The University of Sydney - Australharmony

THIS PAGE FIRST POSTED 1 SEPTEMBER 2018

LAST MODIFIED Monday 22 April 2024 9:38

Miska Hauser in Australia

Dr GRAEME SKINNER (University of Sydney)

THIS PAGE IS CURRENTLY UNDER CONSTRUCTION

To cite this:

Graeme Skinner (University of Sydney), "Miska Hauser in Australia", Australharmony (an online resource toward the early history of music in colonial Australia): https://sydney.edu.au/paradisec/australharmony/hauser-miska.php; accessed 5 November 2024

WARNING: THIS PAGE CONTAINS TRANSCRIPTIONS OF SOME HISTORICAL DOCUMENTATION THAT IS HIGHLY DISPRECTFUL OF ABORIGINAL AUSTRALIANS

Introductory note:

The texts given in gold aim for the most part to be diplomatic transcriptions, wherever practical retaining unaltered the original orthography, and spellings and mis-spellings, of the printed or manuscript sources. Occasionally, however, some spellings are silently corrected (for instance, of unusual music titles and composers, to assist identification), and some orthography, punctuation and paragraphing, and very occasionally also syntax, editorially altered or standardised in the interests of consistency, clarity, and readability.

HAUSER, Miska (Michael HAUSER; Miska HAUSER; M. HAUSER)

Miska Hauser 1882-1887

Violinist, traveller, diarist, composer

Born Pressburg, Hungary (Bratislava, Slovakia), 1822; son of Ignaz HAUSER
Arrived Sydney, NSW, 28 October 1854 (per Heloise, from Valparaiso, 23 August)
Departed Melbourne, VIC, 16 July 1858 (per Emeu, for Europe)
Died Vienna, Austria, 8 December 1887

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

http://nla.gov.au/nla.party-820574 (NLA persistent identifier)

http://d-nb.info/gnd/116539062 (DNB persistent identifier)

https://de.wikipedia.org/wiki/Miska_Hauser (Wikipedia)

https://imslp.org/wiki/Category:Hauser,_Miska (IMSLP)

http://www.worldcat.org/identities/lccn-n89633495 (WorldCat identities)

Page contents (click on links)

Documentation - before Australia

Documentation - Australia 1854

Documentation - Australia 1855

Documentation - Australia 1856

Documentation - Australia 1857

Documentation - Australia 1858

Other reports and recollections (in the local and international press)

Hauser's Australian journals reported (in the international and local press)

Hauser's Australian journals (as published)

Musical works and editions (performed or published in Australia)

Bibliography and resources

Summary

The most authoritative and detailed account of Hauser's family background and early life and musical career, along with a sketch of his years of international touring in the 1850s (including the almost four years he spent in Australia), is that published in 1860 by Ignaz Reich in the second volume of his collection of biographies of Hungarian Jews, Beth-El: Ehrentempel verdienter ungarischer Israeliten.

Hauser's intention to visit Australia was reported in the Sydney press as early as May 1853.

The precise outlines of his almost 4 years of touring are far better followed in the contemporary Australian press than in his own incomplete and unreliable despatches, first published in German in Vienna and selectively translated into English, before bring reissued in German in book form.

Hauser was generally well received in Australia as a musician, but already by the end of his first full year in the colonies, some of the colonial press began to take umbrage at Hauser's published accounts of his travels, much of which appeared to them to be either fanciful or contemptuous of colonial culture and society, or both.

Accordingly, by June 1859, a year after Hauser finally let Australia, the Sydney press - previously mostly supportive of him - seemed happy to reproduce a slighting review of Hauser's recent Vienna concert. Further disquiet followed, when in July 1859, the Empire reproduced an extended review from Bentley's Magazine of Hauser's travelogue in book form. A year later still, an editorial in the Empire, on the subject of mendacious testimonies of returned Australian colonists, cited as bywords "the ridiculous falsehoods" of Frank Fowler and "the inventions attributed to MISKA HAUSER".

Documentation

Before Australia

Michael Hauser, c. 1840s (Schuberth & Co., Hamburg u. Leipzig); New York Public Library

https://digitalcollections.nypl.org/items/510d47df-75e5-a3d9-e040-e00a18064a99 (DIGITISED)

Lublin, Poland, c. 1842; see "Die Gebrüder Heinrich und Joseph Wieniawski", Niederrheinische Musik-Zeitung (8 April 1854), 108

http://libserv14.princeton.edu/bluemtn/?a=d&d=bmtnabi18540408-01.2.3 (DIGITISED)

Der älteste und bis jetzt hervorragendste des reichbegabten Brüderpaares, Heinrich Wieniawski, wurde am 10. Juli 1835 zu Lublin geboren, wo sich sein Vater als angesehener Arzt noch gegenwärtig aufhält. Bereits in dem zarten Alter von fünf Jahren zeigte Heinrich grosse Anlagen für die Violine, so dass er nach kurzem Unterrichte als siebenjähriger Knabe öffentlich in einem Quartette von Haslinger seine Stimme beifallswürdig durchführen konnte. Auf Veranlassung des Violinspielers Michael Hauser, der sich eine Zeit lang in Lublin aufhielt und Heinrich's Talente mit gerechtem Staunen bemerkte, entschlossen sich die Eltern, das zarte Reis in einen, wiewohl weit entlegenen, Boden zu verpflanzen, in dem der keimende Genius die herrlichsten Knospen treiben sollte. Heinrich Wieniawski kam im Jahre 1843 nach Paris . . .

ASSOCIATIONS: Henryk Wieniawski (violinist)

[News], Reynolds's Newspaper [England] (30 March 1851), 9

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000100/18510330/032/0009 (PAYWALL)

The following appears in the New York Tribune: - "About the middle of April Jenny Lind, Salvi, and Belletti will probably give concerts for a space of two months. Parodi, who is now bound South, on a tour with Amalia Patti, and Miska Hauser, will then return, and sing through the summer in Castle Garden, which we understand Maretzek has taken for the purpose of giving a summer opera season."

ASSOCIATIONS: Teresa Parodi (vocalist); Amelia Patti (vocalist);

Miska Hauser, c. 1850; from "Clerkpet", Parodi, below (plate after page 152)

https://books.google.com.au/books?id=ZvEPAAAAYAAJ&pg=PA152-IA2 (DIGITISED)

"Clerkpret" [Isaac Clark Pray], Teresa Parodi and the Italian Opera (New York: Wm. B. Parsons, 1851), 156-59

http://books.google.com.au/books?id=ZvEPAAAAYAAJ&pg=PA156 (DIGITSED)

Miska (Michel) Hauser was born at Pressburg, Hungary, in 1821. His great love of music was perceived at an early age. When only six years old his teacher was astonished at his extraordinary ability to retain even the long compositions of Mozart, Haydn and Beethoven, after hearing them only once. Musicians had more attractions for him, than his books; and his hours were chiefly devoted to listening to an old violinist's performances, which he endeavored to imitate. Subsequently, he was instructed by one of the violinists of the epoch of Mozart, and very rapidly learned to play. At this period, he was taken by gypsies who hoped to profit by his talent, and was only released after playing sad laments, which appealed to the compassion of the tribe.

At the age of twelve years, he gave his first concert, and was received with delight by the lovers of music. Encouraged by such success, he immediately went to Vienna, where he entered the musical conservatory of that city. Under the admirable tuition [157] obtained at a trifling cost, at that institution, he soon obtained his diploma, and commenced his first great musical tour. There is no great city from the borders of Russia to the Hellespont - from the Ural to the Pyrenees, where Miska Hauser has not distinguished himself both as a composer for, and a performer on the violin. Every civilized nation in Europe, has been visited by him; and even in Turkey his musical strains have excited the phlegmatic admiration of the Moslem. After travelling through Germany, he went to Sweden, where he composed the celebrated march for the coronation of Oscar the First. It has become a national Swedish air. At the birth of the Prince, he wrote his Cradle Song, dedicated to her Majesty, the Queen of Sweden and Norway. This is a composition of rare beauty.

Having left Stockholm, where he gained a lofty reputation by his many compositions and performances, he visited Poland and Russia. We have seen some of his compositions, published at St. Petersburgh, which are remarkable for their scientific excellence and their melody. At one of his performances in the Russian capital, it is recorded, that he [158] received the fragments of a diamond ring, sent to him by a lady, who had broken it, while applauding him. In Turkey, the liberal Sultan Abdul Meschid, made him a present of a valuable pipe, in token of his esteem for his great musical accomplishments. In fact, his trophies, during a protracted tour of seven years, were almost numberless; and, when he returned to Vienna, the great musical artists of that city crowned him publicly with a laurel - an honor only bestowed upon Ernst, Ole-Bull and Vieuxtemps.

Recently he has visited London and the United States with great success. His career in New York, Boston and Philadelphia during the early part of the present year has been very brilliant, and having been engaged to exert his talents in the Parodi concerts, he is destined to achieve still further fame and fortune in this country. His style is original and brilliant, and is marked by none of those tricks which have captivated the public in some instances, but which are beneath the dignity of art. We are most pleased with him in scientific compositions, in which fancy and the best musical models blend, to show the full merits of the school to which he has educated him- [159] -self. As a composer for the violin he has contributed more than one hundred pieces, to the musical treasury, and a large number of these works are so exceedingly meritorious that they will long live in the memory and admiration of every true lover of the art.

M. Hauser is a man of simple and unostentatious manners, and must be indebted for his success solely to the force of his own talents. Many men with less ability, and with the tact sometimes used to create public excitements, would have realized a more notorious name in the musical world, but no one is more justly entitled to the full admiration and respect of the public for his brilliant accomplishments. We are quite satisfied that his own style of performing on the violin, will win for him distinction in every city that he may visit, while the musical world will not fail to give him that place to which he is fully entitled, not less for what he has accomplished, than for the purity and direct purpose of his style.

"MISKA HAUSER", Sacramento Daily Union [California, USA] (14 February 1853), 2

https://cdnc.ucr.edu/?a=d&d=SDU18530214.2.6 

The Alta speaks in tones of deprecation of the shabby manner in which this recently arrived violinist has been received by the citizens of San Francisco. His concerts have not been well attended, while he is pronounced "one of the most celebrated instrumental performers of the day, and the first of note that has visited our shores since the days of Henri Herz." The Alta intimates very strongly that his want of success arises from an absence of clap-trap and humbug, in getting his concerts up, and advises him to change his tactics, that he may strike the people in their vulnerable part.

"MISKA HAUSER", Daily Alta California [San Francisco] (8 March 1853), 2

https://cdnc.ucr.edu/?a=d&d=DAC18530308.2.14 

This celebrated violinist has left on a tour to Benecia and Sacramento. It is his intention to give concern in Benecia, and three or four in Sacramento . . .

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

http://nla.gov.au/nla.news-article12945708

. . . The first part of the Abyssinia's voyage was attended with tolerable success, she getting abreast of Norfolk Island in 38 days . . . Amongst her passengers are . . . Mr. Lewis Lavenue, a composer of much note from London, who has for the last two years conducted the concerts of Miss Catherine Hayes in the United States, and arrived in San Francisco with Miska Hauser, the violinist, which gentleman will shortly follow Mr. Lavenue to Australia.

ASSOCIATIONS: Catherine Hayes (vocalist); Lewis Henry Lavenu (conductor)

[Advertisement], Sacramento Daily Union (9 July 1853), 2

https://cdnc.ucr.edu/?a=d&d=SDU18530709.2.17.4

SACRAMENTO THEATER.
Last Appearance but One of MLLE. LOLA MONTEZ, SATURDAY EVENING, July 9,
THE FIFTH GRAND CONCERT OF THE SEASON Will take place.
Mlle. Lola Montez in two of her most popular dances.
Miska Hauser, (the world-renowned violinist.)
Mons. Chenal, Mons. Eigenschenck, and a well selected Orchestra, will render their valuable aid.
PROGRAMME.
PART FIRST.
1. Overture - Orchestra
2. Souvenir de Niagara - Grand Rondo de Concert, composed and executed by MISKA HAUSER.
3. Solo on the Clarionet - CHAS. CHENAL.
4. "Sailor's Hornpipe" - Pantomime and Dance, showing the vicissitudes of a Sailor's life - The Dance - The Storm - The Shipwreck, and the Rescue - MLLE. LOLA MONTEZ.
5. "The Last Rose of Summer" - arranged for the violin and executed by MISKA HAUSER.
PART SECOND.
1. Overture - Orchestra.
2. Grand Fantasia on airs from the opera of "Othello," executed by MISKA HAUSER.
3. Variations on favorite American Airs on the Piano Russe, by CHAS. CHENAL.
4. "The Bird on the Tree," (a fable written for children) composed and executed by MISKA HAUSER.
5. LA TARANTULA, Or The SPIDER DANCE - MLLE. LOLA MONTEZ.
Leader of the Orchestra. . . Mons. C. EIGENSCHENCK . . .

ASSOCIATIONS: Lola Montez (dancer); Charles Eigenschenck (violin, leader)

"FROM THE INTERIOR. YUBA", Sacramento Daily Union (21 July 1853), 3

https://cdnc.ucr.edu/?a=d&d=SDU18530721.2.21 

The California Express of Wednesday was received from Adams & Co.'s messenger . . .
The second concert of Lola Montez on Monday evening was well attended. Everything passed off very pleasantly. After the performance, the "Countess" was vociferously called for, and on appearing, in a very neat speech, she returned her thanks for her flattering reception, informed the audience that she had expected that Mr. Miska Hauser would also have appeared, as she had engaged him to accompany her in her tour through the mines, but that Mr. Miska Hauser, who had never done anything for himself but what he had done through Lola Montez, was so flattered by his reception that he had left, and that Mons. Chas. Eigenschenck, from the Musical Conservatoire of Paris, had appeared in his place; and that at some future day when she should write an account of her travels in the English and the French papers, she would not forget Marysville and her generous gentlemen. They go from here to Grass Valley and Nevada. - Express.

"LOLA MONTEZ IN MARYSVILLE", Placer Herald (23 July 1853), 3

https://cdnc.ucr.edu/?a=d&d=PH18530723.2.11 

By last night's boat we learn that the "divine" Lola created no little excitement in Marysville on Saturday night; and wound up the performance with a general "muss." We have not been able to gather the particulars, further than that after the concert, she had a quarrel and fight with her husband, which resulted in his leaving the hotel in rather a hurried manner. The peculiar circumstances under which the difficulty occurred caused great excitement and much feeling among the citizens of Marysville, and have determined them not to patronize Lola in future. Miska Hauser, the violinist, reached here last night, having withdrawn from the company. We are anxious to hear what "apology" will be given in this case. - State Journal.

"MISKA HAUSER", Sacramento Daily Union (12 October 1853), 2

https://cdnc.ucr.edu/?a=d&d=SDU18531012.2.8 

We learn from the Commercial Advertiser that this renowned violinist contemplates leaving for Lima and other places on the South American coast, in a few weeks.

"MISKA HAUSER", Sacramento Daily Union (2 November 1853), 2

https://cdnc.ucr.edu/?a=d&d=SDU18531102.2.4 

This distinguished violinist has sailed for Lima and Valparaiso. His touch was exquisite, but he lacked variety. Out of some ten or twenty performances given at this place, we are not aware that he ever played anything but the Carnival of Venice, Bird on the Tree, and Last Rose of Summer.

1854

For all TROVE items tagged Miska Hauser for the year 1854:

https://trove.nla.gov.au/search/category/newspapers?l-publictag=Miska+Hauser&q&l-decade=185&l-year=1854 (TROVE tagged by Australharmony)

[News], San Joaquin Republican [California, USA] (10 February 1854), 2

https://cdnc.ucr.edu/?a=d&d=SRP18540210.2.4 

Miska Hauser has created quite a sensation at Lima. The critics say that he is equal to Savori [Sivori]. He draws crowded houses nightly. The people of South America appear to relish with greater gusto the fashionable operatic music than the people do in California.

ASSOCIATIONS: Camillo Sivori (violinist)

"PANAMA", Empire [Sydney, NSW] (23 February 1854), 5

http://nla.gov.au/nla.news-article60149545 

The violinist, Miska Hauser, is at Panama, and is giving great delight to his audiences. He is stated to be coming on to Sydney.

Australia (28 October 1854 to 16 July 1858)

Sydney, and rural NSW (28 October 1854 to 5 May 1855)

28 October 1854, arrived, Sydney, NSW

"ARRIVALS", Empire [Sydney, NSW] (30 October 1854), 4

http://nla.gov.au/nla.news-article60199380

October 28.- Heloise, American schooner, 338 tons, Captain A. Dyer, from Valparaiso August 23, Tahiti October 1. Passengers - . . . Hauser . . .

[Shipping], The Courier [Hobart, TAS] (11 November 1854), 2

http://nla.gov.au/nla.news-article2239578 

. . . The Heloise is a large three-masted schooner, with fine cabin accommodation. She is 64 days from Valparaiso via Tahiti, and brings l8 passengers from the former place, amongst whom is the celebrated Hungarian violinist Miska Housa [sic] . . .

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

http://nla.gov.au/nla.news-article60199445

By the infallible and mysterious operation of the law which controls supply and demand, it would appear that no sooner has this community indicated a want for musical entertainment of a high order than from unexpected sources the want is supplied. We have now to record the arrival amongst us of a violinist who in his sphere has excited almost as great an excitement among our Trans-Pacific brethren as the enchanting songstress Miss Hayes. We do not expect that he will so entirely subdue the musical susceptibilities of the Sydney public as that lady had the good fortune to do. With her success many elements were mingled. She was a young, beautiful, and accomplished woman, singing the songs of her native country in a manner which appealed to the heart as well as to the ear of her hearers. The present candidate for public favour is simply and instrumental performer, and depends for his success on his power over what is truly called "the king of inanimate instruments," the violin. Of this wonderful instrument he is a master, and the testimony of many American journals which we have seen, sufficiently proclaim the effect he is capable of producing. We had the pleasure of hearing him perform last night, and can promise our readers, that on the occasion of his public performance, they will have a musical treat of a high order.

ASSOCIATIONS: Catherine Hayes (vocalist)

11 November 1854, soiree at the residence of Alphonse Hainess, Sydney

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

http://nla.gov.au/nla.news-article12962255 

The first effects of the impulse which the visit of the "Swan of Erin" gave to the musical taste of this city have evidenced themselves in the advent of another prodigy of art, not, as before, from the green isle, or even from the sister kingdoms, but from the land of patriotism and bravery, Hungary, the fatherland of Liszt, the most wondrous and most imaginative pianist of the day. MISKA HAUSER comes before an Australian audience with all the prestige with which an European, combined with an American fame, can surround him, and the furore which his performances have created in Vienna, Pesth, Berlin, Montreal, New York, New Orleans, Havannah, Lima, Valparaiso, San Francisco, and indeed in every capital in which he has appeared, would seem to render him worthy of a renomée equal, if not superior, to that enjoyed by Ernst, Sivori, Ole Bull, and the most celebrated names in that department of the musical world.

At a soirée given by his compatriot, the Baron Hainess, on Saturday evening to a select party of musical amateurs of the city, we had an opportunity of judging for ourselves of the wonderful powers which Miska Hauser possesses over his instrument, and we can only assure our readers that any previous conception which they may have formed of the capabilities of the violin from the performances of a Strebinger or a Herwyn, excellent as they were, in their several styles, will be utterly thrown into the shade of the marvellous effects elicited by the magic fingers of this gifted Hungarian.

It would be difficult to define in which peculiar line Miska Hauser is most exquisite; we heard him execute fantasies from the Lucrezia and the Ernani of the most prodigious, nay almost insurmountable difficulty, and we have also heard him sing, so to speak, a most plaintive "song without words," by Ole Bull, with an intensity of fee ling to which it was almost painful to be a listener. Still more marvellous to those who were not connoisseurs of the art, and knew the difficulty and high-wrought sentiment which was necessary to the proper embodiment of such a morceau as this, was his performance of the "Bird on the Tree," in which he imitated the varied warblings of, as Tilburina in the Critic would say, "all the feathered songsters of the grove," with an exactness of the wondrous nature of which we must leave our readers to judge.

We may add that Miska Hauser was a pupil of the Conservatoire at Vienna, and at the age of 11 years played before the Imperial Court, and was presented by the then reigning Empress of Austria with the violin, a veritable Stradivarius, upon which he performs, as a mark of her Majesty's high appreciation of his wonderful talents. Miska Hauser will appear on Thursday next at the theatre, when he will be assisted by all the best available talent in Sydney, and when, we trust, he will be greeted by an audience qualified and ready to do meet justice to so distinguished an artiste.

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

http://nla.gov.au/nla.news-article60199971

The Sydney public seems to be suffering in musical matters a reaction from the inordinate excitement into which they were stimulated by the exquisite performances of Miss Catharine Hayes. But the epidemic is transferred to our sister colony, where it seems to be raging withe scarcely less pleasing virulence than it assumed with us. However, as good, like evil, seldom comes alone, we would arouse the satiated appetite of our musical dilletanti, by promising them a new and piquant pleasure. We had another opportunity of hearing the violinist Miska Hauser, on Saturday night, at a meeting of connoiseurs. To say that they and we were delighted, is in this superlative age to say little. Now-a-days to express extreme gratification, it is almost necessary to use the positive degree of speech. So we will say that M. Miska Hauser is a good violin player, that in order to know (if our readers do not know it already) the tenderness, the vivacity, the fury, or the sentiment of which a fiddle is capable, they should go and hear Miska Hauser. "Caparisons are odorous" as Mrs. Malaprop says, so we will not indulge in them, but we shall be much disappointed if our numerous readers do not come away from hearing this performer with some new notions. We understand he gives a concert on Thursday night, at the Victoria Theatre. After what we have said, we need scarcely say we shall be there.

ASSOCIATIONS (Europe): Heinrich Wilhelm Ernst (violinist); Ole Bull (violinist)

ASSOCIATIONS (local): The "Swan of Erin" = Catherine Hayes (vocalist); Frederick Strebinger (violinist); Henry Herwyn (violinist); Alphonse Hainess, "the baron Hainess" (sometimes "Haines"), arrived in Sydney with his wife in 1852; described as a Hungarian refugee, he was convicted of fraud in 1859, but pardoned after serving just one year of a three-year sentence; see "THE HUNGARIAN REFUGEES", Empire (14 August 1854), 4

http://nla.gov.au/nla.news-article60196827

16 November 1854, first public concert, Royal Victoria Theatre

"GRAND VOCAL AND INSTRUMENTAL CONCERT", The Sydney Morning Herald (15 November 1854), 4

http://nla.gov.au/nla.news-article12962276 

We observe that a concert is to come off at the Victoria Theatre, to-morrow evening (Thursday), for the purpose of introducing to a Sydney audience Miska Hauser, the celebrated violinist, respecting whose extraordinary performances we made mention yesterday . . . Mr. Hauser needs no newspaper introduction, - his fame has preceded him. He is unquestionably the first violinist in the world. The instrument he will play upon is the one presented to him by the Empress Dowager of Austria.

[Advertisement], Empire (14 November 1854), 1

http://nla.gov.au/nla.news-article60199957 

ROYAL VICTORIA THEATRE. FIRST APPEARANCE IN AUSTRALIA of the World-Renowned Violinist, MISKA HAUSER.
IT is with great gratification, Mr. Andrew Torning, Lessee of the Victoria Theatre, announces that he has succeeded in effecting an arrangement with the above celebrated artiste, who will have the honour of appearing, for the first time in Australia, in a GRAND CONCERT, on Thursday Evening next, November 16, supported by the following ladies and gentlemen:
Mrs. Guerin, Madame Sara Flower, Mrs. Craven, Mr. John Howson, and Mr. Frank Howson.
Full Programme To-morrow.

[Advertisement], The Sydney Morning Herald (16 November 1854), 1

http://nla.gov.au/nla.news-article12962340 

ROYAL VICTORIA THEATRE -THURSDAY, November 16th, 1854.-
GRAND VOCAL and INSTRUMENTAL CONCERT. First appearance of the celebrated Hungarian Violinist, MISKA HAUSER. The performances of the above celebrated artiste have created the most unparalleled astonishment, enthusiasm, and delight of all the musical cognoscenti in the principal cities of Europe and South America.
The wonderful effects produced upon the violin by Miska Hauser, are, hitherto, totally novel to a Sydney audience, therefore, a great musical treat is now offered to their notice.
Miska Hauser will be assisted on this occasion by Madame Sara Flower, Mrs. Guerin, Mrs. H. T. Craven, Mr. F. Howson, Mr. J. Howson, Mr. Wheeler, and the Orchestra of the Theatre.
PROGRAMME.
PART I.
Overture - "Fra Diavolo" (Auber), - Orchestra
Madrigal - "Now is the Month of Maying," - Mrs. Guerin, Madame Sara Flower, Mr. John Howson, Mr. Cordner, and Mr. Frank Howson
Ballad - "There's a path by the river" (Loder), - Mrs. H. T. Craven
Song, - Mr. John Howson
Grand Fantasia, - Violin - Lucrezia Borgia, Allegro Maestoso, Thema and variations, Andante, and finale, - Miska Hauser
National Song - "Unfurl the Flag" (Loder). - Mr. F. Howson
Cavatina - "Lend unto time thine wings" (Linley), - Mrs. Guerin
Polka di Concert - Cornet obligato (Beresford), - Mr. Wheeler
Song - "Woman's Heart" (Enchantress, Balfe), - Madame Sara Flower
The Carnival of Venice, with the introduction of "Ernst," and new variations, composed and executed by Miska Hauser.
PART II.
Enchantress Polka - Juliana [sic, ? Jullien], - Orchestra
Duett - "Let us be sisters" (Nelson), - Mrs. H. T. Craven and Madame Sara Flower
Descriptive Scena - "The Gambler's Wife" (Russell), - Mr. Frank Howson
Ballad - "Fading Away" (Anne Fricker), - Madame Sara Flower
Grand Adagio Religioso - "The Mother's Prayer, and Angel's Song" (Ole Bull), - Miska Hauser
Ballad - "Constance" (Linley), - Mrs. H. T. Craven
Song, - Mr. John Howson
Ballad - "Scenes that are brightest " (Maritana Wallace), - Mrs. Guerin
Buffo Duet - "Senza tanti complimenti" (Donizetti), - Madame Sam Flower and Mr. Frank Howson
The Bird on the Tree, Capriccio burlesque, composed and executed by Miska Hauser
Finale - "God save the Queen!"
Leader, Mr. John Gibbs; conductor, Mr. W. Stanley.
The pianoforte used on this occasion is one of Broadwood's full Concert Grands, furnished by Messrs. W. J. Johnson and Co., Pitt-street.
Boxes and places may be secured of Messrs. [W.] J. JOHNSON and CO., Pitt-street; and at the Box Offlce of the Theatre daily.
Box and parquette seats, 10s. 6d.; upper boxes and pit, 5s.; gallery, 2s. 6d.
A corps of gentlemanly ushers will be in attendance to avoid confusion.

"THE VIOLINIST MISKA HAUSER", Empire (17 November 1854), 4

http://nla.gov.au/nla.news-article60200117 

The first appearance of this distinguished performer took place last night at the Victoria Theatre. We scarcely expected to see a crowded house, although the European fame of this artist had preceded him; but the audience was more numerous than we had supposed it would have been. Those who did take advantage of the opportunity were amply repaid. We had previously informed our readers of what a treat was in store for them, and it was with the utmost satisfaction that we found our eulogies (tame and subdued though they may have seemed to some) far surpassed by the enthusiasm of the audience. We shall convey the best impression of the effect produced by M. Miska Hauser's performance by saying that the excitement produced by Miss Catherine Hayes was revived to the fullest extent, and speaking critically, we think the present and prospective excitement has more legitimate grounds for its existence. We were not among those who were deprived of their sober reason on that occasion, and we trust we shall be able to sustain the present attack on our musical susceptibilities; but if the excitement that was evinced last night is to be taken as an index, we predict for the subject of our present notice quite an equal amount of success as that which attended that charming and fortunate singer.

The concert commenced with the overture to the opera of Fra Diavolo, which was very well performed by the band. A well sung madrigal followed, in which Mrs. Guerin, Miss Sara Flower, and the Messrs. Howson took part. The audience, however, were evidently impatient for the appearance of M. Miska Hawser, who soon came on to perform a grand fantasia for the violin, containing various airs from the opera of Lucrezia Borgia. The first few notes told the audience that they had a master before them, and the most breathless stillness ensued. This gentleman's playing is remarkable for ease and apparent absence of effort and striving for effect. He was accompanied on one of Broadwood's grand pianofortes by Mr. Stanley in a masterly manner, and at the conclusion of his first piece was received with an enthusiasm that showed he had his hearers in his power. His tone is very pure and glassy, while the extreme precision with which he strikes on the exact note produces the most agreeable effect upon the ear. It is needless to say that the performance met with applause; it was unanimously encored; but the artist contented himself with bowing his acknowledgments.

The favourite piece for the exhibition of a violinist's powers followed, namely, the Carnival of Venice. We have heard this played by Ernst, by Sivori, by Ole Bull, and many others of minor note, but we never heart it more beautifully played than last night, by Miska Hauser. It was so obstreperously encored that he was obliged again to make his appearance, and to appease the audience played, with consummate taste, the favourite air of the "Last Rose of Summer." He gave no variations to this beautiful melody but played it in the simplest and truest style, in three octaves. At times the unearthly tones of his instrument died away into silence, and such silence as was scarcely ever observed in that house when an audience was present. The third piece performed was the Mother's Prayer. We cannot convey an idea of the pathos which was thrown into this charming composition. It was a magnificent work of art. M. Miska Hauser appeared twice in response to the very urgent calls for a repetition of it, but politely declined to repeat it on the plea of fatigue.

The Concert concluded with a burlesque caprice of his own composition, called, "The Bird on the Tree." The excitement produced by this exceeded any previous exhibition and determined as we were to sustain a calm and dignified demeanour, we were surprised to find ourselves applauding with the loudest at its conclusion. In short, the success of the debutant was complete; and we doubt not, that those present will so spread his fame, that a crowded house will greet him on the occasion of his next concert. Miss Sara Flower sang admirably, as did Mrs. H. T. Craven, and both ladies received the honour of an encore. Our old favourite Mrs. Guerin sang with greater effect than usual, and was warmly applauded.

"MISKA HAUSER'S CONCERT", The Sydney Morning Herald (17 November 1854), 5

http://nla.gov.au/nla.news-article12962408

Last evening a concert took place at the' Victoria Theatre, at which, for the first time, this very celebrated violinist appeared before the public of New South Wales.

A world- wide reputation had been proclaimed for him in the Press of this colony and of foreign countries. Competent judges had also pronounced his excellence to be surpassing from the evidences of his performance, which they had the opportunity of hearing in private circles.

Still Miska Hauser's concert was not made a very prominent feature of the day, and this, perhaps, might account for the fact that the theatre in all its departments, was little more than half filled. There is little fear that this will be the case again in any concert in which Miska Hauser appears. His performances are truly wonderful, and so true to nature, so appreciative of the taste and feelings of society, that it was no wonder that he should be greeted with applause of the most enthusiastic description. Time does not allow any elaborate criticism of this wonderful musician's performances; and it is a simple duty to state that, in all the varied exercises announced in the programme, he exceeded expectation. The plaintive sweetness and solemnity "of the mother's prayer and angel's song" was equalled only by the brilliant "Caprice" of the accomplished violinist in his imitations of the "Bird on the Tree." This is, it is to be hoped, only a first concert, and, therefore, opportunity for more detailed criticism will be afforded. It is necessary, however, to acknowledge the excellence of the singing of Madame Sara Flower, who in all her songs was encored. The duet, "Let us be Sisters," by Mrs. H. T. Craven and Madame Sara Flower, was well executed, and met a deserved encore. Mr. Frank Howson was in good voice, and sang well. The orchestra, under the able leadership of Mr. Gibbs, was deserving of praise.

"MISKA HAUSER'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (18 November 1854), 2

http://nla.gov.au/nla.news-article59759407 

Of the liberal spirit which has distinguished Mr. Torning's management of the Victoria Theatre, another instance was afforded to the public on Monday evening, on the occasion of the first appearance in this city of the renowned violinist Miska Hauser. It occasioned us both surprise and regret to perceive but a thinly attended house, amongst whom, however, we noticed the Chief Justice and party, the Attorney General, and other distinguished patrons of the Arts. We shall not attempt description of that which is indescribable, in speaking of the artist's ravishing performance. It excited an enthusiasm not exceeded by the vociferous bursts of welcome accorded to Miss Hayes on her first introduction to her Sydney friends. Miska Hauser must be heard to be appreciated; and we confidently bespeak for him crowded audiences for his future entertainments. Madame Sara Flower, Mrs. Guerin, Mrs. Craven, the Messrs. Howson, and Mr. Wheeler contributed their quota to the treats of the evening, and Mr. Stanley presided at the piano with his usual efficiency.

ASSOCIATIONS: Andrew Torning (lessee); Theodosia Guerin (soprano); Eliza Craven (soprano); Sara Flower (contralto); John Howson (tenor); Frank Howson (baritone); William John Cordner (vocalist); Stephen Thomas Wheeler (cornet); John Gibbs (violin, leader); William Stanley ("conductor", i.e. piano accompanist); William Jonathan Johnson (musicseller); Alfred Stephen (chief justice); John Hubert Plunkett (attorney general); Royal Victoria Theatre (venue)

"THOUGHTS ON MISKA HAUSER, THE HUNGARIAN VIOLINIST . . .", The People's Advocate and New South Wales Vindicator (18 November 1854), 4

http://nla.gov.au/nla.news-article251543380 

. . . By Funnybone Merryweather, Musical and Fine Arts Critic of the Sydney Morning Herald.

When first Kate Hayes's music met my ear,
Though cheap the seat, the song was very dear;
Now Miska Hauser comes upon the stage,
My furor leads me to another rage.
His wondrous fire has set the world a-blaze,
From Berlin's gloves to sour flour Valparaiso,
This wondrous fingerer, at a soiree given,
To US, completely fiddled us to Heaven!
("I" use the "us" - not that I'm egotistical,
But it astounds the stolid unsophistical!)
He is a miracle as I will show,
By my one string or drawing the long bow.
If Ernst or Ole Bull, or even Sivori
Had heard this paragon they had turned shivery;
His shake is wondrous, and so rich his tone,
I really did mistake it for my own;
And that's a compliment from Funnybone.

What Funnybone Merryweather did not write.

To thee, the Austrian despot gave the lyre,
Its chords the murmurs of a tortured Sire,
Fulfil thy mission - strains of freedom give;
Let Hapsburg perish, but let Hungary live.

ASSOCIATIONS: Francis Merewether (music reviewer of the Herald, as see above, vice-chancellor of the University of Sydney);

[Portrait of Miska Hauser], Illustrated Sydney News (18 November 1854)

As reproduced in The Australian picture pleasure book . . . engraved, selected and arranged by Walter G. Mason (Sydney: J. R. Clarke, 1857)

https://trove.nla.gov.au/version/23597356 (DIGITISED)

21 November 1854, second Sydney concert

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

http://nla.gov.au/nla.news-article12962527 

ROYAL VICTORIA THEATRE. MISKA HAUSER'S SECOND GRAND CONCERT.
Mr. A. TORNING begs to inform his patrons and the public generally, that he has secured the services of the celebrated Hungarian Violinist, MISKA HAUSER, who will perform some of his most celebrated Morceaux on TUESDAY EVENING, November 22nd [sic, 21st].
Miska Hauser will be assisted by Mrs. Guerin, Madame Sara Flower, Mrs. H. T. Craven, Mr. John Howson, and Mr. Frank Howson.
PART I.
Overture - Prometheus ( Beethoven) - Orchestra
Madrigal - "Down in a Flowery Vale" (Constantius Festa, 1560) - Mrs. Guerin, Mme. Sara Flower, Mr. John Howson, and Mr. F. Howson
Song - Mary O'More - Mr. J. Howson
Ballad -The Bridal Blessing (Glover) - Mrs. Guerin
Solo Violin - "Esmeralda," Andante et Rondo de Concert - composed by Miska Hauser
German Song - "Home of my brightest, happiest Hours" - Mr. Frank Howson
Aria - Roberto (Roberto il Diavolo) - Mme. Sara Flower
By particular desire, The Carnival of Venice, with the introduction of Ernst, and new variations - composed by Miska Hauser.
PART II.
Overture - Orchestra
Grand Duet - "Bright lovely Image " (Semiramide) - Mme. Sara Flower and Mr. F Howson
Ballad - "I did not think that he could change" - Mrs. H. T. Craven
Grand Fantasia and Variations on Airs, from the opera of "Ernani" - composed by Miska Hauser
Ballad - The Veteran's Return (J. P. Knight) - Mr. Frank Howson
Irish Ballad - Dermot Asthore - Mme. Sara Flower
Song - "A young Lady's No!" - Mrs. Guerin
Ballad - Hearts and Homes - Mr. John Howson
By particular desire, THE BIRD ON THE TREE, Capricio Burlesque - composed by Miska Hauser
Explanation of the above. - A bird is supposed to have escaped from its cage, flies into an adjacent tree, and warbles the different airs played by its mistress on the pianoforte.
Leader, Mr. John Gibbs. Conductor, Mr. Stanley . . .

"MISKA HAUSER'S SECOND CONCERT", The Sydney Morning Herald (22 November 1854), 5

http://nla.gov.au/nla.news-article12962601 

An audience, not nearly so numerous as we could have desired, but including many of the leading families of Sydney, greeted the gifted Hungarian violinist last evening, at the Royal Victoria Theatre. His enthusiastic reception, and the unqualified success with which his marvellous performances were attended, were due to his high talent. For ourselves, we will say, that having heard many celebrated violinists of various countries, from the season when the great Spohr (who in his youth was an enthusiast as regarded the violin) made his first appearance at the Philharmonic concerts in London; we will unhesitatingly express our belief that (with the sole exception of Paganini) Miska Hauser surpasses everything which the performances of other violinists had taught us to consider possible on the instrument. Saying this, we still fall short of the impression we could wish to convey. The cognoscenti of Sydney may indeed congratulate themselves upon the arrival here of a master spirit; a musical phenomenon, whose excellencies consist in the combination of absolute mechanical perfection of every imaginable kind with the higher attributed of mind-inseparable from eminence in Art, - intellectual superiority, sensibility, deep feeling, poetry, genius.

We will not, at the late hour we are writing, enter into a description of Miska Hauser's extraordinary skill in rendering scales, double stops, and shakes in harmonics, or his peculiar mode of pizzicating. These, and other great mechanical perfections are essential to the system of the modern violinists, and M. Hauser has had the perseverance and innate genius to master them. But in the expression of deep feeling, and at times of playful mirth, and even humorous and fanciful whims - never, however, approaching the caricato - in the pathos of the adagio and instrumental recitation, or in the melting accents of tenderness - his violin speaks a language of its own - a language certainly unheard here before, yet fully understood by sympathising feeling, as if it were expressed in words as intelligible as the strains of the Swan of Erin. What we have been most delighted with in the performances of M. Hauser are not the surprising feats and novelties in execution, but their intense musical expression. The sweet, the emphatic cantilena, instead of its being an imitation of the expression given by great singers, so far exceeds most vocal endeavours to give utterance to such feelings, that those vocalists who cannot render a simple national ballad without extreme ornamentation may learn much from M. Hauser in this respect. The great feature of this artiste's playing is its pure legitimate style; his avoidance of all trickery; the ease with which he masters whatever difficulties he proposes - ease which at once relieves his hearers of the slightest fears of his breaking down; and the extraordinary purity of his intonation, evinced in the decision and certainty, the neatness and the facility with which he makes the greatest distances of which his instrument is capable. In this respect, the idea struck us on first hearing him, and was strengthened last evening, that he exhibited an occasional exemplification of, or, at least, an approach to the chromatic, and even the enharmonic intervals of the Greeks.

His performances last evening consisted of an Andante et Rondo di concerto, Esmeralda, composed by himself, and proving, that, in addition to his surpassing skill as a violinist, he is an able and classical composer, fully initiated in the science of accompaniment and modern instrumentation. The second selection was Le Carnaval de Venise, in which all the wild and joyous minglings of the gay multitude on the moonlit shore and waters of the Adriatic were interpreted à mervaille. The third piece was a tema con variazione on airs from Verdi's brilliant and highly-embellished opera Ernani; and the last, M. Hauser's Capriccio of the Bird on the Tree. The theme, the bird escaped from its cage, and perched on an adjacent tree, where it warbles the different airs played by its mistress, reminded us of Shirley Hibberd's graceful theory, a few passages from which we quote from memory:

"Where is the music so rich as on the skirts of cultivated districts, where flowery gardens feed innumerable humming bees, and thick bosses of thatch shelter the trusting robin? In the deep forests the birds that sing are few; and the more hoarse and dissonant their voices. Everywhere the birds hover and flit on hasty wings, but only near the dwellings of man hover those whose song is sweetest."

At the close of each performance M. Hauser was called for with the most hearty and enthusiastic plaudits. A merciless encore upon the conclusion of Le Carnaval was met by his playing, in the utmost contrast to that airy, sparkling, and most effervescent of all compositions, the beautiful Irish melody of The Last Rose of Summer. This he performed without the slightest variations, relying for the effect which it produced upon the audience, for the exquisite taste, and tone, and feeling with which it was given. Our space warns us that we must conclude. We should only repeat praises so often cordially given to Madame Sara Flower, Mrs. Guerin, Mrs. H. T. Craven, and the Messrs. Howson, if we adverted at length to the effective part taken by them in last night's concert. Bouquets were thrown to each of the ladies, and well-deserved applause was lavished on all the vocalists. Mr. Stanley's pianoforte accompaniment was again the theme of general commendation, and formed one of the chief features of the concert. The orchestra, under the direction of Mr. Gibbs, performed Beethoven's famous overture to Prometheus in admirable style; as also a dashing composition of Koningsberg [sic ?, Konigsberg polka].

ASSOCIATIONS: James Shirley Hibberd (gardening writer)

"MISKA HAUSER'S SECOND CONCERT", Bell's Life in Sydney and Sporting Reviewer (25 November 1854), 2

http://nla.gov.au/nla.news-article59759449 

Can it be a fact, as currently rumoured, that Kate Hayes has so drained the pockets of the musical public as to compel them to forego enjoyment of the exquisite treats now proffered them by this gifted Hungarian? Truly, we cannot otherwise account for the meagre attendance at this gentleman's two first concerts; or can it be that in this age of incredulity the indisputable adage of their being "music in an old fiddle" is questioned by the savans of Sydney. We recommend them, in such case, to open their hearts and purse strings to conviction, by their attendance at the Victoria this evening; the concert being under the immediate patronage of His Excellency the Governor General, and the shade of Paganini having bespoken the box opposite to that of the Vice-regal party.

ASSOCIATIONS: "Shade of Paganini", probably = John Hubert Plunkett

"MISKA HACSER'S CONCERTS", The People's Advocate and New South Wales Vindicator (25 November 1854), 4-5

http://nla.gov.au/nla.news-article251544101 

We were prepared from the eulogiums passed upon this talented violinist by the press, for a great musical treat, but we must candidly confess that all our anticipations were far short of the realization. We were sorry our space would not allow us last week to notice the first appearance of this gentleman. It is, however, absolutely impossible for us to convey to our readers in adequate terms the pleasurable sensations we experienced whilst listening to the wonderful performances of this most talented violinist. On the occasion of his first appearance the Theatre was but poorly attended, but the best evidence of the sensation created by Miska Hauser that can be adduced, is the crowded state of the Theatre on the occasion of his second concert, which took place on Tuesday evening last. The excitement which prevailed during the late performances of Miss Catherine Hayes was suddenly - we had almost said magically revived on this occasion. A Sydney audience is generally very slow to believe in the veracity of newspaper paragraphs, and Miska Hauser's great triumph consists in the enthusiasm with which he was received on his second appearance, after playing at first under, to a debutant, the extremely discouraging circumstances of performing to a "thin house."

After the overture from "Prometheus," the performance of which reflected very great credit on the orchestral performers, the concert commenced on Tuesday evening with the madrigal "Down in a Flowery Vale," very tastefully executed by Madame Sarah Flower, Mrs. Guerin, and the Messrs. F. and J. Howson. The song, "Mary O'Moore," followed by Mr. John Howson, in whose voice on this occasion we were happy to perceive a marked improvement. Mrs. Guerin next sang "The Bridal Blessing," and was, as is usually the good fortune of this lady, very well received. Miska Hauser then made his appearance and was received with the greatest enthusiasm. The performance was a solo from "Esmeralda," composed by himself. The first few notes proved him to be an artist of the first water. He touches his instrument with a delicacy and precision truly astonishing. The anxiety of his hearers not to lose a single note from his magical instrument, was extreme; occasionally [5] a few would in their excitement be induced to break out in applause but on the slightest motion of the performer, this would be insantaneously hushed, and the most death like silence - a circumstance rarely noticed within the walls of the Victoria Theatre, would ensue, followed at the conclusion of the piece by a loud burst of applause, and as we think, rather an unreasonable demand for an encore, which continued until Miska Hauser came forward again and bowed his acknowledgments. A song followed, by Mr. F Howson in his usual style, and with customary applause. Madame Sarah Flower next sang the beautiful aria from "Roberto il Diavolo," with such success that notwithstanding the impatience of the audience for the re-appearance of Miska Hauser, an encore was loudly persisted in, and when she obliged them with "The Sad Sea Waves," a song which she has made peculiarly her own, the applause was redoubled. "The Carnival of Venice" with new variations was then for the second time performed by Miska Hauser, and with such renewed success as to call forth a most uproarious encore, silence being only obtained by this most talented violinist performing with great simplicity "The Last Rose of Summer." This Air was played in three octaves, and in a chaste and simple, but at the same time a most masterly style. We must confess that we consider the performance of this simple Air as the gem of the evening. We could hardly have believed it possible that so much poetry could have been expressed by any instrument. But, certainly the most astonishing performance we ever heard was the Capricio Burlesque - "The bird on the tree," composed and executed by Miska Hauser. For brilliancy and rapidity of execution, this performance stands unrivalled. The truant bird warbling from the branches of a tree, where he had taken refuge, snatches of several familiar airs, ("Home sweet Home," &c.) and then suddenly breaking off into its natural notes, was imitated so perfectly that it seemed hard to believe, such sounds could be produced by a stringed instrument. The comic humour with which he occasionally introduced the bird's screams into the melody kept the audience in continuous laughter.

A remark we overheard on leaving the theatre may convey the best idea of Miska Hauser's performances to such of our readers as have not yet had the pleasure of hearing him - "That's the first time I ever heard a fiddle speak before," - about as truthful and natural a criticism as could be uttered. We were sorry to miss from the programme of the second concert, the cornet obligato by Mr. Wheeler, which was received with so much applause on the evening of the first concert. The ballad by Mrs. Craven - "I did not think that he could change" was loudly applauded and encored. The efficient manner in which Mr. Stanley accompanied the various performances on the pianoforte, reflected very great credit on that gentleman. We are happy to perceive that Miska Hauser's third concert is advertised for this evening, on which occasion we hope, he will continue to receive that increasing support from the public, which he so well deserves.

25 November 1854, third Sydney concert

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (25 November 1854), 2

http://nla.gov.au/nla.news-article59759454 

ROYAL VICTORIA THEATRE. SATURDAY, NOVEMBER 25TH 1854.
MISKA HAUSER'S THIRD GRAND CONCERT.
Under the Immediate Patronage of His Excellency the Governor-General Sir Charles Augustus Fitz Roy, K.C.B.
MR. A. TORNING begs to inform the public generally, that the Third Grand Concert will be given this evening, when the celebrated Hungarian Violinist will perform some of his most celebrated morceaux.
MHKA HAUSER will be assisted by Madame Sara Flower, Mrs. Guerin, Messrs. F. and J. Howson, and Signor SPAGNOLETTI, from the London Concerts.
PART 1ST.
Overture - " La Cenerentola" (Rossini) - Orchestra
Glee - "Ye Spotted Snakes" - Mrs. Guerin, Madame S. Flower, and Messrs. F. and J. Howson.
Ballad - "In happy Moments" (Maritana, Wallace) - Mr. Frank Howson.
Cavatina - "Io non ii posso (Donizetti) - Madame Sara Flower.
Siciliano Grand Fantasia - ORIGINAL - Composed and executed by MISKA HAUSER.
Ballad - "Gone is that Calmness" (Matilda of Hungary) - Mr. John Howson.
Ballad - "Oh, Channing May" (Blockley) - Mrs. Guerin
Duet - "Crudel Perche" (Mozart) - Madame Sara Flower and Signor SPAGNOLETTI.
Echo di Australia - Composed (expressly for the occasion) by MISKA HAUSER.
PART 2ND.
Polka - "Konigsbeg" - Orchestra.
Duet - "In Thee still confiding" (Faust, Spohr) - Madame Sara Flower and Mr. Frank Howson.
Ballad - "Sweet Home" (by desire) - Signor SPAGNOLETTI
The Mother's Prayer and Angels' Song - Grand Adagio Religioso (by Ole Bull) - executed by MISKA HAUSER.
Ballad - Mr. John Howson.
Irish Ballad - "Cuchla Machree " (Blockley) - Mrs. Guerin.
Ballad - "The Old Arm Chair " (by desire) - Madame Sara Flower.
By particular desire, "The Bird on the Tree" - Capriccio Burlesque, composed and executed by MISKA HAUSER.
Finale - "God Save the Queen."
Leader - Mr. John Gibbs.
Conductor - Mr. Stanley . . .

"MISKA HAUSER'S THIRD CONCERT", The Sydney Morning Herald (27 November 1854), 5

http://nla.gov.au/nla.news-article12962762 

On Saturday evening his excellency the Governor-General, with most of the naval, military, and civil officers now in Sydney, and many of the leading families of the city, visited the Royal Victoria Theatre on the occasion of Miska Hauser's third concert. The opening piece by this accomplished violinist was a Siciliano grand fantasia, composed by himself. The theme supposes a gay festival in one of Sicily's fair retreats; the adagio opening movement introduces us to the gay throng; toe peculiar melodies of the island are interwoven with the light valses and the joyous laughter of the happy groups; suddenly sounds of approaching parties are heard - they arrive - are invited to join the festival; and, amidst the varied sounds which give an idealization of gay life in sunny Sicily, the brilliant fantasia concludes. The loud encore was responded to by M. Hauser playing the beautiful melody of the "Last Rose of Summer," in the chaste style to which we particularly adverted in our previous notice.

The second piece was one composed by M. Hauser in honour of Sir Charles Fitzroy's visit. It is entitled "Echo di Australia." After an introductory movement, two favourite ballad-melodies, Ben Bolt, and Katie Darling, form the theme; and they being played, passage by passage, an echo obligato accompaniment (if we may coin the term) is given. The effect was electrical; and loud and long plaudits really drowned the crescendo. The substitution of the beautiful Scotch melody, "Auld Robin Gray," when the encore was demanded, did not satisfy the enthusiastic audience; and then M. Hauser gave "Le Carnival de Venise," in a style surpassing, if possible, his previous efforts. Ole Bull's adagio religioso, "The Mother's Prayer and Angel's Song," was the next; and M. Hauser's own capriccio, "The Bird on the Tree," the last of his performances.

To the various artistes who assisted warm praise is due. Madame Sara Flower sang the beautiful "Io non ti posso" of Donizetti (which she chose for her debut in Sydney), with great effect; and Sphor's [sic] duetto from Faust, "In thee still confiding," was rendered in fine style by herself and Mr. F. Howson. Mrs. Guerin and Signor Spagnoletti were also most successful. Mr. Stanley presided, and Mr. Gibbs led his small but effective band. Mr. Hauser's next concert will take place to-morrow evening.

ASSOCIATIONS: Charles Fitzroy (governor-general); Ernest Spagnoletti senior (tenor vocalist)

28 November 1854, fourth Sydney concert

[Advertisement], Empire (28 November 1854), 1

http://nla.gov.au/nla.news-article60200552 

ROYAL VICTORIA THEATRE, SYDNEY, NOVEMBER 28TH, 1854.
MISKA HAUSER'S FOURTH GRAND CONCERT! AND LAST BUT ONE.
MR. A. TORNING begs to inform the public generally, that the Fourth Grand Concert will be given on the above evening, when the celebrated Hungarian Violinist will perform some of his most celebrated morceaux.
The performances of the above celebrated artiste have created the most unparalleled astonishment, enthusiasm, and delight of all the musical cognoscenti in the principal cities of Europe, and North and South America.
The wonderful effects produced upon the violin by Miska Hauser, are hitherto totally novel to a Sydney audience, therefore, a great musical treat is now offered to their notice.
MISKA HAUSER will be assisted on this occasion by Madame Sara Flower, Mrs. Guerin, Messrs. F. and J. Howson, and Mr. Wheeler.
Selection from Balfe's Celebrated Opera "The Siege of Rochelle."
PROGRAMME.
PART 1ST.
Overture - "Gustavus" (Auber) - Orchestra
Quartetto - "Lo! the early beam of morning" (Siege of Rochelle) - Mrs. Guerin, Madame S. Flower, Mr. J. Howson, and Mr. F. Howson
Ballad - Mr. J. Howson
Ballad - "One little kiss" (Siege of Rochelle) - Mrs. Guerin
Grand Fantasia, on the March and Romance, from the opera of Otello, composed by Ernst, and executed by MISKA HAUSER
Buffo Scena - "Travellers all of every station" (Siege of Rochelle) - Mr. F. Howson
Ballad - "Why do I weep for thee" (Wallace) - Madame S. Flower
Duet - "We've wandered In dreams" - Mrs. Guerin and Mr. J. Howson
Tremolo capriccio e bravura (Thema di Beethoven) - Composed by De Beriot, and executed by MISKA HAUSER
PART 2ND.
Overture - Orchestra.
Duet - "The Elfin Call" (Glover) - Mrs. Guerin and Madame S. Flower
Grand Scena - "This Heart by Woe o'ertaken" (Wallace) - Mr. F. Howson
Aria - "The Gondolier" (Daughter of St. Mark) - Mrs. Guerin
Souvenir de Sonnambula (Thema and Variation), ON THE FOURTH STRING ONLY - Composed and executed by MISKA HAUSER
Recitative and Aria - "Why Seeks My Soul" (Siege of Rochelle) - Mr. J. Howson
Cavatina - "The Mermaid's Cave" (Horn) - Madame S. Flower
Duet - "The Feeling Heart" (Siege of Rochelle) - Messrs. F. and J. Howson
By the express desire of the numerous admirers of MISKA HAUSER, "The Bird on the Tree" - Capriccio Burlesque, composed and executed by MISKA HAUSER.
Finale - "God Save the Queen."
In the course of the Evening MISKA HAUSER will introduce several English, Irish, and Scotch Airs.
Leader - Mr. John Gibbs.
Conductor - Mr. Stanley . . .

"MISKA HAUSER'S FOURTH CONCERT", The Sydney Morning Herald (29 November 1854), 5

http://nla.gov.au/nla.news-article12962883 

The attendance last evening of a far more numerous audience than had previously greeted M. Hauser, and the enthusiastic plaudits which attended the whole of his extraordinary performances, afford gratifying proof of the musical influences which pervade in our social circles. The dress circle, parquette, pit, and upper boxes were crowded, and loud encores - even double encores - were loudly called for. In each case, the Italian and German selections being followed by English, Irish, and Scotch melodies. For the first time here, M. Hauser illustrated the effects of a performance on one string, the fourth, and proved the perfection of his mechanical powers, as well as his classical taste. Our space will not allow us to-day to enter into a detailed description of the evening's performance.

"SYDNEY PHILHARMONIC SOCIETY'S CONCERT", Empire (30 November 1854), 6

http://nla.gov.au/nla.news-article60200670 

This society, which has recently sprung into a very vigorous existence, gave a concert to its members and their friends on Monday evening, at the School Room of St. Mary's Cathedral. There was a numerous assemblage, among whom we noticed some of the most devoted amateurs of the "social art." M. Miska Hauser was also present in his capacity of a member of the society, which includes on its roll of members Miss Hayes, Monsieur Coulon, and all the musical celebrities who have recently visited this city. The progress that this society has made is quite astonishing, which will be shown when we state that we heard complete symphonies by Beethoven and Hayden, performed in a very satisfactory manner by a full orchestra . . .

ASSOCIATIONS: Emile Coulon (vocalist); Sydney Philharmonic Society (organisation)

Letter 1 (Sydney, NSW, 1 December 1854) - Read here

On 1 December, Hauser signed off the first of his Australian "letters", sent home to Vienna for publication in the Ost-Deutsche Post, and which he later reissued in book form; follow the link for full list of sources, with transcriptions and translations

2 December 1854, fifth Sydney concert

"MISKA HAUSER'S LAST CONCERT . . .", Bell's Life in Sydney and Sporting Reviewer (2 December 1854), 2

http://nla.gov.au/nla.news-article59759505 

. . . is announced for this evening. The attendance at this gentleman's two previous entertainments showed but a slight improvement upon the unaccountable apathy with which the community have greeted an artist whose acquirements immeasurably surpass anything ever proferred to them, not even excepting those of the fair Songstress at whose shrine they offered up such rich and substantial tributes of adulation. We have scarcely patience to control our pen from too bluntly expressing our feelings of chagrin at such a marked contrast in the reception of Miska Hauser. It will, unless redeemed at the eleventh hour, reflect lasting reproach upon those would-be-thought patrons of the Arts, who can in the plenitude of their wisdom make so unmerited a distinction between this distinguished Hungarian and the artists who have preceded him. We trust that our Parramatta friends will carry out to the full the spirit of the cordial invitation which we perceive Miska Hauser has accepted, for Wednesday next.

[Advertisement], Bell's Life in Sydney and Sporting Reviewer (2 December 1854), 2

http://nla.gov.au/nla.news-article59759498 

ROYAL VICTORIA THEATRE.- SATURDAY, December 2nd, 1854 - MISKA HAUSER'S LAST GRAND CONCERT !! . . .
Miska Hauser will be assisted on this occasion, by Madame Sara Flower, Mrs. Guerin, Mrs. H. T. Craven, and Messrs. F. and J. Howson.
PROGRAMME.
PART I.
Overture - Orchestra
Trio - "Darthula" (John P. Knight) - Madame Sarah Flower, Messrs. J. and F. Howson
Ballad - "Love on" (Blockley) - Mrs. Guerin
Grand Scena - "She comes in all her loveliness," (Matilda of Hungary') - Mr. F. Howson
Grand Fantasia - On airs from "Lucrezia Borgia," "Allegro Maestos," [sic] (Thema and Variations), composed and executed by MISKA HAUSER
Scena - "Ah! faint my heart" (Der Freischütz) - Mr. J. Howson
Aria - "The hour is come that we must part" (Faust) - Mrs. H. T. Craven
Romanza - "Thy shadowy form is near me" (composed expressly for the occasion by MISKA HAUSER) - Madame Sara Flower
Adagio Cantabile et Rondo Pastorale (Ole Bull) - executed by MISKA HAUSER
PART II.
Overture - Orchestra
Australia's National Song "Hail, Australia" - composed by MISKA HAUSER, sung by Mr. F. Howson
Duet - "Tell me where is Fancy bred "(Bishop) - Mrs. Guerin and Madame Sara Flower
The Dying Scene from the opera of Lucia de Lammermoor, composed and executed by MISKA HAUSER
Ballad - "Tell him I love him yet," composed by W. Stanley for Madame Sara Flower
Ballad - "There's a path by the river" - Mrs. H. T. Craven
Ballad - Mr. J. Howson
Ballad - "The Morning Dream" - Mrs. Guerin
Duet - "Mighty Jove" (Rossini) - Messrs. F. and J. Howson
By general request - "The Bird on the Tree" (capriccio burlesque) composed and executed by MISKA HAUSER.
Explanation of the above. - A bird is supposed to have escaped from its cage, and flies into an adjacent tree, where it warbles the different airs played by its mistress on the pianoforte.
Finale - GOD SAVE THE QUEEN.
In the course of the evening, MISKA HAUSER will introduce several IRISH and SCOTCH AIRS, purposely arranged for the occasion.
Leader, Mr. John Gibbs. Conductor, Mr. W. Stanley . . .

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

http://nla.gov.au/nla.news-article60200948 

SIR - Allured by the rather savoury bill of fare of Miska Hauser, I hied me to "Victoria" last Saturday night, in full expectation of enjoying no common treat, but saving the inimitable performances of the "celebrated Hungarian," I was more than disappointed - vexed, exasperated. In the first place the company were deprived of three of the principal pieces, viz. - the "Darthula" trio, Scena, "Ah, faint my heart," and the duet, "Mighty Jove," - for what reason I know not, as no reason was given, or any apology made for their omission. Secondly, during the evening they were presented with two original (very) songs from the pen of I. L. Montefiore, Esq., "which must be read to be appreciated." And here I would ask if it is fair that the audience of a first class concert should be crammed with such trash - such downright childishly-strung together thees and seas, - graves and braves, - story's and glory's of would-be poets like "I. L. Montefiore, Esq."? The idea is absurd - nay, such poetic effusions, (shades of the Nine-inspired, let your "voiceless lips be dumb,") would be positively offensive to the easily satiated street-song listener. You may give this a place in the Empire, or no - as you please. If you suppress it, you will have done no more than other editors have done before you, who are afraid of big men. If it appears, it is to be hoped that it may be of some use to lax theatrical managers, &c., and over-aspiring authors,
I am, Sir,
Your obedient servant,
VICTIM.
* I. L. M.'s "Romanza."

"To the Editor of the . . .", Empire (8 December 1854), 5

http://nla.gov.au/nla.news-article60201000 

SIR - I feel much indebted to your correspondent, "Victim" (whatever may have been the motive that has induced him, in Malay language, to run a muck at me), for having afforded me the opportunity of explaining the history of my having ventured to attach the words to Miska Hauser's glorious compositions. The great violinist HAVING COMPOSED two melodies, requested me to supply him with words to convey their sounds to the ear - a task, as any rhymester will know, not of the most easy. However, as I conceived, from the poetry of music shops, that the words needed not to be absolutely Byronic, I endeavoured to comply with the request, but entreated that my name might be suppressed. At the urgent and repeated entreaty of Miska Hauser (to whom I beg to refer your correspondent), I waived my objection, and hence the source of "Victim's" diatribe. -
I have the honor to be, sir, Your most obedient servant,
JACOB L. MONTEFIORE.
Sydney, 7th December, 1854.

ASSOCIATIONS: Jacob Levi Montefiore (amateur author and poet)

6 December 1854, Parramatta concert

"MISKA HAUSER'S CONCERTS", The Sydney Morning Herald (5 December 1854), 5

http://nla.gov.au/nla.news-article12963092 

That the accomplished Hungarian violinist has given his last concert in Sydney we cannot believe. The crowded audience which greeted him on Saturday evening must have given him assurance that his talent is highly appreciated amongst us. We have heard that Mr. Wyatt proposes to give concerts at the Prince of Wales Theatre, previous to the commencement of the dramatic season on the Anniversary of the Colony, the 26th proximo, when, as we understand, the valuable assistance of Miska Hauser will be made available.

To-morrow evening, a grand concert will be given at Parramatta which will take place by permission of the Rev. the Head Master, at the dining hall of the King's Schoolhouse. The selections of M. Hauser are: 1. The grand fantasia from the opera of Lucrezia Borgia, which created so powerful a sensation on Saturday last. 2. Le Carnival de Venise, with Ernst's masterly introduction, and variations by M. Hauser. 3. The grand Adagio Religioso, the Mother's Prayer and Angel's Whisper, composed by Ole Bull; and, lastly, the unique Capriccio, the Bird on the Tree. We can assuredly promise our Parramatta friends a musical soiree of the highest excellence.

[Advertisement], The Sydney Morning Herald (6 December 1854), 1

http://nla.gov.au/nla.news-article12963124 

CONCERT IN PARRAMATTA.
MISKA HAUSER has the honour of informing the public that he has, in compliance with the request of some of the inhabitants in Parramatta and vicinity, concluded to give a GRAND CONCERT, on WEDNESDAY next December 6th, which, by the kind permission of the Rev. the Head Master, will take place at the Dining Hall, King's School house.
MISKA HAUSER will, on this occasion, be assisted by Mrs. St John Adcock, Messrs. Spagnoletti, and Charles S. Packer.
PROGRAMME.
Part I.
Trio- "Canoni a tre voci" (Perfida Clori, Cherubini) - Mrs. St. John Adcock, Messrs. Spagnoletti and Packer.
Song - "Fading Away" - Mr. Spagnoletti
Grand Fantasia of the Opera Lucrezia Borgia (Allegro and Maestro, Thema and Variations, Andante, and Finale), composed and executed by MISKA HAUSER.
Duet - "Se Viati in Corpo Aveti" - Messrs. Spagnoletti and Packer
Duet, Pianoforte (Schulhof) - Mrs. St John Adcock and Mr. Charles Packer
Swiss Ballad (Palmer) - Mrs. St. John Adcock.
The "Carnival of Venice," with the Introduction of Ernst, and new Variations, composed and executed by MISKA HAUSER
Part II.
Trio - "O'er the far Mountain" (Sadak, C. S. Packer) - Mrs. St John Adcock, Messrs. Spagnoletti and Packer.
Ballad - "When the Swallows homeward fly" - Mr. Spagnoletti.
"The Mother's Prayer and Angels Song" - Grand Adagio Religioso (Ole Bull), executed bv MISKA HAUSER
Duet - "Come to the Glen" (Rodwell) - Mrs. St. John Adcock and Mr. Packer.
Piano Solo - Mr. C. S. Packer
'The Bird on the Tree" (Capriccio Burlesque) composed and executed by MISKA HAUSER
Explanation of the above - A bird is supposed to have escaped from its cage, and flies into an adjacent tree, where it warbles the different airs played by its mistress on the pianoforte.
In the course of the evening MISKA HAUSER will introduce Several Scotch and Irish Airs, purposely arranged for the occasion.
Finale - GOD SAVE THE QUEEN.
Conductor, Mr. C. S. Packer . . .

"MISKA HAUSER'S CONCERT AT PARRAMATTA", The Sydney Morning Herald (8 December 1854), 5

http://nla.gov.au/nla.news-article28640514 

By the kind permission of the head-master, the Rev. Thomas Druitt, a grand concert was given on Wednesday evening, by Miska Hauser, in the dining-hall, at the King's School House. The hall was crowded even to inconvenience. The families of the clergy, members of the Legislative Council, the magistracy, and others of the elite of Parramatta were present, and every effort was made to do justice to the occasion. Miska Hauser was assisted by Mrs. St. John Adcock, who at a very short notice, supplied the place of Mrs. Andrews, who, from indisposition, was prevented from attending; and also by Signor Spagnoletti, a son of the famous leader of the orchestra of the Italian Opera House, London; Mr. C. T. Packer [sic] presided.

The performances of M. Hauser were as follows: First, a grand fantasia from the opera of Lucrezia Borgia, arranged by himself. Secondly, Pagannini's Carnaval de Venise, with Ernst's introduction. The enthusiastic, encore which was demanded, Miska Hauser responded to by the striking contrast to which we have had occasion so especially to make mention of, namely, "The last rose of summer," without the slightest ornament or variation. To this there was a double encore, and the sweet Scottish ballad of "Gin a body meet a body comin' thro' the rye," was substituted, amidst the loudest applause. Ole Bull's Adagio Religioso, "The Mother's Prayer and the Angel's Song," followed; and the last illustration was M. Hauser's own capriccio, "The Bird on the Tree."

Mrs. St. John Adcock, Messrs. Spagnoletti, and Packer sang Cherubini's beautiful trio, "Perfida." Mrs. St. John Adcock and Mr. Packer obtained great applause in a duetto, pianoforte, by Schulhoff. We have already expressed a hope that the stay of M. Hauser amongst us will not be so short as his affiches may lead us to expect; and from the opinions expressed very generally by our esteemed friends at Parramatta on Wednesday evening, we suspect that he will not be allowed to be "The Bird on the Wing." A graceful compliment has been paid to Miska Hauser by both professional and amateur musicians in Sydney. When Harper, the great trumpet-player, first heard Paganini, he thanked Heaven that the violin was not his instrument. Mori, endeavouring to smile, asked the astonished crowd in the Haymarket green room, "if any one wished to purchase a fiddle." Barton earnestly said to Richard Hughes, then one of the finest violin orchestra players in Europe, and who was evidently desponding after hearing Paganini: "Courage, my young friend, let this be your axiom, "Anch'io son pittore." With our artistes, the tribute paid to Miska Hauser has been something akin to the grief expressed by Thucydides on listening for the first time to the works of Herodotus; and we feel assured that the performances to which we have had so much pleasure to be able to refer will advance very materially the cause of musical science in this colony.

ASSOCIATIONS (Sydney): Marianne Adcock (vocalist, pianist); Charles Sandys Packer (vocalist, pianist); Thomas Druitt (headmaster); Mrs. Frank Andrews (vocalist)

ASSOCIATIONS (Europe): Paolo Spagnoletti (leader, violin); Thomas Harper (trumpet); Nicholas Mori (violin)

[Advertisement], The Maitland Mercury and Hunter River General Advertiser [Maitland, NSW] (6 December 1854), 3

http://nla.gov.au/nla.news-article695731 

A MEETING of parties favourable to the getting up a CONCERT for the purpose of hearing MISKA HAUSER'S extraordinary performance on the violin, will take place TOMORROW (THURSDAY) EVENING, at the Rose Inn, at Eight o'clock.

"THE VIOLINIST, MISKA HAUSER", The Goulburn Herald and County of Argyle Advertiser [Goulburn, NSW] (9 December 1854), 2

http://nla.gov.au/nla.news-article101734387 

This world-famed musician, whose concerts in Sydney have been a series of brilliant triumphs equalling those of the great Irish cancatrice [sic] Catherine Hayes, we understand contemplates visiting Goulburn. Several of the leading gentlemen of the town have, we believe, taken an active interest in the matter. Since the days of Paganini there has been, with the exception of Ole Bull, no violinist, equal to Miska Hauser. As the violin is "the king of all instruments" so he that can best evoke the wealth of sweetness that lives within it, must be, in proportion to his power, the greatest instrumental performer. Should it be their good fortune to receive a visit from this celebrated musician, our fellow-townsmen will enjoy such a musical treat as falls to the lot of mankind perhaps not twice in a century.

"WINDSOR . . . MISKA HAUSER", The Sydney Morning Herald (19 December 1854), 3

http://nla.gov.au/nla.news-article12963548 

Cannot this distinguished violinist find his way to Windsor, as he did to Parramatta? If he should, we feel assured he would meet with a cordial reception. No doubt the Magistrates, with their usual liberality, would grant him the use of the Court House for a concert.

Letter 2 (Sydney, NSW, 20 December 1854) - Read here

20 December 1854, sixth Sydney concert

[Advertisement], Empire (20 December 1854), 1

http://nla.gov.au/nla.news-article60201547 

MISKA HAUSER'S SIXTH GRAND CONCERT, ROYAL VICTORIA THEATRE, WEDNESDAY EVENING, DECEMBER 20TH.
MISKA HAUSER, has the honour to announce his re-appearance before a Sydney public on the above evening; being at the urgent request of most of the principal resident families, and immediately previous to his much desired and intended tour to some of the interior towns of this colony.
MISKA HAUSER will be assisted on the above occasion by Madame Sara Flower, Mrs. Craven, Mr. Frank Howson, and John Howson, on which occasion he will be [sic] perform several of his choicest morceaux.
PROGRAMME.
PART I.
Overture - "Gustave, or the Masked Ball" - (Auber) - Orchestra.
Scena - "Ah! her accents - (Sappho) - Mr. Frank Howson
Cavatina and Aria - "To non ti posso" - (Donizetti) - Madame Sara Flower
Violin Solo - Rondo di Concerto - Composed and executed by MISKA HAUSER
Song - "In the hedge in the wood" - (Nelson) - Mrs. H. T. Craven
Ballad - "It was a form" - (Matilda of Hungary) - Mrs. H. T. Craven
Grand Fantasia and Variations, from the Opera of Ernani - Composed and executed by MISKA HAUSER.
PART II.
Myrtle Valze - (Wm. Stanley) - Orchestra
Grand Duet - "Se'un istante" -(Elisa & Claudio) - Madame Sara Flower and Mr. Frank Howson.
Ballad - "Where the bee sucks" - (Bishop) - Mrs. H. T. Craven
"The Mother's Prayer and Angel's Song: Grand Adagio Religioso," by Ole Bull - Executed by MISKA HAUSER
Irish Ballad - "Kathleen Mavourneen" - (Crouch) - Madame Sara Flower
German Ballad - "I think, beloved, of thee" - Mr. Frank Howson
Capriccio Burlesque - "The Bird on the Tree" Composed and executed by MISKA HAUSER
Finale - "God save the Queen."
Conductor - Mr. Stanley.
Leader - Mr. J. Gibbs.
In the course of the evening, Miska Hauser will (by particular desire) perform several Scotch and Irish airs . . .

