The Music

Introduction

For over a millennium, the Coronation’s rich liturgy has been gilded by an impressive musical repertoire. The four Coronations of the twentieth century (Edward VII in 1902, George V in 1911, George VI in 1937, and Elizabeth II in 1953) were elaborate occasions.

For several months, Westminster Abbey was closed whilst enormous galleries were erected to accommodate some 8,000 invited guests as well as a large, raised podium beneath the Abbey vaulting, known as the ‘Theatre’. Over the course of many weeks, music and ceremony were meticulously rehearsed. Choirs numbering 400 voices, including upwards of 200 choirboys, were assembled from right across the United Kingdom and the Commonwealth and seated in galleries around the Quire, led by three sub-conductors.

Occupying the organ gallery above the screen were orchestras comprising the finest musicians in the land, while trumpets punctuated the ceremony with fanfare. All four coronations are particularly well documented. The BBC recorded the 1937 coronation for radio and that of 1953 for television.

In looking back at the history of Coronation music beyond the twentieth century, it might be a first presumption that it divides into two periods, one before the English Reformation of 1547 and one after; in Latin, and the other covering the last four hundred years in English. This is far from the accurate picture. In spite of the considerable upheaval and change in form of doctrine and worship during the Reformation, the Coronation has only really felt the impact in one detail, which is the presentation of the Bible, and this was not devised until William and Mary in 1689.

The Coronation rite has been an essentially conservative one, its function being among other things to underline the sense of continuity with the reign that has just ended. With the exception of Queen Mary I, over the times of change from King Henry VIII to William and Mary, each sovereign has been crowned according to the customs prevalent in the preceding reign. The rite as we have it today contains much that is deliberately, consciously, and wisely archaic: for it links us to our past history, to the Tudors, to the Plantagenets, the Normans, and even to the Anglo-Saxons over one thousand years ago where ‘Zadok the Priest’ was sung at the Coronation of Edgbert, nine hundred years before Handel’s day.

Antiquity

The three special anthems of the Reception at the Abbey, the Anointing, and the Crowning, which preceded the Mass before 1689, go back to the very earliest times, and certainly at least to Henry I, in 1100. The first of these — Firmetur, ‘Let thy hands be strengthened’ — which has been used since the 11th century.

The second anthem — Unxerunt Salomonem, ‘Zadok the Priest’ — has never been omitted for the Anointing

The third anthem — Confortare, ‘Be strong and play the man’ — was sung at the actual moment of crowning from 1100 down to 1603, and was present in Queen Elizabeth II’s Coronation in 1953.

From the early Middle Ages, there is one other historical piece which has sadly vanished: Laudes Regiae, commonly referred to as Christus Vincit or Acclamations. The earliest record of its usage in England dates back to 1068 when it was sung at the crowning of Matilda and in 1135 for Stephen. The piece is on record as having been sung at the next four reigns and for the coronation of Eleanor, the consort of Henry III in 1237. Laudes Regia is most similar to a Litany: a great part of its text consists of the invocation of the Saints.

The earliest mention of a composer is Gilbert Banaster, whose ‘O Maria et Elizabeth’ was written for the crowning of Henry VII in 1485.

Restoration and onwards…

From the Restoration onwards, more or less complete lists of the composers for coronations have been tabulated. For Charles II, Captain Cooke composed all the music. ‘I was glad’ makes its first appearance as the anthem for entry, and at the Recognition the Firmetur — ‘Let thy hand be strengthened’ — was sung by the Gentlemen of the King’s Chapel. ‘Zadok the Priest’ was set to music written by William Lawes.

For James II, in 1685, there are new works by Henry Purcell, John Blow, and William Turner. This coronation ceremony is the first record of the ‘Vivats’ by the King’s Scholars of Westminster.

For Queen Anne, in 1702, ‘O Lord grant the Queen a long life’ was sung in the procession from Westminster Hall. ‘Praise the Lord, O Jerusalem’ was sung at the crowning. For George I, in 1714, William Croft composes ‘O Lord, grant the King a long life’ for the procession and ‘The Lord God is a sun and a shield’ for the main service inside the Abbey.

Then with George II, in 1727, we reach Handel at last. He contributed four anthems, of which ‘Zadok the Priest’ has been sung ever since. As to the other three: (i) ‘The King shall rejoice’, which was used for George II’s coronation, omitted from George III and George IV’s coronations, and reappeared for William IV in 1831; (ii) ‘Let thy hand be strengthened’ — the Firmetur, which has not been used since; (iii) ‘My heart is inditing’ at the Coronation of Caroline, Queen consort, which also has not been used since.

For the Coronation of George III, in 1761, William Boyce produces several new anthems, including ‘Te Deum’ which is used to the present day. With George IV, in 1821, appear new works by William Knyvett and James Kent. At Queen Victoria’s coronation, in 1838, the Gloria was not sung; but it was read, and immediately there followed the “Hallelujah Chorus” from Messiah.

George V’s coronation, in 1911, included Charles Stanford’s ‘Gloria in Excelcis, with George VI’s, in 1937, featuring William Walton’s famous ‘Crown Imperial.’ For the coronation of Elizabeth II, in 1952, Sir Edward Elgar’s ‘Pomp and Circumstance’ marches were featured, along with Gordon Jacob’s arrangements of the National Anthem and ‘Fantasia on the Alleluia.’

For the Coronation of Their Majesties The King and Queen, in May, twelve new pieces have been personally commissioned. Andrew Nethsingha, Organist and Master of the Choristers will oversee all musical arrangements with Sir Antonio Pappano, Music Director for the Royal Opera House, conducting the Coronation Orchestra. Six orchestral commissions, five choral commissions, and one organ commissions will punctuate this most ancient of solemnities.

