Introduction

ii. The Origins and Historic Background:

1873 A.D.

The Għaqda Mużikali Santa Marija of Ħal Għaxaq was founded in 1873 when it formally set and recorded its very first statute and enlisted its club’s members in a transcribed format. This date makes this Society as one of the earliest clubs to crop up in colonial Malta in the late Victorian period. The name given was ‘Circolo La Stella’, an italianate name in the spirit of the intelligentia of those days when italian was the nationally recognized lingua franca. The Club took ‘La Stella’ as its name from the six pointed star whose symbolism associated with the Christian cult of Assumption was self-obvious. The six pointed star remains a representing symbol of this Society to this day.

This also coincided with the Society’s move in its very first headquarters at the  Pjazza Santa Marija in a house commonly known as “Tal-Bukkettuwa”. This house sits on the grounds where today rises the village square’s pharmacy, standing almost in front of the contemporary premises presently owned by the Society. This was a much loved place due to its prominent position in the nucleus of the village square with close vicinity to the parish church.

A Tavern in 1865

There historic trails of even earlier records indicating the existence way back to 1865 of an informal nucleus behind the orginization of the Titular Feast of the Assumption of the Holy Virgin working hand in hand with the Parish priest and the clergy, that held its meetings in a local village tavern known as “t’Indri l-Mikk” exactly located in the house decorated with shells created by il-Mikk himself known as “id-dar tal-Bebbux”. Dar il-Bebbux, an attraction still to this day stands in Triq Santa Marija strategically close to the Parish priest’s residence at the posterior of the parish church’s building. Indri l-Mikk was known to be a moving force in organizing the festa for the Assumption. As men and surely festa enthusiasts met to drink their pint in his tavern, they discussed and together forged their dreams. We can say that il-Mikk’s first attempt towards formally organizing the village festa started by his effort to decorate Piazza San Giorgio, the space just a couple of steps away from his tavern, with coloured oil lamps and coloured ribbons of paper. Their speciality was the erection of a pole central to the tavern’s main entry which would then be festooned with numerous small flags. In time this nucleus of activity grew in ambition and soon they embarked in decorating the church’s facade with tiny, coloured oil lamps.

La Belle Époque: The enchantment and the anguish of a new born Century

In 1910, the club changed to larger and grander premises situated at the heart of Pjazza Santa Marija, the village’s main square. The founding members managed to secure the high baroque palace in the main square known as “Ta’ Pettistina”. This is the grand baroque Palace squarely facing the present seat of the Society. These new premises could cater for the more intricate logistics of a larger scale festa with a thriving club attracting a strong number of members.

This move to new headquarters implied the the formation of ‘Circolo La Stella’ following sound Victorian criteria and normative structures was the first real attempt in creating a formalized structure with in-house rules. But the founding ethos of the Society was and still is the organization of the village’s annual patronal feast on August, 15th whilst preserving intact the cult of the Assumption. The same core defining concept is still to this day at the heart of the Society’s modern statute together with promotion of culture and the offering of free musical tuition to the community at large. The last defining pillar is that of this Society acting as an agent of socialization for its members.

It is in this new address at 70, Pjazza Santa Marija that the first formal annual general meeting was held. That same morning the first formal committee was elected. New surnames were added to the original group of Gatt, Grima and Scicluna, namely Abdilla, Agius, Farrugia, Gravina, Manara, Moran and Spiteri. In this new flurry of activity and zeal new embers were paying 4 dimes for membership. Most members were giving donations to fortify the club’s financial strenght and many were readily donating pieces of furniture in order to adequately furnish the new headquarters.

The early 20th Century also marks the formalization in organizing the external festivities with Giovanni Farrugia being elected as the festa’s procurator.

This period also sees a strong move towards the further commissioning of festa street decorations with papier-mâché statues being created by some of the greatest artists of the period. Names like Vincenzo Cremona, Karlu Darmanin and Karmnu Mallia “Il-Lhudi” all make their entry in the Society’s ledger books. This together with reknowned plinth designers such as Giuseppe Decelis. Active members within the Circolo such as Antonio and Leone Abdilla, Feliċ Gatt, Salvinu and Ġelandri Scicluna were all master craftsmen who designed, constructed and embellished these artifacts in steet decor.

