1903–1919
In 1903 Stevens reprised his roles in Gounod’s Mors et Vita and Handel’s Judas Maccabeus, in Adelaide. An interesting footnote to the performance of the Gounod is the review in the Melbourne Age; “Mr Horace Stevens is so zealous and painstaking a singer that it is a pity his method of production is one not conducive to clarity of tone; there is so often a perceptible ‘buzz’ such as one hears in a bassoon”.1 What the critic refers to as ‘buzz’ one can hear on his later recordings. It is a result of a highly-placed focus on the voice. It allows the amazing tonal flexibility Stevens could achieve but was not always pleasing at the time. As one reads so often, the ultimate achievement of the fin de siècle singer was purity of sound, rather like the ‘Early Music’ specialists that were popular in the 1990s.
On 29 September 1903, he added to his repertoire Handel’s Israel in Egypt. In the version of the score used today the duet for two basses, ‘The Lord is a Man of War’, is the only contribution of that voice type. W.A. Carne lists only one bass, Mr Horace Stevens,2 who sang an additional aria titled ‘Wave on wave, congealed in thunder’. According to performance practice during the first half of the twentieth century, an additional bass aria was adapted from Handel’s opera, Orlando (1733), originally Sorge in fausta una procella.3 The critic for the Argus praised it as a “very laudable Handelian rendering”. He also observed that the tremolo that was present in Stevens’ early performances had gone, and he has a “much better voice”.4 On 24 December 1903, Stevens performed ‘The Toreador’s Song’ from Bizet’s Carmen for the first time, an aria that was to have a profound effect on his career in the future, in a Christmas ‘Smoke Concert’ with the Royal Melbourne Liedertafel.5
Concert d’Adieu of Mr Armes Beaumont, Town Hall, Melbourne, 31 January 1903
State Library Victoria, Melbourne
Concert by the Lyric Orchestra, Town Hall, Melbourne, 23 November 1904
State Library Victoria, Melbourne
In 1904 Stevens had only one engagement with the Royal Melbourne Philharmonic Society, a repeat of Gounod’s Redemption.6 In June, Stevens sang in the title role of Rossini’s Moses in Egypt in a concert performance by the Lyric Orchestra, conducted by Charles Levy. “The character, vocally, is one of great difficulty. Mr Stevens, who has a rich, fluent bass voice, letter perfect, got clean home to the hearts of his audience. It was a fine effort—one of the best he has accomplished”.7 In August, Horace and Emilie performed Elijah once again, this time in Geelong. They both received glowing praise.8 The other new repertoire for the year was an appearance with Emilie in what was described by the Argus as “Haydn’s 16th Mass”. The performance was before the Governor General and Lady Northcote at the Melbourne Town Hall. Among the encores, Horace sang Robert Schumann’s ‘The Two Grenadiers’ which was judged “finely interpreted”.9 In December, Horace was best man for William George Frederic Steele, who married Emilie Stevens at Scots Church, Collins Street. 10
By 1905, Horace Stevens was an established singer in Melbourne. He was assisting in his father’s dental surgery in Collins Street, he was rowing competitively, played cricket and hunted. His performances with the various Liedertafel around Melbourne were well received, and his recital repertoire was well-formed. In April he sang with the Royal Melbourne Philharmonic in Gounod’s Mors et Vita.11 In August, he sang the demanding role of Mephistopheles in Berlioz’s Damnation of Faust, a classic ‘Basse Chantante’ part of French repertoire. There were two reviews: “Mr. Horace Stevens sang the part of Mephistopheles with great vigour and dramatic feeling, and his rendering of the ‘Serenade’ and ‘The Flea Song’ was capital, though the speed at which both were taken was excessive”.12 “Mr Horace Stevens did well in the important role of Mephistopheles and sang the Flea song and the Serenade with good effect; the latter was for the first time on local record taken at the proper rate of speed”.13
St Paul’s Cathedral, 1905, before the addition of the spire
State Library Victoria, Melbourne
On August 26, Horace married Nellie Chapman at St Paul’s Cathedral in a fully choral service. The wedding was a high end, glamorous affair, and described in detail in the “Novelties of the Season” section of The Australasian.14 The wedding reception was held at the Pianola Hall, in Collins Street, which is where the Kodak building now stands [now occupied by The Hour Glass].
