The University of Sydney - Australharmony

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals

WATSON, William (reporter)

Preparing for a corrobbera . . . hymns

REPORT ONLY

Documentation:

Watson, journal entries (5 and 30 September 1832); Watson, Journal 1: August-October 1832, 12, 26-27

[5 September 1832] Wednesday 5th Five Black Natives and three of their wives came up this morning when we were at breakfast. One of them had his face daubed all over with pipe clay, which I am informed is the custom when they have a corrobbera [sic] or native dance.

[30 September 1832] Sunday 30th Sept. . . . The married men left us about 7 O'Clock but the young men remained by us. When we knelt down to prayers they appear'd to be at a loss what to think or how to act, however they all sat still cross legged, and their hands clasped. After prayers [27] we sang O'er the gloomy hills of darkness &c (set to the tune "Calcutta") come let us join our cheerful songs &c and There is a land of pure delight &c. The singing of the females seem'd to delight them much. I asked them where Black Fellow would go to when he should die? Sandy answered up there I believe pointing to the skies. I asked him who sits down there? He said Cobohn (great) King. Budjeree (good) fellows go there I believe.

Handt, journal entry (1 October 1832); Handt, Journal 1: August-October 1832, page 14; MS C N/O 51/13 [1-058]; modern edition online

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/handt/handt-journals

[1 October 1832] October, 1. We had on our way to pass a creek several times on account of its crooked course. The last time we crossed it, we were bogged, and it was with great difficulty that we could get out of the mud. We travelled about eight miles. We had scarcely pitched our tent when it began to rain. There is much timber here, but scarcely any underwood. The Blacks had been accompanying us, and received their supper. Two of them painted themselves afterwards with pipe-clay, and showed by the light of the fire their skill in the native dance.

Bibliograpny and resources:

Hilary M. Carey and David A. Roberts (eds), The Wellington Valley project: papers relating to the Church Missionary Society Mission to Wellington Valley, New South Wales 1830-1842 a critical electronic edition (Newcastle: University of Newcastle, 2002)

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

https://archive.org/stream/hymnsw00hebe#page/120/mode/2up

Music concordance:

The tune "Calcutta" was evidently named for the Anglican bishop of Calcutta, Reginald Heber (1783-1826), and probably fitted to the words of his hymn From Greenland's icy mountains, published posthumously in his Hymns (1827). It is not to be confused with the tune composed for the same words by the American composer Lowell Mason; rather, it would have been an earlier version of the tune as it appears in, e.g. The English hymnal (1933), no. 547 (page 709). The melody is regularly attributed to Heber; however, by his wife's own testimony, he was not musical. Maurice Frost (1947), below, identifies the source of the tune as the "Greek air" from the Melologue upon national melodies (1810/11) by Thomas Moore. However, I have as yet found no source for it dating from as early as the 1830s.

References:

Hymns, written and adapted to the weekly church service of the year by the Right Rev. Reginald Heber, D.D. (New York: G. & C. Carvill, 1827), 121-22

A collection of the play-bills of the Kilkenny theatre shewing all the performances there, 1802 to 1810 ([Kilkenny: ? ], 1811), 171

https://books.google.com.au/books?id=ziMAAAAAQAAJ&pg=PA171

"MELOLOGUE [from the Morning Chronicle]", The spirit of the public journals for 1811 ... vol. 15 (London: James Ridgway, 1812), 166

https://books.google.com.au/books?id=IMEPAAAAQAAJ&pg=PA166

Irish melodies, and a melologue upon national music by Thomas Moore esq. (Dublin: William Power, 1820), 271

https://books.google.com.au/books?id=LQ5gAAAAcAAJ&pg=PA271

[C. K. Bushe], The private theatre of Kilkenny, with introductory observations on other private theatres in Ireland, before it was opened ([? Kilkenny: ?, 1825], 54

https://archive.org/stream/cu31924027155070#page/n77/mode/2up

[Footnote] For the pretty Greek Melody introduced here, Mr. Moore was indebted to Mr. Gell, who brought it with him from Athens, among many other beautiful specimens of the wild mountain-music of Greece. The original words of the Air, beginning "I will go to the fountain for water," suggested the image of the girl singing beside the Rissus.

[Letter to the editor], The Spectator (14 November 1947), 16

http://archive.spectator.co.uk/article/14th-november-1947/16/stamr-koch-is-mistaken-about-the-tune-calcutta-bis

Mr. Koch is mistaken about the tune "Calcutta." Bishop Heber is not responsible for it. His own suggestion for a tune was one which can be found in VoL II of the Musical Miscellany, 1729, p. 94, entitled " The Faithful Maid," to the words "'Twas when the seas were roaring." The tune "Calcutta" originated from a "Melologue upon National Airs" produced at a concert arranged by George [sic] Moore in 1811 at the Theatre Royal, Dublin. There it is referred to as a Greek air. I believe the Irish Hymnal first changed the metre to fit Heber's hymn, and about 1874 Church Hymns gave it a new sixth line lifted from "Aurelia." Anyhow, proof is entirely lacking that the Bishop himself adapted the melody; certainly he didn't compose it! - Yours truly, MAURICE FROST, The Vicarage, Deddington, Oxford.

9-10 October 1832

Flinders Island, TAS

INDIGENOUS (mainland Tasmania)

WALKER, George Washington (recorder, reporter)

BACKHOUSE, James (reporter)

A corrobberry, or dance, for joy at the arrival of the cutter... emu dance ... horse dance ... thunder and lightning dance

REPORT ONLY

Documentation:

James Backhouse, journal, 9 October 1832; ed. Plomley 1987, 224-25, 227, 280 note 8, 281 note 14

... Though the aborigines here now wear clothing, the men seem to have no idea of indecency in being naked. They strip off all their clothes to dance, or corrobery as they call it: and the instruction which has been extended has prevailed on the women to keep their clothing on when they join in these amusements. They had a grand corrobery after sunset, as a testimony of their joy at the arrival of the cutter with supplies. They continued dancing round a fire which they supplied with fresh fuel to keep it blazing till near midnight. At intervals they stopped to take breath. When they danced they sung. Most of their songs, we understood, were very simple, relating to the object they represented the motions of. They had a horse (barracooter) dance, an emu dance, a thunder and lightning dance, etc. In their [225] horse dance they formed a string moving in a circle, in a half stooping posture, holding by each other's loins, one man going along as if reining in the others and a woman striking them gently as they passed as driver. Sometimes their motions were extremely rapid, but they carefully avoided treading one upon another. In :heir emu dance they placed one hand behind them and alternately put the other to rhe ground or raised it above their heads imitating the motions of the emu's head. In their thunder and lightning dance, they moved their feet rapidly, bringing them to the ground with force and producing considerable noise, and a tremulous motion in the earth perceptible some feet from them. In another dance they all held up their hands, pointing them over the fire and moving rapidly around it. Each dance ended with a loud noise, the shout of the last effort of exhausted breath. They evidently kept themselves very warm by their exertion, and sometimes one or other of them retired and plunged into an adjacent lagoon which bounds the east side of the area of the settlement, and being full of tall teatrees serves for a "breakwind" in that direction. The good temper with which they conduct their amusement is very srriking, as is also the agility they display in not trampling upon each other when so thick, and moving with such rapidity as to render their incommoding one another no easy matter to avoid, and one or other of them in the midst of the moving mass frequently striking the ground with both hands and then jumping to a great height. Though the men are all naked on these occasions, there is not the least appearance of indecency about them. They are said to have had some obscene dances in their natural state but these have been completely suppressed in this settlement. The women now keep each to one man; formerly they were not at all particular in this respect, and the men who have wives keep to them ...

[227] [10 October 1832] ... The natives seemed, as usual, all cheerfulness. Though to Europeans our visit might seem unseasonable, in one of the breakwinds they commenced singing, and we sat down among them, and they kept it up for a considerable time, sometimes the men at others the women. There was much animation in their countenances and gestures, and those who understand music say their singing is musical. To me it was far from unpleasing. It is, we understand, not uncommon for them to begin to sing after they retire in an evening and to keep it up till midnight.

Backhouse and Walker, "The report of a visit to the penal settlement of Port Arthur and to the Aboriginal Establishment on Flinders Island ..."; ed. Plomley 1987, 250

... At night the men had a "corrobbery" or dance (in which the women occasionally joined) in token of their pleasure at the arrival of the cutter. They danced round a fire, singing at the same time, and performing a variety of gestures, and contioued thus to amuse themselves until midnight. Though this afforded them pastime for some hours, nothing but the most uninterrupted good humour seemed to prevail. If one party knocked down or jostled against another, it only furnished occasion for pleasantry, and was invariably succeeded by a laugh, and is the same in all their diversions. Even in throwing the spear, which they do at one another with great dexterity, contriving to bend their bodies and evade the weapon, they display the greatest good temper and cheerfulness. From what we saw of these people, we think they deserve the character of a good tempered race. The amusement of dancing is kept up rwo or three times a week; and on these occasions, as well as on some others, the men dispense with their clothes. But the women, who will now and then join in the dance, have been reclaimed from this habit, and are never seen uncovered. They even studiously avoid indelicacy in this respect at least before strangers; and there is nothing that can with propriety be termed immodest in their general deportment ...

Backhouse 1834, (51) 52

https://books.google.com.au/books?id=dOANAAAAQAAJ&pg=PA52

10th mo. [Oct.] 9th. Though the wind continued to blow from the N. W. the captain determined, with the assistance of an old sealer as Pilot, to beat towards Flinders' Island, having learned that the settlement there was short of provisions. We came safely to anchor under Green Island, the nearest safe place to the settlement for a vessel. When we landed, W. J. Darling welcomed us heartily to Flinders Island and to the accommodation of his hut, for which he apologized, but the cordiality with which we were received, made up for all the defects of the place. A large group of the Aborigines were waiting on the beach, on the bank of which they were sitting; at first they appeared to take no notice of us, but on W. J. Darling's requesting them, they rose up, and on our being introduced to them, they shook hands with us very affably; their appearance was lively and kind, and they seemed in good health. They set up shouts of joy, when informed of the arrival of plenty of beef, pork, biscuit, flour &c. The settlement consists of an oblong area, within which are [52] a number of huts, about twelve feet square, for the officers, stores &c. the hut occupied by the Commandant is twenty feet by ten feet, and has a window of four panes of glass on each side of the door; it is the only one on the premises, with glass windows. There are at the other end of the area, three large huts for the Aborigines, and a rude erection of boughs, used in summer as a chapel. We visited the Aborigines in their dwellings, which are in the form of roofs placed upon the ground. Most of them were sitting on the ground round their fires with their dogs, roasting Mutton birds and Wallabies; the latter are animals of the Kangaroo tribe. The people used many expressions of pleasure; some in their own language, others in English, which a few of them can speak tolerably; and two or three of them can speak a little French, having been taken by a whaling vessel to the Isle of France. They keep their articles of tin very clean, of their own accord: they have left off some of their native habits, and now wear clothing, except at their dances, when the men often strip it all off. The women however, have been persuaded to keep theirs on, when they join in these amusements; which they practise after sunset two or three times a week. The good temper with which the Aborigines conduct their diversions is very striking, as is also their agility ...

Walker's journal, in Backhouse and Tylor 1862, 98-99

https://books.google.com.au/books?id=j3ErAAAAYAAJ&pg=PA98 (DIGITISED)

As soon as it was dark, preparations were made for a "Corrobberry" or dance, for joy at the arrival of the cutter. These are seasons of great excitement, attended with much exertion. The men have not yet been prevailed upon to retain their clothing; this is uniformly dispensed with; but the women, who occasionally join in the dance, make no alteration in their adopted dress. A fire of sticks, or boughs that make a lively blaze, was made, around which the men formed a circle, and began a kind of song, consisting of expressions frequently repeated, and uttered in a drawling monotone. The subjects of these songs are various; sometimes the pursuits of hunting and the enumeration of the [99] animals that become a prey to their dexterity and prowess; at other times the feats of war, and their sanguinary conflicts with adverse tribes. A very common description, relates to the habits of animals, such as the Emu and Kangaroo; and since they have become acquainted with Europeans, to the Horse, the Cow, &c. They accompany the words with significant gestures and actions. Thus in the emu-dance, by bending forward an arm over the fire and making a movement with their hands, like the motion of a bird's head, they imitate that animal in its peculiar habits. In the Horse-dance they lay hold of each other's loins, one following another, and imitate the prancing motions of the animal, whilst a woman stands by and imitates the driver, by gently tapping them with a stick, as they pass before her. They have also the Thunder-and-lightning-dance, in which they stamp with their feet and whirl round the fire, to represent the noise and swiftness of these dread phenomena. A very frequent manoeuvre during most of their "corrobberries" is, to leap from the ground whilst running in a circle round the fire, and in descending, to turn their faces to it, crouching at the same time to the ground on their haunches, and striking the earth with their hands. The exercise attendant on these diversions is often very violent, occasioning individuals to drop out of the ring, bathed in perspiration, until they have recovered. The good-humour they exhibit throughout the amusement, which generally lasts for some hours, often till midnight, is remarkable, considering the excitement that prevails. Sometimes one will jostle against another, and perhaps occasion a fall to both, which is sure to be succeeded by a general laugh. Though their exhibition in a state of nudity must necessarily offend the eye of a European, there is not the slightest action or gesture that would offend the modesty of the most scrupulous.

Walker, journal, 9 October 1836; MS, State Library of New South Wales; ed. Plomley 1987, 281 notes 11 and 14

[note 11 ... of their "corroberies" [Walker] said] Amidst these varied movements which are made under the influence of strong excitement a sort of chanting, or monotonous souod, with occasional shouts, are made; and at intervals a sort of deep sigh, or explosion of the breath, on a signal for a momentary rest to give time to breathe, is simultaneously made; generally succeeded by a kind of howl, or squalling shout, expressive of joy.

[14 Walker says of a middle-aged man, apparently a senior person in the company, who began singing, that] his song was of a simple, and very inartificial kind - being little more than chanting, occasionally changing the note or making slight variations in his voice, with more or less elevation, and accompanied throuhgout with many significant signs and gestures, and a very animated expression. At intervals he gave some sort of sigh, or signal for a momentary pause, that is common in their dances, which is immediately answered by an universal and simultaneous shout, in both instances. This kind of applause is also frequent during the course of the song.

Walker 1897, 146-47

https://archive.org/stream/papersproceeding1897roya#page/146/mode/2up (DIGITISED)

(146) For 15 years Flinders was the home of the miserable remnant of the native tribes of Tasmania, and for the greater part of them it was destined to become their grave. Messrs. Backhouse and Walker visited the settlement in the spring of 1832 (October), a few months after the (147) blacks had been transported thither, and it is from a report made by them to Governor Arthur at his request, and from the MS. journal of Mr. Walker, that I have gleaned a few particulars respecting the aborigines as they appeared when undergoing the process of civilisation on Flinders Island. It was in September, 1832, that the friends sailed from Hobart in the Government cutter Charlotte, placed at their disposal by Governor Arthur . . .

Walker 1897, 158-59

https://archive.org/stream/papersproceeding1897roya#page/158/mode/2up (DIGITISED)

(158) As soon as it was dark on the evening of our arrival [9 September 1832], preparations were made for a corrobberry, or dance, for joy at the arrival of the cutter. The men strip off their clothes, but the women, who occasionally join in the dance, make no alteration in their adopted dress. A fire of sticks, or boughs that make a lively blaze, was made, around which the men formed a circle, and began a kind of song or chant, consisting of expressions frequently repeated, and uttered in a drawling monotone.

The subjects of these songs are various; sometimes the pursuits of hunting, and the enumeration of the animals that become a prey to their dexterity; at other times the feats of war, and their sanguinary conflicts with adverse tribes. A very common description relates to the habits of animals, such as the emu and kangaroo; and, since they have become acquainted with Europeans, to the horse, the cow, &c. They accompany the words with significant gestures and actions. Thus in the emu-dance, by bending forward an arm over the fire, and making a movement with the hand, like the motion of a bird's head, they imitate the bird in its peculiar habits. In the horse-dance, which they call barracoota, [Jorgenson gives as the equivalent for "horse," baircoutaua; Norman gives parcbutenar] they lay hold of each other's loins, one following another, and imitate the prancing of the animal, while a woman stands by and imitates the driver, gently tapping them with (159) a stick as they pass before her. They have also the thunder-and-lightning dance, in which they stamp with their feet and whirl round the fire. A frequent manoeuvre during their corrobberrys is to leap from the ground while running in a circle round the fire, and, in descending, to turn their faces to it, crouching at the same time to the ground on their haunches, and striking the earth with their hands.

The exertion during these performances is often very violent, occasioning individuals to drop out of the ring, bathed in perspiration, until they have recovered. The good humour they exhibit throughout the amusement, which generally lasts for some hours, often till midnight, is remarkable, considering the excitement that prevails. Sometimes one will jostle against another, and perhaps occasion a fall to both, which is sure to be succeeded by a general laugh. Though the nudity of the men must necessarily offend the eye of a European, there is not the slightest action or gesture that would offend the modesty of the most scrupulous.

Bibliography and resources:

Plomley 1976, 196

Plomley 1987, 280 note 8

The "horse dance" barracooter: this is another spelling of Robinson's pare.kute.ten.ne.

10 October 1832

Wellington Valley, NSW

INDIGENOUS

WATSON, William (reporter)

Corrobbera or Indian dance

REPORT ONLY

Documentation:

Watson, journal entry (10 October 1832); Watson, Journal 2: October-December 1832, 5 [22]

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/ii-oct-dec-1832.html

[10 October 1832] Wednesday 10th All the Blacks who were here yesterday have remained and several others come up. I attended a Corrobbera or Indian dance which they have had tonight 2 miles in the Bush, but I cannot describe it [6] so as to do anything like justice to it. They are all naked except a small band of net work 2 inches round the waist and a small tassel suspended to it before and another behind. As a ground work their bodies are rubbed all over with red ochre, on which is also generally laid a colouring with a kind of yellow stone, and then different designs marked out with softened pipe clay. Their faces are generally well daubed; but there are not 2 marked alike. One of them wears a kind of feathery crown made of white cockatoo's feathers. They have a very large fire by the side of which they perform their maneuvers. The women sit on the ground beating their bags (made of oppossum skins) with both hands, and a number of men at one side beating their Womeras (war instruments of a semicircular shape) to a tune to which they also sing. The men then with 2 womeras and a nella nella (a short bludgeon with a large heavy head) in the left hand and one Womera in the right go through a regular course of running, dancing and (apparently) skirmishing with the greatest order and exactness, though sometimes a stranger would fancy they were about to kill each other.

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

https://archive.org/stream/papersproceeding1897roya#page/159/mode/2up

15 October 1832 (performance)

Flinders Island, VDL (TAS)

INDIGENOUS (head man, Port Dalrymple tribe

INDIGENOUS (women, mainland Tasmania)

INDIGENOUS (mainland Tasmania)

WALKER, George Washington (recorder)

Song sung by the chief of the Port Dalrymple tribe

REPORT ONLY: ?

Documentation:

Walker 1897, 159

On another evening we visited their shelters or "breakwinds." From twenty to thirty sleep in each shelter. Here they generally cook their food and eat their meals, and here in the evening they sit round the fire and talk, or one sings, while the rest listen with deep interest and attention, frequently applauding by a general shout. At the suggestion of Mr. Archibald Maclachlan, the surgeon, they sang two of their songs for our benefit. The first was sung by the chief of the Port Dalrymple tribe. The same words were repeated many times in succession, accompanied by many impassioned gestures, and an exertion of breath almost painful to witness. Occasionally the singer gave a short sigh, as if his breath was spent, in which the rest united with one accord. The shout that succeeded allowed the performer a moment's pause, when he resumed the song with great animation. During the course of the song the chief often became highly excited, pointing significantly with his finger, and showing remarkable expression in his countenance, as if the subject was most important, the people listening meanwhile with profound attention.

Nickkeh niugeh tibreh (song sung by the women in chorus)

REPORT; SONG WORDS

Source and documentation:

Walker, journal, in Backhouse and Taylor 1862, 100-01

In the course of the evening we visited the Break-winds. The inmates were reclining around the fires, which are made along the centres of these huts. We felt some reluctance to disturb them, but they readily roused up on our entrance, as soon as they saw that it was the stranger white men, who had come to see them. The bare earth serves them for a bed; each couple, as well as the single persons, is allowed a blanket. At the suggestion of Archibald Maclachlan, the surgeon, they sung two of their songs. The first was sung by the chief of the Port Dalrymple tribe. I observed that the same words were repeated many times in succession, accompanied by many impassioned gestures, and so much exertion of breath as was almost painful to witness. Occasionally he [101] gave a short sigh, as if his breath was spent, in which the rest united with one accord. The shout that succeeded allowed the performer a moment's pause, when he resumed the song with great animation. A great deal of character was displayed in the course of this exhibition, the chief often becoming highly excited, pointing significantly with his finger, and shewing remarkable expression in his countenance, as if the subject of the song was one of a most important nature, the people meanwhile listening with profound attention. A short time after the chief had concluded, the women began a song in chorus, which showed a greater knowledge of music; and I was very much surprised to hear some sing tenor, while others sang treble, which to those who know anything of music will appear strange, because the power of doing so denotes some advancement in the art. It was a hunting song, enumerating the animals that the young married woman is wont to chase.

Walker 1897, 159-60

https://archive.org/stream/papersproceeding1897roya#page/159/mode/2up

After the chief had concluded, the women began a song in chorus, which showed a greater knowledge of music. I was very much surprised to hear some sing tenor, while others sang treble. It was a hunting song, enumerating the animals the young married women are wont to chase. I afterwards took down the words of the song from the lips of some of the women.

Walker 1897, 169

https://archive.org/stream/papersproceeding1897roya#page/169/mode/2up

[15 October 1832] When I read to them in their own language one of their native songs, they were beyond measure astonished and gratified, following the words with their voices, and frequently interrupting me with shouts of approbation. Their language appears to me to be far from inharmonious, and, when accompanied by a chanting tune, as in the songs of the women, is pleasing to the ear.

Walker 1897, 171-72; also Plomley 1987, 289

https://archive.org/stream/papersproceeding1897roya#page/171/mode/2up

Nikkeh niugeh tibreh nickeh mollyga pollyla ...
The married woman hunts the kangaroo and wallaby ...

Namu rykenneh trehgana ...
The emu runs in the forest ...

Nabeh thinninneh trehgana.
The boomer (kangaroo) runs in the forest.

Nehnaneh kehgreuna nynabythinneh ...
The young emu the little kangaroo ...

tringeh guggerra ... pyathinneh ...
the little joey (sucking kangaroo) ... the bandicoot ...

nynabythinneh-koobryneh ... mareh terrenneh ...
the little kangaroo-rat ... the white kangaroo-rat ...

pyathinneh pungoothinneh ... lookoothinneh ...
the little opossum ... the ringtailed opossum ...

mytoppyneh ... trynooneh ...
the big opossum ... the tiger-cat ...

watherrunginna ... mareh bunna ...
the dog-faced opossum ... the black cat.

Poppyla (a popular song among all the aboriginal tribes)

(of which I have not obtained the meaning, it being involved by them in some mystery)

WORDS; TUNE EXTANT IN CONCORDANT SOURCES

Source and documentation:

Walker 1897, 172

https://archive.org/stream/papersproceeding1897roya#page/172/mode/2up

A popular song among all the aboriginal tribes, of which I have not obtained the meaning, it being involved by them in some mystery -

Poppyla-renung - onnyna - Poppyla, &c., Poppyla, &c., Poppyla, &c.,
lemingannya - lemingannya - leming, &c.
Nyna tepe rena ponnyna - Nyna, &c., Nyna, &c.,
Nyna nara pewilly para. Nyna nara, &c., Nyna nara, &c.,
Nara pewilly pallawoo! pallawoo!
Nyna nara pewilly para pewilly pallawoo! pallawoo!
Nyna nara, &c., Nyna nara, &c., &c.

[editorial note, 1897] In Milligan's Vocabulary this song, with certain differences, is given. It is there entitled "Aboriginal Verses in honour of a Great Chief," sung as an accompaniment to a native dance or Biawe. - Papers of the Royal Society of Tasmania, Vol. III., p. 273. Also by Davies, with other variations - Tasmanian Journal, II, p. 411.

Plomley 1987, 289

Plomley gives the above extract from Walker's journal, but, ? following the MS, precedes it with the following:

A favourite song chiefly of the men - stated to be learned from the Sydney blacks, but known by most of the aborigines of V.D. Land.

poppyla renungonnyna poppyla, &c., poppyla, &c.
leminganya leminganya lemingganya, &c.
taukumminganya taukumminganya, &c.
nyna tepe rena ponnyna nyna tepe rena, &c.
nyna nara pewilly para nyna nara pewilly
pallawoo pallawoo nyna nara, &c., nyna nara, &c.

Davies 1846, 411

"ON THE ABORIGINES OF VAN DIEMEN'S LAND. BY R. H. DAVIES, Esq.", The Courier (7 March 1846), 4

http://nla.gov.au/nla.news-article2946174

The following is a song of the Ben Lomond tribe; I cannot translate it, nor, could I do so, is the subject very select:

Ne popila raina pogana,
Ne popila raina pogana,
Ne popila raina pogana.
Thu me gunnea,
Thu me gunnea,
Thu me gunnea.

Thoga me gunnea,
Thoga me gunnea,
Thoga me gunnea.

Naina thaipa raina pogana,
Naina thaipa raina pogana,
Naina thaipa raina pogana.
Kiara paara powella paara,
Naara paara powella paara,
Naara paara powella paara.

Ballahoo, Ballahoo,

Hoo, hoo!

(Their war-whoop, very gutteral.)

Milligan 1866, 273

http://eprints.utas.edu.au/19369

ABORIGINAL VERSES in honour of a Great Chief, sung as an accompaniment to a Native Dance or Riawé.

Pappela Rayna 'ngonyna, Pappela Rayna 'ngonyna,
Pappela Rayna 'ngonyna!
Toka mengha leah, Toka mengha leah,
Toka mengha leah!
Lugha mengha leah, Lugha mengha leah,
Lugha mengha leah!

Nena taypa Rayna poonyna, Nena taypa Rayna poonyna,
Nena taypa Rayna poonyna!
Nena nawra pewyllah, Pallah nawra pewyllah,
Pellawah, Pellawah!
Nena nawra pewyllah, pallah nawra pewyllah,
Pellawah, Pellawah!

Bibliography and resources:

Longman 1960

Plomley 1987, 289

Commentary:

This 1832 transcription Poppyla is the earliest record of a song later documented many times, including as taken down with music by Maria Logan (see 22 October 1836 below), and recorded in 1899-1903 by Fanny Cochrane Smith.

For full details, see:

https://sydney.edu.au/paradisec/australharmony/checklist-indigenous-music-1.php#009

https://sydney.edu.au/paradisec/australharmony/checklist-indigenous-music-1.php#032 (no. 31.1)

16 and 17 October 1832

[? PLACE], VDL (TAS)

INDIGENOUS

ROBINSON, George Augustus (reporter)

Their frantic revels or orgies

REPORT ONLY

Documentation:

George Augustus Robinson, journal, 16 and 17 October 1832; ed. Plomley 1966, 669

http://archival.sl.nsw.gov.au/Details/archive/110319172

16 October ... Natives away hunting. Since the boat's arrival have been unable to leave the island. Purpose visiting the East Hunter and thence proceed to Launceston and Hobart Town. Black Joe away without leave this afternoon. Tonight the natives amused themselves with their frantic revels or orgies.

17 October ... Natives away hunting and self writing. This evening the natives amused themselves with their frantic revels.

3 December 1832

? Hobart Town, VDL (TAS)

INDIGENOUS

ROSS, James (reporter)

ROBINSON, George Augustus

They sung several of their national songs

REPORT; DESCRIPTION

Documentation:

[News], The Hobart Town Courier (7 December 1832), 2

http://nla.gov.au/nla.news-article4195481

On Monday evening Mr. G. A. Robinson did us the favour to introduce us to a party of the domesticated blacks lately come up with Mr. Darling, the Commandant from the establishment at Great island. They are certainly an interesting race of people, and we are not at all surprised that those who are in daily intercourse should become much attached to them. Wymurick, the western chief, is an honour to his tribe, he has his family with him to whom he is much attached. Several of the original Big river or Oyster bay tribe, are among them. They sung several of their national songs, but their music is of the rudest kind being little more than the frequent repetion of the same note - in soft liquid syllables. The general character of their music may be described in words; almost as intelligibly as by dotting the notes down. They begin by singing a third from the key note several times and then descend to the second and then to the second below, repeating each several times, and finish with a third above the key note. They sometimes vary it by suddenly running into the octave. Their music bears a close resemblance to the monotonous chaunt of the highland bagpipe.

We learn with pleasure that those favourites of the public Mr. Reichenberg and Mr. Russell are getting up a concert of vocal and instrumental music in a very superior style . . .