The First World War

The advent of the First World War in 1914, which spanned to November, 1918 halted most of this frenzied activity. The harshness of that war not only changed Europe and the socio-poltical hierarchy of the world, but it somehow suspended the enchantment of this small village seemingly mesmerized by its own creation of exquisite belle époque artifacts, somehow caught up in an unreal sense of suspended reality.

The feast was downscaled during this period, but for the procession with the statue of Santa Marija on August 15th ensued. The statue would be carried around the village accompanied by all the confraternities and the “Banda tal-Palma” from Vittoriosa. On the eve of the festa, the Te Deum at the struck of noon would be accompanied by a small band formation commonly known as “il-Banda t’Indri”. The village square was still adorned to the full with wreaths and festoons of laurel leaves, together with the “illuminaria” of hundreds of coloured oil lamps.

At the centre of the square the sublime and triumphant plinth of the Coronation of the Virgin Mary, still existing today in all its Belle Époque elegance and glory as the symbol and proof of the extraordinary vision, the steely resiliance and the firey  ambition of that group of persons’ dedication and love for their community. Designed by Decelis, created in wood by Antonio Abdilla and his army of cabinet makers, adorned by the exquisite statues by Cremona and Mallia stood like a beacon of hope in very dark days for the whole world entire.

The Roaring Twenties and the Raging Upheaval

The early twenties summoned in a new found enthusiasm in the world after the bleak years of the First World War. Activity within the Circolo was once more hectic and alive. Membership soared to 300 and finances were steady, denoting the new found self-assurance typical of a well established organization.

The twenties saw the Circolo having his own “bottegin”, an in-house tavern serving as a meeting point for the exclusive use of patrons members to the club. The first winning offer to man this bottegin was thrown in the lot by a certain Aloisio Spiteri for the sum of ₤3-13s, a substantial sum in those days. Interesting to note is that Aloisio was allowed to sell oranges and lemons growing in the vast garden at the back of the palazzo that served as headquarters to Circolo.

Although the Circolo’s pyrotechical manufaturing knows its beginnings with the early experiments during the early Indri tal-Mikk’s festa organizational forays, we know that by 1920 the rudimentary firework factory hub still stood in the area of Bir id-Deheb in an area known as “Ta’ Dandu”(today’s intersection from Triq Santa Marija to Triq Birżebbuġa), in those days marking the agricultural frontier limits of the village. Pyrotechical activity and production was spread among various huts spread amongst various farmhouses, but the ta’ Bir id-Deheb hub a basic room built over room structure seems to have been the centre of activity. In the early twenties this seems to have been falling into a state of disrepair mostly due to the sudden, tragic explosion in February,1908 which took away the life of a 11 year old Pawlu Gravina known as “Ta’ Ġakka”, Spiru Scicluna and Ġanni Farrugia known as “in-nagħġa”.

In 1921, the Committee voted a sum of money to lease and restore the rudimentary firework factory in the area known as “Ta’ Xieref” which was to replace the smaller hub at Bir id-Deheb.

This decade saw the introduction of amateur theatrical productions within the Circolo’s premises. This was a novelty for the entire village. Such productions ensued till the late 50s. What came to be affectionately called “it-tejatrin” acquired a strong following by the locals who had limited access to the far more sophisticated theatrical and opera performances in the capital city or in the bigger towns. This “tejatrin” can be considered as an invaluable contribution to cultural life of this little village imbuing the audience with magic of make-believe, creating a meeting point with drama whilst allowing young people to vent out their creativity in acting, creating productions, painting scenographies, and cobbling costumes together. The productions were held in the upper piano nobile in winter under the white ceiling painted by Leone Abdilla with his characteristic art nouveau organic designs and the most important blue stars with the explosive rays of light. In summer, the productions moved al fresco in the beautiful italianate gardens at the back. These productions must have been quite a sight for sore eyes! Unfortunately no photographs from this period exist or at least till today no such material has surfaced up.

Seems that the summer productions were fraught with trouble as children would steal peaches and necatarines from the garden, to which the bottegin owner took exception since this deduced his income from the sale of fruit.

Another attraction at the Circolo was the purchase of a phonograph, which is the earlier form of music-box which later morphed into the better known gramophone. This phonograph was a wooden box with an horn-like cone for the amplification of sound that could be manually wound in order to play music. It was an incredible novelty in those days and it took centre stage in bottegin’s activity. But alas, it was also a source of mishap and conflicts in between patrons to the point that the committee ruled that the phonophone should be used only on Sundays and on festive days. It was emphasised that the music box could be played only after the ending of the pontifical mass at noon.

