- C - (Ca - Cez)

Introductory note:

The primary focus of the biographical register is musical personnel first active before the end of 1860, with a secondary focus on members of their circles - families, pupils, colleagues, and other important contacts - first active after 1860.

Beyond that, there has been no systematic attempt to deal with musical personnel first active after 1860, and the coverage is selective.

A major upgrade of the contents of this page was completed in May 2023, and newly added documentation (including genealogical data) and Trove tagging now brings the page content up to the end of 1860 close to completion.

Only such biographical information as can be confirmed from standard national databases or original documentation presented is entered at the head of each person entry in this page. Where no certain evidence of a person's birth year has yet been identified, the assumption is that we do not and cannot yet know with sufficient certainty to propose one. Years of birth or death, and sometimes also names and spellings of names, thus sourced and presented here, will often differ more or less substantially from those given (but often merely hazarded) in standard Australian and international bibliographic and biographical records.

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

CADDAN, Robert (Robert CADDAN; CADDEN; Mr. CADDALL; CADELL)

Drum major (50th Regiment)

Born ? England, c. 1807
Arrived (with headquarters of regiment) Sydney, NSW, 18 November 1834 (per Hooghley, from the Downs, 29 July)
Married Harriet DUNSTAN, Windsor, NSW, 1837
Died Sydney, NSW, 11 February 1839, aged "31"

https://trove.nla.gov.au/search?l-publictag=Robert+Caddan+c1807-1839+drum+major (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CADDAN-Robert (shareable link to this entry)

ASSOCIATIONS: Band of the 50th Regiment (first tour)

Documentation:

"MR. FERNYHOUGH", The Colonist [Sydney, NSW] (7 December 1837), 7

http://nla.gov.au/nla.news-article31720126

We have been much amused with several caricatures on stone by Mr. Fernyhough, amongst which the drum-major of the 50th, who is so remarkable for the enormous size of his hat, is admirable.

ASSOCIATIONS: William Henry Fernyhough (lithographer)

"NEWS OF THE DAY", The Sydney Monitor (20 December 1837), 2

http://nla.gov.au/nla.news-article32158410 

It seems that the officers of the 50th have taken advantage of the hints which have been thrown out by several persons (by Mr. Fernyhough among the rest), by removing from the cranium of the Drum major of that regiment the enormous cap that used to grace it; a grenadier's cap has been substituted.

Pay-list of the 50th Regiment, 1 April to 30 June 1838; Australian Joint Copying Project, from UK National Archives, WO12/6131

https://nla.gov.au/nla.obj-1706144026 (DIGITISED)

Drum-Major as Serjeant / 326 / Cadden Rob't [sic] . . .

Baptisms, St. Matthew's (C of E), Windsor, 1838; Biographical database of Australia (BDA)

https://www.bda-online.org.au/mybda/search/biographical-report/30201131102 (PAYWALL)

5 November 1838 / Born 18 September 1838 / John Dunstan Gow / [son of] Robert and Harriet / Cadden / Drum Major 50th Regiment

ASSOCIATIONS: John Dunstan Gow Caddan (d. NSW, 1909)

Pay-list of the 50th Regiment, from 1 January to 31 March 1839; Australian Joint Copying Project, from UK National Archives, WO12/6131

https://nla.gov.au/nla.obj-1706227177 (DIGITISED)

Drum-major as Serjeant / [no.] 326 / Caddan Robert / Deceased / Died on 11th February 1839
Larkin Michael / From Private Vice Caddan Deceased

"MILITARY FUNERAL", The Colonist (13 February 1839), 2

http://nla.gov.au/nla.news-article31722541

The Drum Major of the 50th Regiment, died in the Hospital on Monday last, after a few days' illness; and was interred with very respectable military honours. It appears that the last illness of the deceased was mingled with violent mental derangement. He was esteemed in the regiment as a valuable superintendent of the musical department, and had succeeded in bringing the band into a state of excellent discipline and efficiency.

"CORONER'S INQUEST", The Sydney Monitor (13 February 1839), 2

http://nla.gov.au/nla.news-article32162848

The Drum Major of the 50th Regiment, who died after a few days' illness and confinement in the military hospital on Monday afternoon, was buried yesterday at four o'clock, with the usual military honours. He had been in a state of delirium a few days previously, and it was found necessary to confine him in a strait waistcoat, to prevent him from laying violent hands upon himself.

[News], The Australian (14 February 1839), 2

http://nla.gov.au/nla.news-article36860161

Mr. Caddall the drum major of H. M. 50th Regiment, died in the Military Hospital on Monday last, having been in a state of mental derangement for several days previous to his decease, we are sorry to say from a late habit of intemperance. Mr. C was highly respected in the regiment, both by his officers and his comrades; was a particularly steady and active soldier, until unhappily for himself, and to the loss of the service, he acquired a habit of drinking which grew and fixed itself on him until it produced the melancholy result we have had to record. The body was attended to the burial ground by the whole regiment, and interred with full military honors. Whilst the temperance system is being gradually introduced into our Navy, we have not heard of a similar praiseworthy attempt in the military department, at least not exclusively confined to the Regiments. With the fearful and disgraceful fact of nineteen soldiers being confined in the gaol for offences, no doubt committed under the influence of spirit, it is singular that some such attempt is not made by the commanding officers of the Regiments.

"DRUM MAJOR OF THE 50TH", Commercial Journal and Advertiser (16 February 1839), 4

http://nla.gov.au/nla.news-article226457925 

This individual, named Robert Caddan, who has been so long an object of attraction, at the head of the splendid band of the 50th, to the inhabitants of Sydney, was a few days since taken to the Military Hospital, in a deranged state. On Sunday last, he became so violent in his fits of madness, that it was found absolutely necessary to put on a strait jacket. The poor man, however, grew worse, and expired on the following morning, last Monday. He was buried on Tuesday afternoon with military honors, attended by a full band.

CADDY, Joseph (Joseph CADDY; J. CADDY; Mr. CADDY)

Musician, professor of the harp, piano, and singing, music teacher

Born Ireland
Active SA, by late 1855
Died North Kapunda, SA, 2 October 1856

https://trove.nla.gov.au/search?l-publictag=Joseph+Caddy+d1856 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CADDY-Joseph (shareable link to this entry)

Documentation:

[Advertisement], South Australian Register [Adelaide, SA] (1 December 1855), 4

http://nla.gov.au/nla.news-article49296565 

MR. CADDY, PROFESSOR of the HARP, PIANO, and SINGING.
Terms moderate. Application at Mr. Cremen's. Franklin-street west.

"DIED", South Australian Register (16 October 1856), 2

http://nla.gov.au/nla.news-article49756624 

DIED. At the North Kapunda Hotel, Mr. Joseph Caddy, teacher of music, found dead in his bed-room.

"SUDDEN DEATH", South Australian Register (16 October 1856), 3

http://nla.gov.au/nla.news-article49756648 

On Friday, October 3, an inquest was held, at the North Kapunda Hotel, before Dr. Blood, J.P., on the body of Mr. Joseph Caddy, who had been found dead in his bed at the hotel where the Jury were assembled, and where deceased had resided for nine months previously. The Jury, after hearing evidence, returned a verdict of natural death. The deceased was a native of Ireland, and had been engaged as a teacher of music to several private families at Kapunda. His remains were interred at the Catholic Cemetery near the township, and were followed to their last resting-place by a considerable number of the inhabitants, including Dr. Blood, J.P., Mr. Oldham, J.P., and Mr. C. Smedley.

[Advertisement], Adelaide Observer (18 October 1856), 8

http://nla.gov.au/nla.news-article161261854 

NOTICE TO RELATIVES. - The Relatives of the late Mr. JOSEPH CADDY (a native of Ireland, and a Teacher of Music), are hereby informed that he died at Kapunda, on the 3rd of October instant. Any person acquainted with Mr. Caddy's relatives would oblige by informing them of his decease.

CAILLY, Clarisse (Marie Madeleine Clarisse ?; Mary Madeline Clarisse CAILLY; Madame CAILLY; Madame Jules CAILLY)

Musician, soprano vocalist, teacher of singing

Born Anvers, France, c. 1820s
Married Jules de TAILLANDIER-CAILLY, by 1844
Arrived Melbourne, VIC, 2 December 1855 (per Gertrude, from Calcutta)
Departed Sydney, NSW, by July 1857

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

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAILLY-Clarisse (shareable link to this entry)

See also her husband, Jules Cailly

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

Summary:

Cailly was born at Anvers, France, probably sometime between c. 1820 and 1825, Her parents were also French, though their surname is as yet unknown, and both also singers, her father a "first tenor" and mother "chief singer" at the Opera Comique and also of the Paris Conservatoire. She began her studies as a pupil of Alexandre-Étienne Choron, probably only a short time before his death in June 1834. Later, at the Paris Conservatoire, she studied with François Delsarte (1811-1871) and Marco Bordogni. She made her debut at the Theatre de la Renaisance, Paris, probably around 1842-43, and shortly after married Jules de Taillandier-Cailly, before, reportedly at the age of 19, visiting India, where on 29 July 1844, as Madame Cailly, she sang at a public farewell dinner for the outgoing governor-general, Edward Law (lord Ellenborough).

On her return journey she visited Egypt, Greece, Turkey, and St. Petersburg, where she sang for the emperor and court. In summer 1847, due to the temporary indisposition of the prima donna Rosine Laborde, she appeared in her place at the Theatre Royal, Brussels, before departing for Holland and London in 1848. From London she visited the United States, and subsequently spent several years in South America, singing at Lima, Valparaiso, and Santiago de Chile. From Lima, she briefly visited San Francisco in 1854, and then China, Manila, Singapore, and again Calcutta in 1855.

Arriving in Australia at the same time as Anna Bishop, Cailly spent the next year and a half touring the colonies to not inconsiderable critical and public acclaim. She left, however, bitterly blaming Bishop for her own lack of financial success.

Documentation:

"FAREWELL DINNER TO LORD ELLENBOROUGH, AT CALCUTTA", Illustrated London News [London. England] (12 October 1844), 226

https://books.google.com.au/books?id=iHc5AQAAMAAJ&pg=PA236 (DIGITISED)

[on Monday, 29 July 1844] . . . [among the toasts] . . . Aria - From "Les Diamans de la Couronne," by Madame Cailly . . .
In the intervals between the later toasts Madame Cailly sang some beautiful selections from the operas of "L'Eau Merveilleuse" and "La Juive" . . .

MUSIC: L'eau merveilleuse (musique de Albert Grisar)

"London Gossip", Monthly Times [London, England] (24 May 1848), 3

https://www.britishnewspaperarchive.co.uk/viewer/BL/0002437/18480524/017/0003 (PAYWALL)

. . . one of the most classical pianists of the day is in London, and has already played in public - we allude to the Frenchman Halle - and a swarm of second-rate singers (not excluding Madame Cailly, well known in Calcutta and Bombay), fiddlers, pianists, and composers have followed in the wake of the leading stars - the first fruits gathered by England from a revolution which has for the present time almost ruined art in Paris . . .

ASSOCIATIONS: Charles Halle (pianist)

"HANOVER-SQUARE ROOMS", Morning Post [London, England] (24 June 1848), 6

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000174/18480624/015/0006 (PAYWALL)

Dr. and Miss Helene Stopel gave a concert yesterday morning, at the above fashionable place of resort, when some very excellent instrumental music was performed with great precision by their pupils upon eight pianos. Many of our most distinguished vocalists were engaged, including Mr. Sims Reeves, Miss Miran, Miss Bassano, and Mr. Gregg . . . The sweet romance, "Va dit-elle," from Robert le Diable, was very cleverly sung by Madame Cailly, who has a sweet but not very powerful voice . . .

ASSOCIATIONS: Robert and Helene Stoepel (brother and sister, conductor and pianist); Sims Reeves (vocalist); John Gregg (vocalist, in Australia from 1852)

MADDLE. STOEPEL'S CONCERT" and "MADAME CAILLY", The musical world [London, England] (24 June 1848), 410; and (8 July 1848), 445

https://books.google.com.au/books?id=_PksAAAAYAAJ&pg=PA410 (DIGITISED)

[410] . . . succeeded by the romance from Robert le Diable, Va dit-elle," sung with great feeling by Madame Cailly, who has a clear-toned, beautiful soprano. It will be remembered that we announced Mad. Cailly's arrival from the West Indies, in a recent number.

https://books.google.com.au/books?id=_PksAAAAYAAJ&pg=PA445 (DIGITISED)

[445] A correspondent informs us that it is from the East and not the West Indies that Madame Cailly, of whose performance at Mademoiselle Helene Stoepel's concert we spoke so favorably, has arrived. Since her return (last summer) Madame Cailly completed a two months' engagement at Brussels, at the Theatre Royale, where she played twice with Roger, anna in Dame Blanche, Isabelle in Robert le Diable, and Margaret in the Huguenots, under the management of M. Auguste Nourit, during the indisposition of Madame Laborde, the Prima Donna.

ASSOCIATIONS: Rosine Laborde (vocalist)

"PERU. Taena, 6th September, 1852", Empire [Sydney, NSW] (7 December 1852), 4

http://nla.gov.au/nla.news-article60137212 

. . . Madame Cailly had given three concerts in this city (Taena), and was received with much applause.

[News], Sacramento Daily Union [CA, USA] (4 April 1854), 2

https://cdnc.ucr.edu/?a=d&d=SDU18540404.2.19.1 

Among the passengers by the John L. Stephens, were a complete galaxy of theatrical talent, consisting of Kate Hayes, Laura Keene, the Misses Denin, the Batemans and Mrs. Thoman, the gifted lady of the Stage Manager of the Sacramento Theater. Also, Madam Cailly, a singer of reputation, from the opera at Lima . . .

ASSOCIATIONS: Catherine Hayes (vocalist, in Australia, from September 1854); Laura Keene (actor, in Australia from October 1854)

"A BENEFIT", Sacramento Daily Union (19 April 1854), 2

https://cdnc.ucr.edu/?a=d&d=SDU18540419.2.12 

Madame Clarissa Cailly, the French artiste, has tendered a benefit to the Lafayette Hook and Ladder Company, of San Francisco.

[News], Daily Alta California [San Francisco, CA, USA] (12 June 1854), 2

https://cdnc.ucr.edu/?a=d&d=DAC18540612.2.10 

Madame Clarisse Cailly, the distinguished French prima donna, will, we learn, leave to-day in the barqe Arturo for a professional tour for the Hongkong, the East Indies and Australia.

"MR. JULES CAILLY, SINGAPORE", The Courier [Hobart, TAS] (24 January 1855), 2

http://nla.gov.au/nla.news-article2478252 

We have shown your letter to the Manager of the Royal Victoria Theatre here, who thinks you may succeed in your line in these colonies, but that it will be extremely difficult to enter into any contract for giving operatic performances. Such contracts can only be entered into on the spot. The taste for the Italian Opera would no doubt be riper at Sydney than at Hobart Town.

ASSOCIATIONS: Feltham Bold Watson (manager); Royal Victoria Theatre (Hobart venue)

"FROM SINGAPAORE", Daily Alta California (14 March 1855), 2

https://cdnc.ucr.edu/?a=d&d=DAC18550314.2.13 

Madame Cailly and Monsieur and Madame Frery, are giving concerts at Singapore, with but moderate success.

[News], Civil & Military Gazette [Lahore, India] (27 March 1855), 5

https://www.britishnewspaperarchive.co.uk/viewer/bl/0004542/18550327/048/0005 (PAYWALL)

The concert last night, for Madame Cailly's benefit, was remarkably well attended, the Lieutenant-Governor of Bengal and many - as the phrase goes—of the leading members of society being present. Nothing could have been, in every respect, more successful. Madame Cailly's singing and acting in the mad scene from Lucia di Lammermoor were pronounced to be admirable. I have heard good judges decliam that if Cailly had acted half as well as sung when Miss Hayes was here, she would have driven her out of the field, or concert room, or the conceit of public opinion, in three nights. But I can't conceive that this is just. Miss Hayes was not very pretty - I may say so now that she is no longer in India - but she looked enchantingly pretty at a distance - on the platform - and her figure, especially in the mad scene, was gracefully and beautiful. Such cannot be said of Madame Cailly - at least with regard to the latter. And it strikes me as being something so very ridiculous to see a pretty, but a bourgeoise kind of figure, dying stark mad, all for love - a figure that presents to one's mind the very idea of jollity, content and happiness! Of! no, Miss Hayes could not be surpassed in this matter by Madame Cailly. Nothing could have been better than the former's acting, and in every respect, singing especially, and person, all were most excellent. I can't say the same for her fair but comfortable looking rival for public applause in Calcutta. I have said so much of the one lady that I can hardly trespass on your patience to allude to Madame Frery, who is still as pretty and as much of a wonder in her fiddling - or I should rather say, on her violin - as ever . . .

Australia (2 December 1855 to July 1857):

Melbourne and Geelong and Bendigo, VIC (2 December 1855 to ):

List of passengers arrived in the Port of Melbourne, 2 December 1855, from Calcutta, on board the Gertrude; Public Record Office Victoria

https://prov.vic.gov.au/archive/3AFC5433-F96C-11E9-AE98-217934D1FC21?image=87 (DIGITISED)

. . . Mr. & Mrs. Cailly [and] 2 child'n . . .

SHIPPING INTELLIGENCE. ARRIVED (HOBSON'S BAY)", The Age [Melbourne, VIC] (3 December 1855), 4

http://nla.gov.au/nla.news-article154859780 

December 2 - Gertrude, Fr. ship, 400 tons, J. Gordon, from Calcutta 14th Oct. Passengers - cabin: Mr. and Mrs. Cailly and family . . .

"ARRIVAL OF A FRENCH PRIMA DONNA", The Age (6 December 1855), 6

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

Madame Cailly, of the Conservatoire Royal, Paris, is now on a professional visit to this city. This lady, who was a pupil of Duprez, and afterwards of Bordogni, made her debut at the Theatre de La Renaissance at Paris. Her success was of the most complete character, and she continued for some time an ornament of that Theatre, during its best days too, when the celebrated Italian translations were in course of representation. At the age of twenty Madame Cailly visited India, where her success before a refined and highly critical audience was of the most gratifying character. On her return, traversing Egypt, Greece, and Turkey, she had the honor of singing before the late Emperor and Court at St. Petersburg, whee she won golden honors. At Berlin she became the friend of the celebrated Jenny Lind, [whom she] soon after met again at Hamburg, and again the same year 1848 in London, where her success as an operatic singer was all that she could wish, as the press of the day bore testimony. At Brussels, which city Madame Cailly visited in 1849, she became the acknowledged Prima Donna of the Italian Opera, which high position she held with profit and celebrity to herself until her departure for Holland en route to London. In Holland, Madame Cailly had also the honor of singing before the King and Royal family, and she retains many souvenirs of the kindness she experienced in this kingdom. On again visiting London, Madame Cailly took a part in all the leading concerts, adding alike to her returns and her reputation as a first class operatic singer. From London she visited the United States, where her reception was enthusiastic. She subsequently visited Lima, Valparaiso, and Santiago, the Chilian Capital, in which latter city the diploma of honorary member of the "Conservatoire" was conferred upon her.

NOTES: Evidently sourced from the same Calcutta article as 16 February 1856 and 8 May 1856, below, in the process introducing several small errors

"THEATRICAL ON DITS", The Argus [Melbourne, VIC] (10 December 1855), 5

http://nla.gov.au/nla.news-article4825386

Madame Anna Bishop with M. Bochsa, having arrived at Sydney, and being ultimately bound for this colony, we have less to regret in connection with the departure of Miss Hayes than we could have imagined a few weeks ago. Madame Bishop has been pronounced by the British press one of the finest sopranos of the stage at home; and we anticipate for her in this colony an equal amount of public favor. It is gratifying to find that at the antipodes we can command in succession the efforts of the best artistes, both in the historic and the lyrical drama. A Madame Cailly, whose reputation as an operatic artiste is not of today, has arrived. From the evidence now before us in this lady's favor, we may pronounce her an acquisition to any stage which may be the scene of her performance in this colony.

ASSOCIATIONS: Anna Bishop (vocalist); Nicholas Bochsa (musician)

"MADAME CAILLY", The Age (11 December 1855), 5

http://nla.gov.au/nla.news-article154867887 

It may interest theatrical managers in the colony to be informed that this lady is competent to sustain the character of the Prima Donna in the following operas: Ernani, I Due Foscari, Il Barbiere di Seviglia, Norma, Lucia di Lammermoor, Les Diamants de la Couronne, Der Kappelmeister, and Ne Touchez Pas la Reine. She is also provided, we are informed, with the full score of each of the foregoing.

"SUMMARY FOR ENGLAND, BY THE LIGHTNING . . . ITALIAN OPERA", The Age (24 December 1855), 5-6

http://nla.gov.au/nla.news-article154867728 

Miss Catherine Hayes bade farewell to a Melbourne audience on Friday night, at the Theatre Royal, in Linda di Chamounix. Every seat in the house was [6] full and numbers were compelled to stand, throughout the whole of the performance. It is not at all improbable that the genuine Italian will supersede the polyglot opera at this house. (For it will rather startle our readers in England to be told that we have had vocalists singing in Italian, French and English, in the same opera.) The arrival of Madame Cailly and Signor Borsoti, and the assurance that the materials of a good Italian operatic company are to be found in some of the cities of South America, coupled with the popularity of the lyrical drama in Melbourne, will probably influence the management of the Theatre Royal in making arrangements for the establishment among us of the Italian Opera en permanence.

ASSOCIATIONS: Paolo Borsotti (vocalist); Theatre Royal (Melbourne venue)

"THEATRE ROYAL", The Argus (31 December 1855), 5

http://nla.gov.au/nla.news-article4826991

Arrangements are in progress for the production of a series of Italian operas at this establishment, and we hear that engagements have already been effected with Madame Cailly, Madame Carandini, and M.M. Paolo Borsotti and Coulon. The first opera to be presented will probably be Verdi's "Ernani," to be followed by "I Puritani." Mr. Lavenu will have the management of the orchestra.

ASSOCIATIONS: Maria Carandini (vocalist); Emile Coulon (vocalist); Lewis Henry Lavenu (musical director)

"THEATRICAL AND MUSICAL", The Argus (9 January 1856), 5

http://nla.gov.au/nla.news-article4827759

. . . Opera has resumed at the Royal, Madame Carandini and Messiuers Coulon and Barre, sustaining the principal parts. "Norma" is to be presented to-night, Madame Cailly, formerly of the Brussels Opera, and recently prima donna at Lima and Valparaiso, who has lately arrived in Melbourne taking the part of Norma and Signor Paolo Borsotti that of Oroveso.

ASSOCIATIONS: Anthony Barre (vocalist)

"THEATRE ROYAL", The Argus (9 January 1856), 6

http://nla.gov.au/nla.news-article4827827

The opera of "Norma is to be performed this evening at the Theatre Royal. Madame Cailly, who has been highly successful in every quarter of the globe, will take the part of the Druidical Priestess, and Signor Paolo Borsotti will be the Oroveso. The Indian, Californian and South American papers speak of Madame Cailly's personation of Norma in the very highest terms, and those who have had an opportunity of hearing Signor Borsotti in rehearsal describe him as the best basso they have heard out of England. A new edition of the opera, according to rehearsal, has been published.

Diary of John Buckley Castieau, 9 January 1856; original MS, National Library of Australia; transcript online, Mark Finnane (ed.), University of Newcastle

https://trove.nla.gov.au/work/21875533 

https://c21ch.newcastle.edu.au/textmaptext/castieaudiaries/map.php?name=1856 (TRANSCRIPT)

[Wednesday 9 January 1856] . . . Mr. Smith of The Age Newspaper called & asked me if would like to go to the Theatre this evening as he could give me two places in a Private Box he had taken. I thanked him & promised to attend myself with my sister. Went to St. Kilda to ask Harriette to come in . . . left Harriette following me in time for the Theatre. Called for Mr. Neild & accompanied by him & Mr. Buzzard proceeded to the "Royal." Mr. Smith was there before we arrived. Madame Clarisse Cailly made her bow to a Melbourne Public this evening & personated "Norma". Catherine Hayes had but recently played the character & the public were consequently somewhat excited with the thought of comparison. Catherine Hayes is decidedly the most accomplished vocalist & by far the more finished actress & in the more impassioned scenes of the Opera far eclipses anything that Madame Cailly last night attempted. Some notes on the other hand of the fair French lady are sweeter & thrill more to the hearts of the audience than those of her contemporary. It was very wet when the performances terminated & it was with some misgiving that I allowed Harriette to go alone to St Kilda . . .

ASSOCIATIONS: John Buckley Castieau (diarist); James Smith (journalist)

"THEATRE ROYAL", The Argus (10 January 1856), 5

http://nla.gov.au/nla.news-article4827874

There was a numerous attendance at this place of amusement last evening, to witness the debut of Madame Cailly and Signor Borsotti, in Bellini's opera of "Norma". Both artistes achieved a triumphant success, and we have every reason to congratulate the public upon the acquisition the stage in this colony has made in them. The opera has so lately been produced at this theatre with Miss Hayes in the leading character, that the step taken by the advisers of Madame Cailly was a bold one. Whatever has been risked, however, has been justified by the result, for there is no doubt that with the remembrance of this Miss Hayes's most admired impersonation fresh in their recollection, the public have pronounced a highly favorable verdict upon Madame Cailly's performance . . . Both of the debutants were well received on their entrance . . . Madame Cailly's figure is somewhat against her in a part like Norma, but the execution of her opening recitative at once awakened the audience to the fact that they had an accomplished artiste before them. Although evidently suffering from great nervousness, she gave the "Casta Diva" with an elegance of expression and perfection of intonation which drew rounds of applause from the house; and the succeeding cavatina, "Ah! bello a me ritorna," narrowly missed an encore. The celebrated "O non tremar e perfido" also elicited loud plaudits, but in this great dramatic situation we certainly missed the fine and expressive gesture and attitude of Miss Hayes. In the second act Madame Cailly met with even more success than in the first, and in the final scena the excellence of her organ and style of vocalisation was more apparent than ever. The ever favorite duet with Adalgisa, "Deh con te," was received with great applause, and the ensemble with which it concludes was encored . . . Madame Cailly's voice is a pure and flexible soprano, fresh and resonant, of good quality in the upper register, but somewhat thin in the lower. As the singer progressed, a gradual improvement was perceptible, and there is little doubt that it is one of those voices which improve by work. Her intonation is satisfactory, and she possesses that style of fioriture which marks the eleve of a good school. We have no intention of comparing her with Miss Hayes in this character, for no comparison could be instituted, the respective style of each being widely different. Our impression is that Madame Cailly will be seen and heard to better advantage in the opera buffa; and we wait with some anxiety for Monday evening, when this lady is expected to appear in the role of Rosina, in "Il Barbiere" . . .

"THEATRE ROYAL", The Age (10 January 1856), 2

http://nla.gov.au/nla.news-article154865020 

. . . Madame Cailly's success last night was decided, and, to borrow a phrase from her own language, "pronounced." She was received by a numerous audience with the warmth and cordiality of greeting due to a lady and a stranger. Her opening recitative was listened to with that sort of critical silence which tries the nerves of debutantes, and evidently discomposed those of Madame Cailly; but the power, sweetness, and flexibility of her voice, as exhibited in the sostenuti notes at the close, convinced her auditors that a vocalist of no ordinary merit stood before them, and served also to increase the anxiety with which they awaited the Casta Diva. In this exquisite air, however, Madame Cailly did not make the impression which most representatives of the Druidess usually produce. The upper notes of Madame's voice are rich, round, and ringing, but her chest-notes struck us as being somewhat sfogati, and this defect told unfavorably upon her delivery of the hymn: but in the Ah, bello non mi ritorna, the fair vocalist brought down the house, and was awarded an enthusiastic encore. The descending scale introduced into the latter air was a faultless and delightful piece of vocalization, and won so much upon the audience, that there was an evident disposition to demand the melody a third time . . .

"THEATRE ROYAL", The Argus (15 January 1856), 5

http://nla.gov.au/nla.news-article4828319

The opera of "Norma was repeated yesterday evening to a house tolerably well filled. Madame Cailly, who appears to have already established herself as a favorite, was flatteringly received, and obtained well earned plaudits by her beautiful vocalisation of the part. Madame Carandini being, we are sorry to state, seriously indisposed, the character of Adalgisa was on this occasion assumed by Madame Sara Flower, with considerable success . . .

ASSOCIATIONS: Sara Flower (vocalist)

"DIARY OF OUR MELBOURNE CORRESPONDENT, Wednesday, 16th January", The Tasmanian Daily News [Hobart Town, TAS] (26 January 1856), 5

http://nla.gov.au/nla.news-article202386356 

The Italian opera has again become the order of the day at the Royal. A Madame Cailly and Signor Borsotte, having arrived by a late ship from Valparaiso. A survey of the formidable proportions and mighty bulk of the cantatrice would lead one to suppose that she was possessed of a voice of something like relative compass. The idea is however soon dispelled. Her tones are shrill yet weak, her manner laid, her movements awkward. It is clear that she has been accustomed to sing at minor theatres only, or has filled a very subordinate position on the greater and more important operatic arena. The voice of her companion is also devoid of power, but he is a tolerable actor. Altogether, we have reason to congratulate ourselves on the manifest superiority of our domestic artistes, Mous. Coulon and Madame Carandini, to the new importations. The piece thus far presented has been Il Barbiere; but we are promised some novelties next week, always provided that the gods meantime shower down their favors on Mr. Bagne, Madame's services otherwise not being forthcoming.

ASSOCIATIONS: Borsotti in fact arrived a few days later on a different ship, direct from South America

"THEATRE ROYAL. THE BARBER OF SEVILLE", The Age (17 January 1856), 3

http://nla.gov.au/nla.news-article154862938 

An Opera Buffa is really a startling novelty in Melbourne; or at any rate it appeared to exercise a startling effect upon the audience last night; for though everybody must have enjoyed the music, yet numbers appeared to be mystified by the fun. Judging from the puzzled expression of their countenances, we should say that the opera had become so associated in the minds of our colonial play-goers with the display of earnest passion and serious emotions, that they hesitated to avouch their belief in its possession of a mirthful aspect. That the Barber of Seville is, however, as full of mirth as of melody, we need not waste words in asserting; and its performance last night, taken as a whole, was eminently satisfactory. The joyous music was joyously rendered by the principal artistes concerned. Madame Cailly trilled the luscious phrases which Rossini has assigned to Rosina, as a bird might trill them, and the variations introduced into the singing lesson were given with faultless accuracy, the utmost sweetness, and exquisite effect. They were encored with a perfect furore of applause, and amidst a shower of bouquets. M. Coulon's Figaro was admirable . . . Signor Borsotti as Bartolo was better in recitative than in song . . . M. Barre improves nightly, and we are only sorry that his figure does not expand with his voice. The orchestra, led by M. Lavenu, did full justice to the charming music of this charming opera.

"THEATRE ROYAL. - IL BARBIERE", The Argus (17 January 1856), 5

http://nla.gov.au/nla.news-article4828487 

. . . Madame Cailly, in the role of Rosina, fully justified the anticipations of great success which we have predicted with respect to her. Her vocalisation of much of the music was all that could be desired, while at the same time her acting was intelligent and lady-like. The celebrated "Una Voce," although not encored, elicited a genuine burst of applause from the audience; but the splendid execution of Moreau's variations on Rode's celebrated thema, caused a vociferous re-demand. In the beautiful duet with Figaro, "Dunque io Son," this lady's fioriture powers were exerted with great advantage, and she was ably supported throughout . . .

"THEATRE ROYAL", The Argus (21 January 1856), 5

http://nla.gov.au/nla.news-article4828772

The season at this theatre unexpectedly came to a close on Saturday night, when, in consequence of some difficulty with respect to salary, the drama of "Cramond Brig," and the farce of "Catching a Heiress," were substituted in lieu of the advertised performances, which were the opera of the "Barber of Seville," and "A Rough Diamond." The cause of the non-production of the opera was the refusal of M. Cailly to allow his wife to appear unless some arrears of salary were paid, and as the management either could not or would not comply with that gentleman's demands, the lady was not forthcoming when the time for the performance had arrived. In this case, Madame Cailly and her husband being foreigners, are at least entitled to have the reasons they give for the non-appearance of the lady on Saturday evening laid before the public, who, from the rumors afloat, might imagine that, from one of those flights of inconsistency which occasionally occur in the case of theatrical performers, they have been treated with disrespect. Accordingly, having heard both sides of the story, we give the information we have acquired, for the benefit of our readers. M. Cailly's tale is that his wife being underpaid £40 of her salary at the end of the previous week, he told the management on Friday evening that unless the arrears was paid the next day Madame Cailly would not appear. On Saturday symptoms of a deficient treasury having again presented themselves to his imagination, he wrote to Messrs. Laurie and Rayne, repeating what he had told one or other of those gentlemen the preceding day. No answer was returned to his note, and accordingly his wife did not go down to the theatre. On the other hand, it is said that M. Cailly on Friday evening consented that the arrears should stand over, and that his wife should play the next night, as a kind of extra performance. The non-payment of the whole of the first week's salary is accounted for by the fact of Madame Cailly only playing two instead of three nights, but the lady's husband states that it was not his wife's fault that such was not the case, as the production of the opera was postponed by the management in consequence of Mr. Lavenu being unable to be present. Our readers will judge for themselves in the question at issue, and determine which party is blameable for the public disappointment on Saturday evening. The theatre will be closed during the present week, and the contemplated arrangements include the production of Donizetti's "Don Pasquale," on Monday next, and the first appearance of Mr. and Mrs. Charles Young. The operas of "Ernani," "Puritani," and "Der Freischutz" it will be produced in succession. During the present week the Concert Hall will be opened very evening, with promenade concerts.

ASSOCIATIONS: Charles and Jane Young (actors); Frederick Bayne (proprietor)

"MADAME CAILLY AND THE MANAGEMENT OF THE THEATRE ROYAL", The Argus (22 January 1856), 5

http://nla.gov.au/nla.news-article4828827 

The following letter has been addressed to [us by] Madame Cailly, on the subject of the representation of the opera of "Il Barbiere di Siviglia" at the Theatre Royal on Saturday evening. -
Dear Sir - Although it is with some reluctance I [? occupy] the public attention in reference to a misunderstanding which took place between the managers of the Royal Theatre and myself, I think it is my duty to give an explanation.
It will be permitted to me at once to offer to the public and the press every expression of my sincere gratitude, of my profound recognition of the noble and hospitable reception which I have received from all parties in this colony.
Being a stranger, and not knowing anyone, even a countryman, I have once more learnt that as que les beaux arts n'ont pas de patrie, and as a French artiste in an English colony has not found herself without a friend.
I pray my friends and the public to admit my excuses for the disappointment which I deeply regret to have caused them on the last Saturday evening. It was entirely against my will, and contrary to all precedent on my part, that I took that painful resolution.
On Thursday, the 17th inst., I, by writing to the management, gave them to understand that I wished to be paid the £40 sterling due for the first week at least; and for the second week's salary, I was willing to wait until the next week. On the following day, I again spoke to the management. On Saturday morning I sent a gentleman to speak to them: I received no reply. Again I wrote to them and still no reply. I demanded a reply before [? ] o'clock: they had not the politeness to say a single word in answer to my application. Had they acted towards me the regard that is due to a woman, I should have been induced promptly to have returned to the theatre. But no: instead of answering my appeals, they have listened to the insinuations of one who, since I came, has never ceased to injure me, and who even now does all in his power to exclude me from the company, amongst whom I still believe I have many friends.
Wherever my profession as an artiste has called me I have obtained the esteem and respect of all, the friendship of my comrades. Such will be the case here when I shall be known.
I am the mother of a family. I have been at great expense in procuring my costumes. If I had not received my salary entire, at least I ought and hoped to have obtained a part.
The management owes me £140. If they have the desire to annul my contract, they at least, as a question of honour, should feel it their duty to pay me, and give me the benefit promised in the agreement.
I remain, Sir, yours respectfully,
CLARISSE CAILLY.
59 Collins street east, Melbourne, January 21st, 1856.

The letter referred to in the above is the following: -
Melbourne, 17th January, 1856.
To F. Bayne, Esq.
To dear sir, I am very sorry to observe the way which Mrs. Cailly has been treated last evening. Mr. Laurie gave me £6 sterling only, giving me for a reason that Mrs. Cailly sang twice. Her engagement is that she is to sing three times a week, but it is not her fault if she is not required to do so. Mrs. Cailly began on Sat 5th inst. She must be paid, whether she sings or not, unless she refuses to do so. All the other artistes have been paid in full although they did not sing three times. When you asked her to sing on Saturday, which will be four times this week, I did not object. I have signed a contract in confidence: I will abide by it. The management must do the same. Please be kind enough to settle this difference before the performance tomorrow. Would be sorry to have to tell you that she will not sing.
Madame Cailly has large expenses for her costumes.
She wishes to be paid regularly.
I remain, dear Sir,
[no signature, but evidently Jules Cailly; manicule]

Sub-joined is a copy of the engagement reached by Mr. Bayne: -
I hereby engage Madame Clarisse Cailly, to sing at the Theatre Royal for three nights a week, during the season for the year 1856, at a salary of one hundred pounds per week, payable weekly, to sing in such operas as are mentioned on the other side and such operas as she has sung in other countries. The season to commence on 14th January 1856. She is not to perform in any other place without the consent of Mr. Bayne.
Attested the 27th December 1855.
FREDK. BAYNE
The said Madame Cailly to have half clear benefit.
F. BAYNE
[on reverse] "Ernani," "I Due Foscari," "Barber of Seville,"
"La Favorita," "The Crown Diamonds," "Norma,"
"Ne Touchez pas a la Reine," "The Chapel Master."

"MADAME CAILLY AND THE THEATRE ROYAL. To the Editor of . . .", The Argus (24 January 1856), 6

http://nla.gov.au/nla.news-article4829061

Sir, - Will you allow me for the last time a small space in your valuable columns, in order to reply to the letter of Mr. Bayne. I did not assist at any meeting convened on Thursday relative to the payment of the artistes: all the artistes (Madame Cailly excepted) had been paid their full salary for the previous week. If Mr. Bayne knew the duties of a manager, he would be aware that in engaging an artiste, it is always the custom to mention the number of times on which she will be required to sing, in order that the manager may oblige her to perform it. By putting the following clause into Madame Cailly's agreement, "she shall not sing anywhere else," he claims the entire use of her time and services, and of course is bound to pay her for that time, whatever alteration he may think proper to make in the programme of the week. Supposing that Madame Carandini should sing "Don Pasquale," Madame Cailly would remain, therefore, a week without singing. Had not Mr. Bayne prohibited Madame Cailly from singing elsewhere during that time, he would not have been obliged to pay her; but surely as she remained at his service, he would be compelled to do so. On Friday I spoke to Mr. Bayne in the concert room of the theatre, in the presence of Mr. Laurie, requesting him to pay the £40 due for the past week: he turned haughtily upon his heel, and said that as he was going away he had better close the theatre. On Saturday, at ten a.m., Mr. Askunas went to the manager respecting it, but was badly received. I then wrote to the manager, but, as usual, after waiting the whole day, received no reply. I regret that Mr. Bayne should have resorted to such an artifice as to say that the engagement only commenced on the 14th, when it is patent to all that in the daily journals he announced it as commencing on Monday, the 7th inst. If "Norma" was not given for the 7th, it was because Mons. Lavenu was not present. Surely Madame Cailly ought not to be blamed for that! She commenced her rehearsals on the 5th, and continued them daily (not even omitting the days on which she sang publicly) during the most distressing weather, in order to oblige the management, and not retard the operatic arrangements. However, to end all discussion on the matter, if Mr. Bayne can show satisfactorily that he ought not to pay Madame Cailly the £40 referred to, she is satisfied to be paid for the two representations at the rate of £100 for three, and the £100 due for the second week. I am sorry that Mr. Bayne should have found it convenient to charge me with ungentlemanly conduct. I speak and understand English badly, which circumstance may have led him to think my manner unusual, but I beg to say that I am a gentleman by education, birth, and conduct, and that I studiously avoid any violation of the character.
I am, Sir, yours respectfully,
J. DE TAILLANDIER-CAILLY.
Melbourne, 23rd January, 1856.

"DIARY OF OUR MELBOURNE CORRESPONDENT, Thursday, January 24th", The Tasmanian Daily News (5 February 1856), 5

http://nla.gov.au/nla.news-article202384498

AN interruption in the Opera at the Theatre Royal has taken place in consequence of the non-payment of Madame Cailly's salary. The belligerents have resorted to the newspapers. Madame's husband states that her salary had been allowed to run into arrear, and that he had notified to Mr. Bayne that she would not sing on Saturday night unless were paid in the interim. He complains that she never received a reply to this communication. Mr. Bayne, in exculpation, denies the facts to be as stated by Monsieur, but seems now indisposed to call the lady's services into requisition, trusting to Madame Carandini, instead, who is to appear in Don Pasquale next week with Coulon and Borsotti.

[SUMMARY OF THE MONTH] . . . THEATRICALS AND MUSIC", The Argus (30 January 1856), 5

http://nla.gov.au/nla.news-article4829485

. . . The pantomime at the Royal being a decided failure, the management were soon compelled to look around them for something attractive. Fortunately there was at the time in the city he nucleus of a good foreign operatic corps in the persons of Madame Cailly and Signor Poblo Borsotti. The lady was formerly attached to the company of the Brussels opera, and since then had been engaged as prima donna in Valparaiso and Lima in both of which cities there is a well appointed opera. Sig. Borsotti a basso of considerable power and also an excellent actor had also been a member of the same company and accompanied Madame Cailly and her husband to Melbourne. A second opera the season was accordingly announced . . .

"THEATRE ROYAL", The Argus (31 January 1856), 5

http://nla.gov.au/nla.news-article4829529 

Last evening "Don Pasquale" was produced in the presence of a large and respectable audience. The opera was completely successful. Madame Carandini, who assumed the role of Norina, took the house by storm . . . The opera will be repeated this evening, and we are glad to find that the management have entered into arrangements for the reappearance of Madame Cailly.

"THEATRE ROYAL", The Argus (5 February 1856), 5

http://nla.gov.au/nla.news-article4829941 

Paer's comic operatic sketch "Le Maitre de Chapelle," and not "La prova d'un Opera Seria," as advertised in the bills, and which is by Gnecco, was performed last evening. The house was most meagrely attended; but the music of this sparkling piece of operatic scouters was brilliantly rendered by Madame Cailly, whom we never heard in better voice, and MM. Barre and Coulon. We regret to find that in consequence of want of support from the public the operatic season terminated with last evening. The management, however desirous they might be to present to the public an operatic entertainment of a high order, being unable to do so at an immense loss to themselves. The theatre will accordingly be closed until Monday next, when it will be reopened with a new dramatic company, under the stage management of Mr. Clarance Holt.

ASSOCIATIONS: Clarance Holt (actor, manager)

"THE CONCERT AT MACK'S", Geelong Advertiser and Intelligencer [VIC] (16 February 1856), 2

http://nla.gov.au/nla.news-article91865470 

A very thin house again assembled to greet Madame Cailly, and the other professors of the Divine Art. We do not suppose that the paucity in the attendance arose from any want of appreciation of the programme, but from other causes. Certainly there could not be a better concert produced; and considering the high price charged for the room (£20 each night) - the admission could not well be made lower than it was. It is plain that no great good can be done with music until we erect a Hall or Theatre somewhere in the centre of the town, which would be always available at a moderate cost for musical entertainments. The following is a sketch of the career of Madame Cailly previous to her arrival in the colony:

Mary Madeline Clarisse Cailly was born at Anvers. Her parents were also French, her father having been first tenor and her mother the chief singer at the Opera Comique as also of the Conservatoire at Paris. Madame Cailly in her earliest youth evinced musical capability of an uncommon order, as well as the possession of a very fine voice. These qualifications decided her career. She commenced her studies under Choron, the professor of the celebrated tenor Duprez, and also at the Royal Conservatoire under Professor Delsarte. At the Conservatoire, Madame Cailly had also the advantage of the instructions of the celebrated Bordogni, and it was while under his tuition that she was solicited to sing at the Grand Opera in Paris, rumour having been busy as to the vocal merits of the young cantatrice. Madame Cailly consented to the trial, and the result was the offer of several engagements, none of which, however, her father would permit her to accept at the time. Madame Cailly subsequently made her regular "debut" at the Theatre de la Renaissance at Paris. Her success was of the most complete character, and she continued for some time an ornament of that Theatre, during its best days too. At the age of nineteen Madame Cailly visited India, where her success, before a refined and highly critical audience, was of the most gratifying character. On her return, traversing Egypt, Greece, and Turkey, she had the honor of singing before the late Emperor and Court at St. Petersburg, where she won golden honors. At Berlin she became the friend of Jenny Lind, whom she soon after met again at Hamburg and again the same year, 1848, at Brussels, which city Madame Cailly visited in 1847, she became the acknowledged Prima Donna of the Theatre Royal, which high position she held with profit and celebrity to herself until her departure for Holland en route to London. In Holland, Madame Cailly had also the honor of singing before the King and Royal Family, and she retains many souvenirs of the kindness she experienced in this kingdom. On again visiting London, Madame Cailly took a part in all the leading concerts, adding alike to her returns and her reputation as a first class operatic singer. From London she visited the United States, where her reception was enthusiastic. She subsequently visited Lima, Valparaiso, and Santiago, the Chili capital, in which latter city the diploma of honorary member of the Conservatoire was conferred upon her. Madame Cailly's success was here unbounded. Night after night the Theatre was crowded to suffocation by her admirers, and though some of the very first artistes of the day have visited this part of South America, the enthusiasm excited on the occasion of Madame Cailly's visit was greater than on any other occasion.

[Since the above was in type, a musical enthusiast has suggested that a free complimentary benefit should he given in Geelong to Madame Cailly and her able coadjutors. After the result of the last two concerts we have had little faith in the suggestion. Geelong is not yet ripe for an Italian Opera, but we still hope that the artistes who have "gained a loss" in Geelong for the public will yet be rewarded adequately.

ASSOCIATIONS: Alexandre-Étienne Choron (1771-1834; teacher); Gilbert Duprez (pupil of Choron); François Delsarte (1811-1871, teacher), brother of Camille Del Sarte (musician); Marco Bordogni (vocalist)

"MADAME CAILLY'S CONCERT", The Argus (4 March 1856), 5

http://nla.gov.au/nla.news-article4832258 

The insufferable heat of last evening operated to prevent a much larger attendance at the concert given by this talented lady at the Mechanics' Institute than that on the former occasion when the dust and rain combined to render it impossible to get out of doors. His Excellency the Acting Governor and suite were present and occupied a dais erected at the foot of the gallery. Madame Cailly was in excellent voice and received an encore in the rondo finale from Sonnambula, "Ah! non giunge." M. Coulon sang with considerable effect and elicited the rapturous applause of the audience. Such a superior performance deserved a full hall of listeners.

ASSOCIATIONS: Mechanics' Institution (Melbourne venue)

BENDIGO [FROM OUR OWN CORRESPONDENT] Sandhurst, March 17th, 1856", The Age (19 March 1856), 3

http://nla.gov.au/nla.news-article154860678

Madame Cailly, Messrs. Coulon, Barre, Madame Sara Flower, and others have been giving operatic performances the last two nights at Mr. Coleman's Theatre. The first night, there was a thin attendance. On Thursday night Norma was performed. Madame Cailly possesses a fine voice of great power, and was rapturously applauded.

ASSOCIATIONS: Henry Coleman (proprietor); Lyceum Theatre (Bendigo venue)

"THE THEATRES", The Age (31 March 1856), 3

http://nla.gov.au/nla.news-article154862546 

. . . Jacobs had a large audience, at the Royal. The band, benefitted by a week's practice, is now admirable. The music is given with wonderful precision and spirit, and the accompaniments to Madame Cailly's operatic selections all that she can wish. Her delightful singing is daily becoming more appreciated by the general public . . .

ASSOCIATIONS: Joseph Jacobs (performer, manager)

[Advertisement], The Argus (8 April 1856), 8

http://nla.gov.au/nla.news-article4834972

THEATRE ROYAL. Last week of the Grand Promenade Concerts a la Jullien. This Evening, Tuesday, 8th April,
The celebrated Prima Donna MADAME C. CAILLY will appear every evening during the week except Friday . . .

"MELBOURNE (From our own Correspondent) Friday, May 2", Geelong Advertiser and Intelligencer (3 May 1856), 2

http://nla.gov.au/nla.news-article93144775 

. . . The following letter has been addressed to the local press by the husband of Madame Cailly, the operatic singer. The Committee of the St. Patrick's Society, it may be remembered, made an application to the Government for permission to hold their festival within the Exhibition Building, but received a reply from Mr. Moore, the assistant colonial secretary, to the effect that it was not the intention of Government to grant the use of the building for other than charitable purposes. This formed a subject for much comment at the time, and was considered by the Irish party - and with good reason - as an attempt to discountenance and discourage their celebration, inasmuch as the reservation of Government was only elicited on their application for the use of the building, a week or so after the Scotch party had held a festival within its walls in honor of Burns. It appears that Madame Cailly afterwards made application to the Government to hold a concert but was refused for the reasons given to the Irish party. Since then, Miss Hayes has announced two concerts in the building, to take place next week for her own benefit, which announcement has elicited the following letter:

HOSPITALITY TO FOREIGN ARTISTES.
Sir, - When the doors of the Theatre Royal were closed to Madame Cailly in consequence of financial reasons, I made an official application to the Chief Secretary, to obtain, on paying for it, the use of the Exhibition Building. This application was referred to the Commissioner of Public Works, who replied to me, in an official letter, that as the building in question was the property of the Government, a decision had been taken to grant the use of it only for charitable purposes.
The Government has not found itself able to relax the rule in favor of a foreign artiste, but at the very same time the building has been lent to Miss Catherine Hayes, who announces two concerts for her own benefit.
It may appear fastidious, but it is necessary to add that the benefit announced for Madame Cailly will not take place, by reason at the concerts given by Miss Hayes, notwithstanding that Madame Cailly would have a perfect right to carry out her intention.
It is, however, the usage among artistes who have any self-respect, not to indulge in any opposition of an unworthy kind.
The grievances that I should have to denounce would occupy too much space: I must leave them in the hands of a respectable and impartial public.
I have the honor to be, Sir, Your obedient servant,
T. CAILLY.

Names and descriptions of passengers per Havillah, from Melbourne, 1 May 1856, for Adelaide; Public Record Office Victoria

https://prov.vic.gov.au/archive/236BA708-F7F0-11E9-AE98-47409E2B6F16?image=18 (DIGITISED)

. . . Monsieur Cailly / 45 /// Madame Cailly / 35 . . .

Adelaide, SA (5 May to July 1856):

"MADAME CAILLY", Adelaide Times [SA] (6 May 1856), 3

http://nla.gov.au/nla.news-article207091769 

We understand that Madame Cailly, who arrived per Havilah yesterday for a short stay amongst us, intends giving her first concert on Friday evening next. We hope the public will be liberal in their support, and we promise them a treat; at least, if we may judge from the numerous highly laudatory notices from our Melbourne contemporaries. Madame Cailly has, we hear, engaged the Exchange Concert-room; and if she, as we expect, gives one of her usual well-selected programmes, we promise her a bumper.

ASSOCIATIONS: Exchange Rooms (Adelaide venue)

"MADAME CAILLY'S CONCERT", Adelaide Times (8 May 1856), 2

http://nla.gov.au/nla.news-article207091823 

As this lady makes her debut in Adelaide on Friday evening next, we take from a Calcutta paper the following notice of her, which cannot fail to be interesting to our numerous readers:

Mary Madeline Clarisse Cailly was born at Anvers . . . [as above] . . . At Lima, also, she sang at the Italian Opera for nearly two years, always experiencing the most enthusiastic receptions. Night after night, the stage was covered with bouquets, dovos, presents, &c., &c. From Lima, Madame Cailly left for California (San Francisco), and from San Francisco visited China, Manila, Singapore, and again Calcutta, where we need not say she was most rapturously welcomed back by her old admirers. At San Francisco the Society of the "Firemen," in their enthusiastic admiration, presented Madame Cailly with a superb engraved silver vase, as a testimony of their admiration for her abilities, and their respect for herself. Madame Cailly sang for the benefit of their companies. - Calcutta Paper.

"MADAME CAILLY'S CONCERT AT NEALE'S EXCHANGE", South Australian Register (10 May 1856), 4

http://nla.gov.au/nla.news-article49752208

Yesterday evening the prima donna of the French and Italian operas appeared for the first time before a South Australian audience. Already have the public been made acquainted with some of the universal attestations to Madame Cailly's extraordinary talent; and half wondering, perhaps slightly doubting, we attended the concert last evening to hear for ourselves the wondrous powers of this celebrity. The programme contained four instrumental pieces, several ballads for Miss Chalker, and no fewer than five of the most difficult compositions attempted even by singers of the first rank for performance by the fair cantatrice. The cavatina from Meyerbeer's Opera, "Robert le Diable" - "Robert toi que J'aime" - introduced Madame Cailly. After the first few notes every feeling was absorbed in riveted attention; the ear drank in strains of melody delicious, clear, and brilliant - produced with precision and with marvellous effect. The disadvantage to an English audience of listening to a foreign language was forgotten, if, indeed, it was ever felt; for the vocalization was so distinct, and so full of strong emotional eloquence, that every one felt the "song without words." The lady was warmly applauded, her first appearance having evidently created a good impression. The polacca from Verdi's opera "I Lombardi," with variations composed by Madame Cailly, and evidently a favourite with her, brought her before the audience a second time, and hi this brilliant composition was evidenced the marvellous power and compass of her voice, sustaining rich and full notes in alt never reached by ordinary voices. In the variations she exhibited the most finished vocalization, coupled with the ease and confidence which can attend only perfect command of a fine soprano, evenly rich and full. In the second part, Madame Cailiy sang the grand cavatina from Bellini's opera "Norma," and again showed musical capabilities of the highest order, the many difficult passages in it being given so smoothly and sweetly as to receive a warm encore. The gem of the evening was the "Theme de Rode," with variations composed originally for the violin, and afterwards arranged for the voice for Mdlle. Sontag, by whom it was sung in the "Barber of Seville." It opened with a plaintive andante, distinct and pleasing in its melody; and the variations with roulades were remarkably brilliant in effect, while most fully sustaining the theme. In the second variation, particularly an allegro movement, there were arpeggios of great difficulty mastered with infinite ease and grace. It was most beautifully sung throughout, and elicited the warmest appreciation. The Rondo Brilliante "Linda di Chamounix," with variations, wa the closing triumph of the talented artiste, and she obtained for it a most enthusiastic re-demand. There was unhappily one circumstance which tended to mar some of the finest effects - the absence of proper arrangements for the accommodation of the pianist, Herr Kunze. The reputation of this gentleman as a master of this instrument is already established, and for his own sake we would recommend at least one rehearsal previous to future concerts . . . In justice to the orchestra, under the leadership of Mr. Chapman, we must say that their instrumentation exhibited a very marked improvement . . .

ASSOCIATIONS: Marie Chalker (vocalist); Carl Julius Kunze (pianist); William Chapman (violinist, leader)

"PORT THEATRE", Adelaide Times (11 June 1856), 2

http://nla.gov.au/nla.news-article207092817 

On Monday evening, June 9th, a vocal concert came off at the Theatre. There was a very respectable audience, and consequently the applause was not se boisterous as it usually is on these occasions. Madame Clarisse Cailly sung very well considering the disadvantage she laboured under, having no accompaniment, or, rather, one that she had better have been without. We have heard of rough music, such as stones in a tin-kettle, and it would not be much unlike Herr Kunze's performance on the superb instrument he laboured on, if the tin kettle were played a little piano, instead of forte, as it usually is. Miss Pettman was much applauded, and the simple English ballads were greatly admired. The grand duet, "Deh Conte Norma," by Madame Clarisse Cailly and Miss Maria Chalker, was extremely well sung, and was encored. We cannot help being pleased to find we have some musical talent in the colony, and if Miss Chalker continues to improve as she has done lately, she bids fair to become a Prima Donna herself. It is to be hoped that before another concert takes place at the Port Theatre, that the proprietor of that edifice, or whoever has the management of it, will prevent the public from being insulted, by placing such a box of rubbish before them as the thing called a piano. We were told a rat ran out of it, and we should not wonder if there was a nest of them inside.

ASSOCIATIONS: Mary Ann Pettman (vocalist); Port Theatre (Port Adelaide venue)

"EXCHANGE ROOMS", Adelaide Times (11 June 1856), 2

http://nla.gov.au/nla.news-article207092817 

Another concert was given by Madame Cailly, at this building, yesterday evening. Being in magnificent voice, the gave a selection from "Robert le Diable," with brilliant effect; and on different occasions was enthusiastically encored. Miss Chalker and Miss Pettman offered a pleasing variety in their several styles of singing. The attendance was very good. Another concert will take place next Friday.

"MADAME CAILLY'S FAREWELL CONCERT", Adelaide Observer (19 July 1856), 3

http://nla.gov.au/nla.news-article161260088 

We are sorry to have to state that a rather small audience assembled on the occasion of Madame Cailly giving her farewell concert last evening, in White's Concert and Assembly Rooms. The programme was of a more than usually well-selected character, and an additional feature was given by the introduction of two overtures, which were very effectively performed by some orchestral members of the Choral Society, under the leadership of Mr. Chapman. The beneficiare was in excellent voice, and gave to all her parts the admirable richness and effect which usually distinguish her vocalisation. Mr. C. W. Draeger performed his variations and accompaniment with the flute exceedingly well; and the duet for pianoforte, "La Dame Blanche," by Miss L. J. Rowe and Herr Linger, was creditably produced. Miss Chalker obtained two encores, and in compliance with the re-demand substituted two very pleasing song. The grand scena and duet from Donizetti's opera "Lucia di Lamermoor," introducing a gentleman amateur with Madame Cailly, was effectively rendered. On the whole the performances passed off well; but we cannot close this brief notice without expressing a regret that really good music should have so little influence on the public of Adelaide, and that on the occasion of this talented lady's last appearance comparatively so few should be found to give the friendly "Fare ye well."

ASSOCIATIONS: Carl Wilhelm Draeger (flute); Louisa Jane Rowe (pianist); Carl Linger (pianist); Adelaide Choral Society (association); White's Rooms (Adelaide venue)

"SHIPPING INTELLIGENCE. ARRIVED (HOBSON'S BAY)", The Argus (28 July 1856), 4

http://nla.gov.au/nla.news-article7133869 

July 27. - Burra Burra, s.s., 300 tons, A. A. Harper, from Adelaide 24th inst., and Guichen Bay 26th inst. -.Passengers - cabin: Mons. and Madame Cailly . . .

Names and descriptions of passengers per London, from Melbourne, 31 July 1856, for Sydney; Public Record Office Victoria

https://prov.vic.gov.au/archive/236CDF89-F7F0-11E9-AE98-BD278A18D665?image=3 (DIGITISED)

. . . Monsieur & Madame Cailly / 40 / 29 / [and] 2 children . . .

Sydney, NSW (2 August 1856 to July 1857):

"MADAME CAILLY", The Sydney Morning Herald (4 August 1856), 5

http://nla.gov.au/nla.news-article12985575

Among the passengers arrived by the steamer London on Saturday are Monsieur and Madame Cailly whose concerts have met with such marked success at Melbourne. This talented lady intends remaining in this city for a short time, for the purpose of giving musical entertainments.

CONCERT HALL, ROYAL HOTEL.- Under the patronage of his Excellency the GOVERNOR GENERAL AND LADY DENISON, who have signified their intention of being present.
Madame CLARISSE CAILLY'S First Grand Concert, FRIDAY, August 10th.
PROGRAMME. Part I.
Song - "Hear me, gentle Maritana," Wallace - Mr. Banks.
Song - "Kathleen Mavourneen," Crouch - Madame Lamont.
Aria - "Robert le Diable," (Grace) Meyerbeer - Madame CLARISSE CAILLY.
Song - "Echo answered, Where?" Banks - Mr. Banks.
Song - "Home, Sweet Home," Bishop - Madame Lamont.
Solo - Piano - "Don Pasquale," E. D. Boulanger - Mons. E. D. Boulanger.
Grand Aria and Scena - "Casta Diva" (Norma), - Bellini - Madame CLARISSE CAILLY.
Part II.
Overture - Band of the 11th Regiment.
Song - "Terence's Farewell to Kathleen," Patourel - Madame Lamont.
Rondo Brilliant - Marotzek - Madame CLARISSE CAILLY.
Scena - "The Maiden of Normandy," C. Horn - Mr. Banks.
Rode's Variations, as sung by Mdme. Sontag in the "Barber of Seville."
These variations were first composed for the violin and afterwards arranged for the voice - they exhibit all the most difficult parts of vocalisation. - Madame CLARISSE CAILLY.
Solo - Piano - "The Last Rose of Summer," Boulanger - Mons. E. D. Boulanger.
Buffo Song - "The Man in the Moon" - Mr. Banks.
Polacca - "Lombardi" with variations, expressly composed for Madame Cailly, Verdi - Madame CLARISSA CAILLY.

ASSOCIATIONS: Thomas Banks (vocalist); Maria Augusta Lamont (vocalist); Edward Boulanger (pianist, composer); William and Caroline Denison (governor and wife); Band of the 11th Regiment (military); Royal Hotel (Sydney venue)

"MADAME CAILLY'S CONCERT", The Sydney Morning Herald (16 August 1856), 6

http://nla.gov.au/nla.news-article28635126 

This lady gave the first of her proposed series of concerts last evening, at the concert hall of the Royal Hotel, before an exceedingly select, but we regret to say not a numerous audience. His Excellency the Governor-General and Lady Denison were present on the occasion. The debut which Madame Cailly made last night may be said to be, without exaggeration, a most complete triumph; from the moment of her uttering her first note, those present at once appreciated the vocal power of the cantatrice. In the first part of the programme she sang an air from Meyerbeer's "Robert le Diable," and also the grand scena of "Casta Diva," from the Norma - both of which were persistently encored. In the latter the full scope, sweetness, power, and brilliancy of the Prima Donna's voice were made fully manifest, and the applause amounted to a perfect furore. In the second part she was again most successful, suffering an encore of each of the morceaux. Maretyck's Rondo, the first piece of vocalisation, was replaced by a lively air from Auber's "Le Sirene." This was followed by the celebrated music lesson from the Barber of Seville, including Rode's very difficult variations, the executions of which is said to be the test of the musical artiste. On its being encored La Donna e Mobile from Verdi's opera of "Rigoletto" was substituted; and on the occasion of the last air from Verdi's "Lombardi" the songstress, fatigued with her exertions, simply appeared and bowed her acknowledgments. Mons. Boulanger's performance on the pianoforte of the popular serenade from "Don Pasquale," and of the "Last Rose of Summer," both with very difficult variations, were encored; rondos of a less complex character being in each instance substituted. Madame Lamont sung one or two ballads very sweetly; and Mr. Banks aided by no means inefficiently in filling up the programme of the evening, and received a fair share of applause. From the very strong feeling displayed last evening, Madame Cailly bids fair to become, very shortly, a popular favourite.

"WEEKLY EPITOME", The Sydney Morning Herald (18 August 1856), 5

http://nla.gov.au/nla.news-article12986056 

Madame Cailly, made her debut on Friday evening, at the Royal Hotel; Mdlle. Duret, at the "Victoria" on Thursday; and on Saturday Madame Anna Bishop, who was received most enthusiastically, Mons. Laglaise, and M. Coulon appeared in Norma, at the English Opera House.

ASSOCIATIONS: Marie Duret (actor); Jean-Baptiste Laglaise (vocalist); Royal Victoria Theatre (Sydney venue); English Opera House = Prince of Wales Theatre (Sydney venue)

"OUR LYCEUM THEATRE", Empire (22 August 1856), 4

http://nla.gov.au/nla.news-article64975058

Madame Clarisse Cailly made her second appearance at this establishment last evening. Madame Cailly is an artist of the highest order, and deserves greater consideration than she has met with at the hands of the Sydney public. The house last evening was very poorly attended. Madame Cailly nevertheless sang magnificently, and we have no hesitation in saying that her rendering of the grand aria and scena from Donizetti's opera of Lucretia Borgia was a master-piece. We strongly recommend amateurs and the admirers of music in general, not to lose the opportunities which the presence of this highly gifted lady now affords them, of improving their taste by studying the style and peculiar excellences of this splendid vocalist.

ASSOCIATIONS: Lyceum Theatre (Sydney venue)

"ENGLISH OPERA HOUSE AND OUR LYCEUM", Freeman's Journal [Sydney, NSW] (23 August 1856), 3

http://nla.gov.au/nla.news-article115558420 

The musical world of Sydney have this week had no reason to complain of a paucity of musical entertainments. In very truth the admirers of "sweet sounds" have reason to be well satisfied with the brilliant attractions which the spirited managers of the above-named establishments have offered. On Saturday evening Madame ANNA BISHOP appeared at the Opera House in her great role of Norma, and met with her usual success. The house was very fashionably attended, and at the conclusion of the second and last acts, the prima donna was called before the curtain to receive the unanimous plaudits of the audience. On Tuesday and Thursday evenings Madame BISHOP appeared in Donizetti's Opera of "L'Elisir d'Amore," "Tancredi," and "Lucrezia Borgia," which sho sang and acted in an artistic and exceedingly clever style. Messrs. COULON and LAGLAISE supported Madame BISHOP very efficiently, and in some of their performances were loudly applauded. The deservedly distinguished prima donna, Madame CLARISSE CAILLY, appeared in a grand concert on Wednesday evening. Her singing was a great triumph of vocalization; and language, powerful as it is, is inadequate to describe the success she achieved in the aria "Casta Diva;" "Il due Foscari" was also sung with exquisite taste and powerful expression, and "Lucrezia Borgia," on Thursday evening, was another success, Madame Cailly being called several times before the curtain, amidst showers of bouquets, the audience testifying their delight by long-continued cheering. We cannot spare space this week to institute a comparison between the merits of the two distinguished prima donnas now in Sydney, but shall for the present content ourselves by saying in the words of a well-known reviewer, that they are "twin stars of great magnitude shining with equal splendour."

"CONCERT HALL . . .", Freeman's Journal (6 September 1856), 3

http://nla.gov.au/nla.news-article115559684 

Madame Clarisse Cailly's Concert on Wednesday evening was one of the most brilliant musical reunions which has graced the city for some time past, indeed, how could it have been otherwise where such a grand array of talent, both vocal and instrumental, were combined for the especial purpose of shewing what the musical resources of Sydney really are. The opening cavatina "Opera Betly" was a grand effort of Madame CAILLY'S vocal powers; but the aria and scena "All! hope deserts me," from "Robert le Diable," and "Casta Diva," from Bellini's Opera of "Norma," were sung with surpassing excellence. The fair songstress was loudly applauded, and an enthusiastic encore was the result. Mr. WINTERBOTTOM's solos "Una voce poco fa" and "L'Echo," were executed in a masterly style on the famous bassoon. The solo "Andante Spianato," together with the "Carnival of Venice," were superbly played on the violin by MISKA HAUSER. Mr. E. BOULANGER's "Fantasia de Concert," and "Etude Impromptu," were played with his usual success, and received the compliment of an encore . . .

ASSOCIATIONS: John Winterbottom (bassoon); Miska Hauser (violin)

"MADAME CAILLY", The Sydney Morning Herald (3 October 1856), 8

http://nla.gov.au/nla.news-article28635803 

We have the pleasure of announcing that this accomplished lady and talented vocalist, is recovering from a severe inflammatory attack of the chest, from which she has been suffering for the last week or ten days.

[Advertisement], Empire (15 October 1856), 1

http://nla.gov.au/nla.news-article64978145 

MADAME CLARISSE CAILLY having recovered from a long and severe indisposition, begs respectfully to announce her intention of re-appearing before the musical public of Sydney in the course of the ensuing week.

"MISKA HAUSER'S FAREWELL CONCERT", The Sydney Morning Herald (24 October 1856), 5

http://nla.gov.au/nla.news-article12988271 

The talented violinist Miska Hauser made his last appearance before a Sydney audience last evening . . . Madame Cailly's name appeared on the programme for those two choice morceaux "Robert toi que l'aime," from Meyerbeer's "Robert le Diable" and the "Casta Diva," from Bellini's Norma, both of which were given in a manner as only this splendid cantatrice can give them. In the "Casta Diva" especially it was with difficulty that the audience were restrained from breaking in, by their plaudits, upon some of the magnificent passages of the author; while at at the close of the "Bello a me Ritorno," the applause was deafening. This lady, notwithstanding her recent protracted illness, seemed to us in finer voice than ever; and though at her first appearance we trembled lest the first notes should show that her splendid organ had suffered, yet when those notes did come, clear, bell-like, and powerful as ever, we were at once re-assured, and listened at our ease. In both airs, Madame Cailly was persistently encored, substituting on recall for the former, Maretzek's brilliant Rondo, which she has made all her own, and the first notes of which were greeted with a round of applause by the audience; and for the latter, "Rule Britannia." It appears almost a pity that the quality of this lady's voice, so admirably suited for the lyric drama, should be lost to the public by the want of full opportunities for its display . . .

"MADAME CAILLY", The Sydney Morning Herald (31 October 1856), 4

http://nla.gov.au/nla.news-article12988524 

A meeting of the friends and admirers of this talented vocalist has been held for the purpose of giving her a complimentary benefit concert; and, should contemplated arrangements be completed, the concert will take place on Monday, the 10th November next.

ASSOCIATIONS: Gilbert Wright (honorary secretary of the committee); other members of the committee included John Hubert Plunkett and Francis Merewether and the French consul, Louis Sentis

"MADAME CLARISSE CAILLY", The Sydney Morning Herald (10 November 1856), 4

http://nla.gov.au/nla.news-article12988873 

We observe that a complimentary benefit concert is to be given to this accomplished artiste, this evening, at the Concert Hall of the Royal Hotel. The concert is under the patronage of Sir William and Lady Denison, and a committee of gentlemen who have kindly stepped forward on this occasion to endeavour to promote the interest of Madame Cailly. The recent illness of this lady has rendered it necessary that her friends should make an effort to render that assistance to which her merits and ability so justly entitle her.

"MADAME CAILLY'S COMPLIMENTARY BENEFIT", Empire (11 November 1856), 5

http://nla.gov.au/nla.news-article64979565

A complimentary concert was given to Madame Cailly last evening, the entertainment being under the distinguished patronage of Sir William Denison, Lady Denison, the French Consul, J. H. Plunkett, Esq., M.P., F. L. S. Merewether, Esq., W. B. Dalley, Esq., and many other gentlemen well known in the literary and artistic circles of Sydney. The programme of the evening contained one or two well-selected operatic morecaux (including Rode's Variations), and a few choice ballads. The vocalists who took part in the concert were the beneficiare herself, Miss Flora Harris, Mr. F. Ellard, and a party of amateurs; and the instrumentalists were the Messrs. Paling, Mr. Winterbottom, Mr. Stanley, and an amateur flautist . . . Those who took part in it had generously stepped forward in honour of a vocalist who, during her residence amongst us, had never received that support to which her distinguished abilities undoubtedly entitle her, and which, indeed, she has received elsewhere . . . The reception of the prima donna was of the most hearty and enthusiastic character, her appearance on the platform being hailed on each occasion with hearty and long continued plaudits.

ASSOCIATIONS: Flora Harris (vocalist); Frederick Ellard (vocalist); William Henry Paling and brother (musicians); William Stanley (pianist)

[Advertisement], The Sydney Morning Herald (18 December 1856), 8

http://nla.gov.au/nla.news-article12990165 

MADAME CAILLY has the honour to announce that, at the solicitation of many of her friends, she proposes to give lessons in singing to those desirous of finishing their education.
For particulars, apply to Mr. CLARK, Music Seller, George-street.

ASSOCIATIONS: Jacob Richard Clarke (musicseller)

[Advertisement], The Sydney Morning Herald (7 January 1857), 7

http://nla.gov.au/nla.news-article12990938 

In the Supreme Court of New South Wales. Sheriff's Office, Sydney, 6th January, 1857.
Paisey and another v. Jules Cailly. ON WEDNESDAY, the 7th instant, at noon,
the Sheriff will cause to be sold, at defendant's residence, Jamison-street, Sydney,
a quantity of Superior wearing apparel, silk dresses, ball dresses, &c.
Unless this judgment be previously satisfied.
GEORGE UHR, Under-Sherriff.

ASSOCIATIONS: George Uhr (under-sheriff, musical amateur)

"INSOLVENCY. WEDNESDAY", The Sydney Morning Herald (8 January 1857), 2

http://nla.gov.au/nla.news-article12990988 

THE surrender of the following estates was accepted . . .
Jules Cailly, of Jamison-street, Sydney, gentleman. Liabilities, £216.
Assets - value of personal property, £30. Deficit, £186. Mr. Morris, official assignee.

[Advertisement], Empire (8 January 1857), 1

http://nla.gov.au/nla.news-article60273871 

MADAME CAILLY has the honour to announce that she will give Lessons in Singing. 2, Jamison-street, College-buildings.

"THE OPERA", The Sydney Morning Herald (24 January 1857), 5

http://nla.gov.au/nla.news-article12991611 

The great lyric work of Bellini has been made familiar to the musical population of this city by Miss Catherine Hayes, and more recently by Madame Anna Bishop. It is not our intention to institute comparisons between the relative merits of Madame Cailly and those of the prima donna who have visited Sydney. We are satisfied to have pleasure in the performance of all. Madame Cailly has a voice which, being a high soprano bordering on a mezzo-soprano, possesses polish and delicacy that render her one of our best cantatrices, and is marked by that execution of those traits of perfect cultivation which told more successfully on the audience, as evinced by their loud and enthusiastic plaudits. What it has not in body, is amply made up in finish, intonation, and flexibility - three qualities scarcely inferior to any vocalist we have heard. Those morceaux which are regarded as a test at the skill of a songstress, were rendered by her in a manner indicative of a high order of musical proficiency. Madame Cailly's debut was extremely flattering. The Pollio of Mr. John Howson was an artistic performance, and we were glad to find the complete restoration of his voice. Mrs. Guerin, as Adalgisa, was welcomed as an old favourite, and Mr. Frank Howson, as Oroveso, assisted powerfully to carry the opera to successful termination.

ASSOCIATIONS: John Howson (vocalist); Theodosia Guerin (vocalist); Frank Howson (vocalist, manager); Royal Victoria Theatre (Sydney venue)

SUMMARY FOR THE SIMLA . . . THE ARTS - MUSIC - THE DRAMA", The Sydney Morning Herald (10 February 1857), 5

http://nla.gov.au/nla.news-article12992091 

. . . In the musical world we have to record one, and only one, representation of Norma. In the character of the high priestess, Madame Cailly, whose high artistic merit we have frequently had occasion to recognise achieved a success that amounted to a complete triumph, whilst the audience were as enthusiastic as even the most exacting prima donna could require, calling the lady on after each act to receive their plaudits, and covering most of the choicest morceaux of the opera. The choruses, however, were very defective - got up in a hurry from every nook and corner where a voice was to be found, whilst the Pollio Would have made poor Bellini tear his hair with anguish, had he been unfortunate enough to be present . . .

"INSOLVENT COURT. THURSDAY", The Sydney Morning Herald (20 February 1857), 5

http://nla.gov.au/nla.news-article12992358 

In the estate of Jules Cailly, a single meeting. Debts amounting to £55 8s. 3d. were proved. The official assignee was directed to ascertain the value of certain wearing apparel (the only assets in the estate), and to report on Monday next.

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (24 February 1857), 4

http://nla.gov.au/nla.news-article12992510

The fifth concert of the season was given by this Society, last evening, at the Concert Hall of the Royal Hotel. Although the evening was wet the room was well filled, though the performances somehow or other seemed to flag, and there evidently was not that spirit of enjoyment prevalent that we have witnessed on former occasions . . . Madame Cailly with the beautiful aria "Va-dit-elle," got up a little excitement, and obtained a recall, substituting the charming little rondo of Maretzeti's . . . Madame Cailly, in the second part, sang an aria from Paccini's "Niobe," but the rain was pouring down too strongly for a recall, and the moment she had concluded the company - at least the fairer portion of it - began to disperse, in their anxiety to find their carriages, or to be the first to employ Whatever vehicles might be in attendance. We should be doing injustice to a gentleman of talent did we forget to mention M. A. Roeckel, a clever pianist, and certainly a most finished accompanyist, who accompanied Madame Cailly in the difficult morceaux selected for yesterday evening . . .

ASSOCIATIONS: Armand Roeckel (pianist); Sydney Philharmonic Society (association)

"MADAME CAILLY'S CONCERT", The Sydney Morning Herald (10 March 1857), 5

http://nla.gov.au/nla.news-article28637061

Madame Cailly's last concert was given last night, at the Concert Hall of the Royal Hotel, and if ever ill luck pursued any one, as, on the faith of many of the published Irish legends we are bound to believe, it has followed Madame as to this time, from her first arrival in Australia. We remember the time when Madame Cailly first appeared in Melbourne. An engagement at the Theatre Royal, immediately after the close of the twelve nights of Catherine Hayes first appearance there tested her voice to the utmost. The press and the public were loud in her praise, but at the end of the week no return from the treasury of the theatre. Norma had been sacrificed, Rosina had sung in vain - no notes - tangible proofs of approval - came in return from the theatrical treasury. In fact. Mr. John Black was then on his last legs for cash, and the heaviest claimant had to go without. From that to the present time, Madame has been pursued by the genius of ill luck. In Adelaide, bad weather attended nearly all her concerts; in Victoria, whether in Melbourne or Bendigo, the same thing happened, and now in Sydney, we see the same thing. A thunderstorm, a heavy dropping of rain, just at the very moment when the thoughts of ladies were bent on dress for the concert, upset all previous arrangements, and must have decided, very many not to leave their homes. The consequence of this vagary of the weather has been a serious loss to the unfortunate artiste, who, from bitter experience, must remember Australia with anything but a fond souvenir, when she shall have left it. Owing to the adventitious circumstance of a sudden change of weather, the talented beneficiare must have been a considerable loser by her venture, and with a husband already insolvent it remains with the lovers of those sweet sounds which are sent up to heaven's gate only by the human voice divine, whether this gifted artist is or is not permitted to leave our shores to seek more congenial climes for the exercise of that talent with which God has gifted her - for it is a question of means and nothing else.

With the wretched attendance of last night we have but little heart to write a critique. Madame Cailly sang as charmingly and with as much care as though the room had been crowded, and gained in the plaudits of the audience the full meed of praise that was her due. Mons. Boulanger executed two solos on the pianoforte, both of which were duly appreciated, and suffered an encore. Mr. E. Deane performed a difficult solo on the violoncello, the theme being "The Groves of Blarney," the variations executed, in a style that brought down the applause of the audience. Mr. Wheeler's solo on the cornet-a-piston was a perfect gem, and we may say that we have seldom listened to a piece of instrumentation with greater pleasure. The dolce variations were exquisite in every way, and fully deserved the great applause they received. An amateur, whom we remember to have seen on former occasions, executed the "Casta Diva" very beautifully on the flute, although the "Swiss Boy" was announced in the programme. The change, however, was all in favour of the performer. We ought not to omit - thought last not least - a mention of Mr. Stephens' buffo scene we should have called it a medley - of "Alonzo ye Brave," which was loudly encored, and for which on a repeat "Villikins and his Dinah" was substituted, scarcely the particular kind of morceau that one would expect to hear in a concert-room, however interesting it may be in a bar parlour. The concert was concluded at half-past ten, when the clouds had withdrawn themselves, and enabled the visitors to return to their homes without a running accompaniment of rain-drops.

ASSOCIATIONS: John Melton Black (proprietor, Theatre Royal, Melbourne); Edward Smith Deane (cello); Stephen Thomas Wheeler (cornet); William Henry Stephens (actor, vocalist, formerly manager of the Lyceum)

"PRINCE OF WALES THEATRE. THE OPERA", The Sydney Morning Herald (6 April 1857), 5

http://nla.gov.au/nla.news-article12993831 

The public are tolerably well acquainted with the cause that prevented the production of "Ernani." Disheartening and undeserved as are the difficulties surrounding Mr. F. Howson, we are pleased to find that he has not succumbed to them. The operatic season commenced on the evening of Saturday last, with the great and popular lyric production of "Norma." With the "Norma" of Madame Clarisse Cailly the musical part of the population of our city are familiar, that lady having achieved a decided triumph in the character a few weeks past at the Victoria Theatre. In acknowledging the great proficiency of this artiste we would avoid instituting those useless comparisons which appear only to answer the purpose of illustrating the truth of a well-known proverb. The vocal capabilities of this lady are greater than those of her histrionic attributes, and in flexibility and richness her voice is almost unrivalled. She was received with great enthusiasm: her rendering of "Casta Diva" and "Bello a me ritorna" eliciting considerable applause. Laglaise, as Pollio, was in good voice, and the appearance of Mr. F. Howson in his well-known role of Oroveso was greeted with manifestations indicative of an acknowledgment of his merit as a vocalist, and sympathy with him in his arduous endeavour to carry out his important undertaking. Mrs. Guerin, as Adalgisa, was welcomed as a grateful public are wont to welcome an old favourite. The choruses were good, and the orchestral department, conducted by M. Lavenu, produced an effect highly satisfactory. "Norma" is announced for this evening, in which Madame Carandini will sustain the part of Adalgisa.

And see also "PRINCE OF WALES OPERA HOUSE", Empire (6 April 1857), 4

http://nla.gov.au/nla.news-article60273490 

"THE OPERA - LUCIA DE LAMMERMOOR", The Sydney Morning Herald (13 April 1857), 2

http://nla.gov.au/nla.news-article12994153

This opera was produced on the evening of Saturday, at the Prince of Wales Theatre to a tolerably numerous auditory. The cast included Mr. Frank Howson as Colonel Ashton, Mons. Laglaise as Edgar Ravenswood, and Lucy Ashton was sustained by Madame Clarisse Cailly. The music of Donizetti is of an order peculiarly favourable to the development of the best qualities of this artiste's vocal attributes; and the mellowed sweetness of her pure soprano notes gave due interpretation to the sentiment and plaintive strains of this delightful and popular composition. Many prime donne are wont to regard Lucia as merely a vehicle for vocal display, and so timid have some vocalists found themselves that, rather than encounter the dramatic difficulties with which the production is beset, they have caused whole pages of the most expressive dialogue to be left out, and music of the highest inspiration has also suffered the same treatment. We may remark that even the final scena - the vision of Lucy's imaginary bridal, and the description of her internal sorrows, &c., have in many instances been omitted, and the music, instead of being sung in the original key, was transposed to a lower one. Following the good example or Jenny Lind, Madame Cailly has restored the scena to the proper key of F. It has been asserted that in the character of Lucia, Jenny Lind displayed greater dramtic than operatic qualifications. With Madame Cailly, the case is reversed, as we find her vocal powers much greater than her histrionic talents. Her execution, with charming shades of intonation and modulation, and rich with brilliant and original passages of embellishment, elicited bursts of genuine and well deserved applause. Messrs. Laglaise and F. Howson gave every assistance, and contributed in no slight degree towards bringing the Opera to a successful termination.

