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The Composing and Publishing Venturesof the Marsh Brothers

PRUE NEIDORF

The Marsh brothers, Stephen andHenry, were musicians who came to Australia in the1840s. They made their living by teaching, performing and composing music, and byselling pianos and music. This paper, which is based on research undertaken ftr myMA. thesis, 1 deals with their compositions and music publishing activities in SydneyandMelbourne.

Stephen Hale Alonzo Marsh published a few ofhis own works or in associationwith ]oseph Wilkie. Henry Marsh published extensively. His output included most ofhis own compositions, afew ofStephen Marsh's works and many other works by com-posers in Australia andfrom overseas. There are afew" references to joint activities inthe local press, particularly as musicians, but in this paper their careers as composersandpublishers are being examinee!, and these are considered individually.

Stephen Hale Alonzo Marsh (1805-1888)Stephen Marsh's career is better documented than that of his brother Henry,'although his development as a composer remains obscure. Stephen was a mem-ber of the Royal Society of British Musicians in London, and his career was suf-ficiently established there for him to be able to publish a handful ofworks in thelate 1820s and 1830s. His sister Maria Heathilla married the Sydney artist JohnSkinner Prout, and in 1842 Stephen followed her to Australia. During the voy-age to ·Sydney, on the Sir EdwardPaget, he composed two works, both publishedin Sydney by Francis Ellard: The Paget Quadrilles and The Parting Hour: Ballad,'the words by Captain A.]. Tait, the music composed on Board the Sir EdwardPaget on Her Voyage to Sydney and Dedicated to Mrs A.]. Tait.'

After Stephen arrived in Australia, he continued to send his more patrioticworks to England to be published. Hail to Victoria! Queen ofthe Ocean announceditself as 'composed in Australia and performed there as the National AustralianAnthem'. It was not the first song to declare itself Australia's national anthemnor, alas, the last. Another work published in England after Marsh had been inAustralia was Wessell and Co's Collection of the Most Admired Sets ofQuadrillesand Waltzes ... arranged by Stephen Marsh [1845].

At his first concert in Sydney, 'Mrs Prout's Grand Seiree Musicale' on 9.March 1842, the programme included a Fantasia ftr Harp, composed and played

1. Prue Neidorf, 'A Guide to Dating Music Published in Sydney and Melbourne, 1800-1899',M.A. Hons Thesis, University ofWollongong, 1999.2. Australian Dictionary ofBiography. Carlton: Melbourne University Press, 1966-; The Austra-lian Encyclopaedia, Sydney: Angus & Robertson, 1958; Oxford Companion to Australian Music. ed-ited by Warren Bebbington, Melbourne: Oxford University Press, 1997; Harold Love, The GoldenAge ofAustralian Opera: W.S. Lysterandhis Companies 1861-1880, Sydney: Currency Press, 1981.

BSANZ Bulletin 25, 3 & 4,2001,43-51

Bibliographical Society ofAustralia &New Zealand Bulletin 44

by Marsh, the ballad The Parting Hour and a quartet to The Voyager's EveningSong by Marsh and Tait. The first and last named may not have been published.A review' stated that the works had a 'light style in composition, not overloadedwith spurious ornament'.) .

'The explorer Ludwig Leichhardt had also been on board the Sir EdwardPaget. One of Leichhardt's biographers claims that Marsh played his harp forLeichhardt:' their friendship is manifest in two compositions relating to Leich-hard!'s 1846 expedition, The Traveller's Return, Composed on the Occasion ofDrLeichhardt's Return to Sydney and Dr Leichhardt's March 'Composed on the Suc-cessful Termination of his Expedition ... by his friend'.' Both of these were pub-lished in England. There is also a letter to Marsh from Leichhardt, written in1844, now held in the National Library of Australia.' In Sydne,Y, Leichhardtboarded with Marsh and his wife in Bligh Street at 30/- a week. Marsh had a'wretched life with his first wife ... and lead a cat-and-dog life with his second';his second wife was a singer and the dedicatee of It Reminds Me ofThee, com-posed by the pianist and composer Louis Lavenu in 1854.'

Stephen returned to England in 1846, but came back to Sydney in 1849with his wife and two daughters and his elder brother, Henry. The two families. arrived on different ships, the Sir Edward Paget and the WaIter Momce. BothMarshes took an active role in Sydney's musical life, performing, teaching andselling music and pianos.

