LAST MODIFIED Monday 4 June 2018 17:20

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 24 June 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 early (to 1838) documented musical activities of William Vincent 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.

Basic biographical data on all family members, including on William Vincent himself, together with documentation on the later colonial musical activities (1838-52) of his father (who died in 1846), brother (died 1852), and brother's wife Caroline (died 1850), are chronicled in a second page: 

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:respeçtability, 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

[no.] 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: 


3 January 1837, concert, court house, Windsor

[Advertisement], The Australian (3 January 1837), 1 

Leader of the Anacreontic Society, and Professor of Composition, Royal Academy
Will take place on WEDNESDAY, January 4th, 1837,
1. OVERTURE - Der Freischutz - Weber
2. SONG - Ceas thus to palpitate - Rossini - MISS E. WALLACE.
3. SOLO, Piano Forte - Herz - MR. WALLACE.
4. FRENCH AIR - La Sentinelle - Boildieu - AMATEUR.
5. SONG - Rise gentle moon - Barnett - MISS E. WALLACE.
6. CONCERTO, Flute - Drouet - MR. S. WALLACE.
7. VOCAL DUET - O Pescator dell'Onda - Mozart - MISS E. WALLACE and AMATEUR.
8. GRAND CONCERTO, Violin - Mayseder in which will be introduced the favorite Irish Melody, Savourneen Deelish - MR. W. WALLACE.
9. OVERTURE - Italiana in Algieri - Rossini
10. CAVATINA - Uno Voce - Rossini - MISS E. WALLACE.
11. DUET, Piano and Flute - Henz - W. & S. WALLACE.
12. IRISH MELODY - Believe me if all those endearing young charms - AMATEUR.
14. VOCAL DUET - La ci Darem la Mano - Mozart - MISS E. WALLACE and AMATEUR.
15. FANTASIA - Dedicated to Paganini, introducing 'Tis the last Rose of Summer, Violin - MR. W. WALLACE.
16. FINALE - Overture to Il Barbiere de Siviglia
Tickets 7s. 6d. each, to be had at Mr. L. WHITE'S, Windsor.
By the kind permission of Colonel Wodehouse, Mr. Wallace will be allowed the aid of the Band of the 50th, Queen's Own Regiment.
In order that Families residing at some distance from Windsor may have an opportunity of attending this Concert, Mr. W. Wallace is induced to commence it at Four o'Clock, P. M., which arrangement will enable them to reach their Homes at an early hour in the evening.


"THE RIVAL CHIEFTAINS", The Sydney Gazette and New South Wales Advertiser (10 January 1837), 3 

Mr. Deane and Mr. W. Wallace both announce their intentions of giving a concert on Wednesday the 18th instant. Surely there must be some mistake in this. We should be sorry to find that musicians like doctors sometimes differ. We cannot afford it here at all events, where these gentlemen are so scarce.

In fact, on the same page of the same issue, they advertised that they were giving the concert together

[Advertisement], The Sydney Gazette and New South Wales Advertiser (10 January 1837), 3 

[Correction], The Sydney Gazette and New South Wales Advertiser (12 January 1837), 2 

A curious mistake occurred in our last Journal under the head of "The Rival Chieftans." It arose from two advertisements in the Commercial Journal, one being under the other setting forth that Messrs. Wallace and Deane intended each to have a concert upon the same evening, not having consulted each other upon the subject, and consequently unacquainted with the circumstance. Upon matters being explained, it appeared one had obtained the band and the other the room; it was, therefore, thought most beneficial that the concerts should he combined, and it was acted upon accordingly.


"SMALL TALK", The Sydney Monitor (11 January 1837), 2 

We have received a communication from an inhabitant of Campbell Town, calling the attention of Mr. Wallace to that neighbourhood and expressing a wish that he would favour them with a concert. Mr Wallace must be the best judge of his own interests and provided he thought it would PAY would no doubt acceed to the proposal.


[2 news items], The Sydney Gazette and New South Wales Advertiser (19 January 1837), 2 

In consequence of the inclemency of the weather, the contemplated concert of Messrs. Wallace and Deane was postponed from last evening till Wednesday, 1st February. The quantity of rain which has fallen within the last two days has had the effect of rendering the road at the back of the Barracks totally impassible, the depth of mud in some places is nearly two feet. 

It is a somewhat singular coincidence that Mr. Wallace, during the period he has taken up his abode amongst us, has always held his concerts upon a Wednesday, and upon each occasion it has invariably rained, no matter whether summer or winter; but, as a set off to these disappointments, Mr. Wallace's concerts were always respectably and fully attended.


[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 January 1837), 3 

MR. W. WALLACE REQUESTS leave to inform those Ladies and Gentlemen who may be desirous of completing their Studies on the Pianoforte or the Guitar, under his direction, that he purposes leaving this Colony for England in three months from the present date. Bridge Street, 20th Jan., 1837.


26 January 1837, anniversary day, high mass, St. Mary's Cathedral (RC), Sydney

"DOMESTIC", The Australian (24 January 1837), 2 

On Thursday next, the Anniversary of the foundation of the Colony, High Mass will be celebrated, an appropriate sermon will be preached, and there will be a performance of some delightful sacred music. The band of the 4th Regiment will be in attendance, and Mr. and Miss Wallace, and the principal vocal and instrumental performers have volunteered their services on this interesting occasion. Some of the pieces performed at the late Oratorio will be repeated on this occasion.

"DOMESTIC INTELLIGENCE", The Sydney Herald (30 January 1837), 2 

High Mass was celebrated by Doctor Poulding, and a variety of Sacred Music performed, in the Roman Catholic Church of St. Mary, Hyde Park, on Thursday last, in solemnization of the Anniversary of the foundation of the Colony . . .

Other advertised occasions on which the Wallaces probably assisted:

[News], The Sydney Gazette and New South Wales Advertiser (18 February 1837), 2 

The Rev. Mr. McEncroe will preach a subscription sermon at St. Mary's Church, in aid of the funds of the Benevolent Asylum, (not the temperance society!) on Sunday, the 20th instant, on which occasion high mass will be performed by the Bishop, and a selection of sacred music will he performed on the occasion.

"DOMESTIC", The Australian (21 March 1837), 2 

We understand that there will be a grand performance of sacred music at St. Mary's Church on Easter Sunday.

[News], The Sydney Gazette and New South Wales Advertiser (4 May 1837), 2 

A grand Musical Performance will take place at the Catholic Chapel on Witsunday [sic], at which it is expected all the vocal talent of Sydney will assist.


1 February 1837, concert, saloon, Royal Hotel, Sydney

[Advertisement], The Sydney Gazette and New South Wales Advertiser (31 January 1837), 3 

Postponed to the 1st Proximo.
BEG to announce their intention of giving a Concert of Vocal and Instrumental Music, in the Saloon of the Royal Hotel on
Wednesday evening, the 1st of February, 1837.
On this occasion they will be assisted by Miss Deane, Miss E. Wallace, Miss C. Winstanley, Mr. S. W. Wallace, Master J. P. Deane, Master E. Deane, Mr. J. F. Josephson (who has kindly consented to play a Solo on the Flute), and the Gentleman Amateur who was so favourably received at the last Concert.
1. OVERTURE - Der Freischutz - - Weber - 4th Band
2. GLEE - The Foresters - Bishop
3. CAVATINA - Una Voce - Rossini - Miss E. Wallace
4. SOLO - Piano-forte - March in Otello - Herz - Miss Deane
5. SONG - Portrait Charmant - French Melody - Amateur
6. SONG - Rise gentle moon - Barnet - Miss E. Wallace
7. DUET - Flow on thou shining river - Moore - Miss Winstanley & Mr. E. Deane
8. Concerto - Violin - Mayseder - Mr. W. Wallace
9. OVERTURE - La Dame Blanche - Boildieu - 4th Band
10. GLEE - Viva Enrico
11. Duet - O Pescator dell'Onda - Mozart - Miss E. Wallace and Amateur
12. CONCERTO - Flute - Tulou - Mr. J. F. Josephson
13. SONG - Black-eyed Susan - Miss E. Wallace
14. SOLO - Violoncello - Master E. Deane
15. DUET - As it fell upon a day - Bishop - Miss Deane and Master E. Deane
16. FANTASIA - Violin - In which will be introduced the Coolun, an Irish Melody - Mr. W. Wallace.
N. B. - By the kind permission of Major England the aid of the Band of the 4th (King's Own) Regiment will be allowed.
Single tickets, 7s. 6d. each; Family ditto, to admit Four, £1 1s. To be had at Mr. Ellard's Music Warehouse, and of Mr. Tyrer, George-street.
Concert to commence at Eight o'Clock.

