No CrossRef data available.
Article contents
Music of the Coronation Over a Thousand Years
Published online by Cambridge University Press: 01 January 1952
Extract
When this title was rashly proposed to your Secretary last year I was rather vague as to how much of the material might be new, and therefore worth producing before this Association. On the whole I have been rather disappointed on this point, for it is always more pleasant to be able to communicate facts to people which they might be unlikely to find elsewhere. Fifty years ago, for the coronation of Edward VII, a similar paper was read to the Association; but the author seems to have been unsuccessful in finding very much directly concerned with the music of the rite, and contented himself with rather speaking round his subject.
- Type
- Research Article
- Information
- Copyright
- Copyright © Royal Musical Association, 1944
References
NOTES TO THE TABLE OF MUSIC FROM 1625 TO 1953
1 E. H. Fellowes, English Cathedral Music, p. 89.Google Scholar
2 “Newlye appointed and made” (Coronation of King Charles I, by Chr. Wordsworth: Henry Bradshaw Society, Vol. II, 1892, p. 13. Quoted hereunder as HBS II).Google Scholar
3 HBS II, p. 25.Google Scholar
4 The Bishops were Thomas Morton and Lewis Baylye. HBS II, p. 27.Google Scholar
5 Myles Foster, Anthems and Anthem Composers (1901), p. 43.Google Scholar
6 The old Introit—“A quo incipit Missa in Regali Libro”—HBS II, p. 47.Google Scholar
7 HBS II, p. 49.Google Scholar
8 Ibid.Google Scholar
9 Laud notes in his copy “Heare ye Quire should haue suge Glorye be to God on highe, but because they could not take ArchBps voice soe farre of It was read.” HBS II, p. 52, n. 5.Google Scholar
10 By the Gentlemen of the King's Chapel—Ogilby, Narration of Charles II's Coronation, p. 182.Google Scholar
11 Ibid.Google Scholar
12 Ibid. Both the Quires.Google Scholar
13 Ibid, p. 185. “By the Upper Quire.” Perhaps the Gentlemen of the Chapel Royal had come, or remained, downstairs for the Recognition and the Creed.Google Scholar
14 Mr. Thewlis, quoting Pulver, Biographical Dictionary of English Musicians, and Lafontaine, gives Dr. Nicholas Staggins, the first Professor of Music at Cambridge, for either Veni Creator or Zadok the Priest. But Sandford's contemporary, full, and lavish account (1687) is explicit for both items; and Arthur Taylor in The Glory of Regality (1820) confirms Lawes for the latter item.Google Scholar
15 Three Coronation Orders, by J. Wickham Legg: Henry Bradshaw Society, Vol. XIX, 1900, pp. 20–34.Google Scholar
16 J. R. Planché, Regal Records (1838), p. 117.Google Scholar
17 Suggested by Mr. Thewlis.Google Scholar
18 Dr. Edmund Keene and Sir William Ashburnham.Google Scholar
19 According to Huish's account, the redundant clause (Thou that takest away the sins of the world, have mercy upon us), an uncorrected printer's error which has remained with many others in the Prayer-Book text for 400 years, was omitted on this occasion.Google Scholar
20 Presumably Pelham Humfrey's immortal masterpiece, which might be described for any who do not know it as “The Two-Note Pavane.”Google Scholar
21 At the end of the service.Google Scholar
22 1. O come, ye servants of the Lord—Tye; 2. Hear my prayer, O Lord—Purcell; 3. O clap your hands together—Orlando Gibbons; 4. All the ends of the world—Boyce; 5. O praise God in his holiness—Dyson; and 6. Thou wilt keep him in perfect peace—S. S. Wesley.Google Scholar
23 1. Rejoice in the Lord—Redford; 2. O clap your hands together—Orlando Gibbons; 3. I will not leave you comfortless—Byrd; 4. O Lord our Governor—Healey Willan; and 5. Thou wilt keep him in perfect peace—S. S. Wesley.Google Scholar