1927 can be considered as annus horribilis for Circolo la Stella. It was a year which brought strife and conflict within the club members. They seem to have been political issues mirroring the wider political scenario in Malta of those days.  Some members were leaving the circolo and some committe members resigned. Cracks were visible and an internal struggle took over the establishment. Requests for upholding frequent extraordinary general meetings became the rule of the day, but chaos cast its shadow on the Society. The haemorrhage of members continued notwithstanding the various attempts for conflict resolution.

It never rains but it pours. The palace serving as headquarters to the club was sold by the owners. The new owners claimed the place and wanted the club evacuated. An extraordinary general meeting was called for the 8th of January, 1928 in order to discuss the pending evacuation. In the complexity of the situation with no alternative headquarters, it was decided to momentarily dissolve the circolo as an organization. For this matter it was decided to auction off all furniture and such paraphernalia by strategically having committee members and other prominent club members personally buying this furniture with the aim of safeguarding the lots for safe keeping till the circolo could be reactivated. The chosen notary public was Dottore Lorenzo Porsella Flores. He evaluated the lots on the 12th of February, and the auction took place on the 19th of the same month.

That same day at 5.30pm, the Circolo closed its activity at 70, Piazza Santa Maria.

The trouble continued as some members questioned the legal standing of that extraordinary annual meeting. The case ended up in court. On the 13th December, 1928 Magistrate Dr. Filippo Pullicino ruled that the specific extraordinary annual meeting was to be considered null on the grounds that there was not the observation of the rule of the 3 day period of pre-advice prior to the extraordinary annual meeting. Thus, the auction was reversed but Notary’s Porsella Flores’ inventory was keep as valid. Committee members Antonio Abdilla and Giuseppe Grima opted to safeguard all the Circolo’s furniture and paraphernalia at their own private properties. This act was a clear and defiant move towards the resurrection of the Circolo.

The Thirties, New Beginnings and the founding of Banda Santa Maria

The Circolo was thus at a stalemate. But activity intrinsic to the festa and its Circolo was functioning underground. The desire to get back in operation was still sparking fire. Finding new premises proved to be tricky but finally the opportunity to use the house at 49, Triq Santa Marija (corner with Triq Ġebelin) materialized. This place was rented for an annual lease of ₤10 from the Chetcuti Sliema family.

Thus, the Circolo was back in business, albeit with a brand new name as Circolo Maria Assunta. The Circolo wanted through its new name to create a new found identity creating a cohesive link in between the circolo and the love for the patronal feast of the Assumption. This was a clever attempt at healing the wounds of discord, abating conflict by harping on the one and resolute ideal; basically the forged bond in the symbolical figure of the Assumption as the one unifying factor.

In this manner the Circolo unequivocally moved towards being a “Każin tal-Festa” shaping its ethos as the organization behind the village’s main feast, that is the titular feast of the Assumption. This model survives and thrives to our present days.

This Circolo’s headquarters was not much at heart to the club’s members. The craving to be yet again at the very heart of Piazza Santa Maria still haunted members. The grand beauty and the strategic positioning of the previous Palazzo were sadly missed by the proud club members. Souls were not at peace and the wheels of change were once more oiled back into action.

This sense of loss and yearning for the glorious past, together with the generalized sense of malaise reached the Farrugia family known as “Ta’ Marjan”. This family’s members were the direct descendents of Giò Maria Farrugia, the visionary benefactor that commissioned and single handedly paid for the processional statue of Santa Marija. The Farrugia family were central supporters of Circolo Maria Assunta, and they were keen to intervene. Grazia Farrugia and her brother Marċell were pivotal in purchasing the property with the address 133, Piazza Santa Maria. Interestingly, this property stood exactly facing squarely their beloved premises in the viallage square. It was like all celestial bodies conspired to get Circolo Maria Assunta at the core of the village’s life, in a place of prestige. This property is still to day the site of the current premises of the Għaqda Mużikali Santa Marija.

The contract was signed on June, 1934. The contract clearly stated that this property bought by Grazia and Marċell Farrugia had to have the exclusive function of serving as Circolo Maria Assunta. Embellishing works were carried out, and on the 27th July it was officially inaugurated. Interesting point is that for the festa of 1934 both clubs were used. In order to celebrate the purchase of these new premises, on the eve of the feast (August, 14th) a “marcia alla Veneziana” was organized. This involved a band marching in the village square with men carrying wooden banners and lanterns that lit with candles designed by a certain Pawlu ta’ Ħal Lija, considered a specialist in this type of craft.

