Paper 8

The Life & Quadrilles of Joseph Binns Hart (1794-1844)

Contributed by Paul Cooper, Research Editor

[Published - 21st October 2014, Last Changed - 28th February 2022]

In a previous paper we've considered Joseph Hart's most famous Quadrille Set, Les Lanciers; in this paper we'll look at his other Quadrilles, especially those of the 1820s.

Figure 1. Joseph Hart, a detail from the cover of Hart's 23rd Set, 1827

Hart was one of the most prolific Quadrille Publishers in England, he published roughly 30 Sets by the end of the 1820s and another 25 or more in the 1830s and 40s. Figure 1 shows an 1827 image of Hart from the cover of one of his Quadrille Sets¹. In this paper we'll review the content of his Quadrilles and provide accurate dating information for when they were published. Other prolific publishers of the 1820s include John Michael Weippert (who published his 50th Set c.1830), Philippe Musard (who published his 50th Set in 1828), John Charles White (who published his 30th Set in 1820), John Thomas Craven (who published his 28th Set in 1830), M. Dunois (who published his 20th Set in 1829), Leander Zerbini (who published his 17th Set in 1832) and of course James Paine who published his 17th Set c.1821. Many dozens of other Quadrillers were also publishing during this period.

Hart's Quadrilles are of particular interest as he, unlike many of his contemporaries, provided dance figures to accompany his Quadrilles. We've previously considered the First Set of Quadrilles in a paper on Wilson's Quadrilles, by the 1820s the figures from the First Set were danced to most Quadrille tunes; Hart is unusual in providing alternative figures (while supporting the use of the First Set figures for those who preferred them).

The Life of Joseph Binns Hart

Joseph was born to Thomas and Martha Hart on 23rd November 1794, and was baptised a few days later on the 21st December at St. Giles Cripplegate (this is the most likely record of his birth and baptism from the International Genealogical Index, though could have been misidentified).

The most useful source of information for Hart's early life is the 1824 Dictionary of Musicians². The entry for Hart was written during his lifetime, possibly by someone that knew him. It records:

HART (Joseph) was born in London in 1794, and entered St. Paul's cathedral, as one of the choristers, at the age of seven years and a half, under the instruction of J.B. Sale, senior. At the age of eleven, he acted as deputy for Mr. Attwood, the organist, on several occasions. Whilst in the cathedral choir, Hart received private instructions on the organ from S. Wesley and M. Cook, organist of Bloomsbury; he also had lessons on the piano-forte from J.B. Cramer. He remained in the choir nearly nine years, and at sixteen years of age was elected organist of Walthamstow church, Essex, which situation he left to become organist of Tottenham, Middlesex: this last appointment he still holds. It should be mentioned that Hart was elected organist of Tottenham, after a public competition and trial of skill of nine candidates. After Hart left St. Paul's cathedral, he went also as domestic organist to the late Earl of Uxbridge, where he remained three years, and it was at his lordship's decease that he entered the profession as a teacher, composer &c. At the termination of the war in 1815, quadrille dancing became the fashion, when Hart attended private parties as a piano-forte performer, and wrote several popular sets of quadrilles.

Figure 2. Play Bill for Bull's Head, 1819 (Music by Mr. Hart)

It further reports:

He was also during three years chorus-master and piano-forte player at the English opera, during which time he composed several musical farces: "Amateurs and Actors," "Bull's Head," "Walk for a Wager," and the popular dramatic opera of "The Vampire".

His three years at the Opera House seem to have been between 1818 (the date for "Amateurs and Actors") and 1820 (the date for "The Vampire"). The Dictionary of National Biography puts the dates as 1818-1821³. A Play Bill for the 1819 Bull's Head can be seen in Figure 2⁴. The Dictionary of Musicians also reports that in 1824 (the date of publication) Hart shortly intends publishing "An easy Mode of teaching Thorough-bass and Composition," a work especially intended for schools and young professors.. It's not clear if it was ever in fact published.

A member of the Hart family, probably Joseph, advertised his services as a Professor of Dancing in London between 1820 and 1822 (The Times, 22nd November 1822). This professor explicitly taught the Les Lanciers Quadrilles; this strongly implies it was Joseph, except that the 1822 advert (The Times, 24th December 1822) names him as T. Hart. This may have been a misprint, or it may be evidence that Joseph supplied the music and that a family member specialised in teaching the figures.

Hart's Will is available from the National Archives⁵, it reveals that Hart was married to a lady called Elizabeth, and they had two sons, Frederick and Richard. The only viable record of the marriage in the International Genealogical Index places it on the 26th June 1813 (when he was 18 years old), and identifies his bride as Elizabeth Loader; perhaps Elizabeth was related to the musically successful Loder family of Bath. Their sons were both baptised in 1817.

Hart published his first Set of Quadrilles in 1818, with music adapted from Mozart's Il Don Giovanni. Many publishers of Quadrille music selected their tunes from popular ballets and operas, Hart included. Almost all of his quadrille tunes were adapted from other sources. He published a steady stream of Quadrilles throughout the rest of his life, several most years, and moved home several times (from London to Ramsgate, Ryde, and finally to Hastings). In 1826 he had moved to Ryde on the Isle of Wight, and was leading the band for the Royal Regatta⁶ (see Figure 3).

Figure 3. The Royal Regatta at Ryde, band led by Joseph Hart, 1826. Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)

A short while later, according to the Hampshire Chronicle, Hart was declared an insolvent debtor⁷ (see Figure 4). Hart didn't publish much in 1826, perhaps due to financial complications, but he began again in 1827.

Hart was for a while the leader of a popular Quadrille Band. An article in the Morning Post for May 15th 1826 reported on a Fete at Covent Garden Theatre, attended by much of the nobility. It also recorded Mr. Hart's celebrated Quadrille Band attended on this occasion; and, amongst the most distinguished setts performed were Hart's "Freischutz" and "Semiramide", being called for by Special Desire, and repeated five times during the evening. The Musical Department went off with brilliant eclat, being under the able direction of Mr. Joseph Hart.⁸.

A report of a concert in the Sussex Advertiser (11th February 1839) mentions Hart's skill as a musician:

The whole was under the able direction of that well-known son of harmony, Mr. Joseph Hart of Hastings, whose inimitable performance on the piano-forte drew forth the warmest applause. The instrument under his fingers seemed endowed with the power of animate intelligence, conveying in its tone of softened melody, emotions of pleasure with as much distinctiveness as if gifted with the power of human speech.

A curious insight into Hart's life can be found in the pages of The Kentish Gazette, 15th April 1834, where it is recorded that he attended a concert of Canterbury's Apollonian Catch Club: it was discovered that Mr. Hart, the celebrated quadrille composer, had been present during the concert. On the company drinking his health, he returned thanks, and stated that he could not in adequate terms express the delight he felt on hearing so excellent a concert: and he congratulated the City of Canterbury on the extraordinary talent he had that evening witnessed among the youths in that orchestra, and concluded - Proud am I to say, that while juvenile talent is so fostered as it appears to be here, Englishmen will never have cause to fear the invasion of any foreigners. He then delighted the company by performing God save the King, with variations, on the pianoforte, and several sets of his excellent quadrilles, and amused a numerous company to a very late hour.

Hart had moved to Hastings by 1829, and lived there the rest of his life, with frequent visits to Brighton, Canterbury and other nearby towns. He died in 1844, but his Will reveals a further secret. In addition to his two legitimate sons, he had two illegitimate children called Joseph and Selina. He left £50 to his wife, and £25 to each of his two legitimate sons. His illegitimate children were to receive £10 each, and his executors were to receive £5 each as a small acknowledgement for the trouble they will have in the execution of this my will. And why would his executors experience trouble? It might be because everything else he owned was left to his Housekeeper, Amelia Foster, and not to his wife! It's tempting to speculate that the housekeeper was the mother of his illegitimate children, and they all lived together... such arrangements were not uncommon.

Various obituaries for Hart appeared in the press. The following brief example may have been the first, it appeared in the Northampton Mercury for 14th December 1844:

On the 10th inst., at Hastings, after a lingering illness, aged 50, much regretted by his numerous friends, Joseph Binns Hart, many years organist of St. Mary's Chapel, Hastings, and author of the celebrated quadrilles from "Macbeth" and "Pietro L'Eremita".

The Works of Joseph Binns Hart

Figure 4. Hart, an insolvent debtor, 1826. Image © THE BRITISH LIBRARY BOARD. ALL RIGHTS RESERVED. Image reproduced with kind permission of The British Newspaper Archive (www.britishnewspaperarchive.co.uk)

What follows is a table listing the works (mostly Quadrilles) that I've been able to research. A few of the Quadrilles are animated here at RegencyDances.org. A trend that will become evident is that Hart reused many of his dance figures; later Sets tend to reuse the figures from earlier Sets. As the 1820s progressed the Quadrille dancing public lost interest in novelty, and preferred to dance figures they already knew. This may be why Hart put less effort into the figures for his later Sets.

Most of the figures Hart used were standard French quadrille dancing figures, but arranged in new ways. Some of his more interesting Quadrilles use figures supplied by other choreographers, including Miss Giroux, Mr Bemetzrieder, and G.M.S. Chivers. It's possible, though I've no evidence to support it, that Hart was related to N. Hart a successful London dancing master of the 1750s through 1770s.

Dating Hart's work has taken some effort. In most cases they can be cross referenced using advertising from dated publications, such as Newspapers, Periodicals, and the Copyright records at Stationer's Hall. Hart made sporadic use of both national and local advertising campaigns, providing fixed dates for many of his works. We can deduce the missing dates due to the sequential numbering convention, until it was dropped in 1832. It's likely that I've missed some of his works after this date. Some institutions date Hart's works based on watermarks in the paper; I've found this to be unreliable as some works were reprinted multiple times, and others were printed on old paper-stock. Some of the works were reprinted or adapted in America, Australia and elsewhere. I've not included those documents in this review.

