ARTS APPLY THE CROWNING GLORY

Norman Warwick sees

ARTS APPLY THE CROWNING GLORY

It was only when we received a photograph (see cover and top of page) from my eighty six year old Aunt in Yorkshire, showing us how she had decorated her garden for the Coronation that I realised that as I had sat and watched the whole television broadcast with my wife in our home on Lanzarote I should perhaps write a ´review´ to complement Marlene Bell´s photograph.

On Saturday 6^th May the Coronation of Britain´s new King, that was broadcast on tv by the BBC, satellite stations and foreign broadcasters around the world and all over social media,  showed Charles III being crowned King of the United Kingdom. At 73 years he became the longest-lived monarch to reach the throne of his country. This had a massive impact in Britain of course, but also was a significant occasion here on Lanzarote where the event was treated as a festive day.

That is not too surprising as retirees like me from the UK   form the largest foreign community on the island and the main tourist source of those who visit us.  

Our friend, Larry Yaskiel, the editor of Lancelot in English (the glossy quarterly magazine so informative and interesting to me and my fellow British new residents and tourists here),  appeared on Lancelot Digital Media Services to explain to Spanish viewers in their own language, just what the Coronation would mean to the UK, and what kind of crowds and atmosphere of joy and hope the event might achieve.

Mr.  Yaskiel, who was awarded an MBE by the late Queen Elizabeth 11 in her final Honours List, has actually already seen in his life time Her Coronation, 70 years ago when she became monarch after the death of he 9r father, King George.

Larry, (shown with two books he has authored)  with his love of history is the author of a book extolling 500 years of significant links between The Canary Island and The British Isles and we have featured him many times on our Sidetracks And Detours pages, not least because as a young man he was a mover and shaker in the world of rock n roll and pop music.

He is an eloquent speaker on a wide range of topics and was able to give an insight into the solemnity of the occasion itself and a look into the significance the new reign might have on those links between The Canary Islands and The British Isles.

There will be poems and lyrics written, no doubt, reflecting on the UK Coronation events of this last weekend and what they represent and speculating on the effects it might have on the continuity of those historical links.

It was strange to listen to Larry, speaking in his dignified Spanish and enthusiastic and informed manner, and very odd to think of him as one of our of our ´friends in high places.

In the week following the Coronation, Larry and his wife Liz flew over to the UK to attend a reception event at Buckingham Palace and Lancelot Digital interviewed him for his thoughts on that as soon as he returned here.

In fact, when we watched the live BBC broadcast from England we were reminded, too, that my wife has extended family in high places when we saw Cardinal Vincent Nichols (right) who is a cousin of my late mother in law. He delivered a prayer as a representative of the Catholic faith. as the new King had ensured that all faiths would be have a voice at Westminster Abbey during the event.

Of course, Handel´s music of Pomp And Circumstance perfectly captured the high drama and historicity of the event, and given the ´majesty´ of the performance it might even have been viewed as a brilliantly produced staged  musical that in the right hands could form a record-breaking run on Broadway and in the West End.

Had The Coronation been seen as A Musical Drama how might have a reviewer have written about it? I am far more comfortable in that sphere than in writing about history, sovereignty and so I offer my own review of Charles 111, The Coronation – a musical.

ACT ONE:

This production delivered a linear narrative that looked back for thousands of years and yet carried dramatic contemporary themes of transition, hierarchy and loyalty. The dialogue, often in biblical style, repeated important doctrine about the desire to serve rather than to be served:- heroism and humility.

The stage scenery was magnificent and opulent, the colours and costumes were splendoured and authentic and the characters all delivered their roles faultlessly.

The demographics of those seeing the event live and those watching at home on tv wondering whether any football match would be allowed to interrupt the broadcast were seemingly a Venn diagram of gender, race, colour, creed, age and social status.

(By the way, in Warwick Castle, Queen Dee,  forbade me to switch to Sky Sports to watch Manchester City beat Leeds, although perhaps in deference to the UK´s new monarch, King Halland for once declined to score, so I didn´t miss much).

On days like this my wife is Controller Of Programmes in our house so we continued to watch the ceremony and I realised that all the items presented to the King had significant connotations, and these will become apparent throughout this review. They seemed similar in meaning to the gifts said to have been delivered in a manger to a new born King more than two thousand years ago in Bethlehem, , interpreted by theologians as being gold, representing Kingship, frankincense representing worship and myrrh as representative of death and mourning.

