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The Arts Council of Australia
Newcastle City Hall
April 1952
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 7
Reading a review of Let’s Make an Opera from the Newcastle Morning Herald and Miners Advocate 1952 provides a great insight into the performance. The cast consisted of five adults and hundreds of school children which was something of a challenge for the conductor Eric Starling who, ‘sometimes had to act as school teacher as well as conductor to enlist full co-operation from them’.
The play consisted of two parts, the preparation of the opera and its dress rehearsal followed by the actual opera. Audience involvement in the performance was also expected. ‘Owls, herons, turtle-doves and chaffinches will carol together when Newcastle audiences take their part in ‘Let’s Make an Opera”.
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Versed in History: poetry inspired by Camden's archive collection
Introduction / The Waitress: 27th July 1917 / Regent’s Canal: 04.55 Friday 2nd October / When Hell Was Overground / Children’s Voices / Holborn Incident / Belonging / Discovery / Mr Stevenson’s Poem / Ghost Door / Commonwealth Regained / Amphitheatre / Just Like Her Mother / Festive End / I Know Where That Place Is / The Bedford Music Hall / Day of the Long Tables / Thomas Clowser’s Register / Hana Waters / Fleet / Grimaldi
The Bedford Music Hall
The Bedford Music Hall
The Bedford Music Hall
By Barton Young
Gone that London a lad could hang
off a horse-dragged tram
that swam past public houses raucous warm with gin and brag
where piannas barrelled the songs they sang
in the stalls of the Bedford,
best music ‘all this side of the water.
Sink into a sixpence seat. The orchestra’s tuning up.
Fam’lies unwrap jam sarnies in the cheap seats.
First the bottom-billers: bar-benders, mind-readers, Wally White
‘s Wonder Dog. Backstage a comic lights a gasper off a lamp, eyes
The Charming Sisters Kelly in their candle-coloured
costumes, a tightrope walker doing pliés.
The vent chucks down a whiskey, tells the dummy for the nerves.
Out front a tenor coaxes a popular air;
a wit provides ‘song of my own composing,’
an English rose trills the young men to the trenches
singing all the boys in khaki get the nice girls.
Then a flintvoiced queenie chips the edges off a tune
she knows you know the chorus to.
They’ll all be in the wings at the bill’s top:
Up in the dressing room the full house roars
like an eager sea beneath her; the biggest of her day
sees her face in the mirror, will descend
to distil the Cockney crowd
into pure memory.
For a while in the thirties the hook came for the lot of 'em
and a silver screen shone above
the boards they’d trod by gaslight.
Hollywood shadow in the back row the belters
had flung their high notes at.
Then it was a theatre again.
Shabby Shakespeare stared up at
from tatty crimson plush.
Forgotten revues. Empty seats. Then rats and tramps.
My father saw it pulled down.
Stood across the street with long hair and no job
he saw this comatose building
chucked into the gutter face first.
A wrecking ball raised the roof off the place
and modern day gawped inside,
casting its grey spotlight
on the gods and all below, where
from the bellies of ghosts
the stage-led singsong and honest laughter
that glowed in the derelict dark
those years the Bedford slept off the past
(like aging turns in digs on iron beds)
died in the daylight of Camden High Street, 1969,
and all that England gone
before I ever got to see it.
For more information visit www.camden.gov.uk/localstudies
The Arts Council of Australia
Newcastle City Hall
April 1952
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 9
Reading a review of Let’s Make an Opera from the Newcastle Morning Herald and Miners Advocate 1952 provides a great insight into the performance. The cast consisted of five adults and hundreds of school children which was something of a challenge for the conductor Eric Starling who, ‘sometimes had to act as school teacher as well as conductor to enlist full co-operation from them’.
The play consisted of two parts, the preparation of the opera and its dress rehearsal followed by the actual opera. Audience involvement in the performance was also expected. ‘Owls, herons, turtle-doves and chaffinches will carol together when Newcastle audiences take their part in ‘Let’s Make an Opera”.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.
We can probably thank the late Gerry Fiennes for the purchase of the Deltics, or as he put it "the policy of building diesels of around 2000hp lies in ruins around us, nothing less than well over 3000hp under the bonnet will do". Certainly the various Type 4 designs were not really any great advance in on-rail performance over a Pacific in reasonable shape, at the time the Deltic was the only locomotive which could advance on this, a machine that could reach and maintain 100mph (and more in reality) where the rest could only struggle to 90mph or less. We will certainly never see anything like them again.
The ‘Crecer Bien’ programme in Peru was developed to help tackle chronic malnutrition and the growing trend towards obesity among peruvian children.
The focus of the programme was on improving the quality of life of children aged 3 - 8, giving teachers and parents the knowledge and tools to promote healthy habits in children with regards to nutrition and hygiene and help them to ‘Grow Well’.
