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June 21, 2017

The Real Mick Rock A very happy birthday to Brandon Flowers of The Killers!

Alex Ross: The Rest Is Noise A Reicha moment

from Alex Ross: The Rest Is Noise
Take a look at what’s in Classical at mandersmedia on Discogs

The Real Mick Rock Happy Birthday to my friend, the fabulous Juliette… Why didn’t famous composers write national anthems?


In January 1797, Haydn wrote what was, in one respect, the biggest failure of his career.

Austria was at war with France, Napoleon’s cannons were threatening even Vienna and Haydn was commissioned to write a piece to keep them back. He thought of his time in London where he heard ‘God Save the King’ almost daily, and he thought of La Marseillaise, whose rousing, bloody call to arms seemed to be getting closer by the minute. And then he decided to write Austria its equivalent.

He had been given lyrics to write to – ‘Gott erhalte Franz den Kaiser’ (God Save Emperor Francis) – and he sat down and penned a melody that he is said to have believed could ‘inflame the hearts of Austrians to new heights of devotion’ as well as ‘incite [them] to combat’. It debuted on 12 February, and was so instantly popular it was taken out of the theatre and straight into the streets. 

• Read more: Five intriguing national anthems

But unfortunately for Haydn, it didn’t exactly have the effect he’d hoped for. Within weeks, Napoleon had invaded. Within months, Austria was forced to sign an embarrassing peace treaty. ‘Gott erhalte…’ was not Austria’s Marseillaise. But Haydn did at least enjoy a couple of achievements with that song. Not wanting to let a good tune go to waste, he used it as the basis for the second movement of his String Quartet Op. 76, No. 3.

More uniquely, he became the only famous composer to successfully write a national anthem. It is still in use today, albeit across the border in Germany and now known
as the Deutschlandlied.

It is surprising that out of the world’s 200-odd countries, Germany is the only one whose anthem has a star composer attached. It means that none of music’s great nationalists ever managed to give their homelands a song to bellow at football matches or turn to in times of need.

Finland’s anthem, for instance, is to the tune of a German drinking song, not anything by Sibelius; the Czech Republic’s is taken from a 19th-century comedy, not Dvorák or Smetana. Is it composers’ fault this situation has arisen, or is there just something about anthems that puts everybody off?

It would be wrong to say that Haydn is the only household name to have written an anthem. Several others have tried. In 1942, Stalin decided he needed a new anthem to replace the Internationale, apparently because Winston Churchill was refusing to let that song’s revolutionary message (‘Enslaved masses, stand up!’) be played on British radio. Soon, every Soviet composer you can name – Prokofiev, Khachaturian, Shostakovich – was writing one piece of Communist bombast after another in an effort to conjure the winning tune.

It is impossible to know if any of them entered with genuine enthusiasm as they had little choice – who turns down Stalin? – but also because they all seemed to realise the competition was a money-spinner. Each entry earned 4,000 roubles – ten times the average monthly wage at the time – with bonuses for those that made the competition’s final. Shostakovich made 34,000 roubles for his multiple entries, none of which anyone has felt good enough to record since. Khachaturian made 30,000 roubles, including payment for one composition that went on to become the anthem of Soviet Armenia (it was discarded in 1991). 

Stalin’s lyricists were adamant a famous composer should be chosen. It would ‘be almost unique and raise the profile of the USSR on the world stage,’ they wrote. But Stalin ignored their pleas and picked a piece by a man called Alexander Alexandrov instead. He deserved the victory – his anthem, still Russia’s today, is so rousing and filled with threat it could inspire anyone to trudge across the Steppe. Although Shostakovich saw it differently. ‘A national anthem must have bad music, and Stalin didn’t break with tradition,’ he says in his disputed memoirs.

More surprisingly, Benjamin Britten once tried to write an anthem for Malaysia, a country he had only set foot in once and then only for a few harrowing hours (he spent most of the ‘really hair-raising trip’ fearing he was about to be shot by communist guerrillas).

In June 1957, the Federation of Malaya was about to become independent from Britain, but its government had somehow failed to find an anthem. As a last throw of the dice, it contacted Britten, Walton and Menotti and begged them to have a go. Only Britten took up the offer, producing, by his own admission, ‘a curious and I’m afraid rather unsuccessful job’. The Malaysian government evidently agreed, as a few weeks later they asked him to rewrite it so it sounded actually Malaysian, sending him several records of folk music as inspiration. He rewrote an entire section, but it didn’t help. The government ended up using the anthem of Perak, one of Malaysia’s states, instead – a piece of music better known in Malaysia as a cabaret tune.