Bibliography and resources:

Bonwick 1870, 30

https://books.google.com.au/books?id=bWoBAAAAQAAJ&pg=PA30

Dr. Ross says, in the Courier of 1832, "They sang several of their national songs . . . to the monotonous chant of the Highland bagpipe." This resemblance came to my mind when listening at a little distance to an aboriginal song. Walking out in the evening by the sea-shore of D'Entrecasteaux Channel, I heard a low chanting tune of the Tasmanian old women of the station, which had a peculiarly mournful sound, and in which I detected a droning hum with a shriller note. As I was then dwelling upon the fate of the remnant of that people, their song struck me as a Banshee cry of coming death. At any rate, the Quaker traveller's criticism could be adopted by others: "To me their songs were not unpleasing; persons skilled in music consider them harmonious."

Roth 1899, The Aborigines of Tasmania (2nd. ed. rev.), 135

https://archive.org/stream/aboriginestasma00tylogoog#page/n182/mode/2up

Extract not included in first edition, 1890

Plomley 1976, A word-list of the Tasmanian languages, 28-29

6 December 1832

Wellington Valley, NSW

INDIGENOUS

WATSON, William (reporter)

Corrobborra ... corrobborra in house and hymns

REPORT ONLY

Documentation:

Watson, journal entry (6 December 1832); Watson, Journal 2: October-December 1832, p. 6 [23]

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/ii-oct-dec-1832.html

[6 December 1832] Thursday Dec 6th. Having made some provision for teaching on the "Infant School System" I commended this morning . . . Our Jimmy Buckley, the Black young man who has been with us since our arrival here, would not go near but stood at a distance for a short time and then went home to bed. Another young man who had been dancing was laid down by the fire. I went to ascertain who it was, but when he saw me approaching he wrapped his head up in his blanket apparently ashamed. I found it was young man Bobby who had been a good deal with us. I thought much about the conduct of Jimmy Buckley in this instance, as the corrobbora is the greatest amusement they have, and even very old men will go a great many miles to one. Moreover, Jimmy's mother and father were both there. I know that persons may say with propriety than an anxious mind is too apt to magnify trifles. But may we not from these circumstances see reason for encouragement. We may be disappointed, but is that a reason that we should let pass unnoticed, at least in our own minds, circumstances of this nature. When we came home Jimmy said corrobborra in house (family prayers) is much better than that. This young man, though naturally of a [23] volatile disposition, is always so solemn and apparently devout when he says his prayers and hymns that Mrs. Watson has often remarked to me how much her mind has been affected while witnessing him. It is so different to what he used to be, formerly he never came in to this duty but he laughed and trifled. All the children say their prayers and hymns to Mrs Watson morning and evening, nor do they like to say them to anyone else or when any one else is present. My heart has often been melted while from another room I have heard them repeat their prayers and hymns as with one voice . . .

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article42006959

14 December 1832

Sydney, NSW; ? Norfolk Island

Piracy of the Wellington; or, The Norfolk Islander's lament

(Lines, composed by one of the sixty six Captives engaged in that abortive enterprise and now under sentence of transportation to perpetual labour at Norfolk Island)

Tune - "Chevy Chase"

Source and documentation:

"Rhyming Doggrel", The Australian (14 December 1832), 4

PIRACY OF THE WELLINGTON;
OR, THE NORFOLK ISLANDER'S LAMENT

(Lines, composed by one of the sixty six Captives engaged in that abortive enterprise and now under sentence of transportation to perpetual labour at Norfolk Island)

"Quaeque ipse miserrima vidi
Et quorum pars magna fui."

Air - "Chevy Chase"

'Twas in eighteen hundred & twenty six
November the eleventh day,
The Wellington (I've to prefix,
With Convicts,) bore away;
From Sydney Harbour, making sail
In snug and gallant trim;
And borne before the sweeping gale,
As deep as she could swim.
With dry provision simply stor'd
For Norfolk Island bound
With Exiles, (sixty six the horde)
That isle was not then found,
For soon those venturous Captives rose,
Their guards too late, descried
The strength and number of their foes
Who, British Law, defied!

God bless the King, long may be reign
Whether it be afloat or on dry land;
And Lord save our fellow men from the dire pain
of a Transport to Norfolk Island.

'Midst joyous shouts the brig is their's -
To Zealand (New) they steer;
New Zealand gain'd, with added cares,
Mid turbulence yet fear,
They for the Bay or Islands make;
Where chosen parties land,
Both wood and water in to take,
Before the sails expand
To Western breezes, round the Cape,
Shunning all British Isles,
From bondage and its ills to 'scape,
by many thousand mile.
This their intent, and had it passed.
Why then my yarn were spun.
But as the event will prove, at last,
Twas' " easier said than done."

But [God bless] &c.

Two ships were lying in the Bay,
Whose Commanders did agree,
To take the pirate crew next day,
Or disable their brig for sea.
Sad and fearful broke next morn
When both began to fire
Upon the brig; her rigging's torn.
With unrelenting ire.
Assembled Natives join, on shore,
The culprit-crew to take;
The combin'd powers, shot on them pour,
Who no defence could make!
And thus were they, from break of day,
Beset by many foes,
Batter'd and Worn and all forlorn.
Till, near the noon-tide's close.
Finding not ammunition enough on board
To yield they fain were forc'd,
But first protested, by the sword,
To die; or keep their post.

Yet God bless &c.

Accepted terms - a portion land
From out the Pirate crew.
In scatter'd groups they crowd the strand,
Within the Whalers' view.
Powder and arms the Natives crave
In recompense for those
Whom they give up, (yet feign to save)
To their obdurate foes.
And all save seven again are got,
On board the Sisters, they
With swelling sail, on rising gale.
For Sydney bear away.
And then a while, in durance vile,
They wait the fated day;
Each culprit cursed his abject lot,
But all had need to pray,

Yet God bless the King &c.

In Jackson's Port arrived at length,
For trial new; consigned,
Full Twenty two, their flower and strength,
To Jack Ketch are resigned.
But five alone in his fell gripe
Of fate give up the charge;
The rest close-pent for Norfolk sent,
Are ne'er to range at large: -
Severe on Norfolk now they toil,
All hardships undergo -
Oh! you "at large," from guilt recoil,
Or misery feel also;
All evil habits quick forsake,
Bad Company, forego, -
For that may cause your hearts to ache,
Ain share our keenest woe!

God bless the King &c.

Music concordances (tune):

Chevy Chase, Second set of Scots songs for a voice & harpsichord</em> (Edinburgh: R. Bremner, [n.d.]), 28

Second set of Scots songs for a voice & harpsichord (Edinburgh: R. Bremner, [n. d.]), 28

http://digital.nls.uk/special-collections-of-printed-music/pageturner.cfm?id=74516590 (DIGITISED)

Documentation:

"SHIPPING INTELLIGENCE", The Monitor (15 December 1826), 8

http://nla.gov.au/nla.news-article31758055

DEPARTURES. - On Sunday the 10th, Inst. the Brig Wellington, for Norfolk Island; with 66 Prisoners, A guard and Stores.

"POSTSCRIPT EXTRAORDINARY", The Sydney Gazette and New South Wales Advertiser (10 February 1827), 2

http://nla.gov.au/nla.news-article2187653

"PIRATICAL SEIZURE OF THE BRIG WELLINGTON", The Sydney Gazette and New South Wales Advertiser (16 February 1827), 2

http://nla.gov.au/nla.news-article2187697

Bibliography and resources:

"Norfolk Island convict mutinies", Wikipedia

https://en.wikipedia.org/wiki/Norfolk_Island_convict_mutinies

"Seizure of the Wellington by Pirates", Free settler or felon

https://www.jenwilletts.com/wellington_pirates_1827.htm

28 December 1832 (date of publication)

Sydney, NSW

HILL, Arthur (editor, ? songwriter)

A new ditty to an old tune

"A Frederick, of late . . ."; Tune - The tight little island

Source:

"A NEW DITTY TO AN OLD TUNE", Hill's Life in New South Wales (28 December 1832), 2

http://nla.gov.au/nla.news-article252650510

A NEW DITTY TO AN OLD TUNE.
AIR - "The Tight Little Island."

A Frederick of late, ('twas not Frederick the Great)
On pleasure and business full counting,
And time to beguile, took a trip to Argyle,
By way of the Razor-back Mountain.

Chorus - "Said he, I'll go over the Mountain -
The Romantic Razor-back Mountain;
Besides, folk tell me, it a short cut will be;
So I'll just take a view of the Mountain."

"Come, coachman prepare, my light carriage and pair,
And mind all your harness is right, Sir,
That trace, strap, or breechin, don't want any stitching:
Your reins must be held pretty tight, Sir.

Chorus - Or we may run Razor-back races,
And, may be, be making wry faces,
Since some seem to wrangle, and say that Menangle,
For crossing, a much better place is."

He did as he said - for the Cowpasture sped -
And, sundry small evils surmounting,
The bridge he got past, and arrived at last
At the foot of the Razor-back Mountain.

Chorus - My eyes! what a queer ugly Mountain!
'Tis, truly, a Razor-back Mountain.
Now the D--l must rave, if he e'er has a shave
With the edge of the Razor-back Mountain.

But soon they had got, to a dangerous spot,
And the Chief, from his carriage dismounting,
Exclaim'd with a sigh, "Why its all in my eye,"
About roads on the Razor-back Mountain.

Chorus - "Your horse's head is over the Mountain;
I'll pad the hoof over the Mountain;
Let 'em say what they will, about Douglass's Hill,
Why, it can't be a patch on this Mountain.

Now all to be done, was to keep moving on,
Thro' perils, and dangers, surrounding,
Till the light Baruchette, in a gulley upset,
On the side of the Razor-back Mountain.

Chorus - Och here! what a job on the Mountain!
A gentleman bogg'd on the Mountain!
A mighty fine way for the public to pay
For neck-breaking roads on this Mountain!

A roar-out for help, made the gang-men all skelp,
And soon the deep gully they bounc'd in,
And L-mb-'s brigade (perfect lifters by trade,)
Made 'all right again' upon the Mountain.

Chorus - They set-up the coach, on the Mountain,
Which erst was up-set on the Mountain;
And L-mb-e can swear, it took ninety or "mair"
To make all quite right on the Mountain.

In journeys like these, where you meet Pyrenees,
If you your life not insure, Sir,
Pray take level ground, if you go five miles round,
And then you may travel secure, Sir.

Chorus - So, adieu! to the Razor-back Mountain,
Till trom its rough back springs a fountain!
Our Superintendant, had near made an end on't,
By crossing the Razor-back Mountain.

Musical concordance:

Popular music of the olden time: a collection of ancient songs, ballads, and dance tunes, illustrative of the national music of England . . . by W. Chappell, F.S.A., the whole of the airs harmonized by G. A. Macfarren, vol. 2 (London: Cramer, Beale, & Chappell, 1861), 720-21

https://archive.org/details/popularmusicofol02chapuoft/page/720/mode/2up (DIGITISED)

Commentary:

The Frederick referred to is Frederick Hely, superintendent of convicts. As directed by surveyor Lambie, convict gangs built a new road at Razorback.

References:

[News], The Sydney Gazette and New South Wales Advertiser (11 December 1832), 2

http://nla.gov.au/nla.news-article2209825

The new road at Razorback was resumed a few weeks back, by a considerable body of government men, under the direction of Assistant Surveyor Lambie, but his force is now reduced to be little more than nominal, the men having absconded, by numbers daily. Many have been retaken, and it is somewhat singular that not one assigned any other reason for running, but want of tobacco. Prisoners of the Crown have a habit througbout the country, of indulging themselves in the use of this luxury, (most masters allowing a portion as part of their rations), to such an extent, that they would actually, prefer going short of bread than short of tobacco, and it is not an uncommon practise at road parties for men to give their whole day's food for half-a-pipe full of tobacco.

1832 (first notice)

Mills Plains, VDL (TAS)

GLOVER, John (artist, reporter)

A corrobery of natives in Mills Plains

IMAGE

Source:

John Glover, A Corrobery of Natives in Mills Plains, painted 1832, exhibited London 1835; Art Gallery of South Australia

http://www.artgallery.sa.gov.au/agsa/home/Collection/detail.jsp?ecatKey=4123

http://nga.gov.au/Exhibition/Turnertomonet/Detail.cfm?IRN=128979&BioArtistIRN=18324&MnuID=3

Copy: (pictured above)

Corroboree, ? c.1840; copy; National Library of Australia

http://nla.gov.au/nla.obj-134105068

https://trove.nla.gov.au/version/31368415

Documentation:

Bibliography and resources:

Ron Radford and Jane Hylton, Australian colonial art: 1800-1900 (Adelaide: Art Gallery of South Australia, 1995), 68-70

Lawson 2014, 139-45

1832

Lake George, Southern NSW

GOVETT, William (reporter, artist)

Corrobory - or a particular dance of the natives

REPORT; IMAGE

Source and documentation:

William Govett, notes and sketches, 1830-1835 [Govett was at Berrima and in the southern region in 1832], State Library of New South Wales, MS A330 (Safe 1 / 404), images 15-17

http://archival.sl.nsw.gov.au/Details/archive/110332610

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL427519 (DESCRIPTION)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL427520 (IMAGE DIGITISED)

http://acms.sl.nsw.gov.au/_transcript/2012/D14753/a5504.htm (TRANSCRIPT)

Corrobory - or a particular dance of the natives.

I was once present and witnessed this most extraordinary dance of the Blacks which took place near Lake George called by the natives "Weriwa"- I understand this ceremony only takes place upon the friendly meeting of two tribes after a fight or dispute, to celebrate the cessation of hostilities. On this occasion there were a hundred and eighty collected together, men, women and children, and the place chosen very suited to the purpose being a small open spot, clear of timber, but surrounded on all sides by the darkness of the forest. The Men only of the visiting tribe were the spectators, and they seated themselves wrapt in their opossum cloaks round in a semicircular form. The oldest of them being nearest each end of the semicircle - Immediately before them bright fires of dried bark were kept burning by boys who constantly supplied the fuel and again behind the fires was the stage or place of action. The whole ceremony indeed in the arrangement very much resembled a Theatre. The women however were altogether concealed from view, but so situated, that their yells, and horrid noises made by the clashing of sticks, and whirling in the air pieces of wood fastened to a string, could not only be distinctly heard, but added much to the wild effect and savage strangeness of this nocturnal revel.

The men or actors besmear themselves with white paint and appear like skeletons, and they caper in various forms and attitudes round the fire, grinning, roaring hissing [page] hooting, and making the most hideous faces imaginable to describe particulars - as soon as they the men fall exhausted. they vanish on an instant - a different yell commences, and a dozen or more boys appear skipping, and capering in imitation of the old - So on for several hours. They vanished and reappeared exhibiting each time different manuvers, uttering different yells and during the whole ceremony the utmost silence and order prevailed among the spectators who looked on wh. apparent wonder and amazement and wh. as much anxiety and interest as I did myself. Upon the whole it appeared to me as a scene which one c.d imagine the Devil to preside over in the infernal region WRG -

Govett 1836, 241-43

https://books.google.com.au/books?id=SG5JAQAAMAAJ&pg=RA1-PA241

I was once present at one of these dances, and a more extraordinary spectacle was never beheld by Europeans. The accompanying sketch is a very fair representation of the commencement of the scene; and as it may tend to exhibit some of the most striking features of the character of these savages, I will endeavour to give as detailed and concise a description of what I witnessed, as my memory will allow.

There were more than a hundred blacks collected together on this occasion, and the place chosen seemed very suited to the purpose, being a small open spot, clear of timber, and clothed with rich verdure, but surrounded on all sides by the darkness of the forest. Having been known to several of them at the expense of a little tobacco, I was permitted, together with two or three of my men, to be a looker-on at the ceremony. But I have reason to believe that the intrusion of the white man on these occasions is far from being liked or allowed, and that there are ceremonies of a superstitious nature amongst them, which no European has ever witnessed. The blacks selected for these purposes sequestered places, where they were the least likely to be disturbed. - And now, that the interior of that country is becoming so well known, and inhabited by settlers, it is most probable that all their old customs and usages will be relinquished and forgotten, and that they themselves, in a few years, will vanish, like the kangaroo, before the track of their more polished invaders.

The men of the once hostile tribe were the spectators; and these seated themselves, wrapped in their opossum-cloaks, around, in a semicircular form. The oldest of them, I observed, appeared to take their places nearest each end of the semicircle. Immediately before them, bright fires of dried bark were kept burning, by boys who constantly supplied the fuel; and behind the fires was the stage, or place of action. The whole scene, indeed, in the arrangement, very much resembled a theatre; the brilliant reflection of the fire upon the trees and foliage, and figures of the men, contrasted with the darkness which reigned all around, gave a strong, beautiful, and strange effect. The women, however, who form the orchestra, were placed on one side, and almost concealed from view, but so situated, nevertheless, that the yells of their shrill voices, and the horrid noises which they made by the clashing of sticks, and whirling in the air pieces of wood fastened to a string, could not only be distinctly heard, but added considerably to the wild effect and savage strangeness of this [242] nocturnal revel. The men who take part in the acting, besmear themselves with a kind of white chalk or pigment, and seemingly endeavour to make themselves as frightful and as hideous as possible, by their mode of painting.

We waited some time in patient anxiety for the commencement of the performance, while some of the seated spectators were looking very serious and attentive, others enjoying a smoke, and some chattering and laughing as if much pleased. Presently, however, a dead silence on the part of the company caused all eyes to be directed towards the stage, when at the instant, eight of the actors made their appearance, - and so suddenly did they rush from darkness into the blaze of the fire, that one could almost fancy they had all risen out of the ground. As they stood before the fires, all placing themselves in similar attitudes, the effect was striking and really wonderful. They appeared like living skeletons! The noises of the women commenced, and the spectre-looking actors, with their arms and legs extended, and making a sort of tremulous muscular motion of their bodies (especially at their knees and elbows), began to wheel in regular order round the fires, crying Whroo! whroo! whroo! (or whirrow, a noise bearing some resemblance to the sound of a spinning-wheel), and keeping time with the barbarous yells and clashing of the invisible orchestra.

They continued capering in various forms and attitudes from one side to the other of the fire for the space of ten or fifteen minutes, grinning, roaring, hissing, hooting, and showing the most terrible countenances imaginable; when, I suppose from exhaustion, or for the sake of a change, they vanished as suddenly as they had before appeared. All was again silent for a few minutes; the women then commenced a different yell, or tune; and a dozen or more of boys appeared on the stage, skipping and capering in imitation of the men. They appeared ambitious to excel in the exercise, and the old blacks were delighted at their performance, which caused a sort of giggle among the spectators, and ended in a general loud laughing a use. The men reappeared, but exhibited a different manceuvre or scene. They each carried a little leafy bush, and made their entrance one after another, hopping like kangaroos; and it appeared to me as if it was a special part of their actions to imitate that animal. They continued hopping about, crossing one another, and shaking the bushes in each other's faces for some time, when the scene again changed and, dropping the little branches, they all stood in a row, with their right hands held up above their heads. They then commenced stalking, with measured paces, to and fro before the fires; now bending, now raising their right hands, in imitation, as I thought, of the emu (a bird similar to the ostrich, but not so large, and common to New South Wales*). The actions of the blacks in this scene were very good, and their positions and attitudes were a capital resemblance of the emu, - sometimes feeding, and again raising the head and neck perfectly erect, as if to observe if any intruder was approaching, then stalking a few paces as if to consider, and bend and feed again.

So on, for several hours, they alternately vanished and reappeared, exhibiting each time different manoeuvres, and uttering different noises; and during the whole ceremony and performance, the utmost silence and order prevailed amongst the black spectators, who looked on with apparent anxiety and satisfaction.

Upon the whole, this scene struck me with wonder and amazement, and as more like what a person could imagine to take place in the infernal regions, than to have been represented in reality upon the face of the globe. W. R. G.

The following account of a somewhat similar scene, communicated by a settler in NEW HOLLAND, and which has lately appeared in a London Journal, shows that the Corroboree, and the superstitious rites connected with it, is common to the natives of those regions, situated at a vast distance from the place where it was witnessed by the writer of the foregoing paper.

IT is the custom of the respectable settlers in the interior to encourage a family of natives belonging to the nearest tribe to remain about the grounds or premises as much as their wandering habits will admit of, to keep off strange blacks who might otherwise make dangerous incursions, and to be a check upon every sort of roguery they may observe, for they are so jealous of the convict servants in general, that no intimacy takes place between them. The head of this family is called a constable, and often goes by the name of his protector, and to tickle his vanity, and give him importance amongst his fellows, is allowed to have his name inscribed upon a large brass crescent, a hole in the circle of which enables him to sling it round his neck, and wear it like a breast-plate. Mr. Winder's black constable was no less a personage than a king, and his plate gave us to understand that he was "King Cobra Maitland." This was worn, contrary to the general custom, over a blue jacket; duck trowsers, and a straw hat completed his dress. Mr. Winder told the king that he wished the strangers to see a corroboree, and desired him upon an appointed evening to bring a sufficient number of young men with him to make a good dance. About an hour after sunset we were given to understand that all was in readiness to commence, and we moved to the gravelroad before the house, where a cart-load of fire-wood had been placed in readiness. Here we found King Cobra, and thirty-five fine young men for the dance, and five ladies to make music; as I conjecture, or to excite by their presence increased exertions. The ladies were covered with mantles of skins.

The dancers had only a slight covering round the waist, but they were splendidly painted with red ochre and chalk in all sorts of devices; the ribs of some were white, and very extraordinary devices were painted on the skins of the others. Stripes of white chalk were drawn up their limbs, and their heads were dressed in every variety of taste. That of many of them was with the help of tall grass tucked up to the size and shape of a large sugar-loaf, with a tuft on the top; but one who was called the chief-justice had long hair, and had so contrived to friz it, that his head was nearly twice as large as a bushel measure. Several wore white feathers, and a few had reeds stuck across the cartilage of the nostrils.

When the fire got warm, King Cobra, began to excite them by music, which, with a waddie, or small club, he drew out of a shield made of bark, by quick blows. They presently passed their word and fell regularly into their places, and commenced the most violent exercise of their muscles imaginable; keeping time and observing the same attitude with the most wonderful precision, notwithstanding the frequent change of the figures. After a boundless variety of evolutions, each man grunting in unison, this act closed with a simultaneous cry and clap of hands. The principal attitude in this dance was that of the hands clasping the top of the thigh by the hip, the legs spread wide open, the knees a little bent, the whole frame rigid; in this shape they sprung from [243] the ground with wonderful rapidity, their feet beating the ground in exact time with the whacks of the master of the ceremonies; though close together, they glided about without touching each other, and fell into innumerable figures, their faces always turned to the fire.

After rest and refreshment, they began another dance, in which a portion of them, taking tufts of grass in their mouths, imitated the actions of the kangaroo. After quietly feeding and hopping about for a while, like kangaroos, they were followed by the rest of the party, who, in their real character, began to creep after the kangaroos to surprise them. The 1udicrous bounds and manoeuvres of pursuit and escape were quite astonishing, and the act ended by the pretence of putting one of the representatives of the captured kangaroos on the fire to be roasted. This they called the Kangaroo Dance. They then gave us the Emu Dance, in which, with one arm raised to form the neck of the bird, the hand twisted to represent the head, with the body stooped, they went through all the actions of this bird, and with the most amazing effect.

The most interesting of all the amusements came last, and it is no doubt one of their religious ceremonies. They stood in a semi-circle round the fire, when the king approached one end of it, and with a wailing voice repeated a word in distinct syllables, beating a stroke upon the shield to each, namely, "Yal-lul-la-by." The word was repeated with him by the man he addressed, who at each syllable used a different action, with body and arms, so that at the fourth syllable he was down upon the knee. The king addressed the next, who performed as the first, who still kept the song and inflexion of the body, so that when the king got to the further end, every man was giving the same note and action, and the whole looked like one vast machine performing its operations with unerring accuracy. It was an incantation of the most diabolical appearance imaginable. One of the gins, or ladies, was so excited, that she took up a tin dish upon which they had had some food, and with a large stick stationed herself next to the first man the king had rought to his knee, and supported the harmony, yelling out "Yal-lul-la-by" in a truly frightful manner., When all had been engaged in this manner for some time they started up with a scream, and danced round the fire in a circle, until every man of them smoked as if he formed an essential part of a great steam apparatus.

I asked the king what this dance meant, and he pointed to the moon then full above our head, and said, "Good to black fellow." No doubt he would have proceeded to acknowledge that the ceremony was in honour of the moon, had not one of the others, who had stood his grog better than King Cobra, stepped up and said, "New Zealand man's dance." He meant the mapme to mislead, for they are very secret in all their religious ceremonies.

"THE CORROBORO, A NATIVE DANCE OF THE NEW HOLLANDERS", Missionary Register (December 1836), 572-73, plate on 73 pictured above

https://books.google.com.au/books?id=IH0oAAAAYAAJ&pg=PA572

The Engraving on the other side represents the Natives of New Holland, engaged in the Corroboro, their national dance. A deeply-sequestered place in the forest is selected for the performance of it, that they may not be disturbed. The spectators are seated in a semicircle, in front. Immediately before them, fires of dried bark are kept burning. Behind the fires is the place of performance. The women, who form the orchestra, are placed on one side, and almost concealed from view; but so situated, that the yells of their shrill voices, and the horrible noises made by the clapping of sticks and whirling in the air pieces of wood fastened to a string, add to the savage wildness of the scene. The dancers besmear themselves with a kind of white chalk, and seemingly endeavour to make themselves as frightful and hideous as possible. The dance is thus described by an eye-witness:-

We waited some time, in patient anxiety, for the commencement of the performance . . .

[Cover and cover story], Church missionary paper (December 1836),

https://books.google.com.au/books?id=wsUHAAAAQAAJ&pg=RA1-PR84-IA5

As for Missionary review above

"ABORIGINAL MISSION", The Colonist (7 September 1837), 3

http://nla.gov.au/nla.news-article31719796

IN the Church Missionary Paper for the use of weekly or monthly contributors, published Christmas 1836, we meet with an account of the proceedings of the Rev. Mr. Watson at Wellington Valley, and a singular representation of the Corrobora or Native Dance, which, it appears, the good people at home consider "an affecting picture of the state of barbarism of the natives of this country, and of their need of the benign influences of the Gospel" . . .

Picton 1843, 238-41

https://books.google.com.au/books?id=9noVAAAAYAAJ&pg=PA238

We had heard much of the Corroboree, a wild forest dance, and Brian's proposal to witness it was readily accepted. With some difficulty we scraped an acquaintance with two natives, by presents of colored beads, with which they seemed wonderfully taken; these, with a little tobacco, made them very friendly, so that a party of half a dozen from the ship, with Brian, myself, and a native from near Sydney, who accompanied us, and acted as interpreter, ventured to be led many a weary mile, into the forest gloom.

It was in the dead of night that we approached the spot where the Corroboree was to take place ...

[240] ... How long these strange antics continued I cannot tell, but it was for the principal part of the night. We had the emu dance, in which they imitated the actions of the emu to the life, and the kangaroo dance, which was wonderfully amusing.

Brian and I sat down with a group of spectators nearest the circle, now and then moving back into the gloom that we might see all that we could of their strange manners.

In the kangaroo dance, they held tufts of grass in their mouths, and hopped about so naturally, that had they been covered with kangaroo skins, they might have been taken for kangaroos in reality ...

[241] ... On the whole, taking into consideration the glaring fire and the forest gloom, the horrible figures of the dancers and their sudden exits and entrances, their bending, kneeling, hopping, twisting, and twirling, together with the whirring, clattering, granting, laughing, and screaming of the whole multitude, the Corroboree dance of New South Wales, is one of the most imposing spectacles in the world.

1832 (year of publication)

Wellington Valley, NSW; Calcutta, India (place of publication)

HENDERSON, John (reporter)

Korobery

REPORT ONLY

Documentation:

John Henderson, Observations on the colonies of New South Wales and Van Diemen's Land (Calcutta: Printed at the Baptist Mission Press, 1832), 151-52

https://archive.org/stream/observationsonc00hendgoog#page/n189/mode/2up

I happened to be at Wellington during the meeting of two tribes, apparently bent upon hostilities, and expected to have been a witness of one of their assaults. The Wellington Blacks having, in defiance of the national law, audaciously hunted Emus within the territories of a more westerly tribe, the latter came to demand reparation for the insult offered to their sovereign's authority. They arrived in small bodies, attended by their women, and encamped at a short distance from their opponents, as the truce had not been broken hitherto by either of the parties. A few of both sexes wore blankets, that had been given them by the Government; while all the remainder were completely naked. Each of the men had their heads encircled by silver-like fillets, composed of the tendon of the kangaroo, curiously woven; and these were decorated with the yellow plumes of the white cockatoo, so as to give to one of these ornaments a striking resemblance to a coronet. They carried in addition to their spears, a small wooden shield, and a womroo . . .

