Mr. B. Wilkinson, in returning thanks, stated that Mr. D. Hardman, late of this city, had, by constant practice, been able to surmount the difficulty of playing the double bass violin ...

[Advertisement], The Argus (23 March 1853), 8 

MECHANICS' INSTITUTION. Thursday Weekly Concert. Mr. MEGSON, Leader. Principal Vocal Performers: - Soprano, Mrs. Testar; Tenori, Mons. Barre and Mr. Huxly; Basso, Mr. Bancroft. Principal Instrumental Performers - Messrs. Megson, Reed, Cooze, Johnson, Chapman, Hardman, Portbury, &c, with several of the Band of the 40th Regiment. Mr. Buddee, Pianist. Prices of admission - To the public, 2s. reserved seats, 3s; members of the Institution, 1s. 6d

"THE CONCERT", The Argus (28 April 1853), 5 

Song - Thy Mighty Power with Double Bass obligato, by Mr. Hardman, as played by Signor Dragonetti, Mrs. Testar.

"MARRIAGES", The Argus (13 March 1867), 4 

"THE RECEPTION CONCERT. TO THE EDITOR", The Age (29 October 1867), 7 

SIR, - As an old recipient of professional engagements from the Melbourne Philharmonic Society (I may say for fourteen years), I was surprised at remarks in Mr. Summers's letter in your issue of this morning. I can confidently assert that the Philharmonic Society has ever given encouragement to professionals, and many musicians of good standing now owe, in a great measure, their success to its assistance. I disparage no one, but cannot remain silent when an attack is made on a parent society, without which the grand works of Handel, Haydn, Mozart and Mendelssohn could not have been rendered. The complaint of insult to the profession is not in my experience, borne out. Royal Commissioners will, no doubt, deal fairly with any matter brought under their notice. I have performed before our beloved Queen and her mother at the York festivals; also at Windsor Palace, when Alfred was a little boy, and shall be most happy to render my aid in giving him a hearty welcome. These remarks are not intended to provoke a paper war - that is out of my line, but I trust I never was ungrateful to persons or societies from whom I have received assistance - DANIEL HARDMAN. Emerald-hill, 28th October.

"CHRISTMAS FESTIVITIES. YORK", Yorkshire Gazette (29 December 1883), 8

The return of Christmas has been marked by the customary festivities in York ... before the passing of the present Act which controls municipal corporate bodies, York possessed a body of "waits" who wore clothing of corporate purchase, and other special badges, and received a fixed salary. On the abolition the office in 1835 it became a matter of consideration as to whether they were really Corporation servants, and, as such, entitled to any consideration for their loss of office. The result of an appeal to a high court was that they were official Corporation servants, and entitled to a pension, and some £8 odd annually was awarded each. The body of "waits" numbered eight, and though the pension of these officials commenced so far back as 1835, it is a singular fact that one of them still lives to enjoy the privilege of his pension, which has periodically to be sent to him, in the person Mr. Daniel Hardman, in America [sic]. The seven who had been his fellow waits died long ago, and Mr. Hardman must now be over 80 years of age.

"DEATHS", The Argus (19 August 1891), 1


... My two first friends in the orchestra of the Philharmonic were Mr. Daniel ("Daddy") Hardman and Mr. "Sam" Chapman, 'cello and double bass players respectively. Hardman, a very old man, came from Yorkshire, the most musical county in England, and was a very experienced player on both instruments. He claimed to have played the overture to "Der Freischutz" under Weber's own direction, which is sufficient honour for any one individual, and he declared that Weber did not take it as fast as we were doing then.

Bibliography and resources:

J. W. Knowles, A list of York musicians from early times to present day (1924) 

Ian Jones, Brass bands in York 1833-1924 (York: Borthwick Publications, 1995), 4-6 (PREVIEW)

Ray Farr, The Distin legacy: the rise of the brass band in 19th-century Britain (Cambridge: Cambridge Scholars Publishing, 2014), 3, 7 (PREVIEW)

Richard Rastall, "THE YORK HARDMAN FAMILY", York music update 

HARDY (father and son)

Violinist, blind fiddler

Active Hobart, TAS, 1850


"Court of Requests", The Britannia and Trades' Advocate (14 November 1850), 4 

Hardy v. Dann. - Mr. M'Minn for the plaintiff. This was an action by the plaintiff, a blind fiddler, for £8 8s. being waged for playing the violin in the defendant's public-house for a certain period. Plaintiff's son, a little boy 12 years old, who leads about his blind father, proved that the defendant had signed a written agreement, whereby he agreed to pay his father 8l 8s. for the son's fiddling for a certain period. The witness played for three months, and received all except 3l. After that period the defendant told the plaintiff that fiddling had been stopped, and he had no farther occasion for his son's services; but if it was allowed again he would still have him. The boy played from 6 to 10 p.m. in the defendant's house every night; the witness chiefly supports his blind father by playing the violin; the agreement between the parties was for six months. The defendant proposed adducing Mr. Vine as a witness, but as he had not given four days' notice of the nature of the defence, as ordered by the Act of Council, the evidence was rejected. Judgment for the plaintiff, 8l 8s.

HARDY, George

Clarinet player, bandsman (Band of the 12th Regiment), bandmaster

Born Bury St. Edmunds, England, 13 July 1833
Married Eliza Catchpole, Bury St. Edmunds, early 1854
Arrived Melbourne, VIC, 19 October 1854 (per Camperdown, with the Band of the 12th Regiment)
Discharged (12th Regiment), Sydney, NSW, 1863
Died Maryville, NSW, 21 August 1896, aged 63


"THE LATE MR. GEORGE HARDY", Newcastle Morning Herald and Miners' Advocate (24 August 1896), 5 

THE LATE MR. GEORGE HARDY. Funeral of a Well-known Musician. THE attendance yesterday at the funeral of Mr. George Hardy was greater than had been anticipated. The route from Smedmore to Honeysuckle Point Station was lined with spectators. The band, mustering over 40 performers, played the "Dead March in Saul," the weird strains being most impressive. Mr. Barkel was with the Model Band, and the 4th Regiment was present. The suburban bands were well represented by Adamstown, with Mr. Scott, and Lambton, the Maitland Band also being represented. The basses were remarkably strong, and added greatly to the effect. The musical profession were represented by Mr. Len. Williams, J. Fry, Professor Bellini, B. Oliver, and others.

Mr. George Hardy was a native of Bury St. Edmunds, Suffolk, England, and arrived in Melbourne as a bandsman in her Majesty's 12th Regiment in 1854. After two years he proceeded to Tasmania, and remained there till 1858, when he came to Sydney, receiving his discharge in 1863. He resumed his trade as a bootmaker, and, organising a band amongst his fellow tradesmen, he filled the position of bandmaster with credit to the band and himself. He also held the position of solo clarionet player in Lyster's Opera Company for a considerable period. In 1873 he received the appointment of bandmaster of the Newcastle Naval Brigade Band and also of the Volunteer Artillery Band, both bands gaining a local reputation for their bands and bandmaster. He was also bandmaster of the Great Northern Band - a popular band with the public for a long time. He was also bandmaster of several suburban bands. A large number of Newcastle musicians directly or indirectly owe their introduction to Orpheus to George Hardy. Beginners he was always willing to assist in their musical career. His name forms a connecting link between the old country musicians, such as Gladney, Bertinshaw, Phasey, and last but not least Sergeant Hardy of the Scots Guards, a cornet player never surpassed and seldom equalled for tone and execution, as Crystal Palace and Alhambra audiences can testify.

He leaves a family of four sons and three daughters all proficient musicians, who feel their loss. Mr. Hardy was a worthy citizen of Newcastle for over 23 years. He was a member of the M U.O.O.F., also a member of the Black Preceptory, and has been for 35 years a member of the R.O.F., of which he was Chief Ranger for three years. Their respect and esteem for the deceased was shown by their attendance in large numbers. Newcastle has had good cause to be proud of her bandmasters, as owing to their tuition Newcastle musicians stand second to none. What is required is appreciation similar to that meted out to bands such as those of Newtown and Bathurst. Bandmasters and bandsmen are worthy of it, as they never refuse to attend a charitable affair.

"Deaths", Newcastle Morning Herald and Miners' Advocate (29 August 1896), 4 

HARDY. -Died, 21st August, at his residence, Hannell-street, Maryville, George Hardy, bandmaster. late bandsman H.M. 12th Regt., aged 63.

Bibliography and resources:

B. and M. Chapman, "Private George Hardy (c.1833-1895)", Australia's red coat regiments 


Band of the 12th Regiment

HARDY, George

Violinist, fiddler

Active north east VIC, 1859


"INDIGO POLICE COURT", Ovens and Murray Advertiser (1 February 1859), 3

George Hardy, on remand from Saturday was also brought up charged with the same [licensing] offence ... Bassett's former depositions were read, and having been sworn, he was cross-examined by Mr. Norton, saw defendant playing a fiddle inside the place, we drunk dark brandy, it is a calico house. Mr. Norton stated that he should clearly prove that the place was not a calico place, and that the defendant was only hired to play the violin, at night, at the place spoken of by the witnesses he called. Robert Coventry, deposed ... heard an agreement made by Hardy to play the violin for two pounds per week, the agreement is in my hand writing ...

HARLAND, Julia (Miss WALLACK; Mrs. William HOSKINS)

Soprano vocalist

Arrived Sydney (via Melbourne), 30 June 1856
Died Fitzroy, Melbourne, 19 August 1872 (TROVE tagged by Australharmony)



A pupil of Manuel Garcia, Harland arrived in Australia in 1856 as soprano of a touring operatic party including Walter Sherwin, Robert Farquharson and Linley Norman. She appeared regularly on Australian stages until late 1868, and then taught singing in Sydney in 1869.


"THEATRICAL", The Argus (27 June 1856), 5

"SHIPPING", The Sydney Morning Herald (1 July 1856), 4

[Advertisement], The Star (5 April 1864), 3

"DEATHS", The Argus (20 August 1872), 4

[Advertisement], The Sydney Morning Herald (23 January 1869), 4

"DEATH OF MISS JULIA HARLAND", The Australasian (24 August 1872), 19 

It is with extreme regret that I find recorded the death of Mrs. William Hoskins, professionally known as Miss Julia Harland, which took place on the afternoon of the 19th at her residence, Hanover-street, Fitzroy. The deceased lady was some time back married, in England, to Mr. William Hoskins, the popular comedian and manager, who is at present on a tour with Miss Florence Colville in New Zealand. The late Mrs. Hoskins was descended from a family highly respected in the dramatic annals of the world - the Wallacks. Her elder brother was the best representative extant of Don Caesar de Bazan, and the younger, Mr. J. W. Wallack, at present in America, is about to visit this colony in company with Mr. Theodore Hamilton. Her father, the late John Henry Wallack, when on a visit to this colony, in 1862, appeared on the occasion of Lady Dons benefit, at the Theatre Royal, Melbourne, as Sir Anthony Absolute, but increasing infirmities prevented his appearing afterwards. Miss Julia Harland made her mark in English opera years ago, when she succeeded Madame Anna Hilton at the Princess's Theatre, London, as prima donna of the English Opera Company, then under the regime of the eccentric manager, J. M. Maddox, or as Punch used to term him, "King Maddox," where, in connection with Messrs. Leffler. Donald King, H. Horncastle, and Allen, she became the English operatic star of London. Some time after she accepted a lucrative engagement with the late Mr. Thomas Rouse (Bravo Rouse!), succeeding Miss Annette Mears at the Grecian Saloon, City-road, London. During her stay at this house, under the conductorship of Mr. B. Isaacson, her brilliant talents as a lyric actress and her splendid vocalisation soon brought that little theatre into notoriety, and nightly filled the coffers of the manager. One of the best operatic companies then obtainable was engaged to support her, including Mr. Fraser, a very able tenor, who afterwards died in America; Mr. Charles Horn, son of the eminent composer; Mr. Baldwin, a baritone from the English Opera-house; Mr. Eaton O'Donnell, Mr. H. Horncastle, Mr. Pat Corri (brother in law to the late Frederick Younge), the Misses M. A. and Emma Crisp, and Miss Johnstone; and Messrs. Campbell (father-in-law to Mr. John Dunn) and R. Phillips (both dead) as managers, and the late "little Robson" as comedian - a glorious company. After severing her connexion with the Islingtonians and the Grecian, she appeared in London during the opera seasons at several of the principal theatres. In 1856, in company with her husband (Mr. William Hoskins) and Messrs. Walter Sherwin, Farquharson, and Linley Norman, she left England for this colony, arriving here in the August of the same year, announcing themselves as the "English Opera Company." Miss Julia Harland made her first appearance in Melbourne on the 1st of the following September at "our Lyceum" Theatre in the character of Lucia, in Donizetti's opera, "The Bride of Lammermoor," Mr. Hoskins appearing the same evening as Jack Delaware in the farce "A Fast Train High Pressure-Express." The company was very successful throughout the colonies, the talents of the deceased lady being everywhere especially recognised. In 1859 she joined the opera company at the Princess's Theatre, and in conjunction with Madame Carandini, Messrs. Laglaise, Emile Coulon, Schultz, John Gregg, and others, appeared in the first cast of Verdi's opera of "II Trovatore" presented in the Australian colonies. Miss Harland's assumption of the gipsy, Azucena, was generally, acknowledged to be a splendid and thoroughly artistic performance, and materially added to her professional reputation. On the retirement of her husband from management in Melbourne, and during his absence from this city, the deceased lady has been living in complete retirement, and for the last few weeks has suffered most acutely from dropsy, to which she ultimately succumbed. In her private life she carried with her the sincere respect and esteem of a large circle of friends. Mr. H. H. Hoskins, solicitor, of Talbot, her brother-in-law, Mrs. Alfred Phillips, and one or two other friends were with her in her last moments. - CALL BOY.

"DEATH OF MISS JULIA HARLAND", The South Australian Advertiser (29 August 1872), 3

"Miscellaneous Items", Australian Town and Country Journal (31 August 1872), 6

Other musical resources: 

HARMER, Frederick Willie

Teacher of music and singing, organist

Arrived Melbourne, by 1872
Died Bathurst, NSW, 17 September 1939, aged 84



The concert, which was given solely by the pupils of the Asylum and School for the Blind (under the direction of Mr. F. W. Harmer, teacher of music and singing at the asylum), was extremely enjoyable, some of the pianoforte selections (especially one by Miss Constance Heine, a blind girl only 14 years of age) being very excellently rendered.

"ITEMS OF NEWS", Wagga Wagga Advertiser (15 March 1879), 2

It is satisfactory to know that the Church of England authorities have secured an efficient organist to replace Mr. Goulstone Williams, who recently resigned the position. Mr. Harmer, the gentleman chosen comes here with a very high reputation as a competent musician. For a considerable time he acted as organist and general musical director at the Blind Asylum, Melbourne, and the manner in which he performed his duties in connection with the institution elicited the highest praise from the governors, whilst the performance of his pupils is a fact known far and wide by the concerts given in various towns in Victoria. Mr. Harmer assisted at the choir practice which took place last night, and his playing was much admired.

"DEATHS", The Sydney Morning Herald (20 September 1939), 12

"MR. F. W. HARMER", Goulburn Penny Post (21 September 1939), 4

The death is announced at O'Connell, near Bathurst, of Mr. Frederick Willie Harmer, the first conductor of Goulburn's Liedertafel. Mr. Harmer was born at Croydon, England, 84 years ago. Early in his career he was chosen as one of the King's Minstrels, and as one of the assistant organists at St. Saviour's, Croydon. In 1872, Mr. Harmer came to Melbourne and later to Goulburn, where he remained for 13 years as organist and choirmaster at St. Saviour's Cathedral. He was one of the founders of the Goulburn Liedertafel, and as conductor helped to give it the standing which it earned in the community. He served the Liedertafel with marked ability, and his departure from Goulburn, five years after the Lieder was formed, was a great loss and one which was keenly felt. Mr. Harmer was also resident in Mudgee for a number of years where, in addition to his church work, he was associated with the production of operas. He was also well-known as an adjudicator at musical contests.


Professor of Music, pianist, vocalist, organist

Active Adelaide, 1857-67


At a concert of sacred music in Adelaide in May 1857, the Register reported: "Miss Pettman, in conjunction with a young lady whose name we understood to be Miss Harper, received the honour of a recall in a duet from Fawcett's Paradise" (John Fawcett's oratorio had been premiered in Britain only in 1853). Later a pupil of Cesare Cutolo, on his departure in 1859 Miss Harper offered her services as a teacher to his other lady pupils. In April 1861, as recently appointed organist of the Roman Catholic Cathedral, she accompanied a performance of Mazzinghi's Mass in B flat on the harmonium.


"CONCERT OF SACRED MUSIC", South Australian Register (9 May 1857), 2

[Advertisement], South Australian Register (9 December 1859), 1

"DIED", South Australian Register (13 December 1859), 2

"DEATHS", South Australian Register (15 August 1860) 2

"THE ROMAN CATHOLIC CATHEDRAL", South Australian Register (2 April 1861), 3

[Advertisement], South Australian Register (18 January 1864), 1

"MARRIAGES", South Australian Register (26 October 1865), 7

[Advertisement], South Australian Register (25 January 1867), 1


Vocalist, serenader

Active Sydney, 1853-56


[Advertisement], The Sydney Morning Herald (22 March 1853), 2

[Advertisement], The Sydney Morning Herald (24 November 1854), 1

[Advertisement], Empire (5 February 1856), 1

HARRIS, Flora (Miss Flora HARRIS; Madame Flora HARRIS; Mrs. Joseph Sheridan MOORE)

Soprano vocalist, pianist, teacher of singing

Born St. Mary Newington, Surrey, England, c.1829/30
Arrived Sydney, NSW, 15 November 1852 (per Benjamin Elkin, from London, 28 July)
Married Joseph Sheridan MOORE, Sydney, 1857
Died Sydney, NSW, 29 January 1910, aged 80 (TROVE tagged by Australharmony)


HARRIS, Haidee (Haidee Beatrice HARRIS;

Amateur vocalist

Active Sydney, NSW, 1864-65
Married Henry William HARPER, St. Paul's Redfern, 27 December 1866
Died Manly, NSW, 5 July 1934 (TROVE tagged by Australharmony)


The daughter of Robert Harris (1796-1882) and Mary Ann Thew (b. c.1807), Flora was born c.1830 at St. Mary Newington, Surrey, London, and named after a noted ancestor in her paternal grandmother's line, Flora MacDonald, the celebrated Jacobite heroine. Robert's father having died early, he was largely brought up by his musician elder brother, Joseph Macdonald Harris (1789-1860), who was professionally active in musical life in London in the 1820s and 1830s, and a personal friend of Braham, Tom Moore and Isaac Nathan. Robert was later a legal officer for the City of London and was also particularly involved in health policy and sanitation reform. In 1852, he resigned and with his wife and 9 children sailed for Australia, "the salubrity of whose climate was enlarged on by other friends". Flora, 22 at the time, was with them (as she testified at the Supreme Court in November 1874).

Miss Flora Harris, "from the Exeter Concerts", first appeared as a soloist with Mrs. St. John Adcock for the Sydney Choral Society in April 1853, and at John Winterbottom's promenades in May. At Coleman Jacobs's Farewell in October, the generally rather ill-disposed reviewer for the Illustrated Sydney News noted: "Miss Flora Harris has improved, and with study and care may become a tolerable singer". Again for the Sydney Choral Society in December, the Herald noted:

Miss Flora Harris sung the "Adelaide" [Beethoven] with great taste. The particular charm of her singing is in the ease with which she varies her intonation, according to the character of each passage; and this, added to the sweet quality of her voice, renders her a thoroughly satisfactory singer.

A bound album of late 18th-century Scottish and English sheet music, belonging to Haidee Harris, is in the Stewart Symonds Collection, Sydney Living Museums.


"SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (23 April 1853), 4

"PROMENADE CONCERT", Empire (2 May 1853), 3

[Advertisement], The Sydney Morning Herald (6 May 1853), 1

"MR. COLEMAN JACOB[S]'S CONCERT", Illustrated Sydney News (29 October 1853), 6

"SYDNEY CHORAL SOCIETY", The Sydney Morning Herald (2 December 1853), 4

[Advertisement], The Sydney Morning Herald (17 August 1854), 1

[D. H. Deniehy]: "To the Editor", The Sydney Morning Herald (22 January 1859), 6

"THE WAIL FROM ENGLAND", The Sydney Morning Herald (18 September 1862), 4

"MUSIC AND THE DRAMA", Empire (20 August 1864), 2

The talented and favourite artiste, Madame Flora Harris, made a deep impression by her beautiful rendering of the air "Jerusalem, thou that, killest the prophets" [Mendelssohn].

"Supreme Court", Australian Town and Country Journal (28 November 1874), 10

In the slander action brought by Mr. Joseph Sheridan Moore and Flora (nee Madame Flora Harris,) his wife, against Mr. Robert Glynn and Elizabeth, his wife, the plaintiff recovered a verdict for one farthing, and the Chief Justice certified for costs against the defendants. The slanderous words charged the female with being an expirée convict, &c, and were uttered by the female defendant during a neighbourly quarrel. There was no truth in the slander, as Mrs. Moore came to the colony with her parents, and has been highly respected, especially in musical circles, where she gained great celebrity as a singer.

"MISS FLORA HARRIS, 1855 - MRS. SHERIDAN MOORE, 1905", The Brisbane Courier (8 April 1905), 13

"DEATHS", The Sydney Morning Herald (31 January 1910), 6

"PERSONAL", The Sydney Morning Herald (31 January 1910), 6

By the death, at the age of 80 years, of Mrs. Flora Sheridan-Moore, a regretted event which took place on Saturday at the residence of her daughter, at the post-office Elizabeth-street South a valued link is severed in the musical chain connecting present day concert goers with those of the last generation. As a girl "Miss Flora Harris" sang in the great choir at the opening of the Exhibition at the Crystal Palace, Sydenham, in 1851. Two years later she was soloist and chorister at St. James's Church, Sydney, and in 1854 was soloist at St. Mary's Cathedral where she remained five years. In those days, the soprano was associated on the concert platform with Catherine Hayes, Anna Bishop, Sara Flower, Lucy Escott, Mme. Carandini, and other famous artists. In 1857 the artist married Mr. J. Sheridan-Moore, a University coach and writer of that period and retired for 30 years from professional life. However, Mrs. Moore decided to join the Sydney Philharmonic Society's choir, under Signor Hazon in 1889, and sang at nearly every concert, making, as she only too justly feared, her last appearance with it in the "Messiah" on Christmas afternoon last. The deceased had expressed a wish that she might live to see Signor Hazon on his return to Australia, a few days hence, her position as vice-president of the Philharmonic having given her especial opportunities of appreciating the Italian conductor's personal worth. The deceased, who was highly esteemed by all who knew her, leaves two sons and two daughters.

"MISS FLORA HARRIS", The Brisbane Courier (23 September 1929), 17

"DEATHS", The Sydney Morning Herald (6 July 1934), 10 

Related musical editions:

Agathe, or, When the swallows homeward fly ("sung by Miss Flora Harris ... music by Franz. Abt) (Sydney: Woolcott and Clarke, [1854])

I'm leaving thee, Annie! [George Barker] ("As sung by Miss Flora Harris") (Sydney: Woolcott and Clarke, [1854])

Hearts and homes (as sung by Miss Flora Harris; composed by John Blockley) (Sydney: Woolcott and Clarke, [1854])

I love the merry sunshine ([music by] Stephen Glover; Sung by Miss Flora Harris) (Sydney: Woolcott and Clarke, [185-?])

The wail from England (words: J. Sheridan Moore; music: W. J. Macdougall) [1862]

The beauty that blooms in Australia (a song; as sung by Madame Flora Harris; words by J. Sheridan Moore; music by W. J. Macdougall) (Sydney: Wilkie, Elvy & Co., 1863)

Bibliography and resources:

J. Sheridan Moore, Memorials of the late Robert Harris (Parramatta: John Ferguson, 1882)

Frances Devlin Glass, Moore, Joseph Sheridan (1828-1891), Australian dictionary of biography 5 (1974)

Barbara Short, Family secrets: stories from my mother's side of the family (Epping, NSW: Barbara Short, 2012)

HARRIS, George Prideaux Robert

Amateur flautist, deputy surveyor (David Collins' party), natural historian, magistrate

Born England, 1775
Arrived Australia 1803-04
Died Tasmania, 16 October 1870 (NLA persistent identifier)


One of several early colonial naval officers who were amateur flautists (including Matthew Flinders and Daniel Woodriff), Harris was deputy Surveyor with David Collins's party to Port Phillip, on board the Calcutta in 1803-04. In a letter to his brother, dated 14 February 1804, he asked to be sent "any new songs for the flute".

Bibliography and resources:

E. R. Pretyman, Harris, George Prideaux Robert (1775-1810), Australian dictionary of biography 1 (1966)

Barbara Hamilton-Arnold (ed.). Letters and papers of G. P. Harris, 1803-1812 Deputy Surveyor-General of New South Wales at Sullivan Bay, Port Phillip, and Hobart Town, Van Diemen's Land North (Hobart: Hear A Book, 1995)

Freda Gray, "Music of the early settlements of the 1800s", Papers and Proceedings (Tasmanian Historical Research Association) 43/2 (June 1996), 59-62

HARRIS, George

Piano tuner, repairer, articled apprentice (W. J. Johnson and Co.)

Active Sydney, 1857


[Advertisement], The Sydney Morning Herald (17 January 1857), 1

PIANOFORTES - GEORGE HARRIS, late with Messrs. W. J. Johnson and Co. pianoforte-makers, &c., Pitt-street, begs to inform the inhabitants of Sydney and its vicinity that his engagement under articles has ceased, and that he intends to follow the tuning and repairing department. Orders, from town or country, addressed to HUDSON, music-seller, l8, Pitt-street North, will meet with prompt attention. 16th January 1857.

[Advertisement], The Sydney Morning Herald (29 January 1857), 8

[Advertisement], The Sydney Morning Herald (3 October 1857), 10


Teacher of Singing and Pianoforte

Active Adelaide, 1859 ("A pupil of ... Signor Crivelli")


[Advertisement], South Australian Register (23 June 1859), 1


Indigenous singer, songman

Active Parramatta, NSW, ? 1817-24

See main entry: 

HART, Francis

Amateur vocalist, librettist, journalist

Born London, c.1859
Arrived WA, 1880


"VALEDICTORY TO MR. FRANCIS HART", The West Australian (1 April 1896), 6

Bibliography and resources:

Lyrics and librettos:

Exhibition Cantata (The Land of the Swan) (Music: Samuel Pascal Needham) (Perth, 1881)

Predatoros, or The Brigand's Bride [originally: The Handsome Ransom] (comic opera, in two acts) (Music: William Robinson) (premiered, 1894) published wordbook

Unfurl the flag (patriotic song; music: William Robinson)

HART, Sidney Herbert


Born Birtsmorton, Worcestershire, England, 1841 (last quarter)
Arrived Melbourne, 1863
Married Linda Anabella ANDERSON, Goulburn, NSW, 1879
Died West Melbourne, 8 August 1892, "aged 49"


[Advertisement], The Argus (2 May 1864), 8

[Advertisement], The Argus (22 January 1887), 16

[News], The Argus (26 November 1889), 6

"Deaths", The Argus (10 August 1892), 1

"DEATH OF MR. SIDNEY HART", North Melbourne Advertiser (12 August 1892), 2

... The late Mr. Hart, who was a native of Gloucestershire, arrived in Melbourne in 1863, and was at once engaged by the late W. S. Lyster as first violoncellist in his celebrated operatic orchestra ... His connection with all performers of distinction who visited the colonies in itself is sufficient to prove his claim to be a thorough artist, and for many seasons of the Melbourne popular concerts, at which the works of the great masters were performed, he was the 'cello player of the celebrated Zerbini Quartette - a combination of players of concerted music which would find few to excel it even in the old world. The deceased gentleman had arranged the site of a concert in the North Melbourne Town Hall on Monday last, and, singular coincidence, it proved to be the date of his death. Mr. Hart married a sister of the late Alfred Anderson, a celebrated artist of his day, who was pianist to the Duke of Edinburgh. For six or seven years Mr. Hart had been in declining health ... In private life he was a generous friend, of a most modest, amicable, and affectionate nature. As an artist he had few equals, if any ... His funeral was largely attended by leading members of the musical profession ... The remains were interred in the Melbourne General Cemetery.


Member of Zerbini Quartette, son-in-law of James Henri Anderson, brother-in-law of Alfred Anderson

HART, Thomas Henry

? Amateur singer, patron, publican

Active Sydney, NSW, by 1831
Died Sydney, NSW, October 1853


"SOCIAL AMUSEMENT", The Sydney Monitor (30 April 1831), 3

[News], The Sydney Gazette and New South Wales Advertiser (3 May 1831), 3

Mr. Hart, the proprietor of the George and Dragon inn, has established a sort of harmonic club at his house, the members of which meet once a week, and entertain each other with vocal music, "soberly".

"HART'S CONVIVIAL HARMONIC MEETING ... TO THE EDITOR", The Sydney Monitor (11 May 1831), 4

To the EDITOR of THE SYDNEY MONITOR. Sydney, 6th May, 1831. SIR, As an Englishman I revere the laws of my country, but cant, whether religious or political I despise. Is it possible Mr. Editor, that the proprietor of that respectable Inn, the George and Dragon, in Pitt-street, has been served with a notice, to permit a body of respectable and loyal merchants and shopkeepers met for the innocent recreation of a little harmony, to assemble no more? It cannot I think as an Englishman be possible. A clergyman of my acquaintance once said, "that an idle mind was the devils own shop. board," surely even those pure and immaculate saints who would prevent all amusement, cannot think they have the power to prevent a private individual from entertaining the same social enjoyments in their own habitations. Are the musical and vocal parties at the Governor's or at our Chief Justice's drawing rooms attempted to be innovated upon? And have we not all equal rights? How is it too Mr. Cummings can give dinners? Let the Corsican answer that. Your's, no canter, no hypocrite. X. Y. Z. ...

X. Y. Z. is naturally astonished. This impartial act of our Corsican Police Magistrate, shews the blessings we derive from being governed by the laws of a council nominated by the home Government, that is, nominated nominally by the Home Government, but really, by a faction of New South Wales. We remember well ten or twelve years ago, how deeply Sir John Jamison and others used to sigh for such a council in Macquarie's time. "Ah!" (said these sage politicians) "if we had a council of gentlemen, such goings on as these would never take place!" They have got their precious council; and what kind of goings-on are these of General Darling? The fact is, that we should recommend all Governors hereafter who wish to destroy the liberties of New South Wales, to begin as the General did., namely, by starving the convicts. The brave and noble-minded among them will then all turn bush-rangers. This will frighten the timid part of the Colony (three fourths of every community) to call for severe laws and an overwhelming police. They will also petition against the press if urged by the Berry's, Icely's, Maclaren's and Jones's, of the day. These things will reduce Englishmen to such slavery, that they cannot even meet at an inn and sing a song after nine o'clock at night. Ireland in a state of insurrection was not in a more deplorable a state than N. S. Wales is at this moment, as to civil liberty and domestic comfort. Bush rangers require horse patroles and an expensive police, and severe laws multiply criminals, and lots of Judges and lawyers and Registrars are wanted. These extravagances in their turn require more taxes; and these again invest the Governor with more influence in disbursing the cash. Thus the thing goes on in a circle ad infinitum ! ED.

? "FUNERAL", The Sydney Morning Herald (4 October 1853), 3

HARTIGAN, Joseph William (Sergeant HARTIGAN; J. W. C. HARTIGAN)

Ophicleide player, band sergeant (40th Regiment), composer

Born ? Dublin, Ireland, 1839; ? c.1841 (son of Joseph and Martha HARTIGAN)
Active Melbourne, VIC, by late 1852
Died Fitzroy, VIC, 20 July 1864, aged 33 (TROVE tagged by Australharmony)

See also Band of the 40th Regiment (second tour)

Images (including obituary):


According to a much later recollection (1925):

The ophicleide is not found in drawing rooms, being noisy and not blending well with the piano or strings, but in the orchestra, in conjunction with the trombone, it is invaluable as forming the bass of the brass. In the hands of Hartigan it became an instrument of considerable beauty, rendering the airs of the best operas with variations and cadenzas. Hartigan's death at the early age of 36 years [recte 33] was much deplored.

A Polka, "Matilda" (Hartigan) appears in programs by volunteer bands in March 1864. Hartigan himself was directing a volunteer band on St. Kilda Promenade in January 1864.


[Advertisement], The Argus (17 March 1853), 12

[Advertisement], The Argus (18 March 1853), 12

[incorrectly HALLIGAN]

[Advertisement], The Argus (28 January 1854), 8

[Advertisement], The Argus (1 November 1854), 8

[Advertisement], The Argus (8 April 1856), 8

[Advertisement], The Argus (18 August 1855), 8

[Advertisement], The Argus (1 November 1856), 8

[News], The Argus (7 August 1862), 4

[News], The Argus (29 January 1864), 4

[News], The Argus (8 March 1864), 5

"DEATHS", The Argus (21 July 1864), 4

"NEWS OF THE DAY", The Age (21 July 1864), 5 

We regret to have to record the death of Joseph William Hartigan, who has been for several years a resident in this city, and well known in the musical world as a composer, but more generally as the band sergeant of the 40th Regiment, which office he held till about four years ago, when his term of service in the regiment expired. Since then he has held the office of bandmaster of the Fitzroy volunteers, and of the St. Kilda promenade band. His splendid solo performances on the ophecleide, when a membor of the 40th Regiment, formed one of the principal attractions of the promenade concerts that used to take place during the summer months in the Botanic Gardons. He was only thirty-three years of age. He had been ailing for about a month, but his death occurred suddenly yesterday morning. His funeral will take place to-morrow afternoon, from his residence in Marion street, Fitzroy, at the back of Granite Terrace, and will, we understand, be accompanied by the band of the Fitzroy volunteers, who are indebted to the care and ability of the deceased for the high efficiency they have attained. A number of the company will, we understand, also attend with the view of conducting the interment with the usual military honors. The deceased has left a widow and four young childron wholly unprovided for, and it has already been proposed in some quarters to raise a subscription in their behalf - a movement which it is hoped will be liberally supported by those who so often enjoyed the pleasure of listening to his musical performances.

[News], The Argus (23 July 1864), 5


HARTNELLE, Madame (Miss MYERS; Mrs. HARTWELL [sic])

Dancing mistress

Active Sydney, NSW, 1844-45


For a short time in 1845 a colleague of Elizabeth Emanuel, "Madame H. having taught very successfully Dancing in this colony, intends at her residence to open an evening academy, for that accomplishment".


[Advertisement], The Sydney Morning Herald (14 February 1844), 3

"CLAIM FOR MAINTENANCE BY A WIFE", The Sydney Morning Herald (12 February 1845), 3

"MAITLAND", Bell's Life in Sydney (20 December 1845), 4

[Advertising], The Sydney Morning Herald (13 October 1846), 3


Dancing master, violinist

Active Sydney, NSW, 1830


[Advertisement], The Sydney Monitor (14 August 1830), 1

POLITE DANCING. MR. H. R. HARVEY Late of the Surrey and Olympic Theatres, RESPECTFULLY begs leave to make known to the Inhabitants of Sydney and its vicinity, that he intends to instruct young Ladies and Gentlemen in the polite art of his profession, in which he has been instructed by Messrs. Montgomery, Henry Elliston, and others of equal celebrity. Mr. H. practised in London. for upwards of fourteen years, during which time, his patrons were of the first circles of society. Any reference that may be required, will be obtained, by applying at the Royal Hotel, at which place he has engaged the large Saloon joining the Theatre. For the accommodation of Families and Schools, Mr. H. will attend privately, as he plays the violin, &c. In thus offering himself as a public and private teacher of Dancing, he indulges the hope, that he will share a portion of that liberality which the polite circles of society of Sydney have so very liberally bestowed upon teachers of of the above Art. An Academy will be opened in the Saloon of the Royal Hotel, on Tuesday, the 17th Instant. Nights of Tuition, Tuesdays and Fridays. To commence at Seven o'clock, and to continue till Nine each evening. Terms - £2 sterling per Quarter. Entrance, Half-a-Guinea. All letters are requested to be addressed to H. R. Harvey, at the Royal Hotel, Sydney, 4th August, 1830.

[Advertisement], The Sydney Monitor (8 September 1830), 4


Musician, multi-instrumentalist, composer

Active Adelaide, SA, by 1869
Active QLD, from 1884


Harvey was active in Adelaide and environs in the 1870s as a sportsman and musician, specialising in performances on multiple instruments. At celebrations of the Prince of Wales's birthday in 1869, he played sets of quadrilles and waltzes on four instruments, and by the same day in 1880 he had graduated to offering to play "selections on six different instruments". In December that year at Gawler, "both of the overtures were given by Mr. W. S. Harvey on six instruments, the manipulation of which fairly brought down the house." Among his certainly published compositions, all lithographed and printed by Penman and Galbraith, were the Zillah Waltz and Zalina Schottische (both 1875) and a quadrille set The South Australian Lancers (1877). Advertised as "THE MUSICAL WONDER. Playing Six Instruments Simultaneously with Orchestral Effects", he made his Queensland debut in June 1884. The Evening Shadows Schottische (1884), published in Brisbane, was "dedicated to Mr. H. J. Johnstons, the painter of the celebrated picture the title of which the composer has adopted". At Ipswich, Queensland, in May 1887, "W. S. Harvey performed the fiend-like diabolism of playing the cornet and the piano at one and the same time." The Old Memories Waltz "by the popular Australian composer W. S. Harvey" was advertised in September 1888.


[Advertisement], South Australian Register (8 November 1869), 1

"NEW MUSIC", South Australian Register (25 August 1875), 5

[Advertisement], South Australian Register (13 November 1875), 1

"NEW MUSIC", South Australian Register (22 September 1877). 4

; [Advertisement], South Australian Register (6 November 1880), 1

"THE GAWLER FRIENDLY SOCIETY FESTIVAL", South Australian Register (30 December 1880), 4

[Advertisement], The Brisbane Courier (9 June 1884), 1

"NEW MUSIC", South Australian Register (17 September 1884), 4

[News], Queensland Figaro (14 May 1887), 6s

[Advertisement], The Brisbane Courier (28 September 1888), 7

HARVIE, Montague

Flute player, organist and choirmaster (St. Stephen's, Richmond), music critic

Born Bideford, England, 1830
Active Melbourne, VIC, by 1856
Died Melbourne, VIC, 25 October 1875, aged 45



[Advertisement], The Argus (20 July 1860), 3

"SANDHURST CHORAL SOCIETY'S CONCERT", Bendigo Advertiser (6 May 1863), 2

... Mr. Hallas being unable to vacate his position as cornet-player in the theatrical orchestra, be bad prevailed upon his friend Mr. Montague Harvie, (who was on a visit to Sandhurst), to prolong his stay, in order that a Sandhurst audience might be afforded an opportunity of hearing that gentleman's Prize Exhibition Flute, to which request Mr Harvie acceded. The piece selected, was a Fantasia, by the late Charles Nicholson, introducing the favorite airs, "Life let us Cherish" and "Auld Robin Gray" also a French quadrille, "La Matilda." Mr. Harvie's thorough command of the instrument, and the richness and mellowness of the tones made this performance one of the most successful of the evening, and an encore was insisted on.

"THE CONCERT AT THE TEMPERANCE HALL", Bendigo Advertiser (7 May 1863), 2

Several of our friends who attended the Choral Society's concert on Tuesday evening have expressed a wish to know something of the instrument which Mr. Montague Harvie has introduced into this colony from the International Exhibition of 1862, we acquainted him with the public desire, and are indebted to him for the following particulars, which he kindly placed at our disposal: "The splendid instrument known as Carte's patent cylinder flute, which gained the prize medal at "the International Exhibition of 1862, is constructed in the newest and most approved principles. The tube is a plain cylinder of solid silver, which in its termination at the headpiece forms a perfect parabolic curve. It is owing to this parabola, the accuracy of the cylinder, and the pure metal of which it is made, that this instrument possesses so much volume of tone. The ordinary wooden flute familiar to most people is faulty in its design and construction, and performers have always found great difficulty in playing in time, especially in the more remote keys. Here, however, all keys are equally perfect, and the performer can execute in any key the most difficult passages with brilliancy and precision. The action of the wind in this tube may be thus described: - The wind striking against the parabolic curve is intensified in its effect, and is reflected through the instrument in a direction parallel to the axis of the tube. It would be tedious to describe minutely the action of the keys; suffice it to say, that it is the result of many years' study by the eminent patentee, Richard Carte, (of the firm of Rudall, Rose, and Carte,) and it has been not inaptly described by the Times as the 'perfection of mechanical ingenuity'."

