THIS PAGE LAST MODIFIED : Monday 29 July 2019 10:35

A biographical register of Australian colonial musical personnel–J

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "A biographical register of Australian colonial musical personnel–J", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 19 September 2019

- J -

JACKSON, Charles James

Organ builder

Arrived Melbourne, VIC, 1865
Died Haberfield, NSW, 19 May 1920, aged ? 80


[Advertisement], The Sydney Morning Herald (28 February 1866), 8

TO CLERGYMEN and ORGANISTS. C. J. JACKSON, Organ Builder, Manufactory, Richmond, Melbourne. Mr. J. during his stay in Sydney will be glad to examine and give estimates for re-building, enlarging, &c, or for cleaning, re-voicing, and tuning of organs. Mr. J. would call the attention of clergymen and organists to having, on his previous visit to Sydney, tuned and regulated the organ of St. John's, Parramatta, All Saints', ditto, and St. Mary's Cathedral, Sydney. All communications addressed to Mr. CORDNER, Organist of St Mary's Cathedral, 135, Bourke street, Woolloomooloo, will receive prompt attention.

"ORGAN RECITAL IN SYDNEY", The Maitland Mercury (25 June 1870), 2

"DEATHS", The Sydney Morning Herald (20 May 192), 6

"MR. C. J. JACKSON", The Sydney Morning Herald (27 May 1920), 10

Mr. Charles James Jackson, whose death occurred last week, at an advanced age, was for many years in business in Sydney as an organ builder, several large instruments having been produced at his factory in Newtown-road. He arrived here from England in 1865, and the first organ which he built was at the Exhibition Building, for which he was presented with a silver medal and a certificate. Amongst other organs which he built were those at the Garden Place, which was destroyed by fire, St. Mary's Cathedral, St. Mark's Church, Darling Point, the Pitt-street Congregational Church, the old Methodist Centennial Hall in York-street, and the Congregational Church at Glebe.

JACKSON, George Forbes

Amateur tenor vocalist, tailor

Born c.1837
Married (1) Rachel CLARKE, Sydney, NSW, 23 April 1868
Married (2) Agnes ROACHE, 1878
Died Glebe, NSW, 27 March 1900, aged 63


= JACKSON, Rachel (Miss CLARKE; Mrs. Frank FOWLER)

Soprano vocalist, pianist, teacher of piano and singing

Born West London, c.1839 (daughter of James CLARKE and Catherine LOCK)
Married (1) Frank FOWLER, Sydney, 9 February 1856
Married (2) George Forbes JACKSON, Sydney, NSW, 23 April 1868
Died Glebe, NSW, 21 June 1877, aged 39


Rachel Clarke, of Sydney, married the visiting English journalist Frank Fowler (1833-1863) on 9 February 1856. The pianist and composer Frank Henry Fowler (1857-1893) was their son. After her first husband's death in London, Rachel and her children returned to Sydney, where on 23 April 1868, she married Sydney amateur vocalist George Forbes Jackson.

Previously George had written the words for Eliza Wallace-Bushelle's new song, The destruction of St. Mary's, which he first sang at the Orpheonist Society's concert in aid of the cathedral restoration fund in August 1865. At a Christmas Night Oratorio in the Prince of Wales Opera House in 1869, one of Charles Packer's early appearances after his release from prison, George sang in extracts from Creation and Elijah, as well as from Packer's Crown of Thorns, and thereafter the couple often appeared in Packer's concerts.

In London, Rachel had been a pupil of pianist and composer Bennett Gilbert (1833-1885), and in September 1875, she (as Mrs. G. F. Jackson) and her son Frank Harry Fowler advertised jointly in Sydney as teachers of singing and piano.

After Charles Packer's death, George, who was a pallbearer at his funeral, served as a committee member of the Packer Memorial Fund, with August Huenerbein junior and clarinettist Sebastian Hodge.

She was active professionally in London as Madame Reiloff in 1866, and continued to appear under that name for two years after her return to Sydney in 1867. George Forbes Jackson remarried in 1878, to Agnes Roache.


1851 British census; Parish of St. John's, Smith Square

James Clarke, head, 48, french polisher / Catherine, wife, 48, school mistress / Elizabeth, dau., seamstress, 21 [born] Westminster / Rachel, dau., 12 / Henry, son, general porter, 18

[Advertisement], The Sydney Morning Herald (28 December 1864), 1

[Advertisement], Empire (2 August 1865), 1

"CONCERT" The Sydney Morning Herald (3 August 1865), 4

Mr. G. F. Jackson, who is getting rid of the mannerism that used to beset him, sang with feeling and effect "Annie, dear, good-bye", as well as "My heart's first home", and we think that by continued careful study and practice this gentleman will become a valuable acquisition to our concerts . . . Mr. Douglas Callen was accompanyist, and played in his usual careful and effective style, greatly aiding the amateurs in their singing.

"LITERARY INSTITUTION, 165, ALDERSGATE-STREET", London City Press (30 December 1865), 6

In order to raise a fund to make additions to the library of the above institution, several members thereof invited the attendance of their friends and the public to a musical and literary soirée on Wednesday evening. The invitation was accepted by a very large number of ladies and gentlemen, nearly every seat in the lecture hall being occupied. The chair was taken at half-past seven o'clock, by W. C. Fowler, Esq., one of the representatives of the Ward of Aldersgate in the Common Council. The musical arrangements were under the care of Mr. Thomas Rogers, a very accomplished tenor, who sang some very pleasing songs, and shared in the execution of the concerted music. He was assisted by Madame Reiloff, Mr. C. Birks, and Mr. W. H. Hook. In addition to all this vocal talent, Mr. Sidney Naylor, the eminent pianist, played brilliant solos, and accompanied the singers on the grand pianoforte.

[Advertisement], The Musical Standard (15 September 1866), 169

'ST. PHILIP'S, KENNINGTON ROAD", South London Chronicle (6 October 1866), 3

A musical entertainment to inaugurate the choral society connected with this church was given to a very select audience at the Mission-school, Pleasant-place, West-square, on Tuesday evening the 2nd inst. . . . The first part consisted a selection sacred music, which was followed by some well chosen choruses and ballads. Among the latter, "Home, Sweet Home," by Madame Reiloff, and "The Wolf," by Mr. Albert Hubbard, were effectively rendered, and they were received with great applause.

[Advertisement], Empire (4 May 1867), 1

"MASONIC HALL", The Sydney Morning Herald (17 June 1867), 4

To that succeeded the ever fresh "Wapping Old Stairs," sung by Madame Reiloff in a way that elicited a rapturous encore, when Madame Reiloff substituted Franz Abt's beautiful cuckoo song, and afforded her auditory a rare musical treat by the pure taste and perfectly clear articulation which distinguishes her delivery of the words of the songs that she executes. The public may be congratulated on possessing so excellent a vocalist.

[Advertisement], The Sydney Morning Herald (1 April 1868), 10

"MARRIAGES", The Sydney Morning Herald (13 May 1868), 1

"MUSIC AND DRAMA", The Sydney Morning Herald (6 November 1868), 9

[Advertisement], The Sydney Morning Herald (21 June 1869), 8


"AMATEUR PERFORMANCE", Empire (22 June 1869), 2

"TEMPERANCE-HALL CONCERTS", The Sydney Morning Herald (19 July 1869), 5

"HERR SIPP'S CONCERT", Empire (19 October 1865), 4

[Advertisement], The Sydney Morning Herald (21 November 1868), 6

[Advertisement], The Sydney Morning Herald (22 December 1869), 8

"Centenary Musical Festival in the Exhibition Building", Australian Town and Country Journal (8 October 1870), 5

[News], Evening News (26 June 1877), 2 

Many of our readers, especially those who are lovers of music, will learn with regret that there passed away from us on Thursday morning last, the 21st June, one who, by exquisitely artistic rendering of high-class vocal music in the concert rooms of Sydney for many years, is certainly worthy of a passing notice. Mrs. G. F. Jackson quietly breathed her last, at her residence, Tucker's Cottage, Glebe-road, on the above date, after a life which, though modest and unobtrusive, whether considered from an artistic or social point of view, being lost, leaves a gap which it will be hard to fill. It may not be malapropos to mention that Mrs. G. F. Jackson leaves a family of six, the eldest of whom, at present engaged in Melbourne, is in a fair way to distinguish himself as the possessor of uncommon talent as a composer and executant.

[Advertisement], The Sydney Morning Herald (28 August 1883), 2

"Deaths", The Sydney Morning Herald (28 March 1900), 1

"MUMMER MEMOIRS", Truth (11 March 1911), 6 

. . . Mr. Fowler married, in Sydney, a lady who, after his early death in England, returned to Sydney,' and sang at concerts, under the name of Madame Reiloff. She re-married, her second husband being musical.


Key bugle player

Active Sydney, NSW, 1832


"POLICE INCIDENTS", The Sydney Herald (24 September 1832), 1s

THURSDAY - John Jackson, an exact representation of the London blue devil corps, was charged with blowing a key bugle under the porch of St. James's Church, at 2 o'clock the previous morning. Tantara, tantara, tamara, tan-tan-tara, went John's mouth-organ. "Holloa you sacriligious rogue," said Charley, "keep silence and come here;" fallalla, fallalla, falla -, so far had John proceeded in the stave, when the constable put his paw upon the horn, and conveyed the man of music to the lock-up.

BENCH - What have you to say to such strange conduct.

JOHN. - I was merely trying a little instrumental; it never sounds so well as under the canopy of heaven.

CONSTABLE.- You were swipey and in the Church porch.

JOHN.- "Phoo" man, his worship don't believe a word you say.

BENCH.-You must pay five shillings.

JOHN. -The horn is a sufficient security, I say, (to the Clerk of the Exchequer,) won't you advance a trifle on the bugle. The clerk shook his head, and John was obliged to put up with the stocks for two hours.

JACKSON, John Dettmer Dodds


JACKSON, James Norris Newby

See JACKSON, James Norris Newby in DETTMER family entry

JACKSON, William

Violinist, pianist, composer, band leader

Active McIvor, VIC, by 1866
Died Mansfield, VIC, 28 January 1872


"ENTERTAINMIENT IN AID OF THE MECHANICS' INSTITUTE", The McIvor Times and Rodney Advertiser (24 August 1866), 2

. . . Previous to the rising of the curtain, the band under the direction of Mr. Jackson played in fine style the promised overture, in which the soft full notes of Wilson's flute reminded old habitues of former times . . . Mr. Jackson's original piece of music, the "rose of Heathcote Polka" was well rendered by the composer. He also played some rapid and brilliant variations in a most masterly manner, and so pleased were the audience that he was recalled amid the most deafening applause . . .

"MR. ADAMSON'S CONCERT", The McIvor Times and Rodney Advertiser (16 November 1866), 2

"AMATEUR CONCERT IN AID OF THE FUNDS OF THE HEATHCOTE HOSPITAL", The McIvor Times and Rodney Advertiser (23 August 1867), 3

"DEATH OF MR. WILLIAM JACKSON", The McIvor Times and Rodney Advertiser (2 February 1872), 2

Many of our readers who knew Mr. Jackson when he undertook to form and instruct the Heathcote Amateur Band, will be extremely sorry to hear of his death, which occurred at Mansfield on the 28th of January. We are indebted to Mr. J. B Morris, of Alexandra for the intelligence. It appears that Mr. Jackson, on New Year's Day, met with an accident in stepping out of a buggy; he broke his leg above the ankle. On the 28th of January it was considered necessary to take the limb off, but the patient expired before the operation was performed. Mr. Jackson was the only son of a highly respectable couple of old identities on McIvor, who have enjoyed the friendship and respect of a large circle of acquaintances since the earliest days of gold digging in this locality, and much genuine sympathy is felt for them in their bereavement. There was that about William Jackson that made him welcome everywhere; his good natured smile, his musical talent, as shown by the manner in which he handled the violin and bow; his choice collection of songs which he used to sing in public; his frank manner and good temper, all combined to make him a general favorite while here.

JACOBI, Charles Julius (JACOBIE)

Violinist, ? guitarist

Active Beechworth, VIC, 1857


"FALSE CHARGE OF MURDER", The Goulburn Herald (24 May 1856), 4

. . . On Saturday evening, a gentleman named Charles Julius Jacobi, by birth a Prussian, but who is an excellent scholar and linguist, having travelled over the principal continental countries of Europe, and through England, called at Goulburn . . . Mr. Jacobi, having been duly handcuffed, was conducted across the mud to the watch house and searched. But he had neither stiletto nor pistol--no poignard encrusted with blood. No, besides a trifle of cash, he only had about his person a small guitar, which he carries with him in his travels for an occasional evening solace; some valuable rings, a letter, and some official documents written in foreign languages.

"POLICE COURT", Ovens and Murray Advertiser (8 May 1857), 2

. . . The plaintiff swore that he had been engaged by the Bailiff (then in possession) and the defendant conjointly, to play the violin, and to amuse them with an occasional song in the evenings. During the day he was permitted to act as cook.

JACOBS, Coleman (Charles Coleman JACOBS)

Pianist (pupil of Thalberg; Pianist to HRH the Duchess of Gloucester), professor of music

Born c.1827
Active Melbourne, VIC, by October 1852
Died East Melbourne, VIC, 4 July 1885, aged 58 (TROVE tagged by Australharmony)


In Ballarat in 1857 and again in Melbourne in 1873, Jacobs advertised that he was a "nephew and pupil of the great composer and vocalist Henry Russell", and therefore, like Russell, almost certainly Jewish. According to the The Metropolitan (1845, 529), Jacobs's debut "will create no small sensation . . . [Jacobs] has been for some time engaged in giving private lessons on the pianoforte in families of distinction, by whom his talents as a professor of music are held in the highest estimation"; the writer had "repeatedly heard him in private" and had "no hesitation" in declaring him a most able pianist. Nevertheless, by October 1851, "Coleman Jacobs, Hill-st Walworth, Surrey, teacher of music" was before the insolvency court.

A year later still, in October 1852, he was in Melbourne, co-presenting with Henry De Grey a "Grand Masquerade" and fancy dress ball "A La Jullien". He moved in Sydney by April 1853 when he appeared with John Winterbottom in a concert for the relief of the survivors of the wreck of the Monumental City. According to the Empire:

But the great treat of the evening, to the musician, was the pianoforte solo by Mr. Coleman Jacobs. Mr. Jacobs is a pupil of Thalberg, and has acquired much of the style of that great master. The brilliancy of his fingering in rapid passages, and the feeling and taste with which he brought out the air, created quite an excitement. The effect of his performance was much assisted by the beautiful grand pianoforte, by Erard, which was kindly lent by Mr. Thomas Woolley, of the Glebe, for this occasion.

In October 1853 W. J. Johnson published an edition of Talexy's Mazurka brillante as "Performed by Mr. Coleman Jacobs at his Farewell Concert" (he spent much of 1854 in Tasmania).

Two years later, in June 1855, Henry Marsh advertised a Mazurka brillante ("by Coleman Jacobs") as no. 5 of his The Australian cadeau, but no copy of this has been identified. Jacobs's Domain polka was played for the first time by the German Band on Sydney's Domain in February 1856. By April, however, the press reported that, after giving "a few musical entertainments" at the City Theatre, Jacobs had "become non est, and that he had victimised his creditors to a large amount".

In October, Jacobs advertised to warn the public against confusing him with Wizard Jacobs (see below), and in December moved on to Adelaide. There, after a promising early reception in January, he was again indigent. "Having failed in his profession since his arrival in Adelaide . . . with his wife and family destitute", he was reduced to working under a pseudonym, Gerard Jones (or was it his real name?), pasting circulars for a small business, for which he was arrested for defacing public property, and sent to City Gaol in April. He had moved on to Ballarat by June, where in July he advertised that he was the "nephew and pupil of the great composer and vocalist, Henry Russell".

Thereafter he disappears from record until mid 1860 when he advertised in Melbourne that he had "returned to his profession". He was still teaching pianoforte and singing in Melbourne in 1883. His only surviving work is The young hero schottische, published in Melbourne in July 1878 and dedicated to "Thomas Pearce, the Gallant Survivor" of the wreck of the Loch Ard, in aid of the Loch Ard fund.


"MADAME HUERTA AND MISS FLOWER'S CONCERT", Evening Mail (25 April 1842), 4

These ladies gave a concert yesterday evening in the great room at the Hanover-square Rooms . . . Madame Huerta was deservedly applauded in a grand fantasia from Robert le Diable, pianoforte (Thalberg), which she played in a very brilliant manner . . . Miss Flower was also encored in the song "Kathleen Mavourneen," which was beautifully sung . . . Madame Huerta and Mr. Coleman Jacobs was in the programme for a grand concertante duet, to pianofortes (Herz) . . . The concert went off excellently well.

The concert was presented by Madame Huerta (Angelina Panormo, 1811-1900), see a Miss Panormo later in Australia; and Sara Flower

"DRURY-LANE THEATRE", Morning Advertiser (11 April 1845), 3

Last night, after the performance of Donizetti's opera of L'Elisir D'Amore, which was very well given, Mr. Coleman Jacobs made his debut as a pianoforte-player. It is not very usual to a give performer on this instrument an opportunity of making a first appearance in such a conspicuous manner; hence expectations of greatness in the present case were probably excited in the minds of the auditors which were not altogether realised. Mr. Jacobs performed a fantasia of his own, from Balfe's opera, "The Daughter of St. Mark," taking for his themes the favourite airs, "We may be happy yet," and "While all around our path is dreary." Mr. Jacobs is a nimble player, something after Litz's [sic, Liszt's] manner; his touch is crisp, and in general his manipulation is masterly. He acquitted himself well, and was rewarded with considerable applause, not unmixed, however, with demonstrations of an opposite description.

