History of anthems
Below we present summaries of the history of 40 anthems!
AUSTRIA : Austrian National Anthem - Bundeshymne
Both the melody and text were selected by a jury in a nationwide contest held in 1946. The prize-winning poem - chosen from among two thousand entries - was a contribution by the Austrian poetess,
PAULA von PRERADOVIĆ (1887-1951). She was born in Vienna from an old Croatian family and had published, before the time of her national triumph, five volumes of verse as well as several plays and novels. The text of the National Anthem breathes a spirit of quiet love of country rather than of political patriotism.
The usual attribution of the music to Mozart is questionable, but the evidence according to Austrian scholarship is more in favour of JOHANN HOLZER (1753-1818) a member of Mozart's masonic lodge.
The National Anthem was officially adopted by the Austrian Cabinet on February 25 1947.
BELGIUM : Belgian National Anthem - La Brabançonne
One evening after the Belgian-Dutch difficulties of September, 1830, a group of young people went into the cafe de l'Aigle d'Or in Brussels' rue de la Fourche. They were given a room on the first floor in which to take their ease. Amid the noble speeches, the laughter and singing of these revolutionaries, one of them, the French comedian and poet HIPPOLYTE LOUIS-ALEXANDRE DECHET (1801-1830) - more generally known by his pseudonym JENNEVAL (who had come from Paris to fight with the Belgian patriots), began to recite a poem he had written which expressed the aspirations of the revolutionaries at the time.
It is thus explained how the National Anthem came about in 1830. The anecdote may or may not be true, but what is certain is that the first Brabançonne was written by Jenneval in late 1830. Jenneval was also an actor at the Théâtre de la Monnaie in Brussels, where the revolution broke out on August 25 1830, which led to the independence of Belgium. He composed three versions of the Belgian National Anthem which he gradually adapted to reflect the events as they happened. The first version was sung on September 12 1830 at the Théâtre de la Monnaie, that is, at a time when Belgium was still part of the Kingdom of the Netherlands under the rule of the House of Orange-Nassau. It pledged loyalty to the King provided it be allowed to ripen as a fruit on the tree of liberty. The second version, written during the street fighting in which Belgium won its independence, kept the theme of the tree of liberty but now no Orange-Nassau could be tolerated on it. Such was the mood in the heat of the moment. Later on things cooled off and people were eager again to establish good-neighbourly relations. Jenneval fought in the rebel army and was killed in combat near Lièrre, on October 18 1830.
In 1860, this song was further changed, this time by the Prime Minister, CHARLES ROGIER (1800-1885) who wrote a completely new text which omitted all allusions to Holland and its royal house but dealt instead exclusively with the glory of Belgium. The fourth verse of this version, is still used today.
FRANÇOIS VAN CAMPENHOUT, a violinist also from the Théâtre de la Monnaie, composed the melody and called it 'La Brabançonne', derived from 'Brabant'.
There are also several versions of 'La Brabançonne' in Dutch. Apart from a translation of the words by Rogier, there is also an original version which is not a translation, with words by Victor Ceulemans written to Van Campenhout's music. The version generally accepted today is a translation by an unknown author (possibly Ceulemans) of the words by Charles Rogier with the music by Van Campenhout.
CANADA : Canadian National Anthem
The text of the Canadian National Anthem was written in French by ADOLPHE BASILE ROUTHIER (1839-1920). The music is by CALIXA LAVALLÉE (1842-1891), a native of Verchères in the province of Québec. Calixa Lavallée died in Boston where he had settled down as a concert pianist and music teacher after a successful travelling career. During the United States Civil War he was in the US and fought on the side of the North. In 1874, he became the Director of the Grand Opera House in New York, the predecessor of the Metropolitan Opera House. He wrote 'O Canada' in 1880 at the request of prominent French-Canadian patriotic societies.
'O Canada' represents rather the introvert and prayer like type of National Anthem. The melody seems expressive of the country's peaceful character and the religious attitude of its people.
There is also an English text by ROBERT STANLEY WEIR (1856-1926). It is not a translation of Routhier's lines but was written - as the author put it himself (1908) - "because Mr. Lavallée's splendid melody (one worthy to rank with the finest national airs of any of the older lands) has hitherto lacked an English setting in the song style".
It was officially adopted on July 1 1980.
CHINA : Chinese National Anthem - March of the Volunteers
The National Anthem of the People's Republic of China is 'The March of the Volunteers'. It was first composed in 1935. On June 15 1949, the Preparatory Committee for the Chinese People's Political Consultative Conference decided to solicit songs suitable for China's National Anthem and on July 18 1949 it inserted notices in the newspapers to this effect. On September 27 1949, the Preparatory Committee passed a resolution that until such time as a National Anthem was officially chosen 'The March of the Volunteers' would serve as a temporary National Anthem.
During the 'cultural revolution' there was a period when 'The East Is Red' was used as a substitute National Anthem. Later, the earlier National Anthem was restored, though according to a resolution passed by the People's Congress in 1978, its lyrics were changed. In 1982, the Fifth Session of the Fifth National People's Congress resolved to restore the original 1935 version of 'The March of the Volunteers' as the official National Anthem. It was written by the lyricist TIAN HAN (1898-1968). In his youth he studied in Japan, returning to China in 1921. He was an active dramatist and poet, and wrote more than one hundred plays and other dramatic works.
The composer was NIE ER (1912-1935). He fell in love with music at an early age and mastered numerous folk instruments. He went to Shanghai in 1930, and the following year joined the Mingyue Song and Dance Troupe as a violinist. In 1935, shortly after composing 'The March of the Volunteers', he embarked on a trip to the Soviet Union via Japan. During his stopover in Japan, he drowned while swimming.
1935 was a time of grave national peril, and as soon as the song appeared it was rapidly transmitted to every part of the country. 'The March of the Volunteers' expresses the Chinese people's desire to resist foreign aggression and strengthen their nation; it conveys as well their revolutionary spirit, their staunchness in the face of violence and their willingness to lay down their lives for freedom and 1iberation.
COLOMBIA : Colombian National Anthem
The music of the National Anthem of Colombia was composed by the Italian tenor ORESTE SINDICI (1837-1904), who had arrived in Bogotá with an Italian opera company and for some reason decided to stay on. His remains rest in the cemetery in Bogotá.
The words of the National Anthem are by RAFAEL NÚÑEZ (1825-1894), the great statesman who served his country as President for no less than four terms. The Italian inspiration of the music is quite apparent. There is a triumphant prelude followed by the tune.