"PRINCE OF WALES THEATRE. THE OPERA", The Sydney Morning Herald (7 May 1857), 5

http://nla.gov.au/nla.news-article12995216 

The Chapel Master, a comic opera in one act by Paer, was brought out on Tuesday evening with considerable eclat. The libretto describes a scene in Germany in or about the year 1792. At the house of a chapel master we are introduced to the proprietor of the residence, Barnabe (Mons. Coulon), and made acquainted with his nephew, one Benetto (Mons. Laglaise), and Mademoiselle Gertrude (Madame Cailly), the housekeeper of Barnabe . . . Mons. Laglaise, as the tenor, had little to do; the principal parts being sustained by Mons. Coulon and Madame Cailly, both of whom sang and acted with great skill and judgment. The role of Gertrude, which is that of a French girl, succeeded in developing many stage qualifications belonging to - but not hitherto recognised as the forte of Madame Cailly and we are happy to record her first appearance in comic opera as decidedly successful. In the course of the piece this lady introduced Maretzck's celebrated rondo, the encore of which evinced the pleasure experienced by her musical admirers.

[Advertisement], Empire (8 May 1857), 1

http://nla.gov.au/nla.news-article60274394 

PRINCE OF WALES OPERA HOUSE. Sydney, May 7, 1857.
MR. FRANK HOWSON begs to inform his friends and patrons, that owing to inducements Monsieur Laglaise has received from Madame Anna Bishop, he has suddenly left Sydney for Melbourne, thereby disarranging all the operations in progress for carrying the advertised plans of the season into effect.
Monsieur Laglaise has received £90 from the treasury of the Theatre, and but a few pounds remained due, which sum was secured to him by moneys about to be received by the sale of subscription monthly tickets.
On Saturday last it was agreed by the leading members of the company and Monsieur Laglaise, that he should remain in Sydney for one month to enable them to take their Benefits, and at the same time certain new Operas were proposed to be put in rehearsal.
Monsieur Cailly offering, as an inducement to M. Laglaise, the use of the music and the first representation of the Opera of "La Favorita" for his Benefit, which was to be free of all charge, with the exception of the charge for gas and printing . . .

"THE LYRIC DRAMA", The Sydney Morning Herald (15 May 1857), 3

http://nla.gov.au/nla.news-article12995579 

This evening his Excellency the Governor-General, and Lady Denison, together with many other leading families of Sydney, have signified their intention to honour the Prince of Wales Opera House with their presence, on the occasion of Madame Carandini's benefit. The abrupt closing of the doors of this establishment on Saturday last so shortly after the commencement of a season which promised the revival of the lyric drama in Sydney, with every accessory, whether vocal or instrumental, of the highest artistical character, is to be regretted on many accounts . . . Mr. Frank Howson made the bold attempt with every seeming prospect of success. Supported by soli artistes of high prestige, both vocal and instrumental, and also by a chorus and orchestra, consisting of upwards of sixty voices and instruments, he commenced, six weeks ago, a series of operas from the repertoires of the modern writers, commencing with Bellini, Donizetti, and Verdi: - each work being placed before the public in a manner never before attempted in Sydney. Nevertheless, the design was unsuccessful, and has been suddenly abandoned. All that now remains for the corps vocale et instrumental is to break up and return to the sister colonies, where lucrative engagements await them. Arrangements, however, have been first made for the taking of their benefits by the chief artistes, whose salaries are in arrear; and the pas has been assigned to Madame Carandini, who is the chief loser by the unfortunate speculation. Her benefit, as we have already mentioned, takes place this evening, when Madame Cailly will appear as Norma, in selections from Bellini's greatest work . . .

"SYDNEY GLEANINGS [FROM OUR OWN CORRESPONDENT]", Bathurst Free Press and Mining Journal (16 May 1857), 2

http://nla.gov.au/nla.news-article62054112 

. . . Our boasted opera company has come to grief. A community like ours, boasting itself musical, is very apathetic. The performers were really good, and the operas the most celebrated, but the public or the people are not at all good-natured. So it is here with all rational amusement. Blue fire melodramas and broad farce will attract hundreds, whilst, the sweet notes of a Cailly, Coulon, or Laglaise, can scarcely bring together fifty. Musical taste here is not bad, but a more apathetic or lazy people than Australians never breathed.
Rain continues pertinaciously. - May 12, 1857.

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (6 June 1857), 4

http://nla.gov.au/nla.news-article12996562 

. . . Under the patronage of the Hebrew Philanthropic Society Madame Clarisse Cailly's benefit was ushered with considerable eclat on Tuesday evening last. A programme, prepared with so much good taste, included, as it did, the operas of La Somnambula and the Chapel Master, would scarcely fail of a success such as was met with on the above occasion, and in the praise due to those who took part in the entertainment, it would hardly be just to leave mentioned the skill and discrimination evinced by Messrs. Lavenu and Winterbottom. We have on many occasions borne testimony to the high musical proficiency distinguishing the vocalisation of Madame Cailly, and we may add that her Amina, from the cavatina of the first act to the finale, "Ah! non giunge," fully equalled her former efforts. A rather remarkable feature of the opera was that, instead of a tenor, a soprano, and a contralto required in the usual representations, there were no less than three sopranos. This deficiency however was well rectified by the admirable singing of Madame Carandini, who, next to her Elvira in Ernani, plays this as the best in her extended repertoire. Mr. F. Howson had his old character of the Count Rodolpho, and Mrs. Guerin was the Lisa. The present operatic company have only one night more prior to their dispersion, on which occasion Mr. Lavenu will take his benefit . . .

"NEW SOUTH WALES ALLIANCE FOR THE SUPPRESSION OF INTEMPERANCE. THE MONSTER SOIREE AT THE PRINCE OF WALES", Empire (26 June 1857), 4

http://nla.gov.au/nla.news-article64985395

The Monster Soiree held last night at the Prince of Wales Theatre, in connection with the New South Wales Alliance for the Suppression of Intemperance, was one of the most successful entertainments that have been in this city for a long time passed . . . The musical portion of the entertainment was conducted by M. Lavenu, assisted by Madame Cailly, Madame Carandini, M. Paling, M. Kohler, and Mons. Laglaise, - names sufficient in themselves to guarantee the excellence of this department . . .

ASSOCIATIONS: Richard Wildblood Kohler (cornet)

[Advertisement], Empire (7 July 1857), 1

http://nla.gov.au/nla.news-article64984607

OPERA. - As it appears that the subjoined critique on the performance of the Opera of Norma, which appeared in the EMPIRE of the 6th of last April, has called for the ill-natured remarks of certain would-be hypercritics, with a view of detracting from the merit of Madame Cailly, the accompanying opinions expressed by different portions of the Press in reference to Madame Cailly's representation of the role of Norma, will fully corroborate the notice of the EMPIRE'S criticism, which has been called into question.
"Madame Cailly took the role of Norma, and we must say we were both surprised and delighted, at the performance. We have before stated our opinion that in vocal ability she was equal either to Miss Hayes or Madame Bishop, and we now do not hesitate to say that in this particular character she is superior to either." - EMPIRE, April 6th, 1857.
Why, therefore, should the EMPIRE'S critic be accused of having exaggerated the merit due to a foreign artist, were it not for the purpose of unduly enhancing the talent of a rival chanteuse; but in order to set the matter more fully at rest, let us analyse the quality of the human voice.
The natural compass of each voice, as experience proves, does not exceed twelve notes (an octave and four notes); but the range of the voice maybe extended by practice to fourteen or fifteen, and even to more." - Manuel Garcia.
The present voice of Madame Bishop contains at the most but six notes, viz., E, F, G, A, B, C.
"The human-voice is divided into three compartments; 1st, the chest voice, called by the Italians voce di petto (the natural voice). This is the most important "register," as it combines softness, expression, and brilliancy. 2nd, the voice of the head; and 3rd, the falsetto." - M. Garcia.
Madame Bishop can only claim title to the "head voice;" thus, in her musical expression an "andante" and an "allegro" are stamped with the same characteristic, &c., &c.
"UNION. - Music is a universal language, which may be understood without articulate sounds. The 'Norma' of Bellini may be given in Italian, French, or English words; it scarcely matters which. If the hearer only know the general story, he will pay little attention to the particular expressions. The situation of the characters on the stage, and their eloquent melody, speak a plaintive tale to the most uninstructed. It is unnecessary even to compare the two performances of the same opera at the two theatres named. For the occasion, while the divine strains still ring in our ears, we are disposed to consider that we never before heard the music so well performed as in the Union last night, Madame Cailly as the chief priestess." - Daily Placer Times, San Francisco, 20th May, 1854.
"We have spoken in great praise of the production of the opera of 'Norma' on Sunday evening, the entire rendition being, in our, opinion, superior to any similar undertaking on the California stage." - Daily Placer Times, May 20th, 1854.
"On Sunday night last Madame Cailly and the French troupe presented 'Norma ' in a style far superior to any attempt heretofore made in this city." - Golden Age, San Francisco, May 20th, 1854.
NOTE. - The biography of Madame Bishop, as published in Sydney, expressly states that she had performed "Norma" before Madame Cailly appeared in that character . . .
[there follows selections from Australian reviews]

"TO THE EDITOR", Empire (13 July 1857), 3

http://nla.gov.au/nla.news-article64986315 

SIR - In quitting this colony I cannot do otherwise than acknowledge that, notwithstanding the numerous misfortunes that have followed me at every step, the public has been towards me what it has proved towards every artist of talent that has visited these shores. No one has had greater success than myself, and I am the more proud of this because I know that it has arisen from a spontaneous and legitimate feeling. There have been no claqueurs on my behalf, - no persons interested in my welfare or paid from my purse have been present to lead off the applause, as may be seen every evening in other cases.

If I had employed what is termed an agent - if I had even made interest with certain persons connected with a portion of the press, I should have no doubt succeeded as well in a pecuniary point of view as I have done artistically; I should have had something more substantial than the praise of the public as my reward. Unfortunately, my being a foreigner, closed in the first instance the theatric portals against me; and next, a miserable theatrical coterie set itself most obstinately against me. I console myself, however, in parting from them by the consideration that those people are unworthy of a single thought from a true artist. Such a one who is strong in his talent, and animated only by honourable sentiments, would never have need to write, nor would he stoop to the meanness of writing with his own hand the critiques upon his performance, still less would he ever think of paying another to do this for him.

Even though I now quit Sydney unfortunate and ruined, I shall nevertheless preserve an agreeable remembrance of the success that, as an artist, I have had here, bequeathing to that petty clique, whose only object seems to be to deceive and make money out of the public, that contempt of which only they are worthy.

I remain, Sir, your obedient servant,
CLARISSE CAILLY.
Sydney, July 6th, 1857.

After Australia:

"DEUXIÈME CORRESPONDANCE. Rio-de-Janeiro, 10 décembre 1858", Revue des races latines (December 1858),

https://books.google.com.au/books?id=ByZMFN2rTvoC&pg=PA224 (DIGITISED)

. . . Saviez-vous que l'on jouât Norma en Australie, au THEATRE-ROYAL de Melbourne, et qu'il s'y rencontrât des journalistes qui font de l'esprit tout comme M. Fiorentino, des citations latines à l'instar de M. Jules Janin, et des dissertations à perte de vue sur l'air de la Casta diva? Saviez-vous que l'on chantât le Maître de Chapelle à San-Francisco, l'Eau merveilleuse à Manille, Lucie de Lammermoor à Hong-Kong, I Lombardi et Ernani à Calcutta, Otello à Singapore, le Barbier de Séville à Java, Robert le Diable à Canton? Non, sans doute, et moi non plus, avant d'avoir parcouru l'album de Mme. Clarisse Cailly, une Française qui se trouve ici en ce moment. Mme. Cailly est un soprano infatigable qui a été chanter dans tous les coins du globe et qui est capable, lorsqu'elle aura épuisé tous les théâtres du monde connu, de découvrir un nouveau continent rien que pour s'y faire entendre. Je consulte l'album de notre compatriote, et je constate qu'il est rempli d'articles datés de Paris, Calais, Strasbourg, Metz, Nancy, Dieppe, le Havre, Londres, Bruxelles, Ostende, St-Pétersbourg, Odessa, Kerkoff, Joula, Moscou, Riga, Berlin, Koenigsberg, Hambourg, Brunswick, Hanovre, Francfort-sur-le-Mein, Hambourg, la Haye, Amsterdam, Rotterdam, Harlem, toutes les principales villes des États-Unis, le Caire, Alexandrie, Smyrne, Constantinople, Athènes, Calcutta, Chandernagor, Bombay, San Francisco, Milbourne, Geelong, Bindigo, Adelaïde, Sydney, Sarramatta [sic], Panama, Lima, Tacna, Copiapa, Valparaiso, Santiago, Hong-Kong, Canton, Macao, Batavia, Manille, Sincapore. Ouf!!! . . . - ALTÈVE AUMONT

ASSOCIATIONS: Altève Aumont (pseud. of Altève Morand, 1835-1860, French journalist, newly arrived in Rio de Janeiro in 1858)

See also "NOTICIARIO . . . Celebres artistas", O brado do sul [Brazil] (29 March 1859), 2

http://memoria.bn.br/pdf/813419/per813419_1859_00012.pdf (DIGITISED)

"ANSWERS TO CORRESPONDENTS . . . A LOVER OF OPERA", The Lorgnette [Melbourne, VIC] (4 February 1888), 4

http://nla.gov.au/nla.news-article210165902 

You ask which of the two - Madame Clarisse Cailly or Madame Anna Bishop - first appeared in Melbourne. In reply, they were pretty close on one another. Madame Cailly made her initial appearance, at the Theatre Royal, as Norma, January 9th, 1856. Madame Bishop first appeared in Melbourne, May 13th, 1856, at the Olympic Theatre (the Old Iron Pot) in operatic selections.

ASSOCIATIONS: Coppin's Olympic (Melbourne venue)

Other sources:

Rossini's grand opera of The barber of Seville . . . as produced at the Theatre Royal, Melbourne, prima donna - Madame Clarisse Cailly, conductor - M. L. Lavenu (Melbourne: Wilson, Mackinnon & Fairfax, 1856)

https://books.google.com.au/books?id=iaJWAAAAcAAJ (DIGITISED)

Bibliography and resources:

Francis Campbell Brewer, The drama and music in New South Wales (Sydney: Charles Potter, 1892), 62, 63

https://archive.org/details/dramamusicinnews00brew/page/62/mode/2up (DIGITISED)

[62] . . . Madame Clarisse Cailly, the possessor of a fine soprano voice, and an excellent operatic performer, gave her first concert at the "Royal Hotel," on August 15, 1856 . . .

[63] . . . A subscription opera season opened at Prince of Wales Opera House, on April 2, 1857, with Lavenu as conductor. The company was a strong one and comprised Madame Carandini, Sara Flower, Mrs. Guerin, Madame Cailly, Laglaise, J. and F. Howson, Farquharson, Fisher, and Herr Schluter, and later on Emile Coulon. This may be considered the first double company. The principal novelty was the appearance of Madame Cailly as Norma, a character she admirably sustained. The season closed in May . . .

George Martin, Verdi at the Golden Gate: opera and San Francisco in the gold rush years (Berkeley and Los Angeles: University of California Press, 1993), 58, 101

http://books.google.com.au/books?id=kPWtE0eFdFcC&pg=PA58 (PREVIEW)

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Opera-Opera/Pellinor, 1999), 84, 85, 90, 91, 97, 249

https://trove.nla.gov.au/work/32587155 

Susana Salgado, The Teatro Solís: 150 years of opera, concert, and ballet in Montevideo (Middletown, CT: Wesleyan University Press, 2003), 36-38

http://books.google.com.au/books?id=lXag39roRosC&pg=PA38 (PREVIEW)

Esmeralda Rocha, Imperial opera: the nexus between opera and imperialism in Victorian Calcutta and Melbourne, 1833-1901 (Ph.D thesis, University of Western Australia, 2012), passim

https://trove.nla.gov.au/work/248695085 

https://research-repository.uwa.edu.au/en/publications/imperial-opera-the-nexus-between-opera-and-imperialism-in-victori (DIGITISED)

CAIRNS, Mr. (Mr. CAIRNS)

Musician, violin player, fiddler, miner

Active Fiddler's Flat, near Tarrangower, VIC, 1863

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

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAIRNS-Mr-fiddler (shareable link to this entry)

Documentation:

"MINING. TARRANGOWER. THE RUSH TO FIDDLER'S FLAT", Geelong Advertiser [VIC] (12 November 1863), 3

http://nla.gov.au/nla.news-article148701267 

We paid a visit to the rush to the alluvial working near Porcupine Flat on Friday last, and although at present the working of the deep ground is in its infancy, the appearances are more promising than those of any rush we remember for this five years. It has been falsely called the Walmer rush, the only pretence for which is, that it is on the road to Walmer from Porcupine Flat. It is on a good sized flat, surrounded by "made hills" one mile beyond the racecourse. The route most favored, as being the easiest from the township of Maldon, is via the Brighton hotel on Porcupine Flat, across the race course; the landlord of the hotel, with a prudent foresight, has provided slip panels to the racecourse fence, leading 0n to the straight road to the diggings. The place has been christened Fiddler's Flat by the diggers in honor of an old miner named Cairns, who for some years has been working quietly in the shallow ground on the flat, and after the labors of the day were ended, solaced his solitude nightly by playing upon a violin. He is still residing on the same spot, and we hope has made himself as comfortable pecuniarily as he does musically . . .

On Fiddler's Flat, see also "WEEKLY MINING REPORT", The Age [Melbourne, VIC] (14 November 1863), 6

http://nla.gov.au/nla.news-article155023374 

NOTE: There was also a Fiddler's Flat in Gippsland (Trebartha's Farm, near Merrimans Creek), also supposedly named after an actual fiddler; see "WELL MASTHUR EDITHUR", Gippsland Times [VIC] (13 March 1863), 3

http://nla.gov.au/nla.news-article65362330 

. . . Well, then, it will be this winter six year, and I was acoming up with a load for the Carriers' Arms, when I goes on all right until I gets to Merriman's Creek . . . Well, at last everything begins to got very dark, but on, on, still I goes, until at last I knew I was at Fiddler's Flat; for, though you may'nt blieve me, I hard John's Fiddle agoing, tho' I new he left there ten years before . . .

CALDICOTT, Mrs. (Mrs. CALDICOTT) see Emma SAUNDERS

Musician, vocalist (cousin and later sister-in-law of Harriet below)

CALDICOTT, Harriet (Harriet Henrietta CALDICOTT; also Henrietta Harriet; Mrs. Samuel Decimus WASTELL)

Musician, pianist, professor of the pianoforte, piano teacher, ? vocalist

Born Wolverhampton, Staffordshire, England, 1835; baptised St. Peter, Wolverhampton, 13 October 1835; daughter of Alfred Jolley CALDICOTT (1802-1888) and Harriet Henrietta SAUNDERS (1804-1866)
Arrived Adelaide, SA, 3 December 1853 (per Leonidas, from London, 3 August)
Married Samuel Decimus WASTELL (1833-1887), St. Paul, Adelaide, SA, 16 March 1861
Died Glenelg, SA, 28 January 1913, aged "76"

https://trove.nla.gov.au/search?l-publictag=Harriet+Henrietta+Caldicott+Wastell+1835-1913 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALDICOTT-Harriet-Henrietta-Wastell (shareable link to this entry)

DISAMBIGUATION: Laura Thompson Wastell (Mrs. Octavius Wastell, Harriet's sister-in-law, also a teacher of pianoforte)

Documentation:

Baptisms, St. Peter, Wolverhampton, 1835; England, select births and christenings

https://www.ancestry.com.au/discoveryui-content/view/52267548:9841 (PAYWALL)

13 October 1835 / Harriet Henryetta / daughter of Alfred Jolley and Harriet / Caldicott

England census, 30 March 1851, Wolverhampton, Staffordshire; UK National Archives, HO107/2019/37/43

https://www.ancestry.com.au/imageviewer/collections/8860/images/STSHO107_2018_2019-0099 (PAYWALL)

King Street / Alfred J. Caldicott / Head / Mar. / 48 / Book printer - master employing 3 men . . .
Henrietta [Caldicott] / Wife / mar / 46 / - / . . .
Robert H / Son / Unm. / 17 / Stationer // Henrietta H. / Daur. / Unm. / 15 / Scholar / [born] Staffordshire Wolverhampton
Sarah Jane / 12 // Alice E / 11 / [both born Staffordshire Wolverhampton]

"SHIPPING INTELLIGENCE. ARRIVED", Adelaide Times [SA] (5 December 1853), 3

http://nla.gov.au/nla.news-article207121835 

Saturday, December 3 - The ship Leonidas, 697 tons, Tadman, master, from London 4th August . . . Passengers per Leonidas . . . Caldicott, wife and 4 children . . .

[Advertisement], Adelaide Observer (15 December 1855), 2

http://nla.gov.au/nla.news-article158101170 

MISS CALDICOTT, PROFESSOR of the PIANOFORTE, Moore-strcet, Adelaide.

"SOUTH AUSTRALIAN INSTITUTE", South Australian Register (28 April 1858), 3

http://nla.gov.au/nla.news-article49775798

The periodical lecture and concert was given in White's Assembly Room on Tuesday evening . . . Miss Saunders, a young lady, a pupil from the Royal Academy of Music, next made her debut before a South Australian audience. She possesses a fine voice highly cultivated . . . Miss Saunders was accompanied by Miss Caldicott, an accomplished pianist . . .

ASSOCIATIONS: Her cousin and later also sister-in-law, Emma Saunders (Mrs. R. H. Caldicott, vocalist); South Australian Institute (association); White's Rooms (Adelaide venue)

"ST. PAUL'S CHURCH CONVERSAZIONE", South Australian Register (23 October 1858), 3

http://nla.gov.au/nla.news-article49782443

On Friday evening one of the largest and most respectable companies we ever saw in Adelaide was drawn together in White's Room by the announcement of the St. Paul's Church annual conversazione . . . An unexpected pleasure was also given to the company by the kindness of Mrs. R. H. and Miss Caldicott, who, without any previous notice, consented, at the request of the Committee, to add their vocal and instrumental assistance . . .

"EAST TORRENS INSTITUTE", Adelaide Observer (20 November 1858), 2

http://nla.gov.au/nla.news-article158120073 

On Wednesday last Dr. Campbell delivered a lecture at this place on ghosts, spectral illusions, and dreams, in the course of which he related a number of interesting anecdotes on the subject, and was warmly applauded at its close. After the lecture, Miss Rowe, Miss Caldicott, and Mr. Gouge amused the company with several songs. Miss Rowe also played some overtures on the pianoforte. An amateur performer on a beautiful little instrument called the zither was accorded great praise and was honoured by an encore. The attendance was not so large as might have been anticipated, but those who were present appeared highly gratified the entertainments of the evening.

ASSOCIATIONS: Louisa Jane Rowe (pianist); Apollos Harrison Gouge (vocalist); East Torrens Institute (association)

[Advertisement], The South Australian Advertiser (24 November 1858), 1

http://nla.gov.au/nla.news-article785773

GRAND VOCAL and INSTRUMENTAL CONCERT, At WHITE'S ASSEMBLY ROOM. SIGNOR C. CUTOLO . . .
On FRIDAY, the 26th inst., Assisted by MISS CALDICOTT, Vocalist; and MR. WHITE, Violinist.
PROGRAMME . . . 3. Song, "Adieu" - Miss Caldicott, - Schubert . . .
PART SECOND . . . 3. Song - "Over the Sea" - Miss Caldicott . . .

ASSOCIATIONS: Cesare Cutolo (pianist); Richard Baxter White (violinist)

"MARRIAGES", South Australian Register (21 March 1861), 2

http://nla.gov.au/nla.news-article50021419

WASTELL - CALDICOTT. - On the 16th of March, at St. Paul's Church, by the Rev. Canon Russell, Mr. S. D. Wastell, of South-terrace, to Henrietta Harriet eldest daughter of Mr. Caldicott, of Wright-street.

[Advertisement], South Australian Register (2 July 1861), 1

http://nla.gov.au/nla.news-article50083436

MRS. S. D. WASTELL (late Miss CALDICOTT), TEACHER of the PIANOFORTE. St. Vincent-street, near St. John's Church, Adelaide.

[Advertisement], The Express and Telegraph (31 January 1888), 1

http://nla.gov.au/nla.news-article207760508 

Mrs. WASTELL Resumes her MUSICAL DUTIES On the 9th instant, at 112, O'Connell-street, opposite the National Bank, North Adelaide.

[Funeral notice], The Express and Telegraph (2 June 1894), 4

http://nla.gov.au/nla.news-article208981800 

THE FRIENDS of Mrs. WASTELL (music teacher), are respectfully informed that the Remains of her late SON (Oswald) will be removed from her residence, Barton-terrace, North Adelaide, THIS DAY, at 4 p.m., for interment in the North-road Cemetery . . .

ASSOCIATIONS: Oswald Wastell (b. 7 February 1873; d. 1 June 1894

"DEATHS", The Register (29 January 1913), 6

http://nla.gov.au/nla.news-article59724194 

WASTELL. - On the 28th January, at her residence, Rose street, Glenelg, Harriett Henrietta, widow of the late S. D. Wastell, aged 76 years.

Bibliography and resources:

Harriet Henrietta Caldicott, Geneanet

https://gw.geneanet.org/pjbk?n=caldicott&oc=&p=harriet+henrietta 

CALDWELL, Mr. (Mr. CALDWELL; ? John CALDWELL)

1 or 2 vocalists, Scotch vocalist, amateur vocalist

Active Sydney, NSW, 1844
Active Melbourne, NSW (VIC), 1848

https://trove.nla.gov.au/search?l-publictag=Mr+Caldwell+Scotch+vocalist (1844 - TROVE tagged by Australharmony)

https://trove.nla.gov.au/search?l-publictag=John+Caldwell+amateur+vocalist (1848 - TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALDWELL-Mr (shareable link to this entry)

Documentation:

[Advertisement], The Sydney Morning Herald [NSW] (2 September 1844), 3

http://nla.gov.au/nla.news-article12417334 

COPPIN'S LARGE SALOON. ADMISSION FREE. COMMENCE AT SEVEN O'CLOCK.
GRAND CONCERT. THIS EVENING, MONDAY, SEPT. 2ND
MESSRS. Caldwell, the Scotch vocalist, Abrahams, JIM BROWN; Newsom; ROMBO SOBO;
Fillmore, and Gentlemen Amateurs, will sing the following selection . . .

ASSOCIATIONS: George Coppin (proprietor); George King alias Jim Brown (vocalist, dancer); Master Abrahams (vocalist); Frederick Newson (vocalist); Rombo Sombo (black-face character); Henry William Fillmore (vocalist, pianist)

[Advertisement], The Sydney Morning Herald (30 September 1844), 2

http://nla.gov.au/nla.news-article12425601 

COPPIN'S LARGE SALOON. ADMISSION FREE.
THIS EVENING, MONDAY, SEPTEMBER 30, 1844.
Mr. COPPIN having disposed of his business to Mr. G. Skinner, most respectfully announces his
FAREWELL NIGHT, Upon which occasion be solicits the patronage of his friends and the public generally.
Jim Brown, Rombo Sobo, Mr. Caldwell, the Scotch vocalist; Mr. Fillmore, and several amateurs,
will contribute to the amusement of the evening.

ASSOCIATIONS: George Skinner (incoming proprietor)

[Advertisement], The Sydney Morning Herald (26 October 1844), 3

http://nla.gov.au/nla.news-article12422427 

LARGE SALOON-CLOWN HOTEL. Opposite the THEATRE.
TREMENDOUS ATTRACTION ! ! ! THIS PRESENT SATURDAY EVENING, OCT. 26 . . .
Mr. THOMPSON, the celebrated violoncellist, will perform in the course of the evening the following solos, viz.;
"Der Zieken" ar[r]. Yass. "Solo" Rhodes. "Fantasia" Lindley.
MR. FILLMORE will sing a new selection of COMIC SONGS, accompanied by Mr. Thompson on the Piano-forte.
Mr. CALDWELL, the Scotch Vocalist, will sing the following ballads, viz.: -
"Mountain Rose." "Jessie o' the Dell." "The bloom is on the rye."
"Jock o' Hazledean." "Lass o' Gowrie." "The Laird o' Cockpen" . . .

ASSOCIATIONS: John Charles Thompson (cellist, pianist)

[Advertisement], The Sydney Morning Herald (1 November 1844), 2

http://nla.gov.au/nla.news-article12421250 

REMEMBER! ELECTION NIGHT!! ADMISSION FREE.
SKINNER'S LARGE SALOON, CROWN HOTEL, PITT-STREET, ON Friday Evening, 1st November . . .
Mr. CALDWELL will sing - "To the year that's awa," "Bonny Breast Knots,"
"Came ye by Athol?" "Jessie o' the Dell," "Lass o'Gowrie,"
and several other favourite Scottish ballads . . .

"AN INTRICATE CASE", The Port Phillip Patriot and Morning Advertiser [Melbourne, VIC] (12 August 1848), 2

http://nla.gov.au/nla.news-article226353818 

James Hay, a "gentleman in difficulties," a condition of inconvenience to which he has been thoroughly inured in the Middle district, preferred a charge of forgery against a Mr. Caldwell, a popular amateur vocalist, at the "Victoria." Hay strove strenuously to cage the nightingale, and make him warble through an iron grate. It appeared by Mr. Stephens statement that Hay had sued Caldwell in the Court of Request for £1 2s. 6d., the defendant had put in a receipt for £1, which his client could swear was a forgery. Mr. Griffin, the Registrar of the Court of Requests, produced a paper purporting to be a receipt dated 23th June, for £1, it was not his handwriting, nor had he authorised any person to write it.
Examined by Mr. J. P. Smith. - was in the house of Mr. Buglass, when Caldwell came, was spending the day with him, was in difficulties, was in hiding, gave to Caldwell an order for a Bench to be delivered up to him by Mr. Webb his landlord, who gave him permission to remove "manufacturing" articles. Caldwell came back and took up a pen to write an I. O. U. for £1 2s. 6d in favour of Mr. Buglass, when he said, there's somebody wants me outside and went out for a minute, the minute has been running on ever since, he never came hack, told him to make an order for £1 2s. 6d., in favour of Mr. Buglass as payment for the bench.
His Worship the Mayor here remarked that he received the evidence of Hays with great suspicion, as not more more than two months ago, he had brought up two young men on a charge of felony, and the bench could not divest their minds of the circumstance.
A number of documents in Hays handwriting were handed in by the defendant's attorney, to prove the receipt produced by Mr. Griffin to be authentic, among which was one similar to the paper produced by the Registrar, in which the words "sume," for sum and "manufactoring" appeared misspelt, in both documents, and were similar respecting both the ink and paper document.
Mr. Buglass of Collins-street, was called by the defendant's advocate, but Mr. J. P. Smith, before his being sworn, asked "did you say you would give five pounds to have the defendant and Cunningham lagged?" "I did," replied Mr. Buglass, when I heard what had been done in the Court of Requests.
The Mayor proposed that Mr. Buglass should make his statement, to which Mr. Stephen objected, and the Mayor then consented to receive his sworn testimony, as Justices had power to give to evidence what weight they thought proper; his Worship remarked to Mr. Buglass, "it is very unfortunate that you should have said that you would give £5 to have him transported."
Mr. Buglass then swore that he was present when Hays wrote an order to Mr. Webb to give up a bench to Caldwell, Caldwell afterwards came back and took up a pen to write an I. O. U. for
1 2s. 6d. - he said "there's somebody outside waiting for me - I'll be in in a moment," the defendant went out and staid out; it was on Monday, 20th June, I am positive that Caldwell was to give the I.O.U., as Hay was in my debt, and it was to be paid to myself.
William Whitelaw was called, but could only say that he saw writing, and that Caldwell had been twice in Mr. Buglass's house on the day in question.
Laver, stockman, swore that he was sent with a hill for £1 2s. 6d., by Hay, who came to Caldwell's house who came up just as he had demanded the debt, and when asked for payment, Caldwell said "there's the bench - I've never used it."
John Slater was called by Mr. J. P. Smith, when Mr. Stephens enquired "was you not brought up by Mr. Hayes two months ago, on a charge of felony.
His Worship the Mayor here replied to Mr. Stephen - "He was brought up and honourably acquitted."
Mr. Stephen demanded of Slater whether he had any feeling, to which he responded, that Hays had acknowledged his innocence and he forgave him. Slater swore that Caldwell came to Hays' house about a work bench, and he accompanied him to Mr. Buglass' residence, where Hays was hiding. Hays and the defendant had some conversation about the bench, and Caldwell took up a pen to write an order, but his hand trembled, being not a good penman, and Hays wrote out an order for Mr. Webb to deliver the bench to Caldwell.
By the Mayor - it seemed a concocted scheme to get the bench from Mr. Webb. They all laughed when the word manufacturing was read. They said Caldwell was seen to get it. They were drinking half- and-half, and Hay was intoxicated.
The Mayor observed that he had paid great attention to the evidence, and had compared minutely the different papers submitted for the purpose of testing Hays' handwriting. It happened unfortunately for Hay that there were only two misspelt words in two documents connected with the transaction, and both were misspelt "sume" for sum, and "manufactoring" for manufacturing: he did not consider there were grounds for sending the case to a jury, and accordingly dismissed the charge, remarking that on a former occasion he had brought up one of the witnesses on a charge of felony to cover his own dirty conduct.

"EXTRAORDINARY CASE OF FORGERY", Port Phillip Gazette and Settler's Journal (14 August 1848), 2

http://nla.gov.au/nla.news-article223150375 

On Friday, a person named James Hay, a cabinetmaker, appeared at the police court, for the purpose of preferring a charge of forgery against a young man named John Caldwell, under rather singular circumstances. Sometime since it appeared from the evidence adduced that Hay disposed of a carpenter's bench to Caldwell for the consideration of one pound two shillings and sixpence, which amount Hay contended had never been paid . . .

CALDWELL, Mrs. (Mrs. Edward CALDWELL; Mrs. CALDWELL) = Katharine NIEBOUR

Musician, professor of music, pianist, organist, harpist

Active Adelaide, SA, 1854; Sydney, NSW, 1860s-70s

CALDWELL, James (James CALDWELL; Mr. J. CALDWELL)

Musician, bandsman, later band master, Band of the 57th Regiment, clarionet / clarinet and oboe player, composer

Born 1809; son of James CALDWELL and Letitia STRETCH
Arrived [1] Sydney, NSW, 21 March 1826 (per Sesostris, from Portsmouth, November 1825)
Departed Sydney, NSW, 1/2 March 1831 (per Resource, for Madras, India, 15 May) Married Margaret COLGAN (d. 1915, later Mrs. John SMART), VIC, 1862
Arrived [2] Melbourne, VIC, by 1858
Arrived Perth, WA,
Departed Perth, WA, 11 September 1865 (per Clarence Packet, for Melbourne)
Died Melbourne, VIC, 12 June 1877, aged "68"

https://trove.nla.gov.au/search?l-publictag=James+Caldwell+57th+Regiment (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALDWELL-James (shareable link to this entry)

Documentation:

Pay-list of the 57th Regiment, 25 March to 24 June 1826; Australian Joint Copying Project, from UK National Archives, WO12/6651

https://nla.gov.au/nla.obj-1651840751 (DIGITISED)

[PRIVATES] . . . Caldwell James / 25 April to 25 June / . . . [bandsmen not indicated in this paylist]

Pay-list of the 57th Regiment, 1 January to 31 March 1832; Australian Joint Copying Project, from UK National Archives, WO12/6656

https://nla.gov.au/nla.obj-1652198277 

[PRIVATES] . . . Caldwell James / . . . [bandsmen not indicated in this paylist]

[Advertisement], Mount Alexander Mail [Castlemaine, VIC] (26 March 1858), 5

http://nla.gov.au/nla.news-article197083974 

AMATEUR BAND. A meeting of Persons desirous of forming an Amateur Band,
will be held at the Royal Hotel, on Tuesday, 30th March, at 8 o'clock p.m.
J. Caldwell, Sec. pro tern., late Band Master of the 57th Regiment.

"Amateur Band", Mount Alexander Mail (9 April 1858), 5

http://nla.gov.au/nla.news-article197087527

We are glad to hear that an amateur band is in course of initiation. On Tuesday last the second meeting was held at the Royal Hotel, when several new members were enrolled. We believe a few more are necessary to its completion, and would remind gentlemen of musical taste that they can never have a better opportunity for its cultivation than that now offered. We may mention that the band is under the management of Mr. Caldwell, late band master of Her Majesty's 57th Regiment, whose long experience and acknowledged proficiency render him a most desirable instructor.

Names and descriptions of passengers per Tien Tsin, from Melbourne, 13 October 1862, for Swan River; Public Record Office Victoria

https://prov.vic.gov.au/archive/23977219-F7F0-11E9-AE98-7BA7B64D0CBF?image=138 (DIGITISED)

. . . Mr. Caldwell // Mrs. Caldwell . . .

"Shipping Intelligence. ARRIVED", The Inquirer and Commercial News [Perth, WA] (19 November 1862), 2

http://nla.gov.au/nla.news-article69137494 

10. - Tien Tsin, 253 tons, J. T. Jarman, commander, from Melbourne. Cabin passengers . . . Mr. and Mrs. Caldwell . . .

"General Intelligence", The Perth Gazette and Independent Journal of Politics and News (21 November 1862), 2

http://nla.gov.au/nla.news-article2934137 

On the Volunteer Parade on Monday last we noticed that Mr, Caldwell, the newly appointed Band Master, was present. The Band has already made considerable progress by themselves, and with the assistance of Mr. Caldwell we have no doubt they will soon become most efficient.

ASSOCIATIONS: Perth Metropolitan Volunteers Band (volunteer forces)

"Local and Domestic Intelligence", The Inquirer and Commercial News (24 December 1862), 2

http://nla.gov.au/nla.news-article69135337 

Friday, the 19th instant, was another Volunteer gala day. About 8 o'clock a.m., the "Lady Stirling" steamer conveyed to Fremantle the Perth company, the members of which had been invited to participate in the ceremony of the presentation of a bugle received from Mrs. Kennedy, for the Fremantle Volunteers . . . About 5 p.m., the "Lady Stirling" returned with the Perth volunteers, and the numerous visitors who had been attracted to Fremantle by the days' proceedings. We must not omit to mention that the passage both down and up was enlivened by the volunteer band, under Mr. Caldwell, and that as a farther incentive to complacent feelings, the proprietor of the "Lady Stirling" liberally conveyed her living freight at, for volunteers, 1s. each the trip, and other passengers for half the usual fare.

"Masonic Banquet", The Perth Gazette and Independent Journal of Politics and News (2 January 1863), 2

http://nla.gov.au/nla.news-article2934201 

"AMATEUR THEATRICALS", The Inquirer and Commercial News (15 April 1863), 3

http://nla.gov.au/nla.news-article69135559 

The first public representations of the pieces chosen by the amateur dramatic corps took place in the Hall of the Mechanics' Institute, on Tuesday evening, before a large audience . . . The band of the Metropolitan Volunteers was in attendance, and played between the pieces . . . on Saturday the theatre was again opened, but was not filled, as on the previous nights. On this occasion there was a change for the better as regards the orchestra, Mr. and Mrs. Curtis having kindly consented to preside at the piano, and Mr. Caldwell to accompany them on the clarionet. The pieces played were warmly and deservedly applauded by the audience, and it was generally admitted the instruments were more suitable for the room than the brass band.

ASSOCIATIONS: Alfred and Martha Curtis (pianists)

"PERTH AMATEUR THEATRICALS", The West Australian Times (8 October 1863), 2

http://nla.gov.au/nla.news-article3366850 

On Tuesday and last evening (Wednesday), the Gentlemen of the Amateur Corps performed three pieces, to the hearty satisfaction of well filled houses. The pieces were "Ici on parle Français," "Bombastes Furioso," and "Box and Cox Married" . . . An Amateur Band, most efficiently led by Mr. Caldwell, contributed greatly to the pleasure of the evening.

"From October 7 to October 14", The Inquirer and Commercial News (21 October 1863), 4

http://nla.gov.au/nla.news-article66013679 

The Amateur dramatic performances were a great success, the house on either night being, "without o'erflowing, full" . . . The Amateur Band, under the leadership of Mr CaldwelL gave general satisfaction . . .

"GENERAL INTELLIGENCE", The Perth Gazette and Independent Journal of Politics and News (19 February 1864), 3

http://nla.gov.au/nla.news-article2934906 

WE have much pleasure in announcing that the Band of the Metropolitan Volunteers will, to-morrow evening at six o'clock, commence a weekly performance in the Public Garden at Perth. Saturday evening has been selected as being the time which will least interfere with the ordinary avocations of the performers.
The following is the programme for to-morrow:-
Parade March - J. Caldwell.
Garibaldi Waltz - E. Reyloff.
Crinoline Schottische - T. Kent.
French Polka - C. D'Albert.
International Quadrille - H. West.
Cruiskeen Lawn - with introduction - W. T. Chattaway.
Pantomime Gallop - W. Wilson.
God Save the Queen.

"PUBLIC GARDEN", The Perth Gazette and Independent Journal of Politics and News (11 March 1864), 2

http://nla.gov.au/nla.news-article2934941 

Programme for Saturday, March 12, at 6 o'clock: -
Scotch Slow March - J. Caldwell.
Darkies Christmas Day - E. W. Mackney.
Satanella Waltz - H. Laurent.
Little Bo-peep Quadrille - C. D'Albert.
Drum Polka - Mons. Jullien.
Sally come up - Quick March - E. Mackney.
The Spirit of the Ball Gallop - A. Goria.
God Save the Queen.

"PUBLIC GARDEN", The Perth Gazette and Independent Journal of Politics and News (1 April 1864), 2

http://nla.gov.au/nla.news-article2934984 

Programme for to-morrow evening, at 6 o'clock: -
Slow March - J. Caldwell.
Satanella Waltz - H. Laurent.
International Quadrille - H. West.
Crinoline Schottische - T. Kent.
Soldier's Polka - Montgomery.
Garibaldi's Quick March - W. T. West.
Railway Galop - C. D'Albert.
God Save the Queen.

"PUBLIC GARDEN", The Perth Gazette and Independent Journal of Politics and News (22 April 1864), 2

http://nla.gov.au/nla.news-article2935026 

Programme for to-morrow afternoon, at 3 o'clock: -
Scotch Slow March - J. Caldwell.
Home Sweet Home - Waltz - G. Rodner.
Rats Quadrille - Redler.
The Russian National Hymn - J. Warren.
The Camp Polka -C. D'Albert.
Galop - W. Wilson.
Who shall be Fairest - Buckhardt.
God Save the Queen.

"PUBLIC GARDEN", The Perth Gazette and Independent Journal of Politics and News (13 May 1864), 2

http://nla.gov.au/nla.news-article2935077 

Programme for to-morrow afternoon, at half-past 3 o'clock: -
Parade Match - J. Caldwell.
Garibaldi Waltz - E. Reyloff.
The Cure Lancers Quadrille - Coote.
Prince Albert's Band March - Montgomery.
Gentle Annie Polka - W. T. Chattaway.
Cruiskeen Lawn - Quick March - J. Bellak.
The Burlesque Galop - J. Cassidy.
God Save the Queen.

"THE CHRISTIAN BROTHERS' SCHOOL, PERTH", The Inquirer and Commercial News (24 May 1865), 2

http://nla.gov.au/nla.news-article66015059 

On Wednesday evening last, the beantiful and pathetic tragedy of "Douglas" was performed by the pupils attending the schools of the Christian Brothers, in their temporary school house, in the presence of their parents and a large number of friends and visitors . . . On the second evening . . . the pupils sang in a most pleasing manner "The Village Choristers," accompanied by the Metropolitan Band (under the able leadership of Mr. Caldwell), who, by their presence on both evenings, contributed in no small degree to enhance the pleasure of the entertainment . . .

[Advertisement], The Perth Gazette and West Australian Times (1 September 1865), 2

http://nla.gov.au/nla.news-article3749031 

Sale of Household Furniture. MR. T. SMITH, HAS received instructions from Mr. Caldwell, of Perth, to sell by Auction, at his residence (opposite the Immigration Depot) on FRIDAY 1st September next, all his HOUSEHOLD FURNITURE and other Effects . . .

"SHIPPING INTELLIGENCE . . . CLEARED OUT", The Inquirer and Commercial News (13 September 1865), 2

http://nla.gov.au/nla.news-article66015197 

September 11 - Clarence Packet, 61 tons, J. Oliver, master, for Melbourne. Passengers . . . Mr. and Mrs. Caldwell . . . in cabin. . . .

[News], The Perth Gazette and West Australian Times (15 September 1865), 3

http://nla.gov.au/nla.news-article3748773 

LAST week another Assembly Ball took place at the old Government House, Perth, which was more numerously and fashionably attended than any of its predecessors. The Volunteer Band which has usually played at these Assemblies has lost the valuable services of their bandmaster, Mr. Caldwell, who left at the beginning of this week in the "Clarence Packet" for Melbourne.

Names and descriptions of passengers per Clarence Packet, from Fremantle, 8 September 1865, for Melbourne; Public Record Office Victoria

https://prov.vic.gov.au/archive/8FD4F3C9-FA01-11E9-AE98-39CED3A50FCE?image=4 (DIGITISED)

Cabin . . . Mr. Caldwell / 50 [sic] / Band Master / English
Mrs. [Caldwell] / 24 / - / Irish . . .

"THE VOLUNTEER BAND. To the Editor of . . .", The Perth Gazette and West Australian Times (6 May 1870), 3

http://nla.gov.au/nla.news-article3752249 

SIR - Do you not think it nearly time some alteration was made in the management of what is by courtesy called the M.R.V. Band? . . . If the band-master has not the nerve to assert his authority . . . it would be better that a sum be raised which would secure the services of a gentleman whose efficiency both for management and teaching is well known, and one who is competent to supply Caldwell's place.
Yours &c.,
A VOLUNTEER.

ASSOCIATIONS: Thomas Bryan (bandmaster)

Payments, Chelsea pensioners, 1863-70; UK National Archives, WO22/252

https://www.ancestry.com.au/discoveryui-content/view/592652:62604 (PAYWALL)

Caldwell Ja's / Transf'd f'm Perth W.A. / Melborune / [payments entered for 1865, 66, 67, 68, 69

https://www.ancestry.com.au/discoveryui-content/view/592642:62604 (PAYWALL)

57th Regiment of Foot . . . Ja's Caldwell / Melbourne / [no further details entered]

[Advertisement], The Argus [Melbourne, VIC] (28 October 1871), 8

http://nla.gov.au/nla.news-article5856517 

ALFRED HOSPITAL BAZAAR, TOWN-HALL . . .
THIS DAY, A GRAND CONCERT Of INSTRUMENTAL MUSIC, a la JULLIEN, will be given during the afternoon, commencing at 3 o'clock.
Mr. Plock has organised an orchestra of the following gentlemen, professionals and amateurs, who in the kindest manner have given their gratuitous services:
FIRST VIOLINS. Messrs. Curtis. Devereaux . . .
OBOE. Messrs. Isard and Caldwell.
CLARIONETS. Messrs. Johnson and Mears . . .

ASSOCIATIONS: Adam Plock (musician); Henry Curtis (violin); John Robert Devereux (violin); Henry John Izard (oboe); Henry Johnson (clarinet)

"Funeral Notices", The Argus [Melbourne, VIC] (13 June 1877), 8

http://nla.gov.au/nla.news-article5925410

THE Friends of the late Mr. JAMES CALDWELL (musician) are respectfully invited to follow his remains to the place of interment, Melbourne Cemetery.
The funeral will leave 107 Spring street, Melbourne, THIS DAY, at 1 o'clock.
JOHN DALEY, undertaker, Latrobe and Spring streets, Melbourne.

James Caldwell, Margaret Smart, Find a grave; Victoria, Cemetery records

https://www.findagrave.com/memorial/166056160/margaret-smart 

https://www.ancestry.com.au/discoveryui-content/view/181073:61309 (PAYWALL)

{Roman Catholic section H] In loving memory of James CALDWELL died 12 Jun 1877 Margaret SMART died 25 Jan 1915 age 72 yrs.

CALLAGHAN, Mr. (Mr. CALLAGHAN; Mr. CALAGHAN)

Bass vocalist

Active Sydney, NSW, 1840s

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALLAGHAN-Mr (shareable link to this entry)

Documentation:

[Advertisement], The Sydney Herald (16 October 1841), 3

http://nla.gov.au/nla.news-article12871705

ROYAL VICTORIA THEATRE . . .
MR. NATHAN'S GRAND VOCAL and INSTRUMENTAL CONCERT (first of the series),
to take place on WEDNESDAY, the 27th of October, 1841 . . .
BASSOS. Mr. Griffiths, Mr. Callaghan, Mr. Alfred Nathan, &c. . . .

ASSOCIATIONS: Isaac Nathan (conductor, composer, vocalist); William Griffiths (vocalist); Alfred Nathan (vocalist); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Sydney Gazette and New South Wales Advertiser (24 May 1842), 3

http://nla.gov.au/nla.news-article2556557

THE SPACIOUS HALL, SYDNEY COLLEGE, Having been kindly granted for this occasion to
MR. NATHAN, A GRAND SELECTION OF VOCAL AND INSTRUMENTAL MUSIC WILL BE PERFORMED On FRIDAY Evening, 27th May, 1842.
THE Overtures and the whole of the Music, expressly arranged for full Orchestra . . . by Mr. Nathan.
BASSOS. Mr. Griffiths, Mr. Bridge, Mr. Callaghan, and Mr. Waller . . .

ASSOCIATIONS: James Waller (vocalist)

[Advertisement], The Australian (29 May 1845), 1

http://nla.gov.au/nla.news-article37154717

ROYAL CITY THEATRE. (Under Distinguished Patronage.)
MISS HINCKESMANN respectfully informs her friends and the public, that she intends giving a
CONCERT of Vocal and Instrumental Music, at the above Theatre, on
FRIDAY EVENING, May 30th, 1845. To commence at 8 o'clock precisely.
The following talented Professional, as well as several Amateur performers, have most kindly promised their valuable assistance: -
. . . Messrs. Waller, Worgan, Calaghan and Griffiths.
The Theatrical Band will be assisted by the Members of St. Patrick's Band, who have most kindly consented to give their valuable services upon this occasion.
Leader, Mr. Gibbs; Conductor, Mr. Johnson (Organist of St. James's) . . .

ASSOCIATIONS: Maria Hinckesman (pianist); George William Worgan (vocalist); John Gibbs (leader, violin); James Johnson (conductor, musician); Royal City Theatre (Sydney venue)

CALLEGARI, Madame (Louise MIRABEAU; Louisa GRANGE; Madame Pietro CALLEGARI; Madame CALLEGARI; Marie GIOVANNI; Madame GIOVANNI)

Musician, vocalist, convict, emancipist

Born Bordeaux, France, c. 1817
Convicted Central Criminal Court, London, England, 24 October 1842 (transportation 10 years)
Arrived Hobart Town, VDL (TAS), 19 July 1843 (convict per Margaret, from England, 5 February 1843, aged "26")
Married Pietro CALLEGARI, St. Joseph's church, Hobart Town, VDL (TAS), 17 August 1844
Departed [1] Hobart Town, VDL (TAS), by mid 1849 (for New Zealand)
Departed [2] Hobart Town, TAS, 18 June 1851 (per Baretto Junior, for San Francisco)

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

https://data.bnf.fr/en/10019152/marie_giovanni (data.bnf.fr)

https://www.digitalpanopticon.org/life?id=obpdef1-2892-18421024 (digital panopticon)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALLEGARI-Madame (shareable link to this entry)

Documentation:

Convict record, Piedro Calligana [sic]; Tasmanian names index; NAME_INDEXES:1378562; CON31/1/7

https://stors.tas.gov.au/NI/1378562 

https://stors.tas.gov.au/CON31-1-7$init=CON31-1-7p412 (DIGITISED)

2160 / Calligana Piedro / Sarah 29th March 1837 / Central C'l Court 24th Oct'r 1836 14 [years] / Transported for Larceny . . .
Oct'r 23red 1838 - Reichenberg . . . / Feb'y 11 1839 - Richenburgh Repeated Insolence - TO be kept to hard labour . . .

ASSOCIATIONS: Assigned to Joseph Reichenberg, 23 October 1838; on 11 February 1839 accused of insolence towards Angelica Reichenberg

Trial of Louisa Grange and Rossiett Lennon, 24 October 1842; Old Bailey online

https://www.oldbaileyonline.org/browse.jsp?div=t18421024-2892 (DIGITISED)

2892. LOUISA GRANGE was indicted for stealing, on the 19th of August, 4 rings, value 100l., the goods of John Metcalf, in the dwelling-house of William How; and ROSSIETT LENNON , for feloniously inciting, moving, procuring, and counselling the said Louisa Grange to commit the said felony . . .

Convict record, Rossiet Lennon; Tasmanian names index; NAME_INDEXES:1411482; CON14/1/20 Pages 116-117

https://stors.tas.gov.au/NI/1411482 

https://stors.tas.gov.au/CON14-1-20$init=CON14-1-20P118 (DIGITISED)

9367 / Lennon Rossiet / C.C. Court / 24 Oct'4 1842 / 5 ft 9 in / [age] 32 / 10 [years] / R.C. / Married /
Inciting a woman to commit a robbery - her name Louisa Grange - She committed the robbery in my wife's name
- they were rings & Jewells from Mr. Mitchell's at Pall Mall - I live with her - Gracy Street - Sentence 10 yrs

Louisa Grange, convict record; Tasmanian names index; NAME_INDEXES:1396418; CON40-1-4P213; CON19-1-2P110; CON15/1/2 Pages 150-151

https://stors.tas.gov.au/NI/1396418 

https://stors.tas.gov.au/CON40-1-4$init=CON40-1-4p213 (DIGITISED)

319 / Grange Louisa / Margaret 16 July 1843 / Cent'l Crim'l Court 24 oct'r 1842 / 10 [years] / Transported for Larceny . . .
for a T. of L. 30 June 1846 / Recom'd for a C. P. 14.12.'47 / Con. Pardon App'd 30.1.'49 . . .

https://stors.tas.gov.au/CON19-1-2$init=CON19-1-2P110 (DIGITISED)

Grange Louisa / Governess / 5 ft / [age] 26 / . . . [native place] Beardeaux [sic, Bordeaux]

https://stors.tas.gov.au/CON15-1-2$init=CON15-1-2P152 (DIGITISED)

Grange Louisa / 5 ft 1 1/4 in / 26 / Governess - Music, French, elements of Italian, Fancy Work / C'l C'l Court / 24 Oct'r 1842 / 10 [years]
[native place] Bordeaux / Single / 1 child / C. of E. / My F. was a Capt in the French Navy / 1 S[ister] Madame Mullier / 1 B[rother] Sub. Lieut. in the French army / F[ormer] name Mirabeau de Montcassier / Father of my child Mr. Reine [?] . . .

Marriage permissions, 8 July 1844; Tasmanian names index; NAME_INDEXES:1247676; CON52/1/2 Page 290; RGD37/4: 1844/1336

https://stors.tas.gov.au/NI/1247676 

https://stors.tas.gov.au/CON52-1-2p148 (DIGITISED)

2160 / Calligana Pietro / [ship] H. Sarah // 319 / Louisa Grange / [ship] Margaret / . . . App.

1844, marriages in the district of Hobart; Tasmanian names index; NAME_INDEXES:831493; RGD37/1/4 no 1336

https://stors.tas.gov.au/NI/831493 

https://stors.tas.gov.au/RGD37-1-4p49j2k 

1336 / August 17th Hobart Town / Pietro Calligari, full age / merchant
Louisa La Grange / full age
Married in the Church of St. Joseph . . . in the presence of Bedelina de Castinos, J. P. de Castinos

ASSOCIATIONS: John Perez de Castanos (witness)

[Advertisement], The Hobart Town Advertiser (20 August 1847), 3

http://nla.gov.au/nla.news-article264520068 

A CARD. MADAME CALLEGARI, a native of Paris,
having a few hours disengaged, would be happy to devote them to any lady or ladies requiring tuition in the French language, or the ordinary branches of English Education.
Madame C. is enabled to offer the most satisfactory references to families where she has attended for a considerable period.
Apply at No. 47, Collins street.

"MR. PACKER'S CONCERT", Colonial Times [Hobart, VDL (TAS)] (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 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 sang "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.

ASSOCIATIONS: Charles Sandys Packer (musician, composer, convict)

MUSIC: There is a flower that bloometh (Wallace, from Maritana)

"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.

MUSIC: O'er the far mountain (Packer, from Sadak and Kalasrade)

"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 withold 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: Edward Allen (vocalist); Henry Howson (violin)

"THE CONCERT", The Hobart Town Advertiser (28 March 1848), 3

http://nla.gov.au/nla.news-article264521776 

Mr. Packer's Concert took place on Monday evening last, at the Music Hall, Collins-street. The place was not so well filled as we could have wished, owing to the wetness of the evening, which no doubt prevented many from attending. The air of "Pestal," which was the great attraction of the evening, was given beautifully by Mr. Packer, and was deservedly encored. Madame Calligari made her debut, end well received. She has a very pleasing voice, and her singing is very correct. She promises to become a general favourite, should she appear before the public in a professional character. We trust Mr. Packer's next concert will be better patronised.

[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.
INSTRUMENTALISTS. Violin, Mr. Howson. Pianoforte, C. 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 - 'Qualmare' - I masnadieri - Verdi.
Duo Concertante - Violin and Pianoforte - Packer.
Aria - 'Joyous days of Childhood' - Anna Bolena - Donizetti.
Madrigal - 'Comely Swain' - Blayford.
Song - 'The forbidden Door' (by desire) - Crouch.
Trio - 'O'er the far Mountain' - Sadak & Kalasrade - Packer.
Finale Madrigal - 'The Waits' - Jer. Saville . . .

ASSOCIATIONS: Abraham Philip Duly (musicians)

[Advertisement], New Zealander [Auckland] (15 September 1849), 1

https://paperspast.natlib.govt.nz/newspapers/NZ18490915.2.2.4 

[A CARD.] MADAME CALLEGARI, native of Paris, will be happy to devote her time to giving instruction to Young Ladies, in the French and Italian Languages;
also, in the ordinary branches of English Education, comprising, Geography and Astronomy, with the use of the Globes;
Fancy Needleworks, with the useful and ornamental arts of Crochet and Knitting.
[manicule] Albert-street, (corner of Wyndham-street.)
N.B. - MUSIC COPIED IN THE BEST STYLE.

"SHIPPING NEWS. PORT OF HOBART TOWN", The Courier (18 June 1851), 2

http://nla.gov.au/nla.news-article2960738 

Cleared out - The barque Baretto Junior, 533 tons, Huggins, for San Francisco, with sundries. Cabin - Mr. and Mrs. Callegari, Mrs. Manton, Mrs. Paine.

"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? . . .

ASSOCIATIONS: Charles Schaw (retired soldier, magistrate)

"FROM THE INTERIOR. Downieville", Sacramento Daily Union [CA, USA] (20 October 1852), 3

https://cdnc.ucr.edu/?a=d&d=SDU18521020.2.15 

We are under obligations to Adams & Co. for the Mountain Echo of Saturday. We clip therefrom the following items:
UNFORTUNATE OCCURRENCE. - We briefly noticed in our last issue the fact that a person had been badly stabbed at Twist's Flat. Since then the party has died, and we now give a brief statement of the factions they appeared in evidence before the Coroner's Jury, and the examining Justice. The deceased was named Charles Douglass, an Englishman by birth, who had served with credit in the British Navy, received a medal for his gallant services in China. Douglass and Peter Callegari an Italian (who is married, and kept a boarding house on the flat) had been connected together in several mining claims, were on the most intimate terms, until some words arose between them about their claims on Friday afternoon, which resulted in Douglass knocking Callegari down. They were separated, and the affair rested until some time after, when they again came together, and were separated without much damage to either. Callegari was then called into the back part of the house to attend to his business, and during his absence, Douglass applied several insulting epithets to Mrs. C., and rushed towards her but did not reach her, having been stopped. At the same instant Callegari rushed from the back room, with it knife in his hand, chased Douglass just outside of the door and there stabbed him in the lower part of the abdomen. Callegari was afterwards examined and acquitted. Douglass was a victim to intemperance. Considerable feeling at one time was manifested among the miners about Twist's Flat, for and against the prisoner, but it has now entirely subsided.

Bibliography and resources:

Marie Giovanni, Journal de voyage d'une parisienne, rédigé par Alexandre Dumas (Leipzig and Brussels: Kiessling, Schnée, et Comp'ie, 1855)

https://gallica.bnf.fr/ark:/12148/bpt6k85961h (DIGITISED)

Douglas Wilkie, "'Take the times as they go, and the men as they are': the stories of John Perez de Castaños, Piedro Caligani and Louisa La Grange", Papers and proceedings: Tasmanian Historical Research Association 59/1 (April 2012), 38-59

https://search.informit.org/doi/10.3316/ielapa.421486052065494 (PAYWALL)

Douglas Wilkie, "Marie Callegari in Australia: the identity of Alexandre Dumas's narrator in Le journal de Madame Giovanni", Explorations (a journal of French-Australian connections) 54 (Australian Winter 2013), 3-24

Douglas Wilkie, The life and loves of Eugene Rossiet Lennon, professeur extraordinaire (Melbourne: Historia Incognita, 2015)

https://trove.nla.gov.au/work/199659465 

Douglas Wilkie, The journal of Madame Callegari: the true story behind Alexandre Dumas's 1855 Journal de Madame Giovanni ([Melbourne]: Historia Incognita, 2015)

https://trove.nla.gov.au/work/196977305 

Douglas Wilkie, The journal of Madame Callegari, second edition, revised with new material ([Melbourne]: Historia Incognita, 2022)

https://trove.nla.gov.au/work/196977305/version/282566266 

"Louisa Grange", Convict records

https://convictrecords.com.au/convicts/grange/louisa/63675 

CALLEN, Douglas (George Douglas CALLEN; G. D. CALLEN; Douglas CALLEN; Douglass CALLEN)

Musician, conductor, bandmaster, pianist, violinist, cornet player, guitarist, civilian master of the Band of the 12th Regiment, bandmaster, orchestral and choral conductor, composer

Born Titchfield, Hampshire, England, 1811; baptised Titchfield, 9 June 1811; son of John CALLEN and Jane ?
Married (1) Charlotte Amelia HATHERLY (1819-1860), South Stoneham, Hampshire, 20 June 1838
Arrived (with 12th Regiment) Melbourne, VIC, 18 October 1854 (per Camperdown, from Cork, 8 July)
Arrived Hobart, TAS, January 1856
Arrived Sydney, NSW, April 1858
Married (2) Mary Ann GRAVES, Paddington, NSW, 1864
Died Darlinghurst, NSW, 6 May 1879, age "65"

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

http://nla.gov.au/nla.party-468211 (NLA persistent identifier)

https://viaf.org/viaf/91432690 (VIAF)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALLEN-Douglas (shareable link to this entry)

Documentation:

Southampton, Hampshire, England, (to 1846):

Baptisms, Titchfield, 1811; Hampshire Baptisms

https://www.findmypast.com.au/transcript?id=GBPRS%2FB%2F800401319%2F1 (PAYWALL)

9 June 1811 / George Douglas / Son of John and Jane / Callen

"PORTSMOUTH, PORTSEA, AND GOSPORT", Hampshire Chronicle & Southampton courier [England] (19 July 1830), 1

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000231/18300719/006/0001 (PAYWALL)

On Tuesday se'nnight the Annual Concert of the White Hart Convivial Society took place at their Room, Queen-street, Portsea, under the direction of Mr. J. Woolfe, assisted by several professional gentlemen and the Portsea Amateur Music Society. The grand military martial song, The Heroes of Britain, and the Overture to the Caliph of Bagdad, reflected the utmost credit on the performers. Mr. Callen, from the Southampton Concerts, added much the amusement, with fantasias on the guitar, grand piano forte, and violin, which were much admired . . .

"ELECTION QUADRILLES AND WALTZES. Southhampton, G. D. Callen", Hampshire advertiser [England] (20 November 1830), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000493/18301120/009/0003 (PAYWALL)

Mr. Callen has published a very pretty set of Quadrilles under the above title, in compliment to the town representatives. They are for the piano-forte. The accompanying print of the chairing of the members is worth the price of the whole.

"SOUTHAMPTON", Hampshire Advertiser (Saturday 17 March 1832), 2

https://www.britishnewspaperarchive.co.uk/viewer/BL/0000494/18320317/032/0002 (PAYWALL)

Mr. Callen's Concert, at the Royal Victoria Archery Rooms, on Monday evening, was respectably attended. The arrangements reflected credit on Mr. Callen, and the applause with which the various pieces were received must be highly gratifying to the performers. The orchestral accompaniments were uncommonly good, and the overtures well executed. Miss Frederick sung "Bid me discourse" prettily, and was warmly applauded; but we thought Miss Wills rather out of voice and timid. Mr. Prince gave "Friend of the Brave" in his usual style of excellence, and Mr. Callen displayed considerable taste and execution in a concerto on the violin . . . Mr. Callen received a high compliment last week from Paganini, who, after telling him to persevere in the course he was pursuing, added, that he had not been better accompanied on the piano by any one out of the metropolis.

[Advertisement], Hampshire Advertiser [England] (21 April 1832), 1

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000494/18320421/005/0001 (PAYWALL)

SOUTHAMPTON MUSICAL ASSOCIATION . . .
will give ANOTHER CONCERT at the LONG ROOMS, on Wednesday Evening, 25th April, 1832 . . .
PART I . . . Solo - Clarionet - Mr. Springett, selected and arranged by G. D. Callen . . .

[Advertisement], Hampshire Advertiser [England] (10 November 1832), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000494/18321110/032/0003 (PAYWALL)

THEATRE ROYAL, SOUTHAMPTON.
MR. G. D. CALLEN respectfully informs the Nobility, Gentry, and Inhabitants of Southampton and its environs, that his
BENEFIT will take place on WEDNESDAY EVENING NEXT, when will be Performed an admired Comic Opera, in Three Acts, called ROBIN HOOD; or, THE MERRY ARCHERS . . .
In the course of the Evening, a variety of MUSIC, SINGING, &c. which will expressed in Bills on the day.
Tickets to had of Mr. Callen, 13, West-street . . .

"ROMSEY", Salisbury and Winchester Journal [England] (23 December 1833), 4

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000361/18331223/023/0004 (PAYWALL)

A Concert for the benefit of R. Limpus, the leader of our amateur bund, who about to remove to Winchester, took place last night the Town-hall, under the patronage of Lord Palmerston, and was most respectably attended. Miss Smith, the organist at the Abbey Church, presided with much ability at the pianoforte, and Mr. G. D. Callen, of Southampton, was the conductor. The vocal and instrumental pieces were exceedingly well executed, and the concert gave general satisfaction.

[Advertisement], Hampshire Telegraph [England] (12 January 1835), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000069/18350112/013/0003 (PAYWALL)

PORTSMOUTH & PORTSEA THEATRE . . . Leader of the Band, Mr. G. D. CALLEN . . .

[Advertisement], Hampshire Advertiser [England] (23 April 1836), 2

https://www.britishnewspaperarchive.co.uk/viewer/BL/0000494/18360423/016/0002 (PAYWALL)

VOCAL AND INSTRUMENTAL CONCERT.
THE MEMBERS of the SOUTHAMPTON AMATEUR MUSICAL SOCIETY, have the honour of informing the Nobility, Gentry, and Inhabitants of Southampton,
that assisted in the Vocal Department by Messrs. Bishop, Barnard, Knight, and Lomer, they intend giving a
VOCAL AND INSTRUMENTAL CONCERT at the LONG ROOMS, on Tuesday evening, May the 3rd, 1836, in aid of the funds of the SOUTHAMPTON DISPENSARY.
LEADER - Mr. G. D. CALLEN.
Mr. G. HAMMOND will preside at the Piano-forte.
PROGRAMME PART I. OVERTURE - "Sargino" - Paer. . .
CONCERTO - Violin, Mr. G. D. Callen - Mayseder . . .
GRAND OVERTURE - "Siege of Rochelle," (first time in Southampton.) . . . Balfe
PART II. Overture - (MS.) first time of performance - G. D. Callen . . .
FANTASIA - Spanish Guitar, Mr. G. D. Callen - Huerta . . .
OVERTURE - "Italiana in Algieri" - Rossini . . .

[Advertisement], Hampshire Advertiser (17 March 1838), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000494/18380317/005/0003 (PAYWALL)

THEATRE ROYAL, PORTSMOUTH . . . Leader of the Orchestra - Mr. G. D. Callen . . .

Marriages, South Stoneham, Hampshire, 1838; England, select marriages

https://www.ancestry.com.au/discoveryui-content/view/33654212:9852 (PAYWALL)

20 June 1838 / George Douglas Callen [son of] John Callen / Charlotte Amelia Hatherly [daur. of] John Hatherly

England census, 6 June 1841, Winchester, Hampshire; UK National Archives, HO107/409/9/22

https://www.ancestry.com.au/interactive/8978/HAMHO107_409_411-0113?pid=2467914 (PAYWALL)

Wick Road / Mary Waterman / 60 / Ind. / [born in county]
John Conduit / 30 / Music Teacher / [born in county]
George Callen / 30 / Music Teacher / [born in county]

England census, 6 June 1841, Holy Rhood, Hampshire; UK National Archives, HO107/416/5/20/48/10

https://www.ancestry.com.au/imageviewer/collections/8978/images/HAMHO107_416_417-0100?pId=2541086 (PAYWALL)

High Street / Charlotte Callen / 22 / Ind. // George / 1 . . .

"DOMUM", Hampshire Advertiser [England] (24 July 1841), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000494/18410724/021/0003 (PAYWALL)

The annual celebration of this ancient ceremony took place at the College, on Friday, the 16th inst., and was most numerously and fashionably attended. A choice selection of music was performed, under the abie direction of Mr. G. D. Callen, who was engaged with his excellent band for the occasion . . . The Ball at St. John's House was honored by a large assemblage of rank and fashion, and dancing was continued with great spirit until a late hour. The programme for the evening (comprising the best and newest Quadrilles and Waltzes, by Musard, Strauss, Labitzky, Lanner, &c.) was admirably played. Mr. Callen's new set of quadrilles, composed expressly for, and performed by six instruments, gave us an opportunity of hearing his band for small parties. The selection of instruments is quite novel; and from his judicious method of arranging for them, the effect is truly astonishing. We have heard greater numbers, with not half the power; and yet devoid of the lightness and elegance of this small combination. The introduction of the Domum Air for the Finale Figure was appropriately conceived, and reflects great credit on Mr. C's. taste and judgment . . .

ASSOCIATIONS: Winchester College (school)

[Advertisement], Hampshire Advertiser [England] (24 July 1841), 1

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000494/18410724/005/0003 (PAYWALL)

MR. G. D. CALLEN, Professor of Music, 40, High street, Southampton,
RETURNS thanks his Friends for the encouragement he has received during the last Ten years, and begs respectfully to acquaint them, that he intends settling in Southampton, when he will be happy to receive any commands they may be pleased to honor him with.
Mr. C. has engaged a superior Band for Quadrille and other Parties, and from his long experience in conducting an Orchestra, he is confident it will compete with, it not surpass, any out of London; any number of Performers can be supplied on the most reasonable terms.
He likewise begs to recommend, for Small Parties, a peculiar combination of Six Instruments, for which he has expressly arranged all the most Fashionable Music, and which will be found more effective than ordinary Bands of greater numbers.
He will also be happy to attend, as usual, for the Piano-forte, if required.
An Excellent Military Band of Brass or other Wind Instruments.
Tuition on the Piano Forte, Violin, Guitar, &c. and in Thorough Bass and Composition.
Music arranged in Score or in separate parts.

[News], Hampshire Advertiser [England] (19 February 1842), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000494/18420219/032/0003 (PAYWALL)

The Members of the Winchester Philharmonic Society gave a concert and ball on Thursday evening, at the large room at the White Hart Hotel . . . Mr. G. D. Callen presided at the piano-forte . . .

St. Helena, bandmaster of the St. Helena Regiment (c. 1846-47):

"CONCERT AT ST. HELENA", Brighton Gazette [Sussex, England] (28 May 1846), 2

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000938/18460528/043/0002 (PAYWALL)

We have recently been made aware of the success of Mr. Callen, (who for several seasons presided in the orchestra of the Southampton Theatre, and who went out to St. Helena as band-master to the regiment there), in getting up a public concert in the island, for the first time, probably, since it has been in our possession, except a little affair some years ago. It took place at the Castle, the use of which was kindly lent for the purpose by the Governor. No one could expect the necessary talent for the orchestra could be found, as all must be amateurs, the regimental band being placed in the hall to play while the company assembled. The performers were - Miss Soloman, daughter of the Consul for Hamburg (pianoforte), Captain Woollard (tenor and flute), Lieutenant Macbean (violoncello), Lieutenant Stack (vocal), Lieutenant Cowell (ditto), and Ensign Hayes (violin). The room was crowded with officers and their ladies, and the first people of the island; and the whole of the pieces in the selection, which were from Haydn, Mayseder, Ghys, Balfe, &c. gave immense satisfaction. The St. Helena Gazette speaks in high terms of Mr. Callen's violin and guitar performance, as also of the amateurs' performances, but whom it does not presume to name. As a curious circumstance illustrative of fashionable life at St. Helena, it may be named that the majority of the audience had, it is probable, never, or but exceedingly seldom, heard a violin or guitar before, the whole of the music heard in the island, except by Callen's pupils, being military. He had to form his band from the privates of the regiment. The tickets were at 7s., and the Governor's drawing-room was crowded. - Hants. Advertiser.

Became bandmaster of the 12th Regiment (May 1848):

"METROPOLITAN DISTRICT COURT. WEDNESDAY. CALLEN V. HAMILTON", Empire (20 November 1862), 8

http://nla.gov.au/nla.news-article60519215 

. . . It appeared in evidence that Mr. Callen joined the 12th regiment in the month of May, 1848, at Weedon, in Northamptonshire, and accompanied the regiment to the colony where he held the same appointment until the sudden termination of his services a few months since.

ASSOCIATIONS: Band of the 12th Regiment (military)

England census, 30 March 1851, Chatham, Kent; UK National Archives, HO107/1610/405/31

https://www.ancestry.com.au/interactive/8860/KENHO107_1610_1611-0026/1434850 (PAYWALL)

George Cullen [sic] / Lodger / 38 / Bandmaster / [born] Hampshire, Litchfield
Charlotte Cullen / Wife / 30 / Kent . . .
George Cullen / Son / 11 / Scholar / Southampton
Julia Cullen / Dau. / 9 / [Scholar] / [Southampton]
Wollard Cullen / Son / 7 / [Scholar] / Africa BS

"BELFAST ROYAL BOTANIC GARDEN. SEPTEMBER SHOW OF FRUITS AND FLOWERS", Greenock Advertiser (16 September 1853), 4

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000970/18530916/049/0004 (PAYWALL)

. . . The excellent band of the 12th regiment was in attendance, under the lead of the talented band master, Mr. Callen, and performed, during the afternoon, a well selected programme, one of the pieces, "The Botanic Garden Polka," having been composed expressly for the occasion, by Mr. Callen, and meeting with great approbation.

[Advertisement], Newry Telegraph [Ireland] (2 October 1852), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000998/18521002/019/0003 (PAYWALL)

Carraig-Bhan, Rosstrevor. The Nobility, Gentry, and Inhabitants of ROSSTREVOR and its Vicinity,
are respectfully informed that, by the kind permission of Mr. and the Mrs. Ross of Bladensburg,
Mr. and Mrs. BOYLE'S CONCERT will take place as above, on MONDAY EVENING, October 4th.
VOCALISTS: MRS. E. B. HARPER, MRS. BOYLE. MR. BOYLE, AND SIGNOR MANCINI.
Piano-Forte - Mrs. BOYLE.
Violin, Mr. G. CALLEN (Master of the Band, 12th Regiment.)
CORNET-A-PISTON AND HORN, Mr. E. B. HARPER.
CONDUCTOR - MR. G. D. CALLEN . . .

Melbourne, VIC (18 October 1854 to January 1856):

"THE 12TH REGIMENT", The Argus [Melbourne, VIC] (20 October 1854), 5

http://nla.gov.au/nla.news-article4799184 

. . . The detachment which arrived per Camperdown is under the command of Major Kempt. The band of the regiment has accompanied them; it is directed by Mr. G. D. Callen and report speaks favorably of the musical talent of the members. We hope that we shall soon have an opportunity of hearing and judging for ourselves.

"THE EXHIBITION", The Argus (1 November 1854), 5

http://nla.gov.au/nla.news-article4799716

Twelve hundred and thirty persons visited the Exhibition yesterday, exclusive of the holders of season tickets . . . The band of the 12th regiment, conducted by the band-master (Mr. Callen), attended in the evening, and performed a number of pieces of operatic and dance music.

ASSOCIATIONS: Melbourne Exhibition 1854 (event); Exhibition Building (Melbourne venue)

"THE EXHIBITION", The Age (7 November 1854), 5

http://nla.gov.au/nla.news-article154849527 

Last evening the band of the 12th Regiment performed the following pieces in their usual efficient manner: -
Overture, "Martha," - Floton [Flotow]
Selection, "Rigolette," - Verdi
Polka, "Waterloo," - Godfrey
Selection, "Le Caid," - Thomas
Waltz, "Donna Sabine," Henrion
Quadrille, "Marien," - Herfurth
Polka, "Downshire," - Callen
"God save the Queen."
Conductor - Mr. Callen.

MUSIC: The Marien quadrille by Herfurth appeared in the same number, "Fouteenth series", of Boosé's military journal, as Callan's Downshire polka.

[Advertisement], The Argus (11 November 1854), 7

http://nla.gov.au/nla.news-article4800169

MR. CALLEN, Master of the Band 12th Regiment, will receive Pupils for Instruction on the Guitar, Pianoforte, Violin, and in Harmony and Composition.
Apply at Mr. Wilkie's Music Warehouse, Collins street.

ASSOCIATIONS: Joseph Wilkie (musicseller)

[Advertisement], The Argus (1 December 1854), 8

http://nla.gov.au/nla.news-article4801122 

VICTORIAN EXHIBITION, Melbourne, 1854.
On Saturday Evening, December 2nd, A Grand Military Concert
will be given at the Exhibition Building, William-street.
On this occasion, the Bands of the 40th and 12th Regiments will combine.
The orchestra will comprise Sixty Performers.
Leaders: Messrs. Johnson and Callan . . .

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

[Advertisement], The Argus (28 December 1854), 8

http://nla.gov.au/nla.news-article4802325 

GRAND PROMENADE CONCERTS. - Band of Forty Performers.
The magnificent Concert-hall and Saloons in connection with the new Theatre Royal, Bourke-street,
will be open to the public on this and every evening, with a series of
Grand Operatic and Classic Concerts, Supported by the first vocal talent in the colony,
when the whole premises will be open as a Promenade Concert Room, And brilliantly illuminated with gas.
The proprietor, M. E. H. Gregory, has the honor to announce to the pubic, that he has obtained from the Oflicers of the 12th Regiment their kind permission for the use of
The Military Band on this evening, which will be ably conducted by Mr. Callen . . .

ASSOCIATIONS: Edmund Howard Gregory (licensee, proprietor); Theatre Royal (Melbourne venue under construction, foyers only yet open to the public)

"THE THEATRE ROYAL", The Argus (3 January 1855), 5

http://nla.gov.au/nla.news-article4802592 

Mr. Gregory having at length obtained a license for the Royal Hotel, Bourke street, the new Theatre at the back of the hotel is to be proceeded with at once and is expected to be completed within three months from the present time. The concerts at the Hall have been well attended since the first, and we hear of some alterations in the style of the entertainments such as the performance of operatic duets, trios, &c., in character, which are sure to prove attractive. The band of the 12th Regiment, conducted by Mr. Callen, plays every evening and their morceaux add materially to the strength of the programme. Miss Hamilton, Mrs. Hancock, and Mons. Coulon, are encored nightly in their favorite pieces, and Mr. Bial has won golden opinions as a pianoforte soloist.

ASSOCIATIONS: Octavia Hamilton (vocalist); Mary Ellen Hancock (vocalist); Emile Coulon (vocalist); Charles Bial (pianist)

"MILITARY MUSIC", The Argus (12 January 1855), 5

http://nla.gov.au/nla.news-article4802990 

Major Kempt, commanding the detachment of the 12th Regiment, at present stationed in Melbourne, has kindly consented to allow the splendid band of the regiment to play once a week in the Richmond Paddock, near the Botanical Gardens. The band, which is under the direction of Mr. Callen, will accordingly attend at half-past four o'clock this afternoon, and every Thursday afternoon for the future.

"CONCERT AT THE EXHIBITION", The Argus (17 February 1855), 6

http://nla.gov.au/nla.news-article4804526 

On visiting the Exhibition building on Thursday evening we were gratified to find that the appeal to sympathies of the public in behalf of the sufferers by the late disastrous fire at Sandridge had been so thoroughly responded to. We much doubt, indeed, it there has ever assembled in Melbourne, at any public entertainment, a more numerous and, at the same time, respectable audience. According to the estimate of the doorkeeper, nearly two thousand persons were present; the company including his Excellency the Lieutenant Governor . . . The concert, excluding the orchestral pieces, which were rendered in a masterly manner by the bands of the 12th and 40th Regiments, and the clever instrumental performances of M. and Madame Herwyn, was of rather mediocre quality. The essentially dramatic overture, to "Semiramide" was spiritedly given by the combined bands, under the direction of Mr. Johnson; and the band of the 12th, conducted by Mr. Callen, performed the overture to Auber's "Marco Spada" - in as effective a manner as was possible in the absence of stringed instruments. A valse by Gungl and an exceedingly pretty quadrille by Herefurth [sic, Herfurth] concluded each division of the concert, the two bands combining in those instances . . .

ASSOCIATIONS: Henry and Celestine Herwyn (violin, piano)

"THEATRE ROYAL", The Argus (26 February 1855), 5

http://nla.gov.au/nla.news-article4804906 

The fine concert room attached to the embryo Theatre Royal was again crammed on Saturday evening. The orchestra, which is under the direction of Mr. Callen, is a very able one, and we have seldom heard in Melbourne a finer performance of Rossini's overture to "Otello," with which the concert commenced . . .

"THEATRE ROYAL", The Argus (16 April 1855), 5

http://nla.gov.au/nla.news-article4806788 

The concert room of the embryo Theatre Royal was crowded on Saturday night. The orchestra at this establishment is very efficient, a fact made sufficiently apparent by the splendid manner in which two movements of Mozart's grand No. 1 Symphony were performed. Jullien's Indian Quadrille, arranged by Mr. Callen was much relished by the audience, to whom the class of music of which it is a specimen is more appreciable than the recondite instrumental works of the great composers . . .

MUSIC: Mozart's "Symphony no. 1" (numbering of Cianchettini's edition) = Symphony in E flat (K 543)

"CONCERT HALL", The Argus (23 April 1855), 6

http://nla.gov.au/nla.news-article4807117 

Herr Veit Rahm, the popular performer on the Zitter, has been engaged at this establishment. A Miss Fitzgerald made her debut on Saturday, and met with a favorable reception, although evidently suffering from extreme nervousness. Terms have been offered to M. Coulon, but it is doubtful whether he will accept them. Mrs. D'Alton and Miss Louisa Swannell are pursuing a most successful career, both ladies being nightly encored. Mr. Callen's new quadrille, "Le Jardin Botanique," is a sparkling composition, and has been arranged in a musician-like manner.