I've provided links to copies of the Quadrilles where available. If you have access to any documents that are not currently available, and you're prepared to share them, do please get in touch. I've been lucky enough to access most of Hart's Quadrilles through the British Library, and am thrilled that they agreed to my sharing the cover images (except where the documents are too fragile to be copied); but there are a few works that aren't available through the Library's archives, and that I've not been able to source elsewhere.

Note: some Quadrille Sets can be incorrectly attributed to Joseph Hart. These include the Rory O'More Quadrilles by Charles Hart (c.1837), and the Adelaide, or Quadrille Ecossois Royale by W. B. Hart (1831). I've only included the Quadrilles I'm confident are by Joseph Binns Hart. Other people with the name Joseph Hart can be confused with Joseph Binns Hart when researching him; examples include the Organ building Joseph Hart (1770-1855), the London based publisher Joseph Hart (who published music from 1818), the Calvinist Minister and Hymnist Joseph Hart (1712-1768, whose works were reprinted in the early 19th century) and the vaudeville performer Joseph Hart (1861-1921).

Work & Date	Image	Comments
Il Don Giovanni Quadrilles 1818		This unnumbered set of Quadrilles are mentioned in the entry for Hart in the 1824 Dictionary of Musicians², they are hinted to be his first work. The Dictionary of National Biography dates them to 1818³. The music is adapted from Mozart's Don Giovanni. The Quadrilles are dedicated to the Misses Harrison. The contents are Le Pantalon, L'Ete, La Poule, La Trenise, La Pastorale and La Finale, the figures are those of the First Set. This is one of the very few Quadrille Sets Hart published without alternative figures. It's also unusual for being inscribed rather than dedicated, and for not being arranged for the Harp. Full Title: A Set of Quadrilles selected from the favorite airs in Il Don Giovanni, arranged for the Piano Forte, and most respectfully inscribed to the Misses Harrison, by Joseph Hart. Price 3s. Image © BRITISH LIBRARY BOARD, h.925.z.(12.) ALL RIGHTS RESERVED
1st Set of Quadrilles 1818 to 1820		These Quadrilles are dedicated to Lady George Lennox. The contents are Le Pantalon, L'Ete, La Poule, La Trenise, Le Petit Tambour and La Carnival de Venice. They use the figures of the First Set, with minor elaboration. The same figures went on to be reused in Hart's 20th Set. Full Title: Hart's First Set of Quadrilles, selected from the favorite ballet of Le Carnival de Venice, and adapted to Paines original figures, as danced at Almacks & the Nobility's Balls. Composed and arranged for the Piano Forte or Harp, and respectfully dedicated to Lady George Lennox, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, h.925.z.(1.) ALL RIGHTS RESERVED
2nd Set of Quadrilles 1818 to 1820		This is Hart's second Set of Quadrilles to feature original dancing figures. The music is adapted from Rossini's Il Tascredi, and dedicated to Lady Sheffield. The contents are L'Amenaide (Pantalon), L'Isaura (L'Ete), Cest L'Amour (La Poule), Di Tanti Palpiti (La Trenise), The Coquet Finale (Finale), and Hart's Tempete Dance. The Tempete Dance is interesting. It features four couples facing each other in two lines of two couples, and consists of figures that retain that formation. This convention had been used for Cotillion dancing in the late 18th Century, though it's unusual. For example Mr. Siret included such dances in his c.1770 collection of Cotillions. A dance master called G.M.S. Chivers also promoted this format in his 1819 Mescolanze dances. Hart went on to produce his 3rd Scotch Quadrille Set in collaboration with Chivers, so Chivers could have collaborated with Hart to produce this dance. Chivers published his own La Tempête dance in 1825 in his Dancing Master in Miniature. Hart subsequently used this same formation in 1830 for his Royal Mazourkas. Full Title: Hart's Second Set of Quadrilles, containing L'Amenaide, L'Isaura, Cest L'Amour, Di Tanti palpiti, The Coquet Finale and Hart's Tempete Dance. With proper figures French & English, as performed at Almacks The Argyll Room's, and the Nobilities Balls, composed & arranged for the Piano Forte or Harp, & dedicated to Lady Sheffield, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.62.d.(8.) ALL RIGHTS RESERVED
Les Lanciers 1819 to 1820		We've discussed the origins and history of this most famous of Quadrille Sets in a previous paper. For more information, please refer to that article. This Set is particularly unusual in that multiple editions were published, and later editions introduced changes. Hart first published this Set around 1820, the 4th edition was published by 1825⁹. One of the most significant differences between the 1st and 4th editions is that two of the Quadrilles were transposed. The corrected contents are La Rose, La Lodoiska, La Dorset, L'Etoile and Les Lanciers. The first edition had Les Lanciers 4th, followed by L'Etoile. There are several minor differences in the figures between these editions, including a change in La Rose from the first man leading to the first lady leading. The changes were introduced somewhere between the 2nd and 4th editions (the 2nd edition is identical to the 1st). This Set are unusual in that none of the Quadrilles are designed to be compatible with the figures of the First Set. They're instead derived from Duval's Lancers (his Second Set). Full Title: Les Lanciers, a Second Set of Quadrilles, for the Piano Forte, with entirely new figures, as danced by the Nobility & Gentry at Tenby, in the Summer of 1819. Composed & most respectfully dedicated to Lady & the Misses Beechy, by Joseph Hart. Image © BRITISH LIBRARY BOARD, g.270.d.(12.) ALL RIGHTS RESERVED
3rd Set of Quadrilles Les Hussars 1820		The Morning Chronicle for September 12th 1820 reports New Music - "Les Hussars" - A Third Set of New Quadrilles, as danced at the Nobility's Balls, composed and dedicated to Lady Burton, by Joseph Hart, price 3s. An advert in the New Times for 19th March 1821 adds: At the request of several Ladies of distinction, Mr. Hart has invented New Figures to the above popular Quadrilles, which render them peculiarly interesting. A subsequent advert in The Morning Post for 7th June 1822 reports publication of a new edition, and Notwithstanding the very great success these deservedly-popular Quadrilles have acquired from the Nobility and Gentry's sanction, it is imperative on the part of the Publishers to caution the Public against any spurious edition that may be offered; and to assure them, that none can be genuine but those signed J. HART, and published by Mayhew and Co.. This Set of Quadrilles is thematically linked with Hart's Lancers, it's presumably a sequel. The contents are Miss Grant (Pantalon), Miss Harrison (L'Ete), Miss Beechey (La Poule), Miss Sheridon (Trenise), Mrs. Bury (La Pastorale), and La Cendrillon. The figures in this Quadrille Set are original. They went on to be used in a modified form in Hart's 7th Set, and from there to Hart's 10th Set, Hart's 13th Set, Hart's 16th Set, Hart's 18th Set, Hart's 19th Set, Hart's 24th Set, Hart's 29th Set, Hart's 35th Set, Hart's Grenadier Quadrilles and Hart's Bride Quadrilles. We know the Hussars were popular in the early 1820s as their figures were included in several of the early Quadrille collections. For example, they're included the G.M.S. Chivers' 1824 Quadrille Preceptor. However, Chivers didn't use Hart's figures as published, he replaced the figures of the first three Quadrilles with those of the First Set. It's unclear why. It's possible that variant figures for the Hussars were in use, though the alternative figures don't appear in any other source I've been able to locate. Full Title: Les Hussars, a Third Set of New Quadrilles, including the favorite La Cendrillon, with proper figures as danced at the Nobility's Balls, composed and arranged for the Piano Forte or Harp, and dedicated to Lady Burton, by Joseph Hart. Price 3s. Image © BRITISH LIBRARY BOARD, h.925.w.(19.) ALL RIGHTS RESERVED
1st Set of Scotch Quadrilles 1821		The Morning Post for June 23rd 1821 reports New Music, just published. - Hart's much admired Scotch Quadrilles, with new Figures, as performed by Mr. J. Weippert and the Author at the Nobility's Balls, composed and arranged for the Pianoforte or Harp, and respectfully dedicated to the Misses Fitz-Clarence, by Joseph Hart, price 3s.. The Quadrilles are My Love She's But A Lassie Yet (Pantalon), The Highland Laddie (L'Ete), Maggie Lawder (La Poule), Jenny Bawbee (La Pastorale), Duncan Grey or Rob Roy Macgregor (La Finale). Many Quadrilles were produced in the 1820s themed around Scotland, with such names as Scotch, Highland or Caledonian Quadrilles. This is the earliest example I know of, by any writer of Quadrilles. There were earlier Quadrilles published by Scottish dancing masters (Nathaniel Gow had published approximately 10 Sets in Edinburgh by mid 1822), but this is one of the earliest that calls itself Scotch (though C.T. Sykes' Highlander's Quadrilles could be earlier, and John H. Gow published various Quadrilles to Scotch Airs in 1817). The tunes are traditional Scottish tunes, but other than that they're ordinary Quadrilles - there's nothing identifiably Scottish about them. They were published in London. The figures in this Quadrille Set are original, with the exception of the 4th Quadrille, which is derived from the 4th Quadrille in The Hussars. They went on to be reused in Hart's Irish Set, Hart's 21st Set, Hart's 23rd Set, Hart's 7th Scotch Set, Hart's 8th Scotch Set, Hart's 26th Set and Hart's 32nd Set.