In January 1851 Stephen set up a Music Warehouse at 555 George Street,with J.R. Clarke as his agent;' in April 1851 Clarke and William Woolcott wentinto partnership as Estate Agents at the same address (SMH, 28 April 1851,p.3). 'Messrs Kern & Mader, Woolcott & Clarke, Hamburger & Sons are MrMarsh's only agents in Sydoey for the sale of his extensive stock of Music in-cluding his own compositions' (SMH, 6 January 1851, p.1). As far as can: be as-certained Stephen self-published at least five items in Sydney: Ferrolana Polko,The Ophir Schottische, By Murray's Banks, Allan M'Gaa and The Homebush Galop.(the last two advertised in 1856 but not yet located).

Ferrolana Polko and The Ophir Schottische were published early in 1851, andwithin three months were re-published by Woolcott & Clarke and by HenryMarsh (SMH, 19 July 1851, p.1; 9 August 1851, p.3). Marsh's influence in thesetting up of the music publishing side ofWoolcott & Clarke .has not yet been

3. Australasian Chronicle 364, 8March 1842, p.3; Australasian Chronic/( 365, 10 March 1842, p.2.4. Catherine Drummond Cotton, Ludwig Leichhardt and the GrearSooth Land, Sydney: Angus& Robertson, 1938, p.96.5. Isaac Nathan, who was both a colleague and a rival of Stephen Marsh at this time, also wrotetwo Leichhardt items-Leichhardt', Grave, Sydney: W. Baker; London: Falkner, [1845] and ThyGreeting HomeAgain, Sydney: Wm Ford; London: Cramer, Addison &Beale, [1846].6. Ludwig Leichbardt, Letter to S.H.A. Marsh, 12 August 1844. NLAMS 2147.7. Cotton, Ludwig Leichhardt, p.10S.8. L.H. Lavenu, It Reminds Me ojTh,,; Ballad, Sydney: H. Marsh and Co., [1855] '... dedi-cated to Mrs. Stephen H. Marsh ... Sung by Madame Sara Hower',9. Sydnry Morning HtTold, 18 January 1851, pA. Hereafter cited in text as SMH.

The Composing andPublishing Ventures ofthe Marsh Brothers 45

fully explored, but these items were the first music they published and they con-tinued with both publishing and real estate interests until their partnership wasdissolved in 1856-their· music setting particularly high production standards.Woolcott & Clarke's main rivals in music publishing were Henry Marsh andW.H. 'Anderson.

Stephen ·Marsh continued advertising independently from this GeorgeStreet address until December 1851 when he moved to his former residence inJamison Street and his stock of music was advertised as being available fromthere (SMH, 22 October 1851, p.1). He also offered 'instruction in the piano-forte, harp and singing'. .

Only three of Stephen's works located so far were published by his brother:The Ophir Schottische, Ferrolana Polka and Souvenir of Cathenne Hayes BrilliantFantasia. All were published as part of the Australian Cadeau series towards theend of the 1850s.

The brothers were involved in many musical activities together. One inMarch 1854 was a charity concert to raise funds for Leichhardt's mother, 'thewhole under the direction of Stephen Marsh with Grand Duo ftr Harp and Pi-ano, introducing Dr Leichhardt's March and favorite English, Irish and Scotchairs (SMH, 8 March 1854, p.8), The Australian Anthem & Chorus by Stephen .Marsh was also performed at this concert. Stephen played the harp and con-ducted, and Henry played ·the piano. A concert in 1855 featured Henry as con-ductor performing two of Stephen's works, By Murray's Banks and AustralianNational Anthem (SMH, 2 March 1855, p.1). Performances of The HomebushGalop and the ballad Allan McGaa, sung by Anna Bishop, received favourablereviews (SMH, 10 June 1856, pAl; the music has not yet been found.

Most of Stephen's Australian compositions had local and patrioticthemes-By Murray's Banks, Far o'er the Sea, The Ophir Schottische, The FerrolanaPolka, Souvenir ofCatherine Hayes Brilliant Fantasia, The Australian Waltz, Hailto Thee Mighty One! Song ofAustralia, Hail to Victoria! Queen ofthe Ocean and TheAll England Eleven Polka. The Spell that Beams in Woman's Eye was written towords by Sir Thomas 1. MitcheIl. The only sacred item located so far is In Thee,oLord, Have I Put my Trust: A Sacred Cantatafrom the Seventy First Psalm.

