La Marseillaise · Lablypedia

The French National Convention adopted it as the First Republic's anthem in 1795. The song acquired its nickname after being sung in Paris by Fédérés (volunteers) from Marseille marching to the capital. Its 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.

In 2013, the Italian violinist Guido Rimonda pointed out that the incipit of Giovanni Battista Viotti's "Tema e variazioni in Do maggiore" strongly resembles the anthem. This incipit was first thought to have been published before "La Marseillaise", but that appears to be a misconception, as Viotti published several variations on "La Marseillaise" in 1795 and wrote as a note "I have never composed the quartets below" (Je n'ai jamais composé les quatuors ci dessous).

History

As the French Revolution continued, Europe's monarchies became concerned that revolutionary fervour would spread to their countries. The War of the First Coalition was an effort to stop the revolution, or at least restrict it to France. Initially, the French army did not distinguish itself, and Coalition armies invaded France. On 25 April 1792, Baron Philippe Friedrich Dietrich, the mayor of Strasbourg and Worshipful Master of the local Masonic lodge, asked his Freemason guest Rouget de Lisle to compose a song "that will rally our soldiers from all over to defend their homeland that is under threat". That evening, Rouget de Lisle wrote "Chant de guerre pour l'Armée du Rhin" ("War Song for the Army of the Rhine"), and dedicated the song to Marshal Nicolas Luckner, a Bavarian freemason in French service from Cham. A plaque on the building on Place Broglie where De Dietrich's house once stood commemorates the event. De Dietrich was executed the next year during the Reign of Terror.

The melody soon became the rallying call to the French Revolution and was adopted as "La Marseillaise" after the melody was first sung on the streets by volunteers (fédérés) from Marseille by the end of May. The fédérés entered Paris on 30 July 1792 after a young volunteer from Montpellier, François Mireur, had sung it at a patriotic gathering in Marseille, and the troops adopted it as the National Guard of Marseille's marching song. The song quickly became a form of musical propaganda, spreading revolutionary ideals and uniting citizens through its patriotic lyrics and stirring melody. A newly qualified medical doctor, Mireur later became a general under Napoleon and died in Egypt at age 28.

The song's lyrics reflect the invasion of France by foreign armies (from Prussia and Austria) that was under way when it was written. Strasbourg itself was attacked just a few days later. The invading forces were repulsed from France after their defeat in the Battle of Valmy. As the vast majority of Alsatians did not speak French, a German version ("Auf, Brüder, auf dem Tag entgegen") 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 France's first anthem. It lost this status under Napoleon I, and the song was banned outright by Louis XVIII and Charles X, being reinstated only briefly after the July Revolution of 1830. During Napoleon I's reign, Veillons au salut de l'Empire was the regime's unofficial anthem, and under Napoleon III, it was "Partant pour la Syrie", but the government reinstated "La Marseillaise" in an attempt to motivate the French people during the Franco-Prussian War. During the 19th and early 20th centuries, La Marseillaise was recognised as the anthem of the international revolutionary movement; as such, it was adopted by the Paris Commune in 1871, albeit with new lyrics under the title "La Marseillaise de la Commune". It was reinstated as France's national anthem in 1879 and has remained so since.

Music

Several musical antecedents have been cited for the melody:

Tema e variazioni in Do maggiore, a work by the Italian violinist Giovanni Battista Viotti; the 1781 dating of the manuscript has been questioned, but it seems to have been published after "La Marseillaise", in 1795.
Mozart's Allegro maestoso from the Piano Concerto No. 25 (composed in 1786).
The oratorio Esther by Jean Baptiste Lucien Grison (composed in 1787).

Other attributions (the credo of the fourth Mass by Holtzmann of Mursberg) have been refuted.

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Lyrics

Generally only the first verse is sung.

Cultural impact and musical adaptations

"La Marseillaise" was arranged for soprano, chorus and orchestra by Hector Berlioz in about 1830.

Franz Liszt wrote a piano transcription of the anthem.

During World War I, bandleader James Reese Europe played a jazz version of "La Marseillaise".

The anthem was used as a protest song in the Korean March First Movement protests against Japanese rule in 1919.

