THIS PAGE FIRST POSTED 1 FEBRUARY 2017
LAST MODIFIED Monday 29 July 2024 10:31
Packer family (Charles Sandys Packer, and Frederick Alexander Packer and family)
Dr GRAEME SKINNER (University of Sydney)
THIS PAGE IS CURRENTLY UNDER CONSTRUCTION
To cite this:
Graeme Skinner (University of Sydney),
"Packer family",
Australharmony (an online resource toward the early history of music in colonial Australia):
https://sydney.edu.au/paradisec/australharmony/packer-family.php; accessed 5 November 2024
Page contents
Biographical summaries
* Charles Packer senior (never came to Australia)
Sons of Charles Packer senior and Amelia Sandys:
* Charles Sandys Packer (1809-1883)
* Frederick Alexander Packer (1814-1862)
And Frederick's wife:
* Augusta Gow Packer (1815-1893)
Sons of Frederick Packer and Augusta Gow:
* Frederick Augustus Packer (1839-1902)
* John Edward Packer (1840-1900)
* Arthur Howard Packer (1850-1912, father of Robert Clyde Packer, founder of the Packer media dynasty)
Documentation (Britain)
* Sadak and Kalasrade (1835)
* Charles's first prosecution (1838-39)
Documentation (Australia)
* Norfolk Island (Charles Packer 1840-44)
* Australia (from arrival of Charles Packer in Hobart in 1844 to c. 1852/53)
* Charles in NSW (from 1853)
* First performances of The crown of thorns (Sydney, NSW, 1863)
* Charles's second prosecution (Sydney, NSW, 1863-64)
* Frederick and family in Tasmania (from 1852)
Musical works
Other
PACKER, Charles (Charles PACKER, senior) [never came to Australia]
Musician, organist, music seller, piano manufacturer (Towns and Packer)
Born Reading, Berkshire, England, 1786; baptised St. Mary's, Reading, 29 January 1786; son of Charles PACKER (1747-1808) and Susanna GRIFFIN (1755-1821)
Married Amelia SANDYS (1788-1877), St. Dunstan in the West, London, 19 November 1808
Died Coleshill, near Amersham, Buckinghamshire, England, 26 July 1854
https://trove.nla.gov.au/search?l-publictag=Charles+Packer+1786-1854 (TROVE tagged by Australharmony)
See also Towns and Packer pianos in Australia (1850-1870):
https://trove.nla.gov.au/search?l-publictag=Towns+and+Packer+pianos (TROVE tagged by Australharmony)
See below for Documentation (Britain, to 1854)
PACKER, Charles Sandys (Charles Sandys PACKER; C. S. PACKER; C. S. S. PACKER; Mr. PACKER; Charles Sandys Stuart Shipley PACKER)
Musician, pianist, organist, vocalist, conductor, composer
Born Reading, Berkshire, England, 1809; baptised St. Mary's Reading, 19 November 1809; son of Charles PACKER (1786-1854) and Amelia SANDYS (1788-1877)
Entered Royal Academy of Music, inaugural student intake, 1823
Married (1) Eleanor Mary Teresa GROGAN (b. Baillieborough Castle, County Cavan, Ireland, 1814), St. George the Martyr, Queen's Square, London, 19 May 1836
Convicted of forgery, Central Criminal Court, London, 4 February 1839, sentence to transportation for life
Arrived Sydney, NSW, 28 April 1840 (convict per Mangles [8], from Portsmouth, 28 November 1839)
Arrived Norfolk Island, NSW, 7 May 1840 (convict per Mangles [8], via Sydney)
Departed Norfolk Island, NSW, 29 August 1844 (convict per Lady Franklin, for Hobart Town)
Arrived Van Diemen's Land (TAS), 27 September 1844 (convict per Lady Franklin [2], from Norfolk Island, 29 August)
Married (2) Mary Frances MOORE, St. George's, Battery Point, Hobart, 21 August 1852
Departed Hobart Town, TAS, 5 November 1853 (free per Emma, for Sydney)
Arrived Sydney, NSW, 11 November 1853 (free per Emma, from Hobart, 5 November)
Convicted of bigamy, Sydney, NSW, 21 December 1864, sentenced to 5 years hard labor
Married (3) Lucy LATHAM, at Granite-terrace, Fitzroy, VIC, 4 January 1873
Died Darling Point, Sydney, NSW, 13 July 1883
https://trove.nla.gov.au/search?l-publictag=Charles+Sandys+Packer (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1462470 (NLA persistent identifier)
https://en.wikipedia.org/wiki/Charles_Sandys_Packer (Wikipedia)
https://imslp.org/wiki/Category:Packer,_Charles_Sandys (IMSLP)
http://worldcat.org/identities/lccn-no93011044 (WorldCat identities)
See below for his Musical works
For documentation on his English ywars (to 1840)
On his Convict years (Norfolk Island and Tasmania, from 1840)
On his Sydney years (from 1853)
See here for Obituaries (1883)
PACKER, Frederick Alexander (Frederick Alexander PACKER; F. A. PACKER, R.A.M.; F. A. PACKER, senior)
Professor of music, music master, music seller, harpist, pianist, cellist, organist, vocalist, composer
Born Reading, England, 7 May 1814; baptised St. Mary's, Reading, 30 July 1816; son of Charles PACKER (1786-1854) and Amelia SANDYS (1788-1877)
Married Augusta GOW, Edinburgh, 22 July 1837
Arrived Hobart, TAS, 10 July 1852 (per Sylph with wife and 8 children)
Died Hobart, TAS, 2 July 1862, aged 48 years
https://trove.nla.gov.au/search?l-publictag=Frederick+Alexander+Packer+1814-1862 (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-1514964 (NLA persistent identifier)
http://oa.anu.edu.au/obituary/packer-frederick-alexander-17033/text28886 (Obituaries Australia)
See below for his Musical works
For documentation see under Britain (from 1814); Britain (from 1837); and Tasmania (from 1852)
For Obituaries (1862)
PACKER, Augusta (Augusta GOW; Miss Augusta GOW; Mrs. Frederick Alexander PACKER; Mrs. F. A. PACKER senior)
Musician, pianist, vocalist, music teacher, composer
Born Edinburgh, Scotland, 13 July 1815; daughter of Nathaniel GOW (1763-1831) and Jane HOGG
Married Frederick Alexander PACKER, Edinburgh, 22 July 1837
Arrived Hobart, TAS, 10 July 1852 (per Sylph from London, 2 March)
Died Hobart, TAS, 23 February 1893, aged 77
https://trove.nla.gov.au/search?l-publictag=Augusta+Gow+Packer+1815-1893 (TROVE tagged by Australharmony)
http://oa.anu.edu.au/obituary/packer-augusta-17034 (Obituaries Australia0
Portrait of a young woman, perhaps Augusta Gow, ? c. mid 1830s; Augusta Gow's friendship album (London and Edinburgh, c. 1829-35), Sydney Living Museums
http://library.sydneylivingmuseums.com.au/fullRecord.jsp?recnoListAttr=recnoList&recno=55599
http://collection.hht.net.au/images_linked/recno55599_010.jpg (DIGITISED)
For documentation see in Scotland and England (1831-52) and Tasmania (from 1852)
For Obituaries (1893)
Summary:
Frederick (to 1852):
Frederick Packer was born in Reading, in 1814, the son of Charles Packer, organist of St. Mary's minster, and Amelia Sandys. He followed his older brother Charles to the Royal Academy of Music, in London, where he was a pupil of Domenico Crivelli (for singing), William Crotch and John Goss (harmony and composition), Cipriani Potter (piano), and Nicholas Bochsa and Elias Parish Alvars (harp). In 1828, he appeared in public academy performances as a orchestral cellist, and, in 1830, several times as a harpist.
As a composer, in 1834 he published an Irish ballad, Maureen, dedicated to princess Victoria, the future queen, along with four other vocal settings, followed by a Mazurka in 1845 (reprinted in 1861) and The Eglantine polka in 1851
In 1837, in Edinburgh, he married a fellow former student of the Royal Academy, Augusta Gow, daughter of the late Nathaniel Gow, and the couple settled permanently in Reading.
His father having moved his musical instrument business to London, Frederick succeeded Charles senior as organist of St. Mary's, Reading. He continued to give concerts, and carry on the family music and instrument retail business in Reading, as well as advertising as a teacher of the harp, piano and singing, and as a piano tuner.
According to his obituary, his English pupils included "the present duchess of Wellington, to whom he taught the Harp", the duchess of Buckingham, the duke of Newcastle, and members of the family of Sir Robert Peel.
Augusta (to 1852):
Born in Edinburgh in 1815, Augusta Gow was the youngest and only surviving daughter of the Edinburgh musician and composer Nathaniel Gow, and his second wife Mary Hogg (1777- ). By 1828 she was in London, where she took piano lessons from Ignaz Moscheles, and singing lessons from Michael Costa, as well as enrolling as a singing pupil at Royal Academy of Music, where her instructors included Cipriani Potter.
She returned to Edinburgh by 1832, and appeared several times as a concert vocalist in 1833, as well as advertising as a teacher of piano and singing. She also published two sets of quadrilles, in 1834 and 1835.
Her manuscript friendship book from her London and Edinburgh years, which was acquired in 2019 by the Caroline Simpson Library, Sydney Living Museums, contains autograph musical contibutions from her teacher Moscheles (dated February 1829, see here below) and fellow Royal Academy pupil Ernesto Spagnoletti (dated April 1829, see here), as well as poetic contributions by James Hogg (March 1832).
In July 1837 she married another former Royal Academy pupil, Frederick Alexander Packer. Her appointment, in December 1840, as wet nurse to the infant princess royal, Victoria (her mother, queen Victoria, famously averse to breast feeding) occasioned her first notice by the Australian press, in W. A. Duncan's Chronicle in Sydney in April 1841:
Mrs. Packer, who has been appointed wet nurse to the princess royal, is a native of Edinburgh, where she was well known as Miss Augusta Gow. She is a daughter of the late Nathaniel Gow, of this city, and grand-daughter of the celebrated Neil Gow. Mrs. Packer studied music at the Royal Academy, London, with the view of becoming a public singer, in which character she appeared here at several concerts. Mrs. Packer has, or at least had, a splendid figure, and no doubt possesses all the qualifications requisite for the proper performance of the duties of her important office. - Scotsman.
Australia (1852-62)
Frederick and Augusta Packer, and their 8 children, emigrated to Tasmania in 1852, where Frederick's brother, Charles, an emancipated convict, had already established himself as one of the colony's leading musicians. Shortly after his arrival Frederick was appointed organist of St. David's cathedral, a post he retained until his death ten year later in 1862.
In October 1855, having earlier that year had to correct rumours that he was leaving the colony, Packer released the first of his compositions to be published in Australia, The queen of the polkas (lost). The Colonial Times judged it:
A little disfigured by repetition, or sameness, it is, nevertheless, without doubt, the best piece of the kind we have yet seen produced in this island.
At St. David's Cathedral on Christmas Day 1859, a Psalm chant by him was sung at morning prayer, and in the evening a canticle setting Deus misereatur by his son. The simple and popular hymn setting Nearer to thee was possibly his last surviving Australian composition. Along with a reprint of his 1845 Mazurka for piano, it was published in May 1861, not in Hobart, but in Melbourne, where The Argus greeted them as:
decidedly as original and talented as any colonial musical productions we have heard
and congratulated itself:
on having in Australia so talented a composer as Mr. Packer.
Nearer to thee was reportedly sung, under Packer senior's direction, at an ordination service at St. David's, Hobart, in July 1861. It went into a second edition by the end of the year, and in January 1862 it was sung at a concert by the Opheonist Society in Sydney (possibly programmed by his brother Charles Packer).
On his death he was succeeded, as organist of St. David's cathedral, by his eldest son, Frederick Augustus Packer. Several of his other children were also musical, notably John Edward Packer, also an organist, and Arthur Howard Packer, a keen amateur vocalist. And from him, through the latter, the 20th-century Packer media dynasty descended.
For several years after her husband's death in 1862, Augusta advertised as a music teacher:
giving instruction in Italian and English Singing, and on the Pianoforte (either to beginners or to those who may require finishing lessons) . . . Mrs. Packer will also give lessons (separately) in Scottish Songs and the Music peculiar to Scotland.
PACKER, Frederick Augustus (Frederick Augustus PACKER; Frederick PACKER, junior; F. PACKER; F. A. PACKER)
Musician, organist, pianist, conductor, composer, public servant
Baptised Reading, England, 14 September 1839; son of Frederick Alexander PACKER and Augusta GOW
Arrived Hobart, TAS, 10 July 1852 (per Sylph)
Married (1) Marianne CHAMBERLAIN (d. 1885), St. David's Cathedral, Hobart, TAS, 1 March 1869
Married (2) Clarice Octavia ALLISON, St. David's Cathedral, Hobart, TAS, 22 November 1890
Died Parramatta, NSW, 1 August 1902
https://trove.nla.gov.au/search?l-publictag=Frederick+Augustus+Packer (TROVE tagged by Australharmony)
http://nla.gov.au/nla.party-513028 (NLA persistent identifier)
http://oa.anu.edu.au/obituary/packer-frederick-augustus-4354/text29035 (Obituaries Australia)
https://en.wikipedia.org/wiki/Frederick_Augustus_Packer (Wikipedia)
Frederick Augustus Packer, clerk of the Tasmanian House of Assembly, c.1880s (photo: J. W. Beattie); State Library of Tasmania
https://trove.nla.gov.au/work/236328873
https://stors.tas.gov.au/AUTAS001136190501 (DIGITISED)
See below for his earlier Musical works
For his Obituaries (1902)
PACKER, John Edward (John Edward PACKER; John PACKER; J. E. PACKER)
Amateur musician, pianist, organist, composer
Born Reading, Berkshire, England, 1840; son of Frederick Alexander PACKER and Augusta GOW
Arrived Hobart, TAS, 10 July 1852 (per Sylph)
Died North Sydney, NSW, 24 August 1900
https://trove.nla.gov.au/search?l-publictag=John+Edward+Packer+1840-1900 (TROVE tagged by Australharmony)
http://oa.anu.edu.au/obituary/packer-john-edward-17035/text28887 (Obituaries Australia)
See below for his Obituaries (1900)
PACKER, Arthur Howard (Arthur Howard PACKER; Mr. Arthur PACKER; A. H. PACKER)
Amateur vocalist, choirmaster
Born Reading, Berkshire, England, 11 November 1850; son of Frederick Alexander PACKER and Augusta GOW
Arrived Hobart, TAS, 10 July 1852 (per Sylph)
Died Moonah, Hobart, TAS, 20 August 1912
https://trove.nla.gov.au/search?l-publictag=Arthur+Howard+Packer+1850-1912 (TROVE tagged by Australharmony)
http://oa.anu.edu.au/obituary/packer-arthur-howard-17037 (Obituaries Australia)
ASSOCIATIONS: Father of Robert Clyde Packer and grandfather of Frank Packer.
Documentation (Britain, to 1840)
[Charles Tomkins], Views of Reading Abbey . . . volume 2 (Reading: For E. Snare, 1810), 34 and plate after
https://books.google.com.au/books?id=TjUJAAAAQAAJ&pg=RA2-PA34 (DIGITISED)
For another view:
https://en.wikipedia.org/wiki/Reading_Minster#/media/File:St_Mary's_Church,_Reading,_1800-1809.jpg (DIGITISED)
ASSOCIATIONS: St. Mary's minster (Reading);
1809
19 November 1809, baptism of Charles Sandys Packer
Baptisms registered in the parish of St. Mary's, Reading, Berkshire, 1809
https://www.findmypast.co.uk/transcript?id=R_952137246 (PAYWALL)
[Baptism date] 19 November 1809, [son of] Charles Packer, Amelia Sandys
1814
7 May 1814, birth of Frederick Alexander Packer, Reading, Berkshire, England; baptised St. Mary's, Reading, 30 July 1816
https://www.findmypast.co.uk/transcript?id=R_931342289 (PAYWALL)
1815
13 July 1815, birth of Augusta Gow
Births registered in the parish of Edinburgh, 1815
https://www.findmypast.co.uk/transcript?id=R_686031815 (PAYWALL)
[Birth date] 13 July 1815, [daughter of] Nathaniel Gow, Mary Hogg
1819-20
[Advertisement], The Windsor and Eton express and Reading journal (6 June 1819), 4 (above left)
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000413/18190606/020/0004 (PAYWALL)
TOWN HALL, READING . . . A Grand Miscellaneous Concert,
On WEDNESDAY Evening, the 16th JUNE 1819.
PRINCIPAL VOCAL PERFORMERS: Miss GOODALL, And Miss STEPHENS;
Mr. WM. KNYVETT, and Mr. J. B. SALE.
In the course of the Evening,
A DUET - HARP AND PIANO-FORTE, Miss SHARP and Mr. PACKER.
A CONCERTO on the Violin - Mr. IRELAND.
A CONCERTO on the Flute - Mr. NICHOLSON.
FANTASIA, Harp - Miss SHARP.
CONCERTO on the Violoncello - Mr. LINDLEY . . .
ASSOCIATIONS: Catherine Stephens (vocalist); William Knyvett (vocalist); John Bernard Sale (vocalist); Charles Nicholson (flautist); Robert Lindley (cellist)
[Advertisement], The Windsor and Eton express and Reading journal (2 April 1820), 4 (above right)
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000413/18200402/028/0004 (PAYWALL)
TOWN-HALL, READING, WEDNESDAY, APRIL 12.
MR. PACKER has the honour to inform the Nobility, Gentry, and his Friends, that . . . his
CONCERT will take place on WEDNESDAY EVENING, APRIL 12,
Under the Patronage of Her Grace the Duchess of Wellington, the Countess of Limerick . . .
Principal Vocal and Instrumental Performers, MRS. SALMON, MISS NALDI, SIGNOR NALDI
(Harp), MISS SHARP, Messrs. MORI, NICHOLSON, LINDLEY, LINDLEY, Jun., TAYLOR, &c. &c. . . .
Leader of the Band, Mr. MORI, Leader of the Philharmonic.
Piano-Forte - Mr. PACKER . . .
Tickets . . . of Mr. Packer, Castle-street, Reading.
ASSOCIATIONS: Nicholas Mori (violinist, leader)
"Reading", The Windsor and Eton express and Reading journal (9 April 1820), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000413/18200409/020/0004 (PAYWALL)
The Duchess of Wellington was not present at Mr. Packer's Concert, but it was most numerously attended by the gentry the Town and Neighbourhood. The performances were of the first order of excellence.
"PUBLIC DINNER OF THE FRIENDS OF MR. WEYLAND" The Windsor and Eton express and Reading journal (7 May 1820), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000413/18200507/027/0004 (PAYWALL)
The Public Dinner of the friends of Mr. Weyland and the real Independence of the Borough of Reading, took place on Wednesday last at the Town Hall, Reading . . . Toasts then followed, and were accompanied with songs glees from the musical gentlemen . . . The health of the "Duke of Wellington and the Heroes of Waterloo" was then given, and received, as it deserved, the cheers three times three, Mr. Packer accompanied it in a very animated and pleasing style with the fine song of "The Soldier Tired of War's Alarms," which he repeated at the call of the company with increased effect . . .
MUSIC: The soldier tir'd (Arne, from Artaxerxes)
1822
"READING", The Windsor and Eton express and Reading journal (13 April 1822), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000413/18220413/034/0004 (PAYWALL)
Mr. Packer's Concert on Wednesday evening, at the Town Hall, Reading, was attended by a numerous and brilliant assemblage of the Nobility and Gentry of the neighbourhood. The performances were arranged and conducted in a manner which reflects the greatest credit on Mr. Packer's judgment and taste, and afforded a delightful treat to the lovers of this enchanting science. Dancing commenced immediately after the Concert, and was continued with the greatest spirit till a late hour.
1823
March 1823, Royal Academy of Music, inaugural class
"ROYAL ACADEMY OF MUSIC", The morning post (26 March 1823), 3
We are happy to learn that the instruction of the Pupils of this Institution has commenced; eleven Boys and ten Girls have been admitted - one of the Boys was admitted on the recommendation of his Majesty . . .
"ROYAL ACADEMY OF MUSIC", The harmonicon (April 1823), 52
https://books.google.com.au/books?id=AMIJAQAAMAAJ&pg=PA52 (DIGITISED)
A commencement is at length made at this institution, by the election of ten boys and ten girls, instead of forty of each, as at first resolved, when expectation ran high. Their names are . . .
"ROYAL ACADEMY OF MUSIC", The musical world 32/15 (15 April 1854) [sic], 255
http://books.google.com.au/books?id=9JkPAAAAYAAJ&pg=PA255 (DIGITISED)
The following are the names of the first ten boys and girls who were elected at the institution of the Academy in 1823:-
GIRLS: Mary Euphrasia Lawson, Catherine Smith, Mary Chancellor, Susannah Collier, Emily Waring Jenkins, Mary Ann Jay, Charlotte Bromley, Hannah Mary Little, Josephine Palin, Catherine Porter.
BOYS: H. A. M. Cooke, Henry Greatorex, Thomas Mollison Mudie, Henry G. Blagrove, John Kellow Pye, William Henry Phipps, Alfred Devaux, Charles Alex. Seymour, Edwin John Nielson, Charles Sandys Packer.
"In the examination of these youthful candidates," says a musical journal of the time, "no great deal of talent was manifested, except by the son of Mr. T. Cooke, who distinguished himself much, by performing upon several instruments, and as the reward of his ingenuity and industry was placed by the ballot at the head of the list. Most, if not all, of these children have entered for the purpose of being instructed on the pianoforte or harp; a great proportion desiring to be taught the latter - claiming Mr. Bochsa as their master! But for the bassoon, hautboy, horn, and other instruments, so much wanted in our orchestras, not one pupil appeared; so that a principal object intended to be accomplished by the Academy, will not, for the present certainly, be carried into effect. If we are not mistaken, there are upwards of forty professors at this institution, and twenty scholars, which is at the rate of one pupil to two masters. No great fear, then, need be apprehended from a rebellion here."
A month later the following were elected as extra students, or "scholars, who contributed towards their maintenance and instruction:" - . . .
ASSOCIATIONS: Royal Academy of Music, founded 1822, by Nicholas Bochsa (harpist, instructor), and John Fane (Lord Berghersh, patron); Thomas Cooke (musician, vocalist); Nicholas Bochsa (harpist, instructor); Henry Greatorex (pupil); Henry Gamble Blagrove (pupil); John Kellow Pye (pupil)
1824
11 January 1824, Charles Packer senior's reply to a request for an autobiographical sketch to be published in Sainsbury's musical dictionary
Letter from Charles Packer (senior) to John D. Sainsbury [or his agent], "Reading. Jany 11th 1824"; University of Glasgow library, MS Euing R.d.87/146 (1 folio, r-v)
http://collections.gla.ac.uk/#/details/ecatalogue/261102
Reading Jan'y 11th 1824
Sir,
By mere accident I have just discover'd that I have mistaken the date when you requested my answer might be forwarded to you.
I have therefore taken the earliest opportunity of addressing a few lines to you on the subject -
there are few things which any person could be called upon to do which would be more difficult than to become his own biographer
especially when his life has passed in uniform domestic happiness unmarked by any of those striking events which render the relation interesting to others [ - ]
it would also have been much more agreable to me (and I here beg you will not construe this observation into an intention to offend)
if I had some [verso] previous knowledge of the intention to publish such a work of what description the publication is to be,
or of the parties to whom I should commit myself by transmitting the particulars required by your letter -
at the same time I beg to add that I should consider a well conducted work of the kind a great desideratum
& should perhaps have much pleasure in subscribing to it altho' my own life might add no additional interest to the work
if agreable to your convenience to give me some further information on the subject I shall feel oblig'd
and will give it immediate attention.
I am Sir
Y'r humble serv't
Chas. Packer
NOTE: On Sainsbury, and his connections with Nicholas Charles Bochsa and the Royal Academy of Music, see Leanne Langley, "Sainsbury's Dictionary, the Royal Academy of Music, and the rhetoric of patriotism", in Christina Bashford and Leanne Langley (eds), Music and British culture, 1785-1914: essays in honor of Cyril Ehrlich (Oxford: Oxford University Press, 2000), 65-94
https://books.google.com.au/books?id=wOu7n7JuuEsC&pg=PA65 (PREVIEW)
http://www.leannelangley.com/projects/dictionary-of-musicians-1824
25 February 1824, pupils' concert, Royal Academy of Music, London
[Advertisement], The morning post (24 February 1824), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18240224/005/0001 (PAYWALL)
ROYAL ACADEMY of MUSIC - Under the of Patronage of his MAJESTY. -
By permission of the Right Honourable the Directors of the Concerts of Antient Music -
At the King's Antient Concert Rooms, in Hanover-square, -
The Nobility and Gentry are respectfully acquainted a MORNING CONCERT of VOCAL and INSTRUMENTAL MUSIC, will take place at the above Rooms,
on WEDNESDAY next, the 25th of Feb. - To commence at One o'clock precisely.
The Performances will be entirely by the Pupils of the Royal Academy of Music, being their the first public Exhibition.
Scheme of the Concert, Wednesday, Feb. 25, 1824.
Act I - Symphonia, Haydn - Psalmo Marcello - Duet, two Piano Fortes,
W. H. Phipps and C. S. Packer, Dussek - Song, Miss Perier, Zingarelli - Fantasia, Harp, Miss Morgan (with Orchestral Accompaniments), Bochsa -
Solo, Violin, H. G. Blagrove, Viotti - Ode on the King's Accession to the Throne, Dr. Crotch; the words by the Rev. J. J. Conybeare,
late Professor of Poetry, Oxford.
Act. II - Trio, Piano Forte, Miss Chancellor; Harp, Miss Jay, Violoncello, C. Lucas, Bochsa - Solo, Oboe, H. A. M. Cooke, (composed expressly for this occasion) Bochsa - Song, Miss Watson, Sarti - Duet, Piano Forte, Misses Chancellor and Goodwin, (never performed in this country), Hummell - Polacco, Violoncello, C. Lucas, Duport - Air and Chorus, C. Lucas and Misses Watson, Belchambers, and Chancellor, Mayer - Introduction to the Grand National Anthem, "God save the King," Bochsa.
The Tickets of Admission are now ready for delivery to the Subscribers and Honorary Members,
who will be pleased to send for them; and Tickets, at 1Os. 6d. each, may be had by Non-Subscribers at the Academy, and at the principal Music Shops. -
Royal Academy of Music, Tenterdon-street, Hanover-square, Feb. 21, 1824.
J. WEBSTER. Secretary.
"THE ROYAL ACADEMY OF MUSIC", The quarterly musical magazine and review 6 (1824), 77-86
http://books.google.com.au/books?id=aLcPAAAAYAAJ&pg=PA77 (DIGITISED)
On the morning of Wednesday, February 25, 1824, a public concert was performed by the pupils of this national seminary, for the first time . . . [81] . . . PIANO FORTE DUET, W. H. PHIPPS AND C. S. PACKER; Played in a clear and spirited manner by two promising boys; they produced the very best quality of tone that the instruments, which were excellent, would afford . . .
"ROYAL ACADEMY OF MUSIC", The morning post (27 February 1824), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18240227/021/0004 (PAYWALL)
The Pupils of this munificent and highly laudable Institution produced, at the Hanover-square Rooms, the first public exhibition of their native talent for one of the most elegant of human acquisitions, and the progress they have made under the tuition of some of the first professors of the kingdom, both as composers and performers. This Scholastic Establishment, of which, we understand, the Noble Chairman, Lord BURGHERSH, enjoys the credit of being the original founder, and of which His Majesty was, on the first solicitation, graciously pleased to become the Special and Perpetual Patron, commenced its labours no longer ago than last March; and, after the display, we witnessed, of the advances made by the juvenile students, both male and female, in the acts of vocal and instrumental performance, we cannot but congratulate them on the advantages with which generally, they appear to be endowed by nature; and their further good fortune in being placed under such tutors as Dr. Crotch, Mr. Beale, Mr. F. Cramer, Mr. Bochsa, and other able Professors, aided by the educatory taste and talents of Madame Regnaudin . . .
. . . The principal evidence of the wonderful progress made by this Royal Establishment towards its stimulating and ultimate object, was given by Masters Phipps and Packer in their Piano-forte Duet, their execution of which was more neat, distinct, and expressive, than we could in reason expect; by Miss Porter . . . ; by Miss Morgan . . .; Master Cooke . . .; Miss Watson . . .; and by Master Lucas . . .
The room was filled to an overflow with company of the most genteel description. The Duke of CLARENCE was present; and in the compartment reserved for the accommodation of the Ladies Patronesses, we observed the Duchess of KENT, the Duchess of CLARENCE, the Princess AUGUSTA, and the Duchess of GLOUCESTER.
29 May 1824, pupils' concert, Royal Academy of Music, London
[Advertisement], The morning post (27 May 1824), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18240527/002/0002 (PAYWALL)
THE ROYAL ACADEMY of MUSIC, under the Patronage of his MAJESTY . . . A MORNING CONCERT,
for the BENEFIT of the ROYAL SOCIETY of MUSICIANS, and the NEW MUSICAL FUND. - By Permission of the Directors of the Royal Academy of Music,
a MORNING CONCERT will be given by the Pupils of that Institution at the Argyll Rooms, on SATURDAY MORNING, the 29th inst. . . .
Scheme of the Concert: -
Part I. Symphony in E Flat (Hadyn); Psalmo, Marcello; Quartetto, two Violins, Tenor and Bass. C. A. Seymour, H. G. Blagrove, W. H. Phipps and C. Lucas (Haydn); Terzetto, Misses Watson, Bellchambers, and C. Lucas; from Cosi fan tutti (Mozart); Concerto, Pianoforte, Miss Chancellor (Moschelles).
Part II. Otetto, Pianoforte, Harp, Violin, Tenor, Iwo Violoncellos, Oboe, and Bassoon, Misses Goodwin, Shee, C. A. Seymour, W. H. Phipp, C. Lucas, T. W. Cooke, H. A. M. Cooke, and D. Smith (composed expressly for this occasion), Bochsa; Canon, Misses Porter, Chancellor, and C. Lucas, Lindley, Nicolini; Concertanto, two Pianofortes, W. H. Phipps and C. S. Packer (with orchestral accompaniments), Bochsa; Song, Miss Porter, Mayer; Duet, Violin and Violoncello, H. G. Blagrove, and C. Lucas, Lindley; Finale - lntroduction to the Grand National Anthem, "God save the King," Bochsa.
The Performances will commence at Two o'Clock precisely. Tickets Half-a-Guinea each . . .
"ROYAL ACADEMY OF MUSIC", The London courier and evening gazette (31 May 1824), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0001476/18240531/008/0003 (PAYWALL)
A Morning Concert was given on Saturday at the Argyll Rooms by the pupils of this establishment. On a previous occasion we noticed the proficiency which some of the pupils have already attained in the performance of instrumental music, and in this instance they gave fresh proofs of their ability. The Concert opened with a symphony by Haydn in E flat. As a whole it was played with tolerable precision, and in particular parts there was a fine accordance of sounds. A Psalmo, Marcello, followed, sung the female pupils. A quartetto by Haydn for two violins, viola, and violoncello, was really extremely well played by Masters C. A. Seymour, H. G. Blagrove, W. H. Phipps, C. Lucas. In a concerto on the pianoforte Miss Chancellor was most deservedly applauded; as was Miss Goodwin in an otetto. They have both great facility in execution, mark their music well, and play with spirit, freedom, and effect. C. S. Packer, in a concertante, touched the pianoforte in very masterly style, but the instrument is hardly worthy extraordinary attention, and though pleasing in a drawing room, can rarely give celebrity to the performer. We were astonished to find the name of Handel excluded from the bill of fare, and that of Bochsa inserted as a composer not less than three times. This is monstrous, and should be amended. In the things given as Mr. Bochsa's compositions there was nothing new; they were made from French ballets and all the hackneyed music the King's Theatre. The frippery is pleasing enough in its proper place; but it can never improve the taste, the judgment, the science, or the feeling, of the pupil. We notice this impertinence once, for we have yet to learn what claims Mr. Bochsa has to such distinction, as to have three, or even one of his pasticcios performed by the pupils of the Royal Academy of Music, whether in public or in private. With the exception of these trumpery displays, the whole of the instrumental department might be commended, and even in these abortions the pupils evinced great talent and for Letter things. Dr. Crotch attended, but we cannot imagine that the selection of the performances rested with a musician of his fine taste and solid acquirements.
ASSOCIATIONS: William Crotch (musician, instructor)
30 June 1824, pupil's concert, Royal Academy of Music
"ROYAL ACADEMY OF MUSIC", Morning Post (2 July 1824), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18240702/018/0003 (PAYWALL)
At the termination of the Concert on Wednesday,
her Royal Highness the Princess Augusta distributed the Prizes as follow: -
Ladies - For Composition, Misses Collins, Porter, and Watson
.
Pianoforte, 1st Prize, Miss Goodwin; 2d Prizes, Misses Foster and Dickons.
For Progress in Singing, 1st Prize, Miss Chancellor; 2d Prizes, Misses Watson and Bellchambers.
Young Gentlemen - Composition, lst Prize, Charles Lucas; 2d Prize, Charles Sandhurst Packer [sic].
For Singing, Charles Lucas.
For Progress on their respective Instruments, lst Prizes, Charles Alexander Seymour, and David Smith;
2d Prizes, Charles Sandhurst Packer [sic], T. W. Cook, E. J. Nelson.
Master W. H. Phipps, and Miss Dickons had the honour of receiving prizes for general good conduct, and the high commendation of all the Masters.
Her Royal Highness the Princess Augusta was attended by the Prince of Saxe Cobourg, and a large Party of Fashionables.
1825
25 March 1825, pupils' concert, Royal Academy of Music, London
"ROYAL ACADEMY OF MUSIC", The morning post (28 March 1825), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18250328/019/0003 (PAYWALL)
A Concert was performed by the Pupils of this Institution on Friday evening, at the Hanover-square Rooms, under the immediate patronage of the Vice-Presidents, and if we may estimate the quality of the merit displayed, by the quantity of applause bestowed, we may pronounce it superlative.
The progress the young Gentlemen have made since their last public exhibition is wonderful; their spirited performance of MOZART's difficult symphony, Jupiter, quite astonished the company, and elicited the warmest marks of their approbation. Dr. CROTCH's beautiful quartetto of "Lo! star-led Chiefs," was sung extremely well, by Misses M. BELLCHAMBERS and PORTER, CHARLES LUCAS, and C. S. PACKER, and the chaste accompaniments, were delicately executed by the band. MOZART's quartetto in D, for two violins, a tenor and bass, was performed in a very superior manner, particularly the beautiful andante, by Little BLAGROVE, SEYMOUR, PHIPPS, (pupils of Mr. F. CRAMER), and C. Lucas, pupil of LINDLEY. Miss Chancellor executed the first movement of DUSSEK's celebrated Military Concerto on the pianoforte, in a manner that reflected the greatest credit on herself and her eminent master, Mr. J. B. CRAMER. ROSSINI's fine Finale to the first act of II Tancredi, brought the whole choir into action. There were nearly twenty young Ladies ranged in front of the Orchestra, dressed uniformly, whose modest demeanour and genteel appearance, rendered the scene a very pleasing one. The Finale was exceedingly well performed, particularly the slow movement "Gl'infelice affetti miei," by Miss J. BELLCHAMBERS, Miss CHANCELLOR, Masters LUCAS and PACKER, which called forth repeated cries of "bravo! bravo!" The whole was encored.
The second act commenced with Cherubini's Anacreon, and played with such spirit and effect, that we could scarcely fancy ourselves listening to mere children; towards the conclusion, a Crescendo passage for the violin, was executed so neatly, and yet with such energy, that it was interrupted by loud plaudits, which by the bye, though well intended, were not judiciously timed, but we plead guilty ourselves. Master PRICE, son of Mr. PRICE principal flute player to Drury-lane Theatre, performed a Solo, by TULOU, on that instrument, delightfully, and gave promise of a second NICHOLSON. To this succeeded a Quartetto, for Voice, Pianoforte, Harp, and Violin, by Miss J. BELLCHAMBERS, PHIPPS, NIELSON and MAWKES. The subject was a ballad by BLANGINI, "Nunzia ognor di dolci incanti" sung by Miss BELLCHAMBERS, with obligato solos, selected from the works of MOSCHELES, MAYSEDER and BOCHSA, as intermediate symphonies, exquisitely executed by each Performer - encored. Then followed MOZART's Sestetto from Don Giovanni, "Sola, sola in bujo loco," and the evening's entertainment closed with WEBER's Overture to Der Freischutz.
That we may meet with many children possessing extraordinary abilities, we grant; but to place together a number of boys, who shall execute difficult compositions, and, above all, accompany vocal pieces in a manner that would not disgrace so many veterans, would be considered wonderful in any but this wonderful age.
We learn that Mr. BOCHSA has the sole management of the orchestra, and that he has taken immense pains to bring it to what it now is. IT is allowed that Mr. BOCHSA is the best writer for the harp, he also writes well for the pianoforte, and no man can fathom a score with greater facility; that he has proved himself an excellent conductor of an instrumental band, the result of Friday night fully proves. We have only now to add, and we are sure we shall be borne out by those who were present, that no Concert ever excited more interest, or afforded more general satisfaction.
"ROYAL ACADEMY OF MUSIC", The quarterly musical magazine and review 7 (1825), 152-53, 408-09
https://books.google.com.au/books?id=swUVAAAAQAAJ&pg=PA152 (DIGITISED)
. . . We come now to the means by which study is connected with performance. On entering the Academy, the pupil (or parent) has the liberty of choosing the instrument to which he wishes to devote his attention. With this choice the Academy never interferes, unless a manifestly better direction of time and ability can be pointed out. But as the desire to acquire a knowledge of those instruments which are the most likely to lead to rank and emolument in the profession would produce an uniformity fatal to some of the best purposes of the school, every boy is taught to perform on some other, and it is thus the diversity necessary for orchestral practice and combination is obtained at the same time that the knowledge of the pupil is extended, and he is enabled to take some part in a concert. We have lately attended the orchestral rehearsals and the public performances, and it is but justice to admit the progress of the students. The precision cannot be too much commended: they play well in tune, they take up the points, observe the pianos and fortes in their various gradations, and exhibit so much intelligence in all the parts of their performance, that it is impossible not to perceive that such instruction and such practice must make fine musicians. We have rarely indeed witnessed a more interesting spectacle than this young band. At one of these rehearsals an overture, the composition of Phipps, was played with admirable precision. The style of Haydn had obviously caught the aspirant's fancy; consequently his production is in the manner of that master, but it is highly creditable. Indeed it is no small honour to a lad of sixteen that any thing he could produce can be endowed in juxta-position with such symphonies as those of Haydn and Mozart. But we can truly say the overture afforded us great pleasure. Lucas and Mudie have also written overtures of much merit. Of the concerto playing, upon the several instruments, we may speak in almost unlimited terms, taking, as we necessarily do, the allowance for the age and period of instruction. Several of the pupils are now admirable performers. The Committee of the Academy distinguish the meritorious by an annual distribution of prizes, which the pupils afterwards wear at the public performances.
Agreeably to the rules, rehearsals take place at two o'clock every Saturday, and once a month there is a public concert at the Academy. We shall now give two or three of the bills. The selections will shew what even judicious masters think it prudent for the pupils to attempt - and such men are not likely to put their reputation to the hazard: of their success indeed we have already taken upon ourselves to speak, and we may safely appeal to all those who attend these performances to ratify our opinion.
SATURDAY, FEBRUARY 5th, 1825.
PART I.
Symphony in D . . . Haydn
Quartetto - Misses J. Bellchambers, Porter, Watson, and C. Lucas - "Sento in petto un freddo gelo" . . . Cimarosa
Solo, Violoncello - C. Lucas . . . Romberg
Serenata - Misses Grant, Bellchambers, C. Lucas, and C. S. Packer - Harp, Miss Shee - Horn, W. M. Daniels - "Oh notte" . . . Paer
Concerto, Piano Forte - Miss Chancellor . . . Dussek
Sestetto - Misses Porter, Grant, Chancellor, J. Bellchambers, C. Lucas, and C. S. Packer - "Sola, sola" . . . Mozart
PART II.
Symphony (Jupiter) . . . Mozart
Quartetto - Voice, Miss J. Bellchambers - Piano Forte, W. H. Phipps - Violin, T. Mawkes - Harp, E. Nielson . . .
Moscheles, Mayseder, and Bochsa
Duetto - C. Lucas and C. S. Packer - "Vanne deh lascia, oh Dio!" . . . Paer
Overture to Der Freyschutz . . . Weber
SATURDAY, MARCH 5th, 1825.
PART I.
Symphony in D . . . Mozart
Quartetto - Misses J. Bellchambers and Porter, C. Lucas, and C. S. Packer - "Non ti fidar" . . . Mozart
Symphony Concertante - Two Violins, H. B. Blagrove and C. A. Seymour . . . Winter
Trio - Misses J. Bellchambers and Watson, and C. Lucas - "O dolce e caro istante" . . . Cimarosa
Fantasia, Harp, with Orchestral Accompaniments, Miss Shee . . . Bochsa
Sestetto - (Finale of the 1st Act of II Matrimonio Segreto), "Tu mi dice" - Misses J. Bellchambers,
Grant, Chancellor, and Watson; Chas. Lucas and C. S. Packer . . . Cimarosa
* For a report of the first see vol. 6, page 80.
[153] PART II.
Overture (MS.) . . . C. Lucas, Pupil of the Royal Academy of Music.
Duetto - Misses Grant and Porter - "Su l'aria" . . . Mozart
Concerto, Piano Forte - Miss Dickens . . . Woelfl.
Trio - Misses J. Bellchambers and Watson, and C. Lucas - "Mi lasci o Madre amata" . . . Winter
Overture to Anacreon . . . Cherubini
SATURDAY, APRIL 9th, 1825.
PART I.
Overture in C, No. 10 . . . Haydn
Coro, "Tacete ombre" (Il Cid.) . . . Sacchini
Concerto, Piano Forte - T. M. Mudie (Pupil of Mr. Potter) . . . Beethoven
Quintetto - Misses Watson, Porter, Chancellor, and Charles Lucas and C. S. Packer - "Hm, hm" (Il Flauto Magico) . . . Mozart
Trio, Violin, T. Mawkes - Viola, W. M. Daniells, (Pupils of Mr. Spagnoletti,) and Violoncello, C. Lucas, (Pupil of Mr. Lindley) . . . Rolla
Finale to the First Act of Il Tancredi, "Ciel! che intesi" . . . Rossini
The principal parts by Misses J. Bellchambers, Chancellor, Watson, Porter, Charles Lucas, and C. S. Packer.
PART II
Overture (MS.) . . . T. M. Mudie, (Pupil of the Royal Academy of Music.)
Introduction and Quartetto - Miss J. Bellchambers, Porter, Grant, and Watson - "Oh stelle soccorso" - (Il Flauto Magico) . . . Mozart
Grand Variations, Piano Forte - Miss Goodwin, (Pupil of Mr. Beale), with Orchestral Accompaniments . . . Moscheles
Quartetto - Misses J. Bellchambers, Porter, Grant, and C. Lucas - " Sento in petto un freddo gelo" . . . Cimarosa
Overture to Preciosa . . . Weber
However good the general selection in these bills may be, there is one attendant fact so palpable, that it cannot fail to draw down observation - which is, that there appears no provision for the cultivation of English singing. English instrumental music must we apprehend be given up, for in point of fact there can hardly be said to be any. We feel that we are now touching upon very delicate not to say very dangerous ground; but as our enquiry is after truth, we are not afraid to look her in the face. English singing cannot be said to be cultivated in the academy. This is certainly matter of reproach in an institution purporting to be national . . .
https://books.google.com.au/books?id=swUVAAAAQAAJ&pg=PA408 (DIGITISED)
. . . Nothing can more justly tend to confirm its claims to support than the fact that the pupils are proceeding meritoriously in their studies, and that their deserts are allowed by the competent professors at the head of the establishment, and by the committee who so vigilantly and so constantly watch its interests and its progress. It will be remembered that a distribution of prizes is made yearly to those students who have been thought to merit such distinction, after the public concert. It took place this year on the 30th of June, at the Hanover-square Rooms (by permission of the Right Hon. the Directors of the Ancient Concert) and the scheme was as follows:
PART I.
OVERTURE (Chasse du Jeune Henri) - Mehul.
QUARTETTO , Misses M. Bellchambers and Chancellor, Charles Lucas and C. S. Packer -
"Lo! star-led chiefs." (Palestine). - Dr. Crotch.
SYMPHONY CONCERTANTE, two Violins, C. A. Seymour and H. G. Blagrove, Pupils of Mr. F. Cramer. - Spohr.
SCENA ed ARIA, Miss J. Bellchambers - "Ah perfido." - Beethoven.
CONCERTO, Piano Forte, C. S. Packer, Pupil of Mr. Potter. - Steibelt.
FINALE to the first Act of Il Don Giovanni - "Presto, presto;"
the principal parts by Misses M. and J. Bellchambers, Grant, and Watson, Charles Lucas and C. S. Packer. - Mozart.
Part II.
SEPTETTO (MS.) - Harp, Miss Shee, Pupil of Mr. Bochsa; Flute, D. H. Brett;
Oboe, M. A. M. Cooke; Clarionet, T. M. Mudie; Horn, W. M. Daniel; Violoncello, C. Lucas; and Contra Basso, T. J. E. Harrington. - Bochsa.
TRIO, Miss Grant, Charles Lucas and C. S. Packer - "Oh Nume." (La Gazza Ladra.) - Rossini.
CONCERTO, Violin, T. Mawkes, Pupil of Mr. Spagnoletti. - Mayseder.
PREGHIERA from Mosè in Egitto - "Dal tuo stellato;"
the principal parts by Misses M. and J. Bellchambers, and C. S. Packer;
Harp Obligato, E. I. Neilson, Pupil of Mr. Bochsa. - Rossini.
FANTASIA, Piano Forte, Miss Chancellor, Pupil of Mr. J. B. Cramer. - Cramer.
OVERTURE (MS.) - C. Lucas, Pupil of Dr. Crotch.
[409] Nothing could be more creditable than the entire performance. Seymour and Blagrove played excellently, and little Mawkes like a prodigy. Miss Chancellor's fantasia was well executed, and what is better, well expressed. The overture by Lucas was an exceedingly good composition. The singing manifested the good taste and the effects of the scientific instruction of Mr. Crivelli.
The names of the pupils to whom prizes were awarded, were read, and the delivery by her Royal Highness the Princess Augusta, took place in the Directors' box . . . The following is the list of the pupils, of their rewards, and the causes for which they were given.
Distribution of Prizes, Midsummer, 1825.
. . . C. S. Packer - Bronze medal - For composition . . .
[410] We may conclude our present brief notice with stating, that Lord Burghersh, the president, having obtained leave of absence from his embassy, is returned for a short residence in England, and has already exerted himself to decrease the expences and increase the income of the academy with success. Through his Lordship's intervention Signor Velluti has been induced to superintend the instruction of such of the pupils in singing as are in a sufficient state of preparation to benefit by his tuition . . .
ASSOCIATIONS: Domenico Crivelli (instructor); Giambattista Velluti (vocalist)
Second half of 1825, entry in minute book, Royal Academy of Music
Referred to by Frederick Corder, A history of the Royal Academy of Music (London: F. Corder, 1922), 22
http://hdl.handle.net/1802/22270 (DIGITISED)
. . . In July, 1825, the Rev. Mr. Hamilton was elected to succeed Mr. Miles as Superintendent . . . Economy being now the order of the day, Resolutions appear in the Minute Book of the Committee directing . . . Packer, Phipps and Mudie to go for an hour twice a week to Messrs. Stodart's, Clementi's and Broadwood's to learn the art of pianoforte tuning, so as to save the cost of the tune at the R. A. M. (footnote: This was found to cost rather more than it saved, and was soon given up) . . .
ASSOCIATIONS: William Stodart (pianoforte maker); Muzio Clementi (musician, pianoforte maker); John Broadwood and Sons (pianoforte makers)
2 August 1825, Charles Packer, senior, purchase of an Erard double harp
Transaction, Erard ledger 2, Royal College of Music, MS 10111, fol. 236
https://archive.org/details/erard-harp/ErardHarp_2/page/n335/mode/2up (DIGITISED)
NOTE: This harp may have been puchased for onsale by Packer, senior; alternatively, it is possible that it was a first harp for Frederick, aged 11, though probably not, as Hallo 2014 suggests, for Charles junior; the entry below records, unrelated to the Packer purchase, records a separate alteration sale of an earlier harp from a single to a double, sold to a Mr. Ludlow
1826
Round, The academy roll call to dinner W. C. 1826 . . . Royal Academy of Music, library, MS465; from online catalogue record (http://lib.ram.ac.uk):
(We all love our homes), by William Crotch (1775-1847); reproduced in Corder, A history (see above), plate after 22
. . . To Holmes, Hart, Mudie, Nielson, Lucas, Pye, Seymour, Cooke & Packer this effusion is inscribed by the Author
ASSOCIATIONS: William Crotch (musician, instructor)
1827
20 December 1827, morning concert
[News], Globe (21 December 1827), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0001652/18271221/012/0003 (PAYWALL)
A Concert, by the Pupils of the Royal Academy of Music, was given yesterday morning, at the Hanover-square Rooms. It was brilliantly and numerously attended . . . song from La Mort d'Abel,” composed by C. S. Packer, pupil of the Academy, and sung Mr. A. Sapio . . .
"ROYAL ACADEMY OF MUSIC", The harmonicon (January 1828), 20
https://books.google.com.au/books?id=vV0PAAAAYAAJ&pg=PA20 (DIGITISED)
A concert was performed on Thursday noon, the 20th ultimo, in the Hanover-square Rooms, by the pupils of this establishment, which both surprised and pleased us: for we were not prepared to witness so great an advance as those young people have made within the last twelve months, and were gratified, in no ordinary degree, by some pieces we heard, considered as musical performances, and independently of the pleasure which the exertion of youthful talents must always excite. The program (to which we are sorry to see the vulgar lottery-office term of scheme still applied) consisted of Mozart's symphony in D; "Now heaven in fullest glory shone," from The Creation; Sarti's quartet, "Dorina, mia cara"; Hummel's Septuor; Guglielmi's "Gratias agimus tibi"; a violoncello solo, of Dotzauer; Rossini's duet, "Se tu m'ami"; the overture to Fidelio; a new recitative and air, by C. S. Packer, one of the pupils; a duet from Paer's Agnese, "Qual sepolcro"; concerto, piano-forte, Hummel; Rossini's duet, "Un segreto d'importanza"; and the finale to the first act of Don Giovanni . . .
The new vocal piece, the words from an Italian sacred drama, La Morte d'Abelle, is exceedingly creditable to the youthful composer; it proves him to possess both a genius for invention, and industry to render his powers available. The recitative, describing Cain's agonies of remorse and despair, is full of talent and judgment: the accompaniments are, in every way, of the most masterly kind, and the harmonies, in many instances, are absolutely new, and highly effective. The first movement of the air is melodious and well-suited to the words: the second full of spirit, but less original. We recommend the juvenile artist to alter the opening of the recitative, which at present is too much like the commencement of "Deeper and deeper still." The change of a note or two will suffice.
If our praise and good wishes be of any value to this ingenious eléve, he has them. Should he persevere he can hardly fail. He seems to think for himself - not rashly, or in any way indicating a redundant share of self-complacency, but just up to that point which renders him too proud, too independent, to condescend to the humiliating practices of the herd of imitators.
1828
May 1828, publication of Del fallo m'avvedo (recitativo: "Basta! Basta!")
[Advertisement], The Berkshire chronicle, Windsor Herald, and Forest Vale, and general advertiser (10 May 1828), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000358/18280510/032/0002 (PAYWALL)
Just published. SCENA, RECITATIVE, Basta Basta, ED ARIA, Del fallo m'Avvedo;
from Metastasio's La Morte d'Abelle, sung by Mr. A. SAPIO. -
Composed and respectfully dedicated (by permission) to the Right Hon. the Committee of the Royal Academy of Music, By C. S. PACKER, Member of that institution.
London: published for the Author, by S. Chappel, 135, New Bond-street, and to be had of Mr. C. Packer, Music Saloon, 123, Castle-street, Reading.
"NEW MUSIC", The athenaeum 2/34 (18 June 1828), 539
http://books.google.com.au/books?id=ppsTAAAAYAAJ&pg=PA539 (DIGITISED)
A very correct, clever, and well-imagined production, certainly exhibiting excellent promise about the incipient production of so young a writer . . .
Scena Recitativo, "Basta! Basta!" ed aria, "Del fallo m'avvedo." The words from Metastasio's "La Morte d'Abelle. Sung by Mr. A. Sapio; composed, and respectfully dedicated (by permission) to the Right Honourable the Committee of the Royal Academy of Music, by C. S. Packer, Member of that Institution, Chappell. 3s.
A VERY correct, clever, and well-imagined production, certainly exhibiting excellent promise about the incipient production of so young a writer. We cannot but fear that the vocal part, being necessarily written (to be sung by A. Sapio) in the bass clef, this scena will scarcely obtain circulation sufficient to render it popular, and to repay the expense of publication; but it deserves, therefore, the greater credit, from the independence with which it is offered to notice.
The recitativo abounds with ingenious modulation, and must be very effective with orchestral accompaniments; the andante Larghetto (in a flat, 3-4 time) exhibits a pleasing aria to the words "Del fallo m'avvedo;" and the concluding Presto Furioso, is clever and characteristic.
1 November 1828, morning concert
"ROYAL ACADEMY OF MUSIC", Globe (3 November 1828), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0001652/18281103/012/0002 (PAYWALL)
On Saturday a morning concert of the pupils of the Royal Academy of Music was held at the Hanover-square Rooms, and was numerously and fashionably attended. We have seldom been at concert at which we have received more unmixed satisfaction than at that of Saturday, whether the merit of the pieces selected be considered, or the display of instrumental and vocal talent by the pupils . . . The manuscript finale by Mudie happily unites the strength of the German school with the beauty of the Italian. It was followed by manuscript scena by C. S. Packer, a pupil of the Academy. He seems to have studied the best authors, and to have applied himself with some diligence to the grammatical structure of composition. The scena "Oh! me infelice" was given Miss Bellchambers with that simplicity of grief which knows no ambitious ornament, and seeks for language only to express its thoughts . . .
8 December 1828, English Opera House, pupils of the Royal Academy of Music
"ENGLISH OPERA HOUSE", The morning post (9 December 1828), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18281209/016/0003 (PAYWALL)
A very interesting performance took place at this Theatre last night, being the Hrst dramatic attempt of the Pupils of the Royal Academy of Music. With the assistance only of De Begnis, who played Figaro they performed the Barbiere di Siviglia, and the experiment was highly honourable to the institution generally, as well as to the individuals concerned. The Theatre has been fitted up exactly as last year for the French Company, and the subscription boxes were all filled by distinguished patrons of the Academy. Her Royal Highness the Duchess of Kent and a party occupied His Majesty's box. The pit was completely filled by highly respectable company, attracted by the novelty of the exhibition. The following is a list of the young performers, vocal and instrumetal, from which the strength of the band may be perceived.
Figaro - Sig. DE BEGNIS.
Rosina - Miss CHILDE.
Berta - Miss BROMLEY.
Conte D'Almaviva - M. BISTEGHI BRIZZI.
Bartolo - M. A. SAPIO.
Basilio - M. E. SEGUIN.
Fiorello - M. R. SMITH.
Maestro al Piano, C. S. PACKER.
ORCHESTRA. - Leader, C. A. Seymour; Principal Second Violin, H. G. Blagrove;
Principal Viola, C. Quarterman; Principal Violoncello, C. Lucas; Principal Double Bass, J. Howell:
Violins, T. Mawkes, C. A. Patey, E. W. Thomas, W. Dorrell, G. H. Bianchi,
A. Devaux, W. S. Bennett, R. Kiel, G. Packer, K. White;
Violas, S. Philpot, T. Goodban;
Violoncellos, F. Hill, W. Smith, F. A. Packer;
Double Bass, J. Ella; Flutes, D. H. Brett, - Kiallmark; Oboes, H. A. M. Cooke, R. K. Brewer;
Clarionets, T. M. Mudie, G. Hill; Bassoon, J. Baker; Horns, W. M. Daniell, J. Hopgood;
Trumpet, J. Greenhill; Trombone, J. Harroway; Drum, H. J. West.
. . . De Begnis was all life and humour as the barber. Perhaps, however, he set the young people a somewhat dangerous example in the liberties he occasionally takes. The overture gave so much satisfaction as to be encored, and the accompaniments throughout the Opera were played with very creditable precision. The performance, upon the whole, was superior to any thing that could have been anticipated from a first effort, and it gave evident pleasure to an audience which seemed to be peculiarly interested in its success.
"ENGLISH OPERA HOUSE", The globe (9 December 1828), 2
. . . Some of our Morning contemporaries have described the performance last night of the Pupils of the Royal Academy of Music,
in the Italian opera of Il Barbiere Seviglia, as an affair of mere promise, and others have passed it over altogether . . .
To us, however, the most-interesting sight in front of the curtain was the orchestra, which was thus composed:
ORCHESTRA . . . Violins: . . .. W. Packer; . . . Cellos: . . . F. A. Packer . . .; . . . Maestro al piano: Mr. Packer . . .
ASSOCIATIONS: Giuseppe De Begnis (instructor, vocalist)
11 December 1828, Charles Packer senior's concert, Reading, with pupils of the Royal Academy
[Advertisement], The Berkshire chronicle (29 November 1828), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000358/18281129/041/0001 (PAYWALL)
ROYAL ACADEMY OF MUSIC, PATRON, HIS MOST GRACIOUS MAJESTY.
MR. C. PACKER HAS the honor to announce, that having obtained permission of the RIGHT HONOURABLE THE DIRECTORS
OF THE ROYAL ACADEMY OF MUSIC to give a CONCERT, to be performed the Students of that Institution,
the Concert will take place (by permission of the Worshipful the Mayor), at the TOWN HALL,
Reading, On THURSDAY Evening, December 11, UNDER THE MOST DISTINGUISHED PATRONAGE.
PRINCIPAL VOCAL PERFORMERS, MISS BELCHAMBERS, MISS WILLIAMS, MISS CHILDE, Mr. HODGES, Mr. A. SAPIO, and Mr. SEGUIN. SOLO INSTRUMENTAL PERFORMERS, VIOLINS: Mr. T. MAWKES and Mr. G. H. BLAGRAVE; OBOE, MR. H. A. M. COOKE; VIOLONCELLO, Mr. C. LUCAS; PIANO-FORTE, Mr. C. S. PACKER; LEADER, MR. C. SEYMOUR; CONDUCTOR, Mr. Charles S. PACKER. The whole under the Direction of MR. C. PACKER.
Every department of the Orchestra will filled the Students of the ROYAL ACADEMY, and will be complete and highly effective. After the Concert there will be a BALL, for which J. WEIPPERT'S celebrated Quadrille Band is engaged.
Single Tickets (including refreshments) half a guinea each, or twelve tickets five guineas, to be had of Mr. C. PACKER, 123, Castle-street, and the Berkshire Chronicle and Mercury Offices. BOOKS OF THE CONCERT SIX PENCE EACH. 123, Castle Street, Nov. 21, 1828.
"ROYAL ACADEMY OF MUSIC. MR. C. PACKER'S CONCERT", The Berkshire chronicle (13 December 1828), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000358/18281213/014/0002 (PAYWALL)
. . . we were present at Mr. Packer's concert in our Town hall, on Thursday night, when the performers were pupils of the Royal Academy of Music, and we, in common with the hundreds who attended on the occasion, experienced unqualified delight in such a treat, so truly rich and varied . . . amongst the company present, we noticed her Grace the Duchess of Wellington, the Marquis and Marchioness of Downshire, Sir C. S. Hunter . . .
. . . The Concertante Duet, composed by Mr. C. S. Packer, for the piano-forte and violin, evinces the most refined taste and brilliancy of conception; it was performed by himself and Mr. C. Lucas, in a manner that might be distinctly said to have called for the most rapturous and well-deserved applause from every part of the room. The Scena, "Basta, Basta", also composed by our young townsman, being the first composition published by any pupil of the Institution, has been fully criticised in the musical reviews, and spoken of highly. Our expectations were fully realised - it is one of those [?] effusions of genius which points with certainty to the first eminence of professional ability, and was sung in the most effective and finest manner, by Mr. A. Sapio . . .
This was the FIRST performance of the Royal Academy of Music in the country . . .
"MR. PACKER'S CONCERT", The Berkshire chronicle (20 December 1828), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000358/18281220/014/0002 (PAYWALL)
The distinguished but certainly not undeserved success, which has marked the first performance of the pupils of the Royal Academy in this town, must be most gratifying to Mr. Packer's feelings as a professional man, as well as a father and a native of the borough. On no previous occasion had there been a more numerous and respectable assemblage . . . [A list of prominent local attendees follows . . .] The performances generally gave unqualified satisfaction, and Her Grace the Duchess appeared to be highly gratified. We have no doubt, after such an auspicious and successful first essay, but what Mr. Packer will be again induced to place the extraordinary accomplishments of the Royal Academy pupils before the enlightened and tasteful tribunal of a Reading audience.
20 December 1828, last performance of Il barbiere di Siviglia by the pupils of the Royal Academy
"ENGLISH OPERA HOUSE", The morning post (22 December 1828), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18281222/026/0003 (PAYWALL)
The third and last of the first series of performances at this Theatre, by the Pupils of the Royal Academy of Music, took place on Saturday evening. Rossini's Opera of Il Barbiere di Siviglia was repeated, and its representation was witnessed by a full and fashionable audience. The part of Figaro, as before, was sustained by Signor DE BEGNIS, and of his performance it is altogether unnecessary to speak; its merits are well known and fully appreciated . . . To the orchestra very great credit was due. Towards the conclusion especially, Mr. C. A. Seymour, led with a degree of spirit and power well worthy of a master. The character of the music was maintained; its bursts and vigorous descriptions were given with force; its brilliancies were as sparkling in the execution as in the conception, and its delicate and fanciful touches and varieties were happily valued by Mr. C. S. Packer, at the piano. The experiment has thus been made, and it has succeeded far beyond what could have been reasonably anticipated. The great difficulties are now overcome, and something more of perseverance and good conduct only are necessary to give us an English Italian Opera of such excellence as shall supersede the necessity of our any longer surrendering at discretion to the exorbitant demands of foreign performers.
1829
22, 24, and 27 January 1829, pupils of the Royal Academy of Music, English Opera House
Il fanatico per la musica, opera buffa, the music by Mayer, with additional music by other celebrated composers, arranged by Signor de Begnis, expressly for the first representation of the pupils of the Royal Academy of Music, at the Theatre Royal, English Opera House, January, 1829, the whole under the direction of Signor de Begnis (London: Seguin, 1829)
https://babel.hathitrust.org/cgi/pt?id=hvd.32044040631384 (DIGITISED)
. . . ORCHESTRA . . . Leader, C. A. SEYMOUR; Conductor, C. S. PACKER . . . Violins . . . G. PACKER . . .
[Advertisement], Morning Post (15 January 1829), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18290115/002/0001 (PAYWALL)
UNDER the immediate Patronage of his MAJESTY. -
ROYAL ACADEMY of MUSIC . . . in compliance with the general desire that has been expressed bv many of the Patrons of the Institution,
who were absent from town during the performance ofthe Italian Operas by the Pupils,
that THREE OPERAS will be represented at the English Opera House, by Permission of the Lord Chamberlain,
Mr. Arnold having again kindly offered the use of his Theatre for this purpose. -
The first representation will be IL BARBIERE DI SIVIGLIA, on THURSDAY, the 22d of January;
the second, L'INGANNO FELICE, on SATURDAY, the 24th; and on TUESDAY, the 27th Instant,
IL FANATICO PER LA MUSICA, being positively the last Performances of the Pupils this Season.
The whole under the direction of Signor De Begnis . . .
5 December 1829, King's Theatre
"KING'S THEATRE", Sun (7 December 1829), 3
https://www.britishnewspaperarchive.co.uk/viewer/bl/0002194/18291207/027/0003 (PAYWALL)
. . . The principal characters on this occasion revolved on Miss CHILDE (as Isabella), Miss TUCKER, (as Elvira), Miss BROMLEY (as Zulma), Mr. SEGUIN (as Mustapha), Mr. BRIZZI (as Lindoro), Mr. C. S. PACKER (as Thaddeo), and Mr. F. SMITH (as Haly) . . .
"LONDON. MONDAY, DECEMBER 7", Salisbury and Winchester journal (14 December 1829), 1
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000361/18291214/002/0001 (PAYWALL)
On Saturday evening Rossini's Italiana in Algieri was performed by the pupils of the Royal Academy of Music at the King's Theatre. The principal characters devolved on Miss Childe, Miss Tucker, Miss Bromley, Mr. Seguin, Mr. Brizzi, and Mr. C. S. Packer. Miss Childe sustained her part in a manner which would have done credit to many a more experienced prima donna on the Italian stage. A great improvement has taken place both in the compass and flexibility of her voice; and the progress of her studies had enabled her do ample justice to the difficult music assigned to Isabella. Miss Tucker evinced great progress of vocal attainment, and holds out good promise. Miss Bromley distinguished herself as an able vocalist. Mr. Seguin's voice has acquired a deeper and fuller tone, and its cultivation has evidently been industriously kept up. Indeed, is difficult to meet with a bass voice at once so flexible, and of so deep a compass in a person of his years. Mr. Brizzi's musical taste and style of singing have undergone great improvement. Mr. Packer filled his part with much comic humour, and to the great amusement of the audience. One of the most remarkable features of this performance was the superior manner in which the orchestra went through its duties.
1830
"KING'S THEATRE", The harmonicon (January 1830), 43
https://books.google.com.au/books?id=HugqAAAAYAAJ&pg=PA43 (DIGITISED)
On Saturday the 5th ult. the pupils of the Royal Academy of Music performed Rossini's Italiana in Algeri, in the great room, - now fitted up with a stage and scenery, - of the King's Theatre. Considering the difficulties the Committee had to encounter, owing to the desertion of one or two of those who were bound in gratitude to render the institution every possible assistance, the opera was got up tolerably well. So far as singing was concerned, the parts of Mustafa (Seguin) and Isabella (Miss Childe) were surprisingly well performed. Mr. Brizzi has so little voice, that Lindor, in his hands, was any thing but a first character; and the character of Taddeo, - good-naturedly undertaken at very short notice by Mr. Packer, the ingenious composer, who does not pretend to any vocal talent - though acted with spirit, suffered from want of physical force in its representation.
[Advertisement], The Reading mercury (12 April 1830), 3
ROYAL ACADEMY OF MUSIC. PATRON: His Most Gracious Majesty.
Mr. PACKER HAS the honour to announce, that the Right Hon. the DIRECTORS of the ROYAL ACADEMY of MUSIC have again permitted him to give a CONCERT, to be performed by the PUPILS of that Institution, (with permission of the Worshipful the Mayor) At the TOWN-HALL, READING, On THURSDAY EVENING, APRIL 15, 1830
UNDER THE IMMEDIATE PATRONAGE OF Her GRACE the DUCHESS WELLINGTON, The Right Hon. VISCOUNTESS SIDMOUTH, Lady HUNTER, Mrs. MAYNE, Mrs. BEAUCHAMP, Mrs. POWIS, Mrs. J. BREEDON, Mrs. RUSSELL, Mrs. CHOWNE, Mrs. STORER, Mrs. D. GRIFFITH, Mrs. THOYTS, Mrs. DICKENSON, Mrs. VANDERSTEGEN, Mrs. GARTH, Mrs. WHEBLE; STEWARDS: JOHN WALTER, Esq. High Sheriff. The Right Hon. Sir G. WARRENDER, Bart. M.P. Major-General Sir A. F. BARNARD. K.C.B. Sir CLAUDIUS STEPHEN HUNTER, Bart. Lieut-General CHOWNE, Rev. H. H. MILMAN, Admiral DUNDAS, Major OAKES, Dr. BAILEY, R. PALMER, Esq. M.P., Rev. S. BRISCALL, J. PRETTEJOHN, Esq., F. BUCKERIDGE, Esq., Captain PURVIS, J. BULLEY, Esq., H. ROSE. Esq., Major CAMERON. H. RUSSELL, Esq.. Rev. J. CONNOP, R. SIMONDS. Esq., S. DICK, Esq., Dr. P. SMITH, T. H. A. EARLE, Esq., T. F. SOWDON. Esq., Captain GARTH, R.N., WM. STEPHENS, Esq., EDWARD GOLDING, Esq., WM. STONE, Esq., ROBERT HARRIS, Esq., JAMES WHEBLE, Esq., A. HUME, Esq., Rev. Dr. WISE, Colonel MAYNE.
PRINCIPAL VOCAL PERFORMERS: MISS CHILDE & MISS WILLIAMS, Mr. BRIZZI and Mr. E. SEGUIN.
Solo Instrumental Performers: Violin Mr. H. G. BLAGROVE; Viola Mr. W. DORRELL; Violoncello, Mr. C. LUCAS; Double Bass, Mr. J. HOWELL; Flute, Mr. BRETT; Oboe, Mr. H. A. M. COOKE; Corni, Mr. DANIEL and Mr. HOPGOOD; Fagotto, Mr. BAKER; Piano-Forte, Mr. C. S. PACKER; Harp, Mr. F. A. PACKER.
Leader, Mr. C. A. SEYMOUR; Conductor, Mr. C. S. PACKER. The whole under the Direction of Mr. C. PACKER. Every department of the Orchestra will be filled the Students of the Royal Academy, and will be complete and highly effective.
PROGRAMME.--PART I.
OVERTURE - L'Italiani in Algieri . . . Rossini.
GLEE - "In peace Love tunes," . . . Misses CHILDE & WILLIAMS, & Mr. E. SEGUIN . . . Attwood.
Duo - "Ah non Lasciarmi," (Didone,) Misses CHILDE and WILLIAMS . . . Mercandante.
QUARTETTO - "Mi Manca la Voce," Misses CHILDE and WILLIAMS, Messrs. BRIZZI and E. SEGUIN, (Harp Obligato, Mr. F. A. PACKER.) . . . Rossini.
SCENA - "The last Man," Mr. E. SEGUIN . . . Callcott.
QUARTETT - Flute, Oboe, Horn, and Bassoon, Messrs. BRETT, H. A. M. COOKE, DANIEL, and BAKER . . . Tulou.
GRAND SEPTUOR - Piano-forte, Flute, Oboe, Horn, Viola, Violoncello, & Double Bass,
Messrs. C. S. PACKER, BRETT, COOKE, HOPGOOD, DORRELL, C. LUCASS, and J. HOWELL . . . Hummell.
TRlO -"Eccomi a te Gualtiero," (ll Pirata), Miss CHILDE, Mess. BßlZZi & E. SEGUIN . . . Bellini.
PART II.
Overture - Oberon . . . C. M. Von Weber.
Ballad - "I'll watch for thee," Miss WILLIAMS . . . Sir J. Stevenson.
Duetto - "Deve Vai," (Guillaume Tell), Messrs. BRIZZI and E. SEQUIN . . . Rossini.
Solo Violin - Mr. H. G. BLAGROVE . . . Mayseder.
SCENA - "Ah me infelice," Miss CHILDE, composed and dedicated, by permission, to Her Grace the Duchess of Wellington, by C. S. Packer.
Grand Trio - Piano-Forte, Harp, and Violoncello, Messrs. C. S. PACKER, F. A. Packer, and C. LUCAS . . . Bochsa.
Duett - "Come, let's be gay," Misses CHILDE and WILLIAMS . . . C. M. Von Weber.
Finale - "God save the King, newly arranged expressly for this Concert, by C. S. Packer.
After the Concert there will be a BALL.
Single Tickets, Half-a-Guinea wach - Seven Tickets for Three Guinea - or Twelve Tickets for Five Guineas, (Tea end Coffee included), to be had of Mr. PACKER Castle-street; the Office of this Paper; and of Mr. G. H. Lamb, bookseller, High-street, Reading. Doors opened at Seven, and the Performance to commence at Eight o'Clock, precisely. Books of the Concert, Sixpence each.
"ROYAL ACADEMY CONCERT", The Berkshire chronicle (10 April 1830), 2
We present our readers with the full particulars of Mr. Packer's concert, and on no occasion have our predictions been more completely verified than on the present. - We stated that it would offer a superior gratification to the lovers of good music; and we may now add, that it would be impossible to bring together into one evening's performance a greater variety of more beautiful compositions: Amongst others, we perceive there is a Scena, by Mr. C. S. Packer, dedicated to her Grace the Duchess of Wellington. We have never heard this piece performed, nor has yet been subjected to the ordeal criticism but we are convinced, from its announcement, that it will add to the highly-merited reputation of the author of "Basta, Basta," which drew forth such elaborate critique in the Harmonicon of last year. - First amongst the vocalists stands Miss Childe: this lady has indeed realized all that was anticipated of her early talent, and ranks with the most accomplished of our native singers. When Miss Williams was here at the last grand concert, she was so much indisposed as to be unable to perform; but from the acknowledged ability of this young lady, we anticipate much, as we also from Mr. Brizzi. Mr. E. Seguin is already too well known to call for any observation; he is allowed to be the legitimate successor to the inimitable Bartleman more we need not say, particularly to those of our readers who heard him on a previous occasion. Amongst the instrumentalists, there are many names which revive the most agreeable recollections of past pleasure. Our limits will not allow us to particularize their individual merit, but we cannot omit observing, how much we are gratified to see the names of Mr. Blagrove, Mr. Cooke, and Mr. Lucas, and of the able and talented leader, Mr. C. Seymour. Mr. C. S. Packer appears again both a composer and a performer, and we have no doubt will again delight his hearers and friends by the same masterly and elegant style of playing, which distinguished his last performance here. Mr. F. A. Packer makes his debut as a harp player in a trio (with Mr. C. S. Packer and Mr. C. Lucas), and from all we have heard, are confident this young gentleman will realise our high expectations of him. The whole arrangement reflects the greatest credit on Mr. Packer, whether we consider these concerts only as affording a great musical treat to the town and neighbourhood, or as a means of bringing before the public, the members of this institution so purely national, and who have already fulfilled the hope of its being permanently useful in cultivating and encouraging the native talent of the country, under the fostering patronage of our most excellent Monarch. There is an intensity of interest felt for the success of this institution, and the distinguished patronage with which Mr. Packer is honoured, leaves no doubt that the present concert will be attended by an exceedingly brilliant and numerous audience, as nothing short of that can repay him the anxiety and very heavy expense, which we know to be attendant on these concerts. After the concert there will be a ball - and, on the whole, we confidently anticipate an evening of most delightful and rational entertainment.
"MR. PACKER'S CONCERT", The Reading mercury (19 April 1830), 3
MR. PACKER'S CONCERT on Thursday evening, by the pupils of the Royal Academy, boasted a most numerous audience. The vocal music chosen for the occasion was a selection from the works of Rossini, Mercandante, Tulon, Weber, Callcott, Attwood, Hummell, and Bellini. Miss CHILDE, whose voice is an extensive soprano, acquitted herself in a manner which evinced much progress in the science. In the Scena, "Ah me infelice," she was particularly successful. - Miss WILLIAMS sang with great taste and execution and was highly applauded in very pretty Ballad, "I'll watch for thee." - The Quartetto, "Mi Mancha la voci," was very ably given by Misses CHILDE and WILLIAMS, Mr. BRIZZI, and Mr. E. SEGUIN, and they all displayed superior vocal acquirements. - Mr. E. SEGUIN gave the Scena, "The last man," in an effective manner, as to place him in the first rank of his profession. - Mr. BRIZZI's talents have been well cultivated and he did full justice to the [?] alloted to him. - The other vocal pieces were executed in the first style, and received the most vehement marks of approbation from the distinguished company which honoured the performance with their presence.
The Grand Trio, Pianoforte, Harp and Violoncello, Messrs. C. S. Packer, F. A. Packer, and C. Lucas, abounds in expressive and brilliant passages, particularly calculated to exhibit the mechanical powers as well as the musical judgment of the performers, who did credit to the composition, and received great and highly deserved applause. - Mr. SEYMOUR, who was the leader, executed the solos with a great deal of assurance and precision, thus showing his capacity a solo performer to be equal to his competency as a leader. - We must not omit mentioning the orchestra, which was entirely composed of pupils of the establishment, and who acquitted themselves in a manner fully worthy the applause directed to them more than once in the course of the evening. Their execution of the overture "Oberon" received the rare compliment of encore.
"Concert of the Royal Academy of Music at Reading", The Berkshire chronicle (1 May 1830), 4
Want of time and room, rather than of inclination, obliged us last week to notice this delightful concert in very brief and general terms; but we are sure our musical readers would scarcely excuse the omission a second time of a more detailed criticism on the performances of the evening. To those who heard the pupils of this most deserving institution in the same place last year, we cannot but think a very marked and gratifying advance towards perfection must have been perceptible; and this more particularly in the vocal department. In the beautiful Scena, the composition of Mr. C. S. Packer, which, much and deservedly as it was admired, would have been better appreciated, had the youthful conductor placed it in an earlier part of the evening, when the powers of the performers were more equal to its difficulties, and to give effect to it expressive harmonies . . .
. . . Miss Williams . . . in the ballad "I'll watch for thee" was loudly encoured. We cannot help here noticing the beautiful accompaniment of Mr. C. S. Packer to the song, whose requisite delicacy touch, delightfully relieved the somewhat monotonous character of the air itself . . .
It remains for us now more particularly to mention the performances of the two very talented natives of our town, Mr. C. S. end Mr. F. A. Packer, and to congratulate the spirited director of these concerts, on the possession of two sons of such high excellence and higher promise. Though there was not much, either in the harp obligato accompaniment to "Mi manca voce," or in the trio with Mr. C. S. Packer and Mr. Lucas, to display rapidity of execution, yet the fullness of tone and steadiness and precision of touch of Mr. F. Packer, showed great command and knowledge of his instrument. Mr. C. S. Packer, his part of Hummel's Septour or rather pianoforte concerto, left nothing to be wished: the wildest passages of that composition gained a harmony and polish by the rapidity and finish of his touch, that nothing but science capable of appreciating the designs of Hummel, and fingers to taught rival his, alike in strength and celebrity, could confer on them. The other performers in this piece deserved and gained much praise . . . On the whole we are sure we are justified in stating, that notwithstanding the scientific nature of the generality of the music, more adapted for the frequenters of the Philharmonic, than to catch the ears of a mixed audience, very few concerts have ever been given with greater credit to the performers and conductors, or more pleasure to the auditors. (Omitted last week.)
"ROYAL ACADEMY OF MUSIC", The harmonicon 8 (1830), 322
http://books.google.com/books?id=HugqAAAAYAAJ&pg=PA322
Charles Packer's name is not on the list of those who had completed their tuition
1831
"VOCAL", The harmonicon 9 (1831), 68, 124
Review of Oh me infelice/Crudo ciel (68)
. . . Nor were we less gratified by Mr. C. S. PACKER (a pupil of Mr. Potter), who played Hummel's Indian Fantasia on the piano-forte in a very superior manner . . .
"MUSIC. OPERA CONCERT ROOM", The London literary gazette and journal of belles lettres, arts, sciences . . . (25 June 1831), 412
http://books.google.com.au/books?id=HYdHAAAAYAAJ&pg=PA412 (DIGITISED)
The pupils of the Royal Academy of Music are already beginning to take upon themselves all the rights, privileges, and immunities belonging to the profession; and they seem well entitled to do so. Mr. Charles Packer, a young musician who has already accomplished much, and bids fair to do more, gave a concert at this room on Monday, which we notice on account of the singular exhibition of juvenile talent that it presented . . . Mr. Packer himself played capitally a concerto of Hummel, and part of a duet with Mr. Potter, in both of which the young professor proved himself to be a master of the instrument. Some of his own vocal compositions were performed by Lablache and others; and we were particularly struck by a trio called Di Luna, which was encored. The room was well filled.
Letter, from Mary Russell Mitford, 11 November 1831, to Miss Jephson, Ireland; in A. G. L'Estrange (ed.), The life of Mary Russell Mitford . . . related in a selection of her letters to her friends . . . in three volumes, vol. 2 (London: Richard Bentley, 1870), 324-25
https://archive.org/stream/lifeofmaryrussel02mitf#page/324/mode/2up (DIGITISED)
To Miss Jephson, Castle Martyr, Ireland.
Three Mile Cross, Nov. 11, 1831.
MARY QUEEN OF SCOTS' FAREWELL To FRANCE. "Oh! pleasant land of France, farewell! My country dear . . . [gives full text of Oh, pleasant land of France, farewell]
I begin with this, dearest, although perhaps I may have shown it to you before, because from these few lines I derive my hope of that enduring fame which poets call immortality - not from their own merit, but from their being "married to immortal" music. About three years ago Charles Parker [sic] asked me for a scena in English verse - something composed of recitative, air and chorus, analogous to the Italian scena. I happened to have begun this subject for one of the annuals, and finding, on mentioning it to him, that it was exactly [235] what he wanted, he has just completed the composition, and it is said by some of the best judges in town to be as fine as anything in English music. It is not published yet, but all the great people have heard it. I invited Mr. Merry and Emma Wines (another exquisite musician) to hear him sing it here. They were charmed with it; and yet we heard it to a disadvantage, for it makes fifty pages of music, and requires the united bands of Drury Lane and the Royal Musical Academy and above fifty chorus women. The first five lines (an almost literal translation of Mary's own verses, "Adieu! plaisant pays de France!") are the air - then the blank verse in exquisite recitative - then a magnificent chorus - then the song again - and then a chorus fading into the distance. No woman in England except Mrs. Wood (Miss Paton) can sing it; so that whether it will be performed in public at present is doubtful; but it is something to have furnished the thread on which such pearls are strung. Charles Parker is a musical wonder, like Mozart - a native of Reading, who was a pupil, and is a master of the Royal Musical Academy in London - not yet twenty-one. He is a most sweet and charming lad in mind and temper, and making a friend of every one who sees him.
It is not because Mr. Talfourd is eminent at the bar that he beats Mr. Merry in conversation . . .
Mary Russell Mitford, Our village: sketches of rural character and scenery, volume 5 (London: Whitaker, Treacher, & Co., 1832), 298-99
https://books.google.com.au/books?id=B8MQAAAAYAAJ&pg=PA298 (DIGITISED)
MARY, QUEEN OF SCOTS, FAREWELL TO FRANCE . . .. "Oh! pleasant land of France, farewell . . ."
. . . [the printed text begins as above, and continues]
[footnote] . . . The [299] whole of the present short scene has been very finely set by Mr. C. S. Packer, of the Royal Academy of Music, whose talent as a composer will, I believe, be made known to the public in the course of the ensuing winter [1833-34], in the great and arduous attempt of a real English opera on the model of the Italian, or, perhaps, more properly of the German school.
In her introduction dated 9 April 1832, Mitford bade "a late and lingering good-bye to the snug nook called Our Village . . . a half imaginary and half real little spot on the sunny side of Berkshire" (3).
ASSOCIATIONS: Thomas Talfourd (judge, lawyer)
Letter, from Mary Russell Mitford, Three Mile Cross, 13 December 1831, to Miss Jephson, Castle Martyr, Ireland; in A. G. L'Estrange (ed.), The life of Mary Russell Mitford . . . related in a selection of her letters to her friends . . . in three volumes, vol. 2 (London: Richard Bentley, 1870), 329
https://archive.org/stream/lifeofmaryrussel02mitf#page/329/mode/2up (DIGITISED)
. . . At present I am altogether immersed in music. I am writing an opera for and with Charles Parker [sic]; and you would really be diverted to find how learned I am become on the subject of choruses and double choruses and trios and septets. Very fine music carries me away more than anything - but then it must be very fine. Our opera will be most splendid - a real opera - all singing and recitative - blank verse of course, and rhyme for the airs, with plenty of magic - an eastern fairy tale . . .