COSTA RICA : Costa Rican National Anthem
When in 1853 the plenipotentiaries of Great Britain and the United States arrived in San José, the capital of Costa Rica, the President of the Republic decided that the two gentlemen should be welcomed to the strains of the National Anthem. The trouble was that Costa Rica had no National Anthem. To remove this slight obstacle, MANUEL MARÍA GUTIÉRREZ (1829-1887), who enjoyed the reputation of being his country's foremost practicing musician, was ordered to compose one. The poor devil insisted that he knew nothing about the art of musical composition. But that did him no good. He was thrown into prison and promised that he would not be released until he had produced a usable piece of music. The resulting composition was first performed in the National Assembly of San José on June 11 1853.
The story may be apocryphal, for there are sources which give the date of the National Anthem as 1821. However that be, with its text by JOSÉ MARÍA ZELEDÓN BRENES (1877-1949) (officially adopted in 1900 as the result of a public contest), the National Anthem of Costa Rica is a very respectable composition. It is somewhat conventional and suggests vaguely the style of contemporary German glee club arrangements.
CUBA : Cuban National Anthem - La Bayamesa
In keeping with its first line, the National Anthem is also known as the 'Himno de Bayamo'. The author and composer is PEDRO FIGUEREDO (1819-1870). He played a distinguished part in the movement of the Cuban patriots against the Spanish oppressors and commanded the revolutionary forces in the Battle of Bayamo in October 1868. When in the course of this operation the village of Guanabacoa was stormed, he felt the inspiration to write both the words and the tune of the National Anthem. In 1870, he was taken prisoner by the Spaniards, condemned to death and executed.
ECUADOR : Ecuador National Anthem
The composer of the National Anthem of Ecuador was ANTONIO NEUMANE (1818-1871) born of German parents in Quito, where he also died. He was also the first Director of the National Conservatory in Quito which was established in 1870.
The author of the text was JUAN LEÓN MERA (1832-1894), a scholar and journalist. In his later years he was the President of the Senate of Ecuador. The National Anthem had been in use for a considerable length of time before it was officially recognized in 1886 by a Government decree.
The introduction to this National Anthem of marchlike rhythm is written in the grandiloquent style one is apt to associate with romantic piano sonatas. The tune is replete with dash and ardour and admits no doubt in regard to the German background of the composer.
FINLAND : Finnish National Anthem - Maamme
The Finnish National Anthem, 'Maamme' ('Our Land'), was sung for the first time at a students' gathering on May 13 1848. The text, first published the previous year, was by Finland's national poet,
JOHAN LUDVIG RUNEBERG (1804-1877), all of whose works - including the National Anthem - were first written in Swedish and subsequently translated into Finnish.
The melody is considerably more than an amateur's lucky hit. It is the work of the Finnish violinist and composer of operas and songs, FREDRIK PACIUS (1809-1891), who was born in Hamburg, Germany, but lived most of his life at Helsinki where he died. He became the founder of the Finnish National School of Music (1852) and is considered the father of Finnish opera. His National Anthem - without shift of key -is simple, forceful and melodious. It has a certain distinctive boldness which makes it sound angular and massive.
FRANCE : French National Anthem - La Marseillaise
'La marseillaise' was written in a mood of excitement by the poet, dramatist, singer and violinist
CLAUD-JOSEPH ROUGET de L'ISLE (1760-1836) in a single night in April 1792, as a marching song for Marshall Lukner's army of the Rhine. It was first sung by Mayor Dietrich of Strasbourg at his home and was performed a few days later by the band of the Garde Nationale. Its popularity throughout France became assured when it was taken up by a battalion of volunteers from Marseilles, who sang it as they entered Paris in July the same year, it thereafter became known as 'La marseillaise'.
An attempt was made during the Second Empire to replace the National Anthem with another of a less 'revolutionary' character, but after the fall of Emperor Napoleon III 'La marseillaise' was immediately reinstated.
GREECE : Greek National Anthem - Imnos Eis Tin Eleftherian
Greece may claim to have the longest National Anthem in the world. It has no fewer than one hundred and fifty-eight stanzas of four lines each. The poet of the Greek National Anthem, DIONYSIOS SOLOMÓS (1798-1857), was born on the island of Zante and died in Corfu. Written in 1823, he sang the heroic deeds of the Greek fighters for freedom.
King George I declared the poem Greece's National Anthem. For this purpose it was naturally shortened. The composer was NICOLAOS MANZAROS (1795-1873). He had studied in Italy and earned the first successes of his career there. If one did not know about this, it certainly could be inferred from his 'Hymn to Freedom' of 1828 which shows no Hellenic characteristics but is pronouncedly Italian.
The Greeks were not quite certain that their National Anthem was musically adequate. So, at the suggestion of King Otto, it was submitted to musical experts in Bavaria. When no veto was forthcoming, a special edict bestowed official standing upon the National Anthem in 1864.
Montage of Six Kings of Greece
HAITI : Haitian National Anthem - La Dessalinienne
In contrast to almost all the other South American National Anthems, that of Haiti - though typically South American - shares certain characteristics -especially its comparitive brevity - with the National Anthems of European countries. Its name is 'La Dessalinienne' after Jean Jacques Dessalines (1758-1806), the liberator of this ***** Republic which forms the Western part of the island of Santo Domingo. Dessalines defeated the French under Rochambeau and on January 1 1804, he issued a Haitian declaration of independence assuming for himself the title of Emperor of Haiti.
The National Anthem was written in 1903 in connection with the country's centennial celebration. The words are by JUSTIN LHÉRISSON (1873-1907), the music by NICOLAS GEFFRARD (1871-1930). Haiti is the only Latin-American republic with French as its official language. 'La Dessalinienne' was sung for the first time on November 29 1903, at the Petit Théatre Sylvain in Port-au-Prince in commemoration of the hundredth anniversary of the occupation of Gonaïves.
HUNGARY : Hungarian National Anthem
In 1842, a public contest was organized for a National Anthem. The prize went to FERENC ERKEL (1810-1893), the distinguished Hungarian composer. He is considered the creator of the Hungarian national opera and of national Hungarian music. He was the Director of the Hungarian Academy of Music and organized the philharmonic concerts in Budapest.
Erkel's National Anthem is typically 'Hungarian' with characteristic features of Hungarian popular music (as the nineteenth century saw it), skilfully employed. In contrast to many other National Anthems, Erkel's work can withstand the strictest critical scrutiny. It is both fiery and chivalrous. A certain rhetorical element does not prevent it from being strictly logical in structure.
Words by FERENC KÖLCSEY (1790-1838). About the origin of Kolcsey's poem, a note in a published edition gives the information, 'from the tempestuous era of the Hungarian people, Czeke, January 22 1823'. Other authorities trace it back to 1817.