Launch of the IAEA Marie Sklodowska-Curie Fellowship Programme held at the Agency headquarters in Vienna, Austria. 9 March 2020
Photo Credit: Dean Calma / IAEA
Moderator:
Sophie Boutaud de la Combe, Moderator and IAEA Director, Office of Public Information and Communication, Director General’s Office for Coordination
PANELISTS:
Ms Karen Hallberg, Principle Researcher, Bariloche Atomic Centre, National Atomic Energy Commission and Professor, Physics, Balseiro, Institute, Argentina
HE Mr Xavier Sticker, Resident Representative of France to the IAEA
HE Ms Dominika Anna Krois, Resident Representative of Poland to the IAEA
The Blancpain Race Series held on the Silverstone Arena Grand Prix circuit on Sunday 2nd June
The early Sunday morning start for the Blancpain Endurance series qualifying session was greeted by blue skies, bright sunshine but chilly temperatures which are nearly always present as Silverstone seems to have its own weather system, not connected to the rest of the country. At least no rain is forecast.
Once into the venue, there didn't seem to be any race programmes on sale. This is going to make following the track action particularly difficult in a multi-driver endurance race. There were very few grandstands open and a very sparse crowd in attendance. All this this is a bit of a shame for such a prestigious Europeon series with a top quality line up.
The qualifying session was split into three 15-minute sessions, with the single best time in any session counting for pole. The massive field is split into three groups, the PRO category, the PRO-AM category and the Gentleman Drivers category.
Altogether there were 58-GT3 supercars entered for the event, made up of a mixture of exotic examples of various supercar GT models including the Aston Martin Vantage, Audi R8 LMS Ultra, Nissan GT-R, BMW Z4, Ferrari 458 Italia, McLaren MP4-12C, Lamborghini LP560-4, Mercedes SLS AMG and the ever present Porsche 997.
A number of familiar names had entered from the world on sportcar racing and a number of the cars had been seen in various other events this season already, from the British GT, WEC and the main GT series.
The performance balancing of the GT3 format always produces close, exciting racings. This along with the huge field of experienced drivers should make for an excellent three-hour race later this afternoon.
After the spectacular GT supercars, the next cars out on track were the very underwhelming return of Renault 2.0 to the UK. This series was the North European championship. I always used to enjoy the Renault UK 2.0 championship when it was part of the TOCA British Touring Car package. The single seaters broke up the procession of tin top cars during the day and the racing was always full on and viewed as a stepping stone up to Formula 3. Unfortunately putting this junior formula on directly after the big booming GT cars on the full Grand Prix circuit made them look very junior indeed and they did take an awful long time to come round on each lap.
Next up were the Lamborghini Super Trofeo series for the Gentleman Drivers (very rich men) consisting of a glorious field of identical race prepared Gallardo LP570-4s. As a special one off, Adrian Newey was in the no1 VIP car but....unfortunately he span and crashed into a concrete barrier on the formation lap whilst warming his tyres a bit too enthusiastically. His car was far too damaged to be included in the start.
Shortly into the start of the race, one of the cars crashed very heavily on the Wellington Straight, the car had speared off to the right of the track and through the bottom two sections of the Armco barrier. This left parts of Lamborghini liberally spread across the track which resulted in a safety car period. This then developed into a full race stoppage whilst a temporary concrete barrier was brought into place to seal up the gap in the barrier. After a lengthily delay, which turned into the lunch break, the truncated race continued with Andrea Amici eventually taking the victory.
Whereas next should have been the lunchbreak and a chance to wander around the pit and paddock area in the warm sunshine, out of the continuous chilly breeze. Due to the long stoppage during the Lamborghini event, the second of the weekend's Auto GP races start almost immeadiately. I believe that the Auto GP cars have developed from the old Italian F3000 series. The current cars, powered by V8 3.4 litre engines producing 550 bhp, are certainly very fast and loud. The mandatory pitstop adds drama to what could be a fairly mundane processional affair.
The series has attracted a few big names, Narain Karthikeyan, the Indian ex-Formula One driver who had already won the first race of the weekend and Briton's Luciano Bacheta the 2012 champion of the now defunct Formula Two series was also on the grid with a number of other F2 refugees.
The 13-lap race was won by Kimiya Sato, who had started in third and made his way to the front. The Auto GP cars were able to lap the full GP circuit in an impressive 1:47, which made them by far the quickest cars here this weekend.
The main event of the weekend, the Blancpain Endurance Series three-hour race, was due off at 2:45pm. It took best part of half an hour for the huge field of 57 starters to form up on the grid. The double line of supercars extended back all the way passed Woodcote.