In the evening, the westerly tribe had a Korobery, or war dance. The men prepared themselves for this festival by painting their bodies with regular lines and figures, by means of a sort of pipe clay; each person, seemingly, according to his own peculiar fancy. The women were the musicians. They were seated by a fire, a little apart, and sung their native airs, beating time by striking dried skins, which each person held stretched between the knees. The different tunes perfectly corresponded with those which are at present common throughout Hindostan; evincing, in this respect, a much nearer resemblance to the inhabitants of that country, than could be now recognised amongst either their present language, or their customs. The Wellington [152] tribe having prepared a blazing fire for their hostile visitors, the latter commenced their various war dances. These were performed at intervals; one was named after the emu, another the oppossum, &c. and all of them, I suspect, must have had some reference to the figures in the grove, which I have already attempted to describe. Issuing forth, with a shield in one hand, and a womroo in the other, they formed in rapid succession a variety of figures, in which certain of the habits peculiar to the animal, the genius of the dance, were curiously represented. Sometimes slightly bending their knees, they made their quiver in unison with the music; sometimes brandishing their war-arms, they appeared to anticipate the powerful excitement of the approaching combat.

This wild and novel scene was particularly suiting. The night was dark and cloudy; while the broad flame, which illuminated the forest, threw a lurid and flickering glare upon their strangely distorted figures; the magic interest was likewise increased by the reflection, that these mimic representations were to be the prelude to a savage and deadly contest. We were however mistaken; the dance was soon terminated; and next morning it was announced that negotiations having been entered into, the subject of dispute had been by some means amicably adjusted. On the same evening, another Koroberry was celebrated; but the novelty had passed away, and the interest excited by associations of the future, could no longer be called into existence. The men went through their different evolutions with languor, if not with reluctance; and there were several who could not even be induced to take a part in the festival. Next day, the whole tribe returned to their own territories, in the same disorder as they had arrived . . .

1832 (year of publication)

Van Diemens Land (TAS); London, England (place of publication)

ROBARTS, Mr. (reporter)

Taina - singing

LANGUAGE; VOCABULARY

Documentation:

Charles Medyett Goodridge, Narrative of a voyage to the South Seas: with the shipwreck of the Princess of Wales cutter on one of the Crozets, uninhabited islands; with an account of a two years' residence on them by the crew, and their delivery by an American schooner: to which is added, a further narrative of near eight years' residence in Van Diemen's Land (London: Hamilton Adams, 1832), (294), 295

https://books.google.com.au/books?id=vcwNAAAAQAAJ&pg=PA295

[294] . . . VOCABULARY. The following short specimen of the language of the natives of Van Diemen's Land, will doubtles prove interesting to the learned; it was compiled by a gentleman named Roberts, who brought two of the natives, a male and female on a visit to Hobart Town, from Brune island. Mr. Robarts has with unwearied industry succeeded in obtaining a very large vocabulary, but the following was deemed sufficient to give an idea of the sounds of the language: -

[295] . . . taina - singing . . .

1833

10-12 February 1833

Guildford, Perth, Swan River Colony (WA)

INDIGENOUS

MOORE, George Fletcher (reporter)

LEAKE, Mary Ann (pianist)

Kangaroo dance to the music of Mrs. Leake's piano

REPORT; DESCRIPTION

Documentation:

Moore 1834, 224-25

https://books.google.com.au/books?id=UxIOAAAAYAAJ&pg=PA224

On the 10th I rode to Guildford; walked thence to Perth, which I did not leave until the 12th; at Mr. Leake's, and enjoyed the grand piano which Mrs. Leake, who had recently arrived, had brought with her.

The two natives of King George's Sound (who are on their return) were greatly delighted with the music; they danced the kangaroo dance, and did every thing in their power to show that they were pleased and grateful - "tank you mem, very pretty." Their dance appeared to be in imitation of the chace of the kangaroo, the motions of the animal, and the panting and gestures of the person in chase. This dance was divided into different scenes or parts; the movements differing a little in each part: sometimes the dancers [225] approached each other, then receded, traversed and changed sides, with a corresponding variation in gesture and exclamation. At intervals, they called out "get away, get away," and at each pause, "beraway, beraway," which latter word, one of them explained in this way: - white man say "hip, hip, hurra," black man say, "beraway, beraway." During the entire dance, they make a violent panting noise, hegh, hegh, hegh, hogha, hogha, hogha; these sounds guttural. Afterwards they seated themselves in arm-chairs, with the greatest self-complacency, and drank tea.

[Extract], The Hobart Town Courier (26 December 1834), 4

http://nla.gov.au/nla.news-article4182369

20 April 1833 (first notice)

Parramatta, NSW

CAVENDISH, William Joseph (composer)

Five quadrilles and two waltzes

For pianoforte

[Quadrille 1] Pantalon. Radama
[Quadrille 2] L'Été. Betanimena
[Quadrille 3] [La] Poule. Kurry Jong
[Quadrille 4] Pastourelle. Woo-loo-moo-loo
[Quadrille 5] Finale. Matitanana
Waltz No. 1
Waltz No. 2

COMPOSER'S MS; FAIR COPY

Source:

SL-NSW, Castell family papers, 1786-1993 (MLMSS 7989): MS score, 3 pages, and covering letter ("Parramatta, Notasia [i.e. Australasia], April 20, [18]33")

http://archival.sl.nsw.gov.au/Details/archive/110352923

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL179439 (DIGITISED covering letter)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL179448 (DIGITISED music page 1)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL179457 (DIGITISED music page 2)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL179463 (DIGITISED music page 3)

Documentation:

Letter, Susannah Castell, London, 2 June 1832, to William Joseph [Cavendish] Castell, Mauritius; Papers of the intestate estate of William Joseph Cavendish; State Archives of New South Wales, 6/26823, item 203; transcribed Beedell 1990, 666; also Beedell 1992, 236-37

. . . I have just learn'd that a ship sails tomorrow for the Isle of France and I will take this opportunity of making the following request - and which I think it is in your power to comply with. Can you supply us with original and choice national airs, and adapt them for quadrilles, Waltzes &c. - as the rage of novelty in that line is in such request, that the compositions of some of our finest authors are pulled to pieces bit by bit to furnish passages - endeavour to collect Indian, Russian or any other whether outlandish or otherways and endeavour to compose some yourself, adapted to the figures . . .

Letter, Cavendish to Susannah Castell, Parramatta, Notasia [i.e. Oceania-Australasia], 20 April 1833 [by the ship Edward Lambe, departed Sydney that day]

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL179439

Paramatta Notasia, April 20, '33.

I wrote by the ship Sovereign which sailed from Port Jackson on the 2d of March last, but as this Dutch hubbubboo may prevent your receiving it, I send you this duplicate, to which I have added two waltzes. The ["first" struckout] 2d and ["third: struckout] 5th Quadrilles I obtained from a Manilla Guittarist also the waltzes. No 1 is Bourbonnaise, No 3 is original and the second part was added by a creole of the Cape de Verde Islands. I have given them names characteristic of their origin. You may call them Australian, Notasian, Arabian or Mad[a]gascke quadrilles. Below I have given you a title page. Publish only one waltz at a time, bit to spin out the page, instead of marking the repeats, let them be printed at full length, 2nd time an octave higher. I gave you a short description of this paradise of places, Oranges, grapes, figs, apples, pears, flowers & fruits all the year round, the pigs fed upon peaches, & dogs upon rumpsteaks, & the sheep's heads thrown into the ditches, wh[ic]h the household cur will scarcely condescend to smell. In this land of plenty none need to starve or beg; but I must reserve my full description for a separate letter, which perhaps may accompany this. Yours W. J. Cavendish.

The Fairy Quadrilles
as danced
On a Sunbeam
by the
Elves of the Ocean
in the
Hall of Beauty
at the
Coral Palace
of the
Queen of the Sea.
Composed by the
Peri of the Purple Wing.

Do not sell these outright, you should bargain for a certain number Of copies for yourself. The agent here to Ellards music warehouse of Dublin [Francis Ellard] offered to purchase them, & I have offered him a set when I can collect them. I think this letter should not be kept [with] the Printer, but let him have a copy to engrave from. I should like ... [breaks off here]

Letter, Susannah Castell, London, to Cavendish, 28 May 1834 [postmarked Sydney 27 October 1834]; ed. Beedell 1990, 671

Your last letter was receiv'd Feb[ruar]y 7. I regret to observe that the Quadrilles you sent is a total failure both in style and quality for the finest compositions from foreign masters [?we] have explored for subjects so that we have never been able to benefit by them . . .

Bibliography and resources:

Beedell 1990, 666, 671

Beedell 1992, 236-37

Skinner 2011a

Modern edition:

Richard Divall (5 November 2014)

http://artsonline.monash.edu.au/music-archive/w-j-cavendish-five-quadrilles-and-two-waltzes

Commentary:

Quadrilles Nos 3 and 4 have Sydney titles: Woo-loo-moo-loo [sic] and Kurry Jong.

7 May 1833

Wellington Valley, NSW

INDIGENOUS

WATSON, William (reporter)

Hymn singing

REPORT ONLY

Documentation:

Watson, journal entry (7 May 1833); Watson, Journal 4 (April-July 1833), 9

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/iv-april-july-1833.html

[7 May 1833] Tuesday 7th. Was much amused and pleased this evening. They were all sitting in the room where we have family worship, unconscious of being observed. Each of them took a Hymn Book and then one of them asked Dickey Marshal (Native boy 8 yrs old) were the hymn was? Dickey answered "it is here, it begins with a P". He then began to give out Praise God &c and said "but before we begin I must say the first chapter in Psalms". He then repeated the versus before and the rest joined him in singing it. Their practice on such occasions is to make Dickey their clerk, they generally say to him before they begin "now Dickey say it".

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article642055

1 June 1833 (report first published)

Perth, WA

Yagan delivered a sort of recitation

REPORT ONLY

Documentation:

"(FROM A CORRESPONDENT)", The Perth Gazette and Western Australian Journal (1 June 1833), 87

. . . They had grouped around evidently attending to the arguments of both with great interest, and glad of anything like a friendly pause. Yagan stepped forward and leaning with his left hand on my shoulder while he gesticulated with the right, delivered a sort of a recitation, looking earnestly in my face, - I regret I could not understand it, I thought from the tone and manner that the purport was this: - "You came to our country - you have driven us from our haunts, and disturbed us in our occupations. As we walk in our own country we are fired upon by the white men, why should the white men treat us so." This song reminded me of a chorus in a Greek tragedy & was commented upon and explained in this way by the other natives, who seemed all to act as subordinate characters to Yagan . . .

"EXTRACTS", The Sydney Herald (19 September 1833), 1 supplement

http://nla.gov.au/nla.news-article12847737

June 1833 (first published)

Hobart Town, VDL (TAS)

ANONYMOUS (songwriter)

A Tasmanian song (The moon in the heavens is beaming)

WORDS ONLY; NO TUNE INDICATED

Source:

"A TASMANIAN SONG", The Hobart Town Magazine 1 (1833), 186

http://books.google.com.au/books?id=fLwCAAAAIAAJ&pg=PA186

https://archive.org/stream/hobarttownmagaz00unkngoog#page/n204/mode/2up

A TASMANIAN SONG.

The moon in the Heavens is beaming.
The kangaroo hunter's prepared,
His uprisen hounds' eyes are gleaming,
With courage that may not be scared:
Away! then away to the bush,
On! forward my Felix! away;
Hark! listen! there's yonder a rush!
The gallant dog's started his prey.

My Carlo! partake of the conquest,
Speed is Felix's - power's your own:
Off, off, clasp the fugitives brown breast -
That breast you may pick to the bone!
Away! then away to the bush,
On Carlo! my brave one, away;
In yonder wild coppice a rush,
Tells your comrade has started his prey.

5 July 1833 (first notice)

8 July 1833 (first performance)

Deane's Room, Argyle Street, Hobart Town, VDL (TAS)

PECK, George (arranger/composer, soloist)

A medley solo

In which will be introduced a variety of peculiarities, after the manner of the celebrated Paganini.

NO COPY IDENTIFIED (unpublished MS, or perhaps never written down)

Documentation:

[Advertisement], The Hobart Town Courier (5 July 1833), 3

http://nla.gov.au/nla.news-article4191807

CONCERT. MR. PECK most respectfully announces to the gentry and inhabitants of Hobart town, that he will hold a Concert of Vocal and Instrumental Music supported by Mr. Deane and family and others, at Mr. Deane's room, on Monday evening next the 8th inst. Among other performances will be the following:-

An Air with variations to be performed entirely on the fourth or G string, composed by Paganini, and performed by him at his principal Concerts in England, and on the Continent.

A Concerto in E - C. De Beriot.

A Medley Solo, in which will be introduced a variety of peculiarities, after the manner of the celebrated Paganini.

The Doors to be opened at 7 o'clock, the Concert to commence at 8 o'clock precisely, Tickets 5s. each, to be had of Mr. J. P Deane.

[News], Colonial Times (9 July 1833), 2

http://nla.gov.au/nla.news-article8647092

Mr. Peck's Concert last night, went off uncommonly well. The room was crowded, and the audience highly entertained. As a violin player, Mr. Peck is certainly the very best that ever set foot on this shore; and, in addition to his splendid knowledge of music, he is roaster of the eccentricities of the celebrated Paganini. Those who were unable to attend the concert yesterday evening, lost a treat. We have, however, no doubt but that another concert will shortly he set on foot.

[News], The Hobart Town Courier (12 July 1833), 2

http://nla.gov.au/nla.news-article4191622

Commentary:

Lake reasonably suggests that Peck attended Paganini's concert at Hull in February 1832. It was only much later, in the 1850s, that Peck billed himself as "the Australian Paganini".

13 July 1833

Macquarie Harbour, VDL (TAS

ROBINSON, George Augustus (reporter)

They chanted their native songs which has a pleasing effect upon the water

REPORT ONLY

Documentation:

George Augustus Robinson, journal; ed. Plomley 1966, 755, 761 (route map)

http://archival.sl.nsw.gov.au/Details/archive/110319172

[13 July 1833] ... On arriving at the boat I embarked all the strange natives likewise some of the friendly ones in the large boat, amounting in all to twenty blacks and five whites, and proceeded on my way to the settlement. This day was fine, scarce any wind, and the men had to row. There was some old red bunting in the boat which the natives made flags by tying pieces to the ends of their spears and stuck them up in the boat. They chanted their native songs which had a pleasing effect upon the water. The strangers were delighted ...

On approaching the settlement the song of the natives attracted the people at the settlement ... A crowd of people soon collected on the wharf and the astonishment of the people was great when they found that I had brought a tribe of natives. Some said I had a charm, some said that I was an astonishing man. Indeed, the people were all in amaze. The officers said they was sure the Governor would be in raptures when he heard of it, &c. It was just dusk when I arrived and it was only four and a half days since I left the settlement to my return ...

References:

Robert Hughes, Fatal shore, 423

Thus, by 1834, the last Aborigines of Van Diemen's Land had followed their evangelical Pied Piper into a benign concentration camp, set up on Flinders Island . . .

26 July 1833 (first notice)

29 July 1833 (first performance)

Court House, Hobart Town, VDL (1833)

PECK, George (arranger/composer, soloist)

Robin Adair

[? introduced in a cadenza to De Beriot's "concerto" in E]

My lodging is on the cold ground

Air with the pizzicato accompaniment after the manner of Paganini

NO COPIES IDENTIFIED (unpublished MSS, or perhaps never written down)

Documentation:

[Advertisement], The Hobart Town Courier (26 July1833), 3

http://nla.gov.au/nla.news-article4191159

MR. DEANE AND MRS. DAVIS'S FOURTH CONCERT, Assisted by MESSRS. REICHENBRRG, RUSSELL, PECK , AND FULHAM, (Late of the Theatre Royal Dublin), WILL take place on Monday evening next, July the 29th, at the Court house, Hobart town.

Part First.
Overture, "Tancredi," - Rossini.
Glee, "Chorus of Huntsmen in Der Freischutz," Weber.
Cavatina, "Una Voce poco fa," - Mrs. Davis - Rossini.
Solo - piano forte, "Fall of Paris, with variations," - Miss Deane - Moschelles.
Song, "He was famed for deeds of arms," - Mr. Fulham - Corri.
Solo. - Violin, in which will be introduced some of the peculiaritie of that Celebrated performer Paganini - Mr. Peck - C. De Beriot.
Duett, "My pretty page," - Mrs Henson and Master Deane - R. H. Bishop [sic].
Song, "Alice Gray," - Miss Barron, a pupil of Mrs. Davis's, only 10 years of age - Hodson.
Glee, "Hark! Apollo strikes the Lyre," - H. R. Bishop.
Part Second.
Overture, "La Villanella Rapita." - Mozart.
Song, "No joy without my Love," - Mrs. Davis - T. Cooke.
Solo, flute, C. Nicholson.
Song, "Au'd Robin Gray," - Mrs. Henson - A. R. O. Smith.
Concerto, clarionet, orchestra accompaniment, Mr. Reichenberg - Bochsa.
Song, "Death of Nelson," - An Amateur - Braham.
Song, "Waters of Elle," - Miss Barron - arranged by T. T. Magrath.
Song, "Dashing White Serjeant," - Mrs. Davis - H. R. Bishop.
Finale, verse and chorus, "God save the King," arranged by Stevenson.

Leader Mr. Russell, Violin Obligato Mr. Peck, Conductor Mr. J. P. Deane. Tickets 5s. each, to be had of Mr. J. P. Deane, Elizabeth street, and of Mrs. Davis and Mr. Wood, Liverpool street. The doors to be opened at half past 7 o'clock - the performance to commence at a quarter past 8 o'clock.

"The Fourth Concert of Mr. Deane and Mrs. Davis . . .", Colonial Times (30 July 1833), 2

http://nla.gov.au/nla.news-article8647129

[News], The Hobart Town Courier (2 August 1833), 2

http://nla.gov.au/nla.news-article4190895

A grand concert of all our professional musical talent was given in the Court house on Monday evening. The house was crammed throughout and the performance especially the instrumental was of the first order ... Mr. Peck performed a concerto on the violin, composed by the husband of Madame Malibran. We recollect De Beriot's performance, and Mr. Peck does not discredit the style of the master. The arpeggio movement on the four strings, was brilliantly executed. After the concerto he played the air of "My lodgings on the cold ground," with the pizzicato accompaniment after the manner of Paganini; likewise the "Carnival of Venice," the conversation in this air in imitation of the voice was peculiarly curious.

[Reprints review from The Tasmanian], Launceston Independent (23 August 1833), 3; quoted in Lake 2003, 127

A Mr. Peck recently arrived from England, performed a Concerto on the Violin, in which he laboured through the double stops; produced a few aerial sounds, (technically called Harmonics;) ran over a long range of difficult harpsichord movements with great ease, and introduced the air of "Robin Adair," the sweet tones he drew from the instrument in the air, appeared to suspend every breath; and the effect of the appogiature in the second part was delightful. After the Concerto, Mr. Peck performed the air of "My Lodging is on the cold ground," in which he introduced a most extraordinary staccato passage running through nearly four octaves likewise an accompaniment called, pinching tones this acquirement from Paganini. In the "Carnival of Venice," he attempted another curiosity in imitation of the human voice; the effect is produced by one finger only. Mr. Peck displayed a great mastery over the technicalities of the instrument.

[Advertisement], Independent (24 August 1833), 3, quoted in Lake 2003, 127

UNDER VERY DISTINGUISHED PATRONAGE. MR. PECK begs leave to inform his numerous Friends and the Public in general, that he intends to give A CONCERT of Vocal and Instrumental Music in Mr. Davis's new large Rooms, British Hotel, on Tuesday evening, August 27th.

PART I
Introduction, instrumental - Haydon [Haydn]
Song - The Rose
Concerto Violin in E, in which will be introduced the familiar Air, Robin Adair - Mr. Peck - De Beriot ...

Bibliography and resources:

Lake 2003, 126-27

August 1833

Perth, WA

. . . and will end with a song

REPORT ONLY

Documentation:

"ANECDOTES OF THE KING GEORGE'S SOUND NATIVES", The Perth Gazette and Western Australian Journal (17 August 1833), 130

http://nla.gov.au/nla.news-article641915

The three Natives we have now at Perth, from King George's Sound, Manyet, Ionen, and Tatan, a boy about 12 years of age, are much attached to each other . . .

Manyet, the elder of the three, is stately in his deportment - quiet and sedate in his manners, but nevertheless possessed with all the grimace of a Frenchman. - Ionen, from his peculiar talent for mimicry, endeavours to approach nearer to the character of gentleman, whose habits and manners he is studious to imitate - "Tatan" is an uncouth urchin, with little taste for civility or servility. Their dispositions are very opposite, Manyet seeks more the gratification of the body than the mind, whereas Ionen takes a delight in any pursuits we should term intellectual.

Although these natives have many comforts, and enjoyments at present, which, in their rude and barbarous state they could not command, there appears naturally enough, a lurking disposition to return to their original habits; and Ionen, if questioned seriously about his "padjer" father, immediately recurs to some of their native sports, and ends with a song, which is the repetition of a name familiar or dear to him, coupled with some remarkable event. Their songs are as they have been described, - their "traditional history," and although comprising few words, on inquiry it will be found, that a distinct legend or tale attaches to each, which it is their delight to explain. There is a further confirmation of this, in their daily practice when particularly excited; they will associate the name of the person who has performed anything peculiarly novel to their minds, with the effect produced, and gingle the two for some time, in the character of a catch or round . . .

21 August 1833

Perth, WA

Governor's corrobora

REPORT ONLY

Documentation:

"CELEBRATION OF THE KING'S BIRTHDAY", The Perth Gazette and Western Australian Journal (24 August 1833), 134

http://nla.gov.au/nla.news-article641908

The day was ushered in by the sound of "random guns," echoed and reechoed from different parts of the town. The Governor having issued a Notice requesting the attendance of the Civil Officers, at the Council-chamber, about a quarter before twelve, the time specified for assembling, they were seen repairing in that direction, and shortly afterwards, the detachment of the 63rd stationed at head quarters, marched down to the open square in front of the Government House, or Council-chamber, in a column of sections right in front, where they formed line, and received the Lieutenant Governor with a general salute, - who then in his capacity of Commandant inspected the parade. When this ceremony was gone through, the detachment wheeled back into an open column of sections, and marched past in review order, in slow and quick time, which was performed with greater precision than could have been expected, considering the manner in which the men have been detached - the peculiar nature of their duty in a new settlement requiring the distribution of our forces. They halted - wheeled into line - fired a feu-de-joie - and then saluted His Majesty, the spectators joining heartily in the cheers ; immediately after this the troops left the ground, and the ladies and gentlemen repaired to the Council-chamber . . .

. . . Several natives were in the town during the day, and expressed some alarm when they perceived the preparations making by the soldiers for the parade. They were given however to understand, that it was only a corrobora; it seemed to amuse them greatly to find that we had also our corrobora's. We are not aware that any attempt was made to bring them to the ground; the effect might have been beneficial, and we lament it was not done. We are inclined to suspect they were intimidated by the firing, as they appeared to have quitted the town soon after the soldiers returned to their barracks. - The manner in which Midgegooroo was shot, which they are now perfectly well acquainted with, may have revived no very agreeable associations in their minds, and suggested the prudence of withdrawing.

24 August 1833 (first notice)

27 August 1833 (first performance)

British Hotel, Charles Street, Launceston, VDL (TAS)

PECK, George (arranger/composer, soloist)

ANONYMOUS (songwriter [Albion's Fleet])

Albion's fleet

New song, adapted to a popular air

WORDS ONLY; NO TUNE INDICATED

Scotch medley

Violin and Violoncello, in which will be introduced an imitation of the Bagpipe

NO COPY IDENTIFIED (unpublished MS, or perhaps never written down)

Medley

Solo Violin, exhibiting a variety of peculairities of the celebrated PAGANINI, comprising imitations of the human voice, youth, age, violin and guitar, hurdygurdy, &c.

NO COPY IDENTIFIED (unpublished MS, or perhaps never written down)

Source and documentation:

"A SONG", The Hobart Town Magazine 1 (1833), 247:

https://books.google.com.au/books?id=fLwCAAAAIAAJ&pg=PA247

https://archive.org/stream/hobarttownmagaz00unkngoog#page/n262/mode/2up

Let the minions of Mahomet gravely descant,
In rapturous lays of devotion;
Let the warrior's bosom, for victory pant
In his wing'd wooden walls on the ocean;
But, tho' conquest is precious in liberty's cause,
And the Turk's dream of beauty is sweet;
O, give me to live under equity's laws:-
My protector be Albion's fleet!
Huzza!
My protector be Albion's fleet.

Let damsel's delight in the silk-worm's bequest,
And the jewel's that spangle their tresses;
Let misers be proud of their gold laden chest,
Which ne'er yields relief to distresses!
I care not for jewels, for gauds, or for gold,
But I honor, and gratefully greet
The birth-place of Hampden, (blest patriot bold!)
The nursery of Albion's fleet!
Huzza!
The nursery of Albion's fleet.

[Advertisement], Launceston Independent (24 August 1833), 3, quoted in Lake 2003, 127

PART I
Introduction, instrumental. Haydon [? Haydn]
Song - The Rose
Concerto Violin in E, in which will be introduced the familiar Air, Robin Adair - Mr. Peck. De Beriot
New Song - Albion's Fleet, adapted to a popular air.
Scotch Medley, Violin and Violoncello, in which will be introduced an imitation of the Bagpipe - Mr. Peck.
Song - Comic.
PART II
Adagio & Rondo. Pleyel.
Song - Our King is a true British Sailor
Medley, Solo Violin, exhibiting a variety of peculairities of the celebrated PAGANINI, comprising imitations of the human voice, youth, age, violin and guitar, hurdygurdy, &c. - Mr. Peck.
Song - Comic.
Concerto, Violin, To be performed entirely on the fourth string, composed by Paganini, and performed by him at various concerts in England and on the Continent - Mr. Peck.
Finale - God save the King!

Doors to be opened at 7 o'clock; performance to commence at 8 precisely. Front seats 7s 6d; back ditto, 5s. Tickets to be had of Mr. Peck, at the British Hotel; Mr. Cameron, Brisbane st. and Mr. Brigg, Charles street.

[Notice], The Independent [Launceston] (31 August 1833), 2

http://nla.gov.au/nla.news-article233686703

References:

[News], Launceston Advertiser (22 August 1833), 3

http://nla.gov.au/nla.news-article84778152

Last night, a Concert was held in Mr. Davis's New Rooms, at which Mr. Peck, assisted by several gentlemen of the town, gave much entertainment to a numerous audience. Mr. Peck's performance on the violin excited general admiration.

24 August 1833

Wellington Valley, NSW

INDIGENOUS

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/handt/handt-journals/iv-july-oct-1833.html

Some pipe clay for a "corobera"

REPORT ONLY

Documentation:

Handt, journal entry (24 August 1833); Handt, Journal 4, July-October 1833, pages 6-7; MS C N/O 51/ [1-099]

[24 August 1833] Saturday, 24. A large party of the Blacks came here this morning, both men and women. T heir design for visiting us was to get some blankets ... they carry a little bag on their backs in which they have some trifles, perhaps some remaining food and some pipe clay, with which the men paint themselves when they [7] have a "Corobera" (dance).

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article641889

5 September 1833

Perth, WA

A corrobora at Perth

REPORT ONLY

Documentation:

"THE NATIVES", The Perth Gazette and Western Australian Journal (7 September 1833), 142

The natives held a corrobora at Perth on Thursday evening last, but it was interrupted by some blackguards throwing a bucket of water over them. These are the occurrences which originate an ill feeling; it is to be hoped, therefore, that by-standers witnessing such dastardly conduct, will use every exertion to being the offenders to justice . . .

[News from the Perth papers], The Independent (1 February 1834), 3

http://nla.gov.au/nla.news-article233687116

By the arrival of the Brilliant from Swan River, 1th January, Perth papers to a very late date have been received. The following may not prove uninteresting to our readers . . .

The natives held a corrobora at Perth on Thursday evening last . . .

14 September 1833 (date of report)

Perth, NSW

. . . they assembled in the town in the course of the evening to join in a corrobora

REPORT ONLY

Documentation:

"THE NATIVES", The Perth Gazette and Western Australian Journal (14 September 1833), 146

http://nla.gov.au/nla.news-article641882

During the past week, Yellowgonga's tribe, with the remnant of Yagan's, have been in and about Perth, and have conducted themselves very peaceably, but still persist in their importunities for money and very good (bread).

A singular circumstance occurred yesterday - the men and women in Perth evinced considerable alarm on the arrival of a messenger from Weeip's tribe, challenging them to go out and give some reparation for the death of the one or two men we noticed they had speared soon after Yagan's death, when they were intimidated from revenging themselves upon our white people. They sought our assistance, but finding we would not interfere, notwithstanding we offered to protect them in the town, they said they were bound to meet them, and consequently went out. The meeting, we were glad to find, terminated amicably; they assembled in the town in the course of the evening to join in a corrobora, bringing with them Weeip and two or three others of his tribe. This would have presented a fine opening for displaying our views towards them, by joining in an expression of our satisfaction at the termination of their differences, which most assuredly originated with us. At first they appeared under some restraint; the arrival of Capt. Daniell however produced a more congenial feeling, and although preparations had been made for starting, the title of Governor had a magical effect upon them, and after crowding round him, exclaiming "Governor! Governor! very good man!" and worrying him with their attentions, they recommenced their dance.

