LAST MODIFIED Thursday 1 February 2018 16:11

William Vincent Wallace in Dublin and Sydney, and Mary Pye's music book: newly recovered evidence 1829-1838

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "William Vincent Wallace in Dublin and Sydney, and Mary Pye's music book: newly recovered evidence 1829-1838", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia),; accessed 22 February 2018


A previously undescribed bound album of sheet music now belonging to the Society of Australian Genealogists contains six items directly associated with the activities of the the violinist, pianist, teacher and composer, William Vincent Wallace, during his two-year stay in Sydney from early 1836 to early 1838. One is a copy the Sydney first edition of Wallace's Walze favorite de Duc de Reichstadt arranged with variations. Wallace's signature appears on each of the other five, all works by Logier, four of which are manuals ("companions", or "sequels") to his chiroplast system of piano teaching. Pencilled fingerings added into two of the items may also be in Wallace's hand, suggesting that the original owner of the book, Mary Pye of Parramatta, was a pupil of Wallace or his wife at their Sydney "academy", and that her book therefore contains unique evidence of the Wallace's otherwise undocumented teaching practice in the colony.

Keywords & Trove tags

Owner bound albums of sheet music 

Mary Elizabeth Pye

William Vincent Wallace 

John Bernard Logier

Logierian system / Logerian system / Logieran system



Early in 2016, my colleagues at Sydney Living Museums, for whom I have been researching and writing website content on their colonial music collections, brought to my attention a bound volume of sheet music, believed to date from the 1840s, belonging to the Society of Australian Genealogists (New South Wales), at Richmond Villa, Kent Street, Sydney.

When the society kindly allowed me to examine the volume (call number 2/55) in March 2016, I found that it had been neatly half-bound by William Moffitt (1802-1874), the well-known ex-convict bookbinder, bookseller, and stationer of Pitt-street, who glued his paper stamp at the top left of the inside front cover, and stamped the outside cover in gold "MISS M. E. PYE. / PARRAMATTA".

The owner, Mary Elizabeth Pye (1827-1910) was one of the first third-generation settler Australians. Granddaughter of the former convict (Britannia 1791) and Parramatta landowner, John Pye (1768-1830), she married the prominent racing identity, Samuel Jenner (1810-1867), on 25 February 1847, and so her book was evidently bound earlier. It was donated to the society in 1979 by Mrs. Jenner's grand-daughter, Enid Whitling.

The content consists of copies of London editions, with the exception of one printed in Australia, most of which can be more or less firmly dated to the late 1820 or 1830s. A complete descriptive inventory of the contents appears below.

The first 10 items include songs, quadrilles, and other piano pieces, all of them probably first issued in the late 1820s and 1830s. All are by little known minor British composers, 5 by James McCalla, and 2 of his the only titles to have made it into the British Library catalogue and the electronic bibliographical record. None of the works enjoyed any popularity even in London, nor do they appear to have been of much interest to the book's owner, Mary Pye, as they show no sign of being regularly used. None of these 10 have bear sale stamps of Sydney music sellers, none of them are inscribed with an owner's name or any other personal marks.

Not so the single Australian piece of sheet music. It is a copy of the original William Fernyhough edition of William Vincent Wallace's Walze favorite de Duc de Reichstadt arranged with variations, printed in Sydney. Though undated, it was probably issued in late 1836 (by which time Fernyhough was in business), or during 1837, before, anyway, Wallace unexpectedly embarked for New Zealand early in 1838. The NLA has digitised it's copy of the print, but it lacks the last page, whereas this copy is complete, though the music anyway does also survive complete in a straightforward lithographic facsimile reprint by William Baker (the NLA's copy also digitised). What is particularly interesting, given the later contents of Mary Pye's book, is that her copy has apparently original pencilled fingerings added for passages in the waltz and the first variation.

Though there are no other marks, stamps, or user inscriptions on the Walze, all five of the remaing of the items in the book - prints of music and teaching manuals by John Bernard Logier (1877-1846) of Dublin - bear the stamp of the Sydney music-seller Francis Ellard, and are neatly signed in ink at the bottom right, "W. Wallace". The signature may be compared with other later attested examples of Wallace's signature, after he began to use Vincent as a middle name (something he never did, at least publicly, in Australia or earlier in Ireland).

One item is also initialled, dated, and priced, "J. G. Sept. 14/36, Pr. 7", probably by the publisher of all five Logier items, John Green, himself, almost certainly on or close to the date that he shipped them to Sydney to fill Ellard's (and probably originally Wallace's own) order. Directly above Wallace's signature in each case is another stamp, of unknown significance, but which was perhaps meant to indicate that the loan or on-sale of the copy was authorised by Wallace himself, most likely to a pupil at his Sydney academy, as Mary Pye would appear to have been, at least for a short time before Wallace's departure. There are also a couple of pencilled marks and fingerings on at least one page in item 16.

When Wallace and his wife advertised their Sydney teaching practice in March-April 1836, they indeed described it as an "Academy for the Instruction of Young Ladies, in Vocal and Instrumental Music, according to the System of Logier and Herz". And though after April, there was no other mention of the academy in newspapers, it was mentioned on the cover of the Walze. Wallace was later credited with having taught the daughters of several leading Sydney families, but the music in Mary Pye's book is the only physical evidence that Logier's popular but controversial "chiroplast" manuals were in fact used by Wallace in his Sydney teaching.

Wallace himself had probably known Logier personally, and may have studied with him personally. He was certainly he was associated with Logier's family. Logier's only daughter Ellen Louisa (1795-1877), for whom his chiroplast system was originally conceived, married his pupil Edmund Christopher Allen (1794-1876) in London on 19 March 1819. Back in Dublin, by 1821 the couple were running their own "Logierian Academy", in the first instance out of Logier's former apartments at 27 Lower Sackville Street. Andrew Lamb (2012, 6-7) found that Wallace was performing at a concert at the Allens's academy (by then at 56, Rutland Square West) as early as May 1829; and in another concert in December 1829, Wallace (on violin) and the cellist Samuel Pigott accompanied the Allens's barely 10-year-old pianist daughter (Logier's granddaughter), Thomasina Allen (1819-1876), in a performance of Haydn's A-flat piano trio (HobXV:14). Wallace also played at the Allens's pupils concert in December 1830.

As documented below, Wallace's cousin Maria Logan was a pupil of Logier; and at least three other Sydney teachers claimed both to have been pupils and advertised that they would teach his system, Jane Lightfoot Dodsworth (Mrs. William Phlelps Pickering) and Thomas and Sarah Bridson. Others, such as James Boulton, advertised that they taught the system.