Once the grid was finally cleared of the hundreds of people who had amassed around the cars, they were off in a blaze of noise on their green flag lap behind the pace car. Three minutes elapsed before they came back into sight at the end of the Wellington Straight. Forming back up into a neat two by two format as they trundled around the last couple of corners. Dropping back from the pace car as he ducked into the pits, the two front row cars, the Aston Martin and the Nissan GT-R, waited and waited and then go go go. What a sight, as a continuous wave of the best GT cars in Europe, hit the gas and accelerated down the National Straight and around Copse Corner. A testament to the quality of the field, is that this huge field could all safety negotiate the first corner without incident.
For most, the race would be split up into three parts. Each of the cars could go at least 60-minutes on one tank of fuel. Darren Turner took the first stint in the no 97 Aston Martin Vantage and spent the first few laps jinking it out with the Nissan GT-R.
As the race settled down, the Aston Martin looked the strongest entry, closely followed by a gaggle of Audi R8s. After 3-hours 1-minutes 36. (very appropriately) 007- seconds the final result was
1st - 97 - Aston Martin Vantage driven by Turner/Makowiecki/Mucke
2nd - 1 - Audi R8 LMS driven by Ortelli/Vanthoor/Rast
3rd - 13 - Audi R8 LMS driven by Strippler/Sandstrom/Mies
One strange point from the day was the disappearance of the grandstand behind the banked terrace area at the Luffield complex. I'm sure there was one there last time I was here. Maybe the F1 Grand Prix tickets aren't selling as well this year.
The unusual design of the west gable was conceived purely as a display for sculpture as the culmination of the 13th century facade. However the programme of sculpture originally remained unfinished for two centuries until the row of apostles and smaller angel figures beneath were installed in the 15th century. Sadly the carving and quality of the stone was of inferior quality to the 13th century work and the figures have weathered badly as a result. The topmost three niches were likely originally filled in the 13th century but only the lower half of the central Christ figure survived and was copied when new sculptures by David Wynne were created in 1985.
Wells Cathedral is a magical place to me, having cast a spell over me from the very first time I laid eyes on it as a seven-year old when it started to be a regular break on our journeys south west for childhood holidays. Although it wasn't the first cathedral I'd encountered it was the first I'd seen after developing a more conscious interest in church art and architecture and it seemed to me like something from another world (which in many ways it is). I never forgot the impression it made, its beauties inside and out, and having not visited for nearly three decades I decided getting reacquainted was long overdue.
Described as England's 'Queen amongst cathedrals' it is not as huge as some but it is as beautiful as any, and its setting within the enclosure of a charming cathedral close that constitutes a large part of this modestly-sized but picturesque cathedral-city just adds to its qualities. Its three towers beckon the visitor through the turreted gates that connect the close to the market place and to walk through these and behold the west facade for the first time is an unforgettable experience. The central tower is a beautiful example of Somerset's pinnacled late Gothic masterpieces, and yet it almost disappears, practically forgotten, when one encounters the rich display between the two western towers with their curiously flat parapets. These towers are also mainly 15th century work, but below them, and built two centuries earlier, the facade unfolds like a huge screen covered with niches, most of which remarkably retain their original statues, the largest display of medieval sculpture surviving in England.
Currently visitors are directed to enter via the cloisters on the south side rather than through the surprisingly small, almost apologetic doorways burrowed through the base of this astonishing facade, so it is important to spend some time absorbing it before entering the building. Once inside the effect is rather calmer than the riot of ornamentation on the west front, and the scale a little more intimate and inviting than many cathedral interiors. Most of it is early 13th century and harmonious in style, but it is a later addition that draws the eye looking down the nave, the unique 'scissor arches' installed to brace the crossing in order to stabilise the central tower following signs of movement. The transepts beyond are of the same date and design as the nave, whilst further east the more ornate choir is a little later, being completed in the early 14th century. Beyond this the retrochoir and polygonal Lady Chapel with their delicate pillars and vaults form one of the most delightful and visually satisfying of English medieval interiors.
Furnishings and features of interest are plentiful as one explores the church admiring the beauty of its architecture, with much medieval glass surviving at the east end, the east window and the adjoining clerestories having survived almost intact (more survives in the choir aisles and lady chapel though aside from the traceries most is in a fragmentary state). Many medieval bishops effigies are to be seen (many forming a posthumous 13th century commemoration of earlier Saxon bishops) along with three chantry chapels. In the north transept is the famous medieval astronomical clock with its painted dials and jousting knights marking the quarter hours.
One of the most exquisite features is the chapter house also on the north side, approached via a delightfully timeworn staircase and covered by a particularly attractive vaulted ceiling. It is one of the highlights of the building and shouldn't be missed. The cloisters on the south side are also a delight to wander through and were one of the last major additions to the cathedral.