Two non-musical activities of interest were Marsh's petition from the set-tler inhabitants of the McLeay River, praying for protection from the aboriginesin 1853 (SMH, 27 August 1853) and his successful petition to the British HomeOffice about railways for New South Wales. Information about this, and a por-trait of Stephen Marsh were published in the Illustrated Sydney News when hisbrother Henry was co-proprietor with W.G. Mason in 1854."

Stephen Marsh was working in Melbourne sometime in the late 1850s andfrom 1861 to 1872 managed a Melbourne branch of his brother's business."Two of Stephen's works published in Melbourne have been located: All England

10. Illustrated Sydney News, 4 March 1854, pp. 172, 176. Hereafter cited in text as ISN.11. Sand's Melbourne City Directories, 1861-1872.

Bibliographical Society ofAustralia & New Zealand Bulletin 46

Eleven Polka, published by J. Wilkie, printed by W.H. Williams; and In Thee 0LordHave I PutMy Trust, printed and published by C. Troedel.

Stephen's opera The Gentleman in Black was composed in 1847. It was inthe repertoire of the Lyster Company from 1861 to 1868, and had at least threeperformances. The score has been lost, but the libretto by Edward Searle is ex-tant. A reviewer observed: .

There was only one thing wanting to make the success ofMr Marsh morecomplete, and that was, that he should have called himself Signor Mara-schino, have attached his music to an Italian libretto, and disclaimed allconnection with the colony, for in the latter circumstance is no doubt adrawback, and if another Weber or Rossini were to present himself asJones or Brown ofBallarat or Ballara, and were to produce another Eury-anthe or Mose in Egitto, it would be poo-pooed by a good many personsas 'only colonial' and therefore hardly tolerated. Fortunately for Mr.Marsh, (with an original work of great merit) his composition was gre-sented to a discriminating and kindly audience with gratifying success.

Stephen Marsh left for Japan in 1872. He lived in California from 1874 until hisdeath in 1888.

HenryMarshHenry Marsh was the most complex of all the nineteenth century Australianmusic publishers, and the most difficult when attempting to confrrm dates. Hisfrrst known composition was the Australian National Polka, also known as TheAustralian Polka, published in 1850. Henry had been selling pianofortes and mu-sic before this, as well as teaching and performing. He continued publishing mu-sic throughout 1851, and by March that year he offered the service of a circulat-ing music library consisting of45 volumes, with a catalogue of the contents, for a·subscription of 10s 6d per quarter (SMH, 15 March 1851, p.1). Also by April1851 he had published Parts 1, 2, 3 and 4 of The Sydney Musical BY·ou 'nowcomplete, containing pianoforte arrangements of thirty-eight pleasing composi-tions' (SMH, 29 March 1851, p.1). None of these volumes or those in his libraryhave been located.

In December 1851 Marsh formed a partnership with a violinist, AndrewMoore (SMH, 6 December 1851, p.1). Moore was a violinist who had per-formed in concerts organised by Henry, including the Grand Annual Concert on18 December 1851. Marsh & Moore advertised the sale of pianos, violin lessonsand the publication of several works. One advertisement included Falling Leaves,a song by Andrew Moore, as sung by Miss Sara Bower, The Sturm March Galop,performed by twelve pianofortes, and A Letter About Those Odious Diggings! assung by Mr John Howson at Mr Henry Marsh's grand Annual Concert (SMH,20 December 1851, p.l). More publications were advertised in January 1852, but

12. Argu' (Melbourne). 25 July 1861, p.5.

The Composing and Publishing Ventures ofthe Marsh Brothers 47

the only imprint ofMarsh & Moore located so far is The Spirit ofthe Ball Galopby Lord Otho Fitzgerald (SMH, 10 January 1852, p.l).

The name Marsh & Moore was used until March 1852, when the firmHenry Marsh & Co was established (SMH, 13 March 1852, p.l). At the end of1852, Henry Marsh published two works celebrating the arrival of the ship theGreat Britain, The Great Britain Quadrilles by Stephen Marsh and the GreatBritain Polka by J.A. Daniell-not to be confused with the Great Britain Polkaby Frederick Ellard and the Great Britain Galop, which were both published byWoolcott & Clarke (SMH, 27 November 1852, p.l; 27 December 1852, p.l).

