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Programme Notes While the likes of Thomas Arne (of 'Rule Britannia' fame) regarded Handel as a "usurper and tyrant", Boyce generously remarked of Handel's occasional tendency to 'plagiarise', "he takes pebbles, and converts them to diamonds". Such was the overpowering shadow cast by the German import. Handel was evidently noted not just for his music, but for his larger-than-life personality as well. It may be, then, that the papal ban on Opera in Europe (the musical form which had brought him success and fame) was not the only reason he left Hamburg for England in 1712 - he is purported to have fallen out with his employer, the Elector of Hannover. Handel also had a big heart, however, and when the Elector followed him to London to be crowned King George I in 1714, the relationship was soon repaired. Croft, Master of the King's music at the time, composed the anthems for that coronation. By the time of George's death 12 years later Handel had been granted a post as Composer to the Chapel Royal, though his foreign status prevented him from succeeding Croft in 1727. While Maurice Green, who took the post instead, might have expected to contribute some music to the Coronation service of George II that year, the privilege was granted to family favourite Handel, whose popularity was now widespread in the British Isles, due mainly to his operas and oratorios. The four Coronation Anthems written for the event were all used in the service in Westminster Abbey, though it is unclear from records at exactly which point they were employed. 'The King Shall Rejoice' was certainly sung after the crowning itself and its five parts blend ceremonial with court style, both homophonic and contrapuntal. Boyce later referred to the coronation as "the first grand musical performance in the Abbey" and, with around 200 performers, it must have made an impact, even though there was confusion at times as to which anthem they were meant to be performing! Nick Roberts Lyrics The King shall rejoice in thy
strength, O Lord! |
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