Also given below are my transcripts of all the newspaper records that I have been able to find of Wallace's activities in Dublin, from 1829 until immediately prior to his embarkation for Australia.

Thanks to Dr. Bonny H. Miller, who is resarching the early dissemination of the Logierian system in North America, for kindly sharing information (September 2016) about Logier's daughter and son-in-law, Ellen Lousia and Edmund Christopher Allen.

Documentation (Ireland)

[Review], Freeman's Journal (? 24 May 1829), cited in Lamb 2012, 6-7

[Concert at the Allens' Logierian Academy of Music] The accompaniments were sustained by Messrs. Pigott, Wallace, and Forde, assisted by gentlemen of the Anacreontic Society.

"LOGIERIAN ACADEMY OF MUSIC", Saunders's News-Letter (22 December 1829), 2

"LOGIERIAN ACADEMY OF MUSIC", Dublin Evening Packet and Correspondent (24 December 1829), 3

LOGIERIAN ACADEMY OF MUSIC. 56, RUTLAND SQUARE-WEST. On Saturday last, the above Institution, the Pupils of Mr. and Mrs. E. C. Allen entertained their Parents and Friends, with their Sixth Piano Forte Concert, (the first for the present season,) on which occasion they acquitted themselves every respect to the perfect satisfaction and delight very full and fashionable auditory, as was abundantly manifested by the numerous encores and continuous applause with which the performance was all through honored. To those who have already heard the very surprising effects which Mr. and Mrs. Allen's pupils produce at their Concerts, our observations may appear as a work of supererogation; to those who have not we shall simply say, that any thing even remotely approximating to them, whether we consider their extensiveness, (twelve piano fortes being all through employed in the simultaneous pieces,) the number of pupils engaged, or each particular, and every general effect, we never before witnessed. In fact these Concerts present one with rational idea of a proper School of Music. No trite or timid adherence to a beaten path, but a bold and successful introduction to those elevated walks, in which the highest of the modern Masters move - thus early familiarising the pupil with the style of all the great Composers. The decided advantage of which plan was highly exemplified in the present instance, by the chaste and spirited execution of a "symphony" of Haydn's; Rossini's Overtures to "Zelmira" and "Tancredi;" Overtures to "Nozze di Figaro" and "La Clemenza di Tito," and Winter's Grand Overture "Zaira," (which latter was loudly encored,) and in which we were astonished at observing an infant of seven years old perform with all the steadiness of a veteran. Here, indeed, the plano-forte became an instrument and not a bauble, as it but too frequently appears in most cases of pupil performances, and not unfrequently in the hands of those whose period of pupilage has long since passed away. In the early part of the Concert there was selection from the Chiroplast, and its sequel performed, in which several little children joined, who had only received about a month's tuition, the admirable steadiness of whose time, even in this incipient stage, gave ample hope of future excellence. Here we, perhaps, should conclude; but we really cannot help alluding to the scientific acquirement exhibited in the exercises in thorough bass and harmonic arrangements, in which the pupils proved themselves theorists. Nor can we refrain from noticing a beautiful Fantasia by Herts, for piano-forte and violin, in which the effective performance of Mr. Wallace on the violin was ably sustained by the young lady who presided at the piano-forte. Neither can we withhold our meed of approbation from a charming "Rondoletta of Czerney's," "Logier's Grand Duet," dedicated the King Prussia (a work of great beauty,) and splendid piece Hertz, "La Violette"; and, "though last not least," in our esteem, are we disposed to pass over in silence the spirited performance of Thomasine and Louisa Allen in a "Military Duet" of their grandfather's (Mr. Logier,) a composition which breathes all that fire and feeling for which his military music eminently distinguished. Mr. Pigott's professional avocations having prevented his arrival early enough to accompany Thomasine Allen in Haydn's celebrated sonata in A flat, in the order which it appeared in the concert bill, she came forward, at the desire her father, (whose pupil she solely is,) and gave Panormo's celebrated Bruce's Address (off book) in rare style; after which (as Mr. Pigott had arrived;) she performed the sonata alluded in the first style of excellence, even were she a veteran instead of an infant, particularly when is recollected that this is the first piece which she had been accompanied, and had only tried it once over with Messrs. Pigott and Wallace previously, whose masterly accompaniments vastly enhanced the beauty of this charming composition. Some idea of the difficulty of this sonata may be learned from the circumstance of its immortal author having brought out the great Hummel (then his pupil) in this very piece at the Hanover-square Concerts. In brief, the excellence of the arrangements, and consequent success of those very charming Concerts, leave nothing to wish for but a frequent repetition - an exception in which entertain no doubt of being heartily joined by all those who had the happiness of being present on this interesting occasion, and they alone can form just estimate of the truth of our eulogium.

"CHURCH STREET CHARITY SCHOOLS", Freeman's Journal (6 March 1830), 2

We earnestly beg to call public attention to the Charity Sermon which will be preached in Church-street Chapel on to-morrow, Sunday, 7th March in aid of the funds of Church-street Charity Schools ... Previous to the Sermon a Concert of Sacred Music, Vocal and Instrumental, will be given by the following celebrated performers, in whom the greatest portion of musical talent is at present to be found in Dublin: Miss BYFELD, Miss MEADER, Mr. HORN (who has in the most oblging manner consented to give his valuable aid on this occasion), Messrs. Bedford, Brough, Morrissen, J. Barton, Pigott, Fallon, Wallace, Weidner, Bowden and R. Barton. Mr. Conran will preside at the grand Piano Forte ...

[Advertisement], Dublin Morning Register (6 March 1830), 1

... PRINCIPAL INSTRUMENTAL PERFORMERS: Mr. JAMES BARTON, late of the Theatre Royal, will Lead the Orchestra; Mr. PiGOTT, Mr. FALLON, Mr. WALLACE ...

"PIANO FORTE CONCERT", Dublin Evening Packet and Correspondent (16 November 1830), 3

On Saturday the pupils of Mr. and Mrs. E. C. Allen, at their Logierian Academy, entertained their parents with their ninth Piano Forte Concert . . . [the program included] Hertz and Lafont's Fantasie and Variations on Russian Themes, (violin. Mr. Wallace) . . .

[Advertisement], Dublin Morning Register (10 January 1831), 1

JUST RECEIVED AT ALDAY AND CO.'S, 10 DAME STREET . . . Celeste Quadrilles, as danced at the Theatre - W. Wallace.

