Saturday’s coronation of King Charles III and Queen Camilla has been described as a 1,000-year-old tradition of pomp and circumstance, dating back to Charles’ most distant ancestors.
However, while the coronation services and rites of England and British monarchs date back to the 10th century, their sonic traditions are much more recent and receive less attention. Many pre-19th-century accounts of coronations have been lost, and those that remain make little mention of music.
So entrenched in the cultural landscape, the English coronation sound was actually invented in the 20th century in a concerted effort to present the past as the present.
Charles III commissioned a new piece for his coronation, joining the rich tapestry of works composed for the occasion. Here we briefly describe the history of its music and explore the sound of the king’s divine right.
early ritual
The first coronation of a British monarch similar to the one seen today was that of Edgar in 973. Ordination, enthronement, and respect. Since the coronation itself is a religious ceremony centered on the Eucharist, his coronations from 973 to 1603 ended with a Catholic Mass.
In 1382, the “Liber Regalis” (“Royal Book”) was probably written to provide a detailed account of the coronation of Anne of Bohemia. It provides the coronation text, but no information about the music itself. The coronation had music specially composed for them, and some works were modified only in later centuries. The first coronation music was likely a hymn, beginning in 1603 with the coronation of James I and now reworked in English text into the coronation hymn.
James II, 1685
The Coronation of James II features music by more familiar composers. One of Henry Purcell’s settings “I was glad” is used as the entrance anthem. This text, also known in Latin as “Laetatus sum”, is the setting of Psalm 122. His anthem consists of two parts, beginning with his three-meter bright and light section marking James’ entrance to Westminster Abbey.
King’s Scholars at Westminster School yelled “vivat” (also known as aclamation) as James climbed the stairs to his estate chair. This was the first coronation for which the tradition existed. The second section is in a minor key and in double time, and serves as a solemn prayer for peace and prosperity for the monarch and nation. The section ends with “Gloria Patri” (“Glory be”). It is this Purcell his version that inspired the “I was glad” tripartite of CHH Parry’s setting that is used today.
George II and Queen Caroline, 1727
The coronation of George II is perhaps best known for introducing Georg Friedrich Handel’s coronation hymns, including “Zadok the Priest” (HWV 258). However, it is not known where each coronation hymn was played during the service. “Zadok the Priest” sets the text of 1 Kings 1:38-40. This text has appeared in one form or another in every coronation since Edgar.
The anthem begins with a lengthy orchestral introduction that builds tension until the choir entrance, accompanied by peeling brass and timpani. The preface is believed to have been written to help provide the order flow of service. Tie in later cheers from Piers’ tribute as he pledges his allegiance to the monarch.
Victoria, 1838
Queen Victoria’s first coronation The entire musical service is transcribedThe service features Handel’s coronation anthems “Zadok the Priest” and “The Queen Rejoices”, as well as the Hallelujah Chorus of “Messiah” . It took place after Victoria received communion. The reliance on Handel and the lack of new musical material, with the exception of her one new anthem, “This is the day” by William Knyvett, has led to widespread criticism of the service. “The musical portion of the service was a libel to the country’s current state of the arts,” it wrote.
Edward VII and Queen Alexandra, 1902
By royal decree, music becomes an integral part of the service at the coronation of Edward VII. Coronation music composer Frederick Bridges wrote: Edward health.
For the first time, music was included in the order of published services, including songs performed before and after the coronation. It features marches by Wagner, Gounod, Saint-Saëns, Tchaikovsky, and Elgar, whose “Imperial March” was written in 1897 for his Jubilee at Victoria’s Diamond. Tallis to Parry aims to highlight Britain’s imperial power by showcasing centuries of British artistic power.
Bridge commissioned a new coronation anthem for the service. Especially the new setting of “I was happy” and “Confortare” by CHH Parry. by King’s Music Master Walter Parratt. Since then, both have become staples of the coronation service. Parry’s setting for “I Was Glad” is very jubilant, opening with brass to a full orchestra of fanfares before giving way to the unaccompanied entrance of the chorus. Parry incorporates Vibat into the anthem. Here, sung by a choir, punctuated by brass his echoes and snare his drums, “Gloria Patri” is removed. Parat’s “Confortale” (“Be strong and play a man”) revived a text that had not been used since the 17th century. Paratt’s arrangement incorporates antiphon, from recited chants to full choruses with fanfare-like brass accompaniment.
Elizabeth II and Charles III
The accession of Elizabeth II prompted the idea of a new Elizabethan era to rival the artistic, cultural and military achievements of the 16th century and linked post-war Britons to the glory of their ancestors. At the coronation, the British, including Ralph Vaughan Williams, Arnold Backes, Herbert Howells, Arthur Bliss, George Butterworth, Gordon Jacob, Charles Villiers Stanford, Gustav Holst, John Ireland, William Walton showcased the idea by featuring music from contemporary composers.
And recent coronations have naturally made comparisons between Elizabeth II and Charles III. Composers writing music for this coronation include both expected and unexpected names, including Judith Weir, the king’s master of music. Tariq Oregan; Paul Mellor; and Shirley Thompson. There will be a new coronation anthem by Andrew Lloyd Webber.
The coronation of Charles III ushers in a new Carolean era in hopes of reflecting the namesake Charles II and his contributions to art and music. Only coronation and time will show if this new age will live up to its promises.
