[
    {
        "id": 211808,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 223,
        "title": "RAS-1989",
        "content_text": "198\n\nT: Farce (1 act) C: Amateurs\n\nF: Music\n\nTh: D\n\nR: This was the last theatrical entertainment organised by Horatio BUSKIN and he could look back on a successful \"career\" as manager. Only the music had flagged of late (tonight \"a buzz in a box near the proscenium represented the music — we were ten feet away from it and it was therefore lost upon us\" the days of \"Sir George Smart and Messrs Thalberg\" and \"Koenig\" were over).\n\n—\n\nTo make up for these shortcomings \"Mr. CLAY as Honeybun (in the Infanticidal Farce) was, as he always is, first rate\". In Slasher and Crasher the public witnessed the debut of \"Miss Polly DEXTER as Rosa, affording hope of a new evening star of the first magnitude\" (NCH 23.2.1856).\n\n14.8.1856 (Thur)\n\nN.N.: The Nigger Doctor and his Patient Patient or the First Lesson in Surgery\n\nT: Negro farce\n\nC: Travelling American Company (Messrs Baker, Woodward and Montgomery) Th: Old Theatre (C)\n\nN: The whole evening was announced as a \"Grand Ethiopian Musical Soirée\"\n\nR: An advertisement only was published in the NCH of August 9. In it the above mentioned gentlemen (formerly of the New York Serenaders) praised their performances as having been \"the theme of universal admiration during the past four years throughout the East Indies as well as the Australian Colonies\". In addition to the farce, the programme consisted of \"Negro songs, interspersed with willy saying and doings peculiar to the African race in America\".\n\n19.9.1856 (Fri)\n\nConcert by Ali Ben Sou Alle and some local amateurs.\n\nInstruments: Turkophone, \"Turkophonini\", clarinet, piano.\n\nProgramme:\n\nG. ROSSINI: Two overtures. V. BELLINI: Selections from \"La Sonnambula\". F. MENDELSSOHN-BARTHOLDY: \"The Fairest Flower\" (song). Some German songs, The \"Shanghai Redowa Walse\", Medley of English, Scottish and Irish airs. Th: N.N. (C)\n\nR: Tonight was the occasion of the first real concert in the Settlement's history. It was given by Mr. ALI BEN SOU ALLE, a Turk who, after a study at the Conservatoire de Paris, had been appointed Directeur de Musique de Marine in Senegal (which had been French since 1871) in 1844. In 1847 he returned to Paris to enter the orchestra of the Opéra Comique, but the following year he went to London where he found employment in the orchestra of Her Majesty's Theatre at the Haymarket. He learned to play some instruments that had been invented by Adolphe Sax, the Belgian musician (1814-1894) and thereafter he made an extensive tour to Australia, Java, Singapore, Manila and China (CM 16, 10, 1856). In Hong Kong and even Canton he had appeared in August and October 1856 (CM 7.8. 14.8. 21.8. 16.10.1856). In between he gave two recitals in the Yangtze port. In the Survey it has already been stated that the soloist entertained the public with performances on several instruments that had been rechristened Turkophone and Turkophonini: in reality they were the Saxophone and (probably) the soprano saxophone. Well may we ask how these instruments, which were only of recent origin (1840s), were received by an audience completely unused to their sound. The artist interpreted a selection from Bellini's \"La Sonnambula\" on the \"Turkophone\" and the critic wrote that \"the compass of the instrument is very great but we confess to some disappointment as regards its quality of tone, and correctness of tone also, in some few notes, and altogether we think it an imperfect instrument",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
        "external_url": "https://digitalrepository.lib.hku.hk/catalog/8336pm92h",
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    },
    {
        "id": 211809,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 224,
        "title": "RAS-1989",
        "content_text": "199\n\n-- it may, however, improve on further acquaintance but we had no other opportunity of judging during the evening\". The \"Turkophonini” could be heard in a solo with variations and it was deemed \"by far the most perfect and pleasing instrument of the two`. The Shanghai Redowa Waise (Redowa: a Bohemian dance) which had been \"composed expressly for this Concert and dedicated to the Ladies of Shanghai — as the programme informed us\", also performed on the Turkophonini was not thought of \"very highly”, but it convinced the reporter that \"the instrument is well adopted for that class of music\". Obviously not everyone in the audience was of the same view, for the editor wrote in the Herald of September 27: \"The critique of our reporter has been much discussed in fashionable circles and the correctness of his judgement as to the perfection of these new instruments questioned. Knowing his high attainments as