LAST MODIFIED Sunday 15 April 2018 18:14

William Vincent Wallace and family in Dublin, Hobart, and Sydney, 1829-1838, and Mary Pye's music book

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "William Vincent Wallace and family in Dublin, Hobart, and Sydney, 1829-1838, and Mary Pye's music book", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia),; accessed 23 April 2018

Page directory

Ireland to 1835 - documentation on the musical activities of Wallace and family in Ireland (to 1835)

Australia 1835-38 - documentation Hobart (late 1835) and Sydney (January 1836 to February 1838)

Logierian system in colonial Australia - documentation (1838 onward)

Mary Pye's music book - commentary and inventory


The original purpose of this page, when first created in 2016, was to report on a previously undescribed bound album of sheet music belonging to the Society of Australian Genealogists, and held in its library in Sydney. The volume contains six items directly and uniquely 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 handwritten signature appears on each of the other five, all pubished 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 either a pupil of Wallace or his wife at their Sydney "academy", or, if not, a pupil then or slightly later of another member of Wallace's immediate family - his father, sister, or brother. In either case, however, the volume itself contains important physical evidence of the early dissemination of the Lpgierian system in Australia, and testifies uniquely to the Wallaces' otherwise undocumented teaching practice in the colony.

This page is currently (2018) being reconfigured, so as to become a chronicle of all of the documented musical activities of Wallace and his family - his father, Spencer Wallace, his brother Spencer Wellington Wallace and his sister Eliza Wallace, first in Ireland, and then in Hobart and Sydney, up to the start of 1838, when he himself left the colony.

The later colonial musical activities of his immediate father (who died in 1846), brother (died 1852), and brother's wife Caroline (died 1850) are chronicled in a second page, which also presents basic biographical data for all family members, including Vincent Wallace himself: 

Meanwhile, the post 1838 career of his sister Eliza Wallace Bushelle, her husband and sons, is separately covered in the Bushelle family page: 

Complimentary documentation concerning the Wallaces' Ellard, Logan, Leggatt, and Chester cousins can be found in the relevant pages: 

Trove tags

William Vincent Wallace (TROVE tagged by Australharmony)

Spencer Wallace (senior) (TROVE tagged by Australharmony)

Spencer Wellington Wallace (TROVE tagged by Australharmony)

Eliza Wallace Bushelle (TROVE tagged by Australharmony)

Logierian system (TROVE tagged by Australharmony)

Owner bound albums of sheet music 


William Vincent Wallace, Wallace family, Mary Elizabeth Pye, John Bernard Logier, Logierian system, Logerian system, Logieran system, Chiroplast, Owner bound albums of sheet music

Documentation (Ireland to 1835)

[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 1834), 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 . . .

"MUSIC", Warder and Dublin Weekly Mail (18 October 1834), 4

A few compositions from the pen of Mr. Wallace are now before public, as may be seen by our advertisements of this day. The melodies selected for the exercise of his genius are two Bohemian - and Beriot's celebrated air, originaily composed for Ihe violin. To these Mr. Wallace has put brilliant and pleasing variations, such as would be expected from such a master.

[Advertisement], Warder and Dublin Weekly Mail (18 October 1834), 2

THIS DAY PUBLISHED, DE BERIOT'S celebrated Air, arranged for Piano-Forte, by William Wallace. Celebrated Bohemian Melody, as sung by the Bohemian Brothers, Ditto [by William Wallace]. Introduction and Variations to Bohemian Melody, as sung by the Messrs Hermans, Ditto [by William Wallace]. To be had at ALDAY and CO'S, 10, DAME-STREET, Whose Ware rooms are now most extensively supplied with every description of Piano-Fortes for SALE or HIRE . . .

"MUSIC", Dublin Evening Packet and Correspondent (25 October 1834), 3

MR. HENRI HERZ. We understand that this celebrated composer and pianist has arrived in Dublin, and that he proposes giving a series of concerts. We have doubt they will be crowded, and that Mr. HERZ's time will be e fully employed, by our fair countrywomen taking advantage of his short visit by receiving instructions on the piano-forte.

We have seldom seen from the pen of so young a man, compositions of higher merit, or a display of greater genius, than those advertised in our columns this day, by our tabnted musical friend, Mr. WALLACE. The melodics have been chosen with judgment, and the variations arranged in a plaesing and brilliant style. They are deserving a place in every lady's musical portfolio.

[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 OVERTURE 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.

Reminsicences (of contact with the Wallaces to 1835, recorded later)

Theatre Royal, Dublin, season of Italian Opera, commencing 14 October 1829

Recollection of Richard Michael O'Shaugnessy (1811-1899), violinist (and later, as "R. M. Levey", theatre historian), Theatre Royal, Dublin; concerning the Theatre Royal season of Italian Opera, commencing 14 October 1829]; in R. M. Levey and J. O'Rorke, Annals of the Theatre Royal Dublin 1821-1880 (Dublin: Joseph Dollard, 1880), 75-77

. . . The first properly organized Italian Opera Company in Dublin commenced then on the 14th October, 1829, under the management of Signor de Begnis; and many will doubtless learn for the first time of the production of such Operas in Dublin as Paer's "Agnese," Rossini's "Il Turco in Italia," "Tancredi," "Italiani in Algiere," "Otello," "La Gazza Ladra." The Company consisted of Madame Blasis (prima-donna), Castelle (seconda), Signor Curioni (tenor), Signor de Angeli (baritone), Signor Giubilei (basso), Signor de Begnis (buffo). Leader, Signor Spagnoletti; Prompter, Signor Rubbi. The campaign commenced with "Il Barbiere," then at the height of its popularity . . .