From the opening moments of the Coronation, everything carried a sense of gravitas.

The specially-commissioned red leather-bound Bible is presented to the King by the Moderator of the General Assembly of the Church of Scotland.

The formal Presentation of the Bible to the sovereign dates back to the joint Coronation of William III and Mary II in 1689.

At Elizabeth II’s coronation in 1953, the Moderator of the General Assembly of the Church of Scotland took part – the first time a representative from outside the Anglican Church was present.

ACT TWO

When it came to the actual taking of the oath, there was, for the first time in such a ceremony, a preface to the coronation oath in which the Archbishop said the Church of England “will seek to foster an environment where people of all faiths and beliefs may live freely”.

The Coronation Oath Act of 1688 requires the King to declare during his crowning ceremony that he will maintain the established Anglican Protestant Church, rule according to laws agreed in Parliament, and cause law, justice and mercy to be executed in his judgment.

Each part of the oath is framed as a question to the monarch, as the King replies he places his hand on the Bible.

The Anthem – Prevent Us, O Lord by William Byrd (left) was sung.

Charles III became the first monarch to pray aloud in front of a coronation congregation.

A special personal prayer has been written for the King to reflect the “loving service” theme of the service, and the words are inspired in part by the popular hymn I Vow To Thee My Country.

Mass for Four Voices by William Byrd was  sung

These two compositions by William Byrd were just two examples of familiar music employed in the production, such as More famous anthems and hymns being performed at the Coronation, including

• Christ Is Made The Sure Foundation’ lyrics
• ‘Angels We Have Heard on High’ (‘Gloria in Excelsis Deo’) lyrics
• ‘Zadok The Priest’ lyrics
• ‘I was glad’ lyrics

As in all the best musicals the score helped explain the plot and accelerated the action.

Like all great drama, this event had a sub-plot. Even ceremonies so steeped in history and delivered with such apparent intent for ´good´ can cause suspicion and discontent, so when it was announced that the Prime Minister Rishi Sunak (right) would be reading The Epistle – Colossians 1: 9-17  Lambeth Palace issued notice that although Mr Sunak is a Hindu, he would reading as prime minister so there need be no issue over his personal faith during the Anglican service.

He read in Prime Ministerial, slightly clipped and eager, tones but it was good to sea a musical tackling sensitive such as the mixing of State, Church, Monarchy and Faith.

This segment was followed by Alleluia The first of a two-part composition, Alleluia, from award-winning TV and film composer Debbie Wiseman.

Debbie Wiseman, OBE (left, born 10 May 1963) is a British composer for film and television, known also as a conductor and a radio and television presenter.

Wiseman’s film music credits include Tom and Viv (Nominated for two Academy Awards and the Alexander Korda Award for Outstanding British Film, 1994); Haunted; Wilde (Nominated for Best Original Film Score, Ivor Novello Awards, 1997); Tom’s Midnight Garden; The Guilty; Before You Go; Arsène Lupin (Winner of Best Score for a Foreign language film and nominated for Score of the Year, Movie Music UK Awards, 2005); Flood (Nominated for Best Score for a Horror/Thriller, IFMCA Awards, 2007); and Lesbian Vampire Killers (Nominated for Best Score for a Comedy, IFMCA Awards, 2009).

Amongst her television music credits are Shakespeare & Hathaway: Private investigators (2018); Dickensian (2015); Wolf Hall (2015); A Poet in New York (2013); The Whale (2013); Lost Christmas (Winner of Best Kids TV Movie / Mini-series, International Emmy Awards, 2013); The Passion; Jekyll; The Promise (Nominated for Best Drama Serial, BAFTA Awards, 2011); He Knew He Was Right; Warriors (Best Original Score ( RTS Awards, 2000), Winner of Best Drama (The South Bank Show Awards, 2000) & Winner of Best Drama Serial (BAFTA Awards, 2000)); Father Brown; WPC 56; The Coroner: Land Girls (Winner of Broadcast Award, 2010); Joanna Lumley’s Nile; Fry’s Planet Word; Stephen Fry in America; Othello (Nominated for Best Single Drama, BAFTA Awards, 2002); The Project; Judge John Deed; Feather Boy (Best Children’s Drama, BAFTA Awards, 2004); The Inspector Lynley Mysteries; Michael Palin’s New Europe (“Wild East” & “Baltic Summer”); The Andrew Marr Show; Stig of the Dump (Emmy Award Winner, 2002).

