God Save the King
"God Save the King" (alternatively "God Save the Queen" when the British monarch is female) is the national anthem of the United Kingdom and the royal anthem of each of the British Crown Dependencies,[1][2] one of two national anthems of New Zealand, and the royal anthem of most Commonwealth realms. The author of the tune is unknown and it may originate in plainchant, but an attribution to the composer John Bull has sometimes been made.
For other uses, see God Save the King (disambiguation) and God Save the Queen (disambiguation).Also known as
God Save the Queen
(when the monarch is female)
Unknown
September 1745 (United Kingdom)
1977 (New Zealand)
In countries not part of the British Empire, the tune of "God Save the King" has provided the basis for various patriotic songs, though still generally connected with royal ceremony.[3] The melody continues to be used for the national anthem of Liechtenstein, "Oben am jungen Rhein", and the royal anthem of Norway, "Kongesangen". The melody is used for the American patriotic song "My Country, 'Tis of Thee" (also known as "America"). The melody was also used for the national anthem "Heil dir im Siegerkranz" ("Hail to thee in the Victor's Crown") of the Kingdom of Prussia from 1795 and of the German Empire from 1871 to 1918, and as "The Prayer of Russians", the imperial anthem of Russia from 1816 to 1833. In Switzerland, it is known as "Rufst du, mein Vaterland".
Beyond its first verse, which is consistent, "God Save the King" has many historic and extant versions. Since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders.[4] In general, only one verse is sung. Sometimes two verses are sung and, on certain occasions, three.[1]
The entire composition is the musical salute for the monarch and royal consort,[5] while other members of the royal family who are entitled to royal salute (such as the Prince of Wales, along with his spouse) receive just the first six bars. The first six bars also form all or part of the viceregal salute in some Commonwealth realms other than the UK (e.g., in Canada, governors general and lieutenant governors at official events are saluted with the first six bars of "God Save the King" followed by the first four and last four bars of "O Canada"), as well as the salute given to governors of British overseas territories.
In The Oxford Companion to Music, Percy Scholes points out the similarities to an early plainsong melody, although the rhythm is very distinctly that of a galliard,[6] and he gives examples of several such dance tunes that bear a striking resemblance to "God Save the King". Scholes quotes a keyboard piece by John Bull (1619) which has some similarities to the modern tune, depending on the placing of accidentals which at that time were unwritten in certain cases and left to the discretion of the player (see musica ficta). He also points to several pieces by Henry Purcell, one of which includes the opening notes of the modern tune, setting the words "God Save the King". Nineteenth-century scholars and commentators mention the widespread belief that an old Scots carol, "Remember O Thou Man", was the source of the tune.[7][8]
The first published version that resembles the present song appeared in 1744, with no title but the heading "For two voices", in an anthology originally named Harmonia Britannia but changed after only a few copies had been printed to Thesaurus Musicus.[9] When the Jacobite pretender Charles Edward Stuart led the 1745 rising, the song spread among those loyal to King George II. The tune published in The Gentleman's Magazine in 1745 departs from that used today at several points, one as early as the first bar, but is otherwise clearly a strong relative of the contemporary anthem. It was recorded as being sung in London theatres in 1745, with, for example, Thomas Arne writing a setting of the tune for the Drury Lane Theatre.
Scholes' analysis includes mention of "untenable" and "doubtful" claims, as well as "an American misattribution". Some of these are:
Scholes recommends the attribution "traditional" or "traditional; earliest known version by John Bull (1562–1628)". The English Hymnal (musical editor Ralph Vaughan Williams) gives no attribution, stating merely "17th or 18th cent."[10]
Musical adaptations[edit]
Composers[edit]
About 140 composers have used the tune in their compositions.[1]
Ludwig van Beethoven composed a set of seven piano variations in the key of C major to the theme of "God Save the King", catalogued as WoO 78 (1802–1803). He also quotes it in his orchestral work Wellington's Victory. It is also the first song arranged in the collection WoO 157.
Muzio Clementi used the theme to "God Save the King" in his Symphony No. 3 in G major, often called the "Great National Symphony", catalogued as WoO 34. Clementi paid a high tribute to his adopted homeland (the United Kingdom) where he grew up and stayed most of his lifetime. He based the symphony (about 1816–1824) on "God Save the King", which is hinted at earlier in the work, not least in the second movement, and announced by the trombones in the finale.
