Sandford tells us this was 'composed by Mr Henry Laws'. The only surviving setting by Lawes is that from the previous coronation, of Charles II in , though the text of this setting differs both from Sandford and from the Order of service. Lawes himself died in , so if the setting was altered in text or music, it was by another hand and no record of it survives. The version is sung here. The surviving music of this anthem includes the bass only of an instrumental symphony: I have composed a symphony to this bass and taken the opportunity to add the instruments which we know were present to the remainder of the piece, giving a certain martial dignity to an otherwise rather plain setting.
Indeed, it is possible that the version is a recomposition of the anthem, as Blow was to do with 'Behold, O God' for the coronation of William and Mary. A little variety is injected by the use of instrumental accompaniment. The coronation ended with the homage to the King, the occasion for the grandest musical statements of this or any other previous coronation, and possibly of any since.
John Blow provided an awesome architectural structure in God spake sometime in Visions , sung while the peers paid homage to the King , the constant varying of mood, texture, speed and colour perfectly reflecting the text with its moments of martial splendour, tenderness, reverence and prayerfulness.
It can only be regretted that this anthem was too grand for the more modest tastes of the subsequent Stuarts and has not, to date at least, been sung at any subsequent coronation. The two men seem to vie for honours in the brilliance of their string symphonies, the complexity and vigour of their eight-part choral writing in the rather odd division of two treble, two alto, one tenor and three bass parts, no doubt accounted for by the bevy of basses provided by the combined choirs , the variety of their verse sections always for solo voices in combination, never a single voice , and their melodic and harmonic inventiveness.
They seem to be comparing ideas and daring each other on, as they surely did in their daily musical collaboration in the Chapel Royal: the most daring change of harmony, or indeed the most daring non-change of harmony—Blow gives us four bars of root position C major at thy hand shall hold him fast , Purcell four bars of root position G major at Peace be within thy walls in the earlier verse anthem. The music of this coronation has a huge arching shape, from the brazen fanfares of the opening through the smaller, more old-fashioned and more modestly-proportioned pieces in the middle to the glorious peroration at the end: a shape which is as satisfying to us when we listen through to the music today as it surely was to the men who designed it and clothed it in the glorious apparel of their music.
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