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{{Short description|National anthem of France}}{{other uses}}{{redirect|National anthem of New Caledonia|officially recognized anthem of New Caledonia|Soyons unis, devenons frères}}{{Use dmy dates|date=July 2016}}

factoids

”La Marseillaise“{{efn|Pronunciation: {{IPAc-en|ËŒ|m|ɑːr|s|É™|ˈ|l|eɪ|z|,_|ËŒ|m|ɑːr|s|eɪ|ˈ|(|j|)|É›|z}} {{respell|MAR|sÉ™|LAYZ|,_|MAR|say|(Y)EZ}}, {{IPA-fr|la maʁsÉ›jɛːz|lang}}}} 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 ”“{{efn|{{IPA-fr|ʃɑ̃ dÉ™ ɡɛʁ puʁ laʁme dy ʁɛ̃|pron}}}} (“War Song for the Army of the Rhine“).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 volunteers from Marseille marching to the capital. The song is the first example of the “European march“{{what|date=April 2024}} anthemic style. The anthem’s 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.The italian violinist Guido Rimonda has pointed out in 201video.espresso.repubblica.it/tutti-i-video/la-marsigliese-e-di-un-italiano/937 that the incipit of “Tema e variazioni in Do maggiore” of Giovanni Battista Viotti (1781www.youtube.com/watch?v=zxc_wpcPFlQ has a very strong resemblance to the hymn published 11 years later.La Marseillaise, un hymne à l’histoire tourmentée.WEB, Micaela Ovale & Guilia Mazzetto, Progetti Viotti,www.guidorimonda.com/download/File/C.stampa_ProgettoViotti.pdf, Guido Rimonda, 24 August 2019, it, Basti ricordare che “La Marsigliese” nasce da un tema con variazioni di Viotti scritto nel 1781, ben 11 anni prima della comparsa dell’inno nazionale francese ufficiale (ri-orchestrato da Berlioz con l’aggiunta delle parole da R. De Lisle). Il brano sarà presente nel secondo CD dell’integrale in uscita nel marzo 2013., .