[76] . . . Signor Spagnoletti led with his bow, playing his violin at intervals (the conductor's baton had not as yet been introduced). [77] He was a great master of his instrument, and for years had kept together with a firm and powerful hand the fine band, chorus and principals of the Italian Opera House in London. He had, however, two great lieutenants, Lindley (violoncello), and Dragonetti (double bass). Signor Spagnoletti, in addition to his great musical genius, had a keen sense of the ridiculous, and frequently amused the members of his orchestra with some witty observation or droll action. On one occasion, after rehearsal, he descended from his elevated seat, stooped, and was observed to search closely as if under the music-stand of the violin players. W. Vincent Wallace (who, at this time, played from the same desk as Spagnoletti) asked him what he was looking for; when the Signor replied - "Ah, for a great many notes which I missed from some of the violin parts. I suppose I shall find them after two or three nights more." He added, at the same time, addressing Wallace - "You didn't drop any." The future eminent composer was a most accomplished violinist, and received much praise, and a souvenir from Signor Spagnoletti at the termination of the season. It will be new to many to learn that Rossini's "Il Turco in Italia," and "La Gazza Ladra" were produced during this engagement; also "Il Fanatico per la Musica," in which De Begnis seemed to revel . . .

Dublin Musical Festival, 30 August to 3 September 1831, featuring Nicolo Paganini

Heyward J. St. Leger, "Reminiscences of Wallace", The orchestra 116 and 117 (16 and 23 December 1865), 183, 204; ed. Lamb 2012, 9

We do I remember Wallace telling me he used to sit up all night practising the pieces Paganini played. But after the festival was concluded the violinist gave a series of concerts at which he played all his celebrated variations and concertos, including the splendid one, "God preserve the Emperor" [op. 9]. It was the advantage of hearing Paganini perform at the rehearsals that inspired the soul of the talented W. V. Wallace, and certainly the latter could play more of Paganini's music than any violinst I know, except, parhaps, Sivori.

Documentation (Wallace and family, Australia, October 1835-February 1838)

To call up all the TROVE newspaper items tagged William Vincent Wallce for 1835: 

Hobart Town, VDL

31 October 1835, Hobart Town, arrival of William (Vincent) Wallace and Julia Kelly

"SHIP NEWS", The True Colonist Van Diemen's Land Political Despatch (6 November 1835), 8 

Oct. 31. - Arrived the ship Rachael, 383 tons, Captain R. S. Potter, from Liverpool 9th July, with a general cargo. Passengers - Mr. and Mrs. Dodd and child, Mr. Archer, Miss Blair, Mr. and Mrs. Wallace and child . . . Miss Kelly . . .

Isabella Wallace was not on the ship, as here stated, but came as "Isabella Kelly" on the James Pattison), and Julia Kelly; it is unclear whether, or not, there was another Kelly sister, mistakenly as Mrs. Wallace, and whether or not William Wallace junior arrived with his father

ASSOCIATIONS: Julia Kelly (Wallace's sister-in-law)

[News], The Hobart Town Courier (13 November 1835), 2 

We regret that the truly eminent musician Mr. Wallace, who has arrived by the Rachel, is to make so short a stay amongst us. He proceeds to Sydney we learn next week.

4 December 1835, Hobart Town, concert, William Wallace (presenter, violin, piano)

[Advertisement], Colonial Times (1 December 1835), 3 

To the Public. MR. Wallace, recently arrived from Dublin, begs leave to announce his intention of giving a CONCERT, of Vocal and Instrumental Music, at the Argyle Rooms, on Friday evening next, the 4th December. The performance will commence at 8 o'clock. Tickets 7s. 6d. each, children 5s. to be had at Dr. Ross's Reading Room, at Mrs. Davis's Music Warehouse, at the Reading Room of the Hobart Town Library, and at Mr. Hedgers, Elizabeth-street. Dec. 1, 1835.

ASSOCIATIONS: Sophia Letitia Davis (musicseller)

[News], The Hobart Town Courier (4 December 1835), 2 

We should be sorry to excite unreasonable expectation, which might lead to disappointment, but we may safely congratulate the lovers of music on the pleasure they will derive in attending Mr. Wallace's concert this evening. Though yet a young man, he has acquired a proficiency in his favourite art, which, without detriment to any one, we can safely say, has never been evinced in this colony before. We envy our Sydney neighbours the gratification they will have from his intended sojourn amongst them. For music is a science peculiarly suited to soften and ameliorate the manners in these back-and-face biting Austral-Asiatic regions. His Excellency we learn will be present with his family, and most of the principal inhabitants have taken tickets. It is hoped that the audience will assemble in good time, as the concert, it is arranged, will begin precisely at 8 o'clock.