Johann Christian Bach composed a set of variations on "God Save the King" for the finale to his sixth keyboard concerto (Op. 1) written c. 1763.
Joseph Haydn was impressed by the use of "God Save the King" as a national anthem during his visit to London in 1794, and on his return to Austria composed a different tune, "Gott erhalte Franz den Kaiser" ("God Save Emperor Francis"), for the birthday of the last Holy Roman Emperor and Roman-German King, Francis II, which became the basis for the anthem of the later Austrian Empire, and ultimately for the German national anthem.
Franz Liszt wrote a piano paraphrase on the anthem (S.259 in the official catalogue, c. 1841).
Johann Strauss I quoted "God Save the Queen" in full at the end of his waltz "Huldigung der Königin Victoria von Grossbritannien" (Homage to Queen Victoria of Great Britain), Op. 103, where he also quoted "Rule, Britannia!" in full at the beginning of the piece.
Siegfried August Mahlmann in the early 19th century wrote alternate lyrics to adapt the hymn for the Kingdom of Saxony, as "Gott segne Sachsenland" ("God Bless Saxony").[116]
Christian Heinrich Rinck wrote two sets of variations on the anthem: the last movement of his Piano Trio, Op. 34, No. 1 (1815) is a set of five variations and a concluding coda; and Theme (Andante) and (12) Variations in C major on "Heil dir im Siegerkranz" (God Save the King), Op. 55.
Heinrich Marschner used the anthem in his "Grande Ouverture solennelle", Op. 78 (1842).
Gaetano Donizetti used this anthem in his opera "Roberto Devereux".
Joachim Raff used this anthem in his Jubelouverture, Op. 103 (1864) dedicated to Adolf, Duke of Nassau, on the 25th anniversary of his reign.
Gioachino Rossini used this anthem in the last scene of his Il viaggio a Reims, when all the characters, coming from many different European countries, sing a song which recalls their own homeland. Lord Sidney, bass, sings "Della real pianta" on the notes of "God Save the King". Samuel Ramey used to interpolate a spectacular virtuoso cadenza at the end of the song.
Fernando Sor used the anthem in his 12 Studies, Op. 6: No. 10 in C major in the section marked 'Maestoso.'
Arthur Sullivan quotes the anthem at the end of his ballet Victoria and Merrie England.
Claude Debussy opens with a brief introduction of "God Save the King" in one of his Preludes, Hommage à S. Pickwick Esq. P.P.M.P.C.. The piece draws its inspiration from the main character of the Charles Dickens novel The Pickwick Papers.
Niccolò Paganini wrote a set of highly virtuosic variations on "God Save the King" as his Op. 9.
Max Reger wrote Variations and Fugue on 'Heil dir im Siegerkranz' (God Save the King) for organ in 1901 after the death of Queen Victoria. It does not have an opus number.
A week before the Coronation Ode was due to be premiered at the June 1902 "Coronation Gala Concert" at Covent Garden (it was cancelled, owing to the King's illness), Sir Edward Elgar introduced an arrangement of "Land of Hope and Glory" as a solo song performed by Clara Butt at a "Coronation Concert" at the Albert Hall. Novello seized upon the prevailing patriotism and requested that Elgar arrange the National Anthem as an appropriate opening for a concert performed in front of the Court and numerous British and foreign dignitaries. This version for orchestra and chorus, which is enlivened by use of a cappella and marcato effects, was also performed at the opening of the British Empire Exhibition at Wembley on St. George's Day, 1924, and recorded under the composer's baton in 1928, with the London Symphony Orchestra and the Philharmonic Choir.[117] Elgar also used the first verse of the anthem as the climax of a short "Civic Procession and Anthem", written to accompany the mayoral procession at the opening of the Hereford Music Festival on 4 September 1927. This premiere performance was recorded, and is today available on CD; the score was lost following the festival, and Elgar reconstructed it by ear from the recording.[118]
Carl Maria von Weber uses the "God Save the King" theme at the end of his "Jubel Overture".
Giuseppe Verdi included "God Save the Queen" in his "Inno delle nazioni" (Hymn of the Nations), composed for the London 1862 International Exhibition.