[News], The Colonist (2 February 1837), 2 

The Concert given by Messrs. Wallace and Dean last night, was numerously, and respectably attended, and the performances were such as to do credit to those concerned. We were particularly pleased with Miss Wallace's style of singing Black Eyed Susan; this young lady is greatly improved since we last had the pleasure of hearing her. Mr. Rhodius distiniguished himself as usual by the sweetness of his voice and purity of style. Master Dean astonished the audience by the correctness with which he performed a difficult piece on the violencillo [sic]. We have heard Mr. Wallace play better than he did last evening, yet his performance was such as to cause us to regret that we shall shortly loose this talented gentleman.

"Concert", The Sydney Monitor (3 February 1837), 3 

On Wednesday evening Messrs. Wallace and Deane gave a Concert at the Royal Hotel. There were about 200 persons present. As a whole the performance was highly creditable to the Managers. The band of the 4th regiment contributed to the evening's entertainment, as well by their vocal as by their instrumental performances. Miss E. Wallace sang Una Voce with skill; but the public taste, we are happy to find, is gradually getting weary of the Rossini style, and to our imaaination Miss W. appeared to much more advantage in the famous old English ballad of "Black eyed Susan" which displayed the full rich compass of her voice to advantage. An amateur was greatly admired in the French melody Portrait Charmant and encored. Flow on thou shining River, as a juvenile performance between Miss Winstanly and Master E. Deane was, notwithstanding the former's timidity, well sung, and on being encored elicited applause. O Pescator dell'Onda was very sweetly sung by Miss E. Wallace and an Amateur. Master E. Deane's performance on the violincello was encored; he displayed great skill considering his extreme youth. Mr. J. F. Josephson contributed much to our pleasure by his execution on the flute. The violin performaances of Mr. Wallace, we need not say, gave ample satisfaction; in fact, to be fully appreciated, they must be heard. Miss Deane appeared unwell, it is not fair therefore to judge of her singing, her performance on the piano displayed taste. A grand piano should, if possible, be procured for concerts; the upright piano's not giving sufficient body to the music.

"CONCERT", The Australian (7 February 1837), 2

On Wednesday night last we did ourselves the pleasure to attend the musical entertainment given by Messrs. Wallace and Deane. To those who are already acquainted with the respective excellence which tnese gentlemen have attained in their profession, it will not now be necessary to say more in their praise. To those (and we hope they are few,) who know it but by report, we can only say that we regret they were not present on this occasion, to witness how truly that report has spoken.

The Concert opened with the overture to Der Friestchutz, which was executed by the Band of the Fourth, with their usual success. Miss Wallace sang the difficult air of Una Voce, and the ballad of Black-eyed Susan, with all the effect that can result from the union of power of voice, scientific method, and diligent study. Portrait Charmant was beautifully sung by the gentleman amateur, who has lately made his debut at our Sydney concerts. The Concerto on the flute of Mr. Josephson was played well, although in our opinion, some of his performances at previous Concerts were far superior. The Solo on the Violoncello, by Master Deane, was as a juvenile performance, surprising, and clearly shewed that the natural talent of this young gentleman must be very great, and his study unremitting. He also distinguished himself in two Duets with Miss E. Winstanley. This young lady, as far as her tender age will allow an opinion to be formed, possesses great capabilitics as a singer, and we have no doubt that under the able tuition of Mr. Deane (of whom she is at present a pupil), they will be brought into such celebration as to render her in time a most excellent singer. O Pescator dell'Onda was sung as a duett by Miss E. Wallace and the Amateur, in a manner both tasteful and harmonious. We must not forget Miss Deane's performance on the pianoforte, which obtained for her high and well merited applause. Of Mr. Wallace's performance on the violin, it is really unnecessary for us to write, his execution on that instrument being so well known; but we cannot refrain from a passing tribute to his Concerto of Mayseder, and to express our deep regret at the public announcement of his intended departure from this Colony.

The members of the Band sung two glees in the course of the evening, and were much applauded. The room was nearly full, and every person left highly delighted with the various performances of the evening.


1 February 1837, publication, Echo's song

[News], The Colonist (2 February 1837), 2 

A piece of colonial music was ushered into existence yesterday. It is entitled, Echo's Song - the words by Mr. R. Stewart, and the music by Mr. W. Wallace; it is simple and pretty.

"MUSIC", The Sydney Herald (2 February 1837), 2 

We have received fium Messrs. Austin and Co., a new musical production called the "Echo Song; the words by George [sic] Stewart, Esq., composed and dedicated to his friend Mrs. Logan, of Hobart Town, by William Wallace, late leader of the Anacreontic Society, Dublin." We have not had leisure to look into the merits of the publication - the name of William Wallace, however, is a sufficient recommendation to the musical folks of Sydney.

[News], The Sydney Gazette and New South Wales Advertiser (2 February 1837), 2 

Mr. Stewart, the Chairman of the Quarter Sessions, has composed a very pretty little song , called "Echo's Song," which he has dedicated to Mrs. C. Logan, of Hobart Town; it has been set to music by Mr. W. Wallace, and is printed by Austin & Co., in a style that does these gentlemen credit. The printing of the music is excellent, but the printing of the words have not been taken the same pains with. It is to be had at Messrs. Ellard, Tyrer's and at the printers.

"THE ECHO'S SONG', The Sydney Monitor (3 February 1837), 3 

"THE ECHO'S SONG" - the words by R. Stewart, Esq., the music by Mr. W. Wallace. We shall take an early opportunity of obtaining the opinion of some of our fair friends on its beauties. It is rather out of our line.


[News], The Australian (3 March 1837), 2 

We understand that Mr. W. Wallace has just received from England a number of superior Piano-fortes of all descriptions, and of the first class. They were selected by Mr. Herz in England.


[News], The Sydney Monitor (27 March 1837), 2 

We understand, that it is in contemplation to give a concert of vocal and instrumental music on the return of His Excellency from Port Phillip, for the benefit and relief of the unfortunate survivors of the Lady McNaughton, under the immediate patronage of the Ladies' Committee and Sir Richard himself. All the musical fraternity have generously volunteered their assistance upon the occasion; and we are convinced there is not a single individual in our community, who has the means, but will be proud of the opportunity afforded him, of contributing his mite in aid of a distressed fellow creature. - Gazette.

[If this be true, we hope Bishop Poulding will lend St. Mary's Chapel on the occasion, and that the price of the tickets, and all the arrangements, with Mr. Wallace for leader, which took place on the last concert in that superb structure, will be the determination of those, who may humanely get up so excellent a species of public benevolence. We are certain that a crowded Chapel would be the result. - ED.]

[News], The Sydney Gazette and New South Wales Advertiser (28 March 1837), 3 

Mr. S. Levien, the respectable Host of the Pultney Hotel, has authorised us to state, that in the event of a Concert being given (as stated in our last number), for the benefit of the unfortunate Emigrants by the Lady McNaughton, he will be happy gratuitously, to light up and allow the use of his Ballroom for the occasion. While we cannot but give Mr. Levien every credit for his generosity, we should be inclined to prefer the Saloon of the Royal Hotel, as being the larger of the two, and we are sure every one who has the slightest spark of compassion in his composition will come forward and patronise so praiseworthy a motive. Mr. W. Wallace the Australian Paganini, we learn proposed the Concert in the first instance, and offered his powerful assistance.