William Elliott Hudson, "TO THE EDITOR", Dublin Evening Post (19 July 1831), 3

A paragraph in The Dublin Evening Mail, headed "Proposed Musical Festival", has just been, by the kindness of a friend, brought to my observation . . . Our success is certain, no rational or well-disposed person will doubt. I will not dispute that . . . there may not be found in Dublin, societies and individuals, who might have furnished a more competent body than the Anacreontic and Philharmonic Societies, and the Mendicity Association, by deputations from which the preparatory committee, who made arrangements for the public meeting in July 1830, was formed, I feel assured that the public will care very little in whose hands the trouble is provided the work be well done, and of the prospects of that, the present state and progress of the arrangements will the best test. The list of our instrumental band is nearly complete, and it exhibits a strength at the least equal, and in some point superior, to that of the general bands at the English Festivals. Among our Violins, Violas, Violoncellos, and we reckon the names F. Cramer, Mori, T. Cooke, J. Barton, W. Penson, Mountain, J. R. M'lntosh, J. Zengheer Hermann, W. Wallace, W. H. Kearns, Lindley, Pigott, J. Lidell Herrmann, Jackson, Anfossi, C. Smart, Harrington, &c . . .

"GRAND MUSICAL FESTIVAL", Dublin Evening Mail (12 August 1831), 2

. . . There were four-and twenty fiddlers all in a row; Four-and twenty fiddlers all in a row - First Fiddles - Cramer - T. Cooke - and Mr. Mori: - And second: - Mr. James Barton, with Tom Cooke, alternate glory. Grand Solo - the Diabolo, Signer Raganini - Who plays the very deuce itself with first string of the Violini.

Mr. Anderson - Mr. Gugnemer, the German - Kearns, M'Intosh, Piggot - and Mr. Zacharias Herman. Messrs. Thomas, White, Wallace and the Messrs. Etcetera. And so forth thro' the from back to the Letter A . . .

[Advertisement], Dublin Evening Packet and Correspondent (16 August 1831), 1

THE FIRST DUBLIN GRAND MUSICAL FESTIVAL, 1831 .... SOLO PERFORMERS, VIOLIN - SIGNOR PAGANINI. FLUTE - MR. NICHOLSON. BASSOON - MR. MACKINTOSH. - CLARIONET - MR WILLMAN. VIOLONCELLO - MR. LINDLEY. TRUMPET MR. HARPER. Principal instrumental performers. VIOLINS - Mr. Anderson, Mr. Gugnemer, Mr. Z. Hermann, Mr. Kearns, Mr. Mackintosh, Mr. G. Pigott, Mr. Thomas, Mr. White, Mr. Wallace, &c . . .

"MUSICAL NOTICES", The Dublin Weekly Journal (24 November 1832), 32 

Come to me, a Serenade, by W. Wallace: Ellard and Son, Sackville-street.

This production is creditable to the composer, and one that we would, at any time, rather take up, than half the London trash that has greeted our ears of late. In the music phrase, Mr. Wallace has spared no pains in working his subject; the accompaniments are appropriate, and judiciously chosen: the only thing to be feared, is, that the modulation from G major into E flat major may not prove something too abrupt for the ears of the half initiated.

On my own country: a popular national song, the words & music from the German with symphonies & accompaniments by Willm. Wallace) (Dublin: A. Ellard, n.d. [? c.1832]); copy at National Library of Ireland (CATALOGUE RECORD ONLY)

[Advertisement], Dublin Evening Packet and Correspondent (28 December 1833), 2

NEW ACADEMY OF MUSIC. MR. WALLACE, PROFESSOR of the Piano-Forte and Violin, (Leader of the Anacreontic Society's Concerts,) begs leave announce that be has opened an Academy at his residence, 16, Great Brunswick-street, for instruction the Piano-Forte and Violin, and will receive Pupils on Tuesdays and Fridays, from Ten to Three o'clock. Peculiar facilities are presented to Ladies and Gentlemen attending this Academy, as they have the advantages of Mr. Wallace's accompaniment on the Violin when necessary; and Ladies requiring to be similarly accompanied at their own residences, will be attended Mr. Wallace, on intimating their desire one day previously.

"MUSIC", Dublin Evening Packet and Correspondent (28 December 1833), 3

We refer our musical readers to Mr. WALLACE's Advertisement in another column. We have had an opportunity of hearing his performances on the Piano-forte and Violin at the meetings of the Anacreontic Society, of whose Conserts he is the Leader, (a fact in itself a test of superior qualification,) and can accord our testimony of his eminent ability as a Musician and instrumental performer.

[Advertisement], The Pilot (22 January 1834), 2

SACRED ORATORIOS. THE Committee the DUBLIN FESTIVAL CHORAL SOCIETY purpose having performed in THE ROUND ROOM of the ROTUNDA, FRIDAY EVENING NEXT, the January, 1834. THE REVELATION, An Oratorio, composed by John Smith, Mus. Doc, AND ALSO THE LAST JUDGMENT, An Oratorio composed by Louis Spohr. ALSO, GRAND MISCELLANEOUS SELECTION FROM THE CREATION, &c. Between the Oratorios Madame D'Alberti will sing an admired Cantata, accompanied by a Chorus. Principal Vocal Performers - Madame D'Alberti, Miss Ashe, Miss E. Hamilton, Doctor Smith, Mr. G. Stansbury, Mr. J. Barton, Mr. Sapio, Mr. Murphy, Mr. Morrisson, and Mr. Condon. Principal Instrumental Performers - Leader of the First Part, Mr. G. Stansbury; Leader of the Second Part, Mr. J. K. Mackintosh; Leader of the Miscellaneous Performances, Mr. Wallace; Violincello, Mr. Pigott; Second Violin, Mr. R. Barton ; Double Bass, Mr. Harrington; Tenors, Signor Bruni, Mr. Templeton; Flute, Mr. Wilkinson. Mr. Bussell will preside at the Piano-Forte during the Revelation, Mr. Conran during the Last Judgment, and Mr. Wilkinson during the Miscellaneous performances. The Orchestra will consist of upwards of One Hundred and Fifty Performers, assisted the Anacreontic and Philharmonic Societies. The Chorusses will he performed the Members of the Dublin Festival Choral Society. Conductor, Mr. J. Barton; Pianist, Mr. Bussell. Tickets 7s. each; to be had of the Principal Music Shops.

"SIGNOR A. SAPIO'S CONCERT", Dublin Observer (22 February 1834), 7

This splendid exhibition of musical talent came off on last evening in Morrisson's great room. The assemblage of beauty and of fashion was truly delightful, and the performance of the several pieces so judiciously selected by the Signor was not less so. The Septetto overture was particularly grand. The variations the violin and piano by Messrs. Conran and Wallace, and concerto - "Recollections of Ireland," from Moschelles, Mr. Conron on the piano forte, were executed in a style of equal excellence.

