It’s Europe Day, the one day of the year when all Europeans are “drunk with fire.”
That’s not (necessarily) a reference to flaming sambucas but to “Ode to Joy,” the official anthem of the European Union, which begins:
Joy, beautiful spark of Divinity,
Daughter of Elysium,
We enter, drunk with fire,
Heavenly one, thy sanctuary!
At this point, EU nerds are screaming, “There are no words to the EU anthem!” Fear not, we’ll get to that.
But as Europe lurches from crisis to crisis and the bloc continues to grow, is it also time to reassess “Ode to Joy” as the appropriate musical rallying cry? Is there a better option?
First, a history lesson.
The poem “Ode to Joy” — “An die Freude” — was written by German poet Friedrich Schiller in 1785. Incidentally, Schiller’s play “Mary Stuart” features the line “The voice of the majority is no proof of justice,” variations of which we will undoubtedly hear from rejected candidates after next year’s European election.
Ludwig van Beethoven liked the poem so much that he then used it for the final, fourth movement of his Ninth Symphony.
Beethoven had been playing around with setting “Ode to Joy” to music for some time. A letter written in 1793 advised of the composer’s intention to use the poem, and fragments of the text were worked on during 1812, alongside what would become the “Name Day Overture.”
By the time the Ninth Symphony was first performed at Vienna’s Theater am Kärntnertor on May 7, 1824, it had been a decade since Beethoven’s last symphony. He died just three years later.
In 1972, the Council of Europe (not an EU institution) adopted “Ode to Joy” as its anthem. The human rights body has a section on its website featuring the anthem, taken from the “Rhapsodie sur l’Hymne Européen” by French composer Christophe Guyard.
Then, possibly through gritted teeth, it adds: “To satisfy every European’s musical taste, you will find below more adaptations of the European Anthem.” Those adaptations include hip-hop, trance and techno versions that purists may not be as keen on.
In 1985, the “Ode to Joy” was then adopted by the bloc’s leaders as the official anthem of the EU. The anthem version does not have words, only “the universal language of music,” and it “expresses the European ideals of freedom, peace and solidarity.” Which is nice.
The EU is also at pains to point out that the anthem “is not intended to replace the national anthems of the EU countries but rather to celebrate the values they share.”
But does it actually get played anywhere that isn’t a ceremony involving flags? Can we upgrade — or at least update — or should we just stay as we are? Here are a few options for a new EU anthem, with the pros and cons of each.
The last Eurovision winner
Who?
The winner of the annual celebration of the EU glitter industry, and home to political backstabbing and pettiness on a level not even the European Council can match.
Pros 🎵
The song contest is incredibly popular, so there would be increased engagement from the public.
You’re not stuck with the same song on repeat. Plus, every country gets a chance to represent.
Easy to strike a deal for the rights to the winning songs with the European Broadcasting Union, the Eurovision organizer.
Cons 🎵
The timing’s not ideal, as Eurovision takes place after Europe Day.
What if Australia wins? Or Israel? Or, heaven help us, the U.K.?
Most Eurovision songs are bloody awful.
Bright Eyes: “Road to Joy”
Who?
American indie-rock band founded by singer and guitarist Conor Oberst.
Pros 🎵
Has the same tune as “Ode to Joy,” so we wouldn’t need to relearn it.
Cons 🎵
Deals with parental dysfunction, drugs and loneliness more than anything else — though with a healthy sprinkle of political pessimism.
Bright Eyes are American.
Has the word “fuck” in it.
Kraftwerk: “Trans-Europe Express”
Who?
German electronic pioneers.
Pros 🎵
A glorious advert for European industry — both trains and synthesizers.
Name-checks European capitals and has a tiny bit of French in it too.
Cons 🎵
Smaller countries may fear yet more power being put in the hands of Germany.
Could be confused with the mid-sized Belgian logistics firm of the same name.
Killing Joke: “European Super State”
Who?
Scary British post-punk band’s pre-Brexit ode to the bloc.
Pros 🎵
Offers good geographical range, with lyrics such as “from the Baltic to the Straits of Gibraltar.”
The band also has songs called “Europe” and “Another Bloody Election,” so could be booked for a whole gig.
Cons 🎵
Made by Brits.
The band’s history of drug use and violence may be off-putting to some.
Christer Sjögren: “I love Europe”
Who?
Swedish singer who’s been around since the late 1970s. Sjögren sang this song at Melodifestivalen 2008, the Swedish contest to select a Eurovision entry.
Pros 🎵
It’s about how much he loves the Continent. He really, really loves it. All other continents suck!
You’re not likely to forget it.
Cons 🎵
Blatant attempt to get into Eurovision that was foiled by Swedes preferring to vote for something else.
Even Guy Verhofstadt might find this a bit too pro-Europe.
You’re not likely to forget it.
Gruff Rhys: “I Love EU”
Who?
Singer of Welsh oddballs Super Furry Animals writes a heartfelt love letter to the EU because of (boo!) Brexit.
Pros 🎵
The line, “When I met you, I’d never tasted pasta or baguette” is genuinely moving.
Rhymes “Seine” with “insane.”
Cons 🎵
Despite this, Wales voted “leave” in the Brexit referendum.
Max Richter: “Europe, After The Rain”
Who?
German-born composer and pianist, also known for his work scoring soundtracks.
Pros 🎵
Only composer on this list.
Really quite moving.
Cons 🎵
Not ideally suited for playing before a rousing speech.
Die Albrecht Familie: “Wohlauf in Gottes schöne Welt”
Who?
The former minister-president of the German state of Lower Saxony, Ernst Albrecht, and his family in what their haircuts tell us was the late 1970s.
Pros 🎵
What could be more European than a song that features both the former leader of a German state and the future head of the European Commission?
Cons 🎵
More coming-of-age tune than democracy anthem.
It’s not exactly the Beatles, is it?