History

File:Pils rouget lisle chantant marseillaise mb (Musée).jpg|thumb|left|Rouget de Lisle, composer of “La Marseillaise”, sings the song for the first time at the home of Dietrich, Mayor of Strasbourg (1849 painting by Isidore Pils, Musée historique de StrasbourgMusée historique de StrasbourgAs 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. On 25 April 1792, Baron Philippe-Frédéric de 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”.Dictionnaire Universelle de la Franc-Maçonnerie, p. 601 – Jode and Cara (Larousse 2011)WEB,www.assemblee-nationale.fr/english/la_marseillaise.asp, La Marseillaise, National Assembly of France, 24 April 2012, fr, dead,www.assemblee-nationale.fr/english/la_marseillaise.asp," title="web.archive.org/web/20120515104621www.assemblee-nationale.fr/english/la_marseillaise.asp,">web.archive.org/web/20120515104621www.assemblee-nationale.fr/english/la_marseillaise.asp, 15 May 2012, dmy-all, That evening, Rouget de Lisle wrote “”BOOK, Weber, Eugen, Peasants into Frenchmen: The Modernization of Rural France, 1870–1914,archive.org/details/peasantsintofren0000webe, registration, 24 April 2012, 1 June 1976, Stanford University Press, 978-0-8047-1013-8, 439, (English: “War Song for the Army of the Rhine“), and dedicated the song to Marshal Nicolas Luckner, a Bavarian freemason in French service from Cham.JOURNAL, Stevens, Benjamin F., January 1896, Story of La Marseillaise, The Musical Record, Oliver Ditson Company, Boston, Massachusetts, 408, 2,books.google.com/books?id=qWYPAAAAYAAJ&pg=RA7-PA2, 24 April 2012, A plaque on the building on Place Broglie where De Dietrich’s house once stood commemorates the event.WEB, Plaque Frédéric De Dietrich,www.archi-wiki.org/Actualit%C3%A9s_adresse:3_place_Broglie_(Strasbourg)#Plaque_Fr.C3.A9d.C3.A9ric_De_Dietrich, Archi-Wiki, 19 September 2017, De Dietrich was executed the next year during the Reign of Terror.{{in lang|fr}} Louis Spach, Frederic de Dietrich, premier maire de Strasbourg., Strasbourgh, Vve. Berger-Levrault & fils, 1857.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 in French) from Marseille by the end of May. These fédérés were making their entrance into the city of Paris on 30 July 1792 after a young volunteer from Montpellier called François Mireur had sung it at a patriotic gathering in Marseille, and the troops adopted it as the marching song of the National Guard of Marseille. A newly graduated medical doctor, Mireur later became a general under Napoléon Bonaparte and died in Egypt at age 28.WEB,www.arcdetriomphe.info/officers/mireur/, General François Mireur, 26 January 2015, 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 following 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.Wochenblatt, dem Unterricht des Landvolks gewidmet, Colmar 1792 weblink {{Webarchive|url=https://web.archive.org/web/20170630212636mfa.allegronet.de/page.php?urG=SER&urS=wochenblatt,%20dem%20unterricht%20des%20landvolks%20gewidmet|date=30 June 2017}}.File:La Marseillaise (1907).webm|thumb|thumbtime=1:20|Belgian singer Jean NotéJean NotéThe Convention accepted it as the French national anthem in a decree passed on 14 July 1795, making it France’s first anthem.BOOK, Mould, Michael, The Routledge Dictionary of Cultural References in Modern French, 2011, Taylor & Francis, New York, 978-1-136-82573-6, 147,books.google.com/books?id=x-FNTmUwfpEC&pg=PA147, 23 November 2011, It later lost this status under Napoleon I, and the song was banned outright by Louis XVIII and Charles X, being re-instated only briefly after the July Revolution of 1830.WEB, Modern History Sourcebook: La Marseillaise,sourcebooks.fordham.edu/mod/marseill.asp, 2023-01-22, sourcebooks.fordham.edu, During Napoleon I’s reign, Veillons au salut de l’Empire was the unofficial anthem of the regime, and in Napoleon III’s reign, it was Partant pour la Syrie, but the government brought back the iconic anthem in an attempt to motivate the French people during the Franco-Prussian War. During the nineteenth and early twentieth centuries, La Marseillaise was recognized 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. Eight years later, in 1879, it was restored as France’s national anthem, and has remained so ever 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 (composed in 1781);“La Marseillaise, un hymne à l’histoire tourmentée” by Romaric Godin, La Tribune, 20 