[Advertisement], The Tasmanian (4 December 1835), 1 

MR. WALLACE having been requested to give a CONCERT before his departure for Sydney, begs leave to announce that a Performance of VOCAL AND INSTRUMENTAL MUSIC WILL TAKE PLACE AT THE ARGYLE ROOMS, THIS EVENING, DECEMBER 4, 1835; On which occasion he will be aided by the talents of Mrs. Chester and Mrs. Logan, and also of some Gentlemen Amateurs.
Overture -
Glee -
Song - "The Misletoe Bough," Mrs. Logan
"Rondo characteristique pour le Piano-forte" (Herz) - Mr. Wallace
Song - "Come where the Aspens quiver" - Mrs. Chester
Glee -
Concerto - Violin - (Mayseder) - Mr. Wallace.
Song - "Tyrant soon I'll burst thy Chains," - Mrs. Chester.
Glee -
Duet - Piano-forte (Hertz) - Mrs. Logan & Mr. Wallace
Song - "Farewell to the Mountain" - Mrs. Chester
"Fantasia di Bravura" (Herz) - Mr. Wallace
Song - "Bid me discourse" - Mrs. Chester
Concerto - Violin (Spohr) - Mr. Wallace
[The Officers of the 21st Regiment have kindly allowed Mr. Wallace the valuable assistance of their Band on this occasion.] Tickets, 7s. 6d. each, to be had of Mr. Wallace, 20, Macquarie-street; at Dr. Ross's Reading Rooms; Mr. Carter, Derwent House; Mrs. Davis, Music Warehouse, and Mrs. Hedger's, Elizabeth-street. N.B. - Concert to commence at 8 o'clock. Dec. 4, 1835.

ASSOCIATIONS: Maria Logan (pianist and vocalist, Wallace's cousin); Marian Maria Chester (vocalist, possibly a cousin); Band of the 21st Regiment

There do not seem to have been printed reviews of the concert; the closest to one is the following political squib, at the expense of the attorney-general, in the anti-government Colonial Times:

"Domestic Intelligence", Colonial Times (8 December 1835), 6 

Mr. Attorney General's concert took place on Friday last. About one hundred and twenty Government Officers and lawyers were present; none were admitted save those of known:respeƧtability, and every gentleman was obliged to produce his tree prior to his entrance. The concert was highly delightful, and when it was ended, the vocalists felt somewhat surprised at finding the audience all asleep.

George Boyes, diary, Hobart, 4 December 1835 (MS, University of Tasmania, Royal Society Collection)

4th [December 1835] . . . Stone dined with us. Afterwards I went to a concert. Heard a Mr. Wallace upon the Violin. He played finely - an air of Spohr's full of double stops, was beautifully executed.

ASSOCIATIONS: George Boyes, an amateur violinist, had been a pupil of Paolo Spagnoletti in London before he first came to Australia in the mid 1820s.

11 December 1835, Hobart Town, Marian Maria Chester (presenter), Wallace (piano, violin)

[Advertisement], The Tasmanian (11 December 1835), 1

MRS. CHESTER, BEGS to announce to her friends and the public generally, that her CONCERT OF VOCAL AND INSTRUMENTAL MUSIC WILL BE GIVEN ON FRIDAY EVENING, DECEMBER 11, 1835; on which occasion MR. WALLACE, whose Performances were received with the greatest approbation, will afford his valuable assistance, and play Several celebrated pieces on the Piano-forte and Violin, ASSISTED BY THE TALENTS OF MRS. LOGAN, Who will kindly afford her gratuitous services on this occasion, and several Amateurs.
Overture -
Glee, "Should auld acquaintance be forgot"
Song, "Arise Zariffa" - Mrs. Logan
"Fantasia di Bravura" - Mr. Wallace
Song, "Alpine Maid," - Mrs. Chester
Glee, "See our Boat scuds o'er the main,"
Concerto, Violin - Mr. Wallace
Song, "Oh 'tis sweet when the moon is beaming," - Mrs. Chester
Glee, "Ye banks and braes,"
Song, "Savourneen deelish," - Mrs. Chester
Duett, piano-forte, by desire, (Hertz) - Mrs. Logan and Mr. Wallace
Song, "Say not woman's heart is bought," - Mrs. Chester
Concerto, Violin, by desire, in which will be introduced, the admired melody, "'Tis the last rose of summer," - Mr. Wallace
Song, "Tell me my heart," - Mrs. Chester
By the 'kind permission of the Officers of the 21st Regiment, Mrs. Chester is allowed the assistance of the Military Band. Tickets, 7s. 6d., children 5s , obtained of Mrs. Chester, Freemason's Hotel. Mr. Swan, Elizabeth-st., Mr. Davis, Music Warehouse, Mr. Carter, Derwent House. N.B. - Concert to commence at 8 o'clock. Dec. 8, 1835


To call up all the TROVE newspaper items tagged William Vincent Wallce for 1836: 

2/3 January 1835, Hobart Town, departure of William Wallace from Hobart and arrival in Sydney, 12 January

"TRADE AND SHIPPING", The Hobart Town Courier (8 January 1836), 3 

The Layton, Capt. Wade, proceeded on her voyage to Sydney in ballast on Saturday [2 January] - passenger Mr. Wallace.