"INSOLVENT DEBTORS", The Jurist (11 October 1851), 365

[Advertisement], The Argus (19 October 1852), 8

[Advertisement], The Argus (21 March 1853), 7

[Advertisement], The Sydney Morning Herald (16 April 1853), 1

"MONUMENTAL CITY", Empire (6 June 1853), 2

[Advertisement], The Sydney Morning Herald (23 February 1856), 1

[News], The Maitland Mercury (3 April 1856), 2

[Advertisement], The Sydney Morning Herald (10 October 1856), 1

[News], South Australian Register (24 December 1856), 3

"MR. COLEMAN JACOBS'S CONCERT", South Australian Register (5 January 1857), 3

"POLICE COURTS", South Australian Register (2 April 1857), 3

"NOTICE TO CORRESPONDENTS", The Star (29 June 1857), 2

[Advertisement], The Star (4 July 1857), 3

"OPENING AT KEW ATHENAEUM", The Argus (9 May 1860), 5

"NEW INSOLVENTS", The Argus (23 July 1864), 6 

[Advertisement], The Argus (25 July 1878), 8

""PUBLICATIONS," The Mercury (6 August 1878), 2

[Advertisement], The Argus (20 July 1860), 8

[Advertisement], The Argus (28 July 1883), 1

"Deaths", The Age (6 July 1885), 1 

JACOBS - On the 4th of July, at his residence, Grey-street, East Melbourne, Coleman Jacobs, professor of music, aged 58 years, after a long and painful illness.

JACOBS, John Lewis (Jacob Lewis JACOBS; Wizard JACOBS; Professor JACOBS)

Actor, vocalist, violinist, entertainer, magician, dancer, teacher of dancing

Born Canterbury, England, c.1815/6
Arrived Hobart Town, VDL (TAS), by December 1833
Died Melbourne, VIC, 23 September 1900, aged "84", "nearly 85" (TROVE tagged by Australharmony)


"THE THEATRE", The Austral-Asiatic Review (10 December 1833), 3 

. . . 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 favorite . . .

"THE THEATRE", The Austral-Asiatic Review (31 December 1833), 4 

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 be 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 . . .

[News], The Australian (1 January 1839), 3 

Mr. Jacob, the Van Diemen's Land comedian, is engaged at the Victoria, and makes his second appearance this evening.

"THEATRE", The Sydney Monitor and Commercial Advertiser (16 January 1839), 2 

. . . Mr. Jacobs played Mellifleur, a French officer and a rival to Quill, in but an indifferent manner. Probably his spirits were damped by the failure of the song between the pieces, The Death of Nelson, for a more egregious burlesque we never heard. He did not know either the air or the words. We would, in sober sadness, recommend Mr. Jacobs to leave the vocal department to other hands. Mrs. Clarke's Arab Steed followed, and was well received. Mr. Jacobs is under a complete delusion in fancying he can sing in public. He may please his friends in his own parlour, but to attempt singing first-rate songs is quite ludicrous. Mr. Jacobs seems troubled with the same quality of mind which induced a late actor in Sydney to write to London before he quitted us, "that he was the Keane of New South Wales, and performed to splendid houses the first-rate tragic characters."

"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (29 June 1839), 2 

The Victoria opens for the season on Monday evening next, front which time the performances will only take place three times a week. It is said that one of our oldest favorites, Mrs. Clarke, has declined an engagement, as has also Mr. Jacobs, on account of a proposed reduction of salary, and that she intends to take her departure shortly for England, by the way of India . . .

"DANCING", Adelaide Times (30 October 1848), 2 

We are requested to direct attention to Mr. Jacob's advertisement for teaching this accomplishment. From his well-known efficiency in the various branches of dancing, and his assiduity in teaching, pupils will find it advantageous to engage his services.

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

On his return to the Sydney stage in 1865, Bell's Life in Australia wrote (quoted Levi):

After an absence of seven years, Wizard Jacobs was back and we enjoyed the society of the Great Magician who has added to his former catalogue of delusions of more modern inventions and still more wondrous amazing the public again as a ventriloquist with his puppet and as improvisator, extemporising a song on any subject.

[Advertisement], The Sydney Morning Herald (12 June 1865), 1 

"NOTES AND NEWS", Jewish Herald (28 September 1900), 9 

One of the most interesting figures in the Jewish community of Melbourne passed away on Sunday last, in the person of Mr. John Lewis Jacobs, who had attained the ripe age of eighty-four years. Mr. Jacobs was a very old colonist, arriving in Australia in 1834. After passing through the many vicissitudes which befel the early pioneers, he became more or less permanently attached to the stage as a profession, in his leisure from which he taught dancing, an art in which he was a pastmaster. Of his contemporaries on the boards in those days there now only remain the Hon. George Coppin and Mr. E. Holloway. After his retirement, from the theatre the deceased gentleman engaged in many occupations with varying fortunes, and only consented to take a well-earned rest from the toil and struggle of life a few years before his death. Mr. Jacobs was a man of superior education and attainments, an excellent raconteur with a remarkable memory and a keen sense of humour, and in his reminiscences of his early experiences in the colonies was singularly happy and entertaining. Throughout his long life the deceased never forgot his obligations to his religion, and up to within a few weeks of his death was in the habit of walking from Albert Park on every Sabbath and Holyday to attend synagogue service. He was a man of most lovable disposition, and to have known him is to deeply mourn his loss. The relatives of Mr. Jacobs reside mostly in Liverpool, England, and though he was frequently invited to spend his last days with them there, he always refused to do so, chiefly on account of his affection for his adopted country and for his associations therein.

Bibliography and resources:

Levi 2013, These are the names, 360-61



Active Melbourne, VIC, by 1856
Died Yarra Bend Asylum, VIC, 10 August 1858, aged 46 (TROVE tagged by Australharmony)


"POLICE. CITY COURT", The Argus (3 June 1857), 6

Samuel Jacobson, a musician, was charged with lunacy. He was so violent that he could not be brought into Court, and had to be taken from his house in Bouverie-street, North Melbourne, for the safety of his wife and children. His madness was stated to be the effect of almost constant drunkenness.

JAFFA, Rebecca (Rebecca MARKS; Rebecca Solomon JAFFA; Madame JAFFA; Mrs. Henry Solomon JAFFA)

Pianist, composer

Born Greenwich, England, 1831
Married Henry Sololon JAFFA (c.1820-1887), London, England, 24 April 1854
Arrived (1) Sydney, NSW, 22 October 1854 (per The sovereign of the seas, from London, 29 July)
Departed (1) Newcastle, NSW, November 1866 (per Golden Sunset, for San Francisco)
Arrived (2) Sydney, NSW, 14 December 1888 (per R.M.S. Alameda from San Francisco)
Departed (2), August 1889 (for NZ and San Francisco)
Died ? San Francisco, USA, 1911 (TROVE tagged by Australharmony)


Rebecca was daughter of Myer Marks, and his wife Rachel Heurwitz (Hurwitz). She was registered with her parents in London in the 1851 census, as aged 20, having been born in Greenwich. She married Henry (Herzl) Solomon Jaffa in London, in April 1854, preparatory to their embarkation for Sydney in July

She was evidently already playing in some capacity for the Sydney Philharmonic Society by 1857-58, perhaps for rehearsals, before appearing in public for the society on 24 January 1859. That same month she also advertised that, "at the suggestion of her friends", she had "made arrangements for giving a few private lessons. She continued to be active as a teacher and concert performer into the mid 1860s. She left for San Francisco with her husband and four children (all born in Sydney) late in 1866, and arrived safely though their ship was wrecked.

By 1872, the Jaffa family was living at 730 Howard Street, San Francisco, where Henry and Rebecca were teaching music and languages at the French Spring Valley Grammar School. By 1885 the family had moved to 2420 Bush Street, and the two daughters Fannie and Rachel had also become music teachers. Rachel, as Rose Alice Jaffa, was also a pianist. Henry was naturalized on 10 August 1875, giving his country of origin as Germany.

After her husband's death (? 1887), Jaffa made a return tour of Australia in 1889.

Two Australian compositions by her are documented, both lost. Sweet and low (words: Alfred Tennyson; composed expressly for the occasion for Sara Flower) was published ([Sydney: Mader; Wilkie, Elvy and Co., 1863]), and The message ("the music . . . composed by Madame Jaffa; [sung] by Mr. Charles Stewart" [MS, July 1864].


"SYDNEY PHILHARMONIC SOCIETY", The Sydney Morning Herald (18 April 1857), 4

"To the Editor", The Sydney Morning Herald (28 January 1859), 3 

. . . Madame Jaffa was for many years a resident in Liege, Belgium, and acquired a first-class musical reputation . . .

"THE PHILHARMONIC CONCERT", The Sydney Morning Herald (28 January 1859), 5

[Advertisement], The Sydney Morning Herald (19 April 1859), 1 

MADAME JAFFA, Pianiste and Pupil of the Conservatoire Royal de Liege. For terms apply either at her residence, 7, Bligh-street; or Mr. MADER, George-street.

"MADAME JAFFA", Empire (30 August 1859), 5

"MADAME JAFFA'S CONCERT", The Sydney Morning Herald (12 July 1864), 4

[Advertisement], The Sydney Morning Herald (16 August 1862), 1

"NEW SONG", The Sydney Morning Herald (2 April 1863), 4

"MADAME JAFFA'S CONCERT", The Sydney Morning Herald (26 September 1866), 4

"SHIPPING INTELLIGENCE", The Maitland Mercury (15 November 1866), 3

"LOSS OF THE GOLDEN SUNSET. PRIVATIONS OF THE PASSENGERS AND CREW. (From the Newcastle Chronicle.)", The Mercury (24 July 1867), 3

"ARRIVAL OF THE ENGLISH MAIL AT AUCKLAND", The Sydney Morning Herald (10 December 1888), 8

"SHIPPING", The South Australian Advertiser (11 January 1889), 7

[News], The South Australian Advertiser (22 January 1889), 4

"MADAME JAFFA' S RECITAL", The Mercury (30 March 1889), 3

"PIANOFORTE RECITAL", The Sydney Morning Herald (2 July 1889), 8

[News], The Argus (1 August 1889), 5

"SHIPPING INTELLIGENCE", The Argus (5 August 1889),4

Bibliography and resources:

Northern California Composers (Finding Aid, San Francisco Public Library)

JAGER, Ernest Augustus (Mr. E. A. JAGER)

Professor of music, violinist and viola player, band leader, concert annotations (program note) writer (president, Musical Artists' Society)

Born Manchester, England, c. 1847; son of James and Mary JAGER
Active Melbourne, VIC, by 1867
Married Charlotte SHOESMITH (1853-1931), Fitzroy, VIC, 8 July 1873
Died Ascot Vale, VIC, Melbourne, 21 April 1921, aged 74


Passenger lists show that Jager was playing in George Loder's orchestras as early as 1864 (for the Rainfords) and 1865 (Lyster's company), and he was a member of the Victorian Musical Association in November 1867. While advertising as a professional music teacher, he was leading band rehearsals for the Melbourne Exhibition in November 1872. He was elected a member, along with Julius Herz, of the Musical Association of Victoria in July 1876, and was viola player of the Melbourne Quartett Society in September. He was president of the Musical Artists's Society by April 1878 and in June the Argus noted a significant innovation:

The musical artists have sent us a copy of the annotated programme with which they will present their visitors on Monday night. It is highly creditable to the annotator, Mr. E. A. Jager, the president o£ the society, and will be found to be a most valuable adjunct to the enjoyment of the music by those who will be present at the concert. This programme heralds the introduction here of an excellent plan which is carried out in London and the larger cities on the Continent.

And again, in July 1879:

The annotated programme which they distribute amongst their visitors is a most interesting and valuable production, of great use to the audience and highly creditable to the "E. A. J." whose initials are appended at the foot of it, a musical artist whom we have no difficulty in identifying as Mr E. A. Jager, the energetic and intelligent president of the Society . . .

In March 1890, the Argus published a detailed précis of his lecture, "The Orchestra, its Material, and How to Listen to it".


"CLEARANCES", The Sydney Morning Herald (22 April 1864), 4

"CLEARANCES", Empire (16 August 1865), 4

[News], The Argus (27 September 1867), 5

[News], The Argus (2 November 1867), 4

[Advertisement], The Argus (2 November 1872), 8

[Advertisement], The Argus (2 January 1874), 8

[News], The Argus (25 December 1875), 5

[News], The Argus (26 July 1876), 4

[Advertisement], The Argus (23 September 1876), 12

[News], The Argus (1 April 1878), 7

[News], The Argus (1 June 1878), 6



"UNIVERSITY CONSERVATORIUM. TO THE EDITOR", The Argus (10 September 1908), 7

"DEATHS", The Argus (26 April 1921), 1

"MUSICAL SOCIETY OF VICTORIA", The Argus (17 March 1926), 26

Musical works:

Mollie darling ([by ? W. S. Hayes or John Hill] "transcribed for pianoforte by E. A. Jager" (in The Australian Musical Magazine (Christmas number, 1875) (Melbourne: Nicholson and Ascherberg)

JAMES, Henry

Musician (of a strolling band)

Active Sydney, NSW, 1856


"CENTRAL POLICE COURT", The Sydney Morning Herald (23 September 1856), 2

Henry James was charged with having wilfully and maliciously broken a lamp, of the value of 25s., the property of Robert Watts. Complainant is a cab owner and driver residing in Pitt-street; defendent is a musician of a strolling band. On Saturday the band was performing in front of defendant's house when he drove up, requested them to give him passage, which they refused; he drove on and they were under the necessity of standing aside; defendant took up a music stand and made a blow at complainant, which missed him but smashed the carriage lamp. Defendant was found guilty and sentenced to pay the damage or to be imprisoned for forty-eight hours.


JAMES, Mrs. (Madame LOUISE)

Active Sydney, NSW, 1842-45

See main entries for both under Madame LOUISE


Professor of Music (from Bath), teacher of pianoforte and violin

Arrived Melbourne, VIC, May 1839


? "MARRIAGES", Newcastle Journal (25 June 1836), 3

At Wallsend, on the 23rd inst. Mr. Jameson, professor of music, to Miss Isabel Bourley.

[Advertisement], Port Phillip Gazette (8 June 1839), 1

MR. JAMESON, (From Bath,) PROFESSOR OF MUSIC, BEGS to acquaint the Ladies, Families, and others desirous of receiving Lessons on the Pianoforte, and Gentlemen who may feel disposed to learn the Violin, that should sufficient encouragement offer, he will remain in Melbourne to teach the above. Pianofortes tuned, repaired, and old ones however broken or out of order made equal to new. For Cards of Address apply at the Gazette Office.

Bibliography and resources:

Alexander Sutherland, Victoria and its metropolis, past and present (Melbourne: McCarron, Bird, 1888), 173

In May 1839 there arrived our first professor of music, Mr. Jameson, from Bath, and next year Mons. and Mme. Gautrot took up their quarters in Little Collins-street and began a series of instrumental and vocal concerts . . .



Active Adelaide, SA, 1850-51 (TROVE tagged by Australharmony)


"MR. ELLARD'S CONCERT", Adelaide Times (3 November 1851), 3 

. . . An instrumental duet for harp and piano followed, Mrs. Jamieson and Mr. Ellard being the performers. The piece was a potpourri of subjects, from Zampa; and the sparkling morceaux of Herold's opera were finely illustrated by the artistes . . .


Music copyist, school teacher

Active Maitland, NSW, 1846


[Advertisement], The Maitland Mercury (22 August 1846), 3

MUSIC COPIED at 3d. per page, by Mr. J. Jamieson, Teacher, Wesleyan School, West Maitland.

JANSZ, Claes ("t hooft" [the head])

Chief trumpeter (Batavia)

Active WA, 1629

Bibliography and resources:

Csilla E. Ariese, Databases of the people aboard the VOC ships Batavia (1629) and Zeewijk (1727) - An analysis of the potential for finding the Dutch castaways' human remains in Australia (Fremantle: Australian National Centre of Excellence for Maritime Archaeology, 2012)

Ralph J. G. Henssen, Trompetters en tamboers in de Zeeuwse zeevaart ten tijde van de Republiek: plichten en Praktijken (thesis, Utrecht University, 2011)

JEFFERIES, Richard Thomas

Violinist, conductor, composer, music-seller

Born Hoxton, England, 2 November 1841
Arrived Queensland, late 1871
Died Brisbane, QLD, 4 August 1920 (NLA persistent identifier)


[Advertisement], The Brisbane Courier (1 February 1872), 1

[News], The Brisbane Courier (10 June 1876), 5

[Advertisement], The Brisbane Courier (21 August 1876), 1

"Mr. R. T. Jefferies' Farewell", The Queenslander (21 May 1887), 820

"Social Gossip", The Queenslander (21 August 1920), 8

The death of Mr. R. T. Jefferies has removed an old and respected citizen, who laboured during long and strenuous years to advance the cause of good music in Brisbane. He was one of the founder of the Musical Union, and for years its conductor. Born in 1842, Mr. Jefferies early showed his taste for music, and was educated in London. Arriving in Brisbane in 1871, he established a music warehouse in Queen-street, and for some years carried on business successfully, part of the time on his own account, and at a later date in partnership with Messrs. Paling and Kaye. When he retired he still continued to practise his profession, and took a prominent part in festivals, concerts, and music generally. For years, in association with his daughters, he devoted himself to the cultivation of public taste for chamber music, and the Jefferies quartette was as well known as it was popular. Perhaps the latest musical event at which he was present was a rehearsal of the Verbrugghen Orchestra, and this was the more noteworthy, in that in 1893 the gifted leader was conductor of the Alhambra Orchestra in London, which Mr. Jefferies himself had conducted in 1871. A thoroughly, sound musician, it would be impossible to overestimate the good effect of his teaching and his earnestness in the earlier days of musical development in Brisbane.