ASSOCIATIONS: Veit Rahm (zither); Miss Fitzgerald = Maria Wallace (vocalist); Mrs. D'Alton (vocalist); Louisa Swannell (vocalist)

"THEATRE ROYAL", The Argus (29 May 1855), 5

http://nla.gov.au/nla.news-article4808784 

The present is the last week of the Promenade Concerts at the Theatre Royal, the hall being afterwards required by the scene painters. On Saturday evening the usual crowded condition of the hall, on the last evening of the week, prevailed, and the efforts of the clever vocal and instrumental artistes attached to the establishment were as well received as ever. Miss King is decidedly the most talented juvenile vocalist we have ever heard, and is encored every evening in all her songs. Miss Octavia Hamilton, one of the most pleasing of Victorian, is also high in favor, and Miss Swannell, the Australian nightingale (a decided anachronism by the way), maintains her popularity. The orchestra is deservedly considered the finest in the Australian colonies, although to a nice ear there is considerable weakness in the filling in. For ourselves, - and we like hearing the violoncello as well as seeing it, and although, the ophicleide performer is evidently a thorough master of his instrument, - we would suggest a slight moderation of energy in the fortissimo passages. The substitution of kettle drums in parts where the composer has written for them, for the grosse caisse, is on improvement in the right direction, and shows that Mr. Callen, the conductor of the orchestra, knows how to alter defect when he has the means. The building of the theatre (proper) is proceeding with great rapidity . . .

ASSOCIATIONS: Juliana King (vocalist)

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

http://nla.gov.au/nla.news-article4809208 

COME! COME! COME! On Friday Evening, 8th June. GRAND MONSTER PROMENADE CONCERT. Theatre Royal, Bourke-street.
For this night only, the unrivalled Orchestra will be assisted by the Splendid Band of the 12th Regiment.
For the Benefit of Mr. Callen, Conductor . . . Last appearance of the Splendid Military Band of the 12th Regiment at these Concerts.

"THE BALL IN AID OF THE PATRIOTIC FUND FUND", The Age (13 July 1855), 5

http://nla.gov.au/nla.news-article154895002 

The grand ball given by the Victoria Volunteer Rifle Corps in aid of the Patriotic Fund was attended by the most numerous and fashionable assembly that we have ever seen gathered together upon any previous occasion. About 2000 persons were present. Carriages containing visitors continued to arrive at the doors in unbroken succession till nearly eleven o'clock. By this time the scene within the Exhibition Building was truly imposing . . . Of the music provided on this occasion we must speak in terms of the highest commendation. It was very good - indeed, how could it be otherwise, when the bunds of the 12th and 40th Regiments were both present, besides that of the Volunteer Rifle Corps. The last named consisted of nine wind instruments, mostly brass; the different parts were excellently well balanced and beautifully mellowed in tone. Herr Wackeldine conducted very skilfully. Our old friends, Messrs. McCalla [sic] and Johnson, wielded the baton for their respective orchestras, with that uniform spirit and good judgment which imp obtained for them universal approval. Besides being a first-rate military band the gentlemen forming the corps musicale of the Volunteers displayed their versatile ability by taking in band instruments of another kind, thereby forming a most excellent stringed orchestra. The bands all played by turns . . .

ASSOCIATIONS: Conrad Wackeldine (musician); Melbourne Volunteer Rifle Corps Band (volunteer military)

[Advertisement], The Argus (15 August 1855), 8

http://nla.gov.au/nla.news-article4815235 

CRITERION HALL, Saturday, the 18th, Messrs. Barre and Callen will open that handsome and favorite Concert Hall with nightly unrivalled Promenade Concerts, a la Paganini.
Leader and Conductor, M. Callen, with his popular admired Band. Mrs. Creed Royal is engaged.

ASSOCIATIONS: Anthony Barre (vocalist, manager); Mary Royal (vocalist); Criterion Hall (Melbourne venue)

[Advertisement], The Age (24 October 1855), 7

http://nla.gov.au/nla.news-article154865847 

CRITERION HALL.- Gentlemen's Evening Club, - C. Wedel begs to inform his friends,
that the extensive alterations and improvements in the Hall are now complete, and that a Society . . .
to be called the "Criterion Club," will be immediately formed, the meetings to be held nightly.
The Musical arrangements will be under the able direction of Mr. Callen . . .
A Ball will be given monthly to the Subscribers without extra charge . . .

ASSOCIATIONS: Charles Wedel (proprietor)

Hobart, TAS (January 1856 to 20 April 1858):

"ACCIDENT" and "GRAND FANCY BAZAAR", The Tasmanian Daily News (14 January 1856), 4

http://nla.gov.au/nla.news-article202387421 

On Saturday morning, as the son of Mr. Callen, the band-master of the 12th regiment, was walking on the Franklin Wharf, his foot slipped through a hole in the planking. He immediately fell, and his leg was so tightly jammed between the planks that one of them had to be removed before he could extricate himself. Fortunately, with the exception of a few bruises, he escaped uninjured.

To-morrow and following day a grand Bazaar, for the sale of useful and ornamental articles, will be held in St. Peter's Hall, Collins street, the proceeds of which will he appropriated in aid of the funds for liquidating the expense of the Hall. By the permission of Colonel Percival, the band of the 12th Regiment will attend, and play several choice selections of music. The following is the programme.-
Overture - Ferdinand Cortez - -Spontini Polka - Grazien - Kuhner
Grand selection from Il Trovatore - Verdi
Quadrille - Les Fetes des Lilas - Lamotte
Cavatini - Una voce poca fa, Cornet Obligato - Rossini
Waltz - Imortellen - Gung'l
Quadrille - England - D'Albert
Polk - Zerlina - Ettling.
Finale - God Save the Queen.
Director of the Band - Mr. Callen.

"ROYAL SOCIETY'S GARDENS", The Tasmanian Daily News (17 January 1856), 3

http://nla.gov.au/nla.news-article202385551 

The Band of the 12th Regiment will perform (weather permitting) at the Gardens of the Royal Society this afternoon. The following is the programme:
Overture - Il Tancredi - Rossini. .
Grand selection - La Traviata - Verdi.
Waltz - Reussen Lieder - Gung'l.
Morceaux - Cornet Obligato - Suppi. [Suppe]
Quadrille - Friedrich Wilhelms - Bilse.
Polka - Louis d'Or - Schroeder.
Finale - God Save the Queen.
Conductor - Mr. Callen.

"THE BACKUS MINSTRELS", The Tasmanian Daily News (23 January 1856), 3

http://nla.gov.au/nla.news-article202385654 

Last night these able caterers for the public amusement entertained a very full house until a late hour. The powerful bund of H. M. 12th Regiment added to the attractions of the evening's performances, which were given under the patronage of the officers of that corps . . . The band of the 12th performed several pieces with excellent effect, under the able direction of Mr. Callen. Una voce poco fa, in particular, was given with great vigor, and in admirable taste. The hand, as it mustered last night, was "too strong for the place," but it contains the elements of an excellent Chamber Band, and a judicious selection for concert rooms and our small theatre, would prove a valuable acquisition to the musical resources of Hobart Town . . .

ASSOCIATIONS: Backus Minstrels (troupe); Royal Victoria Theatre (Hobart venue)

[Advertisement], The Hobart Town Advertiser (26 January 1856), 1

http://nla.gov.au/nla.news-article264638657 

MR. CALLEN, PROFESSOR OF MUSIC, Director of the Band H. M. 12th Regt.,
BEGS to announce that he is prepared to receive a limited number of Pupils for instruction on the Pianoforte, Violin, and Guitar, and in Harmony and Composition.
Address 83, Davey-street. Jan. 24.

"ROYAL VICTORIA THEATRE", The Courier (30 January 1856), 3

http://nla.gov.au/nla.news-article2497963 

MISS CATHERINE HAYES GAVE her Third Grand Concert at the Theatre on Tuesday evening, and, by permission of Colonel Percival, the splendid band of the 12th Regiment was in attendance, and opened the programme with Adams' overture, "Le Roi d' Yvelot." In justice to the Band we are bound to state that, under the able conductorship of Mr. Callen, the musical director, who performed that duty à la Jullien, their efforts made such a profound impression as to warrant the belief that they will become exceedingly popular. The Band also performed a grand selection from the Il Trovatore of Verdi in splendid style, and a pleasing morceaux (cornet obligato) elicited well deserved applause . . .

ASSOCIATIONS: Catherine Hayes (vocalist)

"Shipping Intelligence . . . IMPORTS", Colonial Times (23 June 1856), 2

http://nla.gov.au/nla.news-article8785815 

. . . Per Cornubia, from London . . . 1 piano, Callen . . .

"MISKA HAUSER", The Courier (2 December 1856), 2

http://nla.gov.au/nla.news-article2506989 

The second concert of this celebrated violinist, aided by Mr. Buddee, came off at Mr. Elliston's New Assembly Rooms last night . . . The fine band of the 12th, conducted by Mr. Callen, contributed to the delight of the audience by playing some very choice and scientific overtures . . .

ASSOCIATIONS: Miska Hauser (violinist); Julius Buddee (pianist); William Gore Elliston (venue proprietor, musical amateur)

"SATURDAY NIGHT CONCERTS", The Courier (6 March 1857), 2

http://nla.gov.au/nla.news-article2458252 

In the hope of facilitating our conversion into a musical people, we have taken every opportunity of directing attention to the various modes in which that great object could be achieved, and it is with the most cordial satisfaction we notice that a judiciously conceived experiment will be made to-morrow evening towards that end. We refer to the first of the series of Cheap Concerts for the Working Classes at the Theatre Royal, in this city. We not only desire to extend our most unqualified support to the project, as a means of bringing the mystery of music within the penetration of the masses, of teaching the people to learn in how small a compass true enjoyment lies, of rendering "our men better mechanics, and our mechanics better men," but of ultimately inducing the co-operation and support of the higher walks of Tasmanian society, and to lead them to cease mistaking the patronage of art for the love of art itself. We have also the hope that the encouragement will be adequate to promote the extension of the principle to every pleasant little corner in the island. Scarce an hamlet in the colony where the establishment of such institutions could fail to be attended with the greatest moral results . . . It is, however, satisfactory to know that, through the kind consideration of Colonel Perceval, C.B., and the Officers of the 12th Regiment, the splendid military band will be present, and will play some of the most popular selections of the day. We cannot, like the inhabitants of Liverpool, hear the strains of Jenny Lind reverberate in our St. George's Hall, but we may derive a rational evening's amusement from the efforts of Miss Stewart and the rest of the vocal corps. Assisted by the accomplished pianist, Mr. Buddee, the concerts should go off well, and we trust that the genuine philanthropists of this community will keep the ball rolling now it is at their feet. The entire performance will be under the conductorship of Mr. Callen, the musical instructor of the Regiment.

ASSOCIATIONS: Eliza Stewart (Ellis) (vocalist)

[Advertisement], The Courier (26 March 1857), 3

http://nla.gov.au/nla.news-article2458558 

MR. CALLEN, PROFESSOR OF MUSIC, TEACHER OF THE PIANOFORTE, 137, MACQUARIE STREET.
FINISHING Lessons to advanced Pupils in the art of playing with expression, and proper articulation.
Rhythm, and every branch of musical education essential to form an accomplished pianiste, carefully explained.
To those pupils who wish it, a thorough knowledge of harmony and composition will be added, without any extra charge.

"MILITARY MUSIC", The Courier (29 October 1857), 3

http://nla.gov.au/nla.news-article2506436 

Colonel Perceval, C.B., and the officers of the 1st Battalion of the 12th Regiment, have directed their splendid Band to commence playing on the Green in the Military Barracks, on Thursday next (to-morrow), at three o'clock in the afternoon, and every succeeding Thursday (weather permitting) during the summer . . .

"HOBART TOWN", Launceston Examiner (23 January 1858), 2

http://nla.gov.au/nla.news-article38990429 

Mr. J. Dixon was fined £5 and costs yesterday, at the police office, for having assaulted Mr. G. D. Callen, Bandmaster of the 12th Regiment.

"SHIPPING INTELLIGENCE. PORT OF HOBART TOWN . . . ENTERED OUT", The Tasmanian Daily News (27 April 1858), 2

http://nla.gov.au/nla.news-article199792080 

April 20. - Tasmania, at., 285 tons, Clinch, for Sydney. Passengers, cabin . . . Mr., Mrs., and Miss Callen . . .

Sydney, NSW, (from 30 April 1858):

[Mews], The Sydney Morning Herald (7 September 1858), 4

http://nla.gov.au/nla.news-article13018731 

THE BAND of the 12th Regiment will perform a selection of music in the Botanic Gardens, this day, at half past 3 o'clock, weather permitting.
Programme : - Overture, the Slave, Bishop; selection, Masaniello, Auber; waltz, Dublin, Labitzki; selection, Mendelssohn, arranged by Callen; quadrille, Horton, Jullien; polka, Lady Alice, Callen ; God Save the Queen; director, Mr. Callen.

"MUSIC . . . THE UNIVERSITY MUSIC FESTIVAL", The Sydney Morning Herald (27 June 1859), 5

http://nla.gov.au/nla.news-article13026880 

On Saturday afternoon the first full rehearsal of the instrumentalists, who have been engaged to form the orchestra at the approaching festival, and their volunteer associates, comprising the chorus took place at the School room, Castlereagh street, under the direction of Mr. Lavenu . . . By the kind permission of Colonel Percival, and the officers of the 12th Foot, a part of the fine band of that regiment has been incorporated with the orchestra, and will supply the necessary wood and brass instruments. Our readers are aware that there are several excellent artists in this regimental band, among whom we may particularly mention the leader, Band Sergeant Prince, and the performer on the tenor or baritone saxhorn. We have long held the opinion that the combination of this military band is inferior to none that have preceded them in Sydney for years past. There is an equal balance in the instruments and precision of time observed that is extremely creditable to the Bandmaster, Mr. Callen. But, although very telling and effective when alone and under Mr. Callen's admirable direction, we have observed that when in combination with stringed instruments they scarcely retain that accuracy of time they have at other times. This, doubtless arises from the difficulty of keeping stringed instruments to the exact pitch to which military instruments are regulated, and also from the want of regular practice in combination with stringed instruments, but, from this afternoon's experience, we may safely predict that, after a few rehearsals with the professional musicians now engaged, the orchestra will be found as smooth and effective as can be desired. The especial grace which her Majesty the Queen has bestowed on the Sydney University renders very appropriate the liberality of the officers of the 12th Regiment in granting the music of the band, for they thus have an opportunity of proving their loyalty to their Royal Mistress and gratifying their fellow citizens . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor); Henry Prince (band sergeant); Sydney University Musica Festival (event)

"THE LATE MR. LAVENU", Empire (3 August 1859), 4

http://nla.gov.au/nla.news-article60404203 

. . . The band of the 12th Regiment will play a selection of music in the Botanic Gardens this afternoon. Instead of one of the pieces already inserted in the programme, Mr. Callen, with much sympathetic feeling, has determined on substituting the "Miserere" or dirge from "Il Trovatore," as a mark of respect to the memory of the late lamented H. L. Lavenu, Esq. [sic]

"DEATHS", The Sydney Morning Herald (21 April 1860), 1

http://nla.gov.au/nla.news-article13039561

On the 20th instant, at Paddington, after a long and painful illness, Charlotte Amelia, the beloved and deeply lamented wife of Douglas Callen, Esq., B.M. 12th Regiment.

[News], Empire (25 June 1860), 4

http://nla.gov.au/nla.news-article60412247 

We understand that Mr. Douglas Callen, the very efficient band-master of the 12th regiment, has kindly acceded to the request of the committee of the Philharmonic Society, to assist them by conducting their next concert, the first or the ensuing season. This is very creditable, and accords with the spirit of harmony: the Society is in a position to require all valuable aid, and this is the more acceptable if willingly rendered . . .

ASSOCIATIONS: Sydney Philharmonic Society (association)

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (1 August 1860), 8

http://nla.gov.au/nla.news-article13043776 

The apprehensions which have for some time past been entertained, lest this old-established and popular Society would fall through for want of adequate support, and no longer afford these agreeable opportunities of social intercourse, were happily dissipated by the success that attended the first concert of the season, which came off last night at the Sydney Exchange - no previous concert of the Society ever having been attended by a larger, more respectable, or more interested audience. The overflowing attendance last night may be looked upon as an indication of an awakened public interest in the performances of the Philharmonic Society, and of a determination to offer the acting members the encouragement which they deserve and look for; and coupling with this the success which has marked the first concert, a brilliant season may be predicted. The committee of the Society have been very assiduous in their labours, and have fortunately secured for the post of conductor the services of Mr. Douglass Callen, the accomplished bandmaster of the XIIth Regiment. In addition to this some gentlemen, professional and amateur, of acknowledged musical talent, lent their aid last night, amongst the former being Mr. Paling, who, with a view to strengthen the orchestra, consented to lead the violins . . . The concert commenced with God Save the Queen, which familiar air was relieved from triteness by having been newly arranged by Mr. Callen. This was followed by the overture to the opera of Lara, by Mr. Callen, an easy and pleasing piece of music, and better adapted for performance by the orchestra of the Society than works of greater instrumental difficulty . . . A duet, from "Guillaume Tell," between Mr. Callen on the violin and a gentleman amateur on the pianoforte, was excellently performed . . . A sestetto, arranged for wind instruments, followed, and was much admired for its rich harmonics and fine modulations. An overture from Balfe's "Siege of Rochelle," which was finely played, commenced the second part . . . A solo on the violin was neatly played by Mr. Callen, being accompanied on the pianoforte by Mr. Packer . . . His Excellency Sir W. Denison and several members of his family were present at the concert.

ASSOCIATIONS: William Henry Paling (violin); Charles Sandys Packer (piano); Exchange Hall (Sydney venue)

"MUSICAL . . . PHILHARMONIC SOCIETY", Empire (6 August 1860), 8

http://nla.gov.au/nla.news-article60414438

We cannot avoid expressing the hope that the engagement of Mr. Douglas Callen, as conductor of the Philharmonic Society was not merely a temporary one for the first concert of the Season (as formerly intimated), but that this gentleman may still continue to act as the musical director. The very superior manner in which the orchestra performed the two overtures ("Lara" a composition of Mr. Callen's, and Balfe's "Siege of Rochelle") on Monday evening must have been evident to the most superficial and non-musical observer. Mr. Callen is a thorough musician; himself a master of many instruments, he has, in his position of regimental bandmaster, for years been accustomed to orchestral arrangements, and to the uses to which each instrument can be applied; to the lessening or increasing the strength of an orchestra, and to the effects capable of being produced. The constant use of the bâton, and the military command he has acquired in wielding it, lend him peculiar facilities in imparting instruction to an amateur orchestra, in inspiring them with confidence in their own powers, and in accustoming them to feel the same confidence in his command; whilst his talents as a composer cause his aid to be particularly desirable in the arrangements for the limited orchestral power of the society, such a man was wanted, and we believe that numbers will flock to his standard . . .

"PHILHARMONIC SOCIETY", Empire (19 September 1860), 4

http://nla.gov.au/nla.news-article60498469 

The hall of the Sydney Exchange was inconveniently crowded last night on the occasion of the Philharmonic Society's second concert for the season . . . The programme of the evening was pleasingly short, and contained sufficient classical music to give a zest to the remaining selections. The society may well be congratulated on having a musician of Mr. Callen's capabilities at the head of the orchestra, accustomed to command, as well as versed in the use to which every instrument can he applied. He is especially the conductor to keep the members at their work, and the result is a degree of crispness and precision in the orchestral execution that has long been wanting in the efforts of this society. The members play with evident gusto, and as much to their own satisfaction as that of the audience. The presence of a well-known musician as first violin adds very greatly to the strength and power of the orchestra. A little increase of strength in the first violin and tenor, and also one or two wind instruments (wood), would not be amiss, the brass having slightly the preponderance. The overture to Auber's "Crown Diamonds" with which the concert commenced, was remarkably well done, but we should have preferred the concluding movement taken rather more quickly. But it was in the classical symphony of Mozart (No. 1), of which the Allegro, Trio, Minuet, and Finale were played, that the society achieved a regular triumph, - indeed, the last movement left nothing to be desired; it was a pleasure to follow the music, and to hear it so well attacked. By such performances the society may be enabled to take a stand for the carrying out of those principles which should be their ultima thule: as for the kind of music, - the public must be taught to like it, to acquire a taste for it. There may, then, be a hope that the public of Sydney will be enabled to distinguish between good and bad music. The selection from "Victorine" was light and pleasing, and afforded a desert after the previous feast . . . Mr. Callen played a solo (his own composition) on a new patent cornet, with harmonic attachment, intended to produce the effect of echo or distance, without the necessity of inserting the hand within the instrument. We do not think, however, that it is fitted for a room, - it has not an agreeable effect; it is perhaps better suited for the open air . . . This agreeable entertainment concluded with a triumphal march, by Bosquet.

"PHILHARMONIC CONCERT. TO THE EDITOR OF THE . . .", Empire (20 September 1860), 5

http://nla.gov.au/nla.news-article60498540 

Sir, - In your notice of Tuesday evening's concert, you remark that the overture to the "Crown Diamonds" seemed to be somewhat too slow in its movement. I beg, however, to assure you that it was played in strict accordance with the composer's directions, viz., 108 (crotchet), Maelzel's metronome, which is the regulation time for military quick marches; and, as the performers on the wind instruments (who have so much, to do), were chiefly selected from the band of the 12th Regiment, (which is under my direction,) they would naturally play a time when indicated to them, which they are in the daily practice of, without the least deviation, even if left to themselves.
I remain. Sir. yours &c.,
DOUGLAS CALLEN.
Conductor of Philharmonic Society.

NOTE: However, in the first edition, the final section of the overture (from page 55) is marked very much faster, crotchet = 144; and see also reply of 27 September below

"MUSIC AND DRAMA", Sydney Mail (22 September 1860), 4

http://nla.gov.au/nla.news-article166692620 

The Philharmonic Society gave the second concert of the season on Tuesday evening last, at the Sydney Exchange . . . The programme opened with the overture to the "Crown Diamonds," which was very well performed by the members of the Society. A sinfonia of Mozart was also well performed. The second part opened with selections from Mellon's new opera of "Victorine," arranged by Mr. Callen. This gentleman also played a solo on the new patent harmonic cornet . . . It was generally remarked that the instrumentation at this concert was a decided improvement on that of its predecessors. Mr. Cordner acted as accompanyist.

ASSOCIATIONS: William John Cordner (pianoforte accompanist)

"SUMMARY OF NEWS FOR ENGLAND . . . ART, SCIENCE, AND LITERATURE", Empire (21 September 1860), 2

http://nla.gov.au/nla.news-article60498633 

. . . The Philharmonic appears to flourish vigorously under the new conductorship. Mr. Callen is in every way fitted for his position, and improvement is very manifest . . .

"MUSICAL NOTES", Empire (27 September 1860), 4

http://nla.gov.au/nla.news-article60499020 

The Philharmonic Society gave their second concert for the season on Tuesday evening, September 17. The Hall was overcrowded. The greatest improvement was exhibited by the members in the execution of the orchestral music. Three movements of Mozart's No. 1 Symphony were given in excellent manner; every instrument told its tale, and the light and shade were very marked. A novelty was a solo by Mr. Callen, the conductor, on a new patent cornet, with harmonic attachment; but it is by no means effective in producing echoes in a large concert-room, sounding something like a penny tin trumpet . . . In reference to the letter published by Mr. D. Callen, the conductor, respecting the execution of the overture to the "Crown Diamonds," he should recollect that the question as to time is a mere matter of taste, and we only mentioned our preference for a quicker time in the concluding movement . . . We do not know whether the original copy of the "Crown Diamonds" is marked according to Maelzel's metronome, but we do know that the concluding movement was played more quickly under the baton of M. Auber himself . . .

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (14 November 1860), 5

http://nla.gov.au/nla.news-article13048693 

The third concert of the season of the Philharmonic Society came off at the Exchange, yesterday evening. The attendance was, as usual at these reunions, very numerous. The programme of the concert was marked by the introduction of several novelties to the musical public of Sydney. The opening performance was an overture [Lestocq], never, we believe, heard before here, from the brilliant French composer, Auber, which was strikingly characteristic of the peculiarities of his style; the piece was played with great spirit, and was very creditable to the new conductor of the Society, Mr. D. Callen . . . A sextette of wind instruments followed; the subject which had been arranged by Mr. Callen expressly for this concert was the well-known "Witches' Glee," by King, the harmonies being amplified and adapted for six wind instruments; the music was performed with happy expression, and told well on the audience . . . The first part of the concert concluded with a portion of Haydn's symphony No. 9, very creditably performed by the orchestra. An operatic selection from Verdi's Rigoletto, an opera not yet produced in this city, opened the second part; the music was arranged by Mr. Callen . . .

"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; and the selection of vocal and instrumental music shows skill in the arrangement, and an evident desire for advancement by advocating a taste for the excellent in art. 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 . . .

"SYDNEY PHILARMONIC SOCIETY", Freeman's Journal (18 May 1861), 8

http://nla.gov.au/nla.news-article115761239 

The fifth concert of the above society took place in the great hall of the Exchange, on the evening of Tuesday last. Both the hall and the reading-room were completely filled by a most brilliant and fashionable audience . . . Mozart's symphony No. 2 (in D) the Adagio and Allegro of which were given at the conclusion of the first, and Andante and Allegro at the commencement of the second part of the concert was very effectively played by the orchestra. The concert was brought to a close by a selection from Rigoletto, for the orchestra, by Mr. Callen, which was also very well played, and contrary to the usual custom of last pieces, retained the audience in their seats until its conclusion. Altogether the fifth concert was one of the most successful of the season, thanks to the indefatigable zeal of the conductor, Mr. Callen, the effect of whose careful drilling on the band it apparent at each succeeding performance. Mr. Cordner accompanied the vocal portion of the concert with his accustomed skill.

MUSIC: Symphony no. 2 = Prague symphony (K 504, Mozart)

"PALMAM QUI MERUIT, &c.", Empire (16 May 1861), 4

http://nla.gov.au/nla.news-article60494355 

We are anxious to correct a statement which appeared in our issue of Monday last, in connection with the report of the "Presentation of colours to the Paddington and Surry Hills Volunteers." At the conclusion of the proceedings, the volunteers are slated to have marched down the South Head-Road, their band playing a march by Mr. Stanley, founded on the popular air "My Johnnie is a Shoemaker." We have since learnt that the march in question is composed by Mr. Douglas Callen, the talented Bandmaster of the 12th regiment, to whose active superintendence and unwearied exertions, combined with the perseverance in practice of the members themselves, the rapid proficiency of the Volunteer Band is attributable.

ASSOCIATIONS: William Stanley (composer); Sydney Volunteer Rifles Band (volunteer force)

"ORPHEONIST SOCIETY", The Sydney Morning Herald (5 November 1861), 4

http://nla.gov.au/nla.news-article13056833 

A special general meeting of the associates of the society was held on Thursday evening, at Mr. Cane's School-room, for the purpose of electing a music director. The chair was taken by Mr. Durham, who briefly explained the objects of the meeting. The secretary mentioned the names of the candidates for the post of music director to the society, and stated that a meeting of the managers had previously been held, at which the merits of the candidates had been discussed, and the meeting had passed a resolution to recommend to the associates the election of Mr. Callen, as music director, and he (the secretary) now moved "That the recommendation of the managers be carried into effect." Mr. Cane seconded the motion. An amendment was proposed by Mr. Whiting and seconded by Mr. A. Hall, "That the selection of a music director be deferred for one week." A discussion ensued in which Messrs. Cane, Kinloch, Whiting, Woolford, and Montagu took part, the managers urging that delay would be only detrimental to the interests of the society, and still leave them in the same or a worse position with regard to the choice of candidates. The meeting divided on the amendment, which was negatived, and the original motion for the appointment of Mr. Callen was carried by a large majority. The secretary reported that the managers had engaged Mr. Sussmilch as elementary teacher and choral leader. The announcement was received with loud applause . . .

ASSOCIATIONS: Christian Bernhard Sussmilch (choral leader); Orpheonist Society (association)

"THE VOLUNTEERS OF NEW SOUTH WALES", The Newcastle Chronicle and Hunter River District News [NSW] (8 February 1862), 4

http://nla.gov.au/nla.news-article111168094 

. . . There is a band belonging to the Volunteers generally, with Mr. Callen, the bandmaster of the 12th Regiment, acting in the same capacity for it. He is paid £100 for his services, the band sergeant receiving £50. The band men get 2s. 6d. an hour. The Artillery have also their band, but none of the companies have their own bands as in Victoria. There is some talk of forming one at Balmain, and No. 3 Company of the Sydney battalion musters a drum and fife . . .

"CONCERT OF THE SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (1 July 1862), 2

http://nla.gov.au/nla.news-article28622365 

The sixth concert of the Sydney Philharmonic Society took place, yesterday evening, at the Freemasons' Hall, in York-street, in the presence of a very large and fashionable audience. The programme was divided into two parts; the first portion being devoted to sacred music - the pieces therein presented containing selections from the works of Spohr, Cherubini, Glover, Nathan, Mendelssohn, and Haydn. The introductory symphony, arranged as a duet by Novello, was very ably performed, "O Salutaris Hostia" being subsequently rendered by Madame Sara Flower . . . Glover's solo - "Consider the lilies how they grow" (with a septet accompaniment by a veteran composer of European reputation now resident in the colony) next followed, and was done every justice to, both by the vocalist and the accompanyist. Madame Flora Harris then sang the aria, "Hear ye, Israel;" - the first part of the concert concluding with the chorus of "the Heavens are telling," by Haydn. The second part was chiefly distinguished by the brilliant instrumentation of M. Boulanger, who delighted every one by his fantasie on airs from La Sonnambula, [and] his accompaniment to Madame Sara Flower in "the Orphan's Lament" . . . A duo on the cornet and saxe-horn, by Mr. Callen and a well-known gentleman amateur, was also greatly applauded. The finale consisted of Locke's music for Macbeth with full orchestral accompaniments, as arranged by Mr. Callen, who acted as conductor. Mr. W. J. Cordner was organist and accompanist. The concert did not terminate until a late hour.

ASSOCIATIONS: Veteran composer = Isaac Nathan (arranger); Flora Harris (vocalist); Edward Boulanger (pianist); Sara Flower (vocalist); well-known gentleman amateur probably = Frederick Evans Sloper (saxhorn); Freemason's Hall (Sydney venue)

"BOTANIC GARDENS", Empire (18 July 1862), 5

http://nla.gov.au/nla.news-article60478384 

The band of the New South Wales Volunteer Rifles will perform to-day (weather permitting), at half-past three o'clock p.m. Programme: - Overture, Graf Essex, Mercadante; selection, Lucia di Lammermoor, Donizetti; valse, Bianca, Laurent; quadrille, Robin Hood, D'Albert; galop, Rifle, Farmer; God save the Queen. Director, Mr. D. Callen.

"NEW SOUTH WALES VOLUNTEER RIFLE BAND", Empire (19 July 1862), 5

http://nla.gov.au/nla.news-article60478455 

The first public performance by this band took place, in the Botanical Gardens, yesterday afternoon, a large at fashionable assemblage of ladies and gentlemen being present. The progress these amateurs have made during the past months was, indeed, astonishing; the selection from Lucia di Lammermoor, and the Robin Hood quadrilles being played in a really masterly style. It is in contemplation to continue these performances monthly, an arrangement that will not fail to give satisfaction to the public generally. Great credit is due Mr. D. Callen, for the care and attention he has taken with this band, and we cannot but congratulate him on the result.

[Advertisement], The Sydney Morning Herald (28 July 1862), 1

http://nla.gov.au/nla.news-article13231892 

MR. DOUGLAS CALLEN, Professor of Music, will be happy to receive PUPILS for instruction on the pianoforte, guitar, cornet-a-piston, singing, harmony, and composition.
No. 1, Charlotte-place, Woollahra, Upper Paddington; or Mr. L. MOSS, music seller, Hunter-street.

ASSOCIATIONS: Lewis Moss (musicseller)

"RELIGIOUS CERMONIES IN THE JEWISH SYNAGOGUE, YORK-STREET", Empire (15 September 1862), 5

http://nla.gov.au/nla.news-article60480981 

THE arrival of a new minister from England, the Rev. Mr. Davis, to preside over the Hebrew community in this city, and the completion of extensive repairs and alterations which have been in operation to the York-street Synagogue, for some time past, gave occasion for a double ceremonial of a very impressing character, - the installation of the minister, and the re-consecration of the building, which took place yesterday . . . a platform and gallery had been expressly erected for the musical performances, the extra chorus under the lead of Mr. Callen, being composed of numerous amateurs, and professional ladies and gentlemen of the Jewish persuasion, amongst whom Miss Julia Simmons, and the daughter of a well known musician of Sydney were prominent. Mr. L. Moss officiated at the harmonium, and commenced the service with a short symphony from Costa's oratorio of "Eli" . . .

ASSOCIATIONS: Julia Simmons (vocalist); Synagogue music (general)

"METROPOLITAN DISTRICT COURT. WEDNESDAY. CALLEN V. HAMILTON", Empire (20 November 1862), 8

http://nla.gov.au/nla.news-article60519215 

This was an action for the recovery of three months' salary under a written agreement that three months' notice should be given on either side before terminating the engagement; whereas the plaintiff was summarily dismissed without a minute's notice. It appeared in evidence that Mr. Callen joined the 12th regiment in the month of May, 1848, at Weedon, in Northamptonshire, and accompanied the regiment to the colony where he held the same appointment until the sudden termination of his services a few months since. Mr. Callen had acted as conductor to the Philharmonic Society concerts. On the 30th of June last the society advertised their usual performance, and Mr. Callen was announced as the conductor. On that day General Pratt, who was on a visit to Sydney from Melbourne, was to dine at the mess. Mr. Callen, desirous of speaking to Colonel Hamilton with reference to his engagement at the Philharmonic concert, asked Captain Leeson to obtain for him an interview. When Colonel Hamilton came out to mount his horse in private clothes, Captain Leeson said that Mr. Callen desired to speak to him (Colonel Hamilton), whereupon he said, I won't listen to him, and turning round to Mr. Callen exclaimed "Come to the mess, sir." Mr. Callen, however, determined to keep his engagement with the Philharmonic Society and the public, attended the concert at the Freemasons' Hall, and Colonel Hamilton at once dismissed him, and declined to give him any notice. Subsequently he offered Mr. Callen a month's salary. This was refused, and the case was brought before the District Court. It occupied the whole day. Mr. Robert Johnson was employed by the defendant, and Mr. Wyndeyer by the plaintiff. The jury will give their verdict this morning.

"COMPLIMENTARY CONCERT AND PRESENTATION OF A SILVER BATON TO MR. D. CALLEN", Sydney Mail (21 February 1863), 5

http://nla.gov.au/nla.news-article166657540 

The complimentary concert and presentation of a silver baton, tendered as a mark of esteem by the members of the Volunteer Rifle Band to their director, Mr. D. Callen, took place on Monday evening last at the Masonic Hall in York-Street, under the immediate patronage of the officers and members of the Volunteer force. A large number of the members of the Orpheonist and Philharmonic Societies joined together on the occasion to do honour to Mr. Callen, - the combined societies, accompanied by the Volunteer Rifle Band, forming an orchestra of upwards of 120 performers . . . The first part commenced with the overture of "Il Tancrede," by Rossini, which was performed by the Volunteer Band in a superb style - such as at once set at rest any friendly misgivings which might have been entertained as to the eclat of the whole affair. The performance was hailed with a burst of applause, shewing a frank and cordial appreciation of the talent and assiduity of those of our fellow citizens who have been trained in this excellent band under Mr. Douglas Callen. The band is now something of which Sydney may well be proud . . . Between the parts the presentation of the silver baton to Mr. D. Callen by the members of the Volunteer Band took place . . . The second part of the concert then began with selections from Trovatore by the Volunteer Band, which were warmly applauded . . . Madame Flora Harris's favourite song "Come into the Garden, Maud," came next, and then the grand old Hallelujah Chorus of Handel was sung by the Philharmonic and Orpheonist Societies to the organ with a telling effect. The concert concluded, at a very late hour, by the performance of "The Spring Feast Galop," with the cuckoo note, and other bird imitations. The baton presented to Mr. Callen is a very handsome one of silver, designed and executed by Mr. Julius Hogarth, of Hunter-street, combining simplicity and elegance in a remarkable degree. At the upper end is an exquisitely modelled figure of Apollo, seated, his famous lyre resting on his knee. Immediately below, and in alto relievo around the staff, is a figure of an aboriginal black, with an emu and a kangaroo on either side. On a scroll, which runs spirally round the centre of the baton, is the following inscription: - "Presented by the members of the Band of the Sydney Battalion Volunteer Rifles to their director, Mr. D. Callen, as a mark of esteem. 10th February, 1863." An acorn forms the lower end of the baton - the whole being an appropriate and beautiful present to one whose services in promoting a scientific taste for music amongst us are well deserving of the honour with which they have been distinguished.

"THE BAND IN THE GARDENS", Empire (1 June 1863), 4

http://nla.gov.au/nla.news-article63132447 

A decided triumph has been achieved in transposing the band-day at the Botanic Gardens to Saturday. The performances of the Band of the Sydney Battalion of Volunteer Rifles, under Mr. Callen's able direction, were so satisfactory that it was really a pity for their al fresco concerts to be fixed on a day when comparatively but few could participate in the pleasure to be derived from listening to the music. The appearance of the Gardens on the last two Saturdays has been exhilirating in the extreme. Crowds of our chief citizens have frequented this truly beautiful promenade; all classes have now an opportunity of enjoying the recreation. And to the philanthropic mind there can be no more pleasing scene than to witness the groups of happy children, or the satisfaction of the staid artizan, whose love of music is displayed in the eagerness with which he follows the strains. And amidst the concourse not the shadow of a symptom of unruliness or disorder is to be discovered, nor are the bevies of ladies, in their variegated and tasteful toilettes, in any way incommoded . . . The afternoon's programme, consisted of a bright and sparkling Parade March, composed by Mr. Callen. This was seconded by a selection from the opera of "Lucia," introducing most of the favourite airs; and so well were these executed, that, at a regular concert, for which a charge is demanded, the applause which followed would have been deemed an encore, and a repetition would have been unavoidable. Kuhner's "St. Johannis Nacht" waltz is very lively. A cornet solo, by a young member of the band, drew forth loud plaudits, well deserved by the excellence of the performance. A set of quadrilles by Strauss, the new Manly Beach Galop by Callen, and the National Anthem concluded the very agreeable selection for last Saturday afternoon.

"MARRIAGES", The Sydney Morning Herald (3 November 1864), 1

http://nla.gov.au/nla.news-article30934858

On the 19th October, by special license, by the Rev. W. Spencer, M.A., at St. Matthias' Church, Paddington, G. D. Callen, Esq., to Mary Ann, second daughter of the late Henry Allen Graves.

"MUSIC AND THE DRAMA", Empire (19 February 1866), 2

http://nla.gov.au/nla.news-article63243696

The Opheonist Society did not keep up its usual prestige for excellence at their last concert of the season, several of the pieces being sung out of time and tune, especially a part song for male voices, which would have been better omitted altogether. The selection contained portions of Offenbach's "Orfee des Enfer," and "La Sonnambula," followed by a variety of songs and instrumental pieces, making rather a long programme . . . Mr. D. Callen, executed a violin solo with much skill and effect for which he deserved and obtained great applause. The orchestra was considerably strengthened for this concert, and aided much its success . . .

See also "SYDNEY", The Musical Times [London, England] (1 May 1866), 298

http://books.google.com.au/books?id=p1pDAAAAcAAJ&pg=PA298

"CIVIL SERVICE MUSICAL SOCIETY", Sydney Mail (26 June 1869), 5

http://nla.gov.au/nla.news-article166809694 

The Civil Service Musical Society on Wednesday repeated their concert, which they gave with so much eclat at the Masonic Hall a week or two ago . . . Mr. G. D. Callen was the conductor, and Mr. W. Stanley the accompanyist.

ASSOCIATIONS: William Stanley (pianoforte accompanist); Civil Service Musical Society (association)

"GOVERNMENT GAZETTE. VOLUNTEER FORCE", The Sydney Morning Herald (18 September 1872), 5

http://nla.gov.au/nla.news-article13263621 

Mr. G. D Callen, Bandmaster of the Volunteer Brigade Band, is appointed to an Honorary Lieutenancy in the above force.

"DEATHS", The Sydney Morning Herald (8 May 1879), 1

http://nla.gov.au/nla.news-article13434164

CALLEN. May 6, at his residence at 548, Bourke-street, Lieutenant George Douglas Callen, late bandmaster of her Majesty's 12th Regiment, and the highly esteemed director of the Headquarters Band, and the highly esteemed conductor of the Civil Service Musical Society.

"NEWS OF THE DAY", The Sydney Morning Herald (10 May 1879), 5

http://nla.gov.au/nla.news-article13434343 

The following is the order of musical service at St. Andrew's Cathedral for fourth Sunday after Easter, 11th May: - Magnificat, G. D. Callen in E flat; Nunc Dimittis, G. D. Callen in E flat; anthem, "Judge mo, O Lord," Mozart.

"The Late Lieutenant Callen", Evening News (12 May 1879), 3

http://nla.gov.au/nla.news-article107157799 

A special musical service was given at St. Andrew's Cathedral yesterday, in respect to the memory of the late Lieutenant G. D. Callen. The service commenced with Beethoven's Funeral March in A flat minor. An appropriate hymn in Mercer's collection, commencing with the words, "Happy soul thy days are ended, all thy mourning days below; go, by angel guards attended, to the right of Jesus, go!" was sung to the tune Gotha, written by H.R.H. Prince Consort. The service concluded with the playing of Handel's Dead March in Saul.

"NEWS OF THE DAY", The Sydney Morning Herald (13 May 1879), 4

http://nla.gov.au/nla.news-article13434521

At St. Andrew's Cathedral, on Sunday, a special musical service was given, in token of respect to the memory of the late Lieutenant G. D. Callen. The service commenced with Beethoven's Funeral March in A flat minor. The Magnificat and Nunc Dimittis in E flat, by Lieutenant Callen, followed . . .

"The Critic", Australian Town and Country Journal (17 May 1879), 41

http://nla.gov.au/nla.news-article70938274

Mr. Douglas Callen, an old resident, and one of our first musical professors, has answered "adsum" to a call to attend the majority. He was bandmaster of the 12th Regiment, conductor of the Philharmonic Society, Orpheonist Society, and the Permanent Force Band. He published many compositions of merit. Mr. Callen was highly esteemed in private life as an amiable and most intelligent gentleman.

[Advertisement], The Sydney Morning Herald (17 May 1879), 13

http://nla.gov.au/nla.news-article13434850

SATURDAY, 10th May, at 11 a.m. at the new Sale Rooms, Spring and O'Connell streets.
BY ORDER OF THE EXECUTORS OF THE LATE G. D. CALLEN, Esq.
POWERFUL-TONED HARMONIUM, by Alexandre (drawing-room model), 16 stops
SPLENDID FULL-GRAND ROSEWOOD PIANOFORTE, by Kirkman
FINE OLD CREMONA VIOLIN
AEOLIAN HARP, by Bate, London
SPANISH GUITAR
REVOLVER, in case
TO THE MUSICAL PROFESSION and PRIVATE GENTLEMEN . . .

"OBITUARY . . . LIEUTENANT CALLEN", The Sydney Morning Herald (22 May 1879), 7

http://nla.gov.au/nla.news-article13435251

Lieutenant Callen was the well-known and talented conductor of the Artillery Band and the Headquarters Band. It appears Mr. Callen had been for some time suffering from disease of the heart, but still was able to keep about until the 5th instant. Early on the following Tuesday morning, while sitting up in a chair, for his complaint would not allow him to lie down, he found himself near his end, and calling his family about him calmly wished them farewell, and then quietly expired.
The deceased gentleman was for many years connected with the army. He came out to Tasmania in 1854 [recte Melbourne], in the capacity of bandmaster to the 12th Regiment.
After some time he removed to Sydney, where he remained ever since, and where he became a great favourite with the music-loving portion of the public.
Deceased was buried with military honours, at Randwick.
The New South Wales Artillery furnished a firing party of one sergeant, one trumpeter, and forty rank and file under command of Lieutenant Airey. The remainder of the New South Wales Artillery staying at Headquarters, in charge of H. Le Patourel, also followed in procession, the whole being under command of Major Spalding. The officers present in addition to those mentioned were Colonel Richardson, Commandant, and his Staff - Major Christie, Major Baynes, Captain Compton - Colonel Roberts (Commander of the Artillery Forces of the colony), Major Murphy, Captain Murray, Captain Mackenzie, Staff-Surgeon Bedford, Captain Strong, Captain McCutcheon, Lieutenant Hill. Major Baynes superintended the funeral arrangements. The procession formed opposite deceased's home, in the following order: -
Firing party, bands, gun-carriage, Volunteer Force, officers according to seniority. In this order the cortege proceeded to the Randwick Cemetery, the New South Wales Artillery Band and the Headquarters Volunteer Band playing funeral marches. The funeral ceremony was most impressive, and at its close the firing party fired a funeral salute of three volleys, the trumpets sounding after each volley.

"HEAD-QUARTERS' BAND. TO THE EDITOR OF . . .", The Sydney Morning Herald (1 October 1879), 6

http://nla.gov.au/nla.news-article28388807 

Sir, - A paragraph in the Herald, giving an account of the parade at Victoria Barracks, on Saturday, the 20th ultimo, contains the following, viz., "The Head-quarters Band played in most erratic time," &c. It also animadverted on the performance of "The British Grenadiers," and an "Irish Jig," as the marching past times. I was present at the parade, and as an old bandsman was curious enough to time the hand, according to military rule, as to cadence, &c., and found that the beating time was 114 paces per minute, only two short of the number laid in the regulations for H. M. service. As regards "The British Grenadiers" and "Irish Jig" combination, all I can say is, that it is the arrangement of the late Lieutenant G. D. Callen, whose ability as a composer or arranger I am sure no professional or practical man in this city would think of calling into question.
- AN OLD BANDSMAN.

Musical works (extant in red bold; non-extant in black bold):

Britain and Ireland:

The election quadrilles and waltz (1830)

The election quadrilles, and election waltz, as performed by the author's band, composed & arranged for the piano forte, and most respectfully inscribed by permission to A. R. Dottin & J. Barlow Hoy esq'rs., the worthy representatives of Southampton in parliament, by G. Douglas Callen (London: Goulding & D'Almaine, [1830])

ONSITE PDF (FREELY DOWNLOADABLE)

Copy from a private collection; kindly brought to my attention by Katrina Faulds (November 2023); as also shown in the cover illustration, the quadrilles celebrate the "chairing" of the successful candidates, as reported at,
"SOUTHAMPTON, Saturday, Aug. 7", Hampshire Chronicle (9 August 1830), 4

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000231/18300809/022/0004 (PAYWALL)

Our Election has terminated favour Abel Rous Dottin and J. Barlow Hoy, the other candidate C. F Williams, Esq. having resigned . . . The ceremonial of chairing took place one o'clock, when the Members elect ascended two richly decorated cars, mounted on horizontal spars, which were carried side by side the shoulders of number of men, and flanked members of their respective Committees. A band preceded them, playing "See, the conquering Hero comes," and a profusion of flags and richly decorated banners with inscriptions floated both in front and rear . . .

"ELECTION QUADRILLE AND WALTZES", Hampshire Advertiser (20 November 1830), 3

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000493/18301120/009/0003 (PAYWALL)

Southampton, G. D. Callen. - Mr. Callen has published a very pretty set of Quadrilles under the above title, in compliment to the town representatives. They are arranged for the piano-forte. The accompanying print of the chairing of the members is worth the price of the whole.

Rosina polka (1849)

Rosina polka for the pianoforte / G. D. Callen (London, 1849)

Copies at the British Library and National Library of Scotland

My polka (c. 1853)

My polka. pfte. / G. D. Callen (London, [c. 1853])

Copy at the National Library of Scotland

The bridal quadrilles ([c. 1853)

The bridal quadrilles for the pfte. / G. D. Callen (London, n.d.)

Copy at the National Library of Scotland

Downshire polka (1853)

The Downshire polka / G. D. Callen [military band parts] (1874)

Copy at the British Library

[News], Limerick Chronicle [Ireland] (11 May 1853), 1

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000899/18530511/008/0001 (PAYWALL)

"The Downshire Polka" composed by Mr. G. D. Callen, band master of the 12th Regt. now in Belfast, is inscribed to the Marchioness of Downshire, and consists of two distinct movements, the one styled "Lady Downshire," and the other "Lady Alice."

[Advertisement], The Argus [Melbourne, VIC] (7 January 1854) [i.e. 9 months before Callen arrived in Melbourne], 8

http://nla.gov.au/nla.news-article4801619 

CONTINUATION of Tattersall's Concert - Signor Maffei begs to inform the public that the above concerts will be transferred to the saloon of the
Mechanics' Institution, on Saturday, Monday, and Thursday evenings following.
The most powerful and favorite band comprises - Monsieur Fleury, Mr. Johnson . . .
Polka - Downshire - Callen . . .

ASSOCIATIONS: Joseph Maffei (musician); Achille Fleury (violinist); Henry Johnson (musician), master of the Band of the 40th Regiment (military); Mechanics' Institution (Melbourne venue)

St. Helena quadrille (? composed c. 1846; published c1850)

[Advertisement], Home News for India, China and the Colonies (24 August 1850), 29

https://www.britishnewspaperarchive.co.uk/viewer/bl/0002946/18500824/078/0029 (PAYWALL)

NEW MILITARY MUSIC . . . The St. Helena Quadrilles, composed by G. D. Callen, Band-master of the 12th Regt. 12s. . . .
London: - R. COCKS and CO., NEW BURLINGTON-STREET, publishers to her most Gracious Majesty . . .

Honeymoon waltzes (c. 1853)

[Advertisement], Belfast news-letter [Ireland] (7 October 1853), 3

JUST PUBLISHED. POLKA. "LES JARDINS BOTANIQUES,"
Composed and dedicated to the Subscribers to the Royal Botanic Gardens, Belfast, by G. D. CALLEN, B. M. 12th Regiment.
To be had at Mr. HART'S Music Warehouse, Castle Place. Also, by the same Author,
THE DOWNSHIRE POLKA.
ROSINA Do.
MY POLKA.
ST. HELENA QUADRILLE.
BRIDAL Do.
HONEYMOON WALTZES.

[Advertisement], The musical world [London, England] (15 August 1857), 528

https://books.google.com.au/books?id=qYcPAAAAYAAJ&pg=PA528

MUSIC FOR MILITARY BAND. BOOSÉ'S MILITARY JOURNAL . . . FIRST SERIES, commenced in 1845 . . .
SEVENTH SERIES . . . 4. Waltzes, The Honeymoon - Callen . . .
FOURTEENTH SERIES . . . 6. Downshire Polka - Callen . . .

The St. Helena waltzes, first set, "The briars" (composed c. 1846; published c. 1854 or later)

The St. Helena waltzes, first set, entitled The briarscomposed & arranged for the piano forte, and respectfully inscribed to Miss Solomon, (of St. Helena,) by G. D. Callen, late band master of the St. Helena's Reg't (London: Published at the Universal Circulating Musical Library by Gustav Scheurmann & Co., [? c. 1854 or later])

Cover; 9 pages music (3-11); Introduction, waltzes 1-5, and coda; copy in papers of Trevor Hearl, at England, Oxford, Bodleian library, MSS. Atlan. S. 23 box 34; my thanks to Katrina Faulds (November 2023) for bringing this to my attention

See "CONCERT AT ST. HELENA", Brighton Gazette [Sussex, England] (28 May 1846), 2

https://www.britishnewspaperarchive.co.uk/viewer/bl/0000938/18460528/043/0002 (PAYWALL)

We have recently been made aware of the success of Mr. Callen, (who for several seasons presided in the orchestra of the Southampton Theatre, and who went out to St. Helena as band-master to the regiment there), in getting up a public concert in the island, for the first time, probably, since it has been in our possession, except a little affair some years ago. It took place at the Castle, the use of which was kindly lent for the purpose by the Governor . . . The performers were - Miss Soloman, daughter of the Consul for Hamburg (pianoforte), Captain Woollard (tenor and flute), Lieutenant Macbean (violoncello), Lieutenant Stack (vocal), Lieutenant Cowell (ditto), and Ensign Hayes (violin). The room was crowded with officers and their ladies, and the first people of the island . . . - Hants. Advertiser.

Australia (all extant and select non-extant):

Overture Le bal de fees (1855)

"CONCERT HALL", The Argus [Melbourne, VIC] (8 January 1855), 5

http://nla.gov.au/nla.news-article4802779 

The magnificent concert room of the new theatre was filled to its fullest capacity on Saturday evening, with a most respectable and well-conducted audience. The band of the 12th regiment, conducted by Mr. Cullen [sic], performed several overtures and pieces of operatic and dance music in their usual effective manner. Mr. Collin's [sic] clever overture "Le bal des Fees" was splendidly given, and called forth rapturous applause . . .

"THE GARRISON", Colonial Times [Hobart, TAS] (18 December 1856), 2

http://nla.gov.au/nla.news-article8789335 

The Band of the 12th Regt. will play this day, Dec. 18, the following Programme: - Overture - "Les Bal des Fees" - Callen . . .

Souvenir militaire quadrille (1855)

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

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

THE QUEEN'S BIRTHDAY. THEATRE-ROYAL, BOURKE STREET.
Grand Promenade Concert Every Night . . . Conductor, Mr. Callen.
For This Night only (by the kind permission of Major Kempt and the Officers,)
The Splendid Band of the 12th Regiment, under the Direction of Mr. Callen,
will attend and perform in the course of the Evening's Programme the following Pieces: . . .
Quadrille, "Souvenir Militaire," - Callen . . .

Overture Le Theatre Royal (1855)

Waltz The challenge, or L'Affaire d'honneur (1855)

"THEATRE ROYAL", The Argus (8 June 1855), 5

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

. . . This evening the performances are for the benefit of Mr. Callen, the efficient conductor of the orchestra, who, on this occasion, will be assisted by the fine band of the 12th Regiment. In addition to a well-selected programme of operatic and dance music, the band will play a new overture, entitled "Le Theatre Royal," (it is difficult to understand why it could not have been called The Theatre Royal,) composed by Mr. Callen, and the military band a selection from "Guillaume Tell." Miss Hamilton will also repeat "the Queen's Letter" . . .

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

http://nla.gov.au/nla.news-article4809302 

THEATRE ROYAL, Bourke-street. Monster Promenade! Concert, Double Band.
To-night, last but one (Friday) . . . For the Benefit of Mr. Callen, Conductor.
In addition to the well-known unrivalled Band of the establishment, the splendid Military Band of the 12th Regt., (by kind permission of Major Kempt and the officers) will attend and assist at the performance.
Miss O. Hamilton will repeat the new Song of the QUEEN'S LETTER, (With the characteristic accompaniments composed by Mr. Callen)
which was encored with such vehement applause on Wednesday evening . . .
New Overture, composed expressly for the occasion by Mr. Callen. entitled "Le Theatre Royale" . . .
PROGRAMME. PART I . . . New Overture, "Le Theatre Royale," Orchestra - Callen . . .
Waltz, "The Challenge, or L'Affaire d'honneur," Military Band - Callen . . .

Monkey polka (1855)

"THE BAND", The Tasmanian Daily News (14 February 1856), 2

http://nla.gov.au/nla.news-article202386346 

The following is the musical programme for this day at the Botanical Gardens . . . Polka - "Monkey," - Callen . . .

Overture to Lara (by 1856)

"VICTORIA THEATRE. RICHELIEU", The Tasmanian Daily News [Hobart Town, TAS] (24 June 1856), 2

http://nla.gov.au/nla.news-article202385237 

Last night by command of His Excellency the Governor, who honoured the Theatre by his attendance, Bulwer's play of Richelieu was performed. The audience was the largest which had assembled within the Victoria since Mr. Brooke's engagement . . . When the Governor and his lady entered their box, the centre one of the dress circle, the curtain rose and the band of the 12th Regiment, which was arranged upon the stage, played "God save the Queen," and "Partant pour la Syrie," the audience, of course, standing the while with becoming loyalty and respect. "Lara," an overture by Mr. Callon, the able conductor of the band, was next played in a very masterly manner, and a short time after wards the piece of the evening was commenced . . .

"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (1 August 1860), 8

http://nla.gov.au/nla.news-article13043776 

. . . The concert commenced with God Save the Queen, which familiar air was relieved from triteness by having been newly arranged by Mr. Callen. This was followed by the overture to the opera of Lara, by Mr. Callen, an easy and pleasing piece of music, and better adapted for performance by the orchestra of the Society than works of greater instrumental difficulty . . .

Minden quadrille (1856)

"MILITARY MUSIC", The Courier [Hobart, TAS] (29 October 1856), 3

http://nla.gov.au/nla.news-article2506436 

Colonel Perceval, C.B., and the officers of the 1st Battalion of the 12th Regiment, have directed their splendid Band to commence playing on the Green in the Military Barracks, on Thursday next (to-morrow), at three o'clock in the afternoon, and every succeeding Thursday (weather permitting) during the summer . . .
The following pieces are included in the programme for tomorrow: . . . Quadrille, "Minden" - Callen . . .

Souvenir d'amour waltz (1856)

"THE BAND", The Hobarton Mercury [TAS] (19 November 1856), 2

http://nla.gov.au/nla.news-article3339850 

The Band of the 12th Regt, will play on To-morrow (Thursday,) programme: . . . Waltz, 'Souvenir d'Amour,' - Callen . . .

Moss rose waltz (1857)

"THE BAND OF THE 12TH REGIMENT . . .", The Courier [Hobart, TAS] (13 January 1857), 3

http://nla.gov.au/nla.news-article2457398 

. . . will give their usual open air concert, on the Barrack Green, at three o'clock on Thursday afternoon. The following is the selection: . . . Waltz, "Moss Rose," - Callen . . .

Marianne polka (1857)

"LOCAL", The Hobart Town Advertiser (2 April 1857), 3

http://nla.gov.au/nla.news-article264643719 

The Band of the 12th Regiment will play in the Barrack Square, this day at 3 o'clock, the following: . . . Polka - Marianne - Callen . . .

Molly Asthore valse (1858)

Molly Asthore valse (founded on M. Lavenu's favorite ballad) composed expressly for her majesty's Birthday Ball held at Government House, Sydney, May 25th, 1858 and most respectfully dedicated to Lady Denison by G. D. Callen (Sydney: J. R. Clarke, [1858])

https://trove.nla.gov.au/work/11355596 

https://nla.gov.au/nla.obj-181844090 (DIGITISED)

https://archive.org/details/Myers51212/page/n81/mode/2up (DIGITISED)

"THE BOTANIC GARDENS", The Sydney Morning Herald (1 June 1858), 5

http://nla.gov.au/nla.news-article13016187 

The following is the programme of pieces to be played in the gardens this day, by the band of the 12th Regiment, under the leadership of Mr. Callen . . . Waltz, Molly Asthore, Callen (composed expressly for the Birthday Ball, and dedicated to Lady Denison) . . .

ASSOCIATION: The queen's birthday (24 May), the ball on 25 May was the band's first public engagement in Sydney

[Advertisement], The Sydney Morning Herald (21 August 1858), 1

http://nla.gov.au/nla.news-article13010974 

. . . Shortly will appear, "The Molly Asthore Waltzes," by Mr. Callen, bandmaster, 12th Regiment. J. R. CLARKE, 205, George-street.

[Advertisement], The Sydney Morning Herald (8 September 1858), 5

http://nla.gov.au/nla.news-article13016998 

JUST PUBLISHED, price 3s; post free, 3s. 2d - The Molly Asthore Waltzes by M. Callen, bandmaster 12th Regiment, dedicated, with permission to Lady Denison, by the composer . . . J. R. CLARKE, publisher, 205, George-street.

[Advertisement], The Sydney Morning Herald (17 March 1859), 1

http://nla.gov.au/nla.news-article13014287 

THIRD EDITION. - Molly Asthore Waltzes, as played by the Band of the 12th Regiment, 3s., post free, 3s. 3d. J. R. CLARKE, book and music seller.

[Advertisement], The Sydney Morning Herald (2 July 1859), 7

http://nla.gov.au/nla.news-article13027084 

NOW READY. THE MOLLY ASTHORE WALTZ fourth edition, by G. D. Callen, Esq., Bandmaster 12th Regiment. Price 2s.; post free, 3s. 2d . . . J. R. CLARKE, 356, George-street.

Un souvenir de bal quadrille (1858)

[Advertisement], The Sydney Morning Herald (9 November 1858), 5

http://nla.gov.au/nla.news-article13014167 

THE BAND of the 12th Regiment, will perform a selection of music this day, November 9th, at half-past 3 o'clock, in the Botanic Gardens. Programme: . . . Quadrille, "Un Souvenir de Bal," Callen . . .

Illawarra polka mazurka (1859)

Illawarra polka mazurka for the pianoforte, composed and most respectfully dedicated to Miss Denison by Douglas Callen (Sydney: published by H. Marsh, Musical Cadeau Office; Melbourne: Joseph Wilkie, [1859])

https://trove.nla.gov.au/work/214376244 

https://nla.gov.au/nla.obj-661673136 (DIGITISED)

"THE MUSICAL CADEAU", The Sydney Morning Herald (9 July 1859), 7

http://nla.gov.au/nla.news-article13027466 

We have received the July number of this popular musical publication. It contains two original compositions - "The Illawarra Polka Mazurka, by Mr. D. Callen, dedicated to Miss Denison - very pretty, and likely to become a favourite in the ball room, and a Scottish ballad entitled "The Drunkard's Raggit Wean," the music composed by Mr. Stephen H. Marsh . . . The Cadeau is very neatly printed, and the titles are got up with remarkably good taste. Mr. H. Marsh is the publisher, Degotardi, of George street, the printer.

Fantasia in Molly Asthore (1859)

[Advertisement], The Sydney Morning Herald (11 July 1859), 2

http://nla.gov.au/nla.news-article13027515 

NEW MUSIC, by DOUGLAS CALLEN, Esq, Band-master 12th Regiment.
In course of publication.
Fantasia in "Molly Asthore" (Mr. Lavenu's admired ballad), for pianoforte.
The Rosalind Schottische, for pianoforte.
Il Trovatore Galop, for pianoforte.
And now ready, the fourth edition of The Molly Asthore Waltzes. 3s ; post, free, 3s. 2d.
J. R. CLARKE, Music Publisher, 356, George-street.

Il trovatore galop (1859)

Il trovatore galop by Douglas Callen, bandmaster, 12th Regiment (Sydney: J. R. Clarke, [1859]); "F. Cunninghame, printer"

https://trove.nla.gov.au/work/17973325 

https://collection.sl.nsw.gov.au/record/74VKDGzyAwWd (DIGITISED)

[Advertisement], The Sydney Morning Herald (25 July 1859), 1

http://nla.gov.au/nla.news-article13028239 

NEW MUSIC. - "II Trovatore" Galop, by Douglas Callen, Esq., Bandmaster 12th Regiment, price 2s. 6d. "Molly Asthore" Waltz, by the same author, fourth edition, 3s. And in course of Publication, The Rosalind Schottische, price 2s. 6d., also by Mr. Callen. Either post free, 2d. each extra. J. R. CLARKE, music publisher, 356, George-street.

Rosalind schottische (1859)

Rosalind schottische, dedicated to Miss Aldis by the composer Douglas Callen, bandmaster, 12th Regiment") (Sydney: J. R. Clarke, [1859]); "F. Cunninghame, printer"

https://trove.nla.gov.au/work/19582435 

https://nla.gov.au/nla.obj-165871187 (DIGITISED)

[Advertisement], The Sydney Morning Herald (30 July 1859), 10

http://nla.gov.au/nla.news-article13028547

NEW DANCE MUSIC. The Rosalind Schottishe, by Douglas Callen, Esq., and dedicated to Miss Aldis, 2s. 6d. (published this day) . . . J. R. CLARKE, Music-seller and Publisher, 356, George-street, Sydney.

"NEW MUSIC", The Sydney Morning Herald (8 August 1859), 5

http://nla.gov.au/nla.news-article13028948 

An addition to our musical repertoire has been made by Mr. D. Callen, in a very graceful composition, bearing the title of the "Rosalind Schottishe." The introduction is short and effective, and the schottishe itself very pleasing, particularly the trio. That it will become a favourite there is no doubt, from the absence of those difficulties of extreme ornamentation which render some dance compositions "studies" rather for the proficient than pieces for the ordinary musician. It is appropriately dedicated to Miss Aldis. Mr. J. R. Clarke is the publisher.

Festival waltzes (1859)

[Advertisement], The Sydney Morning Herald (27 August 1859), 7

http://nla.gov.au/nla.news-article13029969 

POPULAR DANCE MUSIC (published at 356, George-street), as played at the recent annual Birthday Ball at Government House; Il Trovatore Galop, 2s. 6d.; Molly Asthore Waltz, 3s.; Rosalind Schottische, 2s. 6d.; and Festival Waltzes - all by Douglas Callen, Esq.. bandmaster, 12th Regiment . . . J. R. CLARKE, musicseller. * The Festival Waltzes are in course of publication.

"BOTANIC GARDENS", Empire (8 October 1861), 5

http://nla.gov.au/nla.news-article60483033 

The Band of the 12th Regiment will perform the following selection of music (weather permitting), at half-past three p.m. Conductor, G. D. Callen. Programme: . . . waltz, Festival, Callen . . .

ASSOCIATIONS: Sydney University Musical Festival (event)

The Sydney herald polka (composed by 1860; published 1863)

The Sydney herald polka, Douglas Callen (Sydney: J. R. Clarke, [1863])

https://trove.nla.gov.au/work/32541594 

https://nla.gov.au/nla.obj-169272549 (DIGITISED)

"BOTANIC GARDENS", The Sydney Morning Herald (19 June 1860), 5

http://nla.gov.au/nla.news-article13042061 

The Band of the 12th Regiment will perform the following selection of music, at three o'clock (weather permitting).
Conductor, Mr. D. Callen. Programme: . . . polka, Sydney Herald, Callen . . .

[Advertisement], The Sydney Morning Herald (6 June 1863), 12

http://nla.gov.au/nla.news-article13079619 

THIS DAY IS PUBLISHED, the SYDNEY MORNING HERALD POLKA, for Pianoforte, illustrated with a novel and characteristic illustrative title page, 2s 6d. post free 2s 8d. J. R. CLARKE, 356, George-street.

"'THE SYDNEY MORNING HERALD' POLKA", The Sydney Morning Herald (6 June 1863), 6

http://nla.gov.au/nla.news-article13079612 

A new polka, composed by Mr. Douglas Callen, has just been published for Mr. J. R. Clarke, of the Music Repository, 365, George-street. It has been lithographed by Mr. J. Degotardi of the Sydney Printing Office, Robin Hood-lane, and is finished in such, a very superior style as to make it, in every respect, well deserving of a place in any drawing room. The music, is 2 4 time, is lively, agreeable, and easy, and well adapted for dancing, the keynote being F sharp, changing to natural in the second part, and resolving into E sharp in the finale. The polka extends over four pages, and is enclosed in a handsome cover, of a novel design, representing the first page of a number of the Sydney Morning Herald, so beautifully executed that, small as it is, any portion of the whole page can, without difficulty, be read. This curious specimen of art is produced by photolithography, by which the object photographed is transferred from the glass on which it is taken to the lithographer's stone, and then after undergoing chemical manipulation rendering certain portions resistant to printer's ink, is lithographed in the usual manner to any extent.

Manly Beach galop (1863)

Manly Beach galop, as performed by the 1st Battalion Sydney Volunteer Rifles, composed by Douglas Callen (Sydney: Wilkie, Elvy & Co., [1863]); "Lithographed by J. Degotardi"

https://trove.nla.gov.au/work/33787463 

https://nla.gov.au/nla.obj-169481045 (DIGITISED)

"BOTANIC GARDENS", The Sydney Morning Herald (28 April 1863), 4

http://nla.gov.au/nla.news-article13077747 

The band of the first battalion Volunteer Rifles will perform at four o'clock, weather permitting.
Programme: . . . galop, "Manly Beach," Callen (by desire) . . .

"VOCAL AND INSTRUMENTAL MUSIC", The Sydney Morning Herald (18 June 1863), 5

http://nla.gov.au/nla.news-article13080293 

. . . has recently been published by Messrs. Wilkie and Elvy, and also the Manly Beach Galop - with an excellent vignette, drawn on stone by E. Thomas - composed by Douglas Callen, and produced, as performed under the conductorship of the composer, by the band of the First Battalion Svdney Volunteer Rifles.

Commemoration galop (1863)

"BOTANIC GARDENS", Empire (6 June 1863), 4

http://nla.gov.au/nla.news-article63132742 

The band of the 1st Battalion Volunteer Rifles will perform at half-past 3 o'clock (weather permitting.) Programme: . . .
galop, "Commemoration," composed in honor of the discovery of Australia by Captain Cook, Callen . . .

Cricketers' galop (1864)

"BOTANIC GARDENS", The Sydney Morning Herald (16 April 1864), 4

http://nla.gov.au/nla.news-article13092442 

The band of the Sydney Battalion Volunteer Rifles will perform at 4 p.m. (weather permitting). Programme: - . . . galop, "Cricketers," Callen.

The ocean prince galop (1868)

The ocean prince galop by D. Callen, performed by the Volunteer Brigade Band at the Citizen's Ball to his royal highness the duke of Edinburgh in the grand pavilion erected for the occasion in Hyde Park (Sydney and Melbourne: Paling & Co., [1868]); "J. A. Engel, Litho."

https://trove.nla.gov.au/work/214376248/version/235379431 

https://nla.gov.au/nla.obj-661721493 (DIGITISED)

[Advertisement], The Sydney Morning Herald (1 February 1868), 3

http://nla.gov.au/nla.news-article28609085 

. . . OCEAN PRINCE GALOP, the gem of the day, to be played at the Pavilion, composed by D. Callen, now ready; price, 3s. W. H. PALING . . . 83, Wynyard-square.

"THE OCEAN PRINCE GALOP", The Sydney Morning Herald (8 February 1868), 4

http://nla.gov.au/nla.news-article13155630 

Mr. Douglas Callen, the talented bandmaster of the Volunteer Brigade Band, composed a galop for the occasion of the Citizens Ball, which took place, on Wednesday evening last, with so much eclat. The galop is very good, as our musical friends will no doubt soon learn for themselves. It contains as a finale, an arrangement of "Hearts of Oak," "Rule Britannia," and "God save the Queen;" the galop is well introduced, and is dashing and distinctive in character - in fact, about one of the best out. We notice it is published by Paling and Co., of Wynyard-square. On the evening of the ball a rearrangement of the programme was found necessary, as it had been fixed for one band only, the band of the Galatea, however, took part in the musical portion of the evenings delights, and performed a galop composed by His Royal Highness. Mr. Callen's composition was, therefore, performed as No. 12, instead of No. 4 as set down.

[Advertisement], The Sydney Morning Herald (20 February 1868), 1

http://nla.gov.au/nla.news-article13161155 

. . . The Ocean Prince Galop, 2nd edition, 3s. W. H. PALING . . .

Magnificat and Nunc dimittis in E flat (Evening service, 1877)

"ST. ANDREW'S CATHEDRAL", The Sydney Morning Herald (9 June 1877), 5

http://nla.gov.au/nla.news-article13386150 

Order of musical service for 10th June: Magnificat, G. D. Callan, in E flat; Nunc Dimittis, G. D. Callan, in E flat, anthem "O risen Lord, O Christ;" hymn, "Ascended" (Joseph Barnby).

Other sources:

Librettos for works performed by the Civil Service Musical Society, Sydney; State Library of New South Wales

https://trove.nla.gov.au/work/153992009

CALLOW, Miss (Miss CALLOW)

Soprano vocalist(s)

Born ? TAS, c. 1832; ? eldest daughter of Henry CALLOW (d. 1854) and Ann WRIGHT (m. Launceston, 5 January 1831)
Active Hobart Town, VDL (TAS), 1848; Melbourne, VIC, 1851

https://trove.nla.gov.au/search?l-publictag=Miss+Callow+vocalist+c1848-51 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALLOW-Miss (shareable link to this entry)

Documentation:

"THE CHORAL SOCIETY", Colonial Times (25 August 1848), 3

http://nla.gov.au/nla.news-article8763370 

His Excellency Sir W. T. Denison, Lady Denison, Bishop Nixon, Mrs. Nixon, the Private Secretary, and Mrs. Stanley, honored this institution with their attendance on Tuesday evening last, at its Sixteenth Oratorio. The performance was such as to entitle the amateurs to every praise for their study and attention to a science so admirably adapted by its influences to elevate the general tone of society. A Miss Callow sang exceedingly well, in good time and tune, giving by this, her first vocal performance in public, every reason to think that further study will render her a great acquisition to our future musical entertainments. Mrs. Elliot presided at the organ with that quietude of ladylike demeanour and ability for which she is so well known, and estimated amongst us.

ASSOCIATIONS: William and Caroline Denison (governor and wife); Francis Nixon (bishop); Caroline Elliot (accompanist); Hobart Town Choral Society (association)

"CHORAL SOCIETY", Colonial Times (17 November 1848), 2

http://nla.gov.au/nla.news-article8763868

The seventeenth oratorio of this most useful Society took place on Tuesday evening last . . . The music selected for the performance was from Haydn's Oratorio, many parts of which were given with much taste and feeling, and with exquisite effect. The air "With verdure clad," by Miss Duly and "On mighty pens," by Miss Callow, elicited much and well deserved applause; and the solo parts in the terzetto, "Most beautiful appear," were exceedingly well given by Miss Duly and Messrs. Allen and Belbin. The air "Now Heaven in fullest glory," by Mr. Belbin, "In native worth," by Mr. Allen - and the singing of Miss Edwards in the trio "On thee each living soul awaits," afforded much pleasure. The duett and chorus, "By thee with bliss," was perhaps the gem of the evening, and gave unqualified satisfaction. As many of the passages in this oratorio are more than usually difficult, especially to young musicians, too much praise cannot be awarded to the performers . . .

ASSOCIATIONS: Agnes Duly (vocalist); Edward Allen (vocalist); William Belbin (vocalist)

"SHIPPING NEWS", The Courier (4 June 1851), 2

http://nla.gov.au/nla.news-article2960827 

31 - Sailed the steamer City of Melbourne, 189 tons, W. H. Saunders, for Melbourne. Passengers - G. W. Cole, Esq., Mr. and Mrs. Henry Callow, five Misses Callow, Mrs. Fitzgerald, James Harrison, and four in the steerage.

[Advertisement], The Argus (5 August 1851), 3

http://nla.gov.au/nla.news-article4779560 

THE VICTORIA TOTAL ABSTINENCE CONVENTION have the honour to announce, that their
GRAND CONCERT in aid of the Funds of the Convention, will be held at the
TEMPERANCE HALL, Russell Street, TUESDAY EVENING, 5th AUGUST, 1851.
Leader of the Band, MR. MEGSON, Conductor, MR. HENRY F. HEMY . . .
PROGRAMME. PART I . . . Duett, - "I know a Bank," Miss Callow and Mr. Hemy - Horn . . .
PART II . . . Song, - "The Child of the Regiment," Miss Callow - Donizetti . . .

ASSOCIATIONS: Henry Frederick Hemy (pianist, vocalist); Joseph Megson (violinist, leader)

CALON, Edward (Eduard Franciscus CALON; Edward Francis CALON; Edward Francis Dominic CALON; Edward CALON; E. F. CALON)

Musician, professor of music, choral conductor, organist, piano tuner

Born Ijzendijke, Netherlands, 29 November 1832; son of Johannes Franciscus CALON and Maria Theresia LAMBRECHTS
Married (1) Blondina Johanna SNOK, Vlissingen, Netherlands, 6 October 1858 (divorce applied for by 1869)
Arrived ? VIC, c. 1859
Married (2) Frances SMITH, VIC, 1866
Married (3) Margaret Maria HALES, St. James's cathedral, Melbourne, VIC, 8 February 1873
Naturalized Napier, NZ, 17 August 1887 (aged "54")
Died Auckland, NZ, 22 July 1905; aged "71/72"

https://trove.nla.gov.au/search?l-publictag=Edward+Francis+Calon+1832-1905 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALON-Edward (shareable link to this entry)

Documentation:

Birth of Eduard Franciscus Calon, IJzendijke, 29 October 1832; Wie Was Wie, Nederlands

https://www.wiewaswie.nl/nl/detail/27568846 (DIGITISED)

Born 29 October 1832 / Eduard Franciscus Calon / son of Johannes Franciscus Calon and Maria Theresia Lambrechts

"MUSIC", Ovens and Murray Advertiser [Beechworth, VIC] (4 July 1865), 2

http://nla.gov.au/nla.news-article112912519 

From a notice in another column we gather that Mr. E. F. D. Calon has settled in Beechworth for the purpose of giving lessons on the pianoforte and harmonium. This gentleman also, we perceive, attends to the proper tuning of pianos. We have no doubt he will meet with fair encouragement.

[Advertisement], Ovens and Murray Advertiser (6 July 1865), 4

http://nla.gov.au/nla.news-article112912553 

Mr. E. F. D. CALON, PROFESSOR OF MUSIC,
HAVING taken up his permanent residence in Beechworth, purposes giving Lessons on the Pianoforte and Harmonium.
Having been some time in Mr. Paling's Music Warehouse, E. P. D. C. is thoroughly acquainted with the mechanism of the pianoforte, and will undertake all kinds of repairs.
Tuning at moderate charges. Present address, Commercial Hotel, Beechworth.

ASSOCIATIONS: Richard John Paling (Melbourne musicseller)

[Advertisement], Ovens and Murray Advertiser (5 December 1865), 3

http://nla.gov.au/nla.news-article112907130 

GRAND CONCERT IN AID OF THE FUNDS OF THE WANGARATTA ATHENAEUM,
AT MICHELL'S ROYAL VICTORIA HOTEL, WANGARATTA, On WEDNESDAY, 6th DEC., 1865. PROGRAMME.
Overture, "Caliph dl Bagdad," Piano and violin - Messrs. Calon and Snelling.
Madrigal, "Since first I saw your face" - Amateur, Messrs. Lucas, Thomas and Braithwaite . . .
Trio, "I know a Bank," piano, violin and cornet - Messrs. Calon, Snelling and Braithiraite.
Song, "Home of my Childhood" - Mr. Calon . . .
Duet, "Guillaume Tell," piano and violin - Messrs. Calon and Snelling . . .
Solo, "Robert le Diable," piano - Mr. Calon . . .
Musical Director - Mr. Calon. M.C. - Mr. S. Norton. Stage Manager - Mr. J. A. Quin.

ASSOCIATIONS: James Morris Snelling (violin)

[Advertisement], Hamilton Spectator and Grange District Advertiser [VIC] (13 June 1866), 3

http://nla.gov.au/nla.news-article194466288 

MUSICAL INSTRUCTION. Pianoforte, Harmonium and Singing, BY E. F. D. CALON, PROFESSOR OF MUSIC.
MR. E. F. D. C. has the honour to inform the Ladies and Gentlemen of Hamilton and surrounding District that he will have much pleasure in receiving Pupils for the Piano and Harmonium, and he feels assured that the easy method he has adopted will secure him the same success that has hitherto attended him in Melbourne and Beechworth.
N.B. - Pianofortes tuned. Address - Mr. Calon, Lonsdale street, Hamilton . . .

[News], The Argus (16 March 1867), 5

http://nla.gov.au/nla.news-article5788618

At the Hamilton Police Court on Tuesday, Emille Calon, professor of music, was charged with attempting to poison himself with strychnine. It appeared that the police inspector having, heard that prisoner had procured some strychnine with which he threatened to poison himself, went to him, and requested him to give up the poison. Prisoner refused to do so, and at length took the packet from his pocket and attempted to convey it to his mouth. He was prevented from doing this, and in the course of what passed he threatened to cut his throat. He was called upon to enter into his recognizances in £50 to observe good behaviour for six months.

"POLICE COURT. ADELAIDE. Monday, September 9 . . . FALSE PRETENCE", The South Australian Advertiser (10 September 1867), 3

http://nla.gov.au/nla.news-article28800672

Edward Calon was charged with unlawfully collecting money by falsely pretending that he was collecting money for the relief of the widow and orphans of the late Francis Jury. His Worship thought from the evidence there was no false pretence, and discharged him accordingly.

[Advertisement], South Australian Register (13 November 1867), 1

http://nla.gov.au/nla.news-article39178472

A GRAND SOIREE and LECTURE in Aid of the
ENLARGEMENT and IMPROVEMENT of the CATHOLIC CHURCH, PORT ADELAIDE,
will be held at the TOWN HALL, PORT ADELAIDE, On WEDNESDAY, November 13, at 8 o'clock p.m. . . .
The Glee Class in Adelaide have been entrusted with the entire Musical portion of the programme, under the direction of Herr Edward Calon . . .

[Advertisement], The Argus [Melbourne, VIC] (22 April 1869), 3

http://nla.gov.au/nla.news-article5824634 

EDWARD FRANCISCUS CALON - Notice is hereby given to EDWARD FRANCISCUS CALON, of Yzendyk,
married at Vlissingen, on the 6th October, 1868, to BLONDINA JOHANNA SNOEK,
last heard of Wood's Point, 21st May, 1864,
that his wife has APPLIED for a DIVORCE, in accordance with Act 266 Civil Law, and that he is requested to appear on
Friday, the 27th February, 1870, at 10 o'clock a.m., before the Court of Goes, Province of Zealand, to be heard respecting the aforesaid petition.
J. W. PLOOS VAN AMSTEL, His Netherlands Majesty's Consul General.
Netherlands Consulate General, Melbourne, April 15, 1869.

[Advertisement], The Argus (26 May 1869), 8

http://nla.gov.au/nla.news-article5817363

MATINEE FANTASTIQUE. THIS AFTERNOON ONLY.
POLYTECHNIC HALL, Lessees, Messrs. Thomson and Eager . . .
Operatic Music, By Mr. JAMES N. SNELLING and M. EDOUARD CALON . . .

[Advertisement], Gippsland Times (25 September 1869), 1

http://nla.gov.au/nla.news-article61344032

MR. E. CALON, Organist of St. Paul's Church, Sale, and teacher of the pianoforte, harmonium, singing.
Pianos perfectly tuned and repaired, at moderate terms.
Address may he left at Mr. C. Loft's, Foster street, or at Rose Cottage, York street.

[News], Gippsland Times (6 September 1870), 2

http://nla.gov.au/nla.news-article61346142

The following schedule was registered in the Sheriff's Office, Sale, yesterday: Edward Calon, of Sale, professor of music.
Causes of insolvency: Falling off in practice, loss of pupils, and failure of promises of support in his profession.
Liabilities, L52 4s 1d; assets, L28 10s.