In January 1906, Horace, billed as the “Premiere Scottish Soloist of Melbourne”, accompanied by fellow singers Gregor Wood and Madame Gregor Wood embarked on a series of concerts in Hobart and Devonport. Accompanied by a band of ten highland bagpipers, they were very popular, particularly “Mr Horace Stevens has a-baritone voice of great power” singing ‘Scots wha hae wi’ Wallace bled’ which had to be encored.15
In May Horace travelled to Ballarat to perform, once again, Elijah.
In September 1906, Nellie gave birth to twin boys. The children are unnamed in the announcement. Horace and Nellie had three sons, Kemble, Souther and Dudley. A fourth child, a boy named Ernest, died in 1907. From the birth notices it is surmised that Kemble and Souther were the twins, and that Dudley was born in 1910. Dudley appears to be the only one to attempt to follow his father into the Arts.16
Sir Edward Elgar’s oratorio The Apostles Op. 49 had its Australian premiere on 14 August 1906 at the Melbourne Town Hall, just three years after its very first performance at Birmingham. “Every part of the Town Hall was crowded. Extended press accounts to 14” commented on the new work as well as the performance” (the renovated organ was used).17 Stevens sang the part of Peter. It would have suited him perfectly, as it is more baritone-like than the other two parts requiring low men’s voices, the role of Jesus, sung by A.C. Bottoms, and the bass role of Judas, sung by Andrew Black, the role he had created under Elgar’s direction. Miss Lillian Reed sang Mary, Madame Gregor Wood sang Magdalene, and Gregor Wood, St John.18
Damnation of Faust, Town Hall, Melbourne, 1 August 1905
State Library Victoria, Melbourne
Mose in Egitto, Town Hall, Melbourne, 20 June 1907
State Library Victoria, Melbourne
In March 1907, the Royal Melbourne Philharmonic performed Louis Spohr’s Calvary. The two lower-voiced protagonists are Judas Iscariot, and St Peter. Stevens sang the part of Judas. The reviewer for the Age wrote, “Mr A.C. Bottoms sang Peter’s ‘Tears of Sorrow’ effectively enough, and Mr Horace Stevens was very acceptable in ‘Woe, Horror, Grief’.19 The critic for Punch wrote of both singers, “Mr A. Bottoms, a broad, manly ringing baritone, always dramatic, accurate and telling, made a fitting herald to the fine basso cantante, Mr Horace Stevens.”20
In August 1907, Stevens took on parts one and two of the Hiawatha trilogy for the Philharmonic, adding Hiawatha’s Wedding Feast to his repertory. In November, the Royal Victorian Liedertafel performed Elgar’s The Dream of Gerontius. The performance was widely praised. “Mr Horace Stevens doubled the parts of the Priest and the Angel of the Agony. He has a fine, dramatic bass voice, and being in exceptional form, gave a most realistic reading of the music allotted these two sombre characters”.21 This was to become one of Stevens’s most important roles in Britain during the 1920s and 30s.
Stevens added two important pieces to his repertoire during 1908. He performed the Prologue from Pagliacci (composed by Ruggero Leoncavallo 1857–1919, and first performed in 1892) at a Liedertafel concert in Adelaide for the Caledonian Society in June.22 This piece became a staple of future recitals. He recorded it twice, both times in English. In baritone Michael Lewis’s opinion, of all the repertoire Stevens sang, this aria seemed the most surprising, as it sits much higher than his other repertoire, but he may never have sung the role of Tonio in its totality on the stage and performed the aria only.
In August 1908 the Royal Melbourne Philharmonic performed the Australian premiere of Elgar’s The Kingdom, only two years after its composition for the Birmingham Triennial Festival. The work follows on from The Apostles in telling the story of the early church after the departure of Christ. The critic for the Australasian felt that “on the whole the work appeals less to the popular audience than its predecessor … Mr Horace Stevens, as Peter, distinguished himself by his noble, dramatic rendering of the part. It is the most important of the four, and he sang it admirably”.23 The easy beauty and size of Stevens’s voice could have been tailor-made for these Elgar oratorios, with their lush orchestrations, and romantic melodiousness. Stevens’s performance must have impressed George Peake, then music director of the Philharmonic, because he was back performing Messiah that year following several years of being overlooked. Between 1909–1910 he was engaged by the Society as a principal soloist in The Redemption, Messiah, Mors et Vita and the Apostles. He sang the hymn ‘Nearer my God to thee’ in leading the congregation at the commemoration of the death of King Edward VII.24
In April 1911, now 35, Stevens performed as Christus in the St. Matthew Passion by J.S. Bach for the Royal Melbourne Philharmonic Society. The piece had not been performed in Melbourne for thirty-five years.25 The work was repeated in 1913 and received the following favourable review “Of the chief soloists, chief honours fall to Mr Horace Stevens, who brought considerable sympathy in his interpretation of the music allotted to the words of Christ”.26 It shows the virtues that were the hallmarks of Stevens’s singing. Impeccable diction and phrasing, plus a sensitivity that belied the true size of his voice.