ICELAND : Icelandic National Anthem -Lofsöngur
Iceland has a National Anthem which is in keeping with the country's status as a sovereign island republic. However, it was written and composed as early as 1874, the year when the Icelanders under the leadership of Jn Sigurdsson at last - after a thirty year struggle - secured their own constitution which gave legislative powers to the Icelandic Althingi. It was also the year when Iceland celebrated the one thousandth anniversary of the first permanent Norwegian settlers in the year 874, this is the inspiration of the Icelandic National Anthem which contains hardly an allusion to the political developments of the period of its origin.
The poet, MATTHÍAS JOCHUMSSON (1835-1920) also made a name for himself as the translator into Icelandic of various plays by Shakespeare, Ibsen and others. His original works include likewise a number of dramatic pieces.
The composer, SVEINBJÖRN SVEINBJÖRNSSON (1847-1926), spent the greater part of his life in Edinburgh, Scotland, where he made a living as a music teacher. His National Anthem earned him a gold medal but it is difficult to discover in it anything strikingly Nordic. It is a competent but fairly conventional piece of work.
INDIA : Indian National Anthem
The National Anthem of India is the work of the great poet and philosopher RABINDRANATH TAGORE (1861-1941). It was first published in 1912, and was for years associated with India's struggle towards independence. He wrote not only the words but also the melody and provided furthermore an English adaption. The melody has little to do with the 'Ragas' of the Hindus. It was sung at the historical midnight session of the Constituent Assembly on August 14 1947 and became the National Anthem just over two years later.
INDONESIA : Indonesian National Anthem - Indonesia Raya
Indonesia's National Anthem 'Indonesia Raya' ('Indonesia The Great') was composed in 1928 during the Dutch colonial period, at a time when the Dutch rulers in Indonesia carried out a divide and rule policy which stressed linguistic, ethnic, cultural and religious differences amongst the Indonesian people.
The birth of 'Indonesia Raya' was closely related to the awakening of Indonesia's nationalist movements. The song was first introduced by its author and composer, WAGE RUDOLF SOEPRATMAN (1903-1938) at the Second All Indonesia Youth Congress held on October 28 1928, at the time when Indonesia's youth originating from different ethnic, linguistic, religious and cultural denominations enthusiastically pledged: 1. having one native country, Indonesia, 2. belonging to one nation, the Indonesian Nation and
3. having one language of unity, the Indonesian language.
The then National Song, introduced to this youth congress, stressing the call for unity among Indonesians, soon became popular. It was sung at Indonesian political rallies where participants stood up in solemn adherence. The song had really implanted Indonesia's national consciousness among the population all over the archipelago. It became the National Anthem in 1949.
ISRAEL : Israeli National Anthem - Hatikvah
Israel has a National Anthem whose goal and purpose it is to serve the renaissance of the Jewish people, the strengthening of its national reawakening, and the development of the Promised Land.
This National Anthem, the 'Hatikvah' ('Hope'), is not merely used by the Jews of Israel. It unites all ethnically determined Jews throughout the world and was actually adopted as the Zionist Anthem as long ago as 1897, the year of the first international Zionist Congress at Basel, Switzerland. The text was written by the itinerant Hebrew scholar and poet, NAFTALI HERZ IMBER (1856-1909). It was first published in the collection 'Barkai' ('Morning Star') which appeared in 1886 in Jerusalem where Imber lived at the time.
Its notation is ascribed to SHMUEL COHEN (1870-1940) pioneer settler of Rishon Le-Zion in Israel, who was born in Besarabia (bordering Romania). He came to Rishon-Le-Zion in 1886-1887, married and had one daughter, Eda, who died in Haifa and had no children. Shmuel Cohen was a farmer growing grapes for wine, he failed economically and left Rishon Le-Zion but later returned and was buried there. Shmuel Cohen was gifted musically and played the violin. However, aside from his connection with 'Hatikva', it is not known that he wrote music. Naftali Herz Imber's poem 'Tikvatenu' reached Cohen, either in Rishon Le-Zion after Imber's stay here, or after his brother sent Imber's book of poems 'Barkai' to him while still in Europe. Since there were no, or very few, Hebrew songs at that time, and since the children of Rishon Le-Zion studied in the First Hebrew school and kindergarten in the world, a need for Hebrew songs became apparent. Shmuel Cohen, familiar with a Romanian/Moldavian folksong from his homeland, called 'Carul cu boi', joined the words of 'Tikvatenu' to this melody. The first stanza and refrain (which the Hebrew teachers in Rishon Le-Zion altered with Imber's approval) became a Hebrew children's song called 'Hatikva'. The song soon became known throughout the country (the workers from Rishon Le-Zion would sing it on their way to work in the fields of Rehovot nearby) and was also sung spontaneously at official ceremonies (the Zionist Congresses) and quickly became familiar all over the world.
The book 'The Music of Israel' (1949) states that Shmuel Cohen had borrowed the tune from a cantorial composition by the famous Cantor Nissan Belzer. In any event, it does represent a type which has been familiar in Spanish folk singing for centuries. Pendrell, the well-known Spanish folklore expert quotes a very similar tune under the title of 'Virgen de la Cueva' ('Virgin of the Cave'). It would seem that the Sephardic Jews knew it in Spain and took it along with them to the near east. It is interesting to note that the same tune can be found among the Poles ('Pod Krakovem') , the Basques, and even the Netherlanders.
ITALY : Italian National Anthem - Inno di Mameli
When the Italian Republic emerged from the turmoil following the Second World War, it had no official National Anthem. Unofficially the 'Inno di Mameli' came to be used. It gets its name from the author of the text, the poet and patriot GOFFREDO MAMELI (1827-1849).
It proceeds in a vein of fairly aggressive patriotism which claims that God created victory as a servant of the fatherland. Mameli wrote this battle hymn in November 1847. In 1848, he served as a volunteer under Garibaldi in Lombardy and in 1849 became Chief of Staff of the Roman Republic. The 'Fratelli d'Italia' was set to music almost immediately by MICHELE NOVARO (1822-1885), and throughout Italy it helped awaken interest in the growing revolutionary movement.
The march has a forceful introduction, marked andant maestoso, in triplet rhythms which are carried throughout the entire first section in the accompaniment. The vocal line itself has an energetic motive of dotted eighths evidently intended to symbolize the marching Italians. The same motive is carried through the middle section of the National Anthem, which modulates to the subdominant, after which it returns to the main key.
JAPAN : Japanese National Anthem
'Kimigayo', the title of the National Anthem of Japan, means 'The Reign of Our Emperor'.
The words of anonymous authorship have been taken from the seventh volume of 'Kokinshu' dating from the 9th century.
