Northwestern University Hymn (Alma Mater)

As Homecoming weekend at Northwestern University approaches, memories of my time on campus have been rushing back. There was that time we decided that we should move a couch into our fraternity bathroom, the lecture in my music history class that made me fall in love with opera and the time in the cafeteria when we decided to use a chocolate doughnut to make a breakfast sandwich resulting in the "Bacon McDoughnut."

Then there's the music. The fight song, “Go U, Northwestern” which I analyzed in this earlier post and of course the “Northwestern University Hymn” more commonly reffered to as the "Alma Mater." I love "Go U, Northwestern." I've performed that song more than any other song in my life, but there's something different about the "Northwestern University Hymn," something more profound.

As a member of the Northwestern University Marching Band (NUMB), I had the honor of performing this song for the university community however it was the times after games when NUMB would sing this song a cappella in a circle, arms around that this song represented what it meant to be at Northwestern.


It was a feeling of being at home, having a family, and being connected to something bigger than me. Often when we would sing the “Alma Mater” people in NUMB would be crying. I can’t explain why it meant so much, but it did. Every time I hear this melody it brings me back to this feeling and every time I think of Northwestern, the "Alma Mater" is echoing in the background.

The first version of Northwestern’s hymn was arranged by the first dean of the school of music Peter Christian Lutkin in 1907. J. Scott Clark, an English professor, arranged the lyrics in Latin which were based on the University’s motto from Philippians 4:8.

Whatsoever things are true,
Whatsoever things are honest,
Whatsoever things are just,
Whatsoever things are pure,
Whatsoever things are lovely,
Whatsoever things are of good report,
If there be any virtue and if there be any praise,
Think on these things

This motto is used to this day in university ceremonies and the first line in Latin "Quacumque Sunt Vera,” adorns the university seal. The music that Lutkin chose for these lyrics was “St. Anthony’s Chorale” which is attributed to Frank Joseph Haydn. This tune was relatively obscures until Brahms arranged a set of variation on this melody.



There is debate whether Haydn actually wrote this melody, however it is indisputable that Brahms arrangement cemented this melody as one of the most recognizable melodies in classical music.

The “University Chant,” as Lutkin titled it, was performed by university choirs and the students body. The combination of the Latin, which was part of every student’s academic studies at the time and this beautiful classical tune embodied the academic standards and values of the university.

Peter Christian Lutkin & his original arrangement of the "University Chant."

As Northwestern University changed, so did the student body and by the 1950s the respect and enthusiasm for the “University Chant” diminished and it fell into obscurity. In 1954, in an effort to revive the song, Thomas Tyra, a School of Music Alumni wrote English lyrics. He moved away from the university motto and instead wrote English lyrics expressing devotion to Northwestern.

Hail to Alma Mater
We will sing thy praise forever
All thy sons and daughters
Pledge thee victory and honor
Alma Mater Praise be thine
May thy name forever shine
Hail to purple
Hail to white
Hail to thee Northwestern

While many argued that the English lyrics would take away from the song's original meaning, these new less esoteric lyrics connected with the student body. Four years later, John Paynter, Northwestern's legendary band director, arranged the “University Chant” for band. Along with the English lyrics, the "chant" was retitled “University Hymn.”

Paynter’s arrangement starts off like most hymns with the last four measures of the melody used as an introduction. The band plays through the first two phrase in a straight-forward but artfully arranged four-part harmony. Like many devotion hymns, the arrangement is simple to focus not on performers but the university.

In a stunning musical development, the whole band instead of accompanying the audience sings the last half of the melody. Starting in unison, as one voice, the harmony slowly unfolds into four parts representing the singularity of values at Northwestern that expands into countless possibilities.

Paynter provides a moment of reflection for the audience as the band repeats the last half of the melody, starting with a single trumpet, which is joined by a euphonium. The rest of the band enters softly, rising to a climax, glorious but reverent and majestic while humble.