"MUSIC", The Sydney Morning Herald (22 December 1854), 5

http://nla.gov.au/nla.news-article12963605 

Miska Hauser, after a series of five most brilliant and successful concerts, takes his leave of Sydney. The lovers of music of the highest order will regret this announcement. With respect to his extraordinary effects as a violinist, it has been our pleasurable task to speak in terms of the highest praise; but beyond this, we have invited attention to the classical taste - which has been evinced in his own compositions, and in his selections and arrangements, distinctly marking the true musician. We understand that, previous to Christmas, Miska Hauser proposes to visit Windsor; and, after the holidays, to proceed to Newcastle and Maitland, where, we feel assured, he will receive a most cordial reception.

27 December 1854, concert, Sydney Philharmonic Society

[Advertisement], The Sydney Morning Herald (27 December 1854), 2

http://nla.gov.au/nla.news-article12963725 

SYDNEY PHILHARMONIC SOCIETY. PRESIDENT - Hon. J. H. Plunkett, M.L.C. VICE-PRESIDENT - Doctor H. G. Douglass, M.L.C.
CONDUCTOR - Mr. F. C. M. Stier.
COMMITTEE. Messrs. Francis Clarke, Darling Point; Gilbert Wright, King-street; William McDonnell, George-street; Charles Younger, Pitt-street; F. Kellerman, Church Hill.
M. B. Mountcastle, TREASURER, George-street.
The THIRD CONCERT of this Society (postponed from the 22nd) will be held in the Hall of St. Mary's Seminary,
THIS EVENING, December 27th, at half-past 7 precisely.
PROGRAMME . . . PART II . . . 4. Solo, violin - (Mr. MISKA HAUSER) . . .
E. PARIS, Hon. Secretary.

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (28 December 1854), 5

http://nla.gov.au/nla.news-article12963750 

. . . The chief attraction, however, of the evening was Miska Hauser, who, in his capacity of member of the Sydney Philharmonic Society, made his first appearance in St. Mary's Hall. His reception was enthusiastic in the extreme. The thema selected by him was from Lucia de Lammermoor, in which he has already created so great an impression at his recent concerts. Upon the loud encore which ensued being responded to, he performed his own capriccio, of the Bird on the Tree, with novel Variations . . .

ASSOCIATIONS: Charles Stier (conductor)

29 and 30 December 1854, concerts, Court House, Windsor, NSW

[Advertisement], The Sydney Morning Herald (28 December 1854), 6

http://nla.gov.au/nla.news-article12963770 

CONCERT IN WINDSOR. - MISKA HAUSER has the honour of informing the public that he has, in compliance with the request of some of the inhabitants of Windsor and vicinity, concluded to give a Grand Concert on FRIDAY NEXT, December 29th, which will take place in the Room at Mr. Ridge's Fitz Roy Hotel.
Miska Hauser will on this occasion be assisted by Mrs. St. John Adcock, and Mr. Charles S. Packer.
PROGRAMME.
PART I.
1. Overture to the Opera Le Pre aux Clercs, by Herold.
2. Ballad - We Met and We Parted, (by Roche) - Mrs. ST. JOHN ADCOCK.
3. Grand Fantasia on the airs from the Opera Lucrecia Borgia, (allegro, maestoso thema and variations, andante, and finale) composed and executed by MISKA HAUSER.
4. Ballad - (MS.) Little Nell, (Packer) - CHARLES S. PACKER.
5. Song - The Coming Footstep, (Garratt) - Mrs. ST. JOHN ADCOCK.
6. Fantasia, (Pianoforte) Don Juan, (Schulhoff) - CHARLES S. PACKER.
7. The Carnival of Venice, with the introduction of Ernst, and new variations composed and executed by MISKA HAUSER.
PART II.
1. Valse Brilliant, a Duett for Pianoforte, by Schulhoff.
2. Duett - We've Wandered in Dreams, (by Wade) - Mrs. ST. JOHN ADCOCK and CHARLES S. PACKER.
3. The Mother's Prayer and Angel's Song, grand adagio religioso, (by Ole Bull) executed by MISKA HAUSER.
4. Irish Melody - Oft in the Stilly Night, CHARLES S. PACKER.
5. Song, - My Mountain Home, (Palmer) - Mrs. ST. JOHN ADCOCK.
6. The Bird on the Tree, (capricio burlesque) composed and executed by MISKA HAUSER.
(Explanation of the above - A bird is supposed to have escaped from its cage, and flies into an adjacent tree, where it warbles the different airs played by its mistress on the piano-forte.)
FINALE, - GOD SAVE THE QUEEN.
In the course of the evening Miska Hauser will introduce several Irish and Scotch airs, purposely arranged for the occasion.
Conductor, - CHARLES S. PACKER . . .

"WINDSOR. MISKA HAUSER", The Sydney Morning Herald (2 January 1855), 5

http://nla.gov.au/nla.news-article12963939 

According to previous announcement, and upon the request of several of the leading inhabitants of the district, this talented violinist gave a concert in Windsor, on Friday evening last. The long-room of Ridge's Hotel, which was originally named, having proved too small for the company, coupled with the heat of the weather, M. Hauser, at the solicitation of several parties, made arrangements for securing the use of the Court House on the occasion. There the musical treat took place and certainly the local temple of justice never appeared to greater advantage than it then did; the whole of the beauty and fashion of the Hawkesbury were present, including the magistrates, professional and other gentlemen of the district, with their wives and families, some of whom came a considerable distance to participate in the expected enjoyments. The Court House was well filled, and the audience, without exception, seemed delighted with the performances.

Nothing which we can here say can add to the already well earned fame of the artists of the evening, M. Hauser. He played on his favourite instrument several of his masterpieces, including the "Carnival of Venice," "The Mother's Prayer and Angels' Song," and the celebrated Capriccio of "The Bird on the Tree. The hearers were enraptured, and applauded the performer with loud and deafening tokens of praise, encoring him several times when he augmented their pleasurable devotions, by playing some national airs in the most unsurpassable delightful manner. What excited the wonderment of the astonished hearers and gazers the most was the inexplicable calmness and naivete with which M. Hauser went through the strangely difficult and tortuous pieces selected by him for the exhibition of his powers. It appeared no more trouble for him to execute these fantasias and capriccios, than it might be for a sprightly nightingale to warble amidst some sylvan shade by the force of mere instinct.

M. Hauser was well supported by Mr. Packer in his accompaniments upon the pianoforte and Mrs. St. John Adcock sung some sweet songs in a very melodious and charming manner, in some of which she received a hearty encore. In short the whole entertainment presented a rich musical ensemble, such as we believe it never before fell to the lot of the people of the district to enjoy, and which it is doubt ful if they will ever have the happiness of enjoying again. The evening's performances were wound up by the Queen's Anthem, which was sung by the audience standing, led by Mr. Packer and Mrs. St. John Adcock and it was with some considerable degree of unexpected pleasure that it was announced that another concert would be given the next evening at the same place.

Accordingly on Saturday night another selection was given; owing, however, to a sharp thunderstorm, accompanied by rain, many persons refrained from venturing out from the country. Still there was a fair and respectable house. The pieces given were in our opinion even better than on the previous night. Mr. Hauser gave a "Grand Fantasia, on airs from the opera of Giovanni" together with the "Echo of Australia," and repeated the standard pieces of Friday evening. If it were possible he even played better than before - and long and loud were the plaudits he received. Mrs. St. John Adcock was in capital voice and sang very sweetly some favourite airs, including one from the opera of the Daughter of the Regiment, which received an encore. Mr. Packer executed a fantasia on the pianoforte, which deservedly secured him the praise of the audience. Finally the performances closed with feelings of regret on the part of all present, that the eminent performers were about to leave the good people of Windsor perhaps for ever, for many of them could listen unceasingly and untiringly, and feel as they did overpowered by the enchanting sensations wrought upon them by the magic influence of the soul-inspiring strains of M. Hauser, and his associates, to whom we may conclude by venturing to say that the people of the Hawkesbury are greatly indebted for the unequalled treat that they afforded to them at these concerts.

"NEW YEAR'S DAY AT WINDSOR", Empire (3 January 1855), 5

http://nla.gov.au/nla.news-article60202191 

A cool correspondent, Mr. Editor, may sit down in the face of the furnace known here as an atmosphere! suffocated with hot sand, bush-fires, lurid smoke, and indite you a temptrate account of all the agricultural miseries of this devoted district. Editorial scribes are singularly gifted with the faculty of philosophising when relating misfortunes that embellish their existence. But I defy the coolest cucumber from your hotbed of fiery articles to adopt the language of the press in describing the enchantments of that wizard, Miska Hauser, in the court-house of this town with its magniloquent name and densely dull realities. Refreshing, exquisite, regenerating as new fallen rain on this parched and withered soil, were the celestial sounds heard for the first time on Friday night. The astonished and entranced auditory, panting and breathless us they took refuge from the hot blast without, at first resembled souls escaped from Purgatory to Paradise, the angels in white muslin shaking out their ruffled plumage, the masculine black ones longing for some fluid to cool their parched tongues.

Hush! Miska Hauser gently tickles the slumbering lute! you could have heard a snowflake fall, and then strong, mighty, all-powerful the magic bow swept the strings. At first, a little provincial hesitation prevailed in an assembly too often beguiled into durance at the festivities of Swiss vagabondi, base Bezonian nomades figuring as Tyrolean minstrels, Herr Schamp, Herr von Hamburgh, and other similar worthies wont to produce their enormities in our Antipodean Windsor, where, if Her Majesty, by the process adopted in the Arabian Nights, could be transplanted for twenty-four hours, she would for evermore remember the trials, physical and moral, of her Australian subjects. But the Prometheus has kindled the celestial fire - the whole audience are akin the men exchange looks - the ladies sparkle like diamonds on an Opera night, then bursts forth an honest, hearty, impassioned applause that would have swept away all the faded sentimental used-up bouquets that ever kissed the dust, and very dirty dust it is, of the stage. Oh! that bird in the tree! I saw a pretty child on the lap of one of the Ladies of the Bench listening to the "sweet! sweet!" of the canary, and gazing aloft, with large dark eyes for the capricious little pet; and a stout old gentleman seemed about to commence a resolute chase after the bewitching fugitive. You see I am a perfect fanatico of what my Scotch Calvinistic friend calls the "sinfu' wee fiddle," so I can scarcely, as I ought, do sober justice to the chaste, subdued, and exquisite precision of Mr. Packer's accompaniments, or the correct singing of the gentle lady-like vocalist, in Che io sono pettore.

Miska Hauser has inspired me with an ode to the chair on this memorable night, one of the Noctes Ambrosianae of the South.

"I'll speak to her, and she shall be my Queen." - Milton's Comus.

Who would not steal a ring, a kiss, a glove,
To stand a prisoner in this court of love,
Where Miska Hauser summons starry eyes,
And Purgatory turns to Paradise?

Ye musty, dusty, fusty, blindfold fates,
Old wigs, red tape, and Messrs. Doe and Roe!
Ye parchment clerks and drowsy magistrates,
Woe to your antics dull, your mysteries, woe!

Apollo and the Graces hold their court
Within your halls, to-night, and curls and sashes,
And hosts of little ambushed Cupids sport
Where Justice sat in sackcloth and in ashes.

Silk and white muslin rustle on the floor,
And on your Chairman's lofly seat reposes,
Would they could hold a court for evermore
Portia's dark locks, her ivory fan and roses.

Oh! Miska Hauser, wonders thou hast wrought,
Of which thy rival, Orpheus, never thought,
He charmed but rocks and trees and dolphins swimming;
Thou rulest men below and saints above
Hast turned a court-house to a Court of Love
Peopled by earth's true Queens und Conquerors, Women!

Yours,
AN UNPAID CORRESPONDENT.

ASSOCIATIONS: John Larking Scarvell (d. 1861; chair of the bench of magistrates, Windsor)

"SUMMARY of NEWS FOR THE ARGO", The Sydney Morning Herald (30 December 1854), 2

http://nla.gov.au/nla.news-article28640776 

. . . One feature which has lately assumed a bold cast in this city, is the taste which is displayed by its citizens for good music - the encouragement which is given to its cultivation, and the full appreciation of compositions of a high order. A strong impetus has been lately given to the progress of this divine art vocally by Miss Catherine Hayes, and instrumentally by the Hungarian artiste Mr. Miska Hauser, who for some time past has been delighting the inhabitants of Sydney by his extraordinary performance on the violin. We have in existence a well-supported Philharmonic Society, patronised by many of the moat influential of our citizens, and a Choral Society, in addition to other minor musical associations; and no doubt those three great interpreters of nature, poetry, painting, and music will eventually flourish and luxuriate in this colony and attain to the highest degree of perfection - so that the harmonious compositions of Haydn, Handel, Mozart, and Mendelssohn will become familiar as household words, and it is not too much to expect that some new feature in the art may, anon, be developed here, and that this colony will become the birthplace of many eminent musicians of a superior order . . .

1855

For all TROVE items tagged Miska Hauser for the year 1855:

https://trove.nla.gov.au/search/category/newspapers?l-publictag=Miska+Hauser&q&l-decade=185&l-year=1855 (TROVE tagged by Australharmony)

Letter 3 (Sydney, NSW, 1 January 1855) - Click here

Letter 4 (Sydney, NSW, 1 January 1855, continued) - Read here

"THE FIDDLERS OF THE UNIVERSITY", Empire (1 January 1855), 4

http://nla.gov.au/nla.news-article60202084 

WE have always foreseen that there would be some danger of the University of Sydney failing to preserve for itself that position of sober dignity and honour, which it received in its origin from the nature of its objects, but which can only be confirmed and fortified by the severe moral bearing and the high intellectual rectitude of its governing body, since in this colony the standard of public opinion is not sufficiently elevated to impress its character. We were not, therefore, greatly surprised, though we confess we were mortified and shocked, when we were informed a day or two ago that the venerable Senate have actually before them a specific motion for converting their senate-house into a "hall of harmony" for professional fiddlers. It was impossible for us not to have noticed the excessive zeal of some members of the Senate, in their private capacity, in paying homage to Miss Catherine Hayes, but we never permitted ourselves to dream that, in their University proceedings, they would yet consider it part of their duty to provide the public with a concert room. So it is, however; and we earnestly wish the gentleman, who is known as the founder of the University, was in the colony at this moment to punish them as they deserve to be punished, by his eloquent castigation of this trifling with the great interests of the institution.

The illustrious Senate meet this morning, we believe, to deliberate on the tremendous question, whether they shall deliver up the hall of the University to the musical triumphs of Miska Hauser. That very sedate official personage, the present Colonial Treasurer, we are told, is the originator of this noble movoment so eminently calculated to do himself honour and to advance the cause of sound and liberal education in this country. To-day is an important day for the University of Sydney, and if folly be so far in the ascendant as to carry this unworthy motion, then the Senate may forthwith prepare an inscription for their virgin escutcheon, for something will have been achieved. It is a day big with the fate of Merewether and of Merriment.

We trust there is in the Senate sufficient sobriety of mind, which in their case is true wisdom, to feel the offence which has been offered by one of their own body, and that this ridiculous motion will be cast out with a becoming indignation.

ASSOCIATIONS: William Charles Wentworth (founder, then in England); Francis Merewether (colonial treasurer and vice-chancellor)

3 and 4 January 1855, concerts, Court House, East Maitland, NSW

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (3 January 1855), 3

http://nla.gov.au/nla.news-article696532 

CONCERT IN MAITLAND. Wednesday, Jan. 3rd, 1855.
Miska Hauser's Grand Concert! AT THE COURT HOUSE, EAST MAITLAND.
MISKA HAUSER has the honour of informing the public that he has, in compliance with the request of some of the inhabitants of Maitland and its vicinity, concluded to give a GRAND CONCERT on the above day.
Miska Hauser will be assisted on the above occasion by Mrs. St. John Adcock, and Mr. Charles S. Packer.
PROGRAMME.
PART I.
Overture to the Opera La Pre aux Clercs, by Herald [Herold]
Ballad - "We met and we parted," by Roche. - Mrs. St. John Adcock.
Grand Fantasia on the airs from the Opera Lucrezia Borgia (allegro maestoso thema and variations, andante, and finale, composed and executed by Miska Hauser.
Ballad - (M.S.) "Little Nell" (Packer). - Chas. S. Packer.
Song - "The Coming Footstep" (Barratt). - Mrs. St. John Adcock.
Fantasia (Pianoforte), Don Juan (Schulhoff). - Charles S. Packer.
The Carnival of Venice, with the introduction to Ernst, and new variations, composed and executed by Miska Hauser.
PART II.
Valse Brilliant, a Duett for Pianoforte, by Schulhoff.
Duett - "We've Wandered in Dreams, (by Wade). - Mrs. St. John Adcock and Mr. Charles S. Packer.
"The Mother's Prayer and Angel's Song," Grand Adagio Religioso, by Ole Bull, executed by Miska Hauser.
Irish Melody - "Oft in the Stilly Night." - Charles S. Packer.
Song - "My Mountain Home" (Palmer). - Mrs. St. John Adcock.
"The Bird on the Tree" (Capriccio Burlesque), composed and executed by Miska Hauser.
Explanation of the above: - A bird is supposed to have escaped from its cage, and flies into an adjacent tree, where it warbles the different airs played by its mistress on the piano-forte.
Finale -"God Save the Queen."
In the course of the evening, Miska Hauser will (by particular desire) perform several Scotch and Irish airs.
Conductor, Charles S. Packer.
Tickets, 10s. 6d. each, can be procured at Mr. Bishop's, East Maitland; Messrs. Kellermann, Brothers, and Falck's, Dr. McCartney's, and Mr. W. Lipscombe, West Maitland; and, on the evening of the concert, at the door.
Half Admission for children. Doors open at Half-past Seven, commence at Eight precisely.

"MISKA HAUSER'S CONCERTS", The Maitland Mercury and Hunter River General Advertiser (6 January 1855), 2

http://nla.gov.au/nla.news-article696671 

On Wednesday evening this celebrated violinist gave a grand concert in the Court-house, East Maitland. The attendance was respectable. The other performers were Mrs. Adcock and Mr. Charles Packer. The overture and valse brilliant on the pianoforte were performed in the best style, and the time was beautifully kept. The songs of Mrs. Adcock and Mr. Packer were sung with great taste, and the lady was most deservedly encored in "My mountain home," but the great attraction of the evening were the performances of Miska Hauser. In his grand fantasia from Lucrezia Borgia he exhibited a skill in fingering almost marvellous, and in the Carnival of Venice, in which was introduced the air, of "The light guitar," the notes introduced as a response were irresistibly ludicrous, and convulsed the audience with laughter. He also performed the well-known airs of "The last rose of summer," "Coming through the rye," and "Oh, where is my bonnie laddie gone," with such a delicacy of touch as to lead those acquainted with the songs almost to imagine that the violin was distinctly articulating the words. The imitation of the warbling of a bird on a tree was perfect.

Miska Hauser gave a second and last concert on Thursday evening. The attendance was not so numeraus, but the audience were enthusiastic in their approbation of the performances. The song, "What are the wild waves saying?" by Mrs. Adcock, was sung with much taste and feeling, as likewise "The fairy well," by Mr. Packer; but the great favourites of the evening were "The Carnival of Venice," and "The bird on the tree," by Miska Hauser. On this evening the air of "Auld Robin Gray" was substituted for "Pray Goody please to moderate" and was received with great applause. On both evenings a splendid square grand pianoforte, belonging to Messrs. Kellerman Brothers, and Falck was used for conducting the performances - the tone of which was remarkably fine.

4 January 1855, first notice of publication of Rain drops in Australia (Woolcott and Clarke, Sydney)

[Advertisement], The Sydney Morning Herald (4 January 1855), 8

http://nla.gov.au/nla.news-article12964011 

THE AUSTRALIAN PRESENTATION ALBUM for 1855 is in the Press, and will be published in the course of the week.
It contains . . . IMPROMPTU - Rain Drops in Australia - Miska Hauser (Dedicated to his friend, Frederick Ellard), with a view of Willoughby Falls, North Shore . . .
WOOLCOTT and CLARKE, next Bank of Anstralasia.

For details see Rain drops in Australia

6 January 1855, concert, Newcastle, NSW

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (6 January 1855), 1

http://nla.gov.au/nla.news-article696675 

CONCERT IN NEWCASTLE. For one night only.
Saturday, January 6th, 1855. Miska Hauser's Grand Concert!! AT THE COURT HOUSE, NEWCASTLE . . .

Program as for Maitland, 3 January above

"MISKA HAUSER", The Sydney Morning Herald (11 January 1855), 4

http://nla.gov.au/nla.news-article12964191 

This eminent musician, after a most successful visit to Maitland and Newcastle, at each of which towns he gave two concerts during the past week, proceeds this morning to Goulburn, where, in accordance with the flattering invitation of the leading gentry of the town and the neighbouring locales, he proposes to commence a scries of concerts on Tuesday next. Similar invitations have been, as we are informed, forwarded to him from the Western districts; but before M. Miska Hauser leaves the colony, it is said, in the musical circles of Sydney, that there is the prospect of his giving a grand series of concerts at the Prince of Wales Theatre, now on the eve of opening in Castlereagh-street.

Letter 5 (Sydney, NSW, 15 January 1855) - Click here

Southern highlands, NSW

16, 18, and 22 January 1855, concerts, Goulburn, NSW

20 and 24 January 1855, concerts, Braidwood and Yass, NSW

[Advertisement], Empire (12 January 1855), 1

http://nla.gov.au/nla.news-article60202581 

GRAND CONCERT IN GOULBURN.
MISKA HAUSER bas the honour to announce that he will, in compliance with the urgent request of the leading families in Goulburn and vicinity, give a
GRAND CONCERT, at the above place, on TUESDAY next, January 16th.
MISKA HAUSER will, on this occasion, be assisted by Miss FLORA HARRIS, F. H. DICKER, and other artists.
For particulars see large bills.

ASSOCIATIONS: Flora Harris (vocalist); Frederick Hamilton Dicker (alias Frederick Hamilton) (vocalist)

[Advertisement], The Goulburn Herald and County of Argyle Advertiser (13 January 1855), 3

http://nla.gov.au/nla.news-article118313686 

MISKA HAUSER'S GRAND CONCERT IN GOULBURN.
MISKA HAUSER, the celebrated Hungarian Violinist, has the honor to announce that he will, in compliance with the request of the inhabitants of Goulburn and vicinity, give a At the Commercial Hotel,
On TUESDAY Evening, Jan. 16, on which occasion he will be assisted by MISS FLORA HARRIS, MR. FRED. HAMILTON, and other artistes.
Particulars will be given in the large bills.
Prices of Tickets: Reserved Seats, 10s. 6d.; Back Seats, 6s.
Tickets to be obtained on Tuesday, at the Commercial Hotel, and in the evening, at the door.

[3 advertisements], The Goulburn Herald and County of Argyle Advertiser (20 January 1855), 2

http://nla.gov.au/nla.news-article118314381 

GRAND CONCERT! MISKA HAUSER, The world-famed Violinist,
WILL, by special request, give an GRAND EVENING CONCERT,
AT BRAIDWOOD, ON TUESDAY, 20TH JANUARY, 1855,
ASSISTED BY MISS FLORA HARRIS, MR. FRED. HAMILTON . . .

YASS. Grand Evening Concert! WEDNESDAY, January 24, 1855.
MISKA HAUSER . . . intends giving a CONCERT, assisted by Miss FLORA HARRIS and Mr. FRED. HAMILTON,
AT THE ROYAL HOTEL . . . N. B.- On account of previous engagement, Miska Hauser can give one Concert only.

GRAND CONCERT. AT THE COMMERICAL HOTEL On MONDAY Evening, Jan., 22.
MISKA HAUSER HAS the honor to inform his Patrons and the Public in general, that he will give, (according to express request), a third and Last Concert on MONDAY Evening, January 22.
MISKA HAUSER returns thanks for the patronage already bestowed on him; and whilst regretting that the weather has hitherto prevented many families in the neighbourhood from honouring him with their presence, trusts that on this his Last Appearance in Goulburn, they will be enabled to attend.
MISKA HAUSER WILL BE ASSISTED BY MISS FLORA HARRIS, MR. FRED. HAMILTON, AND MR. SIGMONT.
Programme - Part I.
La Viennoise - Mr. SIGMONT.
Ballad - (from the Bohemian Girl) - "When other lips" - Mr. F. HAMILTON.
Cavatina - "Oh! charming May," - Miss FLORA HARRIS.
GRAND MARCH and ROMANCE From the Opera of Otello, with variations by Ernst, executed by - MISKA HAUSER.
Duet - "As it fell upon a day" - Miss FLORA HARRIS and Mr. F. HAMILTON.
Post-Horn Galop - (by desire) as performed by Herr Koenig - Mr. F. HAMILTON.
Song - "The Twilight Queen," - Miss FLORA HARRIS.
ECHO OF AUSTRALIA, with grand variations, comprising the Thema of "Ben Bolt," "Katty Darlin'," "Susan nah don't you cry," &c., &c. as composed and executed by MISKA HAUSER.
Part - II.
Canzonet - "I love the merry sunshine, Miss FLORA HARRIS.
Irish Ballad - "The Irish Emigrant" - Mr. F. HAMILTON.
SOUVENIR de PAGANINI, (Dedicated to the memory of the immortal PAGANINI,) Theme and Variations on ONE STRING only (the fourth) composed and executed by MISKA HAUSER.
Buffo Duet - (by desire) - Mr. & Mrs. Bell - Miss FLORA HARRIS and Mr. F. HAMILTON.
Cornet Solo - Suona la Tromba - Mr. F. HAMILTON.
Song - "I should like to Marry." - Miss FLORA HARRIS.
(By particular and general request) THE BIRD ON THE TREE, (Capriccia Burlesque) composed and executed By MISKA HAUSER . . .
Finale - "Rule Britannia"
IN THE COURSE OF THE EVENING, MISKA HAUSER WILL INTRODUCE Several IRISH and SCOTCH AIRS, purposely arranged for the occasion.
CONDUCTOR - Mr. SIGMONT.
[Manicule] Admission, 6s.; Reserved Seats, 10s. 6d . . .

ASSOCIATIONS: William Abercrombie Sigmont (pianist, accompanist)

"MISKA HAUSER'S CONCERTS AT GOULBURN", The Sydney Morning Herald (24 January 1855), 5

http://nla.gov.au/nla.news-article12964767 

Flattering and cordial as were the welcomes given to this distinguished violinist by the residents at Parramatta, Newcastle, Maitland, and Windsor, our correspondents at Goulburn are concurrent in describing a reception which has surpassed any that Miska Hauser has yet met with since his arrival here. Notwithstanding the very unfavourable state of the weather, our Goulburn friends were not unmindful that their guest had travelled 125 miles in acceptance of their special invitation and his two first concerts, on the 16th and 18th instant, were crowded to inconvenience by the leading families of the town and neighbourhood. During each evening M. Hauser was repeatedly called forward to receive the tributes of the audience. Visitors from so great a distance as Yass came to Goulburn, and were bearers of very pressing invitations to him to give a series of concerts there at the conclusion of his arrangements at Goulburn. In a word, our southern friends are enthusiastic as regards their accomplished visitor, and their letters to their Sydney correspondents speak of nothing but the harmonic double octaves, and M. Hauser's brilliant mode of producing their effects by his peculiar style of touching harmonically at the quarter of the way to the bridge. His last concert at Goulburn was to take place on Monday. Miss Flora Harris has also met with the most favourable reception, which her talent justly deserves.

"MATTERS MUSICAL. THE HUNGARIAN AND THE TURK", The Goulburn Herald and County of Argyle Advertiser (27 January 1855), 4

http://nla.gov.au/nla.news-article118308719 

"There is sweet music here, that softer falls
Than petals from blown roses on the grass,
Or night dews on still in waters between walls
Of shadowy granite, in a gleaming pass;
Music that gentler on the spirit lies
Than tir'd eyelids upon tir'd eyes."

ALI-BEN-SOU-ALLE gave his second concert on Monday evening last, at Roberts' Rooms. The audience was much larger than on the former occasion, and expressed their gratification in terms of decided enthusiasm. The instrumental section of the programme consisted of performances by Ali-Ben-Sou-Alle, not only on his really marvellous turkophone, but also on the turkophonini, and the large and small clarionets, Mr. Sigmont executing piano-forte accompaniments. The entertainments were opened by M. Valere witlh "Vieni la mia Vendetta," from Lucrezia Borzia . . . He was followed by Ali-Ben-Sou-Alle, when for the first time we heard the capabilities of his extraordinary instrument. He executed a fantasia of his own on the airs in Don Giovanni - those "divine melodies," as Dr. Quincey calls them, when ranking their sweetness beside the sublimities of the "Paradise Lost," and the stupendous magnificence of Rome, as monuments of the capabilities for grandeur and beauty of the human soul. The range of the turkophone, runs from the rich breadth of a sax-horn of the fullest timbre to the tenderest note of the clarionet. Ali-Ben-Sou-Alle rendered Mozart's music as we have never before heard it in Australia. His manipulation is exquisite; indeed there is in the performer more that intimates the musician of genius than we have seen in any artiste for years. His execution has an individuality of its own - a character of sensibility, or rather of passion - passion subjugated and calm - full of rich, mellow repose; disciplined, we conceive, by a perception the most exquisite of that symmetry which is the true beau ideal classique. In his solos on the large and small clarionettes - even in his variations on "My Skiff is on the Shore" - and they were full of unspeakble delicacy and grace, the characteristic of the artist was this classic luxe. Besides a fantasia on La Somnambula, moulding "Still so gently," and "Oh do not mingle," into countless novel and capricious graces, his performances on the turkophone included a selection from Le Prophete. Into the superb shadows - the dusky magnificence of Meyerbeer's music, glided this wonderful instrument with an adequacy of power that was in point of fact orchestral. Here Ali-Ben-Sou-Alle gave as interpretation of high musical art, in which no little of a maestro's thought and learning lay beneath the skill of the musician. To the conossieur, we believe this to have been the most perfect gratification that the present carnival of sweet sounds in Goulburn has furnished. The noble cathedral-like severity and elevation of adagio movement were there, - but mellowed, softened, - tinged as it were by a colouring of the specific artistic execution. Some charming variations on the fine airs "Old Folks at Home," and "My Lodging is on the Cold Ground," were given on the turkophonini, on instrument smaller but of construction similar to the turkophone. Ben-Sou-Alle played, too, a delicious little cavatina of Donizetti's on the small clarionet as with the fingers of an Ariel. This was to the full Keats's "liquidity of dewy piping." The fantasia on popular British airs was encored. M. Valere by no means succeeded in that at best but gaudy bravura "The Standard Bearer," and his attrmpt to embellish "La Marseillaise" was in the last degree injudicious - he might as well have sought to dress a hymn or to have introduced decorative variations on "Rule Britannia."

MISKA HAUSER, the celebrated Hungarian violinist, gave his first concert on Tuesday evening and his second on Thursday. He was assisted by Miss Flora Harris and Mr. Frederick Hamilton, Mr. Sigmont conducting at the pianoforte. The assemblage that welcomed this remarkable person and his companions was, we are happy to say, tolerably large, though as in the case of his Ottoman contemporary, by no means all it should have been. Miss Harris is a singer of some taste and tolerable expression, and carolled "Hearts and Homes" prettily on Tuesday evening. But with the exception of this, and her vocalisation in "Summer" and "The Merry Sunshine," on Thursday, which was really very pleasing, - the encores of our gallant fellow-townsmen notwithstanding, we must bow ourselves our of further criticism on the lady's efforts. Mr. Frederick Hamilton sang "A Health to the Outward Bound" with great spirit on Tuesday. His "O Summer Night" from Don Pasquale, was, despite the jokes of some individuals sprinkled it the bottom of the saloon, in the shape of valedictory echoes of the "good night" of the serenade, given with considerable taste and judgment, and in the duet "Mr. and Mrs. Bell," he evinced much genuine humour.

But what of Miska Hauser? As a violinist, we hold this brilliant artiste to be altogether sui generis - to be alone and peculiar. Greater violinists than him there are and must be, or otherwise the violin as a vehicle of musical expression is a thing of less power and beauty than we believe. But superior or even equal to him in the production of certain marvellous effects to which the masters of the violin from the days of Paganini downwards, have specially dedicated peculiar capabilities of the instrument, there are perhaps none living. We have never heard Ernst but we can imagine nothing more perfect than Miska Hauser's "Carnival of Venice" as a reproduction, under the sole condition of sound, of that whirling, sparkling, many-coloured, picturesque midsummer-madness of Venetian frolic. We question too if those of our readers who have not yet heard his capriccio, "The Bird on the Tree," - adaptation as it radically is of Sivori's famous "Carnival of Cuba," - know the extraordinary extent to which the idealised mimicry of violin-playing can reach, - how impossible with closed eyes, it would have been to distinguish the bird whistle "St. Patrick's day in the morning" that trilled from under the bow of the musician, from the notes of an escaped bird such as that referred to in the programme. In effects like this - unique because of the rare and exquisite perfection which the artist has brought them to, it is, we think with all diffidence, that Miska Hauser's peculiar right to the wreath of an extraordinary violinist consists.

But the accomplished Hungarian has other powers - of high order and rare in quality - a brilliancy of execution and faculties so fine and so consummately educated, as had the possessor within him, but that basis of spiritual sensibility on which the higher artistic excellences and all production of lasting aesthetical sensation raise themselves, would electrify all hearers. And we say this, that we may not he misunderstood - that we may not be thought to undervalue the great powers of the musician because, recording a passing depreciation of the form - a form it happens, essentially ad captandum, in which the flower of this very rare old unquestionably fine talent unfolds itself. But we cannot look upon mere mimetic art, however exquisite, as worthy of very high place. A single outline of Flaxman's or a female head of Raffaele's is worth as art - as an extension of man's dominion of the beautiful, whole galleries of Tenierses and Mierises - of Paul Potters and Hondekoeters. And depend upon it, that on the latter as on "Carnival de Venice" in relation to an air of Beethoven's, men look on them less with the thought how beautiful! and therefore how sympathetic with good, than as how clever! and how hard to do it! -
"One blossom of Eden outblooms them all." -
Subjugated difficulty with its hints of human power and the might of study and of labour, is, we know, an element in exciting aesthetical feeling. But it is not all, as carvings upon cherry stones or Chinese models of junks in ivory, will at once reply. Mere mimetic art in music - we are not speaking now of it as to a great extent that force by which colour is imparted to musical composition, - carried to such a pitch as that of our brilliant Hungarian, must always give pleasure. But that pleasure is not the spiritual pleasure which it is the aim and power of art, and the prerogative and the glory of music beyond all other arts, to give. Sculpture and painting show - bounded in their condition of existence, what has been, what is, - but the Heart of Man in its unfathomed depths of hope and its undying faith in the coming and far-off possibilities of pleasure and of good, knows that the superior strength of music lies in its hints of what may yet be! The poet who said of a festal strain "Still it whispers promised pleasure," had by instinct grasped half the philosophy of the art.

In listening to these wonderful imitative bravuras, you close your eyes and await in vain those vague importunate suggestions and intimations of beauty - a saddening beauty like all beauty is in its highest manifestations which belong to true art. You never upbraid the melody with John Paul Richter - "Thou syren, of all thou hast promised me in the life of this earth, I have found nought and shall find nought!!"

Miska Hauser's fantasia on Ernani was literally splendid, and in itself justified the claim we have accorded him of ranking among the great violinists. But it was in his unspeakably beautiful rendering of "The Last Rose of Summer" and other Irish airs that his exquisite mastery of his instrument was manifested. The national music of "Grana Uaile" was never before more ravishingly expressed.

Since the above was in type, Miska Hauser has given a third concert, and as concerns those whose wealth and position ought to make them the local patrons of everything fitted to elevate and refine, it was we are happy to say, much better attended than either of the former entertainments. On this occasion, Miska Hauser executed Ernst's variations on the March and a romance in Otello - an Opera, enriched for the aesthetical student with an interest over and above its own exceeding splendour, as the subject of the Countess's criticisms on the philosophy of musical beauty in Balzac's Massillima Doni. He also performed on one string, the 4th., his Souvenir de Paganini. In both, throwing aside that wonderful imitative power which we still regard as his distinctive forte, the performer entered the domain of pure musical art, and traversed it victoriously. In a degree far beyond anything he manifested in Goulburn before this concert of Monday evening, Miska Hauser evinced himself, in every profound sense, a master of his art. With what tenderness and grace - what ethereal gaiety and lightness of touch, he rendered Rossini - here and there, evidently, giving more freedom of flow, and more delicate hue to the variations of his great predecessor! We have never heard anything of the kind superior to the Souvenir de Paganini. It is almost in music, what Leigh Hunt's verses on that inscrutable Italian wizard, who had at his command every spirit of melody -
"The airy tongues that syllable men's names
On sands and shores and desert wildernesses."
is in poetry. The execution was perfect. Not only were the sensibilities moved as the artist played, but, last and consummate effect of music, - the imagination was fed and comforted. Home partings and returns after long years - the old familiar faces in the forelight - the sittings on Sunday afternoons on the graveyard-wall in the sunset - the world-weariness that haunted our own midnight rambles, and the circumstance attendant on them, the starry peace of the night, the ruddy lights on the city wharves flickering far down the tremulous waters, and the outlines of the spars and riggings of anchored vessels all took form again and passed before us. Then, too, came images, beyond our actual experience, suggested by the subtle luxurious sounds - the lonely colonnade of ruined temples, looking out from listless southern promontories over the sleepy expanse of the summer Mediterranean, with no sound save the sultry bumbling of the bee in the festoons of wild honeysuckle - the motion and footsteps, and buzz and silvery laughter on moonlight boulevards - the sparkle and glow and fierce instrumental triumphs in great foreign theatres, the Conservatoire Imperiale or the San Carlo of Milan, followed by intimations of the passion of penitential sorrow in the Miserere. The honour of all this belongs to Miska Hauser, playing in his finest style on the finest of all instruments. Miska Hauser was repeatedly encored, and the enthusiasm of his auditors frequently amounted to a pitch altogether novel for our matter of fact Goulburn.

ASSOCIATIONS (references): "There is sweet music . . ." (Tennyson, Song of the lotos-eaters)

MUSIC: Carneval de Cuba ("or, The song of the sinsonte (an American bird)") (Sivori); since it is unlikely that the author ever heard Sivori's work, he must have been informed of the similarity by someone else, perhaps even Hauser himself

ASSOCIATIONS (local): Daniel Henry Deniehy (author of the above); Ali-Ben Sou-Alle (musician); Mons. Valere (vocalist); for ongoing responses to this review in the press and courts, see entry on Deniehy, and the following:

[News], Freeman's Journal (10 February 1855), 10

http://nla.gov.au/nla.news-article115553710 

"MISKA HAUSER", The People's Advocate and New South Wales Vindicator (10 February 1855), 6

http://nla.gov.au/nla.news-article251545021 

"'FOGEY' CRITICISM", The Goulburn Herald and County of Argyle Advertiser (17 February 1855), 2

http://nla.gov.au/nla.news-article118311878 

"THE METAMORPHOSIS OF THE BUMBLE-BEE; OR, THE DENNY-ZEN OF GOULBURN", Freeman's Journal (3 March 1855), 9

http://nla.gov.au/nla.news-article115555134 

"GENERAL DARLING'S GAGGING ACT", The People's Advocate and New South Wales Vindicator (17 March 1855), 9

http://nla.gov.au/nla.news-article251547080 

"SEIZURE OF THE TYPES, PRESSES, AND COPIES OF THE FREEMAN'S JOURNAL", Freeman's Journal (17 March 1855), 9

http://nla.gov.au/nla.news-article115557495 

"THE 'GOULBURN HERALD' AND THE 'FREEMAM'S JOURNAL'", Bathurst Free Press and Mining Journal (24 March 1855), 2

http://nla.gov.au/nla.news-article62054441 

"BREAKFAST TO ALI-BEN-SOU-ALLE", The Goulburn Herald and County of Argyle Advertiser (27 January 1855), 2

http://nla.gov.au/nla.news-article118308722 

A dejeuner à la fourchette was given at the Goulburn Hotel, on Monday morning last [22 January], at nine o'clock, to Ali-Ben-Sou-Alle, the distinguished musician, prior to his quitting for Windsor, by several gentlemen of this town. Capt. Plunkett, Police Magistrate, presided at the breakfast table, and among the guests was the celebrated violinist Miska Hauser, the other of the twin stars that have shone in our musical firmament . . .

30 January 1855, concert, Braidwood, NSW (and 2 more concerts)

5 February 1855, concert, Berrima, NSW

[2 advertisement], The Goulburn Herald and County of Argyle Advertiser (27 January 1855), 3

http://nla.gov.au/nla.news-article118308725 

RACE WEEK, BRAIDWOOD, Grand Concert.
MISKA HAUSER . . . On TUESDAY, Jan. 30, 1855, AT THE COURT-HOUSE . . .
ASSISTED BY MISS FLORA HARRIS, MR. FREDERICK HAMILTON, AND MR. SIGMONT . . .

GRAND CONCERT AT BERRIMA.
MISKA HAUSER . . . On MONDAY, Feb. 5, 1855, AT THE COURT-HOUSE . . .
assisted by MISS FLORA HARRIS AND MR. FREDERICK HAMILTON . . .

"BRAIDWOOD. FEBRUARY 5th. MISKA HAUSER'S CONCERTS", The Sydney Morning Herald (10 February 1855), 3

http://nla.gov.au/nla.news-article12965453 

This accomplished violinist gave three concerts in the town of Braidwood, on the evenings of the days upon which the races were held, and considering the smallness of our community, and the fact that this was the first concert ever held in the district, the attendance was both large and highly respectable - indeed patronised by all the leading families in the district, and evincibly proving the refined taste and desire to encourage the highest of accomplishments, musical talent, by the inhabitants in general. There has been so much written about this wonderful artiste, that I will not take upon myself to ciiticise, even were I able to do so, the various pieces executed by him. Suffice it his audience were highly delighted and enraptured. His execution (in the famous chef d'oeuvre of Paganini) of the "Carnival of Venice" was exquisite - indeed we cannot find words to express our admiration; he was three times encored, the twe evenings he performed this beautiful piece of composition. The "Last Rose of Summer," "Coming thro' the Rye," and "Old Folks at Home," sent a thrill to the heart, and was signally expressed by the audience's approbation and delight - to the various artistes who assisted. Miss Flora Harris's singing was particularly admired . . . At the end of the concert "God Save the Queen" was performed, the audience standing and joining in the anthem, upon the conclusion of which, three times three for the Queen, and before the assembly dispersed three times three for Miska Hauser, who returned thanks and expressed himself highly flattered by the enthusiastic reception he had received. Many parties attended the concert from long distances, and travelling by night upon our bad roads is really dangerous. The axletree of Mrs. McKellar's carriage unfortunately broke in crossing the river at Jinglemoney, but owing to the exertions of the gentlemen who accompanied the party, we are glad to hear that, with the exception of soiled dresses (which by the bye is a rather serious matter), no injury was sustained.

"GOULBURN HOSPITAL", The Sydney Morning Herald (7 February 1855), 2

http://nla.gov.au/nla.news-article12965312 

Miska Hauser has kindly consented to give a benefit, at the Commercial Hotel, in aid of the funds of the above institution. This gratuitous offer of M. Hauser, it is hoped, will be responded to in good earnest; and as it is positively the last opportunity that can possibly occur of hearing the distinguished violinist in Goulburn, we calculate on having to record a welcome addition to the funds of the hospital, which at this time we regret to say it has much need of. [The concert was to take place on Saturday evening.]

"HOSPITALS", The Sydney Morning Herald (12 February 1855), 2

http://nla.gov.au/nla.news-article12965511 

The Committee of the Goulburn Hospital have, through their president, transmitted a resolution to M. Miska Hauser, thanking him for his generous offer of a concert for the benefit of the hospital funds, and expressing their regret that the inclement state of the weather prevented M. Miska Hauser's benevolent intention from being carried into effect.

Letter 6 (Goulburn, NSW, 6 February 1855) - Read here

Letter 7 (Goulburn, NSW, 20 February 1855) - Click here

"MORETON BAY . . . MUSIC", Empire (7 February 1855), 5

http://nla.gov.au/nla.news-article60203861 

The extraordinary repute of the violinist Miska Hauser, now performing in Sydney, has induced a few of the lovers of music in Brisbane to form themselves into a committee for the purpose of ascertaining if it be practicable to obtain sufficient subscribers to pay Mr. Hauser for a visit to Moreton Bay. The committee have been in communication with Mr. Hauser, and they have ascertained that he is desirous of visiting Brisbane, and will be satisfied with a very moderate remuneration. Mr. Hauser will also bring with him other performers, vocal and instrumental, and it is proposed that there should be three concerts given in Brisbane and three in Ipswich. We understand that a committee is also to be formed at Ipswich for this purpose. Persons favourable to this object are requested to communicate with any of the following gentlemen, who form the Brisbane committee, viz.: - Messrs. H. S. Russell, B. R. McKenzie, W. A. Duncan, W. Craies, F. Altwicker, and K. Cannan.

ASSOCIATIONS: William Augustine Duncan (musical amateur)

Sydney and western NSW

12 February 1855, concert, Parramatta, NSW

[Advertisement], The Sydney Morning Herald (12 February 1855), 1

http://nla.gov.au/nla.news-article12965521 

MISKA HAUSER'S Last and Farewell CONCERT, in Parramatta. -
MISKA HAUSER, the celebrated Hungarian Violinist, begs to announce that he will, previous to his departure from New South Wales, give his last and farewell concert, at the above place, on
MONDAY EVENING, February 12th, 1855, at the Dining Hall, King's School-house,
which was obtained by the kind permission of the rev. the headmaster.
Miska Hauser will be assisted by Miss FLORA HARRIS and Mr. CHARLES S. PACKER.
PROGRAMME. - PART I.
Introduction.
Song - "The Merry Sunshine" - Miss Flora Harris.
Grand Fantasia of the opera "Ernani," with variations composed by MISKA HAUSER.
Ballad - Mr. Charles S. Packer.
Song - "The Wishing Gate" - Miss Flora Harris.
Tremolo (Execution de Bravura), Thema of Beethoven, composed by De Beriot, executed by MISKA HAUSER.
Duet - "We've wandered in Dreams" - Miss Flora Harris and Mr. Charles S. Packer.
Cavatina - "Summer" - Miss Flora Harris.
(By desire) - The Carnival of Venice, with the introduction of Ernst, and new variations, composed by MISKA HAUSER.
PART II.
Duett - "Se vederla," (Donizetti) - Miss Flora Harris and Mr. Charles S. Packer.
Solo - pianoforte, "Souvenir de Kucken" - Mr. Charles S. Packer.
Scotch ballad - "Bonnie Bessie Gray" - Miss Flora Harris
Grand American Fantasia, with variations on the thema "Ben Bolt," "Old Folks at Hume," "Susanna don't you cry," &c., &c., composed by MISKA HAUSER.
Comic song - Mr. C. S. Packer.
Song - "I should like to marry" - Miss Flora Harris.
(By particular and general request), The BIRD ON THE TREE - (capriccio burlesque) - composed and executed by MISKA HAUSER . . .
Finale - "God save the Queen."
In the course of the evening, MISKA HAUSER will also introduce several Irish and Scotch airs.
Conductor - Mr. C. S. Packer.
Single tickets, 10s. 6d.; double (admitting two), 15s.; Family Tickets (admitting three), £1 1s. . . .

"PARRAMATTA . . . MISKA HAUSER", The Sydney Morning Herald (15 February 1855), 4-5

http://nla.gov.au/nla.news-article12965707 

According to announcement, this celebrated musician gave a concert on Monday evening [5] last . . . On referring to the programme, all sat with breathless expectation for the appearance of M. Hauser, a mild and happy looking personage. His first piece was a grand fantasia of the opera "Ernani, with variations," composed by the performer. We do not profess to be musicians, still we know something of execution on one or two instruments, and the violin more especially, but if ever we were put out of conceit of ourselves, it was on this occasion. We are merely uttering the expressions of hundreds besides. As M. Hauser proceeded through the evening's performance, the audience seemed, in many instances, to be petrified and only dreading that the end would come too soon. We can only say, that if parties are desirous of prying into modern wonders, let them witness a performance of Miska Hauser's . . .

"PATRIOTIC FUND", The Sydney Morning Herald (21 February 1855), 4

http://nla.gov.au/nla.news-article12965911 

. . . No. 2, Wynyard terrace, February 20th, 1855.
Sir,-In order to express my deep sympathy with the widows and orphans of the sufferers in the present Eastern War, and my desire to contribute to the Patriotic Fund, I do myself the honor to place at the disposal of the Committee my services at a concert, to be given on such an evening as the Committee may deem desirable, and when arrangements for engaging a suitable concert room may be made. I beg of you to receive the assurances my high consideration;
and do myself the honor to subscribe myself, Sir, your most obedient servant,
MISKA HAUSER.
[To] Charles Kemp, Esq., J. P., Honorary Secretary [Patriotic Fund]

ASSOCIATIONS: Charles Kemp (secretary)

Letter 8 (Parramatta, NSW, 1 March 1855) - Read here

"M. MISKA HAUSER", The Sydney Morning Herald (23 February 1855), 5

http://nla.gov.au/nla.news-article12966042 

This distinguished musician, left Sydney yesterday evening for Bathurst and other locales of the Western districts, whence he has received the most flattering invitations to series [sic] of concerts. Upon his return, he proposes to give a grand concert in Sydney in aid of the Patriotic Fund . . .

26 February 1855, concert, Bathurst, NSW (and 2 more concerts)

[Advertisement], Bathurst Free Press and Mining Journal (24 February 1855), 2

http://nla.gov.au/nla.news-article62046388 

Grand Concert at the Royal Victoria Theatre,
MISKA HAUSER . . . on MONDAY EVENING, February 26th . . . assisted by MISS FLORA HARRIS AND MR. WILKINSON . . .

ASSOCIATIONS: George Wilkinson (vocalist)

"MISKA HAUSER", Bathurst Free Press and Mining Journal (3 March 1855), 2

http://nla.gov.au/nla.news-article62052390 

We regret that the crowded state of our columns prevents our doing justice to the splendid musical talents of this celebrated violinist. In the course of the past week, he has given three concerts in Bathurst, which have been attended by highly respectable audiences, who testified the delight inspired by his delicious strains by the most rapturous applause. Never before has Bathurst listened to such music. His tones thrill through the nerves and fill the heart with pleasurable emotions, such as can only be excited by sounds of sweetest melody. We cannot now particularise, but shall take the opportunity in our next issue of noticing at some length, the performances of this truly gifted man.

Letter 9 (Bathurst, NSW, 15 March 1855) - Read here

"MISKA HAUSER'S CONCERTS", The Moreton Bay Courier [Brisbane, NSW (QLD)] (3 March 1855), 2

http://nla.gov.au/nla.news-article3715688 

We are requeued by Mr. Miska Hauser, to apologize for his not keeping his appointment as announced. He was requested to give a Concert in Sydney for the benefit of the Patriotic Fund, and could not refuse or delay so charitable a suggestion. The Concerts at Brisbane and Ipswich will however take place, and will be duly announced in the local papers.

"COURT OF REQUESTS. £30 JURISDICTION . . . DICKINSON V. MISKA HAUSER", Empire (8 March 1855), 5

http://nla.gov.au/nla.news-article60178801 

This was an action brought by the plaintiff, Basil Dickinson, a keeper of licensed hackney carriages, residing in Pitt-street, to recover from defendant, Miska Hauser, the celebrated violinist, a sum of £11 8s. (balance of a larger sum), alleged to be due for the use and hire of a certain carriage and horses the plaintiff's property. The plaint set forth that the defendant hired and arranged a carriage and horses from plaintiff for the purpose of conveying him (defendant) and other parties to Goulburn.

At the time of hiring, it was alleged, an agreement was entered into, to the effect that defendant engaged the carriage for fourteen days, at the rate of two guineas per day, agreeing at the same time to pay expenses for stabling, &c., on the road, he (defendant) to have the use of the horses and carriage as a conveyance to other places whenever he chose to make professional or other excursions. The carriage and horses were returned before the expiration of the alleged stipulated time; plaintiff considered, however, that he was entitled to be paid for the remainder of the time; on making application for the sum accruing (£11 8s.), defendant refused to pay it, denying plaintiff's right thereto, in consequence of which he brought the case into Court . . . After a short deliberation the Court found a verdict for the defendant . . .

"COURT OF REQUESTS . . . WEDNESDAY. £30 JURISDICTION . . . DICKENSON V. MISKA HAUSER", The Sydney Morning Herald (8 March 1855), 4

http://nla.gov.au/nla.news-article12966474 

This was an action brought to recover the sum of £11 8s., as balance of coach-hire . . . In defence Miska Hauler admitted all the conditions laid down by the plaintiff with the exception of the one which alleged the hiring to be for 14 days. He admitted, moreover, having said that he might want the carriage for several weeks, but he always reserved to himself the right of dispensing with it whenever his circumstances seemed to warrant the taking of such a step. He added in particular, that if the driver's expenses turned out to be exorbitant, he should give up the carriage at the earliest opportunity. The party consisted of Miss Flora Harriss, Mr. Ducker [Dicker], Miska Hauser, and his agent. They started at about 3 o'clock on the Thursday, and arrived at Goulburn on Monday morning, at 10 o'clock. The next day defendant told the driver that his services would be no longer required, and having given him £6 6s, the latter took his departure with the carriage on Wednesday morning and arrived in Sydney on the Saturday night following . . .

"CLEARANCES", The Sydney Morning Herald (9 March 1855), 4

http://nla.gov.au/nla.news-article12966493 

March 8. - Waratah (s.), 250 tons, Captain J. J. Warner, for Moreton Bay. Passengers - Messrs. J. Buchanan, Packer, Miska Hauser, J. Askinass [Askunas], Miss Flora Harris, Mr. A. Nicol, Mr. and Mrs. Kable, and 19 in the steerage.

ASSOCIATIONS: Joseph Askunas (Hauser's agent)

Moreton Bay district, NSW (QLD) (13 to 30 March 1855)

"SHIPPING INTELLIGENCE. ARRIVALS", The Moreton Bay Courier (17 March 1855), 2

http://nla.gov.au/nla.news-article3711557 

13. Waratah, steamer, 350 tons. Warner, from Sydney, 8th inst. Passengers . . . Mr. Miska Hauser, Mr. Packer . . . Miss Flora Harris . . .

13, 17, 19, 26 and 28 March 1855, concerts, Brisbane, Moreton Bay district, NSW (QLD)

20, 21, and 22 March 1855, concerts, Ipswich, Moreton Bay district, NSW (QLD)

"MISKA HAUSER'S CONCERTS", The Moreton Bay Courier (17 March 1855), 2

http://nla.gov.au/nla.news-article3711554 

The first Concert of Mr. Miska Hauser in Brisbane, on Tuesday evening last, was somewhat damaged in the attendance by the wet weather. Nevertheless the audience was highly respectable, and far more numerous than might have been expected from the unfavourable appearance of the night. We defer a detailed report until our next, merely remarking of Miss Flora Harris that she well sustained the favourable impression before created here, and of Mr. Packer, that he was deservedly applauded. His voice was very pleasing, and well controlled. But we must have more space to speak in fitting terms of the magic violin of Miska Hauser. Few could have believed that such sounds could have been produced from the instrument. The "Mother's Prayer," and the Angel's "Song," and "The Bird on the Tree," were exquisitely beautiful, and drew down the most rapturous applause. In our next notice we shall endeavour to do justice to this extraordinary performer; but to be appreciated be must be heard, and we strongly advise all lovers of sweet sounds to take advantage of the first opportunity. The concert was well attended last night, and, it will be seen, there is to be another on Monday next.

"MORETON BAY (From our Correspondent) BRISBANE, March 15th, The Sydney Morning Herald (20 March 1855), 3

http://nla.gov.au/nla.news-article12966922 

Miska Hauser, who arrived in the Waratah, gave his first concert in the School of Arts yesterday evening. The weather was very unfavourable, and the attendance was on that account not nearly so good as could have been wished, but it was, nevertheless, very fair considering the shortness of the notice and the state of the weather and roads, and I have no doubt that his remaining concerts here will be much better attended, and that on the whole he will be remunerated in some degree correspondent to his great merits. His wonderful performances produced an effect on his audience which it is impossible to describe - sometimes convulsing them with laughter, and anon so rivetting their attention that the most complete and expressive silence prevailed in the assembly. However, it is unnecessary for me to describe Miska Hauser's great merits to your readers, most of whom, I presume, have had an opportunity of listening to him but the above remarks will show that even in this out of the way place we can appreciate genius and worth.

[3 advertisements], The Moreton Bay Courier (17 March 1855), 3

http://nla.gov.au/nla.news-article3711555 

GRAND CONCERT IN IPSWICH.
MISKA HAUSER, THE celebrated Hungarian Violinist, has the honour to announce, that he will give a series of
THREE CONCERTS in the above place in the course of next week, the first will take place on
TUESDAY EVENING, March 20, and the others on the following TWO EVENINGS.
Miska Hauser also begs to inform the public, that he will perform DIFFERENT PIECES on every evening of his Concerts, and he therefore enabled to give always a Novelty of his choicest morceaux.

GRAND CONCERT IN IPSWICH,
MISKA HAUSER THE celebrated Hungarian Violinist, begs to announce that he will give his
FIRST GRAND CONCERT on TUESDAY EVENING, March 20,
at the Large Room of Mr. Smith's New House, in Bell-street, on which occasion he will be assisted by
MISS FLORA HARRIS, AND MR. CHARLES S. PACKER.
PROGRAMME,
PART FIRST.
OVERTURE, for Pianaforte - (Rossini) - Mr. C. S. Packer
SONG - "The Minstrel Boy"- Miss F. Harris
GRAND FANTASIA on the Airs from the Opera of Lucrecia Borgia (allegro maesto thema and variations, andante, and finale,) composed and executed by - Miska Hauser
SONG - "Thy face in every blooming flower I see" - Mr. C. S. Packer
DUET - "What are the wild waves saying" - Miss F. Harris & Mr. C. S. Packer
SONG - "The Wishing Gate" - Miss F. Harris
THE CARNIVAL OF VENICE, with the Introduction by Earnst, and new variations, composed and executed by Miska Hauser.
INTERMISSION OF TEN MINUTES.
PART SECOND.
DUET - "A Voice from the Waves" - Miss F. Harris & Mr. C. S. Packer
FANTASIA BRILLIANTE, for Pianoforte - Mr. C. S. Packer
CAVATINA (Summer) - Miss F. Harris
THB MOTHER'S PRAYER AND ANGEL'S SONG, Grand Adagio Religioso, by Old Bull, executed by Miska Hauser.
SONG - "The Fairy Well" - Mr. C. S. Packer
SONG - "The Young Lady's No!" - Miss F. Harris
THE BIRD ON THE TREE (Capriccio Burlesque) composed and executed by Miska Hauser . . .
In the course of the evening Miska Hauser will also perform several SCOTCH and IRISH AIRS, purposely arranged for the occasion.
FINALE - "God Save the Queen."
CONDUCTOR. - Mr. C. S. Packer.
TICKETS. - 10s. 6d. each, can be obtained of Mr. BEATIE, Bookseller, and on the evening of the Concert at the Door.
N. B. - To avoid confusion and crowd, there will be no more Tickets issued than the house can comfortably hold.
Doora open at half-past 7. To commence at 8 o'clock precisely.

GRAND CONCERT IN BRISBANE.
MISKA HAUSER, THE celebrated Hungarian Violinist, begs to announce that he will give his
LAST GRAND CONCERT on MONDAY Evening, March 19th, at the BRISBANE SCHOOL OF ARTS.
On which occasion he will be assisted by MISS FLORA HARRIS, AND MR. CH. S. PACKER, AND MR. S. DIGGLES.
PROGRAMME,
PART I.
OPERATIVE [sic, Operatic] INTRODUCTION (Pianoforte) - Mr. C. S. Packer and Mr. S. Diggles.
PHOBE MOREL - Slave Song - Miss F. Harris.
SOUVENIER DE NIAGARA RONDO ET CONCERTO, composed by - Miska Hauser.
BALLAD - "She wore a wreath of roses," - (Knight) - Mr. C. S. Packer.
TRIO - "O'er the far mountain." - (C. S. Packer) - Miss F. Harris, Mr. C. S. Packer, and Mr. Diggles.
SONG - "The Merry Sunshine." - Miss F. Harris.
THE CARNIVAL OF VENICE (by particular desire) with the Introduction of "Auld Robin Gray," and new and different Variations - composed by - Miska Hauser.
Intermission,
PART II.
GRAND EXTEMPORANEOUS PERFORMANCE ON THE HARMONIUM - Mr. C. S. Packer.
PART III.
GLEE - "Where art thou beam of light" - (Bishop)
GALLOP DE BRAVURA (Schulof) - Mr. C. S. Packer.
GRAND MARCH A ROMANCI, or Airs of the Opera OTHELLO, by ERNST, executed by - Miska Hauser.
SONG - "The Merry Laughing Girl." - Miss F. Harris.
DUET - "La ci darem," from the Opera "Don Juan" - (Mozart) - Miss F. Harris & Mr. C. S. Packer.
SONG - "The Little Grey Man" - Mr. C. S. Packer.
THE BIRD ON THE TREE - (by general request) Capriccio Burlesque - composed by Miska Hauser . . .
In the course of the Evening MISKA HAUSER Will perform several new SCOTCH and IRISH AIRS.
Finale - GOD SAVE THE QUEEN,
Conductor - Mr. C. S. Packer.
Tickets can he obtained of Mr. Cooling, Bookseller, Capt. Bond's; and on the evening of the Concert at the door.
Doors open at half-past 7, to commence at 8 o'clock.

ASSOCIATIONS: Silvester Diggles (pianist)

"MORETON BAY. BRISBANE, March 21", The Sydney Morning Herald (27 March 1855), 5

http://nla.gov.au/nla.news-article12967242 

The celebrated Miska Hauser is now paying us a visit, accompanied by Miss F. Harris and Mr. C. F. Packer [sic]. He gave the concerts in Brisbane, and has now gone to Ipswich, where he had arranged to give his first entertainment on Tuesday last, and one every evening during the remainder of the week. I suppose he will give one or two more concerts here on his return. I think Miska Hauser will have no cause to regret his visit to Moreton Bay, his concerts hitherto having been very well attended considering the extent of our town population. His performances have generally called forth much admiration, although there are some who pretend to undervalue them; but there always are such people in every community.

"THE CONCERTS", The Moreton Bay Courier (24 March 1855), 3

http://nla.gov.au/nla.news-article3716244 

The Hall of the School of Arts was well filled by a highly respectable and delighted audience on Friday night week, and we were glad to observe such a satisfactory token of the high appreciation by the Brisbane public of M. Miska Hauser's entertainments. His performance on the violin was, as usual, thrilling, and was listened to with a degree of breathless attention which suspended and held in check, until the conclusion of a piece, the applause momentarily on the point of breaking forth.

On Monday, the last concert was given previously to the departure of M. Hauser and his company for Ipswich. The house was again well filled, and the performances elicited the most unbounded applause. Miska Hauser executed the "Souvenir de Niagara," a Grand March from "Otello," "The Carnival of Venice," and "The Bird on the Tree," and at one of the encores, he very judiciously substituted that sweetly plaintive composition, "The Mother's Prayer." No description can adequately convey our admiration of these beautiful performances. The enthusiastic aplause with which they were greeted sufficiently attested the exquisite skill of the artiste. If hypercriticism could be excused, it might be said that M. Miska Hauser, in the consciousness of his vast power over the instrument from which he extracts such dulcet notes, occasionally permits himself to coquet too much, and wanders into variations which approach the very verge of harmony. Still even here his great ability is only made the more manifest; for just ad the hearer almost dread a discord, the strain glides back, with easy strength, into the most melodious sweetness. The extraordinary beauty of the performances not, only drew down the most enthusiastic applause, but obtained for M. Miska Hauser the compliment of several boquets, from some of the fair ladies present.

Miss Flora Harris was in excellent voice. On Friday, amongst other songs, we were treated to our old favourite "By the sad sea waves" in which this lady is particularly happy. "Pheabe Morel" was most deservedly applauded on Monday, the national allusions in the last verse commimg home to the feelings of the audience. Miss Harris was also greatly applauded in "As if you didn't know," and several encores during the evening were responded to with her usual alacrity and good humour. We have no doubt but that the visits of Miss Flora Harris will always be welcomed here. Mr. Packer absolutely astonished the audience by his splendid performances on that usually dreary and hum-drum instrument, the harmonium, which we certainly did not think capable of being made so much of. His pianoforte playing also evinced great powers of execution. The Harmnninm and Pianoforte used, were lent by Messrs. Henssler and Altwicker, of this town. In the vocal performances Mr. Packer was particularly successful as a part singer. "O'er the far Mountain" reflected much credit on the principal singers, Miss Harris and Mr. Packer, and no less so upon the latter as the composer of this harmonious trio. The duett from Juan was also much applauded.

Altogether these Concerts have given the utmost satisfaction, and it is satisfactory to find that M. Miska Hauser will not return to Sydney without giving another opportunity in Brisbane for those who have not yet had the good fortune to hear him, and those - still more eager - who wish to hear him again. It will be seen that the price of admission is reduced. Before concluding this notice we would call attention to the nuisance created by a number of boys and youths being allowed to crowd about the outside of the hall, and to make the most discordant noises during the time of the concert. M. Hauser should request the police to put a stop to this.

[Advertisement], The Moreton Bay Courier (24 March 1855), 3

http://nla.gov.au/nla.news-article3716235 

MISKA HAUSER'S FOURTH GRAND CONCERT IN BRISBANE.
MISKA HAUSER HAS the honour to announce that he will give two more GRAND CONCERTS previous to his departure from Moreton Bay, take place on MONDAY EVENING next, March 26th, on which occasion he will perform the wonderful SOUVENIR DE PAGANINI, on One String only.
Miska Hauser will be assisted by MISS FLORA HARRIS, MR. CH. S. PACKER, AND MR. S. DIGGLES.
PROGRAMME,
PART I.
OPERATIC INTRODUCTION, Belisario, (Pianoforte) - Mr. C. S. Packer and Mr. S. Diggles.
SCOTCH BALLAD - "Bonnie Bessie Gray" - Miss F. Harris.
SICILIANO, (the gay festival of Sicily) Execution de Bravura composed by - Miska Hauser.
IRISH BALLAD - "Oft in the Stilly Night" - Mr. C. S. Packer.
DUET - "Si Viderla" (Donizetti,) - Miss F. Harris and Mr. C. S. Packer.
SONG - "When the Swallows homeward fly" - Miss F. Harris.
IRISH MEDLEY, comprising the Themes of the "Harp that once Tro' Tara's Halls," "Kathleen Mavourneen," and "St. Patrick's Day," composed and executed by - Miska Hauser.
Intermission of ten minutes.
PART II.
GRAND FANTASIA MILLITARY ON THE HARMONIUM - Mr. C. S. Packer.
PART III.
SONG - "When Lovers are sighing before us." (C. S. Packer) - Miss F. Harris.
GRAND CAPRICCIO (Pianoforte) - Mr. C. S. Packer.
SONG - "I'm a merry merry Zingara" - Miss F. Harris.
SOUVENIR DE PAGANINI, on airs from Somnambula, (dedicated to the memory of the immortal Paganini,) "Thema and variations on ONE STRING, (the fourth only), composed by - Miska Hauser.
SONG - "Time and Beauty" - Mr. C. S. Packer.
BUFFO DUET - "Mr. and Mrs. BELL" - Miss F. Harris & Mr. C. S. Packer.
THE BIRD ON THE TREE - (by general request) capriccio Burlesque, with a new cadence, composed and executed by - Miska Hauser . . .
In the course of the Evening MISKA HAUSER Will also perform several new SCOTCH AIRS.
Finale - GOD SAVE THE QUEEN.
Conductor - Mr. C. S. Packer.
Miska Hauser also begs to announce that he will, in compliance with the general expressed wish, reduced the prices as follows.
Dress Circle - 7s. 6d.
Children under 12 years of age - 4s. 6d.
Gallery - 4s. 6d . . .

"MORETON BAY. BRISBANE, March 28", The Sydney Morning Herald (4 April 1855), 2

http://nla.gov.au/nla.news-article12967577 

. . . M. Miska Hauser gives his farewell concert in Brisbane this evening, and will leave in the Waratah tomorrow. I believe he will have no reason to complain of the liberality of the people of Moreton Bay. His reception both here and in Ipswich, has been quite enthusiastic; although of course the population cannot be expected to supply such numerous audiences as that of Sydney . . .

"THE CONCERTS", The Moreton Bay Courier (31 March 1855), 2

http://nla.gov.au/nla.news-article3712413 

M. Miska Hauser and his small but talented company of vocalists, having completed their series of concerts in Brisbane and Ipswich, proceeded to Sydney yesterday, in the Waratah. On Monday and Wednesday evenings they gave concerts at the School of Arts, when the entertainments were varied by several new pieces, amongst which was Miska Hauser's Souvenir de Paganini, executed very brilliantly upon one string of the violin. "As it fell upon a day," by Miss Harris and Mr. Packer, and "Home, Sweet Home," by Miss Flora Harris, were amongst the new pieces, and were deservedly applauded. The house was well filled, and general satisfaction was manifested. It is to be hoped that the company will return to Sydney well remunerated for the pleasure which they have afforded to the public of Moreton Bay. We are glad to learn that Mr. Cooling, to whose enterprise we were indebted for a previous series of concerts, intends to make arrangements for another series during the month of May next.

"MORETON BAY [FROM OUR OWN CORRESPONDENT]", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (31 March 1855), 5

http://nla.gov.au/nla.news-article251546691 

. . . Of entertainments or amusements we have none, except some concerts, to which we are first indebted to our townsman, Mr. Coolling, for introducing, and now to M. Miska Hauser, and his company, for a continuance: but these are too expensive for the labouring classes, and there is really no general amusement for the young, about these towns. Nor are the means of education, adequate to the wants of the community . . .

ASSOCIATIONS: John Cooling (concert promoter)

"DOMESTIC INTELLIGENCE. IPSWICH. From our Correspondent", The Moreton Bay Courier (7 April 1855), 2

http://nla.gov.au/nla.news-article3714456 

The first and second of Miska Hauser's Concerts here were but ill attended. Allowing for wet weather, the comparative indifference of many who have not heard south of the violin to the unequalled charms of that instrument, and for the rather high charge for admission, still something must be attributed to the want of exertion on the part of the Committee. It seems to me, at least, that a little energy in the preparations for his arrival, would have secured to the artist an audience. The last concerts were given at a more unpropitious season, and were well attended. Miss Flora Harris was the chief attraction in those. In these it was understood that she would appear, and she did, as a satellite of one whose fame is more widely established that, with every wish for her success, we can reasonably hope that there ever will be. It was not only strange, it was a pity. It may he long before the occasion returns, but we were very near giving Miska Hauser such a reception as would have deterred any artist accustomed to large audiences, and profits, from visiting this remote district. Yet I should say there is no part of Australia, where a knowledge of music, and a taste for it, is more generally diffused than here. And, on this occasion, the skill of the artist had its usual power, and brought a large attendance on the third night, and also on the night of the extra or fourth concert.