"DUBLIN SUBSCRIPTION CONCERT", Dublin Morning Register (23 April 1834), 2

The first concert for the season took place last night, in the great room of the Rotunda, which was splendidly fitted up for the occasion ... The concertante for four violins, Maurer, presented our friends Barton, McIntosh, Wallace, and Fallon, and their individual and combined exertions justify us in believiing that few cities could produce four more accomplished masters of the instrument ...

"DUBLIN SUBSCRIPTION CONCERTS", Dublin Evening Packet and Correspondent (24 April 1834), 3

The first of these Concerts took place on Tuesday evening, the Round-room in the Rotundo . . . The concert opened with Beethoven's beautiful overture to Fidelio . . . The greatest gem of the evening was a Concertante of Maurer's for four violins, which Messrs. J. Barton, Mackintosh, Wallace, and Fallon played in exquisite style.

MADAME D'ALBERTI'S SECOND CONCERT", Belfast-News-Letter (20 May 1824), 3 (see also Lamb 2012, 10)

On Friday evening last, Madame D'Alberti gave her second concert in the Exchange-rooms, before one of the most numerous and fashionable audiences that we have ever seen collected on any similar occasion. A number of amateurs, connected with the Anacreontic Society and the Glee Club, had volunteered their services on this occasion, and to do them justice they performed their parts admirably, and received from the audience unbounded applause for the taste and scientific skill which they displayed. As a leader, Mr. Wallace was excellent . . .

"MADAME D'ALBERTI'S SECOND CONCERT", Dublin Morning Register (23 May 1834), 3

On Friday evening last, Madame D'Alberti gave her second concert in the Exchange-rooms, before one of the most numerous and fashionable audiences that we have ever seen collected on any similar occasion. A number of amateurs connected with the Anacreontic Society and the Glee Club, had volunteered their services on this occasion, and to do them justice they performed their parts admirably, and received from the audience unbounded applause for the taste and scientific skill which they displayed. As a leader Mr. Wallace was excellent . . .

"DUBLIN SUBSCRIPTION CONCERTS", Dublin Observer (31 May 1834), 7

Last evening the third of these concerts took place at the Rotundo. The audience was quite as numerous and select as at the two preceding concerts. The great attractions of the evening were, the performances on the violin. The concertos by Messrs. Mackintosh and Wallace, were played in excellent style; but nothing could be more magnificent, in point of execution than the quartetto concertante, from Maurer, Messrs. James Barton, Mackintosh, Wallace, and Fallon. This splendid piece of music was received by the audience with a manifestation of the most delighted applause. The grand overture to the Midsummer Night's Dream," from Mendlesheim, was performed in style of excellence surpassing any previous orchestral effort at these concerts . . .

[Advertisement], Dublin Evening Packet and Correspondent (4 November 1834), 2

HARP AND PIANO-FORTE WAREHOUSE, 10, DAME-STREET, ALDAY AND CO. . . . JUST PUBLISHED, DE BERIOT'S celebrated Air, arranged for the Piano-Forte, by William Wallace.
Celebrated Bohemian Melody, sung by the Bohemian Brothers, Ditto.
Introduction and Variations to Bohemian Melody, sung the Messrs. Hermans, Ditto.

[Advertisement], Dublin Morning Register (5 November 1834), 1

MR. HENRI HERZ, Principal Pianist and Composer to the Court of France, INTENDS GIVING A GRAND MORNING CONCERT, On THIS DAY (Wednesday), the 5th November, 1834. ON this occasion Mr. Herz will assisted the Misses ASHE, Signor COMELATE, Signor SAPIO, Messrs. WILLIAM WALLACE, W. S. CONRAN, WILKINSON, BARTON, PIGOTT, and other eminent Vocal and Instrumental Performers. PROGRAMME . . . PART II . . . 11. Fantasia - Violin - Mr. W. Wallace, ... [composer] W. WALLACE.

"MR. H. HERZ'S CONCERTS", Dublin Evening Packet and Correspondent (6 November 1834), 3

Mr. HERZ's second concert took place yesterday morning at the Rotundo, and went off with much eclat . . . Before concluding, however, we must say that were never more delighted by any similar species of performance than Mr. HERZ's improvisations on the airs "Rule Britannia" and "The last rose of Summer." These beautiful airs were worked in a masterly style, perpetually varying as genius, taste, and fancy dictated. Mr. Wallace's fantasia on the the violin also was executed with much brilliancy and expression - his exertions were rewarded with the warm approbation of a very distinguished audience . . .

[Advertisement], Dublin Morning Register (21 November 1834), 1

MR. HENRI HERZ . . . FAREWELL CONCERT . . . PART II . . . 12. Solo - Violin - Mr. Wallace - MAYSEDER.

"CONCERTS OF THE MISSES ASHE", Dublin Evening Packet and Correspondent (7 February 1835), 3

The attendance at the Concert given last night the Rotundo by these distinguished Artistes, was very numerous and fashionable. The entertainments and the entertainers were in every respect worthy of the entertained . . . The concerto on seven harps was truly grand. A duet by PIGOT and WALLACE on the violin and violoncello was justly admired for splendor execution. Mr. W. S. CONRAN presided at the piano with his usual ability. The Company departed shortly after eleven o'clock, evidently enraptured with the amusements.

[Advertisement], Saunders's News-Letter (9 February 1835), 2

NEW MUSIC, Just received . . . De Beriot's celebrated Air for the Violin, arranged for the Piano-forte . . . Wallace. 3 [shillings] M'CULLAGH AND M'CULLAGH'S MUSIC WAREROOMS . . .

[Advertisement], Saunders's News-Letter (25 March 1835), 2

ROTUNDO ... MR. PIGOTT RESPECTFULLY begs leave to announce that his GRAND CONCERT ... Will take place ... on FRIDAY EVENING, the 3d of APRIL, 1835 ... Concertante Duet, for two Violins, Mr. James Barton and Mr. Wallace With Orchestral Accompaniments, (first time) ... The Performances will include BEETHOVEN'S GRAND OVERTURE EGMONT. AUBER'S CELEBRATED OVEUTURE TO GUSTAVE, (First time in this Country). The first act will conclude with the GRAND FINALE, From Mozart's Opera of "Il Don Giovanni" ...

