Hearing the Music
of Early New South Wales
Concert Two
The second Sydney Concert was held on Wednesday the 21st of June 1826 in the Large School Room at the Court House on Castlereagh Street, Sydney. The change of venue was applauded in the press.
The Monitor estimated that around 250 people attended the concert, and ‘the ladies were not far behind the gentlemen in number’. The Australian reported that guests included:
Colonel and Captain Dumaresq, and Captain Piper, with a number of ladies - the Sheriff, and the Clerk of the Council, with his lady; and the Clerk of the Peace, and some more ladies; the Commissary General of Accounts, and other Commissaries General; a few Military, and a good many Civil officers, and casual residents, with their ladies; and, though "last," not "least," belles and beaux of Sydney - making up, in all, a pleased and pleasing group…
Program
First Part
Overture
Gioacchino ROSSINI (1792-1868)
Il barbiere di Siviglia
​
Performers: John Edwards (leader, violin); Thomas Kavanagh (viola); George Sippe (cello); orchestra of amateurs and members of the Band of the 3rd Regiment (master, Kavanagh), and of the Band of the 57th Regiment (master, Sippe)
Glee
John STEVENSON (1761-1833)
See our Oars with Feather’d Spray
​
Performers: Mr. Clarke (tenor vocalist); John Edwards (bass vocalist); Thomas Kavanagh (bass vocalist); George Sippe (vocalist, pianoforte)
String Quartet
Ignaz PLEYEL (1757-1831)
Work not identified.
​
Performers: John Edwards (first violin); probably including Thomas Kavanagh (violin or viola); George Sippe (violoncello)
Song
Overture
Gioacchino ROSSINI (1792-1868)
Italiana in Algieri
​
Performers: Likely all instrumental performers.
Second Part
Overture
Glee
Henry Rowley BISHOP (1787-1855)
The Winds Whistle Cold (from Guy Mannering)
​
Performers: Likely Sippe and a vocalist.
Duetto, two violins
Ignaz PLEYEL (1757-1831)
Possibly Pleyel's Violin Duo, Op. 8 No. 1 (B. 539)
​
Performers: John Edwards (violin); George Sippe (violin)
Comic Song
Glee
Joseph MAZZINGHI (1765-1844)
The Wreath (Ye Shepherds, Tell Me)
​
Performers: Likely the vocalists.
Finale
Wolfgang Amadeus MOZART (1756-1791)
Grand Symphony
​
Performers: Likely all instrumental performers.
Anthem
Reviews
'THE SECOND CONCERT'
The Monitor, 23 June 1826, p. 5.
'Whether he sing or play, Mr. Edwards inspires the sympathetic part of his audience (we here positively omit all those who encored the silly comic song) with his own enthusiasm - consequently, the spirit of poetry, and the finer charities of life, were all conveyed to the head and heart in that delightful manner which the powers of music and poetry can create when blended together.'
'SYDNEY AMATEUR CONCERT'
The Sydney Gazette and New South Wales Advertiser, 24 June 1826, p. 3.
'A commodious orchestra was erected at the far end of the room, and presented, together with the amateurs, some of the best performers from the Bands of the 3d and 57th Regiments, under the immediate direction of Messrs. Edwards and Sippy. The performances commenced with Rossini's Overture to II Barbiere di Siviglia… In the execution of this extremely difficult overture, the performers acquitted themselves in a highly creditable manner. Mr. Edwards, the leader, betrays considerable science and judgment. He appears to have a perfect command of his instrument. His tones are full and harmonious, and the precision of his fingering, combined with rapidity of execution, decidedly rank him as a first rate performer on the violin. The taste and judgment displayed by Messrs. Sippy and Kavenagh, on the violoncello and tenor, contributed greatly to the fine effect of the delightful overture, which, however, in our opinion, to render it still more effective, required a considerable accession to the bass.'
'AMATEUR CONCERT'
The Australian, 24 June 1826, p. 3.
'The singer excited the risible faculties of all portions of the auditory—the grave and the gay—males and females, and the cry of encore, when it concluded, was universal. A grand Symphony, by Mozart, became the finale to the second act, but not to the concert ; for some loyal voices would, very properly, insist upon having "God save the King," and they had it, and one all stood up while all the performers, but no "cracked voices" from amongst the audience, as on the first night chimed in’...'