Adaptations in other musical works

Robert Schumann uses a brief quote of "La Marseillaise" in his solo piano work's Faschingsschwank aus Wien (1839) first movement, "Allegro". Singing "La Marseillaise" was forbidden in Austria at the time because "such a revolutionary piece might cause public disorder".
Schumann also quotes the melody in the last verse of his song "Die beiden Grenadiere" (Op. 49, No. 1, 1840).
Richard Wagner quotes the melody in the last verse of his "Les deux grenadiers" (1840).
Thomas Wiggins quotes the melody in his "Battle of Manassas" (ca 1861).
Pyotr Ilyich Tchaikovsky quotes "La Marseillaise" in his 1812 Overture (1880), representing the invading French Army under Napoleon (although it had not been the French national anthem at that time), and it is drowned out by cannon fire, symbolizing the Russian defense at the Battle of Borodino.
Pavlos Carrer quotes the tune in the overture to his opera Maria Antonietta (1884).
Julián Felipe incorporated elements of "La Marseillaise" in the fifth and last bar of his incidental piece Marcha Filipina-Magdalo (1898) which eventually became the Filipino national anthem Lupang Hinirang.
Erik Satie's song "Un Dîner à l'Élysée" quotes the tune.
The anthem has been sampled to reference France or Paris in countless film scores.
Dmitri Shostakovich quotes "La Marseillaise" at some length during the fifth reel of the film score he composed for the 1929 silent movie The New Babylon (set during the Paris Commune), where it is juxtaposed contrapuntally with the "Infernal Galop" from Offenbach's Orpheus in the Underworld.
The Australian rules football team the Brisbane Lions use the melody of "La Marseillaise" in their club song, which their predecessor, the Fitzroy Lions, adopted in 1952.
The Beatles' 1967 single "All You Need Is Love" uses the opening bars of "La Marseillaise" as an introduction.
On Simchat Torah (18–19 October) 1973, the Lubavitcher Rebbe adapted the melody to the Jewish prayer "HaAderet v'HaEmunah". In Chabad, the melody is believed to convey the idea of a "spiritual French revolution" – in that Torah should be spread around the world as an advent to the Messianic era.
A Tribe Called Quest sampled La Marseillaise in the beginning of the track Luck of Lucien on their album from 1990, People's Instinctive Travels and the Paths of Rhythm
Sarah Schachner used and reinterpreted the melody of "La Marseillaise" in the track "Rather Death Than Slavery" that is included in the official soundtrack to the video game Assassin's Creed Unity (2014), itself set during the French Revolution. This track was also used in 2015 in a trailer for season 5 of the TV drama Game of Thrones.

Historical Russian use

In Russia, "La Marseillaise" was used as a republican revolutionary anthem by those who knew French starting in the 18th century, almost simultaneously with its adoption in France. In 1875 Peter Lavrov, a narodnik revolutionary and theorist, wrote a Russian-language text (not a translation of the French one) to the same melody. This "Worker's Marseillaise" became one of the most popular revolutionary songs in Russia and was used in the Revolution of 1905. After the February Revolution of 1917, it was used as the semi-official national anthem of the new Russian republic. Even after the October Revolution, it remained in use for a while alongside "The Internationale".

Critique

The British philosopher and reformer Jeremy Bentham, who was declared an honorary citizen of France in 1791 in recognition of his sympathies for the ideals of the French Revolution, was not enamoured of "La Marseillaise". Contrasting its qualities with the "beauty" and "simplicity" of "God Save the King", he wrote in 1796:

The War whoop of anarchy, the Marseillais Hymn, is to my ear, I must confess, independently of all moral association, a most dismal, flat, and unpleasing ditty: and to any ear it is at any rate a long winded and complicated one. In the instance of a melody so mischievous in its application, it is a fortunate incident, if, in itself, it should be doomed neither in point of universality, nor permanence, to gain equal hold on the affections of the people.

Valéry Giscard d'Estaing, President of France for most of the 1970s, said that it is ridiculous to sing about drenching French fields with impure Prussian blood as a Chancellor of the modern democratic Germany takes the salute in Paris. A 1992 campaign to change the words of the song involving more than 100 prominent French citizens, including Danielle Mitterrand, wife of then-President François Mitterrand, was unsuccessful.

The British historian Simon Schama discussed "La Marseillaise" on BBC Radio 4's Today programme on 17 November 2015 (in the immediate aftermath of the Paris attacks), saying it was "... the great example of courage and solidarity when facing danger; that's why it is so invigorating, that's why it really is the greatest national anthem in the world, ever. Most national anthems are pompous, brassy, ceremonious, but this is genuinely thrilling. Very important in the song ... is the line 'before us is tyranny, the bloody standard of tyranny has risen'. There is no more ferocious tyranny right now than ISIS, so it's extremely easy for the tragically and desperately grieving French to identify with that".

In 1979, a reggae version, "Aux armes et cætera" by Serge Gainsbourg, was received poorly by some in France, particularly in Le Figaro, where Michel Droit accused Gainsbourg of making money from the national anthem and suggesting that he was feeding antisemitism. Gainsbourg was also criticised for removing some of the military-focused aspects of the song.