"MARRIED", The Argus (12 February 1873), 4

http://nla.gov.au/nla.news-article5848069

CALON - HALES. - On the 8th inst., at St. James's Cathedral, Melbourne, by the Rev. H. H. P. Handfield, Edward Franciscus Calon, to Margaret Maria, eldest daughter of Matthew Hales, Esq, of Robe. S.A. papers please copy.

"A YOUNG MUSICIAN", The Maitland Mercury and Hunter River General Advertiser (28 September 1876), 3

http://nla.gov.au/nla.news-article18811008

A musical genius in embryo, in the person of Master George Allpress, is (says the Daily Telegraph) at present on a visit in Melbourne. Master George is little more than ten years old, and is a violinist and pianist of extraordinary capacity. His father, Mr. Charles Allpress, of Kangaroo Flat, Sandhurst, noticing his very early bias for music, has had him for the last two or three years taught the violin, and he plays on a tiny one made for him, with wonderful skill for so small a child, his bowing and fingering are specially noticeable for their ease and finish, and as he is a fluent reader, his appearance, as he stood in Messrs. Allan and Co.'s rooms, before a select number of musical people, playing a brilliant fantasia on airs from "Lucrezia Borgia," was that of a little maestro. About twelve months since he commenced to display a predilection for the piano, and his father at once placed him under the tuition of Herr Edward Calon, a Sandhurst teacher of note, who has advanced him in his studies so rapidly that, although he did not know a note of bass when he commenced, he is now able to execute Beyer, Lange, Farmer, Oesten, and other authors' compositions. His execution of Beyer's "La Fille du Regiment," and West's fantasia on airs from "Guillaume Tell," was astonishing, the great feature being the extraordinary amount of expression introduced by him, and the judgment he evinces in his use of the pedals. Herr Calon is very proud of his child-pupil, and he may well be so. There is a great future in store for the little fellow, if he is treated wisely.

ASSOCIATIONS: George Rivers Allpress (musician, pupil)

[Advertisement], Camperdown Chronicle [VIC] (5 January 1878), 4

http://nla.gov.au/nla.news-article22471233

TO SUFFERERS FROM DEAFNESS. PROFESSOR P. STANICH, The Greatest Palestinian Aurist in the World,
MAY BE CONSULTED AT THE VICTORIA HOTEL, GEELONG . . .
To Professor Stanich.
Dear Sir, - Having been deaf in my right ear for some time, I was induced to place myself under your treatment, and I am glad indeed to assure you that after a few operations at your hands, my hearing has been completely restored, and my voice when I speak sounds more clearly than it has done for the last fifteen years, and I have very great pleasure in giving my testimony to your extraordinary skill is an aurist.
EDWARD. CALON, Professor of Music.
Witness - WILLIAM SYLVESTER PULFORD, Bendigo Independent, Sandhurst, November 9, 1877.

[Advertisement], Evening Post [Wellington, NZ] (3 January 1878), 3

https://paperspast.natlib.govt.nz/newspapers/EP18780103.2.22.6

MUSIC - Mons. EDOUARD FRANCOIS CALON, who has just arrived from Melbourne,
and who possesses the highest testimonials, begs to announce his intention to settle in Wellington as a Teacher of the Pianoforte and Singing.
For terms, apply at Mr. Bonnington's Music Warehouse.

ASSOCIATIONS: Charles Bonnington (musicseller)

[Advertisement], Evening Post (15 July 1878), 3

https://paperspast.natlib.govt.nz/newspapers/EP18780715.2.22.6

PROFESSOR STANICH, PALESTINIAN AURIST . . .
Professor Stanich: Dear Sir - Having seen your advertisement in the New Zealander that you are about to visit Wellington, I cannot let this opportunity escape to express my great obligation and gratitude for the able manner you operated on my hearing whilst in Victoria. Tt is now nearly twelve months ago, and I am happy to say my hearing is as good now as ever it was. For about fifteen years I suffered with deafness, caused through a heavy cold. If my statement can be of any use to you, you are welcome to it.
Wishing you every prosperity and kind regards, Yours truly respectfully,
Edward Calon, Professor of Music. [This gentleman left for Kaikoura yesterday, llth July.] . . .

"MONS. CALON AND THE HAMILTON BAND. TO THE EDITOR", Waikato Times [NZ] (5 July 1881), 3

https://paperspast.natlib.govt.nz/newspapers/WT18810705.2.28.1

Sir, - Kindly allow me a small space in your valuable paper to contradict a statement which appears in your Saturday's issue with regard to the Hamilton Band. In the paragraph it says, "Mons. Calon has desired to join the band." This is a malicious falsehood, intended to make me look small in the eye of the public at large. The real facts are these: - Mr. Gwynne, of the committee, and several members of the band have repeatedly desired me to come now and then, and give them a helping hand at their practice, as it would fill up a blank with the clarionet I used to play. They assured me they would be very glad to see me there whenever I chose to come. In answer to their desire I have given those gentlemen plainly to understand that should I give them a little assistance at practice, I have no other reason or motive whatever in assisting them, but from pure love of music and to see the band making rapid strides to perfection; and if they fully understood my meaning I would not mind occasionally to take the part allotted for the clarionet. -
I am, etc., E. CALON.
[Our reporter was quite correct in what he stated in the paragraph that Mons. Calon had expressed a desire to join the band. In fact, Mons. Calon went so far as to promise to attend the practice on Thursday night and take up the clarionet, which he did not do. Perhaps it might be as well to state that the members of the band are working harmoniously together, and it would be a great pity to have that good feeling disturbed by any such repetition as the late Whatawhatta squabble. The music from which the band are playing is written by their bandmaster, which is not so difficult to a young band as that purchased. - ED.]

EXTRACTS FROM VICTORIA POLICE GAZETTE [ . . . 6th April, 1887] . . . MISSING FRIENDS", New South Wales Police Gazette (13 April 1887), 120

http://nla.gov.au/nla.news-article251899739

Edward Francois Calon, born at Yzendyke, Netherlands, where he emigrated from twenty-eight years ago. He was known at Mr. Paling's music shop, Melbourne, a few years ago. He was then engaged in tuning pianos. He left for New Zealand, but returned four or five years ago. Inquiry is made at the instance of the Consul-General of the Netherlands. - 2nd April 1887.

[Advertisement], Auckland Star [NZ] (14 February 1900), 7

https://paperspast.natlib.govt.nz/newspapers/AS19000214.2.79.6

HERR E. CALON, PROFESSOR OF MUSIC, Begs to inform his pupils that he has resumed his Teaching for PIANO, SINGING, etc. Room for a few more Pupils. PONSONBY RD. (opposite Western Park)

"BENDIGO", The Argus (20 January 1902), 9

http://nla.gov.au/nla.news-article9624795

On Saturday night Edward Calon, professor of music, who was staying at Her Majesty's Hotel, at the corner of Queen and Mitchell streets, left the hotel about half-past 6 o'clock to go for a walk. On his return at 6 o'clock he missed his portmanteau, containing clothing, a set of pianoforte tuning tools, and a number of other articles, the whole valued at £8.

Bibliography and resources:

Edward Francis Calon, Find a grave

https://www.findagrave.com/memorial/234203247/edward-francis-calon 

CALVERT, C. A. (C. A. CALVERT)

Amateur musician, composer, banker

Active London, England, 1834

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CALVERT-C-A (shareable link to this entry)

Summary:

One C. A. Calvert is credited with composing the music of the first documented South Australian song, The emigrants farewell, to words by Robert Gouger, which was sung in London in 1834 before the colony itself was established. This manuscript copy was brought to South Australia by Frances Amelia Thomas (d. 1855; Mrs. John Michael Skipper) on the Africaine (on which Gouger was also a passenger), which departed London, 28 June 1836, and arrived at Kangaroo Island, on 4 November 1836.

A London financier, C. A. Calvert, who was engaged in various colonial speculations in the 1830s and 1850s, never visited Australia.

Documentation:

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

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

Although we leave thee, Fatherland,
And seek a foreign shore,
And the delightful scenes of youth,
Relinquish evermore;
Think not that we insensibly
Forsake thee, Fatherland,
Without a sigh, without a tear,
A sullen, heartless band.
No, no ; our hearts are warm, and high
They beat with love for thee;
Thy mountains, cities, vales, and streams,
Long shall remember'd be;
But chief thy children, Fatherland,
Shall live in memory dear;
For them we oft shall heave a sigh,
And drop affection's tear.
Yet blame us not, though, truants, we
Leave thy loved hearth to roam
Were solitude sublimely reigns,
And build therein a home:
The infant that we rear to thee
Shall, cradled by success,
Grow to a giant empire soon,
From a rude wilderness.

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

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

Musical works:

The emigrant's farewell, words by Robert Gouger esq., music by C. A. Calvert; manuscript, copied by Frances Amelia Thomas (Mrs. John Michael Skipper), in scrapbook of artworks, poems and music, 1835-40; National Library of Australia

https://trove.nla.gov.au/work/32195026 

https://nla.gov.au/nla.obj-151652432 (DIGITISED)

CALZADO, Florence (Florence CALZADO; also Florence CALZODA [sic]) = Florence BEVERLEY

CAMBRIDGE, Ada (Ada CAMBRIDGE)

Amateur musician, memoirist, novelist

Born St. Germans, Norfolk, England, 21 November 1844
Arrived Melbourne, VIC, August 1870
Died Melbourne, VIC, 19 July 1926

http://nla.gov.au/nla.party-630775 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMBRIDGE-Ada (shareable link to this entry)

THIS ENTRY IS A STUB ON PERSONNEL FIRST ACTIVE IN AUSTRALIA AFTER 1860

Works:

Ada Cambridge, Thirty years in Australia (London: Methuen & Co., 1903), 90-92

https://archive.org/stream/thirtyyearsinau01cambgoog#page/n104/mode/2up (DIGITISED)

Having been a fervid young churchwoman at home, where I district-visited in the most exemplary manner, with tracts and soup-tickets and all the rest of it, for my own pleasure, parish work, when it became my business, was not at all irksome as such. And there was one part of it which was a source of great enjoyment during the three years that we lived in Y----. It was the training of the choir. At first, with much nervousness and diffidence, I taught hymns and chants for an hour a week, and played them at the Sunday services in the midst of my little band, which had never conceived of higher flights. But ambition was generated in us as we warmed to our work. Recruits arrived from far and near, some of whom could read music, and we spread ourselves in an occasional anthem. There have been, and are, many thousands of choirs as pleased with themselves as we were, but never was there one more harmonious, in every sense of the word. To the best of my recollection we never had a tiff, and such was the attraction of our meetings that no weather - rain, storm, mud, darkness - could keep away the men (some of them quite elderly), who had to tramp miles through the Bush, after a hard day's work, to attend them. Especially in the winter. For when winter came, and the church was cold, I had the practices in the house, with piano accompaniment. The bright log fire - firewood is the one thing we have always been extravagant in, on principle - and the much-pillowed amateur sofa, and the chairs collected from the general stock and grouped invitingly, made the homely drawing-room a good, thawing sort of place for the storm-buffeted to come to and to sing in. Most carefully were wet wraps and umbrellas left outside, and boots rubbed and scrubbed on door-mats; and never did an evening-party show itself better bred. For that is what the choir practice came to - a "musical evening" once a week. We fell into the habit of clearing off the chants and hymns rather hastily, and devoting the bulk of our ever-extending time to experiments in the higher forms of part-singing. We were not experts, any of us, but we made up in enthusiasm what we lacked in knowledge, and ended by so distinguishing ourselves that the fame of our performances has not died out in the district yet. For although on pleasure bent, we kept an eye to business, and selected music with the secondary view of getting anthems out of it eventually. Our great achievement was Mozart's Twelfth Mass. It took us a long time, but we fumbled through it from beginning to end. And then we astonished the congregation with "Glorious is Thy Name," and "Praise the Lord, for He is Gracious," and other classic gems, as we got them perfectly. It was my first attempt at choir-leading and - which I am sure is a very good thing for my reputation - the last. Thenceforth the parson wielded the baton. The choir that now is, which could sing the Twelfth Mass straight off as easily as look at it, if it had never seen the thing before, would feel insulted at any comparison between their work and ours; but often, when I am listening to the evening anthem, the notes of those old voices, so fervid and sincere, float back upon the tide of memory from those old days, with a heart-melting power that these finished performances will never possess, for me . . .

MUSIC: "Mozart's twelfth mass" = Mass in G is now firmly attributed to Wenzel Müller (see Karl Pfannhauser, "Epilogomena Mozartiana," Mozart-Jahrbuch 1971–72 (Kassel: Bärenreiter, 1973], 268-312

Bibliography and resources:

Jill Roe, "Cambridge, Ada (1844-1926)", Australian dictionary of biography 3 (1969)

http://adb.anu.edu.au/biography/cambridge-ada-3145

CAMERON, Miss Cowan (Miss Cowan CAMERON) = Isabella COWAN

CAMERON, Samson (Sampson Pearce CAMERON; S. CAMERON; Mr. CAMERON)

Actor, theatre manager

Born Edinburgh, Scotland, 21 March 1811 (14 March on gravestone); son of John CAMERON (c. 1769-1858) and Elizabeth PEARCE (m. Gorbals, October 1805)
Married Cordelia BOUCHER, Leominster, Hereford, England, 16 January 1833
Arrived Hobart Town, VDL (TAS), 17/18 September 1833 (per Lochiel from Leith, 13 April)
Died Brisbane, QLD, 16 December 1891

https://trove.nla.gov.au/search?l-publictag=Samson+Cameron+1811-1891 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-1850533 (NLA persistent identified)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMERON-Samson (shareable link to this entry)

CAMERON, Cordelia (Cordelia Ann BOUCHER; Miss BOUCHIERE; Mrs. Samson CAMERON; Mrs. CAMERON)

Actor, vocalist, theatre manager, concert presenter

Born Islington, London, England, 27 November 1809; baptised St. Luke's, Finsbury, 24 December 1809; daughter of William BOUCHER and Elizabeth KEMPTON (m. St. Martin in the Fields, 22 February 1808)
Married Samson CAMERON (d. 1891), Leominster, Hereford, England, 16 January 1833
Arrived Hobart Town, VDL (TAS), 17/18 September 1833 (per Lochiel from Leith, 13 April)
Died Lutwyche, Brisbane, QLD, 23 April 1892, in her 83rd year

https://trove.nla.gov.au/search?l-publictag=Cordelia+Boucher+Cameron+1809-1892 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-1646908 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMERON-Cordelia (shareable link to this entry)

Documentation:

Christenings in December 1809, St. Luke's, Finsbury; register, 1776-1812, page 299; London Metropolitan Archives

https://www.ancestry.com.au/imageviewer/collections/1624/images/31280_194896-00640 (PAYWALL)

Cordelia Ann d'r of William Boucher & Elizabeth / [Born] Nov'r 27 / [baptised] [Dec.] 24

Births, Edinburgh, 1811; Scotland births and baptisms

https://www.ancestry.com.au/discoveryui-content/view/9836764:60143 (PAYWALL)

Sampson Pearce / born 21 March 1811 / son of John Cameron and Elizabeth Pearce / [tailor and clothier]

Marriages, Leominster, 16 January 1833; Herefordshire marriages

https://www.findmypast.co.uk/transcript?id=R_846607603 (PAYWALL)

Samson Cameron / Residence Leominster, Hereford, England / Marriage date 16 January 1833 / Cordelia Bouchier [sic]

Arrived at the Port of Hobart Town, the barque Lochiel, 18th Sept'r 1833, from Leith, sailed 13th April; Archives Office of Tasmania

https://www.ancestry.com.au/imageviewer/collections/2423/images/32959_259358-00209 (PAYWALL)

. . . Cabin passengers / . . . Samson Cameron / Mrs. Cameron . . .

"HOBART TOWN NEWS", The Sydney Herald [NSW] (10 October 1833), 2

http://nla.gov.au/nla.news-article12847896

Arrived on Tuesday, the 17th instant [sic], the barque Lochiel, 291 tons, Captain T. Millons, from Leith, the 13th of April, with a general cargo. Passengers - . . . Mr. Samuel and Mr[s]. C. Cameron, and 45 in the steerage . . .

[Advertisement], The Hobart Town Courier (13 December 1833), 3

http://nla.gov.au/nla.news-article4188191

THE DRAMA. MR. CAMERON begs to announce to his friends and the inhabitants of Hobart town and its vicinity, that having engaged the new large room at the Freemason's Tavern, it is his intention to give a series of dramatic amusements, and that no cost or exertion on his part will be wanting to render the same worthy of the approbation of the public.
When it is ascertained what number the room can conveniently accommodate the necessary number of tickets will be issued and no more.
Full particulars, with a scheme will appear in a future advertisement.
Tickets (which will not be transferable) will be issued from the bar of the Freemason's Tavern only, and no money received at the doors.

ASSOCIATIONS: Theatre Freemasons Tavern (Hobart venue)

[Advertisement], Colonial Times (24 December 1833), 1

http://nla.gov.au/nla.news-article8647325

Theatricals. MR. S. CAMERON begs to announce to the gentry and inhabitants of Hobart Town and its vicinity, that This Evening, the 24th instant, has been fixed upon for opening the THEATRE, on which occasion will be presented Kotzebue's celebrated play of THE STRANGER . . .
Baron Steinfort, - Mr. Taylor. Count Winterseen, - Mr. Jordan.
The Stranger, - Mr. Cameron.
Peter, - Mr. Lewis. Solomon, - Mr. Jacobs.
Francis, Mr. Fenton. Tobias, - Mr. Jacobs.
Countess Winterstein, - Mrs. Brown.
Mrs. Haller, - Mrs. Cameron.
Charlotte, - Mrs. Taylor.
After which, a Comic Hornpipe by Mr. Lewis, and
Mrs. Cameron will sing the celebrated song of the "Swiss Toy Girl."
To conclude with the laughable farce of THE MARRIED BACHELOR.
Sir Charles Courtall, - Mr. Fenton.
Sharpe, - Mr. Jacobs. Labroche, - Mr. Jordan.
John, - Mr. Lewis. Lady Courtall, - Mrs. Brown.
Grace, - Mrs. Cameron.
Stage Manager, Mr. Taylor; Ballet Master, Mr. Lewis; Leader of the Orchestra, Mr. Peck.
Tickets, 6s. each; children, under 12 years of age, 4s., (not transferable) issued from the bar of the Freemason's Tavern.
Doors open at half-past 6 o'clock, performance to commence at 7 o'clock.

ASSOCIATIONS: John and Maria Taylor (actor; actor and vocalist); Richard Jordan (actor); Charles Fenton (actor); John Lewis Jacobs (actor); Henry Lewis (dancer); George Peck (violinist, leader)

[News], The Tasmanian (27 December 1833), 5

http://nla.gov.au/nla.news-article233614266 

The Hobart Town Theatre opened on Tuesday last [24 December] with Kotzebue's celebrated piece the Stranger; and, as it is the first attempt made at any thing of the kind in this Colony, it behoves us to offer a few words on the occasion . . . the house was crowded, and we were happy to observe, that a more respectable assembly was never collected in Hobart Town. On first entering, the stage looked most remarkably neat and chaste - the drop scene represented some ancient and ruined edifice, we believe a fancy piece, and very well executed. The proscenium or fixed part of the stage was elegant and simple - the room, to be sure, is small for the purpose, but this defect is remedied by the erection of a gallery, which gives a theatrical appearance to the room; and, with the other seats being elevated in progression, enables all present to have a very fair view of the stage, which would however be greatly facilitated, were the fair visitors to decorate their heads with less exalted head dresses; the stage itself is about eighteen inches or two foot from the floor. Some few minutes after seven, the performance commenced, and as the curtain rose, a very general applause ensued, welcoming such rational and pleasant amusements, as theatrical representations. The Stranger was performed excellently; there were one or two, who vastly outshone the others in their parts, but when it is recollected that this was the first attempt, and that a greater portion of the performers never "trod the boards", it is truly astonishing how remarkably well a piece so difficult and requiring such good acting as The Stranger, could possibly be performed. Mrs. Cameron's Mrs. Haller was excellent; and we appeal to any unprejudiced person present whether the same character was ever better gone through on any provincial stage in Great Britain. When it is recollected that we have seen the same character sustained by Miss O'Neill, and can say that Mrs. Cameron was nearly as perfect, it will be considered we are flattering; but if we are doubted, let the sceptical judge for themselves. Mrs. Cameron's features are expressive, and her countenance changes with, and speaks with, every word she utters - she has an elegant figure, and, in fact, she is an enchanting actress. The last scene, wherein she kneels to her husband, and prays to see her children, was beautiful and many a tear stood ready to gush forth from the eye of the hearer . . . With regard to the gentlemen performers, Mr. Cameron takes the lead. He acted the part of the Stranger, and in such style, that the Theatres Royal might have been proud to have possessed such a performer - his bursts of passion were manly, and his expression excellent - he is perfect master of stage effect. We should suggest to Mr. Cameron, that as the Theatre is so much smaller than those he has been accustomed to, his voice at intervals is rather too elevated, indeed the same observation will apply to most of the male performers: - with this exception, we know nothing which could be improved in his part . . . the Stranger was as well performed, indeed we may say, better performed than it usually is in provincial Towns of Great Britain. Between the pieces, Mrs. Cameron sang the "Swiss Toy Girl." There is a playfulness, and enchanting coquettishness in her voice and manner of address, which is highly pleasant - she is certainly not a first rate singer, and yet with the exception of Mrs. Taylor, we would sooner hear Mrs. Cameron than any other vocalist in the Colony, not excepting Mrs. Davis - she was of course encored . . . In conclusion we may here observe, that never did first performance go off better nor was there ever so much interest excited; the audiences seemed desirous, that the pieces should go off well, they felt an interest, as though they had been concerned in the undertaking, and the general conversation of the Town is now absorbed in theatres and theatricals.

ASSOCIATIONS: Sophia Letitia Davis (vocalist)

MUSIC: Rose of Lucerne; or, the Swiss toy girl (John Barnett)

"THE THEATRE", Trumpeter General (29 November 1833), 3

http://nla.gov.au/nla.news-article172894793 

A Theatre is about to be opened by the kind permission of His Excellency Lieut. Governor Arthur, by a Mr. Cameron, an old actor, we understand, upon some of the best of the Provincial stages. For the present, the new room at the Freemason's Tavern, is in progress of conversion into a Theatre; and, if the public protection is sufficiently afforded, it is proposed that a regular one be built by subscription . . .

"DISTRESSING CALAMITY", The Austral-Asiatic Review (31 December 1833), 3

http://nla.gov.au/nla.news-article232475908 

A few days ago, the only child of Mr. Cameron, the Proprietor of the Theatre, was attacked with Diarrhoea. Medical advice was had recourse to, but the disorder increasing, Drs. Westbrook, Pilkington, and Lloyd were called in and another mode of treatment adopted. The child, however, expired on Sunday morning. It is unnecessary to state the distress of mind which this calamitous event has occasioned to Mrs. and Mr. Cameron, thus to lose their only child. The Theatre is of course, closed until Saturday.

[News], Colonial Times (31 December 1833), 3

http://nla.gov.au/nla.news-article8647336

DIED - Suddenly, on Sunday last, Elizabeth, the infant daughter of Mr. Cameron, of Macquarie-street, aged 12 weeks.

"THE THEATRE", The Austral-Asiatic Review (31 December 1833), 4

http://nla.gov.au/nla.news-article232475903 

There is a new Era in Van Diemen's Land. Public amusements have opened upon us in as great variety as in so limited a population could be possibly expected . . . This being then the commencement of a new Era, we shall devote more than the space we usually spare to such subjects to our notice of the opening of the Theatre on Tuesday evening. The proprietor is a Mr. Cameron, a gentleman of excellent family in Scotland - brought up and educated in a manner appropriate to his station in life. Mrs. Cameron is well remembered by many here when [? as] Miss Bouchiere, the Star of the Norwich - Bath - and Cheltenham Circuits. They came out purposely to establish a Theatre here, deceived (as well as so many others in the more humble walks of life) by the lying announcements with which the passage-dealing kidnappers humbug the unwary. He embarked, however, with a capital equal to his purpose, which he has again embarked in the establishment of the Hobart Town Theatre. Liberally indeed has he set to work, and we most sincerely rejoice to add, that there is every prospect of his spirited attempt being liberally remunerated . . . Mr. Cameron has been extremely fortunate - host of strength as is no doubt his own, and Mrs. Cameron's ability, and especially the versatility of talent of the latter, yet it was singularly advantageous to him that Mr. and Mrs. Taylor, both "regulars" from the London boards, should have arrived at the same time. Mr. Fenton also is an old London performer, and Mr. Jacobs possesses many most useful qualifications. He is an excellent comic actor - plays with much skill on the violin - sings well, being a good theoretical musician, and possesses all the necessary qualifications for "an actor of all work," so useful in a small company . . .

[Advertisement], Colonial Times (31 December 1833), 1

http://nla.gov.au/nla.news-article8647331

Mr. CAMERON begs to inform the Ladies and Gentlemen of Hobart Town and its vicinity, that, in consequence of the death of his Daughter, the Theatre will be closed until Saturday, the 4th January next. The Entertainments will be announced in the bills of the day. Freemasons' Tavern, Dec. 31, 1833.

"Van Dieman's Land News . . . THE THEATRE", The Sydney Gazette and New South Wales Advertiser [NSW] (2 January 1834), 2

http://nla.gov.au/nla.news-article2215116

Considerable public expectation is excited by the extensive preparations making by Mr. Cameron, the active proprietor, of the new theatre, for the opening the campaign on Monday week the 3d instant. The wardrobe is entirely new, and equally extensive and costly, and also the stage properties of every sort. Mr. Cameron is a very respectable actor, and Mrs. Cameron was for some years the leading star of the Norwich Company, and performed also with much eclat at the Bath and Cheltenham theatres. Mr. Jacobs, the comic actor of the company is extremely clever, both as a singer and performer, and we are convinced will become a great favourite. Mr. and Mrs. Taylor are also engaged, the former as stage manager, to which he is perfectly competent, having acted as such at more than one of the London minor theatres, and Mrs. Taylor will be a great acquisition in the vocal department. Upon the whole we consider the Hobart Town theatricals will be infinitely superior (judging from the reports in the journals) to those of Sydney, all engaged being zealous in the extreme to deserve the public support.

"THE THEATRE", The Hobart Town Courier (17 January 1834), 4

http://nla.gov.au/nla.news-article4187919 

. . . Between the play and farce Mr. Lewis introduced a fancy dance and displayed great agility and taste in its execution. Mrs. Cameron again sang "the Swiss toy girl" with, if possible, renewed effect, and Mrs. Taylor was perfectly at home in "the Light Guitar" . . .

[News], The Hobart Town Courier (7 February 1834), 2

http://nla.gov.au/nla.news-article4187362 

Mrs. Centlivres' excellent comedy of the Wonder was admirably performed by Mr. Cameron's company on Wednesday, every one of whom very perceptibly improve, by every successive means of practice. The orchestra especially, since Mr. Reichenberg has directed the music, is of the highest order, and is in itself well worthy hearing.

ASSOCIATIONS: Joseph Reichenberg (musician, director; Peck remained leader)

[Advertisement], The Independent [Launceston, VDL (TAS)] (20 September 1834), 2

http://nla.gov.au/nla.news-article233687832 

THEATRE, LAUNCESTON. ON TUESDAY EVENING NEXT, 23RD INSTANT,
THE AMATEURS of Launceston and its vicinity will givfe a
CONCERT OF VOCAL INSTRUMENTAL MUSIC, Particulars of which will be made known in the bills.
Leader - MR. PECK. A talented Lady will preside at the Piano Forte.
Doors opened at 7 o'clock; to commence at half-past 7 o'clock.
TICKETS, 7s. each; to be had at Messrs. J. & D. Robertson's, at the British Hotels,
and of Mrs. Cameron, at Mr. Highett's, Charles Street.

[News], The Independent (20 September 1834), 3

http://nla.gov.au/nla.news-article233687829 

We observe by the advertisement, that a Concert of Vocal and Instrumental Music will be held at the Theatre on Tuesday evening, several Gentlemen Amateurs having handsomely come forward and tendered their services, being for the Benefit of Mrs. Cameron. This Lady is a great favourite with the Public, and her Concert it is expected will be numerously attended.

ASSOCIATIONS: Theatre British Hotel (Launceston venue)

[News], The Independent (15 November 1834), 3

http://nla.gov.au/nla.news-article233688015 

The far-famed Launceston Races will commence on Wednesday the 3d December, and continue during the week . . . The Theatre will offer much amusement after the close of the sports of each day, and will be well attended. Mr. Cameron, we learn, has used every exertion in getting together a good Company, and we hope will meet with encouragement sufficient to remunerate him. Miss Remans (now Mrs. Clarke), Miss Rudlehoffe, Mr. Rudlehoffe, and Mr. Leffler have been engaged, and will speedily join our corps. Mr. Cameron has concluded an arrangement with Mr. Deane, of Hobart Town, for renting the Argyle Rooms, until the new Theatre is finished. The Company proceed to Hobart Town immediately after the Launceston Races.

ASSOCIATIONS: Anne Remens Clarke (actor, vocalist); Dinah Rudelhoff (actor, vocalist); John Philip Deane (musician, proprietor); Theatre British Hotel (Launceston); Edmund Leffler (musician); Theatre Argyle Rooms (Hobart venue)

[news], Colonial Times (23 December 1834), 5

http://nla.gov.au/nla.news-article8647976 

The Hobart Town Theatre opened for the season, on Saturday evening, and considering the short notice given, was uncommonly well attended. The Theatre has undergone a thorough repair, and much taste has been displayed in the fitting-up and general arrangements . . . The performance on Saturday night was "Douglas," and "Of Age To-morrow" . . . After the first piece, the Swiss Toy Girl was sung - people are tired of hearing this song, although they encored their old favourite . . . To-morrow evening, Jane Shore is announced; and as this piece has never yet been performed in Hobart Town, it is sure to draw, more especially as the most scrupulous need not now be under any apprehension of there being any disturbance, or that any thing unpleasant to the most delicate female ear will be allowed in the Theatre, under Mr. Cameron's management . . .

"THE THEATRE", The Tasmanian (6 February 1835), 7

http://nla.gov.au/nla.news-article232800455 

Mr. Cameron's exertions to afford the public rational and well-conducted amusement, are now becoming appreciated and rewarded. The Theatre is now both numerously and respectably attended. The Miller and his Men, which proved so attractive last week, has been succeeded by Raymond and Agnes, which has been equally productive . . . Of Mrs. Cameron, whose exertions and merits have so justly firmly established that charming actress in the public favor, it is unnecessary to say more, than that her efforts to maintain it are unceasing. So, indeed, of the whole company. Mrs. Clarke, Miss Rudelhoff, Mrs. Chorley, Messrs. Jacobs, Spencer, Jordon, Fenton, Austin, Collins, Lee, in a word, all connected with the Theatre in every department (and we must especially include the orchestra, which is superior to most out of London, the principal provincial excepted), all exert themselves to the utmost to merit the public support . . .

ASSOCIATIONS: Albert Spencer (actor); John Herman Selwyn Lee (actor)

[News], The Sydney Gazette and New South Wales Advertiser [NSW] (14 January 1836), 2

http://nla.gov.au/nla.news-article2202237

We understand that that old favorite of the public, Mr. George Buckingham, makes his reappearance on the boards this evening, in the dramatic piece of the Innkeeper of Abbeville. Mrs. Chester has returned from the Sister Colony, and is also expected to reappear at the Sydney Theatre in the course of a few days. Mrs. Cameron's arrival from Hobart Town is likewise daily expected, Sydney being now the centre of attraction for theatricalists in both colonies.

ASSOCIATIONS: George Buckingham (actor); Marian Maria Chester (actor, vocalist); Theatre Royal (Sydney venue)

[Advertisement], The Hobart Town Courier (17 April 1835), 3

http://nla.gov.au/nla.news-article4180771 

ORATORIO. MESSRS. CAMERON & DEANE respectfully inform the inhabitants of Hobart town and its vicinity, that a selection of Sacred Music will be performed at the Theatre on Saturday the 16th April 1835.
PART 1.
Overture - Weber
Recitation and Song, Mrs. Clark - Handel
Jubilate Deo, Chorus, &c. - Hemple
Solo pianoforte, Miss Deane - Czerny
Song, Mrs. Clark - Handel
Solo clarionet, Mr. Reichenberg, - Pleyel
Mene Dimitti [sic, Nunc dimittis], Messrs. Clark, Deane, &c. - Hemple
PART 2.
Overture - Rossini
Song, Mrs. Clark, Let the bright Seraphim - Handel
Solo violin, Leffler, - Berriot
Solo flute - Nicholson
Song & chorus, Martin Luther's hymn - Luther
Chorus, Hallelujah - Handel
Leader - Mr. Deane. Violin principale - Mr. Leffler. Conductor - Mr. Reichenberg.
Tickets (not transferable) 5s. Children, 3s. to be had at the Theatre, and at Mr. J. P. Deane's Circulating Library.
Doors to be opened at 7 o'clock, performance to commence at 8 o'clock precisely.

ASSOCIATIONS: Rosalie Deane (pianoforte)

[Advertisement], The Hobart Town Courier (18 December 1835), 3

http://nla.gov.au/nla.news-article4178043 

In the matter of the Insolvency of Sampson Pearse Cameron.
WHEREAS, the above named Sampson Pearse Cameron having presented his petition to the Supreme Court, praying for relief pursuant to the Act . . . and the same having come on to be heard before His Honor Mr. Justice Montagu, the said Sampson Pearse Cameron was declared insolvent, and Samuel Whittaker, innkeeper of Hobart town, was thereupon appointed provisional assignee of the estate and effects of the said insolvent . . .

ASSOCIATIONS: Samuel Whittaker was the landlord of the Freemasons Tavern

Baptisms solemnized in the parish of St. David's Hobart Town in the county of Buckingham in the year 1836; Tasmanian names index; NAME_INDEXES:1084501; RGD32/1/2/ no 6834

https://libraries.tas.gov.au/Record/NamesIndex/1084501 

https://libraries.tas.gov.au/Digital/RGD32-1-2/RGD32-1-2-P361 (DIGITISED)

No. 202 / 3834 / 29th September [1836] / [born] 18th October 1834 / John [son of] / Samson & Cordelia / Cameron / Hobart Town / Clothier . . .
No. 203 / 3835 / 29th September [1836] / [born] 10th September 1836 / William James [son of] / Samson & Cordelia / Cameron / Hobart Town / Clothier . . .

ASSOCIATIONS: John Cameron (1832-1902)

[News], The Sydney Gazette and New South Wales Advertiser [NSW] (29 October 1836), 2

http://nla.gov.au/nla.news-article2207455

The lovers of theatricals will have a treat this evening. The drama of Clari, the Maid of Milan, will be performed, in which Mr. Cameron will play the Duke Vivaldi, and Mrs. Cameron that of Clari, and introduce the Song of Home sweet Home.

"THE NEW THEATRE", The Tasmanian [Hobart Town, VDL (TAS)] (3 March 1837), 7

http://nla.gov.au/nla.news-article232802184 

We are happy to hear that this house will be opened under the auspices of a Committee, who will have power to name or object to the pieces, and to settle disputes between the actors and the managers. The names of the gentlemen on the Committee, viz. A. F. Kemp, Esq., Thomas Hewitt, Esq., and George Cartwright, Esq. seem to warrant the assumption that the new Theatre, under such controul, will be conducted upon a respectable footing by Mr. Sampson Cameron, acting manager; Mr. John Taylor, stage manager; and Mr. James Belmore, machinist.

ASSOCIATIONS: Anthony Fenn Kemp (committee); James Belmore (machinist); Theatre Royal or later Royal Victoria Theatre (Hobart venue)

"The Theatre", The Austral-Asiatic Review, Tasmanian and Australian Advertiser [Hobart Town, VDL (TAS)] (9 January 1838), 7

http://nla.gov.au/nla.news-article232476139 

In our little notice of the Theatre last week, we remarked upon what we considered the impropriety of any performer rendering his part subject to individual application to any part of the audience, and we commented upon Mrs. Thompson's having appeared so to do in the song "Buy a Broom." We have since been informed, that the rendering that song the means of producing pecuniary marks of approbation was practised both by Mrs. Clark, Mrs. Cameron, and others. Disreputable as we consider the practice to be, to any performer on any Theatre, beyond the scale of a booth at a fair to condescend to such a means of obtaining pecuniary tribute even to the most favored talent, yet Mrs. Thompson was certainly free from censure in following what it seems had been an established practice . . .

ASSOCIATIONS: Martha Thomson (vocalist, actor)

MUSIC: Buy a broom (Alexander Lee)

[Advertisement], The Sydney Monitor and Commercial Advertiser (30 October 1839), 3

http://nla.gov.au/nla.news-article32166055 

ROYAL VICTORIA THEATRE, PITT-STREET. MRS. CAMERON'S BENEFIT . . . THURSDAY, OCTOBER 31 . . .
The Favorite Hibernian Pas Seul, BY MISS LAZAR.
The Swiss Toy Girl, in Character, MRS. CAMERON.
Saint Patrick was a Gentleman, MR. SIMMONS.
John Anderson my Joe, MRS. CLARKE.
And by particular desire, the favorite Glee, Come unto these Yellow Sands, (from the Play of the Tempest) MR. LAZAR, MR. FALCUON, AND MRS. CLARKE . . .

ASSOCIATIONS: Joseph Simmons (vocalist, actor); Rachel and John Lazar (daughter and father; dancer; vocalist and actor); Arthur Falchon (vocalist, actor); Royal Victoria Theatre (Sydney venue)

"THEATRICAL SWINDLING", The Sydney Herald [NSW] (13 November 1839), 2

http://nla.gov.au/nla.news-article12857229

A person named Lee belonging to the Theatre has left the Colony leaving his debts to a considerable amount unpaid, and, as he made £90 by his benefit last week, doubtless taking money with him. Mrs. Cameron also left the Colony under similar circumstances by the same ship, and it is understood that the hopeful pair intend proceeding to South Australia, where they will join Mr. Cameron who left the Colony a few weeks since.

ASSOCIATIONS: John Herman Selwyn Lee (actor); Royal Victoria Theatre (Sydney venue)

[Advertisement], The Courier [Hobart, VDL (TAS)] (18 February 1842), 1

http://nla.gov.au/nla.news-article2954825 

ROYAL VICTORIA THEATRE, Campbell Street. GREAT ATTRACTION!!! For the BENEFIT of MR. & MRS. CAMERON . . . Grand Military Spectacle of the Battle of Waterloo . . .
On MONDAY, 21st FEBRUARY, will be produced, with a treble amount of Auxiliaries, the celebrated National Drama of WALLACE, THE HERO OF SCOTLAND.
Comic Song, Mr. Rogers. Sailor's Hornpipe, Mr. Boyd.
Song (in character,) "The Death of Nelson," Mrs. Cameron.
To conclude with the Grand Military Spectacle (got up expressly for this occasion) of THE BATTLE OF WATERLOO . . .

"Insolvent Court. Wednesday, November 23, 1842", The Cornwall Chronicle (26 November 1842), 2

http://nla.gov.au/nla.news-article66016297 

Samson Cameron applied for his discharge, and was opposed by a creditor on the grounds of Insolvent having squandered away his means by wilful extravagance, &c. The money-taker at the Victoria Theatre stated that in the course of ten weeks the receipts amounted to £330, while Mr. Cameron had only paid during that period, to performers, about £120 - shewing a sum of twenty guineas per week unaccounted for. Insolvent was required to apply again for his discharge on Wednesday, the 14th of December, in the interim to furnish a just account of his transactions.

ASSOCIATIONS: Royal Victoria Theatre (Hobart venue)

[Advertisement], Launceston Courier [VDL (TAS)] (23 January 1843), 3

http://nla.gov.au/nla.news-article84674383 

THEATRE ROYAL OLYMPIC, A GRAND CONCERT OF VOCAL AND INSTRUMENTAL MUSIC,
WILL TAKE FLACE ON THURSDAY EVENING NEXT, JANUARY 26th.
PROGRAMME: PART I.
Overture - (Figaro) - Mozart.
Song, (Pretty Star of Night) Mrs. Cameron . . .
Song, Mr. Rogers . . .
Solo, Violin, Mr. Megson. - Binger . . .
PART II.
Overture - II Barbiere de Seviglia - Rossini . . .
Song, (Kate Kearney,) Mrs. Cameron.
Song, (They have given thee to another,) Mr. Watson - G. Linley. . . .

ASSOCIATIONS: George Herbert Rogers (vocalist, actor); Joseph Megson (violin, leader); Feltham Bold Watson (vocalist, actor, manager); Olympic Theatre (Launceston venue)

MUSIC: Pretty star of night (song); Kate Kearney (Alexander Lee)

"MR. AND MRS. CAMERON AND FAMILY", The Cornwall Chronicle [Launceston, VDL (TAS)] (11 May 1844), 2

http://nla.gov.au/nla.news-article66020231

It will be seen by advertisement that the military amateurs have consented to play on Tuesday evening, the 21st instant, for the benefit of Mr. and Mrs. Cameron, who for a length of time, in consequence of the theatre having been closed and from illness, have suffered much distress. The attendance of the inhabitants at the theatre on Tuesday evening will enable the distressed people to obtain a passage on to Sydney, and from thence to Hong Kong, where Mr. and Mrs. Cameron have hopes of obtaining an engagement which will enable them to support their family . . .

"THEATRICALS", Port Phillip Gazette [Melbourne, NSW (VIC)] (8 January 1845), 2

http://nla.gov.au/nla.news-article224812104 

On Saturday last, Mr. Winter the turner, applied to the presiding Magistrates at the Mayor's Court for a license to the old Theatre in Bourke street. The Mayor informed the applicant that it was customary to convene a special bench of Magistrates when applications for theatrical licenses were made. Mr. Cameron also applied far the renewal of his license, and inclosed in his application, a letter from the Receiver of the Court of Equity; recommending the renewal, and stating that he had made arrangements to let the Theatre to Mr. Cameron. If the bench purpose to grant a fresh license, we do not see upon what grounds they could refuse Mr. Cameron's license, who has for the past six months laboured incessantly for the public amusement, notwithstanding the many misfortunes he has had to contend with - Mr. C. has had the theatre through a dreary and inclement winter, losing considerably every week and now that there is a chance of his retrieving his losses, up starts another applicant for the license, who has not professional ability to conduct the Theatre; in short, Mr. Winter is a good mechanic, and we advise him to stick to his trade, and not endeavour to deprive those of a livelihood who have nothing but their profession to depend upon. Mr. Cameron having done nothing that could vitiate his license, we feel assured that he will be the successful applicant. Winter has not the shadow of a claim upon the consideration of the Bench; and Mr. Cameron having conducted the theatre in a respectable manner, is certainly entitled to the renewal of the license in preference to a stranger.

ASSOCIATIONS: Richard William Winter (applicant); Royal Pavilion Theatre (Melbourne venue)

[Advertisement], Geelong Advertiser and Squatters' Advocate [VIC] (18 February 1846), 4

http://nla.gov.au/nla.news-article94445453 

THEATRE, CORIO. MRS. CAMERON'S BENEFIT . . . On THURSDAY, the 19th of FEBRUARY, 1846,
Will be produced the celebrated Drama of JOAN OF ARC; OR, THE MAID OF ORLEANS . . .
SONG, "ST. PATRICK WAS A GENTLEMAN," in Character, MASTER JOHN CAMERON.
SONG AND CHORUS "NIX MY DOLLY PALS" . . .

"PUBLIC AMUSEMENTS", The Argus (6 July 1854), 5

http://nla.gov.au/nla.news-article4794819 

. . . so let me hasten to the Queen's Theatre, where I was on Tuesday night to witness the first performance of the "Victoria Amateur Dramatic Society" . . . [in] The Lady of Lyons . . . And how delightful it was to see old faces, not amateurs, there - Mrs. Young, Mrs. Thompson, Mrs. Cameron. Talk of spirit rappings, - that wonderful "Invention" for holding converse with the dead, - why the sound of Mrs. Cameron's voice was enough to make me fancy I had become a "medium." It must be nearly twenty years since, in a small theatre in the then very little town of Launceston, I first saw Mrs. Cameron, and it is impossible for me to forget her popularity in those days - a popularity sustained for years afterwards in spite of difficulties, vicissitudes and trials of no ordinary degree. Still here she is. My reminiscences in this case strikingly suggest the consideration due to those who cater for public amusement . . .

ASSOCIATIONS: Jane Eliza Young (actor); Queen's Theatre (Melbourne venue)

"THEATRE ROYAL", The Hobart Town Mercury [TAS] (12 August 1857), 3

http://nla.gov.au/nla.news-article3244720 

WE are happy to announce the arrival of those celebrated performers Mr. and Mrs. Cameron, whom the old Colonists will well remember as having been the Theatrical Pioneers of Tasmania, some 25 years ago at the Freemasons Tavern in Harrington-street. They were great favourites, and, deservedly so. It is their intention, as will be seen by advertisement, to give one performance on Tuesday evening next, previous to their departure for Europe, as a farewell to their old Tasmania Patrons.

"THEATRE ROYAL", Bell's Life in Victoria and Sporting Chronicle [Melbourne, VIC] (24 September 1859), 2

http://nla.gov.au/nla.news-article201379497 

. . . The entertainments on Thursday evening were for the benefit of Mrs. Cameron, courteously styled "the mother of the stage in this colony."

ASSOCIATIONS: Theatre Royal (Melbourne venue)

"DEATHS", The Brisbane Courier (25 April 1892), 4

http://nla.gov.au/nla.news-article3540839

CAMERON. - On the 23rd April, at her residence, Wride-street, Lutwyche, Cordelia Cameron, in her 83rd year.

"Late Mr. J. Cameron", The Telegraph (25 March 1902), 5

http://nla.gov.au/nla.news-article173976881 

The late Mr. John Cameron, whose death was reported yesterday, was the eldest son of Mr. Sampson Peirce Cameron, and grandson of Mr. John Cameron, of Roxburgh, Edinburgh. Mr. and Mrs. Cameron, sen., arrived at Hobart, Tasmania, from Scotland, by the ship Lochiel, in 1832 [recte 1833], and the subject of this notice, Mr. John Cameron, was born at Launceston on October 18, 1834. He spent his younger days in Tasmania and Victoria . . .

Bibliography and resources:

Richard Fotheringham (ed.), Australian plays for the colonial stage: 1834-1899 (Brisbane: University of Queensland Press, 2006), 10-11

http://books.google.com.au/books?id=2mIYkb8NaXYC&pg=PA10 (PREVIEW)

"Samson Pierce Cameron" [sic], Find a grave

https://www.findagrave.com/memorial/199406536/samson-pierce-cameron 

CAMPAIGNE, Mr. (Mr. CAMPAIGNE; ? William CAMPAIGNE)

Musician, violinist, fiddler, itinerant musician

Active Sydney and Bathurst, NSW, 1849

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

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPAIGNE-Mr (shareable link to this entry)

ASSOCIATIONS: William Campaigne (c. 1803-1854), a gardener, aged 39, and his family, protestants from Meath, Ireland, arrived in Sydney in January 1842 as assisted immigrants per William Sharples; his eldest son William was then reported to be 14, and thus would have been 21 in 1849; he was sentenced to 7 day's imprisonment in Sydney in December 1844 for petty larceny, and again for 3 months in February 1846

Documentation:

"To the Editor of the . . .", Bathurst Free Press (22 December 1849), 6

http://nla.gov.au/nla.news-article61794270

SIR - I beg leave through the medium of your columns to lay before the public a case of extreme hardship and injustice. Early in September last, I wrote to an agent in Sydney to engage for me a violin player. I subsequently wrote to him two other letters, the last on the 7th of October, on the subject, and not receiving any reply. I concluded that the person he had written about had declined to come to my terms, viz., that I would not forward money down to bear his expenses up to Bathurst, consequently I engaged one here. On Tuesday, the 8th of October, the plaintiff in the case I allude to, No. 29, Campaigne v. Wilde, made his appearance, and produced as his credentials the three letters I had written to my correspondent on the subject.
I had a trial of the man's abilities, and finding him a very indifferent performer, I told him that I was already provided, and that I did not require his services, but that I would allow him to remain at my house, free of expense, until he could provide himself with a situation, which he did on the following Monday, by engaging with Mr. Mills, of the Queen's Arms, at the rate of 15s. per week.
There he remained for a fortnight, for which he received 25s., when he was dismissed for inefficiency in his profession.
He then engaged with Mr. Neville, publican, George-street, at 12s. per week; there he only remained three days, when he was dismissed for the same cause.
On the 1st of December, he applied to Mr. Macintosh, who wrote to me for a month's wages at the rate of £1 per week for the man who had been in the employ of two different individuals, during the month for which he demands wages from me.
I was then summoned to the Court of Requests; the case came on for hearing on the 17th instant before Edwin Parke and Geo. Rankin, Esqrs., Mr. Macintosh appeared for the plaintiff, Mr. Wadeson for myself.
My attorney very clearly pointed out to the Bench that there was not a shadow of proof that any agreement had ever been entered into, either by the plaintiff or his agent, and contended that even if there had been, the former had violated any such agreement by entering into other employment.
Notwithstanding this plain and demonstrative fact, their Worships returned a verdict for the plaintiff, -
£4 for as many weeks' wages, and £3 10s. for expenses from and to Sydney, as if travelling per mail, whereas the plaintiff admitted to me that he travelled and in fact had been a fortnight on the road between Sydney and Bathurst, making use of his instrument at the various houses on the road to pay for his entertainment.
Thus by this iniquitous and unjust verdict have I been subjected to pay a sum of £17 15s. to an individual who had no legal claim upon me for one farthing.
The above is a plain matter of fact statement, and I should be glad if anyone would point out to me upon what principle of justice or equity such a verdict could be given.
All this goes to show that there is a strong and urgent necessity for an alteration in the working of the Small Debts Courts, by the appointment of a commissioner who should be a barrister, and would therefore be supposed to be free from all local prejudice or bias.
I remain, yours respectfully,
PHILLIP B. WILDE, Golden Fleece Inn, Bathurst, 19th Dec, 1849.

"To the Editor of the . . .", Bathurst Free Press (29 December 1849), 4-5

http://nla.gov.au/nla.news-article61794351 

SIR. - When two individuals go to law, one or the other must be a loser, and the loser is almost invariably a dissatisfied man; and, as a matter of course, ever ready to call in question the justice or equity which pronounced a verdict against him.
I am led to make these observations in consequence of the appearance in the Free Press to last Saturday, of a letter purporting to be written by Mr. P. Wilde, complaining of the injustice and iniquity of the decision of Messrs. Rankin and Parke, which hurt his feelings to the extent of £7 15s., the payment of which, independently of the merits of the case, has affected him, or some literary friend with that most incurable of all diseases, the cacoethes scribenat [sic, cacoethes scribendi].
I happened, Mr. Editor, to be in court during the trial, and heard the evidence adduced both by plaintiff and defendant, and being unconnected in any way with either, and almost a complete stranger to both, in giving my opinion, I cannot be accused of partiality or personal predilection.
Here is my opinion - I believe the decision of the bench to be correct. Mr. Wilde was the loser, and being so, like nineteen out of twenty, he conceives himself wronged, seizes the pen, or makes use of a friend's, rushes to the [5] Free Press, and through its columns rails against the magistrates who presumed to decide against him. In the first place he talks of having written for a fiddler, early in September, to his agent in Sydney, which agent turns out to be no other than the veritable pugilist Bill Davis.
He then goes on to state, that he subsequently wrote two other letters. Now mark this - the last on the 7th of October, on the subject, and not receiving any a reply, he concluded that the person he had written about, had declined to comet [commit] to his terms.
Further on he states that the plaintiff Campaigne made his appearance on the 8th October. Surely Mr. Wilde must have been in a sad stew for a fiddler, when, according to his own confession, he could only wait one day from the date of his last letter, viz., from the 7th of October on which it was written, to the 8th, on which day the man arrived. The fiddler he had on hand must have been, on the most liberal calculation, hired within twenty-four hours of the last letter being posted.
Verily, Master Phillip, thy patience must have been sorely taxed, and thy demand for cat-gut most pressing, to lead thee to act so precipitately!
Again, upon Campaigne's making his business known, Mr. Wilde did not at once inform him that he was suited, but states in his letter that he first made a trial of the man's abilities, and then finding him an indifferent performer, told him that he was already provided, and did not require his services.
Now, if Mr. Wilde did not conceive himself morally or legally bound in his agreement with the man through his respectable agent, why in the name of goodness did he make any trial of his abilities?
The construction, therefore, any reasonable man would put upon Mr. Wilde's language, is, that had he proved in his no doubt critical estimation, a first-rate fiddler, he would have retained him, or why make any trial of his abilities at all?
Further on, he says that his attorney, Mr. Wadeson, very clearly pointed out to the bench that there was not a shadow of a proof that any agreement had ever been entered into. No doubt Mr. Wadeson made it particularly clear to his client Mr. Wilde, that such was the case, but unfortunately those confounded letters addressed to "Dear Bill" stood in the way, and the magistrates having no feeling in the case, no £7 15s. to lose, happened to judge with their own senses, not with Mr. Wilde's, and very naturally concluded that had Campaigne not been engaged by Mr. Wilde's agent "Dear Bill," he could not have obtained possession of the letters.
Had Mr. Wadeson been retained by Campaigne, instead of Wilde, he would much more clearly have pointed out that there was an agreement, and have rated Mr. Wilde with his usual impetuosity about his barefaced attempt to defraud the poor man.
Again he says that Campaigne hired with Mr. Mills at the rate of 15s. per week, but that Mr. Mills dismissed him for inefficiency in his profession.
Mr. Wilde, you are a trifle too fast - what was Mr. Mills's evidence in court? Did he state that the man was an indifferent performer to the court? or rather, did not his evidence go to show that he was dismissed because he (Mr. Mills) could not afford to pay a fiddler? For his first week's performance he received 15s.; on the second week his wages were reduced to 10s. Why? Because, as Mr. Mills said, he could not afford to pay more. Finally he was discharged; evidently from the tenor of Mr. Mills's evidence, because bullocks were scarce, and empty benches would not pay a musician's wages.
Again, Master Wilde, you say in your letter, that you gave permission to Campaigne to remain at your house, free of expense, until he could provide himself with another situation, which he did on the following Monday. This was very kind and considerate on your part, but because the poor man was compelled ad necessitatem to seek employment elsewhere, being pennyless, and because he obtained such employment, you very wildy concluded that he has no claim upon you.
You say, that notwithstanding this "plain and demonstrative fact" their Worships returned a verdict against you.
The fact, in truth all the facts connected with the subject, are very plain, and demonstrate that had the magistrates given a verdict in favour of yourself, they would very properly be accused of having given an iniquitous and unjust verdict.
Mr. Wilde complains of having to pay £3 10s. for Campaigne's travelling expenses, and states as a reason, that like old Homer, he fiddled his way up from Sydney. Does he not state in one of his characteristic communications to "Dear Bill," that he was willing to pay expenses to the person he hired after his arrival in Bathurst.
As, however, Campaigne had the misfortune to be poor, and as "to beg he was ashamed," he therefore preferred "to dig," that is, to fiddle, Mr. Wilde, like a drowning man catching at a straw, is eager to make a point of the circumstance in his own favour.
Like the minstrels of old, the man had to depend upon his powers to please for his entertainment in making his way to Bathurst, a circumstance which does not in the remotest degree affect the terms of the agreement which are set forth in Mr. Wilde's own writing, and therefore his own propositions.
The only shadow of a case Mr. Wilde made out was Campaigne's inefficiency, which was not proved by any one's testimony except his own, which as defendant in the case amounted to nothing. If inefficient, why did not Mr. Wilde summon him to court, and upon proof of his inefficiency, get the agreement cancelled?
As, however, he did not think proper to adopt this obvious course, he very justly came off, if not by "paying the piper," by paying the fiddler.
- JUSTICIA.

ASSOCIATIONS: Bill Davis (Sydney publican, boxer, and boxing promoter)

CAMPBELL, Mr. (Mr. CAMPBELL)

Actor, comedian, vocalist

Active Hobart Town, VDL (TAS), 1834

https://trove.nla.gov.au/search?l-publictag=Mr+Campbell+actor+c1834 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-Mr-1834 (shareable link to this entry)

Documentation:

[Advertisement], The People's Horn Boy [Hobart Town, TAS] (29 August 1834), 1

http://nla.gov.au/nla.news-article232499705 

Theatre, Argyle-street . . .
Mr. Henson's Benefit. On Monday, September, 2, 1834 . . .
Comic Duet: - Mr. Campbell and Mrs. Henson . . .
FOR THE BENEFIT OF MR. LEE. Thursday, Sept. 4, 1834 . . .
Comic Duet by Mr. Campbell and Mrs. Henson . . .

ASSOCIATIONS: Mrs. Henson (actor, vocalist); John Herman Selwyn Lee (actor); Theatre Argyle Rooms (Hobart venue)

CAMPBELL, Mr. (Mr. CAMPBELL; Mr. A. CAMPBELL)

1 or more vocalists, comic vocalist, local singer, songwriter

Active Melbourne, VIC, 1855; Sydney, NSW, 1856, 1857, 1858

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

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-Mr-vocalist (shareable link to this entry)

Documentation:

[Advertisement], The Argus [Melbourne, VIC] (29 June 1855), 8

http://nla.gov.au/nla.news-article4810018 

SALLE DE VALENTINO. Saturday Evening. Concert and Ball. Admission - One Shilling.
Monsieur Fleury begs to announce the First of a Series of Vocal and Instrumental Concerts . . .
Monsieur Fleury . . . in addition to his talented Band, he has secured the services of several Vocal Artistes, among whom are Monsieur Barre, the celebrated Tenor, and Mr. Campbell, the Colonial Comic Singer, who will make their first appearance at the Salle de Valentino to-morrow evening . . .

ASSOCIATIONS: Achille Fleury (violinist, band leader, proprietor); Anthony Barre (vocalist); Salle de Valentino (Melbourne venue)

"SALLE DE VALENTINO", The Argus (9 July 1855), 5

http://nla.gov.au/nla.news-article4811586 

Fleury's quadrille band continues to attract large numbers to this establishment, which is now under the management of Mr. Coleman, whose regime has already caused a marked improvement in the respectability of the company to be manifest. M. Barre is nightly encored in "Mourir pour la Patrie," and others of the French national hymns; and a Mr. Campbell sings some comic songs of his own composition, abounding with cleverly hit off allusions to passing local events, with considerable eclat.

ASSOCIATIONS: Henry Coleman (manager)

[Advertisement], The Argus (17 August 1855), 8

http://nla.gov.au/nla.news-article4815472 

CRITERION HALL. Attractive Promenade Concerts.
Mors. Barre has much pleasure in announcing his intention of giving a series of Nightly Concerts in the above mentioned elegant hall, which has been tastefully redecorated for the occasion.
The want of an agreeable and respectable evening lounge having been much felt since the clorsng of the Bourke-street Promenade Concerts.
Mons. B. has succeeded in obtaining the services of Mr. Callen, whose abilities as a conductor are well known.
An efficient band, and the following vocal artistes are already engaged, and arrangements are also being made with other public favorites.
Mrs. Creed Royal, Mr. Clifford, Mons. Emillie Granville, Mr. Campbell, Mons. Barre.
The Concerts will commence on Saturday Evening, 18th instant. Conductor, Mr. Callen.
Admission: - Promenade, 1s.; Reserved Seats, 2s. 6d. Doors open at half past Seven. Concert to commence punctually at eight o'clock.

ASSOCIATIONS: George Douglas Callen (conductor); Mary Royal (vocalist); George Clifford (vocalist); Emile De Granville (vocalist); Criterion Hall (Melbourne venue, the Bourke-street concerts referred to were those held in the foyer of the Theatre Royal while its main auditorium was still being built)

[Advertisement], The Argus (27 November 1855), 8

http://nla.gov.au/nla.news-article4824336 

SALLE DE VALENTINO. - Re-engagement of the popular Local Singer, Mr. Campbell, who will have the honor of appearing this evening.

[Advertisement], The Sydney Morning Herald [NSW] (27 September 1856), 1

http://nla.gov.au/nla.news-article12987300 

CROWN and KETTLE, York-street. - A Select CONCERT Every Evening, supported by Messrs. Smith, Braddon, and Campbell. Pianist, Mr. Ford, Admission free.

ASSOCIATIONS: Mr. Ford (pianist); Crown and Kettle (Sydney venue)

[Advertisement], The Sydney Morning Herald (15 October 1856), 8

http://nla.gov.au/nla.news-article12987891 

CONCERT! CROWN and KETTLE, corner of Barrack and York streets. Admission free.
If you wish to spend a pleasant evening, drop in as above, and hear some of the best Comic and Sentimental Singers in Sydney.
Manager and pianist, Mr. Ford; assisted by Messrs. Smith, Braddon, Campbell, C. Johnson, Conran, &c., &c.

"EVANS' SALOON", Bell's Life in Sydney and Sporting Reviewer [NSW] (6 June 1857), 2

http://nla.gov.au/nla.news-article59866653 

We have often promised ourselves a visit to this place of amusement; and it being announced that an old friend, Mr. Pierce, (formerly of Totten's celebrated company of serenaders), had concluded an engagement with the proprietary, we, on Tuesday evening fulfilled our intention, and without any exaggeration never enjoyed a more delightful hour. Mr. Pierce's performances on that difficult, but harmonious instrument, the concertina, has already gained for him an enviable reputation throughout the colonies; and in addition to this attraction, his comic vocalization is singularly felicitous. Another prominent feature in the evening's programme, was the celebrated delineator of Irish eccentricity, Paddy Doyle, whose characteristic songs elicited both shrieks and tears of laughter from the audience. Two other gentlemen, Mr. Campbell (tenor), and Mr. Templeton (base), contributed most successfully to the entertainment; and Miss Basmann, who presided at the piano, was rapturously encored in numerous selections of the newest and most popular compositions, in which she manifested a taste and execution far superior to anything we had anticipated. Although the admission to the Saloon is gratuitous, the company was highly respectable; and from our brief visit we may confidently augur success to the enterprising management.

ASSOCIATIONS: John Ottis Pierce (musician); Totten's Harmoneons (troupe); Charles Templeton (vocalist); Wilhelmina Basmann (Eastwick) (pianist)

[Advertisement], The Sydney Morning Herald (1 January 1858), 1

http://nla.gov.au/nla.news-article13004552 

CREMORNE GARDENS - THIRD GRAND GALA of the season. - New Year's Day . . .
Engagement of Paddy Doyle and Mr. A Campbell. Herr Appel's band will be in attendance during the day . . .
Musical Melange: Operatic Selection - Lucia, Band; Song, Mr. A. Campbell; Irish Song, Paddy Doyle;
Descriptive Scena, Mr. A Campbell; New Irish Song, Paddy Doyle; Concert Polka, Band . . .

ASSOCIATIONS: Conrad Appel (musician); Paddy Doyle (vocalist); Cremorne Gardens (Sydney venue)

[Advertisement], Empire [Sydney, NSW] (17 March 1858), 1

http://nla.gov.au/nla.news-article60426935

PARRAMATTA - St. Patrick's Day in the Evening (WEDNESDAY).
PADDY DOYLE, Mr. A. CAMPBELL, and Miss BASSMANN will give their Vocal Entertainment at the Red Cow Hotel.
Admission, 2s.; Reserved Seats, 3s. "Erin go Bragh."

CAMPBELL, Mr. (Mr. CAMPBELL)

Musician, bandmaster

Active Hobart Town, VDL (TAS), 1846

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

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-Mr-bandmaster (shareable link to this entry)

Documentation:

"MULTUM IN PARVO . . . Teetotal Society", The Hobart Town Herald and Total Abstinence advocate [VDL (TAS)] (17 February 1847), 4

http://nla.gov.au/nla.news-article264689399 

The annual report of the Tasmanian Teetotal Society, for 1846, says: "That during the past year success has extensively crowned the efforts of the society. The attendance at the regular public meetings has considerably increased, and many names have been given to the pledge. The quarterly tea meetings furnished a pleasing exhibition of the reforming and elevating effects of the total abstinence principle, and were seasons of much social enjoyment. The band has been re-organised under Mr. Campbell, and promises increased efficiency . . .

ASSOCIATIONS: Teetotal bands (general)

CAMPBELL BROTHERS OF THE 11th REGIMENT

CAMPBELL, James (James CAMPBELL)

Musician, drum major (11th Regiment)

Born Gibraltar, Spain, 1818; son of Felix CAMPBELL (1793-1867) and
Enlisted (11th Regiment), Brecon, Wales, 10 July 1832 (aged 14 years 1 month)
Arrived (with regiment) Hobart Town, VDL (TAS), 25 October 1845 (per Castle Eden, from Deptford, 19 July)
Married Margaret HORAN, Sydney, NSW, 1853
Discharge approved Sydney, NSW, 2 October 1857 (finally discharged 26 January 1858)
Died Tamworth, NSW, 1883

https://trove.nla.gov.au/search?l-publictag=James+Campbell+1818-1883 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-James-11th-regt (shareable link to this entry)

ASSOCIATIONS: Band of the 11th Regiment (military)

CAMPBELL, Robert (Robert CAMPBELL; death reported as "James CAMPBELL")

Musician, bandsman, Band of the 11th Regiment

Born c. 1826; son of Felix CAMPBELL (1793-1867)
Enlisted (11th Regiment) by 1841 or earlier
Arrived (with regiment) Hobart Town, VDL (TAS), 25 October 1845 (per Castle Eden, from Deptford, 19 July)
Married Honora MOONEY, Sydney, NSW, 1847
Died Sydney, NSW, 23 January 1855, aged "29"

https://trove.nla.gov.au/search?l-publictag=Robert+Campbell+c1826-1855 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-Robert-11th-regt (shareable link to this entry)

Summary:

James and Robert Campbell, both soldier-musicians in the 11th regiment, were sons of Felix Campbell, who was born at Newbliss, Monaghan, Ireland, in 1793. Felix enlisted in the 11th Regiment at Plymouth, Devon, on 10 June 1813, aged 20, and, after 24 years of service, was discharged on 28 February 1838; their sons being already in Sydney with the regiment, Felix and his wife Margaret O'Grady, arrived in Sydney on the Anne from Liverpool on 24 August 1853; for many years he was lamplighter at the Victoria Barracks; he died nearby at his residence in Paddington on 16 June 1867, reportedly aged "84" (correctly 74); Margaret died on 17 August 1868, aged "80"

When Robert died in service in Sydney on 23 January 1855, his forename was reported as James, an error that, unaccountably, was repeated in a published letter from Felix.

REFERENCES: Discharge, Felix Campbell, 1838; UK National Archives, WO97/323/8

https://search.findmypast.com.au/record/browse?id=GBM/WO97/0323/008/001 

"DEATHS', The Sydney Morning Herald (18 June 1867), 1

http://nla.gov.au/nla.news-article13149884 

Documentation (James):

Pay-list of the 11th Regiment, 1 April to 30 June 1853; Australian Joint Copying Project, from UK National Archives, WO12/2886

https://nla.gov.au/nla.obj-1690016383 (DIGITISED)

880 / Drum Major as Serjeant / Campbell James . . .

[Advertisement], Empire (25 April 1853), 3

http://nla.gov.au/nla.news-article61323676

ROYAL HOTEL. GRAND PROMENADE CONCERTS, A La Jullien.
WINTERBOTTOM'S BAND OF 30 PERFORMERS. THIS EVENING, MONDAY, APRIL 25TH, 1853 . . .
PART I.
Overture - "Tancredi," Rossini
Quadrille - "Jetty Treffz," - Jullien
Song - "Simon the Cellarer," - Hatton - Mr. Gregg, his first appearance.
Valse - "Prima Donna," - Jullien - CORNET-A-PISTON OBLIGATO, Performed by M. Henri Durant.
Song - "Why do I weep for thee," Wallace, Mrs. Fiddes.
Galop - "Duke of Cambridge" - Ernesto - SOLO, CORNET-A-PISTON, M. Henri Durant.
PART II.
New Irish Quadrille, "The Hibernians," Jullien - Composed expressly in honour of Her Majesty's visit to Ireland, with variations for Flute, M. Richardson, Cornet-a-Piston, M. H. Durant, and Sax Horn, M. Sloper Evans.
Song - "Paga Fin," - Winter - Mrs. Fiddes.
Valse - "D'Amour," - Koenig - With Duet for Cornet-a-Piston, M. H. Durant, and Sax Horn, M. Evans Sloper.
Solo - Bassoon - M. Winterbottom, as performed before Her Most Gracious Majesty at Windsor Castle, December 27th, 1851.
Polka - Drum - Jullien - As performed at Winterbottom's Promenade Concerts, Melbourne, for 100 Nights. Cornet Obligato, M. H. Durant. -
The Drummers of the 11th Regiment under the direction of the Drum Major, by the kind permission of Colonel Bloomfield.
Conductor - M. Winterbottom . . .

ASSOCIATIONS: John Winterbottom (conductor); John Gregg (vocalist); Henri Durant (cornet); Harriet Fiddes (vocalist); John James Mallcott Richardson (flute); Frederick Evans Sloper (saxhorn); Royal Hotel (Sydney venue); the concert was postponed to 26 April, as see below:

"PROMENADE CONCERT A LA JULLIEN", The Sydney Morning Herald (27 April 1853), 3

http://nla.gov.au/nla.news-article12945362 

A word of very cordial greeting to Mr. Winterbottom and his talented corps is all that our crowded space will allow this morning. The arrival of the Shamrock steamer having remedied the contretemps which compelled the postponement of the first concert from Monday until last evening, a crowded audience welcomed the company; and from first to last the warmest applause evinced the pleasure which their performances gave. The soli instrumentalists were Mr. Winterbottom, bassoon; Mr. H. Durant, cornet-a-piston; Mr. C. Dell Valle, violin; Mr. S. Evans, sax. horn; and Mr. Richardson, flute . . .

ASSOCIATIONS: Felix Caranzani del Valle (violin)

"THE MURDER AT THE MILITARY BARRACKS", The People's Advocate and New South Wales Vindicator (6 August 1853), 5-6

http://nla.gov.au/nla.news-article251544091 

On Saturday, the inquest opened by the coroner at the Military Barracks, Paddington, on Wednesday last, on view of the body of Sergeant Shaffner Pearson, late of H. M. 11th Regiment, and adjourned until the above day was resumed; Private Patrick Crowley of the same regiment being in custody . . .
James Campbell, Drum-Major of the 11th Regiment, stated that he always considered the prisoner to be a man of gloomy disposition. He was very regular in his attendance at divine worship. On [6] Sunday last witness was with him, and others of the corps, at the Roman Catholic chapel. Prisoner on that occasion received the sacrament, being the only soldier of the corps who partook of it . . .

Pay-list of the 11th Regiment, 1 January to 31 March 1855; Australian Joint Copying Project, from UK National Archives, WO12/2887

https://nla.gov.au/nla.obj-1690808724 (DIGITISED)

880 / Drum Major as Serjeant / Campbell James . . .

Discharge, James Campbell, 11th Regiment, UK National Archives, WO97/1420/108

https://search.findmypast.com.au/record/browse?id=GBM/WO97/1420/108/001 (PAYWALL)

HER MAJESTY'S Eleventh REGT. . . . Sydney, N.S.W., 2nd Oct. 1857 . . .
Discharge of No. 880, Drum Major James Campbell . . . by Trade None was BORN Gibraltar . . .
And was ATTESTED for the 11th Regiment of Foot at Brecon . . . on the 10th July 1832 at the age of 14 1/12 years . . .
SERVICE up to 31 October 1857 . . . amounts to 21 years, 145 days . . . during which period he served abroad 19 3/12 years, viz.-
at Ionian Islands 4 10/12 years / in North America 2 1/12 years; the Australian Colonies 12 3/12 years . . .
DISCHARGE is proposed in consequence of disability detailed in the Medical Officers Report annexed . . . [worn out . . . chronic rheumatism; caused by constitutional infirmity, and the effects of exposure to changes of climate, during long service in the Mediterranean, America, and Australia; and not the result of vice or intemperance]
his character has been very good . . .
Private 9 July 1832 / underage // Drummer / 1 Dec. 1833 / Underage //
Drummer / 9 June 1836 / [of age] 6 years 219 days
Private / 14 Jan'y 1843 . . . Promoted Dm. Major 15 Nov. 1844 . . .
Further service . . . to the 26th Jan'y 1858 when finally discharged . . .

Documentation (Robert):

Paylist, 11th regiment, 1 April to 30 June 1846; Australian Joint Copying Project, from UK National Archives, WO12/2876

https://nla.gov.au/nla.obj-1643019726 (DIGITISED)

PRIVATES . . . 1297 / Campbell Robert / . . . Band . . .

Pay-list of the 11th Regiment, 1 January to 31 March 1854; Australian Joint Copying Project, from UK National Archives, WO12/2886

https://nla.gov.au/nla.obj-1690233603 

PRIVATES . . . 1297 / Campbell Robert / [First muster] Hospital / [Second muster] Band . . .

Pay-list of the 11th Regiment, 1 January to 31 March 1855; Australian Joint Copying Project, from UK National Archives, WO12/2887

https://nla.gov.au/nla.obj-1690813971 (DIGITISED)

PRIVATES . . . 1297 / Campbell Robert / [1 Jan. to] 23 Jan'y / . . . Died on the 23 January . . .

"MILITARY FUNERAL", The Sydney Morning Herald (25 January 1855), 5

http://nla.gov.au/nla.news-article12964817

Yesterday afternoon the mortal remains of John Leary, lately a corporal in the XI. regiment, who was accidentally drowned on Tuesday, and of James Campbell, lately a bandsman in the same regiment, were conveyed in two hearses to their final resting-place in the Cemetery at Camperdown. Campbell's death occurred as follows: He was a patient in the military hospital, and becoming light-headed in consequence of his malady, he threw himself out of the window of his ward into the square, a distance of nearly thirty feet, and died in an hour and a half afterwards. The hearses were preceded by a company of the 11th, in slow marching order, with arms reversed, followed by the band, fifers and drummers, with muffled drums, playing the Dead March. The deceased were followed by a train of mourning coaches and carriages, containing their relatives, and the numerous friends which they have made during the long period that the regiment has been quartered in this metropolis. Two companies of the regiment, without firelocks, followed, the captain of Leary's company bringing up the rear. Three volleys were fired by the firing party over the graves of their departed comrades.

Also "MILITARY FUNERAL", The People's Advocate and New South Wales Vindicator (27 January 1855), 4

http://nla.gov.au/nla.news-article251547718 

"To the Editor of . . .", The Sydney Morning Herald (26 January 1855), 5

http://nla.gov.au/nla.news-article12964871

Sir, In this day's issue appears an account of the death of James Campbell, late bandsman of the XIth Regiment; and as the statement given is not altogether correct, I would feel obliged by your giving insertion to the following particulars. James Campbell was admitted to hospital on the 20th instant, and getting light-headed from the malady with which he was afflicted, endeavoured to escape through the window of his ward, but was prevented. He therefore did not fall into the Barrack-square as stated. He died about 10 o'clock, a.m., on the 23rd instant. His remains were interred in the Roman Catholic Cemetery, Parramatta-street, having left a wife and a number of relatives to deplore his loss.
I am, Sir, your most obedient humble servant,
FELIX CAMPBELL. Sydney, January 25, 1855.

Bibliography and resources:

Robert Campbell, Find a grave

https://www.findagrave.com/memorial/67496318/robert-campbell 

CAMPBELL, James Stirling (James Stirling CAMPBELL; J. S. CAMPBELL)

Printer, engraver, lithographer

Born (? Scotland), c. 1832
Married Elizabeth CARLAW (1829-1902), Melbourne, VIC, 1851
Died St. Kilda, VIC, 17 September 1855, aged "32/33"

https://trove.nla.gov.au/search?l-publictag=James+Stirling+Campbell+c1823-1855 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-James-Stirling (shareable link to this entry)

ASSOCIATIONS: James Fergusson (business partner)

Documentation:

[Advertisement], The Argus (19 July 1853), 8

http://nla.gov.au/nla.news-article4794660 

DISSOLUTION of Partnership - The Business carried on by Macartney and Galbraith, (Formerly Campbell and Macartney), at No. 30, Collins street, west, as Engravers and Lithographers, has been this day dissolved by mutual consent.
WILLIAM MACARTNEY, WILLIAM GALBRIATH. Witness - Thomas Dowling. Melbourne, July 16, 1853.
The business will now be carried on under the name and firm of JAMES S. CAMPBELL and Co. . . .
JAMES S. CAMPBELL and Co., Engravers and Lithographers, 30, Collins street east.

[Advertisement], The Argus (1 August 1853), 8

http://nla.gov.au/nla.news-article4795193 

JUST Published, Part I. of a series of Colonial Sketches, by S. T. G.
Part I. contains - The Stockman. The Stockman's hut.
Bushman's Night camp. Kangaroo Stalking.
Flight of the Bushranger. Native Sneaking Emu.
Native Corrobborree. Native Sepulchre.
Price, 10s. 6d.
Lithographed and published by JAMES S. CAMPBELL and CO., 30, Collins-street, east.
A few on hand of S. T. G.'s Sketches of the Diggings and Diggers, Views of Forest Creek, and View of Collins-street, all of which will shortly be out of print.

ASSOCIATIONS: Samuel Thomas Gill (artist)

"MASONIC BALL TICKET", The Argus [Melbourne, VIC] (14 October 1853), 5

http://nla.gov.au/nla.news-article4798104 

We have been shown an elegant specimen of Victorian lithography, in the shape of the ticket for the forthcoming Masonic Ball. It is very tastefully designed, and printed in gold and colors by Messrs. J. S. Campbell and Co, to whose establishment it does great credit. Unless we are mistaken, it is the handsomest, if not the only thing of the kind yet produced in the colonies, and affords an unmistakeable proof of the advance of art in busy Melbourne.

"DIED", The Argus (22 November 1853), 4

http://nla.gov.au/nla.news-article4799809 

On Saturday morning, 19th inst., James Young, son of James S. Campbell, lithographer, Collins-street, Melbourne.

"DIED", The Argus (13 March 1854), 4

http://nla.gov.au/nla.news-article4804263 

On the 11th inst., at Cardigan-street, North Melbourne, George Smith, aged 5 months, only surviving child of Mr. J. S. Campbell, Lithographer, Collins-street.

"VICTORIAN EXHIBITION . . . THE LOWER AISLES", The Argus (18 October 1854), 5

http://nla.gov.au/nla.news-article4799106 

. . . Here we see a large steam printing-press at work, and also the rotatory card-printer, the morticing, sewing, and numbering machines. Mr. Calvert, the well-known engraver, has a splendidly drawn picture of the Exhibition-building, and illustrates the art of engraving on wood to the visitor. Messrs. Campbell and Fergusson, who have a lithographic press stationed by the side of the great machine, also print before the eyes of the looker-on a view of the Exhibition, and the process is very attractive judging from the crowd which presses round the printer . . .

ASSOCIATIONS: Samuel Calvert (engraver)

"DIED", The Age (20 September 1855), 4

http://nla.gov.au/nla.news-article154896101 

On the 17th instant, at his residence, Woodland Villa, St. Kilda, Mr. James S. Campbell, lithographer, Melbourne, aged 32 years.

Musical prints:

The corporation polka (B. D. Lewis, 1855)

The corporation polka by Miss B. D. Lewis, composer of the Mayor of Melbourne Polka, dedicated to Mrs. Smith, lady of the right worshipful J. T. Smith, esq'r., Mayor of the City of Melbourne, on the occasion of his worship's Grand Fancy Dress Ball in the Exhibition Building, on the 31st October 1855 ([Melbourne]: Campbell & Fergusson, lithograph's, [1855])

https://trove.nla.gov.au/work/25004324 

https://nla.gov.au/nla.obj-661626076 (DIGITISED)

ASSOCIATIONS: Barbara Dommenget Lewis (composer); Ellen Smith (dedicatee), wife of John Thomas Smith (mayor)

Bibliography and resources:

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 262

http://ro.uow.edu.au/theses/2926 (DIGITISED)

CAMPBELL, John (John CAMPBELL; J. CAMPBELL)

Musical benefactor, patron, donor

Born Sydney, NSW, 25 July 1802; baptised St. Philip, Sydney, 22 August 1802; son of Robert CAMPBELL and Sophia PALMER
Died Stanmore, NSW, 22 January 1886

https://trove.nla.gov.au/search?l-publictag=John+Campbell+1802-1886 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-1465564 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-John (shareable link to this entry)

Documentation:

[Editorial] "New Churches", The Sydney Gazette and New South Wales Advertiser (31 December 1840), 2

http://nla.gov.au/nla.news-article2550530 

. . . The Church of Morpeth is the gift of that truly excellent gentleman E. C. Close, Esq., and were that gentleman not living among us, we might be tempted to say more, much more, in admiration of his munificence than we are well assured would be pleasing to him. Our praises we must, therefore, bestow upon the building, which is beautiful within and without, combining elegance with comfort. Mr. John Campbell has very generously presented the Church with a Finger Organ . . .

ASSOCIATIONS: Edward Charles Close (donor, benefactor); St. James's church (Morpeth)

"To the Editor of . . .", The Sydney Morning Herald (10 June 1854), 5

http://nla.gov.au/nla.news-article12959349 

. . . Desirous of hearing some particulars concerning the progress of St. Philip's new church, I was induced to be present at a meeting, held at the Harrington-street school-room, convened for the purpose of hearing the Report of the Committee appointed for the appropriation, &c., of the Building Fund, and which was noticed in the Herald of June 6. It is extremely gratifying to know that they have been enabled to advance so far satisfactorily . . . The noble offer of John Campbell, Esq., for which he deserves the highest credit, will hardly escape the notice of those interested in church matters. If it should be carried into effect, which, with the characteristic energy of that gentleman, is quite possible, it would be the first peal of bells ever rung in one of our churches in New South Wales, while at this moment the Roman Catholic Church is in possession of not less than three. Is it not a scandal to see so little zeal for the cause of God's Church - so little regard for these external experiences. I sincerely trust that we may soon hear the chimes, reminding us that the service of God is drawing nigh; or the joyful marriage bells, proclaiming far and near the happy union of two loving hearts; or the midnight peal on New Year's Eve, warning us that another weary year has passed away into oblivion . . .

ASSOCIATIONS: St. Philip's church (Sydney)

"THE NEW PEAL AT SAINT PHILIP'S", The Sydney Morning Herald (26 July 1859), 5

http://nla.gov.au/nla.news-article13028297 

YESTERDAY morning, at daybreak, most of the good citizens of Sydney, and especially those resident in the more northern parts of the city, were very agreeably surprised out of their matutinal slumbers by the unwonted music of eight tuneful bells, - rung with an admirable skill and science, and irresistibly recalling to the minds of many who heard them reminiscences of happy bye-gone days amid the hills and valleys of Old England. Even those who were strangers to such half sad, half joyous, recollections - and upon whose ears the clear and mellow tones also fell for the first time, listened delightedly to the loud and harmonious carillon; realising in some degree those numerous sentiments to which, from age to age, the waiters of our common Fatherland have given utterance in the matter of church bells, - renowned alike in history, in romance, and in song. From the top of the battlemented tower of St. Philip's Church which, situated on a commanding eminence, at once adorns and overlooks the city, its harbour, and the adjacent country - both the red flag of Britain and the pale blue starry cross of the ensign of New South Wales waved to and fro; telling to the eye, as the bells did to the ear, that the day was some festival - obviously, a not unmusical one. What was the occasion? It did not appear to be generally known. Nevertheless it was at once remarked that the peal was a new one - another addition to that stock of ideas and customs to which we cling as common both to us and the people of the mother country.