The Siren, Capt. Marten, sailed on Monday [4 January] with goods and colonial produce for Sydney passengers - Mr. H. C. Bates, and Mr. and Mrs. Chester . . .

Note also the departure of Marian Maria Chester for Sydney

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Herald (14 January 1836), 2 

From Hobart Town, same day [12 January], having sailed from thence the 3rd of this month, the ship Layton, Captain Wade, with sundries. Passengers, Lieutenant Wilkinson, 13th Regiment, Mr. William Wallace . . .

7 February 1836, Sydney, arrival (from Cork) of Isabella Wallace and Eliza Wallace, Charlotte Kelly, Spencer Wallace, and Matilda Wallace, and ? Spencer Wellington Wallace; and the marriage of Charlotte Kelly to James Cromarty, captain of the James Pattison

Return of free persons who have arrived in New South Wales from 8 January to 7th February 1836 inclusive, assisted by Bounties made by the Government on account of their passage; State Library of New South Wales, microfilm reel CY652

[np. 28 / Spencer Wallace / [James Pattison] / [aged] 41 / Musician / [Wife aged] 28 / [child male] 1 / [child female] 1 / [amount of bounty advanced £ ] 20

Assignments of female emigrants on James Pattison, February 1836; State Library of New South Wales, microfilm reel CY652

Charlotte Kelly / 25 years / Governess / [By whom engaged] Mrs. Wallace (her sister)
Mrs. Spencer Wallace / 24 years / [By whom engaged] Mr. Spencer Wallace (her husband)
Eliza Wallace / 16 years / Actress / [By whom engaged] Mr. Spencer Wallace (her father)

"SHIPPING INTELLIGENCE", Commercial Journal and Advertiser (8 February 1836), 2 

ARRIVALS . . . James Pattison, [from] Cork, 31st October, 324 female emigrants . . .

Letter, sender (illegible, Courthouse) to Alexander Macleay, 9 February 1836, Colonial Secretary's papers; State Archives NSW

Feby 9th 1836 / Courthouse
My Dear Sir, The wife of Mr. Wallace has arrived by the female emigrant ship to his surprise and satisfaction for he neither expected her so soon of that she would come in that way. She has come as Isabella Kelly (her own name) and Mr. Wallace is afraid it may not look well in the eyes of the public if she remained to be landed with the other females, and has therefore asked me to request of you to give and order to allows her to come on shore to day. His sister Miss Eliza Wallace is also with his wife & if you can include her in the order also he'd feel obliged. They were both supposed to come with Mr. Wallace when he left Ireland, but Mrs. Wallace fell unwell, which prevented her from coming with himself, though he is fearful her coming in this ship as Miss Kelly may be injurious to him. I applaud her economy & prudence [ . . ? . . ]
In haste / Yours very faithfully [ . . ? . . ]

"MARRIED", The Colonist (3 March 1836), 7 

MARRIED. At Sydney, on Thursday, the 25th ult., by the Rev. Dr. Lang, James Cromarty, Esq.; Commander of the ship James Pattison, to Miss Charlotte Kelly.

"LAST FRIDAY EVENING'S CONCERT", The Sydney Gazette and New South Wales Advertiser (1 March 1836), 3

[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.


To call up all the TROVE newspaper items tagged William Vincent Wallce for 1837: 

[Advertisement], The Australian (12 May 1837), 1


To call up all the TROVE newspaper items tagged William Vincent Wallce for 1838: 


{News], Commercial Journal and Advertiser (6 January 1838), 2 

A considerable addition has been made to the Orchestra of the Theatre in the person of Mr. Wellington Wallace, a professor upon the flute, and brother to Mr. William Wallace, the Paganini of Australia, of whom report speaks highly. Mrs. Levey has acted judiciously in so doing, since Mr. Deane and his talented family, have retired from the Orchestra, an addition of strength has been much required.

ASSOCIATIONS: Theatre Royal (Sydney); Sarah Emma Levey (proprietor)


26 January 1838, musical publication, Thomas Stubbs (composer), William Wallace (arranger)

[Advertisement], The Australian (16 January 1838), 3 

In the Press. And will be published on the 26th Instant, the day after the Jubilee, or 50th Anniversary of the Colony, THE AUSTRALIAN JUBILEE WALTZ, (composed expressly for the occasion,) by Thomas Stubbs; Author of the Minstrel; and arranged for the Pianoforte by William Wallace, Member of the Anacreontic Society, London.

Australian jubilee waltz composed by Thomas Stubbs and arranged for the piano forte by Wm. Wallace (Sydney: W. H. Fernyhough, [1838])


31 January 1838, oratorio, St. Mary's Chapel, Wallace (leader)

[News], The Australian (12 January 1838), 2 

We understand that an Oratorio will be held at St. Mary's Chapel, Hyde Park, on the 26th instant, in honor of the 50th Anniversary of the Foundation of the Colony.