"GRAND AMATEUR CONCERT", The Ballarat Star (4 October 1866), 3

[Advertisement], The Argus (18 May 1869), 8

"SOCIAL", The Argus (3 November 1875), 1s

Mr. Montague Harvie, a gentleman well known in literary and musical circles in Melbourne, died very suddenly, on October 25, of apoplexy. The deceased was a native of Bideford, Devonshire, England, and was 45 years of age. He came to this colony more than 20 years ago, and at different times was town clerk of Richmond, and in business as a merchant, and was connected with a portion of the Melbourne daily press as reporter and writer of musical criticism. His wife and her sister, daughters of Mr. Webb, formerly collector of Customs, are now in Europe, whither they went on a two years trip some months ago.

"VICTORIA", Launceston Examiner (11 November 1875), 3


Amateur vocalist, cornet-a-piston player, cornopean player

Active Adelaide from 1843; ? Tasmania, 1855
? Died Adelaide, 22 January 1856, aged 41 years


By 1843 an Adelaide victualer, and later briefly publican, Thomas Harward was declared insolvent in 1850. Harward was often billed as a glee singer, but from 1850 someone of that name also appeared in concerts as a cornet player. If the same person, he is perhaps also the McCullagh who was with Rachel Lazar-Moore's theatre troupe in Tasmania in 1855.


[Advertisement], South Australian Register (27 December 1843), 2


"THE AGRICULTURAL SOCIETY'S PLOUGHING MATCH", South Australian (8 August 1845), 2

"THE AGRICULTURAL SOCIETY", South Australian Register (9 August 1845), 3

"MRS. MURRAY'S CONCERT", South Australian (2 March 1847), 4

[Advertisement], South Australian Register (13 June 1850), 2

[Advertisement], South Australian (5 July 1850), 1

"INSOLVENCY NOTICES", South Australian Register (12 July 1850), 3

[Advertisement], South Australian Register (23 September 1850), 4

[News], South Australian Register (26 September 1850), 3

"HOPE LODGE OF ODD FELLOWS", South Australian (31 October 1850), 2

[Advertisement], South Australian (11 March 1851), 1

[Advertisement], The Cornwall Chronicle (20 January 1855), 5

[Advertisement], The Courier (15 September 1855), 2

"DIED", South Australian Register (23 January 1856), 2

HARWOOD, Charles William (R.A.M.)

Professor of the Pianoforte and Singing, organist, composer

Born UK, 1820
Active Sydney, NSW, by February 1853
Died Hunters Hill, NSW, 13 October 1904, aged 84


[Advertisement], The Sydney Morning Herald (5 February 1853), 5

[Advertisement], The Sydney Morning Herald (14 April 1854), 1

"BIRTHS", The Sydney Morning Herald (17 March 1855), 5

[Advertisement], The Sydney Morning Herald (17 March 1855), 1

[Advertisement], The Sydney Morning Herald (17 April 1855), 1

[Advertisement], The Sydney Morning Herald (18 May 1855), 1

[Advertisement], The Sydney Morning Herald (20 June 1857), 5

[Advertisement], The Sydney Morning Herald (29 December 1858), 5

[Advertisement], Empire (9 March 1860), 1

[Advertisement], Empire (14 March 1860), 1

[Advertisement], The Sydney Morning Herald (16 August 1861), 1

[Advertisement], The Sydney Morning Herald (1 August 1862), 1

[Advertisement], The Sydney Morning Herald (1 January 1864), 6

"DEATHS", Empire (4 July 1864), 1

"ONLY OF THEE", The Sydney Morning Herald (25 July 1864), 4

"ONLY OF THEE LOVE", Bell's Life in Sydney (30 July 1864), 2

"NEW PUBLICATIONS", Illustrated Sydney News (17 August 1864), 14

"TO THE EDITOR", Empire (3 July 1867), 3

"MARRIAGES", The Sydney Morning Herald (6 November 1877), 1

[Advertisement], The Australian, Windsor, Richmond, and Hawkesbury Advertiser (18 September 1880), 4

[Advertisement], The Sydney Morning Herald (6 October 1883), 3

"DEATHS", The Sydney Morning Herald (14 October 1904), 4

Musical works:

The biological polka ("composed by C. W. Harwood, and dedicated to Mr. Daly") (cover: "dedicated to Mr. Daly, composed by W. C. Harwood" [sic]) (Sydney: W. J. Johnson, [1853])

The Catherine Hayes polka ("in which an air sung by that celebrated Songstress is introduced") ("Composed and dedicated with permission to Miss Therry"; "W. C. Harwood" on cover; "C. W. Harwood" inside) (Sydney: W. J. Johnson, [1855])

Thinkest thou of me ("dedicated to Miss Nina Spagnoletti") (Sydney: Printed by Alonzo Grocott, [1861])

Only of thee, love! (song) (words: F. S. Wilson) (Sydney: Elvy & Co., [1864])


Comic vocalist, songwriter, entrepreneur

Active Melbourne, by 1859


Previously a Melbourne dancehall proprietor and agent in Ballarat for a woman who claimed to be able to walk 1000 miles in 1000 hours, Hatton described himself as "the well-known Local Comic Writer and Singer" when he toured Tasmania in 1861. He introduced his "New Local Comic Song" The dyeing attachment, or We are off to Queensland in Launceston in July, and in August in Hobart The Hobart Town shooting match, or the Volunteer in a fix and The death of the Gas Company, or much ado about nothing. The tour was not a success, and his Hobart landlady accused him of leaving her out of pocket. He claimed to have been about to leave for India. However, he was back in rural NSW in August 1863, where he introduced "a New Local Song Written expressly for Queanbeyan".


[Advertisement], The Argus (21 April 1859), 8

[Advertisement], The Star (4 June 1859), 3

[Advertisement], The Cornwall Chronicle (10 July 1861), 5

[Advertisement], The Mercury (5 August 1861), 1

[Advertisement], The Mercury (10 August 1861), 1

[Advertisement], The Mercury (30 August 1861), 1

[Advertisement], Queanbeyan Age (20 August 1863), 3

[News], Queanbeyan Age (21 January 1888), 2


Viola player (New Queen's Theatre)

Active Adelaide, 1848


[Advertisement], South Australian (6 October 1848), 3

HAUSER, Miska (Miska HAUSER)

Violinist, traveller, diarist, composer

Born Pressburg, 1822
Arrived Sydney, 28 October 1854 (per Heloise, from Valparaiso, 23 August)
Departed Melbourne, 16 July 1858 (per Emeu, for Europe)
Died Vienna, Austria, 8 December 1887 (TROVE tagged by Australharmony) (NLA persistent identifier)




A former associate of Lewis Lavenu in California, Hauser's intention to visit Australia was reported in the Sydney press as early as May 1853. The precise outlines of his almost 4 years of touring are better followed in the contemporary Australian press than in his own despatches (duly reported in the foreign press, from San Francisco to Stockholm) and later edited account. Hauser was generally well received in Australia as a musician, but even before his departure some of the local press took umbrage at published accounts of his travels. Accordingly, in June 1859, the Empire seemed happy to produce a slighting review of Hauser's recent Vienna concert. Further disquiet followed, when in July 1859, the Empire again reproduced am extended review from Bentley's Magazine of Hauser's travelogue. A year later, an editorial in the Empire, 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".


"Clerkpret", Teresa Parodi and the Italian Opera (New York: Wm. B. Parsons, 1851), 156-57

[News], The Sydney Morning Herald (12 May 1853), 4

"ARRIVALS", Empire (30 October 1854), 4

"THE VIOLINIST MISKA HAUSER", Empire (31 October 1854), 5

"THE VIOLINIST MISKA HAUSER", Empire (14 November 1854), 5

"THE CELEBRATED HUNGARIAN VIOLINIST MISKA HAUSER", The Sydney Morning Herald (14 November 1854), 4

"MISKA HAUSER'S CONCERT. To the Editor", Empire (7 December 1854), 5

[Editorial], Arthur's Illustrated Home Magazine (August 1855), 111

[Philadelphia, USA, August 1855] ... Miska Hauser was still enchanting the Australians with his magic violin when last heard from, and had found much favor in the eyes of the citizens of Sydney in particular, by the generous tender of a concert for the benefit of the Goulburn Hospital. Miska draws much gold, as well as a very fine bow.

[News], Musical World (8 September 1855), 219

[New York, 8 September 1855] ... Miska Hauser is in the interior of Australia, and is everywhere received with marks of sympathy. At his departure from Abonmite-Bay, one of the cities recently constructed in the South of New Holland, a party of his admirers accompanied him into the forest, to protect him against the attack of the natives.

"VALUE OF AN EDITOR'S TIME", Ballou's Monthly Magazine (February 1856), 180

"En artist I Australien", Ny Tidning för Musik (19 April 1856), 132

[News], Dwight's Journal of Music (24 January 1857), 135

[Advertisement], The Argus (9 June 1858), 7

TO MUSICIANS, &c. WANTED, to DISPOSE OF, a VIOLIN, Cremona. Apply early, Miska Hauser, Criterion Hotel.

"MISKA HAUSER", South Australian Register (22 June 1858), 3

"AMUSEMENTS", The Argus (15 July 1858), 7

"VICTORIA. July 2", The South Australian Advertiser (16 July 1858), 3

"MISKA HAUSER", The Sydney Morning Herald (24 June 1859), 8

The receipt of the Vienna Gazette of the 27th February (says one of our correspondents), one of the most respectable and reliable papers of Germany, and known for its impartial criticism about all concerning music, enables us to show our colonial readers the light in which the "would-be Australian Paganini", Miska Hauser, is viewed by an audience of connoisseurs. The said paper, after a lengthy comment on the virtuosi literal production of "Memoirs of a Virtuoso", with its atrocious falsehoods through-out, and with its most unlucky attempts to make Australia and her capitals (especially Sydney), appear a second Sodom or Gomorrah-speaks in the following terms of Miska Hauser's concert: "Notwithstanding the 1200 concerts he has given (and it here suits us to believe his saying), Miska Hauser's play is the same as before his departure. An European critic would denounce M. Hauser's tone as thin, his execution as very very moderate, his fluency not quite faultless, but his double notes out of time, and his musical production flat and without taste. Most undoubtedly Miska Hauser, in giving a concert in Vienna, never intended to show his proficiency, he merely meant to show us the entirely different taste of the countries in which he gained his (self appreciated) laurels. As an illustration of his memoirs he only meant to give us a specimen of music, with which he enraptured the hairdressers and Chinese of San Francisco, or the mulattoes and creoles of Santiago, or through what style of music only he was enabled to soften and enamour even the heart of Queen Pomare. Was Miska Hauser, however, in giving us this concert guided by other motives-did he but for one moment think to let us judge between himself and a Vieuxtemps, Ole Bull, Joachim, Wieniawski or others of their stamp-we can then not withhold our astonishment at M. Hauser's impertinence to treat a Vienna audience to so miserable a hash of ditties as the bird on the tree".

"MISKA HAUSER", Empire (5 July 1859), 3

[Editorial], Empire (17 July 1860), 4

"Music", The Queenslander (24 March 1888), 465 

I dare say many of my readers will recollect Miska Hauser, the violinist. He played in Melbourne in 1858, and his mannerism and charming tone quite captivated his audiences; the ladies especially were ready to die for him - at least, so they pretended. In this way he may be said to have led captivity captive. Musicians somehow excel at that sort of thing. Miska Hauser died at Vienna on the 9th December last. He retired into private life some twelve years ago. He used to play some "Lieder Ohne Worte" of his own composition exquisitely. King Victor Emmanuel created him a Knight of the St. Mauritius, a Lazarus order with which I am unacquainted. Kings have a way of doing these things on the cheap, though at one time honours were very precious and much appreciated by the recipients. Since his retirement nothing has been heard of him; he seldom or never played out of his own home. He was a cheerful and witty companion, and was deservedly respected.

Hauser's travel reports and writings:

"THE ROVING FIDDLER", Chambers's Journal of Popular Literature (5 January 1856), 14

"Eine Theaterscene in Melbourne (Aus Chambers's Journal)", Das Ausland (21 March 1856), 272

"Die Musik in Melbourne", Niederrheinische Musik-Zeitung (28 May 1859), 169

Hauser 1859a (see bibliography)

Hauser's extant Australian musical editions:

The bird upon the tree ("composed and arranged for the piano forte by Miska Hauser"; "Dedicated to Lady Macdonald") (Sydney: J. R. Clarke, [1857] (in Australian Album 1857); arranged by the composer from The bird on the tree [Das Voeglein im Baume, Grande Caprice Burlesque pour Violon avec orchestre ou piano, Op. 34] (New York: Schuberth and Co., 1854)

Rain drops in Australia ("Impromptu"; "Dedié a son ami Frederic Ellard") (Sydney: Woolcott and Clarke, 1855 (in The Australian Presentation Album for 1855)

Ballad ("Thou'rt like unto a flower") ("respectfully dedicated to Lady Mac Donnell") ( [?:] [Composer?], [1856?])

Australian flowers (impromptu for the piano forte) ("2nd Impromptu"; "Dedicated to Miss Aldis") (Sydney: J. R. Clarke, [1857]; in the Australian Album 1857)

The fisher maiden (barcarolle) (Du Schönes Fischermädchen [Heine]) ("composed expressly for his friend Mr. Frederic Ellard") ("transcrit par Frederic Ellard; composé par Miska Hauser") ("Dedicated to Miss Barney, Wootonga, North Shore") (Sydney: J. R. Clarke, [1859])

Bibliography and resources:

Jos. Wilhelm von Wasielewski, Die Violine und ihre Meister (Leipzig: Breitkopf & Härtel, 1869), 346


HAYES, Catherine

Soprano vocalist

Baptised Limerick, Ireland, 8 November 1818
Arrived (1) Sydney, 10 September 1854 (per Fanny Major, from San Francisco, July 8, via Honolulu)
Departed (1), 28 November 1854 (per Norna, for Calcutta)
Arrived (2) Melbourne, 28 June 1855 (per Glendargh, from Batavia, 26 May)
Departed Melbourne, 24 May 1856 (per Royal Charter, for Liverpool)
Died Sydenham, London, England, 11 August 1861 (TROVE tagged by Australharmony) (NLA persistent identifier)




"CATHERINE HAYES", Dublin University Magazine (November 1850), 584

"CATHERINE HAYES (From the Cork Southern Reporter)", The Musical World (21 June 1851), 389

"SAN FRANCISCO", The Musical World (23 July 1853), 466-67

"VALPARAISO", The Courier (17 November 1853), 2

"A MUSICAL TREAT FOR THE ANTIPODES", The Sydney Morning Herald (7 April 1854), 5

By a recent paper from America we learn that Catherine Hayes, a sort of Jenny Lind secunda, meditates a visit to Australia after her brilliant career in North and South America.

"THEATRICAL", The Sydney Morning Herald (26 August 1854), 5

[Advertisement], The Sydney Morning Herald (9 September 1854), 1

"MISS CATHERINE HAYES", The Sydney Morning Herald (12 September 1854), 5

[Press release]: We feel confident that our readers will thank us for presenting to them a few particulars of the career of the gifted cantatrice who has just reached our shores. Miss Catherine Hayes was born in Limerick. At an early age her beautiful voice won for her the patronage of the late Hon. and Right Rev. Edmund Knox, Bishop of Limerick. In Dublin, Signor Antonio Sapio was the first singing master of Miss Hayes, in 1841; and her first appearance in public took place at his annual concert in the great room of the Rotundo. In the December of that year she sang at the Concert of the Anacreontic Society. Liszt, the celebrated pianiste, heard her at a concert in January, 1843, and was so struck with her singing, that he wrote to the Bishop of Limerick's daughter-in-law thus: "I do not know of any voice more expressive than that of Miss Hayes, I doubt if, among the singers of the day, there is one equal in extent and volume to what her's will be." During 1843, Miss Hayes continued to be the leading singer of the Anacreontic, Philharmonic, and other powerful concerts in Dublin. Lablache and Costa heard her at the close of this year, and expressed high opinions of her musical abilities. It was on hearing Grisi and Mario, in "Norma," in this year, that Miss Catherine Hayes first experienced the desire to go upon the lyric stage; and, after considerable opposition from her relatives and friends, she went to Paris in October, 1844, to study under Manuel Garcia (the brother of Malibran and Viardot, and the master of Jenny Lind), who after a tuition of a year and a half, advised her to proceed to Italy, in order to obtain the best experience for the stage. At Milan she became a pupil of Signor Felice Ronconi, brother of the great Giorgio Ronconi, and, through the kind intervention of the once famed Madame Grassini (Grisi's aunt), she was engaged for the Italian Opera House, at Marseilles, where she made her debut on the 10th of May, 1845, as Elvira, in Bellini's "Puritani". She subsequently appeared in Lucia, and in Rossini's "Mose in Eguitto" (Zora). After her return to Milan, she continued her studies under Felice Ranconi, until Morelli, the director of the Scala (the largest theatre in Europe), offered her an engagement. Her first character was Linda di Chamounix. She was recalled twelve times by the audience. Her next part was Desdemona, in Rossini's "Otello," her performance of which earned for her the title of "The Pearl of the Scala." In the spring of 1S46, she sang at the Italian Opera in Vienna; and at the Carnival of 1846-7 was engaged at Venice: two new operas were composed for her, "Griselda," by Ricci, and the "Albergo di Romano," by Malespini. After a second season in Vienna, where Ricci wrote his "Estella" for her, and she also appeared in Norma. Miss Hayes visited Bergamo, Verona, Florence, and Genoa, enacting Maria di Rohan, and the leading parts in Verdi's operas, with the most distinguished success. Rubini and Mercadante, the composer, and the late Madame Catalani, expressed the highest admiration of her talents. After the termination of her engagement at the Carlo Felice, at Genoa, Miss Hayes was offered a carte blanche for London, both by Mr. Lumley, for her Majesty's Theatre, and by Mr. Delafield, for the Royal Italian Opera. She appeared at the latter house on the 10th of April, 1849, as Linda, and afterwards as Lucia, and sang at the private concerts at Buckingham Palace during the season: her Majesty graciously congratulating her on "her deserved success." Having been engaged by Mr. Lumley for the season, 1850, at her Majesty's Theatre, she made her debut there on the 2nd of April, in Lucia. Miss Hayes was engaged at Rome at the Grand Carnival, 1851 at the Apollo; and during the season of 1851 she was the star of the concert rooms in London, and of the performances at the Sacred Harmonic Society; while her singing in the sublime oratorios of Handel, Haydn, and Mendelssohn, have won universal admiration. Since that time she has been sojourning in America, where, as our readers are well aware, She has won literally golden opinions. The voice of Miss Catherine Hayes is of extraordinary compass: in the air of Fides, "Ah! mon fils," from Meyerbeer's Prophète, she descends to the low notes of the contralto register, after attacking the most elevated soprano tones, and her singing is eminently distinguished by the most intensely dramatic and artistic style. Her ballad singing, too, is perfection; her "Kathleen" is one of those exquisite interpretations in which the intellect and sentiment of the exponent are equally apparent. We need say no more to show to those of our readers who have not already enjoyed the opportunity of listening to this all-accomplished and very excellent lady, that they have a treat in store such as has never before been presented to an Australian audience - one, the announcement of which we await with much impatience. 

"SERENADE TO CATHERINE HAYES", Empire (14 September 1854), 5

A party of amateur musicians, about thirty in number, and consisting chiefly of members of the St. Mary's Choral Society [of which Isaac Nathan was then conductor], betook themselves, at a late hour last night, to Petty's Hotel, on Church Hill, where Miss Catherine Hayes is residing, to offer a musical-to her, doubtless, the most appropriate-welcome to the distinguished songstress. The piece selected was Shield's exquisite glee "Oh, happy, happy, happy fair!" and was performed with great taste and effect.

"SHIPPING INTELLIGENCE", The Maitland Mercury (13 September 1854), 2


[Advertisement], The Argus (7 November 1854), 8

"CLEARED OUT", The Argus (4 December 1854), 4

"CATHERINE HAYES", Bell's Life in Sydney (21 April 1855), 2

"MISS CATHERINE HAYES", The Sydney Morning Herald (18 June 1855), 5

Many of our readers will be glad to hear that this gifted lady contemplates a second visit to our city; and her sojourn, we have reason to believe, will be of some duration. Miss Hayes writes in April from Batavia, where her success has been most complete, her magnificent powers of singing and acting being ably supported by the French operatic company located in that singular city. A file of Calcutta papers, just received, contains many enthusiastic critiques on her performances in the "city of palaces", and although it seems the first three concerts did not command overflowing audiences, yet the remainder of the series were entirely successful, the proverbial apathy of the people being at length overcome. The voyage from Melbourne to Ceylon in the Norna must have been unusually agreeable, as the passengers, with Miss Hayes' assistance, gave a succession of operatic and dramatic entertainments, and the addresses delivered on the several occasions written, we imagine, by our facetious friend, M. Lavenu, are very amusing. The programmes place Miss Hayes for Bishop's glee, "Blow gentle Gales", assisted by Lieutenant Woolridge, R.N., Captain Burne, and Mr. Bain; also a selection of her favourite songs, concluding on each evening with the National Anthem: the solos by Miss Hayes, M. Lavenu on the harmonium, a gentleman rejoicing in the patronymic of Fitz Stubbs on the guitar, with numerous vocal displays by the rest of the company.

"ARRIVED", The Argus (29 June 1855), 4

"MISS CATHERINE HAYES", The Argus (2 July 1855), 5

On Friday next Miss Catherine Hayes will give a GRAND CONCERT in aid of the Destitute in and around Collingwood ...

[News], The Sydney Morning Herald (6 August 1855), 4

"MISS. C. HAYES - OPERA", The Sydney Morning Herald (24 August 1855), 8

"MELBOURNE", The Sydney Morning Herald (5 May 1856), 5

"CATHERINE HAYES", South Australian Register (19 May 1856), 2

"CLEARED OUT", The Argus (26 May 1856), 4

[Editorial], The Musical World (17 August 1861), 520

"MADAME CATHERINE HAYES-BUSHNELL", The Gentleman's Magazine (September 1861), 331

"OBITUARY: MADAME CATHERINE HAYES", The Sydney Morning Herald (12 October 1861), 5

The death of this talented and popular vocalist took place on Sunday, August 11th, at Sydenham. On the previous Monday her medical attendant, Mr. Chappell, of George-street, Hanover square, was requested by telegraph to attend her. From that time, in spite of medical treatment, she gradually became worse, and on Sunday morning she was speechless. At half past six in the evening she expired, in the presence of her mother, and the friends at whose house she had been staying on a visit. Madame Hayes was about 40, and not in the least worn by her exciting profession. The effects of heated theatres had been blown away from her by the breezes of the Atlantic, Pacific, and Indian Oceans, and, accustomed to every climate of the world, she seemed the very last person for whose life one would have feared. Her great success as a vocalist is a matter of too much notoriety to need description. Even when matched against the great heroines of the Italian stage she was successful and for many years her position at the head of English concert singers has been impregnable. In Catherine Hayes Ireland has lost one of the sweetest singers of its national airs. A daughter of the sister isle, she was thoroughly imbued with the spirit of its melody, and it was in the alternately wild and tender melodies which have inspired so many poets that her genial warmth of expression found it highest medium for display. As a singer of this particular class of music she was probably unsurpassed. It was here, far more than in the Italian vocalisation of which she made herself an accomplished adept, that Catherine Hayes possessed the secret to charm the crowd. In her own country she had but to give a national air and hold the audience spell-bound. In private life the departed lady owned none but enthusiastic partisans, for no professor of the musical art ever reflected more social honour on her calling. Her career extended over some twenty years and upwards, during which she studied in Ireland under Signor Sapio, in France under Signor Manuel Garcia, and in Italy under Signor Filice Ranconi. Her public performances abroad were commenced, we believe, at Marseilles. From Marseilles she went to Milan, from Milan to Vienna thence to Vencie and other Italian towns. In 1849 she came to London with a first class continental reputation, and few amateurs can have forgotten the flattering reception accorded to her when she appeared (with Mr. Sims Reeves) in "Linda di Chamouni" at the Roval Italian Opera. After two years in Great Bntatn, Catherine Hayess went to the United States, visited Calfornia, the Sandwich Islands, and subsequently Australia and India. In these distant regions the fame she had acquired in England was turned to profitable account, and, everywhere "triumphant," she realised a handsome fortune. On her return to England she sang at the concerts presided over by the late M. Jullien at her Majesty's Theatre, and since that period she has made tours in the provinces, especially in Ireland, where her way may be said, without exaggeration, to have been paved with gold and strewn with flowers. She was married in 1857 to Mr. Bushnell, who had undertaken the superintendence of her professional business in the New World. Her domestic happiness was, however, of very short duration, as she had for some years been a widow when she was herself called away.

"Catherine Hayes", in Ellen Creathorne Clayton, Queens of song: being memoirs of some of the most celebrated female vocalists ... Volume 2 (London: Smith, Elder & Co., 1863), 274

Related musical prints:

W. V. WALLACE: Why do I weep for thee (as sung by Miss Catherine Hayes) (Sydney: Woolcott & Clarke, [September 1854]; [for later edition as printed in the Australian Presentation Album 1855]

W. V. WALLACE: Happy birdling of the forest (Composed expressly for and sung by Miss Catherine Hayes arranged by L. Lavenu) (Sydney: H. Marsh & Co., [? 1854])

H. R. BISHOP: Home sweet home (favorite melody as sung by Miss Catherine Hayes) (Sydney: Woolcott & Clarke, [1855])

G. BARKER: The Irish emigrant (As sung by Miss Catherine Hayes) (Sydney: H. Marsh & Co., [1854])

Cuahla Machree (Oh! Erin my country) (Miss Catherine Haye's favorite song) ([ ? Sydney: Woolcott And Clarke, 1855])

L. LAVENU: My Molly Asthore (As sung by Miss Catherine Hayes) (Sydney: H. Marsh and Co., [1855])

G. ALARY, Variations as sung by Miss Catherine Hayes (Sydney: J. R. Clarke, 1857)

Bibliography and resources:

Dennis Shoesmith, Hayes, Catherine (?-1861), Australian dictionary of biography 4 (1972)

Basil Walsh, Catherine Hayes: the Hibernian (Irish) prima donna (Irish Academic Press)

HAYWOOD, T. Julian (Timothy)

Organist, composer

Active Hobart, TAS, 1892-1909 (NLA persistent identifier)

Image: Mr. Timothy Julian Haywood - pianist and choirmaster at Hobart. A noted accompanist at Hobart concerts. Caricature drawn by Thomas Claude Wade Midwood, Hobart, Tasmania, 1854-1912: (also



"LOCAL OPERA PRODUCTION", The Mercury (29 July 1899), 2

Preliminary announcement is made of an attractive entertainment, in the shape of a Spanish Opera-Bouffe, entitled The Brigands of La Mancha, to be produced in the Theatre Royal on September 4 and 5 next, under the able management of Miss Harbroe, of Woodlands, New Town. The production has been initiated by Miss Harbroe solely for philanthropic purposes, namely, the Victoria Convalescent Home. The opera will be interesting, from the fact of its being entirely a local production. The librettist is a rising young law student of Hobart, and the music has been composed by Mr. T. Julian Haywood, the city organist.

"THEATRE ROYAL. THE BRIGANDS OF LA MANCHA", The Mercury (5 September 1899), 3

"TASMANIA", Kalgoorlie Miner (16 December 1909), 5

At the Criminal Sessions to-day, Timothy Julian Haywood, civil servant and the city organist, pleaded guilty to an attempt to commit an unnatural offence. Mr. Justice McIntyre said that in view of the consequences to the prisoner he would temper justice with mercy, and sentence him to twelve months' imprisonment.

Bibliography and resources:

HEALY, George

Professor of Music

Active Bathurst, NSW, 1856


[Advertisement], Bathurst Free Press (16 February 1856), 3


HEAPS, Alfred Walter

Violin maker

Born Leeds, England
Arrived Sydney, after 1875
Died Paddington, NSW, 14 May 1906, in his 54th year


"The Sydney International Exhibition", Australian Town and Country Journal (17 April 1880), 6

"MUSICAL INSTRUMENTS IN THE GARDEN PALACE", Australian Town and Country Journal (29 November 1879), 9

"Answers to Correspondents", Australian Town and Country Journal (9 August 1884), 20

"DEATHS", The Sydney Morning Herald (17 May 1906), 6

"THE LATE MR. A. W. HEAPS, VIOLIN MAKER, A SKETCH OF HIS CAREER", Australian Town and Country Journal (27 June 1906), 39


HEARNE, John Alfred (alias DANIELS)


Died Sydney, 29 June 1857


"ANOTHER VICTIM OF INTEMPERANCE", The Sydney Morning Herald (2 July 1857), 5

Yesterday, the coroner, Mr. Parker, held an inquest at the house of Charles Tibbey, Dowling-street Hotel, Woolloomooloo, on the body of John Alfred Hearne, alias Daniels, who died on Monday night, after a brief illness. From the evidence it appeared that deceased, who was a married man, and a musician by profession, lived at Duke-street, Woolloomooloo ...

HEARTH, Thomas

Pianoforte maker and tuner of musical instruments (from Clementi, Cheapside, London)

Active Sydney, from 1839; Launceston, from 1842; Adelaide, 1845

Documentation:[Advertisement], The Sydney Monitor (22 July 1839), 3

[Advertisement], The Sydney Monitor (2 December 1839), 1

[Advertisement], The Sydney Herald (24 May 1841), 2

[Advertisement], The Sydney Herald (12 September 1841), 1

[Advertisement], The Cornwall Chronicle (6 August 1842), 3

[Advertisement], Launceston Examiner (21 December 1842), 2

"ATTEMPTED ROBBERY", The Cornwall Chronicle (21 September 1844), 3

[Advertisement], Launceston Examiner (19 October 1844), 1

[Advertisement], South Australian (25 March 1845), 2

[Advertisement], South Australian Register (18 June 1845), 2


Organist, pianist, music teacher

Active Woodville, SA, 1859


[Advertisement], The South Australian Advertiser (5 May 1859), 1

MR. J. W. HEBERLE PIANIST, Organist of St. Margaret's Church, Woodville, will attend PUPILS on the PIANOFORTE and SINGING; also on the HARMONIUM preparatory to Organ study.

[Advertisement], The South Australian Advertiser (27 December 1859), 1 

HEDGES, William Henry

Professor of Music

Active Mount Gambier, SA, by 1868


[Advertisement], Border Watch (11 July 1868), 3

[Advertisement], Border Watch (27 October 1868), 1

"NEW INSOLVENTS", The Argus (4 May 1875), 5

William Henry Hedges of Hamilton, music teacher. Causes of insolvency: Falling off of business, sickness of self and family, and bad debts. Liabilities £76.11s; assets £57. 15s. 6d., deficiency, £18.15s.6d.

[Advertisement], The Brisbane Courier (21 July 1881), 3

I WILLIAM HENRY HEDGES, Professor of Music, now residing at Ipswich-road, near the Woolloongabba, in the district of Brisbane, do hereby give notice that it is my intention to apply at the next Monthly Licensing Meeting or Special Petty Sessions, to be holden for this district on the 9th day of August next ensuing, for a PROVISIONAL PUBLICAN'S LICENSE ..." 

HEDGELAND, Frederick James (James Frederick)

Organist, teacher of the pianoforte, singing class instructor (Hullah's system)

Born Marylebone, England, c.1831-2
Active Sydney, NSW, 1854
Died Prahran, VIC, 11 April 1911, aged 79 


1851 UK census: [HEDGELAND, FREDERICK JAMES 19 yrs, organist dwelling with father and older brother]

[Advertisement], Illustrated Sydney News (27 May 1854), 12

MR. FREDERICK HEDGELAND, late Organist of St. Matthew's District Church, Marylebone, London, and now of St. Mark's, Alexandria, will be happy to increase the number of his pupils for the Pianoforte. Terms may be known at Alpha Cottage, 4, William-street, or at Messrs. WOOLCOTT AND CLARKE'S, George-street.

[Advertisement], The Sydney Morning Herald (2 September 1854), 6

" MARRIAGE", The Cornwall Chronicle (4 April 1879), 2

"HULLAH SINGING", Launceston Examiner (31 July 1879), 2

[Advertisement], Launceston Examiner (1 August 1879), 1

INSTRUCTION IN CHORAL SINGING ... on the Wilhem method, as taught by Mr John Hullah, of London. MR. J. F. HEDGELAND, Professor of Music, Launceston (formerly organist of St. Matthew's Church, Marylebone, London; St. Mark's, Darling Point, and St. James's Choral Society, Sydney; and late of St. John's Church, Toorak), will shortly commence singing classes on the above method, at the Town Hall ... 

[News], Warragul Guardian (27 June 1893), 2

"DEATHS", The Argus (12 April 1911), 9

Bibliography and resources: 

HEINE, Joseph

Blind violinist

Born England, 1830
Died USA, ? 30 April 1895

HEINE, Ada (Mrs.)


Arrived Melbourne, July 1864 (per Morning Light, from England)
Active Eastern Australia, between July 1864 and December 1865
Departed after ? April 1866 (for San Francisco)


"ENGLISH EXTRACTS", The Courier (21 August 1858), 3

"CRYSTAL PALACE", Dwight's Journal of Music (5 January 1861), 328

[Advertisement], The Argus (28 July 1864), 8

"SOCIAL", The Ballarat Star (24 January 1865), 1s

"FRIENDS AT HOME", Launceston Examiner (21 February 1865), 6

"MR. AND MADAME HEINE", The Mercury (2 March 1865), 2

"MR. AND MRS. HEINE'S CONCERTS", The Sydney Morning Herald (12 August 1865), 5

"TO THE BLIND MUSICIAN, JOSEPH HEINE ... J. LE GAY BRERETON", The Sydney Morning Herald (23 August 1865), 5


Child-like Interpreter of Heaven,
While triflers win at folly's mart,
Yield thou to God what God hath given,
Who triumphs in triumphant art!

The common light which us surrounds
Is darkness to that light whose trace
We catch in those enchanted sounds,
And in the music of thy face.

And she who blends her notes with thine,
And hath, oh more! than eyes for thee,
Reflects a radiance more divine
Than aught our common eyes can see;

Echoes a music more than art,
Which yet a deeper spell controls,
The music of a loving heart,
The music of two married souls.


[Advertisement], Daily Southern Cross (25 December 1865), 1

[Advertisement], Nelson Examiner (10 February 1866), 5

[News], The Darling Downs Gazette (26 April 1866), 3

[News], Launceston Examiner (30 March 1867), 5

HEINE, Constance

Blind pianist (daughter of the above)

Active Melbourne, by 1873



Constance Heine, aged 13, who was born blind, and who is a daughter of the deceased violinist of that name, showed very great proficiency on the pianoforte. She is a pretty girl, and was a great favourite with the audience.


The concert, which was given solely by the pupils of the Asylum and School for the Blind (under the direction of Mr. F. W. Harmer, teacher of music and singing at the asylum), was extremely enjoyable, some of the pianoforte selections (especially one by Miss Constance Heine, a blind girl only 14 years of age) being very excellently rendered.

"CONCERT AT THE BLIND ASYLUM", The Argus (29 November 1879), 9

At the end of the first part of the programme, the Rev. Wm. Moss, the secretary and superintendent, thanked the audience for the numerous attendance, he believed that numbers had not only come to hear the last concert of the season, but were also influenced by the fact that this was the last occasion on which they would hear Miss Constance Heine. It was with mingled feelings of pleasure and regret that they parted from one who for the last eight years had been with them. During that time Miss Heine had won esteem both in and outside of the institution. She had not only won their affection and confidence, but had rendered herself very useful in the asylum, from being herself a pupil, she had latterly come to be a skilful teacher. If he could have done it nicely, he would have prevented her from leaving; but she was anxious to rejoin her parents, whom she had once seen (she became blind at four years of age), and the committee had acceded to her wish. He was glad to think that when she left the asylum she had developed talent that would enable her to take a fair position amongst musicians both in England and America ... Miss Heine, who is a great credit to the institution, played Liszt's "Tarantelle Napolitaine" and Thalberg's "Home, Sweet Home," with admirable accuracy and finish, besides taking part with other concerted pieces for the piano.

"A WORLD WITHOUT LIGHT", The McIvor Times (26 April 1883), 3  

Miss Constance Heine is prospering in America. This young lady was blind from birth, her father, the well known violinist, being also blind. Miss Heine's parents went to America, and some time afterwards sent for their daughter. She went to them, and at latest report she was teaching music to the blind inmates of the Perkins Institute.

HEINICKE, Hermann (August Moritz Hermann HEINICKE; Herman HEINICKE; Herr H. HUNICKE)

Musician, violinist, teacher of violin, conductor

Born Dresden, Germany, (? 16) 21 July 1863
Arrived Adelaide, SA, 12 June 1890 (per Parramatta, from London, 2 May)
Died Adelaide, 11 July 1949 (NLA persistent identifier) (TROVE tagged by Australharmony)



"LATEST SHIPPING", The Express and Telegraph (13 June 1890), 2 

"HERR HEINlCKE", Evening Journal (18 July 1896), 5 

Herr Hermann Heinicke was born July 16, 1863, and entered the Dresden Royal Conservatoire of Music in April, 1873. Showing great talent, he won a scholarship in 1877, which he held for five years. He studied the violin under the world-famed Professor Rappoldi, piano under Professor Braunroth, and theoretical subjects under Professor Dr. Wullner. He received very gratifying testimonials on leaving the above institution, and accepted engagements as leader in several of the foremost orchestras of Germany, and travelled in different countries. In April, 1890, Herr Heinicke accepted the post of teacher of solo violin, orchestral, and quartet playing at the Adelaide College of Music, and in these capacities he has gained a reputation far beyond the limits of our own province. Perceiving the abundance of talent in Adelaide for the organization of a large male chorus, Herr Heinicke several years ago established a Society the outcome of which is the Adelaide Liedertafel in its present state. Since his residence in Adelaide Herr Heinicke has acted as leader or conductor at all important orchestral engagements, and he is now also Musical Director of the Adelaide Harmonie Society, as well as conductor of the Liedertafel. He has also acted as leader at the Chamber Music Concerts for several seasons. But it is to his great success as organiser and conductor of the large orchestra which takes his name that Adelaideans are perhaps chiefly indebted to Herr Heinicke's enterprise and skill. The colony has never before possessed such a skilled body of instrumentalists, and the series of popular concerts now in their second season have given the orchestra high repute and wide popularity. Herr Heinicke possesses almost a magnetic influence over his players, and is no less popular with them than he is with the general public, whether British or Teutonic. Herr Heinicke may be said to favour the modern Romantic school in violin music, and his playing is characterized by great brilliancy and verve.

"Deaths", News (14 July 1949), 18 


Joyce Gibberd, "Heinicke, August Moritz Hermann (1863-1949)", Australian dictionary of biography 9 (1983) 

HELLER, Robert R.A.M. (alias of William Henry PALMER)

Musico-magician, pianist

Born Britain, c.1830
Arrived Sydney, NSW, September 1869
Departed Geelong, VIC, September 1871
Died ? USA, 1878







[Advertisement], The Sydney Morning Herald (14 September 1869), 8

"MR. HELLER AS A MUSICIAN", The Argus (22 November 1869), 5

"PASSENGERS SAILED", Illustrated Australian News (9 October 1871), 190

HELY, Terrence

Musical instrument maker, convict

Arrived Sydney, 29 June 1834 (per James Laing, from Dublin)


Terence Hely, aged 18, a piano makers boy, was convicted in Dublin on 1 December 1833 of robbing a till. Sentenced to 7 years, he arrived in NSW per James Laing on 29 June 1834. In 1837, he was assigned to the music seller Francis Ellard, also originally from Dublin.