[Advertisement], Dublin Morning Register (15 April 1835), 1

MR. G. STANSBURY . . . BEGS leave most respectfully to announce that his GRAND CONCERT OF SACRED MUSIC will take place in the Round Room of the ROTONDO, on THIS (Wednesday) EVENING . . . Leaders - Mr. J. Barton, Mr. Mackintosh, Mr. Wallace . . .

[Advertisement], Dublin Morning Register (28 April 1835), 1

ROTUNDO - MR. LEWIS ... BEGS leave to inform the Nobility, Gentry, and his Friends, that his CONCERT will take place on THIS EVENING ... LEADER - Mr. Wallace; Mr. W. S. Conran will preside at the Piano-Forte ...

[Advertisement], Saunders's News-Letter (15 May 1835), 3

SENOR CASTRO HAS the honor to announce, that his MORNING CONCERT will take place TO-MORROW . . . . on which occasion he will assisted the following eminent Performers: The Misses Ashe, Mr. G. Stansbury, Signor Sapio, Mr. Pigott, Mr. Wallace, Mr. W. S. Conran, and Mr. Wilkinson . . .

PART II. Brilliantes Variations Concertante - Spanish Romance - Violin and Piano-forte - Mr. Wallace and Mr. W. S. Conran ... ... Lafont et Czerny.

Leader, Mr. Wallace. Conductor, Mr. W. S. Conran.

[Advertisement], Saunders's News-Letter (23 May 1836), 2

NEW MUSIC, Just received . . . PIANO FORTE . . . Bohemian Melody ... Wallace, 3s 0d . . . M'CULLAGH & M'CULLAGH'S MUSIC WAREROOMS, 108, GRAFTON-STREET . . .

"MUSIC", Dublin Evening Packet and Correspondent (6 April 1837), 3

A musical festival took place at Sydney, New South Wales, in September, which Mr. Wallace (late of Dublin) conducted. The Sydney Herald says - "He led in his usual masterly style, and embraced only an opportunity of giving the audience one of his most delightful solos." The performance of the oratorio commenced with the seraphine, imported to that colony by Mr. Ellard, formerly of Dublin. The overtures Joseph and Zara were played amongst other pieces. Upwards of 330l. was collected. Major England allowed the band of the 4th regiment to aid in the performances.

Documentation (Australia)

[Advertisement], The Sydney Gazette and New South Wales Advertiser (31 March 1836), 3 

UNDER THE PATRONAGE OF HIS EXCELLENCY THE GOVERNOR, AND MRS. E. DEAS THOMSON. Mr. & Mrs. WM. WALLACE HAVE THE HONOR TO ANNOUNCE, THAT ON MONDAY, THE 4TH APRIL, THEY will commence under the above distinguished Patronage, their Academy for the Instruction of Young Ladies, in Vocal and Instrumental Music, according to the System of Logier and Herz, in which they will be assisted by Miss E. Wallace, and Mr. S. Wallace. The Course of Study will comprise the Pianoforte, Guitar, Singing, and the Theory of Music.
In addition to the usual Instructions, Pupils attending this ESTABLISHMENT, will, when sufficiently advanced, have the benefit of being accompanied by Mr. Wallace on the Violin, and Mr. S. Wallace on the Flute.
The Terms will be: -
First Class ... £6 6s 0d per Quarter.
Second Class ... £4 10s 0d Ditto
Third Class, or Beginners ... £3 3s Od Ditto
A deduction will be made in the First and Second Classes where two or more Ladies of the same Family attend.
In addition to the separate Lessons which each Pupil will receive, Mr. Wallace will devote an hour on Saturday's to each Class, instructing them in the Principles of Music.
Days of Attendance.
First and Third Classes, on Mondays and Thursdays.
Second Class, on Tuesdays and Fridays.
The Academy will be open on those Days from Ten until Three o'Clock.
Gentlemen desirous of receiving Lessons at Mr. Wallace's Residence on the Violin, Pianoforte, Flute, or Guitar, will be attended there on Saturday from Four o'clock until Seven P. M.
Mr. Wallace's terms for attending at the Residence of a Pupil, 7s. 6d per Lesson for the Pianoforte, and 10s 6d. for the Violin.
An Examination of the Pupils will take place every Four Months, to which their Parents and Friends will be Invited to attend.
Bridge street, Sydney.

"Domestic and Miscellaneous Intelligence", The Australian (1 April 1836), 2 

It will be seen on reference to an advertisement in our front page, that Mr. Wallace, the New South Wales Paganini, intends opening an Academy, on the 4th of April, for the instruction of young Ladies Vocal and Instrumental Music, according too the system of Logier and Herz, in which he will be assisted by Mrs. Wallace and the Misses E. and S. Wallace [sic]; and we are happy to state that the Academy will be under the patronage of His Excellency the Governor, and Mrs. E. Deas Thompson.

[News], The Sydney Monitor (2 April 1836), 2 

Mr. Wallace assisted by Mrs. W. intends we perceive to open an Academy for the instruction of Young Ladies in Vocal and Instrumental Music. From the talent exhibited by Mr. W. as a performer on the piano-forte, at his concerts, there is little doubt of his being extensively patronized.

"Domestic and Miscellaneous Intelligence", The Australian (5 April 1836), 2 

We call the attention of "heads of families" to the Academy of Music just instituted by Mr. Wallace, and an advertisement of which appears in this journal; it appears to be an useful and available [recte valuable] undertaking, and may supply any deficiency of instruction in that art which must be expected in young colonies.

[Advertisement], Launceston Examiner (26 August 1843), 5 

JAMES HENRI ANDERSON, Student of the Royal Academy of Music, Hanover-square, London, pupil of Cipriani Potter, Principal Professor of the above institution, begs leave to announce his intention of entering upon his profession in Launceston, to the study of which he has devoted the greater part of his life under the above celebrated master. Instructions given in the various branches of composition, the theory of music, singing, and the piano-forte. In the event of Mr. Anderson obtaining a sufficient number of pupils to form a class at any academy, he will devote an hour each week, gratuitously, to illustrate the theory of music, under the much admired system introduced by Logier, and universally adopted. Cards of terms, &c. to be had at the stationery warehouse, Brisbane-street. August 16.

[Advertisement], The Courier (5 January 1844), 1 

EDUCATION, - Mrs. RING begs to announce that the vacation will close the 24th of January, at which time she has arranged to form a class for pupils who are desirous to obtain instruction in the English, French, Italian, and Spanish Languages, the Pianoforte (theory of music on the Logerian system} and singing, which will be available both to private pupils who may attend for class instruction only, as also to the resident and daily pupils. For terms and prospectus, apply to Mrs. Ring, No. 19, Davey-street, Hobart Town. January 5.