This pattern of publishers issuing items with similar titles, particularly topi-cal ones relating to people, ships and events was prevalent in the 1850s whencompetition between publishers was quite lively. By the end ofJuly 1852, Wool-cott & Clarke were publishing as much music as Henry Marsh & Co, and al-ways advertised on the same pages of newspapers such as the Sydney Morning.Herald. These advertisements show the similarity in volume and content of thesetwo publishers.

Henry Marsh also gave music and singing lessons, in 1856 in associationwith W.H. Paling (SMH, 10 January 1856, p.l) and in 1868 with C.E.Horsley." He frequently performed in concerts, as a singer, pianist or conductor.With W.G. Mason he printed and published the Illustrated Sydney News fromMarch until July in 1854: Henry had been advertising in this newspaper from itsbeginning in Octoher 1853 and continued until it closed in mid 1855. There isan extensive list of his music publications in the issue of 6 May 1854 (pA8).

From 1855 to 1858 Henry Marsh published the series the AustralianCadeau. Early issues were printed by Francis Cunninghame at King Street withone of his most delicate decorative covers. Later issues were issued from Dego-tardi'soffice at 313 George Street. Eighteen pieces were published in the series.

It will take a major scholarly effort to unravel all of Henry Marsh's activi-ties, as he picked up publications from other publishers, transferred them andadvertised items that mayor may not have been successful. One example of thiswas his announcement in September 1854 that he would publish all the mostpopular songs as sung by Catherine Hayes (ISN, 23 1854, p.257).One song, Happy Birdlings of the Forest by W.V. Wallace, arranged by L.Lavenu, appeared promptly, but other publishers -Woolcott & Clarke, W.J.Johnson, and then J.R. Clarke-published many more Hayes items than Marshdid, A similar situation was evident with the 'Ethiopian melodies', sung by vari-ous visiting troupes. These were also taken up by the various-other publishers.

Henry Marsh operated from several premises, some of which were his ownresidential, teaching, retail and publishing locations, and sometimes he adver-tised and published from various printers' and music retailers' premises. Theseaddresses were not always sequential. He advertised from three different ones atone time--one for teaching, one for selling pianos and another for selling or

13. Sands Sydney Dire(/oryfor1868.

Bibliographical Society ofAustralia &New Zealand Bulletin 48

publishing music. He also advertised two different residences for teaching pur-poses in the same issues of newspapers, and sometimes used the wrong numbersfor the addresses of other printers or music houses. The addresses on the titlepages sometimes differ from that on the back cover.• Some of the Australian composers published by Henry Marsh were Miska

Hauser, Stephen Marsh, S. Nelson, E. Spagnolerti, C.P. Moller, C:W.F. Stier,F.H. Kavanaugh, L.H. Lavenu and C.E. Horsley. Overseas composers includedd'Albert, Barker, Cooke, Foster, Glover, Hendrion, Jullien, Linley, Perry,Qyidant, Verdi, Wilson and W.V. Wallace.

About twenty of Henry Marsh's own compositions have been located sofar: they were issued by several other publishers as well as by his own company.

Henry was listed as a professor of music in the Sydney city directories from1855 until 1873," but he seems to have stopped publishing music in the early1860s. One of his last compositions, The New Prince Imperial Quadrilles waspublished by Elvy & Co in the period 1864-79.

The printers, lithographers and engravers used by both Stephen Marsh andHenry Marsh represented the best of their day. The engravers included ThomasBluett, Francis Ellard, John Allan, Allan & Wigley and Charles Goddard. Theprinters and lithographers most used were Francis Cunninghame and John De-gotardi. The Marshes also engaged notable artists. Stephen's first Australianpublication, The Paget Quadrilles (1842), depicts the ship Sir Edward Paget,drawn by Eliza Winstanley, lithographed by Thomas Bluett. Another Australianartist, Edmund Thomas, illustratedStephen's Far O'er the Sea. This and hisillustration of Henry's Pie Nic Polka were both published in The AustralianMusicalAlbumfor 1857, byJ.R. Clarke.

