The words to the state song, 'Alaska's Flag,' were written by MARIE DRAKE (1888-1963), a longtime employee of the Alaska Department of Education, and first appeared as a poem in 1935. The poem was set to music composed by ELINOR DUSENBURY (1889-1980), whose husband was commander of Chilkoot Barracks at Haines from 1933 to 1936. The Territorial Legislature adopted 'Alaska's Flag' as Alaska's official song in 1955.

Marie Drake, author of the words to 'Alaska's Flag,' the state song, was born February 11 1888. In 1907, she married James Drake in Van Wert, Ohio, where she was engaged in social work with the YWCA and the Red Cross. They came to Alaska when her husband was assigned to work with the Bureau of Public Roads. In 1917, Lester Henderson was appointed first commissioner of education, and he hired Marie Drake as his secretary. She remained with the Department of Education for 28 years, retiring July 1 1945. Marie Drake assumed the post of assistant commissioner of education in 1934. She edited and wrote most of the material for the department's 'School Bulletin' that was circulated throughout the territorial school system. The poem that later provided the words for the official state song first appeared on the cover of the October 1935 'School Bulletin'. In recognition of her devotion to the young people of Alaska, Marie Drake received an honorary Doctor of Letters degree from the University of Alaska in 1958. She died March 5 1963.

STUART GRAHAM STEVEN GORRELL (1901-1963) and HOAGY CARMICHAEL (1899-1981), wrote the song in 1930 almost as a lark, and with the help of some pretty good Scotch. The inspiration was theirs, the booze was borrowed.

Hoagy Carmichael went to Indiana University, and one of his best college chums was Stuart Gorrell. Hoagy Carmichael was going to be a lawyer and Stuart Gorrell, when not hanging around the local "jazz joint" (called The Book Nook!) had promised someone that he would eventually be a success in the world of business.
The two of them were together at a party in New York and Hoagy Carmichael played what he had of the "Georgia" music line for Stuart Gorrell and some friends. After the party broke up, the two of them went back to a friend's apartment and worked on the tune throughout the night. Stuart Gorrell wrote what he thought would be a good lyric line on the back of a post card (now displayed in the Carmichael Room at Indiana University) and showed it to Hoagy Carmichael. One can still plainly see the few, but important, changes that Hoagy Carmichael made on that small piece of cardboard to Stuart Gorrell's lyrical scratchings. The song was improved upon, and the lyrics written, in that boozy early morning, and recorded in September 1930 by a band that included Hoagy Carmichael's great friend, Bix Beiderbecke - a recording session that proved to be Bix's last.

Hoagy Carmichael went on to write many more songs, some of them hits, and Stuart Gorrell kept his promise and became a Vice President at Chase Bank. Stuart Gorrell never tried to write another song lyric, but 'Georgia on my Mind' became a hit after World War II and Hoagy Carmichael, true to his word - although Stuart Gorrell was not legally credited as the lyricist by the music publisher - always sent Stuart Gorrell a cheque for what would have been his share of royalty. The royalty income from that song is substantial and, after Stuart Gorrell died, the income put his daughter through college.

Georgia also has an official state waltz, 'Our Georgia' (adopted in 1951).

The state song of Iowa, entitled "The Song of Iowa," written by SAMUEL HAWKINS MARSHALL BYERS (1838-1933) in 1867, was at that time, and has been, sung to the tune of the old German song "O Tannenbaum". Samuel Byers received inspiration for writing the words whilst he was confined in Libby Prison, at Richmond, Virginia, after he had been taken by the enemy in the battle of Lookout Mountain, in 1863. His captors were accustomed to pass by his prison playing the air of "O Tannenbaum" or "My Maryland," or singing it "set to Southern and bitter words." It was at this time that Samuel Byers resolved to put that tune "to loyal words." The song "Iowa" was the crystallization of his resolve. This musical composition was authorised to be recognised as the state song of Iowa by a House Concurrent Resolution of the Senate on March 20 1911.

The theme of Samuel Byer's lyrics centres on his love for, and praise of Iowa, the cornfields, prairies, purple sunsets, fair women, and the patriotic sons of his beloved state.

JAMES FRAS (1925-2002) was born in the Soviet Union and he came to Lincoln (Nebraska) in 1952. He has had a variety of jobs, ranging from janitor for a candy company to having his own radio variety show.

