Ode an die Freude
Ode an die Freude / Ode to Joy
Ode to Joy (European Anthem)
Ode to Joy (European Anthem)
Ode to Joy (European Anthem)
Ode to Joy (European Anthem)
"ThemelodyusedtosymbolizetheEUcomesfromtheNinthSymphonycomposedin1823by LudwigVanBeethoven,whenhesetmusictothe"OdetoJoy",FriedrichvonSchiller'slyrical becomingbrothers-avisionBeethoven shared.In1972,theCouncilofEuropeadopted Beethoven's"OdetoJoy"themeasitsanthem.In1985,itwasadoptedbyEUleadersasthe peaceandsolidarity.TheEuropeananthemisnotintendedtoreplace thenationalanthemsof theEUcountriesbutrathertocelebratethevaluestheyshare.Theanthemisplayedatofficial character".
"ThemelodyusedtosymbolizetheEUcomesfromtheNinthSymphonycomposedin1823by LudwigVanBeethoven,whenhesetmusictothe"OdetoJoy",FriedrichvonSchiller'slyrical becomingbrothers-avisionBeethoven shared.In1972,theCouncilofEuropeadopted Beethoven's"OdetoJoy"themeasitsanthem.In1985,itwasadoptedbyEUleadersasthe peaceandsolidarity.TheEuropeananthemisnotintendedtoreplace thenationalanthemsof theEUcountriesbutrathertocelebratethevaluestheyshare.Theanthemisplayedatofficial character".
"ThemelodyusedtosymbolizetheEUcomesfromtheNinthSymphonycomposedin1823by LudwigVanBeethoven,whenhesetmusictothe"OdetoJoy",FriedrichvonSchiller'slyrical versefrom1785.TheanthemsymbolisesnotonlytheEuropeanUnionbutalsoEuropeina widersense.Thepoem"OdetoJoy"expressesSchiller'sidealisticvisionofthehumanrace becomingbrothers-avisionBeethoven shared.In1972,theCouncilofEuropeadopted Beethoven's"OdetoJoy"themeasitsanthem.In1985,itwasadoptedbyEUleadersasthe officialanthemoftheEuropeanUnion.Therearenowordstotheanthem;itconsistsofmusic only.Intheuniversallanguageofmusic,thisanthemexpressestheEuropeanidealsoffreedom, peaceandsolidarity.TheEuropeananthemisnotintendedtoreplace thenationalanthemsof theEUcountriesbutrathertocelebratethevaluestheyshare.Theanthemisplayedatofficial ceremoniesinvolvingtheEuropeanUnionandgenerallyatallsortsofeventswithaEuropean character".
“The melody used to symbolize the EU comes from the Ninth Symphony composed in 1822-24 by Ludwig Van Beethoven, when he set music to the “Ode to Joy”, Friedrich von Schiller’s lyrical verse from 1785. The anthem symbolises not only the European Union but also Europe in a wider sense. The poem “Ode to Joy” expresses Schiller’s idealistic vision of the human race becoming brothers – a vision Beethoven shared. In 1972, the Council of Europe adopted Beethoven’s “Ode to Joy” theme as its anthem. In 1985, it was adopted by EU leaders as the official anthem of the European Union. There are no words to the anthem; it consists of music only. In the universal language of music, this anthem expresses the European ideals of freedom, peace and solidarity. The European anthem is not intended to replace the national anthems of the EU countries but rather to celebrate the values they share. The anthem is played at official ceremonies involving the European Union and generally at all sorts of events with a European character”.
"ThemelodyusedtosymbolizetheEUcomesfromtheNinthSymphonycomposedin1823by LudwigVanBeethoven,whenhesetmusictothe"OdetoJoy",FriedrichvonSchiller'slyrical versefrom1785.TheanthemsymbolisesnotonlytheEuropeanUnionbutalsoEuropeina widersense.Thepoem"OdetoJoy"expressesSchiller'sidealisticvisionofthehumanrace becomingbrothers-avisionBeethoven shared.In1972,theCouncilofEuropeadopted Beethoven's"OdetoJoy"themeasitsanthem.In1985,itwasadoptedbyEUleadersasthe officialanthemoftheEuropeanUnion.Therearenowordstotheanthem;itconsistsofmusic only.Intheuniversallanguageofmusic,thisanthemexpressestheEuropeanidealsoffreedom, peaceandsolidarity.TheEuropeananthemisnotintendedtoreplace thenationalanthemsof theEUcountriesbutrathertocelebratethevaluestheyshare.Theanthemisplayedatofficial ceremoniesinvolvingtheEuropeanUnionandgenerallyatallsortsofeventswithaEuropean character".