After it was over, they came round soliciting money, which solicitation Capt. Daniell and many of the by-standers most liberally yielded to; we must remark however that any donations should emanate from an authorized person who has a sufficient knowledge of the language to explain the object of it, and let it be in furtherance of some organized system, we otherwise render them beggars - the most importunate too, whom we shall find some difficulty in the course of a short time in removing from our doors. We throw out this hint not to check the ebullition of a kind feeling towards these poor savages, but to show the necessity of its being properly directed.

We are sorry to find that the distant tribe which has come into this neighbourhood to seek revenge, and Yellowgonga's tribe, have not arranged matters so amicably as we anticipated. Munday with three others, and their women and children, have been lurking about the town all the day, each with three spears, and seemingly in the most moody disposition. It is seriously to be lamented that we have not an interpreter who could devote his time to inquiring into the object of this continued hostility: we have still much to learn.

October 1833

Sydney, NSW

INDIGENOUS

http://nla.gov.au/nla.news-article2198827

WATSON, William (reporter)

Goongeen hears the organ at St. James's, Sydney

REPORT ONLY

Documentation:

Report, 1835 (concerning October 1833); "REPORT OF THE MISSION TO THE ABORIGINES OF NEW HOLLAND, STATION - WELLINGTON VALLEY", The Sydney Gazette and New South Wales Advertiser (25 June 1835), 3

. . . In October, 1833, Goongeen, a native youth, accompanied one of the missionaries on a visit to Sydney. In many respects it appears desirable that persons in his situation should have an opportunity of witnessing the comforts and advantages of a civilized life. But it must be confessed, that in a moral and religious point of view the circumstance is replete with danger from that depravity of morals which so generally disgrace our cities and towns. As the youth was anxious to see Sydney, it was deemed more prudent for him to accompany the missionary than others, who would encourage him in the indulgence of his evil propensities, and who would probably introduce him to scenes of vice, to which he had before been a stranger. Of all the strange things he beheld there, nothing seemed to surprise him so much, or to make so deep an impression on his memory, as Saint James' Church full of persons assembled together for divine worship, and the sound of the organ. Many times since his return, he remarked "Sydney, live, live; every body goes to Church at Sydney - great music there. What for not make Church here like Church at Sydney." He seemed much astonished at the fine furniture which he saw in some respectable houses, and asked, "who made all them things." To him this was quite a novel scene, as the seats of the mission house consist principally of benches, boxes, and broken chairs . . .

See also 26 April 1834 below

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article4189158

25 October 1833 (first notice)

30 October 1833 (first performance)

Court House, Hobart Town, VDL (TAS)

PECK, George (arranger/composer, soloist)

Solo (violin)

Collected and diversified from various works of Mayseder, De Beriot, Paganini, &c.

NO COPY IDENTIFIED (unpublished MS, or perhaps never written down)

Documentation:

[Advertisement], The Hobart Town Courier (25 October 1833), 3

CONCERT. Mr. PECK respectfully informs the inhabitants of Hobart Town and its vicinity, that he intends giving a Concert of vocal and instrumental music, at the Court House, on Wednesday evening, Oct 30th, assisted by Messrs. Deane, (and family), Richenberg, Russell, Mrs. Henson, and Mrs. Taylor (daughter of the late Mr. Hill of Convent Garden).

Part 1st

Overture, Der Freischutz - Weber.
Glee, Welcome Merry May - Blewitt.
Song, Mrs. Henson - Away to the Mountain's brow - A. Lee.
Concerto Piano Forte, Miss Deane, Grand variations on the Greek march in Rossini's opera "The Siege of Corinth" introducing Hertz's new style of fingering - Hertz [Herz]
Song, Mrs. Taylor, Come where the aspens quiver - A. Lee.
Scotch air in harmonics, to be performed on the violin by a gentleman amateur.
Glee and chorus, The Red Cross, Knight - Callcott.

Part 2nd.

Overture, Preciosa or the Gypsy Girl - Weber.
Glee, O by rivers by whose falls - Bishop.
Solo, violin, Mr. Peck, collected and diversified from various works of Mayseder, De Beriot, Paganini, &c.
Song, Mrs. Henson, Tell me my heart - Bishop.
Variations on Oh no we never mention her, Clarionet, Mr. Richenberg - Richenberg.
Song, Mrs Taylor, O merry now the bonnie bark - Parry
Melange, The beauties of Der Freischutz, Flute and Piano Forte - Lindsay
Finale, Glee and Chorus, with orchestral accompaniments, To welcome mirth and harmless glee - Shaw.

The doors to be opened at 7 o'clock, and performance to commence precisely at 8 o'clock. Tickets 5s.. each to be had at Mr. J. P. Deane's Elizabeth street.

[Advertisement], Colonial Times (29 October 1833), 1

http://nla.gov.au/nla.news-article8647251

... Solo, violin, Mr. Peck, collected and diversified from various works of Mayseder, De Beriot, Paganini, &c.

"At Mr. Peck's concert . . . ", The Hobart Town Courier (1 November 1833), 2

http://nla.gov.au/nla.news-article4189100

"Mr. Peck's concert . . . ", Colonial Times (5 November 1833), 2

http://nla.gov.au/nla.news-article8647262

Mr. Peck attempted a solo on the violin; but, although we considered that gentleman's performance quite equalled to any we ever heard by Spagnolleti [Paolo Spagnoletti], still, after Mr. Smith's brilliant harmonics, it would not go down - he was rapturously applauded, but not encored.

Bibliography and resources:

Skinner 2011

Commentary:

Lake reasonably suggests that Peck attended Paganini's concert at Hull in February 1832. It was only much later, in the 1850s, that Peck billed himself as "the Australian Paganini".

25 October 1833 (first notice)

30 October 1833 (first performance)

Court House, Hobart Town, VDL (TAS)

REICHENBERG, Joseph (composer, soloist)

Variations on Oh no we never mention her

For clarinet, with violin (? string band) accompaniment; on a theme [French melody] as arranged by Henry Bishop (c.1823)

NO COPY IDENTIFIED (unpublished MS; theme preserved in concordances)

Documentation:

[Advertisement], The Hobart Town Courier (25 October 1833), 3

http://nla.gov.au/nla.news-article4189158

Variations on Oh no we never mention her, Clarionet, Mr. Richenberg ... Richenberg.

[Advertisement], Colonial Times (29 October 1833), 1

http://nla.gov.au/nla.news-article8647251

Variations on "Oh! no we never mention her," clarionet, Mr. Reichenberg ... Reichenberg.

"At Mr. Peck's concert ... ", The Hobart Town Courier (1 November 1833), 2

http://nla.gov.au/nla.news-article4189100

Of the performances, if we except Mr. Peck's inimitable collections and diversifications from Paganini and others, Mr. Reichenberg's beautiful variations in the popular air of "Oh no, we never mention her," performed with such exquisite taste and spirit with violin accompaniments on the clarionet, was the only original production of the evening. Though if we may augur from the manner in which the concert was got up there were several others present, who could if they pleased turn their hand with some effect to the art of composition.

"Mr. Peck's concert ...", Colonial Times (5 November 1833), 2

http://nla.gov.au/nla.news-article8647262

Mr. Reichenberg's variations on "Oh! no we never mention her" were excellent . . .

Bibliography and resources:

Skinner 2011

Music concordances (theme):

Oh! no we never mention her, sung by Mr. H. Phillips and Miss Stephens, also by Mr. Millar, and Miss Love, at the concerts, festivals &c., the poetry by T. H. Bayly Esq., the symphonies and accompaniments by Henry R. Bishop, fifth edition (London: Published by Goulding & D'Almaine, [c.1820s])

https://books.google.com.au/books?id=pPRgAAAAcAAJ [in G]

Oh! no we never mention her. Sung by Mr. H. Phillips and Miss Stephens; the poetry by T. H. Bayly, Esq. and accompaniments by Henry R. Bishop (New York: A. Imbert, [n.d.])

http://levysheetmusic.mse.jhu.edu/collection/115/067 [in E, original key]

Oh! no we never mention her, as sung by Mr. Pearman; written by T. H. Bayly, Esq.; arranged by Henry R. Bishop (New York: Dubois & Stodart, [n.d.])

http://levysheetmusic.mse.jhu.edu/collection/115/066

https://archive.org/details/ohnowenevermenti00bish

References:

"Worcester Music Meeting", The Harmonicon (1827), 205

https://books.google.com.au/books?id=7uYqAAAAYAAJ&pg=PA205

17 November 1833

Wellington Valley, NSW

INDIGENOUS

WATSON, William (reporter)

That hymn of Dr. Watts respecting the prophet

REPORT ONLY

Documentation:

Watson, journal entry (17 November 1833); Watson, Journal 6: October-December 1833, p.11

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/vi-oct-dec-1833.html

[17 November 1833] Sunday 17th. Eleven Natives at church today. Sometime ago we had a servant whose hair had been lost through disease. The Natives gave him the name of Gunagal Bob. Gunagal is the Native term for a plain. This evening I was surprised at hearing one of the boys tell the other Natives that it was wicked to say "Gunagal Bob". It appeared that he was led to say so from having learnt that hymn of Dr. Watts respecting the prophet, "Go up thou bald head" &c. In the afternoon some of the children were missing and we could not find them. At length Mrs Watson discovered them in the church looking at some pictures. They said they wanted to see Jesus. Did they indeed feel a desire to see or become acquainted with the Saviour that would be a most happy circumstance.

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

4-5 December 1833

Flinders Island, VDL (TAS)

BACKHOUSE, James (reporter)

Corrobery . . . dances of the tiger and the musk drake

REPORT ONLY

Documentation:

James Backhouse, journal, 4-5 December 1833; ed. Plomley 1987, 261-62

4 December Wed. . . . The aborigines had a corrobery this [262] evening; they danced till a late hour, the men in a state of nudity, though they are but little seen in this state in the daytime. On the week days they wear coarse woollen frock coats, gathered below the waist and reaching to the knees, so as to cover them decently. They not infrequently sit in a state of nudity in their huts. The women wear coarse woollen gowns with belts. In one of their dances the men represented the attack of a VDL tiger wounded, after being supposed to have destroyed some of their children. This was done with much spirit. Another dance represented the movements of the musk drake; another the making of spears. etc. Several were new since we were here last year. They amuse themselves less in this way than formerly, and for some time past have avoided it altogether on account of taking dangerous colds after the excitement in wet cold weather, which proved fatal to many. They formerly attributed all their ailments to an evil spirit; now they have begun to understand that they arise from natural causes.

14 December 1833

Wellington Valley, NSW

INDIGENOUS

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-reports/

WATSON, William (reporter)

Lessons, hymns, prayers

REPORT ONLY

Documentation:

Watson and Handt, report (14 December 1833); MS C N/O 92/27, pages 1-8 (2/356-63); MS page no: 2/356

The Missionaries Revd. William. Watson and Handt with their wives arrived at Wellington Valley 3 October 1832 accompanied by eight Natives who had joined them on the road. A few Days after their arrival they were visited by more than sixty Natives many of whom were Wild, and had come from 50 to 70 miles distant. They were supplied with food, a small quantity of Tobacco and a few pipes. They were then interrogated as to their knowledge of who had made them, the sun and Trees &c of this they appeared to be entirely ignorant; nor had they least idea of a Supreme Being, of the immortality of the soul, or of a future state of existence. They were then informed that the Missionaries had been sent by the King of England to teach them the great truths of religion and to make them acquainted with Arts and Civilization. They answered to these things Budgery Budgery (good, good). They did not remain many days but have since paid several visits to the Mission. The Missionaries very speedily discovered that the Natives had been prejudiced against them by the Stockmen in the neighbourhood who told them that the men would be yoked and made to work as Bullocks and the children would be sent to Sydney and put in prison. A School [2] was established at the commencement of the year and has been continued. Here from twelve to twenty children have been under instruction at one time some have occasionally left and others have their place. These have been taught to read and, spell, and have been regularly instructed in the principles of the Christian religion. It has not been discovered that these children & youths are in any degree inferior in intellect or ability to learn to those of civilized countries they learn their lessons, hymns, Prayers & as readily as children in general in an English School ...

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

https://archive.org/details/excursionsinnew00bretgoog

1833 (year of publication)

Wollombi, NSW; Moreton Bay district, NSW; Port Macquarie, NSW; London, England (place of publication)

BRETON, William Henry (author, reporter)

Native dances

REPORT ONLY

Documentation:

William Henry Breton, Excursions in New South Wales, Western Australia, and Van Diemen's Land, during the years 1830, 1831, 1832, and 1833 (London: Richard Bentley, 1833), 201-202, 227-28, 232-33

William Henry Breton, Excursons in New South Wales, Western Australia, and Van Diemen's Land, during the years 1830, 1831, 1832, and 1833 . . . second edition revised, with additions (London: Richard Bentley, 1834), 177-78, 198-99, 203-04

https://books.google.com.au/books?id=VTpCAAAAIAAJ&pg=PA177

Some of the customs of those near the Wollombi are brutal in the most extensive sense of the word! One of their dances commenced by great adorning of their heads with feathers, etc., after which they formed a circle round four women, and then began dancing. The women were on their knees, and threw their heads about as if [178] knocking them against the ground; at intervals they threw up their heels, like an animal when kicking, the whole party, at the same, time, yelling in concert in the most hideous manner imaginable, and with as much regularity as if a master had been at hand to direct them. After this had continued some time, the women raised themselves on their hands and feet, the men still dancing round them, and accompanying their movements by the most libidinous gestures! The remainder of the dance was far too disgusting to bear a description . . .

https://books.google.com.au/books?id=VTpCAAAAIAAJ&pg=PA198

[198] [Moreton bay clan] . . . In addition to carrying about portions of their departed friends, they sometimes assemble to dance at their graves: moreover, in common with the Wollombi blacks, they never mention the name of a person deceased; and an individual of one of the tribes, who was called commandant, having died, they now designate the commanding officer by another appellation. Like all the abori-[199]-gines of New Holland, they are great mimics; and so expert are they at making signs, that, even without comprehending a word of their language, it is scarcely possible to mistake their meaning . . .

https://books.google.com.au/books?id=VTpCAAAAIAAJ&pg=PA203

[203] . . . At Port Macquarrie . . . There is a remarkable ceremony performed, not only in this neighbourhood, but, with some variation, in many parts of New Holland: here it is called kabarrah, and is performed in the following manner: - The summit of an eminence, or low hill, is chosen for the scene of this singular rite; the surface is then carefully cleaned from grass, etc., and the bark of any trees that may be near is carved into rude representations of different animals. After this a fire is lighted in the centre, and the youth who is to be initiated is suspended or held by the heels, while the natives dance round [204] him, uttering loud shouts. A man called the Cragee, or doctor, then bites out the upper fronttooth on the left side, or, if he should fail, it is knocked out. It is not unlikely that the tooth is loosened beforehand, as otherwise the Cragee might be liable to break one of his own teeth instead of that of the lad. After the extraction of the tooth, the youth is supposed to have arrived at the age of manhood, and is then at liberty to steal a woman from another tribe. No female is permitted to be present at the celebration of these rites, nor may she even approach within several hundred yards of the spot; and any attempt on the part of one to witness the ceremony would be punished by instant death. The kabarrah always includes several tribes, some of whom come from a distance of eighty or a hundred miles, and probably much farther. As a preliminary to the meeting, two messengers are despatched from each tribe (intending to be present,) and these men, together with the leading men of the Port Macquarrie natives, form a council, by whose authority wars are proclaimed, boundaries [205] settled, and one tribe prevented from interfering with, or encroaching upon another . . . The settlers are allowed to be present, but not the convicts, whom they call croppies, of course a word which they have learnt from the whites . . .

1834

1834 (year of publication)

Sydney, NSW

THRELKELD, Lancelot Edward (reporter)

... poets among them who compose songs

REPORT ONLY

Documentation:

Threlkeld 1834, 90

https://nla.gov.au/nla.obj-115132947/view?partId=nla.obj-484933783#page/n103/mode/1up (DIGITISED)

https://archive.org/stream/rosettaproject_awk_morsyn-2/threlkeld1834#page/n55/mode/1up (DIGITISED)

COMMON NOUNS ...

Nung-ngún, A song. There are poets among them who compose songs which are sung and danced to by their own tribes in the first place, after which other tribes learn the song and dance, which itinerates from tribe to tribe throughout the country, until from change of dialect, the very words are not understood by distant blacks.

Bibliography and resources:

"AUSTRALIAN GRAMMAR. III", The Saturday Magazine [London] (14 January 1837), 15

https://books.google.com.au/books?id=Zk5RAQAAMAAJ&pg=RA1-PA15

Grey 1841, vol. 2, (303-) 304

https://books.google.com.au/books?id=J65SAAAAcAAJ&pg=PA304

[303] ... A true poet in Australia is highly appreciated. Simple as their songs appear, there are in them many niceties which an European cannot detect; it is probable that what is most highly estimated by this people, is that the cadence of the song, and the wild air to which it is chanted, should express well to their ideas the feelings and passions intended to predominate in the mind at the moment in [304] which it is sung: hence, we find, that the compositions of some of these poets pass from family to family, and from district to district, until they have very probably traversed the whole continent; the natives themselves having at last no idea of the point where they originated, or of the meaning of the words which they sing, successive changes of dialect having so altered the song, that probably not one of the original words remains; but they sing sounds analogous to these, to the proper air. And this is not confined to Western Australia, for Mr. Threlkeld, in his "Australian Grammar," says: -

"There are poets among them who compose songs, which are sung and danced to by their own tribe in the first place, after which other tribes learn the song and dance, which itinerates from tribe to tribe throughout the country, until, from change of dialect, the very words are not understood by the blacks."

A family seldom make a distant friendly visit to other tribes, but they bring back a new song or two with them, and these, for a time, are quite as much the rage as a new fashionable song in England. Occasionally the songs also bear the name of the poet who composed them, though this is not often the case; there are, however, two or three poets in Australia who enjoy a great celebrity, but whether they are living, or belonged to ancient times, or whether they are merely imaginary beings I have never been able to discover.

"Aborigines of Australia. THE MUSES - POETRY", The Band of Hope Journal and Australian Home Companion (5 June 1858), 179

http://nla.gov.au/nla.news-article72485306

12-13 February 1834

Perth, WA

A treaty of peace was ratified ... and the scene concluded with a corrobora

REPORT ONLY

Documentation:

"THE NATIVES", The Perth Gazette and Western Australian Journal (15 February 1834), 235

http://nla.gov.au/nla.news-article641648

An unusual assemblage of natives, consisting of select bands from various tribes, was collected near Perth on Wednesday and Thursday last, for the purpose, as it was understood, of coming to a general encounter. In numbers they appeared to be about 160, including women and children, and consisted of the Northern, joined by Weeip's, or the Mountain tribe, with the whole of Yellowgonga's tribe, which is in the habit of frequenting our neighbourhood. One party of about 40 men mustered together in the high street at Perth, each armed with half a dozen spears, and proceeded through the town, yelling defiance to their opponents. About half a-mile on the road to Monger's Lake, the two parties met, but, to the great disappointment of a number of spectators, after a good deal of grimace and shew of battle, and the exchange of a few spears, (one of which was aimed at, and wounded a woman), a treaty of peace was ratified on the spot, and the scene concluded with a corrobora. On Thursday, notwithstanding the treaty of the previous night, hostilities we believe were partially renewed, during which a child is said to have been killed . . .

"SWAN RIVER", The Sydney Gazette and New South Wales Advertiser (24 May 1834), 3

http://nla.gov.au/nla.news-article2216220

22 February 1834

West Point, VDL (TAS)

ROBINSON, George Augustus (reporter)

Horse song - Nic.er plo.kar.ner

REPORT; SONG WORDS; GLOSS

Documentation:

George Augustus Robinson, journal; ed. Plomley 1966, 847-48, 915 note 51

http://archival.sl.nsw.gov.au/Details/archive/110319172

[846] 21 February Pleasant weather. This morning wrote my journal and proceeded on my journey and encamped at West Point where the shepherd's hut is, called by the natives LAY.BER.LOW.WER.IC and by the whites Southdown hut ...

[847] 22 February ... Remaining at LAY.BER.LOW.WER.IC ... Wrote one of the native songs, belonging to one of the eastern tribes. It is an account of a black man being chased by a white man on horseback, a red horse, and how the white man left his gun and bundle behind to facilitate his speed; how the black man outrun the horse and escaped into the woods - PLOKARNER red horse, PUNE.NE.ME.MEM.MEN.LEE PLARE.LER.PE put down musket and bundle.

Song -

NIC.ER PLO.KAR.NER
PUNE.NE.ME MEM.MER.LE
NIC.ER & &

LARE.KO.YER
KOEY.HEN.NER.WAR.ER.ME
LARE.TONE.NE
LARE.KO.YAR & &

KOLE.LE.BE
BE.KONE.NAR
TAR.LAR.NE MAY
MAR (rest)
MAR POR.REN.NE
TOO.MAT.TER
TAR
PAY.YAR
MAR.ER.WOE
The whole of these lines repeated three or four times over.

MAR.YER
MARGN.ER.NER
NARE.NER.ME
PARE.WUR.HE
MAR.YER & &
The whole of these lines repeated three or four times over.

PLARE.LER.PE
PEENG.EM.MER
ILL.LER.NER.ME
MAY.MAR.PAR
MAY.MAR.PAR
PLARE.LAR & &
The whole of these lines repeated three or four times over.

NAY.MAR.KAR
PAR.NA.ME
LARE.RAR
NAME.MEN.NAR
Not repeated. Finis.

26 March 1834

Wellington Valley, NSW

INDIGENOUS

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/handt/handt-journals/vi-jan-april-1834.html

Pipe clay for dancing

REPORT ONLY

Documentation:

Handt, journal entry (26 March 1834); Handt, Journal 6, page 6; C N/O 51/ [1-118]

[26 March 1834] Wednesday, 26. The sick woman seems to be a very debased character. She thinks she will soon be well, and then she intends to live with the Whites at the stock-stations. I told her that it was very wrong if she did and that God was angry at such conduct. She and the other women daub themselves every morning with pipe-clay. This they do, as I was informed, in honour of their late husband, and they will continue to do so for a season. They smear their faces and their hair all over, also the upper part of the body, and their arms and legs. When the Blacks use the pipe-clay as an ornament, for instance when they have a dance, they make generally lines only on their bodies, and draw them perhaps in various directions, especially on the face ...

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article2215864

12 April 1834

Sydney, NSW

ANONYMOUS ("D.")

An Australian song

WORDS ONLY; NO TUNE INDICATED

Documentation:

"ORIGINAL POETRY", The Sydney Gazette and New South Wales Advertiser (12 April 1834), 4

Fair as the flowers by yon murmuring stream,
And bright as its face neath the sun's sparkling-beam;
As the morning dews chaste, as its sparkles no gay,
Are thy daughters - my country - Australia - huzza!

As the Ocean's waves free, and as mild as thy rills,
Warm like thy climate, and firm as thy hills;
Only callous to meanness, too tough for dismay,
Are the hearts of thy tall sons - Australia - huzza!

Tho' the red car of war we have never yet seen,
Still oft an Australian has conqueror been;
His country's his idol - his life down he'd lay,
To let those that live shout - Australia - huzza!

Tho' fierce as the tiger, while struggles the foe,
His heart half relents with the conquering blow;
And the meed he looks most for when over the fray,
Is a shout for his country - Australia - huzza!

The day is approaching, that day sure will be,
When Australia! thy sons shall be happy and free;
And shall tell to their children of days pass'd away,
Of the heroes that once sang - Australia - huzza!

Then the cots of content shall arise by thy rills,
And the God of bold Freedom shall reign on thy hills;
Then each age shall but add to thy glory a ray,
And the world shall respond to - Australia - huzza!

26 April 1834

Wellington Valley, NSW

INDIGENOUS

GOONGEEN

WATSON, William (reporter)

Great music too, Boom! Boom! baa! (organ)

REPORT ONLY

Documentation:

Watson, journal entry (26 April 1834); Watson, Journal 8: April-June 1834, p.2.

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/viii-april-june-1834.html

[26 April 1834] Sat 26. Nearly 40 Natives came up today, several of whom are very ill. I could fain have spoken to them on the subject of religion, but their anxieties were only expressed after pipes and tobacco. I told them that they were always ready to ask for a pipe but they felt no desire to pray to God to make them good, and that he might take them to Heaven when they died. Most of them went away. After only the sick remained. When I was in the garden this evening the following conversation took place between Goongeen and one of my Native youths and myself.

G: The Black fellows are going to fight tomorrow, I shall go.

Mr. W: No you must not. Tomorrow is Sunday, it belongs to God. You must go to church and pray to God to take all evil from your heart and to make you good.

G: I will go after prayers I believe.

Mr. W: No, the whole day is sacred and it is your duty to remain at home and learn respecting Jesus Christ who died for you.

G: Tomorrow Sunday! Hy! Hy! Great Sunday in Sydney, great church there. Everybody go to church in Sydney. Great music too, Boom! Boom! baa! (organ). What for not make great church here like at Sydney?

Mr. W: When the Natives are desirous of coming to church and have become acquainted with religion we shall erect a church for them here, and others in other parts. This young man had been with me to Sydney and he often speaks of the church and organ and of Mr. Hill. At the same time he saw several New Zealanders, very many of whom, I told him, sat down and read Bible and many of them were very good. This also frequently forms a topic of conversation between him and his Native brethren.

See also October 1833 above

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

26 April, 1 and 3 May 1834

Wellington Valley, NSW

INDIGENOUS

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/handt/handt-journals/vii-april-sept-1834.html

The intended dance took place last night

REPORT ONLY

Documentation:

Handt, journal entries (26 April, 1 and 3 May 1834); Handt, Journal 7, pages 1-2; C N/O 51/ [1-124; 125]

[26 April 1834] Saturday, 26. A party of Blacks passed here to day. Some women only stayed for a short time, who, when I asked them, why all the rest had passed, replied that they would have a dance to night. O that they might soon learn to sing the praises of Immanuel, and to be joyful in the Lord! At present we are obliged to harp on the willows, but then we should take them down, and tune the song of Zion.

[1 May 1834] Thursday, May 1. Some Blacks, who came to-day, said that the dance should take place to-night a few miles from here, with others of their associates, and they soon left for that purpose.

[3 May 1834] Saturday, 3. The intended dance took place last night I understand.

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://books.google.com.au/books?id=DrICAAAAIAAJ&pg=PA84

29 May 1834 (first performance)

Theatre, Argyle Rooms, Hobart Town, VDL (TAS)

PENPHRASE, William (actor in role of Murrahwa)

HENSON, Mrs. (actor 1 in role of Ellen)

WATSON, Miss (actor 2 in role of Ellen)

ANONYMOUS (? DEANE, John Philip) (composer, arranger, manager)

MELVILLE, Henry (songwriter, playwright)

Native sings and dances the corroberee

Incidental song and dance in The bushrangers; or, Norwood Vale

STAGE DIRECTIONS ONLY; NO MUSIC OR WORDS; PARODY OF INDIGENOUS SONG

'Tis said to beauty's dwelling

Song in The bushrangers, or Norwood Vale

WORDS ONLY; NO TUNE INDICATED

Source and documentation:

https://trove.nla.gov.au/search?l-publictag=The+bushrangers+(Melville) (TROVE tagged by Australharmony)

[Henry Melville], "The Bushrangers, or Norwood Vale", Hobart Town Magazine 3 (1834), 84

https://archive.org/stream/hobarttownmagaz01unkngoog#page/n108/mode/2up

Scene 2. Skilling, or out-house - a male Native standing at the door way - servant girl, Ellen.

Native. - Lady, bit baccy and bredly.

Ellen. - Come in old Murrahwa, and let me know your wishes - you would make a charming suitor for a pretty girl, with your long matted, red-ochred hair all hung round your pole like a bundle of carrots; fancy him kissing one! oh! but come in, blackey, tell me what you want?

Native. - Me want baccy and bredly - me had none long time - me got very old blanket.

Ellen. - Well, blackey, you shall have both, if you will dance a corroboree!

Native. - He, he! corroboree? Ellen. - Yes! corroberee. No baccy without corroboree.

(Native sings and dances the corroberee.)

Ellen. - Well now, blackey, I'll sing you a song.

Song.

'Tis said to Beauty's dwelling
Will lovers oft repair,
To win with sighs and tearful eyes,
Th' affections of the fair.
If this be true, - altho' as yet
The truth I cannot see,
'Tis very strange my state to change -
No lovers come to me.

'Tis said where'er we wander
They gather round about;
And vows, and oaths, and such like things,
Are plentiful no doubt.
But here I've been for twelve long months,
And here I'm like to be,
For very strange my state to change
No lover come to me.

Documentation:

"Domestic Intelligence", Colonial Times (22 April 1834), 5

http://nla.gov.au/nla.news-article8647537

We understand Mr. Deane is rehearsing a Colonial piece, written in the Colony, called the "Bushrangers." The piece will be ready for performance in about a fortnight, and as the plot is founded in the Colony, it is likely to have a run.