'Beautiful Nebraska' was created after he took a ride in the country. He noted the wave of the wheat fields, saw the green valleys and "loved everything I saw."
The music was written entirely by him. GUY GAGE MILLER (1922-1986), a Lincoln friend, helped with the words, which James says "are about 85% percent mine."
This was James's second attempt to have his selection accepted by the Legislature. In 1963, he was unable even to get a committee to "listen to my music." Two years later, the Centennial Commission indicated it would take over the project. The official song ran into more controversy within the commission. It was probably academic when the Legislature finally selected his song in the summer of 1967. Before it acted, many schools were already singing the words.

OMISSION The sheet music does not give the year of death of the joint author and composer which was in 2002.

The song "Oregon, My Oregon," the state's official song has since the early 1920's been sung by nearly every child in Oregon and has been sung more times by more people than any other song composed in Oregon.

JOHN ANDREW BUCHANAN (1863-1935) was a municipal judge who liked to write poetry. HENRY MURTAGH (1890-1961) was a professional musician - a theatre organist in the silent movie days when the artist at the keyboard of the mighty Wurlitzer drew billing almost equal with the picture.

John Buchanan's lyrics and Henry Murtagh's music came together as the winning entry in a competition sponsored by the Society of Oregon Composers in 1920. The music was published later the same year with an endorsement by the state superintendent of public instruction. In 1927 the legislature made it the official state song. It is reprinted, words and music, in every new edition of the Oregon 'Bluebook'.

John Buchanan died in 1935 at his home in Astoria. A number of years ago, Henry Murtagh left Portland, where he had been at several theatres and lastly at the United Artists, for Los Angeles. Old associates in Oregon have not heard of him since World War II days, when he travelled through Portland with a bond drive group.

There are six official state songs of Tennessee other than 'Rocky Top'. They are: 'My Homeland, Tennessee' (adopted in 1925), 'When It's Iris Time in Tennessee'(adopted in 1935), 'My Tennessee' (adopted in 1955), 'Tennessee Waltz' (adopted in 1965), 'Tennessee' (adopted in 1992).

OMISSION The sheet music does not give the year of death of the the joint author and joint composer which was in 2003.

The idea for an official song for Alberta, in conjunction with the province's 2005 Centennial, began with the introduction of the Alberta Official Song Act by Wayne Cao, MLA, Calgary Fort, in May of 2001. The Act was passed by the Legislative Assembly in November 2001.

In the autumn of 2003, Alberta Community Development issued a call to Albertans to put their provincial pride into song. The Alberta Official Song Contest drew over 300 original submissions from approximately 100 different communities across the province. The entries encompassed a diverse mix of styles and genres, ranging from rap to rock to folk to country. The composers were also a diverse group, aged anywhere from five to 90 years old.

The chosen song, selected by the 13-member Alberta Official Song Committee, was 'Alberta', with words and music by MARY KIEFTENBELD (b.1965).

'Alberta' is a song that embraces the province's past, present and future, and captures the unfettered optimism that has always characterised Albertans. It is a fitting tribute to the province for the Centennial year of 2005, and captured the spirit of the province for future generations.

'Gens du pays' is the unofficial national anthem of Québec. Written by poet, songwriter and avowed Québec nationalist GILLES VIGNEAULT (b.1928) (with music co-written by GASTON ROCHON (1932-1999)), it was first performed by Vigneault on June 24 1975 during a concert on Montreal's Mount Royal at that year's Fete nationale du Québec ceremony. It has been played frequently at Fete nationale ceremonies since then. The chorus, in triple time, is by far the most famous part of the song, which translated, says, "countrymen, it's your turn to let yourselves speak of love."

The song is also associated with the Québec sovereignty movement and the sovereigntist Parti Québécois, which use it as a sort of anthem. A famous instance of this took place at René Lévesque's concession speech after the citizens of the province rejected independence in the 1980 Québec Referendum. At the end of Lévesque's speech, the crowd assembled to hear him speak stood up at the end of the speech and sang "Gens du pays", which Lévesque called "the most beautiful Québécois song in the minds of all Québecers."