1st set of New Country Dances 1821		The Morning Post for June 23rd 1821 reports New Music, just published....A first set of New Country Dances, with proper figures, composed for the P. F. by Joseph Hart, price 1s. Containing "The Accession," "The Coronation," "The Abbot," and "Kenilworth Castle.".
4th Set of Quadrilles 1821		The Morning Post for July 10th 1821 reports Hart's Fourth Set of Quadrilles, dedicated to the King. - Messrs Mayhew and Co.... have the honour to announce to the Nobility and Gentry, that they have just published Hart's Fourth Set of Quadrilles, with entire New Figures, in French and English, as performed at Almack's and the Nobility's balls, composed and arranged for the Pianoforte or Harp, and most humbly dedicated (by permission) to his Most Gracious Majesty King George the Fourth, by his dutiful subject and servant, Joseph Hart. Price 4s. These beautiful Quadrilles richly deserve the lavish praises so universally bestowed upon them by the lovers of this elegant science.. The contents are The Duchess of Clarence (Pantalon), The Duchess of Gloucester (L'Ete), The Duchess of Kent (La Poule), The Princess Sophia (Pastorale), The Princess Augusta Sophia (Finale) and the George IV. Coronation Waltz. The figures in this Quadrille Set are original. Full Title: Hart's Fourth Set of Quadrilles, with entire new figures in French & English, as performed at Almack's and the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, most humbly dedicated by permission to his most gracious majesty, George the Fourth. By his dutiful subject and servant, Joseph Hart. Image © BRITISH LIBRARY BOARD, h.925.w.(17.) ALL RIGHTS RESERVED
5th Set of Quadrilles 1822		The Monthly Magazine: Or British Register for March 1822 reports in their new music column Hart's Fifth Set of Quadrilles, with their Proper Figures, as Danced at Almack's and the Nobility's Balls, composed and arranged for the Piano Forte, or Harp, and respectfully dedicated to Lady and Miss Dallas, by Joseph Hart. 4s. These six Airs, with their appropriate figures for dancing, (given both in English and French,) form the subject matter of this compilation. The general arrangement is far from defective; and, to those who love to trip on the "light fantastic toe," or who listen with unmixed pleasure to the harmony of the sylvan deities, these quadrilles will prove an offering not unworthy notice.¹⁰ The music is adapted from Rossini's Il Turco Italia. The contents are Lady E. Tollemache (Pantalon), Lady G. Lennox (L'Ete), Ludy Lubbock (La Poule), Miss Stracey (La Pastorale), Miss Dallas (Finale) and Lady Dallas's Waltz. An acknowledgement printed within this document indicates Figures arranged by Miss Giroux. Giroux was a successful stage dancer; she provided Quadrille figures for several other Quadrille Sets, including sets published by John Charles White in Bath. Hart appears to have liked this set of figures, he reused them in many later Quadrilles. They're used almost unchanged in Hart's 6th Set, Hart's 9th Set, Hart's 11th Set, Hart's 22nd Set and Hart's 28th Set. Full Title: Hart's Fifth Set of Quadrilles, from Rossini's opera Il Turco in Italia, with their proper figures, as danced at Almack's and the Nobility's Balls. Composed and arranged for the Piano Forte or Harp, and respectfully dedicated to Lady and Miss Dallas, by Joseph Hart. Prince 4s. Image © BRITISH LIBRARY BOARD, h.723.dd.(3.) ALL RIGHTS RESERVED
2nd Set of Scotch Quadrilles 1822		The Morning Post 7th June 1822 reports the availability of these Quadrilles. The Quadrilles are dedicated to Lady Macgregor. The contents are The Lothian Lassie (Pantalon), We're A'Noddin (L'Ete), Johnny Macgill (La Poule), The Quaker's Wife (La Pastorale) and Good Night and Joy Be Wi'ye (Finale). The figures in this Quadrille Set went on to be used in Hart's 4th Scotch Set, Hart's 14th Set, Hart's 6th Scotch Set, Hart's 15th Set and Hart's 17th Set. Thomas Wilson wrote about this set of Quadrilles in his 1824 Danciad. He said: There are several sets of what are termed "Scotch Quadrilles," which are only Scotch as to name and tune, having no other national characteristic, being composed of French Quadrille figures and steps. In order to enable those who are conversant with Scotch dancing, to judge how far these are entitled to the appellation of Scotch, the reader is here presented with the figures of The Caledonians.. He then listed the complete figures of Hart's 2nd Set of Scotch Quadrilles. A note inside Hart's 4th Scotch Set credits the figures of that Set to a dance master called Mr Chivers, or G.M.S. Chivers as he's better known. They're almost identical to the figures in this Set, so the implication is that Chivers supplied the figures for this Set without credit, but the error was corrected for subsequent publications. Chivers used the same figures in his 1821 Original Caledonians. He's also credited with providing the figures for Hart's 3rd Set of Scotch Quadrilles.
Irish Quadrilles 1822		The Morning Post 7th June 1822 reports the availability of these Quadrilles. They're dedicated to The Misses Lock. The contents are The Rose (Pantalon), The Shamrock (L'Ete), The Thistle (La Poule), The Emerald Isle (La Pastorale) and The Sovereign (Finale). As with Hart's Scotch Quadrilles, there's nothing particularly Irish about this work other than the selection of tunes. The figures are reused unchanged from Hart's 1st Scotch Set, it's one of the first examples of figure reuse in Hart's Quadrilles. It's perhaps notable that Almack's Assembly Rooms held a Hibernian Fancy Dress Ball on the 10th of June 1822, it's possible that this music was composed for the occasion. Full Title: Hart's Irish Quadrilles, as performed at the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, and respectfully dedicated to The Misses Lock, by Joseph Hart. Price 3s. Image © BRITISH LIBRARY BOARD, h.925.z.(11.) ALL RIGHTS RESERVED
6th Set of Quadrilles 1822 to 1823		The music is adapted from Rossini's La Gazza Ladra and is dedicated to Lady E. Tollemache. The contents are Lady Gore (Pantalon), Lady Pocock (L'Ete), Lady Codrington (La Poule), Lady Hamilton (Trenis), Mrs. Shaw Lefevre (La Pastorale) and La Gazza Ladra (La Finale). This Set is a little unusual in consisting of 6 Quadrilles, most of Hart's Quadrille Sets only have 5 parts. It's also interesting for being one of the first Sets in which he reused figures from an earlier Set. He went on to do this many times in the future. The figures are from Hart's 5th Set (originally by Miss Giroux), with the addition of the La Trenis figures from the First Set for the 4th Quadrille, Lady Hamilton. Full Title: Hart's Sixth Set of Quadrilles, including select airs from Rossini's opera La Gazza Ladra, with their proper figures in French & English, as performed at Almack's and the Nobility's Balls. Composed & arranged for the Harp or Piano Forte, and most respectfully dedicated to Lady Elizabeth Tollemache, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, h.62.d.(11.) ALL RIGHTS RESERVED
3rd Set of Scotch Quadrilles 1822 to 1823		An advert in the Morning Post for 5th December 1823 reports the existence of this Quadrille Set. The Quadrilles are dedicated to Lady Grey. The contents are Argyle Is My Name (Pantalon), Corn Riggs (L'Ete), The Campbells Are Comin (La Poule), O Whistle and I'll Come To You My Lad (La Pastorale) and Loch Erroch Side (Finale). The figures in this Quadrille Set are original. An acknowledgement within the document indicates two new figures by Mr. Chivers. This is a reference to G.M.S. Chivers, the publisher of various Quadrilles in the early 1820s. I've not identified which of the figures are Chiveronian. The figures went on to be used in The Gustave Quadrilles. Full Title: Hart's Much Admired Third Set of Scotch Quadrilles, Including the favorite Air "The Campbells Are Comin" as Performed by The Author at the Nobility's Balls. Composed & Arranged for the Piano Forte or Harp, and Respectfully Dedicated to Lady Grey, by Joseph Hart. Price 3s. Image from eBay
4th Set of Scotch Quadrilles 1822 to 1823		An advert in the Morning Post for 5th December 1823 reports the existence of this Quadrille Set. The Quadrilles are dedicated to The Duchess of Argyle. The contents are Kenmure's On and Awa' (Pantalon), There's Nae Luck (L'Ete), Carl, an the King Come (La Poule), My Ain Kind Deary O (Trenise) and Over the Water to Charlie (Finale). A note inside the set indicates that The figures are by Mr Chivers (as in Hart's 3rd Scotch Set). The figures are mostly reused from Hart's 2nd Scotch Set, though the 4th Quadrille is a variation of the Trenis figures, and the 5th uses the figures from the final dance in Hart's 10th Set. Full Title: Hart's Much Admired Fourth Set of Scotch Quadrilles, Including the favorite Airs of "Kenmure's On and Awa", "Carl, an the King Come," "There's Nae Luck," "My Ain Kind Dearie" and "Over the Water to Charlie". Composed & Arranged for the Piano Forte or Harp, and Respectfully Dedicated to the Duchess of Argyle, by Joseph Hart. Price 3s.