1832
"ROYAL ACADEMY OF MUSIC", The London evening standard (16 April 1832), 3
The pupils of this institution performed a Concert on Saturday at the Hanover-square rooms. The vocalists were Miss Childe, Miss Turner, Miss Osbourne, Miss Wagstaff; Messrs. Allen and Stretton. Miss Childe sang a dramatic scene, written Miss Mitford, and composed by C. S. Packer, with much applause; the concluding chorus, "Oh, pleasant land of France, farewell," was exceedingly good and effective. Masters Gledhill and Richards performed a concertante duo for violins in a highly creditable manner; and the band played, in a superior style, Handel's occasional overture and Beethoven's symphony in D; but the star of the morning was Miss Dettmer, a pupil Mr. J. B. Cramer's, who performed a concerto of Hummel's on the pianoforte with a degree of taste, precision, expression, and brilliancy, that was quite astonishing for one so young, for she appeared not above twelve years of age; she reflects infinite credit on her highly talented instructor, and gives promise of becoming performer of the very first order in the true and legitimate style of pianoforte playing. Mr. Seymour led the first act, and Mr. Patey the second. The room was crowded with the friends and patrons of the Academy.
"ROYAL ACADEMY OF MUSIC", The Morning advertiser (16 April 1832), 2
On Saturday morning the second concert of the season of the pupils of the Royal Academy took place, at the Hanover-square Rooms, before a crowded and fashionable audience. The chief novelty in the selection was a dramatic scene, the words by Miss Mitford, the music by C. S. Packer of the Academy, which was sung by Miss Child. The subject is Mary Queen of Scots returning from France to Scotland, after the death of her first husband King Francis. The first few lives [sic - lines] are a literal translation of her well-known song, "Adieu plaisant Pays de France." The following is a portion of the introductory lines of Miss Mitford's scena:
Oh, pleasant land of France, farewell!
My country dear,
Where many year,
In peace and bliss I hoped do dwell,
Oh, pleasant land of France, farewell!"
RECIT.
So sang the Scottish Queen what time she stood
On her proud galley's prow, and saw the shores
Of France receding, the beloved shores
That she should never see again! Big tears
Drop't from her eyes, and from her lips the words
Broke in fond repetition, "Pleasant land,
Farewell! farewell!" Then silently she stood,
The lovely one! silent and motionless
Amidst her weeping train; her lofty head
Thrown back, - her fair cheek colourless, - her eyes
Fixed on the cloudy heaven.
Miss Child gave both aria and recitative in a very tasteful and feeling manner. Beethoven's symphony in D, and some of Handel's compositions, elicited marked applause.
1833
[Advertisement], The Western times (16 March 1833), 1
ROYAL ACADEMY OF MUSIC, LONDON . . . UNDER THE IMMEDIATE PATRNAGE OF THEIR MAJESTIES. H. I. HAYCRAFT, Student of the above Institution, begs respectfully to announce that his CONCERTS ARE FOR THE PRESENT POSTPONED, In consequence of the principal Students of the Royal Academy having been commanded to be in attendance on their Majesties, at Windsor during the Easter Holidays. In fixing a period for the Performances, sufficient notice will be given, to prevent inconvenience to Subscribers. H. I. H. trusts that his arrangements will ensure a continuance of that distinguished patronage has already experienced, and which he has the honour gratefully to acknowledge. Her Majesty having been most graciously pleased to grant leave of absence on the occasion to several Members of HER MAJESTY'S PRIVATE BAND, The following Instrumental Performers are positively engaged: Mr. C. A. SEYMOUR, Leader Ordinary of Her Majesty's Private Band; Mr. H. G. BLAGROVE, Solo Violinist to her Majesty; Mr. C. A. PATEY, Solo Violinist of the King's Theatre; Mr. C. LUCAS, Principal Violoncello, and Composer to her Majesty; Double Baas, Mr. HOWELL, Of the King's Theatre, Philharmonic, and Ancient Concerts; Oboe, Mr. GRATTON COOKE, Of the King's Theatre, Philharmonic, and Ancient Concerts; Horns, Messrs. DANIELLS and MUDIE, Of the King's Theatre, and Theatre Royal, Covent Garden; Harp and Drums, Mr. NICKSON; Trumpets, Messrs. HAYCRAFT and HARPER, Jun; Conductor, Mr. C. S. PACKER. Vocal Performers will announced future advertisements. The profits arising from the Concerts, wiU appropriated IN AID OF THE EXETER DISPENSARY. Subscriptions (One Guinea) received at the Exeter Bank, City Bank, Messrs. Trewmans' and Woolmer's Printing Offices, and Curson's library.
[Advertisement], The morning post (18 June 1833), 1
MR. STRETTON has the honour to announce that his CONCERT, under the Patronage of the Right Hon. Lord Burghersh . . . the Right Hon. Sir Gore Ousley, Bart., will take place at the ROYAL ACADEMY OF MUSIC, Tenterden-street, Hanover-square, by the kind permission of the Noble Director of that Institution, TO-MORROW EVENING, June 19,1838 (to commence at Nine o'Clock). Vocal Performers - Madame De Meric, Miss Bruce, Miss Turner, Mrs. Seguin, Miss Wagstaff; Signor Begrez, Signor Brizzi, Mr. A. D. [? ]. and Mr. Bennett; Mr. Seguin, Signor Giubilei, and Mr. Stretton. Conductor, Mr. C. S. Packer. Leaders, Messrs. Blagrove and Patey. The Band will be numerous and complete. Solo Performers - Pianoforte, Mr. C. S. Packer; Violin, Mr. Blagrove; Violoncello, Mr. Lucas; Harp, Mr. J. B. Chatterton; Contra Basso, Mr. Howell. Tickets Half-a-guinea each, to be had at the Royal Academy of Music, Tenterden-street, Hanover-square . . .
1834
[Advertisement], The Berkshire chronicle (20 September 1834), 2
MUSICAL SALOON, 123, CASTLE-STREET, READING.
JUST PUBLISHED,
MAUREEN." an Irish Ballad; composed and dedicated, by permission, to H. R. H. the Princess Victoria, by F. A. Packer, of R. A. of Music ; the words by Boulger, Esq.
"Come, Kate, with me;" composed and dedicated to Mrs. G. Bruin, by F. A. Packer; the words the late Mrs. Field.
"Take the Flower;" composed and dedicated to the Right Hon. Lady Kennedy Erskine, by F. A. Packer; the words from Dr. Beattie's Journal of Residence in Germany.
"I could not dream;" words by W. Boulger, Esq. F. A. Packer.
"I think of thee;" from Goethe's Poems - F. A. Packer.
"Oh think of me;" composed and dedicated to Lady Colvile, by C. S. Packer.
"May Day;" words by Miss Mary Russell Mitford - C. S. Packer.
"How often in that silent hour;" ballad, composed C. S. Packer.
"Basta, Basta," Grand Scena, composed and dedicated to the Right Hon. the Committee of the Royal Academy Music - C. S. Packer.
"De Luna al Raggio;" Terzettino, composed expressly for and dedicated to the Misses Carlisle - C. S. Packer.
"Oh me infelice;" Grand Scena; composed and dedicated, by permission, to her Grace the Duchess of Wellington - C. S. Packer.
Mr. Packer returns his best thanks to his friends and the public for past favors. Anxious by every means in his power to merit a continuance of the same flattering patronage, he has been solicitous to afford to them a choice selection of the newest Musical Publications and the best Instruments, by approved makers, and now respectfully solicits their inspection of some very superior Piccolo Piano Fortes, as well as other, which he is determined to offer for sale or hire on the most liberal terms.
A very superior VIOLINCELLO and CASE (the property of a gentleman) for Sale.
An experienced Tuner sent to any part of the country on the shortest notice.
Sept. 19th, 1834.
[Reviews], The Berkshire chronicle (4 October 1834), 4
MAUREEN, a Ballad, the words W. Boulger, Esq.; the music by F. A. Packer. - This is a pathetic little piece, in which the composer has, with great taste and judgment, preserved the spirit of the poetry, and not, as we have often observed, overlaid it with accompaniments "full of sound and fury, signifying nothing." The air is simple and touching; the words describe, in flowing and elegant verse, the return the exile to the desolate home of his youth. "Maureen" is ballad of very superior order.
COME, KATE, WITH ME - a ballad; the words by Mrs. Field, the music F. A. Packer. - This is a song in a livelier strain than the preceding, and affords us an opportunity of estimating Packer's talent in another kind of composition. There is much grace and spirit displayed in this pleasant little ditty. The poetry is fanciful and appropriate. It gives us much pleasure observe that both these pieces owe their existence to this town [Reading] - and, we hope, will do something to rescue it from the imputation of being one of the most backward - in such pursuits - of any which "the schoolmaster" has visited.
[Advertisement], The Reading mercury (1 December 1834), 3
BY PERMISSION of the WORSHIPFUL the MAYOR.
GRAND MUSICAL ATTRACTION. MORI'S MORNING CONCERT, Miss CLARA NOVELLO. Miss BRUCE. Mr. HENRY PHILLIPS. Mr. MORI.
MR. MORI has the honor to announce to the Nobility, Gentry, and Inhabitants of READING, that he will give
A GRAND MORNING CONCERT, On FRIDAY, DEC. 5, 1834, precisely at One o'clock, AT THE TOWN HALL,
on which occasion will be performed a Selection of Music, from the Operas of "THE MOUNTIAN SYLPH,"
composed by Barnett, "GUSTAVUS THE THIRD," ditto Auber; and a Variety of other Compositions . . .
Mr. C. S. PACKER will preside at the PIANO-FORTE.
PROGRAMME. PART I . . .
Concertante Duet, Violin and Piano-Forte - Mr. MORI and Mr. CHARLES S. PACKER. De Beriot & Osborne . . .
Tickets 7s. each and Family Tickets, to admit four, One Guinea, to be had at Mr. Binfield's and Mr. Packer's Music Warehouses.
"MORI'S MORNING CONCERT", The Reading mercury (1 December 1834), 3
The dilettanti of Reading and its vicinity will be gratified to learn that our talented countryman Mori, is likely to be soon amongst them. He has announced a musical entertainment for the 5th of December, (see advertisement) of the highest possible merit . . . In addition to his own unapproachable talent, Mr. Mori has obtained the co-operation of our highly-talented young townsman, Mr. C. S. Packer, of the Royal Academy of Music, and, we presume, at no trifling expense, secured the services of Mr. H. Phillips, Miss Clara Novello, and Miss Bruce, all vocalists from London, and too eminent to require any comment of ours. His programme is replete with beauties, in addition to compositions which are established in the public favor, he announces several novelties, among which may be classed a Concerto and a Fantaisie to be performed by himself for the first time, a Grand Concertante Duet, Violin and Piano-forte, by himself and Mr. C. S. Packer, and a selection from Barnett's New Opera, the Mountain Sylph . . .
1835
Sadak in search of the waters of oblivion (detail), Robert Martin (1812); USA, Saint Louis Art Museum
Wikimedia Commons (DIGITISED)
Sadak and Kalasrade (Charles Sandys Packer, 1835)
20 April 1835 (Easter Monday, opening night of season), first performance, Arnold's English Opera House, Lyceum Theatre, London
[Advertisement], The courier (20 April 1835), 2 (image above)
THEATRE ROYAL ENGLISH OPERA HOUSE.
This Theatre will commence the Season this Evening, with a New Grand Opera, called
SADAK AND KALASRADE; or, the Waters of Oblivion.
Amurath, Mr. Wilson; Sadak, Mr. H. Phillips; Achmet, Mr. J. Bland;
Kalasrade, Miss E. Romer; Zulema, Miss Somerville; Nymph, Mrs. Gordon . . .
21 April 1835, second performance
23 April 1835, third performance (cut version)
24 April 1835, fourth performance (cut version)
25 April 1835, fifth and last performance (cut version)
ASSOCIATIONS: Samuel Arnold (manager); John Wilson (vocalist); Henry Phillips (vocalist); James Bland (vocalist); Emma Romer (vocalist); Isabella Somerville (vocalist); Mrs. Gordon
For details of the work and sources (including original production wordbook), see:
Sadak and Kalasrade (worklist entry)
Letter, from Mary Russell Mitford, Three Mile Cross, 13 December 1831, to Miss Jephson, Castle Martyr, Ireland; in A. G. L'Estrange (ed.), The life of Mary Russell Mitford . . . related in a selection of her letters to her friends . . . in three volumes, vol. 2 (London: Richard Bentley, 1870), 329
https://archive.org/stream/lifeofmaryrussel02mitf#page/329/mode/2up (DIGITISED)
To Miss JEPHSON, Castle Martyr, Ireland.
Three Mile Cross, Dec. 14, 1831.
. . . At present I am altogether immersed in music. I am writing an opera for and with Charles Parker; and you would really be diverted to find how learned I am become on the subject of choruses and double choruses and trios and septets. Very fine music carries me away more than anything - but then it must be very fine. Our opera will be most splendid - a real opera - all singing and recitative - blank verse of course, and rhyme for the airs, with plenty of magic - an eastern fairy tale. God bless you, my dearest love! My father joins in most affectionate remembrances, and I am Ever most faithfully yours, M. R. MITFORD.
Letter, from Mary Russell Mitford (10 April 1835) to Henry Phillips, bass vocalist; referred to in L'Estrange (ed.), The life of Mary Russell Mitford . . . vol. 3, 24
https://archive.org/stream/lifemaryrussell00unkngoog#page/n36/mode/2up (DIGITISED)
[A letter to Mr. Henry Phillips, dated April 10th, 1835, refers to Miss Mitford's opera of "Sadak and Kalascade," [sic] which had been accepted by Mr. Arnold for the Lyceum Theatre. It was produced on the 20th of April in this year.]
"NEW ENGLISH OPERA-HOUSE", The theatrical observer (21 April 1835), 1
https://archive.org/details/theatricalobserv183501lond/page/n365 (DIGITISED)
Mr. Arnold commenced his season last night with the production of another entirely new Grand Opera by a native composer. It it called Sadak and Kalasrade and has been put into a dramatic form by Miss Mitford from one of the Tales of the Genii, and although it is not equal to The Mountain Sylph and Nourjahad, it is a work of considerable merit, and reflects great credit on the composer, Mr. Packer, a pupil of the Royal Academy. The Overture was injudiciously encored, which put some of the audience out of humor, which was evinced by disapprobation when the Opera was announced for repetition, the ayes however had the majority. The Opera was followed by an amusing Farcetta, called My Fellow Clerk . . .
"ENGLISH OPERA-HOUSE", The morning advertiser (21 April 1835), 3
Last night Mr. Arnold commenced the English Opera-house season with great spirit, presenting to his numerous holiday visitors three new compositions of considerable merit: the first was a "grand opera," from the practised pen of Miss Mitford, called Sadak and Kalasrade, or the Waters of Oblivion; the second farcetta called My Fellow Clerk; and the "original drama," entitled The Shadow on the Wall. With regard to the first of these, it may be observed that the accomplished lady who owns it has taken her materiel from one of the Tales of the Genii by (we believe) Sir C. Morrell, late British resident at Poonah. Without troubling ourselves or our readers much about the plot itmay be necessary to mention that Miss M. has not adhered strictly to the original story; but n'importe. Contrary to the usual arrangement of voices, the tyrant Caliph Amurath is represented by Wilson, while Phillips sustains the character of Sadak, the persecuted husband of the beautiful and virtuous Kalasrade. The Caliph becomes enamoured of Kalasrade, who refuses to listen to his guilty passion; he is exasperated in consequence, and sets fire to her dwelling. Sadak, who it appears has been absent, returns, and is condemned by the tyrant to procure the waters of oblivion, that may drink, and so forget the charms of Kalasrade, at great personal hazard, for the waters are only to be found in a deep, guarded by all manner of evil spirits. The oblivious draught is obtained, the tyrant quaffs, and finds too late that death and oblivion are synonymous. Sadak, of coarse, is then allowed to enjoy his wife undisturbed. The scenery is very splendid, especially so the pleasure-garden of Kalasrade; arcade in the gardens of Amurath; the enchanted island, volcano, mystic rock, and magic tree; and the locale of the waters of oblivion. The music (which ought to be the chief thing in all operas, as truly observed by acute critic) is composed by Mr. Packer, an elève of the Royal Academy. Taken whole, it is of mediocre class; but that has long been essential characteristic of the English school of music. Mr. Packer, however, possesses a good musical education, and evinced considerable taste and skill in several portions of the opera, especially so towards its close. Wilson played the tyrant very well, and gave the music much better. This gentleman has been rising in public esteem for several seasons past. He sang several of the morceaux last night with spirit, taste, and judgment alike creditable to himself, as to his able tutor Crevelli. H. Phillips has some good music set down to him, and he sang it admirably. Miss E. Romer, as Kalasrade, dressed and looked like an eastern bride, fresh as the dawn, and gave her music with taste and expression. The opera was given out for repetition by Phillips amidst great applause, although there were some ill-natured hisses mingled with it. After the fall of the curtain "God save the King" was sung in capital style by the whole vocal strength of the company, Miss F. Healey leading with the first verse.
My Fellow Clerk is lively dramatic sketch, and affords Mr. Wrench ample opportunity for the display of his extravagant humour. The Shadow on the Wall terminated at so late an hour, and possesses so much intrinsic merit as an original drama, that we must take another occasion to speak of it in detail. The house was exceedingly well attended.
"LYCEUM AND ENGLISH OPERA HOUSE", The Morning post (21 April 1835), 3
A crowded audience attended last night the opening of the season of the popular establishment devoted to the fostering and encouragement or native talent. During the recess the proprietor has put forth additional claims to public patronage, by extending the accommodation, already so liberally apportioned for comfort and convenience in this most elegant theatre. Thus the gloomy-looking boxes which were formerly in the rear of the balcony have been thrown into the dress circle, and the three private boxes on each side of the first circle have been added to it. The effect has been to relieve the heaviness or the former arrangement, and to add considerably to the pleasure of the visitors. The entertainments consisted or three new pieces, namely, a new opera in two acts, the libretto from the pen of Miss MITFORD, and the music composed by Mr. PACKER, of the Royal Academy, under the title of Sadak and Kalasrade, or the Waters of Oblivion; a new farcetta, called My Fellow Clerk; and a new and original drama, written by Mr. SERLE, entitled The Shadow on the Wall. There was much spirit on the part of Mr. ARNOLD in producing entire novelties for the first night, and we wish that we could conscientiously record the triumph which his exertions ought to have achieved. But whilst in the two last-mentioned dramas we can announce a deserved and decisive success our report cannot extend to the prominent attraction of the evening. A new opera from a British composer is indeed entitled at our hands to every indulgence, and to all the support which can be extended to it in our columns. That we have evinced on former occasions every disposition to promote the interests and encourage the prospects of native genius will not be denied by the members of the profession; and, however painful it may be, we must now show cause against Mr. PACKER. There is one objection which we have to urge against this opera, which must be carefully eschewed by future English composers. It is true it may be urged that the defect which we are about to point out has for its origin and excuse the example of the modern Italian school; but the fault is of serious consequence to the general effect, and if persevered in must prove fatal to the reputation of the maestro. We mean the introduction of a bass voice in the leading character, "to the manifest injury," as Lord MOUNT EDGCUMBE has ably observed in his "Musical Reminiscences," "of melody, and total subversion of harmony, in which the lowest part is their peculiar province." The noble author whom we have just quoted, further observes in support of his position, that a bass ought to occupy the last place:-
"These new first singers are called by the novel appellation of basso cantate (which, by-the-bye, is a kind of apology, and an acknowledgment that they ought not to sing), and take the lead in operas with almost as much propriety as if the double bass were to do so in the orchestra, and play the part of the first fiddle. A bass voice is too unbending and deficient in sweetness for single songs, and fit only for those of inferior character, or of the buffo style. In duettos it does not coalesce well with a female voice, on account of the too great distance between them, and in fuller pieces the ear cannot be satisfied without some good intermediate voices to fill up the interval, and complete the harmony."
In the preceding observations few persons who heard Mr. Packer's production will be disposed to differ; but we must do this Gentleman the justice of stating that we do not believe he ought to be blamed for the course which he has pursued. The evil, we are afraid, has arisen in this instance from the selfish and narrow-minded feelings of certain singers, who, to gratify their own vanity, will nol hesitate to sacrifice composers and adapters who have industriously laboured to draw them out of their insignificance and bring them into public notice. Against such a disgraceful system, so blighting to genius, and so degrading to its despicable originators, we do most emphatically protest. We have witnessed in LODER's Nourjahad, replete as that opera is with beauties, the monotonous issue of the baritone being the leading singer, and in Sadak and Kalasrade we have now to record a similar result. At the production of AUBER's Lestocq we considered it to be our duty to expose the impediments thrown in the way of the adapter by the overweening conceit and capricious airs of some leading singers; and from the notice which had been taken or our remarks, as much by our contemporaries as by publications of a less ephemeral character, we had hoped not to have found it necessary to recur to the subject. But with all our personal predilections, and they are somewhat strong - and with all our juvenile recollections, and they are no less endearing - we cannot allow this tyrannical monopoly to be continued without a solemn warning to singers that they act not only with manifold injustice towards others but contrary to their own and most substantial interests. We tell them that they are but the mimics of "sweet sounds," and those sounds must emanate from the inventive as well as mechanical faculties of the composer. If the latter is to be cramped by the regulations imposed on him the mere imitators will find the love of music retrograde, for novelty is as essential to enjoyment as variety of style for due expression. The manifold defects of Sadak and Kalasrade we have as little disposition to examine as it would be tedious to mention them. The general character of the music is not dramatic, and is not applicable to the situations or the dramatic portion. Here and there may be found snatches of good writing, but the deficiency of melody was apparent throughout. Although the whole execution was extremely imperfect, the chorusses most disgraceful, and the leading performers in bad voice, it was impossible to come to any other conclusion than that the opera is an entire failure, and the demonstrations in corroboration or our opinion were unequivocal when Mr. H. Phillips attempted to announce it for repetition. We have said nothing of Miss Mitford's libretto, as it was intended as a vehicle for music which has not left a trace on our memory . . .
"LYCEUM AND ENGLISH OPERA HOUSE", The London courier and evening gazette (21 April 1835), 3
A crowded audience attended last nigbt the opening of the season of popular establishment devoted to the fostering and encouragement of native talent. During recess the proprietor has extended the accommodation, already so liberally apportioned for comfort and convenience in this most elegant theatre. The gloomy looking boxes which were formerly in the rear the balcony, have been thrown into the dress circle and three private boxes on each side of the first circle have been added to it. The effect has been to relieve the heaviness the former arrangement, and to add considerably to the pleasure of the visitors. The entertainments consisted of three new pieces, written and composed for this theatre. The first an opera, founded on the well known eastern tale of "Sadak and Kalasrade," written by Miss Mitford, and composed by Mr. Packer, of the Royal Academy of Music; an interlude, called My Fellow Clerk; and a drama, by Mr. Serle, with music by Mr. Thomson, called The Shadow on the Wall. From the first of these pieces much was expected, from the great beauty of the story on which it was founded, the reputation of its distinguished authoress, and the known talent of the young composer. It proved, however, a failure. The wild and romantic beauties of the Oriental fiction were effectually squeezed out of it in the process of dramatizing, and all that remained was caput mortuum of the most insipid kind. Such a drama was sufficient to weigh down music of a higher order than Mr. Packer's, though it gave indications of very considerable genius. The music is well written, and exhibits skill end judgment in the management of the instruments; but it is heavy and monotonous, and very deficient in the first of all qualities, melody. The piece went off very heavily; and, at the conclusion, so much disapprobation was expressed, that Mr. Phillips, who came forward to give it out for repetition, retired without doing so. No part of the failure of this piece can ascribed management or the performers. The scenery and decorations were splendid, the chorus efficient, and every effort was made by Miss Romer, Miss Somerville, Mr. Phillips, and Mr. Wilson to justice to their parts . . .
"THE THEATRES", The evening chronicle (21 April 1835), 3
. . . At the English Opera House there were three new pieces. The first an operatic version of the well-known Eastern tale of Sadak and Kalasrade, was failure, though it proceeded from the practised pen of Miss Mitford. The music, by a young composer of the name of Packer, was not happy; and the whole was very unfavourably received . . .
"ENGLISH OPERA HOUSE", The literary gazette, and journal of the belles lettres (25 April 1835), 269 [sic]
https://books.google.com.au/books?id=WV0ZAAAAMAAJ&pg=PA296 (DIGITISED)
. . . Of this opera we cannot speak in terms of very high praise, for we found it monotonous, both as entertainment and music . . .
"ENGLISH OPERA HOUSE", Bell's new weekly messenger (26 April 1835), 7
Mr. ARNOLD, with his usual liberality and enterprise, commenced his season on Monday night with an opera, an interlude, and a melo-drama - all novelties. Sadak and Kalasrade (the opera) is founded on the well-known tale of the Waters of Oblivion, though there are some few alterations in the leading points of the plot, many of which, susceptible of the most beautiful touches, are wholly set aside. The story is told in few words: Sadak (PHILLIPS) is the husband of Kalaerade (Miss ROMER) and a General in the service of the Sultan (Mr. WILSON). The Sultan falling in love with Kalasrade, eventually get her into his power, and imprisons her. Sadak soon hears of his wife's misfortune, and determines to obtain her freedom. He enters the Sultan's presence while the latter is in the act of entreating the graciousness of Kalasrade, and demands his wife; but not even his remonstrances, threats, or supplications, nor the tears and prayers of the lovely bride, succeed in obtaining her liberty; the Sultan will grant it her but on one condition, which is, that Sadak shall seek the Stream of Oblivion, and return with goblet filled from its waters. Sadak does all this, and the Sultan, drinking from the goblet, dies, leaving the hero and heroine to enjoy the happy results of his decease. Of Miss MITFORD'S share in the merits and demerits of this opera, we shall not speak. Mr. Hazlitt said that Mr. Moore ought not to written Lalla Rookh for 5,000l. Miss MITFORD ought not to have written Sadak for 5,000l. Many thousands more than five should not have tempted the authoress of Rienzi to publish such an opera. The scenery is in many parts very beautiful; the "getting-up" is upon a scale of the greatest liberality and splendour.
- With regard to Mr. PACKER'S music, it is very clever and very promising, very learned, and we must add, with pain, very, very dull. There is not one effective piece in the whole opera, not one even attractive, with the exception of trio in the third act. We had, here and there, bits of WEBER (Huntsmans' Chorus), SPOHR (The Jessonda) and ROSSINI continually. The opera, as a piece, is without an object: there is no prevailing intention on the part of the composer that accompanies you throughout - whole airs, of those sung by PHILLIPS most particularly, are futile (we use the term in its abstract sense) they might just as well sung by Alexander the Great, Tam o'Shanter, or the Marquis of Londonderry - to each and all they would be equally suited. Throughout the whole opera there is a straining at fine things - at musical learning - it full of theoretic intricacies - in short, it is clever; of genius there is not the smallest spark; it holds out great promise of increased learning on the part the composer, but it gives no reason to suppose that he will ever write a Mountain Sylph, equal Mr. BISHOP'S glees, or be ever a partaker of the simplicity and purity of the ballads of Dr. ARNE, or the pathetic solemnities of the composers of the Elizabethan era. The singers did their best; they felt, we are convinced (as we did ourselves) an interest in the success of an opera by so young a native composer, produced at a period when English musical talent is greatly on the increase. PHILLIPS and WILSON sang the two heroes, of course, beautifully. A Mr. EDWARDS, from the Bath Theatre, made his first appearance. He has a voice not unlike WILSON'S, with the same sweetness and fullness, of a rather higher quality. The part he played was one of little prominence, however, but we trust an opportunity will be shortly given him to display his abilities more fully. Of Miss ROMER we must not speak. If we felt savage with Mr. Packer during the whole evening, it was for writing such music for such a heart and voice. Why must she, whom we had reserved to ourselves as the one singer on the stage whose sweet nature the music master had suffered to appear divested of all the astonishments of difficult science, whose frame we have seen shake like the leaf of a sensitive plant at the expression of ever so small an emotion - the fawn of the opera - why must she be selected to become the victim of the impossibility of notes an octave higher than Mrs. Billington could reach? why must she execute roulades, chromatics, and intentionless up and down's without end, that "mar her murmurings," and turn "the simplicity of Venus' dove" into the incongruous gimcrackism of a many-coloured mountebank. Skill is a fine thing, per se, but it is a very horrible one when it thus draws its sword against feeling and sentiment. Let it be with them, subserviently, but not without them, revelling in all its fatiguing wilfulnesses. Skill, without tenderness or emotion to poetize it, is mere "show off." But we shall have her in The Mountain Sylph soon. It is promised us . . ..
"ENGLISH OPERA HOUSE", Bell's life in London and sporting chronicle (26 April 1835), 1
This theatre opened on Monday night for the season, with three new pieces. The first is an opera, from the pen of Miss Mitford; the music is composed by a Mr. Packer, of the Royal Academy. There is nothing very striking in the language or in the music of this production. The reputation of Miss Mitford is fortunately too well secured by some of her former writings to render the diminution of it dependent upon the success or failure of this production. Sadak and Kalasrade, the new opera, is founded on the story of the same name in the Tales of the Genii. It is not a tale which can be told well in a dramatic form, and notwithstanding some tolerably good airs and some pretty poetry, it went off but heavily. The announcement for repetition was received with mixed disapprobation and applause - we should say the opposition was far from equivocal . . .
"THEATRICALS", Figaro in London (26 April 1835), 69-70
https://books.google.com.au/books?id=jnVIAAAAYAAJ&pg=RA1-PA69 (DIGITISED)
The managers of amateur theatricals, who, like quacks and lawyers, live by the folly of mankind, have an excellent plan of making the degree of vanity, with which the stage-stricken apprentices are infected, the means of a proportionate profit to themselves. Thus, Hamlet is murdered for one guinea and a half, and Othello never smothers under two guineas; Roderigo and Cassio are seven shillings each, and Hotspur may storm and rage for half a guinea. This is the plan which Arnold should pursue with the young fidlers and fools, who come with "An Opera by an English composer," requesting its performance; and thus, and thus only, could he get paid for the trouble and expense of producing these melancholy abortions; for let him be certain that the public will never patronise such trash. Sadak and Kalasrade is a dreadfully dull affair, the mingled production of vanity and stupidity. Its author, Mr. Packer, is a pupil we believe, of the English Academy of Music - a meritorious institution, originally destined for the education of musicians - and an opera by a pupil of this Academy is about as absurd as "the Iliad, an Epic Poem, by a Westminster Boy," would appear if announced in the newspapers of the day. We do not blame Mr. Packer for composing this opera. We blame him for producing it - and we are seriously annoyed with Arnold for being instrumental in boring the public to his own loss with this, the mere raw material of an opera. Every composer has his own particular style - the royal sublimity of Handel, the graceful simplicity, and harmonious elegance of Haydn, the melodious richness and feeling expression of Mozart, the mysterious and picturesque harmony of Weber, the sparkling gaiety of Rossini, the military brilliancy of Auber, are known and marked as features on the face of music. Mr. Packer, likewise, had his style, the distinctive characteristics of which are squeaking and hooting; the fiddles and the females had a struggle which could squeak the loudest and the longest, while the bassoon, the serpent, the trombone, the big drum and the chorus of devils contested the palm in the deep, deep, bathos of bombastic bass. The laughing chorus in the last Act, had a double accompaniment from the pit and orchestra and the "Waters of Oblivion" must roll over the music of Sadak and Kalasrade before Mr. Packer's merits as a composer can again be put forward to punish the afflicted ears of the public. A few words regarding the faults of this opera may be productive of advantage to juvenile composers - there was a want of contrast, a deficiency of vigour, an absence of effect, and of light and shade. All the music was of a melancholy tinge, as if it had been written in low spirits, and when the Author, like his Opera, was out of tune; - one of the characters, at least, should have been lively - but, jam satis! If the opera be withdrawn, we will say no more of it - Poor Miss Mitford! . . .
(70) . . . We omitted to mention, that in the last act of "Sadak and Kalasrade," when the Nymph of the Fountain offered Sadak the Waters of Oblivion, Philips, with his fine sonorous voice, and in a most pompous recitative, thus sang:
"Man is born to remember, not to forget!"
An ingenious discovery, which can only be paralleled by the well-known poetical lines in Gustavus:-
"I can scarcely believe the intelligence you bring,
Tho' I hold in my hand the letter from the King!"
A contretemps in this Opera was very ludicrous. At one time a most inharmonious and noisy seraphine was accompanying a squeaking chorus of squalling girls; the audience were in doubt whether or not to hiss when Miss Romer unhappily asked, with the most innocent and unconscious look:
"Whence comes this ravishing music?"
A roar of laughter followed. The serpent's head and shoulders in the cave, and the ludicrous effect of its motions, can never be forgotten.
"ENGLISH OPERA HOUSE, The musical library: monthly supplement (May 1835), 48
https://books.google.com.au/books?id=SuMPAAAAYAAJ&pg=RA1-PA48 (DIGITISED)
This remarkably pretty and convenient theatre opened for the season on Easter Monday, the 20th of April, with three new pieces. But before noticing these, we will briefly state what alterations have been made in the house during the winter . . . The first piece was an opera in two acts, Sadak and Kalasrade, written by Miss Mitford, and composed by Mr. Packer. The story is taken from the most popular of The Tales of the Genii, the title of which is retained. The following are the characters: - The Caliph, Mr. WILSON; Vizier, Mr. BLAND; Sadak, Mr. H. PHILLIPS; Kalasrade, Miss ROMER; Her Attendant, Miss SOMERVILLE.
The very interesting tale on which this is founded is so well known, that it is unnecessary to repeat it. Miss Mitford has only taken the main incidents of it, - the unhallowed love of the Caliph for the wife of his faithful general, Sadak, the latter being sent, at the peril of his life, to obtain a bottle of the waters of oblivion, and the death of the tyrant in consequence of taking a draught of these when in his possession. We cannot say that she has either managed these well, or availed herself of the improvements which ought to have suggested themselves during the rehearsals. Situations that would have been perceived by a practised dramatist have been neglected; and many points which might have been made in the dialogue have been lost. In the tale, the last scene is remarkably striking; in the opera, it is no less distinguished by an unaccountable flatness. Probably the strength of this piece is in that in which Miss Mitford excels, in its poetry; but, unfortunately, the books of the opera were not printed, and few singers take the trouble to pronounce a single syllable distinctly.
But whatever had been the merit of the drama, it could not have stood under the weight of the music. The composer, four or five years ago, published a scena, in which strong feeling, taste, and musical knowledge were equally conspicuous. From such a beginning we certainly expected a corresponding continuation. However, the musician's as well as the poet's muse is sometimes unwilling, and Mr. Packer's certainly was in any sort of humour rather than a favourable one when he sat down to this work. And here we must observe, that whoever had the inspection of his manuscript, - his score, - ought at once to have seen and declared its inefficiency. Such a proceeding would have been a proof of discernment, of kindness, and of a sense of what is due to the public.
Sadak and Kalasrade was heard through with exemplary patience, though a laugh or two at the expense of the piece was not to be resisted. Still it went to the end without interruption. But when Mr. Phillips appeared to announce a second performance, the roar of negatives was like that of a cataract. Some few claqueurs, who had, most indiscreetly, got an encore for the overture, again used their hands, though they could not be heard. The condemnation was unequivocal. But let not the young composer be discouraged: on the contrary, this should prove a useful lesson. Let him hereafter reflect well before he appeals to the public, and submit his next essay to a sensible friend, ere he suffers it to be put into a manager's hands . . .
"PROGRESS OF PUBLICATION", The morning advertiser (2 May 1835), 1
Sadak and Kalasrade, or The Waters of Oblivion, a Romantic Opera, in two Acts. By MARY RUSSELL MITFORD.
For the sake of Mr. Arnold, who has striven hard to raise the character of the English school of music, for the sake of Miss Mitford, who has written many clever works, and, lastly, for the sake of the Royal Academy Music, which has never done anything - but to which Mr. Packer, the composer of the above-named opera belongs - we wish we could speak in praise of Sadak and Kalasrade. On its first representation, some days ago, we candidly gave an opinion upon its musical pretensions, and we now have few words to offer regarding it as a literary production. On this head Miss Mitford herself appears to have some misgiving, for she says "it is not with English tragedies, whether written by myself or by betters, but with German and Italian operas that Sadak and Kalasrade can fairly be brought into comparison as a literary composition." Does our accomplished writer insinuate that the German and Italian opera is destitute of literary merit? that there is no beauty of composition, in short, poetry, to be found in the libretto of Medea, the Semiramide, the Zauberflote? But Miss M. states that she only designed her piece as a vehicle for music; we can only say that the music and the vehicle are worthy of each other.
21 April 1835, second performance
"NEW ENGLISH OPERA HOUSE", The theatrical observer (22 April 1835), 2
https://archive.org/details/theatricalobserv183501lond/page/n371 (DIGITISED)
The three new piece, viz, Sadak and Kalasrade, My Fellow Clerk, and The Shadow on the Wall, were repeated last night. One of our contemporaries in speaking of Mr. Packer's Opera complains of the bass singer having the leading character, and quotes Lord Mount Edgecombe's opinion on the subject, who says that were the basso is the leading part "it is to the manifest injury of melody and total subversion of harmony." Mr. Packer's music is not sufficiently dramatic in its character and there is a terrible deficiency of melody; there is not one strain throughout the whole Opera which lingers on the ear after the instruments and the voice have ceased. There is however much science and skill displayed in the instrumental part, and as the coup d'essai of a young composer it deserves much praise.
23 April 1835, third performance (curtailed version)
"NEW ENGLISH OPERA HOUSE", The theatrical observer (24 April 1835), 2
https://archive.org/details/theatricalobserv183501lond/page/n379 (DIGITISED)
The Opera of Sadak and Kalasrade, in its curtailed state, was repeated last night, with The Shadow on the Wall, and My Fellow Clerk.
24 April 1835, fourth performance (curtailed version)
"NEW ENGLISH OPERA HOUSE", The theatrical observer (25 April 1835), 1
https://archive.org/details/theatricalobserv183501lond/page/n381 (DIGITISED)
Last night Mr. Packer's new Opera of Sadak and Kalasrade, having undergone considerable curtailment, was reproduced, it is not, however, we fear, even in its condensed shape likely to become popular. It was followed by the Farcetta, called My Fellow Clerk, and Serle's Drama of The Shadow on the Wall. Barnett's delightful Opera of The Mountain Sylph will be revived on Tuesday next, and Loder's Opera of Naurjahad, with a new finale to the second act, will shortly be produced.
25 April 1835, fifth performance (curtailed version)
"NEW ENGLISH OPERA HOUSE", The theatrical observer (27 April 1835), 1
https://archive.org/details/theatricalobserv183501lond/page/n385 ;(DIGITISED)
On Saturday was performed (we should think for the last time,) the Opera of Sadak and Kalasrade, with The Shadow on the Wall, and My Fellow Clerk. The latter piece is, we hear the maiden effort of its author, its success has however induced the manager to accept another piece from the same pen, it is to be called My Cousin Joseph, and Wrench, a treasure to a Farce writer, is to personate the hero. A new Opera by Loder to be called Melmoth is in rehearsal at this Theatre.
"THEATRICALS", Figaro in London (2 May 1835), 76
https://books.google.com.au/books?id=jnVIAAAAYAAJ&pg=RA1-PA76 (DIGITISED)
. . . "Sadak and Kalasrade" is being withdrawn, by degrees, from the bill of performance at the English Opera House, and the manager will find his advantage. By-the-bye, what has become of an opera composed by a daughter of Glossop of the Victoria theatre, and which was to have been produced there. It was said at the time to have exhibited genius of the highest order. At any rate it must be better than "Sadak and Kalasrade." Serle's "Shadow on the Wall," gains nightly on public favour; and Wrench's Tactic, in "My Fellow Clerk," is a genuine character . . .
For later Australian performances (1845-75) of the overture and/or terzetto from Sadak and Kalasrade, see:
https://trove.nla.gov.au/search?l-publictag=Sadak+and+Kalasrade+(Packer) (TROVE tagged by Australharmony)
[News], Morning Post (27 June 1835), 4
Mr. Packer, whose concert was announced for Wednesday morning, in proceeding to the Opera House was thrown out of a cab and seriously hurt; inconsequence of which the performance did not take place, to the great disappointment of a number of persons who proceeded thither, unconscious of the accident which had befallen the beneficiaire.
Charles Sandys Packer
Thomas Oliphant, A brief account of the Madrigal Society: from its institution in 1741 up to the present period (London: Calkin and Budd, 1835)
https://books.google.com.au/books?id=ivXJVrg0YagC&pg=PA24 (DIGITISED)
[Joined as member] 1833 † C. S. Packer . . . The names of the Thirty-five members constituting the Society in the year 1834, are printed with a †
1836
18 May 1836, marriage of Charles Sandys Packer and Eleanor Mary Teresa Grogan
Marriages solemnized in the parish of St. George the Martyr, Queen's Square, [Holborn], 1836; page 102
No. 301. Charles Sandys Packer, esquire of the district of All Souls Saint Marylebone . . . and Eleanor Mary Teresa Grogan, a spinster, of this parish . . . 18 May 1836
1837
22 July 1837, marriage of Frederick Alexander Packer and Augusta Gow, Edinburgh, Scotland
"MARRIAGES", Perthshire advertiser [Scotland] (3 August 1837), 3
At Edinburgh, on the 22d ultimo, Mr. F. A. Packer, Reading, Berkshire, to Augusta, daughter of the late Mr. Nathaniel Gow.
1838
"READING ELECTION PETITION. THURSDAY, MARCH 15th", The Reading mercury (17 March 1838), 2
CHARLES PACKER, 855 on the register, for a house in Castle-street, and 181 on the poll, parish of St. Mary, was objected to by counsel for the sitting member. Mr. Frederick Alexander Packer deposed, he is son of the voter who is a music master; he did not to reside in London in the latter part of 1836; did so early in August, 1837, when he left Reading; he often went to London on business; he was in Reading two-thirds of June, 1837; he did not quit it until 4th August, 1837. Mr. Hill said he had an adverse witness and could not support his case - Good vote.
[Advertisement], Reading Mercury (14 July 1838), 2
MR. BLAGROVE'S CONCERT. UNDER DISTINGUISHED PATRONAGE. And permission the WORSHIPFUL the MAYOR, MR. BLAGROVE begs respectfully to announce that he will give TWO CONCERTS AT THE TOWN HALL, READING. The 1st to place on TUESDAY Evening, July 24th at 8 o'clock, and the 2nd on Wednesday Morning, July 25th, 1 o'clock . . . INSTRUMENTALISTS. SIGNOR REGONDI will perform on the much admired New Patent Concertina, (which he will introduce for the 1st time in Reading) . . . Mr. FREDERICK PACKER will perform on the Harp, Mr. BLAGROVE on the Violin, and Mr. CHARLES BLAGROVE on the Piano Forte . . .
"BIRTH", Berkshire Chronicle (21 July 1838), 3
July 16, Mrs. Frederick Packer, of Castle-street, of a son.
[Advertisement], Berkshire Chronicle (15 December 1838), 2
SINGING ACADEMY. Mr. FREDERICK PACKER, Member of the Royal Academy of Music, and late pupil of Signor Crivelli, begs respectfully to inform the inhabitants of Reading and its Vicinity, that, at the request of several Families, he is about establishing an ACADEMY for SINGING, which he intends opening on Tuesday, the 22d of January next, at his Residence, terms and particulars of which may be known application. 123, Castle Street, Reading.
Prosecution and trial (Charles Sandys Packer, 1838-39)
"BOW STREET", The morning chronicle (28 December 1838), 4
CHARGE OF FORGERY. - Charles Sandys Packer, a music master, was placed at the bar, charged with forging and uttering four bills of exchange, one for £400, another for £380, a third for £800, and the fourth for £700, with intent to defraud Messrs. Stone, Martin, and Stone, bankers, Lombard-street.
The prisoner was apprehended on Friday, the 14th Inst., brought up for examination the following day, and remanded till Saturday last.
The witnesses necessary to prove the charge, however, could not then be brought forward, and the case was again remanded. This day, the principal witnesses being in attendance, the case was proceeded with.
Mr. Bush, solicitor for the Society of Bankers, formed for the prevention of frauds and forgeries, attended to prosecute, and Mr. Humphreys appeared for the prisoner.
Mr. George Stone, jun., one of the partners of the firm of Stone, Martin, and Stone, bankers, 68, Lombard-street, City, deposed that on the 17th of January last he received the letter produced from the prisoner, and he believes it to be in his handwriting. In consequence of some arrangements which were subsequently made, the prisoner opened an account at the banking-house on the 5th of March last. He paid in bills and money, and also got bills discounted on several occasions. From March up to the end of July last such bills were paid, with one exception, and the account was regular up to that time.
From July to the 12th of December the prisoner paid in other bills, and on the 13th of October he brought the two bills marked A and B, the one for £400, and the other for £380, to the bank. They are both drawn by himself upon, and purporting to be accepted by, Messrs. Stoddart and Son, Golden-quare, and are made payable at Messrs. Ransom and Company's banking-house.
Mr. BUSH: Was the bill for £400 discounted on the same day? - Witness: Yes, it was.
Mr. BUSH: Did you discount it at the prisoner's request? - Witness: Yes.
Mr. BUSH: Was the other bill also discounted by you at the prisoner's request? -Witness: Yes, it was discounted on the 5th of November. I believe the prisoner almost always applied to me about his account.
Mr. BUSH: On the 17th of November was this bill for 800, marked C, discounted by your house at the prisoner's request? - Witness: Yes, it was. The bill is drawn by the prisoner upon, and purporting to be accepted by, Messrs. Broadwood and Sons, Pulteney-street, Golden-square. The amount of it was placed to his credit.
Mr. BUSH: Do you know that any of those bills have been paid? - Witness: None of them have been paid, they are not yet due.
Mr. BUSH: How many partners are there in your house? - Witness : There are six altogether.
Francis William Fry: I am clerk to Messrs. Stone, Martin, and Stone, bankers, of Lombard-street. I remember the prisoner coming to the banking-house on the 12th of December instant. He delivered to me the bill for 700, marked D, now produced. It is drawn by him upon, and purporting to be accepted by, Messrs. Broadwood and sons.
Mr. BUSH: What did he say to you when he came in? - Witness: He handed me the bill, and asked if Mr. George Stone, jun., was in the way. I said I did not know, but I would see, and I went to ascertain; but when I came back the prisoner had left the house.
Mr. BUSH: Have you seen the prisoner again until to-day? -Witness: No, I have not.
Mr. BUSH: Did he leave the bill with you? - Witness: Yes, it has remained in the custody of the house, but it has not been placed to the prisoner's account. The following morning there was some conversation about it.
Daniel Giles Rose: I manage the business of Broadwood and Son, pianoforte-manufacturers, No. 33, Pulteney-street, Golen-square. There are three partners in the firm.
Mr. BUSH: Have you seen them write? - Witness: Yes, often.
Mr. BUSH: Are you well acquainted with the hand-writing of all the partners? - Witness: Yes.
Mr. BUSH: Will you look at these two acceptances (marked C and D), and tell us if the handwriting is that of any of the partners? - Witness: It bears no resemblance to the handwriting of either of them, and I believe it is not their handwriting.
Mr. BUSH: Do you believe these bills to be forgeries? - Witness: I do; I have no doubt of it.
Mr. BUSH: Do you know the prisoner? - Witness: I do.
Mr. BUSH: Had he any right, or was he authorised or entitled to draw those bills on your firm? - Witness: No.
Mr. BUSH: If presented to you for acceptance, would they have been accepted? - Witness: They would not have been accepted with my sanction.
Mr. BUSH said that this was all the evidence he had at present. He was sorry Mr. Stoddard had not yet come to town, but he was willing either to postpone the case or let it remain as it was. After some conversation, it was ultimately arranged that the prisoner should be remanded until Friday, the 4th of January next.
1839
"POLICE", The Reading mercury (19 January 1839), 4
BOW-STREET. - On Tuesday, Charles Sandys Packer, the music teacher, who stands charged with forging and uttering four bills of exchange, amounting to 2,480l, with intent to defraud Messrs. Stone, Martin, and Co., the bankers, was brought before Sir F. Roe for final examination. The following evidence, in addition to that which was given at the previous examinations, was gone into. Mr. Henry Broadwood, jun., of the firm of Messrs. Broadwood and Co., piano-forte makers, and Mr. Matthew Stodart, of the firm of Messrs. Stodart and Co., piano-forte manufacturers, Golden-square, severally proved that the bills of exchange produced were not accepted by the witnesses or any of their partners. The prisoner, when called on for his defence, replied that he had nothing to say. The witnesses were then bound over to appear, and give evidence against him, at the next session of the Central Criminal Court, and he was fully committed to Newgate.
"POLICE. BOW-STREET", Bell's new weekly messenger (20 January 1839), 7
CHARGE OF FORGERY. - On Tuesday, Charles Sandys Packer, who is charged with forging and uttering four bills of exchange, one for 400l., another for 380l., a third for 700l., and a fourth for 800l., was brought up for final examination. - The prisoner, who is a music-master, and resided in Albany-street, Regent's-park, on the 5th of March last opened an account at the banking-house of Messrs. Stone, Lombard-street, and commenced to pay in bills and money, and to transact business with the bank. In October last he brought the two bills for 400l. and 380l. (marked A and B) to the bank, and got the amount placed to his credit. They were drawn by himself upon, and purporting to be accepted by, Messrs. Stoddart, Golden-square. The following month hw brought the bill for 8001. (marked C) to the bank, and got it discounted, and in December he appeared with the fourth bill for 700l. (marked D) which, however, was not discounted, but remained in the hands of the bankers until the prisoner's apprehension. The bills marked C and D were drawn by the prisoner upon, and purporting to be accepted by Messrs. Broadwood, Great Pulteney street, Golden square. - Mr. H. P. Broadwood stated that he was a partner of the firm of Broadwood and Son, Great Pulteney street. The two bills of exchange, marked C and D, were not accepted by any of the partners of the firm, and the prisoner had no authority to accept them for Broadwood and Son. Witness never saw them until he came to this office to be examined in the case. They never give bills of exchange. - Mr. M. Stoddart, of the firm of Stoddart and Son, Golden square, gave similar evidence in reference to the other two bills marked A and B. - Joseph Shackell, a Bow-street officer, deposed that he apprehended the prisoner at the Old Ship, Brighton, and on searching him found a bill for 490l., drawn by himself, but unaccepted, and a blank check upon Messrs. Stone, in his possession. When he was told that was apprehended on a charge of forgery, he said, "Oh, dear!" and appeared very much agitated. - The prisoner declined to state his defence in the mean time, and was fully committed Newgate for trial.
"CHARGE OF FORGERY", Bell's life in London and sporting chronicle (20 January 1839), 4
Charles Sandvs Packer, who is charged with forging and uttering four bills of exchange, one for £400, another for £3BO, a third for £700, and a fourth for £8OO, has been fully committed for trial. The prisoner was a distinguished member of the Royal Academy of Music, and possesses rare musical talents. He has plunged a young and beautiful wife into the deepest affliction by his reckless conduct.
Criminal registers, Middlesex, 1839; Series HO 26 and HO 27; National Archives UK
https://www.ancestry.com.au/interactive/1590/31250_A005045-00171 (DIGITISED)
"CENTRAL CRIMINAL COURT", The evening mail (8 February 1839), 3
Wednesday, Feb. 7. (Before Mr. Justice VAUGHAN and Mr. Justice WILLIAMS.) Charles Sandys Packer, described as a musician, and aged 29, was indicted for forging and uttering a bill of exchange for 700l., purporting to bear the acceptance of Messrs. Broadwood and Co., the pianoforte makers, with intent to defraud Messrs. Stone, Martin, and Stone, bankers. The prisoner was further indicted for forging and uttering other bills of exchange, amounting in the whole to 2,250l [sic]. Mr. Bodkin and Mr. Doane appeared for the prosecution, and Mr. C. Phillips for the defence. The prisoner had in the course of the morning pleaded guilty to the first indictment, and at being again placed at the bar before the judges, Mr. PHILLIPS said that the unfortunate young man for whom he appeared had, by pleading guilty, made the reparation in his power for the offence he had committed, and his punishment now rested with the Court. He was desirous, however, of calling several most respectable witnesses who would speak to the previous character of the prisoner. Mr. Broadwood, one of the prosecutors, Mr. Perry, a barrister, and Mr. Serjeant Talfourd, were then called, and gave the prisoner an excellent character for honesty. The latter said, that he had known the family of the prisoner, who were highly respectable persons, for many years, and he had known the prisoner himself from his infancy. He became more intimately acquainted with him on one occasion, when he composed the music of an opera written by Miss Mitford, and he considered him an upright honourable young man. Mr. Justice VAUGHAN said, that the character which the prisoner had received was quite satisfactory, but it would be necessary for him to look into the depositions in order to possess himself of the facts of the case before he pronounced the sentence of the Court. The prisoner was then removed from the dock . . .
ASSOCIATIONS: Thomas Talfourd (judge, lawyer)
"POLICE: CENTRAL CRIMINAL COURT", The musical world 153/59 (14 February 1839), 105
http://books.google.com.au/books?id=IQkVAAAAQAAJ&pg=PA105 (DIGITISED)
CENTRAL CRIMINAL COURT, Wednesday, February 10. (Before Mr. Justice Vaughan and Mr. Justice Williams.)
Charles Sandys Packer, described as a musician, and aged 29, was indicted for forging and uttering a bill of exchange for 700l., purporting to bear the acceptance of Messrs. Broadwood and Co., the pianoforte makers, with intent to defraud Messrs. Stone, Martin, and Stone, bankers. The prisoner was further indicted for forging and uttering other bills of exchange, amounting in the whole to 2,250l.
Mr. Bodkin and Mr. Doane appeared for the prosecution, and Mr. C. Phillips for the defence.
The prisoner had in the course of the morning pleaded guilty to the first indictment, and on being placed at the bar before the judges:
Mr. Phillips said that the unfortunate young man for whom he appeared had, by pleading guilty, made the only reparation in his power for the offence he had committed, and his punishment now rested with the Court. He was desirous, however, of calling several most respectable witnesses who would speak to the previous character of the prisoner.
Mr. Broadwood, one of the prosecutors, Mr. Perry, a barrister, and Mr. Serjeant Talfourd were then called, and gave the prisoner an excellent character for honesty. The latter said, that he had known the family of the prisoner, who were highly respectable persons, for many years, and he had known the prisoner from his infancy. He became more intimately acquainted with him on one occasion, when he composed the music of an opera written by Miss Mitford, and he considered him an upright, honourable young man.
Mr. Justice Vaughan said, that the character which the prisoner had received was quite satisfactory, but it would be necessary for him to look into the depositions, in order to possess himself of the facts of the case before he pronounced the sentence of the Court.
The prisoner was then removed from the dock.
[The age and previous reputation of the prisoner, the extreme respectability of the witnesses to character - one of them being a prosecutor - and the magnitude of the offence, combine to give a peculiar interest to this case, and the sentence of the Court will be looked for with some concern. - Ed. M. W.]
Central Criminal Court session papers . . . fourth session, held February 4, 1839 (London: George Hebert, 1839), 495
http://books.google.com.au/books?id=jq4DAAAAQAAJ&pg=PA495 (DIGITISED)
https://www.oldbaileyonline.org/browse.jsp?name=18390204 (DIGITISED)
Before Mr. Justice Vaughan.
551. CHARLES SANDYS PACKER was indicted for feloniously forging and uttering a bill of exchange for £800, at St. Marylebone, with intent to defraud George Stone and others. - Other Counts, stating his intention to be to defraud Henry Fowler Broadwood and others; to which he pleaded
GUILTY. Aged 29. - Transported for Life.
(Mr. Henry Fowler Broadwood, pianoforte-maker; James Martin, hosier and oufitter, Oxford-street; Erskine Perry, Esq., barrister at law; and Mr. Sergeant Talfourd, M.P., deposed to the prisoner's good character.)
"CENTRAL CRIMINAL COURT . . . CONVICTION FOR FORGERY", Bell's new weekly messenger (17 February 1839), 7
Charles Sandys Packer was then brought up, and Mr. Justice Vaughan, pronouncing judgment, remarked that had been convicted on his own confession of forging bill of exchange for 800l, with intent to defraud Messrs. Stone, Martin, and Stone, bankers, Lombard-street. He had also been charged with uttering the said bill with intent to defraud other parties. His lordship was not aware, until he looked at the depositions, that there were any other charges against the prisoner; but having now read these carefully over, he found that he was also charged with forging bills of exchange for the sums of 700l, 400l, and 300l, making altogether between 2,000l, and 3,000l. The learned judge then sentenced the prisoner to be transported beyond the seas for the term of his natural life.
CENTRAL CRIMINAL COURT, The charter (17 February 1839), 13
Forgery. Charles Sandys Packer was, on the same day, brought up to receive judgment. The learned judge told him that he had been convicted upon his own confession, of the offence of having forged a bill of exchange for 800l., with intent to defraud Messrs. Stone, Martin, and Stone, the bankers; and the indictment also charged him with feloniously uttering the same bill with a like intent. In his (prisoner's) case, the fact had not been overlooked that he had received a very high character from several most respectable persons, some of whom were personally known to the Court. But still character, however high, could not avail in a case of this description, and it was absolutely necessary, for the protection of the commercial interests of the country, that the full sentence of the law should be carried into effect; and that sentence was, that the prisoner be transported beyond the seas for the term of his natural life.
UK, Prison hulk registers and letter books, 1802-1849; date received 20 February 1829, Leviathan, Portsmouth (PRO UK, HO9/14, 52)
https://www.ancestry.com.au/interactive/1989/31791_221379-00266 (DIGITISED)
4506 / Charles Sandys packer / 29 / Forgery / Old Bailey / 4 Feby 1839 / Life / Mar. / [R. & W.] both / Musician / [Gaoler's report] Not known / [how disposed] NSW 15 Nov. 1839
February 1839, entry in minute book, Royal Academy of Music
Quoted in Frederick Corder, A history of the Royal Academy of Music (London: F. Corder, 1922), 55
http://hdl.handle.net/1802/22270
. . . The subject of the trial and condemnation for Forgery of C. S. Packer, an Associate and Honorary Member of the Academy, having been brought before the Committee, - Ordered, that, in pursuance of the 13th Article of the Regulations, the name of C. S. Packer be erased from the Register . . .
NOTE: Corder added: "I have been told, however, that the crime had extenuating circumstances, and anyhow the delinquent fully atoned in another land and retrieved his position.
Documentation (Charles senior, Frederick and Augusta, UK, to 1854)
1832
[Advertisement], The Scotsman [Edinburgh] (1 December 1832), 3
PIANO FORTE AND SINGING. MISS AUGUSTA GOW, youngest daughter of the late Nathaniel Gow, having now returned from London, where she has been studying for the last five years under eminent masters, and at the Royal Academy of Music, begs to announce to the Public of Edinburgh, and particularly to the many kind Patrons of her Father, that she has commenced giving instructions on the PIANO-FORTE and in SINGING, and respectfully solicits a share of their patronage. Terms may be known at Miss Gow's, 5, Dundas Street, and at the Music Shops.
1833
"CONCERT", The Scotsman (9 February 1833), 3
The first of Mr. Murray's Soirees Musicales took place on Tuesday evening, in the Hopetoun Rooms, and was not so fully attended as it ought to have been, considering the peculiar merit of the whole performance, and that it was entirely supported by the professional musicians in this city. The Concert consisted of a judicious selection of vocal and instrumental pieces. The first glee, "Sigh no more ladies," introduced to our notice two performers - Mrs. McMillan, who, though we believe she has already appeared in Edinburgh, we heard for the first time - and Miss Augusta Gow . . . The young debutante, Miss Gow, has a rich, mellow, and pleasing voice, which, when fully cultivated, will be capable of executing the best kinds of vocal music. The interesting appearance and modest demeanour of this young lady, together with the well-taught style, and just expression she displayed, at once gained her the favour of the audience, who loudly encored her first song - an aria, by Costa. Miss E. Paton was in good voice . . . Beethoven's grand Septett in E flat, arranged for five instruments, was also delightfully played . . .
"Mr. Murray's Second Soiree", The Scotsman (20 February 1833), 3
This concert which took place on Monday evening, was rather thinly attended, but the performances went off with uncommon spirit. We never heard Miss Paton in better voice; she sung "Di Piacer" with fine animation, and in the true Italian Style. Miss Gow is also exceedingly promising; with a little more confidence, she will really be a charming singer. Her voice is of a very pleasing quality, and she has the elements of excellent taste, which by and bye will, if we mistake not, be turned to the best account . . .
"LEITH. Philharmonic Society", The Scotsman (23 March 1833), 3
This flourishing musical institution, whose concerts we have frequently noticed, gave an Oratorio on Wednesday evening, selected from the Messiah of Handel, and the Creation of Haydn. Besides the usual array of vocal talent, the choruses were filled up by a number of choral singers from Edinburgh, forming altogether, an orchestra of one hundred strong. An organ was got for the occasion, which proved a powerful auxiliary in giving effect to the whole. The selections from Handel's Messiah were well chosen . We were particularly pleased with the Recitative, "Comfort ye my people," and the Air, "Every valley shall be exalted." Air and chorus, "0! thou that tellest glad tidings" was also beautifully sung. Miss Gow, of whose merits we have spoken before, sung charmingly in the sweet melody of "What though I trace each herb." Graun's Chorus "Te Deum" was given with much boldness and grandeur . . . Mr. Napier played the organ. Mr. Stewart led the orchestra in excellent style. We should estimate the audience was not less than seven hundred.
"MR. MURRAY'S FOURTH SOIREE", The Scotsman (30 March 1833), 3
The fourth and last of Mr. Murray's Concerts took place on Monday evening in the Hopetoun-rooms. The attendance, although numerous, we fear was not of a remunerating description, being composed of original subscribers and their friends, who were turning their unused sets of tickets to account. The performances embraced great variety, and went off with much spirit. The usual vocal corps had a powerful addition in the person of Miss Roche, who possesses great flexibility of voice. We were glad to see that Miss Gow has recovered from her indisposition. This young lady is exceedingly promising, and with assiduous cultivation of her fine natural powers, will, to a certainty, become a distinguished ornament to her profession. A Mr. Dibdin, grandson, we believe, to the famous Dibdin, whose ballads have so eminently contributed to impart generous and ennobling sentiments to the rough and daring character of the British Tar, made his first appearance here, as a harp player. We have heard no one who approaches, nearer to the bold and commanding style of his master, Bochsa. Mr. Dibdin's performances were much applauded, and his reception was altogether very flattering. The instrumental pieces were of a very select kind, and played with admirable accuracy. The Solo from Spohr, by Mr. Murray, was chromatic and recherche, but it obtained great applause. Should Mr. Murray think of again giving his Soiree's next season, we trust he will be encouraged by every amateur, who is desirous of countenancing classical musical performances, supported by native talent.
1834
[Advertisement], Caledonian Mercury (23 January 1834), 1
. . . In the press.
A Third Number of the VOCAL MELODIES of SCOTLAND, left unfinished by NATH. GOW, and to be completed by JAMES DEWAR . . .
POSTHUMOUS WORKS of NEIL GOW, Junr.
QUADRILLES, by AUGUSTA GOW, daughter of NATH. GOW . . .
Favourite Set of QUADRILLES, composed, arranged, and dedicated to the COUNTESS OF DALHOUSIE,
by AUGUSTA GOW, daughter of the late NATH. GOW . . .
Published by ALEX. ROBERTSON, Music Saloon, Prince's Street . . .
1835
[Advertisement], The Scotsman (14 March 1835), 3
NEW MUSIC. A SECOND SET of FAVOURITE QUADRILLES, composed and arranged for the Piano-Forte, and dedicated to the Honourable Lady Menzies, by Augusta Gow. 2s., 6d . Published by ALEX. ROBERTSON, Music Seller to their Majesties, 39, and 47, Prince's Street . . .
[Advertisement], The Scotsman (16 September 1835), 1
THE EDINBURGH LADIES' INSTITUTION FOR THE SOUTHERN DISTRICTS, 55, GEORGE SQUARE . . . Piano forte and Singing, Miss Gow . . .
1837
22 July 1837, marriage of Frederick Alexander Packer and Augusta Gow, Edinburgh, Scotland
"MARRIAGES", Perthshire advertiser [Scotland] (3 August 1837), 3
At Edinburgh, on the 22d ultimo, Mr. F. A. Packer, Reading, Berkshire, to Augusta, daughter of the late Mr. Nathaniel Gow.
1838
"BIRTH", Berkshire chronicle [Reading, England] (21 July 1838), 3
July 16, Mrs. Frederick Packer, of Castle-street, of a son.
1840
[Advertisement], The Berkshire chronicle (14 March 1840), 3
MR. F. A. PACKER Begs leave to return his sincere thanks to the Inhabitants of Reading and its vicinity, for the very liberal patronage with which they have honoured him, and begs to say, he still gives instructions on the Harp, Pianoforte, and Singing.
Mr. P. has always on Sale a large Stock of the Instruments manufactured by Messrs. Towns and Packer in London, and flatters himself they will be found by those who favour them with a trial, in every respect unsurpassed by any other. Mr. F. A. Packer has constantly in his employ a competent Tuner, who will proceed to any part of the Country on very moderate terms, and to avoid the expense of sending to town, Mr. P. has made arrangements for having repairs executed at his Warehouse, in Castle-street, where may be also seen a large assortment of the most popular Music.
To prevent further disappointment, from the very short notice generally given for the attendance of Mr. Packer's Assistant at Quadrille Parties, Mr. Packer would feel extremely obliged by persons letting him know as early as possible. 128, Castle-street, Reading.
[News], The spectator (5 December 1840), 1160
https://books.google.com.au/books?id=WS4_AQAAIAAJ&pg=PA1160
"THE ROYAL WET NURSE", Bell's new weekly messenger (6 December 1840), 1
Mrs. Packer, who has been appointed wet nurse to the Princess Royal, is a native of Edinburgh, where she was well known as Miss Augusta Gow. She is a daughter the late Nathaniel Gow, and grand-daughter of the celebrated Neil Gow ("Famous Neil"). Mrs. Packer studied music at the Royal Academy, London, with the view of becoming a public singer, which character she appeared several concerts. Mrs. Packer has, or at least had, a splendid figure, and no doubt possesses all the qualifications requisite for the proper performance the duties important office.
"Mrs. Packer . . .", Australasian Chronicle (3 April 1841), 4
http://nla.gov.au/nla.news-article31731347
Mrs. Packer, who has been appointed wet nurse to the princess royal, is a native of Edinburgh, where she was well known as Miss Augusta Gow. She is a daughter of the late Nathaniel Gow, of this city, and grand-daughter of the celebrated Neil Gow. Mrs. Packer studied music at the Royal Academy, London, with the view of becoming a public singer, in which character she appeared here at several concerts. Mrs. Packer has, or at least had, a splendid figure, and no doubt possesses all the qualifications requisite for the proper performance of the duties of her important office. - Scotsman.
"LATEST NEWS FROM EUROPE", South Australian Register (10 April 1841), 5
http://nla.gov.au/nla.news-article27442383
"PORTRAIT OF THE PRINCESS ROYAL", Port Phillip Patriot and Melbourne Advertiser (2 August 1841), 4
http://nla.gov.au/nla.news-article226511486
. . . I take up my pen with an impetus loyal,
To draw a true sketch of the fair PRINCESS ROYAL . . .
The sweet babe has a mouth - teeth of pearl will soon be in it -
And the darling was born with a pretty gold spoon in it,
Perceiving which, PACKER exclaimed, "Dash my cap,
But it comes opportunely to use with the pap! . . .
. . . Satirist, April 5.
"THE ROYAL SPEECH (as concocted in the Royal Nursery)", Colonial Times [Hobart, TAS] (28 September 1841), 4
http://nla.gov.au/nla.news-article8752061
My Lords, I am happy to inform you I continue to receive from Mess-dames Packer and Clark, my wet and dry nurses, the most perfect assurances of love and affection for the Princess Royal. It gives me pleasure to inform you, that notwithstanding the high price of sugar, I have been enabled to meet the expense of caudle and pap without a new grant . . .
1841
[Advertisement], The Essex standard (19 November 1841), 1
PAUL AGGIO AND SON, CARVERS & GILDERS, HIGH STREET, COLCHESTER . . .
P. A. and SON beg also respectfully to announce that they are appointed Sole Agents in Colchester for the Sale of PIANO-FORTES manufactured by Towns and Packer,
20, Oxford Street and Hanway Street, London.
Mr. Towns having been for nearly 20 years engaged in the manufactory of Messrs. Broadwood,
these Instruments are manufactured by Messrs. Towns and Packer with all the recent Modern Improvements,
on the same principles as Broadwood's, and cannot be surpassed in brilliancy and sweetness of tone, nor yet in durability;
at the same time they are offered on such terms as must prove that they do not calculate upon the profit of individual instruments,
but rather rely on the patronage and support of a discerning public for such increased demand
as shall justify them in offering great advantages to purchasers of instruments of their manufacture.
Particulars of Terms and Prices may be had of Mr. P. Aggio and Son, High Street, Colchester,
who have had the honour to sell a great number of the instruments manufactured by Messrs. Towns and Packer,
and which have given universal satisfaction. Piano-fortes Let on Hire as usual.
1844
"PROMENADE CONCERTS", The Berkshire chronicle (1 June 1844), 2
During the present week our townsman, Mr. F. A. Packer, has given a series of morning and evening promenade concerts at the New Public Rooms, when the attendance was exceedingly respectable, although not so numerous as we could have wished. Various popular overtures, waltzes, quadrilles, &c., were admirably played the band, with excellent effect. Mr. Tull handsomely contributed his valuable aid, and performed on the flute with much brilliancy. Miss Turner, the young lady who sung at the former concerts, re-appeared, and was in excellent voice; the songs allotted this pleasing vocalist were executed with great ease and sweetness, manifesting a decided improvement her former efforts, and elicited frequent encores. Mr. Packer took a prominent part in the performances, and both played and sung with that taste, skill, and ability, for which he is distinguished. We are happy to hear that the list of subscribers to the series of promenade concerts intended to be given by Mr. Packer is sufficiently large to reimburse him for his spirited speculation, and are only surprised that non subscribers to the series do not more extensively patronise this very agreeable amusement, although the weather has probably prevented many who would otherwise have been present.
[Advertisement], Berkshire Chronicle (3 August 1844), 1
PROMENADE CONCERTS, NEW PUBLIC ROOMS, LONDON-STREET, READING.
MR. FREDERICK PACKER has the honour announcing that the next Series of these CONCERTS will commence on Monday, August 12th, 1844,
and continue Morning and Evening during the week.
Mr. PACKER trusts the arrangements he has already made,
both in the Vocal and Instrumental Department, may merit a continuance of the patronage he has already received.
Morning Performance, o'clock, admission, 3s.; Evening, Eight o'clock, 1s.
Tickets, to admit Two (in the same family) to each Performance of the Three Series, One Guinea:
to had at Mr. Lovejoy's Library, and of Mr. Packer, Professor of Music, 123, Castle-street, Reading.
The Two remaining Series will take place in October and December next.
[Advertisement], Reading Mercury (23 November 1844), 3
BY PERMISSION of the WORSHIPFUL THE MAYOR. PROMENADE CONCERTS, TOWN HALL, READING.
Mr. FREDERICK PACKER has the honor of announcing that the Fourth Series of these Concerts will commence on
MONDAY, December the 9th, 1844, at the Town Hall, Reading.
VOCAL PERFORMERS: MISS LANZA, MISS E. TUCKER, AND MR. FREDERICK PACKER.
INSTRUMENTAL SOLO PERFORMERS: Flute: Mr. A. H. TULL. - Harp: Mr. F. A. PACKER. Violin: Mr. WAND.
THE BAND . . . will perform all the most fashionable and popular Polkas, Valse a Deuz Temps,
Quadrilles, Marches, Galopades, Waltzes, and Overtures . . .
Leader: Mr. WAND. - Conductor: Mr. PACKER.
Performances every Morning and Evening during the week . . .
1848
"POLICE COURTS. July 22 [sic, ? 21] . . . WORSHIP-STREET", The morning advertiser (21 July 1848), 4
A well-dressed young man, named Frederick Southcombe, alias Corking, was placed the bar before Mr. Arnold, charged with having conspired, with another person not in custody, in obtaining goods large amount from various tradesmen means of fraudulent representations . . . Mr. Vann intimated that he should be able to substantiate numerous other charges against the prisoner, amongst which was one preferred Messrs. Town and Packer, the musical-instrument-makers, in Oxford-street, from whom the prisoner had obtained a valuable pianoforte, and to support which Mr. Charles Packer was then in attendance . . .
"MUSIC HALL", The Leamington Spa courier (26 August 1848), 2
We were delighted to find Mr. PERRING'S Vocal Concert, on Thursday evening . . . The Pianoforte used the occasion was remarkable brilliancy and tone, and we understand was one of the patent transposing instruments lately introduced to the public by Messrs. Towns and Packer . . .
1849
[Advertisement], The Reading mercury (5 May 1849), 3
EVENING CONCERT, NEW HALL, READING.
THE BOARD of DIRECTORS of the READING LITERARY, SCIENTIFIC, and MECHANICS' INSTITUTION,
beg to announce that they have made arrangements for AN EVENING CONCERT of Vocal and Instrumental Music,
to take place at the NEW HALL, London-street, on TUESDAY NEXT, the 8th instant.
They have made an engagement with MISS MESSENT, of the Theatres Royal, Drury Lane and Covent Garden,
Jullien's Concerts, &c, who will sing several pleasing and popular songs; in addition to which,
MR. F. A. PACKER has consented to sing some of his delightful Ballads, and also in a Duet with Miss Messent.
The Principal Instrumental Performers will be
FLUTE - MR. A. H. TULL, VIOLIN. - MR. BEALE, PIANO-FORTE, - MR. WORGAN.
The Instrumental portions of the Concert will be sustained by a highly efficient Orchestra of Twenty Performers,
composed chiefly of Gentlemen, professional and amateurs, resident Reading,
and belonging to the "Instrumental Music Society" in connection with the Institution,
who have very kindly volunteered their services for the occasion.
PROGRAMME PART I.
Overture, by full orchestra, "L'ltaliana in Algieri" - Rossini.
Quadrille, "Figurante de Paris," full orchestra - Musard
Song, Miss Messent, "Maiden Gay," - Curschman
Polka, " Brunow Polka," full orchestra - Tinney
Ballad, Mr. Packer, "Phillis is mv only joy" - Hobbs
Solo, Mr. A. H. Tull, Flute, "There is nae luck about the House" - Richardson
Vocal Duet, Miss Messent and Mr. Packer
Waltz, " Dalkeith Waltzes," full orchestra - Labitzky
PART II.
Overture, by full orchestra, II Barbiere - Rossini
Grand Concertante, Harp, Pianoforte, Voice and Flute (Mr. PACKER, Mr. WORGAN, Miss MESSENT, and Mr. TULL), "Les Adieux de Raoul de Coucy" - Holst
Quadrille, "The California," full orchestra - J. H. Beale
Ballad, by Mr. PACKER
Solo, Violin, Mr. Beale, with piano forte accompaniments by Mr. Worgan, "The Seventh Air, with variations" - De Beriot
Song, Miss Messent, "Jock o' Hazledean" - Scotch
Polka, "The Eclipse Polka," full orchestra - Koenig
Waltz, "Fidelie Burger Waltz," full orchestra - Bossisio
"God Save the Queen."
Sittings will be provided for upwards of 300 persons, the centre portion of the Hall being left open for Promenaders.
Concert to commence at 8 o'clock. Admission, 1s. each. W. E. ALGAR, Hon. Secretary.
"EVENING PROMENADE CONCERT", The Berkshire chronicle (12 May 1849), 3
On Tuesday evening last, one of these delightful entertainments was given at the New Hall, London street, being for the benefit of the Literary and Scientific Institution. The attendance was very numerous, upwards 400 being present, including several of the gentry and families of the leading tradesmen, the majority being of the fair sex . . . Precisely at eight o'clock the concert commenced with Rossini's overture, "L'ltaliani in Algieri," by a full orchestra, conducted by Mr. Worgan, and ably led Mr. Beale . . . Mr. Packer sang "my only joy," accompanying himself on the pianoforte. This ballad was admirably executed, but Mr. Packer's voice was hardly powerful enough for such large room . . . A vocal duet, by Miss Messent and Mr. Packer, followed by the Dalkeith Waltzes, by the whole strength the orchestra, concluded the first part . . . The second part commenced the overture to "II Barbiere di Seviglia," followed by the "California Quadrilles," a spirited composition by Mr. J. H. Beale, both of which developed the full power of the orchestra, and gave great satisfaction. Mr. Packer then sung another favourite ballad in very creditable manner; after which Mr. Tull again came forward, and performed Drouet's brilliant variations on "God save the Queen," accompanied by Mr. Packer on the pianoforte . . .
ASSOCIATIONS: George Worgan
Interior of St. Mary's, Reading, c. 1850s; with round chancel arch (later replaced), and new ecclesiological furnishings and decorations of 1849, the organ in the west gallery, still apparently in its 18th-century Byfield case, despite its considerable expansion by James Corps (c.1807-1870), formerly of Reading.
"RE-OPENING OF ST. MARY'S CHURCH", Reading Mercury (13 October 1849), 3
The parish church of St. Mary, in this town, which for some few months past, has been closed for the purpose of effecting extensive alterations and improvement, was re-opened for divine worship on Tuesday last, the 9th instant. The merry pealing of the bells in the early part of the morning announced that this sanctuary was again ready for the offering of prayer and praise, and, the weather being happily propitious, large number of persons flocked to this sacred pile to join in the services of the day: by eleven o'clock every available part of the building was occupied, and among the congregation were several families from the surrounding neighbourhood and clergy from adjacent parishes. The Mayor and Corporation, attired in their robes and attended by their officers, were also present.
Before we proceed further we will just give a brief detail of the architectural designs that have been most successfully developed in the work of improvement in this church. As regards the recent alterations, the main features, on entering the church, are the new lectern and desk, both executed in oak, and of a chaste and elegant design. The desk used for prayers only has flowing decorated tracery springing from mullions, and supporting moulding cornice containing scrolls, on which are inscribed in raised gilt letters, the texts: "The Lord will hear thy prayer," "Pray without ceasing." Crimson velvet placed at the back of the lower part of the desk, which developes the graceful lines of the tracery with much effect, and terminate in carved finials, in the foliage of which introduced the cross and the monogram "I.H.S." The lectern against the chancel step (from which the lessons are read) has centre stem with tracery springing from three sides, terminating with richly carved crockets and finials, surmounted busts of Angels bearing shields, on which varied scriptural devices are emblazoned. The holy bible is supported over the back of a pelican, which rises from the top of the shaft, and is represented as wounding its breast to feed the young that are surrounding it. The chancel and also the site of the old pulpit and reading desk have been refitted with oak open benches of handsome character, with carved bench ends; this, with the remainder of the joiner's and carpenter's work was excellently executed by Mr. New, of Castle-street. The pulpit is at present temporarily placed against a pier of the arch leading to the chancel. A most pleasing effect is produced by the encaustic tile paving of emblematic devices, alternating with the ancient monumental slabs, also by scrolls of illuminated lettering placed round the arches in the chancel, and elsewhere, with the texts of "My house is the house of Prayer," "Mine eyes shall be open and mine ears attend unto the prayer that is made in this place."
A similar mode of decoration has been successfully adopted with the organ with various suitable inscriptions, flowers, &c. The whole of the scroll lettering was executed with care and diligence Mr. Woodhams, engaged in the office of the architect, Mr. J. B. Clacy. The organ has been enlarged by the addition of 300 pipes to the swell, under the very effective superintendence of Mr. Corps, and to judge from the harmonious effects we heard on Tuesday, it will, when completed, be of such power and melody as commensurate with the talent of the organist, Mr. F. Packer.
We must not omit to mention the new window erected in the chancel as a memorial to the late amiable wife of the vicar, and, as we are informed, an offering by his daughters. It is well proportioned, and of decorated tracery, filled in with stained glass executed Mr. Warrington, with his accustomed ability. Over the window is the very appropriate text, "Right dear in the sight of the Lord the death of his saints," in lettering of the old missal character. The new door-way leading from the chancel through a passage or cloister into the new robing room, of beautiful design and proportions, with deeply recessed moulding, the hood mould terminating with expressive heads, and over it is inscribed "Let Thy priests be clothed with righteousness." In the wall of the passage is placed a new alms box, of novel and suitable character, bearing the inscription "Freely ye have received; freely give." The new robing room, or vestry, the north side of the chancel, is successful example of ecclesiastical architecture prevailing during the reigns of Edward the Second and Third, and when viewed from near the vicarage presents a most agreeable outline; it is built of flints with stone dressing, having a pointed roof of stone, and terminating with decorated cap and finely wrought iron cross with the sacred monogram "I. H. S." in gilt, effectively introduced. The roof in the interior is open, shewing the timbers and the walls are cased with stone. The masonry has been executed by Messrs. Wheeler, of this town. The alterations have been effected under the superintendence of Mr. Clacy, who, throughout, has exhibited much architectural judgment, taste, and originality, and it affords opportunity of expressing an opinion that our town need not be dependent on adventitious aid the elegant design and execution of works of art and genius.
At about the time usually appointed for the commencement of morning service, the Lord Bishop of Oxford and the Venerable Archdeacon Berens entered the church from the new robing room, and were conducted to seats at the communion table; the clergy, who immediately followed their diocesan, occupied the new range of open benches in the chancel. The prayers were read by the vicar, and the lessons by the Rev. J. W. Murray, from the lectern: when service was concluded, his lordship delivered eloquent and soul-stirring address on "Christian Union" . . .
1850
[Advertisement], The Reading mercury (9 November 1850), 3
Mr. FREDERICK A. PACKER, (Pupil of Sig. Crevelli and Associate of the Royal Academy of Music) Begs to inform the Inhabitants of Reading and its vicinity that he CONTINUES TO GIVE INSTRUCTION in the HARP, PIANO FORTE, and ENGLISH and ITALIAN SINGING, his terms for which may be known at his residence. Mr. Packer considering a knowledge of the elements of THOROUGH BASS as indispensable to the Musical Student, will be happy to devote a portion of each lesson to that study, should it be required. Lime Tree Cottage, Bath Road, Reading.
"BIRTHS", Reading Mercury (16 November 1850), 3
On the 11th inst., at Lime Tree Cottage, Bath-road, Reading, Mrs. Frederick Packer, of a son.
NOTE: Birth of Arthur Howard Packer; father of Robert Clyde Packer, founder of the Packer media dynasty
1851
England census, 30 March 1851, Middlesex; St. Marylebone; All Souls, 26, 845; UK National Archives, HO 107 / 1486
https://www.ancestry.com.au/interactive/8860/MDXHO107_1486_1487-0399 (PAYWALL)
No. 115 / 21 Oxford Street / Thomas Towns / Head / 60 / Pianoforte manufacturer, master / [born] Newcastle upon Tyne
Charles Packer / Partner / 65 / Pianoforte manufacturer, master / Berks, Reading
Amelia [Packer] / wife / 63 / - / Berks, Hurst . . .
England census, 30 March 1851, St. Mary, Reading; UK National Archives, HO 107 / 1092
https://www.ancestry.com.au/imageviewer/collections/8860/images/BRKHO107_1692_1692-0280 (PAYWALL)
5 Bath Road / Fred'k A. Packer / Head / Mar. / 36 / Professor of Music / [born] Reading Berks.
Augusta Packer / Wife / Mar. / 35 / - / [born] Scotland
Fred'k A. G. Packer / Son / 12 / - / [born] Reading Berks.