Westminster Hall Procession

The procession from Westminster Hall was abandoned by King William IV for motives of economy, and it has not yet been restored. The two choirs of Westminster Abbey and H.M. Chapel Royal walked in this procession. The earlier centuries provide nothing but the most occasional and scanty references: while from Charles II onwards information is more plentiful

Queen Elizabeth I

It was on Saturday 14th January 1558, “about two of the clocke at after-noone” that Queen Elizabeth I marched from the Tower of London to proceed to Westminster. On a scaffold near Franchurch stood a “noyse of instruments”; and at Gracious Streate (now Gracechurch Street), a “loude noyses of musicke.” A noise in those days merely meant sound or band. And of this very progress of Elizabeth I at the porch of St. Peter’s, in Cheapside, or “Cheape” as it was then called, “The waites of the Citie gave a pleasant noyse with their instruments as the Queene’s Majestie did passe by”; also of a “noyse of singing children.”

King James VI and I and Queen Anne

King James VI & I was crowned in July, 1603, but owing to the plague “His Majestie’s Triumphant Passage through His Honourable Citie of London” was deferred until the 15 March of the following year. To delight Queen Anne “with her owne country musicke, nine trumpets and a kettle-drum did very sprightly and actively sound the Danish March.” Then at one point, on the King’s approach, we are told that the ceasing of “sad and solemn music having beaten the ayre all the time of his absence”; and of “a loude and excellent musick composed of violins.” Also of nine boys, who, in that place, representing the Nine Muses “sang a dittie to their violins and other instruments”; of a song with choirs; and of an anthem sung by St Paul’s Choir “to the musicke of loud instruments”

King Charles I and Queen Henrietta

King Charles I was crowned in 1626. The details of the procession are more fully accounted for, with greater information about the bands which walked in the procession. There appears to have been three sections: (i) a fife and drum band, near the head; (ii) following them, but as a separate section, trumpets and kettle drums; (iii) three wind instruments supporting singers. The account of Charles I’s coronation comments that the “windy musicians” were accompanied by singers, three in number. The procession is said to have remained in this condition until 1820.

King George IV

King George IV was crowned in 1821. The coronation was the most extravagant ever staged and a number of the traditional elements of the ceremony were conducted for the final time, including the Westminster Hall procession. The traditional ensemble was augmented to two fifes and fife drums, the fifes being doubled and the extra drum to account for the double strength of the fife section. This was a rather fitting close to a spectacle which had been an element of the ceremonial since antiquity.

The Coronation Playlist

Our Coronation playlist features a selection of the very best music from all four twentieth-century Coronations assembled into a fine liturgical structure.

THE ASSEMBLY, REGALIA PROCESSION AND LITANY

1. Coronation March, Op. 65 (Sir Edward Elgar) — Bournemouth Symphony Orchestra.

2. The King’s Herald (Herbert Howells) — London Symphony Orchestra.

3. Rejoice today with one accord (Martin Luther) — The Bach Choir.

4. O most merciful (Charles Wood) — The Choir of Gonville & Caius College, Cambridge.

5. Litany: O God the Father of heav’n (Thomas Tallis) — The Choir of H.M. Chapel Royal.

6. O God, our help in ages past (William Croft) — Choir of King’s College, Cambridge.

7. Pomp and Circumstance March No 1 in D major (Sir Edward Elgar) — Gloucester Cathedral Choir

THE ENTRANCE OF THE KING AND QUEEN

1. Entrance Fanfare (Sir Ernest Bullock) — An English Coronation.

2. I was glad, with Vivats (Sir Hubert Parry) — An English Coronation.

3. The Presentation, Fanfares, and Acclamation (Sir Ernest Bullock) — An English Coronation.

THE COMMUNION SERVICE

1. O hearken thou (Sir Edward Elgar) — Choir of St John’s College, Cambridge.

2. Hear my prayer, O lord (Henry Purcell) — The Choir of Trinity College, Cambridge.

THE ANOINTING

1. Come, Holy Ghost, our souls inspire (Unknown) — Choir of King’s College, Cambridge.

2. Zadok the Priest HWV258 (George Frideric Handel) — Choir of Westminster Abbey.

THE CROWNING

1. Prayers — Acclamations — Crowning fanfare (Sir Ernest Bullock) — An English Coronation.

2. Confortare, Be strong and play the man (Sir Walter Parratt) — An English Coronation.

THE HOMAGE

1. Rejoice in the Lord alway (Unknown) — Choir of Westminster Abbey.

2. I will not leave you comfortless (William Byrd) — An English Coronation.

3. O clap your hands (Orlando Gibbons) — Choir of Trinity College, Melbourne.

4. Thou wilt keep him in perfect peace (Samuel Sebastian Wesley) — Choir of Clare College, Cambridge.

5. Homage fanfare — Acclamations (Sir Ernest Bullock) — An English Coronation.

THE COMMUNION SERVICE

1. All people that on Earth do dwell (Ralph Vaughan Williams) — Choir of King’s College, Cambridge.

2. Sanctus (Ralph Vaughan Williams) — Choir of Westminster Abbey.

3. O taste and see (Ralph Vaughan Willaims) — Choir of Westminster Abbey.

4. Gloria in excelsis (Charles Villers Stanford) — Choir of Westminster Abbey.

TE DEUM LAUDAMUS

1. Coronation Te Deum (Sir William Walton) — An English Coronation.

THE RECESS

1. The National Anthem (David Matthews) — An English Coronation.

2. Crown Imperial (Sir William Walton) — Choir of Westminster Abbey.