British Royal and State Funerals: Music and Ceremonial Since Elizabeth I. by Matthias Range (review)

Matthais Range's new book provides a thorough examination of the music of royal and state funerals in Britain over four centuries, from that of Elizabeth I in 1603 to the Queen Mother in 2002. Though there are studies of significant funerals in Britain, most focus on individual ceremonies, few attempt a comprehensive examination of the topic, and none concentrate on the music. As the first study to explore "music and its distinct role and functioning within the ceremonial, taking into account not only the funeral service but also the lying-in-state and the outdoor processions," Range traces the evolution of music within royal and state funerals in the larger context of music and British history, illustrating how "the analysis of the music and its interaction with the ceremonial at funerals contributes in a special way to the understanding of their changing character, meaning and perception" (p. 3). The focus is on the music and ceremony, but Range includes details that impacted the placement of the musicians, service, and so forth, such as indicating through which door of the abbey or chapel a funeral procession or body entered.

The meticulous research, thoughtful organization, and the overall skillful balance between a broad view and comprehensive examination of individual funerals make this book a significant resource. The introduction provides an overview and serves as an essential read for anyone interested in the topic. Here, Range explains the difference between the royal and state funeral (as well as the heraldic, ceremonial, and military funeral), defines the time frame covered (from the first significant royal funeral "that took place after the full, secure establishment of the Church of England" [p. 2] to the first major royal funeral of the twenty-first century), includes a helpful literature review, and, perhaps most importantly, provides a thorough section on terminology (including the differentiation between English/British, public/private, funeral/burial) and descriptions of the ceremonial parts of a funeral, the liturgy of the funeral and burial service, and the music (Funeral Sentences, anthems, fanfares, and other music).

The titles of the eight chronological chapters that follow the introduction trace the general outline of the history of these obsequies, from the public royal funeral processions of chapter one ("Heraldic Heyday: From Elizabeth I to the Duke of Rothes [1603–1681]") to the public state and private royal funerals of chapter five ("Public Heroes and Private Royals: From Pitt the Elder and Lord Nelson to Queen Adelaide [1778/1806–1849]"). The next chapters cover the gradual return of public royal funerals as the Empire faded, in chapters six ("Apogee and Royal Retreat: From the Duke of Wellington to Prince Albert Victor and William Gladstone [1852–1892/8]"), seven ("Imperial Farewells: From Queen Victoria to Winston Churchill and the Duke of Windsor [1901–1965/72]") and eight ("The Royal Return to the Public: From Lord Mountbatten to Queen Elizabeth The Queen Mother [1979–2002]"). The comparison of Princess Diana's very public ceremonial royal funeral—which was a state funeral "in all but name" (p. 306) as well as the first post-modern royal funeral, with its inclusion of interfaith and ecumenical gestures (including Anglican music, John Taverner's Greek Orthodox-influenced music, and secular popular music performed by Elton John)—and the Queen Mother's equally public but more subdued royal state funeral, provides a fitting conclusion by highlighting the full return to the lavish public royal funeral and taking us into current practices. While Range focuses on the obsequies of royalty and major military or political figures in England, he goes beyond the English borders for several funerals, such as those of the Duke of Rothes in 1681 (described by James Balfour Paul as "the most sumptuous funeral ever seen in Scotland" [Heraldry in Relation to Scottish History and Art (Edinburgh: D. Douglas, 1900), 75]), George I in Hanover (the...