Apart from dentistry and singing, Stevens’s other great passion in life, to which he referred in interviews into old age, was his passion for rowing. In 1911 Stevens won the sculls at the Henley on Yarra regatta. Representing Essendon in the Yarra Challenge Sculls, he pipped K.J. Kirby of the Civil Service at the post to take out the championship.27
Program cover for The Messiah, Exhibition Buildings, Melbourne, 1911
State Library Victoria, Melbourne
Maria Voluntas Ranzenberg in costume for Dalila for the Melba opera season, 1911, photo by May Moore
The Australian Musical News, November 1911
Alberto Zelman took over directorship of the Philharmonic mid-1911. Melba was touring Australia at the time, and the opportunity was taken to secure two of her supporting artists as soloists for the annual Messiah alongside Stevens, namely German contralto, Maria Voluntas Ranzenberg and Irish tenor John McCormack. McCormack was, at the time, one of the great tenors of the world, and it was a great coup to have him in Australia, let alone on the stage of a sold-out Exhibition Building. Table Talk praised the beauty of his voice but bemoaned the fact that there was so little music in which to hear him. “The local artists have often been heard. Mr Horace Stevens as usual was most successful in the baritone music, especially the dramatic portions, but in the quieter parts, such as ‘But Who May Abide’ his voice does not tell in such a huge building as the exhibition”.28 This criticism was levelled at him frequently in later years as he attempted to interpret the quieter dynamics in Wagner.
Throughout 1912 and 1913 Stevens kept busy with Philharmonic performances of The Death of Minnehaha, the St Matthew Passion and Elijah, the latter in Geelong.29 He also sang the bass part in the finale of Beethoven’s Choral Symphony.30 In April 1914, Stevens performed Mors et Vita twice more at the Melbourne Town Hall, with the Philharmonic.31 Despite the outbreak of war on 4 August, in the summer two performances of Messiah involving Stevens were given to sell-out houses at the Melbourne Town Hall, with Zelman’s Melbourne Symphony Orchestra accompanying the soloists and chorus for the first time.32
Elijah, Geelong Musical Society, 1913
State Library Victoria, Melbourne
Stevens had been a member of the Melbourne Savage Club since 1898, when he gave his first smoke concert at their rooms.33 In March 1915, the club performed a variety concert for the Belgian Relief fund. Songwriter, and fellow Savage Horace Gleeson (1878–1959, and composer of ‘I thought I heard a magpie calling’) re-wrote the choral section to Beethoven’s 9th Symphony, titled ‘A Hymn to hate’. Horace sang it.34 The Royal Melbourne Philharmonic donated the takings of that year’s performance of Judas Maccabeus, featuring Stevens, to the ‘Wounded Soldiers Fund’.35
Farewell Complimentary Concert to Lieut. Horace Stevens, 25 April 1916
ABE Books
When the First World War began, the Australian Imperial Forces had no specialised Dental Unit. Dental maladies were treated by the general medical units, as was standard practice in the British Army. The nightmare of Gallipoli in 1915, where outbreaks of ulcerative gingivitis or ‘trench mouth’, were common and insufficiently treated, caused the creation of Dental Units. By April 1916 the Australian Army had 36 fully equipped Dental Units. Three dental sections were attached to each division, and one to each field ambulance. The Australian Dental Corps, by 1918, was leading the world in Dental practice, with a standing order that no teeth were to be extracted, if they could be saved.36 Thus, the Australian Army needed experienced dentists, and in 1916 Horace Stevens enlisted into the 14th Field Ambulance, AIF, as ‘Honorary’ Lieutenant. This fact was announced in Punch on 6 April; “We hear that Mr Horace Stevens, a leading baritone of this city, will leave shortly for our military centres in the East. He will take a hand in caring for our soldiers’ teeth; Mr Stevens is also a Dentist, and his qualifications in this direction are quite as finished as they are in a vocal way. This is for public information.”37
