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Kaiserquartett
String quartet by Joseph Haydn
The Kaiserquartett (Hob. III:77, Op. 76, No.3, English: Emperor Quartet), is a string quartet in C major by Joseph Haydn.
The Kaiserquartett is the third of the six String Quartets, Op. 76, which Haydn composed in 1797 at the age of 65 after his return from London and dedicated to Count Erdődy. They were published in 1799. It was nicknamed the "Kaiserquartett" because its second movement contains four cantus firmusvariations on the theme of the "Volkslied" previously composed by Haydn (according to the first edition of 1797) "Gott erhalte Franz den Kaiser", written for Francis II.
Some 40 years later, August Heinrich Hoffmann von Fallersleben wrote his "Deutschlandlied" (Das Lied der Deutschen) on the then British island Heligoland to Haydn's, an Austrian, famous and popular melody, the third verse of which today is the text of the national anthem of Germany.
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Joseph Haydn, Kaiserhymne (1796/97)
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Abstract
Austrian composer Joseph Haydn (1732-1809) is generally considered the “Father of the Symphony,” but he also made significant contributions to the development of chamber music. A musically gifted child, Haydn began his training as a chorister at the age of five. While singing in the choir of Vienna’s Stephansdom, he also learned to play several instruments and studied composition. After struggling to make a living as a freelance musician for about ten years, Haydn was offered the position of deputy music director at the Esterházy court in 1761 and became its music director five years later. A very wealthy and influential Hungarian aristocratic family, the Esterházys greatly appreciated and promoted Haydn’s work and music and even provided him with his own orchestra. He spent most of his career, from 1761 to 1790, in their service.
This is a recording of the Austrian Kaiserhymne [Imperial Anthem], for which Francis II, the last Holy Roman Emperor and later Emperor of Austria, commissioned Austrian composer Joseph Hayd
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Villu Veski, Estland
Joseph Haydn: Kaiserhymne (Emperor’s Hymn, 1797)
Saxophonist Villu Veski looks back at hymns and their creators and what they reveal about European cultural traditions.
When I was asked to write down a personal memory on the topic of Europe in song and melody, something that connects me personally and emotionally to the topic, I oddly could not think of a single song with the word “Europe” in its title and no band with the name “Europe” that had given us a number of well-known hits. But I thought of something very different or much deeper connected to the centuries-old tradition of Old Europe.
As a saxophone player, I was once invited to perform at a concert called DIE + WIR = EUROPA [THEY+WE=EUROPE] at the Thalia Theater in Hamburg, and my task was to join the stage with the German saxophone player Gabriel Coburger. We were asked to play well-known melodies with two saxophones for the audience, to improvise as Jazz musicians in a way that the audience would understand without words – melodies from early childhood memo
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