1.
Suriname
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Suriname, officially known as the Republic of Suriname, is a sovereign state on the northeastern Atlantic coast of South America. It is bordered by French Guiana to the east, Guyana to the west, at just under 165,000 square kilometers, it is the smallest country in South America. Suriname has a population of approximately 566,000, most of live on the countrys north coast, in and around the capital and largest city. Long inhabited by cultures of indigenous tribes, Suriname was explored and contested by European powers before coming under Dutch rule in the late 17th century. In 1954, the country one of the constituent countries of the Kingdom of the Netherlands. Its indigenous peoples have been active in claiming land rights and working to preserve their traditional lands. Suriname is considered to be a culturally Caribbean country, and is a member of the Caribbean Community, while Dutch is the official language of government, business, media, and education, Sranan, an English-based creole language, is a widely used lingua franca. Suriname is the territory outside Europe where Dutch is spoken by a majority of the population. The people of Suriname are among the most diverse in the world, spanning a multitude of ethnic, religious, and linguistic groups. This area was occupied by cultures of indigenous peoples long before European contact, remnants of which can be found in petroglyph sites at Werehpai. The name Suriname may derive from a Taino indigenous people called Surinen, British settlers, who founded the first European colony at Marshalls Creek along the Suriname River, spelled the name as Surinam. When the territory was taken over by the Dutch, it part of a group of colonies known as Dutch Guiana. The official spelling of the countrys English name was changed from Surinam to Suriname in January 1978, a notable example is Surinames national airline, Surinam Airways. The older English name is reflected in the English pronunciation, /ˈsʊrᵻnæm/ or /ˈsʊrᵻnɑːm/, in Dutch, the official language of Suriname, the pronunciation is, with the main stress on the third syllable and a schwa terminal vowel. Indigenous settlement of Suriname dates back to 3,000 BC, the largest tribes were the Arawak, a nomadic coastal tribe that lived from hunting and fishing. They were the first inhabitants in the area, the Carib also settled in the area and conquered the Arawak by using their superior sailing ships. They settled in Galibi at the mouth of the Marowijne River, while the larger Arawak and Carib tribes lived along the coast and savanna, smaller groups of indigenous peoples lived in the inland rainforest, such as the Akurio, Trió, Warrau, and Wayana. Beginning in the 16th century, French, Spanish, and English explorers visited the area, a century later, Dutch and English settlers established plantation colonies along the many rivers in the fertile Guiana plains
2.
National anthem
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The majority of national anthems are either marches or hymns in style. The countries of Latin America tend towards more operatic pieces, while a handful of countries use a simple fanfare, a national anthem is usually in the national or most common language of the country, whether de facto or official, there are notable exceptions. Amhrán na bhFiann, the anthem of the Republic of Ireland, was written in English, the current national anthem of South Africa is unique in that five of the countrys eleven official languages are used in the same anthem. One of the two national anthems of New Zealand, God Defend New Zealand, is commonly now sung with the first verse in Māori. The tune is the same but the words are not a translation of each other. God Bless Fiji has lyrics in English and Fijian which are not translations of each other, although official, the Fijian version is rarely sung, and it is usually the English version that is performed at international sporting events. There are several countries that do not have official lyrics to their anthems, one of these is the Marcha Real, the anthem of Spain. In 2007 a national competition to write words was held, other anthems with no words include Inno Nazionale della Repubblica, the anthem of San Marino, and that of Kosovo, entitled Europe. National anthems rose to prominence in Europe during the 19th century, the oldest national anthem belongs to the Netherlands and is called the Wilhelmus. It was written between 1568 and 1572 during the Dutch Revolt, but did not become the anthem until 1932. The Japanese anthem, Kimigayo, has the oldest lyrics, which were taken from a Heian period poem, in contrast, the music of Qaumi Taranah, Pakistans national anthem was composed in 1949, preceding its lyrics, which were written in 1952. The Philippine anthem Lupang Hinirang was composed in 1898 as wordless incidental music for the ceremony declaring independence from the Spanish Empire, the Spanish poem Filipinas was written the following year to serve as the anthems lyrics, the current Tagalog version dates to 1962. Spains national anthem, the Marcha Real, written in 1761, was among the first to be adopted as such, in 1770. Denmark adopted the older of its two national anthems, Kong Christian stod ved højen mast, in 1780, and La Marseillaise, Serbia became the first Eastern European nation to have a national anthem – Rise up, Serbia. – in 1804. Ee Mungu Nguvu Yetu, the anthem of Kenya, is one of the first national anthems to be specifically commissioned. It was written by the Kenyan Anthem Commission in 1963 to serve as the anthem after independence from the United Kingdom, National anthems are used in a wide array of contexts. Certain etiquette may be involved in the playing of a countrys anthem and these usually involve military honours, standing up/rising, removing headwear etc. In diplomatic situations the rules may be very formal, there may also be royal anthems, presidential anthems, state anthems etc. for special occasions
3.