Henry Marsh used the artist G.F. Angus for many of his own works-TheGalopfor Gold, Chusan Waltz, Gazelle Waltz, The Anniversary Polka (published by .Woolcott & Clarke), The Marian Waltzes Phoebe Morel, and The Nugget Schot-tische. Other artists appearing on Henry Marsh's imprints were C.W. Andrews(Louisa Schottische) and F.C. Terry (FairAustralia Waltzes).

ConclusionStephen and Henry Marsh represented the entrepreneurial and musical skillstypical of the musicians of the day. All the major publishers, printers and artistsin Sydney, and most of the music sellers, were in some way connected withthem. Their own works and those they published were performed by the colo-nies' most outstanding musicians. Their activities are a "mirror of the lively andprofessional musical life in the colonies in the 1840s and 1850s. Although theyboth stayed in Australia until the 1870s, their compositional and publishing out-put are centred in the 1850s, when music publishing in Australia reached stan-dards ofproduction seldom equalled since then.

14. Waugh & Cox's Dirtctory ofSydnry, 1855; Sands Sydnry and Suburban Dirtcfory, 1873.

The Composing andPublishing Ventures 0/the Marsh Brothers 49

Bibliography of Compositions

STEPHEN HALE MARSH

London Imprints, pre 1836Good Night: From Shelley's Posthumous Poems. Composed by S.H.A. Marsh. London:

].B. Cramer, [between 1824-1835?]The King ofMeny England: A New National Song. The words by R. Gilfillan; com-

posed ... by S.H.A. Marsh. London: S. Chappell, [1835?]The Song ofan Exile. Composed ... by S.H.A. Marsh. London: Clementi, Collard &

Collard, [between 1822 and 1830]There's a Magic in Thine Eye, Love. Written by Harry Stoe Van Dyk; composed by

S.H.A. Marsh. London: Paine & Hopkins, [between 1821 and 1836]

Australian Compositions

The AllEnglandEleven: Polka. Composed and dedicated to Messrs. Spiers & Pond,and the cricketers of Australia and Tasmania by S.H. Marsh. Melbourne: Jo-seph Wilkie; Sydney: H. Marsh, [1861?] (Melbourne: W.H. Williams)

The Australian Valse. Composed for the opening of the Government House, Sydney,and dedicated to Miss Norton ... by S.H. Marsh. London: T. Boosey & Co.,[ca.1845?]

By Murray's Banks. Poetry by Eve1yn; the music by S.H. Marsh. [Sydney?: S.H.Marsh?, 184-?]

By Murray's Banks: An Australian Ballad. The poetry by Alexander John Eve1yn.Sydney: Marsh, [18--].

Dr. March: For the Harp. Composed on the successful termination ot hisexpedition... by his friend, S.H. Marsh. London: T. Boosey & Co., [1846?]

Ferrolana Polka, op 63. Composed by S.H. Marsh. Sydney: Woolcott & Clarke, [be-tween 1857 and 1867?]

Hail to Thee Mighty One!: Song ofAustralia. The poetry by John Rae; composed byS.H. Marsh. Sydney: H.C. Jervis, [between 1858 and 1868]

Hail to Victoria! Queen ofthe Ocean. Composed in Australia, and performed there asthe national Australian anthem, and dedicated to its inhabitants by S.H.Marsh; the words by John Rae. London: T. Boosey & Co., [between 1842 and1852]

The Ophir Schottische, op. 64: For the Pianoforte. Composed :.. by Stephen HaleMarsh. Sydney: s.n., [1853?]

The Ophir Schottische. Sydney: H. Marsh, [1855?] The Australian Cadeau seriesThe Paget Quadrilles. Composed ... by S.H. Marsh. Sydney: F. Ellard, [184-] •...

composed on board the 'Sir Edward Paget', on her voyage to Sydney [in 1841-42]. Dedicated to Captn. A.]. Tait'.

Bibliographical Society ofAustralia &New Zealand Bulletin 50

The Parting Hour: Ballad. The words by Capt. A.]. Tait; the music ... by S.H.Marsh. Sydney: F. Ellard, [184-?] '... composed on board the 'Sir EdwardPaget', on her voyage to Sydney, and dedicated to Mrs. A.]. Tait'.

The Traveller's &turn: Song: with an accompaniment for the harp or piano-forte: com-'posed on the occasion ofDr. Leichhardt's return to Sydney. By S.H. Marsh; [writtenby A.K. Sylvester]. London: T. Boosey & Co., [1846?] , ... and dedicated to themembers of the Royal Geographic Society'.

