Ah, the pomp and circumstance of a coronation. The English and British monarchs have been doing it since the 10th century, and it’s a real blast from the past. But you know what’s not as old as your grandma’s cookies? The sound of it all! Yup, it’s only been a thing since the 20th century, because, you know, we love to pretend the past is actually the present.

But hold on to your big hats, because Charles III is about to shake things up. He’s commissioned some new music for his coronation, adding to the rich tapestry of pieces already composed. So let’s take a quick dive into the history of coronation music, and get ready to do some toe-tapping.

The first coronation was for Edgar in 973, but it’s most likely not the version you’re thinking of. Sure, it had the procession and recognition, the oath, the anointing, and the investiture, enthronement, and homage — but it ended with a Catholic mass! Can you imagine? By 1603, the coronation music had evolved into coronation anthems with English text sung by the choir. It’s like a musical evolution, but without the scary dinosaurs.

Fast forward to James II in 1685, where Henry Purcell’s setting of “I was glad” is used for the entrance anthem. It’s a two-part anthem that goes from bright and lilting to solemn and prayer-like. It’s like the musical embodiment of going from party mode to nap time. Plus, it was the first time the King’s Scholars shouted “Vivat,” which, let’s be real, sounds like a spell from Harry Potter.

George II’s coronation in 1727 brought us Handel’s coronation anthems, including “Zadok the Priest.” The opening orchestral introduction builds tension and excitement, kind of like waiting for your favorite pizza to arrive. It’s also the first time the acclamation “God save the King! Long live the King!” was used, which is like the medieval equivalent of hashtag blessed.

Now, fast forward to Queen Victoria’s coronation. The entire musical service was transcribed, thanks to George Smart, who was in charge of the music. The reliance on Handel resulted in some criticism, with The Spectator calling it a “libel on the present state of art in this country.” Ouch, that’s like getting a bad review on Yelp.

But things really heat up at Edward VII’s coronation in 1902. Music became a significant part of the service by royal decree, and the program connected centuries of English church music together. They even commissioned new coronation anthems, like Parry’s “I was glad,” which is super jubilant and has brass, orchestra, and choir all doing their thing. It’s like a musical carnival, minus the funnel cake.

And finally, we’re at Elizabeth II’s coronation. The idea was to showcase a new Elizabethan age that rivaled the glory of the 16th century. So contemporary British composers were invited to put their musical stamp on the ceremony. It’s like a musical mashup, with everyone bringing their own unique flavor.

And now, we’re eagerly waiting for Charles III’s coronation. He’s commissioned some modern music from composer legends like Judith Weir, Tarik O’Regan, and Andrew Lloyd Webber. It’s all in the hopes that it’ll reflect the brilliance of his namesake Charles II, who was an art and music aficionado. So let’s get ready to turn up the tunes and usher in a new Carolean era.

Serious News: nytimes