Bibliography and resources:

HELY, Mary Joanna (Mrs. Gother MANN)

Amateur musician and composer

Born c.1819/20
Active Sydney, NSW, 1835
Married Gother Kerr Mann, St. James's, Sydney, 3 January 1838
Died Sydney, NSW, September 1901, aged 82

HELY, Frederick Augustus

Amateur ballad writer, ? composer

Born Tyrone, Ireland, 1794
Arrived Sydney, NSW, 1823
Died Sydney, NSW, 8 September 1836 (NLA persistent identifier)


In 1835 Francis Ellard issued his first two local musical publications, both of which had been expressly printed in Dublin, and which probably arrived in Sydney in a shipment he received in December. Of the two items, one survives The much admired Australian quadrilles, dedicated "to Miss Hely of Engehurst", a daughter of Frederick Hely, Superintendent of Convicts. While there was nothing Australian about its musical contents (based on melodies by, among others, Bellini, Adam, and Lover), the set's dedicatee, sale destination, and titles were clearly aimed at a colonial market. But the second Dublin print, no copy of which has alas been identified, was an Australian composition, a ballad The parting, "composed by a young lady", apparently Miss Hely herself, to words by her father, though the Herald was inclined also to attribute the music to Frederick Hely:

AUSTRALIAN MUSIC. We have received from Mr. Ellard, the music-seller of Hunter-street, copies of some Colonial music, harmonised in Sydney, and printed by Mr. Ellard's father in Dublin. The music consists of a Ballad entitled The Parting, composed by a young lady, the words by F. A. H.-The initials are easily recognised as those of a gentleman in the Colony, whose production, both music and poetry are said to be. The ballad is in an appropriate and pretty key (flats), and its melody and arrangement display a pleasing simplicity of style, without much originality.

The issue was also reviewed in the Gazette:

We have before us a beautiful ballad (the music said to be by a lady), and The much admired Australian Quadrilles, published in Dublin by our enterprising fellow colonist, Mr. Ellard, of Hunter-street, Sydney. There is a simplicity and beauty in the former which we are sure will attract the attention of all young ladies studying the pianoforte, and will be a very good addition to their initiatory studies.

For all his enlightened interest in music for the parlours of the Sydney gentry, Hely was much less supportive of the musical activities of the under classes. When sitting on the bench, Hely was typical of Sydney magistrates in taking a dim view of disorderly houses wherein occurred "fuddling, fiddling, and dancing". On one occasion in February 1827 Hely sentenced a "Sydney Orpheus who kept the people capering at their midnight orgies to 5 days solitary confinement on bread and water".

Frederick Hely had three daughters, 2 of whom married and remained in Australia. The eldest, Mary, was almost certainly the Miss Hely in question (according to custom, the eldest unmarried Hely daughter was identified as "Miss Hely", without a qualifying initial). She married Gother K. Mann, who later joined Leichhardt's expedition. Having herself raised a musical family, she died in Sydney in 1901, aged 82.


"Police Reports. SYDNEY", The Sydney Gazette and New South Wales Advertiser (24 February 1827), 3

"Sydney General Trade List: IMPORTS", The Colonist (10 December 1835), 7

6 packages musical instruments, F. Ellard

[News], The Sydney Gazette and New South Wales Advertiser (12 December 1835), 2

"NEW MUSIC", The Sydney Monitor (12 December 1835), 3s

"AUSTRALIAN MUSIC", The Sydney Herald (24 December 1835), 2

"ERRATUM", The Sydney Herald (28 December 1835), 3

"MARRIED", The Sydney Herald (4 January 1838), 3

"THE LATER MRS. GOTHER MANN", The Brisbane Courier (17 September 1901), 6

"NAPOLEON'S GUITAR", Sunday Times (16 September 1917), 13 

Mrs. John Fell, of Northwood, has had presented to her on behalf of War Chest Day, an absolutely authenticated Napoleon guitar, presented by the French Emperor to Mrs. Abel, who afterwards gave it to her favorite pupil, Mary Hely, who became later the wife of the late Captain Gother Kerr Mann. Mrs. Abel was formerly a Miss Balcomb, and lived while a child with her father at St. Helena, where Napoleon made a great pet of her, and gave her this special guitar which had been presented to him by his sister Pauline, and on which he himself always played. It was taken to Europe by the Stricklands, and came into the possession of Mrs. Swann, who recently returned it to the Misses Gother Mann, who have now presented it to War Chest Day.

Bibliography and resources:

A. F. Pike, Hely, Frederick Augustus (1794-1836), Australian dictionary of biography 1 (1966)

See also these MAnn family resources with some music subject matter:

Extracts from the diary of Mary Caroline "Minnie" Mann, during the visit of the Austrian Imperial frigate Novara to Sydney, 18 May 1858 to 31 January 1859 

John Frederick Mann diary, October 1846 - 9 August 1847; State Library of New South Wales, DLMS 178/Item 1 

John Frederick Mann diary, 16 April 1857 - 10 September 1862; MLMSS 327/Box 1/Item 1 

HEMMINGS, Nathaniel ("Natty"; HEMINGS)


Active Warwick, QLD, c.1880s-90s


"ECHOES OF THE PAST", Warwick Daily News (13 March 1937), 3 

Nowadays Warwick has a number of bands - pipe, brass, mouthorgan, etc. - but in the days I am referring to the music for St. Patrick's processions was provided either by the late Bill Hemmings' father, "Natty" Hemmings, one of Warwick's best violinists; James Collins, better known perhaps as "Jim the Fiddler;" or a partly blind flute player by the name of Paddy Nolan. Can remember two of the "fiddler's" tunes - "'Patrick's Day" and "Garry-owen."

HEMY, Henry Frederick (Henri F. HEMY)

Pianist, tenor vocalist, composer

Born Newcastle-upon-Tyne, England, 12 November 1818
Active Melbourne, VIC, by January 1851
Departed Melbourne, VIC, April 1852 (per Blundell, for England)
Died Hartlepool, Cleveland, England, 10 June 1888


"Mr. Hemy, a German" was a prominent Newcastle-upon-Tyne musician in 1827; Henri Hemy (1780-1859) was born in Germany, volunteered for service as a military musician with the Duke of Buccleuch and came to England in 1797. One family historian claims that its was Henry senior who came to Australia and settled, along with other members of his family. This may well be so. However, this particular visitor to Australia was almost certainly his son, the famous Henry (billed in a Melbourne advertisement as "Henry F. Hemy"), best known later as author of the extraordinarily popular Royal Modern Tutor for the Pianoforte; published in 1858, it reached it 20th edition by April 1859, and remained in print well into the next century, including several Australian editions ( He was also composer of some of the most commonly sung English Roman Catholic hymns, including the tune commonly used for Faber's hymn Faith of our Fathers; usually known as St. Catherine, it first appeared in his collection Crown of Jesus (London & Dublin, 1864). Henry's son, the artist Charles Napier Hemy (1841-1917) recorded in his memoir Days of my youth ( his travels with the family as a ten-year-old to and from Australia, and his adventures in the Victorian goldfields in 1851.

Henry Hemy first appeared in Thomas Reed and Elizabeth Testar's Melbourne concert series on 9 January 1851, when he was featured as pianist (playing a fantasia by Dohler), vocalist, and composer, the band playing for the "first time in Melbourne" his Chimes polka and Birthday quadrilles. On 11 January, he advertised that he had "commenced giving instruction on the pianoforte" from his residence in Stephen-Street and that "Drawing-room, Evening Parties, and Balls attended, either with Pianoforte Solo, Piano and Violin, or with Messrs. Hemy and Reed's Select Quadrille Band. Terms as above, or at Mr. Reed's Musical Repository, 34, Collins-street West, where also Mr. H. F. Hemy's Compositions are on Sale." In March, "four of the principal vocalists of Melbourne" announced that, as the Melbourne Glee Club, with Hemy as conductor pianist and conductor, they were open to engagement. He also took over the direction of a Mechanics' Institution Music Class. Hemy composed at least two local titles during his short stay in the colonies, in June The Victoria quadrilles ("composed and dedicated to His Excellency Sir Charles Joseph La Trobe ... by Henry F. Hemy"). In November, he advertised copies for sale of Hemy's Melbourne polkas, price 3s, "also Manuscript Copies of all his other Favorite Waltzes, Quadrilles and Polkas. The whole of the printed editions being sold".

Having last appeared in a concert in late September, in the same advertisement he indicated that he was resuming his professional duties from his residence at No. 1, Great Brunswick-street, Collingwood, so it was probably during October that he and his family visited to goldfields. Due to unexpectedly protracted arrangements for returning home to England, he gave two farewell concerts, in January and February 1852, and the family had still not finally left when his wife gave birth to a daughter on board ship but still in the bay in April.


[Advertisement], The Argus (9 January 1851), 3

"THE CONCERT", The Argus (10 January 1851), 2

[Advertisement], The Argus (11 January 1851), 3

[Advertisement], The Argus (17 February 1851), 3

[Advertisement], The Argus (20 February 1851), 3


[Advertisement], The Argus (24 March 1851), 1

[Advertisement], The Argus (14 April 1851), 3


"THE CONCERT", The Argus (16 July 1851), 3

"THE POPULAR CONCERTS", The Argus (23 July 1851), 2

[Advertisement], The Argus (4 August 1851), 3

[Advertisement], The Argus (25 September 1851), 1

[2 advertisements], The Argus (13 November 1851), 3

[Advertisement], The Argus (2 January 1852), 3

[Advertisement], The Argus (16 February 1852), 3

"BIRTHS", The Argus (13 April 1852), 2

Documentation (UK):

E. Mackenzie, A descriptive and historical account of the town & county of Newcastle-upon-Tyne, including the borough of Gateshead, volume 1 (Newcastle-upon-Tyne: Mackenzie and Dent, 1827), 592

"GATESHEAD MECHANICS' INSTITUTE", Local collections; or, records of remarkable events connected with the Borough of Gateshead 1848 (Gateshead-on-Tyne: William Douglas, 1848), 34

"NEW MUSICAL PUBLICATIONS", The Literary Gazette (9 April 1859), 473

Bibliography and resources:



Active Hackney, SA, 1855


"POLICE COURTS", South Australian Register (5 March 1855), 3


Soprano vocalist

Arrived Melbourne, VIC, 17 January 1862 (per Voltigern, from London, 4 October 1861)


Ella Henderson arrived in Australia with Emma Neville and George Loder in January 1862, and appeared with them in Loder's The Rival Prima Donnas in Ballarat in February 1862. In September, she made her first, and perhaps only, Melbourne appearance in a stage performance of Midsummer Night's Dream with Loder conducting Mendelssohn's music. She is perhaps the Mrs. Ella Henderson who gave a concert at London's Hanover-Square Rooms in June 1858.


"CONCERTS", The Musical World (6 June 1857), 365

Morning Post (24 May 1858) and The Athenaeum (3 July 1858), 25

"ARRIVED, JAN.17", The Argus (18 January 1862), 4

[Advertisement], The Star (10 February 1862), 3

On Monday evening a numerous audience assembled within the walls of the Theatre Royal to do honor to the debut of Miss Emma Neville, Madame Ella Henderson, and Mr. George Loder, three aspirants for artistic fame, who happen to form the first instalment of novelties which Mr. Hoskins intends in succession to place before his Ballarat patrons, on resuming the managerial sway ... After a short interval, the entertainment was followed by a soiree musicale, the stage being fitted up as a private apartment, and occupied by Miss Neville, Madame Ella Henderson, and Mr Loder, who presided at the pianoforte. This was preceded by an overture founded on airs from "Ernani", in which Mr Thomas King, as leader, performed solos on the clarionet. This portion of the entertainment afforded an opportunity of Madame Henderson to show her capabilities. These were exhibited both in solos and concerted music, and she was most deservedly applauded.

"THEATRE ROYAL", The Star (18 February 1862), 2

[News], The Star (21 February 1862), 2

"NEWS AND NOTES", The Star (25 February 1862), 2

"NEWS AND NOTES", The Star (27 February 1862), 2

"NEWS AND NOTES", The Star (28 February 1862), 2

"NEWS AND NOTES", The Star (3 March 1862), 2

[Advertisement], The Argus (23 August 1862), 8

? "SHIPPING INTELLIGENCE", The Argus (26 May 1866), 4


Baritone vocalist, actor

Active Sydney, NSW, March-June 1839


With the Minards and Gautrots, Henry was the fifth member of the French operatic troupe that played at Wyatt's Royal Victoria in Sydney in March-April 1839. Henry may already have been settled in Sydney, for he neither arrived with the rest of the party from Batavia on 1 March, nor left with the Minards for London in April. Indeed, at Simes' benefit at the theatre in June 1839 it was advertised: "Mons. Henry, of the French Operatic Company, who has with great kindness volunteered his assistance, will appear and sing the celebrated bravura of 'NON PIU ANDRAI' from the popular Opera of The Barber of Seville."


"ARRIVALS", The Colonist (2 March 1839), 2

[News], The Australian (7 March 1839), 3

[Advertisement], The Australian (14 March 1839), 3

"THE FRENCH PERFORMERS", The Sydney Herald (18 March 1839), 3

"THE THEATRE", The Sydney Monitor (18 March 1839), 3

"THE FRENCH PERFORMERS", The Sydney Gazette and New South Wales Advertiser (19 March 1839), 2

"THE THEATRE", The Australian (19 March 1839), 2

"ROYAL VICTORIA THEATRE", The Sydney Herald (22 March 1839), 2

"THE THEATRE", The Australian (26 March 1839), 2

M. Henry sang Largo al Factotum, from the French adaptation of the Barber of Seville. He excused [sic] it with much energy and vivacity, but his voice (a baritone) has not sufficient stamina for such a piece.

"ROYAL VICTORIA THEATRE", The Sydney Herald (5 April 1839), 2

[Advertisement], The Sydney Monitor (12 April 1839), 3

"SAILED", The Australian (25 April 1839), 2

[Advertisement], The Sydney Monitor (17 June 1839), 3


Organist (St. John's Church, Launceston)

Active ? 1850s


"REMINISCENCES. [BY. B]", Launceston Examiner (12 November 1892), 2

HENSLER, William L.

American composer

Musical work:

Australia polka (Baltimore: Miller and Beacham, 1854)

HENSLOWE, Francis Hartwell

Public servant, amateur musician, composer

Born London, England 1811
Arrived Sydney, NSW, 25 July 1839 (per Strathfieldsay, from Plymouth, 8 April)
Departed Hobart, TAS, April 1864 (via Melbourne, for India, per Bombay, 26 April)
Died Lee, Kent, England, 10 May 1878 (TROVE tagged by Australharmony) (NLA persistent identifier)



Henslowe has the makings of one of the more interestingly varied early colonial biographies, having been a fine and quite prolific amateur composer, and a leading civil servant, a clerk of Tasmania's Legislative Council from 1851 and of the elected Assembly from 1858. He also has a very interesting lineage. He was born in London, three years after the death of his celebrated composer grandfather, François Hippolyte Barthélémon (1741-1808), Haydn's London friend and host. His mother, presumably also his music teacher, Celia Maria Barthélémon-Henslowe (1767-1859), was also a concert pianist and published composer before her marriage in 1797. She, in turn, received lessons from her family's house-guest, Haydn. Her published works include the cantata The Capture of the Cape of Good Hope (1795), and three piano sonatas, the third, Op.3 (1794), dedicated to Haydn. She, and perhaps Francis too, believed that an ancestor, Anthony Young, had composed the tune of God Save the King.

In July 1839, Henslowe and his wife arrived in Sydney, where her father Robert Allwood was a leading Episcopalian clergyman, intending to open a school. But they moved on to Hobart in 1841, where Henslowe was appointed private secretary to governor John Franklin. In a letter (Jane and John Franklin to Mrs. Simpkinson, 23 February 1841), the Franklins write: "You will be glad to know that I find Mr. Henslowe a very good Secretary, he is gentlemanly and mild in his manners, and very assiduous in the performance of his duties. His wife is a lady-like person, both she and he keep very retired and have no desire to enter into any of the Society here." When Franklin left Tasmania in 1842, he appointed Henslowe police magistrate of Campbell Town. Though Henslowe published a large number of musical works in Hobart, there are few documented references to performances. Henslowe left Australia for India in the mid-1860s, and died in England in 1878.  The English author and song composer Fanny Henslowe was his sister.


"ARRIVALS", The Sydney Gazette and New South Wales Advertiser (27 July 1839), 2

[Advertisement], The Sydney Herald (1 November 1839), 3

"MECHANICS' SCHOOL OF ARTS. PNEUMATICS", The Colonist (1 July 1840), 4

"GOVERNMENT NOTICE. No.44", The Courier (5 February 1841), 2

"CLERKSHIP OF THE ASSEMBLY", The Mercury (6 April 1864), 2

"MELBOURNE. CLEARED OUT", Empire (2 May 1864), 4

"THE LATE MR. F. H. HENSLOWE", The Mercury (11 July 1878), 2

We have to record the death of another gentleman formerly resident in this colony, Mr. Francis Hartwell Henslowe, who died on the 10th May last, at his late residence, Lee, Kent, England. Deceased was son of the Rev. Mr. Henslowe (author of some beautiful sermons), and a brother of Miss Henslowe, the accomplished and celebrated poetess. He was also nephew of Professor Henslowe, who wrote on Botany, and also brother of Capt. Henslowe, R.N., a Knight of Windsor, still living in Hobart Town. Deceased originally went from his native county, Kent, to New South Wales with the view of starting an educational establishment; but his plans were altered and arriving in Tasmania in 1841, he became Private Secretary to Sir John Franklin, Lieut.-Governor of this colony. When His Excellency left in 1842, he appointed Mr. Henslowe, Police Magistrate of Campbell Town. After filling that situation for five or six years, he was appointed. Clerk of the Executive and Legislative Councils. On the establishment of Representative Government in 1856, he became Clerk to the House of Assembly, and in that capacity did good service in organizing the form of the Journals of Parliament, and from his amiable and obliging disposition, secured the esteem of the members of the House. He was recognised as an authority on constitutional points. He continued to hold the position until April, 1864, when he was permitted to retire on the ground of indifferent health and weak eyesight, the pension awarded him being £230, which by his death now of course falls in. ... Soon afterwards Mr. Henslowe embarked for India, and the change of climate having, it is presumed, favourably influenced his health, he accepted the position of manager of one of the large Madras Irrigation Companies, which he held for ten years with a salary of £1,500 a year, when the Company broke up, and he went back to England, three or four years ago. Mr. Henslowe married a daughter of Canon Allwood, of the diocese of New South Wales, by whom he had two sons and two daughters ... He had a great taste for music, and composed several songs, which were published in the colony. He was a member of the original Scientific Society, from which sprang the Royal Society of Tasmania ... As Mr. Henslowe was said to be 58 years old when he was pensioned, he must have been in his 72nd year at the time of his death.

Musical works:

Songs of Zion No 1, Psalm XIX, Thy glory, Lord, the heavens declare ("The Words by James Montgomery; The Music by Francis Hartwell Henslowe") (Hobart: Thomas Browne, [1849])

Songs of Zion No 2, Psalm 39, Lord, let me know mine end (Words: James Montgomery) (Hobart: Thomas Browne, [1849])

Songs of Zion No 3, Psalm 43, Judge me Lord in righteousness (Words: James Montgomery) (Hobart: Thomas Browne, [1849])

Songs of Zion No 4, Psalm 130, Out of the depths of woe (Words: James Montgomery) (Hobart: Thomas Browne, [1849])

Where is thy home? (words: Robert Wilson Evans) (Hobart: Thomas Browne, [1849])

The Campbell-Town Waltzes ("Dedicated to the ladies of the district") (Hobart: Thomas Browne, 1849) (autographed by the composed, Nov. 1851); another copy

The Campbell-Town Waltzes The Song of the Fairies (new vocal trio, from Bulwer's Pilgrims of the Rhine) (performed at Lewis Lavenu's Hobart concert July 1854)

The Northdown Bridal Polka (Hobart: Huxtable & Deakin, [1854])

The Wanderer's Farewell (words: H. Butler Stoney). Hobart: Huxtable & Deakin, [1855] (in The Tasmanian Lyre)

The Song of the Fair Emigrant (words: John Abbott; view of Hobart Town on cover). Hobart Town: R.V. Hood, 1854

The Louis Napoleon Polka ("Exposition de 1855" [Paris]) (Hobarton : R. V. Hood, [1854])

The Dying Soldier's Legacy (A Song of the War) (words: John Abbott) ("Patriotic Fund, Tasmania") (Hobart: Huxtable & Deakin, [1855])

L'espérance (duet for two tenors) ([Hobart: Henslowe, 1855]); ("lithographed and printed in colours by Mr. Henslowe, junior")

The Charlie Parker Polka ("Midland Grand Steeple Chase Waltzes. No. 3"; Nos 1 & 2 unidentified) (Hobart Town: R. V. Hood, [1855])

Lord keep my memory green ("dedicated to Charles Dickens"; "19th November, 1856") (Tasmania: F. B. Henslowe, Lith., 1856)

The Amethyst Polka and The Iris Waltz ("Composed by F.H.H., Hobart Town, Tasmania, 15th January 1859") (London: J. H. Jewell, 1859)

Tomorrow: A Farewell Song (words: Mrs. C. Meredith) ("Addressed to Mrs. Alfed Wilkins"). (Hobart: [?], 1862)

Flowers (words: P. V. De Montgomery) ("Hobart Town, 30th September 1862"). (Hobart: [?], 1862)


G. T. Stilwell, Henslowe, Francis Hartwell (1811-1878), Australian dictionary of biography 1 (1966)

Susan Wollenberg, "Barthélémon , Cecilia Maria (1767-1859)", Oxford Dictionary of National Biography (2004; online edn: 2006)

HENSON, Mrs. (? Mrs. Charles HENSON)

Vocalist, actor

Active Hobart and Launceston, VDL (TAS), 1833-35 (TROVE tagged by Australharmony)


Mrs. Henson appeared in both concerts and at the theatre for John Philip Deane from 1833 until she disappeared completely from record after August 1835. Was she perhaps the wife of Charles Henson, whose household effects (including a pianoforte) were auctioned off in March 1836?


[News], Colonial Times (30 July 1833), 2

... The Duett "My Pretty Page", Mrs. Henson and Master Deane, was very fairly sung - we have heard it much better performed by the same singers, at Mr. Deane's private concerts - but the audience were satisfied; it was encored, and certainly the repetition was an improvement; perhaps this may be owing to a little want of confidence on the part of Mrs. Henson. That lady's voice is certainly very sweet, it is not powerful, neither is there the least energy in her singing; this is, however, a failing which two or three public appearances will entirely dissipate. There is no trifling contrast between the manner of appearance of the two ladies, Mrs. Davis and Mrs. Henson; the first has all the little stage tricks, of such advantage to a public singer; nay, she has too much so; whereas Mrs. Henson, were she to copy a little from that lady, she would wonderfully improve, when presenting herself before an audience. 

"The Concert", The Colonist and Van Diemen's Land Commercial and Agricultural Advertiser (5 November 1833), 3 

The public expectation, which was so much excited on the occasion of Mr. Peck's first Concert, has not been disappointed; and, we may safely say, that the entertainments of Wednesday evening were superior to any which have preceded them in Hobart Town ... On Mrs. HENSON making her appearance, she was received with the strongest marks of approbation, and was deservedly encored in Lee's favorite ong, "Away to the Mountain's Brow," which she gave with her usual sweetness and precision.

[Advertisement], Colonial Times (11 March 1834), 1

"The Oratorio ...", Colonial Times (18 March 1834), 5

Mrs. Henson's "He was despised" was just suited for her voice. There is a melancholy sweetness about her singing which beautifully corresponds with the plaintiff music of the song.

"To the Editor", The Hobart Town Courier (28 March 1834), 4

"To the Editor", Colonial Times (1 April 1834), 6

[News], Colonial Times (6 May 1834), 5

[Advertisement], Colonial Times (7 October 1834), 3

[Advertisement], The Hobart Town Courier (29 May 1835), 3

[Advertisement], Launceston Advertiser (13 August 1835), 2

[Advertisement], Colonial Times (29 March 1836), 2

HENSON, Miss (The Misses)

Music teacher and dressmaker, soprano vocalist

Active SA, 1868-81


"WILLUNGA", South Australian Register (16 May 1868), 2

"HENSON V. CRADOCK", South Australian Chronicle (5 November 1870), 2

"PHILHARMONIC SOCIETY'S CONCERT", South Australian Register (22 December 1874), 7

[Advertisement], South Australian Register (4 June 1881), 1

HENSON, Leota F.

Pianist, accompanist (Fisk Jubilee Singers)

Arrived Melbourne, May 1886 (per R.M.S. Orient)
Departed Adelaide, October 1889 (per R.M.S Orizaba, for Bombay)


"ARRIVAL OF THE ENGLISH MAIL", The Sydney Morning Herald (13 May 1886), 7

"FISK JUBILEE SINGERS", The Mercury (27 January 1888), 3

Miss Leota F. Henson who has been a student of the Royal Conservatoire Leipzig played the accompaniment on the organ and piano very nicely.

"R.M.S. ORIZABA", The Sydney Morning Herald (19 October 1889), 12

Bibliography and resources:

Lynn Abbott and Doug Seroff, Out of sight: the rise of African American popular music, 1889-1895 (University Press of Mississippi, 2003)

HENSMAN, Alfred Peach (Mr. Justice)

Violinist, conductor, judge

Born England, 12 May 1834
Arrived WA, 11 May 1884 (per Ballarat, from London)
Died England, 5 October 1902



"DEATH OF MR. JUSTICE HENSMAN", The West Australian (8 October 1902), 5

... Of Mr. Justice Hensman's services in stimulating a love for the art of music, much might be said. For years he was the conductor of the Perth Musical Union, which, under his direction, produced "The Messiah," "The Creation," "Elijah," and other great oratorios. An accomplished musician himself, playing the violin, almost with the magic charm of a master, and inspired with a classical taste which caused it to be said of him that he was "nothing, if not a purist in music." He devoted no small amount of his leisure, before he was raised to the Bench, in encouraging the people of the metropolitan centre to enter the higher realms of music. Around him he gathered a large circle of men and women, infected with his own enthusiasm, and the result of the efforts thus put forth to raise the tastes of the people gained for Perth and Fremantle the name of being one of the most musical communities in Australia. Among those who joined with him in this work, may fitly be mentioned Mrs. Hensman, their daughter, the late Mrs. Adam Jameson, Sir Alexander and Lady Onslow, Miss Kelsall, and Mr. Henry Wright. Mr. Hensman's violin was frequently heard at other concerts besides those of the Musical Union, and his playing was always beard with the keenest enjoyment.

"DEATH OF MR. JUSTICE HENSMAN", Western Mail (11 October 1902), 10

Bibliography and resources:

Wendy Birnam, Hensman, Alfred Peach (1834-1902), Australian dictionary of biography 4 (1972)

HERBELET, J. W. (Heberlet, Herberlet)

Professor of music, pianist, organist

Active Adelaide, SA, 1859-92


[Advertisement], The South Australian Advertiser (6 May 1859), 1

"NORWOOD PHILHARMONIC SOCIETY", The South Australian Advertiser (22 October 1861), 3

"CATHOLIC  YOUNG MEN'S SOCIETY", South Australian Register (21 July 1865), 2

[Advertisement], South Australian Register (6 January 1879), 1

[News], The South Australian Advertiser (9 May 1885), 6

"WINTER ENTERTAINMENT", South Australian Register (9 July 1892), 3


Bagpiper, convict

Active Sydney, 1832


[Absconded], The Sydney Gazette and New South Wales Advertiser (12 April 1832), 2

Herbert[,] James, No. 29-3037, Larkins, 24, Bagpiper and Labourer, King's County, 5 feet 5, hazle eyes, light brown hair, ruddy freckled comp. from Hyde Park Barrack.

HERMANN, Frederick Z.


Active Brisbane-Rockhampton, by 1863; Maitland, by 1865


Professor of Music

Active Sydney, 1881

Active Sydney 1882


"SHIPPING", The Courier (7 July 1863), 2

"MR. P. C. CUNNINGHAME", Rockhampton Bulletin (14 July 1863), 2

[Advertisement], The Maitland Mercury (25 July 1865),  1

"OLYMPIC THEATRE", The Maitland Mercury (3 June 1865), 2

"DR. CHAS. HORN'S AND MR. M. H. WILSON'S CONCERT", The Maitland Mercury (7 October 1865), 2

[Advertisement], The Maitland Mercury (21 December 1872), 1

[Advertisement], The Sydney Morning Herald (20 August 1881), 2

[Advertisement], The Sydney Morning Herald (2 May 1882), 2

"CREMORNE GARDENS", The West Australian (9 November 1896), 6

"PERTH ORCHESTRAL SOCIETY", The Daily News (18 May 1908), 6

HERMANN, William Z.

Violinist, pianist

Active Sydney, NSW, by 1863


"ORPHEONIST SOCIETY", Empire (22 December 1863), 5

"PHILHARMONIC CONCERT", The Sydney Morning Herald (11 March 1864), 4

[Advertisement], The Argus (28 April 1864), 8

"CLEARANCES", The Sydney Morning Herald (21 June 1865), 4

[Advertisement], The Sydney Morning Herald (21 February 1866), 8

"MUSIC AND DRAMA", Empire (22 March 1866), 5

"HERR HERRMANN'S CONCERT", Empire (21 February 1866), 4

The entertainment to be given at the Masonic hall tomorrow evening is one which cannot fail to attract the attention of those who really love music for the art itself. Herr Herrman, who, unfortunately for the cause of which he is so able an exponent, has been heard but too seldom in public, is acknowledged to be the best pianist now in Sydney, and a worthy successor to the lamented artist, Boulanger. He will on this occasion be assisted by Mr. John Hill, who will take part in this concert as violinist, pianist, and harmonium executant; by Mr. Deane, violoncellist, and two gentlemen amateurs as instrumentalists; whilst the vocal portion of the concert will be carried out by Mrs. Cordner and Mr. C. W. Rayner-the latter having attained a high position here as vocalist and teacher. The programme is peculiarly interesting, comprising classical music, which will, at the same time, be pleasing and varied, with several popular pieces. It will include Hummel's grand quintet, for piano and stringed instruments ...

"MR. W. HERMANN'S CONCERT", Empire (23 February 1866), 4

"LAW. SUPREME COURT. - FRIDAY", Empire (25 August 1866), 3 

HERMANN V. DESSAUR AND ANOTHER. This was an action for the recovery of £300, money lent, and £11 6s. interest. The plaintiff was a music teacher, and the defendants had been in business in Sydney, ostensibly as merchants. The money was lent in April last, and was to have been returned in June with interest at 15 per cent.; but the defendants did not pay back the money, and hence the present action, since the commencement of the suit the defendants had absconded, to California. The jury found a verdict for the plaintiff for the amount claimed, and his Honor [Alfred Stephen] granted immediate execution, as it was stated that the defendants had left some property behind them. Mr. Windeyer appeared for the plaintiff.

"INSOLVENCY COURT", Empire (13 September 1866), 5

"INSOLVENT COURT", Empire (28 September 1866), 8

[Advertisement], The Sydney Morning Herald (6 April 1881), 1


Bandsman (band of the 40th Regiment)

Active Melbourne, VIC, 1859

See also Band of the 40th Regiment (second tour)


"CORONER'S INQUESTS", The Age (29 November 1859), 3 

... James Herrgston, sworn: I am in the band of the 40th Regiment. I was passing up Elizabeth street on Friday night last, between nine and ten o'clock with several of our band. I saw deceased lying upon the pavement ...

"FATAL ACCIDENT, THROUGH INTEMPERANCE", The Argus (29 November 1859), 6 

... James Hirrgston, one of the band of the 40th, corroborated the previous evidence ...

HERSEE, Rose (Madame Rose HERSÉE)

Soprano vocalist

Born England, 13 December 1845
Arrived Melbourne, March 1879
Departed Melbourne, 11 February 1881 (per Sobraon)
Died England, 26 November 1924"Rose+Hersee" (TROVE search)

Rose Hersee, 1879

Image: Melbourne, April 1879: (page 9) 


"AN AUSTRALIAN'S OPINION", The Australasian (1 November 1873), 19

[London] ... Rose Hersee is now in this country, and liberal offers are, it is said, being made to her to take a trip to Melbourne. She pas just engaged with Madame Parepa Rosa till some time after Christmas, when she may probably accept a generous offer made her forces to join Mr. Lyster's forces in Melbourne . . .

"VICTORIA", The Sydney Morning Herald (6 January 1879), 5

A portion of Lyster's opera troupe leave London by the Lusitania. Mdlle. Rose Hersee comes by the Chimborazo.

[News], The Argus (17 March 1879), 4

"THE OPERA. MADAME ROSE HERSEE", The Argus (19 March 1879), 7

"THE OPERA", The Argus (24 March 1879), 7

LA SONNAMBULA. To record the commencement of a new season of opera under the experienced management of Mr. W. S. Lyster has always been with us an agreeable task. Opera in Melbourne has become such an institution that its periodical recurrence has always been treated as a notable event, and on no previous occasion has public curiosity been excited to a higher degree than it was at the opera-house on Saturday night ... Concerning the new prima donna leggiera we can speak at once in terms of satisfaction. It is always gratifying to find a gifted artist who come to us using the language which we all understand as the medium for conveying the author's meaning from the lyric stage. It is true that we might have very much better English versions of the words of Bellini's, and indeed most other Italian operas of the same date than are in existence at the present time, but for the general audience even the stilted and cumbrous verbiage employed by the English adaptor is better than the original text, which, mellifluously vocable though it may be, is an unknown tongue to about ninety-nine out of every hundred people who listen to it in a Melbourne theatre. Madame Rose Hersee is petite in figure, and has a very pleasing face. She has that appearance about her which gives assurance of intelligence, and as soon as she speaks or sings or moves that assurance is confirmed in such a manner aa to put the audience at their ease with respect to all that may follow after. Her voice is a soprano of great sweetness, but not unusual power. It is of good but not extraordinarily high compass. It is characterised throughout by a perceptible vibrato, and in its lower tones it is rich and round and has in it a most touching quality of unforced sympathy. That she should have chosen a part like that of Amina wherein to make her first acquaintance with a strange audience is enough to show that she paid them the compliment of supposing them to be both experienced and critical. It ia a great part to play, and none but the well trained and musically enlightened can hope for any success in the performance of it. We have now to note that she came through the ordeal with the full approval of the whole audience, and even something more than that, in the evidently friendly feeling which she had managed to establish on a first acquaintance. The applause which greeted the end of her first cavatina, "0 love for me thy power," was such as to assure her position from that moment, and when, at the end of the first act she was summoned before the curtain, she must have felt that she had made a success. The good culture and flexibility of her voice were displayed with fine artistic effect in the chromatic shakes and runs which abound in the cabaletta passage in the first act, commencing "When this heart its joy revealing," and the piquancy and charming naturalness of her acting were made fully apparent in the parting scene with Elvino with which the first act closes. The good qualities thus displayed in the first act were made amply manifest throughout the progress of the work. The scene in the bed chamber, wherein the poor little sleepwalker finds herself spurned by her lover and suspected by her friends, was full of pathos, and was well sung and played throughout, and followed by another hearty recall at the end of the act. The whole scene in the third act onward from the sad and melodious air, "Scarcely could I believe thee," fixed the hushed attention of the whole house and rewarded it with a genial display of warm hearted acting and singing, inspired by the true sentiment of the scene. The final passage, "Do not mingle," was brilliantly sung and served to introduce some staccato graces of vocalisation with very pretty effect. Both Madame Hersee and the audience have every reason to be pleased with the result of her first appearance in Melbourne . . .

"THE OPERA", The Australasian (29 March 1879), 19

[Illustrations], The Australasian Sketcher with Pen and Pencil (12 April 1879), 9

"MRS. HOWITZ'S FAREWELL CONCERT", The Argus (7 February 1881), 6

"The Theatres", The Australian Sketcher (26 February 1881), 74

Bibliography and resources:

"Rose Hersee", Wikipedia


? teacher of Isabel Staff (Mrs. Horwitz)


Double bass player (New Queen's Theatre)

Active Adelaide, 1848


[Advertisement], South Australian (6 October 1848), 3



Active Sydney, September 1859; ? Melbourne, 1868


One or perhaps two theatre band violinists. At the Prince of Wales theatre in Sydney in September 1859, a Mr. Hertz took over as leader allowing Charles Eigenschenck to conduct. A Mr. Hertz was playing second violin under Thomas Zeplin at the Princess Theatre, Melbourne, in December 1868. The latter is not to be confused with Julius Herz.


"PRINCE OF WALES THEATRE", Empire (5 September 1859), 5

[Advertisement], The Argus (16 December 1868), 8


Violinist, composer

HERWYN, Madame


Arrived Sydney, by February 1854
Departed Sydney, October 1855

Query: A Henry HERWYN married Julia MARTEL, at St. James's, Westminster, London, on 3 February 1840


The only early notice of Herwyn I have yet found in the Parisian press (April 1853) also mentions, though without connection, the curious English family of musicians, the Binfields, perhaps children of Richard Binfield, past rival of the Charles Packers, senior and junior, in Reading. Then, in London in October 1853, The Musical World reported: "M. Herwin, a violinist of repute from Paris, has arrived in London, en route to Australia". On their arrival in Sydney in February 1854, the Herald printed in translation an extensive review by Pier-Angelo Fiorentino from the journal Le constitutionnel. They also toured to Hobart, Launceston, Melbourne, and Geelong. On their departure from Sydney in October 1855, they sold off a Pleyel grand piano, "just imported by Mons. Herwyn, acknowledged by competent judges to be the finest piano that has ever reached the colony." In 1859, previous to his returning temporarily to Paris, the French consul Louis Sentis sold "two fine toned cottage pianofortes, made to order in Paris, under the superintendence of Madame Herwyn, the celebrated pianist".


"THÉATRES. LES CONCERTS DE LA SEMAINE-SAINTE", L'Athenaeum français (2 April 1853), 322

"Miscellaneous", The Musical World (15 October 1853), 664

"MUSICAL", The Sydney Morning Herald (11 February 1854), 5

[Advertisement], The Sydney Morning Herald (27 February 1854), 1

"M. AND MADAME HERWYN", The Sydney Morning Herald (28 February 1854), 5

"M. AND MADAME HERWYN'S SOIREE MUSICALE", The Sydney Morning Herald (1 March 1854), 5

On no former occasion have we had to record more complete success than was achieved last night by these talented artists. Rumour had spoken highly of them, but the expectations which had been raised were fully realised, and the élite of Sydney present at the soiree last evening pronounced it the greatest musical treat that had been afforded in Sydney. Madame Herwyn's brilliant and expressive playing-her perfect command of her instrument-her line and delicate perception of the lights and shades of every passage, and her free and correct execution of the most difficult and complicated combination of modern piano music, called forth repeated expressions of admiration. ... Of her husband we need only speak as of a violinist de premiere force; we should say that the peculiarity of his playing consists in the extreme softness of his touch; but again, in the Malbrouk (which was unanimously called for at the close) he displayed a vigour and nerve in the tours de force which quite equalled, if it did not surpass, the more subdued and expressive passages. We feel that in speaking thus in high praise of both these pleasing artists, we are but echoing the sentiments of every person present ...

"M. AND MADAME HERWYN'S SOIREE MUSICALE", Empire (8 March 1854), 2

"MUSICAL SOIREE", Illustrated Sydney News (25 March 1854), 2

The novelty of the evening was M. Hervyn's [sic] performance on an instrument which he denominates a monocorde, but which, to our uninstructed vision, was simply a violin with one string. On this instrument M. Hervyn played the Aria "Robert, toi que j'aime" with great effect, and elicited well deserved applause. 

"M. HERWYN'S GRAND CONCERT", The Courier (6 October 1854), 2

"THE HERWYN'S CONCERT", Colonial Times (7 October 1854), 2

"THE HERWYN'S CONCERT", Launceston Examiner (18 November 1854), 3

[Advertisement], The Argus (7 December 1854), 8

[Advertisement], The Argus (8 January 1855), 8

"THE CONCERT AT THE THEATRE", Geelong Advertiser (15 January 1855), 5

[Advertisement], The Argus (12 February 1855), 8

"M. AND MADAME HERWYN", Geelong Advertiser (28 February 1855), 2

These accomplished musicians, we are happy to announce, have permanently established themselves in Geelong, as teachers of music ...

"CONCERT", The Sydney Morning Herald (8 October 1855), 5

The farewell concert of Monsieur and Madame Herwyn is advertised to take place to-night, at the Concert Hall, Royal Hotel, and will be under the patronage of the Governor General and Lady Denison. The sojourn of this accomplished lady and gentleman amongst us has been prolonged to a considerable extent, and though not often popularly before the public, we believe their musical réunions, private and public, have done much to improve and correct musical education in the colony. It is difficult to say that either Madame or Monsieur Herwyn are musicians for the multitude, but that they have great Artistic skill, toned and disciplined by the purest appreciation of the art itself, none whose judgment is worth having will dispute ...

[Advertisement], The Sydney Morning Herald (10 October 1855), 6

[News], Neue Wiener Musik-Zeitung (8 January 1857), 8

Henry Herwyn, der vor nicht langer Seit aus Australien zurückgekehrt ist, wo er nach der gefohrt und abentevervollsten Ueberfahrt die größten Triumfe feierte, gab ein Konzert im Salon Herz. Man war von seinem kühnen, feurigen und gefühlvollen Vortrage auf der Violine entzückt; besonders erregten burleske Variazionen über das Lied von Marlborough Sensazion. Lacombe unterstützte ihn mit Vorträgen auf dem Pianoforte.