"Domestic Intelligence", Colonial Times (27 May 1834), 5

http://nla.gov.au/nla.news-article8647611

On Thursday next, the Colonial melodrama of the "Bushrangers," will be performed at the Argyle Rooms. This is the first attempt at getting up a Colonial piece; and as every person present will be a critic, the author risks not a little. Public opinion, however, as yet, speaks much in its favor. The plot is laid in the interior of the Colony, and during the time the natives were on friendly terms with the settlers. One native chief (Mr. Pemphrase) is introduced, as are also three most notorious bushrangers, who are the veriest ruffians we ever read of. There is plenty of stage effect in the piece.

[Advertisement], Colonial Times (27 May 1834), 3

http://nla.gov.au/nla.news-article8647606

Theatre, Argyle Rooms.
ON Thursday Evening next, a selection of Vocal and Instrumental Music,
with a variety of amusements. To conclude with a new Melo-Drama, written expressly for this Theatre,
to be called THE BUSHRANGERS.
Mr. Norwood ... Mr. Mackay;
Frederick ... Mr. Campbell;
Murrahwa ... Mr. Pemphraze;
Marian... Mrs. Mackay;
Ellen ... Mrs. Henson;
Bushrangers.
Bill Fellows ... Mr. Townshend;
Harry Fawkes ... Mr. Lee;
Charles Hoodwink ... Mr. Henson.
May 27, 1834.

[Advertisement], Trumpeter General (30 May 1834), 2

http://nla.gov.au/nla.news-article172895569

Theatre, Argyle Rooms.
ON Monday Evening next, a selection of Vocal and Instrumental Music, with a variety of amusements,
to conclude with, (for the second time) a new Melo-Drama, called
The BUSHRANGERS; or, Norwwoodvale.
Mr. Norwood - Mr. Townshend;
Frederick - Mr. Campbell;
Murrahwa - Mr. Pemphrase;
Marion - Mrs. Henson;
Ellen - Miss Watson.
BUSHRANGERS.
Fellows - Mr. Russell;
Hoodwink - Mr. Henson;
Fawkes - Mr. Lee.
BOXES - 2s. GALLERY - 1s.

"THE THEATRE", Trumpeter General (3 June 1834), 3

http://nla.gov.au/nla.news-article172895593

We attended Mr Deane's elegant little Theatre on Thursday last, to witness the Colonial piece of the "Bushrangers." From the misunderstanding which has arisen between Mr. Mackay and Mr. Deane, some of the characters were taken at a short notice by other members of the Company, who exerted themselves to give effect to their different parts . . .

[Advertisement], The Hobart Town Courier (6 June 1834), 3

http://nla.gov.au/nla.news-article4184916

THEATRE-ARGYLE ROOMS. ON Saturday evening (to-morrow) will be given, a selection of Vocal and Instrumental Music; after which, will be performed, a new melodrama, called The Bushrangers, or Norwood Vale. Tickets (not transferable) to be had at Mr. Deane's library, 3s and 2s each.

[Full text of play] "The Bushrangers, or Norwood Vale", Hobart Town Magazine (1834), 82

http://books.google.com.au/books?id=DrICAAAAIAAJ&pg=PA82

https://archive.org/stream/hobarttownmagaz01unkngoog#page/n106/mode/2up

These musical items, 84

http://books.google.com.au/books?id=DrICAAAAIAAJ&pg=PA84

https://archive.org/stream/hobarttownmagaz01unkngoog#page/n108/mode/2up

Bibliography and resources:

Richard Fotheringham (ed.), Australian plays for the colonial stage: 1834-1899 (St Lucia: University of Queensland Press, 2006), 3-38

https://books.google.com.au/books?id=2mIYkb8NaXYC&pg=PA3 (PREVIEW)

http://en.wikipedia.org/wiki/The_Bushrangers

http://www.austlit.edu.au/austlit/page/C399049

http://www.ausstage.edu.au/pages/event/64464

http://www.ausstage.edu.au/pages/event/64465

Late May 1834

Williams River, NSW

A corrobora, of three days continuance ... at Williams' River

REPORT ONLY

Documentation:

"DOMESTIC INTELLIGENCE", The Sydney Herald (2 June 1834), 3

http://nla.gov.au/nla.news-article12849509

A Corrobora, of three days continuance, took place at Williams' River, last week, at which the native blacks of that River and several adjacent tribes assembled at Brandon, to receive from Mr. Wighton, J. P. the Governor's donation of blankets, which had been forwarded to that place on the representatian of Mr. W. to His Excellency, that, as several outrages had been committed in the District, by the blacks, a present of that nature might prove serviceable in preventing further mischief. Each native on receiving his present, (the nature of it being explained,) gave assurances that no further outrages should be committed.

16 July 1834

Wellington Valley, NSW

INDIGENOUS

WATSON, William (reporter)

He began to sing a hymn

REPORT ONLY

Documentation:

Watson, journal entry (16 July 1834); Watson, Journal 9: July-October 1834

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/ix-july-oct-1834.html

[16 July 1834] Wed 16. One of our young men asked me this morning to allow him to go cut some bark for a gentleman about 8 miles distant. I did not think it my duty to refuse. 4 or 5 more accompanied him. My boys have been putting a fence round a piece of ground for a garden for themselves. One of them was laid on the ground. He was not aware that I was near. I heard him repeat the words "Our Lord, Jesus Christ". I listened and found that he was repeating part of the church service, after which he began to sing a hymn.

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article32147134

26 August 1834 (reported "first performance")

On board the Sydney-Parramatta steamer, Parramatta River, NSW

10 September 1834 (first published)

ANONYMOUS (words)

From towns great and small, and from country we come (air - Home, sweet home)

New Song to the air of Home, Sweet Home; Said to have been sung by the fair frail ones who arrived by the Steamer from Sydney ... on their way from the wharf to the Female Factory ...)

WORDS ONLY; TUNE INDICATED

Source:

"NEW SONG", The Sydney Monitor (10 September 1834), 4

NEW SONG. To the air of "Home, Sweet Home!"

Said to have been sung by the fair frail ones who arrived by the Steamer from Sydney, at nine o'clock on the night of the 26th of August, and who being in full spirit for a concert, chaunted in a style superior to Catalini's [Catalani's], on their way from the wharf to the Female Factory - to the edification of the musical folks of Parramatta, who were then about hastening to bed.

From towns great and small, and from country we come,
From all sorts of "places" we thus hasten home,
For the kind Captain graciously smiles on us there,
And lists our complaints, which they ne'er do elsewhere.
Home, home, sweet sweet sweet home,
In spite of the SHAVING, there 's no place like home.

When out, if we make but a trifling faux pas,
They threaten with watch-house, while we cry out "baa!"
For watch-house, police, Windeyer, nor THIRD CLASS we fear,
We but rest ourselves there, while we we have to work here.
Home, home, sweet, sweet home,
The watch-house is only the first stage to home.

We like to come out, now and then, for a "lark,"
To see our old street-hearts, or gain a new spark;
A gown, ribbon, dress-cape, a bonnet, or shawl,
As we happen to need, then were off- bag and all!
Home etc. . . .
In spite of the shaving, there's no place like home.

'Tis said, in the third class, like pigs we are fed
On hominy salted - and filthy brown bread;
That from sun-rise to sun-set, we work till we groan,
All dragging huge barrows and loaded with stone!!
Home, home, sweet sweet home
We laugh at those slanders, and love well our home.

'Tis there we enjoy life - for over the wall
Which they built to seclude us, the sweetest things fall!
Rum, tea, and tobacco, bread, sugar, and gin,
Letters, bundles and money - come tumbling in!
Home, home, sweet sweet home.
We sing for the brave "boys" who make glad our home!

Oft times were but shabby, the present we land -
Should our luck be discovered - (some guardians are good)
If we be but generous enough to DIVIDE -
The rest, we have then leave to use, or to hide!
Home, home, sweet sweet home.
Where e'er we may wander, there's no place like home.

And even the lads fail us-our needles stand true,
Some light works of fashion, if we can but do -
As caps, dresses, bonnets, frills, tippets, and stays,
Our mentors get payment - and give us much praise.
Home etc. . . .
Not all o'er the land is a spot like our home!

Praise is smart, but 'twere useless without something more
We've sundry indulgences - nic nacks a score!
At Christmas, or Easter, or set day we DINE
In full state, with plumb pudding and wine!
Home etc. . . .
And if we get merry, we're only "at home".

'Tis true, that sometimes, by way of a blind,
In our castle's deep cells-a-night's lodging we find;
Hard fare and hard lying we |need, to pull down
All superfluous flesh, 'ere we back to town.
Home etc. . . .
Cells, bracelets, and all - there's no place like home!

The fault-finding MONITOR never can rest!
He now plagues this Governor - 'cause he's the best
That hath yet ruled - to us, and the BRAVE IRON'D MEN
Who spurn at their masters, but smile on the chain!
Home etc. . . .
In spite of Hall's growling-it still is our home!

Bibliography and resources:

Stewart and Keesing 1957

http://www.austlit.edu.au/austlit/page/C719394

Music concordances:

Home! sweet home! sung by Miss M. Tree in Clari; or The maid of Milan, at the Theatre Royal, Covent Garden, composed & partly founded on a Sicilian air by Henry R. Bishop, composer & director of the music to the Theatre Royal Covent Garden ... fifth edition (London: Printed by Goulding, D'Almaine & Co., [c.1823])

https://imslp.org/wiki/Special:ReverseLookup/119287

Home! sweet home! sung by Miss M. Tree in Clari; or The maid of Milan, at the Theatre Royal, Covent Garden, composed & partly founded on a Sicilian air by Henry R. Bishop, composer & director of the music to the Theatre Royal Covent Garden ... thirteenth edition (Sydney: Published by F. Ellard, [? c.1840])

https://trove.nla.gov.au/version/44702361

Commentary:

Bishops's Home! sweet home! was introduced to the public at the first performance of his Clari; or The maid of Milan, at the Theatre Royal, Covent Garden, London, on 8 May 1823. Bochsa in 1824 was one of the first to publish variations upon the instantly popular song. In Australia, the earliest published contrafactum upon it appeared in The Australian in Sydney (15 December 1825), and the song itself was sung by amateur soprano vocalist Tempest Paul at her private concert in Sydney in June 1826, and again in public during the Sydney Amateur Concerts in August. In due course, it was heard in its original context in professional local productions of Clari in Hobart in January 1834 (sung by Cordelia Cameron) and in Sydney in January, May, and October 1835 (sung by Anne Winstanley and Marian Chester).

References:

Clari, or the Maid of Milan, an opera in three acts first performed at the Theatre Royal, Covent Garden, London, on Thursday, May 8th, 1823 by John Howard Payne, overture and music (with the exception of the national airs) by Henry R. Bishop, Esq. (London: John Miller, 1823)

https://books.google.com.au/books?id=h1VgAAAAcAAJ

[Music review], "Clari; or, The maid of Milan, an opera in three acts, composed by Henry R. Bishop (London: Goulding, D'Almaine, Potter and Co.)", The Quarterly Musical Review 5 (1833), 545-48

https://books.google.com.au/books?id=LbcPAAAAYAAJ&pg=PA545

Duo brillant pour harpe et piano sur les thêmes favoris de Clari avec variations sur l'air favori Home! Sweet home! par N. Ch. Bochsa, fils, op. 208 (Paris: Dufaut et Dubois, [1824])

https://archive.org/stream/duobrillantpourh00boch#page/n1/mode/2up

"NEW MUSIC", The London Magazine 9 (January-June 1824), 99

https://books.google.com.au/books?id=t-wRAAAAYAAJ&pg=PA99

3 September 1834 (first performance)

Albion Tavern, Aldersgate Street, London, England

CALVERT, C. A. (composer, music)

GOUGER, Robert (songwriter, lyricist, words)

The emigrant's farewell

Song for voice and piano

WORDS AND MUSIC EXTANT; MS COPY

Source (words and music):

Frances Amelia Thomas' scrapbook of artworks, poems and music, 1835-1840, manuscript, National Library of Australia (03/1285)

https://trove.nla.gov.au/version/44598065

http://catalogue.nla.gov.au/Record/4650893

As at January 2018, only the first page of music is digitised

Sources (words only):

"THE EMIGRANT'S FAREWELL. Sung at the Dinner of the South Australian Colonists, September 3 [1834]", The Spectator 323 (6 September 1834), 846

http://archive.spectator.co.uk/article/6th-september-1834/8/the-emigrants-farewell

https://books.google.com.au/books?id=mzI_AQAAIAAJ&pg=PA846

"THE EMIGRANT'S FAREWELL. Sung at the Dinner of the South Australian Colonists, September 3 [1834]", The Australian (6 February 1835), 4

http://nla.gov.au/nla.news-article42007903

THE EMIGRANTS' FAREWELL.

Sung at the Dinner of the South Australian Colonists, September 3.

Although we leave thee, Fatherland,
And seek a foreign shore,
And the delightful scenes of youth,
Relinquish evermore;
Think not that we insensibly
Forsake thee, Fatherland,
Without a sigh, without a tear,
A sullen, heartless band.

No, no; our hearts are warm, and high
They beat with love for thee;
Thy mountains, cities, vales, and streams,
Long shall remember'd be;
But chief thy children, Fatherland,
Shall live in memory dear;
For them we oft shall heave a sigh,
And drop affection's tear.

Yet blame us not, though, truants, we
Leave thy loved hearth to roam
W'ere solitude sublimely reigns,
And build therein a home:
The infant that we rear to thee
Shall, cradled by success,
Grow to a giant empire soon,
From a crude wilderness.

"The Emigrants' Farewell. Sung at the Dinner of the South Australian Colonists, September 3rd. [1834]", The Sydney Monitor (7 March 1835), 4

http://nla.gov.au/nla.news-article32148410

Documentation:

"The Metropolis", The Spectator 323 (6 September 1834), 838

https://books.google.com.au/books?id=mzI_AQAAIAAJ&pg=PA838

A public dinner was given on Wednesday, at the Albion in Aldersgate Street, to Mr. Wolryche Whitmore, M. P. by about eighty gentlemen interested in the success of the New South Australian Colony. Mr. Childers, Member for Cambridgeshire, was in the chair; and among the other gentlemen present were Mr. J. Montefiore, Captain Gower, Mr. Daniel Wakefield, and Mr. J. W. Buckle. Colonel Torrens was unable to attend, from indisposition; and the party was much reduced in number owing to the absence from town of so many persons of distinction, interested in the undertaking. Mr. Whitmore addressed the company at some length. He mentioned that the principal obstacle to the undertaking, which, however, it was believed would soon be removed, - arose from the difficulty of procuring men of capital to become Commissioners under the act. The season was unfortunate in this respect, that so many friends of the Colony, among whom Mr. Grote was conspicuous, were not in town. The Commissioners were to be responsible for the Colony's not becoming a charge on the Mother Country, as well as for the general superintendence of the scheme. It was therefore considered right that they should be men of opulence. Mr. Whitmore dwelt upon the fertility of the land in the new colony; upon the bright prospects the project opened up; and expressed his gratitude, and that of the Committee generally, to the Duke of Wellington, for the powerful aid he had given; without which, the bill would not probably have passed the Lords. The Duke of Wellington's health was drunk with applause, along with those of the Marquis of Clanricarde, Mr. Spring Rice, Mr. Lefevre, Mr. Gouger, Mr. D. Wakefield, and others. Mr. Wakefield discussed the principles on which the Colony was founded; repudiated the notion that petty obstacles would be allowed to prevent its success; and declared his resolution to settle in it himself. [With Mr. Wakefield, we cannot believe that petty obstacles will be allowed to impede the progress of the undertaking, after all the large ones have been removed. Upon reference to the Act, we cannot see that men of opulence, so much as men of intelligence and high character, are required for Commissioners: they are not to be personally responsible in a pecuniary way.]

Bibliography and resources:

Skinner 2011

http://www.austlit.edu.au/austlit/page/C804352

http://www.austlit.edu.au/austlit/page/C804356

Commentary:

There is no evidence that the composer Calvert, presumably a Londoner of Gouger's acquaintance, ever came to Australia. The words and music did, however, in the scrapbook Frances Amelia Thomas brought with her on the ship Africaine, which arrived in Holdfast Bay, SA, on 6 November 1836. The elder daughter of Robert and Mary Thomas, she met her future husband John Michael Skipper on the voyage out. They married in 1839.

7 September 1834

Wellington Valley, NSW

INDIGENOUS

WATSON, William (reporter)

Rachal had not forgotten the morning hymn

REPORT ONLY

Documentation:

Watson, journal entry (7 September 1834); Watson, Journal 9: July-October 1834

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/ix-july-oct-1834.html

[7 September 1834] Sund 7. All our Natives, fourteen in number, attended church today. After service many of those who went away on Friday returned. About 32 here tonight. I went to the camp and found them busy cooking their opossums of which they had got a large supply. I expressed my regret that they should go about on Sundays. One of them said "Black fellow not got Sunday". I pointed to the moon, which had just risen, and asked "Who made the moon?". One said "I do not Know" and another said "I do not know". I knew this was false and therefore addressing one of them I said "What Neddy, do you not know?" Immediately pointing to the Heavens he said "God". When we address them on the important subject of religion they appear to be as indifferent as stones, but if we show them a pipe, piece of tobacco or a piece of bread they are all life and agility. So profound is the spiritual sleep in which they are sunk. But we cannot allow them to sleep on without making repeated efforts to rouse them, praying that the Holy Spirit may bless our feeble endeavours. It was pleasing to find that Rachal [sic] had not forgotten the morning hymn, for she sang at church and urged the other girls to sing.

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

8 September 1834

Wellington Valley, NSW

INDIGENOUS

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/handt/handt-journals/vii-april-sept-1834.html

The young men sang . . . some of their heathenish songs

REPORT ONLY

Documentation:

Handt, journal entry (8 September 1834); Handt, Journal 7, page 12; C N/O 51/ [1-135]

[8 September 1834] Monday, 8. Spoke in the morning with king Boby and some other Blacks about God and Jesus Christ: they were attentive but with regard to their personal interest in these things, indifference seemed to pervade their minds. However God is able to open their hearts, and we hope that he will do so at the time appointed. In the meantime we must not despise the days of small things. Many of the Blacks came to us this afternoon in addition to those who were here before, and stayed all night. The young men sang at night with great animation and cheerfulness some of their heathenish songs.

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article641231

16 October 1834

Perth, WA

. . . on Thursday night held a corrobora in the barrack yard

REPORT ONLY

Documentation:

[News], The Perth Gazette and Western Australian Journal (18 October 1834), 374

The Natives, after absenting themselves from Perth for a considerable time, returned last week in a large party. They loitered in and about the town for several days, and, on Thursday night held a corrobora in the barrack yard, adjoining His Excellency Sir James Stirlings temporary residence. Their repeated inquiries, whether the Governor and white man would befriend them, created some suspicion that their visit was not complimentary, - but, in fact, to seek our protection from a distant tribe, who were in pursuit of them. This surmise was confirmed; and it appeared that the tribe of our district had lately lost, by a natural death, one of their number; according to their custom, they had endeavoured to reduce the strength of the adjoining tribe, - but, they being too powerful for the assailants, had repulsed them, and had driven them to seek shelter within the precincts of the town. Meeting with no obstruction, they lit their fires on a slight eminence opposite the residence of the Honorable the Surveyor-General, where they bivouacked two successive nights. This in future should be prevented, unless some guard is placed over them; for, independent of the danger by fire, the intimate acquaintance they thus obtain of our domestic habits and the unprotected situation we are left in during the night, would give them an advantage highly important, when seeking to resent any supposed injury or required chastisement.

21 October 1834 (first advertised)

22 October 1834 (first performance)

Theatre Royal, Sydney, NSW

SIPPE, George (composer, arranger)

New and appropriate music in The fatal snow storm

NO COPY IDENTIFIED (? unpublished MS)

Documentation:

[Advertisement], The Sydney Monitor (15 October 1834), 3

http://nla.gov.au/nla.news-article32147379

[Advertisement], The Australian (17 October 1834), 3

http://nla.gov.au/nla.news-article42005133

[Advertisement], The Sydney Gazette and New South Wales Advertiser (21 October 1834), 1

http://nla.gov.au/nla.news-article2217359

THEATRE ROYAL, SYDNEY. (For this Night only.) FOR THE BENEFIT OF MR. B. A. PHILLIPS, MACHINIST, ON WEDNESDAY NEXT, 23rd [recte 22] OCTOBER, 1834, ON which occasion will be produced the favourite and interesting Russian Drama, which has been received with unbounded applause at the Royal Theatre at home, and which is illustrative of an anecdote that occurred in the Court of the Emperor Alexander, viz.: THE FATAL SNOW STORM, in which will be introduced some new and appropriate Music by Mr. Sippe; the scenery by Mr. Winstanley and Sons; the machinery by Mr. Phillips. Principal Characters by Messrs. Simmons, Knowles, Meredith, Master Jones, and Mesdames Taylor and Meredith. In Act 2nd, will be exhibited a splendid new Scene showing the effects of a Snow Storm, copied from the celebrated scene by Stanfield, of the Theatre Royal, Drury Lane, in the Historical Drama of "THE BATTLE OF WATERLOO, OF NAPOLEON CROSSING THE ALPS" . . .

Bibliography and resources:

Skinner 2011

Commentary:

The play was William Barrymore's The fatal snow-storm, datable to 1817 or earlier. That it was chosen for Phillips's benefit was perhaps prompted by reports of recent snow storms on the southern Alps.

Theatre bills and newspaper advertisements during Conrad Knowles's term of management typically credited Sippe as "Director and Composer of the Music", in most cases indicating that he selected, arranged, and probably orchestrated the music rather than actually composed it. However, in a few instances, advertisements suggest he might also have composed some new music.

References:

William Barrymore, The fatal snow-storm: a romantic drama, in two acts (London: T. Richardson, [1830])

https://trove.nla.gov.au/work/17774549

"Storm of Snow at Maneroo Plains, beyond Argyle", The Sydney Monitor (17 September 1834), 3

http://nla.gov.au/nla.news-article32147173

"MANARO PLAINS", The Sydney Herald (23 October 1834), 2

http://nla.gov.au/nla.news-article12850775

Theatre Royal, Sydney (1834-36): fourteen printed broadside programs; State Library of New South Wales

https://trove.nla.gov.au/version/30990225

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=IE3764000

21 October 1834 (first advertised, with the above)

22 October 1834 (first performance)

Theatre Royal, Sydney, NSW

SIPPE, George (composer, arranger)

WILSON, Mr. (composer, arranger)

The demon; or The magic rose

The Music by Messrs. Sippe and Wilson

NO COPY IDENTIFIED (? unpublished MS)

Documentation:

[Advertisement], The Sydney Gazette and New South Wales Advertiser (21 October 1834), 1

http://nla.gov.au/nla.news-article2217359

THEATRE ROYAL, SYDNEY. (For this Night only.) FOR THE BENEFIT OF MR. B. A. PHILLIPS, MACHINIST, ON WEDNESDAY NEXT, 23rd [recte 22] OCTOBER, 1834, ON which occasion will he produced ... After which will be presented, for the first and only time on this Stage, and got up expressly for this occasion, an entire new Comic PANTOMIME CALLED THE DEMON! OR, THE MAGIC ROSE. The Music by Messrs. Sippe and Wilson; the new Scenery by Mr. Winstanley and Son; the Machinery, Tricks, and Changes, by Mr. B. A. PHILLIPS ... [with cast and scene lists]

Bibliography and resources:

Irvin 1971, 238

Skinner 2011

Commentary:

John Philip Deane had presented a pantomime, Beauty and the Beast; or, The Magic Rose, at his theatre in Hobart Town earlier that year.

References:

[Advertisement], Colonial Times (29 April 1834), 2

http://nla.gov.au/nla.news-article8647547

Argyle Rooms. MR. DEANE begs to inform the Public, that Beauty and the Beast, or the Magic Rose, will be performed on Thursday evening next, (by particular desire) for the last time this season. April 29, 1834.

5 November 1834

Brisbane Water, NSW

Corrobora

REPORT ONLY

Documentation:

"SUPREME COURT. CRIMINAL SIDE", The Sydney Monitor (14 February 1835), 2

http://nla.gov.au/nla.news-article32148259

Before Mr. Justice BURTON & a CIVIL JURY. TOBY ABORIGINE - Assault & Steal. Toby, an aborigine of the Illalaung tribe, was indicted for assaulting Mr. John Lynch, a settler, at Sugar-loaf Creek, Brisbane Water; and also for stealing from his dwelling house, on the 5th November. It came out in evidence before the Court, that on the 5th November, the prisoner and ten other men of his tribe went to Lynch's house and held a corrobora behind it; that Mrs. Lynch saw them, and was alarmed at their being all armed, and there being no gins with them; some of them came into the house, and she in order to appease them, made them an offer of a calf which her husband had previously killed . . .

7 November 1834 (first advertised)

Monaro, NSW, 1834 (collected)

Sydney, NSW (published)

INDIGENOUS (unidenfied female informants, singers, 1834)

LHOTSKY, John (reporter, transcriber, words and music, 1834)

JOSEPHSON, Joshua Frey (arranger, 1834)

PEARSON, James (arranger, 1834)

SIPPE, George (arranger, 1834)

AUSTIN, John Gardner (printer, lithographer)

Kongi kawelgo

A song of the women of the Menero tribe

WORDS AND MUSIC; ? TRANSLATION)

Probably transcribed by John Lhotsky, from Ngarigu informants, Monaro area, south east NSW, 1834

https://trove.nla.gov.au/search?l-publictag=A+song+of+the+women+of+the+Menero+tribe (TROVE tagged by Australharmony)

For main entry, go to Checklist of Indigenous music 1:

https://sydney.edu.au/paradisec/australharmony/checklist-indigenous-music-1.php#008

12 November 1834

Segenhoe, NSW

Bush pageantry at Segenhoe. . . and a grand corrobora

REPORT ONLY

Documentation:

"THE GOVERNOR'S TOUR", The Sydney Herald (24 November 1834), 2

http://nla.gov.au/nla.news-article12850926

[As below, except ] . . . and the evening was closed in by a grand corrobra [sic] . . .

"THE GLEANER", The Sydney Gazette and New South Wales Advertiser (25 November 1834), 3

http://nla.gov.au/nla.news-article2217614

(From the Sydney Herald of yesterday) THE GOVERNOR'S TOUR. From a letter, dated 14th November, 1831.

"The Governor arrived at St. Heliers, on Tuesday, the 11th instant, and stopped with Mr. George Forbes for the night. On the following morning, Mr. Macqueen with his carriage and four, drove to St. Heliers, and brought His Excellecy to Segenhoe. On reaching a certain point where the first glimpse of Segenhoe is obtained, the carriage was met by twenty-six horsemen, including the overseers, headed by Doctor McCredie, the medical gentleman of the establishment, who joined His Excellency's escort; on the carriage entering the great avenue, the speed of the avant courier was checked by the immediate discharge of cannon, and the hoisting of the British flag; in different positions. During the firing of the royal salute, the carriage moved on by His Excellency's desire, at a very slow pace through a line on one lund, of one hundred and forty-four working bullocks, yoked up to eighteen iron ploughs, with driver and ploughmen in new suits of clothing; and on the other hand, eighteen drays with shaft bullocks and their attendants; farther on stood eight teams yoked up to harrows, scufllers, and other implements of husbandry; and opposite to these, eight pack bullocks with their packs, and loaded for the distant out-stations; farther in advance, stood the Native Chief of Segenhoe, with forty followers, painted in the most grotesque manner, carrying spears of twelve to fourteen feet long, and other instrumerits of war, and eight black boys, each holding a couple of kangaroo dogs. Opposite to "David," King of Segenhoe, stood "Duwarrow," Chief of Mr. Hart Davis's Principality, called Waverley, flanked by forty blacks of his own tribe, having also their instruments of war, and eight black hoys, each holding a leish of kangaroo dogs. His Excellency passed on through the inner gate amidst the roaring of the cannon, and the deafening cheers of the whole on the establishment, where Mr. Sempill was in waiting to receive him, to whom he expressed the very great pleasure he felt at viewing so unexpected a pageant in the wild bush, and which His Excellency observed, he would not soon forget. Two bullocks were presented to the Chiefs of Segenhoe and Waverley, and the evening was closed in by a grand corrobora . . .

15 November 1834 (notice of publication)

Perth, Swan River Colony (WA)

ANONYMOUS (settler-colonist songwriter)

The jackets of green

A NEW SONG, GIVING a brief account of the late encounter with the Natives at Pinjärra ([Perth, ?, 1834])

NO COPY IDENTIFIED (words or music)

Documentation:

[Advertisement], The Perth Gazette (15 November 1834), 390

http://nla.gov.au/nla.news-article641185:

JUST PUBLISHED,
"THE JACKETS OF GREEN:"
A NEW SONG,
GIVING a brief account of the late encounter with the Natives at Pinjärra. - Copies to be had at the Freemason's Arms, and Wheat-sheaf Tavern, Perth, also at the Cleikum Inn, Guildford.