The peal of bells yesterday inaugurated, or to use the technical phrase, " opened" at St. Philip's, are the munificent gift of Mr. John Campbell, M.L.A., of Campbell's Wharf, to that (his native) parish; having cost the donor as much as much as £850, and coming from the foundry of Messrs. Charles and George Meares, of Whitechapel, London. They arrived here in the Lovestein from England, about three months ago, and have been hung in the tower by an old and respected parishioner, Mr. William Amner. The difficult and tedious task of "hanging" them is understood to have been satisfactorily completed some days ago, but the ceremony of ringing them for the first time was purposely postponed by the church wardens until yesterday, the 25th instant, the birthday of the Donor; it being considered that no day could by any possibility be selected which would be equally appropriate. The weights of these bells are respectively as follows: cwt. qr. lbs.
The tenor - 20 1 12
7th - 13 1 14
6th - 10 1 27
5th - 9 1 12
4th - 8 0 20
3rd - 7 0 27
2nd - 6 1 6
The treble - 6 0 7
Total - 81 1 13
The bells were opened by the following professed ringers: -
Mr. William Amner (who hung them) rang the treble, Mr. William Westbrook the second bell, Mr. William Wood the third, Mr. Arthur Wood, junior, the fourth, Mr. James Wood the fifth, Mr. Richard Skinner the sixth, Mr. Simeon Henry Pearce the seventh, with Mr. Henry Geering and Mr. William Davidson as tenor-men.
Besides the foregoing the following ringers kindly volunteered their services during the day: -
Messrs. Arthur Wood, senior, John Copp, Richard Jewell, W. Taylor. Richard Freeman, Charles Barker, W. Ashton, and Norman Self.

The ceremony of opening the peal was under the immediate supervision of the churchwardens of the parish, Mr. John A. Mathews, Mr. Henry Allen, and Mr. Edward Porter. About noon, Mr. Campbell, accompanied by the last named gentlemen and others, paid a visit to the belfry, where he was received by the ringers and several visitors there assembled with loud cheers, and other hearty demonstrations of cordial esteem and respect. He remained some time, during which a sample peal was rung in true artistic style, and on his departure was again greeted with rigorous cheers. The bells rang merrily at intervals in the true old English fashion - singles and doubles - until three in the afternoon, when the bellringers adjourned to Mr. William Cole Ashton's inn - the Beehive, in Prince-street, where a substantial repast had been provided for them by the liberality of Mr. Campbell, who honoured the party with his presence on the occasion.

Besides the two sets of professional ringers, the churchwardens, some of the parishioners and other gentlemen were also present, amongst whom was Mr. S. S. Cowper, the youngest son of the late Venerable Archdeacon Cowper, for so many years the incumbent of St. Philip's parish. The chair was occupied by Mr. W. Amner, and the vice chair by Mr. Simeon Henry Pearce, of Randwick; the chairman being supported on either side by the churchwardens and by Mr. Campbell. About thirty persons were present. After the usual loyal toasts of the Queen, the Prince Consort and Royal Family, had been proposed and duly acknowledged, the health of his Excellency the Governor-General was proposed and responded to. The health of Mr. John Campbell, the donor of the peal of bells to St. Philip's parish, was then proposed by Mr. Amner, and drank with all the honours, Mr. Campbell returning thanks. Several other healths were also proposed in the course of the evening, and suitably responded to, appropriate airs being played to them on a chime of bells in the room by Mr. Westbrook. Amongst these concluding toasts were the following: "Mr. J. A. Mathews, senior churchwarden," "The Churchwardens generally," "The Press," "The Ringers," "The Chairman and Vice," and last, not least, "The Ladies." The last toast having been acknowledged in a neat speech by Mr. S. S. Cowper, the party broke up shortly alter six o'clock, some wending homewards, and some adjourning to the church, where they rang another merry peal. It is remarked that the bells are hung in a very workmanlike and skilful style, the ringers being unanimous in their good opinion as to the manner in which they have been put up.

ASSOCIATIONS: Charles and George Mears (bell founders), see also Whitechapel Bell Foundry (Wikipedia); William Amner (bellringer, head ringer); Richard Lord Skinner (ringer); see also "THE BELLS OF ST. PHILIP'S", Empire (26 July 1859), 4

http://nla.gov.au/nla.news-article60401188

CAMPBELL, Robert (Robert CAMPBELL; Mr. R. CAMPBELL; Mr. CAMPBELL)

Musicseller, musician

Born ? Scotland, c. 1794
Arrived Hobart Town, VDL (TAS), 10 September 1824 (free per Portland, from Leith, 1 April, via Rio de Janeiro)
Arrived Sydney, NSW, 16 October 1824 (per Portland, from Hobart Town, 3 October)
Died Broken Bay, NSW, March 1830

https://trove.nla.gov.au/search?l-publictag=Robert+Campbell+d1830+musicseller (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-Robert (shareable link to this entry)

CAMPBELL, Ann (Ann CAMPBELL)

Dress-maker, musicseller

Born ? Scotland, c. 1807
Arrived Hobart Town, VDL (TAS), 10 September 1824 (free per Portland, from Leith, via Rio de Janeiro)
Arrived Sydney, NSW, 16 October 1824 (per Portland, from Hobart Town, 3 October)

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

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-Ann (shareable link to this entry)

Summary:

Not to be confused with the well-established Sydney general merchants, Robert Campbell (1769-1846, father of John Campbell above) and his nephew, Robert Campbell (1789-1851), Robert Campbell was, for somewhat less than a year, Sydney's first dedicated music retailer.

Passengers on the Portland, an Australian Company ship that departed from Leith, Scotland, on 1 April, the brother and sister Robert and Ann Campbell arrived in Hobart (via Rio de Janeiro) on 10 September 1824. There Campbell is sure to have introduced himself to the local music-seller John Philip Deane.

On 3 October, the Campbells sailed on with the same ship to Sydney, arriving on 16 October. Having found premises at 93 George-street, on 28 October the pair placed their first advertisements, respectively as a music-seller, late of "Messrs. Clementi and Co. Cheapside", and dress-maker "late of Regent-Street, St. James's, London".

In a further advertisement in mid-December, music was pushed to the bottom of the list of items for sale behind a "rich selection" of imported dress items and fabrics.

In April 1825, Campbell announced he was also opening a Circulating Library, possibly on the pattern of Deane's Hobart establishment, and during the king's birthday races, toward the end of the month, he held a race ball and supper at his rooms, at which the music was provided by Captain Piper's Band. Campbell's liberality in donating the left-over food to the Benevolent Asylum was duly noted.

Also at king's birthday time, manuscript copies of Joseph Reichenberg's Australian quadrilles were advertised for sale at Campbell's.

In July, however, Campbell advertised that he had appointed an agent to collect bad debts, and advertised for the sale at Lord's Waterloo stores of his remaining stock, mainly of non-musical items.

Ann Campbell, however, continued to sell some music and instruments at the same premises, and later from 36 Pitt-street, as late as June 1826. Her business finally went into trusteeship in October 1829.

Meanwhile, from his arrival from London in mid-1825, John Edwards effectively took over as Sydney's dedicated musicseller.

According to a single report in the Sydney press, on 18 March 1830:

. . . Mr. Campbell, who formerly kept a music shop at the premises, now the Bank of Australia, was drowned, a few days ago, in the vicinity of his farm at Broken Bay.

Ann is evidently not to be confused with the Anne Campbell of Liverpool, NSW, who in March 1830 married John Scarr.

Documentation:

[News], Hobart Town Gazette (10 September 1824), 2

http://nla.gov.au/nla.news-article1090321

Arrived this afternoon from Scotland, the Australian Company's ship Portland, Captain Snell, R. N. having on board 87 passengers, and a valuable cargo of merchandize. - The Portland left Leith the 1st of April, and on her passage touched at Rio de Janeiro . . . The following is a list of the passengers . . . Mr. R. Campbell, Miss Campbell . . .

[News], Hobart Town Gazette (17 September 1824), 2

http://nla.gov.au/nla.news-article1090328

. . . The Following is a correct List of the Passengers by the ship Portland: - Cabin . . . Mr. R. Campbell, and Miss Campbell . . .

"SHIP NEWS", The Australian (21 October 1824), 3

http://nla.gov.au/nla.news-article37072068

On Saturday arrived the Australian Company's ship Portland, Captain William Snell, from Leith, which she left on the 1st of April, she touched at Rio da Janeiro, sailed thence on the 10th of July, and left the Derwent on the 3d instant. Her cargo consists of sundries . . . She brings the following passengers from Leith . . . Mr. Robert Campbell, Miss Campbell . . .

[Advertisement], The Australian (28 October 1824), 1

http://nla.gov.au/nla.news-article37071959

MUSIC AND MUSICAL INSTRUMENT WAREHOUSE - No. 93, George-Street.
ROBERT CAMPBELL respectfully begs leave to inform the Inhabitants of Sydney, and the Colony in general, of his arrival from London, and will open the above spacious Warehouse, on Monday, the 1st of November, with the most extensive and elegant assortment of Musical Instruments and printed Music ever imported into this Colony, consisting of piano fortes, organs, every description of flutes, fifes, clarinets, bugles, flageolets, guitars, violins, violoncellos, AEolian harps, &c. &c. Also, a choice selection of new Music by the most favorite composers, all of which will be sold on the most reasonable terms; and, as the whole were carefully selected by himself, while in the employment of the respectable house of Messrs. Clementi and Co. Cheapside, London, every article is warranted of the very best description, and being most anxious to secure the friendship of the Public, should any article not give satisfaction upon having a fair trial, he will exchange it.
*.* A few ladies work boxes also for sale.
N. B. - Piano fortes tuned.
MISS CAMPBELL (from Regent-street, St. James's, London), Dressmaker, &c. begs leave to acquaint the Ladies of Sydney and its vicinity, of her having commenced business at No. 93, George-street, and respectfully solicits their patronage and support, and she hopes from being direct from one of the first houses in the West end of London, she will be found capable of giving satisfaction, and every attention may be relied on.
Ladies will be waited on at their own residences, if more agreeable.
N. B. - A small box of muslin dresses for sale.

ASSOCIATIONS: Muzio Clementi (London music seller); see also [Advertisement], The Sydney Gazette and New South Wales Advertiser (28 October 1824), 1

http://nla.gov.au/nla.news-article2183325

[News], The Sydney Gazette and New South Wales Advertiser (28 October 1824), 2

http://nla.gov.au/nla.news-article2183320

"Music hath charms to soothe the savage breast,
To soften rocks, and bend the knotted oak." - CONGREVE.

We cannot avoid noticing the new and much needed Establishment, just formed by Mr. Robert Campbell, only lately from London, and who with Miss Campbell (his sister) came passenger on the Portland. Such an advertisement as that of Mr. Campbell, appearing in our front page of to-day, never before adorned the pages of the SYDNEY GAZETTE.
We have sincere pleasure in bringing this emigrant into Public notice, as such an enterprising spirit is most unquestionably entitled to the liberal support of Australia. - That fine, new, and spacious building of Mr. James Underwood, adjoining the Sydney Distillery, has been deservedly esteemed by Mr. Campbell as the most adapted to a present residence - in which, we are flattered, he will be justified by Public opinion.

ASSOCIATIONS: James Underwood (property developer)

[Advertisement], The Australian (25 November 1824), 1

http://nla.gov.au/nla.news-article37071708 

WANTED, two or three Apprentices, of respectability, for the Dressmaking Business, and who will be required to Board and Lodge in the House. For terms, apply to Miss Campbell, No. 93, George-street . . .

[Advertisement], The Australian (9 December 1824), 4

http://nla.gov.au/nla.news-article37071764

FOR SALE, AT CAMPBELL'S MUSIC ROOMS, No. 93, GEORGE-STREET
JUST arrived, per the brig ANN, from the Isle of France, a splendid assortment of French Silk Goods, consisting of rich figured and plain satins, taffetas, and sarsnets of various colours . . .
and musical instruments of every description, printed music, &c. &c.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (10 March 1825), 4

http://nla.gov.au/nla.news-article2183796

FOR SALE, at R. CAMPBELL'S Music Warehouse, No. 93, George-street,
An elegant Assortment of ladies' fashionable riding habits, pelisses, silk cloaks, silk shawls and handkerchiefs . . .
Musical Instruments of the best description, consisting of
Pianofortes, Spanish Guitars, Tamborines, Violins, Violoncellos,
Clarinets, Flutes, Flageolets, Fifes, Walking-sticks with Flutes and Flageolets,
Keyed Bugles, Mail Horns, Pandean Pipes, AEolian Harps.
Violin and violoncello bows, bridges, finger boards, pegs, &c.
Pianoforte wire, tuning hammers, and forks.
Clarified rosin, hair for violin bows.
Genuine Roman violin strings.
Ruled music paper and books.
Portfolios for music or paper.
With a large assortment of printed music, instruction books for every instrument, songs, &c. &c.
Superior Old W. J. Madeira Wine.
Ditto Claret.

[News], The Sydney Gazette and New South Wales Advertiser (21 April 1825), 3

http://nla.gov.au/nla.news-article2183950

Mr. Campbell, of the Music Warehouse, George-street, is on the eve of opening a Circulating Library. Well attended to, with becoming patronage, such an institution would not only answer, but also be of essential service to our increasing Community.

"THE RACE BALL AND SUPPER", The Sydney Gazette and New South Wales Advertiser (28 April 1825), 2

http://nla.gov.au/nla.news-article2183971

Pursuant to the Resolution, on that head, of the Sydney Turf Club, the Ball and Supper were given on Tuesday evening, at the music rooms of Mr. Campbell, in George-street. Dancing commenced about nine o'clock, and continued till midnight; when the illustrious "Partie" were ushered into the supper-rooms, which exhibited a superbly gratifying spectacle. About half-past one the ball-room was re-occupied, and not deserted till nearly four yesterday morning. The rooms were most tastefully and splendidly decorated, and the supper so excellently served up as to afford the highest satisfaction. The carriage of our universally esteemed Naval Officer was actively and gallantly engaged in safely conducting the Ladies from the festive scene; which business over, the Gentlemen still in attendance resolved on giving Captain Piper three cheers, on his departure for Point Piper. His Excellency the Governor was present the greater part of the night, and entered into the spirit of "the times" with all that affability of disposition for which he is so eminently characterised. The 40th and Captain Piper's Band composed the orchestra. Mr. Campbell, with perhaps unprecedented liberality on such an occasion, presented the immense fragments to the Benevolent Institution. Such members of our Community we wish all the successful patronage they can laudably aspire to.

ASSOCIATIONS: John Piper (naval officer); Captain Piper's Band (musicians); Band of the 40th Regiment (military); Joseph Reichenberg (master of the 40th band)

[4 advertisements], The Australian (28 April 1825), 1

http://nla.gov.au/nla.news-article37074539

AUSTRALIAN QUADRILLES.
MR. REICHENBERG, MUSIC MASTER OF the 40th Regt. respectfully informs the Ladies and Gentlemen of the Colony that he has composed a first set of Quadrilles for Australia, with proper figures adapted to them, for the piano forte, flute, or violin; as also for a full band.
The same maybe had in manuscript from Mr. Reichenberg, at the Military Barrack; or, at Mr. Campbell's, No. 93, George street by giving one day's notice.- Price 6s.

NOVELTY. - R. CAMPBELL, 93, George-street,
respectfully begs to intimate to his Friends and the public, his intention of opening, for their amusement, in the course of a week, a CIRCULATING LIBRARY,
Printed catalogues of which, with the very moderate terms, will be published in a few days.

JUST Arrived per the Valetta, from Canton, and for SALE at R. Campbell's, No. 93, George-street.
A variety of China preserves, consisting of sugar candied ginger, citron and mangoe preserved pears, Comquat oranges, Nankeen plum, jellies, dried oranges, dried liches, &c. &c.
Also, superior pouchong tea, in half chests; elegant camphor-wood trunks, various sizes; manilla segars and snuff in canisters.

MUSIC WAREHOUSE.
FOR SALE, at R. Campbell's Music Warehouse, No. 93, George-street, an extensive Assortment of Goods, of the very best description, consisting of:
Gentlemen's superfine London made black and blue coats . . . Fashionable waistcoats . . .
Ladies' elegant riding habits . . . Pelisses and silk cloaks . . .
Musical Instruments, &c.
Pianofortes
Spanish guitars
Tamborines
Violins and violoncellos
Clarionets, and flutes
Flageolets, fifes
Walking sticks with flutes
Keyed bugles
AEolian harps
Pandean pipes
Bows, bridges, &c. for violins and violoncellos
Pianoforte wire
Tuning hammers and forks
Genuine Roman violin strings
Ruled music paper and books
Portfolios for music or paper
A large selection of printed music, instruction books, songs, &c. . . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (7 July 1825), 3

http://nla.gov.au/nla.news-article2184201

NOTICE. - Mr. ROBERT CAMPBELL, of the MUSIC SHOP, George street,
having constituted and appointed Mr. RICHARD CHARLES PRITCHETT, of Sydney, Merchant, his Attorney, for the Purpose of collecting the SHOP DEBTS due him up to the 30th ultimo: -
All Persons indebted to the said ROBERT CAMPBELL, are solicited to make Payment of their several Bills to Mr. PRITCHETT, with a View of adjusting the Concerns forthwith.

[Advertisement], The Australian (2 February 1826), 1

http://nla.gov.au/nla.news-article37074659

SALES BY AUCTION . . . DAMAGED SUGAR BY MR. LORD.
At the Waterloo Stores, on Tuesday the 7th inst. ABOUT ten tons of Isle of France sugar, five mats in a lot, more or less damaged by rain water; as also about 60 bags of coffee, 10 bags of saltpetre, iron, and about 13 pipes of wine, with a great assortment of English goods, consisting of huckabacks, diapers, dimities, muslins, cambrics, thread lace, concert flutes, &c.
the property of Mr. Robert Campbell, musician, and sold for his profit or loss, for the benefit of his creditors.
The whole of the above goods will be sold at a credit of three months, on approved bills, to all purchasers of £30 and upwards.

[Advertisement], The Monitor (2 June 1826), 1s

http://nla.gov.au/nla.news-article31757503

FOR SALE, AT MISS CAMPBELLS, No. 36, PITT STREET.
FLAGELLETS [flageolets], - Violin and Violoncello bows, - and a great variety of songs; and music for Organ, Pianoforte, Violin, - Flute, - Spanish Guitar, - Kent [bugle], &c. &c.
Also instruction books, for every description of musical instruments, to be sold under the London prices, for ready money.

New South Wales census, November 1828, Robert Campbell, Ann Campbell; State Rceords Authority of NSW

https://www.paperturn-view.com/?pid=NDM43338&p=205 (DIGITISED)

[2]12 / [Campbell] Robert / 34 / Came Free / Portland / 1824 / Merchant's agent / 57 Castlereagh-street, Sydney
[2]13 [Campbell] Ann / 21 / Came Free / [Portland] / [1824] / Dressmaker / [57 Castlereagh-street, Sydney]

[Advertisement], The Australian (7 October 1829), 1

http://nla.gov.au/nla.news-article36866958

SALE FOR CASH.
A small neat Assortment of Modern Household furniture, consisting of handsome China Couches, Chests of drawers, Cedar, and imitation Rose Wood Chairs, Counters, Glass Cases, Bedsteads, Mattresses, English Washhand Stands, Foot Pans, Dressing Tables, and Glasses, with other useful well made Articles of furniture, Plate, and Plated Ware, and some few Articles of Fashionable Millinery.
By Mr. BODENHAM At his Rooms, on Wednesday (this-day), at half past Eleven o'clock precisely, by Order of the Trustee of Miss Campbell.
MR. BODENHAM respectfully informs the Public, that he has received directions to sell for the Trustee of Miss Campbell
a small useful Assortment of Household Furniture, Plate, Plated Ware, Linen, Bed Furniture, and a few Articles of Millinery, Ribbons, &c.
The Furniture may be inspected at his Rooms until the day of Sale.
Terms - Prompt payment.

[Advertisement], The Sydney Gazette and New South Wales Advertiser (8 October 1829), 1

http://nla.gov.au/nla.news-article2193575

NOTICE. ALL Persons indebted to Miss ANN CAMPBELL, Dress-maker, Castlereagh-street, are requested to settle the same with the Undersigned, in whose favour a Deed of Trust has been executed for the Benefit of her Creditors.
T. G. PITMAN, No. 10, George-street.

"MELANCHOLY ACCIDENT", The Sydney Gazette and New South Wales Advertiser (18 March 1830), 2

http://nla.gov.au/nla.news-article2194716 

We are sorry to learn that Mr. Campbell, who formerly kept a music shop at the premises, now the Bank of Australia, was drowned, a few days ago, in the vicinity of his farm at Broken Bay.

Bibliography and resources:

James Lincoln Hall, "A history of music in Australia [3]: early period - New South Wales: 1818-1826", Canon 4/8 (March 1951), 372-76

James Lincoln Hall, "A history of music in Australia, part 2: early period New South Wales: 1818-1826", Australiana 11/2 (June 1989), 53-58

Prue Neidorf, A guide to dating music published in Sydney and Melbourne, 1800-1899 (M.A. thesis, University of Wollongong, 1999), 141

http://ro.uow.edu.au/theses/2926 (DIGITISED)

CAMPBELL, Sherwood Coan (Abraham Sherwood COAN; Sherwood Coan CAMPBELL; Mr. S. C. CAMPBELL; Sher CAMPBELL; Sher COAN)

Musician, vocalist, minstrel, serenader, manager

Born New Haven, Connecticut, USA, 15/16 May 1829; baptised Guilford, 4 May 1834; son of Abraham COAN (1797-1875) and Eunice COOKE (1796-1859)
Arrived Sydney, NSW, 23 October 1855 (per Audobon, from San Francisco, 9 August, and Honolulu, 8 September)
Departed Sydney, NSW, 7 April 1856 (per What Cheer, for San Francisco)
Died Chicago, Illinois, USA, 25/26 November 1874

https://trove.nla.gov.au/search?l-publictag=Sherwood+Coan+Campbell+1829-1874 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-Sherwood-Coan (shareable link to this entry)

Sherwood Coan Campbell (Ferdinand Moras, lithographer; New York Public Library)

https://digitalcollections.nypl.org/items/510d47dc-8da0-a3d9-e040-e00a18064a99 (DIGITISED)

Documentation:

[Advertisement], Daily Alta California [San Francisco, USA] (1 August 1855), 3

https://cdnc.ucr.edu/?a=d&d=DAC18550801.2.16.6 

UNION THEATRE, BETWEEM KEARNY AND DUPONT.
BACKUS' MINSTRELS. Acting Manager - W. A. Porter.
Musical Director - C. D. Abbott.
Stage Manager - O. N. Burbank.
This (Wednesday) Evening, Aug. 1. 1853. BENEFIT FOR THE FAMILY OF THE LATE T. F. BRIGGS.
LAST APPEARANCE OF THE MINSTRELS prior to their departure for Australia.
The company consists of the following well known and talented Performers:
CHARLES BACKUS, S. C. CAMPBELL, W. M. BARKER, W. A. PORTER, A. MORGAN,
JERRY BRYANT, C. D. ABBOTT, D. F. BOLEY, O. N. BURBANK. . .

ASSOCIATIONS: Charles Backus (member, leader); W. M. Barker (member); Jerry Bryant (member); Charles D. Abbott (member); A. Morgan (member); William Alonzo Porter (member); Dorrel Fair Boley (member); Otto N. Burbank (member); Backus Minstrels (troupe)

"SHIPPING INTELLIGENCE", Empire [Sydney, NSW] (24 October 1855), 4

http://nla.gov.au/nla.news-article60164875 

October 23. - Audubon, American ship, 531 tons, Captain Arthur, from San Francisco, August 9, and Honolulu September 8. Passengers . . . Messrs. C. Backus, Charles Abbott, W. Barker [sic, Parker], D. F. Boley, S. C. Campbell, Bryant, Porter, Morgan, Bryant, Burbank, Ward, Blake, Crow, Cottam, Sandra, and 24 in the second cabin and steerage. Agents, Newell, Hooper, and Stevens.

[Advertisement], Empire (29 October 1855), 4

http://nla.gov.au/nla.news-article60164403 

ROYAL VICTORIA THEATRE. THIS EVENING, Monday, October 29th, 1865,
the entertainments will commence with the unrivalled performances of the BACKUS MINSTRELS,
Characters by Messrs. Charles Backus, S. C. Campbell, W. M. Parker, Jerry Bryant, C. D. Abbott, A. Morgan, W. A. Porter, D. F. Boley, O. N. Burbank.

ASSOCIATIONS: Royal Victoria Theatre (Sydney venue)

"ROYAL VICTORIA THEATRE", Empire (5 November 1855), 5

http://nla.gov.au/nla.news-article60165179 

During the past week, the Backus minstrels have formed the principal attraction at the Victoria Theatre. By their ever-varying but constantly entertaining and amusing performances, they have night after night drawn crowded houses. The Backus minstrels possess talents of an order higher than might be inferred from the unpretending title by which they designate themselves. Their powers are remarkably versatile, and the resources they bring to bear in the entertainment of their audiences embrace excellent vocal and instrumental music, capital dancing, and most amusing pantomimic and burlesque stage performances. The interest of the house is never suffered to flag, and the audience is led irresistibly from the comic to the pathetic, from the sublime to the ridiculous, from the unaffectedly natural to the outrageously burlesque. To particularize any one member of this clever company would almost appear invidious; but we cannot help calling attention to the beautiful singing of Mr. S. C. Campbell, who possesses a voice of extraordinary compass and inflexibility [sic]; to the capital dancing of Jerry Bryant and Mr. O. N. Burbank; to the violin solos of Mr. C. D. Abbott, who is a performer of real ability; and to the burlesque acting of Mr. Backus, who is irresistibly comic, and in the piece called "Spirit rappings" drew tears of laughter from the audience. This latter gentleman, too, possesses a remarkable power of imitating by the voice the sounds of a musical instrument, and in particular is very happy in hitting off Miska Hauser's peculiar performances on the violin, giving his very tone and manner in a way not to be mistaken by any one who has seen and heard that gentleman. Mr. Campbell, too, possesses the same talent of imitation. On Friday and Saturday evenings a piece was produced by the minstrels under the title of the "Burlesque Circus," the effect of which must be seen to be understood. It consists in a ludicrous imitation of the pompous flourishes and pretentious preparations by which the conjurors and acrobats of the circus heighten the effect of their tricks and tours de force; and we should imagine it would scarcely be flattering to these gentlemen, as it tends to strip their performances of much of their effect by exposing their claptrap. The satire of the burlesque was keenly appreciated by the audience who evinced their enjoyment by continued bursts of laughter. The Backus Minstrels have deservedly gained a decided success . . .

ASSOCIATIONS: Miska Hauser (violinist)

"BACKUS MINSTRELS", The Tasmanian Daily News [Hobart Town, TAS] (19 January 1856), 5

http://nla.gov.au/nla.news-article202385041 

It has seldom fallen to our lot to spend a more pleasant evening than that we have just passed with the Backus Minstrels. The house, was well and respectably attended, and the presence of Miss Catherine Hayes added to the eclat of the evening . . . In Sweep, oh, Refrain, Mr. S. C. Campbell (notwithstanding labouring under severe indisposition,) delighted and surprised the audience with his imitations of the Tyrolese warblers, which requires the greatest flexibility of voice and soundest judgment. Few have attempted it, and none, we are sure, have surpassed Mr. Campbell. It was most rapturously received and encored, in which we perceived Miss Hayes to join . . .

ASSOCIATIONS: Catherine Hayes (vocalist); Royal Victoria Theatre (Hobart venue)

"DEPARTURES", The Shipping Gazette and Sydney General Trade List (14 April 1856), 66

http://nla.gov.au/nla.news-article161107371 

April 7, - What Cheer, barque, 384 tons, Captain Baker, for San Francisco. Passengers - Messrs. C. Backus, F. Moran, A. Morgan, W. M. Baker, O. N. Burbank, T. R. Morgan, S. A. Campbell [sic], J. Bryant, Abbott, W. Bryant, Hyman . . .

Other sources:

Campbell Minstrels; Bryant, Dan, 1833-1875; autograph manuscript note on S. C. (Sherwood Coan) Campbell (1829-1874); "Sher Campbell", undated; Harvard Theatre Collection on Blackface Minstrelsy

https://hollisarchives.lib.harvard.edu/repositories/24/archival_objects/3481238 

https://iiif.lib.harvard.edu/manifests/view/drs:42594228$1i (DIGITISED)

Sher Campbell (real name Sherwood Coan) was born in New Haven, Conn, and is about 44 or 45 years of age. He was a carriage trimmer / in 1848 he joined the Campbell Minstrels taking the name of S. C. Campbell. The company was Jerry Bryant, Luke West, J. P. Carter, Harry Mesteyer, D. Raymond / he travelled with the Campbells until 1854 when he joined E. P. Christy and went to California / in 1855 he went to Australia with Jerry Bryant, Backus and others. Returned to San Francisco in 1856 . . .

ASSOCIATIONS: Dan Bryant, brother of Jerry Bryant above

Bibliography and resources:

James Grant Wilson and John Fiske, Appletons' cyclopaedia of American biography . . . volume 1, Aaron - Crandall (New York: D. Appleton and Company, 1888), 665

https://books.google.com.au/books?id=1h4MAAAAMAAJ&pg=PA665 (DIGITISED)

COAN, Sherwood, singer, b. in New Haven, Conn., about 1830; d. in Chicago, Ill., 25 Nov., 1874.
He was apprenticed to a carriage-maker, but went upon the stage under the name of Campbell, and, after being for several years a member of various minstrel troupes, appeared in concerts, and then in English opera, where he was very successful. He sang with Clara Louise Kellogg, Parepa-Rosa, Zelda Harrison, William Castle, and other well-known singers, and went with the Rosasmto England, where he attracted much attention. His voice was a low baritone, very sweet and powerful, and his style was simple and pleasing.

Sherwood C. Campbell, Music in Gotham

https://www.musicingotham.org/person/580 

CAMPBELL, William [1] (William CAMPBELL)

Musician, church musician, choral class instructor, precentor, conductor of psalmody (Scotch Kirk, Hobart), tailor

Active Hobart Town, VDL (TAS), 1841-42

https://trove.nla.gov.au/search?l-publictag=William+Campbell+precentor+c1841-42 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-William-precentor (shareable link to this entry)

ASSOCIATIONS: Succeeded Daniel Williams as leader of sacred music at St. Andrew's Church, Hobart Town; Music in Presbyterian churches (general)

Documentation:

[2 adjacent advertisements], Colonial Times [Hobart, VDL (TAS)] (20 July 1841), 1

http://nla.gov.au/nla.news-article8751899

REMOVAL. WILLIAM CAMPBELL. TAILOR AND HABIT MAKER.
Begs respectfully to acquaint his friends and the public, that he has removed to No. 55, Elizabeth-street, opposite to Mr. Waterhouse's Ironmongery Warehouse, where he solicits the favours of his friends, and from his knowledge of his trade derived both in London and Edinburgh, he trusts to be able to give satisfaction to his customers, to which the very utmost attention will be paid.
Hobart Town, July 19, 1841.

Sacred Music. WILLIAM CAMPBELL, Leader of Sacred Music in St. Andrew's Church,
intends opening a Class for teaching Sacred Music in all its parts, so soon as a sufficient number of pupils will come forward.
Boarding Schools, and Families will be attended at their respective residences, at convenient hours, and on moderate terms.
N.B. Wanted, Two good bass, three treble, one tenor, and one counter-tenor Singers, who will be liberally paid.
Hobart Town, July 19, 1841

[Advertisement], Colonial Times (1 February 1842), 2

http://nla.gov.au/nla.news-article8752400

Wanted Immediately, THREE or four respectable Females, with good voices, to sing in the Choir of St. Andrew's Church, to whom a liberal salary will be allowed.
Apply to William Campbell, 55, Elizabeth-street. January 28, 1842.

"QUARTER SESSIONS . . . MONDAY, APRIL 4", Colonial Times (5 April 1842), 3

http://nla.gov.au/nla.news-article8752541

On the Jurors being called, Messrs. Morgan and Campbell pleaded their exemption, under the Jury Act - the former as Coroner, (the appointment to which he held in his hand) and the latter as Precentor to the Scotch Kirk: they were severally allowed . . .

CAMPBELL, William [2] (William CAMPBELL; Mr. W. CAMPBELL; Mr. Wm. CAMPBELL)

Dancer, dancing master, professor of dancing, actor

Born (? Scotland), c. 1814
Arrived Hobart Town, VDL (TAS), by January 1846
Married Louisa HAYES (or HAYNES), York St. Baptist chapel, Launceston, TAS, 23 June 1853
Died Richmond, TAS, 15 February 1860, aged "46"

https://trove.nla.gov.au/search?l-publictag=William+Campbell+c1814-1860 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPBELL-William-dancing-master (shareable link to this entry)

DISAMBIGUATION: J. Campbell (circus performer, equestrian, actor, stage manager, active Royal Amphitheatre, Hobart, c. 1849)

Documentation:

[Advertisement], Colonial Times [Hobart, VDL (TAS)] (6 January 1846), 1

http://nla.gov.au/nla.news-article8757923 

ROYAL VICTORIA THEATRE. MORE NOVELTY. WEDNESDAY, JANUARY 7, 1846.
MR. CAMPBELL, The celebrated Dancer, originally of the Theatres Edinburgh, Glasgow, &c.,
lately from the American Theatres, will have the honour of making his debut on the above Evening.
MRS. CLARKE begs most respectfully to announce to her Friends and Patrons that the Evening's Entertainments will commence with E. Almac's Domestic Melodrama, entitled
THE Rover's Bride; OR, THE PIRATE'S DOOM . . . Miles Betterton (A young Essex Farmer, his first appearance) - MR. CAMPBELL . . .
The whole to conclude with the favourite Pantomime of HARLEQUIN AND THE FAIRY OF THE CORAL CAVE; OR, THE MAGIC PANCAKE . . . Paris, afterwards Harlequin - MR. CAMPBELL . . .
Stage Manager, MR. YOUNG. Scene Painter, MR. DUKE; Leader, MR. H. HOWSON . . .

ASSOCIATIONS: Anne Clarke (actor, proprietor); Charles Young (actor, manager); Henry Howson (musician, leader); Royal Victoria Theatre (Hobart venue)

"THE THEATRE", Colonial Times (13 January 1846), 3

http://nla.gov.au/nla.news-article8757941

. . . On Friday, the interesting drama of Black-eye'd Susan was produced, and most creditably performed . . . We had nearly forgotten to notice the new actor, Mr. Campbell, an omission we by no means intended to make, inasmuch as we are of opinion that Mr. Campbell is a decided acquisition to the Theatre; he walks the stage with the step of an experienced actor, his action is good, and his by-play excellent; his voice, however, is rather deficient, but we understand he is at present labouring under a severe cold; be this so or not, he is a most useful adjunct to the company . . .

"THE THEATRE", Colonial Times (30 January 1846), 3

http://nla.gov.au/nla.news-article8758035 

The Bronze Horse was repeatcd on Wednesday evening, and with increased eclat. We have already intimated that the chief attraction of the piece consists of those properties which render it a Spectacle, and the scene being laid mostly in China, there is good scope for showy display . . . The Lantern Dance at the end, with the great pagoda brilliantly illuminated, forms a very attractive finale to the piece, and crowns its splendour as a very beautiful "Spectacle." The music must not be forgotten, it is extremely beautiful and appropriate, from the spirited overture to the last chorus; and Mrs. Clarke warbled her notes very sweetly. Campbell's Highland Fling was well done . . .

[Advertisement], The Courier (21 February 1846), 1

http://nla.gov.au/nla.news-article2946247 

ROYAL VICTORIA THEATRE, CAMPBELL-STREET.
MONDAY, FEBRUARY 23, 1840. MRS. CLARKE'S BENEFIT . . .
The Interlude will consist of A NEW PAS SEUL, (arranged by Mr. Campbell,) Miss CLARKE.
After which, an Irish Song, entitled MOLLY BAWN, MR. FALCHON.
TO be immediately followed by the favorite WREATH DANCE, MRS. YOUNG . . .

ASSOCIATIONS: Anne Theresa Clarke (dancer, pupil); Arthur Falchon (vocalist); Jane Eliza Young (dancer)

[Advertisement], Colonial Times (27 March 1846), 1

http://nla.gov.au/nla.news-article8758357

ROYAL VICTORIA THEATRE . . . MONDAY, MARCH 30, 1846 . . .
The Interlude will consist of A NEW IRISH JIG, (Arranged by Mr. Campbell), MISS A. CLARKE . . .

"THE THEATRE", The Cornwall Chronicle [Launceston, VDL (TAS)] (9 September 1846), 691

http://nla.gov.au/nla.news-article65944352 

The "Miller and his Men" was very well acted on Monday, and amply repaid the pit-ites, who mustered in a strong body for the occasion . . . Mr. Campbell deserves a compliment for the proficiency of his pupil Walker, whose "Sailor's Hornpipe" was remarkably well done, and would do credit to any stage . . .

ASSOCIATIONS: Olympic Theatre (Launceston venue)

"FEROCIOUS ATTACK OF A DOG", The Cornwall Chronicle (17 February 1847), 135

http://nla.gov.au/nla.news-article65941820 

On Sunday morning last, an accident occurred, which, but for prompt assistance, might have been attended with fatal consequences, Mr. Campbell, dancing-master, who resides at Mr. Monaghan's, Britannia Inn, Wellington street, having occasion to go to the kitchen, which is at the back of the premises, about half-past six, was attacked by the dog, which is a remarkably powerful animal; he succeeded in throwing the dog on, but in the attempt his left arm was most dreadfully torn and lacerated. When on the ground, and at the moment, the infuriated beast was about to make a second attack, his cries brought the servant to his assistance, who succeeded in rescuing him from his perilous situation. Dr. Maddox was quickly in attendance and dressed his arm, but it will be some time before he will be able to follow his professional duties. Much blame is attached to the servant who has the charge of the dog, in not having him secured at the usual time.

"OLYMPIC THEATRE", The Cornwall Chronicle (29 March 1848), 2

http://nla.gov.au/nla.news-article65980776 

The house on Monday night was respectably attended. The Drama of the Dutch Trooper was well sustained; the dancing of Miss Eliza Thompson the "Taglioni" of Tasmania, was elegant, and Cohen did credit to Mr. Campbell whose pupil we understand he is. Mr. Cohen has in a short time obtained much proficiency in the Terpsichorean department which will at once prove what intuitive genius will accomplish under proper instruction; but (and we really do not like the word "but") let the good sense of the management prevent such songs as "Hurrah for the Roads" forming a portion of the evening's amusement; this and a little more attention to the author from a "rising" young man, and we will predict success to the Theatre.

ASSOCIATIONS: Eliza Thomson (dancer); Abraham Cohen (dancer)

[Advertisement], The Cornwall Chronicle (30 September 1848), 61

http://nla.gov.au/nla.news-article65980067

Fashionable Dancing and Ball-room Etiquette!!!
WM . CAMPBELL, Professor of Dancing,
Begs to return thanks, to his numerous friends and the public generally, for the support rendered him since his commencement; and at the same time, intimates that he has taken, for the better accommodation of his pupils, the "Cornwall Assembly Rooms," where his classes will meet every Monday and Wednesday at the usual hours.
Wm. Campbell (pupil of the celebrated "Angelo", Professor of Fencing, at the Long Rooms, Bond-street, London) will give tuition in that art; also, the Broad Sword Exercise, and other branches of the gymnastics.
Terms as usual, payable in advance.
W. C. begs to intimate to the Ladies and Gentlemen of Perth, and Longford, that he intends visiting those places professionally once a week,
to commence on Saturday next, the 7th of October.
For other particulars, enquire at the "Cornwall Hotel" Launceston; the "Queen's Head" Perth, and Mr. Clyne's, Longford.
Sept 30.

ASSOCIATIONS: Cornwall Assembly Rooms (Launceston venue)

"ROYAL VICTORIA THEATRE - NEW PANTOMINE", The Courier [Hobart, VDL (TAS)] (27 December 1848), 2

http://nla.gov.au/nla.news-article2967186 

The new pantomime of Puss in Boots, or Harlequin and the Fairy of the Feline Species, adapted from the popular juvenile tale, was produced at the Victoria Theatre last evening . . . The polite politic philosophic persevering Puss in prunella is sustained by Mr. Young; Harlequin, Mr. Buckingham; Clown, Mr. Bragg; and Pantaloon by Mr. Campbell. Mrs. Young, as Columbine, executes some graceful dances during the representation.

ASSOCIATIONS: Charles and Jane Young (actors, dancers); Edward Buckingham (actor, dancer); Philip George Bragg (comedian)

[Advertisement], The Cornwall Chronicle (14 March 1849), 436

http://nla.gov.au/nla.news-article65981962 

Fashionable Dancing, and Ball Room Etiquette.
MR. CAMPBELL, Professor of Dancing, in gratefully acknowledging the extensive patronage with which he has been favored since his commencement, has the honor of intimating to the ladies and gentlemen of Launceston and its environs, that he continues to give instructions at the Cornwall Hotel Assembly Rooms, in the above elegant accomplishment in all its fashionable variety as now taught in the principal academies, in England and the Continent.
Mr. C. begs to state also that at the request of several families he has now made arrangements which will enable him to pay a professional visit once a week at Campbell Town, Evandale, and Bishopsbourne, to commence early in April. Terms, as usual, one pound ten shillings per quarter, payable in advance. For days of teaching, &c., see circular.

[Advertisement], The Cornwall Chronicle (22 December 1849), 1018

http://nla.gov.au/nla.news-article65974989

GRAND BALL. MR. CAMPBELL, Master of the Ceremonies, Professor of Dancing,
has the honor of announcing to the Ladies and Gentlemen of Launceston and its environs, that his Annual Ball will take place on THURSDAY 3rd January, 1850, at the Cornwall Hotel Assembly Rooms.
He trusts that the parents and guardians of his pupils wilt favor him with their countenance and support.
Dancing to commence at 8 o'clock precisely.
N. B. - The programme and tickets of admission to he had of Mr. C., at the Cornwall and Launceston Hotels.
Tickets 6s each; Children under 12 years, 4s each.
The younger branches dancing will terminate by 11 o'clock, after which the dancing will be resumed immediately by the assembly, when the band will be entirely at their service, conducted by the Master of the Ceremonies.
Pupils and their friends intending to patronise the Ball, are respectfully invited to attend on the Tuesday and Thursday previously, to practice their various dances at the class room.
Mr. C's lessons will be resumed both in town and country on the 18th January, 1850, when a continuance of the patronage he has hitherto received is most respectfully solicited.
December 12, 1849.

"Mr. Campbell's Fancy Dress Ball", The Cornwall Chronicle (16 February 1850), 109

http://nla.gov.au/nla.news-article65976148 

This ball, which is to take place on Tuesday evening next the 19th inst., we are informed is to be quite a novel affair, and one that will deserve the support of the community at large. The master of ceremonies is sparing neither exertion nor expense to render the ball deserving of the countenance of the most respectable of his patrons and pupils. There are some splendid and appropriate transparencies in preparation for the ball room, representing Jullien's celebrated "Polka" as danced at his annual balls, also "The Ancient Highland Reel of Tulloch," as danced before Her Majesty Queen Victoria at Taymouth Castle, on which occasion, we understand, Mr. Campbell took a prominent part. This being Mr. C's Farewell previous to the devotion of one half his time on the southern side of our island, we earnestly hope that his friends will all come forward and manifest their appreciation of his indefatigable exertions amongst us.

MUSIC: Reel o'Thulichan (see Tune archive) was performed for queen Victoria at a ball at Taymouth Castle in 1842

"To the Editor of the . . .", Colonial Times [Hobart, TAS] (16 July 1850), 2-3

http://nla.gov.au/nla.news-article8767527 

SIR, - There appearing to be no small degree of excitement amongst the juvenile members of Hobart Town families, with regard to that healthful and inspiriting accomplishment - dancing; and noticing in your last an advertisement of Mr. Campbell (the popular professor and teacher), I beg permission to corroborate the statement made as to a growing desire to attain proficiency in the art. Mr. Campbell's peculiar style (I know from experience) is such [3] as to simplify instruction to the learner, and prevent the disagreeable tedium incident to the old methods. Being himself from Scotland, his mode of teaching the Highland Reel is peculiarly national, a quality frequently deficient in the systems of other professors. For instance, the time is pleasingly varied in Mr. Campbell's Reel, by the adoption of the Strathspey at the commencement of the dance, succeeded by the lively reel step, a style which teachers from this side the "Border" attach no importance to. As one of Mr. Campbell's oldest pupils in the colony, I am desirous to do him the further justice to mention that his success in originating juvenile assemblies at the Cornwall Assembly Rooms, Launceston, was highly satisfactory; and as an ardent admirer of that gentleman's art, and feeling some enthusiasm for its advancement in this neighbourhood, I trust the time is not distant when periodical balls for the middling classes of society and juvenile assemblies (similar in character and effect to those so popular on the other side) will be permanently established. The firm persuasion that this is a public matter, and not merely laudatory of Mr. Campbell, induce me to trouble you with this communication. The subject is not unworthy of editorial notice, as the healthfulness and rational amusement of the community are involved; and by a cultivation of this and kindred accomplishments the taste of society is likely to be improved; its social character advanced; and recreations of an immoral and debasing tendency repudiated.-
I am, Sir, yours obediently,
A Pupil.
Macquarie Street, July 8, 1850.

"BALL", Colonial Times (25 July 1851), 3

http://nla.gov.au/nla.news-article8769636 

On Wednesday evening last, Mr. Campbell's Ball at the Royal Victoria Theatre, was numerously attended. The quadrille band of H. M. 99th regiment were in attendance and lent their valuable aid to the festivities of the evening. At about seven o'clock the dancing of the younger branches commenced, and retired at half-past eleven, to make room for the assembly. The dancing was excellent, and reflects much credit on Mr. Campbell's system.

ASSOCIATIONS: Band of the 99th Regiment (military)

"GRAND BALL", The Courier (26 July 1851), 3

http://nla.gov.au/nla.news-article2960499 

The first grand ball got up by Mr. Campbell, at the Victoria Theatre, came off on Wednesday evening last, and was conducted in the most respectable manner. At a first experiment it succeeded, and Mr. Campbell will perhaps be induced to repeat it. The whole of the pit was boarded over, and tastefully crayoned. The interior of the theatre was decorated with sylvan boughs, and part of the stage was converted into a refreshment room for Mr. Campbell's pupils. The theatre was well lighted, and the boxes were filled with a select company, probably two hundred of whom were in attendance. The pupils present were about eighty; their dancing elicited general approbation. Amongst the dances, the Highland Fling, by three young gentlemen in full costume, and the Wreath Dance, were much applauded. The children left early. The chamber band of H. M. 99th Regiment was present, by permission of Colonel Despard, C. B., and played some favourite sets during the evening. A private quadrille band was also in attendance.

"PLAIN AND FANCY DRESS BALL", The Courier (27 August 1851), 3

http://nla.gov.au/nla.news-article2960336 

IN conjunction with Mr. Charles Jones, Mr. Campbell gives a second Grand Ball, at the Royal Victoria Theatre, this evening, to which subscribers will be admitted in Characteristic Dresses of all Nations . . . On reference to the printed programme, it will be seen that Messrs. Campbell and Jones will introduce a series of "Tableaux Vivants," illustrative of the Roman Sculpture, the "Greek Slave," &c., and that the pupils will dance during the evening the various dances taught and practised at the academy. The waltz and gallopade of Germany; the mazourek and krakowiaque of Poland; the cosaque of Russia; the reel of Scotland; and the quadrille and cotillon of France, are variously intermingled. The tarantella of the Neapolitans, and the bolero and the fandango of the Spaniards, would complete the foreign melange. The box-front of the house will be tastefully decorated with indigenous and exotic plants and evergreens and the whole will be brilliantly lighted. The stage portion, which is thrown into the salon de dance, will be filled up entire as a Chinese Pavilion, with variegated lamps . . .

ASSOCIATIONS: Charles Edward Jones (actor, manager)

[Advertisement], Hobarton Guardian, or, True Friend of Tasmania (10 July 1852), 2

http://nla.gov.au/nla.news-article173062239 

Fashionable Dancing, Fencing and Broad-Sword EXERCISE.
Mr. W. CAMPBELL, PROFESSOR OF DANCINC, FENCING, &c.,
HAS the honour to announce to the Ladies and Gentlemen of Hobart Town and its vicinity, that he will resume his course of instructions in the above elegant accomplishments in all their fashionable varieties, as now taught in London, early in July.
Mr. C. begs also to acquaint his pupils in particular, that he has embraced the opportunity (during his stay in Sydney) of procuring every novelty in his profession as introduced in London last season, having had actual practice both in Fencing and Dancing with several of the best Artists recently arrived in Sydney, from the Continent.
He therefore trusts that, in addition to every novelty, the new Quadrille Steps, &c., and his expeditious method of imparting instruction, already so often acknowledged, will ensure to him a continuance of their patronage, which is most respectfully solicited.
"Victoria Hotel," Sydney, 2nd June, 1852.

"BALL", The Tasmanian Colonist [Hobart, TAS] (13 September 1852), 2

http://nla.gov.au/nla.news-article226523932 

Mr. Campbell, professor of dancing, gives a Ball in the Academy d'Appollon, Harrington-street, on next Wednesday night. A very full attendance is expected, as these balls are always got up by Mr. Campbell with exceeding good taste.

"MR. CAMPBELL'S BALL", Hobarton Guardian, or, True Friend of Tasmania (8 December 1852), 3

http://nla.gov.au/nla.news-article173063113 

This ball, which took place at the Mechanics' School of Arts, on Wednesday evening last, was, notwithstanding the inclemency of the weather, well and most respectably attended. The hall was tastefully decorated with flowers and evergreens, and the dancing was conducted with that ability and ta6te for which Mr. Campbell is so celebrated. The Highland Fling, danced by Master Goodby, in complete Highland costume was an admirable performance, and very remarkable too, when it is considered that the juvenile performer had received only twelve lessons. Mr. Campbell's other pupils acquitted themselves with ability and everything went off with great eclat. The refreshments, supplied by Mr. Warner, confectioner, of Liverpool-st., were of the most rescherche description, and afforded the highest satisfaction. We are glad to find that the committee of the School of Arts have opened their Institution to the admirers of Terpsichore, who, as one of the Muses, is certainly entitled to some attention on their part.

See also advertised program of dances, [Advertisement], Hobarton Guardian, or, True Friend of Tasmania (27 November 1852), 2

http://nla.gov.au/nla.news-article173063058 

Marriages in the district of Launceston, 1853; Tasmanian names index; NAME_INDEXES:849678; RGD37/1/12 no 1160

https://stors.tas.gov.au/NI/849677 

https://stors.tas.gov.au/RGD37-1-12p447j2k (DIGITISED)

No. 300 / June 23 1853 at York St. Chapel Launceston / William Campbell / 39 / Teacher / Louisa Hayes [sic] / 22 / Spinster . . .

ASSOCIATIONS: Campbell and Louisa Hayes or, probably correctly, Haynes, had been living together as husband and wife since the birth of their first child, Flora Louisa (born Hobart, 14 September 1850)

"DEATH", The Hobart Town Advertiser (6 May 1854), 2

http://nla.gov.au/nla.news-article264636562 

At Hobart Town, on Friday, the 5th May, Ann Victoria, infant daughter of Mr. W. Campbell, Professor of Dancing, aged four months.

"ROYAL VICTORIA THEATRE", The Courier [Hobart, TAS] (29 June 1854), 2

http://nla.gov.au/nla.news-article2247651 

The favourite operatic Scottish Drama of "Rob Roy" was produced at the Royal Victoria Theatre last evening, the during outlaw being personated by Mr. C. Kemble Mason, Baillie Nicol Jarvie by Mr. Campbell (the professor of dancing), Helen McGregor by Mrs. Brougham; and Diana Vernon by Madame Carandini . . . The orchestral accompaniments were worthy of especial commendation, being conducted by Mr. Lavenu, whose taste and judgment materially aided the success of the piece. The histrionic powers of Mr. Campbell are considerable, and in the delineation of the arduous character of the "Sautmarkit Magistrate," he was very successful, his sparkling eccentricities of humour being rendered in the glibbest Lowland accent, his intimate acquaintance with which was evidenced throughout the evening . . .

ASSOCIATIONS: Emma Brougham (actor); Maria Carandini (actor, vocalist); Lewis Henry Lavenu (musical director)

"COURT OF REQUESTS . . . THIS DAY - COUNTRY CASES. Campbell v. Lord", The Courier [Hobart, TAS] (5 August 1854), 3

http://nla.gov.au/nla.news-article2246685 

Action to recover £3 3s. - for work and labour done. The plaintiff, the well-known professor of dancing, stated that he gave a course of lessons to the defendant's family, for which he charged the usual fee. Mr. Lord thoroughly understood what the cost of tuition would be. Mr. Crisp, who appeared for the plaintiff, at this stage of the proceeding informed the Court that Mr. Lord had just sent word that he was willing to pay the claim. Judgment was given for the plaintiff.

"TASMANIAN ASSEMBLY ROOM", The Courier (3 June 1856), 3

http://nla.gov.au/nla.news-article2504105 

Mr. Campbell, the well-known professor of dancing, has built a new Assembly Room, to receive the above designation, in Bathurst Street, on the site of the American Bowling Saloon, destroyed some months ago by fire. The dancing floor is 75 feet by 30. The entrance, cloak room, and ladies' dressing room are ample and commodious. The upper end is fitted up as a refreshment room. The walls are elegantly papered in panelling, the ceiling is artistically draped. The whole is to be lighted with gas, and at present with wax candles, of which the gas fittings will sustain some four of five dozen. The Assembly Room stands separate from the adjoining buildings; and is designed, among other uses, as a class room for pupils in the accomplishment of dancing. Mr. Campbell will give the opening Assembly Hall to-morrow evening, in honour of Her Majesty's Birthday.

"HOBART TOWN", The Cornwall Chronicle (23 July 1856), 5

http://nla.gov.au/nla.news-article65724664 

Mr. Campbell, the dancing master, attended at the police court, with his sureties, Messrs. Josiah Hand and Wm. Gray, for the purpose of entering into recognizances on Mr. Campbell obtaining a licence for the theatricals, &c., at the new dancing rooms in Bathurst-street. The recognizances were accepted.

ASSOCIATIONS: Josiah Hand (promoter)

"THE PEACE HOLIDAY", The Hobarton Mercury (1 August 1856), 3

http://nla.gov.au/nla.news-article3338839 

The wet and unpleasant state of the weather on Wednesday threw a gloom over the intentions of the citizens in celebration of the ratification of the peace; indeed the whole affair seemed to be regarded by the public with a degree of apathy which we never before witnessed on any similar occasion . . . In the evening the grand affair was the Ball at Government House, which was truly worthy of the occasion . . . About two hundred and fifty cards were issued, and the dancing was kept up with great spirit till three o'clock in the morning. There were also outer balls and amusements for the enjoyment of the citizens generally; At Mr. Campbell's New Tasmanian Assembly Rooms, at Del Sarte's Room, by Mr. Crowther; a Bal Masque at the Albert Theatre, and a ball also at the Inkermann Inn, Argyle street, all of which were tolerably well attended . . .

ASSOCIATIONS: On the arrival in Hobart of news of the Treaty of Paris (end of Crimean War); Frederick Crowther (dancing master); Del Sarte's Rooms (Hobart venue)

[Advertisement], The Tasmanian Daily News (23 September 1856), 4

http://nla.gov.au/nla.news-article202387884 

THE GRAND TASMANIAN ASSEMBLY ROOMS. THE GRAND BALL Is postponed till TUESDAY, 22nd SEPTEMBER, 1856.
W. CAMPBELL, Professor of Dancing, has the honour to announce to the Ladies and Gentlemen of Hobart Town and its vicinity that his pupils' FIRST QUARTERLY BALL Will take place at his New Assembly Rooms, Bathurst-street, on TUESDAY, 22nd inst., when the honour of their patronage is respectfully solicited.
The juvenile pupils will commence dancing at six o'clock, and terminate at ten precisely, after which the dancing will become general.
In the course of the evening several fancy dances will be introduced, as originally danced by Mr. Campbell's pupils at the Royal Victoria Theatre, Hobart Town.
Also, by particular desire, the "Minuette de la Cour et Vestris Gavotte" (flrst time these six years) by Mr. Campbell and pupil.
The German Band in attendance. Single Tickets 5s.; Family ditto, to admit five, £1 1s.; to be had at the Assembly Rooms only.
Pupils intending to patronise the Ball, and to take lessons during the next quarter, will confer a favour by entering immediately.
The juvenile class meets every Wednesday and Saturday from four till six o'clock. 15th September.

"BALL AT SORELL", The Tasmanian Daily News (12 January 1857), 2

http://nla.gov.au/nla.news-article202990158 

We are requested to state that the ball which was advertised to be held Sorell, on the 13th instant, under the direction of Mr. Campbell is postponed to the 15th instant. We believe that this entertainment will be one of a very superior description. Mr. Campbell's known capabilities in conducting and arranging such assemblies, as well as the many high encomiums passed by the parents of pupils who have learnt dancing of that gentleman warrant us in forming such an impression.

"COUNTRY DISTRICTS", The Hobart Town Mercury (10 June 1857), 3

http://nla.gov.au/nla.news-article3244123 

Mr. Campbell, the Professor of Dancing, has commenced a class in the old school room at Bothwell, where about 40 children attend. He has also, we believe, a private class of 10 in the township. His terms are very moderate, and he will therefore be well supported.

"BALL AT GREEN PONDS", The Courier (17 August 1857), 2

http://nla.gov.au/nla.news-article2460439 

A grand ball was given by Mr. Campbell, at Ellis's Hotel, on Thursday night. Dancing was kept up with enthusiasm to a very late hour, and the company separated much pleased with the entertainment.

"ANNUAL LICENSING MEETING . . . Granted", The Hobart Town Advertiser (2 December 1858), 2

http://nla.gov.au/nla.news-article264651020 

Wm. Campbell (the Professor of Dancing) obtained a licence for the "Garrick's Head," Liverpool-street, now held by John Asbury.

'INSOLVENT COURT. WEDNESDAY, APRIL 27", Hobart Town Advertiser Weekly Edition (30 April 1859), 8

http://nla.gov.au/nla.news-article264714744 

In re WILLIAM CAMPBELL, (Professor of Dancing). First meeting - Mr. Lees for insolvent.
Debt proved - John Symons, £17 7s 6d, balance of rent for premises (the Assembly Room) in Bathnrst street. (Crisp).
J. Leslie Stewart, £20 19s goods (Crisp).
An order was made that insolvent furnish accounts since he took the Garrick's Head public house.
Adjourned meeting and on discharge, fixed for May 11.

[Advertisement], The Hobart Town Daily Mercury (7 April 1859), 3

http://nla.gov.au/nla.news-article3254258 

Fashionable Dancing. WILLIAM CAMPBELL, Professor of Dancing,
BEGS to inform his Patrons and Friends of the various Country Districts, viz -
Richmond Green Ponds, Brighton, Jerusalem, Bothwell, New Norfolk, Hamilton, &c.,
that he will resume his course of instruction in the above elegant accomplishment early in May, 1859,
when he trusts to be honored with a continuance of the patronage so liberally awarded to him during his former visits.
In addition to the Quadrille, Polka, &c., the much admired Dances the Varsoviana, Polka Mazurka, Cellarius Waltz, &c., will be introduced this season.
Terms as usual, payable in advance. For other particulars see circulars.
Tasmanian Assembly Rooms, Bathurst street, April 9th, 1859.

Deaths in the district of Richmond, 1860; Tasmanian names index; NAME_INDEXES:1202051; RGD35/1/29 no 935

https://stors.tas.gov.au/NI/1202051 

https://stors.tas.gov.au/RGD35-1-29p123j2k (DIGITISED)

No 307/935 / 15th Feby. '60 / William Campbell / 46 yrs / Dancing Master / Accidental Injuries Verdict Coroner's Inquest . . .

"RICHMOND (From the Correspondent of the Advertiser) . . . FATAL ACCIDENT", Launceston Examiner (18 February 1860), 4

http://nla.gov.au/nla.news-article38999288

An Inquest was held at the Union Hotel, Richmond, to enquire into the cause of the death of Mr. William Campbell, professor of dancing, late of Hobart Town, who was killed on the 15th Instant. From the evidence brought forward it appeared that Mr. Campbell had been residing at Brighton, and a few days ago made arrangements with John Campbell of that place, who has two bullocks that work in harness like horses, to take his furniture, wife and three young children to Sorell, where he was going to reside, and for this purpose got as far as Richmond; stopping the night at Mr. Cullogh's, and left for their intended new house about 9 o'clock on the following morning, Mrs. Campbell and the children riding on the top of the load, the deceased and driver (J. Campbell) walking. After passing the first gate, about a mile from Richmond, there is a rise of a hill, which the leading bullock was not willing to ascend. The driver stopped his team and took him out as the other was able to take up the load, and while securing the bullock to a tree about twelve yards distant, Mr. Campbell got upon the dray, probably with the intention of securing something on it, for he was seen pulling at a rope (Mrs. Campbell and the children got out to walk up the hill where they first stopped). By some means he fell from the dray on the bullock, whose head was rather towards Richmond. The animal immediately started off at a fearful pace down the hill, dragging the deceased under the cart, and it was not until it was stopped at the gate before mentioned that any aid could be afforded to the unfortunate deceased. He was found to have a portion of the rope fastening the load round the ankle of one of his legs, by which he was borne along at a headlong pace. The deceased was not quite dead when Campbell got up to him and cut the rope, and the body fell on the ground. He spoke to deceased, who asked to be raised up he then said, "take me away from this place;" to which Campbell replied, "lay your head down and be quiet till I go into Richmond for medical and other assistance." Mrs. Campbell and the children by this time returned to the spot, and a scene ensued that baffles description. It was ultimately found that his thigh was broken, as well as receiving injuries about the abdomen, from which the bowels protruded; it was frightful to look at. The jury returned a verdict of Accidental Death.

[Advertisement], The Hobart Town Daily Mercury (20 February 1860), 3

http://nla.gov.au/nla.news-article19468103

TASMANIAN ASSEMBLY ROOMS, BATHURST STBEET.
THE sympathies of the public are respectfully solicited on behalf of the Widow of the late Mr. William Campbell, formerly professor of Dancing in this city.
The friends of the deceased are anxious to assist the widow and children and have proposed to give a
BALL for such purpose, in the room formerly occupied by the deceased, and which has been placed at the disposal of Mrs. Campbell by the present proprietor.
The Ball will take place on WEDNESDAY, February 29.
A Ticket to admit a Lady and a Gentleman Five Shillings, to be obtained from Mr. Lawrance, stationer, Elizabeth-street, Mr. Doyle, Bookseller, Murray-street, Mr. Jackson, Bookseller, Liverpool-street, Mr. Cochrane, furniture warehouse, Argyle street, Mr. Bailey, hairdresser, Liverpool-street, and at the Assembly Rooms.

[Advertisement], The Mercury (3 July 1865), 1

http://nla.gov.au/nla.news-article8833741

DANCING DEPORTEMENT. ADOLPHUS F. SPILLER, (Pupil of Carandini and Campbell) . . . Le Imperial, the New Quadrilles, and Stage Dancing taught . . .

ASSOCIATIONS: Adolphus Frederick Spiller (pupil); Gerome Carandini (dancing master)

CAMPION, Thomas (Thomas CAMPION)

Musician, bandsman, Band of 50th regiment, corporal of the band (in India), bandmaster (Queen's Orphan School)

Born Abbylace, Queen's county, Ireland, 1813; son of Francis CAMPION
Enlisted (50th Regiment), Weedon Northamptonshire, England, 19 December 1827 (aged "14")
Arrived [1] (with headquarters of regiment) Sydney, NSW, 18 November 1834 (per Hooghley, from the Downs, 29 July)
Departed Sydney, NSW, 29 January 1841 (per Crusader, for India) Arrived [2] Hobart, TAS, 3 April 1850 (per Eliza, from London)
Married Bridget WARD, Hobart, TAS, by c. 1853
Died Hobart, TAS, 25 January 1876, aged "56/57" [sic]

https://trove.nla.gov.au/search?l-publictag=Thomas+Campion+c1819-1876 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAMPION-Thomas (shareable link to this entry)

ASSOCIATIONS: Band of 50th regiment (military)

Documentation:

Pay-list of the 50th Regiment, 1 April to 30 June 1838; Australian Joint Copying Project, from UK National Archives, WO12/6131

https://nla.gov.au/nla.obj-1706147463 (DIGITISED)

PRIVATES . . . 688 / Campion Thomas / Band . . .

Discharge, no. 688, corporal Thomas Campion, 50th Regiment, ; UK National Archives, WO97/637/14

https://search.findmypast.com.au/record/browse?id=GBM/WO97/0637/014/001 (PAYWALL)

Her Majesty's Fiftieth Reg't of Foot . . . Lodiana [Ludhiana, India], 1 October 1846 . . .
Discharge of Corporal Thomas Campion, no. 688 . . . by trade a Labourer
was born in the Parish of Abbylace . . . in the county of Queens, and was attested for the Fiftieth Regiment of Foot at Weedon in the County of Northamptonshire on the 19th Dec'r 1827 at the aged of Fourteen years . . .
[service] 14 years 289 days . . . of which . . . at New South Wales 6 years 150 days / at East Indies 5 years 148 days . . .
Discharge due to [blank] / . . . Conduct and Character have been good.
This man was present in the Action of Punniar 29 Dec'r 1843 was also present in the Action of Moodkee and was wounded.
Private / 16th Dec'r 1827 [sic] / Under age
Private / 1st Jan'y 1829 / Under age
Drummer / 25th May 1830 / Under age
Drummer / 16th Dec'r 1831 / [of age]
Private / 1st Aug't 1832
Corporal / 27th Feb'y 1845 / [to] 30th Sept'r 1846 . . .

NOTE: To the above record is also appended Campion's attestation papers, and a letter from Horse Guards, London, dated 15 December 1827, approving his enlistment "to be trained as a Drummer, at the usual bounty of Two Guineas for his equipment with necessaries"; however, perhaps because there was no vacancy, he was instead first enrolled as a private, and not entered as a drummer proper until 25 May 1830; see also on the Battle of Punniar (29 December 1843) and the Battle of Mudki (December 1845)

1854, births in the district of Hobart; Tasmanian names index; NAME_INDEXES:958709; RGD33/1/5/ no 1304

https://stors.tas.gov.au/NI/958709 

https://stors.tas.gov.au/RGD33-1-5-p092j2k (DIGITISED)

1304 / August 16th [1854] / Thomas / male / [son of] Thomas Campion / Bridget Campion formerly Ward / Laborer . . .

ASSOCIATIONS: There is no civil record of Thomas's marriage (at St. Joseph's church?) to Bridget Ward, who had arrived, aged 18, from Plymouth as an immigrant on the Beulah on 3 September 1851

"THE QUEEN'S ASYLUM. DISTRIBUTION OF PRIZES", The Mercury (19 December 1864), 2

http://nla.gov.au/nla.news-article8830048

The annual ceremonial of distributing the prizes awarded at previous examinations to the children of the above Institution came off in due course on Saturday afternoon . . . Shortly after the general body of the children had taken their allotted places the recently organised band of the establishment entered upon the scene, and formed thence forward a prominent and most agreeable feature of the display. The members of the band, 25 in number, and for the most part rather below than above the average size of the inmates, were dressed in a neat uniform of blue with red facings. Their instruments consisted of fifes and drums, and a bugle. The last named instrument was very creditably played by Samuel Grimshaw, the boy who, as will be seen below, took one of the Fox's prizes for the year. Grimshaw acquired his knowledge of bugle playing from the carpenter of the Institution, bugler Luckhurst, of the City Guards. The leader of the band is Bandmaster Campion, also of the City Guards, and the manner in which they executed several pieces of music, including the National Anthem and British Grenadier, was surprisingly good, especially when regarded in connection with the fact that it is only some three months since the band was originated. The idea of its formation, we need scarcely remind our readers, was first promulgated, and as far as we are aware conceived by Mr. Boyd, the gentleman now on the eve of retiring from the management of the Asylum, and we are certain that none of those who witnessed its performance yesterday, will fail to endorse our opinions that in this matter at least the officer we have named has conferred a substantial boon upon the little people in his charge . . .

ASSOCIATIONS: Samuel Grimshaw (bugler); Luckhurst (bugler)

"RELIGIOUS, BENEVOLENT, &c.", The Advertiser [Hobart, TAS] (23 December 1864), 3

http://nla.gov.au/nla.news-article264730371 

. . . The Asylum Drum and Fife Band also attracted much attention. It numbers 25. The uniform is a coarse dark grey cloth with scarlet trimming, and was first donned on this occasion. The instructor is Mr. Campion, an old soldier and a medallist, and a bandsman in the City Guards, and it is evident that he has bestowed the utmost pains on the juvenile pupils. The oldest boy in the band is the bugler, Samuel Grimahaw (Fox's prize-taker for 1864), and he has been instructed by Mr. Luckhurst, the carpenter in the Institution, who is also a bugler in the City Guards. The little fellows seemed to be not a little proud of their smart appearance, and as they stood apart at the entrance to the enclosure they were evidently envied by many of the other boys. The Governor, attended by Captain Stewart, arrived at 4 p.m. . . . On entering the enclosure the Drum and Fife Band played the National Anthem, and the bugler sounded a salute . . .

"HOBART TOWN AND THE SOUTH . . . QUEEN'S ORPHAN ASYLUM", The Cornwall Chronicle [Launceston, TAS] (25 February 1865), 3

http://nla.gov.au/nla.news-article66456507 

Yesterday the children of the Queen's Orphan School marched from the Institution, at New Town, to Cornelian Bay, there to enjoy their annual feast, in connection with Fox's bequest. It will be remembered that some year's ago, Mr. Fox, a humble man, but a warm friend to the orphan, left by will a sum of £500, the interest to be appropriated to an annual medal and prize in money for the best boy and girl in the Orphan Asylum, the balance being available for a feast to the children generally . . . The drum and fife band of the Institution, founded by the late Superintendent, was on the ground, the little performers in their band uniform, with Mr. Campion, the band master. The members have not been taught sufficiently long to be proficient, but they played two or three tunes, including the National Anthem, creditably . . .

1868, deaths in the district of Hobart; Tasmanian names index; NAME_INDEXES:1148389; RGD35/1/7 no 7605

https://stors.tas.gov.au/NI/1148389 

https://stors.tas.gov.au/RGD35-1-7p315j2k (DIGITISED)

7605 / 13th November [1868] / Thomas Campion (Died Goulburn Street) (Born Hobart Town) / Male / 14 Years / Musician's son / Scofula . . .

QUEEN'S ORPHAN ASYLUM. ANNUAL MEETING FOR PRESENTING REPORTS AND DISTRIBUTION OF PRIZES", The Mercury (23 January 1869), 3

http://nla.gov.au/nla.news-article8856832 

The annual meeting for distributing prizes in books and money to the children of the Queen's Orphan Asylum, pursuant to the will of Mr. William Fox, deceased, and presenting reports of examinations, took place at the Asylum, New Town, yesterday afternoon at three o'clock, in the presence of the Governor, the Hon, Mrs. Du Cane, the Bishops, and a large party of ladies and gentlemen who take an interest in the Orphan School children . . . The drum and fife band appears to be trained by Mr. Campion, who is also Industrial Master. The performers kept admirable time and played to good effect such airs as "Darby Kelly," "Be kind to thy Father," "Day before the Battle," "Garibaldi's March," &c. . . .

"QUEEN'S ASYLUM. ANNUAL DISTRIBUTION OF PRIZES", The Mercury (30 December 1869), 3

http://nla.gov.au/nla.news-article8863113 

Yesterday afternoon, the annual distribution of prizes to the girls and boys of the Queen's Orphan Asylum, took place in the quadrangle of the new infant school buildings, in the presence of His Excellency the Governor, the Hon. Mrs. DuCane, and a large party of officials and others who usually take an interest in the ceremony . . . The children belonging to the three departments of the Institution, namely, boys, girls, and infants, were conducted to the quadrangle, the juvenile band, led by Mr. Campion, playing them up with lively music . . .

[News], The Tasmanian Tribune (4 December 1872), 2

http://nla.gov.au/nla.news-article200377779 

Quite a stir was created in Elizabeth-street at 2 o'clock this afternoon by the procession of the Orphan School children on their way to the Town Hall, to witness the diorama. The procession was headed by the School band, directed by Mr. Campion, which played the air "Try, try again." The big drum is evidently too large for the juvenile who plays it, for he has an assistant yoked in front, while he is yoked behind; but nevertheless he thumps away right heartily . . .

"LOCAL", The Tasmanian Tribune (9 October 1875), 2

http://nla.gov.au/nla.news-article200370648 

Almost every city, and indeed nearly every provincial town, has its band, but Hobart Town for some years past has been, deprived of this really essential attribute. There are few who will not remember the entertainment which the military and volunteer bands afforded the citizens some years ago, and the memory of the liveliness and pleasure which the music of our red and blue coats the created will lead to the appreciation of the effort that is now being made by the St. Patrick's Society to inaugurate in connection with their association a really first-class band. All the necessary instruments for the formation of a drum and fife band, the cost of which will amount to about £50, have arrived, and the embryo musicians have for some time past been under the able management of Mr. Campion, the bandmaster at the Orphan Asylum. Mr. Hoare, the energetic secretary of the St. Patrick's Society, has for some time past been agitating for the formation of a band, and now that his suggestions have been followed by some practical steps being taken in the establishment of the desired object, we trust that the new band will shortly parade our city, and treat us to some of its choicest selections of music.

1876, death in the district of Hobart; Tasmanian names index; NAME_INDEXES:1152464; RGD35/1/8 no 3193

https://stors.tas.gov.au/NI/1152464 

https://stors.tas.gov.au/RGD35-1-8p369j2k (DIGITISED)

3193 / 25th January 1876 / Thomas Campion (Died Goulburn Street) (Born England [sic]) / Male / 57 years / Band Master &c. Queen's Asylum / Cardiac Dropsy . . .

"DEATHS", The Mercury (27 January 1876), 1

http://nla.gov.au/nla.news-article8942692 

CAMPION. - On the 25th January, at his residence, Amelia-street, Upper Goulburn street, Thomas Campion, in the 57th year of his age, for many years corporal of the band of the 50th Regiment, and instructor of the drum and fife band of the Queen's Orphan School. Friends are respectfully invited to attend his funeral, which will move from his late residence on Friday, 28th instant, at 2 o'clock.

"LOCAL", The Tasmanian Tribune (28 January 1876), 2

http://nla.gov.au/nla.news-article200368462 

The death of an old soldier, Mr. Thomas Campion, took place on Wednesday last. Mr. Campion enlisted in H. M. 50th Regiment at the early age of 14, and served in New South Wales from 1834 to 1841 when he landed in the East Indies, and was engaged in some of those glorious actions on the banks of the Sutlej. He was in the action at Punniar (for which he had the bronze star), also at Moodkoo (wounded), Aliwal, Ferozeshah, and Sobraon, for which he held the medal as one of the army of the Sutlej. He arrived in Tasmania in 1850 as a military pensioner, and was in the Ordnance department for some years. Lately he was out door Inspector and band master at the Queen's Asylum. The new city band as a mark of respect (for he was an old bandsman of this city) will, as far as it is passible, give him a military funeral, by playing the usual dead march; he will be buried to-day (Friday) at 3 p.m.

"DEATH OF A VETERAN", Launceston Examiner (29 January 1876), 2

http://nla.gov.au/nla.news-article37139387 

Our obituary notices on Thursday, says the Mercury, contained the death of a veteran, Mr. Thomas Campion. Deceased entered her Majesty's service at the early age of 14, in the same regiment as his father (the 50th Queen's Own), in 1827. After serving a few years in Great Britain; he embarked with his regiment in 1834 to New South Wales, and in the year 1841 sailed with his regiment for the East-Indies, and was there engaged in several actions. He received the bronze star for Punniar, and the Sutlej medal for the other engagements. Mr. Campion arrived in Tasmania in 1850 by the ship Eliza, as one of the it guard. He was for many years employed under Major Douglas in the Ordnance Depot in this city, and lately at the Queen's Asylum as out-door inspector and band master.

"LOCAL", The Tasmanian Tribune (29 January 1876), 2

http://nla.gov.au/nla.news-article200366383 

The funeral of the late Mr. Thomas Campion took place yesterday, at the Sandy Bay Cemetery. The funeral cortege was preceded by the city hand, under the conductorship of Monsieur Del Sarte, and which played the "Dead March in Saul" as the cortege proceeded along the streets. The hearse was followed by several members of the Odd Fellows' Society, of which the deceased was a member. We noticed one very great neglect in the attendance, viz., that of some representatives from the Queen's Asylum schools. The deceased had for many years laboured hard to teach the boys the use of the drum and fife, resulting in the present very creditable drum and fife band of the Orphan School, and surely some boys might have been found willing to pay the last mark of respect possible to their old preceptor.

ASSOCIATIONS: Camille Del Sarte (musician)

"HOBART TOWN AND THE SOUTH", Launceston Examiner (1 February 1876), 3

http://nla.gov.au/nla.news-article37139453 

The remains of the late Mr. Campion were interred on Friday afternoon, at the Sandy Bay cemetery. The cortege, which left St. Mary's Cathedral, at 4 p.m. was preceded by the newly-formed City Band. At Sandy Bay they were overtaken by a most violent storm of thunder and rain, which continued when the body was being lowered into the grave.

See also a longer report with more detail, in "SOUTHERN NEWS", The Cornwall Chronicle (31 January 1876), 3

http://nla.gov.au/nla.news-article72524209 

"SUMMARY FOR EUROPE . . . OBITUARY", The Mercury (21 February 1876), 4

http://nla.gov.au/nla.news-article8943229 

Our obituary notices announce the death of a veteran Mr. Thomas Campion. Deceased entered Her Majesty's service at the early age of 14, in the same regiment as his father (the 50th Queen's Own) in 1827. After serving a few years in Great Britain, he embarked with his regiment in 1834 to New South Wales, and in the year 1841 sailed with his regiment for the East Indies, and was there engaged in the following actions Pannier, Moodkee, Aliwal, Ferozeehan, and Sobraon. He received the bronze star for Punniar, and the Sutlej medal for the other engagements. He was wounded at Moodkee by an iron musket ball, which his son still retains in his possession. Mr. Campion arrived in Tasmania in 1850 by the ship Eliza, as one of the guard. He was for many years employed under Major Douglas in the Ordnance Dept. in this city, and lately at the Queen's Asylum as out-door inspector and band master. His commanding officer for many years was Colonel Anderson (Knight of Hanover), now a resident at St. Kilda, Victoria, whose son is Colonel Anderson, of the Melbourne Volunteer Force. He was for many years in the volunteer bands of this city. In all the duties he was called upon to discharge he was ever civil, willing, and ready to take his part. He leaves a widow, two sons, and three daughters to lament a loving husband and kind father. The funeral, which took place on the 28th ult., was attended by the City Band, playing "The Dead March in Saul," Oddfellows' lodges, and a large number of relatives and friends.

"SOUTHERN NEWS", The Cornwall Chronicle [Launceston, TAS] (29 May 1876), 3

http://nla.gov.au/nla.news-article72524201 

The members of the City Band and of the Hobart Town Dramatic Club intend giving a complimentary benefit at the Theatre Royal on the 5th June, to the widow of the late Thomas Campion, who was one of the oldest players in the city, and at the time of his death was teacher of the Orphan School Band. In earlier years he was in the army, and served through the whole of the Indian mutiny. His widow, we understand, has been left in destitute circumstances, and his former friends are now generously combining to lend her a helping hand.

"Deaths", The Mercury [Hobart, TAS] (19 June 1888), 1

http://nla.gov.au/nla.news-article9147298 

CAMPION - On June 5th, at the residence of her daughter, Holden-street, North Fitzroy, Victoria, Bridget Campion, widow of the late Thomas Campion, of Hobart, aged 66.

"CARGOES OF DUMB MAJORITIES (By The Vet') No. 26", Daily Telegraph [Launceston, TAS] (3 August 1895), 6

http://nla.gov.au/nla.news-article153477308 

. . . A person named Thomas Campion, who for some years was an officer at the Orphan School institution, New Town, lost his mother in the wreck of the George III, in 1835. His father, Francis Campion, married Catherine Cameron when he was in the 50th Regiment, Queen's Own, but he died at Port Royal in the West Indies. His widow afterwards married Sergeant-Major Alderton of the same regiment. Thomas Campion was in Sydney at the time of the wreck, and it appears that the unfortunate woman who lost her life was upset from the boat conveying her ashore with her young daughter, aged three years. The back wash of the sea was so violent that as the two females were clinging to the gunwale of the boat the drawback smashed the boat against the ship and severed each of their heads. The bodies were never found; but the heads were buried ashore, where the rude monument marks the lone resting place of these two and 131 others . . .

ASSOCIATIONS: Thomas's father Francis was a guard on the convict transport George III; see on the Wreck of the George III; and see also, on Thomas's son, Francis Campion, in "Supreme Court . . . THE GARRISON BAND CASE", Tasmanian News (17 December 1890), 2

http://nla.gov.au/nla.news-article163583884 

CANE, Alfred Mason (Alfred Mason CANE; Mr. A. CANE; Mr. CANE)

Musical amateur, schoolmaster, public lecturer, photographer, venue proprietor

Born London, England, 8 October 1822; baptised St. Marylebone, 3 March 1824; son of James CANE (d. 1834) and Ann BIEL
Married [1] Emily SMITH (d. 1890), London, England, 1845 (1st quarter)
Arrived Sydney, NSW, 11 December 1848 (per Waterloo, from Plymouth, 1 September, via Port Phillip)
Married [2] Sarona HARTLEY, Sydney, NSW, 1891
Died Woolloomooloo, NSW, 22 July 1896

https://trove.nla.gov.au/search?l-publictag=Alfred+Mason+Cane+1822-1896 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-1482179 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CANE-Alfred-Mason (shareable link to this entry)

Documentation:

Baptisms, St. Marylebone, Westminster, 1824; register 1822-25; London Metropolitan Archives, P89/Mry1/095

https://www.ancestry.com.au/discoveryui-content/view/465264:1558 (PAYWALL)

[1824] March 3 / Alfred Mason [son of] / James & Ann / Cane / [this parish] Trade / [born] 8 Oct'r 1822

"ARRIVALS", The Shipping Gazette and Sydney General Trade List [NSW] (16 December 1848), 298

http://nla.gov.au/nla.news-article161167777 

December 11. - Waterloo, ship, 898 tons, Captain Neatby, from Portsmouth the 1st September, and Port Phillip the 6th instant. Passengers: . . . Mr. and Mrs. Cane and child . . .