"AUDITIONS MUSICALES", Gazette musicale de Paris 25 (3 January 1858), 5

M. Henry Herwyn, Anglais par le nom, mais qui est un de nos bons violonistes français, M. Henry Herwyn, après avoir visité l'Australie, Botany-Bay, est revenu à Paris.

"AUDITIONS MUSICALES", Gazette musicale de Paris 25 (7 March 1858), 74

"CONCERTS ET AUDITIONS MUSICALES", Gazette musicale de Paris 25 (4 April 1858), 111

"AUDITIONS MUSICALES", Gazette musicale de Paris 25 (2 May 1858), 146

[Advertisement], The Sydney Morning Herald (4 February 1859), 7

"HERWYN", The Musical World (23 July 1864), 474

M. Henry Herwyn, a French violinist of the highest order, now on a short visit to England, and who first made himself known in this country by playing several charming pieces of his own composition at the charitable fete given at the South Kensington Museum, presided over by Her Royal Highness the Princess of Wales, has since been electrifying the musical world in several private concerts. His tone and mechanism of touch are marvellous, whilst the varieties of his expression are full of touching sympathy and exquisite sentiment. If ever M. Herwyn should appear in public, we predict for him an exalted position that must lead to a brilliant and well-merited celebrity.

Musical works (Henry Herwyn):

Grand fantasia for violin (with variations and finale for one string only, in which the favorite airs of God save the Queen, Ye Banks and Braes, and Patrick's Day)

[Advertisement], Colonial Times (5 October 1854), 3

Hommage à Paganini ("Variations burlesques for Violin", on "Milbrook" or Marlborough")

The Courier (13 October 1854), 2

[Advertisement], The Argus (12 December 1854), 8

Grand fantasia, on themes from Donizetti's opera La favorite

"Monsieur and Madame Herwyn's Concert", The Courier (8 November 1854), 3

HERZ, Julius

Conductor, pianist, composer

Born Mecklenburg-Schwerin, 13 March 1841
Arrived Melbourne, 1866
Died Sandringham, Melbourne, 23 August 1898, aged 57


Julius Herz, "Professor of Music from the Conservatoire of Berlin", was on the staff of Schott's Victorian Academy of Music in April 1866. Two of his compositions were published by Charles Troedel in Melbourne in December, The mill (impromptu for pianoforte), and the Byron song When we two are parted, which had been composed for and premiered by Miss Liddle in July. Herz conducted the first Australian performance of Beethoven's Ninth Symphony on 27 December 1882. His Silver chimes (Morceau Caractéristique) appeared in The Illustrated Australian News and Musical Times (1 August 1889), 12-13.


[Advertisement], The Argus (7 April 1866), 7

[News], The Argus (3 July 1866), 5

"NEW MUSIC", The Argus (20 December 1866), 2

[News], The Argus (5 April 1867), 4

"THE MELBOURNE MUSIC FESTIVAL", The Argus (28 December 1882), 6

"MR. JULIUS HERZ", Illustrated Australian News and Musical Times (1 August 1889), 9

"DEATHS", The Argus (24 August 1898), 1

"OBITUARY", Launceston Examiner (24 August 1898), 6

"DEATH OF MR. J. HERTZ", The Advertiser (24 August 1898), 5

[News], The Brisbane Courier (24 August 1898), 4

HERZ, Richard

Pianist, violinist, composer

Active Sydney, 1859-60; Melbourne and Ballarat, 1864


Herz was based in Auckland, New Zealand from 1856 to 1858. A concert he gave there in August 1857 included two of his own compositions for cornet and piano, Advance New Zealand (Parade March) and The Darkies' Quadrille. Herz was playing and teaching in Sydney in 1859 early 1860, but was back in New Zealand by mid year and until 1863. He was in Victoria in 1864. On his first appearance in Ballarat in 1864, he was advertised as "The brilliant Pianist, nephew of the great Pianist, Henri Herz". Three of his compositions appeared in The Illustrated Melbourne Post, Riflemen's joy ("quick step composed for The Illustrated Post by Richard Herz"), Christmas quadrille (24 December 1864), and The Victoria galop (25 November 1865).


[Advertisement], Daily Southern Cross (21 October 1856), 1

[Advertisement], Daily Southern Cross (18 August 1857), 3

[Advertisement], Daily Southern Cross (26 February 1858), 1

[Advertisement], Empire (26 May 1859), 1

[Advertisement], The Sydney Morning Herald (2 July 1859), 1

[Advertisement], The Sydney Morning Herald (14 January 1860), 8

[Advertisement], Daily Southern Cross (4 September 1860), 2

[Advertisement], Southland Times (30 November 1863), 3

[Advertisement], The Star (9 April 1864), 3

[Advertisement], The Argus (27 June 1864), 8


Musician, convict

Active NSW, 1832


[Convict notices], New South Wales Government Gazette (3 October 1832), 325 

Hester John, No. 31-1426, Exmouth, 34, Musician and Labourer, Newbury, 5 feet 8, grey eyes, brown to grey hair, sallow comp. mermaid on right arm, woman on left, from No. 2 Iron Gang. 2d time of running.

[Convict notices], New South Wales Government Gazette (27 March 1833), 111 

Hester John, 33, Exmouth, No. 31-1426, Musician, Newbury, 5 feet 8, brown to grey bair, grey eyes, sallow comp. mermaid on right arm, man and woman on left, from No. 2 Stockade, Cox's River, in irons, from Hospital.

HESTER, Mildred Vyner

Pianist (pupil of Kowalski)

Active Sydney, by 1887
Died Gordon, QLD, 19 September 1942


"MISS MILDRED HESTER'S DEBUT", The Sydney Morning Herald (7 October 1887), 6

"M. Henri Kowalski", Australian Town and Country Journal (23 November 1895), 25

"Marriages", The Sydney Morning Herald (19 December 1896), 1

"DEATHS", The Courier-Mail (24 September 1942), 8

HETZER, Thekla (Madame HETZER; Mrs. William HETZER)

Pianist, piano teacher

Arrived Sydney, NSW, 3 February 1850 (per Balmoral, from the Downs, 19 October 1849)
Departed Sydney, 1867 (TROVE tagged by Australharmony) (NLA persistent identifier)


Wife of the photographer William Hetzer, and "pupil of one of the first masters in German", she first advertised as a teacher in October 1850, and first appeared public at Francesca Allen's concert in December. Thereafter, childbearing appears to have curtailed her public musical activities. Her husband was secretary of the German Club responsible for the organisation of the concert in aid of Leichhardt's mother in 1854. William died in Frankfurt-am-Main in 1891, aged 69.


"SHIPPING INTELLIGENCE", The Sydney Morning Herald (4 February 1850), 2

[Advertisement], The Sydney Morning Herald (4 March 1850), 1

[Advertisement], The Sydney Morning Herald (12 October 1850), 3

"MADAME ALLEN'S CONCERT", The Sydney Morning Herald (23 December 1850), 2

[Advertisement], Empire (4 March 1854), 1

Bericht die Senckenbergische Naturforschende Gesellschaft in Frankfurt am Main (1899), viii, xxix 

"DEATHS", The Sydney Morning Herald (29 September 1891), 1

Bibliography and resources: 

HEUZENROEDER, Mauritz (Moritz)

Professor of Music, pianist, teacher of pianoforte and singing, composer

Born Otterberg, Germany, 15 July 1849
Active South Australia, by 1869
Died Angaston, SA, 9 November 1897, aged 48 (NLA persistent identifier)

HEUZENROEDER, Theodore F. (Ted; Teddy)

Violinist, teacher of music

Born ? SA, c.1873
Died Gawler, SA, 30 March 1953, aged 80



Active Tanunda, by 1897,
Died Antwerp, Belgium, 8 September 1906



This is my preliminary attempt at resolving some inconsistencies in MH's biography as given in other sources. There was at least one earlier Moritz Heuzenroeder in SA (died 1864). An M. Heunzenroeder performed at Tanunda in September 1869. According to Elizabeth Wood (Heuzenroeder, New Grove) MH was in Adelaide by 1865, returned to Stuttgart, and settled permanently in Australia in 1872. However he in fact returned in mid 1877 (see below). Heuzenroeder (? MH) was performing publicly in SA in 1871. A Miss Tilla Heuzenroeder, a vocalist, at Tanunda in April 1897 was MH's niece (she was the second daughter of MH's brother, Theodore Heuzenroeder, d.1893), and the violinist Theodore Heuzenroeder (? jun.) also played under MH (a nephew, or cousin?).


"ALEXANDER VON HUMBOLDT", South Australian Register (22 September 1869), 3

The rest of the evening was passed by instrumental and vocal performances by Mademoiselle J. Sobels, Miss T, Fischer. Mr. G. Fischer, Mr. M. Heuzenroeder, and the Tanunda Quartette Verein.

[Advertisement], South Australian Register (24 December 1872), 1

"TOWN HALL ORGAN OPENING CONCERTS", South Australian Register (26 September 1877), 4

We are informed that M. Heuzenroeder has been engaged to assist at these concerts. M. Heuzenroeder has been studying as pianist at Stuttgart under Dr. Sebert for the last three or four years. He is a member of the Stuttgart Conservatory, and returned to South Australia by the mail with the intention of settling here.

"THE LATE MR. T. HEUZENROEDER", South Australian Chronicle (4 November 1893), 12

"TANUNDA", The Advertiser (6 April 1897), 6

TANUNDA, April 2. - The Tanunda Orchestral Society, under the conductorship of Herr Heuzenroeder, gave a concert here last night (Thursday) to a small house. The concert being the best that has been given here for a long time it deserved a better attendance. The orchestra hare recently, under the able conductorship of Herr Heuzenroeder, made marked improvement. He was repaid for his gratuitous services by the evident success of his tuition. Herr Heuzenroeder has regained his health and strength of his hand after the injury sustained some time since.

"DEATH OF MR. M. HEUZENROEDER", The Advertiser (10 November 1897), 3

The news of the sudden death of Mr. Heuzenroeder was received in the city with profound regret. He was known best in the musical world, and he was a great favourite with all with whom he came in contact. Some years ago Mr. Heuzenroeder carried on business in Gawler as a jeweller, and his intense love for everything musical induced him to save sufficient money to take a trip to Stuttgart, Germany, in order that he might further pursue his studies in music and voice-production. He returned to South Australia after having gained the highest honors from some of the leading musicians in Germany. Overtures were made to him to practice his profession at Stuttgart, but he preferred to return to his adopted home. Ultimately he settled down in Adelaide and began to practise as a teacher of music. In Germany he paid close attention to voice production, and studied under some very eminent professors of the art, and upon his return he took a prominent position in the ranks of singing masters in the colony. The deceased gentleman was the first conductor of the Adelaide Harmonic Society, which produced two operettas of his composition. The first of them was entitled Faust and Gretchen, the libretto being translated from the German, and the work was received with such warmth by the music-loving public that it was followed by another opera from his pen. The music was extremely pretty, and the press criticisms were favourable. In 1893, in collaboration with Mr. H. C. Evans, of Quiz, he produced the Australian opera Immomeena, which was performed for the first time in the Theatre Royal, Adelaide, with great success on October 6, 1893. He also wrote music for a number of songs, some of which have enjoyed a large sale, while others, although they have not been published, have been sung on the concert platform from time to time. Perhaps the most popular was Australia, the words of which were composed by the late Mr. C. C. Presgrave; but Thou art my queen was equally popular for a long time ...

"DEATHS", The Advertiser (10 November 1897), 4

"DEATHS", The Advertiser (1 November 1906), 6

"Out among the People. Veteran Violinist", Chronicle (17 March 1938), 70

"Musician Passes On", Bunyip (2 April 1953), 1

Bibliography and resources:

Hooper Brewster-Jones: "South Australian pioneers and problems; South Australia's musical history", Australian Musical News 27/3 (1 October1936), 1-3, 28-33

Elizabeth Wood, "Moritz Heuzenroeder - a musical pioneer", LiNQ (Literature in North Queensland) 3/1 (1974), 4-8 


Trombone player (New Queen's Theatre)

Active Adelaide, 1848


[Advertisement], South Australian (29 February 1848), 2

[Advertisement], South Australian (6 October 1848), 3

HEWITT, Thomas

Bandsman (Band of the 48th Regiment), clarionet (clarinet) player, "fifer, trombone player, fiddler, trumpeter, and hautboy player"

Married Mary Ann Wellington, Gibraltar, 15 December 1805
Arrived Sydney, NSW, 3 August 1817 (per Matilda, from Cork)
Departed NSW, ? 1822 (unknown vessel, for Gravesend England, where he applied for discharge, July 1822)
Died ? 1844

See also Band of the 48th Regiment

Mary Ann Wellington Hewitt, c.1845

Image: Portrait of Mary Ann Wellington Hewitt, ? c. 1845, by Anthony Sandys; Northampton Museums and Art Gallery 


In 1846, Cobbold described how he came about publishing what he described as:

Another Narrative of Female Adventure ... In August last, the Deputy Mayor of Norwich invited the attention of the Reverend Author to the peculiar circumstances in the History of Mary Ann Wellington, who was the daughter of John Wellington, one of the artillery-men at the famous siege of Gibraltar. She married a soldier in the gallant 48th, and accompanied him through all the Peninsular campaigns. Her fortitude in the hour of danger, and her attention to the wounded, were witnessed by many officers still living, who were also aware of the extraordinary adventures in which she distinguished herself. Her husband died in 1844. The widow has since fallen into distress. She is greatly respected by all who know her in the city of Norwich, where she still resides ...

Mary's extraordinary account of her life as wife of a soldier-bandsman appears mostly to have been reliably repeated by Cobbold. It includes a detailed chronicle of the voyage out to NSW on the convict transport Matilda, of life in Sydney, and of the Hewitt's special social and musical association with the governor's wife, Elizabeth Macquarie: "Frequently was he sent for, to accompany that lady in the best concerto music which could be procured, and in her fashionable and crowded drawing-room this brave man was treated with the respect due to his talents and his demeanour". As a mature and long-serving clarinettist, Hewitt was probably the next most senior player to the master of the band, William Blizzard (under band-sergeant Reid). It was probably also due to his seniority that he was marked for early discharge in 1822, he and his wife opting to return to England while the remainder of the band and regiment stayed on until 1824.


"GOVERNMENT AND GENERAL ORDERS. Monday. 4 August", The Sydney Gazette and New South Wales Advertiser (9 August 1817), 1

"Ship News", The Sydney Gazette and New South Wales Advertiser (9 August 1817), 2

"Sydney", The Sydney Gazette and New South Wales Advertiser (12 September 1818), 3

A few evenings ago a Concert was given by His Honor Lieutenant Governor ERSKINE to a numerous Party of Ladies and Gentlemen, which was succeeded by a splendid Ball. His EXCELLENCY the GOVERNOR, and Mrs. MACQUARIE, participated in the elegancies of the festival, as did likewise all the principal Officers, Ladies, and Gentlemen in Sydney and its vicinities; the company being in number 80 persons. At about eleven a cold collation was served up in a style of peculiar delicacy. The full Band of the 48th attended upon the amusements of the evening; and several singers, who were introduced in masquerade, added not a little to its harmonies. At the end of the collation dancing resumed; and the sprightly partie did not separate until 3 or 4 in the morning, each Lady and Gentlemen taking leave of their worthy HOST, and returning their acknowledgments for the kindness of his entertainment.

[News], The Sydney Gazette and New South Wales Advertiser (4 December 1819), 2

On Thursday last, the 2d inst. a fete champetre was given by Captain PIPER at Elizabeth Henrietta Point . . . The day proved favourable; and the scene of boats in the water, accompanied by the Band of the 48th Regiment, had a delightful effect. About one hundred Ladies and Gentlemen sat down to dinner; after which, the "merry dance" commenced, which was kept up with great spirit.

Richard Cobbold, Mary Anne Wellington: the soldier's daughter, wife and widow (London: H. Colburn, 1846), 3 vols

vol. 1

... if there was one man in the 48th more miserable looking than another, it was myself (71) . . . My name is Thomas Hewitt, my native place is Hingham, in Norfolk (73) . . . I hear you have got a deserter, one Thomas Hewitt, clarionet player in my band! I was told your girl had run away with him, and carried off the man in the regimental drum-case (77) . . . "Upon my word", cried Dan, "betrothed! betrothed before me, Dan Long, drum-major of his Majesty's gallant 48th. Well, now I will make short work of it: I publish the banns of marriage between Thomas Hewitt, fifer, trombone player, fiddler, trumpeter, and hautboy player, or player of any kind, and Mary Anne Wellington, maid of the Rock of Gibraltar (146) . . .

vol. 2

vol. 3

... Her husband's musical abilities brought him into notice, and he enjoyed his stay in Ireland equally with his wife. But the 48th were ordered to New South Wales, to relieve the 47th, then in barracks at Sydney (28) . . . The regiment was ordered on board. Colonel James Erskine, the commanding officer, was a man well adapted to keep all his junior officers and soldiers in good heart, through a long and tedious voyage. Remarkable for an intelligent mind and for literary pursuits, he encouraged in all beneath him the cultivation of letters, which tended greatly to lighten the burden of confinement on board. His society was always to be desired, and was always enjoyed by those who felt his superior attainments (33) . . . Two hundred privates on board, besides the band and officers, women and children, and the crew of the ship, formed a great society assembled in a small compass (34) . . . "I told you I thought you would have no convicts to superintend and keep to work. I am sure Governor Macquarrie is very kind and condescending to us; his lady, too, is a warm friend to the soldier's wife." Thomas Hewitt was, in truth, made much of. He was so diligent in his application to the study and practice of his clarionet, that it obtained him frequent introductions into the most polite circles in Sydney, where music was much cherished by the Governor's lady, who was very partial to this elegant accomplishment. Frequently was he sent for, to accompany that lady in the best concerto music which could be procured, and in her fashionable and crowded drawing-room this brave man was treated with the respect due to his talents and his demeanour (57) . . . He had children before he left Sydney. In 1817, his wife had a still-born child, and was very kindly treated by many ladies in Sydney, to whom her history was well known. In 1818, was born Absalom, the sixth son of our heroine. He grew up a fine, active boy, in the barracks at Sydney; and, with his elder brother Edward, attracted the notice of officers and men of the 48th. In the year 1821, Thomas was born; so that our heroine had to contend with all the troubles of an increasing family; still, she wanted nothing. Cares she had; but she was active, her husband fortunate; all things went on well with her, during the whole period of her stay at Sydney (58) . . . Hewitt, in 1827, was engaged to play the third clarionet at the Norwich Festival, and here he was first introduced to Professor Edward Taylor, who was so pleased with his modest deportment and scientific industry in the cultivation of music, that he made him a handsome present of a bassoon and other instruments, which his widow still keeps as a memorial of the Professor's kindness (94) . . .

Bibliography and resources:

D. J. [Note on the Saracen's Head], Notes and queries (14 August 1909), 132

I have met the name of one real person who made use of the old "Saracen's Head" near St. Sepulchre's. This was the humble, but remarkable soldier's daughter and wife Many Anne Wellington, whose adventurous career was written by the Rev. R. Cobbold. She was the daughter of George Wellington, a private in the Royal Artillery at Gibraltar, where she was born in 1789. She there married Thomas Hewitt of Hingham (son, it is said, of a Norfolk squire), who was in the band of the 48th Regiment. In 1808, being ordered to Lisbon to take part in the war against France, Hewitt sent his wife to Portsmouth. Passing through London, on the way to her mother-in-law's in Colchester, she stayed at "The Saracen's Head" (p. 73). She afterwards returned to Portugal, and with her husband passed through many adventures during the Peninsular War, behaving with courage and ability in all. She died a widow, and aged, at Norwich.

Russell Gurney, History of the Northamptonshire regiment 1742-1934 (Aldershot: Gale & Polden, 1935) [esp. 100-110, 188, 243]

Clem Sargent, The colonial garrison 1817-1824: the 48th Foot, the Northhamptonshire Regiment in the colony of New South Wales (Canberra: TCS Publications, 1996)

Clem Sargent, "The British Garrison in Australia 1788--841--Part 3: Bands of the Garrison Regiments", The Free Library (1 December 1999) British Garrison in Australia 1788--841--Part 3: Bands of the...-a077400529 


Powerhouse Museum, Sydney, object 89/1502 is a Regimental Medal of the 48th (Northamptonshire) Foot, awarded to Thomas Hewit, silver, for service in the Peninsular campaign; issued NSW, 1819


Band of the 12th Regiment


Bandmaster (Hobart Town Band; Hewlins' Band), theatre manager, dyer

Arrived Hobart Town, VDL (TAS), 1834


"TRADE AND SHIPPING", The Hobart Town Courier (7 November 1834), 3

[Advertisement], Colonial Times (25 July 1851), 4

G. HEWLINS'S QUADRILLE BAND. G. HEWLINS, Dyer, of Liverpool-street, has succeeded in organizing a most efficient QUADRILLE BAND, from two instruments to seven, according to the dimensions of the room where the ball takes place. A competent Pianist can be also obtained where required. The newest music introduced.

[Advertisement], Colonial Times (18 June 1852), 4

"KANGAROO POINT. THIRD ANNUAL REGATTA", Colonial Times (14 December 1854), 3

[Advertisement], The Hobart Town Daily Mercury (8 June 1858), 1

QUADRILLE BAND. GEORGE HEWLINS ... his Quadrille Band, Composed of either Brass or Stringed Instruments, are ready at the shortest notice to attend Balls, Wedding Parties, Ploughing Matches, Pic-nics, and Water Parties, &c., on reasonable terms.

"SHIPPING NEWS", The Courier (3 February 1859), 2

"TASMANIAN POULTRY SOCIETY", The Hobart Town Daily Mercury (29 July 1859), 3

HEWSON, George

Bell-ringer (Trinity Church, Launceston)

Active Launceston, 1844


"SUPREME COURT", Launceston Examiner (9 October 1844), 3

"CRIMINAL SITTINGS", Launceston Examiner (12 October 1844), 2


Clarinettist, bandmaster, composer

Active Adelaide, SA, by 1857
Died Melbourne, VIC, 29 January 1867, aged 35


Clarinettist, cornet and cornopean player

Active Adelaide, SA, by 1861
Drowned St Vincent's Gulf, SA, 23-28 June 1872 (body not recovered)


[Advertisement], South Australian Register (18 September 1857), 1

"ADELAIDE CHORAL SOCIETY", South Australian Register (1 April 1858), 2

[Advertisement], The South Australian Advertiser (10 October 1861), 1

"THE LATE HERR LINGER", South Australian Register (18 February 1862), 2

[News], The South Australian Advertiser (24 February 1863), 3

"ADELAIDE REGIMENTAL BAND", South Australian Register (3 December 1863), 3

... The letter concluded by an intimation to the effect that Mr. Heydecke was ready to provide the old set of books, a new set of books for 16 members, and a complete set of marching books for a sum of £12. A calculation was hurriedly gone into, from which it appeared that the total expense to the regiment of purchasing the requisite instruments and books would be nearly £50, and several of those present offered to collect Burns which in the aggregate amountcd to about £40 towards the purchase of those articles.

[Advertisement], South Australian Register (13 August 1866), 1

[Advertisement], South Australian Register (31 January 1867), 1

"DEATH OF HERR T. HEYDECKE", South Australian Register (31 January 1867), 3

"FUNERAL OF THE LATE HERR HEYDECKE", The South Australian Advertiser (13 February 1867), 2

[News], The South Australian Advertiser (27 February 1867), 2

[Advertisement], The South Australian Advertiser (13 December 1867), 4

[Advertisement], South Australian Register (13 December 1867), 4

Auctions. THIS DAY (Friday), December 13, at noon. AT THE SALEROOM. REMOVED FOR CONVENIENCE OF SALE. HOUSEHOLD FURNITURE AND EFFECTS. MUSICAL INSTRUMENTS, MUSIC, &c. BY ORDER OF MRS. HEYDECKE. CHARLES TIDEMANN is instructed by Mrs. T. Heydecke (who is leaving the colony) to sell by auction, as above, at his Saleroom, This Day (Friday), December 13, at noon, without reserve- A Large Quantity of HOUSEHOLD FURNITURE, and EFFECTS, Kitchen Utensils, &c, comprising - Horsehair Sofa, Chairs Washstand, Tables, Sewing-Table Bedsteads and Bedding, &c. 1 Sewing-Machine, by Grover & Baker, 1 small Pianoforte AND A Lot of Kitchen Utensils and Requisites. ALSO, 2 French Horns, 1 Violin, a set of Clarionets: AND A Large Lot of Miscellaneous Music and German Books. Without reserve.

"THE FUNERAL OF THE LATE MR. G. LODER", The Mercury (28 July 1868), 3

"THE FLOWER SHOW", The South Australian Advertiser (7 December 1870), 5

"THE PHILHARMONIC CONCERT", The South Australian Advertiser (23 September 1871), 3

"LOSS OF A PLEASURE PARTY IN ST. VINCENT'S GULF", South Australian Register (15 July 1872), 7s

"ADELAIDE PHILHARMONIC SOCIETY", South Australian Register (26 August 1872), 6

[Advertisement], The South Australian Advertiser (15 January 1878), 1

"JUDAS MACCABEUS", The Register (21 April 1903), 6

"MR. CAWTHORNE'S REMINISCENCES", The Register (8 June 1912), 7

"AN HISTORIC PLAYHOUSE", The Register (29 January 1914), 9

P. A. Howells. "MUSIC AND MUSICIANS. REMINISCENCES FROM 1868. I", The Register (5 October 1918), 10

"OLD-TIME YACHTING TRAGEDY", The Register (7 July 1922), 11

"BANDMASTER THEODORE W. HEYDECKE", The Register (8 July 1922), 12

"GLENELG DROWNING TRACEGDY OF 1872", The Register (1 May 1926), 7

Some documented compositions:

March of Australia (Heydecke) [February 1860]

Dead march (played at Carl Linger's funeral) [February 1862]

Finnegan's Wake polka (arranged for the pianoforte by George Loder) (Adelaide: G. H. Egremont-Gee, [Ausgut 1866]

Slow march (T. Heydecke] [December 1866]

Waltz, "Rosebud" (Heydecke) [January 1867]

Galop, "Volunteer" (Heydecke) [January 1867]

Waltz, "The cornet" (Heydecke) [January 1867]

March "My angel" (Heydecke) [January 1867]

God bless the prince of Wales (Heydecke) [January 1867]

Parade march (Heydecke) [January 1867]

Posthumous notices:

Dirge composed by the late Theodore Heydecke" [July 1868]

Waltz, "The Adelaide" (Heydecke) [December 1870]

March, "Song of Australia" (Heydecke) [January 1878]


Auctioneer, seller of imported music

Active Sydney, NSW, 1843


[Advertisement], Australasian Chronicle (1 June 1843), 3

AN INVOICE OF NEW MUSIC, imported direct from the publisher's, com prising the works of all the moat celebrated composers of the present day. Catalogues will be ready for distribution on Wednesday morning, when the music may be seen. In the mean time, the Auctioneer begs to annex the following brief outline: Instruction books for the pianoforte, violin, violon-cello, flute, bassoon, key bugle, trumpet, French horn, accordion, clarionet, and harp, by Bochsa, Jousse, Willman, Kalkbrenner,, and other celebrated masters; Pianoforte music; consisting of brilliant fantasias, rondos, overtures, duets, &c., and s very large selection from the most popular operas Sacred music, comprising the works of Handel, Haydn, Bishop, Loder, and others Concerted music, for the pianoforte, harp, flute, violoncello, &c. Quadrilles, waltzes, mazourkas, cachouchas, galops, contre dances, &c. WITH, A great variety of: songs, ballads, duets, &c. ALSO, A good seraphine. Terms, cash.

HICKSON, Mr. (? Hugh, or Thomas)

Musician, flute player (Band of the 63rd Regiment)

Active Hobart Town, VDL (TAS) 1831 (regiment in Australia 1829-33)
Died by November 1834

See also Band of the 63rd Regiment


[Advertisement], Colonial Times (28 September 1831), 1

[News], The Hobart Town Courier (14 November 1834), 2

The sickness of the 63rd, we are happy to say, had nearly subsided - Major Briggs and Capt. Gibbons were returning to England; and Surgeon Russel had gone to Penang on sick leave. Hickson, the flute-player of the band, had died.


Bellman, bellringer

Active Sydney, NSW, 1838


"A LUNATIC", The Sydney Gazette and New South Wales Advertiser (21 April 1838), 2 

A LUNATIC. - On the evening before last, a young man whose intellects are subject to derangement, and who earns a scanty existence by ringing "those evening bells" that enliven the streets at night, entered the house of Mr. Farrell, the publican, of George-street, between the hours of 7 and 8 o'clock. Knowing the man's affliction, Mr. F. ordered him out, and he went. At 9 o'clock he again returned, and was forcibly put out by Mr. Farrell. At 10 o'clock Mr. F. perceived, from his parlour, the front folding doors gradually and slowly open, and a head cautiously intruded through the opening. Anxious to see the end of the affair, he suffered the party to steal softly and unobserved (as he supposed) up to the counter, when he unexpectedly darted forth and seized - to his inexpressible surprise - the same deranged visitor. He was sent to the watch-house for protection. - Joseph Higginson is the name of the unfortunate, whom we recommend as a fit object of charity to the Committee of the Benevolent Assylum; he is perfectly harmless and inoffensive.

HIGGINS, Thomas William

Amateur vocalist, pianist, sheep farmer 

Active Port Elliot, SA, by 1861
Died Currency Creek, SA, 9 August 1915, aged 75


Amateur musician, pianist


The song The bushman, first published in Adelaide in 1845, was still popular in South Australia in the 1860s. It was evidently a favorite of Higgins, a grazier, who sang it several times at public dinners, where the press variously referred to it as "The bushman's life" and "The bushman's song", and positively identified it by its chorus: "[Then] Hurrah! for a bushman's life". Mrs. T. W. Higgins was also a regular performer at musical events in the Port Elliot region.


"PORT ELLIOT", South Australian Register (20 May 1861), 3

"OPENING OF THE INMAN AND HINDMARSH BRIDGES", The South Australian Advertiser (3 August 1863), 3

"DEATH", Southern Argus (12 August 1915), 2

HILL, Alfred

Violinist, conductor, teacher, composer

Born Richmond, VIC, 16 December 1869 (not 1870)
Died Sydney, 30 October 1960 (NLA persistent identifier)


Bibliography and resources:

Hinemoa (cantata, Wellington, NZ, 1896); recorded extract, opening (conducted by the composer, 1952) 

Andrew D. McCredie, Hill, Alfred Francis (1869-1960), Australian dictionary of biography 9 (1983)

John Mansfield Thomson, Hill, Alfred Francis, Dictionary of New Zealand biography. Te Ara - the Encyclopedia of New Zealand

HILL, Arthur

Amateur vocalist, actor (publican, Rose and Crown Castlereagh-Street, printer)

Born England, 1784
Active Sydney, by 1826 (Sydney Amateur Concerts)
Died Sydney, 23 March 1834 (TROVE tagged by Australharmony)


"MR. EDWARDS'S BENEFIT", The Monitor (25 August 1826), 5

... "I'm Parish Clerk and Sexton here", was sung with much humour by Mr. Hill, but the want of those essential requisites to give such songs effect-namely dress and music [i.e. instrumental accompaniment]-greatly detracted from its comicality. The former we understand was objected to by the Directors upon some principle of Etiquette.

"THE ANNIVERSARYDINNER", The Monitor (27 January 1827), 5

A Patriotic song by Mr. Hill, and Dulce Domum by Mr. Blanch were greatly applauded, the style of singing of each being well adapted to his subject. 

"Theatre", The Sydney Gazette and New South Wales Advertiser (22 June 1833), 2

We understand that our respectable fellow-colonist, Mr. Arthur Hill, is engaged by the Proprietor of the Sydney Theatre, for the next season, to sustain a line of characters for which report states he is eminently qualified. We have never seen Mr. Hill "on the boards", and therefore cannot speak from our own knowledge.

[News], The Sydney Monitor (25 September 1833), 3

Mr. Arthur Hill, of the old school of legitimate Comedy, we are glad to hear, is engaged for the peculiar characters in which he is known to excel.

"DIED", The Australian (24 March 1834), 3

"DIED", The Sydney Monitor (25 March 1834), 3

"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (3 July 1834), 2

The comedy of The Rivals was the first piece, and with the exception of some two or three of the inferior characters, was creditably performed. ... The Sir Lucius of Mr. Simmons though a tolerable performance, was not equal to the representation that we have seen of it by the deceased Mr. Arthur Hill.


Obituaries Australia


HILL, Arthur Silvester

Flautist, bandsman, bandmaster (Band of the 99th Regiment), composer

Born ? Ireland, c.1829/30
Active Sydney, NSW, 1848; Hobart, TAS, 1849-55
Married Ann Sophia HOPKINS, St. Joseph's, Hobart, TAS, 17 April 1854, aged 24
Died Cork, Ireland, 7 May 1865 (TROVE tagged by Australharmony)

See also Band of the 99th Regiment


Hill's The Australian grand waltzes ("A New Year's Gift ... composed and arranged for the Piano Forte, by Arthur S. Hill, 99th Regiment") were published in Sydney in 1848 (no copy identified), and his The Wivenhoe guadrilles and Geelong schottisch respectively in Henry Stoney's Tasmanian lyre and Delacourt bouquet in Hobart in 1854/55.

Hill regularly appeared in Hobart as a concert flautist. In April 1854, at St. Joseph's Church, Hobart, he married Ann Sophie Hopkins, daughter of the former Hobart dancing master Gattey Hopkins. He was not bandmaster in Australia, although he may have been later. He died at Cork, Ireland, in 1865.


[Advertisement], Sydney Chronicle (1 January 1848), 3

"NEW MUSIC", The Sydney Morning Herald (5 January 1848), 3

"CONCERT", The Courier (10 March 1849), 2

"MUSICAL. ROYAL VICTORIA THEATRE", The Courier (27 January 1853), 2

"ROYAL VICTORIA THEATRE", The Courier (2 July 1853), 3

"ATTENTION", The Courier (5 April 1854), 2

"MARRIED", The Courier (18 April 1854), 2

Marriages in the district of Hobart; Tasmanian names index; NAME_INDEXES:848552; RGD37/1/13 no 688 

[Advertisement], The Courier (13 November 1854), 3

[Advertisement], Colonial Times (9 March 1855), 4

[Advertisement], The Courier (6 April 1855), 3

"DEATHS", The Mercury (13 September 1865), 1

HILL, Bernard

Bandsman (Band of the 99th Regiment)

Died Sydney, NSW, August 1845


"INCAUTIOUS USE OF MEDICINE", The Sydney Morning Herald (23 August 1845), 3

Bernard Hill, once a bandsman in the 99th regiment, aged about 26 years, and who had lately been employed as an assistant in a druggist's shop, in George-street, but had latterly been unemployed, feeling himself unwell on Thursday afternoon, got some medicine (supposed to be laudanum) which he took, and shortly after became insensible till mid-day, yesterday, when he expired in the room of his father, Serjeant Hill, of the 99th regiment.

HILL, John

Musician (theatre band), formerly bandsman & drum-major (Band of the 99th Regiment)

Active Sydney, NSW, 1858


"DREADFUL MURDER", The Sydney Morning Herald (12 March 1858), 5

"SHOCKING TRAGEDY", Empire (13 March 1858), 4

... a woman named Margaret Hill, aged 30 years, was lying dead at Paddington, from the effects of a wound received from her husband ... The husband, John Hill, is a musician, and was formerly drum-major of the 99th Regiment ... The prisoner, who is a man of about 40 years of age, was, as before stated, formerly drum-major in her Majesty's 99th Regiment, and has been in receipt of a pension. He has also been in the city police, from which he was discharged some time ago. He obtained a livelihood by playing with one of the bands at the theatre. He is of average height, and has a thin and anxious expression of countenance ...

[News], Freeman's Journal (10 April 1858), 3

HILL, Barnard (Bernard HILL)

Sawyer and violin player

Arrived Van Diemen's Land, by 1825
Active Hobart Town, VDL (TAS), 1833-46
Died Huon Valley, TAS, 9 August 1858, aged 80 years


The Statistical view of Van Diemen's Land (1832) lists "Bernard Hill, violin player" as living at 12 Goulburn-Street, Hobart in 1831. "Sawyer and violin player" Barnard Hill's selection as a jury member in Hobart in 1833 became a subject of satire in the press. According to a police report, Hill was still playing the violin semi-professionally for Robert Fowler's "dancing school" in 1846. He was an elector in Franklin in 1856. His descendent Anne Wilson kindly informed me (January 2014) that he died in a boating accident in 1858, aged 80.


"McCABE", Hobart Town Gazette (29 October 1825), 2

Statistical view of Van Diemen's Land (1832), 163

[Editorial], The Hobart Town Courier (19 July 1833), 2

We are sure on this occasion Mr. Barnard Hill, with whom we have the honour to be personally acquainted, he having recently cut some rafters for our fowl-house at Knocklofty, and whose exquisite Paganini touches on the violin we so frequently have the pleasure to hear, urging, as we pass the corner, the fantastic toes of the ladies and gentlemen who frequent Mr. Walford's ball-room, at the King George - we are sure he will excuse us for once, for paying that we fear he would not think himself fairly tried in a dispute about cutting rafters or the price of an hour's catgut scraping by such men as Mr. Meredith or Major Schaw, any more than the latter gentlemen would fancy their rights and privileges, especially as regards the intricate points of literature and libel, fairly confided and adjusted by his unbiassed decision.

"SCHAW v. MEREDITH", The Hobart Town Courier (19 July 1833), 3

"SCHAW v. MEREDITH", Colonial Times (23 July 1833), 2

[Letter] To the Editor", Colonial Times (30 July 1833), 3

[Editorial], The Sydney Gazette and New South Wales Advertiser (17 August 1833), 2

"THE LAWS OF LIBEL", The Hobart Town Courier (31 January 1834), 4

"POLICE", The Courier (1 August 1846), 2

[Advertisement], The Courier (10 June 1856), 1

"DIED", The Hobart Town Daily Mercury (11 August 1858), 2

"FATAL ACCIDENT", Launceston Examiner (12 August 1858), 2

HILL, John (K.S., R.A.M.; in England after 1880, known as John HILLER)

Pianist, organist, conductor, Professor of the Pianoforte and Singing, violinist, composer

Arrived Sydney, NSW, by February 1865
Departed Melbourne, VIC, 1877 (with Ilma De MURSKA)


Hill succeeded George Loder as conductor of the Sydney opera season in 1866. A friend and colleague of Alfred Anderson, a decade later John Hill also played in the Ilma De Muska concerts, and within months of Anderson's death, he notoriously married the recently bereaved singer in a ceremony on tour in New Zealand. Curiously, according to the recollections of Murska's manager De Vivo (1897), at the time of Anderson's death Murska had "detested" Hill. By 1881, he was conducting under the name John Hiller, and was still active in London in 1899.


[Advertisement], The Sydney Morning Herald (8 February 1865), 1

"MUSIC AND DRAMA", The Sydney Morning Herald (18 February 1865), 8

[Advertisement], The Sydney Morning Herald (13 March 1865), 1

"MR. JOHN HILL'S FIRST CONCERT", The Sydney Morning Herald (14 March 1865), 4

"MUSIC AND DRAMA", The Sydney Morning Herald (21 March 1865), 13

On Monday, the 13th instant, Mr John Hill, lately from London, pianist and organist of considerable abilities, gave his first concert at the Australian Library, which was fashionably and well attended. The principal feature of the concert was the performances of Mr. Hill on the pianoforte and harmonium, which created a marked impression of his powers on both these instruments. In the Fantasie sur l'Opéra Lurline de Wallace, by Ascher, Mr. Hill displayed fine capabilities as a solo pianist, his enunciation being clear and distinct. A fine instrumental effect was a duet for harmonium and pianoforte, by Mr. Hill and Mr. Frederic Ellard, which was admirably performed by both those gentlemen. The overture to William Tell, also performed by Mr. Hill on the harmonium, was a brilliant effort. These were decidedly the pieces de resistance of the evening. Mr. Hill afterwards performed Boulanger's celebrated Impromptu polka.

"NEW SOUTH WALES", South Australian Register (24 July 1865), 2

"AMUSEMENTS", The Sydney Morning Herald (5 May 1866), 7

"AMUSEMENTS", The Sydney Morning Herald (23 May 1866), 3

"ST. ANDREW'S ORGAN", Empire (13 August 1867), 4

"MUSIC AND THE DRAMA", The Sydney Morning Herald (8 September 1869), 10

"DEATHS", Evening News (2 October 1871), 2 

On the 25th June, at his late residence, Maida Vale, of consumption, Julius Henry Hill, aged 24 years, brother of John Hill, K.S., R.A.M.