There are also a few composers whose music has become an anthem without their involvement. In 1990, Boris Yeltsin chose Glinka’s Patriotic Song to be Russia’s anthem despite it having no words, something that made it doomed from the start (Vladimir Putin brought back the Soviet anthem almost as soon as he came to power). Similarly, during Biafra’s tragic, three-year existence in the late 1960s, the African country chose Sibelius’s Finlandia as its anthem, renamed ‘Land of the Rising Sun’.

And some composers are thought to have written anthems, but in fact didn’t. These include Thomas Arne, who was responsible for the first documented performance of ‘God Save our King’ on 28 September 1745 when he arranged it for London’s Drury Lane Theatre to inspire people heading off to fight Bonnie Prince Charlie. But when asked if he knew who had composed it, Arne said he ‘didn’t have the least knowledge, nor could guess’, an admission that opened the floodgates to the wildest of claims.

John Bull (1562-1628), the great organist, is the likely composer. But the better story is that Jean-Baptiste Lully wrote it in 1688 for some nuns so they could welcome Louis XIV on a visit to their convent (‘Grand Dieu, sauvez le Roy!’). A few decades later, Handel is said to have visited the convent too, stumbled across the song and, realising what a gem it was, rushed it back to England, his own name now attached. The story appears in the memoirs of a French noblewoman and is such fun, it’s almost a shame to learn they are fakes.

The other anthem that is frequently misattributed is Austria’s current ‘Land of the Mountains, Land by the River’ (the country dropped Haydn’s music after World War II). Many believe Mozart wrote it as part of a cantata for his Masonic lodge, but it doesn’t appear in his original score and even the Austrian government admits it is more likely to have been written by the somewhat less glamorous Johann Holzer (1753-1818).

So why have so few famous composers tackled these songs, instead leaving them to amateurs, everyone from teachers to musically inclined politicians? One possible reason is that many felt simply incapable of writing them. Coming up with a minute-long song that’s catchy and stirring enough to unite an entire country is a genuinely difficult task, not least if you are more used to writing symphonies or operas. 

Just take Verdi’s experience. In 1848, when Milan threw out its Austrian occupiers, Verdi rushed to the city, but shied away from composing anything to celebrate, writing to one of his librettists: ‘You speak to me of music? What has got into you? There can be only one music grateful to the ears of Italians [right now]; the music of the cannon.’

A few months later, he appeared to have a change of heart after being asked by a leading revolutionary to write a hymn so powerful it ‘might become the Italian Marseillaise… in which the people might forget the composer and the poet.’ Verdi produced Suona la Tromba  (The Trumpet Sounds), a march so plodding even he seemed to realise it was a failure. ‘I tried to be as popular and simple as is possible,’ he wrote. ‘Use it however you want. Burn it if you think it is unworthy.’ It got several airings, but it never caught people’s attention, and they kept singing the rambunctious Fratelli d’Italia – the song that is now Italy’s anthem – instead. Verdi clearly realised that was the better piece of music, as he used it to represent Italy in his Inno delle Nazioni  (Hymn of Nations), written for the 1862 London Exhibition.

There are a couple of more likely reasons why few famous composers write anthems. The first is that most people – even egotistical composers – believe anthems are immovable. Replacing them is thought impossible, like altering a country’s flag or changing its very soil. It is untrue, of course – most countries change their anthems so frequently you wonder how people keep up (France has had three besides the Marseillaise) – but it’s a belief that’s unshakeable. 

Then there is the biggest reason of all: politics. If you write an anthem, there is a strong chance that the very next day it will be sung by people you don’t like, or in a context you can’t bear – as soon as you write an anthem, it is out of your hands forever. When Haydn wrote ‘Gott erhalte Franz den Kaiser’, he wasn’t to know that it would become the anthem of Nazi Germany, a melody Hitler would describe as ‘holiest to us Germans’. Would he have composed had he known? Unlikely, and few composers today would take the risk, too. 

Alex Marshall’s ‘Republic or Death! Travels in Search of National Anthems’ is out now (Random House ISBN 9781847947413).