Wells Cathedral is without a doubt one of the country's greatest treasures and in my mind one of the most beautiful churches anywhere and even its surroundings are a joy to explore. Happily it now at last appears to be reopening after the long hiatus of lockdown, it deserves to be visited and enjoyed again by all once the present crisis is over.
By bringing water to people water resellers extend the coverage of piped water and provide a service with important benefits for households - but at a price. That price rises with distance from the utility, as defined by the number of intermediaries between the network and the end consumer. Having a regular supply of clean water piped into the household is the optimal type of provision for human development. Experience suggests that households with water delivered through one tap on a plot (or within 100 metres) typically use about 50 litres of water a day, rising to 100 litres or more for households with multiple taps. Household connections to a utility offer financial benefits. In unit price terms, utility water is by far the lowest cost option. Because of economies of scale once the network is in place, the marginal cost of delivering each additional unit of water falls sharply. Subsidies are another important price-reducing mechanism: utilities are usually the gatekeeper for a wide range of direct and indirect subsidies that keep the price of water well below cost. Every step removed from the household tap adds to the price. Water vendors often act as a link between unconnected households and the utility. In some cases water is purchased from the utility and sold on to households, as in the case of private standpipe operators. In other cases water is purchased from the utility and sold to intermediaries, who in turn sell to households. As water passes through the marketing chain, prices increase. Water delivered through vendors and carters is often 10–20 times more costly than water provided through a utility. In Barranquilla, Colombia, the average price of water is $0.55 per m 3 from the utility and $5.50 per m 3 from truckers. Similarly, in the slums of Accra and Nairobi people buying water from vendors typically spend eight times as much per litre as households with piped water supplied by utilities. (UNDP Human Development Report 2006).
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Philippe Rekacewicz, February 2006
Maitland Music Class
Maitland Town Hall
February 1956
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Front Cover
“Pink Champagne” was performed by the students of the Maitland Music Class. Prior to the 1955 flood a room above the Library had been allocated for evening classes equipped with the latest mod cons such as a “high fidelity radiogram, records, chairs, a coffee perculator and like essentials for a chatty and educational evening”.
Evening college classes were introduced by the Department of Education in 1945 and provided adults with an opportunity to gain a free education in “subjects which will occupy its ever-increasing leisure hours”.
“Pink Champagne” is an adaptation of Die Fledermaus by Johann Strauss from the Vienna production of 1874.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
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Someone's trying to sell the original artwork for the front page on ebay just now for £150. I think the faces look a bit like the flat falsefaces you see at the big races and demos. Not quite in their right positions.
Yesterday evening I was at the launch for this year's programme for the Edinburgh International Book Festival, the world's largest literary festival, which takes place here in Edinburgh each August (and which I am often fortunate enough to take part in chairing some events).
The programme is now live, with hundreds of authors from sixty counties, from books for the youngest to adults, politics to fiction (hard to tell the difference so much these days!), poetry, workshops, performances with other media and so much more. Apologies for not being the sharpest pic, I was shooting from several rows back in the seating, but you take what you can get at these functions!
Red Kites, were once commonplace in suitable habitat throughout England, Scotland and Wales. As well as in the open countryside, they were to be found around human settlements where they fed on waste – a feature of their behaviour which brought them protection by Royal Charter in the 15th Century. However, with the passage of time, improvements in hygiene arrangements reduced this source of food, alongside which they became increasingly persecuted.
The population of kites is still small and extremely vulnerable but it is expanding steadily. The birds are easiest to see during the October to March period when the young ones are particularly gregarious. At other times of the year the birds are busy breeding and can be much more secretive
Many areas of England Scotland and Wales have reintroduced and are protecting the Kites. At the Braes of Doune in the area of Central Scotland where the RSPB and Scottish Natural Heritage have reintroduced the red kite.
The population has grown in several years from a few chicks to over a hundred birds in Scotland.
Maitland Music Class
Maitland Town Hall
February 1956
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Page 7
“Pink Champagne” was performed by the students of the Maitland Music Class. Prior to the 1955 flood a room above the Library had been allocated for evening classes equipped with the latest mod cons such as a “high fidelity radiogram, records, chairs, a coffee perculator and like essentials for a chatty and educational evening”.
Evening college classes were introduced by the Department of Education in 1945 and provided adults with an opportunity to gain a free education in “subjects which will occupy its ever-increasing leisure hours”.
“Pink Champagne” is an adaptation of Die Fledermaus by Johann Strauss from the Vienna production of 1874.
This image may be used for study and personal research purposes. Please observe copyright where applicable and acknowledge source of all images.
If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library.
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below.
59th ABU General Assembly and Associated Meetings 2022
25 November - 30 November 2022
New Delhi, India
Copyright Asia-Pacific Broadcasting Union. Please credit accordingly.