La Marseillaise
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La Marseillaise is the national anthem of France. The song was written in 1792 by Claude Joseph Rouget de Lisle in Strasbourg after the declaration of war by France against Austria, and was originally titled Chant de guerre pour lArmée du Rhin. The Marseillaise was a song, an anthem to freedom, a patriotic call to mobilize all the citizens. The French National Convention adopted it as the Republics anthem in 1795 and it acquired its nickname after being sung in Paris by volunteers from Marseille marching to the capital. The song is the first example of the European march anthemic style, the anthems evocative melody and lyrics have led to its widespread use as a song of revolution and its incorporation into many pieces of classical and popular music. As the French Revolution continued, the monarchies of Europe became concerned that revolutionary fervor would spread to their countries, the War of the First Coalition was an effort to stop the revolution, or at least contain it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France and that evening, Rouget de Lisle wrote Chant de guerre pour lArmée du Rhin, and dedicated the song to Marshal Nicolas Luckner, a Bavarian in French service from Cham. A plaque on the building on Place Broglie where De Dietrichs house once stood commemorates the event. The melody soon became the call to the French Revolution and was adopted as La Marseillaise after the melody was first sung on the streets by volunteers from Marseille by the end of May. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte, the songs lyric reflects the invasion of France by foreign armies that were under way when it was written. Strasbourg itself was attacked just a few days later, the invading forces were repulsed from France following their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version was published in October 1792 in Colmar, the Convention accepted it as the French national anthem in a decree passed on 14 July 1795, making it Frances first anthem. It later lost this status under Napoleon I, and the song was banned outright by Louis XVIII and Charles X, only being re-instated briefly after the July Revolution of 1830. During Napoleon Is reign, Veillons au Salut de lEmpire was the anthem of the regime. Eight years later, in 1879, it was restored as Frances national anthem, several musical antecedents have been cited for the melody, Mozarts Allegro maestoso of Piano Concerto No. Only the first verse and the first chorus are sung today in France, there are some slight historical variations in the lyrics of the song, the following is the version listed at the official website of the French Presidency. Verses sung in the version of the anthem are in bold. The United States Library of Congress holds the following English translation and these verses were omitted from the national anthem
4.
Argentine National Anthem
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The original Argentine National Anthem was named Marcha Patriótica, later renamed Canción Patriótica Nacional, and then Canción Patriótica. It has been called Himno Nacional Argentino since it was published with that name in 1847 and its lyrics were written by the Buenos Aires-born politician Vicente López y Planes and the music was composed by the Spanish musician Blas Parera. The work was adopted as the official song on May 11,1813. Some first, quite different, anthems were composed from 1810, the present, much shorter, anthem comprises only the first and last verses and the chorus of the 1813 Patriotic March, omitting much emotional text about the struggle for independence from Spain. The first anthem was the Patriotic March, published on 15 November 1810 in the Gazeta de Buenos Ayres and it had lyrics by Esteban de Luca and music by Blas Parera. In mid-1812, the triumvirate ordered the Buenos Aires Cabildo to commission a national anthem. Cayetano Rodríguez, a Franciscan friar, wrote a text that was approved on 4 August, the Catalan musician Blas Parera, music director of the local theater, set it to music and performed it for the first time with the orchestra he conducted on 1 November. Less than a year later the Assembly of Year XIII estimated that the song was not effective enough to serve as a national anthem, on 6 March 1813 several poets were asked to submit lyrics. The poem by the lawyer Vicente López y Planes was unanimously considered the best and it was approved as the sole national march on May 11,1813. Parera was asked to compose a new musical setting around the same date and he must have finished the piece in a few days. Oral tradition has it that the premiere place on May 14,1813 at the home of the aristocrat Mariquita Sánchez de Thompson. If this episode is true, then Parera, contrary to certain misconceptions, wrote quickly, the published song sheet is dated 14 May 1813. He again conducted the premiere in the theater on May 28. The song includes a line that has given rise to controversy, the meaning reverses, Buenos Aires opposes the front of the people of the union to Buenos Aires positions itself at the front. The original opone has been interpreted as advancing part of the centralist views in Buenos Aires, in many other lines the anthem goes beyond the Argentine theater of the Spanish American wars of independence and references events in Mexico, Central America, Northern South America, and Upper Peru. The growing ideas of independence are reflected in such as On the surface of the earth rises a glorious new nation, her head is crowned with laurels. This portrays not just Spanish absolutism, but Spain itself, as the enemy, in the complete version of the Anthem of May it is noted that the political vision portrayed is not only Argentine, but Latin American. The lyrics are ardently pro-independence and anti-Spanish, as the country was at that time fighting for its independence from Spain, within ten years documented performances took place throughout Argentina, and also in Chile, Peru, and Colombia until they had their own anthems
5.