It is always a drawback that we have no proper music room. I have heard a proposal to erect, by joint private enterprise, a room which would answer this purpose, and at the same time many others, such as a lecture room, a hall for public meetings, a bazaar for the display of the goods which are so frequently brought here from Sydney as a speculation, an auction room, &c. . . .

"SHIPPING INTELLIGENCE. DEPARTURES", The Moreton Bay Courier (31 March 1855), 2

http://nla.gov.au/nla.news-article3712419 

30. Waratah, steamer, 350 tons, Warner, for Sydney. Passengers . . . Mr. Packer. Mr. Askanas [sic] . . . M. Miska Hauser . . . Miss Flora Harris . . .

Letter 10 (Moreton Bay, NSW (QLD), 2 April 1855) - Read here

Sydney, NSW

"SHIPPING INTELLIGENCE. ARRIVALS", Empire (2 April 1855), 4

http://nla.gov.au/nla.news-article60181268 

April 1. - Waratah steamer, 350 tons, Captain Warner, from Moreton Bay March 30. Passengers . . . Miss Flora Harris, Messrs. Miska Hauser . . . Parker [sic] . . .

7 April 1855, first notice of publication of Chanson d'amour (W. J. Johnson) NO COPY IDENTIFIED

[Advertisement], Freeman's Journal (7 April 1855), 11

http://nla.gov.au/nla.news-article115554342 

NEW MUSIC.
CHANSON D'AMOUR,
MORCEAUX DE SALON,
FOR THE PIANO.
COMPOSED BY MISKA HAUSER.
JUST PUBLISHED, BY
W. J. JOHNSON and Co., 57, Pitt-street.
Price 2s.; per Post, same price.

ASSOCIATIONS: William Jonathan Johnson (music publisher and seller)

Letter 11 (Sydney, NSW, 15 April 1855) - Read here

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

http://nla.gov.au/nla.news-article12969401 

. . . NEW PIANOFORTE MUSIC by MISKA HAUSER - Just published, price 2s 6d. each, "Chanson d'Amour," dedicated to Madame Montifiore [sic] . . . W. J. JOHNSON and CO. . . .

ASSOCIATIONS: William Johnson (music publisher); Caroline Montefiore (Louyet, c.1832-1901) had married Jacob Levi Montefiore in London in 1851

14 April 1855, advertised concert for the Patriotic Fund; the event was cancelled, and Hauser joined the program the general concert on 28 April

"MISKA HAUSER", Bell's Life in Sydney and Sporting Reviewer (7 April 1855), 2

http://nla.gov.au/nla.news-article59760015 

This admirable artiste has returned from his visit to Moreton Bay, where, we rejoice to say, he has been eminently successful in gaining both aureate and honorary laurels. On this night week he will give a grand Concert, in aid of the Patriotic Fund, at the New Hall, (late Bazaar), Royal Hotel; and we understand that this fine salon is being admirably re-modelled and perfected for musical purposes, by his enterprising agent, Mr. Askunas. We hope that, immediately after this noble offering of the kindly spirit of genius, Miska Hauser will favor us with a few more concerts, and that he will be richly rewarded both for his heart and art.

16, 19, and 24 April 1855, farewell concert series, Sydney

[Advertisement], Empire (16 April 1855), 1

http://nla.gov.au/nla.news-article60181668 

MISKA HAUSER'S GRAND CONCERT AT THE NEW CONCERT HALL.
MISKA HAUSER, the celebrated Hungarian Violinist, has the honour to announce that he will give a few Concerts previous to his departure from NEW SOUTH WALES,
the FIRST one to take place, THIS EVENING, APRIL 16TH, At the NEW CONCERT HALL, Royal Hotel, formerly the Bazaar, which room has been cleared of the galleries, and newly fitted up.
MISKA HAUSER has also great pleasure in announcing that he has procured the services of the celebrated pianist, MOMS. E. BOULANGER,
and that Mr. FREDERIC ELLARD has kindly consented to play a Duo BRILLIANTE for pianoforte and violin with MISKA HAUSER, and to sing a few of his choice songs.
MISKA HAUSER will, on this occasion, be assisted by Miss FLORA HARRIS, Mrs. SPENCE,
Mons E. BOULANGER, (the celebrated pianist), Mr. FREDERIC ELLARD,
Mr. BANKS (his first appearance in Australia) and Mr. WILLIAM STANLEY.
PROGRAMME.
PART I.
Song - "The Minstrel Boy" - Miss Flora Harris
Cavatina - "Hear me, gentle Maritana" (Wallace) - Mr. Banks.
Grand Fantasia on the Airs from the Opera Lucrecia Borgia, composed and executed by MISKA HAUSER
Song - "Bonny Prince Charlie" - Mrs. Spence
Solo Pianoforte - (By desire) "A Dream" (Meditations Harmoniques)
and " Elisir d'Amore'' (E. Boulanger) - Monsieur E. BOULANGER
Andante Pastorale de la Prophete (Meyerbeer) - Mr. FREDERIC ELLARD
Bouquet "Irelandes" Grand Morceau do Concerto, composed by MISKA HAUSER.
PART II.
Ballad - "The Heather Bell" - Mr. Banks
Song - "Robert toi que J'aime" - Mrs. Spence
Duo Brilliante, on airs from the Opera "William Tell," for pianoforte and violin, executed by Mr. FREDERIC ELLARD and MISKA HAUSER
Song - "Du schones Fischermadchen" (composed by Miska Hauser) - Mr. FREDERIC ELLARD
Solo Pianoforte - Marche funebre (Thalberg) - Mons. E. BOULANGER
Song - Miss Flora Harris. "THE BIRD ON THE TREE" (Capricio Burlesque), composed and executed by MISKA HAUSER . . .
Finale - "God Save the Queen."
Conductor - Mr. WILLIAM STANLEY.
N.B. In compliance with the much expressed with, the prices will be reduced as follows:
Reserved seats - 7s. 6d.
Single tickets - 5 0
Children under 12 years of age, half-price.
Tickets can be obtained of Messrs. W. J. JOHNSON AND CO., Musicsellers, Pitt-street; Messrs. WOOLCOTT AND CLARKE, Publishers, George-street; and, on the evening of the Concert, at the Door.
Doors open at half-past 7, to commence at 8 o'clock.
J. ASKUNAS, Agent.

ASSOCIATIONS: Mrs. Spence (vocalist); Thomas Banks (vocalist); Edward Boulanger (pianist); Frederick Ellard (pianist, vocalist)

"MISKA HAUSER'S CONCERTS", Empire (17 April 1855), 4

http://nla.gov.au/nla.news-article60177016 

Yesterday evening was performed, at the New Concert Hall, Royal Hotel, the first of a series of concerts which Miska Hauser purposes to give previous to his departure from New South Wales. This talented gentleman's efforts to attract the public of Sydney, on this occasion, were most successful, an audience of between three and four hundred ladies and gentlemen being present. The New Concert Hall of the Royal Hotel, formerly the bazaar, is a spacious room, well adapted for the purposes for which it is now intended. From its being at present in an unfinished state, it has a somewhat naked appearance; but this the exercise of a little taste in its decoration would easily remove. In the programme of the performances for the evening the most attractive were undoubtedly the instrumental displays of Miska Hauser, who possesses a command over the violin, and a power of making it express the most varied, and most enchanting forms of musical conception, that must be heard to be appreciated. The expressions of applause, and the demands for repetitions of his performances, on the part of the audience on this occasion, proved as well their own discernment as the skill of the artist. Among the several performances with which he delighted the assemblage, that of the Capriccio Burlesque, "The Bird on the Tree," was the most surprising. In this piece, a bird is supposed to have escaped from its cage, and to fly to an adjacent tree, where it warbles the different airs played by its mistress, on the pianoforte. If to approximate as closely as possible to nature be an attribute of high art, then does this performance of the talented violinist lay just claims to a high rank as an artistic performance. The imitation of the beautifully clear pipings and warblings of the feathered songster was productive of high gratification to the audience, who evinced their interest and appreciation by breathless attention during his performance, and hearty applause at the close. We must not omit to mention also the performances of Monsieur E. Boulanger, on the piano. His execution of the "Marche funebre" called forth well-merited approbation. The vocal part of the entertainment was well sustained by Mr. Banks, who, in particular, sang the ballad "The Heather Bell," with precision and taste; by Mr. Frederic Ellard, who was most successful in the song "Der Schoenes Fischermaedchen;" and by Miss Flora Harris, whose efforts justly met with the warmest approbation. Mrs. Spence, the only other female vocalist, was, however, less successful. We cannot conclude this brief notice more appropriately than by a recommendation to those who have not yet enjoyed an evening with Miska Hauser and his coadjutors, to embrace the first opportunity of doing so.

"THE NEW CONCERT HALL", The Sydney Morning Herald (18 April 1855), 5

http://nla.gov.au/nla.news-article12968241 

The opening of this fine salon took place on Monday evening, upon which occasion M. Miska Hauser gave the first series of concerts with which he announces his intention to take farewell, for a season, of Sydney. An audience comprising a large number of the elite of the city attended, and the utmost satisfaction was expressed both at the musical arrangements of the evening, and the perhaps unexpected style in which the proportions of this apartment have been, for the first time, fully displayed. We must again offer a word of just praise to the liberality which has been evinced by Mrs. John Sparke, in respect to the decorations and general fittings of the Hall, and to the manner in which the design has been carried out by M. Askunas. The programme included selections from the best masters. M. M. Hauser's own performances included a grand fantasia on the chief airs from Lucrezia Borgia; a Bouquet Irlandois, in which were entwined some of the most delicious melodies of the Green Isle; the capriccio of "The bird on the tree;" and a duo with Mr. F. Ellard, for pianoforte and violin, the theme arranged from Rossini's "Guillaume Tell." M. Hauser's changes of his subject, upon responding to the persevering encores of the evening, were in his usual felicitious taste. M. E. Boulanger, Mr. Stanley, Mr. F. Ellard, Mr. Banks, Miss Flora Harris, and Mrs. Spence, formed a valuable corps musicale, and the entire detail of the concert was executed with the utmost care and fidelity. The opening of this hall must be regarded with favour and cordiality by lovers of music. M. M. Hauser gives his second concert on Thursday evening.

[Advertisement], The Sydney Morning Herald (19 April 1855), 1

http://nla.gov.au/nla.news-article12968299 

MISKA HAUSER'S SECOND GRAND CONCERT in the FAREWELL SERIES, at the NEW CONCERT HALL. -
MISKA HAUSER has the honour to announce that he will give his
SECOND CONCERT previous to his departure from New South Wales, on
THURSDAY EVENING, April,19th at the New Concert Hall, Royal Hotel, formerly the Bazaar,
which Room has been cleared of the Galleries, and newly fitted up.
MISKA HAUSER has also great pleasure in announcing that he has procured the services of the celebrated pianist Mons. E. BOULANGER,
and that of Madame LAMONT, the celebrated Contra Alto. MISKA HAUSER will, on this occasion, be assisted by
Miss Flora Harris, Madame Lamont, Mons. E. Boulanger, the celebrated pianist,
Mr. Banks, and Mr. William Stanley.
PROGRAMME.
PART I.
Aria (Spohr) - "By tales of War Enchanted," - Mr. Banks.
Song - "Katleen Mavourneen," - Madame Lamont.
Grand Fantasia, or airs from the Opera "Ernani," with variations, de Bravura, composed by Miska Hauser.
Song - "In that Devotion," - Miss Flora Harris.
Solo. Pianoforte - "Nocturne de Concert," and "Lucrezia Borgia" (Boulanger) - Mons. E. Boulanger.
Song - "Here's a Health, bonnie Scotland, to thee." - Madame Lamont.
"Souvenir de America," comprising different American Themes, with Variations, composed by Miska Hauser.
PART II.
Duett - "The Syren and the Friar," - Miss Flora Harris and Mr. Banks.
Song - "As if you didn't know," - Miss Flora Harris.
The Mother's Prayer and Angel's Song - "Grand Adagio Religioso" (by Ole Bull), executed by Miska Hauser.
"II Segreto," from "Lucrezia Borgia," - Madame Lamont.
Solo, Pianoforte - Waltz - Presto (Boulanger) - Mons. Boulanger
Song - "The Sea is England's Glory" (S. Glover) - Mr. Banks.
"The Bird on the Tree," by request (Capriccio Burlesque), composed and executed by Miska Hauser . . . Finale - "God save the Queen."
Conductor - Mr. William Stanley . . .
J. ASKUNAS, Agent.

ASSOCIATIONS: Maria Augusta Lamont (vocalist)

"MISKA HAUSER'S SECOND GRAND CONCERT", The Sydney Morning Herald (20 April 1855), 5

http://nla.gov.au/nla.news-article12968360 

The New Concert Hall at the Royal Hotel was again crowded to excess last evening, and Miska Hauser's reception must have been most gratifying assuring him of the high appreciation in which his eminent artistic ability is held amongst us. His success proves that the great quality to be regarded in convening reunions of real lovers and judges of music is intrinsic excellence; and we very gladly hail the auspicious results of the opening of the new Concert Hall. M. Hauser was assisted by Madame Lamont, who made a very successful debut, Miss Flora Harris, Mr. Banks, M. E. Boulanger, and Mr. William Stanley. The classical selections from the best masters were admirably performed throughout; but, at the late hour we write, we cannot enter into a detailed examination of the programme.

"CONCERTS. MISKA HAUSER",

This truly wonderful violinist has again delighted a Sydney audience with his magical instrumentalization. The New Concert Hall, Royal Hotel (late Bazaar), has been splendidly fitted up by Mrs Spark, and may now justly rank as the finest Music Saloon in this hemisphere. For sound, it is very superior; and when finished, the fittings will be both chaste and appropriate. The centre chandelier alone cost one hundred guineas.

To describe the perfect manner in which Miska Hauser handles the "king of instruments" is a task of almost utter impossibility. The astounding ease with which he produces tones that now thrill the soul with delight, now convulse the body with laughter, make one think of the tales of old, when supernatural agency was prevalent. We have heard the finest players of Europe; but can fully aver that, for general qualities of violin playing, the talented performer we now have amongst us has never been surpassed, if equalled. We recollect, in childhood, hearing Paganini but the uncouth appearance of the man, and his almost maniacal gestures, destroyed the effect on our memory, which his marvellous power might otherwise have produced. De Beriot, Ole Bull, Ernst, Nagel, Sevori [sic, Sivori], and Vieuxtemps, have all been heard by us; but each time we listen to Miska Hauser's outpouring of melody, we are the more convinced that he unites the best excellencies of them all. It is little likely that Sydney will ever be favored with a visit from another artiste of his calibre, and all therefore, should seize the opportunity of revelling, for the last time, in his divine strains of harmony.

Mr. Boulanger played in a masterly manner on the piano-forte, and gave considerable satisfaction. Miss Flora Harris, and a debutante, Madame Lamont, have each endeavoured to earn their share of the public favor at Hauser's Concerts; but so fascinated were all with the constellation of the ovening, that their vocal abilities received hardly fair play from the audience. Mrs. Spence, and we grieve to write it of a lady, was an utter failure. Mr. F. Ellard was highly successful in his piano and violin duett with Miska Hauser; and evinced considerable vocal powers in his Pastorale from the "Prophète". On Tuesday evening is Hauser's Farewell Concert.

"MISKA HAUSER'S CONCERTS", Freeman's Journal (21 April 1855), 10

http://nla.gov.au/nla.news-article115555394 

The second performance given by this distinguished artist since his return to Sydney, took place at the New Concert room at the Royal Hotel, by the opening of which the inhabitants of Sydney may at length congratulate themselves in possessing a place adapted apparently in every respect for the suitable execution of the finest musical compositions. Of Miska Hauser's performances, it must be now needless to speak, as they have been so amply criticised and are so fully appreciated throughout New South Wales. He has, however, conferred a benefit on the lovers of music by introducing to their notice Mr. Banks, a highly cultivated singer, possessing a fine voice, and who will undoubtedly prove a valuable acquisition to our philharmonic circles here should he remain in the colony. The great attraction of the evening, however, to musical connoisseurs, was Mr. Boulanger, whose richness of tone and brilliancy of execution on the pianoforte place him "Facile princeps" in advance of all other instrumentalists who have hitherto visited Australia. He seems, however, better qualified to secure eminence as a performer than as a composer, and will probably, best consult his fame by confining his attention to the former in preference to the latter branch of his profession. The vocal parts of the Concerts were sustained by Mr. Banks, Miss Flora Harris, who met with the usual cordial reception due to an established favorite, and by a new candidate for public favour - Madame Lamont, designated in the bills as "the celebrated contralto." This lady sang Kathleen Mavourneen very agreeably, and also "II Segreto di esser felice," (The Secret of Happiness), the latter, however, was not given in such a style as to lead the audience to suppose that this lady's singing would contribute to the discovery of the secret.

[Advertisement], Empire (24 April 1855), 1

http://nla.gov.au/nla.news-article60180495 

POSITIVELY THE LAST. -
MISKA HAUSER, in returning thanks to his numerous friends and the public in general for the liberal patronoge he has received, begs to announce that his positively
LAST GRAND CONCERT in Sydney, and Farewell to New South Wales, will take place
THIS EVENING, April 24th, at the New Concert Hall, Royal Hotel,
formerly the Bazaar, on which occasion he will be assisted by
Miss FLORA HARRIS, Madame LAMONT, Mons. E. BOULANGER, the celebrated pianist, Mr. BANKS, and Mr. Wm. STANLEY.
PROGRAMME.
Part 1.
Romance (Blumenthal) - "Far away, where Angels dwell," - Mr. Banks.
"I'll pray for thee" - Miss Flora Harris.
Grand Rondo di Concerto (original) - Composed by Miska Hauser.
Cavatina Tancredi) - "Tu che accendi." - Madame Lamont.
Solo Pianoforte (Boulanger) - Grand Fantasia of Lucia di Lammermoor - Mons. E. Boulanger.
Song - "I'm a merry, laughing girl." - Miss Flora Harris.
Tremolo (Thema de Beethoven, composed by de Beriot) executed by Miska Hauser.
Part II.
Duet (Mozart) - "La ci darem," Don Juan - Miss Flora Harris and Mr. Banks.
Song (Crouch) - "Dermot Astore" - Madame Lamont.
Souvenir de Paganini - Grand Fantasia on Airs from La Sonnambula - Thema and Variations on one string (the fourth) composed by Miska Hauser.
"Echo! answered where" (Banks) - Mr. Banks.
Solo Pianoforte (Boulanger) - Fantasia on Don Pasquale - Mons. E. Boulanger.
Song (Osborne) - "Nelly; or, the Emigrant's Return" - Madame Lamont.
"The Bird on the Tree," by general request (Capricio Burlesque, with a new cadence), composed and executed by Miska Hauser . . .
In the course of the evening Miska Hauser will play several favourite Scotch and Irish Airs.
Finale - God Save the Queen.
Conductor, Mr. William Stanley . . .

"MISKA HAUSER'S FAREWELL CONCERT", Empire (25 April 1855), 5

http://nla.gov.au/nla.news-article60178754 

Yesterday evening, Miska Hauser, the distinguished Hungarian violinist, gave his farewell concert in the New Concert Hall, at the Royal Hotel. A crowded assemblage of ladies and gentlemen amply testified how fully the merits of this accomplished artiste are appreciated, of whom, indeed, it would be superfluous to speak in praise, after the well-merited success with which his progress throughout the colony has been attended. He was enthusiastically encored on every occasion on which he exerted his magical influence over the violin; his Thema de Beethoven, and his Capricio Burlesque of "The Bird on the tree," were wonderful instances of the command which Miska Hauser has over the instrument. The attractions of the evening's entertainment were much enhanced by the performances on the piano of Monsieur E. Boulanger, whose Fantasia on Don Pasqaule met with a hearty encore. The song of Dermot Astore, by Madame Lamont, was deservedly applauded; and Miss Flora Harris, and Mr. Banks, by the pleasing and able manner in which they executed the Duet "La ci darem," from Mozart's Don Juan, as well as in several distinct songs, added greatly to the delight which the audience experienced throughout the evening. We must not forgot to mention Mr. William Stanley, whose accompaniment on the piano to the various songs announced in the programme deserves high recommendation. The whole performance was eminently successful, and the audience broke up, shortly before eleven, highly gratified with the manner in which the evening had been passed.

"MISKA HAUSER", The People's Advocate and New South Wales Vindicator (28 April 1855), 3

http://nla.gov.au/nla.news-article251548369 

On Tuesday evening last this gentleman gave his Farewell Concert. The announcement (to the honor of the musical taste of our people) filled the large room of the Royal Hotel with an audience whose enthusiasm must have gladdened and delighted the heart of this accomplished violinist. In company with all present, we shall not readily forget the magic tones produced by this great genius, and which will live in our memory when the "discourser of such exquisite music" shall be far away. To point out, or make mention of the most excellent, when all is superlative, is somewhat difficult - if not absurd; but we think we may assert that the " Thema de Beethoven" was pre-eminent of its kind, and the most brilliant gem of the entertainment. Miska Hauser had either the pleasure or the pain (for we don't know which) of receiving encores for each performance; and we admire the taste displayed by substituting the national for the operatic or classical of music. Thus, after a Grand Fantasia from "La Sonnambula," who did not feel their souls moved with emotion as they listened to that enrapturing melody of Moore's - "The Harp that once through Tara's Halls." Mon. E. Boulanger is a masterly and finished musician: we are glad that he remains in Sydney. Miss Flora Harris, together with Madame Lamont, distinguished themselves, and sang, with success, several popular airs from "Lucia di Lammermoor," &c. Mr. Banks, and the Conductor of the concert, Mr. W. Stanley, are worthy of mention, for the valuable assistance rendered by them.

28 April 1855, concert, in aid of the Patriotic Fund

[Advertisement], The Sydney Morning Herald (28 April 1855), 7

http://nla.gov.au/nla.news-article12968692 

UNDER THE PATRONAGE OF HIS EXCELLENCY THE GOVERNOR GENERAL, who has signified his intention of being present,
A GRAND EVENING CONCERT of Vocal and Instrumental Music in Aid of the PATRIOTIC FUND,
for the Widows and Orphans of our brave defenders in the cause of Freedom and Right, in the Crimea, will take place
THIS EVENING, the 28th of April, at the ROYAL VICTORIA THEATRE, on which occasion some of the most eminent Artistes of Europe, ever congregated together in the Southern Hemisphere, have kindly volunteered their assistance.
The Orchestra will consist of a conjunction of Mr. Winterbottom's Orchestra, the Philharmonic Society, the Military Band of the XIth, and several instrumentalists.
The Vocal Body will consist of the Choral Society and several Professionals of distinction with some of the most leading Amateurs, together with the Gentlemen of the German Liederkranz, who have consented to sing some of their choicest choruses.
Mr. Winterbottom, Conductor. Mr. Henry Marsh will preside at the Piano.
PROGRAMME.
Part I.
1. Overture - "Massaniollo," conjunction of Orchestra, Phllharmonic Society, and Military Band - Auber . . .
5. Symphony - "The Surprise," Full Orchestra - Haydn . . .
8. Solo, Violin - "Souvenir de Donizetti," Miska Hauser - Miska Hauser . . .
Part II.
1. Wedding March - "Midsummer Night's Dream," Full Orchestra - Mendelssohn . . .
9. Solo, Violin - "Carnival of Venice," Miska Hauser . . .

ASSOCIATIONS: John Winterbottom (conductor); Henry Marsh (pianist, accompanist); Band of the 11th Regiment (military band)

"MISKA HAUSER", Bell's Life in Sydney and Sporting Reviewer (5 May 1855), 2

http://nla.gov.au/nla.news-article59760132 

We regret to say that this delicious performer leaves Sydney for Melbourne this afternoon. That prosperity may attend him is our hearty wish, and gladly shall we hail his return to re-delight us with the wonderful powers of his "king of instruments". We can assure our Melbourne friends that they have a treat is in store, and that once having heard Miska Hauser, they will ever after know the vast difference between a violin and a fiddle.

"CLEARANCES", The Sydney Morning Herald (7 May 1855), 4

http://nla.gov.au/nla.news-article12968999 

May 5. - Telegraph (s.), 650 tons, Captain George Gilmore, for Melbourne. Passengers - Messrs. Miska Hauser . . .

18 May 1855, first notice of publication of Mazurka (W. J. Johnson and Co.) NO COPY IDENTIFIED

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

http://nla.gov.au/nla.news-article12969401 

. . . NEW PIANOFORTE MUSIC by MISKA HAUSER - Just published, price 2s 6d. each, "Chanson d'Amour," dedicated to Madame Montifiore; and a Mazurka, dedicated to Madame Rawack . . . W. J. JOHNSON and CO. . . .

ASSOCIATIONS: Amalia Mauthner Rawack (pianist)

[Advertisement], The Age [Melbourne, VIC] (5 May 1855), 1

http://nla.gov.au/nla.news-article154896889 

MISKA (Michel) HAUSER, the celebrated Hungarian Violinist, will shortly arrive.
MISKA HAUSER has the honor to announce that he will soon make his debut for a Melbourne audience, on which occasion he will perform several of his choicest morceaux, played with the greatest success in Europe, America, &c., &c.
Particulars in due time. S. ASKUNAS, Agent [sic].

Melbourne, and rural VIC (8 May to 16 September 1855)

"SHIPPING INTELLIGENCE", The Argus (9 May 1855), 4

http://nla.gov.au/nla.news-article4807867 

May 8. - Telegraph, A. S. N. Co.'s s.s., 600 tons, George Gilmore, from Sydney 5th inst. Passengers . . . Mr. and Mrs. Waller . . . Miska Hauser . . .

ASSOCIATIONS: Daniel and Emma Waller (actor, manager, and actor, vocalist)

"THEATRICAL AND MUSICAL", The Argus (15 May 1855), 5

http://nla.gov.au/nla.news-article4808121 

Mr. and Mrs. Hancock and Mr. Lyall have accepted a two months' engagement at the Sir Charles Napier Concert Room, Ballarat. They left Melbourne yesterday. Miska Hauser, the renowned Hungarian violinist, whose powers of execution are said to equal those of Sivori, D'Ernst, or Vieuxtemps, has arranged to give a series of concerts at the Queen's Theatre, commencing on the 22nd inst. Mr. and Mrs. Waller, the now lessees of the Queen's, will fulfil a short engagement at Geelong . . .

Letter 12 (Melbourne, VIC, 15 May 1855) - Read here

Letter 13 (Melbourne, VIC, 15 May 1855, continued) - Read here

22 and 24 May 1855, first two Melbourne concerts

[Advertisement], The Argus (22 May 1855), 8

http://nla.gov.au/nla.news-article4808405 

GRAND VOCAL AND INSTRUMENTAL CONCERT, At the Queen's Theatre.
First Appearance of the Celebrated Hungarian Violinist,
MISKA HAUSER. On Tuesday Evening, May 22nd.
The performances of the above Celebrated Artiste have created the most unparalleled astonishment, enthusiasm and delight of all the Musical Cognoscenti in the principal cities of Europe, North and South America, and California.
The Wonderful effects produced upon the Violin, by Miska Hauser, are, hitherto, totally novel to a Melbourne audience, therefore a great musical treat is now offered to their notice.
MISKA HAUSER Will, on this occasion, be assisted by
Mrs. Testar, Miss Octavia Hamilton,
Mr. Levison, Mr. Bial,
And a well selected Orchestra.
PROGRAMME.
PART I.
Overture, Orchestra.
Scena - Via Cara Sposini [sic] (Donizetti)- Miss Octavia Hamilton.
GRAND FANTASIA Of the Opera Lucrezia Borgia (Allegro Maestro, Thema and Variations, Andante and Finale), composed and executed by MISKA HAUSER.
Song - "Lo! Here the Gentle Lark," (Bishop) - Mrs. Testar.
Song - "The Exile," (Keller) Mr. Levison.
Ballad - "Good Bye, Sweetheart, Good Bye" - Miss Octavia Hamilton. "THE CARNIVAL OF VENICE," With the Introduction of Ernst, and new variations, composed and executed by MISKA HAUSER.
PART II.
Serenade, Orchestra.
Song - "Merry is the Greenwood," (Glover) Mrs. Testar.
"The Mother's Prayer and Angel's Song."
Grand Adagio Religioso, by Ole Bull, executed by MISKA HAUSER.
Song - "Madeline," (Nelson) Mr. Levison.
Solo, Pianoforte, Mr. Bial.
Scotch Ballad - "My Boy Tammy," Mrs. Testar.
"The Bird on the Tree," (Capriccio Burlesque) composed and executed by MISKA HAUSER.
Explanation of the above . . .
Finale - "God Save the Queen."
In the course of the evening, MISKA HAUSER Will introduce several Irish and Scotch Airs, purposely arranged for the occasion.
Leader of the Orchestra, Mr. Thom.
Conductor and Pianist, Mr. Bial.
Prices of admission: Private Boxes, one guinea a seat; Dress Circle (secured seats), 10s; Pit, 5s.; and Gallery, 3s.
Tickets can be obtained of Mr. JOSEPH WILKIE, musicseller, 15 Collins-street; and all day on Tuesday, at the Theatre, where a plan of the numbered seats can be seen.
Doors open at half-past seven, to commence at eight o'clock.
J. ASKUNAS, Agent.

"MISKA HAUSER'S CONCERT", The Argus (23 May 1855), 5

http://nla.gov.au/nla.news-article4808484 

In these days of typographical enthusiasm, when a man's genius or acquirements are recognised in proportion to the number and size of the "caps." he uses in his posters and advertisements, - when the "editor" of the theatre or concert bill is, in point of critical authority, on a par with the oldest inhabitant; and when a muffin on improvod principles cannot be vended without laving previously passed through the hands of an "agent," it is refreshing in the higheat degree to find truth, however it may be garbed, palpably manifest at the first glance. The science of puffery having almost eclipsed those which, no doubt under an erroneous policy, have been thought to be natural and true, but which fail to convince when opposed to testimonials from disinterested individuals, - such as the Earl of Aldborough for instance, - we should be neglecting an important duty, were we to suffer evidence of the kind to go unheeded. To take it, however, in the familiar phrase, "for as much as it is worth," would involve an abnegation of all power of criticism, such as we have too much self-esteem to adopt for a moment; and, accordingly, we prefer to test it by the palpabilities which affect us, - and, as that wicked fellow Tom Paine would have said, by "probable conjecture."

The reputation which M. Miska Hauser was said to have acquired as a violinist, was powerful prima facie evidence in his favor and it was with no small degree of interest that we took our seat in the theatre last evening to witness his debut in Victoria. The attendance was by no means large on the occasion, but there is very little doubt that on the next there will not be any complaint on that score. M. Miska Hauser's first solo, a fantasia on airs from Donnizetti's "Lucrczia Borgia," was executed in such a manner as to convince his audience that they had before them not only a violinist of the first order, but a musician "tender and true." The whole of the resources of the instrument, in his case, by the way, a very superior one, - are literally at his fingers ends, while the beautiful affectuoso of the principal theme of the solo was given with an exquisite delicacy of finish which made clear that the performer was not compelled to resort to meretricious embellishments to prove himself a superior artiste. It were idle to compare him with any violinist who has appeared in these colonies! his performance of last evening evinced qualifications which would place him on a level with the best of his contemporaries. The clearness and fullness of tone of his harmonics, their perfect tune and certainty, are Miska Hauser'a grand points. His arpeggio did not appear to us to come out with the brilliancy which might be expected, - a fact which may probably be attributed to the acoustic defects of the theatre. The fantasia was enthusiastically received and encored; but the performer contented himself with bowing an acknowledgment of the honor paid him. His second piece, the famous "Carnival de Venise," was rendered with much taste, and the whole of the effects were eliminated in a masterly manner. It was vociferously encored, and M. Hauser, complying with the demand for his reappearance, substituted a very beautifully arranged version of the "Last Rose of Summer." This was one of the most successful performances of the evening, and was applauded from all parts of the house. The rendering of the delicious melody upon the fourth string was a fine effect: it came out with a mellowness of tone which is rarely produced by such means. The "Mother's Prayer and Angel's Song," composed by Ole Bull, again caused a demand for an encore; and M. Hauser humored the audience by substituting the popular airs, "Ye Banks and Braes," and "Comin' through the rye." The brilliant execution of these, perfectly electrified those assembled, who, with one accord, demanded a repetition, which, however, was evaded by the performer, who simply re-appeared, and, having acknowledged the favor, retired. The performance of the "Bird upon the Tree," a quaintly written capricio, composed by M. Hauser, was a further triumph, and concluded one of the most successful concerts ever given in Melbourne.

Mrs. Testar, Miss Hamilton, and M. Bial rendered efficient assistance in their respective departments, and the last was encored in a piano-forte solo, which was performed in a very artistic manner. Mr. Levison, a new appearance, was a signal failure; and, notwithstanding the unmistakable hints to that effect which he received from the audience at the conclusion of his first song, he had not sufficient judgment to abstain from challenging the criticism of the house a second time. On coming forward he told the audience that they must pardon any defects in his vocalisation, as he was suffering from a severe sore throat and hoarseness. The hissing subsided, but the visitation which followed called it forth again; and, at the conclusion of the first verse, the singer having, with the utmost coolness, informed the house that he thought his explanation had satisfied them, retired amidst a volley of sounds expressive of dissatisfaction. The concert concluded about half past ten o'clock. The audience, although not numerous, was highly respectable.

ASSOCIATIONS: Elizabeth Testar (vocalist); Octavia Hamilton (vocalist); John Leveson (vocalist); Bream Thom (violin); Charles Bial (piano accompanist); Queen's Theatre (Melbourne venue)

[Advertisement], The Argus (24 May 1855), 8

http://nla.gov.au/nla.news-article4808547 

GRAND VOCAL AND INSTRUMENTAL CONCERT AT THE QUEEN'S THEATRE, In honor of Her Majesty's Birthday.
Second appearance of the Celebrated Hungarian Violinist, MISKA HAUSER, On Thursday Evening, 24th inst. . . .
MISKA HAUSER Will on this occasion be assisted by
Mrs. Testar, Miss Octavia Hamilton, Mr. Bial, and a Well-selected Orchestra.
Programme - Part 1.
Overture - The National Anthem: Mrs. Testar, Miss Hamilton, and Orchestra.
Song - "The Mocking Bird," with flute obligato: Miss Octavia Hamilton.
Grand Fantasia, On Airs from the Opera "Ernani," with Variations de Bravura, composed by Miska Hauser.
Cavatina - "Il Soave e bel Contento" (Pacini), Mrs. Testar.
Solo, Pianoforte, Mr. Bial.
Song -"Beautiful Leaves," Miss Octavia Hamilton.
"Bouque Irelandes," comprising different Irish Themas, composed by Miska Hauser.
Part 2.
Overture - Orchestra.
Duet - " Sulario." [Sull'aria] Mrs. Testar and Miss O. Hamilton.
"The Carnival of Venice", with the introduction of Ernst, and New Variations, composed and executed by Miska Hauser.
Scena - "Softly Sighs"(Der Freischutz) (Weber), Mrs. Testar.
Solo, Pianoforte, Mr. Bial.
Song - "The Mermaid" (Barnett), Mrs. Testar.
"The Bird on the Tree," Capricolo [sic] Burlesque, composed and excuted by Miska Hauser.
Explanation of the above . . .
Finale - "Rule Britannia."
In the course of the evening Miska Hauser will introduce several Irish, Scotch, and American Airs, purposely arranged for the occasion.
Leader of the Orohestra, Mr. Thom; Conductor and Pianist, Mr. Bial . . .

"MISKA HAUSER'S SECOND CONCERT", The Argus (25 May 1855), 4

http://nla.gov.au/nla.news-article4808620 

The violin has been well styled "the king of musical instruments," and like other monarchs it is capable of producing the most dismal or the most delightful effects. We appeal to any one who has ever had a friend learning to play upon it, whether more execrable, diabolical sounds could by any possibility be conceived; and with like confidence we may appeal to every one of the discriminating audience assembled at Miska Hausers concert last night as to whether melodies more exquisite - more soul-enchaining - could be imagined as proceeding even from the Peris, whose existence, since Tom Moore's time, no one has dared to doubt? While sitting spell-bound beneath the power of the performer, - with music floating around and above us until the whole theatre appears to be filled with it, - one can scarcely believe that this wonderful effect is produced by the simple process of scraping horse-hair over cat-gut. But this matter-of-fact recollection brings us unceremoniously down from the romantic heights where we were wandering, and, leaving Peris, and all such fascinating creatures, we will turn, as calmly as we can to the subject before us.

As it was her Majesty's birthday the concert last night was commenced by the performance of a portion of the National Anthem which was well rendered by Mrs. Testar, Miss Hamilton and the orchestra. After the favorite song of "The Mocking Bird," by Miss Hamilton, Miska Hauser performed a fantasia on airs from the opera of "Ernani" in a masterly style, and was vocifeiously encored. Instead of repeating the fantasia, he played "The Last Rose of Summer," in his peculiar plaintive style which carries such an inexpressible charm with it. His next performance was entitled "Bouquet Irelandes" and comprised some charming Irish airs, which were as sweetly executed as any given throughout the evening. He was, of course, recalled, and gratified his audience by giving them "The Old Folks at Home," and " Oh, Susannah." Of his "Carnival de Venise" and "Bird on the tree," we have already expressed our opinion. They were received last night with the utmost applause. Encores being demanded, M. Hauser, for the first piece substituted the delightful Scotch airs of "Annie Laurie" and "Coming thro' the rye." On being recalled after playing "The bird on the tree," M. Hauser simply bowed his acknowledgments, and retired.

Mr. Bial, on the piano forte, Mrs. Testar, and Miss Hamilton all contributed their utmost to the entertainment which was, from beginning to end a complete success. A concert such as that of last night must be to every lover of music a rich treat. It is rarely indeed, that one can so thoroughly surrender himself to the influence of melody, - become so utterly forgetful of every harsh and unpleasant feeling, and live for a time in a world of sweet sounds.

"MISKA HAUSER", The Age (26 May 1855), 5

http://nla.gov.au/nla.news-article154896753 

We have allowed some little interval to elapse, since attending the performance of this gentleman, in order that reflection might supervene upon delight, and that immediate impressions might have the benefit of correction by and comparison with recollections of similar but remote enjoyments. Music is the most evanescent of all delights. It "laps the soul in elysium," while it holds the heart and brain in thraldom to its sweet bondage, but the spell ceases with the last note of the last cadence. A symphony by Beethoven, an air of Mozart's, or a phrase of Rossini's, will lift you above this "dim diurnal sphere," will unfix the imagination from its seat and send it wandering, on the wings of a buoyant harmony, through the realms of infinite space. The sound expires, and the imagination, wingless and weary, returns to its accustomed dwelling-place, and busies itself only with the things of the "ignorant present." And because the emotions excited by exquisite music are thus evanescent, all musical criticism upon first-class performances is necessarily tame and cold. We take refuge in vague generalities and strong superlatives. We remember that we were unspeakably delighted, but we can no more analyze or describe the sources of our pleasure, than we can number or define the vibrations of the air which constituted the proximate cause of our enjoyment.

In style, Miska Hauser may be said to combine the massiveness of Molique with the piquant playfulness of Sivori. He is piquant but never petit, playful but never puerile. His mastery of his instrument is hardly less complete than Paganini's, and the violin is so docile to his facile touch that it sometimes appears to be imbued with life - the sworn and servile thrall or its gifted master.

In that untiring "Carnival of Venice," how the violinist revelled in the richest fioriture of harmonic embroidery, everywhere penetrated by the thread of pure melody which constitutes the staple of this fanciful woof of sound. All the merriment of the city, all the grotesqueness of the maskers, all the tumult of the streets, and all the charivari of the mob, were expressed by the agency of that magical bow, those nimble fingers, and that simple array of strings and sounding board. And in that charming capriccio, "The bird upon the tree," what exquisite modulations linked air with air, and what a mingled play of mirth and sadness chequered the ingenious caprice.

Among the Scotch and Irish melodies which were introduced in the course of the evening, were two, of which the interpretation went very near perfection. "Coming thro' the rye' was one of these, and this "lilting jingle" as it flowed forth in a stream of sound from the violin of Miska Hauser, touched the heart and fired the eyes of many a one whose foot had been familiar with the purple heather. "The last rose of summer" was the other gem, and a gem it truly was, pure, perfect, and precious. There was no attempt at ornament, no display of rich chromatic harmonies, no rhapsodies in the way of variations; but the simple melody expressively performed, moving you by its pathos, subduing you by its power. Moore himself would have applauded so felicitous a rendering of this exquisite composition.

We have still left much unsaid, -
- "Ma guardiamo e passamo."

ASSOCIATIONS: James Smith (reviewer)

28, 31 May and 2 June 1855, second series of 3 concerts

[Advertisement], The Argus (28 May 1855), 8

http://nla.gov.au/nla.news-article4808729 

MECHANICS' INSTITUTION.
MISKA HAUSER, The celebrated Hungarian Violinist, has the honor to announce that he will give only
Three More Concerts, previous to his departure from Melbourne.
THE FIRST GRAND CONCERT to take place on Monday Evening, 28th May,
At the Mechanics' Institution, on which occasion he will be assisted by
Mrs. Testar, Miss Octavia Hamilton, and Mr. Bial . . .
Programme.
Part I.
Introduction - Grand Wedding March, (Mendelssohn) - Mr. Bial.
Song - Tell me, my heart. (Bishop) - Miss Octavia Hamilton.
Souvenir de Niagara, Rondo de Concerto (original), composed by Miska Hauser.
Song - Hopeful Heart, (Balfe) - Mrs. Testar.
Solo - Pianoforte - Mr. Bial.
Ballad - Marie of Argyle - Miss Octavia Hamilton.
"Bouquet Irelandes," Comprising different Irish Themas, with Variations, composed by Miska Hauser.
Part II.
Duet - The Swallow's Flight (Kucken) - Mrs. Testar and Miss Octavia Hamilton.
Air and Finale, from the Opera of Lucia di Lammermoor, with variations, Composed by Miska Hauser.
Aria - Dove Sono, (Mozart) - Mrs. Testar.
Solo - Pianoforte - Mr. Bial.
Ballad - The Memory of Thee. (Weiss) - Mrs. Testar.
The Bird on the Tree, Capricolo Burlesque, composed and executed by Miska Hauser . . .
Finale - God Save the Queen.
In the course of the Evening, Miska Hauser Will introduce several Scotch and Irish Airs, purposely arranged for the occasion.
Conductor and Pianist - Mr. Bial . . .

ASSOCIATIONS: Mechanics' Institution (Melbourne venue)

"MISKA HAUSER", The Argus (29 May 1855), 4

http://nla.gov.au/nla.news-article4808809 

The Hall of the Mechanics' Institution was crowded last night on the occasion of the first concert given there by the eminent violinist, Miska Hauser. So high was the reputation gained by this gentleman in the principal cities of Europe and America, and so enthusiastically had he been received in the different towns of New South Wales, that the highest anticipations in reference to his powers had been formed in Melbourne. The large audiences which assembled at Miska Hauser's first concerts, and the enthusiastic applause with which his performances were received, might be, to some extent, ascribed to the expectations which had been formed and to the novelty of the performance itself. The crowded audience of last night shows, however, that Mr. Hauser's performances are the more fully appreciated the more familiar they become, and that those who have once heard him are the most eager to hear him again.

It would be idle to enter into a comparison of the respective merits of M. Hauser's performance and that of Sivori, and other masters of the violin. In listening to each new performer on this instrument, one is more and more fully convinced of its capacity for embodying all varieties of musical sentiment, and Miska Hauser's performance will not suffer from comparison with that of any one. The violin in his hand expresses at one moment the most pathetic, at the next the most impassioned and anon the most sprightly thoughts. His feats - for great violinists cannot refrain from them - partly from an enthusiastic conviction of the capacity of their favorite instrument, partly from a consciousness of their own powers, and in a considerable degree from the encouragement an audience always accords to successful exploits of that kind - are as wonderful as those of any other performers, while in the rendering of feeling and passion he is, perhaps, before them all. M. Hauser's first performance last night was "Souvenir de Niagara," a composition of his own, in the course of which the characteristics of his execution were fully displayed. On being encored, he gave "The Last Rose of Summer" in such a style as to make the auditor forget the artiste and the instrument in the melody. There is something of reverence in the delivery by M. Hauser of such airs as this. There is no obtrusion of himself and his powers on the attention of his audience; and it is only after the melody has ceased, that the sentiments and the memories which the performance has awakened give place to an emotion of gratitude to the musician who has called before us by his art an old friend - and invested him with new charms.

The "Bouquet Irlandes" was followed by the "Carnival of Venice," in which were produced discords as wonderful as the harmonies which had already astonished the audience. This piece was given last night with entirely new variations, and was introduced by the air "Charlie is my Darling." The air and finale from the opera of "Lucia di Lammermoor," afforded M. Hauser an opportunity of exhibiting his power in expressing passion of the most highly wrought kind. The instrument seemed to sob and quiver with emotion. "Auld Robin Gray" was exquisitely plaintive, and "Comin' thro' the Rye" was arch and spirited in a high degree. The instrument again became "the brisk awakening viol" of the poet of the passions. "The Bird on the Tree" was received as it always has been when performed by M. Hauser, and was, perhaps, of all his performances last night, the most universally appreciated.

The concert was Miska Hauser's, and this must account for briefer notice of the performances of Mrs. Testar, Miss Hamilton, and Mr. Bial, than they are amply entitled to. Mr. Bial showed that he is entitled to the high praise accorded to him by M. Hauser, as "the best accompanyist he has found since he left Vienna," and Mrs. Testar and Miss Hamilton were deservedly encored in each of their songs. It is stated that the concert of Thursday evening next is the last but one which M. Hauser will give before his departure. But we trust that the crowded audience which assembled last night, and the enthusiasm which marked their reception of each of M. Hauser's performances, will induce this gentleman to change his mind, and remain in Melbourne a few weeks longer. We are confident that his popularity will increase in proportion to the number of his performances.

[Advertisement], The Age (31 May 1855), 8

http://nla.gov.au/nla.news-article154898439 

GRAND VOCAL AND INSTRUMENTAL CONCERT, MECHANICS' INSTITUTION.
MISKA HAUSER, the celebrated Hungarian Violinist, has the honor to nanounce that his
LAST BUT ONE GRAND CONCERT will take place on THURSDAY EVENING, MAY 31st, AT THE MECHANICS' 1NSTITITUTION.
MISKA HAUSER takes also great pleasure in announcing that he has procured the service of the celebrated Pianista
MISS E. SMITH, who will on this occasion perform; likewise those of
Miss OCTAVIA HAMILTON, Miss LOUISA SWANNELL, And Mr. BIAL.
PROGRAMME:
PART 1.
Introduction - Pianoforte - Mr. Bial.
Song - "The Captive Greek Girl," (Bishop) - Miss Louisa Swannell.
Grand Fantasia of the Opera "Lucrezia Borgia," (Alegro, Maestro, Thema and Variation, Andante and Finale), composed and executed by MISKA HAUSER.
Cavatina - "Sprite of the Foam," Miss Louisa Swannell.
Solo, Pianoforte - "La Cracovienne," (Wallace) - Miss E. Smith.
Song - "Annie Laurie," - Miss Louisa Swannell.
"The Carnival of Venice," (by desire), with the Introduction of Ernst, and New Variations, composed and executed by MISKA HAUSER.
PART 2.
Song - "Should he upbraid," (Bishop) - Miss Octavia Hamilton.
"Tremolo," Thema de Beethoven, composed by De Beriot, and executed by MISKA HAUSER.
Song - "Little Nell," (Linley) - Miss Octavia Hamilton.
Solo, Pianoforte - Variations on Airs from "Elisir d'amore" (Thalberg) - Miss E. Smith.
Scotch Ballad - "Bonnie Bessie Gray," - Miss Octavia Hamilton.
"The Bird on the Tree," Caprice Burlesque, composed and executed by MISKA HAUSER . . .
Finale - God Save the Queen.
In the course of the Evening, MISKA HAUSER, Will introduce several Scotch and Irish Airs, purposely arranged for the occasion.
Conductor and Pianist - Mr. Bial . . .

ASSOCIATIONS: Emilie Smith (solo pianist); Louisa Swannell (vocalist)

"MISKA HAUSER", The Argus (1 June 1855), 5

http://nla.gov.au/nla.news-article4808961 

The Hall of the Mechanics' Institution was crowded last evening by the admirers of M. Hauser. The concert was the second given by him in this building; and a brilliant audience, - more numerous than the limits of the hall could accommodate, - was early assembled. Between a hundred and two hundred were obliged to be refused admittance. Among the audience, their Honors the Judges and their families had secured places. The entertainment commenced by a solo on the pianoforte by Mr. Bial, executed in this gentleman's usual masterly style. The songs "The Captive Greek Girl" and "Annie Laurie," and the cavatina "Sprite of the Foam," were sung by Miss Louisa Swannell in such a way as to deserve the general applause which they received. Miss Octavia Hamilton sang better than perhaps she ever did before; and her "Little Nell," and "Bonnie Bessie Gray," were enthusiastically encored. On the encore of "Beasie Gray," Miss Hamilton sang "Marie o'Argyle" in a style superior even to her usual delivery of that song. Miss E. Smith is well-known to the people of Melbourne as a performer on the piano. About fifteen months ago, on her arrival from England, she played in public in such a manner as to merit even higher praise than was accorded to her. Since that time she has made few public appearances, and her performance last night, while it fulfilled the expectations of her admirers, showed how much careful study, even without the advantage of the best tuition, could accomplish in developing musical talent. The execution of Miss E. Smith last night warrants the most sanguine expectations of her future eminence as a pianist.

M. Hauser's first performance was a fantasia of the opera "Lucretia Borgia " (allegro maestro, thema and variations, andante and finale). In this performance there were several illustrations of the power which M. Hauser possesses over his instrument, in making it the channel for expressing the most violent and intense passion. The selections from this opera are, perhaps, however, less suitable for this purpose than those from the "Lucia di Lammermoor," already noticed. M. Hauser, on being encored, played "The Last Rose of Summer" with so much exquisite feeling and tenderness, as to secure from those most familiar with the melody, a more hearty acknowledgment of its beauty and pathos than they had before accorded. "The Carnival of Venice" was then played, in accordance with a particular request. It was prefaced by Ernst's introduction, and accompanied with new variations, composed by M. Hauser. On receiving a tumultuous encore, M. Hauser gave his "Bouquet des Irelandes," in which the well known Irish airs, "The Harp that once in Tara's Halls," "St. Patrick's Day," and "Kathleen O'More" were executed with the most reverend regard to their original idea, and illustrated by variations worthy of the theme. A "Thema de Beethoven," composed by De Beriot, afforded M. Hauser an opportunity of exhibiting, to the delight of his audience, equally his power of rendering the thoughts of the great composer and the spirit and vivacity of his commentator. An enthusiastic encore called M. Hauser again before the audience, and "Ye Banks and Braes o' Bonnie Doon," and "Coming through the Rye," showed in close contact the capa- city of the violin in M. Hauser's hands, for expressing the most plaintive and the most sprightly musical ideas. "The Bird on the Tree," exhausted M. Hauser's repertoire for the evening, and was more successful than ever yet it has been. This "Caprice" is always successful, and was last night more successful than ever. M. Hauser's next - and, according to his present plans, last—concert, takes place on Saturday evening. He may expect a crowded audience, and we cannot but hope he will yet be persuaded to remain among us a few weeks longer.

[Advertisement], The Argus (2 June 1855), 8

http://nla.gov.au/nla.news-article4809058 

GRAND VOCAL AND INSTRUMENTAL CONCERT.
MISKA HAUSER . . . his LAST GRAND CONCERT will take place
On Saturday Evening, June 2nd, 1856, At the Mechanics' Institution.
Miska Hauser takes, also, great pleasure in announcing that he has procured the services of the celebrated Pianiste,
Miss E. SMITH, who will on this occasion perform.
Likewise those of Miss Octavia Hamilton and Mr. Bial.
PROGRAMME.
PART I.
Introduction - Pianoforte, Mr. Bial.
Grand Fantasia on airs from the Opera "Ernani," with Variations, de Bravura, composed by MISKA HAUSER.
Song - "The First Violet" (Mendelsohn), Miss Octavia Hamilton.
Solo, Pianoforte - Fantasia of "Lucia di Lammermoor" (Prudent), Miss E. Smith.
Song - "I am Thine, only Thine" (Benedict), Miss Octavia Hamilton.
Grand American Fantasia - comprising different American Airs with Variations, composed by MISKA HAUSER.
PART II.
Introduction, Mr. Bial.
"The Mother's Prayer and Angel's Song." Grand Adagio Religioso, by Ole Bull, executed by MISKA HAUSER.
Song - "Why do I weep for thee" (Wallace), Miss Octavia Hamilton.
Solo Pianoforte -"La Serenade de Don Pasquale," (Thalberg), Miss E. Smith.
Song - "Mary O'More," Miss Octavia Hamilton.
"The Bird on the Tree," Caprice Burlesque, composed and executed by MISKA HAUSER . . .
Finale - "God Save the Queen."
In the course of the evening, MISKA HAUSER Will introduce several Scotch and Irish airs, purposely arranged for the occasion.
Conductor, Mr. Bial . . .
J. ASKUNAS, Agent.

"MISKA HAUSER'S CONCERTS", The Age (5 June 1855), 6

http://nla.gov.au/nla.news-article154897180 

A crowded assembly of the fashion and beauty of Melbourne, honored this distinguished artiste last evening with their presence, at the Mechanics' Institution. Without entering into detail, we may say that Miska Hauser seemed, if possible, to excel himself on this occasion, and to exhaust every resource of that most fascinating art of his. Nothing could exceed - could anything equal? - the brilliancy, the charming grace, the absolute enchantment which he hung over his whole performance. Of course the audience were electrified, and at every successive piece called tumultuously for a repetition; and, as is his wont, M. Hauser gave them some of the most delightful Irish and Scotch airs; also, as we predicted, M. Hauser is constrained to prolong his stay in Melbourne; and we now further predict that, he will not leave it till he has fairly attracted every person in it to hear him who is capable of appreciating the most splendid musical performances they ever heard. Mr. Hauser's next concert is fixed for Thursday evening, when he will be assisted by the charming and accomplished pianista, Miss E. Smith, and by Miss Octavia Hamilton and Mr. Bial.

4, 7, 11 (postponed from 9), and 14 June, 1855, third series of concerts

[Advertisement], The Argus (4 June 1855), 8

http://nla.gov.au/nla.news-article4809074 

GRAND CONCERTS! The first to take place On Monday Evening, June 4th, 1855, At the Mechanics' Institution.
On which occasion he will perform his celebrated masterpiece, SOUVENIR DE PAGANINI, On One String Only! . . .
Miska Hauser will on this occasion be assisted by Miss E. SMITH, The celebrated Pianiste,
Miss Octavia Hamilton, and Mr. Bial.
PROGRAMME.
PART I.
Overture - Pianoforte, Mr. Bial.
Siciliano (The Gay Festival in Sicily,) composed MISKA HAUSER.
Song - "The Spell is Broken," Miss Octavia Hamilton.
Solo, Pianoforte - Fantasia Brilliante, on airs from "Oberon" (Weber) - Miss E. Smith.
Song - "Truth in Absence" - Miss Octavia Hamilton.
Bouquet Irelandes, (by desire) comprising different Irish Airs, with Variations, by MISKA HAUSER.
PART II.
Introduction, Pianoforte - Mr. Bial.
Souvenir de Paganini - Fantasia on Airs from the Opera "Sonnambula," (dedicated to that immortal master) Thema and Variations, on One String (the 4th) only, composed by MISKA HAUSER.
Song - "Happy Days of Yore," Miss Octavia Hamilton.
Solo, Pianoforte - Fantasia on Bohemian Airs (Kuhe) - Miss E. Smith.
Song - "Tell me, my Heart," Miss Octavia Hamilton.
"The Bird on the Tree," (by general desire) Caprice Burlesque, composed and executed by MISKA HAUSER . . .
Finale -" God Save the Queen."
In the course of the evening, MISKA HAUSER will introduce several Scotoh and Irish airs, purposely arranged for the occasion.
Conductor, Mr. Bial . . .
N.B. - Mr. Mooney's Omnibuses will be in attendance after the concert, to convey passengers to St. Kilda. Carriages may be ordered at ten o'clock.
J. ASKUNAS, Agent.

"MISKA HAUSER'S CONCERT", The Argus (6 June 1855), 6

http://nla.gov.au/nla.news-article4809153 

Another of the delightful concerts for which we are indebted to this talented performer was given, at the Mechanics' Institution, on Monday evening. The room was crowded, and the audience evinced their delight by encoring Miska Hauser in every piece which he performed. The chief novelty which was introduced was the Souvenir de Paganini, a fantasia on airs from "La Sonnambula," on one string only. This was a most clever performance, but not nearly so pleasing, in our opinion, as the rest of Miska Hauser's efforts. The concert on the whole, however, was as successful as any of its predecessors.

[Advertisement], The Age (7 June 1855), 8

http://nla.gov.au/nla.news-article154893736 

Grand vocal and instrumental CONCERT.
MISKA HAUSER . . . SECOND GRAND CONCERT in the Last Series,
On THURSDAY EVENING, JUNE 7th, at the MECHANICS' INSTITUTION.
Assisted by MRS. TESTAR, MISS E. SMITH, the Celebrated Pianista, and MR. BIAL.
PROGRAMME.
PART I.
Overture - Pianoforte - Mr. Bial
Grand Fantasia on the March and Romance, from the Opera "Otello," by Ernst, executed by MISKA HAUSER.
Song - There be none of Beauty's Daughters, (Knapton) - Mrs. Testar
Solo, Pianoforte - Grand Fantasia on Bohemian Airs, (Kuhe) - Miss E. Smith
Aria - O Luce di questa Anima, (Donizetti) - Mrs. Testar
Tarantelli Neopolitany, with the introduction of Savourneen Deelish, by MISICA HAUSER.
PART II.
Introduction - Invitation to a Dance, (Weber) - Mr. Bial
Aria and Dying Scene, from the Opera Lucia di Lammermoor, with Variations, by MISKA HAUSER.
Scotch Ballad - O Logie o'Buchan - Mrs. Testar
Solo, Pianoforte - Grand Fantasia on airs from "Norma" (Liszt) - Miss E. Smith
Song - Mrs. Testar
"The Bird on the Tree, (by general request) Caprico Burlesque, composed and executed by MISKA HAUSER . . .
Finale - God Save the Queen.
In the course of the evening Miska Hauser will introduce several Scotch and Irish Airs, purposely arranged for the occasion.
Conductor - Mr. Bial . . .

"MISKA HAUSER", The Argus (8 June 1855), 5

http://nla.gov.au/nla.news-article4809257 

This eminent artiste had again a crowded audience last evening. His first performance was a "Grand Fantasia on the March and Romano," [sic, Romance] from the opera "Otello," by Ernst, and on being encored he played "Kathleen Mavourneen" with that exquisite pathos which generally characterises his rendering of what are, to the majority of his audience, old familiar airs. This was no less manifest in "Savournen Deelish," by which the "Tarantelli Neopolitan" was introduced, and an encore was answered by the Carnival of Venice, which was, as usual, most successful. An aria and dying scene, from the opera "Lucia di Lammermoor," showed the capacity of the violin in M. Hauser's hands for expressing the deepest emotions of the heart. Perhaps no piece in M. Hauser's repertoire, so far as the people of Melourne have yet had an opportunity of judging, shows this more clearly than this aria does. An encore elicited the "Bouquet Irlandes," the favorite Irish airs embodied in which are always successful. "The Bird on the Tree" exhausted the programme; and on being vociferously encored, M. Hauser once more gave "The Last Rose of summer." Mrs. Testar and Miss E. Smith, and M. Bial, rendered valuable assistance to M. Hauser. Mrs. Testar, on singing "Logie O'Buchan," was unanimously encored, and substituted "O! why left I my hame?" and Miss E. Smith receiving well-merited encores to her fantasia on Bohemian airs, and on airs from Norma, gave the finale to La Cracovienne, and passages from Elisir d'Amour with great brilliancy of execution.

[Advertisement], The Age (9 June 1855), 8

http://nla.gov.au/nla.news-article154893803 

MISKA HAUSER . . .
THIS EVENING, 9th JUNE, at the MECHANICS' INSTITUTION.
Assisted by MRS. TESTAR, MISS OCTAVIA HAMILTON, MISS E. SMITH, the Celebrated Pianista, and MR. BIAL.
PROGRAMME.
PART I.
Overture - Pianoforte - Mr. Bial
Song - Mocking Bird, (Bishop) - Miss Octavia Hamilton.
Souvenir de Niagara - Grand Rondo de Concerto, composed by MISKA HAUSER.
Song - The Blind Girl to her Harp, (Glover) - Mrs. Testar.
Solo Pianoforte - Air de Grace de Robert le Diable (Prudent) - Miss E. Smith
Song - Mary O'More - Miss Octavia Hamilton
Yankee Doodle, with variations, by Vieuxtemps, executed by MISKA HAUSER.
PART II.
Medley - Pianoforte - Mr. Bial
Scena - Casta Diva (Bellini) - Mrs. Testar
Fantasia on airs from Belisario, composed by MISKA HAUSER.
Song - Miss Octavia Hamilton
Solo, Pianoforte - Grand Fantasia on airs from "Norma" (Liszt) - Miss E. Smith
Scotch ballad - John Anderson - Mrs. Testar
The Bird on the Tree; (by general request) Caprice burlesque, composed and executed by MISKSA HAUSER . . .
Finale - God Save the Queen.
In the course of the evening Miska Hauser will introduce several Scotch and Irish Airs, purposely arranged for the occasion.
Conductor - Mr. Bial . . .

"MISKA HAUSER'S CONCERTS", The Age (11 June 1855), 6

http://nla.gov.au/nla.news-article154893227 

This artiste was to have given a Concert on Saturday evening, at the Mechanics' Institution, but owing to the sudden unfavorable change in the weather, and the heavy and incessant pouring of rain for some hours before the time fixed for the Concert, very few persons attended, and it promised to be a most gloomy and miserable affair for all parties, notwithstanding the powerful abilities of M. Hauser. In this state of things, M. Hauser's agent Mr. Askunas stepped forward before the audience and stated, that if it was the desire of the audience assembled he would proceed with the performance; but under the circumstances above referred to, he would prefer, if agreeable to the company, to postpone the Concert till Monday evening, which was cordially approved of. Singular enough at half-past 8 o'clock the weather unexpectedly cleared up and numerous carriages arrived, one after the other, only to suffer disappointment. We understand M. Hauser regrets now that the Concert did not proceed. The last Concert is fixed to take place this evening - and we have no doubt it will be more brilliant than any of the former Concerts.

[Advertisement], The Argus (14 June 1855), 8

http://nla.gov.au/nla.news-article4809590 

. . . MISKA HAUSER Has the honor to announce that his
Ninth GRAND CONCERT Will take place on Thursday Evening, June 14th, At the Mechanics' Institution,
Assisted by Mrs. Testar, Miss O. Hamilton, Miss E. Smith, The Celebrated Pianista, and Mr. Bial.
PROGRAMME.
Part 1.
Overture - Pianoforte, Mr. Bial.
Song-" Little Nell," (Linley) - Miss Octavia Hamilton.
Grand Fantasia on Airs from "Ernani," Variations de Bravura, composed by MISKA HAUSER.
Cavatina - "Omor Femaud," [sic] (Donizetti) - Mrs. Testar.
Solo, Pianoforte - Fantasia Brillante, " Les Hirondelles," (Henri Streich) - Miss E. Smith.
Song - "The Wandering Flower," (Nelson) - Miss Octavia Hamilton.
Souvenir de America, composed by MISKA HAUSER.
Part 2.
Grand March - "Le Prophete," Mr. Bial.
Lied - "Konnte ich durch Baeume fliehen," Mrs. Testar
"The Mother's Prayer and Angel's Song," Grand Adagio Religioso, by Ole Bull, MISKA HAUSER.
Song - "Hopeful Heart," Miss Octavia Hamilton.
Solo, Pianoforte - "We're a'Noddin," first time, (Thalberg) Miss E. Smith.
Ballad - "When Lubin Sings," (Hobbs) Mrs. Testar.
"The Bird on the Tree," (by general request) Caprice Burlesque, composed and executed by MISKA HAUSER . . .
Finale, God Save the Queen.
In the course of the evening, MISKA HASUER Will introduce several Scotch and Irish Airs.
Conductor, Mr. Bial . . .
J. ASKUNAS, Agent.

"MISKA HAUSER'S CONCERT", The Argus (15 June 1855), 5

http://nla.gov.au/nla.news-article4809625 

However unfavorable the weather may happen to be, M. Hauser generally contrives to attract a large attendance at the Mechanics' Institution on the nights of his concerts. Last evening, although it rained unceasingly for hours, and the footpaths in every direction had a superstratum of mud several inches in depth, the hall was well filled. M. Hauser played several solos, all of which have received an extended notice in our columns, and secured his just meed of applause. Mrs. Testar was in excellent voice and performed her part of the programme in a manner highly satisfactory to the audience. In addition, she sang several pieces to fill up the gap caused by the absence of Miss Octavia Hamilton from illness. M. Hauser also played an additional solo with a similar object. Miss Smith was encored in both of her pianoforte olos, and this excellent pianiste thoroughly merited the applause which was so lavishly bestowed upon her clever performance. M. Hauser gives a grand concert on Monday at the Exhibition Building, in aid of the funds of the Melbourne Hospital. On that occasion in addition to the assistance of Mesdames Testar, Hamilton and E. Smith, and Mr. Bial, he will have the efficient aid of the band of the 40th Regiment. On Thursday next he gives his last concert in Melbourne.

Letter 14 (Melbourne, VIC, 15 June 1855) - Read here

18 June 1855, concert for Melbourne Hospital

[Advertisement], The Age (16 June 1855), 8

http://nla.gov.au/nla.news-article154891317 

GRAND VOCAL AND INSTRUMENTAL CONCERT, IN AID OF THE MELBOURNE HOSPITAL.
MISKA HAUSER Most respectfully announces that he will give a
GRAND CONCERT For the Benefit of the MELBOURNE HOSPITAL.
On Monday Evening, June 18th, At the EXHIBITION BUILDING
Which has been granted for this Occasion by His Excellency the Governor.
On which occasion the following Artistes have volunteered their kind Assistance: -
MRS. TESTAR, MISS O. HAMILTON, MISS E. SMITH, (The celebrated Pianista,) MR. BIAL.
And the Band of the 40th Regiment, by Permission of Col. Valiant.
PROGRAMME.
Part I.
Overture - Libella (Reissiger) - Band
Scena - Quel quado in Caveliere (Donizetti) - Miss Octavia Hamilton
Grand Fantasia, on airs from Lucrezia Borgia, (Allegro Maestro, Thema and Variations, Andante and Finale), composed by MISKA HAUSER.
Song - The Soldier Tired (Dr. Arne) - Mrs. Testar
Solo, Pianoforte - Fantasia brilliante, Les Herondelles (Henri Streich) - Miss E. Smith
Song - The Merry Greenwood (Linley) - Miss Octavia Hamilton
The Carnival of Venice, with the Introduction of Ernst, and new Variations, composed by MISKA HAUSER.
Part 2.
Selection - Domino Noir (Auber) - Band
Cavatina - Robert toi qui j'aime (Meyerbeer) - Mrs. Testar
Aria and Finale, from Lucia di Lammermoor, with Variations, composed by MISKA HAUSER.
Song - Das Alpenhorn - Miss Octavia Hamilton
Solo, Pianoforte - Selections from Norma (Liszt) [Miss E. Smith]
Scotch Ballad- Jock o' Hazledeen - Mrs. Testar
The Bird on the Tree; Caprice Burlesque, composed and executed by MISKA HAUSER . . .
Finale - GOD SAVE THE QUEEN.
In the course of the evening MISKA HAUSER Will introduce several Sootch and Irish Airs.
Conductor of the Band - Mr. Johnston
Conductor of the Concert - Mr. Bial . . .
J. ASKUNAS, Agent.

"CONCERT AT THE EXHIBITION", The Argus (19 June 1855), 5

http://nla.gov.au/nla.news-article255613332 

The concert given at the Exhibition Building last evening, in aid of the funds of the Melbourne Hospital was, in every respect, most successful. The attendance was very numerous, and included Sir Chas. and Lady Hotham, and many of our principal colonial families. Miska Hauser was encored in every piece he played; and Mrs. Testar, Madame Carandini (who sang for Miss Octavia Hamilton, too unwell to attend), and Miss E. Smith, were also much applauded. The Band of the 40th Regiment was in attendance, and played an overture by Reissiger, and a selection from Auber's opera of the "Domino Noir," with much effect. Madame Carandini absolutely took the audience by surprise, - the great majority of those present being evidently unaware of the fact that there was so excellent a singer in the colonies. She sang a scena from "Ernani," and several ballads, in a splendid manner. The Hospital funds must have benefited to the extent of several hundred pounds by the concert.

ASSOCIATIONS: Maria Carandini (vocalist); Band of the 40th Regiment (military); Henry Johnson (master of the band)

21 June 1855, last Melbourne concert

[Advertisement], The Age (21 June 1855), 8

http://nla.gov.au/nla.news-article154895156 

POSITIVELY THE LAST. MISKA HAUSER . . .
POSITIVELY LAST GRAND CONCERT will take place on
THURSDAY EVENING, JUNE 21st, at the MECHANICS' INSTITUTION;
on which occasion he will be assisted by MRS. TESTAR, MISS EM1LIE SMITH, the celebrated Pianista, and MR. BIAL.
PROGRAMME.
Part 1.
Overture - Pianoforte - Mr. Bial
Rondo Pastorale et Cantabile, by Ole Bull, executed by MISKA HAUSER.
Cavatina - Or la sull'onda (Mercadante) - Mrs. Testar
Solo Pianoforte - Fantasia Brilliante on airs from La Favorite (Schulhoff) - Miss Smith
Scena - How Sweetly, Gently, from Lucia di Lammermoor - Mrs. Testar
Tremollo - Theme de Beethoven, composed by De Beriot and executed by MISKA HAUSER.
Part 2.
Introduction Pianoforte - Mr. Bial
Siciliano - The Gay Festival in Sicily, composed by MISKA HAUSER.
Romance - Le Souvenir (Loisa Puget) - Mrs. Testar
Solo, Pianoforte - We're a' Noddin' (Thalberg) - Miss E. Smith
Song - Merry is the Greenwood (Linley) - Mrs. Testar
The Bird on the Tree, by general desire and particular request, Caprice Burlesque, composed and executed by MISKA HAUSER . . .
Finale - GOD SAVE THE QUEEN.
In the course of the evening MISKA HAUSER Will introduce several Scotch and Irish Airs.
Conductor - Mr. Bial . . .
J. ASKUNAS, Agent.

"MISKA HAUSER'S LAST CONCERT", The Argus (22 June 1855), 5

http://nla.gov.au/nla.news-article4809775 

M. Hauser's final concert in Melbourne took place last evening at the Mechanics' Institution, in the presence of one of the largest assemblages that have yet met for such a purpose in the hall. The programme contained two new pieces, performed by M. Hauser for the first time in this colony, a rondo by Ole Bull, and a concerto by De Beriot. Both were rendered by M. Hauser with the brilliant execution and artistic finish which characterise his performances, and encores were of course demanded. The "Siciliano" and the "Bird upon the tree" are familiar, in the mouths of all who have attended these concerts, "as household words" and the latter in particular elicited the tumultuous applause of the audience on this occasion. In compliance with the expressed desire of a large number of the inhabitants of St. Kilda, Mr. Hauser gives a concert there to-morrow evening at the Junction Hotel.

23 June 1855, extra concert, St. Kilda, VIC

"MISKA HAUSER", The Age (25 June 1855), 5

http://nla.gov.au/nla.news-article154896319 

. . . Sir, - I am directed by the Committee of Management of the Melbourne Hospital to convey to you their thanks for having, by the exercise of your splendid talents, on Monday evening last, augmented the funds of the institution 202l. 6s. 8d . . .

26 and 27 June, and 7 July 1855, concerts, Geelong, VIC

"GEELONG (FROM OUR OWN CORRESPONDENT)", The Argus (29 June 1855), 6

http://nla.gov.au/nla.news-article4809991 

A wretched house again presented its compliments (!) to Miska Hauser last night. This is very much to be regretted, as he is a most extraordinary and talented artiste, and should be warmly supported. I think, however, that he himself is much to blame, as he should not have raised the price of admission . . .

