Mexican national anthem
The Mexican National Anthem is one of the three national symbols established by law in that country along with the coat of arms and flag. Despite being known and used as such since 1854, it only became official since 1943, based on a decree issued by Manuel Ávila Camacho, who served as president of Mexico from 1940 to 1946. And since February 1984, its use is regulated by the Ministry of the Interior based on the Law on the National Coat of Arms, Flag and Anthem.
The lyrics of the anthem allude to Mexican victories in battles, it deals with the defense of the homeland, the virtues of the people who exercise it and the sacrifice that entails. Its verses and chorus were composed by the poet from San Luis Potosí Francisco González Bocanegra in 1853, while its music, the work of the Spanish composer Jaime Nunó, was composed the following year. In its original version, the hymn is made up of ten stanzas, but in the ninety years that it took to make it official, it went through several modifications or attempts at modification, and was reduced to only four stanzas and the chorus from 1943, when it was officialized.
Features
The characteristics and use of the Mexican National Anthem are regulated by the Law on the national shield, flag and anthem, in its articles 1, 4, Chapter V, articles 38 to 49, and the Special Chapter of articles 57 to 60. And it is mentioned that the text of the anthem and music score are authenticated by signature of the holders of federal powers, in a triple copy that is deposited for safekeeping in the General Archive of the Nation, in the National Library and the National Museum of History.
- Link to a photo of the letter and authenticated notes of the national anthem under the guard of the General Archive of the Nation
Letter
The official lyrics of the Mexican anthem are made up of four stanzas and a chorus, as established in article 57 of the aforementioned law and these stanzas and chorus are:
Chorus
Mexicans, at the cry of war
- The steel and the bridon;
- And return to their centers the land
- To the sound of the cannon.
- And return to their centers the land
- To the sound of the cannon.
Verses
Officially, in 1943 the complete text of the national anthem was published, with its ten stanzas and refrain, but some were cut because they made reference to Santa Anna and Iturbide: for this reason, it was cut to only four stanzas: stanzas I, V, VI and X, from the original version, and the chorus. The modification of the lyrics was first ordered by President Manuel Ávila Camacho, but it was only made official in 1984 by President Miguel de la Madrid Hurtado at four stanzas, in order to make it easier to interpret.
Music
In the special chapter, article 58 of the law, a copy of the music score of the anthem is presented, basically consisting of two parts: one for the chorus and another for the stanzas.
First page of the score and letter.
Second page of the score and letter.
Interpretation
The way to interpret the hymn is as follows:
Stribillo, Step IStribillo, Step IIStribillo, Step IIIStribillo, Step IVStribillo.
Use
In article 42 of the Law on the National Coat of Arms, Flag and Anthem, it is mentioned that:
The National Anthem will only be executed, in whole or in part, in solemn acts of an official, civic, cultural, school or sports character,...
In the case of partial versions, it indicates that in schools and sporting events, such as the Olympic Games, the only parts of the anthem that can be interpreted or reproduced are the chorus and verse I. Other exceptions are: for other cases such as the closings and openings of transmissions of radio or television stations, they can alter within the four official stanzas and with the prior authorization of the Ministry of the Interior the version they transmit, although they can never shorten the complete versions that are produced during official ceremonies.
In official ceremonies in Mexican territory of public and private institutions where the National Anthem and another foreign one must be played, the Mexican one will be performed first; but if there is a protocol, as in the Olympic Games, it will be interpreted according to the order established by the corresponding protocol of that act.
On the other hand, its use as a badge of honor is performed accompanied by other music; For example; to honor the President of the Republic, the military bands present will play the "March of Honor"; In the case of honors to the flag, the music bands will perform the anthem and at the same time the military bands will play the march called "Bandera" and it establishes a limit to their interpretations in that case, twice, to honor the Flag and pay honors to the President of the Republic. Although the caveat is indicated that when it is performed by a choir, the military bands must remain silent so as not to turn off the choir.
In any case, those present must show respect by assuming a firm position and in the event that there are men, they must have their heads uncovered, except that it is done with soldiers who have their own ceremonial.
Foreign Use
Abroad, the embassies, consulates and official delegations of the Ministry of Foreign Affairs are in charge of monitoring the application of the law and respect for the national anthem, avoiding its commercial use and authorizing its interpretation after consulting with the Ministry of the Interior in situations that are not civic acts, in addition to promoting their interpretation in solemn public acts carried out by Mexicans. It also has the obligation to request the government that is accredited to prohibit its use, especially if it is of a commercial nature.