John E. Packer / Son / 11 / - / [born] [Reading Berks.]
Jesse L. Packer / Daur. / 10 / - / [born] [Reading Berks.]
Chas. L. Packer / Son / 8 / - / [born] [Reading Berks.]
Augusta L. Packer / Daur. / 6 / - / [born] [Reading Berks.]
Mary A. Packer / Daur. / 4 / - / [born] [Reading Berks.]
Louisa C. Packer / Daur. / 2 / - / [born] [Reading Berks.]
Arthur H. Packer / Son. / 4 months / - / [born] [Reading Berks.]
1854
26 July 1854, death of Charles Packer senior
"Died", Herts guardian, agricultural journal, and general advertiser (5 August 1854), 4
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000353/18540805/055/0004 (PAYWALL)
On the 26th ult., at Coleshill, near Amersham, Bucks, Charles Packer, Esq., late of Oxford Street, London, aged 68.
Documentation (Charles Sandys Packer, Australia, from 1840)
Charles Sandys Packer
https://trove.nla.gov.au/search?l-publictag=Charles+Sandys+Packer (TROVE tagged by Australharmony)
Sadak and Kalasrade (Packer) - in Australia
https://trove.nla.gov.au/search?l-publictag=Sadak+and+Kalasrade+(Packer) (TROVE tagged by Australharmony)
1840
Norfolk Island (Charles Sandys Packer, 27 April 1840 to 29 August 1844)
Printed indenture, New South Wales, 1840, list of 200 make convicts by the ship Mangles [8], William Carr, master; Alexander Nesbitt, surgeon superintendent, arrived from England, 27th April 1840 (State Archives and Records NSW: NRS 12189; [X642A]; Microfiche: 742)
https://www.ancestry.com.au/interactive/2024/32082_223783__0002-00048 (PAYWALL)
40-890 / Packer Charles Sandys / 30 / R & W / Protestant / Married / [born] Reading / Musician and composer / Forgery / Central Criminal Court / 4 February 1849 / Life / [former convictions] None / 5 [ft] 5 [in] / Fair ruddy [complexion] / Sandy to red [hair] / Dark hazel [eyes] / Eyebrows sandy and meeting, whiskers red, scar on forefinger of left hand.
Thomas Sharpe (Episcopalian chaplain), journal, Norfolk Island, 8 October 1840; MS B218, State Library of New South Wales
http://archival.sl.nsw.gov.au/Details/archive/110339262
http://acms.sl.nsw.gov.au/_transcript/2015/D14303/a1498a.html (TRANSCRIPT)
October 8th 1840 . . . [Page 715] . . . A most extraordinary instance of the liberalism of the Superintendent has occurred here. The Government purchased a Seraphine, for this place, when Capt. Maconochie, was sent down here. A young man named Packer was appointed to play on the Instrument, which a little while ago, was sent to Longridge, - The man is a Protestant, the place of worship, is used alternately by the Protestants and Romanists [716] or Service. Hearing that he had been assisting at the Mass and absenting himself from the Church Service, I spoke to him on the subject and, stated to him my displeasure that he being a protestant, should assist in the Roman Catholic Worship. He mentioned my objections to the Superintendent, who said he would consider of it, and let him know. He than sent him instructions in writing, ordering him to attend both places alternately, - Thus a protestant is compelled, by this sapient reformer, to attend once a fortnight, the Popish Chapel, and assist in the Popish Service. And yet this encroachment on the liberty of conscience will be called liberal feeling. I have forbid him to play at our Service, if he does at theirs, the poor man, is Overseer at the Hospital, under an Assistant Surgeon [James Reid] who is a [Page 717] Roman Catholic, and whose appointment here, was made, it is generally understood, in order that he might teach the prisoners music. He might surely have performed himself, without forcing a protestant to assist in a worship so contrary to all his ideas of fine religion. To the Romanist party in this place, everything, is apparently wished to be made subservient . . .
[742] . . . December 10th [1840] When leaving a poor man, whom I visited at Longridge, and returning home today, I was much surprised to see the coffin on a cart for him made and sent up from the Settlement some hours before his death. The Hospital there appears to be in as undisciplined a state, as the body of the prisoners are. A prisoner overseer, a music master, seems to have the greater part of the work to do, which is done. The men appear dirty, and in one part of the Barrack room, in which the Hospital is situated, a number of the men sleep, whose noise and disturbance must greatly harass the poor sick men, and especially those who are near death. About fifteen of the new hands have died since they came here under the Social System . . .
December 18th [1840] . . . [748] . . . A great error I am sorry to say has been committed in building the new Church. It has been placed so near the Romish Chapel, that on account of the instruments of music they have been favoured with, a great annoyance is caused to the congregation of our Church by the noise, made by them, during Divine Service. The separation between the two buildings is so trifling, that, yesterday, it was with the greatest difficulty, I could preach to my people in the afternoon. It was like preaching in a room with a band of music, playing all the while in the verandah. When the Romish Service is finished, which in the afternoon occupies very little time, they in a most furious manner [749] began with their Clarinets so, that I suppose little of the sermon could be heard. This they call practice. The truth is, that they have had so many indulgencies from the Government, that their presumption now is almost unbearable. When will the Protestants see the guilt of their proceedings in giving encouragement to a system if idolatry, to a system which is attempting continually to crush the protestant faith . . .
[757] December 31st [1840] . . . The year 1840 is now nearly at a close. What important changes have occurred in this Island with respect to prison discipline since its commencement. I wish I could say that the change in the moral character of many of them has been in proportion also effected. But the most charitable mind, who is not blind to passing events, cannot fail to perceive that hard as many of these outcasts were before the Social System came among them with its thousand fairy promises, since then they have become much worse . . . [772] There is a great want of proper management here also, which is a prolific source of much disorder and confusion. The men have so many Masters who give so many different and contrary orders, that the poor fellows hardly know whom to obey. And this causes them perhaps to neglect many things belonging to their duty which would be cheerfully performed, were there some guiding hand, to direct the whole. The Camp at Longridge appears now to be under the management of the Second Assistant Surgeon. The Superintendent whose duty it has always been to muster the men & has only the charge of the labour, the rest is to be done by Assistant Surgeon. [773] In addition to this he has to teach the prisoners music. The Hospital of which he has the charge is situated at the Agricultural establishment, about a mile and a quarter from the Settlement. Instead of residing there he has been hitherto living on the Settlement. A dispenser, a music master also, appears to have the duty there principally to perform. He is however more concerned about his own comforts, apparently than that of the patients about him. Hence his time is chiefly spent, either in his own cottage, or taking recreation, with a number of the men. It is much to be regretted that so many abuses should prevail, and that so many [774] men should eat the bread of idleness . . .
[779] . . . Today a prisoner mentioned to me that he had been prevented from attending Church for about ten weeks, on account to work constantly for the two Assistant Surgeons here. The singers at Longridge have marks given to them. They sing in Church, yet these men are brought away from their Barracks for the [780] avowed purpose of singing glees & songs at Government House and stay all night away, and are plentifully regaled with spirits etc. Will this promote reformation among them? Amusement, not religion, appears to be the ground work of the wonder working system among the prisoners. The great aim appears to be to keep them in good humour, and little petted children they may be tolerably quiet for a few hours and then they become more peevish than ever. So it is with the men here. They can cheer and they can promise and that is all. When practice steps in, they are miserably deficient, and when temptation is held out, they soon fall . . .
ASSOCIATIONS: Thomas Sharpe (Episcopalian chaplain); James Aquinas Reid (assistant surgeon, musician)
1842
"Norfolk Island", The Sydney Gazette and New South Wales Advertiser (30 April 1842), 2
http://nla.gov.au/nla.news-article2556378
We beg to direct the attention of our readers to an important letter (from a Correspondent) in this days' publication, which exposes in an able manner, the absurd, we might add, insane system of government, pursued by Captain Maconochie, at Norfolk Island, a system, which, instead of reclaiming the hardened criminal from his evil ways, has tended to foster vice in its most gross and revolting shape. We earnestly implore the attention of Sir George Gipps to the fearful extent to which crime has reached, the increasing depravity of the prisoners, and the enormous additional expense incurred by the Utopian crotchets of the music mad Captain, whose "soothing system" has proved a curse, instead of a blessing, to the country which he mis-governs.
Letter, Jane Franklin to Mrs. Simpkinson, 5 September 1842 (in G. Mackenness, Some private correspondence, 5/10 September 1842)
The Beauforts will hear of it all if they do not know of it already, but I would not have you be the first to communicate it. Its notoriety here precludes all possibility of its being kept a secret in England. It has already been plainly alluded to in one of our newspapers.
Sir John received yesterday some very interesting and confidential letters from Sir George Gipps - that wretched girl Mary Ann Maconochie was at that moment in his house - she was brought to Sydney from Norfolk Island by the first opportunity, attended by Sion, Mrs. Maconochie's most faithful servant and his, Sion's brother. Sir George and Lady Gipps with the most noble and generous kindness, for such it assuredly is, took her into Government House till the ship (Jubilee [recte Jupiter]) sailed which was to be in the first week of September. She was of course in the utmost seclusion, had not been seen by Sir George but was frequently visited by Lady Gipps - Sir George says the affair was one of notoriety at Norfolk Island - how it was first discovered . . . not exactly known - but all of a sudden the man who had been living in the house as tutor to the boys and music master to Mary Ann, was thrown into prison and she was shut up in her room - the man had been a musician and composed in England and was transported for forgery - he is of good address and handsome person - all these details, most of which I knew before were given to us by Sir George who at the close of his letter says Lady Gipps begs that what he has said on her authority be kept secret. I have omitted but little except the name of the villain [Charles Packer]. The girl is to be sent to Mrs. Oldham, Captain Maconochie's illegitimate sister whom you may recollect having seen and she lives at Cheltenham . . .
Letter from James Aquinas Reid (Norfolk Island) to Henry Curzon Allport (Kissing Point), 27 September 1842 [State Library of New South Wales, ML MS Ar26/3]
http://archival-classic.sl.nsw.gov.au/item/itemDetailPaged.aspx?itemID=911186
[1r] Norfolkisland, Septbr 27, 1842.
My dear friend,
[2v] . . . For two years, I worked like a galleyslave - harder than ever I worked in my life before - & never got one sixpence for it. I often plied Captain Maconochie with remembrances, & insisted at last rather peremptorily on a definite arrangement, the moreso, as I felt that to me principally was owning his hitherto success, & that without one, he could hardly proceed. Many transactions, to which I alone was privy, placed him, in a degree, in my power. He must have known from private sources, that the tide was [setting?] against him - & as he found enough to so to keep afloat himself, he determined to throw a troublesome monitor like myself overboard. When people are willing, it is easy to find a cause for quarrelling. The pretext of intrigue between his daughter [Mary Ann Maconochie] & me, was so shallow as it were ridiculous - the hand of heaven has visited his want of principle strikingly on the old man, in the disgrace of that same daughter with a prisoner of the crown [Charles Packer]. No explanation ever took place between us - the first insulting expression he made use of to me, was the last he had the power to do - I turned on my heel, & have never opened my lips or addressed him except on duty, since that time. He is too old a man & in too trying a position to become the object of my resentment, altho from his since [ ? ] conduct he deserves no forbearance - - I told you before, that the department is likely to be reduced, previously to its final breakage, transportation to N.S.wales having ceased . . .
[4r] . . .God bless you all! Adieu!
J. Aq. Reid.
Reid, who was an assistant surgeon on Norfolk Island, had earlier been music tutor to Alexander Maconochie's eldest daughter Mary; and Maconochie had also accused him (Reid) of having an illicit relationship with his daughter, probably either during 1841 or early 1842; Mary, whose younger sister was already married, was herself obviously of a marriageable age at the time (she was born c. 1823). After Maconochie similary accused Charles Packer, Mary was sent home to England (see Jane Franklin's letter, above), Packer was thown into solitary confinement (see Packer's ticket-of-leave documentation below), and though Reid's professional relationship with Maconochie necessarily continued, their previously close personal relationship was never restored. On Reid, see:
https://sydney.edu.au/paradisec/australharmony/reid-james-aquinas.php
1844
Van Diemen's Land (TAS) (Charles Sandys Packer, from 27 September 1844 to 5 November 1853)
On arrival in Van Diemen's land in April 1844, Charles Packer was first sent to Southport to work in a labour gang for a year. On his return to Hobart Town, in May 1845 he was assigned for a year to fellow musician William Wilkins Russell, who first presented Packer to the public in a series of concerts in Hobart and Launceston in the second half of 1845 and 1846, and with whom Packer seems to have retained a warm professional relationship right up to his final departure from Tasmania in 1853.
In May 1846, he was next assigned to Hobart solicitor, Thomas Wood Rowlands, on whose unexpected death in June 1847, Packer then passed very briefly into the service of judge Algernon Montagu (1802-1880), apparently at the latter's request. However, only a month later, on 27 July 1847, Packer was granted a ticket-of-leave. Montagu was neverthess publicly criticised for his dealings with Packer, the matter raised again in the press as late as December 1848, a full year after Montagu's dismissal.
According to Jane Reichenberg (1923), Packer also served for a time as organist of St. Joseph's Church, Hobart, in succession to her father Joseph Reichenberg, presumably in the brief period between Reichenberg's death and Packer's departure for Sydney in the second half of 1853.
Packer, Charles, convict record, Van Diemen's Land (commenced 27 September 1844); Tasmanian names index; NAME_INDEXES:1423881; CON33/1/55 Page 14120
http://search.archives.tas.gov.au/ImageViewer/image_viewer.htm?CON33-1-55,269,158,F,60 (DIGITISED)
14120 / Packer Charles Sandys / 1st [term] convict /
Tried C.C.Court 4th Feb'y 1839 Life
Public Arr. 27 September 1844
[First arrived Norfolk Island] Mangles Arrived N. I. 7 May 1840
Protestant Can read and write
Transported for forgery
Stated his Offence Forgery £2000 Bills
of Excahnge deposited at my Bankers
Stone Martin & Co Lombard Street [?]
Trade Composer and Professor of Music /
Height 5 ft 4 3/4 in / Age 35 / Compl'x Ruddy /
Head large / Hair brown / . . .
Period of [?] Labor Twelve months
Station of Gang - Southport - 23/5/45 . . .
27 July 1847 T. L.
15. 10. 50 C. P. app'd
Remarks
23 / 5 / 45 Mr. Russell, Collins St.
23 / 5 / 46 / T. W. Rowlands [died] 14 / 6 / 47
Algernon Montagu
Hobart Town
14. 11. 48 to apply for a C P intends
an appl'n for a C. P.
1845
23 May 1845, Charles Packer assigned to William Wilkins Russell, Hobart Town
31 July, 14 August, 24 September, 16 October, and 19 November 1845, Charles Packer's first documented public concert appearances in Russell's Hobart concerts
"SOIREE MUSICALE", The Courier (2 August 1845), 3
http://nla.gov.au/nla.news-article2947804
"This is the only Concert I have attended in the colony" - such was the almost general exclamation during and after this entertainment on Thursday evening last. For ourselves we must echo the same words, and join in the general feeling of gratification that they are intended to convey. The greatest care and attention in both departments, vocal and instrumental, pervaded the whole performance. The vocal department embraced only four performers, Madame Gautrot, Mrs. Hill, Mr. Packer and Mr. Duly; but the selections were so chaste and pleasing, so well arranged, and withal so extremely well executed, that the ear as well as the mind were kept in one constant source of delight. And here it is our duty to notice the debut of Mr. Packer, of whom we were led to expect something of a high order, and which was amply verified. His songs throughout the evening were of the most pleasing description, not only as regards the feeling manner in which they were sung, but in the skill and judgment everywhere discernible. Of his instrumental performance (the pianoforte,) we may safely say that the public have not witnessed the like for many, many a day - his "I Puritani" was delightful, the whole audience at the conclusion of the piece welcoming him with three rounds of applause. Mr. Packer also played an extemporaneous piece on the pianoforte, which was also received in a similar manner. We had nearly forgotten to mention the trio, Sadak and Kalasrade, by Madame Gautrot, Mrs. Hill, and Mr. Packer; it was admirably sung, and met its due share of approbation. We have not further space at present to enlarge on the performances, but trust the success of his first attempt will induce Mr. Russell to repeat these soirée musicales.
ASSOCIATIONS: Madame Gautrot (vocalist); William Wilkins Russell (violinist, pianist); Abraham Philip Duly (clarinettist, bandmaster)
"SOIREE MUSICALE", The Courier (20 August 1845), 3
http://nla.gov.au/nla.news-article2947623
The concert given at the Music Hall, on Thursday last, was not so numerously attended as from the popularity of the preceding entertainment we were led to expect. A good few, however, of the elite of the town were present, and the performance appeared to elicit universal satisfaction. Most of the songs were encored, and of Mr. Packer's abilities, as a pianist, the most flattering opinion is entertained.
"MR. RUSSELL'S CHAMBER CONCERTS", The Courier (4 October 1845), 2
http://nla.gov.au/nla.news-article2947269
We have hitherto omitted to notice the second of these delightful performances, which took place on Wednesday evening, the 24th of September. The instrumental portions, executed by professional men and amateurs of acknowledged talent, were, as might be expected, admirably sustained . . . Mr. Packer's ballads were given in a style of simplicity, tenderness, and genuine English feeling that excited a response in every bosom. His clear and distinct enunciation imparted to his performances an additional charm. As a pianist, he undoubtedly claims a prominent place. We do not mean to assert that his style of execution is free from defects, or to admit that we have not heard fur superior vocalists; but, still, we consider him as an important and valuable addition to the musical talent of this colony.
"CHAMBER CONCERT", The Courier (18 October 1845), 2
http://nla.gov.au/nla.news-article2947156
Mr. Russell's third concert came off on Thursday evening, before a numerous assemblage, including a fair proportion of the elite of the town. The instrumental parts were of a pleasing and well-selected description. The variations on the march, from "I Puritani," by Mr. Packer, the overture, "Sadak and Kalasrade," and the "Duo concertante," by Messrs. Russell and Packer, received particular attention. "My Boyhood's Home," sang by Packer was encored. Indisposition preventing Mr. Leffler from taking his part in a glee, "Madeline," by Mr. Packer, was substituted, and received with ita former favour. The clarinet solo was far from an unpopular hit. Other portions of the evening's performance met with due appreciation; but, taking it altogether, the amusement afforded was such as to render it amply deserving of a continuance of the public patronage.
ASSOCIATIONS: Edmund Leffler
"MR. RUSSELL'S CHAMBER CONCERTS", The Courier (22 November 1845), 2
http://nla.gov.au/nla.news-article2946847
The Fourth of this series of pleasing entertainments was given on Wednesday evening. The attendance was encouraging, but the performances were less spirited and satisfactory than on former occasions. To this general remark, the portions assigned to Mr. Packer must form special exceptions. His brilliant execution on the piano, combined with delicacy of touch and distinctness of articulation, together with the feeling and tenderness with which his songs are invariably given, must ever afford pleasure and elicit applause. In the glees, the voices did not harmonise agreeably, and their introduction seemed rather to serve as a foil to Mr. Packer's more agreeable performances, than to answer any other purpose of interest or gratification to the audience. The instrumental "Finale" was lively and effective.
1846
6 and 10 March 1846, Russell's concerts, Launceston
"MR. RUSSELL'S SOIREE", The Cornwall Chronicle (4 March 1846), 172
http://nla.gov.au/nla.news-article66269016
This distinguished artiste has succeeded in making arrangements for a Concert on a respectable scale, to take place next Friday evening, in Mr. Whitehead's great room, at the "Cornwall." The company will be limited, and in all probability very select, as we are assured the Soiree is patronised by some of our most wealthy and respectable townsmen. The programme appears to be arranged with considerable taste, and if sustained as there is reason to believe, will prove one of the greatest treats of the season. Persons who know Mr. Russell, or his clever ally, Mr. Packer, of Hobart Town, either personally or by repute, will have no hesitation in recommending the performance in question, as one of much promise. Nor will the valuable aid of the military band be an unimportant part of Mr. Russell's judicious arrangements.
"MR. RUSSELL'S CONCERT", Launceston Examiner (7 March 1846), 4
http://nla.gov.au/nla.news-article36244012
This concert last evening was a musical treat. The star of the night was a Mr. Packer, whose performances on the pianoforte are pronounced to be the most correct and refined in execution of any pianofortist in the colonies: his vocal performances were also highly commendable, and in several pieces he was deservedly encored. On Tuesday evening, another and final opportunity of enjoyment will be given to those who can appreciate really good music, as Mr. Russell advertises a concert for that evening, in our columns to-day.
"MR. RUSSELL'S CONCERTS", Launceston Advertiser (12 March 1846), 2
http://nla.gov.au/nla.news-article84769907
The entertainment on Friday evening last was a musical treat of no ordinary kind. Some members of the 96th band attended, by the kind permission of Colonel Cumberland, and we are grati6ed to have the opportunity of referring to the very correct and delicate manner in which they gave Bellini's, "A te O Caro," a cavatina, from "Beatrice di Tenda," "Vive Enrico," and a piece arranged from the well known air of "I know a bank;" as well as to the flute solo of Mr. Delaney (one of their number), which was very neatly played. The whole affair, indeed, was managed most creditably; but the performances which formed the attraction of the evening were those of a Mr. Packer, a pianist of extraordinary qualifications. His pianoforte performances are the most correct and refined we ever had the gratification of hearing out of London; whilst his vocal music was indeed sweet discoursing to the ear. "Madeline," a M S. serenade, and Bellini's "As I view these scenes so charming," were very sweetly sung by him.
On Tuesday evening the members of the 96th band were absent; but Mr. Packer having consented to take a very great share in the evening's entertainment, the audience had nothing to regret. He was deservedly encored in the fairy song of "Green Leaves," and we are confident that the audience were alone restrained from asking a repetition of the simple, pathetic ballad of the "Sailor's Bride," by a consideration or the unceasing exertions of the vocalist throughout the evening. An extempore fantasia by Mr. Packer was a most perfect exhibition of his brilliant powers as a pianist. His execution, his fingering, his refined musical taste - all are perfect. This extemporaneous piece, occupying nearly half an hour in its execution, was a series of splendid variations on the well-known air, "The last rose of summer;" "There's nae luck about the house," being introduced most artistically in the finale. The airs were selected at the moment by one of the audience. It was a most delicious combination of science and good taste, such as no description of the pen can do justice to. A duet concertante (violin and pianoforte), by Messrs. Russell and Packer, and a duet by Anderson and Packer, were highly creditable performances.
23 May 1846, Charles Packer assigned to Thomas Wood Rowlands, solicitor
27 July 1846, Russell's concert, Music Hall, Collins-street
[Advertisement], The Courier (25 July 1846), 3
http://nla.gov.au/nla.news-article2945166
Music Hall, Collins-street.
MR. RUSSELL has the honour to announce that a Concert of Vocal and Instrumental Music will
take place at the above room on MONDAY EVENING, the 27th instant.
PROGRAMME.
PART 1ST.
Overture. - Arranged expressly for the occasion (Maritana) - Wallace.
Song. - "There is a flower that bloometh" (Maritana) - Wallace.
Concertante - (William Tell) - Rossini.
Ballad - In happy moments" (Maritana) - Wallace.
Song - "The Night" - Hirne.
Cavatina - "Scenes that are brightest" (Maritana) - Wallace.
Grand Fantasia, Pianoforte. Thalberg.
PART 2ND.
Overture - (Sadak and Kalasrade) - Packer.
Barcarolle - "The moon in all her beauty" - Marliani.
Song - "The Cossack's adieu" - Neukomm.
Fantasie Irlandaise, Pianoforte - Herz.
Song - "How sweet the chimes" - Himmel.
New Ballad - "The forbidden door" - Crouch . . .
1847
14 June 1847, after death of Thomas Wood Rowlands (on 13 June 1847), Charles Packer reassigned to judge Algernon Montagu
(July-August 1846) 27 July 1847; ticket of leave recommended and granted
Van Diemen's Land, tickets of leave, 1847-48; UK National Archives, PRO, HO 10/60, 120
Packer Chas. Sandys / Ldy Franklin 2 [from Norfolk Is.] / C.C.Court July 1839 / Life / Norfolk Island 4 yrs 5 mths VD Land 1 year 10 months / Cause of indulgence: Having suffered materially in his health from having undergone a protracted and illegal punishment when at Norfolk Island, viz. Nine months solitary confinement, to which he was not sentenced, but merely ordered by the Commandant, who was his accuser, without any public investigation and without the concurrence of a second magistrate. His general conduct at Norfolk Island is reported to have been highly correct, and he has behaved in an exemplary manner in this Colony. He has completed in all a servitude of nearly seven years and a half from the date of his conviction.
30 August 1847, concert, Mechanics' Institute, Launceston
"PROMENADE CONCERT", The Cornwall Chronicle (28 August 1847), 2
http://nla.gov.au/nla.news-article65981973
The introduction of this species of amusement, in connection with the Mechanic's Institute, has been generally well spoken of, and the managing committee have resolved on giving a second Concert at the Cornwall Assembly Rooms, on Monday next. On reference to the programme, it will be seen, that in addition to the Military Band placed at the disposal of the Committee, by the gallant Colonel, the efficient services of Mr. Packer, from Hobart Town, have been secured, besides those of several amateur glee-singers, and Messrs. Leffler and Anderson, the pianists. The terms of admission are extremely easy, and we hope the attendance on the occasion will be such, as not only to meet the heavy expences incurred, but likewise to furnish a handsome increase to the funds of the Institution.
[Advertisement], The Cornwall Chronicle (28 August 1847), 1
http://nla.gov.au/nla.news-article65981988
LAUNCESTON MECHANICS' INSTITUTE.
SECOND EVENING CONCERT, Under the Direction of the Managing Committee of the Mechanics' Institute.
A PROMENADE CONCERT will be held in the Cornwall Hotel Assembly Rooms, on
MONDAY EVENING, 30th August, to commence at half-past seven o'clock.
PROGRAMME.
Overture to Waverley- Berlioz - Military Band.
Glee - "Come unto these yellow Sands" - Four Voices, Mr. Leffler at the Piano
Fantasia, Piano Forte - by Herz - Mr. Packer
Song, "The Sailor's Bride" - Purdey - Mr. Packer
Introduction, Zemire et Azor- Sphor - Military Band
Glee - Hark to the Indian Drum - Mr.Packer & others
Fantasia - Piano Forte - Mr. J. H. Anderson
Song, "The old Mariner"- Knight - Mr. Packer
Waltz, Les pas des Fleurs- Maretzck - Military Band
Quintette - from Beethoven- arranged for Flute, Cornet a Pitton, Clarionet and Bassoon - Mr. J. H. Anderson at the Piano Forte
Fairy Song - "Green Leaves" - Mr. Packer
Solo - Vocal
Railway Gallop - Gung'l - Military Band
Glee - "Red Cross Knight" - Three Voices
Fantasia, Piano Forte - Dohler - Mr. Packer
Finale - Waltz - Military Band
Tickets - two shillings and sispence each to non-subscribers;
children under 14 years of age, one shilling . . .
"MECHANICS' INSTITUTE", The Cornwall Chronicle (1 September 1847), 3
http://nla.gov.au/nla.news-article65980398
Another Promenade Concert took place on Monday evening at the Cornwall Assembly Rooms, according to previous announcement . . . there must have been nearly 400 persons present . . . Mr. Packer's reputation was well-sustained by his brilliant style of execution on the piano forte on which he performed several favorite fantasias with much effect. His fairy song of "Green Leaves" was deservedly encored, and the glees in some of which Mr. Packer took part afforded much entertainment; by Messrs. Leffler, Anderson and the other professionals, the encomiums of the audience were quite deserved. Nor must we omit the excellent performances of the Band, who played several overtures, waltzes, &c., in their best style; the "Railway Gallop" was a remarkable composition . . .
1848
10 January 1848, letter of recommendation
[Advertisement], The Courier (26 October 1850), 4
http://nla.gov.au/nla.news-article2961913
. . . The following is an Extract of a Letter, dated 10th January, 1848, from Mr. C. S. Packer, Musician, of this City:
Hobart Town, January 10, 1848.
I have had an opportunity of examining several pianofortes manufactured by Mr. Williams, of Collins-street,
particularly those belonging to Mr. Degraves, Mr. Elisha Bailey, and Mr. J. A. Thomson,
and also one at present in his factory.
I was much pleased with them all, both us regards touch and tone;
and the last mentioned instrument I consider a very superior one.
Charles S. Packer . . .
ASSOCIATIONS: John Williams (pianoforte maker)
"MUSICAL TREAT - THE EOLOPHON", Colonial Times (28 January 1848), 3
http://nla.gov.au/nla.news-article8762179
We are given to understand that Samuel Moses, Esq., has most kindly placed at the disposal of Mr. Packer, on the occasion of his approaching concert, the Eolophon which the former gentleman brought from Paris. This magnificent instrument is constructed somewhat on the principle of the Seraphine, to which however it is infinitely superior, both as regards the certainty of the touch, and the exquisite variety of tones which a skilful performer can elicit from it. Every wind instrument can be imitated upon it with the utmost fidelity, and we believe we are correct in stating, that it is chiefly in supplying the deficiency of a wind instrument orchestra that it will be employed by the accomplished artist, who we hear is unremitting in his exertions to produce such a programme as will indeed be a treat to the musical world, and secure to himself that patronage and support to which in every respect he is so fully entitled.
ASSOCIATIONS: Samuel Moses (died 1873); on the eolophon, see "ORGAN BUILDING - THE EOLOPHON, ETC", Mechanics' magazine (5 August 1843), 99-101
https://books.google.com.au/books?id=DY5fAAAAcAAJ&pg=PP121 (DIGITISED)
7 February 1848, Packer's first Hobart concert
[Advertisement], The Courier (5 February 1848), 1
http://nla.gov.au/nla.news-article2969904
CONCERT.
CHARLES S. PACKER, Member and Professor of Music in the Royal Academy of Music in London,
BEGS respectfully to announce to his Patrons and Pupils, that his
CONCERT of VOCAL and INSTRUMENTAL MUSIC, advertised for
MONDAY, February 7th, will take place on that Evening, at the MUSIC HALL, Collins-street, on which occasion he hopes to be favoured with their kind support.
PROGRAMME.
PART I.
Overture - (Maritana) - Wallace
Song - "There is a flow'r that bloometh" - (Maritana) - Wallace
Trio - "O'er the far mountain" - (Sadak and Kalasrade) - Packer
Fantaisie Irlandaise Pianoforte - (Souvenirs de Voyages) - Herz
Song - "The Reconciliation" - Glover
Scena - "Bear witness of my joyous feeling" - (Alessandro Stradella) - Von Flotow
Irish Ballad - "The Fairy Hour" - Crouch
Fantaisie Dramatique - Pianoforte - Moscheles
Duetto - "Qual mare, qual terra" - (I Masnadieri) - Verdi
PART II.
Overture - (Sadak and Kalasrade) - Packer
Aria - "Cento destarmi" - Arigotti
Duettino - "Follow fay, follow fairy" - Donizetti
Serenade - "Madeline" - MS.
Song - "The Star Spirit" - Nelson
Aria - "Joyous days of childhood" (Anna Bolena) - Donizetti
Fantasia Extempore - Pianoforte, introducing "Le Galop Fantastique" of Jules Schulhoff
Romance Française - "Ma Normandie" - Puget
Fairy Song - "Green Leaves".
Finale - "Viva Enrico" - Pucitta
Single tickets, 5s. each : family tickets, to admit
five, One Guinea each; to be had of Messrs. Walch,
Hawley and Co., Stationers ; at the Music Hall; Courier Office ; and of Mr. Packer, at his residence,
Battery Point, where alone reserved seats can be obtained.
"MR. PACKER'S CONCERT", Colonial Times (8 February 1848), 3
http://nla.gov.au/nla.news-article8762240
This was really a concert in the true meaning of the term, and such as we have never before witnessed in the colony; it was a glorious triumph of genius and talent. We cannot avoid offering our warmest congratulations to this talented artist upon the successful result of his exertions last evening. Want of time and space prevents a lengthened critique of the performances, but we cannot refrain from paying a just tribute of applause to Mr. Packer in his several capacities of composer, pianist, and vocalist. His "Overture to Sadak and Kalasrade," in which the assistance of the splendid Eolophon was most striking, is a highly effective composition; his pianoforte performances were most masterly, while his vocal efforts were indeed "a perfect concatenation of sweet sounds." All his songs were very beautiful, but we must particularize that sweet gem, "The hour of parting," by Donizetti; his " Madeline" and " Green leaves" were unanimously encored. His extemporaneous solo upon the Eolophon was beautiful; this instrument is a band of itself, and has, when well handled, a very powerful effect. The room was, we are happy to say, completely crowded, and by the most elite and influential of our citizens, all of whom evinced the most heartfelt satisfaction at the performances. We shall, in justice to Mr. Packer, advert more fully to this concert in our next.
"Concert", Hobarton Guardian, or, True Friend of Tasmania (9 February 1848), 2
http://nla.gov.au/nla.news-article163501890
"CONCERT", The Courier (9 February 1848), 2
http://nla.gov.au/nla.news-article2969889
"MR. PACKER'S CONCERT", Colonial Times (11 February 1848), 3
http://nla.gov.au/nla.news-article8762266
Agreeable to the announcement in our last, we again advert to this delightful evening's entertainment, which we are happy to inform our readers was but the first of a proposed series of Concerts to be given at such intervals as will fill up that "hiatus" in intellectual amusement which at present so strikingly characterizes our social arrangements. We believe we are correct in stating that Mr. Packer is having the Music Hall decorated and fitted up in such a style as will most materially enhance both the gratification and the comfort of all who may visit it, and that it will be first opened to his Patrons and Friends on the occasion of the "Matinée Musicale," for which he has announced that gratuitous admission will be furnished to all who attended the performance on Monday last. We are likewise given to understand that the musical arrangements will be on such a scale as will combine instruction with amusement, and best tend to foster that purity of musical taste, without which we cannot expect to advance far in the cultivation of this charming art. We are quite sure that the matter could not be in more competent hands, for without flattery, we may say that such a combination of musical attainments in one individual is rarely to be met with, and most heartily do we wish him success in his undertaking.
13 and 20 March 1848, Packer's soirees
"MR. PACKER'S SOIREE", Colonial Times (14 March 1848), 3
http://nla.gov.au/nla.news-article8762461
Mr. Packer gave a Soiree Complimentaire yesterday evening at the Music Hall, which, as the title implies, was gratuitous: it was well and most respectably attended, and, as before, Mr. Packer was the sole performer, with one exception, namely Bishop's glee of "When the wind blows," arranged as a trio. Mr. Packer announces a second Concert for Monday evening, whon we hope a greater variety will be introduced into the performances.
"CONCERT", The Courier (18 March 1848), 2
http://nla.gov.au/nla.news-article2969605
. . . The interior decorations of the hall are now completed, and reflect great credit upon the genius of the artist, Mr. Duke. The side's and roof are tastefully divided by pillars and panels into compartments filled up with open landscape scenery. The hall will be brilliantly lighted with chandeliers and sconces, which will add to the effect of decorations and professional symbols tastefully disposed throughout the interior.
ASSOCIATIONS: William Charles Duke (b. c.1815)
[Advertisement], Colonial Times (17 March 1848), 2
http://nla.gov.au/nla.news-article8762483
MUSIC HALL, COLLINS STREET.
CHARLES S. PACKER, Member and Professor of the Royal Academy of Music,
BEGS respectfully to announce that a
SECOND CONCERT OF VOCAL & INSTRUMENTAL MUSIC,
will take place on Monday evening next, the 20th instant, when he hopes to be favoured with
a continuance of that patronage and support which were so kindly accorded to him on the
former occasion, and to merit which, his best exertions will not be wanting.
PROGRAMME.
FIRST PART.
Overture -
Song - "There is a flower that bloometh" (Maritana) - Wallace.
Trio - "O'er the far mountain" (Sadak and Kalasrade) - Packer.
Grand Variations, Pianoforte - (by desire) - I Puritani - Herz.
Aria - "Cento destarad"- Arigotti.
Song - "The Rover's Flag" - Rodwell.
German Song - "The Standard Bearer" - Lindpainter.
Duetto - "Qual mare" (I Masnadieri) - Verdi.
SECOND PART.
Trio - "Lo, morn is breaking" - Cherubini.
Song- "Pestal" - Pestal.
Aria - "Bear witness" (Alessandro Stradella) - Von Flotow.
Duo Concertante - "Pianoforte and Violin" - Lemoine.
Duettino - "Follow fay, follow fairy" - Donizetti.
Fairy Song - "Green leaves" (by desire) - M. S.
Finale - "Viva Enrico" - Pucitta.
Single tickets, 5s. Family tickets, to admit five, £1 1s. each.
To be had of Mr. Packer, at his residence, Battery Point,
and at the Music Hall, between the hours of 12 and 5 o'clock daily.
Doors to be opened at half-past 6 o'clock, to commence precisely at 7 o'clock.
March 17, 1848.
"MR. PACKER'S CONCERT", Colonial Times (21 March 1848), 3
http://nla.gov.au/nla.news-article8762502
This admirable entertainment was very genteely, although not numerously attended last evening, which could only be attributed to the inclemency of the weather, as the programme exhibited pieces of first-rate character. The opening overture to Zadak and Kalasrade, composed by Mr. Packer, and set as a trio for the piano and two violins, was performed with spirit: Mr. Packer appears to be a disciple of the present German school, and the overture is a favourable specimen of his talent as a composer, while, we need scarcely say, he is unrivalled in this colony as a pianist: here, too, his forte is power and effect, which were admirably evinced in the Grand Variations, by Herz, for the piano : Mr. Packer's touch is brilliant, unconstrained, and rapid, and his general playing shows at once the practised artiste. The vocal part of the performance was sustained principally by Mr. Packer himself, and a young noviciate, Madame Callegri, who, made her debut last evening. Madame Callegri possesses a voice of considerable sweetness, and making every allowance for the timidity of a first appearance, which was very evident, of some volume; she and "There is a flower that bloometh" with taste and feeling, but the Italian Aria by Arigotti was too complex for a nervous debutante: we shall reserve any further opinion of Madame Callegri until we hear her again; in the meantime, with confidence, and, above all, practice, she will become a decided acquisition to the concert-room. We feel more assured of this opinion, from the increasing confidence which the Cantatrice exhibited in her latter songs. The performances, having commenced in good time, were concluded before a late hour; and we sincerely hope to have the pleasure, again and again, to listen to the "melodious strains" of Mr. Packer and his friends.
"CONCERT", The Courier (22 March 1848), 2
http://nla.gov.au/nla.news-article2969580
Mr. Packer's second concert took place on Monday evening last, at the Music Hall, in Collins street, and was well attended. Upon the present occasion a Madame Carrigarri made her debut. It would he scarcely fair to give a definite opinion upon her voice or style of singing, judging from her first appearance, for she was evidently unnerved by the novelty of her position. If her first effort in the trio "O'er the far Mountain" therefore failed from this cause, she improved as she became less nervous; and the duettino, "Follow Fay, follow Fairy," was deserving of an encore. It is unnecessary to criticise Mr. Packer's performances; he played a pianoforte piece, by Hertz, in admirable style, and was deservedly applauded in his ballad-singing throughout.
"CONCERT", Hobarton Guardian, or, True Friend of Tasmania (25 March 1848), 2
http://nla.gov.au/nla.news-article163502125
Mr. C. S. Packer's concert at the Music Hall, was, considering the unfavourable state of the weather, well attended. We were gratified to see so many of the most respectable of our citizens patronizing Mr. Packer, whose talents as a musician have, in the mother-country, gained him a niche amongst the first musical talent in Europe. His performance on Monday night, of some of his own splendid compositions, fully establishes his fame both as a composer and performer. He also sang most pleasantly, and was encored no less than three times. To particularise any part of his performance would be doing him injustice, for all was good. A debutanti, Madame Callagarri, who is we believe a pupil of Mr. Packer, made her appearance and was well received. When we consider the many disadvantages of a first appearance, we cannot withhold our mead of praise to this lady; her voice is good, and only requires practice, with confidence, to develope its full powers. Her ear is particularly correct. We could not discover that she sang one note out of tune. In the trio - "O'er the Far Mountain," she displayed powers of no mean order, and in the air "Bear Witness" she gave every proof that she would become a favorite singer. Upon the whole she does her instructor great credit and we wish her every success in her musical career. Mr. Allen sang very pleasingly, and was well received. We must not omit Mr. Howson's performance on the violin. Every time we have the pleasure to hear this gentleman, we are delighted at the astonishing improvement he displays upon each new occasion. He has always been a favourite with the Hobartonians, but we never were more satisfied with his style and execution, than on the late occasion. Upon the whole the concert gave great satisfaction, both as to the pieces selected, and manner in which they were gone through. The finale "Viva Enrico," crowned the pleasing sensations of the audience, and they left the hall well pleased with the treat afforded them by Mr. Packer, and his assistants.
ASSOCIATIONS: Madame Callegari (vocalist); Henry Howson (violinist); Edward Allen (vocalist)
1 May 1848, May day concert, Music Hall, Collins-street
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (26 April 1848), 2
http://nla.gov.au/nla.news-article163502251
CHARLES S. PACKER'S MAY DAY CONCERT.
VOCALISTS. Madame Callegari, Mr. Allen, Mr. Duly, Charles S. Packer.
INSTRUMENTALISTS. Violin - Mr. H. Howson.
Pianoforte - Charles S. Packer.
On this occasion will be presented some curious Madrigals composed during the 14th, 15th, and 16the centuries,
to give effect to which several Amateurs have kindly proffered their assistance.
Single Tickets, 5s. each. Family Tickets, to admit five, 21s. each.
To he had at Messrs. Walch, Hawley and Rolwegan, Stationers, at the Courier office, and of Charles S. Packer,
at the Music Hall, or his residence, at Battery Point.
[Advertisement], Colonial Times (28 April 1848), 2
http://nla.gov.au/nla.news-article8762756
MUSIC HALL.
MR. CHARLES S. PACKER'S MAY-DAY CONCERT.
VOCALISTS.
Madame Callegari; Mr. Duly; Mr. Allen; Charles S. Packer.
INSTRUMENTAL.
Violin - Mr. Howson.
Pianoforte - Charles S. Packer.
On this occasion will be presented some curious Madrigals composed during the 14th, 15th,
and 16th Centuries, to give effect to which several Amateurs have kindly proffered their assistance.
PROGRAMME.
PART I.
May Chorus - "Hail all hail!" - Weber.
Pastoral Ballad - "May Day." - Packer.
Madrigal - "Now is the month of Maying" - Morley.
Fantasia - Pianoforte - Herz.
Scena - "Bear witness" (by desire) - Alessandro Stradella - Flotow.
Song - "Pestal" (by desire)
Song - "I will never" - Seven Maids of Munich - Rodwell.
Madrigal - "The Silver Swan" - Orlando Gibbons.
Quartette and Chorus - "Viva Enrico" - Henri Quatre - Pucitta.
PART II.
Duetto - "Qual mare" - I masnadieri - Verdi.
Duo Concertante - Violin and Pianoforte - Packer.
Aria - "Joyous days of Childhood" - Anna Bolena - Donizetti.
Madrigal - "Comely Swain" - Playford.
Song - "The forbidden Door," (by desire) - Crouch.
Trio - "O'er the far Mountain" - Sadak & Kalasrade - Packer.
Finale Madrigal - "The Waits" - Jer. Saville.
Single Tickets, 5s. each, Family Tickets (to admit five), 21s. each,
To be had at Messrs. Walch's, Hawley's, and Rolwegan's, Stationers ; at the Courier Office;
and of Charles S. Packer, at the Music Hall, or his residence, Battery Point.
Doors open at half-past 6, to commence at 7 o'clock precisely.
April 25, 1848.
"THE CONCERTS", Colonial Times (2 May 1848), 3
http://nla.gov.au/nla.news-article8762761
Mrs. Chester's concert on Friday evening, at the Mechanics' Institute, was very genteely, and indeed numerously attended . . . Mr. Packer's concert, which was given last evening at the Music Hall, was not so well attended as we expected: the performances, however went off very well, Mr. Packer exerting himself in the most admirable manner. Unquestionably he is the best pianist in the colony, and by no means an indifferent vocalist. The Madrigals were received with due applause, and the Duo Concertante, in the second part, for violin (Howson) and pianoforte (Packer) was a splendid performance. The song, "The forbidden door," was encored, and justly so; and altogether the concert was conducted in a manner which leads us to hope that Mr. Packer will continue to repeat these interesting musical entertainments.
"CONCERTS", The Courier (3 May 1848), 2
http://nla.gov.au/nla.news-article2969228
On Monday evening Mr. Packer gave a concert at the Music Hall, in Collins-street. The novelty upon the present occasion consisted in the introduction of some very quaint old musical madrigals, written and sung, in all probability, in days gone by, when one "William Shakespere," not altogether unknown to fame, lived and wrote for the edification of posterity. These madrigals were admirably sung, and the harmonious cadences, with the union of seven voices, had a charming effect. It reminded us of the establishment of the "Madrigal Society" in England, with the view of diffusing a taste for pastoral music, in 1741, and the pleasure which might be derived from their cultivation in this colony. The madrigal is of ancient origin; they are of a peculiar composition; abound in a variety of points; and are singularised by extraordinary syncopations and strange closes. The points of the madrigal were first handled by Flemish composers, in the beginning of the sixteenth century; the Italians followed, as the names of Palestrina, Marenzio, Conversi, and Ferretti will testify. The earliest dates of madrigals in England are those of Morley in 1594 and Orlando Gibbons in 1599. In a few years after the latter date, Gibbons published an extensive collection. These could easily be obtained. Would it not be worth while to cultivate a taste for ancient as well as modern music? A fantasia on the piano, by Herz, was brilliantly played by Mr. Packer; and in the beautiful ballad of the "Forbidden Door," he was most deservedly encored.
"Concerts", Hobarton Guardian, or, True Friend of Tasmania (3 May 1848), 3
http://nla.gov.au/nla.news-article163502293
29 May 1848, ? concert, Launceston
[Advertisement], The Cornwall Chronicle (20 May 1848), 1
http://nla.gov.au/nla.news-article65979579
MR. PACKER BEGS leave to inform the inhabitants of Launceston, that on Monday the 29th instant, it is his intention to give a CONCERT OF VOCAL AND INSTRUMENTAL MUSIC, At the Cornwall Hotel. on which occasion he will be assisted by some or the first musical talent in the colony. Full particulars will appear in the next advertisement. May 18.
8 December 1848, ? concert, Hobart
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (6 December 1848), 1
http://nla.gov.au/nla.news-article163503458
MUSIC HALL, COLLINS-STREET. MR. C. S. PACKER, Member and Professor of the Royal Academy of Music in London, begs respectfully to announce his intention of giving a Concert of Vocal and Instrumental Music at the above Room, on Monday evening, December 8. Full particulars will be duly announced. November 28, 1848.
"THE MONATGU DESPATCH", Launceston Examiner (16 December 1848), 2-3
http://nla.gov.au/nla.news-article36256288
(3) [Turnbull, Colonial Treasurer]: The Puisne Judge's explanation as to the transaction between the convict pass-holder "Packer" and himself reveals, as it appears to me, a case of collusive, or as he styles it, nominal hiring between that person and himself for the purpose of defeating the regulations of the government, with reference to the class of convicts to which "Packer" belonged.
"DESPATCH", Launceston Examiner (16 December 1848), 3-4
http://nla.gov.au/nla.news-article36256276
(4) . . . In one part of this document Mr. Montagu refers to an allusion made by Mr. Young to some bill transactions of his with a man of the name of Packer, a ticket-of-leave holder; these formed no part of the charge against Mr. Montagu, but he enters into an explanation of the transactions, and, with reference to his connection with this man, who was a passholder a few months ago, he states, that I was aware of the position in which he stood with regard to him; this is explained in the minutes to have been altogether a mis-statement . . .
"'TISER AND THE MONTAGU PAPERS", Hobarton Guardian, or, True Friend of Tasmania (16 December 1848), 2
http://nla.gov.au/nla.news-article163503525
. . . We care not whether the individual whose conduct is under consideration be of one class or of another, we will be strictly just. It is therefore in accordance with these views and feelings, that we do not hesitate to designate the attack made upon MR. PACKER, in the 'Tiser of Tuesday, as one of the most dastardly and brutal that can be well imagined. MR. MONTAGU'S explanation of the Bill transaction, about which, there was so much official humbug is most satisfactory . . .
ASSOCIATIONS: Algernon Montagu; on 31 December 1847 Montagu had been removed from office as a judge by order of the lieutenant-governor and executive council; he sailed in the Rattler with his family on 29 January 1848 and never returned.
[Advertisement], Colonial Times (26 December 1848), 3
http://nla.gov.au/nla.news-article8764124
MUSIC HALL, COLLINS-STREET.
CHARLES S. PACKER, Member and Professor of the Royal Academy of Music in London,
begs respectfully to announce his intention of giving a Concert of Vocal and Instrumental Music at the above Room on Monday Evening, January 8.
Full particulars will be duly announced. December 26, 1848.
1849
8 January 1849, first concert, Russell's Music Hall, Collins-street
"MR. PACKER'S CONCERT", Colonial Times (5 January 1849), 2
http://nla.gov.au/nla.news-article8764187
Our musical readers will perceive on referring to our advertising columns, that a prominent feature in this entertainment, which takes place on Monday evening next, is the exhibition of the Eolophon, the use of which the proprietor, Mr. Samuel Moses, of this city, has most kindly granted Mr. Packer on this occasion. We have been given to understand that this will be the only opportunity of hearing the Eolophon in public; we should recommend, therefore, as who can do so, to avail themselves of the chance of hearing this magnificent instrument in such able hands. The programme is altogether of a most pleasing kind.
"MUSIC HALL", Hobarton Guardian, or, True Friend of Tasmania (6 January 1849), 3
http://nla.gov.au/nla.news-article163503636
We beg to call the attention of our readers to the very agreeable evening's entertainment which Mr. Packer announces, in our columns of this day, for Monday evening next. We hear, that there is not likely to be another opportunity afforded of hearing the Eolophon in public. Such being the case, we would earnestly recommend all who like to hear a splendid instrument exhibited in the most masterly manner, to be present, as we feel assured that the Eolophon, together with the charming adjuncts which the talented artist presents, will afford a high gratification to all lovers of good music. We sincerely hope that there will be a crowded attendance.
[Advertisement], The Courier (6 January 1849), 3
http://nla.gov.au/nla.news-article2967111
CHARLES S. PACKER'S CONCERT OF VOCAL and INSTRUMENTAL MUSIC,
at the Music HALL, Collins-street, Monday Evening, 8th January, 1849.
PROGRAMME - PART I.
Overture.
German Song - "Thy face in every blooming flower I see" - Frang Schubert [Franz Schubert].
Fantasia Pianoforte - (II Crociato) - Herz.
Song - "Love not" - Blockley.
Historical Ballad - "King Frederic's camp" - Coell [Cowell]
Concertante Duet - (For two violins) - Bruni.
Song - "My woodland home" - Donizetti.
Extemporaneous performance on the Eolophon - " Souvenirs de l'Opera Italien."
PART II.
Overture - ("Sadak and Kalasrade") - Packer.
Flower Serenade - "Lady, take this little wreath" - Linten.
Extemporaneous performance on the Eolophon - "Souvenirs des l'Opera Francais et Allemands."
Song - "I will never woo by sighing" - Rodwell.
Fantasia Pianoforte - "Les diamans de la Couronne" - Herz.
Ballad - "The forbidden door" - Crouch.
Extemporaneous performance on the Eolophon - "National recollections."
Single tickets, 5s; Family tickets to admit five, One Guinea each. -
To be had of Messrs. Walch, Hawley & Co., and Rolwegan, Stationers;
at the Music Hall; Courier-office ; and of Mr. Packer, at his residence, Battery Point,
*** Doors to be opened at a quarter past seven o'clock; to commence precisely at eight.
January 5.
"PACKER'S CONCERT", Colonial Times (9 January 1849), 2
http://nla.gov.au/nla.news-article8764206
The Music Hall was excellently well attended yesterday evening, and in addition to the singing of Mr. Packer, the new instrument, the Eolophon, contributed in a great measure to the attractions of the concert, the new historical ballad, "King Frederick's Camp," by Coell [Cowell], together with that favourite by Crouch, "The Forbidden Door," were loudly encored. The Overture of Maritana was well played; but "Sadak and Kalasrade" was not so good, owing to the introduction of an amateur violinist. Mr. Packer was in excellent voice, and a large company of ladies at the close of the concert evinced their approbation of the evening's performance.
"LOCAL", The Courier (10 January 1849), 2
http://nla.gov.au/nla.news-article2967082
PACKER'S CONCERT was well attended last Monday evening. The songs of" King Frederick's Camp" and the "Forbidden Door" were sung with exquisite taste and feeling by Mr. Packer, and met an encore. Mr. Packer's extemporaneous performances on the Eolophon were listened to with marked attention. .
"MR. CHARLES S. PACKER'S CONCERT", Hobarton Guardian, or, True Friend of Tasmania (10 January 1849), 3
http://nla.gov.au/nla.news-article163503652
The first of Mr. Packer's Concerts for the Season, was given on Monday evening last, at the Music Hall, Collins street, before a crowded and highly respectable audience, comprising the elite of the place. The "hall" was brilliantly lighted, and neatly fitted up, the comfort and convenience of the audience being much studied in the arrangements. The first part of the concert consisted of an admirable collection, and the overture was given by Mr. P., and the Orchestra, with remarkable spirit, and effect. - The Fantasia Pianoforte from Herz was splendid. Mr. P. in the vocal parts selected by him, and, indeed, throughout the performance, exerted himself with wonderful spirit, and commanded loud and general bursts of applause. In the Historical Ballad "King Frederick's Camp," from Coell [Cowell], Mr. Ps. brilliant execution electrified the whole audience, and deservedly called forth an encore. "A blot a stain on Frederick's glory" was given in a fullness of tone which shews him to be possessed by nature of an organ of fine calibre. A duet on two violins by Singer and an amateur, created much interest among the Juveniles. Mr. Stanley's "Love not" was pleasing and effective. The second part opened with the overture (Sandak and Kalasrade [sic].) "Packer," and was beautifully executed; after there came a selection of very trying and excellent pieces, two of which were encored. Mr. P. gave my "Woodland Home" and was loudly applauded. The flower serenade "Lady take this little wreath" was sang with such charm as to be encored, in fact the singing throughout was remarkable for correctness and facility of execution.
Mr. P's. extemporaneous performance on the Eolophon was good, he determined to "come out" with his best exertions, and he was to the fullest extent of the word successful. If Mr. P., was a stranger here, his performance on Monday evening would unquestionably establish his unrivalled ability as an artist; in all that depended upon himself and his assistants there was nothing left to desire. We cannot conclude this brief notice without congratulating Mr. P., on this auspicious commencement, he has made wonderful exertion to diffuse a high standard of taste in music, and as an accomplished scholar and artist his talent is an ornament to the profession.
"MR. PACKER'S CONCERT", The Britannia and Trades' Advocate (11 January 1849), 3
http://nla.gov.au/nla.news-article226532519
It is a pleasing task to criticise that which in itself has been a source of pleasure. Such is the sentiment awakened by recalling the musical entertainment of Monday last, an entertainment highly creditable to the talent, execution and taste of the performers. On the present occasion, the Music Hall, if not actually crowded, exhibited a most respectable assemblage, which would doubtless have been larger but for a recent melancholy event which precluded the presence of many. The Hall was gaily lighted up, and if the audience had to await the arrival of some visitors for whom perhaps the hour named was too early, the excellent selection of music, vocal and instrumental, atoned for the want of punctuality. The merit of Mr. Packer's composition was manifested in the overture "Sadak and Kalestrade," [sic] and of his singing in the success of "King Frederick's Camp," which was warmly encored. Having noticed the leader, we pass to the next performer, an amateur, a Mr. Hamilton, his first appearance as we understand as a singer in public. On this occasion he gave promise of future excellence. His voice is well adapted to songs of the class, "I will never woo by sighing," in which he was encored. He was deservedly very favourably received. The concertante duet for two violins, occasioned in its performance considerable mirth. This concert was, we understand, the first of a series, (at the Music Hall,) which no doubt will receive very liberal support.
"SADAK AND KALASRADE", Colonial Times (12 January 1849), 3
http://nla.gov.au/nla.news-article8764231
The overture of this opera was played at Packer's last concert; and it is but justice to state that it was not the fault of the amateur violinist that it did not go off so well as Maritana, but through the incorrectness of the music sheet which was placed before that gentleman on the occasion.
12 February 1849, second concert, Music Hall, Collins-street
"CONCERT", Hobarton Guardian, or, True Friend of Tasmania (10 February 1849), 2
http://nla.gov.au/nla.news-article163503849
We beg to direct the attention of our readers to the announcement by Mr. Charles Packer, of a Musical Soiree, which will take place at Ibe Music Hall, Collin's-street, on Monday evening, the 12lh instant. Mr. Packer is a Member and Professor of the Royal Academy of Music, in London, and his talents as an artiste in harmonic profession merit the encouragement and support of the inhabitants who will, we hope, patronise the entertainment advertised for Monday evening next.
[Advertisement], The Courier (10 February 1849), 1
http://nla.gov.au/nla.news-article2966789
THE MUSIC HALL, COLLINS-STREET.
PROGRAMME of CHARLES S. PACKER'S CONCERT.
Monday Evening, February 12, 1849.
FIRST PART.
Overture - Massaniello - Auber.
Song - Bishop.
Terzetto - "Lo! morn is breaking," - Cherubini.
Song - "The old Mariner," - Purday.
Fantasia (pianoforte) by desire - "Les diamans de la Couronne," - Herz.
Song - Crouch.
Historical Ballad - "King Frederick's Camp," - Coell.
Trio - "O'er the far Mountain," - (Sadak and Kalasrade) - Packer.
SECOND PART.
Duet Concertante - pianoforte and violin, - Packer.
Song - "When other lips," - Balfe.
Song - "The blind man's bride," - Blackwood.
Extemporaneous performance on the pianoforte.
Terzetto - "The Naiads' Dance," - Lee.
Serenade - "Madeline," - M.S.
Finale - Instrumental - Haydn.
Single Tickets, 5s. ; Family Tickets, to admit five, One Guinea each.
To be had of Messrs. Walch, Hawley, and Rolwegan, Stationers; at the Courier office;
and of Charles S Packer, at the Music Hall, or at his residence, Battery Point.
Doois to be opened at a quarter past 7 o'clock, to commence precisely at 8 o'clock.
February 9.
"PACKER'S CONCERT", Colonial Times (13 February 1849), 2
http://nla.gov.au/nla.news-article8764412
The Music Hall was yesterday evening excellently well attended. Mr. Packer sung some old favourites, as well as some new ones, with his usual effect; and upon the conclusion of his concert, The Forbidden Door - not in the programme - was called for, which he obligingly gave.
"MR. CHARLES S. PACKER", Hobarton Guardian, or, True Friend of Tasmania (14 February 1849), 3
http://nla.gov.au/nla.news-article163503862
This eminent and justly celebrated pianist gave his second Concert at the Music Hall, Collins-street, on Monday evening last, to a highly respectable and well filled house, comprising the leading families of distinction in and around Hobart Town. The Hall was, as on the last occasion, brilliantly lighted, and commodiously fitted up. Mr. P. was in each piece received with every demonstration of applause by his delighted audiences. His extemporaneous pieces elicited marked approbation, exhibiting as they did, the most refined taste, and a truly marvellous execution.
"PACKER'S CONCERT", The Britannia and Trades' Advocate (15 February 1849), 3
http://nla.gov.au/nla.news-article226530470
The Music Hall was numerously, and respectably attended on Monday night. The Amateur alluded to on a former occasion, gave evidence of considerable improvement in tone and style. Mr. Packer was well supported in several pieces, by Messrs. Curtis, Dyer, and Russel, and his singing, and masterly performances on the pianoforte, drew forth general applause from those present.
6 March 1849, Walter Lindenthal's concert, Music Hall, Collins-street
[Advertisement], Colonial Times (6 March 1849), 3
http://nla.gov.au/nla.news-article8764541
VERY GREAT ATTRACTION; FOR ONE NIGHT ONLY,
AT THE MUSIC HALL, COLLINS-STREET. GRAND VOCAL AND INSTRUMENTAL CONCERT,
TO TAKE PLACE On Tuesday 6th March, 1849,
Under the immediate patronage of His Excellency SIR T. DENISON & LADY DENISON.
ON WHICH OCCASION The full Military Band will attend.
FIRST PART.
Overture - "Guy Mannering" - Full Orchestra.
"Mary Blane," "Sing Darkies, Sing," "Buffalo Girls" - Ethiopian Minstrels.
Ballad - "Tell me my heart" - Mrs. Lambert.
Grand Fantasia Pianoforte (Herz) - Mr. Packer.
"Groves of Blarney" - Mr. Howard.
Glee - "This night we'll hold our revelry" (from "Oberon.") - Four Voices.
SECOND PART.
Overture. - Full Orchestra.
"Kathleen Magra." - Mrs. Lambert.
Glee - "Best of all good company" - Four Voices.
Ballad - "The forbidden door" - Mr. Packer.
"Life on the ocean wave" - Mr. Howard.
Grand Fantasia. - Flute on Paganini's air "The witch dance." (by a gentleman formerly of Jullien's Band London.)
"Rheuben Blane," "Lucy Neale," "Dance, Boatmen Dance" - Ethiopian Minstrels.
Ballad - "I'll be no submissive wife." - Mrs. Lambert.
Grand Finale - "God save the Queen." - All the Company.
Tickets to be had at the Courier-office; of G. Rolewegan, Collins-street; Hawley & Co.,
Murray-street; I. W. H. Walch corner of Liverpool and Elizabeth-streets; and of J. Williams, Elizabeth-street.
"THE CONCERT", Colonial Times (9 March 1849), 2
http://nla.gov.au/nla.news-article8764555
On Tuesday evening last the Music Hall was well and fashionably attended. The Programme, as far as our limited colonial capabilities go, was an attractive one. The Ethiopian serenaders gave several negro melodies in good style. Mrs. Lambert and Mr. Howard sang several favourites, but the grand treat of the evening was Mr. Packer's "Forbidden Door," which this vocalist has decidedly made his own in this colony. The Concert was got up under the superintendence of Mr. Lindenthal, and it is to be hoped it will not be the last.
"CONCERT", The Courier (10 March 1849), 2
http://nla.gov.au/nla.news-article2966527
A vocal and instrumental concert was given, under the management of Mr. Lindenthal, at the Music Hall, Collins-street, on Tuesday evening last, which was very tastefully fitted up, and well illuminated with wax candles; the space in front of the orchestral stage was occupied by a line collection of choice flowers from the garden of Mr. V. Marshall. A portion of the band of H. M. 99th regiment was in attendance, and all the available talent that could be procured. The principal performers were Messrs. Packer, Howson, Howard, Hill, and Mrs. Lambert; a party of glee-singers from the military band; and the Ethiopian minstrels. In the vocal department the Forbidden Door of Packer was as usual encored . . . The attendance of visitors was limited, although the announcement of the expected presence of Sir William and Lady Denison might have led to the presumption that the concert would be well supported. Every necessary arrangement had been made for the reception of His Excellency and party. Mr. Lindeiitbal intends to give a second concert in a short period.
19 April and 10 May 1849, Maria Carandini's concerts, Mechanics' Institute and Music Hall
"THE CONCERT", Colonial Times (20 April 1849), 2
http://nla.gov.au/nla.news-article8764812
Last evening, there was a good and fashionable attendance at the Mechanics' Institute, on the occasion of Madame Carandini's concert. The full military band of the 99th Regt, gave some favourite overtures - "Semiramide" in particular, was beautifully played, and the "Railroad Gallop" was most deservedly encored. Owing to a fortunate accident, Mr. Packer presided at the piano, vice Herr Imberg, invalided . . .
"CONCERT", The Courier (12 May 1849), 2
http://nla.gov.au/nla.news-article2966008
Madame Carandini's second concert took place at the Music Hall, Collins street, on Thursday evening last, and was quite full. Like her first, it was not destitute of attraction, the band of the 99th Regiment were in attendance; Packer presided at the piano; Russell on the violin; and Miss Duly and Mr. Howard, besides Madame Carandini, were the vocal performers . . .
[Advertisement], Launceston Examiner (29 September 1849), 8
http://nla.gov.au/nla.news-article36258522
It is hereby notified to the undermentioned individuals,
that it is the intention of the Lieutenant Governor to recommend them to the gracious consideration of her Majesty the Queen for Conditional Pardons:
. . . Charles Sandys Packer, Lady Franklin . . .
1850
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (16 January 1850), 2
http://nla.gov.au/nla.news-article173056769
££10 REWARD.
LOST, from the premises of the undersigned, last night or early this morning,
a NEWFOUNDLAND BITCH PUPPY of extraordinary size for its age,
white, with pale brown marks, and answers to the name of Dido.
If strayed a reward of £1 will be paid for its restoration.
If stolen, £10 will be given upon conviction of the thief.
CHARLKS S. PACKER, St. George's Hill,
Tuesday, Battery Point.
January 15th, 1850.
"THE WIDOW McDONNELL", The Irish Exile and Freedom's Advocate [Hobart Town, TAS] (2 March 1850), 2
http://nla.gov.au/nla.news-article233329718
Subscriptions Collected by J. Moore, in addition to the list given in our last, colleted by Mrs. Stewart . . .
. . . Mr. Packer - 20s. - . . .
"MUSICAL", Launceston Examiner (4 May 1850), 5
http://nla.gov.au/nla.news-article36265902
It will be seen by advertisement that Miss Henry purposes to give instructions on the pianoforte. This lady was introduced to the Launceston public at the age of ten years, when her performance commanded universal admiration. For the last eighteen months she has been under the instruction of Mr. Packer, the celebrated pianist of Hobart Town.
ASSOCIATIONS: Caroline Henry (pianist)
[Advertisement], The Britannia and Trades' Advocate (24 October 1850), 2
http://nla.gov.au/nla.news-article226532672
CONDITIONAL PARDONS GRANTED . . .
Charles Sandas Packer [sic], Mangles & L. Franklin . . .
31 December 1850, concert, Launceston
[Advertisement], Launceston Examiner (28 December 1850), 3
http://nla.gov.au/nla.news-article36267776
PROMENADE CONCERT.
Mr. Leffler begs to announce that a concert will take place on TUESDAY evening, 31st December instant,
at the Cornwall Hotel Assembly Rooms, when Messrs. Russell and Packer, assisted by other professional persons from Hobart Town,
will have the honour to perform some favorite pieces of Vocal and Instrumental music.
Prices, 2s. 6d.; reserved seats, 3s. 6d.
Doors open at half-past 7, and commence at 8 o'clock.
Tickets to be had at the Cornwall Hotel; at Mr. Leffler's, Charles-street; and Mr. Dowling's, Brisbane-street.
Full particulars will be announced by programme.
Launceston, Dec. 28.
"PROMENADE CONCERT", Launceston Examiner (1 January 1851), 7
http://nla.gov.au/nla.news-article36259262
We could have wished that this most agreeable evening's entertainment had been more numerously attended than it happened to be. We imagine that the deficiency in numbers must be attributed to the shortness of the notice, and also to the fact of the evening fixed on being one on which most of our northern friends are in the habit of having a clan gathering to witness the expiring throes of the passing year, and to welcome the arrival of the coming one. What, however, might be wanting in numbers, was made up by the circumstance of the company comprising many of the elite of our community. The principal features in the programme were Mr. Packer's ballads, which were given in a manner which elicited the highest commendations, and led to a request being preferred that he would favor the company with others besides those announced, a request which he most obligingly complied with by giving the beautiful ballad "Oft in the stilly night," and that charming little morceau "She wore a wreath of roses." We shall not attempt to particularize any one of Mr. Packer's songs: they were all gems in in their way. The three instrumental duets which that gentleman performed in conjunction with Messrs. Anderson, Leffler, and Russel, were highly and most deservedly applauded, more particularly that with the former gentleman, our fellow townsman and accomplished pianist. In our opinion, however, this splendid duet is better calculated for the artiste's studio than the concert room. We must also award our meed of praise to Mr. Leffler's violin playing, and "La pluie de perles" was really a string of pearly passages. The band, which was, however, deficient in strength, acquitted themselves very creditably, and a couple of very pretty glees served to vary a very agreeable evening. We perceive that a second performance will be given on Thursday, when there will be as entire change in the programme, and when, we feel assured, our musical friends will rally in such force as will be the most fitting method of welcoming and appreciating the exertions of the talented artistes who so fully justified the reputation they had previously earned.
"MR. PACKER'S CONCERT", The Cornwall Chronicle (2 January 1851), 968
http://nla.gov.au/nla.news-article65574672
On Tuesday evening last, Mr. Packer's concert took place at the Cornwall Assembly Rooms. The attendnnce was not so good as was anticipated, owing to very many of the towns folk keeping up New Year's Eve. Two or three private balls would, of course, thin the concert going people - however, near upon a hundred assembled, and were fully repaid by the evenings entertainment. Mr. Packer is allowed to be the finest pianist and vocalist in the colony, and the manner he performed his solos and songs fully realized the warmest anticipations. In addition to the songs mentioned in the programme, he was induced to treat the audience with one or two favorite ballads, "She wore a wreath of roses," and "Oft in the stilly night" - they were sweetly, pretty, and much admired. We must not forget to mention our old friend Mr. Lefler, whose performance on the violin, as well as songs were very justly admired. Mr. Howson, senior, on the violincello, and Mr. Russell on the piano and violin gave real satisfaction. It was intimated that Mr. Packer would give another concert on Thursday, (to-night) he is sure of a large and respectable audience. Mr. Packer's time being fully occupied at Hobart Town, as a teacher of music, the Christmas holidays are the only time he can devote to a visit on this tide, consequently, Thursday's concert will be his last.
1851
2 January 1851, second concert, Launceston
[Advertisement], Launceston Examiner (1 January 1851), 2
http://nla.gov.au/nla.news-article36259269
Cornwall Assembly Rooms, LAUNCESTON.
PROGRAMME of the second and last GRAND PROMENADE CONCERT, - Thursday, January 2, 1851.
PART I.
Melange (Band) - Strauss.
Song, Mr. Packer, "The Romaika" - Greek Air
Duet, Pianoforte, Messrs. Packer and Anderson - Czerny
Glee, three voices
Quadrilles (Band)
Ballad, Mr. Packer, "My Mother Dear," - Lover
Concertante, four performers on two pianofortes - Bochsa.
Song, Mr. Packer, "Green Leaves" (by desire) - M.S.
PART II.
Dno Concertante, Pianoforte and Violin, Messrs. Packer and Russell - Packer
Historical Ballad, Mr. Packer, "King Frederic's Camp" - Cohell. [Cowell]
Glee, three voices.
Fantasia, Pianoforte, Mr. Packer - Schulhoff
Vintagers' Chorus (Blanche of Jersey) - Barnett.
Quadrilles (Band)
Song, Mr. Packer, "The Fairy Bells" - Hon. Mrs. Norton
Concertante, four performers on two pianofortes - Rossini
Ballad, Mr. Packer, "The Forbidden Door" - Crouch
Finale (Band) - Labitsky.
Doors open at seven, to commence at half-past seven precisely.
Tickets (2s. 6d., reserved seats 3s. 6d.) to be had at Cornwall Hotel, at Mr. Dowling's,
and Messrs. Huxtable's, stationers; of Mr. Leffler, Charles-st., and of Mr. J. H. Anderson, St. John-street.
January 1.
"Mr. Packer's Second Concert", The Cornwall Chronicle (4 January 1851), 4
http://nla.gov.au/nla.news-article65575281
On Thursday evening Mr. Packer, with Messrs. Leffler, Russell, Anderson, and Howson, held their Second Concert at the Cornwall Hotel. We much regret to say that it was thinly attended, and instead of being a profit to the talented artistes it was a loss.
Passenger list, Shamrock, Launceston, TAS, 18 January 1851, to Melbourne; Tasmanian Names Index; NAME_INDEXES:592418; POL220/1/1 p313
https://stors.tas.gov.au/POL220-1-1 (DIGITISED, page 313)
Charles Packer / free / . . . [arrived in TAS on ship] Lady Franklin . . .
Melbourne and Geelong, VIC (19 January to 9 February 1851)
"SHIPPING AND COMMERCIAL GAZETTE", Port Phillip Gazette (21 January 1851), 2
http://nla.gov.au/nla.news-article224813484
January 19 - Shamrock, steamer, 200 tons, G. Gilmore, commander, from Launceston. Passengers (cabin) . . . Mr. C. Packer . . .
"PORT PHILLIP . . . MUSICAL", Hobarton Guardian, or, True Friend of Tasmania (26 February 1851), 3
http://nla.gov.au/nla.news-article173059051
We understand a very finished pianist, Mr. Packer, from Van Diemen's Land, has arrived in Melbourne, and purposes giving a series of concerts. - Daily News.
"MUSIC", The Argus (22 January 1851), 2
http://nla.gov.au/nla.news-article4775746
We hear most inflated accounts of the piano performances of a Mr. Packer just arrived from Van Diemen's Land. It is Mr. Packer's intention to give a concert or two in Melbourne during his stay amongst us.
[Advertisement], The Melbourne Daily News (23 January 1851), 2
http://nla.gov.au/nla.news-article226517965
MR. CHARLES S. PACKER, Member and Professor of the Royal Academy of Music,
BEGS respectfully to intimate to the residents via Melbourne and the vicinity,
that it is his intention to give a Concert of Vocal and Instrumental Music,
on TUESDAY NEXT, January 28th , in which he will be kindly assisted by all the available talent in Melbourne,
and on which occasion he hopes to be favoured with their kind patronage and support.
Further particulars will be immediately announced.
28 January 1851, concert
"THIS EVENING'S CONCERT", The Melbourne Daily News (28 January 1851), 2
http://nla.gov.au/nla.news-article226519845
If we are not widely mistaken, this Evening's Concert will be a most satisfactory affair. Mr. Packer bears the reputation of being the ablest pianist in the Colony. He was distinguished pupil of the Royal Academy.
[Advertisement], The Argus (28 January 1851), 3
http://nla.gov.au/nla.news-article4775866
MECHANICS' INSTITUTE.
PROGRAMME OF CHARLES S. PACKER'S CONCERT, Of Vocal and Instrumental Music,
THIS EVENING, JANUARY 28th, 1851.
Overture - Semiramide - Rossini
Canone a tri voci - Perfida Clori - Cherubini - (Mrs. Testar, Mr. Packer, Mr. Cooze)
Song - The Hour of Parting, (La figlia del Reggimento) - Donizetti - Mr. Packer
Aria - "Robert toi qui j'aime" (Robert le Diable) - Meyerbeer - Mrs. Testar
Fantasia, Pianoforte, Mr. Packer - Hertz
Canzonet - "Truth in absence," Mrs. Testar - Harper
Solo, Violin - Mr. Megson - De Beriot
Historical Ballad - King Frederic's Camp - Mr. Packer - Coehell
Trio - "O'er the far mountain," (Sadak and Kalasrade) - Packer - Mrs. Testar, Mr. Packer, and Mr. Cooze.
Second Part.
Overture - Sadak and Kalasrade - Packer
Rode's celebrated air with variations for the voice - Mrs. Testar
German Song - The Grave Digger - Mr. Packer - Kalliwoda
Solo, Flute - Mr. Cooze - Dipple
Duo - Sempe ripetimi - J. Briganti - Mercadante - Mrs. Testar and Mr. Packer
Duet, Violin and Pianoforte - Mr. Megson and Mr. Packer - Herz & Lafont
Serenade - "Madeline" - Mr. Packer - M. S.
Finale - Laughing Trio - Vadasi via di qua - Martini - Mrs. Testar, Mr. Packer, and Mr. Cooze.
Single Tickets, 5s; Tickets for reserved seats 7s each.
To be obtained at the Institute; at Mr. Harrison's, and Mr. Wilkie's Music Warehouses,
Collins-street; and of Mr Packer, at the Clarendon family Hotel.
"MR. PACKER'S CONCERT", The Melbourne Daily News (29 January 1851), 2
http://nla.gov.au/nla.news-article226519510
This gentleman's abilities as a pianist fall nothing short of the high reputation he bears. He possesses accurate knowledge of effects, wonderful command of the instrument, and an electric brilliancy of finger that delighted and surprised us. Many of his auditors might have thought his style too florid; but there is a great deal of cant abroad upon this peculiarity - and it is just as foolish as to cry down the strong coloring of old painters. Mr. Packer can evidently do anything that a subdued performer can accomplish, and a great deal more. His style is strongly marked - great light and shade, and in the right place - a beautiful musical pantheon, pictured with every character of performance. We have heard nothing like him here - neither do we expect to to do so until Hertz (as he purposes) makes his appearance amongst us. Mr. Packer is not only an extraordinary manipulist, but evidently appreciates the genius of the great composers whose works he does so much justice to - he throws himself on the theme, and works through it with great faithfulness and vigour. The room we regret to say was not full, owing chiefly to the short notice given, but mainly to the intollerable heat of the night.
The programme opened with the overture of Semiramide.
This was followed by an exquisite trio by Cherubini, better known by an English audience by the words -
"Lo morn is breaking,
Slowly awakening, &c.-
From the Brigand.
It was a little irregular the first few bars.
Mr. Packer sang a very sweet song (Donizetti) making the most of a melodious well trained voice of no great power, but of much sweetness.
Mrs. Testar was very happy in her Aria from Robert le Diable.
The great attraction was Mr. Packer's pianoforte performance, of a score by Herz.
He did all that could be expected from the author himself.
Nevertheless the piece was more calculated to display extraordinary facility of finger, neatness, depth of power.
Megson's solo (De Beriot) was a gem combining feeling, tone, and wonderful instrumentation.
Mr. Packer sang a ballad "Frederick Camp" with much taste and clothed and assisted his voice with great effect by his judicious style of accompaniment.
He must be an exquisite singer in a room - chaste, sweet, and expressive, in the extreme.
The trio from Mr. Packer's Opera of "Sadak and Kalasrade" was not only very well executed but a really sound and classic composition - some of the combinations being very beautiful. If we may judge of the Opera by this extract we should pronounce it to be a first-rate work. Mrs. Testar's best effort was the very difficult air and variations by Rode - a most trying, intricate, and taking composition. The Solo by Mr. Cooze on the flute, was very creditable. A Duet between Messrs. Packer and Megson elicited prolonged applause and would have encored but for the lateness of the hour. There was about £40 in the room. Mr. Packer's next concert will be be better attended.
30 January 1851, concert, Geelong
"THE CONCERT", Geelong Advertiser (29 January 1851), 2
http://nla.gov.au/nla.news-article91919387
As will be seen by our advertising columns, Mr. Packer intends to give a grand evening concert on Thursday evening next, at Mack's Hotel. Mr. Packer has the reputation of being the ablest pianist in the colony, having been formerly a distinguished pupil of the Royal Academy; and we have no hesitation in saying that a treat of the highest order is in store for all who may embrace the opportunity of being present at the Concert to-morrow evening.
"THE CONCERT, THIS EVENING", Geelong Advertiser (30 January 1851), 2
http://nla.gov.au/nla.news-article91917151
Mr. Packer's Concert, this evening, is expected to be numerously as well as respectably attended; and we feel confident that Mr. P. will sustain the high reputation he bears. The gentleman gave a concert in Melbourne on Tuesday evening, and the Daily News of yesterday, in its critique of the same, says that "he possesses acurate kowledlge of effects, wonderful command of the instrument . . ." We would advise all who can to be present at the concert this evening, and judge for themselves whether this praise of Mr. Packer be well merited or otherwise.
[Advertisement], Geelong Advertiser (30 January 1851), 4
http://nla.gov.au/nla.news-article91917144
Mack's Hotel, Geelong.
PROGRAMME OF CHARTLES S. PACKER'S
CONCERT OF VOCAL AND INSTRUMENTAL MUSIC,
THURSDAY EVENING, THE 30TH OF JANUARY, 1851.
FIRST PART.
Overture - (Semiramide) - Rossini
Canone a tre voci, - "Perfida Clori," Cherubini (Mrs. Testar, Mr: Packer, and Mr. Cooze.)
Song, "The hour of parting," (La figliadel Reggimento,) Donizetti, Mr. Packer.
Aria, "Robert toi que j'aime," (Robert le Diable,) Meyerbeer, Mrs. Testar.
Fantasia, Pianoforte, Mr. Packer, Herz
Song, "I'm a merry Zingara" (by desire) Mrs. Testar, Balfe
Solo Violin, Mr. Megson - De Beriot.
Historical Ballad, King Frederick's camp, Mr. Packer, Coehell.
Trio, "O'er the far Mountain," (Sadak and Kalasrade, Packer.)
Mrs. Testar, Mr. Packer and Mr. Cooze.
SECOND PART.
Overture, (Sadak and Kalasrade,) - Packer
Song, "Lo here the gentle lark," (Flute obligato,) Bishop, Mrs. Testar and Mr. Cooze.
German Song, "The Grave-digger," Mr. Packer, Kalliwoda
Duett, Violin and Pianoforte, Mr. Megson and Mr. Packer, Herz & Lafont.
Duo, "Sempre ripetimi," (I Briganti) Mercadante, Mrs. Testar and Mr. Packer.
Solo Flute, Mr. Cooze, Dipple.
Irish Ballad, " Oft in the stilly night," (by desire) Mr. Packer.
Finale, Laughing trio, Vadasi via di qua, Martini, Mrs. Testar, Mr. Packer, and Mr. Cooze.
Single Tickets 5s. each . . .
"THE CONCERT", Geelong Advertiser (31 January 1851), 2
http://nla.gov.au/nla.news-article91913477
We regret to say that the Concert given by Mr. Packer, at Mack's Hotel, last evening, was very indifferently attended, probably attributable to the inclemency of the weather. We shall give a critique in our next.
"MR. PACKER'S CONCERT", Geelong Advertiser (1 February 1851), 2
http://nla.gov.au/nla.news-article91915468
As we mentioned our in yesterday's issue, the concert given by Mr. Packer at Mack's Hotel on Thursday evening, was very indifferently attended. We believe this arose not from any indisposition on the part of our townsfolks to patronise entertainments of this nature, but principally on account of the disagreeable state of the weather. Those parties, however, who, despite the unfavorable weather, did venture out enjoyed a treat of no ordinary nature, which more than ample repaid them for any little uneasiness to which they were subjected out of doors. Of the character of the entertainment taken as a whole, we cannot speak in too favorable terms. The opening Overture (Semiramide) by Rossini, competent judges declare has never been equalled in Geelong, it certainly was execute in a very brilliant style. Mr. Packer on the pianoforte, more than realized what had been anticipated from him, he is not only an excellent manipulist, but his style is as chaste and elegant as it is possible to conceive, he completely entranced his auditors. The instrument on which he played was a very select toned one belonging to Dr. Baylie. Mrs. Testar is a very sweet singer, her song, "I'm a merry Zingara" was beautifully sung, and met with a rapturous encore, but the gem of the evening was the song "so here the gentle lark," in which the lady was accompanied by Mr. Cooze on the flute, any thing more exquisite could not be; the singer's voice emulated the tones of the instrument so much so as to induce the idea, that a duet was being played on the flute by two accomplished performers; the song was rapturously encored. Mr. Megson on the violin, played in a very superior style, as did also Mr. Cooze on the flute, and both gave great satisfaction to the audience. The concert passed off in a very agreeable manner - there was only one drawback to the satisfaction which pervaded the audience, and that was a feeling of regret that Mr. Packer had not received a more liberal patronage. We understand that gentleman has been a loser by the concert of upwards of £35.
