As the composer of the splendid march Crown Imperial for the coronation of King George VI and Queen Elizabeth 18 years earlier, Walton was an obvious choice to write another for the coronation of Elizabeth II in 1953. The title incorporates the two symbols of royal power carried by the Queen at her coronation. The composer wanted to dedicate it to the Elizabeth II, but this was an unusual request since it had been granted on only four royal occasions in the preceding 15 years. Following a formal approach by the Arts Council of Great Britain, Her Majesty accepted.

The march formed part of the music played before the ceremony in Westminster Abbey on June 2, and was repeated five days later under the baton of Sir John Barbirolli at the Royal Festival Hall, when the music critic of the London Times reported "It makes a joyful noise in the march proper, and it is in the trio that majesty comes to the fore with a sweeping diatonic tune in C major reminiscent of Parry as well as Elgar."

A Coronation Te Deum, which Walton wrote at the request of Sir William McKie, director of music for the Coronation Service (which Walton and his wife attended at the invitation of the Earl Marshal of England, the Duke of Gloucester), was also performed during the Abbey ceremony.

There is no doubt that Walton relished writing stirring music, and did so brilliantly. The march is more complex than Crown Imperial, yet has an engaging and festive freshness. The opening two-bar fanfare is followed by a trio section and that "sweeping" tune in C major restated in an elaborate coda and ends with a final brass fanfare. More manageable arrangements of this large and rhythmically complex score include one for military band, one for organ, one for small orchestra by McKie, and two by Roy Douglas, one for piano and one for small orchestra, all made in 1953.

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