November 2015 {{in lang|fr}}WEB,www.guidorimonda.com/download/File/C.stampa_ProgettoViotti.pdf, Progetti Viotti, Micaela, Ovale, Giulia, Mazzetto, Guido Rimonda, it, 24 August 2019, Basti ricordare che ‘La Marsigliese’ nasce da un tema con variazioni di Viotti scritto nel 1781, ben 11 anni prima della comparsa dell’inno nazionale francese ufficiale., Just remember that ‘La Marseillaise’ was born from a theme with variations by Viotti written in 1781, 11 years before the appearance of the official French national anthem., the dating of the manuscript has been questioned.WEB,www.ilfattoquotidiano.it/2016/01/10/la-marsigliese-e-il-mistero-attorno-alla-sua-paternita/2361661/, La Marsigliese e il mistero attorno alla sua paternità, La Face, Giuseppina, il fatto quotidiano, 10 January 2016, 10 January 2020, A dicembre la Camerata Ducale, diretta dal violinista Guido Rimonda, ha eseguito un Tema con variazioni per violino e orchestra sulla Marsigliese, attribuito al grande compositore vercellese Giovan Battista Viotti. Rimonda, che per la Decca sta registrando gli opera omnia dell’illustre concittadino, possiede un manoscritto del Tema con variazioni firmato ‘GB Viotti’ e datato ‘1781’... Nel libriccino che accompagna il CD Decca del 2013, è riprodotta la prima pagina del manoscritto. Secondo un esperto di Viotti, il canadese Warwick Lister (Ad Parnassum, XIII, aprile 2015), la firma di Viotti in alto a destra potrebbe essere autentica, ma le parole “2 mars 1781” sono di un’altra mano. Non si può dunque escludere che Viotti abbia davvero scritto una serie di variazioni su un tema che tutt’Europa conobbe a metà degli anni 1790; ma l’idea che il brano risalga al decennio precedente, e che la paternità musicale dell’inno vada girata a un violinista vercellese, è appesa all’esile filo di una data d’incerta mano su un manoscritto d’incerta provenienza., In December the Camerata Ducale, conducted by the violinist Guido Rimonda, performed a Theme with variations for violin and orchestra on the Marseillaise, attributed to the great Vercelli composer Giovan Battista Viotti. Rimonda, who for the Decca is recording the opera omnia of the illustrious fellow citizen, owns a manuscript of the Theme with variations signed “GB Viotti” and dated ‘1781’... In the booklet accompanying the 2013 Decca CD, the first page of the manuscript is reproduced. According to an expert from Viotti, the Canadian Warwick Lister (Ad Parnassum, XIII, April 2015), Viotti’s signature on the top right may be authentic, but the words ‘2 mars 1781’ are from another hand. It cannot therefore be excluded that Viotti actually wrote a series of variations on a theme that all of Europe knew in the mid-1790s; but the idea that the piece dates back to the previous decade, and that the musical authorship of the hymn should be turned to a Vercelli violinist, hangs on the slender thread of a date of uncertain hand on a manuscript of uncertain origin.,
• Wolfgang Amadeus Mozart’s Allegro maestoso from the Piano Concerto No. 25 (composed in 1786).WEB,kennedycenter.com/calendar/index.cfm?fuseaction=composition&composition_id=2373, Piano Concerto No. 25 in C major, K. 503,kennedycenter.com/calendar/index.cfm?fuseaction=composition&composition_id=2373," title="web.archive.org/web/20120205191114kennedycenter.com/calendar/index.cfm?fuseaction=composition&composition_id=2373,">web.archive.org/web/20120205191114kennedycenter.com/calendar/index.cfm?fuseaction=composition&composition_id=2373, 5 February 2012, dead, 2013-02-03, dmy-all,
• The oratorio Esther by Jean Baptiste Lucien Grison (composed in 1787).BOOK, Lot, Arthur, La Marseillaise: enquête sur son véritable auteur,books.google.com/books?id=y0yO32je-jMC, V. Palmé, 1886; Nouvelles Éditions Latines 1992, 13 January 2020, 11, 1886, 9782723304580, Cette partition musicale, que ma famille possède toujours, avait été écrite par Jean-Baptiste Lucien Grisons, chef de maîtrise à la cathédrale de Saint-Omer de 1775 à 1787. Or l’air des Stances sur la Calamnie, par laquelle débute cet oratorio, n’est autre que l’air de la Marseillaise, This musical score, which my family still owns, was written by Jean-Baptiste Lucien Grisons, chief of master at the cathedral of Saint-Omer from 1775 to 1787. Now the tune of Stances on Calamnia, with which this oratorio begins, is none other than the air of the Marseillaise., NIE, Marseillaise, 1905,