"RICHARD T. JEFFERIES", The Western Champion (28 August 1920), 15

"R. T. JEFFERIES. AN APPRECIATION", The Brisbane Courier (4 September 1920), 12

Musical works:

Queensland national anthem (words by J. Brunton Stephens; music by R. T. Jefferies) (Brisbane: Watson & Co., [1875]) 

Australian anthem [words and music as above] (Brisbane: Paling, Kaye, & Jefferies, [? 1876]) 

Bibliography and resources:

Robert K. Boughen, "Jefferies, Richard Thomas (1841-1920)", Australian dictionary of biography 9 (1983)

Barbara J. Hebden, Life and Influence of Mr. Richard Thomas Jefferies (M.Mus. qual. thesis, University of Queensland, 1980)

From Orchard 1952 (SLQLD)

JEFFERIES, Arena Massie (Enie; Mrs. George G. MULLER, 1897)

Violinist, violin player, vocalist

JEFFERIES, Felix Mendelssohn

Viola player, "musically undistinguished" (Boughen, ADB)

JEFFERIES, Richard Beethoven

"musically undistinguished" (Boughen, ADB)

JEFFERIES, Mary Massie

Violinist, violin player, cellist, cello player

Died 1949

JEFFERIES, Vada Massie


Died Kangaroo Point, QLD, 21 December 1952


Advertisement], The Brisbane Courier (27 August 1881), 1

[Advertisement], The Brisbane Courier (1 September 1881), 1

"The Orchestral Society", The Queenslander (20 September 1884), 472

Although mentioned last, the trio for viola and two violins, performed by Mr. R. T. Jefferies and his two little daughters, was by no means the least. Many elder violinists would hesitate to publicly attempt the performance of a Sonata by Beethoven, but the Misses Jefferies not only, attempted, but with their father playing the violin, succeeded admirably despite the almost undue length of the piece.

"MUSICAL ECHOES", The Brisbane Courier (10 December 1889), 7

A friend has handed me the programme of a concert given at Betchworth, in Surrey, on 4th October last, at which our old friend Mr. R. T. Jefferies and his talented family were the principal performers. The opening number was a string quartet with Miss Jefferies as first and Miss Vada Jefferies as second violin, Mr. Jefferies viola, and Miss Mary Jefferies violoncello. Miss Jefferies played a violin solo, "Lombardi," by Vieuxtemps, and Miss Mary Jefferies a 'cello solo by Romberg. The other numbers by the family were two string trios and trio for piano, violin, and viola, by Mozart.

"MONDAY POPULAR CONCERTS", The Brisbane Courier (14 July 1891), 5

Miss Mary Jefferies's contributions were two delightful compositions of marked difference in style, a reverie by Bottosini and Popper's ever-pleasing gavotte. The execution in the latter was especially good; the harmonics in particular-of which the writer introduced not a few being very skilfully produced. A little more confidence in the attack would in some places have improved matters. Recalled, the young artist played, though not quiet so effectively, a Canzonetta by Gillot. In the allegro - the first movement from Mendelssohn's Violin Concerto Op. 63, Miss Jefferies had ample opportunities for the display of her ability, and she may fairly be said to have taken advantage of them to the fullest possible extent. The difficulties of this movement are more than considerable, and to say that they were not evident in the performance is a high tribute of praise to the executant. The audience was deeply impressed, it was obvious, and an encore could not be avoided. To repeat the allegro was out of the question, and Miss Jefferies substituted with excellent judgment a serenade from the pen of Gounod, which, in its quiet and tender strains, formed a fitting sequel to the passionate fervour of the previous selection.

"MARRIAGES", The Brisbane Courier (16 March 1897), 4

"THE BLIND AND DEAF AND DUMB INSTITUTION", The Brisbane Courier (14 November 1901), 4

[Advertisement], The Courier-Mail (24 June 1935), 2

"LAW REPORT", The Brisbane Courier (13 October 1906), 11

"WOMEN'S CLUB EVENING", The Courier-Mail (28 April 1939), 3

CHRYSANTHEMUMS decorated the Brisbane Women's Club last evening, when a musical programme, arranged by Miss Vada Jefferies was presented. The guests were received by the president (Miss Gwen Hughes). Instrumental trios were played by Misses Vada and Mary Jefferies and Miss V. Delugar. Miss Delugar was also heard in pianoforte numbers, and Miss Sabina Crales sang.

"TAXI-MAN GUILTY OF HARM CHARGE", The Courier-Mail (19 November 1848), 5

Bibliography and resources:

"A TRIBUTE TO VADA JEFFERIES", The Canon6 (1952), 332.

JENKIN, Charles


Active Beechworth, VIC, 1859


"SMALL DEBTS", Ovens and Murray Advertiser (22 March 1859), 3 

Charles Jenkin v John Jones. A claim for £16, for services as a musician. On examination, the plaintiff said he had been left behind at the Buckland, when the circus returned from there. He admitted, however, that it was his own fault, as he had got drunk on the road. He had not given notice of his intention to leave. He had left because he saw no prospect of getting his money. He acknowledged having received the sum of £10 5s. on account of the debt. Verdict for £5 5s., without costs. The Court then adjourned for half an hour.

JENKINS, William Stitt

Poet, songwriter, choral singer (Corio Total Abstinence Society chorus)

Born England, 30 June 1812
Arrived VIC, ? 1850s (late of Liverpool)
Died West Melbourne, VIC, 1 August 1878


[News], The Argus (2 August 1878), 5

Mr. Stitt Jenkins, a colonist well known by virtue of his so called poetical productions, died at Rosslyn-Street, West Melbourne, yesterday, at the age of 66 years. Mr. Jenkins was for many years a resident of Geelong, and was a steady contributor to the "poets corner" of the local press, chronicling with much assiduity every possible social event in verse. Latterly he removed to Melbourne, and was for a short time private secretary to Mr. Berry. He will be buried at Geelong on Saturday next.

"A Rhymester's Will", Australian Town and Country Journal (12 July 1879), 26


William Stitt Jenkins, Australian anthem (Geelong: Printed by James Curtis, 1858)

Bibliography and resources:

JENSEN, Robert (Bob)

Musician, conductor, pianist, teacher of voice production and pianoforte, musical adjudicator

Born Campbell's Creek, VIC, 1868
Active Castlemaine, VIC, 1880s
Died Albert Park, VIC, 14 September 1934 (TROVE public tag)

Summary (from information supplied by Robert's descendent, James Ashburner, October 2016)

Robert was the eldest of eight; his two brothers were musical, singing in church choirs, and one also in the Campbell's Creek Brass Band; all five sisters were also musical (piano and singing), two were visual artists, three were organists, and the eldest married a singer and raconteur Jack Greaves (J. C. Greaves). Their mother Christina (McBeath) owned a harmonium ("the finest organ in the district"), and probably taught her children. She had arrived in Melbourne aged 8, on the Marco Polo's maiden voyage in 1852, and her family went to the Diggings and never left. Robert is said to have studied orchestration and conducting with George Marshall-Hall.


"ITEMS OF NEWS", Mount Alexander Mail (18 December 1889), 2

A concert was held at Campbell's Creek on Monday night, at Appel's Assembly Rooms, in aid of the instrument fund of the Campbell's Creek Brass Band. Mr T. Elliott (the Mayor of Castlemaine), presided. The band opened each part of the programme with a selection of music, under the leadership of Mr. R. Jensen, in very good style. Songs were well-rendered by the Misses Cowling, Langham, Turton, and Messrs George, Brown and Greaves. Clarionet solos by Messrs. Rackstraw and Cowling were very well performed. Recitations were given by Messrs Banfield and Brown, and were well received. The accompaniments were ably played by Mr. R. Jensen, and the singing of the "National Anthem" brought the enjoyable entertainment to a close.

"ITEMS OF NEWS", Mount Alexander Mail (9 July 1907), 2

Mr Robert Jensen, a native of Campbell's Creek, who some years ago left the banking profession in Castlemaine to go in for the musical profession, for which he was eminently fitted, has made rapid strides in his profession. Several years ago he proceeded to Tasmania, where he is now the conductor of the Launceston Choral Society, and also of the Christ Church choir . . .

"DEATHS", The Argus (15 September 1934), 15


Teacher of Music, composer, piano tuner and repairer, poet (? Wesleyan minister)

Active Hobart, TAS, by November 1858
Died Germantown, NSW, 31 May 1896, aged 86


"METHODIST FREE CHURCH", The Hobart Town Daily Mercury (20 October 1858), 3

[Advertisement], The Hobart Town Daily Mercury (17 November 1858), 1

[Advertisement], The Hobart Town Daily Mercury (27November 1858), 1

[Advertisement], The Mercury (10 June 1865), 1

"MASONIC FESTIVAL", The Mercury (19 July 1866), 2

[Advertisement], The Mercury (15 January 1874), 1

"FATA MORGANA", The Mercury (5 November 1881), 2

"Deaths", The Mercury (9 June 1896), 1

Musical works:

AMO: a masonic song, words and music by Henry Jephson (Hobart Town: J. Walch & Sons; Launceston: Walch, Brothers & Birchall, [1860s?]; Hobart: M.L. Hood, Lith.) ("Suggested by certain slanderous reports being circulated against the Ancient and Honorable Order of Masons; Affectionately dedicated to his brethren of 345 by Henry Jephson")

Literary work (NB: not by Henry Lorenzo Jephson)

Fata morgana; or, The Bristol sculptor's idol (Hobart: T. L. Hood, 1881)

See review in Melbourne Review 7/26 (April 1882), 224-25

JERVIS, Mrs. (probably Mrs. H. C. JERVIS, see below)

Vocalist, ? pianist

Active Sydney, NSW, 1844-45; ? 1867


[Advertisement], The Sydney Morning Herald (10 June 1844), 3

[Advertisement], The Sydney Morning Herald (25 June 1844), 3

"PHILHARMONIC CONCERTS", The Weekly Register of Politics, Facts and General Literature (24 August 1844), 91

. . . Mrs. Jervis sang The May Rose in a pleasing style . . .

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

? [Advertisement], The Sydney Morning Herald (8 June 1867), 5

JERVIS, Harry Cooper (Harry Cooper JERVIS; Henry Cooper JERVIS)

Engraver, printer, music engraver

Born ? England, c.1816
Married Jane Edward WESSEN, St. James's, Bath, 17 December 1839
Arrived Adelaide, SA, by 1841
Arrived Sydney, NSW, April 1843
Died Sydney, NSW, 3 December 1862 (NLA persistent identifier) (TROVE tagged by Australharmony)

See also: 


Among the services Jervis offered in one of his first Sydney advertisements was "Music Title pages Engraved, each . . . 0 7 6". He appears to have done so for his colleague, Thomas Rolfe, who published a local edition of Charles Edward Horn's Child of the earth with the golden hair, probably around this time, with a titlepage engraving signed by Jervis. Press reviews seem to suggest that, in the case of two prints he himself printed and published in 1845, Jervis engraved not only covers, but also the music.

Jervis and his wife died only a day apart in December 1862.

Printed music and music titlepages

Child of earth with the golden hair, cavatina . . . composed by Charles E. Horn

(Sydney: Published by T. Rolfe, Hunter St., [c.1843]) (DIGITISED)

Jervis signed titlepage, and probably engraved that only

Lady O'Connell's waltz composed . . . by her Ladyship's very humble servant, T. Stubbs

(Sydney: Engraved, printed & published by H. C. Jervis, Pitt St. N., [1845]) (DIGITISED)

Hail to thee mighty one! song of Australia and chorus composed by S. H. Marsh . . .

(Sydney: Engraved & printed by H. C. Jervis, Pitt St., [1845]) (DIGITISED)


[Advertisement], The Dispatch (9 December 1843), 3

"MUSICAL EXAMINER. HAIL TO THEE MIGHTY ONE", The Examiner (16 August 1845), 13

"LADY O'CONNELL'S WALTZ", Bell's Life in Sydney and Sporting Reviewer (20 September 1845), 3

. . . It has been engraved on steel by Mr. Jervis of Pitt-street, and both the composition and execution of the engraving are alike creditable to the musician and the artist.

[Funeral notices], The Sydney Morning Herald (4 December 1862), 8 

Bibliography and resources:

Neidorf 1999, 183 (DIGITISED)

"Jervis, Henry Cooper", Design & Art Australia Online (DAAO)

JEVONS, William Stanley

Amateur musician

Born Liverpool, England, 1 September 1835
Arrived Sydney, NSW, 6 October 1854 (per Oliver Lang, from England 29 June)
Departed Sydney, NSW, April 1859 (for England, via America)
Died August 1882 (NLA persistent identifier) (TROVE tagged)

William Stanley Jevons Sydney 1858

William Stanley Jevons, aged 22, Sydney, 1 March 1858


William Stanley Jevons, letters (8) mainly to his father and brothers in England, 25 January 1855 to 18 January 1857; State Library of New South Wales, B 1610 (TRANSCRIPT)

Jevons, "My study, Double Bay", c.1857/58, with harmonium; John Rylands Library, Manchester

Bibliography and resources:

Harriet A. Jevons (ed.), Letters and journals of W. Stanley Jevons (London: Macmillan and Co., 1886) 

[50] . . . [Letter to his sister Lucy, Sydney, 28 May 1855] . . . If I get the first payment of my salary towards the end of this week I shall probably buy a bookcase with glass doors to keep my books and other things clean and out of the way. Possibly I may even spend £30 in getting an harmonium, as I wish very much to have a little music; but this may seem very extravagant . . .

[55] . . . [Letter to his brother Herbert, Petersham, NSW, 29 November 1855] . . . A little time ago I was at a very jolly thing, viz. a moonlight concert in the Domain. It struck my fancy as the most enjoyable way of hearing music, from the place and manner being completely natural. The Domain is a sort of natural park, and you walk about it or lie on the grass in the moonlight just as you like . . .

[Letter to his sister Henrietta, 28 February 1858] You say that I seemed from my last letters not so much occupied with music. This can scarcely have been the case, [100] for music is always to me the same, a condition of my existence, a part of me. I believe I could live a life of music. If our physical nature did not interfere I can almost conceive it possible that a man might play music ad infinitum and still never tire. Have you ever felt, when much pleased and interested by several different things in the same day, as if you would like to have a separate existence for each, something in the way that in vingt et un you can divide a pair of similar cards and play two or more separate hands? Now I think that nothing less than a lifetime would quite satisfy my musical thirst, while I find with concern that a single hour per day out of the twenty-four considerably interferes with other affairs equally or more important. Music, then, ought to be a rare but still legitimate and occasional delight. I greatly envy you with your music master, and lessons, and new pieces, and concerts, and other grand opportunities. Here, I come to a stand, surprised and pleased, if I hear a (supposed) young lady strumming in a second-floor room in a Sydney street . . .

The Philharmonic concerts, with their questionably-performed overtures and symphonies, have now ceased, because the concert-room has, in the most Gothic manner, been converted into an auction-room. Of musical as well as dramatic "stars," the Sydney sky from horizon to zenith has been quite clear for at least six months. You can understand then, the dull and miserable thing that it is to ramble through the beauties of all the chief oratorios, etc., and yet be beyond the reach of all those grand performances I hear of in London and Liverpool. If one of the Exeter Hall oratorios (at 3s.) took place here, and the price were raised to £10, I feel pretty nearly sure I should go. About two weeks ago I fell upon Beethoven's Mount of Olives and Pastoral Symphony, and instantly buying them at the price demanded, have since played scarcely anything else. Many pieces in the first I have mastered, I really think, better than anything before, most of the latter is beyond my power altogether, and I can only here and there catch an air. Of the Mount of Olives I can only say that it contains some things of the beauty and sublimity of which I had before formed no conception. It is like gaining a new insight into a thing. My two favourite [101] passages I copy out; they are the simplest parts of the whole, but surpassingly beautiful and striking. Beethoven's music seems to me characterised by "being full of soul," every note seems to be a thought, or at least a part of an expression, while the whole seems to be an inspiration rather than an exertion of mere musical knowledge, art, or talent. Of all other composers Weber seems to me most nearly to resemble him in this; Haydn, Mendelssohn, Spohr follow next in this respect. Mozart and Handel, though perhaps greater than any, on the whole, are distinguished, especially the latter, by the preponderance of the musical art, pure or combined with the dramatic . . .

[Letter to his sister Lucy, Emerald Hill, Melbourne, VIC, 16 March 1859] . . . Having left Beechworth at 5 A.M., we met with evident signs of the proximity of Melbourne at daybreak the next morning, and at eight o'clock found ourselves, covered as we were with a frightful accumulation of dust, in the busy streets of this great town. As yet I am charmed with Melbourne. It is totally unlike Sydney, and artificially as much greater as it is by the nature of its site worse than it. Built upon an expanse of land as nearly flat as can well be, nothing picturesque can be expected, but the fine straight regular streets, filled with handsome buildings and stored with every luxury, are the next best thing. But what chiefly charmed me was that on the very morning of my arrival I saw an announcement, by the Melbourne Philharmonic Society, of the oratorio Israel [Israel in Egypt] for the evening. I instantly bought a ticket. I have often longed for an oratorio, but did not expect such a thing on this side of the world; moreover, with one exception, the Mount of Olives, there is [126] no piece of music I more wished to hear than Israel. You will perhaps be surprised to learn that such a great and difficult mass of double choruses was very well performed here. The solo singers, indeed, were wretched, and the instruments were few and played with want of taste; but there was a good organ, and, what is more, the two choruses, making together some 120 or 130 people, sang with at least as much force and feeling as a similar number would in Exeter Hall. I found almost everything realised that I had expected of the Israel.