[Advertisement], The Sydney Morning Herald (29 December 1848), 1

http://nla.gov.au/nla.news-article12906349 

BATHURST STREET SCHOOL, CONDUCTED ON THE PRINCIPLES OF THE BRITISH AND FOREIGN SCHOOL SOCIETY.
MR. ALFRED CANE, (recently arrived from London), begs to inform the inhabitants of Sydney that he intends opening the above spacious and airy School-room, situated between the Baptist and Scotch Churches, in Bathurst-street, as a Day School . . .

[Advertisement], The Sydney Morning Herald [NSW] (21 January 1852), 1

http://nla.gov.au/nla.news-article12933756 

GRAND EXHIBITION OF DISSOLVING VIEWS AND CHROMATROPES, AT THE ROYAL HOTEL.
MR. ALFRED CANE begs to announce that ho has just received from England, ex Tamar, a splendid series of New Dissolving Views, painted expressly for him; and that he intends exhibiting them in the Saloon of the Royal Hotel for a few Evenings only.
The Musical arrangements will be under the direction of Mr. Sigmont.
Further particulars in future advertisements.

ASSOCIATIONS: William Abercrombie Sigmont (pianist); Royal Hotel (Sydney venue); see also "MR. ALFRED CANE'S DISSOLVING VIEWS", The Sydney Morning Herald (30 January 1852), 2

http://nla.gov.au/nla.news-article12933981 

[Advertisement], The Sydney Morning Herald (21 September 1861), 1

http://nla.gov.au/nla.news-article13059080 

ORPHEONIST SOCIETY. - Notice. - Associates and Subscribers are informed that they can obtain their tickets for the season 1861-1862, on application to the Honorary Treasurer, Mr. A. CANE, 44, Stanley-street . . .
H. N. MONTAGU, Hon. Secretary.

ASSOCIATIONS: Henry Neville Montagu (secretary); Orpheonist Society (association);
see also "SYDNEY ORPHEONIST SOCIETY", Empire (8 October 1861), 4

http://nla.gov.au/nla.news-article60483007 

"A NEW WAY BETTER THAN NO WAY. TO THE EDITOR OF THE . . .", Empire (11 June 1864), 8

http://nla.gov.au/nla.news-article60558125 

SIR, - As Mr. McRae's letter in the Empire might possibly mislead a few unthinking people like himself, I trust the following statement will sat the matter right, as regards the Orpheonist Society.
For the first two years of its existence, this musical union relied on public support for success. This was accorded to it in a very large measure during the first year. But as the general public of Sydney are not very constant in their attachment, the concerts during the second year were not well attended.
A dependence on the attendance of the public necessitated a very large expenditure, and at the end of the second year the society was involved to a considerable extent. For the present year the managers have adopted new regulations and have ensured the society against any possible loss, by securing a sufficient number of subscribers to meet all demands.
The managers felt, however, that they could not honourably carry on the business of the society without making some arrangements for the liquidation of the debts contracted during the past year. In addition to much time and trouble expended on the affairs of the society, each manager contributed a cash amount of from £20 to£30, by which means they were enabled to make the "compromise" that causes the indignant cavillings of Mr. McRae. I doubt whether many societies will be found in Sydney the members of whose committee will make such sacrifices.
I regret that Mr. McRae has carefully concealed the fact that the writer of the letter on which he animadverted so strongly is also a member of the committee of the School of Arts, and completely identified with the progress of the institution. I question whether the members of the School of Arts committee will endorse Mr. McRae's letter as cordially as my colleagues will mine. The former will, doubtless, estimate at its proper value the thorough repudiation of common business decency which has led Mr. McRae to publish their private transactions, especially as the deliberation of the matter was adjourned to the next meeting of committee.
I do not wish to enter upon a newspaper controversy with Mr. McRae. During a fifteen years' residence in this city I flatter myself I have gained the confidence of my fellow citizens. Feeling this, I am well content to allow Mr. McRae to be the exception to the rule. If Mr. McRae be so honourable in his attentions towards the institution as he would have us believe, since he acknowledges the School of Arts to be in debt, let him do what the managers of the Orpheonist Society have done, pay twenty or thirty pounds out of his own pocket towards liquidating the claims against the institution; he will then perhaps remember that "half a loaf is better than no bread," and that, as I have stated at the head of this letter a new way (to pay old debts) is better than no way.
I may add for the gratification of Mr. McRae, that the treasurer of the Orpheonist Society is still a creditor, and that he bas received nothing in the pound.
I am, Sir, yours cordially,
ALFRED CANE.

ASSOCIATIONS: Mechanics' School of Arts (Sydney institution); See McRae's letter, "A NEW WAY TO PAY OLD DEBTS. TO THE EDITOR OF THE . . .", Empire (9 June 1864), 2

http://nla.gov.au/nla.news-article60578555 

"Marriages", The Sydney Morning Herald (4 April 1891), 1

http://nla.gov.au/nla.news-article13819947 

CANE - HARTLEY. - At the Registrar-General's, New South Wales, Alfred Mason Cane, J.P., of this city, to Sarona, fourth daughter of Henry Charles Hartley, Esq., of Strangways, Bathurst, late Strangways Hall, Manchester, and granddaughter of Squire Hartley, Strangways Hall, 8 Oakleigh Manor Coone, Lancashire, England, and granddaughter of the late Dr. William Le Jenison, Monkester Priory, Uton, Yorkshire. Manchester and Lancashire papers please copy.

"Deaths", The Sydney Morning Herald (23 July 1896), 1

http://nla.gov.au/nla.news-article14059525 

CANE. - At his residence, Palmer-street, Alfred Mason Cane, J.P., late of Stanley-street, Hyde Park, the beloved husband of Saronia Cane, and son-in-law of H. C. Hartley, Esq., Strangeways, Double Bay.

"OLD SYDNEY. REMINISCENT OF MR. ALFRED CANE AND HIS ACADEMY; Some of his Pupils . . . (By 'Old Chum')", Truth [Brisbane, QLD] (2 October 1910), 11

http://nla.gov.au/nla.news-article201761881 

From Fitzroy (Melbourne, Victoria), under date 9th September, 1910, comes the following interesting history: -
Dear Old Chum,- As an old native of sunny New South Wales, I take an absorbing interest in all that relate to the home of my childhood . . . the thought occurred to me that I might, for once, revel in the sunshine of pleasant memories, and write my recollections of the old burial ground in George-street, just as I remember it when a lad attending the academy of Mr. Alfred Mason Cane, which I joined about the time when gold was first discovered in New South Wales, and where I remained a pupil until the middle of the fifties. Mr. Cane's school was situated off Bathurst street, at the rear of the Cathedral (then in course of erection), between the Baptist Church (Dr. Voller's) and St. Andrew's Scots Church, or Dr. McGarvies', as it was then, generally known. The only play-ground the pupils had was the George street cemetery and that was adjacent to the school; the southern portion of the wall enclosing the grave-yard abutted on the side of the church and at the top of the by-street, there was an opening which led into the ground, and through which the boys entered, using the place for their sport and pastime . . . The schoolboys mentioned did not comprise the whole of the pupils; there were many others whose names, by the rude hand of time, become blurred and indistinct. Those I have enumerated were, like myself, attendants at the Academy of Alfred Mason Cane (or Barney, as he was flippantly styled by the scholars), in the commencement of the lively fifties . . .

ASSOCIATIONS: Joseph Michael Forde ("Old Chum")

"AT POVERTY POINT", The bulletin (6 December 1917), 44

https://trove.nla.gov.au/work/233438384 

The widow of Alfred Bennett, eldest son of Samuel Bennett, founder of the Evening News and T. and C. Journal, who died recently at Camden, was a daughter of Alfred Mason Cane, a Sydney schoolmaster as far back as 70 years ago. The school-house was at the rear of St. Andrew's Cathedral and alongside that other St. Andrew's which belonged to the Church of Scotland. The only playground the pupils had was the old George-street cemetery, adjacent. The numerous Drs. Sly were among "Barney" Cane's youngsters.

CANHAM, J. G. (MR. J. G. CANHAM)

Musician, teacher of the violin and flute

Arrived Sydney, NSW, by March 1844

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CANHAM-J-G (shareable link to this entry)

Documentation:

[Advertisement], The Sydney Morning Herald (9 March 1844), 3

http://nla.gov.au/nla.news-article12415096 

A CARD. MR. J. G. CANHAM, Teacher of the Violin and Flute,
begs most respectfully to acquaint the respectable inhabitants of Sydney and its vicinity, that in addition to giving instructions on the above instruments, he will feel pleasure in attending Balls, Parties, &c., &c., having formed a very superior Band, capable of giving every satisfaction in the performance of the most admired and popular airs, waltzes, quadrilles, &c., now played in London.
Mr. C. having recently left the metropolis, embraced the opportunity of making a superior selection from the first composers of the present day, and which he flatters himself will be found (when executed by the band under his directions) equal to anything of the kind heretofore introduced into this city.
Mr. C, having had great experience in teaching, flatters himself that his method of instruction will be found both simple and comprehensive by his pupils, he therefore confidently pledges himself to the speedy advancement of such amateurs and professional students as may be desirous of placing themselves under his tuition.
Terms, per quarter - for violin or flute, £2 2s.; for the quadrille band, according to the number engaged.
Orders left at Mr. Ellard's Music Saloon, George-street, or at the residence of Mr. C., Darling House, Lower Fort-street, will be immediately attended to.

ASSOCIATIONS: Francis Ellard (musicseller)

CANNA, Pietro (Pietro Domenico Costantino CANNA; Pietro CANNA; Peter CANNA; P. CANNA)

Musician, drummer, drum major, bandmaster

Born Gabiano, near Turin, Italy, (? 26 September) 1830 (? 1832); son of Giovanni Battista CANNA and Katarine DI MICHELIS
Arrived Melbourne, VIC, 25 February 1856 (per New Great Britain, from London, 25 October (aged "25")
Married Mary Elizabeth BAXTER (1849-1901), St. Peter's, Melbourne, VIC, 16 December 1871 (aged "39")
Departed Brisbane, QLD, 21 April 1885 (per Merkara, for Asia)
Died Burma, 22 October 1885

https://trove.nla.gov.au/search?l-publictag=Pietro+Canna+1830-1885 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CANNA-Pietro (shareable link to this entry)

ASSOCIATIONS: George Twentyman (Herr Schoot, rival drummer)

Pietro Canna

Documentation:

Name and descriptions of passengers per New Great Britain, from London, 25 October 1855, for Melbourne; Public Record Office Victoria

https://prov.vic.gov.au/archive/3AFE01E4-F96C-11E9-AE98-F70ABC3BAF48?image=225 (DIGITISED)

. . . Canna Peter / 25 / Bird Stuffer / [English] [sic] . . .

[Advertisement], The Argus [Melbourne, VIC] (5 April 1856), 8

http://nla.gov.au/nla.news-article4834753 

THEATRE ROYAL. GRAND PROMENADE CONCERTS, a la Jullien.
This Evening, Saturday, 5th April.
First night of the celebrated Allied Armies Quadrille by Jullien.
Signor Canna, the extraordinary and celebrated French Drummer, has arrived, and will introduce on a number of drums, in costume, the attack and taking of Sebastopol.
Madame C. Cailly will introduce a piece of music, accompanied by Mr. Creed Royal on the flute.
The programme will be one of the best yet given in these pleasing and nightly increasing popular concerts.
Promenade 1s.; upper boxes 2s.; lower circle, 3s. Commence at eight o'clock.

ASSOCIATIONS: Clarisse Cailly (vocalist); Creed Royal (flute); Henry Johnson (conductor, master of the 40th Band); Band of the 40th Regiment (military, several in orchestra); Joseph Jacobs (venue manager, lessee); Theatre Royal (Melbourne venue)

MUSIC: The allied armies quadrille (Jullien, illustration)

"THEATRE ROYAL", The Argus (7 April 1856), 5

http://nla.gov.au/nla.news-article4834886 

Some poet has written, "there is music in the drum," and so there undoubtedly is, although in those times of Exhibition Quadrilles and Drum Polkas it has become fashionable to give rather more prominence to the fact than is absolutely necessary to impress it upon musicians. Of late years the side drum, which before was confined almost exclusively to the regimental bands, has become a very important instrument in the regularly organised orchestra, and modern composers, especially of the Italian and French schools, have taken advantage of its military association to introduce it wherever the subject of their work would allow. The side drum effects in the overtures to "Fra Diavolo," "La Gaza Ladra," "Preciosa," "La Figlia del Reggimento," and others, are not the least remarkable in those compositions, and give a foreshadowing of the character of the opera, which the trumpet alone would fail to convey.

The idea of a solo on the drum certainly never struck us as realisable, so far as the entertainment of a musical audience was concerned. But on Saturday evening, after a visit to the Royal, we were fain to confess that what we had all along looked upon as grotesque was no joke after all, and now at once declare our conversion at the hands of M. Canna. In justice to our selves, it must be admitted that that gentleman is by far the most astonishing performer on the instrument we have ever met. In fact, we are at a loss to know what more could be effected with it than his two hands accomplished. M. Canna performed a kind of narrative of the siege of Sebastopol, illustrating upon one kettle drum and three side drums the defiling of the allied forces, the manoeuvring of cavalry, the fusilade of attaching forces, the furious cannonade, and, finally, the exulting return of the victors. He was at intervals accompanied by the orchestra, and excited such enthusiasm by his very clever performance that an encore was generally demanded. Upon reappearing, M. Canna went through a short performance, exhibiting to the satisfaction of every one his perfect acquaintance with the capabilities of his instrument.

The principal orchestral novelty of the evening was the "Allied Armies Quadrille," the performance of which was greatly applauded. Madame Cailly sang "Va dit elle" (Robert le Diable) with the taste which distinguishes this lady, but the character of the music was too sombre to evoke the enthusiasm of the audience.

"THE THEATRES", The Age (9 April 1856), 2

http://nla.gov.au/nla.news-article154866329 

Jacobs continues to delight the frequenters of the Royal with the promenade concerts. He has lately secured the services of Mons. Canna on the drums, by means of which he represents with marvellous success and effect the attack of the Allies on Sebastopol. Opening with the "British Grenadiers," the "Marseillaise," and other national airs, he rushes into the thickest of the fight and stuns us with his parchment artillery. At times the band takes up the airs, gives the trumpet calls, and simulates the roar of the battle field. Altogether it is a most successful performance, and no mean addition to the attractions at present to be found at the Theatre Royal.

[Advertisement], The Argus (9 April 1856), 8

http://nla.gov.au/nla.news-article4835018

THEATRE ROYAL. The wonderful performances of Mons. Pietro Canna on Several Drums at One Time, Every Evening
. . . Positively the last week of the best orchestra in the colony . . . Solo on the Clarionet Mr. H. Johnson. Jullien's Allied Armies Quadrilles This Evening. Promenade 1s.

"BALLARAT (From our own Correspondent) May 17th", Geelong Advertiser and Intelligencer (20 May 1856), 2

http://nla.gov.au/nla.news-article93142998

. . . The next place of amusement is the Charlie Napier Hotel, where there is another Casino that is nightly crowded, the celebrated French drummer, Pietro Canna, being a great attraction . . .

ASSOCIATIONS: Charlie Napier Hotel (Ballarat venue)

[Advertisement], The Star [Ballarat, VIC] (16 August 1856), 1

http://nla.gov.au/nla.news-article250438789 

Charlie Napier Assembly Rooms . . .
THE CHAMBERS FAMILY, In a grand English, Irish, and Scotch BALLET DIVERTISEMENT,
CONCERT - Madame Naey, The Eminent Soprano.
Mr. Small, The Favorite Comic Local Vocalist.
Mons. Pietro Canna, The first Performer in the world, who will perform on twenty Drums.
Mons. Paltzer, The Eminent Violinist, and accomplished Leader, with a select Quadrille Band of Twelve Performers,
who will introduce Julien's celebrated Peter the Great Quadrille.
At the conclusion of the Concert, DANCING!! Under the Personal Superintendence of MR. G. LOVETT, M.C.
Doors open at 7 o'clock, Performances commence at half-past.
Admission One Shilling - Reserved Box Seats, 2s 6d.
MR. C. A. FRY, Acting Manager.

ASSOCIATIONS: Joseph Chambers and family (dancers); Madame Leon Naej (vocalist); Joe Small (comic vocalist); Jacques Paltzer (violinist, leader); Charles Alfred Fry (actor, manager); this was Canna's last advertised appearance until July 1857, as below

"CHARLIE NAPIER THEATRE", The Star (18 July 1857), 3

http://nla.gov.au/nla.news-article66043246 

The successful production of a classic play like that of "Virginius," is an event which speaks well as a sign of the times. Considering the great difficulties which had to be contended against the effects and tout ensemble reflected the highest credit on all concerned. The Virginius of Mr. Holloway, though now and then unmeaningly violent, was an extremely creditable performance . . . The interlude consisted of a trio dance by Mr. Powell and his clever pupils, which was vociferously re-demanded. This was followed by Signor Pietro Canna's wonderful performance on the fifteen drums, entitled the "Siege of Sebastopol;" several popular airs are introduced, including the inimitable "Marseillaise;" this magnificent and spirit-stirring composition, which Dickens has rendered famous in his latest work, "Little Dorrit," when he says, "Marseilles stands fatuous, as having sent forth the most revolutionary hymn into the world;" the fine strains and the old associations connected with the revolutionary hymn fired the audience to the highest enthusiasm, the applause lasting for some minutes, - the latter part represented Sebastopol in flames . . .

ASSOCIATIONS: Edmund Holloway (actor)

[Advertisement], The Star (18 August 1857) 3

http://nla.gov.au/nla.news-article66043804

CHARLIE NAPIER THEATRE. PROPRIETOR - MR. JOHN GIBBS.
Entire Change of Performance, and Immense Attraction!
THIS EVENING - TUESDAY, And every evening during the week,
GRAND PROMENADE CONCERTS, VOCAL AND INSTRUMENTAL . . .
The Proprietor having determined upon affording the inhabitants of Ballarat, and its environs, a grand musical treat - a la Jullien -
has engaged the most celebrated artistes in the colonies, thus forming
A MONSTER BAND, The solo performers consisting of - Herr Richty, Monsieur Fleury, and Herr Weideman, 1st Violins . . .
Monsieur PIETRO CANNA, on the Drums.
Leader of the Band, HERR RICHTY.

ASSOCIATIONS: John Gibbs (venue proprietor); Carl Richty (violin, leader); Achille Fleury (violin); Traugott Wiedemann (violin)

[Advertisement], The Star (2 October 1858), 3

http://nla.gov.au/nla.news-article66050420 

MONTEZUMA THEATRE. TO-NIGHT.
Engagement of MADAME VITELLI And M. LABELESTRIER.
Mons. Fleury's Monstre Promenade Concerts . . . First Night of the Great Exhibition Quadrille.
PROGRAMME. Part 1st . . . Polka - "Drum" - Jullien.
Part 2nd. "Grand Exhibition Quadrille" - Jullien (Drums by Signor Pietro Canna) . . .
Grand March - "King of Sardinia" - (Drums, ad lib., Pietro Canna.) . . .
Conductor - M. FLEURY.

ASSOCIATIONS: Annie Vitelli (vocalist); Alfred Labalestrier (musician); Montezuma Theatre (Ballarat venue)

"MISS PROVOST'S BENEFIT", The Star (18 December 1858), 3

http://nla.gov.au/nla.news-article66332865 

The occasion of Miss Provost's benefit last Friday evening, was, as might have been expected, productive of a remarkably crowded house; gallery, pit, and boxes were all filled, so much that we could see but very little of the piece, which was "Court and Stage," Miss Provost playing the part of the kind-hearted, loose-charactered historical character, Nell Gwynne . . . that portion of the piece when the cannonading of the Dutch fleet in the Thames is heard in the distance was very effective. M. Canna's "cannonading (no pun intended) effects" were well managed. We must not forget to mention the overture to Zampa (Herold) which was performed with great taste and correctness by M. Fleury's orchestra . . .

ASSOCIATIONS: Mary Provost (actor)

"EASTERN POLICE COURT. Wednesday, 5th January . . . CAUSE LIST . . . St. Quentin v Pietro Canna, £20, assault", The Star (6 January 1859), 2

http://nla.gov.au/nla.news-article66333197

Mr. Dunne appeared for the complainant, and Mr. Lewis for the defendant. Complainant deposed that be was a decorative artist. On Friday, 31st December, he was at the Charlie Napier, and when in the body of the hall listening to the opera of "Il Trovatore," defendant came up and accused complainant of having elsewhere expressed a desire to commit an assault upon him (defendant). Complainant told him to go away, or he (complainant) would kick him. Canna made preparation to fight, but after some talk went to the orchestra to proceed in the fulfilment of his duty as player of the big drum. Complainant complained to Mr. Gibbs, who said he had little doubt but that complainant was in fault. Some time afterwards complainant went into the little room behind the bar, where he had some beer. After a short interval be rose to leave the room, and when passing out at the door, defendant, who stood there, struck complainant in the eye, in token of which complainant exhibited an eye apparently much contused.
On cross-examination by Mr. Lewis, complainant denied having excited M. Canna, either by word or gesture. This evidence was corroborated by Mr. S. Goujon and Mr. G. Lovell, who were both in the room at the time that defendant struck complainant on the eye. This closed the case for the complainant, and Mr. Lewis, after a short address to the Bench, called the defendant, who deposed to the receipt of a certain amount of provocation from complainant, viz., a threatening speech in the body of the hall, and divers insulting gestures, when Mr. St. Quentin came out of the room. This was more or less corroborated by the evidence of Messrs. Wiseman, Labalestrier and Gibbs.
The Bench fined defendant 40s, with £1 1s costs.

"CHARLES NAPIER THEATRE", The Star (17 February 1859), 3

http://nla.gov.au/nla.news-article66334042 

The drama of the "Corsican Brothers," in which Mr. Clarence Holt has been so highly successful, was repeated last evening. To night M. Pietro Canna, the well known performer on the drums, takes his benefit. In addition to the performances of "Don Caesar de Bazan," and the farce of "My Precious Betsy," M. Canna will give us a taste of his quality as a performer of uncommon merit on a rather uncongenial instrument. This will be introduced in a performance by M. Fleury's really excellent band of the "Exhibition Quadrilles."

ASSOCIATIONS: Clarance Holt (actor)

"MR. JOHN GIBBS' BENEFIT", The Star (6 June 1859), 4

http://nla.gov.au/nla.news-article66053448 

Everyone on Ballarat can bear witness to the fact that during the past four years the onus of supplying the public with means of amusement has mainly rested on Mr. John Gibbs, of the Charlie Napier Hotel, who, even in the face of the hot rivalry of other places of amusement, still managed to have the best company and provide the best entertainment. For a long time Mr. Gibbs' good genius remained with him, and he bade fair to make a handsome competency. Fortune, however, left him, and most of us know that he has been thrown back in the world, and has almost to commence his career afresh. This being the state of things, Mr. Gibbs has been offered a complimentary benefit by those of the "dramatic, musical and calisthenic" professions whom he in his turn did so much to encourage and support, which will take place this evening at the Charlie Napier Theatre . . . the celebrated overture "Battle of Sebastopol," with M. Canna's drums, will be performed by the orchestra . . .

[Advertisement], The Star (6 June 1859), 3

http://nla.gov.au/nla.news-article66053450 

CHARLIE NAPIER THEATRE. COMPLIMENTARY BENEFIT, TO Mr. JOHH GIBBS . . .
THIS EVENING, MONDAY . . . CONCERT! PROGRAMME:
Overture - Battle of Sebastopol - Full Band
(With solos for Flute, Clarionet, Cornet and Trombone, by Messrs. Palin, Faure, Labalestrier and Ellis;
also, Imitation Cannon and Great Drum Effects, by Signor Pietro Canna) . . .
Leaders of the Band, Messrs. Fleury and King . . .

ASSOCIATIONS: Lawrence Frederick Palin (flute); Gustave Charles Faure (clarinet); Thomas Ellis (trombone); Thomas King (co-leader)

"OLYMPIC", The Argus [Melbourne, VIC] (9 August 1859), 5

http://nla.gov.au/nla.news-article5685930

At this theatre last night "The Seven Castles of the Passions" was played first, and was followed by a performance upon drums by a Mons. Pietro Canna, and a catch piece entitled "Our National Defences, or the Cockshot Yeomanry." Mons. Pietro Canna made his debut before a Melbourne audience in the hall of the Theatre Royal some four years ago. His specialty consists in actively beating drums, conveniently ranged around him, until the noise becomes almost deafening. As a sample of manual dexterity and endurance, his exhibition is by no means uninteresting, but a judicious curtailment would greatly increase its attractiveness. The drums of the ears of the audience would require to be as substantial as M. Canna's instruments to stand many displays such as that of last night. The farce is one which was produced on the London stage about a dozen years ago . . .

[Advertisement], Geelong Advertiser [VIC] (13 August 1859), 4

http://nla.gov.au/nla.news-article146567882 

HALL OF THE MECHANICS' INSTITUTE. MONDAY, 15TH AUGUST, 1859.
STONEHAM'S SECOND GRAND MONSTER CONCERT . . .
Leader - Mr. Edward King. Conductor - Mr. Johnson, Band Master of the 40th.
The Orchestra will be further augmented by the assistance of a portion of the BAND OF THE 40TH REGIMENT.
PROGRAMME: PART FIRST . . .
13. "Siege of Sebastopol" - (A descriptive Piece on Twenty Drums,
Illustrating the Bombardment and Taking of Sebastopol, (with Orchestral Accompaniments) - Mons. Pietro Canna - Canna.
La Bivouac des Troups - Marche des Troupes Alliees -
Defile des Anglais - Defile des Francais - Defile des Sards - Defile des Turcs -
Attaque Generale d'lnfanterie et Artillerie - Victoire . . .

ASSOCIATIONS: William Stoneham (musician); Edward King (leader)

"CURRENT TOPICS", Geelong Advertiser (1 September 1859), 2

http://nla.gov.au/nla.news-article146565136 

The Geelong Volunteer Rifle Corps paraded for the inspection of Captain Pitt, the Acting Deputy Adjutant-General, at half-past four o'clock yesterday afternoon . . . One particular feature in connection with the band of the corps was the performances of the celebrated Drum-major Pietro Canna, who kindly gave his services for the occasion . . .

ASSOCIATIONS: Geelong Volunteer Rifles Band (volunteer force)

[Advertisement], The Argus (24 September 1859), 8

http://nla.gov.au/nla.news-article5688701 

WINTERBOTTOM'S BENEFIT.- NEW MUSICAL SELECTIONS on Tuesday next [27 September]. Winterbottom's Unrivalled Band. THEATRE ROYAL - Signor PIETRO CANNA in his extraordinary PERFORMANCE on the DRUMS. Winterbottom's Benefit.

ASSOCIATIONS: John Winterbottom (conductor)

[Advertisement], The Sydney Morning Herald [NSW] (15 October 1859), 1

http://nla.gov.au/nla.news-article28629630 

PRINCE OF WALES THEATRE. - Lessee and Manager, Mr. CHARLES POOLE.
First Night of Signor PIETRO CANNA, pronounced by the Press the Greatest Wonder of the Age . . .
On SATURDAY, October 14th, the performances will commence with the romantic drama entitled THE RAKE'S PROGRESS.
To be followed by the unrivalled performances of
SIGNOR PIETRO CANNA, The Greatest Wonder of the Age.
Introduction - Daylight. Drums beat the REVEILLE.
1. The troops preparing for the siege.
2. Advance of the British Grenadiers; the Scotch regiments on the right. Preparation for firing.
3. Advance of the French troops.
MARSEILLAISE BAND.
4. Sardinians at a distance. The meeting of the troops.
5. The siege - firing of the Artillery - firing of the Infantry - charge of Cavalry - the trumpet sounds the Advance.
6. Finale - Sebastopol taken by the allied armies.
VICTORY! VICTORY! VICTORY! . . .

ASSOCIATIONS: Charles Poole (actor, manager); Prince of Wales Theatre (Sydney venue)

[News], Empire (15 October 1859), 4

http://nla.gov.au/nla.news-article64091485 

A Novel Entertainment will be Given at the Prince of Wales Theatre, this evening. After the drama of "The Rake's Progress" . . . Signor Pietro Canna, a musician of a very novel class, will make his debut before a Sydney audience. Signor Pierto Canna's Instrument is, the drum and not one alone does he beat, but an immense number, describing by means of this novel music the entire progress of a battle, the march of troops, cavalry, infantry, artillery; the charge, the retreat - in short, the performance is rather astonishing: whether it is a legitimate theatre exhibition will be decided by the public . . .

[News], Empire [Sydney, NSW] (18 October 1859), 4

http://nla.gov.au/nla.news-article64091601

Pietro Canna, who made his first appearance in Sydney at the Prince of Wales Theatre on Saturday evening, is, in his way, really a very clever artist. More than drum-major, he is a consummate general of this martial instrument. He arranges his forces in battle-array, - on each side the heavy artillery - the bass drums; above them, the clashing cymbals; the small arms in the centre. The musical bells of the Janitschars are hung on the arms, and with all these together. Pietro Canna (who is, we believe, a Sardinian, and fought in the Allied army at Sebastopol), produces most astonishing effects. Arms, knees, and even cap are at work: he has a "twist" to which that of "Darby Kelly" the renowned drummer of Marlborough's army, must have been mere child's play. From the most delicate piano of the troops in the distance to the crashing forte of the din of battle, the platoon firing, the discharge of cannon, the reveille - the charge, - all is beat with the most unerring precision.

"BENEFIT OF MR. C. PACKER", The Sydney Morning Herald (22 October 1859), 5

http://nla.gov.au/nla.news-article13032130 

Mr. C. Packer, the conductor of the opera at the Prince of Wales Theatre, will this evening take his benefit at that Theatre. The favourite opera of the "Mountain Sylph" will be presented on the occasion, after the performance of which there will be a musical melange - the entertainments of the night concluding with the performance of Signor Pietro Canna . . .

ASSOCIATIONS: Charles Sandys Packer (conductor)

[Advertisement], Empire (24 October 1859), 1

http://nla.gov.au/nla.news-article64091846 

ROYAL VICTORIA THEATRE. Under the direction of Mr. CHARLES POOLE . . . Engagement for five nights only of Signor PIETRO CANNA . . .

ASSOCIATIONS: Royal Victoria Theatre (Sydney venue)

"CLEARANCES. NOVEMBER 26", Empire (28 November 1859), 4

http://nla.gov.au/nla.news-article64093648

Wonga Wonga, steamer; 734 tons, Walker, for Melbourne. Passengers . . . Mr. Pietro Canno [sic] . . .

"SHAMROCK THEATRE", Bendigo Advertiser [VIC] (2 December 1859), 2

http://nla.gov.au/nla.news-article87993932 

The Shamrock appears to be recovering from the lethargic state into which it had fallen for some weeks past, as during the last night or two the good attendance has been something like it was formerly. This, probably, may be accounted for by the fact of the management producing something in the shape of novelty, amongst which may be mentioned the production of an amusing Chinese ballet, in which Maddle. Therese, M. Schmidt, and Mr. Chambers perform several clever dances, and in which also Mr. Burbank humorously characterises "John Chinaman." To-morrow evening Mr. R. Kohler, the cornet player of the colony, par excellence, will make his re-appearance, when will also appear a wonderful French drummer - M. Canna - who, if fame belies him not, not only beats any number of drums at one time, but beats all the drummers that ever wielded a stick.

ASSOCIATIONS: Therese and Monsieur Schmidt (dancers); Otto N. Burbank (performer); Richard Wildblood Kohler (cornet); Shamrock Theatre (Bendigo venue)

"SHAMROCK THEATRE", Bendigo Advertiser (5 December 1859), 3

http://nla.gov.au/nla.news-article87993980 

. . . .The first appearance of M. Canna, the French tambour, on Saturday, was a most successful affair. His performances on fourteen drums was really a talented affair. Although not what might strictly be called a musical performance, he produced sounds from sheepskin which we have never heard equalled.

[Advertisement], Bendigo Advertiser (10 December 1859), 1

http://nla.gov.au/nla.news-article87994113 

SHAMROCK THEATRE. IMMENSE SUCCESS And enthusiastic reception of MONS. PIETRO CANNA,
The King of the Drummers and Drum-major of the Nations) Guard of Paris, in full costume,
wearing the Prize Medals presented to him by the King of Sardinia and the Emperor of the French, in his wonderful
PERFORMANCE ON FOURTEEN DRUMS . . .

"SHAMROCK THEATRE", Bendigo Advertiser (13 December 1859), 2

http://nla.gov.au/nla.news-article87994153 

. . . M. Canna's clever performances on the drums not only elicits applause, but produces excitement amongst the audience seldom seen in a theatre. Undoubtedly he is the cleverest drummer of the age, and in his illustration of a grand battle he so vividly depicts the various incidents, that the listener can easily imagine himself present at an action. From the commencement of the performance, which begins with the reveille, to the conclusion, where the performer imitates the booming discharge of heavy artillery, the dull sound of the bursting of shell, the sharp crack of the rifle, or the prolonged rattle of musketry - all the while accompanied by the incessant roll of the drum - it is a performance well worth listening to; provided, however, that the drum of the listener's ear is tolerably strong . . .

"HAYMARKET THEATRE", Bendigo Advertiser (17 January 1860), 2

http://nla.gov.au/nla.news-article87941087 

The benefit which Canna, the French drummer, took last night at the Haymarket was not so numerously attended as one would have expected, either from the favorable way in which the public of Sandhurst have appreciated his clever performances, or from the inducements held out by one of the best programmes of vocal and instrumental music that has yet been offered, and the best carried out. The first portion of the concert consisted of selections from the operas of Il Trovatore, Semiramide, Lucia di Lammermoor, &c., by Madame Carandini, Messrs. Sherwin and Gregg, all of which it need hardly be said were admirably given . . . The concluding part of the concert consisted of the performances of the beneficiare on the drums . . .

ASSOCIATIONS: Maria Carandini (vocalist); Walter Sherwin (vocalist); John Gregg (vocalist); Haymarket Theatre (Bendigo venue)

"VICTORIAN ARTILLERY ENCAMPMENT (From the Melbourne Herald)", The Sydney Morning Herald (15 February 1861), 2

http://nla.gov.au/nla.news-article1305279

The long talked of encampment of the Artillery commenced, on the 7th instant, at early morn, on the reserve at the Princes Bridge Barracks . . . Shortly after two o'clock, crowds of persons assembled on the ground. There were at least 5000 present, forming a circle five or six deep round the western portion of the encampment . . . The volunteer band played during the whole of the afternoon, and this appeared to be the most attractive portion of the proceedings. In addition to the harmonies from the band, the spectators were treated to a specimen of the abilities of Pietro Canna (formerly a drum-major in the Zouaves and one of the band) who played upon four drums, and imitated the noise and tumult of a battle-field, with the firing of guns and musketry. Although he showed great skill in this accomplishment, we cannot help thinking that this exhibition might have been appropriately omitted, considering the day . . .

"THEATRE ROYAL", Bell's Life in Victoria and Sporting Chronicle [Melbourne, VIC] (31 May 1862), 2

http://nla.gov.au/nla.news-article199053447 

The few short days which elapsed between the close of the opera season, and the commencement of the promenade concerts, have sufficed to enable Mr. Lyster to effect a compete metamorphosis in the appearance of the room . . . On Saturday night the house was so crowded that many hundreds of people were unable to obtain admission; and despite the unpleasant weather of the week the theatre has been fairly attended. And, indeed, it would have been discreditable to the music-loving population of the city had Mr. Lyster's enterprise not received a considerable share of public encouragement. The solo performers, several of whom have attained a high degree of eminence include Mr. Strebinger, violin; Mr. Siede, flute; Mr. Chapman, double bass; Mr. Berg, trombone; Mr. Lundberg, clarionet; Mr. Kohler. cornet-a piston, besides an infinite number of other instruments, and Mr. Canna, tympan . . . while the conductor if Mr. Reiff . . .

ASSOCIATIONS: William Saurin Lyster (manager); Frederick Strebinger (violin); Julius Siede (flute); Samuel Chapman (double bass); Charles Berg (trombone); John William Lundborg (clarinet); Anthony Reiff (conductor); Lyster Opera Company (troupe)

"DRUM AND FIFE BAND", Bell's Life in Victoria and Sporting Chronicle (11 October 1862), 4

http://nla.gov.au/nla.news-article199062037 

We understand that the Colonel-Commandant has decided on establishing a strong corps of drummers, fifers, and buglers, for the use of the Volunteer Force, and has entered into arrangements with Signor Pietro Canna, who was formerly drum-major in a Zouave regiment, and Herr Siede, the celebrated flautist, to instruct the young musicians. A selection has been made of upwards of thirty lads from the drilled boys at the Immigrants' Home, and we have do doubt they will shortly prove themselves a great acquisition.

"THE NEWS OF THE DAY", The Age (24 December 1862), 4

http://nla.gov.au/nla.news-article154970046 

The first annual examination of the scholars at the Immigrants' Home took place on Monday . . . Prior to the commencement of the principal business of the day, the boys and girls paraded round the interior of the building, a portion of the former being dressed in regimental costume, and carrying drums and fifes, it being intended to constitute them an efcient musical corps, through the daily instruction of Herr Siede and Signor P. Canna . . .

[Advertisement], The Argus (16 June 1863), 8

http://nla.gov.au/nla.news-article5716435 

ALHAMBRA, Bourke street east, corner Russell street. Signor PIETRO CANNA, In his extraordinary performance,
Pronounced to be the greatest entertainment ever produced in Melbourne - The SIEGE of SEBASTOPOL . . .
ALHAMBRA. - THIS EVENING, the EXHIBITION QUADRILLE - Jullien, with full orchestra, at 8 o'clock.
ALHAMBRA - THIS EVENING (Monday). MILITARY EVOLUTIONS, by Signor Pietro Canna, on 25 Drums.

"LETTER TO THE EDITOR. A CHALLENGE", The Star [Ballarat, VIC] (13 November 1863), 3

http://nla.gov.au/nla.news-article72511411

Sir, - Having arrived to-day in Ballarat, for the sole purpose of playing for the benefit of the Ballarat Volunteer Rangers, I was rather surprised to receive a public challenge from the commander of the above-named regiment that one of his drummers would play me for £20. I could not accept such a challenge, but if Lieutenant-Colonel Wallace will challenge me in the proper manner, through the medium of the Argus, I shall be most happy to accept, with the permission of Colonel Anderson.
Yours, &c.,
PIETRO CANNA,
Drum Major, Melbourne Volunteers.
12th November.

"THE NEWS OF THE DAY", The Age (30 December 1863), 4

http://nla.gov.au/nla.news-article155023535 

A return issued from the Volunteer office yesterday, shows the strength of the head-quarters band, and drum and fife corps, of the local force: - General band master, Mr. Siede; leader, Mr. Johnson; professional performers, 19; volunteer performers, under Sergeant Hartigan, 23; drum and fife corps, under Drum-major Canna, 65; total, 109. The above performers are now equipped and provided with the best instruments, stands, &c., for which the property of the former volunteer band, under Mr. Johnson, and of the Collingwood band, have been made available.
They are organised as follows: - 1st. For parade purposes, the whole of the above strength, when required, form one band.
2nd. The band, not including drums and fifes, divides into two complete military bands, under Messrs. Siede and Hartigan respectively.
3rd. The drums and fifes divide into several complete detachments. A detachment of drums and fifes is always obtainable by officers commanding corps on application to the Volunteer office.
The payment of the professional portion of the band, and all other expenses, will partly be defrayed by Government; the rest of the money required will be raised by subscription.
The band will perform twice every week for the benefit of the public, and arrangements are in course to establish a drive and promenade at the Prince's bridge reserve, and to provide seats both there and at Fitzroy Gardens, within an enclosure to be reserved for subscribers only . . .

ASSOCIATIONS: Joseph Hartigan (musician); Head-Quarters Band (volunteer military)

"THE NEWS OF THE DAY", The Age (31 December 1863), 5

http://nla.gov.au/nla.news-article155021828 

A practice of the newly organised volunteer band, for inspection by Colonel Anderson, took place in the Exhibition Building, yesterday afternoon. There were about 30 of the head-quarters band present, under Mr. Siede, bandmaster, and Mr. Johnson, leader; and about 40 of the drum and life corps, composed of the boys of the Immigrants' Home, under drum-major Canna . . . The drum and fife corps, which is divided into two detachments, relieve the full band at intervals, and the different class of music they are versed in will afford an agreeable variety in the public performances of the brass band. The whole were also exercised in marching, and they appeared to be tolerably efficient at drill . . .

"ACCIDENTS AND OFFENCES", Leader [Melbourne, VIC] (19 March 1864), 3

http://nla.gov.au/nla.news-article197291809 

A fire broke out on Friday morning, about two o'clock, in a back bedroom on the second floor of Kennedy's British American Hotel, near the east end of Great Bourke street. It was first discovered by Signor Pietro Canna, who occupied one of the adjoining bedrooms. All the inmates had gone to bed some time previously, but Canna, before falling asleep, experienced a strong smell of smoke. He rose up, and, on obtaining a light, found his room full of smoke; seeing there was no fire in his own room, he proceeded to examine the premises, and, on opening the door of an unoccupied bedroom, to which he was directed by the increasing density of the smoke, he discovered a chest of drawers and other furniture in the room in flames . . . Canna, having got on to the roof, which is of glass, broke one or two panes, and, through the aperture so made, dashed several backets of water into the room. He afterwards got inside, and continued his exertions in this way, and, in a few minutes, succeeded in extinguishing the fire before the brigade, which was very promptly on the spot, arrived. The only damage done was the partial destruction of some of the bedroom furniture . . .

"NEW DRUM", Australian Town and Country Journal (16 July 1870), 24

http://nla.gov.au/nla.news-article70460763

The well-known performer on the drum, Signor Pietro Canna, at present in Melbourne, has made a new drum on a new principle, which has been greatly admired by those who have seen it. The novelty of the instrument is its narrow shape, the distance between the heads being only nine inches, while the diameter is thirty inches. The weight of the drum is only 6lb, and yet the tone is more powerful than that of the ordinary-shaped drum. Instruments of this shape have recently been introduced into the French military bands, and the lightness has been found to be an important desideratum.

Certificate of marriage, Pietro Canna and Mary Elizabeth Baxter, 16 December 1871; St. Peter's Eastern Hill

https://www.ancestry.com.au/imageviewer/collections/9732/images/43331_1831109387_0034-00088?pId=7197 (PAYWALL)

No. 1870 / [16 December 1871] at St. Peter's Church Melbourne /
Pietro Canna / Fitzroy / Age 39 / Musician / bachelor / [born] Gabiano near Turin Italy / [father] Giovanni Battista Canna - Landed Property / [mother] Katrine di Michaeli
Mary Elizabeth Baxter / Mordialloc / 22 / Spinster / [daughter of] Thomas Baxter - Civil Service / Ann Parnham . . .

"MR. PLAISTED'S CONCERT", The Argus (25 February 1884), 7

http://nla.gov.au/nla.news-article11846280

There was a very large attendance at Mr. Plaisted's concert at the Town-hall on Saturday night [23 February] . . . The programme commenced with the performance of Rossini's overture to "Tancredi" by Mr. Plaisted at the organ, assisted by Signor Pietro Canna, who added an accompaniment of drums, cymbals and triangle. We cannot say that the addition of drums cymbals &c., is an improvement to the splendid organ in the Town-hall any more than we can place Signor Canna, the drummer, on the same artistic level with Mr. Plaisted the organist. By the addition of these last effects the organ is brought to the level of the orchestrion . . .

ASSOCIATIONS: Philip Charles Plaisted (organist)

"TOWN TALK", Geelong Advertiser [VIC] (29 January 1885), 2

http://nla.gov.au/nla.news-article148777944 

Stoneham's "Sensationists" appeared for the first time here in the Exhibition theatre last evening, and the entertainment given by them was heartily appreciated by a good audience. The troupe comprises a number of very clever musicians and vocalists, and they furnished a programme calculated to please all tastes. Mr. Stoneham, the manager, is an old Geelong identity, and Signor Pietro Canna, the great drum artiste, whose "Battle of Tel-el-Kebir" made such a furore in the metropolis recently, made his first appearance here twenty-six years ago under his (Mr. Stoneham's) auspices. He made his second appearance last evening and his performances were applauded to the echo . . .

ASSOCIATIONS: William Stoneham and company (musicians), see 13 August 1859 above

[Advertisement], Queensland Times, Ipswich Herald and General Advertiser (14 April 1885), 2

http://nla.gov.au/nla.news-article130395825 

KLAER AND OLMAN'S AUSTRALIAN SURPRISE PARTY! School of Arts, Ipswich.
WEDNESDAY (TO-MORROW) AND THURSDAY, APRIL 15TH AND 16th . . .
THIS Company has been organised from the Principal Theatres and Circuses in Australia
to travel through Asia, and will leave Brisbane on th 21st April, per s.s. Merkara.
15 SPECIAL ARTISTS Will appear nightly, including
SIGNOR PIETRO CANNA (Champion Drummer of the World),
who will perform on Twenty-five (25) Drums, and will give a Representation of
THE BATTLE OF TEL-EL-KEBIR . . .

"DEATHS", The Age [Melbourne, VIC] (10 December 1885), 1

http://nla.gov.au/nla.news-article197031420 

CANNA - On the 22nd October, Signor Pietro Canna, champion drummer of the world, drowned while stepping into a boat, at Burmah, in India.

"COMMUNICATED", The Australasian (12 December 1885), 27

http://nla.gov.au/nla.news-article138640493 

Pietro Canna, the greatest drummer in the world, has been drowned at Rangoon. He was long well known and greatly liked in Melbourne. Besides drumming, he was a rare cook, and his maccaroni was beyond compare.

"DEATH OF MR. PIETRO CANNA", The Lorgnette [Melbourne, VIC] (19 December 1885), 2

http://nla.gov.au/nla.news-article208218607 

THIS famous drummer - in Paris he was known, as Le Tambour Major par excellence, as well as in Italy - arrived in Melbourne in March, 1856, and on the 5th of April of the same year, he accepted the position of Drummer in the band of the Theatre Royal. It was not till 1857, when the news arrived of the Fall of Sebastopol, that the late Mr. Canna had an opportunity of displaying his skill as Drummer in Melbourne. The times were meet, and his performance on 25 drums at the Theatre Royal, in an interlude entitled "The Siege of Sebastopol," brought him great fame and acknowledged prominence. In his particular line, he held the very highest position. After many, many years in this, and the surrounding colonies, being connected with the very best bands extant, he determined on travelling, and some few months ago went with a company to China and Japan. He then entered into arrangements to join a company at Rangoon, and on the arrival of the steamer at that place, his sight not being very good, he missed his footing in crossing the plank from the steamer, fell into the water and was drowned before his body could be recovered.
- W. H. W.

ASSOCIATIONS: William Henry Waters (journalist)

"VICTORIAN ITEMS", The Mercury [Hobart, TAS] (6 January 1886), 3

http://nla.gov.au/nla.news-article9115831

Old colonists will remember the celebrated Sardinian drummer, Signor Pietro Canna. He slipped on board a steamer at Rangoon, and being unable to swim, he sank before any assistance could be rendered him. The sad news of poor Peter's death has been received with general sorrow in Melbourne, where he was a general favourite. During his sojourn in India he made himself a great favourite.

"Members of the Dramatic and Musical Professions etc., who have died during 1885", The Lorgnette [Melbourne, VIC] (19 January 1886), 2

http://nla.gov.au/nla.news-article208217725 

CANNA, Signor Pietro; celebrated drummer, made his first appearance in the band at the Theatre Royal, Melbourne, April 5, 1856. Was drowned at Singapore, November, 1885.

"QUEER IN THE HEAD. A STORY OF AN OLD MAN AND A DRUM. BY GARNET WALCH. IN FOUR ROULADES", The Australasian [Melbourne, VIC] (13 November 1886), 41-42

http://nla.gov.au/nla.news-article142439194 

. . . This drum - the birthday drum - was a source of never-ending delight, and before Tom was half-way between four and five he could play it like a juvenile Canna (poor Pietro Canna, I knew him well, Mr. Editor; he was another "eccentric," but of many good parts). It was slung round the boy's neck by a little leather strap, and hung at his side in correct fashion . . .

ASSOCIATIONS: Garnet Walch (author)

"DEATHS", The Age (9 May 1916), 1

http://nla.gov.au/nla.news-article155085682 

CANNA. - On the 8th May, at Alfred Hospital (after a painful illness), Lou Canna (drummer), only son of the late Signor Pietro Canna (champion drummer), aged 44 years. Private interment, Cheltenham Cemetery.

"AT POVERTY POINT . . . Kaniva", The bulletin (1 June 1916), 11

https://nla.gov.au/nla.obj-676929996/view?sectionId=nla.obj-693978126 

The death of "Lou" Canna deprives Melbourne of its premier drummer. Heaps of people will remember his father, Pietro Canna, who was regarded as the world's champion on the bladdery instrument. In 1862 he was appearing in Melbourne at the old Alhambra Concert Hall, where he gave an exhibition with 25 of his pets, from the small side-bomb to the largest of kettles. The piece, which was very descriptive, was entitled "The Siege of Sebastopol," and the way Canna skipped round producing the sharp volleys from the rifles, the dull booming of cannon and other orchestral battle effects was terrific even from an athletic point of view. Canna, senior, played in orchestras for many years in Melbourne, and was drowned off Burmah in 1884 by the overturning of a surf-boat.

ASSOCIATIONS: Louis Canna (1872-1916)

"SEVENTY YEARS OF MUSIC. MR. MONTAGUE'S MEMORIES", The Argus (31 October 1825), 12

http://nla.gov.au/nla.news-article2160821 

. . . Probably no musical event in Melbourne occasioned as much excitement as the arrival of Signor Pietro Canna, the drum player. The drum is not generally regarded with high favour, being supposed to be only capable of making a great noise, but in reality it is, in its way, as difficult to play as most other instruments. A skilful performer can make a roll vary in sound from the buzzing of a fly to a clap of thunder. While one cannot produce more than one sound from one drum, one can tune different ones to any semi tone in the chromatic scale if the pitch is not too high. All this and more could be done by Canna who had devoted his life to his astonishing performances. His first appearance was at the Theatre Royal on April 8, 1856. Never have I seen such excitement or heard such applause as when his lithe figure in appropriate costume dashed from the back of the stage to the front, seeming to take in every one of his many drums with one tremendous attack. When allowed to begin he did some surprising things, playing scales, tunes, and duets, and imitating buzzing of flies, thunder rolls, and many other sounds. His amazing quickness enabled him to seem to strike and two drums together, however distant they might be, while his crescendo from pianissimo to double forte had always to be repeated. He was fond of illustrating battle events. His first night represented the attack on Sebastopol. A son of his was the principal drummer in all the orchestras for many years, but did not give solo exhibitions as his father had done.

ASSOCIATIONS: Alfred Montague (musician, memoirist)

CAPE, Mary Ann (Mary Ann KNIGHT; Mrs. William CAPE)

Musician, teacher of music

Born London, England, 22 December 1787; baptised St. Giles, Cripplegate, 22 June 1788; daughter of Robert KNIGHT and Mary ?
Married William CAPE (1773-1847), Tenterden, Kent, England, 27 October 1805
Arrived Hobart Town, VDL (TAS), 18 May 1822 (per Denmark Hill, from England, 6 January)
Died Sydney, NSW, 8 January 1852, aged "65/66"

https://trove.nla.gov.au/search?l-publictag=Mary+Ann+Knight+Cape+1787-1852 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAPE-Mary-Ann (shareable link to this entry)

Documentation:

Baptisms, St. Giles, Cripplegate, London, June 1788; register 1777-92, fol. 160v; London Metropolitan Archives, P69/Gis/A/003/Ms06420/002

https://www.ancestry.com.au/discoveryui-content/view/6854517:1624 (PAYWALL)

Mary Ann / [daughter of] Robert Knight, Engraver, & Mary / [born] 1787 Dec'r 22 / [baptised 1788 June] 22

Marriages, Tenterden, Kent, England, 1805; Kent Archives Office, parish registers

https://www.ancestry.com.au/discoveryui-content/view/90532589:61746 (PAYWALL)

27 October 1805 / William Cape / Mary Ann Knight

"INCIDENTS, MARRIAGES AND DEATHS IN AND NEAR LONDON", The Monthly Magazine, or British Register (1 January 1806), 569

https://books.google.com.au/books?id=52Q3AQAAMAAJ&pg=PA569

At Tenterden, Kent, Mr. Cape, of Lombard-street, to Miss Mary Anne Knight, daughter of Robert K. esq. of Kent Road.

"SHIP NEWS", Hobart Town Gazette and Van Diemen's Land Advertiser (18 May 1822), 2

http://nla.gov.au/nla.news-article1089699

Arrived this morning from England, the ship Denmark Hill, Captain Foreman, with merchandize. . . . together with 27 steerage passengers, comprising only three families except three persons; namely . . . Mr. W. Cape . . . Mr. John Staff.

ASSOCIATIONS: John Foreman Staff (fellow passenger)

[Advertisement], Hobart Town Gazette and Van Diemen's Land Advertiser (8 June 1822), 2

http://nla.gov.au/nla.news-article1089713

MRS. CAPE begs leave to inform her Friends and the Inhabitants of Hobart Town,
that she has brought from England, a GRAND PIANO FORTE;
with a choice Collection of Music, by the first Composers of Italian and English Operas, Scotch and Irish Airs, &c.,
with which she purposes to give Lessons of Instruction in Music to Young Ladies,
at their own Residence, or at her Apartments at the corner of Collins-street, lately occupied by Mr. Owen.
For cards and further particulars apply to Mrs. Stocker, Derwent Hotel.

[Advertisement], Hobart Town Gazette and Van Diemen's Land Advertiser (16 November 1822), 2

http://nla.gov.au/nla.news-article1089802

MRS. CAPE informs the respectable Families in Van Diemen's Land,
that she intends to open, after the Christmas Recess, an Establishment for twelve Young Ladies, as Boarders, at the late Residence of P. A. Mulgrave, Esq. in Liverpool street, where she proposes, with the Assistance of proper Masters, to communicate Instruction, in various Branches of Female Education. -
Terms: - Fifty Guineas a year; Music ten Guineas a year extra. Masters and Washing extra.
N. B. - One-quarter's advance Payment will be indispensably necessary; and each Young Lady will be expected to bring the usual Requisites.
Reference, for Particulars, may be made to Mrs. Cape, at Mr. Hame's, Harrington-street.

[Advertisement], Hobart Town Gazette and Van Diemen's Land Advertiser (7 December 1822), 1

http://nla.gov.au/nla.news-article1089815 

MRS. CAPE having now entered upon the Premises recently occupied by P. A. Mulgrave, Esq. in Liverpool-street, announces to the genteel Families of Van Diemen's Land, that her proposed Terms of Board and Tuition, in the Establishment for Female Education, which she proposes to Open on the 13th of January, 1823, are the following - . . .
Music 10 Guineas extra . . .

[Advertisement], Hobart Town Gazette and Van Diemen's Land Advertiser (11 January 1823), 2

http://nla.gov.au/nla.news-article1089833

MR. CAPE, being under the painful necessity (though a father and a husband) of informing the Public, that his wife, Mary Ann Cape, has again left her home, without the least provocation, leaving her children in a most distressing state, deems it an imperative duty to caution the Inhabitants not to trust her on his account, as he will not be responsible for any debts contracted by her, whom he requests to return to the bosom of her family, and not to attend to the gross advice of any individual: -
And Mr. Cape will deem it illegal should any person or persons shelter Mrs. Cape after this Notice.
N. B. - The House now occupied by Mr. Cape, on the Hospital Hill, is to be Let, and possession given immediately.

"DEATHS", The Sydney Morning Herald (10 January 1852), 5

http://nla.gov.au/nla.news-article12933488

On the 8th instant, at her residence, O'Connell-street, Sydney, aged 65, Mary Anne, relict of the late William Cape, Esq.

Bibliography and resources:

V. W. E. Goodin, "Cape, William (1773-1847)", Australian dictionary of biography 1 (1966)

http://adb.anu.edu.au/biography/cape-william-1880/text2207

CAPLE, John (John CAPLE; Mr. CAPLE; ? stage name)

Actor, theatrical manager

Born c. 1820
Arrived [1] Melbourne, VIC, 27 October 1854 (per Blackwell, from London, 2 August)
Departed [1] Sydney, NSW, c. March 1855 (for San Francisco)
Arrived [2] Melbourne, VIC, 5 May 1856 (per Birnam, from San Francisco)
Departed [2] Melbourne, VIC, ? 3 October 1857 (per Suffolk, for London)
Died London, England, 22 June 1860, aged "39" (no death certificate in that name)

https://trove.nla.gov.au/search?l-publictag=John+Caple+c1820-1860 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAPLE-John (shareable link to this entry)

CAPLE, Eleanor (Eleanor GODDARD; "Mrs. John CAPLE"; in Australia Miss GODDARD)

Actor

https://trove.nla.gov.au/search?l-publictag=Eleanor+Goddard+Caple+Anderson (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAPLE-Eleanor-Goddard (shareable link to this entry)

Documentation:

"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (28 October 1854), 4

http://nla.gov.au/nla.news-article4799549 

October 27. - Blackwall, ship, 838 tons, J. McKerlie, from London August 2nd. Passengers - cabin: . . . Mr. and Mrs. Caple . . .

"Music; Fine Arts; The Drama . . . MISS GODDARD AND MR. CAPLE", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (31 March 1855), 2

http://nla.gov.au/nla.news-article251546654 

We regret to inform the lovers of the drama, that as there was not any opening at the theatres for the appearance of these celebrated artistes, they feel compelled to leave Sydney for California, where they have entered into engagements to perform . . .

List of passengers arrived at Melbourne, 5 May 1856, from San Francisco, on board the Birnam; Public Record Office Victoria

https://prov.vic.gov.au/archive/3AFE01E4-F96C-11E9-AE98-F70ABC3BAF48?image=103 (DIGITSED)

. . . Mr. & Mrs. Capel / 36 / 30 . . .

"MUSIC AND THE DRAMA", The Courier [Hobart, TAS] (29 September 1856), 3

http://nla.gov.au/nla.news-article2505926 

MR. CAPLE opens the Bendigo Theatre with an efficient company, including the eminent tragedienne Miss Goddard, who has now entirely recovered her health. The favourite actress Mrs. Brougham, we hear, has also been engaged.

ASSOCIATIONS: Emma Brougham (actor); Criterion Theatre (Bendigo [VIC] venue)

See also "MISS GODDARD'S FAREWELL BENEFIT", The Star [Ballarat, VIC] (23 July 1857), 3

http://nla.gov.au/nla.news-article66043322 

? "SHIPPING INTELLIGENCE . . . CLEARED OUT", The Argus [Melbourne, VIC] (5 October 1857), 4

http://nla.gov.au/nla.news-article7139710 

October 3. - Suffolk, ship, 975 tons, J. B. Martin, for London. Passengers - cabin . . . Mr. and Mrs. Caple . . .

"DEATH OF MR. JOHN CAPLE", The Star [Ballarat, VIC] (15 September 1860), 1 supplement

http://nla.gov.au/nla.news-article66058265 

We have to announce with a regret that many will share, the decease of Mr. John Caple, well known as an actor on the provincial and Australian stage, and for some time manager of various country theatres. The deceased, who had not completed his fortieth year, was the husband of Miss Goddard, the popular tragic actress. His death took place on Friday, the 22nd ult., after a very painful illness of ten days, and on Wednesday last his remains were interred at the Necropolis Cemetery, Woking. About ten years ago Mr. Caple was lessee of the York Circuit, after which he made a successful tour through California and Australia. He returned to this country in 1857, and since then has been manager of the Dundee and north country theatres. - Era [London], 1st July.

Bibliography and resources:

Peter Freund, "Miss Eleanor Goddard, tragedienne, a case for closer study of provincial theatre in Australia", On stage (Victorian Theatre Trust) 3/1 (Summer 2002), 21-23

https://theatreheritage.org.au/component/docindexer/?task=download&id=44 (DIGITISED)

https://webarchive.nla.gov.au/awa/20130525033200/http://pandora.nla.gov.au/pan/150371/20210429-0000/www.theatreheritage.org.au/images/OnStage/backissues/2002-1.pdf (archived at NLA Pandora)

CAPERRE, Madame (Madame Emile CAPERRE; Madame CAPERRE)

Vocalist

Arrived Adelaide, SA, 11 February 1851 (per Mazeppa, from Batavia, via Hobart Town)
Departed Adelaide, SA, 22 November 1851 (per Eugene, for Mauritius)

https://trove.nla.gov.au/search?l-publictag=Madame+Caperre+1851 (TROVE tagged by Australharmony)

See also https://trove.nla.gov.au/search?l-publictag=Emile+Caperre+1851 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAPERRE-Madame (shareable link to this entry)

Summary:

Wife of the equestrian showman Emile Caperre, Madame Caperre opened a fashion store in Adelaide in March 1851, and made her first (and, in the event, only advertised) public appearance, along with Camille del Sarte (who had arrived on the same ship), as a vocalist at a charity concert in September. The couple's Adelaide sojourn appears to have been brought to a premature end after a serious accident befell Emile in late September, whereafter they sailed for Mauritius.

Documentation:

"THE EQUESTRIAN COMPANY", Allen's Indian Mail and Register of Intelligence [London, England] (5 October 1847), 580

http://books.google.com.au/books?id=ZBYYAAAAYAAJ&pg=PA580 (DIGITISED)

The Equestrian Company arrived at Rajghaut on the 3rd instant [August]. Monsieurs Emile, Caperre [sic], and Andre preceded the Company about a week. They are all preparing to go down in a day or two to Calcutta, where they intend to offer a series of performances in October next. We wish them every success, and a plentiful harvest of l'argent in the City of Palaces. The Company did better at Agra and Bhurtpore than at any other station in the north-west. At Lucknow, where they expected a mint of money, they fared worse. His effeminate majesty, we suppose, would rather indulge himself with the enervating amusements of the Harem, than patronize the manly feats of peerless equestrianship, and the wonderful gymnastic exercises so successfully exhibited by Emile, Caperre [sic] and his comrades.

"SHIPPING INTELLIGENCE", South Australian [Adelaide, SA] (18 February 1851), 2

http://nla.gov.au/nla.news-article71686078

February 11 . . . Same day - The barque Mazeppa, 180 tons, Marsh, from Java, 1st January. Passengers . . . Mons, and Mdme. Copeire [sic], Mons. Delsarte in the cabin . . .

ASSOCIATIONS: Camille del Sarte (musician)

[Advertisement], South Australian Register (11 March 1851), 2

http://nla.gov.au/nla.news-article38439476

A LA FAVORITE, Hindley-street, opposite Leigh-street.
MADAME CAPERRE takes the earliest opportunity of informing the ladies of Adelaide and its vicinity
that her Establishment will be opened in a few days at the above address, where will be found a STOCK of FRENCH GOODS far superior to any yet imported.
With Madame C.'s experience in the "world of fashion," added to punctuality and reasonable charges, she hopes to receive a share of that patronage so liberally bestowed by the South Australian ladies in the dress-making line, in which neatness and elegance will be found combined.

"CONCERT IN AID OF THE GERMAN AND BRITISH HOSPITAL", South Australian Register (13 September 1851), 2

http://nla.gov.au/nla.news-article38443009

Our readers will observe that a grand Concert is to be given on Wednesday next, the 17th instant, in aid of the funds of the German and British Hospital. The Concert will combine a rare union of musical talent; and we are informed that Madame Caperre, a vocalist of distinguished reputation, will make her first appearance in public on this occasion.

[Advertisement], South Australian Register (15 September 1851), 2

http://nla.gov.au/nla.news-article38444790

CONCERT IN AID OF THE FUNDS OF THE GERMAN AND BRITISH HOSPITAL. ON WEDNESDAY, the 17th of September . . .
PROGRAMME. PART I . . . 3. Air from the Opera "Robert le Diable" - Made. Caperre. - Meyerbeer . . .

"THE CONCERT LAST NIGHT", South Australian Register (18 September 1851), 2

http://nla.gov.au/nla.news-article38452523

This was a most triumphant affair, the room being so crowded that we have reason to fear many left it disappointed from the want even of standing room. We have left ourselves no opportunity, in this issue, for any critique on the evening's performances; but we cannot avoid saying that the two new stars, Madame Caperre and Monsieur Del Sarte, more than realized the expectations that had been formed in reference to their acknowledged talents. They certainly made manifest to all present that the musical public in this province have gained, in them, an immense acquisition.

"CONCERT IN AID OF THE GERMAN AND BRITISH HOSPITAL", South Australian Register (19 September 1851), 3

http://nla.gov.au/nla.news-article38452626

. . . The palm of the evening we mast award unhesitatingly to Madame Caperre, who possesses not only very powerful and extensive musical endowments, but has also evidently been well educated. Her excellent style in the two Arias in "Robert le Diable" was genuinely French, and must therefore be judged of accordingly. We confess, however, we were not altogether satisfied with the first of the two performances (l'Aire de Grace), in which she was several times nearly half a tone too low; but her second attempt (Avant que je quittai la Normandie) was the performance of an accomplished artiste, and undoubtedly the gem of the evening . . .

MUSIC: Air de grace = Robert, toi que j'aime (cavatine); Quand je quittai la Normandie (air)

[Advertisement], South Australian Register (2 October 1851), 1

http://nla.gov.au/nla.news-article38437929

OLYMPIC CIRCUS. OWING to a SERIOUS ACCIDENT happening to Mons. CAPERRE, the above-named establishment is unavoidably closed for this week. October 1, 1851.

Decisions of the Supreme Court, Vice-Admiralty Court and Bankruptcy Court of Mauritius . . . 1869, part 1 (Mauritius: I. Channell, 1869), 51-52

https://books.google.com.au/books?id=qiUzAAAAIAAJ&pg=PA51 (DIGITISED)

FEBURE MARTIAL, & Co., - Plaintiffs, versus CAPERRE AND ANOR., - Defendants . . .
his was an action for work and labor done in erecting a Circus in the "Champ de Mars," to be used by the Defendants, for the public exhibition of equestrian performances . . .

CAPES, William (William CAPES; William Henry CAPES; Mr. CAPES)

Musician, organist, harmonium player, school teacher

Born Manchester, England, 1823; baptised St. Peter, Manchester, 2 February 1853; son of William CAPES and Hannah Rachel ROBBERDS (m.
Arrived Melbourne, VIC, 19 January 1853 (per Argo, from Liverpool, 8 October 1852)
Married Ellen Elizabeth MILSHAM (1835-1904), Collingwood, VIC, 1 December 1856
Died Nhill, VIC, 7 September 1897, aged "77" [sic]

https://trove.nla.gov.au/search?l-publictag=William+Capes+1823-1897 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAPES-William (shareable link to this entry)

Documentation:

Baptisms solemnized in the parish of Manchester at the church of St. Peter in the county of Lancester in the year 1823; bishop's transcripts, 1820-29; Lancashire, Church of England births and baptisms

https://www.ancestry.com.au/imageviewer/collections/2575/images/4007110_00274?pId=13948610 (PAYWALL)

No. 162 / 1823 Feb'y the 2nd / William / Son of William [and] Hannah Rachel / Capes / Manchester / Merchant

No. 163, in the same ceremony, his twin brother, John Capes (died Ballarat, VIC, 2 January 1880)

England census, 30 March 1851, Old Street, St Luke, Finsbury, Middlesex; UK National Archives, HO107/1523/251/17

https://www.ancestry.com.au/imageviewer/collections/8860/images/MDXHO107_1523_1524-0083?pId=2861137 (PAYWALL)

16 Finsbury St. / William Hawkins / Head / Married / 32 / Smith & Bell Hanger . . .
William Capes / Lodger / Unmarried / 27 / Merchant's Clerk / [born] Lanc's Manchester
John [Capes] / Brother / Unmarried / 27 / Attorney's Copying Clerk / [born] [Lanc's Manchester]

Names and descriptions of passengers per Argo, from Liverpool, 8 October 1852, for Melbourne; Public Record Office Victoria

https://prov.vic.gov.au/archive/3400C2E9-F96C-11E9-AE98-0507CB69E27D?image=107 (DIGITISED)

. . . Wm. Capes / 26 [sic] / [English] . . .

[Advertisement], The Argus (13 October 1853), 8

http://nla.gov.au/nla.news-article4798057 

MECHANICS' INSTITUTION, Thursday, October 13th, 1853. Second Sacred Concert.
Principal Vocalists, Mrs. Testar, Miss Lewis, Miss Martin, M. Winterbottom, and Mr. John Gregg.
Chorus - Messrs. Davies, Hill, Pownall, Robertson, Phillips, James, White &c.
Pianist, Mr. Salamon. Harmonium, Mr. Capes.
Conductor, M. Winterbottom.
Selections from the Creation, Messiah, Stabat Mater, St. Paul, &c. . . .

ASSOCIATIONS: Elizabeth Testar (vocalist); Annie Lewis and Edward Salamon (husband and wife, vocalist and pianist); Charlotte Martin (vocalist); John Winterbottom (conductor); John Gregg (vocalist); Thursday concerts (Melbourne series); Mechanics' Institution (Melbourne venue)

[Advertisement], The Argus (26 July 1854), 1

http://nla.gov.au/nla.news-article4795577 

MR. WILLIAM CAPES, will oblige, by calling on W. H. Williams, at 94 Bourke-street.

ASSOCIATIONS: William Henry Williams (printer, amateur musician)

"MARRIED", The Argus (2 December 1856), 4

http://nla.gov.au/nla.news-article7140988 

On the 1st inst., at Collingwood, by license, by the Rev. W. B. Landells, Mr. William Capes, of Manchester, to Ellen Elizabeth, eldest daughter of Mr. James Milsham, late of Bristol.

[Family notices], Geelong Advertiser (10 March 1860), 2

http://nla.gov.au/nla.news-article148789297 

BIRTH. ON 31st January, at her residence, Clarence-street, Ashby, the wife of Mr. William Capes, of a son. DEATH. ON the 25th ult, at Collingwood, Melbourne, aged 51, Mr. James Milsham, late of Bristol; father of Mrs. William Capes, of this town.

[Advertisement], Geelong Advertiser (8 November 1862), 4

http://nla.gov.au/nla.news-article148903854 

ANNIVERSARY Services. - On Sabbath, Nov. 9, Three Sermons will be preached at the Congregational Chapel, Pakington-street . . .
ON Monday, November 10th, the usual Tea Meeting, after which here will be a public meeting when addresses will be delivered by several members and friends.
Tickets, 1s ea. Tea at half-past Six o'clock. Mr. Capes will preside at the harmonium.

"CURRENT TOPICS", Geelong Advertiser (12 March 1863), 2

http://nla.gov.au/nla.news-article148906700 

On Tuesday last the ceremony of consecrating St. Mark's Church, Kensington, was performed by the Very the Rev. Dean of Melbourne, in his capacity of Vicar-General, during the absence of the Bishop . . . This was arranged for two o'clock, and although the rain came down incessantly, a good congregation had assembled, inclusive of Mr. Capes, who presided at the harmonium, and a choir which had accompanied him from town. The service occupied rather more than an hour and-a-half . . . An excellent sermon was preached by the Vicar-General. The whole party was then driven to the Cemetery, where in spite of the continued rain, the ceremony of consecration was performed under umbrellas, the 39th Psalm being sung under the able leading of Mr. Capes. The long wet grass was an addition[al] impediment, but worst of all were the swarms of mosquitos, who made deadly onslaught without regard to age, rank or dignity . . .

"ANGLICAN CHURCH OF ST. PETER", The Star [Ballarat, VIC] (17 November 1864), 4

http://nla.gov.au/nla.news-article66349813 

The ceremony conventionally known as the laying of the foundation stone was performed on Wednesday at the site of the Anglican Church of St. Peter, in Sturt street west . . . In a convenient place under shelter, was placed the church harmonium, at which presided Mr. Capes, who conducted the choral portion of the celebration. Mr. Capes had under him a large band of children, as also a few adult singers whom, during his eight or nine months' term of office, he has succeeded in bringing into respectable obedience to the laws of choral harmony. Several psalms were sung and chaunted by the choir, during the ceremony . . . The proceedings were opened by the choir chanting the metrical version of the 84th psalm, commencing "Oh God of hosts, the mighty Lord" . . . The choir, then sang the 149th Psalm, commencing "O praise ye the Lord," and the benediction . . .

"NEW INSOLVENTS", The Age [Melbourne, VIC] (9 October 1877), 3

http://nla.gov.au/nla.news-article206921727 

William Capes, of Fernshaw, teacher.
Causes of insolvency: insufficiency of salary to maintain a large family.
Liabilities, £126; assets, £1; deficiency, £125. Mr. Halfey, assignee,

"LOCAL & GENERAL NEWS", Nhill Free Press (10 September 1897), 2

One of the oldest identities of the Wimmera passed away last Tuesday at the Nhill Hospital in the person of Mr. Henry Capes [sic] of Broughton, at the advanced age of 77 years. it will be remembered that sme six weeks ago deceased, who was partially paralysed, was reading his newspaper at his fireside when a lighted log rolling out on the hearth ignited his clothing. Owing to his affliction the old gentleman did not immediately perceive the mishap, and as a consequence received some serious burns, which immediately necessitated his removal to the Hospital where he gradually sank and died as stated last Tuesday. Deceased for the last 25 years had been well known both in this and the Horsham districts, in both of which places he had acted as school master, and he was undoubtedly possessed of considerable attainments. The remains were interred in the local cemetery yesterday.

Bibliography and resources:

E. N. Matthews, Colonial organs and organ builders (Melbourne: Melbourne University Press, 1969), 170

https://trove.nla.gov.au/work/32617107 

[Geelong] . . . METHODIST CHURCH, Chilwell . . . opened 5 November 1854 . . . Organists: Mr. Capes . . .

CAPPER, Richard (Richard CAPPER; R. CAPPER; Mr. CAPPER)

Actor, stage carpenter, mechanist, scenic artist, carpenter, dramatist, author

Born England, c. 1790; son of Joseph CAPPER
Married Sarah SMITH (c. 1801-1836), Norton-Le-Moors, Staffordshire, England, 14 May 1822
Arrived Hobart Town, VDL (TAS), 3 January 1834 (per Princess Victoria, from Liverpool, 7 September 1833)
Died Fitzroy, VIC, 3 January 1884, aged "94"

https://trove.nla.gov.au/search?l-publictag=Richard+Capper+c1790-1884 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-458994 (NLA peristent identifier)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CAPPER-Richard (shareable link to this entry)

Documentation:

Marriages, Norton-Le-Moors, Staffordshire, 1822; Staffordshire, parish records

https://www.ancestry.com.au/discoveryui-content/view/90292841:61517 (PAYWALL)

14 May 1822 / Richard Capper / Sarah Smith

"Domestic Intelligence", Colonial Times [Hobart, TAS] (7 January 1834), 6

http://nla.gov.au/nla.news-article8647349 

The Princess Victoria arrived on Saturday last, from Liverpool 7th September, with a general cargo, and the following passengers: - . . .
Steerage Passengers . . . Sarah Smith . . .

NOTE: Capper was not listed among the cabin passengers (as he later claimed), but his wife, Sarah Smith, appears under her maiden name among the steerage passengers, suggesting perhaps that Capper was employed on board as a ships' carpenter, despite the much later claim he was a cabin passenger

[Advertisement], The Tasmanian [Hobart, VDL (TAS)] (12 September 1834), 3

http://nla.gov.au/nla.news-article233615013 

Theatre, Argyle Rooms. ON MONDAY next, September 15,
for the Benefit of MRS. HENSON, will be performed (1st time)
MY SPOUSE AND I.
Wilton - Mr. Hodges
Frisk - Mr. Campbell
Dick - Mr. Penphraze
Paddock - Mr. Capper
Scorem - Mr. Lee
Pross - Mr. Shribbs
Hodge - Mr. Henson
Dame Paddock - Mrs. Henson
Harriet - Miss Rudelhoff
Janet - Miss Watson.
After which will be sung "I know a bank," by Miss Remens and Mrs. Henson . . .

ASSOCIATIONS: William Penphrase (actor); John Herman Selwyn Lee (actor); Edward Shribbs (actor); Mrs. Henson (vocalist); Dinah Rudelhoff (actor); Ann Remens (actor, vocalist); Theatre Argyle Rooms (Hobart venue)

"THE THEATRE", The People's Horn Boy [Hobart, VDL (TAS)] (27 September 1834), 1

http://nla.gov.au/nla.news-article232499731 

We recommend our readers to see the Gipsey of the Glen, which is to be repeated on Monday night. Mr. Capper, as Planxty, is superior to any thing we have seen here. Mr. Campbell, as Moore Carew, and Lee, as the Earl of Moreland, exceeded our expectations. The audience on Thursday night was small, but select, after a sort. A certain class of females ought not to be admitted into the boxes.

Burials in the parish of Trinity in the county of Buckingham in the year 1836; Tasmanian names index; NAME_INDEXES:1180085; RGD34/1/1 no 4487

https://stors.tas.gov.au/NI/1180085 

https://stors.tas.gov.au/RGD34-1-1p192j2k (DIGITISED)

No. 359 / 4487 / Sarah Capper / Battery Point / [buried] 9th May / 35 years / Free / Carpenter's wife

[Advertisement], Bent's News and Tasmanian Register (24 August 1838), 1

http://nla.gov.au/nla.news-article233325601 

VALUABLE LAND, AT THE BATTERY POINT.
THE UNDERSIGNED being about to return to England, is desirous of disposing of that valuable piece of Land, at the Battery Point, having 260 feet frontage to Colville-street, and 186 feet to Wellington Crescent . . .
R. CAPPER. August 24, 1838.

[Advertisement], Port Phillip Gazette [Melbourne, NSW (VIC)] (18 June 1842), 3

http://nla.gov.au/nla.news-article225009399 

. . . We, the members of the Amateur Theatre . . . [signed] George Buckingham . . . H. S. Avins, Robert Stainsby, Richard Capper . . .

ASSOCIATIONS: George Buckingham (actor, manager); Henry Stacey Avins husband of Julia Avins (actor); Robert Stainsby (musician); Pavilion Theatre (Melbourne venue)

"VICTORIAN STAGE IDENTITIES", The Herald [Melbourne, VIC] (29 November 1881), 3

http://nla.gov.au/nla.news-article241326094 

. . . The veteran, Mr. Richard Capper, who is still hearty, as much more than an octogenarian, can supplement Mr. Coppin's memories of this period with multifarious details, which cause it to be a rich treat to talk with him. He was stage carpenter at Drury Lane Theatre sixty years ago, in the time of Edmund Kean and Lord Byron, with both of whom he was well acquainted; and actors like Elliston, Bannister, Munden, Liston, Farren, and Dowton were quite familiar to him. Capper had reached middle-life when he became mechanist and actor at the old Queen's, so that, his earliest recollections seem to be quite antediluvian. He acted a morsel of Shylock at the Royal for the Old Colonists' Benefit when he was eighty-years old. The old gentleman has written about a score of five-act tragedies . . .

ASSOCIATIONS: George Coppin (actor); Queen's Theatre (Melbourne venue)

"THE LAST MOMENT", The Herald (3 January 1884), 3

http://nla.gov.au/nla.news-article241162403 

The death is announced to-day of Mr. Richard Capper, one of the oldest, if not the very oldest, remaining colonist, at the advanced age of 94. He arrived in Tasmania on the 1st of January, 1834, just too late to get a grant of land, in the ship Princess Victoria and was a cabin passenger. In 1837 he followed Batman and Fawkner to Victoria, where be worked at his trade as a carpenter, building the first theatre in Bourke street on the present site of the Bull and Mouth Hotel and called the pavilion. After it was opened he retained his connection with it; acting as property man, actor, and stage carpenter, a by no means uncommon combination in those days. About 1853 he made his first entry into public life as member of the mining board for St. Andrews. In the same year he stood for Collingwood as a candidate for Legislative honors, and was defeated by Mr. J. C. King. This gentleman was a Freetrader; his opponent had one plank only, that of protection to native industries. He was defeated by sixty votes. Mr. Capper was an indefatigable writer, and some of his plays have been published. One called The Ladder of Life ran for forty nights in London, far more than as many years ago. In his 83rd year he penned an historical drama for the Elizabethan era, and this is shortly to be published.

"The late Mr. Richard Capper", The Lorgnette [Melbourne, VIC] (5 January 1884), 4

http://nla.gov.au/nla.news-article208484949 

IN an issue of The Lorgnette some few days back, replying to a question from a correspondent, I gave the cast of characters and names of the artists engaged in the first representation of Shakespeare's tragedy of "Richard the Third," and concluded with these words: - Of all this goodly party but one is now in the land of the living, namely, Mr. Richard Capper, who is still a respected resident of Carlton." Little did I think that I should be so soon called upon to chronicle the decease of the dear old veteran, who, to use a theatrical term, "passed in his checks" on Thursday, January 3rd, 1883, at the advanced age of 94. In the early part of January 1934, he arrived in Tasmania. After staying there some three years, he came to Port Phillip, and settled steadily to work at his trade as a carpenter in Melbourne. In 1841, Mr. Capper mainly assisted in the erection of a wooden theatre on the spot on which is now erected the Spanish Restaurant and Hosies' Pie Shop. It was named the "Pavilion", and was opened in July of the same year. Shortly after Mr. Capper's name appeared in the advertisement as "Mechanist," and to this department he seems to have given the best part of his attention. Some years later he held the same position at the Queen's Theatre Royal, and in 1848 he assisted in the production of "The Wood Demon" and "The Flying Dutchman." Of his efforts regarding the first piece, it is chronicled of the departed gentleman, "The mechanical contrivances were the brain and hard work of Mr. Capper, and may safely be pronounced as having no superior in the colonies, not even in Sydney." The "Glory Clouds" were worked to perfection, and those who witnessed the performances were in extacies. When Mr. Coppin made his first appearance in Melbourne, at the old Queen's June 21, 1845, Mr. Richard Capper was the Mechanist of the establishment. As an actor, his appearances were few and far between, but he was always safe as an emergency. On the 4th of Sept 1843, he appeared as Brabantio to the Othello of Mr. Knowles, and during the same season, played Ralph Nickleby in a version of "Nicholas Nickleby." In the July of the following year, he played Dumont, in "Jane Shore." He is next noted appearing as Lord Mayor in "Richard the Third," on its first presentation in Melbourne in May, 1845. He also appeared in the initial performance in the same town, of "Macbeth," the Thane of Cawdor being sustained by Mr. Nesbitt, with Mr. Capper as Duncan, King of Scotland. His very first appearance on the Melbourne stage is, however, noted as having taken place at "The Melbourne Theatre," April, 1841, as Christopher Granite, in "Hercules King of Clubs." This, I take it entitles him to have been considered "the Father of the Melbourne stage." He was also one of the original Wardens of the "Dramatic and Music al Association," and was also for some years connected with the Old Colonists Association. Mr. Capper has left behind recollections of a well spent and honoured career.
W. H. W.