Other attributions (the credo of the fourth Mass of Holtzmann of Mursberg)AMCYC, Marseillaise, See also (:de:s:Geschichte eines deutschen Liedes|Geschichte eines deutschen Liedes) at (:de:s:Hauptseite|German Wikisource). have been refuted.JOURNAL, Istel, Edgar, April 1922, Is the Marseillaise a German composition? (The history of a hoax), The Musical Quarterly, 8, 213–226, 738232, 2, 10.1093/mq/viii.2.213,

Text

Generally only the first verse is sung.{|class=“wikitable“!Original text{{efn|The French language has spacing before some punctuation marks, such as the exclamation and question marks when typed.}}!IPA transcription{{efn|See (Help:IPA/French), French phonology and French of France.}}!English translation style="vertical-align:top; white-space:nowrap;“|Allons enfants de la Patrie,Le jour de gloire est arrivé !Contre nous de la tyrannieL’étendard sanglant est levé, (bis)Entendez-vous dans les campagnesMugir ces féroces soldats ?Ils viennent jusque dans vos brasÉgorger vos fils, vos compagnes !Refrain :{{Music repeat|Aux armes, citoyens,Formez vos bataillons,Marchons, marchons !Qu’un sang impurAbreuve nos sillons !}}Que veut cette horde d’esclaves,De traîtres, de rois conjurés ?Pour qui ces ignobles entraves,Ces fers dès longtemps préparés ? (bis)Français, pour nous, ah ! quel outrageQuels transports il doit exciter!C’est nous qu’on ose méditerDe rendre à l’antique esclavage !RefrainQuoi ! des cohortes étrangèresFeraient la loi dans nos foyers !Quoi ! Ces phalanges mercenairesTerrasseraient nos fiers guerriers! (bis)Grand Dieu ! Par des mains enchaînéesNos fronts sous le joug se ploieraientDe vils despotes deviendraientLes maîtres de nos destinées !RefrainTremblez, tyrans et vous perfidesL’opprobre de tous les partis,Tremblez ! vos projets parricidesVont enfin recevoir leurs prix ! (bis)Tout est soldat pour vous combattre,S’ils tombent, nos jeunes héros,La terre en produit de nouveaux,Contre vous tout prêts à se battre !RefrainFrançais, en guerriers magnanimes,Portez ou retenez vos coups !Épargnez ces tristes victimes,À regret s’armant contre nous. (bis)Mais ces despotes sanguinaires,Mais ces complices de Bouillé,Tous ces tigres qui, sans pitié,Déchirent le sein de leur mère !RefrainAmour sacré de la Patrie,Conduis, soutiens nos bras vengeursLiberté, Liberté chérie,Combats avec tes défenseurs ! (bis)Sous nos drapeaux que la victoireAccoure à tes mâles accents,Que tes ennemis expirantsVoient ton triomphe et notre gloire !RefrainCouplet des enfants:{{efn|The seventh verse was not part of the original text; it was added in 1792 by an unknown author.}}Nous entrerons dans la carrièreQuand nos aînés n’y seront plus,Nous y trouverons leur poussièreEt la trace de leurs vertus (bis)Bien moins jaloux de leur survivreQue de partager leur cercueil,Nous aurons le sublime orgueilDe les venger ou de les suivre.Refrain| [a.lõ.z‿ɑ̃.fɑ̃ dÉ™ la pa.tʁi.É™][lÉ™ Ê’uʁ dÉ™ glwaʁ É›.t‿a.ʁi.ve][kõ.tʁə nu dÉ™ la ti.ʁa.ni.É™]𝄆 [le.tɑ̃.daʁ sɑ̃.glɑ̃.t‿ɛ lÉ™.ve] 𝄇[ɑ̃.tɑ̃.de vu dɑ̃ le kɑ̃.pa.ɲə][my.Ê’iʁ se fe.ʁɔ.sÉ™ sÉ”l.da][il vjÉ›.nÉ™ Ê’ys.kÉ™ dɑ̃ vo bʁa][e.gɔʁ.Ê’e vo fis vo kõ.pa.ɲə]{{small|[ʁə.fʁɛ̃]:}}𝄆 [o.z‿aʁ.mÉ™ si.twa.jɛ̃][fɔʁ.me vo ba.ta.jõ][maʁ.ʃe maʁ.ʃe][kœ̃ sɑ̃.g‿ɛ̃.pyʁ][a.bʁœ.vÉ™ no si.jõ] 𝄇[kÉ™ vø sÉ›.tÉ™ ɔʁ.dÉ™ dÉ›s.kla.vÉ™][dÉ™ tʁɛ.tʁə dÉ™ ʁwa kõ.Ê’y.ʁe][puʁ ki se.z‿i.