In 1860, John William Fenton, the Englishman who was the first bandmaster of the Japanese Army, composed a melody for 'Kimigayo'. This was used until 1881 when a committee was appointed to select a more suitable melody. The composition submitted by HIROMORI HAYASHI (1831-1896), a Court musician, was finally selected. It had been composed primarily for traditional Japanese instruments and it was found necessary to harmonize this piece according to the Western musical scale. Franz Eckert (1852-1916), a German bandmaster and successor to Fenton, harmonized the melody to the Gregorian scale which was the basis of medieval Church music. Thus, the stately harmony has an almost religious solemnity. This version was played at Court for the first time on the Emperor Meiji 's birthday on November 3 1880.
'Kimigayo' was officially adopted as Japan's National Anthem on August 12 1893.
KOREA (South) : South Korean National Anthem - Aegukka
It is generally believed that the words of the National Anthem of the Republic of South Korea, were written towards the end of the 19th century by either YUN CH'I-HO (1865-1946), a politician, or by
AN CH'ANG-HO (1878-1938), an independence leader and educator.
The composer of the music of the National Anthem was AHN EAKTAY (1905-1965). He was born in Pyongyang, now the capital of North Korea. He first studied music at a conservatory in Japan, majoring in the cello. In 1930, he went to the United States to study at the Curtis Institute of Music in Philadelphia and later at the music department of Cincinnati Bible Seminary. Eaktay entered the Franz Liszt Academy of Music in Budapest in 1936. In 1937, he studied under the tutelage of Richard Strauss in Vienna and composed the music of the National Anthem. In that year, he became the permanent conductor of the Mallorca Orchestra in Madrid. Thereafter, he served also as guest conductor for more than 200 orchestras around the world and composed many works.
During Japanese colonial rule (1910-1945), the use of the National Anthem was banned but overseas Koreans continued to sing it to express a yearning for national independence. Eaktay's composition was officially adopted by the Provisional Korean Government (1919-1945) in Shanghai, China. It was later sung at a ceremony celebrating the founding of the Republic of Korea Government on August 15 1948, following national liberation in 1945. Thus, it informally became the National Anthem of the Republic of South Korea.
LEBANON : Lebanese National Anthem
The National Anthem of Lebanon is a regular strophic song of three stanzas. The words were written in Arabic by Lebanon's noted poet, RACHID NAKHL (1873-1939).
The musical setting is the work of WADIH SABRA (1876-1952), who was Director of the Lebanese Conservatory of Music. It was the winning entry in a contest sponsored by the Lebanese Parliament. It should be performed at a quick tempo in keeping with its tenor of military severity. The spirit it breathes is rather that of the French mandate than of Arab nationalism.
The National Anthem was adopted officially by a Presidential decree of July 12 1927.
MALAYSIA : Malaysian National Anthem
It was not until 1956 that anything concrete was done about the choice of a National Anthem for the then Federation of Malaya. Up to that time, each of the eleven States that made up the Federation had their own State Anthems but there was no single National Anthem or patriotic song of any sort for the whole country. In the year, with independence just around the corner, TUNGKU ABDUL RAHMAN (1903-1990), then Chief Minister and Minister for Home Affairs set up a Committee for the purpose of choosing a National Anthem suitable for Malaya. On his suggestion, a worldwide competition was launched and 514 entries from all over the world were received.
After going through the entries, the Committee felt that none of the entries were suitable and it was then decided to invite selected composers of international repute to submit compositions for consideration by the panel. The composers' chosen were Benjamin Britten (1913-1976), Sir William Walton (1902-1983), Carlo Menotti (b.1911) and Zubir Said (1907-1987) (who later composed the National Anthem of Singapore). Although the compositions submitted were of a high standard, they were still not considered suitable as the National Anthem.
The Committee then decided to hear the State Anthems to find out if any of them might be suitable. The final selection was made on August 5 1957 and an adaptation of the Perak State Anthem was selected on account of the traditional flavour of its melody. The lyrics for the National Anthem were written jointly by the Panel of Judges with the Tengku himself playing the leading part. Up to the time of the choice of this melody as the National Anthem of the country, it was, while still the State Anthem of Perak, also a well-known and popular Malay song under the title, 'Terang Bulan' ('Bright Moon'). The song was very popular on the island of Mahé in the Seychelles where the Sultan of Perak, was living in exile. It was played by a French band, which gave public concerts on the island. It is believed that this melody was composed by a Frenchman, PIERRE JEAN de BERANGER (1780-1857), who was born and died in Paris. The tune was later introduced into an Indonesian Bangsawan (Opera), which was performing in Singapore. In no time at all, the melody became extremely popular and was given the name 'Terang Bulan'. Side by side with its dignity and prestige as the Perak State Anthem, the tune became a Malayan 'evergreen', playing at parties, in cabarets and sung by almost everybody. Many Malaysians who grew up in the 1920's and 1930's have fond memories of this tune. Today, of course, since independence, it is not played as a popular melody.
'Terang Bulan' was a love song. The 'Negara ku' ('My Country') is also a love song - a song of the love of the people for their country, a song depicting the charm and the peacefulness, the gaiety and the tolerance of the people of Malaysia.
In 1993, the Malaysian Government approved the re-arrangement of the tempo of the National Anthem into a "fast march" tempo (from 96 beats per minute to 126). In accordance with the National Anthem Act, 1968, the Yang di-Pertuan Agong gave his consent to the change on August 20 1993 and the new version was played for the first time during the National Day celebrations on August 31 1993.
History of the Malaysian State Anthems
MEXICO : Mexican National Anthem
In December 1853, General Santa Anna offered a prize for the best patriotic poem. Twenty-six were submitted to the adjudicators and the winning version was that by
FRANCISCO GONZÁLEZ BOCANEGRA (1824-1861) which contained ten verses. The General then followed this up in February 1854, with an offer of a prize to the musician who sent in the best setting to this poem. Sixteen musicians sent in their efforts, and the prize of five hundred dollars was awarded to the Spaniard JAIME NUNÓ (1824-1908), who at the time was conductor of the National Music Band.
He was born in Gerona, Catalonia, and left Mexico shortly after the success of his National Anthem entry and settled down in Buffalo, in the United States. In 1901, Nunó visited Mexico, was given a national reception, and received a chaplet of gold, a silver medal, and a purse of money. In October 1942, his mortal remains were taken back to Mexico City where they were laid to rest in great state in the Hall of Heroes which houses also the body of Bocanegra. The National Anthem had its première on September 16 1854 in Mexico City at the Teatro de Santa-Anna which later became known as the National Theatre.
No doubt, the Mexican National Anthem does have a dash and vigour all its own. Its march rhythms are contagious and the modulation to E flat major brings out a particularly solemn quality.
THE NETHERLANDS : Dutch National Anthem
The Dutch National Anthem 'Wilhelmus' is the oldest authentically of all National Anthems (compared with the uncertain age of the National Anthem of the United Kingdom). It stems from the era of Dutch heroism, of the Dutch people's struggle against Spanish oppressors for freedom in politics and religion and is a folksong in the truest sense of the term.