IAEA Director General Rafael Mariano Grossi delivers his opening remarks at the launching of the IAEA Marie Sklodowska-Curie Fellowship Programme held at the Agency headquarters in Vienna, Austria. 9 March 2020
Photo Credit: Dean Calma / IAEA
Moderator:
Sophie Boutaud de la Combe, Moderator and IAEA Director, Office of Public Information and Communication, Director General’s Office for Coordination
PANELISTS:
Ms Karen Hallberg, Principle Researcher, Bariloche Atomic Centre, National Atomic Energy Commission and Professor, Physics, Balseiro, Institute, Argentina
HE Mr Xavier Sticker, Resident Representative of France to the IAEA
HE Ms Dominika Anna Krois, Resident Representative of Poland to the IAEA
The Trade Facilitation Programme (TFP) currently includes over 100 issuing banks in the EBRD regions and more than 800 confirming banks worldwide. The event gave 150 guests the opportunity to review and discuss current market challenges with key industry specialists, regulators and representatives from the World Trade Organization, the International Chamber of Commerce HQ and the local, national International Chamber of Commerce (ICC) committees industry. It also featured the highly popular annual award ceremony for ‘The Most Active EBRD TFP Banks’ and ‘Deal of the Year’, co-hosted with the “Financial Times Special Editions”.
Moderators
Anna Brod
Principal Banker, EBRD
Kamola Makhmudova
Associate Director, Senior Banker, TFP, EBRD
Rudolf Putz
Head Trade Facilitation Programme (TFP), EBRD
Speakers
Marc Auboin
Counsellor, World Trade Organization
Faycal Badawi
Director of Foreign Banking Relations & Trade Financing, BMCE Bank Of Africa
Chafic Haddad
Head of EMEA, Financial Institutions, Citi
Andrea Hauptmann
Executive Director, Head of Guarantees Department, Raiffeisen Bank International AG
William Howarth
President, International Compliance Association
Alan Ketley
Managing Director, Global AML Advisory, MUFG
Hans Krohn
Regional Head CIS, Commerzbank AG
David Yung-Lo Lin
Representative, Taipei Representative Office in the UK
Francis Malige
Managing Director Financial Institutions Group, EBRD
Jelena Moraca
Corporate Strategy & Transactional Banking Department Deputy m, Eurobank A. D.
Ulf-Peter Noetzel
Global Head of Trade Finance Financial Institutions, Deutsche Bank AG
Vincent O'Brien
Chair, ICC Banking Commission
Selma Omić
COO - Member of the Management Board, Addiko Bank dd
Lakis Pantelides
Manager Trade Services, Bank of Cyprus Group
Sanela Pašić
CEO - President of the Management Board, Addiko Bank dd
Elena Ristevska
Senior Officer, Komercijalna Banka AD Skopje
Senad Softić
Governor, Central Bank of Bosnia and Herzegovina
Max Richter talks about the music of Wayne McGregor's Woolf Works, 2017. Still from an exclusive film available in your digital programme.
From the Official Programme
THE NATIONAL COMMEMORATION OF THE CENTENARY OF THE GALLIPOLI CAMPAIGN AND ANZAC DAY AT THE CENOTAPH, WHITEHALL, LONDON
HOSTED BY THE GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND IN PARTNERSHIP WITH THE HIGH COMMISSIONS OF AUSTRALIA AND NEW ZEALAND IN LONDON
On 25 April 1915 Allied soldiers landed on the Gallipoli peninsula in Turkey in one of the most ambitious amphibious assaults in history.
More than 550,000 soldiers from Britain, Ireland, France, Australia, New Zealand, the Indian sub-continent, Canada and Sri Lanka waged this historic campaign, including 400,000 from Britain alone. 58,000 Allied servicemen and 87,000 from Turkey died in this campaign.
ANZAC Day was established by Australia and New Zealand as an annual day of commemoration to remember their servicemen who died in Gallipoli. The first ANZAC Day march in London took place on 25 April 1916. ANZAC Day has been commemorated in London on 25 April every year since then.
ORDER OF SERVICE
11:00 Big Ben strikes the hour
Two minutes’ silence
The Last Post Sounded by buglers from the Band of Her Majesty’s Royal Marines
Reading by Michael Toohey, age 22, descendant of Private Thomas Toohey, Royal Dublin Fusiliers, killed in action at V beach on 25 April 1915, aged 22.
The Fallen by Laurence Binyon, 4th verse, published in The Times on 21 September 1914
They shall grow not old, as we that are left grow old: age shall not weary them nor the years condemn. At the going down of the sun and in the morning, we will remember them.
All: We will remember them.
Laying of Wreaths
After Her Majesty The Queen has laid a wreath the Massed Bands will play Elegy (1915) – in memoriam Rupert Brooke – by F S Kelly (1881–1916) and Largo by G F Handel (1685–1759).