One of my greatest honors was to be the conductor of the “Alma Mater” as the music director of Phi Mu Alpha. Our fraternity hosted parties and at midnight we would gather in the living room of our house to sing fraternity songs. We would end every performance with the “Alma Mater.” Everyone in the audience would join in a circle and we would sing about how much we loved our university.



Standing in the center surrounded by friends, molding the music with my hands is one of the most magical feelings in my life. Singing this song in NUMB was different, we were in uniform, part of the ritual of the football game. However, in my fraternity house we were in the middle of a party. People would stop whatever games they were playing, put down whatever they were drinking and join us to share a moment together.

For my friends, pride in Northwestern wasn’t just about winning football games, it was something different and real. It wasn’t dorky, or forced, it was simply how we felt.

Hail to thee Northwestern
May thy name forever shine

Welcome home.

Unchained Melody by The Righteous Brothers

So many love songs sound schmaltzy. Sometimes they are so bad that even our grandparents find them cheesy. We listen to love songs to relate to feel a part of that magic that brings us close to the ones that we love, but more often than not love songs fail to effect us in a genuine and intimate way.

Among a glut of slow tempo ballads, a couple songs rise above, redefine the genre of the love song and remind us not only how good love songs can be but also what it means to be in love. “Unchained Melody” by the Righteous Brothers is one such song.

In an earlier post, I discussed the “You’ve Lost That Lovin’ Feelin’” and the blue eyed soul of the Righteous Brothers. While that song featured baritone, Bill Medley, “Unchained Melody” features the other member of this duet, Bobby Hatfield in a career defining performance.

Alex North and Hy Zaret composed “Unchained Melody” for the 1955 prison film Unchained. The film follows Steve Davitt, debating whether he should finish his sentence and see his family or escape from prison, gaining freedom but losing his family in the process.

As with many popular songs of the time, numerous people recorded the song. Following the original recording by Todd Duncan, others artist released their own version including the Lennon Sisters version. This recording is stylistically representative of the many versions of this song that artists recorded before the Righteous Brothers.



Listening to this performance on the Lawrence Welk Show, it’s hard to imagine how Phil Spector in 1965 decided to push the Righteous Brothers, a soul duo to perform such a traditional and conservative ballad.

Spector moernized "Unchained Melody" by slowing the song down and creating a huge dramatic arc with the instrumentation, starting with a light drum set, bass and guitar, and slowly adding instruments until at the end, a full orchestra and choir swell into a heart wrenching climax. Spector’s production skills and his signature “wall of sound” made the music sound big and bold with an amazing transparency that allowed listeners to hear every instrument that was playing in the rich texture.

While Spector’s instrumentation modernized the song, Hatfield’s transformed this song into a soulful and spiritual declaration of love. A soul singer at heart, Hatfield gently scoops into notes reaching peaks of melodies and slowly quivering down like in the opening line. Hatfield’s voice is a perfect tenor blend never sounding thin or weak.



If there was ever a doubt whether or not this white boy had soul, all you had to do was hear his high note on “are you still mine” in the second verse. He rises up to it effortlessly and collapses down the notes like a person drained from emotional pain.

In the final chorus, Hatfield takes us to church, singing like a preacher. He doesn’t so much sing but confesses. He hesitates on notes and digs in on the word “hunger.” There is something both beautiful and painful in his voice. Only someone who is missing his or her true love could be in the pain that Hatfield expresses at the end of the song when he opens up to his heavenly falsetto pleading, “I need your love.”

There is nothing schmaltzy about The Righteous Brothers version of the song. Even though it was recorded in 1965, it doesn’t sound dated. Yes, the melody is beautifully crafted and the lyrics are perfect. However, it’s the musical landscape created by Spector, and Hatfield’s dramatic performance that brings forth the soul of this song: a longing for the ultimate in human connection and the magic that can only be described as true love.