(The website of the European Commission)
(The website of the European Commission)
(The website of the European Commission)
The website of the European Commission
(The website of the European Commission)
Music: Ludwig van Beethoven (1770-1827)
Music: Ludwig van Beethoven (1770-1827)
Music: Ludwig van Beethoven (1770-1827)
Music: Ludwig van Beethoven (1770-1827)
Music: Ludwig van Beethoven (1770-1827)
Beethoven adapted the first three verses for the choral part of the final movement of his 9th symphony. However, in the lesser-known verses 4-9 Schiller beautifully interprets ‘joy’ as the core of nature and axis of the universe, as the force to resist tyranny, as well as the root of mercy and reconciliation. Due to the censorship in Vienna in the 1820ies, Beethoven would never have gotten away with including verse nine! The EU Songbook association recommendsverse1,4and9fortheEuropeanAnthem:adecisionbased onasurveycirculatedwithintheEU. Let'ssingittogetheronEuropeDayMay9th!
Freude,schönerGötterfunken, TochterausElysium, Wirbetretenfeuertrunken, Himmlische,deinHeiligtum!
DeineZauberbindenwieder, WasdieModestrenggeteilt; AlleMenschenwerdenBrüder, WodeinsanfterFlügelweilt.
FreudeheißtdiestarkeFeder InderewigenNatur.
Freude,FreudetreibtdieRäder IndergroßenWeltenuhr. BlumenlocktsieausdenKeimen, SonnenausdemFirmament, SphärenrolltsieindenRäumen, DiedesSehersRohrnichtkennt.
RettungvonTyrannenketten, GroßmutauchdemBösewicht, HoffnungaufdenSterbebetten, GnadeaufdemHochgericht!
AuchdieTotensollenleben! Brüdertrinktundstimmetein, AllenSündernsollvergeben, UnddieHöllenichtmehrsein.
Lyrics(1785):FriedrichSchiller (1759-1805)
Joy,youarethesparkofheaven, DaughterofElysium, Goddess,byyourfireleavened, Toyourholyseatwecome. Whatcrudecustomhasdivided Backtogetheryouwillbring, Brothersall,weareunited Underneathyourgentlewing.
Intheclockworkofcreation, Joy,youarethemightyspring, Quickeningwithoutcessation Lifeandbreathineverything. Youturnseedlingintoflower Formlessmatterintolight, Turntheplanetswithapower Hiddenfromthewatcher’ssight.
Joyletsfalltheironfetters
Bothofdeathandtyranny, Justicebothforthievesanddebtors Temperedbewithclemency. Thosewhodiedwilllifebegiven, Brothers,drink,andjoinoursong! Everysinwillbeforgiven, Hellwillbeforevergone.
Translation(2023):DavidDrachmann Laureng
Die
11.
4
Gedanken
sind frei
Die Gedanken sind frei
All My Thoughts Are Truly Free
All My Thoughts Are Truly Free
Originating from Switzerland in the decade of the French revolution this freedom song takes up the ancient idea of the freedom of thought, which already in the 12th century occupied the “Urvater” of the German song, Walther von der Vogelweide (c. 1170–c. 1230). The merry melody and serious lyrics were given their common form from various versions by Hoffmann von Fallersleben (1798 – 1874). Since its publication in 1842 this symbol of freedom of thought – and speech! – and struggle against oppression, was actualized in many conflict situations in German history. It was forbidden both during German Revolution (1848) and Nazism. Anti-Nazi political activist Sophie Scholl (1921-43) played it on flute by the prison wall for her imprisoned father, who had been critical of Hitler.
Originating from Switzerland in the decade of the French revolution this freedom song takes up the ancient idea of the freedom of thought , which already in the 12th centur y occupied the "Ur vater” of the German song, Walther von der Vogelweide (c. 1170 – c. 1230). The merr y melody and serious lyrics were given their common form from various versions by Hoffmann von Fallersleben (1798 – 1874). Since its publication in 1842 this symbol of freedom of thought - and speech! - and struggle against oppression, was actualized in many conflict situations in German histor y. It was forbidden both during German Revolution (1848) and Nazism. Anti-Nazi political activist Sophie Scholl (1921-43) played it on flute by the prison wall for her imprisoned father, who had been critical of Hitler.