"Musical and Dramatic Review", Australian Town and Country Journal (6 January 1872), 23

"MR. GUENETT'S CONCERT", The Argus (17 February 1873), 7

"MUSIC", The Australasian Sketcher (9 August 1873), 90

[News], The Argus (29 November 1873), 6

"THE DE MURSKA CONCERTS", The Argus (26 January 1876), 7

[News], The Argus (15 May 1876), 4

"NEW ZEALAND", The Argus (16 May 1876), 5

"MUSICAL", The Mercury (10 October 1879), 2

"BRITISH AND FOREIGN ITEMS", The Mercury (19 February 1881), 1s

"THE LOVES OF A CANTATRICE", Kalgoorlie Western Argus (11 March 1897), 10

"MUSIC AND DRAMA", The Brisbane Courier (4 September 1899), 6


"ARTISTS IN AUSTRALIA. HISTORY: OLD AND NEW", The Daily News (19 October 1925), 6

Musical works:

The royal arrival galop (Sydney: [?], [ ])

The Sicilian Vespers quadrille ("arranged by John Hill") (Sydney: J. R. Clarke, [1869])

The Lorne highland schottische (arranged by John Hill, K.S., R.A.M.") (Sydney: Elvy & Co., [?])

Love among the roses schottische (Sydney: Elvy & Co., [?])

Kismet waltz (Melbourne: [C. Troedel], [1873])

Mollie darling (morceau de salon) (Melbourne: W. H. Glen & Co., [??])

HILL, Louisa (Mrs. Samuel Prout HILL; late Mrs. ODELL)

Teacher of music, singing, and painting

Arrived Hobart, by May 1847
Died Hobart, 19 May 1871, in the 68th year of her age


[Advertisement], The Courier (19 May 1847), 1

[Advertisement], The Courier (26 May 1847), 1

"MARRIAGE", The Courier (21 April 1849), 2

[Advertisement], The Mercury (14 November 1863), 1

"DEATHS", The Mercury (20 May 1871), 1

Bibliography and resources:

Harry Buckie, Hill, Samuel Prout (1821-1861), Australian dictionary of biography1 (1966)

HILL, Peter


Active Hobart Town, VDL (TAS), 1837


[Advertisement], The True Colonist Van Diemen's Land Political Despatch ... (10 November 1837), 1 

MR. PETER HILL, MUSICIAN. Upper Goulbourn-street, HOBART TOWN. Music provided for Balls or Parties.

HILL, Samuel


Active Bathurst, NSW, 1850


"MAL-APPROPRIATION", Bathurst Free Press (21 December 1850), 7

HILL, Samuel


Active New Ballarat, VIC, 1859


"Indigo Police Court", Ovens and Murray Advertiser (14 May 1859), 3

Samuel Hill, sworn, deposed: Am a musician and live at New Ballarat.

HILLCOAT, John William

Music retailer, music publisher

Active Maitland, 1860s
Died Sydney, 17 February 1907, aged 78


Hillcoat had been a sheep farmer and cattle dealer at Stradbroke in South Australia for several years when he was declared insolvent in October 1856. His case dragged on until March 1859, and in September that year a Mrs. Hillcoat, with references from the Lord Bishop of Adelaide, advertised that she would open a school for young ladies in Maitland, NSW. In April 1861 she was intending to hold dancing classes, while her husband, since he was "not fully occupying his time, offers his services to tradesmen to WRITE UP THEIR BOOKS and to MAKE OUT THEIR ACCOUNTS". In August 1862, J. W. Hillcoat first advertised that he was selling music from his home, and in November opened a new shop, as "J. W. HILLCOAT, MUSIC SELLER, High-street, West Maitland".

On 4 March 1863, he issued the first number of his series THE MAITLAND MUSICAL BIJOU, the Night Parade Waltzes by Marmaduke H. Wilson, who was to compose the whole set. No 2 was I'm Saddest when I sing (April 1863), No 3 The Singleton Railway Galop (May), and No 4 Royal Wedding Polka (June). A New song, The Echo was advertised for 1 July, but in the event No 5 was The Aberglasslyn Schottische (July 1863). However, the August number was not going to be ready until the arrival of the English mail. In the event, neither Nos 6 nor 7 can be identified. In mid-November a new Wilson song Good Bye appeared, possibly No 8, and in December, the unattributed Christmas Polka Mazurka, possibly No 9. In February 1864, Hillcoat's creditors held a meeting, but in June he and Wilson announced that they had completed the series with No. 10 Australia, The Land of My Birth; No. 11 Varsovianna [sic]; and No. 12 Anambah Polka.

Hillcoat and Wilson immediately instituted a new twice-monthly series, "The Young Pianist's Repertoire" ("published on the  1st and 15th of every month; price 1s, to be completed in twelve numbers"), the first number, according to the Mercury, "a selection from the opera L'Elisir d'Amore, arranged and marked for fingering by Mr. M. H. Wilson"), but though the first three numbers of which had appeared by early July it faltered thereafter. Probably Hillcoat and Wilson then produced nothing new until the appearance of their last joint effort, the Nervous Cures Quadrilles in 1867.


"INSOLVENCY NOTICES", South Australian Register (3 October 1856), 3

"INSOLVENCY COURT", South Australian Register (7 July 1857), 3

[Advertisement], The Maitland Mercury (17 September 1859), 3

[Advertisement], The Maitland Mercury (13 April 1861), 1

[Advertisement], The Maitland Mercury (9 November 1861), 1

[Advertisement], The Maitland Mercury (23 August 1862), 1

[Advertisement], The Maitland Mercury (22 November 1862), 4

[Advertisement], The Maitland Mercury (3 March 1863), 4

"THE MAITLAND MUSICAL BIJOU", The Maitland Mercury (5 March 1863), 2

[Advertisement], The Maitland Mercury (28 March 1863), 8

[Advertisement], The Maitland Mercury (5 May 1863), 1

"THE MAITLAND MUSICAL BIJOU", The Maitland Mercury (7 May 1863), 2

[Advertisement], The Maitland Mercury (2 June 1863), 4

"THE MAITLAND MUSICAL BIJOU", The Maitland Mercury (6 June 1863), 2

[Advertisement], The Maitland Mercury (27 June 1863), 1

[Advertisement], The Maitland Mercury (30 June 1863), 4

[Advertisement], The Maitland Mercury (1 August 1863), 4

"NEW SONG", The Maitland Mercury (17 November 1863), 3

[Advertisement], The Maitland Mercury (5 December 1863), 1

[Advertisement], The Maitland Mercury (16 February 1864), 1

[Advertisement], The Maitland Mercury (29 April 1864), 1

[Advertisement], The Sydney Morning Herald (29 April 1864), 1

[Advertisement], The Maitland Mercury (11 June 1864), 1

"MUSICAL PUBLICATIONS", The Maitland Mercury (11 June 1864), 2

[Advertisement], The Maitland Mercury (2 July 1864), 1

[Advertisement], The Maitland Mercury (16 December 1865), 7

"THE NERVOUS CURES QUADRILLES", The Maitland Mercury (4 May 1867), 4

"DEATHS", The Brisbane Courier (5 March 1907), 4

Bibliography and resources:

HIME, Charles E.

Piano tuner and maker (from Broadwood and Sons, London, and Hime and Son, Liverpool)

Active Melbourne, VIC, by 1852


[Advertisement], The Argus (16 September 1852), 5

[Advertisement], The Sydney Morning Herald (3 June 1858), 8

"BIRTHS", The Sydney Morning Herald (18 June 1858), 1

"CENTRAL POLICE COURT", The Sydney Morning Herald (6 January 1863), 5

HINCHY, James Joseph (Jim)

Tenor vocalist

Born Melbourne, VIC, 6 June 1849
Active Sydney, NSW, by 1875
Died Darlinghurst, NSW, 21 January 1896


"Music Notes", The Sydney Mail and New South Wales Advertiser (27 February 1875), 270

"CHRISTMAS ENTERTAINMENTS", The Sydney Morning Herald (26 December 1878), 5

A sacred musical festival was given last night at the Victoria Theatre, which was well attended in every part. The piece de resistance was a Mass Solennello, No. 3, by Signor P. Giorza, which possesses some merit, but is by no means equal to many similar compositions. The principals were Miss Bessie Harrison, Signora Fabris, a lady amateur, Mr. Hinchy, Mr. Wilkinson, Mr. Wilson, and Mr. Flynn, and all of them acquitted themselves with more or less success . . . Mr. Hinchy's tenor is a little thin, but he rendered his parts with considerable care and success . . .

"THE MUSIC AT THE GARDEN PALACE", The Sydney Morning Herald (1 December 1879), 3

... The arrangements were not good, the seats were in front and behind a platform, on which the pianos were so placed that scarcely a dozen visitors could see the hands of the players, and the vocalists were obliged to turn their backs on one portion of the audience; Mr. Hinchy's gallantry would not allow him to be guilty of such apparent rudeness, and he refused under the circurnstances to sing.

[Advertisement], The Sydney Morning Herald (26 March 1880), 2

"BACH'S PASSION at the UNIVERSITY", The Sydney Morning Herald (19 April 1880), 5

The first performance in the colony of a work as great as it is unique, no matter how crude such a performance in itself may be, marks a new era in the musical history of New South Wales ... Mr. Hinchy, as the Evangelist, had a very difficult, long, and unsatisfactory part. He began fairly well, but was so evidently overweighted, that long before the close it was painful to listen to him. The programmes announced that "in order to ensure the success of the performance, Mr. [Sydney] Moss will preside at the pianoforte." To the conductor of the Musical Union, therefore, fell the task of accompanying the recits.; and, probably with the best intentions, this gentleman, finding the tenor uncertain in the musical text, very frequently played the correct notes on the piano. The effect of the two versions being heard simultaneously can be imagined.


Mozart's Twelfth Mass, with organ accompaniment, was sung by the cathedral choir, Mr. Hallewell conducting, and Mr. Banks at the organ, the brilliant Gloria, having a particularly good effect. At the Offertory, Mr. James Hinchy, with exquisite sweetness, sang Aulagnier's "O Salutaris."

"DEATH OF MR. JAMES HINCHY", Freeman's Journal (25 January 1896), 15

HINCHY. - January 21, at his residence. 142 Burton street, Darlinghurst, James Joseph Hinchy, aged 46 years (late Accountant and Chief Inspector of the Treasury). R.I.P. This announcement in the morning papers of Wednesday must have given a shock to the many hundreds in the city who knew and esteemed 'Jim' Hinchy. When he was a boy at Lyndhurst College, with Mr. J. A. Delany as one of his class-fellows, he was a favourite, and everybody, priests and all, called him Jim. It was the same when be ran his course as a cricketer in the days of the victorious Warwicks. Jim Hinchy (big-hearted, bright-witted Jim) he continued during his rise in the Treasury from a junior ship to the second highest position in the department. And during all the five and twenty years he appeared on concert and oratorio platforms in Sydney as our most accomplished amateur tenor, few ever spoke of him save as Jim. This was not disrespect, it was an affectionate recognition of his fine qualities and his genial nature. He was a true type of the educated, courteous, and manly Australian native. He never deserted a friend, and never made an enemy. For some months past he had been in failing health, but it was not till shortly before Christmas that he showed symptoms of Bright's disease. It was not a long struggle. His medical advisers, Dr. Jarvie Hood and Dr. Marshall, ordered him to keep to his room a fortnight ago, and he died on Tuesday night. From the hands of the Very Rev. Dr. Carroll, V.G., he received the last Sacraments, and all the clergy of the cathedral staff visited him during his last hours. He leaves a widow and four children, the eldest a boy of 19, and the youngest a mere baby. For many years past Mr. Hinchy has been best known, musically, by his connection with St. Mary's Cathedral as principal tenor. With comparatively brief intervals, he was a member of the choir for a quarter of a century. He sang in the Te Deum to welcome Archbishop Vaughan 1873, and he took part in the Archbishop's Requiem in 1883. He also sang in the Requiem of Archbishop Polding in 1877. He was one of the principal soloists at the opening of the new Cathedral in 1882, and his voice rang out in the Te Deum, both when the Cardinal arrived as Archbishop in 1884 and when his Eminence returned from Rome with the red hat in 1885. Mr. Hinchy was also a singer in the Cathedral ceremonies of the two Plenary Councils, 1885 and 1895. He was in his place on Christmas Day and sang the solos in Gounod's 'Messe Solennelle,' and his last appearance in the choir was on the Sunday following Christmas. Among those who followed the remains to the grave on Wednesday afternoon were Mr. William Hinchy (son of the deceased), Messrs. Fred and John Bede Hinchy (brothers), the Hon. George Reid, Premier and Colonial Treasurer; Mr. Kirkpatrick, Under-Secretary for Finance and Trade; Mr. A. Fraser, Under-Secretary for Justice; Mr. Green, Accountant Justice Department; Mr. J. A. Delany (organist and choirmaster of the Cathedral), Mr. F. J. Hallewell, Mr. J. H. Rainford, Mr. R. Daly, Mr. W. E. Byrne, C.P.S., Balmain; Mr. Victor Cohen, Accountant Lands Department; Mr. W. Byrne, B.A., Mr. D. Mullins, Mr. D. Clancy, Mr. W. P. O'Halloran, Mr. W. O'Gorman Hughes, Mr. John Donelan, Mr. Charles Huenerbein, M. Napoleon Boffard, Mr. John See, M.P., ex-Colonial Treasurer; Mr. James Kidman, and a number of Treasury officers. The remains were interred in the Catholic portion of the Waverley Cemetery.

"SNAP SHOTS", Freeman's Journal (22 October 1898), 16 

Later De Vivo brought out Carlotta Patti. He had struck up a friendship with poor Jim Hinchy in Sydney, and admiring his voice and style engaged the jovial tenor to sing at the brilliant Patti concerts, which were given in the Theatre Royal.


See main page



HOARE, Edward

Conductor of the psalmody (St. Philip's Church, Sydney), vocalist (St. James's Church, Sydney)

Born ? UK, 10 December 1802
Arrived Sydney, NSW, ? 1821 (free per Speke)
Active Sydney, 8 September to 7 December 1825; 1829


Edward Hoare's first musical notice was in the payment accounts for the government Ecclesiastical Establishment for "conducting the psalmody, on Thursday evenings and Sunday afternoons" at St. Philip's Church, Sydney, between 8 September and 7 December 1825. In this task, he succeeded John Onions, a convict servant of Edward Hall Smith. An Edward Hoare was appointed a constable in 1826, but dismissed in April 1828 "for highly improper conduct". From a family history website (created by descendent Malcolm Kenneth Perrins:

Edward Hoare was born in the UK on 10 December 1802, the son of John Hoare (b.1860), originally of Lostwithiel, Cornwall. Edward and his wife, Sarah Marsden, had children baptised at St James (William Edward, 1824), St Philip's (George Frederick, 1826; Henry, 1829), and again St James (Samuel, 1830; Edward 1832).


"DISBURSEMENTS. ESTABLISHMENT ...", The Sydney Gazette and New South Wales Advertiser (3 October 1825), 1

"Government Notice", The Sydney Gazette and New South Wales Advertiser (3 June 1826), 1

"COLONIAL SECRETARY'S OFFICE", The Sydney Gazette and New South Wales Advertiser (4 June 1827), 1

"SYDNEY. [Constables] Dismissed", The Sydney Gazette and New South Wales Advertiser (9 June 1828), 1

Colonial Secretary LC, Cash vouchers 1829, State Archives NSW, 4/296 (transcr. Rushworth 1988, 363)

[St. James's Church], Chaplain Hill, £250 [per annum]; Clerk, 20; Collector of Pew Rents, 5; Sexton, 20; Beadles (2), 15 each; Pew openers (2), 10 each; Teacher of the Choir and Organist, Mr. Pearson, £26; ditto, for tuning the organ, 8; Singers, Harriet Edmonds, 10; Ann Lancaster, 5; E. Hoare, J. Parton, G. Shepherd, Wm. Aldis, R. Cooper, S. Pawsey, 5 each; Organ blower, Geo. Mills, 4 6s 8d; Watchman, 13; Grave Digger, 13.

HOBART, William (Mr. W. HOBART; William HOBART; HOBBARD; HOBBART; ? William Henry, or Henry William)

Watch and musical instrument maker, organ builder

Born Dunton cum Doughton, Norfolk, England, 21 January 1789
Arrived Launceston, VDL (TAS), 20 August 1836 (immigrant with family per Amelia Thompson, from London, 28 April)
Active Adelaide, SA, 1845-46 (TROVE tagged by Australharmony)


Mr. [Henry, sic] and Mrs. Hobbard, arrival, per Amelia Thompson, 20 August 1836; Tasmanian names index; NAME_INDEXES:436811; CSO1/1/872/18447

Henry William Hobbart, son of William and Ann, baptised, St. John's, Launceston, 28 December 1837; Tasmanian names index; NAME_INDEXES:1085706; RGD32/1/2/ no 8033 

[Advertisement], Launceston Examiner (11 June 1842), 2 

"ORGAN", The Cornwall Chronicle (27 August 1842), 2 

"CHURCH ORGAN", The Cornwall Chronicle (21 January 1843), 2 

"MUSIC HATH CHARMS", Launceston Examiner (24 May 1843), 3 

[Advertisement], Launceston Examiner (4 November 1843), 5 

"LOCAL INTELLIGENCE", Adelaide Observer (3 April 1847), 5 

Bibliography and resources:

"William HOBART (HOBBARD)", Wikitree, by Mark Hamilton 

"Holy Trinity Anglican Church, Launceston", Historical and Technical Documentation by John Maidment, OHTA 


Drum major (102nd Regiment, later, not in Australia)

Active Sydney, NSW, to 1814 (with 73rd Regiment)


[Advertisement], The Sydney Gazette and New South Wales Advertiser (3 May 1834), 1s

... [lot] No. 241. By Joshua Holt, gentleman, George-street, Sydney, to 2 Rods 13 Perches, promised to one John Hobbs, then a Serjeant of Mis Majesty's 73d regiment, and subsequently drum-major in the 102d, described as follows: situate on the east side of George-street, in the township of Sydney...

HODGE, Sebastian ("Bass" HODGE)

Bandsman (Band of the 11th Regiment), clarinettist, saxophone player, publican

Born 1833
In Australia with 11th Regiment, 1846-57
Returned to Sydney, NSW, January 1862
Died Sydney, NSW, 21 April 1889, aged 56

See also Band of the 11th Regiment

HODGE, William Bass

Musician, composer

Born 1855
Died Sydney, NSW, 1942


Not to be confused with Sebastian "Bass" Hodge of Bathurst (a cousin), the musician Sebastian Hodge was the first son of sergeant William Hodge (b. 1811; d. Gundagai, NSW, 1863) of the 11th Regiment, and himself served in the regiment in Australia, perhaps in the band under its master Charles Stier. Hodge returned to Sydney with his wife and three children (including William Bass), in 1862.

"By kind permission of Mr. W. S. Lyster", in whose orchestra he was probably playing, Hodge appeared at Eliza Wallace-Bushelle's concert in October 1863, and played an obligato to Anna Bishop in 1868. A prominent freemason and publican, Hodge went by the nickname "Bass" (as so too did his Bathurst cousins). He continued playing in Sydney theatre orchestras, and in 1883 was master of a new incarnation of the City Band.

His son William Bass was composer of the patriotic song by She who gives her son ("words by Stephen Raffo, music by W. Bass Hodge") published in March 1915, active in Sydney into the 1930s. Note his 1933 recollections of old time singers (including the Bushelles).

My thanks to Mark Pinner for bringing Hodge to my attention.


"SHIPPING", The Sydney Morning Herald (4 January 1862), 4

"BIRTHS", Empire (24 September 1863), 1

[Advertisement], The Sydney Morning Herald (21 October 1863), 1

[Advertisement], The Sydney Morning Herald (12 December 1868), 1

"DOUBLE BAY ANNUAL REGATTA", Australian Town and Country Journal (3 November 1883), 35

"Deaths", The Sydney Morning Herald (22 April 1889), 1

"CABLEGRAMS", The Northern Miner (24 April 1889), 3

WE notice by our telegrams the death of an old Sydney identity, Mr. Sebastian Hodge, a gentleman who was originally attached to one of Her Majesty's regiments in the capacity of band master, and who since the Imperial troops left New South Wales had been well known as the proprietor and landlord of the Commercial Hotel in King Street, one of the most respectable hosteleries in Sydney. Mr. Hodge was also a good and enthusiastic musician, a splendid performer on the clarionette, and a specialist on that rarely played instrument, the saxophone, which had a telling effect in an orchestra, supplying the gap between the oboe and the bassoon. He was frequently engaged by the late W. S. Lyster in operatic orchestras, and his loss will be keenly felt in professional and private circles. Mr. John Hodge of the Bank of New South Wales, Charters Towers, is a son of the deceased gentleman under notice.

"OBITUARY", Australian Town and Country Journal (27 April 1889), 43

Mr. S. HODGE - Everybody in Sydney who wanted to know anything about brass bands or military music had only to apply to Mr. Sebastian Hodge, at the Commercial Hodge, at the Commercial Hotel in King-street. He prided himself upon knowing these subjects perfectly; and his pride was well founded. We have now to record his death, which occurred last Sunday evening after the operation had been performed for the removal of a carbuncle on his neck. Mr. Hodge came to Australia many years ago as bandsman in the 11th Regiment; and after his term of service in the army he was appointed drill-sergeant at the Sydney Grammar School. Subsequently, he took over the well-known Commercial Hotel, of which he was the proprietor at the time of his death. Mr. Hodge was the founder of the once popular city band, and as a clarionet and saxophone player had not been excelled in Australia. He was president of the Licensed Victuallers' Association, and a staunch Mason. He was 56 years of age, and left a wife and several children. The remains were buried in the Waverley Cemetery with Masonic honors.

"RECEIVED", Nepean Times (6 March 1915), 6

"NEW MUSIC", The Sydney Morning Herald (31 July 1915), 8

[News], The Sydney Morning Herald (4 February 1926), 8

"PERFORMING RIGHTS", The Sydney Morning Herald (24 September 1932), 17

"OLD-TIME SINGERS. TO THE EDITOR", The Sydney Morning Herald (12 December 1933), 3

"THE ANZAC MARCH. TO THE EDITOR", The Sydney Morning Herald (26 April 1934), 3

Bibliography and resources:

HODGHON, Benjamin

Drum major (48th Regiment)

Arrived Sydney, 1817
Died Liverpool, NSW, 12 September 1862


[News], The Sydney Gazette and New South Wales Advertiser (19 February 1827), 2

Bibliography and resources:

B. and M. Chapman, "Drum Major Sergeant Benjamin Hodghon (c.1787-1862)", Australia's red coat regiments 

HODSON, Georgia(Mrs. William S. LYSTER)

Contralto vocalist (Lyster's company)

Arrived Melbourne, 1 March 1861 (per Achilles, from San Francisco)



[News], The Argus (2 March 1861), 5

HOELZEL, Herman (Hermann HÖLZEL)

Lecturer on music, arranger, composer

Born Obuda (Budapest), Hungary
Arrived Hobart, TAS, 22 May 1853 (per Abberton, from London, 11 February)
Departed Sydney, NSW, April 1858 (per Victoria, for Southampton)


A native of Hungary, Hoelzel studied at the Hatam Sofer's yeshivah in Pressburg, was a member of Jewish communities at Magdeburg (1836-40). In March 1841 he advertised a musical work, Israel's Glaube ("gedichtet und fü Baritonstimme mit Begleitung des Pianoforte in Musik gesetat von Hermann Hölzel, Oberversänger de israelitichen Gemeinde in Magdeburg"). Later he reportedly served as a reader at Hambro Synagogue in London (1845-52).

He arrived in Hobart in 1853 to become presiding rabbi, but in 1855 moved on to Sydney to become minister at York Street Synagogue. An interesting document from Hoelzel's later term at Sydney's York Street Synagogue is his signature and comments on a petition by Samuel Elyard to be allowed to "read and explain the Holy Scriptures ... in all Australian and other Churches".


[Advertisement], Allgemeine musikalische Zeitung 43/11 (March 1841), col. 247:

"THE SYNAGOGUE", The Courier (16 May 1853), 3

"ARRIVALS", The Courier (23 May 1853), 2

"ARRIVAL of DR. HOELZEL", Empire (7 July 1856), 2

"SCHOOL OF ARTS LECTURES", The Sydney Morning Herald (26 August 1857), 5

[Advertisement], The Sydney Morning Herald (8 September 1857), 8

TO THE JEWISH COMMUNITY.-Will be published in a few days, a Lithographic Portrait, by James Guy, of the Rev. Dr. H. HOELZEL, Presiding Rabbi of Sydney.


"DR. HOELZEL'S LECTURE ON MUSIC [Letter] To the Editor", The Sydney Morning Herald (24 September 1857), 2

"DR. HOELZEL'S LECTURE ON MUSIC [Letter] To the Editor", The Sydney Morning Herald (1 October 1857), 5

"THE HISTORY AND USE OF MUSIC", The Sydney Morning Herald (4 February 1858), 2

[Advertisement], The Sydney Morning Herald (3 August 1858), 1

[Advertisement], The Sydney Morning Herald (8 April 1858), 7

PURKIS and LAMBERT have received instructions to sell by auction, at the residence of the Rev. Dr. Hoelzel, Liverpool-street East ... in consequence of that gentleman's departure for Europe, The whole of the superior household furniture and effects, consisting Dining and drawing room furniture Pictures, engravings, A splendid tone pianoforte, by a first-rate maker, Part of his select and very valuable library ... 200 volumes valuable works.

"SHIPPING INTELLIGENCE", The Moreton Bay Courier (21 April 1858), 2


Hermann Hoelzel, The lecture on the history and use of music, delivered in the hall of the School of Arts, on the 25th August, 1857 ... to which is annexed ... (2) the music of the celebrated "Hosannah Hymn", ascribed to King David; (3) the music of "The hymn of the dead", composed in time immemorial; the pianoforte arrangements to both hymns by the author (Sydney: J. R. Clarke, 1857) 

Also 2nd edition, 1858

Other documentation:

MS Papers of Hoelzel, AHJS

Bibliography and resources:

Todd M. Endelman, The Jews of Britain, 1656 to 2000, 119-20


Violoncello player

Active Hobart, 1830


"VAN DIEMAN'S LAND NEWS. MR. DEANE'S CONCERT", The Sydney Monitor (2 October 1830), 4

The concert commenced with a grand symphony my Stamity [Stamitz]. Mr. Deane presided very ably at the violin, Messrs. Brown and Williams (master of the Band of the 63rd) seconds., Mr. Bock and Master Deane (a young gentleman only ten years old) tenors, Mr. Hoffer, a violoncello, and two horns by excellent performers of the 63rd Band. This beautiful symphony was performed with the greatest effect, and received with the warmest applause. ... A beautiful Quartetto from Haydn then followed, by Mr. Deane the Violin, Mr. Marshall the Flute, Mr. Bock the Tenor, and Mr. Hoffer the Violoncello. It was admirably executed.


Vocalist, Teacher of the art of Vocalisation, conductor (Fitzroy Philharmonic Society), merchant

Active Sydney, NSW, 1860s
Died Geelong, VIC, 27 December 1874, aged 54 


"CENTRAL POLICE COURT", The Sydney Morning Herald (4 September 1861), 5

"INSOLVENCY COURT", Empire (28 June 1865), 5

"MR. HORSLEY'S RECITALS", Empire (11 May 1868), 2

[Advertisement], The Sydney Morning Herald (8 July 1868), 8

"MR. HOFFMANN'S CONCERT", The Sydney Morning Herald (1 January 1869), 5

[Advertisement], The Sydney Morning Herald (14 August 1869), 1

"NEW SONG", The Sydney Morning Herald (15 March 1870), 5

"MR. HOFFMANN'S LECTURE. To the Editor", The Sydney Morning Herald (9 June 1870), 3

"Dramatic and Musical Review", Australian Town and Country Journal (18 February 1871), 20

"RECENT PUBLICATIONS", The Argus (2 September 1872), 6

Three singing lessons by Mr. Henry Hoffmann have been put into print at the request of several pupils and many friends. Considering the number and excellence of the many elementary works which are accessible to all learners at a very low price, we think the publication of Mr. Hoffmann's brochure is rather superfluous.

[News], The Argus (27 February 1873), 5

"Dramatic and Musical Review", Australian Town and Country Journal (15 March 1873), 20

"DEATHS", The Argus (30 December 1874), 1

"DEATHS", The Sydney Morning Herald (8 January 1875), 1



Active Ballarat, 1865


Ballarat and Ballarat district directory (1865), 30



Died Melbourne, 1870


""Funeral Notices", The Argus (2 July 1870), 8 

HOLDEN, William

Musician, composer, journalist, music reviewer

Born Chichester, England, 7 April 1808
Arrived South Australia, May 1838 (per Trusty)
Died North Adelaide, SA, 11 October 1897, aged 89


Pianist, teacher of music

Born Adelaide, SA, 17 September 1858
Died Adelaide, SA, 29 March 1892, aged 33


Holden arrived in Adelaide in 1838 with his friend Jacob Pitman, and June both men were elected to the committee of the newly formed Adelaide Mechanics' Institution. Both were later involved in establishing the New Church or Swedenborgian Society. In 1848 it was reported that at the society's meetings "music forms a considerable attraction ... After the singing of a piece of sacred music, Mr. William Holden next addressed the meeting". For the Gawler Institute, on 4 November 1859, Holden was one of the four judges (the others Dutton, Ewing, and Chinner) that awarded the first prize for musical setting of The song of Australia to Carl Linger. A journalist, and a pioneer of phonography (Pitman shorthand), according to his obituary (1897):

His tastes for music and art were such as to allow the Editor to entrust criticism on these subjects to him with the utmost confidence. In his way he was a composer, but the fact that he shrank from anything like publicity was doubtless the reason why his compositions were not published for the benefit of his fellows generally.

A friend, C. Williams also wrote:

To my knowledge more than one of the late Mr. Holden's musical works have been printed, particularly a fine anthem which appeared in the Musical Herald. My old friend was an excellent violinist also. He was a prominent member of the Adelaide Philharmonic Society, where his thorough knowledge of the art and science of music was often brought into request. At rehearsals of oratorios his opinion as to how certain passages should be interpreted will always remain pleasant reminiscences. But, above all, as a musical critic I never knew his superior, for he was always kindly, never offensive; just, but never scathing; and he knew what he was writing about.

At least one composition was in fact published, as the musical supplement to Joseph Elliott and Walter Sims's The Adelaide Miscellany (17 June 1869), Holy, holy, holy, "an original Sanctus by Mr. W. Holden, very nicely printed from music types". His vocal duet Ode to music (words by J. H. Clark) was originally composed for the opening of Adelaide Town Hall, but was not performed on the occasion, and was introduced to the public by Anna Bishop and Charles Lascelles in June 1868. Another choral composition O! could I soar from star to star was sung at Watervale in November 1869, and his new sacred song Adoration was performed in Melbourne in February 1878.

According to her obituary, his daughter Emma Holden:

... will be remembered by many as the writer of many able letters to the Register and of favourite stories. For many years she was a teacher of music, having studied the piano under the tuition of Herr Heuzenroeder, singing under Signor Zilliani, and composition and thorough bass under Herr Bertram. At one time she was organist at the New Church in Hanson-street. The deceased was thirty-three years of age.

She wrote the words for her teacher Hans Bertram's descriptive song The wind in the trees, and posthumously, in 1895 a poem of hers served as words of Bertram's cantata The new year.


[Advertisement], Southern Australian (30 June 1838), 2

"THE NEW CHURCH SOCIETY", South Australian Register (19 July 1848), 3

"BIRTHS", South Australian Register (11 October 1858), 6

[Advertisement], South Australian Register (7 October 1859), 1

"GAWLER MUSIC PRIZE", South Australian Register (5 November 1859), 2

"MADAME ANNA BISHOP'S CONCERT", South Australian Register (10 June 1868), 2

"THE ODE TO MUSIC. TO THE EDITOR", South Australian Register (13 June 1868), 2

"NEW MUSIC", South Australian Register (19 June 1869), 2

"WATERVALE", South Australian Register (30 November 1869), 2

"MUSICAL NOMENCLATURE", South Australian Register (21 February 1878), 3

"DISSEMINATION OF PHONOGRAPHY", South Australian Register (10 February 1887), 6

"REGISTER SOCIAL", South Australian Register (5 November 1888), 6

"NORTH ADELAIDE INSTITUTE", South Australian Register (29 March 1889), 7

"OBITUARY", South Australian Register (29 March 1892), 3

"ORIGINAL MUSIC. THE NEW YEAR-A CANTATA", South Australian Register (20 February 1895), 3

"DEATH OF MR. WILLIAM HOLDEN. THE FATHER OF AUSTRALIAN JOURNALISTS. AGED 89 1/2 YEARS", South Australian Register (12 October 1897), 5

"THE LATE MR. WILLIAM HOLDEN. A FUNERAL SERMON", South Australian Register (18 October 1897), 3

HOLDROYD, Hetty ("Esta D'ARGO")

Soprano vocalist

Born England, 1880
Active by 1895
Died London, 1939


[Advertisement], Launceston Examiner (11 January 1895), 2

"WOMAN'S COLUMN", Freeman's Journal (28 December 1895), 10

"Kowalski's Concert", Australian Town and Country Journal (8 February 1896), 34

[News], Queensland Figaro (17 January 1907), 13

"MUSIC AND THE DRAMA", The Sydney Morning Herald (21 May 1910), 4

"THE LONDON SEASON", The Sydney Morning Herald (7 July 1928), 11

[Gerald Marr Thomson] ... Mme. D'Argo [Mrs. J. H. Tillet, of Ibbs and Tillet], who now prepares professional singers for their career, was originally popular in Sydney as Hetty Holroyd. About the same time also flourished Florence Schmidt (soprano), who settled in London, and married the late Derwent Wood, R.A., the eminent English sculptor. While in her teens Hetty Holroyd (a pupil of Signor Steffani) won popularity as the soloist in the revelry scene of "The Sign of the Cross." This young soprano sang to me at the Pleyel Piano Rooms, George-street, to oblige my old friend Henri Kowalski, with whom she was studying piano. I pronounced the timbre to be singularly charming, and predicted that if it developed with years and good training she would become a celebrity. She sang "Una Voce," and was then 10 years of age.

Related works:

Twilight of love (song by Kowalski, dedicated to her)


Mouth organ (Pan-pipes) player, actor

Active Sydney, NSW, 1838


This perhaps unlikely identification somewhat wishfully assumes that the actor Mr. Hollis entered fully into his role as "Pan (a Professor of Music, and a Paganini on the Mouth Organ)" in Cupid, a Mythological, Musical Burlesque by Joseph Graves at Sydney theatre in September 1838.


[Advertisement], The Sydney Gazette and New South Wales Advertiser (15 September 1838), 3

HOLLIS, Charlotte Redgrave (Sarah Charlotte REDGRAVE; Mrs. William HOLLIS; from 5 July 1856 Mrs. William Edward BRYSON)

Pianist, harpist, singer, music teacher

Born Chelsea, London, England, 18 January 1818
Arrived Geelong, VIC, 19 January 1853 (government immigrant per Steboneath, from Gravesend, 25 September 1852, and Plymouth, 7 October 1853)
Died Brighton, VIC, 1 October 1900


According to family tradition (kindly shared by descendents Elaine Race, November 2016, and Leah Windle, June 2017), Charlotte brought with her from England to Australia a piano that had been presented to her by the king (William IV), but that was later destroyed in a fire at Brighton; she played harp and pianoforte. William Hollis advertised as a teacher of Latin (and "composer", presumably of Latin verse), but died within 9 months of arriving in Australia, and Charlotte remarried. Charlotte is said to have composed music and was known sing and play for parties at her Camberwell mansion.


"GEELONG SHIPPING", Empire (31 January 1853), 2 

[Advertisement], Geelong Advertiser and Intelligencer (17 May 1853), 2 

A CARD. MR. HOLLIS, LATIN PROFESSOR and COMPOSER,* late Visiting Tutor in the families of several Noblemen and Gentlemen in England. For terms, &c., (evening attendance only,) address to the care of Mr. Brown, Victoria Circulating Library, Moorabool-street. The PIANOFORTE and SINGING taught, in a superior style, by Mrs. Hollis ...

HOLLIS, Percy Frank (Percy F. HOLLIS)

Musician, pianist, organist, composer

Born Goulburn, NSW, 1868
Died Manly, NSW, 2 February 1935, aged 67


"Our Boys Amateur Dramatic Club", Goulburn Evening Penny Post (8 September 1887), 2

"The Trinity College (London) Examination in Music", Goulburn Evening Penny Post (25 October 1888), 2

"Another Patriotic Song", Cumberland Argus (14 April 1900), 1

"DEATHS", The Sydney Morning Herald (4 February 1935), 8

"OBITUARY. MR. P. F. HOLLIS", Goulburn Evening Penny Post (4 February 1935), 3

The death occurred at his home, Hilltop Crescent, Manly, on Saturday last, of Mr. Percy Hollis, aged 67. Mr. Hollis was born in Goulburn and resided here for 44 years. He was the fifth son of the late Henry Hollis, of this city, and a brother of Dr. Leslie Hollis, who for seven years represented Goulburn in the State Parliament. For more than 100 years the family have been closely associated with the business and public life of Goulburn. The late Mr. Percy Hollis played a very important part in musical circles of Goulburn. At 16 years of age he was organist of the the Goulburn Parish Church, and later for 23 years, organist of old St. Andrew's Church. For ten years he was conductor of the Goulburn Liedertafel and a life member of that body. He later founded the Goulburn Musical and Operatic Society and was conductor until his departure from Goulburn. Those were days of great rivalry between the two organisations. Mr. Hollis was a conductor and organist of outstanding ability, one of the type which is not led away from the path of commonsense by fleeting fashions in music and style. The same could fairly be said of his attitude towards life. It was before the days of moving pictures and talkies' as we now know them, and good amateur performances were as manna from heaven for the people. Each of the performances would cost anything from £300 to £400 to produce, a couple of Sydney artistes being brought here to give the musical comedies just that little extra which would make the performance of one society better than that of the other. Mr. Hollis then removed to Summer Hill, where he was organist at St. Andrew's for ten years ...

Musical works:

Australia fights for Britain's rights (words by W. R. Riley; music by Percy F. Hollis) (Sydney: W. H. Paling, [1900])

Also WW1 songs

Bibliography and resources:

"Hollis, Percy Frank (1868-1935)", Obituaries Australia

HOLLOWAY, Elizabeth (Mrs. Edward Percy INCE)

Professor of the pianoforte and singing (pupil of Sterndale Bennett)

Born Mile End, London, baptised St. Dunstan and All Saints, Stepney, 3 August 1825 (daughter of Aylett and Elizabeth HOLLOWAY)
Arrived Sydney, NSW, 7 June 1853 (passenger per Allandale, from the Downs, 16 February)
Married Edward Percy INCE, St. Philip's, Sydney, 22 September 1855


Persumably her mother (also Elizabeth), a Mrs. Holloway, was in march advertising having removed to the same Clarence-street address as a seller of wools, patterns and cottons. She was possibly the Elizabeth Holloway, only daughter of the late Aylett Holloway, or Mark-lane, London, who married Edward Percy Ince (1834-1868), at St. Philip's, Sydney, on 22 September 1855. Their infant first child died in June 1856, Edward was declared insolvent in May 1857, and she herself advertised again professionally as Mrs. Ince in 1857. She "aged 30", her husband 28, the couple was listed in the parish of Holborne St. Andrew, London, in the 1861 English census. Edward was again declared insolvent in 1867, and died the folloring year.



[Advertisement], The Sydney Morning Herald (11 October 1853), 5

AN English Lady, Professor of the Pianoforte and Singing (a pupil of Mr. W. Sterndale Bennett), having a few hours disengaged, will be happy to attend a family or school. Apply personally, or by letter, free, to Miss HOLLOWAY, 216, Elizabeth-street North, Sydney.

[Advertisement], The Sydney Morning Herald (11 March 1854), 1 

[Advertisement], The Sydney Morning Herald (7 April 1854), 1 

MISS HOLLOWAY (pupil of Sterndale Bennett) will be happy to have one or two pupils more for lessons in music and singing, at Clarence-street (one door from King-street) where from nine till three she receives pupils for general instruction.