Gospel music also featured, of course, in the wedding of Prince Harry and Megan but The Ascension Choir (right), resplendent here in all white outfits, is a handpicked gospel choir especially brought together for this, the Coronation of King Charles III .

Later, outside the ´theatre´, those Royal fans who had seen the live performance were wild for the Gospel choir they had seen  perform at earlier in the afternoon,  with some saying it was ‘the best part’.

People watching the Coronation at home on tv also applauded the group of singers praising their talents, and saying on social media that the performance was both ‘unexpected and awesome’.

One person wrote on Twitter: ‘The gospel choir was glorious.’

Another choir was also very well received. Seven upper-sixth pupils from Methodist College in Belfast are singing at the ceremony, they are; Emily Wilson, Hannah Harvey, Evie Mills, Sarah Johnston, Maggie Gilmartin, Hannah Gheel and Nia Phelan

Language played a major part in a delivery that seemed to be seeking unification and – Hymn – Veni Creator was an ancient text is sung in English, Welsh, Scottish Gaelic and Irish Gaelic.

The coronation service includes other languages associated with the British Isles for the first time.

The final scene of Act Two depicted – Thanksgiving for the Holy Oil in which The Archbishop is presented with and formally receives the Coronation Oil, praying and giving thanks for it.

Charles III’s holy oil was made sacred in Jerusalem, and consecrated by the Patriarch of Jerusalem and the Anglican Archbishop in Jerusalem.

It was created using olives harvested from two groves on the Mount of Olives and pressed just outside Bethlehem, and perfumed with sesame, rose, jasmine, cinnamon, neroli, benzoin, amber and orange blossom.

The oil will be presented by Anglican Archbishop in Jerusalem The Most Reverend Dr Hosam Naoum to reflect the global Anglican Communion and the completion of its journey from Jerusalem.

ACT THREE:  THE ANOINTING

The anointing with holy oil was the central act of the religious ceremony and in what was a hugely public performance the anointment took place in private, or atleast behind four ´decency´ blankets.

The King removed his crimson Robe of State and sat in the Coronation Chair – made for King Edward I in around 1300 –wearing a simple white shirt, representing that he comes before God as a servant.

This scene took place to the musical accompaniment of a recital of Handel’s Zadok the Priest is sung by the choir.

The Anointing screen – a new 2.6m high three-sided screen featuring an embroidered tree celebrating the Commonwealth – was arranged around the Coronation Chair.

The Dean of Westminster poured oil from the ampulla – an eagle-shaped vessel – into the coronation spoon – the oldest object in all the coronation regalia.

Using his fingers, the Archbishop anoints the King on his hands, breast, and head..The Archbishops and Dean returned to High Altar as the screen was removed to the Shrine. The King then knelt on a faldstool in front of the High Altar and the Archbishop continued with the ‘Oil of Gladness’ prayer of blessing.

ACT FOUR:

THE INVESTITURE AND CROWNING

The King put on a white linen garment called Colobium Sindonis, a golden coat called the Supertunica and the coronation girdle around his waist.

It perhaps wasn´t quite Jason Donovan or Phillip Schofield in Joseph And His Technicolour Dreamcoat, but it was a scene that held the audience spellbound with its gravitas .

This was followed by a scene enacting  The Presentation of Regalia

Having been sanctified at his anointing, the King was presented with the coronation regalia.

In recognition of multi-faith Britain, peers from non-Christian faith traditions had been chosen to take part for the first time –hold regalia that does not have explicit Christian motifs.

The first presentation was of .The Golden Spurs. These objects were symbolic ofknighthood and chivalry and were brought to the King by the Lord Great Chamberlain and acknowledged by Charles and then returned to the altar.

During the exchange of swords, The Greek Choir sings Psalm 71 in tribute to the Greek heritage of the King’s father, Prince Philip, the late Duke of Edinburgh.

The Jewelled Sword Of Offering was blessed by the Archbishop and presented to the King by Lord President of the Council, Penny Mordaunt. This was the first time the sword had been carried and presented by a woman.

The intricate tapered sword, made for George IV’s 1821 coronation, has a hilt encrusted with diamonds, rubies and emeralds and a scabbard decorated with jewelled roses, thistles and shamrocks.

It symbolises royal power and the monarch accepting his duty and knightly virtues.

It was placed in the King’s right hand, then clipped onto his girdle and eventually unclipped., before The King stepped forward and offered the sword to the Dean, who placed it on the altar.