By Ekkehard Klemm, president, Association of German Concert Choirs (VDKC)/ Hochschule für Musik “Carl Maria von Weber” Dresden
(By Ekkehard Klemm, Association of German Concert Choirs (VDKC) / Dresden Hochschule für Musik Dresden “Carl Maria von Weber”)
Lyrics: possibly Ferdinand Freiligrath (1810-76)
Lyrics: possibly Ferdinand Freiligrath (1810-76)
& b b 4 3 œ
All Die 1. 1. my Ge q = 120
œ thoughts dan are ken tru sind ly B b
free, frei, no wer B b
œ œ bo kann dy sie can er F 7
Music: folksong
Music: folksong
know ra them, ten, like sie B b - - -- -& b b
œ
sha 6lie dows hen in vor the B b
night bei I wie
don't nächt have li to che F 7
œ œ show Schat them. ten. No Kein B b - - - -& b b 9 œ
hunt Mensch er kann can sie D 7
œ œ spill schie them, ßen, it's es B b - - --& b b
ea blei sy bet to da E b
kill wis them, sen, no kein
care Jä less ger bloke er
see: bei: All die my Ge
are tru ken ly sind
1. Die Gedanken sind frei, wer kann sie erraten, sie 6liehen vorbei wie nächtliche Schatten. Kein Mensch kann sie wissen, kein Jäger erschießen, es bleibet dabei: die Gedanken sind frei.
2. Ich denke, was ich will, und was mich beglücket, doch alles in der Still, und wie es sich schicket. Mein Wunsch und Begehren kann niemand verwehren, es bleibet dabei: die Gedanken sind frei.
3. Ich liebe den Wein, mein Mädchen vor allen, sie tut mir allein am besten gefallen. Ich bin nicht alleine bei meinem Glas Weine, mein Mädchen dabei: die Gedanken sind frei.
4. Und sperrt man mich ein im 6insteren Kerker, das alles sind rein vergebliche Werke; denn meine Gedanken zerreißen die Schranken und Mauern entzwei: die Gedanken sind frei.
5. Drum will ich auf immer den Sorgen entsagen und will mich auch nimmer mit Grillen mehr plagen. Man kann ja im Herzen stets lachen und scherzen und denken dabei: die Gedanken sind frei.
1. All my thoughts are truly free, nobody can know them, like shadows in the night I don't have to show them. No hunter can kill them, no careless bloke spill them, it's easy to see: All my thoughts are truly free.
2. What I think is up to me, I follow my calling. But I do it silently and never appalling. To what I aspire remains my desire, it's easy to see: All my thoughts are truly free.
3. Let's have some more wine, my girl is a treasure, so fair and so _ine, she gives me such pleasure. Let's drink to life's chances, to love and romances, so lovely is she all my thoughts are truly free.
4. If they give me ball and chain for long or forever their hate is in vain, they'll change my mind never. My thoughts have the power to crush any tower and all misery all my thoughts are truly free.
5. So that's what I plea: No pain and no sorrow. There always will be a joyful tomorrow. Sometimes saint, sometimes sinner, but my heart is a winner and always will be: All my thoughts are truly free.
Translation by Heinz Rudolf Kunze (2022)
Translation: Heinz Rudolf Kunze (2022) /
FREEDOM & PEACE
7
15.
Bella Ciao
15.
Bella Ciao
Bella Ciao
FREEDOM & PEACE
After WW2, this song became the symbol of the resistance (Resistenza) against fascism and is for the Italian people a hymn to freedom and liberation from t yranny Today it’s a song of freedom ver y much felt in the emotional sense by all those citizens protesting against the continuous attempts of the authoritarian and populist right wing and is sung often and spontaneously by the multitudes in street demonstrations and on April 25th (the end of WW2 in Italy) or May 1st (Labour Day) The melody of "Bella Ciao" is so well known that it is often used in the most different contexts also with other lyrics, for example in the anthems of soccer fans. However, it is always important to remember the authentic origins of this song that still reflects the political struggle between opposing factions.