9 July 1855, first concert, Ballarat, VIC

"DIGGINGS INTELLIGENCE. PUBLIC AMUSEMENTS", The Age (14 July 1855), 3

http://nla.gov.au/nla.news-article154896831 

The grand event of the week is the arrival of the celebrated Hungarian violinist, Miska Hauser, at the Star Hotel Concert Hall. Miska Hauser was expected to arrive last week, and great was the disappointment when it was known that he would not make his appearance at Ballarat so early as was announced, being delayed by ill ness at Geelong. He arrived on Sunday last, and on Monday appeared for the first time at the Star Concert Hall . . .

"BALLARAT (FROM OUR OWN CORRESPONDENT)", The Argus (19 July 1855), 6

http://nla.gov.au/nla.news-article4812580 

"MISKA HAUSER", The Age (18 August 1855), 5

http://nla.gov.au/nla.news-article154894033 

This gentleman's progress through the gold-fields has been a most successful one. He gave no less than seventeen concerts at Ballarat to crowded and applauding audiences, two at Castlemaine, and is now giving a series of four at Bendigo - after which, Miska Hauser purposes to return to Melbourne, where we hope to have the pleasure of hearing him again.

"MISKA HAUSER", The Argus (31 August 1855), 5

http://nla.gov.au/nla.news-article4816938 

This eminent violinist has returned to Melbourne accompanied by Miss O. Hamilton and Mr. Paling. He has made a tour of the gold fields, on every one of which the little troupe has been most enthusiastically received. Miss Hamilton's singing and Mr. Paling's piano accompaniments, have been only less acceptable than the exquisite performances of M. Hauser on the violin. Our diggings' contemporaries exhaust the ordinary language of eulogium, and become quite poetical in their descriptions of the wondrous power exercised by M. Hauser's violin on the senses and the feelings of his audiences. We hope that arrangements will be made for M. Hauser's reappearance, under the most favorable circumstances, before his many admirers in Melbourne.

"THEATRE ROYAL", The Argus (7 September 1955), 5

http://nla.gov.au/nla.news-article4817462 

. . . This evening the opera [The daughter of the regiment] will be repeated; and the eminent violinist, Miska Hauser, will, for the first time at this theatre, perform his celebrated fantasia for the violin, on airs from "Lucrezia Borgia;" and the Capriccio, "The Bird upon the Tree."

"THEATRICAL AND MUSICAL GOSSIP", The Argus (17 September 1855), 6

http://nla.gov.au/nla.news-article4818416 

. . . The renowned Hungarian violinist, Miska Hauser, is to set out for Van Diemen's Land by the Black Swan, and will make his first appearance in the island at Hobart Town . . .

Letter 15 (Melbourne, VIC, 6 July 1855) - Read here

Letter 16 (Melbourne, VIC, 4 August 1855) - Read here

Letter 17 (Ballarat, VIC, 30 August 1855) - Read here

Letter 18 (Geelong, VIC, 21 September 1855) - Read here

Letter 19 (Geelong, VIC, 15 October 1855) - Read here

Tasmania (17 September to 1 December 1855)

"SHIPPING NEWS. LAUNCESTON. ENTERED INWARDS", The Courier (19 September 1855), 2

http://nla.gov.au/nla.news-article2490674 

L. S. N. Co.'s Steamer Black Swan, 147, Woods, Melbourne. Cabin - Messrs. . . . Bial, Miska Hauser . . .

ASSOCIATIONS: Charles Bial (piano)

12 October 1855 (postponed from 9 October), Miska Hauser's concert, Mechanics' Institute, Hobart

[Advertisement], The Tasmanian Daily News (9 October 1855), 3

http://nla.gov.au/nla.news-article203385612 

MECHANICS' INSTITUTE. MISKA HAUSER, THE CELEBRATED HUNGARIAN VIOLINIST, HAS the honor to announce that his
LAST AND FAREWELL CONCERT will take place on FRIDAY EVENING, OCTOBER 12th, at the Mechanics' Institute.
On which occasion he will be assisted by MONSIEUR DEL SARTE and MR. BIAL . . .

"MISKA HAUSER'S CONCERT", The Courier (9 October 1855), 2

http://nla.gov.au/nla.news-article2491875 

The final concert of Miska Hauser, which was to take place this evening at the Mechanics' Institute, is unavoidably postponed until Friday evening next, owing to the indisposition of Mons. Del Sarte, whose assistance will be accorded upon the occasion. Miska Hauser will give a concert at Campbell Town on Monday evening next.

"MISKA HAUSER'S LAST CONCERT", The Tasmanian Daily News (9 October 1855), 3

http://nla.gov.au/nla.news-article203385627 

This now well-known artist gives his last concert in Hobart Town, at the Mechanics' Institution, this evening [sic] . . .

SINCE the above notice was in type, we learn that, on account of the illness of Mons. Del Sarte, Miska Hauser's concert is postponed till Friday next, the 12th inst . . .

"MISKA HAUSER", Colonial Times (13 October 1855), 3

http://nla.gov.au/nla.news-article8786915 

MISKA HAUSER gave his final concert in Hobart Town at the Mechanics' Institute, last evening. The hall was filled to overflowing; for some little time before the hour fixed for the commencement of the performance, every available seat was filled, and all the Standing room was occupied. We never remember to have seen the hall so numerously or so respectably attended.

The concert itself was of first-rate character. M. Hauser was assisted by Messrs. Buddee, Bial, and Del Sarte. Mr. Buddee was deservedly encored. His solo exhibited all his usual finish and severity of execution. We cannot but think that this gentleman's talent has been somewhat underrated here, and that he is growing in the public estimation. M. Bial's accompaniments were finished and exact. M. Del Sarte did his best; better, indeed, than might have been expected, remembering that he has been indisposed throughout the week.

M. Hauser's execution appeared to us to be even more exact than before. We were surprised, that in so warm a room, the "harmonics" could be given with such extreme clearness and precision. The hand of a master was more than ever evident. A Fantasia from the Lucrezia Borgia was delightful. A duo with Mr. Buddee from Der Frieschutz was exquisite, both players exhibiting not only the richness of the music, but their own ability as timists and executants. On being encored, M. Hauser, with a characteristic delicacy, deferred the honor to his colleague, an act which was quite appreciated by the audience. M. Hauser's Siciliano is a gem. We noticed particularly an allegro moderato at the opening, which is very fine. Ole Bull's Mother's Prayer, &c, has been frequently noticed, it seemed, however, to come quite as freshly as ever. The finale too, the Bird on the Tree, was quite as good as on any previous occasion.

M. Hauser leaves this on Sunday, we believe, for Campbell Town, where he is advertised to be on Monday evening. We shall regret his departure. Our enjoyment last night was sadly marred by the remembrance that we were listening to him for the last time. He returns, we understand, to Sydney via Launceston, where he will give a few entertainments en faisant, and from Sydney he proceeds to London.

"MISKA HAUSER'S FAREWELL CONCERT", The Courier (13 October 1855), 3

http://nla.gov.au/nla.news-article2492123 

. . . To return, however, to the concert, the following was the programme, with the names of the artists, who combined their efforts upon this occasion, to make the concert attractive.
PROGRAMME. - PART I
1. Introduction. Overture from Zampa.
2. Grand Fantasia, on airs from Lucrezia Borgia, by Miska Hauser.
3. Graid Air from the opera La Favorite by Donizetti, sung by Monsieur Del Sarte.
4. Duo, brilliant, from the opera Der Frieschutz, for Piano and Violin, by Miska Hauser and Mr. Buddee.
5. (By desire) Siciliano Adagio and Rondo de Concerto, composed by Miska Hauser.
PART II.
1. Introduction. Galop Militaire.
2. Adagio Religioso, a Mother's Prayer and Angel's Song, by Ole Bull, Miska Hauser.
3. Grand Air by Pacini, sung by Monsieur Del Sarte.
4. Grand Solo for Pianoforte, executed by Mr. Buddee.
5. The Bird on the Tree (Caprice Burlesque), by Miska Hauser.
FINALE .- God save the Queen.
The fact that every piece was encored bears sufficient testimony, were any needed, of the abilities of the performers. Miska Hauser is now leaving Hobart Town, and his absence will cause a hiatus in the musical world here, which, it is most probable, it will take a long, time so well to fill up . . .

"LAUNCESTON (From our own Correspondent), 29th November, 1855", The Tasmanian Daily News [Hobart, TAS] (4 December 1855), 2

http://nla.gov.au/nla.news-article203386189 

Miska Hauser's farewell concert on Monday evening was well attended. Nothing more need be said of the performance, except that Miska Hauser was himself throughout the evening. There were many present who heard him for the first time, and they showed their appreciation most unmistakeably. It was a repetition of former evening's. Bouquets fell on all parts of the stage; and the applause was kept up without intermittance.

2 December 1855, sailed for Melbourne

"LAUNCESTON. CLEARED OUT", The Courier (3 December 1855), 2

http://nla.gov.au/nla.news-article2494934 

DECEMBER 1. Black Swan, steamer, 145, Woods, Melbourne. Cabin - . . . Miska Hauser, M. Bial . . .

Melbourne, VIC (4 to 6 December 1855)

"SHIPPING INTELLIGENCE. ARRIVED (HOBSON'S BAY)", The Age (5 December 1855), 4

http://nla.gov.au/nla.news-article154860148 

December 4 - Black Swan, s.s.s., 146 tons, Captain A. T. Woods, from Launceston 2nd instant. Passengers, cabin . . . Messrs Miska Hauser . . . C. Bial . . .

Names and descriptions of passengers per Havilah, from Melbourne, 6 December, for Adelaide; Public Record Office Victoria

https://prov.vic.gov.au/archive/23671325-F7F0-11E9-AE98-0BAC758C5792?image=439 (DIGITISED)

"MISKA HAUSER", The Argus (7 December 1855), 5

http://nla.gov.au/nla.news-article4825151 

This eminent violinist has returned to Melbourne after a highly successful visit to Tasmania.

Adelaide, SA (9 December 1855 to 25 January 1856)

Letter 20 (Adelaide, SA, 30 November 1855 [sic]) - Read here

Letter 21 (Adelaide, SA, 20 December 1855) - Read here

"SHIPPING INTELLIGENCE. ARRIVED", Adelaide Times (10 December 1855), 2

http://nla.gov.au/nla.news-article207076174 

Sunday, December 9 -The screw-steamer Havilah, 337 tons, Lowrie, from Melbourne the 7th December . . . Passengers . . . Messrs. Miska Hausen [sic], Bial, Montefiore . . .

"MISKA HAUSER", Adelaide Times (10 December 1855), 2

http://nla.gov.au/nla.news-article207076184 

This celebrated violinist arrived yesterday by the Havilah, and is about to commence a musical campaign at the Theatre. We are indebted to this gentleman for a late Melbourne Extraordinary, containing the late English news.

"THE GREAT VIOLINIST", Adelaide Times (12 December 1855), 2

http://nla.gov.au/nla.news-article207076260 

We have the utmost pleasure in welcoming amongst us a violin player before whom all among the eminent of late years must fall into perfect shade. Mr. Hauser certainly has taken a place in Europe which "Pagnanini" [sic] and "Ole Bull" successively occupied, with the unanimous approval of all who have listened to his wonderful performances; while in these colonies, judging merely from the accounts given of his powers by our contemporaries, he appears to have been unrivalled, and listened to with delight and astonishment. His first performance takes place this evening, and our readers will then be able to form their own judgment. We look forward to a most enthusiastic confirmation from them of our anticipations.

[Advertisement], Adelaide Times (10 December 1855), 1

http://nla.gov.au/nla.news-article207076175

MTSKA HAUSER.
MISKA HAUSER, the CELEBRATED HUNGARIAN VIOLINIST, has ARRIVED, accompanied by the distinguished PIANIST, MR. CHARLES BIAL, from Berlin, and intends to give TWO CONCERTS ONLY, of which due notice will be given in next number.
Dec. 10, 1855.

12 and 14 December 1855, concerts, Neale's Exchange Rooms

[Advertisement], South Australian Register (11 December 1855), 1

http://nla.gov.au/nla.news-article49293481 

"MISKA HAUSER'S CONCERT", South Australian Register (13 December 1855), 2

http://nla.gov.au/nla.news-article49301138 

"MISKA HAUSER'S CONCERT", Adelaide Times (14 December 1855), 2

http://nla.gov.au/nla.news-article207076348 

[Advertisement], South Australian Register (14 December 1855), 1

http://nla.gov.au/nla.news-article49293988 

"MISKA HAUSER", Adelaide Observer (15 December 1855), 2 supplement

http://nla.gov.au/nla.news-article158101290 

"MISKA HAUSER'S CONCERT", Adelaide Observer (15 December 1855), 4

http://nla.gov.au/nla.news-article158101169 

"MUSIC", Adelaide Times (15 December 1855), 2

http://nla.gov.au/nla.news-article207076416 

"MISKA HAUSER", South Australian Register (15 December 1855), 2

http://nla.gov.au/nla.news-article49293279 

18 December 1855, concert, Neale's Exchange Rooms

"MISKA HAUSER", Adelaide Times (18 December 1855), 3

http://nla.gov.au/nla.news-article207076428 

[Advertisement], Adelaide Times (18 December 1855), 1

http://nla.gov.au/nla.news-article207076450 

"MISKA HAUSER", South Australian Register (19 December 1855), 3

http://nla.gov.au/nla.news-article49300612 

"MISKA HAUSER", Adelaide Times (19 December 1855), 2

http://nla.gov.au/nla.news-article207076483 

"MISKA HAUSER", Adelaide Observer (22 December 1855), 1 supplement

http://nla.gov.au/nla.news-article158101388 

20 December 1855, concert, Port Theatre

[Advertisement], Adelaide Times (19 December 1855), 4

http://nla.gov.au/nla.news-article207076493 

"MISKA HAUSER", Adelaide Times (21 December 1855), 2

http://nla.gov.au/nla.news-article207076545 

"MISKA HAUSER'S CONCERT AT THE PORT", South Australian Register (22 December 1855), 2

http://nla.gov.au/nla.news-article49299088 

"MISKA HAUSER'S CONCERT AT THE PORT", Adelaide Observer (22 December 1855), 1 supplement

http://nla.gov.au/nla.news-article158101388 

21 December 1855, concert, Neale's Exchange

[Advertisement], Adelaide Times (21 December 1855), 4

http://nla.gov.au/nla.news-article207076542 

"MISKA HAUSER", South Australian Register (24 December 1855), 3

http://nla.gov.au/nla.news-article49300551 

24 December 1855, concert, Port Theatre

"MISKA HAUSER", Adelaide Times (24 December 1855), 2

http://nla.gov.au/nla.news-article207076599 

[Advertisement], Adelaide Times (24 December 1855), 4

http://nla.gov.au/nla.news-article207076613 

"CONCERT AT PORT ADELAIDE", Adelaide Times (26 December 1855), 3

http://nla.gov.au/nla.news-article207076637 

26 December 1855, concert, Neale's Exchange

[Advertisement], Adelaide Times (26 December 1855), 4

http://nla.gov.au/nla.news-article207076648 

"MISKA HAUSER", South Australian Register (27 December 1855), 3

http://nla.gov.au/nla.news-article49295494 

"MISKA HAUSER", Adelaide Observer (29 December 1855), 3

http://nla.gov.au/nla.news-article158101442 

"MISKA HAUSER. TO THE EDITOR OF THE . . .", South Australian Register (26 December 1855), 3

http://nla.gov.au/nla.news-article49300027 

"MESSRS. HAUSER AND HEALEY, M.R.C.", Adelaide Times (27 December 1855), 2

http://nla.gov.au/nla.news-article207076670 

"SOUTH AUSTRALIA (FROM OUR OWN CORRESPONDENT) Adelaide, 28th Dec., 1855", The Argus [Melbourne, VIC] (1 January 1856), 5

http://nla.gov.au/nla.news-article4827028 

Miska Hauser has been enchanting the Adelaide public with his wonderful violin; every concert he has given has been better attended than the preceding, and all who hear him once wish to hear him again. I hope he may be prevailed upon to make a long stay and not to leave in the Havilah today, as he proposed to do, for he would lose both your holidays and ours on the voyage.

Hauser's colonial libel exposed (late 1855, early 1856)

[News], The Sydney Morning Herald (1 December 1855), 4

http://nla.gov.au/nla.news-article12982523 

WE publish in another column an extract from a late number of Chambers' Journal, purporting to be an account of a visit to Sydney, he mendacious misrepresentations are too gross even to be mischievous, and would be amusing, were it not that the name of a gentleman who is making a tour of the Australian colonies, and is well known to many colonists, is affixed to it. A cursory reading of the article shows not only that MISKA HAUSER could not have been the author of it, but that the writer could never have been in Sydney. The references to Victoria-place, the Chinese quarter, the five hundred gaming-houses, and the several thousand Austral negroes, or Papuans, employed as barbers, waiters at hotels, all tend to prove that the article has an American not an Australian parentage. With regard to the worthy editor who is enabled to make a charge proportionate to the time occupied by his visitors, we do not believe he resides in Sydney. For our own parts we would very often give twice the amount named by the ungenerous scribbler to get rid of some of the bores who bestow their tediousness upon us almost every day. The Messrs. CHAMBERS' owe it to themselves and to the character of their publication, to detect the author of so vexatious a forgery.

"A CONCERT IN SYDNEY. FROM THE DIARY OF A WANDERING MINSTREL (From Chambers' Journal, August 18)", The Sydney Morning Herald (1 December 1855), 5

http://nla.gov.au/nla.news-article12982505 

OUR readers probably remember Mishka Hauser and his Tahitian Concert; * we have now from his pen the following sketch of his Australian adventures: -
It took us five dreary weeks to reach Port Jackson from Tahiti . . .

For full text of the above see Letter 1

"AN HUNGARIAN ON SYDNEY (From the Australian and New Zealand Gazette, August 28)", Empire (4 December 1855), 5

http://nla.gov.au/nla.news-article60170633 

The Australian newspapers during the past and present year have constantly contained paragraphs and reports written in a very laudatory strain respecting the musical wanderings of Mr. Misca Hauser, a Hungarian violinist, who seems to have penetrated into the remotest settlements of the hush of New South Wales and Victoria. It is to be hoped that before the August number of the Chambers' Journal reaches Sydney Mr. Hauser will have taken his last benefit and doparture. If he should be still lingering there, it is to be feared that his farewell concert will not pass off as pleasantly as he could wish. Fortunately lynch law has not been transplanted to New South Wales with other American produce. Mr. Hauser has favoured some European journal - a German newspaper we presume - with a sketch of his adventures in Sydney, by no means flattering to the inhabitants of that thriving city. This sketch has been translated inot Chambers' Journal, and will no doubt create some sensation among the Sydneyists. We refer our readers to the Edinburgh Journal for full details; but there are a few statements of the fiddler too extraordinary to be passed over without notice.

Mr. Hauser tells us that "the commonwealth founded originally by the thieves and swindlers of England had grown into absolute anarchy by inconsiderate immigration, the natural consequence of the discovery of the diggings."

This is news to us. We do not know what may be anarchy in the eyes of an Hungarian violinist, but we were under a very strong impression that Sydney was, and had been for at least twenty years, one of the safest and most peaceful capitals in the world, and that in no part of the colony had there ever been a disturbance beyond a drunken brawl.

He further informs ns that "it requires fully £4 a day to live respectably in Sydney. Nearly five hundred gambling houses disgrace the town, and many thousand men spend their lives in them. One gambling house gives free dinner parties twice a week, open to whoever has a black dress-coat, white waistcoat, and patent-leather boots."

Considering that Sydney contains about fifty thousand inhabitants, there will be just one gambling house to every hundred inhabitants, including women and children, so how some thousands are to be found to pass their lives in these hells rather puzzles our arithmetic. We learn farther, that it is the custom of ladies, "who have long passed the summer solstice of their life," to seat themselves on chairs and benches in an avenue leading to the Botanical Garden, where they are "surrounded and courted by young men, and in this paradise of the passées they speedily arrive at the blessedness of married life."

It seems that "the children of the Australian goldocracy make a terrible noise in their gambols," and that the fathers, under the shade of a coffee and free cream stall, close to the market of passées, buy and sell gold "with tremendous yells."

He further informs that several thousand "Austral negroes," or Papuans, live in Sydney, "copying the habits of their masters in the most ridiculous way, although they hate them cordially." "Most of them are clever barbers or lazy servants in the hotels, pickpockets, of policemen."

No persons will be more surprised hy this information as to a large black native population, engaged as barbers and pickpockets; than the old inhabitants of Sydney. It is quite clear that our musician did not look at the census of New South Wales before he wrote his letter, for he would have found the native black population of the whole colony numbered in hundreds.

Mr. Hauser's first appearance before a Sydney audience was unfortunate. It appears that he travels with two black dress coats. One was stolen by the black boots who undertook to brush it, the other was spoiled by an overset in the cab which ought to have conveyed the artist to the theatre. In this dilemma Mr. Hauser bought from a German, for £8, a light blue coat with gilt buttons, and than, just in time, rushed on the stage, violin in hand. But the punctilious Sydney audience hooted him off the stage, because, as the trembling manager explained to him, he had dared to appear without gloves in a "long-tailed blue." Gloves on a fiddler would seem to us on this side the water as incongruous as breeks on a wild Highlandman. However, the manager having given an explanation, and told the story of the two coats, Mr. Hauser was suffered to reappear, and with "Rule Britannia" achieved a tremendous success.

The most astonishing of all Mr. Hauser's stories relates to a Sydney newspaper. Being desirous, he relates, to conciliate the press, his first visit was "to a palace-like house, the ground floor occupied by the printing-office. On the first floor, among the advertisements, I found a tablet, informing visitors that the editor could not be spoken to without a ticket of admission, at the following rates-one hour, 10s.; half-an-hour, 6s.; a quarter of an hour, 3s." Mr. Hauser at once purchased from "the Australian negro in red livery" an hour of the editor's time! But he failed in coming to a bargain as to the terms on which he was to be puffed. The other editors appear to have been more accessible.

We fancied we know something about New South Wales, but must confess our ignorance after Mr. Misca Hauser's revelations. We hope some correspondent will enlighten us as to the name of the editor who has tariffed his time. Surely this splendid idea might be transplanted, and a new source of income epened to our smaller fry of daily journalists.

"MISKA HAUSER (To the Editor)", The Age (29 November 1855), 6

http://nla.gov.au/nla.news-article154864025 

SIR, - My attention has been called to an article which appears in the Australian and New Zealand Gazette, of the 25th of August, entitled "An Hungarian, in Sydney."

"Mr. Hauser," observes the Gazette, "has favored some European journal - a German newspaper, we presume - with a sketch of his adventures in Sydney, by no means flattering to the inhabitants of that thriving city. This sketch has been translated into Chambers's Journal, and will no doubt create some sensation among the Sydneyists. We refer our readers to the Edinburgh Journal for full details; but there are a few statements of the fiddler too extraordinary to be passed over without notice."

And then the Australian and New Zealand Gazette goes on to quote certain statements, which if they had been ever penned by Miska Hauser, would be equally discreditable to his head and to his heart. In the absence of that gentleman from this colony, I take the earliest opportunity of repudiating on his behalf, the authorship of the statements referred to. They could not have been written without my knowledge; their style and sentiment are utterly inconsistent with the feelings, opinions, and modes of thought peculiar to the great violinist; and I have no hesitation in affirming my belief that the letters containing such statements are the fabrication of an enemy, anxious to render Miska Hauser contemptible in Germany and unpopular abroad.

This testimony on my part is voluntary and disinterested, as my connexion with the violinist terminated some months since, though the respect for him which was inspired by his character, survives the severance of our professional relations.
I am, Sir, Your obedient servant,
J. ASKUNAS.

"MISKA HAUSER", The Age (6 December 1855), 6

http://nla.gov.au/nla.news-article154862187 

As an appropriate pendant to the letter from Mr. Askunas, which appeared in our columns a few days ago, we quote from the Sydney Morning Herald the following comments on the article in "Chambers's Journal," which purport to be an account of a visit to Sydney. The mendacious misrepresentations are too gross even to be mischievous, and would be amusing were it not that the name of a gentleman who is making a tour of the Australian colonies, and is well known to many colonists, is affixed to it. A cursory reading of the article shows not only that Miska Hauser could not have been the author of it, but that the writer could never have been in Sydney. The references to Victoria place, the Chinese quarter, the five hundred gaming houses, and the several thousand Austral negroes, or Papuans, employed as barbers, waiters at hotels, &c., all tend to prove that the article has an American, not an Australian parentage. With regard to the worthy editor who is enabled to make charge proportionate to the time occupied by his visitors, we do not believe he resides in Sydney. For our own parts we would very often give twice the amount named by the ungenerous scribbler to get rid of some of the bores who bestow their tediousness upon us almost every day. The Messrs Chambers' owe it to themselves and the character of their publication, to detect the author of so vexatious a forgery.

"MISKA HAUSER", The Sydney Morning Herald (6 December 1855), 4

http://nla.gov.au/nla.news-article12975678 

We are enabled to state that Miska Hauser, who is now in Hobart Town, has seen the article in Chambers's Journal, reprinted in the Herald of Saturday last, and purporting to be a description of his visit to Sydney. It is scarcely necessary to say that the talented musician indignantly repudiates any association with the authorship of the article.

"SYDNEY (FROM OUR OWN CORRESPONDENT) 1st December 1855", The Argus (6 December 1855), 6

http://nla.gov.au/nla.news-article4825062 

The Herald of this morning has published a very amusing although very lying, description of Sydney, extracted from Chambers' Journal. The name of Miska Hauser appended to it is unquestionably a forgery, and is no doubt, a Yankee joke - a fair specimen of the species of joking in which some of our brethren on the other side of the Pacific ocean occasionally indulge.

"MISKA HAUSER", The Argus (7 December 1855), 5

http://nla.gov.au/nla.news-article4825151 

This eminent violinist has returned to Melbourne after a highly successful visit to Tasmania. He has called our attention to an article, entitled "A Concert in Sydney," which appears in Chambers' Journal for the 18th August, and is represented as from the pen of M. Hauser. The representations made in the paper are so grossly and obviously untrue that it is difficult to understand how they should have been gravely published, even in the recollection of the extraordinary geographical notions concerning these colonies which the Messrs. Chambers have calculated, and in view of the serious republication by the English journals of the famous "Croons correspondence." It is possible, however, that some of our readers may believe that Miska Hauser may have represented Sydney and its society in the colors in which they are pourtrayed in Chambers', or that he may have furnished a sketch which some ignorant and imaginative correspondent has subsequently colored outrageously. It is due to M. Hauser to say that he entirely denies having written the letter published, or "any letter which could have been transformed into the shape of the one in question." Few who know this gentleman will require his denial to persuade them that he could not have rewarded so basely the kind and enthusiastic reception accorded to him in New South Wales; and those who may have been disposed to credit the announcement in the Journal that the description is from his pen will only need his denial to convince them he is quite unconnected with it.

"MISKA HAUSER", The People's Advocate and New South Wales Vindicator (8 December 1855), 3

http://nla.gov.au/nla.news-article251545997 

The friends of this accomplished musician, and who lately had interviews with, or communications from him, state that he indignantly denies all knowledge of the mendacious account of his reception in Sydney, and the character of its denizens, which appeared in Chamber's Journal. It is evident that the article was written with the malicious intent of lowering him in the estimation of the colonists With regard to his treatment by the whole of the Press: it may be asserted with the greatest truth, that no musician ever received more well merited eulogy than himself. The charge against the editors of Sydney newspapers of writing these criticisms for "a consideration" is as absurd as the whole of the article. "Time tells all things," we have little doubt therefore in the discovery of Miska Hauser's friend.

"MISKA HAUSER'S LETTER", Bell's Life in Sydney and Sporting Reviewer (8 December 1855), 2

http://nla.gov.au/nla.news-article59761187 

Our readers will doubtless have been amused by a perusal of the string of balderdash which has lately been extracted by our daily contemporaries from Chambers' Journal, purporting to be a description of the celebrated Hungarian's visit to Sydney, written by himself. Whilst the absurdities which it contains can only cause a smile of contempt amongst such ns have even the most superficial knowledge of our city, there are many persons in Europe, and even in England, who will implicitly believe them. It is, therefore, highly desirable for Miska Hauser's own sake, that the earliest and most complete contradiction should be giren to the allegation as to the authorship. It is true that the friends of the talented violinist have expressed their firm conviction that it is a hoax, but this is not sufficient. We have a right to expect Miska Hauser's personal denial of his having had any connection with so disreputable a transaction, for it is anything but flattering to our pride to be so infamously libelled (as alleged) by the mendacious pen of a foreign adventurer.

"MELBOURNE [FROM OUR CORRESPONDENT] DECEMBER 7 . . .", The Sydney Morning Herald (12 December 1856), 8

http://nla.gov.au/nla.news-article12978267 

"ANOTHER 'PICTURE OF COLONIAL LIFE'", Adelaide Times (18 December 1855), 2

http://nla.gov.au/nla.news-article207076430 

"MISKA HAUSER AND 'CHAMBERS' JOURNAL", Empire [Sydney, NSW] (5 January 1856), 5

http://nla.gov.au/nla.news-article60172031 

The following letter from the talented Hungarian violinist, Miska Hauser, appears in a late number of the Adelaide Weekly Dispatch: -

"To the Editor of the Weekly Dispatch.

"SIR - I regret to perceive in your paper this morning (18th December) a republication of an article absurdly attributed to me from Chambers' Journal. It is almost superfluous for me to say that I am not the author of the article in question; or to add that it is a tissue of falsehoods from beginning to end.

"The candour of the public mind will, I feel confident, receive this as my vindication from the charge of having published a gross and ignorant libel on the citizens of these colonies.

"I am, sir, your obedient servant,
MISKA HAUSER.

[News], The Sydney Morning Herald [NSW] (7 January 1856), 4

http://nla.gov.au/nla.news-article12981306 

[Editorial], The Sydney Morning Herald (8 January 1856), 4

http://nla.gov.au/nla.news-article28638607 

To the Editor of the Cornwall Chronicle.
SIR, - An article appeared in "Chambers' Journal, of 21st September, 1855, called "Concert in Sydney; or, the Wanderings of a Fiddler," and said to be from my pen. The article in question being of a low and damaging character, both as regards the people of Sydney, and myself as a professionalist and as a man, it is necessary I should take the most public means of denying the authorship and all knowledge of its existence, until it was shown me in print.

During my stay in Sydney, I only wrote one letter to Europe, to my father at Presburg, and to him I wrote briefly as I had experienced. My reception in Sydney was kind and flattering, and my success as a violinist was great.

In society, I was ever treated with respect and as a gentleman. I have much reason to remember, with kindly feeling, the people of Sydney. Every incident named in the article in question, as far as my experience goes, is untrue: the whole letter is a vile forgery, and apparently intended to do me an injury.

I shall take immediate steps with the Chambers, who own the journal to get at the wicked author, if possible.
I am, Sir,
Your obedient servant,
MISKA HAUSER.
Dec. 8, 1855.

"To the Editor of . . .", The Sydney Morning Herald (10 January 1856), 5

http://nla.gov.au/nla.news-article12982410 

"TASMANIA . . . HOAXING", The Sydney Morning Herald (11 January 1856), 5

http://nla.gov.au/nla.news-article12980499 

"A CONCERT IN SYDNEY", Launceston Examiner [TAS] (15 January 1856), 3

http://nla.gov.au/nla.news-article36295900 

"MISKA HAUSER'S REPUDIATION OF THE LIBEL ON SYDNEY IN CHAMBERS' JOURNAL", Empire (18 January 1856), 4

http://nla.gov.au/nla.news-article60172605 

"MISKA HAUSER AND CHAMBERS' JOURNAL", Launceston Examiner [TAS] (26 January 1856), 2

http://nla.gov.au/nla.news-article36296075 

"THE PRESS OF VICTORIA AND ITS CORRESPONDENTS", The Courier [Hobart, TAS] (7 February 1856), 2

http://nla.gov.au/nla.news-article2498458 

"MUNCHAUSEN IN MELBOURNE", The Age (1 May 1856), 2

http://nla.gov.au/nla.news-article154863610 

"CHAMBERS HOAXED", Geelong Advertiser and Intelligencer (30 May 1856), 3

http://nla.gov.au/nla.news-article93143749 

"MISKA HAUSER", The Sydney Morning Herald (5 July 1856), 5

http://nla.gov.au/nla.news-article12984493 

This gentleman is at present a sojourner in our city, and the musical public have, as was to be expected, hailed his return with the utmost cordiality and delight notwithstand the unworthy efforts of his anonymous calumniator in Chambers' Journal, to damage M. Hauser's reputation through the pages of that journal, with its world-wide circulation. It is to be hoped that the Messrs. Chambers will see it to be their duty to give to the public the name of the writer of the articles in question, and to which, on a former occasion, we made more pointed reference.

"HOW WE SPENT NEW YEAR'S DAY, 1856, IN AUSTRALIA", The Sydney Morning Herald (29 September 1856), 8

http://nla.gov.au/nla.news-article12987383 

1856

For all TROVE items tagged Miska Hauser for the year 1856:

https://trove.nla.gov.au/search/category/newspapers?l-publictag=Miska+Hauser&q&l-decade=185&l-year=1856 (TROVE tagged by Australharmony)

(Adelaide, SA, cont.)

Letter 22 (Adelaide, SA, 5 January 1856) - Read here

Letter 23 (Adelaide, SA, 1 February 1856 [sic]) - Read here

"EVENTS OF THE PAST YEAR . . . EDUCATION", South Australian Register (2 January 1856), 3

http://nla.gov.au/nla.news-article49745811 

. . . We greatly need education for the adult population, using the term education in its higher sense; and we trust that the time is not far distant when Adelaide may boast of a large public hall, capable of containing 1,500 persons, and furnished with every requisite appliance for mental culture. We see not, for instance, why the refining and elevating strains of Miska Hauser's violin should be restricted to those who can afford to pay 5s. each to hear them. If we had a large hall, in addition to the usual complement of high-price visitors, 500 working men and women might enjoy the same intellectual treat at a shilling per head. We hope that in this colony, the term "education" will extend beyond the word "schooling," and that means may be afforded for drawing away the masses from merely animal gratifications in favour of intellectual and ennobling pursuits . . .

3 January 1856, concert, Neale's Exchange

"MISKA HAUSER", South Australian Register (3 January 1856), 3

http://nla.gov.au/nla.news-article49746656 

The musical public are requested to bear in mind that Miska Hauser's concert, announced to have taken place yesterday (Wednesday) evening, was postponed in consequence of the fireworks announcement for the same evening; and that the performance will be given this evening in Neales's Exchange.

[Advertisement], Adelaide Times (3 January 1856), 1

http://nla.gov.au/nla.news-article207088092 

"MISKA HAUSER'S CONCERT", Adelaide Times (4 January 1856), 3

http://nla.gov.au/nla.news-article207088127 

"MISKA HAUSER", South Australian Register (4 January 1856), 2

http://nla.gov.au/nla.news-article49752816 

5 January 1856, afternoon concert, Neale's Exchange

[Advertisement], Adelaide Times (5 January 1856), 1

http://nla.gov.au/nla.news-article207088173 

"MISKA HAUSER'S DAY CONCERT", South Australian Register (7 January 1856), 3

http://nla.gov.au/nla.news-article49751833 

9 January 1856, "farewell" concert, Neale's Exchange

"MISKA HAUSER", Adelaide Times (8 January 1856), 2

http://nla.gov.au/nla.news-article207088249 

[Advertisement], South Australian Register (9 January 1856), 1

http://nla.gov.au/nla.news-article49751488 

"MISKA HAUSER'S CONCERT", Adelaide Times (10 January 1856), 3

http://nla.gov.au/nla.news-article207088313 

11 January 1856, benefit concert for Harriet Fiddes, Neale's Exchange

[Advertisement], South Australian Register (11 January 1856), 1

http://nla.gov.au/nla.news-article49745744 

January 1856, country tour

"MISKA HAUSER", South Australian Register (11 January 1856), 2

http://nla.gov.au/nla.news-article49745729 

[Advertisement], Adelaide Observer (12 January 1856), 8

http://nla.gov.au/nla.news-article161256394 

"GAWLER TOWN", Adelaide Times (17 January 1856), 2

http://nla.gov.au/nla.news-article207088526 

"MISKA HAUSER AT GAWLER TOWN", South Australian Register (18 January 1856), 3

http://nla.gov.au/nla.news-article49745607 

"MISKA HAUSER", South Australian Register (18 January 1856), 3

http://nla.gov.au/nla.news-article49745607 

We understand this inimitable artist is likely to carry away from Adelaide a prize which he himself considers would alone have amply recompensed his visit to South Australia. It came to his knowledge that Mr. Beyer, of Freeman-street had an old violin to which its former owner, the late Mr. Wallace, a musician of great colonial celebrity, attached immense value. Mr. Beyer, however, had formed a more moderate estimate of its worth, and actually sold it for £10 a few days before Miska Hauser heard of it. The purchaser of the violin from Mr. Beyer was found, and, as he consented for a trifling advance on his outlay to part with the Instrument, the Hungarian master found himself possessed of a veritable chef d'oeuvre of Stravidare, of Cremona. The tone of this instrument under the magic touch of Miska Hauser is, we understand, so surpassingly exquisite that its enthusiastic owner calculates upon achieving greater triumphs than ever in his divine art through its agency.

ASSOCIATIONS: Augustus Beyer (owner); Spencer Wellington Wallace (violinist)

21 January 1856, concert, Neale's Exchange

[Advertisement], South Australian Register (21 January 1856), 1

http://nla.gov.au/nla.news-article49752619 

"MISKA HAUSER'S CONCERT", South Australian Register (22 January 1856), 3

http://nla.gov.au/nla.news-article49749800 

"MISKA HAUSER'S CONCERT", Adelaide Observer (26 January 1856), 3

http://nla.gov.au/nla.news-article161256638 

22 and 23 January 1856, "farewell" concerts, Gawler Town and The Burra

[Advertisement], Adelaide Observer (19 January 1856), 1

http://nla.gov.au/nla.news-article161256498 

"MISKA HAUSER AT THE BURRA", Adelaide Observer (26 January 1856), 3

http://nla.gov.au/nla.news-article161256638 

25 January 1856, depart Adelaide

"SOUTH AUSTRALIA (FROM OUR OWN CORRESPONDENT) Adelaide, Jan. 23rd, 1850", The Argus (29 January 1856), 5

http://nla.gov.au/nla.news-article4829354 

. . . Miska Hauser leaves us, by the Havilah, this week. He was more enthusiastically received than ever at his last concert on Monday. They say he has bought for a small figure a very fine violin, which belonged to Mr. Wallace, brother of the composer. The Wizard Jacobs is going to try what he can do to amuse us next . . .

ASSOCIATIONS: John Lewis Jacobs (magician, musician)

"CLEARED OUT", Adelaide Observer (26 January 1856), 1 supplement

http://nla.gov.au/nla.news-article161256634

Friday, January 25 - . . . The steamer Havilah, 257 tons, Lowrie, master, for Melbourne. Passengers - Messrs. Lazaar, Grierson, C. H. Sayers, John Colton, Miska Hauser and Mr. Bial, in the cabin . . .

Melbourne, VIC (28 January to 11 June 1856)

"SHIPPING INTELLIGENCE. ARRIVED (HOBSON'S BAY)", The Age (29 January 1856), 2

http://nla.gov.au/nla.news-article154864502 

January 28. - Havilah, steamer, 337 tons. Captain Lourie, from Adelaide 25th inst. Passengers - cabin . . . Messrs. Miska Hauser, Bial . . . and 83 in the steerage.

"MISKA HAUSER", The Age (29 January 1856), 3

http://nla.gov.au/nla.news-article154864511 

This gentleman has returned to Melbourne after a highly-successful tour in two of the adjoining colonies. We believe that the accomplished violinist gave no less than nineteen concerts in Adelaide with unabated popularity, and he brings with him several new compositions which we hope we shall shortly have an opportunity of hearing in this city.

31 January 1856, first notice of publication of Ballad (Thou'rt like unto a flower)

"MISKA HAUSER", The Age (31 January 1856), 3

http://nla.gov.au/nla.news-article154865123 

This gentleman, whose return to Melbourne we noticed a day or two since, has just published another of the graceful compositions of his pen. It is a brief and simple ballad, purely and expressively phrased, and pervaded by a plaintive feeling. As numbers of the eminent violinist's admirers will no doubt be anxious to possess a copy of the latest production, we may mention that it may be obtained at Mr. Wilkie's Music Saloon, Collins street.

"NEW MUSIC", The Argus (31 January 1856), 6

http://nla.gov.au/nla.news-article4829525 

We have received a copy of a ballad, the music of which has been composed by Miska Hauser, the eminent violinist. The poetry, the first line of which "Thou'rt like unto a flower," we quote in default of a title, is pretty, and the sentiment is homely and genuine The melody which is in G, is at once graceful and original. The song ought to be on every pianoforte in the colony.

For details, see below, Ballad

7 February 1856, Emilie Smith's concert, Mechanics' Institution

"MISS SMITH'S CONCERT", The Age (7 February 1856), 2

http://nla.gov.au/nla.news-article154865400 

[Advertisement], The Age (7 February 1856), 1

http://nla.gov.au/nla.news-article154865405 

"MISS EMILIE SMITH'S CONCERT", The Age (8 February 1856), 3

http://nla.gov.au/nla.news-article154862250 

"MISS EMILIE SMITH'S CONCERT", The Argus (8 February 1856), 5

http://nla.gov.au/nla.news-article4830187 

11 February 1856, appearance at the Theatre Royal

"MISKA HAUSER", The Argus (2 February 1856), 5

http://nla.gov.au/nla.news-article4829683

We hear that the management of the Theatre Royal have arranged with this eminent violinist to give a series of performances next week.

"THEATRE ROYAL", The Argus (8 February 1856), 4

http://nla.gov.au/nla.news-article4830199 

12 February 1856, private concert, Mechanics' Institution

"CHAMBER MUSIC", The Argus (13 February 1856), 5

http://nla.gov.au/nla.news-article4830676 

We were much gratified yesterday in being present at a performance of classical instrumental music at the Mechanics' Institution. The entertainment, although private, was understood to be a kind of rehearsal of what is contemplated to be offered to public criticism in a few days. The performance consisted of Mozart's No. 1 quartett in G, Beethoven's quartetts in F and A, and a movement from Haydn's quartett founded upon the popular melody "God save the Emperor." The performers were - first violin, M. Miska Hauser, second violin, Herr Strebinger, viola, Mr. Thomas and violoncello, Mr. Lavenu. With such a cast unequalled in these colonies, it is scarcely necessary for us to assure our readers that the splendid selection was done every justice to. It is in contemplation to have a series of six classical concerts, to be guaranteed by subscription; and although the music is probably of too recondite a character to ensure general popularity with pleasure seekers, we feel pretty sure that there is taste in Melbourne to support an undertaking of the kind. We shall probably have further to say on this subject.

"CHAMBER CONCERTS", The Age (13 February 1856), 3

http://nla.gov.au/nla.news-article154864713 

We had the gratification yesterday of being present at a private performance of classical music, at the Mechanics' Institution: and when we mention that some of Mozart's and Beethoven's quartetts were interpreted by the following artistes: Primo Violino, Miska Hauser; Secondo, Herr Strebinger; Viola, Mr. Thomas; Violoncello, M. Lavenu, our readers will be enabled to estimate the treat we experienced. It is the first time such an opportunity of hearing music of the very highest class, executed by instrumentalists of such ability, has presented itself to us in the colony; and we cannot help regretting that we cannot spread so much enjoyment over a whole week, instead of having had it crowded into little more than an hour and a-half. Should this private performance prove to be - as we hope it will - preliminary to a series of subscription concerts, we can assure the musical portion of the public that they may anticipate such an intellectual entertainment as will satisfy the requirements of the most fastidious admirers of classical music.

ASSOCIATIONS: Lewis Henry Lavenu (cello); Herbert Thomas (viola)

MUSIC: String quartet in G, K 387 (Mozart); Variations on the Emperor's hymn, from the String quartet in C, op. 76 no. 3 (Haydn); String quartet in A, op. 18 no. 5, and String quartet in F, op. 18 no. 1 (Beethoven)

16 February 1856, first notice of publication of Chanson d'amour (Hauser), Sydney, NSW

[Advertisement], Empire [Sydney, NSW] (16 February 1856), 1

http://nla.gov.au/nla.news-article60173886 

THE Musical issue of the HARMONIUM [Harmonicon], published This Day, contains the song " When Maggie gangs awa," and "Chanson D'Amour," by Miska Hauser, and selection by Beethoven. JOHNSON AND CO.

"THE SYDNEY HARMONICON", The Sydney Morning Herald (26 February 1856), 5

http://nla.gov.au/nla.news-article12973904 

16, 18, 21, 22, and 23 February 1856, appearances at Coppin's Olympic

[Advertisement], The Age (16 February 1856), 1

http://nla.gov.au/nla.news-article154864803 

"COPPIN'S OLYMPIC. MISKA HAUSER", The Age (18 February 1856), 3

http://nla.gov.au/nla.news-article154863670 

"COPPIN'S OLYMPIC", The Age (19 February 1856), 3

http://nla.gov.au/nla.news-article154865246 

25 February 1856, Emilie Smith's concert, Mechanics' Institution

[Advertisement], The Age (23 February 1856), 1

http://nla.gov.au/nla.news-article154866293 

"MISS EMILIE SMITH'S CONCERT", The Argus (26 February 1856), 5

http://nla.gov.au/nla.news-article4831705 

"MISS EMILIE SMITH'S CONCERT", The Age (26 February 1856), 3

http://nla.gov.au/nla.news-article154866889 

27 February 1856 and following, appearances at Coppin's (late Astley's) Royal Amphitheatre

"THE THEATRES", The Argus (27 February 1856), 5

http://nla.gov.au/nla.news-article4831781 

"MELBOURNE", The Sydney Morning Herald [NSW] (29 February 1856), 2

http://nla.gov.au/nla.news-article12976283 

"THE THEATRES", The Age (29 February 1856), 3

http://nla.gov.au/nla.news-article154865618 

[Advertisement], The Age (1 March 1856), 1

http://nla.gov.au/nla.news-article154861807 

[Advertisement], The Argus (3 March 1856), 8

http://nla.gov.au/nla.news-article4832170 

[Advertisement], The Age (4 March 1856), 1

http://nla.gov.au/nla.news-article154866158 

[Advertisement], The Argus (6 March 1856), 7

http://nla.gov.au/nla.news-article4832516 

VIOLIN, Cremona, to be Sold a bargain. Been in use by Miska Hauser. Glass Cottage, Victoria-parade.

ASSOCIATIONS: Address of Robert Smith (pianoforte maker), father of Emilie Smith (pianist)

Regional tour, western VIC (Warrnambool, Belfast [Port Fairy], Portland)

"MELBOURNE ARTISTS IN THE WEST", The Argus (20 March 1856), 5

http://nla.gov.au/nla.news-article4833544. 

"WARRNAMBOOL", Portland Guardian and Normanby General Advertiser (24 March 1856), 3

http://nla.gov.au/nla.news-article71573927 

[News], The Argus (24 March 1856), 6

http://nla.gov.au/nla.news-article4833825 

"MISKA HAUSER", Portland Guardian and Normanby General Advertiser (26 March 1856), 3

http://nla.gov.au/nla.news-article71573949 

[Advertisement], Portland Guardian and Normanby General Advertiser (28 March 1856), 1 supplement

http://nla.gov.au/nla.news-article71573967 

"MISKA HAUSER'S CONCERT", Portland Guardian and Normanby General Advertiser (31 March 1856), 3

http://nla.gov.au/nla.news-article71573985 

Melbourne

"SHIPPING INTELLIGENCE. ARRIVED", The Age (10 April 1856), 2

http://nla.gov.au/nla.news-article154866584 

"THE THEATRES", The Argus (14 April 1856), 5

http://nla.gov.au/nla.news-article4835379 

"FAREWELL CONCERT", The Argus (17 April 1856), 6

http://nla.gov.au/nla.news-article4835667 

Regional tour, central and northern VIC

"THEATRICAL AND MUSICAL", The Argus (19 May 1856), 5

http://nla.gov.au/nla.news-article4838199 

Madame Carandini, Miska Hauser, and Mr. Lavenu have been giving a series of musical entertainments at Beechworth with great success.

"ALBURY", Portland Guardian and Normanby General Advertiser (26 May 1856), 3

http://nla.gov.au/nla.news-article71574296 

"GOULBURN", The Sydney Morning Herald (3 June 1856), 3

http://nla.gov.au/nla.news-article12983292 

"LOLA MONTES", The Age (11 June 1856), 3

http://nla.gov.au/nla.news-article154861360 

Sydney, NSW (16 June to 5 November 1856)

"SHIPPING INTELLIGENCES. ARRIVALS.', Empire (17 June 1856), 4

http://nla.gov.au/nla.news-article60249356 

June 16, - London, steamer, 600 tons, Captain Watts, from Melbourne the 11th Instant. Passengers - . . . Mr. Miska Hauser . . .

25 June 1856, concert, Royal Hotel

[Advertisement], The Sydney Morning Herald (25 June 1856), 1

http://nla.gov.au/nla.news-article12984059 

"CONCERT HALL, ROYAL HOTEL", The Sydney Morning Herald (26 June 1856), 5

http://nla.gov.au/nla.news-article12984137 

"MISKA HAUSER'S CONCERT", Empire (26 June 1856), 5

http://nla.gov.au/nla.news-article60249796 

"MISKA HAUSER'S CONCERT", Freeman's Journal (28 June 1856), 3

http://nla.gov.au/nla.news-article115562616 

[Advertisement], The Sydney Morning Herald (28 June 1856), 8

http://nla.gov.au/nla.news-article28634808 

NEW EDITION of Miska Hauser's Rain Drops in Australia, 3s. Plano solo, illustrated. WOOLCOTT and CLARKE.

2 July 1856, concert, Royal Hotel

[Advertisement], The Sydney Morning Herald (2 July 1856), 1

http://nla.gov.au/nla.news-article12984305 

"MISKA HAUSER'S CONCERT", The Sydney Morning Herald (3 July 1856), 5

http://nla.gov.au/nla.news-article12984387 

"MISKA HAUSER'S CONCERT", Empire (3 July 1856), 5

http://nla.gov.au/nla.news-article60250119 

"MISKA HAUSER", The Sydney Morning Herald (5 July 1856), 5

http://nla.gov.au/nla.news-article12984493 

This gentleman is at present a sojourner in our city, and the musical public have, as was to be expected, hailed his return with the utmost cordiality and delight notwithstand the unworthy efforts of his anonymous calumniator in Chambers' Journal, to damage M. Hauser's reputation through the pages of that journal, with its world-wide circulation. It is to be hoped that the Messrs. Chambers will see it to be their duty to give to the public the name of the writer of the articles in question, and to which, on a former occasion, we made more pointed reference.

"Summary for England . . . LITERATURE AND FINE ARTS", Empire (7 July 1856), 5

http://nla.gov.au/nla.news-article60250306 

. . . Miska Hauser, the celebrated Hungarian violinist, and the ill-used fictitious "Wandering Minstrel" of Chambers's Journal is now staying in Sydney, and "enrapturing" his audiences by the immortal "Carnival," and Ernst's "Elegie Sentimentale." The Governor-General and the elite of Sydney are the patrons of his concerts . . .

8 July 1856, concert, Sydney Philharmonic Society

[Advertisement], Empire (8 July 1856), 1

http://nla.gov.au/nla.news-article60250344 

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (9 July 1856), 5

http://nla.gov.au/nla.news-article12984642 

. . . The great gem, and we might say the principal attraction of the evening, was the solo on the violin by the unrivalled Miska Hauser. The music for the solo was arranged by Miska Hauser himself from the opera of "Lucrezia Borgia," but of the style in which it was rendered it would be supererogatory to speak. Suffice it to say that the spell in which he bound his auditory from the moment he drew his magic bow, only relaxed when he had half-bowed himself away, but then, such an outburst of applause followed as has been rarely heard in a concert room. The violinist returned, and treated the audience to that exquisite morceau known as his "Cappricio," or "The Bird on the Tree" . . .

4 August 1856, concert, Royal Hotel

[Advertisement], Empire (4 August 1856), 1

http://nla.gov.au/nla.news-article60251599 

UNDER THE PATRONAGE OF THE SYDNEY PHILHARMONIC SOCIETY. -
Patron, His Excellency the GOVERNOR-GENERAL; Patroness, LADY DENISON, who have signified their intention of being present.
MISKA HAUSER, has the honour to announce that his Last Concert will take place THIS (Monday) EVENING, 4th August, at the CONCERT HALL, ROYAL HOTEL.
PROGRAMME. - PART I.
Grand Sextuor, for two violins, two violas, violincello, and double bass, composed by Mayseder.
Synopsis of movements - 1. Allegro. - 2. Adagio. - 3. Scherzo. - 4. Finale.
Performed by MISKA HAUSER, Mr. Paling, Mr. John Deane, a Gentleman Amateur, Mr. Edward Deane, and Mr. George Loder.
PART II.
Fantasia on favourite airs, by Donnizetti - Composed and performed by MISKA HAUSER
Vocal Duet - "The Greeting," - composed by Mendelssohn, Miss Flora Harris, and Mr. George Loder.
Grand Duetto, from "Guillaume Tell," for Piano and Violin, by Osborne and De Beriot - performed by a Young Lady Amateur and MISKA HAUSER
Patriotic Song - "What will they say in England," Hobbs, Miss Flora Harris
Three Songs without words - Composed and executed by MISKA HAUSER.
- 1. Devotion. 2. La Capricieuse. 3. Cradle Song
PART III.
Quartetto - Variations on "God Save the Queen," for two violins, viola, and violincello, composed by Onslow
- Performed by MISKA HAUSER, Mr. John Deane, a Gentleman Amateur, and Mr. Edward Deane
Vocal Duet - "The Syren and Friar," composed by Louis Emanuel - Miss Flora Harris, and Mr. George Loder
Piano Solo - "La Cracovienne," composed by Wallace, - Performed by a young Lady Amateur
De Beriot's Grand Tremolo upon an Air, by Beethoven by MISKA HAUSER.
Conductor - Mr. STANLEY.
Intermission of ten minutes between the parts.
Front seats. 7s. 6d. ; back seats, 5s. Tickets can be had from Mr. E. Paris, Honorary Secretary, to the Sydney Philharmonic Society, 16, Jamison-street; Mr. Johnson's, Pitt-street; Mr. Mader's, George-street; Messrs. Woolcott and Clarke's, George-street; Mr. Coles's, Freemasons' Hall. Doors open at half-past seven, commence at eight precisely.

"MISKA HAUSER'S LAST CONCERT", The Sydney Morning Herald (5 August 1856), 5

http://nla.gov.au/nla.news-article12985651 

The last of Miska Hauser's series of concerts was given last evening in the Concert Hall of the Royal Hotel, on which occasion a numerous and fashionable audience assembled to do honour to the distinguished violinist. The programme was one of a most attractive character for the lovers of instrumental music, comprising a grand sextuor, by Mayseder, for two violins, two violas, violoncello, and double bass; a duetto, by Osborne, and De Beriot, for piano and violin; a quartette, by Onslow, and several violin solos, some composed, and all executed by Miska Hauser. The sextuor and quartette were both loudly applauded, and but for the lengthy nature of the compositions, would have been encored, as it was, the Scherzo movement of the former narrowly escaped a repeat. In the fantasia, on airs from Lucia di Lammermoor, Miska Hauser was loudly encored, and on re-appearing, substituted for the fantasia, a Capriccio on a popular English air, the Buffo nature of some of the variations causing shouts of laughter to mingle with the applause. So, in the three songs composed and executed by this talented violinist, an encore was insisted upon, when the artist replaced the original air with a fantasia, in which he showed the wonderful power he possesses of his instrument by some exceedingly clever and rapid movements, as well as by the execution, in a most amusing style, upon one string, of the homely airs of "Lucy Long," "Home sweet Home," and "Yankee Doodle." The Grand Tremolo, by Beethoven, was also a masterpiece of execution, and would have been again called for, but for the lateness of the hour . . .

"MISKA HAUSER'S CONCERT", Empire (5 August 1856), 4

http://nla.gov.au/nla.news-article60251690 

The eminent violinist, Miska Hauser, gave his farewell concert, at the Royal Hotel, last evening, under the patronage of the Philharmonic Society. His Excellency and Lady Denison, the Patron and Patroness of the Society, honoured the concert with their presence, and the Hall in which it was hold was crowded with a fashionable audience. The best available talent of Sydney assisted on the occasion; and the entertainments selected comprised many of the favourite pieces of the first masters. Miska Hauser was received throughout with rapturous and enthusiastic applause, those who have ever enjoyed the pleasure of hearing him will know how well deserved. A decidedly rare and interesting feature of the entertainment was the performance on the pianoforte, by a "young lady amateur," of a "grand duetto" from Guillaume Tell (in which she was assisted by Miska Hauser on the violin), and a solo, La Cracovienne (composed by Wallace), in which she sustained the reputation which she has for a long time enjoyed among a large circle of admiring friends. Her execution, which combines exceeding delicacy with decision of touch and great power of expression, was rewarded with much applause; the almost uniform opinion of the audience being that, though amateur in name, she was equal to many professionals of acknowledged talent. Doubtless the approbation with which she was greeted may have the effect of stimulating other Australian ladies to attain similar proficiency in this elegant and delightful accomplishment.

"MISKA HAUSER'S LAST CONCERT", Freeman's Journal (9 August 1856), 3

http://nla.gov.au/nla.news-article115561578 

On Monday evening last, Miska Hauser gave his Farewell Concert at the Royal Hotel. A crowded and brilliant house evidenced the appreciation in which this prince of performers on the violin is held by the elite of Sydney. We have already - and so very recently - given our opinion on his performances, that further comment is needless. In the Vocal Duet, "The Syren and Friar," Miss Flora Harris and Mr. G. Loder elicited general applause. The performance of a young lady amateur on the piano was one of the richest treats of the evening. Her brilliant style of execution pleasingly surprised the audience. We regret our space does not permit us to point out a few of her many excellencies. We hope, however, to feast once again on the divine ambrosia of her music, and do her more ample justice. There was a general feeling of satisfaction manifested by the audience.

"WEEKLY EPITOME", The Sydney Morning Herald (11 August 1856), 3

http://nla.gov.au/nla.news-article12985794 

The concert given by Miska Hauser on Monday evening last, in the Concert Hall of the Royal Hotel, deserves notice, from the introduction in the programme of a Sextuor, composed by Mayseder, and a quartette, variations on " God Save" the Queen," composed by Onslow, both of which were performed for the first time in the colony. The compositions are of that graceful character which engages at once the unprofessional as well as the professional ear; the execution was scrupulously correct, the harmony perfect, the fugue passage in "God Save the Queen," the preservation of the air, all through by the bass viol, to together with the brilliant leading variations by Miska Hauser, leaves one something worth remembering in having heard it. Of Miska Hauser's solo playing it is unnecessary to offer comment; his perfect tone, the liquid notes which he produces, combined with an extraordinary memory, stamp him as a violinist of the first order.

"MUSIC AND THEATRICALS", The People's Advocate and New South Wales Vindicator (16 August 1856), 5

http://nla.gov.au/nla.news-article251541145 

The immense success of Catherine Hayes, not as regards empty plaudits; - but success in the financial sense of the word, has attracted many distinguished artistes to our shores, who, however, have found, to their cost, that, whatever may have been the amount of our admiration; the amount that we have been disposed to disburse in the way of admission tickets, has been quite another thing. With all her eminent ability, Madame Anna Bishop profited but little, if scarcely anything, by her visit to Sydney. Miska Hauser, perhaps the greatest violinist of the present day, was received with enthusiasm applauded to the very echo; feted on all sides; but one very essential ingredient was wanting amongst all these laudations; - the result of his brilliant displays were not remunerative to himself, whatever might have been the case with the lessees of the establishments where he performed. He accordingly visited the sister colonies of Victoria and Tasmania, and was received not only with open hands, but with open purses. Returning to Sydney from this tour, he announced a concert, the programme of which included selections of the highest class of music. There were scarcely thirty persons present, amongst whom there were but three members of the Philharmonic Society, whose concerts he had, on his former visit so often played gratuitously! His second concert was even worse. It is true that, at last, the society seemed to have become ashamed of their unpardonable apathy and neglect, and condescended to offer their patronage at a concert which was given last Monday week. But full as was the Concert Hall on that evening, there is no disguising the fact, that this arose from the active exertions of the influential friends of the "Young Lady Amateur," who were naturally desirous to give her a flattering reception.

Then again, look at the most inhospitable reception (or rather no reception) given to the talented opera company whom that enterprising and liberal entrepreneur, Mr. Black, engaged in England for a series of operatic performances in the Australian colonies. Forming a powerful corps musicals in themselves, provided with full scores and libretti of the most popular operas; and with wardrobes of the richest description; - in a word, with all the appliances necessary to produce the lyrical drama in a high degree of excellence, the spirited speculation of Mr. Black, has, in so far as Sydney is concerned, proved an utter failure. - "Do you think," said an artiste, "that the music-lovers of Sydney will come to my concert, if I send them free admissions and pay their cab hire?" There is much matter for consideration in this bitter question; but we believe that the reasons of the non-success of both musical and theatrical speculations are easily traceable. In the first place to the ruinous competition of the three theatres, and the Concert Halls, at the Royal Hotel and School of Arts. And as regards the musical profession, it has to contend with the ruinous opposition which the ill-directed Philharmonic Society offers to professional exertions. This institution, ostensibly established for the encouragement of musical science is its veriest bane. Fixing their subscriptions at a rate which makes each single ticket no higher than one shilling and nine-pence, they expect professional stars both of high, and lesser magnitude to perform at their concerts for nothing! Of course, when the same stars wish to give concerts for themselves, and have to pay the artistes who assist them, and fix the price of their tickets accordingly, - they are, at once, met with the remark, "Oh ! we cannot afford to give you five shillings for a ticket when our subscription ticket of the Philharmonic Society costs us but one shilling and nine pence?" This anomalous state of things, whilst it has long disgusted the profession, begins to attract the members of the Society; nay; even of the same committee themselves; and the sooner the Society is remodelled the better. At present, its managerial arrangements are in general disrepute. Other causes for failure as regards both musical and theatrical entertainments may be named, such as the shameful state of the streets, and the miserable lighting of the city; so that, on dark nights, the concert, or play-goer, having ladies under his care, has no resource but to take a cab, and as the drivers extort what they like, without the remotest chance of punishment, the victim finds, that he has to pay more for a drive from Woolloomooloo to either of the theatres, than for a cabin passage to Maitland and back in a first class steamer.

To this subject which refers to an intolerable nuisance, and one which ought to have been put down long ago by the police authorities, we may again return. To turn, however, from the discussion of disagreeable causes and effects, let us devote some small space to record what has been agreeable during the past week or two. And first we must refer to Mr. Miska Hauser's farewell concert which took place on Monday evening, the 4th instant, at the Concert Hall, Royal Hotel; under the patronage of the Sydney Philharmonic Society; - His Excellency the Governor-General, patron, and Lady Denison, patroness, being present. About six hundred of the elite of Sydney composed the audience. As regards the instrumental music, to which the programme was mainly confined, this concert was decidedly superior to any that has hitherto been attempted in Sydney. The first part consisted, exclusively, of a grand sextuor by Mayseder (one of that great master's finest composition). The two violins were in the hands of Miska Hauser and M. Paling; the two violas, Mr. John Deane (whom we are glad to welcome back to Sydney), and a gentleman amateur. Violincello, Mr. Edward Deane, Double Bass, Mr. George Loder. The four movements, Allegro, Adagio, Scherzo, and Finale, were performed in a style, which we fearlessly assert, could not be surpassed in any music hall in Europe. The same may be said of the rendering on Onslow's famous quartetto, "Variations on God save the Queen," which but for consideration to the performers, would have received an unanimous encore.

Of the splendid solo performances of Miska Hauser it is unnecessary to speak in detail; each piece was rapturously encored; he substituting, when responding to the calls, his well-known the "Caranval de Venise," "The Bird on the Tree," and "The Last Rose of Summer." The next attraction of the evening was the debut of a Young Lady Amateur, a pupil of that accomplished preceptress, Mrs. Logan. Report had spoken highly of the singular talent of this accomplished demoiselle, nor were those who credited the report disappointed. She is, in a word, a pianiste of a very high order, combining brilliancy of execution, with delicacy of touch, and graceful expression. She was enthusiastically received, and her success was complete. The vocal music was confided to Miss Flora Harris, and Mr. George Loder. The former in that spirited song of the Crimea, "What will they say in England?" gained additional laurels. The high estimation in which the name of Loder has for many years been held in the musical world of Europe, has secured for Mr. George Loder, a member of that talented family, a most cordial welcome upon his arrival here; and his performances on last Monday week, both us an instrumentalist, and a vocalist, fully maintained the prestige of his name. Mr. Stanley conducted the concert with his usual skill and care.

It will be seen by an advertisement in another column that M. Miska Hauser proposes to give a series of Classical Chamber Concerts, with the view of producing quintetts, quartetts, trios, duets, &c., from the works of Beethoven, Mozart, Sphor [Spohr], Haydn, Mendelssohn, Onslow, Hummel, and other great masters. The details of the arrangements will he under the direction of Mr. George Loder. We understand, that M. Hauser has taken the new Theatre of the School of Arts for these concerts; which, from its capacity, and accommodation, is admirably adapted for this purpose.

ASSOCIATIONS: Young lady amateur = Hannah Aldis (piano); William Henry Paling (violin); John Deane (viola); Edward Smith Deane (cello); George Loder (double bass); John Melton Black (Melbourne theatre proprietor); English Opera Company

Proposed series of chamber music concerts

[Advertisement], The Sydney Morning Herald (11 August 1856), 6

http://nla.gov.au/nla.news-article12985801 

PROSPECTUS. - Classical Chamber Concerts.
MISKA HAUSER respectfully announces to the lovers of classical chamber music his intention of instituting a series of entertainments of the above class; to produce in perfection the quintetts, quartetts, trios, duets. &c., &c., of Mozart, Haydn, Beethoven, Spohr, Mendelssohn, Onslow, Hummel, and other great lights of art, who, by their genius, have irradiated the family circle, and whose honored names are "household words" in all climes.

As the production of the exquisite works involve a considerable expenditure, and although music has been always warmly patronised in this colony, yet, as this peculiar class of compositions can, at first, be expected to attract the patronage only of the educated amateur, Mr. Hauser would not feel justified in undertaking this enterprise unless secured (in some degree) from the probability of loss.

He therefore, having associated with himself the well known composer, director, and conductor, Mr. George Loder (whose opportune arrival in Sydney, and experience in musical direction are fortuitous circumstances in aid of this enterprise), begs leave to announce his intention, as soon as the necessary subscriptions can be obtained, of giving series of
THREE CLASSICAL CHAMBER CONCERTS.
Terms of subscription, one guinea the three concerts.
Single tickets (sold only to subscribers' friends), half-a guinea.
Subscriptions received at Messsrs. Woolcott and Clarke's; Johnson and Mader's music shops; of Mr. Aldis, George-street; and of several gentlemen who take a warm interest in the success of the enterprise.
Due notice will be given of the first concert, when full programmes and particulars will be announced.

"CLASSICAL MUSIC", The Sydney Morning Herald (12 August 1856), 4

http://nla.gov.au/nla.news-article12985862 

There is no sight more gratifying to the philanthropist than that of witnessing the spread of the humanizing arts in a new country, and we believe there is no study which combines so large an amount of gratification and permanent benefit, than the pursuit of sound classical music, not indeed for sensuous pleasure derived thereby, but from the pure, invigorating, and healthy state of society that everywhere exists where music is the principal means of recreation. It is very true that the divine art is in its infancy at the antipodes; for here as Collins says "Music, heavenly maid, is young." It is but recently we have heard the immortal chords of Beethoven, and other great writers, but with the growth of the colony may we not hope for the rapid spread of that science which has done so much to unite the human race in bonds of sympathetic feeling, and to heighten domestic happiness, than any other known pursuit. We have been led into this train of thought, from the concert of last Monday, at the Royal Hotel, and also the receipt of a prospectus published this day in our columns, from Miska Hauser, who, in addition to the great delight he has universally afforded, and at the request of a number of musical families, has consented to gratify the public with a class of music, before his departure from the colony, that we hardly dared to hope would be ours for some years to come. This talented musician proposes to give three classical chamber concerts, by subscription should there be sufficient to include the compositions of Beethoven, Mozart, Haydn, Mendelssohn, and other great authors. Miska Hauser will be assisted by Mr. George Loder, a distinguished conductor and author, recently arrived amongst us, and whom we hear will have the entire management of all the details of the series. Several amateurs, we hear, have also offered their services, and we have no doubt the musical treat in store is one that may not occur again for some time to come, and we advise all lovers of good music to avail themselves of the present opportunity. As soon as the subscription lists are filled the programme will be published.

[Advertisement], Empire (18 August 1856), 1

http://nla.gov.au/nla.news-article60252190 

[As first advertisement but with additional mention of the Deanes] . . . He, therefore, having associated with himself the well-known Composer, Director, and Conductor, Mr. George Loder . . . and the well-known Musicians, the Messrs. Deanes, whose reputation is so firmly established in this colony . . .

"MUSIC AND THE DRAMA", The Age (3 September 1856), 3

http://nla.gov.au/nla.news-article154872544 

Miska Hauser and Madame Cailly have been giving some very successful concerts at the Royal Hotel, Sydney . . . Miska Hauser himself has temporarily relinquished his intention of giving a series of Chamber Concerts. It is probable he finds his ordinary style of entertainment more palatable to the genera! public, and he can have no wish to run counter to their desires.

27 August 1856, concert, Royal Hotel

"MISKA HAUSER'S CONCERT", The Sydney Morning Herald (27 August 1856), 8

http://nla.gov.au/nla.news-article12986409 

We need scarcely to find our musical friends that Miska Hauser has provided an intellectual treat this evening at the Royal Hotel, and that future concerts will be contingent upon the patronage of the one this evening. Notwithstanding the numerous attractions of the week we can not conceive it possible that so great an artist as Miska Hauser will be forgotten by the lovers of classical vocal music, although, up to the present time, he has not been supported to any great extent in this city.

[Advertisement], The Sydney Morning Herald (27 August 1856), 1

http://nla.gov.au/nla.news-article12986399 

"MISKA HAUSER'S CONCERT", Empire (28 August 1856), 3

http://nla.gov.au/nla.news-article64975428 

"MISKA HAUSER'S CONCERT", The Sydney Morning Herald (30 August 1856), 5

http://nla.gov.au/nla.news-article28635202 

3 September 1856, concert, Royal Hotel

[Advertisement], The Sydney Morning Herald (3 September 1856), 1

http://nla.gov.au/nla.news-article12986644 

"MADAME CAILLY'S CONCERT", The Sydney Morning Herald (4 September 1856), 4

http://nla.gov.au/nla.news-article12986670 

"MADAME CAILLY'S CONCERT", The People's Advocate and New South Wales Vindicator (6 September 1956), 2

http://nla.gov.au/nla.news-article251540208 

"MADAME CAILLY'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (7 September 1856), 2

http://nla.gov.au/nla.news-article59762570 

12 September 1856 (first advertised for 8th), concert, Royal Hotel

[Advertisement], Empire (12 September 1856), 1

http://nla.gov.au/nla.news-article64976296 

"MISKA HAUSER'S CONCERT", Empire (13 September 1856), 4

http://nla.gov.au/nla.news-article64976472 

Miska Hauser gave a "Classical, Instrumental, and Vocal Concert," in the large hall of the Royal Hotel last evening. The names of Madame Cailly and Mr. Edward Boulanger graced the programme of the evening's entertainment, the principal feature in which was Haydn's quartet in C major for two violins, viola, and violincello. This piece was very finely rendered - the delicate beauties of the second, or adagio, movement, being brought out with much chastity of feeling and dexterity of touch. The artistes who took part in it were Messrs. Hauser, Denne, E. Denne, and a gentleman amateur. In the second part Madame Cailly gave the immortal "Robert toi que j'aime" with fine taste and originality of conception. In the third part, Miska Hauser's "Bird on the tree" was rendered with all those wonderful niceties of manipulation for which the musician has made himself so celebrated. Mr. Boulanger's pianoforte playing was all through the concert of the very highest order.

