World of Music (Assignment II)

The piece I chose for this exercise is one that brings me great pride and love for country. When

my brother and I lived in Spain we chose to join the Spanish Legion as a way to get on with a life that

was a little on the low side; I was only 21 at the time (2001) and my brother Tito was 19. While only

taking part of basic training for ten days before I decided that the military life wasn’t for me (much to

Tito’s dismay since he decided to stay) some of the values that I had learned through my short

experience stuck with me until today.

Some of the things that I remember most are the songs and creeds of the legionaries as we run

and trained daily. During moments of pain and tiredness, we would recite those creeds and songs in

order to bring our spirits up and get all cadets to, at the very least, “sound like a unit”.

The most moving of the songs we sung was called Death’s Suitor.

1. What was the conflict or unrest that the music was composed about or during? Give some

historical background information about the conflict. (References 1 and 2)

Death’s Suitor was composed during the Rif War between Spain and Morocco, which lasted

from 1912 to 1928. In 1912, a protectorate was created by Spain after a concession by France in

Morocco, although in reality it was more like a sub-protectorate. Northern Morocco was from that point

on under Spanish command, although the approval of the local peoples was never sought. As the

Spanish troops proceeded to occupy their designated area, several pockets of resistance were found,

with which the Spaniards deal swiftly. However, resistance grew in a particular section named Yebala,

under the command of a man named Ahmed al-Raisuni.

In 1920, Spanish General Manuel Fernandez Silvestre, who intensifies the fight with the rebel

forces and is determined to end the Yebala region’s resistance, takes charge of the Spanish North-

African units. Although the local rebels are dealt with, in 1921 a general uprising takes place in the Rif,
which causes Spain to lose ground to the rebel forces. Some of the casualties are members of the newly

formed Foreign Legionnaire Group. The story of a particular man, to which I will later refer, will be the

inspiration behind Death’s Suitor.

In 1924, when Spain is at its direst moment, French reinforcements are agreed upon, and in

1925 a massive beach deployment is successfully carried out, which ends the war due to its

effectiveness. Final rebel groups surrender by 1926.

2. When was the music composed? Give the closest date possible. Was it during, before, or after the

conflict? (References 3 and 4))

The music for Death’s Suitor was composed in 1921; Fidel Prado wrote the words and Juan

Costa later added music, Mercedes “Lola Montes” Fernandez Gonzalez first sang it. The song was first

performed at a Malaguenan theatre named “Vital Aza”, and it was said that when the Legionnaire

General and legend Millan Astray heard it, he immediately incorporated it to the recently formed unit.

As the story goes, during the Moroccan counter attack of 1921, the legionaries in Beni Hassan

were holding a small outpost ill equipped for combat. The unit was only four months old at the time,

and many thought it had something to prove to both government and their leaders. Kabileños (so the Rif

rebels were called) attacked the outpost with the intention to obtain additional weapons for the

resistance. However, against all odds and suffering immense casualties, the legionaries held their

position, making the Kabileños retreat. Amongst the dead was a Baltasar Queija de la Vega, a simple

corporal. While searching his body for personal belongings to send to his family, his friends found that

he had a letter for them in his pocket. Apparently, he had learned of his girlfriend’s recent death and he

was hoping he could soon be at her side. Some of the words read: “I wish the first bullet will not take

long, and that it will strike true, straight to my heart. Only then I will be with her.”
 This story and the letter arrive to the hands of Fidel Prado, who wrote the poem to which Juan

Costa added music. Later that year, as new legionary recruits were about to leave for the war, Lola

Montes interpreted the newly made song for the soldiers of the legion.

3. Did the music escalate the crisis? Was it designed to do that? Did it reach the audience that needed

to hear it?

While the music did not escalate the crisis itself, it did raise the Spaniards moral duty to patria1,

and so they rallied behind the Legion. The death of a Spaniard stricken with the passing of his beloved as

part of a legion created for the defense of the country and made up of foreign troops was too much to

bear for the young people who heard the song. Spanish citizens joined the legion in much greater

numbers, to the point that the unit became exclusively Spanish, and was renamed simply “The Spanish

Legion”.

In Morocco, the surviving legionaries echoed the basic parts of Death’s Suitor during and after

combat, but especially if some of their own had died, the song itself becoming a ritualistic part of

legionnaire funerals. Furthermore, the soldiers gained a concept of unity and valor in combat unequaled

in Spanish history, to the point that the Legionary Units are the most respected corps in the Spanish

military, and the most specialized.

While many people express the idea that the unit was bound for greatness nonetheless, I

believe that beginning with recruitment, the unit could not have achieved as much as it has today

without this song to inspire soldier’s souls.

1
Patria- Fatherland
4. What do the lyrics discuss? Who’s side of the conflict does the song side with, if any? Who sings the

piece?

This son is dedicated to the death of Corporal Baltasar Queija de la Vega and reads as follows:

I
Nadie en el Tercio sabía quién era aquel legionario tan audaz y temerario que en la Legión se
alistó.
Nadie sabía su historia, más la Legión suponía que un gran dolor le mordía como un lobo, el
corazón.
Más si alguno quien era le preguntaba con dolor y rudeza le contestaba:

Estribillo/Refrain
Soy un hombre a quien la suerte hirió con zarpa de fiera; soy un novio de la muerte que va a
unirse en lazo fuerte con tal leal compañera.

