The Coronation of King George II, 1727 - The Crowning

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The King's Consort, Robert King & King's Consort Choir

George II was King of Great Britain and Ireland, Duke of Brunswick-Lüneburg (Hanover) and Archtreasurer and Prince-elector of the Holy Roman Empire from 11 June 1727 (O.S.) until his death. He was the last British monarch to have been born outside Great Britain, and was famous for his numerous conflicts with his father and, subsequently, with his son. As king, he exercised little control over policy in his early reign, the government instead being controlled by Great Britain's parliament. Before that, most kings possessed great power over their parliaments. He was also the last British monarch to lead an army in battle (at Dettingen, in 1743).

George II succeeded to the throne on his father's death on 11/22 June 1727. His father was buried at Hanover, but George decided not to go, which far from bringing criticism led to praise from the English who considered it proof of the new King's fondness for Britain. George was crowned at Westminster Abbey on 11/22 October. The Hanoverian composer Händel was commissioned to write four new anthems for the coronation; one of which, Zadok the Priest, has been sung at every coronation since.

IX. The Crowning:
i. Trumpet fanfare
ii. God Save the King!
iii. The King Shall Rejoice, HWV 260 (George Frideric Handel)

The Archbishop, standing in front of the Abbey's altar, takes up the crown and blesses it. Assisted by the other bishops and by the Dean of Westminster, the Archbishop crowns King George. A trumpet fanfare rings out, the peers and Kings of Arms put on their own coronets, and the entire congregation in the Abbey, in a thrilling moment, 'with loud and repeated shouts' acclaim their new monarch. Handel's anthem "The King Shall Rejoice" is suitably celebratory, its opening movement permeated by ringing trumpet fanfares. The lyrical second movement, 'exceeding glad shall he be of thy salvation', is set in a gently swinging triple metre: the respite it brings is replaced by grandeur at 'Glory and worship'. 'Thou hast prevented him' incorporates both lyricism in its triple time and solemnity in its solid block chords before the movement ends with a ringing 'Alleluia', complete with soaring soprano lines and a dramatic pause before the final statement.