7th Set of Quadrilles Pietro 1823		An advert in The Morning Post for 4th March 1823 indicates that this Set of Quadrilles had been published. It became one of Hart's most successful Quadrille Sets; it was reprinted multiple times, and is mentioned in some of the brief obituaries printed after Hart's death. It was arguably Hart's most successful Quadrille Set during his own life time. See, for example, the 1841 advert for Hart's Chinese Quadrilles. The music is adapted from Rossini's Pietro L'Erimita. The contents are La Louisa (Pantalon), La Theodosia (L'Ete), La Julia (La Poule), l'Erimita (La Pastorale) and La Finale (Finale). The figures for the first 3 Quadrilles originate in Hart's Hussars. The figures went on to be used in some of Hart's later Quadrille Sets (in some cases via the adaption used in Hart's 10th Set). The figures from Hart's 13th Set, Hart's 18th Set, Hart's Grenadier Quadrilles and Hart's Bride Quadrilles are also derived from this Set. Full Title: Hart's Seventh Set of Quadrilles, Selected from Rossini's favorite Opera, Pietro L! Erimita, with their Proper Figures in French & English, as Danced at Almacks, the Nobility's Balls, and the Assembly Rooms, Ramsgate. Composed & Arranged for the Piano Forte or Harp, and respectfully Dedicated to Lady Elizabeth Conyngham, by Joseph Hart. Price 4s.
8th Set of Quadrilles 1823		The Morning Post for May 31st 1823 reported just published, Hart's Eighth Set of Quadrilles, selected from the most favourite English Melodies, including the popular Oxonian Finale, composed and arranged for the Piano Forte or Harp, by Joseph Hart, price 4s. The patronage and universal reception which has distinguished Mr. Hart's Quadrilles has induced many persons to offer spurious editions. The public are therefore respectfully requested to ask for Hart's Quadrilles, published by Mayhew and Co.. A copy of the figures for this Quadrille were published in The Westmorland Gazette for 20th December 1823. Hart acknowledged that the figures were by a Mr. Bemetzrieder. He was from the King's Theatre, and is said to have invented the Tredrilles, Polish Dances, and Circassian Circles (Manchester Courier and Lancashire General Advertiser, 25th September 1830). A Mr. Bemetzrieder was also Master of Ceremonies for the Grand Balls hosted at the Royal Collosseum Saloon in the late 1830s. The Quadrilles are dedicated to Miss Grant. The contents are The Lass of Richmond Hill (Pantalon), Go George, I Can't Endure You (L'Ete), Life Let Us Cherish (La Poule), The Plough Boy, The Oxonian Finale (Finale) and Hark the Bonny Christ Church Bells. The 4th Quadrille, The Plough Boy isn't arranged to be compatible with the figures of the First Set; its figures were subsequently reused in the 4th Quadrille of Hart's 13th Set. The figures for the entire Set were reused in Hart's 12th Set, Hart's 27th Set and the Hunter of Tyrol.
9th Set of Quadrilles 1823		The music is adapted from Rossini's La Donna Del Largo (The Lady of the Lake). The Quadrilles are dedicated to Lady Jane Paget, the contents are Elena (Pantalon), Rodrigo (L'Ete), Uberto (La Poule), Malcolm (La Pastorale), Douglas (Finale), and The Serenade Waltz. A copy of the figures for this Quadrille were published in The Westmorland Gazette for 20th December 1823. The figures are reused from Hart's 5th Set (originally by Miss Giroux), with the exception of the 4th Quadrille, which is a minor variation on La Trenis from the First Set. These figures went on to be used unchanged in Hart's 11th Set. Full Title: Hart's Ninth Set of Quadrilles, selected from Rossini's beautiful opera La Donna Del Lago, with their proper figures in French & English, as danced at Almacks, the Nobility's Balls, and the Assembly Rooms Ramsgate. Composed & arranged for the Piano Forte or Harp, and most respectfully dedicated to Lady Jane Paget, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, h.925.z.(2.) ALL RIGHTS RESERVED
10th Set of Quadrilles Der Freyschutz 1823		An advert in the Morning Post for 5th December 1823 reports the availability of this Quadrille Set. The music is adapted from Weber's Der Freyschutz. This Quadrille Set was mentioned by Thomas Wilson in his 1824 Danciad, he described them as trite or wretched stuff¹¹, but grudgingly admitted that the figures were known by many Quadrille dancers. This Set was reprinted many times, and became one of Hart's most popular works. An advert in the Courier for 4th September 1824 adds: The Music of this novel and extraordinary Set of Quadrilles has created a sensation which has never before been equalled by any of Mr. Hart's former productions, the whole of the Airs being arranged from the original scores of the above celebrated Author; and the unprecedented demand for this elegant Set of Quadrilles obliges the Publishers to assure the lovers of Classical Music, that no Copies can be genuine but those published by Mayhew and Co.. The contents are La Resolute (Pantalon), La Divine (L'Ete), L'Elegante (La Poule), Der Freyschutze (La Pastorale), La Finale (Finale) and Der Freychutz Waltz. These figures are almost identical to those from Hart's 7th Set (itself derived from Hart's Hussars), except that the first figure of the 4th and 5th Quadrilles are transposed. The figures were reused unchanged in Hart's 16th Set and Hart's 24th Set, and in a slightly modified form in Hart's 19th Set and Hart's 29th Set. Full Title: Hart's Tenth Set of Quadrilles, Selected from Carl Maria von Weber's Celebrated Opera Der Freyschutz, with their Proper Figures in French & English, as Danced at Almacks, the Nobility's Balls, and the Assembly Rooms Ramsgate. Composed & Arranged for the Piano Forte or Harp, and Respectfully Dedicated to Mrs. William Bosanquet, of East Cliff Lodge Ramsgate, by Joseph Hart. Price 4s.
11th Set of Quadrilles 1824		An advert in the Morning Post for 29th June 1824 reports Just Published...Hart's Eleventh Set of Quadrilles, selected from Rossini's beautiful Opera of "Zelmira," containing Antenore, Ilo, Emma, Polidoro and Zelmira, with their proper figures, as danced at Almack's and the Nobility's Balls. Composed and arranged for the Piano forte and Harp, price 4s. In answer to the numerous inquiries for the above elegant and tasteful Quadrilles, the Publishers feel great pleasure in announcing to the musical world that copies are now ready for delivery; and at the same time, they beg leave to observe, that in consequence of various editions being published, they, Messrs. M. and Co., feel it imperative to caution the Public against purchasing spurious editions, and to assure them that no copies can be genuine, but those published by Mayhew and Co.. Volume 2 Part 1 of the Harmonicon (1824) reported It is altogether fruitless to regret that the music of a fine opera should be levelled to the condition of a quadrille; it is ordained that such must be the fate of all great compositions not absolutely religious or grave, and what Mozart has yielded to, Rossini may endure without complaining. Mr Hart has, perhaps, done nearly as much justice to the charming airs of Zelmira, as the case admitted; but, as many of our readers will be called upon to play his new quadrilles, we beg, for the sake of their ears, that they will correct the following errors which either he or his engraver has committed.¹² Suggested alterations followed. The Quadrilles are dedicated to Lady Sarah Beresford. The figures are an exact copy of those from Hart's 9th Set, and they in turn were almost exactly the same as Hart's 5th Set (originally by Miss Giroux). Full Title: Hart's Eleventh Set of Quadrilles, selected from Rossini's beautiful opera of Zelmira, with their proper figures in French & English, as danced at Almacks & the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, and respectfully dedicated to Lady Sarah Beresford, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.62.d.(12.) ALL RIGHTS RESERVED
12th Set of Quadrilles 1824 to 1825		The Quadrilles are dedicated to Miss Medley. The contents are Begone Dull Care (Pantalon), Love's Delightful Hour (L'Ete), La Niege (La Poule), Fall of Paris (Trenis), Sicilian Air (La Pastorale) and Come Let Us Dance and Sing (Finale). The figures are reused from Hart's 8th Set (by Mr. Bemetzrieder), except for the 5th, Sicilian Air, which uses the figures of the 4th Quadrille from Hart's 2nd Scotch Set. Full Title: Hart's Twelfth Set of Quadrilles, containing Begone Dull Care, Fall of Paris, Love's Delightful Hour, Sicilian Air, La Niege, and Come Let Us Dance and Sing, with proper figures in French & English, as danced at Almacks, and the Nobilities Balls, composed & arranged for the Piano Forte or Harp, and respectfully dedicated to Miss Medley, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.61.t.(11.) ALL RIGHTS RESERVED
13th Set of Quadrilles Macbeth 1824 to 1825		This is one of Hart's most popular Quadrille Sets, it ran to several editions. The image shown is from a later reprint adapted to duets. The music is selected from Matthew Locke's Macbeth. The contents are Macbeth (Pantalon), Macduff (L'Ete), The Witches (La Poule), Banquo, The Echo Finale (Finale) and the Isabella Waltz. The figures are those from Hart's 7th Set (itself derived from Hart's Hussars), with one important modification - Banquo, the 4th Quadrille, uses the figures and arrangement from The Plough Boy, the 4th Quadrille in Hart's 8th Set (with figures by Mr. Bemetzrieder). Note: The version of Hart's 13th Set animated here at RegencyDances.org is adapted from a hand-written 1820s manuscript by Mariah Ritchie. It's not a representation of Hart's original arrangement (Richie's figures were presumably written from memory), but it is derived from Hart's version. For a more precise interpretation, please refer to the animations for Hart's 7th and 8th Sets. A review in The Athenaeum and Literary Chronicle for 1829 reported on the publication of the newly adapted duets. They said: This arrangement of Hart's popular Quadrilles must be singularly useful and acceptable; for in large evening parties, where more ladies are assembled than can be formed into sets for dancing, and as all our accomplished countrywomen can play the harp or piano-forte, (or both,) all may be employed to the advantage of all, a convenience and pleasure we have satisfactorily experienced. The arrangement is unusually well made for the respective instruments (particularly the harp); and we hope this work will be followed up by an extensive continuation.. Full Title: Hart's Thirteenth Set of Quadrilles, selected from Mathew Locke's Original Music in Macbeth, including the favorite Isabel Waltz, as danced at Almacks and the Nobilities Balls, composed & arranged for the Pianoforte or Harp and respectfully dedicated to Lady Jane Peel, by Joseph Hart.