ɲɔ.blÉ™.z‿ɑ̃.tʁa.vÉ™]𝄆 [se fεʁ de lõg.tɑ̃ pʁe.pa.ʁe] 𝄇[fʁɑ̃.sÉ› puʁ nu a kÉ›l u.tʁa.Ê’É™][kÉ›l tʁɑ̃s.pɔʁ.z‿il dwa.t‿ɛk.si.te][sÉ› nu kõ.n‿o.zÉ™ me.di.te][dÉ™ ʁɑ̃.dʁ‿a lɑ̃.tik É›s.kla.va.Ê’É™]{{small|[ʁə.fʁɛ̃]}}[kwa de ko.ɔʁ.tÉ™.z‿e.tʁɑ̃.Ê’É›.ʁə][fÉ™.ʁe la lwa dɑ̃ no fwa.je][kwa se pa.lɑ̃.Ê’É™ mɛʁ.sÉ™.nÉ›.ʁə]𝄆 [tÉ›.ʁa.sÉ™.ʁe no fje gÉ›.ʁje] 𝄇[gʁɑ̃ djø paʁ de mɛ̃.z‿ɑ̃.ʃ(e).ne.É™][no fʁõ su lÉ™ Ê’u sÉ™ plwa.É›.ʁe][dÉ™ vil dÉ›s.pÉ”.tÉ™ dÉ™.vjɑ̃.dʁe][le mÉ›.tʁə dÉ™ no dÉ›s.ti.ne.É™]{{small|[ʁə.fʁɛ̃]}}[tʁɑ̃.ble ti.ʁɑ̃.z‿e vu pɛʁ.fi.dÉ™][lÉ”.pʁɔ.bʁə dÉ™ tu le paʁ.ti][tʁɑ̃.ble vo pʁɔ.Ê’e pa.ʁi.si.dÉ™]𝄆 [võ.t‿ɑ̃.fɛ̃ ʁə.sÉ™.vwaʁ lœʁ pʁi] 𝄇[tu.t‿ɛ sÉ”l.da puʁ vu kõ.ba.tʁə][sil tõ.bÉ™ no Ê’Å“.nÉ™.z‿e.ʁo][la tÉ›.ʁ‿ɑ̃ pʁɔ.dÉ¥i dÉ™ nu.vo][kõ.tʁə vu tu pʁɛ.z‿a sÉ™ ba.tʁə]{{small|[ʁə.fʁɛ̃]}}[fʁɑ̃.sÉ› ɑ̃ gÉ›.ʁje ma.ɲa.ni.mÉ™][pɔʁ.te.z‿u ʁə.tÉ™.ne vo ku] [e.paʁ.ɲe se tʁis.tÉ™ vik.ti.mÉ™]𝄆 [a ʁə.gʁe saʁ.mɑ̃ kõ.tʁə nu] 𝄇[me.se dÉ›s.pÉ”.tÉ™ sɑ̃.gi.nÉ›.ʁə][me.se kõ.pli.sÉ™ dÉ™ bwi.je][tu.se ti.gʁə ki sɑ̃ pi.tje][de.ʃi.ʁə lÉ™ sɛ̃ dÉ™ lœʁ mÉ›.ʁə]{{small|[ʁə.fʁɛ̃]}}[a.muʁ sa.kʁe dÉ™ la pa.tʁi.É™][kõ.dÉ¥i su.tjɛ̃ no bʁa vɑ̃.ʒœʁ][li.bɛʁ.te li.bɛʁ.te ʃe.ʁi.É™]𝄆 [kõ.ba.z‿a.vÉ›k te de.fɑ̃.sœʁ] 𝄇[su no dʁa.po kÉ™ la vik.twa.ʁə][a.kuʁ a.te mÉ‘.lÉ™.z‿a.kɑ̃][kÉ™.te.z‿ɛ.nÉ™.mi.z‿ɛks.pi.ʁɑ̃][vwa tõ tʁi.õ.pe nÉ”.tʁə glwa.ʁə]{{small|[ʁə.fʁɛ̃]}}|Arise, children of the Fatherland,The day of glory has arrived!Against us stands tyrannyHer bloody standard has been raised, (repeated)Do you hear, in the countryside,The roar of those ferocious soldiers?They come right into your armsTo tear the throats of your sons, your wives!Refrain:{{Music repeat|To arms, citizens,Form your battalions,Let’s March, let’s march!So that an impureblood waters our furrows!}}What does this horde of slavesOf traitors and invented kings want?For whom have these vile chainsThese irons, been long prepared? (repeated)Frenchmen, for us, ah! What outrageWhat furious action it must arouse!It is for us they dare planA return to the old slavery!RefrainWhat! Foreign cohorts!Would make the law in our homes!What! These mercenary phalanxesWould strike down our proud warriors! (repeated)Great God! By chained handsOur brows would yield under the yokeVile despots would themselves becomeThe masters of our destinies!RefrainTremble, tyrants and you traitorsThe shame of all parties,Tremble! Your parricidal schemesWill finally receive their prize! (repeated)Everyone is a soldier to combat you,If they fall, our young heroes,Will be produced anew from the ground,Ready to fight against you!RefrainFrenchmen, as magnanimous warriors,Bear or hold back your blows!Spare those sorry victims,For regretfully arming against us (repeated)But these bloodthirsty despotsThese accomplices of BouilléAll these tigers who, mercilessly,Tear apart their mother’s breast!RefrainSacred love of the Fatherland,Lead, support our avenging armsLiberty, cherished LibertyFight with your defenders! (repeated)Under our flags may victoryHurry to your manly accentsSo that your expiring enemiesSee your triumph and our glory!RefrainChildren’s verse:We shall enter the (military) careerWhen our elders are no longer thereThere we shall find their dustAnd the trace of their virtues (repeated)Much less keen to survive themThan to share their coffinsWe shall have the sublime prideTo avenge or follow them.Refrain