After WW2, this song became the symbol of the resistance (Resistenza) against fascism and is for the Italian people a hymn to freedom and liberation from tyranny. Today it’s a song of freedom very much felt in the emotional sense by all those citizens protesting against the continuous attempts of the authoritarian and populist right wing and is sung often and spontaneously by the multitudes in street demonstrations and on April 25th (the end of WW2 in Italy) or May 1st (Labour Day). The melody of “Bella Ciao” is so well known that it is often used in the most different contexts also with other lyrics, for example in the anthems of soccer fans. However, it is always important to remember the authentic origins of this song that still reflects the political struggle between opposing factions.
After WW2, this song became the symbol of the resistance (Resistenza) against fascism and is for the Italian people a hymn to freedom and liberation from t yranny. Today it’s a song of freedom ver y much felt in the emotional sense by all those citizens protesting against the continuous attempts of the authoritarian and populist right wing and is sung often and spontaneously by the multitudes in street demonstrations and on April 25th (the end of WW2 in Italy) or May 1st (Labour Day). The melody of "Bella Ciao" is so well known that it is often used in the most different contexts also with other lyrics, for example in the anthems of soccer fans However, it is always important to remember the authentic origins of this song that still reflects the political struggle between opposing factions.
(By Alfonso Santimone, National Academy of Jazz, Siena)
By Alfonso Santimone, National Academy of Jazz, Siena
Lyrics: Anonymous, (based on workers song, Po Valley)
(By Alfonso Santimone, National Academy of Jazz, Siena)
Music: Folksong, 19th century
Lyrics: Anonymous, (based on workers song, Po Valley)
& b 4 4 j
œ One U 1. 1. mist na y mat
Music: Folksong, 19th century
Lyrics: Anonymous, Music: Folksong, 19th century (based on workers song, Po Valley) & b 4 4 j
morn ti ing na I mi woke son at sve D m
œ
œ dawn, glia to, oh o bel bel la la D m - - - - --
ciao, ciao, bel bel la la ciao, ciao, bel bel la la D m
ciao, bel bel la la ciao, ciao, bel bel la la
D m
morn ti ing na I mi woke son at sve G m - -
dawn, glia to the en e ho e
1. Una mattina mi son svegliato, o bella ciao, bella ciao, bella ciao ciao ciao! Una mattina mi son svegliato e ho trovato l'invasor.
1. Una mattina mi son svegliato, o bella ciao, bella ciao, bella ciao ciao ciao! Una mattina mi son svegliato e ho trovato l'invasor.
2. O partigiano portami via, o bella ciao, bella ciao, bella ciao ciao ciao o partigiano portami via che mi sento di morir.
2. O partigiano portami via, o bella ciao, bella ciao, bella ciao ciao ciao o partigiano portami via che mi sento di morir.
1. One misty morning I woke at dawn, oh bella ciao, bella ciao, bella ciao ciao ciao! One misty morning I woke at dawn the enemy was everywhere.
1. One misty morning I woke at dawn, oh bella ciao, bella ciao, bella ciao ciao ciao! One misty morning I woke at dawn the enemy was everywhere.
2. Oh partisan, take me away! oh bella ciao, bella ciao, bella ciao ciao ciao! oh partisan, take me away! for I am very close to die.
2. Oh partisan, take me away! oh bella ciao, bella ciao, bella ciao ciao ciao! oh partisan, take me away! for I am very close to die.
3.E se io muoio da partigiano, obella ciao, bella ciao, bella ciao ciao ciao, e se io muoio da partigiano tu mi devi seppellir.
4.Seppellire lassù in montagna, obella ciao, bella ciao, bella ciao ciao ciao, seppellire lassù in montagna sotto l'ombra di un bel ^ior.
5. E le genti che passeranno, obella ciao, bella ciao, bella ciao ciao ciao, e le genti che passeranno mi diranno «che bel ^ior.»
6. Questo è il ^iore del partigiano, obella ciao, bella ciao, bella ciao ciao ciao, questo è il ^iore del partigiano morto per la libertà.
3.And if I die as partisan, oh bella ciao, bella ciao, bella ciao ciao ciao! and if I die as partisan you will have to bur y me.
4.You’ll bury me, up in the mountains, oh bella ciao, bella ciao, bella ciao ciao ciao! you’ll bury me, up in the mountains, under the shade of a wild rose.
5.And all the people who’ll pass by me, oh bella ciao, bella ciao, bella ciao ciao ciao! and all the people who’ll pass by me, they’ll whisper «What a rose!»
6.This partisan became a wild rose, oh bella ciao, bella ciao, bella ciao ciao ciao! this partisan became a wild rose who died to set the peoples free.