In other languages
In Mexico there are people who preserve and speak exclusively indigenous languages or those of their culture of origin, since December 8, 2005, article 39 of the law allows the translation of the lyrics into native languages. The translation must be sanctioned by the National Institute of Indigenous Languages and authorized by the Ministry of the Interior.
As of 2014, the national anthem has been translated into the following indigenous languages: Chinanteco, Otomí, Mixteco, Maya, Nahuatl and Huastec. Other native groups have translated the hymn into their respective languages, but it has not yet been sanctioned by the government. Outside of the native languages, it has also been translated into plodich.
Mennonite children and youth in Mexico sing the Mexican national anthem translated into plódich in their schools every Monday. In 2008, a Mennonite school called La Esperanza in the Chihuahuan municipality of Cuauhtémoc was the winner at the state level, who sang the Mexican national anthem in Spanish and a stanza in their mother tongue.
Teaching and dissemination
Since 2005, the teaching of the National Anthem has been an obligation in all preschool, primary and secondary schools in the country. To achieve this, since that year a National Hymn Interpretation Contest for Children's Choirs has been organized.
Surveillance
In Mexico, the Ministry of the Interior is in charge of monitoring the application of the law, although it can help from other federal government offices. As in the case of the Ministry of Foreign Affairs for other nations or the Ministry of Public Education in the case of dissemination and teaching.
History
After the anthem was written, Mexico was still dealing with the effects of defeat in a US invasion. The country felt demoralized and also divided, due to the loss of approximately half of its territory, which already belonged to the United States. According to historian Javier Garciadiego, who spoke at a ceremony commemorating the 150th anniversary of the anthem's approval in 2004, the anthem ignores divisions and conflicts and encourages national unity. On that same date, Mexico City and other parts of the country stopped what they were doing and sang a national anthem. Individuals from other nations participated as well, mostly at diplomatic offices or in places where there was a high concentration of expatriates from Mexico. The anthem has also been described as one of the symbols of "Mexican identity".
Before 1820
Among the pre-Hispanic peoples there is no news that there was at least something similar to a hymn that uniquely identified some of the Altépetl, but when the European traditions arrived after the so-called Spanish Conquest, the so-called religious hymns flourished in whose Lyrics and music praised the life of some Saint or the deity of the Catholic Church, as well as the civic hymns that tried to praise the arrival of viceroys, bishops, clergy, the enthronement of Spanish kings and more commonly the life of some character or New Spain group, among the most outstanding authors of this type of hymns we have Manuel de Sumaya, José de Torres and José Aldana, whose religious work was profusely praised in their time and even today, the hymns dedicated to the Guadalupe's Virgin. The first time that something very similar to a National Anthem existed in Mexico was the so-called Royal March or Grenadier March, which began to be used in Spain and its colonies during civic ceremonies since 1761, authored by Manuel de Espinosa de los Monteros, was a work of some liking that influenced in later years the new Mexican nationalism that was formed during the War of Independence.
In the 19th century
When the independence of Mexico was consummated in 1821, the new Mexican nationalism only promoted the creation of a shield and national flag as a symbol of the new state. Apparently, the idea of a National Anthem was not a necessity, which is why during the enthronement of Agustín de Iturbide the religious hymn Veni Creator was sung in a special way. Subsequently, the inauguration protocol for the first president and vice president of Mexico did not include any hymn or song used as an anthem.
In spite of that, during that first half century, there was never a lack of informal proposals for hymns that tried to take the place. For example, during the final stage of the War of Independence, a siege was carried out on the city of Querétaro by Trigarante troops. Among those troops was a musician named José Torrescano who composed a very anti-Spanish hymn, whose most questioned phrase was:
We are independent,/live Freedom,/live America free/and live equality.
That is why the anthem was not promoted very much, since the idea of the Triguarante Army was to achieve the unity of all the social groups of New Spain.
Already in what is considered independent Mexico, in 1822, another musician named José María Garmendía made another hymn that was not liked because it was very focused on the figure of Agustín de Iturbide. For example, his first words were:
To the weapons, courageous Indians; to the weapons run courageously;/the party continues from Iturbide;/ let us be free and there is no oppression.
