To cite this : Graeme Skinner (University of Sydney), A biographical register of Australian colonial musical personnel–B, Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia): accessed 20 September 2016 BACKHAUS, Henry (George Henry; BACKHOUSE) ; December 1846: The music was exquisite, being exclusively in the solemn and majestic Gregorian tone; the choir was conducted by the Rev. Backhouse, who excels in his knowledge, and practice of sacred music.
September 1847: On Tuesday last a Solemn Dirge and High Mass was celebrated at the Metropolitan Church of St.
Mary, for the repose of the soul of this great and good man […] The Rev. Backhouse presided in the Choir, where he was assisted by the Messrs.
Obituary: A pupil of Charles Elsasser, Bailey made her debut in Melbourne in 186.
In 1862 she toured as an associate artist with Poussard and Douay, and later that year with the eclocutionist Miss Atkins and pianist Marquis Chisholm.
With them in Launceston in January 1863 she was billed singing Riflemen Form, perhaps the setting by local composer John Adams.
Bailey and Chisholm sailed for China in May 1863 with their agent Robert Smythe (whom she married during 1863).
By late 1864 she was in Ceylon and Bombay giving concerts with Poussard.
Still in India, early in 1866 the Lahore Chronicle had spoken "very favourably of Miss Bailey's talents, and asserts that no vocalist equal to that lady has visited India since poor Catherine Hayes sang in Calcutta some seven or eight years ago". Hancock and Miss Bailey were the lady vocalists, and gave several airs, much to the satisfaction of the audience. Apparently, the character Barlow was originally an Irishman, as was still the case for the Philadelphia songsheet in 1836; however, by the late 1830s, the name had been adopted by an American stage performer, possibly a black-faced minstrel, as noted in "Jim Crow, and Billy Barlow …
She finally reappeared in Sydney, from Mauritius, in October 1869, giving concerts with comic vocalist Florence Calzoda accompanied by harpist Edwin Cobley. Miss Bailey is a young lady, who, it will be remembered, lately made a promising debut at the Philharmonic Society's concert. Barker, the harpist, died yesterday at the age of 69 years. Such are the noms du guerre, of two famous, or rather infamous, stage singers […] It is enough to say that they disparage human nature, not to speak of American nature, most terribly. Rowe, will perform several popular airs on the Rock Harmonicon, formed of common pieces of stone, and played upon with sticks.
She sang very well last evening, but it was unnecessary and injudicious on the part of a section of the audience to compel her to accept two encores. He studied the organ, violin, and piano at the Royal Academy of Music London, where he obtained the degree of associate. Barker has written me to ask if I would send you a short account of the early days of his late father, Mr. Well, sir, when I begin to look back at our youthful days of over 50 years ago (for it is period since I first knew Mr. Jim Crow is more notorious than the other monster, and his portrait is in the windows of most picture dealers." Again far from being an actual first, the first documented Australian performance of the song Billy Barlow was in Launceston in August 1838, by a Mr. However, the character and song came to wider popularity when introduced to Sydney audiences by George Coppin in March 1843: "With reference to Mr. Coppin, we have much pleasure in saying that since writing our notice of their arrival […] we have seen several English and Irish papers of recent date, in which their efforts are reviewed in the most flattering terms. Coppin 'the most humorous of the new school of actors,'' and adverts in extravagant terms to his manner of singing 'Billy Barlow,'' a song which, we learn from THE TUAM HERALD, was sung by him 250 times in Dublin with extraordinary success." Coppin's arrangement of Billy Barlow was immediately published in Sydney by Thomas Rolfe. Barlow, the celebrated Ethiopian singer, by kind permission of Mr. The above curious invention created a complete furor in England upon its first discovery, and is now being played with great success through-out the world. Barlow will also sing a popular Ballad, accompanied by the full band of the Ethiopian Serenaders." "Mr.
May 1862: Poussard and Douay are accompanied by a very talented soprano vocalist, Miss Amelia Bailey, who has been performing for some lime past with great success at the various concert-rooms in Victoria. Mrs Smythe would have reached the age of 90 on November 5 of this year. Carlyle Smythe died while on a Continental tour with his wife six or seven years ago. An accident, in which he strained the sinews of his thumb made it impossible for him to continue to play any instrument requiring constant use of the thumb, and he became a harpist, with such success that he won honors at the Royal Academy, and several times played by command before members of the Royal Family. Barker toured Australia, New Zealand, and the United States. Barker) I find how little remains impressed on my memory of our everyday life at that distant, period. John Barlow claimed £i for services as a musician from John Brock landlord of the Hibernian hotel. The song that our Barlow became most famous for in Australia was the Blue Tailed Fly, better known by its chorus Jim Crack Corn I don't Care, first published in the USA c.1846: It was introduced to Sydney in April 1850 by the so-called OHIO SERENADERS (a vocal and instrumental band headed by Frank Howson at the Royal Victoria Theatre). Barlow, whose surpassing delineation of negro oharaoter has obtained for him from the London audiences and the Press the appellation of Prince of Ethiopian Comedians, in the original Juba Dance […]". Barlow, the favorite Vocalist" was billed to sing Negro melodies and ballads at Rowe's American Circus in June 1853.