[Advertisement], The Sydney Monitor (31 March 1837), 3 

MR. WILLIAM WALLACE begs to invite the attention of the Public to the must splendid and valuable consignment of Piano-fortes ever imported to this Colony. They are selected expressly for Mr. Wallace, by the celebrated composer and pianist, Henry Herz, and may be seen at Mr. Ellard's Music Saloon, George-street.
N. B. - Mr. W. has also received an elegant assortment of the newest Music, by the most eminent composers.


6 April 1837, benefit for Sippe and Wilson, Theatre Royal Sydney

[News], The Australian (4 April 1837), 2 

Messrs. Sippe and Wilson, the conductor and the leader of the Orchestral Band at the Theatre, take their Benefit on Thursday next. The pieces to be performed are entitled the Chelsea and Greenwich Pensioner, and the Dog of Montargis. Mr. W. Wallace the Australian Paganini will perform a grand concerto on the violin, and the Orchestra will be supplied with the talent of Mr. Deane and Sons and the Band of the 4th or King's Own Regiment.

[Advertisement], The Sydney Herald (6 April 1837), 1 

[News], The Sydney Gazette and New South Wales Advertiser (6 April 1837), 2 

There are but three nights of the present season of the Sydney Theatre under the Lesseeship of Mr. Wyatt, which will be disposed of in the following manner: - This evening Messrs. Sippe and Wilson will take a joint benefit; the one being the composer and arranger, the other the leader of tho orchestra. The great novelty of the evening will be the performance of Mr. Wallace, who will perform upon the violin the grand variations on NEL COR PIU, composed by Paganini . . .

"NEWS OF THE DAY", The Sydney Monitor (7 April 1837), 2 

Yesterday evening, during the performance of Mr. Wallace on the violin, a Tar who had been sitting on the front of the upper boxes was so carried away by the performance that he found himself making a descent to the dress circle through the canopy of the Governor's box, much to the amusement of the audience . . .

"DRAMA", The Sydney Gazette and New South Wales Advertiser (8 April 1837), 2 

On Thursday evening the Theatre was opened for the benefit of Messrs. Wilson and Sippe, when "Chelsea and Greenwich; or, the Pensioners," was played for the first time. The grand attraction of the evening was Mr. Wallace's grand variations on Nil Cor Pui [sic], which were of the mont splendid description. A variety of entertainments followed, and the evening's amusements wound up with the :Dog of Montargis." The house was but thinly attended.

"THEATRE", The Australian (11 April 1837), 2 

On Thursday evening Sippe and Wilson's benefit took place, and a very respectable audience filled the dress circle, the other parts of the house were well attended. During the evening some very fine overtures were played. The performance commenced with a new drama, called the Chelsea Pensioner . . . Mrs. Taylor as the Heroine of the drama . . . introduced an old English Ballad, named Far, far at Sea, and executed it most ably; her performance gave abundant satisfaction. The denouement is not well mannged, the fault is the Author's. After which, Mr. Wallace played a solo; we have so often spoken of this great Master of his Art, that we need but now say he played as he is wont to do. Mrs. Taylor again sang the Broom Girl; certainly she was in very fine voice, and introduced many more embellishments than this trifle requires, her excellent singing, combined with her humourous bye-play, called forth an unanimous encore.

[News], The Australian (14 April 1837), 2 

Nothing can be a surer indication of the prosperity of the Colony than the number of costly and splendid pianofortes sold at Mr. Ellard's within the last month, which were lately imported by Mr. Wallace. Among the purchasers we find the names of Messrs. Deas Thomson, Edye Manning, Plunkett, Robert Scott, Colonel Wall, and many other highly respectable Colonists. We understand that a partnership is about to be entered into between Mr. Wallace and Mr. Ellard. By the combination of Mr. Wallace's taste in the selection of instruments and music and the thorough knowledge acquired by Mr. Ellard in a most extensive manufactory, of the mechanical part of the profession; we could boast of possessing a musical establishment that might be compared with propriety to any in the Mother Country. The resources of the piano and violin were never completely displayed until the arrival of Mr. Wallace on our shores, and the magical effects produced by that "Virtuoso," have certainly led our "Dilletanti" to enter "Con Anima" into the systematic cultivation of an art so conducive to social intercourse, and to the abolition of discord among our Colonial gentry - "a consummation devoutly to be wished." - Correspondent.


[News], The Sydney Gazette and New South Wales Advertiser (15 April 1837), 2 

Mr. W. Wallace Senior, Professor of Music, Parramatta, has purchased about 2,000 volumes of Standard Works, preparatory to opening a circulating library, and reading room. The premises which are lining up for the purpose, are Harvey's buildings. This is the first step to introduce literary pursuits, and we hope it may be crowned with success.


9 May 1837, benefit performances for the emigrants on the Lady McNaughton

[News], The Australian (25 April 1837), 2 

The Performance for the Benefit of the Emigrants, per Lady McNaghten [sic], will take place on Tuesday next, under the patronage of His Excellency the Governor. Mr. Wallace and Mrs. Taylor have very handsomely consented to add to the attraction of the evening by offering their performances gratuitously. This, together with the laudable object in view, will probably attract a full house.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (9 May 1837), 1 

Theatre Royal, Sydney . . .
ON TUESDAY EVENING, 9th May, 1837, His Majesty's servants of the 4th (the King's Own) Regiment, will perform the Romantic Melo Drama of
Bampfylde Moore Carew;
When, by particular desire, the Performances will open with Overture
Who has Kindly offered his services, will perform
A Grand Fantasis on the Violin.
In which will be introduced the favourite Scotch Airs

"THE THEATRE", The Australian (19 May 1837), 2

Theatricals have lately dwindled into such utter insignificance, that but for the advertisements, we had almost forgotten the existence of a Theatre in the Town. During the past week, however, they have had considerable claims on our attention, not only from the rich and varied talent engaged in the representations, but from the recollection that the noble objoot of those representations was to raise means to comfort the distressed, and to provide for the friendless - that the services of all those engaged on those occasions were rendered gratuitously; and that the Public most cordially co-operated in this benevolent undertaking.

Oh Tuesday evening the Theatre presented a very animated scene. His Excellency and Suite were present, which, with inducements of philanthropby, doubtless occasioned so numerous an attendance of most of the distinguished inhabitants of Sydney. The pieces represented were Bamfylde Moore Carew, and the Mock Doctor. The performers were volunteers from H. M. 4th Regiment . . . Mrs. Taylor, whom we have always observed to be extremely ready to contribute her powerful aid, whenever either public or private benevolence was the avowed object of the performance, sang her admired songs of Kate Kearney and Buy a Broom . . . Mr. W. Wallace also, who at all times manifests a congenial spirit of liberality and kindness, played one of his beautiful fantasias on the violin . . .


[Advertisement], The Australian (5 May 1837), 3 

MR. S. WALLACE, Professor of Music, is desirous of taking a respacyable Youth as in Apprentice. He will have an oppportunity of hearing the practical and theoretical part of the profession. Application to be made to Mr. S. Wallace, Professor of Music, George-street, Parramatta. A Premium will be required.


[Advertisements], The Sydney Herald (8 May 1837), 3 

PARRAMATTA. CIRCULATING LIBRARY. MR. S. WALLACE begs respectfully to inform the Ladies and Gentlemen, residents in Parramatta and its vicinity, that he intends opening his Circulating Library on the 8th of May. Catalogues, price One Shilling. George-street, Parramatta.