14th Set of Quadrilles 1824 to 1825		The music is selected from Weber's Preciosa. The Quadrilles are dedicated to Mrs. Geo. Orme. The contents are L'Alcide (Pantalon), L'Orphelia (L'Ete), L'Adelina (La Poule), La Virginie (Pastorale), La Nouriska (Finale) and The Preciosa Waltz. The figures are reused from Hart's 2nd Scotch Set, and were provided by G.M.S. Chivers. Full Title: Hart's Fourteenth Set of Quadrilles, selected from Carl Maria Von Weber's celebrated drama of Preciosa, with their proper figures in French & English, as danced at Almacks and the Nobilities Balls. Composed and arranged for the Piano Forte or Harp, and most respectfully dedicated to Mrs. Geo. Orme. By Joseph Hart. Image © BRITISH LIBRARY BOARD, g.443.z.(8.) ALL RIGHTS RESERVED
5th Set of Scotch Quadrilles 1824 to 1825		An advert in The Harmonicon for May 1825 reports the existence of this Quadrille Set¹³. The Quadrilles are dedicated to Lady McFarlane. The contents are Miss Major Macleod, The Lass of Peaty's Mill, Logie o' Buchan, The Red Red Rose and The Bonnet Blue & Belted Plaidy.
6th Set of Scotch Quadrilles 1824 to 1825		An advert in The Harmonicon for May 1825 reports the existence of this Quadrille Set¹³. The Quadrilles are dedicated to Miss Campbell. The contents are Kinloch of Kinloch (Pantalon), And Ye Shall Walk in Silk Attire (L'Ete), Boatie Rows (La Poule), A Highland Lad My Love Was Born (Trenis) and Over The Hills and Far Away (Finale). The figures are reused from Hart's 4th Scotch Set, as provided by G.M.S. Chivers, and they in turn are a variant of Hart's 2nd Scotch Set. Full Title: Hart's Sixth Set of Scotch Quadrilles, including the favorite Airs of Kinloch of Kinloch, Boatie Rows, And Ye Shall Walk in Silk Attire, Highland Lad My Love Was Born, Over The Hills and Far Away. Composed and arranged for the Piano Forte or Harp, and respectfully dedicated to Miss Campbell, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.724.o.(4.) ALL RIGHTS RESERVED
2nd Set of Irish Quadrilles 1824 to 1825		An advert in The Harmonicon for May 1825 reports the existence of this Quadrille Set¹³. The Quadrilles are dedicated to The Marchioness of Waterford. The contents are Dermott, The Moreen, Thady You Gander, Garyone and La Finale.
15th Set of Quadrilles 1825		This is Hart's second set of quadrilles with music from Weber's Der Freischutz. Volume 3 of The Harmonicon from May 1825 reports The music of this novel and extraordinary Opera has enabled Mr. Hart to select a second set of Quadrilles from the Original Scores of the above celebrated Author, and the unprecedented demand for them in MS, obliges the Publishers to assure the lovers of Classical Music that no Copies can be genuine, but those Published by Mayhew and Co.¹³. The Quadrilles are dedicated to Honble Mrs. Hoepe. The contents are Zamiel (Pantalon), Adolph (L'Ete), Linda (La Poule), Caspar (Pastorale), The Bridesmaid (Finale) and The Rose Waltz. The figures are reused unchanged from Hart's 2nd Scotch Set, and were provided by G.M.S. Chivers. Full Title: Hart's Fifteenth Set of Quadrilles, or Second Set selected from Carl Maria von Weber's popular opera Der Freischutz, containing "Zamiel", "Caspar", "Adolph", "The Bridesmaids", "Linda" & "The Rose Waltz", as danced at Almacks and the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, and respectfully dedicated to the Honble Mrs Hoepe, by Joseph Hart. Image © BRITISH LIBRARY BOARD, g.232.c.(5.) ALL RIGHTS RESERVED
16th Set of Quadrilles 1825		The music is selected from Weber's Euryanthe. The Quadrilles are dedicated to Miss Adolphus. The contents are Adolar (Pantalon), Lysiart (L'Ete), Eglandine (La Poule), Euryanthe (La Pastorale), Konig (Finale) and the New Stop Waltz. The figures are identical to those of Hart's 10th Set (which is derived from Hart's Hussars). Full Title: Hart's Sixteenth Set of Quadrilles, selected from Carl Maria von Weber's celebrated new opera Euryanthe, containing "Adolar", "Euryanthe", "Lysiart", "Konig", "Eglandine" & the new "Stop Waltz", as danced at Almacks and the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, and respectfully dedicated to Miss Adolphus, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.925.z.(5.) ALL RIGHTS RESERVED
17th Set of Quadrilles 1825		The music is selected from John Whitaker's Operas. The Quadrilles are dedicated to Lady and Miss Dundas. The contents are Philip and his Dog (Pantalon), Thine Am I (L'Ete), The Robin's Petition (La Poule), O! It Was Not For Me That I Heard The Bells Ringing (La Pastorale), Oh Say Not Woman's Heart Is Bought (Finale) and The Carillon Waltz. The figures in this Quadrille are reused unchanged from Hart's 2nd Scotch Set, and were provided by G.M.S. Chivers. Full Title: Hart's Seventeenth Set of Quadrilles, selected from John Whitaker's most favorite operas, containing "Philip & his Dog", "O it wasn't for me I heard the Bells ringing", "Thine am I, my faithful for", "Oh say not woman's heart is bought", "The Robin's Petition" and the admired "Carilllon Waltz". As danced at Almacks and the Nobility's Balls. Composed and arranged for the Piano Forte or Harp, & respectfully dedicated to Lady and Miss Dundas, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.62.d.(13.) ALL RIGHTS RESERVED
18th Set of Quadrilles 1826		An advert printed in the Brighton Gazette, 19th January 1826, described this set of Quadrilles as New Music. The music is selected from Meyerbeer's Il Crociato in Egitto. The Quadrilles are dedicated to Lady Rose. The contents are Aladino (Pantalon), Palmide (L'Ete), Armando D'Orville (La Poule), Adriano Di Montfort (Pastorale), Felica (Finale) and The Crusaders Waltz. The figures in this Quadrille are reused from Hart's 7th Set (itself derived from Hart's Hussars), except for the 4th Quadrille, Adriano Di Montfort which contains new figures. Full Title: Hart's Eighteenth Set of Quadrilles, selected from Meyerbeer's popular opera of Il Crociato In Egito, containing "Aladino", "Adriano Di Montfort", "Palmide", "Felica", "Armando D'Orville" and the "Crusaders Waltz", as danced at Almacks and the Nobility's Balls. Composed and arranged for the Piano Forte or Harp, and respectfully dedicated to Lady Rose, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, h.925.z.(6.) ALL RIGHTS RESERVED
19th Set of Quadrilles 1826		The music is selected from Rossini's Semiramide. The Quadrilles are dedicated to Mrs. Coutts. The contents are Assur (Pantalon), Arcace (L'Ete), Idreno (La Poule), La Semiramide, Orol (Finale) and the Semiramide Waltz. The figures in this Quadrille are reused from Hart's 10th Set (itself derived from Hart's Hussars), except for the 4th Quadrille, La Semiramide which contains new figures. Full Title: Hart's Nineteenth Set of Quadrilles selected from Rossini's favorite Opera of Semiramide, with their proper figures in French and English, as danced at Almacks, the Nobilities Balls, and the Assembly Rooms Ramsgate. Composed and arranged for the Piano Forte or Harp, and most respectfully dedicated (by Permission) to Mrs. Coutts, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, h.925.z.(7.) ALL RIGHTS RESERVED
20th Set of Quadrilles 1826 to 1827		The music is selected from Weber's Operas, the characters from Weiland's Poem of Oberon. The Quadrilles are dedicated to The Countess of Listonel. The contents are Oberon (Pantalon), Titania (L'Ete), Haroun-Al-Rashchid (La Poule), Fatima, Sir Huon (La Pastorale) and The Neva Boatman's Song. The figures in this Quadrille are reused from Hart's 1st Set, with the exception of the 4th Quadrille, Fatima, which uses the Trenise variation from Hart's 10th Set. Full Title: Hart's Twentieth Set of Quadrilles, selected from the favorite operas of Carl Maria von Weber, the characters taken from Weiland's poem of Oberon, containing "Titania", "Sir Huon", "Haroun Al Raschid", "Fatima" & "The Neva Boatman's Song", as danced at Almack's and the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, and respectfully dedicated to The Countess of Listonel, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, h.726.k.(11.) ALL RIGHTS RESERVED
21st Set of Quadrilles 1826 to 1827		These Quadrilles are dedicated to Miss Page. The contents are Garden of Roses (Pantalon), Token Flowers (L'Ete), Love's Labour Lost (La Poule), Bavarian Girls Song (La Pastorale), Woman Smiles and Tears (Finale) and the Bavarian Girls Waltz. The figures are reused from Hart's 1st Scotch Set. Full Title: Hart's Twenty First Set of Quadrilles, containing "Garden of Roses", "Bavarian Girls Song", "Token Flowers", "Buy a Broom", "Loves Labour Lost", "Woman's Smiles & Tears" and the "Bavarian Girls Waltz". With proper figures in French & English, as danced at Almack's and the Nobilities Balls, composed & arranged for the Piano Forte or Harp, and respectfully dedicated to Miss Page, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, h.925.z.(8.) ALL RIGHTS RESERVED