The winners of the $1,000 Yukon Klondike '73 Song Contest were announced on January 31 1973 by contest chairman Reid Berquist and Russ Graham of the Yukon Department of Travel and Information in Whitehorse. The winners, out of 53 entries from across Canada, were GEORG HAUSCHILD (b.1945) and CAROLE HAUSCHILD (b.1948) as composers of the music, and the writer of the lyrics was JOHANNES JOSEPH WINKELAAR (1913-1980).

The Olympic anthem was composed by Spiros Samara (1861-1917), based on the words of Kostas Palama (1859-1943), for the Games of the I Olympiad in Athens in 1896. It was played again in 1906, but subsequently replaced by anthems specially commissioned for the Olympic ceremonies. In 1954 the IOC held an international competition won by the Polish composer Michael Spisiak, who had put a poem by Pindar to music. It was played in Melbourne in 1956, but the composer demanded such a large fee that it was subsequently abandoned. When the Japanese played the piece by Spiros Samara at the 55th IOC Session in Tokyo in 1958, everyone enjoyed it so much that it was unanimously adopted as the official anthem, at the proposal of IOC member Prince Axel of Denmark.

Close to the hearts of all patriotic Australians is the song 'Advance Australia Fair' with words and music by PETER DODDS McCORMICK (1834-1916). Its style reflects typically mid-nineteenth-century popular music. The triadic structure of the melody gives it a touch of solemnity and dignity. In 1973, a competition was organized to choose an Australian National Anthem, but none of the entries, which numbered over 1200, were considered suitable. 'Advance Australia Fair' was chosen from three well-known national songs after a poll conducted by the Australian Bureau of Statistics. It was adopted as the National Anthem officially on April 11 1984.

The music and words were written by RABINDRANATH TAGORE (1861-1941) during the movement against the partition of Bengal effected by Lord Curzon in 1905. Later it was widely sung during the struggle for independence against Pakistan, and was adopted as a National Anthem by the then provisional Bangladesh government in April 1971, and approved by the National Assembly on January 13 1972.

The words are by JOSÉ; IGNACIO de SANJINÉS (1786-1864), the music by the Italian LEOPOLDO BENEDETTO VINCENTI (1815-1914). The author was a lawyer and scholar of high standing and a fervent patriot. He was among the signers of his country's declaration of independence and its first constitution. The music is a vocal specimen in the heroic style of the Italian opera. Its rhythm with dotted quavers, which can inspire the Bolivians with patriotic enthusiasm, has very little to do with native music.

ERRATUM The words and music of the first verse are correct, but there are major errors with regard to the words of the second and third verses.

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.

In 1847, a new Peace Treaty was signed between Chile and Spain, and at this time EUSEBIO LILLO (1826-1910), a journalist and well-known poet, was commissioned to write a new National Anthem with more restrained sentiments in regard to the old mother country. The music of the National Anthem is by RAMÓN CARNICER (1789-1855). It was written in 1828, the Spanish composer never set foot on Chilean soil. The tune is of course likewise introduced by a noisy prelude which, together with the militant vigour of the National Anthem itself, represents a fine specimen of South American musical nationalism. Subsequent modifications were made to the National Anthem by Fabio Petris in 1907 and by Enrique Soro in 1909, and it was recognised officially as the National Anthem on June 27 1941.

ERRATUM
Bar 54 (1st note) in the vocal line should be: E (not C) - this will be corrected as soon as possible

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.

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.

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.

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.

The music composed in 1797 by FRANZ JOSEPH HAYDN (1732-1809) was written as the National Anthem of Austria, and it was used in that country until the beginning of World War II. On August 11 1922, it was officially adopted by Germany with the poem beginning 'Deutschland, Deutschland über alles' by AUGUST HEINRICH HOFFMANN von FALLERSLEBEN (1798-1874), and from 1933 to 1945 this was sung in conjunction with the Nazi Party song, the 'Horst-Wessel-Lied'.

In 1952, the Federal Republic replaced the first verse of von Fallersleben's poem by the third verse.

It was not until 1896 that the government of Guatemala decided that the country needed a national anthem. A competition was announced to award the best author and best composer.

The winning composer of the music was RAFAEL ALVAREZ OVALLE (1860-1948). However the author of the lyrics was submitted anonymously, but in 1911 it was discovered that it was the Cuban JOSÉ JOAQUÍN PALMA (1844-1911).

On March 14 1897, the winning entry received its first performance at the Colon Theatre as one of the main events of the Central American Exposition.