For this reason, when the regime changed from monarchical to republican, it was totally forgotten.
Later, during both the federalist and centralist republics, when they wanted to honor the president or vice president, they performed a piece to their liking. For example, Antonio López de Santa Anna liked the overture Semiramis by Gioachino Rossini, while José Joaquín de Herrera preferred Poeta y campesino by Franz von Suppé.
On July 13, 1844, another musician named Eusebio Delgado put to music an anonymous poem that honored Antonio López de Santa Anna, who was in his 8th term of government during the centralist republic. He was not liked by the public and ended up being forgotten.
In 1849, after the disastrous US invasion from 1846 to 1848 and during the federal presidency of José Joaquín de Herrera, a so-called Junta Patriotica de la Ciudad de México was formed which, through the Academy of San Juan de Letrán, organized a contest to find a letter that together with the music of the Austrian pianist Henri Herz, could form a national anthem. That first contest was the most serious proposal to date, it included among its judges very prominent figures of the time, such as Andrés Quintana Roo, Manuel Lacunza, José Joaquín Pesado, Manuel Carpio and Alejandro Arango y Escandón. The contest was won by the American Andrés David Bradburn, which together with the content of the work made it a true failure that ended up being forgotten.
Shortly after, in 1850, the same Academy of San Juan de Letrán held its own contest to set a poem by the Cuban Juan Miguel Lozada to music. The selected music was the work of Nicolás-Charles Bochsa, but since it was a poem very focused on the figure of President José Joaquín de Herrera did not transcend.
Apparently during that year there was a kind of informal competition, since the Italian musician Antonio Barilli proposed not only one anthem, he proposed two, which were in no way liked by the Mexican people. Shortly after, in 1851, another musician of Czech origin Max Maretzek presented his proposal and it did not come to fruition, and thus several attempts were accumulated in just three years. In April 1853, the Italian Inocencio Pellegrini presented his "Canto Nacional" without much success, if any. In December 1853, another musician named Infante created a patriotic composition dedicated to Antonio López de Santa Anna which was only played one night.
Other personalities who presented formal and informal proposals were Fernando Calderón y Beltrán, José María Garmendia, Francisco Manuel Sánchez de Tagle, Mariano Elízaga and José María Heredia.
Official competition
It is not known if due to that effervescence or just for the taste of the then president and dictator Antonio López de Santa Anna on November 12, 1853, through the Official Gazette of the government of the Mexican Republic, a double contest was announced, whose purpose and order would be to select a patriotic poem and its subsequent musicalization to form a Hymn to the Homeland.
In 1854 the 25th Anniversary of "The Victory of Tampico of 1829" when Antonio López de Santa Anna defeated the Spanish Army in their reconquest attempt. Santa Anna sought to celebrate in style his great military victory where he reached the rank of Major General. The contest was called with due anticipation so that on September 11 of the following year the National Anthem would be arranged.
For the letter, it was requested to send the proposal in a sealed envelope with a pseudonym to the Ministry of Development, Colonization, Industry and Commerce in less than twenty days, after which it would take ten days to define the winner, after being announced the winner, the musicalization would have another month to receive proposals, after which it would take another month to announce the winner of the music. In the same call it was defined that the exploitation rights of the proposals would pass into the hands of the central government and only a consideration would be delivered to the winners. This call was signed by the then senior official of the ministry Miguel Lerdo de Tejada, the jury for the lyrics was made up of José Bernardo Couto, Manuel Carpio and José Joaquín Pesado, while the jury for the music was made up of José Antonio Gómez, Agustín Balderas and Tomás León.
The result for the lyrics was published on February 4, 1854 in the official gazette along with the lyrics, the winner being Francisco González Bocanegra from San Luis Potosi, who was later found to have written the lyrics locked in a room that was then his fiancée, Guadalupe González del Pino, since he did not want to participate in the contest. González was announced the winner in the Official Gazette of the government of the Mexican Republic on February 3, 1854.