22nd Set of Quadrilles 1827		The music is selected from Boieldieu's La Dame Blanche. The Quadrilles are dedicated to Miss Mitchell. The contents are Miss Mitchell (Pantalon), Miss Rowles (L'Ete), Miss Dyer (La Poule), Miss Rose (La Pastorale), La Dame Blanche (Finale) and The Festive Scene Waltz. The figures are an exact copy of those from Hart's 5th Set (originally by Miss Giroux). Full Title: Hart's Twenty Second Set of Quadrilles, selected from Boieldieu's popular opera of La Dame Blanche (or the White Lady,) including the favorite Festive Scene Waltz, with their proper figures in French & English, as danced at Almacks and the Nobility's Balls. Composed and arranged for the Piano Forte or Harp, and respectfully dedicated to Miss Mitchell, by Josteph Hart. Image © BRITISH LIBRARY BOARD, h.62.d.(14.) ALL RIGHTS RESERVED
23rd Set of Quadrilles 1827		These Quadrilles are dedicated to Mrs. Liston. The contents are La Vestris (Pantalon), Le Farren (L'Ete), Le Liston (La Poule), Paul Pry (La Pastorale), The Curfew (Finale) and The Light Guitar Waltz. This Quadrille Set is unusual in that the cover features a lithograph, a picture of the author playing a piano forte for a Quadrille dance. The text below the image reads I just dropped in hearing Mr. Hart playing his favorite Twenty Third Set, Hope I don't intrude. The gentleman in the foreground is Mr Liston, he enters the ballroom in the character of Paul Pry (from Poole's 1825 play of the same name). An acknowledgement within this document indicates that The Curfew is published by permission of T. Attwood Esquire, author of the celebrated glee "The Curfew". The figures are reused from Hart's 1st Scotch Set. This set of Quadrilles are referenced in J.S. Pollock's c.1828 La Terpsichore Moderne; Pollock refers to them as the Bird Quadrilles, and reports that they share the figures with Hart's 7th Set. Pollock's information doesn't match the version of the 23rd Set I've reviewed from the British Library. An 1827 advert for Paul Pry's Quadrilles in The Harmonicon¹⁴ documents a collection by Charles Arnold, it reports These Quadrilles are Embellished with a Striking Likeness of Mr. Liston entering a Ball Room in the character of Paul Pry. This collection feature a different image of the Pry character, although on the same theme. Full Title: Hart's Twenty Third Set of Quadrilles, containing "La Vestris", "Paul Pry", "Le Farren", "The Curfew", "Le Liston" & "The Light Guitar Waltz", as danced at Almacks and the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, and respectfully dedicated to Mrs. Liston. Price 4s. Image © BRITISH LIBRARY BOARD, h.925.z.(9.) ALL RIGHTS RESERVED
7th Set of Scotch Quadrilles 1825 to 1827		The contents are Auld Lang Syne (Pantalon), Falls of the Clyde (L'Ete), Scots Wha Hae (La Poule), Let us Haste to Kelvin Grove (La Pastorale) and Blue Bells of Scotland (Finale). The figures are those of Hart's 1st Scotch Set. Full Title: Hart's Much admired Seventh Set of Scotch Quadrilles, Containing the favorite airs of "Blue Bells of Scotland," "Falls of Clyde," "Auld Lang Syne," "Scots wha hae," and "Kelvin Grove", Composed & Arranged for the Piano Forte or Harp, and Respectfully Dedicated to Mrs. Armstrong, by Joseph Hart. Price 3s.
8th Set of Scotch Quadrilles 1827		An advert in the London Age for June 17th 1827 reports the publication of this Set. It goes on to say The unprecedented popularity which Mr. Hart's Scotch Quadrilles have experienced from the Nobility and Gentry, has induced him to arrange Miss Paton's beautiful song, the M'Gregor's Gathering, composed by Alexander Lee, as a Finale; and the fascination of this elegant Quadrille has been so electric, that it is invariably danced four times during the Evening.. The contents are O Dear What Can The Matter Be (Pantalon), Caller Herring (L'Ete), Gin A Body, Meet A Body (La Poule), All The Blue Bonnets Are Over The Border (La Pastorale) and The Moon's on the Lake, or the Macgregor's Gathering (Finale). The figures are identical to those of Hart's 1st Scotch Set. Full Title: Hart's Much admired Eighth Set of Scotch Quadrilles, Containing "The Moon's on the Lake, or the Macgregor's Gathering," "O Dear what can the matter be," "Gin a body, meet a body," "Caller Herring," and "All the blue bonnets are over the border", Composed & Arranged for the Piano Forte or Harp, and Respectfully Dedicated to Mrs. Malcolm, by Joseph Hart.
24th Set of Quadrilles 1827 to 1828		The music is selected from Rossini's Il Barbiere di Siviglia. The contents are Berta (Pantalon), Rosina (L'Ete), Bartola (La Poule), Basilio (La Pastorale), Il Barbiere (Finale) and the Seville Waltz. The figures are identical to those of Hart's 10th Set (which is derived from Hart's Hussars). One challenge with this Set is the unusual arrangement of the second Quadrille, Rosina; it has a 9 bar 'A' strain, and a 15 bar 'B' strain, rather than the more usual 8 and 16 bars. This makes it difficult to dance to, especially as the dancing figures haven't been changed to compensate for the odd timing in the music. Full Title: Hart's Twenty-fourth Set of Quadrilles. Selected from Rossini's Popular Opera Il Barbiere Di Siviglia, Containing Berta, Basilio, Rosina, Il Barbiere di Siviglia, Bartola & the Seville Waltz, as Danced at Almacks and the Nobility's Balls. Composed & Arranged for the Piano Forte or Harp, & Respectfully Dedicated to Miss Budd, by Joseph Hart. Price 4s.
25th Set of Quadrilles 1828		The Exeter Weekly Times for April 5th 1828 reports Just published, by Mayhew and Co., Hart's Twenty-Fifth Set of Quadrilles selected from Pacini's Opera "La Schiava in Bagdad"; containing La Zalma, Le Nadir, La Zora, La Suisse, La Schiava, and La Schiava Waltz, as danced at Almack's, and the Nobility's Balls: composed and arranged for the Piano-forte or Harp, and respectfully dedicated to Lady Charleville, by Joseph Hart, price 4s. The unprecedented popularity which Mr. Hart's Quadrilles have experienced from the Nobility, and Gentry, is fully sustained by the peculiar taste and beauty of the Twenty-fifth or last Set. The fascination of these elegant Quadrilles has been so electric, that they are become established favorites, and are invariably danced twice, and frequently three times, during the evening. It's possible that Hart intended to retire from publishing Quadrilles after this, his last Set, but that resolution failed less than a year later. The hiatus does coincide with his relocation to Hastings.
Herz's Quadrilles 1829		The Athenaeum and Literary Chronicle for 1829 reports These beautiful airs, in the original edition of Herz, are difficult of execution, diffuse in their arrangement, (all the various strains necessary for dancing to as a quadrille being written out at full length,) and requiring a piano forte with the higher additional keys up to 'F'. Hart has, therefore, simplified them, has brought them down to the level of his former arrangements, and rendered them more tangible for the multitude; but, like all abbreviated works, they are any thing but improved by his adaptation. However, they are easier to be understood and performed, and may, therefore, be more generally useful¹⁵. The contents are Pantalon, L'Ete, La Poule, La Trenise, Finale, Cotillion, Maracha and Gallopede. The figures are those of the First Set, in French only. An advert in the April 1828 Harmonicon Describes Herz's Les Elégantes on Contre-danses variées publication as new, I therefore date their publication in London to that year. A copy is available here. Full Title: Herz's Celebrated Quadrilles, Including the Admired Gallopede Cotillion and the Favorite Maracha, as Danced at Almacks and the Nobility's Balls, Composed Arranged & Respectfully Dedicated to Mrs. Della Reive, by Joseph Hart. Price 4s.
26th Set of Quadrilles 1828 to 1829		This Set of Quadrilles are dedicated to The Ladies Patronesses, The Hastings Balls. The contents are The Bugle Quadrille (Pantalon), I'd Be A Bore (L'Ete), A French Air (La Poule), Portuguese Air (La Pastorale), When You're Roaming (Finale) and The Lily Waltz. The figures are reused from Hart's 1st Scotch Set. Full Title: Hart's Twenty Sixth Set of Quadrilles, containing "The Bugle Quadrille", "L'Assemblee D'Hastings", "I'd be a Dove", "When you're Roaming", "French Air" and the "Lilly Waltz". As danced at Almacks and the Assembly Rooms Hastings. Composed and arranged for the Piano Forte or Harp, and respectfully dedicated to The Ladies Patronesses of The Hastings Balls, by Joseph Hart. Price 4s. Image © BRITISH LIBRARY BOARD, g.270.i.(20.) ALL RIGHTS RESERVED
27th Set of Quadrilles 1828 to 1829		The music is selected from Paer's Freebooters. The Quadrilles are dedicated to Mrs. William Damer. The contents are The Freebooters (Pantalon), Edard (L'Ete), Uberto (La Poule), Isabello, The Swiss Peasant's Song (Finale) and the Tyrolese Waltz. The figures are reused from Hart's 8th Set (originally by Mr. Bemetzrieder).
28th Set of Quadrilles 1828 to 1829		The music is selected from Herold's Marie. The contents are La Legere (Pantalon), La Leontine (L'Ete), La Nacelle (La Poule), Le Tic Tac Du Moulin (Trenis), La Maria (Finale) and The Rosina Waltz. The figures are those of Hart's 5th Set, with the exception of the 4th Quadrille which is a variation on La Trenis from the First Set. Full Title: Hart's Twenty-Eighth Set of Quadrilles, selected from Herold's admired opera Marie, containing "La Negre", "Le Tic Tac du Moulin", "La Leontine", "La Marie", "La Nacelle" & "the Rosina Waltz". As danced at Almacks and the Nobilitys Balls, composed & arranged for the Piano Forte or Harp, and respectfully dedicated to Lady Fuller, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.62.d.(15.) ALL RIGHTS RESERVED