The sword was then “redeemed” by Penny Mordaunt, who placed the redemption money on an almsdish, held by the Dean.

Ms Mordaunt then drewthe sword and carried it in its naked form – without its scabbard – before the monarch for the rest of the service.

The Armills are more commonly known as the “bracelets of sincerity and wisdom” and were presented to the King by Lord Kamall, a British-born Muslim.

The King acknowledged them, in regal and formal manner as the occasion demanded.

The Archbishop said “Receive the Bracelets of sincerity and wisdom, tokens of God’s protection embracing you on every side.”

They were returned to the altar.

Charles is using the pair last used by his grandfather, George VI. They are decorated with national emblems – roses, thistles, fleurs-de-lis and harps – dark blue fleurets and red pellets, and lined in red velvet.

Charles’s eldest son, the heir to the throne, the Prince of were brought to the King Wales enters the theatre to present The Robe and Stole Royal were brought to The King. The Stole Royal – a golden priestly scarf – and the Robe Royal – a long cloak were handed to The Bishop of Durham who placed the Stole Royal over the King’s shoulders.

William, Baroness Merron, who served as the Board of Deputies of British Jews’ chief executive, and assisting Bishops clothed the King in the Robe Royal.

The Archbishop said: “Receive this Robe. May the Lord clothe you with the robe of righteousness, and with the garments of salvation.”

The Sovereign’s Orb (right), with its cross mounted on a golden globe, symbolises that the monarch’s power is derived from God. It is decorated with clusters of emeralds, rubies and sapphires surrounded by rose-cut diamonds, and single rows of pearls, with the bands of jewels dividing it into three sections representing the three continents known in medieval times. It weighs 1.3kg and dates back to 1661.

The Dean gave the Anglican Archbishop of Armagh the orb, who brought the orb to the Archbishop of Canterbury, who placed it in the King’s right hand.

The Archbishop then advised: “Receive this Orb, set under the Cross, and remember always the kingdoms of this world are become the kingdoms of our Lord, and of his Christ.”

The Orb was retrieved by The Archbishop of Armagh, who returned it to the Dean, who placed it back on the altar.

The Sovereign’s Ring, often referred to asThe “Wedding Ring of England” is also called the Coronation Ring and is a symbol of “kingly dignity”.

William IV’s ring of 1831 features a large sapphire and diamond cluster with baguette-cut rubies in the form of a cross. It was presented to the King by Lord Patel.

Instead of having the ring put on the fourth finger of his right hand as is the custom, the King acknowledged it instead.

The Archbishop suggested: “Receive this Ring, a symbol of kingly dignity, and a sign of the covenant sworn this day between God and King, King and people.

The ring was returned to the altar.

The Coronation Gloveis a demonstration of the sovereign as advocate and challenger for the protection and honour of the people.

It also bears a second meaning, as a reminder of holding power, symbolised in the Sceptre with Cross, gently in a gloved hand.

It was taken from the altar and given to Lord Singh of Wimbledon by the Dean.

The peer approached the King, presenting the glove.

The Archbishop said: “Receive this glove. May you hold authority with gentleness and grace, trusting not in your own power but in the mercy of God who has chosen you.”

The King picked up the glove and places it on his right hand.

The Sceptre with Cross and Rod with Dovehas been used at every coronation since Charles II’s in 1661.

It is the symbol of royal earthly power and was transformed in 1910 for George V with the addition of the spectacular Cullinan I diamond – 530.2 carats, and the largest colourless cut diamond in the world.

Sovereign’s Sceptre with Dove, also known as the Rod with Dove, is symbolic of justice and mercy.

It represents the sovereign’s spiritual role, with the dove symbolising the Holy Ghost, and traditionally has also been called the Rod of Equity and Mercy.

The Sceptre and Rod were taken from the altar and given to the Archbishop of Wales and the Primus of Scotland by the Dean.

The Archbishop delivered the Sceptre with Cross into the King’s gloved-right hand and the Sceptre with Dove into his left.

The Archbishop says: “Receive the Royal Sceptre, the ensign of kingly power and justice; and the Rod of equity and mercy, a symbol of covenant and peace.

“May the Spirit of the Lord which anointed Jesus at his baptism, so anoint you this day, that you might exercise authority with wisdom, and direct your counsels with grace; that by your service and ministry to all your people, justice and mercy may be seen in all the earth: through the same Jesus Christ our Lord. Amen.”