During the extraordinary general meeting of October, 1934 saw the official launching of Banda Santa Maria. During that meeting, 30 young people enrolled in the school of music. Maestro Giuseppe Spiteri from Żejtun and assistant director with Circolo Musicale Beland was recruited as director whilst Giuseppe Abdilla was approached to act as assistant director. Both Spiteri and Abdilla would take over teaching roles.

Banda Santa Maria had its prima assoluta on the 14th of August, 1935 with an acclaimed programme in the village square. The band took centre stage on the decorated band platform borrowed from Circolo Musicale Beland with whom Circolo Maria Assunta had a close rapport. That night the official programme included Haydn’s Marcia Religiosa, Bizet’s Agnus Dei and a potpourri of popular italian opera by Verdi, Puccini and Bellini arranged by Mro. Joseph Spiteri.

The debut as guest band occured in 1936 during the festivities for the feast of St.George in Ħal Qormi and the festa of the Madonna tal-Grazzja in Ħaż-Żabbar.

World War II (1939-1944)

On the 3rd of September, 1939 King George VI announced that the United Kingdom and its imperial domains were formally at war:

“In this grave hour, perhaps the most fateful in our history, for the second time in the lives of most of us we are at war….There may be dark days ahead and war is no longer confined to the battlefield.”

The King’s words were indeed almost prophetic. Malta was at war. And the world they knew would irremediably shift and change.

As it happened that day of the 3rd of September, Banda Santa Maria was performing in Vittoriosa for the feast of St. Domenic. As the band played on everything was suddently halted. A black out occured and everyone ran for dear life.

In the war days, the club was closed down. No one dared to dream of celebrations, band marches or fireworks. Life was bleak and dismal. Darkness obscured all of the Maltese islands. In 1940, the Maltese Colonial Government took over the club’s premises in order to transform it in a school for children. This was a practical move towards the safety of children since the village square had several shelters making them a quick and a close-by safety exit for pupils in the case of sudden air-raids.

The feast ceased to take place. The annual procession did not walk the village’s streets. Most band players, persons working in pyrotechnics and the woodcarvers working on the festa decorations were mostly enrolled in military service.

The premises suffered some damages during an air raid which hit on Sqaq Dun Ġużepp Naudi. That day a young couple with two small children were killed. That was like a sign from the skies that all had to be stalled. The committee fervently prayed the Holy Virgin and waited for the dark clouds to pass. The fear of losing all was their reality. The fear of losing the Temple of the Assumption which housed the devotional statue of the Assumption was their constant nightmare.

By 1944, the war had moved up to central Europe sparing Malta further catastrophe. History wanted that when Italy announced surrender to the allies on the 8th of September, 1943; Banda Santa Maria was in Senglea, then a ruinous spectacle; performing there as part of the celebrations for the festivities tied to the Nativity of the Holy Virgin, popularly known as “il-Vittorja” or “Marija Bambina”. In a city know as “Invicta”, the never defeated; that march morphed into spontaneous jubilation and a demonstration of collective thanks giving to our Lady, considered to be the chosen protector of our island nation.

Banda Santa Maria had to tie its name to the beginning and the end of World War II to places which heavily carried the brunt of war duq to theit vicinity to the local drydocks.

1944 saw life starting to slowly return within the club. The premises were restored thanks to the War Damage funds. The band players were rehearsing. The firework enthusiasts were rekindling their skills. Spiridione Scicluna starting encouraging seamstresses from the village to participate in his project to change all the drapings and textile hangings in use as festa decorations.

The dice were being thrown again.

The statute describing and nominating the committee members as proprietors of the club was amended allowing for new faces to emerge and take over the leadership. The old regime was aging and the push was towards a new vision of a hopeful new world.

Mro Joseph Barbara terminated his engagement as music director. A young talent, Mro Salvino Fabri from Vittoriosa was hand picked and readily installed instead. Fabri was a timely choice as his energy and efforts brought up Banda Santa Maria to new dizzying heights.