Benjamin Britten arranged "God Save the Queen" in 1961 for the Leeds Festival. This version has been programmed several times at the Last Night of the Proms.[119]
Charles Ives wrote Variations on "America" for organ in 1891 at age seventeen. It included a polytonal section in three simultaneous keys, though this was omitted from performances at his father's request, because "it made the boys laugh out loud". Ives was fond of the rapid pedal line in the final variation, which he said was "almost as much fun as playing baseball". The piece was not published until 1949; the final version includes an introduction, seven variations and a polytonal interlude. The piece was adapted for orchestra in 1963 by William Schuman. This version became popular during the bicentennial celebrations, and is often heard at pops concerts.
Muthuswami Dikshitar (1776–1835), one of the musical trinity in South Indian classical (Carnatic) music composed some Sanskrit pieces set to Western tunes. These are in the raga Sankarabharanam and are referred to as "nottu swaras". Among these, the composition "Santatam Pahimam Sangita Shyamale" is set to the tune of "God Save the Queen".
Sigismond Thalberg (1812–1871), Swiss composer and one of the most famous virtuoso pianists of the 19th century, wrote a fantasia on "God Save the Queen".
Johan Nepomuk Hummel (1778–1837) wrote Variations on God Save the King in D major, Op. 10 and quoted the tune briefly in his Freudenfest-Ouverture in D major, S 148.
Jan Ladislav Dussek wrote a set of theme with 5 variations for piano on God Save the King.[120]
Adolphe Blanc wrote a set of variations for piano six hands on this theme.[121]
Adrien-François Servais (1807–66) and Joseph Ghys (1801–48) wrote Variations brillantes et concertantes sur l'air "God Save the King", Op. 38, for violin and cello and performed it in London and St Petersburg.[122]
Georges Onslow (1784–1853) used the tune in his String Quartet No. 7 in G minor, Op. 9, second movement.
Hans Huber used the melody ("Rufst du, mein Vaterland") in the first movement of his Symphony no 3 in C minor, Op. 118 ("Heroic").
Ferdinando Carulli used the melody in Fantaisie sur un air national anglais, for recorder & guitar, Op. 102.
Louis Drouet composed "Variations on the air God save the King" for flute and piano.
Gordon Jacob wrote a choral arrangement of "God Save the Queen" with a trumpet fanfare introduction, for the coronation of Queen Elizabeth II in 1953.[123]
Rock adaptations[edit]
Jimi Hendrix played an impromptu version of "God Save the Queen" to open his set at the Isle of Wight Festival 1970. Just before walking onto the stage, he asked "How does it [the anthem] go again?". Hendrix gave the same sort of distortion and improvisation of "God Save the Queen", as he had done with "The Star-Spangled Banner" at the Woodstock Festival in 1969.[124]
The rock band Queen recorded an instrumental version of "God Save the Queen" for their 1975 album A Night at the Opera. Guitarist Brian May adapted the melody using his distinctive layers of overdubbed electric guitars. This recorded version was played at the end of every Queen concert from the end of 1974 to 1986, while vocalist Freddie Mercury walked around the stage wearing a crown and a cloak on their Magic Tour in 1986. The song was played whilst all the Queen members would take their bows.[125] On 3 June 2002, during the Queen's Golden Jubilee, Brian May performed the anthem on his Red Special electric guitar for Party at the Palace from the roof of Buckingham Palace which is featured on the 30th Anniversary DVD edition of A Night at the Opera.[126]
In 1977, the Sex Pistols recorded a song titled "God Save the Queen" in open reference to the National Anthem and the Queen's Silver Jubilee celebrations that year, with the song intending to stand for sympathy for the working class and resentment of the monarchy.[127] They were banned from many venues, censored by mainstream media, and reached number 2 on the official U.K. singles charts and number 1 on the NME chart.[127][128]
A version of "God Save the Queen" by Madness features the melody of the song played on kazoos. It was included on the compilation album The Business – the Definitive Singles Collection.[129]
Computer music[edit]
The anthem was the first piece of music played on a computer, and the first computer music to be recorded.
Musical notes were first generated by a computer programmed by Alan Turing at the Computing Machine Laboratory of the University of Manchester in 1948. The first music proper, a performance of the National Anthem was programmed by Christopher Strachey on the Mark II Manchester Electronic Computer at same venue, in 1951. Later that year, short extracts of three pieces, the first being the National Anthem, were recorded there by a BBC outside broadcasting unit: the other pieces being "Baa Baa Black Sheep", and "In the Mood". Researchers at the University of Canterbury, Christchurch restored the acetate master disc in 2016 and the results may be heard on SoundCloud.[130][131]