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time_is_now
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« Reply #30 on: 16:48:03, 10-04-2007 » |
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A few examples ... I've also just thought of Gerald Barry's God Save the Queen, though strictly speaking I don't think it contains any musical quotations from national anthems, being instead a new setting of the same words. Here's his programme note: God Save The Queen
When I was asked to write a piece for the 50th birthday of the Royal Festival Hall it seemed natural to think of resetting the national anthem. I have always been interested in ceremonial, 'licensed' music because of the resonance it acquires through repetition over a long period and through its use in the marking of formal events. The combination of public display with the private feelings of those who deliver it make it a very rich form.
© Gerald Barry
Reproduced by permission of Oxford University Press
... all of which studiously avoids mentioning the fact he'd also used the royal moniker in the title of an earlier piece, Of Queens' Gardens (now somewhat bashfully re-christened From The Intelligence Park). |
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« Last Edit: 16:49:50, 10-04-2007 by time_is_now »
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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ahinton
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« Reply #31 on: 16:58:17, 10-04-2007 » |
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I'm not sure whether I'd like to hear a sports stadium's roof being raised by "Fairest Isle".
No, indeed - that would surely have to be Nessun dorma, would it not? Mind you, wouldn't you like to hear a brand new British government-built concert hall opening to it? Yes, you would have to use your imagination here, but since you're a composer, that shouldn't present a problem... By the way, on a not entirely unrelated topic, David Matthews was once commissioned to write a work for cello and orchestra for the late Queen Mother's 90th birthday, to be played by Rostropovich; not having heard it and therefore being unaware of its tonal centre, I must ask him what went into it before the tonic... Best, Alistair |
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richard barrett
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« Reply #32 on: 17:09:48, 10-04-2007 » |
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Formaldehyde?
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thompson1780
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« Reply #33 on: 17:26:07, 10-04-2007 » |
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Have we had 1812 yet?
Tommo (in 1780)
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Made by Thompson & son, at the Violin & c. the West end of St. Paul's Churchyard, LONDON
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autoharp
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« Reply #34 on: 17:29:47, 10-04-2007 » |
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Ives - Variations on America
Many jazz references to the Marseillaise (why ?) eg Ray Nance in Ellington's 1945 version of Caravan
Carla Bley - Spangled banner minor
Beethoven opening of Appassionata (oops, sorry - didn't mean that
Tchaikovsky 1812 overture and Marche Slave
'fraid so but I suppose an encore's not out of the question ? |
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ahinton
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« Reply #35 on: 17:40:58, 10-04-2007 » |
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Formaldehyde?
I'm not sure of the piece's formal structure or whether it has a dryness of texture redolent of possible dehydration (though I doubt that very much), but I cannot imagine that the late Queen Mother would have made it to 101 had your suggestion been correct. No, I think the word concerned sounds abit like the title of one of Franck's symphonic poems (even though Matthews's music doesn't sound abit like that, of course)... Speaking of the late Queen Mother (whch I will do but briefly, as the topic is National Anthems in music and not members of the British royal family), she was patron of the Royal College of Music when I studied there and I've never forgotten the college's then director, the retired baritone Keith Falkner, taking her, on one of her annual visits to RCM, to see the electronics studio and then to a concert by the college's 20th Century Ensemble; she may not have been amused, but she certainly seemed remarkably attentive and, perhaps, surprisingly un-patronising for such a patron. By the way, I am a staunch supporter of royalty - provided that it's in the plural and I can actually get some... Best, Alistair |
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time_is_now
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« Reply #36 on: 17:43:35, 10-04-2007 » |
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Have we had 1812 yet?
Tommo (in 1780)
Completely off-topic, but that reminds me of an exchange I overheard between an ENO steward and an American lady on the way into Satyagraha last week: AL: What time is it? ENOS: Now? AL: ( sarcastically) No, tomorrow. ENOS: ( understanding now) Oh, sorry. 7.25. ( as an afterthought) It'll be the same time tomorrow too. |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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ahinton
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« Reply #37 on: 17:46:18, 10-04-2007 » |
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Have we had 1812 yet?
Tommo (in 1780)
Completely off-topic, but that reminds me of an exchange I overheard between an ENO steward and an American lady on the way into Satyagraha last week: AL: What time is it? ENOS: Now? AL: ( sarcastically) No, tomorrow. ENOS: ( understanding now) Oh, sorry. 7.25. ( as an afterthought) It'll be the same time tomorrow too. And that was BEFORE she went in; I wonder if she'd have been capable of such intellectually probing conversation on the way out?... Best, Alistair |
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autoharp
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« Reply #38 on: 18:00:10, 10-04-2007 » |
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Have we had 1812 yet?
Tommo (in 1780)
Completely off-topic, but that reminds me of an exchange I overheard between an ENO steward and an American lady on the way into Satyagraha last week: AL: What time is it? ENOS: Now? AL: ( sarcastically) No, tomorrow. ENOS: ( understanding now) Oh, sorry. 7.25. ( as an afterthought) It'll be the same time tomorrow too. And that was BEFORE she went in; I wonder if she'd have been capable of such intellectually probing conversation on the way out?... Best, Alistair Probably. Remember "What time is it Eccles ?" He had it written on a piece of paper. |
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Reiner Torheit
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« Reply #39 on: 22:33:18, 12-04-2007 » |
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It's often overlooked that MADAMA BUTTERFLY also cites the Japanese National Anthem (probably because not so many people are familiar with the tune), and once again, the character singing it (this time Cio-Cio-San) adds words to the tune which completely subvert its meaning... it comes during the tea-ceremony with Sharpless, at the moment just before Sorrow is brought in, when Cio-Cio-San refutes Sharpless, singing - "That may be Japanese law, but...." (this is the clearest straightforward quotation of the melody, with its conventional rhythm and harmony left intact). There are qute a lot of places where tiny fragments of the Anthem occur - it's there in the Bonze's curses, for example.
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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Tony Watson
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« Reply #40 on: 11:18:38, 22-04-2007 » |
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The various ways the French national anthem has been treated features in the Iain Burnside Show now playing on Radio 3. I liked the Allan Sherman "tribute" to Louis XVI.
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Reiner Torheit
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« Reply #41 on: 23:49:15, 22-04-2007 » |
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I caught that too this morning, Tony, a fun piece - although I like the Chabrier best of all.
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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chakgogka
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« Reply #42 on: 17:35:55, 07-05-2007 » |
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The national anthem ('Aegukga') of South Korea uses a theme from the finale of Ahn Ik-tae's symphonic Korea Fantasy, written in 1935. The words of the anthem were written in 1896 and the anthem was first adopted by the Korean provisional government in Shanghai during the Japanese occupation (1910-45). At this time it was the anthem of both halves of Korea and was sung to the tune of Auld Lang Syne (!) In 1948, with the creation of the Republic of Korea, this was replaced with Ahn Ik-tae's melody. Here is the current national anthem melody: http://www.youtube.com/watch?v=qeKsf-RZNk8And here is the quite stirring soviet-style anthem of our unfriendly neighbours in the north: http://www.youtube.com/watch?v=-FbLd9jcxCEUri Nara manse ^..^ |
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« Last Edit: 17:49:11, 07-05-2007 by chakgogka »
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Reiner Torheit
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« Reply #43 on: 21:35:25, 08-05-2007 » |
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And here is the quite stirring soviet-style anthem of our unfriendly neighbours in the north Hmmm, yes, it really is soviet-sounding, isn't it? It sounds as though they were given one of the early prototypes of The Internationale that was no longer wanted  |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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