[Advertisement], The Courier (24 April 1845), 1 

A LADY, who has had considerable experience in education, is desirous to form a CLASS for INSTRUCTION of YOUNG LADIES for tuition in the English and French languages, the pianoforte, theory on the Logierian system, and singing. Parents will have the privilege to attend during the hours of instruction, and an examination of pupils will be made the last Saturday in each month. The proposed plan has been found very successful with juvenile pupils, the use of books not being the required means of instruction. For terms, &c, apply to Mr. Russell, at his residence, Collins-street.

"THE DEATH OF MR. LOGIER", Launceston Advertiser (16 November 1846), 3 

We announced the death of Mr. Logier, the composer, near Dublin, in the 65th year of his age. It may be in the recollection of many of our readers, that about thirty years ago Mr. Logier started a new mode of musical instruction in classes, and that he had many disciples, who paid him a round sum for the secret, &c. In 1817, a committee was formed of emininet musical men to inquire into the merit of the new system, and to report thereon. Logier published, in a pamphlet, all his letters pro and con; and a most violent and discordant war raged for a long time. Mr. Logier was born at Hesse Cassel, in 1780 [sic], but be came to Ireland at a very early age; he was a good performer on the flute, violin, and piano forte; indeed, he could play, more or less, on every wind instrument. He invented the keyed, or as it was called, the Kent bugle, the precursor of the cornopean; also the chiroplast, a frame to guide the hands for persons learning the pianoforte. He composed a great deal of military music, and was altogether a highly talented man.

[Advertisement], The Sydney Morning Herald (7 January 1848), 1 

MUSICAL CLASS INSTRUCTION. Mrs. PHELPS PICKERING (formerly pupil of Kalkbrenner, and J. B. Logier), proposes to receive a limited number of young ladies for class instruction of Practice and Theory of Music. Terms, and hours of attendance, to be ascertained at the residence of Mrs. P. Pickering, Palmer-street, near William-street, Wooloomooloo.

Hannah Villiers Boyd, Letters on Education; addressed to a friend in the bush of Australia (Sydney: W. and F. Ford, 1848), 64-66, esp. 65 

LETTER IV. MY DEAR MRS. ADAM, I regret to say that I have as yet been unsuccessful in my efforts to procure you a pianoforte. Musical instruments are, just now, very scarce in the colony, and I could not get one which I should consider worth sending such a distance, for the price you mention. In a few months I may be more successful, as, no doubt, there will be a supply sent from England, when it is known there is such a demand for them. In the mean time I advise you not to defer teaching Fanny all you can without an instrument. You say you have forgotten a great deal of what you learned yourself for want of a piano to practise on; however I think you will be able to revive your knowledge with the assistance of the little book I send you, called "The Juvenile Pianist." If you will devote an hour or half an hour every day, to studying the theory (which is very clearly explained by Miss Rodwell) with Fanny, you will find that by the time you get a piano, she will have conquered many of the [65] difficulties. I also send you Logier's "First Companion to the Chiroplast." And as soon as she thoroughly understands the difference between lines and spaces, crotchets, quavers, minims, &c., and the various kinds of time, you should make her go regularly through the "Companion to the Chiroplast," telling you the names of all the notes both in the treble and bass,and reckoning the number of semiquavers, &c., which are equal to a minim or crotchet, and comparing each lesson with the rules which she has previously studied in "The Juvenile Pianist." You will perceive that Logier's first lessons are "five-finger exercises," and the Chiroplast, which they are intended to be played with, is an instrument placed over the keys of the piano, which keeps the four fingers and the thumb of each hand in a steady position. It is very useful in Schools and Musical Academies, as it saves a teacher a good deal of trouble; but I think it unnecessary where a teacher can devote half an hour daily to each pupil, and thus watch that the hands do not acquire careless habits. One of the chief objects in putting a child to practise the piano early, is to give the fingers exercise while they are young and tractable; but if you will make Fanny exercise hers for half an hour every day, on the table, it will nearly answer the same purpose, and have this advantage, that she will have no opportunity [66] of being guided by her ear, until she has conquered the difficulty of learning to read music with facility. You should raise her chair a little, so that when sitting at the table, the elbow, wrist, and back of the hand, should be about three inches above it, in an even horizontal line, and the tips of the fingers touching it. Be particular in those exercises where there is only a succession of single notes, not to let her keep more than one finger down at a time, and exercise the hands well alternately, before she puts both down together. By pursuing this plan steadily, you will exercise the reasoning and observing intellectual powers, which are most useful auxiliaries to the organs of Tune and Time ...

[Advertisement], The Sydney Morning Herald (27 June 1855), 1

EDUCATION. - Miss B. RANDALL'S Establishment for YOUNG Ladies will re-open on MONDAY, 9the July. No. 19, Elizabeth-street North. Miss B. R. has lately received from England the whole of Logier's system of Instruction in music, and from the proficiency most of her pupils have made in that branch of education, she can safely solicit a share of public patronage. Private lessons may be given after 4 pm. Miss B. R. will have the assistance of a young lady for some time a pupil of Mrs. Logan's. One or two young ladies can be accommodated as boarders.

[Advertisement], The Sydney Morning Herald (8 April 1865), 7 

PIANOFORTE INSTRUCTION IN CLASS. - Mr. and Mrs. BRIDSON, pupils of Logier, the former of whom taught in his Academy, now conduct classes on his System, at their residence, 15, Lower Fort-street. Attention is particularly drawn to the special advantages which beginners derive from the proper use of the chiroplast, and the books adapted to it, which ensures the correct position of the hands. Classes meet from 9 to 10 a.m., and 4 to 6 p.m.

[Advertisement], The Sydney Morning Herald (7 July 1870), 8 


Whilst in Sydney, Wallace gave instruction on the pianoforte, in families of the highest distinction, who were anxious to avail themselves of his talents, amongst them were the ladies of Sir Alfred Stephen's family, Judge Josephson, Lady Mitchell, the sister of Sir William Macarthur, Lady Parker, and many others.

"Madame Lucy Chambers", The Argus (25 November 1884), 7 

. . . Madame Chambers, the daughter of Charles Henry Chambers, is a native of Sydney, where her father was in practice of the law. Early developing a contralto voice of superior quality, she began to cultivate it under the tuition of Mrs. Logan, a pupil of Logier, and cousin of Wallace, the composer of "Maritana."