Compare: "NEW PATENT MODEL HARMONIUM", The Sydney Morning Herald (19 March 1855), 5 

R. D. Collinson Black (ed.), Papers and correspondence of William Stanley Jevons, vol. 2: correspondence 1850-1862 (London: Macmillan, 1973)

250-51 (Letter 94) (PREVIEW)

I might do a deal more at Meteorology & such things only that my Music takes up such an awful deal of my time. I have got, as perhaps you know, a moderately good harmonium on which I play for an hour or two per day an indiscriminate mixture of Operas & Oratorias, Sacred or Profane, beautiful and sublime musical compositions in much of my usual style of execution. It does not seem to injure anybody else, nor myself either, so I play away by myself to my hearts content, and say as people always say of music "its no harm". I likewise attend most of the Concerts in Sydney, and it is my firm belied that if I were in London I should go to some concert or theatre every night for three months. The last Philharmonic Soc.'s concert was a very good one as we had Miska Hauser a first rate violin player whose playing I was delighted with. I was also somewhat pleased to see a fair assemblage of the ladies of Australia, most of them young . . . . . . I thought them in general very pretty, but not being acquainted with any one of them, I cannot speak of their inward qualities. Their behavious in public is usually decorous and on the occasion I referred to I noticed only one slight breach of etiquette, which was that a very handsome girl apparently fell dead in love with me, truly at first sight, or at all events expressed it in a series of the most determined & gratifying nods from the opposite side of the Concert room . . . (PREVIEW)

. . . The Philharmonic concerts, with their questionably-performed overtures and symphonies . . . [as above]

Bert Mosselmans and Ernest Mathijs, "Jevons's music manuscript and the political economy of music", in Neil De Marchi and Craufurd D. W. Goodwin (eds), Economic engagements with art (Durham and London: Duke University Press, 1999), 121-156 (PREVIEW)

G. J. McCARTHY, "Jevons, William Stanley (1835-1882)", Encyclopedia of Australian science (1993; 2018) 

[Jevons's photography], On this date in photography 

JOEL, Caroline (Caroline DAVIS; "Mrs. JEWELL")

Soprano vocalist

Born ? UK, 1813 (twin sister of Samuel DAVIS, d.1892, of Goulburn)
Active Goulburn, NSW, by 1856
Died Sydney, NSW, 9 May 1868, aged 54 and 9 months (TROVE tagged by Australharmony)

ASSOCIATIONS: probably related to Isaac Davis


"GRAND CONCERT IN AID OF THE GOULBURN HOSPITAL", The Goulburn Herald and County of Argyle Advertiser (31 May 1856), 4 

A Grand Concert of vocal and instrumental music, for the benefit of the Goulburn Hospital, was given last Thursday evening, in the grand concert room of the Commercial Hotel, Sloane-street, Goulburn . . . The performances were conducted by five amateurs, viz: - Mrs. Jewell, a songstress of very superior talent, from London; Mr. Isaac Davis, a young violinist, recently arrived in the colony from London, and who, although apparently not above eighteen years of age, displayed a mastership over his beautifully-toned instrument which elicited loud encomiums from the audience. In fact, he was encored upon every occasion. Mr. Holmes, a young gentleman engaged in the management of the Australian store, presided at one pianoforte, and Mr. Bennett at the other, Mr. Holmes taking part in the vocalism, and Mr. Bennett displaying his skill in two solos on the flutina, and was upon both occasions encored. Captain Natthey performed on the violincello, and his solo from the opera "Lucia di Lammermoor," was a most masterly performance, and called forth great tokens of approval. The selections of songs, &c., was highly creditable to the party or parties who made the arrangement, and seemed to suit the feelings and the wishes of all present. Mrs. Jewell was undoubtedly the " diamond" of the evening, and indeed it would be a task of extreme difficulty to single out any particular ballad in which she proved herself super-eminent, having been encored on the conclusion of every one of her songs. The lady's voice is a brilliant and clear soprano, while she displays great ability and tact in varying it from the soprano, through the counter-tenor to the treble. She sung the "Merry Zingara" in a most effective manner. If permitted the liberty of choosing the ballads in which she excelled, we would select "Lo, here the Gentle Lark, "In Fairy Bowers," and "The Genius of Freedom." The great differences of intonation and expression required to sing these songs with effect, are undeniable proofs of Mrs. Jewell's talent. The duet by Mrs. Jewell and Mr. Holmes "When a little farm we keep," created much amusement, and was encored, as also were the beautiful and well rendered duets - "When thy bosom heaves a Sigh," and "I know a Bank." The grand solo on the violin was also loudly applauded. Captain Natthey displayed great proficiency and masterly skill in his performance on the violincello, and was encored. Mr. Holmes was applauded over and over again, and evinced considerable skill as a pianist, and as a vocalist. He possesses an agreeable baritone voice. Mr. Bennett, in his performance on the flutina, also received great applause. So enthusiastic were the audience, and so excellent the performances, that the Concert was not concluded until half-past eleven o'clock, when the audience went away to their several residences, all evidently highly gratified at having passed so agreeable an evening. It is but justice to Mr. Coleman Jacobs, the Pianist, to state that he most kindly proffered his assistance at the Concert, but as the programme had been definitely arranged, his services were declined. We understand that the proceeds of the Concert will amount to between £40 and £50. We shall be able to give the exact amount in our next issue.

"GOULBURN", The Sydney Morning Herald (3 June 1856), 3 

"ACCIDENT AT WATSON'S BAY", The Sydney Morning Herald (1 October 1860), 5

Mrs. Joel, sister of Mr. Samuel Davis, of the Exhibition Hotel, had a very narrow escape on Sunday afternoon last, whilst proceeding to Watson's Bay in a dogcart, in company with Miss Clelia Howson and Mr. Isaac Davis . . .

"MRS. C. JOEL'S CONCERT AT THE MASONIC HALL", Bell's Life in Sydney (11 April 1863), 2

"MUSICAL ENTERTAINMENT", Empire (15 April 1863), 4

A new candidate for public favour makes her debut before a Sydney audience this evening. Mrs. C. Joel has for a long period been known in this city as an amateur vocalist of considerable ability. She will give her first professional concert at the Masonic Hall, this evening, and will be assisted by Madame Sara Flower, Madame Flora Harris, Mrs. W. J. Cordner, Messrs, Sussmilch, Banks, and a gentleman amateur. The programme consists entirely of vocal music, from the popular works of the day. Mrs. Joel herself is ardently partial to the compositions of Bishop; she will sing, "Should he upbraid," and "Lo, here the gentle lark," and with Madame Sara Flower, the duet, "As it fell upon a day."

"CONCERT AT THE MASONIC HALL", Empire (16 April 1863), 5

Mrs. Joel selected an unfavourable period for her debut in Sydney as a vocalist. The theatre, occupied by a good company, is attracting large audience; whilst the musical portion of the community devote their attention to the Christy Minstrels. These causes, added to the fact of Mrs. Joel being unknown to the general public, had the effect of a very limited attendance at the concert last evening. The debutante belongs to the old school of vocalists - the bravura florid style, and her voice is sufficiently flexible to meet all the requirements of this class of music. It is also very powerful, and Mrs. Joel infuses considerable taste and spirit in her execution. An apology was again made for Madame Sara Flower, on the score of indisposition, and Mr. Banks did not make his appearance for the "kindly promised" buffo song. The audience, which no doubt, composed many personal friends of Mrs. Joel, were enthusiastic in her favour, and she was consequently (very deservedly) encored in Bishop's "Should he upbraid," (substituting the ballad, "I'll follow thee,") and in the same composer's "Lo, here the gentle lark," (substituting Lavenu's "Cushla Machree.") Bishop's "Blow, gentle gales," commenced the concert, and his "Indian drum," formed the termination.

"MRS. C. JOEL'S CONCERT", Bell's Life in Sydney (18 April 1863), 3

"SYDNEY SUMMARY", Goulburn Herald (18 April 1863), 2 

A new vocalist, Mrs. Joel, formerly residing in Goulburn, made her debut on Wednesday, and well spoken of.

"MUSIC AND THE DRAMA", The Sydney Morning Herald (21 April 1863), 3

"BENEFIT OF MR. AND MRS. CHARLES JONES", The Sydney Morning Herald (30 June 1863), 4

"INSOLVENCY COURT", The Sydney Morning Herald (3 March 1864), 2

[Advertisement], The Sydney Morning Herald (4 June 1864), 1 

[Advertisement], The Sydney Morning Herald (8 June 1864), 1

"DEATHS", The Sydney Morning Herald (11 May 1868), 1

On the 9th instant, at the residence of Mr. B. H. Cohen, 229, Pitt-street, CAROLINE JOEL, aged 54 years and 9 months, beloved mother of Mrs. H. Solomon, and sister of Mr. Samuel Davis, late of Goulburn, lamented by a large circle of friends. English papers please copy.

"Deaths", The Sydney Morning Herald (27 December 1892), 1 

DAVIS. - December 27, at the residence of Mrs. S. Solomon, 249 Riley-street, Samuel Davis, Esq., late of Goulburne, age 80 years.


Violinist (Theatre Royal)

Active Sydney, NSW, 1835


The brothers James and William Johnson did not arrive until the following year; however, perhaps this was their father, Richard senior, or brother (also Richard), who had been in Sydney already for a couple of years; see: 


[Advertisement], The Sydney Gazette and New South Wales Advertiser (2 May 1835), 3 

Theatre Royal, Sydney . . . The Lessees are highly gratified in informing the public, that they have succeeded in engaging all the first Musical Talent in Sydney to form their Orchestra, which consists of the following gentlemen, viz. Leader of the Band - Mr. CLARKE; Violins - Messrs. SPYER, JOHNSON, DYER, and SCOTT; Principal Flute - Mr. STUBBS; Violincello and Grand Piano Forte - Mr. CAVENDISH; Clarionetts - Messrs TURNER & SHARP; Bassoons - Messrs. HOARE & BALL; Bugle - Mr. PAPPIN; Drums - Mr. VAUGHAN . . .


Drums and triangle player (Royal Lyceum)

Active Sydney, NSW, 1861


[Advertisement], The Sydney Morning Herald (5 August 1861), 1

ROYAL LYCEUM THEATRE . . . FIRST NIGHT OF THE DRAMATIC SEASON. MONDAY EVENING. August 6th . . . THE FOLLOWING COMPANY HAVE BEEN ENGAGED . . . A full and efficient orchestra of first-class artistes. Leader and Director - Mr. G. Peck; Principal 2nd violin - Mr. Charles Bowen; Flute - Mr. Palmer; Clarionet - Mr. McCoy; Double Bass - Mr. Seal; Bassoon - Mr. Wright; Cornet - Mr. McHarnith; Drums and Triangle - Mr. Johnson.

JOHNSON, Charles

Musician, vocalist

Active Hobart, TAS, 1853


"POLICE COURT", The Courier (28 March 1853), 3

Charles Johnson, free, musician, was charged, under the now Hiring and Servants Act, by Mr. Hand, proprietor of the Waterman's Arms, with non performance of his engagement. The defendant pleaded Not Guilty. Mr. Hand deposed that he had engaged the defendant to sing for two hours every night at his Melophonic Concert, at a weekly salary of £1, in addition to his board; that the defendant would sometimes be absent for two or three nights together . . . The defendant argued in his defence, that being a professional man he could not be tried as a servant.

"Police", The Tasmanian Colonist (31 March 1853), 2 

Hand v. Johnson. This case, which was tried on Monday, was an information under the hired servants' Act, preferred by Mr. Josiah Hand of the "Waterman's Arms" against Charles Johnson, one of the singers, for absenting himself from his service without leave on the 23rd inst . . . The defendant cross-examined Mr. Hand with a view to show, that he had not been hired by him, but by his fiddler, Mr. Thomas John Turner . . . In his defence, Johnson indignantly repudiated his liability to the Hired Servants Act: he was a "professional" person, a vocalist and a comedian, (great laughter) and was in no way whatever amenable to the Act . . .


Professor of music, band master (Band of the 40th Regiment; Headquarters Band; Volunteer Rifles Band), clarinet player, oboe player, composer

Born Dover, Kent, England, 26 July 1813
Married Louisa GARWOOD (1814-1890), St. George-Tombland, Norwich, England, 18 February 1833
Arrived Melbourne, VIC, 5 November 1852 (per Vulcan, from Cork, with 40th regiment)
Died Melbourne, VIC, 10 June 1895, aged 82 (TROVE tagged by Australharmony)

See also Band of the 40th Regiment (second tour)

JOHNSON, Frederick

Flute player, piccolo player

Born Montreal, Canada, c.1841, while his father Henry (above) was there with 7th Hussars, 1838-42
Arrived Melbourne, VIC, 5 November 1852 (per Vulcan, from Cork, with 40th regiment)
Died Melbourne, VIC, 1913


At the time of his marriage at Norwich in 1833, Johnson was a trumpeter with the 7th Hussars, under bandmaster Thomas Leggatt. His son, Frederick, occasionally documented as a musician, was born in Montreal, while his family were there with the regiment (1838-42).

On returning to England, on 8 May 1843 Johnson transferred to the Grenadier Guards, and on (or before) his final discharge from that regiment, on 30 September 1846, he became civilian master of the Band of the 40th Regiment. In May 1856 he celebrated his tenth anniversary in that post as reported in Melbourne papers.

Johnson had apparently retired as bandmaster of the 40th around the time of the regiment's departure for New Zealand in July 1860, though he continued some professional association with the military as bandmaster of the volunteer artillery. Melbourne Post Office directories for 1863-1864 list him as a Professor of Music living in Wellington Parade, East Melbourne.

Johnson and his regimental band were first billed as playing for public concerts in Melbourne in March and April 1853, when Johnson (as bandmaster and clarinet soloist), and bandsman Joseph Hartigan (ophecliede soloist) appeared in John Winterbottom's series of monster concerts.

In a Grand Military Concert at the Exhibition Building in January 1857, Johnson introduced his "Battle symphony", or Grand battle sinfonie ("Descriptive of British Troops Leaving their Native Shores for the Seat of War"), consisting of 20 separate numbers, according to the Argus, "his clever . . . composition in which all the sounds incidental to an engagement, even the dead silence of suspense, were described in music".

Also documented in band programs are Polka, "Maria" (Johnson) [June 1856], Selection, "Irish melodies" (Johnson) [February 1864], and Selection, "Ecosse" (Johnson) [March 1864].


England, non-parochial registers, PRO RG4/921; piece 0922 / Dover, Last Lane, Zion Chapel (Countess of Huntingdon's Connexion, formerly Presbyterian), 1830-37

Johnson / Henry, son of Joseph Johnson (of the Derby Militia) & Sarah his wife was born the 16th July 1813 in the Parish of St. Mary's Dover & baptized 20 Sept 1814.

Though Johnson is not named in either of the two extracts below, they date from the weeks around his marriage in Norwich, while he was serving there in the regimental band:

[News], Norfolk Chronicle [England] (2 February 1833), 2

Yesterday sennight being the day on which Sir Jacob Henry Preston, Bart, attained his twenty-first year, there was a grand and supper at Beeston Hall. The extended scale and excellent arrangements of which reflected great credit on the taste and liberality of Lady Preston. Dancing began at about nine in the evening, and was kept up with unabated vigour till four tbe next morning. Col. Keane having kindly given permission, the band of the 7th Hussars attended and obtained the highest approbation their masterly performances. All the first families in the neighbourhood were present, amounting to nearly 200.

[News], Norwich Mercury [England] (9 March 1833), 3

We were happy to see MR. MUELLER'S Concert Room at the Swan Inn, so fully and genteely attended on Thursday Evening, when he gave his third Concert . . . the novelty of the evening was a quintetto concertante, of Reicha, for Oboe, Clarionet, Flute, Bassoon, and Horn, by Mr. Leggatt, the Master of the band of the 7th Hussars; Sergeant Onion and three other performers in the same regiment. The composition itself was perhaps more suited to a select audience of amateurs than to the public, but it was nevertheless full of very rich and beautiful passages; and was performed with a precision and delicacy we have rarely been accustomed to hear at a concert in Norwich . . .

"GARRISON THEATRICALS IN CORK", Dublin Evening Packet and Correspondent [Ireland] (18 November 1851), 3

"GARRISON THEATRICALS IN CORK", Dublin Evening Post [Ireland] (20 November 1851), 3

On Friday evening an amateur performance was got up by the officers of the 40th and Carbineers, stationed in the beautiful city . . . The matchless Band of the Regiment (the best in the service, we believe), under the able direction their talented band-master, Mr. Johnson, performed a number of favourite overtures, &c., and contributed much to the gratification of the audience . . .

[News], Limerick Chronicle [Ireland] (20 December 1851), 2

A grand Dress Ball, the second of the series, came off on Wednesday last in the large room of the Victoria hotel, Cork, which was attended by the lending nobility of the city, the officers of that and the neighbouring garrisons . . . The splendid bands of the 40the and 90th Regts. were in attendance and performed a selection of the most choice and soul enlivening music in dansante, specially arranged by Mr. Johnson, bandmaster of the 40th . . .

"ANTIENT CONCERTS", Cork Constitution [Ireland] (15 April 1852), 2

The society gave its second concert for the season on Monday night, at the Imperial Clarence rooms. The music consisted of Handel's Messiah . . . We roust not omit mention of MR. COGHLAN, who was the leader, and a most effective one, or the able manner in which he was sustained HERR MANEN, the Master of the Band of the 1st Royals. MR. JOHNSON, the Master the Band of the 40th Regiment, also came from Templemore to the Concert, and several Amateurs of great merit took part in the Orchestra . . .

[Advertisement], The Argus (13 November 1852), 8

GRAND BALL, Under distinguished patronage. MESSRS DeGrey and Coleman Jacob's Plain and Fancy Dress Ball, on a scale of splendour never surpassed in this country, will take place on Monday, November 22nd, at the Protestant Hall, Stephen-street. By the kind permission of Colonel Valiant and the Officers of the 40th Regiment, the splendid band of that distinguished regiment will attend on the occasion, in full costume, conducted by Mr. Johnson . . .