"MISKA HAUSER'S CONCERT", The Sydney Morning Herald (13 September 1856), 4

http://nla.gov.au/nla.news-article28635421 

ASOCIATIONS: Clarisse Cailly (soprano); Edward Boulanger (piano)

17 September 1856, concert, Parramatta

[Advertisement], The Sydney Morning Herald (16 September 1856), 1

http://nla.gov.au/nla.news-article12987024 

[Advertisement], Empire (24 September 1856), 1

http://nla.gov.au/nla.news-article64977032 

NEW BALLAD. - "Thou'rt Like unto a Flower," composed by MISKA HAUSER, price 1s. 6d. PAISEY AND FRYER, George-street.

13 October 1856, concert, Sydney Philharmonic Society

"THE PHILHARMONIC", The Sydney Morning Herald (13 October 1856), 5

http://nla.gov.au/nla.news-article12987822 

The Sydney Philharmonic Society gives its subscribers and friends a musical treat this evening, at the Royal Hotel, the programme consisting of some choice selections from the Philharmonic Library. Miska Hauser, the talented violinist, plays some of his favourite melodies, and the Messrs. Deane give one of their celebrated quintettes, and one or two distinguished amateurs have also offered their assistance. Thalberg's splendid fantasia for the piano, from Rossini's opera of "Moses in Egypt," by an Australian amateur, and a spirited duo of De Beriot and Benedict for the piano and violin, by Miska Hauser and a lady amateur, are amongst the attractions of the programme.

[Advertisement], Empire (13 October 1856), 1

http://nla.gov.au/nla.news-article64978023 

SYDNEY PHILHARMONIC SOCIETY. -
The next Concert of the Season will take place THIS (Monday) EVENING, 13th instant, at the Concert Room, Royal Hotel.
PROGRAMME.
PART I.
Overture - Fauchon - Himmel
Glee
Quintette - "Allegro and Scherzo" - Mayseder - M. HAUSER, J. Deane, E. Deane, and Gentlemen Amateurs
Glee
Duet, Piano and Violin - "Benedict and De Beriot" - Lady Amateur and MISKA HAUSER.
PART II.
Symphony - No. 3, G. Minor - Mozart
Glee
Solo, Piano - Lady Amateur
Solo, Violin - "Mother's Prayer," Ole Bull - MISKA HAUSER
Overture - "Les Diamans de la Couronne," Auber.
Doors open at seven o'clock, commence at half-past seven o'clock.
Visitors and extra Ladies tickets can be purchased by members and subscribers, on application to the Treasurer, Mr. MOUNTCASTLE, George-street; or to E. PARIS, Honorary Secretary, 16, Jamison-street.

"SYDNEY PHILHARMONIC SOCIETY", Empire (14 October 1856), 5

http://nla.gov.au/nla.news-article64978121 

This society gave the second concert of the season last evening at the Royal Hotel. The programme of the entertainment included among other pieces on allegro and scherzo by Mayseder - very finely executed by Miska Hauser, J. Deane, E. Deane and amateurs - the G minor (Op. No. 3) of Mozart, and a duet for piano and violin by De Beriot and Benedict. This last piece was most beautifully given by Miska Hauser and a lady amateur, and elicited the warmest applause from the audience. Beside Madame Pleyel we have heard few pianistes who for dexterity and brilliancy of touch - originality of reading - and fine perception of light and shade - have outrivalled this "lady amateur." We trust very shortly to hear her again. On the whole the concert passed off in the satisfactory manner, enthusiastic and well deserved encores being the order of the night.

MUSIC: See here for Julius Benedict's collaborations with De Beriot, op. 18 (on La sonnambula) op. 19, op. 28 (on Norma)

William Stanley Jevons, letter, Sydney [? late 1856]; ed. in R. D. Collinson Black (ed.), Papers and correspondence of William Stanley Jevons, vol. 2: correspondence 1850-1862 (London: Macmillan, 1973), 250-51 (Letter 94)

https://books.google.com.au/books?id=Ds2uCwAAQBAJ&pg=PA250 (PREVIEW)

. . . I might do a deal more at Meteorology & such things only that my Music takes up such an awful deal of my time. I have got, as perhaps you know, a moderately good harmonium on which I play for an hour or two per day an indiscriminate mixture of Operas & Oratorias, Sacred or Profane, beautiful and sublime musical compositions in much of my usual style of execution. It does not seem to injure anybody else, nor myself either, so I play away by myself to my hearts content, and say as people always say of music "its no harm". I likewise attend most of the Concerts in Sydney, and it is my firm belied that if I were in London I should go to some concert or theatre every night for three months. The last Philharmonic Soc.'s concert was a very good one as we had Miska Hauser a first rate violin player whose playing I was delighted with. I was also somewhat pleased to see a fair assemblage of the ladies of Australia, most of them young . . .

13 October 1856, concert, Sydney Philharmonic Society

[Advertisement], The Sydney Morning Herald (13 October 1856), 1

http://nla.gov.au/nla.news-article12987800 

"SYDNEY PHILHABMONIC SOCIETY", Empire (14 October 1856), 5

http://nla.gov.au/nla.news-article64978121 

"THE PHILHARMONIC SOCIETY", The Sydney Morning Herald (15 October 1856), 8

http://nla.gov.au/nla.news-article12987921 

23 October 1856, concert, Royal Hotel

"MISKA HASUER", The Sydney Morning Herald (17 October 1856), 4

http://nla.gov.au/nla.news-article12987972 

We have much pleasure in informing our musical friends that a meeting of gentlemen took place yesterday, when it was unanimously agreed that a complimentary farewell concert should be given to this talented artiste and if all the arrangements can be completed, the concert would come off next week, of which due notice will be given.

[Advertisement], The Sydney Morning Herald (20 October 1856), 1

http://nla.gov.au/nla.news-article12988048   

NOTICE. - The friends of MISKA HAUSER having fixed THURSDAY next, October 23rd, at the Royal Hotel, for the complimentary Farewell Concert, request all applications for tickets may be made to Mr. W. H. ALDIS, after Monday next. Front seats, 7s. 6d.; back seats, 5s.

[Advertisement], Empire (23 October 1856), 1

http://nla.gov.au/nla.news-article64978637 

FAREWELL CONCERT TO MISKA HAUSER. (His last appearance in Sydney.) -
THIS DAY, Thursday, October 23, 1850, at the Royal Hotel. Programme of the Concert :
PROGRAMME.
PART I.
1. Andante et Rondo di Concerto - Miska Hauser
2. Song (composed expressly for Mr. F. Ellard), by Miska Hauser - Mr. F. Ellard.
8. Grand Trio for piano, violin, and violoncello, Andante and Finale Movements - Young Lady Amateur, Miska Hauser, and Mr. E. Deane. - Mendelssohn
4. Cavatina, " Robert le Diable," Madame Clarisse Cailly. - Meyerbeer
5. Fantasia on airs from Lucrezia Borgia, Miska Hauser. - Hauser
PART II.
1. (By particular desire) "The Mother's Prayer," Miska Hauser. - Ole Bull
2. Song, "Casta Diva," Madame Clarisse Cailly. - Bellini
3. La Gazelle (grand solo piano), Young Lady Amateur - Kullak
4. The Irish Bouquet, Miska Hauser. - Hauser
5. Finale - Quartette for two violins, tenor, and violoncello, "God save the Queen," with variations, Miska Hauser and the Messrs. Deane. - Onslow
Mr. STANLEY, Conductor.
Tickets-Front seats, 7s. Gd. ; Back seats, 5s. To be had at Mr. Clarke's, bookseller, George-street; Mr. Aldis, Mr. Mader, Mr. Poehlman, French Cafe; Mr. Mountcastle; Mr. Moffatt, bookseller, Pitt-street; the Royal Hotel; and Sands and Kenny.
*** Doors open at half-past 7; performance will commence precisely at 8 o'clock.
EDWIN C. ALDIS, Honorary Secretary.

"MISKA HAUSER'S FAREWELL CONCERT", The Sydney Morning Herald (24 October 1856), 5

http://nla.gov.au/nla.news-article12988271 

This talented violinist Miska Hauser made his last appearance before a Sydney audience last evening, in a grand complimentary concert, got up and conducted, us we believe, by several gentlemen residents of Sydney - admirers of the musician. The concert hall of the Royal Hotel was closely filled on the occasion, most of the musical dilettanti of Sydney being present. The programme was a most taking one, including most of the morceaux which the magic touch of Miska Hauser has rendered such favourites to the concert-goers; and we may at once say, that in reviewing each of the pieces executed by the musician, we cannot avoid being led into tautology, since each was a perfect triumph, and each rapturously encored, the very encores themselves being all but re-demanded. In fact, we never remember to have heard this great artiste to such advantage as last night; whether it may have been that the crowded attendance may have affected him - though we have seen a larger auditory assembled to hear him - or whether, as is more likely, in taking leave of his friends, he wished to leave on their minds the full impress of his musical talent, as a lasting souvenir; or perhaps we, in listening to him as we knew for the last time, may have lingered more fondly on the notes we were never to hear again, - but assuredly never before was the artiste so spirited or the audience so rapturous.

In the first part, Miska Hauser executed a Rondo and a Fantasia from airs in the introductory act of Lucrezia Borgia, both his own composition or arrangement; and in the second part Ole Bull's " Mother's Prayer," and the "Irish Bouquet," arranged in a most graceful manner by himself, and including several of the most popular Irish melodies. Each of these, as we said before, was encored, several old established favourites being substituted, not the least of which was the "Bird on the Tree," of which the first notes of the well-known music was greeted with loud plaudits, and which, but for very shame's sake, the audience would have re-demanded.

In addition to these, Miska Hauser took part in the trio of Mendelsshon in the first, and in the quartette of Onslow's, in the second part. In the first of these - the trio - the young lady amateur, whose brilliant debut at a former concert we had the pleasure of recording, took a part, and by her delicacy of touch and brilliancy of execution fully bore out the sanguine anticipations we then formed of her talent. A brilliant and exceedingly difficult solo of Kullak's, "La Gazelle," showed to complete advantage the finished style and rapid but correct execution of this very talented young lady, and may be said to have finally stamped her reputation as a pianist. Under such circumstances, we almost conceive that the musical public has a right to the name of a lady who has already made herself famous, but gallantry forbids us to raise the veil in which this young Australian artiste has thought proper to enshroud herself.

Madame Cailly's name appeared on the programme for those two choice morceaux "Robert toi que l'aime," from Meyerbeer's "Robert le Diable" and the "Casta Diva," from Bellini's Norma, both of which were given in a manner as only this splendid cantatrice can give them. In the" Casta Diva" especially it was with difficulty that the audience were restrained from breaking in, by their plaudits, upon some of the magnificent passages of the author; while at at the close of the "Bello a me Ritorno," the applause was deafening. This lady, notwithstanding her recent protracted illness, seemed to us in finer voice than ever; and though at her first appearance we trembled lest the first notes should show that her splendid organ had suffered, yet when those notes did come, clear, bell-like, and powerful as ever, we were at once re-assured, and listened at our ease. In both airs, Madame Cailly was persistently encored, substituting on recall for the former, Maretzek's brilliant Rondo, which she has made all her own, and the first notes of which were greeted with a round of applause by the audience; and for the latter, Rule Britannia." It appears almost a pity that the quality of this lady's voice, so admirably suited for the lyric drama, should be lost to the public by the want of full opportunities for its display.

Mr. T. Ellard [sic, F. Ellard] also sang a little air composed for him by Hauser, very tastefully, but his voice is deficient in power and could not fill the crowded hall; the air was consequently but tamely received. Altogether we way say that this, the last of Hauser's concerts, has been, without exception, the most enthusiastic and most successful.

"MISKA HAUSER'S LAST APPEARANCE IN SYDNEY", Empire (25 October 1856), 4

http://nla.gov.au/nla.news-article64978784 

. . . one of the most brilliant audiences ever assembled in this metropolis met to take a farewell of the highly gifted artiste. Among those present we noticed his Honor the Chief Justice, Mr. Justice Therry, Mr. Broadhurst, M.L.C., Dr. Bland, Mr. Plunkett, M.P., Dr. Woolley, Mr. Gordon, M.P., and many gentlemen belonging to the literary and musical circles of this city . . . to the Messrs. Deane, Mr. Stanley. Mr. Ellard, the lady amateur pianiste, and Madame Cailly, the greatest praise is due for their combined efforts to render the concert worthy of the graceful and gracious effort of those gentlemen who gave it, and of the great musician in honour of whom it took place . . .

"MISKA HAUSER'S FAREWELL CONCERT", Freeman's Journal (25 October 1856), 2

http://nla.gov.au/nla.news-article115561881 

We have heard MISKA for the last time! He gave his Farewell Concert, at the Royal Hotel, on last Thursday evening, to a crowded and brilliant audience. We have so recently spoken of the merits and peculiar characteristics of MISKA HAUSER's execution on the violin, that we shall be excused for not dwelling at much length on Thursday evening's entertainment. It is sufficient to say that we lived again for a brief space of time in the fine elysium he created for us some weeks ago; we drank once more at the fount of his genius, and yielded our soul a willing captive to the powerful witchery of his strains; we dreamt the old dream anew.

The lady amateur on whom we made some complimentary comments on a former occasion, again treated us, on the same evening, to a brilliant solo ("La Gazelle") of KULLAK'S. We concur with a contemporary critic in his wish to give this fair lady's name to the world, now that rigid criticism has awarded her its brightest crown. She is graceful, unaffected, and a most accomplished artiste.

We hope MISKA HAUSER will not forget our former advice - to perform his "Irish Bouquet" in Ireland, before retiring to his native land. If he play "St. Patrick's Day" in Dublin, as he has played it in Sydney, he will be greeted with a display of enthusiasm which he can never forgot, and which will make the walls of the concert room shake as if some mighty spirit moved them. To conclude - we bid this gentle son of Music farewell, gratefully thanking him for the many refined entertainments he has given us. May God bless all musicians as well as poets!

"FAREWELL CONCERT OF MISKA HAUSER", The People's Advocate and New South Wales Vindicator (25 October 1856), 2

http://nla.gov.au/nla.news-article251540629 

The farewell concert of this exquisite violinist took place at the Royal Hotel Musical Hall, on Thursday night. The Hall was completely filled by his numerous admirers, who were anxious not only to testily their esteem, but also to experience, perhaps, for the last time, the gratification afforded by his magic melody. His reception was enthusiastic, and encore after encore followed his performances. The selection of music was liberal, and various, and so chosen as to display his wonderful powers. He opened with a Rondo arranged by himself. This was succeeded by a grand trio for piano, violin, and violincello - "Andante and finale - Mendelsohn," which was brilliantly executed by an Australian lady amateur, Miska Hauser, and Mr. E. Deane. This young lady's solo on the piano, "La Gazelle - Kullak," in a subsequent part of the evening, was a really choice gem, and received the warmest applause. Madame Clarisse Cailly sang the cavatina - "Robert toi que l'aime" from "Robert le Diable," and the imperishable "Casta Diva," from Bellini's "Norma," with an effect which produced encores. "The Mother's Prayer - Ole Bull," and the "Irish Bouquet," again afforded Miska Hauser an opportunity of exhibiting his unrivalled powers, as did his exquisite morceau, "The bird on the tree," so familiar to, and so highly appreciated by, Sydney audiences. Mr. F. Ellard, sang a sweet air composed by Miska Hauser, with much taste and feeling. The concert concluded with a quartette for two violins, tenor, and violincello, "God save the Queen" with variations, performed by Miska Hauser and the Messrs. Deane. The rendering of this was admirable, and an appropriate finale to the rich musical, banquet - the farewell of Miska Hauser.

ASOCIATIONS: Young lady amateur = Hannah Aldis (piano); Edwin Charles Aldis (musical amateur);

MUSIC: Piano trio in D minor (Mendelssohn), 2nd and 4th movements

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

http://nla.gov.au/nla.news-article12988462 

In preparation for Christmas, an Australian Musical Album for 1857, containing choice contributions by Messieurs Miska Hauser, Bonlanger, Marsh, Ellard, and Stanley, to be illustrated in the first style of art by Mr. E. Thomas.
J. R. CLARKE (late Woolcott and Clarke), George street, next Flavelle's.

"DEPARTURES", The Shipping Gazette and Sydney General Trade List (10 November 1856), 262

http://nla.gov.au/nla.news-article161107665 

November 5. - Wonga Wonga, (s.), 750 tons, Captain R. G. Gilmore, for Melbourne. Passengers . . . Miska Hauser . . .

Melbourne, VIC (9 to 16 November 1856)

"SHIPPING INTELLIGENCE. ARRIVED (HOBSON'S BAY)", The Argus (10 November 1856), 4

http://nla.gov.au/nla.news-article7139774 

November 9. - Wonga Wonga, A. S. N. Company's s.s.s., 700 tons, R. G. Gilmore, from Sydney 5th inst. Passengers - . . . Miska Hauser

"THE FINE ARTS", The Age (12 November 1856), 6

http://nla.gov.au/nla.news-article154869247 

. . . Miska Hauser, the eminent Hungarian violinist, has just arrived from Sydney, where he has made a lengthy and, we trust, profitable visit . . .

Tasmania (17 November to 27 December 1856)

"Shipping Intelligence. ENTERED INWARDS. LAUNCESTON", Launceston Examiner (18 November 1857), 2

http://nla.gov.au/nla.news-article36299652 

Nov. 17. - L. S. N. Co.'s steamer Royal Shepherd, 300 tons, W. H. Saunders, master from Melbourne; G. Fisher agent. Passengers - . . . Miska Hauser . . .

"PASSENGERS . . . ", The Cornwall Chronicle [Launceston, TAS] (19 November 1856), 5

http://nla.gov.au/nla.news-article65722251 

[News], The Courier [Hobart, TAS) (18 November 1856), 2

http://nla.gov.au/nla.news-article2506763 

THE HUNGARIAN VIOLINIST, MISKA HAUSER, arrived in Hobart Town last night, and will shortly give a round of concerts in the city.

22 November 1856, concert, ballroom, Government House, Hobart

[Advertisement], Colonial Times (22 November 1856), 3

http://nla.gov.au/nla.news-article8785076 

"SUBSCRIPTION CONCERT", The Courier (24 November 1856), 3

http://nla.gov.au/nla.news-article2506856 

"CONCERT AT GOVERNMENT HOUSE", The Tasmanian Daily News (24 November 1856), 2

http://nla.gov.au/nla.news-article202389573 

"M. MISKA HAUSER", Colonial Times (25 November 1856), 2

http://nla.gov.au/nla.news-article8783122 

"GENERAL INTELLIGENCE", The Courier (29 November 1856), 2

http://nla.gov.au/nla.news-article2506958 

1, 3, and 5 December 1856, concerts

[Advertisement], The Tasmanian Daily News (1 December 1856), 2

http://nla.gov.au/nla.news-article202387992 

"MISKA HAUSER", The Courier (2 December 1856), 2

http://nla.gov.au/nla.news-article2506989 

[Advertisement], The Tasmanian Daily News (3 December 1856), 3

http://nla.gov.au/nla.news-article202390858 

"THE CONCERT AT THE ASSEMBLY ROOMS . . .", The Courier (5 December 1856), 3

http://nla.gov.au/nla.news-article2507026 

The Concert at the Assembly Rooms was not so well attended as had been anticipated, a circumstance which perhaps was owing in a great degree to the anticipation which had been excited with respect to the morrow's recreation, the preparations for a full enjoyment of the aquatic sports, rather than to any evidence of want of appreciation of the artists who appeared, M.M. Miska Hauser and Buddee. The concert itself was, however, one of the best which has been given, the gifted Hungarian never playing in better style. We have also to notice with the greatest satisfaction the successful efforts of M. Del Sarte to add to the eclat of the performances. This gentleman, who came forward, as we understood, after a very short notice, and without preparation, sang delightfully. We well recollect that upon his first appearance at the theatre here we were of those who did not conceive him to possess any extraordinary powers of vocalisation. It may be that the theatre was too large to come within the scope of M. Del Sarte's powers, and that the Assembly Rooms are more fit for entertainments of this character, but we were exceedingly pleased to see him so well appreciated upon this occasion. Mr. Buddee was as unapproachable on the pianoforte as usual. We would direct particular attention to the final Concert of to-night. The band of the 12th Regiment will be in attendance, and M.M. Miska Hauser and Buddee will also be assisted again by M. Del Sarte.

[Advertisement], The Courier (5 December 1856), 3

http://nla.gov.au/nla.news-article2507015 

MISKA HAUSER'S LAST CONCERT AND FINAL FAREWELL TO TASMANIA
at Mr. Elliston's New Assembly Rooms, Macquarie-street, THIS EVENING, 5th DECEMBER,
Upon which occasion the assistance of the Band of the 12th Regiment has been granted by the kind permission of Colonel Percival.
PROGRAMME.
PART FIRST.
OVERTURE - Military Band.
Solo, Violin - Grand Caprice, on airs from "Norma." Miska Hauser. - HAUSER.
Solo, Piano - Grand Fantasie, on airs from "Lucia de Lammermoor" Mr. Buddee - PRUDENT.
Song by Mons. Del Sarte, who has most kindly offered his services
Solo, Violin, Souvenir d'Amerique. Miska Hauser - HAUSER.
Duo, Violin and Piano - Messrs. Miska Hauser and Mr. Buddee will play, by particular desire, Beethoven's Grand Sonata, in A major in three movements -
1. Allegro, 2. Adagio, 3. Allegretto con variazione.
SECOND PART.
OVERTURE, Military Band.
Solo, Violin - 1. Devotion Religioso, by Mislka Hauser - HAUSER.
Solo, Violin - Swiss Air, with variations, Miska Hauser - MOLIQUE.
Solo, Piano - Etude Militaire, Mr. Buddee - KULLAK.
Song by Mons. Del Sarte
Solo, Violin - Carnival de Venice, with "Auld Robin Gray" as introduction, Miska Hauser.
GOD SAVE THE QUEEN . . .

"MISKA HAUSER'S FAREWELL TO TASMANIA", The Courier (6 December 1856), 3

http://nla.gov.au/nla.news-article2507046 

Miska Hauser's farewell concert was brilliantly attended last evening, and the entertainment proved highly successful. We are afraid a long time will elapse before we shall have the pleasure of hearing such an accomplished artist.

"CONCERT AT THE NEW ASSEMBLY ROOMS", The Tasmanian Daily News (6 December 1856), 3

http://nla.gov.au/nla.news-article202388941 

"MISKA HAUSER", Colonial Times (8 December 1856), 2

http://nla.gov.au/nla.news-article8785070 

This distinguished violinist took his leave of Hobart Town in two concerts, given at the New Assembly Rooms in Macquarie street, on Wednesday and Friday last. The concert of the former evening was not so numerously attended as we could have wished. On Friday night the room was full. Of the concert itself it is scarcely possible to speak too highly. The band of the 12th lent its powerful assistance, under the able direction of Mr. Callen. M. Del Sarte sang some French songs in his best manner. Mr. Buddee rises in our estimation with every opportunity we have of observing his great skill and taste. M. Hauser was himself. Our space does not allow of our entering into particulars, nor is it necessary. The gem of the evening was the celebrated duo of Beethoven's, played by Messrs. Hauser and Buddee on the previous Monday and repeated by desire. M. Hauser received a shower of bouquets at the conclusion of the performances. We regret his departure, for we owe to his skill many agreeable hours, gone, now, never to return.

ASSOCIATIONS: Band of the 12th Regiment; master Douglas Callen

"MISKA HAUSER", The Tasmanian Daily News [Hobart, TAS] (8 December 1856), 3

http://nla.gov.au/nla.news-article202390097 

"CAMPBELL TOWN", The Courier (11 December 1856), 3

http://nla.gov.au/nla.news-article2507115 

"MISKA HAUSER", The People's Advocate or True Friend of Tasmania [Launceston, TAS] (11 December 1856), 3

http://nla.gov.au/nla.news-article232753083 

12, 15, and 22 December 1856, concerts, Cornwall Assembly Rooms, Launceston

"MISKA HAUSER'S CONCERT", Launceston Examiner (13 December 1856), 2

http://nla.gov.au/nla.news-article36299896 

Miska Hauser and M. Buddee gave a concert last evening at the Cornwall Assembly Rooms. The attendance was a fair one, being rather select than numerous, but perhaps as large as could be expected at the rate of admission. Lady Young honored the concert with her presence.
PROGRAMME.
PART FIRST.
Band - Potpouri from the Opera Der Freichutz [sic] - Weber.
Solo, Piano - Fantasia on sirs from the oper Straniera, Mr. Buddee - Thalberg.
Solo, Violin -Andante and Rondo di Concerto, Miska Hauser - Hauser.
Band - Selections from the opera Romeo and Julia - Bellini.
Solo - Piano - Reverie au bord de la mer, Mr. Buddee - Willmers.
Solo, Violin - Grande Caprlce on airs from the opera Norma, Miska Hauser - Hauser.

http://nla.gov.au/nla.news-article36299899 

PART SECOND.
Duo for Piano and Violin - on airs from Guillaume Tell, Messrs. Miska Hauser and Buddee - Osborne & De Beriot
Solo, Violin - Adagio Religioso, Miska Hauser - Ole Bull.
Band - Souvenir d'Atilla - Verdi.
Solo Piano - Fantasie Caprice, Mr. Buddee - Kullak.
Solo Violin - Irish bouquet, Miska Hauser - Hauser.
GOD SAVE THE QUEEN.

Of Miska Hauser's performance we can only speak in our former terms of praise. To say that his execution was brilliant and perfect would not suflciently convey an idea of his skill. The most remarkable feature in his playing is the power he possesses of expressing the sense of the music, of giving words to it, and of leading the attention "from sounds to things." It is literally as well as figuratively correct to say that he can make his instrument speak, cry, laugh, sing, whistle, and almost dance; in fact it seems there is not a single note of passion which he is not master of. He seems master, too, of all styles of performance, and passes from one to the other with perfect ease. The pieces selected were well adapted to show his powers. In the selection from William Tell there was almost every kind of musical expression, and in the piece by Ole Bull the solemn and plaintive character of the music was brought out in a masterly manner. In the Irish Bouquet several national airs were performed with exquisite taste. All these pieces were encored, and the talented performer was loudly applauded.

M. Buddee is a pianist of the first class, though the pieces he selected were not, perhaps, the best. He also accompanied Miska Hauser.

The German Band was present.

A second concert is advertised for Monday evening. The admirers of Miska Hauser will no doubt rally on that occasion, which, we are authorised to say, will positively be his last public appearance in Launceston.

"Messrs. Hauser and Buddee's Concerts", The Cornwall Chronicle (17 December 1856), 5

http://nla.gov.au/nla.news-article65722325 

These deservedly popular artistes have within the last few days enlivened our town with two musical entertainments of the highest order. The first on Friday evening, though not well attended, was eminently gratifying in other respects, as testified by the hearty applause accorded it. Miska Hauser's playing was really magnificent, and showed his complete mastery of the violin, as also the power to enchain the feelings. It were but puerile to select any one piece he played for special remark, as all were of equal merit. Of M. Buddee's gifts as a musician, and ability as a pianist, apart from any ??? [Husseyism?], we cannot speak too highly. To a most comprehensive musical memory, he joins really astounding powers of execution, great command of harmonic resources, purity and precision of touch, and a highly refined and finished style. Whether in compositions of a tornadolike or ????nyric character, he is equally faithful and masterly. Nor are his rare gifts as an artiste marred by displays of affectation, and conceit of manner. No throwing up of the hands, with sudden and would-be graceful jerks, nor spurious starts of emotion; but all is modest, quiet, and - natural. In short M. Buddee as a pianist will bear favorable comparison with the greatest players it has ever been our pleasure to hear. And it is just to say, that at the second concert on Monday evening, Messrs. Hauser and Buddee fairly divided the palm of merit, - they are, we believe, equally great on their respective instruments. The last concert was an ovation from beginning to end, and their triumph was complete. It is with the utmost regret we speak of Monday's concert, as the last Messrs. Hauser and Buddee will give here, but as it has been so announced, we must submit. A greater musical treat, however, has never been given in Launceston before, and earnestly do we hope that others of may soon follow.

"MONDAY EVENING'S CONCERT", Launceston Examiner (20 December 1856), 3

http://nla.gov.au/nla.news-article36299982 

We remind the public that Miska Hauser and Mr. Buddee will give a concert on Monday evening, under the patronage of the Masonic Lodges. Independently of the celebrity which belongs to the performances of these talented musicians, their liberality in offering to give a concert in aid of a local institution deserves acknowledgment. We understand that the Masonic Lodges have been induced to extend their patronage on this occasion from a consideration of the claims of Mr. Buddee, who has others depending on his exertions, and, unfortunately, has not been so successful as his talents deserve.

"CONCERT", Launceston Examiner (23 December 1856), 2

http://nla.gov.au/nla.news-article36299997

Miska Hauser and Mr. Buddee gave a concert last evening in the Cornwall Assembly Rooms, under the patronage of the Masonic Lodges of Faith, Hope, and Charity. The attendance was very good, and the performances were highly applauded, and several pieces encored. The following is the programme:
PART FIRST.
Band - Selections - Weber.
Solo, Piano - Souvenir de Donizetti, Mr. Buddee - Willmers.
Solo, Violin - Fantasia on airs from the opera Ernani, Miska hauser - Hauser.
Song - By the Sad Sea Waves, Miss Mortimer.
Solo, Piano - La Gazelle, piece characteriqsue, Mr. Buddee - Kullak.
Solo, Violin - Tremolo, caprice on air by Beethoven, Miska Hauser - De Beriot.
PART SECOND.
Band - Selection by Donizetti.
Duo for Piano and Ciolin - Fantasia on airs from Der Freischutz, Miska Hauser and Buddee - Hauser and Pono Zini [sic].
Solo Violin - (by request), The Mother's Prayer, adagio religioso, Miska Hauser - Ole Bull.
Song - Annie Laurie, Miss Mortimer.
Solo, Piano - Reminiscences de Norma, Mr. Buddee - Prudent and Buddee.
Solo, Violin - Carnival de Venice, with Auld Robin Gray as Introduction, Miska Hauser.
God Save the Queen.

Mr. Buddee's solos display a great command of his instrument, and are evidently the result of intense application and study; but pianoforte solos do not appear to to take generally with the concert goers of Launceston. His accompaniment of Miska Hauser's solos and Miss Mortimer's songs was all that could be desired. Miska Hauser's first solo being encored, he substituted the "Last Rose of Summer," which was exquisitely rendered, and on the last solo in the first part being also encored he treated the audience to an Irish medley. The Carnival de Venice was, however, the best piece of the evening and was rapturously encored, when "Yankee Doodle" was given, introduced by "Old Folks at home." Miss Mortimer was well received, and both her songs were encored, - the first she replied to by singing "Red, White, and Blue," and the second by "The Low-backed Car."

ASSOCIATIONS: Miss Mortimer (actor, vocalist, Mrs. Henry Harwood)

"MR. BUDDEE", The Cornwall Chronicle (27 December 1856), 5

http://nla.gov.au/nla.news-article65726160 

The friends and professional connections of this gentleman may with confidence expect his return to Hobart Town within about three or four weeks from this date. M. Buddee's present engagement will extend longer than he at first calculated, owing to his length of stay here. In conjunction with M. Hauser, he starts forthwith for Port Phillip and Adelaide, and will return from the latter direct to Hobart Town, as stated.

Melbourne, VIC (en route to Adelaide)

28 December 1856, arrived Melbourne

"SHIPPING", The Age [Melbourne, VIC] (29 December 1856), 4

http://nla.gov.au/nla.news-article154869763 

December 28 - Queen, (s.,). from Launceston. Passengers: cabin . . . Miska Hauser . . .

Miska Hauser; lithography by Edmund Thomas; in The Australian musical album for 1857, frontispiece

https://nla.gov.au/nla.obj-164686143/view?partId=nla.obj-164686595#page/n4/mode/1up (DIGITISED)

23 December 1856, date of publication of Australian flowers and The bird on the tree (piano solo version), in The Australian musical album for 1857 (Sydney: J. R. Clarke, 1857)

[Advertisement], The Sydney Morning Herald (22 December 1856), 5

http://nla.gov.au/nla.news-article12990345 

AN APPROPRIATE CHRISTMAS PRESENT.
TO-MORROW (Tuesday) will be Published, handsomely hound in crimson, cloth gilt,
THE AUSTRALIAN MUSICAL ALBUM FOR 1857. Price 30s.; post free, 32s.
The Album contains upwards of 100 pages of music, composed specially for it by
Messrs. Miska Hauser, E. Boulanger, S. H. Marsh, F. Ellard, H. Marsh, and W. Stanley;
and is embellished with ten illustrations, in the first style of lithography, by Mr. E. Thomas.
The book will challenge comparison with any similar production in Europe.
It is with permission dedicated to Miss Denison, Government House.
A preface thereto has been written by Mr. Frank Fowler.
J. R. CLARKE, Music Publisher, 205, George-street, Sydney, next Messrs. Flavelle.

"REVIEW", The Sydney Morning Herald (24 December 1856), 5

http://nla.gov.au/nla.news-article12990464 

THE AUSTRALIAN ALBUM, for 1857. J. R. CLARKE: Sydney, Music Publisher.
A quiet look over this very interesting publication has fully confirmed us in the strong opinion expressed at a first sight of the work - that it is the best drawing room annual ever published in the colony. The contents comprise eight morceaux, all of which may be said to be Australian productions; or, as the preface observes, "they are all new, all colonial. Here, in this city, they were played, printed, and published. True, some of the composers are foreigners; but still this book is as much an Australian production as a cluster of grapes from the German vineyards at Kissing Point" . . .
Miska Hauser's "Bird on the Tree," dedicated to Lady Macdonald, and arranged for the Piano; and his "Australian Flowers," dedicated to Miss Aldis, would alone have been sufficient to have led those, who have heard this prince of violinists execute these morceaux, to secure the notes, almost at any price . . .
Further than this, - The Australian Album may stand forth as the representative of colonial artistic skill in other than in the lyric branches, the illustrations being worthy - from finish and execution - of the sweet notes that they so truly embellish. They have all been executed by Mr. E. Thomas, and may very justly be said to finally stamp the reputation of this artist. In the frontispiece, Miska Hauser seems almost to stand again personally before our eyes, so well has the peculiar manner of the great violinist been caught by his brother artist. The vignette title is also most appropriate - almost poetic in the happiness of the ideas it embodies . . .

[Advertisement], Australian almanac for the year 1857 (Sydney: J. Cox and Co., 1857), 227

https://books.google.com.au/books?id=080zAQAAMAAJ&pg=PT26 (DIGITISED)

JUST PUBLISHED, PRICE 30s.,
THE AUSTRALIAN MUSICAL MUSICAL ALBUM FOR 1857,
Handsomely Bound in Crimson and in Blue Cloth, Gilt, and with Gilt edges.
CONTENTS - MUSIC.
1. - FANTASIA - "The Last Rose of Summer" - Boulanger
2. - IMPROMPTU - "Australian Flowers" - Miska Hauser
3. - BALLAD - "Far o'er the Sea" - S. H. Marsh
4. - FANTASIA - "Bird on the Tree" - Miska Hauser
5. - POLKA - "The Pic Nic" - H. Marsh
6. - FANTASIA - "Lucrezia Borgia" - F. Ellard
7. - QUADRILLE - "The Rose Bay" - W. Stanley
8. - RONDO - "The Singing Polka" - Alary
ILLUSTRATIONS.
1 - A View in the Botanical Gardens Sydney - For the Fantasia, 'The Last Rose of Summer'
2 - The Rockery in the Botanical Gardens - Impromptu, 'Australian Flowers'
3 – Sydney Heads and the City of Sydney, from the Harbour - Song, 'Far o'er the Sea'
4 - A View of Allan Cunningham's Monument & the Willow Trees in the Botanical Gardens - Fantasia, 'Bird on the Tree'
5 - A View from the North Shore - 'The Pic-nic Polka'
6 - Portrait of Mdme. Anna Bishop - Fantasia on Airs in 'Lucrezia Borgia'
7 - A View of Rose Bay from the South Head Road - 'Rose Bay Quadrilles'
8 - Portrait of Miss Hayes - 'Singing Polka'
9 - Portrait of Miska Hauser - Frontispiece
10 - Illustrative Title Page.
Copies of the Book are specially bound for transmission (without injury) through the Post Office ; price, Post free, 32s.
J. R. CLARKE, MUSIC SELLER, 205, GEORGE STREET, SYDNEY,
NEXT FLAVELLE'S.
P.S. - Always on hand, a large and varied stock of English Music from the first publishers in London.

1857

For all TROVE items tagged Miska Hauser for the year 1857:

https://trove.nla.gov.au/search/category/newspapers?l-publictag=Miska+Hauser&q&l-decade=185&l-year=1857 (TROVE tagged by Australharmony)

Adelaide, SA (8 January to 6 February 1857)

8 January 1857, arrived Adelaide

"SHIPPING INTELLIGENCE. ARRIVED", South Australian Register (9 January 1857), 2

http://nla.gov.au/nla.news-article49764759 

Thursday, January 8 - The steamer Burra Burra, 337 tons, A. Harper, master, from Melbourne January 5. Hall and Co, agents. Passengers - Messrs. . . . Miska Hauser . . . Herr Buddee . . .

"MISKA HAUSER", South Australian Register (9 January 1857), 3

http://nla.gov.au/nla.news-article49764803 

Our readers will be gratified to learn that among the passengers by the Burra Burra on Thursday was Miska Hauser, the celebrated violinist, with whose powers of pleasing and astonishing many of them are already acquainted. He is accompanied by Herr Buddee, the pianist, of the Royal Academy, Berlin, of whom report speaks very highly. There is no doubt that Herr Hausker's [sic] reception will correspond with the enthusiasm excited on his former visit.

13 January 1857, concert, White's Rooms

[Advertisement], South Australian Register (12 January 1857), 1

http://nla.gov.au/nla.news-article49766350 

MESSRS. MISKA HAUSER & J. BUDDEE (from the Royal Academy, Berlin, who will make his first appearance in Adelaide)
have the honour to announce that their FIRST CONCERT will take place On TUESDAY EVENING next, 13th instant,
at Mr. White's Assembly Rooms, on which occasion they will be assisted by Madame CRANZ and Miss CHALKER.
PROGRAMME. - PART I.
Solo, Piano - Fantasia on airs from the Opera "Straniera" - Mr. Buddee - Thalberg.
Song - "For English Homes" - Miss Chalker, Glover.
Solo, Violin - Andante pastorale and Rondo grazioso - Miska Hauser - Hauser.
Song - "Hearts and Homes" - Madame Cranz, Blockley.
Solo, Piano - "Dream on the Sea" - Mr. Buddee - Willmers
Solo, Violin - Caprice on airs from "Lucrecia Borgia" - Miska Hauser - Hauser.
PART II.
Solo, Violin (by desire) - "The Mother's Prayer" - Miska Hauser - Ole Bull.
Song - "Gaily I'd Roam" - Miss Chalker - Romer.
Solo, Piano - Fantasia on airs from "Lucia di Lammermoor" - Mr. Buddee - Prudent.
Song - German air - Madame Cranz.
Solo, Violin - "The Irish Bouquet" - Miska Hauser - Hauser.
This will be Miska Hauser's last visit to Adelaide before returning to Europe . . .

"MISKA HAUSER'S CONCERT", Adelaide Times (14 January 1857), 2

http://nla.gov.au/nla.news-article207172325 

A not very numerous, but very energetic and boisterous audience, greeted Mons. Miska Hauser last night, at his first concert since his return to Adelaide. It is unnecessary to particularize his individual performances; they stand alone in our colonial history of musical talent. As a matter of course, he was rapturously encored at each appearance, and the transition was sweet, from the brilliant and highly executed fantasias to the plaintive songs of our native country. So, in every style, Mons. Hauser excels. The difficulties of fingering and bowing seem to vanish at his touch. Harmonies, like pearls, are plentifully showered; and, at the conclusion of his performance, one is left in a mystery as to how the wonderful sounds were produced. The name of Herr Buddee, though new to us, will be remembered by lovers of music, as the best pianoforte player that has visited Adelaide . . . The concert was of such a character, that we trust Mons. Miska Hauser will be encouraged to make a considerable stay in Adelaide.

"CONCERT AT WHITE'S ROOM", South Australian Register (14 January 1857), 2

http://nla.gov.au/nla.news-article49766585 

The concert by Miska Hauser and his talented coadjutor, J. Buddee, was, notwithstanding the extreme sultriness of the weather, well attended. The renowned violinist was certain to attract many admirers, no matter what atmospheric inconvenience might be encountered; but, in addition to the attractions of his magic bow, he presented a programme which called into operation other talent of a high order. It is quite unnecessary to state what an exquisite violinist Miska Hauser is; but the Adelaide public are not quite so well acquainted with the ability of Mr. J. Buddee as a pianist. That gentleman has, however, by the brilliancy of his performance on Tuesday evening, proved himself a fit associate for Miska Hauser. In addition to the splendid instrumentation of those gentlemen, Miss Chalker and Madame Cranz varied the entertainment by some vocal music. Miska Hauser paid the usual penalty of his popularity, in being recalled on every occasion; and the delight he imparted by his substituted arias, with variations, was testified by rapturous rounds of applause. Among these charming additions to the programme may be mentioned "Kathleen Mavourneen," "The last rose of summer," "Annie Laurie," his inimitable (after Paganini) "Carnival of Venice," and his own chef d'oeuvre, "The bird on the tree" - the last substituted on a redemand for his "Irish Boquet," [sic, Irish bouquet] a delightful combination of "Coleen dhas Cruiskeen Amoe," [[Colleen dhas cruthe na moe]], "Gramachree," and "St. Patrick's Day" . . . From the mere recapitulation of the pieces given in addition to the programme, it will be seen that the entertainment was more than the most sanguine had a right to expect, while all who have "a sympathy with sounds" would have felt amply repaid for attending by one exquisite performance, "The mother's prayer," with which Miska Hauser opened the second part of his very successful concert.

ASSOCIATIONS: Mathilde Cranz (vocalist); Marie Chalker (vocalist)

MUSIC: Tunes in Hauser's Irish Bouquet: (1) Coleeh dhas croothe na moe (traditional); (2) Gramachree (traditional); (3) St. Patrick's day in the morning (traditional)

16 January 1857, concert, White's Rooms

[Advertisement], South Australian Register (15 January 1857), 1

http://nla.gov.au/nla.news-article49767116 

WHITE'S ASSEMBLY ROOM. - MESSRS. MISKA HAUSER & F. BUDDEE [sic]
have the honour to announce that their SECOND CONCERT will take place on
FRIDAY EVENING, January 17 [sic, 16], at the above Room, on which occasion they will be assisted by
MADAME CRANZ and MISS CHALKER.
PROGRAMME. PART I.
Solo, Piano - Grande Caprice on airs from "Somnambula" - Mr. Buddee - Thalberg.
Song, Ballad - "Come to the Glen" - Miss Chalker - Loder.
Solo, Violin - Grande Fantasia on airs from "Norma" - Miska Hauser - Hauser.
Song - "Down by the Chalet" - Madame Cranz - C. Lindley.
Solo, Piano - "La Gazelle" (piece characteristique) - M. Buddee - Kullak.
Solo, Violin - "Reminiscences d'Amerique" - Miska Hauser - Hauser.
PART II.
Solo, Violin - Caprice on an air by Beethoven - Miska Hauser - De Beriot.
Song - "Where lutes are gaily sounding" - Miss Chalker - Verdi.
Solo, Piano - "Souvenir de Donizetti" - Mr. Buddee - Willmers.
Song - "The Blighted Flower" - Madame Cranz - Balfe.
Solo, Violin (by general request) - "The Bird on the Tree " - Miska Hauser - Hauser.
Tickets, 5s. each . . .

"MISKA HAUSER'S CONCERT", Adelaide Times (17 January 1857), 2

http://nla.gov.au/nla.news-article207172415 

The second musical entertainment of Messrs. Miska Hauser and F. Buddee took, place yesterday evening, in White's Assembly Rooms. The audience, which was most respectable, was not numerous, owing, no doubt, to the very unfavourable state of the weather. Eager as the public of Adelaide are to seize any opportunity of breaking through the monotony of colonial life, they still retain so much of their English habits, as to avoid, as far as possible, the chilling contact of a shower of rain. The comparatively thin attendance last evening is to be regretted - not less for the sake of those who are fond of good music, than for that of the performers. It is seldom that Adelaide is visited by artistes of the highest class, and rarely are entertainments of the first order provided for their amusement. We were sorry, therefore, to see so highly intellectual a treat as yesterday's concert, comparatively lost.

. . . Miska Hauser delighted the audience with a Fantasia on airs from "Norma;" Reminiscences "d'Amerique;" a Caprice on airs by Beethoven, all of which were succesfully encored, and on his re-call Mr. Hauser played "Auld Robin Gray," "Kathleen Mavourneen;" and a selection from the "Carnival de Venice." The performances concluded with "The Bird on the Tree." It is impossible, without entering into details which our space will not admit of, to describe the wonderful effects produced by this master musician. His instrumentation is perfect, and the purity of his tones has never been surpassed. A brilliant display in the "Reminiscences d'Amerique" was closed by a repetition of the leading air in harmonies, and the effect was equal to that of a flute. The "Bird on the Tree" was received with an outburst of rapturous applause. Madame Cranz and Miss Chalker sang with their usual good taste, and the audience separated at 10 o'clock, highly pleased with the evening's entertainment. As this is the last visit to Adelaide of these distinguished performers, we trust that the public will reward their courtesy and talent by awarding to them in future the countenance and patronage they so well deserve.

"MESSRS. HAUSER AND BUDDEE'S SECOND CONCERT", South Australian Register (17 January 1857), 3

http://nla.gov.au/nla.news-article49770036 

These talented musicians gave their second concert yesterday evening at White's room. The inclemency of the weather no doubt prevented many from attending who otherwise would have been present. The audience scarcely exceeded a hundred in number, and did not include the usual proportion of ladies. Miska Hauser entranced his auditors as they listened with intense admiration to his exquisite performance on the violin. This talented instrumentalist, during the twelve months which have elapsed since his first visit to Adelaide, has manifestly not been remiss in his attempts at still further mastery of his favourite instrument, over which he has gained such astonishing control. In the hands of an ordinary performer this instrument is a mere fiddle, but in his it is alternately a violoncello, a clarionet, a flute, a piccolo - in fact, it is difficult to say what it is not. Tones of deep solemnity, like those of a cathedral organ, are now drawn forth in slow and solemn measure, anon the sounds gradually die upon the ear, when, in an instant, the melody is changed to a joyous fantasia;
" And as his flying fingers kiss the strings,"
the charmed auditors listen with almost breathless silence to the magic sounds. We scarce need say that in every instance Miska Hauser was encored. The sudden and prolonged demonstration which followed each performance evinced the deepfelt enthusiasm of the audience. Miska Hauser's coadjutor (F. Buddee) was also well received, and in one instance was warmly encored . . . The concert, which was commenced precisely at 8 o'clock, was concluded shortly after 10.

[Editorial] "ADULT EDUCATION", South Australian Register (22 January 1857), 2

http://nla.gov.au/nla.news-article49766522 

. . . There is nothing really good that a working man can see or hear for a shilling. Why cannot we have "People's Concerts" on a first-class scale of excellence? The question is not inappropriate now that Miska Hauser is amongst us. Let him try the experiment of a shilling concert, and form his own judgment of the musical sympathies of the multitude. In most other countries the multitude can enjoy, though perhaps from an awful height, or at a most respectful distance, those impersonations and harmonies which in South Australia are absolutely prohibited, except to the upper and middle classes. And because all first-class recreation is denied to our operatives and labourers, they accept the alternative remaining, and content themselves with low sports and debasing gratification . . .

23 January 1857, concert, White's Rooms

[Advertisement], South Australian Register (22 January 1857), 1

http://nla.gov.au/nla.news-article49766530 

WHITE'S ASSEMBLY ROOM. - J. BUDDEE bugs most respectfully to acquaint the public that his
BENEFIT CONCERT, under the Patronage of the DEPUTY PROVINCIAL GRAND MASTER and the BBETHREN of the CRAFT of FREEMASONS,
will take place on FRIDAY EVENING, January 23,
when he will be assisted by the celebrated Violinist MISKA HAUSER, (who will make his LAST APPEARANCE but one in Adelaide),
and Miss Chalker, Madame Cranz, and Mr. Linger and Mr. Edwards, who have kindly offered their services.
PBOGRAMME. PART I.
Piano - First part of Beethoven's Grand Septett - Messrs. Linger and Buddee.
Song, Ballad - "Friend of my Youth" - Miss Chalker - Barker.
Solo, Violin - Fantasia on airs from "Ernani" - Miska Hauser - Hauser.
Song - "See's t thou at morning the mountain's height" - Madame Cranz - Linger.
Solo, Piano - Fantaisie Caprice - Mr. Buddee - Kullak.
Solo, Violin - The "Carnival de Venice" ("Annie Laurie" as introduction) - Miska Hauser.
PART II. Duo for Piano and Violin, on airs from "Guillaume Tell" - Miska Hauser and Buddee - Osborne and Beriot.
Song - "Gaily I'd roam" - Miss Chalker - Romer.
Solo, Piano - "Reminiscences de Donizetti" - Mr. Buddee - Prudent.
Song, Duo - "What are the wild waves saying" - Madame Cranz and Mr. Buddee [recte, Edwards] - Glover.
Solo, Violin - "The Irish bouquet" - Miska Hauser - Hauser.
Tickets, 5s. each . . .

"MISKA HAUSER", Adelaide Times (24 January 1857), 2

http://nla.gov.au/nla.news-article207172592

The last concert but one of the series now being given by this celebrated violinist came off yesterday evening, when Herr Buddee, whose benefit it was, was honoured by a crowded audience, amongst whom was his Excellency and Lady Macdondell. Of the performance of Miska Hauser we need say nothing - his rendering of the various pieces selected, and of those given on the encores, was in every case exquisite. Herr Buddee well maintained the reputation which has been accorded him, whilst Miss Chalker, Miss Cranz, Mr. Linger, and a gentleman who, we believe, made his first appearance as a singer, rendered effective service.

"MR. BUDDEE'S BENEFIT", South Australian Register (24 January 1857), 3

http://nla.gov.au/nla.news-article49766194 

White's Assembly Room was filled last night at Mr. Buddee's benefit concert with a highly respectable audience. His Excellency and Lady MacDonnell were present. Miska Hauser was, of course, the star of the evening, his performances eliciting enthusiastic and unfailing applause. He was encored in every piece. We think we never heard him to greater advantage. For the last piece, "The Irish Bouquet," he substituted "The Bird in the Tree," which was most enthusiastically received, and recalled pleasing reminiscences of his former visit . . . Should Miska Hauser give only one concert more before he leaves for Europe, we doubt not that many will regret that they have not availed themselves of probably the last opportunity that will present itself of witnessing the performances of one of the most extraordinary violinists the world ever produced. We predict that his benefit, whenever announced, will be a bumper.

ASSOCIATIONS: Richard and Blanche Macdonnell (governor and wife); Carl Linger (pianist, composer); Solomon Nicholas Edwards (vocalist)

29 January 1857, concert, White's Rooms

[Advertisement], Adelaide Times (29 January 1857), 1

http://nla.gov.au/nla.news-article207172697 

UNDER THE PATRONAGE OF LADY MACDONNELL.
MISKA HAUSER'S FAREWELL CONCERT WILL take place THIS EVENING, THURSDAY, January 29,
at White's Assembly Room, assisted by Mr. BUDDEE, who will make his last appearance;
also Miss CHALKER and Mr. EDWARDS.
This will be POSITIVELY the LAST APPEARANCE of MISKA HAUSER in Adelaide, before his departure to Europe.
PROGRAMME. PART I.
Solo, Piano - "Souvenir de Norma" - Mr. Buddee.
Solo, Violin - Fantasia on airs from the Opera "Lucrezia Borgia" - Miska Hauser - Hauser.
Song - "Madoline" - Miss Chalker - S. Nelson.
Piano Solo - " Reverie au bord de la Mer" - Mr. Buddee - Willmers.
Song - "I'm a merry Zingara" - Miss Chalker - Balfe.
Solo, Violin - "Yankee Doodle" Miska Hauser.
PART II.
Duet for Piano and Violin, on airs from "Der Freischutz" - Miska Hauser and Buddee - Hauser and Ponozini.
Solo, Violin - "Adagio Religioso" - Miska Hauser - Ole Bull.
Song - "The Guardman's Adieu" - Mr. Edwards - Blockey.
Solo, Piano - "La Gazelle" (piece characteristique) - Mr. Buddee - Kullak.
Song - "Farewell" (composed by Miska Hauser) - Miss Chalker.

"Farewell dear land of hill and dale,
Of forest and of stream;
A stranger to thy shores I came,
But now a son I seem.

"Farewell! kind hearts and cheering words
Relieved each idle hour,
More dear than all the fame I won
By Music's magic power.

"Farewell! when might-crushed Hungary
And friends of youth I greet,
I'll tell of all thy blessed joys,
And liberty so sweet.

"Farewell! to meet again on earth
May not to us be given;
Yet may we meet where kindly thoughts
Are known and prized in Heaven!

Miska Hauser will play several English, Scotch, and Irish Melodies during the evening.
Tickets, 5s. each . . .

"MISKA HAUSER'S FAREWELL CONCERT", Adelaide Times (30 January 1857), 2

http://nla.gov.au/nla.news-article207172732 

A very large and highly respectable audience presented themselves last night at White's Assembly Rooms, being for the benefit of the above gentleman, previous to his departure for Europe. The performances of Miska Hauser on the violin were, as usual, perfect to a degree, receiving a hearty encore at every appearance. Miss Chalker and Mr. Edwards sang several songs during the evening. The song " Farewell," composed by Miska Hauser, and sang by Miss Chalker, received an encore - a compliment evidently only intended for the author - but on her re-appearance another song was substituted for it. Mr. Buddee, on the piano, contributed his quota to the evening's amusement, in solos and airs, and was on each occasion warmly received, the whole passing off in a most successful and satisfactory manner.

"MISKA HAUSER'S FAREWELL CONCERT", South Australian Register (30 January 1857), 2

http://nla.gov.au/nla.news-article49768367 

There was a very large and highly respectable audience on Thursday evening, at the farewell concert given by Miska Hauser at White's Assembly Rooms. The entertainment was under the patronage of Lady MacDonnell, who, with His Excellency and suite, was present. The intense enthusiasm which the highly accomplished violinist, who is about to leave us excites in his auditors was never more conspicuously displayed. We do not refer exclusively to the almost boisterous acclamations which burst forth at the close of each piece, and which, in every instance, were prolonged till the great maestro again appeared on the orchestra. The perfect silence which was preserved during the performances evinced the extreme delight with which every one present listened to his magic strains. We fear it will be long e'er such thrilling tones are again heard in Adelaide . . . The concert was concluded shortly after 10 o'clock by Miska Hauser's wonderful performance of "The bird in the tree," followed by the National Anthem.

[Advertisement], South Australian Register (3 February 1857), 1

http://nla.gov.au/nla.news-article49763531 

TO MISKA HAUSER, Esq., York Hotel Adelaide, 2nd February, 1857.
Sir - We the undersigned, being very desirous of listening once more to your performance, on the Violin, and believing this wish is shared by a large number of the inhabitants of Adelaide and vicinity, request that you will give one more public Concert before your final departure from the colony.
We are, Sir, Your obedient servants,
F. Bayer, M.D.; G. Leon
Henry Noltenius; J. L. B. Henriques
E. Printz; C. G. Eastland Platts
John Hector; George Green
Joseph Stilling; G. von der Heyde
J. H. Heinemann; C. Kunze
G. M. Amsberg; F. Reimer
Hiram Mildred; H. Aylwin
J. Woodforde, J.P.
In compliance with the above request, Miska Hauser has determined upon giving another concert at White's Rooms, King William-street, on Thursday evening next, February 5, previous to his final departure from the colony, by the White Swan, on the following day.
The programme will appear to-morrow.

ASSOCIATIONS: Charles Platts (musician, bookseller)

2 February 1857, first public meeting of the South Australian Institute, White's Rooms, Adelaide

"SOUTH AUSTRALIAN" INSTITUTE", Adelaide Observer (7 February 1857), 6

http://nla.gov.au/nla.news-article158115117 

The first reunion of the members of this popular Institution held on Monday evening, in White's Room, King William-street. His Excellency the Governor-in-Chief presided . . . His EXCELLENCY opened the proceedings by expressing the pleasure he felt at finding himself amongst such a goodly company of South Australians once more . . . Miss Chalker, Mr. Edwards, Mr. Daniels, and a young gentleman, his pupil, then sang "Annie Laurie," arranged as a glee . . . Mr. Coleman Jacobs accompanied this and the other vocal pieces on the piano, and his brilliant instrumentation elicited repeated applause . . . [followed by the lecture, by the attorney-general] . . . Then succeeded the great musical treat of the evening, Miska Hauser, "the marvellous violinist, who, accompanied by his friend, Mr. Buddee, on the piano, gave with his usual electrifying effect that charming potpourri the Irish Bouquet, in which "Coleen dhas Croothin amoe," [Colleen dhas cruthe na moe] "Gramachree," and "St. Patrick's Day" are by him blended in most fascinating harmony. To a re-demand he gave his exquisite interpretation of the "Last Rose of Summer" . . .

ASSOCIATIONS: South Australian Institute (organisation); Richard Davies Hanson (attorney-general); Josiah Wyke Daniel (vocalist); Coleman Jacobs (pianist)

5 February 1857, concert, White's Rooms

[Advertisement], South Australian Register (4 February 1857), 1

http://nla.gov.au/nla.news-article49769217 

MISKA HAUSER'S FAREWELL CONCERT.
By request of numerous Friends, On THURSDAY, February 5,
MISKA HAUSER AND J. BUDDEE will give their LAST CONCERT previous to their departure on Friday by the White Swan,
assisted by Miss Chalker and Mr. Edwards.
PROGRAMME. PART I.
Solo, Piano - Fantasia on airs from the Opera "Straniera" - Mr. Buddee - Thalberg
Song - Ballad - Miss Chalker
Solo, Violin - "Rondo di Concerto" - Miska Hauser - Hauser.
Song (by desire) - "The Guardsman's Adieu" - Mr. Edwards - Blockey.
Solo, Piano - "Galopp Dramatique" - Mr. Buddee - Ligzt [? Liszt]
Solo, Violin - "Souvenir d'Amerique" - Miska Hauser - Hauser.
PART II.
Solo, Violin - Grande Fantaisie on airs from the opera "Norma" - Miska Hauser - Hauser.
Farewell Song - "Farewell, dear land of hill and vale" - Miss Chalker - Hauser.
Solo, Piano - "Lucia and Lucrezia" - Mr. Buddee - Willmers.
Song - "In this old chair my father sat." - Mr. Edwards - Balfe.
Solo, Violin (by request) - "The bird on the tree" - Miska Hauser - Hauser.
Tickets, 5s. each . . .

"MISKA HAUSER'S FAREWELL CONCERT", South Australian Register (6 February 1857), 3

http://nla.gov.au/nla.news-article49768614 

A large and respectable audience attended yesterday evening at White's Assembly Room, on the occasion of Miska Hauser's farewell concert. Probably there were not less than 500 persons present. As on all previous occasions, the talented and accomplished Hungarian, who is now leaving us, was listened to with intense interest, and at the close of each performance, the most enthusiastic demonstrations followed. Those who have had the pleasure of hearing Miska Hauser can best understand how impossible it is, by any description, to convey an idea of his extraordinary skill. This we shall not attempt, but merely remark that he has fully realized the eulogium passed upon the world-renowned Paganini, by producing "rapture from a catgut." The programme included Miska Hauser's chef d'oeuvre the "Bird on the Tree," in which his inimitable skill in harmonics was as conspicuous as on any previous occasion. Every note of this delightful morceau was listened to in profound silence by the auditory, whilst a perfect storm of applause burst forth immediately after the last note had been struck, and which was continued till the talented violinist again appeared before the company . . . At the close of the performances there was a general call for Messrs. Hauser and Buddee, who on their appearance were honoured with the complimentary plaudits of the whole assembly.

6 February 1857, departed Adelaide

"SHIPPING INTELLIGENCE. CLEARED OUT", Adelaide Observer (7 February 1857), 1 supplement

http://nla.gov.au/nla.news-article158115137 

Friday, February 6 . . . The steamer White Swan, 330 tons, Gill, master, for Melbourne. Passengers . . . Miska Hauser, Messrs. Buddee . . .

"RANDOM REMINISCENCES. BY F. K. S.", South Australian Register (3 March 1857), 2

http://nla.gov.au/nla.news-article49766457 

. . . How I have thought of her is through Miska Hauser. What can Miska have to do with Taglioni? Taglioni belongs to the same period as Paganini. Paganini was a wizard. I deny altogether that he belonged to this earth. See him: his tall gaunt figure, his thin cheekbones, his eyes penetrating, wild, deep, delirium-wrought, sad, full of all the passions that belong to the human soul. His hair tossing to the wind, his haggard, worn-out aspect, his melancholy countenance, his look of enthusiasm, his suit of black, the effect he has upon his audience as he comes before them, his hand upon his heart, rendering the most profound of obeisances.

Miska is quite another idea from Paganini. In all externals they are essentially unlike. Miska more resembles Ole Bull. In both you are certain of science. You are assured from the first, that they have studied music. You would stake your upon it that not a false note would you hear from either. Paganini - and do not know if science has been his study. You listen, you note, you gulp down, it seems to you like improvising. For the first time in your life you seem to confront - genius. Miska Hauser surprises, so did Ole Bull: Paganini overwhelms. Such sounds were never before heard, such effects were never before produced. Paganini, honey, play the "Di tanti palpiti." Lady, you are not quivering to your core. Oh, no. Play the "Carnival." Miska plays the "Carnival." It is not quite as Paganini plays it: it is the "Carnival" Miska plays - One knows the thing directly; the first note - oh! there it is. You are pleased, the sound floats upon your ear - "Oh come to me," &c., and you are in raptures. There it is in sotto, in mezzo, in alto. You have it there with its wondrous varieties of light and shade - now base, now tenor, now soprano; those heavenly little alto notes that you could listen to, and listen to for ever; that remark[ab]le finish of execution, the rapid turns - that unparalleled mastery of science. But Paganini; you know nothing concerning his science. You listen stupefied, paralyzed. Your bosom heaves, your lips part, you would ejaculate if you could, you are choking, you will be stifled; stop, your hand is upraised; stop, magician, stop; I shall die. Such is the "Carnival" of Paganini. Again, in other instances, you thought you knew rage; you had seen Sir Giles Overreach, you have seen Kean in the last agonies of the character; you have witnessed Kemble in Lear, Macready in Macbeth, Othello in his distraction, Zanga in his revenge; but Paganini, with or without science, you know not what he could accomplish; he carries you out of yourself, he scares you, terrifies you, transforms you; you are satifified now. He becomes to you a new idea.

Of the world's present magician - of "The Bird on the Tree" there can be but one opinion. In his wav, too, Miska Hauser is not perfect, but perfection. You can never forget those delicious, delicate bird-notes; on earth they were never heard before, they come from heaven. Never was anything equal to the finish of execution. It is the sublime of manipulation. But I forget myself, Miska Hauser is not a reminiscence, but a living fact.

ASSOCIATIONS: Marie Taglioni (theatrical dancer)

Melbourne and goldfields VIC (9 February to 26 November 1857)

9 February 1857, arrived Melbourne

"SHIPPING INTELLIGENCE. ARRIVED (HOBSON'S BAY)", The Argus (10 February 1857), 4

http://nla.gov.au/nla.news-article7144414 

February 9. - White Swan, s.s.s., 300 tons James, Gill, from Adelaide 6th inst. Passengers - saloon . . . Briddle [sic, Buddee] . . . Miska Hauser . . .

"MISKA HAUSER", The Argus (17 February 1857), 5

http://nla.gov.au/nla.news-article7144761 

This eminent violinist - the violinist of the day par excellence - has just returned to this city from a lengthened and highly successful professional visit to South Australia, where his concerts have been extremely popular with all classes, from the Governor downwards. We are glad to learn that it is Miska Hauser's intention to give the inhabitants of Melbourne another opportunity of listening to his extraordinary performances before taking his departure for the shores of Europe, whither he is about to proceed, via Mauritius. We bespeak attention to these farewell concerts, as the chances are we may never be again visited by so great an artiste; and we hope that the attendance on each occasion will be such as to testify that Miska Hauser's admirers in Melbourne are as numerous as in the capitals of the adjoining colonies.

23 February 1857, concert, Mechanics' Institution

[Advertisement], The Age (23 February 1857), 1

http://nla.gov.au/nla.news-article154824521 

UNDER THE PATRONAGE OF MAJOR GENERAL MACARTHUR.
MISKA HAUSER Has the honor to announce
A GRAND CLASSICAL CONCERT, Previous to his departure for Europe,
On MONDAY, February 23rd, 1857, At the Mechanics' Institution.
PROGRAMME.
FIRST PART.
Quartette - No. 4, C. Minor - Beethoven.
Four movements, Allegro, Andante, Menuetto, and Finale,
executed by Messrs. Miska Hauser, E. King, H. Thomas, and S. Chapman.
For the First Time in this Colony.
SECOND PART.
Solo Violin - Grand Caprice on Airs from the Opera Norma, (first time) - Hauser - MISKA HAUSER
Song - "Gaily I'd roam," - Romer - MISS MARIE CHALKER.
Solo, Piano - Fantasia from the Opera "Straniera" - Thalberg - MISS EMILIE SMITH.
Solo. Violin - "The Irish Bouquet" - Hauser - MISKA HAUSER.
THIRD PART.
Quartette - The Celebrated Variations on God Save the Queen - Onslow.
Messrs. Miska Hauser, E. King, H. Thomas and S. Chapman.
Song - "Farewell," (composed by Miska Hauser) MISS CHALKER.
Solo, Piano - "The Carnival of Venice," Schulhoff - MISS EM1LIE SMITH.
Solo, Violin (by request) - "The Bird on the Tree," Hauser - MISKA HAUSER.
Conductor - Mr. C. Bial . . .

"MISKA HAUSER'S CONCERT", The Argus (24 February 1857), 5

http://nla.gov.au/nla.news-article7145147

Last evening Miska Hauser gave his concert of classical music before a select and numerous audience, in the Hall of the Mechanics' Institute. Independent of the fame of the maestro himself, great interest attached to the concert from the production, for the first time in this colony, of a species of music of the highest class. The performance of Beethoven's, No. 4 Quartette, in C minor, must be considered as an event, and we trust that the experiment, which was last night in every point perfectly successful, will be repeated while the public taste is still alive to it. Miska Hauser, Mr. E. King, second violin, Mr. H. Thomas, tenor, and Mr. S. Chapman, violoncello, were the instrumentalists, and it was satisfactory to find that we were in possession of sufficient musical talent to enable M. Hauser to attempt so difficult and critical a work. The various movements, four in number, were executed with commendable precision, the andante, in particular, was delightfully rendered, and elicited the loudest tokens of satisfaction from the audience . . . In the third part M. Hauser and his three assistants performed Onslow's variations on "God save the Queen." It was a musical treat of a very attractive character.

ASSOCIATIONS: Edward Macarthur (commander of the forces, VIC); Edward King (violin); Samuel Chapman (cello)

MUSIC: String quartet in C minor, op. 18 no 4 (Beethoven); Variations on "God save the king", from String quartet in G minor, op. 9 no. 1 (Onslowe)

27 February 1857, second concert, Mechanics Institute, Melbourne

[Advertisement], The Age (26 February 1857), 1

http://nla.gov.au/nla.news-article154820728 

MISKA HAUSER Has the honor to announce a Second
CLASSICAL CONCERT, Previous to his departure for Europe,
On Friday next, February 27th, at the Mechanics' Institution,
When he will be assisted by
Miss MARIE CHALKER
Mr. E. KING, 2nd violin
Mr. W. REED [sic], Tenor
Mr. H. THOMAS, Tenor
Mr. S. CHAPMAN, Violoncello
Mr. CH. BIAL, Piano
Tickets, 5s each; Reserved Seats, 7s 6d; to be had at Mr. Wilkie's, at the Mechanics' Institution, and at the doors.
Doors open at Half-past Seven, to commence at Eight o'clock.

"MISKA HAUSER'S FAREWELL CONCERT", The Age (28 February 1857), 5

http://nla.gov.au/nla.news-article154822589 

Last evening, the celebrated Hungarian violinist, Miska Hauser, who has now occupied nearly two years in making a professional tour of the Australian colonies, took his leave of them in a grand classical concert, at the Mechanics' Institution, - the place where first his transcendant powers as a violinist became known to the Victorian public. The audience was small, but appreciative, and included the principal amateurs of the metropolis. Miska Hauser has been the first to bring before a Melbourne audience the grand instrumentation of Beethoven, Haydn, and Mayseder, as developed in their sinfonies [sic], - a class of music which have invariably been a favorite with all musical communities, and it is also due to the resident solo talent to state that they have most ably supported him in his attempt. When this able violinist was in Melbourne some months ago, it was his intention to have given a series of chamber concerts, in which were proposed to be introduced selections from the instrumental works of the principal classical composers. At the time, circumstances prevented this intention being carried out, and we owe him no small debt of gratitude for not leaving the country without affording us an opportunity of hearing some of the choicest instrumental works interwoven with his own admirable solo performances. Now that the public have had a taste of the enjoyments to be derived from an acquaintance with really classical music, we trust that Messrs. E. King, H. Thomas, W. Reed, and S. Chapman, the able collaborators of Miska Hauser, will not be slow in making us further acquainted with works which they have shown themselves so well qualified to render.

The performances of the evening commenced with Mayseder's quintett No. 2, A minor, in which the artistes we have mentioned were all engaged. The symphony selected is one of the most pleasing productions of this well known composer, and was rendered with a delicacy and success which we have seldom heard excelled. During the performance of the work, the audience listened with rapt attention, and at the close of each of the four movements applauded with a heartiness, which showed how highly they appreciated the treat which had been placed before them. To this succeeded a capriccio by Miska Hauser, founded on airs in the opera of "Lucrezia Borgia" in which he displayed himself to the greatest advantage, both as an able musician, and an accomplished executant. The plaudits of the audience procured from him the Irish air "Kathleen Mavourneen," into which he threw, if possible, more expression than the voice itself is capable of imparting to this charming melody.

Miss Marie Chalker, a vocalist of very considerable talent from the sister colony of South Australia, on this occasion made her second appearance before a Melbourne audience in Glover's sweet air, "Music hath a magic," which, on being encored, elicited Romer's "Gaily I'll Roam;" both of which were very tastefully given. Miss Chalker's voice is powerful and of good quality, and only requires a little further cultivation to render it a valuable acquisition to our concerts. She also sang very feelingly the air "Oh yes, thou'rt remembered."

The third part commenced with an instrumental quartette performed by Messrs. Hauser, King, Thomas, and Chapman, being variations on Haydn's German hymn, "God save the Emperor." Miska Hauser's other efforts during the evening consisted of the "Souvenir d' America," and the variations on "Annie Laurie" and "Carnival of Venice," both of which are established favorites amongst us. Mr. Bial's brilliant execution on the pianoforte alone remains to be noticed. Both as a solo performer and as a soloist, M. Bial is deserving of the highest commendation. Prudent's fantasia on airs in "Lucia" was a masterpiece of instrumentation, and the same may be said of "La Gazelle," which, on being encored, elicited a nocturne by Dohler.

It is seldom we have to record the occurrence of a concert of miscellaneous music so satisfactory in every particular, both as regards selection and execution, but I we cannot help regretting that so few persons were found to avail themselves of the high gratification which it was capable of imparting.