Her Majesty The Queen lays the first wreath followed by:
The Right Honourable David Cameron, Prime Minister Great Britain and Northern Ireland
Senator the Honourable George Brandis QC, Attorney General, Commonwealth of Australia
The Right Honourable David Carter MP, 29th Speaker of the New Zealand House of Representatives
A representative of the Republic of Turkey
The Right Honourable Nick Clegg, Deputy Prime Minister Great Britain and Northern Ireland
The Right Honourable Michael Fallon, Secretary of State for Defence
The Right Honourable Sajid Javid, Secretary of State for Culture, Media and Sport
The Right Honourable Hugo Swire, Minister of State, Foreign and Commonwealth Office
Helen Grant, Minister for the First World War Centenary
Dr Andrew Murrison, Prime Minister’s Special Representative for the First World War Centenary
The Right Honourable Ed Miliband, Leader of Her Majesty’s Opposition
Keith Brown MSP, Cabinet Secretary for Infrastructure, Investment and Cities, Scottish Government
The Right Honourable Carwyn Jones, First Minister, Welsh Government
A representative of the Northern Ireland Executive
Lieutenant General Sir Gerry Berragan KBE CB, Adjutant General
Air Marshal Dick Garwood CB CBE DFC, Director General Defence Safety Authority
Vice Admiral Sir Philip Jones KCB, Fleet Commander and Deputy Chief of Naval Staff
Lieutenant General John Caligari AO DSC, Chief Capability Development Group, Australian Defence Force
Brigadier Antony Hayward ONZ, Head New Zealand Defence Staff, New Zealand High Commission
Colonel Ömer Özkan, Air Attaché, Embassy of Turkey
A representative of the People’s Republic of Bangladesh
Steven Vandeput, Minister of Defence of Belgium
His Excellency Gordon Campbell, High Commissioner for Canada
A representative of the Republic of France
A representative of the Federal Republic of Germany
His Excellency Dr Ranjan Mathai, High Commissioner for the Republic of India
His Excellency Daniel Mulhall, Ambassador of Ireland to the United Kingdom
His Excellency The Honourable Joseph Muscat, Prime Minister of the Republic of Malta
A representative of the Federal Democratic Republic of Nepal
His Excellency Muhammad Nawaz Sharif, Prime Minister of the Islamic Republic of Pakistan
His Excellency The Honourable Peter O’Neill CMG MP, Prime Minister of the Independent State of Papua New Guinea
His Excellency Mr Obed Mlaba, High Commissioner for the Republic of South Africa
A representative of the Democratic Socialist Republic of Sri Lanka
Sonata Tupou, Acting High Commissioner for the Kingdom of Tonga
The Honourable Bronwyn Bishop MP, Speaker to the Australian House of Representatives
Bill Muirhead AM, Agent-General for South Australia
Ken Smith, Trade Commissioner for Europe and Agent General for UK at Trade & Investment Queensland
Kevin Skipworth CVO, Agent-General for Western Australia
Ian Matterson, Representative of the Premier of Tasmania
Mathew Erbs, on behalf of the Agent-General for Victoria
Gary Dunn, Deputy Commonwealth Secretary General
General The Lord Richards of Herstmonceux GCB CBE DSO, Deputy Grand President, British Commonwealth Ex-Servicemen’s League
Vice Admiral Peter Wilkinson CB CVO, National President, the Royal British Legion
Right Honourable The Viscount Slim OBE DL, Returned and Services League of Australia
Colonel Andrew Martin ONZM, Royal New Zealand Returned and Services Association
Lindsay Birrell, CEO, London Legacy
Captain Christopher Fagan DL, Chairman, The Gallipoli Association
The Honourable Mrs Ros Kelly AO, Commissioner, Commonwealth War Graves Commission
Sue Pillar, Director of Volunteer Support, Soldiers’ And Sailors’ Families Association (SSAFA)
Captain Jim Conybeare, Master, The Honourable Company of Master Mariners
Lyn Hopkins, Director General, The Victoria League for Commonwealth Friendship
Sir Anthony Figgis KCVO CMG, Chairman, Royal Overseas League
Reveille sounded by buglers from the Band of Her Majesty’s Royal Marines
THE PRAYERS
Prayer by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
God our Father, we come together today to honour all those who gave themselves with great courage in service and sacrifice for their country in the Gallipoli Campaign. We pray that their example may continue to inspire us to strive for the common good, that we may build up the harmony and freedom for which they fought and died.
Help us O Lord, to lift our eyes above the torment of this broken world, and strengthen our resolve to work for peace and justice, and for the relief of want and suffering. As we honour the past, may we put our faith in your future; for you are the source of life and hope, now and forever. Amen.