The Dean brought The Crown of St Edward to The Archbishop, who spoke the prayer of blessing.

“King of kings and Lord of lords, bless, we beseech thee, this Crown, and so sanctify thy servant Charles upon whose head this day thou dost place it for a sign of royal majesty, that he may be crowned with thy gracious favour and filled with abundant grace and all princely virtues; through Jesus Christ our Lord, who with thee and the Holy Spirit liveth and reigneth, supreme over all things, one God, world without end. Amen.”

The Archbishop placed the crown down onto the King’s head and proclaimed: “God save The King!”

The congregation responded: “God save The King!”

The Abbey bells rang for two minutes and a fanfare was sounded, followed by a Gun Salute fired by The King’s Troop Royal Horse Artillery, stationed at Horse Guards Parade.

Gun Salutes were also be fired at the Tower of London fired by the Honourable Artillery Company, and at all Saluting Stations across the UK, Gibraltar, Bermuda, and Ships at Sea.

For the first time, The Blessing, which entreats God’s love, protection, grace, and wisdom upon the King, is shared by Christian leaders from across the country.

The Archbishop of York, Greek Orthodox Archbishop of Thyateira & Great Britain, Moderator of The Free Churches, Secretary General of Churches Together in England, Cardinal Archbishop of Westminster and the Archbishop of Canterbury carried out the blessing.

An anthem, written by 17th century English composer Thomas Weelkes, was sung.

ACT FIVE:

ENTHRONEMENT AND HOMAGE

The enthroning scene showed us  the setting of the King in his crown on the throne.

The Archbishop Of Canterbury (left) said “Stand firm, and hold fast from henceforth this seat of royal dignity…” and the moment symbolised stability and constancy.

The enthronement traditionally represents the monarch taking possession of his kingdom. The ancient ritual descends from coronations of old when early kings were crowned upon a mound of earth and lifted high on to the shoulders of noblemen for all to see.

The Archbishop paid The Homage. of The Church of England

Such oaths of allegiance have always been sworn to the newly anointed and crowned sovereign.

the Archbishop said  “I, Justin, Archbishop of Canterbury, will be faithful and true, and faith and truth will bear unto you, our Sovereign Lord, Defender of the Faith, and unto your heirs and successors according to law. So help me God.”

There was an homage of Royal Blood, too, when, in a break with tradition, The Prince of Wales became the fi8srt blood prince to pay homage during the service.

Kneeling before the King, he said: “I, William, Prince of Wales, pledge my loyalty to you and faith and truth I will bear unto you, as your liege man of life and limb. So help me God.”

The new Homage of the People invited people watching around the UK and across world in the King’s overseas realms to cry out and join in by swearing allegiance to the King.

It replaces the traditional Homage of Peers.

The Archbishop said: “I call upon all persons of goodwill in The United Kingdom of Great Britain and Northern Ireland, and of the other Realms and the Territories to make their homage, in heart and voice, to their undoubted King, defender of all.”

The liturgy asks “All who so desire, in the Abbey, and elsewhere” to say together: “I swear that I will pay true allegiance to Your Majesty, and to your heirs and successors according to law. So help me God.”

A fanfare was played, after which The Archbishop of Canterbury proclaimed: “God save The King”, with the people replying: “God save King Charles. Long live King Charles. May The King live for ever.”

An Anthem, Confortare by Sir Henry Walford Davies and written for George V’s coronation, was sung.

