Music
Music played at coronations is primarily classical and religiously inspired. The most oft-used piece is Zadok the Priest, a religious composition by George Frideric Handel based on texts from the Bible. The work was commissioned for George II's coronation in 1727, and has featured in every coronation since, an achievement unparalleled by any other piece. Hubert Parry's I Was Glad was written as the entrance anthem for the coronation of Edward VII, and contains a bridge section partway through so that the King's or Queen's Scholars of Westminster School can exercise their right to be the first commoners to acclaim the sovereign, shouting their traditional "vivat"s as he or she enters the coronation theatre. This anthem and Charles Villiers Stanford's Gloria in Excelsis have also been used regularly in recent coronations, as has the national anthem, God Save the Queen (or King). Other composers whose music featured in Elizabeth II's coronation include Sir George Dyson, Gordon Jacob, Sir William Henry Harris, Herbert Howells, Sir William Walton, Samuel Sebastian Wesley, Ralph Vaughan Williams and the Canadian-resident but English-born Healey Willan. Ralph Vaughan Williams suggested that a congregational hymn be included. This was approved by the Archbishop of Canterbury, so Vaughan Williams recast his 1928 setting of the English metrical version of Psalm 100, the Jubilate Deo ("All people that on earth do dwell") for congregation, organ and orchestra: the setting has become ubiquitous at festal occasions in the Anglophone world.
Read more about this topic: Coronation Of The British Monarch
Famous quotes containing the word music:
“In benevolent natures the impulse to pity is so sudden, that like instruments of music which obey the touch ... you would think the will was scarce concerned, and that the mind was altogether passive in the sympathy which her own goodness has excited. The truth is,—the soul is [so] ... wholly engrossed by the object of pity, that she does not ... take leisure to examine the principles upon which she acts.”
—Laurence Sterne (1713–1768)
“The train was crammed, the heat stifling. We feel out of sorts, but do not quite know if we are hungry or drowsy. But when we have fed and slept, life will regain its looks, and the American instruments will make music in the merry cafe described by our friend Lange. And then, sometime later, we die.”
—Vladimir Nabokov (1899–1977)
“To know whether you are enjoying a piece of music or not you must see whether you find yourself looking at the advertisements of Pears’ soap at the end of the libretto.”
—Samuel Butler (1835–1902)