Bibliography and resources:

"WESTERN AUSTRALIA EIGHTY YEARS AGO. AS SEEN IN LOCAL NEWSPAPERS ... JUST PUBLISHED", Western Mail (13 September 1918), 34

http://nla.gov.au/nla.news-article37454792

"BARRIERS OF SPEARS. The Ousting Of The Bibbulmum", The West Australian (5 January 1833), 29

http://nla.gov.au/nla.news-article32585326

"NEWS AND NOTES. Jackets of Green", The West Australian (20 December 1937), 20

http://nla.gov.au/nla.news-article41600343

"Jackets of Green." If anyone has a sheet of paper, with the words of a song entitled "The Jackets of Green" printed on it, they have a relic which would be of great interest to students of local history in Western Australia, Speaking at the unveiling of Cooper's Mill at Yunderup, West Murray, on Saturday, Dr. Cyril Bryan, a member of the council of the Western Australian Historical Society, said that five policemen were present at the Battle of Pinjarra in October, 1834. They wore green jackets, and after the affair a local poet wrote "The Jackets of Green" and had it set to music. It was printed, sold and later sung at some of Perth's early concerts. "If some of you go home and look through old papers you may come across a copy of the song," Dr. Bryan said. "There must be some copies still in existence, if we could only get hold of them." A paper read at Saturday's ceremony said that the battle of Pinjarra, or the "Pinjarrup affair" as it was called in a contemporary reference, occurred at the river crossing above Pinjarra. The natives had given a good deal of trouble on the Murray River and, following the killing of a youth named Nesbit and the wounding of a man named Barron, an expedition was sent out from Perth to catch the murderers. With the Governor and other officials, the force numbered 25, including ten soldiers and five police. The natives were trapped at a ford south of Pinjarra and a number of them, including three women and a child, were shot. Following this encounter, there was apparently no further serious trouble with the blacks on the Murray.

Australian Encyclopaedia 1958, 1, 100

Commentary:

Probably words only were printed or otherwise circulated; apparently a pro-settler account of the battle of Pinjarra, on 28 October 1834

References:

Chauncy 1878, 225

https://archive.org/stream/aboriginesofvict02smyt#page/224/mode/2up

18 November 1834 (first notice)

20 November 1834 (first performance)

Theatre, Argyle Rooms, Hobart Town, VDL (TAS)

PECK, George (composer, arranger, improvisor)

Air with variations, in the style of the celebrated Paganini, on one string (the fourth) only

NO COPY IDENTIFIED (unpublished MS, or perhaps never written down)

Documentation:

"Domestic Intelligence", Colonial Times (18 November 1834), 6

http://nla.gov.au/nla.news-article8647923

The example, set by Mr. Levy, has stimulated our Theatrical Corps, and has induced Mr. Peck to get up something like an evening's entertainment for Thursday next ... Mr. Peck will give variations, in the style of the celebrated Paganini, on one string only. When Mr. Peck first arrived in this Colony, these imitations drew crowded houses; and as so much is to be had for the money, we dare say, a respectable and a crowded house may be expected on Thursday.

[Advertisement], Colonial Times (18 November 1834), 8

http://nla.gov.au/nla.news-article8647925

THEATRE ARGYLE ROOMS Will be opened for one Evening only, under the Superintendence of MR. PECK, On which occasion MR. JACOBS Will make his first appearance on this Stage in two of his most favorite Characters, and MR. & MRS. MACKEY, With other established Favorites, forming a strong and effective dramatic Corps. Thursday Evening, November 20th, 1834 ... The Orchestra will perform the celebrated Overture, to Anacreon, by Cherubini. SONG - Gaily still my moments roll - MR. JACOBS. MR. PECK Will perform an AIR, WITH VARIATIONS on One (the fourth) String on the Violin as performed by Paganini.

22-24 November and 22-23 December 1834

Wellington Valley, NSW

INDIGENOUS

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/handt/handt-journals/viii-oct-dec-1834.html

WATSON, William (reporter)

Hymns . . . night dances

REPORT ONLY

Documentation:

Handt, journal entries (22 November and 22 December 1834); Handt, Journal 8, October-December 1834, pages 6, 11; MS C N/O 51

[22 November 1834] Saturday, 22. Several Blacks came to us to-day with whom I entered into a conversation. When I asked them, whether they would stay here for a while, they replied in the negative, and said they were going to the river fishing. When I was in the garden to-day with the Boys, who are here under instruction, one of them began of his own accord to repeat part of the morning hymn, "Awake, my soul! and with the sun." But the same Boy, after having received a good mess of potatoes, went away without asking permission or mentioning his intentions.

[22 December 1834] Tuesday, 22. Most of the Blacks left here to-day, to go to Cobolyen, where was to be a dance, as I was informed.

Watson, journal entries (23 and 24 November 1834); Watson, Journal 10: October-December 1834

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/x-oct-dec-1834.html

[23 November 1834] Sund 23. Ten Natives at church today. Two of the adult females are learning to read. A message was brought to Poll Buckley today from her husband Jemmy, saying there was going to be a Native dance at a station and she must meet him there. I told her it was very wicked to do so on a Sunday and said she had better not go. However she did not take my advice. One of my girls (?) was reading a lesson which runs thus, a good boy will not lie, swear, steal &c. When she came to the word "lie" she suddenly stopt short and would not proceed. I asked why she had done so. She hesitated answering, but at length acknowledged that she did not like to read it because it condemn'd her conduct.

[24 November 1834] Mond 24th. Poll Buckley returned with several others this morning. She says that they had not a Native dance because she told the men that I said it was wrong. (This may be true) . . .

[21 December 1834] Sunday 21st This morning about 9 O'Clock we heard some person singing and first we thought it was our men. Shortly afterwards we heard a person speaking as if engaged in delivering a fervent exhortation. As we have lately received two servant men from Sydney we thought the warm address must proceed from one of them. However, on looking towards the Blacksmith shop we saw one of our boys apparently listening. Mrs. Watson went over and lo!, there was Goongeen (our Native youth) standing on the hearth delivering some kind of address, apparently with all the energy possible. When he saw Mrs W. he immediately ceased and ran to conceal himself. It appears that he had borrowed a Bible of one of the servants and then going into the shop, closed the door. The boy who was listening said that he first sang the morning hymn, then little prayers and great prayers. (I suppose he meant the prayers said by them daily and the Church prayers). Then the Benediction, afterwards he [13] began to preach. What were his reason for this procedure I cannot tell. He shut himself up alone so that while it was an imitation of Divine worship I can scarcely say it was a mockery.

Bibliography and resources:

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project

http://nla.gov.au/nla.news-article2217682

1 December 1834

King's Wharf, Sydney, NSW

A fight and corrobora between Five Islands and Sydney Blacks

REPORT ONLY

Documentation:

[News], The Sydney Gazette and New South Wales Advertiser (4 December 1834), 2

On Monday afternoon, about 4 o'clock, the lower end of Sydney, towards the King's Wharf, was in an uproar, owing to a fight and corrobora between some Aborigines from the Five Islands and the Sydney Blacks. One great battle was fought between the respective chiefs, and as a sort of finale, there was a "turn-up" between an English sailor, and Muglizie, one of the Five Island Blacks. The Aborigine was a fine strapping young man; and in the course of a few minutes, Jack perfectly understood he had a rum customer to deal with, and prudently "knocked off" after being knocked down four or five times.

? 1834

Hobart Town, VDL (TAS)

GLOVER, John (artist, reporter)

Dance at Kangaroo Point

IMAGE ONLY

Source:

John Glover, Mount Wellington and Hobart Town from Kangaroo Point, 1834 [detail]; National Gallery of Australia, Tasmanian Museum and Art Gallery (jointly)

http://cs.nga.gov.au/Detail.cfm?IRN=141634

http://nga.gov.au/Conservation/paintings/Glover.cfm

Documentation:

A catalogue of sixty-eight pictures descriptive of the scenery & customs of the inhabitants of Van Diemen's Land ... painted by John Glover Esq., now exhibiting, at 106, New Bond Street, London (London: A. Snell, 1835), no. 46

Mount Wellington and Hobart Town from Kangaroo Point; these Natives Danced and Bathed at the request of the Artist.The Females are very expert in the Water, the Heels of one Woman are perceptible above the Water.

Bibliography and resources:

Lawson 2014, 139, 141-42

Resources:

Christies's, Melbourne, sale 1026, lot 46, November 2001 (shows work before recent conservation)

http://www.christies.com/lotfinder/lot/john-glover-mount-wellington-and-hobart-town-3840381-details.aspx?intObjectID=3840381

Commentary:

The dating of 1834 proposed by the NGA is not universally accepted; it was earlier thought to date from 1832 or c.1832

1834 (year of publication)

Sydney, NSW; London, England (place of publication)

LANG, John Dunmore (author)

Corrobory

REPORT ONLY

Documentation:

John Dunmore Lang, An historical and statistical account of New South Wales, both as a penal settlement and as a British colony . . . vol. 2 (London: Cochrane and McCrone, 1834), (92), 93; (112), 113

https://books.google.com.au/books?id=LyAtAFp6FKsC&pg=PA93

[92] . . . ODE TO YIMMANG WATER . . .
[93] . . . There would I sit in the cool shade
By some tall cedar's branches made,
Around whose stem full many a vine
And kurryjong" their tendrils twine,
While beauteous birds of every hue -
Parrot, macaw, and cockatoo -
Straining their imitative throats,
And chirping all their tuneless notes,
And fluttering still from tree to tree,
Right gladly hold corrobory.+

+ Corrobory is a native word, and signifies a noisy assemblage of the Aborigines. It is also used occasionally in the colony, to designate a meeting of white people, provided their proceedings are not conducted with the requisite propriety and decorum; as, for instance, the meeting of the Benevolent Society in Sydney, in the month of June last. At the St. Andrew's dinner, also held in Sydney, in the year 1829, an infamous Gaelic toast, of which a false translation was put forth (whether wittingly or unwittingly I know not) by the gallant chairman, was drunk with applause by the gentlemen present; for which reason the meeting has ever since been deservedly designated, "The Scotch Corrobory."

http://books.google.com.au/books?id=LyAtAFp6FKsC&pg=PA113

[112] . . . Every habitable district in the colony has its tribe of aborigines or black natives; and many of these tribes are not unfrequently in a state of warfare with each other, though at peace with the Europeans. The Wollombi tribe had a deadly feud a few years ago with the tribe inhabiting the adjoining district of Illalong; and the latter, I was informed by a respectable settler in the valley the last time I travelled over-land to Hunter's River, had a short time before testified their vindictive feelings in a most ferocious manner. Three boys of the Wollombi tribe had been induced by three different settlers in the valley, to reside in their respective families. They were marked out as objects of vengeance by the Illalong natives; and, accordingly, about a hundred of the latter, who were seen at sunset one evening at Illalong, travelled a distance of between twenty and thirty miles during the night - a thing almost unheard of among the aborigines - and arrived in the neighbourhood of the settlers' houses in the Wollombi very early on the following morning. Two or three of their number were detached to each of the houses to entice the boys out. The latter, it appeared, [113] were apprehensive at first that their neighbours had come to their vicinity with no good intentions; but, being at length prevailed on to join the corrobory of Illalong natives, the latter suddenly formed a circle around them, and, attacking them simultaneously, beat them to death with their waddies. Immediately after the perpetration of this deed of murder, the Illalong natives returned to their own district. My informant happened to pass the assemblage just as the boys were dying; but, as he was alone and unarmed, his interference with the infuriated natives would have been dangerous to himself, and could have been of no avail to their unfortunate victims.

John Dunmore Lang, An historical and statistical account of New South Wales, both as a penal settlement and as a British colony . . . second edition, with numerous additions, bringing down the history of this colony to the close of 1836 . . . vol. 2 (London: A. J. Valpy, 1837), 67, 86

http://archive.org/details/historicalstatis02langiala (DIGITISED)

1835

1835

Wollondilly, NSW

INDIGENOUS

MITCHELL, Thomas Livingston (recorder)

Song of Wollondilly natives

SONG WORDS; TRANSLATION

Source:

Mitchell 1839, 1, 306

http://books.google.com.au/books?id=NoIrAAAAIAAJ&pg=PA306

"Morrudà, yerrabà, tundy kin arra,
Morrudà, yerrabà, min yin guiny wite mà là."

Song of Wollondilly natives; meaning

"On road the white man walks with creaking shoes;
He cannot walk up trees, nor his feet-fingers use."

Bibliography and resources:

Colin Dyer, "The Aboriginal people in Sydney as seen by Eugène Delessert, December 1844 to August 1845", Aboriginal history 37 (2013)

http://press-files.anu.edu.au/downloads/press/p268021/html/dyer.xhtml?referer=1269&page=8

10 February 1835 (first notice)

11 February 1835 (first performance)

Theatre Royal, Sydney, NSW

SIPPE, George (composer, arranger)

? LEVEY, Barnett (scenario)

The Indian maid

A New Ballet ... with entire New Music, by Mr. Sippe

NO COPY IDENTIFIED (? unpublished MS)

Documentation:

[Advertisement], The Australian (10 February 1835), 3

http://nla.gov.au/nla.news-article42007481

Theatre Royal, Sydney. ON THIS EVENING, WEDNESDAY February 11 [sic], will be performed the tragic Play of PIZZARO ... after which, (for the second, time,) A NEW BALLET, CALLED THE INDIAN MAID IN WHICH THREE COMBATS WILL TAKE PLACE BY Messrs. Meredith, Oxberry, Buckingham, Mackay, Simmons and Palmer, Dancers, Indians, Sailors, Slaves, &c. &c. WITH ENTIRE NEW MUSIC, BY MR. SIPPE, AND IN WHICH MRS. JONES WILL SING THE FAVOURITE SONG of the INDIAN MAID ...

"THEATRICALS", The Australian (13 February 1835), 2

http://nla.gov.au/nla.news-article42006628

Wednesday evening was repeated Sheridan's tragic play of Pizarro, and it is by far the best played piece that has been played this season. Knowles' Alonzo was a very judicious performance; Simmons Holla was received with repeated cheers. Miss Winstanley, at a short notice, undertook the character of Cora; in consequence of the sudden indisposition (query) of Mrs. Mackie, and her absence was not in the least regretted, for Miss W.'s performance was far beyond Mrs. M., and her indisposition afforded an opportunity of bringing forth latent talent, which, we hope, will not be overlooked by the proprietor. A Ballet, entitled the Indian Maid followed - report attributes it to the prolific brain of Mr. Levey, but he, from a pure sense of modesty, withholds his name as the author; a greater piece of trash and absurdity was never thrust on the public; Mrs. Jones introduced the Indian Maid, which she sang very prettily, but as for the dance, whether they were the war dances of the Caribbees, Otaheitian, &c., or not, we cannot presume to state, but Mrs. Gibbons, the would be Taglioni of the Sydney Stage, looked more like an Indian Chief that an Indian Maid. Simmons came running in as an English Sailor, made love to an indian girl and to please her jumped and capered about, and to please the audience he danced a hornpipe, which saved this talented production from going to the "Tomb of the Capulets." ... (Correspondent.)

Commentary:

There were at least two songs that went by the name of The Indian maid, one with the recurring final line "Away to the mountains, away", and the other that by Knight; also, the whole performance seems to have inspired the local poet below.

References:

The British melodist; or, National song book . . . (London: Printed for Longman, Hurst . . ., [1822]), 139-40

https://books.google.com.au/books?id=ZCkUAAAAQAAJ&pg=PA139

"The Indian maid, written by Mr. Knight, and sung by Miss Matthews in [the musical farce of A Chip of the old block, at the Haymarket Theatre]", The vocal magazine 9 (1 September 1815), 70

https://books.google.com.au/books?id=mYkvAAAAYAAJ&pg=PA70

"ORIGINAL POETRY", The Sydney Gazette and New South Wales Advertiser (2 April 1835), 4

http://nla.gov.au/nla.news-article2197740

MY home is in another land afar across the sea,
A land of island beauty, of vine and olive tree;
Where the free blue waves of ocean roll around her island shore,
And the note of brilliant plumed birds by spicy zephyrs bore ...

The sky was cloudless there, studded o'er with many a star,
And the white Pagodas gleamed in the moonbeam from afar;
And the cittern's silvery sound upon the breeze was bore
With the song of many an Indian maid from off the silent shore ...

25 March 1835

Perth, WA

Corrobora

REPORT ONLY

Documentation:

"NATIVE CORROBORA & FIGHT", The Perth Gazette and Western Australian Journal (28 March 1835), 467

http://nla.gov.au/nla.news-article641008

Information having been conveyed to Mr. Norcott, Superintendent of the Natives, by Migo, a native of the Swan tribe, that the Murray men (the hostile tribe to the Southward, on the banks of the Murray, whose repeated outrages were justly punished some time back at Pinjarra,) were anxious to seek a reconciliation, His Excellency the Governor deemed it prudent to evince a disposition of amity and friendship - a position of affairs which Migo seemed most desirous of bringing about, and has accordingly volunteered to be the messenger of peace on the occasion, and in about five days to produce the remnant of the Murray tribe within the precincts of Perth. The proposal from the Murray men, as conveyed by Migo, is, that an emissary (we use this term, being ignorant of the native appellation) shall wait upon the Governor, confiding in a pledge of security, and shall receive His Excellency's sanction for the introduction, of his tribe, when the whole will be assembled, and will present themselves before him, soliciting his future favor and consideration. For the observance and strict fulfilment of this treaty on the part of the Murray men, we have the guarantee-a pledge by-the-by not much required-of the principals of the Swan tribe, that they will resent any infringement of the solemn compact.

Under these circumstances, and the more deeply to impress upon the minds of our allies (the Swan tribe) the advantages they derive from an amicable intercourse with us, the Governor proposed that a corrobora should be held on Wednesday last; consequently, shortly after dusk, Mr. Norcott assembled the party at the back of the barrack ground, when the usual display of grimace and jesticulation went off with the eclat these exhibitions usually occasion. His Excellency the Governor, Lady Stirling, and the greater portion of the inhabitants of Perth, were present.

We cannot now stop to describe this oft repeated exhibition, which has been deprived of its novelty, and has already been pictured in our previous numbers; it is enough for our present purpose to state, that after an equitable division - no easy task - of some forty or fifty loaves of bread, the party dispersed, each seeking their different haunts: one portion, and we believe the most considerable number of the tribe, bivouacked on the rising ground opposite our office. Their chants were heard for some time; they, however, at length died away, and the whole camp between 11 and 12 o'clock was wrapped in sound repose. At daylight the neighbourhood was aroused by the screams and war chants of the women, the angry exclamations of the men, the din of arms, the clattering of spears and throwing-sticks, and the rattling of the sconce of some fair one, whose only crime, we were led to understand, had been a too close relationship with the weaker party. This hurly-burly was kept up for about four hours, and but few, either men or women, escaped without one or two spear wounds through the thigh or leg; in the course of the day, the few who were able to walk about were seen limping about the streets of Perth, begging alms. We could not refrain from evincing some astonishment at the utter indifference these savages showed to the sufferings of their wounded companions; a poor woman was speared in three places: the moment the deed was done, the man who shielded her, by constantly presenting himself between her, and the threatened blow of the assailant, conceiving that he had done his duty, walked coolly away, leaving the object of his protection writhing on the ground in the bitterest agony. A smile seemed to be playing upon his countenance.

The occasion of this encounter is a satisfactory proof of the importance the natives attach to the right of certain prescribed limits for their hunting grounds, and the jealousy with which they watch any incursions upon them. It seems that Naral, Googelley, and Gärbel - three young men - inherited the grounds opposite to Perth at the death of Yagan, who was the successor to Midgegooroo, and in virtue of their right, they determined on Thursday last to chastise Niniga and the tribe known as the Clarence tribe, for a trespass committed the day previously. The trespass consisted in setting fire to country, thus depriving the lawful owners of their game - the oposum and bandicoot. By a mutual understanding in the encounter, no wound must be inflicted on any part of the body, only the legs - such is their code touching offences of the nature we have adverted to, and to effect their purpose any treachery seems admissible.

March 1835

Nepean River, NSW

Grand corrobory on the Nepean

REPORT ONLY; ? PARTLY OR WHOLLY SATIRE ON A SETTLER EVENT

Documentation:

"GRAND CORROBORY", The Colonist (9 April 1835), 4

http://nla.gov.au/nla.news-article31716386

A CORROBORY of the black natives of the territory was held a few weeks ago, on the verdant banks of the Nepean River, on a scale of extent and magnificence never before witnessed in the colony. Chiefs and their jins were in attendance from all parts of the territory; and had a great quantity of rain not fallen the day previous, the assemblage would have been much more numerous than it actually was. As it was, the native fires in front of the temporary gunyahs along the champaign country gave a brilliant appearance to the scene; and as a flood of light was ever and anon poured on the dark forests of the Blue Mountains, that rose in primeval grandeur immediately behind the encampment, the tout ensemble was indescribably sublime, and led us irresistibly to contrast the soul-inspiring sublimity of nature with the petty pursuits and the insignificance of man. After a plentiful repast, at which kangaroos' and opossums' flesh was devoured half roasted, and vast quantities of cabra, and the larae of ants, were swallowed, as white people eat oysters, all alive, the kangaroo and other native dances were kept up to a late hour, while the music made by the incessant beating of the wooden waddies on the illalong, or native shield, as an accompaniment to the native dance and the native song, was particularly enlivening . . .

Where all were so deserving of notice, it would be unfair to mention individuals, but we cannot help noticing the following, with whose appropriate costume, and well-sustained characters, we were particularly struck.

Yellamundy and Jibbinwy, with their jins, from the Hawkesbury. The former of these chiefs was in the character of a native mourner, his body being pipe-clayed all over. He was perhaps mourning for the loss of his hunting grounds, and the independence of his nation - the unfortunate but unavoidable consequence of European colonization. He made an appropriate speech on the subject; but all of it we could collect was, "White fellow sit down all about; black fellow murry miserable!" His friend Jibbinwy was in the character of a native warrior; his face, limbs, arms, and breast being ornamented with streaks of red paint to render his aspect as frightful as possible. In this object he was certainly quite successful, and the military evolutions he and a few of his companions performed strongly reminded us of a European review.

Terribalong, from Broken Bay, was in the character of a colonial Barrister. His gown was a cloak of bandicoot skins, and his bushy hair was tied up tastefully with native grass, in imitation of a wig. In the whole corrobory there was no character better sustained than this; for Terribalong's powers of imitation were admirable, and he successively and most successfully personated the whole Australian Bar.

Yakabil, from the Morumbidgee, and Black Boy, from Hunter's River, were both in the character of Colonial Attorneys, and, being somewhat forward, were going to address the Meeting, when Terribalong, personating the Attorney General, and insisting that they had no right to speak since the late division of the Bar, they were silenced, and turned out of the corrobory.

The infamous Saturday, from Bathurst was in the character of a free settler. But
Eheu; quantum mutatus ab illo
Saturday!
How sadly changed from that Saturday who once spread terror through the settlement of Bathurst!

Young Bungary, from the North Shore, was in the character of Governor Darling. For this purpose he had provided himself with his late father's old military surtout, cocked hat and sash, and he certainly sustained the character well; but the next time he personates this late Excellency, we would advise him to provide himself with a pair of trowsers also, to save appearances.

In short, the grand corrobory at the Nepean River will form an era, as is well observed by some of our contemporaries, in the history of this colony; insomuch, that in five years hence, if any thing remarkable should occur, such as the granting of a House of Assembly by the Imperial Parliament, it will not be said that the remarkable event happened in the year 1840, but that it took place five years after the grand corrobory at the Nepean.

Commentary:

This is probably not a serious account of an actual Indigeneous corroboree, but rather a satire on a fancy ball fpr white settler gentry held by John Jamison at Regentville.

References:

William Henry Breton, Excursions in New South Wales, Western Australia, and Van Diemen's Land, during the years 1830, 1831, 1832, and 1833 (London: Richard Bentley, 1833), frontispiece plate opposite titlepage (view of "Regent Villa"

https://archive.org/details/excursionsinnew00bretgoog

"THE FETE AT REGENTVILLE", The Sydney Monitor (18 March 1835), 2

http://nla.gov.au/nla.news-article32148500

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

http://archival.sl.nsw.gov.au/Details/archive/110327073

http://acms.sl.nsw.gov.au/_transcript/2007/D00007/cox.pdf

[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. He was at last persuaded to give a Grand Fancy Ball, [page 38] but it was like a great many other foolish things of this world - a failure. Perhaps I say so because neither my sisters nor myself were able to attend, our dear Mother being very ill. After arrangements had been made there came on very wet weather. People went through the mud from Sydney for there were no trains, and it was a fine day, but Rain came on in the evening and the supper was spoiled from being prepared under an open Balcony.

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.

March-April-May 1835

Wellington Valley, NSW

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/xi-jan-march-1835.html

WATSON, William (reporter)

Waggana, or native dance, accompanied by singing to Baiama

REPORTS

Documentation:

Watson, journal entries (20, 22, 28 March 1835); Watson, Journal 11: January-March 1835

[20 March 1835] Friday 20th. The Natives have all gone, even Gungin could not be persuaded to remain.

[22 March 1835] Sund 22th. Only Six Natives at Church to day.

[28 March 1835] Sat 28th. This has been a trying week to us. Nelly the mother of our girl Eliza wanted to take her away and we would not allow her. The Mother wept aloud and scolded on the outside of the kitchen, and the girl wept in the kitchen. [11] Being anxious to go I gave the old woman as much Wheat and Beef as she could carry, as also Tobacco and Pipes but all would not do. My feelings almost overcame my Judgment in this affecting scene, and indeed nothing but the licentiousness to which I knew the girl would be exposed prevented me from letting her go. However Old Bobagul having come up she is quite satisfied to leave her, having received a Cake, a Blanket, and a Neck handkerchief she has gone with the old man part of the way, and in the morning they are to prosecute their journey. From the impression on the woman's mind, her anxiety to take away her girl is not to be wondered at. The Natives have received information that Byamy will kill all the girls and women who live with white men, so that there is not a female native to be found at any station for many miles around. Moreover the Natives have a large Meeting at a place called Bahbyjal[?], to hold a feast or have a Corrobbora to Byamy, and all the natives who are not present will be killed. Several months ago we had a report prevalent among the natives, that Byamy had been insulted in some way by some white men, and that he was going to kill all white persons every where. Our Natives here planned among themselves how they would act when the event took place. They would dress us in new Clothes put us in boxes and bury us. Gungin would put the window blinds down, and pack up all the articles to take into the Bush. Mrs. Handt's boys were to do the same with Mr. and Mrs. Handt and their clothes &c. I supposed that report had died away as I have not now for sometime heard any thing of it [12] in the present proceedings. The Song to be chaunted at the Corrobarra is made by Byamy, has been sent by a Lizard from which it was communicated to some Natives. There are certainly circumstances here that involve some interest. And it is probable these Natives will be found a far more interesting race than they have been generally esteemed. In reference to the Aboriginal language this Quarter. I have attended to Translating. In the Prayer Book several of the Prefatory Sentences, the address, Confession the Lord's Prayers &c Venite Exultemus - Te Deum - Jubilate Deo - Apostles Creed &c. In the Grammar I have made several alterations and corrections and enlarged it, having collated nearly 400 verbs having the same termination.

William Watson, Journal 12: April-June 1835

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-journals/xii-april-june-1835.html

[1 April 1835] Apl 10th [sic] Intelligence has reached us that Gentleman Jackey is dead. This is a circumstance that may affect the minds of some of the Natives. They have been collected from a distance of many miles in every direction to celebrate Waganna (a dance) to Baiami a being of considerable note amongst them. The place at which they assembled is Babidyal; literally the land of nettles from Babina nettle. It was said a short time ago that Baiami was about to kill all the Europeans in this country because some of them had seduced his wife. The prophecy passed away without being fulfilled, now it is reported that he will destroy all Natives who either live with Europeans; lend their females or children to them; or, do not celebrate this "Wagganna". Gentleman Jackey had six wives, if that honourable name be allowable here, of whom not more than one was generally with him. The others were living with Europeans, from whom he received the wages of iniquity. Jackey had united with his brethren in the Waganna; but that same night was taken with, according to the representations of the natives, violent pain at the heart and died two days afterwards. He was probably not more than 25 years of age; and was more free from disease than any other I have known of his age. Baiami is said to live in the East, and Tharrariwingal his father, in the west. Both live near the sea. The natives say that when Baiami gave the "Gudthi" (song) which they now chaunt to him, he gave them also wooden gods which after the first celebration of the "Waganna" they burnt. He also commanded them to use small Twigs about 9 inches in length which they were to beat against each other in the "Waganna' and then to burn them. These Twigs are named "Mudthir" from Mudthirra which signifies repeated beating or, thrashing. It is said that the road taken by Baiami and his wife when they left the house of Tharrarwirgal is marked by deep pits in the earth where they slept. In one place is a small mountain of stone of a superior quality; One night when Baiami was on his way, he was bitten by an ant, and from the wound immediately proceeded this mountain. The natives say Baiami is not to be lightly spoke of, nor his song taken in vain. His father Tharrariwingal is said to be the author of "Thanna thanna" (small pock). He has his name from a large tree growing out of his thigh, Tharra thigh, and wirigal a cutter of wood. Burranbin "The uncreated one" is [2] is said to be the greatest of all beings; but the natives say little about him. The circumstance of their having apprehensions of such superior being is more than was at first anticipated. They have a name for angels which they say live on a high mountain, whose food is only honey, and whose employment is like Parson's. They are said to be white. I have now no doubt that there is among these natives a settled belief in the existence of a "First cause." Pride has led many of them to deify one another; and to consider in many instances each other as the author of what indeed can only be wrought an Almighty arm. These simple circumstances are related in order that those who many peruse the journals may look upon our charge as not being so destitute of knowledge of the Divine Being as we in our ignorance and haste represented them to be. Doubtless the attainment of the language will open to our minds a deeper insight into their real views. Kannaimirra signifies to know every thing, not in the sense of wisdom or skill; but in that of all seeing. As this cannot be applicable to any finite creature, it must have its origin in a knowledge (at some period however) of the omniscient Deity. Again Ma with many of it compounds signifies to make; But "Wallungmarra" (or) "Wallungma" signifies to make out of nothing - to create. One day in a year is celebrated by them in giving presents to each other of such things as they possess. This they say has long been a custom with them. Its origin is unknown to us at present. I hope I may be excused for thus digressing from the generally adopted plan of recording in our Journals, only our labours &c among the Natives.

