Portal de Cartagena
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The story of the Royal March was the subject of a conference that was conducted by Colonel Juan Silvela Milans del Bosch on Wednesday, May 3, in the auditorium of the Military Museum of Cartagena, under the title 'Musical History of the Royal March '.
The conference, which was part of the commemorative events of May 2, had free admission and was attended by around fifty people, including the mayor, José López.
During the presentation, Silvela explained that Spain, the oldest nation in Europe, has symbols that represent it are also those of more remote origin.
Therefore, some notes of the National Anthem could be born, according to the Arabist Julián Ribera, in the second musical phrase of a cantiga of Alfonso X the Sage.
If this assertion can be considered a conjecture, it is not that its melody, except the melodic closure, is contained in the Royal Pavilion of the Catholic Kings, on which the vihuelista Enríquez Valderrábano composed his gloss in the sixteenth century;
Then, music was already written as it is today and does not give rise to different transcriptions.
The beginning of the gloss is a succession of 18 strings identical to the melody of the Hymn that can not be attributed to chance.
In any case, the colonel emphasized, the Marcha Granadera, composed by the musician of the Royal House during the 60s of the XVII century, Manuel de Espinosa, is considered as the direct antecedent of our National Anthem.
It was created within the process of regulating the 'touches of war' and as a consequence of the immediate promulgation of the ordinances of Carlos III.
From 1769, the Grenadiers, who were an elite force of Infantry and the Royal Guard, would use their regulation as a touch of honor.
Which they did indeed very often, because they performed the outside guard of the Royal Palace, in addition to accompanying the Kings.
For this reason, Silvela stressed in his conference, the people of Madrid ended up identifying the March of Grenadiers with the Monarchs, acquiring a Royal character, meaning that would intensify and expand during the War of Independence to be considered a patriotic symbol.
In 1815, a decree of the Ministry of War ordered the use of the Grenadier march as the only touch of honor.
The main cause of it was surely to prevent that the units of the army used like touch of honor La Marseillaise, in spite of the Madrid people had written a letter to him against the invaders.
The Grenadiers March was identified by the liberals with the old regime, and was replaced by the Irrigation Hymn during the liberal triennium (RD 7-IV-1822) with the title of National Ordinance March.
The March of the Grenadiers was recovered like real one in the marriage of Isabel II, in 1846, as it remembered Silvela, who indicated that, seven years later, it was officially declared March Royal (RD 5-XI-1853).
The Spanish Hymn was elevated by the own people as it is deduced of its history, circumstance that distinguishes it, as much as it lacks of letter.
During the provisional regime that followed the revolution of the nineteenth century, Prim ordered the replacement of the Royal March by another composed by the Italian musician Squadrani, although his composition did not like.
Declared desert a contest summoned the 4 of September of 1870 to endow to Spain of an Hymn, Amadeo I of Savoy recognized finally to the March of Grenadiers, like Spanish National March (RD 8-I-1871), denomination that seems to us the most Appropriate.
Again it was replaced by the Anthem of Irrigation during the Second Republic, but it was recovered again like National Anthem in Seville (27-1I-1937) by the general Franco, who ratified this character of the Real March 17 of July of 1942 The current version, Silvela underlined, was premiered before the Kings of Spain at the Teatro Real on the same day of its approval in the BOE (11-X-1997 - RD 1560).
Source: Ayuntamiento de Cartagena
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