FOLLOWING PRECEDENT

Timaru Herald, Volume CXLII, Issue 20587, 28 November 1936, Page 14 (Supplement)

FOLLOWING PRECEDENT

CORONATION SERVICE MUSIC WORK OF BRITISH COMPOSERS Music plays a very important part in the Coronation Service at Westminster Abbey, and at the last two ceremonies the most eminent British composers have been invited to supplement the traditional music of the service.

This precedent is again to be followed, and already several leading British musicians are being approached to contribute to the programme that is now being prepared by Dr E. Bullock, the organist and choirmaster of the Abbey, who will be assisted in his task by Sir Henry Walford Davies, the Master of the King’s Music, and others.

There is good reason to believe that Mr Eric Coates is to be invited to write the solemn processional march which concludes the service as the King passes from the Abbey.

Some of the music at a Coronation is traditional, and has been played for many years past. Among these older works are Tallis’ setting of the Litany and Merbeck’s for the Nicene Creed. The former is now over 350 years old. The most celebrated number of all, however, is Handel’s setting of the anthem, “Zadok the Priest.” This was first performed at the Coronation of George 11. in 1727. For this occasion Handel also composed three other majestic tunes, not often heard to-day, and no longer included in the Coronation Service —“Let Thy Hand be Strengthened,” “The King Shall Rejoice,” and “My Heart is Inditing.”

Contemporary with Tallis’ Litany is the Psalm, “I Was Glad,” first sung at the crowning of Charles I (1626) This has been performed at every successive Coronation, either wholly oi in part. It was rearranged by the late Sir Hubert Parry for the crowning of George V., being originally written by Purcell, and. is likely to be heard again next May.

Sir Hubert Parry also composed the “Te Deum” for the last Coronation, when he conducted it in person. The musical programme was arranged on that occasion by the late Sir Frederick Bridge, for many years organist and choirmaster at the Abbey. There was then a choir of 450 voices, that of the Abbey being strengthened by the gentlemen and boys of the Chapels Royal and specially selected singers from other London churches. This was assisted by the pick of London’s orchestras to the number of 70. These numbers are likely to be closely approximated on the next occasion.

One of the surprises associated with the Monte Carlo Russian Ballet company is the facility with which the members of the company have been able to learn English. Many of them could not speak a word of English, or, at any rate, make themselves properly understood, when they went on board the Moldavia for Australia. Now, they have a good, working acquaintanceship with the language. And Jascha Horenstein, the musical conductor, has even mastered some of the typcially Australian idioms and not a few words of slang. He was very proud to be able to answer a question from an inquirer as to how he liked Australia, with the assurance that he thought it was “bonzer” and “too right!” After touring Australia the company will visit New Zealand.

Music has become of increasing value in the modern world, Dr Malcolm Sargent, the eminent British orchestral conductor, said in an Interview after his arrival in Melbourne. Surrounded by the mechanism, the bustle, and the pressure of modern life, people with any real feeling rushed to music to give them an outlet for pent-up emotion, he added. That was one

explanation of the widespread taste for good music which had developed in recent years. After his recent concerts in Sydney Dr Sargent received many letters from those who had been present, stating that the music had helped them to go through the day’s work with a much greater feeling of contentment. These men and women were still recapturing from time to time the world of imagination into which music had led them.

very stern at rehearsals, but gives electric performances in consequence. Mr W. H. Reed says, in a review of a book on Elgar, that the composer confessed to a great liking for Meyerbeer’s “Coronation March.” One adds that this predilection for Meyerbeer went farther than Mr Reed suggests. Elgar was heard to argue—quoting chapter and verse—that the gems of all modern Russian music are to be found in Meyerbeer.