14.1: Introduction

Introduction

In a sense, all music is political. No form of musical expression is detached from issues of class, race, nationality, and identity. If we argue that a Mozart string quartet is free from all political concerns, we ignore the fact that Mozart lived and worked in Vienna, the powerful, German-speaking seat of the Austro-Hungarian Empire. We ignore the fact that 18th-century string quartets embodied Enlightenment-era political values regarding equality and rational discourse. And we ignore the fact that Mozart’s music is used today to represent elite cultural values. In this module, however, we will be exploring forms of musical expression that are explicitly political. We will examine a few of musical works that were created to express or challenge political values.

Image 14.1.1 : This image shows ancient Greeks. Source: Wikimedia Commons Attribution: Albert Racinet License: Public Domain

In this chapter we will be considering the power of music to define and identify nations. The idea that music can express something important about a community has a long history. The ancient Greeks, for example, believed that the unique musical styles of each regional tribe represented the characteristics of that tribe. Moreover, they believed music to be so powerful that anyone who heard music from a particular tribe would in turn exhibit the characteristics of its members. Of course, for us to believe that music can express something about a group of people, we must first agree that all members of the group share something fundamental in common. This can be dangerous, for it invites the exclusion of any member who does not conform. Any claim that a piece or style of music represents a nation should be met with the question, “What members of the nation does this music fail to represent?”

Germany's National Anthem: "The Song of the Germans"

The national anthem of the United States, “The Star-Spangled Banner,” became the national anthem through a process that was fairly straightforward, but the same cannot be said of many other countries. The current national anthem of Germany is titled “The Song of the Germans” (German: Das Lied der Deutschen). However, it was not the first national anthem, and it has not been in continuous use. Its history offers an excellent example of how transformations in the identity, contents, and use of an anthem can reflect the complex political journey of an individual nation.

Although it traces its history back for many centuries, the modern nation of Germany came into existence in 1871. By this time, it was typical for European nations to adopt national anthems, and the Germans were certainly not to be excluded from this practice. At first, they adopted the Prussian national anthem. They did so to symbolize the unification of previously independent Prussian principalities under a single nation. The title of the anthem was “Hail to Thee in the Victor’s Crown,” and it featured the refrain “Hail to thee, emperor!” The melody, however, was that to which “God Save the Queen” is currently sung—a sign of the close ties between European monarchies.

World War I, in which Germany was defeated, prompted major political reorganization. The emperor abdicated in 1918 and was replaced by a constitutional government known as the Weimar Republic. The new government required a new anthem—but the song selected for the role was in fact very old. The words to “The Song of the Germans” were written in 1841 by August Heinrich Hoffmann von Fallersleben, a Prussian academic. The text was initially subversive. Fallersleben lived and worked in a monarchy, but his song called for the unification of the German-speaking lands under democratic rule. During his own time, this was a dangerous message, and Fallersleben was dismissed from his post for promoting it. Following the unification of Germany, however, the call became patriotic and Fallersleben’s song was celebrated.

Like Key, Fallersleben wrote his text to fit a preexisting melody. Because he was making a political plea, he selected a political tune: the national anthem of the Austro-Hungarian Empire, which carried a text entitled “God Save Emperor Francis.” By rewriting this important anthem, Fallersleben sought to rewrite political reality. The tune, incidentally, had been composed in 1797 by one of the most important of all Austrian composers, Franz Joseph Haydn. It would continue to serve as the national anthem of Austria, although with different texts to suit changes in government, until World War II.

World War II also brought changes to Germany, which was divided at the close of the war into East Germany and West Germany. The government of East Germany commissioned an entirely new anthem, entitled “Risen from the Ruins,” while West Germany ceased to use an anthem altogether. Although unusual, it is not difficult to explain this development. Anthems tend to represent patriotic feeling and pride in one’s country—sentiments that seemed inappropriate in a post Holocaust Germany. Various songs—including Ludwig van Beethoven’s “Ode to Joy,” now the anthem of the European Union—were used to mark state occasions in West Germany, but “The Song of the Germans” was not officially readopted until 1952.

When it did enter back into use, it was accompanied by significant conflict over the text. The first stanza in particular had become controversial. It opens with the line, “Germany, Germany above all, above all in the world.” To Fallersleben, this meant that the promise of a united German nation must be held above the petty interests of minor German monarchs. To the Nazis, however, it was a call for Germany to take over the world. The second verse, which celebrates German women, wine, and song, perhaps lacks the dignity required of an anthem. After the war, therefore, the third verse was favored:

Unity and justice and freedom

For the German fatherland!

Towards these let us all strive

Brotherly with heart and hand!

Unity and justice and freedom

Are the safeguards of fortune;

Flourish in the radiance of this fortune,

Flourish, German fatherland!

Controversy over the words, however, has come to stand in for larger political battles. In this way, “The Song of the Germans” simultaneously unites and divides the country, while embodying its difficult past.

Performing "The Song of the Germans"

To consider “The Song of the Germans” in use, we will look at a performance that took place at a major sporting event—a match between two teams in the national German soccer league. The anthem was sung by a popular performer. Namika, who was born Hanan Hamdi to Moroccan immigrant parents, is a well-known singer and rapper who has had several hits since 2015.She performs the anthem in her own individual style. She introduces melodic ornaments but makes a conscious effort not to distract from the dignity of the text.

There is, however, one very significant difference: Namika is joined by the fans, whose voices can clearly be heard throughout the performance. While Houston was admired as a soloist, Namika is leading a sing-along. Why this difference? It is certainly not the case that Germans are more patriotic or more musical. The German anthem, however, is considerably more singable than “The Star-Spangled Banner.” Given that it outlines a range of only an octave and that the melody is largely conjunct, containing few large melodic leaps, “The Song of the Germans” can be sung by an untrained musician. It is likely that these musical differences have contributed to contrasting cultural traditions: Germans join in, while American leave anthem singing up to the professionals.