a musician, we defer to his opinion. Matters of taste do not admit of dispute. De gustibus non est disputandum. We may all enjoy our own and as a second glass of wine enables us to pronounce better judgement as to its quality, so will this second performance (on September 29) by familiarizing us with the instruments enable us better to decide upon their excellence\". In Hong Kong the China Mail could not speak \"in very warm terms of praise at least as regards their suitability for solo performances\" (CM 21.8.1856). On the other hand it admitted that \"by men of cultivated taste M. Ali's talents are fully appreciated and it will be long ere those who have had the pleasure of listening to his performances will forget the sweet but powerful tones of the Turkophone or the duleet melody of the Grand Clarionet and Turkophonini\" (CM 16.10.1856). Ali Ben Sou Alle was assisted by local amateurs who played a number of pieces including two Rossini overtures on the piano; and \"very creditably\" sung Mendelssohn's \"The Fairest Flower\".\n\nThe evening was attended by a \"numerous audience, comprising the beauty and fashion of our Settlement'' (NCH 20.8.1856).\n\n29.9.1856 (Mon)\n\nA second concert by Ali Ben Sou Alle.\n\nNo review was published in the Herald, only an announcement (NCH 27.9.1856).\n\n18.2.1857 (Wedn)\n\nD. BOUCICAULT & C. MATHEWS: \"Used Up\" (1846)\n\nT: Comedietta (2 acts)\n\nJ.M. MORTON: “Box and Cox\" (1847)\n\nT: Farce (1 act)\n\nC: Amateurs\n\nF: Prologue\n\nTh: N.N. (C)\n\n―\n\nR: The season opened both under the new management of \"Peter PROTEUS\" (again: a stage name, Proteus being an old Greek who could assume different shapes, as some actors are able to; also a character from Shakespeare's \"Two Gentlemen of Verona') and with a new theatrical reviewer in the Herald: \"The Man on the Bund\" (for the current season only). And although some months later he was heavily criticized because of some strictures he made about the choice of plays, in general his articles in a highly personal style were a mere continuation of the \"nothing but praise\" attitude that so prevailed. Thus Used Up was \"rendered with unquestionable ability by Mr. Peter Proteus, the manager\" who himself played Sir Charles Coldstream; and Mr. CLAY gave the part of the forlorn, but blunt and honest blacksmith Ironbrace with much skill and effect\". Making her debut Mrs. NESBIT impersonated Lady Clutterbuck: \"One would not have thought that so much deceit could lurk under so smooth and charming a face\". She brought to this part \"not only much cleverness and knowledge of the feminine heart but a very imposing person and decided good looks; and one could not help thinking the baronet might have stumbled upon a less pretty face in his",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211825,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 240,
        "title": "RAS-1989",
        "content_text": "215\n\nProgramme:\n\nC.M. Von WEBER: \"Der Freischütz\", overture; by Messrs Essex and Ewing, piano. Sir Henry BISHOP: \"Foresters sound the cheerful horn“ (glee). Heinrich PROCH (1809-1878): \"Within the grove's deep shadow\", a song by Mr. J.P. Tate, W.A. MOZART: String quartet No 7 by Messrs Tate and Howell (violin). Ewing (viola) and Essex (cello). William HORSLEY (1774-1858); \"By Celia's Arbour\" (glee), F. MENDELSSOHN-BARTHOLDY: \"Andante, presto and allegro vivace\" (from?) by Messrs Essex and Howell. Ibidem: “Andante and finale\" (from?), by Messrs Essex and Howell, Sir Henry BISHOP: \"Sleep gentle lady\" (glee), William Vincent WALLACE (1813-1865); **The Bellringer\", a song by Mr. Essex, F. von FLOTOW: “Allessandro Stradella\", fantasia, by Messrs Essex and Howell, William HORSLEY: \"See the chariot at hand\", song, L. van BEETHOVEN: \"Egmont\", overture, played on two pianos by Messrs Essex and Ewing.\n\nTh: Theatre Royal (G)\n\nR: This was the first occasion on which the names of the amateur musicians who entertained the public were mentioned. Some can be traced in the **Shanghai Almanac for 1862”. others belonged to the military forces. Thus the names have come to us of the following gentlemen: H. Cope and E.C. Essex (both of Geo. Barnett & Co). D.A.C.G. Ewing. F.R. Gantwell (Silk broker), A.A. Hayes Jr (of Olyphant & Co), Howell, Inglis, J.M. Nixon (of Blain, Tate & Co). J. Priestley Tate (of Blain, Tate & Co; Municipal Council member 1861-1862) and J. Wheatly (of Reiss & Co). In general the Herald was very satisfied: \"It was pleasing to see the gentlemen who volunteered to throw aside for the nonce the cares of business and entertain con amore their less gifted fellow residents with a charming chamber concert. Everything was conducted in a quiet gentlemanly manner so that we imagined ourselves in a drawing room more than a theatre. There was no attempt at grandeur of display or extraordinary