If interested in the full 22 April 2021 article, “Did They Mention the Music?”, on the role of music in Prince Philip’s funeral, follow this link.
But the meat of the piece, for those interested in the Anglican patrimony and music, is the following paragraph:
“There were other threads of connection skilfully woven into the fabric of the service – royal, historical, and local. William Croft (1678–1727) shared the same teacher, John Blow, as his older contemporary Henry Purcell (to whom Lovelady’s Psalm 104 setting pays homage), and like him he was a Gentleman of the Chapel Royal and Organist of Westminster Abbey. Most of Croft’s music is forgotten, but his hymn tune to O God, our help in ages past is still a firm favourite and his Burial Sentences which opened the service have been sung at the funeral of every British sovereign since George II. The Russian Kontakion – brought into the Anglican repertoire in its arrangement by St George’s organist Sir Walter Parratt over a hundred years ago – reminded us of the Duke’s background in the Orthodox Church. Another St George’s organist, Sir William Harris – piano teacher to the young Princesses Elizabeth and Margaret – composed one of the organ preludes before the service. His friend and Windsor colleague Canon Edmund Fellowes was the first to edit William Smith’s Responses from the early seventeenth century which we heard skilfully arranged for four voices (there were five in the original) by former St George’s Assistant Organist Roger Judd.”