Words Unsaid: Looking at the Europa League Theme
By David Rudin
At some point in the early 1990s, back when wins at the World Cup were still worth two points, goalkeepers were still allowed to handle back passes, and UEFA was still headquartered in a squat concrete complex on Bern’s Jupiterstrasse, the powers that be in European football gathered together and decided that a footballing competition wasn’t really a footballing competition without an anthem.
For the Champions League’s 1992 debut, UEFA therefore commissioned Tony Britten to pen its anthem. The English composer set the French, German, and English words for “champions” to the tune of Handel’s “Zadok the Priest.” This grandiose mélange was then recorded by London’s Philharmonic Orchestra and the Academy of St Martin in the Fields Chorus. Thus, “Champions League” was born.
Like a national anthem, “Champions League” is more flattering than honest. It sidesteps the competition’s lack of history with a score that predates the invention of association football by 140 years. Lyrics like “The best teams/The Champions” gloss over the inclusion of multiple entrants per nation. The London Philharmonic Orchestra’s cultural cachet helps to mitigate UEFA’s crass commercialism. Tony Britten’s anthem is UEFA’s description of the Champions League: prestigious, rich in history, and exclusive.
The Europa League is a footballing competition and, as a footballing competition, it must have an anthem.
But how do you describe the Europa League?