When in March, 1948 the parish Priest, Fr. Ġużeppi Naudi announced that he was far too busy to carry also the burdens of the external festivities related to festa of the Assumption a whole new frisson sparked off . He asked any society ready to undergo such burden and responsibility to approach him and claim those obligations. Representatives of Circolo Maria Asunta rushed to the parish priest and claimed their rights on the patronal feast. Thus as from 1948, the agreement between the Church and Circolo stands solid that the St.Mary’s Band Club would carry all the organizational and financial responsibility related to the external festivities, on the sole condition that the St.Mary’s Band Club would hold exclusive rights emphasizing the condition that no other Society or third person can be introduced or allowed to participate in the festivities of the Assumption without the consent of the same Band club.

Still to this day, the St.Mary’s Band Club is the guarantor to the feast of the Assumption in the village of Ħal Għaxaq.

The 1950s

On the 1st of November, 1950 Pope Pius XII defined the dogma of the Assumption in his Munificentissimus Deus. This was truly a special year. The feast of 1950 was spread from August to November with all the required pomp expected from such an all important event.

A zucchetto (skull cap) belonging to Pope Pope Pius XII was donated to the club by a cloister of nuns working for the Vatican.

The 1960s

The feast of 1963 was a tragic page in the history of this Society. That year, Mario Dimech, a 12 year old boy tragically lost his life as the procession with the statue of the Assumption was just getting out of the Church. As fireworks where going up, an imploded bomb broke the iron clad tube from which it is triggered off. The boy who had ignored all warnings not to stay too close to the firings, stayed lounging on a rubble wall. The haphazard shreds of iron hit him costing him his life at such a young age.

The procession was quietly and swiftly turned round the church, and re-entered silently back into the church. Fireworks ceased. The bells stopped peeling and the musicians were disbanded. The village’s street lights were put off. And all stood sombre and silent.

That year the feast brought no joy and it stayed in the memories of most as a sad tragedy of life. The funeral of the boy was held on August 17th with all the villagers uniting to mourn the great, irrational loss.

In December 1963 in a stormy night of winter, a huge explosion rattled and shook the village. The Saint Mary’s Fireworks Factory at “Ta’ Xieref” had mysteriously exploded in the thick of the night. The Magistrate on duty after calling for an inquest claimed the incident occured because of rats nibbling on the prepared pyrotechnical explosives.

Many suspected foul play.

The new firework factory replacing the ruins started being rebuilt in 1964. It was inaugurated again in 1966.

That same year Malta declared its indipendence from the English goverment. For the official celebrations, Banda Santa Maria was invited to march down Strada Reale (Republic Street, today) on the 22nd of September, 1964.

The 1970s

1973 marked the centenary anniversary from the foundation of the St.Mary’s Band Club, in its first inception as Circolo la Stella. Special festivities took place as part of the core activities of that year’s festa with the culmination of the celebrations ending on the 1st of November, the day of the proclamation of the dogma of the Assumption. New street decorations were inaugurated and Father Carmelo Zammit blessed a  commemorative plaque in the main hall of the club.

That year Mro Salvino Fabri resigned from the directorship of Banda Santa Marija because of health related issues. Mro Michael Chircop replaced him in that role.

Chricop resigned in September 1976. Mro John J. Pace was chosen to fill in this vacancy.

On August 6th 1978, news echoed that Pope Paul VI had died. The declaration of statal mourning and the confirmation of the papal funeral for August the 13th implied that external festivities were to occur for that year. Only a procession in a pilgrimage formation was allowed for that year.

This same year the Committee started the preparations for a massive infrastructural intervention on the premises of the club. This would evolve into a major point of distinction and innovation for this band club. Works started on the interiors, but the intervention on the new second facade giving onto the new street to be opened adjacent to the club was entangled in a web of delayed permits.

In 1979, Malta celebrated its Freedom day with the last remnants of the British forces closing their millitary bases in the Maltese islands. For the occassion of the 31st of March the club’s facade was decorated in white and red; the colours of the nation. The village square was adorned with white and red banners, festoons and flags.

The committee of the Society marched in the national corteo from Pjazza Gulia to the Freedom monument in Xatt ir-Risq in Vittoriosa.

In 1979 the important infrastructural works on the fabric of the club’s building commenced.

That same year the bells were tolling for the Saint Mary’s Fireworks Factory to move from its age old premises, since the building of the new government’s housing estate was far to close by to guarantee safety. The authorities granted a concession for pyrotechnical works to proceed but new land had to be earmarked for development as the new fireworks factory.

On December 13th of 1979, the Society was a participant in the celebrations of Republic Day both in Valletta and in Vittoriosa.