Although González Bocanegra's anthem is a warlike anthem, it is not one of attack, aggression or expansionism, but quite the opposite, it is a hymn of defense of the country and national territory. Surely inspired by the military event that was remembered and celebrated in that year of 1854 on the 25th anniversary of the Spanish Invasion of Reconquista, the poet narrates in his stanzas the situation and disposition of the Mexicans and the nation in the face of a foreign invasion, not so for an internal and fratricidal war. Santa Anna, the great "Vencedor of Tampico" He would be remembered in that Santanista hymn that was even given to him by González Bocanegra in the dedication the same night of its premiere at the Gran Teatro de Santa Anna. The hymn recounts a great military victory against a "strange enemy" that is to say a foreign nation. The only great victory with these characteristics that was celebrated in Mexico at that time was the one obtained in Tampico in 1829.[citation required]
As the call said, after the winner of the lyrics was announced, the music contest was opened, it was carried out as stated in a month, the work of the Italian musician Giovanni Bottesini being the winner, but they simply did not like it, besides, was accused of setting music and publicizing his proposal outside the contest, which was contrary to the terms of the contest. Due to this, the contest lasted up to one hundred and eighty days, while on May 18, 1854 he formally premiered his proposal at the Santa Anna Theater with the voices of the soprano Enriqueta Sontag and the tenor Gaspar Pozzolini, but even so it was not successful. liked by the general public.
After this extension to one hundred and eighty days, it was the proposal of the Spanish musician Jaime Nunó Roca that won. At that time Nunó was director of the military bands of the national army, that position had been achieved at the invitation of Antonio López de Santa Anna who had met him in one of his various exiles in Cuba. His work with the pseudonym Dios y Libertad , was declared the winner on August 12, 1854 through the Official Gazette of the Government of the Mexican Republic. The anthem was accepted on the day of its independence anus. The opening performance was directed by Giovanni Bottesini, sung by Claudia Florenti and Lorenzo Salvi, at the Teatro Santa Anna.
A little more than a month later, on the night of September 15, 1854, the hymn was performed publicly for the first time, at the then famous Santa Anna Theater, which at that time closed off the street that is now called 5 de May in what is now called the Historic Center of Mexico City, which at that time was the only thing called Mexico City. After a few words from the poet Francisco González Bocanegra, the anthem was interpreted, directed by Giovanni Bottesini and the voices of Claudina Florentini, Lorenzo Salvi and theater choirs by René Mason and Pedro Carvajal, that first time it was not the official premiere, since that it was not until the following day that Antonio López de Santa Anna, in his capacity as president, attended his performance, by Balbina Steffenone and Lorenzo Salvi. Contrary to all previous attempts, his success was almost immediate and his score was sold on the streets.
Your rejection and acceptance
But his fortune did not last long, on August 9, 1855 Antonio López de Santa Anna leaves the presidency for the last time and leaves Mexico, Jaime Nunó follows him to Havana and then gets lost in the US; At the same time Francisco González Bocanegra hides in an uncle's house to avoid reprisals and does not reveal himself to the public again, he dies of typhus on April 11, 1861 at the age of 37. The cause of this sudden change is due to the so-called Ayutla Revolution that since March 1, 1854 had been promoting a change of government, federalist and liberal.
Due to the Ayutla Revolution, liberal and federalist groups seized power and the so-called Reform Era began, which would bring characters such as Benito Juárez, Melchor Ocampo, Ignacio Ramírez, Miguel Lerdo de Tejada, Guillermo Prieto, Juan N. Álvarez and Ignacio Comonfort, as they were against Santa Anna, did everything possible to make the Santanista hymn be forgotten, although they did not forbid it in any way, they encouraged its interpretation, but little by little the hymn was gaining followers. For example, by At the end of the Reform War, when federal troops were retaking Mexico City, General Florencio María del Castillo, a Liberal, recounted that:
The curative stopped in front of the first arch to listen to the hymn, whose lyrics we felt hadn't gotten. After the hymn was finished, the Marsellesa was in tune, that march that shakes the hearts of all the peoples and the crowd repeated the refrain.