Wessell and Co's Collection of the Most Admired Sets of Quadrilles and Waltzes. Ar-ranged by S.H. Marsh [1845].

San Francisco ImprintsBridal Schottische. Composed by S.H. Marsh. San Francisco (623 & 625 Clay St.,

San Francisco; 101 First St., Portland, 0.): M. Gray, 01875.Gentle words. Composed by S.H. Marsh. San Francisco: M. Gray, 1874.The Japan Waltz. Composed by S.H. Marsh. San Francisco (105 Kearny St.; 101

Frrst St., Portland, Oregon): M. Gray's Music Stores, 1875.

HENRY MARSH

The Anniversary Polka. Composed ... by Henry Marsh. Sydney: [H. Marsh & Co.?,1853] [Cover illustration by G.F. Angas.]

The Australian Polka: For the Pianoforte. Composed for the Citizens Return FancyDress Ball by Henry Marsh. Sydney: H. Marsh, 1850.

The Australian Polka. [Composed by] H. Marsh. Sydney: H. Marsh &Co., [185-?]The Birthday Polka. Composed in honor ofHer Majesty's birthday by Henry Marsh.. Sydney: H. Marsh, [between 1842 and 1850?]

The Bride's Waltz. [Composed by] H. Marsh. Sydney: H. Marsh & Co., [185-?]The Chusan Waltz. By Henry Marsh. Sydney: H. Marsh & Co., [185-?]The Croesus Polka. By Henry Marsh. Sydney: H. Marsh & Co., [185-?] 'Dedicated

to John Vine Hall, Esq., commander, and the officers of the General ScrewSteam Shipping Company's steam ship Croesus'. .

Fair Australia: Waltzes. By Henry Marsh. Sydney: Henry Marsh; Melbourne: S.H.Marsh &Joseph Wilkie, [between 1853? and 1872?]

The Galop for Gold. Dedicated to everybody by Henry Marsh. Sydney: Henry Marsh& Co., 1852. T.p. ill. signed: Angas.

The Gazelle Waltz. Composed by Henry Marsh. Sydney: H. ri1arsh & Co., [185-?][Cover illustration by Angas.]

Home: Galop for the Pianoforte. By Henry Marsh. Sydney: H. Marsh and Co.; Mel-bourne: JosephWilkie, [between 1851 and 1863?]

Jessamine: Valse de Salon. By Henry Marsh. Sydney: H. Marsh and Co., [185-?]Jessie: A Conversation Polka. Words by H.N. Montague; music by Henry Marsh.

Sydney: H. Marsh and Co., [18--?]

The Composing andPublishing Ventures ofthe Marsh Brothers 51

Kathleen, op. 22: morceau de salon. Par Henry Marsh. Sydney: Elvy & Co., [186-?]Louisa Schottische. By H. Marsh. Sydney: H. Marsh & Co., 1854.Louisa Schottische. By H. Marsh. Sydney: H. Marsh & Co. [185-?] [another edition]The Marian Waltzes. Composed ... by Henry Marsh. Sydney: H. Marsh·& Co.,

[\85-?]' ... & dedicated to Mrs. Egan'.The New Prince Imperial Quadrilles. Composed expressly for the new figures as

danced at the public halls by Henry Marsh. Sydney: Elvy, [between 1866 and1868]

The Schottische. By Henry Marsh. Sydney: H. Marsh & Co., [185-?]The Pie Nic Polka. By Henry Marsh. Sydney: J.R. Clarke, [1857?] In: Australian al-

bum, 1857. Sydney: J.R. Clarke, 1857. [Cover illustration of a View from .theNorth Shore by E. Thomas.]

The Royal Visit Souvenir. No. 2 Guiding Star Waltz: An Australian Keepsakefor 1868.By Henry Marsh. Sydney: [Henry Marsh?, 1868?] 'Respectfully inscribed toH.R.H. The Duke of Edinburgh.'

Zavistowski Walti. By HenryMarsh. [Sydney?: HenryMarsh?, 18--?]Mr. H. Marsh's Grand Evening Concert. Under the immediate patronage His Excel-

lency the Governor-General [i.e.Governor Fitzroy] and the Honorable Mrs.Keith Stewart, who have signified their intention of honoring the concert bytheir presence May 20; 1853. Grand evening concert [S.1. : s.n., 1853]