At various times in his 45-year career, Sir Henry Walford Davies (right) enjoyed wide recognition as a composer, teacher, organist, and lecturer and in the latter capacity, he became England’s first popular radio personality on the subject of classical music. Henry Walford Davies was born 50 years before the advent of radio as a popular broadcast medium, in 1869, and began his formal musical education in his teens in the choir of St. George’s Chapel at Windsor. His natural aptitude for music manifested itself in this setting and Davies spent five years as a pupil/assistant to the cathedral organist Walter Parratt. In 1890, he earned a scholarship to the Royal College of Music that allowed him to study with Hubert Parry and Charles Villiers Stanford, and he joined the college’s faculty at age 26 as a teacher of counterpoint. He composed during these years, but it was as an organist that Davies became well-known at a succession of churches in the London area, including seven years at Christ Church, Hampstead, before becoming the organist and choirmaster at Temple Church from 1898 until 1919. Davies later held the conductorship of the Bach Choir and in 1918, after being commissioned a major, he was appointed director of music for the Royal Air Force, the position where he wrote his best-known work, the RAF March Past. In 1919, Davies began a distinct new phase of his career when he was appointed professor of music at Aberystwyth, Wales. Over the next 20 years, Davies became one of the leading exponents of Welsh music and musicians, serving as the chairman of the Welsh National Council of Music and acquiring the eternal gratitude of all Welsh people of a musical bent (which by and large meant the entire Welsh population). It was three years later that he received a knighthood. From the end of the teens onward, Davies also found himself in demand as a lecturer on music, his clear diction and outgoing, genial personality making his talks accessible to a wide audience. In the early ’20s, he made a series of spoken-word recordings on music for the HMV label. They were so successful that in 1926, the BBC engaged Davies as the speaker on a program called Music and the Ordinary Listener, which lasted until the outbreak of war in 1939. In the process, Davies became the most popular classical music personality in England, occupying a position in the culture of that time akin to that of Deems Taylor, Leonard Bernstein, and other speakers on music in the United States. In 1934, following the death of Elgar, Davies was appointed Master of the King’s Musick, the equivalent of Poet Laureate, and a position once held by his own teacher, Parratt.

Davies composed music throughout his career, though virtually nothing of his work from the nineteenth century is known. He began emerging in 1904 with the oratorio Everyman, which in the years following its premiere was the second-most popular large-scale choral work in England, after Elgar‘s The Dream of Gerontius. Apart from his RAF March Past, which remains in the repertory of military and other institutional marching bands (especially in England), Davies’ best-remembered works include the Solemn Melody (1908), authored for the John Milton tercentenary; and Jesu, Dulcis Memoria (1918), his only published original piece for organ. In 2001, Dutton Laboratories released a CD tribute to Davies, including compositions by him and also dedicated to him, and two of his broadcast lectures from 1937.

ACT SIX

THE CORONATION OF THE QUEEN CONSORT

This act opened with The Dean pouring oil from ampulla into spoon, and held the spoon for the Archbishop of Canterbury.

The Queen was anointed on the forehead with the associated words.

In a break with tradition, Camilla was anointed in public rather than in private under a canopy.

The Archbishop said: “Be your head anointed with holy oil.

“Almighty God, the fountain of all goodness; hear our prayer this day for thy servant Camilla, whom in thy name, and with all devotion, we consecrate our Queen.

“Make her strong in faith and love, defend her on every side, and guide her in truth and peace; through Jesus Christ our Lord. Amen.”

A ruby ring made for the coronation of King William IV for his consort Queen Adelaide in 1831 “married” Consort to King, and then both to God in duty and to the people in loving service.

The ring was presented by The Keeper of The Jewel House to Camilla; she acknowledges it, rather than wearing it, as is tradition.

The Archbishop said: “Receive this Ring, a symbol of royal dignity, and a sign of the covenant sworn this day.”

The Dean returned with Queen Mary’s Crown, handing it to the Archbishop.

The Archbishop said: “May thy servant Camilla, who wears this crown, be filled by thine abundant grace and with all princely virtues; reign in her heart, O King of love, that, being certain of thy protection, she may be crowned with thy gracious favour; through Jesus Christ our Lord. Amen.”

Queen Mary’s Crown was made for Charles’s great-grandmother Queen Mary for George V’s coronation in 1911.

It is the first time a consort’s crown has been recycled for a coronation rather than a new one created.

The Queen Consort’s Rod with Dove and The Queen Consort’s Sceptre with Cross

The ivory rod was then presented by the Bishop of Dover, and the sceptre by Lord Chartres to Camilla.

Camilla acknowledged the rod and sceptre both by touching them in turn, rather than holding them as Queen Elizabeth the Queen Mother did in 1937.

The Archbishop of Canterbury said: “Receive the Royal Sceptre and the Rod of equity and mercy. May the Spirit guide you in wisdom and grace, that by your service and ministry justice and mercy may be seen in all the earth.”

Andrew Lloyd-Webber’s coronation anthem, Make a Joyful Noise (right), was sung. It should be said I think that despite the gravitas of the events many of the best elements of Lloyd Webber´s musical, theatrical and cinematic work were all here: joyous classical music, excellent crowd scenes and communal pride

The enthroning of Camilla is the moment in which Charles and Camilla “are united in their joint vocation before God”.

An Offertory Hymn was then sung. the gifts of bread and wine being brought before the King for him to acknowledge, making formal presentation of them as they are taken to the High Altar.

