his music for Shakespeare's Henry VIII (1855) was dedicated to Mrs Charles Kean; in 1856 his music for Kean's revival of Sheridan's Pizarro replaced the old score by Michael Kelly. Only the glee by Kelly was kept. Kean sought authenticity: Hatton rewrote it completely, 'based on Indian airs... founded on melodies published in Rivero and Tschudi's work on Peruvian Antiquities as handed down to us by Spaniards after the conquest.' He wrote music for Richard II in 1857, and for King Lear, The Merchant of Venice, and Much Ado About Nothing in 1858. Reference is also found for music to Henry V, for which several mediaeval instruments were required. The arrangement with Kean seems to have collapsed in a legal dispute of 1859. As the music for Much Ado About Nothing had not been published, Hatton sought to show that it remained his own property and could be adapted or performed at his discretion. The court, however, found that it was an inseparable part of Kean's design, and ruled against him. Later career Hatton's third opera, Rose, or Love's Ransom (text by Henry Sutherland Edwards), was presented at the Royal English Opera, Covent Garden in 1864. It had the advantage of Helen Lemmens-Sherrington and Mr and Mrs Willoughby Weiss, George Perren, Henry Corri, and Aynsley Cook, but it met with little success. It was in that year that the Ballad Concerts at St James's Hall, London, commenced, for which Hatton held the post of accompanist for the first nine seasons. Hatton developed a fondness for the seaside town of Aldeburgh, in Suffolk, where he lived for some time, and was certainly staying there in October 1865. In this connection he wrote a four-part Aldeburgh Te Deum in commemoration of the place he loved. In 1866 he went again to America, where as a member of H.L. Bateman's Concert Troupe he took part in the inaugural concert of the Steinway Hall in New York on 31 October. His daughter, Frances J. Hatton, emigrated to Canada in 1869, where she became a respected composer and the singing instructor at the Hellmuth Ladies' College in London, Ontario. Hatton was responsible for re-editing the first two volumes of Songs of England, an influential published collection which helped to establish a canon of English song with accompaniments, and cumulatively ran to three volumes under the later editorship of Eaton Faning. Hatton remarked, 'I have culled