"MUSICAL", The Melbourne Daily News (4 February 1851), 2
http://nla.gov.au/nla.news-article226518676
Mr. Packer's concert at Geelong was unremunerative, solely owing to the singular precipitancy and want of sufficient public notification which characterises the preliminaries. The handbills were not circulated until the afternoon of the day on which the concert was to take place.
"SHIPPING INTELLIGENCE", The Argus (8 February 1851), 2
http://nla.gov.au/nla.news-article4776075
CLEARED OUT. February 7 - Shamrock, steamer, 200 tons, Gilmore, commander, for Launceston. Passengers, cabin . . . Mr. Packer . . .
Tasmania
"Shipping Intelligence . . . LAUNCESTON", The Britannia and Trades' Advocate (17 February 1851), 2
http://nla.gov.au/nla.news-article225556682
February 10 - Shamrock, steamer, arrived from Melbourne. Passengers . . . Mr. Packer . . .
"INSOLVENT COURT. THURSDAY, 26th JUNE", Hobarton Guardian, or, True Friend of Tasmania (28 June 1851), 3
http://nla.gov.au/nla.news-article173059743
Charles Sandys Packer. First meeting of creditors . . .
In the matter of the insolvency of Chas. Sandys Packer.
Various affidavits containing liabilities were handed into court,
but neither their amount, nor the sum of the assests, were declared.
The original schedule of debts was amended upon the application of Mr. Coomber:
and further proceedings adjourned by the commissioner to the 10th proximo . . .
"INSOLVENT COURT. THURSDAY, 10TH JULY, 1851", Hobarton Guardian, or, True Friend of Tasmania (12 July 1851), 2
http://nla.gov.au/nla.news-article173059836
In re Charles Sandys Packer: - Adjourned until this day fortnight on the representation of Mr. Comber, that the insolvent is contemplating an arrangement with the creditors.
"INSOLVENT COURT. THURSDAY, 24th JULY", Hobarton Guardian, or, True Friend of Tasmania (26 July 1851), 2
http://nla.gov.au/nla.news-article173059916
In the matter of Charles Sandys Packer.
Further adjourned first meeting of creditors, and for discharge.
Mr. Coomber said the meeting fixed for this day had not been advertised,
in consequence of the Insolvent being satisfied that no creditors would come forward.
The Insolvent has now made arrangements with all his creditors, he (Mr. Coomber) would ask the commissioner to dismiss the petition:
and would inform the Court that, under these circumstances, Mr. Packer did not wish to take any advantage of the insolvency,
any benefit from the court. The Commissioner' then dismissed the case, upon the application of Mr. Coomber.
"LIST OF ELECTORS FOR THE ELECTORAL DISTRICT OF HOBARTON", Colonial Times (2 September 1851), 2 supplement
http://nla.gov.au/nla.news-article8769871
. . . Packer, Charles Sandys, householder, Cromwell Street . . .
"MR. W. P. WESTON AND MR. W. A. GARDNER", The Tasmanian Colonist (11 December 1851), 2
http://nla.gov.au/nla.news-article226524243
. . . Did not Major Schaw have Mrs. Calligarri to teach his daughters Italian? Is there not at this moment a ticket-of-leave holder living in open prostitution with a married woman at an Academy in Launceston, where he receives boys and girls to instruct in morality and polite literature?!!! Has not Mr. Packer been employed in the families of the first men in the land? - The Chief Justice, Sir John Lewes Pedder for one. Has he not been employed in a female seminary of some celebrity as music-master by the express desire of the parents of the pupils? But then he sings so divinely! - there is nothing like him in the colonies! We cannot blame the schoolmistress, for had she not acceded to their request, the young ladies would have been sent to some less fastidious establishment. Has not Mr. Algernon Burdett Jones a prisoner tutor in his family? . . .
1852
26 January 1852, Packer charged with harbouring female convict, Mary Fraser
"HARBOURING", The Courier (4 February 1852), 3
http://nla.gov.au/nla.news-article2959515
C. S. Packer has been fined 20/- and costs for sheltering a female transported offender named Mary Fraser, at Battery Point.
"Police . . . Withers v. Packer", The Tasmanian Colonist (5 February 1852), 2
http://nla.gov.au/nla.news-article226523176
This was a information at the instance of D.C. Withers against Charles Sandys Packer, teacher of music Hobart Town, for harbouring a female prisoner of the crown called Mary Fraser. D.C. Withers stated that Packer and the woman lived in a state of concubinage, and that the female delinquent was enciente. Mr. Wynne as counsel for the defendant (who did not show himself in court) pleaded guilty to the charge. The woman was brought before the court and she acknowledged that she had lately lived in Packer's house. Mr. Wilmot descanted in well-merited terms on Packer's conduct, he being admitted as teacher of music to private families of the first respectability in town, and he hoped this case would be made public. In all the glaring circumstances the magistrates (Mr. Wilmot and Dr. Smart) inflicted on the defendant the highest penalty in their power, viz. £20. The woman was removed to the female factory.
"HARBOURING A FEMALE TRANSPORTED OFFENDER ILLEGALLY AT LARGE", Hobarton Guardian, or, True Friend of Tasmania (7 February 1852), 3
http://nla.gov.au/nla.news-article173061210
Under the most aggravated circumstance, Mr. Packer deputed his Counsellor to plead guilty, and the fine of £20 was imposed. All things considered, and the punishment being too lenient, we deem it proper to expose the offender to public ridicule, which he richly deserves. His past misfortunes should have made him a wiser if not a better man.
ASSOCIATIONS: Mary Fraser (convict), arrived TAS, 25 July 1850 : see Convict record; Tasmanian names index; NAME_INDEXES:1393585; CON41/1/27
https://stors.tas.gov.au/NI/1393585
https://stors.tas.gov.au/CON41-1-27$init=CON41-1-27P53 (DIGITISED)
January 29 / 52 [? ] Absconding and being at large until 26 inst. when she was apprehended in Mr. Packer's house at Battery Point. 18 months hard labor / . . . April 1852 delivered of an Illegitimate child named ann Louisa at the F. hospital . . .
1852, births in the district of Hobart Town; Tasmanian names index; NAME_INDEXES:956069; RGD33/1/4/ no 1300
https://stors.tas.gov.au/NI/956069
https://stors.tas.gov.au/RGD33-1-4$init=RGD33-1-4-P462 (DIGITISED)
No. 1300 / April 15th / Ann Louisa / female / [name of father] - / [name of mother] Mary Frazer . . .
"Police . . . TUESDAY, FEBRUARY 24 . . . Macdonald v. Packer", The Tasmanian Colonist (26 February 1852), 2
http://nla.gov.au/nla.news-article226522054
Complainant summoned Mr. C. S. Packer, for 3l. balance of wages at 18l. per annum. The information was read and sworn to, but the defendant denied the debt and made a statement which the justices were pleased to consider a satisfactory answer to the claim of Macdonald, who being only a ticket-of-leave holder, and having nobody to corroborate his testimony, was supposed to have been sufficiently remunerated by the payments which, on his own showing, that gentleman had made to him.
21 June 1852, opening of winter musical and daramatic season under Packer and Russell's proprietorship, Royal Victoria Theatre, Hobart
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (16 June 1852), 2
http://nla.gov.au/nla.news-article173062080
Messrs RUSSELL & PACKER Having undertaken the Management of the
Royal Victoria Theatre, CAMPBELL STREET,
BEG respectfully to acquaint the inhabitants of Hobart Town, and the Public generally, that it will be
OPENED ON MONDAY NEXT, The 21st instant, with a variety of MUSICAL and DRAMATIC Entertainments.
A superior Orchestra is engaged, and the Musical arrangements will be superintended by Mr. Packer.
The Managers assure the Theatrical Public that everything that experience and assiduity can suggest, will be adopted to ensure the efficiency of the Performances,
and the comfort of those who honour them with their support.
Further particulars will be immediately announced.
"VIVE LA MUSIQUE", Hobarton Guardian, or, True Friend of Tasmania (16 June 1852), 3
http://nla.gov.au/nla.news-article173062065
Messrs. Russell and Packer, we perceive, have undertaken the management of the Victoria Theatre, and have made such arrangements as will, in addition to a Theatrical Performance of a superior kind, ensure that which has long been a desideratum to our Thespian votaries, namely, - a superior Orchestra.
"THESPIAN AMUSEMENTS", The Courier (16 June 1852), 3
http://nla.gov.au/nla.news-article2958895
We have it in our power to announce that the Victoria Theatre has been taken by Messrs. Russell and Packer, who have succeeded in securing the assistance of several established favourites, and have also made such changes in the internal arrangements as will conduce both to the comfort of those who visit the theatre and to the efficiency of the performances. The musical arrangements are in good hands, being confided to Mr. Packer, and we may fairly anticipate deriving many a rational evening's amusement.
"THE VICTORIA THEATRE", Colonial Times (22 June 1852), 3
http://nla.gov.au/nla.news-article8771607
This place of amusement was opened last evening by Messrs. Russell and Packer under the most encouraging auspices. There was a full house, many of the most respectable families honoring the performances with their patronage. The approved drama, "Fatality," the laughable burletta, "State Secrets," and an excellent interlude, were all capitally sustained, and the orchestral department, under the leadership of Russell was, as might have been expected, without a fault, Mr. Packer presiding at the piano. The next performance will be on Thursday.
"ROYAL VICTORIA THEATRE", Hobarton Guardian, or, True Friend of Tasmania (23 June 1852), 3
http://nla.gov.au/nla.news-article173062117
We are happy to congratulate Messrs. Russell and Packer on their first opening night, - viz., Monday evening last. The music was well worth the admission money. The performance was excellent, and reflects great credit on the Manager. We must not omit the tableaus of Master Walsh, which indeed, have stamped him the youngest and best performer of classical delineations. We refer our readers to the advertisement for Thursday evening, on which occasion we are assured that a full house will reward the exertions of our new Lessees.
"LOCAL", The Courier (23 June 1852), 3
http://nla.gov.au/nla.news-article2958847
MESSRS. RUSSELL AND PACKER opened, for a short season, the Royal Victoria Theatre, on Monday evening last. The house wat well filled, and the musical arrangements were upon a scale superior to those hitherto carried out. There is no fear but that the enterprise of the lessees will be appreciated and rewarded. The amusements consisted of light entertaininents, and the strength of the company, we understand, will be augmented at available talent presents itself. The performances will generally conclude before eleven o'clock, a point which has been little attended to by former lessees.
24 June 1852, and Monday and Thursday nights through the season
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (23 June 1852), 1
http://nla.gov.au/nla.news-article173062123
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
On Thursday Evening Next, June 24th,
The Evening's Entertainments will commence with the admired Drama by Dimond, entitled
THE BROTHERS; Or, The Hunter of the Forest.
After which an Interlude, consisting of -
SONG, MR. ROLF.
COMIC MEDLEY DUET, MR. OSBORNE & MRS. WEBSTER.
DANEC, Mr. COHEN.
Classical Representations by Master Walsh.
Overture, By the Band.
To Conclude with the laughable Burletta, (that gave so much satisfaction on Monday evening), entitled
STATE SECRETS.
A New Drama is in preparation, and will be produced on Monday Evening Next.
Composer and Director of the Music - Mr. Packer.
Leader of the orchestra - Mr. Russell. Acting Stage Manager - Mr. Osborne.
PREVIOUS TO THE "DRAMA" AND "BURLETTA," THE BAND WILL PERFORM A FAVOURITE OVERTURE . . .
ASSOCIATIONS: Robert James Osborne (actor, stage manager); Abraham Cohen (theatrical dancer)
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (26 June 1852), 2
http://nla.gov.au/nla.news-article173062144
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
On MONDAY Evening Next, June 28th . . .
THE DUMB MAN OF MANCHESTER; Or, the Victim of Circumstantial Evidence!
After which an Interlude, consisting of VOCAL & INSTRUMENTAL MUSIC, SINGING, DANCING, ETC.
To conclude with the Laughable Farce, entitled THE PACHA"S PETS . . .
"VICTORIA THEATRE", Hobarton Guardian, or, True Friend of Tasmania (30 June 1852), 3
http://nla.gov.au/nla.news-article173062159
On Monday Evening last, a full house rewarded the exertions of our new lessees. - The pieces selected for representation were well and respectably played. The Drama of "the Dumb Man of Manchester" elicited the most decided approbation. Osborne, as the Dumb Man, was excellent; and in some of the principal scenes we clearly perceived many absorbed in sorrow. Adams, as Welter, kept the audience in merriment. Preston's Mendicant was well performed. Cohen made the most of a small part; and Rolf, as the quiet Merchant, was at home. The Ladies, viz. Mesdames Osborne & Webster, conceived and played their parts admirably. The Music by Messrs. Russell and Packer, we wish not to hear better. The farce of the "Pacha's Pets," sent the Audience home good humouredly. On Thursday evening another Entertainment will take place. - See Adv.
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (30 June 1852), 2
http://nla.gov.au/nla.news-article173062164
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
On THURSDAY Evening Next, July 1st . . . the Scotch Melo-Drama entitled, The
WARLOCK OF THE GLEN.
N.B. - The Manager respectfully assures the Public, that this Drama will be produced in style hitherto unequalled,
and its well known excellency renders the usual puffing of Scenery, &c., uncalled for.
MUSIC, composed, expressly for this occasion, by Mr. PACKER.
After which the following Interlude, (for this night only,)
SONG, MRS. WEBSTER.
Comic Song, Mr. Osborne.
Dance, Mr. Cohen. Song, Mr. Rolf.
A NEW POLKA BY THE BAND.
To Conclude with, by particular desire, the laughable Extravaganza, entitled THE PACHA'S PETS.
A New Drama, and a Ballet of Action are in preparation for Monday next . . .
[Advertisement], The Courier (3 July 1852), 1
http://nla.gov.au/nla.news-article2958814
ROYAL VICTORIA THEATRE.
CAMPBELL STREET, Under the Management of Messrs. Russell and Packer,
MONDAY EVENING, JULY 5.
Augmentation of Company - First night of a grand MUSICAL ROMANCE.
THE Evening's Entertainments will commence with the Grand Musical Romance entitled
THE SHADOW KING; or, the Genii of the Silver Palm Tree Lake . . .
[Advertisement], The Tasmanian Colonist (8 July 1852), 3
http://nla.gov.au/nla.news-article226525048
. . . THIS EVENING, Thursday, July 8,
A new and much admired Romantic and Musical Drama, which met with such applause on Monday evening last, will be again performed for this Night only.
THE Evening's Entertainments will commence, with the Musical Dramatic Romance
(translated from the German, and recently produced at the Adelphi Theatre, London)
entitled THE SHADOW KING . . .
10 July 1852, arrival at Hobart of Frederick Alexander Packer and family
"SHIPPING NEWS", The Courier (14 July 1852), 2
http://nla.gov.au/nla.news-article2958763
10 - Arrived the barque Sylph, 844 tons, Thomson, from London 2nd March, with general cargo. Cabin Mr. F. A. Packer, wife, and eight children - four males and four females under 14.
15 July 1852, James Henri Anderson's concert, and debut of Alfred Anderson, aged 4 1/2
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (10 July 1852), 2
http://nla.gov.au/nla.news-article173062239
MECHANICS' INSTITUTE, Thursday Evening July 15.
MR. J. H. ANDERSON HAS the honour to announce that a Choice Selection of
VOCAL AND Instrumental Music will be performed on the above Evening,
under the IMMEDIATE PATRONAGE of His Excellency Sir W. T. Denison,
who has most kndly signified his intention of BEING PRESENT.
The Negro Melodies contained in the programme will be executed by Master Anderson, a child who, at 4 1/2 years of age,
has exhibited musical talent.
PROGRAMME. PART I.
Overture, L'ltaliani in Algieri, by the Band - Rossini
Glee, "Hail, smiling morn" - Spofforth
Negro melody, "I'm going ober de Mountain," by Master Anderson, his first appearance - Russell
Song, "the Husband's Dream," Mr. Jackson.
Air varie, Pianoforte, Mr. Anderson - Herz
Ballad - Mr. Packer . . .
PART II . . . Glee, "On yon blue river's tranquil breast" - West . . .
German Song, "the Grave-digger," Mr. Packer . . .
Finale (Instrumental).
Leader of the Orchestra - Mr. Russell
Conductor - Mr. Anderson . . .
"LOCAL INTELLIGENCE. CONCERT", Hobarton Guardian, or, True Friend of Tasmania (24 July 1852), 3
http://nla.gov.au/nla.news-article173062319
On Thursday evening last, Mr. J. H. Anderson gave a grand Concert, at the Hall of the Mechanics' Institution, and a grand affair it reaily was. The doors were thrown open at 7 o'clock, and a few minutes after, the spacious building was crowded to excess in every part, and, we hear, that about five hundred ladies and gentlemen were refused admittance for the want of accommodation. Amongst those present we noticed their Excellencies Sir W. T. Denison, Colonel Butterworth, (together with their ladies and families,) and suits, the Colonial Secretary, Colonial Treasurer, the Master of the Supreme Court, the Attorney and Solicitor Generals, Major Smyly, T. G. Knight, Esq., and, in fact, the whole of the elite (who could get room) of Hobart Town. The music and singing were both remarkably good. Master Anderson was most enthusiastically applauded, and, in addition to the four Negro Songs announced in the programme, he was requested to sing "My Pretty little dark eyed Maid," with which he readily complied, accompanying himself on the "bones," which he handled in a style that would reflect credit on a proficient of maturer years. He really is a most wonderful child. Mr. C. Packer was paid the compliment of being called upon to repeat the ballad of "The Blind Man's Bride," which was loudly applauded. As very great disappointment was felt by many parties, in not being able to obtain admission, we would suggest to Mr. Anderson the propriety of giving a series of Concerts, at the Victoria Theatre, which would pay him well, and afford amusement to the inhabitants of Hobart Town and its suburbs. [Since the above was written, we find that Mr. Anderson has anticipated out suggestion. - See Advertisement.]
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (24 July 1852), 1
http://nla.gov.au/nla.news-article173062325
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
MONDAY EVENING, July 26th . . . that Legendary Melo Drama
THE SPECTRE OF THE CASTLE; THE DOOM OF BAROSTEIN . . .
29 July 1852, Anderson's second concert
"LOCAL", The Courier (28 July 1852), 3
http://nla.gov.au/nla.news-article2958694
Mr. J. H. Anderson gives another Concert to-morrow evening . . . By particular request, Mr. Packer has been put down for four songs instead of two, so that more of his pleasing melodies will be heard . . .
"CONCERTS", Hobarton Guardian, or, True Friend of Tasmania (31 July 1852), 3
http://nla.gov.au/nla.news-article173062362
. . . Mr. Packer was decidedly the "Great Gun" of the evening, as he was most loudly applauded and called upon to repeat each song sung by him, which was readily complied with. The glee was also "encored," and there was only one opinion respecting the instrumental music - that it was very good.
MUSIC: Packer's 3 songs and ballads were not named in the advertised programme
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (31 July 1852), 1
http://nla.gov.au/nla.news-article173062376
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
GRAND NAUTICAL DRAMA. Monday Evening, August 2 . . . entitled
BLACK BEARD; or the PIRATE of the INDIAN SEAS!
N.B. The Public are respectfully informed that the above Drama will be produced in a style hitherto unequalled -
The Music, composed expressly for this peice, will be performed under the Direction of Mr.Packer,
the original Songs, Chorusses, will not be omitted,
and in addition to the several appointments already procured
TWO NeW Scenes Representing the Island of Antigua and pirate's Port in the Archipelago has been painted . . .
5 August 1852, special performance in aid of the Franklin Fund
[Advertisement], The Courier (4 August 1852), 3
http://nla.gov.au/nla.news-article2958660
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
THE LESSEES, feeling assured that there are ronny individuals in Hobart Town and its vicinity who,
from a variety of circumstances, may be prevented contributing their mite to the
FUND
Now in process of collection for the purpose of aiding the wife of that worthy man, and former Governor of the Colony,
SIR JOHN FRANKLIN . . .
Tomorrow Evening, 5th August, When the entire proceeds of the evening (minus the bare expences) will be devoted to the before mentioned fund.
. . . The Entertainments will commence with Douglas Jerrold's play, entitled THE PAINTER OF GHENT.
After which, a Musical Melange, consisting of a favourite Glee, Songs by Messrs. Jackson & Packer.
To con- clude with the laughable burletta of STATE SECRETS, or the Tailor of Tamworth . . .
"THE 'FRANKLIN' FUND.", The Courier (4 August 1852), 3
http://nla.gov.au/nla.news-article2958654
IT would be unnecessary, we feel assured, to direct attention and secure an overflowing house, except by the mere announcement of the fact, that the performance at the Victoria Theatre, which consists of one of Jerrold's best plays, and a favourite afterpiece; as also some choice vocal music from Messrs. Packer and Jackson will be given in aid of the fund raising in this colony towards assisting to defray the expenses of the Arctic expedition in search of Sir John Franklin.
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (7 August 1852), 1
http://nla.gov.au/nla.news-article173062424
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
ON MONDAY EVENING AUGUST 9 . . . the admired Romantic Drama entitled, THE MONK . . .
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (14 August 1852), 1
http://nla.gov.au/nla.news-article173062447
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
NIGHT EXTRAORDINARY. Great Sensation!
Created at all the LONDON THEATRES by the production of the
Workhouse Girl of St. Pancras.
Pronounced by the Press, to be the most effective Drama that has ever been produced at a Minor Theatre.
MONDAY, EVENING, AUGUST 16 . . .
the commencement of the Benefit Season . . . on Monday, August 23rd, 1852.
19 August 1852 (postponed from 12 August), Anderson's concert
[Advertisement], The Courier (11 August 1852), 3
http://nla.gov.au/nla.news-article2958613
PROGRAMME OF GRAND CONCERT. MR. ANDERSON . . .
at the Mechanics' Institute To-Morrow Evening . . .
PART I . . . Song, Little Knelly [sic] - Mr. Packer - Packer . . .
PART II . . . She wore a wreath of roses - Mr. Packer - Knight . . .
"Local Intelligence", Colonial Times (20 August 1852), 2
http://nla.gov.au/nla.news-article8771966
Last evening Mr. Anderson's Concert, under the patronage of the hon. the Speaker, and most of the members of the Legislative Council came off with great eclat. The attendance though not numerous, was highly respectable . . . Mr. Packer sung "Little Knell," "She wore a wreath of roses," and "Green Leaves," with fascinating sweetness . . .
"LOCAL INTELLIGENCE", Hobarton Guardian, or, True Friend of Tasmania (21 August 1852), 3
http://nla.gov.au/nla.news-article173062474
. . . Mr. Packer sang in his usual clever manner, and was highly applauded . . .
"LOCAL", The Courier (25 August 1852), 3
http://nla.gov.au/nla.news-article2958557
. . . The programme consisted of choice selections, which were given in the usual style, Messrs. Anderson and Packer playing the pianoforte, and the Band of H.M. 99th Regiment being of assistance . . .
21 August 1852, marriage of Charles Packer and Mary Frances Moore, St. George's, Battery Point
Marriages in the district of Hobart, 1852; Tasmanian names index; NAME_INDEXES:842929; RGD37/1/11 no 384
https://stors.tas.gov.au/NI/842929
https://stors.tas.gov.au/RGD37-1-11p147j2k (DIGITISED)
[No]384 / 1591 / 21 August 1852 / St. George's Church / Charles Sandy Packer 35 [sic] / Mary Frances Moore 21 / [witnesses] Helen Agnes Moore, James Freeman
"MARRIED", Colonial Times (7 September 1852), 2
http://nla.gov.au/nla.news-article8772024
On the 21st ultimo, by special license, at St. George's Church, by the Rev. H. P. Fry, D.D., CHARLES PACKER, member of the Royal Academy of Music in London, to MARY FRANCES, second daughter of Mr. John Moore, of Macquarie-street, Hobart Town.
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (8 September 1852), 1
http://nla.gov.au/nla.news-article173062569
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
Under the Management of Messrs. RUSSELL & PACKER.
THURSDAY EVENING. SEPT. 9th, 1852.
Under the Patronage of the Tradesmen of Hobarton.
The Evening's Entertainments will commence with part of Shakspeare's Tragedy, entitled,
OTHELLO; Or, The Moor of Venice.
And Interlude of Singing & Dancing.
To conclude with that admired Farce, entitled, THE PRIZE.
Composer and Director of the Music - Mr. Packer.
Leader of the Orchestra - Mr. Russell. Acting Stage Manager - Mr. Osborne . . .
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (11 September 1852), 1
http://nla.gov.au/nla.news-article173062598
ROYAL VICTORIA THEATRE, CAMPBELL STREET.
MONDAY EVENING, SEPT. 13th, 1852 . . . MRS. WEBSTER'S BENEFIT . . .
THE BOHEMIAN MOTHER.
After which an Interlude, consisting
Song, "The Jolly Young Waterman," in Character, MRS. WEBSTER
COMIC SONG - MR. OSBORNE. DANCE - MR. COHEN.
To conclude willi iliat admired Farce, entitled, HERCULES, KING OF CLUBS.
Composer and Director of the Music - Mr. Packer . . .
27 December 1852, musical entertainment, Mechanics' Institute
"MUSICAL", Hobarton Guardian, or, True Friend of Tasmania (22 December 1852), 3
http://nla.gov.au/nla.news-article173063211
We learn with much pleasure that the Committee of the Mechanics' School of Arts have entered into an arrangement with Mr. Chas. S. Packer which will afford to the members of that rising institution and the public generally, an opportunity of enjoying that which has for some time been felt as a desideratum in our dull metropolis. We believe it is intended to immediately announce a series of musical entertainments.
"LOCAL", The Courier (25 December 1852), 2
http://nla.gov.au/nla.news-article2958019
The Committee having mode ariangements which will enable them to present a series of musical entertainments, the first will appropriately take place on Monday next, the first Monday after Christmas. The programme embraces selections from the following composers: Bishop, Berbiguier, Knight, Spofforth, Schroeder, M. P. King, Cowell, Walckien, Hawes, Callcott, Moore, and Phillips. The musical arrangements are placed under the superintendence of Mr. C. S. Packer, and Colonel Despard has, with his usual courtesy, given permission for several of the band to be present in assistance.
"MUSICAL ENTERTAINMENT", Hobarton Guardian, or, True Friend of Tasmania (25 December 1852), 3
http://nla.gov.au/nla.news-article173063234
From an advertisement elsewhere insetted, it will be seen that Mr. Packer proposes to conduct a very admirable musical entertainment ut the Mechanics' School of Arts. WE very heartly wish him success in this his undertaking, and hope that it will succeed to his heart's content.
"Local", The Tasmanian Colonist (27 December 1852), 2
http://nla.gov.au/nla.news-article226523703
By way of closing the session of lectures, the regular course of which, has been much interfered with by the late prevailing epidomic, - the Committee of the Mechanics' School of Arts, have arranged with Mr. Packer for a series of vocal and instrumental concerts, the first of which will be given this evening . . .
MECHANICS' SCHOOL OF ARTS.
THE COMMITTEE of the abovenamed Institution have much pleasure in announcing to the members and to the public in general,
that they have succeeded in making arrangements which will enable them to present a
SERIES of MUSICAL ENTERTAINMENTS, the first of which will take place at the
LECTURE ROOM, in Collins-street, on MONDAY EVENING NEXT, the 27th December.
On this occasion, by the kind permismission of Colonel DESPARD, C. B., several of the Band, of H. M. 99th Regiment will render their valuable assistance.
The whole of the musical arrangements will be under the immediate superintenence of MR. CHARLES S. PACKER.
PROGRAMME.
PART 1.
Instrumental.
Glee - Merrily bounds the Bark - BISHOP.
Fantasia, Flute - BERBIGUER.
Ballad - KNIGHT.
Glee - SPOFFORTH.
Duett Concertante - Pianoforte and Cornopean - SCHROEDER.
PART II.
Glee - The Witches - M. P. KING.
Ballad - COWELL.
Duette Concertante - Pianoforte and Flute - WALCKIEN.
Song - HAWES.
Glee - CALLCOTT.
Ballad - MOORE.
Comic Trio, Crows in a Corn-field, PHILLIPS . . .
1853
3 January 1853, second musical entertainment, Mechanics' Institute
[Advertisement], Colonial Times (3 January 1853), 4
http://nla.gov.au/nla.news-article8772624
MECHANICS' SCHOOL OF ARTS.
THE COMMITTEE of the above-named INSTITUTION have much pleasure in announcing to the Members and to the public in general,
that they have succeeded in making arrangements which will enable them to present a
SERIES OF MUSICAL ENTERTAINMENTS,
The SECOND of which will take place at the LECTURE ROOM in Collins Street, on
MONDAY EVENING NEXT, The 3rd day of January, 1853.
On this occasion, by the kind permission of Colonel Despard, C.B., several of the Band of H.M. 89th Regiment will again render their valuable assistance.
The whole of the musical arrangements will be under the immediate superintendence of
MR. CHARLES S. PACKER.
PROGRAMME.
PART I.
Overture - Guy Mannering - BISHOP.
Glee - "Oh Lady," (by desire) - CALLCOTT.
Duett - Pianoforte and Flute - KECHLAN.
Barcarolle - The Moon is on the Waters - MARLIANI.
Glee - The Witches - M. P. KING.
Duett - Cornopean and Pianoforte - MACFARLANE.
PART II.
Glee - When the wind blows - BISHOP.
Ballad - The forbidden door - CROUCH.
Solo - Flute - TULON.
Catch - Mr. Speaker.
Irish Ballad - Oft in the stilly night - MOORE.
Solo - Cornopean - SHROEDER.
Comic Trio - Crows in a cornfield (by desire) - PHILLIPS.
Conductor - Mr. Charles S. Packer . . .
"CONCERT at the Mechanics' School of Arts", The Courier (4 January 1853), 2
http://nla.gov.au/nla.news-article2241682
A second musical entertainment came off last night. Owing to the unsettled state of the weather the attendance was not very numerous, but yet a large number of the fair sex, ever ready to patronise the fine arts, was present. The programme was of a varied and select character. The entertainment was opened by the old-established favourite overture "Guy Mannering." "Calcott's Glee," "Ole Lady," and the "Witches' Glee," in Macbeth, were well rendered. The comic trios, "Mr. Speaker," and "Crows in a Corn-field," were given with considerable effect, and excited to a very great degree the mirth of the audience. In the barcarolle "When the Moon is on the Waters," and the two Irish ballads "The Forbidden Door," and "Oft in the Stilly Night," we were particularly struck with the singing of the minor part, so happily introduced into the former air, and the feeling and pathos thrown into the latter. The audience fully appreciated Mr. Packer's vocal powers, but we regret we cannot speak so favourably of the instrumental performance. Much inconvenience was felt from the indifferent aid afforded by the bass instruments. The flute appeared as if it were suffering under the prevailing epidemic, for it evinced a considerable degree of hoarseness and indistinctness at the commencement. After a short time, however, those disadvantages wore away to some extent, and the flute solo, with variations, introducing a long sustained and capitally executed shake, was well rendered. We were pleased with a pretty duet for piano and flute, but confess we would have enjoyed it much more but for the abortive attempts of the cornopean player to vamp an accompaniment. This gentleman's performance was nothing more or less than "an unwarrantable intrusion." The fair reception given to the instrumental performance is mainly to be attributed to Mr. Packer, whose efforts upon the pianoforte were characterised by great fluency of execution, purity of tone, and a just conception of the composition.
10 January 1853, third musical entertainment, Mechanics' Institute
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (8 January 1853), 2
http://nla.gov.au/nla.news-article172859268
Mechanics' School of Arts . . . present a SERIES OF MUSICAL ENTERTAINMENTS,
The Third of which will take place at the LECTURE ROOM in Collins-st.,
ON MONDAY EVENING NEXT, The 10th day of January, 1853.
The whole of the musical arrangements will be under the immediate superintendence of MR. CHARLES S. PACKER.
PROGRAMME.
PART I.
Overture - AUBER.
Glee - CALLCOTT.
Song - "The Sexton." - RUSSELL.
Instrumental
Song - "Roland the Brave" - BISHOP.
Song
Glee - COOKE.
PART II.
Glee - SPOFFORTH.
Song - "I see thee as I saw thee last" - RODWELL.
Glee - BISHOP.
Song - "I'm afloat." - RUSSELL.
Instrumental - ROSSINI.
Song
Historical Ballad - King Frederick's Camp - COWELL.
Finale
Conductor - Mr. Charles S. Packer . . .
[News], The Tasmanian Colonist (13 January 1853), 3
http://nla.gov.au/nla.news-article226522396
Mr. Packer's vocal and instrumental concert at the Music Hall [sic], on Monday evening last, was very well attended, in fact far better than those given previously. - The absence of several members of the Military Band, who had been kindly permitted by Colonel Despard, to attend at the first three [sic] concerts, threw the weight of the entertainment entirely on Mr. Packer, who however, acquitted himself with his usual ability . . .
7 April 1853, Russell's concert, Mechanics' Institute
[Advertisement], The Courier (6 April 1853), 3
http://nla.gov.au/nla.news-article2243558
MECHANICS' INSTITUTE. THURSDAY EVENING, APRIL 7, 1853.
MR. RUSSELL Has the honour to announce a
GRAND CONCERT OF VOCAL & INSTRUMENTAL MUSIC.
On which occasion MRS. DAWSON, Pupil of the celebrated HARRISON,
Vocalist of the Royal Academy of Music, will have the honour of making her appearance.
PART I.
INSTRUMENTAL QUARTETTE (Pianoforte, Violin, Ophecleide, and Tympani) - ROSSINI
SONG, Mr. Jackson - I love the night (with concertina accompaniment) - RUSSELL
DUETT, Mrs. Dawson and Mr. Packer - Oh, were I but a drop of dew - FARMER
FANTASIA (Pianoforte), Mr. Packer - BERTINI
SONG, Mrs. Dawson - The Young Nadir - BALFE
BALLAD, M.S., Mr. Packer - Little Nell - PACKER
DUETTO, Mrs. Dawson and Mr. Packer (Se vederla) - DONIZETTI
SOLO AND CHORUS - My skiff is on de shore
PART II.
INSTRUMENTAL QUARTETTE - WEBER
TRIO - Mrs. Dawson, Messrs. Packer and Russell - O'er the far mountain - PACKER
SONG, Mrs. Dawson - It is not form - BALFE
NEGRO MELODY, Mr. Jackson - Yah. Yah, to Dinah trot (concertina accompaniment)
DUETT, Mrs. Dawson and Mr. Packer - A voice from the waves - GLOVER
BALLAD, Mr. Packer - Sleep on - COWELL
DUETT, Mrs. Dawson and Mr. Packer - My sorrow - DONIZETTI
FINALE - Vivo Enrico.
Tickets 4s. each. Reserved seats 6s. . . .
"LOCAL", The Courier (8 April 1853), 2
http://nla.gov.au/nla.news-article2239018
MR. Russell's Grand Concert came off at the Mechanics' Institute last night, when Mrs. Dawson, whose voice we have been informed was "a pure soprano of extraordinary compass, sweet in quality, and evidencing a high degree of cultivation, as well as natural flexibility," made her debut before a Tasmanian audience. It was a matter of regret to observe, although the attendance was most respectable, that a greater ovation was not reaped; but we may venture to predict that when the result of this event in our musical experience shall become more widely known, and when we inform our readers that the recommendation was proved to be certainly correct, there will be no reason in future to animadvert upon that score . . .
After the overture, the debutante, whose personal appearance is interesting and prepossessing,
made her first essay in a duett with Packer, whose style of singing is too well known to call for comment upon the present occasion.
She did not, howover, meet with that encouraging fervency of applause which she deservedly called forth at a later stage in the evening . . .
In the second part of the programme, "O'er the Far Mountain," from Sadak and Kalasrade,
Mrs. Dawson sang in a style which imparted to us a sense of sweetness which we shall not profess to analyse or explain:
suffice it to remark, that her
"Simple stiains seemed blest with all
The poetry Of life" . . .
We have to express our regret that anything so much out of place should have been introduced in the programme as the [REDACTED] thing with the concertina,
such caricatures of the ideal are uncomely when contrasted with the highest efforts of music;
nor can we express our approval of the way in which the imitator placed it upon the stage.
In no assemblage of a similar character would the nasal outrage against good breeding be permitted to pass with impunity,
and we were pleased to see that their good sense prevented a repetition of the scene.
"LOCAL INTELLIGENCE", Hobarton Guardian, or, True Friend of Tasmania (9 April 1853), 4
http://nla.gov.au/nla.news-article172859698
. . . Mr. C. S. Packer performed a brilliant Fantasia on the pianoforte, and sang two beautiful ballads of his own compositio. His manner of accompanying his songs &c., shewed great artistic skill . . .
16 April 1853, Russell's morning concert, Mechanics' Institute
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (16 April 1853), 1
http://nla.gov.au/nla.news-article172859742
MECHANICS' INSTITUTE. THIS DAY, SATURDAY, April 16th, 1853.
MR. RUSSELL HAS THE HONOUR TO ANNOUNCE A GRAND MORNING CONCERT OF VOCAL & INSTRUMENTAL MUSIC,
ON WHICH OCCASION MRS. DAWSON, Pupil of the celebrated HARRISON, Vocalist of the Royal Academy of Music,
Will have the honour of making her SECOND appearance.
PROGRAMME.
PART 1ST.
Overture - "L'Impressario" - CIMAROSA.
Glee - "Blow Gentle Gales" - BISHOP.
Song - "The Englishman" - BLOCKLEY - (Mr. McGeorge, his first appearance in this Colony.)
Duett - "What are the wild waves saying?" - GLOVER. - (Mrs. Dawson and Mr. Packer.)
Fantasia - Pianoforte - Mr. Packer - KULLAK. - (Immitation of Paganini's Carnival of Venice.)
Song - "Penelope at Her Task" - DESANGES. - (Mrs. Dawson.)
Descriptive Song - "The Gambler's Wife" - RUSSELL. - (Mr. Packer.)
Trio - "O'er the far mountain" - PACKER. - (Mrs. Dawson, Mr. Packer and Mr. McGeorge.)
Duett - "Se vederla" - DONIZETTI. - (Mrs. Dawson and Mr. Packer.)
PART 2ND.
Overture - "Il Pirata" - BELLINI.
Duett - "Dark Day of Horror" - ROSSINI. - (Mrs. Dawson and Mr. Packer.)
Ballad - "Thou art Lovelier" - HAWES. - (Mr. Packer.)
May Day Song - "The Sun is Careering" - PACKER. - (Mrs. Dawson.)
Sturm Marsch Gallop - BILSE.
Duett - "A Voice from the Waves" - GLOVER. - (Mrs. Dawson and Mr. Packer.)
Song - "The Wanderer" - SCHUBERT. - (Mr. McGeorge.)
Song - "Scenes of my youth" - BENEDICT. - (Mrs. Dawson.)
Trio - " The Curfew" - ATTWOOD.
Duett. - "My Suffering and Sorrow" - DONIZETTI - (Mrs. Dawson and Mr. Packer) . . .
19 April 1853, Russell's concert, Mechanics' Institute
[Advertisement], The Courier (18 April 1853), 3
http://nla.gov.au/nla.news-article2243109
MECHANICS' INSTITUTE. TUESDAY EVENING. APRIL 19. MR. RUSSELL . . .
PART I.
OPERATIC INSTRUMENTAL SELECTION - ROSSINI
GLEE - Blow, Gentle Gales - BISHOP
Song - The Merry Maids of England, Mr. McGeorge - PERRING
DUETT - Se vederla, Mrs. Dawson & Mr. Packer - DONIZETTI
FANTASIA (Pianoforte), Mr. Packer (imitation of Paganini's Carnival of Venice) - KULLAK
SONG, Mrs. Dawson - The Young Nadir - BALFE
BALLAD - Thou art lovelier, Mr. Packer - HAWES
SONG - I love the merry Sunshine, Mrs. Dawson - GLOVER
Finale - Second Act of Sadak and Kalasrade (Blessings be with her), Mrs. Dawson, Mr. Packer, Mr. MeGeorge, and Semi-chorus - PACKER
PART II.
GLEE - The Curfew - ATTWOOD
SONG - Robert toi que j'aime, Mrs. Dawson - MEYERBEER
SONG - The Anchor's weighed, Mr. McGeorge - BRAHAM
DUETT - A voice from the waves (by desire), Mrs. Dawson and Mr. Packer - GLOVER
OPERATIC INSTRUMENTAL SELECTION - WEBER
Ballad -Scenes of my Youth, Mrs. Dawson - BENEDICT
GRAND DUETT - My sufferings and sorrows, Mrs. Dawson and Mr. Packer - DONIZETTI
FINALE - Instrumental . . .
21 April 1853, Russell's concert, Campbell Town
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (20 April 1853), 1
http://nla.gov.au/nla.news-article172859762
ASSEMBLY ROOMS, CAMPBELL TOWN. THURSDAY, APRIL 21st, 1853.
MR. RUSSELL Has the honor to announce . . . a CONCERT OF VOCAL AND INSTRUMENTAL MUSIC . . .
PROGRAMME. PART 1ST.
Operatic Instrumental Selection - ROSSINI.
Glee - "Blow gentle Gales" - BISHOP.
Song - "The Young Nadir" - BALFE. (Mrs. Dawson.)
Ballad - "Hearts and Homes" - BLOCKLEY. (Mr. Packer.)
Duetto - "La ci darem" - MOZART. (Mrs. Dawson and Mr. Packer.)
Fantasia - Pianoforte - BERTINI. (Mr. Packer.)
Trio - "O'er the far Mountain" - PACKER. (Mrs. Dawson, Mr. Packer, and Mr. Russell.)
PART 2ND.
Operatic Instrumental Selection - WEBER.
Ballad - "Scenes of my Youth" - BENEDICT. (Mrs. Dawson.)
Canone - Perfida Chlori - CHERUBINI. (Mrs. Dawson, Mr. Packer, and Mr. Russell.)
Extempore Fantasia - Pianoforte - MR. PACKER.
Duett - "A Voice from the Waves" - GLOVER. (Mrs. Dawson and Mr. Packer.)
Ballad - "Thou art lovelier" - HAWES. (Mr. Packer.)
Grand Duett - My Suffering and Sorrow" - PACKER. (Mrs. Dawson and Mr. Packer.) . . .
25 and 29 April 1853, Russell's concerts, Launceston
[Advertisement], Launceston Examiner (23 April 1853), 1
http://nla.gov.au/nla.news-article36268871
CORNWALL ASSEMBLY ROOMS.
MONDAY EVENING, APRIL 25, 1853 . . . PROGRAMME . . .
"MR. RUSSELL'S CONCERT", Launceston Examiner (26 April 1853), 4
http://nla.gov.au/nla.news-article36268895
A concert under the direction of Mr. Russell, was given at the Cornwall Assembly Room last evening. Mrs. Dawson fully sustained her reputation as a vocalist, and her singing was loudly applauded. Her voice is remarkably clear, her intonation of some very difficult music exceedingly good, and she sang with taste and ease. Mr. Packer's performances on the pianoforte were good, and he sang, notwithstanding a slight hoarseness, with his usual taste. The concert gave great satisfaction, but a more powerful band would have been an improvement. Mr. Russell has announced another concert for Friday evening next, and he will no doubt have a good audience.
"LAUNCESTON (From our own Correspondent) Tuesday, April 26", The Courier (27 April 1853), 3
http://nla.gov.au/nla.news-article2246446
Mr. Russell's Concert at the Cornwall, last evening, was not well attended. Mr. Packer was too hoarse to sing, and though Mrs. Dawson made every effort to please, the company went away with a feeling of disappointment.
[Advertisement], Launceston Examiner (28 April 1853), 6
http://nla.gov.au/nla.news-article36268918
CORNWALL ASSEMBLY ROOMS.
FRIDAY EVENING, APRIL 29, 1853 . . . PROGRAMME . . .
"LAUNCESTON MEMS", Hobarton Guardian, or, True Friend of Tasmania (30 April 1853), 3
http://nla.gov.au/nla.news-article172859807
. . . Mr. Russell's concert at the Cornwall Assembly Rooms, on Monday last, was well attended. Mrs. Dawson's singing and Mr. Packer's performance on the pianoforte were highly applauded . . .
"OFFICIAL SALARIES. To the Editor", The Courier (3 June 1853), 2
http://nla.gov.au/nla.news-article2242255
. . . I am now suddenly compelled to close, as I am distracted.
My eldest daughter, a pupil of Packer's, is strumming upon that remnant of Barnacle gentility - our decayed piano -
that everlasting "Ben Bolt" (would I was a "Bolter!");
my second, a "colonial youth," is pathetically invoking me to "carry her back to Ole Virginny" . . .
I am, Sir, your obedient Servant,
ZACHARIAH MOULDES.
23 July 1853, Joseph Megson's concert
[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (20 July 1853), 4
http://nla.gov.au/nla.news-article172860125
MR. MEGSON'S GRAND CONCERT . . . at the
Mechanics' Institute, ON SATURDAY EVENING NEXT, July 23rd, 1853,
Uncer the patronage of His Excellency Sir Wm. T. Denison,
AND By kind permission . . . assisted by the splendid BAND OF THE 99TH REGIMENT.
Vocal Performers - Mrs. Dawson, Mr. C. S. Packer, AND Mr. McGeorge.
Instrumental Performers - Leader - MR. MEGSON.
Pianist - MR. C. S. PACKER . . .
5 November 1853, Charles and Mary Packer (43/44) depart Hobart for Sydney
"Shipping Intelligence", The Tasmanian Colonist (7 November 1853), 3
http://nla.gov.au/nla.news-article226527187
November 5. - Brig Emma, Brown, for Sydney, with sundries. Cabin - A. Dawson, Esq., T. Perkins, Esq., Mrs. Hough and child, Messrs, E. Clark, T. Jones, McDougall, Mr. and Mrs. Packer, Mrs. Cobb, Mrs. White, Miss Hayes; and 4 steerage.
Charles Sandys Packer in NSW (from 11 November 1853):
11 November 1853, Charles Packer (43/44) arrives in Sydney
"Sydney News", The Maitland Mercury and Hunter River General Advertiser (16 November 1853), 2
http://nla.gov.au/nla.news-article675694
11. - Emma, brig, 141 tons, Captain Brown, from Hobart Town the 5th Octoter. Passengers - . . . Mr. and Mrs. Packer . . .
[Advertisement], Empire (22 November 1853), 3
http://nla.gov.au/nla.news-article60146506
A CARD. - Mr. CHARLES S. PACKER, Member of the Royal Academy of Music, Professor of the Pianoforte and Singing, Clare House, Woolloomooloo-street.
[Advertisement], The Sydney Morning Herald (9 December 1853), 3
http://nla.gov.au/nla.news-article12951033
PRELIMINARY ANNOUNCEMENT.
Mr. CHARLES S. PACKER, Composer and Pianist, Member of the Royal Academy of Music,
and of the Society of British Musicians in London, Honorary Member of the Académie Royale in Paris,
and of the Conservatorio in Milan, has the honour to announce to the musical public of Sydney,
his intention of giving at the Royal Hotel, on Thursday, December 15,
a Grand Concert of Vocal and Instrumental Music, on which occasion he will be assisted by many of the most talented artists in Sydney.
Further particulars will be immediately announced.
15 December 1853, Charles Packer (44), first Sydney concert
[Advertisement], The Sydney Morning Herald (15 December 1853), 2
http://nla.gov.au/nla.news-article12954327
ROYAL HOTEL. - Programme of Mr. Charles S. Packer's Grand Concert of Vocal and Instrumental Music. -
Thursday Evening, December 15th, 1853.
PART 1st. - Madrigal, Now is the Month, Morley;
Duett, List Dearest, List (Keolanthe), Balfe - Miss Flora Harris and Mr. J. Howson;
MS. Song, My heart is full of Bitterness (Uncle Tom's Cabin), Packer - Mrs. Pyne;
Grand Fantasia, Pianoforte (Carneval de Venise à la Paganini), Ruhlan and Packer - Mr. Packer;
Song, Shells of Ocean, Cherry - Miss Flora Harris;
Song, I dare not tell, Nathan. Mr. Palmer;
Grand Fantasia, Violin, Ernst, Monsieur Strebinger;
Trio, O'er the far Mountain, (Sadak and Kalasrade) Packer - Miss Flora Harris, Mr. J. Howson, and Mr. Packer;
PART 2nd - Madrigal, The Silver Swan, Orlando Gibbons;
Duet, I know not by what Spell (Maid of Honor), Balfe - Mrs. Pyne and Mr. Packer;
Canzonet, When I met thee, Williams - Mr. J. Howson;
Grand Duo Concertante, Violin and Pianoforte, Packer - Monsieur Strebinger and Mr. Packer;
Prize Ballad, May Day, Packer - Miss Flora Harris;
Duett, Se vederla (Belisario), Donizetti - Miss Flora Harris and Mr. Packer;
MS, Arietta, When Lovers are sighing (Lovers' Freaks), Packer - Mrs. Pyne;
MS, Ballad, Little Nell ("Old Curiosity Shop"). Packer - Mr. Packer;
Finale, She waits, Jer. Saville, 1537.
To commence at Eight o'clock - Tickets, 5s, each, to be had at Mr. H. Marsh's Music Saloon;
Mr. King's Pianoforte Warehouse; and Messrs. Woolcott and Clarke's, Stationers, George-street;
Mr. Buist's Pianoforte Warehouse, Bridge-street; Mr. Johnson's Musical Repository, Pitt-street; and at the Royal Hotel.
"CONCERT", The Sydney Morning Herald (16 December 1853), 5
http://nla.gov.au/nla.news-article12955950
Mr. C. S. Packer's concert at the Royal Hotel last evening deserved a better attendance than was gathered together. This gentleman, who has recently arrived among us from Van Diemen's Land, is an accomplished pianist and a tasteful composer. The style of his playing is not modern, but is distinguished by a quiet and finished brilliancy which we have not heard for a length of time. His voice is of sweet quality, and he evidently knows what singing should be, but is deficient in power. Miss Harris, Herr Strebinger, and Mr. John Howson assisted Mr. Packer, and acquitted themselves with their usual success. The gem of the evening was decidedly the trio "O'er the far Mountain," between Miss Harris, Mr. Packer, and Mr. Howson; and the grand duet for piano and violin, on the favourite air "Partant pour la Syrie;" which afforded both Mr. Packer and Mr. Strebinger opportunity to display a very high degree of efficiency and an exquisite appreciation of the lights and shades which are to often lost sight of by ordinary musicians. Mr. Packer is a decided acquisition to musical circles.
"MUSICAL ENTERTAINMENTS IN SYDNEY", The People's Advocate and New South Wales Vindicator (17 December 1853), 3
http://nla.gov.au/nla.news-article251544452
. . . The last in order to notice, but the first in merit however, is the concert given on Thursday evening last by a new candidate for the patronage of the musical world, named Packer, from Hobart Town we believe, and a member of the Royal Academy of Music, in London. This gentleman comes forward in the three fold capacity of composer, singer, and pianist, and in each of these characters - but especially the last, that is to say as a performer on the piano forte - may bear a favorable comparison with any who have yet appeared in this colony. The concert given on Thursday evening was both in selection, arrangement, and execution, undoubtedly the best that has been heard in Sydney for many months past, and it is much to be regretted that it was not more liberally patronised, owing probably to its not having been sufficiently advertised, and still more to the fact of Mr. Packer's professional reputation not having preceded him hither. Te scire nihil est, nisi te scire, id sciat alter. But this should not be a source of discouragement to Mr. Packer, for we have little, if any, doubt should he think fit to make another appeal to the taste and liberality of the lovers of music in Sydney, now his talents are beginning to be appreciated, he will, unless we be greatly mistaken, meet with a cordial and satisfactory response, and will speedily take his place in the foremost rank in his profession in this colony. We have left ourselves but little space to offer any remark upon the details of Thursday evening's concert. The compositions of Mr. Packer, as performed on this occasion, are of various degrees of merit, some evincing talent of high order; in his singing and performance on the piano, but especially the latter, he displayed a cultivated taste and feeling as well as command of the instrument unsurpassed by any one we have heard in this part of the world. He was most ably supported by the exertions of Herr Strebinger and by Miss Flora Harris, whose merits were acknowledged by repeated peremptory encores. Indeed, since the departure of Madame Flower, and Madame Carandini, this young lady is the only female vocalist in Sydney, whose singing is otherwise than "most tolerable and not to be endured," and even should these old favourites return, Miss Harris's fresh, polished, and animated style need fear no comparison, with the vigorous but uncultivated displays of the latter, nor with the faded powers and departing glories of the former.
"MR. PACKER'S CONCERT", Empire (17 December 1853), 5
http://nla.gov.au/nla.news-article60147458
On Thursday Evening Mr. Packer, a recent arrival from Van Diemen's Land, and a professor of music of high standing, gave a concert in the large room at the Royal Hotel. It was a thoroughly honest concert. All that was put down in the programme was performed, and there was an absence of those vexatious delays that make such havoc with the patience of the audience. Mr. Packer himself is a pianist of the Cramer school. He does not aim to astonish with brilliant execution and bewildering flights of octaves, a la Thalberg. His style is chaste and subdued, though quite sufficiently ornate. As a singer, his voice needs force and resonance or timbre. It is a sweet tenor, and useful in concerted music, or in a chamber, but inefficient in a concert-room. There were several pieces of music of his own composition performed, and they met with much applause. One trio, sung by Miss Flora Harris, Mr. John Howson, and Mr. Packer being encored. It is very nicely harmonized, and would prove an effective chamber piece for soprano, tenor, and bass. Herr Strebinger performed two solos on the violin in his very best style; we never heard him to greater advantage. He seemed to feel that he had a tasteful and clever accompanyist, and gave full expression to that wonderful instrument of which he is a master. A Mrs. Pyne made her debut as a concert singer here. Her voice is a mezzo soprano of no very great compass or power, but it is very sweet on the upper notes. In a more favourable room for sound she would be heard to more advantage. Mr. Palmer also met with much applause in his songs. We were sorry to see but a small audience as the musical portion of the Community lost a treat that is not often offered to them.
"PUBLIC CONCERTS", Illustrated Sydney News (17 December 1853), 3
http://nla.gov.au/nla.news-article63613797
. . . We had also the pleasure of being present at the concert given by Mr. C. S. Packer, at the Royal Hotel, on Thursday evening. There was the same cause for regret that we have expressed in reference to Madame Gautrot's concert - the smallness of the attendance. There is no doubt that Mr. Packer is a finished pianist, and a talented composer. Miss Harris, Herr Strebinger, and Mr. John Howson maintained their former reputation. We must not forget to mention the names of Mrs. Pyne and Mr. Palmer, whe also assisted on this occasion . . .
28 and 29 December 1853, Charles Packer and Frederick Strebinger concert, Maitland
[Advertisement], The Maitland Mercury and Hunter River General Advertiser (28 December 1853), 3
http://nla.gov.au/nla.news-article677484\
CONCERT, To be held at the Rose Inn, West Maitland,
on Wednesday (This Evening), the 23th December, 1853.
PROFESSOR STRERTNGER and MR. CHAS. S. PACKER have the honor to announce that they will give a
SELECT CONCERT of VOCAL and INSTRUMENTAL MUSIC, on the above Evening, combining the
most recent novelties in vocal and instrumental composition.
Professor Strebinger having received the highest encomiums of the Sydney Press,
and having experienced the Patronage of his Excellency the Governor-General and Family,
trusts that his performance may be equally apprecaited by the Inhabitants of Maitland.
The elegant Saloon of the "Rose Inn" with proper arrangements for ventilation, being complete,
M. Strebinger promises a rich musical treat, never before experienced on the Hunter.
PROGRAMME.
Grand Concerto - Violin - De Beriot - HERR STREBINGER.
Song - "The Forbidden Door" - Crouch - MR. PACKER.
Grand Fantasia - Pianoforte - Herz - MR. PACKER.
Romance sans Paroles - Violin - Artot - HERR STREBINGER.
Irish Melody - "Oft in the Stilly Night" - National - MR. PACKER.
Air Varie - Violin - Vieuxtemps - HERR STREBINGER.v
MSS Ballad - "Little Nell" (Old Curiosity Shop) - Packer - MR. PACKER.
Grand Duo Concertante - Violin and Piano - Packer - HERR STREBINGER and Mr. PACKER.
Concert to Commence at Eight o'clock.
Front Seats, 5s.; Back seats, 3s. 6d.
Tickets to be had at the Nothumberland Hotel, at Messrs. Kellermann Brothers,
of Highstreet, West Maitland, and at the Contert Room.
"CONCERT", The Maitland Mercury and Hunter River General Advertiser (31 December 1853), 2
http://nla.gov.au/nla.news-article677939
The concert of Professor Strebinger and Mr. Packer, on Wednesday evening, at the Rose Inn, was a great treat to the lovers of music. Professor Strebinger's execution on the violin was exquisite, evincing the greatest delicacy and certainty, and a complete mastery over the instrument. Mr. Packer's performance on the piano was also very fine, considering the quality of the instrument. Mr. Packer's songs were also very much admired; and as a whole the concert appeared to give unqualified satisfaction. The attendance was fair for Maitland, some fifty or sixty persons; but a second concert on Thursday evering was very poorly attended.
1854
"M. STREBINGER'S CONCERT", Illustrated Sydney News (7 January 1854), 3
http://nla.gov.au/nla.news-article63613851
On Thursday night, this gentleman gave a concert in the Saloon of the Royal Hotel, which was attended by his Excellency the Governor-General, and a highly respectable audience. The great attraction of the evening was M. Strebinger's performance on the violin. He is, without exception, in our opinion, the most finished violinist in this colony. We particularly admired his rendering of De Beriot's Rondeau Russe, the spirited execution of which quite electrified the audience. His variations of Le Carneval de Venise were brilliant and effective, and elicited a hearty encore. We were glad to give a smile of welcome to our old favourite, Frank Howson, who has just returned from a most successful tour in Victoria and Van Diemen's Land. He sang with his usual good taste, and maintained the character which he has long since acquired, of being an accomplished musician. Mr. John Howson and Miss Flora Harris exerted themselves with their usual ability and success. Mr. Packer ably presided at the pianoforte, considering the very questionable character of the instrument. The want of a good piano has been a serious drawback to the suceess of artistes in all our recent concerts . . .
"BIRTHS", The Sydney Morning Herald (11 January 1854), 2
http://nla.gov.au/nla.news-article12951263
On Tuesday, the 10th instant, at Clare House, Woolloomooloo-street, Mrs. Charles S. Packer, of a daughter.
"MR. J. W. PALMER'S CONCERT [sic]", The People's Advocate and New South Wales Vindicator (25 February 1854), 3
http://nla.gov.au/nla.news-article251542063
We had the pleasure on Monday evening last of listening to the dulcet notes drawn by musical throats, at Mr. Palmer s Concert at the Royal Hotel. Miss Flora Harris was most cordially greeted; and much praise is due to Mr. and Mrs. Hancock. We must not omit to notice Mr. Fairchild's expression in "Wapping old Stairs;" it brought back to our minds "the light of other days." We regret much that there were so few who could be lulled from the cares of life "by sounds of sweetest harmony." As to Mr. Packer we have never in England or elsewhere met with a pianist to rival him; our young Apollo was at home in both songs "Queen of evening" and "Lungi dal caro bene."
"ROYAL POLYTECHNIC EXHIBITION", The People's Advocate and New South Wales Vindicator (15 April 1854), 3
http://nla.gov.au/nla.news-article251543245
On Monday the first (and it would appear the last) of "a series" of concerts was given at this little place of entertainment. In the advertisement ladies were invited to be early in attendance in order to secure good seats. This invitation proved however to be altogether needless, since each lady who did attend might have taken her seat with both her arms extended horizontally without at all inconveniencing her neighbours. Such a result must naturally have been anticipated by any rational person from the extravagantly high price demanded for admission. The concert was under the direction of Mr. Packer, and was therefore such as might be expected from one who stands at the head of the musical profession in the colony. Miss Flora Harris, Mr. and Mrs. Hancock and Mr. Fairchild, all exerted themselves successfully, and well deserved the applause they received from the very select audience. Mrs. Hancock whose musical talents have rendered her an established favourite appeared towards the close of the performance to be almost exhausted by the heavy task imposed on her. We trust that henceforward the proprietor of this establishment will have some consideration for the physical powers of this justly admired singer, and will exercise the same forbearance towards her, as he would towards a barrel organ, which - if the owner of it he would assuredly refrain from grinding to pieces. The concert was succeeded by a display of dissolving-views and of chromotropes by far the best that have been exhibited in Sydney. These terminated the amusements of the evening at the Royal Polytechnic Exhibition. But why Royal, or wherefore Polytechnic, we are at a loss to conjecture. We are not aware that there is anything really Royal in the colony, unless it be perhaps the Royal Bengal tiger, bemoaning his durance vile at the museum. As to the epithet "Polytechnic" or "many arts," we are at present too obtuse to perceive how they are illustrated in the construction and Exhibition of a peep show. At all events we hope that the enterprising proprietor of the "Royal Polytechnic," may hereafter, in one somewhat difficult, but rather useful art, - that of making money - prove himself a more successful adept than he has done in the present speculation.
"PARRAMATTA", The Sydney Morning Herald (20 April 1854), 5
http://nla.gov.au/nla.news-article12958677
VESTRY MEETING of All Saints Church in the Parish of Marsfield, Parramatta . . . The Parishioners deserve much credit for having placed a powerful and splendid toned organ in the church. The value is somewhere about £200; it was opened on Sunday last by a celebrated performer, Mr. C. Packer, who has been appointed organist, to succeed Miss Staff, who resigned on account of ill health . . .
"General Intelligence", The Courier [Hobart, TAS] (29 April 1854), 2
http://nla.gov.au/nla.news-article2243309
Mr. C. Packer has been appointed organist at All Saints Church, Parramatta, New South Wales.
ASSOCIATIONS: Eliza Sophia Staff (former organist, died 10 May 1854)
[Advertisement], Empire (28 September 1854), 1
http://nla.gov.au/nla.news-article60198121
KING'S SCHOOL, PARRAMATTA.
The Rev. Thomas Druitt, Head Master . . .
Mr. C. Packer, Singing, &c.
Mr. C. H. Fairland, Drawing.
Mr. J. Clarke, Dancing.
Mr. Bamford, Military Gymnastic Drill.
Mr. Packer, Music . . .
29 and 30 December 1854, Windsor, NSW
"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 . . . . 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 . . . 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 . . . Mr. Packer executed a fantasia on the pianoforte, which deservedly secured him the praise of the audience . . .
1855
[Advertisement], The Maitland Mercury and Hunter River General Advertiser (3 January 1855), 3
http://nla.gov.au/nla.news-article696532
"MISKA HAUSER'S CONCERTS", The Maitland Mercury and Hunter River General Advertiser (6 January 1855), 2
http://nla.gov.au/nla.news-article696671
1856
"THE SYDNEY HARMONICON", The Sydney Morning Herald (26 February 1856), 5
http://nla.gov.au/nla.news-article12973904
[Advertisement], Empire (12 April 1856), 8
http://nla.gov.au/nla.news-article60246486
[Advertisement], The Sydney Morning Herald (28 June 1856),
http://nla.gov.au/nla.news-article28634805
"SYDNEY'S PROGRES IN MUSICAL SCIENCE", The Sydney Morning Herald (18 August 1856), 4
http://nla.gov.au/nla.news-article12986062
[Advertisement], The Sydney Morning Herald (7 October 1856), 8
http://nla.gov.au/nla.news-article12987617
PUBLIC NOTICE - SYDNEY CHORAL SOCIETY. - Mr. Charles S. Packer is no longer in any way connected with the above society.
By order of the Committee. THOMAS DRUITT, Hon. Sec.
NOTE: Packer largely disappeared from public record for several months after this announcement; on the likely immediate cause of his dismissal, see later, "CENTRAL POLICE COURT", The Sydney Morning Herald (26 November 1863), 2
http://nla.gov.au/nla.news-article13094743
WEDNESDAY [25 November] Before the Mayor and the Police Magistrate, with Messrs. Chapman, R. S. Ross, Cullen, and Asher . . .
Charles Sandys Packer, described as of Sydney, professor of music, was brought before the Court charged with bigamy . . .
Mary Frances Packer deposed that she assumed that name on the 21st August, 1852 when she was married to defendant, in St George's Church, Hobarton: her maiden name is Mary Frances Moore, she afterwards resided with defendant nine years, and had five children by him;
about six years ago, in consequence of defendant being discharged from a choral society in Sydney, she spoke to him about her name being mixed up in a matter of seduction, and some people having stated that she was not married to him, he wrote, at her request, to the clergyman for a certificate of marriage, and received the document produced (a certificate of marriage between Charles Sandys Packer and Mary Frances Moore, in the presence of Helen Agnes Moore and James Freeman, by Henry Phibbs Fry, D.D., rector of St. George's, Hobarton), with a letter (produced) from Dr. Fry she and defendant lived together as man and wife until February last year - about fifteen months - at Hobarton, and the rest of the time in Sydney, left him in consequence of his having taken a girl to live with him, about a fortnight after the marriage, in Hobarton, in consequence of a report, she asked him if he had been married before, and he said that he had not, but had lived with a woman named Grogan at home, a woman named Cranston told her, and afterwards, in defendant's presence, repeated that defendant was married at home . . .
1857
"INSOLVENT COURT", The Sydney Morning Herald (7 April 1857), 2
http://nla.gov.au/nla.news-article12993872
"SCHOOL OF ARTS LECTURES", The Sydney Morning Herald (7 July 1857), 5
http://nla.gov.au/nla.news-article12997766
1858
1859
"DEATH OF LEWIS HENRY LAVENU", The Sydney Morning Herald (2 August 1859), 5
http://nla.gov.au/nla.news-article13028665
. . . It may not perhaps be deemed irrelevant to mention as a somewhat singular circumstance, that Mr. C. S. Packer, who three years ago followed to the tomb the remains of his own master in the orchestral branch of his studies at the Royal Academy of Music - the celebrated Bochsa - will, to-day perform the same sad duty to one who was one of his own earliest pupils in the same institution. The funeral of the deceased gentlemen is appointed to take place this afternoon at two o'clock . . .
"PRINCE OF WALES THEATRE . . . MR. PACKER", Bell's Life in Sydney and Sporting Reviewer (20 August 1859), 2
http://nla.gov.au/nla.news-article59871134
We much regret to announce that Mr. Packer, who assumed the conductorship of the Operatic Company on the decease of the lamented Lavenu, was taken seriously indisposed during the rehearsal at the Prince of Wales, yesterday morning. He was observed to fall suddenly in a fit, and the greatest alarm was excited. He was subsequently removed to his residence, where he remains in a very precarious state.
Donizetti's opera of Lucrezia Borgia, in three acts, produced under the direction of Mr. Charles Packer (Sydney: Prince of Wales Theatre, 1859)
https://trove.nla.gov.au/version/9724846
"VOCAL HARMONIC SOCIETY", Empire (16 September 1859), 8
http://nla.gov.au/nla.news-article60399116
1860
[News], Empire (4 January 1860), 4
http://nla.gov.au/nla.news-article64095410
In consequence of the inclemency of the weather yesterday, and the want of sympathy with the cause of music in Sydney, the concert of the Misses Howson, at Clark's Assembly Room last night was not as numerously attended as might otherwise have been expected . . . The want of numbers was made up by the enthusiasm of the audience, which will be understood when we say that nearly every piece in the programme was encored . . . Mr. Packer's "Little Nell" was a beautiful specimen of vocal music . . .
[News], Bell's Life in Sydney and Sporting Reviewer (21 January 1860), 3
http://nla.gov.au/nla.news-article59872008
[News], Empire (21 January 1860), 4
http://nla.gov.au/nla.news-article64096274
"FLOOD RELIEF FUND", The Sydney Morning Herald (3 March 1860), 7
http://nla.gov.au/nla.news-article28628768
A meeting of the members of the musical profession took place at Marsh's Music Room, Jamison-street, for the purpose of making arrangements for a grand entertainment in aid of the funds for the sufferers on behalf of the late floods. The meeting was very numerously attended. Mr. Charles Packer, having taken the chair, called on the secretary, Mr. H. N. Montagu, who read a communication from the Secretary of the Sydney Exchange Company, offering, on behalf of the company, the gratuitous use of the hall, &c., for the occasion. The secretary likewise announced that Mr. Goggin, the printer, had offered to do the printing at 25 per cent, below the usual prices. The secretary likewise read letters from various members of the profession, who offered their services, but were unable to attend the meeting. The eminent pianist, Signor Cutolo, was announced to have offered his valuable services for the occasion, as also the following members of the profession: Madame Sara Flower, Madame Flora Harris, Mrs. Bridson, Miss Brady, the Misses Howson, Miss Spagnoletti, and Miss Ryan; Messrs. C. Packer, H. Marsh, F. Ellard, Paling, Stanley, Cordner, F. Howson, (by permission of Mr. S. Colville,) J. Howson, Spagnoletti, Harwood, Peck, Anderson, Ginck [Linck], Palmer, and others. Resolutions were unanimously passed acknowledging the liberality of the Exchange Company ; also a vote of thanks to those members who had offered their services. The secretary having read a letter from Mr. W. J. Johnson, offering his services; that gentleman was appointed treasurer, Mr. J. T. Read, who also volunteered, auditor. Messrs. Packer, Ellard, Stanley, and Cordner were appointed a subcommittee, to arrange the programme. The secretary was likewise empowered to insert the necessary advertisements, and to carry out the further details for the arrangement of the concert. A resolution was also passed that the proceeds of the concert be forwarded to the general fund for the relief of the sufferers by the floods. Some further business in reference to the musical arrangements was then settled. The next general meeting will take place ort Friday next, and we believe that the entertainment will constitute one of the greatest musical events that has, for many years, taken place in Sydney.
[News], Empire (28 March 1860), 4
http://nla.gov.au/nla.news-article60407878
After the lapse of a considerable period, the members of the People's Vocal Association gave their first concert for the present year at the Temperance Hall last evening. The general state of excellence and superiority to which Mr. Chizlett, the conductor - whose classes form the nucleus of the Association - has brought his pupils, will, in time, undoubtedly cause the concerts to be very successful . . . The pieces sung were strictly of a sacred character, from the works of Dr. Crotch, Dr. Croft, Sir F. Ouseley, Mendelssohn, Spohr, Handel, and others . . . Mr. Packer accompanied on the harmonium; and certainly no sacred concert is complete without this artist.
"MUSICAL", Empire (21 November 1860), 3
http://nla.gov.au/nla.news-article60502102
. . . Vocalists are at a nonplus when illness or other cause prevents the attendance of Charles Packer, the only valuable accompanyist in Sydney: at home in every kind of music, and ready for the caprice or the peculiarities of any vocalist on any occasion . . .
"PARRAMATTA [FROM OUR CORRESPONDENT]", The Sydney Morning Herald (31 December 1860), 5
http://nla.gov.au/nla.news-article13050763
The Christmas-day services, at All Saints' Church, were rendered more than usually interesting by the performance of selections from the Messiah, and other sacred pieces, which a number of ladies and gentlemen amateurs have been for some little time practising under the able direction of the Rev. W. F. Gore. Mr. Packer, from Sydney, presided at the organ.
1861
"FUNERAL", The Sydney Morning Herald (5 January 1861), 10
http://nla.gov.au/nla.news-article13050938
The Friends of Mr. CHARLES S. PACKER are invited to attend the Funeral of his daughter,
LILIAN ADA MARION, which will leave Sydney for Parramatta by the train, on SUNDAY, the 6th, at half-past 2 p.m.
THOMAS HILL, undertaker.
"MUSIC", Empire (24 January 1861), 5
http://nla.gov.au/nla.news-article60505647
Madame Carandini's concert at the Exchange last night contained many fine selections,
and was in every respect admirably carried out . . .
Madame Carandini and Madame Sara Flower were both in excellent voice, - fresh and vigorous . . .
Young Alfred Anderson played a difficult piece by Prudent (on airs from "Maritana"), rather beyond his grasp;
in Wallace's arrangement of his own "Lurline" airs, the clever lad showed his talents to good advantage;
Mr. Packer "presided at the pianoforte with his usual ability."
What more can we say of him?
- ORPHEUS.
"MUSICAL", Empire (4 February 1861), 5
http://nla.gov.au/nla.news-article60493443
Mr. Charles Packer, the master-organist of Sydney, has changed the scene of his labours from St. John's Church, Darlinghurst, to Mr. Cuthbertson's Church, in Pitt-street, where, having an organ in place of an harmonium on which to manipulate, he will doubtless delight the congregation by his skill in the execution of sacred music.
"MUSICAL", Empire (11 February 1861), 5
http://nla.gov.au/nla.news-article60490418
The programme of the Philharmonic Society for their concert to-morrow evening, the fourth of the season, presents many features of interest . . . The orchestral department (under the baton of Mr. Callen), offers us Rossini's overture to "Otello," Beethoven's No. 1 Symphony, and Mendelssohn's "Wedding March," for finale . . . The vocal music is to be under the guidance of Charles Packer, and will include a trio of this composer, "O'er the far Mountain," a glee; and the Ernani scena, "Infelice," all to be executed by amateur vocalists of the society . . .
"MUSICAL", Empire (30 May 1861), 4
http://nla.gov.au/nla.news-article60495647
On Tuesday evening a meeting was held at Mr. Alfred Cant's school-room, in Stanley-street, Woolloomooloo, with a view to organise a society for the study and practice of vocal harmony. Mr. C. S. Packer was voted into the chair, and it was resolved that those disposed to join the society should meet to practice, during the month of June, on Monday's and Thursday's, at the same place. Mr. Packer has, in the most liberal manner, proffered his services to the society, which, it was determined should receive the name of "The Orpheonist Society." The attendance on the occasion was highly respectable, and the promises of assistance which have been received, both from private and professional sources, warrant the belief that the embryo society will attain a high rank amongst the musical institutions of the metropolis.
"THE ORPHEONIST SOCIETY", Empire (30 July 1861), 5
http://nla.gov.au/nla.news-article60483750
SELDOM has it fallen to our lot to chronicle a more legitimate or more narked success than that which attended the first concert given by this very promising Society, at the School of Arts yesterday evening. As we have already stated, two months have scarcely elapsed since the Society first commenced its operations, and in this brief time it has progressed so favourably and so rapidly, that the appearance of its members in public, yesterday evening, could not be considered, even by the most critical judges, as premature or unadvised, for their execution of the various pieces in the programme was worthy of far more experienced musicians. For some short time past we have noted with regret the absence from our principal musical entertainments of the moat accomplished musician of which the colony can boast, but we are delighted to find that during this brief interregnum he has been busily and most effectively employed. The result of yesrerday evening's concert proved incontestably that perfection in the musical art may be attained, even in the Antipodes, under the guidance of those whose previous training and natural endowments befit them for such a post, and the very enthusiastic reception accorded to Mr. Packer, on his first appearance in the orchestra, and in fact throughout the evening, shewed how thoroughly his services are appreciated by a very large and influential portion of the community. The hall was crowded, almost inconveniently, in every part, by a highly respectable audience, including most of our leading citizens, accompanied by their families, and we have seldom witnessed a more enthusiastic ormore critical audience.
It would be impossible in the limits of this notice to do justice to the many novelties comprised in the programme. The first item, a motett - or, as we should rather describe it - a serious glee, composed by Mr. E. J. Hopkins, the talented organist of the Temple Church, London, and produced here for the first time, narrowly escaped an encore. It commences in the minor, and describes very beautifully the toiling ascent of a band of parched and weary pilgrims to Mount Carmel. The discovery of a spring of refreshing water gives rise to a thanksgiving in the major, and is followed by a hymn to the Virgin, sung when the pilgrims are supposed to have reached the summit of the mountain, constituting a very pleasing and musician-like composition. A selection from Costa's oratorio of "Eli" was assuredly the great feature of the evening, and deserves notice far more careful and minutes than we can devote to it in our present space. Suffice it to say that the work, as far as we are enabled to judge from the somewhat fragmentary specimens which necessarily were presented to us yesterday evening, fully bears out the high prestige which public opinion at home has awarded to it. The Morning and Evening Prayers, supposed to be sung by the child Samuel, and most deliciously and artistically rendered by Madame Sara Flower, and the magnificent tenor solo, "Philistines, haste," with the accompanying chorus, "Speed us," would alone suffice to confer celebrity on the composer, who, we need hardly remind our readers, bas no rival in the world as an orchestral conductor, and whose acquaintance with the best music of pest and present days is almost illimitable. Something of this omnigeneous character is observable in the oratorio, which seems to partake of the peculiarities of many of the great composers, without being open to the charge of plagiarism from any one of them. Both the hymns were redemanded, and we might almost prophecy that the Morning Hymn will become a rival in public favour with "O rest in the Lord," the inimitable contralto air from "Elijah," so exquisitely beautiful and devotional is it. We never heard Mr. John Howson to greater advantage; his delivery of the magnificent war song, "Philistines, haste," which, by the bye, strongly reminded us of "Honour and arms," was beyond all praise, and was vociferously encored. These may be specified as the great "points" in the oratorio, but Mrs. Bridson and a lady amateur in the trio, "Thou shalt love the Lord," with Madame Sara Flower, also created a very favourable sensation, and a debutant, in a difficult duett for two basses, "Lord, cause thy face," acquitted himself with marked success, though much endangered by the evident nervousness of his fellow vocalist. The choruses, almost without exception, were taken with the greatest precision, firmness, and delicacy, a result almost marvellous, when we consider the short period which has elapsed since the primary organisation of the Society. Mr. Packer's very beautiful solo and chorus, "I will arise," from an MS. Oratorio, concluded this first part of the programme, and we must be allowed to add, somewhat injudiciously, for the very spirited chorus and prayer from "Eli," would have formed a far more appropriate finale. But we can make every allowance for any laches which might occur in the course of a performance of so satisfactory, and we might also add, of so unique a character.
The second portion of the programme was of a miscellaneous nature, and was prolonged, in consequence of the numerous encores demanded by the audidence, until a very late hour of the night. The principal features of this part of the performance were Kucken's lovely two-part song, "The Swallows," sung very tastefully by Mrs. Bridson and a lady amateur, and encored con amore by the audience, who accorded a similar honour to the trio from poor Loder's half-forgotten opera "Nourmabal," [Nourjahad] most delicately sung by Madame Flora Harris and two gentlemen amateurs, all of whom also rendered most effective assistance in the concerted music throughout the evening. Mr. Packer's joyous "Hunting Song" was most vociferously redemanded, and the audience eagerly availed themselves of the opportunity to offer a special ovation to the composer, as well as to the executants, who did ample justice to the composition. Hatton's clever part song, "Ripe Strawberries," was also received with marked favor, and deservedly. The Colonial Anthem, "Australia, hail!" composed by Mr. Packer, very appropriately concluded the programme, the audience rising during its performance.
It seems a work of super[e]roragtion to state that the accompaniments throughout were performed on the harmonium in a style of which, we believe, that Mr. Packer alone, amongst our colonial musicians, is capable - nothing could have been more masterly, more artistic, more exquisite. It is impossible to conclude our notice of this Concert, without offering our sincere congratulations to the Orpheonist Society on the success which they have achieved, at the same time expressing a hope that, encouraged by the felicitous result of this, the first public trial of their powers, they may ere long achieve still more notable triumphs. Macte tua virtute.
"MUSIC AND DRAMA", Sydney Mail (3 August 1861), 4
http://nla.gov.au/nla.news-article166694883
THE "Orpheonists," a new musical society, under the guidance of Mr. Charles Packer, gave a preliminary concert on Monday evening last, in the hall of the School of Arts, Pitt-street. Invitations were sent to a large number of the leading families in Sydney, who appeared all to have availed themselves of the opportunity thus afforded of forming an opinion of the musical capabilities of this new society. The amateur members were led by Mesdames Sara Flower, Flora Harris, Bridson, and Mr. John Howson, a combination of itself sufficiently strong to ensure success. The choristers, numbered between forty and fifty, and their vocal power was ample for the extent of the Hall. The concert consisted principally of selections from the oratorio of "Eli;" a piece from an unpublished oratorio, "The Prodigal Son," by Mr. Packer, was also performed and well received. The audience, though the programme was somewhat lengthy, testified their delight by frequent encores. To judge from the success of this concert, the new society will take a leading position ere long.
"THE ORPHEONIST SOCIETY", The Sydney Morning Herald (21 September 1861), 16
http://nla.gov.au/nla.news-article13059105
The musical circles of Sydney will receive fresh vigour by the introduction of this new society, which for some months past has been working silently and unostentatiously, but steadfastly, to the attainment of its valuable end - the diffusion of good music amongst all classes of society. Some time since we noticed the preliminary private concert of the Orpheonists, which was in the highest degree successful. Since then the society has been arranged on a permanent and settled basis, rules have been passed, managers appointed (but without the consequent formal incubus of a long committee or list of patrons), and so assiduously have the members been practising (under the able guidance of Mr. Charles Packer), that the chorus of members are enabled to execute the most difficult music with a precision and delicacy hitherto unknown in the colony. This we can aver, having been present at a recent practice. The first public concert (of which four are to be given annually, at very low rates of admission) will be held at the Masonic Hall on the 30th instant, and the Society has, wisely in its infancy, availed itself on this occasion of the talent of Madame Sara Flower, Mrs. Bridson, and other solo vocalists.
1862
[Advertisement], The Sydney Morning Herald (29 January 1862), 1
http://nla.gov.au/nla.news-article13223924
MUSICAL. - To Signor CUTOLO. -
Believing, from the publication of your testimonial in to-day's paper,
that you would depreciate the ability of those musical professors in Sydney who have not thought proper to allow you to examine their testimonials,
I hereby CHALLENGE you to a COMPOSITION, vocal or instrumental, concerted or otherwise, on any instrument and in any key,
the theme to be given by the audience at your concert, and the composition to be submitted to the criticism and judgment of Messrs. D. Callen and C. Packer,
or any other two professional gentlemen whom you may nominate, subject, of course, to my approval.
W. J. MACDOUGALL.
Sydney, 28th January.
[Advertisement], The Sydney Morning Herald (19 April 1862), 12
http://nla.gov.au/nla.news-article13227309
NEW MUSIC - Just Published, "The Song of the Angels," and "Arm! Arm!" Australian patriotic song, by Charles S. Packer. To be had of Anderson, Clarke, Peck, and Sandon, George-street; Johnson and Co., Pitt-street; Moss, Hunter-stret; and Muspratt, William-street.
[Advertisement], The Sydney Morning Herald (2 October 1862), 1
http://nla.gov.au/nla.news-article13234944
MR. CHARLES PACKER, - Please call on E. TIGHE, 60, William-street.
1863
[Advertisement], The Sydney Morning Herald (10 March 1863), 1
http://nla.gov.au/nla.news-article13075430
MR. CHARLES PACKER. - CALL on E. TIGHE, grocer, 60, William-street.
[Advertisement], The Sydney Morning Herald (17 April 1863), 1
http://nla.gov.au/nla.news-article13077221
IF THE Gentleman who passed a NOTE under the door of a shop in Hunter-street sometime during Wednesday night,
will be good enough to forward, by post, to the same place, his NAME and ADDRESS, legibly written,
prompt attention will be given to his enquiries.
CHARLES PACKER.
The crown of thorns (Sydney, 1863)
See here for the posthumous published score of The crown of thorns (1886)
9 April 1863, first performance, of the incomplete oratorio (part 2), Masonic Hall, Sydney
[Advertisement], The Sydney Morning Herald (30 March 1863), 1
http://nla.gov.au/nla.news-article13076347
SURVIVORS OF THE ORPHEUS - On THURSDAY EVENING, April 9th,
will be performed, in the Masonic Hall, a new Oratorio, entitled
I. N. R. I. The Crown of Thornes [sic], or Despair, Penitence, and Pardon.
The words and music by Charles S. Packer.
The net profits on this occasion will be devoted to the survivors of the dismal wreck of the above-named vessel.