[Advertisement], The Sydney Morning Herald (23 December 1854), 2

[Advertisement], Empire (8 January 1855), 1

"MARRIAGE", The Sydney Morning Herald (25 September 1855), 5 

"DEATHS", The Sydney Morning Herald (12 June 1856), 1 

[Advertisement], The Sydney Morning Herald (22 September 1857), 8

EDUCATION. - Mrs. INCE having removed from Macqnarie-street to 57, Elizabeth-street (one door from King-street) has VACANCIES in her Select Day School, or for Pianoforte pupils only. An Evening Class for English, writing, and arithmetic, from 7 till 9.

"BIRTHS", Empire (27 July 1858), 4 

Bibliography and resources:

Ellsworth 2016, 243

Ellworth does not identify Holloway, but cites the anonymous March 1854 advertisement

HOLME, Thomas Davies (T. D. HOLME)

Musician, pianist, organist

Born ? Lancashire, England, c.1830s
Active Shoalhaven, NSW, by 1860s
? Active Brisbane, QLD, by 1884 (TROVE tagged by Australharmony)


Holme was a son of Shoalhaven storekeeper Thomas Holme senior (c.1806-1871), of Terara, and his wife Mary Davies (c.1811-1874), staunch Wesleyans from Salford, near Manchester. He was briefly active musical in Tumut, NSW, in the early 1860s, the rest of his time that decade evidently spent between coastal Shoalhaven and Goulburn. He was at Goulburn in the early to mid 1870s, and in August 1882 it was reported that he had been appointed organist of St. Saviour's Cathedral there in succession to James Winney. He appears to have remained in the post not much longer than the end of that year, and was back at Shoalhaven by March 1883. In August the local court ordered publicans and others not be supply with alcohol, and in Sydney in May 1884 he stood trial for the indecent assualt of a 14-year-old boy at Cambewarra on 22 February. The jury being unable to reach a verdict, they were discharged, and Holme was remanded to prison pending a second trial, though if so it was not reported in the press. He is perhaps the "T. D. Holmes" [sic] who became active musically again in the Protestant temperance movement in Brisbane in 1885, and continued so into the early 1890s.


[Advertisement], Empire (23 October 1857), 1 

"BROUGHTON CREEK", The Kiama Independent, and Shoalhaven Advertiser (6 October 1864), 2 

"LECTURE ON CONGREGATIONAL SINGING", The Goulburn Herald and Chronicle (25 November 1865), 4 

"CONCERT", The Goulburn Herald and Chronicle (13 December 1865), 2 

[Advertisement], The Goulburn Herald and Chronicle (29 November 1865), 3 

[Advertisement], The Goulburn Herald and Chronicle (16 December 1865), 4 

"HARMONIC SOCIETY", The Kiama Independent, and Shoalhaven Advertiser (22 November 1866), 4 

"Shoalhaven Harmonic Society", Illawarra Mercury (15 February 1867), 2 

"SHOALHAVEN", The Kiama Independent, and Shoalhaven Advertiser (6 May 1869), 3

"MUSICAL", The Goulburn Herald and Chronicle (23 September 1871), 4 

... The concert announced for October 3rd is in aid of the organ-harmonium purchased by the trustees for the new Wesleyan church; and on that occasion an old friend, Mr. Thomas D. Holme, will delight his hearers with selections from the best works of the best masters. We are not in possession of details; but from what we can learn the lovers of music may expect a treat.

[Advertisement], The Goulburn Herald and Chronicle (23 September 1871), 5 

... MR. THOMAS DAVIES HOLME will play selections from the compositions of MOZART, ROSSINI, HAYDN, and SPOHR. The proceeds will be devoted to theb ORGAN FUND ...

[Advertisement], The Goulburn Herald and Chronicle (8 August 1874), 5 

"ORGAN RECITAL AND SACRED CONCERT", Southern Argus (8 July 1882), 2 

"GOULBURN", Australian Town and Country Journal (12 August 1882), 39 

CHANGES. - Mr. T. D. Holme is appointed organist of St. Saviour's, vice Mr. Winney, resigned. The latter gentleman is appointed to St. Nicholas's, North Goulburn.

"Shoalhaven", The Sydney Mail and New South Wales Advertiser (17 March 1883), 502 

Mr. T. D. Holme, an old identity in the local world of music here, has again come amongst us, and as a result it is proposed to form a harmonic society amongst us, who shall entertain themselves and others at times by concerts, &c.

[Advertisement], The Shoalhaven Telegraph (7 June 1883), 3 

"Court of Petty Sessions", The Shoalhaven Telegraph (23 August 1883), 2 

On Tuesday, the 14th, before Mr. Glanville, a prohibition was issued against Thomas D. Holme being supplied with spiritous liquors by publicans or others for the next 12 months.

"Sydney Criminal Court", Goulburn Evening Penny Post (29 May 1884), 2 

THE Central Criminal Court opened in Sydney on Monday before Judge Innes. Thomas Holme, a music teacher, was charged with having committed an indecent assault on a lad named Thomas Shepherd; the jury were locked up all night, and being unable to agree were discharged.

"SYDNEY", Goulburn Herald (29 May 1884), 2 

"Serious Charge against a Schoolmaster", Newcastle Morning Herald and Miners' Advocate (29 May 1884), 2 

"ALLEGED INDECENT ASSAULT", The Kiama Independent, and Shoalhaven Advertiser (3 June 1884), 2 

? [News], The Brisbane Courier (26 May 1885), 4 

THE miscellaneous concert given by the members of the Blue Bibbon Choir at the Protestant Hall last evening was very successful ... Mr. T. Ellis acted as conductor, Mr. T. D. Holme as organist, and the pianistes were Mrs. S. Humphreys and Miss M. Davies, all of whom gave much satisfaction ...

? "Temperance", The Telegraph (6 September 1892), 6 

Bibliography and resources:

Crisp 1996

Rushworth 2006, Supplement, 54

HOLT, Marie (BROWN; Mrs. Clarence HOLT)

Actor, dancer

Arrived Melbourne, VIC, 23 September 1854 (per Oliver Lang, from Liverpool, 29 June)


"SHIPPING INTELLIGENCE", The Argus (25 September 1854), 4

The theatrical world will learn with pleasure, that Mr. and Mrs. Clarence Holt, from the Royal Olympic Theatre, London, have come out in the Oliver Lang, for the purpose of following their profession in these colonies. The whole of the passengers, reaching nearly 500 souls, have enjoyed remarkably good health, and not a single death occurred during the passage.

"GEELONG", The Argus (11 October 1854), 4

"MRS. HOLT'S BENEFIT", Geelong Advertiser (31 March 1856), 2

"COLEMAN'S LYCEUM", The Argus (27 June 1856), 5

The farce of "Lola Montez", originally produced at the Haymarket Theatre, was performed after the play, Mrs. Holt burlesquing the terpsichorean and elocutionary peculiarities of Lola with immense success. The Spider Dance was an admirable parody of the original, and the speech that followed elicited shouts of laughter. Mrs. Holt is an excellent farce actress, and also a dancer of no ordinary calibre.

"MELBOURNE", Bendigo Advertiser (28 April 1863), 2

[News], South Australian Register (22 January 1900), 5

"OBITUARY", The Daily News (6 October 1903), 5  

Bibliography and resources:

Dennis Shoesmith, Holt, Joseph Thomas (Bland) (1851-1942), Australian dictionary of biography 4 (1972)

HONEY, John Henry

Musician, convict

Active NSW, 1839-41


[Convict notices], New South Wales Government Gazette (18 December 1839), 1458 

Honey John Henry, John Barry (3), 25, Devonshire, musician, 5 feet 8 1/2 inches, dark pale comp, brown hair, chestnut eyes, eyebrows meeting, several small moles on left arm, from William Lawson, Bathurst, since November 26.

[Convict notices], New South Wales Government Gazette (16 April 1841), 540 

HOOD, Robin Vaughan (R. V. HOOD)

Music publisher, lithographer

Born ? UK, 1802
Arrived 27 June 1833 (per Warrior)
Died Hobart, TAS, 1888

HOOD, Major Lloyd (M. L. HOOD)

Music lithographer, artist

Born Hobart Town, VDL (TAS), 1 July 1834
Died Hobart, TAS, 16 January 1913


A colonist of many years standing, the lithographer and printer Robin Vaughan Hood was directly associated with at least 4 (possibly 6 or more) music prints. He published and probably lithographed Francis Hartwell Henslowe's The song of the fair emigrant (1854), The Louis Napoleon polka (1854), and The Charlie Parker polka, and since the cover of the latter also mentions that it is the "Midland Grand Steeple Chase Waltzes. No. 3", Hood may also have been responsible for the unidentified Nos 1 & 2.

Reviewing the Louis Napoleon polka, the Mercury observed: "Hood has lithographed a cover in a creditable style, but his execution of the polka itself is not so distinct as might be wished".

R. V. Hood is also named as the lithographer of John Charles Tapp's Tasmanian sacred melodies (1855).

His second son, M. L. Hood was co-proprietor, with John Henry Manly, of Tasmanian Punch (published from 21 July to 29 December 1866). A Mercury review identifies him as music lithographer of W. C. Robinson Anthem: Hundredth Psalm, published by J. Walch and Sons in March 1864. His other work for Walch includes Frederick Buck's The young recruit march (undated), and he is positively identified on the cover as the lithographer of Adeline ("Composed by A. Y. Z. [i.e. "A Wise Head"]; written for the music by J. R. Betts"), published by Walch in 1867.


"MR. F. H. HENSLOWE", Colonial Times (8 December 1854), 2

"THE LOUIS NAPOLEON POLKA", The Hobarton Mercury (27 December 1854), 2

"SACRED MELODIES", The Hobarton Mercury (3 September 1855), 2

[Advertisement], The Hobarton Mercury (3 September 1855), 2

"Tasmanian Contributions to Paris, 1855, No XIV", The Courier (27 September 1855), 2


[Advertisement], The Mercury (11 March 1864), 1

"SACRED MUSIC", The Mercury (11 March 1864), 2

"MARRIED", The Mercury (25 June 1866), 2

[Advertisement], The Mercury (21 March 1867), 1

[Advertisement], The Mercury (29 March 1867), 1

[Advertisement], The Mercury (17 June 1870), 1

"PERSONAL", The Mercury (17 January 1913), 4

Bibliography and resources:

DAAO, Robin Vaughan Hood (1802-1888)

Hood, Major Lloyd (1834-1913)

HOOKE, Edwin


Active Hobart, TAS, by 1859



"ORGANIST'S UNIQUE RECORD", The Mercury (1 September 1923), 15



Active Victoria, c.1850


Frank Hooper composed the music to W. J. D. Arnold's words of the Victorian Separation song, Hark to the strains that triumphant are swelling (Melbourne: Edward Arnold, [c.1850]). He is perhaps Francis L. Hooper, a surgeon and medical officer who had arrived in Australia as a ship's surgeon by 1849, and died in Mornington, VIC, on 30 November 1896, aged 74.


"POLICE COURT", South Australian Register (18 August 1849), 3

"GOVERNMENT GAZETTE", The Argus (14 September 1859), 5

"MORNINGTON", Mornington Standard (3 December 1896), 3


Dancing master

Born ? UK, c.1813
Active Hobart Town, TAS, 1843-52
Died Hobart, TAS, 24 September 1853, aged 40 (TROVE tagged by Australharmony)


Gattey Hopkins, "late of the Firm of Hopkins and Sons, of London", first advertised as a dancing master in Hobart in June 1843. At his quarterly ball in April 1844, his band consisted of Duly, Gautrot, Curtis and Singer, and in August, "a hornpipe by a young gentleman amateur, a pupil of Mr. Gattey Hopkins, was very much admired ... Master Barfoot". Hopkins was described "as late of this city", when his daughter Ann Sophia, married the bandsman and composer, Arthur S. Hill, of the 99th Regiment, at St. Joseph's Church, Hobart, in April 1854. A John Gattey Hopkins, professor of dancing, of  Cheapside, London, had been insolvent in December 1830.


"INSOLVENT DEBTORS", The London Gazette 18755 (10 December 1830), 2596

[Advertisement], Colonial Times (27 June 1843), 1

[Advertisement], Colonial Times (9 January 1844), 2

"MR. GATTEY HOPKINS'S BALL", Colonial Times (30 April 1844), 3

"THE THEATRE", Colonial Times (19 August 1845), 3

[Advertisement], The Courier (4 January 1845), 1

[Advertisement], The Courier (23 October 1850), 4

[Advertisement], Colonial Times (12 November 1852), 4

1853, deaths in the district of Hobart; Tasmanian names index; NAME_INDEXES:1191632; RGD35/1/4 no 566 

"MARRIED", The Courier (18 April 1854), 2


Arrived Melbourne, Vic, by August 1849

HORE, Joseph (senior)


Born Shaldon, Devon, England, 1801
Died Melbourne, VIC, 21 July 1865, aged 64

HORE, Joseph Percival


Born Shaldon, Devon, England, 1827
Died Collingwood, VIC, 9/10 November 1859, aged 32

HORE, James


Born St Nicholas, Devon, England
Died Abbotsford, Collingwood, VIC, August 1893, aged 57

HORE, Samuel

Musician, arranger

Born Devon, England, 1835
Died Richmond, VIC, 15 December 1905, aged 71 years

HORE, Phillip William

? Musician

HORE, Allan

Musician, trombone player


[Advertisement], The Argus (23 August 1849), 3

GERMAN QUARTETTE SOIREES. The second of the series of German Quartette Concerts, will take place on TUESDAY EVENING NEXT, the 28th inst., In the large room of the Prince of Wales Hotel. THE Songs will be accompanied by Mr. Buddee . . . To give additional variety to the entertainment, the Messrs Hore will perform a quartette on the saxe horn, and Master Hore (12 years of age) will perform a solo on the same instrument.

[Advertisement], The Argus (6 September 1849), 3

"THE CONCERT", The Argus (11 September 1849), 2

[Advertisement], The Argus (28 February 1850), 3

[Advertisement], The Argus (4 October 1850), 1

[Advertisement], The Argus (17 October 1850), 3

"SEPARATION REJOICINGS. THE GARDENS", The Argus (19 November 1850), 1s

[Advertisement], The Argus (8 January 1851), 3

[Advertisement], The Argus (3 April 1852), 6

"MARRIED", The Argus (15 August 1853), 4

MARRIED. On the 8th inst., at St. Peter's Church, Melbourne ... Mr. W. ?. Bovey, youngest son of Mr. Bovey, schoolmaster, of Buckfastleigh, Devonshire, England, to Mary Jane eldest daughter of Mr. Hore, Master of the Saxehorn band, Melbourne, late of Shaldon, Devonshire, England. On the 27th June, ult., at the Wesleyan Chapel, Collins-street, Melbourne ... William, second son of Mr. John Marris, timber merchant, Melbourne, to Lauretta, second daughter Mr. Joseph Hore, master of the Saxehorn band, Shaldon, Devon, England.

[Advertisement], The Argus (13 February 1854), 8

"AN OUTRAGEOUS 'STICKING-UP' CASE", The Argus (10 May 1854), 5

[Advertisement], The Argus (29 November 1854), 8

"DIED", The Argus (12 November 1859), 4

"DEATHS", The Argus (26 July 1865), 4

"Death", The Argus (19 August 1893), 12

"DEATHS", The Argus (16 December 1905), 13

HORE. - On the 15th December, at his residence, 102 Dover-street, South Richmond, Samuel Hore, musician, the dearly beloved husband of Helen Hore, aged 71 years. Last survivor of Hore's Saxhorn Band in Melbourne, 1849.

Bibliography and resources:

"Garryowen" [Edmund Finn], Chronicles of early Melbourne 1835 to 1852, Vol. 2 (Melbourne: Fergusson and Mitchell, 1888), 539

... Associations for the promotion of Temperance were formed early in Melbourne . . . land was purchased in Russell Street . . . and a comfortable Hall erected, in which meetings were held. As it was found advisable to provide attractions for the meetings, a band of music was formed in 1847, which numbered over twenty performers, and have great satisfaction on its first public appearance. On each Tuesday evening, when the public meeting took place, the band paraded the streets for upwards of an hour, and attracted an audience which more than filled the hall . . . The members of the band were unselfish, and gave the proceeds of their services to the Society for the purchase of new instruments and towards defraying the debt on the hall. After a time, as Bandmaster Tickle became unsteady, an old Peninsular veteran named McKee supplied his place until 1849, when the Messrs. Hore arrived in the colony. They were the first to introduce saxe-horns here. They formed a quartette, consisting of P. Hore, first horn; J. Hore, second; S. Hore, tenor; and R. Hore, Senr., bass.

"MELBOURNE'S FIRST BAND", The Age (23 March 1939), 4

Ten more years must pass before Melbourne can celebrate its centenary of band music, according to Mr. Allan Hore, veteran bandsman and orchestral player, who has been compelled to cast his trombone aside and accept employment in a more regular form of occupation than in the realms of music. Mr. Hore recalls that his father, the late Samuel Hore, was a member of the first band established in Melbourne. Known, naturally enough, as Hore's Band, the combination was a first purely a family venture, formed by Mr. Samuel Hore, his four brothers and their father, who arrived here from the Old Country in 1849. The Hore family continued to provide band music in Melbourne for many years. Mr. Allan Hore was trombone player in orchestras for J. C. Williamson Ltd., mainly at His Majesty's Theatre, for 28 years . . .

HORN, Annette Elise (Mrs. Charles LOWE)

Harp player ("daughter of the late celebrated harpist" [Henry Horn]), pianist

Born ? London, England, c. 1827
Active Adelaide, SA, by 1854
Died Payneham, SA, 31 August 1893, aged 66 years


"CONCERT", South Australian Register (4 August 1854), 3

[Advertisement], South Australian Register (23 April 1858), 1

"SOUTH AUSTRALIAN INSTITUTE", South Australian Register (28 April 1858), 3

"SIGNOR CUTLOLO'S CONCERT", South Australian Register (16 June 1859), 3

We wish we could speak in warmer terms of the performance on the harp. The instrument was not precisely in tune, and one if not two of its strings snapped in the playing; and again the piece selected was not so popular as might have been chosen, so that Miss Horn laboured under disadvantages which even Bochsa himself might not have succeeded in surmounting. To our mind the harp is always heard to best advantage in combination with the piano, and an air such as the "British Grenadiers" arranged as a duet for the two instruments would, we make no doubt, have been as popular as any part of the evening's entertainment.

"SIGNOR CUTOLO'S CONCERT", The South Australian Advertiser (16 June 1859), 2

"SIGNOR CUTLOLO'S CONCERT", South Australian Weekly Chronicle (18 June 1859), 7

[Advertisement], South Australian Register (26 May 1862), 1

"MARRIED", South Australian Register (19 May 1863), 2

"PORT ELLIOT", South Australian Register (29 April 1864), 3

"GOOLWA", South Australian Register (4 May 1864), 3

"DEATHS", Evening Journal (31 August 1893), 2 

[Advertisement], South Australian Register (12 September 1893), 2

Bibliography and resources:

Hallo 2014, 104-05, also 20 (DIGITISED)

HORN, Mrs. Charles Edward (Maria HORTON)

Vocalist, composer's widow

Married Charles Edward Horn, 1838
Died USA, 1887 (never visited Australia, but relatives here)


"Tarago", Goulburn Evening Penny Post (2 April 1887), 4 

Tarago. The Referee announces the death, at the age of 76, of Mrs. Charles E. Horn, widow of the composer of "Cherry Ripe." Mrs. Horn was a sister of Miss Priscilla Horton (Mrs. German Reed), also sister of the late John Horton, many years of Goulburn, and aunt of John Horton, now of Tarago; and in early life she was a popular opera singer. For more than half-a-century she had resided in the United States.

Charles Edward Horn (1786-1849): (NLA persistent identifier)

John Horton (d.1876) or Goulburn, and his son John Horton of Tarago, were both hotel-keepers; the musician Thomas Reed, of Melbourne, was father-in-law of Priscilla Horton.

HORN, Charles Hermann (Dr. C. H. HORN)

Professor of Music, composer

Born ? Germany, c. 1825
Active Sydney-Newcastle-Maitland, from 1857
Died Redfern, 19 April 1887, in his 63rd year (TROVE tagged by Australharmony)


Described in his death notice as "of Hamburg, Germany", this probably precludes a near relationship with the German-English Horns, Charles Frederick Horn (1762-1830), born in Nordhausen, and his English-born son Charles Edward Horn (1786-1849). He may be the Dr. Horn who was a teacher of modern languages at the King's School, Parramatta, in 1857, though perhaps more like the Dr. H. Horn below (or, perhaps, they were the same person). A glee Tell me not by "Dr. Horn" sung in a concert at Maitland in 1858, when our Charles was already living there, was probably a version of the song Tell me not in sorrow by Charles Edward Horn (not a Dr.), whose popular compositions were anyway regularly sung in Australia, and some also published (the ballads Long time ago and My dark hair'd girl and the duet I know a bank whereon the wild thyme grows, both issued by Francis Ellard in Sydney).

None of the German-Australian Dr. Horn's musical works were published or are otherwise known to survive, though he introduced two at his own concerts: in December 1860 There is a happy land ("hymn ... composed by Dr. Horn for three voices"), and in March 1865 a Magnificat ("composed by Dr. Chas. Horn, conductor of the choir, and produced on this occasion for the first time"). Horn was billed as "Leader of the orchestra" for a performance of Messiah by Sydney Choral Society in December 1871.


? [Advertisement], Adelaide Times (30 September 1854), 3 

WAR RELIEF FUND ... Collected by C. H. Horn, Esq., Port Wakefield ...

[Advertisement], The Sydney Morning Herald (17 July 1857), 12

[Advertisement], Empire (26 June 1858), 1 

The Maitland High School will be resumed after the holidays ... They have ... engaged an additional master, Dr. Charles Hermann Horn ...

[Advertisement]: "BENEFIT CONCERT", The Maitland Mercury (18 November 1858), 3

"MAITLAND HIGH SCHOOL", The Maitland Mercury (21 December 1858), 2

[Advertisement], The Maitland Mercury (29 December 1859), 1

"THE NEWCASTLE SINGING ACADEMY CONCERT", The Maitland Mercury (25 December 1860), 2

[Advertisement], The Maitland Mercury (2 September 1862), 1

"THE LATE REV. DEAN GRANT. REQUIEM MASS", The Sydney Morning Herald (3 May 1864), 4

"SACRED AND SECULAR CONCERT", The Maitland Mercury (21 March 1865), 3

"DEATHS", Evening News (2 October 1871), 2 

On the 30th July, at Hamburgh, Frederica Horn, in the 80th year of her age, relict of the late Rev. Dr. H. G. Horn, of Hamburgh, and mother of Dr. Charles H. Horn, of Sydney.

[Advertisement], The Sydney Morning Herald (21 December 1871), 8

[Advertisement], The Sydney Morning Herald (27 December 1873), 8

"MUSIC & DRAMA", The Sydney Mail and New South Wales Advertiser (12 May 1883), 898 

A movement has been started by some of the old pupils of Dr. Charles Horn, who has been prominent as a musician and teacher in the colony for 25 years, to present him with a testimonial in recognition of his services to art in that period. It is difficult to estimate the value of such work by a conscientious teacher in a young community, and that those who have profited by his knowledge thus recognise their obligation is creditable to all, particularly as the highest class of teaching is by no means that which is best paid. Mr. W. Neill, manager of the City Bank, is the hon. treasurer, and the promoters include many well-known ladies and gentlemen.

"DEATHS", The Sydney Morning Herald (21 April 1887), 1

HORN. - April 19, at his residence, 36, Pitt-street, Redfern, Dr. Charles Horn, of Hamburg, Germany, in his 63rd year.

"SYDNEY", The Maitland Mercury (21 April 1887), 5

Dr. Charles Horn, a well known musical German resident, died yesterday.

"NEWS OF THE DAY", The Sydney Morning Herald (28 May 1887), 11 

Bibliography and resources:

"Dr. Charles H. Horn" (DAAO)

HORN, Dr. H.

Professor of Modern and Ancient Languages and Music, singing class instructor, organist

Active Sydney, 1856-58 (but see above)


[Advertisement], The Sydney Morning Herald (27 February 1856), 8

[Advertisement], The Sydney Morning Herald (4 July 1857), 1

[Advertisement], The Sydney Morning Herald (10 October 1857), 2

[Advertisement], The Sydney Morning Herald (31 July 1857), 1

[Advertisement], The Sydney Morning Herald (31 March 1858), 6

[Advertisement], The Sydney Morning Herald (6 May 1858), 1

HORNCASTLE, Frederick William

Professor of Music, vocalist, lecturer, historian of Irish music, composer

Born Ireland, ? 1790
Arrived Adelaide, 23 January 1847 (per David Malcolm, from London and Plymouth)
Died Botany Bay, NSW, 21 January 1850 (TROVE tagged by Australharmony)


In the 1830s and 1840s a composer of popular songs and piano pieces widely published both in England and the United States, Horncastle had been "Principal Tenor of Her Majesty's Chapel Royal" before arriving at Adelaide in January 1847. As well as presenting the first of his popular entertainments, he advertised copies of his Music of Ireland for sale, and as a teacher and piano tuner. George Coppin engaged "Professor Horncastle" for his New Queen's Theatre. He arrived in Sydney in early July, and soon began his series of Lectures on Music and entertainments at the School of Arts, at the seventh of which, in mid-September, he was assisted by local singer James Waller, to remain a close associate. Toward the end of that month he also appeared at John Philip Deane's concert.

In April 1848 he advertised "to his personal friends that, in consequence of repeated accidents, losses, and vexations, he has become a confirmed invalid-he therefore cannot continue his usual entertainments, but will attempt one he calls justly INVALID MUSIC". Nevertheless, having, by May, "materially renovated his health by a residence in the country", he was able to continue his activities for a while; he toured to Goulburn, and in July to Maitland with Abraham and Elizabeth Emanuel as co-artists. TROVE user Archivist1788 discovered: "Horncastle's health led to his admission to Gladesville Hospital on 14 August 1848 (SRNSW: [4/7654 fol.269-270]). Thereafter, Horncastle went into retirement as a permanent resident at James Waller's Sir Joseph Banks Hotel at Botany Bay, until the announcement in the Herald of his "sudden death ... from natural causes" there in January 1850.


James Stuart, Historical memoirs of the city of Armagh ... (Newry: Alexander Wilkinson, 1819), 548 foot note 

Many of the anthems which are performed in the cathedral are selected from Handel's works, for which the present organist, Mr. F. W. Horncastle, as well as his predecessors, doctors Jones and Clarke, and Mr. Langdon, seem to have entertained a strong and well-founded predilection.

"SKETCH OF MUSIC IN LONDON", The quarterly musical magazine and review 5 (1823), 265 

... A young professor (we believe from the neighbourhood of Bath) a Mr. Phillips, is also rising into notice; and the corps of glee singers, in private concerts especially, enjoys a most useful acquisition in Mr. Horncastle, a tenor - who possesses a philosophical as well as a scientific understanding of his profession.

"HORNCASTLE", in A dictionary of musicians from the earliest ages to the present time ... vol. 1 (London: For Sainsbury and Co., 1824), 376 

"STATE OF MUSIC IN LONDON", The quarterly musical magazine and review 9 (1827), 63, 65 

[63] ... Mr. Bishop's regular troops consisted of the principal English vocalists of the theatres, with Miss Farrar, Madame Cornega, Mr. Horncastle, and Mr. E. Taylor; occasional assistance was given by the Italians, who were indeed only Signora Toso and Signor Zuchelli, and these but for very few nights ... [64] ... We have often heard it stated by experienced persons, that the oratorios have been the most flourishing nursery of English singers, from the diversity and the exercise they offer, and from the introduction to the most numerous and extended audiences. Hence we expect to find fresh aspirants every season, as well as the gradual advancement of those whose first efforts have obtained them a place and standing. Hence too we may notice that Miss Love, the Misses Cawse and Miss Farrar, whose natural endowments, aptitude, and industry, promise so much, are in this state [65] of gradual progression and encouragement. Mr. Horncastle alone seconded Mr. Braham this year, and he unquestionably bids fairest to become the successor to the honours of the first tenor at the classical concerts of the country, wherever there shall be an opening. His voice improves in volume, and his style both in polish, force, and effect ...

"REVIEW OF NEW MUSIC", The foreign quarterly review 26 (1840-41), 469 

"MUSIC. NATIONAL MELODY AND ITS REPRESENTATIVES", The spectator (27 January 1844), 90 

... Horncastle's entertainments, on the Music of Ireland, are rather too diffuse in their plan; and though they open a wide field for illustration, their literature is defective, from the want of coherence in the design and some strong and common centre of attraction. The nice work of dovetailing lecture and song so as to occupy two hours with full justice and effect to each, is rarely well performed. Mr. Horncastle seems to have depended mainly on a considerable stock of national music, much of it derived from peculiar sources, which by means of his assistants, Miss Porter, Miss Cobitt, and Miss Le Roy, he is able to serve up in considerable variety. Not to lose opportunities for his music, he frequently curtails his reading to such a degree that but for the form's sake we could wish it wholly omitted. Could he borrow some of Wilson's literary tact, and lend in return some of his more ample means of illustration, the lectures of both would be improved. With a voice of limited power and peculiar quality, which must ever prevent him from taking a high rank as a solo-singer, Mr. Horncastle deservedly possesses the reputation of being one of the best musicians extant among the vocal profession. His taste and skill in arranging parts were very agreeably shown in the three-part harmony which represents the chorus or burden to songs of the Trades in Ireland ...

MR. F. W. HORNCATSLE'S MUSICAL ENTERTAINMENTS", The Anglo American: A Journal of Literature, News, Politics ... (8 September 1845), 500 

Mr. Horncastle gave the first of a series of Vocal entertainments at the New York Society Library, on Wednesday evening last. It consisted of a lecture, interspersed with songs, on the vocal music of lreland, and the subject was handled by him in a very masterly manner. This gentleman is more than merely a vocalist. He is a man of research, of feeling, and expression, and his songs which are charming illustrations of his text, are both captivating in themselves, and given in the style of a master in the vocal art. The vocalism of the Irish school does not require a very extensive compass, but a clearness, smoothness, and eveness of intonation are absolutely indispensable, and those qualities he possesses in a very eminent degree. Besides these, he has the property of accompanying himself on the Pianoforte in a way that we have never heard equalled except by Mr. Horn, and his skill in this matter greatly enhances the beauty of the performance ...

"SHIPPING INTELLIGENCE", South Australian Register (27 January 1847), 3

[Advertisement], South Australian Register (27 January 1847), 1

"LOCAL INTELLIGENCE", South Australian Register (27 January 1847), 3

"LOCAL INTELLIGENCE", South Australian Register (30 January 1847), 2

[Advertisement]: "MUSIC OF IRELAND", South Australian Register (3 February 1847), 1

[Advertisement]: "NEW QUEEN'S THEATRE", South Australian Register (3 February 1847), 1

"LOCAL INTELLIGENCE", South Australian Register (3 February 1847), 3

"LOCAL INTELLIGENCE", South Australian Register (10 February 1847), 2

"PROGRAMME. Mr Horncastle's Dress Concert", South Australian Register (13 March 1847), 1

[Advertisement], South Australian Register (7 April 1847), 7

"HORNCASTLE v. COPPIN", South Australian Register (24 April 1847), 3

"SHIPPING INTELLIGENCE", The Sydney Morning Herald (3 July 1847), 2

[Advertisement], The Sydney Morning Herald (12 July 1847), 1

"LECTURE ON MUSIC. To the Editors", Bell's Life in Sydney (17 July 1847), 3

"MR. HORNCASTLE'S LECTURE ON MUSIC. [Letter] To the Editors", Bell's Life in Sydney (24 July 1847), 3

"SCHOOL OF ARTS LECTURE", The Australian (24 July 1847), 3

[Advertisement], The Sydney Morning Herald (15 September 1847), 1

"MR. DEANE'S CONCERT", Sydney Chronicle (30 September 1847), 3

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

MR. HORNCASTLE wishes to dispose of some Manuscripts, and printed Music Manuscripts, chiefly of his own composition; also literary articles written to suit popular taste. The music combines Purcell, Handel, Arne, Loder, Rossini, Callcot, &c, Glees, Catches, Duetts, and Scenas. Royal Hotel, Friday, October 17.

[Advertisement], The Sydney Morning Herald (13 April 1848), 1

[Advertisement], The Sydney Morning Herald (4 May 1848), 1

"MR. HORNCASTLE'S ENTERTAINMENTS", The Maitland Mercury (29 July 1848), 2

"SUDDEN DEATH", The Sydney Morning Herald (23 January 1850), 2

Mr. Frederick William Horncaatle, whoso interesting lectures upon music must be remembered by many of our readers, was on Monday found dead on the floor of his bedroom at the Sir Joseph Banks Hotel, Botany, where he was at the time residing. An inquest was held upon the body yesterday, and an opinion having been expressed by Dr. Tierney that death had been occasioned by the rupture of a blood vessel, a verdict of death from natural causes was returned.

"DEATHS", The Sydney Morning Herald (23 January 1850), 3

At the Sir Joseph Banks Hotel, Botany, on Monday, the 21st instant, after a few days' illness, Mr. Frederick W. Horncastle, Gentleman of Her Majesty's Chapel Royal, and well known to this community as an accomplished vocalist and musician.

Writings and editions:

"PLAGIARISM", Quarterly Musical Magazine and Review 4 (1822), 156

"To the Editor [SCHOOL OF COMPOSITION], Quarterly Musical Magazine and Review (1827), 304

The music of Ireland, as performed in Mr. Horncastle's Irish entertainments in which are introduced the Bardic & Connaught Casines, songs, fairy chant & songs, rural ballads, songs of occupation, marches, jigs &c. harmonized & arranged with an accompaniment for the harp or piano forte, by Fredk. Wm. Horncastle, Gentleman of Her Majesty's Chapel's Royal (London: Horncastle, 1844)


"THINGS IN NAME AND REALITY BY F. W. HORNCASTLE", Bell's Life in Sydney (9 October 1847), 3

Musical works:

Song, "I care not, fortune", composed for The harmonicon by Frederick William Horncastle, the words from Thomson's Castle of indolence, in The harmonicon (1829), 202-03 

Notturnino A thought at twilight for the piano-forte, in The Harmonicon (1832), part 2, 145

Marcia funebre, in the Harmonist: a collection of classical and popular music, vol 2. (London: Limbird, 1841), 353

Buddelow: an American song, in Godey's Magazine and Lady's Book 32 (March 1846), 187

The infant's prayer, in Godey's Magazine 33 (1846), 89

The maypole

Spring the sweet spring

Men of Old (ballad)

By the side of the fairy lake (barcarolle)

Bibliography and resources:

Thomas Mooney, A history of Ireland, from its first settlement to the present time, 236

Born London, 1790?, died 1850. Horncastle was a chorister of the Chapel Royal, London, and then organist of Stamford Hill Chapel and Berkeley Chapel, London. III He was appointed organist of Armagh in 1816. Evidence suggests that he became a little careless in his attitude to his duties, absenting himself frequently to make excursions to Warrenpoint and Rostrevor. These absences together with Horncastle's unwillingness to take part in weekly choral concerts in the Music Hall led to a dispute with Richard Allott. Further problems of the same nature led to a visitation held by the Archbishop in November 1822, purely to conduct a disciplinary hearing. Subsequently certificates of expulsion bearing the Primate's seal were fixed to Horncastle's residence and the Chapter Room door at the cathedral: "Therefore We, John George, Archbishop aforesaid and Visitor of said College of Vicars and Organist, on account of the turbulence, contention, insolence and contumacy of said Frederick William Horncastle do pronounce and decree that the said Frederick William Horncastle be removed from his said office of Organist and Master of the Choiristers [sic] and that the licence or Patent heretofore granted to him be revoked, cancelled and declared null and void, the peace and good order of said College of Vicars in said Cathedral so requiring." His expulsion from his post is unique at Armagh. The correspondence, charges, dismissal etc. are preserved in a collection of letters in the Public Record Office of Northern Ireland. Horncastle returned to London and became a gentleman of the Chapel Royal in 1826. He was composer of a mass, glees, songs, pianoforte pieces, etc. In 1828 Horncastle collaborated with T. Cooke, Stansbury, Parry, Clifton and Taylor in a work entitled "The Passions" for the Melodists' Club.

HORNE, Richard Hengist (Henry)

Vocalist, guitarist, pianist, librettist, author, poet

Born Edmonton, England, 31 December 1802
Arrived Melbourne, VIC, September 1852
Departed Melbourne, June 1869 (for England)
Died Margate, England, 13 March 1884 (NLA persistent identifier)


Horne wrote librettos for four historically significant Australian musical works, The South Sea sisters, a "lyric masque", set to music by Charles Horsley for the opening of the Melbourne Intercolonial Exhibition in 1866; the cantata Galatea secunda, with music by Joseph Summers, celebrating the arrival of prince Alfred in 1867, followed the next year with a Threnody on the assassination attempt on the prince, also set to music by Summers; and, for composer Carl Schmitt, a three-act opera Cazille, excerpts only from which were first performed in concert in Sydney in 1872.

Horne also appeared in public as a singer and guitarist and occasional pianist. Not for the first time (see July 1855 below), at a benefit for the actress Mrs. Brougham at Melbourne's Theatre Royal in November 1855, it was advertised that "R. H. Horne, Esq., will Sing a Spanish Romanza and Serenade", evidently a personal favourite (as much later attested by Gosse), for yet again in Melbourne in March 1869, only shortly before he left Australia finally to return to England, the Argus reported: "Mr. R. H. Horne sang a Spanish serenade with much feeling and expression, accompanying himself on the guitar very skilfully but the song did not seem to be appreciated by all present." A musical "drawing-room" entertainment (also advertised as a "literary and musical lecture on national songs") he gave at the School of Arts in Sydney in December 1862 was reviewed in the Herald:

In a brief introductory address Mr. Horne stated, in explanation of his falling into the autobiographical vein, that he had travelled through many foreign countries, and had always taken an interest in learning their characteristic songs. He would have liked to have given some of the patriotic songs of those countries, but as they would produce very little effect without an orchestra, be must give up the thought of singing them. Mr. Horne proceeded to give a selection of the characteristic songs of different nations, accompanying himself upon the pianoforte or upon the guitar. The first of these was a German song entitled "Alexi", describing a lady sending a love message by a bird, which was followed by a German Student's duelling song. The next performance, which was a canzonetta, the words and music by Salvator Rosa, the celebrated painter, was stated by Mr. Horne to have been selected for the purpose of trying the acoustic properties of the hall. The piece, which affords good scope for vocal display, was sung with much power and animation ... As a further test of the acoustic properties of the hall, Mr. Horne gave a solo on the guitar, "The Last Rose of Summer" ... Other pieces in the first part of the entertainment were a Spanish fantasia "Vamos a las montanas", the Welsh song "Of a noble race was Shenkin", and a Tyrolese song. After a short interval Mr. Horne gave, with the guitar accompaniment, the Quirka Marjorr, a Mexican song dance, and described the dance as he had seen it at the Government balls at Vera Cruz, the effect being extremely brilliant and romantic ...

In The Southern Cross in December 1859, he also published a "Chinese Song".


"LATE ENGLISH NEWS", Colonial Times (17 September 1852), 2

"NEW MAGISTRATES", The Argus (1 September 1853), 5


Mr. R. Horne subsequently made his appearance in a Spanish costume, and sang a very pretty romance in that language. Although deficient in vocal power, the singer imparted such an exquisite delicacy of finish to his execution of the graceful melody he sang, that the audience complimented him by demanding an encore, and the morceau which Mr. Horne substituted was similarly treated. In addition to manifesting considerable ability as a singer, Mr. Horne proved himself, by his guitar accompaniment, a good musician.