Hymn led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
I Vow To Thee My Country
All:
I vow to thee, my country, all earthly things above,
Entire and whole and perfect, the service of my love;
The love that asks no question, the love that stands the test,
That lays upon the altar the dearest and the best;
The love that never falters, the love that pays the price,
The love that makes undaunted the final sacrifice.
I heard my country calling, away across the sea,
Across the waste of waters, she calls and calls to me.
Her sword is girded at her side, her helmet on her head,
And around her feet are lying the dying and the dead;
I hear the noise of battle, the thunder of her guns;
I haste to thee, my mother, a son among thy sons.
And there’s another country, I’ve heard of long ago,
Most dear to them that love her, most great to them that know;
We may not count her armies, we may not see her King;
Her fortress is a faithful heart, her pride is suffering;
And soul by soul and silently her shining bounds increase,
And her ways are ways of gentleness, and all her paths are peace.
Prayer read by Grace van Gageldonk (14 years old) from Australia
God of compassion and mercy, we remember with thanksgiving and sorrow, those whose lives in world wars and conflicts past and present, have been
given and taken away.
Enfold in your love, all who in bereavement, disability and pain, continue to suffer the consequences of fighting and terror; and guide and protect all those who support and sustain them. Amen.
National anthem Advance Australia Fair
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
Australians all let us rejoice,
For we are young and free;
We’ve golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in nature’s gifts
Of beauty rich and rare;
In history’s page, let every stage
Advance Australia Fair.
In joyful strains then let us sing,
‘Advance Australia Fair’.
Prayer read by Kathryn Cooper (11 years old) from New Zealand
God of hope, the source of peace and the refuge of all in distress, we remember those you have gathered from the storm of war into the everlasting peace of your presence; may that same peace calm our fears, bring reconciliation and justice to all peoples, and establish lasting harmony among the nations.
We pray for all members of the armed forces who strive for peace and fight for justice today; bless and keep their families and friends at home awaiting their return. Help us, who today remember the cost of war, to work for a better tomorrow, and bring us all, in the end, to the peace of your presence; through Jesus Christ our Lord. Amen.
National anthem God Defend New Zealand
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
E Ihowā _Atua,
O ngā _iwi mātou rā
Āta whakarangona;
Me aroha noa
Kia hua ko te pai;
Kia tau tō _atawhai;
Manaakitia mai
Aotearoa
God of Nations at Thy feet,
in the bonds of love we meet,
hear our voices, we entreat,
God defend our free land.
Guard Pacific’s triple star
from the shafts of strife and war,
make her praises heard afar,
God defend New Zealand.
Reading Atatürk’s message to bereaved pilgrims, 1934, read by Ecenur Bilgiç (14 years old) from Turkey
Those heroes that shed their blood and lost their lives…
You are now lying in the soil of a friendly country. Therefore rest in peace.
There is no difference between the Johnnies and the Mehmets to us where they lie side by side here in this country of ours…
You, the mothers, who sent their sons from faraway countries, wipe away your tears; your sons are now lying in our bosom and are in peace, after having lost their lives on this land they have become our sons as well.
National anthem İstiklal Marşı (The Independence March)
Led by Burak Gülşen from Turkey, accompanied by the Massed Bands
Korkma, sönmez bu şafaklarda yüzen al sancak;
Sönmeden yurdumun üstünde tüten en son ocak.
O benim milletimin yıldızıdır, parlayacak;
O benimdir, o benim milletimindir ancak.
Çatma, kurban olayım, çehreni ey nazlı hilal!
Kahraman ırkıma bir gül! Ne bu şiddet, bu celal?
Sana olmaz dökülen kanlarımız sonra helal…
Hakkıdır, Hakk’a tapan, milletimin istiklal!
Fear not! For the crimson flag that flies at this dawn, shall not fade,
As long as the last fiery hearth that is ablaze in my country endures.
For that is the star of my nation, which will forever shine;
It is mine; and solely that of my valiant nation.
Frown not, I beseech you, oh thou coy crescent!
Come smile upon my heroic race! Why this rage, this fury?
The blood we shed for you shall not be blessed otherwise;
For independence is the absolute right of my God-worshipping nation.
Remembering Gallipoli a commemoration created by Michael McDermott
Music composed by Michael McDermott
Reading by James McDermott (17 years old) from the United Kingdom
The Attack at Dawn (May, 1915) by Leon Maxwell Gellert (1892–1977)
‘At every cost,’ they said, ‘it must be done.’
They told us in the early afternoon.
We sit and wait the coming of the sun
We sit in groups, — grey groups that watch the moon.
We stretch our legs and murmur half in sleep
And touch the tips of bayonets and yarn.
Our hands are cold. They strangely grope and creep,
Tugging at ends of straps. We wait the dawn!
Some men come stumbling past in single file.
And scrape the trench’s side and scatter sand.