28 May 1837, opening, St. Patrick's Church (RC), Parramatta

"Opening of St. Patrick's Church, Parramatta", The Sydney Monitor (29 May 1837), 2 

Yesterday being the day appointed - the Right Rev. Bishop Poulding accompanied by the clergy, performed First Mass with the usual ceremony of opening a Church. There were about 1000 individuals present. The musical profession of sydney rendered their gratuitpis assistance on the occasion. Miss E. Wallace sang Ave verum, and Ah Perdona, in her best style. Messrs. Wallace rendered their able assistance, a collection was made during the service amounting to £45 . . .


[News], The Sydney Gazette and New South Wales Advertiser (6 June 1837), 2 

Mr. Wallace intends in the course of three weeks to get up a concert at Maitland: this will bo a treat for the residents in that district of the Hunter, who are partial to a scientific, amusing, and rational recreation.


[News], The Australian (7 July 1837), 2

We understand that it is the intention of Mr. W. Wallace to give a Concert in Sydney shortly. We hope that the rumour is true, as some change of amusement is much wanting at present, and we have no doubt that it would repay Mr. W. for the trouble of getting one up.


"NEWS OF THE DAY", The Sydney Monitor (24 July 1837), 2 

A woman named Margaret Rancke was brought before Colonel Wilson, the other day, for absconding from the service of Mr. S. Wallace, of Parramatta. The case was remanded in order to procure the attendance of Mr. Wallace. On Friday he attended, and the case was gone into, and the woman sent to the factory for two months . . .

See also:

"POLICE INCIDENTS", The Sydney Gazette and New South Wales Advertiser (5 August 1837), 3 

Margaret Collins, assigned to Mr. Wallace of Parramatta, made her appearance before the bench to show cause why she should not be punished for being picked up in Sydney without a pass, contrary to the rules and regulations in such cases made provided. Margaret slated that it was some time since she had the pleasure of seeing her friends, and feeling inclined for a change of scene she took French leave, being well aware that she would only have spent her breath in vain to ask her mistress's permission. The bench disapproving of such conduct, ordered her to forwarded to Parramatta for the opinion of the magistrate in that district.


1 August 1837, concert, Theatre Royal, Sydney

"NEWS OF THE DAY", The Sydney Monitor (26 July 1837), 2 

We perceive by an advertisement in another column that Mr. Wallace has consented to give a Concert on Tuesday evening next, we are informed it is at the particular desire of some of the first classes in Sydney. Major England has consented to permit the band of the 4th to attend for the last time previous to their departure for India. The Glee singers of this band have proved favorites with the public, and it is expected there will be a full attenddance.

[Advertisement], The Australian (1 August 1837), 2

BEGS to Announce that his CONCERT
MUSIC, will take place THIS EVENING,
August 1st, 1837, in the Theatre Royal, on which occasion he will be assisted by Miss Deane, Miss E. Wallace, Mr. Deane, Mr. S. Wallace, and Mr. Josephson, who has kindly given his gratuitous services.
1. Overture to Masaniello - Auber
2. CHORUS - Vive Enrico - Puchitta
3. INTRODUCTION & BRILLIANT RONDO, Pianoforte - Herz - Mr. W. Wallace
4. CAVATINA - Dall'asilo della Pace - Costa - Miss E. Wallace
5. Fantasia, Flute - Drouet - Mr. S. Wallace
6. CHORUS - Vive le Roi - Balfe
7. SONG - Buy my Flowers - Rodwell - Miss E. Wallace
9. OVERTURE - La Dame Blanche - Boildieu
10. Chorus - Hall our Patiot King - Auber
12. SONG - Oh! believe me if all those endearing young charms - Irish Melody - Miss E. Wallace
13. GRAND QUARTETT Pianoforte, Violins, & Violoncello - Herz - Mr. W. Wallace, Mr. Josephson, Master E. Deane, & Mr. Deane
14. SONG (by particular desire) - Black Ey'd Susan - English Melody - Miss E. Wallace
15. CONCERTO, Violin, in which will be introduced the favorite Scotch Melody - Ye Banks and Braes o' bonnie Doun - Mr. W. Wallace
16. Finale - God Save the King.
By the kind permission of MAJOR ENGLAND, Mr. Wallace will be allowed the valuable aid of the Band of the 4th Regiment, who will perform some of their favorite pieces, for the last time previous to their departure for India.
On this occasion the Pit and Boxes will be the same Price. The entrance to the Pit will be through the Dress Circle, and the Seats will be covered the same as on the night of the performance of the Soldiers of the 4th Regiment.
BOXES AND PIT, 7s. 6d.
GALLERY. 2s. 6d.
Tickets of Admission may be had at Mr. Ellard's, Music Saloon; and at Mr. W. Wallace's residence, Regent Terrace, Hunter-street.
The Concert will commence at Eight o' clock precisely.

"THE CONCERT", The Sydney Gazette and New South Wales Advertiser (3 August 1837), 3 

Mr. Wallace's Concert came off on Tuesday evening pursuant to announcement, at the Theatre Royal, before a most numerous attendance, comprising a large portion of the fashionable and respectable inhabitants of Sydney, interspersed with a pretty tolerable admixture of the military and of the naval officers now in our harbour. We are not sufficient connoisseurs to do justice to the various performances. The chorusses Vive Enrico and Vive le Roi were executed in good style by tho glee singers of the Band of the 4th; the latter was loudly encored. Hail our Patriot King by the same singers we thought a great failure. Miss. E. Wallace has a superb voice, but her notes were pitched on too high a key to be altogether pleasing to the ear. Her Dall'asilo della pace pleased us more than any other of her performances. Miss Deane's performance on the piano was admirable, and was most rapturously received by the audience. Mr. S. Wallace plays very divinely on the flute, but the hero of the evening was Mr. Wallace himself. His execution on both the violin and piano were of the most masterly description. Notwithstanding the performances were all good, we should have left the Concert without feeling altogether satisfied but for Mr. Wallace's performance of Ye banks and braes o'bonny Doon, which exceeded in execution, far beyond description, any thing we had ever before heard. After all it is at the performance of simple airs like these, that audiences are most gratified, for one that can appreciate the merits of difficult pieces there are fifty that know nothing of the matter, and we would advise Mr. Wallace at his future Concerts to give them in greater abundance. The receipts of the house must have been something considerable, and sufficient, we should imagine to induce Mr. Wallace to get up another evening's entertainment.

"THE CONCERT", The Australian (4 August 1837), 2 

On Tuesday evening last, we once again had the pleasure, though after much too long an interval, of being present at one of Mr. William Wallace's Concerts. The Theatre was engaged for the occasion, and the attendance was as flattering as rank and numbers could make it. Indeed, nothing but the presence of His Excellency seemed wanting to render this entertainment the most gratifying one of the kind that the Colony has yet presented. We cordially congratulate Mr. Wallace on his well merited success - the talents of this gentleman are of an order to do honor to the country he owns, and to the land that now calls them into action. We think the youthful portion of the Colony much indebted to Mr. Wallace. He has presented them with a model of musical taste and excellence, and has exemplified the capabilities of the instruments he professes, far beyond any thing of the kind that had been produced (at least professionally) previous to his arrival. While, therefore, we congratulate him on the public acknowledgment of his talent on Tuesday evening last, we think it one to which he is eminently entitled.