[Advertisement], The Sydney Monitor (26 January 1838), 4

ORATORIO. THE COMMITTEE who conducted the former Musical Festival at St. Mary's Cathedral, respeqtfully announce their intention of repeating it, with variations, on WEDNESDAY the 31st Instant. On this, as on the former occasion, the combined musical talent of the Colony has been most generously offered. Single admission Tickets, 7s. 6d; family ditto, to admit four, £1 1s.; and Books of Words, 1s. each; to be had of Mr. Wallace, Professor of Music, King-street; Mr. Ellard, George-street; and at Mr. Tyrer's Repository, George-street. To commence precisely at 7 P.M.
Sydney, Jan. 23, 1838.

"THE ORATORIO", The Sydney Gazette and New South Wales Advertiser (3 February 1838), 2 

The grand musical festival at the Roman Catholic Chapel, Hyde Park, came off on Wednesday evening last in presence of a very crowded audience numbering among them, the Acting Governor and most of the fashionables of Sydney. The principal female performers were Miss Wallace, Mrs. Clarke, Mrs. Clancy, and some amateurs. Miss Wallace and Mrs. Clarke sang with their usual ability, and in some pieces elicited rapturous applause. Mrs. Clancy, whom we never had the pleasure to hear before, sang with much taste and feeling; her voice, which must be very effective in a smaller room, did not however possess sufficient power and compass to enable her to do herself justice in so large a building, perched up as the performers were in the out of the way gallery in which the managers had mewed them up. A gentleman amateur sang in several pieces and was much applauded. Mr. Wallace led the orchestra with his usual ability. The performances for the evening were concluded with the National Anthem of God save the Queen, which was sung very pleasingly by Miss Wallace, the audience standing up. We have just one hint to give to the gentlemen managers of the Roman Catholic Chapel; as it is presumed that all pay alike, it follows that each has as good a right as his neighbour to take possession of whatever seat he or she may choose on Wednesday night, so far was this from being the case that several families who arrived early in the evening were prevented by the check-taker from taking possession of the vacant seats from which a full view of the performance could be obtained, and compelled to sit in the side seats where, in addition to the discomfort of the seats, the view is completely shut out by the scaffolding. In all Theatres, or places of public amusement, all who pay alike should receive alike treatment, and we trust that the managers of the Oratorio, when they again convert the Roman Catholic Chapel into a place of public amusement, will not lay themselves open to the repetition of this complaint.

"THE ORATORIA" [sic], The Sydney Herald (5 February 1838), 2 

A grand Musical Festival took place at St. Mary's Church on Wednesday evening last, which was attended by upwards of five hundred persons. The selection of music was from the best authors; and the professionals of Sydney, who gave their assistance gratuitously, mustered strong on the occasion. Mr. Wallace, as usual was the star of the instrumental performers, and was assisted by Mr. W.'s brother, Messrs Deane, Cavendish, Edwards, Spyer, Josephson, Lane, and the full Band of the 50th regiment. Amongst the female vocalists we observed Miss Wallace, Mrs. Clark, and several of the Choir of the Chapel. In the vocal department of the other sex there was an evident want of tenors and counter-tenors, which were however judiciously supplied by the stringed instruments. From the short notice of the entertainment, we did not think it possible that such an intellectual treat could have been produced. Such was the effect of the performance that the audience could not be restrained from exhibiting their approbation and applause at the termination of every piece. We regret that our limited space will not allow us to enter more into detail, and do individual justice to the performers. We must conclude by saying that it was altogether highly creditable to the musical profession of Australia.

[Edward Smith Hall], "The Oratorio", The Sydney Monitor (5 February 1838), 2 

WE have already noticed the Oratorio at St. Mary's Chapel, or, as it rather deserves to be called, Cathedral, in Hyde Park. We now proceed to describe it. This Cathedral is, as all Cathedrals are, very lofty, and no quantity of light, consistently with the economy necessary to be preserved at an Oratorio in this Colony, could do much more than render "the darkness visible." The lights consisted of variegated glass lamps, used on public occasions, and at public places of entertainment, which were hung in festoons in the body or nave of the Cathedral. The light shed by these lamps is much inferior to that of the argand lamps. They had, however, a very pretty appearance, and were as numerous as the occasion could afford, or the Colony supply. The Orchestra last year was stationed on the side of the altar; this year it was placed in the gallery. A contemporary describes the performers, in consequence of this arrangement, as wanting room. We could not discover this from below, nor have we heard that the performers were not at their ease through want of room. But the effect of the Orchestra was much finer from above than it was last year from below; and if, by any contrivance, the performers can make room enough for themselves in the gallery, that is the place for them, so far as the effect of the music is considered; which effect, at a musical assembly, should of course be the paramount consideration.

The semi circular gallery was lit up with variegated lamps, the same as the body, of the Cathedral, arranged as follows: In the centre of the semi-circular wall, which incloses or forms one side (so to speak) of the gallery was a magnificent cross, formed of variegated glass lamps, containing some scores, not to say hundreds of them. We guessed this cross to be eight or ten feet long; six at the cross part, and wide or thick in proportion. It had an imposing effect. On the right and left of the cross were two very large and brilliant stars, which were equally striking. With this mass of light, one would have supposed the Orchestra would have been brilliantly lit up. The effect, however, was sombre. It was that of the glimmering of lights in a gaunt room.

