There is little basis for the legend that the
tune of our national anthem was an old English drinking song. On the other
hand, there is strong evidence that the members of the club for which the music
was originally composed, the Anacreontic Society, frequently lifted not only
their voices but also their cups in song.
In the mid-1760s, a London society of amateur musicians, the
Anacreontic Society, commissioned a young church musician, John Stafford Smith,
to compose music for material written by its president, Ralph Tomlinson.
Smith's tune, entitled "Anacreon in Heav'n," was a vehicle not only
for the Society's accomplished amateurs, but for its best baritone singer to
display virtuosity through an astounding vocal range. Its musical complexity
has been compared to that of the famous "Toreador Song" in Bizet's
opera Carmen.
First published in England, the tune appeared in North America
before the end of the eighteenth century where, as often happened, new lyrics
-- including "Adams and Liberty" and
"Jefferson and Liberty"
-- were written. The song's appeal may have been due at least in part to its
unique metrical structure. Not found in any other song of the period, its
striking meter may have been what attracted Francis Scott Key. By all accounts
tone deaf, Key had already composed one other poem using the meter of the
"Anacreontic Song" when he wrote "The Star Spangled Banner.
On September 14, 1814, while detained aboard a British ship during the
bombardment of Ft.McHenry, Francis Scott Key witnessed at dawn the failure
of the British attempt to take Baltimore.
Based on this experience, he wrote a poem that poses the question "Oh, say
does that Star-Spangled Banner yet wave?" Almost immediately Key's poem
was published and wedded to the tune of the "Anacreontic Song." Long
before the Civil War "The Star Spangled Banner" became the musical
and lyrical embodiment of the American flag. During the latter war, songs such
as "Farewell to the Star Spangled Banner" and "Adieu to the Star
Spangled Banner Forever," clearly referencing Key's song, were published
within the Confederacy.
On July 26, 1889, the Secretary of the Navy
designated "The Star Spangled Banner" as the official tune to be
played at the raising of the flag. And during Woodrow Wilson's presidency, it
was chosen by the White House to be played wherever a national anthem was
appropriate. Still the song was variously criticized as too violent in tone,
too difficult to sing, and, by prohibitionists, as basically a drinking song.
But on its side "The Star Spangled Banner" had a strong supporter in
John Philip Sousa who, in 1931, opined that besides Key's
"soul-stirring" words, "it is the spirit of the music that
inspires." That same year, on March 3, President Herbert C. Hoover signed
the Act establishing Key's poem and Smith's music as the official anthem of the
United States.
The new law, however, did not specify an
official text or musical arrangement, but left room for creative arrangements
and interpretations of "The Star Spangled Banner." The standard
instrumental version was unofficially established as the arrangement used by
the U.S.
service bands. However, other versions include: Igor Stravinsky's 1941 version
for orchestra and male chorus, Duke Ellington's 1948 CornellUniversity
arrangement, Jimi Hendrix's 1969 electric guitar version, Jos Feliciano's 1968
rendition, and the 1991 version by
the St. Louis Symphony under Leonard Slatkin.
Oh, say can you see by the dawn's early light What so proudly we hailed at the twilight's last gleaming? Whose broad stripes and bright stars thru the perilous fight, O'er the ramparts we watched were so gallantly streaming? And the rocket's red glare, the bombs bursting in air, Gave proof thru the night that our flag was still there. Oh, say does that star-spangled banner yet wave O'er the land of the free and the home of the brave?
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