The Concert, we are sure, must have amply gratified the most sanguine expectations. We feel the impossibility of confining within the limits of our scanty space, anything like a satisfactory analysis of its manifold excellencies. The Band of the 4th Regimcnt which has so often entertained us on similar occasions, entertained us on the present one for the last time previous to their departure for India. The public will not soon forgot the uniform kindness of the commanding Officer of the 4th, in allowing the services of his Band, nor the cheerful and efficient manner in which those services have been rendered. On this, their last appearance, they played the overtures to "Masaniello," and "La Dame Blanche" - their execution of these two pieces, particularly the latter, will long be a memento of the excellence of the Band in the ensemble, and of the matured talent, as a musician, and skill as a leader of Mr. Coleman. Certain of the band also sang three chorusses, Viva Enrico," "Hail our Patriot King," and "Vive le Roi." The latter was encored and was much better sung the second time than the first - manifestly the result of increased confidence. Miss Wallace sang tho animated cavatina "Dall'asito della pace" with grant precision, and undoubtedly purity of style. Some of the elaborate passages, indeed, seemed not to have received that close study, requisite to their being satisfactorily mastered - this, however, Miss W. can easily remove. It is a fine energetic air, the sympathy [symphony] is tastefully imagined, and the accompaniment impressive. Miss Wallace next sand the innocent, but tender little melody of "Buy my Flowers," in which she was most deservedly encored. This little ballad is from Bulwer's "Last Days of Pompeii." This young lady also sang witli considerable effect, her old favorite ballad of "Black ey'd Susan." Miss Deane's performance on the pianoforte, obtained for her the unqualified approbation of all present, and when her extreme youth, and necessary want of strength in the fingers and the wrist are considered, her facility of touch, her very accurate taste, and power over the instrument, really excite our astonishment as well as admiration. If these young ladies continue in the same progressive developement [sic] of their respective talents, as they have done, since we first had the pleasure of hearing them, a few yenrs will bring them, if not in the first rank of their profession, at least within its precincts. Mr. Wellington Wallace's performance of one of Drouet's Fantasias on the Flute, was highly, and deservedly applauded. The excellence to which this young gentleman has attained on the flute, can be the result only of rich musical feeling and unremitting study. The lower notes are perfect, and it is well known that the embouchure neccssary to produce them can be acquired only by the diligent practice of years. The effect of the Quartette by Messrs. William Wallace, Josephson, Deane, and Son, was what might be expected from the respective and united talent of those gentlemen. In speaking of Master Deane, we, of course, speak of him only as a juvenile performer. Both he and his brother, who took a part in the concerto, deserve the highest commendations. Mr. Wallace favoured us with a Rondo on the Piano, and two Concertos on the Violin, in the last of which he Introduced the air of "Ye Banks and Braes." Of Mr. W.'s performance it would be difficult to spoak without some degree of enthusiasm - there is this peculiarity in his performance, that while complicated passages and occasional flashes of striking effect, afford the most exquisite treat to the most cultivated musical feeling, and the fastidious connisseur [sic], the ears and the hearts of the uninitiated, are equally electrified.

We observe with great satisfaction that a spirit of music seems generally infused throughout the Colony; indeed, the encouragement given to this fascinating science seems to be more than proportionate to our advances in other respects, in the refinements and advantages of our opulent and civilised community. We have ample provision for professional talent amongst us - and the attendance on Tuesday evening's Concert sufficiently proves, that there is both taste to appreciate good music and readiness to reward those who are engaged in its introduction.

"THE CONCERT", The Sydney Monitor (4 August 1837), 2 

. . . It is to be hoped that Mr. Wallace received commensurate remuneration for his trouble. The Concert nights have heretofore been generally unfavorable, and the numerous expenses attending the getting up of a Concert have not been so adequately remunerated as to induce the leaders of our musical world to renew them.

"MR. WALLACE'S CONCERT . . .", The Sydney Herald (7 August 1837), 2 

MR. WALLACE'S CONCERT, on Tuesday evening last, was rather numerously attended. Seeing that this description of entertainment usually draws together so many respectable persons - male and female - while theatrical performances obtain (certainly, with some exceptions) a rather dubious patronage - it is somewhat surprising that it has not been of more frequent occurrence than it has been of late. Considering the low state of the drama in this Colony, at present - that we cannot command a sufficient body of ordinary talent to represent, even decently, a paltry two-act farce - and as the Colony does possess a good deal of musical talent, vocal and instrumental, one cannot but feel surprised that it is not offener made available fof the gratification of the public. We are quite satisfied taht a series of Concerts, combining the instrumental and vocal talent which Sydney can furnish, would amply remunerate the conductors. But besides this, so formidable a rival amusement, would put theatrical showmen - who raise money "under false pretences" - to the "right about;" and stimulate them to the representation of something better than tales of murder and robbery, with "new music, scenery, dresses, and decorations;" which the gulled audience at last find out to be the old dittoes they have been contemplating and listening to, ab initio; which, for the benefit of the unlearned, wa translate "from the first night of the season." Who, for instance, possessing a scruple of taste, would not rather pay five shillings to hear one of Mr. Wallace's beautiful solos on the violin, than pay one shilling to witness the performance of a cut-throat melo-drama? The number of persons of undoubted respectability who were present at the Concert on Tuesday evening, furnishes a complete answer to this question. We saw there some whom we never saw present at any dramatic entertainment in the Colony; and it is evident, therefore, that a reform in the character, and mode of conducting public amusements, is the one thing needful to command respectable patronage.

Mr. Wallace was deficient, on this occasion, in a muster of vocal strength. With the exception of the glee singers from the band of the 4th regiment, Miss Wallace was the only vocalist; and her best effort certainly was the simple melody of Black Ey'd Susan, which was sung in a manner highly creditable to that young lady's taste and judgment. She also sang a pretty ballad, composed by Rodwell, called Buy my Flowers, the words by Mr. E. L. Bulwer, which was encored. Miss Wallace's singing is distinguished by clear enunciation, far beyond that of vocalists of much higher pretension. Miss Deane had little to do; but her execution of the variations in the march in Othello manifested not only a judicious instructor, but also her own capability of becoming a first-rate performer on the piano-forte. We do not think that, even now, she is very much behind Mr. Wallace himself on that instrument. Of the other instrumental music - second to the solos on the violin by Mr. Wallace - that which pleased us most was the Quartett, in the second part of the Concert, by Messrs. Wallace, Deane, Josephson '(piano-forte), and Master E. Deane. But the lion of the evening upon this, as upon all similar occasions, was Mr. W. Wallace. His performance on the violin was, indeed, splendid. The first solo (Mayseder's third Polonaise) is remarkable for its intircacies; but the towering skill of the performer carried him triumphantly throughout. And yet, with what ease he handles the instrument! In his grasp, the violin seems a creature obedient to his will! This performance was a treat for the musical amateur; but the Concerto in the second part struck home to all hearts. We can hardly imagine anything finer than the rich, varied, and liquid tones which he drew from the instrument, in the beautiful Scotch air - Ye Banks and Braes. This was, as it deserved to be, not only honoured by a most enthusiastic encore by the audience generally, but by the marked plaudits of the ladies present. We had almost forgotten to notiee that Mr. S. Wallace played a Fantasia on the flute, by Drouet, in a manner worthy of that composer, and celebrated performer on the instrument. The lower notes drawn from the instrument by Mr. S. Wallace, and his execution of chromatic passages are in our opinion, fully equal to some of the best players we have ever heard.

"By the kind permission of Major England" (as the bills say) the band of the 4th played several of their favourite pieces, and sung some glees in a highly creditable manner. The band of this regiment, which is now about to leave us, will be associated with many pleasurable recollections; and the readiness with which Major England has always afforded his "kind permission" for it to contribute towards the public gratification, whenever he has been solicited to afford it, will not readily be forgotten. We wish him and his well-behaved corps, a sale and pleasant passage to their destination from this Colony.

Among the company present at the Concert, we noticed - the Colonial Secretary and family; Colonel Snodgrass and family; Mr. Justice Burton and family; the Attorney-General and family; the Commissioner of the Court of Requests and family; Drs. Bowman and Mitchell and a party of lidies; several of the Magistrates of the Colony; Naval and Military Officers, &c., &c., &c.


[News], The Australian (25 August 1837), 2 

The lovers of music will be gratified to hear that it is the intention of Mr. Wallace, to have another Concert shortly, and some Musical Amateurs of great promise, will be introduced to make their debut on the occasion.