Cultural impact and musical adaptations

File:Marseillaise-page1.png|thumb|upright=1.2|Score of the opening lines of “La Marseillaise”]]“La Marseillaise” was arranged for soprano, chorus and orchestra by Hector Berlioz in about 1830.William Apthorp (1879) Hector Berlioz; Selections from His Letters, and Aesthetic, Humorous, and Satirical Writings, Henry Holt, New YorkFranz Liszt wrote a piano transcription of the anthem.L. J. de Bekker (1909) Stokes’ Encyclopedia of Music and Musicians, Frederick Stokes, New YorkDuring World War I, bandleader James Reese Europe played a jazz version of “La Marseillaise”.BOOK, Williams, Chad L., Torchbearers of Democracy: African American Soldiers in the World War I Era, 2010, Chapel Hill, University of North Carolina Press, 165–166, 9780807833940, 681746132,

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”. To be noted, singing “La Marseillaise” was forbidden in Austria at the time due to the reason “that such a revolutionary piece might cause public disorder”.WEB,www.classicalconnect.com/piano_music/schumann/faschingsschwank_aus_wien/1044, Faschingsschwank aus Wien, Op. 26 (Carnival of Vienna) &124; Mimi Solomon &124; Piano Music &124; Free classical music online,
• 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 victory at the Battle of Borodino.WEB, Why does everyone love the Marseillaise, France’s national anthem?,www.classicfm.com/lifestyle/travel/marseillaise/, 2023-03-26, Classic FM (UK),
• 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.WEB, The National Anthem’s predecessor and influences, June 10, 2014,malacanang.gov.ph/7815-the-national-anthems-predecessor-and-influences/,malacanang.gov.ph/7815-the-national-anthems-predecessor-and-influences/," title="web.archive.org/web/20141213020237malacanang.gov.ph/7815-the-national-anthems-predecessor-and-influences/,">web.archive.org/web/20141213020237malacanang.gov.ph/7815-the-national-anthems-predecessor-and-influences/, December 13, 2014, dead, Malacañang Palace,
• 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 famous “Infernal Galop” from Offenbach’s Orpheus in the Underworld.Described and played on BBC Radio 3’s CD Review program “Building a Library: Elgar: Violin Concerto” (14 January 2012){{time needed|date=June 2020}}
• The Brisbane Lions use the tune since 1952 for their club song in the Australian Football League.“Origins of our Club song”, Brisbane Lions
• The Beatles hit single of 1967, “All You Need Is Love”, uses the opening bars of “La Marseillaise” as an introduction.MAGAZINE,www.rollingstone.com/music/music-features/the-beatles-make-history-with-all-you-need-is-love-a-minute-by-minute-breakdown-54370/, How the Beatles’ ‘All You Need Is Love’ Made History, Edwards, Gavin, 2014-08-28, Rolling Stone, en-US, 2020-04-24,
• 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.WEB, The Spiritual French Revolution: A Miracle in Our Times, 5752 (1992),www.chabad.org/therebbe/article_cdo/aid/2465274/jewish/The-Spiritual-French-Revolution-A-Miracle-in-Our-Times-5752-1992.htmfootnote18a2465274, June 21, 2020, Chabad.org,
• 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.WEB, Access the Animus – Interview with Sarah Schachner,www.accesstheanimus.com/Interview_with_Sarah_Schachner.html, 2022-12-21, www.accesstheanimus.com,