On 2 May he gave a complimentary concert at the Town Hall in Melbourne, a concert patronised by Madame Melba, who was also in attendance.38 Mr J. Sutton-Crow accompanied. For Melba to have been present gives a measure of Stevens’s standing in the community at the time, and one can only marvel at a thirty-nine-year-old leaving his wife and three sons under ten. Furthermore, his father, Horace Stevens senior, died on 19 May.39 Horace Junior embarked for France the following day, on the HMAT Medic A7.40
Honorary Lieutenant Horace Stevens disembarked at Devonport, in Britain, from the Demosthenes, on the 18th of July 1916. The journey usually took around a month, but the new members of the Dental Corps disembarked in Egypt, where they collected clay to assist in their making of dental molds. The thirty-nine-year-old was listed as a British Subject and belonged to the Church of England. He stood 5 feet 10 ½ inches tall (179 cm) and weighed in at 12 stone (76 kg). Normal eyesight and an exceptional chest expansion of 36 inches to 40 inches (91inches-101 cm) made up the complete package. A photograph held at the Australian War Memorial shows him with a group of fellow officers of the Dental Corps, looking exceptionally dapper, and wearing jodhpurs and riding boots.
He was appointed the Officer commanding the 50th Dental Unit, attached to the newly formed 3rd Division of the Australian Imperial Force. Following the disaster of the Gallipoli campaign in 1915, the Australian Command realized the importance of keeping the soldiers entertained, and relaxed the rules regarding leave for entertainers, which was normally only one week per three months service. Stevens’s advanced years and reputation in Australia, it would appear, allowed him to appear in non-military concert work.41 On Monday, October 30th, 1916, he appeared in Belfast at a fund-raising concert for the Post Office, sharing the stage with, amongst others, soprano Dorothy Silk (1883–1942) and Bass Robert Radford (1874–1933)42 Silk was to establish herself as a champion of British Music during the twenties, while Radford, although only two years Stevens’s senior, was an established singer. He had made his debut at the Norwich Festival in 1899, and in 1904 had made his Covent Garden debut as the Commendatore in Don Giovanni, as well as appearing as Fasolt in the Ring Cycle under Hans Richter. In the Northern Whig, the singers were enthusiastically praised; “Mr. Radford’s resonant bass was used with artistic judgement”. “Lieutenant Horace Stevens infused the right spirit into his interpretations of the martial songs ‘The Two Grenadiers’ (Schumann), and ‘The Song of the Gun’ (Allister)”.43
On the 16th of November, Lieutenant Stevens was then attached to the Machine Gun Training Depot at Grantham. In a letter to the sporting magazine, Winner, in 1917, a second Lieutenant Pitman attended a concert at Grantham, given by the Melbourne oarsman/vocalist, Captain Horace Stevens,44 while in the same month, Melbourne Punch reported that Captain Stevens had visited Dublin on leave. There “he made several public appearances, where his singing created quite a furor”.45
Stevens’s promotions were quite rapid. He was promoted from honorary Lieutenant to full lieutenant on the 6th of April 1917, and then to full captain eleven days later the 17th of April. On the 7th of August 1917 he was brought to the notice of the Secretary of State for War, George Barnes (1859–1940), leader of the Labor Party in the Lloyd George coalition “for valuable services rendered” Military Order 576/17.46
Ireland had experienced the Easter Uprising in 1916. There was Australian involvement in quelling the rebellion, but the AIF records for this were destroyed in the late 1950s by the staff of the Australian War Memorial.47 That same year the Roman Catholic Coadjutor Bishop of Melbourne, Daniel Mannix was denied permission to visit Ireland. Rumors of Australian war crimes had seeped back to Australia, and with a quarter of the population claiming Irish Catholic paternity Horace’s popularity with the Irish may have gone someway to easing tensions and taking the heat out of an Australian diplomatic incident.
