Zadok the Priest

Biblical symbolism and power politics merge in “Zadok the Priest”, the most dramatic of Handel’s four Coronation Anthems. The piece, written for the coronation of George II at Westminster Abbey in 1727 and performed at the coronation of every British monarch since, recalls the moment when Israel’s high priest anoints Solomon. Zadok’s support for Solomon, recounted in the First Book of Kings, here signals the legitimacy of Britain’s recently established Protestant Hanoverian dynasty over the stronger claims of the exiled Catholic Stuart line. Handel’s genius as a composer for the theatre and knowledge of English ceremonial anthems, notably those of Henry Purcell, combine to create a sensational overture to the new king’s anointing. He sets the scene with a rippling orchestral introduction that serves as launchpad for the choir’s ringing declamation of “Zadok the Priest”, attended by regal trumpets and drums. A switch to triple time captures the mood of national rejoicing before solid chords hammer out the acclamation “God save the King” and the ecstatic company of voices and instruments unleash rapid-fire runs to the words “Alleluia, Amen”.