"AMATEUR PERFORMANCE", The Argus (28 July 1855), 5

[Advertisement], The Argus (28 November 1855), 8

[Advertisement], The Sydney Morning Herald (17 December 1859), 12

[Advertisement], The Sydney Morning Herald (8 December 1862), 1

"MR. HORNE'S MUSICAL ENTERTAINMENT", The Sydney Morning Herald (10 December 1862), 5

[News], The Argus (8 March 1869), 4

"NEW OPERA", Australian Town and Country Journal (24 June 1871), 8

"Musical and Dramatic Review", Australian Town and Country Journal (13 April 1872), 20

"THE LATE R. H. HORNE", The Argus (17 March 1884), 6

"BOOK OF THE WEEK", The Advertiser (8 September 1928), 28

Bibliography and resources:

Edmund Gosse, "ORION HORNE", Portraits and Sketches (London: Heinemann, 1913), 97ff

He had been baptized Richard Henry Home, but in late middle life he had changed the second of these names to Hengist. It was in 1874 that I set eyes on him first, in circumstances which were somewhat remarkable. The occasion was the marriage of the poet, Arthur O'Shaughnessy, to the eldest daughter of Westland Marston, the playwright. There was a large and distinguished company present, and most of the prominent "Pre-Raphaelites," as they were still occasionally called. In the midst of the subsequent festivities and when the bride was surrounded by her friends, a tiny old gentleman cleared a space around him, and, all uninvited, began to sit upon the floor and sing, in a funny little cracked voice, Spanish songs to his own accompaniment on the guitar. He was very unusual in appearance. Although he was quite bald at the top of his head, his milk-white hair was luxuriant at the sides, and hung in clusters of ringlets. His moustache was so long that it became whisker, and in that condition drooped, also in creamy ringlets, below his chin. The elder guests were inclined to be impatient, the younger to ridicule this rather tactless interruption. Just as it seemed possible something awkward would happen, Robert Browning stepped up and said, in his loud, cheerful voice: "That was charming. Horne! It quite took us to 'the warm South' again", and cleverly leading the old gentleman's thoughts to a different topic, he put an end to the incident ... This scene was very characteristic of Horne, who was gay, tactless, and vain to a remarkable degree. ... When he came back from Australia, I think about 1869, he was in very low water. He had managed very deeply to offend Charles Dickens, who had taken up the cause of Horne's neglected wife ... A little later Robert Browning, who had always felt a sincere regard for Horne, was able to be of practical service to him. ... In these days one used to meet him at afternoon parties, carrying with great care, under his arm, the precious guitar, which he called "my daughter", and was used ceremoniously to introduce as "Miss Horne". A little later in the evening Home would be discovered on a low stool, warbling Mexican romances, or murmuring with exaggerated gallantry to the prettiest girl in the room. All this time he was thirsting for publicity - if he could only be engaged to sing in public, to box in public, to swim in public, how happy he would be!

Ann Blainey, The farthing poet: a biography of Richard Hengist Horne 1802-84: a lesser literary lion (London: Longmans, 1968)

Ann Blainey, Horne, Richard Henry (1802-1884), Australian dictionary of biography 4 (1972)

HORSLEY, Charles Edward

Pianist, conductor, organist, composer

Born London, England, 16 December 1822 (son of William Horsley)
Arrived Melbourne, VIC, 10 December 1861 (per British Trident)
Arrived Sydney, NSW, June 1867 (per Wonga Wonga)
Arrived Melbourne, VIC, 1870
Departed Melbourne, ? August 1871 (per Great Britain, for England)
Died New York, USA, 28 February 1876 (TROVE tagged by Australharmony) (NLA persistent identifier)


Disambiguation: Many colonial performances of works by his father William Horsley are documented, beginning with the song The Tempest in the Sydney Amateur Concerts in 1826, and up to, for instance, at Charles Horsley's own concert in Melbourne in March 1863, when "Two well-known glees by Mr. W. Horsley, the father of Mr. C. E. Horsley, By Celia's arbour, and See the chariot at hand, were given in a style worthy of the composer. The former is one of the loveliest glees over written".


"THE SYDNEY AMATEUR CONCERT", The Australian (21 June 1826), 3

[Advertisement], The Argus (17 January 1862), 3

[News], The Argus (24 February 1862), 5

On Saturday afternoon, the first of a series of four instrumental concerts, arranged by Mr. Horsley, a gentleman lately arrived in Melbourne, took place at the Mechanics' Institute, Collins street. The first piece selected was one of three quartets composed by Mozart, in G minor, in which the piano is one of the instruments. It was performed by Messrs. Horsley (piano), King (violin), Thomas (viola), and Reed (violoncello). The music is of a character rather classical than generally pleasing, though in the rondo movement the ear is delighted with the beauty of the modulations introduced. The piece, on the whole, was well played, but would have been better for more distinctness and less sound in the piano passages. The violin part had scarcely justice done to it. The piano generally was too loudly played, and Mr. Horsley does not seem entirely free from the very general error to which pianists are liable of forgetting the greater power and compass of their instruments as compared with the others, and by which these last are placed at a disadvantage. The difficulty and art of stringed instrument playing is to bring out the tone satisfactorily, whereas the greater amount of tone, or noise, with the piano, is often exhibited by the most inexperienced performers. While making these comments, however, we must not omit to state that many passages in this and the other pieces were played by Mr. Horsley with much delicacy and neatness. The next pieces were selections from Mendelssohn's beautiful "Songs without Words," played on the piano by Mr. Horsley ... The third piece was a quartet for two violins, viola, and tenor, a selection in which, next to the quintet, the most perfect balance of sound is preserved. It was one of Haydn's in G major, known as including the best of his minuets and trios. The quartet was performed by Mr. King, first violin; Herr Strebinger, second violin; Mr. Thomas, viola; and Mr. Reed, violoncello, and would have gone off much better, to our thinking, had the second violin changed places with the first. It is difficult to percieve why so accomplished a violinist as Herr Strebinger should play "second fiddle" to any artist at present in Melbourne, and although such arrangements may sometimes be done simply that each performer may have a turn, yet the public have a right to expect the best man will be placed foremost, as they do not meet to hear how this or that gentleman can do this or that, but how the composer's music may be best rendered. The next piece is known as the "Moonlight Sonata" of Beethoven. Mr. Horsley's rendering of this difficult piece was very fair, but the most brilliant and finished touch is required to bring the creation of the composer's genius to the mind's eye. The concert concluded with Mendelssohn's trio in D minor, by Messrs. Horsley, Strebinger, and Chapman ...

"MR. HORSLEY'S CONCERT", The Argus (6 March 1863), 5


[News], The Argus (12 September 1864), 5

"INSOLVENT COURT", The Argus (16 September 1865), 6

"L'AFRICAINE. TO THE EDITOR", The Argus (17 July 1866), 7


"THE EXHIBITION", The Argus (24 October 1866), 5

"LAW REPORT", The Argus (6 June 1867), 6

"METROPOLITAN DISTRICT COURT", The Sydney Morning Herald (11 August 1868), 2

"Mr. C. E. Horsley ...", The Argus (29 May 1869), 5

"MR. HORSLEY'S CANTATA. TO THE EDITOR", The Argus (11 August 1870), 7

[Charles Wehle] ... Having no local interest to guard, and no part to take - Mr. Horsley having no rival - I may say, without fear of having my opinion misinterpreted, that he is, without any doubt, the greatest musician in this part of the globe; and the colony of Victoria may and should congratulate itself on the possession of an artist of such value. 

"MR. KENDALL'S NEW VERSION OT EUTERPE", The Argus (5 September 1870), 6

[News], The Argus (5 April 1871), 4

"INSOLVENCY COURT", The Argus (29 April 1871), 6

"MR. HORSLEY'S FAREWELL CONCERT", The Argus (15 May 1871), 6

[News], The Argus (24 January 1872), 4:

"DISTANT MUSIC (by Henry C. Lunn, From the London Musical Times)", Dwight's Journal of Music (4 May 1872), 226-27

[News], The Argus (1 May 1876), 5

By the mail steamer Bangalore news has been received of the death of Mr. Charles Edward Horsley, the well-known musician, on the 2nd of March [sic], at New York, where he had been living for the last two years. Mr. Horsley received his musical education in London, and arrived in Melbourne about 15 years ago, and at once took a leading position in the musical world. Shortly after his arrival he succeeded Herr Elsasser as conductor of the Melbourne Philharmonic Society, and he was so earnest in his endeavours to make the society take a leading position, that he succeeded in giving it the prestige which it has ever since maintained. During this time he had a large musical practice in the city, and when the Intercolonial Exhibition of 1866 was proposed, he was engaged to compose a cantata. This he did, and it was performed with great success. The cantata was named the "South Sea Sisters", and the words were written by Mr. R. H. Horne, the author of "Orion". One chorus in the cantata, viz., the "Corroboree Chorus', has since been frequently performed in Melbourne, and always with success. Mr. Horsley was of an easy genial disposition, and by some means he got into difficulties, and about 1868 left Melbourne for Sydney. He was not at all successful there, and he decided upon again returning to Melbourne. Here he obtained the appointment of organist to St Francis' Church, was not so successful as he desired, but when the new Town-hall was opened, during the mayoralty of Mr. S. Arness, he was engaged to write a cantata for the occasion, and "Euterpe" was produced. In the following year Mr. Horsley left by the s.s. Great Britain for England, and settled down in Liverpool, About two years since he went across to New York, and obtained the appointment of conductor to one of the oldest musical societies in that city. He also obtained the appointment of organist to St. John's Church, which he held at the time of his death.

[News], The Argus (9 May 1876), 5

"MUSIC", The Australian Sketcher (8 July 1876), 58

"THE LATE MR. C. E. HORSLEY. TO THE EDITOR", The Argus (16 October 1876), 6

Musical works (selected):

Trio in B minor ("published years since in Germany"), Melbourne September 1864

Violin Concerto in D minor (1849), MS parts in NLA (Papers of J. S. Kruse); modern edn. by Richard Divall

Piano concerto in C minor, op. 24 (copy of incomplete MS in British Library)

Gideon, a sacred lyrical oratorio, op. 50 (London: G. Rodwell, 1860)

Too late (choral scene; first time), Melbourne, July 1862

[Advertisement], The Argus (7 July 1862), 8

Comus (cantata, England 1854), Melbourne 7 December 1862

The evening star ("song with flute obligato"), Melbourne March 1863 

David (oratorio, England ?), Melbourne, 30 June 1863


String quartet no. 2 in E major (Melbourne, 1864) (modern edition: Richard Divall) also fascimile edition of manuscript in the Musical Society of Victoria's Library

The song of the nuns at Amesbury ("a new motete")

"In the world of music ...", The Argus (25 April 1865), 1s

Motett (Collect for the First Sunday in Advent; composed expressly for the Orpheus Union)

[Advertisement], The Argus (23 December 1865), 8

Intercolonial Exhibition march 1866, op. 62 (Melbourne: W. H. Glen, 1866)

The South Sea sisters, a lyric masque written for the opening of the Intercolonial Exhibition, op. 73 (Melbourne, 1866; words: R. H. Horne), Melbourne, 24 October 1866; original 1866 edition of the words only

The Galatea waltz (Sydney: The Composer, 1867)

England's welcome galop (Sydney: H.Marsh, [1868])

Tell me Mary how to woo thee [Hodson]; newly edited and arranged by C. E. Horsley) (Sydney: J. R. Clarke, [1868?])

My Bud is in heaven [Massett] (pianoforte accompaniment newly edited by C. E. Horsley) (Sydney: J. R. Clarke, [1868?])

A musical joke (the famous nursery rhymes, Jack and Gill; and Sing a song of sixpence, set to music, and arranged as four-part songs by Charles Edward Horsley) (Sydney: J. R. Clarke, [1868])

Chota waltz (played at Madame Bishop's concert by the composer) ([Sydney: ?, 1868])

[Advertisement], The Sydney Morning Herald (7 December 1868), 8

Communion service responses (September 1869) (MS: Sydney, Christ Church; facsimile: Forsyth, 528 (532)

Euterpe, op. 76: an ode to music (words: Henry Kendall), Melbourne, 9 August 1870); extracts: chorus All hail to thee, Sound (modern edn. by Philip Legge); Ah and when that meek eyed maiden from Euterpe (Melbourne: published for the composer by W.H. Glen, [1870?]); also Three pieces from "Euterpe" (arranged for Florence Mary James by the composer, Charles Edward Horsley. Florence Mary James, from C. E. H. 1871) (1 Slumber song (MS); 2 Waltz chorus from "Euterpe" (MS); 3 Ah and when that meek eyed maiden (printed edition, Melbourne: W. H. Glen))

Dreams of the past (ballad: words: Eliza Cook; Composed by Charles Edward Horsley for Mr. T. B. Browning, Melbourne 1871) facsimile of MS

Other writings:

Charles Edward Horsley, "Reminiscences of Mendelssohn, by his English pupil", Dwight's Journal of Music (14 December 1872), 345-47

In the summer of 1832 I saw Mendelssohn for the first time. I was then a mere child barely ten years old, but I well recollect the occasion. My father's house was the rendez-vous of all great artists both English and foreign, and invitations were immediately given to all who either brought letters or were introduced to my father by his numerous professional friends. My father himself, the most distinguished Glee writer and soundest musician that England has yet produced, was the most genial host, and it is to his constant desire to collect around him all that was good and great in his own profession, as well as the cream of the painters and literary men of the time, that his children owed the privilege of seeing all those whose genius and talent so largely contributed to the art progress of England since the commencement of the century. Thus among the musicians constantly at the house, were Moscheles, Hummel, Paganini, Mendelssohn, Spohr, Thalberg, Benedict, Sir George Smart, Mr. Neat, Mrs. Anderson, and many others; amongst the painters, Sir Augustus Calcott (my mother's uncle), Sir Thomas Lawrence, F. R. A., Collins, Wilkie, Etty, Redgrave, Mulready, Webster, Stone, Dyce, Sir W. Boxall, Uwins, &c. Our most intimate friends in literature were Dr. Rosen, the celebrated Oriental scholar, Carl Klingemann, the Secretary to the Hanoverian Embassy, Mr. H. F. Chorley, Hogarth, &c., &c.; and of the engineering celebrities, we constantly saw the Brunels, father and son, the latter having married my sister in 1836. Thus I may truly say that I and my family were constantly surrounded by an atmosphere of art, literature and science; and to this fact is of course traceable the great love of Music and Painting which seems almost hereditary amongst us.

[continued] (28 December 1872), 353-55

[continued] (11 January 1873), 361-63

Bibliography and resources:

"Horsley, Charles", British musical biography (1897), 209

Horsley, Charles Edward, composer and organist, son of William Horsley, was born in London, December 16, 1822. He studied under his father, Moscheles, and at Leipzig under Hauptmann and Mendelssohn. Organist of St John's, Notting Hill, London. He went to Australia in 1868 [sic], and afterwards settled in the United States. He died at New York, May 2, 1876. WORKS. Oratorios: David, Joseph, Gideon: Glasgow, 1860; Comus, cantata for solo and chorus (Milton), 1874, Impromptu for pf., op.12 , Trio, No. 2, for pf ., viola and cello, op. 13; Sonata for pf . and cello (1844);  Quartet for pf. and strings, 1845; six Lieder for voice and pf., op. 21, Anthems, Pf.pieces, various, Songs, part-songs, etc. Text-book of Harmony for schools and students.

Thérèse Radic, Horsley, Charles Edward (1822-1876), Australian dictionary of biography 4 (1972)

Anna Bunney (cataloguer), Papers of the Horsley family, 18th-20th cent. (University of Oxford, Bodleian Library, 1990; online resource, 2011


Vocalist, teacher of Music and Singing (pupil of the Royal Academy of Music)

Active Melbourne, 1853


? [Advertisement], The Argus (4 January 1853), 5

[Advertisement], The Argus (19 February 1853), 8

[Advertisement], The Argus (9 April 1853), 8

HOULDING, John Richard ("Old Boomerang")

Author, songwriter/recorder

Born Essex, England, 22 April 1822
Arrived Sydney, 26 January 1839
Died NSW, 25 April 1918


"OLD BOOMERANG. SEVENTY-SEVEN YEARS IN AUSTRALIA", The Sydney Morning Herald (26 December 1916), 4

"OLD BOOMERANG. DEATH OF MR. JOHN R. HOULDING", The Sydney Morning Herald (27 April 1918), 9

"HISTORY OF MUSIC ... MORE CURIOSITIES", The Sydney Morning Herald (22 January 1829), 10


The Australian emigrant's song (written by Old Boomerang; composed by E. K.) (London : Chappell & Co., [1867])

Song of the Australian squatter (Air, "Rory O'More"), in Australian capers: or, Christopher Cockle's colonial experience, by Old Boomerang (London: George Routledge and Sons, 1867), 229-30

Bibliography and resources:

Ruth Teale, Houlding, John Richard (1822-1918), Australian Dictionary of Biography 4 (1972)

HOWARD, George B.

Vocalist, instrumentalist, leader (Ethiopian Serenaders)

Active Hobart, by 1849; Sydney, until 1853

HOWARD, Charles V.

Vocalist, tambourine player, leader (Howard's Serenaders), agent, theatre manager


"THE VICTORIA THEATRE", Colonial Times (19 January 1849), 2

[Advertisement], Bell's Life in Sydney (6 April 1850), 2

"ETHIOPIAN SERENADERS", Bell's Life in Sydney (6 April 1850), 3

Mr. Blythe Waterland, Mr. C. V. Howard, Mr. G. B. Howard, and Mr. J. W. Reading, have given two concerts at the Royal Hotel, which have been remarkably successful. This company has the merit of being the first that has brought the peculiarities of the "Nigger", in a contracted way, before the Sydney public ...

[Advertisement], The Sydney Morning Herald (21 May 1850), 1

"BLYTHE WATERLAND'S SERENADERS", The Maitland Mercury (1 June 1850), 2

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

"THE SERENADERS", Bathurst Free Press (29 June 1850), 5

"ETHIOPIAN SERENADERS", Geelong Advertiser (23 July 1850), 2

"HOWARD'S ETHIOPIAN SERENADERS", The Maitland Mercury (11 September 1850), 2

"MUSWELL BROOK", The Maitland Mercury (25 September 1850), 2

"To the Editors", Bell's Life in Sydney (7 February 1852), 3

[Advertisement], The Sydney Morning Herald (27 August 1852), 1

HOWARD'S SERENADERS. Increased attraction of the Sydney Friday Concerts: Favourite and eccentric Programme: The Company consists of five performers, each and all unrivalled, vis., Charles V. Howard, tambourine; J.W. Sandford, Guitar; E. W. Pierce, Flute; Walter Howson, Banjo; and J. P. Hall, Bones.

[Advertisement], The Sydney Morning Herald (14 January 1853), 3

[Advertisement], The Sydney Morning Herald (24 September 1852), 1

[Advertisement], Empire (14 February 1853), 1

"CONCERT", Empire (11 November 1861), 4

A musical entertainment, consisting of literary reminiscences and illustrations of Moore's Irish Melodies, will be held tonight at the Exchange Hall, Dr. J. J. M'Gregor being the chief performer. The services of Mr. Brookes, the celebrated harpist, and of Mr. Cordner, have been secured ... We observe that the arrangements have been left to Mr. Charles V. Howard, which is in itself a fair guarantee of success.


Mr. Charles, V. Howard, the indefatigable agent, is the secretary to [Emma Neville and George Loder's] forthcoming entertainment.

[Advertisement], The Sydney Morning Herald (12 June 1873), 8


Clarionet player

Died Melbourne, VIC, 10 August 1877


[News], The Argus (11 August 1877), 6

The orchestral work was greatly admired, and a beautiful solo for the clarionet, which Mr Howard gave with that purity of tone for which his playing is remarkable, was redemanded and repeated, to the great satisfaction of the audience.

[News], South Australian Chronicle and Weekly Mail (18 August 1877), 12

Mr. James Howard died very suddenly last evening. To all who have been patrons of opera in Melbourne for the last five years, Mr. Howard was known as the first clarionet player in the orchestra, and was admired in that position as an artist who could produce a tone quite soft and musical from an instrument which is generally regarded as the most intractable of all. Henry Lazarus, the greatest of masters, would have listened to him with approval. Mr. Howard was playing on Thursday night in the opera of "Faust," and his share of the instrumental performance on that occasion was marked by those who watched it with consummate grace and masterly finish. At about 6 o'clock yesterday evening he had an apoplectic seizure in the Victoria Hotel, where he resided, at the corner of Lonsdale and Russell streets. He lived in an unconscious state for about 20 minutes, and then died. Mr. Howard leaves a widow and children in Sydney. The suddenness of his death was a great shock in more than professional musical circles.

HOWELLS, Phillip Arthur

Musician, music-seller, reviewer, memorialist, music publisher

Active Adelaide, by 1868
Died Adelaide, 24 August 1921, aged 65


According to his own account, Howells started in the Adelaide music business as a shop boy for Samuel Marshall in 1868.


"THE GROWTH OF MUSIC IN ADELAIDE", The Advertiser (29 March 1913), 6

P. A. Howells. "MUSIC AND MUSICIANS. REMINISCENCES FROM 1868. I", The Register (5 October 1918), 10

"MUSIC AND MUSICIANS. REMINISCENCES FROM 1868 [II]", The Register (5 November 1918), 6

"MUSIC AND MUSICIANS. REMINISCENCES FROM 1868 [III]", The Register (12 November 1918), 5

"MUSIC AND MUSICIANS. REMINISCENCES FROM 1868 [IV]", The Register (30 November 1918), 10

"MUSIC AND MUSICIANS. REMINISCENCES OF 1891-2-3" [V], The Register (14 December 1918), 5

"MUSIC AND MUSICIANS. REMINISCENCES OF 1893", The Register (18 January 1919), 5

"MUSIC. From P. A. HOWELLS", The Register (25 February 1919), 7

"DEATHS", The Register (26 August 1921), 6

"DEATH OF MR. P. A. HOWELLS", The Advertiser (25 August 1921), 7

Musical publications:

Gladys Gavotte ("pour piano par W. R. Knox") (Adelaide: P. A. Howells & Co., [189-])

Tarantelle in E mineur  ("pour piano par W. R. Knox") (Adelaide: P. A. Howells & Co., [189-])

When love is done ("a reverie; Dedicated to and sung by Miss Ada Crossley;  music by A. Wyatt Mortimer) (Adelaide: P.A. Howells & Co., [1892])

HOWITZ, Samuel

Music Master

Active Adelaide, SA, 1850


Reportedly "a German", "Samuel Howitz" was allegedly victim of an assault in Adelaide on 26 December 1849; according to the court report Howitz, "described himself as a merchant, but seems also to be a hawker and music master". A "Horwitz, Samuel Julius, Adelaide, Confectioner" appears in a later list.


"LAW AND POLICE COURTS", South Australian Register (1 January 1850), 3


HOWSON, Alfred

HOWSON, Charles Edwin (1848-1907)


HOWSON, Francis (senior) (c.1794/5-1863)

HOWSON, Frank (Francis junior) (1817-1869)

HOWSON, Frank Alfred Girolamo (Frank junior) (1841-1926)

HOWSON, Henry (1822-1893)

HOWSON, John (senior) (1819-1871)

HOWSON, John Jerome (John junior) (1842-1887)

HOWSON, Emma (1844-1928)

HOWSON, Clelia (Sarah Clelia) (b.1845)

HOWSON, Walter

HOWSON, Frederick

Go to Howson family main page:

HUDSON, George W. (George WALL; ? George Wall HUDSON)

HUDSON, Eliza (Elizabeth; Eliza KING; ? Charlottee HUDSON; Eliza WALL; Charlotte Elizabeth WALL)

HUDSON, Master (? George HUSDON, junior; Mr. George WALL)

Go to George Hudson and family main page: 


HUENERBEIN, August Christian

Pianist, band musician, clarinettist, trombone, tuba and ophicleide player, music retailer and publisher, composer

Born Germany, 1823
Active Adelaide, by 1850; Melbourne, by 1852
Died Sydney, 29 November 1882, aged 59

HUENERBEIN, August (junior)

Musician, music retailer



An associate of Andrew and Rachel Moore, George Coppin and Wellington Wallace, "Augustus Huenerbein, musician, Pirie street" was active in Adelaide concerts, theatre and choral society in 1850 -51. By June 1852, along with several other Adelaide musicians (including his friend C. A. F. Mater) he was in Geelong and Melbourne, where 20 years later he opened a new music warehouse in Russell Street, later trading under his late friend's name as "Mater and Co."

Having both recently been elected associates of Musical Association of Victoria, August and his son Charles moved themselves and their business to Sydney in the mid to late 1870s. At Aimee Saclier's concert there in November 1879: "The songs were accompanied by Mr. A. C. Huenerbein, who took part in the duet with Miss Saclier, and also in the tutti portions of the Mendelssohn Concerto."

August senior having recently died, Charles and his brother August junior were pallbearers at Charles Packer's funeral in July 1883, and they later raised funding for the publication of an edition of Packer's oratorio, which became available in April 1886. According to a report of Packer's death: "Mr. August Huenerbein has the scores of "David," an oratorio and of many other compositions, which will yet be published, and which will long preserve Charles Packer's name from oblivion." Charles and August dissolved their business partnership in 1888.


"DECLARATION OF CONFIDENCE IN MR JOHN STEPHENS", South Australian Register (7 March 1850), 2s

[Advertisement], South Australian (2 April 1850), 3

[Advertisement], South Australian (5 July 1850), 1

[Advertisement], South Australian Register (28 August 1850), 2

"PROMENADE CONCERT", South Australian Register (27 November 1850), 3

[Advertisement], South Australian (11 March 1851), 2

[Advertisement], South Australian Register (16 September 1851), 1

[Advertisement], The Argus (3 June 1852), 5

[Advertisement], The Argus (27 August 1852), 3

[Advertisement], Geelong Advertiser (19 June 1852), 2

[Advertisement], Geelong Advertiser (28 August 1852), 2

"SATURDAY'S CONCERT", Geelong Advertiser (30 April 1855), 2

"Melbourne", Süd Australische Zeitung (23 October 1863), 3

[Advertisement], The Argus (30 August 1872), 3

[Advertisement], The Sydney Morning Herald (13 July 1874), 8

[Advertisement], The Sydney Morning Herald (24 March 1875), 2

[News], The Argus (14 August 1876), 4

"TO THE EDITOR", The Sydney Morning Herald (1 January 1877), 6

"Deaths", The Sydney Morning Herald (1 December 1882), 1

"Funerals", The Sydney Morning Herald (1 December 1882), 16

[Advertisement], The Sydney Morning Herald (3 April 1886), 15

"SOCIAL", The Sydney Morning Herald (28 July 1883), 11

"Musical Echoes", The Queenslander (1 May 1886), 690

MANY in this colony will remember the late Charles Packer, and probably several have had the pleasure of hearing his "Crown of Thorns" unformed in the adjoining colony. Since the death of the composer the publication of this charming composition has been undertaken by subscription, and the subscribers, and musicians generally, will be glad to learn that the work has arrived by the Liguria, and is being delivered by Mr. August Huenerbein, of Sydney, the honorary secretary of the Packer Fund. As this is a purely Australian production it is to be hoped we shall have the pleasure of hearing it rendered by our Musical Union. 

[Advertisement], The Sydney Morning Herald (13 April 1888), 2

Performances and musical compositions:

Waltz The Victoria

[Advertisement], South Australian Register (15 October 1850), 2

[News], South Australian Register (16 October 1850), 3

[Advertisement], South Australian Register (29 October 1850), 2

March Adelaide

[Advertisement], South Australian Register (29 October 1850), 2

Duet for 2 clarinets

[Advertisement], South Australian Register (26 November 1850), 2

Galop Sonnambula

[Advertisement], South Australian Register (26 November 1850), 2

Solo for tuba basso on a theme from Mozart's opera Don Giovanni

[Advertisement], South Australian Register (12 March 1851), 2

Vaterlandslied (Worte von Freiherr v. Boden, comp. von Hünerbein) ("Victoria", Süd Australische Zeitung (26 July 1862), 3

Jagdlied (Chor und Orchester) v. Hünerbein ("Victoria", Süd Australische Zeitung (26 November 1862), 2

March (composed especially for the Festival of the German Association) ("The Festival of the German Association", The Argus (29 December 1863), 5


Reminiscence of the Garden Palace schottische (by Charles S. Packer) (Sydney: A. Huenerbein, [1882])

Paddy's Polka (Composed by Chas. S. Packer; "To my friend August Huenerbein") (Sydney: A. Huenerbein, [1883])

The crown of thorns (or, Despair, penitence, and pardon, an oratorio, words and music by Charles S. Packer) (Sydney: A. & C. Huenerbein, [1886])


Pianist, concert manager, music retailer and publisher, composer

Born Melbourne, 1859/60
Died Sydney, 11 March 1908, aged 48


Pianist, teacher of piano and accompanying


[News], The Argus (2 October 1876), 4

[Advertisement], The Sydney Morning Herald (1 February 1877), 12

[Advertisement], The Sydney Morning Herald (28 July 1879), 2

"Music and the Drama", Australian Town and County Journal (21 January 1882), 13

The chief musical events of the past few days have been the Scotch concert of Miss Clara Hamilton, and the concert given on last Saturday afternoon in the Garden Palace by Mr. Charles Huenerbein ... The "Konoowarra Polka", composed by Mr. C. Huenerbein, was then performed by the orchestra, aided by six young lady pianists, and went so well that Terpsichore herself, had she been present, might have justly placed a garland on the brow of the author.

[Advertisement], The Sydney Morning Herald (3 March 1885), 3

"DIED", The Sydney Morning Herald (12 March 1908), 6

"PERSONAL", The Advertiser (16 March 1908), 4

The death of Mr. Charles Huenerbein, who in his palmy days was recognised as the best accompanist in Australia, occurred in Sydney on Wednesday. He played for all the leading singers who visited Sydney, and was an old friend of Madam Melba and of many other vocalists of great fame. The "Australian Star", referring to his death, said: "Recognising the artistic qualities of Madame Melba before her "discovery" by the English and foreign critics in 1887 the late Mr. Huenerbein was one of those who induced the Melbourne singer to visit this city in 1885. This was shortly after David Mitchell's daughter had made her debut in Melbourne as the late Signor Cecchi's best pupil. Mr. John Lemmone made his first appearance the same year in Melbourne as a flautist. The singer and the flautist appeared on the same platform. In Sydney in 1885 Madame Melba sang at the Theatre Royal with John Kruse, the violinist, as the star performer, and she also assisted at a Sydney Liedertafel concert under the baton of the late John A. Delaney. A little later the brilliant Melbourne singer was taken on tour by the late Mr. Huenerbein. During her visit to Australia in 1902, and again while she was singing in Sydney towards the end of last year, Madame Melba made enquiries about the man who used to play her accompaniments divinely; but the pianist and the singer did not meet. For the past six or seven years the late Mr. Huenerbein had been in bad health and he was also in "low water" financially, having lost his income as a teacher.

"THE ART OF ACCOMPANYING", The Sydney Morning Herald (13 March 1909), 14

[Advertisement], The Sydney Morning Herald (30 March 1912), 9

Musical works:

Rodondo schottische (Sydney: [Huenerbein], [1881]) 

Rodondo schottische (Third Edition)

Konoowarra polka (Sydney: Charles Huenerbein, [1881])

Leura waltz (Sydney: A. &. C. Huenerbein, [1884])

To the front ("Raise high Australia's banner"; a patriotic song) (Sydney: A. & C. Huenerbein, [1885])

Bushmen to the front (patriotic song: "Raise high Australia's banner) (Sydney: H. S. Chapman, [1900])

The plateau valse (Sydney, [1886])

Lisgar march ([Sydney, [1886])

The Beatrice waltz (Sydney, [1894])

HUENERBEIN, Franz (Francis)

Professor of Pianoforte, Singing, Organ

Active Melbourne, by 1872


[Advertisement], The Argus (2 October 1872), 1

[News], The Argus (6 March 1875), 7

"Funerals", The Sydney Morning Herald (1 December 1882), 16

[Advertisement], The Sydney Morning Herald (1 August 1883), 2

[Advertisement], The Sydney Morning Herald (1 August 1884), 2

[Advertisement], The Sydney Morning Herald (3 June 1885), 11

HUGHES, Henry S. ("Professor HUGHES")

Professor of music, violinist (pupil of Molique), organist, choirmaster, composer

Arrived Melbourne, VIC, by December 1863
Active Sydney, NSW, by 1877




Professor Hughes, "pupil of the celebrated violinist and composer Herr Molique" (Bernhard Molique), first advertised violin classes in Melbourne in December 1863, and in February 1864 the Theatre Royal announced that its "unrivalled band ... has been placed under the baton of the distinguished composer and instrumentalist, Professor HUGHES, who has just arrived from London". In 1868, Hughes was victim of a curious case of musical larceny, where one Edward Goodliffe tried to pass off some of Hughes's manuscript compositions as his own. Hughes's operetta ("opera di camera") Les fleurs de Savoie, in which "all the characters sustained by ladies", was produced at the Melbourne Athenaeum in 1874-75. In the 1890s Hughes was active in Sydney, Perth and Adelaide (as late as 1898). According to an 1874 death notice for his mother (died in Dublin), she was the widow of "the late P. H. Hughes, Esq., formerly of Corfu, Santa Maura, and Zante". At the Theatre Royal in April 1854, Professor Hughes introduced P. H. Hughes's The pantomime galop, copied of which had also been "Just received by Wilkie, Webster, and Co.", and performed by Zeplin's Band.


[Advertisement], The Argus (7 December 1863), 8

[Advertisement], The Argus (20 February 1864), 8

[Advertisement], The Argus (15 March 1864), 8

[Advertisement], The Argus (25 June 1864), 8

[Advertisement], The Argus (22 June 1865), 8

[Advertisement], The Argus (11 April 1866), 8


[Advertisement], The Argus (11 August 1868), 8

[News], The Argus (18 November 1868), 4

[News], The Argus (26 November 1868), 4

"DEATHS", The Argus (8 April 1874), 1

[Advertisement], The Argus (11 December 1874), 8

"MUSIC", The Australian Sketcher (26 December 1874), 155

"MUSIC", The Australian Sketcher (12 June 1875), 42

"AUSTRALIAN TELEGRAMS", Advocate (12 May 1877), 15

SYDNEY, Monday ... Archbishop Vaughan has appointed Professor Hughes, of Melbourne, organist of St. Mary's Cathedral.

"Music at St. Stephen's", The Telegraph (27 October 1890), 4 

Haydn's Mass No. 2 was effectively rendered by the choir of St. Stephen's Roman Catholic Cathedral yesterday. For the offertory Miss Kelly sang the " Alma Virgo" (by Hummel), and after the elevation of the Host, Professor Hughes played a "Rhapsodic Religleuse," composed by him for Molique, the great violinist ...

[News], The Kerang Times (16 February 1894), 2 

Extant musical works:

Geneviève (ballad) (Melbourne: Paling & Co., [?])

Miss Lizzie Watson's serio-comic casket (containing six of her original and copyright songs, never before published arranged for the voice and pianoforte by Professor Hughes) (Melbourne: Clarson, Massina, and Co., 1872)

God is forever with man! (Sydney: Nicholson & Co., [1886])

Three times three (Sydney: Published by the Composer, [?])

Works attributed to P. H. Hughes:

O salutaris (composed expressly for the Convent of Mercy, Melbourne by P. H. Hughes) ([Melbourne: Convent of Our Immaculate Lady of Mercy, 1865])

Santa Maria! [Meyerbeer] (arranged by P. H. Hughes) ([Melbourne: Convent of Our Immaculate Lady of Mercy, 1865])

The cricketers' waltz (composed expressly) in The Illustrated Melbourne Post (25 January 1864)

HUMBY, John Cross

Professor of Music, pianist, music retailer

Arrived Moreton Bay, NSW (QLD), 1850 (per Mount Stuart Elphinstone, from England, 1 June 1849)


Within months of his arrival, Humby was granted a ticket of leave, and he set himself up as a shoemaker "from London" in December 1850. He appeared as an accompanist-pianist for G. F. Poole, presented musical entertainments, and advertised as a music retailer, "Having publicly introduced Music into Moreton Bay". His business seems to have failed by late 1854 and some of his stock was auctioned off by a creditor in 1855.


"TICKETS OF LEAVE", The Moreton Bay Courier (30 March 1850), 3

[Advertisement], The Moreton Bay Courier (14 December 1850), 1

"BREACH OF TICKET-OF- LEAVE REGULATIONS", The Moreton Bay Courier (23 August 1851), 2

[Advertisement], The Moreton Bay Courier (23 October 1852), 3

[Advertisement], The Moreton Bay Courier (29 October 1853), 3

[Advertisement], The Moreton Bay Courier (30 September 1854), 3

[Advertisement], The Moreton Bay Courier (12 May 1855), 3

Bibliography and resources:


Merchant, importer of musical instruments

Arrived Sydney, NSW, 18 November 1833 (per Lonarch, from London,24 June, via Hobart Town, 12 November)


[Advertisement], The Sydney Gazette and New South Wales Advertiser (14 December 1833), 4 

"THE ACCORDIAN", The Sydney Monitor (18 December 1833), 2 

Mr. Humphrey, a newly arrived emigrant, and who has opened a general fancy warehouse for his elegant nick nacks, in Underwood's buildings, has imported a few musical instruments of a novel description, called the Accordian. It is a small species of seraphine. The instrument is of German invention, & combines the deep toned melody of the organ, but not so strong in the volume, with the portability of a common-sized flute case. The reeds, or steel bars by which the notes are produced, are disposed horizontally in the case of about 15 or 18 inches long, and about 3 in depth. To this case is affixed a bellows of six compartments, which act upon the reeds or steel bars, more or less according to the power desired to be given to the tone. The keys (twelve in number), in the largest wind instrument, and five on the smaller, are placed on the top of the case, and are worked in the same manner as the keys of a piano. Each key produces two distinct notes, which are produced by pressure on the bellows. The tone of the instrument seems to partake of the open diapason, and twelfth, of a full toned organ, and sounds in an empty lofty room, equally loud as the swell organ of St. James' Church. It is particularly adapted for sacred music, and for devotional families, and would form a sufficient and pleasing accompaniment to choirs in the small chapels of our interior. The knowledge of the instrument is easily acquired, and a person of any musical science would learn to play in less than a month. The prices are from £6 to £12 each. Several ladies of musical taste, have already called to inspect the instrument, and have expressed their delight at the novelty and beauty of the invention. A person resting the instrument on his knees might play for any length of time without the least fatigue.


Pianoforte maker, repairer, and tuner

Born Germany, 1819
Arrived Hobart, TAS, 26 August 1855 (per Wilhelmsberg, from Hamburg, 10 May 1855)
Died New Town, TAS, 24 June 1902, aged 81 (TROVE tagged by Australharmony)


"LAW", The Mercury (6 June 1865) 

SUSMAN v. WEBER . . . Plaintiff proved that certain goods consisting of musical instruments were handed to defendant for sale or return . . . Adolphus Frederick Spiller, tuner and repairer of musical instruments gave evidence of the condition of three organ-accordeons he saw at plaintiff's . . . Henry Huhniker, piano forte maker gave corroborative evidence . . . Plaintiff recalled that he had showed the instruments to the witnesses [Adolphus] Spiller and Huhniker.

"Deaths", The Mercury (26 June 1902), 1 

HUNICKE. On June 24, 1902, at New Town, Tasmania, Henry Hunicke, Pianoforte Tuner, in the 82nd year of his age. Interred at Cornelian Bay Cemetery on June 25. "At Rest."

"AT THE CAPITAL", Daily Telegraph (28 June 1902), 3 

Henry Hunicke, aged 84, passed away quietly on Tuesday last. Hunicke was an old Hobart identity, and his struggle in the battle of life for some years has not been a successful one. Thirty years ago Hunicke was an organ tuner of note, and southern old time cricketers remember him well. Three or four decades ago he was the only man in Hobart who understood how to mend cricket bats; and for many years the subject of this notice made a decent livelihood at this occupation. For the last ten years Hunicke and his partner in life, who predeceased him about a month or two ago, have had a hard time of it. A few kind souls who had known them in their palmy days, did their best to smooth the inclined plane down which the aged couple were rapidly slipping, and let a lot of sunlight into their existence.



153. HEINECKE, Heinrich/ Henry 30 Luth. R & W Brunschweig - Blidhauer/ Cabinet Maker & Carver {aka HUNIEKE} [ HIENECKE? HUNICKE, Heinrich /Henry M 30 Rom Cath Braunsweig, Cabinetmaker - W. Kirchner

HUNT, Joseph

Vocalist (Emu Plains Theatre), ballad singer, convict

Arrived NSW, 12 July 1824 (per Countess of Harcourt, 16 March 1824)
Died Bathurst, NSW, ? 1861, aged 67; or 2 April 1846, in his 56th year


A full account of the atrocious murder of the late Mr. W. Weare (London: Sherwood, Jones, and Co., 1823), 70

James O'Connell, A residence of eleven years in New Holland and the Caroline Islands: being the adventures of James F. O'Connell edited from his verbal narration (Boston: B. B. Mussey, 1836), 43

The was also a theatre at Emu plains, about thirty miles from Sydney, on the Bathurst road ... Here I first heard Hunt sing. Hunt was transported as a confederate of Thurtle in the murder of Ware; a crime which was perpetrated in England about the year 1823 ... Hunt by turning king's evidence had his punishment commuted to transportation ... Hunt's sentence was the most severe one ever known in the colony ...  he was sentenced perpetually to a chain-gang. He was an excellent ballad singer, and this accomplishment procured him the temporary alleviation of his sentence enjoyed while singing songs and ballads upon the stage. I believe, however, this was but temporary; as when, by the interest of the Sydney theatre-goers with the Bathurst authorities, Hunt was permitted to 'star it' in Sydney, the papers took the authorities so severely to task for permitting it, that Hunt was remanded to the chain-gang, after his first appearance.