Read more…

• Five intriguing national anthems

• Stravinsky's Star Spangled Banner

Take a look at what’s in Classical at mandersmedia on Discogs

JazzWax Jay Cameron: Sax Band, 1955

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Saxophone bands hold a special place among jazz fans. Reeds playing melody and harmony in unison is tremendously exciting, whether they are alone or as lead instruments in a band. As reeds, they assume a vocal harmony group feel, which engages the ear. That’s why so many saxophone bands have been featured on recordings over the decade. Here’s a fairly comprehensive list of the best ones:

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Woody Herman’s Four Brothers band (1947), Gene Roland’s Boppers (1949), The Brothers!—Al Cohn, Bill Perkins and Richie Kamuca (1955), Al Cohn and the Sax Section (1956), Zoot Sims Plays Alto, Tenor and Baritone (1956), Zoot Sims Plays Four Altos (1956), Reeds in Hi-Fi—Pete Rugolo (1956), Four Brothers Together Again! (1957), The Gerry Mulligan Song Book (1957), Hymie Schertzer: All the King’s Saxes (1957), Coleman Hawkins Meets the Big Sax Section (1958), Cross-Section Saxes—Hal McKusick (1958), Saxes Inc.—Bobby Prince and His Orchestra (1959), Ten Saxophones and Two Basses—Pete Rugolo (1961), Further Definitions—Benny Carter (1961), Bud Shank and the Sax Section (1966), Dave Pell’s Prez Conference (1978), Supersax (1972-1988), Marlene VerPlanck Meets Saxomania (1993), Harry Allen’s The Candy Men (2016).

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Now let’s add one more: Jay Cameron’s International Sax Band, which was recorded in Paris on New Year’s Day of 1955. Born in New York in 1928, Cameron began his career in Los Angeles with the Ike Carpenter band until 1947 (leaving just before Bill Holman joined briefly in 1948). For reasons that I’ve been unable to figure out, Cameron moved to Europe around 1950 and remained there until 1956. While in Paris, he recorded with trumpeter and vocalist Bill Coleman in 1951 and with a sextet led by drummer Roy Haynes in 1954. Then in January 1955, he led a superb saxophone band backed by a rhythm section.

Cameron dos copy

The personnel on the six sides for the French Vogue label included Bobby Jaspar, Barney Wilen and Jean-Louis Chautemps (ts); Jay Cameron (bar); Henri Renaud (p); Benoit Quersin (b); and Andre Baptiste “Mac Kac” Reilles (d). It’s unclear who wrote the arrangements, but they are exceptional. Also exceptional are Cameron’s solos on the baritone sax. His sense of swing and bop feel are terrific, especially in the middle register of his instrument. The tracks they recorded are Blue Note, Rosy, Give Me the Simple Life, Brother J.C., Static Test and Wooden Sword Street


Cameron returned to the States in 1956 and toured with Woody Herman and then appeared as a sideman on a series of terrfic albums: Tony Ortega’s Jazz for Young Moderns (1956), Andre Hodeir’s American Jazzmen Play Hodeir’s Essais (1957), Larry Sonn and His Orchestra (1957), Hal McKusick’s Cross-Section Saxes (1958), Maynard Ferguson’s A Message From Newport (1958) and Slide Hampton’s Horn of Plenty (1959). Cameron remained with Hampton through the early 1960s and then recorded with Paul Winter.


Cameron’s jazz discography ends abruptly in 1963. I’m guessing he either went into the New York TV studios or he began teaching at the university level for steady income.

Jay Cameron died in 2001.

JazzWax tracks: You’ll find Jay Cameron’s International Sax Band here.

JazzWax clips: Here’s Give Me the Simple Life

Give Me the Simple Life

Here’s Static Test

Static Test

Here’s Jay Cameron on TV’s Jazz Casual in March 1963 with Paul Winter. The musicians are Richard Whitsell (tp), Paul Winter (as), Jay Cameron (bar), Warren Bernhardt (p), Arthur Harper, Jr. (b) and Ben Riley (d)…

A special thanks to David Langner and Doug Paterson.


from JazzWax
Take a look at what’s in Jazz at mandersmedia on Discogs

This day in music On this Day June 21, 2011

American band Maroon 5 released ‘Moves Like Jagger’, featuring Christina Aguilera. Its lyrics refered to a male’s ability to impress a female with his dance moves, which he compares to those of Mick Jagger. The video featured old video footage of Jagger and his iconic dance moves. ‘Moves Like Jagger’ was nominated for a Grammy Award for Best Pop Duo/Group Performance at the 54th Grammy Awards. The single peaked at No.1 on the US chart.

from This day in music
Take a look at what’s for sale at mandersmedia on Discogs

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