“The King Shall Rejoice”History and AnalysisAfter the death of King George I, Handel was employed to write several anthems for the coronation of King George II and Queen Caroline by of the Royal Chapel. In his second coronation hymn, "The King Shall Rejoice", Handel used instrumentation, contrasting sections, and musical gestures to reflect the text of Psalm 21: verses one, three, and five. The musical life of the Chapel Royal was influenced by two important deaths. The first was the unexpected death of the king on his way to Hanover on 11 June 1727. The other was that of William Croft, the principal composer of the Chapel, two months later. Croft held the position of composer, organist and children's teacher at the Chapel Royal, as well as the position of organist at Westminster Abbey. Maurice Green was Croft's obvious successor, but could not assume all of Croft's former offices due to his position at St. Paul's Cathedral. On 4 September Green was appointed organist and composer, retaining his post at St. Paul's, and Bernard Gates became Master of the Children. Later in September, John Robinson (a former son of the Chapel Royal), succeeded Croft's position as organist at Westminster Abbey. Handel decided to adopt British nationality in February of that same year, shortly before his forty-second birthday. George I signed the Naturalization Act on 20 February, before his unseen death several months later. Handel never participated in the daily life of the Chapel, but instead participated by providing the Chapel with music for special occasions. The timing of Handel's naturalization had an immediate musical benefit, as it allowed him to contribute to the coronation service of King George II and Q... middle of folio... the work is well balanced, with the two outer movements in quadruple time, and the two interiors in triple time, with the short passage in the center connecting the two halves. Handel gives the piece a grand and majestic feeling with his full orchestration, emphasizing the lyrics of Psalm 21 with a combination of homophony and polyphony, as well as contrasting instrumental choices. Finally, use the musical gesture, such as the painted image with the halo seen in the bridge passage. With each movement marked as merry, this hymn has a festive spirit, making it perfect for the actual coronation of the king and queen. The coronation proved to be a milestone in Handel's connection with the Chapel, and also in his wider relationship with British society. It was a well-attended event of great social significance and the composer provided listeners with a memorable musical experience.