[Advertisement], The Argus (12 March 1853), 12 

[Advertisement], The Argus (20 April 1853), 10

[News], Colonial Times (3 December 1853), 2

"VICTORIA . . . BANDMASTER OF THE 40TH REGIMENT", The Tasmanian Daily News (16 May 1856), 2-3 

On the 6th instant, in Melbourne, a splendid baton of ebony, mounted with gold, was presented after a champagne luncheon, given by the band of the 40th Regiment to Mr. Henry Johnson, for ten years bandmaster of that corps. The baton is of colonial manufacture, having been made by a Mr. G. Henderson, recently arrived by the Schomberg, and is of artistic design and elegantly executed. The gold employed on the mounting was valued at 25 guineas.

An address proposed by Sergeant Robshaw, of the 40th, and very neatly engrossed on parchment (for the purpose of being framed) by Mr. Bayne, solicitor, of Chancery lane, was also presented along with the baton.

In reply to the address, Mr. Johnson made the following fitting and pertinent speech:-

I accept this baton with great pleasure. I shall always look upon it (as doubtless, you intend I should) as a token that the plans I [3] have adopted during the ten years I have been amongst you, have been such, as not only to have produced and maintained a good band, but as having done so with but very few of those misunderstandings which in so long an interval may of necessity sometimes arise. I have always considered these two points, as of equal importation; they, in fact, depend on each other; efficiency soon follows when once a good feeling is established. Mind you, I by no means take the credit of this to myself - a large portion belongs to the band; for had they not had the good sense to have seen that what at first seemed irksome or annoying, was really for the general good, I should not now have before me a baud that pull as well as play together, and in which a mutual esteem exists between the head and the members, occasioned as such can only be by all having done their duty, and done it well. It is this thought that gives this baton value, and I trust that the younger portion of the band will endeavour to follow in the track of their elders; if so, I can safely promise that they will become at no distant period, as good performers as the best of us. In conclusion, I beg to add that I shall always look upon this baton with a greater degree of pleasure and satisfaction hand on anything I ever possessed.

[Advertisement], The Argus (28 June 1856), 8

QUEEN'S ARCADE. - By the kind permission of Colonel Valiant, the Band of the Fortieth Regiment will perform in this beautiful Promenade, This Day, from half last two till half-past four o'clock, (weather permitting,) when the following choice selections of music will be executed:
Overture to Martha - Flotow
Music of Macbeth - Locke
Waltz - Zephire Lüfte - Gungl
Selection - Don Pasquale - Donnizetti
Polka - Maria - Johnson
Galop - Evergreen - Labiteky.

"MUSIC AND THE DRAMA", The Age (19 January 1857), 5 

Mr. Johnson, the able and estimable bandmaster of the 40th, has announced a grand military concert in the Exhibition Building, on the evening of Thursday. The chief feature of the concert is to be a composition of his own - a battle symphony. For the purpose of giving the fullest effect to this splendid production Mr. Johnson has enlisted the willing services of the whole band, and a treat of the highest order may be expected. Apart from the merits of the concert, which we may make sure will be first-class, Mr. Johnson has great claims on us for hearty support. He has now been several years in the colony, and though he has identified himself with the advancement of music in numberless ways, and by the able conduct of his band gratified our ears with military music of the highest order, he has refrained until now from coming forward before the public to ask from them a substantial recognition of his services. It will remain for the discerning public not to let him suffer for his modesty and moderation. The concert is to be under the patronage of His Excellency the Governor and Lady Barkly, and we sincerely wish he may have a bumper house.

[Advertisement], The Argus (22 January 1857), 8

On Thursday Evening, 22nd January,
Under the distinguished patronage of his Excellency the Governor and Lady Barkly.
Under the direction of Mr. H. Johnson, bandmaster of H.M. 40th Regiment,
On which occasion will be produced, for the first time in Melbourne,
Descriptive of British Troops Leaving their Native Shores for the Seat of War.
Principal Vocalists:
Miss Julia Harland, Mr. W. Sherwin, Mr. Farquharson.
Mr. Creed Royal, flute ; Mr. Linly Norman, piano.
Conductor, Mr. H. JOHNSON.
Part I.
Overture, "Martha" - Flotow
Selection, "Stabat Mater" - Rossini
Song from "Trovatore," Mr. Sherwin - Verdi
Air and variations, Miss Harland - Rhodes [? Rode]
Recitative and air, "Ruddier than the cherry," Mr. Farquharson - Handel
Battle sinfonie - Johnson
No. 1 - Warning Drum for Parade.
2 - Bugle Call for Parade and Inspection.
3 - Review of British Troops previous to their Departure.
4 - The March of Regiments to the Railway Station.
5 - Departure of the Train, and Arrival at the Port of Embarkation.
6 - The Embarkation, 7 - Weighing Anchor and Setting Sail; Evening at Sea; Song, "Bay of Biscay," Mr. Farquharson.
8 - Land in Sight, and Arrival on the Enemy's Shore.
9 - Disembarkation, and Taking-up Camping Ground by the Allied Forces.
10 - Advance of the French Army.
" " Turkish ".
" " Sardinian ".
" " British ".
The Halt and Encampment.
11 - Night previous to Battle; Stillness reigns around; "The Marselllaise" and "Home, Sweet Home" are heard from the Camps.
12 - Daybreak, Morning Gun, and Reveille.
13 - Chirping and Warbling of Birds at Sunrise.
14 - Music heard from Enemy's Camp (Nations Air), immediately followed by their Bugle Sounding the Alarm.
15 - The British Cavalry Sound to Horse, Drum Beat to Arms.
16 - The Advance of the Highland Infantry.
17 - The Advance of the British Guards.
l8 - The Engagement.
19 - Victory.
20 - Finale, "God Save the Queen."
(An interval of fifteen minutes),
Part II.
Selection, "Il Barbiere" - Rossini
Solo, piano, "Home, Sweet Home," Linly Norman - Norman
Song, "Happy Birdling;" Flute Obligato, Creed Royal, Miss Julia Harland - Wallace
Song, "Blue Beard," a romance of juvenile literature, Mr. Farquharson - Parry
Duet, "Signora, Where Are You Going?" "Don Pasquale," Miss Harland and Mr. Farquharson - Donizetti
Band, Air with Variations, and Grand Finale - Bender.

"MR. JOHNSON'S MILITARY CONCERT", The Argus (23 January 1857), 5

The Battle Symphony, which constituted the most prominent, and, as it proved, the most popular, feature in the programme of the Military Concert, at the Exhibition Building last evening, must have reminded many who were present of one of Jullien's novel and ingenious compositions; while the execution of the symphony was marked by a vigour, verve, and precision in every respect worthy of the orchestra over which the great Monsieur used to preside.

Mr. Johnson's composition may be described as a graphic, animated, and picturesque narrative of a series of events incidental to a state of warfare, - musical sounds being the language employed by the narrators; and, judging by the plaudits which repeatedly broke forth, and the enthusiasm occasionally excited, the narrative was thoroughly comprehended, and as thoroughly enjoyed by the auditors.

The Symphony commenced with the warning drum for parade, followed by the bugle call for parade, and inspection; then were successively described, vividly and effectively, the review, the march to the railway station, the transit of the troops by train; their embarkation and debarkation; their encampment; nightfall; national airs breaking on the stillness of the hour; daybreak and the reveille; the preliminary incidents of an engagement; the din of battle; and the triumphal march, denoting victory, followed by "God save the Queen," as the appropriate finale.

Great credit is due to Mr. Johnson for the skill with which he has arranged and inter-woven the various compositions employed in the production of this Symphony; and his reception by the audience last evening was such as to justify him in announcing its repetition whenever a suitable opportunity occurs.

The numerous, demands upon our space compel us to restrict our comments within the narrowest limits, but it would be unjust to Mr. Farquharson, to omit allusion to his admirable delivery of the recitative and air from Acis and Galatea, "Ruddier than the Cherry," which was vociferously encored. The other vocal performers were Miss Julia Harland (who appeared to be labouring under a severe cold), and Mr. Sherwin, whose feeble rendering of a song from Il Trovatore amused the audience greatly. The attendance was not so numerous as we had anticipated, and the Governor and Lady Barkly wore prevented from being present.

"GRAND MILITARY CONCERT", The Age (23 January 1857), 4 

Yesterday evening the Exhibition Building was well filled, to listen to the musical treat provided by Mr. H. Johnson, the accomplished bandmaster of the 40th Regiment. The grand feature of the evening was the Battle Sinfonie, which was performed by the band in the most unexceptionable style, and despite its extreme length, listened to with rapt attention . . .

"JOURNAL OF LITERATURE AND ART", The Illustrated Journal of Australasia 2 (1857), 95

. . . Mr. Johnson, band-master of the 40th regiment, gave a concert at the Exhibition, to introduce his clever "Battle Sinfonia," a composition in which all the sounds incidental to an engagement, even the dead silence of suspense, were described by music . . .

"THE NEWS OF THE DAY", The Age (14 March 1859), 5 

A large concourse of persons attended the grand military concert held at the Botanic Gardens on Saturday last, in aid of the funds for the relief of sufferers by the late fire in North Melbourne. The Piece de Resistance of the concert consisted of Mr. Johnson's veteran "Battle Symphony" . . .

"CONCERT AT THE BOTANICAL GARDENS", The Argus (14 March 1859), 5

There was an unusually large number of visitors on Saturday to these gardens, the special attraction being a "Grand military concert" by the band of the 40th Regiment, in aid of the sufferers by the North Melbourne fire. The peculiar feature of the programme was a "Battle Sinfonie," by Mr. Johnson, the talented bandmaster. This very clever composition, it will be remembered, was performed for the first time at the Exhibition Building, about two years ago, and it has not, as we are aware, been given in its entirety in public since then. It is exceedingly well adapted for out-of-doors playing, and it was listened to on this occasion with marked attention. The extreme fineness of the day, combined with the agreeable influence of the music, created a large amount of enjoyment . . .

"AN EXPLANATION. TO THE EDITOR", The Age (16 October 1860), 5 


[News], The Argus (14 December 1861), 5

Selection of Irish Melodies (with solos) Johnson; Clarionet Mr. Johnson; Piccolo Mr. F. Johnson; E flat Clarionet Mr. Clerke; Cornopean Mr. Richardson; Trombone Mr. Berg.

[Advertisement], The Argus (1 October 1863), 8

Song, "Lo! here the Gentle Lark," Bishop - Miss O. Hamilton. Flute Obligato - Mr. F. Johnson.

[News], The Argus (30 December 1863), 4 

A practice of the Volunteer Band takes place this afternoon, in the Exhibition building. It will be seen from the following return, made by Colonel Anderson, that the volunteers hereafter will be well provided with music; - "Strength of the Head-quarters Band, and Drum and Fife Corps of the local force: - General, band muster (Mr. Siede), 1; leader (Mr. Johnson), 1; professional performers, 19; volunteer performers (under Sergeant Hartigan), 23; 41, 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: - Frist, for parade purposes, the whole of the above strength when required form one band. Secood, the band, not including drums and fifes, divides into the compute military bands, under Messrs. Siede and Hartigan respectively. Third, the drum 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 the 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.

[News], The Argus (12 February 1864), 5

[News], The Argus (8 March 1864), 5

[News], The Age (6 March 1864), 5 

One of the best vocal and instrumental concerts which have been heard in Melbourne for some time, was given by Mr C. E. Horsley at Hockin's Assembly Rooms last evening. The room was tolerably well filled, though the attendance was not so good as the entertainment deserved. With two exceptions, those of Miss Hamilton and Mr. Angus, the vocalists were all pupils of Mr. Horsley, in the Philharmonic Society, and the success they achieved last night reflects great credit upon him as an instructor. The orchestra consisted of eight instrumentalists, led by Mr. Horsley on the pianoforte, as follows: - Flute, Mr. Siede; clarionet, Mr. Johnson; violin, Mr. Strebinger; violoncello, Mr. Chapman; oboe, Mr. Schott; horn, Mr. Kohler; viola, Mr. Thomas; and contra-basso, Mr. Gover . . .

"DEATHS", The Argus (12 June 1895), 1

JOHNSON.- On the 10th inst., at 238 Toorak-road, South Yarra, Henry Johnson (late of Her Majesty's 40th Regiment), aged 82 years. (Interred in the St. Kilda Cemetery on the 11th inst.)

"PASSED AWAY", Prahran Chronicle (6 July 1895), 4 


"Nothing can we call our own but Death!"

There recently died at his residence in Toorak-road, South Yarra, a gentleman whose connection with music in Melbourne from the early fifties up to a few years ago, is worthy of more than passing notice. Possessed of a decided talent and great enthusiasm, the late Mr. Henry Johnson arrived here as a clarionetist with the band of the 40th regiment, whose fine playing was always a subject of admiration, and took a leading part in all musical matters; in fact no event of any importance was considered complete without his assistance. On the breaking out of the Ballarat riots the regiment was ordered there, including the band. Mr. Johnson remained behind to complete his engagement with the excellent orchestra then playing at the Salle de Valentine [Salle de Valentino], at the corner of Bourke and Spring-streets, opposite the Old White Hart Hotel - then a building of much more modest pretentions than the present one. The proprietor of both the institutions, Mr. James Ellis, was also promoter of the Cremorne Gardens on the Yarra at Richmond, and had a large Venetian gondola built for the purpose of taking people there by the river from Princes Bridge. That old veteran, the Hon. Geo. Coppin, succeeded him as lessee. The Salle de Valentine was a circular structure of canons and boards, the exterior appearance of which altogether belied the character of the entertainments given within, which where of the highest class. Mr. Johnson was associated with many celebrities who appeared there, such as the Carandinis, Olivia Hamilton [Octavia Hamilton], Lavanu [Lavenu], and M. Fleury, the latter a brilliant violinist and leader of the orchestra. Of him it is related that on one occasion a member ("Daddy" Reed) had scored a piece for the orchestra in which there was a pause immediately followed by a cadenza ad libatum for the leader. Fleury had been told that then he had a free hand, but the liberal manner in which he interpreted the order utterly astonished the top-booted orchestra and audience, for the cadenza comprised the whole of one of De Beriot's airs with variations. It may appear strange that a band should appear in top boots, but at that stage of Melbourne's existence there were no paved streets, and in wet weather it was absolutely necessary to wear them, and not an uncommon occurrence to leave one behind in the mud. Shortly after Mr. Johnson entered into engagement with the late Mr. Geo. Chapman, who inaugurated a series of promenade concerts in the vestibule of the old Criterion Hotel in Collins-street W., where the Union Bank now stands. There also appeared many notables whose names are still green in the memories of not a few of to-day.

On the 40th Regiment leaving for New Zealand about 1860, Mr. Johnson retired from it, and the famous Head Quarters Band was then organised by Colonel Pitt, Mr. Johnson becoming bandmaster. This existed for some years, and its playing was always delightful to listen to. He assisted in the orchestra at the opening of the first exhibition held here in a building on the site now occupied by the Law Courts, and also at the many concerts held there. The old Philharmonic Society's performances were given in the same place, Mr. Johnson being a leading member of the band. For many years he assisted the oldest amateur instrumental organisation in the city, viz.: the Melbourne Amateur Orchestral Society, conducted for a long term by that able musician Julius Siede, and later by Julius Herz and others. Mr. Johnson was compelled to give up the clarionet through a contraction of the muscles of the hands preventing him manipulating the keys with his usual dexterity, he then took up the trombone until ill-health and advancing years necessitated his ceasing playing entirely.

There are not many living now whose names are so closely connected with the history of music in Melbourne from its early days to a comparatively recent period. Within the last few years death has claimed as victims such old identities and sterling musicians as Ed. King, Elsasser, Chas. Horsley, Sidney Hart, Julius Buddee, Hardman [? Hartigan], Keeley, Madame Carandini, and others. In these times of high pressure living, and with such a bewildering and constantly changing variety of entertainment offered to us, we are apt to overlook the claims such names have upon our respect and notice. It may be here remarked that the musical entertainments given from twenty to forty years ago were of such excellence that they do not suffer by comparison with those of later years. The orchestras then were not quite so large as at present, but almost every member of them was a skilled performer. Mr. Johnson in addition to being a skillful executant, was an adept in arranging music for the band, and was universally esteemed in and out of the profession. He lived a life full of interesting experiences, and reached the ripe old age of eighty-two years.

Another correspondent kindly contributes the following: -

One by one - and often two by two - the old identities are passing away, one of the latest being Mr. Henry Johnson, of South Yarra, who was bandmaster of the 40th Regiment and one of our best musicians. When the regiment arrived here at the end of 1852 it was quartered on part of the railway reserve, at the corner of Spencer and Latrobe-streets, and a delightful roadway given to Melbourne residents, by reason of the band of the regiment playing on certain evenings on Batman's Hill, under the direction of Mr. Johnson. I lived at the time in King-street, Melbourne, and was able to attend the playing. The then Governor Latrobe was constantly in attendance, appearing on horseback, also on horseback was Mr. Edward Wildon, part proprietor of the Argus, his implacable foe, for he (Mr. Wilson) placed in the paper day by day an advertisement, "Wanted a Governor." Mr. Wilson's captain was Mr. Lauchlann Mackinnon, and a brass to his memory has been erected in All Saints' Church. Another constant attendant at the band-playing was one of our oldest residents, Mr. W. P. Firebrace, then a stripling, he had first been appointed to the Prothonotary's office, and, by sheer merit, rose to the rank of chief, and is now drawing a pension as prothonotary. The 99th Regiment arrived here at the end of 1852 [? recte 1856] from Tasmania after many years of foreign service en route for England, and camped on the vacant piece of ground on which the Mint now stands. I heard its band play occasionally, but it was, as might be expected through its long absence from England, not to be compared, as regards efficiency, with that of the 40th Regiment. One of the instruments used by the former was, I recollect, the long discarded serpent. When the 40th Regiment was ordered to New Zealand, Mr. Johnson elected to remain in Melbourne, and he afterwards collected an excellent body of instrumentalists, termed "The Head Quarters Band," who often delighted Melbourne listeners by their superior playing, till one day Sir Graham Berry, in a fit of retrenchment, ordered it to be disbanded, to the grief of a large body of lovers of music. For some time I noticed Mr. Johnson's health gradually giving way, and it is not to be wondered at when it is considered he had reached the ripe old age of 82.