Full particulars will be immediately announced.
ASSOCIATIONS: For an early Sydney report the wreck of the H.M.S. Orpheus, see "DREADFUL CALAMITY. LOSS OF H.M.S.S. ORPHEUS, AND 190 LIVES. (From the Southern Cross, February 9.)", The Sydney Morning Herald (18 February 1863), 5
http://nla.gov.au/nla.news-article13074374
[Advertisement], The Sydney Morning Herald (4 April 1863), 1
http://nla.gov.au/nla.news-article28622028
WRECK OF THE ORPHEUS. - In aid of the Widows and Orphans. -
On THURSDAY EVENING, April 9th, will be performed, for the first time, a new Oratorio, entitled
I. N. R. I. The Crown of Thorns, or Despair, Penitence, and Pardon.
The words and music by Charles S. Packer.
In addition to the most eminent Professional and Amateur talent for the Solos, a number of distinguished,
amateurs have most kindly volunteered their services to render the choral portion as effective as possible.
R. REILLY and C. YOUNGER, Esqrs. have consented to audit the accounts and act as treasurers to any funds which may accrue from this performance,
the net profits of which will be devoted to the individuals named above, many of whom are in a state of great destitution.
Full particulars immediately.
NEW ORATORIO. - A Rehearsal THIS EVENING, at a quarter-past 7 o'clock sharp, at Mr. BANKS'. Castlereagh-street.
ASSOCIATIONS: Charles Younger (auditor, musical amateur); Thomas Banks (vocalist)
"THE WRECK OF THE ORPHEUS", The Sydney Morning Herald (9 April 1863), 4
http://nla.gov.au/nla.news-article13076767
A new Oratorio, the production of Mr. Charles Packer, will be performed at the Masonic Hall, this evening; it bears the title "I.N.R.I., the Crown of Thorns." The proceeds are to be devoted to the survivors of the Orpheus. The charitable object in view, together with the merit which it is said the composition possesses, and which, on reference to the programme, it will be found is to be given by nearly all the available professional and amateur talent in the city, ought to ensure a large audience.
"MUSICAL PERFORMANCE", Empire (9 April 1863), 4
http://nla.gov.au/nla.news-article63130102
An original oratorio will be produced at the Masonic Hall, this evening. It is entitled "The Crown of Thorns; or Despair, Penitence, and Pardon," and this title is further headed by the superscription "I.N.R.I.," (Jesus of Nazareth, King of the Jews.") The oratorio is intended to pourtray the subject of the Holy Crucifixion, compared with that of the two malefactors. Words and music are by Charles Packer, an artist of high standing in the musical world. Madame Sara Flower, Mr. Waller, and other vocalists, will take part in the performance.
[Advertisement], The Sydney Morning Herald (9 April 1863), 1
http://nla.gov.au/nla.news-article13076735
H.M. S. ORPHEUS. - IN AID OF THE WIDOWS AND ORPHANS. -
On THURSDAY EVENING, April 9th, at the Masonic Hall.
First time of performance of the new oratorio
I. N. R. I. THE CROWN OF THORNS; Or, Despair, Penitence, and Pardon,
The words and music by CHARLES S. PACKER.
PROGRAMME.
Introduction - Organ.
Recit. - "Noon's scorching hour it was" - Amateur.
Recit - "Of these for broken human laws" - Madame Sara Flower.
Quintett - "The holy, blameless, guileless one" - Madame Flora Harris, Madame Sara Flower, Amateur (Mr. Sussmilch), and Amateur (Mr. Waller).
Recit. - "Now on the ear" - Madame Flora Harris.
Song of Despair - "If thou be Christ" - Amateur (Mr. Waller).
Chorale - "Have I any pleasure."
Recit. - "Not so the other" - Madame Flora Harris.
Song of Penitence - "When thou, O Lord" - Amateur.
Chorale. - "There is joy."
Recit. - "To the One, the dying Jesus." - Madame Sara Flower.
Song of Pardon. - "To day with me I say." - Madame Sara Flower.
Chorale - "Eye hath not seen."
Recit. - "The ninth hour comes." - (Amateur) - Mr. Waller.
Recit - "Throughout space empyrean." - Madame Flora Harris.
Duett. - "For as the truth." - Mrs. Bridson and Mr. Banks.
Recit. - "In holy terror." - Madame Sara Flower.
Chorus of Angels. - "Eloi! Eloi!"
Recit. - "On Earth." - Madame Sara Flower.
Recit. - "Grim death exults." - Madame Flora Harris.
Recit. - "Vain hope." - Madame Flora Harris.
Semi Chorus - "And through the star-floor'd vaults."
Recit. - "Thus sang the song" - Madame Flora Harris.
Chorus of Angels - "Prophet, Saviour."
Conductor - Mr. W. J. CORDNER.
Organ - CHARLES S. PACKER.
To commence at 8 o'clock precisely.
PRICES or ADMISSION. Reserved Seats : Single tickets, 4s. each ; family tickets, to admit three, 10s 6d. each;
family tickets, to admit seven, 21s. each; back seats and gallery, 2s. each.
Tickets obtainable at Anderson's, Clarke's, Buist's, Mader's, Sandon's, Peck's, and Cooke's, George-street;
Johnson and Co.'s, and Dolman's, Pitt-street; Mr. Muspratt's, William-street.
"THE NEW ORATORIO", The Sydney Morning Herald (10 April 1863), 5
http://nla.gov.au/nla.news-article13076828
The first performance of the new oratorio, entitled "I. N; R. I., The Crown of Thorns," took place yesterday evening, in the Masonic Hall, for the benefit of the survivors of the Orpheus. The hall was only partially filled, a circumstance probably attributable to the want of publicity. Madame Sara Flower was too indisposed to sustain her part, which, however, was undertaken at very short notice by Mrs. Cordner. It was evident, after the first piece had been given, that the oratorio was placed before the public too hurriedly. The composition is one of undoubted merit, indeed, the recitative, "The ninth hour comes," and the concluding chorus, "Prophet, Saviour, Priest, and King," prove the author to be a musician of great talent. But it is impossible to do justice to the oratorio in a review until we see of what it is capable. The ladies and gentlemen who sang were evidently anxious to give effect to the music, but there was that nervous indecision which can only be overcome by practice. The singing was frequently applauded, and Mrs. Cordner and Mr. Waller (an amateur) were encored.
"PUBLIC AMUSEMENTS", Freeman's Journal (11 April 1863), 5
http://nla.gov.au/nla.news-article115426766
Mr. Packer's new oratorio, "The Crown of Thorns," was performed for the first time, at the Masonic Hall, on Thursday night, for the benefit of the survivors from the wreck of the "Orpheus." The attendance was, we are sorry to say, very limited indeed. Setting aside the charitable part of the question, surely the production of a work in the highest style of musical composition, by a composer of acknowledged talent, entitled us to expect a larger audience than the beggarly account of empty chairs assembled to listen to its first performance. People talk a good deal about encouraging colonial talent, but if their patronage is confined to such as we saw on Thursday night, a very long period must elapse before the musical branch of it can hope to find itself a local habitation and a name amongst us. Of the merits of the oratorio we can scarcely give an opinion, from the imperfect manner of its performance the other night; but our impression is, that although the skill with which it is constructed must enlist the admiration, its want of bold and striking character will prevent its becoming a popular work - one rather for the study and the chamber than the concert-room. Previous to the commencement of the oratorio, Mr. Packer apologised for the absence of Madame Sara Flower, who was laid up with severe illness; but he announced that Mrs. Cordner had, at a very short notice, consented to supply her place; and he trusted the audience would have no occasion to regret the change. The pieces which attracted most attention were the Song of Despair, "If thou be Christ," by Mr. Waller, and the Song of Pardon, "To-day with me, I say," by Mrs. Cordner, to both of which every justice was done by the artistes to whom they were entrusted, and both of which obtained an unmistakeable encore; but the concluding chorus, "Prophet, Saviour," is, as far as we were able to judge, the finest portion of the work, and the one most likely to become popular.
"PUBLIC AMUSEMENTS", Empire (21 April 1863), 3
http://nla.gov.au/nla.news-article63130678
. . . A new oratorio "The Crown of Thorns," was produced on the 9th instant; for want of sufficient practice and more voices, the production was not so effective as was deserved by the music . . .
"MUSIC AND THE DRAMA", The Sydney Morning Herald (21 April 1863), 3
http://nla.gov.au/nla.news-article28620678
THE musical events of the past month have not been very numerous, the list including merely the third Quarterly concert of the Orpheonist Society; a new oratorio entitled "I.N.R.I. - the Crown of Thorns;" and a concert given by Mrs. Joel, a lady of considerable vocal ability . . . With regard to the new oratorio, which was performed on the 9th April, we are sorry to say that from various causes, its success was not great. The hall was only partially tilled, a circumstance probably attributable to the want of publicity. Madame Sara Flower was too indisposed to sustain her part, which, however, was undertaken at a very short notice by Mrs. Cordner. It was evident, after the first piece had been given, that the oratorio was placed before the public too hurriedly. The composition is one of undoubted merit, indeed, the recitative, "The ninth hour comes," and the concluding chorus, "Prophet, Saviour, Priest, and King," prove the author (Mr. Packer) to be a musician of great talent. The ladies and gentlemen who sang were evidently anxious to give effect to the music, but there was that nervous indecision which can only be overcome by practice. The singing was frequently applauded, and Mrs. Cordner and Mr. Waller (an amateur) were encored . . .
ASSOCIATIONS: William and Ellen Cordner (conductor and contralto vocalist); Flora Harris (soprano vocalist); Sara Flower (contralto vocalist); Sarah Bridson (soprano vocalist); James Waller (bass vocalist); Thomas Banks (tenor vocalist); Christian Sussmilch (tenor vocalist)
15 October 1863, second performance, of the completed oratorio (parts 1 and 2), Masonic Hall, Sydney
[Advertisement], The Sydney Morning Herald (3 October 1863), 1
http://nla.gov.au/nla.news-article13093344
MASONIC HALL. THURSDAY EVENING, October 15th.
CHARLES S. PACKER, having completed his new Oratorio,
"THE CROWN OF THORNS," begs to announce its performance on the above date.
The solo parts will be rendered by some of the most eminent vocalists now in Sydney, aided by an efficient and numerous chorus.
Full particulars immediately.
[Advertisement], The Sydney Morning Herald (9 October 1863), 1
http://nla.gov.au/nla.news-article13087543
MASONIC HALL, THURSDAY EVENING, October 15th,
CHARLES S. PACKER'S NEW ORATORIO, THE CROWN OF THORNS.
Solos by Madame Flora Harris, Lady Amateur, Madama Sara Flower, Mrs. Cordner,
Mr. E. A. Beaumont, Mr. Farquharson, Master Banks, Herr Sussmlich, Mr. Banks,
Chorus of fifty voices.
[Advertisement], The Sydney Morning Herald (12 October 1863), 1
http://nla.gov.au/nla.news-article13092957
MASONIC HALL. THURSDAY EVENING, October 15th.
NEW ORATORIO THE CROWN OF THORNS. Words and Music by CHARLES S. PACKER.
The Trial Song - Madame FLORA HARRIS.
The Song of Despair -Mr. FARQUHARSON.
The Song of Penitence - Mr. E. A. BEAUMONT.
The Song of Pardon - Madame SARA FLOWER.
The Lament - Mr. E A. BEAUMONT.
The Ninth Hour - Mr. FARQUHARSON.
Chorales, Quartet, Duets, Quartets.
The Angel Chorus and the Triumphal March and Chorus of the Messiah.
Full programme on Thursday morning.
"MR. PACKER'S ORATORIO", Empire (15 October 1863), 4
http://nla.gov.au/nla.news-article60549915
It will be to the recollection of our readers that, about six months ago, a new oratorio by Mr. Packer, certainty one of the most accomplished musicians in the Australian colonies, was announced for performance at the Masonic Hall. The subject chosen, was the most awful and sublime that could employ the pen of the musician or the poet, it was entitled "The Crown of Thorns," and, as the name sufficiently indicates, was intended to describe the sufferings of Our Lord in his Passion, and his final triumph over sin and death. By the kindness of a few amateur and professional friends Mr. Packer was enabled to give a public performance of so much of his oratorio as was finished at that time, and even in its then fragmentary state the decision the musical profession in Sydney, and of amateurs of talent, pronounced it to be the finest original composition that has yet been produced in these colonies, a decision which, we apprehend, will be confirmed, when it is heard in its complete state at the Masonic Hall this evening.
The opening recitative takes us to the hall of Pilate, where the Roman governor sits in judgment upon the Lord's anointed. A beautiful soprano song follows the introductory recitative and is succeeded by the chorus, "The rulers take counsel," a composition of a very grand and massive character, which, however, requires a large body of voices to do it full justice. We then have the message of Pilate's wife to himself, which is here embodied in a duet of very striking character and singular beauty. This is followed by a duet for five female voices, an arrangement as far as we know without precedent in musical composition; then comes the sentence and its cruel ratification by the Jews containing the awful malediction upon themselves and upon their children. After this follows what we consider the most striking portion of the oratorio, the lamentation of the Saviour, the cries of the populace thirsting for his blood, and the march of the soldiers, which are blended together and worked up with the skill of an accomplished musician. A chorus of angels concludes the first portion of the work.
The second, which has already been performed, includes the history of the consummation of man's redemption, and terminates with the triumphant chorus, "Prophet! Saviour! Priest! and King!" The principal parts are, we understand, entrusted to Madame Flora Harris, Madama Sara Flower, Mr. A. Beaumont, and Mr. Farquharson, who, with an efficient chorus will lend their assistance to give effect to this fine composition.
[Advertisement], The Sydney Morning Herald (15 October 1863), 1
http://nla.gov.au/nla.news-article13090308
MASONIC HALL, THURSDAY EVENING, October 15th.
THE CROWN OF THORNS, An Oratorio, Words and Music by Charles S. Packer.
PROGRAMME.
introduction - Organ.
Recit. (Mr. Farquharson) - "In Time's unceasing flight."
Aria (Madame Flora Harris) - "Yet none who gazed."
Quartett - "On mercy's holy errand." (Madame Flora Harris, Madame Sara Flower, Mr. Beaumont, and Mr. Farquharson.)
Recit. (Mr. E. A. Beaumont) - "And now, alas."
Chorus - "The Rulers take counsel."
Recit. - "Ere yet the words of doom." - Duett - (Madame Flora Harris and Mr. Farquharson) - "With this just Man."
Quintett - "Upon the ear of that fierce crowd." (Madame Flora Harris, Lady Amateur, Master Banks, Mrs. Cordner, and Madame Sara Flower.)
Recit (Mr. Farquharson) - "So as they will'd."
Chorus - "Away with him, let him be crucified."
DEAD MARCH.
Recit (Mr. E. A. Beaumont) - "Then as he went."
Chorus -"Away with him."
Air - "That loving heart."
DEAD MARCH.
The Lament (Mr. E. A. Beaumont) - "Oh, daughters of Jerusalem."
Chorus - "Let him be crucified."
Chorus of Angels - "Kiss the Son."
Recit (Mr. E. A. Beaumont) - "Noon's scorching hour it was."
Recit (Madame Sara Flower) - "Of these for broken human laws."
Quintet - "The Holy, Blameless, Guileless One." (Madame Flora Harris, Madame Sara Flower, Mr. E. A. Beaumont, Mr. Sussmilch, and Mr. Farquharson.)
Recit (Madame Flora Harris) - "Now on the Ear."
Song of Despair (Mr. Farquharson) - "If thou be the Christ."
Chorale - "Have I any pleasure."
Recit (Madame Flora Harris) - "Not so the other."
Song of Penitence (Mr. E. A. Beaumont) - "When thou O Lord."
Chorale - "There is joy."
Recit. (Madame Sara Flower) - "To the One, the dying Jesus."
Song of Pardon (Madame Sara Flower) - "To-day with me I say."
Chorale - "Eye hath not seen."
Recit. (Mr. Farquharson) - "The Ninth hour comes."
Recit. (Madame Flora Harris) - "Throughout space empyrean."
Duett (Madame Flora Harris and Mr. Farquharson) - "For as the truth."
Recit. (Madame Sara Flower) - "In holy terror."
Chorus of Angels - "Eloi! Eloi!"
Recit. (Madame Sara Flower) - "On earth."
Recit. (Madame Flora Harris) - "Grim death exults."
Recit. (Madame Sara Flower ) - "Vain hope."
Semi-chorus - "And through the star floor'd vaults."
Recit. (Madame Flora Harris) - "Thus sang the song."
Triumphal march and chorus of the Messiah - "Prophet, Saviour."
Organ - Charles S. Packer.
Prices of Admission: Reserved Seats Single tickets, five shillings each; family ticket to admit three, twelve shillings each.
Body of the Hall or Gallery, two shillings and sixpence To be had of all the principal music and book sellers.
To commence at 8 o'clock precisely.
"THE CROWN OF THORNS", The Sydney Morning Herald (16 October 1863), 4
http://nla.gov.au/nla.news-article13085196
The Sacred Oratorio, The Crown of Thorns, was produced last night with very great success before a large and appreciative audience. There was but one opinion as to the excellence of this sublime work, the words and music of which are by Mr. Charles S. Packer, of this city. It is composed - as its title may be taken to imply - upon some of the principal incidents of the Passion. Mr. Farquharson, Madame Flora Harris, Madame Sara Flower, Mr. Beaumont, and several other ladies and gentlemen, assisted in the oratorio as vocalists - Mr. Packer himself presided at the organ. From the introduction to the grand Triumphal March of the Messiah at the end, the oratorio was listened to by all present with the deepest attention, and was rapturously applauded. The composer was called for and loudly applauded at its conclusion.
"MASONIC HALL", Freeman's Journal (17 October 1863), 5
http://nla.gov.au/nla.news-article115426212
On Thursday evening Mr. Packer's oratorio, the Crown of Thorns, was performed in its completed state, before an audience, which, if not as numerous as might have been expected, contained nearly all the cognoscenti of Sydney, who, by their warm applause throughout, showed their appreciation of a work which, although it may not become immediately popular, attests the musical genius of its composer, and will we hope before long take its place, as it deserves to do, among our most favourite sacred compositions. Our space will not allow us to go into a detailed account of each individual piece; but we may say briefly, that the impression produced by its first performance some months ago, or rather of so much of it as was then completed, and of its rehearsal a few nights ago, was more than confirmed by the very fine performance that took place at the Masonic Hall on Thursday evening. In order to give the best possible effect to the composition the professional services of Madame Flora Harris, Madame Sara Flower, Mr. A. Beaumont, and Mr. Farquharson, were engaged for the principal parts, and a sufficiently numerous and thoroughly efficient body of voices gave effect to the grand and massive choruses. Mr. Packer's skill as an organist is too well known to require either comment or praise, and in this, his own composition, it need scarcely be said that the accompaniments were played in the most masterly manner. The performance, both on the part of principals and chorus, was most satisfactory, and at the conclusion Mr. Parker, being enthusiastically called for, came forward and bowed his acknowledgement.
"MUSIC AND THE DRAMA", Empire (21 October 1863), 5
http://nla.gov.au/nla.news-article60550242
. . . An original oratorio, - "The Crown of Thorns," words and music by C. S. Packer, was performed at the Masonic Hall on the 15th. Mr. Packer is known as a musician of great talents, and it is impossible to withhold from him, as an artiste, a word of admiration for this beautiful composition . . .
ASSOCIATIONS: Flora Harris (soprano vocalist); Sara Flower (contralto vocalist); Ellen Cordner (contralto vocalist); Thomas Philip Banks (boy vocalist); Armes Beaumont (tenor vocalist); Robert Farquharson (bass vocalist); Bernhard Sussmilch (tenor vocalist)
Charles Packer's trial for bigamy (1863; appeal 1864) and five-year prison sentence (21 December 1863 to 21 December 1868)
"CENTRAL POLICE COURT", The Sydney Morning Herald (26 November 1863), 2
http://nla.gov.au/nla.news-article13094743
WEDNESDAY [25 November] Before the Mayor and the Police Magistrate, with Messrs. Chapman, R. S. Ross, Cullen, and Asher . . .
Charles Sandys Packer, described as of Sydney, professor of music, was brought before the Court charged with bigamy. The Information of Mary Frances Packer, formerly Frances Moore, stated that on or about the 19th, May, 1836, in that part of the United Kingdom called England, as she is informed and believes, defendant married one Eleanor Mary Terese Grogan, spinster, and that afterwards, to wit on the 21st August, 1852 at St. George's Church, Hobarton, he feloniously and unlawfully did take her, the complainant, to wife, his former wife being then alive.
Mr. W. Roberts conducted the prosecution on the part of the complainant, and Mr. Windeyer, with Mr. Hillyard, on behalf if the first wife. Mr. Powell, instructed by Mr. R. B. Smith had charge of the defence.
Mary Frances Packer deposed that she assumed that name on the 21st August, 1852 when she was married to defendant, in St George's Church, Hobarton: her maiden name is Mary Frances Moore, she afterwards resided with defendant nine years, and had five children by him;
about six years ago, in consequence of defendant being discharged from a choral society in Sydney, she spoke to him about her name being mixed up in a matter of seduction, and some people having stated that she was not married to him, he wrote, at her request, to the clergyman for a certificate of marriage, and received the document produced (a certificate of marriage between Charles Sandys Packer and Mary Frances Moore, in the presence of Helen Agnes Moore and James Freeman, by Henry Phibbs Fry, D.D., rector of St. George's, Hobarton), with a letter (produced) from Dr. Fry she and defendant lived together as man and wife until February last year - about fifteen months - at Hobarton, and the rest of the time in Sydney, left him in consequence of his having taken a girl to live with him, about a fortnight after the marriage, in Hobarton, in consequence of a report, she asked him if he had been married before, and he said that he had not, but had lived with a woman named Grogan at home, a woman named Cranston told her, and afterwards, in defendant's presence, repeated that defendant was married at home;
she went with defendant, at her mother's request, in September, 1852, to St. Joseph's Church in Hobarton to be married after the Roman Catholic form, when the woman Cranston presented herself and forbade the marriage, on the ground that Packer had a wife at home, and the ceremony was not proceeded with;
after leaving the church, defendant said that the Vicar-General would see his brother, Frederick Packer, for an explanation, and that he had lived with the woman alluded to;
shortly after arrival in Sydney, had another conversation on the same subject with defendant, told him that a gentleman named Bugle had left a request that he (Mr. Packer) would call upon him on the subject of his wife; defendant said that Mr. Bugle referred to the woman of whom he had before told her that he lived with her at home;
on the arrival of the present Governor, Sir John Young, she had a conversation with defendant about his losses in consequence of his Excellency's antipathy to him for marrying a second time, when defendant said that it was because Sir John Young believed that his real wife was residing at Government House, and she advised him to bring an action against the Governor for slander; he said that he had consulted Sir William Manning, who told him that she (witness) was his lawful wife, and that he could bring an action, he said that his first was a formal but not a legal marriage, in a Portuguese Chapel in London; she was satisfied with the statement, and let the matter drop.
William Lee Bugle, foreman of the Gas Light Company's works, deposed that before he came to this colony, eleven or twelve years ago, he resided with Sir John and Lady Young in the North of Ireland; in 1847, was introduced to a Mrs. Packer, who was acting as lady's maid to Lady Young; after the arrival of Sir John Young in Sydney saw at Government House the same person who had been introduced to him as Mrs. Packer;
she is now alive, had a conversation in the year 1853 with defendant about his wife, the Mrs. Packer referred to, he neither admitted nor denied the marriage; wrote about it, and in reply received a copy certificate of marriage; subsequently met and told defendant, who then said that at the time and place mentioned he was married to the lady; but that, not having heard from her for seven years, he believed that the law would protect him; saw him a few days before the Governor arrived here, and told him that his wife was coming with the Governor; he said "lt's very annoying, after a lapse of so many years, that Eleanor should come to annoy me;" produced a Certificate of Marriage to him by Mrs. Packer since her arrival here.
The respective counsels addressed his worship (Mr. R. S. Ross) and defendant was committed to take his trial at the Central Criminal Court. Bail allowed.
"POLICE", Bell's Life in Sydney and Sporting Chronicle (28 November 1863), 3
http://nla.gov.au/nla.news-article59794164
EXTRAORDINARY CHARGE OF BIGAMY. CENTRAL POLICE OFFICE. TUESDAY, Nov. 24TH.;
CHARLES SANDYS PACKER, Professor of Music, was charged for that he did, on the 21st day of August, 1852, at St. George's Church, Hobart Town, marry one Mary Frances Moore, Eleanor Mary Teresa Packer, formerly Eleanor Mary Teresa Grogan, his first wife, being then alive. Mr. Roberts appeared on behalf of the prosecutrix; Mr. Windeyer (instructed by Mr. Bilyard) on behalf of the first Mrs. Packer; and Mr. Powell (instructed by Mr. R. B. Smith, attorney for the defence) appeared for the defendant. The case was heard before Mr. E. Scott Ross.
Mary Frances Packer states on oath: I assumed that name when I married - on the 21st August, 1852, the defendant now before the Court. I resided with defendant about nine years after that marriage, and had five children by him. My maiden name was Mary Frances Moore. I was married to defendant at St. George's Church, Hobart Town. The certificate and letter produced came from Dr. Fry the clergyman, who married us. I was then living in Woolloomooloo. The certificate produced is that of my marriage, and is correct. Mr. Packer wrote to Doctor Fry about the certificate six years ago, in consequence of reports detrimental to my character. I spoke to the defendant about my name being mixed up with his in some case of seduction, and moreover, told him that people said I was not married to him. I asked him to write to Dr. Fry for the certificate, and he said he would. He afterwards told me he had received a reply from Dr. Fry with a copy of the certificate, which he handed to me. (Letter read from Dr. Fry fo Mr. Packer).
- I have not lived with defendant for the last two years. Up to that time we lived together as man and wife. I lived with him in Hobart Town about fifteen months. We then came to Sydney. I left him in consequence of his having taken a girl to live with him. I referred in my information to the fact of defendant's former marriage with Eleanor Mary Theresa Grogan. I have had conversation with defendant about the latter at Hobart Town after we were married. It was at my father's house about a fortnight after our marriage, and was in consequence of a report. I asked him if he had been married before - he said no, but had lived with a woman named Grogan in England. A woman of the name of Cranston, whom the defendant kept at Hobart Town, and whom he admitted to me that he had kept, made a statement, and it was in consequence of what she said that I spoke to my husband.
It was in my presence and defendant's that the woman spoke - she said she had letters or papers in her possession which would prove that Mr. Packer was married before. Defendant said nothing in reply in her presence, but when she left, he told me her allusions were in reference to the woman he before told me he had lived with. I have often conversed with defendant on this subject. At first I was married in the Church of England, and my friends, for religions reasons, wished me to be married again according to the Roman Catholic form. I accordingly went with defendant for this purpose to the Roman Catholic Church of St. Joseph's in Hobart Town. This was on the 2nd September, 1852. When in the church on this occasion, the woman Cranston came forward and forbade the banns, because, as she said, she had papers to prove Mr. Packer's previous marriage in England. In consequence of this the second marriage was not solemnized. Defendant made no explanation to me at that time, but said something to my father and the Vicar-General which I did not hear. The same evening, defendant told me the Vicar-General would meet his brother Mr. Frederick Packer for an explanation. He made no further explanation to me at that time, but afterwards told me he had explained to his brother that he had lived with Eleanor Grogan.
The next time we had conversation on this matter was shortly after my arrival in Sydney, and in consequence of something I had heard - this was in November, 1853. I told the defendant that a gentleman of the name of Bugle had called at my residence and told my sister that Mr. Packer had a wife in England, and had requested defendant to call at his house to speak to him on the subject, which I believe he did. Defendant again told me that it was the woman he had lived with whom Mr. Bugle alluded to, as he had before told me in Hobart Town. That was all he said at that time. On the arrival of the present Governor, Sir John Young, I had another conversation with defendant about his professional losses in consequence of the Governor's antipathy to him on account of his second marriage. The defendant then told me he thought it was because Sir J. Young believed his former wife was alive, and then residing at Government House. I advised the defendant to bring an action against the Governor for slander; he replied that he had taken advice on the subject from Sir William Manning, and that that gentleman had told him I was his wife, and that he could bring such an action. I then let the matter rest, believing myself to be defendant's lawful wife. He said he would publish an account of the whole affair to show that I was his wife, and to clear his own character. On this occasion the defendant told me that his first marriage was only a formal, and not a legal one, and that Eleanor Grogan herself understood it to be so, and that he had gone through the form of marriage in a Portuguese Chapel with that lady;
Cross-examined by Mr. Powell: I think I left Mr. Packer on the 3rd of last February 12 months. I think Sir John Young arrived 12 months before that. I first heard about the other wife's being in Sydney about one month after Sir John Young's arrival. I made an offer to Mr. Packer to take no steps, in this matter, if he would give up the girl spoken of as living with him. I swear positively I never had a conversation with defendant about her. I was living at Manly Beach when the defendant came from the Feegees; he came and saw me at Manly Beach, and I told him if he behaved himself for twelve months we might make up matters and I would live with him. I believed at that time the girl had left the colony. I had no conversation at that time about the girl with the defendant.
I was married on the 21st August at St. George's. On the following Sunday night week I saw Cranston. I think it was on the 2nd of September that we went to St. Joseph's. Cranston interrupted the marriage about to take place. I advised Mr. Packer not to publish the pamphlet. I always lived happily with defendant, until I heard about the girl. A few days before I was married he told my mother that a report had got abroad in Hobart Town that he was married in England, and said he had only resided with the woman in the Isle of Wight and London, and had introduced her as Mrs. Packer to his relatives. I was married to Mr. Packer without my parents' consent. I was not told, nor did I know, when I married Mr. Packer, how long he had been from England. I only saw him some half a dozen times before our marriage. I have no understanding with any one respecting marriage in the event of defendant being convicted. Alter Mr. Packer left the Feegees, I got a judge's order. Defendant left no money with me when he went away.
William Lee Bugle on oath states: I reside in Cumberland Place. I am foreman of the Australian Gas Light Company's Works. I am a married man, and have a family. I have resided in this colony about 12 years. Previous to my coming here I was residing with Sir John Young in the North of Ireland. In 1847 I was introduced to a person who was acting as lady's maid to Lady Young under the name of Mrs. Packer. I knew the defendant about twelve months after I came to the colony in 1852. The governor, Sir John Young, came here, I believe, in March, 1861. I saw him after he arrived here, and I also saw the same person who was formerly introduced to me as Mrs. Packer, at Government House, Sydney. I believe she is still alive. I do not know that person by any other name than Mrs. Packer. About 12 months after I arrived here I had some conversation with defendant about this person. I called at his residence in Woolloomooloo, but be was out, I saw a lady on that occasion. Defendant afterwards came to my place of business and introduced himself to me as Mr. Packer, saying, "I understand you called at my residence." I told him I knew his wife - my reference being to the lady I had met in Ireland. Defendant neither admitted nor denied the marriage. In consequence of what defendant said I wrote home. In reply I received a copy of a certificate of marriage. After it came to hand I told defendant that I had received it and said to him, "Packer, you have got into a mess I am afraid;" he said "what for?" I said "I have received from a Clergyman of the Church of England a copy of the certificate of your marriage." I told him the month and year named in the certificate, and asked him to tell me candidly if it was correct. He said "It's quite correct. I have been married to the lady in question on the date mentioned." I then said "Don't you think you have run a great risk in marrying again, and your wife living." He replied "not at all; I did not hear from my wife for seven years and I believe the law will protect me." He laid stress on the words "seven years." He did not say on this occasion that his wife was dead.
At the first interview I had with him he spoke feelingly of his wife and said he had heard she was married. He made a different statement at the second interview than at the first. He then admitted that he was married at Hobart Town. I have had several conversations with him about the marriage in Ireland [sic]; he never told me he had heard Mrs. Packer was dead. It was only once he told me he had heard his wife was married and that she ran away with some person in Italy.
I saw defendant a few days before the Governor arrived. I called at the defendant's house early in the morning and asked him "if the coast was clear" alluding to Mrs. Packer the prosecutrix; he told me she was in the country and I said "I'm afraid, old fellow, you're pulled up at last, for your wife is coming here with the Governor - what are you going to do?" he said "it's very annoying, after a lapse of so many years that Eleanor should come to annoy me now" he also said "here I am this woman (meaning the prosecutrix) is the mother of my children. I love them and her too; she's proved an excellent wife to me." He added in reply to some other question I put to him, that she had received a liberal education and her parents were respectable. I asked him to call on me about the matter at my own residence, which he did after the Governor had arrived. I told him I had seen his wife. He said he was very sorry he had subjected her to the annoyance, and was very sorry she had come, and referred again to the "seven years." I produce a certificate of marriage, it is the original certificate and was given to me by Mrs. Packer. I have mislaid the copy of the certificate which was sent me from Ireland and have not been able to find it. That copy was not like the one I now produce, there was no printing, it was all in writing, but the contents were the same. I received a letter from Mrs. Packer. It is signed by the defendant. I know his handwriting. I gave it to the prosecutrix. I see the letter produced, dated l6th Nov., 1839. It is signed by Mr. Packer. I am sure it is Mr. Packer's handwriting. I can swear it is his signature. This letter is addressed to Mrs. Holloway. [Letter produced and read.] I received this letter from Mrs. Packer at Government House. I do not know Mrs. Holloway. Defendant told me that she was his sister. It was some day this week that he told me so. Defendant did not tell me where any of his relatives resided in England. Defendant in some of his conversations with me spoke of his former wife as Eleanor.
Cross-examined by Mr. Powell: I was living with Sir John Young about five years, acting as superintendant to his estate. Mrs. Packer was living in Sir J. Young's family in 1841; she went by the name of Mrs. Eleanor Packer. I first became acquainted with defendant in Nov., 1853. I first had conversation with him in 1853. We were on friendly terms. I never visited him at his house. I have not been subpoenaed. The words I have made use of in the conversations in this case I have had with Mr. Packer were, to the best of my belief, the substance, if not the exact words, of those conversations. At our first interview he said he had heard his wife was dead. He told me when I told him that I had a copy of the certificate of his marriage (I think this was in 1854) that he had not heard from her for seven years before his second marriage took place. Lately he has said eleven years. He told me he had not heard from her since 1844, when he received a packet of letters, and one was from his wife. He said that since 1844 to 1853 he had not heard from her. This was within the last month. He has never told me that he has heard from her since 1844.
By Mr. Roberts: He did not say from whom he had heard of his wife's death. [Bugle] Only on the one occasion of our interviews did he tell me that he had heard that Eleanor was dead.
Mary Frances Packer recalled on oath states: I look at the letter dated 16th Nov., 1839; it is in Mr. Packer's hand-writing. It is addressed - "Mrs. Holloway." Defendant has spoken of her to me as his favorite sister. He said she was residing either in London or Berkshire. Defendant told me he had other relations residing in London - he said he had two sisters in London. Frequently defendant had alluded to them. He did not say he was corresponding with them. Defendant never told me at any time that he had heard of the death of his first wife. He never mentioned her to me as his wife. He told me about six years ago that he had been applied to on behalf of Miss Grogan, through Mrs. Plunkett, I believe. He said that he had sent her 10 guineas per quarter. I asked him why he did so. He replied that it would be such a difficult matter at such a distance to disprove facts in which his family believed. He also mentioned Mr. Dillon, the solicitor's name, through whom he had sent the money. At the time I married the defendant he told me that he was not married. He always denied being married. He never told me that he had heard through his sisters of the death of Miss Grogan, or his first wife. I produce the judge's order I spoke of yesterday. (Judge's order read.) Defendant knew I had this order. I produce this letter sent to me by defendant. My father died on the 5th August this year. I have been living with my sister at Wagga Wagga since March last.
The evidence being closed, an animated and somewhat warm discussion ensued between Messrs. Powell and Windeyer on points of law; the former in defence, urging that there was no case to go before a jury, and insisting on a discharge. He deprecated the conduct of the witness Bugle, and the absence of the first wife, denying that there was any evidence to prove the prior marriage, and quoting legal precedents for an acquittal. Mr. Windeyer contended on the other hand that the magistrate had no alternative but to commit the prisoner. His Worship said that the case was one of no ordinary difficulty, but that with every wish to do justice to the accused, after a calm and dispassionate consideration of the opposing arguments of counsel for and against, he had come to the conclusion that he had no right to take the responsibility of summary jurisdiction upon himself, and felt himself bound to send the case before a jury. Prisoner was accordingly committed to stand his trial at the next criminal sessions. Bail allowed, himself in £100 and one surety in £100.
"LAW. CENTRAL CRIMINAL COURT", The Sydney Morning Herald (22 December 1863), 5
http://nla.gov.au/nla.news-article30937306
MONDAY [21 December] FIRST COURT. BEFORE the Chief Justice [Alfred Stephen]. . . BIGAMY. Charles Sandys Packer was arraigned for that on the 19th May, 1836, in the parish of St. George the Martyr, county of Middlesex, England, he married one Eleanor Mary Theresa Grogan, and that afterwards whilst so married he did on the 21st August, 1852, at Hobart Town, Tasmania, unlawfully marry one Mary Frances Moore, his former wife being then alive.
Mr. Isaacs applied for a postponement of the trial on the ground that Sir John Young, a material witness, was not forthcoming. The Attorney-General intimated that his Excellency Sir John Young was prepared to attend if desired, and, after some remarks, the case proceeded.
Prisoner pleaded not guilty. He was defended by Mr. Isaacs and Mr. Powell; attorney Mr. R. B. Smith.
Sergeant Matthew McKeogh, having been sworn, deposed that he was a sergeant in the Sydney police force. He apprehended the prisoner at the Central Police Court, Sydney, on warrant, on Friday, the 20th November.
John Dillon, solicitor, deposed: About the 16th May, 1855, I saw the prisoner, who was then in Parramatta; I was employed on behalf of Mrs. Packer; I told him I had come on unpleasant business, and did not wish to wound either his or Mrs. Packer's feelings; I put this paper (a copy of certificate of prisoner's marriage to Miss Grogan attested by the curate of the parish church) into prisoner's hand, and prisoner, after having looked at it and read it, said "that's true, that's correct." [Mr. Isaacs submitted that the document could not be received, and had no validity whatever. His Honor overruled the objection, and admitted the document as evidence of a portion of a conversation.] Mrs. Packer was in the house at the time, but was not present at the interview: I required him to make an allowance for his wife (the Mrs. Packer referred to in the certificate), which he agreed to do; he concluded to pay £10 a quarter to me for remittance to Mrs. Packer; I insisted upon an immediate payment, and he paid me £20 a few days afterwards; he has subsequently made me different payments in sums of £10 each, which in all amounted to about £40 ; prisoner was with me at Nash's Hotel, but the interview took place at the house where he lived near Parramatta; I think it was in the early part of the day, as Mrs. Packer told me, that he was dressing; I waited a short time, and the interview took place soon after I arrived; I don't think I saw him at the house either before that time or after it; he stated that Miss Grogan knew of his having been previously married, and that she had insisted on his marrying her to save her reputation with her family and friends; he said he had never once heard from Miss Grogan or her friends since his transportation.
William Lee Bugle, foreman at the Australian Gas Company's Works, deposed: I have been in the colony eleven or twelve years; before I came to this colony I lived from 1847 to 1852 with Sir John Young in the north of Ireland; the family sometimes visited London and France; Mrs. Packer was there when I went to and when I left Sir John Young's service; she is living with him now; the person before the court is the lady I have spoken of . . .
I received the letter produced from Mrs. Packer at Government House; the letter is in prisoner's handwriting, addressed to Mrs. Holloway, and bears his signature; I showed the prisoner this letter; he told me Mrs. Holloway was his sister; this took place about a month ego; Mrs. Packer acted as housekeeper and lady's maid in Sir John Young's family , I believe from 1841. I called on the prisoner about twelve months after I came here, and as soon as I knew of the prisoner's arrival; Mrs. Packer and two of Sir John Young's sisters, had requested me to make enquiries before I left Ireland; I never heard when in Sir John Young's service, that Mrs. Packer either heard from or communicated with the prisoner since 1841; I am positive that the prisoner told me on one occasion that he had heard his wife was dead, and on another occasion that he had heard that she had run away with a person in Italy; on all occasions he said he had not heard from Mrs. Packer for seven years; prisoner said that the last letter he received from her was in 1841, which was enclosed in a packet he got from home when at Norfolk Island. [The letter addressed by prisoner to Mrs. Holloway was put in evidence and read. In it the prisoner referred in endearing terms to a person named Eleanor. It was dated Spithead, 25th November, 1839, and was penned when the prisoner was leaving England.]
Mary Frances Packer deposed: I first took my present name on the 21st August, 1852, when I was married by Dr. Fry to the prisoner at St, George's church, Hobart Town; my maiden name was Mary Frances Moore; before the ceremony took place I had known Dr. Fry for some time as a friend of my father, and as the officiating minister of St. George's; I knew the prisoner about two months' before our marriage; I met him at a party; he came to my father's house once or twice clandestinely; he came on the first occasion to give me some music, and afterwards he came five or six times when my father was absent: my father heard of his coming and forbade his visits; I then met him at a place called the reservoir, about ten o'clock in the morning, and he took me thence to St. George's Church, and we were married by Dr. Fry; I returned home and remained for about a fortnight, until the 4th September, 1852. I was then nearly eighteen years of age; my father heard of the ceremony about a week afterwards, and he (Mr. Packer) took me to his house at Brown's River; on the 30th August, accompanied by my father and the other members of our family, we went to the Roman Catholic Church for the purpose of being there married by the Rev. Mr. Hall, the Vicar-General, according to the rites of that persuasion; a woman named Cranston came into the chapel and forbade the marriage; she said that she had letters in her possession that would prove Mr. Packer to have been married, and that he had a wife living at home; the prisoner made some remarks to my father which I did not hear; the ceremony was not proceeded with, and we all went away; I had seen the woman Cranston the night before, when she came to my father's house, and in the presence of the prisoner said that he had forsaken her; that she thought he was looking after one of the Miss Moore's, and that she would expose his character; I asked her what she meant, and she said that the person she alluded to as prisoner's wife was named Grogan; prisoner said he would give a satisfactory explanation to my father; I have often heard reports that the prisoner was married, and I told him of them, and inquired whether or not they were true; prisoner said he had never been married; about three months before our marriage prisoner's brother was in Hobart Town, and prisoner told me he had come from England; the prisoner offered to take my father and the Vicar-General to him to convince them that he had not been married; at the time of our marriage the prisoner heard from his friends in England, and occasionally had letters from them; he only showed me the letter produced, which is from his mother.
The Attorney-General proposed to put this letter in evidence. Mr. Isaacs argued, at great length, against the admissibility of the document as evidence. His Honor overruled the objection, and the letter was received. The letter dated London, August 24 1851, was read, and among other remarks the following sentence occurred: "I trust we may hear from you in answer to the several letters I have sent you. We are at a loss to account for your silence.
Cross-examined by Mr. Isaacs: My husband gave me the letter about six months after we were married, when we were living at Bachelor Point, Hobart Town; I showed the letter to my sister, Mrs. Jones, who lives on the Murrumbidgee, I have not shown it to anyone else until today, when I mentioned it to my solicitor; I am not aware that Mr. Packer cannot give evidence in this case.
By the Attorney-General: He never showed me any other letters but that one which has been read; on the arrival of the Governor, Dr. Wilson, the Minister for Works, called at my house and told me that Mrs. Packer had arrived, and the prisoner told me that the woman was not his wife and that she was the same person with whom he had lived; I told him that he ought to proceed against the Governor on account of professional losses from the slander circulated; he said afterwards that he had seen Sir William Manning, who had told him that I was his wife; he had said that he had married this woman in a Portuguese chapel, in London, in order to satisfy her mother, and to show that she had some claims upon him; at the same time he mentioned to me that he had sent money home to Miss Grogan to prevent any disturbance out here. He said had introduced Miss Grogan to his father as his wife.
Cross-examined by Mr. Isaacs: I left Mr. Packer about twelve months after Sir John Young's arrival in the colony my father died on the 6th of August last, and Mr. Packer's brother died about eighteen months ago; about ten months after I left Mr. Packer, I went to Auckland, and on my return to Sydney last February I consulted Messrs. Johnson and Johnson; my solicitors obtained an order from a Judge in Chambers for liberty to trade on my own account, at another time I applied for a divorce; I had known of Mr. Packer being in Tasmania for five or six years before our marriage; my father was the proprietor of the Hobart Town Guardian and removed to Auckland seven or eight years ago; my father wished me to be married to another person, and when he forbade Mr. Packer's visit, it was on account of his (the prisoner's) character, though at the time I thought his disapprobation arose from personal dislike; Mr. Packer was a favourite with my mother; I am not aware that Mr. Packer had proposed our marriage to my father; my sister, Ellen Agnes Moore, who is eighteen months younger than myself, was present at my marriage in Saint George's Church; Mr. Freeman, a friend of Mr. Packer's, also witnessed the ceremony; I do not know that Dr. Fry knew me; Mr. Packer told me that we were married by special license.
By the Attorney-General: When, about six years ago, a question was raised about my marriage, I asked Mr. Packer for the certificate, and he wrote to Dr. Fry, who, the prisoner told me, sent up the document produced. The certificate was received in evidence.
Cross-examined by Mr. Isaacs: Mr. Packer did not return home with me; I next saw him on the Wednesday evening following; I first saw the woman Cranston on the second Sunday night (August 29th) after our marriage; my eldest sister was in the house at the time; the woman Cranston never produced the marriage lines [? banns] of which she spoke in the in the church, and I am not aware whether my father took any steps to obtain them; I never heard positively of the prisoner's previous marriage until a month before the arrival of Sir John Young; when Mr. Packer was at Hobart Town, he was a professor of music, and the lessee of a theatre; at one time I told Mr. Packer that if I were free from him I might get married again; I did not know him to receive any communication from his family excepting the letter to his mother and those from his brother; I know Mr. Dillon; I first saw him at our cottage in Parramatta; Mr. Packer told me when he was going to the Fiji Islands; I had heard of his former marriage before that time; I resided with the prisoner about eight years and a half in this colony; he did not make any attempt to leave the colony after the arrival of Sir John Young except to go to the Fijis; my mother has been dead ten years.
This concluded the case for the Crown.
Mr. Isaacs said that he did not intend to call any witnessed for the defence, and asked his Honor to tell the jury that the Crown had failed to offer any evidence from which it could with safety and propriety be inferred that the prisoner, at the time of his second marriage in 1852, knew of his former wife being then alive, or had any knowledge of her for seven years previously.
His Honor was of opinion that there was evidence to go before the jury. If the jury thought that the prisoner had the means of knowledge, they were entitled, looking at all the circumstances of the case, to draw their own conclusions as to whether he did or did not know of his wife being living at the time of his marriage in 1852.
Mr. Isaacs addressed the jury for three hours and a-quarter, and contended that the prisoner did not know of his former wife being alive when he contracted the second marriage at Hobart Town in 1852, and that he had then no, or at most but imperfect means of knowing whether she was then living, lt was the duty of the Crown to establish by evidence the prisoner's knowledge before calling upon him for his defence.
Mr. Windeyer, in reply, stated that the evidence of the prisoner's first marriage rested to a great extent on his own repeated admissions; the burden of proof lay in this instance upon the prisoner and not on the Crown. At the time of his second marriage, and subsequently, prisoner had spoken of his first wife as his mistress, and it was not till seen by Bugle that prisoner admitted that she was alive, and it was only then that he said that he had not heard of her for seven years, that she had run away, and other subterfuges. The letter of the prisoner's mother proved that there had been many letters written from his family at home, and this circumstance afforded a strong presumption that he must have constantly known and heard of his wife. He submitted that the prisoner's first marriage had not only been proved to be valid, but it had been conclusively shown that at the time of his second marriage he must then have known that his first wife was then alive.
His Honor reviewed the evidence, and explained the law bearing on the case. He held, that in determining whether the prisoner had the knowledge that his wife was alive at the time of the second marriage, the jury ought to look at all the circumstances of the case - at the prisoner's means of knowledge - his apparent motive at the time, whether honest or dishonest - the facts of communication from his family or otherwise - and generally his conduct in reference to the second marriage - whether he had consistently asserted his ignorance and so acted, or had been guilty of misrepresentation - whether, in short, the circumstances were such as would probably and naturally mark the conduct of a man marrying in truth, or, in fact, in ignorance of his first wife's existence; or, on the contrary, whether they were such as indicated the consciousness of her really being alive, or whether or not his intention to secure the person of the plaintiff. In the latter case they would find the prisoner guilty; in the former case he would be entitled to an acquittal.
The jury retired, and after ten minutes' absence returned with a verdict of guilty. The prisoner having been asked if he had anything to show why sentence should not be passed upon him, stated that he had never heard from his first wife between the years 1841 and 1852. The prisoner was then sentenced to five years' hard labour on the roads or other public works of the colony.
The Court rose at one o'clock this morning.
"NEWS & NOTES. BY A SYDNEY MAN. CCLXVI", The Courier (28 December 1863), 3
http://nla.gov.au/nla.news-article3167689
. . . The Criminal Sittings of our Supreme Court are just over . . . Charles Sandys Packer, the musician, and composer of the oratorio of the "Crown of Thorns," which I have heard musical critics speak very highly of, has been convicted of bigamy, and sentenced to five years' hard labor on the roads. Taking the case in the abstract, it might be considered a hard one, for Packer had not communicated with his first wife for very many years, and the legal evidence of his first marriage seems very slight. But there are surrounding circumstances which quite forbid sympathy. Of the fact of the first marriage there is no moral doubt, and Packer did not deny it. There are some things connected with this man's life which are very far from entitling him to any pity. In the course of this trial it became a question whether Sir John Young, in whose service the first Mrs. Packer has been for years, could be compelled to appear as a witness if required. His Excellency seemed at first disposed to stand upon his prerogative, and the court declined to decide the point without argument. Eventually the Governor offered to appear if necessary, but his evidence was not required . . .
ASSOCIATIONS: William Wilkes (author)
"COLONIAL EXTRACTS", Queensland Times, Ipswich Herald and General Advertiser (12 January 1864), 4
http://nla.gov.au/nla.news-article123601495
The Sydney correspondent of the Western Post says:-
"Poor old Packer bas been convicted of bigamy, and sentenced to five years at Cockatoo. This will kill him. The severity of the sentence has excited much comment. It is not long ago since a man from Goulbhrn married a girl here under most aggravating circumstances, and he only got two years, which, by-the-by, he did not fully serve. Packer, who was transported from England long ago for forgery, though it is pretty clear he has not seen his first wife for twenty years, gets five years on the roads. Now the Goulburn man came straight from his wife and married a girl in the most reckless manner. It is satisfactory to know that the real wife, when she visited him at Darlinghurst, flew at him like a tigress, and tore a good handful of hair out of his head. The musical world, in losing Packer, loses the greatest musician in this continent.
"LAW. SUPREME COURT", The Sydney Morning Herald (11 March 1864), 2
http://nla.gov.au/nla.news-article1309480
THURSDAY [10 March] SITTINGS IN BANCO. BEFORE the full Court.
SPECIAL CRIMINAL CASE THE QUEEN V. PACKER.
This was a special case from the last sittings of the Supreme Court, in its criminal jurisdiction, at Darlinghurst. The prisoner had been convicted of bigamy and sentenced to five years' penal servitude. Several points were taken by prisoner's counsel during the trial, upon which argument was now heard; as also upon one which had been reserved by the Chief Justice who tried the case. Mr. Isaacs and Mr. Powell appeared in support of the objections, and the Attorney-General in support of the conviction. Their Honors, however, refused to hear a second counsel for the prisoner, or to hear prisoner's counsel in reply.
The objection had partial reference to the reception of particular pieces of evidence - letters from Europe and copies of an alleged marriage certificate - as tending to prove prisoner's knowledge of the fact that his first wife was living at the time he contracted a second marriage. The principal point, however, was, as to whether the finding of the jury as to the prisoner having this knowledge was, in fact, sustainable. The first marriage had been contracted in Europe, and the second marriage in Tasmania. More then seven years had elapsed, during which prisoner and his first wife had been living in different countries - the wife in Europe and the husband in Tasmania, where prisoner contracted his second marriage. It was contended that under these circumstances the prisoner may be prima facie held discharged from all obligation to enquire after his first wife, and the onus was cast upon the Crown of showing that the prisoner had had knowledge of the fact that his first wife was living when he married the second. The point reserved by the Chief Justice was, as to whether the indictment would lie. The Bigamy Act (or rather the statute containing the provisions under which the indictment for bigamy was framed) was an English statute. It was placed in operation here and in Tasmania simultaneously by the Constitution Act of 9 George IV. The second marriage took place in Tasmania, and the question was whether such being the case the charge of bigamy, which offence was thus committed in Tasmania, could be tried in New South Wales. Their Honors sustained the conviction.
The letters, &c., they held had been properly admitted as evidenciary of prisoner's means of knowledge, and as parts of the conversations between the prisoner and the persons to whom he had spoken of these documents. The proof that the prisoner had been in constant communication with his relatives in Europe, as well as his own admissions and statements touching his first wife, were amply sufficient to sustain the verdict of the jury; and the Constitution Act being a statute of the Imperial Parliament was sufficient to render an offence committed in the one colony punishable in the other, giving jurisdiction, in fact, in such cases, to the Courts of both.
1865
"MADAME SARA FLOWER", The Maitland Mercury and Hunter River General Advertiser (29 August 1865), 4
http://nla.gov.au/nla.news-article18699891
The celebrated singer, Madame Sara Flower, died on Sunday, the 19th, at the early age of 43. She possessed a remarkably fine contralto voice, and was considered by those capable of judging the finest musician in New South Wales. She was a great favourite with the Sydney public . . . The last time we heard her in public was in Charles Packer's beautiful oratorio of the Crown of Thorns, at the Masonic Hall. Her grand and sympathetic voice filled the great space, and she sung the fine music with such exquisite pathos that the audience were moved by it almost to tears. A great, artist has passed from amongst us, and, as was but fitting, she was followed to her grave by the members of the musical profession now in Sydney. - Sydney Correspondent of Western Post.
1866
"BERTRAND AND THE CHOIR AT DARLINGHURST GOAL [sic]", Wagga Wagga Express and Murrumbidgee District Advertiser (3 March 1866), 2
http://nla.gov.au/nla.news-article105997473
We were shown the other day a private communication recently received from Sydney in which was related the following anecdote, which we have every reason to regard as authentic:- It will be remembered that some time ago, Packer, the well-known musician, was convicted of bigamy and sentenced to a term of imprisonment in Darlinghurst Gaol. Since his incarceration he has organised a very efficient choir in the prison and on Sunday week last while conducting the musical part of the service as usual, Bertrand walked in and seated himself with the singers. Packer requested him to leave, saying "that his company was not wanted at any price," and added that if he did not relieve them of his presence the choir would remain silent. Bertrand thereupon withdrew and the singing was proceeded with. It is stated that Packer has composed two very beautiful pieces of sacred music since his confinement at Darlinghurst.
1868
"Prisoners to be Discharged Free", New South Wales Police Gazette and Weekly Record of Crime (5 February 1868), 40
http://nla.gov.au/nla.news-article251749122
Return of Prisoners to be discharged from H.M. Gaol, Darlinghurst, during the month of February, 1868: -
. . . Charles Packer . . .
"RETURN OF PRISONERS DISCHARGED FREE SINCE LAST PUBLICATION", New South Wales Police Gazette and Weekly Record of Crime (26 February 1868), 66
http://nla.gov.au/nla.news-article251749170
Darlinghurst / Chas. Packer / Bigamy / 5 years / [convicted] 21 Dec., 1863, S.C.C / [born] England / Musician / [Year of Birth] 1818 [sic] / [height] 5 5 / ruddy / grey [hair] / . . .
[Advertisement], The Sydney Morning Herald (5 May 1868), 1
http://nla.gov.au/nla.news-article13165588
IF THE LADIES, who on THURSDAY last were inquiring for Mr. PACKER in Liverpool-street, will have the kindness to write to him, or call at 241, Upper Forbes-street, Darlinghurst, their communication will meet with immediate attention.
11 August 1868, Packer's first advertised public performance since his release from prison
[Advertisement], The Sydney Morning Herald (11 August 1868), 8
http://nla.gov.au/nla.news-article13170843
ROYAL VICTORIA THEATRE. Under the management of Mr. Hoskins . . .
COMPLIMENTARY BENEFIT to Mr. W. LLOYD, for seven years the indefatigable Stage Manager of Mr. Lyster's Opera Company.
The following distinguished artistes have most generously given Mr. W. Lloyd their valuable assistance on the occasion: -
Madame LUCY ESCOTT, Mrs. ADA KING, Signer PIETRO DE ANTONI, Mr. SUTCLIFFE,
Mr. F. BAKER, a Gentleman Amateur, Mr. PACKER, Mr. JOHN HALL.
The Orchestra will be largely augmented by several members of the Opera Orchestra, led by Mr. RICE.
THIS EVENING, Tuesday, The performances will commence with
SINK OR SWIM. Lord Yawnly (his original character in London) - Mr. Hoskins.
To be followed by a GRAND CONCERT, Vocal and Instrumental.
Duett, violin and piano - De Beriot - Mr. JOHN HALL and Mr. PACKER.
Song - "The Mermaid" (Oberon) - Weber - Mrs. ADA KING.
Song - "Let me love thee" - Arditi - GENTLEMAN AMATEUR.
Ballad - "The Spell is broken" - Mr. J. H. SUTCLIFFE.
Cavatina - "Ernani Involami" - Verdi - Madame LUCY ESCOTT.
Aria - "Neapolitaino" - Lee - Mr. W. F. BAKER.
Comic song - "Simon the Cellarer" - Bleuit [sic] - Signor PIETRO DE ANTONI.
Duet - "The moon has raised her lamp" - Benedict - Mr. BAKER and Mr. SUTCLIFFE.
Accompanyist - Mr. PACKER . . .
ASSOCIATIONS: William Lloyd (stage manager, Lyster Opera Company); William Hoskins (proprietor, actor); John Thomson Hall (violin)
[Advertisement], The Sydney Morning Herald (28 September 1868), 8
http://nla.gov.au/nla.news-article13173462
SCHOOL OF ARTS. Viceregal Command Night.
MADAME ANNA BISHOP, has the honour to announce that her FOURTH and LAST GRAND CONCERT but one in the above Hall,
will take place THIS EVENING, Monday, September 28, and will be under the distinguished patronage and presence of His Excellency the Governor and the Countess of Belmore.
Madame Bishop will be assisted by Mr. CHARLES LASCELLES.
PROGRAMME . . . PART II . . . Ballad - "Little Nell" - C. Packer.
(Composed expressly for Madame Anna Bishop).
Written on the episode of "Little Nell and her grandfather, in Dickens's "Old Curiosity Shop,"
Madame ANNA BISHOP . . .
ASSOCIATIONS: Charles Lascelles (pianist); Richard and Anne Belmore (governor and wife)
"MUSICAL FESTIVAL", Empire (16 December 1868), 2
http://nla.gov.au/nla.news-article60830162
Last night the completion of the organ lately built by Mr. C. J. Jackson, in the York-street Wesleyan Church, was celebrated by a grand musical festival, held in the church. Haydn's [sic, Handel's] sublime oratorio, "Samson," was produced on the occasion. There was a large attendance, the gallery as well as the body of the church were well filled. Mrs. James, Miss Wiseman, and Messrs. W. Smith, C. W. Rudd, and J. W. Hall sustained the principal parts, and were supported by a large and efficient choir. As a musical festival the entertainment was one on the grandest scale. Mr. Charles Packer presided at the organ which, under his manipulation, peeled forth in loud and majestic tones. The church lately had been considerably improved by a fresh coat of varnish. A splendid sunlight, by Messrs. Constable and Turner, has added neatly to the convenience and necessary illumination of the church. The entertainment was brought to a close shortly after 10 o'clock.
1869
"CONCERT AT THE HOSPITAL FOR THE INSANE, GLADESVILLE", Sydney Mail (30 January 1869), 4
http://nla.gov.au/nla.news-article166809930
The first concert given for the gratification of patients in any hospital for the insane in New South Wales took place on Wednesday evening last. The marked success which has of late years attended similar entertainments in the best-conducted establishments in Great Britain induced Dr. Manning, the present superintendent at Gladesville, to make an early effort in the some direction for the benefit and pleasure of the patients under his care. On the present occasion he applied, in the first instance, to Mr. Fisher, vocal instructor to the Education Board, who readily undertook to organise a body of lady and gentlemen singers for the purpose; unfortunately, however, indisposition prevented him from carrying out his plans. Mr. Hall, of George-street, was next applied to, and entered warmly into the scheme. The vocalists who accepted Mr. Hall's invitation to join him were Miss Wiseman, Miss Vernon, and Messrs. Chandler, Hall, Jackson, and Rudd; Mr. Packer accompanying upon the piano . . .
"GRAND EVENING CONCERT", The Sydney Morning Herald (20 July 1869), 4
http://nla.gov.au/nla.news-article13189020
. . . The main instrumentalists were Messrs. Packer and Horsley (pianoforte), and Mr. Greenfield (violin) . . . This was followed by an instrumental duet "Variations, &c, de Lucia pour Piano" (Prudent), by Messrs. Packer and Horsley, whose admirable execution was well appreciated, although the instrument used was not calculated to give due effect to the ability displayed . . .
ASSOCIATIONS: Charles Edward Horsley (piano); Max William Greenfield (violin)
[Advertisement], The Sydney Morning Herald (22 December 1869), 8
http://nla.gov.au/nla.news-article13197484
PRINCE OF WALES OPERA HOUSE, GRAND ORATORIO - CHRISTMAS NIGHT, Saturday, December 26, 1869 . . .
PROGRAMME. - PART I.
SELECTION FROM "THE CREATION" - Haydn . . .
SELECTION FROM "THE CROWN OF THORNS." - C. S. Packer.
Recit. - "Of these, for broken human laws" - Mrs. W. J. Cordner
Quintet - "Twas He, the pure, the Holy One" - Miss James, Mrs. W. J. Cordner, Messrs. G. F. Jackson, J. C. Fisher, and Andrew Fairfax
Recit. and Song of Penitence - "When Thou, O Lord" - Mr. A. Wilkie
SELECTION FROM "DAVID." (First time) - C. S. Packer.
Air - "Remember now thy Creator" - Mrs. W. J. Cordner
Trio - "Are not my days few" - Miss James, Mrs. W. J. Cordner, and Mr. A. Wilkie
Choral March - "Glory and honour to the Lord of Hosts"
Intermission of ten minutes only.
PART II.
Instrumental Introduction - "Hymn of Praise." - Mendelssohn.
Pianoforte - Mr. ALFRED ANDERSON. R.A.M.; and Mr. C. S. PACKER. Harmonium: Mr. J. HILL, K.S., R.A.M.
SELECTION FROM "ELIJAH." - Mendelssohn . . .
Instrumental - "Nativity Pastorale" - Corelli - Mr. John Hill, K.S., R.A.M., Mr. Alfred Anderson, R.A.M., and Mr. C. S. Packer.
SELECTION FROM "THE MESSIAH." - Handel . . .
Accompanyiste, Mr. JOHN HILL, K.S., R.A.M., and Mr. C. S. PACKER; Conductor, Mr. J. C. FISHER . . .
ASSOCIATIONS: John Hill (pianist, harmonium player); Alfred Wilkie (vocalist)
1870
"PARRAMATTA . . . ORATORIO", The Sydney Morning Herald (16 April 1870), 5
http://nla.gov.au/nla.news-article28418756
On Tuesday evening last the concert spirituel-loving portion of the Parramatta public were afforded the opportunity of enjoying a musical festival of the most recherché character - an intellectual feast - which has been in the course of preparation for some considerable time, owing to the intervention of inclement weather and other causes which rendered its adjournment upon several occasions unavoidably necessary. On Tuesday, however, everything conduced to make amende honorable for former disappointments . . . Mr. Packer officiated as accompanist, whilst professional vocalism was represented by an old Parramatta favourite (Miss James), the magnificent contralto (Mrs. Cordner), and Mr. Wilkie. The entertainment commenced with selections from "The Creation," in the performance of which Messrs. Wilkie and Hall, and Miss James, ably sustained the principal parts, - the frequent plaudits of the audience bearing ample testimony to the fact of their appreciation of the several vocalists' efforts.
The second part of the programme was initiated with a splendidly-executed duet upon the pianoforte, in which the immense talent of Mr. Packer, as an instrumentalist shone forth conspicuously. In the selections from "Elijah," Miss Cordner made her debut, in the air "Oh, trust in the Lord," and received a hearty encore from an audience who were literally transported with the expression and ability infused into her rendering of a beautiful solo. In another selection ("O man of God"), also from "Elijah," rendered by Miss James and Mr. Hall, an encore also awaited the charming soprano who has obtained so frequently and worthily the favour of the Parramattonians, had not sudden indisposition prevented Mr. Hall from aiding in complying with the request.
Selections from Mr. Packer's "Crown of Thorns," and "David," followed, and were received with evident satisfaction and admiration by the delighted hearers, who were generally inclined to accord them precedence as compositions to any produced during the evening. The quintette, "'Twas he, the Pure, the Holy One," was enthusiastically encored - Mr. Packer acknowledging the compliment paid to his musical genius by making obeisance to the house. The grand chorus "Hallelujah" terminated an entertainment probably more fashionably attended than any held in Parramatta since the lapse of the local Philharmonic Society some years since.
"ORGAN PERFORMANCE", Evening News (22 June 1870), 2
http://nla.gov.au/nla.news-article107130921
Last evening an organ performance was given at the York-street Wesleyan Chapel, in aid of the Maitland Flood Relief Fund. Mr. Rea, the organist of St. John's, Darlinghurst, was the first to play. The most admired of his pieces were "Cujus animam," from Rossini's "Stabat Mater," and "La Carita." Misa E. Thackeray, the talented organist of St. Paul's, Maitland, had the next part allotted to her. She exhibited great proficiency, and a surprising power for a lady performer. Her execution was wonderful. Bach's fugue, commonly known as "St. Ann's," was so decidedly and distinctly rendered, that the audience were unanimous in their appreciation of it. Mr. Packer, the York-street Chapel organist, was the last. It is needless "to paint the lily, or gild refined gold." This gentleman kept the assemblage in breathless attention, and everyone seemed sorry when his performance was concluded. The funds must have been considerably benefited by the entertainment, for the chapel was well filled. Amongst the audience were many leading families.
"PROPOSED CENTENARY MUSICAL FESTIVAL", The Sydney Morning Herald (18 July 1870), 5
http://nla.gov.au/nla.news-article13214616
A MOVEMENT has been recently set on foot for a series of musical performances, on a large scale, to be given in connection with the Metropolitan Intercolonial Exhibition. The gentlemen who have taken an interest in the matter, convened a meeting, on Saturday afternoon, at the Masonic Hall. Despite the rainy weather, there was a large attendance of professional and amateur musicians. Mr. Charles Davis occupied the chair, and expressed his concurrence in the movement. Mr. J. W. Hall then narrated the circumstances which had led to the calling of the meeting. As a member of the community and a lover of music, he was desirous of seeing the forthcoming Exhibition distinguished by every feature that could give eclat to such an occasion. When he saw the Agricultural Society advertising for an organ and an organist, he went to see the secretary, to ascertain exactly what was wanted. He learnt that they had no organ to erect, but that they expected one from Melbourne from a Mr. Fincham. This organ was in the Melbourne Exhibition, and had since been used in a parish church, but was now at Mr. Fincham's house. He remarked to the Secretary that it appeared very strange that the society should send to Melbourne for a second-hand organ - one that had been found unfit even for a parish church for the Exhibition in Sydney, when we had a gentleman here who could build one quite as good as, if not better than, any that could be got from Melbourne. (Cheers.) Mr. Joubert asked who it was that could build one here, and he at once mentioned Mr. C. J. Jackson's name. Mr. Joubert said that it was desirable that the instrument should be built in Sydney, if possible, and that an organ built here would have the preference over an imported one.
A day or two afterwards, he (Mr. Hall) called in company with Mr. Jackson, at the Agricultural Society's Rooms. They were informed that the society did not want to go to the expense of having an organ built purposely, but would pay any one who would erect one in the Exhibition building. He, in conjunction with Mr. Jackson, then proposed to erect a new one, and to provide an organist to play two days a week, on these conditions namely, that the society should advance them a certain sum of money, and that they should find a few gentlemen who would guarantee the society from any loss; provided that the society, in return, allowed them the use of the building to give their musical festivals to reimburse themselves for the outlay. The society refused to entertain that proposition. He conferred with several gentlemen on the matter, and they agreed to find them money (£500) to build an organ with seventeen stops, and engage an organist to play two days a-week during the Exhibition, on condition that the Agricultural Society allowed them the use of the building for two days for musical festivals. That proposition was accepted, and a committee of gentlemen entered into a bond with the society, by which they were to forfeit £50 if the organ, with ten of the stops at least, was not completed by the 15th of August.
In the meantime, he (Mr. Hall) communicated with several gentlemen, and secured the services of Mr. C. S. Packer as accompanist. (Cheers.)
They then deemed it advisable to call a meeting of professional and amateur musicians, in order to determine as to what music should be produced, also for the purpose of more effectually securing the co-operation of all who could take part in the festival, and make it worthy of the colony. Mr. Rogers then moved, - "That, in the opinion of this meeting, two events of such national interest as the centenary of Captain Cook's landing, and the closing of Sydney's first great Intercolonial Exhibition, should not be allowed to pass without an adequate musical celebration." The motion, was seconded by Mr. B. Hardaker, and unanimously agreed to. Mr. Chandler moved the second resolution, as follows: - "That it is the opinion of this meeting that an event of such general interest should attract and cement all the musical talent of the community, vocal and instrumental, and that the Messiah and the Creation are the oratorios most appropriate to the occasion." He trusted that on such an occasion, any party feeling or differences of opinion which might exist between the professional or amateur musicians in the community, would he entirely set aside, and that all would unite in one common, object to produce a musical festival worthy of the colony. The selection of the "Messiah" and the Creation" had been made for this reason that they were both well-known to musical people, and would, therefore, require a much less number of rehearsals than any other composition. The time was short, and therefore the necessity of avoiding many rehearsals was apparent. He trusted, however, that the committee who had taken the matter in hand would add a little secular music to the programme. Mr. Craven seconded the motion, and it was agreed to unanimously.
Mr. G. Durham thought if they waited until the Exhibition was closed, they would not find the festival a success. He believed that most of the country storekeepers and country gentlemen intended to come to Sydney to see the Exhibition, but they would not care to stay here for a month in order to attend the musical festival. He thought every effort should be made to secure the evenings before the Exhibition closed. Mr. H. A Hall explained that every endeavour to secure the building at an earlier period had been made, but without success. The space inside the building would be so taken up with exhibits that room could not be spared for a choir or an orchestra. Mr. S. Moore thought the music professors and a amateurs of this community should combine harmoniously together, in order to show our Victorian and Queensland neighbours what we were capable of doing; and he concluded by moving, "That Herr Carl Schmitt, in conjunction with the Sydney Choral Society, be requested to produce the "Creation;" and that Mr. C. J. Fisher [sic] be invited, with his classes, to undertake the "Messiah." The motion was seconded by Mr. R. L. Skinner, and unanimously agreed to. Mr. W. Hall intimated that at a meeting of teachers held at the Fort-street School that morning, the subject was mentioned to them, and 89 at once volunteered their services; amongst that number were 46 sopranos and 28 altos.
Mr. C. J. Packer [sic] addressed the meeting, and in the course of his remarks he said that he had looked over the schedule of exhibits for the Exhibition, and he found that music had been totally ignored, although all the other fine arts appeared. In Melbourne they could get up monster musical entertainments; but in Sydney, where there was a much larger amount of musical talent than in any of the colonies, there was not even a barrel organ upon which to grind a time when the new Governor came. It would be a great pity if New South Wales lost this opportunity for producing a musical festival on a scale worthy of the colony. He was very much afraid, however, that the gentlemen who had become security for the payment of the expenses would be heavy losers. It, therefore, behoved every one who took an interest in the movement to come forward with their assistance.
After some further discussion, Mr. Hall informed the meeting that any society which took part in the festival would be allowed the free use of the organ for one evening, provided the Corporation allowed the organ to remain in the building for a short time free of rent. This concluded the principal business for which the meeting had been called. Mr. Sheridan Moore then remarked that the music-loving portion of the community had suffered a profound loss, and one which to some extent was irretrievable, in the death of Mr. William John Cordner. Mr. Cordner possessed a kindly, genial disposition, as well as great abilities as a musician, and devoted his talents more to the gratification of the general public, than to his own pecuniary gains. Now that so many gentlemen belonging to music societies in this city were met together, he thought it was a fitting opportunity for them to express their sorrow at the decease of one for whom they entertained so high a regard. He therefore moved, - "That this meeting records its sympathy and condolence with Mrs. Cordner, on her recent bereavement, and expresses its sense of the loss which the musical societies of this country have experienced in the death of Mr. William John Cordner." 2. "That the foregoing resolution be forwarded to Mrs. Cordner by the chairman of this meeting." Mr. C. Marsh seconded, and Mr. C. J. Fisher supported the resolution; both gentlemen spoke in high terms of praise of the late Mr. Cordner. The resolution was agreed to by a very cordial and unanimous assent. A vote of thanks to the chairman terminated the proceedings.
"METROPOLITAN INTERCOLONIAL EXHIBITION. THIS DAY. THE FIRST HALF-CROWN DAY", Evening News (1 September 1870), 2
http://nla.gov.au/nla.news-article107128559
FORTUNATE indeed were the holiday folks of yesterday, in receiving such fine weather for their visit to the Exhibition. To-day, from its commencement, has been as unpleasant as yesterday was delightful, and the heavy rain which set in at about noon, counted with the high rate of admission, tended to render the company more select than numerous . . . In spite of the rain there was a steady stream of arrivals all the morning, and at twelve o'clock the number in the park maybe estimated atabout 3000. The brass band in the pavilion was present, as before, but its music fell flatly on the stragglers near it, the principal musical attraction being Mr. Packer's performance on the large organ inside . . .
"THE INTERCOLONIAL EXHIBITION", Freeman's Journal (24 September 1870), 7
http://nla.gov.au/nla.news-article115293104
. . . On Saturday. Messrs. Hill and Packer played selections on the organ . . .
"CENTENARY MUSICAL FESTIVAL", Empire (6 October 1870), 2
http://nla.gov.au/nla.news-article63111806
"CENTENARY MUSICAL FESTIVAL", Empire (10 October 1870), 2
http://nla.gov.au/nla.news-article63111908
THE third concert of the festival, in which Mr. Fisher's juvenile choir took part, was given in the Exhibition building, on Saturday afternoon. His Royal Highness the Duke of Edinburgh was present, as also were the juvenile members of the Governor's family, and his worship the mayor and lady. The platform, crowded with gaily dressed children, presented a very pleasing appearance, and the large number of people present, and the evident interest they took in the proceedings, suggested the idea that there were a great many proud and happy parents among them. We can hardly endorse the announcement at the head of the programme, that there were 1500 juveniles in the choir, but there were possibly two-thirds of that number, of whom about a third appeared to be vocalists. Mr. Fisher, of course, conducted, and Mr. Packer did double duty on the organ and pianoforte. The best thing the children did were the part song, "Ripe Strawberries," which was sung in excellent time, and the song with vocal accompaniment, "Footsteps on the stairs." The latter was rendered with great delicacy, and showed that the children had been well taught a certainly difficult composition for such young people. Mr. Horsley's arrangement of "Jack and Jill" was also exceedingly good, the piano passages being well subdued, and Mr. Packer's arrangement of "Little Jack Horner" delighted the little folks amongst the audience greatly, and it was encored. Mr. Fairfax sang the duet, "Excelsior," with Mr. Wilkie, in good style, and the former singer and Mr. J. W. Hall gave the spirited duet, "Suona la Tromba," from "I Puritani," with considerable fire. Mr. Packer played selections from "Les Huguenots" and "Lucrezia Borgia," on the organ, in his usual masterly manner, and in response to an enthusiastic demand for a repetition of the first music, gave the grand march from "The Prophète." The remainder of the programme was satisfactorily performed.
In the evening the miscellaneous concert took place, and notwithstanding the sudden change to wet weather, there was an audience present which, for numbers, was surprising under the circumstances. This time Mr. J. Hill assisted Mr. Packer on the organ, and their joint performances of the overtures "Die Zauberflote" and "Der Freischutz" were all that could be desired. The same cannot be said of the remainder of the concert. Whether it was that there had been "too much of a good thing," or that the rain had damped the spirit of the singers, or that they or the audience, or both, were fatigued and surfeited with the sweet sounds of throe preceding concerts, it is impossible to say; but the fact indisputably remains, that with two or three trifling exceptions, the programme, which was extremely commonplace, passed off flatly. Bishop's glee, "The Chough and Crow," was completely marred through the dispirited manner in which it was sung, and the ballads and songs were generally commonplace, and mada no impression. Schlosser's song, "The Queen of the Sea," was so well sung by Mrs. Cordner that it made amends for a great many defiencies; and Mr. Wilkie sang Dibdin's fine old ballad, "The lass that loves a sailor," with so much spirit that at one time the concert threatened to be lively. The only chorus really well sung was the "Prayer for Peace" (so necessary at this time), set to a quaint Russian air; but, as a matter of course, the more hackneyed and popular Soldiers' Chorus, from "Faust," received the greater applause. The National Anthem, in which the audience took part, concluded the last concert of the festival, which we fear has not proved that pecuniary success which the enterprise of the gentlemen who were instrumental in getting it up deserved.
1871
"Miscellaneous Items", Australian Town and Country Journal [Sydney, NSW] (25 March 1871), 6
http://nla.gov.au/nla.news-article70465561
It was announced that during Passion Week Mr. Charles Packer would produce his oratorio, "The Crown of Thorns," at the Prince of Wales Opera House, in which the large organ built by Mr. Jackson, for the late exhibition was to be erected; but it has been just advertised that in consequence of sudden and severe indisposition, Mr. Packer will not be able to attend to his duties until further notice.
"Miscellaneous Items", Australian Town and Country Journal (2 September 1871), 6
http://nla.gov.au/nla.news-article70468691
A highly successful concert in aid of the Destitute Children's Asylum at Randwick, was given on Saturday last, under the patronage of his Excellency the Governor and the Countess of Belmore. The leading vocalists of the city appeared upon the occasion; Mr. C. S. Packer presided at the pianoforte, and the brass band of the institution acquitted themselves favourably.
"CONCERT", The Sydney Morning Herald (18 May 1871), 5
http://nla.gov.au/nla.news-article13239053
1872
"PROTESTANT CHURCHES VISITED", The Protestant Standard [Sydney, NSW] (20 April 1872), 6
http://nla.gov.au/nla.news-article211614836
[News], The Sydney Morning Herald (31 August 1872), 7
http://nla.gov.au/nla.news-article13262864
"OUR AMUSEMENTS", Sydney Punch (5 September 1872), 9
http://nla.gov.au/nla.news-article253061432
ASSOCIATIONS: William Charles Wentworth (deceased politician)
[News], The Argus (30 October 1872), 5
http://nla.gov.au/nla.news-article5841454
"THE STAGE", Weekly Times (21 December 1872), 9
http://nla.gov.au/nla.news-article220449516
"INTERCOLONIAL MUSICAL FESTIVAL", The Argus (30 December 1872), 6
http://nla.gov.au/nla.news-article5845294
"INTERCOLONIAL MUSICAL FESTIVAL", The Age (30 December 1872), 3
http://nla.gov.au/nla.news-article199376162
"MR. CHARLES PACKER'S ORATORIO. TO THE EDITOR OF . . .", The Argus (31 December 1872), 6
http://nla.gov.au/nla.news-article5845353
"SUMMARY FOR EUROPE", The Argus (2 January 1873), 1 supplement
http://nla.gov.au/nla.news-article5845559
"NEW SOUTH WALES NIGHT", Leader (4 January 1873), 18
http://nla.gov.au/nla.news-article197926695
1"THE STAGE", Weekly Times (4 January 1873), 9
http://nla.gov.au/nla.news-article220453726
1873
7 January 1873, Melbourne Exhibition
"NEWS OF THE DAY", Evening News (15 January 1873), 2
http://nla.gov.au/nla.news-article107169929
Speaking of the concerts at the Exhibition Building, the Melbourne Daily Telegraph of the 8th instant, says: -
"Mr. Charles S. Packer is undoubtedly one of the best organists we have had in Melbourne.
His selection from "Der Freischutz" yesterday called forth a unanimous expression of approbation,
and it is a matter of regret that this gentleman will be heard for the last time to-day,
which will be the last 1s day at the Exhibition.
"Musical Notes", The Sydney Mail and New South Wales Advertiser (11 January 1873), 45
http://nla.gov.au/nla.news-article162661054
"Dramatic and Musical Review", Australian Town and Country Journal [Sydney, NSW] (11 January 1873), 22
http://nla.gov.au/nla.news-article70475840
[News], Empire [Sydney, NSW] (17 February 1873), 2
http://nla.gov.au/nla.news-article63227359
"THE PHILHARMONIC SOCIETY", The Argus (15 April 1873), 6
http://nla.gov.au/nla.news-article5851877
NOTE: The projected performance did not take place, however
1874
"MARRIAGES", The Sydney Morning Herald (2 March 1874), 1
http://nla.gov.au/nla.news-article13332460
PACKER - LATHAM. - January 4, 1873, at Granite-terrace, Fitzroy, Melbourne, by the Rev. Robert Hamilton, Charles Stuart Sandys Packer, professor of music, to Lucy, daughter of the late George Latham, Esq., of Victoria.
"Assault in Hunter-street", Evening News (20 November 1874), 2
http://nla.gov.au/nla.news-article107145032
"MADAME BUSHELLE'S ANNUAL CONCERT", The Sydney Morning Herald (9 December 1874), 6
http://nla.gov.au/nla.news-article13338069
1875
"Christmas Night Concerts", Evening News (27 December 1875), 2
http://nla.gov.au/nla.news-article130495698
"DE MURSKA JUBILEE", The Sydney Morning Herald (28 December 1875), 5
http://nla.gov.au/nla.news-article13370211
1876
[Advertisement], The Sydney Morning Herald (13 January 2876), 6
http://nla.gov.au/nla.news-article13368447
MUSICAL. - Mr. CHARLES S. PACKER will resume Tuition Monday. 309, Upper Dowling-st.
[Advertisement], The Sydney Morning Herald (23 September 1876), 2
http://nla.gov.au/nla.news-article28399922
1877
[Advertisement], The Sydney Morning Herald (15 January 1877), 1
http://nla.gov.au/nla.news-article13390012
MR. CHARLES S PACKER will resume Tuition on MONDAY, January 15. Two vacancies. 309, Upper Dowling-street, Darlinghurst Road.
[Advertisement], The Sydney Morning Herald (27 November 1877), 2
http://nla.gov.au/nla.news-article28396340
"SYDNEY", The Albury Banner and Wodonga Express (1 December 1877), 10
http://nla.gov.au/nla.news-article257955511
NOTE: The projected performance did not take place
1878
"ST. VINCENT'S HOSPITAL CONCERT", Freeman's Journal (27 July 1878), 15
http://nla.gov.au/nla.news-article111097803
THE ST. VINCENT CONCERT", The Protestant Standard (3 August 1878), 4
http://nla.gov.au/nla.news-article207788795
"AMUSEMENTS", The Sydney Morning Herald (23 November 1878), 5
http://nla.gov.au/nla.news-article13425028
The new musical society, as will be seen by our advertising columns, which is being founded on principles somewhat analagous to the Orpheonist, is rapidly completing its organization. The musical directorship has been accepted by Mr. Charles Packer.