"DIED", Morning Chronicle (8 April 1846), 3

Roger Therry, Reminiscences of thirty years' residence in New South Wales and Victoria (London: Sampson Low, Son, and Co., 1863), 99

"A BYGONE SPORTING NOTORIRTY", The Queenslander (9 January 1869), 9

Bibliography and resources:

Eric R. Watson (ed.), Trial of Thurtell and Hunt, 45-46:

Hunt was placed on board the Countess of Harcourt, convict ship, on 8th March; she sailed on the 16th, and Hunt, instead of being murdered on the voyage, as Ballantine has related, duly landed in Botany Bay, was moved inland to 'The Felons' Paradise' in Wellington Valley, and later on was assigned as a servant to a Mr. Jonathan Slattery at Bathurst, where he was living when her late Majesty ascended the throne".

Jordan 2002, 161



? Bandsman, acting bandmaster (band of the 40th Regiment)

Active Melbourne, VIC, 1856

See also Band of the 40th Regiment (second tour)


"MELBOURNE (From our own Correspondent)", The Star (5 August 1856), 2 

The Band of the 40th Regiment attend the Queen's Arcade for two hours every Saturday afternoon, and play at intervals. The band is an excellent one, and, under the skilful leading of Mr. Hunter, it discourses most excellent music. The selections are from the works of great masters, and are of the highest order of merit. The Arcade of a Saturday afternoon is quite a favorite lounge. Yesterday, and indeed on several recent occasions, it was crowded far beyond the point of comfort.


Architect, choirmaster, vocalist

Born Nottingham, England, 10 October 1832
Arrived South Australia, 1848
Active Hobart, 1856-88
Died Brisbane, QLD, 17 October 1892


"CAMPBELL TOWN", Launceston Examiner (1 July 1856), 3

"OPENING OF SAINT MICHAEL'S CHURCH CAMPBELL TOWN", The Hobart Town Mercury (5 October 1857), 3


As usual the music was excellently performed, Mr. Edwin Hooke presiding at the organ, and Mr. H. Hunter leading the choir. The following was the music selected for the occasion: Kyrie in B flat-Haydn; Gloria, Credo, Sanctus, and Benedictus-Van Bree; Agnus Dei in B flat-Haydn. This pretty little church was built under the auspices of Mr. Henry Hunter, to whose architectural taste it bears full testimony . . .

[Advertisement], The Mercury (20 June 1864), 1

"RELIGIOUS", The Mercury (24 December 1867), 3

"COMPLIMENTARY TEA PARTY", The Mercury (26 August 1874), 2

"DEATHS", The Brisbane Courier (18 October 1892), 4

"ORGANIST'S UNIQUE RECORD", The Mercury (1 September 1923), 15

"THE LATE MISS REICHENBERG", The Mercury (13 July 1932), 6

Bibliography and resources:

Henry Hunter, architect, Hobart Town: an exhibition by Barrie Shelton in consultation with Peter Cripps (Hobart: Tasmanian Museum and Art Gallery, 1982) 

D. I. McDonald, "Hunter, Henry (1832-1892)", Australian dictionary of biography 4 (1972)

Henry Hunter (architect), Wikipedia


Musician, violinist, clarinet player, music teacher (first teacher of George Rivers Allpress)

Born Manchester, England, c.1838
Arrived VIC, c.1857 (from New Zealand)
Died Kew, VIC, 25 September 1878, aged 40 years (TROVE tagged by Australharmony)

HUNTER, Thomas Brooks

Musician, flute and piccolo player, bandmaster

Born c.1848 (? New Zealand)
Arrived VIC, c.1857 (from New Zealand)
Died Adelaide, SA, 16 April 1890, aged 43 years


[Advertisement], Mount Alexander Mail (6 November 1857), 1 

FREE CONCERTS, MOUNT ALEXANDER THEATRE. THE Proprietor, in returning thanks to his Friends and the Public for their kind Patronage, has much pleasure in announcing that he has, at Great Expence, made Engagements with the following well- known and favorite Artistes, who will make their first Appearance, on SATURDAY, NOVEMBER 7. Principal performers. Mrs. BYRNES, the admired soprano; Mr. H. J. LINDSAY, the successful delineator of the songs of Henry Russell; Herr W. GOLLMICK, the celebrated pianist and composer; Mr. JAMES HUNTER, the great violin solo performer; Proprietor, Mr. W. COWPER

[Advertisement], Mount Alexander Mail (24 February 1862), 3 

CROWDED HOUSES EVERY NIGHT AT THE EXCHANGE HOTE AND Concert Concert Hall, Licensed pursuant, to act of Council. TO-NIGHT, MONDAY, Feb. 24, 1802. The entire strength of the company will appear in a new musical burlesque, entitled, - HAMLET YE DANE, OR THE PRINCE OF DENMARK. Hamlet, Mr. Henry James Lindsay. Horatio, Miss Leslie. King Claudius, Mr Smart. Lapertius, Mr. H. Williams. Ghost of Hamlet's Daddy, Mr. C. Rice. Bruin a little smart boy, Joe Miller. Queen, Miss Leslie - Full band - Leader, Mr James Hunter. Pianist, Mr. H. Williams. Clarionet, Herr Willhelam Rust. Cornet, Herr Gottingin. Doors open at half-past seven o'clock, to commence at eight. ADMISSION-SIXPENCE. Stage Manager. Mr. H. James Lindsay.

"CASTLEMAINE CHORAL SOCIETY'S CONCERT", Mount Alexander Mail (1 April 1868), 2 

The recently formed Choral Society last evening gave their first concert in the hall of the Mechanics' Institute. It is so often the case that a really refining entertainment lacks patronage here, that the number of the audience was a matter of congratulation, and we trust, the fact may be taken as indicative of an increased love of the fine arts. The society chose a by no means oft heard composition in Castlemaine - Schiller's well known "Lay of the Bell," with the music of "Romberg." We observe that Mrs. Hodgson and nearly all those who were members of the Philharmonic Society have joined the new creation . . . the submissive yet manly chorus of workmen "Good master, rightly you advise," which brought out the strength of the company. The chorus is one of a really thrilling character but difficult of execution: the singers well brought to the surface the conception of the composer, but the influence of the instrumental aid afforded by Messrs. Howson, J. Hunter, T. Hunter, Goode, Braithwaite, Brown, and Mrs. Fatherly showed their services to be a necessity . . . A beautiful song, "Lo! hear the gentle lark" [recte Lo, here the gentle lark] from Miss Howson, accompanied by the orchestra, was rendered in a style that could scarcely be surpassed and with such evident proficiency, Miss Howson must shortly take another sphere of action. The song referred to finishes with a duette cadenza between the flute and the vocalist. Mr. T. Hunter was the instrumentalist, and with marked precision got through his delicate task . . .

"ITEMS OF NEWS", Mount Alexander Mail (16 April 1868), 2 

We recently intimated that Rutter's Mass in D would be sung at the Church of St. Mary, Hargreave-street, at the Easter festival . . . The instrumentalists were Messrs. Howson (leader), J. Hunter (second violin), Mr. T. L. Brown (violoncello), Mr. Huenerbein (viola), with Mrs. Hodgson (organist). Most of the performers were members of the old Philharmonic Society . . .

"THE HOWSON CONCERT", Mount Alexander Mail (28 October 1868), 2 

. . . Mr. P. Hunter gave "The Brave Old Temeraire" in a vigorous, effective, and correct manner. "The Anvil Chorus" was another success. Mr J. Hunter, who is the best amateur clarionet player we know, gave a solo on his pet instrument, by Verdi, and was loudly encored . . . Desiring to place on record the names of those who contributed to so great a musical treat, we give them as follows : - Vocalists: Mesdames Hodgson and Gardiner, Misses Howson, Crowley, Bourne, Froomes, and Binns; Dr. Mackenzie, Messrs. Firman, Carty, P. Hunter, J. J. Cooke, Hasler, Ewing, Green, Bannister, Hodgson, Heley, and Lloyd; Masters Huenerbein and Lindsay. Instrumentalists: Mrs. Hodgson, Messrs. Howson, Huenerbein, Brown, Rule, J. Hunter, T. Hunter, and Goode. Pianists, Mrs. Hodgson and Miss Howson; Leader, Mr. Howson.

"ITEMS OF NEWS", Mount Alexander Mail (11 December 1868), 2 

Mr. and Miss Howson's concert at the Mechanics' Institute last night night passed off very agreeably. Undoubtedly it would have been more satisfying had Mr. Howson been there to give more body to the melody by his fine instrumentation, but he being under an engagement at Sandhurst, and his name not being announced, was not expected. With great courage Miss Howson took the burden of the programme upon herself . . . Last night Mr. Carty and Mr. Paton contributed ballads, and Mr. John [sic] Hunter a clarionette solo . . . The Bravura, - "Lo hear the Gentle Lark," [Lo here the gentle lark] by Miss Howson, in which she was accompanied on the flute by Mr. Thomas Hunter, was one of the best efforts of the evening. The splendid music of the song was skilfully rendered, both in the vocal and instrumental parts . . .

"ITEMS OF NEWS", Mount Alexander Mail (15 August 1870), 2 

The Sisters Duvalli performed on Saturday evening to a full house. The audience were unmistakably pleased with the entertainment, judging from the demonstrations of applause with which both the dramatic arid terpsichorean parts were favoured. The band, consisting of Messrs Howson (leader), Hunter, Goods, Huenerbein, sen., and Huenerbein jun., performed excellently. The overture from the "Bohemian Girl " was especially well rendered.

"ITEMS OF NEWS", Mount Alexander Mail (16 January 1873), 2 

The lack of amusements in Castlemaine for some time back will have prepared the public to accord a generous support to any really good company who, in their meanderings through the colony, choose to pay this town a visit. From information which has been received, the void is likely to be filled up next week by a company who have earned no small notoriety in Bendigo as the Sandhurst City Musical Club. Their performances are after the Christy Minstrel style, which at all times commands the popular ear. There are no less than 23 performers, under the management of Mr. J. W. Marshall. Mr. James Hunter leads the orchestra, and amongst the leading players are Mr. Hallas, the well-known cornet player, Mr. Thos. Hunter, piccolo, and in fact all the leading musicians of the Sandhurst district, men of notoriety in the musical world, and also men of means. It is intended, we believe, to give the first concert on Wednesday next, the 22nd inst., when, if prestige goes for anything, they will be greeted by a full and appreciative house.

"EARLY CLOSING ASSOCIATION CONCERT", Bendigo Advertiser (10 December 1874), 2 

It appears that an addition has been made to the number of those who have so kindly come forward to assist the Early Closing Association, and we are sure that the names of Scott, Westropp, and Ripper, in conjunction with those named before, will be welcome to admirers of good music. We have been informed that the lad Allpress, the juvenile pupil of Mr. James Hunter, by consent of his father, will play a solo on the violin.

"POLICE COURT - ADELAIDE", The Express and Telegraph (14 April 1875), 2 

POLICE COURT - ADELAIDE. (Concluded from yesterday.) Hwata Catsnoshin, Tora Ketchi, and Dicki-noski, members of the Asiatic Circus Troupe, were charged, on the information of Thomas Brooks Hunter, of Gawler, compositor, with assaulting and beating him, at Adelaide, on April 6. Prosecutor stated that at the time the assault was committed he was a member of the orchestra at the Theatre Royal. On the morning in question Catsnoshin said he wanted to see him in the Theatre. Replied he was busy and could not go . . .

"ITEMS OF NEWS", Mount Alexander Mail (9 July 1875), 2 

At the Theatre Royal last night there wore two comedies played, - the first the comic drama of the Peep Showman; the second Brougham's comedy of Playing with Fire. Both pieces wore well played, but we regret to notice to a thin audience . . . During the evening the band under the leadership of Mr. James Hunter played some excellent selections from popular operas with considerable skill, which was highly appreciated . . .

"COMPLIMENTARY BENEFIT TO MR. J. HUNTER", Bendigo Advertiser (2 December 1875), 2 

Last evening the complimentary benefit tendered to Mr. James Hunter, by the Sandhurst Christy Minstrels, took place in the Royal Princess' Theatre. A crowded attendance testified to the appreciation of the many gratuitous services often rendered by the beneficiare. The Christy Minstrels, after a selection had been given by Hallas's Band, took possession of the boards, and in the several songs rendered by them gained frequent applause. "I'm waiting, my darling, for thee" was well rendered by Mr. J. W. Marshall; and Mr. S. Stewart in "Silver threads among the gold " was very successful. A song by Sambo (Mr. H. Marks), "Do you know where nowhere is" was enthusiastically encored. The interval was devoted to the appearance of the Sandhurst bellringers, who gave several selections in an able manner. The second part of the programme served to introduce to the audience several of Mr. Hunter's pupils, disciples of Paganini, who in the several performances served to show the ease of their leader's training, and exhibiting a remarkable aptitude for the violin. A solo " Blue bells of Scotland," by Master A. Lazarus; duet, "Here me, Norma," by Messrs. A. Lazarus and Allpress; and solo, "Hope told a flattering tale," by Master Allpress; and another solo by Master Mellor; all showed considerable execution. Dances and songs by members of the Christy Band enlivened the. performance and "Blinks and Jinks," characters by the company, was very successful, the whole concluding with the plantation walk-round "Carry the news to Mary."

"GENERAL SUMMARY", Bendigo Advertiser (4 October 1876), 1 Supplement 

We have a musical genius in embryo, in the person of Master George Allpress. Master George is little more than ten years old, and is a violinist and pianist of extra ordinary capacity. His father, Mr. Charles Allpress, of Kangaroo Flat, Sandhurst, noticing his very early bias for music, has had him for the last two or three years taught the violin, and he plays (on a tiny one made for him) with wonderful skill for so small a child: his bowing and fingering are specially noticeable for their ease and finish, and as he is a fluent reader, his appearance, as he stood recently, before a select number of musical people, playing a brilliant fantasia on airs from "Lucretia Borgia," was that of a little maestro. About twelve months since he commenced to display a predilection for the piano, and his father at once placed him under the tuition of Herr Edward Calon, a Sandhurst teacher of note, who has advanced him in his studies so rapidly that, although he did not know a note of bass when he commenced, he is now able to execute Beyer, Linge, Farmer, Oesten, and other authors' compositions. His execution of Beyer's "La Fille du Regiment," and West's fantasia on airs from "Guillaume Tell," is astonishing, the great feature being the extraordinary amount of expression introduced by him, and the judgment he evinces in the use of the pedals. Herr Calon is very proud of his child-pupil, and he may well be so. There is a great future in store for the little fellow if he is treated wisely. Mr. Hunter, of this city, was his tutor on the violin.

"MASTER ALLPRESS", Bendigo Advertiser (30 September 1876), 1 Supplement 

(To the Editor of the Bendigo Advertiser.) Sir, - In your issue of the 20th instant appears a paragraph in reference to a Master George Allpress, wherein he is described as a pianist and violinist of extraordinary capacity, and attributing his success solely to the tuition of Herr Calon. In justice to myself I cannot allow such a statement to remain uncontradicted, and should have done so before but was in hope Herr Calon would have had the courtesy to take the task out of my hands. I trust, however, the same publicity will be given to my letter that has been given to your paragraph. It was I who instructed Master Allpress on the violin, he becoming my pupil when only seven years of age, and it was wholly on account of the pains I took to give him proficiency on the instrument that he was able to make his first appearance before a Sandhurst audience, while under my tuition, about ten months ago. - Yours truly. JAMES HUNTER, Professional Violinist. Sandhurst, 27th September.

"MR. JAMES HUNTER", Bendigo Advertiser (14 August 1877), 2 

MR. JAMES HUNTER. The illness of this well known musician is far more serious than his friends anticipated. His medical adviser recommends perfect rest, and has given an opinion that he will be unable for some time, if ever again, to attend to his professional duties. Mr. Hunter has acted as leader of the orchestra in all the theatres in this city, and is a very old resident. He has a wife and family depending solely on his exertions, and has been unwell for several months. We understand that it is the intention of the Sandhurst City Dramatic Club to give a performance shortly for the benefit of Mr. Hunter's family.

"THE BENEFIT TO MR. HUNTER", Bendigo Advertiser (5 December 1877), 3 

THE BENEFIT TO MR. HUNTER. (To the Editor of the Bendigo Advertiser.) Sir, - It is with feelings of pleasure I often see in our local papers notices of benefits for persons who have been so unfortunate as to meet with accidents, etc., in our mines, and for whom the public are asked to lend a helping hand. The last was for Mr. James Hunter, the well-known musician, who has been suffering from a protracted illness for some considerable time. I am aware that rumor should not be taken as gospel, yet almost every fact was once only rumor. Then, assuming the case in point as only rumor, for the benefit of at least one citizen, an explanation, I think, is necessary with reference to the paying over of the balance of the performance to him. If it has been done, rumor is at fault; if not, the sooner it is done persons unfortunate as to the better for all concerned. Yours, etc., INQUIRER.

"ITEMS OF NEWS", Mount Alexander Mail (11 March 1878), 2 

Mr J. Hunter, so popular in Sandhurst in musical circles, has been committed to the Kew Lunatic Asylum.

"DEATHS", Bendigo Advertiser (4 October 1878), 2 

On the 25th of September, at Kew, James Hunter, musician, aged 40 years; deeply regretted by all knew him. Manchester and Liverpool papers please copy.

"DEATH OF MR. J. HUNTER", Bendigo Advertiser (4 October 1878), 2 

We regret to learn that Mr. James Hunter, the well-known violinist, expired at Kew on the 25th September, and now lies in the Melbourne Cemetery. He was an old resident of Sandhurst, and was known as a musician of ability. He was a native of Manchester, and arrived in New Zealand when quite a child. At a very early age he showed unmistakable musical talents, and when thirteen years of age he was first violinist to the Auckland Philharmonic Society, and at the same time was also leading alto of the Choral Society. He came with his parents to Victoria over 20 years ago, and followed the profession of musician, having been employed in nearly all the theatres of the colony. He was a resident of Sandhurst for fourteen years, and was well liked and esteemed by his friends. He died at the age of 40, and leaves a wife and two children.

"ITEMS OF NEWS", Mount Alexander Mail (5 October 1878), 2 

"GENERAL NEWS", The Express and Telegraph (19 January 1885), 2 

The members of the Advertiser Band, which recently completed the second year of its existence, met on Saturday evening with a very pleasing recognition of their efforts, the companionship of compositors employed in the office having got up a banquet in their honor. The affair took place at Host Wicklein's National Hotel, Pirie-street, and was most successful, nearly sixty sitting down to an excellent dinner. The principal toasts were "The Advertiser Band," proposed by Mr. Wm. Avery, and responded to by Mr. T. B. Hunter, the bandmaster, and "Success to the Advertiser, Chronicle, and Express," proposed by Mr. W. Fowler, and responded to by Mr. W. H. Jeffery, the managing printer. Advantage was taken of the occasion to present to Mr. W. Avery, the chapel clerk, a handsome pickle cruet as a mark of appreciation of his services. Selections by the band, singing, and recitations, occupied the intervals between the toasts, and the party broke up about 10 o'clock after spending a most sociable evening.

[News], The Express and Telegraph (1 June 1885), 3 

A social was given by the Advertiser Band at the Rechabite Hall on Saturday evening. About 200 persons were present, and the proceedings were of an enjoyable character. The programme opened with a fantasia, "La Passirelle," which was well rendered by the band, who also gave the "See Saw" valse with capital effect . . . Mr. Thomas B. Hunter acted as conductor of the band, and Miss E. G. Williams and Mrs. W. H. Fowler as accompanists. At the conclusion of the concert the room was cleared for dancing, which was carried on with spirit to the strains of a part of the band until a late hour . . .

"DEATHS", The Advertiser (16 April 1890), 4 

HUNTER. - On the 16th April, at Flinders-street, Thomas Brooks Hunter, the beloved husband of Catherine Hunter, aged 43 years.

"ITEMS OF NEWS", Mount Alexander Mail (18 April 1890), 2 

A correspondent, writing from Adelaide, informs us of the death of Mr. Thomas Brooks Hunter, who served his apprenticeship in our office, and who will be remembered by the public as a musician who took part in entertainments for charitable and meritorious objects. He had only reached his 43rd year, and has left a widow and five children to mourn over their loss. The Hunter family were all musicians, and thus became widely known wherever they took up their abode. The mother of the deceased still resides in Castlemaine.

"SCRATCHINGS IN THE CITY", Kapunda Herald (9 May 1890), 2 

The Advertiser printers engaged themselves in a good work the other night when they gave an entertainment, whose proceeds were applied to the assistance of the relatives, of their late bandmaster, Thomas B. Hunter, who left the world awhile ago. Hunter was a clever man, who had no need to remain so long a compositor if he had only been as ambitious as he was mentally capable. He was a splendid musician, with whom to hear a tune once was to remember it ever after wards. He might have been celebrated alike as a performer upon all sorts of instruments and as a composer of delightful melodies. His imitative power was marvellous. In the old Mount Alexander Mail office at Castlemaine how well are remembered the skill of feats of legerdemain which he performed upon the composing stone the next day after witnessing some conjuror at the local theatre. There was nothing which he could not do after he had seen somebody else do it once, and his capacity for origination was as great as his mimetic faculty. What a record Thomas B. Hunter might have had if plodding and patience had been more closely associated with his genius! But after all, it must be right that Nature should make compensations in the arrangements of her gifts.

"DEATHS", The Mail (7 August 1937), 2 

HUNTER. - On August 7, at the residence of her daughter, Mrs. H. Hoare, 22 Broadway, Reade Park, Catherine, widow of the late Thomas Brooks Hunter, and loving mother of Reg and Flo, aged 81 years. Resting.


Amateur musician, violinist, naval officer, governor

Born Edinburgh, Scotland, 29 August 1737
Arrived (1) Botany Bay, NSW, 20 January 1888 (second captain, per Sirius, from Portsmouth, 13 May 1787)
Departed (last) Sydney, NSW, 21 October 1800 (per Buffalo, for Spithead, UK)
Died London, England, 13 March 1821 (NLA persistent identifier)

John Hunter, 1792

Image: 1792 


A short biography of Hunter was published in The Naval Chronicle in November 1805, probably written by his brother William Hunter, the journal's editor. It is the sole contemporary source for the young Hunter's association with Charles Burney (1726-1814) who was himself then only in his late twenties.


John Hunter, An historical journal of the transactions at Port Jackson and Norfolk Island (London: John Stockdale, [1793])

Many references to Indigenous song and dance

Journal kept on board the Minerva transport, from Ireland to New South Wales and Bengal, by John Washington Price, Surgeon, May 1798-June 1800; London, BL Add MS 13880; transcribed Fulton 2000

[18 January 1800, Queen's Birthday, Sydney] ... At 3 p.m. I repaired to dinner to the Governors, where there was a large and agreeable company, composed of the principal officers of the colony, civil and military, & the officers of Reliance, enlivend, graced & adorned with the presence of the most amiable ladies in the colony . . . We spent the afternoon with the greatest pleasure & harmony being entertained with some beautiful songs by the ladies, after which the Governor having played on the violin we had some minuets and country dances, at 12 we sat down to supper, after which the ladies retired . . .

[William Hunter], "Biographical memoir of Captain John Hunter, late Governor of New South Wales", The Naval Chronicle (November 1805), 349-67

especially, 350 

Soon after their return to Scotland our juvenile adventurer was sent to his uncle, Robert Hunter, then a merchant in Lynn Regis, who, considering his nephew too young for any particular profession, very prudently sent him again to school in the town of Lynn. Here he became acquainted with the celebrated Charles Burney, Doctor of Music, who was then organist to the principal church in that town, and from being much in his family, began to testify a desire of being educated for the profession of music, but his uncle would not consent to his following this propensity, although so much the nephew's wish; he, however, so far indulged the youth's inclination, as to permit his becoming a scholar for a short time. He was at one period intended for the church, having gone so far through his education at the schools in Edinburgh as to have read the best Latin authors, and was sent to the University of Aberdeen, but could not be prevailed on to remain there. The early misfortune of shipwreck, so incident to a maritime life, did not abate his ardour for naval pursuits; and finding the desire he entertained for becoming an apprentice to Dr. Burney, was not to be indulged, he expressed to his uncle a wish to embark again on a sea life; he was, therefore, recommended to Captain Thomas Knackston, commanding His Majesty's sloop Grampus, upon the Lynn station, and was received on board that ship as a Captain's servant in May, 1754. Being now sixteen years old ...

Bibliography and resources:

George Mackaness, "John Hunter our 2nd naval governor", The Sydney Morning Herald (3 February 1945), 9

Pamela Jeanne Fulton (ed.), The Minerva journal of John Washington Price: a voyage from Cork, Ireland to Sydney, New South Wales, 1798-1800 (Melbourne: Melbourne University Press, 2000), 146

Linda Groom, A steady hand: Governor Hunter & his First Fleet sketchbook (Canberra : National Library of Australia, 2012), 97

HUNTER, William

Pianoforte maker and tuner

Active Melbourne, 1853


Teacher of the Pianoforte


[Advertisement], The Argus (25 January 1853), 7

? [Advertisement], The Argus (8 November 1858), 1

HUNTINGTON, William ("Blind Billy")

Musician, organist

Born Petersham, NSW, 1855
Died St. Leonards, NSW, 21 November 1930


"BLIND ORGANIST", The Sydney Morning Herald (22 November 1930), 16 

With the passing of "Blind Billy" Huntington there is little likelihood of any more musicians being granted the right to play on McMahon's Point Wharf Sydney. For over 50 years Blind Billy had played, first a concertina, and then an organ, at Milson's Point, and later at McMahon's Point. Huntington's father built the original Milson's Point wharf for the late Captain Milson, who stipulated in his will that as long as "Blind Billy" lived he must be allowed to play on the wharves. While the ferry company has honoured the proviso to the letter, they have always refused to grant similar rights to others. Despite his affliction, "Blind Billy" was a great church worker, and frequently played the organ in Crow's Nest Baptist Church. Dr. Watson, pastor of the church, relates that when the old chap realised that, owing to his lowly calling, he could not do enough for his church financially, he decided that he would "reach the hearts of the people by playing hymns on the wharf." "It was his way of preaching the gospel," said Dr. Watson.


"Huntington, William (Blind Billy) (1855-1930)", Obituaries Australia


Piano maker, tuner, selector, importer (Hurford and Co.)

Active Sydney, by 1853


[Advertisement], The Sydney Morning Herald (7 May 1853), 3

[Advertisement], The Sydney Morning Herald (10 July 1856), 8

[Advertisement], The Sydney Morning Herald (24 January 1866), 3

"INDUSTRIAL EXHIBITION", Empire (20 March 1861), 5

"ANNUAL MEETING OF THE SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (17 August 1864), 5


Violinist, conductor, flautist

Active Beechworth, VIC, by 1855


[Advertisement], Ovens and Murray Advertiser (26 May 1855), 6

[Advertisement], Ovens and Murray Advertiser (17 March 1857), 3

[Advertisement], Ovens and Murray Advertiser (17 March 1858), 3


Violinist, convict

Active Hobart, 1839


"Hobart Town Police Report", Colonial Times (26 March 1839), 7

Thomas Husband, but better known as the "sprig" was charged by a tailor named Hepburn, with robbing him of a diamond pin, valued at £4. It appeared, that on the last day of the races, Thursday, the prisoner was playing upon a violin in Mr. Taylor's booth, upon the course, Hepburn came in, when the prisoner lumped up and caught hold on each side of his waistcoat and asked him to stand treat, to this Hepburn consented, and prisoner had something to drink, a man who was known to Hepburn by sight, but whose name he did not remember, told him that he had seen the prisoner take the pin out of the breast of his shirt ...


Musician, pianist, piano-tuner


Pianist, composer, music educator

Born Melbourne, 20 July 1871
Died USA, 9 February 1951



[News], Camperdown Chronicle (20 February 1877), 2

Saturday's Daily Telegraph says: Ernest Hutcheson, aged five years and a few months, the son of Mr. David Hutcheson, of Carlton is undoubtedly a prodigy. The child was introduced to a few musical people yesterday at Mr. Allan's, in Collins street. Perched on his knees in a chair; he performed the fantasia, by Gautier, from "ll Trovatore"; a fantasia, by the same composer, from "Don Giovanni"; the "Seige of Rochelle", by Chotek; "La Sympathie" by Comettant; and a number of other difficult selections, and the execution, time, and expression of the performances was more than extraordinary. The child had not muscular strength enough to bring out the full tones of the piano where they were required, but he proved that he knew exactly what should be done though he could not do it. Mr. Julius Herz tasked him severely by striking chords on the piano when his back was to the instrument, but the child named every note in each case without any hesitation, and never made a mistake. It is ten months since he first touched a piano, and he has had no tuition further than what he has received from his father, who states that the boy has chiefly taught himself. He sits down to the piano and sometimes plays for four hours without stopping, reading the most difficult music with ease. Mr. Herz Herz will probably take charge of the little wonder, and it will be interesting to watch his career.

"Ernest Hutcheson, aged five years ...", Grey River Argus (15 March 1877), 2

"NEW INSOLVENTS", The Argus (5 September 1877), 5

"THE INFANT MOZART", The Argus (14 January 1878), 7

[Court evidence] ... The statement of David Hutcheson, of 2 Grattan terrace, Grattan street Carlton, was in substance as follows: In my youth I was apprenticed us a blacksmith and fitter, but now I am a musician and pianoforte tuner I teach piano playing. Before I was 15 years of age I was a band master and an organist of a church. Before Rosina Brown cohabited with me, she knew that I had been married in Scotland, and that my wife was alive ...

"MUSICAL CELEBRITIES", South Australian Register (26 May 1891), 6

"INSOLVENCY COURT", The  Argus (21 May 1892), 10


Professor of Music

Active Melbourne, 1860


[Advertisement], The Argus (6 January 1860), 3

[Advertisement], The Argus (7 July 1860), 8

[Advertisement], The Argus (14 January 1863), 7

HUTCHINSON, William Forbes

Bandsman, flute player, graduate of Royal Military School of Music, Kneller Hall, bandmaster, composer

Born Island of St. Helena, 1844
Active Sydney, by 1885
Died Sydney, 17 May 1901, aged 56


"Amusements", Evening News (27 August 1885), 3

"MOONLIGHT PROMENADE CONCERT", The Sydney Morning Herald (18 March 1886), 10

The bands of the Second Regiment and of the Volunteer Artillery were the performers, numbering together over 40 players. Mr. Hutchinson, bandmaster of the Second Regiment, led off with his forces in a march of his own composition "N.S.W. Cavalry."

"INDUSTRIAL BLIND INSTITUTION", The Sydney Morning Herald (29 April 1890), 9

"FEDERATION MARCH", The Catholic Press (17 April 1897), 16

"THE FEDERATION CANTATA", The Sydney Morning Herald (22 September 1897), 8

Brigade Bandmaster W. F. Hutchinson's new "Federation Cantata" will be performed in the presence of his Excellency the Governor at the York street Centenary Hall tomorrow night. The composer will conduct a full chorus and orchestra of about 370 performers, with Miss Edith O. King, Mr. Woodhouse, Herr Staedtgen, Mr. Sam Poole, Mr. Edgar Straus, and others as soloists.

"MILITARY MATTERS", Evening News (22 June 1900), 7

Short authorised biography

"DEATH OF BRIGADE BANDMSATER HUTCHINSON", The Sydney Morning Herald (18 May 1901), 10

The death is announced of Mr. William Forbes Hutchinson, Brigade Bandmaster of the New South Wales Regiment, Royal Australian Artillery, which took place yesterday afternoon. The deceased had been ailing for several months, and for the past fortnight was treated at the Sydney Hospital, where he succumbed at the ago of 56. The late bandmaster, who was known throughout Australia as an accomplished musician, was born at St. Helens, where, at the early age of 12 years, he enlisted in the St. Helens Regiment as a bugle boy. After a few mouths' service he left for England for the purpose of pursuing his musical career, in which he gave great promise. He studied principally at the Royal Military Musical College, Kellner Hall, Whitton Hounslow, and also under the late Sir Arthur Sullivan for the flute. Five years later he, at his own desire, returned to St. Helens, and was appointed band- master to the 12th Regiment when only 17 years of age. He subsequently journeyed to Ireland, and went into barracks at Cork, and was attached to the Manchester Regiment as bandmaster. At the time of the Afghanistan war his regiment was ordered to India on service. He remained in India for a period of 12 years, during which time he not only performed his duties to the regimental band, but formed several bands amongst the native regiments. At the close of an active career in India, the late bandmaster proceeded to New Zealand, and saw active service in the New Zealand campaign at Waikato. Subsequently the late Mr. Hutchinson came to New South Wales, and followed up his musical career, and was appointed brigade bandmaster of the New South Wales Military Forces in July 1895. During his connection with the local military forces he did much towards raising the standard of military music in the various regiments. In addition to his military duties the deceased gentleman devoted considerable time and attention to the encouragement of band music, and was instrumental in forming bands in connection with the Blind Institution, the Sydney Amateur Military, St. Mary's High School, the Hibernian Society, and the New South Wales Police Band (of which he was until a few weeks ago bandmaster). The late Mr. Hutchinson was also well known as a composer.



Grand Federation march (from The Federal Cantata composed by W. F. Hutchinson, Brigade Band Master, N. S. W. Military Forces) (Sydney: W. H. Paling, c1897)

Federation cantata (words by various Australian and British poets; music by William Forbes Hutchinson) (words only: Sydney: [William Brooks & Co.], 1897)

HUTTON, David John

Composer, organist, vocalist, songwriter

Born Brighton, Sussex, England, c.1829
Arrived SA, 1839
Died North Adelaide, 30 September 1904


[Advertisement], South Australian Register (15 February 1858), 1

"EXTENSION OF MILANG JETTY", The South Australian Advertiser (20 December 1859), 4

"MILANG", The South Australian Advertiser (12 November 1862), 3

"NOARLUNGA", South Australian Register (4 May 1866), 3

"SOUTHERN RIFLE ASSOCIATION MATCHES", South Australian Register (20 October 1866), 3

"DEATHS", The Advertiser (3 October 1904), 4

"MOUNT COMPASS", The Advertiser (8 December 1908), 5


Australia, the Queen of the South ("words of this song were written by Mr. Kemp; the music composed by Mr. Hutton, both of Milang") [1859]

Dirge on the death of Prince Albert ("written and composed by D. J. Hutton, McLaren Vale") (In The Adelaide Musical Herald, 30 January 1863, 20-21)

We're volunteers! ("Original Colonial Song") (Musical Supplement No 2 to The Adelaide Miscellany, 10 September 1868))

HUXTABLE, John Alfred

Music retailer, music publisher, concert entrepreneur

Arrived Hobart Town, VDL (TAS), by 1841


Huxtable was selling music and instruments from his general repository in Hobart by December 1850, having recently returned from a stock-buying trip to London and Europe. In partnership with J. A. Deakin from March 1854, as Huxtable & Deakin, in 1854/55 he published the two major series of colonial compositions, The Delacourt bouquet, and The Tasmanian lyre, both edited by Henry Butler Stoney. At late item under their imprint was the song Tasmania the lovely, "composed by a Lady". (). In fact by then, "After many years residence in Tasmania, and experience, both there and at London", Huxtable and Co. announced the opening of its "Music Warerooms and General Repository" in Ballarat in February 1857. He is last heard on in 1907.


[Advertisement], The Cornwall Chronicle (23 January 1841), 3

[Advertisement], The Courier (1 September 1849), 3

[Advertisement], Colonial Times (4 January 1850), 1

[Advertisement], The Courier (6 November 1850), 1s

[Advertisement], Colonial Times (17 December 1850), 1

[Advertisement], The Courier (18 March 1854), 4

[Advertisement], The Star (16 February 1857), 3

"POLICE COURT", The Star (14 March 1857), 2

"NEW MUSIC", Colonial Times (14 May 1857), 2

"LAUNCESTON REVISITED", The Mercury (10 August 1907), 6

A very old business man of Launceston, Mr. John Alfred Huxtable, who, away in the early fifties, carried on the book-selling business now conducted by Mr. Birchall, is at present visiting the scene of his commercial operations. He has been residing in Dunedin, New Zealand, during the last thirteen years. Mr. Huxtable bought the Brisbane street business from Mr. Tegg, who belonged to a well-known family of publishers in London. While engaged in business in Launceston, Mr. Huxtable had also a book-shop in Murray-street, Hobart, in the house now occupied by Messrs. Bidencope and Son ... Mr. Huxtable brought out from England, at the age of 84, his father, Dr. Huxtable, who settled at Evandale.

HYAMS, Esther Eliza (Miss E. HYAMS; Mrs. William MEARS)

Professor of pianoforte and singing (pupil of Boulanger)

Active Melbourne, 1860-63


[Advertisement], The Argus (23 January 1860), 8

[Advertisement], The Argus (18 March 1862), 8

"MARRIAGE", The Argus (27 February 1863), 4  

HYDES, John Proctor

Vocalist, flute, cornet-a-piston, bones player, songwriter, actor, comedian

Born c.1825
Active Sydney, NSW, by April 1848
Died Melbourne, 22 October 1882, aged 57 (TROVE tagged by Australharmony)

HYDES, Harriet (Mrs. J. P. HYDES; Miss Harriet GORDON)


Born c.1837
Active Victoria, by 1852
Died Auckland, NZ, March 1869, aged 32 

HYDES, Walter

Vocalist, actor


[Advertisement], Sydney Chronicle (25 April 1848), 3

Mr. J. P. HYDES, Congo Minstrel, and successful delinieator of Negro Eccentricities, will make his first appearance in Sydney, and sing a variety of Ethiopian Melodies, with the Congo Bone Castinet accompaniment, interspersed with original conundrums, funnyicities, &c., illustrative of the Negro Life in Kentucky after "de labor ob de day."

"THE SERENADERS", Bell's Life in Sydney (9 November 1850), 2

Mr. J. P. Hydes having fraternized with Mr. Reading, the original Bones of the Serenading Company, from which Mr. Waterland has retired, a series of Ethiopian Concerts have been announced by these gentlemen, who purpose giving farewell entertainments in the country districts and the metropolis prior to their departure for California.

[Advertisement], The Moreton Bay Courier (23 November 1850), 4

[Advertisement], The Sydney Morning Herald (9 December 1850), 3

Refrain - Sydney Gals, J. P. Hydes

[Advertisement], Bathurst Free Press (17 September 1851), 3

[Advertisement], The Sydney Morning Herald (2 December 1851), 1

[Advertisement], The Sydney Morning Herald (8 December 1851), 1

[Advertisement], Geelong Advertiser (10 April 1852), 2

[Advertisement], The Argus (25 September 1852), 5

"WORK OF ART", The Courier (8 December 1853), 2

"THE CRITIC AND THE ACTOR", Empire (17 April 1867), 5

"BANKRUPTCY ACT NOTICES", Otago Daily Times (8 July 1873), 6

"FUNERAL OF THE LATE MRS. J. P. HYDES", New Zealand Herald (16 March 1869), 4

"DEATH OF MISS HARRIET GORDON", The Maitland Mercury (6 April 1869), 2

"MARRIAGE", The Press (8 February 1882), 2

[News], Launceston Examiner (8 March 1882), 1s

The veteran comedian J. P. Hydes, one of the oldest actors in the colonies, was recently married to Miss Madge Herrick, an actress at the Theatre Royal, Christchurch, New Zealand.

"THEATRICAL EXPERIENCES", Launceston Examiner (18 April 1882), 2

Mr. J. P. Hydes, a well known colonial actor, lately took a benefit at Invercargill, and we learn from the Otago Witness gave some interesting reminiscences of his career. After describing his experiences in Sydney, Mr. Hydes passed on to speak of Melbourne in 1852 and 1853, the time of the gold fever. ...

[News], The Argus (23 October 1882), 7 

Mr. J. P. Hydes, the well known actor, died yesterday after along and painful illness. He was well known in the early days of the drama in this colony, and with the late Mr. Charles Young very successfully managed the old Queens Theatre when that house was the only theatre in Melbourne. He returned to this city when the BIJOU was opened, and was for some time connected with the company there, but for several years past he has been in New Zealand. He finally came back to Melbourne about two months ago, quite broken in health. Mr Hydes always had the reputation of being a very capable actor, and he was at one time a great favourite both with the profession and the public. His age was 57.

© Graeme Skinner 2014 - 2017