The words were written in about 1568, possibly by the poet and diplomat PHILIP van MARNIX of ST.ALDEGONDE (1540-1598), the faithful friend and ardent supporter of Prince Willem I of Orange-Nassau. In 1568, Prince Willem, who had fled The Netherlands the previous year together with thousands of his compatriots who were opposed to Spanish rule, attempted to free his country from tyranny and religious persecution, but his three invasions were completely without success. In 'Wilhelmus' the poet depicts the Prince addressing the oppressed people of The Netherlands in this terrible and dramatic situation.
The music of 'Wilhelmus' is based on a melody, which was popular in France around 1568, alternating between four/four and three/four time. Since 1626, 'Wilhelmus' has been included in 'Nederlandtsche Gedenck-clanck tot Haarlem', by ADRIAAN VALERIUS (1575-1625) a well-known collection of national songs.
The song is composed in the style of the sixteenth century literary societies, as can be seen from the fact that the initial letters of the fifteen verses form the name W-I-L-L-E-M V-A-N N-A-S-S-O-V;
however, its sober language and the deep feelings which inspired it make 'Wilhelmus' far superior to the fashionable works of that period. The general tenor is not one of confidence in victory but rather of resignation and at best of hope for comfort and redress in the life hereafter.
When the National Anthem is actually sung, the usual practice is to take only the first and sixth verses. In the first, Prince Willem professes that he will remain true to his country unto death, while in the sixth he prays to God for strength to rid the land of tyranny. Especially in periods of oppression these verses have held a strong appeal for the people of The Netherlands.
The National Anthem was officially adopted on May 10 1932.
Montage of Four Queens of the Netherlands
NEW ZEALAND : New Zealand National Anthem - God Defend New Zealand
'God Defend New Zealand' is sung on all special occasions. The text was written by
THOMAS BRACKEN (1843-1898). He was born in Ireland, but went to New Zealand early in life. There he engaged primarily in newspaper work, although for a time he was a Member of Parliament. He wrote the words of 'God Defend New Zealand' in 1878. The original edition was published with both English and Maori texts.
The 'Saturday Advertiser' offered a prize for the best musical setting of it. The winning entry was by
JOHN JOSEPH WOODS (1849-1934), an Australian, who was teaching at the time in New Zealand. It was a very simple marching song with a choral refrain.
It was officially adopted in 1977.
NICARAGUA : Nicaraguan National Anthem
The first National Anthem of Nicaragua was a religious piece of music without words and was used to honour the President of the Assembly and Federal Court. Described as an anonymous psalm - a kind of liturgical chant brought to Nicaragua in 1821 by a monk called Anselmo Castinove (believed to have been born in Toledo, Spain). Between 1835-1837 it was adopted as the official National Anthem. According to findings made by Gilbert Vega Miranda in the Guatemalan colonial archives, another composer was believed to have been the Jesuit Father Gómez. It was in use until 1876, when the National Anthem was changed. The National Anthem was again changed in 1893. When the Conservative Revolution took place in 1910, the new government decided to bring back the original religious hymn which had been composed in Guatemala by Father Gómez. But since the written music could not be found in the archives, the old people were asked to reconstruct the National Anthem and the Professor of the National Institute, Marco Antonio Ortega, was commissioned to write the 'emergency' words for it. This hymn was immediately accepted as the official National Anthem.
The well-known composer of the Milan Conservatory LUID ABRAHAM DELGADILLO (1887-1961) who was born in Managua, was asked to add the instrumentation so it could be played by a band. But the people wanted a stable National Anthem, and in 1918 under President Emiliano Chamorro there was a contest to put new words to the National Anthem; the only rules were that there should be: 1. Two verses about peace and work, 2. Peace and work should be the only topics, and 3. The words should fit the music. The winner was the Nicaraguan poet, SALOMÓN IBARRA MAYORGA (1890-1985). The author moved to Honduras in 1972 after the massive earthquake which devastated Managua. The music isn't exactly the same as the old hymn since Delgadillo gave it a new and majestic form; so he can be considered the composer.
The National Anthem was officially adopted in 1939 by a government decree.
NORWAY : Norwegian National Anthem- Ja, vi elsker
The original version of 'Ja, vi elsker' ("Yes, we love') was written by BJØRNSTJERNE BJØRNSON (1832-1910) in 1859. 'Ja, vi elsker is in content essentially historical, though there is also some description of the Norwegian landscape, it is also coloured by Bjørnson's great eloquence, his marvellous faculty for rousing the enthusiasm of the masses with a few striking words. He wrote it when he was beginning to embark on that career as a public speaker for which he is renowned in Norwegian history. Typical of Bjørnson too is his daring to begin a poem with the little, everyday word 'Ja' ('Yes'). 'Ja, vi elsker' did not acquire its final form till 1863 (the few alterations made in 1869 are quite unimportant). In this 1863 version one stanza was deleted and three new ones were added. The last of these new stanzas begins with a repetition of the first four lines of the magnificent opening stanzas of the poem, then continues, in four new lines, with a powerful forward looking pledge to follow the example of those forebears who fought victoriously for Norway in times of distress (the English translation does not render the meaning of the original accurately on this point). Thus Bjørnson has combined in one song devotion and enthusiasm, modesty and strength. Bjørnson put it this way: 'Our National Anthem is that of a small, peace-loving nation, but if it is sung in the hour of danger, determination clad in armour speaks from every line".
'Ja, vi elsker' became Norway's National Anthem on May 17 1864, the fiftieth anniversary of the adoption of the Constitution which the people of Norway gave to themselves. It was sung for the first time on that day at Eidsvoll; Bjørnson was a guest at the solemn ceremony along with the Norwegian Government and Parliament. In its fullest form 'Ja, vi elsker' consists of eight verses. When the National Anthem is actually sung, the usual practice is to take only the first and last two verses of the poem.
'Ja, vi elsker' certainly owes much of its popularity to the tune composed by the young Norwegian composer RIKARD NORDRAAK (1842-1866) in 1863.
Nordraak and Bjørnson had much in common - they were in fact cousins - and the solemnity and gentleness of Bjørnson's poetry are admirably reflected in Nordraak's settings. Nordraak did not realise that 'Ja, vi elsker' was to be the National Anthem and so arranged it for a quartet of male voices. When Nordraak died in 1866 at the early age of twenty-four, Norway lost in him one of her most promising sons. Naturally he did not leave behind him a great body of music but he will always be remembered for his fine songs and, of course, above all for his setting of 'Ja, vi elsker'. In a speech in which he compares Nordraak's setting of his own poem with other National Anthems, Bjørnson said: "...either they make a melancholy impression or else they breathe insurrection, or, alternatively, they are pure idylls. But this National Anthem of ours is free and open as the day, it soars upwards without a threat, it shows determination unmarred by boasting". And Grieg, the man in whom we see Nordraak's work carried on, said of his friend: "...he lived and died with a firm faith in Norway's future. This faith he instils into us even today - through his national music".