"MUSIC AND MUSICIANS: MARITANA", The Mercury (22 June 1932), 3 

. . . Sir Richard Bourke, the Governor, heartened him, and in 1836 Wallace gave three concerts, at which he played some of his own works. Two of the concerts, it is said, brought £1,000 each, and in one case the proceeds were given to St. Mary's Cathedral, Sydney. He was for a time tutor to the families of Sir Alfred Stephen and Judge Josephson.

Mary Elizabeth Pye's music book

Genealogical Society of Australia, library, item 2/55; owner-bound volume of sheet music, c.1830s-1840s, bound for owner by W. Moffit, cover title: "Miss M. E. Pye"; donated to the society by her grand-daughter, Enid Whitling, in 1979



Unidentified set of 5 quadrilles

with figure names only, titlepage missing



Modern antiques, a new & original comic song written by W. H. Freeman, and sung by Mr. Sloman with distinguished applause at the Cobourg Theatre, the music arranged by J. F. Reddie

(London: published by E. Dale, 19 Poultry, [1828])

Dale advertised this song as "new" in June 1828, which according to Kidson, was his first year operating out of 19, Poultry. Since Kidson also indicated that he had quit that address by 1835, the other two Dale editions, items 4 and 6, can at least be dated accordingly. Apprenticed in London to John Purkis and S. S. Wesley, Josiah Ferdinand Reddie (1797-1860) published his compositions regularly from 1818, and had been appointed organist at St. Margaret's, King's Lynn, in 1826.

[Advertisement], The Harmonicon (June 1828), [171] 

Brown and Stratton 1897, 337-38 



The token flowers, a first set of quadrilles for the piano forte, with new figures composed and arranged by E. C. Bessell, the music composed & respectfully inscribed to E. C. Bessell Esq. and his pupils, by James McCalla

(London: T. Welsh, at the Royal Harmonic Institution, New Argyll Rooms, 246 Regent Street [? c.1828-30])

James McCalla (d. London, 3 April 1847); Thomas Welsh (1770-1848)

Brown and Stratton 1897, 258 

Brown and Stratton 1897, 439 

Kidson 1900, 112 

F. H. W. Sheppard (ed.), Survey of London: the parish of St. James Westminster: part two, north of Piccadilly (London: County Council, 1963), 306 

Welsh kept the corner house, No. 246 Regent Street, as a music shop until 1836, when it was taken over by a fur company. (PREVIEW) 



Invocation to May, duett, the poetry by Miss de Pontigny, the music by S. Gödbé, and inscribed to William James, Esqre, by the publisher

(London: E. Dale, 19, Poultry, [1828-35])

[Samuel Gödbé (d.1841)]



Siciliana, a rondo for the piano forte, respectfully inscribed to Mrs. John Bull, by James McCalla, op. 12

(London: Published by T. Welsh, at the Royal Harmonic Institution, New Argyll Roomes, 246, Regent Strt, [BL 1833])

Other copies/editions: 



William & England for ever huzza! a national song, sung by Mr. Fitzwilliam, the words by W. H. Freeman, the music composed by T. Badland

(London: E. Dale, 19, Poultry, [1828-35])

On Thomas Badlands, see Brown and Stratton 1897, 21 



The celebrated Alpen Sanger's march, played by the Guard's Band, arranged for the piano forte and respectully dedicated to Miss Lynde, by James McCalla

(London: Published by T. Purday, 50, St. Paul's Church Yard, successor (in this branch of the business) to Collard & Collard (late Clementi & Co.), [? c.1835-36])

Other copies/editions: 

Purday elsewhere in 1835 and 1836 advertised as successor to Collard and Collard; he published McCalla in 1835

"MUSIC", Morning Advertiser (13 April 1835), 3

The Pupil's New Daily Exercises. Composed by James M'Calla. Purday, St. Paul's Church yard. This is a set of judiciously-scored exercises, by practising which any pupil, with moderate attention, may acquire considerable advancement in fingering and scalar execution.

[Advertisement], Morning Post (22 July 1835), 2

. . . T. E. Purday, 50, St. Paul's Churchyard. Successor (in the publishing department) to Collard and Collard, late Clementi and Co.



Introduction and brilliant variations on the celebrated Venetian canzonet, Donne l'amore, composed for & respectfully inscribed to the Misses Kenrick, by James McCalla

(London: J. Alfred Novello, music seller by special arrangement to Her Majesty, 69, Deane Street, Soho, [ ? 1838])

Joseph Alfred Novello (1810-1896), son of Vincent; since Novello was already advertising a special arrangement with "her majesty" in 1836, he perhaps refers here to Queen Adelaide, rather than Victoria, who came to the throne in 1837.



The star of love, polacca, written especially for Madame Malibran, & adapted to the popular organ tune, by James McCalla

(London: Published by J. Warren, 42, Bishopgate St, Within, [c.1834-36])

Maria Malibran (1808-1836), in England from 1834 until her death on 23 September 1836


ITEM 10:

The celebrated Bohemian melody, called Matali, as sung with the greatest applause at the Argyll Rooms, by the Bohemian Brothers, arranged as a rondo, with an introduction for the piano forte, and dedicated to Miss Ashton, by James McCalla, op. 13

(London: Published by T. Welsh, at the Royal Harmonic Institution, New Argyll Rooms, 246, Regent Street, [1834])


"NEW MUSIC", Morning Advertiser (17 April 1834), 3

[Two previous titles listed] . . . "Matali." A Bohemian Melody, on F, composed by M'Calla. Published by T. Welsh. These three compositions possess considerable merit, and are worthy of a place on the music table.


ITEM 11:

Walze favorite de Duc de Reichstadt, arranged with variations for the piano forte and dedicated to J. Maclean Esq. by Willm. Wallace, late leader of the Anacreontic Society, Dublin

(Sydney: printed from Zinc by W. H. Fernyhough, [c.1836-37])

Variation 1, pencilled fingerings

Other copies/editions:

Australian editions of an arrangement of the waltz attributed to Herz:

(Sydney: F. Ellard, [after 1839]) 

(Sydney: J. T. Grocott, [after 1844]) 

On a similar arrangement of Strauss's original waltz, published in London in 1836, see "NEW MUSICAL PUBLICATIONS", The Spectator (19 March 1836), 19 

The favourite music of the Vienna fashionables just now are the Waltzes of JOHAN STRAUSS. To one of these Mr. HARRIS has appended an appropriate introduction; hoping, and not without reason, that it will find admirers among the fair pianistes of London . . .