"Amusements. THEATRE ROYAL", Evening News (7 December 1878), 5
http://nla.gov.au/nla.news-article107947693
. . . Last night . . . Between the pieces, Mr. Rainford sang a song of welcome to the Australian cricketers. The song was well received. The words are by Mr. G. F. Jackson, and the music by Mr. Charles Packer. The performance will be repeated this evening.
1879
"NEWS OF THE DAY", The Sydney Morning Herald (11 January 1879), 5
http://nla.gov.au/nla.news-article13427662
We have received from Mr. J. R. Clarke, of Pitt-street, two new contributions to Australian music. One is a set of waltzes called "The Eucalyptus," composed by Mr. Walter Cope . . . The other composition is a song "The Cricketers' Welcome Home," as sung by Mr. T. Rainford. The words are by Mr. G. F. Jackson, and the music is by Mr. C. S. Packer. The sentiment of the song is likely to be generally appreciated by lovers of cricket; it is certainly stronger than the poetry. Both pieces are likely to find favour: the first among the lovers of dance music, and the second among cricket enthusiasts.
"NEWS OF THE DAY", The Sydney Morning Herald (5 April 1879), 5
http://nla.gov.au/nla.news-article13432149
THE Sacred Choral Association, which has for its object the rendering of sacred music, at the forthcoming International Exhibition, and is under contract with the Commissioners for the production of six oratorios, is now complete in its formation and arrangements. A permanent committee with the usual officers have been elected, and a circular issued containing the names of the same, together with general rules for their guidance, election of singing members, and the practices. The committee intend working on the broadest basis possible, so that a grand chorus worthy of the occasion will be available. Organists and choirmasters of all denominations have signified their willingness to co-operate, and will guarantee the efficiency of the singing members they introduce. Ladies and gentlemen not belonging to choirs will also be admitted, provided they possess the requisite musical ability. Contrary to the general custom of vesting the conductorship in one gentleman, it has been decided to have a conductor for each oratorio, and the following are the names of the gentlemen elected: - Messrs. M. Younger, H. R. Maclean, C. Packer, W. Stanley, G. D. Callen, and Whitman. The selections of the oratorios for performance will be made from the following: - Handel's "Messiah" and "Israel in Egypt," Mendelssohn's "Elijah " and "St. Paul," Haydn's "Creation," Mozart's "12th Mass," Rossini's " Stabat Mater," and Benedict's "St. Peter."
"NEWS OF THE DAY", The Sydney Morning Herald (28 May 1879), 5
http://nla.gov.au/nla.news-article13435536
The Sacred Choral Association met as usual on Monday last for the practice of "Israel in Egypt," and "Elijah," and satisfactory progress was apparent . . . The list of members has now been closed in pursuance of notice already given, nearly 500 ladies and gentlemen having given me their names. We understand the committee may probably arrange to include on their list of Oratorios to be given, Mr. Packer's "Crown of Thorns" in place of Mozart's 12th Mass as first intended. Should this be decided on, some slight changes in the conductorship of the different Oratorios may also be made at the same time. The "Creation" will be put in practice again next Monday.
"SYDNEY INTERNATIONAL EXHIBITION", The Sydney Morning Herald (14 October 1879), 5
http://nla.gov.au/nla.news-article13441380
The weather yesterday being delightfully fine, and it being a shilling day, there was a tolerably large attendance at the Exhibition. It is only now that the country people are beginning to come down . . . The music - if by such name it may be called - consisted of three fantasies, played by Signor Giorza; a series or waltzes, mazurka, and gallops of Belgian composers, played by Madame Lama, and a variety of airs ground forth by the mechanical organ in the German court. The three varieties were performed simultaneously; the carpenter's hammer was more than occasionally audible. It is to be regretted that the musical entertainments are not distinctly notified, and given in such order, that each may be enjoyed at least by those within hearing range.
The dates fixed by the Sacred Choral Association for the performance of oratorio in the Palace are as follows - Haydn's "Creation," 13th October ; Handel's "Israel in Egypt," 9th November; Mendelssohn's "Elijah," 6th December; Handel's "Messiah," 27th December; Mr. Packer's original oratorio, "The Crown of Thorns," will be produced at a later date . . .
"TO THE EDITOR OF . . .", The Sydney Morning Herald (21 October 1879), 3
http://nla.gov.au/nla.news-article13454767
"Music and Drama", The Sydney Mail and New South Wales Advertiser (6 December 1879), 1001
http://nla.gov.au/nla.news-article161870514
The music in the Garden Palace has been of a more diverse character than usual . . . The concert arranged by Mr. Huenerbein to display the merits of the Blutherer [sic, Bluthner] pianos on this day contained some highly commendable work. Messrs. Charles Packer and C. Huenerbein played a grand duo for two pianos from Weber's delightful opera, "Euryanthe," with excellent mechanical skill and with artistic reading of the melodies; and later a corresponding performance of a duo by Hummell . . .
1880
14 February 1880, The crown of thorns, Garden Palace, Sydney
"SYDNEY INTERNATIONAL EXHIBITION", The Sydney Morning Herald (12 February 1880), 2
http://nla.gov.au/nla.news-article13453832
. . . Saturday next will be the fifth oratorio day at the Garden Palace, on which occasion the Sacred Choral Association will give Mr. Charles S. Packer's original oratorio "The Crown of Thorns," with a chorus of 300 voices, assisted by an orchestra of 50 performers. Solos and recitatives will be rendered by members of the association, assisted by Mr. A. Parkinson. Mr. Andrew Fairfax, Mr. H. Wilkinson, and Mr. Henry Flynn
"ORATORIO AT THE GARDEN PALACE", The Sydney Morning Herald (16 February 1880), 3
http://nla.gov.au/nla.news-article13440310
The Sacred Choral Association gave their fifth performance in the Sydney International Exhibition building on Saturday afternoon. The subject chosen was an original oratorio, entitled "The Crown of Thorns," or " Despair, Penitence, and Pardon," the words and music by Mr. Charles S. Packer of this society. A portion of this work was given in April 1863, and the whole on October 15th of the same year, but to very many of the performers on Saturday, and to by far the greater portion of the audience, it was a new work. Of a work of such magnitude one hearing is not sufficient to form an accurate opinion, especially when it is impossible to procure the musical text with which to accompany the work in its progress. With a score for reference it is easy to recall the effects as well as to speak in detail of the special musical features of the work - without this an analytical notice is impossible. The performance on Saturday was preceded by the National anthem, and a hearty reception was given to the author of the oratorio as he took his place in the conductor's stand.
Of the orchestral introduction we cannot speak; the tramping of persons in the galleries prevented our hearing any part of it clearly. When the solos began there was a little less noise, and Mr. Andrew Fairfax declaimed a long recitative to words (blank verse) describing the scene in the Judgment Hall when Jesus of Nazareth, mockingly robed in royal purple, stood to be judged by Pilate; the music is dignified, but its effect was marred by the unsteadiness of the wind accompaniment. The bass recit. is followed by a soprano aria, and to this succeeds a well-written quartet for soprano, alto, tenor, and bass, setting forth the deeds of mercy which had marked the Saviour's earthly life. There is originality in the melody, and skill in the construction of this, evident on a first hearing, in spite of unevenness which may have been caused by the undue prominence of one voice. A short tenor recitative leads to the first chorus, the words from Psalms ii., v. 2.-4., beginning "The Rulers take counsel together." This is a massive number, forcibly recalling in style (but entirely free from Plagiarism), the chorus from Rossini's Stabat Mater - "In die Judicii;" it was vigorously sung. The second chorus, "Away with Him," in a similar manner suggests the "Stone Him to death," from St. Paul; the alto part was the most effectively sung, the instrumentation is very good. To this succeeds the funeral march, which opens with the brass and wind. According to the programme, this march comes a second time at the conclusion of the first part - that repetition was omitted, and the march seemed incomplete. The tenor recit and air, "The Lament," are two excellent numbers, the melody full of deep pathos and fervour. Mr. Parkinson was at his best in singing them. In the middle of the recitative the chorus break in with the declamatory "Away with him, away with him." This effect is highly dramatic, and the music is good and original. The chorus, "Kiss the son," opens in a chorale form, and unless our ears are treacherous the chief subject is a well known hymn tune. In making this remark we cannot be supposed to detract from the great merit of Mr. Packer's work. Mendelssohn, Costa, Meyerbeer, and many other writers, have built up choruses in a corresponding manner; i.e., have taken a well-known melody an embodied it. As in the Lutheran chorale, and the Hebrew melody known as "Leoni."
The second part also reminds the hearer of Mendelssohn in style; but in the recitative, "Noon's scorching," the turn is too frequently used - it comes on awkward words - and we think the omission would be an advantage. The quintette, with piano accompaniment, is another 'beautiful number; it was very warmly encored. The portion illustrating the events on the cross is, we tihink, though musically good, artistically and dramatically faulty. In the first part, the lament of Jesus, "O daughters of Jerusalem," is given to the tenor; the song of despair by the unrepentant malefactor, "If thou be Christ, save thyself and us," is awarded to the bass. After a fine chorus - which, to our mind, is out of place here - the recitative describing the condition of the other malefactor, and the song of penitence by him, are given to the same tenor who a few moments before has boen singing as Messiah; and the song of pardon, "To-day with Me, I say, thou verily in Paradise shalt be," is sung by a lady soprano; and, with similar dramatic blundering, the Saviour's last words are uttered by the deep-toned voice of the mocking malefactor. We think Mr. Packer might easily remedy this incongruity. Where is so much originality and merit in the music and in the words that the dramatic error, to our ideas, ought not to remain. The song of pardon is full of devotional beauty and comfort, and accords well with the spirit of the words. The recitative and song of penitence are also very good, and the violin part at times is exceptionally effective. The chorus "Eloi, Eloi!" is one of the most telling numbers, and the final "Messiah March and Angel Chorus" has a jubilant ring, which with the inspiriting rhythm, originality of subject, good scoring, and sound musical value, is alone sufficient to stamp Mr. Packer as a musician of no small order. The fugue is capital. It was well rendered and heartily encored.
Much more might with truth be said of this most worthy proof of musical skill and inventive power in our midst, had access to the music been possibled. As it is, we are bound to express our full sense of its general merits; and we repeat that in mentioning the names of the musicians whose works have been called to mind in places, we have been actuated far more by a desire to show to our readers the position the "Crown of Thorns" takes, in our judgment, as a musical work, than as impugning in the smallest degree the originality of the author's ideas.
Mr. Packer was frequently applauded. The work on the whole was fairly executed. Mr. McLean was the able organist, Mr. W. Stanley the pianist. The principal violins were Signor Ortori and Herr Hegrats. At its previous performance Mrs. Flora Harris, Madame Sara Flower, Mr. E. A. Beaumont, and Mr. Farquharson were the principal vocalists; with those names it is not fair to compare the solo singers of Saturday. The gentlemen, on the whole, were far more successful than the ladies.
We should like to see "The Crown of Thorns" published, and very heartily congratulate the author on his highly creditable and important addition to the music of the Exhibition season.
26 March 1880, The crown of thorns, Guild Hall, Sydney
"'THE CROWN OF THORNS,' AT THE GUILD HALL", The Sydney Daily Telegraph (27 March 1880), 5
http://nla.gov.au/nla.news-article238480874
Mr. Charles S. Packer's oratorio, "The Crown of Thorns," was produced last night at the Guild Hall by the members of the Sacred Choral Association. As a full description of it has been given previously, when it was performed at the Exhibition last month, we need not again enter into its details. Notwithstanding the unfavourable state of the weather, there was a very good audience, who appeared to appreciate the talent displayed, both in the composition and rendering of the oratorio. The gentlemen soloists were Messrs. A. Parkinson, Andrew Fairfax, and Montague Younger, all of whose merits have been so often brought before the Sydney public as not to need any comment but the soprano soloists were, for the most part, all "lady amateurs," whose names (for what reason, we do not know) were not mentioned on the programme, but who were none the less deserving of notice, most of the solos being exceedingly well rendered. Before beginning the oratorio, Mr. Packer, who held the post of conductor, informed the audience that Mr. Fairfax was suffering from a severe cold but had determined, notwithstanding this, to be present; it did not, however, seem to decrease his vocal powers in the least, as he sang with his usual effectiveness. Mr. Parkinson sang in very good style, and his clear rich tenor voice found great favor with the audience. The following parts of the Oratorio were rendered with very good effect, and were most worthy of notice: the quartette "On Mercy's Holy Errand," Misses Shipway and Foxall and Messrs. Parkinson and Younger; the duett "'Ere yet the words of doom," Mr. Fairfax and a "lady amateur"; and the quintette "Was he holy, blameless, guileless."
"NEWS OF THE DAY", The Sydney Morning Herald (24 April 1880), 5
http://nla.gov.au/nla.news-article13458762
WE have received from Mr. William Bullard . . . a new nautical song, entitled "Ben Brace," which is written and composed by "Amicus"; arranged and harmonized by Mr. C. S. Packer, R.A.M. The words and melody are pretty and well-matched, but the piece becomes of real musical value through the arrangement. The accompaniment is written throughout with the melody predominant, and hence even without the voice may be regarded as a Lied ohne Worte. It will commend itself to every lover of good music.
"New Music", The Singleton Argus and Upper Hunter General Advocate (28 April 1880), 1
http://nla.gov.au/nla.news-article82895930
We have recently received a new waltz and a new nautical song from Mr. W. Bullard, 342, George-street, Sydney: -
"Ben Brace," the title of the song, is written and composed by "Amicus," the composers of "Advance Australia fair."
The symphonies and accompaniments are by Charles S. Packer, R. A. M.
The words breathe the true spirit of the songs of Dibdin, which tended so much to raise the character of our Navy at the close of the last century,
and still bears its fruit in our merchant seamen, although to a less extent than formerly.
There are yet many occasions for the exercise of
"His courage strong
And his spirits light and free."
Nor are there wanting moments when he requires to be
"True as steel! when on the brine,
But ga when sprung ashore;"
and when needs be he can
"Lightly bend upon the yard,
With a yo-o-he-vo."
Ben had his trials, but his "Sal was true as fate."
She nursed his poor old mother in the winter of her age; at last the "old dame slipped her cable short," and
"A rich old uncle, nurs'd by Sall,
Left her a golden store,"
enabling Ben and Sall to splice the brace.
"Now other tars may dangers face
But Ben now lives ashore."
The music, which is in keeping with the words, is a spirited composition in the key of C, and written in six eight time,
and extending from C below the line to E. It is by no means a difficult song,
and might with advantage to the singer find a place in the repertoire of our amateur baritone or second tenor vocalists.
The name of Mr. Charles Packer is a sufficient guarantee that the instrumental parts will meet the requirements of even the most fastidious.
The cost of the song is but 1s. 6d. net.
"INSOLVENCY MEETINGS. May 13", The Sydney Morning Herald (13 May 1880), 6
http://nla.gov.au/nla.news-article13459934
. . . Farmer and Co. v. Charles Packer, compulsory sequestration . . .
"IN INSOLVENCY", New South Wales Government Gazette (1 October 1880), 5127
http://nla.gov.au/nla.news-article223695572
In the Insolvent Estate of Charles Packer, of Sydney, professor of music . . .
TAKE NOTICE that . . . on Tuesday, the 2nd day of November next, at 11 a.m., or as soon afterwards as the course of business will admit,
that a certificate be granted to him, under and according to the provisions of the Act . . .
13 December 1880, The crown of thorns, Town Hall, Melbourne, VIC
"THE CROWN OF THORNS", The Age (14 December 1880), 3
http://nla.gov.au/nla.news-article202151964
The Crown of Thorns, an oratorio, the words and music by Mr. Charles Packer, was performed at the Town Hall last evening, the solo parts being sustained by Miss Rosina Carandini, Mrs. Cutter, Mr. Charles Turner, Mr. Bergin and Mr. Verdi; Mr. Sykes officiating at the organ, and the baton in the hands of Mr. Packer. A tolerably large number of persons assembled as chorus, and some or our leading instrumentalists formed the orchestra. Considerable delay occurred at the commencement of the evening, in conscquence of some disagreement between the members of the orchestra and the management. The matter was, however, arranged, und the performance proceeded with. Mr. Packer's Oratorio labored under much disadvantage in its production, the chorus being most inefficient, and in some parts quite inaudible, and the balance of sound between orchestra, organ and chorus entirely disproportionate : the organ taking the lion's share.
The work being in thirty-four numbers, we will select for mention those which appeared to us most worthy of note. The duet, With This Just Man, sung by Miss Carandini and Mr. Verdi, is tunefully written, and was received with favor. Mr. Turner distinguished himself by his superb delivery of his two arias, Oh, Daughters of Jerusalem; and When thou, O Lord; also in the recitative preceding the first aria, Then as He went the weary way. These numbers seemed to show Mr. Packer at his best as a composer. The airs were of a pleasing character, in harmony with the sentiment of the words, and the accompaniment was treated with judgment. Mr. Turner had to bow his acknowledgments at the conclusion of each, in response to long continued applause, and the same compliment was accorded to a pretty quintette, Was He the Holy Blameless, sung by the whole of the solo vocalists - an excellent composition, which was worthy of the appreciation it received. Miss Carandini had a great deal to do, and did it well, although she was evidently suffering from indisposition. Mrs. Cutter's beautiful voice gave full effect to her solos. Mr. Verdi was impressive in his rendering of the numerous recitatives allotted to him. Mr. Bergin sang an aria, If Thou be Christ, in which he was much over-weighted, and took part in the concerted music.
It will be observed that we have called special attention to solo numbers. This is partly because they appeared to be the most meritorious as compositions, and partly because the choruses were so badly done. The principal faults of the work are a want of form, the constant introduction in the solo parts of oldfashioned und meretricious embellishment, want of freedom in modulation, tedious repetition and an absence of contrapuntal treatment, without which an oratorio cannot be successfully constructed.
"A New Oratorio", Melbourne Punch (16 December 1880), 3
http://nla.gov.au/nla.news-article174557664
MR. CHARLES PACKER, of Sydney, gave the Melbournians a rare treat in the shape of an Oratorio, in which he fairly can claim the credit for having been the only party who knew his part. The composition is not without merit, nice little bits coming in here and there, not to forget the conventional oratorio-recitatives; but soloists, chorus and instrumentalists fighting against the one man simply armed with a tiny baton, is too much of a joke. However, Mr. Packer stood firm like a rock to the very last, to meet the last cat; when he bowed his final thanks for applause given, he found that half his audience was gone. Thankless creatures, these Melbournians!
1881
"A Musical Man", Sydney Punch (1 January 1881), 2
http://nla.gov.au/nla.news-article253063620
The public will be glad to learn that Mr. Packer, well known and highly esteemed in the musical profession, has returned from Melbourne, and intends re-establishing his musical - singing and piano - classes in Sydney.
[Advertisement], The Sydney Morning Herald (10 January 1881), 2
http://nla.gov.au/nla.news-article28384668
TMUSICAL. - CHARLES S. PACKER, R.A.M., Professor of Music.
Terms at A. Huenerbein's Royal Piano-forte Warehouse, 411, George-street . . .
Tuition resumed MONDAY, January 10 . . .
"Music and the Drama", Australian Town and Country Journal (29 January 1881), 9
http://nla.gov.au/nla.news-article70952198
Mr. Charles Packer, the well-known composer, was taken home on Monday last in a very feeble condition. It is feared that an attack of paralysis has set in.
"Music and the Drama", Australian Town and Country Journal (17 December 1881), 13
http://nla.gov.au/nla.news-article70963501
Mr. C. Packer sends his Christmas hymn, "While shepherds watched their flocks by night." The music is in five flats, the melody three-four time, and is both pretty and suitable to the subject. The harmonies display the skill of a master. It is sold by Mr. A. Huenerbein at his piano warehouse in George-street.
[Advertisement], The Sydney Morning Herald (22 December 1881), 3
http://nla.gov.au/nla.news-article13501734
Charles PacKer's Christmas Hymn now ready . . .
ROYAL PIANOFORTE WAREHOUSE. A. HUENERBEIN, 411, GEORGE-STREET (near Lassetter and Co..)
1882
{Advertisement], The Sydney Daily Telegraph (18 March 1882), 8
http://nla.gov.au/nla.news-article238467627
GOOD FRIDAY. OPERA HOUSE. GRAND ORATORIO CONCERT.
CROWN OF THORNS, And CHARLES PACKER'S NEW ORATORIO, DAVID.
PARTICULARS in NEXT WEEK'S ISSUES.
R. HELLER.
"Music and the Drama", Australian Town and Country Journal (18 March 1882), 13
http://nla.gov.au/nla.news-article70966882
Mr. Charles Packer intends producing, at the Opera House, his oratorio "The Crown of Thorns," on Good Friday night.
"ACTA POPULI", Freeman's Journal (8 July 1882), 14
http://nla.gov.au/nla.news-article111316089
The records of Melbourne for the past week . . . show that that non-musical city has held six first-class concerts besides the performance of a new Oratorio composed by a local author, the Rev. G. W. Torrance. Beethoven, Mozart, Mendelssohn, Wagner, Rossini, Auber, &c, found [? formed] the music. Amongst the singers we find Boema, Christian, Cutter (ladies), Beaumont, Moroney, Millard, &c. (gents.), and amongst the players we find Tascar [Tasca], Lee, Steffani, Plumpton, and Zelman. The Liedertafel "gif a barty" also, and W. J. Clarke has offered a £3000 scholarship in the Royal College of Music for the best musical work - competition confined to Victoria. How's that for the "cabbage garden."
Who will step forward in this "essentially musical city" and offer 3000 hen eggs, or liver pads, for a similar praiseworthy object? One of the finest oratorios written - a work that would be no disgrace to Weber - was written by Mr. Charles Packer, an old Sydney resident, and yet he cannot get the means - artistically or pecuniarily - to have it produced for even a single night. We a musical people! Bah! We are a crowd of money-grubbers, and all we understand is "compensation."
[Advertisement], The Sydney Morning Herald (17 July 1882), 2
http://nla.gov.au/nla.news-article28381096
MUSICAL. - CHARLES S. PACKER, R.A.M., Piano, Organ, Singing, theory;
terms, &c. A. Huenerbein's Royal Piano Warehouse. 411, George-street.
"THE GARDEN PALACE", Freeman's Journal (4 November 1882), 16
http://nla.gov.au/nla.news-article111317572
We have been shown a proof of a new piece of music styled "Reminiscences of the Garden Palace," a schottische, by Charles Packer, R.A.M., which Mr. A. Huenerbein, of the Royal Pianoforte Warehouse, George-street, is publishing. On the title page there are two excellent pictures of the Garden Palace by Sydney's premier artist, Mr. W. McLeod. The pictures are well brought out in colours by S. T. Leigh and Co., and one represents the building as it was, whilst the, other gives a faithful sketch of the building and surroundings after the fire. Mr. Packer's ability is so well known as to be a guarantee of the excellence of the music. The piece is sure to command a large sale.
"PUBLICATIONS RECEIVED", The Sydney Daily Telegraph (16 December 1882), 7
http://nla.gov.au/nla.news-article238475634
We have been forwarded a schottische composed by Charles F. Packer [sic], called "Reminiscence of the Garden Palace." It is a very pretty and solid composition in B flat, having that fantastical strain and well pointed expression so much liked by lovers of dance music.
"NEW MUSIC", Evening News (16 December 1882), 4
http://nla.gov.au/nla.news-article107998437
Mr. C. S. Packer has composed, and Mr. A. Huenerbein, of George-street, has published, a reminiscence of the late Garden Palace, entitled "The Garden Palace Schottische." The music of this dance tune is piquant, pretty, and much more original than most of the dance tunes which now swarm from the press. It is charmingly harmonised, and yet easy to play. The music is beautifully printed by S. T. Leigh and Co., and the frontispiece or title page contains a faithful picture of the Garden Palace as it was in the days of its prime, and also a second picture of its present ruined condition. The title page, which was drawn by Mr. McLeod, is fully equal in artistic merit to any work of the like kind issued from the best establishments of London or Paris. The work is very creditable to all concerned in its production, namely, the composer, the artist who limned the title page, and the painter.
1883
[Advertisement], The Sydney Morning Herald (12 January 1883), 2
http://nla.gov.au/nla.news-article13525690
MUSICAL. CHARLES S. PACKER, R.A.M - Tuition resumed MONDAY, the 15th.
Terms, &c., Huenerbein's Royal Pianoforte Warehouse, 411, George-street.
[Advertisement], The Sydney Morning Herald (23 June 1883), 16
http://nla.gov.au/nla.news-article13537565
HAPSBURG PIANOS . . .
"Sydney, 7th March, 1883.
I have tested the HAPSBURG PIANOS, Imported by Messrs. BEALE and COMPANY in ALL the VARIOUS GRADES,
and am EXTREMELY PLEASED with the SWEETNESS, FULLNESS and POWER of the instruments.
The TONE and FINISH are ALL THAT COULD BE DESIRED.
The proper balancing of bass with treble is strictly adhered to.
Generally I consider them UNSURPASSED by ANY INSTRUMENT hitherto introduced,
"(Signed) CHARLES PACKER, Royal Academician.
" Composer of the Oratorio 'Crown of Thorns,' &c." . . .
BEALE and COMPANY LIMITED . . .
Obituaries and later memorials and recollections (Charles Sandys Packer)
13 July 1883, death of Charles Sandys Packer
"Deaths", The Sydney Morning Herald (14 July 1883), 1
http://nla.gov.au/nla.news-article13539128
PACKER. - July 13, at his residence, No. 1, Camberwell-terrace, Point Piper-road, Woollahra, Charles S. Packer.
"Death of Mr. Charles Packer", Evening News (14 July 1883), 4
http://nla.gov.au/nla.news-article111029623
Yesterday Mr. Charles Packer, R.A M., died, after an illness of a few days' duration, at his residence, Point Piper-road, Woollahra. Mr. Packer was a member, by examination, of the Royal Academy of Music, London, in itself a musical distinction of great value, and was universally acknowledged to be one of the first musicians in the colony. He was a composer of no ordinary merit, and many of his themes will perpetuate his name and fame as a musician of a sound school, and not of the modern meretricious style of composition. Mr. Packer was not a native of this colony, but came from the mother country some years ago. During his illness he had not abstained altogether from work, and one of his compositions is only a few weeks old. While his later music, composed in ill-health, was not up to the standard of his other productions, yet they all bore evidence of the master hand of a skilled and erudite musician. Mr. Packer's death may be regarded as a loss to the colonial musical world.
The funeral of the deceased gentleman will take place to-morrow afternoon at the Waverley cemetery. The cortege is to start at half-past 2 o'clock. We learn that at the instance of Mr. C. B. Foster and Mr. August Huenderbein, arrangements have been entered into to obtain the services of the City Band, with those of other instrumentalists, to accompany the procession from the late residence of the deceased to the grave. In addition to the "Dead March in Saul," we understand that the deceased composer's recent composition, "The Song of the Angels," will be played, and sung by a choir over the grave.
A correspondent, desires to add the following : -
"Everyone, will be very sorry, but not surprised, to hear of the death of Mr. Chas. Packer, professor of music; and those who have had the good fortune to come into contact with such a thorough musician will know what a loss Sydney sustains. The professionals of this city should band themselves together to show their last respect and appreciation of so great a man."
"THE LATE C. S. PACKER", The Sydney Morning Herald (16 July 1883), 3
http://nla.gov.au/nla.news-article13539280
Charles Sandys Packer, one of the most accomplished musicians Australia has known, died on Friday last, and was buried yesterday afternoon at Waverley Cemetery, his grave being situated on a slope overlooking the Pacific. He had reached the advanced age of 73 years, being born in Reading, Berkshire, England, in 1810.
While very young Charles Packer evinced such a love and talent for music that his father, himself a musician, placed him at the Royal Academy of Music, where he achieved the highest honours that institution was capable of bestowing, carrying out the best prizes awarded for composition, pianoforte playing, and singing.
His masters were: - For composition, Dr. Crotch, Regius Professor at Oxford, Mozart's pupil Attwood, Bochsa, the great orchestral master, and Weber, the celebrated composer, and for singing, Crivelli and Veluti.
He was selected, when but a youth, to compose an opera for the opening of the new Royal Lyceum Opera House, a building erected in place of one which was destroyed by fire, and his literary coadjutor was Mary Russell Mitford, the authoress of "Our Village." The production was a successful one, and enjoyed a long run, and Mr. Packer's composition was favourably noticed by the most eminent critics of England, France, and Germany. The young composer was favoured by the notice and friendship of such men as Mendelssohn, Thalberg, Hummel, and Weber, and he was the chosen accompanist of such great singers as Mario, Giulia Grisi, and Lablache. He frequently had the distinction of playing duets with her Majesty Queen Adelaide - consort of William IV. - both of them being pupils of Hummel.
His first composition was an aria "Basta, basta," the words being from Metastasio's "Morte d' Abelle;" and when, in 1828, this was performed at a concert given in the Hanover-square Rooms, the Harmonicon, the best journal of the day as regards musical criticism, spoke of it in terms of the highest praise, and predicted a bright future for the composer.
Throughout his long life - he was 73 when he died - Mr. Packer was a prolific composer, although the number of his published works is comparatively small. His "Crown of Thorns" and "Song of the Angels," and some lighter efforts, are widely known and as widely admired; but Mr. August Huenerbein has the scores of "David," a grand oratorio, and of many other compositions, which will yet be published, and which will long preserve Charles Packer's name from oblivion.
His life was a chequered one, and from Tasmania, where unhappy circumstances had brought him some years before, he in 1852 came to Sydney, where he remained ever since. For the last three years of his life he suffered from bad health and bad fortune, and a week ago he was seized with fatal illness, the cause of death being inflammation of the lungs and bronchitis. He has left a large family, poorly provided for.
The funeral cortege set out at half-past 2 o'clock yesterday afternoon, from the deceased's late residence, Point Piper-road, Woollahra, to the Waverley Cemetery. Mr. August Huenerbein and Mr. C. B. Foster, thinking that one who during life had displayed such rare musical talent, should be accorded musical honours at his funeral, and that the members of the musical profession should be given an opportunity of evincing the last tribute of esteem to an old friend, had made such arrangements that for some years there has not been such an imposing procession as that which accompanied Charles Packer's body to the grave. First marched 25 members of the City Band, conducted by Mr. Sebastian Hodge, then followed 12 members of Thompson's Premier Band, several members of Herr Kuster's Band, and of the Headquarters Band, many of our best vocalists, and members of the different city choirs. Then came the hearse, drawn by four horses, two mourning coaches, and a large number of other vehicles. The footpaths on the line of route were thronged with people, and as the procession moved along, the bands constantly relieving one another in playing the "Dead March in Saul," the train swelled and lengthened, until at the cemetery there must have been 6000 people present. Here the mourners were met by the Rev. W. J. M. Hillyar, B. A., Paddington, and conducted to the grave, the pall-bearers being Messrs. C. B. Foster, August Huenerbein, Charles Huenerbein, William Morgan, John B. Bushelle, G. F. Jackson, Llewellyn Jones, F. J. Hallewell, Ramsay, R. T. Gibson, and E. Stephen, and Signor Fabris. There were also present Signor Giorza, Mr. T. P. Banks, Mr. T. Rainford, Mr. F. Pines, Mr. T. A. Gread, and Mr. J. C. Fisher. The coffin was covered with wreaths and garlands of exquisite beauty, and as soon as it was lowered the choir sang "The Song of the Angels," composed by Mr. Packer last Christmas time, and scored by Herr Raymond Pechotsch for the bands only a few hours before the funeral ceremony took place. Then followed the majestic hymn from the church service, "Nearer, my God, to Thee," sung to a tune also composed by Mr. Packer [recte by his brother]. Signor Giorza conducted the vocalists and instrumentalists, and, the throng of people around taking up the strain, rarely has such a grand swell of harmony resounded in an Australian cemetery as that which yesterday rose over the grave of Charles Packer. The Rev. Mr. Hillyar - himself a personal friend of the deceased - read the burial service very impressively, and those who were present will not soon forget the imposing scene, the funeral being in a sense a public one - that of a man whose work was for the public. It was so largely attended that after the ceremony was over the trams from Waverley to Sydney were overloaded, and many hundreds of people had to walk back to the city.
"DEATH OF MR. CHARLES PACKER, THE MUSICIAN", The Sydney Daily Telegraph (16 July 1883), 3
http://nla.gov.au/nla.news-article239272076
Mr. Charles Packer, R.A.M., the well-known musician and composor, died on Friday, at his residence, Woollahra, after an illness which had only lasted a few days. Mr. Packer was a member of the Royal Academy of Music, London, by examination, which in itself was no mean testimony to his musical ability. He arrived in the colony many years ago, and has left a goodly number of compositions behind him, and his death will cause a gap in musical circles which will not be very easily filled up.
The funeral took place yesterday afternoon at Waverley Cemetery, and was attended by a great number of the personal friends of the deceased as well as a large concourse of the general public, numbering some thousands. The City Band, under Mr. Sebastian Hodge, and Thompson's Premier Band headed the procession and played alternately the "Dead March in Saul," which produced a solemn effect. Arrived at the grave, in addition to the usual ceremonies the "Song of the Angels, one of Mr. Packer's latest compositions, was sung, and the large assemblage returned to town.
"Latest Telegraphic News [THROUGH GREVILLE'S TELEGRAM COMPANY] SYDNEY - MONDAY", Glen Innes Examiner and General Advertiser (17 July 1883), 4
http://nla.gov.au/nla.news-article217841192
SIX thousand were present at Charles Packer's funeral yesterday afternoon. Three bands headed the procession, playing the "Dead March in Saul." A large choir sang Packer's last composition at the grave, Signor Giorza was the conductor.
"He Counts His Silent Bars", Sydney Punch (21 July 1883), 2
http://nla.gov.au/nla.news-article253066407
Mors Janna Vitae. - Horace.
CHARLES SANDYS PACKER is dead, and now is the acceptable time to rush around and collect the necessary coin for a high-toned testimonial.
As an organist, poor Packer had no superior; as a composer, no equal this side of the equinoctial line.
He was the grand-pupil of the immortal Mozart (through Mozart's gifted pupil Attwood) and he enjoyed the companionship of the mighty men of old -
such as Mendelssohn, Hummel, Carl Von Weber, and Thalberg.
Like Mozart, his life began in the dawn of splendour and luxury, and ended in the dark cold night of poverty.
While a child, little Charley was Queen Adelaide's favourite, and Her Majesty was seldom happier than when she sat down to play a few sparking duets with him.
Later on he had the honor of accompanying some of the brightest stars that ever shone in music's sphere,
and amongst these were Grisi, Mario, Giulia, and that terror of cabmen, the great Lablache.
When he wrote as he thought, his style reminded one forcibly of his glorious friend, Weber,
and what that style was like can be fairly judged from the terribly dramatic,
yet devotional "Incarnatus" in the German-Hewbrew's ever popular Mass.
Packer's greatest work is "The Crown of Thorns " - an oratorio replete with gems worthy of the greatest masters,
and, to the credit of musical Sydney be it said, when the composer endeavoured to produce this chef-d'oeuvre,
and show the grit our man was made of he could not raise a subscription list large enough even to pay the copyist to score the parts.
Luckily, however, he met at least one good friend (Mr. August Huenerbein) to sooth his cares,
and enable the swan to sing his dying song in peace, and but for this friend he might have sunk to his lowly grave unhonored and unwept.
But Sydney is a musical city! and we cannot repeat this "gag" too often lest we,
ourselves, should happen to forget it. Charles Packer has played his part, and now friends -
"Valet et Plaudite."
"SOCIAL", The Sydney Morning Herald (28 July 1883), 11
http://nla.gov.au/nla.news-article13540333
Charles Sandys Packer, one of the most accomplished musicians Australia has known, died on July 13. He had reached the advanced age of 73 years, being born in Reading, Berkshire, England, in 1810. While very young, Charles Packer evinced such a love and talent for music that his father, himself a musician, placed him at the Royal Academy of Music, where he achieved the highest honours that institution was capable of bestowing, carrying off the best prizes awarded for composition, pianoforte playing, and singing. His masters were: for composition, Dr. Crotch, Regius Professor at Oxford, Mozart's pupil Attwood, Bochsa, the great orchestral master, and Weber, the celebrated composer, and for singing, Crivelli and Veluti. He was selected, when but a youth, to compose an opera for the opening of the new Royal Lyceum Opera House, a building erected in place of one which was destroyed by fire; and his literary coadjutor was Mary Russell Mitford, the authoress of "Our Village". The production was a successful one, and enjoyed a long run; and Mr. Packer's composition was favourably noticed by the most eminent critics of England, France, and Germany. The young composer was favoured by the notice and friendship of such men as Thalberg, Hummel, and Weber; and he was the chosen accompanist of such great singers as Mario, Giulia Grisi, and Lablache. He frequently had the distinction of playing duets with her Majesty Queen Adelaide, consort of William IV, both of them being pupils of Hummel. His first composition was an aria, "Basta, Basta!" the words being from Metastasio's "Morte d'Abelle," and when, in 1825, this was performed at a concert given in the Hanover Square Rooms, the Harmonicon, the best journal of the day as regards musical criticism, spoke of it in terms of the highest praise, and predicted a bright future for the composer. His "Crown of Thorns" and "Song of the Angels", and some lighter efforts, are widely known and as widely admired. Mr. August Huenerbein has the scores of "David", an oratorio and of many other compositions, which will yet be published, and which will long preserve Charles Packer's name from oblivion. His life was a chequered one.
The burial took place at the Waverley Cemetery, and was attended by a large number of musical people and others as mourners, and an immense crowd assembled at the cemetery to witness the ceremonies. The funeral procession was headed by two bands, who play alternately the Dead March in "Saul", and at the grave site the choir sang, "The Song of the Angels," composed by Mr. Packer last Christmas time, then followed the majestic hymn from the Church service "Nearer, my God, to Thee," ["Nearer to thee"] sung to a tune also composed by Mr. Packer [recte by his brother].
"THE FUNERAL OF THE LATE C. S. PACKER, AT WAVERLEY CEMETERY", Illustrated Sydney News (4 August 1883), 20
http://nla.gov.au/nla.news-article64034784
[Advertisement], The Sydney Morning Herald (20 July 1883), 2
http://nla.gov.au/nla.news-article13539537
FOR SALE, "THE SONG OF THE ANGELS," Price 2s. 6d.,
by the late Charles S. Packer, as sung bv the different Choirs over his grave last Sunday.
W. H. PALING'S New Pianoforte Galleries, 356, GEORGE-STREET.
"NEWS OF THE DAY", The Sydney Morning Herald (18 July 1883), 7
http://nla.gov.au/nla.news-article13539382
A PRELIMINARY meeting was held at Mr. S. Hodge's Commercial Hotel yesterday afternoon, to devise the best means for raising a subscription for the widow and family of the late Mr. Charles Packer. Amongst those present were Mr. S Hodge (chairman), Messrs. Giorza, A. Huenerbeing, A. E. Little, G. F. Jackson, T. J. Murray, C Huenerbein, T. B. Binning, C. B. Foster, J. Bushelle, J. C. Fisher, W. A. Thompson, F. White, W. Rice and J. Taylor. Messrs S. Hodge and A. Huenerbein were appointed honorary secretaries, and Messrs. A. E. Little and G. F. Jackson honorary treasurers. It was resolved to hold a general meeting at Mr. August Huenerbein's music rooms, 411, George-street, this (Wednesday) afternoon at 5 o'clock. Mr. T. M. Slattery, M.L.A., has promised to take the chair and Mr. D. O'Connor, M.L.A., will also be present and move a resolution.
[Advertisement], The Sydney Daily Telegraph (18 July 1883), 1
http://nla.gov.au/nla.news-article239268980
THE PACKER TESTIMONIAL FUND,
A MEETING of the Friends of the late Mr. CHARLES S. PACKER, will be held at
Mr. AUGUST HUENERBEIN'S MUSIC ROOMS, 411 GEORGE-STREET,
THIS AFTERNOON, at 6 o'clock, to device the best means of
Raising a SUBSCRIPTION for the WIDOW and FAMILY.
Mr. T. M. SLATTERY, M.L.A., will Preside, and Mr. D. O'CONNOR,
And other Gentlemen of the Committee, will move resolutions.
AUGUST HUENERBEIN, S. HODGE, - Hon. Secs.
A. B. LITTLE, G. F. JACKSON, - Hon. Treas.
"NEWS OF THE DAY", The Sydney Morning Herald (19 July 1883), 7
http://nla.gov.au/nla.news-article13539486
A MEETING of musicians and lovers of music was held yesterday afternoon at Mr. August Huenerbein's establishment, 411, Georgc-street, for the purpose of initiating a subscription fund in aid of the widow and children of the late Charles Packer. About 30 gentlemen attended, and Mr. W. Stanley was elected chairman. Mr. A. Huenerbein, one of the Hon. secretaries, read letters from Mr. Andrew Fairfax and Mr. R. T. Gibson, explaining their non-attendance, and suggesting that the "Crown of Thorns" should be produced at an early date. The former also applied for a subscription list. Mr. Huenerbein also informed the meeting that he had received from Messrs. Novello and Co., London, a letter, stating that the score of the "Crown of Thorns" would probably be forwarded to Australia by the next outgoing mail. Mr. T. M. Slattery, M.L.A., moved, and Mr. John Bushelle seconded, that the gentlemen present form themselves into a committee for the purpose of immediately raising a subscription for the widow and children of the late C. S. Packer. The motion was carried unanimously, and by the request of the gentlemen concerned the names of Messrs. Angus Cameron and James Fletcher, Ms.L.A., H. Giddy, secretary of the Sydney Liedertatel, and E. Muller were added to the committee. Mr. D. O'Connor, M.L.A., moved, and Mr. Sebastian Hodge seconded, - "That subscription lists be at once opened." The motion was agreed to, and different schemes were proposed for raising funds promptly. Mr. Wm. Morgan moved, and Signor G. Vittorini seconded, and it was resolved, - "That Messrs. A. Huenerbein and S. Hodge be appointed hon. secs., and Messrs. A. Little and Jackson hon. treasurers." This closed the business, and a vote of thanks to the chairman having been moved by Mr. C. Huenerbein, and passed, the meeting terminated.
[2 advertisements], Evening News (19 July 1883), 3
http://nla.gov.au/nla.news-article111027815
THE PACKEE TESTIMONIAL FUND.
SUBSCEIPTION LISTS will be ISSUED by the under-signed, on application,
TO-MORROW, Friday, July 20, in aid of the above,
See Saturday's issue for further particulars . . .
THE PACKER TESTIMONIAL FUND.
It has come under our notice that there are persons seeking assistance in aid of the above fund by selling one or two of the deceased's compositions,
which will in no way benefit the family.
The Public and Friends of the late Mr. CHARLES PACKER are warned not to recognise ANY LISTS with out the names of the undersigned attached.
AUGUST HUENERBEIN, SEBN. HODGE, Hon. Secs.
G. F. JACKSON, E. A. LITTLE, Hon. Treas.
[Advertisement], The Sydney Morning Herald (21 July 1883), 5
http://nla.gov.au/nla.news-article13539630
[Advertisement], The Sydney Morning Herald (28 July 1883), 4
http://nla.gov.au/nla.news-article13540263
[Advertisement], The Sydney Morning Herald (4 August 1883), 4
http://nla.gov.au/nla.news-article13540897
"Packer Testimonial Fund", Evening News (8 August 1883), 5
http://nla.gov.au/nla.news-article111025743
A special meeting of the Packer testimonial fund committee was held at Mr. S. Hodge's Commercial Hotel yesterday evening. Mr. J. Bushelle in the chair, and Messrs. S. Hodge, G. F. Jackson. A. Huenerbein, A. T. Dunning. W. Morgan, T. J. Murray, E. A. Little, W. Woid, F. Passmore, and others being present. It was decided to accept the offer of the Sydney Amateur Comedy Company to give an entertainment in aid of the fund at an early date. It was stated that Mr. J. S. Salier [sic] had sent to Mr. A. Huenerbein the MS. copy of Mr. Packer's composition of "David," as his contribution to the fund. The work is not quite complete, but Mr. Stanley, a well-knows musician, has undertaken to finish this great work. A vote of thanks to the chairman concluded the meeting.
ASSOCIATIONS: John Jabez Salier (donor, musician)
[News], Evening News (18 August 1883), 4
http://nla.gov.au/nla.news-article111029213
A meeting of the committee of the Packer Testimonial Fund was held last evening at Mr. August Hnenerbein's Music Rooms, 411, George-street, with Mr. G. F. Jackson in the chair. Mr. Charles Huenerbein's kind offer to give a grand concert at an early date for the benefit of the Fund was accepted. Mr. A. Huenerbein is also arranging with Mr. A. T. Dunning, sub-lessee of the Opera House, to give an entertainment as soon at possible.
29 August 1883, Packer Testimonial Fund performance
"OPERA HOUSE", Evening News (30 August 1883), 3
http://nla.gov.au/nla.news-article111029241
Yesterday night was set apart for the benefit of the Packer Fund, the performance consisting of the second and third acts of "Manola," and the Burnand's serio-comic drama of "The Deal Boatman." The first part of the programme was susfained by the members of the Dunning Opera Company, while the comedy-drama was performed by the Sydney Amateur Comedy Company . . . The affair was a great success in every way. Mr. Dan. O'Connor, M.L.A., who has exerted himself so much in the Packer Fund, addressed a few words to the audience. Mr. O'Connor, after thanking specially Mr. August Huenerbein and Mr. Jackson for initiating the movement, and the audience for the support they had accorded it, said that Mr. Packer, like other great men, had exhibited the highest evidence of self-sacrifice in his splendid efforts for the elevation and refinement of humanity. He was a musician of the most exalted rank, and, like the Pyramids of Egypt, when we were too near to him, we were unable to admire his altitude. We had to stand at a distance, and it will remain for posterity to set the proper estimate of his great genius. We all admire and acknowledge, evidencing our intelligence, the splendour of eternal harmony bequeathed to the world by Beethoven, Handel, Mozart, Haydn, Mendelssohn, Meyerbeyer, Weber, and the other brilliant constellation that illumined the world by their genius, and he (Mr. O'Connor) felt that the day would come when Charles Packer would find his name on the immortal roll as a fitting companion of the illustrious dead. We gloried in the genius of a Dante, we loved and admired oar incomparable Shakespeare, we regarded with admiration the great literary men of all nations. They were great in their own vernacular; but the immortal musician speaks the language of humanity.
"Before the Curtain", Sydney Punch (1 September 1883), 7
http://nla.gov.au/nla.news-article253067396
The performance on Wednesday, for the benefit of the Packer Fund, attracted crowds of self-glorifiants, who would hardly have stirred a finger to assist a neglected genius in the long and hopeless struggles against the poverty that killed him. But talent has no business to be impecunious, and must take the consequences of so objectionable a habit. In consequence of Miss Chard's indisposition, a portion of "Barbe Bleue" was changed for the first two acts of "Manola," in which she was most efficiently replaced by Miss Kelly. Mr. Dunning is lucky, as he always is, in having a lady in his company who can understudy so important a part as that of Beatrix, and so successfully. The entertainment was well wound up by the Sydney Amateur Comedy Company, who made a considerable deal of "the Deal Boatman."
[Advertisement], The Sydney Morning Herald (2 October 1883), 2
http://nla.gov.au/nla.news-article13555210
GREAT SUCCESS of SATURDAY POPULAR CONCERTS. PROTESTANT HALL.
Brilliant and very attractive Programme for NEXT SATURDAY'S CONCERT.
Mcssrs. HALLEWELL and HUENERBEIN will, on this occassion, hand the proceeds to the
CHARLES PACKER FUND.
MANY of Sydney's best Artists have very kindly placed their services at the disposal of Messrs. Hallewell and Huenerbein for
next SATURDAY'S POPULAR CONCERTS, when the proceeds will be given to the Packer Fund.
Grand programme (including selections from Charles Packer's oratorios,
CROWN OF THORNS and DAVID.
"Music and Drama", The Sydney Mail and New South Wales Advertiser (6 October 1883), 657
http://nla.gov.au/nla.news-article162025073
The Saturday night concerts are also progressing, in the quality of the music and the quantity of the audience. The hall was fairly filled upon Saturday evening last, and upon the Saturday evening of this week should be crowded, as a very good cause steps in to aid the attractive power of good music. The proceeds are to go to the Packer fund, and half-a-dozen of the most popular local singers have promised their assistance.
In connection with Charles Packer, it may also be noticed that one of his ballads is published by Anthony Hordem and Sons, of the Haymarket. It is called "Home," a pleasant, pathetic little thing, notes mating words with singular felicity.
6 October 1883, Packer Testimonial Fund concert
"THE SATURDAY NIGHT CONCERT AT THE PROTESTANT HALL", Evening News (8 October 1883), 2
http://nla.gov.au/nla.news-article108836882
There was a grand concert at the Protestant Hall on Saturday night, in aid of the Charles Packer fund. The conductors of the Saturday night concerts having announced their intention of giving the proceeds of the concert to the before mentioned fund, the public gladly patronised the concert, and hence there was a large audience. The programme was commenced by the Premier Band, guided by the baton of Mr. W. A. Thompson, performing Newton's Memoriam Overture. Gentlemen amateurs then sang two part songs very nicely, Mr. J. C. Fisher acting as conductor. Then Mr. James Hinchey sang a tenor solo from the late Mr. Packer's oratorio of "David," and at a subsequent part of the evening, Mr. Jackson sang the "Penitent Thief," from the "Crown of Thorns." Songs, part songs, and instrumental pieces were given in succession by Mr. Hallewell, Madame Rosalie Merz, Miss Marie St. Clair, Mr. Beaumont Read, gentlemen amateurs, some lady pianists, Herr Francik, Mr. Charles Huenerbein; and the band . . .
"Music and Drama", The Sydney Mail and New South Wales Advertiser (13 October 1883), 705
http://nla.gov.au/nla.news-article162025477
Upon Saturday evening a better concert than we have before heard was given at the Protestant Hall, under the management of Charles Huenerbein, for the benefit of the Packer Fund. The hall was as well filled as the platform well supplied with leally good musicians, and in the centre of the platform that true patriot and skilful fugleman Mr. Dan O'Connor . . . Miss St. Clair . . . excelled herself in Mendelssohn's sacred song, "Oh Rest ye in the Lord" . . . Mr. James Hinchy brought the lamented composer painfully to memory by singing a tenor solo from "David," and Mr. Jackson produced a profound impression by his rendering of the "Penitent Thief" . . .
"THE 'SATRUDAY POP'", Sydney Punch (13 October 1883), 7
http://nla.gov.au/nla.news-article253066457
"How far that little candle throws his beams!
So shines a good deed in a naughty world."
Well, the Divine William knew what he was talking about, and all who have the cause of music really at heart
will join Mr. Punch in thanking Messrs. Hallewell and Huenerbein for most generously devoting the proceeds of last week's concert to the Packer Fund.
These gentlemen's anxiety to make the concert a financial success which it undoubtedly was -
by attracting all classes of the community, rendered the programme somewhat less interesting than the last.
But there was much to joy over, all the same. The late Mr. Packer's own solos, one from "David,"
and another from the "Crown of Thorns," sung by Mr. James Hinchy and Mr. Jackson respectively,
are elegant compositions that lose by being detached from their native surroundings, but prove that the deceased musician was one of no mean attainments.
Miss Marie St. Clair's brilliant singing in Bellini's cavatina, "Sei Romeo,"
and Mr. Hallewell's exceedingly bass conduct as "Der Mann im Kellar" were special features of the concert,
which gained by the performance of some of the Liedertafel in male part songs,
the most successful of which was Hatton's ever welcome "When evening's twilight."
[Advertisement], The Daily Telegraph (26 March 1886), 1
http://nla.gov.au/nla.news-article237244724
THE LATE CHARLES PACKER'S "CROWN OF THORNS." TO THE SUBSCRIBERS.
I beg to notify that the above Work is now ready for delivery on application to A. Huenerbein and Corbet (late A. and C. Huenerbein), 313 George-street.
Subscribers should apply at once, in order to prevent disappointment, as the supply cannot nearly meet the present demand.
AUGUST HUENERBEIN, Hon. Sec., Packer Fund.
[Advertisement], The Sydney Morning Herald (3 April 1886), 15
http://nla.gov.au/nla.news-article28356231
. . . A. HUENERBEIN and CORBETT (late A. and C. Huenerbein) . . .
The late CHARLES S. PACKER'S "CROWN OF THORNS" can now be obtained on application to . . .
A. HUENERBEIN and CORBETT, 318, George-street (near Hunter-street) . . .
"MUSICAL ECHOES", The Brisbane Courier (30 April 1886), 6
http://nla.gov.au/nla.news-article4490218
Many in this colony will remember the late Charles Packer, and probably several have had the pleasure of hearing his "Crown of Thorns" performed in the adjoining colony. Since the death of the composer the publication of this charming composition has been undertaken by subscription, and the subscribers, and musicians generally, will be glad to learn that the work has arrived by the Liguria, and is being delivered by Mr. August Huenerbein, of Sydney, the honorary secretary of the Packer Fund . . .
"THE OLDEST PIANIST IN AUSTRALIA", The Sydney Morning Herald (18 September 1902), 8
http://nla.gov.au/nla.news-article14510138
It is with regret that we learn of the death of Mr. William Stanley . . . on the death of the late Charles Packer that composer's sacred cantata, "The Crown of Thorns", was completed by the late Mr. William Stanley . . .
"ORGANIST'S UNIQUE RECORD", The Mercury (1 September 1923), 15
http://nla.gov.au/nla.news-article23700197
. . . Her father, Mr. Joseph Reichenberg, who died in 1851, was bandmaster of H.M. 40th Regiment, and conducted the first musical concert of which there is a record in Hobart as far back as 1826. In 1841, when the church of St. Joseph was first opened, he became its first choirmaster and organist, and among his successors prior to his daughter taking her position were the late Charles Packer, uncle to the well-known musical family of that name and a musician of the highest degree . . .
ASSOCIATIONS: Jane Reichenberg (organist), daughter of Joseph Reichenberg (musician)
Frederick Alexander Packer and family in Tasmania (1852-62)
1852
10 July 1852, arrival at Hobart of Frederick Alexander Packer and family
"SHIPPING NEWS", The Courier (14 July 1852), 2
http://nla.gov.au/nla.news-article2958763
10 - Arrived the barque Sylph, 844 tons, Thomson, from London 2nd March, with general cargo. Cabin Mr. F. A. Packer, wife, and eight children - four males and four females under 14.
15 July 1852, birth of Robert Kerr Packer
"BIRTH", Colonial Times (20 July 1852), 2
http://nla.gov.au/nla.news-article8771793
On the 15th instant, at the "Waterloo Hotel," Mrs. Frederick A. Packer, of a Son.
[Advertisement], Colonial Times (20 July 1852), 1
http://nla.gov.au/nla.news-article8771802
Private Tuition in Singing, Harp, and Pianoforte.
MR. FREDERICK A. PACKER, Associate of the Royal Academy of Music,
London, and pupil of Signor Crevelli, and for 17 years Organist of St. Mary's, Reading,
most respectfully informs the inhabitants of Hobart Town, that having arrived by the Sylph from England on Saturday, July 10,
he intends on Monday next, July 26, to commence giving instructions on the Harp, Pianoforte, and in English and Italian Singing.
Terms may be known on application at his residence, 23, Davey-street.
Mr. Frederick A Packer will also be happy to give lessons on the Organ in the theory of music and composition.
22, Davey-street, July 20.
"Shipping Intelligence . . . IMPORTS", The Tasmanian Colonist (23 August 1852), 3
http://nla.gov.au/nla.news-article226526408
Per Duke of Lancaster, from London . . . 2 cases; F. Packer . . .
[Advertisement], Colonial Times (24 August 1852), 1
http://nla.gov.au/nla.news-article8771988
MR. FREDERICK A. PACKER, Associate of the Royal Academy of Music, London, and Pupil of Sigfnor Cavelli [sic],
BEGS to inform the inhabitants of Hobart Town and its neighbourhood, that, having arrived by the Sylph from England on Saturday, July 10,
he intends giving instruction on the Harp, Pianoforte, and in English and Italian Singing.
Mr. Packer, considering a knowledge of the theory of Music as most beneficial to the student, intends forming a class at his own residence.
Mr. F. Packer's terms may be known on application at his residence, 25, Davey-street.
Old St, David's church, interior; Tasmanian Archives
https://stors.tas.gov.au/NS1013-1-1742
https://stors.tas.gov.au/NS1013-1-1742J2K$init=NS1013-1-1742 (DIGITISED)
[Advertisement], The Courier (11 September 1852), 1
http://nla.gov.au/nla.news-article2958480
[ADVERTISEMENT.] TO THE CONGREGATION of ST. DAVID'S, And the Public generally. AS a PARENT, I feel it my duty to lay before you the painful facts in connection with the shutting out of my daughter and the several Choristers from the Singing Gallery of St. David's, which I am sure you will at once discover as an act most unjustifiable and arbitrary, on the part of the Rev. Dr. Bedford more particularly.
Some six months ago Dr. Bedford called on me stating that-tenders were received from several Organists for the Organ at St. David's for the year then ensuing, and expressed his desire very kindly that I should at once tender on the part of my daughter, as he said she should have the preference, from the fact of her having acted in that capacity upon frequent occasions during the unavoidable absence of Mrs. Elliott who was then resigning. I objected to my daughter taking upon herself such a responsibility, being but young, and I fearful of any mishap in her performances which might incur dissatisfaction, thinking at least she would require a further knowledge before she could, with confidence, undertake the task. Mrs. Bonney, more so than myself, objected strongly to Dr. Bedford's proposition, though kind. However, the Rev. Doctor pleaded hard for her, arguing that the responsibility was a mere nothing, - she had acted before, and why could she not do so now, having the organ entirely, at her own command, and if she was young then she would be advancing in years as well as experience. He said the lowest tender received was 401. per annum, tendered by one Miss Webster (whom I have not the pleasure of knowing), and if I would tender in my daughter's name at the same rate it should be accepted. After the Rev. Doctor making little of my own objections, and speaking in the most flattering manner of my daughter's capabilities, and even taking the trouble to write out the form of tender to be rendered for me to copy, I at last consented, and the tender accepted, but solely relying upon the Doctor's good nature to make every allowance in case of any thing going wrong, - I mean with regard to her professional performances, as I did not seek the situation for my daughter, but to gratify Dr. Bedford; and I confess afterwards gave me some little pleasure to see that every satisfaction had been given, not only expressed by the Rev. Doctor himself on frequent occasions, but even taking the trouble to call at my house on a special occasion within the last two months to make known his satisfaction in the strongest terms; and his Lordship the Bishop likewise expressed his entire satisfaction of my daughter's performances as Organist at St. David's.
I failed not upon her assuming the situation to engage a competent master for further instruction, as also a proficient singing master to instruct the choristers, and I believe with general satisfaction all things went on amicably, until about a month since, when Dr. Bedford called on me for the purpose of allowing one Mr. Packer to officiate at the Organ for a Sunday or two. This I had an objection to, as it was at once making little of my daughter's performance, or at least so I took it (here I may mention that rumours were abroad that Mr. Packer intended to obtain the situation of Organist at St. David's if it were by any means possible.) Under these circumstances I think I was doing right in objecting, so long as satisfaction was given, and which the Rev. Doctor could not deny; so I said we could do very well without Mr. P.'s services. This I could see plainly displeased the Rev. Doctor, as it appeared Mr. Packer had insinuated himself into the Doctor's good graces, making appear (but under a cloak), that he was merely anxious to render Miss Bonney gratuitously some professional service. The first or second Sunday after this interview, a report was made by one Giles, the Church-cleaner, of a misconduct said to have taken place on the part of some children in the orchestra, and Dr. Bedford, upon hearing this absurd exparte statement, immediately pronounced sentence !!! and said that Miss Bonney was too young to maintain a proper control over the choir, and because she did not prevent the misconduct reported of, she should no longer play there for him, and that he should forthwith close the Organ-room against her. This, then, is the ground upon which the Rev. Doctor has so cruelly laid to the ground with one hand that which he upheld with the other; thus has he treated one who but for his earnest entreaties would never have come within his unmerciful clutches. Upon being reasoned and expostulated with by myself and others, he agreed to let my daughter play at the Bishop's Lectures, Sunday and Wednesday evenings, his Lordship the Bishop being happy to retain her services at the Church (though this arrangement after being carried out for several evenings was subsequently deemed inexpedient, i.e., two Organists to one Organ, as another had been engaged;) but notwithstanding this piece of kindness on the part of Dr. Bedford, I was of course not satisfied, and therefore entreated him merely to give the matter a simple hearing on both sides, as there were several gentlemen present, - one the father of a family during the whole three services on the Sunday in question, and who had every opportunity of observing all that transpired in the Organ-room, and who states most positively that there was no cause whatever for the gross and truly unfounded report of the man Giles. This gentleman also called on Dr. Bedford to soften and induce him to revoke his determination, pleading hard, and only desiring an opportunity to confront the maligner face to face. Surely this was not an unreasonable request-but, no : that even would not be granted, because he (Dr. Bedford) had known the man Giles for years, and therefore said he must believe his statement, though this gentleman in conversation with the Rev. Doctor at once laid open a most direct and wilful falsehood which Giles had presented in the matter; but notwithstanding the proof of one falsehood, the Doctor said he would not enter into the subject; but, forsooth, a judgment was to be passed, and by him too who ought to have been the last to bring down her whom he had himself exalted; and this even in the absence of justice.
I was unfortunately unable to attend Church during the whole day, being confined to my room from a sudden attack of illness; this being the first time I was absent from the singing gallery since my daughter's accession thereto, invariably superintending the choir myself. This day, then, was the opportunity for an attack, thinking that the report would not meet with any formidable opposition, I not being there; but under all these disadvantageous circumstances, I pleaded the safety of my daughter's character, which was at stake, upon such an expulsion from the Church; but the Rev. Doctor said she should be received again as organist when she was a little older, and that her age was all he objected to. This was indeed poor relief and consolation to both parent and child. Her whom the public papers announced as a native credit to the young colony on her appointment, was now to be brought low because she was not older, though eight months had elapsed since she first played the organ at St. David's. Is this, I ask any right-minded person, just cause for such treatment at the hand of Dr. Bedford? I appeal to parents of what I my feelings must be. I then appealed to Mr. Elliston, who is Churchwarden, merely to institute an inquiry into this matter, causing us so much pain; but his reply was, "Dr. Bedford had made up his mind to have Mr. Packer, and therefore he could do nothing in the matter, though most willing to do so." My daughter was then to be turned out to let Mr. Packer in. Here then, colonists, is the sum total of the affair; but I must, before concluding, express my regret that the Churchwardens had not that honesty to institute an inquiry, which indeed was their duty and place, setting aside the judgment of Dr. Bedford; if it was but for our own justification, merely by them to be exonerated, we could with better force meet an inquisitive public. Had the case been one which I could insist upon bringing before a court of justice, I would willingly have done so. The Churchwardens had the appointing of Mr. Packer, and have all to do with his instalment, but of course nothing to do with Miss Bonney's expulsion; they put it on Dr. Bedford's shoulders, being broader than their own; and this is the way Dr. Bedford gets out of it. He says he never had any idea of putting Mr. Packer into Miss Bonney's place; that it was the place of the Churchwardens to enquire into and settle such matters, and thereby we become a perfect shuttlecock between two battledores at last; when neither hit we fall to the ground. Thus, while the Churchwardens are bringing in with one hand Mr. Packer, with the other hand they are pushing out my daughter and speaking all sorts of kind and sympathising soft words.
I now leave you to judge for yourselves: the bottom of it all, - had Mr. Packer not come into the country, my daughter would now he peacefully and satisfactorily continuing her duties at St. David's.
In conclusion, to show the deception carried on, Mr. Packer had the audacity to call at my house shortly before this affair transpired, and said that if they (meaning Dr. Bedford, &c)
gave him a thousand pounds he would not go to the organ of St David's but with clean hands;
that he was a father himself, and was fully sensible of what my feelings must be upon the subject of another organist being likely to take my child's lawful position.
So far from this, pure sentiment as it would seem, on last Sunday evening,
when even Dr. Bedford did not contemplate Mr. Packer's attending the Bishop's lecture,
closed and locked up the organ-room, for fear my daughter should go to play there;
but Mr. Elliston, perhaps thinking when he came that we were inside and shut the doors on him,
took the lead, led the way round to the side, and was the first to mount to the railing,
after a little exertion, in the presence of the congregation then assembled; but the enemy was not there.
The remainder of Mr. Elliston's choir got in one by one,
and Mr. Packer then commenced his performance for the evening at the Organ which perhaps he considered he sat before,
to use his own words, with clean hands.
JAMES BONNEY. Hobart Town, 7th September, 1852.
"[Advertisement]: "To the Editor", The Courier (25 September 1852), 4
http://nla.gov.au/nla.news-article2958423
[ADVERTISEMENT.] To the Editor of the Courier. SIR, - I desire, through the medium of your journal, to lay before the members of the congregation of St. David's some brief particulars relative to the Organship [sic] of that Church: - . . . I am free, to admit Mr. Bonney at first had cause to feel annoyed. But after having on the 28th August resigned Dr. Bedford's morning and afternoon services; and, on the 5th September, agreed to resign altogether for a consideration, which on the 6th was ratified by the acceptance of a cheque for £20, duly paid on the same day, I cannot now look upon his persistence to be reinstated in a favourable light. It is not only unwise, but something more.
To Mr. F. A. Packer an apology is due.
He kindly gave his assistance on Sunday the 5th, at the request of Dr. Bedford-and on the evening of the same day at my solicitation.
The "head and front of his offence hath this extent, no more" - against Mr. Bonney.
I am, Sir, Your obedient servant,
WM. GORE ELLISTON, Churchwarden. 20th September.
"ST. DAVID'S CHURCH", The Tasmanian Colonist (27 September 1852), 2
http://nla.gov.au/nla.news-article226526539
The ill-advised and injudicious suspension of Miss Bonney from her situation as organist at St. David's Church, has at length been decided by her resignation. This step was taken after much consideration, and with a view to put an end to a dispute extremely unseemly. Mr. Packer, recently arrived from England, is we believe, to succeed Miss Bonney.
1853
"OFFICIAL SALARIES . . . To the Editor of . . .", The Courier (3 June 1853), 2-3
http://nla.gov.au/nla.news-article2242255
Mouldes Terrace, Battery Point, 1st June, 1853 . . .
SIR,- I am a Government clerk, - a married man, and the father of eight blooming incumbrances. -
My salary is just £100 a-year, with a "temporary increase" of £30 more . . . [3] . . .
I am now suddenly compelled to close, as I am distracted.
My eldest daughter, a pupil of Packer's, is strumming upon that remnant of Barnacle gentility - our decayed piano -
that everlasting "Ben Bolt" (would I was a "Bolter!"); my second, a "colonial youth,"
is pathetically invoking me to "carry her back to Ole Virginny," while, add to my misery, and foreshadow "coming events"
(which actually do "cast their shadows before"), Mrs. Mouldes is industriously engaged in the preparation of fresh baby-linen . . .
I am, Sir, in haste, Your obedient Servant,
ZACHARIAH MOULDES.
[2 advertisements], The Courier (10 December 1853), 3
http://nla.gov.au/nla.news-article2245235
ST. DAVID'S CATHEDRAL.
WANTED for the above Cathedral SIX respectable Boys as CHORISTERS.
Their attendance would be required at the Sunday Services, as also at the Wednesday Evenings Lecture.
Each Boy in addition to a salary will receive a course of Musical Instruction.
For further particulars apply to Mr. FREDERICK A. PACKER, Organist of St. David's Cathedral, 23, Davey-street.
9th December, 1853.
ST. DAVID'S CATHEDRAL.
WANTED for the above Cathedral the following MALE VOICES:-
Two Counter Tenors
Two Tenors
Two Basses
Attendance required on the Sunday Services and Wednesday Evenings Lecture.
For further particulars apply to Mr. FREDERICK A. PACKER, 23, Davey-street.
9th December, 1853.
1854
[Advertisement], The Courier (6 February 1854), 3
http://nla.gov.au/nla.news-article2242102
REMOVAL. FREDERICK PACKER, R. A. M.
requests his Pupils and Friends in Inline to have me kindness to address all communications to his me to Stone Cottage, New Town, whither he has removed.
Mr. Packer attends in Hobart Town as usual, and continues to give instruction in singing, pianoforte, Harp, and Guitar.
His terms may be known on application at his residence in New Town; or by Messrs. Huxtable and Hurley, Murray-street.
Mr. Frederick Packer has been commissioned by several merchants and private individuals,
to dispose of some excellent Pianofortes, two of which are most splendid Grands by Broadwood.
Mr. Packer has also made arrangements with his friend, Mr. J Balsir Chatterton, Harpist to the Queen,
and principal Harp Professor at the Royal Academy of Music, London, to select for him any Harps which may be required by individuals residing in the colony,
and to whose orders Mr. Packer will be happy to attend.
Stone Cottage, New Town, February 6.
[Advertisement], The Courier (9 February 1854), 3
http://nla.gov.au/nla.news-article2241640
FOR SALE, A BEAUTIFUL DOUBLE ACTION HARP, by Erard.
Apply to Mr. FREDERICK PACKER, New Town, February 8.
[Advertisement], Colonial Times (10 June 1854), 3
http://nla.gov.au/nla.news-article8776269
[Advertisement], The Courier (10 June 1854), 3
http://nla.gov.au/nla.news-article2246187
DOUBLE ACTION HARP. MR. FREDERICK PACKER has received instructions from a Lady proceeding to England to dispose of the above instrument; price £65. Further instructions may be obtained on application to Mr. Packer, Stone Cottage, New Town, or Mr. Hurley, Murray street; also a Satin Wood Guitar.
[Advertisement], The Courier (10 July 1854), 1
http://nla.gov.au/nla.news-article2245645
LEASE OF A HOUSE AND GARDEN AT NEW TOWN. FOR SALE, the Unexpired Lease (about 18 months) of a Stone House,
with Garden of three-fourths of an acre in a good state of cultivation.
The above contains twelve rooms, six of which are of good site, besides the usual outbuildings.
It is situated near the Bishop of Tasmania's residence, commands a good view, &c.,
and is altogether a desirable residence. Lately the residence of Mr. F. A. Packer, and formerly that of Mrs. Emmett.
For particulars apply to HENRY E. B. READ, New Wharf, July 7, 1854.
"BIRTHS", The Courier (13 July 1854), 2
http://nla.gov.au/nla.news-article2239007
At Durdans, New Town, on the 13th instant, Mrs. FREDERICK A. PACKER, of a Daughter.
October 1854, publication of The garrison polka, by Frederick Augustus Packer
"NEW MUSIC", Colonial Times (19 October 1854), 2
http://nla.gov.au/nla.news-article8777766
M. F. A Packer, the composer has forwarded a copy of his Garrison Polka, just published, to this office. There are objections we think which may be very justly raised to all polka music. But we have not observed any in this piece that may not be reduced to the same category. As music, intended especially for the dance we should think it a very fair piece; one to which Terpsichorean feet could move as nimbly and as gracefully as to any other we remember. Several passages remind us a good real of the Hippopotamus Polka, but this is no defect. Altogether the composition does Mr. Packer and the publishers some credit.
ASSOCIATIONS: The hippopotamus polka (Louis St. Mars)
[News], Colonial Times (20 October 1854), 3
http://nla.gov.au/nla.news-article8777778
SINCE the appearance of our paper of yesterday we have learned that the Polka we so freely criticised is the production of a son of Mr. Packer, not of himself. We need hardly say that had we been aware of this, we should not have subjected the production to so severe an ordeal. It must be gratifying to father and son, however, to find that the faults observable by disinterested lookers on, are not of grave character in the production of so young a man.
"THE GARRISON POLKA", The Courier (20 October 1854), 2
http://nla.gov.au/nla.news-article2240468
Under this title, Mr. F. A. Packer, Jun., has issued an addition to our musical publications, which is likely to meet with a very fair place in colonial repertoires. Its appearance is encouraging, as affording a hope at the least that its favourable reception may conduce to further efforts on the part of the author and the youth of this community.
[Advertisement], Launceston Examiner (28 October 1854), 3
http://nla.gov.au/nla.news-article36290452
NEW POLKAS. Just published, the Garrison Polka, dedicated to the Officers of H.M. 11th Regt., by Fred. Packer, junr., price 6d.
And, The Northdown Bridal Polka, price 1s.
A. DUTHIE. Oct. 28.
"Public Amusements . . . MISS CATHERINE HAYES", The Courier (30 October 1854), 3
http://nla.gov.au/nla.news-article2242297
MR. EDITOR, - Having read in your issue of Saturday a paragraph,
in which you express a hope that Miss C. Hayes may not be allowed to leave Australia without an effort being made to induce her to visit Tasmania,
I beg to say I have some ten days since placed myself in communication with her,
and trust the result may give the inhabitants of Tasmania an opportunity of hearing so finished an English singer.
I remain, Mr. Editor,
Your roust obedient servant,
FREDERICK A. PACKER, R.A.M.
New Town, Monday. October 30.
[We are glad to hear it, and are pleased also to notice that it is the intention of the musical circles to welcome the Swan of Erin, if that event occurs, in a characteristic style upon her arrival. Nous verrons.]
"CATHERINE HAYES", Launceston Examiner (31 October 1854), 2
http://nla.gov.au/nla.news-article36290487
Mr. Packer, of Hobart Town, has been in communication with this distinguished vocalist to induce her to visit Tasmania, ere she bids farewell to Australia.
13 November 1854, first notice of publication of There is love, by Frederick Augustus Packer
[Advertisement], The Courier (13 November 1854), 3
http://nla.gov.au/nla.news-article2242514
Now Ready for Sale, THE DELACOURT BOUQUET,
By the Author of A Year in Tasmania. Dedicated to Lady Denison, and the Ladies of Tasmania.
CONTENTS . . . Song, - "There is Lore." Music by Packer, junr., words by Thomas Hood . . .
Published by Huxtable and Deakin, and sold by Huxtable, Welch, and Fletcher, Hobart Town; and Watson, Launceston. Price 5s.
"THE DELACOURT BOUQUET", The Courier (14 November 1854), 2
http://nla.gov.au/nla.news-article2243917
We have to acknowledge the receipt of a collection of local music, a potpouri of songs, polkas, waltzes, quadrille, and schottische, edited by the author of "A Year in Tasmania," dedicated, by permission, to Lady Denison and the Ladies of the Sweet Island of the South; and published by Messrs. Huxtable and Deakin of Murray-street, in this city. The principal composers are Arthur Hill, 99th regiment, Captain H. B. Stoney, 99th regiment, W. J. Macdougall, a native Tasmanian, Frederick A. Packer, jun., Robert Martin, 99th regiment. The score is clearly printed, and the sheets are embellished by small views of Launceston, Fern Tree Valley, and Hobart Town. We have no doubt the "Bouquet" will be extensively distributed in the colony.
"THE DE LA COURT BOUQUET", Launceston Examiner (2 December 1854), 3
http://nla.gov.au/nla.news-article36290843
We have to acknowledge the receipt of this collection of local music, composed by different hands, and ediled by Captain Stoney, of the 99th. It is illustrated by vignettes of Tasmanian scenery, and dedicated to Lady Denison and "the ladies of the sweet island of the south." Mr. Hill, of the 99th, contributes two pieces; Mr. Martin, of the same regiment, one; Mr. W. J. Macdougall, one; Fred. Packer. jun., one; and the Editor two. We hope Tasmanians will secure a copy for their portfolios. It is published by Huxtable and Deakin, Hobart Town, and can be obtained at Mr. Hudson's, Brisbane-street, Launceston.
"DEATH", The Courier (4 December 1854), 2
http://nla.gov.au/nla.news-article2238788
July 26th, at the residence of his son-in-law, the Reverend George Holloway, Coleshill House, near Amersham, Bucks, CHARLES PACKER, Esq., aged 68, late of Reading, Berks.
1855
[Advertisement], The Hobarton Mercury (9 February 1855), 3
http://nla.gov.au/nla.news-article3334867
WARRANTED AND FOR SALE BY PRIVATE CONTRACT,
ONE of the best toned PIANOFORTES in the colony.
Apply to Mr. Packer, Professor of Music; or, Mr. Martin, Band-master.
[Advertisement], The Courier (20 March 1855), 3
http://nla.gov.au/nla.news-article2481106
MR. FREDERICK PACKER.
A REPORT having reached Mr. Frederick Packer of his intended departure from Van Diemen's Land for England,
Mr. Frederick Packer begs to give it his most unqualified contradiction, not entertaining the most remote intention of such a step.
Mr. Frederick Packer continues to give in tuition on the Harp, Pianoforte, Singing, and Guitar.
Mr. F. P. talcs this opportunity of informing those Amateurs desirous of acquiring the art of accompanying themselves, or others,
that he will he happy to undertake their perfecting themselves in this indispensable branch of Musical Education.
Terms on application to Messrs. Huxtable and Deakin, or Mr. William Hurley, Newtown. March 19th.
"MECHANICS' INSTITUTE", The Tasmanian Daily News (9 July 1855), 3
http://nla.gov.au/nla.news-article203384849
Mr. Packer has been appointed conductor of the musical class at the Mechanics' Institute.
"COURT OF REQUESTS. SATURDAY, AUGUST 4 . . . BELMORE V. PACKER", Colonial Times (6 August 1855), 3
http://nla.gov.au/nla.news-article8785917
Mr. Brewer for defendant. An action on a bill of exchange, drawn by plaintiff on and accepted by defendant, for £4, for the keep of a grey mare ten days, at 8s per day . . .
"COURT OF REQUESTS . . .", The Tasmanian Daily News (6 August 1855), 3
http://nla.gov.au/nla.news-article203386752
"TASMANIAN CONTRIBUTIONS TO PARIS, 1855", The Courier (27 September 1855), 2
http://nla.gov.au/nla.news-article2491196
In the 1st Group - Class XXVI. Drawing and Modelling, Letter-Press and Copper-Plate Printing, and Photography, the following contributions were sent . . . Tasmanian Music, - "Garrison Polka," Mr. F. A. Packer, junr. Composed by the exhibitor . . .
6 October 1855, first notice of publication of The queen of the polkas, by Frederick Alexander Packer
"NEW MUSIC", Launceston Examiner (6 October 1855), 5
http://nla.gov.au/nla.news-article36294503
We acknowledge receipt of a piece of new music, entitled "The Queen of the Polkas," composed by Frederick A. Packer, R.A.M., and dedicated to Miss Jones, of Bleak House, Risdon. The music is lithographed, and the wrapper beautifully illustrated, by Messrs. Huxtable and Deakin, Hobart Town. We have not heard the music tried, and therefore are unable to speak of its merits.
ASSOCIATIONS: Miss Jones
"A NEW POLKA", Colonial Times (12 October 1855), 3
http://nla.gov.au/nla.news-article8787953
We have to acknowledge the receipt of a new polka by Mr. F. A. Packer, R.A.M., called " The Queen of the Polkas." Having submitted it to the ordeal of the pianoforte we can report very favourably of this production. It is a lively piece, and would be effective played by a full band, we fancy. A little disfigured by repetition, or sameness, it is nevertheless, without doubt the best piece of the kind we have yet seen produced in this island. Messrs. Huxtable and Deakin are the publishers, and deserve considerable credit for the taste and neatness with which the music has been brought out.
"MUSIC", The Tasmanian Daily News (10 November 1855), 5
http://nla.gov.au/nla.news-article203386202
We have received a copy of a new piece of music called "the Queen of the Polkas," by a Mr. Packer, who writes R.A.M. after his name. Considering this fact, and the somewhat pretentious title of the piece, we should have expected something better. The Polka is no Polka at all, except in name. It possesses no distinct melody whatever, and is not sufficiently accentuated for dancing.
ASSOCIATIONS: Maxwell Miller (proprietor and publisher, Daily News)
"ROYAL SOCIETY OF VAN DIEMEN'S LAND", The Courier (16 November 1855), 2
http://nla.gov.au/nla.news-article2494047
. . . Messrs. Huxtable and Deakin, of Murray-street, presented for the Library a copy of "The Queen of the Polkas," printed and published by them, and dedicated by the author, Mr. F. A. Packer, to Miss Jones, of Bleak House . . .
1856
[Advertisement], The Courier (10 May 1856), 3
http://nla.gov.au/nla.news-article2503427
MR. FREDERICK PACKER, R.A.M., begs to inform his Pupils and Friends,
that having recovered from his severe illness, he is again able to resume his professional duties.
His terms for instruction on the harp, pianoforte, and singing, either at the pupil's residence,
or his own, 49, Campbell-street, may be known on application.
49, Campbell-street, Hobarton, May 10th, 1856.
1857
"OPENING OF THE NEW ORGAN IN ST. DAVID'S CATHEDRAL", Colonial Times (28 July 1857), 3
http://nla.gov.au/nla.news-article8784121
On Sunday last the splendid organ which has been built expressly for St. David's Cathedral, by Messrs. Bishop and Sons, of London, was opened for the first time. The Cathedral was densely crowded, and the majestic tones of the magnificent instrument excited universal admiration. The choir was enforced by several professionals and amateurs.
At the morning service prayers were read by the Rev. F. W. Quilter, and an eloquent sermon was preached by the Lord Bishop of Tasmania. Mr. Frederick Packer, organist of the Cathedral, presided at the organ, the follow ing music being performed:-
Opening Voluntary, V. Novello;
Venite Exultemus, Tallis, - F.; Glorios [six], Boyce, - D.;
Te Deum, Jackson, (service in C ); Jubilate, Jones, - D;
Anthem, "Lord of all power;" Litany, Tallis; 100th Psalm;
Voluntary before sermon, "O Jesu," Novello; Concluding Voluntary, "Hallelujah Chorus."
A full choral service was also held at four o'clock, with the view of giving an opportunity to non-seatholders of hearing this splendid instrument. Prayers were said by the Ven. Archdeacon Davies, and the sermon was preached by the Rev. F. W. Quilter, M.A. Mr. Packer performed the following:
Psalms, Bennett, (A.);
Magnificat, Windsor, (B flat.); Nunc Dimitis, King, (service in F.);
Anthem, " Lord of all power;" 100th Psalm;
Concluding Voluntary, "Hallelujah Chorus."
At the evening service the opening voluntary was Haydn's "Benedictus;"
Psalms, Bennett, (A.);
Magnificat, Windsor, (B. flat); Nunc Dimittis, King, (sevice in F.);
Anthem, " O praise the Lord of Heaven," (A. Bennett); 100th Psalm;
Voluntary during collection, "Benedictus," Mozart;
Concluding Voluntary, "Gloria in Excelsis," 12th Mass, Mozart.
Prayers were said by the Rev. R. Wilson, and the sermon was preached by the Lord Bishop of Tasmania.
The Collections in aid of the Organ Fund amounted to upwards of £50. The Organ which arrived per Heather Bell, was erected in the Cathedral by Mr. Weber, a German organ builder.
"THE NEW ORGAN AT ST. DAVID'S", The Tasmanian Daily News (28 July 1857), 2-3
http://nla.gov.au/nla.news-article201342054
n Sunday last, the 26th July, the fine organ, just imported from Messrs. Bishop and Starr, London, for the Cathedral, was, to use the technical term, opened. It is evidently an instrument of great power and tone, and is admirably adapted for the building. Its stops are of the most excellent quality. The clarabella is especially beautiful, approaching as nearly as the tone of an instrument can to the delicate modulations of the human voice. The swell is full, majestic, and at the same time mellow. In fact, we have seldom heard the double dulciana, as the swell is styled, so soft and sweet.
The service commenced with a voluntary by Novello, showing some of the stops off with good effect. "Venite exultemus" was sung to Tallis in F. Gloria, after the Psalms, to Boyce in D. The Te Deum was from Jackson's service in C - (not the old one in F). - It is a very fine Te Deum, displaying many beautiful parts. Jubilate was sung to Jones in D. The Anthem (being the 7th Sunday after Trinity) was the Collect of the day, by Mason, - "Lord of all power." This is too well known to need any comments. [3] The Litany was by Tallis in F, followed by the 100 Psalm. The middle Voluntary, "O Jesu," was by Novello. Many of our readers know how beautiful a one this is. The Halelujah Chorus was performed as a concluding Voluntary.
