call him 'The Sultan'. Hatton used to perform a comic song "The little fat man" which was supposed to be a skit on himself. When, for instance, he sang it before the Leeds Rational Recreation Society in April 1853, he also performed 'La ci darem la mano' with Mme D'Anteny, gave his own song 'Day and Night', and finished off with Handel's 'O ruddier than the cherry' (from Acis and Galatea). Then the Leeds Madrigal and Motet Society performed his work "Sailors Beware!" Hatton was always very diverse. In 1856 his secular cantata of Robin Hood, to a text by George Linley, was given at the Bradford Festival. Hatton became a foremost exponent of the writing of glees and part songs, both through his love of English madrigals, and through the influences he derived from German music. His connection with Oliphant had given him an immediate path of information and study. A visit to England of the Cologne Choir is thought to have given new impetus to the glee movement in England, and Hatton was in the vanguard. Their harmonised melodies, German part-songs by Mendelssohn and others, were called glees in imitation of the English glees, and attracted a great deal of interest. Among all English composers, Hatton with his new understanding of the German music and his sure foundation in the English melodious idiom, responded by producing a series of part-songs of which it has been said 'they were imitated by many but surpassed by none.' On his return from America Hatton became conductor of the Glee and Madrigal Union, and it was during the 1850s, while working with Charles Kean, that he published the first of his several collections of part songs, including "Absence", "When evening's twilight", "The happiest land", etc. They were performed by the 'Orpheus Vocal Union', a group of professional singers led by William Fielding. Hatton thus set the example for others like Henry Smart, George Alexander Macfarren and Walter Macfarren and very many more who followed where he led. Shakespeare music for Charles Kean From about 1853 Hatton was engaged as Director of Music at the Princess's Theatre, London to provide and conduct the music for Charles Kean's Shakespearean revivals. In this capacity he composed music for Sardanapalus King of Assyria (the orchestra including six harps) and for Macbeth, both in 1853. He wrote an overture, and entr'actes, for Faust and Marguerite in 1854;