29 September 1837, concert, Theatre Royal, Sydney

"NEWS OF THE DAY", The Sydney Monitor (25 September 1837), 2 

Mr. Wallace's vocal and instrumental concert will take place in the Thearte, on Friday evening. The band of the 50th regiment will be in attendance. We call the attention of the public to the programme of the concert, in another column. We are informed that the selection of the violin pieces has been made with a view of contrasting the style of the Viotti with that of the Paganini school. A grand new quartette, which had but just been performed by the Philharmonic Society previous to the Honduras leaving London, will also be introduced. This will be the last concert this season.

[News], The Australian (26 September 1837), 2 

The Concert of our talented musician and townsman, Mr. Wallace, takes place on Friday evening next, at the Theatre, under the patronage of the Governor. Among the many novelties which are promised, we are glad to perceive that Mr. W. intends to afford the lovers of music an opportunity of hearing a piece of composition from the classical Viotti, as also a Quartette from Beethoven; the very same that has been played recently at the Philharmonic Concert at home, with great success. We understand that these two pieces are introduced chiefly as an experiment, in order to form a taste for superior compositions than we have hitherto heard; in addition to these attractions, Miss Deane will play on the piano; Mr. S. Wallace on the flute, and Miss W. will delight her hearers with some favourite songs in Italian and English. The Gentleman Amateur who has been so flatteringly received at former Concerts, will also lend his assistance.

"MR. WALLACE'S CONCERT", The Sydney Herald (28 September 1837), 2 

That accomplished musician, Mr. W. Wallace, we perceive, will give a concert of vocal und instrumental music, at the theatre to-morrow evening - under the patronage of his Excellency the Governor. We trust that so rational and delightful a source of amusement may be well attended. The programme of the Concert promises a rich musical treat, and contains two new (in this Colony) instrumental pieces - one by Vioti, and one by Beethoven. Mr. Wallace has had scarcely one of his concerts so fully attended as talent like his might have anticipated. One cause and that not a very amiable one - may, we think, be assigned for this - Mr. W. frequently plays for the amusement of the guests at Government House, and at private parties, and many ladies and gentlemen who have an opportunity of enjoying the exercise of his talents gratuitously, forget to attend his benefit concerts. This is very unjust, and it is, therefore, to be hoped that every generous mind who may have derived pleasure from Mr. Wallace's performances, free of expense, will not fail to patronise, in a substantial manner, his occasional concerts.

[Advertisement], The Sydney Monitor (29 September 1837), 1 

Under the Patronage of his Excellency the Governor, who has signified his intention of being present.
On which nccasion he will be assisted by Miss Deane, Miss E. Wallace, Mr. S. Wallace, Mr. Deane and Sons, and the Amateur, who so kindly assisted at Mr. Wallace's previous Concert.
2 - Cavatina - Oh! Come Risorgere - VACCAJ - Miss Wallace
3 - Grand Fantasia, (Pianoforte) - La Fete Pastorale - HERTZ - Mr. Wallace
4 - Song from the Opera of Preciosa - WEBER - Amateur
5 - Concerto Flute - TOULOU - Mr. S. W. Wallace
6 - Song - The. Light Guitar - Miss Wallace
7. Concerto, with Orchestral Accompaianments, (Violini) introducing the favorite Irish Melody Savourneen Deelish - VIOTTI - Mr. W. Wallace
8- Overture - Il Barbiere di Siviglia - ROSSINI.
9 - Song from Massaniello, When the sigh long suppressed, AUBER - Miss Wallace
10 - Brilliant Variations on an Air from Norma (Pianoforte) - HERTZ - Miss Dean
11 - Duet - My Pretty Page - BISHOP - Miss Wallace & Master Dean
12 - Song-From the Opera, of La Dame Blanche - BOILDIEU - Amateur
13 - Quartet - Opera 18 BEETHOVEN (the first time in the Colony) Two Violins, Tenor and Violincello - Mr. Wallace, Mr. Deane, Master Deane, and Master E. Deane
14 - Song - The Deep Sea - HORN - Miss Wallace
15 - Fantasia, Violin, in which will be introduced by particular desire the Scotch Melody - Ye Banks and Braes of bonnie Doon - Mr. Wallace.
16 - FINALE - God Save the King.
N.B. - By the kind permission of Col. Wodehouse, Mr. Wallace will be allowed the aid of the Band of the 50th Regiment.
On this occasion the Pit and Boxes will be the same Price. The entrance to the Pit will be through the Dress Circle, and the Seats will be covered the same as on the night of the last Concert.
Boxes and Pit 7s. 6d.; Upper Boxes, 4s.; Gallery, 2s. 6d.
Tickets:of Admission may be had st Mr. Ellard's Music Saloon; and at Mr. W. Wallace's residence, Regent Terrace, Hunter-street.
The Concert will commence at 8 o'Clock precisely.

"THE CONCERT", The Sydney Herald (2 October 1837), 2 

Mr. W. Wallace afforded the lovers of music a rich treat on Friday evening last. His Excellency the Governor was present with his suite. We have had such frequent occasion to notice in terms of commendation, the talents of the performers who usually assist at Mr. Wallace's Concerts, that really we have almost exhausted our vocabulary of praise. Miss Wallace sings with taste and science, but we like her English better than her Italian songs. The lower tones of her voice are particularly effective, and were heard to advantage in Horn's song of The Deep Sea; this young lady also sung the pretty little air called The Light Guitar, with a suitable accompaniement by herself; and, with that clever boy, Master E. Deane, the duet of My Pretty Page, which was honoured with an unanimous encore. The chief attraction of the evening, however, was the instrumental music, which embraced a novelty in the performance of one of Beethoven's splendid Quartettes, by Messrs. Wallace and Deane, and Masters Deane and E. Deane. We know not whether this particular Quartette was chosen from the works of its great composer, as the one best adapted to display the taste and skill of the performer on the first violin; but, certainly, it had that effect, for not the most brilliant passages in Mr. Wallace's solos on the violin told more delightfully upon the ear than than the subdued melody which he drew from the instrument in this performance. He was, also, ably assisted by Mr. Deane and his sons. Mr. S. Wallace plays with with much skill; his concerto on the flute, in the course of which he introduced that beautiful Irish air, more generally known by the commencement of Moore's words to it - "Oh, blame not the Bard" - was most deservedly applauded. Miss Deane and Mr. W. Wallace each performed a solo on the pianoforte, in a very scientific manner, we have no doubt; but we do not profess ourselves admirers of the music - if music it can be called - of Herz. His compositions are, in our opinion (perhaps from want of taste), merely brilliant inanities - combinations of notes which seem as if constructed rather to display the mechanical skill of the performer in mastering their intricacies, than with any view to the production of melody. The performance of Miss Deane, particularly for one so young, is deserving of great praise. Of Mr. W. Wallace's concertos on the violin, we have lastly to write. Why lastly? We know not; unless it be for the same reason that children, having a variety of sweetmeats, generally preserve the most luscious morsel for the last, as if to enjoy the height of retrospective pleasure. After all this "note of preparation," however, we know not what more we can say, but that - Wallace was "himself again!" He was listened to with breathless delight; and his evident consciousness that he was so, called forth his utmost energies - and he was triumphantly successful. In the hard, working style of Viotti, and in the brilliant, erratic flights of the Paganini school, he was equally powerful. The Irish air introduced in the first concerto, and the Scotch air in the second, were, of themselves well worth the price of admission to hear. The audience all appeared well pleased; and we hope that Mr. Wallace may be induced to give still more occasional concerts, and be regarded with increased pecuniary encouragement.

"Mr. Wallace's Concert", The Sydney Monitor (2 October 1837), 2-3 

The Concert on Friday, was well attended. The Governor was present, and the Grenadiers under arms, received His Excellency at the door of the Royal Hotel.