"MUSIC AND THE DRAMA", The Age (10 March 1857), 5

http://nla.gov.au/nla.news-article154820491 

Miska Hauser, whose late concerts have each been understood to be the last, are now to he brought to an actual finale at the Mechanics' Institution, on Thursday. He has been assisted by Miss Emilie Smith, the able pianiste, Miss Chalker, a vocalist of very considerable ability, from Adelaide, and Mr. Bial, whose tasteful piano-forte playing have long been favorably known. Miska Hauser has latterly introduced a novelty into his concerts which should commend them to the favorable notice of the public. We refer to the performance of sinfonies of Hayden, Beethoven, and Mayseder, by Messrs. Reed, Chapman, Thomas, King, and himself. The credit of having introduced this choice element into our concerts is due to Miska Hauser, and we are glad to say has been duly recognised by the public. His concert, on Thursday next, to be held at the Mechanics' Institution, promises to be a great treat in its way, and we trust the last appearance of this favorite violinist previous to his departure for Europe, will be made the signal for a large gathering of the musical community.

ASSOCIATIONS: Edward King (2nd violin); Thomas Reed (viola); Herbert Thomas (viola); Samuel Chapman (cello); Charles Bial (piano); Marie Chalker (vocalist)

MUSIC: String quintet in A minor, op. 51 (Mayseder)

5 March 1857, concert, Mechanics' Institution, Melbourne

[Advertisement], The Argus (5 March 1857), 8

http://nla.gov.au/nla.news-article7145616 

MISKA HAUSER Has the honour to announce a Third Grand Classical
CONCERT, For the Benefit of MISS EMILIE SMITH, The favourite Pianist,
On THURSDAY Next, 6th MARCH, At the MECHANICS' INSTITUTION.
Programme:
Part First.
Quartette - G maggiore - Haydn
4 movements, Allegro, Adagio, Scherzo, and Finale.
Messrs. Miska Hauser, E. King, H. Thomas, and S. Chapman.
Part Second.
Solo Violin - Andante et Rondo di Concerto - Hauser. - Miska Hauser.
Song - "The Lonely Harp." - Cowell. - Miss Marie Chalker.
Piano Solo - Grand Fantasia on Bohemian Airs - Kuhe. - Miss Emilie Smith.
Solo Violin - Caprice on airs from the Opera "Ernani" - Hauser. - Miska Hauser.
Part Third.
Quartetto - Variations on D maggiore - Beethoven.
Messrs. Miska Hauser, E. King, H. Thomas, and S. Chapman.
Song - "I'm a merry Zingara." - Balfe. - Miss Marie Chalker.
Piano Solo - Variations on "We're a Nodding." - Thalberg. - Miss Emilie Smith.
Solo Violin - "Yankee Doodle." - Vieuxtemps. - Miska Hauser.
Conductor - Mr. Chas. Bial . . .

"MISKA HAUSER'S THIRD CONCERT", The Argus (6 March 1857), 5

http://nla.gov.au/nla.news-article7145688 

Versatility is one of the characteristics of Miska Hauser as an artiste. He can expound the mysteries of Beethoven and interpret the sublime phraseology of Haydn like a true master of his art. He can infuse a world of pathos into a simple ballad, and make his audience merry with the quaint caprices which he introduces into the "Carnival of Venice," or the fantastic ornamentation with which he overlays the hackneyed air of Yankee Doodle. In classical music he "rises to the height of the great argument" of composers like Mozart and Handel; and the most florid passages of writers like Verdi are only pleasant pastime to a violinist like Miska Hauser. His facility of execution is perfectly astonishing, and the astonishment does not diminish by familiarity with his performances; while his precision resembles an instinct rather than an acquisition. There is nothing mechanical, moreover, in his style of playing. The processes by which he has arrived at this degree of perfection may have been long and laborious, but there is no trace of them in the result. His execution has all the appearance of an immediate inspiration, and not of the carefully elaborated product of years of labour and study. Between his performances and that of most other violinists there is all the difference which exists between "the thoughts that breathe and words that burn" of the true poet and the mechanical jingle of the mere rhymer - "So coldly sweet, so deadly fair, We start, for soul is wanting there." Miska Hauser appears to be the unsentient instrument in his hand with something of his own spirit, and to compel it, at his own will, to "discourse most excellent music," as though it were a living voice.

We shall not enter into any critical details of his performances last evening, for the technicalities of criticism are as incapable of conveying an adequate notion of the charm of a musician's execution, as any arrangement of words would be to describe the scent of a flower, or the glories of a tropical sunset. We will simply remark that he was applauded to the echo, and that he was most ably assisted by Messrs. King, Thomas, and Chapman in the two quartettes, and by Mr. Beal [sic] as an accompanyist to the solos. Miss Emilie Smith, for whose benefit the concert was given, was encored in both the pieces she executed, a well-earned honour . . . The vocal portion of the evening's entertainment was contributed by Miss Marie Chalker . . . The room was well filled, the reserved seats particularly so; and it is worthy of remark that the audience included a considerable proportion of the musical cognoscenti of the city.

"GRAND CONCERT AT THE MECHANICS' INSTITUTION", The Age (6 March 1857), 5

http://nla.gov.au/nla.news-article154824892 

Yesterday evening, Miska Hauser's third concert since his return to Melbourne - on this occasion for the benefit of the talented pianiste, Miss Emilie Smith - was more numerously attended than either of those which preceded it. The audience was a decidedly brilliant one, and we noticed among the number, a large amount of the professional and amateur talent of the city.

The programme included a quartette by Haydn, in G major, and variations on Beethoven's D major - both exquisitely performed by Messrs Miska Hauser, E. King, H. Thomas, and S. Chapman. The performance of these fine works were listened to throughout with the utmost attention, and elicited rapturous applause. Miska Hauser's solo performances were as usual quite successful. They included the caprice on airs in "Ernani," the Rondo di Concerto, and an American melange. As encores, he gave the Carnival and other established favorites . . .

. . . It only remains for us to pay a well merited compliment to the able pianoforte accompaniments of M. Charles Bial, and to regret that the speedy departure of Miska Hauser is likely to deprive us of one of the greatest instrumental musicians who have visited the southern world.

ASSOCIATIONS: Emilie Smith (pianist)

MUSIC: 3rd movement, Andante cantabile con variazioni in D major, from String quartet in A major, op. 18. no.5 (Beethoven)

"JOURNAL OF LITERATURE AND ART", The illustrated journal of Australasia and monthly magazine (9 March 1857), 143

https://books.google.com.au/books?id=dIwuAQAAIAAJ&pg=PA143

The literary and artistic history of the month is rather barren . . . Miska Hauser has been enchanting the ear with the strains of his violin in a short farewell series of classical concerts. Mr. Marsh has given a pleasing miscellaneous musical entertainment. The Philharmonic Society is busied with preparation for a grand performance. Mr. Nelson has composed for this work a new Song, "The Watchword," which appears in the present number.

ASSOCIATIONS: Stephen Hale Marsh (composer, pianist, harpist); Sidney Nelson (composer, pianist)

"MUSIC AND THE DRAMA. THE METROPOLIS", The Age (10 March 1857), 5

http://nla.gov.au/nla.news-article154820491 

. . . Madame Bishop has repaired to Castlemaine and elsewhere on the gold-fields, until the season. Miska Hauser, whose late concerts have each been understood to be the last, are now to he brought to an actual finale at the Mechanics' Institution, on Thursday. He has been assisted by Miss Emilie Smith, the able pianiste Miss Chalker, a vocalist of very considerable ability, from Adelaide, and Mr. Bial, whose tasteful piano-forte playing have long been favorably known. Miska Hauser has latterly introduced a novelty into his concerts which should commend them to the favorable notice of the public. We refer to the performance of sinfonies of Hayden, Beethoven, and Mayseder, by Messrs. Reed, Chapman, Thomas, King, and himself. The credit of having introduced this choice element into our concerts is due to Miska Hauser, and we are glad to say has been duly recognised by the public. His concert, on Thursday next, to be hold at the Mechanics' Institution, promises to be a great treat in its way, and we trust the last appearance of this favorite violinist previous to his departure for Europe, will be made the signal for a large gathering of the musical community . . .

12 March 1857, farewell concert, Mechanics' Institution, Melbourne

[Advertisement], The Age (12 March 1857), 1

http://nla.gov.au/nla.news-article154824689 

MISKA HAUSER'S Last Appearance and Farewell CONCERT.
This Evening, 12th March, 1857, At the Mechanics' Institution.
PROGRAMME. PART I.
Overture, "Fra Diavolo" - Auber.
Solo, violin, "Grand Concerto, Allegro, Maestoso, Andante, Pastorale and Rondo Grazioso" - Hauser. - Miska Hauser.
Song, "Madoline" - Nelson. - Miss Marie Chalker.
Solo, piano, Fantasia brilliante on airs from "Lucia" - Prudent. - Miss Emilie Smith.
Song, "Why do I weep for thee?" - Wallace. - Miss Louisa Swannell.
Solo, violin, Grand Caprice on airs from the opera "Norma" - Hauser. - Miska Hauser.
PART II.
March, from the opera of the "Prophet" - Meyerbeer.
Solo, violin, "The Mother's Prayer and Angel's Song" - Ole Bull. - Miska Hauser.
Song, "Polka" - Lee. - Miss Chalker.
Solo, violin, "Le Tremolo" on a celebrated air by Beethoven - Beriot. - Miska Hauser.
Song, "Little Goodie Gay" - Nelson. - Miss Louisa Swannell.
Solo, piano, "Les Hirondelles" - Thalberg. - Miss Emilie Smith.
Solo, violin, "The Bird on the Tree" - Hauser. - Miska Hauser.
Conductor - Mr. C. Bial . . .

"MISKA HAUSER'S FAREWELL CONCERT", The Age (13 March 1857), 4

http://nla.gov.au/nla.news-article154821342 

A large and brilliant audience assembled yesterday evening at the Mechanics' Institution, to honor the farowell concert of Miska Hauser, who for two years has favored these colonies with his almost inimitable performances on the violin. On this occasion, he was assisted by Miss Emelie [sic] Smith, Miss Marie Chalker, Miss Louisa Swannell, and M. Charles Bial. The concert was, if possible, more successful than any which have preceded it, and the applause which greeted each portion of the evening's entertainment was loud and general . . .

Of the performances of the great violinist himself, it is scarcely necessary to speak. They included several of those pieces which have with Melbourne audiences become inseparably connected with his name, and gained for him a solid reputation. The solos composed by himself, De Beriot, "Le Tremolo," and Ole Bull's "Mother's Prayer," formed the chief part of his performances, and though they have become so familiar to us by frequent repetition, were listened to with even increased attention and delight. We hear that Miska Hauser intends visiting the gold-fields, whence he will return to take part in the next concert of the Philharmonic Society. He then proposes visiting the Mauritius.

M. Charles Bial's accompaniments to Miska Hauser's violin playing were as usual, of the most tasteful and judicious character . . . We have, in justice to all parties, felt compelled to speak in the highest praise, and we feel satisfied that all who were present will bear us out in according to this concert our most unqualified approbation.

ASSOCIATIONS: Louisa Swannell (vocalist); in the event, the Philharmonic concert for which Hauser was to return, on 21 April, was indefinitely postponed due to the death, on 17 April, of Elizabeth Barkly, wife of the governor, Henry Barkly.

Ballarat, VIC (by 17 March to mid April 1857)

17 March 1857, Hauser's first night, Star Hotel Concert Hall, Ballarat

"MISKA HAUSER", The Star (17 March 1857), 2

http://nla.gov.au/nla.news-article66041344 

This celebrated violinist will perform at the Grand Gift Concert, to be held at the Star Hotel this evening, when the lovers of music will have an opportunity of enjoying a treat such as they have not had for sometime.

[Advertisement], The Star (18 March 1857), 3

http://nla.gov.au/nla.news-article66041347 

METROPOLITAN GOLD FIELD GRAND GIFT ENTERPRISE.
STAR CONCERT-HALL. WEDNESDAY EVENING, MARCH 18, 1857.
SECOND GRAND GALA NIGHT. MISKA HAUSER! . . .
MADAME LEON NAEJ, OTTO LINDEN, MRS. VINCENT, MR. YOULE & MR. VINCENT.
Pianists: Messrs Vincent and Linden . . .

ASSOCIATIONS: Madame Leon Naej (soprano vocalist); Otto Linden (pianist); John Rimmer Vincent and wife (vocalist, pianist); Joseph Youle (vocalist)

28 and 30 March 1857, Robert Farquharson's concerts, Ballarat

"MR. FARQUHARSON'S CONCERT", The Star [Ballarat, VIC] (30 March 1857), 3

http://nla.gov.au/nla.news-article66041503 

A large and select company assembled at Messrs. Huxtable and Co.'s Reading Rooms, on Saturday evening, to listen to Mr. Farquharson and Miska Hauser. Partaking of the character of a class of musical entertainments which for some years past has proved highly attractive in the mother county, the programme selected afforded a considerable amount of information and much pleasant music. A well-written and well-delivered literary notice of the progress and fortunes of British musical art, spiced with some graphic and piquant anecdotes of art and artists, and a brief introduction to the various pieces, served to vary and relieve the efforts of the monologist - for such we must term Mr. Farquharson, following, as he does, in the footsteps of Henry Russell, John Parry, Buckland, and some others who have assisted to perfect this peculiar class of drawing-room concert and literary entertainment combined . . . and displayed to advantage Mr. Farquharson's skill as a pianist . . . Miska Hauser, though we leave him until last, was by no means the least feature in the entertainment. His well known skill as a master of the violin, ensured for him a warm reception. Both his solos, consisting of variations upon Native Melodies, were loudly encored, as they deserved to be; - their admirable execution and exquisite harmony, affording a sensation of musical pleasure not often enjoyed . . . Mr. Farquharson and Miska Hauser are to appear to-night at the Council Chambers, with an entirely new programme, illustrated with a series of dissolving views.

1 April 1857, Charlie Napier Theatre, Ballarat

"CHARLIE NAPIER", The Star (2 April 1857), 3

http://nla.gov.au/nla.news-article66041572 

This house was crowded last night to hear Miska Hauser and Mr. Farquharson in the attractive Musical Melange, provided for the night's entertainment, besides a smart little affair in which Miss Warde, Mr. Holloway, Mr. Greville and most of the company appeared. The entertainment was highly successful, as with such excellent performers it could not well be otherwise. The attendance afforded a striking contrast to the previous patronage extended by the people on the township to these talented artists.

3 and 4 April 1857, concerts, Creswick, VIC

"CRESWICK (From our own Correspondent)", The Star (3 April 1857), 2

http://nla.gov.au/nla.news-article66041591 

We have had the unexpected pleasure of a second visit from Miska Hauser accompanied by Mr. Farquharson, on Friday and Saturday, at the Concert Room of the British Hotel . . .

Tarrangower and Castlemaine, VIC (17 to 21 April 1857)

17 and 18 April 1857, Tarrangower, VIC

"TARRANGOWER", Mount Alexander Mail [Castlemaine, VIC] (17 April 1857), 4

http://nla.gov.au/nla.news-article197087408 

Mr. Earle, the proprietor of the Kangaroo Hotel, has engaged Miss Julia Hariand, Miska Hauser, and their troupe, to play here on Friday and Saturday . . .

20 and 21 April 1857, Castlemaine, VIC

"The Criterion Hall", Mount Alexander Mail (20 April 1857), 3

http://nla.gov.au/nla.news-article197087921 

This and to-morow evening Miss Harland, Miska Hauser, and Mr. Linley Norman will appear at this hall. They have made a successful tour from Ballarat, and they will be equally well received here. During the week they intend giving concerts at the Junction, Fryer's Creek, and at the Red Hill Hotel, Forest Creek.

ASSOCIATIONS: Hauser cannot have appeared at both the Fryer's Creek and Forest Creek concerts, as he was already at Bendigo on the night of 23 April

Bendigo, VIC (23 April to late October 1857)

23 and 24 April 1857, Hauser's first two appearances, Criterion Theatre, Bendigo

"THE CRITERION THEATRE", Bendigo Advertiser (24 April 1857), 3

http://nla.gov.au/nla.news-article87998707 

The public of Sandhurst were rather taken by surprise last night, at least that portion of them who had the good fortune to be at the Theatre. Miss Mathews having played as usual her part of the "Middy Ashore," which piece we may mention went off very well, the celebrated violinist, Miska Hauser, made his appearance. To speak of the talents of this gentleman, the pen of a professed musician would be required. His instrument appears to be almost a thing of life, emitting at the will of its master the expressive tones of the human voice, the soft notes of the flute or the inspiring trumpet call. Miss Julia Harland was another acquisition to Mrs. Brougham's company . . . Mr. Linley Norman presided at the piano . . . The house was very well attended, and we predict that it will be crowded to-night.

[Advertisement], Bendigo Advertiser (24 April 1857), 3

http://nla.gov.au/nla.news-article87998710 

CRITERION THEATRE. (Under the sole Management of Mrs. Brougham.)
Second Appearance of the Celebrated Prima Donna MISS JULIA HARLAND.
Farewell Appearance of the Great Violinist, MISKA HAUSER Previous to his departure for the Continent.
2nd Appearance of the Popular Composer and Pianist, MR. LINLY NORMAN,
FRIDAY EVENING, 24th APRIL, The performance will commence with HUNTING A TURTLE.
Miss Turtle - Miss Julia Matthews. DANCE - MISS JULIA MATTHEWS.
To be followed by a GRAND MUSICAL MELANGE.
Solo Violin, on airs from "Lucrezia Borgia" - Miska Hauser.
Irish Ballad, "Kathleen Mavourneen" (by desire) - Miss Julia Harland.
Solo Piano Forte, "Carnival of Venice" - Linley Norman.
Ballad, "There's a Path by the River" - Miss Julia Harland.
Solo Violin, "Irish Bouquet" - Miska Hauser.
Finale to La Sonnambula, "Do not Mingle" - Miss Julia Harland.
Solo Violin, "Yankee Doodle," (by desire) - Miska Hauser . . .

25 April 1857, first night of Hauser's 6-month season at the Shamrock Concert Hall, Bendigo

"THE SHAMROCK CONCERT HALL", Bendigo Advertiser (27 April 1857), 3

http://nla.gov.au/nla.news-article87998769 

This most popular place of amusement was crowded on Saturday night, in a manner which must have been most gratifying to the new performers, Miss Harland and Miska Hauser. For a considerable period of the evening, it was perfectly impossible to obtain an entrance, the passages, and indeed every portion of the house being absolutely crowded to suffocation. It is hardly necessary for us to dilate on the very excellent and superior performance of the first violinist of the day; but we would earnestly recommend those of our readers who have not yet heard him, to pay him a visit at the Shamrock.

[Advertisement], Bendigo Advertiser (30 April 1857), 1

http://nla.gov.au/nla.news-article87998850 

MONSTER CONCERTS NIGHTLY. GREAT AND RENEWED ATTRACTION.
MESSRS. HEFFERNAN AND CROWLEY, Proprietors of the above popular place of amusement, hereby notify to the Public of Bendigo that, at considerable expense, they have made engagements with the following eminent Artistes:-
The renowned Violinist, MISKA HAUSER,
MISS JULIA HARLAND, MRS. HANCOCK, MISS URIE.
MR. LEMAN, And the local comic singer MR. THATCHER . . .

ASSOCIATIONS: William Heffernan (proprietor); John Crowley (proprietor); Louisa Urie (vocalist); Frederick Leeman (vocalist); Charles Thatcher (comic vocalist, flautist)

Letter 24 ("Sydney" [NSW], 28 May 1857 [sic]) - Read here

Letter 25 (Melbourne, VIC, 2 August 1857 [sic]) - Read here

"SHAMROCK CONCERTS", Bendigo Advertiser (22 August 1857), 2

http://nla.gov.au/nla.news-article88001217 

We have been somewhat surprised that during the past week these concerts should attract so many persons, comparatively speaking, seeing that everything has been so very dull in consequence of the rush to Ararat. However, after all it is not surprising, Carandini's voice seems to be finer than ever, and Miss Urie's skill in pleasing seems inexhaustible. Miss Swannell is becoming a decided favorite, and the gentlemen retain all their popularity. Miska Hauser has introduced some new pieces, which he plays with all that skill which has made him so famous, and M. Lavenu is great as ever on the piano-forte.

[Advertisement], Bendigo Advertiser (3 September 1857), 3

http://nla.gov.au/nla.news-article88001469 

SHAMROCK CONCERT HALL. GREAT NOVELTY.
DURING the Evening Overtures, Waltzes, Galops, and Quadrilles will be performed by Miska Hauser, violin; Mr. Thatcher, flute; Mr. Pollard, piano-forte; and Mr. Lavenu, violoncello; forming the most compact Orchestra ever introduced in Bendigo.

"OLD FAVORITES", The Age (7 September 1857), 5

http://nla.gov.au/nla.news-article154833196 

. . . The Bendigo papers say: - "A new attraction has been provided for the lovers of harmony by our indefatigable caterer for musical excellence and novelty, Mr. Heffernan, in the shape of instrumental quartettes. Of Miska Hauser's capabilities as a violinist, it is needless to speak; but Mons. Lavenu's performance on the chief of stringed instruments - the violoncello - certainly took us by surprise: he fingers it in a masterly manner, and the effect produced is really good. Mr. Thatcher, with a little more practice, will be a good flautist, and certainly shows an aptitude for concerted music we did not give him credit for. The playing of Mr. Pollard (piano-forte) cannot be praised too highly : his taste is good, his execution brilliant, and his conception true" . . .

9 September 1857, concert, Shamrock Concert Hall, Bendigo

[Advertisement], Bendigo Advertiser (8 September 1857), 3

http://nla.gov.au/nla.news-article88001577 

NEW EPSOM PROSPECTING ASSOCIATION.
A GRAND CONCERT will be given in aid of the funds of this Association, in the
SHAMROCK CONCERT HALL, SANDHURST, ON WEDNESDAY, SEPT. 9th, 1857.
PROGRAMME. PART I . . . Solo, Violin - "The Dying Scene from Lucia de Lammermoor" - MISKA HAUSER . . .
Recitative and Air - " Softly Sighs the Voice of Evening" Weber. (With orchestral accompaniment.) MADAME CARANDINI . . .
PART 2. Grand Overture, performed by Messrs. Miska Hauser, Thatcher, Pollard, and Lavenu . . .
PART 3. Grand Overture - "Semiramide," performed by Messrs. Hauser, Thatcher, Pollard, and Lavenu . . .
Song - "Lo, Hear the Gentle Lark" - Bishop - Madame Carandini (Violin Obligato - M. Hauser.) . . .
Finale - "God Save the Queen." - Madame Carandini, Miss Swannell, Messrs. Dixon, Leeman, Pollard, Hauser and Lavenu.
Conductor - M. LAVENU . . .

1 October 1857, concert, Shamrock Concert Hall, Bendigo

"SACRED AND SECULAR CONCERT", Bendigo Advertiser (2 October 1857), 2-3

http://nla.gov.au/nla.news-article87975967 

The splendid Concert Hall of the Shamrock Hotel was last night filled with the most numerous and respectable audience we have ever seen within its walls on any similar occasion. The brilliant array of handsome and elegantly dressed ladies undoubtedly formed the most striking1 and attractive feature of the company, and at the same time it carried the conviction that the district is making the most rapid advances in civilization and refinement. Few towns in the colony could present such an assemblage, or supply such a musical treat . . .

Since the departure of Madame Anna Bishop, Madame Carandini is unquestionably the prima donna in these colonies. Miss Swannell is a young lady with a very pleasing voice, and much natural taste, which, it is to be regretted, have not been cultivated by a better musical education. Of Miska Hauser we need say nothing, except that he is the renowned violinist, who may be equalled in Europe, but it is questionable whether he can be excelled. M. Laglaise has a fine tenor voice, well adapted for operatic pieces, in which this gentleman is very successful, Mr. Leeman's fine bass is an important auxiliary in a concert, and Mr. Dixon, though his voice has [3] suffered deterioration, sing an alto-tenor accompaniment to advantage. Mr. Pollard's voice is not so attractive as is his piano-forte playing, at which he is an adept, only inferior to M. Lavenu himself, who on the violoncello makes us forget even his brilliant execution on the piano-forte. The inimitable comic Thatcher adds to his other talents that of being a good performer on the flute. With such a company success in whatever they might attempt could safely be predicted. Speaking critically, however, they were not quite at home in the Sacred pieces . . .

"MELBOURNE NEWS (From Wednesday's Papers), Bendigo Advertiser (29 October 1857), 2

http://nla.gov.au/nla.news-article87976550 

We are glad to announce the arrival in Melbourne of our old favourite Miska Hauser, who has been long absent, and who now, we believe, intends to give only one farewell concert previous to his departure for Europe, by the European.

Melbourne, VIC (late October to 26 November)

4-25 November 1857, Theatre Royal, Melbourne

[Advertisement], The Age (4 November 1857), 1

http://nla.gov.au/nla.news-article154833639 

THEATRE ROYAL, Wednesday Evening, November 4th,
First Appearance At this Theatre of the celebrated
MISKA HAUSER, Who is engaged for a few nights only.
Most positively The Last Night of SARDANAPALUS. Sardanapalus, - MR. G. V. BROOKE.
Between the Second and Third Acts
MISKA HAUSER Will perform a grand fantasia from the Opera of
LUCRETIA BORGIA.
And between the Fourth and Fifth Acts, variations on several popular
IRISH AIRS, Arranged by himself . . .

"THEATRE ROYAL", The Argus (5 November 1857), 4

http://nla.gov.au/nla.news-article7141565 

The final representation of "Sardanapalus" last night drew together a large audience, the dress circle, more particularly, being well filled. The intervals between the second and third, and the fourth and fifth acts were most agreeably relieved by Miska Hauser, whose re-appearance before a Melbourne audience was warmly applauded. The fantasia from "Lucrezia Borgia" was cheered to the echo, and he responded to the universal call for an encore by giving the "Carnival of Venice" with all its quaint embellishments. A medley of Irish melodies evoked plaudits which it would be no exaggeration to call tumultuous, and richly deserved them.

[Advertisement], The Age (5 November 1857), 1

http://nla.gov.au/nla.news-article154832487 

THEATRE ROYAL. Second Night of the Engagement of the celebrated Violinist, MISKA HAUSER, Who is engaged for a very limited period, prior to his departure for Europe . . . Will perform a fantasia, on Airs from the Opera of ERNANI, Composed by Miska Hauser, and THE BIRD ON THE TREE! Composed by Miska Hauser . . .

"THEATRICALS AND MUSIC. THEATRE ROYAL", Bell's Life in Victoria and Sporting Chronicle (7 November 1857), 2

http://nla.gov.au/nla.news-article201374407 

After experiencing a run of fifteen consecutive nights, "Sardanapalus" was withdrawn on Thursday. Since then Miska Hauser's services have been retained to give eclat to the performances, and the management has been rewarded with good houses . . .

"THEATRE ROYAL", Bell's Life in Victoria and Sporting Chronicle (14 November 1857), 2

http://nla.gov.au/nla.news-article201373932 

The event of the week has been the re-appearance of Mrs. Charles Poole . . . On Wednesday and Thursday, to suit the taste of the racing visitors, a lighter description of entertainment was presented - Mr. Brooke appearing on the former evening as Terence O' Grady, in the farce of "The Irish Post" . . . A principal attraction, however, on the first nights of the week was the performances of Miska Hauser, whose brilliant fantasias on the violin called forth the most enthusiastic applause.

"THEATRE ROYAL", Bell's Life in Victoria and Sporting Chronicle (28 November 1857), 2

http://nla.gov.au/nla.news-article201377964 

Mr. Brooke has been playing a round of characters through the week; but the principal event has been the farewell benefit of Miska Hauser, which took place on Wednesday evening, on which occasion South Yarra and the Gardiner's creek road mustered in force, and were really delighted out of their languor by the fantasias of the gifted artist . . .

"MELBOURNE (From our own Correspondent)", Bell's Life in Sydney and Sporting Reviewer (28 November 1857), 2

http://nla.gov.au/nla.news-article59867770 

My theatrical news is next to nothing. At the Theatre Royal, Brooke in Irish characters; Miska Hauser delightful as ever, between the pieces; and a couple of Italians, a baritone and basso, who are good singers, making up a musical olio . . .

Sydney and NSW (29 November 1857 to 10 May 1858)

"SHIPPING. ARRIVALS", The Sydney Morning Herald (30 November 1857), 4

http://nla.gov.au/nla.news-article28633576 

November 29. - Wonga Wonga (s.), 700 tons, Captain Walker, from Melbourne 26th instant. Passengers - . . . Miska Hauser . . .

"MISKA HAUSER", The Sydney Morning Herald (4 December 1857), 5

http://nla.gov.au/nla.news-article13003571 

This gifted musician arrived in this city with the intention of giving one or two musical entertainments prior to his return to his native country, and we hope it will not be long before we have the pleasure of again listening to one of the greatest musical geniuses that has visited the antipodes. The following notice of Miska Hauser in from the Melbourne Argus of last week: -

"We had thought it impossible for either voice or instrument to impart a new charm to the hackneyed, yet ever beautiful Casta Diva; but after hearing Miska Hauser, at the Theatre Royal, execute the melody upon his violin last night we no longer entertain the opinion, but look upon it as a heresy. There was no throng of druids and vestals on the stage, no sacred grove or massive altar stone, no stately Grisi, with dilating eye and swelling throat, pouring forth a stream of resonant and richest sound; nothing but a violinist, standing close to the foot-lights, and drawing a few filaments of horsehair across a few tense cords; and yet the effect produced upon the audience was as powerful as that produced by the singing of the same air by the queenly Giulia, at the very zenith of her operatic glory. The words of the hymn were inarticulate, but its passion, sentiment, and soul were all expressed, with something superadded by the musician; just as a true poet, translating into his own tongue the lyrics of another poet writing in a foreign language, infuses into that translation something of his (the translator's) genius."

ASSOCIATIONS: Giulia Grisi (Italian vocalist, from the mid 1840s mainly resident in London)

17 December 1857, concert, Royal Hotel, Sydney

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

http://nla.gov.au/nla.news-article13004073 

MISKA HAUSER has the honour to announce that he will give a Grand Instrumental Concert
THIS EVENING, December 17th, at the Concert Hall, Royal Hotel.
PROGRAMME. - PART I.
Quintetto - Mayseder - for two violins, two altos, and violoncello -
Allegro, Adagio, Scherzo, Finale -
MISKA HAUSER, Messrs. Klein, J. Deane, E. Deane, and C. Eigenschenk.
PART II.
Violin solo - Capriccio on airs from the opera of Norma - Hauser - MISKA HAUSER.
Piano solo - Mose in Egitto fantasia - Thalberg - Mr. B. BOULANGER.
Violin solo - Adagio from the New Concerto - Hauser - MISKA HAUSER.
Clarionette solo - Cavallini - Signor P. CAVALLINI (his first appearance).
Piano Solo - Nocturno (in D flat) - Dohler; Galop di bravoura - Schulhoff - E. BOULANGER.
Violin solo - Blue Bells of Scotland, fantasie brilliant - Hauser - MISKA HAUSER.
Conductor, Mr. STANLEY . . .

"MISKA HAUSER'S CONCERT", Empire (18 December 1857), 4

http://nla.gov.au/nla.news-article60265851 

After an absence of several months (during which period he has been prosecuting a highly successful professional tour through the sister colonies), Miska Hauser, the Paganini of the present day, has recently returned to Sydney, and last evening gave a concert at the Royal Hotel. He was assisted on the occasion by the Brothers Deane, M. Boulanger, Signor Cavallini, M. Eigenschenck, and M. Klein. It is hardly necessary to say that the great violinist was honoured with a numerous and fashionable audience, and that the entertainment gave unqualified satisfaction to the three or four hundred ladies and gentlemen who attended. The selections were admirably chosen, and as admirably rendered by the different performers, each of whom contributed individually in no small degree to the success which attended the entertainment. Of Miska Hauser, we may observe that his right hand still retains its cunning - the sublime Casta Diva, le Carnival de Venise, the Bird on the Tree, and other of his famous pieces breaking upon the senses, beneath his magic touch, as sweetly and effectively as of yore.

"MISKA HAUSER'S CONCERT", The Sydney Morning Herald (18 December 1857), 8

http://nla.gov.au/nla.news-article28633882 

Last evening the concert at the Royal Hotel came off with great eclat, and was as respectably attended as may be imagined in this warm weather, there being from five to six hundred persons present. For ourselves we must say that we never spent a more pleasant evening, and regret that the present short notice must suffice until next publication, when we hope to be enabled to give a detailed report.

ASSOCIATIONS: John Klein (viola); Pompeo Cavallini (clarinet, master of the Band of the 77th Regiment)

22 December 1857, concert, Royal Hotel, Sydney

[Advertisement], The Sydney Morning Herald (22 December 1857), 1

http://nla.gov.au/nla.news-article13004229 

MISKA HAUSER'S SECOND and LAST CONCERT will take place
THIS EVENING, 22nd December, at the ROYAL HOTEL.
PROGRAMME.
Part I.
Quartett in G major, for two violins, alto, and violoncello;
Allegro, Adagio, Menuetto, and Finale - Haydn
By Miska Hauser and Messrs. Deane
Part II.
Violin Solo, "Souvenir d'Australie;" Concerto, Allegro maestoso - Hauser - Miska Hauser.
Song, Cavatina, "Io non ti posso"- Donizetti - Madame Sara Flower.
Piano Solo, Fantaisie, "Elizir d'Amore" - Thalberg - A Lady Amateur.
Violin Solo, Air and Variations, "Lucia" - Hauser - Miska Hauser.
Song, " Ida," Ballade - Glover - Madame Sara Flower.
Piano Solo - A, "Casta diva" - L. de Mayer; B, Polka de Concert - Kuh - A Lady Amateur.
Violin Solo, "Scotch Reminiscences," Hauser - Miska Hauser.
Conductor - Mr. Stanley . . .

"CONCERT", The Sydney Morning Herald (23 December 1857), 4

http://nla.gov.au/nla.news-article28633932 

The farewell concert given by Miska Hauser, last evening, in the Royal Hotel, was highly successful, both as regards the music and the attendance. The opening piece, a quartette in G major, by Haydn, was an exquisite performance, particularly the "Adagio," which elicited rapturous applause. In the violin solos, Miska Hauser was perhaps never heard to better advantage; the aolo, "Fra Poco," from Lucia, was given with all the pathos of which that celebrated air is capable. Madama Sara Flower was in excellent voice, and her rendering of "Io non ti posso," was received with a load encore, when she substituted "The old arm chair." One of the treats of the evening were two solos on the piano by a lady amateur - the first from the opera of "Elisir d'Amore," in which the fair pianiste executed the variations with a brilliancy and distinctness of touch which stamps her as a musician of the first order; and the second, "Casta Diva," was given with eminent success. The accompaniments were performed by Mr. Stanley in his usual style; and the Messrs. Deane also contributed to the pleasure of the evening.

"THEATRICALS . . . MISKA HAUSER", Bell's Life in Sydney and Sporting Reviewer (26 December 1857), 2

http://nla.gov.au/nla.news-article59867921 

A Second and last Concert was given by this talented artiste, on Tuesday evening, at the Royal Hotel, and elicited the usual rapturous applause which has always marked his brilliant performances. Madame Sara Flower was loudly encored, and one or two well executed solos on the piano from Madame R-----, a lady amateur, were received with enthusiasm. We observe that the famous violinist is about to give one or two concerts in Maitland at the close of the present week.

ASSOCIATIONS: Lady amateur = Amalia Mauthner Rawack

MUSIC: String quartet in G, op. 76 no. 1 (Haydn)

24 and 26 December 1857, concerts, School of Arts, West Maitland, NSW

[Advertisement], Empire (23 December 1857), 1

http://nla.gov.au/nla.news-article60266243 

MISKA HAUSER will give TWO CONCERTS on THURSDAY and SATURDAY next, at Maitland, and will sail the following Monday for Moreton Bay.

[Advertisement], The Maitland Mercury and Hunter River General Advertiser (24 December 1857), 3

http://nla.gov.au/nla.news-article18649663 

GRAND EVENING CONCERT, AT THE SCHOOL OF ARTS,
BY MISKA HAUSER AND BOULANGER, ASSISTED BY MR. W. KELLERMANN.
MESSRS. MISKA HAUSER and BOULANGER, have the honour to inform the public of Maitland and the vicinity, that they will give a
GRAND EVENING CONCERT, on THURSDAY EVENING, the 24th instant, at the above institution.
PROGRAMME. PART I.
1. SOLO (Violin) - Fantasia on airs from Norma - M. Hauser - MISKA HAUSER.
2. SONG - Mr. W. KELLERMANN.
3. SOLO (Piano) - Fantasia on Don Pasquale - Boulanger - BOULANGER.
4. SOLO (Violin) - Carnival of Venice - M. Hauser - MISKA HAUSER.
5. SONG - Mr. W. KELLERMANN.
6. SOLO (Piano) - The Last Rose of Summer - Boulanger - BOULANGER.
Interval of ten minutes.
PART II.
7. SOLO (Piano) Nocturne - Dohler; Drinking Song - Schulhoff - BOULANGER.
8. SONG - Mr. W. KELLERMANN.
9. SOLO (Violin) - The Irish Bouquet - M. Hauser - MISKA HAUSER.
10. SOLO (Piano) Galop di Bravura - Schulhoff - BOULANGER.
11. SOLO (Violin) - The Bird on the Tree - M. Hauser - MISKA HAUSER . . .

"MAITLAND. CONCERT AT THE SCHOOL OF ARTS", Northern Times [Newcastle, NSW] (26 December 1857), 2

http://nla.gov.au/nla.news-article128757946 

In consequence of the intense heat of the weather the concert given by Miska Hauser and Boulanger was not so well attended as might have been expected. Those who were fortunate enough to be present evidenced their delight by the most enthusiastic applause. A farewell concert is advertised for this evening, and we expect that a full house will reward these distinguished artistes. This will be the last opportunity afforded of hearing the celebrated violinist, who will shortly leave the colony for Europe, where a rich harvest awaits him. The holiday-makers cannot pass a more agreeable or improving evening than by listening to music of such superior order. Those whose taste leads them to prefer well-known melodies (both Scotch and Irish) will be delighted with the selection made for this evening's entertainment.

"CONCERT ON CHRISTMAS EVE", The Maitland Mercury and Hunter River General Advertiser (26 December 1857), 2

http://nla.gov.au/nla.news-article18651918 

On Christmas Eve a concert was given at the School of Arts, West Maitland, by M. Miska Hauser and Boulanger, when, we are sorry to say, the attendance was miserably small. It is certainly discouraging that the greatest artistes of the colony, in their visits to our town, should not obtain average support. Those who have heard the playing of Miska Hauser need not be informed of the admirable taste by which it is distinguished, nor of the accuracy - almost infallible - of his harmonics. He truly stands high as a violinist. He greatly delighted the audience with his playing of the Carnival of Venice, and by the Scottish airs which he gave on an encore being called for. His Irish bouquet was loudly applauded by many to whose nationality it appealed. But what was perhaps most successful with the audience was "The Bird in the Tree," in which the imitation of a feathered musician was listened to with breathless attention. Mr. Boulanger's wonderful power and execution on the piano has before been exhibited in Maitland . . . The instrumental music the evening was relieved by three songs. "As I view those scenes so charming," "Piff paff," by Meyerbeer, and "The Standard-bearer," which were sung by Mr. Kellermann, with deserved applause. It is to be hoped that if another concert is to be given this evening, there will be an attendance more worthy of the occasion.

"CONCERT ON BOXING NIGHT", The Maitland Mercury and Hunter River General Advertiser (29 December 1857), 2

http://nla.gov.au/nla.news-article18645039 

On Saturday night a second concert was given at the School of Arts by Miska Hauser, and Boulanger, the mention of whose names relieve us from the necessity of enlarging upon the character of the entertainment afforded. The good attendance, and the warm reception given to the players, had a perceptibly inspiriting effect, for their performance was even superior to that of the previous Thursday. Miska Hauser's part of the programme included several Scotch and Irish airs, which were played with exquisite taste and great feeling; whilst, on the other hand, the Carnival of Venice and the Bird on the Tree were full of effects of a startling character. There was equal variety in the performances of Mr. Boulanger . . . Mr. W. Kellermann sang several songs, including Kathleen Mavourneen, and was accompanied on the pianoforte by Mr. F. Kellermann - those gentlemen contributing much to the gratification of the assembly.

ASSOCIATIONS: William Kellermann (vocalist); Frederick Kellermann (piano)

28 December 1857, concert, Sydney Philharmonic Society, Royal Hotel, Sydney

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (28 December 1857), 4

http://nla.gov.au/nla.news-article13004459 

. . . Miska Hauser, Madame Sara Flower, and M. Boulanger are expected in Sydney by the Hunter River boat, to-day, to perform this evening at the Philharmonic, and we understand will leave again for Moreton Bay immediately after the concert.

"THE SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (29 December 1857), 5

http://nla.gov.au/nla.news-article13004520 

The fifth Concert of the season, given by the members of this Society, took place yesterday evening in the Concert Hall of the Royal Hotel. The room was completely filled on the occasion, the majority of the visitors being ladies. The gentlemen who compose the orchestra of the Society executed the overture to Rossini's "Gazza Ladra," and to Bellini's " Norma," besides a symphony of Mozart's . . . Miska Hauser was rapturously received, and his violin solo, on airs from the Borgia, elicited a most unanimous encore. Madame Sara Flower was also well received her execution of a cavatina of Donizetti's, and a ballad of Glover's, forcing a recall on both occasions. Two German glees were remarkably well sung by four gentlemen amateurs; and Mr. Boulanger's pianoforte solo was received with general plaudits. The concert did not conclude until a rather later hour than usual.

28 December 1857, departed Sydney, for Brisbane

"DEPARTURES", The Shipping Gazette and Sydney General Trade List (4 January 1858), 2

http://nla.gov.au/nla.news-article161170851 

December 28. - Boomerang (s.), 360 tons, Captain H. O'Reilly, for Moreton Bay. Passengers - Mr. George Harris, Mr. Miska Hauser, Mr. Charles Packer, Mr. S. Howard, Madame Sara Flower . . .

ASSOCIATIONS: Sam Howard (actor, Sara Flower's husband)

1858

For all TROVE items tagged Miska Hauser for the year 1858:

https://trove.nla.gov.au/search/category/newspapers?l-publictag=Miska+Hauser&q&l-decade=185&l-year=1858 (TROVE tagged by Australharmony)

Brisbane, NSW (QLD) (to 23 January 1858)

4 January 1858, School of Arts, Brisbane, NSW (QLD)

[Advertisement], The Moreton Bay Courier (2 January 1858), 3

http://nla.gov.au/nla.news-article3721556 

SCHOOL OF ARTS.
MISKA HAUSER HAS the honor to announce that he will give a
GRAND VOCAL and INSTRUMENTAL CONCERT in the School of Arts, on
MONDAY NEXT, JANUARY 4.
Miska Hauser has much pleasure to announce that he has made arrangements with Madame SARA FLOWER, the celebrated contra alta singer, (who will make her first appearance) and, with the well-known Tenor Singer, and Pianist Mr. C. S. Packer.
(For particulars see Programme.)
Tickets of Admission. - Front Seats 7s. 6d. each; Back Seats 5s.; to be had at McAdam's Hotel; School of Arts; and at the door.
Doors open at half-past 7; to commence at 8 o'clock.

"MISKA HAUSER'S GRAND CONCERT", The Moreton Bay Courier (6 January 1858), 2

http://nla.gov.au/nla.news-article3720602 

On Monday evening the lovers of good music enjoyed a rare musical treat. Judging from the thin audiences that have attended performances which have occasionally taken place in this town, some persons might be disposed to attribute to the people of Brisbane a great lack of judgement and taste. The crowded attendance at M. Hauser's concert, and the enthusiastic applause which greeted his skilful handling of the violin, have incontestably shewn that where talent offers its services, our townsmen can fully appreciate it, and are eager to avail themselves of the opportunity of listening to high class harmony, ably rendered. On Monday evening M. Hauser had a full house, the hall of the School of Arts being so crowded that all the seats were occupied, and many persons were obliged to stand. The programme included a choice selection of solos, glees, and melodies. The overture, consisting of a piano-forte duett ("II flauto magico") from Mozart, was well played by Messrs. Packer and Diggles, who were loudly applauded. Madame Sara Flower sang Benedict's song, "By the Sad Sea Waves," and received a hearty encore, when she gave the audience a rollicking humorous Irish ditty. Miska Hauler now gave his violin solo, "Fantasia, from the Opera of Norma." The eager applause which greeted his appearance, and the breathless stillness which immediately afterwards followed, the audience eagerly listening for the lightest note, proved that M. Hauser was the "expected" of the evening . . . A rapturous encore followed, when M. Hauser played with great feeling the beautiful air of "The Last Rose of Summer," with variations. "Why do I weep," sung by Madame Flower, was encored most enthusiastically. Mr. Charles Packer's song "Little Nell," was not so well sung. His taste is good, and he has skill and feeling, but his voice is inadequate to fill a concert room. Although not deficient in sweetness, there is a want of power. The defects of his voice are, however, amply compensated by his talented instrumental performance on the piano-forte and harmonium. The glee, "When would a mortal," was sung by Madame Flower, Mr. Diggles, and a gentleman whose name we did not ascertain; great applause followed. Hauser's violin solo, "the Irish Boquet [sic]," introducing snatches of Irish melodies, with variations, was encored, when he played another solo, including "Annie Laurie," and the "Carnival of Venice"; the latter with its fantastic and strikingly comic contrasts, affording the audience much amusement. Of the second part of the entertainment we may briefly say that it sustained the interest of the concert throughout. Mr. Packer, when encored for the "Fairies' Well," amused the audience by singing "the Charming Woman" with excellent comic effect. His extempore "Fantasia" on the harmonium was also applauded. Hauser's "Bird on the Tree" gave great pleasure by its lively changes, and singularly bird-like warbling tones. The whole concert afforded the most complete satisfaction. Up to the late hour at which the assembly separated, their attention appeared to be most unwearied. Madame Flower was encored in every song. It is worthy of note, that when encored, the performers invariably gave their audience a change of music.

ASSOCIATIONS: Silvester Diggles (piano)

6 and 9 January 1858, concerts, Ipswich

"MISKA HAUSER'S CONCERTS", The North Australian, Ipswich and General Advertiser (12 January 1858), 3

http://nla.gov.au/nla.news-article77429676 

The concerts given by this renowned violinist took place at the Long Room, adjoining the Crown Hotel on the 6th and 9th instant, and were attended by a numerous and fashionable audience on both evenings. The programmes for the entertainments were well chosen, comprising some of the choicest productions of the great masters of vocal and instrumental melody. The performances on both evenings commenced with overtures on the harmonium, by Mr. C. S. Packer, who proved himself a master of his art, both on this instrument and on the pianoforte. Madame Sara Flower then sung Benedict's beautiful song, "By the Sad Sea Waves," in which she was rapturously encored, when she gave the piquant Irish song of "Norah McCree," which received great applause. Miska Hauser's fantasia from the opera of Norma followed, in which he fully bore out his reputation as the first violinist of the day. "Little Nell' was then sung by Mr. Packer, with excellent taste. This gentleman's voice, however, is scarcely powerful enough for a large room. The violin solo, "The Irish Bouquet" by Miska Hauser, was enthusiastically received by the audience, who fully appreciated the astonishing effects produced by this great master. The favourite ballad, "Kathleen Mavourneen' was then sung by Madame Flower, and never before have we heard this admirable song so exquisitely performed. "The Fairies' Well" was sung with good taste by Mr. Packer, and encored; he then gave "The Charming Woman" with great comic effect. The performance of this gentleman on the pianoforte was the theme of universal admiration, infinitely superior to anything before heard in the district. "The Blue Bells of Scotland" was beautifully performed, and, doubtless recalled fond recollections of "Auld Reckie," and the snow-clad hills of Bonnie Scotland, to our friends from the north of the Tweed. The quaint solo, "The Bird on the Tree," was greatly applauded, and is admirably adapted for giving effect to Miska Hauser's great power with his instrument, he was encored on every occasion.

The second concert, held on Saturday evening was not quite so numerously attended, but was even superior to the former one. "The Old Arm-Chair" was sung with great pathos by Madame Sara Flower. "The Carnival de Venice," performed by Miska Hauser, was a great treat to the musical connoiseurs: in the performance of difficult pieces of this nature Miska Hauser stands unrivalled. Mr. Packer sung when encored in "The Gravediggers," a sweet song entitled "Beauty and Time," which was received with great applause. We have much pleasure in announcing to our musical friends that Miska Hauser intends giving a concert, at the Music Hall, on Thursday evening next, and that owing to the greater accommodation provided at that room, the prices for admission have been reduced to five shillings for the front and three shillings for the back seats, which will bring this intellectual entertainment within the reach of all. Our readers will see by the advertisement that the programme has been entirely changed, and surpasses that of the other concerts in choice productions. This being Miska Hauser's farewell visit previous to his departure for Europe, we trust that a bumper house will reward this highly gifted company. We think the change in the locality most judicious, the Music Hall being better adapted for sound, and admirably ventilated; the want of ventilition was found to be a great drawback to enjoyment in the Long Room.

11 January 1858, concert, Brisbane

[Advertisement], The Moreton Bay Courier (9 January 1858), 2

http://nla.gov.au/nla.news-article3717783 

MISKA HAUSER HAS the honor to announce to the residents of Brisbane and its vicinity, his intention of giving another GRAND CONCERT of Vocal and Instrumental Music, on MONDAY EVENING, Jan. 11, 1858, on which occasion will be presented an entirely new and most attractive programme.

20 January 1858, departed Brisbane, for Sydney

MORETON BAY [FROM OUR OWN CORRESPONDENT] BRISBANE, JANUARY 20", The Sydney Morning Herald (26 January 1858), 5

http://nla.gov.au/nla.news-article28634153 

Miska Hauser and his artistic companions leave in the Boomerang to-day [sic], after I believe a very successful professional visit to Brisbane and Ipswich.

Sydney, NSW (26 January to 11 May)

26 January 1858, arrived Sydney

"SHIPPING. ARRIVALS", The Sydney Morning Herald (26 January 1858), 4

http://nla.gov.au/nla.news-article28634157 

January 26. - Boomerang (s.), 400 tons, Captain O'Reilly, from Moreton Bay 23rd instant. Passengers - Madame Sara Flower, Miska Hauser, C. Packer, S. Howard . . .

[Advertisement], Empire (20 February 1858), 7

http://nla.gov.au/nla.news-article60427238 

SUPERB COTTAGE GRAND PIANOFORTE, BY the celebrated Manufacturers, Messrs. Broadwood and Sons. Pronounced by Miska Hauser to be the finest instrument he ever played on in the Colony. The Property of J. L. Montefiore, Esq., of Potts' Point. To be Sold by Public Auction, on TUESDAY Next, the 23rd February, 1858, at 12 o'clock, at the Residence of the above-named Gentleman . . .

ASSOCIATIONS: Jacob Levi Montefiore (musical amateur)

"MISKA HAUSER", The Sydney Morning Herald (18 March 1858), 4

http://nla.gov.au/nla.news-article28634428 

Those who follow music as a profession, and those who as amateurs feel a deep interest in everything that tends to diffuse more widely a taste for the purest order of musical art, will, not less than the public generally, be glad to hear that Miska Hauser is again able to use his magic bow. Many may perhaps not be aware that some time ago this celebrated musician met with an accident which deprived him for a time of the use of his left hand, but they will now be pleased to hear not only that he has recovered, but also that before long an opportunity will be afforded them of listening to one whose performances on the violin are characterised by so large a measure of genius.

[Advertisement], Empire (27 March 1858), 1

http://nla.gov.au/nla.news-article60423471 

MISKA HAUSER bas the honour to announce that his last Concert will take placo on THURSDAY next, April 1st, at the School of Arts, with an attractive programme.

[Advertisement], Empire (29 March 1858), 1

http://nla.gov.au/nla.news-article60427143 

MISKA HAUSER begs to announce, that in consequence of the present being Passion Week, his Concert will not take place as advertised.

"By Electric Telegraph", Portland Guardian and Normanby General Advertiser [Portland, VIC] (2 April 1858), 2

http://nla.gov.au/nla.news-article64570860 

The latest intelligence from Sydney represents the celebrated violinist Miska Hauser as unwell.

5 April 1858, concert, Sydney Philharmonic Society

[Advertisement], The Sydney Morning Herald (3 April 1858), 1

http://nla.gov.au/nla.news-article13008295 

SYDNEY PHILHARMONIC SOCIETY . . .
The sixth and last Concert of the season will take place at the Exchange Rooms, on MONDAY EVENING, April 5th, 1858 - to commence at eight o'clock precisely.
PROGRAMME: PART I . . . 5. Grand quartette, No. 3 op. 108, for pianoforte, violin, viola, violoncello, Lady amateur, Miska Hauser, and the Messrs. Deane - REISSIGER . . .
PART II. 1. Overture, Calypso, WINTER
2. Violin Solo, Miska Hauser . . .
Conductor. - Mr. J. DEANE . . .

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (6 April 1858), 4

http://nla.gov.au/nla.news-article13008417 

The sixth and last concert of the season was given by the Society, in the Exchange Rooms, last evening. The large room of the Exchange building was filled to overflowing, a great number of persons having to take refuge in the reading-room of the building. His Excellency the Governor-General and family honoured the concert with their presence, being accommodated with seats in the balcony at the eastern end of the hall . . . Miska Hauser executed the morceaux affixed to his name in the programme in his own inimitable style, - a style that no pen can convey to a reader, and that consequently requires to be witnessed to be fully appreciated. Last evening the applause amounted to a furore, as this great violinist concluded his violin solo, which embraced a number of popular Irish airs. Madame Sara Flower sang the celebrated cavatina, "Una voce poco fa," from Rossini's II Barbiere, and suffered a recall. The gem of the evening, however, was the grand quartette of Reissiger's, which concluded the first part of the programme, and executed by a lady amateur on the piano, Miska Hauser on the violin, and the Messrs. Deane on the violin and violoncello. This lady, of whose talent and execution we have before had occasion to speak in praise, surpassed all her previous triumphs on this occasion, whilst the skill of the three talented gentlemen who assisted her gave to the quartette a brilliancy of execution that is seldom found except amongst artistes of the highest order. The concert, which was brought to a close shortly after ten o'clock, gave general satisfaction.

ASSOCIATIONS: Lady amateur = Hannah Aldis (piano) (Reissiger piano quartet, op. 108, was in Aldis's repertoire, and the copy used for the performances was probably hers)

MUSIC: Piano quartet op. 108 (by Carl Reissiger)

8 and 19 April 1858, Amalia Rawack's concerts, School of Arts, Pitt-street

"MADAME RAWACK", The Sydney Morning Herald (7 April 1858), 5

http://nla.gov.au/nla.news-article13008469 

We perceive by our advertising columns, that Madame Amelia Rawack, is to give a concert at the School of Arts, on Thursday (tomorrow) evening. This accomplished and highly gifted lady is so well known in the private society of our city, that there will, no doubt, be a crowded and fashionable audience. The lovers of really good and well executed music, may calculate on a rare treat. Miska Hauser will also contribute some of his delightful morceaux on the occasion.

[Advertisement], The Sydney Morning Herald (8 April 1858), 1

http://nla.gov.au/nla.news-article28634577 

MADAME AMALIA RAWACK begs to announce that she will give a CONCERT at the School of Arts, THIS EVENING (Thursday), April the 8th.
PROGRAMME.
PART I.
1. Sanger Marsch, "German Liedertafel" - Zelbner.
2. Piano Solo, Grand Fantaisie, "Somnambula" - Madame Amalia Rawack - Thalberg.
3. Violin Solo, "Andante and Rondo di Concerto" - Mr. Miska Hauser - Hauser.
4. Piano Solo, variations sur des motifs de l'Opera "Guillaumme Tell" - Madame Amalie Rawack - Dohler.
PART II.
1. Tager Lied, "German Liedertafel" - Mendelsohn.
2. Duo brilllante, for plano and violin, on airs from the opera "Der Freischutz" - Madame Amalia Rawack and Mr. Miska Hauser - Hauser.
3. Solo Sax Horn, "Lucrezia Borgia" - A Gentleman Amateur - Donizetti.
4. Violin Solo "Blue Bell of Scotland" - Mr. Miska Hauser - Hauser
5. Piano Solo, "A La Fauvette" (Nordish Song) - Willmers.
6. Grand Hungarian March - Madame Amalie Rawack - F. Liszt.
Conductor, Mr. W. Stanley . . .

"MADAME RAWACK'S CONCERT", The Sydney Morning Herald (10 April 1858), 4

http://nla.gov.au/nla.news-article13008587

On Thursday evening this lady not only achieved all the success which we anticipated, but has shown herself entitled to rank with those great artistes whose names are so familiar and so pleasing to the ears of the musical world. The hall of the School of Arts was filled by an enthusiastic and fashionable audience, and the accomplished lady received the warmest plaudits, which her great and delightful performance so richly merited. The programme was remarkable for being throughout good, and the principal performers certainly two of the greatest artistes in the world. Of Miska Hauser, we need not speak; he is unmistakably a great favourite, and a musician of the highest order. He adorns whatever he touches, and the exquisite pathos with which he renders melody impresses the most fastidious hearer with the feeling that nothing could be added, improved, or taken away . . .

ASSOCIATIONS: Amalia Mauthner Rawack (piano)

19 April 1858, Amalia Rawack's second concert, School of Arts, Sydney

[Advertisement], Empire (17 April 1858), 1

http://nla.gov.au/nla.news-article60425200 

MADAME AMALIA RAWACK begs to announce that her second CONCERT will take place, at the School of Arts, on MONDAY, April 19th.
PROGRAMME.
PART I . . . 4. Violin solo on "Airs de Donizetti" - Hauser - Mr. M. HAUSER . . .
PART II. 1. Duo, piano and violin - Andante and variations, and Finale of the "Grand Sonate" of Beethoven - Madame RAWACK and Mr. MISKA HAUSER . . .
3. Violin solo - "Mother's prayer. Adagio religioso." - Ole Bull - Mr. M. HAUSER . . .
Conductor, Mr. Stanley . . .

"MADAME RAWACK'S CONCERTS", The Sydney Morning Herald (20 April 1858), 8

http://nla.gov.au/nla.news-article13008993 

This lady's second instrumental and vocal concert, at the School of Arts, last evening, went off with eminent success. Madame Rawack upheld the very favourable opinion already formed of her ability as a pianiste, and Miska Hauser was equally brilliant in his execution of the pieces selected for him. But the duo of variations on the grand sonate of Beethoven, called forth all the admiration which its exquisite quality deserved.

[Joseph Sheridan Moore], "MADAME RAWACK'S CONCERTS", The Month: a literary and critical journal (May 1858), 249

https://nla.gov.au/nla.obj-605594562/view?sectionId=nla.obj-605630794&partId=nla.obj-605630794#page/n260/mode/1up 

. . . Of course the co-operation of Miska Hauser added considerably to the brilliant results of that evening. We may take this opportunity of announcing to the public that we shall only have one more opportunity of hearing this wizard on the violin previously to his departure by the "European." He gives his last concert on Monday next, the 3rd of May.

"MR. BRISSENDEN'S ROOMS, NICHOLAS STREET", The North Australian, Ipswich and General Advertiser (13 April 1858), 3

http://nla.gov.au/nla.news-article77427332 

We earnestly recommend a visit to this artist, whose photographic portraits are the most successful we have seen. We may instance those of Mr. J. C. Pearce, Mr. Brown, Dean Rigney, Miska Hauser, and an excellent copy in talbotype of Dr. Lang. The former is a most excellent likeness, and the unconstrained attitude of his figures prove that he is essentially a painter. We particularly admire the ambrotypes which possess the great advantage of preserving the colouring intact, securing it from the action of atmosphere by a varnish insoluble except in choloroform: and it also, by giving breadth to the shadows approximates to the effect of portrait painting . . .

ASSOCIATIONS: Edward Torrens Brissenden (photographer)

3 May 1858, Hauser's Sydney farewell concert

[Advertisement], The Sydney Morning Herald (3 May 1858), 1

http://nla.gov.au/nla.news-article28634659 

PRINCE OF WALES THEATRE. -
MISKA HAUSER has the honour to announce that his last Concert previous to his departure, per the European, will take place
THIS EVENING, Monday, May, 3rd, 1858, under the distinguished patronage of his Excellency the Governor-General and Lady Denison, the Chief Justice and Lady Stephen, Colonel Percival, C.B., XII Regiment, and the Sydney Philharmonic Society.
PROGRAMME.
PART I.
1. Overture - Nabucco, Verdi - Band of H. M. 12th Regiment, (by the kind permission of Colonel Percival, C.B., and Officers of H. M. 12th Regiment)
2. Chorus - "The Lord of the Day," C. Kreutzer - Gentlemen Amateurs of the Gymnastic Society
3. Violin Solo - Fantasia on Airs from Norma, Hauser - Miska Hauser (with accompaniment of six performers)
4. Ballad - I dream of thee. - Barker - Madame Sara Flower
5. Duet - Roma - Compana, Mr. Frederick Ellard and a Gentleman Amateur
6. Piano Solo - Fantasia on Airs from the Daughter of the Regiment, Boulanger - Monsieur E. Boulanger
7. Scena from the Opera of Massandieri - Verdi - Mr. Frederick Ellard.
8. Violin Solo - Blue Bells of Scotland, Hauser - Miska Hauser (with accompaniment by six performers).
PART II.
1. Overture - Le Lac des Fees - Auber, Band of the 12th Regiment.
2. Chorus - Song of the Wanderer - Abt, Gentlemen Amateurs of the Gymnastic Society.
3. Quartette - God Save the Emperor - for two violins, tenor, and violincello - Haydn, M. Hauser, Messrs. C. Eigenschenck, John Deane, and Edward Deane.
4. Song - Farewell to Australia - Hauser, Madame Sara Flower.

"Farewell! dear land of hill and vale,
Of forest and of stream,
A stranger to thy shores I came,
But now a son I seem.

"Farewell! kind hearts and cheering words
Relieved each idle hour -
More dear than all the fame I won
By music's magic power.

"Farewell ! when might-crushed Hungary
And friends of youth I greet,
I'll tell of all thy blessed joys,
And liberty so sweet.

'Farewell! to meet again on earth
May not to us be given;
Yet may we meet w[h]ere kindly thoughts
Are known and prized - in Heaven!

5. Piano Solo - Impromptu Polka, Boulanger - Mons. E. Boulanger.
6. Aria from the Opera of "Lucrecia Borgia" - Viene la mia Vendetta," Donizetti - A Gentleman Amateur.
7. Violin Solo - The Bird on the Tree, (by general request) Hauser - Miska Hauser, (with accompaniment of six performers).
Conductor, Mr. W. Stanley.
God Save the Queen! . . .

"MISKA HAUSER'S FAREWELL CONCERT", The Sydney Morning Herald (4 May 1858), 5

http://nla.gov.au/nla.news-article28634697 

Not the least or those advantages which resulted to the colony from that revolution in its affairs which was consequent upon the discovery of gold, consists in the circumstance that among those whom that event drew towards our shores were a few of those professors of the finer sciences who, enjoying European reputations, might never, under other circumstances, have even thought of a tour to the Australian colonies. It is true that the importation of a disproportionate amount of the talent which falls far below even mediocrity occasionally gave rise in the public mind to a sentiment bordering on disgust, and eventually tended to produce that reaction, the results of which are to be witnessed even now in theatres, whose doors are opened only occasionally, and in the substitute now and then, in the room of the drama, of exhibitions less rational and not a whit more dignified than those market-day shows which from time immemorial have won the admiration of bumpkins and babies. This state of things, however, has had this one good result, that it assisted to make the public prize the more those whose inherent merits form their best commendation, whose reputations are not sustained by those tinsel contrivances, the material of which is everywhere available, and the use of which is so frequently abused. Conspicuous in the reminiscenses of that era which gave to Australia the valued privilege of enjoying in their full perfection those refined arts which, legitimately employed, form the best features in the bright side of human life, three names will ever occupy a prominent position. The name of Catharine Hayes will for generations be a household word, as that of a lady whose rare powers of voice were such as to be one of the richest gifts which nature can bestow, and whose talents were not greater than the taste and judgment with which they were employed; G. V. Brooke will ever be remembered as the player who first gave an Australian audience the opportunity of witnessing, as European skill and erudition have decided they ought to be witnessed, the representation of the greatest productions of dramatic genius; and Miska Hauser will long be spoken of as the patriot minstrel who went forth to the utmost hounds of civilization to prove that Hungary, which in the present day occupies the first position as the land of self-devoting patriotism, is also a land where the finest arts of peace are known and cherished.

Trusting that this preface may not he deemed either prolix or inappropriate, we now revert to the subject with which we set out - the concert of yesterday evening, intended as the final appearance of Miska Hauser, previous to his departure for Europe. From the first those who interest themselves in matters musical, pronounced an opinion that this would he one of the finest entertainments of the kind which has ever taken place in the colony, and the anticipation proved to have been well founded. Of the music and singing there was only one opinion, namely, that it was the best which a Sydney audience has ever enjoyed, and of the audience it may be said they were worthy of the music. The Governor-General and his family were there, as well as ministers and ex-ministers, also surrounded by their families; and rarely, if ever, have we witnessed so many members of both Houses of Legislators as were present on this occasion with their families in the dress circle and parquette. All parts of the theatre were over-crowded, so much so, indeed, that the rare sight was witnessed of a considerable number of the auditory being accommodated with seats at the sides of the stage. Now, as to the performances. The band of the XII. Regiment, for whose efficient assistance on the occasion the beneficiare and the public were indebted to the kindness of Colonel Percival, opened with an overture by Verdi, a romantic piece of music, which seemed to delight the audience to such an extent that they insisted on a repetition. Miska Hauser himself having been rapturously encored in his first performance, "Fantasia on airs from Norma," gave the "Last Rose of Summer," a performance in which the familiar expression of "making the instrument speak" seemed to be literally realised. The same remark may be applied to "Home, sweet Home." "The Blue Bells of Scotland," and "God save the Emperor," in both of which pieces M. Hauser was assisted by several other performers, were also highly successful, and were concluded amid spontaneous calls for a repetition. Or this latter composition, however, we would remark that, while its great beauty is beyond question, to an English ear the embellishments must seem too large for the structure. The swelling notes of the hymn are not lost, but we meet them too rarely, and they gave place too rapidly to less majestic and less prayerful sounds.

To speak of those who assisted M. Hauser is an invidious task. We dare not, of course, omit to mention Madame Sara Flower. The ballad "I dream of Thee" was full of feeling, and in other respects was highly effective. The "Old Arm Chair" was what it always has been as rendered by Madame Flower, and the Sydney public do not require to be told what that is. M. Boulanger was moat successful in the "Impromptu Polka," which is a work of his own composition, or invention rather, seeing that it is impromptu. Mr. Frederick Ellard, assisted by a gentleman amateur, rendered several Italian pieces; of these it is, perhaps, their best commendation to say that, notwithstanding their foreign garb, they received a truly hearty welcome from the entire audience - a circumstance which proves at once the peculiar adaptability for musical purposes of the Italian language, and the universality of the influence of music. The "Song of the Wanderer," by the gentlemen amateurs, was a very pleasing piece of the half-lively half-serious description, which the audience spontaneously encored, as they were bound to do. It only remains to mention the Messrs. Dean who efficiently sustained the chief performer in most of the principal pieces.

In concluding a notice which does not aspire to be capable of undergoing the scrutiny of a musical critic, we would say a word or two of the chief performers in the concert. M. Hauser is one of those to whom the Australian colonists are truly indebted. He brought into their midst that which their own countrymen cannot well supply. In all the walks of literature England excels; in many of the arts she is equal to the best, and in some of the sciences she transcends. In music, however, she must yield the palm to many nations. Thus, Miska Hauser brought to the shores of Australia that with which the people were already well supplied, but a new refinement, a new pleasure, and almost a new art. It is not an idle remark to say that the public fully appreciate the service, and we are confident that we speak but the sentiment of the universal public of this colony when we pray that, in whatever part of the world his future lot may be cast, he may be as fortunate in his career as he gratefully admits he has been in New South Wales.

"MISKA HAUSER", Empire (4 May 1858), 2

http://nla.gov.au/nla.news-article60428616

. . . This artist, who is now about to leave us, has so often contributed to our enjoyment and has been so thoroughly successful in his endeavours to gratify his audience, that we need not say in his last performance he more than confirmed the favourable opinion which his talents have ever commanded; and afforded his hearers a rich musical treat. - In each piece he was rapturously encored, the extraordinary powers which he has over his instrument, and the numberless variations he introduces, causing the musician, like a second Orpheus, to enchain as with a spell all his listeners. In the last solo, "the Bird on the Tree," the effect was particularly pleasing; the various modulations of tone being an exact imitation of the notes of a feathered songster . . . The concert, which did not terminate till past 12 o'clock, gave general satisfaction, and will, no doubt, be long remembered by Miska Hauser, whose name will be associated with the recollection of many pleasant evenings by the musical world of New South Wales.

[Joseph Sheridan Moore], "MUSICAL AND DRAMATIC SUMMARY. MISKA HAUSER'S FAREWELL CONCERT", The month: a literary and critical journal (June 1858), 305-04

https://trove.nla.gov.au/work/230283699 

https://nla.gov.au/nla.obj-605594562/view?sectionId=nla.obj-628678887&partId=nla.obj-605638071#page/n316/mode/1up (DIGITISED)

Herr Hauser gave his Farewell Concert, at the Prince of Wales Theatre, on the 3rd of May, to a crowded and complimentary audience. The programme of the Concert was evidently got up for the taste of the many, consisting of Auber, Donizetti, Verdi, Kreutzer, Hauser, Boulanger &c. The Band of the 12th, playing Verdi's overture to Nabucho, which they did, not badly, but yet too loud; indeed, military bands are generally too loud for Concerts - you never can get the men to think they are not playing in the open air, and consequently want great care and management; doubly so through lack of the softening influence of stringed instruments. In the second part they substituted Auber's "Muette di Portici," in lieu of his "Lac de Fees," the piece advertised. This they played decidedly too slow, thus lessening the effect; nevertheless, they succeeded very well, and proved themselves a good body of musicians. Certain gentlemen members of the Gymnastic Society, sung Kreutzer's - "Hern Tag" ("Lord's Day,") or as it was printed in the programme, "The Lord of the Day," which very much altered its effect, considering it was given m German, and being rather a sacred composition together with its being sung somewhat slowly, must, in sooth, have made it, to some extent, a mysterious and incomprehensible affair. They were, however, more politic in the second part, and gave a very fine "March Gesange," which was really well sung.

Now we come to the beneficiare himself. He played his fantasie from "Norma" beautifully perfect, and enhanced it exceedingly by his elegant arrangement of the accompaniment for sestette, played quite in keeping with him, by the Messrs. Deane and Eigenschenck. His "Norma" is, in our opinion, his best fantasia de concert, though, all are good. Of course, he was encored in it, as he was in everything throughout the evening; and gave in lieu, things to please the less educated ear. We have no hesitation in saying that Herr Miska Hauser is, in our opinion, an elegant, skillful, and accomplished musician; everything he puts his hand to is finished; his compositions show education and care; he possesses a power of writing and playing for the people, that few have - even greater artists. One can perceive at a glance, that while playing for the multitude, or, as someone has phrased it, "pandering to the popular malady of popular melody," he is still capable of comprehending and delineating the legitimate works of the great masters - his quartette playing shows this. We feel we are not wrong in saying, however, that he will take his place amongst the highest of his profession. As critics, just and impartial, we fear - but fear not to say it - that when he comes to compete for honors with such men as Ernst, Sivori, Vieuxtemps, and a few others of that "starry band," there will be found a certain want of power in his playing - a certain something that we can only define by the word, tone - a heaviness - a solidity. Miska Hauser s violin playing is bright and light as liquid silver; we could wish for his own sake he had a little more of a redder tinge - a little more of a richer metal gold - mais cela peutetre nous verrons. We earnestly hope he will add still greener leaves to his laurel crown . . .