From the above it can be expanded that until the so-called Second French Intervention the most popular hymn in Mexico among liberals and many other groups was La Marseillaise, and that even during the war in the Second Mexican Empire it was Benito's favorite anthem Juárez to be touched in his presence as President of Mexico. Another very popular hymn, although it was not written as such, was the work of Guillermo Prieto who had written it as a satirical poem in 1853, it appeared in his 1854 book "Viajes de Orden Suprema", that poem set to music had been presented to the Santanista contest by Guillermo Prieto through a third party and entitled "The March of the Crabs", obviously did not win, but by 1864 at the beginning of the Second Mexican Empire it was already one of the most popular pieces in Mexico, to the point that the Emperor Maximilian himself requested to be played in his presence during a visit to the city of Guanajuato in 1864, as a way to ingratiate himself with the liberals, but the effect was a severe shock and indignation of the conservative and monarchist groups that supported him to reach the throne. Melchor Ocampo tells of this informal hymn that
The crabs, converted into a popular hymn, formulated the rejoicing and order and concordia embellished a day that overlaid it in greatness to the reception of the Trigarant Army.(Sic)
Another work that became very popular and was used as an anthem was “Adiós Mama Carlota” which only because of its lyrics did not end up becoming official. In any case, at the end of the war and with the Restored Republic, the Santanista anthem once again had a presence, if not throughout the war, although with various modifications, for example, in 1864 President Benito Juárez argued with several about Certain modifications to the letter suggested deleting the reference to the "Immortal Warrior of Zempoala", to which he replied:
The National Anthem is not removed from a single note, not a single word.
Another change that did last was in the seventh stanza, changing, "Yes to the fight against the enemy State" for "Yes to the fight against the enemy host", in addition to many others that did not last.
After that time came the presidency of Sebastián Lerdo de Tejada, brother of whom, being a senior officer, signed the call for the 1853 contest, apparently from that moment the use of the Santanista hymn was promoted, although with modifications. After the fall of his government due to the Plan de Tuxtepec, the new president Porfirio Díaz began to use the common Santanista hymn for official ceremonies.
20th century
In 1901, the composer Jaime Nunó was rediscovered, so to speak. A group of Mexicans who were traveling through the United States found him in the city of Buffalo, New York, they made him known to the president and he invited him to visit Mexico, he accepted and during his visit for the first time he directed an orchestra and choirs to interpret the Mexican Anthem, but his visit is not warm and he returns to New York. By then he was a US citizen. In 1904 he was invited again on the occasion of the fiftieth anniversary of the Hymn, with much more success than the previous visit, that was the last time he touched Mexican soil alive, since he died on July 18, 1908 in Bay City, New Jersey. During his first visit on February 11, 1901, after a solemn session, it was announced that the Congress of the Union granted Jaime Nunó and González Bocanegra the amount of two thousand pesos of that time as consideration and prize for the 1853 contest. González Bocanegra, the money was received by Mercedes Serralde de González Bocanegra as the poet's heiress, and Nunó was given the 388 pesos that he put out of his pocket to make the first edition of the score in 1854, which he confirmed in an interview to the newspaper El Imparcial on July 9, 1901.
During the celebrations of the Centennial of Independence, the use of the Santanista anthem becomes normal and it begins to be commonly called the “Mexican National Anthem”. During the Mexican Revolution it already had the seal of popular and official approval, but without clear regulations, it was interpreted with the stanzas to the taste of the interpreter, although some already stand out among the ten, four of them specifically. For the so-called Cristero War, the anticlerical government even uses the second stanza that says:
“.../of peace the divine archangel/’that in heaven your eternal destiny/by the finger of God was written/...
The first time the Anthem was recorded in a sound medium was on July 28, 1922 by the Duranguense singer Fanny Anitúa. According to many, her version was deficient and modified, which caused great controversy to the point of requiring an official review by the Cultural Council of the Federal District. The review was carried out by José López Portillo y Rojas, Manuel Barajas and Julián Carrillo. During this review, the loss of the original texts became known, so the group turned to the family of González Bocanegra, who delivered originals of the refrain and stanzas, a first edition of the Hymn was also obtained under the seal of Casa Murguía in 1854. On the other hand, one of the wealthy families of the time, identified as Pérez Salas, gave an instrumentation of the Anthem that Jaime Nunó himself sent to the National Army staff and to the General Directorate of Artillery, one of which paid with 388 pesos.
This revision demonstrated the various changes that the Hymn had undergone, as well as the difficulty of interpreting it completely, for this reason the number of stanzas began to be limited, but without following a formality. For this reason, on May 4, 1943, the then President of Mexico, Manuel Ávila Camacho, during Mexico's participation in World War II, promulgated a Decree that made the Anthem official and limited it to stanzas I, V, VI and X., plus the chorus. By that decree it was forbidden to alter, correct or modify the lyrics or music. This decree was further formalized and combined with the other national symbols on December 23, 1967 by the Law on the characteristics and use of the National Shield, Flag and Anthem, a law that was abolished in 1984 by the Law on the Shield, the National Flag and Anthem, which is the current order.