[24 April 1835] Thursd 24. Preached to different parties of natives this morning; many laughed where they ought to have wept: viz. at the recital of some of their improper and unholy proceedings. Some nodded at the close of every sentence as if they understood what was said. One female the wife of a professed native Doctor was very ill this morning: I wished to let her blood; but she was unwilling till I had fetched her husband from the Camp. She is much easier this evening. Spent most of this day at the camp conversing with the natives, that some understood me is evident from their asking some questions respecting thier future state. I was asked by some of them if I should ever return to England, I answered that it was not my intention to return; that I had come to live and die among the natives to teach them the way to heaven. They exclaimed Gunning dyang! An expression of admiration; but which literally signifies motherless. When asking several questions, I was pleased to find that one who had once lived with us; but had now been absent for sometime answered readily, which shews as far as knowledge is considered our labour is not altogether in vain. They have had a "Waganna" or Nature dance to night in which they sang to Baiami. When they were ready they sent messages with fire sticks to summon us and direct our path. They beat small sticks as mentioned above. The song is very short, and all that I could learn from it or of it was something respecting angels; carrying on the back; playing to him; and throwing into the fire. Their Poets enjoy like all others the liberty of using language different from what is used in general conversation. As we were returning home, our ears were assailed with loud Shrieks; on going to ascertain the cause, I found that it proceeded from several females, relatives to Gentleman Jackey, lately dead, whose absence from this festivity reminded them of the painful circumstance. A shooting star expended itself at a short distance from our house this evening. The natives were much alarmed, always viewing such a phenomena as an omen of death.

Handt, Journal 10, April-June 1835, pages 5-6, 9, 10; MS C N/O 51

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/handt/handt-journals/x-april-june-1835.html

[23 April 1835] Thursday, 23. The Natives had a dance this evening. As they appeared to be highly gratified with this amusement, and were anxious for us to be there, we went to witness it. On approaching the spot, we saw a number of young men jumping and dancing before a fire, sometimes bending down towards the fire, shaking their limbs and heads, and all the while screaming as loud and as long as their lungs would allow them. They did not stand in regular order, however their motions agreed with the song. Their bodies were painted in red and white stripes, and their hair in spots of white, so as to resemble white feathers. [6] A number of women stood in a group at one side, and sang in a soft and plaintive voice their parts of the song. I could not help pitying them, because they will not taste the better pleasures of religion, and of communion with God. There was a Boy looking at the dance, whom I had not seen before; I went therefore and asked him, whether he would stay with us, he replied in the affirmative, but would not come till the morning.

[30 April 1835] Thursday, 30. Find the Blacks averse to religious conversation. O that the Lord would send a hunger and thirst among them for hearing his word. When the women were singing to-day a song; a little Boy belonging to them was dancing in the native style. He had a few days ago received a small article of clothing, but was now quite naked, though it is very cold. When I saw it yesterday, it was as black and dirty as the little fellow himself.

[5 May 1835] Tuesday, 5. Two of the Boys behave in a provoking manner; they steal anything eatable, they can meet with; though they receive their regular [10] meals. When they are reproved for their conduct, they perhaps make a song of us, or go to the river or into the bush. There they stay the whole day, and come back in the evening, only with a hope to receive their suppers ...

Watson, report 1835

https://downloads.newcastle.edu.au/library/cultural%20collections/the-wellington-valley-project/watson/watson-reports/ii-1835.html

... It has been found extremely difficult to form an accurate idea of the opinion of the Natives in reference to the Creator of the World, the Creator, the immortality of the soul and a future state of existence, as the accounts given by different Natives, are frequently at variance with each other. It appears, however, that there is among them a general idea of a Creator, who is himself uncreated. They believe in the immortality of the soul, but what is their idea of its state and employment after death, has not been learnt. They attribute all their afflictions and troubles to an evil being (Wandong,) who is said to be visible only to their doctors. They have an idea of an order of beings (Guinyar) inferior to the Creator, but superior to man. The only kind of Worship known among them is the (Wagganna) or native Dance, accompanied by singing to Baiami who, annually, about February or March, reveals to some one Native, at a very great distance from Wellington, the song, in which all are bound to join under penalty of death. This song is esteemed sacred by the Natives, who apprehend that if they should not be present at the singing of it they would die.

"MISSION TO THE ABORIGINES", The Sydney Gazette and New South Wales Advertiser (7 July 1836), 2

http://nla.gov.au/nla.news-article2205292

Annual Report of the Mission to the Aborigines of New South Wales, at Wellington Valley, for the year 1835, compiled from the statements of the Rev. W. Watson, and the Rev. J. C. S. Handt, Missionaries ... It has been found extremely difficult to form an accurate idea of the opinions of the natives in reference to the Creation of the World, the Creator, the immortality of Soul, and a future state of existence, as the accounts given by different natives are frequently at variance with each other. It appears, however, that there is among them a general idea of Creator, who is himself uncreated. They believe in the immortality of the Soul, but what is their idea of its state or employment after death has not been learnt. They attribute all their afflictions and troubles to an evil being, (Wandong), who is said to be visible only to their doctors. They have an idea of an order of being (Guinyar,) inferior to the Creator, but superior to man. The only kind of worship known among them is the "Waggana," or Native Dance, accompanied by singing to Beiami, who, annually, about February or March, reveals to some one native, at a very great distance from Wellington, the song in which all are bound to join under penalty of death. This song is esteemed sacred by the natives, who apprehend if they should not be present at the singing of it, they would surely die.

Bibliography and resources:

Flanagan 1862, 1, 515

https://books.google.com.au/books?id=WicXAAAAYAAJ&pg=PA515

19 March 1835 (first notice)

24 March 1835 (first Australian performance)

Assembly Room, Pulteney Hotel, George Street, Sydney, NSW, 24 March 1835 (first Australian performance)

CHILD, Mrs. (attributed; ? but probably by Welsh composer John Parry)

Farewell to love (song)

NO COPY IDENTIFIED

Documentation:

[Advertisement], The Sydney Herald (19 March 1835), 3

http://nla.gov.au/nla.news-article12851713

CONCERT. MRS. TAYLOR RESPECTFULLY announces to her Friends and the Public generally, that her CONCERT will take place at the Pulteney Hotel, on TUESDAY next, the 24th instant, assisted (with permission of Colonel Despard) by the Band of the 17th Regiment. PART I ... 3. Song, Mrs. Child, Wilt thou say Farewell. Stevenson ... PART II ... 5. Song, Mrs. Child, Farewell to Love, Mrs. Child.

[Advertisement], The Australian (20 March 1835), 3

http://nla.gov.au/nla.news-article42009741

[Advertisement], The Sydney Monitor (21 March 1835), 3

http://nla.gov.au/nla.news-article32148542

[Advertisement], The Sydney Gazette and New South Wales Advertiser (21 March 1835), 3

http://nla.gov.au/nla.news-article2197644

[Advertisement], The Sydney Herald (23 March 1835), 1

http://nla.gov.au/nla.news-article12851740

[Advertisement], The Australian (24 March 1835), 3

http://nla.gov.au/nla.news-article42007749

[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 March 1835), 1

http://nla.gov.au/nla.news-article2197665

"MATTER FURNISHED BY OUR Reporters and Correspondents ... CONCERT", The Sydney Monitor (28 March 1835), 3

http://nla.gov.au/nla.news-article32148587

On Tuesday evening, Mrs. Taylor's Concert took place in the assembly-room of the Pulteney Hotel, which was very respectably but thinly attended; and we are sorry to observe a lady who has come forward, on all occasions with her vocal abilities, so deserted by the musical profession; but such is the apathy that is evinced in Sydney. The performance consisted of some splendid overtures by the band of the 17th regt. which were played with their well-known talent and reputation. Two solos were played by Mr. Lewis and Mr. Stubbs, which elicited great applause. Mr. Cavendish presided at the piano and metalaphone, with his usual taste; - now, for the singers and the songs: - The two glees were much below mediocrity; and it is evident that, as yet, we have no glee singers that have appeared in public. Mrs. Child attempted two songs, her style is very simple . . .

Commentary:

A song "Farewell to Love sung by Miss Childe", copies selling for 1s. 6d., was among new publications from Bland and Waller in London in 1817. But this appears to have been a composition of London-based composer John Parry (1776-1851), and so what might appears to be an attribution to the singer in her (? much later) Sydney performance is probably in error.

References:

"REVIEW OF NEW MUSICAL", New Monthly Magazine (1 September 1817), 150

http://books.google.com.au/books?id=5_gRAAAAYAAJ&pg=PA150

[Review], The Theatrical Inquisitor (September 1817) 211

https://books.google.com.au/books?id=EicIAQAAMAAJ&pg=PA211

Songs sung at Vauxhall this season, composed by J. Parry, 1s. 6d, each - Bland and Waller. This enchanting spot has been better frequented this summer than the last, and although the royal birth-days were wet, the proprietor has had no reason to complain on the whole ... "Farewell to Love," a ballad, sung by Mrs. Childe, is much admired for the sweetness of its melody ...

20 March 1835 (date of first publication)

Sydney, NSW

ANONYMOUS (lyricist, songwriter) = STEWART, Robert

Echo's song

WORDS ONLY HERE; SEE LATER SETTING BY WALLACE

Source:

"Original Poetry: ECHO'S SONG", The Australian (20 March 1835), 4

http://nla.gov.au/nla.news-article42009740

ECHO'S SONG.

Oh! I'm the fairy Queen of sound,
Mid rocks and caves I roam;
Unseen I float the wide world round,
And make the sea my home.

Upon the distant shore I sleep,
'Till waked by magic song;
Then climbing up the mountain steep,
I bear the notes along.

I hide me in the leafy glade,
And rule the trembling air,
The winds in whispers woo the shade,
While I repeat them there.

When darkness clothes the lovely lake
And gently flows the wave,
Upon its brow my bed I make
And answer every lave.

But in your Heaven I rest my wing,
Tho' music fill the skies,
No sounds from thence to earth I bring,
I love alone to -- rise.

Commentary:

For a later setting of this lyric, see William Vincent Wallace's Echo's song (Sydney, 1837)

Mid April 1835

Lennard Brook, WA

MOORE, George Fletcher (reporter)

. . . they entertained us with a "corrobberry," which was got up on our account

REPORT ONLY

Documentation:

"EXCURSION TO THE NORTHWARD (From the Journal of G. F. Moore, Esquire)", The Perth Gazette and Western Australian Journal (25 April 1835), 482

http://nla.gov.au/nla.news-article640973

As every additional information which can be acquired with respect to the localities of this Colony may be beneficial in opening the way for the Settlers, and removing those difficulties which obstruct their progress, I take the liberty of sending the following sketch of a short excursion which was made by Mr. Bull, Mr. Lennard, and myself, for the purpose of examining the land about Lennard's Brook, and the country adjacent:

On Tuesday, the 14th inst, we proceeded from Mr. Bull's house, in a northerly direction, along the plain to the westward of the Darling range of Mountain . . .

"EXCURSION TO THE NORTHWARD (From the Journal of G. F. Moore, Esquire) [CONTINUED]", The Perth Gazette and Western Australian Journal (2 May 1835), 486-487

http://nla.gov.au/nla.news-article640964

. . . A few miles across the hills brought us to the valley of Lennard's Brook. Land of a richer quality is seldom found out of the alluvial flats, than part of that declivity by which we descended to the stream. It was on a fine red sandy loam, covered with luxuriant grass, which had sprung up since a recent fire. We touched upon the brook at a place called "Coonarup," and bivouacked upon "Bebingarup" . . .

Intending to devote the entire of next day to the examination of the soil, we were proceeding after breakfast with that object, when some Natives began to arrive and their numbers continued to increase till they amounted to nearly one hundred, men, women, and children. Many were old familiar acquaintances. All appeared pleased to see us; but it must be confessed, that their pleasure seemed mixed up with the idea of sharing in our provisions . . .

. . . We found the Natives all encamped near us; their importunities were rather troublesome, but at night [487] they entertained us with a "corrobberry," which was got up on our account, and, perhaps, with the hope of some reward for their exertions. The several figures of the dance did not differ materially from those which were familiar to us, but the words which accompanied each change, contained strong allusions to passing events; so much so, that I am led to believe that these ceremonials are to them as important eras, and serve the purpose of historic records. It had been told to them, that Mr. Lennard and myself had grants here, and were likely to form establishments on our respective grounds. This was alluded to in one of their songs, and was expressed to the following effect:

"That the fires of Dyandala and Millendon (the names of our places on the Swan River) would soon be removed to Coonarup; that we should have plenty of wheat, and they would have plenty of bread."

The younger members, both male and female, appeared to regard these dances with some interest, but the old people paid little or no attention to them. It was here that we observed, upon the arm of one of the young men, an ornament composed of feathers, resembling those of our domesticated turkey. He said there are abundance of them in the more northern districts; that they are well known to the Natives, and are called by them "Gnow," - a singular fact which has been confirmed by several other Natives since it seems to be the same sort of bird, for they imitated exactly the peculiar noise which they make . . .

Bibliography and resources:

Bracknell 2014, "Kooral Dwonk-katitjiny", 7

http://press-files.anu.edu.au/downloads/press/p308321/pdf/book.pdf?referer=1268

[Event entry], AusStage

https://www.ausstage.edu.au/pages/resource/54432

28 April 1835 (first notice)

1 May 1835 (first performance)

Peck's Theatre of Arts, Russell's Large Room, Elizabeth Street, Hobart Town, VDL (TAS)

PECK, George (composer, arranger, improvisor)

Imitations of the celebrated Paganini on the violin

NO COPY IDENTIFIED (unpublished MS, or perhaps never written down)

Documentation:

[Advertisement], Colonial Times (28 April 1835), 3

http://nla.gov.au/nla.news-article8648174

Theatre of Arts, Under the Patronage of His Excellency the Lieutenant Governor and Family, and several Persons of distinction. ON FRIDAY EVENING NEXT, MAY 1st, the following Entertainments will be presented: PART I. THE PASSAGE OF THE GREAT ST. BERNARD By NAPOLEON, and his Grand Army of Reserve, consisting of Thirty Thousand Men; THE MONK OF ST. BERNARD'S And his Dog, &c. GRAND CONCERTO, PIANO-FORTE, By Miss Pettingell, A Young Lady only 12 years of Age, Pupil of the celebrated " Panorma." [Panormo] PART II. NSW LONDON BRIDGE, WITH ST. PAUL'S, And Part of London in the Distance. A Variety of Pleasing and Ingenious Mechanical Figures will enliven the Scene. After which, MR. PECK will perform his admired Imitations of the celebrated "PAGANINI" on the Violin. PART III. MOUNT WELLINGTON, As seen from Sandy Bay, with the upper part of Davey-street. In this Scene, in addition to a variety of Local Figures, "The Death of the Kangaroo." A splendid effect of Cloud and Sunshine will be presented. BRUCE'S ADDRESS, With Variations on the Piano-forte by MISS PETTINGELL. The whole to Conclude with THE STORM AT SEA. Doors Open at Six o'Clock, and the Performance to Commence at Seven. April 28,1835.

28 May 1835 (first published)

Sydney, NSW

ANONYMOUS (songwriter)

The revenue cutter

A New Song by a member of the New South Wales Temperance Society (I knew by the smoke that incessantly curl'd)

WORDS ONLY; NO TUNE INDICATED

Source:

"Original Poetry", The Colonist (28 May 1835), 6

http://nla.gov.au/nla.news-article31716555

THE REVENUE CUTTER; A NEW SONG, BY A MEMBER OF THE NEW SOUTH WALES TEMPERANCE SOCIETY.

I KNEW, by the smoke that incessantly curl'd
From doorways and windows, a grog-shop was near;
And I said to myself, "I would bet half the world,
Some Ticket-of-leave men are guzzling it here."
Every sot had his pipe; and I heard not a sound,
But cursing and swearing incessant and fierce.

By the Customs' Return for the year thirty-four,
That public-house smoke, I could clearly divine,
Had blinded the eyes of the Government Corps
To the woes that surround Inebriety's shrine.
Every sot had his pipe; and I heard not a sound
But cursing and swearing incessant and fierce.

"And here, in a place for reform," I exclaim'd,
"While the Government looks with so careless an eye
At this foul source of crime, can the wretches be blamed
Vile drunkards who live, and vile drunkards who die?"
Every sot had his pipe; and I heard not a sound
But cursing and swearing incessant and fierce.

Commentary:

The song's title perhaps refers to the local "revenue cutter" (customs boat), which in 1835 was the Prince George, captained by John Roach, and to its role in policing shipping, the movement of immigrants and convicts, as well as imports of tobacco and alcohol.

References:

"Ship News", The Sydney Gazette and New South Wales Advertiser (25 January 1835), 2

http://nla.gov.au/nla.news-article2551708

27 June 1835 (date of event/performance)

NSW

INDIGENOUS

http://books.google.com.au/books?id=NoIrAAAAIAAJ&pg=PA247

War songs ... dance at a pistol shot

REPORT ONLY

Documentation:

Mitchell 1839, 1, 246-48

[June 27] . . . (246) . . . At length, however, he retired slowly along the river bank, making it evident, by his gestures, that he was going for his tribe; and singing a war-song as he went . . . (247 "DANCE AT A PISTOL SHOT") . . . Two other stout fellows, (our morning visitor being one of them) then rudely demanded my pistols from my belt; where upon I drew one, and, curious to see the effect, I fired it at a tree. The scene which followed, I cannot satisfactorily describe, or represent, although I shall never forget it. As if they had previously suspected we were evil demons, and had at length a clear proof of it, they repeated their gesticulations of defiance with tenfold fury, and accompanied the action with demoniac looks, hideous shouts and a war-song - crouching, jumping, spitting, springing with the spear, and throwing dust at us, as they slowly retired. In short, their hideous crouching postures, measured gestures, and low jumps, all to (248) the tune of a wild song, with the fiendish glare of their countenances, at times all black, but now all eyes and teeth, seemed a fitter spectacle for Pandemonium, than the light of the bounteous sun.

28 June 1835 (date of event/performance)

NSW

INDIGENOUS

http://books.google.com.au/books?id=NoIrAAAAIAAJ&pg=PA249

Professional chaunt

REPORT ONLY

Documentation:

Mitchell 1839, 1, 249

(249, "STRANGE CEREMONIAL") June 28. The natives did not appear in the morning, as we had expected, but at three in the afternoon, their voices were again heard in the woods. I ordered all the men to be on the look out, and when the natives came near, I sent Burnett towards them, once more with a branch, but with orders to retire upon any indication of defiance. It turned out, as I had supposed, that their curiosity and desire to get something more, had brought them forward again. An old man was at length prevailed on to join Burnett, and to sit down by him. This was effected, however, but very slowly, the others standing at a great distance, and some who remained in the rear, still making signs of defiance. Others of the tribe at length joined the old man, but they prepared to return on my approach, recognising me perhaps as the owner of the pistol. On seeing this, I directed Burnett to give a clasp-knife to the old man, who seemed much pleased with the present. They next made a move towards the spot where the blacksmith was at work, commencing at the same time a kind of professional chaunt, and slowly waving their green boughs. The appearance of one of these men, in particular, was very odd. There was evidently some superstition in the ceremony, this personage being probably a coradje or priest. He was an old man with a large beard and bushy hair, and the lower part of his nose was wanting, so that the apex of that feature formed more than a right angle, giving him an extraordinary appearance. None, except himself and other ancients, wore any kind of dress; and this consisted of a small cloak of skins fastened over the left shoulder. While the man from the woods waved his bough aloft, and chaunted that monotonous hymn, an idea of the ancient druids arose in my mind. It was obvious the ceremony belonged to some strange superstition. He occasionally turned his back towards each of us ...

6 July 1835 (date of event/performance)

NSW

INDIGENOUS

http://books.google.com.au/books?id=NoIrAAAAIAAJ&pg=PA260

Dance of the natives

REPORT ONLY

Documentation:

Mitchell 1839, 1, 260

(258) July 6 ... (260 "DANCE OF NATIVES") ... While we halted, I perceived, through my glass, a party of about seventeen on a small eminence near the river bank, and nine others, whom I supposed to be those who had been with us, joined them; upon which a large fire was made under some trees. Around this fire, I distinctly saw them dance for nearly half an hour, their bodies being hideously painted white, so as to resemble skeletons. The weather was very cold, and it seemed as if this dance amongst the burning grass was partly for the purpose of warming themselves. I am rather inclined to suppose, however, considering the circumstances under which the tribe higher up danced, that it was connected with some dark superstition, resorted to perhaps, in the present instance, either to allay fear, or to inspire courage. I saw several gins carrying children in cloaks on their backs, some of whom and several of the children also danced. Our watering party was directed towards another portion of the river, to avoid collision, if possible; and these natives at last decamped along its bank, in an opposite direction, or downwards ...

After 7 July 1835

Near Brighton, VDL (TAS)

GLOVER, John (artist, reporter)

Natives at a corrobory

IMAGE

Source:

Natives at a corrobory [River Jordan below Brighton, Tasmania] (detail); John Glover, c.1835; State Library of New South Wales

http://archival.sl.nsw.gov.au/Details/archive/110314706

Documentation:

George Augustus Robinson, letter to John Glover, 7 July 1835; State Library of New South Wales, Mitchell Library MSS A7043

John Glover, letter to George Augustus Robinson

[SLNSW catalogue record]: George Augustus Robinson commissioned this painting from John Glover, which he hoped to use for a frontispiece for a book he was planning (Mitchell Library MSS A7043: letter dated 7 July 1835). Glover replied that he wanted the picture to depict "the Natives at a corrobory, under the wild Woods of the Country - to give an idea of the manner they enjoyed themselves before being disturbed by the White People". He also wanted to "give an idea of the Scenery of the Country" (ML MSS A7058 16 July 1835 p.398).

Bibliography and resources:

Lawson 2014, 135-145, especially 136

22 July 1835 (date of event/performance)

NSW

INDIGENOUS

http://books.google.com.au/books?id=NoIrAAAAIAAJ&pg=PA283

Chaunt and demonic dance ... cooey

REPORTS; SONG CALL

Documentation:

Mitchell 1839, 1, 283

(282) July 22 ... (283 "THE SPITTING TRIBE AGAIN") ... At four P. M. the alarm was given, that the natives were close to the camp, and we no sooner saw them, than the whole of the scrub proved to be on fire, to the imminent danger of our equipment. I sent five men with muskets to them (au pas de charge); and in five minutes, they had retired across the river, two shots having been fired over their heads, as they ascended the opposite bank. It appeared, that this party consisted of eight men, each carrying a spear and a waddy, besides the same boy, who had been seen higher up, and who was observed on this occasion very busy lighting branches in the scrub; the vile old fellow "sans nose" was one, and also the sullen man, who was the first we had ever seen throw dust. These latter stood on our side, covering the passage of the others, and crossing last, which manly conduct was the best trait I had seen in their character. On reaching the top of the opposite bank, they commenced their usual chaunt and demoniac dance, waving burning branches over their heads, brandishing their spears, and throwing their waddies high in the air, even above the lofty trees, all the time retreating in leaping and singing order. It was evident, that our dogs had frightened them ; and at the report of the guns, the tall fellow fell flat on the earth, as he was ascending the opposite bank. Later in the evening, some natives were seen driving the bullocks about on the opposite side, but as they desisted when called (284) to, and afterwards cooyed to the others, before they joined them, it was supposed, that these had just arrived from a distance.

15 September 1835 (words first published)

21 September 1835 (first performance)

Theatre Royal, Sydney, NSW

ANONYMOUS (? Irish) (lyrics)

LEWIS, Thomas (composer)

TAYLOR, Maria (vocalist)

Why don't the girls propose

A new song ... the music composed expressly for Mrs. Taylor by Mr. Lewis, Band Master of His Majesty's 17th Regiment

NO COPY IDENTIFIED (music) (unpublished MS)

Source (words):

"Original Poetry", The Australian (15 September 1835), 4

http://nla.gov.au/nla.news-article42005941

WHY DON'T THE GIRLS PROPOSE

THE MEN are shy - the ladies cry,
Their minds they won't disclose:
If it be so, I'd like to know,
Why don't the Girl propose?

At splendid Balls, in dazzling halls.
Amid a host of beaux,
With speaking eyes, and well tim'd sighs,
The Ladies might propose.

Ye maidens fair, now laughing there,
So coyly with your beaux,
Take my advice, don't be o'er nice,
They'll wed - do you propose.

When stern Papas, and cross Mammas
All marriage schemes oppose,
And beaux are shy, there's no cause why
The belles should not propose.

Then pity take, for Hymen's sake,
On those unhappy beaux,
Who are, poor elves, too shy themselves,
A marriage to propose.

Pray Ladies, do propose - Correspondent.

Documentation:

[Advertisement], The Australian (18 September 1835), 3

http://nla.gov.au/nla.news-article42004566

[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 September 1835), 2

http://nla.gov.au/nla.news-article2200343

Theatre Royal, SYDNEY. Mrs. Taylors Benefit. IN ADDITION to the numerous Entertainments on Monday Evening next, will be Sung an entirely New Song, the words of which appeared in the "Australian" Newspaper, entitled - "Why don't the Girls Propose." The music composed expressly for MRS. TAYLOR BY MR. LEWIS, BAND MASTER OF HIS MAJESTY'S 17th REGIMENT

"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (24 September 1835), 2

http://nla.gov.au/nla.news-article2200343

THE THEATRE. Mrs. Taylor's benefit took place on Monday, on which occasion she deservedly obtained an overflowing bumper. The comic operatic piece John of Paris commenced the evening's amusement, in which Mrs. Taylor's Olivia and Mr. Simmons's Pedrigo Potts were the chief attractions. The rest of the performance was very mediocre. The songs and other entertainments introduced between the pieces were very well executed, and appeared to give general satisfaction. Mr. Simmons was loudly encored in Bannister's favorite comic song of "Beggars and Ballad singers," and Mrs. Taylor sang with much effect, a new song, the words of which appeared in the Australian newspaper a short time since, entitled "Why don't the Girls Propose," to music arranged by Mr. Lewis, the bandmaster of the 17th regiment. The first act of Giovanni in London followed, and it gained, as it has always done here, the manifest satisfaction of the audience. A dance by Mr. Fitzgerald, and an amusing comic farce, called High Ways and Bye Ways concluded the evening's entertainment. Mr. Simmons, as Mr. Narcissus Stubble, Mr. Mackay as Charles Stapleton, and Mrs. Taylor as Mrs Susan Platt alike contributed to the success of the piece. The band of the 17th regiment attended by the kind permission of Col. Despard, and the whole of the amusements, being assisted by the introduction of some well played enlivening airs, went off with eclat. Captain Piper was to have attended, having signified his intention of patronizing Mrs.Taylor, but the gallant gentleman did not arrive in town.

[News]: "Mrs. Taylor's benefit ...", The Australian (25 September 1835), 2

http://nla.gov.au/nla.news-article42007034

Mrs. Taylor's benefit took place at the Theatre on Monday last, and evinced much judgment in her selection of the entertainment, and we never remember having seen pieces produced at the Theatre on benefit nights, go off with so much eclat and satisfaction, the audience was kept in one continual roar of laughter - Simmons played Pedrigo Potts, Leperello, and Stubble, the latter character for broad comic humour, surpassed his Bowbell - he sang "Beggars and Ballad Singers" in capital style ... but the great attraction of the evening on this occasion, was Mrs. Taylor, she played in all three pieces and introduced several new songs; in the first piece she played the Page Vincent, and it's no little praise to state, she acquitted herself with her well-known ability, and during the evening sang a new song, called "Why don't the Girls propose," composed expressly from [for] her by Mr. Lear [Lewis]; it is a pleasing ballad, and was most rapturously applauded. The first act of Giovanni followed, and her performance of the character is so highly appreciated by the public, that it needs no comment from us . . .