God Save the Queen
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God Save the Queen is the national and/or royal anthem in a number of Commonwealth realms, their territories, and the British Crown Dependencies. The author of the tune is unknown and it may originate in plainchant and it is also the royal anthem of all the aforementioned countries, as well as Australia, Canada, Barbados and Tuvalu. In countries not previously part of the British Empire, the tune of God Save the Queen has provided the basis for various patriotic songs, in the United States, the melody is used for the patriotic song My Country, Tis of Thee. The melody is used for the national anthem of Liechtenstein. Beyond its first verse, which is consistent, God Save the Queen/King has many historic, since its first publication, different verses have been added and taken away and, even today, different publications include various selections of verses in various orders. In general, only one verse is sung, sometimes two verses are sung, and on rare occasions, three. The sovereign and her or his consort are saluted with the entire anthem, the first six bars also form all or part of the Vice Regal Salute in some Commonwealth realms outside the UK, as well as the salute given to governors of British overseas territories. He also points to several pieces by Henry Purcell, one of which includes the notes of the modern tune. Nineteenth-century scholars and commentators mention the widespread belief that an old Scots carol, the first published version of what is almost the present tune appeared in 1744 in Thesaurus Musicus. The 1744 version of the song was popularised in Scotland and England the following year and this manuscript has the tune depart from that which is used today at several points, one as early as the first bar, but is otherwise clearly a strong relative of the contemporary anthem. It was recorded as being sung in London theatres in 1745, with, for example, Scholes analysis includes mention of untenable and doubtful claims, as well as an American misattribution. The surgical knife that was purpose-built for the occasion is on display in the Musée dhistoire de la médecine, lully set words by Marie de Brinon to music, and Créquy claims the tune was later plagiarised by Handel. Translated in Latin under the name Domine, Salvum Fac Regem, after the Battle of Culloden, the Hanover dynasty supposedly then adopted this melody as the British anthem. James Oswald, He is an author of the Thesaurus Musicus, so may have played a part in the history of the song. Dr Henry Carey, Scholes refutes this attribution, first on the grounds that Carey himself never made such a claim, second, when the claim was made by Careys son, it was accompanied by a request for a pension from the British Government on that score. Third, the younger Carey claimed that his father had written parts of it in 1745, Scholes recommends the attribution traditional or traditional, earliest known version by John Bull. The English Hymnal gives no attribution, stating merely 17th or 18th cent, God Save the Queen is the national anthem of the United Kingdom of Great Britain and Northern Ireland. Like many aspects of British constitutional life, its official status derives from custom and use, in general only one or two verses are sung, but on rare occasions three
6.
Henri Frans de Ziel
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Trefossa, pen name of Henri Frans de Ziel was a neoromantic writer in Dutch and Sranan Tongo from Suriname. He is best known for the Sranan Tongo stanzas of Surinames National Anthem and he was an educator and lived in the Netherlands from 1953 to 1956. Upon his return to Suriname he was part of the staff of the magazines Tongoni. He also served briefly as the director-librarian of Surinames Cultural Centre and he subsequently returned to the Netherlands to work on the publication of Johannes Kings memoirs. Trefossa wrote primarily about the beauty of his country, Suriname. He influenced many writers in Suriname, including Corly Verlooghen, Eugène Rellum, Johanna Schouten-Elsenhout and Michaël Slory, on November 21,2005, a monument was dedicated in his honor on the Sophie Redmondstraat in Paramaribo. His ashes and the ashes of his wife, Hulda Walser, were placed at the monument. Michiel van Kempen, Een geschiedenis van de Surinaamse literatuur, de Geus, Breda 2003, ISBN 90-445-0277-8. Muurgedicht in Leiden The poem by Trefossa, referenced in the link, is translated from Sranan into English below
7.
