At last evening's rehearsal (of someone else's band), I engaged in a brief discussion with another member regarding the apparent changing role of Independence Day. He seemed more than a bit taken aback that the "festivities" have seemed to revolve around our veterans than the original intent of the holiday. This is particularly poignant as he is a long-time veteran of one of our nation's armed forces (I cannot recall which). The discussion, quite one sided as most of what I interjected were a bunch of "uh-huh's," even devolved to include not standing for our national anthem and not paying homage to the flag. I suppose that the guy has a point; that's part of our freedom of expression...Needless to say, it got me thinking.
Music has long been used to express the patriotic fervor of the citizenry of its country of origin. During the French Revolution, there were endless festivals commemorating this battle, that anniversary, and what not. This period even gave fruit to the Paris Conservatory, originally founded to offer musical education to future military musicians. Haydn's Missa in Angustiis allegedly celebrates a victory during the siege of Vienna (and not Wellington's victory at Waterloo). Of course, there is Beethoven's own Wellington's Victory, a work I'd rather forget. The Symphonie Funebre et Triomphale of Hector Berlioz was a continuation of the French traditions, this time written for a huge brass band and (eventual) chorus espousing the praises of whichever Republic was in power.
The Hungarian's have their own "national opera", Bank Ban, by Ferenc Erkel. The second movement of Smetana's monumental Ma vlast (known in western circles as "The Moldau") has achieved such iconic status that strains of its melancholic tune sound as Czech Airline flights approach Vaclav Havel Airport in Prague. Would that there be a typical "American" tune that would achieve the same status; our national anthem? I think not. America, the Beautiful? Possibly...
Unfortunately, music can also be used for less than lofty ideals. During the Second World War, Nazi Germany employed music to incite their populace to the support of the Reich. They also banned the music of all Jewish composers, a precursor to the horrors of the concentration camps. Beethoven and Wagner in particular, were Hitler's heroes, and their music received more performances during the war by German orchestras than any others. In fact, my own collection contains two different versions of Beethoven's Ninth Symphony, led by the same conductor (Furtwangler) and orchestra (the Berlin Phil) only one month apart in 1942.
The Soviet Union and its satellites were little different, although composers in those lands were persecuted for their musical ideals. The travails of Shostakovich are well-documented and there remain countless others whose music is only now coming to life. Karel Husa was fortunate enough to escape communist Czechoslovakia and would compose his own "tribute", Music for Prague, 1968. As for the Hungarians, a fair share of them are still awaiting for America to fulfill its promise given in 1956. But the Russian tanks rolled, tearing down the beautiful trees along Andrassey (sp?) utca, the Champs Elysee of Budapest.
My own view on patriotism as it relates to our repertoire does not reach the jingoistic fevered pitch of many of my countrymen (and women) and yet, I proudly express my country in my programing choices. I am a proud son of a World War II veteran who served in the U.S. Army Air Corps behind the lines in North Africa and must state that my father's funeral--with full military honors--was among the most moving experiences of my life. At last week's Tri-State Wind Symphony concert, we presented a very formal and moving presentation of the colors and veteran's tribute along with our longtime collaborator's, the men and women of American Legion Post 6. Our program included:
John Williams/Bocook: Liberty Fanfare
arr. Jack Stamp: Star Spangled Banner
arr. Bob Lowden: Armed Forces Salute
Karl L. King (I): Emblem of Freedom
Glenn Miller (I)/Barker: In the Miller Mood
Clarence W. Dalby (I): The Blue and the Grey
Meredith Willson (I)/Reed: The Unsinkable Molly Brown
Karl L. King (I): Thumbs Up, U.S.A.
Alfred Reed: Rushmore (traditional audience sing-along)
John Philip Sousa/Brion and Schissel: The Stars and Stripes Forever
Jingoistic? I hope not, although the program took on a particular Iowa bent, including composers well-known, like King, Willson, and Miller, as well as a prominent historical figure, Dalbey. It must be said that this concert has long been a favorite of audiences and players alike (even the poor French horns, who play their after-beats with pride).
This week brings a different ensemble, the Bettendorf Park Band, along with at least a couple of the same tunes: Thumbs Up, Rushmore, Armed Forces Salute. We also take a historic look at the music of our country (and beyond) with:
Kenneth Alford: The Vanished Army (World War I)
John Williams: Hymn for the Fallen, from Saving Private Ryan (World War II)
David Holsinger: On a Hymnsong of Lowell Mason (Americana)
Henry Fillmore: Americans We, dedicated to "all of us"
Jerry Bilik: American Variations
and more
....a much different program, no doubt, but a tribute to our country (and our allies) and those who have fought to preserve our freedom.
For the record, July 4 is not the date of the adoption of the Declaration of Independence; that was actually July 2, although many of the signatories did not inscribe their "John Hancock" until August. Does this make the holiday any less significant, either for those who value the freedom we enjoy or as a commemoration and memorial of those who have assured it? I think not.
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