Banner Moments: the National Anthem in American Life

Deep Blue Deep Blue https://deepblue.lib.umich.edu/documents Research Collections Library (University of Michigan Library) 2014 Banner moments: the national anthem in American life Clague, Mark https://hdl.handle.net/2027.42/120293 Downloaded from Deep Blue, University of Michigan's institutional repository Banner Moments: The National Anthem in American Life 12 September – 18 December 2014 Audubon Room University of Michigan Library Ann Arbor, Michigan © 2014 University of Michigan Library (Special Collections Library) All rights reserved. Curators Mark Clague and Jamie Vander Broek acknowledge the assistance of the following in shaping and mounting this exhibit: staff members of the William L. Clements Library, Bentley Historical Library, University of Michigan Museum of Art, and the U-M Library, including Brooke Adams, Pablo Alvarez, Tim Archer, Marcy Bailey, Cathleen A. Baker, Kristen Castellana, Martha Conway, Roberta Frey Gilboe, Melissa Gomis, Tom Hogarth, Dave Hytinen, Gregory Kinney, Sarah Kennedy, Clayton Lewis, Karl Longstreth, Mary Morris, Kirsten Neelands, Lynne Raughley, Grace Rother, Theresa Stanko, Diana Sykes, and Tim Utter. Banner Moments: The National Anthem in American Life Unlike the Declaration of Independence, the U.S. Constitution, or even the American Flag, Francis Scott Key’s song “The Star-Spangled Banner” lacks a singular icon that defines it. Rather the song must be brought to life through performance. Individuals sing the anthem into a fleeting materiality, simultaneously constructing themselves as a community while inscribing the song ever more deeply into cultural memory. The artifacts in this exhibit capture material iterations of the song and thus record the crystallization of an American national consciousness. In turn they trace the development of nation through war and protest, commerce, and celebration. You will learn that 36 congressional resolutions were required to name Key’s song the U.S. anthem, that “Hail Columbia” was once considered the nation’s anthem, and even that Key’s song was not the first to use its melody to express American patriotic fervor. Artifacts featured in the “Banner Moments” exhibit in the Audubon Room are drawn from the vast collections of the University of Michigan and include works in the University Library’s Special Collections, notably the Joseph A. Labadie Collection, as well as the Stephen S. Clark Library, the William L. Clements Library, the U-M Museum of Art, and the Bentley Historical Library. Musicology and American Culture faculty member Mark Clague, Ph.D. also lent items from his personal research collection. Francis Scott Key, “The Star-Spangled Banner,” and “The Anacreontic Song” Many are surprised to learn that “The Star-Spangled Banner” does not use an original American tune. Francis Scott Key’s 1814 lyric was written to the melody of “The Anacreontic Song” and, in fact, is not even the first American patriotic hymn to make use of the tune. 2 • 15-Star American Flag: “The Star-Spangled Banner” (1 May 1795–3 July 1818) Reproduction, 2012 Clague Collection A 30 by 42-foot version of this flag flew over Fort McHenry following the Battle of Baltimore. A smaller storm flag (now lost) flew over the fort during the battle because of a rainstorm. This 15-star, 15-stripe flag used during the war was the only U.S. flag to have more than 13 stripes because the original design specifications approved on 14 June 1777 called for an additional star and stripe for each new state. The 15-star design recognized the addition of Vermont (1791) and Kentucky (1792), but when Tennessee (1796), Ohio (1803), and Louisiana (1812) entered the union, the flag remained unchanged and thus was out-of-date during the War of 1812. The Battle of Baltimore and Key’s song helped to change this. The song also helped preserve Fort McHenry’s garrison flag for posterity. The actual cloth flag that flew over the fort has undergone a series of costly restorations and is now displayed prominently in the Smithsonian National Museum of American History in Washington D.C. Without the notoriety and fame it gained from Francis Scott Key’s memorial lyric, Fort McHenry’s flag might have been discarded not only physically but in the national imagination. • “The Anacreontic Song as Sung at the Crown & Anchor Tavern in the Strand” Lyric by Ralph Tomlinson [Music by John Stafford Smith] London: Longman & Broderip, [1779] William L. Clements Library The anthem of an amateur musicians club in London known as The Anacreontic Society (founded 1766), the melody of this song provided the musical vehicle for Key’s future anthem. Written in 1775/1776, the song grew in popularity, leading to the publication of this souvenir edition. Soon introduced to London’s theaters, the song achieved notoriety and became the object of parody and a resource melody for poets writing lyrics to popular tunes (known as broadside 3 ballads). It