• Source: Funeral Sentences and Music for the Funeral of Queen Mary

The English composer Henry Purcell wrote funeral" target="_blank">funeral music that includes his funeral" target="_blank">Funeral Sentences and the later Music for the funeral" target="_blank">Funeral of Queen Mary, Z. 860. Two of the funeral" target="_blank">funeral sentences, "Man that is born of a woman" Z. 27 and "In the midst of life we are in death" Z. 17, survive in autograph score. The Music for the funeral" target="_blank">Funeral of Queen Mary comprises the March and Canzona Z. 780 and the funeral" target="_blank">funeral sentence "Thou knowest, Lord, the secrets of our hearts" Z. 58C. It was first performed at the funeral" target="_blank">funeral of Queen Mary II of England in March 1695. Purcell's setting of "Thou knowest, Lord" was performed at his own funeral" target="_blank">funeral in November of the same year. In modern performances the March, Canzona and three funeral" target="_blank">funeral sentences are often combined as Purcell's funeral" target="_blank">Funeral Sentences, Z. 860.




History


The funeral" target="_blank">funeral of Queen Mary II (30 April 1662 – 28 December 1694) in Westminster Abbey was not until 5 March 1695. Purcell composed a setting of the sixth of the seven sentences of the Anglican Burial Service ("Thou Knowest Lord", Z. 58C) for the occasion, together with the March and Canzona, Z. 780. It is believed these were performed with settings of the other six sentences by the Elizabethan composer Thomas Morley. Purcell had much earlier composed settings of three of the Burial Service sentences, including two different ones of "Thou Knowest Lord". The earlier settings are contained in autograph score, but there is no autograph of the 1695 music. Later in 1695 Purcell reused the March and Canzona as part of the incidental music for Thomas Shadwell's play The Libertine.
When William Croft was commissioned to write another setting for the burial service, he freely admitted that he had imitated Purcell's style "as near as I could". Croft preserved the whole of Purcell's "Thou knowest, Lord" within his new work, stating that "The reason why I did not compose that verse anew (so as to render the whole service entirely of my own composition) is obvious to every Artist". Croft's funeral" target="_blank">funeral sentences, and therefore Purcell's along with it, have been sung at nearly every royal and state funeral" target="_blank">funeral in England over the last three centuries.




Text and instrumentation



The work is scored for soprano, alto, tenor, and bass, four trumpets, and basso continuo. The text is from the Book of Common Prayer (1662):




Music



The March, in C minor, was written for a quartet of flatt trumpets, which, as slide trumpets, could play notes outside of the harmonic series and thus in a minor key. Following the March is the Canzona, also in C minor. "Thou Knowest Lord" is in E-flat major and is a stirring hymn-like setting with all the voice parts moving in the same rhythm.
Purcell's earlier setting of the fourth sentence of the Burial Service, "Man that is born of a woman", introduces a melancholy theme. Purcell brings tension to the phrase with "hath but a short time to live", and the melody rises and falls with the words "he cometh up and is cut down like a flower". With "In the midst of life we are in death", an earlier setting of the fifth sentence, Purcell begins with a soprano part that is passed on to the choir. The music portrays with chromaticism an air of anguish. There are two earlier versions of "Thou Knowest Lord".




In popular culture


Music from the March was adapted by Wendy Carlos for the soundtrack of Stanley Kubrick's 1971 film, A Clockwork Orange. Robin Beanland would later adapt the music for the opening cut-scene of Rare Ltd.'s 2001 videogame, Conker's Bad Fur Day, as the scene homages Kubrick's film.




Notes






References


Gengaro, Christine (2013). Listening to Stanley Kubrick: The Music in His Films. Rowman & Littlefield. ISBN 978-0-8108-8564-6.
Holman, Peter (2003). Henry Purcell. Oxford studies of composers (Reprint ed.). Oxford University Press. p. 143. ISBN 9780198163411.
Spink, Ian (2000). "Purcell's Music for The Libertine". Music & Letters. 81 (4): 520–531. doi:10.1093/ml/81.4.520.
Wood, Bruce (1996). "The First Performance of Purcell's funeral" target="_blank">Funeral Music for Queen Mary". In Burden, Michael (ed.). Performing the Music of Henry Purcell. Oxford University Press. pp. 61–81.
Gibbons, William (2018). Unlimited Replays: Video Games and Classical Music. Oxford University Press. ISBN 978-0-19-026527-4.




Further reading


Ford, Robert (1986), "Purcell as his own editor: The funeral" target="_blank">funeral sentences", Journal of Musicological Research, 7 (1): 47–67, doi:10.1080/01411898608574578
Kennedy, Michael, ed. (2006). "Queen Mary's funeral" target="_blank">Funeral Music". The Oxford Dictionary of Music (3rd ed.). Oxford University Press. ISBN 0-19-861459-4.
Shay, Robert (1998). "Purcell's Revisions to the funeral" target="_blank">Funeral Sentences Revisited". Early Music. 26 (3): 457–467. doi:10.1093/earlyj/XXVI.3.457. JSTOR 3128703.




External links


Music for the funeral" target="_blank">Funeral of Queen Mary, Z. 860: Scores at the International Music Score Library Project
funeral" target="_blank">Funeral Music for Queen Mary, Choral Public Domain Library
Video on YouTube, Ensemble La Fenice, Jean Tubéry (conductor), Céline Scheen, Hana Blažíková (sopranos)

Kata Kunci Pencarian:

• Funeral Sentences and Music for the Funeral of Queen Mary
• Death and funeral of Queen Elizabeth The Queen Mother
• Death and state funeral of Queen Victoria
• Queen's funeral
• Funeral march
• William Croft
• Henry Purcell
• Death and state funeral of Elizabeth II
• Death and state funeral of Winston Churchill
• Funeral of Lord Mountbatten