In 1934, the lyrics were modified by José Maria Bonilla Ruano.

There are four verses each with a different chorus at the end of each verse. The entire words are officially sung in Guatemala.

It was selected as the most suitable entry in a public competition. The text is by AUGUSTO CONSTANCIO COELLO (1883-1941). The composer was CARLOS HARTLING (1869-1920), an ardent Honduran patriot of German descent. He organized the first symphony orchestra in Central America and a number of military bands in the larger communities of his country.

The National Anthem is characteristically South American, but the German background of its composer cannot be concealed.

The text is an interesting description and interpretation of the national flag.

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.

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 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.

'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 OKU YOSHIISA (1858-1933), 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 9 1999.

ERRATUM The sheet music does not give the correct name of the composer of the music.

The author and composer of the National Anthem of Latvia 'Dievs, sveti Latviju!' ('God bless Latvia!') was Baumanis Karlis (1835-1905). The anthem first appeared in the second half of the 19th century when the Latvian people were beginning to openly exhibit a strong sense of national pride and identity. It was first performed publicly in June 1873 at the First Song Festival in Riga. Although most Latvians did not dare to dream of a sovereign state totally independent of the Tsarist Russian Empire, the song served as a powerful catalyst for the emerging national consciousness. It was first sung as a National Anthem on November 18 1918 at the proclamation of Latvia's independence and on June 07 1920 was officially proclaimed the National Anthem of the Republic of Latvia.

The Republic of Liberia was founded in 1821 as a home for emancipated slaves from North America and thus got its name which is a somewhat unorthodox derivative from Latin 'liber' ('free'). Its capital, Monrovia, was named after President Monroe of the United States.

The text is by DANIEL BASHIEL WARNER (1815-1880) - third President of Liberia (1864-1868).

The music is by OLMSTEAD LUCA (1826-1869), the tune cannot suggest Negro music in any way. There is no trace of Afro-American or straight African influence. The marchlike beginning is much rather suggestive of a German student song. The trio recalls Viennese beergarden music and old-fashioned military marches. Towards the end there is even a dash of Mozart from 'The Magic Flute'.

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 ROCA (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, Roca 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.

ERRATUM The sheet music does not give the correct name of the composer of the music JAIME NUNÓ ROCO (1824-1908).

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

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.

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-cum-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 National Anthem of Paraguay is variously ascribed to the composers FRANCISCO JOSÉ DEBALI (1791-1859) or FRANCÉS DUPUY (1813-1861) or LOUIS CAVEDAGNI (year of birth unknown but arrived in Paraguay in 1874 and died in 1916). Debali composed the music for the Uruguayan National Anthem. The text is by FRANCISCO ESTEBAN ACUÑA de FIGUERO (1791-1862) - in addition to the Paraguayan National Anthem he wrote the text of the National Anthem of Uruguay.

The first part of the Paraguayan National Anthem, the solo, is solemn and dignified. The second part, the chorus, is rather in the nature of Spanish folklore and exhibits a dancelike quality.

The official edition published mentions only the transcription of Remberto Giménez.

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.

Since 1910, a patriotic song entitled 'A Portugêsa' ('The Portuguese') has been in use in Portugal. The words (written in about 1890) are by HENRIQUE LOPES de MENDONÇA (1856-1931).

The music is by ALFREDO KEIL (1850-1907), a Portuguese composer and exponent of Portuguese music, who was of German extraction and died in Hamburg after having written the first Portuguese grand opera, 'Serrana'.

'Nkosi Sikelel' iAfrika'

FIRST SECTION:
The words and music of 'Nkosi Sikelel' iAfrika' ('God Bless Africa') were composed as a hymn by ENOCH MANKAYI SONTONGA (1860-1904) in 1897 along with SAMUEL EDWARD KRUNE MQHAYI (1845-1945) who also contributed to the words. 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'

SECOND SECTION:
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.

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.

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.

The Turkish National Anthem known as 'Istiklâl Marsi' ('Independence March'), was adopted by the National Assembly on March 12 1921. The text was written by MEHMET AKIF ERSOY (1873-1936). The music was composed by ZEKI ÜNGÖR (1880-1958). It is in G minor in keeping with the character of Oriental music. But otherwise there is little about it that is Oriental. It does suggest Spanish or South American tango tunes.

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.

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.