Commentary:

A copy of the lyrics had probably only recently arrived in Sydney; they appeared, for instance, in the Belfast Newsletter of 26 May 1835.

References:

The Theatrical Observer and Daily Bill of Play (14 May 1835), 1

https://archive.org/stream/theatricalobserv183502lond#page/n49/mode/2up

The following comic song, written by the elder Parry, was sung by Harley with great applause on the night of his Benefit. Why don't the Girls propose ...

5 November 1835 (date of publication)

Sydney, NSW

LANG, John Dunmore (author)

A proposal for itinerant missionaries . . . artless songs . . . merry corrobories

REPORT ONLY

Documentation:

"MISSIONS TO THE ABORIGINES", The Colonist (5 November 1835), 1

http://nla.gov.au/nla.news-article31717176

. . . The public are aware, that the Institiuion at Black Town, after promising well for a short time, completely failed. We believe we shall be thought somewhat singular in our mode of accounting for that failure ; but we have no hesitation in avowing our opinion, that it arose chiefly from its being the primary, if not the sole object of the Institition to civilize the natives, and from its not giving sufficient prominence to religious instruction, as one of the means, and, in our opinion, the only means adequate to the accomplishment of so desirable an end . . .

. . . A mission to the Aborigines, having this object professedly in view, may doubtless be unskilfully managed, and may be undertaken by men who have other things at heart than the spiritual and eternal welfare of these children of the forest. Still, however, notwithstanding the ridicule that such sentiments are likely to call forth from those who consider themselves exceedingly wise in these matters, we maintain, that the establishment of a mission to the Aborigines is the only rational mode of attempting to civilize them; that their civilization will remain utterly hopeless till their conversion to Christianity; that their moral and intellectual darkness will never be dispelled but by the marvellous light of the Gospel. We acknowledge, indeed, that the Christianization of the Aborigines is an event of which we have hitherto had no reason to entertain sanguine expectations. But perhaps we should cease to regard it much longer as either impossible or impracticable, if some zealous missionary were found willing to conform to their wandering habits for a time, in order to gain access to their understandings and their hearts ; following them as they skim along the surface of the solitary lake in their bark canoes, or hunt the bandicoots and opossums in the depths of the forest, or sing the artless songs of their tribe by their evening, fires, or mimic the gambols of the elegant kangaroo in their merry corrobories. And surely the deadly climates of Sierra Leone and the Indies, the fierce intolerance of the Persian Mussulman, and the savage propensities of the cannibal of New Zealand, present far more formidable difficulties to the Christian missionary than any he is likely to encounter among the artless Aborigines of New South Wales, in the salubrious climate of Australia . . .

"MISSIONS TO THE ABORIGINES. THE GREAT LIBEL CASE", The Colonist (31 March 1836), 1-4

http://nla.gov.au/nla.news-article31717828

We promised in our last number to give a condensed report in this week's paper of the long trial for alleged libel, which had arisen out of the articles published in this journal, during the months of November and December last, on the subject of Missions to the Aboriginies . . . The action instituted by the Rev. L. E. THRELKELD, against the Editor of this paper, was an action for damages, on account of the injury which he alleged had been done to his character, as a Missionary to the Aborigines, by the articles in question; the damages being estimated by Mr. THRELKELD himself at a Thousand Pounds. But as the Rev. Dr. LANG avowed himself in the mean time as the writer of the articles alluded to, the prosecution was transferred to him from the Editor of this paper . . .

[Witness] Mr. James Backhouse . . . Cross-examined by Dr. Lang. I have read the whole of the articles; I am aware that other Missionries are included in the remarks about sheep, but taking that part in connection with some verses from a song which appeared in another part of the paper, I consider it as applying to Launcelot Threlkeld; I consider such publications as injurious to missions; I admit that truth is paramount to all other interests in its proper place. Mr. George Washington Walker, another member of the Society of Friends, deposed to the same effect . . .

[Lang's original text is also reproduced] . . . or sing the artless songs of their tribe by their evening fires, or mimic the gambols of the elegant kangaroo in their merry corrobories . . .

2 December 1835 (date of report)

Lake Macquarie, NSW

INDIGENOUS

THRELKELD, Lancelot Edward (authority)

A new song and dance

Which have lately been brought from the regions far beyond Liverpool Plains

REPORT ONLY

Documentation:

Lancelot E. Threlkeld, "MISSION TO THE ABORIGINES", The Sydney Herald (8 July 1836), 4

http://nla.gov.au/nla.news-article12854740

Annual Report of the Aboriginal Mission at Lake Macquarie, New South Wales, 1835. To the Honorable the Colonial Secretary, Alexander McLeay, Esq., &c., &c., &c., Ebenezer, Lake Macquarie, December 2nd, 1835 ... Several of the blacks belonging to this District, headed by McGill, are travelling to Windsor, Parramatta, and Sydney, in order to teach other tribes a new song and dance, which have lately been brought from the regions far beyond Liverpool Plains, where my son has ascertained that the song exists, though the dialect is different to that used in these parts on the Sea Coast. It is not discouraging to reflect that when "Knowledge shall increase amongst these tribes," then, the same custom which promulgates the new song, will convey throughout Australia "The glad tidings" of "A Saviour, Christ the Lord."

5 December 1835

Wybalenna Island, VDL (TAS)

MANNALARGENNA (songmaker)

INDIGENOUS

ROBINSON, George Augustus (reporter)

The song of lamentation, and Mannalargenna's song remembered

REPORT ONLY

Documentation:

Robinson, Journals; ed. Plomley 1987, 313, also 426

http://archival.sl.nsw.gov.au/Details/archive/110319172

5 December 1835. MANNALARGENNA was dead. Went with the surgeon, who had dined with me, to see the corpse. Soon after leaving my house heard a song of lamentation. I still went on in the direction of the place where the corpse lay, but was too ...

George Augustus Robinson, Posthumous Testimony to Mannalargenna, A celebrated Native Chieftain of Van Diemens Land who departed this life Friday Dec. 4th Anno Domini 1835. Died at the Settlement for the Aborigines Flinders Island; copy made "Jan '36", George Arthur, papers regarding Aborigines, 1825-1837, 148r ff. [image 142]; State Library of New South Wales

http://archival.sl.nsw.gov.au/Details/archive/110342411 (CATALOGUE RECORD)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL4383673 (PAGE IMAGE)

http://acms.sl.nsw.gov.au/_transcript/2007/D00007/a1771.html (ONLINE TRANSCRIPT)

[Image 142] Posthumous Testimony to "Mannalargenna" A celebrated Native Chieftain of Van Diemens Land who departed this life Friday Dec. 4th Anno Domini 1835. Died at the Settlement for the Aborigines Flinders Island. On the afternoon of the above day, an Aboriginal female came to my quarters, and informed me that Mannalargenna the King was dead. I proceeded immediately to view the body, accompanied by the Surgeon. On leaving my house the Song of Lamentation was distinctly heard, the mournful dirge, like the trump of death, seemed to declare the solemn warning "Prepare to meet thy God", and pointed out the frail nature of all earthly existence. It was as though a voice from Heaven spoke saying - "And yet a little while and thou shall be numbered with the dead". Although I had for some time watched with painful feelings his approaching dissolution, still I did not apprehend his death so near. It was sudden [Image 143] and took place earlier than expected, how solemn this circumstance. I went in the direction of the house where the body lay, but was too overpowered to enter, I therefore avoided the house of mourning, and proceeded by a retired path, in the rear of the Natives' Huts to the Surgeon's Quarters; The body was afterwards removed to the new store, wrapped in a blanket, and the lamentation ceased. Some of the Male Aborigines accompanied me to the burial ground, to select a place for the grave, a spot was marked out when the Natives at my request dug it out ...

[Image 145] ... The funeral of the departed chief took place on the afternoon of the following day, upwards of One hundred persons attended the corpse to the grave. The Native Inhabitants were in clean & neat attire, the Officers of the Settlement & near relatives followed next to the corpse, the Surgeon & Catechist in front. It was past 3 O'Clock when the mournful procession moved on in solemn order to the burying ground, distant about half a mile. The day was fine and the whole scene was one of great interest. The Aborigines stood in a circular form round the grave, select portions were then read from the Burial service by the Catechist, after which the [Image 146] following hasty eulogium was delivered as a last a last tribute to the remains of the departed chieftain, though brief was listened to by the Aborigines with great attention, there never was better decorum observed among any civilised community than was [indecipherable] on this occasion ... [full text of eulogy follows, including:]

[Image 155] ... he told other black men what God had done for him, & told them to go to God & pray as he had done, and God would pardon them their sins and make them good. Then he made a song about what God had done for him, for his soul & made a tune also & sung it to other

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL4383687

[image 156] black men, these are some of the words & they are very good

I am glad I saw another day
Sing Glory - Glory - Glory
We ever need to sing and pray
For Glory - Glory - Glory

I have Glory - Glory in my soul
Sing Glory - Glory - Glory
Which makes me praise my Lord so bold
For Glory - Glory - Glory

I hope to praise him when I die
In Glory - Glory - Glory
And shout Salvation as I fly
To Glory - Glory - Glory

These are some of the verses - there are many more but there is not sufficient time to repeat them on this occasion ...

Further documentation: (hymn singing)

Robert Clark, report of the committee of the Aboriginal schools for the three months to 30 November 1836; ed. Plomley 1987, 667

...Instruction is given to the Aborigines on the calendar; and to count up to fifty. They have learned six tunes of psalms and hymns, and the doxology; and they can all repeat the Lord's Prayer.

George Augustus Robinson, journal; ed. Plomley 1987, 398

7 December [1836] Wed ... Pm visited the school. I was particularly delighted and pleased with the singing of the natives, particularly with one hymn that concluded with "we are on our way to God". They are much improved in their singing; they sing with spirit and in excellent time, and their melody is very pleasing ...

George Augustus Robinson, journal, 22 February 1837; ed. Plomley 1987, 426

22 February [1837] Wed ... died last night of visceral inflammation. This man was among the most healthy. He was hale and young. This is the third native man dead. Samuel, Algernon, Omega, all healthy young men. painful events. All is doing requisite to their comfort, but alas it will be too late; death is making rapid inroads among them. I had promised the aborigines a festivity and this day was selected for the occasion and I had invited the officers and their wives to a festival. In consequence of the heat of the day the festival was held in a delightful spot in the park in the rear of my quarters, completely sheltered by a grove of trees ... In the evening the natives came in front of my house and sang hymns. The evening was still and the singing had a fine effect. At dinner the natives sung several hymns which was truly gratifying; Hampshire was one tune, and another the words "o'er the gloomy hills of darkness". The words of another "when I can read my title clear", "from Egypt lately come", "glory to God on high", let heaven hear the reply" and "glory, glory" being among those they are accustomed to sing. Twelve months ago they could not sing a verse of any hymn, now they can sing all the forgoing in excellent tune and time and know the words. They were at that time assisted at table, they can now do without assistance. They enjoyed the entertainment and conducted themselves with great propriety and in an orderly and becoming manner. It was a scene worthy the pencil of a painter ... Such festivities if duly observed are well calculated to fill the mind with delight and satisfaction and render the natives contented and happy, pleasing reflections to my mind on witnessing such results, in taking a retrospect of past occurrences to recollect that but a short time ago they scarcely knew a word of English now they speak seldom any other, and hearing them sing in English verse and tune it is a source of consolation. The mortality alone is to be deplored. May a good a generous God vouchsafe to bless them.

George Augustus Robinson, journal, 15 November 1837; ed. Plomley 1987, 497

15 November [1837] Wed ... Attended the evening school and instructed the natives in singing. Busy the whole day on the public works. Last night the natives were practising singing in their houses. I have frequently been much pleased and delighted in seeing little groups of natives in their houses singing hymns and psalms. Last Sunday night Mrs. and Miss R and myself visited the houses at 9 pm, an aged female being then in the last stage of illness, and we were much pleased on coming near to Washington's house to hear hymns sung, and most excellent cadence and time was observed. Mrs R at first thought my two sons William and Henry were among them and instructing them, but what was our surprise to find on entering the cottage that none but natives were there, about twenty to twenty-five in number, men and women, all seated around the fire singing praises to the Almighty. The tunes and hymns were - (1) Behod the glory of the lamb, (2) Once more before, (3) When I can read my [title clear], and (4) O'er the gloomy hills of.

[News], The Hobart Town Courier (23 September 1836), 2

http://nla.gov.au/nla.news-article4174928

Among the other careful and shrewd provisions of the new South Australia provincials, we have not observed, what we should have considered the primary and most essential of all, that any allusion is made to the Aborigines ...

On this subject we are happy to learn that the Aboriginal Committee of the House of Commons, as well as the Secretary of State, are desirous that Mr. Robinson the Commandant at Flinder's Island, should proceed to New Holland as mediator and protector of the various tribes of natives in the newly settled territories ...

Their religious exercises consist in regularly attending divine service, in joining in the responses, and singing. One of the Aborigines officiates as clerk and teacher, for which he receives 1s. per week from the fund; he has also a younger assistant, who is paid 6d. All join in the Lord's Prayer. The entire black population now amounts to 120 souls - a number which appears not only likely to be kept up, but gradually, under the improved management of Mr. Robinson, to increase.

"Slopiana", Colonial Times (27 September 1836), 5

http://nla.gov.au/nla.news-article8649387

Slopiana. The following extracts from the Courier will amuse our readers. Of all the parcel of infamous, false representations, ever put forth, none can equal them. Of course the Courier will be made use of in Downing-street, and perhaps the Penny Magazine will be bribed to copy a portion thereof. Deception of this description is wicked! ... [extract from above]

"FROM THE HOBART TOWN COURIER", Launceston Advertiser (29 September 1836), 4

http://nla.gov.au/nla.news-article84755548

"Aborigines", The Asiatic Journal and Monthly Register for British and Foreign India, China, and Australia 22 (April 1837), 248

https://books.google.com.au/books?id=eSoLAQAAMAAJ&pg=RA1-PA248

"FLINDERS ISLAND ESTABLISHMENT FOR THE ABORIGINES", The Perth Gazette and Western Australian Journal (19 August 1837), 958

http://nla.gov.au/nla.news-article639877

Bibliography and resources:

Plomley 1987, 313, 426

Resources:

http://www.utas.edu.au/telling-places-in-country/historical-context/historical-biographies/mannalargenna

Words and music concordances:

A general collection of hymns, and spiritual songs, for the use of the Arminian baptism revivals; a new edition, enlarged (Uppingham: George Daniel, 1822) 64, Hymn 55, The Millenial

https://books.google.com.au/books?id=j_tiAAAAcAAJ&pg=PA64

I'm glad I ever saw the day,
Sing glory, glory, glory;
We ever met to sing and pray
Sing glory, glory, glory.
I've glory, glory in my soul
Sing glory, glory, glory;
Which make's me praise the Lord so bold
In glory, glory, glory ...

F. W. Wilson (ed.), Sacred songs: a selection of psalms, hymns and spiritual poetry, from ancient, modern and original sources (London: J. H. Jackson, 1847)

https://books.google.com.au/books?id=DithAAAAcAAJ&pg=PA70

I am glad I ever saw the day,
Sing glory, glory, glory!
When first I learned to sing and pray,
Sing glory, glory, glory!
'Tis glory's foretaste makes me sing
Of glory, glory, glory!
And praise my Saviour and my King
Like those in glory, glory! ...

Hampshire [tune]

https://books.google.com.au/books?id=F3B814JHA_4C&pg=PA258

Thomas Kelly, Collection of psalms & hymns ... (Dublin: [s.n.], 1802), Appendix 247-48

https://books.google.com.au/books?id=FMFVAAAAcAAJ

Thomas Kelly, Hymns adapted for social worship (Dublin: Printed ... for M. Keene, 1811), 78-79

https://books.google.com.au/books?id=zcNVAAAAcAAJ&pg=PA78

1 - FROM Egypt lately come,
Where death and darkness reign,
We seek our new, our better home,
Where we our rest shall gain.
Hallelujah!
We are on our way to God.

2 - To Canaan's sacred bound
We haste with songs of joy;
Where peace and liberty are found,
And sweets that never cloy. Hallelujah!
We are on our way to God ...

12 December 1835 (notice of publication)

Sydney, NSW

"A LADY" = HELY, Mary (composer, arranger)

"F. A. H." = HELY, Frederick Augustus (songwriter)

The parting (ballad; song)

[The parting; ballad; words: F. A. H.; music "said to be by a lady" / "by a young lady"]

([Dublin: For Francis Ellard, Sydney, 1835])

NO COPY IDENTIFIED

Documentation:

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

http://nla.gov.au/nla.news-article31717338

6 packages musical instruments, F. Ellard.

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

http://nla.gov.au/nla.news-article2201678

We have before us a beautiful ballad, (the music said to be by a lady), and "The much admired Australian Quadrilles," published in Dublin by our enterprising fellow-colonist, Mr. Ellard, of Hunter-street, Sydney. There is a simplicity and beauty in the former which we are sure will attract the attention of all young ladies studying the pianoforte, and will be a very good addition to their initiatory studies. With regard to the second, we are satisfied that they will afford many unhappy hour of amusement to the Australian daughters and sons of Terpsichore. We strongly recommend them to the attention of the public.

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

http://nla.gov.au/nla.news-article28654531

We have received from Mr. Ellard, the music-seller of Hunter-street, copies of some Colonial music, harmonised in Sydney, and printed by Mr. Ellard's father, Dublin. The music consists of a Ballad entitled "The Parting," composed by a young lady, the words are easily recognisable as those of a gentleman in the Colony, whose production, both music and poetry are said to be. The ballad is in an appropriate and pretty key (flats), and its melody and arrangement display a pleasing simplicity of style, without much originality. The rest of the sheets contain a new set of Australian Quadrilles, under the names of "La Sydney, La Wooloomoolloo, L'Illawarra, La Bong Bong, and L'Engehurst," the airs of which are taken from some of the new Operas, and arranged in easy keys for the benefit of young pianists.

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

http://nla.gov.au/nla.news-article12853687

ERRATUM. The notice of Mr. Ellard's new music in our last number, an omission was made; instead of the Ballad of F. A. H. being in "flats," it should have been three flats.

Bibliography and resources:

Skinner 2011

Skinner 2015

12 December 1835 (notice of publication)

Sydney, NSW

ELLARD, William (composer, arranger)

The much admired Australian quadrilles

Source:

The much admired Australian quadrilles containing La Sydney, La Illawarra, La Wooloomooloo [sic], La Bong Bong, and La Enghurst, dedicated by permission to Miss Hely of Engehurst, selected from the newest and most celebrated operas, and arranged for the piano forte or harp by Wm. Ellard, Dublin

(Dublin: [For Francis Ellard, Sydney], [1835])

See also entry on Ellard mainpage:

https://sydney.edu.au/paradisec/australharmony/ellard-family.php#1835-australian-quadrilles

Exemplars:

University of Newcastle Library (with cover):

https://trove.nla.gov.au/version/42311839 (not digitised)

NLA (photocopy of Newcastle exemplar above)

https://trove.nla.gov.au/version/171071617 (DIGITISED)

State Library of New South Wales (without cover)

https://trove.nla.gov.au/version/51391578

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL3692292 (DIGITISED music page 1)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL3692294 (DIGITISED music page 2)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL3692295 (DIGITISED music page 3)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL3692297 (DIGITISED music page 4)

http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL3692299 (DIGITISED music page 5)

NLA (photocopy of SL-NSW)

https://trove.nla.gov.au/version/14490375 (not digitised)

Documentation:

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

http://nla.gov.au/nla.news-article31717338

6 packages musical instruments, F. Ellard.

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

http://nla.gov.au/nla.news-article32150302

NEW MUSIC. We have been favoured by Mr. Ellard with music for five Australian Quadrilles, to which we shall refer in our next.

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

http://nla.gov.au/nla.news-article2201678

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

http://nla.gov.au/nla.news-article28654531

AUSTRALIAN MUSIC. We have received from Mr. Ellard, the music-seller of Hunter-street, copies of some Colonial music, harmonised in Sydney, and printed by Mr. Ellard's father, Dublin. The music consists of a Ballad entitled "The Parting," composed by a young lady, the words are easily recognisable as those of a gentleman in the Colony, whose production, both music and poetry are said to be. The ballad is in an appropriate and pretty key (flats), and its melody and arrangement display a pleasing simplicity of style, without much originality. The rest of the sheets contain a new set of Australian Quadrilles, under the names of "La Sydney, La Wooloomoolloo, L'Illawarra, La Bong Bong, and L'Engehurst," the airs of which are taken from some of the new Operas, and arranged in easy keys for the benefit of young pianists.

Bibliography and resources:

"Australia's first music", Art in Australia series 4/6 (June, July, August 1942), 56, 7, and 5 pages after 56 supplement (facsimile)

http://nla.gov.au/nla.obj-352646329/view?partId=nla.obj-352707590#page/n55/mode/1up (DIGITISED)

Facsimile of State Library of New South Wales copy of Ellard's Australian quadrilles of 1835, which, however, the article misidentifies as Reichenberg's Australian Quadrilles of 1825

Covell 1967

Commentary:

Sources of the melodies featured include, for no. 1, La Sydney, the march in Norma (Bellini); and in no. 5, La Engehurst, the popular British song, The girl I left behind me (sometimes wrongly attributed to Samuel Lover).

For another later quadrille setting of The girl I left behind me, see no. 2 of Jullien's Royal Irish quadrilles [first set], composed for the visit of queen Victoria to Dublin in August 1849: http://digitalcommons.conncoll.edu/sheetmusic/558

11 December 1835 (first Australian performance)

Hobart Town, VDL (TAS)

WALLACE, William Vincent (composer, improvisor)

Concerto for violin, in which is introduced the admired melody of 'Tis the last rose of summer

Fantasia di Bravura - Violin, dedicated to Paganini, in which will be introduced 'Tis the last rose of summer

NO COPY IDENTIFIED (1835 version)

? Possible later version/concordance:

The last Rose of Summer, with variations [? for the piano] (London: Robert Cocks, 1847; New York: Distin, 1850)

Last Rose of Summer, fantaisie-variations de bravoura pour violon [et piano] composée et dedieée a son ami Henri Vieuxtemps par W. Vincent Wallace, Op. 74 (Hamburg, Leipzig & New York: Schuberth & Co., [1856]

http://www.loc.gov/resource/sm1856.300360

Documentation:

[Advertisement], The Hobart Town Courier (11 December 1835), 3

http://nla.gov.au/nla.news-article4178218

MRS. CHESTER BEGS to announce to her friends and the public generally, that her Concert of Vocal and Instrumental Music will be given at the Argyle Rooms, this Evening, Dec. 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 pianoforte and violin, assisted by the talents of Mrs. Logan, who will kindly afford her gratuitous services on this occasion, and several Amateurs.
Part I.
Overture
Glee - "Should auld acquaintance be forgot"
Song - "Arise Zariffa," [Arise Zarifa, Mrs. Arkwright] 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
Part II.
Overture
Glee - "Ye banks and braes".
Song - "Savourneen deelish," Mrs Chester
Duet - 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 2lst regiment, Mrs. Chester is allowed the assistance of the military band. Tickets 7s 6d, children 5s, to be obtained of Mrs. Chester, Freemasons' Hotel; Mr. Swan Elizabeth Street; Dr. Ross, Courier office; Mrs. Davis's, Music Warehouse, and Mr. Carter, Derwent House. Concert to commence at 8 o'clock.

[Advertisement], The Sydney Herald (11 February 1836), 1

http://nla.gov.au/nla.news-article12853856

Under the Patronage of His Excellency the Governor, who has signified his intention of being present, MR. W. WALLACE, Leader of the Anacreontic Society and Professor of Composition, Royal Academy, BEGS to announce that his CONCERT of Vocal and Instrumental Music will take place in the Saloon of the Royal Hotel, on FRIDAY EVENING, the 12th February.
PART I.
Overture - Guillaume Tell, Rossini.
Glee - Forrester.
Variations, Brillantes, (Piano-forte) sur le trio Favori du Pre aux Clercs, with Orchestral accompaniment. Mr. Wallace.
Song - Should he Upbraid. Mrs. Chester.
Potpouri - Flute, Nicholson. Mr. Josephson.
Glee - Merrily goes the Bark.
Song - Savourneen Deelish. Mrs. Chester.
Concerto - Violin. Mayseder. Mr. Wallace.
PART II.
Overture - Gustavus, Auber.
Glee - Who is Sylvia?
Solo - Clarionet, Gambaro. Mr. Lewis.
Song - Glory from the Battle Plain, Rossini. Mrs. Chester.
Grand Duett - Pianoforte, Herz, on the Favorite March in William Tell. Mr. Wallace and Mr. Josephson.
Song - Come where the aspens quiver. Mrs. Chester.
Fantasia di Bravura - Violin, dedicated to Paganini, in which will be introduced Tis the last rose of summer. Mr. Wallace.
By the kind permission of Colonel Despard, Mr. Wallace will be allowed the assistance of the admired Band of the 17th Regiment, Tickets 7s. 6d. each, to be had at Mr. Ellard's Music Warehouse, Hunter-street; and at the Royal Hotel. Concert to commence at Eight o'clock.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (23 February 1836), 3

http://nla.gov.au/nla.news-article2202868

"MR. WALLACE'S CONCERT", The Sydney Monitor (27 February 1836), 3

http://nla.gov.au/nla.news-article32150833

Mr. Wallace's second concert was held last evening. The performance of Mr. W., as on the former occasion gave universal satisfaction; his violin playing was excellent, especially the piece in which The Last Rose of Summer was introduced. Mrs. Chester and Mrs. Taylor were in good voice and sang well, and received much applause. The band of the 28th Regt. played the overtures in a very superior style. The room was crowded to excess with respectable persons, and the only drawback was the deficiency of seats, many gentlemen being obliged to stand the whole evening.

Mr. Wallace's Concert", The Australian (1 March 1836), 2

http://nla.gov.au/nla.news-article36854032

. . . The performance concluded with a Fantasia on the violin, by Mr. Wallace, in which he introduced "The last Rose of Summer" - to this it is impossible for us to do justice - re-iterated bursts of applause at every pause, amply expressing the feelings of the audience . . .

Mr. Wallace's Concert", The Australian (1 March 1836), 2

http://nla.gov.au/nla.news-article36854032

... The performance concluded with a Fantasia on the violin, by Mr. Wallace, in which he introduced "The last Rose of Summer " - to this it is impossible for us to do justice - re-iterated bursts of applause at every pause, amply expressing the feelings of the audience . . .

"MR. WALLACE'S CONCERT", The Australian (3 June 1836), 2

http://nla.gov.au/nla.news-article36853546

... The Concert terminated with a Fantasia in which was introduced the Last Rose of Summer, by Mr. Wallace on the violin, which alone was worth the price paid for the ticket. Indeed it was the most brilliant piece of music produced during the evening, and the delicacy of stop in the back Staccato passages was really quite electrifying.

"DEAR JONATHAN", Brother Jonathan 6 (18 November 1843), 327

https://books.google.com.au/books?id=Clg_AQAAMAAJ&pg=PA327

Baltimore, November 12th, 1843 ... Wallace has given two concerts, and on both occasions had good houses - in the first instance - a very full one. The last concert took place on an unpropitious evening, and Mr. Wallace declared himself that his audience was more numerous than he expected. The Baltimoreans entertain but one opinion of his genius and abilities, which is that he is the very best performer they have ever listened to. His second concert gave more general satisfaction than the first, as the pieces chosen were more familiar to their ears. He played the concerto in which he introduces "Hope told a flattering tale," and "The last rose of summer" - but the gem of the evening was Paganini's variations on "non piu mesta," which he executed on one string . . .

[Music], The Universalist and Ladies' Repository 18 (September 1849), 119

https://books.google.com.au/books?id=VaJEAQAAMAAJ&pg=PA119

DITSON has just published in the handsomest style ..."'Tis the last rose of Summer," with variations for the Piano Forte, by W. V. Wallace.

Commentary:

At his first Hobart concert, on 4 December 1835, presented with the assistance of his cousins Maria Logan and Marian Chester, Wallace included none of his own works in the advertised program. He did play two items billed as "Concerto. Violin" by Mayseder and Spohr, and a "Fantasia di Bravura" by "Hertz", and these probably account for his unattributed items at this second concert. This "concerto" on The last rose of summer was first programmed at the second concert, but since it was described as appearing "by desire", he may also have played it as an encore at the first concert, or at some other unadvertised event. Moschelles and Herz (the later an associate of Wallace) had both published sets of piano variations on the same theme (also known by the name of its tune The groves of Blarney in London in 1827. Wallace may well have owned copies of both. Perhaps he also heard Paganini himself improvise on the tune at his Dublin concerts.

Plausibly an early version for violin of some of the same idea that appear in The last rose of summer, with variations (London: Robert Cocks, 1847)

References:

"Review of Music", The Harmonicon 5 (June 1827), 114

https://books.google.com.au/books?id=7uYqAAAAYAAJ&pg=PA114

[Advertisement], The Hobart Town Courier (4 December 1835), 3

http://nla.gov.au/nla.news-article4178734

29 and 30 December 1835

Wellington Valley, NSW

INDIGENOUS