This defect can easily be remedied. The pannelling in front of the gallery should he removed on such occasions as these. It ought to be made to shift with ease. On the floor (which by a little scaffolding and boards could be extended in front) and fastened to the outer edge next the audience, argand lamps, to act as foot-lights, should be placed, and as close together as possible. Two of the three magnificent hanging argand lights belonging to the ball-room of the Pulteney should be hired for the next Oratorio, in addition to such foot-lamps, and be suspended from the ceiling of the gallery; and they should be fixed in such part of the ceiling as that the lights might fall exactly between the cross and the two stars. The desks of the orchestra should also be studded thickly with argand lamps, so that the gallery and orchestra might produce one blaze of light.

With respect to the expense, we will venture to say, that if such expense be incurred, it will pay, by attracting a much larger company. In short, these sort of public festivals will not answer their end, unless there be a sufficient and effective outlay, or investment of capital. The gallery, lit up by the cross and stars, though brilliant in itself, had little effect on the nave and wings of this lofty and magnificent building - a building which does such great honour to the architectural taste and noble conceptions of its founder, the Rev. John Joseph Therry, and to the laudable ambition, which, in the infancy of the Colony, soared above common rules, and dared to look forward half a century, in giving effect to his enlarged views of what was due to his people; and to the venerable Church and Institutions of his father land.

Brilliant, therefore, in themselves, as the cross and the stars were, the orchestra and performers being between these lights and the audience, the former cast a shade on the visages of the latter, deep and gloomy in proportion to their brilliancy. Hence, we could not see the face of the chief singer who placed him or herself in front. Had the singer worn a mask of black crape, his features could not have been more obscured. We sat in a bad place; a little to the right of the nave, just withinside the southern wing. Hence we could not distinguish a single performer. We could distinguish the beautiful strains of Mr. Wallace, but we could neither see him nor his instrument. Say what we please, the sight of a living performer when he can be seen (as is the case with a violinist) aids the imagination. We like to see the performer's countenance; its expression; and the gesture and attitude of the artist who gives us delight. The same holds in degree of all the performers. Who that witnessed the inspirations of Paganini, but would admit, that if he had played behind a screen, a considerable portion of the pleasure would have been lost?

Having thus described the external arrangements of the Oratorio, we proceed to consider the music itself, both vocal and instrumental.

Miss Wallace, by her powerful voice, is well adapted for cathedral singing; and she sang well the whole evening.

Mrs. Clarke might have succeeded, but she injured her tones by appearing to sing under the impression, that she must always and throughout every piece, sing at the top of her voice. She executed a very difficult piece, ("Let the bright Seraphim") but it was too laboured. Had she kept her voice within commanding compass, she would have done herself and the piece more justice. Of Mrs. Curtis, Mrs. Clancy, and an amateur Lady we do no know which to prefer. They do not affect execution, but their voices being soft and musical, they gratified the audience by their exertions.

But the star of the evening, was an amateur who sang bass. Even in the higher notes, this gentleman's voice is very musical. When he puts forth all his powers, it is for strength and volume like the pealing of an organ. He filled the cathedra1 as completely as an ordinary singer would fill a small room. His precision in time, and his accuracy in tune, are equal to the strength and melodiousness of his voice.

The most striking and imposing piece of the evening, was the very short Quartette and Chorus with which the Oratorio commenced, and which, as the opening of a sacred festival, contatned words as appropriate as they are sublime; while the music is heavenly. The words are those of the Psalmist of Israel, namely-
"The Lord is in his holy temple;
let all the earth keep silence before him."
The repetition of the words "Let all the earth keep silence before Him," supported by the fine full round bass of the amateur just mentioned, was enchanting. We saw the tear stand trembling in the eye of some devotees to music who were near us; while their lips quivered as Wallace drew his celestial bow, and their y bosoms heaved with transport. The reason of their agitation was, not that they were gifted with a passion for music only; this is but a corporeal sensation; but their minds were doubtless cultivated, and their hearts bowed down with reverence and humility, when called upon in the language of one of the first of poets and prophets to keep silence and to feel silence before the Creator of worlds, of angels, and of men. They felt themselves exalted [3] and dignified by this monition of the King of Israel. They felt that even in this despised quarter of the globe, they were still members of the great family of God; were linked to the unseen world of immortality and glory; though for the present clothed with clay, and having "a habitation and a name" among the children of men.

An overture followed this sublime air and chorus which was in itself excellent, and beautifully executed. Then succeeded an air by Miss Wallace, as follows:-

"I know that my Redeemer liveth, and I that he shall stand at the latter day upon the earth; and though worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, and become the first fruits of them that sleep."

The famous passage from Handel's "Messinh," was well executed by the powerful voice of Miss Wallace, who perhaps shines in sacred music more than in (what for distinction's sake is called) profane.

The chorus of "Magnificat anima mea Dominum" followed, which gave great satisfaction. It was full of genuine music.

A bass solo, "Jesu potissime!" [O Jesu potentissime] followed. The amateur beforementioned showed in this fine solo, that his higher notes, were as musical as his lower. In this solo he evinced his judgment, by reining in his voice, which of course he delights (for it must be a delight to him to exercise his full strength when called for) to put forth.

