"GOD SAVE THE QUEEN”

Press, Volume XCI, Issue 27629, 9 April 1955, Page 3

"GOD SAVE THE QUEEN”

\ Reviewed, by J.A.R.I “God Save the Queen,” by Percy Scholes, published by Geoffrey Cumberlege, the Oxford Univejrsity Press, London. 328 pp. It was to be expected that, of all contemporary musicologists, Percy Scholes would be first in the field with a history of the National Anthem. Apparently the result of some 10 years’ research, “God Save the Queen, the History and Romance of the World’s First National Anthem,” is a fairly exhaustive survey of the origins, characteristics, and influence of the famous song. Much of the information is tantalisingly incomplete and the author suggests’ that it will remain so. But in spite of such a deficiency he has written an interesting and absorbing text.

After the words of the anthem are described as x“little more than doggerel,” it may seem inconsistent to devote so much space to them; but one feels that Scholes was determined to produce a big book and since there is precious little to say about the tune —what there is has been expanded with circumlocutory grandeur—his solution was to dig deeply into every aspect of his chosen text. Thus we are directed to Admiral Lisle’s orders to the fleet in 1544 when the watchword was “God save the King” and the response was “Long to reign over us.” An essay on possible Latin forebears, in the view of the unusual metre, is illuminating but inconclusive. The comparison with Drayton’s “Fair Stood the Wind for France” is more pointed and tenable. The origins of the melody are even more obscure. The year 1688 appears to mark its first confirmed appearance when, as a Stuart party call against William of Orange, it had for its first line “God save great James our King.” Arne’s original manuscript is reproduced, but elementary mistakes in copying point to the fact that he was merely arranging the music. This is the 1745 version. One cannot help Y>ut wish that a musician-detective like Thurston Dart would examine the evidence. In view of Dart’s recent disclosures on 16th century music, he could well be the one to point to the likely originator.

Scholes justifies the high regard in in which he holds the melody by reminding us constantly that Haydn and Beethoven expressed enthusiasm for it. At no stage does he hint at some of the less complimentary remarks it has earned. A fine chapter describes the use to which the tune has been put by earlier composers. It is only equalled by the survey of parodies, ancient and modern, to which the song has been subjected. Conductors, overseas pianists, theatre managers, and arrangers will find much to ponder on in the section dealing with the athem’s performance. Sawn-off snippets are condemned roundly and the hints on tempo are very sound, based as they are on military authority.