Bibliography and resources:

B. and M. Chapman, "Band Master Henry Johnson", Australia's red coat regiments


Juvenile alto vocalist

Active Melbourne, VIC, 1858-62


At Christmas 1858, Master Johnson was a soloist in Messiah first for the Melbourne Philharmonic in the Exhibition Building on 24 December, and later for the Prahran Philharmonic on 30 December.


[Advertisement], The Argus (22 December 1858), 8

The SIXTH SUBSCRIPTION CONCERT For the year will be held in the Exhibition Building, When the Grand Oratorio,
THE MESSIAH Will be performed.
Piincipal Vocalists: Miss Octavia Hamilton, Mrs. Goodliffe, Master Johnson, Mr. Ewart, Mr. Angus, Mr. Blanchard, and Mr, Mitchell. Band and Chorus of One Hundred Performers.
Leader: Mr. King. Organist: Mr. Geo. R. Pringle. Admission to the Gallery, 2s. 6d.
W. G. DREDGE, Honorary Secretary.

[Advertisement], The Argus (30 December 1858), 8 

[Advertisement], The Argus (12 December 1859), 8

[News], The Argus (27 March 1860), 5

The members of the Choir of St. Peter's Church gave a concert of sacred music last evening . . . Miss [Octavia] Hamilton also sang some charming words, entitled "Ave Maria," set to music by Shubert [sic], with great effect. Mr. W. H, Williams (the well-known tenor), Mr. Moxon, and Mr. Totten sang some solos from Haydn's "Creation" and Handel's "Redemption" in a very superior manner, and a lad named Master Johnson also acquitted himself well in his execution of the air, "He was despised," from the "Messiah" . . .

[News], The Argus (4 July 1860), 4

The Philharmonic Society's third subscription concert in the Exhibition Building, last night, was less numerously attended than those which have preceded it. Perhaps the influenza had something to do with the circumstance, and perhaps the absence of the names of Miss Octavia Hamilton and Mr. Farquharson from the programme had also something to do with it . . . The attraction of the evening was, of course, the first performance of a new sacred cantata by Herr Elsasser, which had been for some time expected by the musical world . . . It is entitled "Praise the Lord", and contains three quartetts in the compass of a not very long work, airs for tenor, bass, and contralto voices, and some well-written choruses . . . The contralto air, "My heart is glad," in the absence of Mrs. Button, was capitally taken in alto by a Master Johnson, who was honoured by the only encore awarded.

[Advertisement], The Argus (25 January 1861), 8

"TOWN TALK", The Herald (29 March 1862), 5 

. . . Master Johnson sang "Rocked in the cradle of the deep" with a good deal of feeling and taste, and was loudly applauded . . .


JOHNSON, Charley (Master Charley JOHNSON)

Entertainers, comic vocalists

Active VIC, c.1860


"SHAMROCK THEATRE", Bendigo Advertiser (20 June 1859), 3 

. . . Mr. Johnson in his humorous ditties was encored again and again. Master Johnson's vocalism was another little feature in the attractiveness of the evening's programme which was as well selected and performed as any we have seen at the Shamrock for some time.

[Advertisement], Bendigo Advertiser (19 November 1860), 1 

JOHNSON, Jack (Moolbong; Kiitya)

Indigenous song-maker

Born Kaliyarrkiyalung, Wiradjuri man, Lachlan River district, NSW, c.1868
Died Condobolin, NSW, 24 June 1943 (NLA persistent identifier)



JOHNSON, William Jonathan (W. J. JOHNSON)


JOHNSON, Richard

See Johnson brothers mainpage: 


Precentor, conductor of psalmody (at a salary of £10 a year)

Active Mortlake, VIC, 1866

Bibliography and resources:

J. E. Murdoch, Fifty years of Presbyterianism in Mortlake, 1847-1897 (Mortlake: Printed at the Dispatch Office, 1917)

JOLLY, Edward


Died (suicide) North Melbourne, VIC, 1 August 1862


[News], The Argus (2 August 1862), 4

Yesterday forenoon, a Frenchman named Folly [sic], a musician, residing in Lansdowne-street, North Melbourne, was found dead in his own house, his throat cut, and a razor covered with blood lying at his feet. The last time he was seen in life was about four o'clock on the previous after-noon, when he appeared to be sober; but be had been drinking lately. He was also understood to be in trouble about his wife and family, who are in France. It is presumed that the deceased committed suicide, and an inquest will be held on the body to-day.

"THE NEWS OF THE DAY", The Age (4 August 1862), 5 

An inquest was held on Saturday last, at the Bouverie Hotel, Carlton, by Dr. Youl, on the body of Edward Jolly, the unfortunate musician who was found dead with his throat cut at his lodgings, Lansdowne terrace, Bouverie street, on the 1st instant. At the inquest it was stated that the deceased was a Frenchman, and had been lately engaged as a musician at the Alhambra concert rooms, Bourke street east. He had been formerly a banker in France, where he failed in business. For some time past he had appeared melancholy, and had been very anxious about his wife and family, who are still in France. He was last seen alive on Thursday, at 4 p.m., by Mrs. Guddy, the landlady of the house where he resided. On the following (Friday) morning she knocked at his door, and getting no answer, looked in, when she saw him lying in the fireplace with his throat cut, and a razor covered with blood lying at his feet. The jury returned a verdict that the deceased committed suicide whilst laboring under temporary insanity. The deceased had no property of his own; but in his room were found a number of articles, including a violin and photographic apparatus, and material belonging to a former partner, Mr. W. C. Reilly, of Elizabeth street. They were ordered by the Coroner to be delivered to the owner.

JOLLY, William

Musician, blind violin player

Died North Melbourne, VIC, 20 January 1857, aged 30


"SUICIDE", The Argus (22 January 1857), 6

An inquest was held yesterday . . . on the body of a man named William Jolly, a musician, thirty years of age, who shot himself at North Melbourne on Tuesday last . . . Thomas Jolly, father of the deceased, said: The deceased was my oldest son, and was by profession a violin player. He had been blind from three weeks from his birth. For the last four or five months his mind had been much disturbed, and he appeared quite melancholy. He often said that he wished something would kill him or run over him. He has been in the habit of carrying loaded pistols about him since arriving at the period of maturity. He was in the habit of staying out late at night from his professional attendance at parties, and it was with an idea of defending himself at such times that he carried the pistols about with him . . .

"SUICIDE OF A BLIND VIOLIN PLAYER", Bendigo Advertiser (23 January 1857), 3

JONAS, Moritz

Music teacher, organist, pianist

Born Braunschweig, Germany, 8 December 1817
Arrived Victoria, June 1855 (per Marco Polo)
Died Mount Gambier, SA, 13 May 1902



The Deutsche Liedertafel did excellent service upon the occasion under the leadership of Mr. Jonas. Since we last heard them we could hot fail to observe a marked improvement, and the increased number of tenor voices, rendered their singing everything that could be wished.

"HERR JONAS' CONCERT", Border Watch (11 August 1877), 2

"DEATH OF HERR M. JONAS", Border Watch (17 May 1902), 2

Herr Moritz Jonas, an old and highly respected resident of Mount Gambier, passed away on Tuesday night at the residence of Mrs. Gerloff, Wehl-street, after a period of four years of failing health. In February of 1898 the deceased gentleman, who had up till then enjoyed robust health, had a severe seizure of apoplexy, caused by the intense heat that then prevailed. For several months he lay it was thought at the portals of the grave, but his strong constitution, aided by careful medical attention and nursing, enabled him to get over the attack. His great age, however, prevented his complete recovery of health, and from that time he was ailing and weak, and gradually failed until death ensued! Herr Jonas was a native of Braunschweig, Germany, where he was born on December 8, 1817. He was thus in his 85th year when he died. In June, 1855, he came to Melbourne on the ship Marco Polo, and for 12 years thereafter lived at Hochkirk, near Hamilton, in Victoria. He came to Mount Gambier in 1867, and for four years or so conducted a German and English school in the town. On relinquishing that he entered upon the occupation, of a music teacher, which he continued until the apoplectic seizure put an end to his work. For many years Herr Jonas was leader of the German Liedertafel here, and till his serious illness in 1898 was organist and choir leader of the Lutheran church. He was also a Freemason, and for a long time was organist of the lodge. Although he thus took a part in the musical and social affairs of the town during his 35 years residence, and in every case, by his genuineness and integrity, won the esteem and regard of all with whom he had to do, the deceased took no part in the more public business of the community. He was never married, and had no relations in Australia. But in his declining years there were kind friends here - notably Mr. J. M. Jens and Mrs. Gerloff, sen. - who ministered to his needs and smoothed his path to the grave. The funeral was held on Thursday afternoon . . .

"MOUNT GAMBIER", The Advertiser (17 May 1902), 8

JONES, Sergeant

Bandsman, ? band sergeant (Band of the 51st Regiment)

Departed Hobart Town, VDL (TAS), August 1846
Died India, 1846/47

See also Band of the 51st Regiment


[News], The Courier (12 August 1846), 3

"THE 51ST REGIMENT IN INDIA", The Courier (15 May 1847), 2

We regret to record that, since the arrival of the head-quarters of this fine regiment in the China and Agincourt, at Bangalore, there have been many deaths, among whom we may mention . . . sergeant Jones (of the band,) . . . Kelly (of the band,) Simpson (of the buglers.)

JONES, Mr. (from London)

Professor of Dancing, the violin, double bass, quadrille parties attended with violin and harp

Active Melbourne, VIC, 1852


[Advertisement], The Argus (15 November 1852), 7

JONES, Miss (? see Matilda JONES, below)

Soprano vocalist

Active Sydney, NSW, 1842 (Isaac Nathan's concert)


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

JONES, Charles

Itinerant musician, fiddler

Active Bendigo, VIC, 1873


"YOUNG AND OLD IN CRIME", Bendigo Advertiser (30 September 1873), 2

Charles Jones, an itinerant musician - a well known character, often to be seen marching through the streets with an old fiddle and a basket of confectionery, crying "pies, cakes, lollies, and music" . . .

JONES, David

Harpist, harp maker

Active Victoria, 1865


At St. David's Day celebrations in 1865, it was reported that "and a new harp, manufactured by David Jones, of Williamstown, was presented to Mr. Thomas Morgan, an amateur harpist."


[News], The Argus (2 March 1865), 4

"CELEBRATIONS OF ST. DAVID'S DAY", The Australian News for Home Readers (18 March 1865), 5

JONES, Edward ("Bardd y Brenin")

Welsh harpist, composer, music editor and collector, author, recorder of (Australian) Indigenous music

Born Llandderfel, Wales, March 1752
(Never in Australia)
Died Marylebone, London, England, 18 April 1824 (NLA persistent identifier)


Jones never came to Australia. But he was the earliest known European to make a words and music transcription of an Australian Indigenous song. Having earlier benefitted from the patronage of Charles Burney, Jones was harp-master to the prince of Wales (future George IV) when, in London in 1793, he took down A Song of the Natives of New South Wales from the singing of Bennelong and Yemmerrawanne (Yammroweney). Since, however, he did not publish his transcription until 1811 (see Jones 1811), it was not the first example of Indigenous music to appear in print, preceded as it was by "A New-South-Wales Song", in a so far unidentified print, nevertheless reliably dateable to c.1805-10.

The 1793/1811 song was reprinted at least twice during the 19th century, by Carl Engel in 1866, and (from Engel) by James Bonwick in 1870. It appears to have been overlooked in 20th-century literature.

See main entry on Jones's transcription: 


[Advertisement], Public Ledger and Daily Advertiser (21 March 1811), 1

This day is published, price 10s. 6d
of the most characteristic National Songs, and Airs;
many of which were never before published: consisting of
Spanish, Portuguese, Russian, Danish, Lapland, Malabar,
New South Wales, French, Italian, Swiss, and particularly
some English and Scotch National Melodies. To which are
added, Variations for the Harp, or the Piano-forte; and
most humbly inscribed, by permission, to her Royal Highness
the Princess Charlotte of Wales.
Bard to his Royal Highness the Prince Regent; and Author
of the Musical and Poetical Relics of the Welsh Bard,
Minstrel Serenaders, &c.
London: Printed for the Author; and sold at Messrs.
Birchall's Music-shop, No. 133, and at Chappell and Co's,
124, New Bond-street; at Goulding's Music Warehouse, Soho- square; and at Clementi and Co's, No. 26, Cheapside.

Bibliography and resources:

Tecwyn Ellis, Edward Jones: Bardd y Brenin (Cardiff: University of Wales Press, 1957) [in Welsh]

Joan Rimmer, "Edward Jones's Musical and Poetical Relicks of the Welsh Bards, 1784: a re-assessment", The Galpin Society Journal 39 (1986), 77-96

Meirion Hughes, "Edward Jones 'bard to the king': the crown, Welsh national music, and identity in late Georgian Britain", in Paul Rodmell (ed), Music and institutions in nineteenth-century Britain (Burlington: Ashgate, 2012), 267-284

"Edward Jones (harpist)", Wikipedia

Tecwyn Ellis, "Jones, Edward (Bardd y Brenin; 1752-1824)", Dictionary of Welsh biography/Y Bywgraffiaduer Cymreig (1959/2009)

"Edward Jones & his collections of national airs (1784-1821) - what is available online?", Humming a diff'rent tune: old songbooks, music history & more 

JONES, Frederick William

Pianoforte maker, composer

Active NZ, by 1877 (TROVE public tag)


[News], New Zealand Herald (29 March 1877), 2

Mr. Thomas Macffarlane has been appointed creditors' trustee in the estate of Frederick William Jones, pianoforte maker, of Auckland.

[News], Press (3 June 1891), 6

WELLINGTON, June 2. In "Banco" to-day Frederick William Jones moved for an injunction to restrain M. J. Brookes, manager of the Dresden Piano Company, from publishing or selling any piece of music with the title of "A Barn Dance," as published in this colony, and said he was proprietor of the copyright in the title, as well as in the piece of music. For the defence it was contended that the pieces were dissimilar, and Justice Richmond dismissed the motion, holding that the title "Barn Dance" was a general description, and was not copyright.

[News], Evening News (22 August 1891), 6

We have received a copy of a musical composition by F. W. Jones entitled the "Barn Dance." The barn dance is a recent ballroom novelty, and Mr. Jones's music for it is lively and appropriate, but there are a few literal errors in the piece which should be corrected. It is published by Nicholson and Co.

"The Barn Dance", Evening News (1 September 1892), 6

In the Equity Court, before Mr. Justice Owen, an injunction was asked for on behalf of Frederick Wm. Jones, of Wellington (N.Z.), to restrain the defendants, Messrs. Nicholson and Company, from publishing and selling a piece of music known as "The Barn Dance." The case is really an interesting one, involving as it does an important point in copyright law. The plaintiff (Jones) published the music in Wellington in 1890, and after some time, finding that no copyright was available in N.Z., he sought and obtained copyright at Stationers' Hall, London. The defendants (Nicholson and Company) bought another copyright in Melbourne, and under the latter published the music. The plaintiff now sought to restrain them from doing this claiming the prior rights which he believed himself to enjoy under the London copyright. The point at issue really was whether the copyright which plaintiff secured in London held good in New Zealand. The defendants have already paid for one copyright, but they now allow the case to come before the court simply, with the object of obtaining a ruling on the subject. After some arguments by counsel on either side his Honor postponed the further consideration of the matter until October 17, when it will again come before the court on a motion for a decree, affidavits on either side to be filed in the meantime. Coats to remain in the cause.

"The Barn Dance. IMPORTANT COPYRIGHT JUDGMENT", Evening News (5 November 1892), 6

"SONG, STAGE, AND STORY", Auckland Star (19 November 1892), 11

"New Music", Australian Town and Country Journal (15 April 1899), 17

Messrs. W. H. Paling and Company send us for review a copy of their new publication, entitled "Jones's Second Barn Dance," by the composer of the original dance; which proved so successful. The present composition has a catchy, melody, is very easy to read, and the rhythm is well marked, so that it is likely to become as popular as its predecessor.

Musical editions:

Barn dance, by F. W. Jones (first Australian edition: Sydney: Nicholson & Co., [1891])

JONES, Harriet (Miss GOODEN; Mrs. William Lloyd JONES; Mrs. LOVE; Mrs. KNOWLES; Mrs. Conrad KNOWLES; Mrs. OLIFFE; Mrs. Harry LAMBERT)

Vocalist, actor, publican

Married William Lloyd JONES, London, 1820
Arrived Sydney, NSW, 25 November 1825 (free per Mountaineer, from Plymouth, 25 April)
Active South Australia, until 1848
Died Adelaide, SA, 1871 (SA-BDM 1871 40/481) (TROVE tagged by Australharmony)


In London in 1820 Harriet Gooden married William Lloyd Jones, a comedian and actor. William was found guilty of receiving stolen goods (shoes) in 1825 and was transported on the Minstrel to New South Wales. Harriet Jones followed him, sailing with their son Thomas Lloyd Jones, aged 6, and daughter (d. Sydney, 9 July 1826) on the Mountaineer. In January 1826 William petitioned the governor for freedom so that he could better support his wife and children, and was briefly employed by Frederick Hely before volunteering to go to Moreton Bay. In January 1827 Harriet petitioned the governor requesting assistance, as her husband's salary was insufficient to support her family.