Further to this, Ronan McGreevy for the Irish Times points out the general British fear of an Irish takeover of Australia.48 This had gone right back to the Crimean War of 1853–1856 where the Australian colonies had been less than enthusiastic about providing financial backing for the British endeavor. 1916 was the first Australian plebiscite on conscription, which went against the Government of Billy Hughes. The following year the British government agreed to pay more for Australian wheat in an effort to sway the 1917 plebiscite, but again Hughes was defeated.
A third possibility rests with the importance the Australian General Staff placed on keeping soldiers entertained. Ireland was a popular destination for deserters, who, with the aid of Sin Fein, could obtain civilian clothes and disappear into the Irish countryside. Perhaps a voice from home might have lured them back to their duty as sons of the Empire!
Horse Ferry Road—Headquarters of the AIF during the war
Horace was amongst the soloists announced in the Belfast Newsletter of September 1917 for a performance by the Belfast Philharmonic Society the following year of Sir Granville Bantock’s ‘The Fire Worshippers’.49 On the 30th of November he was moved briefly to Administration Headquarters at Horseferry Road, London, until, on the 5th of December a stamp appears in his war record “Proceeded overseas France”. There he joined number 32 Dental Hospital.
The Belfast Newsletter of the 23rd of March 1918 carried a review of the performance of ‘The Fire Worshippers’, but reviewed Mr. J.F. Newell “acting as substitute for Captain Horace Stevens, who is unfortunately seriously ill”.50 It would appear the stressful conditions of the Western Front would be too much for the 42-year-old. On the 22nd of February 1918, just over two months caring for the ill and facially injured souls of the Australian Imperial Forces, Stevens was admitted to a dressing station with “Sub acute Rheumatism”. On the 23rd he was moved to another station and on the 26th to the Canadian General Hospital Dannes Camiers (Pas de Calais), where he was diagnosed with Myalgia. It was his ticket home, and on the 5th of March 1918, he found himself at the London General Hospital, Wandsworth.
The contemporary medical record for Horace states that he was suffering from the “sudden onset facia in left shoulder radiating down arm. Loss of power of grip. Has had two previous attacks of rheumatism”. A modern diagnosis reads as follows; “Centrally mediated chronic myalgia is a chronic continuous muscle disorder, originating in the central nervous system, which generates symptoms at the periphery of muscle tissues. Pain at rest is the key factor of the clinical characteristics of this disorder and probably occurs due to the sensitization of the muscle nociceptors by algogenic substances released in the neurogenic, inflammatory process”.51 One doctor has written “heart good” at the bottom of his medical notes, which, of course, must have been a worry to a middle-aged dentist on the front line.
Many articles on myalgia and dentistry talk about the splitting stress headaches, which are a constant companion, so he must have been in constant agony. One can imagine that having been part of one of Melbourne’s better dental surgeries, suddenly being thrust into the rough and ready atmosphere of the front line must have been extremely stressful. The regimental diary for the week before Horace was admitted to hospital notes that a sortie behind enemy lines had been ordered, and that medical staff were to be prepared for extra casualties. He remained in hospital, in terrible pain for two months, released to convalesce on the 9th of April 1918.
Postcard for the Imperial Restaurant, c.1920
Mrs Hamilton Earle (Louise Dale)
From The Tatler, 10 March 1920
The Australian Imperial Forces utilized The Imperial Restaurant in Regent Street for their Masonic members. The Imperial Restaurant was a grand establishment in a flamboyant Edwardian style, with much stonework and private tables. Their menu featured portraits of the late Edward VII, the current George V and the future Edward VIII. It was there that Horace found himself on Armistice night, the eleventh of November 1918. ‘The War to end all Wars’ must have left the world in a state of painful numbness, and doubtless many crowded into the streets to drink away the horror which they must have thought would never end.