29th Set of Quadrilles 1828 to 1829		This set is known as the Greek Set. The contents are Fall of Corinth (Pantalon), La Zante (L'Ete), L'Echoes d'Alpine (La Poule), La Haide (La Pastorale), La Grec (Finale) and The Romaika or Greek Waltz. The figures are reused from Hart's 10th Set (itself derived from Hart's Hussars), except for the 4th Quadrille which is the minor variation on La Trenis from Hart's 9th Set. Full Title: Hart's Twenty-Ninth Set of Quadrilles, or the celebrated Greek Set, containing "Fall of Corinth", "La Zante", "La Haide", "L'Echoes D'Alpine", "La Grec" and the new celebrated "Romaika or Greek Waltz", as danced at Almacks and the Nobility's Balls. Composed & arranged for the Piano Forte or Harp, and respectfully dedicated to Lady Campbell, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.722.mm.(5.) ALL RIGHTS RESERVED
30th Set of Quadrilles 1829		The existence of this Set are mentioned in an article in the Yorkshire Gazette, 24th January 1829. A second version arranged as a duet for two performers is available from the collection of Richard Powers. His copy is arranged as a duet by Neville Butler Challoner (a teacher of the Harp and Piano at the King's Theatre), the contents are Merry Sherwood (Pantalon), The Archers (L'Ete), The Forresters (La Poule), Bold Robin Hood (Trenis), The Target (Finale) and The Minstrels Waltz. Full Title: Hart's Thirtieth Set, or celebrated Archers Quadrilles; selected from Barnetts "Songs of the Minstrells", containing Merry Sherwood, Bold Robin Hood, The Archers, The Target, The Forresters, & The Minstrel Waltz, as performed by the Author at the Grand Archers' fetes. Composed and arranged for the Piano Forte, and respectfully dedicated to Miss Curtis, by Joseph Hart. Price 4s. Image Courtesy of Richard Powers
31st Set of Quadrilles 1829 to 1830		The music is selected from Auber's Masaniello. The contents are La Fenella (Pantalon), Don Alphonso (L'Ete), L'Elvira, Masaniello (La Pastorale), Le Barcarolle (Finale) and Weber's Last Waltz. The accompaniment is by N.B. Challoner, a successful composer. The music is arranged as duets, the figures are from the First Set with the exception of Masaniello, for which no figures are specified. Full Title: Hart's Thirty-First Set of Quadrilles, from Masaniello, arranged as duetts for two performers on the Piano Forte, with an accompaniment for the Harp (ad lib) by N.B. Challoner. Image © BRITISH LIBRARY BOARD, H.2401.c.(13.) ALL RIGHTS RESERVED
32nd Set of Quadrilles 1829 to 1830		The music is selected from Auber's Masaniello. The contents are La Scala (Pantalon), La Rosa (L'Ete), La Guaracha, Les Pecheurs (La Trenis), La Tarentula (Finale) and The Masaniello Waltz. The accompaniment is by N.B. Challoner. The music is arranged as duets, the figures are from the Hart's First Scotch Set. Full Title: Hart's Thirty-Second Set of Quadrilles, from Auber's celebrated Opera Masaniello, arranged as duets for two performers on the Piano Forte, with an accompaniment for the Harp (ad lib) by N.B. Challoner. Image © BRITISH LIBRARY BOARD, h.3290.ww.(3.) ALL RIGHTS RESERVED
Royal Gallopades, First Set 1829		The Exeter and Plymouth Gazette for 2nd January 1830 reports (presumably syndicated from a London newspaper): Hart's Royal Gallopades, - The Gallopade introduced by Hart, the ingenious Author of the popular Quadrilles, has been the favourite among the dances of the Continent for the last three years, and is now the rage in every town of Europe, in which pleasure holds his court. It has been a complaint at "Almack's," that the world did not dance, and the "wings of night" were plucked of half their feathers. Some attributed this to the clubs; others to late dinners; others to soft hats and gold headed canes - and numberless were the remedies proposed, but Lady Jersey's was the coup de maitresse: Let us bring in Hart's Gallopade, patronise it, make it the fashion, and c'est en fait, Crockford's will be a desert; exercise will be pronounced good for digestion; and soft hats and gold headed canes will be thrown in corners, and behind doors. And Lady Jersey was right - the thing took; it flew like wild-fire; they were all infected with it; Almack's was electrified. - Was a man a good Gallopader - all houses were open to him; it was a note of recommendation to "the Ladies of the Committee," a sesame before which the exclusives withdrew their bars, and the doors to ton stood open. The Archduke of Fashion converted his palace into a dancing academy; and had a rehearsal of Hart's Gallopade the night before Devonshire House opened with the first ball for the season. However, William Gross also published a set of Gallopades with the same name in 1829. His 25th September 1829 advert in the Morning Post reports The favourite Gallopade introduced at his Majesty's Balls by Musard can only be got by asking for Grosses Royal Gallopades, it being the author's property. And in his 17th November 1829 advert he says the success of his Royal Gallopades has induced others to publish a spurious set of Gallopades under the very same title. This is presumably a reference to, amongst others, Hart's version. Grosse went on to publish a Graphical Companion to his Gallopades later in 1829. Yet another version was published by T.W. Lloyd, as advertised in The Morning Post for 4th December 1829. That advert claims that Lloyd invented the figures of the Royal Gallopades, as danced at his Majesty's Balls. As for Hart, he didn't associate any figures with his music. He wrote that the music could be used with any of his Quadrille figures, he suggested using the figures from his Lanciers, Hart's 7th Set, Hart's 10th Set or Hart's 13th Set. Hart went on to publish a Second Set of Royal Gallopades in 1831. An American edition of Hart's Gallopades is available here. Full Title: Hart's Royal Gallopades, as danced at His Majesty's Grand Ball, composed by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.722.pp.(19.) ALL RIGHTS RESERVED
Royal Mazourkas 1830		An advert in the Morning Post for 16th October 1830 indicates the existence of this publication as danced at Brighton. Hart arranged his Mazourkas for four couples, Ladies at the right side of their partners, the first and third couples in a line opposite the second and fourth. This is the same formation Hart used in his Tempete Dance c.1820. Hart went on to publish a Second Set of Royal Mazurkas at some point in the following few years. Mazurkas (also referred to as Polish Dances) had been danced in England from c.1827, based on the evidence from Newspaper archives. Full Title: Hart's Royal Mazourkas as danced at Their Majesties Grand Fancy Ball composed by Joseph Hart Image © BRITISH LIBRARY BOARD, h.722.pp.(18.) ALL RIGHTS RESERVED
33rd Set of Quadrilles 1830		This Set are known as Queen Adelaide's Quadrilles. An advert in the Morning Post for 16th October 1830 indicates the existence of this Set as danced at Brighton. Hart invented a new sequence of figures for these Quadrilles. The contents are: Countess of Errol, True Blue, Queen Adelaide's Favorite, Hearts of Oak, Rule Britannia & The FitzClarence Waltz. Full Title: Hart's 33rd Set, or Queen Adelaide's Quadrilles, with entirely new figures in French & English, as performed, at Almack's and the Nobility's Balls, composed & arranged for the Piano Forte or Harp, most humbly dedicated (by permission) to His Most Gracious Majesty, William the Fourth, by his dutiful subject and servant, Joseph Hart.
34th Set of Quadrilles 1830 to 1831		An advert in The Literary Gazette for 26th February 1831 indicates the existence of this Set¹⁶. The music is from the Opera Il Pirata.
35th Set of Quadrilles 1831 to 1832		An advert in The Manchester Courier for 28th January 1832 indicates the existence of this Set. They're known as the Eliza and Claudio Quadrilles, and are derived from Mercadante's opera Elisa e Claudio. The contents are Countess of Errol (Pantalon), Lady Falkland (L'Ete), Princess Victoria (La Poule), Prince George of Cumberland (Pastorale), Prince George of Cambridge (Finale) and The Elisa Waltz. The figures in this Quadrille are reused from Hart's Hussars. Full Title: Hart's Thirty-fifth Set of Quadrilles, selected from Mercadante's opera Elisa e Claudio, including The Eliza Waltz, as danced at Almacks & the Nobility's Balls. Composed and arranged for the Piano Forte or Harp, & respectfully dedicated to The Countess of Errol. By Joseph Hart. Price 4s. Image © The National Trust, ALL RIGHTS RESERVED
Royal Gallopades, Second Set 1831		An advert in The Literary Gazette for 26th February 1831 indicates the existence of this Set¹⁶. The contents are 5 unnamed tunes, and The Sunset Waltz, The Evening Star Waltz and The Gentle Moon Waltz. Full Title: Hart's Second Set of Royal Gallopades and Waltzes, as performed at His Majesty's Grand Balls, composed by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.722.pp.(23.) ALL RIGHTS RESERVED
Royal Mazourkas, Second Set c.1831?		A note printed inside this set reads: As danced by the pupils of Monsieur D'Egville, at his academies at London, Brighton & Hastings. James Harvey D'Egville was a ballet master from the King's Theatre Opera House. Two of his most famous pupils were The Misses J. and S. Prince. They printed an 1829 advert in the Morning Post (7th December), to indicate that their academy was open at Almack's Assembly Rooms, and mention that they were taught by Mr. D'Egville and Monsieur Coulon, of Paris. They were particularly influential in popularising the Mazurkas in England. D'Egville is also mentioned favourably in Thomas Wilson's 1824 Danciad as a celebrated dancer. Full Title: Hart's Second Set of Royal Mazourkas, as danced at Their Majesties Grand Fancy Ball. Composed by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.721.m.(33.) ALL RIGHTS RESERVED
