being the only one of novels for which he wrote preliminary notes, in a pocket book traditionally labelled as 'The Trumpet-Major Notebook'. It is also perhaps extraordinary in the extent to which Hardy aimed for historical accuracy; to that end, he conducted research at the British Museum and consulted various periodicals and newspaper accounts of the time. Richard H. Taylor has noted the accuracy of Hardy's details in the novel. Operatic version Thomas Hardy's novel provided the source of Alun Hoddinott's opera The Trumpet Major, with libretto by Myfanwy Piper, first performed in Manchester on 1 April 1981. Stage Adaptations In 1908, the original Hardy Players put on a dramatised version of The Trumpet-Major at the Corn Exchange in Dorchester. Hardy was very involved with the play, working closely with its producer, Alfred Evans, whose daughter Evelyn later recounted that the two had many discussions in the study at Max Gate ‘deciding on the outline of the play, writing additional dialogue’ and discussing whether particular scenes should be retained or left out. There were departures from the novel: while the novel ends of a tragic note, with John Loveday going off to his death on the battlefields of Spain, as Evelyn Evans writes: ‘the curtain of the re-written play fell on laughter, song and dancing.’ Hardy attended some rehearsals at the Corn Exchange, remarking on the fact that many of the performers were direct descendants of Dorset inhabitants who had lived through those turbulent times. Indeed, the production was thoroughly Dorchester-based: ‘the scenery painted from designs by local artists; the uniforms made by a local tailor after originals that had been worn by the Dorset Rangers’ and other local militia groups (the originals ‘still preserved in the attics of local folk’). Music was composed by a local musician, Frederick Boynton Smith. Unfortunately, Hardy, who was now 68 years old, couldn't attend the play as he was suffering from a chill, but Emma Hardy was there. He was, however, delighted by its reception. The production caused quite a stir. As the Dorset County Chronicle reported: ‘there were to be observed in the front seats a posse of leading dramatic critics who had come down from London especially’, writing ‘critiques, to be wired to Town piping hot from their busily plying pencils.’ The Times devoted nearly a column to its review of the play and a leading article two days later: extraordinary