This programme was developed for the 200th anniversary of the Battle of Trafalgar, and of the state funeral which took place in St. Paul's Cathedral on 9th January 2006. We gave the concert seven times in 2005, including some for Sea Britain.

The music for Nelson's funeral service was offered for sale by subscription, and we have the copy which was bought by Dr. William Horsley, 1774-1858. We have sung and played all of the funeral music at various times, and this programme uses two pieces from it.

From a Widecombe MS. One of few such pieces to survive with instrumental parts.

This nautical catch came from the MS book of Annie Hern, now lost.

Words by Tate & Brady. Copied by our friend Claire Willman from Twelve Psalm Tunes and Eight Anthems in Score, composed by Stephen Jarvis of Dartmouth, and published between 1798 & 1823. We thank Claire for permission to use it.

Psalm 107, verse 23, begins "They that go down to the sea in ships..." and is heard at many nautical services. The metrical words are by Tate & Brady. Tune: Doversdale by Samuel Stanley, 1767-1822. This variant is from the MS of Henry Hoddinott of Frome.

Words and music by Charles Dibdin, 1745-1814. He studied as a boy chorister and organist at Winchester Cathedral, and became famous as a composer and performer in the London theatres and at Vauxhall Gardens. Also called The lass that loves a sailor, this is supposed to be the last song he wrote. The audience joins in the chorus.

A loyal catch by William Boyce, 1711-79, published in T. Warren’s Collection of 1763.

Our own arrangement of this well-known tune, also known as the Sailor’s Hornpipe.

The melody and dance are from John Playford’s English Dancing Master, 11th edition, 1701. We have arranged the tune for our band.

This brisk march occurs in several MSS and printed sources. Our setting comes from a band MS used in Widecombe and neighbouring villages.

This is Henry Purcell’s song for the Chief Druid from Bonduca, 1695, sung even more often than Hearts of Oak (Boyce) when the Royal Navy went into battle.

This showpiece was written in 1811 by John Braham, 1774-1856, who had a long and colourful career as a tenor and celebrity. He cared more about giving himself the opportunity for a dramatic performance than he did for historical accuracy. Our arrangement for choir is by Mike Bailey.

The tune has this name in the Thomas Hardy family MSS, and a number of other names in other sources. We play our own arrangement.

By Thomas Attwood (1765-1838). At 9 years old he joined the choir of the Chapel Royal, where he was noticed by the Prince of Wales (later George IV), and was invited to Buckingham Palace. In 1785 he was sent to Vienna to study with Mozart, who was complimentary about his playing. On his return to London he worked in the theatre, and in 1796 became organist and subsequently Vicar Choral at St. Paul's Cathedral, holding this post until his death.

The audience joins in this traditional Hampshire version of this widespread cumulative song extolling the people involved in the crop and its journey to the tankard.

Our setting, ca.1815, of Thomas Arne’s tune is by Vincent Novello, 1781-1861, organist at the Portuguese Embassy chapel in London, together with Arne’s introduction. James Thomson’s original words are here replaced by some verses "sung at a dinner given by a Noble Lord to the Volunteers of his District, Dec 5, 1805", and printed in The Gentlemen's Magazine, Jan 1806. The concert programme contains the words for the audience to join in.

Handel wrote Saul in 1738-9, and the Dead March is one of the great funeral marches, used on many occasions, including Nelson’s progress from Westminster to St. Paul’s.

Thomas Attwood was organist in St. Paul's for Nelson’s funeral service on 9th January 1806, for which he composed this Magnificat and a matching Nunc Dimittis. We used both Canticles in several Evensongs in 2005.

Dr. Maurice Greene, 1696-1755, was Master of the King’s Musick, and composed 40 church anthems. This anthem was sung at George II’s state funeral, and then Nelson’s. Greene wrote much of his music in an accomplished baroque style, and the 1806 edition still uses soprano, alto, tenor and bass clefs, rather old-fashioned by then.

"A new song on the grand funeral procession of the late Gallant Lord Nelson." These words are among many special verses written quickly for special occasions, and as quickly forgotten. As with Rule Britannia, it was very common for additional verses to appear in newspapers and broadsheets.