Gardiner presents the three suites in what seems to be their logical order (F, G, D), corresponding to the sequence of events on the night, discounting the unlikely order in which Walsh published them. Did the king step ashore to the gentle strains of the undesignated 'final' movement of the F major Suite? If no, then what? The Consort of London (Collins, 6/90) add the two movements of the Concerto in F major of c. 1715 which, transposed, later became part of the G major Suite; Gardiner uses them to frame the F major Suite, placing the livelier Alla hornpipe at the end. The "3 fois" in the undesignated 3/8 movement has been variously interpreted; in the first two sections Gardiner includes the horns (and their unaccompanied pendant phrases) only in the repeats. Was a harpsichord water-borne? It seems unlikely, and thus fitting that it should become audible only in the dinner-music G major Suite.