ASSOCIATIONS: William Henry Waters (journalist)

CARANDINI FAMILY

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARANDINI-family (shareable link to this entry)

CARANDINI, Gerome (Gerome CARANDINI; Jerome CARANDINI; Girolamo GARANDINI; Signor CARANDINI)

Musician, tenor and countertenor vocalist, dancer, professor of dancing and languages, dancing master

Born Modena, Italy, 24 October 1803
Arrived London, England, 26 June 1837 (per Emerald, from Boulogne)
Arrived Hobart Town, VDL (TAS), 28 January 1842 (free per Sydney, from the Downs, 3 October 1841)
Married Maria BURGESS, St. Joseph's, Hobart Town, VDL (TAS), 11 March 1843
Departed for Italy, late 1868
Died Modena, Italy, 18 January 1870, aged "67"

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

https://trove.nla.gov.au/search?l-publictag=10th+Marquis+of+Sarzano (TROVE tagged)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARANDINI-Gerome (shareable link to this entry)

CARANDINI, Maria (Maria BURGESS; Mrs. Maria CARANDINI; Madame CARANDINI, Madame Marie CARANDINI)

Musician, soprano vocalist, manager

Born, London, England, 1826; baptised St. Matthew, Brixton, England, 1 February 1826; daughter of James BURGESS (d. 1835) and Martha MEDWIN (d. 1882)
Arrived Hobart Town, VDL (TAS), c. 1833
Married Gerome CARANDINI, St. Joseph's, Hobart Town, VDL (TAS), 11 March 1843
Departed Australia, February 1892
Died Richmond Hill, Bath, England, 13 April 1894, "aged 69"

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

https://nla.gov.au/nla.party-1465482 (NLA persistent identifier)

https://en.wikipedia.org/wiki/Marie_Carandini [sic] (Wikipedia)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARANDINI-Maria-Burgess (shareable link to this entry)

CARANDINI, Rosina (Rosina Martha Hosannah CARANDINI; Miss CARANDINI; Miss Rosina CARANDINI; Mrs. Edward Hodson PALMER)

Musician, soprano vocalist, pianist

Born Hobart Town, VDL (TAS), 27 August 1844; daughter of Gerome CARANDINI and Maria BURGESS
Married Edward Howson PALMER, St. David's Cathedral, Hobart, TAS, 8 November 1860
Died South Yarra, VIC, 16 June 1932

https://trove.nla.gov.au/search?l-publictag=Rosina+Carandini+Palmer+1844-1932 (TROVE tagged by Australharmony)

https://nla.gov.au/nla.party-1469995 (NLA persistent identifier)

https://en.wikipedia.org/wiki/Rosina_Palmer (Wikipedia)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARANDINI-Rosina-Palmer (shareable link to this entry)

CARANDINI, Fanny (Fanny CARANDINI; Frances Ellen Hannah CARANDINI; Miss Fannie CARANDINI; Mrs. Henry MORLAND)

Vocalist

Born Sydney, NSW, 5 July 1849; daughter of Gerome CARANDINI and Maria BURGESS
Married Henry MORLAND (1837-1891), Trinity Church, Sonapore, Bombay, 27 December 1875
Died Ealing, London, England, 26 May 1904

https://trove.nla.gov.au/search?l-publictag=Fanny+Carandini+Morland+1849-1904 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARANDINI-Fanny-Morland (shareable link to this entry)

CARANDINI, Isabella (Isabella Sara CARANDINI; Mrs. George James COTTERELL; Mrs. Norman CAMPBELL)

Vocalist

Born Sydney, NSW, 25 January 1851; daughter of Gerome CARANDINI and Maria BURGESS
Married (1) George James COTTERELL (1837-1877), St. James, Sydney, NSW, 13 October 1874
Married (2) Norman CAMPBELL (1846-1901), Wellington, NZ, 19 May 1886
Died Campbeltown, Scotland, 3 September 1934

CARANDINI, Elizabeth Mary (Elizabeth Mary CARANDINI; Lizzie CARANDINI)

Born Hobart, TAS, 12 December 1854; daughter of Gerome CARANDINI and Maria BURGESS
Married John ADAMS (1845-1920), Colaba, India, 1 December 1875
Died Chelsea, London, England, 13 January 1945

CARANDINI, Marie (Emma Marie CARANDINI; Miss Marie CARANDINI; Mrs. Robert Walter WILSON; Mrs. Herbert Leslie STOKES)

Vocalist

Born TAS, 11 March 1863; daughter of Gerome CARANDINI and Maria BURGESS
Married (1) Robert Walter WILSON (1854-1911), Melbourne, VIC, 11 March 1882
Married (2) Herbert Leslie STOKES (1853-1927), London, England, 1899
Died Windsor, Berkshire, England, 22 July 1945

Maria Carandini, 1857; from sketch by Edmund Thomas; on the cover of I cannot sing tonight, ballad by L. Lavenu (Sydney: J. R. Clarke, 1857); National Library of Australia

https://trove.nla.gov.au/work/12842121 

https://nla.gov.au/nla.obj-181847032 (DIGITISED)

ASSOCIATIONS: Lewis Henry Lavenu (composer); Edmund Thomas (artist); Jacob Richard Clarke (publisher)

Documentation

NOTE: For such a major public artist as Maria Carandini, who was almost continuously active from joining Sydney theatre in 1845 until her retirement, it is only feasible to document below a mere sketch outline of her long and busy career, concentrating on major changes and highlights up to c. 1860

England:

Baptisms, St. Matthew, Brixton, 1826; England, Select births and christenings

https://www.ancestry.com.au/discoveryui-content/view/55944747:9841 (PAYWALL)

1 February 1826 / Maria / daughter of James and Martha / Burgess

Alien arrivals, London, 1837; UK National Archives, HO2/28/3990

https://www.ancestry.com.au/discoveryui-content/view/12306:1587 (PAYWALL)

No. 3990 / 26th June 1837 / Jerome Carandini / Profession - Refugee / Native of - Italy / From - Boulogne per Emerald / Has no passport

[Advertisement], Morning Post [London, England] (25 August 1840), 1

https://www.britishnewspaperarchive.co.uk/viewer/BL/0000174/18400825/002/0001 (PAYWALL)

COLOSSEUM, REGENT'S PARK - MORNING EXHIBITION. No extra Charge -
A Grand MORNING CONCERT commenced daily at Two o'clock precisely, supported by
Signor Carandini, Signor Mondello, Mr. F. Howson and Mr. Leigh Smith; Miss Holmes and Miss Taylor.
The Music selected from Mozart, Rossini, Weber, Bellini, Paccini, Donizetti, Balfe, &c. &c.

ASSOCIATIONS: Frank Howson (vocalist); the advertised concerts continued until late October 1840

Hobart Town, VDL (TAS):

"SHIPPING INTELLIGENCE. PORT OF HOBART TOWN. Arrivals", The Courier (28 January 1842), 2

http://nla.gov.au/nla.news-article2954943

28 - the Sydney, from London, last from the Downs on the 3rd October - passengers . . . Mr. and Mrs. Clark and child . . . J. Carandini, F. Howser [Howson], wife, and child, Henry and John Howser, S. Macintosh [sic] and child, Emma Young.

ASSOCIATIONS: Anne Clarke (actor, vocalist, manager) and her husband and daughter; Emma Howson and Frank Alfred Howson (Frank Howson's wife and child); Henry Howson (musician); John Howson (musician, actor); Mrs. Macintosh = Theodosia Stirling (actor, vocalist); Emma Young (vocalist, dancer, actor);

[Advertisement], Colonial Times (8 February 1842), 1

http://nla.gov.au/nla.news-article8752417 

GRAND CONCERT OF VOCAL AND INSTRUMENTAL MUSIC,
AT THE ARGYLE ROOMS, On FRIDAY NEXT, February 11, 1842.
MRS. CLARKE BEGS to inform her friends and the public that she intends to give a Concert of Vocal and Instrumental Music . . .
in which she purposes to introduce some of the most popular music, as now performed at the London Concerts;
and aided as she now is by performers of acknowledged talent, she hopes to produce an entertainment worthy of that patronage which she has ever been proud to acknowledge . . .
PROGRAMME. PART I . . . Quartetto - Mrs. Clarke, Signior Carandini, Mr. J. Howson, and Mr. Francis Howson, "A te o cara" - "Il Puritani." - BELLINI . . .
PART II . . . Duetto - Signior Carandini and Mr. F. Howson, "Chi mi Frena," - "Lucia di Lammermoor." - DONIZETTI . . .
Finale - "God Save the Queen," by the Military Band; Solo parts by Mrs. Clarke, Mrs. Stirling, Mr. J. Howson, Sigr. Carandini and Mr. F. Howson. The whole under the direction of Messrs. Leffler and Russell . . .

ASSOCIATIONS: Edmund Leffler (musician); William Wilkins Russell (musician); Band of the 51st Regiment (military); Argyle Rooms (Hobart venue)

[Advertisement], Colonial Times (15 February 1842), 1

http://nla.gov.au/nla.news-article8752437 

SECOND GRAND CONCERT OF VOCAL AND INSTRUMENTAL MUSIC,
AT THE ARGYLE ROOMS, On FRIDAY EVENING, February l8, 1842 . . .
PROGRAMME. PART I . . . Duetto. - "Chi mi frena," Signior Carandini and Mr. F. Howson. - DONIZETTI . . .
PART II . . . Barcarole - "Or che in cielo," Signior Carandini. - DONIZETTI . . .

MUSIC: Or che in cielo (Donizetti, from Marino Faliero)

"MRS. CLARKE'S CONCERT", The Courier (18 February 1842), 2

http://nla.gov.au/nla.news-article2954836

On Friday evening last a first opportunity was afforded to the inhabitants of this town of judging of the selection which Mrs. Clarke had made of the assistance for which she returned to England, and we feel assured that no one can hesitate to say that much credit is due to her for the judgment exercised in the matter. The chasteness of musical style, the precision of execution, and the decorum which was so studiously preserved during the whole entertainment, cannot but be appreciated by the public, and meet with that encouraging support to which it is justly entitled. The room was well filled with many of the elite of our community, and numerous were the graceful forms and sparkling orbs whose lustre seemed heightened through the influence of the "soul inspiring harmony" . . . Mr. F. Howson's "Woodman, spare that tree" by Russell, could not but have gratified, the audience . . . Next came Signor Carandini, whose first selection had been from I Puritani, "Credeasi misera." This singer, a counter-tenor, possesses a remarkable range of voice, which fits him peculiarly for the vocal transmutations for which the Italian School is so observable; there is, however, a certain roughness in the higher notes, assuming neither the falsetto nor the throat voice, which rather deteriorates the effect in a salon, though this slight defect would be imperceptible on the stage . . .

[Advertisement], The Courier (18 February 1842), 3

http://nla.gov.au/nla.news-article2954817 

MUSICAL ENTERTAINMENT, TUESDAY, February 22, 1842, at the ARGYLE ROOMS, Liverpool Street.
Mrs. CLARKE . . . intends to give twice a-week a Theatrical Olio and Musical Melange . . .
PROGRAMME . . . PART II . . .
To conclude with (for the first time in this Colony) the celebrated MAZURKA, from the Ballet of "Beniowski,"
as danced at the Italian Opera House, London. - Miss Young, Mrs. F. Howson, and Signor Carandini . . .

MUSIC: Mazurka from Beniowsky (ballet by André-Jean-Jacques Deshayes, music by Nicholas Charles Bochsa)

[Advertisement], The Courier (18 February 1842), 1

http://nla.gov.au/nla.news-article2954825

A CARD. - SIGNOR CARANDINI, Principal Corifé at the Italian Opera, London, for the last four years, begs leave most respectfully to acquaint the inhabitants of Hobart Town und its vicinity, that he intends to give lessons in Dancing, as also in the French, Italian, and German Languages.
Having been for eleven years Teacher of Languages in France and England, Signor Carandini flatters himself that he will have it in his power to afford satisfaction to those who may favour him with their kind patronage.
N.B. - Schools attended. - Terms known on application at the Courier Office. February 15.

"MRS. CLARKE'S MUSICAL SOIREES", The Courier (25 February 1842), 2-3

http://nla.gov.au/nla.news-article2954777 

Since our last publication Mrs. Clarke has given two entertainments, which were very respectably attended, and have only borne out the opinion which we formed at the result, that in the component parts of the company there exists the talent requisite for not only amusing as a one-evening novelty, but also for the maintenance of that good-will and interest on the part of the public, without which all their efforts must be vain; we cannot however help expressing our surprise that the task of supporting the few public amusements of this community uniformly devolve on the Bourgeoisie, whilst the soi-disant Aristocrats, who in all other countries hasten to show their mental as well as social superiority, by a studious cultivation and support of every branch of the fine arts, seem, one and all, to keep entirely aloof from these scenes of enjoyment, leaving it to be inferred that they care little whether Van Diemen's Land gains or loses in these acknowledged prototypes of civilisation. Amongst the performances of Friday last . . . An apology was made for Signor Carandini, who, we are informed, has, since his arrival in the colony, laboured under the disadvantage of a severe hoarseness; he, notwithstanding, did his utmost endeavours, not without effect, to go through the pieces which had been allotted to him in the programme . . . On the subject of Tuesday last . . . Signor Carandini, in the Polish dance, the "Mazurka," displayed a grace and precision of step highly pleasing; whilst Mrs. Howson and Miss Young, - the former especially, - at the same time that they displayed great abilities as dancers, lost no opportunity of enhancing the characteristic meaning of the figures, which would tend to the conclusion that coquettes as to be met with as well in Poland as in most other parts of the world. So much pleased were the spectators with this dance - of which the effect was considerably heightened by the becoming costumes worn by the figurantes, - that it was called for a second time, as was also the double hornpipe, very gracefully danced by Mrs. F. Howson and Miss Young. The next entertainment given by Mrs. Clarke will take place to-morrow evening, when, besides that beautiful glee "When shall we [3] three meet again?" and various other musical selections, the :Tarantella" dance, by Mrs. F. Howson and Signor Carandini, and the Scotch minuet from "Lochinvar," by Mrs. F. Howson and Miss Young, appear on the bills as additional attractions. To the admirers of the "fantastic toe," we think the evening will be productive of pleasure.

"SIGNOR CARANDINI", The Courier (25 March 1842), 2

http://nla.gov.au/nla.news-article2954600 

This gentleman, whose able exertions in the art of Terpsicore have elicited well-merited applause at the "Albert Theatre," has been appointed to the Professorships of Foreign Languages and of Dancing at the Queen's College, at a salary of £100 per annum, the knowledge of which circumstance reached us with the more pleasure, affording as it does an encouraging proof that, in this instance at all events, the talents of a person who has seen brighter days, are not the less appreciated for being called forth before the public under adverse fortune.

ASSOCIATIONS: Anne Clarke had refitted the Argyle Rooms as the Albert Theatre, pending her return to the Victoria Theatre in July

[Advertisement], Colonial Times (10 May 1842), 2

http://nla.gov.au/nla.news-article8752647 

ALBERT THEATRE, LIVERPOOL STREET.
MASONIC PATRONAGE, LODGE 345, On FRIDAY NEXT, May 13, 1842.
PART I. OVERTURE. - ROSSINI. WALTZES. - LABITZKY.
After which (Signor Carandini having sufficiently recovered from his severe illness,) a new characteristic
WALLACHIAN DANCE, with the Preliminary Pantomimic action, according to the custom in Wallachia, called
THE PLOUGA, As danced at the Italian Opera, in the Ballet of Le Boyard - by Miss Young and Signor Carandini . . .
The New PAS DE TROIS, Composed by Signor Carandini - Miss Young, Mrs. F. Howson, and Signor Carandini . . .

[Advertisement], The Courier (3 June 1842), 1

http://nla.gov.au/nla.news-article2954255 

A CARD. - SIGNOR CARANDINI begs respectfully to apprize the inhabitants of Hobart Town, that it is his intention to open a DANCING ESTABLISHMENT at his domicile, No. 6, Davey-street, where a Class will be held every Tuesday and Thursday, from 4 to 5 o'clock for children, and from 7 to 9 o'clock for gentlemen.
Terms, £1 15s. per Quarter. Apply at Signor C's. residence above-named.

"MASONIC FESTIVAL", The Courier (1 July 1842), 2

http://nla.gov.au/nla.news-article2954099 

The anniversary of St. John was celebrated by the Masonic Lodges 313, 326, and 345, in this town, on Friday last . . . The Lodges 313 and 326 assembled at the White Horse, where a very excellent entertainment was provided by Mr. Lewis . . . The toasts after dinner were each followed by some appropriate song or glee, and the social pleasures of the evening were much enhanced in this department by the assistance of the Messrs. Howsons and Carandini, brethren recently initiated into "That mysterious, glorious science, / Which to discord bids defiance."

"THE ROYAL VICTORIA THEATRE", Colonial Times (12 July 1842), 3

http://nla.gov.au/nla.news-article8752819 

This theatre was opened last night, by Mrs. Clarke, (who has again become lessee) to a crowded house mid highly respectable audience, every one of whom retired to their homes much delighted with the evening's recreation. The whole company appeared quite au fait in their respective parts, Mr. F. Howson in particular was the life and soul of the evening; the singing was beautiful, and the dancing - especially that of Signor Carandini, who has now room enough to display his abilities - was very superior . . . We wish Mrs. Clarke every success.

ASSOCIATIONS: Royal Victoria Theatre (Hobart venue)

THE THEATRE", The Austral-Asiatic Review, Tasmanian and Australian Advertiser (2 September 1842), 3

http://nla.gov.au/nla.news-article232480612 

This place of rational entertainment is now so well conducted by Mrs. Clarke, that the most fastidious families can partake its amusements. We are glad to find that it obtains the fullest support accordingly. The admirable singing of the Messrs. Howsons, dancing of Signor Carandini, and the other artistes, and the excellent orchestra, of which that old favourite Mr. Reichenberg, forms a chief componency, cannot fail to attract crowded houses.

ASSOCIATIONS: Joseph Reichenberg (musician)

"MR. BUSHELLE'S CONCERT", The Courier (24 February 1843), 2

http://nla.gov.au/nla.news-article2953122 

At an early hour on Friday evening last, the continued rolling of carriages towards the Victoria Theatre bespoke that the enticing programme - the merits of which had been so liberally discussed during the day - had produced the wanted effect, and at about eight o'clock the interior of the building presented a scene of profitable animation, beyond what could have been anticipated even by Mr. Bushelle's most sanguine well-wishers. So crowded were the boxes, that many of the gentlemen were under the necessity of taking seats in the pit, which was more select on this than on most other occasions . . . Touching the other vocal performers we shall say but little, as most of the pieces introduced were of those which have on several previous occasions been produced to the public, and met with comments at our hands . . . As Signor Carandini's powers of vocalism are, if ever they existed, now decidedly bygone, we think he should not again expose himself to the suffering which he evidently underwent whilst singing "Che Veggio," with Mrs. Stirling, nor the public to the painful task of hearing such ineffectual attempts . . .

ASSOCIATIONS: John and Eliza Bushelle (vocalists)

1843, marriages in the district of Hobart; Tasmanian names index; NAME_INDEXES:826659; RGD37/1/3 no 465

https://stors.tas.gov.au/NI/826659 

https://stors.tas.gov.au/RGD37-1-3p117j2k (DIGITISED)

No. 465 / 11th March 1843 / St. Joseph's Church / Jerome Carandini / Full age / Gentleman / Maria Burgess / Full age / Lady . . .

"MARRIED", The Courier (17 March 1843), 2

http://nla.gov.au/nla.news-article2953031

On the 11th instant, at the Catholic Church, by the Rev. J. J. Therry, Signor Gerome Carandini, to Maria, eldest daughter of the late Mr. Burgess, of Liverpool-street.

ASSOCIATIONS: John Joseph Therry (cleric)

[Advertisement], The Hobart Town Advertiser (14 March 1843), 2

http://nla.gov.au/nla.news-article264591965 

SIGNOR CARANDINI, PURPOSES GIVING LESSONS IN DANCING to Young Ladies and Children (in class and in private,)
at his residence, No. 6, Davey-street, every Thursday and Friday - from 5 till half-past 6 o'clock p.m. for the Class,
and for the Private Tuition, the hours to be settled by the parties themselves.
For Gentlemen, on Tuesdays and Thursdays, as before. March 14.

"THE QUEEN'S BIRTHDAY . . . THE BALL", Colonial Times (30 May 1843), 3

http://nla.gov.au/nla.news-article8753641 

The company began to arrive soon after nine o'clock, and were ushered into the vice-regal presence with all due formality . . . After a few couples had arrived, the fine band of the 51st K.O.L.I. gave note of preparation that the business of the evening might be commenced; whereupon sundry parties were formed for quadrilles, gallopades, and waltzes and I can assure you, my dear friend, though I have seen more elegant dancers, and more graceful dancing, I seldom saw this agreeable and exhilirating amusement more heartily partaken of. It struck me, however, as it did my friend Beloved who accompanied me, that considerable improvement had taken place in the practice of the art, which I attributed to the example which has been so laudably set at our Theatre by our select corps de ballet, and to the successful tuition of Signor Carandini, whose appointment to the professional chair in our Colonial College evinces the high merit in which his talents and character are held by the community. Lady Franklin and Sir John, their dancing days being over, derived great delight from beholding the enjoyment of their guests . . .

ASSOCIATIONS: John and Jane Franklin (governor and wife, hosts)

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (14 July 1843), 1

http://nla.gov.au/nla.news-article232481632 

Royal Victoria THEATRE, Campbell Street. SIGNOR CARANDINI'S BENEFIT. This Evening, July 14.
SIGNOR CARANDINI respectfully begs to inform his Friends, Pupils, and the Public generally, that his
BENEFIT will take place on the above evening, when he hopes to produce an Entertainment worthy of the kind support and liberality he has hitherto experienced from his patrons.
By the kind permission of Colonel Elliott, the BAND of the 51st K.O.L.I. will play between the Pieces, and during the Mazurka and Gallopade.
The Evening's Entertainments will commence with (for the first time) the highly interesting Domestic Burletta, in one act, entitled MARCELINE; Or, the Soldier's Legacy.
To be followed by a Scene from the favorite Ballet of THE CORSAIR, as performed at Her Majesty's Theatre, London.
PAS DE DEUX, by Mrs. F. Howson and Signor Carandini. The Music selected and part composed by Mr. F. Howson.
After which (for the first time in this colony) an entirely NEW TARANTELLA, by Mrs. F. Howson, Miss Young, and Signor Carandini;
with Vocal Accompaniments by Mrs. Clarke, Mrs. Stirling, Mr. J. Howson, and Mr. F. Howson.
The subject from Rossini's celebrated Tarantella, entitled "La Danza."
The scene taken from the "Mercato in Naples," with appropriate dresses, tambourines, castanets, and guitars.
The whole to conclude with (for the first time) a favourite Comedy, in one act, entitled THE QUEEN'S JEWEL.
The Saloon of the King's Palace illuminated for a Grand Ball. An entirely new Scene, painted expressly for this occasion.
In the Ball Scene will be introduced (for the first time) a New Grand MAZURKA, by Mrs. F. Howson, Miss Young, Signor Carandini, and Six of his Pupils.
To he followed by a Grand GALOPADE, from the Ballet of "Le Diable Amoreux," by the whole of the Company, assisted by several Pupils of Signor Carandini's . . .

MUSIC: Galop, music by Napoléon Henri Reber, from Le diable amoureux (ballet)

Maria's Hobart debut as a public singer (21 August 1843):

[Advertisement], The Austral-Asiatic Review, Tasmanian and Australian Advertiser (18 August 1843), 1

http://nla.gov.au/nla.news-article232481735 

Royal Victoria THEATRE, Campbell Street.
FOR THE BENEFIT OF THE WIDOW AND FAMILY OF THE LATE MR. BUSHELLE.
MSS. CLARKE having kindly offered the use of the Theatre for a
BENEFIT in behalf of the Widow and Family of the late MR. BUSHELLE, of Sydney,
and having tendered gratuitously her valuable services for the occasion, which has been in the handsomest manner spontaneously responded to by the Ladies and Gentlemen of the Establishment, the Public (whose sympathy is strongly appealed to) are respectfully informed that
ON MONDAY NEXT, 21ST INSTANT, The Evening's Entertainments, will commence with the Comic Opera of JOHN OF PARIS.
In Act 2, incidental to the Opera, the NEW SWISS PAS DE DEUX, by Mrs. F. Howson and Signor Carandini.
To be followed by a MUSICAL MELANGE . . .
Song - "Woodman, spare that tree" (for this night only) - Mrs. Carandini . . .
After which, the favourite Dance of the PLOUGA, by Miss Young and Signor Carandini . . .

MUSIC: Woodman spare that tree (Henry Russell)

"THE THEATRE", Colonial Times (22 August 1843), 3

http://nla.gov.au/nla.news-article8753864 

We are happy to announce that the Victoria was literally crammed last night for the benefit of the widow and family of the late Mr. Bushelle. We have not room for particulars, further than to state, that the singing of Mrs. Carandini was of a most superior order, and unexpected as such a treat was, the audience were not more pleased than astonished.

"THE THEATRE", The Courier (25 August 1843), 3

http://nla.gov.au/nla.news-article2952270 

On Monday evening last, to a crowded house, the benefit of Mrs. Bushelle took place. The first piece, "John of Paris," went off very indifferently . . . Next came the Musical Melange, in which the star was the young debutante, Mrs. Carandini, who, for the first time, appeared on the stage, and if great applause be to her an encouragement to proceed, it will not be the last. Her voice is not only of great compass, but possesses, also, much sweetness - qualities not often combined. Her first song, "Woodman, spare that tree," is more calculated for a baratone or bass voice than for a female singer. But without further alluding to the taste which dictated its selection, still, as affording an opportunity to judge of the depth of voice, no song, perhaps, for that purpose could have been more happily chosen. Under able tuition, a voice of such compass, uniting with its strength such flexibility and sweetness, could be raised to a high standard of appreciation, and by diligence and patience, by time and favouring circumstance, we may find in Mrs. Carandini a successful rival to any competitors for musical fame, at least in these colonies . . .

"UNITY", Colonial Times (19 September 1843), 3

http://nla.gov.au/nla.news-article8754007 

There cannot be a doubt but the principal want here, after, money, is a spirit of unity. Let not this be in any way retarded; let us all endeavour to promote its influence. We are induced to notice this attribute of good sense and good feeling, by a communication made relative to an intended subscription ball, by Signor Carandini, by which we learn that only such persons as were at the bachelors' ball are to be permitted to attend. This is drawing the line of gentility with a vengeance; but more anon. This "first grand subscription ball" shall not be the means of perpetuating un-English prejudices and exclusions, if our portion of the public Press can prevent such worse than folly.

See also Carandini's application, dated 28 August 1843, for a public entertainment licence, for the Argyle Rooms, Tasmanian names index; NAME_INDEXES:1781287; CSO22/1/85 file number 1817

https://stors.tas.gov.au/NI/1781287 

And also, [Editorial], Colonial Times (26 September 1843), 2

http://nla.gov.au/nla.news-article8754014 

[Advertisement], The Hobart Town Advertiser (17 November 1843), 3

http://nla.gov.au/nla.news-article264595153 

In the matter of the Insolvency of Gerolamo Carandini of Melville-street Hobart Town in the Island of Van Diemen's Land - Dancing Master and Teacher of Languages.
To the several Creditors of the said Insolvent or their Agents, NOTICE IS HEREBY GIVEN that the above-named Gerolamo Carandini did this day present his petition to Valentine Fleming Esquire Commissioner of Insolvent Estates for Hobart Town . . .

"INSOLVENCY COURT", The Courier (1 March 1844), 4

http://nla.gov.au/nla.news-article2951384 

THE following is the defence of Mr. Carandini delivered to the Commissioner, having been translated by our reporter, of whom Mr. Carandini requested it as a favour. It has been in type for a week past, but owing to a press of matter has lain by until the present time. It is but fair to publish it, as the charge of extravagance has been so loudly proclaimed against him.
MAY IT PLEASE YOUR HONOR, - As the time has now arrived in which it is permitted to me to address you, I shall, with your permission, crave leave to do so; and I beg to state that in the composition of this address no professional or other person has taken any part - it was written by me in my own (the Italian) language, and through the kind consideration of a gentleman literally translated by him into English.
When I first arrived in this colony, having begun under favourable auspices, I resolved to establish myself in it permanently. In order so to do I incurred heavy expenses to furnish and refit the house which I had taken in Davey-street, besides which, other expenses in my dress, my linen, and clothes, which were and are always absolutely necessary to pursue, with respectability and success, the profession to which I am compelled in this land to adapt myself unto. I realised the first year nearly £500; but, besides the expenses already named, an illness of eight months' duration having unfortunately assailed me I remained in debt a little at the close of that year. Believing myself, and persuaded by others, that my income, subject as it might be to fluctuation, would still average about this much per annum, and from this circumstance and its climate, resolving to make this my adopted country, I married; and this fact I did not expect would add materially to my expenditure - after the first expense attending it - as I already had furniture, and nearly sufficient. At the time of my marriage I contracted a few more debts, with every prospect, it must be conceded, of disbursing them very easily. But in two months from that period I lost the class of Mrs. Bennison, the class in New Town, and the class of gentlemen in my own house. This I could not foresee. The time having come to pay certain bills I found myself involved. I went to Mr. Macgregor my principal creditor for advice, and he advised me to see my creditors and pay a portion on each bill and get the bills renewed. I did so - £5 to Mr. Hutton, £5 to Mr. Nathan, £5 every month to Mrs. Redgate, till the time of my insolvency, and I brought Mr. Heckscher and Mr. Curtis to Mr. Gell, which gentleman promised to these parties the payment of the first quarter's tuition of the payment of the College boys to Mr. Curtis (who did receive it,) and the second to Mr. Heckscher, who would have received it but for the engagement having been dissolved by my insolvency. To Mr. Macgregor I promised to pay him the result of my next benefit, with which he expressed himself satisfied, and said he would be the last to trouble me; but I lost the theatre also.
Wishing to do honour to my affairs, and to enjoy that character of probity, which my creditors here present confessed I always did possess, it suggested itself to me, disagreeable as the task might be to my feelings, to solicit subscriptions - to get up a few subscription balls. I did so, the subscribers binding themselves to four balls; but after the first, which was not of any profit to me, from the heavy expenses which I incurred in hiring, decorating, lighting, &c., the rooms - then when the time came in which the succeeding ones would be profitable to me, the greater portion of the expenses being already met, - the two following balls, that given by the inhabitants to the Lieut. Governor, and that given to them in return by His Excellency, compelled me to postpone mine.
At this time the bill of Mr. Hutton, and of another person, who had sent out an order of arrest for me, induced me to place myself under the protection of the laws, where but for unforeseen and sudden accidents I would have not sought shelter.
The proof (if proofs are wanting) that my insolvency was not premeditated, that I had no deliberate, long conceived plan for evading in any way the just demands made upon me, I have in my own hands. Here are the circulars which announced a second ball in a fortnight from their date; but three days before that was announced to take place, these difficulties suddenly pressing upon me, I was advised to declare myself insolvent; three days before which, also, Mr. Gell gave me to understand that my services would not in future be required at his establishment. Now, although I have never been placed in circumstances similar in any way to the present, and as it must be known that my knowledge of the laws of England must be limited (if, indeed, I possessed any,) still I was convinced that an "undue preference," as it is called, was esteemed unjust, and for this reason I placed Mr. Heckscher's name in my schedule, for which he bitterly reproached me; to his severity I replied that I was very sorry, but that could I have honourably done so I should have done so first to Mr. Macgregor, he having always been so kind to me, but could not.
Now I come to an explanation in respect to the many presents which it is alleged I gave away. When I was on my passage out in the ship, I promised each one of the company a present should I be so fortunate as to succeed - I did succeed, and I gave the presents - those were made before my marriage, and in the time of my prosperity, when I could not see the dark clouds which hung over me, and I might be permitted to add, whilst the charge of extravagance is sought to be established against me, that I never presented to my wife but one piece of jewellery - and that was a ring.
It has also been reported that Mrs. Carandini three days before my insolvency purchased of Mr. Nathan two magnificent shawls; this is but one of those many unfounded reports with which some classes of this town have assailed me and the conduct of my wife. I state most positively my belief that since her marriage with me, Mrs. Carandini has paid for the few articles of dress which she may have required in "ready money."
Before I conclude - with regard to the reproach of not having given to the first assignee my theatrical dresses - my first answer is, that they were not requested of me; and, secondly, being a foreigner I do not know the customs of this country, and in other countries I am not aware of any example of the creditors taking away the dresses, tools, or means which belong to his profession, and by which alone the debtor obtains his livelihood.
Lastly, may it please Your Honor, I stand before you having nothing - they have taken from me everything - everything but the will and the principle to do that which is just and upright - I have not a house, or establishment, or any pupils.
I submit to Your Honor's decision - I feel that you will not regard me with any narrow prejudice because I am a foreigner - that that circumstance with you will not be regarded as it has been by some in this town - but that it will rather prove an excuse in my necessary ignorance of your laws for any technical errors that I may have committed. In my schedule will not be seen the debts due from a drunkard or a gambler, but chiefly those arising out of the necessary circumstances of my situation, and such as I cannot in any way be ashamed of. No misconduct has produced my misfortunes, although some persons, and even a portion of the press, may have laboured to show it. In another portion of both, and in the decision of Your Honor, I rest my case.

ASSOCIATIONS: John McGregor (friend, creditor); ? Richard Gill Curtis (associate)

[Advertisement], The Cornwall Chronicle [Launceston, TAS] (3 April 1844), 3

http://nla.gov.au/nla.news-article66015254 

SIGNOR CARANDINI begs to inform the Ladies and Gentlemen of Launceston and its vicinity, that he is about visiting Launceston for three months, where he will be happy to give instruction in Dancing.
Signor C, also begs to state that he will attend schools, where classes can be formed previous to his arrival, and he also intends to form an academy where a class will he formed and occasional balls will be given.
Lessons will also be given in the environs of Launceston. Terms will be duly advertised. April 2.

Maria's second appearance as a public concert singer (16 April 1844):

[Advertisement], Colonial Times (16 April 1844), 1

http://nla.gov.au/nla.news-article8754801 

GRAND CONCERT, AT THE ROYAL VICTORIA THEATRE, THIS EVENING, APRIL 16.
Under the most Distinguished Patronage.
MR. JOHN HOWSON begs most respectfully to inform the Ladies and Gentlemen of Hobarton and its vicinity that he intends giving a
GRAND CONCERT upon a scale of magnitude never before attempted in this colony . . .
PROGRAMME. PART I . . . Ballad - "Trip with me" (as sung by Mrs. Wood and Madame Albertazzi) - Mrs. Carandini . . .
PART II . . . Ballad - "Come live with me and be my love" - Mrs. Carandini.
Duet - "For the sake of these, I pray" (from "Norma") - Mrs. Carandini and Mrs. Stirling . . .
CONDUCTOR - Mr. J. Howson . . .

ASSOCIATIONS: Mary Ann Wood (British vocalist); Emma Albertazzi (English vocalist; Frank and John Howson's elder sister)

MUSIC: Trip with me (John Barnett); Come live with me and be my love (ballad, 89, and annotations, 138); or more probably this major key tune

"MR. J. HOWSON'S CONCERT", The Hobart Town Advertiser (16 April 1844), 3

http://nla.gov.au/nla.news-article264597297 

Mr. J. Howson gives a Concert this evening . . . when, in addition to the usual performers who have already attained so much deserved celebrity, Mrs. Carandini and Madame Gautrot will assist with their vocal talents, both these ladies have already appeared, though less frequently than the admirers of singing could wish. Mrs. Carandini was a favorite pupil of Mrs. Bushelle, and those who have had the good fortune to hear her must bear testimony to the credit which she did to her accomplished instructress . . .

ASSOCIATIONS: Madame Gautrot (vocalist)

"THE THEATRE", Launceston Advertiser (2 May 1844), 3

http://nla.gov.au/nla.news-article84772680 

. . . . On Monday, too, Signor Carandini made his first bow to a Launceston audience in the dance called the "Plouga," and fully sustained the reputation he has acquired - he is most certainly the most accomplished male dancer in the Colony . . .

ASSOCIATIONS: Anne Clarke's Hobart company for a season at the Olympic Theatre (Launceston venue)

SIGNOR CARANDINI", The Cornwall Chronicle (19 June 1844), 2

http://nla.gov.au/nla.news-article66021675 

On enquiry we ascertain that Signor Carandini, has withdrawn from the Theatre, and that Mrs. Clarke cancelled his agreement, at his own request. We regret, nevertheless, that the public should be deprived the gratification of witnessing the Professor's performances at the Olympic, and earnestly hope, that should any little misunderstanding have occasioned his withdrawal from the boards, that it be arranged, and the Signor again appear before the public.

1844, births in the district of Hobart; Tasmanian names index; NAME_INDEXES:1068709; RGD33/1/2/ no 439

https://stors.tas.gov.au/NI/1068709 

https://stors.tas.gov.au/RGD33-1-2-p506j2k (DIGITISED)

No. 439 / 27th August / [Rosina, but no name recorded] / Female / [daughter of] Girolamo Carandini / Maria Carandini formerly Burgess / Teacher of Languages and Dancing Master . . . Melville Street

"THE THEATRE" [Hobart], Colonial Times (10 September 1844), 3

http://nla.gov.au/nla.news-article8755280 

. . . Mrs. G. Thomson has arrived from Sydney, and will add her justly appreciated talent to the present excellent company . . . To-morrow evening one of her daughters, Miss Jane Thomson makes her debut as a danseuse, in a Medley Pas Seul; report speaks highly of her abilities, and from what ne ourselves can learn, that report will not be belied . . . Signor Carandini dances the Mazurka, with Mrs. Rogers, in the true costume of the rude nobles of Varsoira [Varsovia] . . .

ASSOCIATIONS: Martha and Jane Thomson (actors, dancers); Mrs. G. H. Rogers (formerly Emma Young)

"DEPARTURES", Launceston Examiner (2 October 1844), 5

http://nla.gov.au/nla.news-article36238028 

September 28. - Steamer Shamrock, 200 tons, Gilmore, master, for Sydney; Cranfurd, agent. Passengers from Launceston . . . Signor Carandini . . .

Sydney NSW (from October 1844):

[Advertisement], The Australian [Sydney, NSW] (16 October 1844), 2

http://nla.gov.au/nla.news-article37121890 

ROYAL VICTORIA THEATRE . . .
The Public is most respectfully informed, that
SIGNOR CARANDINI, From the Italian Opera, will have the honor of making his first appearance nt this Theatre,
On THURSDAY EVENING, October 17, When will be performed . . .
a highly admired Petite Historical Drama, in 1 Act, entitled OLD REGIMENTALS; Or, the Rheingrave of Alsace.
To be followed by, A SWISS PAS DE DEUX, From the Ballet of "William Tell," by Madame LOUISE and Signor CARANDINI . . .
To be followed by THE MAZOURKA, From the Ballet of "Beniowski," by Madame LOUISE and Signor CARANDINI . . .
T. SIMES, MANAGER

ASSOCIATIONS: Madame Louise (Mrs. James, dancer); Thomas Simes (actor, manager); Royal Victoria Theatre (Sydney venue)

"THEATRICALS", The Australian (16 October 1844), 3

http://nla.gov.au/nla.news-article37121885 

We are happy to perceive by the bills issued for to-morrow night, that the entertainments in preparation at the Victoria are of an unusually novel and attractive character. Signor Carandini, the celebrated ballet-master, from the Italian Opera, and lately a member of the Hobart Town corps dramatique, will make his first appearance before a Sydney audience, and dance, with Madame Louise, a Swiss pas de deux, and the well known Mazourka, from the ballet of Beniowski. Report speaks highly of the talents of this accomplished foreigner, not only as a proficient in the Terpsichorean art, but also as a linguist, in which character, we understand, it was the Signor's intention to establish himself, but we are happy to find, that the Management have had the spirit and good sense to succeed in securing his valuable services.

"THEATRICALS", The Sydney Morning Herald (18 October 1844), 2

http://nla.gov.au/nla.news-article12409209 

Mr. Carandini, who has recently arrived from Hobart Town, made his first appearance as a dancer, at the Victoria Theatre last night. He was very successful, and is decidedly the best dancer that has appeared in Sydney.

[Advertisement], The Australian (22 October 1844), 2

http://nla.gov.au/nla.news-article37119357 

SIGNOR CARANDINI HAS the honor to announce that he has commenced the practice of his profession, in Sydney, as a Teacher of Dancing, and the Italian, French, and German Languages, in which capacity, he has, until lately, been employed at the Queen's College, Hobart Town under appointment of the Government.
Signor Carandini being desirous to unite with private tuition lessons in class - as tending not only to the advancement of his pupils in dancing, but to enable him to teach on more moderate terms - suggests the advantage which families will derive from combining for this purpose, and under such arrangement, he will be happy to attend at their residences.
The Pupils of Signor C. will have an opportunity of acquiring the figures of the most recent Dances, including the Polka-Mazurka Quadrilles, Gallopade Quadrilles, &c., as danced in London and Paris.
Signor Carandini is about forming a class in Dancing, at his private residence, and will also be glad to attend Schools in Sydney and its environs.
For Terms, &c., apply to Mr. Colman (late Tegg's), Georgi-street; Mr. Ellard, Music Saloon, George-street; and at 213, Castlereagh-street. Oct. 21, 1844.

"Shipping Intelligence. ARRIVALS", Morning Chronicle [Sydney, NSW] (9 November 1844), 2

http://nla.gov.au/nla.news-article31743955 

6. - The schooner Water Lilly, 165 tons, Hayle, from Hobart Town the 30th ultimo, with sundries. Passengers. - Mrs. Carandini and child . . .

Maria's Sydney debut as a theatrical singer:

[Advertisement], The Australian [Sydney, NSW] (25 February 1845), 2

http://nla.gov.au/nla.news-article37158149 

ROYAL VICTORIA THEATRE. SIGNOR CARANDINI'S FIRST BENEFIT At the Sydney Theatre.
First appearance of MADAME CARANDINI on any Stage.
First time in this colony of the celebrated Dance called THE POLKA.
SIGNOR CARANDINI in the Character of "Francisco," in the Tale of Mystery.
The Evening's Entertainments being under most Distinguished Patronage.
THURSDAY EVENING, FEB. 27, 1845, WILL BE PRESENTED, for the first time this season, the Musical Romance, in 2 Acts, entitled
KATE KEARNEY; Or, the Fairy of the Lakes . . .
KATE KEARNEY (her first appearance on any stage) Madame CARANDINI.
Filadaune (Fairy of the Lakes) Madame Louise.
Rose Kearney - Mrs. Bushelle . . .
After which, the Curtain will rise for A GRAND MELANGE, Of Singing and Dancing.
A Grand Pas de Deux, by Madame Louise and Signor Carandini.
Song, "La Tremenda," by Mrs. Bushelle.
Song, "Tell me my heart," Mrs. Wallace.
Dance, "The Mazurka," (first time,) by Miss Kelk, pupil of Signor Carandini.
Song, "The Bonny Rose of England," by Mrs. Ximenes.
GRAND DUET, FROM "NORMA," by Mrs. Bushelle and Madame Carandini.
The Highland Fling, by Master Chambers.
For the first lime in this Colony,
SIGNOR CARANDINI AND MADAME TORNING Will have the honor to Dance THE POLKA.
To make any remarks relative to the beauties of this celebrated Dance, Signor Carandini considers unnecessary, the success and admiration it has met with in all parts of the world, will speak volumes.
Song, "I'll be no submissive Wife," Mrs. Gibbs.
Song, "The Musical Wife," (first time,) by Mrs. Wallace . . .

ASSOCIATIONS: Caroline Wallace (vocalist, actor); Miss Kelk (dancer); Ann Winstanley Ximenes (actor, vocalist); Joseph Chambers junior (dancer); Eliza Torning (dancer); Eliza Gibbs (actor, vocalist)

MUSIC: The Bohemian and Parisian polka dance ("original" music by Jacques Offenbach)

[Advertisement], The Australian (1 March 1845), 3

http://nla.gov.au/nla.news-article37155395 

ROYAL VICTORIA THEATRE. Second Appearance of Madame Carandini.
Second Night of the celebrated Dance called THE POLKA . . . THIS EVENING, MARCH 1 . . .
for the second time, the Musical Romance, in 2 Acts, entitled KATE KEARNEY; Or, the Fairy of the Lakes . . .
KATE KEARNEY (her second appearance) Madame CARANDINI . . .

"MR. GRIFFITH'S NIGHT", The Australian (1 March 1845), 3

http://nla.gov.au/nla.news-article37155375 

We have much pleasure in calling attention to the announcement of the Benefit of this indefatigable and talented Actor, which takes place on Monday next . . . when the Misses E. and F. Griffiths (Pupils of Signor Carandini) will contribute to the amusements of the evening, by performing a Neapolitan Dance.

ASSOCIATIONS: John Gordon Griffiths (actor) and daughters Fanny and Emily (dancers)

"THEATRICALS are looking up . . .", The Australian (13 March 1845), 3

http://nla.gov.au/nla.news-article3715518 

The Benefits are going on very prosperously. A new aspirant for vocal honors has come forth in the person of Madame Carandini, and gives good promise of a valuable auxiliary. This lady possesses the three main requisites in a singer - good quality of voice, purity of style, and distinct articulation; but diligent and continuous practice will be required for the successful development of these qualifications. Her manners and person, too, are agreeable; an extreme timidity, however, is a serious obstruction to her efficiency as a stage singer. But this diffidence, or nervousness, will gradually wear away, and we anticipate that, ere long, we shall find Madame Carandini one of our leading Vocalists. We would, however, venture to recommend a more judicious selection of pieces for her than "Woodman, spare that tree." The air itself is unexceptionable, but it is by no means adapted to establish the reputation of a debutante.

"THEATRICALS", The Australian (19 April 1845), 3

http://nla.gov.au/nla.news-article37155686 

. . . In our issue of Thursday, we omitted to mention the engagement at the Victoria of Mesdames Carandini and Veilburn. The singing and dancing of these ladies are of that character, that they will always be heard and seen with pleasure. Madame Carandini has an extremely prepossessing appearance, sings with purity and taste, while her enunciation is perfect and distinct. She must, however, brace her nerves a little more. Madame Veilburn's dancing is easy, graceful, and elegant. Signor Carandini, whose dancing is of a very superior order, has also been engaged. We think a Ballet might be managed.

ASSOCIATIONS: Madame Veilburn = Jane Adele Williamson (dancer)

"THEATRICALS", The Australian (10 May 1845), 3

http://nla.gov.au/nla.news-article37154337 

. . . In our Tuesday's number we announced the arrival, from Hobart Town, of the Messrs. Howson. We have now the pleasure to state that they are engaged at the Victoria, and will, in a few days, make their debut . . . Madame Carandini, we are glad to say, is gathering nerve and confidence.

[Advertisement], The Sydney Morning Herald (4 August 1845), 2

http://nla.gov.au/nla.news-article12881321 

ROYAL VICTORIA THEATRE. THIS EVENING, AUGUST 4,
The performances will commence with Auber's admired and popular drama, in 3 acts, called
FRA DIAVOLO Zerlina, Mrs. Stirling (her first appearance at this theatre); Lady Allcash, Madame Carandini.
Programme of music Act 1 . . . Song, "What a frightful land," Madame Carandini; Song, "I don't object," Madame Carandini . . .

"THEATRICALS", The Australian (9 August 1845), 3

http://nla.gov.au/nla.news-article37155483 

. . . we repaired to witness the representation of Auber's delightful comic opera, Fra Diavolo, under the double adaptation of M. Rophino Lacy, and Messrs. Howson and Gibbs, and with a debutante to play Zerlina. The musical talent, and general dramatic ability of the first-named gentleman is too well established at home to require our humble eulogium. As respects the secondary adaptation, there was abundant room for improvement. The character of the music was not there; and the substitute was like Joseph's coat "of many colours" . . . As a vocalist, Mrs. Stirling has not realized our expectations . . . We shall, therefore, decide that Madame Carandini still retains her position as prima donna at the Victoria. As a cantatrice, she is very much superior to Mrs. Stirling - better quality of voice, more musical intonation, and more agreeable style. Mrs. Stirling's voice is peculiarly shrill, with an asperity in the upper notes, and a feebleness of tone, without any sustaining power, in the lower ones . . . the great chasm in the opera - hiatus maxime deflendus - was the absence of a singing Lord Allcash, because, independently of the choice morceaux we lose from his lordship, we are mulcted in half the amount which his lady would otherwise contribute. We sincerely sympathise with Madame Carandini, in so melancholy an alliance, and certainly consider her as having a fair claim to be enrolled among the "noble army of Martyrs." However, we are glad to see this lady bear up under her afflictions with so much fortitude. What she had to do, was well done . . .

ASSOCIATIONS: Rophino Lacy (English musician); John Gibbs (violinist, leader of the theatrical band)

MUSIC: Fra Diavolo; or, The inn of Terracina (Auber, adapted by Rophino Lacy)

"THE THEATRICAL EXAMINER", The Examiner (30 August 1845), 29

http://nla.gov.au/nla.news-article228062778 

When we heard that the management of the Victoria intended to produce Weber's Der Freischutz, with the present inadequate company, we had a gloomy presentiment of the painful disappointment which awaited the lovers of German music . . . The management ought to know that to perform the Freischutz with full effect, every aid that the orchestra can supply, or that first-rate vocal artists can give, together with all the addenda of scenery, machinery, and display are required . . . The chief vocal parts were entrusted to Mrs. Sterling, Madame Carandini, and Messrs. F. and J. Howson. We feel reluctant to give an opinion of Mrs. Sterling, who enacted Linda, for there is so much of praiseworthy pains-taking in all her efforts . . . Madame Carandini has not risen in favor by her personation of Rose, which should certainly have been given to Mrs. Wallace. She appeared in a state of apathetical indifference as to the effect she might produce, and addressed herself rather to the dress-boxes, than to the dramatis personae. In the beautiful terzetto, "The Wolf's Glen! ah, horror!" she was unusually deficient. The ad libitum passages, in quick time, which Rose should joyfully warble, whilst the lovers are singing, in aria cantabile, their tender and somewhat sad good-night, were actually sung by Linda! - thus entirely destroying the beautiful idea of the scene. But this was only in accordance with the travestie effects of the evening . . .

ASSOCIATIONS: Richard Thompson (reviewer)

[Advertisement], The Sydney Morning Herald (9 March 1846), 2

http://nla.gov.au/nla.news-article12885746 

ROYAL VICTORIA THEATRE. THIS EVENING, MARCH 9 [repeated 10 March] . . .
To conclude with, (for the first time these eight years), the Musical Burletta called MIDAS.
Apollo, Madame Carandini; Midas, Mr. Lazar; Pan, Mr. F. Howson; Daemetas, Mr. J. Howson; Mars, Mr. Torning; Daphne, Mrs. Stirling; Nysa, Mrs. Wallace; Alysis, Mrs. Gibbs [June, Mrs. Ximenes]

ASSOCIATIONS: John Lazar (actor, vocalist); Andrew Torning (actor, dancer)

MUSIC: Songs for Apollo (in Midas, by Kane O'Hara); see also another copy

"MADAME CARANDINI'S CONCERT", The Hobart Town Advertiser [TAS] (24 April 1849), 2

http://nla.gov.au/nla.news-article264603635 

This lady, who has just returned to the colony after an absence of some years, announced a concert for Thursday last, which announcement, we were pleased to find was received with much interest by the puhlic. Although little was generally known of her pretensions, further than her having made her debut about four years since at a concert given by Mrs. Bushelle after her husband's death, and that her voice was one of considerable power and compass, yet the success she met with in Sydney raised our expectations to a height which were almost extravagant, but which, we are happy to say, were not disappointed. And yet when we saw her programme we feared for the result. Not that we did not conceive her capable of much which was set forth; but that it appeared of too varied and almost contradictory a character for one voice, and such at we had remembered it on her first and solitary appearance. We could easily imagine that for the pieces which required a voice high and powerful she was fully competent; but doubted that she could compass those pieces in which feeling, softness, pathos and expression were as necessary as the power of voice. Nothing could be more essentially different than the style required for "Tu al Cui sguardo," "Jeptha's Daughter," "One gentle Heart," "The anticipations of Switzerland," and "Jeanette and Jeannot." And had she equalled our expectations in but the one style, we should have been more than satisfied even though not equally successful in the others.
We were, however, agreeablly deceived. Notwithstanding the variety, the exhaustion of a long illness, the number of pieces, and the short intervals between, she was at home in all. It were difficult to point out which deserved admiration most, the power of her voice, its compass in the upper notes, its pathos and expression, or the piquant manner of the lighter pieces. In a word, Madame, Carandini's first appearance as a public singer before a Hobart Town audience has been signally successful, and it is with pleasure we are enabled to state that, though her stay here is short, she has consented to give another concert on the eve of her departure to join her husband in New South Wales.
It is, as we said some years since this lady made her first appearance which was as an amateur, to assist Mrs. Bushelle, and then though her voice was wholly uncultivated, yet her "native wood notes wild" divided admiration with that accomplished singer. Her present appearance, though under the very unfavorable circumstances of extreme ill health, shows that since then she has applied herself most diligently to its culture. Her command of the high notes is most extraordinary. Had she the same of the middle and lower notes she would be nearly perfect as a singer.
From some, who had heard her under more favorable circumstances, we learn that on Thursday the was not in full voice; that her health did not permit her to practice at all previous to her public appearance, and that this it was which caused the apparent deficiencies. We can well believe it. Practice and full health is as necessary to the singer as to the athlete. The organs of the throat require their full power to develope their extra-ordinary capabilities, as well as those required in the common exercises. When her voice is perfect we should wish much to hear what she can do, satisfied, as we are, with what, under such disadvantages, she has done.
Of the pieces, we should find some difficulty in selecting the best. Perhaps those best suited to the character of her voice are "The Spell is broken," and "Tu al cui sguardo," and yet the one which pleased us most was the beautiful air by Wallace, "One gentle Heart," while the one not found in the programme, which she volunteered to make up for the absence of Mr. Howard, "One little Kiss," was enthusiastically received. An attempt too was stupidly and cruelly made to encore "Jeptha's Daughter," and "The Anticipations of Switzerland," which however was put down by the good feeling of the majority. The ballad of "Jeanette and Jeannot," being the last, was repeated without hesitation by this charming songstress . . .
Induced by the solicitations of her friends, and the success which has attended her appeal to the public, Madame Carandini purposes to give one more concert which will be fixed by the arrival of the Emma, in which she leaves for Sydney. The state of her health, and desire to satisfy those who have so well appreciated her, led her to postpone it to the latest possible. period. The selection will be a most brilliant one, including some of the very finest pieces in Norma, which are, of course, quite new to the majority of persons in this colony, but which have been considered the tests to which the finest singers at home have their powers subjected.

"BIRTHS", The Sydney Morning Herald (28 January 1851), 3

http://nla.gov.au/nla.news-article28645954 

At her residence, Darlinghurst, on the 25th instant, Madame Carandini, of a daughter.

[Advertisement], The Sydney Morning Herald (4 July 1853), 3

http://nla.gov.au/nla.news-article12947038 

NOTICE. SIGNOR CARANDINI begs leave to intimate to his friends and pupils
that as he has been informed it is rumoured he is about to leave the colony -
so far and utterly unfounded is the report, that, on the contrary, he is about to open an Evening Class in a fortnight.
Terms, &c., will be made known in a future advertisement.

"SHIPPING REPORT. ARRIVALS", The Hobart Town Advertiser [TAS] (13 August 1853), 2

http://nla.gov.au/nla.news-article264629024 

[August] 12 - Brig Emma, 170 ton, T. T. Brown, from Sydney, 5th inst, with sundries; passengers - Madame Carandini and 2 daughters . . . Mr. Lavenu . . .

ASSOCIATIONS: Lewis Henry Lavenu (conductor, musical director)

"Public Amusements", The Courier [Hobart, TAS] (31 August 1854), 3

http://nla.gov.au/nla.news-article2239354 

MADAME CARANDINI, whose powers as a vocalist are pretty well known throughout the Australias, having paid a visit to Tasmania, announces her intention of giving a Grand Concert at the Mechanics' Institute next week, under the patronage of His Excellency Sir William Denison . . . Madame Carandini has endeavoured to secure all the available talent in Hobart Town; Mons. Del Sarte and Mr. Megson are to make their appearance. The conductor is M. Lavenu, recently arrived in the Australian colonies via California, after having visited America and San Francisco, as the conductor of the concerts of Miss Catherine Hayes . . .

ASSOCIATIONS: Camille Del Sarte (vocalist); Joseph Megson (violinist); Catherine Hayes (vocalist)

"THEATRICALS", The People's Advocate and New South Wales Vindicator [Sydney, NSW] (1 October 1853), 3

http://nla.gov.au/nla.news-article251544229 

The performances at the Victoria this week have been unusually attractive . . . On Thursday evening, Madame Stebinger made her second appearance, along with Signor Carandini, in a Grand Pas de Deux from the ballet of Lady Henriette, in which they were eminently successful. In fact we think Madame Stebenger is the best dancer that has ever appeared in these colonies . . .

ASSOCIATIONS: Therese Ferdinand Strebinger (dancer)

"PUBLIC AMUSEMENTS", The Courier [Hobart, TAS] (31 May 1854), 3

http://nla.gov.au/nla.news-article2248291 

Madame Carandini was to take her farewell concert at the Melbourne Theatre on Saturday evening. She has met with a large measure of success in Melbourne, and will, we hope, having almost the claims of a native upon Tasmania, meet with equal encouragement here, as we hear that she will shortly appear in Hobart Town, at the Victoria Theatre, for the benefit of Signor Carandini. The opera will be, The Daughter of the Regiment.

1854, births in the district of Hobart; Tasmanian names index; NAME_INDEXES:959901; RGD33/1/5/ no 1690

https://stors.tas.gov.au/NI/959901 

https://stors.tas.gov.au/RGD33-1-5-p131j2k (DIGITISED)

No. 1690 / December 12th 1854 / [Elizabeth Mary, name not given] / [daughter of] Jerome Carandini / Maria Carandini formerly Burgess . . .

"BIRTH", The Courier (12 December 1854), 2

http://nla.gov.au/nla.news-article2246853 

This morning, at Kelly-street, MADAME CARANDINI of a Daughter.

"THEATRE ROYAL", The Argus [Melbourne, VIC] (26 February 1855), 5

http://nla.gov.au/nla.news-article4804906 

The fine concert room attached to the embryo Theatre Royal was again crammed on Saturday evening. The orchestra, which is under the direction of Mr. Callen, is a very able one, and we have seldom heard in Melbourne a finer performance of Rossini's overture to "Otello," with which the concert commenced. We hear that Madame Carandini, who arrived in Melbourne last week, has been engaged at this establishment . . .

ASSOCIATIONS: George Douglas Callen (conductor); Theatre Royal (Melbourne venue, foyer hall only yet open, pending completion of main auditorium)

"THEATRE ROYAL. MISS CATHERINE HAYES", The Argus (28 September 1855), 5

http://nla.gov.au/nla.news-article4819449 

After a short but brilliant professional career in Sydney, Miss Catherine Hayes has returned to our city to fulfil an engagement at the Theatre Royal. She made her debut at that establishment in a concert, on Wednesday evening . . . Madame Carandini was most favorably received, and this excellent vocalist fully sustained her professional reputation by her performance of the pieces allotted to her, notwithstanding her being placed in a position where, from the reputation and great attainments of the lady who was, of course, the prime attraction of the evening, the institution of a comparison was inevitable. She was in splendid voice, and the fine quality and sostinato adaptability of her organ were admirably displayed in the scena from Wallace's meritorious, but neglected, opera "Matilda of Hungary." Her ballad singing was exhibited in her rendering of the popular, but somewhat used-up, "Home, Sweet Home," and the "Last Rose of Summer," which was substituted in place of a repetition . . .

[Advertisement], The Argus (8 October 1855), 8

http://nla.gov.au/nla.news-article4820258 

THEATRE ROYAL, Bourke-street. Grand Ballet. Young Ladies for the Corps de Ballet.
Twenty Young Ladies Wanted for the Corps de Ballet. Immediate application to be made at the Theatre, between eleven and one, to Signor Carandini, Ballet Master.

[SUMMARY] "THEATRICAL AND MUSICAL", The Argus (25 October 1855), 5

http://nla.gov.au/nla.news-article4821697 

Opera, a branch of the drama which has never till now had fair play in this colony, is at present supreme in attraction, and the two principal theatres of our city have almost simultaneously offered it to the public. "La Sonnambula" with Miss Catherine Hayes for the Amina, and Mr. John Gregg, an eleve of the Royal Academy of Music, as the Count, drew the largest audience at the Theatre Royal on Monday evening that has ever been known to assemble in a colonial theatre. The part of Elvino was entrusted to a colonial vocalist of great talent, Madame Carandini, the tenors in this part of the world not being remarkable for the possession either of good natural qualifications or professional attainments. Miss Hayes added another laurel to the wreath she has acquired since her stay here by her exquisite rendering of the grand finale to the opera "Ah non giunge," and which was pronounced by competent judges to be a marvellous piece of vocalisation. Madame Carandini's Elvino was also a first-class performance and indeed, having a thorough acquaintance with the capabilities of the present stars of the English opera, we do not know any lady vocalist among them who would sustain the part with equal effect. As may easily be imagined, the necessary transposition of the music to suit the soprano register did not improve it, but as the alterations were cleverly made by M. Lavenu, and the rule was in the hands of an excellent singer and actress, the part was still admirably sustained, and left us little to regret. The opera was repeated last evening to another crowded house.

ASSOCIATIONS: John Gregg (vocalist)

"THE THEATRES. THEATRE ROYAL", The Age [Melbourne, VIC] (27 December 1855), 5

http://nla.gov.au/nla.news-article154863120 

It is always an unpleasing task to have to withhold praise where praise ought to have been merited . . . The pantomime at the Royal last night confirmed us in the conviction of the justice of these remarks . . . Of course Madame Strebinger made a graceful Columbine, and of course Mademoiselle Berg looked very pretty as Harlequina, and there was a reduced copy of the Bergs who danced a hornpipe very cleverly, but it was of no avail: Harlequin was "nowhere." Signor Carandini's dancing days are over . . .

ASSOCIATION: Antoinette and Matilda Berg (dancers)

IN THE INSOLVENCY of JEROME CARANDINI. - My insolvency is attributable to the breach by Messieurs Howson and Howard of their agreement with myself and Madame Carandini. By this agreement, my wife was to have received the sum of twenty pounds per week, for the period of six mouths from March sixteenth, one thousand eight hundred and fifty-seven; and she also became entitled to a Benefit. She entered upon her duties and continued employed until the first June last; she was ready and willing to have performed her part of the agreement for the residue of the term. Messieurs Howson and Howard have, however (from circumstances over which, probably, they had no control), broken the agreement, and the Company has been dispersed. We left a profitable engagement at Port Phillip upon the faith of this agreement. We have incurred expenses and losses to the amount of five hundred pounds and upwards, and we have only received from Messieurs Howson and Howard Sixty pounds in the whole: hence the misfortunes of my wife and of six children, who are dependant on our exertions. In aggravation of the above, by the seizure, under an execution against me, of my wife's and childrens' wearing apparel, and of my wife's theatrical dresses and opera paraphernalia, she will, probably, forfeit an engagement at Ballaarat at thirty pounds weekly; to accomplish which, she was about proceeding via Melbourne to Ballarat, when her effects were seized by the well-known Mr. J. H. Nixon, my execution creditor. I may add in conclusion, that Messieurs Want initiated proceedings against Messieurs Howson and Howard for breach of their agreement, which proceedings were pending when I was thus abruptly precipitated into the Insolvent Court.
JEROME CARANDINI. Sydney, 1st July.

ASSOCIATION: Sam Howard (actor, manager)

"PRINCESS'S THEATRE", The Age [Melbourne, VIC] (22 October 1858), 5

http://nla.gov.au/nla.news-article154874800 

Verdi's celebrated opera, "II Trovatore," so long in preparation, was produced last evening with the most complete success; and, judging from its favorable reception by a very large audience, will enjoy a protracted run. The management, anxious to place this admirable work on the stage with due effect, have waited till the valuable services of M. Laglaise could be secured, in addition to a vocal corps already strong, and availed themselves of the interval in providing the necessary scenic effects, and in drilling the chorus to their arduous work. The result is satisfactory in the highest degree, and will not fail in meeting with the approbation of all lovers of good music . . . The music has been arranged by Mr. Lavenu, to whom, and M. Laglaise, is due the chief credit for the admirable entertainment which has been provided. The cast on the present occasion includes the best talent available in the colonies, and may be pronounced unexceptionable. Madame Carandini sustained the part of Leonora, musically speaking the most arduous in the whole opera, and with an amount of ability which did not take us by surprise when we consider her successes in the difficult role of Lucrezia and Fra Diavolo. Her singing throughout was truly admirable, and her acting no less worthy of commendation . . . At the end of the first act the applause of the audience exceeded in enthusiasm anything of the kind we have witnessed on this stage, Madame Carandini, on her appearance before the curtain, receiving deafening congratulations . . .

ASSOCIATIONS: Jean-Baptiste Laglaise (vocalist); see also "PRINCESS'S THEATRE", The Argus (22 October 1858), 7

http://nla.gov.au/nla.news-article7303189 

Rosina's debut as a public singer and pianist (15 December 1858):

[Advertisement], The Courier [Hobart, TAS] (13 December 1858), 3

http://nla.gov.au/nla.news-article2465662 

TO THE LADIES AND GENTLEMEN OF HOBART TOWN.
MADAME CARANDINI HAS the honor to announce to her Tasmanian friends and supporters that she has made arrangements with the EDOUIN FAMILY, and is thereby enabled to give
A CONCERT Before her departure for Melbourne on FRIDAY, the 17th instant, between the
VAUDEVILLE AND THE BALLET, At the Theatre Royal, ON WEDNESDAY EVENING NEXT, The 15th December.
MISS ROSINA CARANDINI, a native of Hobart Town, will have the honour to make her appearance before the public, for the first time, as singer and pianist.
The Concerts will consist of choice selections from Il Trovatore and Lucia di Lammermoor, interspersed with favourite Ballads.
MR. BUDDEE will preside at the Piano Forte.
In consequence of the commercial depression now complained of MADAME CARANDINI respectfully announces that it is not her intention to raise the existing prices of admission . . .

ASSOCIATION: Edouin family (entertainers); Julius Buddee (pianist)

"THEATRE ROYAL. SUCCESSFUL DEBUT OF MISS ROSINA CARANDINI", The Courier (16 December 1858), 2

http://nla.gov.au/nla.news-article2465734 

In every respect the attendance at the Theatre Royal last night surpassed our most sanguine expectations. The assembled spectators formed a numerous and brilliant throng; the sparkling and vivacious acting of the EDOUINS was all that could be desired; and the music of the CARANDINIS as delightful as their reception was enthusiastic; - the success of the latter, in fact, passed all conception, the audience being in transports from first to last. MADAME CARANDINI was in magnificent voice, and MISS ROSINA CARANDINI, who made her first appearance in public on the occasion, acquitted herself remarkably well. The gifted debutante, a native of Hobart Town, is about fourteen years of age. Her voice is a soprano of extensive register, very skilfully controlled and modulated, - and as a performer on the piano she elicits the most ravishing sounds. It is evident that in the course of tuition Miss Carandini has been well grounded in the details of the laws of harmony; she sings and plays with equal grace and power. Her reception, as we have before mentioned was cordial, but the admiration of audience was absolutely wound to the utmost pitch of enthusiasm after the first encore, and at the conclusion of the concert the stage was inundated with floral wreaths. We are glad to record such a triumphant success far the daughter of MADAME CARANDINI. Tasmanians have watched the career of the mother with pride. They have seen her obtain an honorable eminence in the profession, and will share in the expression of gratification which pervaded last night, to find that she is blessed with such a talented and accomplished daughter. The gem of MADAME CARANDINI's singing during the evening was the ballad (composed for MISS CATHERINE HAYES) "Why do I weep for thee?" It was rendered with singular pathos and beauty.

"THEATRE ROYAL", The Courier (6 May 1859), 3

http://nla.gov.au/nla.news-article2470512 

MADAME CARANDINI's benefit was last night attended by many of the elite of our population, and the performance of "Norma" passed off most satisfactorily - Norma being most effectively represented by M. Carandini, who executed the plaintive recitatives and the exquisitely sweet and flowing melodies of Bellini with a power of denunciation [sic] and a tenderness of expression which secured the continuous and earnest plaudits of an appreciating and discriminating audience. Mr. Sherwin, and Mr. Gregg as Pollio and Overos [Oroveso] acquitted themselves admirably, and were also the objects of complimentary public notice. The most interesting feature of the evening, however, was the appearance (as Adalgisa) of Mademoiselle Rosina Carandini, eldest daughter of our Tasmanian Prima Donna, a young lady of, we understand, barely fourteen years of age, but who appears much older, who possesses unquestionable musical genius, great personal advantages of appearance, and a modest lady-like bearing, which secured the sympathy and good feeling of the audience, without reference to her musical merits. As her voice has probably not yet broken, it would be premature to decide on its probable future capabilities. Making allowance for the trepidation consequent on a first appearance in one so young, which somewhat affected the soundness of her lower notes, the juvenile Adalgisa went through her difficult role with a degree of ease, correctness, and taste which gave great promise of future excellence. Rosina Carandini is already an accomplished musician, of intellectual capacity to fully and readily comprehend and illustrate the ideas of the inspired Bellini, whom Malibran used always to designate, the singer's composer par excellence. Her intonation attests the musical delicacy of her ear; and the silvery quality, the flexibility, compass, and power of expression of her voice, proclaim her to possess already most of the attributes of a first-rate vocalist. She is well up in the difficult music of the part of Adalgisa, of which she executed the bravura passages with great fluency and taste, and, the concerted pieces with each of the graces of crescendo which might have been expected from a matured and seasoned singer. In the hands of Crevelli or of any professional Italian teacher of singing, she would we are convinced, rise to great vocal eminence, and we grieve to reflect on the disadvantages in this respect which await the musical career of one so promising ere she can hope to reach the crowning triumphs of the Operatic stage. The wonderful performances of her; gifted mother, considering all these disadvantages, are sufficient to show us that we have lost a pearl of price of which, the world might have been proud. Mlle. Carandini evidently possesses, in addition to good voice and ear, industry, docility, and good judgment, such as in competent hands may be made to produce great things; such, indeed, as in many European communities would secure that her future musical education should be assumed by the musical public, and her dawning faculties developed in honour of her birthplace. This debut of Rosina Carandini has been so satisfactory as to elicit a general wish that she may have the good fortune to command a thorough vocal training so soon as she acquires her natural voice. She has capabilities of ensuring after success for herself. It is almost unnecessary to add that she was twice called for, and, as well as Madame Carandini, profusely complimented with plaudits and bouquets.

ASSOCIATIONS: Domenico Crivelli (Italian-born English vocalist)

"THE CONCERT", Hobart Town Advertiser Weekly Edition (4 June 1859), 8

http://nla.gov.au/nla.news-article264715077 

Madame Carandini's Concert came off on Tuesday evening, at the Mechanics' Institute. The Hall was respectably filled, but not so well as we had hoped to have seen it. The first part of the concert seemed to go off heavily. Madame Carandini was encored in "Angel's ever Bright and Fair," which she sang with great taste and feeling. The "Infant's Prayer," was very beautifully sang by Miss Carandini, but she was evidently nervous, as might have been expected on her first appearance. Her execution on the piano is very good for one young, although there seems an appearance of wishing to get through too fast. With practice and application she bids fair to take a high rank as a pianist. The second part of the Concert went on with more spirit. The duet from Norma, "For the sake of these I pray," was given with great taste and loudly applauded; in "Home Sweet Home," Madame Carandini was encored, and sang "Annie Laurie." She was encored also in "Willie we have missed you," and in "Gentle Goddess," the gem of the evening. Miss Carandini was encored in "Bonnie Jean," and substituted, "Hail pretty Swiss," which she sang with archness and vivacity. The "Elfin Call," concluded the concert, and was loudly applauded. Mr. Buddee presided at the piano, and his accompaniments were as they always are - good. We hope it will not be long before Madame Carandini will give another concert. As regards Miss Carandini, she has a very fine voice, and we think it a pity that she should be forced too young. Under a good master, in a very short time, she would make a singer of whom we might be proud. Her friends should make an effort to send her to some good instructors on the continent for a few years, and she would amply repay the instructions she would receive.

"SYDNEY UNIVERSITY FESTIVAL . . . THE PERFORMERS", The Sydney Morning Herald (13 August 1859), 7

http://nla.gov.au/nla.news-article13029224 

. . . The principal soprano was Madame Carandlnl, who is almost a native of Australia, and like so many of the artistes which the colonies have produced, labours under the disadvantage of never having heard the most celebrated vocalists. As some compensation for this she has for many years enjoyed the tuition of Mr. Lavenu. She is undoubtedly possessed of a very fine powerful voice, which has been improved by constant cultivation. Her execution of the soprano solos was very brilliant, especially of passages requiring power, and declamatory expression, which the ability she possesses of sustaining long and slow passages enabled her to do justice to. She is more at home, however, in operatic music, having had greater experience in that department of the art, and in that department she stands undoubtedly first in the Australian colonies. Mrs. Testar divided the leading soprano parts with Madame Carandini . . .

ASSOCIATIONS: Sydney University Musical Festival (event); the principal performances, directed by Lavenu, were of the oratorios Messiah and The creation

"THE ORATORIO", The Hobart Town Advertiser [TAS] (9 February 1860), 3

http://nla.gov.au/nla.news-article264683647 

The Performance of Handel's Messiah, came off, as announced, this evening, at the Town Hall . . . The Glee Club under whose auspices the performance was got up . . . for the success of which we are so much indebted to the Conductor, Mr. Tapfield . . . the performances commenced with the Overture, Mr. Tapfield officiating as Conductor; Mr. Russell, leader: Mr. Buddee presiding at the Piano (Mr. Tapfield's Semi-Grand); Monsieur Delsarte, Leader of the Tenores . . . Miss Carandini (Soprano), Miss Kent (Cont' Alto) . . .

ASSOCIATIONS: Samuel Tapfield (conductor); Ellen Kent (vocalist); Hobart Town Glee Club (association)

1860, marriages in the district of Hobart; Tasmanian names index; NAME_INDEXES:861464; RGD37/1/19 no 105

https://stors.tas.gov.au/NI/861464 

https://stors.tas.gov.au/RGD37-1-19p61j2k (DIGITISED)

No. 603 / 105 / 7 Nov. 1860 / St. David's Cathedral Hobart Town / Edward Hodson Palmer / 24 / Cashier of B[ank of] Australasia / Rosina Martha Hosannah Carandini / 16 / Spinster . . .

"MARRIED", The Mercury (9 November 1860), 2

http://nla.gov.au/nla.news-article8794253 

On the 8th instant at St. David's Cathedral, by the Ven. Archdeacon Davies, EDWARD HODSON, youngest son of the late Frederick Palmer Esq., H.E.I.C.S., to ROSINA, eldest daughter of Signor Carandini.

Fanny's debut as a public singer (20 May 1865):

[Advertisement], The Age [Melbourne, VIC] (20 May 1865), 8

http://nla.gov.au/nla.news-article155028678 

ROYAL HAYMARKET THEATRE. Sole Lessee: W. Hoskins.
THIS EVENING. (Grand Combination for Four Nights Only.
Miss Cleveland. Mr. Farquharson. Madame Carandini. Mr. Walter Sherwin.
Miss Fanny Carandini (her first appearance) . . .

ASSOCIATIONS: William Hoskins (actor, manager); Haymarket Theatre (Melbourne venue)

"MELBOURNE", The Sydney Morning Herald (22 September 1868), 5

http://nla.gov.au/nla.news-article13173185

It is rumoured that Signor Carandini has regained his estates, and will shortly leave for Italy.

[News], Bendigo Advertiser (19 April 1869), 3

http://nla.gov.au/nla.news-article87918735

It is reported amongst musical circles in Sydney that His Royal Highness was so charmed with the natural vocal powers of Miss Rosina Carandini, that he has determined to show his interest in a substantial manner. The Prince has, it is said, offered to defray the expenses of the musical education of Miss Rosina Carandini at the Conservatoire at Paris, or at any other musical school that may be chosen by competent judges of our Australian songster's talents.

ASSOCIATIONS: Alfred (prince, duke of Edinburgh)

"RUMOURED DEATH OF SIGNOR CARANDINI", The Sydney Morning Herald (25 April 1870), 5

http://nla.gov.au/nla.news-article13204165

News that a private letter has been received by the last mail to the effect that Signor Carandini died of gastric lever and inflammation of the lungs on the 18th January, in Italy, whither he had gone to recover his ancestral property, which had been confiscated during a rebellion in 1836.

"DEATHS", The Argus [Melbourne, VIC] (23 April 1870), 4

http://nla.gov.au/nla.news-article5818622

CARANDINI. - On the 18th January, at Modena, Italy, Le Marchese Gerolomo Carandini (formerly of Melbourne), aged 67 years.

"Marriages", The Argus [Melbourne, VIC] (22 February 1876), 1

http://nla.gov.au/nla.news-article7432793 

MORLAND - CARANDINI. - On the 27th December, at Trinity Church, by the Rev. Charles Gilder, Henry Morland, Esq., Bombay, to Fannie Ellen Hannah, second daughter of the late Marquis of Sarzano, Count di Risi, Viscount Ferraris, and grandniece of the late Cardinal Consalvi.

ASSOCIATIONS: Ercole Consalvi (grand uncle)

"Mrs. E. H. Palmer", Table Talk (22 August 1890), 9-10

http://nla.gov.au/nla.news-article147282785 

. . . Not only will the name of "Carandini" be for ever associated with the development of music in Australia, but something of European fame is its portion also. In the troublous years between 1830 and 1833, when the fermentation that ultimately produced the freedom and unity of Italy was ripening, when ementes were of daily occurrence, and Austria had much ado to keep her heel on Lombardy and Venice, and at the same time steady the lesser princes on their thrones, tottering under the blast of revolution, a young officer in the Austro-Italian army, the Marquis Carandini, eldest son of the head of the great house of the Carandini, who had their palazzo in Modena, distinguished himself as a patriot. He set before his mind the purpose which was not to be attained until many years afterwards by Garibaldi and Cavour, but disowned by his father who was loyal to the Austrian power, his army defeated by overwhelming odds, his property confiscated by the Government, himself betrayed by friends and pursued by foes, the Marquis Carandini was captured by the Austrians and passed several years in prison. Finally he and a friend escaped and reached Paris in safety. After wandering all over Europe, including Russia, with longing eyes turned towards Italy where no hope yet appeared on the horizon, the Marquis Carandini at length came to England.

By the time he was 40 years of age, the Marquis had seen a good deal of life. He was a handsome man with most distinguished manners. He had graduated as heir of a noble family, and maternal nephew of the celebrated Cardinal Concaloo [sic, Consalvi], whose eyes, it is said, had such a look that no man durst tell him a lie. The name of the Marquis Carandini figures with distinction in the memoirs of Count Pepoli, who was his most intimate personal friend, and he had been well received at Windsor Castle by the Queen and the Prince Consort. During his exile he had earned his bread as a teacher of languages and of dancing. Grisi. Mario, and other great artists of the day, of his own and other nationalities, were of his acquaintance. Finally, he knew the world under all conditions.

ASSOCIATIONS: Carlo Pepoli (journalist, opera librettist, musical amateur)

About the year 1842, when the political horizon looked blacker than ever, with the restlessness born of despair, his eyes turned-towards Australia, and joining a musical company with the once well-known Frank Howson at its head, the Marquis Carandini landed in Hobart early in 1843 [sic, 1842], and walking up the street that day a strange thing befell him. The mature man, the a disappointed patriot, the ruined nobleman fell in love at first sight. Miss Marie Burgess was just 17, tall, stately, and very handsome. "Fit to be a Duchess," said the Marquis, who thereupon, through the good offices of a mutual friend proceeded to make her acquaintance, and paid her his court with such effect that in six weeks they were married. Miss Burgess was born in England, but came with her parents - her father having been recommended to take a sea-voyage for his health - to Tasmania, when she was only about seven years old. Her mother was the cousin of Captain Medwin, the companion and biographer of Lord Byron. Her father's father was a near relative of the poet Shelley.

ASSOCIATIONS: Thomas Medwin (English writer)

At an early age Miss Burgess had displayed remarkable musical ability, and possessed a voice of great power, range and sweetness. It was not until the year 1846 that she essayed public singing, when in Sydney she had sung at several charitable and benefit concerts, and had excited so much attention that she was advised to adopt singing as a profession. During a residence in Sydney of about eight years Madame Carandini studied under Isaac Nathan, Madame Wallace Bushelle (sister of Wallace the composer) and Madame Sara Flower. She sang at the Victoria Theatre under the direction of Mr. John Lazar, and in English opera in conjunction with Frank and John Howson. Mrs. Guerin (afterwards Mrs. Richard Stewart), Madame Sara Flowers and others. In 1854 Madame Carandini settled in Melbourne and speedily made herself a deserved favourite at the same time continuing her studies under L. H. Lavenu. Madame Carandini was the first prima donna to sing in complete opera in Melbourne. That was when the old Queen's Theatre was under the management of Mr. George Coppin. When the gifted and lamented Catherine Hayes was here, Madame Carandini was at once chosen to support her, during her season at the Theatre Royal. Not only did Madame Carandini appear in such roles as Adalgisa in Norma, but John [10] Howson, the only available tenor of the time, and a very good one, being frequently "indisposed," she took the parts of the heroes Gennaro and Elvino in Lucrezia Borgia and La Sonnambula, throughout the season. Catherine Hayes was very fond of, and very complimentary to Madam Carandini. On one occasion when the Australian prima donna sang "The Last Rose of Summer," the European prima donna declared that she had never heard it so beautifully rendered. Madame Carandini retains an appreciative memory, of the exquisite finish of Catherine Hayes vocalism, and intensity and power of her acting. When singing in Norma, in the scene of the discovery of Pollio's perfidy Adalgisa's arms were often, black and blue from the grasp given her by Norma in the intensity of her passion.

ASSOCIATIONS: Isaac Nathan (musician, vocal teacher); Sara Flower (vocalist, teacher); Queen's Theatre (Melbourne venue)

Madame Carandini created the part of Leonora in Il Trovatore, as far as Australia is concerned, for she appeared in it at the Princess Theatre, in Melbourne, in the year 1859 [sic, 1858], when Verdi's Opera received its first complete representation in Australia. Since the year 1865, Madame Carandini accompanied by one or more of her daughters, has given concerts throughout Australasia, California, and India. Forced by the gradual decline of taste for opera to confine herself to the concert platform, it can be said of her with truth, that she has always main tained a high standard in art and in many places which she has visited, she has been the pioneer of good music. Only a few years ago, Madame Carandini finally retired into private life.

The memorable year of 1870, saw the return of the aged patriot, the Marquis Carandini, to his native country. He endeavoured to obtain restitution of his property, but before anything was done, he died at his native town, of Modena.

Miss Rosina Carandini is the eldest of eight children, issue of the marriage of the Marquis Carandini with Miss Marie Burgess, and of her it may be said that she has never belied the noble traditions of her father's house while she has, like her, mother, always striven for the best in music. Born in Hobart, Rosina came with her parents to Sydney, and there received her first pianoforte instruction from Sara Flower, who taught her to play the accompaniments to her little songs and so interested was the child that she would get up at daybreak and steal into the drawingroom to try them over, thereby incurring the wrath of her parents who, perhaps had not been long asleep, and were naturally loathe to be so soon aroused. During a visit to Hobart, Rosina received musical, instruction from Mr. Tapfield, and when the family came to Melbourne she was placed under the tuition of the late Mr. W. Wilkinson, organist of St. Francis', with whom she remained two years, then returning to Hobart she became the pupil of Mr. Buddee.