Meanwhile, Harriet claimed a professional benefit during the 1826 Amateur Concerts, the first female vocalist in the colony to do so. The committee of the Amateur Concerts responded by advertising:

that the Benefit announced . . . for Mrs. Jones . . . is entirely without their sanction or approbation, they having rejected her application, upon the ground that she had been amply remunerated for her services, by the payment of £3 per night, for performance, and that too, upon the express understanding she would dispense with a benefit.

Jones reportedly responded by:

[throwing] herself on the liberality of the public, and [preparing] an evening's entertainment independent of the Amateur committee.

Favourable comments on her lower range and criticism of her higher suggest she was perhaps a contralto. She later appeared in a concert at Nash's in Parramatta in April 1827. If not earlier, William had returned to Sydney by the end of 1831, when, in a fit of jealous rage, he loaded a pistol intending to shoot Harriet, but shot himself instead.

At Sydney theatre in April 1833, Harriet Jones and Conrad Knowles "sang the comic duett of Pretty Polly Hopkins" between the plays. A few days later (according to Oppenheim) she and Knowles also appeared instead as Mrs. Love and Mr. Cooper. By 1837 she was appearing as Mrs. Conrad Knowles (though they never married), and, following Knowles's death in 1844, by 1846 she was active in Tasmania and later Adelaide as Mrs. Oliffe. Though mainly an actor, she also sang in several interesting musical works including Charles Nagel's Mock Catalani in 1842, and as Medora in the second performance of G. F. Duly's opera Conrad the Corsair in Launceston in October 1846. Among other vocal notices, at Mr. Lewis's concert in December 1834, her singing of Rose-bud of Summer was "simple, unaffected but expressive"; and as Fatima in The illustrious stranger in May 1835 she sang Bishop's (inserted) song Love has eyes "very prettily".

See also: 


"SHIPPING INTELLIGENCE", The Sydney Gazette and New South Wales Advertiser (28 November 1825), 2

[Deaths], The Australian (12 July 1826), 2

"FOURTH CONCERT", The Monitor (11 August 1826), 5

"MR. EDWARDS'S BENEFIT", The Monitor (25 August 1826), 5

Mrs. Jones sang the old Ballad No, my Love, no, with great simplicity and sweetness of style; this lady is we hear a ci-devant daughter of the Thespian Muse, and in the event of the erection of a Theatre, we are inclined to think she will find herself as much at home as in the Concert Room.

"Sydney Amateur Concert", The Sydney Gazette and New South Wales Advertiser (26 August 1826), 3

"The Concerts", The Sydney Gazette and New South Wales Advertiser (30 September 1826), 3

Mrs. JONES, then, was welcomed by the most cordial greetings of the audience . . . on her appearance; and throughout the two songs allotted to her, Rest thee, Babe, and The Garland of Love, both of which were rapturously encored, fully sustained, and even enhanced, the opinions formed of her on her former appearances. The grace and propriety of her manner, the sweetness of her tones, and the deep compass of her voice altogether, but most particularly in the lower notes, establish her as really a most charming songstress, and one who, there cannot be the least doubt, must rise progressively in public favour.

"MR. SIPPE'S BENEFIT CONCERT", The Monitor (13 October 1826), 5

Cease your Funning, by Storace, was very unaptly allotted to Mrs. Jones. We, in common with the company, felt surprised that a song so entirely out of her line of singing, should have been selected for this lady. It was doing her real talents an injustice.

[News], The Monitor (20 October 1826), 2

[Advertisement], The Sydney Gazette and New South Wales Advertiser (28 October 1826), 1

[Advertisement], The Australian (28 October 1826), 1

"AMATEUR CONCERT", The Sydney Gazette and New South Wales Advertiser (1 November 1826), 3

The Concert. on Monday evening last, for the benefit of Mrs. Jones, was most respectably attended. Wealth, beauty, and fashion were congregated together . . . Home sweet home by Mrs. Jones [was] sweetly sung and encored.

"TO THE EDITOR", The Sydney Gazette and New South Wales Advertiser (25 November 1826), 3

TO THE EDITOR . . . I did intend taking 50 Tickets, in aid of the Benevolent Funds, for my Friends, at the coming Amateur Concert, but understanding that Mrs. Jones, from illiberal and gross private pique, mixed up with envy, is not allowed to bear part in the amusements of the evening . . .

Petition of Harriet Jones (wife of William Lloyd Jones, to governor Ralph Darling, 3 January 1827, NSW Colonial Secretary, letters relating to Moreton Bay & Queensland (SLQ)

"To the Editor . . . Parramatta", The Australian (7 April 1827), 2

"LOVE AND SUICIDE", The Australian (30 December 1831), 3

A young man passing under the name of William Lloyd Jones, in a fit of conjugal jealousy, loaded a pistol, it is said with an intention to shoot his wife, but finally shot himself, near the King's wharf, on Sunday evening last, but not dead, for he still lingers in the general hospital, Sydney. If this be jealousy, it is strange, the unlucky Benedict was never jealous before!

[News], The Sydney Monitor (23 March 1833), 2

"THEATRE", The Sydney Monitor (17 April 1833), 2

"THEATRE", The Sydney Herald (22 April 1833), 2

[Advertisement], The Sydney Gazette and New South Wales Advertiser (13 July 1833), 1

[News], The Sydney Gazette and New South Wales Advertiser (18 July 1833), 2

"COURT OF REQUESTS", The Australian (6 January 1834), 2

[Advertisement], The Sydney Gazette and New South Wales Advertiser (27 March 1834), 1

"Mr. Lewis's Concert", The Sydney Monitor (20 December 1834), 2

"THEATRE", The Sydney Monitor (30 May 1835), 2

"PROJECTED DEPARTURES", The Sydney Monitor (24 May 1837), 2

"ARRIVALS", The Sydney Gazette and New South Wales Advertiser (4 October 1838), 2

"THE VICTORIA", The Sydney Herald (23 January 1839), 2

"The Theatre", The Sydney Monitor (18 March 1839), 3

One of our most generally useful actresses, is Mrs. Knowles; for although in tragedy or genteel comedy she is not at home, in domestic dramas she is equal to any other actress, while in low comedy she has no equal; she can dance well, sing tolerably, has a genteel carriage on the stage, and is always well dressed, by which we do not mean that she wears the most expensive clothes, but that she dresses to the proper costume of the character she is to assume. Mrs. Knowles is also industrious and punctual . . . She is now very seldom seen; and when the public do get a glimpse of her, it is in the most trilling characters she can be put into. One reason that we have heard suggested for this is, that Mrs. Knowles is a dancer, and that Mr. Lazar, with parental partiality, is desirous to keep his daughter exclusively before the public . . .

"ORIGINAL CORRESPONDENCE. To the Editor", The Australian (9 June 1842), 3

Sir, Feeling an interest to witness the representation of the "Mock Catalani", I attended the Theatre on Tuesday evening last, having first provided myself with the pamphlet of the piece, as published at Tegg's. With this before me, I could not help feeling surprised at the extraordinary extent to which the performers carried, what, in theatrical parlance is named, cadging; or, in other words, substituting their inventive phraseology for that of the Author's . . . The most ludicrous transmutation was that by Mrs. Knowles, in the song entitled The pretty bark hut in the bush, who instead of singing "With his corps 'tis quite clear we can't tarry"!, actually mumbled forth "With her corpse, &c."

"PORT PHILLIP THEATRICALS", The Sydney Morning Herald (17 June 1844), 3

"THE THEATRE", Launceston Advertiser (27 December 1844), 3

"ROYAL VICTORIA THEATRE", The Sydney Morning Herald (2 August 1845), 2

[Advertisement], The Australian (29 July 1845), 2

"OLYMPIC THEATRE", The Cornwall Chronicle (28 October 1846), 831

[Advertisement], South Australian (22 January 1847), 4

[Advertisement], South Australian (6 October 1848), 3

"SUPREME COURT", South Australian Register (20 May 1850), 3

[Mrs. Lambert] Was married, but not for the first time. Had separated from her first husband, because he fired a brace of pistols at her. She then lived with a Mr. Knowles until his death, and would have been married to him, but there was no ecclesiastical court in New South Wales to grant a divorce from her husband, although there was a formal separation from her husband, sanctioned by the magistrates. She (witness) had since been married to Harry Lambert. She played with Mr. Lazar for several years in New South Wales, and for three years in this colony . . .

"THE THEATRE", Adelaide Times (18 January 1855), 3 

We beg to draw the attention of the play-going public to the entertainments this evening at the Theatre. When we announce that they are for the benefit of Mrs. Lambert, who has so often delighted them in days gone by, we are assured they will give her a bumper. It is almost unnecessary to add as an additional claim on their sympathy, that she is left in straitened circumstances by the recent death of her husband, Mr. H. Lambert.

[Advertisement], Adelaide Times (9 November 1855), 1 

ROYAL VICTORIA THEATRE. REGATTA NIGHT. BENEFIT of the MEMBERS of the COMPANY. Under the Patronage of THE REGATTA CLUB, on which occasion MRS H. LAMBERT, Who has kindly volunteered her valuable services, will appear as BLACK EYED SUSAN . . . THIS EVENING, FRIDAY, NOVEMBER 9th, will he produced the popular drama, entitled BLACK-EYED SUSAN. Susan (with Song - "Poor Bessy,") MRS. H, LAMBERT . . .

"VICTORIA THEATRE", South Australian Register (11 July 1859), 3 

The house was crowded from pit to gallery on Saturday evening, no doubt attracted by the announcement that Kate O'Reilly was to take the part of William and fight a terrific broad sword combat; that Mrs. Lambert, long retired from the stage, was to reappear as "Susan, with a song;" and last, not least, that Mrs. Macgowan would dance the hornpipe incidental to the piece. The anticipation of a rare treat caused the doors of the theatre to be besieged long before the time advertised for opening by a larger crowd than we ever recollect having seen "stagestruck" in the best of times. The presence of a few policemen was sadly required to restrain the bad language of ruffian juveniles who thronged in the narrow approach to the doors. They would also have been eminently useful in protecting from injury some luckless infants whose mothers or nurses ventured most recklessly with them into the thickest and worst-behaved part of the crowd. A motley assemblage of old and young waited impatiently and pressed forward eagerly when the doers were thrown open to see Kate O'Reilly assume the garb, language, and manners of a man-of-war's-man, and Mrs. H. Lambert, forgetting her age, resume her place on the scene of her former triumphs, and sing and mourn, despair and rejoice, a veteran black-eyed Susan. The performance was greeted with applause during the piece, but some expressions of disapproval were audible at the fall of the curtain . . .

Bibliography and resources:

"AUSTRALIAN STAGE. FAMOUS PLAYERS OF THE PAST", The Sydney Morning Herald (16 November 1912), 7

"EARLY DAYS IN ADELAIDE", The Advertiser (14 March 1916), 9

Another actor of note was Mr. Harry Lambert, who was associated with a clever young actress, named Miss Olive [? Ollife].

H. L. Oppenheim, "Knowles, Conrad Theodore (1810-1844)", Australian dictionary of biography 2 (1967)

Harriet Jones Actress; National Archives of Australia forum

JONES, Henry

Cantor, reader (Hobart Synagogue)

Arrived Hobart Town, VDL (TAS), 4 January 1837 (per Isabella)
Departed TAS, after 1863 (for NZ)




. . . Mr. H. Jones officiated as reader; his chaunts were given with admirable intonation. The orchestral department combined the talent of Messrs. Gautrot, Curtis, Duly, and Singer, ably led by Mr. Reichenberg. The choir was exceedingly effective, the principal parts being admirably given by Mr. M. Simeon, who possesses a falsetto voice of good quality and rarely met with . . .

Bibliography and resources:

Levi 2013, These are the names, 383-84

JONES, Stephen Wilson (Master JONES; Master Stephen JONES; Stephen Wilson JONES)

Dancer, actor, vocalist

Born Sydney, NSW, 12 January 1826; baptised St. James's, Sydney, 7 January 1826 [sic?]
Active Sydney, NSW, 1837
Died Roseville, NSW, 6 February 1903, aged 77 (TROVE tagged by Australharmony)

JONES, Matilda Rebecca (Miss Tilly JONES; Miss M. JONES; Miss JONES; Mrs. CRANE; Mrs. John CRANE)

Dancer, actor, vocalist

Born Port Macquarie, NSW, 8 September 1828; baptised St. Thomas, Port Macquarie, 13 October 1828
Married John Christopher CRANE, 1843 (aged 14)
Died Toowoomba, QLD, 19 June 1872, aged 43 (TROVE tagged by Australharmony)

JONES, Emma Margaret (Miss E. JONES)

Dancer, actor

Born Sydney, NSW, 7 September 1832; baptised, St. Phillip's, Sydney, 30 September 1832


Not children of Harriet Jones but of a former convict Stephen Jones (1793-1857), and his wife Matilda Calcutt Jones (1795-1844). As was evidently well known in Sydney at the time, Edward Geoghegan wrote his musical play The currency lass specifically for Matilda, herself a currency lass. However, she did not play in the production, having already left the stage to marry John Crane in 1843.


"THE THEATRE", The Sydney Gazette and New South Wales Advertiser (6 June 1835), 2

Master Stephen Jones was also deservedly encored in Ladies, how d'ye do which he sang in the character of Bombastes - he is a clever little fellow and should not be lost sight of.

[News], The Sydney Monitor (7 May 1836), 3

Mr Lane, and The Australian Roscius, as Master Stephen Jones is foolishly styled, take a joint benefit at the Theatre this evening. Master Jones is a boy of considerable talent, and is deserving of patronage. Many characters have been played by him in a style that reflected great credit on those persons who had taken the trouble to instruct him.

"DRAMA", The Sydney Gazette and New South Wales Advertiser (15 December 1836), 2

A "Pas Deux" was danced by Miss M. and Master Jones; really these children do wonders.

"THE THEATRE", The Australian (24 March 1837), 2

Master Jones, the Australian, danced a horn pipe very satisfactorily.

"MR. NATHAN'S CONCERT", The Sydney Herald (6 August 1841), 2 

. . . Miss Jones, a native of the Colony, only about 12 years old, was delightful in Nathan's "Why are you wandering here I pray?" She seemed to feel every word she uttered, and gave it with so much name humour, archness of expression, and perfect command of feature, as called forth a loud applause and an encore from all. We remarked, that his Excellency in particular seemed greatly to enjoy her singing. We would say more were we not afraid of spoiling and turning the head of this very clever and pretty girl, of whom Australia may well be proud . . .

[Advertisement], The Sydney Gazette and New South Wales Advertiser (17 February 1842), 3

"NEW COLONIAL PLAY", The Australian (30 May 1844), 3

On Monday night a new Colonial play by the author of the Hibernian Father, called the Currency Lass, was produced with considerable success at the Victoria Theatre, and was repeated the following night. The incidents are common-place enough, but when it is understood that the author originally intended the principal character for a real, bona fide Currency Lass, the versatility of whose dramatic talents would have done ample justice to the part-we need scarcely say we allude to Miss M. Jones-the general interest of the piece loses none of its contemplated attractions . . .

"Sydney Sixty Years Ago", Australian Town and Country Journal (19 June 1897), 24

There were infant prodigies too, Master Stephen and Miss Tilly Jones, who in the thirties were great favorites.

"MUMMER MEMOIRS", Sydney Sportsman (25 October 1905), 3

Bibliograhy and resources: 

JONES, Thomas Frederick Fitzsimmons (Thomas Frederick JONES)

Professor of Music, composer

Married Sabina WILLIAMS (1813-1889), St. Pancras Old Church, London, England, 13 February 1837
Arrived Sydney, NSW, 29 April 1850 (per John Knox, from London, "Schoolmaster", aged "40")
Active Parramatta, NSW, 1854-57
Died ? by 1859/60 (TROVE tagged by Australharmony)

See also: (TROVE tagged by Australharmony)


At the time of his marriage to Sabina Williams in London in 1837, Thomas Frederick Jones was living in the parish of St. Mary le Strand. Their daughter Frederica Sabina was born in London (St. Pancras) in 1841, and her baptism record lists her father as a "musical professor" of Devonshire Street.

The family arrived in Sydney on 29 April 1850 on the John Knox, bringing Irish orphan girls to NSW, Jones being the schoolmaster on board, and Sabina the matron. Jones wrote a long letter of complaint about conditions on the voyage preserved among the ship's paper in the State Archives of NSW (9/6194; 50/1031) along with a response from the surgeon-superintendent, Richard Greenup (50/1108).

Jones later dedicated his only known published composition, the Parramatta quadrilles, to Greenup's eldest daughter, Elizabeth Louisa (married George Wyndham, St. John's Parramatta, 27 November 1856; d. Maitland, 22 October 1866), who had also arrived with her parents and four siblings on the John Knox in 1839. She may well have become one of Jones's pupils. No copy of the quadrilles, reportedly published by Henry Marsh in August 1854, is currently known to survive.

Jones apparently disappears from record by 1857-59. Sabina Jones was in WA by late 1859, sponsoring her Williams nephews in a business venture, and in 1867 was running a day school for girls in Perth. She died in 1889.

With thanks (May 2019) to Megan Martin (Sydney Living Museums) for sharing her research findings.


Baptisms solemnized in the parish of Saint Pancras, in the county of Middlesex, in the year [1841] 

No. 863 / [May] 26 / Frederica Sabina / [child of] Thomas Frederick & Sabina / Jones / Devonshire St. / Musical Professor / [born] 7 March . . .