Brazilian National Anthem
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The anthems lyrics have been described as Parnassian in style and Romantic in content. The melody of the Brazilian national anthem was composed by Francisco Manuel da Silva and was presented to the public for the first time in April 1831. On 7 April 1831, the first Brazilian Emperor, Pedro I, abdicated the Crown and days later left for Europe, in the immediate aftermath of the abdication of Pedro I, the anthem composed by him fell in popularity. Francisco Manuel da Silva then seized this opportunity to present his composition, on that same day, the ship carrying the former Emperor left the port of Rio de Janeiro. The date of April 13 now appears in official calendars as the Day of the Brazilian National Anthem, as to the actual date of composition of the music presented in April 1831, there is controversy among historians. In any event, the Anthem remained in obscurity until it was played in public on 13 April 1831, in style, the music resembles early Romantic Italian music such as that of Gioachino Rossini. It was known during this period as April 7 Hymn. The lyrics by Ovídio Saraiva soon fell out of use, given that they were considered poor, the music, however, continued enjoying sustained popularity, and by 1837 it was played, without lyrics, in all public ceremonies. A national anthem was seen as resulting from praxis or tradition, thus, by 1837, when it was played in all official solemnities, Francisco Manuel da Silvas composition was already the Brazilian National Anthem. The former was dedicated to Emperor Pedro II, and the latter was dedicated to his heiress presumptive and those works are in the vein of similar compositions written at the time in other Nations, such as Charles Gounods Fantasy on the Russian National Anthem. After the Proclamation of the Republic in 1889, the new rulers made a competition in order to choose a new anthem, dedoro himself was said to prefer the old anthem to the new composition that became the anthem of the Proclamation of the Republic. In the early days of the new Federal Republic, the National Anthem continued without official lyrics, but several lyrics were proposed and this presidential decree was issued in execution of a legislative decree adopted by Congress on 21 August 1922. The legal norms currently in force concerning the national anthem are contained in a statute passed in 1971 and this law regulates in great detail the form of the national anthem and how and when it is to be played. This adaptation, long in use, was official by the 1971 statute regulating national symbols. This same statute also confirmed as official the traditional vocal adaptation of the lyrics of the anthem, in F major. Since the redemocratization of the country, far greater artistic liberty has been allowed regarding renderings of the national anthem, singer Fafá de Beléms interpretation of the national anthem, is an example of that. The anthem is sung in Brazils official national language, the Portuguese language, the song consists of two consecutive stanzas. The adoption in 1922 of lyrics containing two stanzas thus created the present situation of the music of the anthem being played twice so as to allow for the singing of both stanzas
8.
Salve, Oh Patria
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¡Salve, Oh Patria. is the national anthem of Ecuador. The lyrics were written in 1865 by the poet Juan León Mera, under request of the Ecuadorian Senate, however, the anthem was not officially adopted by the Congress until September 29,1948. The anthem consists of a chorus and six verses, of only the second verse. In 1830-1832, José Joaquín de Olmedo wrote a national anthem as an homage to the infant Ecuadorian state and this composition, suggested by General Juan José Flores, was not set to music and did not gain popularity. In 1833, a hymn entitled Canción Ecuatoriana, of six verses, was published in the Gaceta del Gobierno del Ecuador No.125 of December 28. A composition date of 1830 was given, but most historians do not consider this definitive, in 1838, a Canción Nacional, of a chorus and six verses, appeared included in the pamphlet Poesías by General Flores, which was published by the Government Press. In a later editions, there were changes to the third verse, even so, for historians, it is the second Canción Nacional that is known. These lyrics were sent, with Congressional approval, to Guayaquil. This is the hymn that would later be officialized as the national anthem. On January 16,1866, the version of the lyrics by Juan León Mera were published in the Quiteño weekly El Sud Americano. In 1870, the national anthem premiered in the Plaza Grande, performed by the 2nd Battalion, the music was in the key of C flat major. The current introduction of 16 measures was composed by Domingo Brescia, today, the hymn is performed in the key of E major from 2001 onward. In 1913, the Guayaquileño writer and diplomat Víctor Manuel Rendón submitted a new hymn with lyrics adapted from the music of Antonio Neumane, Coro ¡Salve, Oh Patria, mil veces. Ya tu pecho, tu pecho, rebosa Gozo y paz y a tu pecho rebosa, Y tu frente, tu frente radiosa Más que el sol contemplamos lucir, Y tu frente, tu frente radiosa Más que el sol contemplamos lucir. 2da Estrofa Los primeros los hijos del suelo Que soberbio, el Pichincha decora Te aclamaron por siempre señora Y vertieron su sangre por ti. Dios miró y aceptó el holocausto Y esa sangre fue germen fecundo De otros héroes que atónito el mundo Vio en tu torno a millares surgir, a millares surgir, a millares surgir. Coro Coro ¡Salve, Oh Patria, mil veces, Y a tu pecho rebosa gozo y paz, y tu frente radiosa más que el sol contemplamos lucir. II Los primeros los hijos del suelo que, soberbio, el Pichincha decora te aclamaron por siempre señora y vertieron su sangre por ti
Suriname