ITEM 12:

Strains of other days, no. 1. containing the Irish melodies, Kitty Tyrrel, or Oh! blame not the bard, and The Legacy, arranged for the piano forte by J. B. Logier

(London: J. Green, 33, Soho Square, publisher of all Mr. Logier's music, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed at bottom right: "W. Wallace"

No other copy of the Green edition appears is listed in the bibliographic record,_Johann_Bernhard)


ITEM 13:

Sequel to the first companion to the chiroplast, consisting of instructive lessons fingered for the piano forte and arranged to be played if desired in concerts, by J. B. Logier, eleventh edition

(London: Published by J. Green, 33, Soho Square, publisher of all Mr. Logier's music, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "J. G. Sept. 14/36, Pr. 7"; inscribed at bottom right: "W. Wallace" (image below)

Above: W. V. Wallace's signature from later letter (New York, 25 May 1844) (private collection)

And see also 

Other copies/editions: 

12th edition (Boston Public Library) (DIGITISED),_Johann_Bernhard) (DIGITISED)


ITEM 14:

Sequel to the second companion to the chiroplast, being a succession of progressive lessons, arranged as to be played in concert, with the easy lessons contained in that work, composed & dedicated to his pupils, by J. B. Logier . . .

(London: Published by J. Green, 33, Soho Square, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "W. [?]"; inscribed at bottom right: "W. Wallace"

Other copies/editions: 


ITEM 15:

The first companion to the Royal patent chiroplast, or hand-director, a new invented apparatus for facilitating of a proper execution on the piano forte by the inventor J. B. Logier, the 17th edition

([London]: Printed for the author by J. Green, 33, Soho Square, [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "W. [?]"; inscribed at bottom right: "W. Wallace"

Other copies/editions: 


ITEM 16:

The second companion to the Royal patent chiroplast, or hand-director, calculated to accompany the progressive advancement of the musical student, by J. B. Logier . . .

(London: Published by J. Green, 33, Soho Square, . . . , [n.d.])

Stamp "F. ELLARD MUSIC SELLER SYDNEY"; inscribed: "W. [?]"; inscribed at bottom right: "W. Wallace"

Other copies/editions: 


J. B. Logier, An authentic account of the examination of pupils, instructed in the new system of musical education; before certain members of the Philharmonic Society, and others by . . . the inventor of the system (London: Printed for R. Hunter, 1818) 

An exposition of the musical system of Mr. Logier; with strictures on his chiroplast, &c., &c. by a committee of professors in London (London: Printed for Budd and Calkin, 1818) 

George Cruikshank, The Logierian system, or unveiling the new light to ye musical world!! With the discovery of a general thoro' base discord in the old school (London: Pub[lishe]d April 23d 1818 by G. Humphrey) 

J. Eager, A brief account, with accompanying examples, of what was actually done, at the second examination of Mr. Eager's pupils in music, educated upon Mr. Logier's system . . . to which are added, some observations on the chiroplast . . . (London: Printed for R. Hunter, 1819) 

"LOGIER (John Bernard)", in Sainsbury 1824, vol. 2, 78-82 

J. B. Logier, A system of the science of music and practical composition; incidentally comprising what is usually understood by the term thorough bass (London: Published by J. Green, 33, Soho-Square, 1827) 

[82] From Mr. Green, of Soho-square, who is sole proprietor of the chiroplast, and publisher of Logier's works connected with his system, we have been able to ascertain, that there have been already published of the elementary works upwards of fifty thousand copies, and of the chiroplast nearly sixteen hundred have been sold. He further informs us, that about one hundred professors have paid Logier one hundred guineas each to be initiated in his method. 

"THE LEVEE", The Australian (31 May 1836), 2 

. . . John Maclean, . . . William Wallace, . . .

John Maclean (1797-1840), of Sydney Botanical Gardens, perhaps the dedicatee of the Walze

[Government notice], The Sydney Gazette and New South Wales Advertiser (16 September 1837), 4 

Colonial Secretary's Office, Sydney, 12th September, 1837. HIS Excellency the Governor has been pleased to appoint the following Gentlemen to be Magistrates of the Territory, namely:- John Maclean, Esquire, Principal Superintendent of Convicts . . . By His Excellency's Command, E. DEAS THOMSON.

Retired military officer, John Maclean, another perhaps slightly less likely dedicatee of the Walze

William Gardiner, Music and friends: or, Pleasant recollections of a dilettante (London: Longmans, Orme, Brown, and Longman, 1838), volume 2, 647-69 

[Obituary], The Athenaeum (25 July 1846), 769 

"DEATH OF JOHN BERNARD LOGIER", The Illustrated London News (25 July 1846), 58-59 

"OBITUARY. - Mr. J. B. Logier", The Gentleman's Magazine and Historical Chronicle 26 (October 1846), 434-37 

Bernarr Rainbow, "Johann Bernhard Logier and the chiroplast controversy", The Musical Times 131/1766 (April 1990), 193-96

Neidorf 1999, vol. 2, 134, 135, 167 (DIGITISED)

Michael Kassler, A. F. C. Kollmann's Quarterly Musical Register (1812): an annotated edition with an introduction to his life and works (Aldershot: Ashgate, 2008), 122-31 (PREVIEW)

Skinner 2011a, 51-52, 126

JWSM, "Formalities of the past: a stroll through a colonial garden" [Bungarribee House], Facebook, 2007-12 

Appendix: Mary Elizabeth Pye

PYE, Mary Elizabeth (Mrs. JENNER)

Amateur pianist

Born Baulkham Hills, NSW, 3 June 1827
Married Samuel Jenner, St. Simon's Church, Castle Hill, 25 February 1847
Died Baulkham Hills, 7 August 1910, in her 84th year


"MARRIED", The Sydney Morning Herald (1 March 1847), 2 

"AGENT FOR DIFFICULTIES", Bell's Life in Sydney and Sporting Reviewer (29 January 1848), 3 

"Death of Mr Samuel Jenner", Bell's Life in Sydney and Sporting Chronicle (24 August 1867), 2 

"DEATHS", The Sydney Morning Herald (8 August 1910), 6 

JENNER. August 7, 1910, at her late residence, Murrooba, Baulkham Hills, Mary E. Jenner, in her 84th year. Funeral to leave late residence, Baulkham Hills, on Tuesday, at 3 o'clock, for Church of England Cemetery, Castle Hill.

"Church's Jubilee", The Cumberland Argus and Fruitgrowers Advocate (30 September 1911), 8


Genealogical Society of Australia, library, item 2/55; owner-bound volume of sheet music, c.1830s-1840s, bound for owner by W. Moffit, cover title: "Miss M. E. Pye"; donated to the society by her grand-daughter, Enid Whitling, in 1979

© Graeme Skinner 2014 - 2018