The 1980s

The commissioning of a group of 4 silver cherubs to sit at the four corners of the plinth under the titular statue, modelled by the reknowned artist Vincenzo Apap, the celebrated artist reknowed for the bronze bust commissioned by HRH Queen Elizabeth II. This work of art caused a major rift with the Curia authorities.

This conflict emanated from the fact that the St.Joseph Band Club in liason with Confraternity of St.Joseph objected to the installation of the 4 silver cherubs replacing the set of 4 silver urns with ganutell flowers that were claimed to have been donated by the confraternity back in the 30s in fulfillment for the obligation imposed by the Curia of the Archdiocese of Malta. The Curia intimated the Confraternity that in ordering a set of 4 such silver urns for the statue of St.Joseph, they were obliged to commission a set of artifacts for the titular statue of Santa Marija. The arguement adopted was that the titular statue had to enjoy the benefit of the highest ranking treasures and artificats in order to denote its being at the apex of the Parish’s hiararchy, hence the Confraternity was tied to commission a set of 4 urns whose evaluation in quality of silver and craftsmanship was to be satisfactorily considered as being of a superior quality and manufacture in comparison to the set ordered for the statue of St.Joseph. So it was decreed, and so it happened.

Thus, when the 4 Apap angels materialized from the foundry in Naples and presented to the Church as the new addition to the statue, the Confraternity of St.Joseph quoted the 30s decree blocking the imminent blessing of the brand new work of art. Many opposed the validity of the decree quoting the arguement that in fact only 1 urn was paid by the Confraternity whilst the other 3 were sponsored by the villagers. The heated debated gathered momentum. The Curia failed to take a position either way and following an extraordinary general meeting the external festivities of 1981 was cancelled in protest. People gathered in droves contemplating the statue of the Assumption locked in her niche decorated with a sea of fresh flowers. It was year of gloom, of battered pride and seething rage.

The drama continued all through 1982 and it was only in late July that a compromise was reached whereby the angels sat on the 4 corners of the plinth whilst the 4 urns got wedged in front of the elaborate 4 facades of the monumental sarcophagus beneath the statue of the Assumption. For many this was no compromise but a weak patching up of a far more complex situation. For many the curia’s solution compromised the artistic value of the statue since it weighed it down with the unecessary decor.

It was not a compromise that fulfilled neither aesthetics nor the people’s expectations, but the feast of 1982 could go ahead.

In 1983 with all permits in hand the works on the restored club continued at quite a fast pace. The new lateral facade was finished. Plastering, painting and the laying of tiles and marble were ongoing. All works were done pro-bono, the true trademark of wholesome, selfless voluntary work.

Works were speeding to destination as the date of the 30th July, 1984 was chosen as the day of the official inauguration of the new club. That same year the Society would be celebrating the 50th anniversary from the founding of Banda Santa Marija.

1984 was a golden year in the club’s annals of history. It was a year of driven energy and of renewed self-confidence as years of sacrifice and sheer hardwork as all departments within the Society’s hiararchy worked towards one common goal. Everything would revolve the grand concert conducted by Mro John J. Pace, to be held at the heart of the village square which is in all aspects an innovative approach towards music production and performance. That night music reigned supreme. The overture from Bizet’s Carmen. Lizst’s Rapsodia Ungerese. Ravel’s Bolero. Tchaikowsky’s overture the “1812” accompanied by the firining of bayonets by local hunters was an act of precision and synchronicity which sealed the evening’s unparalled success.

The concert was attended by Her Excellency Ms. Agatha Barbara, the then President of Malta who proceeded to officially inaugurated the new refurbished club’s premises who was presented a silver key with a star-shaped head in order to open the main door. The new premises were blessed by the Vicar General Monseigneur Carmelo Xuereb.

1984 witnessed also the arrival of the much beloved “Santa Marija tal-marċ”, a papier mâché statue of the Assumption created by Chev. Michael Camilleri Cauchi which instituted itself as another key symbol inherent to these festa’s celebrations. The statue was commissioned with the thought that it would be carried along the streets of the village on the 13th of August with its final gliding up and resting upon a decorative pedestal exactly at the toll of midnight.

In 1987, the Kummissjoni Nisa Stillieri was established as a major point of action for female club members that more and more were being in the front-line of the Society’s volunteering activities. This can be considered as one of the most meaningful events in the history of this club as it was a move indicative not only of the changing times but of the club’s natural move towards equality. The presence of female participation would not be any more relegated to minor roles but in the following decades, women would come to claim their rightful places even in the higher echelons of the organization.