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”.JOURNAL,www.hymn.ru/paper-soboleva-200501.pdf, dead, Соболева, Н. А., 2005, Отечественная история, National History, ru, Из истории отечественных государственных гимнов, From the history of national national anthems, 1, 10–12,www.hymn.ru/paper-soboleva-200501.pdf," title="web.archive.org/web/20081216213339www.hymn.ru/paper-soboleva-200501.pdf,">web.archive.org/web/20081216213339www.hymn.ru/paper-soboleva-200501.pdf, 16 December 2008,

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.BOOK, Jeremy, Bentham, Jeremy Bentham, Writings on the Poor Laws, Vol. I, Michael, Quinn, Clarendon Press, Oxford, 2001, 978-0199242320, 136, Valéry Giscard d’Estaing who was 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.NEWS, Bremner, Charles, 14 May 2014, Cannes star denounces ‘racist’ Marseillaise at festival opening,www.thetimes.co.uk/tto/news/world/europe/article4089648.ece, The Times, 14 May 2014, 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.NEWS, Riding, Alan, Alan Riding, 5 March 1992, Aux Barricades! ‘La Marseillaise’ Is Besieged,www.nytimes.com/1992/03/05/world/aux-barricades-la-marseillaise-is-besieged.html, The New York Times, 14 May 2014, 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”.NEWS,www.bbc.co.uk/news/magazine-34844105, Simon Schama explains La Marseillaise, BBC News, 17 November 2015, 23 November 2015, 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 him 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.WEB,faroutmagazine.co.uk/serge-gainsbourgs-version-french-national-anthem/, Revisiting Serge Gainsbourg’s version of ‘La Marseillaise’, 2 April 2022, faroutmagazine.co.uk, WEB,www.youtube.com/watch?v=cPJWZILeLzU, Aux armes et caetera, www.youtube.com,

See also

• “Belarusian Marseillaise”, a patriotic song in Belarus
• “Ça Ira”, another famous anthem of the French Revolution
• “Chant du départ”, the official anthem of the Napoleonic Empire
• “La Marseillaise des Blancs”, the Royal and Catholic variation
• “Marche Henri IV”, the national anthem of the Kingdom of France
• “Onamo”, a Montenegrin patriotic song popularly known as the “Serbian Marseillaise”
• “The Women’s Marseillaise”, a women’s suffrage protest song
• “Worker’s Marseillaise”, the national anthem of Russia from 1917 to 1918; written by Robert Schumann, and based on “La Marseillaise”

Explanatory notes

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References

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Further reading

• JOURNAL, Hughes, Charles, Music of the French Revolution, Science & Society, 4, 2, Spring 1940, 193–210, 40399324, none,

External links

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• {{IMSLP|work=La Marseillaise (Rouget de Lisle, Claude-Joseph)}}
• WEB,www.elysee.fr/la-presidence/la-marseillaise-de-rouget-de-lisle, La Marseillaise de Rouget de Lisle, 16 November 2012, Élysée – Présidence de la République, fr,
• WEB,www2.assemblee-nationale.fr/decouvrir-l-assemblee/histoire/dossier-historique-la-marseillaise/les-paroles-de-la-marseillaise, Les paroles de la Marseillaise, Assemblée nationale, fr,
• La Marseillaise, Iain Patterson’s comprehensive website

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