The afternoon service was the same as the evening, with the exception of "Lord of all power" being the Anthem.
The attendance in the evening was very great, the seats being quite filled. Many persons were compelled to stand the whole time. The opening Voluntary, was a "Benedictus" by Haydn. Magnificat was sung to a sweet chant by Windsor in B flat. Music Donizetti's [sic Nunc Dimittis] from King's service in F. The Anthem was "O, Praise the Lord," (148 Ps.) by A. Bennett, M.B., a very fair Anthem. This was followed by the 100th Psalm, in the last verse of which the organist displayed the full power of his instrument with great effect. The concluding Voluntary was the "Gloria in excelsis," from Mozart's 12th Mass.
Mr. Packer's performances on the organ, both in the accompaniments of the choir and more especially in the performance of the beautiful Voluntary "O Jesu," and of the Hallelujah Chorus, were exceedingly good. Indeed, the whole of the performances were most creditable to all concerned. The congregation of St. David's have cause to congratulate themselves on the importation such an instrument into the colony. The Lord Bishop preached morning and evening, and the Rev. F. W. Quilter in the afternoon. The collections during the day amounted to £50 7s.
"GRANDMAMA'S ENGLISH", The Tasmanian Daily News (6 October 1857), 2
http://nla.gov.au/nla.news-article201342604
. . . To return to the Courier: no further back than last night we find incomprehensive used for incomprehensible, in a paragraph which, aiming at being funny, is simply unintelligible. In the same article we find Mr. John Dunn accused of "taking a breed-bating organ under his wing." We should be obliged to Mr. Packer or Mr. Loveday for some account of this peculiar species of organ, and we shall venture to hope that Mr. John Dunn will take an early opportunity of playing the Cock in "Hamlet," the only character in which we can conceive it possible for "this enormous actor" to take anything under his wing!
1858
"CHESS BY ELECTRIC TELEGRAPH", The Hobart Town Daily Mercury (10 July 1858), 5
http://nla.gov.au/nla.news-article3249271
We have stolen a march upon our neighbors in the Australian Colonies by being the first to play a game of chess by telegrams. The competitors were Messrs. Thomas Giblin and Thomas Hewitt Junr. of this city, and the Revs. W. A. Brooke and Mr. Fereday of George Town. The match commenced at a quarter to seven o'clock on Thursday evening and terminated at half past ten by the latter gentlemen resigning. Mr. Packer of the Telegraph Office here was the operator, and transmitted the moves as they were communicated . . .
ASSOCIATIONS: Warren Auber Brooke (chess player, clergyman, musical amateur)
"MALICIOUS DESTRUCTION OF WINDOWS", The Courier (27 August 1858), 3
http://nla.gov.au/nla.news-article2463784
Some time during last night some malicious vagabond threw two stones through the dining-room window of Mr. Packer's residence, Campbell-street, and another through the window over the front door. The green-house windows of Mr. Osborne, near Mr. Packer's residence, and the sitting room windows of Mr. Ashton's house, also in Campbell street, were btoken by the same means a few nights ago. Some clue has been discovered to the wanton perpetrators of these shameful proceedings, and the delinquents, it it anticipated, will be speedily brought before the city magistrates for punishment.
"THE TELEGRAPH", The Hobart Town Daily Mercury (11 September 1857), 3
http://nla.gov.au/nla.news-article3250439
As we stated in our last issue Mr. Ball, acting inspector of Telegraphs, with Mr. Packer junior, visited Bridgewater where, they found the line perfect so far; from information received by the same evening's coach, stating that the line had been cut three miles from Oatlands, Mr. Ball, accompanied by an assistant, started by the coach as 5 o'clock, a.m., and on reaching the spot, quickly succeeded in repairing the damage, so that at 12.45, Mr. Packer in Hobart Town found the line in good working order, and transmitted, and received messages as usual. The Mount Nelson line did not work well after the visit of the bushrangers, one of them having deranged the instrument. Mr. Packer proceeded to the station yesterday morning, and adjusted the instrument, which now works as usual, and the whole line is complete . . .
"CONFIRMATION", The Courier (16 December 1858), 2
http://nla.gov.au/nla.news-article2465739
The Lord Bishop of Tasmania held a confirmation at St. David's Cathedral to-day. His Lordship delivered two very impressive discourses, one before and one after the confirmation. The Archdeacon presented the candidates (sixty in number) to the Bishop, and the Rev. Mr. Quilter officiated at the reading desk. Mr. Packer, who presided at the organ, commenced with that magnificent piece of music "Tallis's Litany."
1859
"MISCELLANEOUS SHIPPING", The Hobart Town Daily Mercury (7 February 1859), 2
http://nla.gov.au/nla.news-article3252999
. . . Fortunately the boat met the steamer some two miles up the river, so that a delay of an hour only took place. Had it not been for the politeness of Mr. J. Packer who is certainly the most able Operator on the line, and who kindly kept the office open till long after the hour at which it usually closes, we should not have received our message until Sunday. Our obligations to Mr. Packer are deeper because he does not receive one fraction public money for his valuable services . . .
[Advertisement], The Courier (22 February 1859), 3
http://nla.gov.au/nla.news-article2466961
. . . LOT 1. At the corner of Campbell-street and Bathurst-street.
SUBSTANTIAL BRICK HOUSE, containing 16 rooms and large entrance hall, stable, coach-house, and loft.
The ground measures 90 feet along Bathurst-street and 65 feet along Campbell-street, now in the occupation of Mr. Packer . . .
[Advertisement], The Hobart Town Daily Mercury (12 April 1859), 3
http://nla.gov.au/nla.news-article3254338
[ADVERTISEMENT.] TO THE EDITOR OF THE MERCURY. Sir,-I have refrained answering the letter appearing in the issue of the Mercury of the 6th inst., signed "A Subscriber to the Organ," wishing before so doing to avail myself of the opportunity of Mr. Lavenu's being in Hobart Town to submit the condition of the instrument to him, he being intimately acquainted with most of the British and many of the Continental Organs, as also with the instruments and workmanship of Messrs. Bishop and Starr. I have done so. Mr. Lavenu has made a careful examination of the Organ, and I beg to forward you his letter. I have the honor to remain, Sir, Your obediant servant, F. A. PACKER, R. A. M, Organist of St. David's Cathedral, Hobarton, April 9th 1859.
MY DEAR PACKER, - At your request I have tried the Organ in St. David's Church, and find it totally unfit to perform service,
the Pedals are in a fearful state, but one speaking as it should.
It is so wretchedly tuned, that in the Chromatic scale with the Principal, six notes speak alike.
The Trumpet stop, the Horn and other solo stops, are alike inefficient;
altogether, with the action, the Instrument has been spoilt in erection,
for I can answer that Messrs. Bishop and Starr would never have sold an Instrument of their's in such a state,
and I am fully persuaded that should you employ a competent person to examine and set it to rights, no person would recognise in it the same Instrument.
If there be no competent person here, I would advise you to employ Mr. Biggs of Melbourne.
I am, dear Packer,
Your's sincerely,
L. H. LAVENU.
F. A. Packer, Esq..
[Advertisement], The Courier (16 April 1859), 3
http://nla.gov.au/nla.news-article2469433
[ADVERTISEMENT.]
To the Editor of the Mercury.
SIR, Although I have great horror of newspaper correspondence, yet the unprovoked and unnecessary attack made upon me by Mr. Packer,
"with the assistance of Mr. Lavenu," in your issue of the 12th instant, compells me, in self defence, to trouble you with a few lines.
The present condition of the organ has nothing whatever to do with the erection thereof, but arises mainly from the fact that
the gallery is not strong enough to carry such an instrument but has sunk all over (in some particular parts as much as three inches);
this I pointed out to one of the Churchwardens as likely to be the case previous to the erection of the organ.
Therefore any of your readers at all acquainted with the delicate mechanism of the instrument will easily understand its present condition,
as far as it regards the acting of the stops, it being a moral impossibility that they can act unless every thing is as true as an hair.
As to its being out of tune I beg to state that the instrument has not been tuned by me for more than twelve months, therefore it is unreasonable to expect it to be otherwise.
These statements I am prepared to substantiate by the testimony of several gentlemen in town,
who have done me the kindness to inspect the instrument, and who,
although objecting to my mentioning them by name in your columns have promised me (if necessary) they will accompany the Churchwardens to the Church,
and point out to them the real cause of the present state of the organ.
I remain, Sir,
Your obedient servant,
ALBERT WEBER,
212, Liverpool-street.
Hobart Town, April 14, 1859
[Advertisement], The Hobart Town Daily Mercury (1 June 1859), 3
http://nla.gov.au/nla.news-article3255406
MR. FREDERICK PACKER begs to inform his Pupils and friends he has removed to No. 10 Davey-street, (immediately opposite St. David's Burial Gound.) May 31st, 1859.
"THE ORGAN AT ST. DAVID'S CATHEDRAL", The Hobart Town Daily Mercury (28 December 1859), 2
http://nla.gov.au/nla.news-article3260078
For some months past, in fact ever since its erection, the beautiful new Organ at St. David's Cathedral has failed to give satisfaction, and either from some mismanagement in locating it or from other causes has been partially silent, and its full capabilities never properly tested. During the last three or four weeks, however, the instrument has been under the management of Mr. Biggs of Melbourne, formerly a pupil of Mr. Robert Gray, of the celebrated firm of Gray and Davidson, of London, and has been revoiced, regulated, and tuned to an equal temperament by that gentleman, in the most perfect and successful manner. Its success was tested last Sunday, when a full Cathedral service was performed, Mr. Packer presiding at the Organ, who, it is needless to say, did it full justice. One opinion alone has been expressed by those who heard the Organ on that occasion, all speaking highly of its tone, power, and capabilities.
The following was the music performed on Christmas Day, being the first time the Organ has been used since its revoicing by Mr. Biggs: -
MORNING.
Voluntary - Agnus Dei, Mozart.
Venite - Crotch in C.
Psalms - Packer, A. Bennett, and St. Paul's Chant.
Te Deum - Jackson in C.
Bunedictus - May.
Anthem, taken from 35th and 57th Psalms.
Quartette: Judge me, O Lord.
Chorus: I will give thanks. - Mozart.
The Winton Litany.
Kyrie Elieson - A, Bennett.
Christmas Hymn.
Voluntary - Pastoral Symphony.
EVENING.
Psalms - Beckwith, T. Bennett, Russell.
Magnificat - Dr. Hayes.
Deus Misereatur - Packer jun.
Psalm C.
Twelfth Hymn.
Hallelujah Chorus.
The Organ was built by Bishop and Starr, and is a very fine instrument.
It has two manuals, Great Organ and Swell, and contains 22 stops and 1012 pipes. Compass GG to F altissimo.
GREAT ORGAN.
1 Open Diapason. 58 pipes
2 Stopped Diapason. 58 "
3 Principal. 58 "
4 Twelfth. 58 "
5 Fifteenth. 58 "
6 Dulciana. 46 "
7 Claribel to Middle C. 30 "
8 Flute (wood). 58 "
9 Trumpet Bass. 12 "
10 Trumpet Treble . 48 "
[TOTAL] 482 [pipes]
SWELL.
Gamut G to F alt. 46 notes.
1 Double Diapason. 46 pipes
2 Open Diapason. 46 "
3 Stopped Diapason. 46 "
4 Principal. 46 "
5 Twelfth. 46 "
6 Fifteenth. 46 "
7 Sesquialtra. 138 "
8 Horn. 46 "
9 Hautboy. 46 "
[TOTAL] 506 [pipes]
2 couplers, pedals to Great Organ to Swell.
Pedals, 2 octaves.
1 Grand Bourdon, 24 pipes.
1860
[Advertisement], The Hobart Town Daily Mercury (2 January 1860), 4
http://nla.gov.au/nla.news-article19469683
MR. FREDERICK A. PACKER, R.A.M.,
begs to inform his Pupils he will resume his professional duties on MONDAY, January 9th, 1860.
Mr. Packer's terms for lessons on the Harp, Pianoforte, - English or Italian Singing,
may be ascertained at his residence.
Mr. Packer attends two days in the week at New Town.
19, Davey-street, December 31st 1859
"THE LATE MELANCHOLY ACCIDENT ON BOARD THE PELORUS BOAT (From the Hobart Town Advertiser) Tuesday, January 3rd . . . The Funeral", The Cornwall Chronicle (7 January 1860), 2
http://nla.gov.au/nla.news-article65990975
The Funeral of the unfortunate mid-shipman, Mr. George Hamilton Blackley Borton, who came to his death yesterday morning by the melancholy accident in the river, as chronicled in this morning's yssue, having been been to take place to-day, the Coroner proceeded to hold an Inquest in the afternoon . . .
Four o'clock was the time appointed for the funeral . . . The inquest was scarcely concluded by the time fixed . . . The procession passed from the Ordnance Wharf, along the New Wharf, up Murray-street, to St. David's Cathedral . . . At the Church Mr. Packer performed a dirge on the entrance of the procession. The Lord Bishop of Tasmania, the Rev. T. J. C. Warcup, B.A., Chaplain of the Pelerus, and the Rev. Mr. Quilter officiated. The galleries were fllled with visitors, many persons having to leave for want of room . . .
"MECHANICS' INSTITUTE", The Hobart Town Daily Mercury (9 June 1860), 2
http://nla.gov.au/nla.news-article19468257
On Thursday evening F. A. Packer Esquire delivered a Lecture in the Hall of the Mechanics' Institute upon the Electric Telegraph. Notwithstanding the inclemency of the weather a numerous audience honored the lecturer with their presence and listened with marked attention to his very interesting discourse. Me. Packer traced the history of the Telegraph from its first discovery with it clearness and perspicuity scarcely to be expected from one who had never before appeared as a public lecturer. In order to show its working an instrument had been conveyed to the Hall and connected with the Launceston wire and messages were forwarded and answers received adding much to the interest naturally excited by the subject. As we believe Mr. Packer will be asked to deliver the lecture again, in consequence of so many having been prevented attending through the severity of the weather, we do not deem it necessary to follow him through his discourse. At its conclusion the young lecturer was warmly applauded by his audience and was also congratulated upon his success by Dr. Agnew, Mr. Stutzer, and other gentlemen present.
"HOBART TOWN [BY MAGNETIC TELEGRAPH] Friday, 5.47 p.m.", Launceston Examiner (6 October 1860), 2
http://nla.gov.au/nla.news-article39002402
Mr. F. Packer gave a lecture at the Mechanics' Institute last night, which was literally crammed. Subject: - The Electric Telegraph popularly explained and Illustrated. The instrumoent in the Mechanics' Institute was connected with the telegraphic line, and communication was held with Launceston, Tamar Heads, and Circular Head, during the evening. A private message was also sent to the Rev. R. K. Ewing, who is to lecture here next week. Mr. Packer was loudly applauded.
"EXTENDED TELEGRAPHIC COMMUNICATION", The Mercury (29 December 1860), 2
http://nla.gov.au/nla.news-article8795330
Mr. John Packer, of the Telegraph Office, proceeded to Oatlands last night for the purpose of arranging the telegraphic station at that township, and in all probability the communication will be established to-day. Mr. Butcher is similarly occupied at Campbell Town, and will, it is believed, complete his arrangments by New Year's Day, so that we shall have an extension of telegraphic communication to and from the important midland districts of the Colony. It is our intention, and we have made arrangements for that purpose, to present our readers with daily telegraphic intelligence from Launceston, Campbell Town, and Oatlands, commencing with the coming year.
1861
[Advertisement], The Mercury (26 April 1861), 4
http://nla.gov.au/nla.news-article8797877
BRENT & WESTBROOK Are favored with instructions
To Sell by Auction, At their mart, Murray-street,
On TUESDAY, 14th May, At 12 o'clock,
A MOST VALUABLE TOWN PROPERTY, situate in Davey-street, next the Congregational Church,
consisting of a substantial well built DWELLING HOUSE of nine rooms with dry undergrouad cellars,
coach-house, two stall stable, harness room, scullery,
men's room, and loft over, together with garden well stocked with choice fruit trees, and all necessary out offices,
the whole of which is in excellent order, and now occupied by Mr. Packer at the low annual rental of £125.
This property, which has an extensive frontage on Davey-street, commands a most delightful view of the harbor and river,
and is within two minutes walk of the banks, wharves, and the principal public offices,
and is well worthy of the attention of the merchant or professional gentleman.
N.B. - Water is laid on . . .
May 1861, first notice of publication of Nearer to thee and Mazurka, by Frederick Alexander Packer
[Advertisement], The Mercury (2 May 1861), 1
http://nla.gov.au/nla.news-article8798019
JUST PUBLISHED, (To be had of all Booksellers and Music Publishers), "NEARER TO THEE," CIX HYMN. COMPOSED and dedicated to the Ven. Archdeacon DAVIES , by F. A. PACKER, Associate of the Royal Academy of Music in London, and Organist of the Cathedral, Hobart Town. Price, 1s. 6d. Also by the same Composer, MAZURKA for the Pianoforte. Price 3s.
[News], The Argus [Melbourne, VIC] (21 May 1861), 5
http://nla.gov.au/nla.news-article5700377
We have received two pieces of music, composed by F. A. Packer, R.A.M., and published by Messrs. Clarson, Shallard, and Co., Melbourne - a "Mazurka," and "Nearer to Thee, Hymn 109." They are decidedly as original and talented as any colonial musical productions we have heard. The hymn is beautifully simple and pure in style, and the mazurka eminently spirited and varied. Each manifests a power of which any composer might well be proud; and we congratulate ourselves on having in Australia so talented a composer as Mr. Packer.
"AMUSEMENTS, FINE ARTS, &c.", The Mercury (22 August 1861), 3
http://nla.gov.au/nla.news-article8800609
Amongst the most advanced of arts may be classed music. Music has found not only a warm welcome but a permanent home in Tasmania. Amongst our composers we have pleasure in giving prominence to the name of Mr. F. A. Packer, who in two compositions of different style, has added to his well earned reputation as one of the masters of a most charming art. One of them a piece of sacred Music, is entitled "Nearer to Thee," being adapted to words of the 109th Hymn. The effect of this delightful composition - especially when sung by a body of voices - is most beautiful and solemn. The melody, as ought always to be the case in compositions intended to be sung in Church by a large body of voices, is very simple and charming. This publication has had a large circulation both in Tasmania and the neighbouring colonies, where it has been spoken of by the press in the highest terms of eulogy. The second composition we have referred to by the same gentleman - a Mazurka, for the pianoforte - is exceedingly pretty, brilliant, and elegant, without being "too difficult" to be within the capacity of the most ordinary pianist.
TELEGRAPHIC DESPATCHES (FROM OUR OWN CORRESPONDENT) LONGFORD, TUESDAY, 6.30 p.m.", The Mercury (5 June 1861), 2
http://nla.gov.au/nla.news-article8798775
Mr. John Packer completed his arrangements at the new Telegraph Office to day, and at 1.10 p.m. Longford was placed in telegraphic comnication with the Capital, Launceston, and the other telegraph stations in the colony.
"FUNERAL OF THE LATE LIEUTENANT DANDRIDGE", The Mercury (20 June 1861), 2
http://nla.gov.au/nla.news-article8799172
Yesterday afternoon the mortal remains of Lieutenant Stuart J. Dandridge, Second Volunteer Rifles, who died, after a short illness, on Sunday last, were interred at St. David's Cemetery, with military honors . . . The procession started at three o'clock the Band playing the "Dead march in Saul," and other solemn marches, the route being down Collins-street, Elizabeth-street, Macquarie-street, Murray-street, to the Cathedral where the corpse was met by the Rev. Mr. Watson, who read the Psalms and Lessons. Mr. Packer presided at the organ . . .
"ORDINATION", The Mercury (26 July 1861), 2
http://nla.gov.au/nla.news-article8800023
The Bishop of Tasmania held an ordination service yesterday, in St. David's Cathedral, when Mr. Francis Hudspeth was ordained Deacon, and the Rev. T. Stansfield was admitted to the Priesthood . . . After the offertory the Holy Communion was administered; and the service was closed by the Bishop pronouncing the benediction. The presentations were made by the Archdeacon. The choral service was under the direction of Mr. Packer, who presided at the organ.
"MECHANIC'S INSTITUTE" The Mercury (17 August 1861), 3
http://nla.gov.au/nla.news-article8800518
Mr. Packer's lecture on Church Music, delivered at the Institute, on Thursday evening, was well attended, and the lecturer was frequently applauded. The subject was so interesting, that a feeling of regret was expressed at the brevity of the lecture, but, perhaps, Mr. Packer will relieve this feeling of disappointment, by continuing the subject on a future occasion.
"ST. GEORGE'S PAROCHIAL ASSOCIATION", The Mercury (29 August 1861), 3
http://nla.gov.au/nla.news-article8800741
The usual fortnightly lecture will be delivered this evening at the School Room, Battery Point, by Mr. Packer junr., the subject being Church Music.
"ST. GEORGE'S PAROCHIAL ASSOCIATION", The Mercury (30 August 1861), 4
http://nla.gov.au/nla.news-article8800753
It appears that we were premature in announcing yesterday that Mr. Packer, junr., was to deliver a lecture on Church Music, at the school room, Battery Point, for although this was notified from the pulpit on Sunday last, it now appears that Mr. Packer is prevented from carrying out his intention . . .
21 August 1861, birth of Harry Effingham Packer
"BIRTHS", The Mercury (22 August 1861), 2
http://nla.gov.au/nla.news-article8800600
On the 21st instant, Mrs. FREDERICK PACKER, of a son.
"MAYOR'S COURT. Thursday, 28th November, 1861 . . . BOYD v. NEWEY", The Mercury (29 November 1861), 2
http://nla.gov.au/nla.news-article8802601
An information by Mr. Boyd, Superintendent of Police, complaining that defendant,
a licensed cabman, did on the night of the 23rd November, so negligently drive his cab in Liverpool-street, as to endanger the lives of the public.
Defendant pleaded not guilty.
M. Del Sarte examined, said. - I was in Liverpool-street last Saturday night, and saw the defendunt driving a cab too fast for the safety of the people,
considering the number who were there.
The cab was driven in a very negligent manner.
I was talking with Mr. John Packer and considered myself as well as others to have been in serious danger.
Mr. Packer pulled me out of the way.
Mr. John Packer stated that on the night above-named, the defendant was driving through Liverpool-street
so negligently as in witness' opinion to endanger the lives of the people in the street.
The horses were not going faster than at a sharp trot but they were negligently driven,
he did not think defendant was quite sober. Witness pulled M. del Sarte away or he would have been knocked down.
Defendant stated that he was not driving too fast but was returning from the doctor's with medicine for his sick child.
His Worship had no hesitation in dismissing the case, not only from the fact that furious driving had not been proved,
but also from information he had received, for Mr. Salier had called upon him this morning,
and had tell him that defendant's child was very ill, and that defendant had sat up with it for four nights.
Mr. Boyd said that had these facts been brought to his knowledge before, he would not have laid the information.
[Advertisement], The Mercury (19 December 1861), 1
http://nla.gov.au/nla.news-article8803058
JUST PUBLISHED, TO BE HAD OF MESSRS. WALCH & SONS, AND ALL MUSIC SELLERS,
CHORAL HYMN FOR CHRISTMAS, "THE SONG OF THE ANGELS," BY CHARLES S. PACKER.
Also, shortly expected, a further supply of "NEARER TO THEE." SECOND EDITION.
1862
"SECOND CONCERT OF THE ORPHEONIST SOCIETY", The Sydney Morning Herald [NSW] (7 January 1862), 4
http://nla.gov.au/nla.news-article13068560
The members of the Orpheonist Society must, we think, be well satisfied with the success of their second subscription concert, which was held in the Freemasons' Hall, in York-street, yesterday evening . . . The first part of the programme - that appiopriatcd to Sacred Music - was commenced at eight o'clock by the singing of Haydn's Christmas Hymn, "Holy Night" . . . Selections from Haydn's Third Mass followed . . . Cherubini's solo "O Salutaris " was then interpreted by Madame S. Flower with a force and brilliancy impossible too highly to appreciate. It was received with a loud and well deserved burst of applause. This portion of the concert was brought to a close by the production of the much admired chorale, "Nearer to thee," by Frederick Packer,- a sweet low strain of sacred music sung by the choir to a pianoforte accompaniment . . .
"THE NEW ORGAN FOR ALL SAINTS' CHURCH", The Mercury (27 January 1862), 3
http://nla.gov.au/nla.news-article8803882
The subscribers to the Organ Fund will be glad to learn that advices have been received of the completion of the Organ for ALL Saints' Church which at the time of the departure of the mail, was nearly ready for shipment. The plan of the instrument was prepared by Mr. Frederick Packer junior, the organist of All Saints, and the building of the instrument has been superintended by Mr. Goss, the organist of St. Paul's Cathedral, who, in a letter to Mr. Packer, expressed his entire approval of all the arrangements, and speaks in the highest terms of the workmanship. The builders (Messrs. Bishop and Starr) consider it to be one of the best instruments they have ever turned out, and they state that many persons who visited their manufactory were much struck with its peculiarly beautiful quality of tone.
[Advertisement], The Mercury (10 February 1861), 1
http://nla.gov.au/nla.news-article8804262
Splendid Rosewood Grand Piano-forte.
TO be disposed of, a Brilliant and Full-toned three-stringed Rosewood Grand PIANOFORTE, compass 6 7-8ths.
This instrument was a few months since imported to the order of the owner (Miss Nixon, Bishopstone)
from the house of Messrs. Broadwood and Sons, and is parted with solely on account of the family leaving for England.
Full particulars may be known on application to Mr. PACKER, Professor of Music, 19 Davey-street.
"COURT OF REQUESTS . . .THURSDAY, MARCH 13TH, 1862 . . . PACKER V. ROSE", The Mercury (14 March 1862), 2
http://nla.gov.au/nla.news-article8805177
A class for instruction in music to Miss Rose, daughter of Alex. Rose, Esq., while staying at the Rev. Mr. Seaman's, New Town. The point involved was whether plaintiff should be paid; for the time the young lady actually received instruction, or for the full time of Mr. Packer's visits, by the quarter, whether lessons were given or not. His Honor considered the claim substantiated and gave judgment for £9 2s. 6d., the amount claimed, with costs.
"TASMANIA", Empire [Sydney, NSW] (2 April 1862), 3
http://nla.gov.au/nla.news-article60507611
WE have Hobart Town papers to March 25th. The following is from the Advertiser: -
The remains of this lamented and talented gentleman were conveyed to their last resting place on Saturday morning last . . . As it was specially requested that the funeral should be strictly private, the mourners were limited to his bereaved widow, supported by Dr. Agnew, his other medical attendants, Mr. Wilton, the late baronet's secretary, Mr. Jackson, Mr. Coppin, and other members of the company to which Sir William Don had in his lifetime been attached. On the procession arriving at St. David's Cathedral it was met by the Venerable Archdeacon Davies, and the beautiful service of our Church was most solemnly read by him, Mr. Packer presiding at the organ . . .
ASSOCIATIONS: William and Emily Don (actors); George Coppin (manager)
"HOBART TOWN CHURCH UNION", The Mercury (15 May 1862), 2-3
http://nla.gov.au/nla.news-article8806941
This evening the first General Meeting in connection with the newly formed Union of members of the Church of England in this locality,
under the designation of the "Hobart Town Church Union," was held at the Temperance Alliance Rooms, Macquarie-street . . .
A programme of proceedings arranged for the occasion was distributed to the audience.
A large and powerful harmonium was kindly lent for the occasion by Mr. Thomas Westbrook; at which Mr. Packer, organist of St. David's, presided.
Two solos were performed in the course of the evening by Mr. Packer, and chants, and a hymn to the tune of Coburg
(composed by the late Prince Consort for Mercer's hymn book) were sung, the assembly, by request of the committee,
as signified in the programme, joining in the singing which was done heartily . . . [3] . . .
The hymn
Songs of praise the angels sang
Heaven with hallelujahs rang,
having been then sung by the audience, an interval of ten minutes occurred then followed a solo on the harmonium by Mr. Packer,
and the Nunc Dimittis (King's, as sung at St. David's Church, which was substituted for the Anthem "Their sound is gone out" Handel, on the programme) . . .
The Rev. Mr. Cox . . . returned thanks for himself, and also to Mr. Packer and the friends who had practised for the singing . . .
he Evening Hymn was sung and the meeting separated shortly before ten o'clock.
Obituaries (Frederick Alexander Packer, 1862, and later recollections)
2 July 1862, death of Frederick Alexander Packer
Deaths in the district of Hobart Town, 1862 [2 July 1862]; Tasmanian names index; NAME_INDEXES:1224435; RGD35/1/6 no 3408
https://stors.tas.gov.au/NI/1224435
https://stors.tas.gov.au/RGD35-1-6p215j2k (DIGITISED)
[Number] 3408 / July 2nd / Frederick Alexander Packer, Died Davey St. (born in England) / Male / 48 / Professor of Music / Congestion of the Lungs / . . .
"DEATH OF MR. F. A. PACKER", The Mercury (3 July 1862), 2
http://nla.gov.au/nla.news-article8808327
The public will learn with deep regret the death of this gentleman, which melancholy event took place after a few days severe illness, yesterday evening. Mr. Packer had suffered for some time past from an affection of the chest and other complaints associated with it, but it was not until a day or two back that serious apprehensions were entertained by his family. On Tuesday his eldest son arrived in town from Launceston, and with the exception of a married daughter, the whole of his children were present, we believe at the time of his decease, just prior to which the sacrament was administered to him by the Venerable Archdeacon Davis. Mr. Packer was an old resident in Hobart Town, and a gentleman greatly respected for his many estimable qualities. He has been for many years Organist of St. David's Cathedral, and had attained some eminence beyond the limits of the colony as a musical composer. Mr. Packer has left a widow and family of twelve children, the majority of whom are of too tender an age to provide for themselves under the melancholy circumstances of bereavement in which they are placed.
"DEATHS", The Mercury (4 July 1862), 1
http://nla.gov.au/nla.news-article8808355
On the 2nd July, at his residence, 19, Davey-street, Frederick Alexander Packer, Esq., R.A.M., most deeply regretted.
"HOBART TOWN CHURCH UNION", The Mercury (9 July 1862), 5
http://nla.gov.au/nla.news-article8808495
The third meeting of this association was held last night at the Alliance Rooms, Macquarie-street. There was a good attendance comprising a great number of ladies, and Mr. Tapfield presided at the piano, accompanying a very efficient choir in the performance of some very fine music, admirably executed. The Ven. Archdeacon Davies occupied the chair, and having briefly alluded to Mr. Packer's death, gave out the 188th hymn, which was then sung by the choir to the tune of Crasselius . . . An anthem by Dr. Clarke was then sung with great effect and after on interval of ten minutes another anthem by Dr. Calcott was sung . . .
1 September 1862, performance of Messiah for the benefit of the late Fredercik Alexander Packer's widow and children
"THE ORATORIO", The Mercury (14 August 1862), 3
http://nla.gov.au/nla.news-article8809658
We were in error when we stated that the Oratorio of the Messiah was to be performed for the benefit of the Lancashire Operatives. The funds accruing from the performance are to be appropriated, as a graceful contribution to the family of the late Mr. Packer.
"THE ORATORIO OF THE MESSIAH", The Mercury (2 September 1862), 3
http://nla.gov.au/nla.news-article8810253
Handel's Oratorio of the Messiah was rendered last evening at the Theatre Royal, the occasion being for the benefit of the family of the late Mr. F. A. Packer. A very large number of lady and gentlemen amateurs volunteered their assistance for the furtherance of this object; the leader being Mr. Russell, and the conductor Mr. Tapfield. The attendance did credit to the musical taste and benevolent feeling of Hobart Town, the House being graced with the presence of His Excellency and Lady, and the elite of the City. The lower circle and parterre were crowded, the coup d'oeil presenting a most pleasing, and on the wooden benches of the latter a most novel effect, sparkling with pretty faces and fresh toilettes. The effect of the white dresses of the lady singers on the stage grouped in a semicircle surrounding the grand piano, and thrown out by the relief of the male black coats, tenor and bass on the right and left, with the instrumentalist forming a raised back-ground, was also very agreeable to the eye; the object for which it was given, and the fact of the performance being entirely by amateurs disarms criticism, more particularly when the unavoidable weakness of instrumental power and the absence of the pealing strains of the Organ are taken into consideration. Great allowance must also be made for the natural nervousness of non-professionals which was somewhat painfully apparent in the first part, but decreased as the Oratorio progressed. We may be permitted, however, to say, that considering the number, the choruses exhibited some lack of sustaining power, and a slight want of harmony, in their concluding chords. The tenor part at times being harsh. Some of the Solo Soprano, and Contralto voices were very sweet, though not calculated to fill a large building, and to one lady, whom we may characterize as the renderer of the Recitative, "Behold a virgin shall conceive," and the air, "Rejoice greatly," in the first part, no blame can attach for want of aplomb. The Bass Solos rendered their parts conscientiously but we cannot help reminding them that smoothness is of the greatest merit in such parts, and that jerking out the voice does not produce increased power. Having said thus much we now wish to award to all, their due meed of praise for what was really good, and also to bear testimony to the evident amount of care and labour that had been bestowed by all to give the spirit of the composition. The Oratorio is too well known to need that we should point out any of its beauties. We could only have wished that the Pastoral Symphony had had as much instrumental power, as there was evident will to interpret it, on the part of those engaged. We must however single out the glorious "Hallelujah" Chorus as deserving of praise. In this magnificent morceau, where on ascending scales the voices seem to mount to Heaven's Gate, the performers seemed to throw off all timidity and doubt, and throw themselves entirely into the feeling of the music and words. This Chorus must alvvays as it appears to us possess au indescribable charm for both performers and auditors. The concluding chorus "Worthy is the Lamb, Amen," was given effectively bringing the performance to an end at about 11 o'clock. The audienee were evidently well pleased and the object in view will we trust be fully answered.
The performance of last evening was, as we have stated, a memorial concert, and the proceeds will be handed over to the family of the late Mr. F. A. Packer. The occasion is not inopportune for recording some brief notes of the career of a very gifted and accomplished man, who has been removed from our midst in the prime of life. Frederick Packer was in every sense a thorough musician, possessing to an extent rarely equalled, a profound knowledge of harmony, and a refined elegance of melody. His style as a composer was distinguished for its scientific counterpoint and striking and modulations and transitions. Possessing "a mind of Music's own", and a sweet though not very powerful tenor voice, he became a student of the Royal Academy of Music which has produced some of the first masters of Europe, and thus received a thorough musical education under some of the most celebrated professors of the day. Amongst his masters may be named Dr. Crotch, and Mr. Goss, for Harmony and Composition; Potter, for the Pianoforte; Crivelli, for Singing; and Bochsa and Alvars, for the Harp. The latter was Mr. Packer's solo instrument; and it will be long before those who have heard his performances on it will forget his mastery of the most difficult passages, and the inexpressible sweetness and elegance which characterised his manipulation of this instrument. The highest of all compliments was always awarded him, viz., the breathless silence of his audience until the close. Whilst playing Irish or Scottish airs, especially, the falling of a leaf might have been heard.
As a Composer Mr. Packer ranked highly. We believe he has left numerous MSS. in the hands of his family, which were composed during the last few years. He has given few works however to the public since he left England. There he was constantly engaged on new publications, and several [of] the leading London publishers were purchasers of his copywrights [sic]. The beautiful hymn "Nearer to Thee", composed about two years ago, was his latest contribution to our sacred music, and bears signs of being the production of a master mind.
For a considerable period of his life, upwards-we believe of fifteen years, Mr. Packer was a resident of Reading in Berkshire, where he was Organist of St. Mary's Church. He was induced with a view of providing for his increasing family to seek a more extended field in Australia, leaving a large practice and bringing with him substantial marks of the kindly estimation in which he was held at home. Whilst at Reading he was a constant guest at the evening entertainments at Strathfieldsaye, being a great favorite of the late Duke of Wellington; and on one occasion at Windsor Castle, was surprised by the Queen whilst playing one of his own songs, "Maureen", who paid him the compliment of requesting a copy of it.
Amongst Mr. Packer's pupils in England were the present Duchess of Wellington, to whom he taught the Harp; the Duchess of Buckingham, the Ladies Lyttleton, the present Duke of Newcastle, and members of the family of the Earl of Yarborough, Sir Robert Peel, the Earl of Chichester, and others.
In Tasmania Mr. Packer had suffered much from repeated attacks of asthma, which greatly impeded him in the practice of his profession, and occasionally involved him in embarrassments that troubled him greatly. But he has left behind him a memory endeared to his family, and the reputation of an honorable as well as accomplished man, and an unassuming but true christain [sic]. The large audience which filled the Theatre last night must be in the highest degree gratifying to the feelings of his friends, as a testimony of public esteem.
"TRURO", The building news and engineering journal (9 January 1863), 32
https://books.google.com.au/books?id=QytJAQAAMAAJ&pg=PA32 (DIGITISED)
Several stained glass windows have been placed in the new mission church of Old Kea, Truro . . . Near to where the stone font is to be placed, there is a single-light window, erected to the memory of the late Mr. F. A. Packer, formerly organist of St. Mary's, Reading.
The window was installed by the Rev'd Jeffreys W. Murray, curate of Old Kea and founder of the new mission church there; Murray had previously been a curate at Reading Minster, during Packer's tenure, and together they had overseen the 1849 rebuilding of the organ there by James Corps. The window has 3 lights, St. Cecilia playing an organ at top; Noah's ark at centre; and the inscription at bottom:
IN MEMORIAM F. A. PACKER R.M.A. [sic] Organist St. David's Cathedral, Tasmania - entered into his rest June 28th, 1862.
See photograph of the Old Kea Packer window, by Mark Charter, 2008 (detail above); with notes
https://www.cornishstainedglass.org.uk/mgsdb/window.xhtml?churchid=151&locid=135 (DIGITISED)
https://www.flickr.com/photos/markcharter/3106172600 (DIGITISED)
[News], Reading Mercury [England] (21 December 1889), 5
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000369/18891221/115/0005 (PAYWALL)
Old residents of Reading (writes a correspondent) will remember the Packer family, which has been associated with Reading and the county of Berkshire since the middle of the last century. Mr. Charles Packer, sen., was a well-known professor of music in Reading in the early part of the present century, and was for many years organist of the Minster (St. Mary's). On leaving Reading for London he was succeeded by his second son, Fredk. Alex. Packer, who also was organist of St. Mary's, and who subsequently emigrated to Tasmania with his family, where he died in 1862. It will be very gratifying to those who remember him (and many will for his most genial character) to hear that his sons have made positions for themselves in Australia that reflect honour upon them and upon this their native town. The eldest son, Mr. F. A. Packer, is Clerk of the House in the Parliament of Tasmania, Mr. John Packer is Under-treasurer of the Colony, Mr. Arthur Packer a clerk in her Majesty's Customs, and Mr. H. E. Packer Ministerial Secretary to the Minister of Lands and Works. The hereditary musical ability of the family still gives them prominent positions in concerts, &c., one of the latest oocasions being a performance, at Government House, of an opera entitled "Sweet Simplicity," composed by Mr. F. A. Packer, and which is highly spoken of by the critics. Old Readingites will read this with much pleasure.
"OFFICIAL CHANGES", Launceston Examiner (15 July 1862), 5
http://nla.gov.au/nla.news-article41454431
The Hobart Town Journals state that the Government have decided to make no appointments, for the present, of any clerical staff in the office of the Recorder of Titles. They had therefore abandoned their previously expressed intention of appointing Mr. F. Packer to the office of Information Clerk at the Police Office vice Mr. Boyle . . .
"SESSIONAL CLERK HOUSE OF ASSEMBLY", The Mercury (16 July 1862), 4
http://nla.gov.au/nla.news-article8808738
Mr. Frederick Packer has been appointed in this capacity for the coming Session of Parliament in lieu of Mr. Henslowe, who has received an appointment in the Survey Department.
RELIGIOUS INTELLIGENCE . . . CHURCH OF SCOTLAND", Launceston Examiner (23 July 1862), 3
http://nla.gov.au/nla.news-article41454612
Mr. Robert Sharpe has been appointed organist at St. Andrew's Church, Launceston, vice Mr. F. Packer who has removed to Hobart Town.
"HOBART TOWN CHURCH UNION. MONDAY, 4TH AUGUST, 1862", The Mercury (5 August 1862), 5
http://nla.gov.au/nla.news-article8809380
This evening the fourth meeting of this agreeable re-union was held at the Alliance Rooms, Macquarie-street. There was, as heretofore, a good attendance comprising several of our civic notabilities, and a great number of ladies. The choir mustered in good force, Mr. F. Packer accompanying the vocal music on the harmonium, which on this occasion, had been substituted for the pianoforte. The entertainment commenced with a very beautiful hymn, to the tune of Franconia, which was admirably sung by the choir to Mr. Packer's accompaniment . . . The lecture concluded, an Anthem by Hargreaves was sung from the 24th Psalm, after that, an Anthem by Jackson . . . Then followed the fine Old Hundredth Psalm, which concluded the entertainments.
"HOBART TOWN CHURCH UNION", The Mercury (9 September 1862), 3
http://nla.gov.au/nla.news-article8810487
Last evening the fifth meeting of this Institution was held at the Alliance Rooms, Macquarie Street, but in consequence of the inclemency of the weather the attendance was not so numerous as on former occasions, although the choir mustered tolerably strong, and Mr. Frederick Packer, who officiated a the Harmonium, accompanied the vocal performances with very good effect. The programme opened with a fine anthem by Dr. J. Clarke which was well sung; then followed an interesting lecture by the Rev. F. H. Cox, on rather a controversial subject, namely, "On the Council of Nicea, a sketch from Church History," or rather a lecture on the Nicene Creed. A simple chorus, entitled " The Nicene Creed," said to be composed by Archbishop Latimer, was then sung. A beautiful hymn by Dr. Gauntlett followed, then an anthem by Dr. Crotch, eminently characteristic of that celebrated composer's pious melody; then came "Notes of Travel in Egypt," by Lieutenant Brooker, R.A. which were highly entertaining, and the programme concluded with a fine "German Chorale."
TESTIMONIAL", The Mercury (20 September 1862), 4
http://nla.gov.au/nla.news-article8810856
Mr. Frederick Packer, who was for some time Organist at All Saints' Church here, has been presented with a handsome gold watch, bearing the following inscription - "Presented to Frederick A. Packer, Esq., as a memorial of esteem and gratitude, from the Parishioners of 'All Saints' Hobart Town."
"ST. DAVID'S CATHEDRAL", The Mercury (11 October 1862), 3
http://nla.gov.au/nla.news-article8811529
A meeting of the seatholders of St. David's Cathedral, called by advertisement, was held yesterday evening, at the school-room, Harrington-street, to take into consideration the resignation of the Rev. Mr. John Watson . . .
Mr. MORGAN, to save time would suggest, as the probable cause of Mr. Watson's leaving was the conduct of the organist, and should the deputation find to be so, of even one of the causes, that it would be as well to give formal notice to Mr. Packer to attend the adjourned meeting (hear, hear,) to give him an opportunity of offering an explanation, for, if this were not done, there would be a necessity for another meeting . .. Mr. WESTBROOK moved That believing the resignation of Mr. Nigel Gresley, Churchwarden, has reference to the conduct of the organist of St. David's, he be requested by this meeting to attend on Friday evening next, and give an explanation of his reasons for the step he has taken, and also that he be requested to bring all letters connected with the matter . . . Mr. T. WESTBROOK said that . . . He thought this step was the more needed on account of the rumour now afloat relative to the insulting conduct of the organist of St. David's to that gentleman . . .
"ST. DAVID'S CATHEDRAL", The Mercury (17 October 1862), 5
http://nla.gov.au/nla.news-article8811735
We remind those interested in the resignation of the Revd. Mr. Watson, that the adjourned meeting of the seatholders will take place this evening at 7 o'clock in the School-room, Harrington-street, to receive the report of the deputation appointed to wait upon the reverend gentleman. By a resolution passed at the former meeting, Mr. Packer, the organist of St. David's, has been invited to be present to offer any explanations, and Mr. N. Gresley, who has retired from the churchwardenship, has also been requested to attend, with the letters, &c., which have been written on the subject of his retirement. There will, no doubt, be a full attendance.
"TELEGRAPHIC DESPATCH (From our own Correspondent) HOBART TOWN, Friday, 10 p.m.", Launceston Examiner (18 October 1862), 5
http://nla.gov.au/nla.news-article41456505
A large Church of England meeting was held to-night in the Harrington-street School-room in reference to the Rev. Mr. Watson, curate of St. David's. The deputation reported Mr. Watson's reply, which was to the effect that his resignation was caused by the conduct of the Organist of St. David's Church, and he had now accepted a cure in another diocese. A letter was read read from Mr. F. Packer, the organist, which was not deemed satisfactory, and it was reported that Mr. Packer had resigned his office. A letter was also read from Mr. Gresley, a church-warden. It was resolved to recommend that the resignations of Mr. Packer and Mr. Gresley be accepted. Mr. Gresley is sympathised with . . .
"ST. DAVID'S CATHEDRAL", The Mercury (18 October 1862), 5
http://nla.gov.au/nla.news-article8811739
The adjourned meeting of the seatholders was held last evening in the school-room, Harrington-street, for the purpose of receiving the report of the deputation appointed to wait upon the Revd. Mr. Watson, to request him to state the reasons for his resignation of the curacy of St. David's. There was a numerous attendance, and Mr. Calder, in the absence of the Hon. W. Carter, M. L. C., was called to the chair. Mr. T. WESTBROOK as one of the deputation appointed to wait upon the Rev. Mr. Watson to ascertain if he had any objection to state his reason for leaving the diocese, read the following letter: -
GENTLEMEN, - I hope the congregation of St. David's do not consider me insensible of their very great kindness and liberality,
or that I do not duly appreciate their earnest desire to retain my humble services.
The general acceptance accorded me, the restoration of my health, the improved health of my family,
and several other weighty considerations render my continuance in Tasmania highly desirable.
But the insults and annoyances I have received from the organist of St. David's from time to time,
and especially on a recent occasion, render my retention of the curacy impossible, whilst he remains in his present office.
As the only certain protection from such annoyances, I have accepted an appointment in another diocese.
JOHN WATSON.
Mr. WESTBROOK said that he had also received the following letter from the Organist of St. David's:
2, Davey-street, 16th Oct., 1862.
DEAR SIR, I beg to acknowledge the receipt of your letter of this day's date informing me at
"the request of a deputation selected by the meeting of the Seatholders held on Friday last,
to wait upon the Rev. John Watson to ascertain his reasons, for leaving the Curacy of St. David's,
that an adjourned meeting will be held at the Harrington-street School-room to to-morrow evening at 7 o'clock,"
when as my conduct as Organist of St. David's has been impugned, I can, if I think fit address the meeting on the subject.
With every respect to yourself and the seatholders of St. David's, who may attend the meeting to-morrow evening, I must decline to attend for the following reasons: -
On the 4th inst. I wrote to the Ven. Archdeacon Davies,
expressing my regret that the Churchwardens and some of the seatholders of St. David's were under an impression
that I caused the unseemly occurrence which took place at St. David's on the morning of the 28th ultimo,
and respectfully asked for an opportunity of meeting the Archdeacon and the Churchwardens,
in order that they might receive from myself a full explanation of the circumstances of the case.
Again, on the 14th I wrote to the Churchwardens, and in addition to explaining my reasons for using the "Benedicite" on the Sunday in question
apologised to the Churchwardens and through them to the congregation, for that part of my conduct which had appeared insulting to themselves.
But, not having received a reply to either of these communications, I have this day sent in my resignation as organist,
as I was most unwilling that any disturbance should be caused amongst the seatholders on my account.
I am, Dear Sir, Faithfully yours,
FREDERICK A. PACKER.
Thomas Westbrook, Esq. . . .
[Advertisement], The Mercury (18 October 1862), 1
http://nla.gov.au/nla.news-article8811760
ALL SAINTS' CHURCH.- OPENING OF THE NEW ORGAN. -
There will be a Special Service in this Church (D. V.) on MONDAY next, October 20th, at 7 o'clock p.m., to inaugurate the opening of the New Organ,
when a Sermon will be preached by the Rev. F. H. COX, Incumbent of St. John's, and a collection made in aid of the Organ Fund.
Mr. PACKER will preside at the Organ.
"MONTHLY SUMMARY", The Mercury (23 October 1862), 2
http://nla.gov.au/nla.news-article8811915
A VERY beautiful Organ, built by Bishop, Star, and Richardson, after a scheme by Mr. F. A. Packer, has just been erected by Mr. Biggs in All Saints' Church, Macquarie-street. This instrument has two manuals. The great organ extends from CC to F in alt, and the Swell from tenor C to F in alt, and two octaves of Pedals from CCC to C. There are also three composition pedals and two couplers, viz , "Swell to Great" and "Great to Pedals." In the construction of this instrument every facility has been given for tuning and giving access to different parts and the whole of the mechanism is finished in a very superior manner.
"FAREWELL TEA MEETING TO THE REV. J. WATSON", The Mercury (31 October 1862), 4
http://nla.gov.au/nla.news-article8812117
"GRAND AMATEUR CONCERT", The Mercury (1 November 1862), 4
http://nla.gov.au/nla.news-article8812158
Last evening at Del Sarte's Rooms, "a musical amateur performance" took place the proceeds of which, it is intended to hand over to the All Saints' Organ Fund. His Excellency and lady honored the Concert with their presence, and a tolerably numerous and select assemblage graced the occasion, the fairer part of creation forming the larger portion.
Mr. Frederick Packer conducted, and the programme comprised in the first part the Cantata "St. Cecilias Day" by Van Bree, its first performance in Hobart Town. The second part was composed of various vocal and instrumental morceaux. Owing to the absence in the early part of the evening, of some of the vocalists, the first part (to use an Irishism) was the second; but the entirety of the programme was not in any way detracted from thereby. Some of the various pieces were well worthy of approbation; the "Aria Via caro sposim" from Donizetti "Don Pasquale" being charmingly rendered, and a vocal duet "The Fairy Sisters" by F. A. Packer, a very pretty composition, being very pleasingly given. A "Duo Soprani e Contralto" by Gubusse was also worthy of comment. Mons. Del Sarte gave a "Romance Chinoise." We furnish the title, but to our mind, the said title alone had any connection with the Celestial Empire; the Romance itself being a lively French one, and taking enough to obtain an encore.
The Cantata of "St. Cecilia's Day" we think may be described as a pleasing pastoral, the motiff of the melody being the same throughout, and with here and there some effective harmony - as for instance, the chorale "Incense Odours round us hovering". The solo and chorus "Come forward with pleasure," was light and sparkling, the echo "refrain" by the chorus producing a very pretty effect. This piece was loudly applauded and an encore became obligatory. The vocalists numbered between 20 and 30. We have only one word to say as to the vocalisation of the cantate, and that is that the male voices were very unequal; sometimes a positive pausity of sound being manifest, while at others there was even a disagreeable redundancy. The performance concluded with the National Anthem, and we have no doubt from the attendance, that the object of the Concert has met with success.
[Advertisement], The Mercury (4 November 1862), 6
http://nla.gov.au/nla.news-article8812232
SIR - I regret that the reply of the Rev. Mr. Watson to the address presented to him some of the seatholders of St. David's, on Thursday last, contains misstatements that, in self defence, I cannot permit to remain here fused. Mr. Watson asserts that during the last twelve months he has not sent any psalms or hymns up to the Organist, either at or during the Sunday evening service, and in corroboration of this he adduces the Sexton as a witness. I distinctly affirm that he has done so, not occasionally, but constantly - a practice most inconvenient and irregular, as proved by the subjoined letter of the Archdeacon to the Churchwardens (a copy of which was sent to me.) In addition to that testimony, I may state that his own witness (the Sexton) informed me on Saturday morning last, in the presence of Mr. Albert Pitt (who I requested to be present at our conversation), that the document the which Mr. Watson obtained his signature was merely to the effect that these alterations had not been made since my appointment, as Organist, but that he well recollects fresh selections having been, constantly sent up on Sunday evenings during the last twelve months, a few minutes before service - and that he frequently had to save the congregation to find seats as best they could, while he was despatched by Mr. Watson to the organ gallery - and that he often handed those selections to the Organist whilst playing the opening voluntary.
With regard to the hymns mentioned by Mr. Watson (98th and 39th), I positively deny that I ever said I had no tunes for them, the first named goes to a tune composed by my father, and was frequently used by him at St. David's the 39th was selected by Mr. Watson as the second hymn on the evening of the difficulty respecting the 156th hymn (vide my letter Mercury 21st ultimo) and as the latter could not be sung, he would not give any out at all. I never objected to either of those hymns, it was for the 156th that I had not at the moment any music.
The question now resolves itself into one of fact and truth as between us. It is not the first time in Mr. Watson's career that he has brought charges which he could not prove, or sought by misrepresentation and malice to mar the prospects and blast the character of others. Retribution with stern hand has already overtaken him in his ejection from the Wesleyan Missionary Society, and I would simply remind him that in the Methodist Magazine vol. XXVIII, p. p. 1045 to 1054 a narrative of his misdeeds may be found, the concluding words of which will show which of us is most trustworthy. "What then becomes of the solemn asseveration of "Omega," otherwise John Watson, in his letter of this day, the public will judge in this matter, and will also decide whether the slightest reliance can be henceforth placed upon whatever assertion such an individual may choose to make." - Signed by the secretaries of the Wesleyan Missionary Society.
I pass over Mr. Watson's remarks respecting my father's penitence and his (Mr. Watson's) promised forgiveness;
also his assurance that he called at the house after my father's death.
I leave it to his own conscience to decide as to the truthfulness of such a statement.
I remain, Sir,
Your obedient servant,
F. A. PACKER.
Nov. 3rd, 1862.
Richmond, October 25th 1862.
GENTLEMEN - In forwarding you the enclosed note from the endorsed note from Mr. Westbrook I should ill discharge my duty to you as Churchwardens,
either as incumbent of the Cathedral or, as I hope a christian and truthful man, if I were to withhold from you my views of the late occurrences at St. David's Cathedral.
I must premise my statement by informing you that the Incumbent alone is responsible for ordering the services. Some of those services are provided for by the Rubric, which is the statute law, other portions such as the music, psalmody we, are left to the discretion of the Incumbent.
Since my appointment to St. David's I have had no less than seven curates, not one of whom ever interfered with the Incumbent in the ordering of the service, indeed so particular were they that on one occasion, when I was residing at Quamby, the Rev. Mr. Irwin who was curate at St. David's wishing to make some slight alterations in the service wrote to me for permission to do so, although the Bishop was in town and might have given his sanction to the alteration in his own cathedral, his Lordship however, desired a reference to be made to me.
It has been the custom in St. David's, as in all well regulated churches, to practice the psalms and hymns to be sung on the Sunday some day during the previous week. This was the case in the time of my predecessor, the late Dr. Bedford who never had any dispute with the late Mr. Packer. It has been the practice since my appointment now nearly ten years ago, and during that time there has never been a dispute between the Messrs. Packer and the Bishop, the curates of my self, we all worked in harmony.
The Rev. Mr. Watson was the first to interfere with the established usage, and this was at first only a trifling matter. He requested Mr. Packer one Sunday evening to alter the hymn on the notice paper. Mr. Packer's reply was "That he should do so with pleasure, but he would feel obliged to Mr. Watson if in future he would send his selection for practice the day before."
This I believe annoyed Mr. Watson, and I was obliged to interpose. I requested Mr. Packer to send the psalms for a month, they were left on the Vestry table during that time when I made such alterations as I pleased in the morning psalms, and Mr. Watson did the same in those for the evening.
This continued for two or three months, and all went on quietly. He then wished to select hymns suitable to his sermon, this was a reasonable request to which there could not be the slightest demur, provided he would send them in, even the day before. My sole objection was the alteration on the Sunday, to the great annoyance of the Organist and Choir, who had been practising other tunes.
On Sunday, the 21st ult., shortly before the evening service, he altered the two hymns appointed to be sung, when I sent him a note, informing him that "having on the previous evening approved of those on the notice paper, I could not consent to any alterations at that late hour."
On the morning of Sunday, the 28th ult., he sent a selection for the evening of that day, with an offensive message to the Organist. Besides this in the morning service he gave out only two verses of the first appointed Psalm, and after the organist had imprudently supplied the omission by singing all the four verses as previously arranged, Mr. Watson, as if to make the irregularity more noticeable to the congregation, omitted the second appointed Psalm. If Mr. Watson had reason to believe that any misunderstanding existed between himself and Mr. Packer, surely in his position it became his solemn duty at such a time to have endeavoured to conceal it from the congregation. You are aware, too, that after the morning service on that day, he positively refused in the presence of one of the Churchwardens to perform Divine service in the evening, unless his selections of psalms were sung.
Having reviewed the whole case most carefully, I cannot but come to the conclusion that Mr. Watson was the cause of what took place on the 28th ultimo, in acting contrary to my written instructions of the 21st ult. If the congregation were scandalized by Mr. Packer's conduct in singing more than was given out, they were still more so by Mr. Watson altogether omitting the second psalm.
I do not however acquit Mr. Packer of blame; although he was aware of my instructions to Mr. Watson in my note of the 21st ult., he should not have acted on those instructions but have sung only the two verses as given out by the officiating minister, and reported the circumstances to me afterwards. I wrote to him a reprimand to which I received three replies Nos. 1, 2, 3. No. 1 could not be attended to in consequence of my illness, No. 2 is an apology, No. 3, his resignation.
Therefore, as incumbent of St David's,
I consider that Mr. Packer's apology of the 14th October is quite sufficient to meet the necessity of the case,
and that I should be guilty of an act of injustice to him if under the circumstances I should be a party to the acceptance of his resignation.
I remain, Gentlemen, Your faithful servant,
R. R. DAVIES.
The Churchwardens,
St. David's Cathedral.
"ST. DAVID'S CATHEDRAL", The Mercury (13 December 1862), 3
http://nla.gov.au/nla.news-article8813536
"MONTHLY SUMMARY", The Mercury (23 December 1862), 3
http://nla.gov.au/nla.news-article8813828
A MEETING of the seatholders of St. Davids Cathedral, Hobart Town, was held on 12th December, for the purpose of taking into consideration a letter from the Archdeacon to the Churchwardens on the subject of the differences at present existing; and amongst the resolutions the following was carried by a small majority: "That this meeting recommends that Mr. Packer do write to the Churchwardens of St. David's, apologising fully to Mr. Watson and the congregation generally for the continuous insults offered, and also requesting leave to withdraw his resignation."
[Advertisement], The Mercury (18 December 1862), 3
http://nla.gov.au/nla.news-article8813697
MRS. FREDERICK PACKER begs to announce to the inhabitants of Hobarton and her pupils,
that on MONDAY, January 5th, 1863, she will resume giving instruction in Italian and English Singing, and on the Pianoforte
(either to beginners or to those who may require finishing lessons), at her residence, 2, Davey street.
Mrs. Packer will also give lessons (separately) in Scottish Songs and the Music peculiar to Scotland.
Terms may be known from Mrs. Packer, or at the principal Music sellers, 2, Davey-street, December 16, 1862.
1863
[Advertisement], The Mercury (6 July 1863), 3
http://nla.gov.au/nla.news-article8818992
ITALIAN, ENGLISH, SINGING, AND PIANOFORTE.
Mrs. Frederic PACKER has the honour to announce that she will resume her professional duties on the 15th of this month.
2, Davey-street, July 4th, 1863.
1864
[Advertisement], The Mercury (29 December 1864), 1
http://nla.gov.au/nla.news-article8830259
PIANOFORTE AND SINGING.
MRS. FREDERICK PACKER Will resume her professional duties on the 18th of January, 1865.
2, Davey street, Dec. 27th, 1864.
1869
Marriages in the district of Hobart, 1869; Tasmanian names index; NAME_INDEXES:870919; RGD37/1/28 no 126
https://stors.tas.gov.au/RGD37-1-28p80j2k
[No.] 202 / March 1st 1869 St. David's Hobart Town / Frederick Augustus Gow Packer, 30, Bachelor, Marianne Chamberlain, 18, Spinster . . .
"MARRIAGES", The Mercury (4 March 1869), 1
http://nla.gov.au/nla.news-article8857575
PACKER - CHAMBERLAINE. - At St. David's Cathedral, on the 1st instant, by the Ven. Archdeacon Davies and the Rev. Dr. Parsons, Frederick Augustus Packer, Esq., Chief Clerk in the Telegraph Department, to Marianne, fourth surviving daughter of William Chamberlaine, Esq.
1870
"CONCERT", The Mercury (3 May 1870), 2
http://nla.gov.au/nla.news-article8868007
. . . . The duet, "O'er Shepherd pipe," was undoubtedly the gem in the first part of the programme, and secured for what we believe was Mr. Arthur Packer's maiden attempt, favourable recognition in the shape of an enthusiastic encore . . .
1885
"Deaths", The Mercury (28 February 1885), 1
http://nla.gov.au/nla.news-article9101210
PACKER. - At Sydney, on Wednesday, 25th February, Marion, wife of Frederick A. Packer, Clerk of the House of Assembly.
1888
[Advertisement], The Mercury (19 July 1888), 1
http://nla.gov.au/nla.news-article9194085
1890
Marriages in the district of Hobart, 1890; Tasmanian names index; NAME_INDEXES:911119; RGD37/1/49 no 825
https://stors.tas.gov.au/RGD37-1-49p450j2k
[No.] 477 / Nov. 22. 1890 S. David's Cathedral / Frederick Augstus Gow Packer, full age, Clerk of the House of Assembly, Clarice Octavia Allison, full age . . .
1893
23 February 1893, death of Augusta Packer
Deaths in the district of Hobart, 1893; Tasmanian names index; NAME_INDEXES:1139168; RGD35/1/14 no 200
https://stors.tas.gov.au/NI/1139168
https://stors.tas.gov.au/RGD35-1-14p23j2k (DIGITISED)
[No.] 200 / 23rd February 1893 / Augusta Packer died Barracks, Hobart (Born England) / Female / 77 years / (1) Apoplexy (2) Hemiplegia / . . .
"DEATHS", The Mercury (24 February 1893), 1
http://nla.gov.au/nla.news-article13268034
PACKER. - On Thursday, February 23, at her residence, in the Military Barracks, aged 77, Augusta, relict of the late Frederick Alexander Packer, formerly of Reading, Berks, England, granddaughter of Scotland's celebrated musician, "Niel Gow," and youngest and only surviving daughter of his son, Nathaniel Gow, composer of "Caller Herrin," etc., etc.
"PASSED AWAY", The Mercury (24 February 1893), 2
http://nla.gov.au/nla.news-article13268046
Our obituary notices of to-day record the death of Mrs. Augusta Packer, a colonial of many years, who passed away yesterday, deservedly beloved and respected. The deceased lady, who died full of years, even beyond the allotted "three score and ten", was stricken by paralysis some years ago, but retained her faculties in singular brightness up to within two days of her decease. As the grand-daughter of Scotland's famous musician, Niel Gow, aid the daughter of his equally famous son, Nathaniel Gow (composer of Caller Herrin') it is not to be wondered at that her own musical abilities were of the highest order. At an early age - when Miss Gow - she studied at the Royal Academy of Music, and was regarded as one of its most accomplished students, Costa, Moscheles, and Cipriani Potter, the most celebrated men of the day, being among her instructors. The deceased lady leaves a large family, nearly all of which are married and settled in Tasmania, including Mr. F. A. Packer (Clerk of Parliament), Mr. John Packer (Under Treasurer), Mr. A. H. Packer (H. M. Customs), Mr. H. E. Packer (Ministerial Secretary), and Mr. R. K. Packer of the Queensland Telegraph Service.
"DEATH OF MRS. PACKER", Launceston Examiner (24 February 1893), 8
http://nla.gov.au/nla.news-article90226892
Mrs. Packer, the respected mother of Mr. J. E. Packer, Under-Treasurer, and of Mr. F. A. Packer, Clerk of the House of Assembly, died to-day, aged 73. She came of an old Scotch family, and claimed lineage with the celebrated Neil Gow. She was one of our leading musicians, and her death severs another link in the musical past of the colony. The deceased lady was a kind and affectionate mother and made many faithful friends. So intimately has her name been connected with the rise and progress of music in the colony that it will be handed down from generation to generation as that of a lady whose whole soul was devoted to keeping up a high and pure standard of music. As a citizen she was highly respected and esteemed by all who know her. She was quiet and genial, and always polite and ladylike. Mrs. Packer has been in failing health for some time, and passed quietly away, thus closing the record of a useful life, the memory of which will live long in the hearts of those who knew her worth, both as a lady and a musician.
"A Noted Family", Tasmanian News (25 February 1893), 2
http://nla.gov.au/nla.news-article185220177
One by one the links which connect the Present with the Past are being slowly snapped -
old customs are dying out, old associations are fading, old forms are passing away.
Those who have been born and reared amid scenes embalmed in song and story must feel a pang when hallowed memories begin to grow dim -
memories dear to susceptible minds by all that is good and noble and true in human nature.
In this utilitarian age those who are still influenced by the finest emotions which patriotic feeling nurtures,
reluctantly separate themselves from all that is sacred to their hearts;
and even where success has followed them to a strange land, the plaintive cry oft-times ascends -
O, why left I my home?
Why did I cross the sea?
The touching cadence of some sweet melody, the sight of a sprig of heather, a "kent face" from the old land,
all eloquently appeal to leal-hearted sons and daughters of Caledonia on this side of the globe.
There's a magical tie to the land of their birth which the heart cannot break though the footsteps may roam - and in no one was that loyalty more deeply rooted than in the fine old lady over whom the grave closed to-day. Few of the present generation were possibly aware that there dwelt in our midst such an interesting specimen of good old Scottish times as Mrs. Augusta Packer, who peacefully passed away on Thursday morning at her residence in Barrack Square. Endeared to her family and friends by numberless graces, her personal charms and solid accomplishments were once the theme of unstinted praise in the social and musical circles of Hobart in years gone by. But wonder need not be felt at Mrs. Packer's possession of so many natural gifts, refined by the influences of education, when it is remembered that she was the daughter of Nathaniel Gow, son of the famous Neil Gow, whose name was and is a household one throughout the length and breadth of Scotland. Of him it has been truly said: -
"He was one of Nature's musicians, and confined himself to what genius can conceive and execute, without the intervention of much science - the composition of melodies: and, after all, melody is the true test of musical genius; - no composition, however philosophical, learned, and elaborate, can live, if it wants its divine inspiration, and the science of Handel, Haydn, and Mozart, would not have rescued their names from oblivion, had the soul of melody not sparkled like a gem through all the cunning framework and arrangement of their noble compositions. He composed a great number of tunes, nearly a hundred of which are to be found in the collections published by his son Nathaniel, at Edinburgh. The greater portion of them are of a lively character, and suited for dancing, such as reels, strathspeys, and quick steps. It would not be interesting in a notice like this to enumerate the titles of so many compositions; but we may safely refer to the beautiful air of "Locherroch side," to which Burns wrote his pathetic ballad of "Oh! Stay, Sweet Warbling Woodlark, Stay," and which is equally effective as a quick dancing tune. - to the "Lament for Abercairney" and his "Farewell to Whisky" - as specimens which entitle him to take his place among the best known composers of Scottish music which our country has produced."
He died as he had lived, respected by all who knew him (and who didn't?) leaving behind him two sons, of whom Nathaniel was the youngest. A countryman wrote thus about the gifted son of a gifted father: -
"It is difficult to describe the influence, success, and reputation of Nathaniel Gow, during all the time he conducted the fashionable bands in Edinburgh and throughout Scotland; but certain it is, that in these respects he stands at the head of all that ever trode in the same department. Not only did he preside at the peers' balls, Caledonian hunt balls, and at the parties of all the noble and fashionable of Edinburgh, but at most of the great meetings and parties that took place throughout Scotland and in several instances he was summoned to England. No expense deterred individuals or public bodies from availing themselves of his services; and it appears from his memorandum books, that parties frequently paid him from one hundred to one hundred and fifty guineas, for attending at Perth, Dumfries, Inverness, etc., with his band. One of the first objects in the formation of fashionable parties, was to ascertain if Gow was disengaged, and they would be fixed, postponed, or altered to suit his leisure and convenience. He visited London frequently, though he resisted many invitations to settle there permanently."
Nathaniel Gow was twice married, and Mrs. Packer was the youngest daughter of the second family.
Miss Augusta Gow was described at the time as an elegant and accomplished young lady with a very fine voice,
who promised to keep up the musical reputation of the family.
Those who had the pleasure of listening to her beautiful voice after she arrived in Tasmania with her husband,
Mr. Packer, of Reading, still speak in ecstacies of her interpretation of Scottish ballads.
Love of home and domestic cares prevented the talented gentlewoman from coming much to the front. Her chief concern was: -
To make a happy fireside clime
To weans and wife,
That's the true pathos and sublime
Of human life.
But those who were numbered among her friends were delighted and instructed with her musical accomplishments and powers of conversation.
A pattern in every relation of life, Mrs. Packer was adored by her children beloved by her friends.
In a word, she was one of the dearest, truest, best, and most honorable of women.
And amid sickness and trials her breezy nature never drooped -
and to those who knew her best the plaintive strains of the "Land o' the Leal"
- a song she sang with exquisite feeling - will re-echo in their ears, reminiscent of old times and old familiar faces.
As she was "wearin' awa'" her mind remained unclouded, and sure are we that the lines her thrilling voice so often sang would
be uppermost in her thoughts, comforting her by the early prospect of the -
Joy that's aye to last
In the land o' the leal.
1900
24 August 1900, death of John Edward Packer, North Sydney, NSW
"OBITUARY", The Mercury (27 August 1900), 3
http://nla.gov.au/nla.news-article12809144
Very general regret was expressed yesterday when it became known that Mr. John E. Packer, formerly Under Treasurer of the colony, had passed away at his residence in Sydney . . . Though his long residence in these colonies makes him almost an Australian, he was an Englishman by birth, and a native of the ancient Benedictine abbey city of Reading, capital of Berkshire, where his father, F. Alexander Packer (a member of the Royal Academy of Music), was for many years organist of the Minster (St. Lawrence's church). It was here the subject of this notice received his earliest musical education. He came out to Tasmania with his parents in the early fifties, and when in his teens entered the office of Messrs. Huybers and Hammond, merchants, Murray-street. He was an enthusiastic musician, his father being his chief instructor, though he was indebted for much of his musical education to his mother, an accomplished pupil of Costa's at the Royal Academy of Music, and the youngest daughter of Nathaniel Gow, composer of "Caller Herrin," and grand-daughter of Scotland's national musician, the celebrated Neil Gow, of immortal fame. Mr. Packer was for many years organist of All Saints' Church, and afterwards he occupied a similar position at St. George's, Battery Point, and through his strenuous exertions the choir of that church for many years held a position second to none amongst the southern churches . . . He was the author of many musical compositions, which have been most favourably reviewed. That sweetly pretty hymn, "At even when the sun was set," came from his pen. Like his gifted uncle, the late Charles S. Packer, composer of the "Crown of thorns," and his brother, Mr. F. A. Packer, the generally recognised musician and composer of this colony, he was a skilled pianist. . . . The deceased retired on a pension some four years ago, and, finding the climate of Tasmania not suited to his failing health, he took up his residence in Sydney. At St. George's Church yesterday the "Dead March" in Saul was played at both the morning and evening service, and reference made to his services in the parish.
"Obituary. JOHN EDWARD PACKER", Tasmanian News (27 August 1900), 2
http://nla.gov.au/nla.news-article185244759
It is with very great regret that we have to chronicle the death of Mr. John Edward Packer, formerly Under Treasurer of this colony, who died at his residence, North Shore, Sydney, last Saturday morning . . . Mr Packer had been connected with the Government service of the colony ever since the year 1860, when he entered the Telegraph Department as an operator, being subsequently transferred to be in charge of the Launceston office, and afterwards became superintendent of the telegraph system of the colony. In 1867 Mr. Packer was appointed to the position of Ministerial clerk in the Treasury, and continued in that vacancy until the decease of the then Under-Treasurer, the late W. H. Windsor, when Mr. Packer succeeded to the position. In this position he discharged his duties in such a manner which proved that the Government had made a wise selection, as Mr. Packer was an excellent officer, and his untiring efforts in performing the duties required of him rendered him a very valuable official in the ranks of the Civil Service . . .
Mr. Packer was the son of the late Frederick Alexander Packer, a member of the Royal Academy of Music, and was for many years organist of the Minster, St. Lawrence's Church (and to whose memory, by the way, (the parishioners of the church, a few years back, erected a handsome memorial window), whilst his mother, who was also a member of the Royal Academy of Music, was a grand-daughter of Scotland's national composer, the celebrated Neil Gow of immortal fame; her father being Nathaniel Gow, the composer of the famous balled "Caller herrln'," and other national music. Mr. John Packer, coming of a musical strain, also proved a conspicuous figure in the musical world. He was for some years organist of All Saints Church, and between the last 25 and 30 years organist of St. Gcorge's Church, Battery Point, where the excellence of the music rendered by the choir proved him to be a competent instructor and enthusiastic musician. He was also for years a church warden. Mr. Packer has written many sacred hymns and church tunes, and was the composer of that sweetly pretty hymn "At even ere the sun was set", and in conjunction with his brother, Mr. F. A. Packer (the generally recognised composer of the colonies) he produced some church music of a thoroughly acceptable character.
Mr Packer was twice married, his first wife being Miss Harrison, a daughter of the late Hezekiah Hill Harrison, of Merton Vale, Campbell Town, by whom he had two children, one of whom married to Mr. Arthur Rekford. His second wife was a Miss Clyde, daughter of a retired army officer, a lady of considerable accomplishments, and by her he leaves four children to mourn their loss. Mr Packer was a brother of Mr. Arthur H. Packer, who holds a position in the Customs Department, and Mr. H. E. Packer, who is Secretary for Public Works.
At the St. George’s Church yesterday the Rev. H. C. Wisdom made a fitting reference to the deceased gentleman, and spoke of his many qualities as a man and his devotion to church work, and at the commencement of the morning service the organist, Mr T. J. Haywood, played the "Dead March in Saul". In the evening a special musical service was arranged, at which some of the late Mr. Packer's favorite hymns were sung, including "Nearer my God to Thee,” which was composed by his father; and after the offertory the "Dead March" was again played, the entire congregation standing, out of respect to the deceased. As a mark of the esteem in which Mr. Packer was held by the parishioners of St. George's a handsome floral wreath was prepared by members of St. George's Choir, and placed at the organ in memory of one whose faultless life had won the respect and affection of all those with whom he was connected.
1902
1 August 1902, death of Frederick Augustus Packer, Parramatta, NSW
"DEATH OF MR. F. A. PACKER", The Mercury (2 August 1902), 5
http://nla.gov.au/nla.news-article958083
It will be heard with great regret that Frederick Augustus Packer, formerly Clerk of the House of Assembly, Tasmania, died on the 1st inst, at Sydney, where he had resided for some years past. Mr. Packer was the fourth generation of a race of musicians, on the mother's side. His great grandfather was Mr. Neil Gow, a Scotch musician of some celebrity in his day, and his grand-father was Mr. Nathaniel Gow, the composer of the favourite Scotch song, "Caller Herrin'" - in itself sufficient to give fame. Mr. Packer's mother was, in early life, a student at the Royal Academy of Music, where, among her masters, were the famous Moscheles, Cipriani Potter, and Sir Michael Costa. Miss Gow became the wife of Mr. Frederick Alexander Packer, R.A.M., of Reading, Berkshire, and died at the Military Barracks, Hobart, on the 23rd February, 1892, aged 77 years. Amongst her children, as well as the son who died on the 1st, were the late Mr. John Packer, Under-Treasurer; Mr. A. H. Packer, of the Customs Department, Mr. R. K. Packer, of the Queensland Telegraph Service; and Sir. H. E. Packer, now Secretary for Public Works. Mr. F. A. Packer, who has just died, was well-known as the composer of a number of admired songs, the best-known of which is "I am listening". He will be long remembered in Hobart musical circles as an organist of much capability. He had been in bad health for a long time past, and his death was hardly unexpected.
"DEATH OF MR. F. G. PACKER", The Sydney Morning Herald (4 August 1902), 5
http://nla.gov.au/nla.news-article14481885
We have to record the death at Parramatta on Friday last of Mr. Frederick Gow Packer, the well-known songwriter and composer. The deceased gentleman, who was born at Reading, Berkshire, came of musical stock. He came to Australia in his early manhood, and subsequently held for about 16 years the office of clerk of the House of Assembly, Hobart. About five years ago he retired on a pension and settled in Sydney, where, for about six months-during Mons. Wiegland's visit to Europe - he held the latter gentleman's position as organist at St. Patrick's. Shortly after paralysis set in, and now, after a weary struggle of four yours, the end is come. As a composer Mr. Packer excelled in the gift of melody. His ballad "Listening" and his "Ave Maria" are probably known throughout the English-speaking world. He also set to music Longfellow's "Wreck of the Hesperus", several fine cantatas for public functions, and a comic opera, "Sweet Simplicity", performed at the Hobart and Launceston theatres. He was organist at St. David's Church, Hobart, for many years. No musical movement in that city seemed complete without him, and he worked hard in assisting to raise the funds necessary to purchase the Hobart Town Hall and St. David's Church organs. He was twice married, leaving a grown-up family by his first wife, and two little boys by the young widow who survives him.
"MUSIC AND DRAMA", The Mercury (19 December 1922), 7
http://nla.gov.au/nla.news-article23615485
"CENTENARY OF ST. DAVID'S CHOIR", The Mercury (21 June 1937), 3
http://nla.gov.au/nla.news-article25407442
Musical works (Charles Sandys Packer)
A chronological worklist of Charles Sandy's Packer's documented musical works and publications, extant and lost, complete draft as at June 2019
See also:
http://worldcat.org/identities/lccn-no93011044
https://trove.nla.gov.au/music/search?l-publictag=Charles+Sandys+Packer
KEY: Extant works (published or MS); Lost works (or no copy yet identified)
England
3 canons (1824)
Above, opening of Canon [1], image reproduced by kind permission of the Royal Academy of Music, 2017
London, Royal Academy of Music, library, MS203 [Royal Academy of Music students' compositions, 1823-33], from online catalogue record (http://lib.ram.ac.uk):
[1] Canon 3 in 1, 8've above [in E major], C. S. Packer, Nov. 19th, 1824 (pp. 41-42)
[2] Canon 4 in 2 on the 8've above [in C minor], C. S. Packer. Decr 11th, 1824 (pp. 46-47)
[3] Canon 2 in 1, 12th above [in B flat major], C. S. Packer March 25th, [1824] (p. 55)
This 250 page collection of bound manuscripts contains student exercises by many of those pupils named in other documentation presented, and also including several by Anne Riviere (Anna Bishop)
DOWNLOAD PDF (courtesy of the Royal Academy of Music, 2017)
Sinfonie (Symphony in D) (n.d. ? c.1830s)
Above, Sinfonie, pages 1 and 2 of the principal violin part, images reproduced by kind permission of the Royal Academy of Music, 2017
Royal Academy of Music, library, Orchestral library 282; from online catalogue record (http://lib.ram.ac.uk):
[covers] Sinfonie [in D major], S. C. Packer [sic] / C. S. Packer [headings]
MS orchestral parts: principal violin, 2nd violin, viola, violoncello e basso 1o, flutes, oboes, clarinets (C), bassoons, horns, trumpets, trombone and timpani; a single movement consisting of short slow introduction (Adagio, C, D minor) and sonata section (Allegro moderato, 3/4, D major).
Del fallo m'avvedo (recitativo: "Basta! Basta!"): scena (f.p. ? 1825; publ. 1828)
Above, pages 1 and 4, images reproduced by kind permission of the Royal Academy of Music, 2017
Scena, recitativo, Basta! Basta!, ed aria, Del' fallo m'avvedo, the words from Metastasio's La morte d'Abelle, sung by Mr. A. Sapio, composed and respectfully dedicated (by permission) to the Right Hon. the Committee of the Royal Academy of Music, hy Charles S. Packer, member of that institution
(London: published for the Author, by S. Chappell, No. 135, New Bond-street, [1828])
Copy at the British Library, Music Collections H.2832.f.(6.); 004565778
Copy at Royal Academy of Music library (47.51 PACKER, C.S.)
ONSITE PDF (DOWNLOAD) (courtesy of the Royal Academy of Music, 2017)
[Advertisement], The Berkshire chronicle, Windsor Herald, and Forest Vale, and general advertiser (10 May 1828), 2
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000358/18280510/032/0002 (PAYWALL)
Just published. SCENA, RECITATIVE, Basta Basta, ED ARIA, Del fallo m'Avvedo;
from Metastasio's La Morte d'Abelle, sung by Mr. A. SAPIO. -
Composed and respectfully dedicated (by permission) to the Right Hon. the Committee of the Royal Academy of Music, By C. S. PACKER, Member of that institution.
London: published for the Author, by S. Chappel, 135, New Bond-street, and to be had of Mr. C. Packer, Music Saloon, 123, Castle-street, Reading.
"NEW MUSIC", The athenaeum 2/34 (18 June 1828), 539
http://books.google.com.au/books?id=ppsTAAAAYAAJ&pg=PA539 (DIGITISED)
A very correct, clever, and well-imagined production, certainly exhibiting excellent promise about the incipient production of so young a writer . . .
Scena Recitativo, "Basta! Basta!" ed aria, "Del fallo m'avvedo." The words from Metastasio's "La Morte d'Abelle. Sung by Mr. A. Sapio; composed, and respectfully dedicated (by permission) to the Right Honourable the Committee of the Royal Academy of Music, by C. S. Packer, Member of that Institution, Chappell. 3s.
A VERY correct, clever, and well-imagined production, certainly exhibiting excellent promise about the incipient production of so young a writer. We cannot but fear that the vocal part, being necessarily written (to be sung by A. Sapio) in the bass clef, this scena will scarcely obtain circulation sufficient to render it popular, and to repay the expense of publication; but it deserves, therefore, the greater credit, from the independence with which it is offered to notice.
The recitativo abounds with ingenious modulation, and must be very effective with orchestral accompaniments; the andante Larghetto (in a flat, 3-4 time) exhibits a pleasing aria to the words "Del fallo m'avvedo;" and the concluding Presto Furioso, is clever and characteristic.
Duo concertante for piano and violin (? 1828)
"Concertante Duet, composed by Mr. C. S. Packer, for the piano-forte and violin"
? First performance, Reading, 11 December 1828; Charles S. Packer, piano; C. Lucas, violin
LOST MS; NOT YET INDENTIFIED
Several later Australian performances of a Duo concertante by Packer for piano and violin, plausibly the same work, were advertised and reported
Crudo ciel (recitativo: Oh me infelice): scena nell'opera "Bayardo e Gastone" (? f. p. 1830)
Above, pages 2 and 6, images reproduced by kind permission of the Royal Academy of Music, 2017
SCENA - "Ah me infelice," Miss CHILDE, composed and dedicated, by permission, to Her Grace the Duchess of Wellington, by C. S. Packer
? First performance, Reading, 15 April 1830
Scena, recitative, Oh me infelice, ed aria Crudo ciel, nell opera Bayardo e Gastone, sung by Miss Bellchambers, composed and most respectfully dedicated by permission to Her Grace the Duchess of Wellington, by Charles S. Packer, member of the Royal Academy of Music in London
(London: Published for the author by S. Chappell, . . . 135, New Bond Street, [1830/31])
Copy at Royal Academy of Music library (47.51 PACKER, C.S.)