But in 1987, yet another event would take centre stage. In the extraordinary general meeting of the 5th of April, 1987 it was formally announced to the members the “Ta’ Marjan” family as owners to the property and direct heirs to Giò Maria Farrugia, namely the 3 sisters Marinton Farrugia, Carmela Pace and Madalen Spiteri; the 3 daughters and rightful heirs of Marċell Farrugia would be formally donating the premises to the Għaqda Mużikali Santa Marija. A notarial deed signed off this noble, generous gesture making the Society the rightful owners to their premises for whom it was like a second home. This never to fear losing their roofing as in the terrible thirties, and ensuring that longed-for security of being masters their own fate as an association.

1987 brought more bountiful harvest as the new Saint Mary’s Fireworks Factory was finished, inaugurated and was finally fully functioning.

The 1990s

Just six years after the inauguration of what we can call the 2nd version of the current premises, the dawn of this decade saw the stirrings of the new echoes inciting towards enlarging the club’s footprint. Two properties at the posterior of the club were acquired and with their purchase the temptation to demolish the existing club in order to rebuild brand new premises was gaining momentum. A request for plans with emphasis on the design for the two imposing facades were commissioned to top architects. The design of the architect Muscat Azzopardi was chosen as the favourite, and the most inspirational. The winning entry with its twin, ornate facades the triumphant entrance with its columnade, complimented by a grand balcony overlooking the main square and the ancillary cluster of balconies running along the facade giving onto Triq Giò Marie Farrugia.

The 29th March, 1991. Good Friday. The demolishing of old club’s premises was initiated. A bold decision that stands witness to the zeal, the courage and the resiliance of that particular brood of men. Once more it was a sheer miracle with club members working voluntarily, each with his own particular set of skills. Free donations of material or leasing of vehicles. It was a colossal project. No matter the difficulties or the heart ache, motivation stayed high and the aims were kept in sharp focus.

1998 saw the coming together of the first Kummissjoni Żgħażagħ Stillieri which proved to be a major source of new found energy in training young people within the structures and dynamics of the organization

The new Millenium

In lieu of the approaching 200 years anniversary from the arrival of the beloved statue of the Assumption in the village of Ħal Għaxaq, the Committe of the Għaqda Mużikali Santa Marija started the planning towards the celebration of this special anniversay. It’s a unique occurance in generations after generations of people. Truly an occassion that one will not repeat not even if allowed more than a lifetime.

The Committee was approached by the then President Vincent Bezzina with his wish to pay for all the expenses in restoring the statue of Santa Marija and her ornate golden sarcophagus. Bezzina had just widowed, and his wife Mary Bezzina, herself a direct descendant of the statue’s benefactor Giò Maria Farrugia; had left a legacy in her will preserving a sum of money with the specific decree of restoring the statue. Bezzina wanted to make Mary’s last wish come true. Her devotion and love for the Assumption would thus find their truest, most ardent expression in preserving the beauty of this sublime work of art for posterity. The time was ripe for this project and the Committee readily accepted.

2006

With the Curia’s permit firmly in hand, the Committee engaged Joseph Farrugia the reknowned gilder from Mdina. Farrugia was enthusiastic of the commission as he was approaching his retirement and longed for the possibility to intervene on what is considered to be one of the most beautiful processional in statues Malta. His craft which is the closest one to the old gilding technique was considered to be the natural choice.

In September, 2006 the statue was dismantled from its pedestal and it left for Mdina. The process of study and the initiation of the sensitive restoration process had thus initiated.

The departure of Santa Marija was both a source of joy and sadness, like polarities in intricate human emotions. There was the jubilation at seeing the statue be renewed and preserved from the ravages of time. In the same time, the empty niche in church emanated a sense of void. People remarked on the sense of emptiness and loss at not being able to see her and take their prayers to her as was customery for almost 200 years. In all those years the statue of Santa Marija had never left the church. It stood close to the people even during the terrible years of WW II. Santa Marija was like terra firma. A point of reference. This sense of loss was abated by frequent visits to Mdina where they could peep and freely weep as the process of transformation was ongoing. Tourists flocked to marvel at Gerada’s masterpiece as it dominated in all her golden splendour Farrugia’s tiny bottega in the old capital city of Malta.

Notwithstanding all the pilgrim’s interruptions, Farrugia finished his work. Farrugia returned the exquisite scuptured drapings to Gerada’s orginal chromatic scheme.