"MISKA HAUSER", The Moreton Bay Courier [Brisbane, QLD] (12 May 1858), 3

http://nla.gov.au/nla.news-article3723813 

The great Hungarian violinist took his farewell of the Sydney public at a Grand Concert on Monday evening, when he was honored with one of the most numerous and fashionable audiences that have ever assembled within the walls of the Prince of Wales' theatre. The concert proved a great success, netting something like £150. The Governor General and all the elite of Sydney were present on the occasion.

5 May 1858, concert, Parramatta

[Advertisement], Empire (5 May 1858), 1

http://nla.gov.au/nla.news-article60426687 

GRAND CONCERT OF VOCAL AND INSTRUMENTAL MUSIC, SACRED AND SECULAR.
In aid of ALL SAINTS' NEW SCHOOL, PARRAMATTA. On WEDNESDAY EVENING. May 5th, 1858.
Mrs. St. John Adcock, Herr Miska Hauser, and Mr. Stanley, together with many distinguished amateurs, have kindly volunteered their valuable services for the occasion.
PROGRAMME. PART I. - SECULAR . . .
Solo, Violin - MISKA HAUSER . . .
Solo, Violin - Miska Hauser . . .

"PARRAMATTA, MAY 6 . . . CONCERT", The Sydney Morning Herald (7 May 1858), 8

http://nla.gov.au/nla.news-article13009693 

Last night, a grand concert of secular and sacred music was given in the New School House, in the Marsfield parish. Miska Hauser kindly assisted, and the two solos he played were rapturously encored. The glees and choruses were excellent, and the whole affair passed off with much eclat. The room was crammed, in spite of the threatening night and the badness of the roads - there were between three or four hundred persons present, and £50 at the least must have been added to the funds for building the remaining portions of the school premises.

10/11 May 1858, departed Sydney, for Melbourne

"CLEARANCES. MAY 10", Empire (11 May 1858), 3

http://nla.gov.au/nla.news-article60427041 

EUROPEAN, R. M. S. S., 1478 tons, Parfitt, for Suez, via Melbourne. Passengers . . . For Suez: Miska Hauser . . .

Melbourne (14 May to 18 June 1858)

"SHIPPING INTELLIGENCE. HOBSON'S BAY. ARRIVED", The Argus (15 May 1855), 4

http://nla.gov.au/nla.news-article7294567

May 14. - European, E. and A. R. M. s.s., 2,500 tons, William Parfitt, Esq., commander, from Sydney 11th inst. Passengers - saloon . . . For Suez: Miska Hauser . . .

"MISKA HAUSER", The Argus (15 May 1858), 6

http://nla.gov.au/nla.news-article7294590 

This eminent violinist, who had taken his passage for England by the European, has been induced, at the solicitation of many of his friends, to postpone his departure until the next mail. We believe it is his intention to give one or two concerts in the interim, and the announcement of such a probability will afford general satisfaction, as well to his admirers as to those who have not yet had the gratification of hearing his exquisite performances.

22, 24, 25, 26, 27 and 29 May 1858, guest appearances between the plays, Theatre Royal, Melbourne

"THE NEWS OF THE DAY", The Age (22 May 1858), 4

http://nla.gov.au/nla.news-article154857762 

Miska Hauser, the celebrated Hungarian violinist, having been engaged by Mr. Coppin for six nights, appears this evening at the Theatre Royal.

[Advertisement], The Argus (22 May 1858), 8

http://nla.gov.au/nla.news-article7294984 

THEATRE ROYAL. COMBINATION OF ATTRACTIONS.
The Celebrated Violinist, MISKA HAUSER, For Six Nights Only, Previous to his Departure from the Australian Colonies.
On SATURDAY, 22nd MAY, 1858, Will be Presented the Comic Drama in two Acts,
entitled, THE YOUNG KING. Mr. Putzi - Mr. COPPIN. (Last Time.)
MISKA HAUSER, Will perform a Fantasia on Airs from THE OPERA OF NORMA . . .

[Advertisement], The Age (24 May 1858), 1

http://nla.gov.au/nla.news-article154855645 

THEATRE ROYAL. Grand Combination in Celebration of the Queen's Birthday.
MISKA HAUSER, For Five Nights only, previous to his departure from the Australian Colonies . . .
Last Week but One previous to MR. GEO. COPPIN'S Retirement from the Stage.
On Monday, May 24th, 1858. PAUL PRY. Paul Pry - Mr. Coppin.
Fantasia on airs from "Lucrezia Borgia," MISKA HAUSER.
After which . . . a new Piece of Absurdity . . . by Mr. W. M. Akhurst, entitled, COPPIN IN CAIRO . . .
Billy Barlow (an old Colonial favorite, stuck in the mud - Egyptian - with a solo on the violin - Song "Billy Barlow," with the newest local hits - and dance) - Mr. G. COPPIN . . .
Scrumptious Katinka (an Almeh, or Egyptian dancing girl a professor of the Spider Dance) - Mr. G. COPPIN.
"The Irish Bouquet" - Miska Hauser . . .

"THEATRE ROYAL", The Argus (31 May 1858), 5

http://nla.gov.au/nla.news-article7295404 

The performances at this Theatre, on Saturday evening, were for the benefit of Miska Hauser; but the unfavorable state of the weather operated to deter many persons from venturing out, and the attendance was far from commensurate with the strong claims of this eminent artiste upon the support of the public. The entertainment commenced with "The Loan of a Lover," in which Mr. Coppin portrayed the character of the Flemish farmer, and Mrs. F. Younge warbled the airs assigned to Gertrude with much sweetness and feeling. A scene from "King John" followed, Mr. R. Younge representing Hubert, and Miss Quinn Prince Arthur, the latter delivering the moving adjurations to the gaoler to spare her sight with commendable earnestness and a correct appreciation of the elocutionary requirements of the passages entrusted to her for delivery.

In the subsequent musical melange, Miska Hauser executed some of the most brilliant pieces in his extensive repertoire, including a rondo di concerto and a fantasia on airs from "Ernani," - both of them his own compositions. They were, it is unnecessary to add, exquisitely performed, and in reply to an encore, he gave a selection of Irish melodies, with variations, fraught with expression and replete with feeling, the most plaintive tenderness alternating with the most exuberant mirth. This portion of the entertainment concluded with De Beriot's Tremolo Caprice, on a theme by Beethoven, a composition which enables the executant to exemplify to the fullest extent his perfect mastery of his instrument. We regret to add, however, that much of it was inaudible, owing to the disgraceful conduct of a few individuals in the gallery, who not merely interrupted the performance by hisses and calls for a hornpipe, but flung a large apple at Miska Hauser. It is the first time we have had to record such a discreditable occurrence, and are ashamed that such ruffianly conduct should have been exhibited towards one of the greatest artistes who have visited these shores. We must not omit to add, however, that the bulk of the audience testified in the strongest manner its disapprobation of the outrage offered by the malcontents.

3 and 5 June 1858, 2 concerts, Mechanics' Institute

[Advertisement], The Age (2 June 1858), 1

http://nla.gov.au/nla.news-article154858394 

MECHANICS' INSTITUTE.
MISKA HAUSER Begs most respectfully to announce Two FAREWELL CONCERTS, Previous to his departure from the Australian colonies, upon which occasion he will be assisted by SIGNOR CUTOLO, The most eminent and talented Pianist that has ever visited Australia.
A QUARTETTE PARTY, Miss Julia Harland and Mr. Linly Norman.
On Thursday and Saturday, June 3rd and 5th.
PROGRAMME For Thursday, June 3.
PART I.
Quartetto for two violins - Tenor and Violoncello (Mozart) - Miska Hauser, Messrs. Strebinger, King, and Chapman. Allegro; Minuetto; Andante; Finale.
PART II.
Ballad - Miss Julia Harland.
Solo, violin - "Ernani" - Composed by MISKA HAUSER
Song - Miss Julia Harland.
Solo, piano - Selections from "Il Trovatore" - Signor Cutolo.
PART III.
Solo, violin - "Blue Bells of Scotland" - MISKA HAUSER.
Ballad - Miss Julia Harland.
Solo, piano - Selections of popular airs - Arranged by Signor Cutolo.
Quartette - Variations on "God Save the Queen" (Onslow) - Miska Hauser, Messrs. Strebinger, King, and Chapman.
An entire change of programme on Saturday.
Doors open at half-past seven;. to commence at eight o'clock.
Front seats, 5s.; Back seats, 3s.

"THE NEWS OF THE DAY", The Age (4 June 1858), 5

http://nla.gov.au/nla.news-article154858639 

The first of Miska Hauser's two concluding concerts was held yesterday evening at the Mechanic's Institution. Despite the attractions of both of the theatres, the hall was densely crowded by the elite of the city, and nearly all of our musical connoisseurs. The attraction chiefly consisted of Miska Hauser's solo performances, quartettes by Mozart and Onslow given by Miska Hauser, Strebinger, King, and Chapman; solos on the pianoforte by Signor Cutolo, and ballads by Miss Julia Harland . . .

It is a healthy sign of an improved taste for the highest class of musical entertainments in this city that last night, notwithstanding the powerful counter attractions presented at each of the theatres, there was a very large audience at the concert given in the Mechanics' Institute, and we believe that there was not an individual present who was not highly gratified with the musical treat provided. The concert opened with Mozart's quartet if we mistake not, the same which the great composer himself was accustomed to take part in at the musical parties given by the Storaces, when Haydn played the first violin, Baron Dittersdorf the second, Mozart the tenor, and Vaubull [Vanhal] the violincello. On the present occasion it was performed by Miska Hauser, Messrs. Strebinger, King, and Chapman, and admirably did they combine to render this glorious work, written when Mozart was in the zenith of his power as a composer, and exhibiting the affluence of his genius not less remarkably than did the operatic chef d'oeuvre first produced in the preceding year. The quartett party must have felt that the rapt attention with which each portion of the composition was listened to was as complimentary to their interpretation of it as was the applause which broke forth at its close.

"MISKA HAUSER'S CONCERT", The Argus (4 June 1858), 4

http://nla.gov.au/nla.news-article7295661 

After a ballad from Miss Harland, came the fantasia upon airs in "Ernani," by Miska Hauser, and this being vehemently encored. he substituted for it the "Mother's Prayer," marvellous for the pious tenderness it breathes and its expression of a sacred love, and of a "sorrow more beautiful than Beauty's self." Listening to the violinist's execution of this touching poem (for such it is), the mind receives the same impression through the ear which it derives through the eye when contemplating the "Pieta" of Michael Angelo which fills the mind with "thoughts that lie too deep for tears." Miska Hauser last night appeared to feel that his audience were entirely with him, and he literally excelled himself . . . In the third part of the concert Miska Hauser delighted his auditors with a melange of Scotch airs, which, being redemanded, were followed up by "The Last Rose of Summer;" and the evening's entertainment concluded with Onslow's arrangement of "God Save the Queen" as a quartett for two violins, tenor, and violoncello. And thus terminated one of the most charming and successful concerts which have taken place for many along day, - sufficiently varied in character to please all tastes, and not protracted in duration beyond the legitimate limit of two hours.

[Advertisement], Bell's Life in Victoria and Sporting Chronicle (5 June 1858), 1

http://nla.gov.au/nla.news-article201377316 

MECHANICS' INSTITUTE. GRAND FAREWELL CONCERT.
MISKA HAUSER, Previous to his departure from the Australian Colonies, upon which occasion he will be assisted by
SIGNOR CUTOLO, The celebrated Pianist, A QUARTETTE PARTY, MISS JULIA HARLAND, AND MR. LINLEY NORMAN.
SATURDAY EVENING, 5TH JUNE.
PROGRAMME.
Part 1.
Quartette for Two Violins - Tenor and Violoncello (Beethoven) - Miska Hauser, Messrs. Strebinger, King and Chapman - Allegro - Minuetto - Andante with variations - Finale.
Part 2.
Song - "Sound the Pibroch" - Miss Julia Harland
Solo, Violin - "Lucrezia Borgia," Grand Fantasia - Miska Hauser
Song - "Tyrant soon I'll burst my chains" - Miss Julia Harland
Solo, Piano - Thalberg's arrangement of airs from "La Sonnambula"- Signor Cutolo
Part 3.
Solo, Violin - "The Irish Bouquet" - Miska Hauser
Song - "Where the Bee sucks" - Miss Julia Harland
Solo, Piano - Selections of airs from "La Traviata" - Signor Cutolo
Quartette - Variations on God save the Emperor (Haydn) - Miska Hauser, Messrs. Strebinger, King & Chapman . . .

"MISKA HAUSER'S CONCERT", The Argus (7 June 1858), 5

http://nla.gov.au/nla.news-article7295767 

The attendance at the second concert on Saturday evening was still more numerous than on Thursday, and included not a few of those who live by manual labor, and who testified as intelligent an appreciation of the classical quartette with which the entertainment commenced, as of those old familiar airs which constitute Miska Hauser's "Irish Bouquet." The encores were numerous, and Signor Cutolo divided with the eminent violinist the plaudits of the audience. A grand fantasia on airs from "Lucia di Lammermoor," executed by Miska Hauser, as an encore to the Irish melodies, was one of the gems of the concert, and excited more than ordinary enthusiasm, not merely on account of the superb finish of the instrumentalist's performance, but also by reason of the intense feeling with which he vivified the mournful current of melody flowing under, and always clearly separable from, the variations with which it was overlaid . . .

"GRAND CONCERT AT THE MECHANICS' INSTITUTION", The Age (8 June 1858), 5

http://nla.gov.au/nla.news-article154858916 

. . . Beethoven's quartette, which consists of the usual movements: - allegro, minuet, andante, and finale, occupied nearly half an hour in performance, and was listened to throughout with almost breathless attention. The instrumentation was indeed admirable, especially in the andante with variations, and in the treatment of the brilliant fugue in the concluding movement. The "Emperor's Hymn" was at the outset taken a trifle too fast, but as the performance advanced, this fine work was rendered with more deliberation and wonderful effect and brilliancy. The passage where the instruments in succession take up the air, afforded each of the performers an opportunity of showing his power as a solo player, and it is due to all engaged to say that they displayed equal ability. The whole movement was most delightfully played, and evidently excited great interest in the auditory. It has often struck us that the symphonies and other instrumental compositions of classical composers, should be more frequently introduced into concerts of miscellaneous music, to the exclusion of some of the stock prices of which nearly every programme that comes under our notice is composed, and which never fail to render most of such performances wearisome and uninteresting to the last degree. Apart from Miska Hauser himself, we have amongst us solo performers eminently capable of interpreting these admirable works, and we feel assured that if the hint were acted on, such concerts would be pronounced much more satisfactory and productive of gratification by all classes of the music loving community.

It is difficult to find words to express our appreciation of the performances of the great violinist himself. He throws his whole soul into the instrument, and while, as it were, playing to gratify himself, imparts equal gratification to his auditory. This is one of the great secrets of his success. His best efforts were airs from "Lucrezia Borgia," and the "Irish Bouquet;" with their encores airs from "Lucia di Lammermoor," and the ever memorable "Carnival" . . . We must not close this brief notice without complimenting Mr. Norman on his exceedingly tasteful and brilliant pianoforte accompaniments, for which, we are sure, Miska Hauser must have felt grateful. The pianoforte used on this occasion was from the atelier of Messrs. Shiedmayer and Sons, of Stuttgart. It is an instrument of fine rich tone and great power, and is intended to be the first prize in a grand musical lottery, to be conducted by Herr Elsasser, who has just received from the continent a large consignment of music and musical instruments, which he proposes to dispose of in this manner.

ASSOCIATIONS: Charles Elsasser (pianist, importer); Shiedmayer and Sons (German piano manufacturer)

MUSIC: String quartet in A, op. 18 no. 5 (Beethoven)

7 June 1858, George Coppin's retirement, Theatre Royal

[Advertisement], The Argus (7 June 1858), 8

http://nla.gov.au/nla.news-article7295759 

THEATRE ROYAL! FAREWELL BENEFIT And MOST POSITIVELY LAST APPEARANCE of Mr. G. COPPIN, Previous to his Retirement from the Stage as an Actor.
Under the distinguished patronage of His Excellency SIR HENRY BARKLY.
THIS EVENING, JUNE 7th, 1858. The Operatic Comedy of LOVE LAUGHS AT LOCKSMITHS. Risk - Mr. COPPIN.
FAREWELL ADDRESS by MR. COPPIN . . .
MISKA HAUSER Has kindly given his gratuitous services, and will perform one of his celebrated Solos . . .

8 and 9 June 1858, two farewell "shilling" concerts "for the million", Hockin's Assembly Rooms

[Advertisement], The Age (8 June 1858), 1

http://nla.gov.au/nla.news-article154858911 

HOCKIN'S ASSEMBLY ROOMS, TWO CONCERTS FOR THE MILLION!
Tuesday and Wednesday, June 8th and 9th. Back seats, 1s.; front seats, 2a. 6d.
MISKA HAUSER'S FAREWELL,
PROGRAMME. Tuesday, June 8th.
PART I.
Overture, "Zampa," Linly Norman.
Song, "Zephyr-like," Miss J. Harland.
Solo, Violin, on Airs from "Norma," Miska Hauser.
Grand Scena, "At length I'm Thine," Miss Julia Harland.
Solo, Violin, "The Carnival of Venice," Miska Hauser.
Ballad, "Dermot Astore," Miss Julia Harland.
Duett, "Singing Lesson," Miss Harland and Linly Norman.
An interval of ten minutes.
PART II.
Solo, Piano, The Prayer from "Mose in Egitto," Linly Norman.
Song, "Where the Bee Sucks," Miss Julia Harland.
Solo, Violin, "The Mother's Prayer," Miska Hauser.
Ballad, "Down where the Blue Bells grow," Miss Julia Harland.
Solo, Violin, "Yankee Doodle," Miska Hauser.
"God Save the Queen."
Doors open at half-past seven; to commence at eight precisely.

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

http://nla.gov.au/nla.news-article7295861

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

12 June 1858, complimentary benefit, Theatre Royal

[Advertisement], The Age (2 June 1858), 1

http://nla.gov.au/nla.news-article154858394 

NOTICE. - Many friends and admirers of the celebrated violinist,
MISKA HAUSER, Have resolved upon giving him a Complimentary Benefit previous to his departure from the colonies in the Mail Steamer, upon which occasion His Excellency
SIR HENRY BARKLY Has signified his intention of being present. Due notice will be given.

[Advertisement], The Argus (12 June 1858), 8

http://nla.gov.au/nla.news-article7296022 

THEATRE ROYAL.
Grand Complimentary Farewell Benefit to MISKA HAUSER.
Under the distinguished Patronage of His Excellency SIR HENRY BARKLY, Who has signified his intention of honoring the Theatre with his presence.
The friends and admirers of this celebrated Violinist trust that the present occasion will convey a substantial expression of the high appreciation entertained of his talents by the inhabitants of Melbourne generally, being most positively the Last Night he can appear, in consequence of sailing on the 16th, for England, in the Royal Mail Ship Australasian.
THIS EVENING, The Entertainments will commence with MY WIFE'S DAUGHTER.
Andante and Rondo - Composed by MISKA HAUSER.
GRAND BALLET DIVERTISSEMENT, By Fraulein Fannie, Madame Strebinger, and Corps de Ballet.
Variations on Airs from "Lucia," composed by MISKA HAUSER.
DANCING by the LEOPOLD FAMILY.
"The Bird on the Tree," composed by MISKA HAUSER.
To conclude with TWENTY MINUTES WITH A TIGER.
Doors open at half-past 7, to commence at 8 o'clock.

14 June 1858, concert, Mechanics' Institution

"MISKA HAUSER'S CONCERT", The Age (15 June 1858), 6

http://nla.gov.au/nla.news-article154856412 

Miska Hauser held his final musical entertainment last evening, at the Mechanics' Institution, before a moderate attendance. He was assisted by Miss Juliana King and Signor Cutolo; but the chief feature was the quartette party, who performed in admirable style the second of Haydn's Quartettes Op. 95 [sic], and a Canzonetta and Adaigo [sic, Adagio] by Mendelssohn. It is stated that Miska Hauser has been induced by the solicitations of friends to prolong his stay in Victoria - sed qu.

ASSOCIATIONS: Juliana King (vocalist)

[Advertisement], The Argus (15 June 1858), 8

http://nla.gov.au/nla.news-article7296158 

Melbourne, 15th June, 1858,
HERR MISKA HAUSER, - Dear Sir, - Being desirous of availing ourselves of your temporary residence in this city, and of the opportunity thereby afforded the public and ourselves of enjoying a few good Classical Concerts, an opportunity which may not occur again, we request that you will delay your departure until next mail, believing that the Agent of the R. M. Company will offer no obstacle to such an arrangement, and at once comply with our wishes.
The delay cannot, we think, materially affect your prospects in London, inasmuch as were you to take your departure at once the season would be over by the period of your arrival, and the Winter Concerts would not have commenced.
We are, dear sir, yours truly,
Alfred P. Southy; J. Reed
E. L. Montefiore; John Russell
L. Josephs; F. R. Godfrey
And. Forbes; Chas. Brown
Jeffrey Callen; T. Winter
J. D. Pinnock; Thos. Lewis
T. H. Lempriere.

[Copy of reply.]
Gentlemen, - Having shown your kind requisition to Mr. A. Forbes, the Agent of the R. M. Company, he has willingly consented that my departure shall be deferred till the next steamer. I shall, therefore, have great pleasure to remain, in compliance with your flattering request.
(Signed) MISKA HAUSER.
To Alfred P. Southey, E. L. Montefiore, L. Josephs, Esqrs., and the other Gentlemen signing the requisition.

ASSOCIATIONS: John Russell (musical amateur); Eliezer Levi Montefiore (musical amateur)

Adelaide, SA (21 to 26 June 1858)

21 June 1858, arrived Adelaide, SA, per Admella

"SHIPPING INTELLIGENCE. ARRIVED", Adelaide Observer (26 June 1858), 5

http://nla.gov.au/nla.news-article158123886 

Monday, June 21 - The steamer Admella, 430 tons, McEwan, master, from Melbourne June 18, and Portland June 19. Brown and Isbister, Town, Scott, Port, agents. Passengers - Messrs. Miska Hauser . . . Bial . . .

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

http://nla.gov.au/nla.news-article49777231

The papers which arrived last week from Melbourne contained paragraphs to the effect that Miska Hauser had left by the Australasian for England. It seems, however, that he was induced by the pressing entreaties of friends to alter his mind at the last moment, and to remain for the purpose of giving a concert in aid of soma charitable object in Melbourne on Monday week next. The talented violinist, whose motto should be toujours fidèle, has therefore seized the opportunity to pay a visit to his old friends in this colony. He arrived yesterday by the Admella, and will return by the Havilah next week, his intention being to give a concert on Thursday evening and another on Tuesday evening. He is accompanied by Mr. Bial, pianist, who came with him to the colony on a former occasion. Miska Hauser gave fourteen concerts in Melbourne during the last three weeks of his stay there, and on his benefit night no fewer than 3,000 persons were present. Some new and beautiful compositions of Miska Hauser will be submitted to the Adelaide public at the coming performances, and Mons. Laglaise is engaged to take a part as vocalist in the entertainments.

23 and 25 June 1858, concert, White's Assembly Room

"MISKA HAUSER", South Australian Register (23 June 1858), 2

http://nla.gov.au/nla.news-article49775535 

Owing to the early departure of the talented violinist from the colony, and from other causes, the first of the two concerts to be given will take place this evening, instead of on Thursday, as previously stated. It will be seen by the programme published in another column that the performance will include some rare morceaux, several pieces being the compositions of Miska Hauser, Miss Lingelbach, Mons. Laglaise, and Mr. Bial will assist at the entertainment, which promises to be one of the best of the kind ever given in the colony.

[Advertisement], South Australian Register (23 June 1858), 1

http://nla.gov.au/nla.news-article49775530 

TO-NIGHT. TO-NIGHT. TO-NIGHT.
WHITES ASSEMBLY ROOM - MISKA HAUSER'S GRAND CONCERT
will take place at the above Room On WEDNESDAY EVENING, June 23,
when he will be assisted by MISS SOPHIE LINGELBACH, MONS. LAGLAISE, and MR. CHARLES BIAL.
PROGRAMME.
PART I.
1. Introduction - Piano.
2. Andante e Rondo di Concerto, composed and executed by - Miska Hauser.
3. Grand Air, from "Robert le Diable," Song - Miss Sophie Lingelbach.
4. Fantasia on Airs from "Lucia di Lammermoor" - Mr. Bial.
5. First time - "I love her so!" Romance from "Fra Diavolo" (Auber) - Mons. Laglaise.
6. First time - "Blue Bells of Scotland" - Fantasia on Scotch Airs, composed and executed by Miska Hauser.
PART II.
1. "The Dream" - Song - Miss Sophie Lingelbach.
2. First time - "Adagio Pathetico," from his Grand Concerto - Miska Hauser.
3. "All is lost" - Air from "Sonnambula" (Bellini) - Mons. Laglaise.
4. "La Cascade" - Piano - Mr. Bial.
5. "The Carnival of Venice," with new Variations - Miska Hauser.
Tickets, at 5s. each, to be had of Mr. Platts and Mr. Wigg, booksellers, and at the door on the evening of the Concert.
Doors open at half-past 7; to commence precisely at 8 o'clock.

[Advertisement], South Australian Register (25 June 1858), 1

http://nla.gov.au/nla.news-article49773208 

WHITE'S ASSEMBLY ROOM. -
MISKA HAUSER'S LAST CONCERT will take place
THIS EVENING (FRIDAY), June 25, at the above Rooms, when he will be assisted by
MISS SOPHIE LINGELBACH, MONS. LAGLAISE, and MR. CHARLES BIAL.
PROGRAMME.
PART I.
1. Introduction - Piano.
2. Grand Fantasia on Airs from "Lucrezia Borgia" composed and executed by Miska Hauser.
3. Scena and Aria, from "Figaro" (Mozart) - Miss Sophie Lingelbach.
4. Fantaisie Dramatique, for Piano - Mr. Bial.
5. Ballad - "Little Nell" - First-time (Linley) - Mons. Lagalaise.
6. "Irish Bouquet" - Fantaisie Burlesque - Miska Hauser.
PART II.
1. Introduction - Piano.
2. Romance, sung by - Miss Sophie Lingelbach.
3. "Mother's Prayer" and "Angel's Song" - Adagio Religioso (Ole Bull) - Miska Hauser.
4. Romance - "Di Pescator," from "Lucrezia Borgia" - Mons. Laglaise.
5. "La Gazelle" - Piano - Mr. Bial.
By desire, "Blue Bells of Scotland" - Fantasia on Scotch Airs - Miska Hauser . . .

"MISKA HAUSER'S FAREWELL CONCERT", South Australian Register (26 June 1858), 2

http://nla.gov.au/nla.news-article49777061 

Miska Hauser is a name which has become as "familiar as a household word," in the Australian colonies. He is now on the eve of his departure to England, where his extraordinary talent as a violinist will be appreciated, and his renown extended far and wide. In submitting himself to the ordeal of an English audience, though perhaps comprising some of the severest critics in the world, the accomplished Hungarian has nothing to fear. He is not destined to play second fiddle to Cooper, Ramenni [Remenyi], nor to any other of the celebrities who are now enjoying a European fame. His farewell concert, given on Friday evening, at White's Assembly Room, was extremely well attended. Very few if any seats were left unoccupied. The appearance of the great artist on the platform was the signal for a hearty greeting, and on the completion of each of the several pieces allotted to him in the programme, the enthusiastic applause of the assembly was without a pause until his reappearance. Amongst the various compositions selected for the evening were several by Miska Hauser himself. They comprised a fantasia on some of the most popular airs from "Lucrezia Borgia," amongst which "Qualunque sia l'evento," and "Ama tua madre a tenero," were not the least conspicuous. The variations introduced were pre-eminently calculated to show how thoroughly the performer is initiated in the mysteries of the double shift, the harmonics, long and short bowing, the staccato and legato styles, and the various et ceteras, the acquisition of which is so indispensable to a finished performer. Another of the compositions of Miska Hauser, and performed by him during the evening, he has very appropriately called the "Irish Bouquet." It consist of some of the most favourite Irish melodies, including "Molly Asthore," and "Saint Patrick's Day," with an intervening fantasia characteristic of the national music of "Ould Ireland." This, as stated above, was with the former encored. On his reappearance, Miska Hauser gave a similar composition on the popular airs of Scotland, which comprised "We're all a noddin'" and "Auld Robin Gray." It would perhaps be tedious to particularize the numerous other pieces performed by him, but we may mention, as amongst those which appeared specially to delight the audience by the exquisitely finished style in which they were performed, "Kathlen Mavourneen," "The Blue Bells of Scotland," "John Anderson, my Jo," "There is nae Luck," and last, not least, "The Bird in the Tree." This extraordinary composition gave the audience another opportunity of witnessing the unrivalled power of the composer and executant in a style of performance in which very few indeed of the many who attempt it ever succeed.

In bidding Miska Hauser farewell, we are sure that all who have had the pleasure of hearing him will join us in thanking him for his visit to the colony. If to impart pleasure to others constitute a benefactor, Miska Hauser is such; and if it be the prerogative of genius to produce great results from apparently small means, Miska Hauser deserves that epithet also. He has learned the mysterious art of enchanting the thousands who have heard him, by means of an instrument which in ordinary hands is in the majority of cases regarded as little better than a bore. The evening's entertainment was diversified by the very clever performances of Mr. Charles Bial on the pianoforte, and the vocal efforts of Miss Sophia Lingelbach and Mons. Laglaise. Each of these were also honoured with an encore during the evening. Mons. Laglaise in particular was highly applauded for the pathetic manner in which he sand the "Di piscatore ignobile," and still more so for the inspiring style in which he gave the "Marseillaise Hynm." Notwithstanding the numerous encores, the promptitude with which the several pieces followed each other had the effect of brining the whole to a close considerably before 11 o'clock.

"MISKA HAUSER'S FAREWELL CONCERTS", Adelaide Observer (26 June 1858), 4

http://nla.gov.au/nla.news-article158123906 

The first of the two concerts which Miska Hauser had determined to give in this colony before taking his departure for England took place yesterday evening in White's Room. In noticing the performance it may not be out of place to remark once more - for this is almost the last opportunity we shall have of doing so - upon the striking peculiarity which characterizes the playing of the great violinist. Clever, quick, brilliant players most people have had the pleasure of hearing. Still in all those cases we seldom forget that it is only the homely fiddle and the "squeaking catgut" that we are listening to. But in the hands of Miska Hauser the familiar and commonplace-looking instrument becomes "the golden stringed lute" breathing delicious harmony. The audience at first see before them an amiable-looking gentleman of unpretending demeanour, with an old fiddle - a rare cremona - in his hand. In a moment the instrument is carefully touched with the bow, and then follows a gush of music so sweet that the listener is inclined to look round the platform to see where it comes from. Birds are warbling, waters are heard to ripple, the sweetest tones of the human voice, and even the gentle whisperings of the breeze seem to be there. But it is not so. It is only the man and the fiddle. Indeed they seem to form one instrument, as with to firmly-posed figure, his glowing face, and his eye lit with enthusiasm, he pours his very soul out upon the audience. Nothing but genius could do this, and so listeners feel as they burst into exclamation when the charm ceases.

But Miska Hauser is not one of those violinists who are said to wear out a fiddle every time they play. He doesn't smash the strings with his bow until thunder and lightning come from them. On the contrary, the delicacy of touch is one of the greatest wonders of his execution. This was strikingly observable last night in several instances. "The last rose of summer," given on encore for the "Fantasia on Scotch airs," was perfection itself. Of the more elaborate pieces, "The Carnival of Venice" with new variations, was wonderfully played. The strings of the instrument spoke, and seemed to sustain a conversation one with the other, in tones alternately falsetto and bass, the deep grumbling of the latter being brought in with ludicrous effect. The capriccio known as "The bird on the tree, was also received with immense applause on being given upon an encore for another piece. It curiously happened that whilst this was being played two or three young rats deliberately walked down a rope hanging from the ceiling to the floor, just behind the performer, following each other at the distance of a yard or two, and attracting the attention of every one in the room. This voluntary "terrific descent" must no doubt be taken as a compliment to the great violinist, who, like Orpheus, can thus charm unintelligent animals with his music.

The intervals between the violin performances were ably filled up by Mr. Bial, Mons. Laglaise, and Miss Lingelbach. The former gentleman is an accomplished pianist, possessing a quiet and masterly style. He was encored in "La Cascade" and gave "On yonder rock reclining" from "Fra Diavolo." Mons. Laglaise was in good voice. He was encored in both the airs which fell to his share, and substituted for them "Let me a soldier die" and "In this old chair my father sat," both or which he sang in English, the latter with so much feeling as to threaten a second encore. The lady vocalist has a very useful sort of voice, but the operatic pieces chosen for her are not the kind of singing upon which she should venture yet. The audience was not a large one; about 200 probably. But a great many admirers of Miska Hauser are most likely waiting till Friday evening, which will be his last performance in this colony without doubt, as he leaves for Melbourne on Monday.

ASSOCIATIONS: Sophie Lingelbach (soprano vocalist); Jean-Baptise Laglaise (tenor vocalist)

26 June 1858, departed Adelaide, for Portland, VIC

"SHIPPING INTELLIGENCE . . . CLEARED OUT", South Australian Register (28 June 1858), 2

http://nla.gov.au/nla.news-article49777798 

Saturday, June 26 - The steamer Havilah, 337 tons, McFie, master, for Portland and Melbourne. Passengers . . . Miska Hauser, Mr. Bial . . . in the saloon . . .

Portland, Ballarat, and Melbourne, VIC (28 June to 16 July 1858)

29 June and 1 July 1858, concerts, Portland, VIC

"MISKA HAUSER'S CONCERT", Portland Guardian and Normanby General Advertiser (30 June 1858), 2

http://nla.gov.au/nla.news-article64571544 

Last evening the celebrated violinist Miska Hauser, assisted by the distinguished Pianist, Mr. Bial, gave a Concert at Mac's Hotel. This is the second season Miska Hauser has paid a visit to this town, and he has by no means lost any of his popularity. A crowded and highly respectable audience were enraptured with the performances, and enjoyed a musical treat, such as it seldom falls to the lot of any community to enjoy. The performance by Miska Hauser of Airs and original Fantasias created the highest admiration and loud encores, astonished by their power, and charmed by their softness and sweetness, and by the distinctness and expression of every note. Mr. Bial's performances on the Piano, Solo, and in accompaniment, did credit to his distinguished name. The performances last evening consisted of a Grand Fantasia on Airs from Norma, composed and executed by Miska Hauser; a Solo on, the Piano by Mr. Bial; Blue Bells of Scotland; Fantasia on Scotch Airs, by Miska Hauser; Solo, Piano, Mr. Bial; Carnival of Venice, with new variations, Miska Hauser; a Duetto Brilliante from William Tell; the Mother's Prayer and Angel's Song; The Bird on the Tree, and other pieces. To-morrow is positively the last night.

"MISKA HAUSER'S FAREWELL CONCERT", Portland Guardian and Normanby General Advertiser (2 July 1858), 2

http://nla.gov.au/nla.news-article64508510 

Last evening Miska Hauser gave his farewell concert prior to his voyage to Europe. The large room at Mac's Hotel was crowded with a most respectable audience, who evinced their admiration by frequent encores. The performances of Miska Hauser on the violin, and Mr. Bial on the piano were exquisite, and admired alike for their eloquent sweetness and softness, as for their wonderful power of execution. Miska Hauser proceeds by this mail to Europe, where there awaits him without doubt, a long run of popularity.

3 July 1858, arrived Melbourne

"SHIPPING. ARRIVED (HOBSON'S BAY)", The Age (5 July 1858), 4

http://nla.gov.au/nla.news-article154877736 

July 3 - Lady Bird, s.s.s., 200 tons, Wm. Lucas, from Portland, 2nd inst. Passengers - cabin: Messrs. Miska Hauser, Bial . . .

5 July 1858, complimentary benefit. Exhibition Building

[Advertisement], The Age (5 July 1858), 1

http://nla.gov.au/nla.news-article154877722 

COMPLIMENTARY BENEFIT TO MISKA HAUSER,
THIS EVENING, July 5th, At the Exhibition Building,
Under the Management of a Committee of Gentlemen,
Assisted by Miss OCTAVIA HAMILTON, Mons. E. COULON, Mr. CHAS. BIAL, And a Quartett Party.
Tickets for the body of the house, 5s; gallery, 3s; to be had of Messrs. Wilkie, Chapman, and Blundell, and at the door.
Doors open at half-past 7, to commence at 8. N.B. - An extra train will leave Melbourne for St. Kilda at 11 o'clock.

"MISKA HAUSER'S CONCERT", The Argus (6 July 1858), 4

http://nla.gov.au/nla.news-article7297127 

The complimentary benefit to Miska Hauser, last night, though a failure in point of attendance, was thoroughly successful in all other particulars. To the genuine lovers of classical music, the concert afforded a great treat. The opening quintette, by Meyseder [sic], was admirably performed, the instrumentalists being Miska Hauser, and Messrs. King, Ryder, Thomas, and Chapman. The favorite song, "Estelle," by Miss Hamilton, followed, and was succeeded by a pianoforte solo by M. Bial, "La Cascade," which obtained an encore. The principal solo event of the evening, however, was the "Siciliano," by the beneficiaire himself. Seldom have we heard our Australian Paganini, as he is justly called, to more advantage than in the jocund, riant, glassy effects which he produced last night by his admirable instrumental powers. He was rapturously encored, and substituted one of his favorite melanges of Irish and Scottish airs. A duet, sung with much spirit, by Miss Hamilton and M. Coulon, brought the first part of the entertainment to a close.

The most noticeable feature of the second part of the programme was an adagio from a new concerto, by Miska Hauser, the exquisite harmonies of which completely enchained the audience. On being encored, the maestro gave the time-honored "Carnival," which was as effective as ever. A duetto cantabile, "La Chanteuse Voilée," by Miss Hamilton and M. Coulon, and Haydn's quartette, "God Save the Emperor," brought the concert to a satisfactory conclusion.

8 to 12 July 1858, English opera company, Charlie Napier Theatre, Ballarat

"THE CHARLIE NAPIER", The Star [Ballarat, VIC] (9 July 1858), 3

http://nla.gov.au/nla.news-article66049082 

The performances last evening were announced for the benefit of Mr. Gregg, and the house was well filled. Donnizetti's comic opera of "L'Elisir d'Amore" was performed for the first time, and Miss Harland as Adina, and Mr. Sherwin as Nemorino, sang and played with their usual success. Mr. Gregg was announced to sing the part of Sergeant Belcore, did not appear, his absence being apologised for by a managerial statement that it was owing to illness and consequent inability. Mrs. Hancock undertook the incongruous part, and sang the music with a success for which we were quite unprepared, knowing the difficulties in the way of her completing her arduous task at so short a notice. Mr. Hancock sang and acted Dr. Dulcamara tolerably. Mr. Norman's management of the orchestral accompaniments, &c., deserves a meed of praise much beyond that which we can render this evening. The opera was succeeded by the first of the four last performances - the great Miska Hauser, the finest violinist who has ever visited our shores. He played a fantasia with marvellous still, and as a natural result an unanimous encore succeeded, and the "Bird on the Tree," which has so often delighted us before, placed Miska Hauser in his old place in the estimation of a Ballarat audience. The applause of his performance was general and most enthusiastic, alike signalising the taste of our citizens in their appreciation of musical genius and the excellencies of this deserving artist. Miss Chalker then sang "Bid me Discourse" with great taste and execution, though her voice is far too delicate to be suited to the size of the theatre. Mr. "Jo Millar," a new arrival on Ballarat, made a mistake in the "gun trick" which did not go off. Mr. Coxon sang two very good original comic songs, and two excessively dreary ones, in answer to vociferous encores, and the entertainment concluded.

[Advertisement], The Star (9 July 1858), 3

http://nla.gov.au/nla.news-article66049091 

CHARLIE NAPIER THEATRE.
PROPRIETOR, MR. JOHN GIBBS. STAGE MANAGER, MR. CHARLES WALSH.
FRIDAY EVENING. Another Musical Treat
MISKA HAUSER, The world renowned violinist, acknowedged the most astounding living artist, for three nights only,
Last night but one of the grand ENGLISH OPERA COMPANY.
Last night of the beautiful opera, by Mr. Vincent Wallace,
MARITANA, OR DON CESAR DE BAZAN . . .
To be followed by a Grand Fantasia, composed by MISKA HAUSER, entitled "Blue Bells of Scotland."
Also by Miska Hauser, "The Carnival of Venice."

"CHARLIE NAPIER", The Star (12 July 1858), 3

http://nla.gov.au/nla.news-article66049124 

"Lucia di Lammermoor," we perceive, is to be played for the last time at this theatre this evening, and the renowned Miska Hauser takes his farewell of a Victorian public, prior to sailing for Europe in the Emeu . . .

ASSOCIATIONS: John Gibbs (proprietor); Charles Walsh (stage manager); English Opera Company (troupe); John Gregg (bass vocalist); Julia Harland (soprano vocalist); Walter Sherwin (tenor vocalist); Mary Ellen and Edward Hancock (vocalists); Linly Norman (piano); Marie Chalker (vocalist); John Coxon (comic vocalist)

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

http://nla.gov.au/nla.news-article7297577

. . . The great Hungarian violinist, Miska Hauser, after delighting us for many months with his exquisite performances, takes his departure by the Emeu tomorrow. A new musical celebrity - Signor Cutolo - has been charming us with his masterly execution on the piano . . .

15 July 1858, grand farewell concert, in aid of the Benevolent Asylum

[Advertisement], The Argus (15 July 1858), 8

http://nla.gov.au/nla.news-article7297573 

MISKA HAUSER'S GRAND FAREWELL CONCERT,
In aid of the funds of THE BENEVOLENT ASYLUM,
THIS DAY, JULY 15, 1858.
Programme:
First Part.
1. Quintetto - Allegro and Adagio, by Mayseder, for two violins, two tenors, and violoncello. Miska Hauser, Messrs. King, Ryder, Thomas, and Chapman.
2. Scene and Aria, from the opera La Favorite. Mons. Emile Coulon - Donizetti.
3. Fantasia, for piano - Le pre aux clercs, Mr. C. Bial - Harold [Herold].
4. Ballad - Little Nell. Miss Octavia Hamilton - Packer
5. Solo Violin - Siciliano, composed by Miska Hauser - Miska Hauser.
5. Duo from the opera Lucia di Lammermoor. Miss Hamilton and Mons. Coulon - Donizetti
An interval of 10 minutes.
Second Part.
7. Quintetto - Scherzo and Finnale, by Mayseder, for two violins, two tenors, and violoncello. Miska Hauser, Messrs. King, Thomas, Ryder, and Chapman.
8. Aria, from the opera Lucrezia Borgia. Mons. E. Coulon - Donizetti.
9. Song - Beautiful Bells. Miss Octavia Hamilton - Salomon.
10. Solo Violin - The Mother's Prayer. Miska Hauser - Ole Bull.
11. Duettino, from the opera La Chanteuse Voilée (by request). Miss Hamilton and Mons. Coulon - Massé.

"MISKA HAUSER'S FAREWELL CONCERT", The Argus (16 July 1858), 4

http://nla.gov.au/nla.news-article7297660 

Among the numerous leave-takings, which occurred yesterday, special mention must be made of Miska Hauser and the Melbourne public. This gentleman has so often said (or bowed) farewell, and so often come back, bow in hand, to charm us with his instrument, that people began to suppose he would go on giving farewell concerts, at periodical intervals, for many years to come. We believe, however, that although, like the man in the ballad, which Sir Walter Scott was so fond of quoting -

"He oft fitted the halter, oft traversed the cart,
And often took leave, yet seemed loth to depart,"

Miska Hauser has really appeared for the last time before a Melbourne audience, and is by this time on his way to the other hemisphere. His career in these colonies is understood to have been a thoroughly successful one. He has not only extended his reputation, and made still further progress in his art, but he has reaped those solid advantages which are often the desert, though not invariably the reward, of distinguished ability. The last piece which he performed last night (omitting mention of the encore) will always constitute an agreeable souvenir of the violinist. It was "The Mother's Prayer," his execution of which appears to use to be faultless: while it in also fraught with the intensest feeling, and touches the heart more than any other composition. Such a prayer Hagar might have lifted up in the wilderness for Ishmael, and -

"Many such hath woman's bursting heart
Since then, in silence and in darkness breathed,
Liko the dim night flower's odour, up to Heav'n."

Words could not express the pleading earnestness, the tender sorrow, the long-sustained and piteous appeal to infinite mercy, the trembling hope, the mournful and heart broken litany of maternal love, which find such exquisite utterance in those soft pathetic tones which the violinist elicits from his instrument. One might have heard a pin fall during the whole time the piece was being performed, and when the last attenuated sound trembled on the verge of silence, and faded imperceptibly into it, the attention of the audience was literally profound.

Besides the solos, Miska Hauser took part with Messrs. King, Ryder, Thomas and Chapman, in two of Mayseder's quintettes [sic]; while Miss Hamilton and M. Coulon agreeably varied the character of the entertainment by their vocal performances, which were warmly applauded. Mr. Bial, we must add, ably officiated as accompanyist. The concert was given for the benefit of the Benevolent Asylum, and between three and four hundred persons were present, His Excellency the Governor and Capt. Bancroft being among the visitors.

16 July 1858, departure, per Emeu, for Europe

Letter 26 (on board the Emeu, July 1858) - Read here

Other and later reports and recollections in the local and international press

Australian

"TARRANGOWER . . . German Concert", Mount Alexander Mail (23 October 1857), 4

http://nla.gov.au/nla.news-article197084195 

The concert for the benefit of Professor Neuermeyer's magnetic observatory went off with great eclat on Wednesday evening. The stars of the evening were Herren Siede and Iverson, the former on the flute and the latter on the violin. Herr Julius Siede has been too long known as a first class performer to need any praise. Suffice it to say that on Tarrangower he proved that his reputation was well deserved. Herr Iverson, though an amateur, performed solos on the violin in a manner to be equalled, but not excelled, only by Miska Hauser, with whom he was a fellow pupil. Indeed many persons preferred his playing to that of his more celebrated confrere. Several English songs were excellently sung by Herr Emil Pohl, who arrived here from Ballarat expressly for the purpose of assisting (as an amateur) in this entertainment. Several first-rate songs were sung by Dr. Kupferbarg, among them the Marsellaise, which was sung in a most spirited style. The full choruses were excellent. The entertainment, by far the most perfect we have yet had, terminated with "Rule Britannia," in full chorus. The room was then cleared for dancing, which continued till past 5 next morning, when the company separated, well pleased with the bill of fare presented to them.

ASSOCIATIONS: Julius Siede (flute); Louis Iverson (violin); Florian Kupferberg (amateur vocalist)

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

http://nla.gov.au/nla.news-article13026755

The receipt of the Vienna Gazette of the 27th February (says one of our correspondents), one of the most respectable and reliable papers of Germany, and known for its impartial criticism about all concerning music, enables us to show our colonial readers the light in which the "would-be Australian Paganini", Miska Hauser, is viewed by an audience of connoisseurs. The said paper, after a lengthy comment on the virtuosi literal production of "Memoirs of a Virtuoso", with its atrocious falsehoods through-out, and with its most unlucky attempts to make Australia and her capitals (especially Sydney), appear a second Sodom or Gomorrah - speaks in the following terms of Miska Hauser's concert:

"Notwithstanding the 1200 concerts he has given (and it here suits us to believe his saying), Miska Hauser's play[ing] is the same as before his departure. An European critic would denounce M. Hauser's tone as thin, his execution as very very moderate, his fluency not quite faultless, but his double notes out of time, and his musical production flat and without taste. Most undoubtedly Miska Hauser, in giving a concert in Vienna, never intended to show his proficiency, he merely meant to show us the entirely different taste of the countries in which he gained his (self appreciated) laurels. As an illustration of his memoirs he only meant to give us a specimen of music, with which he enraptured the hairdressers and Chinese of San Francisco, or the mulattoes and creoles of Santiago, or through what style of music only he was enabled to soften and enamour even the heart of Queen Pomare. Was Miska Hauser, however, in giving us this concert guided by other motives - did he but for one moment think to let us judge between himself and a Vieuxtemps, Ole Bull, Joachim, Wieniawski or others of their stamp - we can then not withhold our astonishment at M. Hauser's impertinence to treat a Vienna audience to so miserable a hash of ditties as the bird on the tree".

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

http://nla.gov.au/nla.news-article60413421

THERE was once a time when the testimony of "a returned colonist from Australia" would have been viewed with great suspicion in the House of Commons, and denounced with indignant ridicule by the Times newspaper. There is just as much reason as ever for receiving their statements with caution; but Mr. MATTHEW HENRY MARSH has now come to be acknowledged as an authority, and his sayings are cheered in the House and quoted in the great journal just as if they proceeded from the fountain of truth itself. The fact is, however, that not all the ridiculous falsehoods of FRANK FOWLER, or the inventions attributed to MISKA HAUSER, can compete with the mendacious statements of Mr. MARSH. He is the very GULLIVER of Australian politics . . .

ASSOCIATIONS: Frank Fowler (journalist)

"MISKA HAUSER. To the Editor of . . .", The Sydney Morning Herald (23 November 1865), 3

http://nla.gov.au/nla.news-article13122168 

SIR, - Many of your readers will remember the violinist Miska Hauser, who visited this colony some eight years' ago. In a German newspaper appeared lately his autobiography, in which he relates wonders and adventures that remind one of the Arabian Nights. He says, about Australia, that he was "honoured like the messenger of the Muses - that he was presented in all the principal towns with the freedom of such towns, and that the Parliament of New South Wales voted him public thanks for his extraordinary performances, and for the large sums which he secured for the various charitable institutions of Sydney." Can you or any of your readers gratify my curiosity, by informing me which towns have honoured the wandering musician in such extraordinary manner, and whether the Parliament of New South Wales ever committed an act, which must make it ridiculous among foreigners? The newspaper referred to is published in Hamburgh, and if the above distinctions should be correct, the eminent artists that visited our colony of late are certainly right in complaining that their talent is not appreciated,
I am, Sir, yours, &c,
M., Maitland, 18th November.

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

http://nla.gov.au/nla.news-article19931376 

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

International

"A 'STROLLING PLAYER' DRAWING The LONG BOW", Sacramento Daily Union [California, USA] (15 June 1859), 4

https://cdnc.ucr.edu/?a=d&d=SDU18590615.2.21 

In a New York paper we find an extract from a book recently published, it is said by Miska Hauser, whose visit to this Slate, several year since, and clever execution of two or three piece on the violin, will be remembered by most of our citizens. No doubt the visit will long be remembered by him, for it proved a good speculation, and was more flattering to his vanity as a musician than any tour be could possibly have made with his violin. The "Bird in the Tree," and the "Carnival of Venice, with variations," were almost his sole musical stock. His trip to California made Miska Hauser rich, and he has now the leisure and opportunity to show his appreciation of California publics in the style of other European Jem Bagses who have come and gone before him in America. The work of Von M. Hauser, as we see it is styled, contains the following "truthful sketch" of a scene on the night of the first appearance of Lola Montez in this city. Miska, or "Whisky Hauser," as he was called here, must be a great - fibber:

The curtain rose, and Lola appeared in a fairy-like costume. Turning a bold and daring glance upon the audience, she prepared to dance. A loud burst of laughter disturbed the portentous silence. Lola made a sign with her hand, the band stopped; walking haughtily to the edge of the stage, with pride in her gesture and flames in her eyes, she addressed the audience in the following words:

"Ladies and gentlemen, Lola Montez has too great a respect for the people of California to recognize the silly laughter of a few ridiculing apes as decisive. [Renewed laughter.] I will speak!"

She began again, in a louder voice, and her eyes flashed lightning. "Come here," she continued, "give me your coats, and take my petticoats. You are not worthy to be called men. [Shouts of laughter.] Lola Montez is proud to be what she is; but you -"

She was proceeding, but the fury and noise of the audience had reached the culminating point. Rotten apples and eggs traversed the air, and the bombardment continued until the weaker parly diverged from the lines of fire. I was looking on from a stage box, and thanking my stars for my escape, when, to my utter terror, the director rushed in and implored me to save his house by striking up. I would sooner have been exposed to the fury of a violent storm than to the fury of such an audience. Still, the prayers of the manager and the $600 he offered me, in his despair, moved my heart, and, within five minutes I stood ready armed with fiddle and bow. I began "The Bird on the Tree," which pleased so much that the audience shouted: "No Lola; only M. Hauser shall play to us!" Just at this moment, Lola, who had overheard all, bounded on the singe, and began dancing. This redoubled the fury of the audience; benches were broken up. windows smashed, and shouts were raised, "Give us back our money!" Still the courageous danseuse would not be defeated, and completed her dance. She was escorted home to her hotel by armed men, and held another most violent speech to the crowd, until a man climbed up the balcony and put out her lamp, while an armed body dispersed the mob.

8 December 1887, death, Vienna

"AUSTRIA-HUNGARY (FROM OUR CORRESPONDENT) VIENNA, Friday Night", London Evening Standard (10 December 1887), 5

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000183/18871210/030/0005 (PAYWALL)

Last night there died at the age of sixty-seven, the Hungarian violinist Miska Hauser, who as a boy of twelve made the tour of the world, which for a time won him International fame. He was particularly feted in America and Australia, and several of his songs are still in vogue. He retired into private life some twenty years ago, and was practically forgotten.

[News], Glasgow Herald (19 December 1887), 4

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000060/18871219/006/0004 (PAYWALL)

. . . The second death is that of the once famous violinist, Michael Hauser, who was born in Hungary in 1822, and was a pupil of Conradin Kreutzer, who must not, of course, be confounded with Rodolphe Kreutzer, to whom Beethoven dedicated the famous sonata. Hauser visited London in 1848 [sic], and afterwards went on a long tour extending to Australia, finally retiring from public life about 14 years ago.

"VALUABLE VIOLINS AT AUCTION", The globe and traveller [London, England] (25 January 1906), 8

https://www.britishnewspaperarchive.co.uk/viewer/bl/0001652/19060125/068/0008 (PAYWALL)

At the Argyll Gallery, W., yesterday, Messrs. Glendenning and Company disposed of a valuable collection of violins . . . another by Joseph Guarnerius, 1697, formerly the property of the late Prof. Miska Hauser, at whose death it fell into the hands of Prof. E. Rappoldi, Chambre Virtuoso to the Court of Saxony, £240 . . .

"THE GREATEST VIOLINIST OF HIS DAY THE LATE DR. JOSEPH JOACHIM", The sketch [London, England] (21 August 1907), 7

https://www.britishnewspaperarchive.co.uk/viewer/bl/0001860/19070821/008/0007 (PAYWALL)

BORN AT KITTSEE, IN TRANSLEITHANIA, JUNE 28, 1831. DIED AT BERLIN, AUGUST 15; 1907. Joseph Joachim began to play the violin when he was five, using an instrument that he himself described as "a common little thing, given as a plaything." In 1841 he went to Vienna, there to study under Miska Hauser, the elder Hellmesberger, and Joseph Boehm . . .

Hauser's Australian travel journals reported in the international and local press

"SYDNEY . . . Sydney Herald, 25th Nov., 1854", The musical world [London, England] (17 March 1855), 164

https://books.google.com.au/books?id=-5kPAAAAYAAJ&pg=PA164 

[Editorial], Arthur's illustrated home magazine [Philadelphia, USA] (August 1855), 111

http://books.google.com.au/books?id=C70kAQAAIAAJ&pg=RA1-PA111

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

"A CONCERT IN SYDNEY. FROM THE DIARY OF A WANDERING FIDDLER", Chambers's journal of popular literature (18 August 1855), 104-105

https://babel.hathitrust.org/cgi/pt?id=uc1.b3057791;view=1up;seq=118 (DIGITISED)

[News], Musical world [New York, USA] (8 September 1855), 219

http://books.google.com.au/books?id=ouIPAAAAYAAJ&pg=PA217

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

"MISKA HAUSER", Dwight's journal of music [Boston, USA] (8 September 1855), 166

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

MISKA HAUSER, the knight-errant of the violin, who seeks new fields of virtuoso fame away in the Sandwich Islands and remote corners of the world, seems to be getting equally famous as a historian and romancer in the way of newspaper correspondence. We find him in the German papers, we find him in the Paris La France Musicale, and in the English papers. Latterly in Chambers' Journal, in giving an account of a concert in Sydney, Australia, he sketches an "independent editor," one of whose economies we think it might be fair enough for every editor to adopt in his own practice. He says: "A few days after my arrival, I paid my visits to the different editors of Sydney . . .

"A CONCERT IN SYDNEY", Chambers's journal of popular literature (22 September 1855),

https://babel.hathitrust.org/cgi/pt?id=uc1.b3057791;view=1up;seq=206 

Our readers may remember the unfavourable report made by Mr. Hauser in the above article, in No. 85, on the state of society in Sydney. This has been flatly contradicted by so many respectable persons, that, having no knowledge of the subject ourselves, we hasten to withdraw from Mr. Hauser's statements any support they may be supposed to derive from the character of this Journal. We advise our readers to regard the paper, for the present, as merely an amusing and vivacious sketch, and look to other sources for solid information touching the manners and morals of the capital of New South Wales.

"Australien: Erlebnisse eines musikalischen Missionärs bei den Antipoden", Magazin für die Literatur des Auslandes (8 November 1855), 533-34

https://books.google.com.au/books?id=1OVKAQAAMAAJ&pg=PA533 

29 November 1855, Melbourne, VIC

"MISKA HAUSER (To the Editor)", The Age (29 November 1855), 6

http://nla.gov.au/nla.news-article154864025 

SIR, - My attention has been called to an article which appears in the Australian and New Zealand Gazette, of the 25th of August, entitled "An Hungarian, in Sydney."

"Mr. Hauser," observes the Gazette, "has favored some European journal - a German newspaper, we presume - with a sketch of his adventures in Sydney, by no means flattering to the inhabitants of that thriving city. This sketch has been translated into Chambers's Journal, and will no doubt create some sensation among the Sydneyists. We refer our readers to the Edinburgh Journal for full details; but there are a few statements of the fiddler too extraordinary to be passed over without notice."

And then the Australian and New Zealand Gazette goes on to quote certain statements, which if they had been ever penned by Miska Hauser, would be equally discreditable to his head and to his heart. In the absence of that gentleman from this colony, I take the earliest opportunity of repudiating on his behalf, the authorship of the statements referred to. They could not have been written without my knowledge; their style and sentiment are utterly inconsistent with the feelings, opinions, and modes of thought peculiar to the great violinist; and I have no hesitation in affirming my belief that the letters containing such statements are the fabrication of an enemy, anxious to render Miska Hauser contemptible in Germany and unpopular abroad.

This testimony on my part is voluntary and disinterested, as my connexion with the violinist terminated some months since, though the respect for him which was inspired by his character, survives the severance of our professional relations.
I am, Sir, Your obedient servant,
J. ASKUNAS.

ASSOCIATIONS: Joseph Askunas (c. 1828-1870)

18 and 19 December 1855, Adelaide, SA

"ANOTHER PICTURE OF COLONIAL LIFE", Adelaide Times (18 December 1855), 2

http://nla.gov.au/nla.news-article207076430 

"A CONCERT IN AUSTRALIA. FROM THE DIARY OF A WANDERING FIDDLER (From Chambers' Journal, August 18)", Adelaide Times (18 December 1855), 3

http://nla.gov.au/nla.news-article207076429 

"MISKA HAUSER AND THE CHAMBERS' JOURNAL. To the Editor", Adelaide Times (19 December 1855), 3

http://nla.gov.au/nla.news-article207076474 

Sir - I regret to perceive in your paper of this morning (December 18) a republication of an article, absurdly attributed to me, from "Chambers' Journal." It is almost superfluous for me to say, I am not the author of the article in question; or to add that it is a tissue of falsehoods from beginning to end. The candour of the public mind will, I feel confident, receive this as my vindication from the charge of having published a gross and ignorant libel on the citizens of these colonies.
I am, Sir, your obedient servant,
MISKA HAUSER.

"Miska Hauser . . .", Fränkischer Kurier (15 January 1856), 1

https://books.google.com.au/books?id=_u9DAAAAcAAJ&pg=PT29 

"MISKA HAUSER. To the Editor", The Sydney Morning Herald (19 January 1856), 5

http://nla.gov.au/nla.news-article12979303 

SIR - I enclose Miska Hauser's letter to you, and I beg your pardon for not doing so ere now; it is my neglect, and the only excuse I have for it is these, that I was to go to Sydney in December last, and take those letters along. M. Hauser went to Adelaide, two days' after he arrived from Hobart Town, and left the same to me. I thought of going every week, but as I have altered my resolution, I hurry myself to send them. I see in the Melbourne paper that the Messrs. Chambers have repudiated the truth of the mentioned letter.
I remain, your most obedient servant.
J. ASKUNAS.
Ex-agent to M. Hauser.
Melbourne, January 14, 1856.

Sir, - An article appeared in "Chambers' Journal" of September 21st, 1865, called "A Concert in Sydney, or the Wanderings of a Fiddler" and said to be from my pen. The article in question being of a low, damaging character, both to the people of Sydney and myself as an artist and a man, it is necessary I should take the most public means of denying the authorship, and all knowledge of its existence until it was shown me in print.

During my stay in Sydney I only wrote one letter to Europe - to my father, at Pressburg, and to him I wrote briefly as I had experienced. My reception in Sydney was kind and flattering, and my success as a violinist great. In society I was ever treated with respect, and as a gentleman, I have much reason to remember with kindly feelings the people of Sydney; and believe me, Sir, that I do not exaggerate by saying that I should return to Sydney with the same pleasure as I would to my own native home. Every incident named in the article in question, as far as my experience goes, is [ ? ]; the whole letter is a vile forgery, and apparently intended to do me an injury. I shall take immediate steps with Messrs. Chambers, who own the journal, to get the wicked author if possible.
I remain, Sir, your obedient servant,
MISKA HAUSER.
Melbourne, 10th December, 1855.

N.B.- I have also contradicted the named letter in the Launceston paper during my stay there, where I first saw it; and Mr. Askunas, as my former agent, has done the same in Melbourne during my absence from this place, in justice to me, although he has no more connection with me. I enclose you his repudiation.
M. H.

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

http://books.google.com.au/books?id=Wa1MAAAAMAAJ&pg=PA180

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

http://books.google.com.au/books?id=rltDAAAAcAAJ&pg=PA132

"THE ROVING FIDDLER", Chambers's Journal of Popular Literature (5 January 1856), 14-16

https://babel.hathitrust.org/cgi/pt?id=coo.31924069261562;page=root;seq=26;num=14 (DIGITISED)

http://books.google.com.au/books?id=Z3hUAAAAYAAJ&pg=PA14 (DIGITISED)

https://books.google.com.au/books?id=lKM_AQAAMAAJ&pg=PA14 (DIGITISED)

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

http://books.google.com.au/books?id=D0hEAAAAcAAJ&pg=PA272

"UN ARTISTA IN AUSTRALIA", L'Italia musicale (5 April 1856), 110

https://books.google.com.au/books?id=pOIbOEM7PqkC&pg=PA110 

"Editor's Table", Graham's magazine [Philadelphia, USA] (May 1856), 455-56

https://books.google.com.au/books?id=xxNLAQAAMAAJ&pg=PA455 

"Musical Chit-Chat", Dwight's journal of music [Boston, USA] (24 January 1857), 135

http://books.google.com.au/books?id=KYU_AAAAMAAJ&pg=RA1-PA135

The New Orleans Picayune speaking of theatricals and music in Australia, says:

Miska Hauser, he with the "Bird on a tree," had also had a concert, introducing a sextuor, composed by Mayseder, and a quartetto with variations on "God Save the Queen, composed by Onslow, both of which were performed for the first time in New South Wales. His own variations on the national English anthem were greatly praised. "Of his solo playing," says a local critic, "it is unnecessary to offer comment; his perfect tone, the liquid notes which he produces, combined with an extraordinary memory, stamp him as a violinist of the first order." He had announced three Clinical Member concerts, promising to produce in perfection the quintets, quartets, trios, duets, &c, &c, of Mozart, Haydn, Beethoven, Spohr, Mendelssohn, Onslow, Hummel, and other great lights of art, who, by their genius, have irradiated the family circle, and whose honored names are "household words" in all climes. He was to be assisted by our other old friend, Mr. George Loder, who had arrived at Sidney in the second week of August. The subscription was to be one guinea for the three concerts, and a brilliant success was anticipated.

By "Clinical Member concerts," in the above, are we to understand Classical Chamber Concerts? We wish Miska Hauser a safe delivery.

"Ausland . . . Aus Melbourne vom 13 März", Die Neue Zeit Olmüzer Zeitung (17 May 1857), 2

https://books.google.com.au/books?id=wfG8rZCEC2wC&pg=PT459 

"Beethoven in Australien", Oesterreichisches Bürger-blatt (25 May 1857), 336

https://books.google.com.au/books?id=5kNbAAAAcAAJ&pg=PA336 

"CHRONIQUE ÉTRANGÈRE", Revue et gazette musicale de Paris (21 June 1857), 207

https://books.google.com.au/books?id=HO8sAAAAYAAJ&pg=PA207 

Melbourne (Australie). - Miska-Hauser a fait sa troisième et dernière tournée dans les villes coloniales de l'Australie. On annonce son prochain départ pour l'Europe, où il se rendra par Java, Batavia, Saint-Maurice, Bourbon et le Cap.

"A STEERAGE PASSENGER'S VIEW OF SYDNEY", Chambers's journal (24 October 1857), 271

https://books.google.com.au/books?id=1nhUAAAAYAAJ&pg=PA271 

John Askew, a steerage passenger, has favoured the world with a description, drawn from personal observation, of Australia and New Zealand; and, upon the whole, the world is much obliged to him . . . He is worth fifty of your more amusing, imaginative tourists - such as the musical artiste, who some years ago, by his misrepresentations of Sydney in these pages, placed us in so false a position towards the inhabitants. By the way, this is a fortunate thought; it suggests to us the propriety of taking the present opportunity of making the amende honorable to that injured city by giving John Askew's steerage view of it, to be placed in juxta-position with the caricature of Mishka Hauser, who was doubtless a cabin passenger . . .

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

http://books.google.com.au/books?id=iRNDAAAAcAAJ&pg=PA169

"MISKA HAUSER", Empire [Sydney, NSW] (5 July 1859), 3

http://nla.gov.au/nla.news-article60399887

The "Fiddler round the World," as a continental newspaper terms this speculating would-be-literary violinist, has given to his fellow-countrymen, his American, Polynesian, and Australian experience in a two-volume potpourri, entitled "Aus dem Wanderbuche eines oesterreichischen Virtuosen." (From the Diary of a travelling Austrian Virtuoso.) The following Review of this musical and literary mélange appears in the latest (April) number of Bentley's Miscellany, under the title of NOTES FOR GOLD . . .

NOTE: This extensive review is one of the most useful summaries of Hauser's travel journal

"NOTES FOR GOLD", Bentley's miscellany (1859), 392-400

https://books.google.com.au/books?id=edgRAAAAYAAJ&pg=PA392 (DIGITISED)

[News], Dwight's journal of music [Boston, USA] (9 July 1864), 272

https://books.google.com.au/books?id=MxVOAAAAYAAJ&pg=PA272 

Who has forgotten MISKA HAUSER, the violinist, who gave concerts here with Jaell in the "Germania" days? He has had travelling adventures and has written a book, of which a German correspondent of the Orchestra makes note as follows:

Miska Hauser, eminent violinist, whose success was marked when he recently gave a series of twenty-three concerts in Kroll's Theatre, Berlin, is celebrated not only as violinist, but as traveller. Herr Hauser has been round the world, and either took ten years to do it, or else kept on going round and round the world for ten years: it is immaterial which. Suffice it, a two-volume book of travels, and the Neue Berliner Musikzeitung spares us the universal Weherisch or Mendelssohnisch biographical paper for one week, and devotes a feuilleton to Hauser. From which it appears he was born in '22 at Pressburg, Hungary; studied in Vienna; played at 12 in a Hofconcert before a K.K. audience - audience being the Kaiserin herself; went on an eight years' journey through Europe, even to the confines of Siberia, which appears to be a more musical country than people imagine. Next, coming back to Vienna in eighteen-forty-eight, found that city in an eighteen-forty-eightish condition generally, and K.K. notabilities at a discount. Whereupon, fearing that Orpheus, though he moved rocks and stones with his violin, might not be able to quiet rocks and stones when they were being pitched about by other people who hated Cosmos, the young musician came to England, where Kaisers and revolutions were not. Thereupon Ullmann seized him (the star called Carlotta being then merely nebulous), and introduced him to the New World. Here Miska Hauser catches the fever, and the Berliner Neue Musikzeitung gets on stilts. "Malicious fevers, which there, among forests full of buds and odours, like spiteful demons waylay the stranger, shorten his stay on that wonder-island;" wonder-island being Havanna, whence Hauser left for New York, came out with Jenny Lind, awakened a sensation, and became the rage. History then mentions many names of places which he visited, and is full of San Francisco (where he had a row on account of Lola Montes), Lima (where passionate Creoles languished for him), Santiago (where a nice set of fanatics excited the mob against him, on the charge that his violin was charmed by the devil), Valparaiso, shipwreck, and Otaheite. Here he stayed, and composed several pieces for Queen Pomare. The Neue Musikzeitung has an amusing account of him at the tattooed court. He is commanded to play, and commences with a "prelude:" Otaheite looks coldly on. Barefooted royalty is not to be touched with art, and tattooed nobility is indifferent even to fifths. So Hauser breaks out - with the fear of fiasco strongly before his eyes - in the "Carneval," and this works: all Otaheite is ravished, which may account for the present immortality of that everlasting air. From Otaheite Miska Hauser went to Australia, was presented with the freedom of Sydney, and received a vote of thanks from Parliament for his playing - that is to say, to charitable ends. Thence we have mention of Cairo, Alexandria, Turkey, the Sultan (the Lord of Men beat time while the Giaour played), Trieste, Milan, Turin, France, Germany, trills, staccatos, and immortal renown; all of which, in fuller detail than it can be given here, is it not written in the chronicles of the Neue Musikzeitung of Berlin?

Hauser's Australian journals as published

Complete German text (1859, 1860)

First edition 1859, volume 1

Miska Hauser, Aus dem Wanderbuche eines österreichischen Virtuosen: Briefe aus Californien, Südamerika und Australie . . . erste Band (Leipzig: Fried. Ludwig Herwig, 1859)

https://books.google.com.au/books?id=tMlCAAAAcAAJ (DIGITISED)

PREFACE GOOGLE TRANSLATION, UNCORRECTED:
As publishers of the following travel letters, which were originally addressed to a close and familiar circle of relatives and friends, I hand them over, despite the friendly and encouraging reception which they found in the features section of the "Ost-deutsche Post," but only hesitantly and prejudiced to the public, driven by the fleeting impression of the moment, they can only shyly stand aside the many, often important travel works of modern times, and they can not afford to indulge the indulgence of the most benevolent reader, when the same new upliftment, scientific value, or thoroughness awaits. Who, on the other hand, neither overestimates nor disdains the simple observation of an undemanding virtuoso who sailed with violin and bow in all directions of the wind, and who finds it more convenient to travel the world in the innocuous pages of a book than over mountains and seas, I think, could be satisfied with the reading of these collected letters. To him these on-the-fly recordings, though not finished pictures, yet the sketchy interventions of a great transatlantic world, are likely to convey the impressions of deeply moving experiences and baptized appearances which the narrator has perceived and observed during his nine-year migrations.

Having said this, I may say that my brother, who was a migrant, born at Pressburg, Hungary, in 1822, at an early age expressed an unusual penchant for music, which displaced all children's games. Konradin Kreutzer, at the time Kapellmeister of the local theatre, visited the boy's art-loving home and had his first lessons in violin playing. The success was so favorable that the boy, barely twelve years old, could soon be heard in the theatre with much applause. Visiting the Conservatorium under the direction of Professor Böhm, Michael Hauser found in the k. k. Chamber virtuoso Mr. Joseph Mayseder, a friend and teacher as eager as he was warm, gave an artistic and promising direction to his further education. Accompanied by his father, who was once an excellent violin violinist with Beethoven, my brother made the first shy art trip to Germany in 1840, but with ever-increasing success, he went on an almost eight-year concert tour through Germany, Denmark, Sweden, Norway, Finland, all Russia extended to the border of Siberia.