The Archbishop delivered a Prayer over the Gifts of bread and wine and then the Eucharistic Prayer.

The coronation is set as tradition within the context of the celebration of the Eucharist (Holy Communion) – the principal act of worship of the Christian church.

The Sanctus, part of Eucharistic prayers since the fifth century, is sung, set to Roxanna Panufnik’s new Coronation Sanctus composition.

The Lord’s Prayer was said and Holy Communion was received by the King and Camilla.

The ancient words of the Agnus Dei were sung at the same time. The words, have been set to a new composition by Tarik O’Regan.

The Archbishop says a Prayer after Communion and the Final Blessing.

Amen by Gibbons is sung, followed by the hymn Praise, My Soul, the King of Heaven, and then William Boyce’s Anthem, composed for George III’s coronation.

Charles and Camilla changed into their purple Robes of Estate and the King puts on the Imperial State Crown

Te Deum by Sir William Walton was sung. The words date from the 4th century and it has always been part of the coronation rite, usually as the finale.

During the Te Deum, the King and Queen Consort moved into St Edward’s Chapel behind the High Altar.

They put on their Robes of Estate and the King switches from the St Edward’s Crown to the lighter Imperial State Crown.

The National Anthem was sung before The King’s Outward Procession took place to the sound of the organ playing Elgar’s Pomp &Circumstance March No 4 and Parry’s March from The Birds.

The Pomp and Circumstance Marches (full title Pomp and Circumstance Military Marches), Op. 39, are a series of five (or six) marches for orchestra composed by Sir Edward Elgar. The first four were published between 1901 and 1907, when Elgar was in his forties; the fifth was published in 1930, a few years before his death; and a sixth, compiled posthumously from sketches, was published in 1956 and in 2005–2006. They include some of Elgar’s best-known compositions.

The march has an opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical Trio constructed like the famous “Land of Hope and Glory” trio of March No. 1.

The first eight bars of the march is played by the full orchestra with the melody played by the violas and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held “in reserve” for the repeat, when the first violins join the violas with the tune. There are subdued fanfares from the brass interrupted by little flourishes from the strings before the opening march is repeated. There is pause, then a little section which starts forcefully but quietens, leading into the Trio. The Trio follows the pattern of March No. 1, with the melody (in the subdominant key of C) played by clarinet, horn and violins. The violins start the Trio tune on the lowest note they can play, an “open” G-string, which gives a recognisable “twang” to this one note, and they are directed to play the passage “sul G” on the same string, for the sake of the tone-colour, and the accompaniment is from the harps, low strings and bassoons. The grand tune is repeated, as we expect, by the full orchestra; the opening march section returns; the grand tune is repeated once more, in the “home” key of G major; and the last word is had by a re-statement of the opening rhythmic patterns. The march prepares the audience for its end as surely as a train pulling into a station, with the violins, violas, and cellos ending on their resonant “open” G.

Following that the service greeting took place with Faith Leaders and Representatives and the Governors-Generals

At the end of the procession near the Great West Door, the King received a greeting by leaders and representatives from different faith communities.

Those taking part were Most Venerable Bogoda Seelawimala (Buddhist), Lord Singh of Wimbledon, (Sikh), Radha Mohan das (a representative from a Hindu temple in Hertfordshire), Aliya Azam (Islam) and the Chief Rabbi Sir Ephraim Mirvis (Judaism)

As the King stood before the faith leaders and representatives, they said in unison: “Your Majesty, as neighbours in faith, we acknowledge the value of public service.

“We unite with people of all faiths and beliefs in thanksgiving, and in service with you for the common good.”

The message was not amplified with microphones to respect those observing the Jewish Shabbat – the day of rest.

Speaking of a day of rest,…..all this marching has worn me out, so I´m off for a lie down. I´ll probablu have a cocoa and a plate of Hot Biscuits all baked at the hands of jazz presenter Steve Bewick, who is also an occasional contributor to these pages. Steve´s Hot Biscuits programme this week will feature the Andrzej Baranek Sextet at the Carlton Club, Manchester. Joining them in the broadcast are Lauren Lucille and Jo Kaleb, and Nigel Price Organ Trio playing a Kenny Burrell number. We´ll introduce new pieces from both Tasos Gkoumas and the Kate Williams Quartet. If this looks interesting share with your friends and listen in 24/07 at www.mixcloud.com/stevebewick/