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For the above Calculations I am indebted to Mr. ARNOLD, Mr. WINSTON, and Mr. JAMES BRANDON.

"When HIS MAJESTY went to Covent Garden Theatre on February 7th, 1821, the Performances were Twelfth Night and Harlequin and Friar Bacon-Twelve Hundred People paid to the Boxes - but there is not Sitting room for more than a Thousand."-Mr. J. Brandon,

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When HIS MAJESTY visited Drury Lane Theatre on Monday, the 1st of December, 1823, every part of it was crowded to excess

but I could not learn the exact number of the Spectators.

When THE KING went to Covent Garden Theatre, on Wednesday the 3d of December, 1823, the Performances were The Cabinet and

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The above account was given to me by Mr. Robertson, the Treasurer to Covent Garden Theatre. It appears by this Document, that such was the universal and earnest desire of His MAJESTY's Loyal Subjects to behold their GRACIOUS SOVEREIGN that a greater number of Persons assembled in the Theatre on that Evening, than had ever been within it on any previous performance: the whole scene was most brilliant.


was sung several times. Many appear to have taken much pains to shew- When our favourite National Anthem was composed,-I have endeavoured to shew - How it ought to be SUNG *


"Good Emphasis and Good Discretion."

* Never having seen a Complete Score of "GoD SAVE

See No. 4. of "the Loyal and National Songs

of England."

Perhaps the latter information, may be as useful as the former-for I remember to have read in "The Cook's Oracle," that" it is no matter how Good your Meat is, if it is not well Dressed."

I believe, I am entitled to the honour of having given the first hints which have been written, as to How what is Sung so often ought always to be Sung.

"The Words being marked with proper Emphasis it is presumed will infinitely heighten the effect, and may be a standard for the per

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THE KING" for a full Band, Vocal and Instrumental,- I have given one, and have marked the Words as they ought to be expressed, in "The Grand Selection of THE LOYAL, NATIONAL, AND SEA SONGS OF ENGLAND, published in Commemoration of the Coronation of KING GEORGE THE FOURTH, and most humbly Inscribed, and with Gracious Permission dedicated to THE KING'S MOST EXCELLENT MAJESTY by William Kitchiner, M.D.

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Printed for Hurst, Robinson, and Co. Booksellers to His Majesty, No. 90, Cheapside, and No. 8, Pall-mall, in which is now first printed, from the Original MS. in the possession of the Editor, DR. JOHN BULL's "God save the Kinge” – A.D. 1616, and a Fac-simile of the earliest printed Copy of "God save the King" (1745) and 110 other LOYAL, NATIONAL, and SEA SONGS of ENGLAND.

formance of it — and

ensure, the proper pronunciation of the Words, and the effective expression of the Music; and revive that harmonious combination of them, the want of which has long

been deplored, by all who have faculties to comprehend how great is their power when united, and

"Sound is married to immortal Verse." - MILTON.

"As soon as this is generally considered, Singers will see their readiest road to fame, is to avail themselves of the double power of making the words an appeal to the Hearts and Understandings of their Auditors-as well as attacking their Ears with Volutas and Cadences, &c.

"To produce effect on others—Actors must themselves feel the passion they wish to inspire their audience with-and to sing with proper and effective expression, must give to every Syllable, and to every Quaver, its exact relative value; but not SHour and Bawz upon From-To-Of-In-And-But-On, &c. &c. merely, because they happen to be placed (improperly) under the accented part of the Bar, or under a long note, or a favourite note in their voice.

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"MELODY is the soul of Music-POETRY is the soul of Melody-the warbling of Sounds

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