The trio "Te ergo quaesumus" by Mrs. Clarke, Master Deane, and an amateur, was well received, but the inefficiency of Master Deane's voice, which is not yet formed, rendered it less effective than it otherwise would have been. We mention this not as a fault, for looking to his youth, Master Deane acquitted himself admirably.

Miss --,and Mrs. Curtis then sang "Gloria in excelesis Deo," and elicited due applause. They have sweet voices.


After three quarters of an hour's rest, a beautiful Overture was executed, which gratified all amateurs present, but which not being so popular as vocal singing among the great body, the applause was not so great as this piece merited.

"Ave verum corpus natum" followed by Mrs. Curtis and amateurs, and gave much satisfaction.

Handel's recitative and air which opens his famous "Messiah" succeeded . We once heard Braham sing this, and were delighted to be reminded of that great singer by the commanding voice of Miss Wallace, who sang it with great taste and feeling. The chorus was full and complete as usual, and gave the colonists an idea of Handel's musical mind.

A trio, "O salutaris Hostia" followed, by Miss Wallace and amateurs, and was received with applause. No discordances in this trio were perceived below. Every one sang in tune, and the effect was good in proportion. It contains much rich harmony.

Mrs. Clancy sang "With verdure clad." This is a sweet pastoral air, and after our ears had been gratified with the grander efforts of musical talent, the soft symphonious strains of this piece, sung in a very sweet and chaste, though not powerful manner, had an excellent effect. The music attached to the words "here vent their fumes the fragrant herbs; here shoots the healing plant; to shady vaults are bent the tufted groves; the mountain's brow is crowned with closing woods;" rendered this piece a delicious contrast with the lofty conceptions of Handel and other great composers which had preceded.

A Duet in Latin by Miss Wallace and an amateur, and a Latin hymn by Mrs. Clancy and amateurs, closed the evening's entertainmnents, (except the Queen's Anthem) and gave general satisfaction.

The Queen's Anthem from some cause or other disappointed the audience. One of the defects was, the too great loudness of the singers, and especially of Mrs. Clarke. That lady seemed to be unaware of the power of the voice from the gallery of this building. The music ascends to the ceiling, (now nearly completed, and which is a conmplete sounding board) and pours dclown on the audience like a torrent. Even Mrs. Clancy, whose voice is not strong, was distinctly heard. The Queen's Anthem was the only failure of the evening.

The company, however, departed highly gratified with the evening's performances.

Owing to the badness of the times, this Oratorio was not so numerously attended as last years', and the numbers deficient included many principal fanmilies. His Excellency the acting Governor was present, but he attended as a private individual, rather than as Governor. We did not even know that he was present, till we saw the circumstance noticed in the Sydney Gazette.

By the bye, we differ with that journal in thinking, that the managers acted unbecomingly in reserving the front seats for the civil officers and principal families of the Colony. Though we are Radicals, we do not expect to see monarchy and its accompaninents to be shorn of its pomp and feudal distinctions and separations in our time . . . [extended political disquisition] . . .

In the meantime, modesty and hulility will ever be the rule of conduct of christian men, whether they be republicans in their politics, or monachists . . . Take, for example, the 14th chapter of St. Luke's Gospel, and which, lest our Tory contemporary should have forgotten it, we will here kindly and condescendingly transcribe for his special use at the next Oratorio.

"When thou art bidden of any man to a festival, sit not down in the highest seat, lest a more honourable man than thon be bidden of him, and he that bade thee and him, come and say to thee, give this man place; and thou begin with shame to take the lowest room. But when thou art bidden, go and sit down in the lowest seat, that when he that bade thee come, he may say unto thee, friend, go up higher. Then shalt thou have worship in the presence of them that sit down with thee."

[Review], The Australian (6 February 1838), 2 

At the Musical Festival, last Wednesday evening, which took place at St. Mary's Church, which we briefly noticed in our last, the performance beean with a quartett and chorus, "The Lord is in his Holy Temple," which though simple in its harmony, had a very pleasing effect. Miss Wallace then sang "I know that my Redeemer liveth,' in a very chaste classic style; the great power of her mezzo soprano voice made every note effective; her avoiding any extraneous embellishments proved the correctness of her taste. The audience then enjoyed a treat never before given in this Colony, a bass solo, by a gentleman styled in the programme "an amateur," but we understand is choral master at St. Mary's. Mozart's sublime "O Jesu potentissime," was sung in a style that its immortal composer would have pronounced unexceptionable; he gave the opening with great pathos aud a sweetness that we never before heard in a bass voice; the words "Deus noster, Deus fortes," were given with immense power, and the "Ave Maris Stella" in which the time was accelerated, displayed a combination of flexibility and tone, in the style of Lablache, by which the audience were induced to give vent to their feelings by loudly expressing their delight.

"Let the bright Seraphim," was then sung by Mrs. Clarke; this lady's shake is very fine - we trust the next time this lady sings with trumpet obligato, she may have a more efficient performer on that instrument to accompany her; but yet, with all these disadvantages she was much applauded. The "Gloria in excelsis," was undoubtedly the most effective chorus ever given in the Colony, and was repeated by particular desire. Miss Wallace's "Comfort ye my People," and the delicious duett she sang with the bass singer above mentioned, realised our beau ideal of perfection - the voices blended in a manner that ought to be held up as a model to all those who cultivate the vocal art in this Country.