Chev. Pawlu Camilleri Cauchi painted the face of Santa Marija, creating a vision of divine beauty that quicky imprinted itself in people’s hearts.

All was ready for Santa Marija to return back home, back to her people.

2007

On the 30th July, 2007; the statue made its triumphant entry in Ħal Għaxaq.

The statue solemnly walked up from Triq Santa Marija from the side of Bir id-Deheb, re-enacting the same route that it originally observed when it first arrived in Ħal Għaxaq in 1808. On its way to Pjazza Santa Marija, the statue stopped in front of the mansion where the statue’s benefactor Giò Maria Farrugia originally lived and where the statue was under custody for its first 4 years at the village in its special niche within the house. The original notarial contract signed binding Gerada does not indicate the purpose of the purchase of the statue by Farrugia. It could be that originally it was intended for private worship, but its lifesize dimensions and clear processional pose might indicate that the statue was always meant for public adoration.

An interesting anecdote is the fact, in those first 4 years its recorded that the statue processionally left the house on the 30th of July, the day of the Kwindiċina; in order to enter the parish church. Eight days fter the procession of August 15th (known as l-ottava), the statue would leave the church yet again and processionally return in full regalia back to Farrugia’s mansion. In 1812, Farrugia signed a decree donating his beautiful statue to the Church. Yet, he reserved the unique right to keep a key that had to be annually presented by himself and eventually his descendants in order to open the ornate mahogany niche encapsulating the statue. This means that Santa Marija’s niche is oprated by 2 separate keys to 2 separate locks. One key is presented by the parish priest and the other by Farrugia’s rotation of descendents. Only the presence of both parties and conjunction of both keys can open the secret combination for the niche to open for the statue to emerge in church, thus initiating the festa days.

That day of the 30th July, 2007 just in front of Farrugia’s original residence, President Vince Bezzina personally put on the 12 star halo on the statue’s head. This final ritual by Bezzina surrounded by all the descendants of the Farrugia clan was an emotional moment that truly touched hearts especially all those who loved or were close to late Mary Bezzina. The fully restored gold and silver halo or stellarium designed by Abraham Gatt was the crowning glory in preparing the statue for its drammatic entry in the village square.

The entry of Santa Marija back into Pjazza Santa Marija reduced many to tears, as the Madonna tal-Għaxqin glided through the crowds on her way to her central stage of honour on the church’s parvis covered in carpets of red flowers. Hymns were sung from the balcony of the Club as singers sanf their praises. The climax was the rendition of the song “Marija” an original work by composer Paul Abela with lyrics by Joe Julian Farrugia commissioned ad hoc by the Għaqda Mużikali Santa Marija. The interpreters that day were Mary Spiteri, Georgina Abela and Renato Micallef.

The statue dominated the square from its high posed placing at the centre of the church’s parvis, the last rays of golden sun hitting her vibrant new colours and the priceless intricate sgraffiato designs created in pure gold.

The thanks giving mass celebrated in open air was the start-off for the special festivities on the occassion of the double centenary from the arrival of the statue of Santa Marija in 1808.

The festa of 2008 was all thematically based on this very important historic event.

2009

It was a titanic feat that spread over 18 long years of sheer hard work and sacrifice. The crowning glory was the inauguration on the 30th of July, 2009. The 30th of July is a special day in the calendar. Traditionally known as “il-Kwindiċina” it marks the 15 days prior to the festa day of August, 15th. With yet another grand concert in the Pjazza Santa Marija, the Banda Santa Marija under Mro Jeremy Sultana gave another superb display marking yet another historic date for this Society.

The new seat of the Għaqda Mużikali Santa Marija was officially opened by the then Prime Minister of Malta, Dr. Lawrence Gonzi who in his inauguration speech greatly praised the incredible fortitude and resiliance of the people of Ħal Għaxaq in their commitment to the good of their community, their strong values and love of our tradions. He made reference to his personal experience working in the voluntary sector, and he empathized with the hard work, the sacrifice and the sheer unconditional generosity demonstrated by the St.Mary’s Band Club.

Prime Minister Gonzi together with the President Martin Vella and the Parish’s clergy then proceeded to unveil a set of plaques commemorating the historic day and the hardwork of all those members who invested time, energy and resources in order to make tangibly real what was considered the impossible dream.

It was like the reaching of the much awaited promised land.