His table, at some stage in the evening, persuaded Horace to sing, and he obliged the company with ‘The Toreador’s Song’ from Carmen, by Bizet. An Australian lady at the table, a Mrs. G.H. James was greatly impressed, and later introduced Horace to a Mrs. Earle, an Australian soprano who had performed at the 1916–17 Proms under Sir Henry Wood as Louise Dale.52 Mrs. Earle was able to get Captain Stevens to audition for the great conductor. A letter from Sir Henry to Mrs. Earle and forwarded to Mrs. James read “You will be pleased to hear I am delighted with Captain Horace Stevens, and that he is really studying most seriously. He sang magnificently Wotan’s Abschied at a Wagner night at the Promenades, and his voice came over the orchestra quite superbly. I have recommended him for the Birmingham festival Choral Society, and for Amfortes [sic] in Parsifal with the Liverpool Philharmonic Society, so he is really getting on.” This from an interview given by Mrs. James on her return to Australia in 1920. She concluded, rather unfairly I believe, with “Mr. Stevens, though a huge favorite in Melbourne, was not given any great opportunity as a vocalist”!53
A problem facing the Australian Imperial Force at the end of hostilities was how to occupy an army, while they were waiting for repatriation to Australia. The Australian government set up the Non-military Employment Scheme, whereby all soldiers were required to fill out AIF Demobilisation Form 534, listing their full-time career intentions, prospects of employment, wishes for education, retraining and employment while awaiting repatriation. The Government would pay for a certain amount of retraining. The scheme started on the 17 December 1918.54
Sir Henry Wood, 1919
Birmingham City Council
Stevens later recalled his version of these events in a speech he gave to the Centenary Club in 1935. “He recalled that under the non-military employment scheme, instituted at the end of the war to help returned soldiers to re-equip themselves for their old professions and trades, the famous conductor applied for his services, but was refused because, it was pointed out that Mr Stevens’ attestation papers had labelled him a dentist. The departmental attitude was that there was no reason why he should waste his time dabbling in music when he could be assiduously regaining his old employment as a dentist”.55
Letter from Henry Wood to the Director of Education, AIF, 26 July 1919
National Archives of Australia, Canberra
The records also contain a letter from Sir Henry Wood himself to substantiate Stevens’s letter. Lessons with Sir Henry had started on 15 April 1919. Wood’s letter states that the experience gained from his concert engagements would be of the greatest value on his return to Australia as a “teacher and vocalist”. By this stage Stevens was sending his entire military wage to Melbourne to support Nellie and the boys, while he lived on his earnings as a singer. Even Lieutenant General Sir John Monash wrote to support Stevens, but the bureaucracy won out, and on the 20 October 1919 his application for discharge in the UK was cancelled.57
Horace's London residence in Maida Vale
Nevertheless, his concert appearances proceeded. On Monday 29 September 1919, Horace Stevens made his Promenade Concert debut in Concert No. 38 at the Queen’s Hall, London, under the direction of Sir Henry Wood. In an all-Wagner program he sang ‘Wotan’s Farewell’, with ‘The Magic Fire Music’.58 That year he also sang Elijah under Wood’s baton in Birmingham. The next day the London Morning Post critic hailed him as “the greatest Elijah since Santley”.59 On 4th July 1919 he appeared in a post war celebration at the Brand Lane concerts, sharing the stage with Madame Melba, Dame Clara Butt, Elsa Stralia and the pianist/composer Busoni.60
To be continued ...
Endnotes
1. The Age (Melbourne), 11 April 1903, p.10. Trove. Accessed 28 July 2017.
2. W.A. Carne, A Century of Harmony: The official Centenary History of the Royal Melbourne Philharmonic Society, Royal Melbourne Philharmonic Society, Melbourne, 1954, p.135.
3. Jason Lester, Antonio Montagnana: Progression of a Handelian Bass, Florida State Universities Library, Electronic Theses, Treatises and Dissertations. 2006, p.39. Accessed online 30 July 2017, https://fsu.digital.flvc.org/islandora/object/fsu:181469/datastream/PDF/view
4. The Argus (Melbourne), 30 September 1903. Trove. Accessed 28 July 2017.
5. The Age (Melbourne), 22 December 1903, p.8. Trove. Accessed 19 April 2017.
6. Ibid, Carne, p.136.
7. Punch (Melbourne), 27 June 1907, p.29. Trove. Accessed 21 July 2017.
8. Geelong Advertiser, 25 August 1904. Trove. Accessed 14 June 2017.
9. The Argus (Melbourne), 24 November 1904, p.5. Trove. Accessed 30 July 2017.
10. Table Talk (Melbourne), 8 December 1904, p.20. Trove. Accessed 1 July 2017.
11. ibid, Carne p.137.
12. ‘Music’, The Age (Melbourne), 5 August 1905. Trove. Accessed 30 July 2017.
13. ‘Amusements’, The Argus (Melbourne), 2 August 1905. Trove. Accessed 31 July 2017.