They trip and curse and go. Perhaps we smile.
We wait the dawn! … The dawn is close at hand!
A gentle rustling runs along the line.
‘At every cost,’ they said, ‘it must be done.’
A hundred eyes are staring for the sign.
It’s coming! Look! … Our God’s own laughing sun!
Closing prayers by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
Eternal God,
from whom all thoughts of truth and peace proceed;
Kindle, we pray, in the hearts of all, the true love of peace
and guide with your pure and peaceable wisdom
those who take counsel for the nations of the world,
that in tranquillity your kingdom may go forward,
and all people may spend their days in security, freedom and peace;
through Jesus Christ our Lord. Amen.
Merciful God
we offer to you the fears in us
that have not yet been cast out by love:
may we accept the hope you have
placed in the hearts of all people,
and live lives of justice, courage and mercy;
through Jesus Christ our Lord. Amen.
The Lord’s Prayer
All:
Our Father, who art in heaven,
hallowed be thy name;
thy kingdom come, thy will be done;
on earth as it is in heaven.
Give is this day our daily bread.
And forgive is our trespasses,
And forgive us our trespasses,
as we forgive those that trespass against us.
And lead is not into temptation;
but deliver us from evil.
For thine is the kingdom,
the power and the glory,
fro ver and ever. Amen.
The Blessing
God grant to the living grace, to the departed rest,
to the Church, the Queen, the Commonwealth and all people,
unity, peace and concord,
and to us and all God’s servants, life everlasting;
and the blessing of God almighty,
the Father, the Son and the Holy Spirit,
be among you and remain with you always. Amen.
National anthem God Save the Queen
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
God save our gracious Queen,
Long live our noble Queen.
God save the Queen!
Send her victorious,
Happy and glorious,
Long to reign over us;
God save the Queen!
They Are At Rest by Sir Edward Elgar (1857–1934), sung by the Choirs of Chelmsford Cathedral (unaccompanied)
THE MARCH PAST
Contingents from:
The Royal Navy
HMS QUEEN ELIZABETH
The Fleet Air Arm
The Submarine Service
Hybrid (HMS OCEAN, HMS ALBION,
Britannia Royal Naval College)
The Royal Marines
Maritime Reserves (Royal Navy
and Royal Marines Reserves)
Representatives from the Armed Forces of other countries who fought at Gallipoli
invited to join the March Past:
Australia
New Zealand
Canada
Turkey
India
Germany
Ireland
France
Bangladesh
Pakistan
South Africa
Papua New Guinea
Tonga
The Gallipoli Association
Naval Services Associations
The Royal Naval Association
The Royal Marines Association
Army Units and their Associations
The Royal Regiment of Artillery
The Royal Corps of Engineers
The Royal Regiment of Scotland
The Princess of Wales’ Royal Regiment
The Duke of Lancaster’s Regiment
The Royal Regiment of Fusiliers
The Royal Anglian Regiment
The Yorkshire Regiment
The Mercian Regiment
The Royal Welsh
The Royal Irish Regiment
The Royal Gurkha Rifles
The Rifles
The Royal Logistics Corps
The Royal Army Medical Corps
The Royal Army Veterinary Corps
The Royal Yeomanry
The Royal Wessex Yeomanry
The Scottish and North Irish Yeomanry
The London Regiment
Court & City Yeomanry Association
In-Pensioners of the Royal Hospital Chelsea
The Turkish Air Force Band plays Marche Mustafa Kemal Atatürk by Fazıl Çağlayan
Followed by: Descendants of those whose ancestors were involved in the Gallipoli campaign and others who march past the Cenotaph every year to commemorate Anzac Day.
President Cyril Ramaphosa on a clean up campaign at the Highway Taxi rank in Mdantsane, Eastern Cape ahead of the official launch of the national Good Green Deeds programme at the Sisa Dukashe Stadium. President Ramaphosa also planted a national tree the Yellowwood at the Highway Park. (Photo: GCIS)
Members of the community of Ndevana attending the World Aids Day Build-up Programme led by Deputy Minister of Telecommunications and Postal Services Stella Ndabeni-Abrahams at Empilisweni HIV/AIDS and Orphans Care Centre in Eastern Cape. (Photo: GCIS)
(First) Great Western Railway 800018 & 800009 storm through Lower Basildon with 1C15, the 13.00 London Paddington to Bristol Temple Meads service.
Maitland Gilbert & Sullivan Musical Society
April 1977
Souvenir Programme
Programme courtesy of Mrs R. Sharkey
Cover (front and back)
“Brigadoon” a musical tale of love and mystery in a Scottish Village was first performed in 1947. This musical featured the song “Almost Like Being in Love” and was performed in Maitland over four nights in April 1977 by the Maitland Gilbert and Sullivan Musical Society.
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