The English composer Henry Purcell wrote funeral music that includes his Funeral Sentences and the later Music for the Funeral of Queen Mary, Z. 860. Two of the 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 of Queen Mary comprises the March and Canzona Z. 780^[1] and the funeral sentence "Thou knowest, Lord, the secrets of our hearts" Z. 58C. It was first performed at the funeral of Queen Mary II of England in March 1695. Purcell's setting of "Thou knowest, Lord" was performed at his own funeral in November of the same year.^[1] In modern performances the March, Canzona and three funeral sentences are often combined as Purcell's Funeral Sentences, Z. 860.

The 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.^[1] 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.^[2][3]

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 sentences, and therefore Purcell's along with it, have been sung at nearly every royal and state funeral in England over the last three centuries.^[4]

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):

March of the Funeral March for Queen Mary

A version of The March; adapted for trumpet and trombone, and later euphonium and tuba, accompanied by tupan.

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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".^[2]

Music from the March was adapted by Wendy Carlos for the soundtrack of Stanley Kubrick's 1971 film, A Clockwork Orange.^[5] 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.^[6]

• 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 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.

• Ford, Robert (1986), "Purcell as his own editor: The funeral sentences", Journal of Musicological Research, 7 (1): 47–67, doi:10.1080/01411898608574578
• Kennedy, Michael, ed. (2006). "Queen Mary's 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 Sentences Revisited". Early Music. 26 (3): 457–467. doi:10.1093/earlyj/XXVI.3.457. JSTOR 3128703.

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