14. The Australasian (Melbourne), 2 September 1905, p.44. Trove. Accessed 12 July 2017.
15. The North-Western Advocate and Emu Bay Times, 19 January 1906. Trove. Accessed 7 July 2017.
16. ‘Family Notices’, The Age, 23 June 1906. Trove. Accessed 12 July 2017.
17. Ibid, Carne, p.139.
18. Ibid, Carne, p.139.
19. The Age (Melbourne), 30 March 1907, p.10. Trove. Accessed 17 April 2017.
20. Punch (Melbourne), 4 April 1907, p.29. Trove. Accessed 17 April 2017.
21. Punch (Melbourne), 7 November 1907, p.30. Trove. Accessed 17 April 2017.
22. The Register (Adelaide), 30 June 1908, p.6. Trove. Accessed 7 June 2017.
23. The Australasian (Melbourne), 15 August 1908, p.28. Trove. Accessed 7 June 2017.
24. Gippsland Times, 23 May 1910, p.3. Trove. Accessed 23 November 2017.
25. ibid, Carne, p.146.
26. The Age (Melbourne), 22 March 1913, p.11. Trove. Accessed 22 August 2017.
27. Tasmanian News (Hobart), 28 October 1911, p.4. Trove. Accessed 7 June 2017.
28. Table Talk (Melbourne), 28 December 1911, p.10. Trove. Accessed 3 August 2017.
29. The Geelong Advertiser, 27 October 1913, p.4. Trove. Accessed 14 June 2017.
30. ibid, Carne, pp.153–154.
31. ibid, Carne, p.154.
32. ibid, Carne, pp. 156–157.
33. David M. Dow, Melbourne Savages. A History of the First Fifty Years of the Melbourne Savage Club, Melbourne Savage Club, Melbourne, 1947.
34. Punch (Melbourne), 13 May 1915, p.8. Trove. Accessed 21 June 2017.
35. ibid, Carne, p.157.
36. Ian Finlayson—Australian Army History Unit, Pull the Other One!—Dentistry in the 1st AIF. Accessed online, 7 June 2017, https://www.army.gov.au/our-history-in-focus/pull-the-other-one-dentistry-in-the-1st-aif
37. Punch (Melbourne), 6 April 1916, p.44. Trove. Accessed 14 June 2017.
38. The Essendon Gazette and Keilor, Bulla and Broadmeadows Reporter, 27 April 1916. Trove. Accessed 14 June 2017.
39. Ringwood and Croydon Chronicle, 19 May 1916. Trove. Accessed 14 June 2017.
40. Australian War Memorial. Accessed online 7 June 2017, https://www.awm.gov.au/collection/R1936838
41. Shelley Blakely, Information Services/ Research Centre. Australian War Memorial,
42. Belfast Newsletter, 28 September 1916.
43. Northern Whig, 31 October 1916.
44. Winner, 26 September 1917, p.26.
45. Punch (Melbourne), 13 September 1917, p.26.
46. Australian War Memorial.
47. Dr. Jeff Kildea, Called to Arms: Australian Soldiers in the Easter Rising 1916. Australian War Memorial.
48. Ronan McGreevy, http///www.irishtimes.com/culture/heritage/British-feared-irish-takeover-of-australia-in-1916-1.2687874
49. Belfast Philharmonic Society, Belfast Newsletter, 21 September 1917.
50. Belfast Philharmonic Society, Belfast Newsletter, 23 March 1918.
51. Franischetti; Ferraz Junior; Ferreira; Carvalho; Guimaraes. Chronic Myalgia centrally medicated. (Myalgia cronica mediada centralmente), http//dx.doi.org/10.1590/1981-86372014000200000161437
52. Table Talk (Melbourne), 22 January 1920. Trove.
53. Ibid, Table Talk. Trove.
54. Clem Lloyd & Jacqui Rees, The Last Shilling: A history of Repatriation in Australia, Melbourne University Press, 1994.
55. The Age (Melbourne), 25 May 1935, p. 17. Trove. Accessed 14 September 2017.
56. ibid, National Archive of Australia.
57. ibid, National Archive of Australia.
58. BBC Proms Calendar by Year. Accessed online 26 May 2017, https://www.bbc.co.uk/proms/events/by/date/1919
59. ibid, Barbara & Findlay MacKenzie, p.91.
60. Samuel Langford, Manchester Guardian, 4 July 1919. ProQuest. Accessed 3 May 2017.