II
Cuando más rudo era el fuego y la pelea más fiera defendiendo su Bandera el legionario avanzó.
Y sin temer al empuje del enemigo exaltado, supo morir como un bravo y la enseña rescató.
Y al regar con su sangre la tierra ardiente, murmuró el legionario con voz doliente;

Soy un hombre a quien la suerte hirió con zarpa de fiera; soy un novio de la muerte que va a
unirse en lazo fuerte con tal leal compañera.

III
Cuando, al fin, le recogieron, entre su pecho encontraron una carta y un retrato de una divina
mujer.
Y aquélla carta decía: "...si algún día Dios te llama para mí un puesto reclama que a buscarte
pronto iré".
Y en el último beso que le enviaba su postrer despedida le consagraba.

Estribillo/Refrain
Soy un hombre a quien la suerte hirió con zarpa de fiera; soy un novio de la muerte que va a
unirse en lazo fuerte con tal leal compañera.

IV
Por ir a tu lado a verte mi más leal compañera, me hice novio de la muerte, la estreché con lazo
fuerte y su amor fue mi Bandera.

EL NOVIO DE LA MUERTE
F. Prado / J. Costa

It translates as:

I
 No one in the Tercio2 knew who was that legionary, so bold and fearless who joined up to fight.
No one knew his story, although the legion knew that great pains bit, as if a wolf, at his heart.
However if anyone asked who he was, with agony and rudeness he would reply:

Refrain
I am a man to whom luck struck with a beast’s claw; I am death’s suitor, for I have come to be
joined to such loyal companion in the strongest of bonds.

II
With combat and fire at its worst, defending his flag at all costs the legionary advanced.
Without fear for the enemy’s push as he exalted in supposed victory, he died bravely, rescuing
the ensign.
As he moistened the burning ground with his blood, with a hurtful voice the legionary
murmured:

Refrain
I am a man to whom luck struck with a beast’s claw; I am death’s suitor, for I have come to be
joined to such loyal companion in the strongest of bonds.

III
When he was finally found, in his breast they noticed a letter, and the portrait of a beautiful
woman.
The letter read: “…if God calls upon you claim a place for me, soon I will find my way to you.”
In that last kiss sent, his final goodbye also bid.

Refrain
I am a man to whom luck struck with a beast’s claw; I am death’s suitor, for I have come to be
joined to such loyal companion in the strongest of bonds.

IV
Seeking to be next to you, my most loyal companion 3, I became death’s suitor, I tied her with the
strongest of bonds, and her love became my ensign.4

EL NOVIO DE LA MUERTE
F. Prado / J. Costa

The Obvious theme of love is found in the words, however the music also inspired the legionary

to literally become death’s suitor, to embrace her and be close to her; to be attached to death with the

“strongest of bonds” in order to avoid being scared of her. The legionaries will take these words to heart

2
Tercio is a military unit comparable to a third of a battalion in the US military.
3
There is a double meaning in this last line. Death, like a woman companion, has female endings to the word,
which denotes the legionnaire’s loyalty to love and death for country in a single expression.
4
My own translation
as they fought, conquering on mission after mission. With the reality of death set in their hearts, the

legionnaires lived true to their motto: “Legionarios a luchar, legionarios a morir.” 5

5. Discuss the music of the piece. What is the texture? What instruments are used? What is the range?

What is the melody like…conjunct or disjunct? What is the meter? Describe the rhythm. Do these

musical elements make the piece more noticeable or unique?

There are two versions of this song, the original one sung by Lola Montes, and the one used

today by the legionaries in solemn ceremonies.

The Lola Montes version is a typical Spanish Copla6, which is usually composed of four verses

and is widely used for Spanish traditional songs. Although a version of Lola’s song does not exist, it

would have been played with guitar and trumpets, as they are the traditional instruments of this

composition. The pitch of the Copla is usually high for men (falsetto voice) and women, the style being

used until the late 70s. The Copla was measured at a 4/4 beat, although many singers would adapt their

songs to a 3/4 meter in order to perform for a dancing audience. (5)

In the military version of the song, the texture is thick with drums and trumpets that help define

the militaristic sense in which it is played. The range is low, designed for male voices singing in a solemn

occasion and does not include any high singing notes, despite the fact that some of the trumpets have

high pitched parts. This version of the song is also played in a 2/2 meter standard to military marches.

In this light, the particular rhythms of both songs make them very particular. Few times has a

Copla been adapted for military use. In addition, even less common are the praises of love sung on a

military march song. However, these interesting dichotomies are what give Death’s Suitor its

unquestionable flavor.

5
Lit: Legionaries to fight, legionaries to die.
6
The genre saw its rise in the 1940s and its height around the 1960-70s
Conclusion

I selected this piece because it has inspired me to fear nothing and finish what I have set out to

do. Death after all is behind every corner, we cannot be afraid all our lives about what may happen if we

do this or that, we must go forward despite all odds and be who we choose to be. Death’s Suitor is both

a part of Spanish military and its history; it is easy to see why Genral Millan Astray was so quick to

incorporate it to the corps.

 Bibliography

(1) http://www.lalegion.es/3/32.html
(2) http://memoriablau.foros.ws/t857/el-novio-de-la-muerte-cancion-legionaria/
(3) http://www.tinet.cat/~jcgg/Opiniones/El_novio_de_la_muerte.htm
(4) http://www.youtube.com/watch?v=9o3iX8gzKSE
(5) http://es.wikipedia.org/wiki/Copla