What is the sound of a monarch’s death? What is the music and noise that commemorates the end of one royal life and prepares for the next?
Music plays a major role in British royal ceremonies, both national and religious, especially such as Queen Elizabeth II’s funeral on September 19th. Since the British monarch is also head of the Church of England, the sounds of these events are often tied to the Anglican musical tradition that emerged from the post-Reformation church.
Since 1603, much of the formality of royal funerals has remained the same, although some aspects have changed to reflect the times and monarchs. The result is a wonderful mix of diverse works that tell both the story of the British monarchy and British music.
The ceremonies performed in Church of England services derive from the Order of the Dead and Burial of the Common Prayer Book. First published in 1549, this book provided services and ways of daily worship in the Church of England. The musical part of the liturgy provided the texts set by the composer for the funeral – royal and others.
These texts are called funeral texts, collectively called burial services, and are divided into three parts. Cemetery statement if the body was buried or buried. And the final sentence sung after the priest throws the dirt on the body.
During funerals, sentences are punctuated by psalms and anthems (choral works accompanied by instruments, another musical element of the common devotional liturgy) that are read or sung. In addition, royal funerals included open-air processions of wind, brass and percussion instruments in the 17th century and imperial military bands in the 20th century.
Here’s an overview of these key moments in music history, from Elizabeth I to Princess Diana and now.
Elizabeth I, 1603
The funeral of Elizabeth I was held at Westminster Abbey, beginning a tradition of grand royal services. It was the first to use Anglican rites and to feature a musical liturgy associated with it. What took place is not conclusively known, but surviving accounts from illustrations and musicians refer to an outdoor procession featuring trumpeters and a joint choir from Chapel Royal and Westminster Abbey. The setting most likely used is by Thomas Morley (1557-1602), possibly written in anticipation of this occasion and often regarded as the first of its kind. Morley’s setting reflects the solemnity of both the text and the event, and was the standard for royal funerals until the 18th century.
Mary II, 1695
Musical innovations at royal funerals began with the introduction of new music by Mary II and Henry Purcell (1659-95), among them “Lord know the secrets of our hearts”. One tombstone was included. Purcell’s setting “Lord Know”, called “Music for Queen Mary’s Funeral” (Z. 860), in which a march and a canzona were also performed, was constructed to match Morley’s text The “flat, plaintive trumpet” echoes the vocal parts. Purcell’s “Funeral March” is something of a thunderous new addition, opening with deep, heavy drums before trumpets of both sorrow and crest enter.
Anne, 1714
Anne’s Funeral at Westminster Abbey presents a royal funeral that integrates new music into the existing setting of the Burial Service. Alongside Morley’s opening his sentence was the Funeral Sentence by William Croft (1678-1727), his organist at the Royal Chapel.Croft’s burial service became the royal funeral option, and although written for Anne’s funeral, it was most likely not completed until 1722. (1724) He “tried to imitate that great man as much as possible. master and celebrated compositionAnne’s funeral also included a new anthem, “The Souls of the Righteous” by Croft.
The death of Caroline, wife of King George II, added music to a royal funeral fit for the Queen of Hanover. George commissioned Georg Friedrich Handel (1685-1759), who knew Caroline in her childhood, to sing the hymn for her funeral. Handel’s hymn “The Ways of Zion de Morne” (HWV 264) is a monumental piece that “spent three-fifteenths of the time” at the Funeral at Westminster Abbey, located in Grob Street. • The journal explains, it has employed almost 200 people. performer. Although an anthem, various parts of the work recall Caroline and Handel’s Lutheranism and feature musical references to that faith. In particular, Mozart used the first choral melody of the national anthem for his Requiem (1791).
Victoria, 1901
As with Victoria’s reign, her funeral was very different from that of her predecessor. Unlike previous monarchs, she requested a public funeral at St George’s Chapel, Windsor, and a private burial next to Prince Albert at Frogmore House near Windsor. Croft’s burial service here is more an appeal to tradition than a liturgical and religious necessity, as it prioritized funerals as a national function over Thus Purcell’s “Lord, You Know” and “Man Born of a Woman” were written by his SS Wesley (1810-1876). Called National Anthem instead of Funeral Proceedings to streamline its inclusion in services. Music by Gounod, Tchaikovsky, Spohr and Beethoven was played at the end of the ceremony, and the funeral music was taken from the hands of the British composer.
recent royal funerals It may offer insight into the future of this tradition. Croft appeared at Princess Diana’s funeral in 1997, but her anthem and procession choices embodied who Diana was.Song of Athens“Elton John’s”candle in the windand the second half ofRivera Mee, Domine” From Verdi’s Requiem. Tavener and Verdi were the first to incorporate non-Protestant music and liturgy into royal or state funerals. All three works evoke a timely and timeless solemnity and majesty.
Likewise, Prince Philip’s participation in planning his own funeral is reflected in his music choices. With Croft, a hymn that paid tribute to his naval roots, “Eternal Father, save me in might”, and two of his songs he commissioned, “Benjamin Britten’s”Jubilate Deowas written for St George’s Chapel in Windsor. Setting of Psalm 104 Written by William Lovelady, arranged for 4 voices and organ. This musical flexibility marks another shift in royal funeral traditions that has continued into the 21st century.
So what can we expect from Elizabeth II? It’s been her 70 years since Britain witnessed the monarch’s funeral, but much has changed in that time. The UK is entering a new post-Brexit era that may call for a return to old music. However, many composers flourished in the second Elizabethan period, with her coronation as a testament to musical innovations similar to that of Elizabeth I, with as broad a range as Britain and Elorin her Warren. did.
Britain’s future is uncertain, and the end of Elizabeth II’s reign could be a turning point. Her funeral sounds like many funerals before. But it may also sound like new age music.
Imani Danielle Mosley is an Assistant Professor of Musicology at the University of Florida. After the war she specializes in British music and culture, Benjamin Britten, British modernism and 20th century opera.