Montage of Three Kings of Norway
PAKISTAN : Pakistani National Anthem - Quami Tarana
The composer of the National Anthem of Pakistan AHMED GHULAMALI CHAGLA (1902-1953) was born into a family which had taken to the marine and fishery business. Versatile like most artistes, he was a musician, a free-lance journalist, playwright and art critic. Early in life, he devoted himself to a serious study of music. In 1928 he qualified from Trinity College of Music in London. His experience and study of music, however were of extreme vastness. Besides classical music, he excelled in orchestral, operatic classical composing and conducting of European music. He also studied Iranian and Arabic music. He composed music for a number of Urdu, Gujarati, Sindhi and English plays. He was music director of a film company until 1933. In this capacity he composed music on eastern and western instruments for various films. He was also a widely travelled person. These travels were study tours-***-business. After his return from abroad in 1947, he wrote a series of articles on music, art and culture of the countries he visited during his travels.
In December 1948 a committee was constituted by the government in selecting a suitable National Anthem and to make recommendations in this regard. In view, however, of the fact that a foreign head of state was to visit Pakistan, the need for a National Anthem became very pressing.
Chagla being a member of the tune subcommittee was therefore asked to produce a musical composition in consultation with another member and assisted by the band of the Pakistan Navy. He produced the tune within a fortnight and played it before the then Prime Minister along with some members. The tune was selected to be played then and later during the Prime Minister's visit to the USA. The recording of the tune was finally played by the National Anthem Committee on August 10 1950, and approved.
The music was officially accepted in December 1953 and the words by another member of the National Anthem Committee ABU-AL-ASAR HAFEEZ JULLANDHURI (1900-1982) officially accepted in August 1954.
THE PHILIPPINES : Filipino National Anthem
The Philippines have a National Anthem which evolved from a patriotic march by the professional composer and musician JULIAN FELIPE (1861-1944). He was a skilled pianist and earned his living as a music teacher. Being a patriot, he took part in the revolutionary activities and was arrested when the revolution erupted, fortunately, he was sick so that he was set free. He joined the revolutionary forces under General Emilio Aguinaldo (Filipino leader in the rebellion against Spain during the years from 1896 to 1898) and became captain of the army band. The National Anthem was composed in 1898 at the request of the General. It embodies some striking reminiscences of the old order as represented by the Spanish Royal March and again - in what came to be the C major refrain of the National Anthem - it suggests a strong influence of 'La marseillaise'. But these dependencies do not lessen the appeal of its forceful and spirited pace. Under the title of 'Marcha Nacional Filipina' ('Filipino National March'), it was performed for the first time in conjunction with the reading of the Act of Proclamation of Philippine Independence on June 12 1898.
The poem written for it is by JOSÉ PALMA (1876-1903) poet-soldier of the revolution. He studied in Manila, where he distinguished himself in literature. When the revolution broke out in August 1896, he joined the revolutionary troops. Two years later, he joined the staff of the newspaper 'La Independencia' and edited its Tagalog section. When the war for Philippine independence began in February 1899, the Tagalog section was discontinued. He returned to the army, and once more fought as a soldier. In August 1899 tiring of military life, he rejoined the staff of 'La Independencia'. In a railway depot in Bautista, Pangasinan, he wrote the patriotic poem, 'Filipinas', in order to supply the words of the National Anthem. The poem was published (in Spanish) for the first time in 'La Independencia' on September 3 1899 - later a Tagalog translation was made.
After the war, he engaged in journalistic writing to earn his living. He died at the age of 27.
POLAND : Polish National Anthem
From generation to generation the Poles have kept their firm faith in a future rebirth of their country. The Polish National Anthem is a symbol of this faith. After the third partition of Poland, in 1795, when Prussia, Russia and Austria had swallowed up the country which had been weakened by internal troubles, the Polish patriots looked to France as the saviour in their greatest need. It was then that Polish legions were formed within the French revolutionary armies, particularly on Italian soil and through the initiative of General Dabrowski (1755-1818) who had previously made a name for himself by taking part in Kosciuszko's revolt of 1794.
The words (written in 1797) are by JÓZEF WYBICKI (1747-1822), when he was serving as a legionary in Italy, and the National Anthem was sung when General Dabrowski, commander of the Polish legions, entered Poznań in 1806.
The music is ascribed to MICHAL KLEOFAS OGIŃSKI (1765-1833). The tune is typically Polish, it is a mazurka whose rhythm, is of course perfect for a march as well. In a slightly different form it came to be associated in the nineteenth century with the pan-Slavonic anthem 'Hej slovane' which is now used as the National Anthem of Serbia and Montenegro. In 1927, it was authorised as its National Anthem by the new Polish republican government. In 1948, a new harmonized version was approved by the Polish Ministry of Culture and Arts.
ROMANIA : Romanian National Anthem
The patriotic song of the 1848 Revolution 'Desteapta-te române!' ('Wake Up Romanians!') was adopted as Romania's National Anthem in April 1990. The lyrics belong to poet ANDREI MURESANU (1816-1863) and the music to folklorist ANTON PANN (1796-1854). It is an interesting fact that the two creators had written the poem and music independently, that for almost ten years when the poem and the melody were brought together they circulated separately, under different titles before the outbreak of the 1848 Revolution, that the song preceded the lyrics, and that the melody and the poem were brought together by psalm singer Gheorghe Ucenescu (1830-1896).
In 1850, Anton Pann published his song in the collection 'Spitalul amorului' ('Love's Hospital') in spite of the fact that the 1848 Revolution made of it a patriotic song. The lyrics had been written in 1842, the eleven stanzas being published for the first time in the June 25 1848 issue of the magazine 'Foaie pentru Minte, Inima si Literatura' of Brasov. Being excessively long only the first stanzas of 'Desteapta-te române!' used to be sung (even the present National Anthem retains only four of Andrei Muresanu's stanzas). The new 'Romanian Marsellaise' (as the 1848 revolutionaries called it) circulated throughout the territories inhabited by Romanians. Although forbidden for several decades after the Second World War, the song has been subsequently reintegrated in the Romanian patriotic repertoire.
Full of historical significance for the Romanian people, 'Desteapta-te române!' has imposed itself as the centuries-old anthem of a nation longing for freedom and social justice.