would also serve as the melodic vehicle for Francis Scott Key’s first patriotic lyric “When the Warrior Returns” (1805) and his more famous song begun on the Patapsco River and titled “Defence of Fort M‘Henry,” now known as “The Star-Spangled Banner.” The Anacreontic Society’s meetings were elite affairs beginning with a two-hour symphony concert held in an elegant meeting room followed by dinner. The name of their fashionable restaurant “The Crown & Anchor Tavern” has given momentum to the song’s reputation as a drinking song. The club anthem was sung after dinner (and was usually preceded by a prayer) to introduce a set of popular part songs. Professional singers, who also performed in London’s theaters, sang along with select, trained amateurs while general members joined to echo as a chorus. As a challenging song written to showcase the artistic aspirations of the club, “The Anacreontic Song” was sung by a professional soloist and never intended for mass singing. That is why it is so hard to sing as a community anthem—it was written to allow a skilled soloist to show off. • “Baltimore, Annapolis and Adjacent Country” A Geographical Description of the United States with the Contiguous Countries, including Mexico and the West Indies; Intended as an Accompaniment to Melish’s Map of These Countries John Melish Philadelphia: The Author, 1822 Stephen S. Clark Library Known as America’s Second War of Independence, the War of 1812 pitted the United States of America against its original colonial overseer. While the U.S. attempted to remain neutral during the Napoleonic Wars, trade cargo with both France and England was seized by opposing navies. Britain likewise impressed American sailors (many of whom were still considered by London to be English citizens) to staff its powerful and large navy. Such irritants precipitated a declaration of war signed by U.S. President James Madison on 18 June 1812, giving the war its name. Relatively weak U.S. forces invaded Canada and fought British forces to a stalemate of incompetence. When Napoleon was defeated in Europe, Britain could reassign 4 battle-proven ships and troops to the American war theater, quickly shifting momentum and resulting in the Burning of Washington on 24 August 1814. Francis Scott Key served in the Georgetown Militia’s artillery company that had lost the Battle of Bladensburg leading to the destruction. Thus a month later at Baltimore, his joy was propelled by the contrast of an embarrassing defeat with a surprising victory. The war concluded with the Battle of New Orleans that forged (future President) Andrew Jackson’s fame and ended with the ratification of the Treaty of Ghent that returned all territory to its pre-war state. While neither Britain nor the U.S. really won, the War of 1812 ignited a new patriotic fervor in America and advanced the cause for strengthening the federal government and the military. • “The Star Spangled Banner: A Pariotic sic[ ] Song” [Francis Scott Key] Adapted and arranged by T.C. [Thomas Carr] Baltimore: Printed and Sold at Carrs Music Store, [1814] William L. Clements Library Known to be commercially opportunistic, Carrs Music Store in Baltimore issued the first notated sheet-music imprint of Key’s song, reportedly at the lyricist’s direction. Rather than using the title “Defence of Fort M‘Henry” (under which the song had appeared as lyrics alone), Carrs published the song with the new title “The Star Spangled Banner,” emphasizing the lyric’s repeated refrain and its connection to the nation’s flag as both inspiration and signal of hope, strength, and constancy. While derived from Key’s lyric, this linkage of song and flag served to deepen its symbolic associations and created occasions for future performance at countless civic and military ceremonies. The arrangement is by Thomas Carr, a trained organist at St. Paul’s Episcopal Church in Baltimore. Using the “scientific,” learned approach to composition espoused in the early 19th century, Carr was the first to introduce the raised fourth scale degree (here F#) into the song’s melody. His distinctive coda was copied by music publishers through the U.S. Civil War. A recording and video of this original version is included on the Poets & Patriots CD. 5 • Columbian Centinel Vol. 20, no. 25 (4 December 1793) Printed and Published by Russell Benjamin, Boston Clague Collection The back page of this early American newspaper includes one of the earliest published U.S. parodies on the Anacreontic melody, a pro- British lyric commenting on the war with France. The song is now known as “To Genêt in New York,” and it comments on the activities of Edmond-Charles Genêt, the French ambassador to the U.S., to raise money and an invading force to support the French Revolution. Many Americans saw the French Revolution as parallel to America’s own, while economic interests dictated a policy of neutrality proclaimed by U.S.

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