performance on special instruments which characterize too much the quasi-musical taste of the day where the composition of the author is sacrificed frequently to the execution of the performer and the audience is led to think more of the latter than the former\". These were rather stringent remarks for someone living in an area where very few opportunities arose to compare musical qualities of instrumentalists. Yet the argument of faithfulness to the author's or composer's intentions crops up from time to time and that was obviously regarded as important by the Herald. Unfortunately the acoustics of the theatre were not of the very best so that \"Mr. TATE's delicate tenor voice (in the song by Proch) could not fill the house sufficiently for all to hear the diminuendo passages of his beautiful voice\". (NCH 18.4.1863). The Lancashire Relief Fund had been established in order to help those in Britain who had become a victim of the stoppage of cotton imports from the Southern states of America (due to the Civil War), with the result that numerous labourers in the mills were laid off.\n\n29.4.1863 (Wedn)\n\nPerformances by the amateurs of the Royal Artillery.\n\nNo titles of plays were recorded.\n\nTh: Theatre Royal (G)\n\nR: In consequence of the \"great success\" a \"Second Fashionable Night” would be given on May 4th (NCH 2.5.1863).\n\n4.5.1863 (Thur)\n\nAs on 29.4.1863.\n\n1.8.1863 (Sat)\n\nThe last of a series of performances by Mr. Smythe's company. Soloists: Miss Amelia Bailey (singing) and Martin Simonsen (violin) Th. N.N. (H)\n\nPage 240\n\nPage 241",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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    },
    {
        "id": 211832,
        "series_id": 26,
        "series_slug": "histsyn-rashkb-journal-engine",
        "series_title": "RASHKB Journal 皇家亞洲學會香港分會學刊",
        "series_use_hku_proxy": false,
        "document_key": "RAS-1989",
        "page_number": 247,
        "title": "RAS-1989",
        "content_text": "222\n\nthe stage properties were unexceptionable\". (NCH 22.10.1864)\n\n15,10-21. 10. 1864\n\nH.J. BYRON: \"Fra Diavolo\" (1858)\n\nT: Burlesque burletta (1 act)\n\nH.J. BYRON: \"The Maid and the Magpie\n\nT: Burlesque burletta (1 act), and other pieces.\n\nC: Lewis A.D.C.\n\nTh: N.N. (I\n\nR: NCH 22,10,1864\n\n17.10.1864 (Mon)\n\nConcert by Mr. Desvachez (violin) and some local amateurs\n\nTh: Shanghai Club\n\nR: Another musical evening was given by Mr. DESVACHEZ in the recently completed Shanghai Club building. On this occasion \"the audience was numerous and seemed to fully appreciate M. DESVACHEZ's musical talents”. (NCH 22.10.1864)\n\n22.10.-28. 10. 1864\n\nH.J. BYRON: \"The Bride of Abydos\" (1858)\n\nT: Burlesque extravaganza (1 act)\n\nN.N.: \"The Lady of Lyons”, (No author mentioned, so it may have been original play by Lytton or the burlesque by H.J. Byron (1868)), and other pieces.\n\nC: Lewis A.D.C.\n\nTh: N.N. (l\n\nR: For some actors of the Lewis troupe the strains of appearing every evening on the stage had become too much, for in the Herald it was \"regretted that in thus making strenuous efforts to afford satisfaction to their audiences, two of the most promising members of the Company have become so severely indisposed as to be unable for some time to appear in public\" (NCH 29.10.1864).\n\n5.11.1864 (Sat) (See: Theatrical Advertisement, No. 10)\n\nAmateur concert in aid of the repair fund of the \"Hongque Free Episcopal Church”, the \"Shanghai Vocal Quartette Club\" and Mr. Marquis Chisholm, piano, Programme:\n\n1. V. BELLINI: \"La Sonnambula\", duet (presumably 'Prendi l'anel ti dono' from act I) arranged for piano and harmonium by David Hermann ENGEL (1816-1877)\n\n2. Sir Henry BISHOP: \"Foresters sound the cheerful horn\" (glee)\n\n3. Marquis CHISHOLM: \"Japanese Fantasia”\n\n4. MULLER: \"Maying\" (sic; quartet)\n\n5. Ballad \"Arleen Aroom”\n\n6. Philipp Friedrich SILCHER (1799-1860): \"The Miller's Daughter” (quartet)\n\n7. G. VERDI: \"Rigoletto\", duet ('E il sol dell' anima', act I; 'Piangi, fanciulla', act I), arranged for piano by John George CALLCOT (1821-1895)\n\n8. Friedrich Wilhelm KÜCKEN (1810-1882): **Soldier's Love\" (glee)\n\n9. Valentin Eduard BECKER (1814-1890); \"Cheer Up Companions” (choral march)\n\n10. RADETSKA: \"There's music in the air\" (quartet)\n\n11. G. DONIZETTI: \"Lucrezia Borgia\", arrangement for flute and piano by JAMES\n\n12. Heinrich WERNER (1800-1833): \"War Song\" (glee)\n\n13. CAXTON: \"Breathe soft, ye winds\"\n\n14. William HORSLEY (and not F. Mendelssohn as stated in the advertisement): **By Celia's Arbour\" (song)\n\n15. Sir Henry BISHOP: \"Sleep gentle lady\" (glee)\n\n16. William Vincent WALLACE (1813-1865): \"Lurine\", duet arranged for piano and",
        "txt_file_path": "txt/dfo323lmgvd/RAS-1989.txt",
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