Having returned to Vienna in 1848, the first notes of a violin were drowned by the thunderbolts of the revolution; the onset of those events so distressing to art, which at that time shook most of Europe, determined him to seek the quiet hearth of a place of birth, where he, preparing for a greater journey to France and England, devoted himself exclusively to study and composition incumbent. Arriving in London, he was attracted by an exceedingly advantageous call over the ocean, and as early as January 1, 1850, the steamer "Baltic" brought him to New York. From there he spent two years traveling through the Union in all directions, accompanied by a concert company. From the snowfields of Canada to the flowering spring of Niagara, with its thundering cataracts, from the most remote settlements of the west to the lush orange forests of Louisiana, there is hardly a city left untouched by the visit of this modern Argonaut train.

Returning to New York in 1852, he sailed along the Ohio and Mississippi rivers, past the glaring sceneries of the Slave States, to the enchanting zone of the South. The malignant fever of Havana, however, which stalked the stranger among the woods, full of flowers and scents, like treacherous demons, shortened a stay on that miracle island. He hastened back to New York, and here it was, where the adventurous as well as dangerous resolve matured in him, and then to California - but I do not want to anticipate the narrator. From since then started, the descriptions of the letters, the I hereby hand over to a larger readership. Would you like find a friendly reception and beware the interest what they used to say in the columns of a journal easy and unaffected to achieve. - Sigmund Hauser, Vienna, November 1858.

First edition 1859, volume 2

Miska Hauser, Aus dem Wanderbuche eines österreichischen Virtuosen: Briefe aus Californien, Südamerika und Australie . . . zweite Band (Leipzig: Fried. Ludwig Herwig, 1859)

https://books.google.com.au/books?id=uclCAAAAcAAJ (DIGITISED)

https://books.google.com.au/books?id=pBcU1gDIpSgC (DIGITISED)

Second edition 1860, volume 1

Miska Hauser, Aus dem Wanderbuche eines österreichischen Virtuosen: Briefe aus Californien, Südamerika und Australie . . . zweite Ausgabe, erste Band (Leipzig: Fr. Milh Grunow, 1860)

https://archive.org/details/bub_gb__JMZAAAAYAAJ (DIGITISED)

https://books.google.com.au/books?id=_JMZAAAAYAAJ (DIGITISED)

Second edition 1860, volume 2

Miska Hauser, Aus dem Wanderbuche eines österreichischen Virtuosen: Briefe aus Californien, Südamerika und Australie . . . zweite Ausgabe, zweite Band (Leipzig: Fr. Milh Grunow, 1860)

https://archive.org/stream/bub_gb__JMZAAAAYAAJ#page/n245 (DIGITISED)

https://books.google.com.au/books?id=_JMZAAAAYAAJ&pg=PA235 (DIGITISED)

https://books.google.com.au/books?id=pBcU1gDIpSgC (DIGITISED)

Earlier letters:

[LAST LETTER FROM] San Francisco (12 July 1853) (1859, I, 68)

See The letters of Miska Hauser, 1853 (San Francisco: The Project, 1939)

https://books.google.com.au/books?id=PHU6AAAAIAAJ (DIGITISED)

Panama (5 December 1853) (I, 81)

Lima (1 January, 15 January 1854; 1 February; 1 March; 15 September 1854) (1859, I, 86, 91, 98, 108, 118)

Valparaiso (14 May 1854) (1859, I, 127)

Santiago di Chile (29 June 1854) (1859, I, 137)

Tahiti (30 September 1854, 12 October) (1859, I, 159, 162, 173, 180)

"THE FIRST CONCERT IN TAHITI", Chambers's journal of popular literature (2 June 1855), 337-39

https://babel.hathitrust.org/cgi/pt?id=uva.x030231253;view=1up;seq=349 

"MISKA HAUSER IN TAHITI", The Age (27 October 1855), 7

http://nla.gov.au/nla.news-article154861670 

Letter 1 (Sydney, NSW, 1 December 1854)

German serial original (Vienna, 11 April 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Sidney, 20. Dezember", Ost-Deutsche Post (11 April 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550411&seite=1 (DIGITISED)

English translation (London, 18 August 1855 and 29 September 1855); edited, incomplete

"A CONCERT IN SYDNEY. FROM THE DIARY OF A WANDERING FIDDLER", Chambers's journal of popular literature (18 August 1855), 104-105

https://babel.hathitrust.org/cgi/pt?id=uc1.b3057791;view=1up;seq=118 (DIGITISED)

Our readers probably remember Mishka Hauser and his Tahitian Concert; we have now from his pen the following sketch of his Australian Adventurers: -

It took us five dreary weeks to reach Port Jackson from Tahiti. Dense mist covered the beautiful bay when we arrived on the 25th of November, but the rays of the rising sun soon dispelled it, and we beheld Sydney with delightful surprise rising, like the fata morgana, from the waves. The town is situated between two promontories, which from the Bay of Sydney, protected by two forts, and affording safe anchorage to the largest ships. Charming groves of trees and villas are dotted over the shores; proud steamers and innumerable ships, gayly displaying the flags of all the sea-faring nations, float on the waves; and on the landing place there is a concourse of men of different races clustering and moving like bees. Sydney is the centre of the commerce of the Pacific; it is the seat of the government of New South Wales, has large public buildings, three theatres, many banks, an orphan asylum, a philosophical and an agricultural society, a topographical bureau, several hospitals, schools, and even a university and observatory. All the streets, as well as the dials of the clocks, are lighted with gas; the brickhouses, of light structure, look comfortable; the paving is tolerably good; whilst a motley crowd of Europeans, Chinese, Papuans, and Malays, in picturesque attire, enlivens the novel scene.

Several Germans called on me soon after my arrival: they had seen my name in the papers; and since in a foreign country it is pleasant to meet even with those slight acquaintances we scarcely notice at home, I was very agreeably surprised by their attention, and went under their guidance to see the sights of Sydney.

The centre of the town is Victoria Place: it is the head-quarters of its civilization. We see here, book-shops, reading-rooms, coffeehouses, hotels, confectioneries, elegant stores, and a rich display of jewellery, shawls, and all the luxuries of European life. And what a crowd of people of all nations, languages, manners, and customs! Here Englishmen, with their angular deportment and apathetic countenance; there the calculating Americans, with their sharp features; the bashful Germans, green and awkward, scarcely daring to speak aloud; forward Irishmen, quite at home in Australia; and, again, ugly Papuans, combining cunning and stupidity in their expression; and natives of the Celestial Empire, sauntering about with comical gravity, and staring with small twinkling eyes at the wonders of Sydney. Every individual of these varieties of mankind seems to be possessed by the demon of money-making. Mammon is the idol worshipped by the whole population.

We paid a visit to the Chinese quarter, and I feared I should lose my hearing by the deafening noise. Jugglers, dancers, and peddlers stop the thoroughfare - all shouting at the top of their voices, and trying to carry off the stranger by force into their shops and stalls; but each neutralizing by competition the attempts of his neighbor. A dispute arises, and ends in a row; and whilst they take hold of one another's tails, we escape from the riotous neighborhood and its furious din.

After sunset, weary and exhausted by my wanderings, I entered a coffee and eatinghouse in one of the most fashionable streets. I found a merry company here, laughing and shouting, with billiard-balls rattling, and the corks of champagne bottles popping. It was the strangest assembly of adventurers and gold-hunters - of respectable men and swindlers - of physicians, gamblers, and merchants - of Americans, Chinese, and Jews; the last mostly from Germany, apparently well pleased with their new home, the country of gold, which has everywhere so strange an attraction for the children of Israel.

Deep, I might say solemn, silence prevailed in the adjoining rooms, which are the palaces of play. Recklessness and crime are seated here round the green table; many thoughtless young men are fleeced every day; law has as yet no sufficient weight here to stop the doings of vice. The rage of gambling has a baneful influence on social life in Sydney. Rapacity and sensuality have established their headquarters in the town; and though much has already been done, still more remains to be done in establishing a higher moral tone of society in a commonwealth, founded originally by the thieves and swindlers of England, and now grown into absolute anarchy by inconsiderate immigration, the natural consequence of the discovery of the Diggings.

The hotels and eating-houses are established on the English principle, but they are just as expensive as the American hotels at San Francisco. It was in vain I watched carefully the strings of my purse, for it requires here fully four pounds a day to live respectably. But even such expenditure seems too slow for some lucky miners, who are anxious to spend their money as quickly as they gained it. Nearly 500 gambling-houses disgrace the town, and many thousands of men spend their lives in them. It is impossible to describe the wiles and tricks of the miserable corrupters of public morality; no means is too vicious for them, and the most refined allurements are resorted to, in order to lead the unsophisticated stranger to perdition. There is, for instance, a gambling-house here, which twice a week gives free dinner parties. Whoever has a black dress-coat, white waistcoat, and patent-leather boots, may enter and enjoy the dainties on the open table. Of course, after dinner he is invited in return to try his fortune at dice, when the fumes of champagne have clouded his brain. Many a foreigner has gone into this house for the sake of fun, and left it a despairing beggar.

The Botanical Garden - the Hyde Park of Sydney - is dreary and dusty, since the dry season, lasting eight months in the year, destroys the vegetation, and produces clouds of sand and dust. Two rows of stiff gum-trees form a long avenue leading into the Garden, filled with the fashionables of Sydney. Seated on chairs and benches, we see ladies who have long ago passed the summer-solstice of their life: these centres of attraction are surrounded and courted by young men, and in this paradise of the passees they are sure to arrive speedily at the blessedness of married life. Many a bachelor in Sydney remarks, sighingly, that the choice among the unmarried ladies lies within a rather too narrow compass; but the demand is great, the supply small, and Europe very distant Close to this place, on a green meadow, the hopeful offspring of the Australian gold-ocracy are gamboling, and making as terrible a noise as if they tried to prove themselves the worthy children of those men who, under the shade of yonder coffee and ice-cream stall, are transacting business - buying and selling gold with tremendous yells.

A few days after my arrival, I paid my visits to the different editors of Sydney. At my first call, I came to a palace-like house, the groundfloor occupied by the printing-office. On the first floor, among other advertisements, I found a tablet, informing visitors that the editor cannot be spoken with unless paid for his valuable time: accordingly, everybody without exception is advised to buy a ticket of admission at the door of the waiting room - one hour costing 10s.; half an hour, 6s.; fifteen minutes, 3s. Such were the contents of this singular pricecurrent of time. I went into the waitingroom, and buying, from the Australian negro, in red livery, an hour of his master's time, I entered the parlor with a strong feeling of curiosity. The editor received me in a very unprepossessing and sluggish manner. "You are an artist, and come from Europe to make money?" said he in a not very friendly tone. But when he understood that I had come from South America and California, his face lighted up, and his voice became less abrupt. He asked me, without longer preface, what pecuniary sacrifice I was ready to make in order to be pulled by his paper. I was startled by this bluntness, and replied that, in case of success, I would surely give him material proofs of my gratitude; but he did not find my answer precise enough, and requested me to come at once to a definite understanding, and to pay a certain sum, without which, according to him, it would be impossible for me to succeed. Telling him that I wished to adjourn the conference, as I could not at once come to a decision, I left this temple of editorial integrity and public spirit. The other editors were less rapacious and more friendly: they gave me, indeed, the best advice about my concerts . . .

"From Chambers's Journal. A CONCERT IN SYDNEY", Littell's living age (29 September 1855), 785-86

https://books.google.com.au/books?id=zAMuAAAAYAAJ&pg=PA785 (DIGITISED)

"A CONCERT IN SYDNEY. FROM THE DIARY OF A WANDERING MINSTREL (From Chambers' Journal, August 18)", The Sydney Morning Herald (1 December 1855), 5

http://nla.gov.au/nla.news-article12982505 

OUR readers probably remember Mishka Hauser and his Tahitian Concert; * we have now from his pen the following sketch of his Australian adventures: -
It took us five dreary weeks to reach Port Jackson from Tahiti . . .

"A CONCERT IN AUSTRALIA", Adelaide Times (18 December 1855), 3

http://nla.gov.au/nla.news-article207076429 

"A CONCERT IN SYDNEY. From the Diary of a Wandering Fiddler (From Chambers' Journal, August 18)", The Perth Gazette and Independent Journal of Politics and News [WA] (18 January 1856), 5

http://nla.gov.au/nla.news-article3176712 

German book (Leipzig, 1859); released by late 1858

Aus dem Wanderbuche (1859), I, 189-99

https://books.google.com.au/books?id=tMlCAAAAcAAJ&pg=PA189 (DIGITISED)

Sydney, December 1, 1854.

How sad are these coasts of Australia! dark and desolate, bare fragments of rock jut out of the hissing waves as if shattered by a turmoil of nature. Only here and there does a lonely palm, withered and defoliated by sunburn, protrude from these stony deserts, which make the traveler's mind so anxious and gloomy that one yearns and feels happy to reach the safe haven. After a five-week tiresome and dangerous voyage, we reached Port Jackson on November 25th. Heavy fog lay over the magnificent bay at our entrance, but soon the ray of the invigorating morning sun drove it away, and with delightful surprise we saw the long-awaited Sidney, rising like a fata morgana from the still tide . . .

. . . [198] . . . My first concert will take place on the 5th of December in the [199] Royal Theatre and I have the best chance of success.

Miss Hayez [sic], with whom I meet everywhere, is here showered with gold in the true sense of the word. All of Sidney raves about the "Irish Swan" (that's what they are called here), and since the discovery of gold nothing has produced more feverish enthusiasm than the singer's appearance. As often as she sings, the house is so crowded that I would be happy for half of this audience for my first concert. The concert costs are enormous, but also the entrance fees. The box costs 5 pounds sterling, 1 seat 2 pounds sterl. and Admission 1/2 Pounds sterl. I wish that the first concert would already be over, because this is crucial.

Letter 2 (Sydney, NSW, 20 December 1854)

German serial original (Vienna, 3 May 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Sidney, 20. Dezember", Ost-Deutsche Post (3 May 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550503&seite=1 (DIGITISED)

English translation (London, 29 September 1855); edited translation, partial

"A CONCERT IN SYDNEY. FROM THE DIARY OF A WANDERING FIDDLER", Chambers's journal of popular literature (18 August 1855), 105-106

https://babel.hathitrust.org/cgi/pt?id=uc1.b3057791;view=1up;seq=118 (DIGITISED)

. . . The costs are enormous, but so are likewise the prices of tickets: a box, L.5; stalls, L.2; pit, 10s. On the whole, however, my prospects were far from promising. I could not feel sympathy with the population of Sydney, and did not expect to meet with any from them. Everybody here being immersed in the cares of profit and loss, is cold and reserved, and in society dull and stupid. Political meetings alone are apt to draw out their eloquence, and nothing but drunken revels and cock-fights amuse them. How could we expect a taste for the fine arts in such a state of society?

The English maintain here the stereotyped customs and manners of the mother country; although the climate should suggest some modification, still nobody deviates from the English routine, even the ugly Austral negroes copying the habits of their masters in the most ridiculous way, though they hate them cordially. The Papuans are probably the dirtiest race of humanity - ugly, lean, and long; they are dull, though cunning, thievish, and cowardly; the sight of a sword or pistol frightens them into fits. Several thousands of these benighted people live in Sidney, where they have accepted the vices of civilization; their dress is made up from the most heterogeneous articles - for instance, they wear a black dress-coat with a lady's straw-bonnet, or the Chinese cap and broad Malay trousers. Most of them are clever barbers or lazy servants in the hotels, pickpockets or policemen; all of them are enthusiastically fond of brandy; and their propensity for thieving is scarcely to be checked by any means. Thus it happened that my black dress-coat which, on the day of my first concert, I handed to the servant to be brushed, disappeared in an inexplicable way. Happily I had another in reserve, and made a most careful toilet. Suddenly the waters of the sky poured down in a truly Australian shower, though no clouds were visible; but soon this ceased, and full of the brightest hopes, I had an open cab called, and hastened to the concert-hall. But, oh I what a discomfiture, unheard of in the annals of musical adventures!

Half an hour before the beginning of the performance, on the way to Australian fame and its golden reward, I was upset by the stupid driver, and lay in the mud of Sydney. What a fall! my dress-coat and gloves were spoiled, and the question arose how to remedy the loss. Like King Richard, I raved through the streets, "A dress-coat, a dress-coat! a kingdom for a dress coat!" A German tailor took pity on my despair, and with truly German amiability he sold me for L.8 a dress-coat - not precisely black, but light-blue, with yellow buttons, and not exactly fitting me: still it was a dress-coat. I now hastened to the Royal Victoria Theatre.

The house was half empty when I arrived: the overture of La Gazza Ladra was just verging to its end, and the curtain was raised. I stepped forth, made a respectful bow, and was about to put my fiddle-stick in motion, when suddenly an outburst of indignation was heard in the dress-circle, and I was ordered to withdraw. Confused and surprised by such a greeting, I retired bashfully; and behind the scenes the manager received me with a desperate countenance, and the most serious reproaches, for having dared to insult the gentry of the city, the best society of the antipodes, by appearing without gloves, and in a sky-blue dress-coat. Indeed, it was too bad; but what could I do? In a few words I told him of my mishap, whilst the audience shouted, "The conductor." He made his appearance, and related in a confused way the lamentable story of my two dress-coats; adding an extemporized biography of myself, and suggesting to the honorable company that, under such circumstances, a genius might be forgiven for his want of courtesy even to so distinguished an audience; and he wound up his speech by asking whether the ladies and gentlemen would allow Mr. Hauser to play or not. "Yes," replied a voice from the dress-circle; and " Yes, yes!" was the general shout throughout the assembly.

I was rather nervous at my second appearance on the scene of action, but with the Siciliana I made a bold attack on the ears of the punctillious public. Tremendous applause rewarded and encouraged me; and when I struck up Rule Britannia, with Onslow's variations, the audience grew rapturous, and the ladies in the dress-circle clapped their hands, and said, " Very fine!"

The concert, in short, which had began under such ominous forebodings, ended in the most gratifying way. The public seemed to be content, and all the places for my next performance are taken and paid for.

"From Chambers's Journal. A CONCERT IN SYDNEY", Littell's living age (29 September 1855), 786-87

https://books.google.com.au/books?id=zAMuAAAAYAAJ&pg=PA785 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), I, 199-211

https://books.google.com.au/books?id=tMlCAAAAcAAJ&pg=PA199 (DIGITISED)

Sidney, December 20, 1854.

I am now forty-two days in Sidney, and as comfortable as one feels after a three-month sea journey, which, in addition to hardships and dangers, leads to an almost overwhelming boredom, even those with the richest imagination able to transform gifted people into Cretins . . .

In the evening I visited the Theatre for the first time, for there was no place in the opera house where Miss Hayez was giving the Norma . . .

. . . I entered for the second time the hot planks of the stage, and with the "Siciliano" I began my first attack against the critical public. An applause, which my wildest hopes had not expected, rewarded me after the play was over. The gentlemen and ladies shouted "Very Fine", and when I gave the "Rule Britannia" with Beethoven Variations as an encore, John Bull was in ecstasy.

Of the other contributors I find only one singing lady worth mentioning; Miss Sarah Nero was her proud name - a song-ruin fantastically fanned out with many flowers and ribbons appeared and garnered an aria of Verdi in agonizing fashion, but had she maltreated the aesthetic hearing of her namesake than mine, the tyrant would surely ban her from tarpeic rocks have fallen down.

The concert, begun under the ominous forebodings, took a very happy course. The audience showed a lot of sympathy for me, and many seats have been ordered for the next concert.

The day after tomorrow I am summoned to Governor-General, the unlimited master of this world. It is the English general Sir Charles Natham, who is to be very artistic. It will be danced and musiced, and besides me, when Hayez is away, Miss Nero is still loaded.

Letter 3 (Sydney, NSW, 1 January 1855)

German serial original (Vienna, 19 May 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Sidney, 1 Jänner 1855", Ost-Deutsche Post (19 May 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550519&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), I, 212

https://books.google.com.au/books?id=tMlCAAAAcAAJ&pg=PA212 (DIGITISED)

Letter 4 (Sydney, NSW, 1 January 1855, continued)

German serial original (Vienna, 23 May 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Sidney, 1 Jänner 1855 [continued]", Ost-Deutsche Post (23 May 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550523&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), I, 219

https://books.google.com.au/books?id=tMlCAAAAcAAJ&pg=PA219 (DIGITISED)

Letter 5 (Sydney, NSW, 15 January 1855)

German serial original (Vienna, 5 June 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Sidney, 15 Jänner 1855", Ost-Deutsche Post (5 June 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550605&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), I, 225

https://books.google.com.au/books?id=tMlCAAAAcAAJ&pg=PA225 (DIGITISED)

Letter 6 (Goulburn, NSW, 6 February 1855)

German serial original (Vienna, 17 June 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Goulbourn . . ., 6. Februar 1855", Ost-Deutsche Post (17 June 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550617&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 1

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA1 (DIGITISED)

Letter 7 (Goulburn, NSW, 20 February 1855)

German serial original (Vienna, 7 July 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Goulbourn, 20 Februar 1855", Ost-Deutsche Post (7 July 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550707&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 10

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA10 (DIGITISED)

Letter 8 (Parramatta, NSW, 1 March 1855)

German serial original (Vienna, 26 July 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Paramatta [sic] . . . 1 März [1855]", Ost-Deutsche Post (26 July 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550726&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 20

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA20 (DIGITISED)

Letter 9 (Bathurst, NSW, 15 March 1855)

German serial original (Vienna, 8 August 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Bathurst . . ., 15 März 1855", Ost-Deutsche Post (8 August 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550808&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 30

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA30 (DIGITISED)

Letter 10 (Moreton Bay, NSW (QLD), 2 April 1855)

German serial original (Vienna, 23 August 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . Moreton Bai . . ., 2 April 1855", Ost-Deutsche Post (23 August 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550823&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 40

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA40 (DIGITISED)

Letter 11 (Sydney, NSW, 15 April 1855)

German serial original (Vienna, 21 September 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Sidney, 15 April 1855", Ost-Deutsche Post (21 September 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18550921&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 52

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA52 (DIGITISED)

Letter 12 (Melbourne, VIC, 15 May 1855)

German serial original (Vienna, 5 October 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Melbourne . . ., 15 Mai 1855", Ost-Deutsche Post (5 October 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18551005&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 62

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA62 (DIGITISED)

English translation (25 January 1861); complete

"MISKA HAUSER'S IMPRESSIONS OF AUSTRALIA", Victorian review: a journal of the volunteer forces . . . (25 January 1861), 86

https://books.google.com.au/books?id=jn4-AQAAMAAJ&pg=PA86 (DIGITISED)

SYDNEY [sic, recte MELBOURNE], (AUSTRALIA) - 15th May, 1851.

When the English navigator Cook and the companions of his voyage, full of enthusiasm and with shouts of joy, caught the first glance of unknown Australia - the year 1778, no one, in the midst of his delight, thought that proud and splendid cities would soon spring out of the desert and forsaken soil, in which at the present time, the travelling virtuoso, the opera singer and dancer, together with all modern passions of European civilisation, are unfolding their dazzling luxury; and we had prophesied such miracles to those bold seamen they would certainly have smiled, and have shaken their heads incredulously.

In less than ten years, with gigantic steps, centuries are anticipated. Parts of the globe are joined together. Nations become brethren. The state of the savage is mitigated, and hidden treasures are discovered.

Out of boggy uninhabited deserts, swiftly as an arrow flies, a whole world is conjured, in the midst of which proud Sydney [sic, Melbourne] rises like a shining monument. Anything more beautiful and picturesque cannot be imagined, than the entrance to the haven which presents an uncommonly lively and checkered, I may say, almost pompous appearance, and reminds me very much of the harbor of Havannah. Green islands grown over with Palms and Cypresses greet the stranger at an hour's distance, and in the distant horizon single white spots glitter through the early dawn, each charming islet, each friendly hillock, is crowned with ornamental villas. Kiosques and luxurious gardens, everywhere signs of wealth. industry, and civilisation are perceptible. Suddenly the great panorama discloses itself, and the astonished eye discovers simultaneously three glittering cities.

Proud churches towers, magnificent buildings and palaces rise imposingly from the white sea of houses. Vessels of all nations with a forest of masts and flags of all colours, fill the harbor. Splendid steamers smoke through the quiet river, conducting gigantic traffic which streams throughout India, China, and the South-sea Islands. Over the whole of this is suspended a cloudless sky of sapphire blue, smiling down upon the youthful city, which looks aloft: rosy as a blooming child.

Sydney [sic, Melbourne] with a population of 150,000 souls lies in the centre of the colony of Australia [sic, recte Victoria], and is the Capital City of the whole country. The uniform streets are adorned with large hotels, fitted up with spendthrift luxury. Thousands of people of all colours, races, and costumes, crowd amidst the unceasing rattling of omnibusses, private carriages, and drays; the most adventurous forms and faces are seen hurrying through the varied throng of merchants and brokers, who, shouting, and with wondrous gesticulations will, each at the same time, secure the booty of the day, like to a boisterous sea ebbing and flowing day and night, and in a manner to cause a stranger to doubt his eyes and ears.

From the harbor along row of houses, trees planted on both sides, leads through the centre of the city from one extreme to the other.

Note this: right and left, open uniform streets; the palace-like houses of which are just appearing above the ground; here, the upper stories are in progress, there the root is wanting, in many instances the cornice and windowframes, yet damask window curtains and high mirrors adorn the already inhabited apartments. Emancipated females in frivolous riding costume, cigar in month, are centering about on horseback; cracked gentlemen sitting six together on the box of an omnibus, rattle quick as an arrow after them, and smile delightedly should the piquant humor of a horse-woman induce her in joke to give them a cut with her riding-whip.

A small crowd of people attracted me; two sailors were engaged in angry words, the cause of their quarrel was hardly worth mentioning. The one a Chinese had pitched upon an old pipe on a rubbish heap; the other, a negro, laid claim to the treasure, clenched his fist, and with furious gestures, flew at his opponent. A frightful battle ensued. Ladies in line clothes, and dandies with foolish blase faces, watched this cruel sight with curiosity. "The pipe! rogue! give me the pipe you rascal," screamed the negro, and stabbed his opponent through the back of his neck with his knife, so that he fell dead and bathed in his blood.

The bye-standers had not made the slightest attempt to divide these mad men, and dispersed with heartless indifference as if they had but viewed some dancing monkey.

I went on. Elegant equipages, with finely-dressed ladies, are winding their way like snakes in and out, increasing the throng, and as I am a modest foot passenger, I must keep as close to the shops as possible, in order to avoid being crushed. I soon arrived at "William Pitt" place (Pittstreet?), which is very extensive, and surrounded by imposing buildings. The houses are, according to English custom, only adapted for one family; light and lofty, every door provided with shining brass furniture; the stairs with bronzed iron balusters, and under the windows charming flower gardens, railed round. Here is the forum of the female world. Here the temples of vanity on all sides are resplendent with magnificent shops, exhibiting every luxury. English and Indian stuffs hang in rolls from doors and windows. Chinese shawls, draped in every possible manner, reach down to the pavement; and, what is required in the great world for adornment is to be found here in such profusion that a princess might suit her choice.

Being tired of my wandering, I took my place at an ice pavilion, in front of a pastry-cook's, and amused myself in viewing the varied mixture of costumes, manners, and languages. Here sit peevish Englishmen, with the everlasting expression of weariness in their faces, their necks held stiff between high shirt collars, yawning and stretching out their long legs at full length; next to them foolish ladies who, without speaking a word, drink large bottles of sugar water; there, surrounded by gallant dandies, a coquettish Frenchwoman is throwing out her net - the large lively eyes make their debut in coquetting to the approbation of the surrounders, and the little tempting mouth chatters more in one quarter of an hour, than that stiff lady, who is casting angry grimaces from the neighboring table, does all the day long.

Not far from this, at a table covered with gold, the exchange brokers are arranging their business with wild exclamations. Here, again, newly-arrived sailors, who are examining the looking-glasses and china were with astonished and envious glances; there, the comic smiles of the Chinese, who are for the first time eating ices. A sparely clad woman totters by, and gathers alms; she begs for the child she is suckling, that, clad in rags, she shelters motherly from the wind and sun. Her sunken cheeks told how much she was in want, plainly enough to soften the hardest heart; but it seldom happened that any of the many assembled, who were talking and laughing and eating their ice, thought of throwing her a copper. A splendid carriage rattles up, a Moor opens the carriage door, and a lady, clad in silk and lace, alights. The beggar springs forward like a fury, rushes with furious gesture after the richly clothed stranger, who, confused and abashed, seeks shelter in a milliner's shop, and commences a volley of abuse of the lowest description.

Great sensation and curiosity. "The hag has seduced my child," exclaims the woman, with a voice almost smothered with rage, and she endeavours to follow the stranger into the shop; the Colonial Guard appears, and the tumult subsides.

(To be continued.)

Letter 13 (Melbourne, VIC, 15 May 1855, continued)

German serial original (Vienna, 11 October 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Melbourne . . ., 15 Mai 1855 [continued]", Ost-Deutsche Post (11 October 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18551011&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 68

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA68 (DIGITISED)

English translation (1861); complete

"MISKA HAUSER'S IMPRESSIONS OF AUSTRALIA", Victorian review: a journal of the volunteer forces . . . (1 February 1861), 103

https://books.google.com.au/books?id=jn4-AQAAMAAJ&pg=PA103 (DIGITISED)

In this manner I wandered along for many hours, and in every street found the traffic enormous.

The sun was just upon the point of setting, when, tired out, I returned to my hotel, in order to wait for the tenor, who, in the meantime, had visited all the editors, managers of theatres and musical societies, in order to arrange the business of our concerts, which seemed here to be a matter of difficulty, for a whole army of prime donnas, virtuosi, acrobats, dancers, and such like birds of paradise, who wished simultaneously to shake the fruit from the trees, had occupied and pre-engaged weeks beforehand, every place fitted for a concert-room.

I waited in vain for the tenor, and as I wished to visit the opera house to hear a violin player, I made a start. To my astonishment, however, I found the door fastened from the outside. I rang the bell: no one came. I knocked loudly. In vain. At last, after waiting half an hour, the Commissionaire rushed into my room out of breath, - "Don't be alarmed, sir," said he, with a trembling voice, "It's of no consequence; all arrangements are made, and tomorrow all will be right; but do not leave your room today."

"What is of no consequence? Why am I not to be alarmed? and why shall I not leave my room?" I asked, astonished, and rather upset.

"Your neighbour in the next room, an Englishman, was suddenly seized with a fit to-day," exclaimed the Commissionaire, "and he is now running about, as if possessed by the devil. He is armed with pistols, and threatens to shoot the first who comes across him."

With these words be rushed away. After I had closed the doors, and had hermetically barricaded all the entrances with articles of furniture, I commenced examining the affair from a romantic point of view. The deranged stranger, who was trotting up and down in the next room, like a horse, accompanied my "Phantasie," and smashed bottles, glasses, and crockery with all his might against my door, cursed, laughed, and bawled until midnight. After this he was quieter. Without undressing, I threw myself upon my couch and slept more quietly than one usually does in such cases. In the morning, however, I was awoke by the sharp sound of a pistol. Terrified, I sprang from my bed, and every one in the hotel hurried to the spot.

The stranger had shot himself through the heart.

The authorities instituted inquiries as to the mysterious stranger, and by this means, discovered a more horrible event.

He was an Englishman, arrived from Calcutta; had landed a short time previously in Sydney with a beautiful young lady, and taken up his abode in one of the finest hotels, which he left the following day without the lady. The room remained locked; suspicion was aroused; it was opened, and the young lady was discovered dead in her bed, stabbed with a dagger. Similar cases occur here very frequently; scarcely any notice is taken of them; or they vanish like single waves in this sea of daily events rendered boisterous by eternal winds, for in no quarter of the globe do daring adventurers find a more suitable arena where they can unhindered indulge their corrupt lusts and wild passions than even here, where, in addition to the demon of gold, the avarice and temptation caused by the gaming-halls lead to the perpetration of the most frightful crimes, against which no laws are sufficiently strong.

I will mention the first theatre performance which I witnessed in Sydney, and which made me acquainted with the new opera of the Englishman, Balfe, called "Neolanthe, or the Fairy Maid." The opera house is generally very well frequented. The interior decorations are uncommonly rich, and almost pompous. The dress circle is filled with fashionable ladies who, full of English prudery and strict gravity, which does not allow of a single smile, sit as if chained to their seats, whilst the gentlemen, with affected indifference, eye the lady-world with their lorgnettes, or smoke cigars, sitting carelessly on their seats, paying scarcely any attention to the acting on the stage; for in the boxes of the dress circle, where, be it remarked, no really modest lady would put her foot, the sight is very tempting. This is the paradise of all coquettes and graces of easy virtue. Here, draped in red velvet curtains, sitting in the dazzling light of the gas lamps, and flattered by gallant admirers, the adventurous beauties of all countries are in their glory. French-women, Spanish-women, Creoles in bold Bloomer costume, but sparkling with flowers, brilliants and lace, - some leaning in a tempting attitude, smoking cigars, on the breastwork of the boxes; others chatting, laughing, or playing coquettishly with their fans, although blushing seems to have been long forgotten by the majority of them.

The opera, a true shelter for all musical vulgarities, seems created for this auditory, which has no taste for tender harmony, and only an uncultivated ear for every noisy amusement. The instrumentation was chaotic, boisterous. The male and female singers waged an undetermined contest in disharmony, and screamed the trivial melodies, accompanied by trumpets and clashing of kettle drums, to the conclusion. The tenor was endurable, owing to his want of voice; but the basso went conscientiously and alphabetically through every error of a bad singer, and when he arrived at emphatic parts, medical men might have prescribed it as an emetic. The ladies despised every etherial rule of art, and replaced simple melody by ceaseless shakes. The Prima Donna, as Fairy Maiden, appeared to me the living atropos of patience. I could endure it no longer; and, before the curtain arose for the third time, I reconciled myself with my insulted ears, by leaving the theatre.

The daily bustle was gradually subsiding in the streets - the rolling of carriages diminished - and the dissolute pleasures of the night commenced. Isolated, suspicious looking fellows, tempted forth from their hiding places by adventurous night and the obscurity, sneaked through bye streets. Here and there a tempting beauty of the night flew quickly past; and from the brightly illuminated gambling houses sounded the snake-like hissing of the Roulette table. Otherwhere reigned an almost sultry quietness, and the stars shone brightly from the dark firmament down upon the sleeping earth. Now we hear joyous voices - song and music. Nearer and nearer we approach, and soon arrive in front of an elegant French eating-house. We entered a large, well-lighted room. Lofty looking-glasses and rich damask curtains adorn the walls - around, were tables laid for more than a hundred persons. Elegant gentlemen, and finely dressed ladies were gayly assembled; and on a table covered with carpetting, stood a conjuror in diabolical costume. After he had concluded his stupid wonders, a young man dressed in black, stood forward, and to his guitar sang one of Schubert's songs.

We seated ourselves at a table close to the door - ordered our supper - and chatted harmlessly about the theatre.

Providence had surely led us to this seat - for it was ordained that we should play an important role this evening.

The tenor, who was in no ordinary degree disgusted with the performance at the opera, became too much heated, and abused it loud and audibly. Some gentlemen at a neighboring table cast piercing glances at us. I thought they would challenge us, and endeavored by signs to bring the tenor to silence. He, however, whetted his critical blade more and more, and worked most unmercifully at the basso. At this moment a bottle flew, as herald, close by our heads, and a gigantic form, which I instantly recognized as the Basso, precipitated himself upon him with threatening gestures. "Gaper," screamed the furious man at the tenor, with the voice of a bear, and visciously doubled his fists for a box. His wild herd of companions, as well as all the guests present, took his part, and a cry of rage was raised against us. The females giggled and gabbled, and stood up on tables and chairs, in expectation of the coming row, for a fight seemed unavoidable. A lucky accident shoved me out at the door. I looked upon this as the finger of Providence, and hastened down the stairs. On my arrival in the street I discovered the ruin of a human form reeling about, with his hat smashed in. A neighboring gas-lamp threw a few rays upon his doleful face. Oh, heaven! Oh, joy! It was my travelling companion, and beaten friend, the Tenor - who, with his badly threatened skin, made his escape out of the door just in the nick of time.

A few days later, as I was hurrying up the stairs of the theatre, to a rehearsal of my first concert, the Basso was rushing down, humming a tune, and our heads knocked together. I was dreadfully terrified, but he did not recognise me.

Letter 14 (Melbourne, VIC, 15 June 1855)

German serial original (Vienna, 15 November 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Melbourne, 15 Juni 1855", Ost-Deutsche Post (15 November 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18551115&seite=1 (DIGITISED)

English translation (London, 5 January 1856); complete

"THE ROVING FIDDLER", Chambers's Journal of Popular Literature (5 January 1856), 14-16

https://babel.hathitrust.org/cgi/pt?id=coo.31924069261562;page=root;seq=26;num=14 (DIGITISED)

http://books.google.com.au/books?id=Z3hUAAAAYAAJ&pg=PA14 (DIGITISED)

https://books.google.com.au/books?id=lKM_AQAAMAAJ&pg=PA14 (DIGITISED)

THE ROVING FIDDLER. Our readers will probably recollect the amusing sketches of the violinist Mishka Hauser, on Tahiti and Sydney; we have now, from the same pen, a no less lively description of the night-side of social and artistic life in Melbourne: -

Melbourne, June 15, 1855.

Life resembles here the carnival of Venice; it does not move in measured time and step, but whirls noisily about. Whoever likes maddening bustle and loud mirth, will feel happy at Melbourne; but he who cherishes higher aspirations, who delights in art and science, and refined social enjoyments, will scarcely find satisfaction.

Art, in fact, is practised in the same prosaic way as business. The theatres and concerts are always filled, and musical and histrionic artists cannot anywhere else in the world reap a more plentiful harvest and richer material reward; but it is only the tinsel, the false lustre which pleases this population; it is artificial execution which excites applause, not the high earnestness of art.

Since my arrival in Australia, I have often thought to myself when, wearied by the mad bustle of the public, I put my fiddle into its case: "Well, there can be nothing more new for me in the way of adventure;" but, on coming to another town, I have always found myself mistaken. Perhaps even a roving fiddler should have his secrets, if not from policy, from artistic vanity. But natural frankness always overcomes vanity with me; and so down go all my impressions into my diary without disguise.

Obliged to throw myself upon the manager of a theatre - for I found, on my arrival, that all the concert-rooms were already hired - I bound myself to play for him on twelve successive nights. My first appearance was to take place in the last days of May; and the papers having puffed me enthusiastically for weeks, and public curiosity being raised to the highest pitch, the house was full to suffocation. A ballet was to precede the concert; and all the professional singers, the Misses Octavia Hamilton, Olympia Montgomery, and Doña Aurelia Babietti the Spaniard, were ready to join in endless trills, cadences, and roulades; while besides them, an epic gentleman was engaged to read Milton; and Signor Botessini [sic, Potessini], with his sublime basso, was to sing till the welkin rang.

The curtain rose. A French dancer, an elegant supple young lady, of no great beauty, but much expression, and apparently on perfectly good terms with herself, appeared on the scene in her short lace dress, received by an outburst of applause and by the martial trumpets of the orchestra. But from the other side came a youthful blooming Spanish Creole, with beautiful eyes, large and soft; her complexion rosy, her figure tall - in fact, the very impersonation of Terpsichore. She bowed modestly - it was her first appearance at Melbourne - and the enthusiasm of the public, surprised by her beauty, manifested itself in vehement cheers.

The two dancers struggled for the palm of victory in a graceful tarentula. Like two glittering butterflies, they whirled around, accompanied by music and applause. The mercurial Parisian made use of all her most seductive wiles, of her most refined pirouettes, of her most enchanting attitudes; but the Creole seemed patronised by the Graces themselves. Thundering applause encouraged her; and as often as she came forward with her graceful modesty, nosegays, and rings, and bracelets were thrown at her feet. The French lady struggled with her last strength against the triumph of her rival, until, disheartened and exhausted, she fell to the ground.

The Creole approached her with compassion to raise her, when suddenly the Parisian darted up, and, with looks full of hate and fury, boxed the ears of her rival. The audience hissed and hooted, while she exclaimed with passion: "The wretch tripped me!" The poor Creole declared with dignity that she was innocent of the meanness; but a vulgar word, which slipped out of the lips of the French dancer against her, suddenly roused all the passions of the South in her bosom, and a singular struggle began. The two excited ladies rushed upon each other, and wrestled and tore and pulled one another's hair, while the thunders of the gallery made the whole atmosphere vibrate. I never saw a more natural performance. The better classes of the public did not interfere, but seemed rather to be amused by these not entirely Olympic exercises, until the Creole, bleeding and fainting, was carried away from the scene.

Some officers who, from a box, had witnessed the spectacle, were revolted at the conduct of the Parisian, and sent for the police to arrest her; but her friends collected and resisted the constables. A riot ensued; a portion of the public rushed on the stage; they jumped across the orchestra; the fiddles and bass viols were broken; ladies were fainting; children crying; and I - I took to my heels with my fiddle, and ran away without stopping till I reached my hotel.

Arrived in my room, I lay comfortably down on my sofa, and lighted an excellent cigar. "Farewell, Melbourne!" exclaimed I; and I began to revel in a world of imagination, full of the brightest hopes. India, the land of wonders, with its sights and perfumes, rose on my dream like an Arabian tale. In about thirty days, thought I, I shall be wandering on the sacred banks of the Ganges, whence the sea at length will carry me back to Europe, to my own dear country - what happiness! Enjoying the thought, I jumped up from the sofa, exclaiming: "To-morrow I leave Australia."

But at these words, the manager of the theatre rushed into the room. "The deuce!" shouted he, with a voice which seemed at the time like that of a bear; "you don't mean to leave Melbourne - if you do, I shall have you arrested!" He took our agreement from his pocket, and continued, tapping it fiercely with his finger: "Here is your signature, Mr. Mishka Hauser; you shall not escape me!" I looked at him mournfully, and requested him to spare me for at least this night. I pleaded headache and nervousness, occasioned by the scandalous occurrence in the theatre; but the manager had no more bowels than other managers. He said the public insisted either upon the concert, or the return of the entrance-fee; that the storm had been quieted by a compromise - that is to say, by the arrest of both the dancers; and that my absence would cause a renewal of the riot. With a heavy sigh, I took his arm, and went with him, like a lamb to the man with the blue apron. In a few minutes, I stood on the fatal boards.

The overture of Don Juan was to open the concert; but some of the performers could not be found; the instruments of others were broken; and the conductor had fled. Signor Botessini, the favourite singer of Melbourne, tried to calm the noisy public; but in vain. He was not listened to; hisses and laughter received him; the excited public demanded imperiously the overture, and the manager had to yield. At midnight, therefore, after the displeasure and impatience of the public had died away, I had to come forward and take the command of the disabled music band. All eyes, spectacles, and opera-glasses were turned towards my poor person, and, preoccupied and foreboding evil, I gave the signal for the performance. In my consternation, I scarcely heard how the work of the great Mozart was dealt with; when suddenly, just as the trombone announced the appearance of the Commander, an indescribable noise of hooting and shouting rent the air. I feared the ghost of the illtreated Mozart had entered the theatre; but it was something more prosaic - the police-officer; who, in the name of the governor, ordered the public to retire. The stage was soon filled with the police force; in five minutes the pit was cleared; and nobody was so glad of it as I.

The next day, all the papers severely censured the public. "What will Europe, what will the world think of us," said the Argus, "if artists, who cross the ocean for our sake, are treated with so little respect - if art, which ought to elevate us, is degraded by riotous conduct?" The lesson seems to have had its effect; a few days later, I played, and was received with distinction. A new piece, The Bouquets Irlandais - variations on Irish melodies - made a great sensation, and roused the excitable and here pretty numerous Irish population to the highest pitch of national enthusiasm. The day before yesterday I performed in the Arsenal for the benefit of the hospital; and as the receipts were very brilliant, the committee appointed me life-governor. I was honoured with a torch-light serenade, and other ovations, which, as the playbills say, were "too tedious to mention."

So, you see, there are the smooths as well as the roughs at Melbourne, after all. Even an ordinary walk is exceedingly interesting. There are here about 20,000 Chinese, who always amuse me greatly by their oddities. In walking through their streets - they occupy a quarter of the town of their own - we find ourselves in a new world. Before the hotel, where some Chinese gourmands are dining under the veranda, we see joints of dogs, roast cats, fried grasshoppers, salad of rose-leaves, and other peculiar dainties. A row among them is no rare occurrence, but it is never very serious: at the most, the vanquished loses his tail, which remains as a trophy in the hands of his victorious antagonist, who then gravely retires from the battle-field. At one of the corners, I saw a bookseller selling his books, not according to their value or to a fixed price, but according to weight. If, on weighing them, they were too light, he coolly tore some leaves from another book, and threw them into the scale.

The Chinese have here the curious custom of making one another presents of richly-adorned coffins, as testimonials of their love, friendship, or esteem. Parents take. such a present from their children as a token of filial affection.

But my letter becomes too long; I must close, and without a word about the Exhibition of Industry, and the first Australian University. As to the Exhibition, I shall send you by and by a detailed report. About the university, I know very little - only the first and last paragraph of the by-laws, which I happened to see under a grating on the gate of the college. The first paragraph intimates that smoking and drinking are strictly forbidden in the classes; and the last says, that smoking is allowed in the galleries and passages of the building. So that education here would seem to begin and end in smoke.

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 74

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA74 (DIGITISED)

English translation (1861); complete

"MISKA HAUSER'S IMPRESSIONS OF AUSTRALIA", Victorian review: a journal of the volunteer forces . . . (1 February 1861), 103

https://books.google.com.au/books?id=jn4-AQAAMAAJ&pg=PA103 (DIGITISED)

Life here is like a Venetian carnival. The movements are not made with quiet strides. It is a riotous gallopade, accompanied by shrieking, glitter, and masquerade riot.

He who is captivated by deafening uproar, and the noisy jollity of materialism, let him come to Sydney [sic, recte Melbourne]. He however, who has inclination for - who, far from the tumult of dusty business, would wander along the agreeable flowery paths of art, science, and civilized life, cannot here satisfy his yearning.

What the reason is that in these states, founded by England's criminals, a powerful social condition will not develop itself it is difficult to determine. It seems to spring from a dark dismal horror caused by the adventurous circumstances of the majority of the inhabitants, which, like an evil spirit, steps, sending and threatening, in the way of every law, as it appears.

A bold moral corruption, which pervades certain grades of society, like a Pontine marsh, poisons this beauteous blooming land of spring.

One sees all the dams of civil order torn away, and the filthiest passions break through like a flood.

In the higher, that is to say the richer, ranks, where avarice presides, the social condition is so unsatisfactory as I have never before met with during all my wanderings through the world, not even in California.

Women who have long ago in other countries forfeited all title to family happiness and social respect, may be here seen raised to rank and riches; and even young ladies, who claim to be considered educated and respectable, may be found sitting whole days at the modern gaming tables, where every virtuous element becomes enervated and unthreaded.

Even so prosaic as the mode of life, so is it with the arts.

Theatres, concert rooms, and other places of entertainment, are always overfilled, and nowhere can artists of every description meet with a more fruitful and material soil than here. But susceptibility reigns only for the tinsel of deceptive glitter; coarse humor only is understood and applauded, not the beautiful elevated seriousness of art. Often when, tired of the insane acts of the public, I put my fiddle in the case, I have thought with pleasure, "Well, worse it cannot be!" but as often, when I come into another town, I find myself deceived. Truly my etherial organisation would have been long since destroyed, had I not possessed strength of mind, resignation, and humor, enough to discover a diverting feature in this coarse juggle. A travelling virtuoso may have his secrets, which prudence, if not artistic pride, dictates to him that he should conceal; but my upright cosmopoliticality will not consent to this. My open-heartedness gives me ease; for if, in the face of the absurd acts of this public, vanity should beset me, my condition would in truth be very bad. I will therefore be candid, and describe exactly, ere it escapes my memory, all that happened on the occasion of my first appearance before the public in Melbourne. Forced to throw myself into the arms of the manager of a theatre (for I found all the concert rooms already let), I bound myself by contract to play twelve consecutive nights at the theatre. On one of the latter days in the month of May, my first appearance was to take place, and the good reputation which the newspapers spread for me - for every day for weeks they mentioned me most enthusiastically - as well as the general curiosity of the public, had, for result, that the house was crowded to excess.

As is the custom here, a ballet was to open the concert, and all the muses of Melbourne, with the Spaniard Aurelia Babette, the singer Miss Octavia Hamilton, and Olympia Montgomerie, united themselves for a hunt after long-winded shakes, turns, cadences, roulades, &, &c. In addition to my usual concert company, were added an hyperpathetic declaimer, and the blood-thirsty ultra-base Signor Pottesini.

(To be continued.)

"MISKA HAUSER'S IMPRESSIONS OF AUSTRALIA (Continued from page 103)", Victorian review: a journal of the volunteer forces . . . (15 January 1861), 141

https://books.google.com.au/books?id=jn4-AQAAMAAJ&pg=PA141 (DIGITISED)

MELBOURNE, 15 May [sic], 1855.

The curtain rose. A French ballet dancer, in a short dress of varigated color, sprung upon the stage. She had a fine slim figure, much expression of countenance, but no beauty; was frivolous, even to shamelessness. She was received with applause, and the orchestra very characteristically setting her movements to music, raised a warlike crash of trumpets. Now a form appears, glittering in the bloom of youth - a creole, with superb eyes, tall, and lunguishing, a bewitching complexion, and magestic [sic] mien; in short, a real muse. Immediately on making the salutation at her entree, a general cry of surprise arose, and the male enthusiasm gave vent in a storm of applause.

These two spoilt darlings of the Graces strove for the palm of the evening in a dizzy Tarantelle. Like two many colored light-winged butterflies, they floated hither and thither in the air, accompanied by boisterous music and applause. The quicksilver Parisian squandered her whole treasure of refinement in the alluring art, and executed a whole regiment of seducing pirouettes and languishing attitudes, in order to beat her opponent out of the field; but the creole appeared to be protected by the graces - she remained invulnerable, as if enchanted. Thunders of applause supported each of her movements, which were animated by an indescribable grace, that drew the most enthusiastic acknowledgements from the public, and as often as she appeared at the lights, whole cargoes of bouquets, rings, and bracelets were thrown to her. The vain French woman competed, with her last efforts, against the ever conquering rival, but was always outflanked and beaten lack; and soon the angry woman, with drooping wings, like a wearied hen, fluttered around her rival until exhausted, and breathless she sunk on the ground.

The creole, full of compassion, approached the fallen, in order to raise her; she, however, shot up like a flash of lightening, strode furious, and with doubled fists, towards her enemy, and on the open stage before the whole public gave her a box on the ears in the most unartificial manner possible. A thunder of displeasure arose against the Frenchwoman, who screeching with anger and impotent fury, cried out "the wretch tripped me up." The ill-treated girl, with a quietness which belongs only to innocence, declared her conscience to be clear; but a vulgar epithet, addressed to her by the Parisian, caused her southern blood also to boil, and a frightful battle ensued.

The two excited women breathing hate, flew at each other, and seized each other by the hair, accompanied by the mad screams of the gods in the gallery. I never on the stage saw any acting so natural. The uproar-loving public looked on at this abominable procedure, like at the Olympic games, until the creole was carried away from the Stage fainting. She was bleeding violently; and now a portion of the public commenced taking her part.

Some English officers who had witnessed the disturbance from one of the boxes, and were disgusted with the impudent behaviour of the Frenchwoman, caused the stage to be occupied by constables, and had her arrested, but the friends of the latter, who had gathered together in numbers, opposed this proceeding, which soon gave rise to a general storm. A great number of those in the pit rolled towards the stage, and sprung over the orchestra. Fiddles and bass viols were smashed; clouds of dust obscured the seat of war; and half fainting women were screaming in the crush.

I, however, flew off with my violin, as if the devil, with all the legions of hell was [sic] at my heels, and made no halt until I arrived at my hotel. Having reached my apartment and congratulating myself upon my arrival in a haven of safety, I threw myself in my softest arm chair, and, with much gratification, lighted a splendid cigar. Adieu, Melbourne, I cried, and a whole world of delightful and blooming ideas juggled and flattered my imagination.

The East Indies, that magic land of my dreams, with its woods full of blossom and scent, lay like a fairy tale before me. In thirty days at the utmost, said I to myself softly, thou will'st wander in that land of the gods on the banks of the sacred Ganges. Thence, Oh joy! the ocean carries thee to Europe - to thy beloved fatherland. A heavenly delight thrilled through me at these thoughts, and with the words "to-morrow I shall set out," I sprang inspirited from my chair. But, Oh! Comet, like whim of fate, what are human intentions? The manager of the theatre rushed into my room. "What! The Devil! You want to be off? I shan't allow you to move from the spot," shouted he in my ear, with his bear-like voice, making me shudder. He held under my nose the signed contract. "There, read your signature. You shant escape me." I looked at him imploringly, and begged him to spare me only for this day. My head ached, and I felt quite unwell; but the cruel wretch had no pity. He said the public tumultuously demanded the commencement of the concert, otherwise it would require the money to be returned, and would then pull the house down; besides, said he naively, the tumult is appeased, by the arrest of both the dancers, and some of the rioters, and your obstinate refusal can only raise a new storm. With a deep sigh I took his arm; - it was as if I were being led to the place of execution; - and in a few minutes I stood upon the fatal boards. A horrible noise, vapour, and gobbling met me here, and I felt great apprehension. The overture to Don Juan was to open the concert, but as the instruments had been smashed, the musicians had separated, and the conductor had flown. Signor Pottessini, the ultra-basso, came forward. This Fermier-general of all foolery, in order to produce effect, appeared in the diabolical costume of Bertram, and was turned back by laughter and hisses. The excited multitude noisily demanded the overture, and the manager was compelled to promise that it should be executed. Late (it was l2 o'clock at night), after every acoustic sign of ridicule and abuse had been exhausted, I came forward. I made my low bow at the head of this invalide music band. A general eyeing commenced. Telescopes, lorgnettes, and opera glasses were directed to my weak I, so that embarrassed and with strong forebodings I gave the sign to commence. I felt an oppressive sultriness, and in my confusion scarcely remarked how the work of the great master was ill treated and massacred. The disharmony only shot through my nerves, like twitches of the gout - otherwise I saw and heard nothing. Just as the trumpets were announcing the last judgment, a roaring, stumping, hissing, and screaming commenced, such as I never yet heard. I feared that the ghost of the insulted Mozart was storming through the play-house; but it was something quite different to a ghost. It was a police agent, with a white staff, who suddenly appeared in the scene, and, in the name of the Governor, closed the theatre. The stage became filled with colonial soldiers, the audience left, and in less than five minutes the pit was as if it had been swept out; and in the whole city of Melbourne no one was more delighted than I.

The next day all the newspapers of Melbourne preached a lecture to the ill-behaved public. "What will Europe, what will the world, say of us," wrote the indignant Argus, "if artists who come to us from over the ocean, braving so much danger, are so little respected? If art, which should raise us, is so humiliated?" These penetrating words were not without result, for a few days later, when I played, the greatest distinction was shown me. After every piece, the effect was greater, and on the following day I was really crushed with marks of honor. A new piece - "Bouquet Irlandais" - composed of Irish melodies, with variations, causes great uproar, and awakes in the easily excited Irish (of whom many reside here), a real "national feudalism."

The day before yesterday I played in the Arsenal for the benefit of the English hospital, and out of gratitude for the sum of £600, which I forwarded to the institution, as the receipt from the concert, I was installed by the committee, with much pomp, as Vice-Governor, and honored with a serenade. I will pass over the multitude of marks of honor and homage which flowed to me from all sides, because it is tedious for me to speak of it, and partly in order to speak of other things. For example, in Melbourne there are above 20,000 Chinese, who cause me unceasing amusement, and turn my ill-humour into smiles. If one wanders through their quarters and streets with the variegated bustle of Chinese (Mandschure?) and Mongolians - if one passes by their shops, where their wares are all laid out in the streets, scenes and groups may be observed which remind one of the tales in the Arabian Nights. Here, at a fruiterer's, where epicures are sitting enjoying their tit bits, in addition to the usual domestic animals, dog, cat, and rat meat is roasted. Lobworms, softened leather, baked roses, grasshoppers, and other confitures are eaten with great appetite in the open streets. Here some of the upper classes are playing chess, which, however, is quite different to the game usually played. A quarrel ensues, then a lively fisty cuff, which, however, seldom has a bloody conclusion, owing to the cowardly effeminate character of this people. At the utmost the vanquished party leaves his pig-tail in the hands of the conqueror, after which he gravely quits the place. At one street corner a bookseller has his stall. He sells his books, not according to value or a fixed price, but according to weight. If anything is wanting in the latter, with the greatest composure in the world, he tears a quantity of leaves out of the first book which comes to hand and completes the weight. Singular is the custom which they observe of making presents to their relatives, their parents and children, of elegantly decorated coffins during their lifetime - a delicate mark of affection. But a whole book might be written, as easily as a single page, about the ridiculous custom of this funny people, and as events crowd upon each other, and my paper is almost filled, I can only touch with flew words upon the great Exhibition of Industry which is being prepared here, similar to that in England, and the first Australian University which is opened. The exhibition I will touch upon hereafter more fully; and concerning the University, I know nothing more than the first paragraph of the statutes, which are appended to the University door in a wirework frame, and reads thus: Smoking and drinking are prohibited in the lecture rooms.

(To be continued)

Letter 15 (Melbourne, VIC, 6 July 1855)

German serial original (Vienna, 23 December 1855)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Melbourne . . ., den 6 Juli 1855", Ost-Deutsche Post (23 December 1855), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18551223&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 85

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA85 (DIGITISED)

Letter 16 (Melbourne, VIC, 4 August 1855)

German serial original (Vienna, 11 January 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Melbourne . . ., 4 August 1855", Ost-Deutsche Post (11 January 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18560111&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 95

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA95 (DIGITISED)

Letter 17 (Ballarat, VIC, 30 August 1855)

German serial original (Vienna, 9 February 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Ballarat . . . , den 30 August 1855", Ost-Deutsche Post (9 February 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18560209&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 105

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA105 (DIGITISED)

Letter 18 (Geelong, VIC, 21 September 1855)

German serial original (Vienna, 20 April 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Geelong . . ., 21 September 1855", Ost-Deutsche Post (20 April 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18560420&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 116

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA116 (DIGITISED)

Letter 19 (Geelong, VIC, 15 October 1855)

German serial original (Vienna, 11 May 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Geelong . . ., am 15 October 1855", Ost-Deutsche Post (11 May 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18560511&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 125

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA125 (DIGITISED)

Letter 20 (Adelaide, SA, 30 November 1855)

German serial original (Vienna, 15 July 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Adelaide . . ., den 30 November 1855", Ost-Deutsche Post (15 July 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18560715&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 136

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA136 (DIGITISED)

Letter 21 (Adelaide, SA, 20 December 1855)

German serial original (Vienna, 8 October 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Adelaide, 20 Dezember 1855", Ost-Deutsche Post (8 October 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18561008&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 148

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA148 (DIGITISED)

Letter 22 (Adelaide, SA, 5 January 1856)

German serial original (Vienna, 24 October 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Adelaide, 5 Jänner 1856", Ost-Deutsche Post (24 October 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18561024&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 158

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA158 (DIGITISED)

Letter 23 (Adelaide, SA, 1 February 1856)

German serial original (Vienna, 9 November 1856)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . Adelaide, 1 Februar 1856 ", Ost-Deutsche Post (9 November 1856), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18561109&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 169

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA169 (DIGITISED)

Letter 24 (Sydney, NSW, 28 May 1857)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 178

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA178 (DIGITISED)

Letter 25 (Melbourne, VIC, 2 August 1857)

German serial original (Vienna, 27 October 1858)

"Feuilleton. Aus dem Wanderbuche eines österreichisten Virtuosen . . . [Melbourne, 2 August 1857]", Ost-Deutsche Post (27 October 1858), 1-2

https://anno.onb.ac.at/cgi-content/anno?aid=ode&datum=18581027&seite=1 (DIGITISED)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 188

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA188 (DIGITISED)

Letter 26 (on board the Emeu, July 1858)

German book (Leipzig, 1859)

Aus dem Wanderbuche (1859), II, 196

https://books.google.com.au/books?id=uclCAAAAcAAJ&pg=PA196 (DIGITISED)

Musical works and editions performed or published in Australia

Extant titles in Red bold; non-extant in Black bold

Rain drops in Australia (impromptu for piano) (January 1855)

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

https://trove.nla.gov.au/work/12840724 

https://trove.nla.gov.au/version/38893193 (DIGITISED)

"New edition" advertised January 1856

https://trove.nla.gov.au/search?l-publictag=Rain+drops+in+Australia+(Hauser) (TROVE tagged by Australharmony)

ASSOCIATIONS: Frederick Ellard (pianist, dedicatee); Jacob Clarke (music publisher)

The fisher maiden (barcarolle, for voice and piano) (1855; published edition 1859)

As Du Schönes Fischermädchen [Heine], "composed by Miska Hauser for Frederic Ellard", it was first sung by Ellard at Hauser's Sydney concert on 16 April 1855

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

https://trove.nla.gov.au/version/8722510 (DIGITISED)

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

ASSOCIATIONS: Henrietta Barney (born Sydney 1836, died 1922), of Wotonga [recte], was the youngest and remaining unmarried daughter of colonel George Barney (c.1792-1862), late surveyor general, and his wife Portia (d.1883); she was married a former naval officer, Robert Deane, on 26 May 1860. Stephen Marsh had previously dedicated The Ophir schotticshe (1851) to her

Chanson d'amour (April 1855)

Chanson d'amour, morceaux [sic] de salon for the piano, dedicated to Madame Montifiore [sic] ([Sydney: W. J. Johnson, 1855]

NO COPY IDENTIFIED

ASSOCIATIONS: William Johnson (music publisher); Caroline Montefiore (c.1832-1901, married Jacob Levi Montefiore, London, 1851)

Mazurka (for piano) (May 1855)

Mazurka for piano, dedicated to Madame Rawack ([Sydney: W. J. Johnson, 1855])

NO COPY IDENTIFIED

ASSOCIATIONS: Amalia Mauthner Rawack (pianist, dedicatee)

Ballad ("Thou'rt like unto a flower") (voice and piano) (? by January 1856)

Ballad, composed and respectfully dedicated to Lady Mac Donnell by Miska Hauser (Adelaide: Penman and Galbraith, [late 1855 or early 1856])

https://trove.nla.gov.au/work/214297264 

Copy at the National Library of Australia (cover: "Penman & Galbraith, Lith. Adelaide")

https://trove.nla.gov.au/version/235299308 (DIGITISED)

Copy at the State Library of New South Wales (cover with printer's name removed); music pages same print run as the above

https://trove.nla.gov.au/version/8722406 

https://trove.nla.gov.au/search?l-publictag=Thou'rt+like+unto+a+flower+(Hauser) (TROVE tagged by Australharmony)

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

ASSOCIATIONS: Blanche Macdonnell (dedicatee), wife of the governor of South Australia, Richard Macdonnell; Penman and Galbraith (lithographers, printers, Adelaide); Joseph Wilkie (music seller and publisher, advertised the print in Melbourne at the end of January 1856, on Hauser's arrival from Adelaide)

Australian flowers (second impromptu for piano) (1857)

Australian flowers, impromptu for the piano forte, by Miska Hauser ("2nd Impromptu, dedicated to Miss Aldis") (Sydney: J. R. Clarke, in the Australian album 1857)

https://trove.nla.gov.au/work/12842115

https://nla.gov.au/nla.obj-164724174 (DIGITISED)

https://archive.org/details/AustralianFlower43607/mode/2up (DIGITISED)

https://trove.nla.gov.au/search?l-publictag=Australian+flowers+(Hauser) (TROVE tagged by Australharmony)

ASSOCIATIONS: Hannah Aldis (pianist, dedicatee)

AUDIOVISUAL: James Doig, historical keyboardist, performs "Australian flowers" by Miska Hauser in the drawing room of Vaucluse House (Sydney Living Museums)

https://youtu.be/lwJRxd0oesw (STREAMED)

The bird on the tree (violin)

The bird upon the tree ("The bird on the tree") (arranged for piano) (1857)

The bird upon the tree, composed and arranged for the piano forte by Miska Hauser ("The bird on the tree [sic], dedicated to Lady Macdonald") (Sydney: J. R. Clarke, in Australian album 1857)

https://trove.nla.gov.au/work/16497829 

https://trove.nla.gov.au/version/19363873 (DIGITISED)

ASSOCIATIONS: "Lady Macdonald" (unidentifiable); ? Blanche Macdonnell, above

Arranged by the composer from:

Das Vöglein im Baume, The bird on the tree, L'oiseau sur l'arbre, grande caprice burlesque pour violon avec orchestre ou piano, op. 34 (Leipzig & New York: Schuberth and Co. Hambourg, [1854])

https://www.loc.gov/resource/sm1854.231400.0 (DIGITISED)

The original violin version, widely performed by Hauser in Australia, is usually referred to in programs and the press as The bird on the tree, and that tag has accordingly been used for instances of that version

https://trove.nla.gov.au/search?l-publictag=The+bird+on+the+tree+(Hauser) (TROVE tagged by Australharmony)

Though the piano version bears both versions of the title, the cover title is The bird upon the tree, and usually catalogued accordingly; so, as a means of distinguishing between the two versions, that tag has been used for the piano version

https://trove.nla.gov.au/search?l-publictag=The+bird+upon+the+tree+(Hauser) (TROVE tagged by Australharmony)

Farewell ("Farewell dear land of hill and vale") (voice and piano) (January 1857)

Farewell by M. Hauser ("Farewell dear land of hill and vale"); manuscript (? composer's autograph, or contemporary copy), National Library of Australia

https://nla.gov.au/nla.obj-683497925/view?partId=nla.obj-683534995#page/n6/mode/1up (DIGITISED)

Bibliography and resources

Reich 1860

"HAUSER MICHAEL", Ignaz Reich, Beth-El, Ehrentempel verdienter ungarischer Israeliten [vol. 2] (Pesth: Alois Bucsánszky, 1860), 60-66

https://books.google.com.au/books?id=mYP7JZFF0YEC&pg=RA2-PA60 (DIGITISED)

Wasielewski 1869

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

http://books.google.com.au/books?id=fltDAAAAcAAJ&pg=PA346 (DIGITISED)

Brewer 1892

Francis Campbell Brewer, The drama and music in New South Wales (Sydney: Charles Potter, Govt. Printer, 1892), 61

https://archive.org/stream/dramamusicinnews00brew#page/61 (DIGITISED)

In November, 1851, Miska Hauser, a Hungarian violinist, visited Sydney, and performed at the Victoria theatre, his characteristics were a very glassy tone, and skilful manipulation of harmonics; his rendering of De Beriot's concertos was his forte in the classic school. Hauser travelled through the country and gave concerts, and by this means did much service in the elevation of musical taste in the interior. He said on one occasion when visiting a small country town, "I can take my violin under my arm, and play - if with accompaniment, well; if not, well too. The pianist cannot take his piano in a carpet-bag." Hauser may be regarded as the pioneer of violinists of celebrity. He was a pupil of Bohm and Mayseder, and when only twelve years of age made a tour through Europe. After leaving Australia in 1858, he resumed performances on the Continent, and in 1860 was feted by King Victor Emanuel and the Sultan of Turkey. He died in Vienna on December 9, 1887.

ASSOCIATIONS: Francis Campbell Brewer

Ehrlich 1897 (and later editions)

Alfred Ehrlich, Celebrated violinists . . . translated from the German . . . by Robin H. Legge (London: The Strad, {1897]), 49-50

https://archive.org/details/celebratedviolin0000ehrl/page/48/mode/2up (DIGITISED)

Riemann 1900 (and later editions)

Hugo Riemann, Musik-lexicon (Leipzig, M. Hesse, 1909), 579

https://archive.org/details/RiemannMusiklexikon09tea1919/page/n601/mode/2up (DIGITISED)

Hauser . . . (2) (Michael), geb. 1822 zu Pressburg, gest. 8. Dez. 1887 in Wien, Schüler von K. Kreutzer, Mayseder und Sechter in Wien . . .

Singer and Sohn 1906

Isidore Singer and Joseph Sohn, Hauser, Miska (Michael), Jewish encyclopedia (1906), online

https://www.jewishencyclopedia.com/articles/7338-hauser-miska-michael (DIGITISED)

Hungarian violin virtuoso; born at Presburg, Hungary, 1822; died at Vienna Dec. 8, 1887; pupil of Joseph Matalay, and later of Kreutzer, Mayseder, and Sechter, at the Vienna Conservatorium. In 1839-40 he first gave a number of concerts in various cities of Germany, and then traveled through Denmark, Sweden, Norway, Finland, and Russia. Ten years later he visited England, North and South America, the West Indies, the South Sea Islands, and Australia, returning to Europe in 1858 by way of India, Turkey, and Egypt. In 1864 he made a tour through Italy and played also in Berlin and Paris, where his feats of virtuosity won him great applause. He made his last public appearance in 1874 at Cologne. Hauser's compositions, now rarely played, comprise the operetta "Der Blinde Leiermann," and numerous fantasies, rondos, and variations for the violin. His "Wanderbuch eines Oesterreichischen Virtuosen: Briefe aus Californien, Südamerika und Australien" (2 vols., Leipsic, 1858-59) was a reprint of his letters to the "Ostdeutsche Post," Vienna, on his American and Australian tour.

Bibliography: Mendel, Musikalisches Konversations-Lexikon; Ehrlich, Celebrated Violinists, pp. 49-50; Riemann, Musik-Lexikon, 1900, s.v.

Benson et al. 1930

Eric Benson, Donald Peet Cobb, and Horatio F. Stoll (trans., ed.), The letters of Miska Hauser, 1853 (San Francisco: Works Progress Association, 1930)

https://archive.org/details/lettersofmiskaha00haus (DIGITISED)

Orchard 1952

W. Arundel Orchard, Music in Australia: more than 150 years of development (Melbourne: Georgian House, 1952), 33, 36, 137

https://archive.org/stream/in.ernet.dli.2015.28983/2015.28983.Music-In-Australia-1952#page/n57 (DIGITISED)

Kunz 1969

Egon F. Kunz, Blood and gold: Hungarians in Australia (Melbourne: F. W. Cheshire, 1969), 84, passim

Roderick and Anderson 1988

Colin Roderick (trans.) and Hugh Anderson (ed. and annotated), Miska Hauser's letters from Australia, 1854-1858 ([Melbourne]: Red Rooster Press, 1988)

https://trove.nla.gov.au/work/18370375 

Skinner 2011

Graeme Skinner, Toward a general history of Australian musical composition: first national music, 1788-c. 1860 (Ph.D thesis, Sydney Conservatorium of Music, University of Sydney, 2011), especially 232-36

http://hdl.handle.net/2123/7264 (DIGITISED)

McMichael and Healy 2022

Anna McMichael and Judith Healy (2022), "Classical musicians in Australia during the 1850s gold rush: the colonial tour of Miska Hauser, virtuoso violinist", Musicaology Australia (online 2022)

https://doi.org/10.1080/08145857.2021.2001130 (PAYWALL)

"Miska Hauser", Wikipedia

http://de.wikipedia.org/wiki/Miska_Hauser

"Antonio Stradivari, Cremona, 1710, the 'Vieuxtemps, Hauser'" [Violin: 41361], The Cozio archive

https://tarisio.com/cozio-archive/property/?ID=41361 

Gianpaolo Gregori, "di Stradivari Antonio 1710 - Violin 'Vieuxtemps - Hauser'"

http://www.archiviodellaliuteriacremonese.it/en/strumenti/1710_violino_vieuxtemps_hauser.aspx?f=457975