SOUTH AFRICA : South African National Anthem - 'Nkosi Sikelel' iAfrika/Die Stem
'Nkosi Sikelel' iAfrika'
The words and music of 'Nkosi Sikelel' iAfrika' ('God Bless Africa') were composed as a hymn by ENOCH MANKAYI SONTONGA (1860-1904) in 1897. Sontonga was a teacher in one of the Methodist Mission Schools in the township of Nacefield near Johannesburg. He had a gift for sound and constantly composed pieces, words and music for the use of his pupils' entertainment. He hoped to print his collection of compositions but died before his ambition was realised. Since then various teachers and choir conductors came to borrow the manuscripts and 'Nkosi Sikelel' iAfrika' was publicly sung for the first time in 1899. It was sung in all provinces and steadily gained recognition as the people's National Anthem. The first verse has survived as the basis of the popular National Anthem today. The ANC (African National Congress) adopted 'Nkosi Sikelel' iAfrika' as its National Anthem in 1925, and many organisations and churches followed suit.
The song has become the National Anthem also of Tanzania and Zambia. 'Nkosi Sikelel' iAfrika' is closely associated with and symbolises the struggle of the people for a democratic South Africa.
'Die Stem van Suid-Afrika'
After the birth of the Union of South Africa in 1910, the search started for a National Anthem with a South African idiom that could be used in either official languages - 'Die Stem van Suid-Afrika' ('The Call of South Africa') fulfilled these needs.
It was a poem written by CORNELIS JACOB LANGENHOVEN (1873-1932) on May 30 and 31 1918. Originally there were only three verses, by a request a fourth followed a few days later. A national competition was held to get the best possible music, sponsored by 'Die Burger', a Cape newspaper. In April 1919, MARTHINUS LOURENS de VILLIERS (1885-1977) made a first attempt, but it did not satisfy Langenhoven. After he had tried several others, de Villiers finally came forward with an acceptable tune in 1921. For many years the lyrics were accompanied by different melodies. This popular tune contributed greatly to the general adoption of 'Die Stem' as a National Anthem. After his retirement de Villiers made 17 journeys throughout the country, and visited many schools. When the South African Broadcasting Corporation started to close its daily broadcasts from its Cape studio with both 'God Save the King' and 'Die Stem', the general public also became familiar with it. In 1932 the 'Federasie van Afrikaanse Kultuurverenigings', then a new cultural organisation, announced a competition for the best lyrics and composition to be used as the official National Anthem. Fifty five poems were sent in and forty compositions. It was not surprising, therefore, that in 1936 the poem by Langenhoven and the composition by de Villiers were unanimously accepted by the selection committee of the aforementioned organisation.
In 1938, the then Prime Minister, decided that 'Die Stem' should be played at the opening of Parliament, together with 'God Save the King'. It was not till May 2 1957, however, that another Prime Minister announced in Parliament that the government had accepted 'Die Stem' as the official National Anthem of South Africa.
Official acceptance intensified the search for a suitable English translation. In 1952, a special committee, comprising eminent South Africans, finally recommended a translation made from the best parts of more than 220 translations submitted. The then Prime Minister accepted it for official use, in the same year the National Anthem was sung in English for the first time, the occasion was the Van Riebeeck Festival in Cape Town. The English version was revised in 1959.
With effect from April 27 1994, South Africa adopted two official National Anthems, 'Die Stem' and 'Nkosi Sikelel' iAfrika'. On May 17 1995, with Cabinet approval, the National Anthems were shortened and merged into one version for ceremonial purposes. The new shortened version comprises five of South Africa's official languages; it starts with 'Nkosi Sikelel' iAfrika' in Xhosa and Zulu (both being Nguni languages) and Sotho, and is followed by the opening lines of 'Die Stem' in Afrikaans and ends with an excerpt of 'The Call of South Africa' in English. The five languages referred to above are the only languages used.
SPAIN : Spanish National Anthem - Marcha Real
The National Anthem of Spain is 'Marcha Real' ('Royal March'). Its origin is disputed. There are those who claim that it was composed by a German and that King Frederick the Great handed it in 1770 as a gift for King Carlos III to Count Aranda who had come to Berlin to study the organization of the Prussian army. By royal decree of September 3 1770, it was officially recognised as a 'March of Honour'.
According to another tradition the tune was originally French and was brought to Spain by King Philip V. It became popular under the name of 'Marcha Grenadere'. Then, under King Carlos III, the court oboist Espinosa reset it for military orchestras after the model of the type of march in vogue under King Frederick the Great. It is rather slow - about sixty paces a minute - and makes a solemn rather than a fiery impression.
It is interesting to note that in 1870 King Amadeo I invited public competition for a Spanish National Anthem. The prize he offered was considerable, but none of the 447 contestants was crowned with success, and the old royal march remained in force. It is strange that it shows no trace of Spanish folklore, but in its simplicity and especially through its somewhat archaic concluding phrases it is the musical symbol of the grandeza of the Spanish people.
In July 1942, General Franco issued a decree declaring it as the National Anthem.
There are no official words, though various writers have written verses at different times, namely EDUARDO MARQUINA (1879-1946), JOSÉ MARÍA PEMÁN (1897-1981) and
MANUEL J GONZÁLEZ RIERA.
SWEDEN : Swedish National Anthem - Du gamla, du fria
The text of 'Du gamla, du fria' ('Thou ancient, thou freeborn'), was written by folklorist and ballad writer RICHARD DYBECK (1811-1877) and set to a folk melody which he had heard in the middle of the 19th century from the province of Västmanland. It cannot be so very old, for its modern tonality points to a period not earlier than the beginning of that century.
Around 1880-1890 it started to be sung more frequently and in the course of time it has come to be regarded as the National Anthem of Sweden.
SWITZERLAND : Swiss National Anthem - Swiss Psalm
ALBERICH ZWYSSIG (1808-1854), who was a monk as well as a musician, adapted the music to the text by LEONHARD WIDMER (1808-1868) in 1841, it was originally contained in one of his Gradual settings. The anthem was printed for the first time in May 1843, and in the same year it was heard at a singing festival in Zürich. In 1961, it was adopted for a trial period of three years as the official anthem for the army and for Swiss representations abroad. In 1965, twelve of the Swiss cantons declared themselves wholeheartedly in favour of the anthem; seven cantons voted to prolong the trial period, and the other six (which included Zürich) found the anthem unsuitable. It was therefore decided to postpone a final decision and to extend the trial period indefinely.
TAIWAN : Taiwanese National Anthem
The music was composed by CHENG MAO-YUN (1900-1957) and was the winning entry out of 139 contenders in a public competition held for a party song organized by the Kuomintang in 1928, and it became the National Anthem of China when the Kuomintang came into power. The tune is simple and keeps the balance between Western melodies and the native pentatonic system without half tones.
