We play the arrangement performed by the 3 regiments of Footguards before His Majesty King George III in Hyde Park on 27th June 1763.

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

Words by Tate & Brady. Tune: New Poole by William Knapp, the parish clerk of St. James, Poole from 1729 to 1768.

Texts from Isaiah, Chronicles, Psalms and Exodus, set by Henry Tolhurst, who lived near Maidstone. The Maidstone Journal for 24th May 1814 records his funeral: "On Sunday night the remains of Mr Henry Tolhurst of this town (a celebrated Psalm Singer and Musician) were interred at Langley, the corpse was preceded by a Band of Music, and the place of interment attended by some hundreds of spectators, many of whom seemed deeply affected at this solemn spectacle."

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. Join in the chorus if you wish.

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.

Also known as the Sailor’s Hornpipe, and found in many sources. Here is our own arrangement of this well-known tune.

Psalm 65 New Version, vv.9-13 by Tate & Brady. All the tunes except the first are to be found in several MSS and printed books, associated with this Psalm.

Frome from the MS of Henry Hoddinott, Frome.

St. Olave’s from Gems of Sacred Melody 1841, compiled by George Worgan. Composed by Mary Hudson 1766-1801, organist of St.Olave’s, London.

Martin’s Lane from the Surry Chapel Collection, ca.1835.

Wimborne from the Union Tune Book, 8th edn. 1844. This tune is played by the carillon of St. Mark’s, Talbot Village, Bournemouth.

New Sabbath from the Union Tune Book, 8th edn. 1844. Mentioned by Thomas Hardy in the poem, A Church Romance.

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

Adopted during the 18th century as our national anthem, it had many variants of words and harmony. The audience joins in verses from about 1800.

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

Dance

Harper’s Frolic from Ashover, Derbyshire, written down in the 1780’s. Tunes: The Heroes March from a Somerset MS, and Netley Abbey from Cahusac’s Pocket Companion to the German Flute, ca.1805.

Words by Tate & Brady. Tune: Ramsgate by Thomas Clark of Canterbury, 1775-1856. He co-edited the Union Tune Book, first published in 1837.

This glee is by John Davy, born Exeter 1765. He studied under William Jackson, organist at the cathedral, and died in London in 1824. He wrote many songs and pieces for the theatre. We thank Claire Willman for permission to use her transcription.

Words by Tate & Brady. The tune is also known as New Victory, or Clifford’s after its composer. It is called Bonaparte’s Air (sic) in the Farmer MS from Bramley in NE Hampshire, from which we take this setting.

This round probably originates in the 16th century. We found it written as a footnote in the MS of Thomas Hardy’s grandfather.

A setting by Charles Bannister, 1768-1831, of words which draw a parallel between the soul’s journey to heaven and a sea voyage. It comes from Josiah Walker’s The Beauties of Sacred Harmony, 1815.

Thomas Carter 1734-1804 wrote many successful operas and dramatic pieces, and when times were hard is said to have forged and sold Handel manuscripts. Originally a solo, the arrangement for choir is by Mike Bailey

This was the finale of Alfred, 1740, with words by James Thomson 1700-48 and music by Dr.Thomas Arne 1710-1778, who used it to stir up patriotic fervour in his Drury Lane audiences during the ’45 Jacobite rebellion. Our setting, ca.1815, is by Vincent Novello 1781-1861, organist at the Portuguese Embassy chapel in London, together with Arne’s introduction.