ALBUM REVIEW: David Lang’s the national anthems

by Maggie Molloy

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As we near another anniversary of the September 11 terrorist attacks, we’re reminded of just how terrifyingly destructive and divisive those events were, both within our country and beyond it. Nearly 3,000 innocent civilians died that day—along with another 6,000 who were injured—and that was only the beginning of what was to come.

The attacks led our nation’s troops into what has become the longest-running war in U.S. history. Since 9/11, nearly 2 million U.S. soldiers have been deployed to Afghanistan or Iraq. Over 6,000 American troops have been killed, another 44,000 wounded, and the rest of our nation’s lives forever changed in the legislation that has followed.

Nineteen hijackers changed our nation, our world, and the entire course of history.

It begs the question: Why?

Why are the nations of the world so divided? Why do we keep terrorizing one another? Why do we keep fighting these wars? Are we really all that different?

These are some of the questions composer David Lang asks with his composition “the national anthems,” a choral work released earlier this summer on Cantaloupe Music. Performed by the Los Angeles Master Chorale (under the baton of Grant Gershon) with the Calder String Quartet, the album takes a critical look at the way we as individual nations define ourselves.

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Los Angeles Master Chorale under the baton of Grant Gershon. Photo credit: David Johnston

“I had the idea that if I looked carefully at every national anthem I might be able to identify something that everyone in the world could agree on,” Lang said. “If I could take just one hopeful sentence from the national anthem of every nation in the world I might be able to make a kind of meta-anthem of the things that we all share. “

He combed through the anthems of all 193 countries in the United Nations, pulling one line from each to use in his libretto.

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David Lang. Photo Credit: Peter Serling

“What I found, to my shock and surprise,” Lang said, “Was that within almost every anthem is a bloody, war-like, tragic core, in which we cover up our deep fears of losing our freedoms with waves of aggression and bravado.”

That underlying sense of fear haunts the entire work, with the choir’s prayerful voices rising above a stained glass string accompaniment. The piece is organized into five movements exploring themes of peace, courage, glory, freedom, and community, ever so slowly sprawling outward from the first movement’s unified, tight-knit harmonies toward contrapuntal chaos.

The piece builds in quiet urgency through the war-stained patriotic glory of the middle movements, the once-unified voices separating as the wounded strings weep softly in the distance. And yet, the final movement returns to a churchlike hymn, the voices once again finding unity in their hopes, their prayers, and their music.

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Calder Quartet. Photo Credit: Autumn de Wilde

The anthem is paired with another largescale choral work: Lang’s Pulitzer Prize-winning “the little match girl passion,” based on the children’s story of The Little Match Girl by Hans Christian Andersen. It’s a classic parable given new depth through Lang’s masterful part-writing: a poor young girl, beaten by her father, fails to sell matches on the street and freezes from the bitter cold of the cruel world around her. Yet in wake of “the national anthems,” her story serves a dual purpose, reminding us of the personal wars and private tragedies we all face—and how truly delicate and cherished is our freedom.

“Hiding in every national anthem is the recognition that we are insecure about our freedoms, that freedom is fragile, and delicate, and easy to lose,” Lang said. “Maybe an anthem is a memory informing a kind of prayer, a heartfelt plea: There was a time when we were forced to live in chains. Please don’t make us live in chains again.

LIVE PERFORMANCE FEATURE: Seattle Pro Musica sings David Lang

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David Lang‘s the little match girl passion won the 2008 Pulitzer Prize for music, and was recently performed by Seattle Pro Musica under the direction of Karen P. Thomas:

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A little bit of background on the piece, by David Lang:

“My piece is called The Little Match Girl Passion and it sets Hans Christian Andersen’s story The Little Match Girl in the format of Bach’s Saint Matthew Passion, interspersing Andersen’s narrative with my versions of the crowd and character responses from Bach’s Passion. The text is by me, after texts by Han Christian Andersen, H. P. Paulli (the first translator of the story into English, in 1872), Picander (the nom de plume of Christian Friedrich Henrici, the librettist of Bach’s Saint Matthew Passion), and the Gospel according to Saint Matthew. The word ”passion” comes from the Latin word for suffering. There is no Bach in my piece and there is no Jesus—rather the suffering of the Little Match Girl has been substituted for Jesus’s, elevating (I hope) her sorrow to a higher plane.”

A few of Seattle Pro Musica’s concert-goers offered up their reactions to this moving piece:

“What has stayed with me most from LMGP is the last line, “Rest soft, rest soft”. Boom. “Rest soft, rest soft”. The weight of that single drum beat. The weight in the silent lift of Karen’s hands following that drum beat. The weight and beauty of such a ‘simple’ phrase. “Rest soft, rest soft”.

Boom.

Boom.

Silence.” –Miriam Gnagy

the little match girl passion is one of those pieces that’s very difficult for performers. Besides being technically demanding, the story is so moving that you could easily get carried away by your emotions and become lost. It’s a delicate balancing act – being in the moment enough to make it powerful for the audience without losing control of the performance. It was an unforgettable experience.” –Wes Kim

“Evocative. Poignant.  Difficult.  Heartbreaking.  David Lang’s the little match girl passion causes the singer—and the listener—to experience viscerally the shivering of a little girl on the last evening of the year, and mourn her passing in a forgotten corner of the village.  The Hans Christian Anderson fairytale brought to musical life—a 21st century artistic masterpiece.” –Marilyn Colyar

“The music was mesmerizing. It made me FEEL cold. The blend and balance of the voices was perfection, the halting rhythms dropped me into a focused suspended listening state, so that the sudden shift to the intense soprano solo swept me up and broke me open. What a piece! The stamina of the performers and their complete engagement was extraordinary. The use of instruments (that low drumbeat, the tubular bells, the chain on the hub) was powerful and haunting.” –Elly Hale

“The LMGP performances were haunting. The austere walls of St. James’ made the repetitions in the music even more relentless, providing a suitably cold and eerie atmosphere for the piece to grab the listener by the throat. And so it ended: the candle died with our last breath.” –Isabelle Phan

Many thanks to Karen P. Thomas and David Lang for the allowance of this streaming on-demand!