Translation by Massimo Bubola (2023)
24.
8
Na Kráľovej holi
Na Kráľovej holi
On the King’s Highland
On the King’s Highland
This is a Slovak folksong from the area of Horehronie (upper part of the river Hron). According to legend, the lyrics were written during World War II on the Russian front by a wounded Czechoslovakian soldier who thought he would probably never return home. An alternative interpretation is that the song is about a convicted man just before his execution by hanging. Even though nowadays there is no tree at the top of the “King’s Hill” to resemble a gallows, this place is one of the most attractive tourist routes due to its beautiful nature. “Na Kráľovej holi” is also considered part of the Slovak history as significant figures had visited it (e.g. Bulgarian king Ferdinand, king Matthias Corvinus, and others). In 2019 a version of the song became the anthem and battle hymn of the football club “Slovan Bratislava”.
This is a Slovak folksong from the area of Horehronie (upper part of the river Hron) According to legend, the lyrics were written during World War II on the Russian front by a wounded Czechoslovakian soldier who thought he would probably never return home. An alternative interpretation is that the song is about a convicted man just before his execution by hanging Even though nowadays there is no tree at the top of the “King's Hill” to resemble a gallows, this place is one of the most attractive tourist routes due to its beautiful nature. "Na Kráľovej holi" is also considered part of the Slovak histor y as significant figures had visited it (e.g. Bulgarian king Ferdinand, king Matthias Cor vinus, and others) In 2019 a version of the song became the anthem and battle hymn of the football club “Slovan Bratislava”.
(By Eva Čunderlíková, Slovak Music Teacher Association, AUHS/ Academy of Music Bratislava, VŠMU)
Lyrics: folk poem
By Dr. Eva Čunderlíková, Slovak Music Teacher Association, AUHS/ Academy of Music Bratislava, VŠMU
Music: folksong
Lyrics: folk poem Music: folksong
& # 4 2 j œ œ j
On Na 1. 1. the Krá King’s ľo E m q = 82
On Na the Krá King’s ľo G
œ High vej land, ho see, li B E m
land,
there sto stands jí a strom
there sto stands jí a strom
œ tall ze green le D 7 ˙ tree. ný. G
1. ||:Na Kráľovej holi stojí strom zelený. :|| ||:Vrch má naklonený, vrch má naklonený, vrch má naklonený do slovenskej zemi. :||
2. ||: Odkážte, odpíšte tej mojej materi, :|| ||: že mi svadba stojí, že mi svadba stojí, že mi svadba stojí na Kráľovej holi. :||
3. ||: Na nebi hviezdičky sú moje sestričky :|| ||: a guľa z kanóna a guľa z kanóna a guľa z kanóna, to je moja žena. :||
4. ||: Odkážte, odpíšte mojím kamarátom, :|| ||: že už viac nepôjdem, že už viac nepôjdem, že už viac nepôjdem na fraj za dievčaťom. :||
5. ||: Nezomrem na zemi, zomrem na koňovi, :|| ||: a keď s koňa spadnem, a keď s koňa spadnem, a keď s koňa spadnem, šabľa mi zazvoní. :||
6. ||:Šabľa mi zazvoní, karabín zabrinká, :|| ||:ozdaj me počuje, ozdaj me počuje, ozdaj me počuje tá moja frajerka. :||
1. ||: On the King’s Highland, see, there stands a tall green tree. :|| ||: Bending, its leafy crown, bending, its leafy crown, bending, its leafy crown to Slovak earth bows down. :||
2. ||: Let your report be clear, telling my mother dear: ||: now I’ve my wedding planned, now I’ve my wedding planned, now I’ve my wedding planned, here on the King’s High Land. :||
3. ||: Stars that so brightly shine, sisters they shall be mine. :|| ||: A cannonball in ^light, a cannonball in ^light, a cannonball in ^light, shall be my wife tonight. :||
4. ||: Let your report be clear, telling my comrades dear: :|| ||: I shall no longer come, I shall no longer come, I shall no longer come, to court the girls at home. :||
5. ||: On foot I shall not die, but on my saddle high. :|| ||: When horse and I shall yield, when horse and I shall yield, when horse and I shall yield, like bells my sword will peal. :||
6. ||: My sword peal like a bell, my carbine call as well, :|| ||: and maybe she will hear, and maybe she will hear, and maybe she will hear, that girl I love so dear. :||
Translation by John Minahane (2023)