It is above a year, since we heard Miss Wallace sing. It appeared to us she has greatly improved in the managemnent of her voice, and in her expression. When we heard her before, there wanted expression, this being the soul of music. Miss W's improvement rendered her singing interesting on Friday evening. Mr. Rhodius song well, the want of volume heing compensated by the sweetness of his tones. The Band executed the Overtures with great correctness; the second was full of good music. Mr. Wallace and Miss Deane, did all we could ever wish to be done on the Piano. And provided these Fantasias, (a good name for the frivolities now in fashion) were interspersed, each with half a dozen of the best Scotch and English airs, we should like them. But without such agreeable and refreshing interludes, we take the same sort of pleasure in witnessing the engine-like precision and rapidity of the fingers as we would regard a juggler with his cups and balls. The art of fingering is purely the art of mechanism, for the music is not worth the name. The Violin, however, is an instrument which will make music, however fantastically played, and Mr. Wallace made it produce tones exquisite and surprising. The duet between Miss Wallace and Master Deane, pleased the audience well.

"THE CONCERT", The Australian (6 October 1837), 2 

The entire absence of anything approaching to rational public entertaiments in the Colony, combined with the generul disposition that undoubtedly prevails to encourage them, have rendered the concerts under the direction of Mr. Wallace an event of very great interest and excitement. And here we cannot but repeat what we have on many former occasions ventured to say, that this gentleman appears amongst us with pre-eminent claims to patronge and reward. As a musician, as well practical as theoretical, he is unquestionably without any equal in the Colony. And when we consider the many years of anxious application and diligent study necessary to the perfection which he has attained in his profession, it cannot be too much to expect that the fullest encouragement will be given to his talents when ever he comes before the public to exert them.

The attendance at his concert on Friday evening, most flatteringly verified this expectation. We have seldom, if ever, had the pleasure of seeing on a like occasion so distinguished an audience. The dress circle which was filled with the very elite of our society, was perfectly radiant with elegance and beauty; and in the pit, which was thrown open from the lower boxes not a seat was unoccupied. His Excellency (the steady patron of every thing that is liberal and refined), with his suite honored the concert with his attendance, which of course gave an interest and a spirit to the scene which it would not otherwise have possessed. Mr. Wallace was assisted by his brother Mr. Wellington, Miss Wallace, Mr. Deane and his family, the gentleman amateur who has appeared on many former occasions, and by the band of tho 80th regiment [recte Band of the 50th Regiment]. Miss Wallace sang Oh Oome Risorgere with considerable science and effect. Her duet My Pretty Page, with Master Deane, was very prettily sung. Miss Dean's performance on the piano did us much honor to herself as it gave pleasure to the auditors. The advances which these young ladies make respectively in their profession, command unqualified praise. The gentleman amateur sang two songs from Preciosa, and La dame Blanche with his usual sweetness and effect. M. Wellington Wallace's concerto on the flute was very beautifully played. The refinement of his tones in general, and the peculiar richness of the lower ones certainly entltle him to the same rank as a flute player as his brother occupies at the violin and piano forte. One of Beethoven's Quartettes by Mr. Wallace, Mr. Dean and Sons was an excellent performance; but indeed the quartettes of this great man are so divine that if their spirit and harmony be but moderately preserved, they cannot fail to delight. Gratified as we have always been at Mr Wallace's exertions, we certainly think that on Friday evening, he produced more from the violin than we have heard on any former occasion. There was a fulness and delicacy of tone with a mastery over his instrument which incline us to think (and we have most piously attended all his concerts) that he has never before, in public, called forth his energies so effectively. We cannot however, abstain from remarking, yet, with the utmost tenderness towards those concerned, that, in the accompaniment, justice is not done to Mr. Wallace's playing; this perhaps may be occasioned by the insufficiency of the rehearsals, but it ought, and may be remedied. Mr. W. played the beautiful descriptive piece of La Féte Pastirale [sic] with great effect. The band of the 80th [sic] played the overtures to Tancredi, and Il Barbiere very creditably, but they have very much to acquire. The musicians seem to be all of them young men, possessing capabilities, by diligence and good tuition, are no doubt susceptible of every improvement. We could not help thinking that the style and tone of the leader in Tancredi were any thing but desirable for a band which aimed at either taste or harmony. Their was a coarse reedy tone from his Clarionet, which we should like to see ameliorated. He is but young in years, and will no doubt soon effect this by diligent study and practice. It is to be hoped that the abundant success of Mr W. on Friday last, will induce him to favor us ere long with another concert.


[Advertisement], The Sydney Gazette and New South Wales Advertiser (14 October 1837), 3 

MR. S. W. WALLACE BEGS to inform the Public that he is now residing in Sydney, and intends giving Lessons on the FLUTE, GUITAR, and VIOLIN, at his Brother's residence, Regent-terrace, Hunter-street.


October 1837, shipment of pianos, by the William Bentinck, from London,

[Advertisement], The Sydney Gazette and New South Wales Advertiser (14 October 1837), 3 

Ex Lord William Bentinck.
BEGS to apprise his Friends and the Public in general, that he has received by the above vessel from his London Agents, a few elegant modern Pianofortes, from the well-known makers,
and selected expressly for him, by HENRI HERTZ, the celebrated Pianist, and they will be on view in a few days at his residence, Regent Terrace, Hunter-street.
A large assortmont of the latest compositions for the Pianoforte, by Herz, Czerny, Hummel,
N. B. - The present investment is the second portion of those Pianos he received, ex Royal George, which have been so highly approved of.


19 October 1837, the widow Levy's benefit, Theatre Royal, Sydney

[Advertisement], The Sydney Monitor (18 October 1837), 1 

THE Public is most respectfully informed that as a tribute of respect for the memory of the late Proprietor Mr. B. LEVY, and with a view to assist his respected Relict and Family, the Performers, the Gentlemen of the Orchestra, and all Persons connected with the Establishment, have felt it their duty to present their gratuitous services to the Widow, for one night, for her BENEFIT, to whom they most heartily wish every success in her present arduous undertaking. The Members of the Theatre most respectfully solicit the support and assistance of the Australian Public.
THURSDAY, October 19, 1837,
The Performance will commence with the celebrated Comic Opera in Three Acts, entitled
The Castle of Andalusia;
Has with much kindness, and unsolicited, given his valuable services gratuitously, and will perform the celebrated FANTASIA, (Violin) introducing tthe favorite Irish Melody, "'Tis the last Rose of Summer," accompanied on the Piano Forte by Mr. J. F. JOSEPHSON, who has also presented his services for this occasion . . .

Theatre proprietor, Barnett Levey, having died on 2 October 1837


26 October 1837, John Philip Deane and Sons' benefit, Theatre Royal, Sydney

"DOMESTIC INTELLIGENCE", The Sydney Herald (26 October 1837), 2 

The performances at the Theatre this evening will be for the benefit of Mr. Deane and his sons. The entertainments announced are attractive - combining the eminent talent of Mr. W. Wallace. Mr. Deane has been the means of bringing the orchestra into its present comparatively efficient state, and has always been attentive to his duties. He is, therefore, entitled to that ample support which we hope he will receive.