Disputes
Copyright
In 1959 the Sociedad Repertorio Wagner, S.A., published a score so that the Mexican National Anthem could be interpreted by civil music bands, the 1943 decree did not have an attached score and it had to be obtained separately, in addition to it was not easy to duplicate the decree, that publication raised several cries of hysteria and terror among the Mexican people, since various newspapers spread the alleged news that Wagner owned or posed as the owner of the national anthem. Because of that, for example, it was said that every Monday the students had to give a peso to their school to be able to interpret the anthem. Which is clearly false.
Even though there was an official denial by the Mexican government, the myth persisted. In September 1959, after imposing a fine on Casa Wagner, an investigation was carried out to determine if the rumor that Jaime Nunó's family had sold the author's rights to a musical house in the United States. determined that there was no such sale of his exploitation rights and even less his copyright, although it was later found that Jaime Nunó himself had effectively sold his exploitation rights to an American music house in the 1850s, but only for a arrangement to the music of the hymn, an arrangement to play the hymn on the piano, that arrangement was also in another rhythm and tenor so it was very different from the original version. In addition, by 1960, the one hundred years that US legislation protected exploitation rights had already passed and by the same legislation, since it was a work prior to 1909, the law in force in 1953 did not apply to it, before 1909 there was no law in the US. The US to protect that, ultimately did not transcend its law beyond its borders.
Another version of the sale of Jaime Nunó's rights is as follows, Nunó himself and two Americans, Harry Henneman and Phil Hill registered Nunó's music with the BMI company, Edward B. Marks Music Company was then the publisher of the anthem in the United States in 1910 and 1911. So, after encountering the publications of that publishing house, several Mexicans began to spread the rumor that this commercial house was the owner of the copyright. However, copyright law in the United States declares that the Mexican anthem is in the public domain within that country, since both the lyrics and the music were released before 1909. In addition, under copyright law copyright in Mexico, Article 155 states that the government has the moral rights, but not the copyright, of the anthem; in addition to the fact that it is also in the public domain in Mexico, since the hundred years established for its release since 2008 were completed.
War anthem
Another very common controversy is based on the fact that the lyrics of the anthem are very warlike, for example it is said that the chorus calls war “Mexicans to the cry of war”, for which reason several times it has been proposed to modify or change the flattened the anthem, even in recent times the poet Javier Sicilia in an interview about the Caravan with Justice and Dignity to the question of
I also asked him about the saddle, because I've seen you bothering the bellicoseism of the Mexican National Anthem...Sicilia answered.
When they have tried to sing the hymn in the temple of the caravans I say: no, we should change it, if we hear it—is the problem of not attending to the words—the Hymn justifies the war, we need to change the letter, that letter does not represent us, it was of a historical moment and is not the one we live, we are in the search for peace, of love, of the recognition of the human, above the borders and nations.
It's an anthem of the right-wing
In parallel to the warmongering theme of the anthem, there is the controversy over its Santanista origin, since Antonio López de Santa Anna is one, if not, the most hated character in Mexican history, especially his participation in the US intervention in Mexico and the Texas War, the main defenders of this controversy are in the so-called Left, while the so-called Right-wing politicians normally defend the anthem as a work of its time that has earned its place in history and esteem from town. As a reinforcement of the rejection of the anthem, its musical style known as Quinta Real is marked due to its resemblance to the Royal March, a military march that since 1791 has been used as the anthem of Spain.
Cinema
In 1943, when the anthem became official, the film Mexicanos al grito de guerra was released, directed by Álvaro Gálvez y Fuentes and Ismael Rodríguez and starring Pedro Infante and Lina Montes, whose basic plot It is the supposed history of the National Anthem until the Battle of May 5 in Puebla. In the final part, the Mexican soldiers are shown singing the anthem to give themselves courage, but no historical document has been able to support that scene.
The second one
For decades it has been said, and even the media have reported, that the Mexican National Anthem is considered the second most beautiful in the world, behind La Marseillaise, but to this day, no ceremony has been carried out. type of contest or refereed competition that supports that saying. It is even common to hear this myth applied to other National Anthems, such as the Ecuadorian, Colombian, Peruvian, English, American, etc.
Original version
Original and complete version of the hymn as it became known in 1853.
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