Grenadier Quadrilles 1831		An advert in The Literary Gazette for 26th February 1831 indicates the existence of this Set¹⁶. The contents are The Grenadiers (Pantalon), The Captain (L'Ete), Pandora (La Poule), The Savoyard (Pastorale), Rise Gentle Moon Finale (Finale) and The Grenadier Waltz. The figures in this Quadrille are reused from Hart's 7th Set (which is derived from Hart's Hussars). A comment against the Finale reads: Note: The idea of taking this Subject for a Quadrille, suggested itself to the Author on seeing the excellent Variations to Rise Gentle Moon, by Mr. W.C. Sellé. Full Title: Hart's Grenadier Quadrilles. Madam Vestris as Fanny Bolton. Containing The Captain, The Grenadier, The Savoyard, Fanny Bolton, Pandora & The Grenadier Waltz. As Danced at Almacks & The Nobility's Balls. By Joseph Hart. Price 4s.
Nightingale Quadrilles 1831 to 1832		An advert in The Manchester Courier for 28th January 1832 indicates the existence of this Set.
Allandale Quadrilles 1832		An advert in The Birmingham Gazette for the 8th October 1832 indicates the existence of this Set, and reports Mr Hart is universally acknowledged to be our most popular Quadrille writer. The above beautiful Sets have been introduced at the Caledonian Balls, and met with the most splendid success. We congratulate Mr. Hart on the publication of his "Hunter of Tyrol" and "Allandale Quadrilles;" they are even superior to any of his former productions. Full Title: Hart's New Caledonian or Allandale Quadrilles. Price 3s.
Hunter of Tyrol Quadrilles 1832		An advert in The Birmingham Gazette for the 8th October 1832 indicates the existence of this Set. The contents are Hunter of Tyrol (Pantalon), Rose of Tyrol (L'Ete), The Old Oak Tree (La Poule), Alpine Evening Song (La Pastorale), The Alpine Maiden's Song (Finale) and The Celebrated Alpine Waltz. The figures are reused from Hart's 8th Set, with the exception of the 4th Quadrille, Alpine Evening Song, which doesn't specify any figures to be used (other than standard La Pastorale figures). Full Title: Hart's Hunter of Tyrol or Alpine Quadrilles. Price 4s. Image © BRITISH LIBRARY BOARD, h.61.t.(33.) ALL RIGHTS RESERVED
Masonic Quadrilles 1832		An advert in The Birmingham Gazette for the 8th October 1832 indicates the existence of this Set.
Fancy Ball Quadrilles 1832 to 1833		An article in The Ipswich Journal for the 16th March 1833 indicates the existence of this Set.
Gustave Quadrilles 1833 to 1834		An advert in the Exeter and Plymouth Gazette for the 1st February 1834 indicates the existence of this Set. The contents are Christian (Pantalon), Danse Des Folies (L'Ete), The Gallop Quadrilles (La Poule), Lillienhorn (Trenis), Le Bal Masque (Finale), The Gallop Waltz and the Gustave Waltz. The figures are reused from Hart's 3rd Scotch Set (including content supplied by G.M.S. Chivers). The 4th Quadrille, Lillienhorn is shorter than the equivalent Quadrille in the 3rd Scotch Set, so it drops some of the figures. Full Title: Hart's admired Quadrilles, selected from Auber's favorite opera Gustave, or Le Bal Masque, as danced at Almacks and the Nobility's Balls. Composed and arranged for the Piano Forte, and dedicated to The Ladies Turiour, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.61.t.(34.) ALL RIGHTS RESERVED
Norma Quadrilles 1833 to 1834		An advert in the Exeter and Plymouth Gazette for the 1st February 1834 indicates the existence of this Set.
Military Quadrilles 1834		An advert in The Leeds Intelligencer for the 4th October 1834 indicates the existence of this Set. A Waltz at the back of this Set is credited as follows: Waltz Composed by HRH The Prince George of Cumberland. The contents are The Duke of Cumberland (Pantalon), The Duchess of Cumberland (L'Ete), The Prince of Solmms (La Poule), Duke Charles of Mecklenburg (Trenis) and Prince George of Cumberland (Finale). The figures for this Quadrille Set are from the First Set. Full Title: Hart's Military Quadrilles, to which are added by his most Gracious permission, Two Waltser, composed by His Royal Highness The Prince George of Cumberland, written by command and dedicated also by permission, to His Royal Highness, by his faithful servant, Joseph Hart. Image © BRITISH LIBRARY BOARD, g.272.o.(7.) ALL RIGHTS RESERVED
Fatherland or Mountaineer Quadrilles 1834		An advert in The Leeds Intelligencer for the 4th October 1834 indicates the existence of this Set. I've been lucky enough to study the copy from the private collection of Richard Powers. His copy is arranged as a duet by Neville Butler Challoner (a teacher of the Harp and Piano at the King's Theatre), the contents are Le Chasseur de Florence (Pantalon), The Mountain Girl (L'Ete), The Mountain Boy (La Poule), The Mountaineer (Trenis), Father Land Finale (Finale), The Father Land Waltz and The Duke of Reichstadt's Waltz. The figures for this Quadrille Set are from the First Set. Full Title: Hart's Fatherland or Mountaineer Quadrilles, with The Duke of Reichstadt's Waltz, and the Fatherland Waltz, arranged as duets, for two performers on one Piano Forte, with an Accompaniment ad lib for the Harp, by N.B. Challoner. Price 4s. Image Courtesy of Richard Powers
Bride Quadrilles 1834		An advert in The Leeds Intelligencer for the 15th November 1834 indicates the existence of this Set, and reports The great demand for Hart's celebrated Bride Quadrilles, as danced at their Majesties Balls, and also at Kensington Palace in honour of the Princess Victoria's Birth Day, has induced unprincipled Persons to offer spurious Editions and close Imitations of the genuine Copy. The contents are The Bridal Morning (Pantalon), The Wedding Bells (L'Ete), The Bridegroom (La Poule), The Bride (Pastorale), The Bridesmaid (Finale) and The Bride Waltz. The figures in this Quadrille are reused from Hart's 7th Set (which is derived from Hart's Hussars). Full Title: Hart's Bride Quadrilles, and The Bride Waltz, as danced at Almacks & The Nobilities Balls, Composed and arranged for the Piano Forte or Harp, and humbly dedicated to Her Royal Highness The Princess Victoria, by Joseph Hart. Image © BRITISH LIBRARY BOARD, g.272.o.(6.) ALL RIGHTS RESERVED
Waverley Quadrilles c.1834		The date of this set isn't clear, it was published through Leoni Lee and is stylistically similar to other sets of the mid 1830s. The cover describes Hart as Musician to the Royal Family (a claim not evident on the other sets), and emphasises that they were played before members of the Royal Family. The contents are Waverley (Pantalon), Davie Gellateley (L'Ete), Rose Bradwardine (La Poule), Flora Mac: Ivor (Pastorale) and Fergus Mac Ivor (Finale). Full Title: Hart's first Set of Waverley Quadrilles, as Performed before The Royal Family, Composed and humbly dedicated to Her Royal Highness The Duchess of Cumberland, by Joseph Hart.
Quadrilles from Le Corsaire 1837 to 1838?		The music is from Bochsa's 1837 Le Corsaire. The existence of this Set is assumed, based on the existence of the second set.
Quadrilles from Le Corsaire, Second Set 1837 to 1838?		The music is from Bochsa's 1837 Le Corsaire. The contents are Pantalon, L'Ete, La Poule, Pastorale and Finale. The figures are those of the First Set. This claims to be the start of a new series of Quadrilles, and it's published through a different publisher (D'Almaine & Co). Full Title: New Series. Hart's Second Set of Quadrilles, selected from Bochsa's Grand Ballet of Le Corsaire, as danced at Almack's and the St. Leonards Race Ball. Composed & arranged for the Piano Forte, or Harp, and respectfully dedicated to Miss & Miss E. Brown. By Joseph Hart. Image © BRITISH LIBRARY BOARD, h.113.(19.) ALL RIGHTS RESERVED
The Bonny English Rose and Victoria Grand Coronation Waltz 1838		The Observer for 23rd September 1838 reported that these Waltzes had been published. The title refers to the coronation of Queen Victoria, which happened on the 28th June 1838. Full Title: The Bonny English Rose and Victoria Grand Coronation Waltz, as performed by Straul's Band. Arranged for the Piano Forte, by Joseph Hart. Image © BRITISH LIBRARY BOARD, h.1226.b.(11.) ALL RIGHTS RESERVED
Allegria Quadrilles c.1839		The contents are Leyla (Pantalon), Alexandra (L'Ete), Fanny (La Poule), Consuela (Pastorale) and Julia (Finale). The figures are those of the First Set. A note on the cover mentions that they are Published by the Author at his Musical Repository, Wellington Place, Hastings. Allegria was the name of the property of R. Holland of St. Leonards. Hart is known to have conducted the music for a ball there in 1842 (Sussex Advertiser, 4th October 1842), Hart may have named this Set in honour of that individual.
Eglinton Quadrilles c.1839		This set is derived from a selection of songs, marches etc. / composed by Hugh, late Earl of Eglinton. The late Earl was presumably Hugh Montgomerie, 12th Earl of Eglinton, 1739-1819. It was published by the author, at his Musical Repository, Hastings. The contents are Lady Elanora (Pantalon), Lady Frances (L'Ete), Lady Mary (La Poule), Lord Eglinton (Pastorale), Eglinton Castle (Finale) and The Eglinton Waltz. The figures are those of the First Set. Full Title: The Eglinton Quadrille, from a selection of songs, marches, &c. composed by Hugh, late Earl of Eglinton. Arranged for the Piano Forte, and respectfully dedicated by permission to Lady Montgomerie, by Joseph Hart. Image © BRITISH LIBRARY BOARD, MUSIC.Don1656 ALL RIGHTS RESERVED
Chinese Quadrilles 1841		The Morning Post for 11th February 1841 reports that these Quadrilles are available, and have become the most favourite set of the season. They are quite equal to his celebrated 7th set from Pietro l'Eremita. The copy at Cambridge University is referred to as Hart's Chinese quadrilles and the canton dance.
Johny Cope Quadrilles 1842		The Sussex Advertiser for 22nd November 1842 reports that these Quadrilles are in the press.