[Advertisement], The Sydney Herald (26 October 1837), 1 

Theatre Royal, Sydney.
For the Benefit of Mr. Deane, Leader of the Orchestra, and Sons.
MR. DEANE MOST respectfully informs the Ladies and Gentlemen of Sydney, that his Benefit will take place this Evening, October 26, 1837, on which occasion will be performed, for the first time at this Theatre, the popular Legendary Drama, in two Acts, from the pen of C. A. Somerset, entitled
. . . After which,
A Vocal and Instrumental Melange, In which Mr. Deane will be assisted by Mr. W. Wallace, (who has kindly offered his services gratuitously on this occasion) and will play a Solo on the Violin.
Song - Bid me discourse (Bishop) - Mrs. Clarke
Solo, Pianoforte - Pre aux Clercs (Hertz) - Miss Deane
Song - Green Hills of Tyrol - Miss A. Winstanly
Glee - The Swiss Boy, (accompanied by four Guitars) - Miss Deane, Masters J. and E. Deane, and Mr. Deane
Song - Batti, Batti, O' Bel Maseto (Mozart) - Mrs. Clarke
Solo, Violocello - Master E. Deane Duet - My putty Page - Mrs. Clarke and Master Deane Violin - in which will be introduced Ye Banks and Braes - by Mr. W. Wallace.
The whole to conclude with the broad and laughable Farce called
My Husband's Ghost; OR, THE CORPORAL AnD THE DRUMMER . . .

"THE PROCLAIMING QUEEN VICTORIA", and "THE THEATRE", The Australian (31 October 1837), 2 

Pursuant to the Government notice from the Colonial Secretary's office of the 26th Instant, on Friday last the Royal Standard was displayed at sun rise from Dawes's Battery, and in front of Government house, half staff high. About 11 o'clock, the troops in garrison under the command of Colonel Wodehouse, of H. M. 50th Regiment were marched to the domain, and drawn up in line on the lawn in front of Government house. The proclamation by the Governor and Civil Officers, &c, given elsewhere, announcing the accession of Her Majesty Queen Victoria, to the throne of the British Empire, having been previously signed by His Excelloncy, the Judges, the Clergy, the Civil and Military Officers, and some of the principal Inhabitants of the Colony, was brought out into the verandah of Government House at 12 o' Clock, and read by the Sheriff, at the conclusion of which three hearty cheers were given by the assembled spectators for Her Majesty's long and prosperous reign. A royal salute was immediately fired from Dawes's Battery, in honor of the auspicious event; and the colors of the 50th Regiment, (or Queen's own,) were lowered under a general salute, and the royal standards were hoisted to the staff head. The military then fired a feu-de-joie, the band playing the national anthem at each discharge of the musketry, and at the conclusion of this portion of the ceremony, the soldiers gave three cheers in honor of their new Sovereign. The procession then moved off through Bridge-street, and up George-street, to the Police Office . . .

THE THEATRE. Mr. Deane took his benefit on Thursday evening last, and judging from the very full attendance with which he was favored, Mr. Deane must have derived at much profit, as his audience derived pleasure from the evening's entertainment . . . Master Deane's Solo, (nel cor più) on the Violoncello was really admirable. We have frequently admired him, but we never heard him play with a taste and mastery over his instrument at all approaching to his efforts on Thursday evening. He has evidently been a vigilant observer of our musical cynosure Mr. Wallace, and from his efforts to imitate him, he displays a perception of what is excellent, which leads us to anticipate very highly of him. The finale to this well selected melange was the Corinthian capital to the pillar. Mr. Wallace played a solo on the Violin, introducing the air of "Ye Banks and Braes." As we presume that there is no reader of the Australian who has not heard Mr. Wallace, we think it quite sufficient to say that he played, to enable them to fill up the measure of the gratification he imparted to his audience. Mr. Wallace, we perceive gave his services gratuitously on this occasion, a professional liberality which we should be glad to see more generally cultivated . . .


[Advertising], The Australian (27 October 1837), 3 

MR. WM. WALLACE has much pleasure in respectfully acquainting the Public, that he has just received by the latest arrivals, a really splendid assortment of Piano fortes from the best London makers. The whole of these Instruments having been expressly, and with great care, selected by Mr. Henry Herz; and, Mr. W. having made a personal examination of each, he may be allowed most confidently to speak of them, as surpassing, as well in moderateness of cost, as in every other point of view, any that have yet appeared in the Colony.

Mr. Wallace has been most anxious to obtain a supply of superior instruments, such as those now received, for the more immediate advantage of those whom he may have the honor to instruct, knowing how materially the style and proficiency of a pupil are dependent upon the instrument used in practice. Mr. W. most unfeignedly assures the residents of the Colony, that in inviting them to an early inspection of these instruments, it is solely from a desire to promote the culture and advancement of a science, in which, from its having been the exclusive pursuit of his whole life, and being now adopted by him as a profession, he cannot but be supposed to feel a deep and intense interest. The anxiety of Mr. W. in this respect, added to the frequent recommendations of those, whose advice it would be ungrateful in him to disregard, have determined him, though not without much inconvenience to his private arrangements, to open a Repository, where he proposes constantly to furnish the most carefully selected Pianofortes and other Musical Instruments, with the newest and most ample collection of Music from the whole range of the most approved Standard Composers. Mr. W. trusts that he may not be thought to say more than is allowable, when he expresses his opinion, that it must be of considerable advantage in the purchase of so important an article as a Piano, to have it upon the recommendation and warranty of a professional man.

With reference to the supply of Music which Mr. W. proposes always to have on hand, he begs most particularly to bring under the attention of those residing in the Interior, who may favor him with their commands, that in furnishing new Music, he will always be enabled, by being informed of the last piece played by the pupil, and the length of time they may have been engaged in that study, to select for them such pieces as will be best adapted to facilitate their progress.

Hunter Street, Sydney.

[News], The Australian (3 November 1837), 2 

It is with great satisfaction that we perceive a taste for music becoming bo great throughout the uolony. i nere canuui Hci »» a greater indication of increasing opulence and refinement than this. Seven years ago the ap- pearance of a piano forte in tho interior was quite a novelty - at present there are few houses of re- spectability without ono. It cannot be denied that the appearance of Mr Wallace amongst us has contributed to this result more than any other circumstance - he gave an impetus to the atudy of music which goes on increasing. We perceive that this gentleman has at length done what we think he ought to have done at the outset, namely, tn nnm a mimlf! renository. At all events if he has begun late he has begun wen. i ne choiuu and elegant assortment of instruments (amongst which is the phenomenon of a self-acting piano) with which he has opened are really pleasant to look upon.' In this undertaking wo wish Mr Wallace all the success he deserves, and we doubt not he will find it.

[News], The Colonist (9 November 1837), 5 

The subjoined paragraph in a contemporary . . .

It is with great satisfaction that we . . .


"DOMESTIC INTELLIGENCE", The Sydney Herald (26 October 1837), 2 

We understand that Mr. Wallace intends shortly to give a Concert at Maitland.


[Advertisement], The Australian (28 November 1837), 3

W. WALLACE BEGS to inform his friends and the public in general that he has removed his AUSTRALIAN MUSIC REPOSITORY from Regent Terrace, Hunter-street, to King-street. N. B. - A splendid collection of Musical Instruments.


26 December 1837, Christmas pantomime (first night), Theatre Royal, Sydney

[Advertisement], The Sydney Gazette and New South Wales Advertiser (26 December 1827), 2 

THE Public is most respectfully informed, that the THEATRE will RE-OPEN for the Season, on Tuesday, December 26, 1837. . .
. . . The Performances will commence with, for the first time here, the grand Grand Romantic Eastern Spectacle, in 3 Acts, entitled
With entire new Scenery, Machinery, Dresses, and Decorations.
The Music, which has been selected expressly for this Piece, will be furnished for the Orchestra through the kindness of Mr. W. WALLACE . . .

MUSIC: The Overture, and the Whole of the Music in Aladdin, Or the Wonderful Lamp: A Fairy Opera in Three Acts, Performed at the Theatre Royal Drury Lane . . . Henry R. Bishop 


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)

Graeme Skinner 2011, First national music, 51-52, 126 (DIGITISED)

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, 21 April 1827; baptised St. John's Parramatta, 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 (TROVE tagged by Australharmony)


"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 

"AN ANCIENT PROGRAMME", The Cumberland Argus and Fruitgrowers Advocate (17 April 1897), 13 

"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