Assisted immigrant passengers, John Knox, 1 May 1850; State Records Authority of NSW 

Jones Thomas F. F. / 40 / Schoolmaster / [born] Dublin / [parents] Robert & Catherine, both dead / C. of E. / . . .
[Jones] Sabina / 36 / Jamaica / Charles White & Harriet Williams, both dead / C. of E. / . . .
Frederica Sabina / 9 / London, Middlesex / - / C. of E. / . . .

[Advertisement], The Sydney Morning Herald (9 August 1854), 1

PARRAMATTA QUADRILLES. Just published by the undersigned, the Parramatta Quadrilles and Waltz, dedicated to Miss Greenup. H. MARSH and CO., 490 1/2, George-street; Mr. MASON, Parramatta.

ASSOCIATIONS: Henry Marsh (music publisher)

"PARRAMATTA QUADRILLES", The Sydney Morning Herald (22 August 1854), 3

PARRAMATTA QUADRILLES. A very spirited set of Quadrilles and a Waltz have just been issued from the Press, "Composed for and dedicated to Miss Greenup." They are generally attributed to Mr. Jones Professor of Music, residing in this town, and, from the favourable opinions expressed respecting their merits, there is every reason to believe that they will become very popular.

[Advertisement], The Sydney Morning Herald (5 February 1856), 2

NOTICE is hereby given that by Indenture of Assignment bearing date the first day of February one thousand eight hundred and fifty-six made between Thomas Frederick Fitzsimmons Jones of Parramatta in the colony of New South Wales professor of music of the first part George Doust of Parramatta aforesaid draper and Richard Harper, of the same place pork butcher two of the creditors of the said Thomas Frederick Fitzsimmons Jones and trustees for the purposes thereafter mentioned of the second part and the several other persons whose names are thereunder written and seals affixed respectively . . .

"DEATHS", The Sydney Morning Herald (18 November 1857), 1

On Thursday, 12th instant at George-street, Parramatta, in her 17th year, after a long and painful illness, Frederica Sabina, only daughter of Mr. Thomas Frederick Fitzsimmons Jones, formerly of Parramatta.

"DEATHS", The Sydney Morning Herald (10 December 1857), 8

JONES - November 12th, at George-street, Parramatta, Frederica Sabina, only daughter of Mr. Thomas Frederick Fitzsimmons Jones, formerly of London, in her 17th year, after a long and painful illness.

"DEATHS", The Daily News (16 July 1889), 2 

JONES. - On the 13th July, 1889, at the residence of Mr. J. C. Strickland, North Shore, near Fremantle, Sabina Jones, sister of the late Rev. W. Dacres Williams, of Guildford, W. A.; aged 75 years and 10 months.

JONES, Thomas Henry

Musician, composer

Born Williamstown, VIC, 20 September 1856
Died Perth, WA, 14 July 1929


"A FORMER CITY ORGANIST", The Advertiser (22 July 1929), 11

Mr. Thomas Henry Jones, former Adelaide city organist, died in Perth last week. Mr. Jones, who was 74 years of age, was one of the outstanding figures in the musical life of South Australia for more than half a century. Teacher, composer, lecturer, organist, and pianist, he wielded much influence in the development of the higher branches of music, and he trained many students, who are now professional musicians. Born at North Williamstown, Victoria, on September 20, 1855, Mr. Jones was educated at St. Paul's Grammar School, Melbourne, and the German School, Adelaide. He graduated at the Adelaide University in 1869, being the first to receive the degree of Mus. Bac. in an Australian University. From then on he played a prominent part in music in Adelaide, four churches having benefited by his activities. His first appointment was to the Baptist Church, Norwood, when he was only 13. He subsequently went to the Tynte-street (North Adelaide) Church. After 19 years' service there he transferred to the Congregational Church in Brougham-place. In August, 1902, he joined the Pirie-street Methodist Church as organist, remaining there for 25 years. During his period of service at that church he collaborated with the Rev. Dr. Henry Howard in the writing of a cantata. The latter wrote the words, and Mr. Jones composed the music. The cantata was sung by a Methodist choir of 600 voices, the choristers coming from various parts of the State. Mr. Jones always maintained that the preaching of Dr. Howard had been an inspiration to him as a teacher. From 1917 until 1923 Mr. Jones was city organist, and he inaugurated a series of recitals which did much to raise the standard of music among the public. He had a preference for orchestral music, and he lost no chance of developing it. Visits to Europe and constant reading kept him in touch with progress abroad. His own work obtained international recognition. He took a practical interest in orchestral movements in Adelaide, and always found time to attend to their needs. He was conductor of the Adelaide Harmonic Society, which, during the nineties, produced Offenbach's "Grand Duchess" and other works. At one time he was grand organist of the Order of Freemasons, an honorary post conferred only on a distinguished musician. One of Mr. Jones's most pleasant memories was the first appearance of Dame Nellie Melba in public. It was a concert in Melbourne, at which he assisted. As a teacher of music in Adelaide the career of Mr. Jones dated back to 1898, when he joined Mr. H. Riemann in the College of Music. That became the nucleus of the Elder Conservatorium, to which Messrs. Reimann and Jones went when the institution was opened. The latter resigned from the Conservatorium in 1927. During his long association with it he won the affection of students and everyone else with whom he was associated. Recently he had resided in Perth.

Bibliography and resources:

"Jones, Thomas Henry (1856-1929)", Obituaries Australia

JORDAN, Edward

Band musician, Adelaide Town Band

Died Adelaide, SA, 12 April 1850, aged 25

JORDAN, William

Band musician

Active Adelaide, SA, 1855


"DIED", South Australian Register (13 April 1850), 2 

DIED. Yesterday morning, 12th of April, at the Colonial Hospital, aged 25 years, Mr Edward Jordan, a respected member of the Adelaide Town Band, leaving a destitute wife and two children. The funeral will take place at half-past 2 o'clock, this day, from the Hospital, where the members of the band are invited to attend in uniform.

"LAW AND CRIMINAL COURTS", South Australian Register (19 November 1855), 4

. . . This was an action to recover £60 for the services of a band of musicians at the East Torrens election . . . 17 musicians at £2 each a day

JORDAN, Richard

Actor, vocalist

Active Hobart Town and Launceston, VDL, 1833-38


? Actor


"Theatre", The True Colonist Van Diemen's Land Political Despatch (21 January 1835), 2 

. . . After the curtain fell Jordan perpetrated a comic song, which did not meet with one solitary clap, nor did it deserve one. Mrs. Clarke in "Tell me my heart," greatly delighted us. We never heard her sing so well before. She was a little flurried, at first, probably owing to the cold reception which Jordan met with. In this song, and in general the orchestral accompaniments are not strong enough to assist the voice, in the back of the house they are not heard . . .

"To the Editor of . . .", The Tasmanian (1 April 1836), 5 

"THE THEATRE", The Independent [Launceston] (23 August 1837), 3 

. . . Mr. Jordan sang between the Plays a Comic Song with much humour, in which he kept the house in one continued roar of laughter; he was encored, as might be expected, and very justly honored with every mark of satisfaction from the audience.


Amateur musician, organ builder, cellist, violinist

Born Bocking, Braintree, Essex, England, 23 January 1802
Arrived Melbourne, VIC, 1852
Died Launceston, TAS, 20 June 1877, aged 75

Summary (after Maidment):

Sixth of 15 children on Benjamin Joscelyne, cabinet-maker at Braintree since 1778. Samuel was at Sudbury, Suffolk listed as a cabinet-maker at Market Hill in the 1830 and 1844 county directories. His son, Charles Walter Joscelyne, was born in 1848. It is not known whether Joscelyne made organs at this time.

In 1852, Joscelyne emigrated to Australia, first to Melbourne, shortly afterwards to Launceston, Tasmania, where he established a furniture warehouse in Charles Street and later in St John Street. He sold both imported and made "colonial furniture" on the premises, and also acted as an undertaker. Joscelyne was a committee member of the Launceston Mechanics Institute (where the Charles Brindley organ in the Albert Hall was initially housed), an organist, and also a performer on the viola, violoncello and double bass.

His son, C. W. Joscelyne, became the Launceston agent for George Fincham, Melbourne organbuilder, and his grandson Stan Joscelyne ran a music shop in Launceston and was music critic until his death in the 1970s.

Joscelyne built at least three pipe organs, notably that at Bothwell Church, making most of the wooden pipes, parts and casework himself, but obtaining the metal pipes from Britain.


[Advertisement], Launceston Examiner (6 October 1855), 1

"NEWS OF THE WEEK", Launceston Examiner (2 October 1869), 2

"GRAND CONCERT AT THE MECHANICS' INSTITUTE", The Cornwall Chronicle (4 September 1872), 2

"PUBLIC AMUSEMENTS", The Cornwall Chronicle (25 January 1875), 3

"DEATHS", The Cornwall Chronicle (6 July 1877), 2

Bibliography and resources:

John Maidment, "Samuel Joscelyne (1802-1877), 19th century Tasmanian organbuilder", OHTA News 7/ 4 (October 1983), 24-26 (minor changes)

JOSEPHSON, Joshua Frey

Pianist, flautist, organist, composer, judge

Born Hamburg, Germany, 1815
Arrived Sydney, NSW, 1820 (free per Morley to join his convict father Jacob JOSEPHSON)
Died Bellevue Hill, NSW, 26 January 1892 (TROVE tagged by Australharmony) (NLA persistent identifier)

See also: 



[News], The Sydney Gazette and New South Wales Advertiser (16 July 1836), 4

At Mr. Wallace's late concert, we understand the brilliancy of Mr. Josephson's execution on the pianoforte, was particularly admired, as well as his intonations of the flute. Mr. J. first studied under Mr. Sippe, musical professor. Mr. J. is an example of the precocity of talent of our native youth where care has been taken to nurture it, and occasion given to call it forth.

Bibliography and resources:

H. T. E. Holt, "Josephson, Joshua Frey (1815-1892)", Australian dictionary of biography 4 (1972)


Viola player



Active Sydney, NSW, 1859


[Advertisement], Empire (2 July 1859), 3

[Advertisement], The Sydney Morning Herald (24 November 1859), 1

JOSSELIN, Marie Louise Adelaide de (Mrs. James TODD; DE JOSSELIN)

Teacher of Pianoforte and French (pupil of C. S. Packer, R.A.M.)

Born Sydney, NSW, 5 May 1864


"BIRTHS", The Sydney Morning Herald (9 May 1864), 1

[Advertisement], The Sydney Morning Herald (25 July 1883), 2

"Marriages", The Sydney Morning Herald (7 June 1884), 1

JUDE, William Herbert (W. H. JUDE)

Pianist, organist, vocalist, entertainer, hymn writer, evangelical revivalist, composer

Born Westleton, Suffolk, England, September 1851
Arrived Adelaide, SA, 25 May 1891 (per Victoria)
Also visited New Zealand, October-November 1892
Departed Adelaide, SA, 17 January 1894 (per Arcadia, for England)
Died London, England, 8 August 1922 (NLA persistent identifier)


Jude arrived on same steamer as Charles Halle, and returning Australian music students Ernest Hutcheson and Gulielma Hack.


[News], South Australian Register (22 May 1891), 4

"MUSICAL CELEBRITIES", South Australian Register (26 May 1891), 6

"MR. W. H. JUDE'S ENTERTAINMENT", The Argus (9 June 1891), 6

"MR. W. H. JUDE'S ENTERTAINMENT", Evening News (10 August 1891), 2

[Advertisement], The Advertiser (18 January 1894), 2


"MR. W. H. JUDE", Border Watch (20 January 1894), 2

[News], Barrier Miner (10 April 1894), 3

"MUSIC & THE DRAMA", Launceston Examiner (8 August 1894), 3

Mr W. H. Jude, the musical composer, who was converted whilst visiting Australia, is devoting himself to mission work. He was much impressed, it seems, originally by a sermon by Mr Moody on "What think ye of Christ?" He was again influenced by a sermon on the same text which he had heard in Yorkshire, and was ultimately converted in Sydney after hearing a third address on the same text by a female Salvation officer.

Bibliography and resources:

Agati 2012

"W. H. Jude", Wikipedia


Professor of music

Arrived Sydney, NSW, by December 1878


[Advertisement], The Sydney Morning Herald (6 December 1878), 4

Mr. C. JUNGHENN, an experienced teacher of music, lately arrived from Germany, begs to announce to the inhabitants of Sydney and suburbs that to intends giving lessons in the art of pianoforte-playing.

[Advertisement], The Sydney Morning Herald (9 January 1879), 3

"TO THE EDITOR", The Sydney Morning Herald (23 October 1879), 3

[Advertisement], The Sydney Morning Herald (2 April 1880), 2

[Advertisement], The Sydney Morning Herald (28 April 1880), 1

JUNIPER, Mary (Mrs. James Sturgis EDWARDS)


Born Brighton, Sussex, England, c. 1844
Arrived Melbourne, VIC, 6 January 1850 (per Harpley, from Pylmouth, 21 September 1849)
Married James Sturgis EDWARDS, Tylden, VIC, 5 October 1865
Died Hawthorn, VIC, 1897; buried 2 October 1897 (TROVE tagged by Australharmony)

JUNIPER, William

Bass vocalist

Born Brighton, Sussex, England, 5 August 1838 (date on gravestone), son of John JUNIPER (d. VIC, 1871) and Sarah GILLAM (d. VIC, 1902)
Arrived Melbourne, VIC, 6 January 1850 (per Harpley, from Pylmouth, 21 September 1849)
Married Lydia TYLER (1847-1880), Brighton, VIC, 1868
Died Auburn, Hawthorn, VIC, 24 July 1899, in his 61st year (TROVE tagged by Australharmony)


"SHIPPING AND COMMERCIAL GAZETTE", Port Phillip Gazette and Settler's Journal (8 January 1850), 2 

"Members of the newly-formed Fitzroy Musical Union . . .", The Argus (11 May 1860), 4

"PHILHARMONIC SOCIETY'S CONCERT", The Argus (27 September 1869), 6

"CHORAL SOCIETY'S CONCERT", Williamstown Chronicle (8 October 1870), 5

"MRS. EDWARDS' COMPLIMENTARY CONCERT", Kyneton Guardian (19 October 1878), 2 

The attendance in the Kyneton Mechanics' Institute on Wednesday night last was not only a compliment to Mrs Edwards, but an appreciation of the enterprise of the promoters of the concert in issuing so excellent a programme. The reserved seats, although occupying two-thirds of the hall, were not numerous enough, and they and the balcony were very well filled, although the back seats could have held a few more. The Kyneton Town Band were present, and in playing the overture, and especially the musical selections in the interval, exhibited most favorably the progress which they have recently been making in the musical art. Mr. W. Juniper, from Melbourne (Mrs Edwards' brother) was present, and sang the opening and closing numbers on the programme, besides taking part in a duet with his sister, and, although suffering slightly from hoarseness, his fine bass voice and finished style of vocalisation was a derided acquisition and attraction. Glover's duet" See the land appears in sight" was one of the gems of the evening, while his rendering of "Nancy Lee" was redolent of the forecastle. Miss Don sang "Come back to Erin" so well that she was encored, and bowed her acknowledgments. Mrs. Edwards and Mr. Jas. Anderson sang "Sunset," a duet of Massett's with excellent taste and repeated the last verse as an encore. Miss E. Anderson, a niece of Mrs. Edwards and a pupil of Mr David Lee, of Melbourne, played " Capricioso," as arranged for the piano by Mendelsshon, and was deservedly richly applauded. She also played in the second part airs from Lucia de Lammermoor, arranged by Prudent, and accompanied several of the singers, and it is but justice to say that this young lady gives promise of becoming a brilliant pianiste and excellent performer. Mrs. Edwards' song "One morning, oh, so early," although sung with her usual correctness and good taste, lacked that vivacity and sprightliness she is apt to throw into her song . . .

"HAWTHORN AND KEW HARMONIC SOCIETY", The Argus (6 August 1881), 7

"DEATHS", The Argus (25 July 1899), 1

JUNIPER. - On the 24th July, at the residence of his sister, Mrs. Williams, No. 15 Auburn-grove, Hawthorn, William Juniper, in his 61st year.

JUPP, Mrs. Edward

Vocalist, pianist

Arrived Adelaide, SA, 5 October 1849 (per Trafalgar from London)
Active Adelaide, SA, 1849-56; ? 1858 (TROVE tagged by Australharmony)


"SHIPPING INTELLIGENCE", South Australian Register (6 October 1849), 2

ARRIVED . . . Friday, October 5 - The barque Trajalgar, 510 tons, Wright, master, from London and Plymouth. Passengers - . . . E. Jupp, wife and nine children . . .

"MECHANICS INSTITUTE", South Australian (2 November 1849), 2

. . . The entertainments of the evening were commenced by an able and interesting lecture on Geology, by Thomas Burr, Esq., which was followed by the usual musical treat, in which Mrs. Murray, Mrs. Jupp, Mr. Francis Dutton, and Mr. Wallace, took part. The gem of the evening was "Kathleen Mavourneen," which was beautifully executed by Mrs. Jupp, and repeated amidst thunders of applause . . .

"MR. GALE'S CONCERT", South Australian (16 November 1849), 2

[Advertisement], South Australian (20 November 1849), 3

"MR. GALE'S CONCERT", South Australian (23 November 1849), 2

[Advertisement], South Australian (9 July 1850), 3

[Advertisement], South Australian Register (8 April 1851), 4

"MRS. JUPP'S CONCERT", South Australian Register (11 April 1851), 2

"DIED", South Australian Register (17 January 1853), 2

[Advertisement], South Australian Register (1 August 1854), 1

[Advertisement], Adelaide Observer (13 January 1855), 2 

[Advertisement], South Australian Register (12 July 1856), 1 

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