DOWNLOAD PDF (courtesy of the Royal Academy of Music, 2017)
God save the king (arr. Packer, 1830)
Finale - "God save the King, newly arranged expressly for this Concert, by C. S. Packer.
? First performance, Reading, 15 April 1830
LOST MS
Di luna al raggio pallido (terzettino) (1830: ? f.p. 1831)
Di luna al raggio pallido, terzettino, [words] Carlo Pepoli, [music] C. S. Packer
De Luna al Raggio; terzettino, composed expressly for the Misses Carlisle, to whom it is dedicated, by C. S. Packer (London, [? ], [? 1830-4])
Copy at the British Library, Music Collections H.2826.c.(26.); 004565779
Modern edition, typeset, by Tyrone Landau, London, August 2020
ONSITE PDF (DOWNLOAD)
Words from Carlo Pepoli, "Canzoni Anacreontiche da poesi in musica", no. 3
In Per le faustissime nozze della nobil donzella march . . . (Florences: Di Dante, 1825), [PP31]
https://books.google.com.au/books?id=XwlBAAAAcAAJ&pg=PP31
Oh, pleasant land of France, farewell (? 1832)
Dramatic scene [Mary, Queen of Scots] Oh, pleasant land of France, farewell; words Mary Russell Mitford, music Charles Sandys Packer
? First performance, London, April 1832
? LOST MS; NO COPY IDENTIFIED
[Words] Mary Russell Mitford, Our village: sketches of rural character and scenery, volume 5 (London: Whitaker, Treacher, & Co., 1832), 298-99
https://books.google.com.au/books?id=B8MQAAAAYAAJ&pg=PA298
Oh think of me (by 1834)
Oh think of me; composed and dedicated to Lady Colvile, by C. S. Packer.
([? London: ? 1834])
NO COPY IDENTIFIED
For advertisement see above 20 September 1834
May day (by 1834)
May day; words by Miss Mary Russell Mitford - C. S. Packer
([? London: ? 1834])
NO COPY IDENTIFIED
For advertisement see above 20 September 1834
How often in that silent hour (by 1834)
How often in that silent hour; ballad, composed by C. S. Packer.
([? London: ? 1834])
NO COPY IDENTIFIED
For advertisement see above 20 September 1834
Sadak and Kalasrade; or, The waters of oblivion (opera in 2 acts, 1835)
Sadak and Kalasrade; or, The waters of oblivion, a romantic opera in 2 acts, words by Mary Russell Mitford, music by Charles Sandys Packer; first performed, Lyceum English Opera House, London, 20 April 1835
Original MS performance materials for the 1835 London premiere, London, British Library:
Additional MS 36575 (422 folios; piano score, acts 1 and 2, fols. 1-230; various vocal partbooks, fols. 231-422)
Add. MS 36576 (341 folios, orchestral parts, winds, brass, harp, &.)
Add. MS 36577 (449 folios, orchestral parts, strings)
Add. MS 33811 (240 folios, overture, orchestral parts)
Wordbook, published May 1835:
Sadak and Kalasrade; or, The waters of oblivion, a romantic opera in two acts by Mary Russell Mitford . . . first performed at the New Theatre Royal, Lyceum and English Opera House, on Monday, April 20, 1835, the whole of the music composed by Mr. Packer of the Royal Academy
(London: Printed for the proprietor by S. G. Fairbrother, 1835)
http://access.bl.uk/item/pdf/lsidyv3493c28e (DIGITISED)
https://www.loc.gov/resource/musschatz.12747.0 (DIGITISED)
See also collected edition, with Mitford's later introduction:
Mary Russell Mitford, The dramatic works, vol. 2 (London: Hurst and Blackett, 1854), 1-45
http://books.google.com.au/books?id=oANMAAAAcAAJ&pg=PA1
Modern edition of the Overture and terzetto O'er the far mountain, by Tryone Landau (April 2017):
http://mail.imslp.org/wiki/Sadak_and_Kalasrade_(Packer,_Charles_Sandys)
Modern edition of the partially incomplete manuscript remains of the Finale, by Tryone Landau (February 2022):
Full score (ONSITE PDF)
Orchestral parts (ONSITE PDF)
Vocal score (ONSITE PDF)
The prodigal son ("I will arise and go to my father") (published 1841 or earlier)
"THE PRODIGAL SON. Luke XV, 18, 19. C. Packer", in Psalm and hymn tunes, chants, Sanctuses, responses, &c. harmonized for three voices by W. Hawes (London: Hawes, [n.d., ? 1840-5]), 2
https://books.google.com.au/books?id=U7h7rqdB400C&pg=PA2 (DIGITISED)
"ANTHEM. C. PACKER", in Gems of sacred melody; a choice collection of Psalm and Hymn tunes . . . by George Worgan (London: S. Low, 1841), 3
https://books.google.com.au/books?id=Rgjz6LHPDNAC&pg=PA3 (DIGITISED)
"THE PRODIGAL SON. Anthem, composed by C. Packer" [words only], in ]Henry Slight (ed.)], The sacred lyrics of the liturgy, as ordered to be used with music, in the public worship of the Anglican church (Portsmouth: J. Miller, 1841), [8]
https://books.google.com.au/books?id=GAw0V2pR0K8C&pg=PA8 (DIGITISED)
See also "THE ORPHEONIST SOCIETY", Empire [Sydney, NSW] (30 July 1861), 5
http://nla.gov.au/nla.news-article60483750
. . . Mr. Packer's very beautiful solo and chorus, "I will arise," from an MS. Oratorio, concluded this first part of the programme . . .
"MUSIC AND DRAMA", Sydney Mail [Sydney, NSW] (3 August 1861), 4
http://nla.gov.au/nla.news-article166694883
THE "Orpheonists," a new musical society, under the guidance of Mr. Charles Packer, gave a preliminary concert on Monday evening last, in the hall of the School of Arts, Pitt-street . . . The concert consisted principally of selections from the oratorio of "Eli;" a piece from an unpublished oratorio, "The Prodigal Son," by Mr. Packer, was also performed and well received . . .
Australia
Duo concertante for violin and piano forte (1845)
NO COPY IDENTIFIED; UNPUBLISHED
"CHAMBER CONCERT", The Courier [Hobart, TAS] (18 October 1845), 2
http://nla.gov.au/nla.news-article2947156
Mr. Russell's third concert came off on Thursday evening, before a numerous assemblage, including a fair proportion of the elite of the town. The instrumental parts were of a pleasing and well-selected description. The variations on the march, from "I Puritani," by Mr. Packer, the overture, "Sadak and Kalasrade," and the "Duo concertante," by Messrs. Russell and Packer, received particular attention . . .
[Advertisement], Colonial Times [Hobart, TAS] (28 April 1848), 2
http://nla.gov.au/nla.news-article8762756
MUSIC HALL. MR. CHARLES S. PACKER'S MAY-DAY CONCERT . . .
PROGRAMME . . . PART II . . . Duo Concertante - Violin and Pianoforte - Packer . . .
"THE CONCERTS", Colonial Times (2 May 1848), 3
http://nla.gov.au/nla.news-article8762761
Mrs. Chester's concert on Friday evening, at the Mechanics' Institute, was very genteely, and indeed numerously attended . . . Mr. Packer's concert, which was given last evening at the Music Hall, was not so well attended as we expected . . . the Duo Concertante, in the second part, for violin (Howson) and pianoforte (Packer) was a splendid performance . . .
ASSOCIATIONS: William Wilkins Russell (violin); Henry Howson (violin); Marian Maria Chester (vocalist)
May day (1848; publ. 1854; see also 20 September 1834 above)
May day ([Sydney: W. J. Johnson, 1854])
NO COPY IDENTIFIED
[Advertisement], The Courier (29 April 1848), 3
http://nla.gov.au/nla.news-article2969239
MUSIC HALL. PROGRAMME OF CHARLES S. PACKER'S May Day Concert. PART I . . . Pastoral Ballad - May Day - Packer . . .
[Advertisement], The Sydney Morning Herald (24 January 1854), 1
http://nla.gov.au/nla.news-article12951589
NEW MUSIC. Charles S. Packer's beautiful Ballad, "May Day."
Published this day, by W. J. JOHNSON and Co., Musical Repository, 311, Pitt-street.
ASSOCIATIONS: William Jonathan Johnson (publisher)
National recollections (improvised, 1849)
Souvenirs de l'opera Français (improvised, 1849)
Souvenirs de l'Opera Italien (improvised, 1849)
IMPROVISED; LOST
[Advertisement], The Britannia and Trades' Advocate [Hobart, TAS] (4 January 1849), 3
http://nla.gov.au/nla.news-article226531600
MUSIC HALL, COLLINS STREET.
CHARLES S. PACKER'S CONCERT OF Vocal 7amp; Instrumental Music,
Monday Evening, Jan. 8, 1849 . . .
Extemporaneous performance on the Eolophon - "Souvenirs de l'Opera Italien." . . .
Extemporaneous performance on the Eolophon - Souvenirs de l'Opera Francais." . . .
Extemporaneous performance on the Eplophon - "National recollections" . . .
"PACKER'S CONCERT", The Courier (10 January 1848), 2
http://nla.gov.au/nla.news-article2967082
PACKER'S CONCERT was well attended last Monday evening. The songs of "King Frederick's Camp" and the "Forbidden Door" were sung with exquisite taste and feeling by Mr. Packer, and met an encore. Mr. Packer's extemporaneous performances on the Eolophon were listened to with marked attention.
Little Nell (Oh! come again tomorrow) (1852; published 1857; published London 1858)
https://trove.nla.gov.au/search?l-publictag=Little+Nell+(Packer) (TROVE tagged by Australharmony)
Little Nell, a ballad, founded on an incident in "Master Humphrey's Clock," the poetry by Charlotte Young, sung, with enthusiastic applause. by Madame Anna Bishop, to whom it is dedicated by her friend and fellow student, the composer, Charles S. Packer (Sydney: W. J. Johnson & Co., [1857])
https://trove.nla.gov.au/work/5492748
https://nla.gov.au/nla.obj-166512347 (DIGITISED)
See also London edition, as "O come again tomorrow; words: R. R. [sic]; music: Charles Packer (London, [1858])"
Copy at British Library, Music H.1771.o.(1.);004565777
And later US edition (Boston: Oliver Ditson & Co., 1868)
https://catalog.hathitrust.org/Record/101773829 (DIGITISED)
"THE CONCERT", Colonial Times [Hobart, TAS] (20 August 1852), 2
http://nla.gov.au/nla.news-article8771966
. . . Mr. Packer sung "Little Knell," [sic] "She wore a wreath of roses," and "Green Leaves," with fascinating sweetness . . .
[Advertisement], The Sydney Morning Herald (24 September 1857), 1
http://nla.gov.au/nla.news-article13000970
LITTLE NELL, a new ballad, sung by Madame Bishop, price, 2s 6d. JOHNSON and CO, 57, Pitt-street.
NOTE: Sung by Anna Bishop at her first London concert on her return to England, on 13 December 1858, and on most programs on her ensuing tour of the provinces and Ireland with the popular but ill-fated conductor Louis Jullien and violinist Henry Wieniawski through the new year of 1859.
[News], The Times [London] (14 December 1858); reprinted in "MADAME ANNA BISHOP", The Age [Melbourne, VIC] (12 February 1859), 6
http://nla.gov.au/nla.news-article154839739
The return of Madame Anna Bishop, after more than ten years wanderings in search of artistic honor and profit, has restored a genuine vocalist to our musical circles . . . The ballad-singing, it must be owned, impressed in the least, although, if put to the task, we should be puzzled how to criticise it, unless with the general charge of being somewhat over-labored. Perhaps the striking inferiority in a musical sense of "Oft in the stilly night" (we, of course, make reservation for the words), and worse, of such a faint gush of sentimentality as the American ballad, "Oh! come again to-morrow" (in which an episode from Mr. Dickens' "Curiosity Shop" has but poorly inspired the composer) to the other pieces comprised in the programme may have been the reason why the ballad singing of Madame Bishop seemed less spontaneous, less irreproachable than the rest . . .
"MADAME ANNA BISHOP'S CONCERT", Morning Advertiser (14 December 1858), 3
After an absence from England of some years, Madame Anna Bishop presented herself before a London audience last evening at Exeter-hall . . . in a new ballad, composed expressly for her Charles Packer, entitled "Oh, come again to-morrow," written upon the episode of Little Nell and her grandfather, in Dickens's Old Curiosity Shop, she again displayed so much truthfulness, delicacy, and judgment as a ballad singer, as to make it evident that she had the greatest possible command over her voice, and that she could adapt it at will to every phase of the vocal art . . .
"MADAME BISHOP'S CONCERT AT EXETER HALL", Morning Chronicle (14 December 1858), 4
. . . Madame Bishop then rendered Moore's ballad of "Oft in the stilly night" with great taste and expression, and subsequently a new ballad, "Oh come again to-morrow," the words by Lovell, the author of the "Wife's Secret," the music being expressly composed for her by Charles Packer. In this she was most happy, and I at once established herself in her old position in public favour . . .
"M. JULLIEN'S GRAND CONCERT", Yorkshire Gazette (8 January 1859), 10
Once more has M. Jullien been amongst us, bringing with him his talented and delightful band . . . Little need we wonder then that the Festival Concert Room was on Wednesday evening again occupied by a brilliant, fashionable, and delighted audience . . . In the ballad "O come again to-morrow," Madame Bishop created a great sensation, which became quite a furore, when, on being encored, she substituted "Home, sweet home." We must not omit to mention how much were pleased by the first mentioned ballad, which cannot fail to become a great and deserved favourite . . .
"M. JULLIEN'S FAREWELL CONCERT", Saunders's News-Letter [Dublin, Ireland] (22 January 1859),
. . . But perhaps that portion of the second part which affected the audience most was the ballad, "Oh, come again to-morrow," sung by Madame Anna Bishop with great sweetness and musical precision. The applause was most fervent, and Monsieur Jullien having congratulated Madame Bishop, she again came forward and sang "Home, sweet home," to the great delight the assembly, who greeted her with protracted applause at the close . . .
ASSOCIATIONS: Anna Bishop (vocalist)
The brave old mariner (in aid of the Franklin Fund, MS song) (1852)
NO COPY OF THE MUSIC IDENTIFIED; UNPUBLISHED
"Poet’s Corner", Hobarton Guardian, or, True Friend of Tasmania (14 August 1852), 4
http://nla.gov.au/nla.news-article173062444
"THE BRAVE OLD MARINER."
COMPOSED and Sung by MR. C. S.PACKER, at the Victoria Theatre, last week, in aid of the Franklin Fund.
There is a brave Old Mariner,
Keeps watch upon the deck;
The dangers of the deep he braved,
And oft's survived the wreck.
A Father of the Ocean seems
That Mariner to be;
For his hair is grey as is the spray
That dashes o'er the sea . . . [3 more verses]
My heart is full of bitterness (Uncle Tom's Cabin; MS Song) (1853)
When lovers are sighing (Lovers' Freaks; MS song) (1853)
NO COPY IDENTIFIED; UNPUBLISHED
[Advertisement], The Sydney Morning Herald (15 December 1853), 2
http://nla.gov.au/nla.news-article12954327
The city of Sydney polka (1854)
https://trove.nla.gov.au/search?l-publictag=The+city+of+Sydney+polka+(Packer) (TROVE tagged by Australharmony)
The city of Sydney polka composed by Charles Packer, respectfully dedictaed, by permission, to William Charles Wentowrth, esq., by the publishers (Sydney: Woolcott & Clarke, [1854])
Also in Woolcott and Clarke's Australian presentation album for 1854
Copies at the National Library of Australia
https://trove.nla.gov.au/work/12840702
https://nla.gov.au/nla.obj-164721385 (DIGITISED)
https://nla.gov.au/nla.obj-181851905 (DIGITISED)
[Advertisement], The Sydney Morning Herald (1 April 1854), 8
http://nla.gov.au/nla.news-article30940004
JUST PUBLISHED. PRICE ONE GUINEA. THE AUSTRALIAN PRESENTATION ALBUM.
CONTENTS: . . . City of Sydney Polka. (Illustrated) - C. Packer . . .
WOOLCOTT and CLARKE, next Bank of Australasia.
ASSOCIATIONS: William Charles Wentworth (dedicatee, on his departure for England); William Prout Woolcott (publisher); Jacob Richard Clarke (publisher)
Grand extemporaneous performance on the harmonium (improvised, 1855)
IMPROVISED; LOST
[Advertisement], The Moreton Bay Courier (17 March 1855), 3
http://nla.gov.au/nla.news-article3711555
GRAND CONCERT IN BRISBANE. MISKA HAUSER, THE celebrated Hungarian Violinist . . .
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 II. GRAND EXTEMPORANEOUS PERFORMANCE ON THE HARMONIUM - Mr. C. S. Packer . . .
ASSOCIATIONS: Miska Hauser (violinist); Flora Harris (vocalist); Silvester Diggles (pianist)
La figlia mia schottische (1855)
La figlia mia: a new schottische ("composed expressly for the Sydney Harmonicon") ([Sydney: W. J. Johnson, 1855]; [in The Sydney harmonicon no. 1])
NO COPY IDENTIFIED
"THE SYDNEY HARMONICON", The Sydney Morning Herald (24 December 1855), 2
http://nla.gov.au/nla.news-article12973915
A new weekly musical gazette and journal of literature and art, under the above title, has been announced by Mr. W. J. Johnson, and the first number was published on Saturday . . . The musical morceaux consist of Chevatal's "Lovely night," Weber's "Bright sword," Madame J. James' canzonet, "Go lovely flower," and a new schottische, composed expressly for the Harmonicon by Mr. Charles Packer, of Parramatta . . . The schottische, La Figlia Mia, by Mr. Charles Packer, is a brilliant composition; and with its artistical combinations, and graceful embellishments, will be a most welcome addition to our ball-room music . . .
ASSOCIATIONS: William Jonathan Johnson (publisher)
The names of Christ (composed by 1856)
https://trove.nla.gov.au/search?l-publictag=The+names+of+Christ+(Packer) (TROVE tagged by Australharmony)
The names of Christ, anthem, compiled from the holy scriptures by Samuel Elyard, esq., to whom it is respectfully dedicated by the composer, Charles S. Packer (Sydney: W. J. Johnson, [? 1856])
Copy at the State Library of New South Wales
https://trove.nla.gov.au/work/7577334
https://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?embedded=true&toolbar=false&dps_pid=IE7449541 (DIGITISED)
[Advertisement], The Sydney Morning Herald (25 March 1856), 1
http://nla.gov.au/nla.news-article12974216
SYDNEY CHORAL SOCIETY . . . VISITORS' CONCERT,
at St. James' School-room, Castlereagh-street, on THURSDAY, 3rd April, 1866.
PROGRAMME . . . PART II . . . The names of Christ - Packer . . .
Conductor, Mr. Packer. Organist, M. Paling . . .
[Advertisement], Empire (8 April 1856), 1
http://nla.gov.au/nla.news-article60246275
SYDNEY CHORAL SOCIETY . . . VISITORS' CONCERT. -
The unfavourable state of the weather on Thursday last having prevented the attendance of many of the members,
the performance will be repeated TOMORROW EVENING, Wednesday, at St. James's School-room, Castlereagh-street . . .
PART II . . . The Names of Christ - Packer . . .
Conductor, Mr. Packer; organist, M. Paling . . .
ASSOCIATIONS: William Henry Paling or his younger brother John Henry Paling (organist); Samuel Elyard (lyrics); Sydney Choral Society (organisation)
Australia hail (composed by 1856; published c. 1861-62)
https://trove.nla.gov.au/search?l-publictag=Australia+hail+(Packer) (TROVE tagged by Australharmony)
Australia hail! : Australian national hymn / Charles Packer (Sydney: Published by the composer, [n.d.]); Engraved and printed by J. Degotardi, Robin Hood Lane, Sydney
Copy at the State Library of New South Wales
https://trove.nla.gov.au/work/31998266
https://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?embedded=true&toolbar=false&dps_pid=IE3750199 (DIGITISED)
[Note at foot of titlepage]: "The composition owes its existence in its present form to the suggestion of an esteemed and reverend friend who thought the melody seem'd well adapted for a National Air or Anthem. The words consequently having been written to the music, instead of (as is customary) the music being composed to the words, allowance must be made for irregularities in the structure of the verses."
[Advertisement], The Sydney Morning Herald (19 June 1856), 1
http://nla.gov.au/nla.news-article12981005
SYDNEY CHORAL SOCIETY . . . OPEN, or VISITORS CONCERT
at St. James' School room, Castlereagh street, on THURSDAY, June 19, 1856 . . .
PROGRAMME - Part II . . . 16 Australian National Anthem, "Australia, Hail," Packer . . .
Conductor. Mr. PACKER. Pianoforte, M. PALING . . .
ASSOCIATIONS: John Degotardi (engraver and printer)
The Royal Charlie polka (1857)
https://trove.nla.gov.au/search?l-publictag=The+Royal+Charlie+polka+(Packer) (TROVE tagged by Australharmony)
The Royal Charlie polka by Charles S. Packer (Sydney: J. R. Clarke, 1857)
Copy at the State Library of New South Wales
Photocopy of the above at the National Library of Australia
https://trove.nla.gov.au/work/156931635
https://nla.gov.au/nla.obj-179738368 (DIGITISED)
[Advertisement], The Sydney Morning Herald (16 November 1857), 1
http://nla.gov.au/nla.news-article13003040
NEW and ORIGINAL POLKAS - Published THIS DAY, each embellished with a beautiful pictorial title-page, designed by Mr. S. T. Gill. - The Royal Charlie Polka, by Packer; The Eglantine Polka, by Stanley; La Favorita Polka, by Mrs. St. John Adcock. Each 3s., post free, 3s. 2d. J. R. CLARKE, 305, George-street.
ASSOCIATIONS: Samuel Thomas Gill (illustrator)
Exchange ball schottische (? composed 1857; ? published 1858 or 59)
https://trove.nla.gov.au/search?l-publictag=Exchange+ball+scottische+(Packer) (TROVE tagged by Australharmony)
Exchange ball schottische by Charles Packer ([Sydney: n.p., by 1859])
Copy at the State Library of New South Wales
https://trove.nla.gov.au/work/32079259
https://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?embedded=true&toolbar=false&dps_pid=IE3749680 (DIGITISED)
[Advertisement], The Goulburn Herald and County of Argyle Advertiser (1 October 1859), 1
http://nla.gov.au/nla.news-article118245629
NEW MUSIC. JUST RECEIVED, at the "HERALD" office, the following pieces of NEW MUSIC:
- At 2s. 6d. each . . . Exchange Ball Schottische . . .
The first, and to that date, only ball at the Sydney Exchange was held on 30 December 1857; see
"THE BALL", The Sydney Morning Herald (9 January 1858), 6
http://nla.gov.au/nla.news-article13004880
God, who madest earth and heaven (Chorale; Heber's Evening Hymn, MS, 1858)
[Advertising], The Sydney Morning Herald (28 June 1858), 1
http://nla.gov.au/nla.news-article13017977
SChOOL OF ARTS.- MONTHLY CONCERTS. THIS EVENING, June 28, a
CONCERT, consisting of the following selection of SACRED MUSIC,
will be given in the HALL of the SCHOOL OF ARTS.
Part I . . . Chorale - Bishop Heber's Evening Hymn - "God, who madest Earth and Heaven" - C. Packer . . .
Organist - C. Packer. Conductor - C. Chizlett . . .
The captive's child (ballad, 1859)
https://trove.nla.gov.au/search?l-publictag=The+captive's+child+(Packer) (TROVE tagged by Australharmony)
The captive's child, ballad by Charles S. Packer (Sydney: H. Marsh; Melbourne: S. H. Marsh & Joseph Wilkie, [1859])
Copy at the National Library of Australia
https://trove.nla.gov.au/work/18707331
https://nla.gov.au/nla.obj-165301306 (DIGITISED)
[Advertisement], The Sydney Morning Herald (7 May 1859), 7
http://nla.gov.au/nla.news-article13024644
MUSIC PUBLISHED, THIS DAY, by the undersigned . . .
The Captive's Child (ballad, by Charles Packer), price 2s. 6d. . . .
HENRY MARSH, publisher, 313, George-street.
"MUSIC", The Sydney Morning Herald (10 May 1859), 3
http://nla.gov.au/nla.news-article28629732
We have received No. 1 the "Australian Musical Cadeau," new series. The contents are "Fair Australian Waltzes," by Mr. Marsh; and a ballad, "The Captive's Child," by Charles Packer. Without reference to the composition of the first, or the poetry of the latter, which a notice like the present is no fitting medium, we would, without hesitation, recommend the publication to the family musicians of the colony. The manner of getting up is extremely creditable, and even in its present shape of "numbers" will be a fitting companion for the "Albums," and collections of pieces which ordinarily occupy the shelves next the music stool.
ASSOCIATIONS: Henry Marsh (publisher)
In thee, O Lord (anthem, 1859)
The stars still shine (chorus, [from] "Jew of Evora") (1859)
NO COPY IDENTIFIED; UNPUBLISHED
[Advertisement], Empire (11 July 1859), 1
http://nla.gov.au/nla.news-article60403861
SYDNEY MECHANICS' SCHOOL OF ARTS. In Aid of the New Building Fund.
PROGRAMME OF CONCERT, THIS EVENING, July 11.
PART FIRST - SACRED . . .
Anthem - Bass Solo, and Chorus - "In thee, O Lord" - C. S. Packer. - (Gentleman amateur.) . . .
PART SECOND - SECULAR . . .
Hunting Chorus - "The Stars still Shine," (Jew of Evora) - C. S. Packer . . .
National Anthem - "Australia, Hail!" - C. S. Packer . . .
"SCHOOL OF ARTS", Empire (12 July 1859), 5
http://nla.gov.au/nla.news-article60402838
Mr. Chizlett's vocal concert given last night at this institution in aid of its building fund, deserved to have been better patronised. The degree of excellence attained by Mr. Chizlett's classes in part singing is so superior, that we can only regret that we have not oftener an opportunity of hearing their performances . . . As examples may be mentioned . . . Mr. C. S. Packer's hunting chorus "The Stars still Shine" . . . Several compositions of Mr. C. S. Packer were executed, to the satisfaction of the audience . . .
[Advertisement], Empire (22 November 1859), 1
http://nla.gov.au/nla.news-article64093348
EXCHANGE CONCERT ROOM. MRS. CHESTER has the honour to announce to her friends and the musical public in general,
that the CONCERT . . . to raise funds to enable her to return to her friends in England,
a step rendered necessary by the severe attack of PARALYSIS under which she has been recently suffering . . . THIS EVENING. November 22nd.
PROGRAMME. PART I . . . Hunting Song - "The stars are still" [sic] (Members of the People's Vocal Association) - C. S. Packer . . .
Conductor - Mr. CHARLES S. PACKER . . .
ASSOCIATIONS: Charles Chizlett (conductor); Marian Maria Chester (vocalist, beneficiare); People's Vocal Music Association (Sydney)
Queen of the west (Lavenu, arr. Packer, 1859)
https://trove.nla.gov.au/search?l-publictag=Queen+of+the+west+(Lavenu) (TROVE tagged by Australharmony)
Queen of the west, new ballad, words and music by L. H. Lavenu, symphonies and accompaniments by Charles Packer (Sydney: J. R. Clarke, [1859])
Copy at the State Library of New South Wales
https://trove.nla.gov.au/work/7868012
Photocopy of the above at the National Library of Australia
https://trove.nla.gov.au/work/156931501
https://nla.gov.au/nla.obj-179612405 (DIGITISED)
[Advertisement], The Sydney Morning Herald (15 September 1859), 1
http://nla.gov.au/nla.news-article13030807
An original and beautiful song, entitled Queen of the West, both poetry apd music by M. Lavenu, will be published in a few days.
J. R. CLARKE, music seller, 356, George-street.
ASSOCIATIONS: Lewis Henry Lavenu (died Sydney, NSA, 1 August 1859, this edition one of several intended as a souvenir of the late composer)
My Johnny was a shoemaker (arr. Packer, 1861)
https://trove.nla.gov.au/search?l-publictag=My+Johnny+was+a+shoemaker+(arr+Packer) (TROVE tagged by Australharmony)
My Johnny was a shoemaker, ancient Scotch song sung with enthusiastic applause by Lady Don [arranged by Ch. S. Packer] (Sydney: W. J. Johnson & Co., [1861]
Copy at the State Library of New South Wales
https://trove.nla.gov.au/work/27492336
https://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?embedded=true&toolbar=false&dps_pid=IE3750232 (DIGITISED)
[Advertisement], The Sydney Morning Herald (9 April 1861), 6
http://nla.gov.au/nla.news-article28625383
JUST PUBLISHED, "My Johnny was a Shoemaker," sung by Lady Don nightly at the Victoria Theatre," with enthusiastic applause, and encored three times. Sent post free. Price, 2s. JOHNSON and CO.
ASSOCIATIONS: Emily Don (vocalist); William Jonathan Johnson (publisher)
My own sweetheart William (arr. Packer, 1861)
https://trove.nla.gov.au/search?l-publictag=My+own+sweetheart+William+(arr+Packer) (TROVE tagged by Australharmony)
My own sweetheart William [words by Wilton, arr. C. S. Packer] (Sydney: J. R. Clarke, [1861]
Copy at the State Library of New South Wales
https://trove.nla.gov.au/work/7469630
[Advertisement], The Sydney Morning Herald (7 May 1861), 2
http://nla.gov.au/nla.news-article13055807
SONG, by Lady Don, "My own Sweetheart William, 2s. CLARKE'S Music Repository, George-street.
The prodigal son (oratorio, MS, by 1861; but see also The prodigal son, published London, 1841 above)
"THE ORPHEONIST SOCIETY", Empire [Sydney, NSW] (30 July 1861), 5
http://nla.gov.au/nla.news-article60483750
. . . Mr. Packer's very beautiful solo and chorus, "I will arise," from an MS. Oratorio, concluded this first part of the programme . . .
"MUSIC AND DRAMA", Sydney Mail [Sydney, NSW] (3 August 1861), 4
http://nla.gov.au/nla.news-article166694883
THE "Orpheonists," a new musical society, under the guidance of Mr. Charles Packer, gave a preliminary concert on Monday evening last, in the hall of the School of Arts, Pitt-street . . . The concert consisted principally of selections from the oratorio of "Eli;" a piece from an unpublished oratorio, "The Prodigal Son," by Mr. Packer, was also performed and well received . . .
The Garibaldi hat (arr. Packer, 1861)
https://trove.nla.gov.au/search?l-publictag=The+Garibaldi+hat+(Packer) (TROVE tagged by Australharmony)
The Garibaldi hat [words by Weston; music arranged on a popular air by C. Packer] (Sydney: J. R. Clarke, [1861])
Copies at the State Library of New South Wales
https://trove.nla.gov.au/work/31795702
https://trove.nla.gov.au/work/7469630
[Advertisement], The Sydney Morning Herald (30 August 1861), 8
http://nla.gov.au/nla.news-article13058975
IN HAND. - THE GARIBALDI HAT, descriptive comic song, with an appropriate illustrative title-page.
J. R. CLARKE, 356, George-street.
[Advertisement], The Sydney Morning Herald (14 September 1861), 10
http://nla.gov.au/nla.news-article13066729
NOW PUBLISHED. - The "Garibaldi Hat," comic descriptive song, illustrated with a characteristic title page by S. T. Gill, price 2s. 6d.; post free, 2s, 8d.
J. R. CLARKE, music seller, 356, George-street.
[News], Freeman's Journal (14 September 1861), 6
http://nla.gov.au/nla.news-article115763597
Mr. J. R. Clarke, of George-street, has just published the comic song of the Garibaldi Hat, which was sung with so much applause by Young Marsh a short time ago. The arrangement, by Packer, is very easy and effective; and the song is exceedingly well adapted for private performance. The engraved title-page is one of the best specimens of lithographic art we have seen in the colony.
ASSOCIATIONS: Samuel Thomas Gill (illustrator); Marsh juvenile troupe (vocalists)
The song of the angels [While shepherds watched their flocks by night] (1861)
https://trove.nla.gov.au/search?l-publictag=The+song+of+the+angels+(Packer) (TROVE tagged by Australharmony)
The song of the angels, by Charles S. Packer (Hobart: J. Walch & Sons, [1861])
NO COPY OF ORIGINAL EDITION CERTAINLY IDENTIFIED; BUT SEE
https://stors.tas.gov.au/AI/NS1013-1-797
https://stors.tas.gov.au/NS1013-1-797J2K$init=NS1013-1-797 (DIGITISED)
The song of the angels, by Charles S. Packer (Hobart: J. Walch & Sons, [? 1890]; printed by C. G. Röder, Leipzig)
Copies at the National Library of Australia and Libraries Tasmania
https://trove.nla.gov.au/work/9854361
https://nla.gov.au/nla.obj-175786659 (DIGITISED)
https://stors.tas.gov.au/ILS/SD_ILS-538444
https://stors.tas.gov.au/SMU128053113$init=SMU128053113_0 (DIGITISED)
[Advertisement], The Mercury (19 December 1861), 1
http://nla.gov.au/nla.news-article8803058
JUST PUBLISHED, TO BE HAD OF MESSRS. WALCH & SONS, AND ALL MUSIC SELLERS, CHORAL HYMN FOR CHRISTMAS, "THE SONG OF THE ANGELS," BY CHARLES S. PACKER . . .
[Advertisement], The Sydney Morning Herald (19 April 1862), 12
http://nla.gov.au/nla.news-article13227309
NEW MUSIC - Just Published, "The Song of the Angels," and "Arm! Arm!" Australian patriotic song, by Charles S. Packer. To be had of Anderson, Clarke, Peck, and Sandon, George-street; Johnson and Co., Pitt-street; Moss, Hunter-street; and Muspratt, William-street.
[Advertisement], The Mercury (4 July 1890), 2
http://nla.gov.au/nla.news-article12699199
J. WALCH & SONS. ADVT., No. 6,003. COMPOSITIONS BY FRED. A. PACKER . . .
ALSO, " Nearer to Thee," composed by F. A. Packer. R.A.M., London, 1/.
"Song of the Angels." By C. S. Packer, 2/.
ASSOCIATIONS: James Walch and brothers (publishers)
Arm! Arm! Australian patriotic song (1862)
https://trove.nla.gov.au/search?l-publictag=Arm+arm+Australian+pariotic+song+(Packer) (TROVE tagged by Australharmony)
Arm! arm! Australian patriotic song, words and music by Charles Packer (Sydney: Published by the composer and to be had of all music sellers, [1862], engraved and printed by J. Degotardi)
Copy at the National Library of Australia
https://trove.nla.gov.au/work/16482649
https://nla.gov.au/nla.obj-165973212 (DIGITISED)
[Advertisement], The Sydney Morning Herald (19 April 1862), 12
http://nla.gov.au/nla.news-article13227309
NEW MUSIC - Just Published, "The Song of the Angels," and "Arm! Arm!" Australian patriotic song, by Charles S. Packer. To be had of Anderson, Clarke, Peck, and Sandon, George-street; Johnson and Co., Pitt-street; Moss, Hunter-street; and Muspratt, William-street.
"VOLUNTEER CONCERT", Sydney Mail (10 May 1862), 1
http://nla.gov.au/nla.news-article166694472
The volunteer concert given on Thursday evening, at the Masonic Hall, in aid of the band fund of the No. 2 Battery was as fully successful as the most sanguine patrons could hope . . . The volunteer bands took a prominent part . . . and reflecting much credit upon the labours of the bandmasters, Mr. J. Dean [sic] and Mr. H. Prince . . . Bishop's glee, "Foresters, sound the cheerful horn," and Packer's Australian patriotic song, with chorus, "Arm, arm," rendered by No. 2 Battery, might have been improved upon by more careful rehearsals; their instrumental performances were incomparably better . . .
ASSOCIATIONS: John Degotardi (engraver and printer); John Deane (bandmaster, No. 2 Battery)
Lily Lee (Julia Simmons, arr. Packer, 1863)
https://trove.nla.gov.au/search?l-publictag=Lily+Lee+(Simmons+arr+Packer) (TROVE tagged by Australharmony)
Lily Lee, ballad, music by Miss Julia Simmons, dedicated to the Orpheonist Society of Sydney ["Arranged by C. Packer"] (Sydney: J. R. Clarke, [1863])
Also included in Clarke's The Australian musical album for 1863; copy at the National Library of Australia
https://trove.nla.gov.au/work/16497703
https://nla.gov.au/nla.obj-164694695 (DIGITISED)
"NEW MUSIC", Empire (17 March 1863), 4
http://nla.gov.au/nla.news-article63129082
The arrival, by each successive mail, of large quantities of new and pleasing music of every description, vocal and instrumental, for every grade of musical talent and proficiency, renders the business of original musical publication an extremely hazardous and precarious undertaking - except it be the reissue of some piece for which there is an extraordinary demand; and then it becomes a question whether the success attending the publication will justify the expense, or the risk of infringing the especially onerous prohibitive of copyright law. Mr. J. R. Clarke, of George-street is however, sufficiently enterprising to purchase the copyright and risk the expensive publication of original music written by resident artists. The latest issue from his establishment is "Lily Lee," a lovely little ballad written by our young talented artiste, the vocalist, Miss Julia Simmons, undoubtedly possessing the most powerful soprano voice, and the purest style. Unfortunately, there is but seldom the opportunity afforded of hearing her vocal powers, which, thus neglected and unfostered, may yield to the rust of inactivity. Under the ears of her zealous master in England, Signor Arditi, Miss Simmons not only became a first-class songstress, but prosecuted her studies in composition, and these have resulted in many excellent musical ideas. "Lily Lee" is a very clever specimen. The words were taken, we believe, from an old journal - a lover is gazing on the grave of his lost bride. The melody follows the tale in very expressive tones; it is one that once heard will be warbled by everybody; and since it was sung by the fair composer in public for the first and only time at one of the concerts of the Orpheonist Society (to whom the song is dedicated), "Lily Lee" has been frequently asked for, and its publication will be welcomed, as it cannot fail to become a favourite. The arrangements, symphonies, and accompaniments are by Mr. Callen [sic]; and musicians will at once perceive that these are not only in strict accordance with the intention of the melody, but are elegant and purely artistic. As Miss Simmons is known to possess a remarkably high organ, the song was originally beyond the voice of most amateurs; the present edition is transposed to the key of D, and does not roach beyond F, so that it is now within the compass of amateurs possessing voice of moderate range.
ASSOCIATIONS: Julia Simmons (composer, vocalist); Luigi Arditi (teacher); Douglas Callen (conductor, ? arranger); Orpheonist Society (Sydney)
The crown of thorns (oratorio, completed and first performed 1863; published posthumously 1886)
https://trove.nla.gov.au/search?l-publictag=Crown+of+thorns+(Packer) (TROVE tagged by Australharmony)
See here for documentation of the 1863 first performances
Posthumously edited on behalf of the Packer Fund by William Stanley for publication by August and Charles Huenerbein
The crown of thorns; or, Despair, penitence, and pardon, an oratorio., words and music by Charles S. Packer (London and New York: Novello, Ewer & Co; Sydney: A. & C. Huenerbein, [1886])
https://trove.nla.gov.au/work/6307625
http://nla.gov.au/nla.obj-172247074 (DIGITISED)
"NEWS OF THE DAY", The Sydney Morning Herald (19 July 1883), 7
http://nla.gov.au/nla.news-article13539486
A MEETING of musicians and lovers of music was held yesterday afternoon at Mr. August Huenerbein's establishment, 411, Georgc-street, for the purpose of initiating a subscription fund in aid of the widow and children of the late Charles Packer . . . Mr. Huenerbein also informed the meeting that he had received from Messrs. Novello and Co., London, a letter, stating that the score of the "Crown of Thorns" would probably be forwarded to Australia by the next outgoing mail.
[Advertisement], The Daily Telegraph (26 March 1886), 1
http://nla.gov.au/nla.news-article237244724
THE LATE CHARLES PACKER'S "CROWN OF THORNS." TO THE SUBSCRIBERS.
I beg to notify that the above Work is now ready for delivery on application to A. Huenerbein and Corbet (late A. and C. Huenerbein), 313 George-street.
Subscribers should apply at once, in order to prevent disappointment, as the supply cannot nearly meet the present demand.
AUGUST HUENERBEIN, Hon. Sec., Packer Fund.
[Advertisement], The Sydney Morning Herald (3 April 1886), 15
http://nla.gov.au/nla.news-article28356231
. . . A. HUENERBEIN and CORBETT (late A. and C. Huenerbein) . . .
The late CHARLES S. PACKER'S "CROWN OF THORNS" can now be obtained on application to . . .
A. HUENERBEIN and CORBETT, 318, George-street (near Hunter-street) . . .
"MUSICAL ECHOES", The Brisbane Courier (30 April 1886), 6
http://nla.gov.au/nla.news-article4490218
Many in this colony will remember the late Charles Packer, and probably several have had the pleasure of hearing his "Crown of Thorns" performed in the adjoining colony. Since the death of the composer the publication of this charming composition has been undertaken by subscription, and the subscribers, and musicians generally, will be glad to learn that the work has arrived by the Liguria, and is being delivered by Mr. August Huenerbein, of Sydney, the honorary secretary of the Packer Fund . . .
"THE OLDEST PIANIST IN AUSTRALIA", The Sydney Morning Herald (18 September 1902), 8
http://nla.gov.au/nla.news-article14510138
It is with regret that we learn of the death of Mr. William Stanley . . . on the death of the late Charles Packer that composer's sacred cantata, "The Crown of Thorns", was completed by the late Mr. William Stanley . . .
ASSOCIATIONS: August Huenerbein junior (publisher, 1886); William Stanley (editor, arranger)
"Two very beautiful pieces of sacred music" (composed by Packer since his confinement at Darlinghurst Gaol) (by 1866)
NO COPIES IDENTIFIED
"BERTRAND AND THE CHOIR AT DARLINGHURST GOAL [sic]", Wagga Wagga Express (3 March 1866), 2
http://nla.gov.au/nla.news-article105997473
"PACKER AND BERTRAND", The Cornwall Chronicle (17 March 1866), 3
http://nla.gov.au/nla.news-article72358024
. . . It is stated that Packer has composed two very beautiful pieces of sacred music since his confinement at Darlinghurst . . .
David (an oratorio; MS) (partially completed by 1869)
https://trove.nla.gov.au/search?l-publictag=David+(Packer) (TROVE tagged by Australharmony)
NO COPY IDENTIFIED
[Advertisement], The Sydney Morning Herald (22 December 1869), 8
http://nla.gov.au/nla.news-article13197484
PRINCE OF WALES OPERA HOUSE, GRAND ORATORIO - CHRISTMAS NIGHT, Saturday, December 25, 1869 . . .
SELECTION FROM "DAVID." (First time) - C. S. Packer.
Air - "Remember now thy Creator" - Mrs. W. J. Cordner.
Trio - "Are not my days few" - Miss James, Mrs. W. J. Cordner, and Mr. A. Wilkie.
Choral March - "Glory and honour to the Lord of Hosts" . . .
Accompanyists- Mr. JOHN HILL, K.S., R.A.M., and Mr. C. S. PACKER.
Conductor, Mr. J. C. FISHER . . .
"ORATORIO AT THE OPERA HOUSE", Empire (29 December 1869), 2
http://nla.gov.au/nla.news-article60893047
. . . The third selection was from Mr. Packer's new Oratorio, "David." The solo, "Remember now Thy Creator," was admirably sung by Mrs. Cordner. The trio, "Are not my days few," was very touching, and must be pronounced one of the gems of the evening. The "Choral march" which followed is a fine conception, and had the choir sung with greater unity it would have received a unanimous encore . . .
"THE LATE C. S. PACKER", The Sydney Morning Herald (16 July 1883), 3
http://nla.gov.au/nla.news-article13539280
. . . Mr. August Huenerbein has the scores of "David," a grand oratorio, and of many other compositions, which will yet be published, and which will long preserve Charles Packer's name from oblivion . . .
"Packer Testimonial Fund", Evening News (8 August 1883), 5
http://nla.gov.au/nla.news-article111025743
. . . It was stated that Mr. J. S. Salier [sic] had sent to Mr. A. Huenerbein the MS. copy of Mr. Packer's composition of "David," as his contribution to the fund. The work is not quite complete, but Mr. Stanley, a well-knows musician, has undertaken to finish this great work. A vote of thanks to the chairman concluded the meeting.
ASSOCIATIONS: John Jabez Salier (donor, musician); August Huenerbein (musicseller, publisher)
Ben Brace (nautical song, melody by "Amicus" [Peter Dodds McCormick], arr. and harmonised by Packer, 1880)
"NEWS OF THE DAY", The Sydney Morning Herald (24 April 1880), 5
http://nla.gov.au/nla.news-article13458762
WE have received from Mr. William Bullard . . . a new nautical song, entitled "Ben Brace," which is written and composed by "Amicus"; arranged and harmonized by Mr. C. S. Packer, R.A.M. The words and melody are pretty and well-matched, but the piece becomes of real musical value through the arrangement. The accompaniment is written throughout with the melody predominant, and hence even without the voice may be regarded as a Lied ohne Worte. It will commend itself to every lover of good music.
"New Music", The Singleton Argus and Upper Hunter General Advocate (28 April 1880), 1
http://nla.gov.au/nla.news-article82895930
We have recently received a new waltz and a new nautical song from Mr. W. Bullard, 342, George-street, Sydney: -
"Ben Brace," the title of the song, is written and composed by "Amicus," the composers of "Advance Australia fair."
The symphonies and accompaniments are by Charles S. Packer, R. A. M.
The words breathe the true spirit of the songs of Dibdin, which tended so much to raise the character of our Navy at the close of the last century,
and still bears its fruit in our merchant seamen, although to a less extent than formerly.
There are yet many occasions for the exercise of
"His courage strong
And his spirits light and free."
Nor are there wanting moments when he requires to be
"True as steel! when on the brine,
But ga when sprung ashore;"
and when needs be he can
"Lightly bend upon the yard,
With a yo-o-he-vo."
Ben had his trials, but his "Sal was true as fate."
She nursed his poor old mother in the winter of her age; at last the "old dame slipped her cable short," and
"A rich old uncle, nurs'd by Sall,
Left her a golden store,"
enabling Ben and Sall to splice the brace.
"Now other tars may dangers face
But Ben now lives ashore."
The music, which is in keeping with the words, is a spirited composition in the key of C, and written in six eight time,
and extending from C below the line to E. It is by no means a difficult song,
and might with advantage to the singer find a place in the repertoire of our amateur baritone or second tenor vocalists.
The name of Mr. Charles Packer is a sufficient guarantee that the instrumental parts will meet the requirements of even the most fastidious.
The cost of the song is but 1s. 6d. net.
Reminiscence of the garden palace schottische (1882)
https://trove.nla.gov.au/search?l-publictag=Reminiscence+of+the+garden+palace+schottische+(Packer) (TROVE tagged by Australharmony)
Reminiscence of the Garden Palace schottische by Charles S. Packer (Sydney: A. Huenerbein, [1882])
Copy at the National Library of Australia
https://trove.nla.gov.au/work/12304061
https://nla.gov.au/nla.obj-164595022 (DIGITISED)
Paddy's polka (1883)
https://trove.nla.gov.au/search?l-publictag=Paddy's+polka+(Packer) (TROVE tagged by Australharmony)
Paddy's polka composed by Chas. S. Packer ["To my friend August Huenerbein"] (Sydney: A. Huenerbein, [1883])
https://trove.nla.gov.au/work/18603275
https://nla.gov.au/nla.obj-165230589 (DIGITISED)
[Advertisement], The Sydney Morning Herald (5 April 1883), 1
http://nla.gov.au/nla.news-article13531786
. . . Just Published, by Chas. S. Packer,
PADDY'S POLKA, pries 2s., by post 2s. 2d.
GARDEN PALACE SCHOTTISCHE, price 2s., by post 2s. 2d.
A. HUENERBEIN, 411, George-street.
"NEWS OF THE DAY", The Sydney Morning Herald (9 April 1883), 5
http://nla.gov.au/nla.news-article13532176
WE have been favoured with a copy of "Paddy's Polka," composed by Mr. Charles S. Packer, and published by Mr. A. Huenerbein, of George-atreet. On the whole the production will not much enhance Mr. Packer's reputation as a composer. It is simple in construction and lacks variety, and although in portions the polka movement is accurately timed, the part which introduces "St. Patrick's Day" partakes too much of the original character of that jig to be strictly regarded as polka music. Too much the production resembles one of those pieces of which, soliciting an opinion concerning it, the composer says, "Here is a little matter which I have just hit on; what do you think of it?" and the conviction is forced upon one that Mr. Packer is capable of an effort infinitely more artistic, and with much more probability of becoming popular. As a specimen of the printer's art as it is exhibited in Sydney, the production deserves commendation. The music is printed distinctly, and on good paper, and the front page is illustrated with a cleverly humorous drawing by Mr. W. McLeod, which represents an Irishman whose exuberancy of spirits has encouraged him to indulge in a dance, we suppose to the tune of this particular polka.
"PADDY'S POLKA", Evening News (9 April 1883), 3
http://nla.gov.au/nla.news-article107230745
We have received this interesting piece of dance music, composed by Mr. Charles S. Packer, and nicely printed by S. T. Leigh and Company, Sydney. The music is in A and D flat, and is thoroughly Irish. St. Patrick's Day is so well known as a 6-8 measure that it is rather difficult to convert it into 2-4 time by playing it in triplets. Of course it can be done, although memory is apt to interfere with correct reading. Properly played, however, it is a nice lively polka. It is a musical trifle, and as such does not challenge severe or formal criticism. The illustration on the titlepage is a caricature of the stage Irishman. The publisher is Mr. A. Huenerbein, music warehouse, George-street.
[News], The Sydney Daily Telegraph (12 April 1883), 2
http://nla.gov.au/nla.news-article238491859
We have received from Mr. A. Huenerbein, of 411 George-street, a copy of music entitled "Paddy's Polka," composed by Mr. Charles S. Packer. The opening commences in unison with the well-known air of "St, Patrick's Day," the rhythm of which is more adapted to the time of a jig than that of a polka; but where the "tempo giusto" begins, which is Mr. Packer's own composition, the timo is better marked and more suited to the style of a polka. The printing is by Messrs. S. T. Leigh and Co., and is well brought out. The title-page exhibits an Iriahmnn dancing a jig.
A song for the queen's birthday (1883)
https://trove.nla.gov.au/search?l-publictag=A+song+for+the+Queen's+birthday+(Packer) (TROVE tagged by Australharmony)
A new and original song for the Queen's birthday, May 24th 1883, words by Henry Halloran, music by C. S. Packer ["A song for the Queen's birthday"] (Haymarket [Sydney]: Anthony Hordern & Sons, 1883)
Copy at the State Library of Victoria
https://trove.nla.gov.au/work/21626422
http://handle.slv.vic.gov.au/10381/151831 (DIGITISED)
"THE THEATRES, &c.", The Sydney Morning Herald (25 May 1883), 6
http://nla.gov.au/nla.news-article13535507
Last evening at the theatre the anniversary of her Majesty's birthday was honoured by the customary musical tribute. A piece of music entitled, "A Song for the Queen's Birthday," composed by Mr. C. S. Packer, the words being by Mr. H. Halloran, was a special musical compliment to the day the nation delights to honour. It was sung in march time with a spirited refrain, and won the hearty applause of auditors.
"NEWS OF THE DAY", The Sydney Morning Herald (26 May 1883), 9
http://nla.gov.au/nla.news-article13535665
Mr. Henry Halloran has written a "Song for the Queen's Birthday," which has been set to music by Mr. C. S. Packer, and is being distributed by Messrs. Anthony Hordern and Sons, of the Palace Emporium, Haymarket. The sentiment of the poetry is intensely loyal, and the music, which is written in march time, is tuneful and spirited.
[News], Freeman's Journal (26 May 1883), 9
http://nla.gov.au/nla.news-article110557837
EVEN Thursday was not allowed by Messrs. A. Hordern and Sons, of the Haymarket, to pass over as an advertiser's holiday; for a specialty was got up for the occasion in the shape of a "Song for the Queen's Birthday," by Henry Halloran, and set to music by Mr. C. S. Packer.
ASSOCIATIONS: Henry Halloran (lyrics); Anthony Hordern (publisher)
Loyalty (1883)
https://trove.nla.gov.au/search?l-publictag=Loyalty+(Packer) (TROVE tagged by Australharmony)
Loyalty!; or, God save our Queen, the New South Wales loyal anthem, a national and patriotic song, dedicated by letter of special permission to, and published under the distinguished patronage of, Lady Augustus Loftus, and with feelings of admiration and respect to the ladies and loyal people of New South Wales, words by C. et A., a loyal native born Australian of Scotch parentage, music by Charles S. Packer R.A.M. (Sydney: C. T. Sandon, 1883)
Copy at the State Library of New South Wales
https://trove.nla.gov.au/work/33692188
https://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?embedded=true&toolbar=false&dps_pid=IE3750156 (DIGITISED)
"NEWS OF THE DAY", The Sydney Morning Herald (19 June 1883), 7
http://nla.gov.au/nla.news-article28374363
A PATRIOTIC song, entitled "Loyalty, or God save our Queen," has been published by Mr. C. T. Sandon, of George-street. The words are by a gentleman who assumes the nom de plume of "C. et A." The music is by Mr. Charles S. Packer. Already the piece has run into a second edition. It is dedicated to Lady Augustus Loftus. The Australian song "Beautiful Rain" is by the same author, and has also passed into a second edition.
[News], The Sydney Daily Telegraph (21 June 1883), 3
http://nla.gov.au/nla.news-article238493571
We have received a "national and patriotic song;" the words being by C. et A.," and the music by Mr. Charles S. Packer, R.A.M., the piece being dedicated to Lady Loftus as well as to the "wives, mothers, daughters, and sisters of the loyal people of New South Wales." The words of the first verse are intentionally written as an adaptation of the first verse of the National Anthem. The sentiments conveyed are unmistakably religious and loyal, while the music is admirably adapted to the words. The piece has already had a large sale, as also has another composition of the same class by the same author, entitled "Beautiful rain," written to commemorate the break-up of the drought last year. The printers, Messrs. Batson and Atwater, are to be congratulated on the general get-up of both productions. They may be obtained of Mr. C. T. Sandon, of 310 George-street.
NOTE: "Beautiful rain", lyrics also by "C. et. A.", but apparently not with music by Packer
[News], Australian Town and Country Journal (30 June 1883), 16
http://nla.gov.au/nla.news-article71000879
We have received a copy of the New South Wales Loyal Anthem, dedicated by permission to "Lady Loftus, the words by C. et A., the music by Charles S. Packer, R.A.M." The poetry of the song is the quintessence of loyalty, and it is nicely set to music in B flat by Mr. Packer, for soprano, alto, tenor, and bass. The parts are arranged in short score, with piano and organ accompaniment underneath. The lithography is by Batson and Attwater. The poetry is very creditable to the writer, and the same remark is applicable to Mr. Packer's music. The song is published by C. T. Sandon, Sydney.
"Books, &c., Received", Sydney Punch (30 June 1883), 11
http://nla.gov.au/nla.news-article253067063
Mr. Punch, who is the double-distilled-quintessence of loyalty, hails with big, big glee the fresh tribute of devotion to the august lady who beneficently rules the world-wide waves - and a good deal on the top of them - contained in a "New South Wales Loyal Anthem," dedicated to the Lofty Lady Augustus and the rest of the sweet and fair ones, without whom "E'en Punch's life is not a happy one."
"Loyalty, or God Save our Queen," is written by " C. and A.," and aptly paraphrases the words of the time-honoured National Anthem (which, however, it must never attempt to oust), combining them with loyal colonial feeling; and Mr. Charles S. Packer has set them to music at once simple, stirring, and effectively harmonized. It is a far more effective composition than Benedict's twaddly "God Bless the Prince of Wales," and should become at least as popular among us.
ASSOCIATIONS: Charles Thomas Sandon (publisher); Emma Maria Greville (dedicatee), wife of Augustus Loftus (governor)
Home, sweet home (Bishop, arr. and harmonised Packer, by 1883)
[Advertisement], The Sydney Morning Herald (14 September 1883), 2
http://nla.gov.au/nla.news-article13544577
SATURDAY POPULAR CONCERTS . . . Mr. F. J. HALLEWELL and Mr. CHARLES HUENERBEIN
have taken the management of the Saturday Popular Concerts, given at the Protestant Hall . . .
Miss DORA BROWN will sing "Home, Sweet Home" (harmonised by the late Charles Packer), with Quartette . . .
Home (ballad, published posthmously, October 1883)
"Music and Drama", The Sydney Mail and New South Wales Advertiser (6 October 1883), 657
http://nla.gov.au/nla.news-article162025073
The Saturday night concerts are also progressing . . . and upon the Saturday evening of this week should be crowded . . . The proceeds are to go to the Packer fund . . .
In connection with Charles Packer, it may also be noticed that one of his ballads is published by Anthony Hordem and Sons, of the Haymarket. It is called "Home," a pleasant, pathetic little thing, notes mating words with singular felicity.
Musical works (Frederick Alexander Packer; F. A. Packer senior)
A chronological worklist of Frederick Alexander Packer's documented musical publications, extant and lost, complete as at June 2019
Online records:
http://worldcat.org/identities/viaf-56150083759314940840 (as at 2019 the WorldCat record includes some works by Frederick Augustus Packer)
As at 2019 some works attributed to Frederick Augustus Packer in NLA/TROVE catalogue records are in fact by Frederick Alexander Packer; for the correct attributions only, follow the tag below:
https://trove.nla.gov.au/music/search?l-publictag=Frederick+Alexander+Packer (TROVE tagged by Australharmony)
KEY: Extant works (published or MS); Lost works (or no copy yet identified)
Maureen (Irish ballad, ? 1834)
Maureen, a ballad; composed and dedicated, by permission, to H. R. H. the princess Victoria, by F. A. Packer, of R. A. of Music; the words by Boulger, Esq.
(London: J. Duff, [1834]); publisher's number 237
Copy at the University at Buffalo, State University of New York, British vocal music collection, ML136.B942M78, no. 696
For advertisement see above 20 September 1834
Review 4 October 1834
And for an anecdote concerning this work and its dedication see 2 September 1862
Come, Kate, with me (? 1834)
Come, Kate, with me; composed and dedicated to Mrs. G. Bruin, by F. A. Packer; the words the late Mrs. Field
([? : ?, 1834])
NO COPY IDENTIFIED
For advertisement see above 20 September 1834
Review 4 October 1834
Take the flower (? 1834)
Take the flower; composed and dedicated to the Right Hon. Lady Kennedy Erskine, by F. A. Packer; the words from Dr. Beattie's Journal of residence in Germany.
([? Reading: ? Packer, by 1834])
NO COPY IDENTIFIED
For advertisement see above 20 September 1834
I could not dream (? 1834)
I could not dream; words by W. Boulger, Esq. F. A. Packer.
([? Reading: ? Packer, by 1834])
NO COPY IDENTIFIED
For advertisement see above 20 September 1834
I think of thee (? 1834)
"I think of thee;" from Goethe's Poems - F. A. Packer.
([? Reading: ? Packer, by 1834])
NO COPY IDENTIFIED
For advertisement see above 20 September 1834
Mazurka (? 1845 / 1861)
https://trove.nla.gov.au/search?l-publictag=Mazurka+(F+A+Packer+sen) (TROVE tagged by Australharmony)
Mazurka [for piano forte], by F. A. Packer
(London: [1845])
Copy at British Library, Music Collections h.933.(1.); BLL01004565782
http://www.worldcat.org/oclc/498121949
Mazurka, composed and dedicated to Miss S. Louise Crawshay, by F. A. Packer, R.A.M.
(London: Published for the author by Messrs. R. Cocks & Co.; Melbourne: Messrs. Clarson & Shallard, [1861])
Copy at the State Library of Tasmania
https://stors.tas.gov.au/smu128054145 (DIGITISED)
Photocopy of the above, at the National Library of Australia
http://nla.gov.au/nla.obj-179739744 (DIGITISED)
The Eglantine polka (1851)
The Eglantine polka [for piano forte], by F. A. Packer
(London, [1851])
Copy at British Library, Music Collections h.967.(32.); BLL01004565780
http://www.worldcat.org/oclc/498121925
The queen of the polkas (1855)
The queen of the polkas dedicated to Miss Jones, of Bleak House, Risdon
([Hobart: Huxtable and Deakin, 1855])
NO COPY IDENTIFIED
"NEW MUSIC", The Launceston Examiner (6 October 1855), 5
http://nla.gov.au/nla.news-article36294503
"A NEW POLKA", Colonial Times (12 October 1855), 3
http://nla.gov.au/nla.news-article8787953
"ROYAL SOCIETY OF VAN DIEMEN'S LAND", The Courier (16 November 1855), 2
http://nla.gov.au/nla.news-article2494047 [report of copy presented to the society library]
Psalm chant (1859)
At morning service, St. David's Cathedral, Hobart, Christmas day, 1859
"THE ORGAN AT ST. DAVID'S CATHEDRAL", The Hobart Town Daily Mercury (28 December 1859), 2
http://nla.gov.au/nla.news-article3260078
Fairy sisters (by 1862, ? posthumous f. p. Hobart, November 1862)
https://trove.nla.gov.au/search?l-publictag=The+fairy+sisters+(F+A+Packer+sen) (TROVE tagged by Australharmony)
Fairy sisters; two-part song, by F. A. Packer ([London]: Hutchings & Romer's . . . Choruses for treble voices, etc. No. 72., [1886])
Copy at British Library, Music Collections F.1534.; BLL01004565781
http://www.worldcat.org/oclc/498121940
Modern edition, typeset, by Tyrone Landau, London, August 2020
ONSITE PDF (DOWNLOAD)
"GRAND AMATEUR CONCERT", The Mercury (1 November 1862), 4
http://nla.gov.au/nla.news-article8812158
. . . a vocal duet "The Fairy Sisters" by F. A. Packer, a very pretty composition, being very pleasingly given . . .
[Advertisement], Hawke's Bay herald [NZ] (11 June 1867), 1
https://paperspast.natlib.govt.nz/newspapers/HBH18670611.2.2.5
Hawke's Bay Philharmonic Society . . .
PROGRAMME. Part I . . .
DUETT - Fairy Sisters - PACKER . . .
R. MACFARLANE, Conductor; G. WORGAN, Pianist . . .
ASSOCIATIONS: George Worgan, former colleague of Packer's in Reading
"AMATEUR CONCERT", The Mercury (15 May 1868), 2
http://nla.gov.au/nla.news-article8852197
. . . A pretty little duett, called the "Fairy Sisters," the work of Mr. F. Packer, sen., was very sweetly sung by two ladies, and an encore demanded . . .
The volunteer polka (c. 1860-62)
https://trove.nla.gov.au/search?l-publictag=The+volunteer+polka+(F+A+Packer+sen) (TROVE tagged by Australharmony)
The volunteer polka, composed & dedicated to Lieutenant-colonel Russell, I.F.O.V. and the Tasmanian Volunteers by Frederick A. Packer, R.A.M. (Hobart Town: Published by Frederick A. Packer, R.A.M. and to be had of all music sellers in Sydney, Melbourne, and Tasmania, [n.d.])
Copy at the Libraries Tasmania and photocopy at National Library of Australia, both digitised
https://trove.nla.gov.au/work/9854341 (DIGITISED)
Nearer to thee (1861)
https://trove.nla.gov.au/search?l-publictag=Nearer+to+thee+(F+A+Packer+sen) (TROVE tagged by Australharmony)
Nearer to thee, hymn CIX, composed and dedicated to the Ven. Rowland Robert Davies, B.A., Archdeacon of Hobart Town by his very faithful servant, Frederick A. Packer, R.A.M., organist to the Cathedral, Hobart Town
(Sydney: Clarson, Shallard, & Co., [1861])
Copy of the original 1861 edition at the National Library of Australia
https://trove.nla.gov.au/version/253250172 (DIGITISED)
For all editions, digitised:
https://trove.nla.gov.au/version/49953836 (DIGITISED)
And see also
Nearer to thee (arranged and with variations by W. J. Johnston, 1864)
Nearer to thee, transcribed for the pianoforte by W. J. Johnson
(Sydney: Published by W. J. Johnson, [1864])
Copies of the first and 5th editions the National Library, both digitised
https://trove.nla.gov.au/work/16894313 (DIGITISED)
Also copy of the 4th edition at the State Library of New South Wales
For review, see "NEW MUSIC", Sydney Mail (1 October 1864), 2
http://nla.gov.au/nla.news-article166657846
Musical works and other sources (Augusta Gow)
KEY: Extant works and sources (published or MS); Lost works (or no copy yet identified)
"Extract from a Fantasia written for Miss Gow by I. Moscheles, London, February 1829"; from Augusta Gow's frienship album, Sydney Living Museums (see below)
http://collection.hht.net.au/images_linked/recno55599_007.jpg (DIGITISED)
Augusta Gow's frienship album (MS, London and Edinburgh, c. 1829-35)
MSS 2019/2 [Augusta Gow], Caroline Simpson Library & Research Collection, Sydney Living Museums (acquired 2019)
http://library.sydneylivingmuseums.com.au/fullRecord.jsp?recnoListAttr=recnoList&recno=55599
DESCRIPTION (after Dr Matthew Stephens, June 2019) This volume is a friendship album (or scrapbook) compiled by Augusta Gow. It comprises 112 leaves of mainly cream-coloured paper, some blue, some brown, of which 51 pages carry finely drawn sketches (watercolour, pencil and ink); engravings; manuscript verse; and manuscript music, contributed by family members and friends. Most of the entries are dated, the earliest February 1829, others 1830, 1832 and one 1835, suggesting that the compilation of the album was begun while Gow was a student at the Royal Academy of Music in London. Some of the contributions to the album are fully signed, including two items of manuscript music: An "Extract from a Fantasia written for Miss Gow" by her piano instructor, Ignaz Moscheles, dated London, February 1829; and a piece by Ernesto Spagnoletti, dated April 11th 1829. A pen and ink portrait of a young woman holding a mandolin, probably a representation of Augusta Gow herself, is unsigned and undated but appears towards the front of the volume. There are two verse entries, made in London, by a Scottish poet known as the "Ettrick shepherd", James Hogg (1770-1835). One is dated 2 March 1832 and the other 3 March 1832.
BIBLIOGRAPHY: Jane Bradley, "Unknown poem by Scots writer found in journal of queen Victoria wet nurse", The Scotsman (10 February 2018)
Favourite set of quadrilles (first set, 1834)
Favourite set of quadrilles, composed, arranged, and dedicated to the countess of Dalhousie, by Augusta Gow, daughter of the late Nath. Gow
([Edinburgh: Alex. Robertson, 1834])
[Advertisement], Caledonian Mercury (23 January 1834), 1
. . . In the press . . .
QUADRILLES, by AUGUSTA GOW, daughter of NATH. GOW . . .
Favourite Set of QUADRILLES, composed, arranged, and dedicated to the COUNTESS OF DALHOUSIE,
by AUGUSTA GOW, daughter of the late NATH. GOW . . .
Published by ALEX. ROBERTSON, Music Saloon, Prince's Street . . .
ASSOCIATIONS: Christian Ramsay (countess of Dalhousie); Alexander Robertson (music publisher)
A second set of favourite quadrilles (1835)
A second set of favourite quadrilles, composed and arranged for the piano-forte, and dedicated to the Honourable Lady Menzies, by Augusta Gow
([Edinburgh: Alex. Robertson, 1835])
[Advertisement], The Scotsman (14 March 1835), 3
NEW MUSIC. A SECOND SET of FAVOURITE QUADRILLES, composed and arranged for the Piano-Forte, and dedicated to the Honourable Lady Menzies, by Augusta Gow. 2s., 6d . Published by ALEX. ROBERTSON, Music Seller to their Majesties, 39, and 47, Prince's Street . . .
Musical works (Frederick Augustus Packer; F. A. Packer junior)
Online work records:
http://worldcat.org/identities/viaf-310736187 (as at 2019 the WorldCat record includes some works by Frederick Alaxander Packer)
As at 2019 some works attributed to Frederick Augutus Packer in NLA/TROVE catalogue records are in fact by Frederick Alexander Packer; for the correct attributions only, follow the tag below:
https://trove.nla.gov.au/music/search?l-publictag=Frederick+Augustus+Packer (TROVE tagged by Australharmony)
WORK LIST BELOW COMPLETE TO 1860:
KEY: Extant works (published or MS); Lost works (or no copy yet identified)
3 works mis-attributed to Frederick Alexander Packer in WorldCat records:
The garrison polka (1854)
https://trove.nla.gov.au/search?l-publictag=The+garrison+polka+(F+A+Packer+jun) (TROVE tagged by Australharmony)
The garrison polka composed & dedicated to the officers of H. M. 99th Regiment, by Frederick A. Packer, jr.
(Hobart Town: Huxtable & Deakin, [1854])
Copy at the State Library of Tasmania
https://stors.tas.gov.au/ILS/SD_ILS-669101 (DIGITISED)
"NEW MUSIC", Colonial Times (19 October 1854), 2
http://nla.gov.au/nla.news-article8777766
This first notice, which incorrectly attributed the work to Frederick Packer, snr., was corrected at:
"SINCE the appearance . . .", Colonial Times (20 October 1854), 3
http://nla.gov.au/nla.news-article8777778
"THE GARRISON POLKA", The Courier (20 October 1854), 2
http://nla.gov.au/nla.news-article2240468
[Advertisement], Launceston Examiner (28 October 1854), 3
http://nla.gov.au/nla.news-article36290452
There is love for you and me (1854)
https://trove.nla.gov.au/search?l-publictag=There+is+love+for+you+and+me+(F+A+Packer+jun) (TROVE tagged by Australharmony)
There is love for you and me, words by Thos. Hood, music by Fred'k A. Packer jun'r
(Hobart: Huxtable and Deakin, [1854]) in The Delacourt bouquet
Copy at the State Library of Tasmania
https://trove.nla.gov.au/version/11443908
https://stors.tas.gov.au/ILS/SD_ILS-703661 (DIGITISED)
[Advertisement], The Courier (13 November 1854), 3
http://nla.gov.au/nla.news-article2242514
"THE DELACOURT BOUQUET", The Courier (14 November 1854), 2
http://nla.gov.au/nla.news-article2243917
Deus misereatur (1859)
Choral canticle, at evening service, Christmas day, 1859; "Packer jun."
"THE ORGAN AT ST. DAVID'S CATHEDRAL", The Hobart Town Daily Mercury (28 December 1859), 2
http://nla.gov.au/nla.news-article3260078
Forget me not (Forget me not in absence) (1860; publ. 1887)
https://trove.nla.gov.au/search?l-publictag=Forget+me+not+(F+A+Packer+jun) (TROVE tagged by Australharmony)
"An original composition for the occasion by Mr. F. A. Packer, Junior"; for much later edition (1887):
Forget me not, song, words and music by Fred. A. Packer
(Hobart: J. Walch and Sons, [1887])
Copy at the National Library of Australia
https://trove.nla.gov.au/version/228913053
https://nla.gov.au/nla.obj-661655699 (DIGITISED)
"THE SOUTHERN MINSTRELS", The Mercury (15 December 1860), 2
http://nla.gov.au/nla.news-article8795007
[Advertisement], The Mercury (30 December 1870), 3
http://nla.gov.au/nla.news-article8875386
[News], Barrier Miner (9 August 1902), 2
http://nla.gov.au/nla.news-article44283134
Fred. A. Packer, organist and composer, died . . . among his songs, Listening and Forget me not are particularly well known.
Violette (by 1862)
https://trove.nla.gov.au/search?l-publictag=Violette+(F+A+Packer+jun) (TROVE tagged by Australharmony)
Violette, ballad , by F. A. Packer ["I dream of thee"]
(London: J. H. Jewell, [1863?])
Copy at the State Library of Tasmania
https://stors.tas.gov.au/smu128276623 (DIGITISED)
Copy at British Library, Music Collections H.1772.y.(5.); BLL01004565784; incorrectly attributed to Frederick Alexander Packer
http://www.worldcat.org/oclc/498121967
Oh! sing once more that parting strain (? 1862)
https://trove.nla.gov.au/search?l-publictag=Oh+sing+once+more+that+parting+strain+(F+A+Packer) (TROVE tagged by Australharmony)
Oh sing once more that parting strain, song, composed and dedicated (by permission) to Mrs. Gore Brown, by Frederick A. Packer (organist of the Cathedral, Hobart Town)
(London: J. H. Jewell, [? 1862])
Copy at Libraries Tasmania, and photocopy at National Library of Australia, both digitised
https://trove.nla.gov.au/work/156931640 (DIGITISED)
Copy at British Library, Music Collections H.1772.y.(4.); BLL01004565783
http://www.worldcat.org/oclc/498121955
NOTE: If the date on the British Library catalogue record is correct, the work may be by Frederick Alexander, who was organist of St David's Cathedral until his death on 2 July 1862; however, if it is incorrect and the date later, Frederick Augustus is probably more likely the composer
Wouldn't you like to know (1869)
https://trove.nla.gov.au/search?l-publictag=Wouldn't+you+like+to+know+(F+A+Packer+jun) (TROVE tagged by Australharmony)
Wouldn't you like to know, words taken from the Australian journal; music by F. A. Packer
(Boston: G. D. Russell & Company, [? 1863-77])
Copy at the University of Michigan; Hathi Trust
https://catalog.hathitrust.org/Record/101773832 (DIGITISED)
Wouldn't you like to know; song ["I know a girl"], by F. A. Packer
(London, [1869])
Copy at British Library, Music Collections H.1776.(19.); BLL01004565785; incorrectly attributed to Frederick Alexander Packer
Words first appeared in The Australian journal (10 February 1866)
Bibliography and resources
Sainsbury 1824
"Gow, Nathaniel", Sainsbury, Dictionary, 1824, 1, 292
https://books.google.com.au/books?id=U0JDAAAAcAAJ&pg=PA292
Chambers 1853
"GOW, NATHANIEL", in Robert Chambers (ed.), A biographical dictionary of eminent Scotsmen, volume 3 division 4 (Glasgow: Blackie & Son, 1853), [479]-487
https://books.google.com.au/books?id=bDkEAAAAYAAJ&pg=PA487
GOW, Nathaniel, who, as a violinist and composer, well deserves a place in any work intended to perpetuate the names of Scotsmen who have done honour or service to their country, was the youngest son of the celebrated Neil Gow. His mother's name was Margaret Wiseman, and he was born at Inver, near Dunkeld, Perthshire, on the 28th May, 1766 . . . [487] . . . He was twice married. By his first wife, Janet Fraser, he had five daughters and one son, of whom two of the daughters only survive - Mary, married to Mr. Jenkins of London; and Jessie, to Mr. Luke, treasurer of George Heriot's Hospital. By his second wife, Mary Hog, to whom he was married in 1814, he had three sons and two daughters, only two of whom survived him - namely, John, who was educated in Heriot's Hospital; and Augusta, who became a teacher of music in Edinburgh, after having undergone five years' training in London. A spirited likeness of Mr. Gow was painted by Mr. John Syme of Edinburgh, which, with the portrait of his father Neil, the Dalhousie Goblet, and small kit fiddle, are in the possession of Mrs. Luke.
GOW, Neil, a celebrated violin player and composer of Scottish airs, was the son of John Gow and Catharine McEwan, and was born at Inver, near Dunkeld, Perthshire, on the 22d of March, 1727 . . .
Cazalet 1854
William Wahab Cazalet, The history of the Royal Academy of Music (London: T. Bosworth, 1854), 41, 57, 81, 106, 110, 113, 138-39, 140, 142, 149-50, 161, 163, 206, 223 (G. Packer [sic], F. A. Packer), 225, 226, 240, 267 (Mr. Packer, Mr. F. Packer)
https://archive.org/details/cu31924022404721/page/n69/mode/2up (DIGITISED)
https://books.google.com.au/books?id=uS9DAAAAcAAJ&pg=PA41 (DIGITISED)
http://books.google.com.au/books?id=XBAHAAAAQAAJ&pg=PA41 (DIGITISED)
Chorley 1870
Henry F. Chorley, "MR. C. PACKER", The athenaeum (22 January 1870), 132
https://books.google.com.au/books?id=OSTuVliDpIIC&pg=PA132 (DIGITISED)
For the benefit of those who write history, it is well that slips of the pen, great or small, whenever they occur, should be corrected at once; otherwise, they pass into errors, tending to disturb the accuracy of future writers. Such rectification implies no blame. Every one conversant with the press has to wonder not that errors are so many, but, on the contrary, that they are so few. I have been reminded of this fact by reading in a contemporary journal a letter from a former fellow labourer of mine, Mr. Ellis, in which, while correcting a name mis-spelt by the Rev. Mr. L'Estrange, in his life of Miss Mitford he falls himself into a stranger error. The subject is Mr. Charles Packer (misprinted "Parker" by Mr. L'Estrange). He was one of the earliest pupils of our Royal Academy of Music, - a pupil of Mr. Ella, - and at his outset thought to be a youth of great promise. Mr. Packer's solitary essay on the Engish operatic stage was made, I believe, in April, 1835 (vide Athen. No. 391), at the Lyceum Theatre, in "Sadak and Kalasrade." The book of this opera was written, not, as Mr. Ella states, by Serjeant Talfourd, a man as little moved by music as our first King George was by "boetry and bainting," but was the work of Miss Mitford, as her collected dramatic works attest. - The opera proved a total failure, and deservedly so; because the musician had not a spark in him of "the spirit of melody," - and because the words, though not charged with such nonsense and bathos as Mr. Bunn could thrust on the town, by way of "lengths," for careless men to set (to the annihilation, it may be said, of opera in English for half a century) were not good words for music. Joanna Baillie's songs, introduced into her serious dramas, were charmingly and availably suggestive. Her songs in "Orra" and "The Beacon," which have outlived the plays in which they were imbedded, were metrical and suggestive; - and furnish, after Shakspeare's, and Ben Jonson's, and by the side of those of Peacock (vide the songs in "Maid Marian"), the best canvas on which Bishop, our last real English composer, wrought. - But which among men, which among women, is perfect in self-knowledge? Miss Mitford was beguiled into writing an opera-book, without caring about music or understanding its requirements. Her great sister-dramatist could write fine tragedies and admirable songs; but, well-a-day! Mistress Joanna Baillie fancied she could also produce comedies; - and that these were more depressing than her tragedies, or, probably, than any other comedies ever put on paper by man or woman, the complete edition of her works, collected and prepared for publication, remains instructively to show. - Liston, it has been said, had a firm conviction that tragedy was his forte.
Mr. Ella seems at a loss as to the disappearance of Mr. Packer and by the absence of all mention of him in the Rev. Mr. Cazalet's history of our Royal Academy of Music. I believe he went to Australia - and this many years ago; and I am not aware that any tidings of further professional life and activity on his part, in the Newest World, have ever reached the old country. - HENRY F. CHORLEY.
ASSOCIATIONS: Henry Chorley (music and literary critic); Thomas Talfourd (judge, lawyer); John Ella (musician, teacher)
L'Estrange 1870
A. G. L'Estrange (ed.), The life of Mary Russell Mitford, related in an selection from her letters to her friends . . . volume 2 (London: Richard Bentley, 1870), 324-25, 329
https://books.google.com.au/books?id=vX1lFeZI8ccC&pg=PA324 (DIGITISED)
Also L'Estrange (ed.), The life of Mary Russell Mitford . . . vol. 3, 24
https://archive.org/stream/lifemaryrussell00unkngoog#page/n36/mode/2up (DIGITISED)
Mitford mention "Charles Parker" [as transcribed by L'Estrange], the scena Oh, pleasant land of France, farewell, and the opera in 2 letters of 1831 and one of 1835; and see Chorley below
Broadley 1906
A. M. Broadley, The boyhood of the great king 1841-1858: an account of the early years of . . . Edward VII (London: Harper and Brothers, [1906]), 87
https://archive.org/details/boyhoodagreatki00broagoog/page/n116
[86] . . . On November 21, 1840, the Princess Royal was born at Windsor Castle . . . [87] . . . In December the appointment as nurse of Mrs. Packer is announced, and the Times is able to inform its readers that she was "a native of Edinburgh where she was well known as Miss Augusta Gow. She is the daughter of the late Nathaniel Gow of that city, and grand-daughter of the celebrated Neil Gow ('Famous Neil'). Mrs. Packer studied music at the Royal Academy, London, with the view of becoming a public singer, in which character she appeared in Edinburgh at several concerts" . . .
Jerrold 1913
Clare Jerrold, The married life of queen Victoria (London: G. Bell & Sons, 1913), 92-93
https://archive.org/details/marriedlifeofque00jerruoft/page/96
[92] . . . One nurse was known as Mrs. Packer, but her real name was Augusta Gow, a native of Edinburgh who had been studying music at the London Royal Academy with a view to becoming a public singer. The choice seems to have been rather a peculiar result of "conscientiousness and circumspection." What could a musical student know of babies? However, in those days children's nurses [93] were no more trained than were sick nurses, so probably the only things that mattered were character, aptitude, and of course, purity. And why was she called Packer? . . .
Corder 1922
Frederick Corder, A history of the Royal Academy of Music (London: F. Corder, 1922), 8, 16, 22, plate after 22, 55
http://hdl.handle.net/1802/22270 (DIGITISED)
Howell 1966
P. A. Howell, "Of ships and sealing wax: the Montagus, the navy and the law", Papers and proceedings: Tasmanian Historical Research Association 13/4 (August 1966), (101-128), 119
https://search.informit.com.au/documentSummary;dn=81114274608;res=IELAPA (PAYWALL)
. . . Because of his position as a Judge, the social entertainments given at "Rosny" in those years were for a select few. Still playing the patron, Montagu gave shelter to C. S. Packer, a transportee whom he considered "a gentleman of extraordinary musical genius." In his youth, Packer had been a concert pianist. Then he had turned teacher. Sir Robert Peel's daughters had studied under him for about ten years. Packer was transported in 1839-40, for forgery. He went to Montagu as a passholder, and instead of being put to work on the Judge's farm, he was allowed to take pupils and give private recitals . . .
Lea-Scarlett 1974
E. J. Lea-Scarlett, "Packer, Charles Sandys Stuart Shipley (1810-1883)", Australian dictionary of biography 5 (1974)
http://adb.anu.edu.au/biography/packer-charles-sandys-stuart-shipley-4353
Wettenhall 1974
R. L. Wettenhall, "Packer, Frederick Augustus (1839-1902)", Australian dictionary of biography 5 (1974)
https://adb.anu.edu.au/biography/packer-frederick-augustus-4354 (ONLINE)
Field 2004
Christopher D. S. Field, "Gow, Nathaniel (1763-1831)", Oxford dictionary of national biography (2004) online
https://doi.org/10.1093/ref:odnb/11167 (PAYWALL)
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)
http://hdl.handle.net/2123/7264 (DIGITISED)
Griffin-Foley 2014
Bridget Griffin-Foley, Sir Frank Packer: a biography (Sydney: Sydney University Press, 2014), 1-8
https://books.google.com.au/books?id=Uj9tDwAAQBAJ&pg=PA1 (PREVIEW)
Other resources:
"Sadak and Kalasrade", Victorian English opera
http://www.victorianenglishopera.org/operas/Sadak_and_Kalasrade.htm
"Packer, Charles" [senior], Pianoforte-makers in England, Histoire de pianos (website 2004-2017)
http://www.lieveverbeeck.eu/Pianoforte-makers_England_p.htm
"Towns, Thomas", Pianoforte-makers in England, Histoire de pianos (website 2004-2017)
http://www.lieveverbeeck.eu/Pianoforte-makers_England_t.htm
"Nathaniel Gow", Wikipedia
https://en.wikipedia.org/wiki/Nathaniel_Gow
© Graeme Skinner 2014 - 2024