We heard for the first time Mrs. Clancy, who sang "With verdure clad," with great taste and feeling, leaving us nothing to regret but the want of proportion between her physical powers and the size of the edifice; her voice is a beautiful soprano. The overtures to "Joseph" and "Zara" were led by Mr. William Wallace, to the magic of whose bow we must attribute the very credible manner the band of the 5Oth performed their part - it formed a very striking contrast to their diurnal display in the Barrack Square. Mrs. Curtis also exerted her vocal powers to the utmost, and added much to the effect of the performance by her talent; but want of space prevents us entering into more particulars. To the other performers the greatest praise is due for their prompt co-operation in the cause of charity. We shall terminate by wishing that the public may soon enjoy a similar treat, and that a longer notice may be given, by which the lovers of good music may be enabled to prove at the same time their charitable disposition and their love of music.

See also this semi-fictionalised account of the performance, with further corroborating musical details:

"EXTRACTS FROM A REPORTER'S NOTES", The Australian (13 March 1838), 1 

The program, partly reconstructed from the above reviews, included the following works:

Overture to Zara, probably by Thomas Arne, from his mostly lost incidental music to Aaron Hill's 1736 play

Overture to Joseph, Handel

O Jesu potentissime, "Mozart" (attributed, as arr. by Vincent Novello)


12 February 1838, Sydney, departure of William Wallace

"SHIPPING INTELLIGENCE", The Sydney Herald (15 February 1838), 2 

DEPARTURES . . . For Valparaiso, via New Zealand, on Monday last, the ship Neptune Captain Nagle, with sundries. Passengers, Mr. Wallace, Captain Salmon, Mr. P. McKew, Mrs. McKew, and four children.

[News], The Sydney Gazette and New South Wales Advertiser (17 February 1838), 2 

Mr. W. Wallace, the Australian Paganini, left the Colony in a clandestine manner on Wednesday last, and has sailed for Valparaiso, after having contracted debts in Sydney amounting to nearly £2,000. In one or two instances which we could mention his conduct has been heartless in the extreme. We shall forward this paper to that part of the world, with the hope that this paragraph may catch the eye of some of the residents there, and thus be the means of preventing this man again imposing on the public.

Later recollections (of contact with the Wallaces, Australia 1835-38)

[c. 1836-37] Mrs. Edward Cox's journal (written about 1877) [in pencil: 1880]; transcribed by Andrew Houison (1850-1912) 

[c.1836-37] . . .and [I] was then married to my dear Husband and then went to live at Mulgoa Cottage. It was a very pretty place [MS transcript page 37] . . . besides which we had a grand neighbour in Sir John Jamison, about four miles from the Cottage. It was a fine residence, a large Stone house: he entertained in a liberal manner. My husband and I used to meet many pleasant people there among which I remember Sir Francis Forbes, Sir Richard Bourke, W. Charles Wentworth, Esq., Wallace, the Composer of Maritana, Mr. Manning, the Father of Sir W. Manning, Commissary General and Mrs. Laidley and many other Military Men. It was there I first met Lady Deas-Thompson, whose singing enchanted me.

Jane Maria Cox (1806-1888) arrived in New South Wales with her parents, Richard and Christiana Brooks, in 1814. In 1823 the Brooks family moved from Sydney to Denham Court near Liverpool. In 1827 Jane married Edward Cox (1805-1868) of Fernhill, Mulgoa; Alfred Cox, below, was her much younger brother-in-law.

Alfred Cox, recollections of 1836-37; Cox 1884, chapter 5, 29

[29] CHAPTER V. Music - William Vincent Wallace.

I HAVE already spoken of my having been taught to play the flute when I was a youngster. My music-master was Samuel Wallace, an old bandmaster in the 17th Regiment [sic]. He was a charming player, warbling exquisitely on the flute, and playing upon many other instruments nearly as well. He was the father of William Vincent Wallace, the well-known composer, who was a first-class performer on the violin and pianoforte.

The first concert that I ever attended was one given by Wallace the son, in 1837 or 1838. He alone performed at this concert, first on the violin and then on the piano. It is hardly necessary to say that I had never before heard such music. I sat by the side of my dear old grandmother, who, always ready to indulge me, had taken me with her to listen to Wallace's warblings. I was fairly entranced, confessing that I had at last heard something that I could never forget, and I then and there resolved that I would try and become a player myself.

This man, William V. Wallace, who had thus tickled my ears and filled my young soul with indescribable sensations, became, not many years after this, a very great man indeed in the musical world, establishing a reputation that has outlived him . . .

ASSOCIATIONS: Alfred Cox (memorist)

Documentation (Wallace, Logierian system, Australia, after 1838)

[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.

ASSOCIATIONS: James Henri Anderson

[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


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.



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: 

Ninth edition; copy at the British Library; digitised by Google Books 


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: 

References (Logier and other contents)

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 

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

© Graeme Skinner 2014 - 2018