ASSOCIATIONS: William Augustus Wilkinson (organist, teacher)

Reading and writing, we know on the authority of Dogberry, come by nature, and with Rosina Carandini it seemed as if reading music by nature, for by the time she was eight years old, she could take any opera and play any number in it at first sight, singing meanwhile; it mattered not whether the part were bass, tenor, alto or treble. Madame Carandini was much occupied, and the father and his firstborn were great "chums." It was the Marquis' great delight to have Rosina play to him, and his recollections of Grisi and other great cantrices of his early days enabled him often to say to his daughter, "Don't sing that that way. Sing it like this" giving her the example. When the score of "Il Trovatore" reached Melbourne, the child thus played and sang the whole of it to her father.

In Hobart, under the tuition of Mr. Buddee, Miss Rosina remained until at the age of 16 she married Mr. Edward Hodson Palmer. She had, when about 13 made her first public appearance at a concert given by Madame Carandini, when she played a pianoforte solo, and also a duet with her master, Mr. Buddee. Soon after, when spending her holidays in Victoria with her mother, who was touring the country districts with her company, giving scenes from opera, the accompanist became "incapable" and Rosina played in his place. In Hobart she was placed under the tuition of F. A. Packer, senior, for singing, and at fourteen made her debut as "Adalgisa" to her mother's "Norma," when a brilliant career was prophesied for the young artist. Soon after this event the young lady appeared in oratorio, "The Messiah," at a musical festival at which, all the best amateur talent in Hobart assisted, Mrs. Cunningham [sic, incorrect] . . . sang the contralto music and Mrs. Palmer the soprano. Although encores were strictly forbidden, the audience insisted upon "Rejoice Greatly" being repeated. After her marriage Mrs. Palmer continued to sing for charitable objects, and did her best to cultivate a taste for good music in Hobart . . .

ASSOCIATIONS: Frederick Alexander Packer (teacher)

[News], The Lorgnette [Melbourne, VIC] (April 1894), 2

http://nla.gov.au/nla.news-article212766218 

News came to hand, by cable, last week, of the death of Madame Marie Carandini, which took place at the residence her daughter, Lady Morland, at Bath, on the 13th of March [sic, April], in her 69th year. Madame Carandini made her first appearance in Melbourne at the Mechanics' (Athenaeum), Jan. 7th, 1854, at a concert; since which time she was associated with the earliest productions of English opera in Australia. She had a very flattering farewell benefit at the Town Hall, about two years ago, prior to leaving for England.

[News], Evening News [Sydney, NSW] (18 April 1894), 4

http://nla.gov.au/nla.news-article114084679 

Those surviving playgoers are not many whose recollections go back to the first appearance of the late Madam Carandini on the Sydney stage. Her death has just been announced by cablegram from England. Many Australians who never saw or heard the lady are no doubt familiar with her by report as one of the most gifted singers of her day in this part of the world. The natural qualities of her voice, a light soprano, were really fine, and had they been improved to the extent to which, under more favorable conditions, they might have been, she could have possibly achieved a world wide reputation. Her voice, as those who listened to it when it was still young and fresh assure us, had deteriorated greatly in later years. About the time when Australia was visited by the great singer, Miss Catherine Hayes, Madame Carandini's voice was probably at its best. She sang in concerts, and also appeared in opera with Miss Hayes. Veterans of the period say that, when all due allowance between the two was made, the native singer really compared very favorably with the European celebrity. Madam Carandini was born in Tasmania [sic], but it was as a member of the little operatic company at the old Victoria Theatre, Sydney, in the latter end of the forties, that she first attracted much notice. It is almost superfluous to add that Madame Carandini has left daughters who inherit a good deal of their mother's vocal talent.

"DEATH OF MADAME CARANDINI", The Age [Melbourne, VIC] (19 April 1894), 6

http://nla.gov.au/nla.news-article192202179 

Madame Carandini, whose death at the residence of her daughter, Lady Moreland, near Bath, on 13th inst., has been cabled, was perhaps one of the best known and most popular singers we have had, and being a Tasmanian she interested Australian audiences, and had a very successful musical career. For several years she sang in co-operation with Mr. Sherwin and her talented daughters, Miss Rosina (Mrs. Palmer) and Miss Fanny (Lady Moreland). She had not appeared for many years prior to the benefit entertainment given before her departure for England, about two years ago, having resided privately. Her health had failed considerably when she left for England. Madame Carandini was born at Brixton, near London, in 1826. Her mother was a cousin of Captain Medwin, the companion and biographer of Byron; her grandfather was closely related to the poet Shelley. Her father having been advised to take a sea voyage for the benefit of his health, came out in 1833 with his family to Tasmania, where he died soon after. At the age of 17 she married the Italian Marquis Carandini, a refugee and a member of one of the first families in Italy. At an early age Madame Carandini had shown remarkable musical abilities, being the possessor of a voice of great power, range and sweetness. In 1846 she visited Sydney, and from that time up till quite recent years she continued one of the most popular favorites in the musical world of Australia. In November, 1854, she took up her residence in Melbourne, where she was the first prima donna who sang in a complete representation of opera. When Catherine Hayes visited this city Madame Carandini was one of those selected to appear with that gifted vocalist at the Theatre Royal, when she took the various tenor parts in the operas produced during the season, a plan which in these days strikes one as being rather incongruous. However, there is no doubt that she appeared as Elvino in La Sonnambula, Gennaro in Lucrezia Borgia and other tenor roles. In 1859 she returned to Sydney to take part in the festival arranged at the inauguration of the Great Hall at the Sydney University. In 1870 the Marquis Carandini received a pardon for his political offences, and returned to Italy, where he died shortly after his arrival. Madame Carandini is now chiefly known by the brilliant success achieved by several of her daughters, and in particular by Mrs. Palmer, certainly one of our greatest singers, and by Lady Moreland. It will be remembered that Madame Carandini herself took part in the benefit concert at the Town Hall, at which Mrs. Palmer and Lady Moreland also sang.

"MME. CARANDINI. DEATH OF A CELEBRATED SINGER", The Daily Telegraph [Sydney, NSW] (19 April 1894), 6

http://nla.gov.au/nla.news-article236103457 

Word has been received by cable from England of the death of Mme. Carandini. Although not native born, Marie Carandini was regarded as the first of Australia's great singers. The mention of the one-time popular soprano will carry old colonists back to the forties. Born at Brixton, near London, in 1826, she came to the colonies as Miss Marie Burgess in 1833 with her parents, who made Tasmania their home. At the age of 17, and before she had given any special signs of vocal excellence she married Marquis Carandini, an Italian refugee nobleman, who, after completely losing his sight, died in 1870. In 1844 Mme. Carandini came to Sydney, and quickly asserted herself as a singer. It was the dawn of opera in Australia, and Mme. Carandini took part with Mrs. Sterling afterwards Mrs. Richard Stewart, mother of Nellie Stewart, and Messrs. Frank and John Howson in two or three "musical dramas," including "Fra Diavolo," "Der Frieschutz," and "The Bohemian Girl." Eighteen hundred and fifty-nine found Mme. Carandini producing, for the first time in Sydney, at the old Prince of Wales Theatre, Verdi's "Trovatore" and "Ernani." In the same year Mme. Carandini took part in the musical festival held in the Sydney University, at which selections from "The Creation" and "The Messiah" were performed under the conductorship of Lavenu. During her residence of some nine years in Sydney, Mme. Carandini studied music and singing with Lavenu, Isaac Nathan, Mme. Wallace Bushell (sister of the composer of "Maritana"), and Mme. Sara Flower, the phenomenal but ill-fated contralto. After severing her connection with the operatic stage, with brilliant records to her credit in Sydney and Melbourne, Mme. Carandini, with her daughters, Fanny and Rosina, and Walter Sherwin, the tenor, gave concerts throughout the Australasian colonies with great success. Mme. Carandini was the mother of eight children, three of whom were born in Sydney. The only members of the family now known to the public in Australia are a daughter, Mrs. Palmer, the popular Melbourne singer, and a son, Mr. Carandini, who carries on his profession as architect in Melbourne and Sydney. For many years Mme. Carandini had been residing with one of her married daughters at Bath, in England, and it was there she died.

"THE LATE MADAME CARANDINI", South Australian Register (20 April 1894), 6

http://nla.gov.au/nla.news-article53700929 

Many of our readers will learn with regret of the death of Madame Carandini, who, with her daughters, took a prominent part in musical functions in Adelaide and other Australian cities, and who appeared in the Adelaide Town Hall for the last time a little over two years ago when en route from Melbourne to England. The Argus states that a cable message received in Melbourne on Monday announced the death of the talented lady. Madame Carandini was considerably over 60 years of age, but when last heard in Adelaide her voice was still powerful and sweet, and she had to respond to encores. Old colonists and many native born will recollect her in the early days at the old Victoria Theatre, Gilles Arcade (now the Royal Horse Bazaar), White's Rooms (now the Bijou Theatre), and latterly, on the occasion of her farewell to Adelaide, at the Town Hall. Madame Carandini (nee Marie Burgess) was born at Brixton, London, in 1826. Her mother was the cousin of Captain Medwin, the companion and biographer of Lord Byron, and her grandfather was closely related to the poet Shelley. The deceased lady emigrated with her parents to Tasmania in 1833. Her father died a year after setting foot in the island colony. At the age of seventeen Miss Burgess married the Marquis Carandini, an Italian refugee nobleman. At an early age Marie Burgess exhibited considerable musical ability, possessing a voice of great power, range, and sweetness. In 1846 she went to Sydney, and after singing as an amateur was prevailed upon to appear in public. For nearly forty years she continued to be one of the most popular artists in the Australian Colonies. One of her first efforts was in the character of "Apollo" at the Victoria Theatre, then under the direction of Mr. John Lazar. Subsequently she sang in English opera in conjunction with the Howsons, Mrs. Guerin (Mrs. R. Stewart), Madame Sara Flower, and others. The deceased lady lived for nine years in Sydney, during which time she studied under Madame Wallace Bushelle and Madame Sara Flower. In 1854 she went to Melbourne, where she sang with much success. She was the first prima donna to sing in a complete opera in that city at the Old Queen's Theatre, under the management of Mr. George Coppin. When Catherine Hayes went to Melbourne Madame Carandini was at once chosen to appear with that artist, taking the tenor parts, the principal of which was that of Elvino in "La Somnambula." Again returning to Sydney she was engaged to take part in the festival which was to inaugurate the open ing of the great hall of the Sydney University. Subsequently with Madame Sara Flower and Messrs. John Gregg and Walter Sherwin, all afterwards well known in Adelaide, she appeared in "Il Trovatore" at the Princess's Theatre, Melbourne, for twenty-six nights, this being the occasion of the introduction of Verdi's operas to Australia in a complete form. Subsequently Madame Carandini, with Mr. Walter Sherwin and her talented daughters Rosina (Mrs. Palmer) and Fanny (Lady Moreland), with other artists, toured the Australian Colonies, Tasmania, New Zealand, America, and India with marked success. The deceased lady may perhaps best be remembered here when singing at White's Rooms at the quarterly concerts of the South Australian Institute (now the Public Library), when either in ballads, duets, trios, or quartets she was always most favourably received. Madame Carandini died at the residence of her daughter (Lady Morland), Bath, England, on the 13th inst. Of her it may be truly said that no one who has trodden the concert platform ever achieved greater success than she did. She held her own in her palmiest days against such artists as Catherine Hayes, Madame Anna Bishop, Lucy Escott, Ilma de Murska, and a best of other talent who paid visits here during her day from the old country.

"DEATH OF MADAME CARANDINI. A FAMOUS AUSTRALIAN SONGSTRESS", The Advertiser (20 April 1894), 3

http://nla.gov.au/nla.news-article25722627

It will be with regret that all classes of society will learn of the death of Madame Carandini, which took place on April 13, at the residence of her daughter, Lady Moreland, at Bath, England, at the ripe age of 69. When quite a child Madame Carandini, then Marie Burgess, arrived with her parents in Tasmania, whither Mr. Burgess had been ordered for the sake of his health by his medical advisers. At the age of 17 Miss Marie Burgess married the Marquis Carandini, an Italian nobleman, whose patriotism had deprived him of all his property and exiled him from his native land. Madame Carandini's musical career began in Sydney as far back as 1841 and 1842. In 1854 she went from Tasmania to Melbourne, and by her exquisite singing as well as by her personal qualities took the public by storm. Her beautiful voice, her finished style, and that sympathetic quality which always put her in touch with her audience rendered Madame Carandini a most popular favorite throughout Australia. She was the first to establish operatic singing in the colonies, and in fact largely aided in the development of high class music here. In 1855, when Catherine Hayes visited Australia, the production of an opera became an established fact, and she appeared in "La Sonnambula" at the Theatre Royal, Melbourne, on October 22, 1855, ably supported by Madame Carandini, of whose talents she had the highest possible opinion. The rest of the company was fairly satisfactory and a chorus of 50 voices was got together for the occasion. "La Sonnambula" was followed by "Lucia di Lammermoor," "Norma," "The Bohemian Girl," and "Lucrezia Borgia," in each of which Madame Carandini appeared in conjunction with Catherine Hayes. After the departure of the latter a series of representations were given from time to time, in which the leading artistes were Madame Carandini, Signor Borsotti, and Madame Cailly. In 1858 an opera season was commenced in the Princess Theatre, and in the year following in the Theatre Royal, Madame Carandini appearing in both with Farquharson and Walter Sherwin. In subsequent years all the well-known operas were produced, and excellent singing, orchestration, and mounting were provided. In 1867 Mr. C. E. Horsley, a composer of repute, who had come to reside in Victoria, arranged some "Musical festivals," at which high-class music was supplied by Madame Carandini, assisted by her daughters, Rosina and Fannie. Till 1892 Madame Carandini lived in retirement, when she left the colonies for England with her daughter, Lady Moreland. On the occasion of her departure farewell concerts were given in her honor both in Melbourne and Adelaide. The latter took place on February 16, 1892, and a large and enthusiastic audience gathered in the Town Hall to do honor to an artiste whose name had been associated for so many years with the growth of music in the colonies. Among the audience were many who in the early days had frequently heard her and her talented daughters, and who in renewing these pleasant memories doubtless recalled again the scenes and forms of the days that were. Madame Carandini rendered the charming old Scotch song "Jessie, the flower o' Dunblane," and "The harp that once through Tara's halls," and the genuine feeling displayed by the audience during the rendering of those songs unmistakeably showed in what affectionate remembrance she was held. Lady Moreland and Mrs. Palmer, her daughters, also sang on that occasion and were received with enthusiasm. Lady Moreland left Australia nearly 20 years ago with the family on a concert tour to India, and whilst there married Captain Sir Henry Moreland, the head of the fort of Bombay, which position he held till his death, some four years ago. After the marriage she continued to lend her voice and musical talent in aid of the different charities of Bombay. Mrs. Palmer did not accompany her mother to England, but has since been a resident of Melbourne.

See also "MUMMER MEMOIRS", Sydney Sportsman (14 February 1906), 3

http://nla.gov.au/nla.news-article167212520 

Associated musical editions:

The bride's farewell to her mother (John Howson, composed by 1847; published Sydney, NSW, January 1848)

The bride's farewell to her mother, ballad sung by Madame Carandini with great applause at the Royal Victoria Theatre, Sydney, composed by John Howson (Sydney: J. T. Grocott, [1848])

https://trove.nla.gov.au/work/6507737 

https://nla.gov.au/nla.obj-166655407 (DIGITISED)

[Advertisement], The Sydney Morning Herald (29 September 1847), 1

http://nla.gov.au/nla.news-article12898597 

ROYAL VICTORIA THEATRE. GRAND CONCERT . . .
THIS EVENING, 29TH SEPTEMBER, Mr. Deane will be assisted by Madame Carandini . . .
PROGRAMME. PART I . . . 7. Song - The Bride's Farewell to her Mother, composed by J. Howson expressly for Madame Carandini - Madame Carandini . . .

"MR. DEANE'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (2 October 1847), 2

http://nla.gov.au/nla.news-article59764543 

. . . the Victoria Theatre, on Wednesday evening [29 September] . . . Madame Carandini in "Jeptha's Daughter" and the "Bride's Farewell" was rapturously applauded. She sang with exquisite taste and feeling, infinitely surpassing anything we had previously heard from this lady, and heartily do we congratulate her on the universal meed of adulation awarded her on this occasion by an audience composed of those so peculiarly capable of appreciating talent . . .

[Advertisement], The Sydney Morning Herald (30 December 1847), 1

http://nla.gov.au/nla.news-article12889363 

IN THE PRESS, AND WILL BE PUBLISHED ON THE 1ST JANUARY, 1848.
A NEW BALLAD ENTITLED "THE BRIDE'S FAREWELL TO HER MOTHER."
Composed by MR. JOHN HOWSON, and sung by Madame Carandini, at the Royal Victoria Theatre, Sydney. PRICE, 2s 6d.
At the request of a number of ladies, this favourite song is now published, and may be had from the publisher.
J. T. GROCOTT, Music Saloon, 486. George-street; And all the Booksellers.

ASSOCIATIONS: John Howson (composer); John Philip Deane (musician); James Turner Grocott (musicseller, publisher)

I cannot sing tonight (Lavenu, composed 1854; published Sydney, NSW, August 1857)

I cannot sing tonight, ballad, by L. Lavenu, sung with great success by Madame Carandini (Sydney: J. R. Clarke, )

https://trove.nla.gov.au/work/12842121 

https://nla.gov.au/nla.obj-181847032 (DIGITISED)

[Advertisement], The Argus (7 January 1854), 8

http://nla.gov.au/nla.news-article4801619 

CONTINUATION of Tattersall's Concert - Signor Maffei
begs to inform the public that the above concerts will be transferred to the saloon of the Mechancis' Institution, on Saturday, Monday, and Thursday evenings following . . .
Pianist - Mr. Salamon. Programme for Saturday, 7th instant. First appearance of MADAME CARANDINI, (as Bella Prima Donna) . . .
Ballad - I cannot sing tonight - L. H. Lavenu - Composed expressly for Madame Carandini . . .

[Advertisement], The Sydney Morning Herald (8 August 1857), 10

http://nla.gov.au/nla.news-article12999083 

PUBLISHED THIS DAY, M. Lavenu's elegant Ballad, "I Cannot Sing to Night," as sung by Madame Carandini, embellished with a portrait of Madame C. Price 3s.; post-free, 3s. 2d. J. R. CLARKE, 205, George-street, Sydney.

ASSOCIATIONS: Lewis Henry Lavenu (composer); Edmund Thomas (artist); Jacob Richard Clarke (publisher)

Breeze of the night (arr. Lavenu, published Sydney, NSW, July 1859)

Breeze of the night, "D'amor sull ali rosee," sung by Madame Carandini; no. 4. of beauties of "Il trovatore," arranged for voice and piano by L. H. Lavenu (Sydney: J. R. Clarke, [1859])

https://trove.nla.gov.au/work/37497652 

https://collection.sl.nsw.gov.au/record/74VKdKl2BVvO (DIGITISED)

[Advertisement], The Sydney Morning Herald (25 July 1859), 1

http://nla.gov.au/nla.news-article13028239 

VOCAL BEAUTIES of IL TROVATORE, arranged by M. Lavenu, each, 2s. 6d.; post free, 2s. 8d. Now ready . . . Breeze of the night . . . J. R. CLARKE, music publisher, 356, George-street.

Jeanie Deans (Marmaduke Henry Wilson, composed England, by 1849; published Sydney, NSW, October 1859)

Jeanie Deans, as sung with the greatest applause by Madame Carandini at the Prince of Wales Theatre, by permission respectfully dedicated to Lady Denison, written and composed by Marmaduke H. Wilson (Sydney: H. Marsh, [1859]) [October 1859]

https://trove.nla.gov.au/work/230268050 

https://collection.sl.nsw.gov.au/record/74VKv3GxZB0X (DIGITISED)

[News], Empire (13 October 1859), 10

http://nla.gov.au/nla.news-article64091361 

The benefit of Mr. John Gregg at the Prince of Wales Theatre to-night will doubtless bring one of the fullest houses of the season . . . The opera that has been the great success of the season - "Il Trovatore "-will be given for about the twentieth time . . . In addition, Madame Carandini will sing Mr. Marmaduke Wilson's new song "Jeanie Deans" . . .

[Advertisement], The Sydney Morning Herald (15 October 1859), 12

http://nla.gov.au/nla.news-article28629638 

NEW BALLAD, JEANIE DEANS, by M. H. Wilson as sung by Madame Carandini on the occasion Mr. John Gregg's benefit, will be published in a few days Price, 2s. 6d. H. MARSH and CO., 254, George-street.

ASSOCIATIONS: Marmaduke Henry Wilson (composer); Caroline Denison (dedicatee); Henry Marsh (musicseller, publisher)

Bibliography and resources:

Godfrey Charles Mundy, Our Antipodes, or residence and rambles in the Australasian colonies, with a glimpse of the goldfields (London: Richard Bentley, 1852), vol. 1, 53 (and in later editions)

https://books.google.com.au/books?id=TxsXAAAAYAAJ&pg=PA53 (DIGITISED)

. . . Certain it is that the "poor players" get a fairer share of applause than the same performances would secure at home. It would be a lesson to the used-up man of the world, to witness the raptures with which some of the public favourites, and their efforts histrionic, musical, and saltatory, are received and rewarded. Oh! it is delicious to mark the gratified countenances, and to hear the thundering plaudits which are especially awarded to the latter branch of theatric art. Well may Madame * * *, the Sydney Columbine and Maitresse de Danse, most spherical of Sylphides, bounce like an Indian-rubber ball; well may Signor * * * *, Harlequin and Dancing-master, half kill his fatted calves in acknowledgment of so much flattering approbation!

ASSOCIATIONS: Godfrey Charles Mundy (tourist); Madame * * * = Eliza Torning (dancer); Royal Victoria Theatre (Sydney venue, from Mundy's arrival in 1846)

John Henniker Heaton, Australian dictionary of dates and men of the time . . . to May, 1879 (Sydney: George Robertson, 1879), part 1, 35-36; part 2, 167

https://archive.org/stream/australiandicti00heatgoog#page/n42 (DIGITISED)

https://archive.org/stream/australiandicti00heatgoog#page/n408 (DIGITISED)

H. Morin Humphreys (comp.), Men of the time in Australia, Victorian series, second edition (Melbourne: McCarron, Bird & Co. 1882), [xxii]-[xxiii]

https://nla.gov.au/nla.obj-13818998/view?partId=nla.obj-13960298#page/n35/mode/1up (DIGITISED)

Brewer 1892, The drama and music in New South Wales, 15, 16, 59, 62-64, 70, 75, 76

https://archive.org/stream/dramamusicinnews00brew#page/15 (DIGITISED)

[15]. . . Very slight changes occurred in the company at the Victoria after the conclusion of the Coppin performances until 1845, when Messrs. John and Frank Howson, Signor and Signora Carandini, and Mrs. Stirling (afterwards Mrs. Guerin, and finally Mrs. Stewart) arrived in Sydney, and were engaged for the Victoria. Their accession to the stage of the day led to regular productions of opera, but they were also important additions to the dramatic company. Mrs. Stirling frequently sustained leading characters in tragedy and high comedy, while for some years she was the prima donna of the operatic representations. Signor Carandini was an accomplished stage dancer, and succeeded another very excellent terpsichorean, Mr. Chambers. The Howsons and the Carandinis came from Tasmania . . .

"Osric" [Humphrey Hall and Alfred John Cripps], The romance of the Sydney stage (Sydney: Currency Press in association with National Library of Australia, 1996), from 97 passim

https://trove.nla.gov.au/version/44791594 

Percival Serle, Dictionary of Australian biography (Sydney: Angus and Robertson, 1949)

http://gutenberg.net.au/ebooks15/1500721h/0-dict-biogCa-Ch.html#carandini1 

http://gutenberg.net.au/ebooks15/1500721h/0-dict-biogP-Q.html#palmer3 

W. Arundel Orchard, Music in Australia: more than 150 years of development (Melbourne: Georgian House, 1952), 26

https://archive.org/details/in.ernet.dli.2015.28983/page/n47/mode/2up (DIGITISED)

Ann K. Wentzel [Carr-Boyd], "Carandini, Marie (1826-1894)", Australian dictionary of biography 3 (1969)

http://adb.anu.edu.au/biography/carandini-marie-3162

Thérèse Radic, "Palmer, Rosina Martha (1844-1932)", Australian dictionary of biography 5 (1974)

http://adb.anu.edu.au/biography/palmer-rosina-martha-4359

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Opera-Opera/Pellinor, 1999), 33 onwards, passim

https://trove.nla.gov.au/work/32587155 

"Carandini, Marie (1826-1894)", Obituaries Australia

http://oa.anu.edu.au/obituary/carandini-marie-3162

"Palmer, Rosina Martha (1844-1932)", Obituaries Australia

http://oa.anu.edu.au/obituary/palmer-rosina-martha-4359

"Marie Carandini" [sic], Wikipedia

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

"Rosina Palmer", Wikipedia

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

Jerome Carandini and Maria Burgess Carandini, WikiTree

https://www.wikitree.com/wiki/Carandini-3 

https://www.wikitree.com/wiki/Burgess-4369 

CARANZANI DEL VALLE, Felix (Felix CARANZANI DEL VALLE; Felice CARANZANI; Signor CARANZANI; also CARAZINI; ? CARENZANI)

Musician, violinist, pianist, teacher

Arrived Melbourne, VIC, 20 March 1853 (per Dolores, from Valparaiso, via Tahiti, 23 December 1852)
Departed Melbourne, VIC, after December 1854

https://trove.nla.gov.au/search?l-publictag=Felix+Caranzani+del+Valle (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARANZANI-DEL-VALLE-Felix (shareable link to this entry)

Documentation:

Giulietta e Romeo: tragedia per musica da rappresentarsi in Pavia . . . il Carnovale del 1830 (Pavia: Tipografia Bizzoni, [1830]),

https://books.google.com.au/books?id=XAhEAAAAcAAJ&pg=PA24 (DIGITISED)

Musica del signor Maestro NICOLA VACCAI . . . ORCHESTRA -
Maestro al Cembalo, Sig. Giuseppe Antonio Sartirana; Primo Violino e Direttore d'Orchestra, Sig. Giuseppe Sordeli;
Primo Violino de Balli, Sig. Maestro Felice Caranzani . . .

MUSIC: Giulietta e Romeo (Vaccai)

Bianca e Fernando: dramma serio . . . (Milano: Dalla stamperia di Carlo Dova, [? 1830])

http://www.worldcat.org/oclc/78042164 

. . . Maestro al cembalo, Signor Giuseppe Antonio Sartirana . . . Primo violino dei balli, Signor Felice Caranzani . . .

[Advertisement], El Progreso [Santiago, Chile] (11 March 1847), 3

http://www.bibliotecanacionaldigital.gob.cl/colecciones/BND/00/PE/PE0000993_0059.pdf 

TEATRO DEL WAUX-HALL. - GRAN FUNCION FILHARMÓNICA . . . para el sábato 13 de marzo de 1847 . . .
PROGRAMA, - PRIMERA PARTE . . . 3o. Cavatina de Julieta i Romeo, ejecutada en la flauta con acompanamiento de piano, por el beneficiado i el Sr. Caranzani del Valle . . .
SEGUNDA PARTE . . . 4o. Variaciones por flageolet i acompanamiento de piano . . . por el beneficiado i el Sr. Caranzani del Valle . . .

"SHIPPING INTELLIGENCE. ARRIVED", The Argus [Melbourne, VIC] (31 March 1853), 4

http://nla.gov.au/nla.news-article4791173 

March 30. - Dolores, barque, 437 tons, C. Throop, from Valparaiso, via Otahite, December 23rd. Passengers - cabin . . . F. N. Cazarani [Caranzani] . . . and seventeen in the steerage. A. Herring, agent.

[Advertisement], The Argus (13 April 1853), 12

http://nla.gov.au/nla.news-article4791561

MECHANICS' INSTITUTE. THURSDAY WEEKLY CONCERTS. Under the Direction of Mr. Megson.
On THURSDAY NEXT, 14th APRIL. Principal Vocal Performers: Sopranos, Mrs. Testar and Mrs. Hancock.
Tenore, Mr. Hancock. Alto, Mr. Mitchell. Basso, Mr. Bancroft.
Principal Solo Performer: Mons. Felix Caranzani del Valle.
The Band: Leader, Mr. Megson . . .
Programme . . . PART II . . . Solo - violin - Monsieur Felix Caranzini del Valle . . .
Pianist: MR. BUDDEE . . .

ASSOCIATIONS: Joseph Megson (violin, director); Elizabeth Testar (vocalist); Mary Ellen and Edward Hancock (vocalists); Mr. Mitchell (vocalist); Richard Bancroft (vocalist); Julius Buddee (pianist, accompanist); Thursday concerts (series); Mechanics' Institution (Melbourne venue)

Names and descriptions of passengers per Shamrock, from Melbourne, 21 April 1853, for Sydney; Public Record Office Victoria

https://prov.vic.gov.au/archive/2353D936-F7F0-11E9-AE98-1F3F59315A5D?image=642 (DIGITISED)

. . . Mr. Vale / 35 . . .

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Morning Herald (26 April 1853), 2

http://nla.gov.au/nla.news-article28644130 

April 25. - Shamrock, steamer, 200 tons, Captain Warner, from Melbourne the 22nd instant. Passengers . . . Messrs. . . . Vale . . .

"PROMENADE CONCERT A LA JULLIEN", The Sydney Morning Herald (27 April 1853), 3

http://nla.gov.au/nla.news-article12945362 

A word of very cordial greeting to Mr. Winterbottom and his talented corps is all that our crowded space will allow this morning. The arrival of the Shamrock steamer having remedied the contretemps which compelled the postponement of the first concert from Monday until last evening, a crowded audience welcomed the company; and from first to last the warmest applause evinced the pleasure which their performances gave. The soli instrumentalists were Mr. Winterbottom, bassoon; Mr. H. Durant, cornet-a-piston ; Mr. C. Dell Valle, violin; Mr. S. Evans, sax horn; and Mr. Richardson, flute. The only vocal performances were confided to Mrs. Fiddes (late Miss Harriet Cawse), who was received in a manner which her long established reputation in the best musical circles of England merited. We must content ourselves for the present with saying that the whole of the arrangements went off with the utmost eclat, and that to the lovers of good music the arrival of the company promises to be a source of high gratification.

ASSOCIATIONS: John Winterbottom (bassoon, conductor); Henri Durant (cornet); Frederick Evans Sloper (saxhorn); John James Mallcott Richardson (flute); Harriet Fiddes (vocalist); Royal Hotel (Sydney venue); note, however, that Caranzani was not listed in the advertised programs for Monday or Tuesday (25 and 26 April)

[Advertisement], The Sydney Morning Herald (28 April 1853), 1

http://nla.gov.au/nla.news-article28644481 

IMMENSE SUCCESS - EVERY NIGHT. FOR ONE MONTH ONLY. ROYAL HOTEL.
GRAND PROMENADE CONCERTS A LA JULLIEN. Winterbottom's Band of 30 Performers. THIS EVENING.
It is a source of the greatest pride and gratification to M. Winterbottom (as the sole projector of these popular concerts in the Australian colonies,) that the vast influx of population has enabled him to form a band, selected from the finest orchestras in the world, artistes as well capable of interpreting the sublime compositions of Handel, Beethoven, or Mendelssohn, as to delineate music of a lighter character.
The immense success attending these Concerts at Melbourne enabled M. Winterbottom to extend his season over a period of ONE HUNDRED NIGHTS.
Mr. Winterbottom, and Mr. Henry Marsh, in conjunction, respectfully solicit the patronage of the gentry and public.
VOCALIST. Mrs. FIDDES (late Miss H. Cawse) will make her second appearances in Sydney.
Second appearance M. CARANZANI DEL VALLE, the celebrated Violinist from La Scala.
The Programme will be changed every Evening.
PART I. Overture - "Tancredi" - Rossini.
Quadrille "Jetty Treffz" - Jullien.
Solo Violin - "Carnival de Venise," M. Caranzani Del Valle - Paganini . . .

ASSOCIATIONS: Henry Marsh (musician, musicseller, co-promoter)

[Advertisement], The Sydney Morning Herald (29 April 1853), 2

http://nla.gov.au/nla.news-article12945376

ROYAL HOTEL. GRAND PROMENADE CONCERTS A LA JULLIEN. Winterbottom's Band of 30 Performers.
THIS EVENING . . . Mrs. FIDDES (late Miss H. Cawse) will make her last appearance but one.
M. CARANZANI DEL VALLE, the celebrated Violinist from La Scala . . .

"PROMENADE CONCERTS A LA JULLIEN", Bell's Life in Sydney and Sporting Reviewer (30 April 1853), 3

http://nla.gov.au/nla.news-article59757093 

The admirable performances of this talented corps have been the means of deservedly attracting large and fashionable audiences during the past week, and we congratulate the music-loving public upon this accession to their intellectual enjoyment . . . The instrumental performers are - bassoon, Mr. Winterbottom; violin, Mr. C. del Valle; Sax-horn, Mr. S. Evans; flute, Mr. Richardson . . .

"PROMENADE CONCERTS A LA JULLIEN", The People's Advocate and New South Wales Vindicator (30 April 1853), 3

http://nla.gov.au/nla.news-article251543037 

We experienced for the first time in this colony the pleasure of hearing a band of first-rate instrumentalists, conducted by an artiste, the friend and coadjutor of the greatest musical genius of the age, Julien. Mr. Winterbottom and his band are as one instrument, and nothing that has ever been heard in this colony can equal the beautiful effects produced . . . Mr. H. Durant is an exquisite cornet-a-piston player; M. Caranzani de Valle, a violinist, produces most wondrous effects in Le Carnival de Venise . . .

[Advertisement], The Sydney Morning Herald (21 June 1853), 1 supplement

http://nla.gov.au/nla.news-article12946829 

VICTORIA THEATRE. This Evening, June 21, 1853. GRAND EVENING CONCERT.
Under the distinguished patronage of his Excellency the Governor-General.
By the kind permission of Colonel Bloomfield and the Officers, the splendid Band of H. M. 11th Regiment will be in attendance.
MADAME DE STORR, Harpist to H. R. Highness the Duchess de Berry, begs to inform the inhabitants of Sydney, and its vicinity, that she gives a Grand Vocal and Instrumental Concert on the above evening, when she respectfully solicits their patronage.
Madame de Storr will be assisted by the following artistes: - Madame Sara Flower, Madame Carandini, Miss Flora Harris,
Mr. F. Howson, Mr. J. Howson, Mr. Coleman Jacobs (Pianist to H.R.H. the Duchess of Gloucester, his fourth appearance in Sydney),
Signor Caranzani (1st violin to his Majesty the King of Sardinia), Mr. Evans Sloper (Saxe horn), Mons. Longchamp (Flautist), who has kindly given his gratuitous services. -
Conductor and Pianist - Mr. Stanley.
PORGRAMME - PART I . . . Duet, (Harp and Violin) - Aria, Varié par Bochsa - Madame de Storr and Signor Carandini [sic] . . .
PART II . . . Solo, (Violin) - Signor Carandini [sic] . . .

ASSOCIATIONS: Madame de Storr (harpist); Sara Flower (vocalist); Maria Carandini (vocalist); Flora Harris (vocalist); Frank Howson (vocalist); John Howson (vocalist); Coleman Jacobs (pianist); Jean Francois Lonchamp (flute); William Stanley (pianist, accompanist); Band of the 11th Regiment (military); Royal Victoria Theatre (Sydney venue)

"MADAME DE STORR'S CONCERT", Bell's Life in Sydney and Sporting Reviewer (25 June 1853), 2

http://nla.gov.au/nla.news-article59757337 

On Tuesday evening the Victoria Theatre was attended by a most select and fashionable assembly, attracted by the splendid programme issued by the above-named lady, and which included the names of the most popular artistes in the metropolis. The Band of the 11th Regiment attended on the occasion. Of the "stars" of the night it is alone necessary to speak; and but few words will be needed to record our opinion. The lady's proficiency on the harp may have won for her a professional appointment to the Duchess De Barri; but the effect of her performance upon our weak nerves - heightened though it was by spectacles, wig, and pink gingham - was anything but "stunning." We were not electrified, or - as Uncle Sam would express himself - "struck all of a heap." In brief, we "dropped down" - having unfortunately heard a harp played before, in our time. Signor Caranzani, (1st violin to H. M. the King of Sardines,) though a queer looking fish, acquitted himself most satisfactorily, he is unquestionably master of that most difficult of instruments, and his execution is unusually brilliant. We were decidedly pleased with the Signor . . .

[Advertisement], The Sydney Morning Herald (30 June 1853), 1

http://nla.gov.au/nla.news-article28644079

ROYAL VICTORIA THEATRE. Great concentration of talent for this night only.
MR. COLEMAN JACOBS (Pianist to Her Royal Highness the Duchess of Gloucester) has the honour to announce that his
GRAND EVENING CONCERT will take place THIS EVENING, JUNE 30, 1853, Under the distinguished patronage of His Excellency the Governor-General . . .
INSTRUMENTALISTS . . . Violin. Signor Carazini [sic], first Violinist to the King of Sardinia . . .
PROGRAMME. Conductor and Pianist - Mr. Henry Marsh . . .
Part II . . . Solo, Violin, Souvenir de Bellini - Signor Carazini [sic] . . .

"MR. JACOBS' CONCERT", The Sydney Morning Herald (4 July 1853), 2

http://nla.gov.au/nla.news-article12947014

Want of space has hitherto prevented our noticing the very excellent musical entertainment afforded to the lovers of good music by Mr. Coleman Jacobs on Thursday night. The concert reminded us of the days of Vincent Wallace. It was decidedly the best we have attended for some years past. All the old favourites were there; and the new artistes may be congratulated generally on their successful debut. Mr. Jacobs himself, in his fantasias on the piano, more than realised the high expectations . . . Signor Caranzani played some Souvenirs de Bellini with considerable effect, particularly the aria from Il Pirata, Ah non fia . . .

ASSOCIATIONS: William Vincent Wallace (violinist, pianist, composer, in Sydney 1836-38)

[Advertisement], The Sydney Morning Herald (11 July 1853), 4

http://nla.gov.au/nla.news-article12947225

MRS. FIDDES (late Miss H. CAWSE) begs to announce that her Farewell Concert will take place at the Royal Hotel,
on Wednesday Evening next, the 13th of July, on which occasion she will be assisted by Madame Sara Flower, Mr. F. Howson, and Mr. J. Howson,
and Signor Caranzani (1st Violinist to His Majesty the King of Sardinia) . . .

[Advertisement], The Argus [Melbourne, VIC] (12 December 1854), 8

http://nla.gov.au/nla.news-article4801634

SIGNOR CARANZANI del Valle, late first violinist of the orchestra at Valparaiso,
having heard of the arrival of an Italian Opera Company, at Queen's Theatre, Sydney, offers his services if required, either as violinist or pianist.
Address office of this paper, Melbourne.

ASSOCIATIONS: No such Italian opera company had arrived in Sydney; however, Frank Howson was producing opera performances

Bibliography and resources:

George E. Loyau, Notable South Australians; or, Colonists - past and present (Adelaide: Carey, Page & Co., 1885), 184

https://archive.org/stream/notablesouthaus00loyagoog#page/n223/mode/2up (DIGITISED)

. . . New South Wales was visited about that time by a distinguished violinist named Caranzani, bearing a noted Italian reputation, and Mr. Hall was placed under him and received lessons for two years, when he joined Winterbottom's orchestra . . .

ASSOCIATIONS: John Thomson Hall (violinist, pupil)

CARBONI, Raffaello (Raffaello CARBONI; alias Charles RAFFAELLO)

Amateur vocalist

Born Urbino, Italy, 15 December 1817; son of Biagio CARBONI and Catterina FIORAVANTI
Arrived Melbourne, VIC, late 1852
Departed Melbourne, VIC, 18 January 1856 (per Impératrice Eugénie for Europe)
Died Rome, Italy, 24 October 1875

https://trove.nla.gov.au/search?l-publictag=Raffaello+Carboni+1817-1875 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-554535 (NLA persistent identifier)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARBONI-Raffaello (shareable link to this entry)

Documentation:

"SUPREME COURT. January 16", The Age (17 January 1855), 4-5

http://nla.gov.au/nla.news-article154851992 

The Court was crowded at an early hour, in consequence of its being generally understood that State prisoners would be put upon their trials this day. The space on the outside of the Court was swarming by ten o'clock, with witnesses, police and the blue Hotham hussars, and at five minutes to ten the unfortunate insurgents, amounting to thirteen in number, were brought (chained together) into the dock; - As this was the first time we [5] ever even seen a real live rebel, we were astonished to find that the prisoners were a mild-looking set of men who could seriously be suspected of entertaining a notion of pushing Her Majesty from her throne. His Honor the Chief Justice took his seat on the Bench at ten minutes past ten, and the Court was then opened in the usual manner. Several jury men were fined ten pounds for non-attendance.

HIGH TREASON. Timothy Hayes, Charles Raffaello, John Manning, John Joseph, John Fenwick, James Beattie, Henry Read, Michael Tuhey, James Campbell, William Mullahoy, Thomas Dignum, James Feelan, and Jacob Sorenson, were then placed at the bar, and informed by His Honor that the Attorney-General had exhibited against them a charge of high treason . . .

"SUPREME COURT. Wednesday, March 21 . . . THE STATE TRIALS", The Age (22 March 1855), 4-5

http://nla.gov.au/nla.news-article154850495 

His Honor took his seat shortly after ten o'clock. The prisoner, Charles Raffaelo, was placed in the dock . . . [5] . . . The Jury then retired at three minutes to nine. They returned, at twenty-five minutes past nine. They gave in a verdict. of Not Guilty, and the prisoner was discharged . . .

"BALLARAT (FROM OUR OWN CORRESPONDENT) . . . April 27", The Age (28 April 1855), 5

http://nla.gov.au/nla.news-article154896414 

The collection in favour of the Lalor Fund is progressing favorably, and a benefit at the Adelphi Theatre has been volunteered for the gallant citizen soldier, whose arm, uplifted in defence of constitutional liberty and the rights of freemen, was smitten down by the last spasmodic attempt to wield the sword of a cruel yet petty despotism. Monday night, the 30th April, has been appointed for this benefit to come off, and the use of the Adelphi has, in the handsomest manner, been given gratuitously by the proprietors, whilst the company vie with each other in who shall be first upon the stage in volunteering their services for so laudable an object. Sheridan's splendid play of "Rolla" has been selected, and some of the best musical talent in the colony will be forthcoming, viz.: -
Mrs. Creed Royal, Mr. Thatcher and Mr. Creed Royal, as well as some amateurs, amongst whom Signor Rafaello, the late State prisoner, will sing the Marseillaise . . .

ASSOCIATIONS: Peter Lalor (Eureka stockade leader); Mary and James Creed Royal (vocalist and musician); Charles Thatcher (vocalist); Carl Richty (band leader)

CARBONNIER, Charles (Charles CARBONNIER; Mons. C. CARBONNIER)

Musician, violinist, vocalist

Active Armidale and Bathurst, NSW, c. 1861-62

https://trove.nla.gov.au/search?l-publictag=Charles+Carbonnier+violinist+c1861 (TROVE tagged by Australharmony)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARBONNIER-Charles (shareable link to this entry)

DISAMBIGUATION: Charles Carbonnier (1853-1915, composer) (BnF data)

Documentation:

[Advertisement], The Armidale Express and New England General Advertiser [NSW] (21 September 1861), 3

http://nla.gov.au/nla.news-article192531254 

Armidale School of Arts or Mechanics' Institute.
THE Committee of the Armidale School of Arts have much pleasure in announcing that the
SOIREE will take place on WEDNESDAY Next, the 25th September, at the Court House, Armidale.
Proceedings will commence at Six o'clock. Admission by ticket, which can obtained at the principal stores.
Price, 3s. children under 12 years of age, half-price.
Programme:
Opening Address by the President.
Duet - German National Song.
Solo on Violin - La Sonnambula - Mons. Charles Carbonnier.
Song - Juneta.
Song - Willey, we have missed you.
Recitation - Mr. J. Hindmarsh.
Solo on Violin - La Savoyarde (imitation bagpipes) - Mons. Charles Carbonnier.
Song - She wore a wreath of roses.
French Comic Song, by Mons. Charles Carbonnier.
Duet - Andelusian Bouquet Quadrilles.
Song - Britannia, the pride of the ocean.
Solo on Violin - II Travatore [sic].
Song - Good bye, sweetheart, good bye.
Song - The Englishman.
Song - O bid your faithful Ariel fly.
Solo on Violin - William Tell.
Duet - When the swallows homeward fly.
Song - Molly Asthore.
Duet - God save the Queen (by Calcott).
Song - Good news from home.
Hornpipes on Concertina - Liverpool and Sailors.
La Marseillaise (march).
Several gentlemen will deliver short addresses during the evening.

"ARMIDALE SCHOOL OF ARTS. - SOIREE AND CONCERT", The Armidale Express and New England General Advertiser (28 September 1861), 2

http://nla.gov.au/nla.news-article192531271 

The soiree and concert came off in the Court House, as advertised on Wednesday evening last. Though some rain had fallen during the day, and the weather continued threatening, the attendance was excessive. In fact we are informed that a number of parties went away, unable to obtain ingress with comfort. The Court House was so thoroughly filled that a large number of persons, including a considerable quota of ladies, had barely standing room. The contributions to the tables were numerous, varied, and excellent. After the tea and edibles had been duly discussed, the committee were busily employed for some time in removing the over-plus, tables, &c., which was no easy task, as the latter had to be passed over the heads of the assemblage between the centre of the room and the front and a side door. During this process the President, the Rev. Mr. McCarthy, delivered an appropriate address, and concluded by intimating that the concert would now commence.
A German National Song, by Messrs. Schmidt and Zeitler, was favourably received.
Then followed a solo on the violin by M. Carbonnier, an accomplished professional, which was warmly applauded by the audience.
Next came the song The Last Rose of Summer, by Mrs. Lamb, who accompanied herself on the piano. The song was so exquisitely rendered that the audience would not be contented until the lady sang another song, which was also cheered.
Willie, we have missed you, was sung by Mrs. Muir, Mrs. A. McLean performing a piano accompaniment. There was warm applause at its termination.
The Rev. Mr. Mayne then gave a minute description of a visit to the celebrated stalactite caves about 15 miles from the Fish River, Western district, which was followed by cheers.
A solo on the violin by M. Carbonnier, in which imitations of the bagpipes were given, elicited much amusement and approval.
Mrs. Seeley and Mrs. Boardman performed a duet on the piano, their brilliant and animated style being duly appreciated by the audience.
M. Carbonnier again appeared with a French comic song, which evoked peals of laughter, particularly from the juvenile portion of the audience, and was followed by hearty applause. Mrs. A. McLean added to the enjoyment by her piano accompaniment.
Mrs. Muir then sang The Red, White, and Blue, accompanied on the piano, by Mrs. McLean. The chorus was taken up by a portion of the audience, and great cheering succeeded the performance.
An artistic duet on the piano, by Miss Newcome and Miss Hindmarsh, was highly esteemed, as manifested by the warm approval of the audience.
Mr. Overton's song of The Englishman, with piano accompaniment by Mrs. Seeley, was likewise cheered.
Mr. Boardman, the Secretary to the Institute, then delivered a succinct and lucid address, setting forth the benefits to be derived from Schools of Arts, and giving a brief sketch of the progress of the Armidale Institute and its present position. It was attentively listened to, and Mr. B. was applauded on finishing it.
Mrs. Lamb, again playing a piano accompaniment, sang a third song; her performance was enthusiastically cheered.
A pleasing duet followed, Mrs. Seeley accompanying her voice on the piano, and M. Carbonnier his portion of the song on the violin. It was deservedly appreciated.
Mr. Hindmarsh recited Sergeant Buzfuz's address to the court in the famous case of Bardell v. Pickwick, as given in the Posthumous Papers of the Pickwick Club. He was applauded at its conclusion.
Another solo on the violin, by M. Carbonnier, was received with similar favour to that which had met his other performances.
Mrs. Muir sang Molly Asthore, Mr. Overton accompanying on the concertina. Great cheering followed.
Again M. Carbonnier gratified the audience with one of his beautiful violin solos.
A hornpipe air on the concertina, by Mr. Overton, was also applauded.
The song Good News from Home, sung by Mrs. Muir, to a concertina accompaniment by Mr. Overton, was received with such a demonstration of approval that that lady followed with another song - When first I saw your face - the delivery of which was also cheered.
Mrs. Seeley and Mrs. Boardman performed God Save the Queen on the piano, again securing the plaudits of the audience.
Mr. Boardman moved, in appropriate terms, a vote of thanks to the ladies who had contributed towards the earlier portion of the entertainment; those ladies and gentlemen who had honoured them with their excellent performances that evening; and all who had assisted in making the soiree and concert so successful . . .

[Advertisement], Bathurst Free Press and Mining Journal [NSW] (21 December 1861), 3

http://nla.gov.au/nla.news-article62402728 

A. M. D. G. Catholic Young Men's Society.
AN Entertainment in connection with the above Society will take place on
THURSDAY EVENING NEXT, in St. MICHEAEL'S SCHOOL ROOM, when the following
VARIED and SELECTED Programme will be produced.
PART I.
Overture - Solo on Violin- Selections from Il Trovatore - By the celebrated French violinist Monsieur Charles Carbonnier.
Recitation - Lochiel's Warning (Campbell) - By Gentlemen Amateurs
Solo on Violin - Norma la Priere - By M. C. Carbonnier
Song - The Irish Immigrant - By a Gentleman Amateur
Recitation - Lord Chatham on the American War - By a Gentleman Amateur
PHANTASMAGORIA AND DISSOLVING VIEWS.
Recitation - Rienze's address to the Romans (Sir E. B. Lytton) - By a Gentleman Amateur
Solo on Violin - Molly Asthore - By M. C. Carbonnier
Song - The last Rose of Summer - By a Gentleman Amateur
Solo on Violin - Ever of Thee - By M. C. Carbonnier
Song - Paddy Malone - By a Gentleman Amateur
Solo on Violin and French comic dance - Une Boure'd Auvergne - By M. C. Carbonnier
An Interval of Ten Minutes.
PART II.
Solo on Violin - Une Chasse de Louis XV. (Imitations Comiques) - By M. C. Carbonnier
Song - The Harp that once through Tara's Halls (Moore) - By a Gentleman Amateur
Recitation — Cardinal Wolsey's Address (Shakspeare) - By a Gentleman Amateur
Violin - La Grace de Dieu - By M. C. Carbonnier
Irish Comic Song - Denny Burns the Piper - By a Gentleman Amateur
French Comic Song - L'Histoire de Malbourg - By M. C. Carbonnier
PHANTASMAGORIA AND DISSOLVING VIEWS.
Solo on Violin - La Marseillaise - By M. C. Carbonnier
Recitation - Cato's Senate (Cato Sempronsus Lucius) - By Gentlemen Amateurs
Solo on Violin - Marche de Cavalerie Francaise (selections from Lucia de Lammermoor) - By M. C. Carbonnier
Song - Wait for the Waggon - By a Gentleman Amateur.
Solo on Violin - Partant Pour la Syrie - By M. C. Carbonnier
Finale - Quartette and Chorus - Cheer, Boys, Cheer.
Doors open at 7 o'clock. The entertainment will commence at half-past 7 o'clock precisely.
PRICES OF ADMISSION: - Members, 1s.; Non-members, 2s.; Children under 12 years of age, half-price . . .

"COUNTRY DISTRICTS . . . ENTERTAINMENT IN ST. MICHAEL'S SCHOOLROOM", Freeman's Journal [Sydney, NSW] (1 January 1862), 3

http://nla.gov.au/nla.news-article115759492 

An entertainment in connection with the Catholic Young Men's Society, was given on Boxing Night, in St. Michael's School-room, which was filled in every part by an audience evidently bent upon enjoyment. The programme was of a very varied character, comprising recitations, songs, and violin solos, and closing with some pleasing dissolving views. Mr. Tiffin presided at the pianoforte. The songs and recitations by gentlemen amateurs were rapturously cheered, and the performances of Mons. Carbonnier on the violin, were listened to with marked attention. - Bathurst Times.

ASSOCIATIONS: Charles Tiffin (pianist)

CARLETON, Caroline (Caroline BAYNES; Mrs. Charles James CARLETON; Mrs. C. J. CARLETON)

Amateur musician, pianist, harpist, songwriter, song writer, poet

Born Islington, London, England, 6 October 1811; baptised (Wesleyan) 11 March 1812; daughter of William BAYNES (1760-1832) and Mary Ann BAILEY (1771-1862)
Married Charles James CARLETON (c. 1815-1861), West Hackney, London, England, 28 April 1836
Arrived Adelaide, SA, 24 September 1839 (per Prince Regent, from London, 5 June)
Died Wallaroo, SA, 10 July 1874

https://trove.nla.gov.au/search?l-publictag=Caroline+Carleton (TROVE tagged)

http://nla.gov.au/nla.party-485221 (NLA persistent identifier)

https://en.wikipedia.org/wiki/Caroline_Carleton (Wikipedia)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARLETON-Caroline (shareable link to this entry)

Documentation:

Methodist register of births and baptisms, 1811, fol. 755; Uk National Archives, RG4/4678

https://www.ancestry.com.au/imageviewer/collections/2972/images/40612_B0151993-00142?pId=1480275 (PAYWALL)

No. 6920 / Caroline the daughter of William Baynes of Islington in the parish of Saint Mary in the County of Middlesex and Mary Ann his wife, who was the daughter of Samuel and Elizabeth Bailey, was born at Islington on [6 October 1811] . . . and was baptised [11 March 1812]

Marriages solemnized in the parish of West Hackney in the county of Middlesex in the year 1836; register 1824-37, page 273; London Metropolitan Archives, P79/WH/012

https://www.ancestry.com.au/imageviewer/collections/1623/images/31280_197608-00333?pId=3126470 (PAYWALL)

No. 818 / Charles James Carleton of the Parish of Liverpool in the county of Lancaster, bachelor and
Caroline Baynes of this parish, Spinster, were married in this Church by License this [28 April 1836] . . .

[Advertisement], The South Australian Advertiser [Adelaide, SA] (21 September 1859), 1

http://nla.gov.au/nla.news-article1197329 

GAWLER INSTITUTE. ANNIVERSARY ENTERTAINMENT. Preliminary Announcement.
The Committee have determined to celebrate the Second Anniversary of the Foundation of this Institute on a day to be named, early in November, by an entertainment to consist of an Amateur Theatrical Performance and Concert.
The prominent feature of the evening will be a patriotic song, the subject appropriate to Australia, the words and music of colonial authorship.
The Committee therefore announce that, so soon as the Judges shall be appointed, and the rules decided on, a prize of Ten Guineas for the words of such song, and a second prize of Ten Guineas for the music, will be offered to the competition of South Australians.
JOHN MITCHELL, Hon. Sec. September 20, 1859.

ASSOCIATIONS: John Mitchell (secretary); Gawler Institute (association); Gawler Prize (song competition)

[Advertisement], Adelaide Observer (1 October 1859), 8

http://nla.gov.au/nla.news-article158130016 

A PRIZE of TEN GUINEAS, open to South Australia, is offered by the Gawler Institute for the WORDS of a PATRIOTIC SONG, to be entitled "The Song of Australia." Copyright of words to which the Prize may be awarded to become the property of the Gawler Institute. JUDGES: John H. Barrow. Esq., M.P.; Hon. A. Forster, M.L.C.; John Brown, Esq.; W. C. Wearing, Esq.; John Howard Clark, Esq.; E. J. Peake, Esq., M.P. Competitors are free to adopt any treatment of subject or rythmical measure, so long as the composition is in accordance with the title and suitable for musical expression. Each competitor to write on the outside of the envelope covering the composition (which must not bear the name of the author, - but a motto) the words "Poem for Prize;" and in a second envelope to enclose his name, writing outside the motto corresponding with that attached to the composition. Of those letters containing the names of the competitors, that alone will be opened which bears the motto of the successful composition. All communications most be made by October 14th, and addressed to George Isaacs, Gawler.

A PRIZE of TEN GUINEAS, for Original MUSIC to "The Song of Australia,"
will be offered by the Gawler Institute, immediately after the Judges shall have awarded the prize for the Words, when further particulars will be advertised.
JUDGES FOR THE MUSIC: G. W. Chinner, Esq.; A Ewing, Esq, D.A.C.G.; F. S. Dutton, Esq., M.P.; W. Holden, Esq.
GEORGE ISAACS, Sec. Institute Committee.

ASSOCIATIONS: George Isaacs (secretary); John Henry Barrow (words judge); John Howard Clark (words judge)

"THE GAWLER PRIZE SONG", The South Australian Advertiser (20 October 1859), 2

http://nla.gov.au/nla.news-article1198326 

The Judges on Wednesday evening finished their somewhat laborious task of reading 93 poems sent in by competitors for the ten-guinea prize offered by the Gawler Town Institute. On these poems we may hereafter have more to say at present we will only remark that it was not an easy task to come to a conclusion. Eventually, as will be seen by the following report, the Judges decided upon the song which, in their opinion, was entitled to the distinction of being placed first on the list. As soon as their decision was given, it was telegraphed to Gawler. It will be understood that the whole of the real names and addresses had been previously sent back to Gawler by the Judges; so that even after they had given their award they had no means of determining to whom they had assigned the prize. The report of the Judges is as follows:

"South Australian Institute, Oct. 19, 1859.
"The Judges appointed to select the best poem from the number forwarded by the Gawler Committee, beg to report that they have twice met, and devoted considerable time and attention to the compositions submitted to their judgment. They have had much difficulty in arriving at a decision as to the song best entitled to the prize, on account of four or five other productions being of nearly equal merit; but after carefully comparing those reserved for final review, have determined to give preference to Song No. 80 and bearing the motto 'Nil Desperandum.'
"A. FORSTER.
"J. HOWARD CLARK.
"JOHN H. BARROW.
"EDWARD JOHN PEAKE.
"W. A. WEARING.
"JNO. BROWN."

At a late hour last evening, we received a telegram from Gawler Town, to the effect that the poem to which the premium had been awarded (No. 80) was the composition of Mrs. C. J. Carleton, of West-terrace, Adelaide.

"THE GAWLER PRIZE POEM. THE SONG OF AUSTRALIA. By Mrs. C. J. CARLETON, West-terrace", South Australian Register (21 October 1859), 2

http://nla.gov.au/nla.news-article49830923 

There is a land where summer skies
Are gleaming with a thousand dyes,
Blending in witching harmonies;
And grassy knoll and forest height,
Are flushing in the rosy light,
And all above is azure bright -
Australia! . . . [4 more verses] . . .

We publish the above at the request of the Committee, by whom the copyright is reserved.

"THE GAWLER PRIZE SONG", The South Australian Advertiser (24 October 1859), 3

http://nla.gov.au/nla.news-article1198483 

A considerable amount of dissatisfaction appears to be felt with reference to the Gawler Prize Song, - some of the grumblers who have favored us with their protests being a little too fast in their expressions of opinion. That Mrs. Carleton's song is now a legitimate subject for criticism, we of course admit; but that disappointed competitors and morose critics have a right to manufacture either private or public grievances out of the affair we confidently deny. And we, therefore, take this opportunity to assure all those persons who "feel bound to denounce," &c., &c.; that we, in like manner "feel bound" to consign their denunciations to that limbo of literary vanities, - our "waste basket."

As we have already said, fair and generous criticism we cannot find fault with, and have no wish to suppress; - it is only the ill-natured, insolent, conceited style of writing that we take exception to. And what, in the name of all that's good, is the pother about? The Gawler Institute offer a prize for a song, and request certain gentlemen to read the various poems sent in, and say which is the best. This is done, and the verdict is in favor of Mrs. Carleton. Perhaps Mrs. Carleton's production is not worth ten guineas; but what of that? It was placed first on the list, and thus took the prize awarded to the first, whether it was dear at the money or cheap. The Judges had no authority to refuse the prize altogether; their duty was to decide which of all the poems submitted to their examination was, on the whole, the best, and they decided in favor of that which now turns out to be Mrs. Carleton's. If the Committee of the Gawler Institute are satisfied with their ten guineas worth, we do not see how A., B., or C. can look upon himself as an injured individual.

It is said that Mrs. Carleton's song is not a "National Anthem;" that it is not a composition likely to become familiar as household words "in mansion and cottage;" that it would not arouse the heart of the whole nation to "deeds of heroism in the hour of peril," and so on. Well! why did not these sublime critics plume their own wings, and try their own powers on such lofty themes? Was it because their patriotism, their fire, their genius, their soul of poetry, could not be enkindled for £10 10s.? Or was it because they themselves were incapable of doing what they are so ludicrously indignant that some one else has not done?

The Gawler Institute did not advertise for a National Anthem, but for a "Patriotic Song," and it is not difficult to imagine that a very good patriotic song would scarcely rank as a national anthem. Those, therefore, who object that we have not got a national anthem should themselves offer a prize for one, as the Gawler Institute, with less lofty aspirings, offered a prize for a patriotic song.

It is said that Mrs. Carleton's composition is not spirited enough to realize the idea even of "a patriotic song." We acknowledge its deficiency of spirit. It is too quiet in its tone, and there are lines in it that we could have wished altered. But the Judges had no power to make emendations, and if, in their opinion, the song, taken as a whole, was better adapted to the object in view than any of the other songs, of course they were bound to decide in its favor.

With regard to the decision of the Judges, we have already stated that it was not arrived at without much difficulty; several compositions being considered of nearly equal merit. It must not therefore be inferred that because the whole of the Judges signed the report in favor of Mrs. Carleton's song they were all thoroughly satisfied of its superiority. Between that and several other poems the final choice lay, and as it was considered desirable to agree unanimously, any points of doubt that might have existed on one or two minds were waived, as the majority of the Judges were seen to be clearly in favor of the song eventually preferred. The Judges looked upon themselves as a Jury required to give a verdict, and required to agree amongst themselves as to what that verdict should be.

If we are asked whether none of the other songs contained more fire and energy than the poem to which the prize was awarded we reply - certainly, some of them did. But "fire" is not everything. Some of the songs contained wretchedly bad rhyme, others horrible grammer [sic], - faults which ensured their rejection, even though they contained really good lines or verses. Others were not South Australian in their references; being in fact songs in praise of England, or in praise of the southern hemisphere. Some were purely war songs; others were very good compositions, but more fitted to be sung as hymns in church than as songs at a concert or soiree. One or two contained very fine lines indeed, - but their writers were not their authors, and so these again were rejected. Some of the songs were awfully long; others bombastical; others weak and prosaic to a degree that would make Mrs. Carleton's appear the model of manly vigor, whilst some were good, but rejected for reasons that appeared conclusive to the Judges, and of which reasons, unless the poems themselves were all published, the public cannot judge. Even were they all published, the critical world of Adelaide would require to have a volume of "reasons" before being really qualified to judge the Judges.

Once more, we wish it to be remembered that Mrs. Carleton's poem is one of five or six, respecting the merits of which there was some difficulty in deciding, and some difference of opinion; that Mrs. Carleton's poem was not selected as the ideal of a National Anthem; and that the Judges have not even endorsed it as the model of a Patriotic Song; that it was eventually selected because one must be selected, and that the general choice fell upon it, not because of unquestionably superior merit, but because if others had even greater merits, those merits were held to be counterbalanced by irremediable defects. Finally, let those who think Mrs. Carleton's song (as one of our correspondent's does) "an insult to the community," lay their heads together and write a better . . .

[2 advertisements], South Australian Register (8 November 1859), 1

http://nla.gov.au/nla.news-article49826675 

TO the JUDGES of the PRIZE MUSIC.
- Gentlemen - I am instructed by the Committee of the Gawler Institute publicly to tender you their thanks for the very kind manner in which you have carried out their views with regard to the Musical Compositions sent in to compete for the prize offered by them.
Yours respectfully,
GEORGE ISAACS.
Gawler, November 5, 1859.

GAWLER INSTITUTE. -
The Secretary of the Entertainment Committee of the Gawler Institute is obliged, in consequence of the numerous communications he has received on the subject of the Prize Poem', to reply to all enquiries by this one notice.
He does not feel himself at liberty to return any of the MSS. upon which the Judges were invited to base their decision.
He has no power to go beyond the conditions advertised by order of the Committee, though, had leisure permitted, he should certainly have felt pleased to have acknowledged by letter many kind suggestions.
All the envelopes enclosing the names of the unsuccessful competitors have been destroyed, excepting such as have been authorised to be opened.
Mrs. Carleton's Poem, with Music by Herr Carl Linger, is in course of publication, and a copy will be presented to each party attending the Anniversary Entertainment, to take place in about a fortnight, and of which full particulars will be shortly announced.
GEORGE ISAACS.
November 7, 1859.

ASSOCIATIONS: Carl Linger (composer)

"SIGNOR CUTOLO'S CONCERT", South Australian Register (9 November 1859), 3

http://nla.gov.au/nla.news-article49830288 

After an interval of nearly five months Signor Cutolo gave the public another opportunity on Tuesday evening last of listening to an excellent selection of the classic compositions of some of the great masters of an art in which the Signor himself is no mean proficient. The concert was extremely well attended, White's spacious assembly-room being nearly filled . . . We may here mention that Signor Cutolo, having set the prize "Song of Australia" to music, it was included in the programme, with Miss Bryan's name to it as the vocalist who was to have sung it. But the Committee of the Gawler Institute having claimed the copyright to the song, the Signor, on their remonstrating with him, had struck it out from the programme, and, as we are informed, had also given a written guarantee that it should not be sung. The audience, however, many of whom had probably purchased their tickets on account of the prize poem being included in the programme, and who were also uninformed of the reason of its omission, raised a general demand for its performance. This of course placed the Signor in a dilemma, but the audience were importunate, and the song was sung, encored, and repeated. In all probability, however, this will only increase the desire of the public to hear the composition of Herr Linger, to whom the prize was awarded. The extent of this notice precludes our referring to several pieces we had marked for that purpose as deserving special commendation. Miss Bryan was received with very great applause. Her fine and powerful voice rang joyously through the hall on each occasion or her appearance before the audience . . .

ASSOCIATIONS: Cesare Cutolo (composer); Jane Elizabeth Bryan (vocalist); White's Rooms (Adelaide venue)

[Advertisement], The South Australian Advertiser (12 December 1859), 1

http://nla.gov.au/nla.news-article1200116 

GAWLER INSTITUTE ANNIVERSARY GRAND CONCERT.
MONDAY, December 12th, 1859.
At the ODDFELLOWS' HALL, GAWLER.
HERR C. LINGER, Conductor . . .
The programme includes
"THE SONG OF AUSTRALIA,"
to which the prize of Twenty Guineas was awarded, and other compositions written expressly for this occasion by C. Linger.
Tickets, 4s. each ; reserved seats, 6s.; maybe obtained of any member of the Committee.
The holder of each full ticket will be presented with a beautifully lithographed copy of the words and music of "The Song of Australia."

"THE SONG OF AUSTRALIA", The South Australian Advertiser (15 December 1859), 2

http://nla.gov.au/nla.news-article1200228 

We have received a copy of the words and music of this song. Of the former nothing need be said, as Mrs. Carleton's fame is South Australian, and it is not necessary to say more, whether of praise or dispraise, than has already been said. Herr Linger has produced a very beautiful air, of the merits of which we hope he will soon give the Adelaide public an opportunity of judging. We must not, however, forget Messrs. Penman and Galbraith who appear to have lavished extraordinary pains upon the "getting up" of the double composition, and certainly they deserve to be complimented for their success. Take the piece as a whole, - words, music, and engraving, - and South Australia need not be ashamed of the achievement.

ASSOCIATIONS: Penman and Galbraith (lithographers and printers)

[Advertisement], South Australian Register (16 December 1859), 1

http://nla.gov.au/nla.news-article49830430 

Just Published, price 2s. 6d., THE SONG OF AUSTRALIA, to which the prize of Twenty Guineas was awarded by the Gawler Institute.
To be obtained at the Gawler Institute, and of the following Agents: - Wigg and Clisby, Rundle-street; Rigby, Hindley-street; Barnet, Gawler Town; and Waddy, Mount Barker.
THE "PRIZE SONG OF AUSTRALIA," composed by Herr Carl Linger, may be had at R. Clisby's, Rundle-street.

ASSOCIATIONS: Redford Clisby (musicseller)

"GRAND CONCERT AT THE GAWLER INSTITUTE", The South Australian Advertiser (20 December 1859), 4

http://nla.gov.au/nla.news-article1200383

The second anniversary of this Institute was celebrated at the Oddfellows' Hall, in Gawler Town, on the evening of Monday, December 12. It had been announced that the National Song would be performed to the air composed by Herr Linger, and a great deal of interest was manifested, many persons having come from town by the afternoon tram. The doors of the spacious room in the Oddfellows' Hall were thrown open shortly after 7 o'clock, and by 8 the hall was nearly full, not fewer than between 200 and 300 persons being present. The assemblage was a very fashionable one, the majority of the audience being in evening dress; indeed, visitors from Adelaide, judging from the appearance of the room, would scarcely have imagined that they were present at a concert in a provincial town. The arrangements seemed to have been very well made. The Stewards were very obliging, and nothing appeared to have been omitted which was required to give eclat to so interesting an occasion.

. . . "Dearest Home" was then sung by Mr. Oehlmann, after which the "Prize Song of Australia" was introduced, numerous copies of the words and music having been previously distributed throughout the room. The piece was arranged for the concert as a solo and quartette for four voices, and was very favorably received by the audience, who broke into loud applause at the end of each verse. It is likely that this song will become very popular, being not only simple, but pleasing, and as characteristic of a national melody, as an appropriate adaptation to the poem could he expected to be. When the song was finished, the audience manifested great enthusiasm, and loudly called for Herr Linger, who came forward and, bowed his acknowledgments. The verses were sung as solos. - Miss Rowe, Miss Perryman [sic, Mrs.], Mr. Daniel, and Mr. Oehlmann each taking a verse alternately, and all collectively singing the chorus as a quartette. Rendered as the song was on Tuesday evening, it was remarkably successful and appears to have made a favorable and permanent impression.

. . . The concert concluded with a melange, consisting of the national anthems of different countries performed by the instrumental band, that of England being the first, and the "Song of Australia" the last. The audience exhibited their nationality by rising simultaneously during the "English Anthem," and also when the music of the "Song of Australia" was played. After the singing of "God Save the Queen" by the vocal performers, the concert terminated. It was a very successful affair as an entertainment, and must have proved highly gratifying to those gentlemen connected with the Gawler Institute who have been the means of awakening local talent, and giving to Australia the first national melody.

ASSOCIATIONS: Louisa Jane Rowe (vocalist, pianist); Caroline Peryman (vocalist); Josiah Wyke Daniel (vocalist); Herman Oelmann (vocalist); Brunswick Band (group)

"GAWLER INSTITUTE", South Australian Register (20 December 1859), 5

http://nla.gov.au/nla.news-article49823833 

. . . The first part of the entertainment was concluded with "The Song of Australia." Lithographed copies of the words and music had been presented to each person in the hall at the commencement of the concert, but the audience were scarcely prepared for the musical treat which its performance presented. Herr Linger, being himself the composer of the air, and having the arrangements of the concert under his control, appears to have determined to add to his fame as a contrapuntist on the occasion. The song was accordingly arranged and sung as follows: - Verse 1, soprano solo, by Miss Rowe; verses 2 and 4, quartette, by Miss Rowe, Mrs. Perryman, Mr. Oehlman, and Mr. Daniel; verse 3, tenor solo, by Mr. Oehlman; and verse 5, in chorus, with full band accompaniment. The effect was inspiring. The audience frequently gave indications of this during the performance of the song; and at its close their suppressed feelings broke forth in the most vehement applause. Nothing short of a repetition or the whole would satisfy them . . .

"THE GAWLER POEMS", South Australian Weekly Chronicle (31 December 1859), 1 supplement

http://nla.gov.au/nla.news-article96492323 

We understand that one of the competitors for the Gawler prize has had her composition set to music by Signor Cutolo, and that it will shortly be published. We have been favored with a copy of the verses, which we shall probably put into print. The writer is a lady residing at Lyndoch Valley.

ASSOCIATIONS: Cutolo's setting was not published, and the music is lost

"AUSTRALIA. A SONG BY MRS. CARLETON", South Australian Register (24 September 1860), 3

http://nla.gov.au/nla.news-article50023167 

Advance, Australia!
Hail, young Australia!
Land of the free.
Land of the sheaf and vine.
Of flocks and lowing kine.
Land where deep treasures shine.
Australia! . . . [3 more verses]

Works:

The song of Australia (music by Carl Linger, 1859)

The song of Australia, to which the prize of twenty guineas was awarded by the Gawler Institute on the occasion of its Second Anniversary 1859; words by Mrs. C. J. Carleton, music by Herr Carl Linger (Adelaide: Penman & Galbraith, Lith., 1859)

https://trove.nla.gov.au/work/5229425/version/16032989 

http://nla.gov.au/nla.obj-165711495 (DIGITISED)

Second edition:

The song of Australia, to which the prize of twenty guineas was awarded by the Gawler Institute, words by C. J. Carleton; music by Carl Linger (Adelaide: S. Marshall & Sons, [1878])

https://trove.nla.gov.au/work/5229425 

https://nla.gov.au/nla.obj-166072523 (DIGITISED)

Bibliography and resources:

L. J. Ewens, Prince Regent: The barque Prince Regent, 395 tons, Capt. Evans, London to Port Adelaide, South Australia, June-September 1839; a record of some early South Australian colonists, her passengers (Adelaide: The Pioneers' Association of South Australia, 1960), especially 15-16

http://handle.slv.vic.gov.au/10381/86541 (DIGITISED)

CARMICHAEL, John (John CARMICHAEL; J. CARMICHAEL; only posthumously John Black CARMICHAEL)

Engraver, print artist, engraver of sheet music covers

Born Edinburgh, Scotland, c. 1803; son of James CARMICHAEL (1775-1820) and Janet BLACK (m. Edinburgh, 26 January 1793)
Arrived Sydney, NSW, 28 October 1825 (free per Triton, from Leith, 21 May, via Hobart Town, 21 October)
Married (1) Margaret CLUNE, St. Mary's church, Sydney, NSW, 28 July 1836
Married (2) Emma SIVEWRIGHT, St. Andrew's church, Sydney, NSW, 1 January 1852
Died Sydney, NSW, 27 July 1857, aged "45" [sic]

https://trove.nla.gov.au/search?l-publictag=John+Black+Carmichael+c1803-1857 (TROVE tagged by Australharmony)

http://nla.gov.au/nla.party-520577 (NLA persistent identifier - works)

http://nla.gov.au/nla.party-1485098 (NLA persistent identifier - DAAO record)

https://sydney.edu.au/paradisec/australharmony/register-C-1.php#CARMICHAEL-John (shareable link to this entry)

NOTE: The birth date proposed by Karen Eaton (2015) for Carmichael of 27 December 1830 is incorrect, and belongs to James Halliday Carmichael, son of another James Carmichael of Edinburgh, and his wife Jane (or Jean) Home; his advertised age at death of 45 was also wildly wrong; calculated from his given age of 24 at the NSW census of November 1828 he was more probably born in 1804; his family grave inscription reads:

The Burying Ground of the Late James Carmichael, Poulterer in Edinburgh D. 27.12.1820 Aged 45y. This Is Erected By His Affectionate Widow Janet Black. Likewise the Remains of 4 of His Children Veronica D. 3.11.1801. Helen D. 20.7.1805. Quintin D. 28.4.1811. Janet Spouse of William Johnston, Poulterer in Leith . . ."

Summary:

John Carmichael was probably born in Edinburgh in 1804, a son of James Carmichael, a poulterer, and his wife Janet Black. By 1815 or earlier he was a pupil of the Edinburgh Deaf and Dumb Institution, a co-educational school. Having shown an aptitude for drawing, around 1818, at the usual age of 14, he was apprenticed for seven years to an engraver, probably John Horsburgh, and in 1825, on completing his term, he emigrated to New South Wales.

Between 1839 and 1848, Carmichael executed a numerous engraved title pages, some with illustrations, for sheet music prints by Francis Ellard, beginning with Ellard's two first advertised local pirate editions of imported titles in August 1839, and later also including several first editions of music by local composers and arrangers. He also produced at least one finely illustrated cover for another musicseller, George Hudson, in 1845.

Documentation:

"SHIPPING INTELLIGENCE", The Sydney Gazette and New South Wales Advertiser [NSW ] (31 October 1825), 2

http://nla.gov.au/nla.news-article2184603 

On Friday night [28 October] arrived from Leith and Hobart Town, with the residue of a very valuable and extensive investment of merchandise, the Australian Company's ship Triton, Captain James Crear. She left Hobart Town on the 21st instant, and bring passengers to the parent Colony as follow: . . . In the Steerage . . . John Carmichael . . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (8 December 1825), 1

http://nla.gov.au/nla.news-article2184833 

JOHN CARMICHAEL, lately arrived per Triton (who served his Time with Mr. Horsburgh of Edinburgh),
begs to inform the Ladies and Gentlemen of the Colony, that he engraves Coats of Arms and Initials on gold, silver, and ivory;
also, Plates for Bills of Exchange, Bills of Lading, Ornamental Cards, Tickets, and Bills of Parcels, &c.,
on the shortest Notice, in a Style superior to any hitherto attempted to be executed the Colony.
- Orders to be left at the house of Mr. J. M. Wilson, Upper Pitt-street; or, at Mr. Parker's, 99, George-street.

ASSOCIATIONS: John Horsburgh (1791-1869, Edinburgh engraver)

[Advertisement], The Sydney Monitor (18 October 1828), 8

http://nla.gov.au/nla.news-article31760838 

JOHN CARMICHAEL, Engraver, begs most respectfully to intimate to the Gentry and Inhabitants of Sydney at large, that he now resides at the house of Messrs. McNaughton and Rowell, apothecaries, No. 6, King Street; where he means to prosecute his profession, in all its various Branches . . .

NSW census, November 1828; State Records Authority of NSW

https://www.paperturn-view.com/?pid=NDM43338&p=211 (DIGITISED)

Carmichael John / 24 / Came Free / [per] Triton / 1825 / Protestant / Engraver / [residence] McNaughton's King St. / Sydney

"THE FINE ARTS", The Australian (13 March 1829), 3

http://nla.gov.au/nla.news-article36864457 

Five out of the six select views of Sydney, engraved by that forward young artist, Mr. Carmichael and which he purposes publishing by subscription are already completed. The undertaking is deserving of particular notice, and more particularly the marked support of every admirer of ingenuity, and the fine arts. The artist has exhibited a good taste in the selection of a majority of his views as he has exhibited no inconsiderable skill in their execution. Independent of either, the consideration that this young artist is not only deaf, but also dumb, should interest the Public in his favour: A facsimile of one of his views taken from Wolloomooloo Hill lays now at our office with a prospectus of the work and a list of subscriptions . . .

VIEWS: Sydney from Woolloomooloo Hill (Carmichael)

"WATER POLICE COURT. THURSDAY", The Sydney Morning Herald (17 January 1857), 4

http://nla.gov.au/nla.news-article12991433 

John Carmichael, of Gloucester-street, engraver, was ordered to enter into sureties to keep the peace, he having violently assaulted his wife.

"INSOLVENT COURT. MONDAY, JULY 20. NEW INSOLVENTS", Empire (21 July 1857), 5

http://nla.gov.au/nla.news-article64987931 

John Carmichael, of Prince-street, Sydney, engraver. Debts, £127 4s. 0d.; assets, £27 10s. 0d.; deficit, £99 14s. 0d.

"DEATHS", The Sydney Morning Herald (29 July 1857), 1

http://nla.gov.au/nla.news-article12998623 

On Monday evening, the 27th instant, at his residence, Prince-street North, Mr. John Carmichael, engraver, aged 45 years.

NOTE: Carmichael himself appears never to have used the second name Black; it first appears in his NSW death record, and later in family notices placed by his children

[Advertisement], The Sydney Morning Herald (4 August 1857), 3

http://nla.gov.au/nla.news-article12998872 

IN THE INSOLVENT ESTATE of JOHN CARMICHAEL, Engraver, who died July 27th, 1857.
In justice to his memory, I, his wife, Emma Carmichael, beg to publish the following statement, as annexed to his schedule, which he signed, believing himself on his death-bed, in presence of - Birch, Esq., from the Court in Equity. During the five months of Mr. Carmichael's painful illness, he suffered severely, and was almost in a state of starvation, which compelled me to apply and receive relief for him from the Benevolent Asylum, although at that time he was entitled to the receipt or £6 per week (rents) from his property, Kent-street North.
EMMA CARMICHAEL, 5, Prince-street North.
(Copy from Schedule List A.)
The above property, six years ago, I placed in the hands of two trustees, viz., Martin Feeney, of Moreton Bay, jailor (since deceased), and Patrick Downey, architect, of Sydney, to act for me, being myself deaf and dumb. Downey has since left the colony, without making any arrangement for my support, or leaving me any power to make the above estate available for the liquidation of the annexed liabilities in my schedule list D. I have been unable, in consequence of severe illness, to attend to my business (an engraver) since October in last year, and have not been able to leave my bed since the 25th March, 1857, and have been obliged to apply and receive relief from the Benevolent Asylum and a few friends. This is the reason of my now praying the protection of the Court. I have not the means of paying my just debts, and am destitute of the means of subsistence.
(Signed) JOHN CARMICHAEL.

Alexander Atkinson, Memoirs of my youth by . . . one of the first pupils of the Edinburgh Deaf and Dumb Institution (Newcastle-on-Tyne: John W. Swanston, 1865), 191-92

https://digital.nls.uk/antiquarian-books-of-scotland/archive/120443176 (DIGITISED - image 209)

[189] I May be allowed . . . to give a view of the characters of several of my school-fellows . . . The eldest but one of them, Charles Mackechnie . . . [191] . . . Charles had an inferior contemporary of the same stamp named James Carmichael [sic]. This youth had, however, more shining personal qualities; he was an handsome looking lad, to whose company the girls of the house were [192] more partial than he to theirs. He was a capital "fine chap" with an for us; he had an enthusiastic fancy for cock-fights, which was constantly fed by the shop and year of his father, who was a respectable poulterer of the city . . .
Carmichael had also a mania for horse-racing . . . giving rapid, yet distinct gestural pictures of the different races, horses and their riders, which he had observed with minute attention . . .
Carmichael had an excellent turn for drawing, in which he embodied his favourite predilections with a surprising fidelity to truth. He gave away many excellent ink and pen specimens, one of which I still keep, representing several race horses with their jockeys on their backs, as they were preparing to start from a winning post, with an ease and skill which at once showed the hand of a master. He was . . . well encouraged in his talent. He was, on leaving school, apprenticed to an engraver in the city . . .

ASSOCIATIONS: Alexander Atkinson (b. c. 1807); Atkinson entered the school in June 1815, aged 8