THE NATIONAL ANTHEM.

Auckland Star, Volume 55, Issue 95, 22 April 1924, Page 3

THE NATIONAL ANTHEM.

SIMPLICITY AND DIGNITY. STORY OF ITS ORIGIN. "I must show the English a little what a blessing they have in 'God Save the lung.'"said the great Beethoven when lie introduced the tune into the "Battle" symphony. The same composer also wrote seven variations on our National Anthem. England jhase every treason to be proud of "God Save the King," which is unique, both as regards simplicity and dignity. It consists of two sections of six bars each, and a code of two bars, each section being a complete little melody in itself. The anthem has been attributed to Dr. Jan Bull because of an "Ayre" composed by him in 1619, which has the same construction and rhythm, but unfortunately there the similarity ends, for whereas our National Anthem is in a major, Bull's "Ayre" is in a minor key. What seems more likely is that .the melody was a plagiarism of a Scottish carol entitled "Remember, O Thou Man," published in 1611, ten years before Bull's composition, which also might have been a plagiary. This carol of the north has not only the same construction, rhythm, and key, as our National Anthem, but the first ten bars of the second section of the melody are identical with "God, Save the King," therefore we may look upon our anthem as being truly national, being a compound of English and Scottish brains; only to Scotland must be attributed the foundation by giving the construction and rhythm, also twothirds of the tune in the second section of the melody. "God, Save the King" was composed by Henry Carey in 1740, to celebrate the taking of Portobello by Admiral Vernon, on November 20, 1739, and the words are those of Coverdale, published by him in 1535. Froude, in 1545, quoted as a watchword for the Navy: "God, Save Our Gracious King," with the countersign: "Long Live Our Noble King." At the time of the Scottish rebellion in 1745 it became publicly known by being sung at the theatres as a loyal _ong or anthem. James Stuart was proclaimed King at Edinburgh on September 16, and two days later the anthem made its first appearance at Drury Lane Theatre, for which it was harmonised by Dr. Arne; and at Covent. Garden Theatre, the harmonies being supplied by Dr. Burney. It was sung for a month or two at both of these two great theatres, and published in the "Gentleman's Magazine" of October, 1745. Rule Britannia. This is also a truly National Anthem, as the words were composed by Thomson, a Scotsman from Edinburgh, and the music by Dr. • Arne, an Englishman. Southey remarked that " 'Rule Britannia' will be the political hymn of this country as long as she maintains her political power." Dr. Arne composed the melody for the masque of "Alfred," which was first produced at Clifden House at Maidenhead on August 1, 1740, to commemorate the accession to the throne of George 1., and the birthday of Princess Augusta, therefore its initial performance was contemporaneous with its Royal brother the National Anthem. The masque was afterwards altered by Arne into an opera, which was first produced at the Smock Alley Theatre, Dublin, on March 10, 1741, and in the advertisement it was announced that "Alfred will conclude with a favourable ode in honour of Great Britain, beginning, 'When Britain first at Heaven's Command.'" The song was not heard in London until March 20, 1745, when it was produced at Drury Lane, for the benefit of Mrs. Arne. After the suppression of the Jacobite rising, Handel composed the "Occasional Oratorio," in which he adopted the words: "War shall cease: Welcome peace," to the opening bars of "Rule Britannia." Wagner has even honoured the tune in one of his overtures, and for many years past the finale of every pantomime overture at Drury Lane has been composed of tbe first section of "God Save the King" and the chorus of "Rule Britannia." We can be proud of our National Anthems; no other country in the world has produced anything to compare with them, either in yegard to simplicity or sentiment. Grandeur and exhilaration are both embodied in the two melodies, and what is more, they are essentially British, they are our very own, and are both typical of our race.