The words were by SUN YAT-SEN (1866-1925) and were taken from a speech which this poet, philosopher and politician had addressed to the students of the Whampoa Military Academy. The opening words, "San Min Chu I," signify the three principles of the people. This is a reference to Dr. Sun's political philosophy which he had formulated as early as 1898 in terms of the three basic ideals of nationalism, democracy and socialism. Sun's revolutionary aims, from 1905 on, were consciously interpreted as the implementation of the three principles in all spheres of government and administration.
When the Chinese Nationalist Government was exiled to the island of Taiwan, it was retained and officially adopted as the National Anthem of Taiwan in 1949.
THAILAND : Thai National Anthem - Phleng Chat
In 1934, the Government appointed a committee to select music written and arranged by talented Thai composers. Finally the music (composed in 1932) by PHRA CHEN-DURIYANG (1883-1968) won the competition. There was also a competition for the words of the National Anthem - two written by Khun Vichitmatra and Nai Chant Khamvilai respectively were selected and the official announcement of the new National Anthem was made on August 20 1934. In 1935 the National Anthem was modified to another form.
On February 5 1935 the regulations of performing the National Anthem and also the Siamese Royal Anthem of 1871 were introduced.
In 1939 the name of the country was changed from Siam to Thailand, so once again the National Anthem had to be changed to make it compatible with the country's new name. Writers were invited to send their creative works in for the competition. This was a significant event as there were many more competitors taking part and it was left to the Cabinet to make the final judgement. LUANG SARANUPRAPAN (1896-1954) won the first prize.
On December 10 1939, the new National Anthem was officially introduced to the public. This National Anthem is still being officially used today.
UNITED KINGDOM : United Kingdom National Anthem - God Save The Queen
The first mention of 'God Save the King' may not refer to the National Anthem at all, but it is worth a note. This seems to date from the reign of King Henry VIII. There was a gathering of the Fleet at Portsmouth in 1545, and the watchword at night was similar to the modern words of the National Anthem. The watchword was "God Save the King" - and the reply was "Long to reign over us".
There is strong evidence that the song was borrowed from the French. A well-known French historian has a passage in one of his books which, when translated, runs "JEAN BAPTISTE LULLY (1632-1687) composed also the music of a song called 'God Save the King', which the English afterwards borrowed and which they made into their National Anthem". This was in the reign of King Louis XIV. William Chappell, who wrote learnedly about music, declared that HENRY CAREY (1690-1743) wrote 'God Save the King'; while another equally learned authority asserted that the authorship of the words was unknowable and that the music was composed by JOHN BULL (1562-1628). The Carey story states that he wrote the National Anthem for a birthday celebration for King George II, writing words and music which were first heard at a banquet at Mercer's Hall, Cheapside in London. Carey died in 1743, but he did not claim authorship of 'God Save the King'. One of the tutors of the famous composer Handel is said to have stated that Carey brought him the words and tune of the National Anthem asking him to correct the bass, but historians of music ridicule the story on the grounds that Carey was too accomplished a musician to need assistance. The great authority for the Carey claim was Carey's son, who wanted the pension (a sufficiently suspicious fact in itself). Some have given the music to GEORGE FREDERIC HANDEL (1685-1759), others to HENRY PURCELL (1659-1695), whilst the opinions of others said that Bull composed the tune and that the words were more or less already in being in other compositions.
Richard Clark, organist of Westminster Abbey, published a book in 1814 in which he declared that Carey was the composer. His statements were doubted, so Clark set himself to find out more about the tune. After eight years he proved, to his own satisfaction at any rate, that the National Anthem was written by BENJAMIN JOHNSON (1574-1637) and the music by JOHN BULL. It was sung for the first time at Merchant Taylor's Hall on July 7 1607, by the gentlemen and children of His Majesty's Chapel Royal when King James I was present at the dinner given by the company on his escape from the Gunpowder Plot.
The earliest official recorded performances of 'God Save the King' took place at the Drury Lane and Covent Garden Theatres, where the National Anthem was sung on several successive nights in September 1745 following the defeat of Sir John Cope's army at Prestonpans. An arrangement by
THOMAS AUGUSTINE ARNE (1710-1778) for Drury Lane is in the British Museum, and another version appeared in the 'Gentleman's Magazine' for October 1745 as 'a song for two voices', as sung at both the playhouses'.
During the nineteenth century the music of 'God Save the King' served as the National Anthem for many countries, and several independent German states. It is still used for the National Anthem of Liechtenstein.
The whole question is intricate and the evidence contradictory; yet there is something alluring in the fact that the best-known tune in the world should have no known composer. Let us rather think that it grew out of the national consciousness rather than that any one person was responsible.
Both the words and the music have undergone minor alterations since the 18th century, and no 'official' version has ever been approved. Only the first of the three strophes is now normally sung, and the tendentious second strophe ('Confound their politics/Frustrate their knavish tricks') is avoided altogether. As far as the music is concerned, only the last line is now subject to different renderings, each one of the following versions being frequently encountered:
The first of these three versions is generally preferred, but any movement towards a standardisation of the National Anthem's melody and harmony at this point, would do well to consider a return to Arne's, altogether sturdier version, for Drury Lane in 1745:
UNITED STATES OF AMERICA : American National Anthem - The Star-Spangled Banner
The National Anthem of the United States of America is 'The Star-Spangled Banner'. The words were written on September 14 1814, on board a British frigate in Baltimore harbour, where the author, FRANCIS SCOTT KEY (1779-1843) had been detained after successfully petitioning for the release of a civilian friend. He was inspired to write the poem when he saw in the morning, the American flag still flying over Fort McHenry, which had withstood the British bombardment during the previous night.
Key fashioned his verses to fit the melody of 'To Anacreon in Heaven' by the English composer John Stafford Smith (c1750-1836), which was then very popular in America with its original words by Ralph Tomlinson.
John Stafford Smith published in 1799, in his fifth collection of glees, an arrangement of 'To Anacreon in Heaven'. This has led to his being mistakenly regarded as the composer of the tune, whose actual origin is unknown.
The words and music were officially designated as the National Anthem by Act of Congress, approved by the President, Herbert Hoover on March 3 1931.
VENEZUELA : Venezuelan National Anthem
The National Anthem of Venezuela is the oldest of all Latin-American National Anthems. Its text, is by VICENTE SALIAS (1786-1814), the music by JUAN JOSÉ LANDAETA (1780-1814). It was conceived in the wake of the country's early attempts to gain its independence. These were crushed and in due course both the poet and composer were executed in 1814. Their work was given the official status of a National Anthem by a Government decree of May 25 1881.
This National Anthem is musically different from the other Latin-American National Anthems. Going back to the beginning of the nineteenth century, the 'Venezuelan Marseillaise' did not arise under the stars of the Italian opera. Much rather might it be said to show kinship with German folk music. It is not possible to overlook in it a certain lack of organic coherence. But this detail would not seem to have interfered with the strong impact which its patriotic force has been exerting ever since.
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