Acc1 responsables
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Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
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M1 Communications
M1 Communications
M1 Communications
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Rev7 haydn
Rev7a preface
Rev7n scholz
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The Kaiserlied “Gott erhalte”, composed in 1797, must no doubt be taken as Haydn’s best-known and most often cited melody. This is a result of both the political context of its origin and of the fact that it was used as national anthem by two states, Austria and Germany. It can therefore be taken as a musical symbol of the mutual interrelations between Austrian and German history.

Gioacchino Rossini’s dramma giocoso Il viaggio a Reims was produced in the Théâtre Italien in Paris in May 1825, on the occasion of the coronation of the last Bourbon King, Charles X. In its final scene, several delegates of European countries come together to celebrate this event. The melody of Haydn’s “Gott erhalte” is sung by the German Ambassador as a German hymn in acclamation for the French King.

This motive can be discussed at several levels: 1. in the context of the plot of Il viaggio and its “anti-napoleonic” message (i.e., to what extent is it meant ironically?); 2. in relation to the actual political conditions of Europe in 1825 (i.e., what were the political conditions of Austria and Germany during the post-Napoleonic Restoration?); 3. in relation to the cultural aspects of Germany and Austria; 4. in relation to the actual crowning ceremony and to the musical symbols of the Restoration; 5. in the context of Haydn’s reception in Europe, especially in France, at the time of the restoration.

Such discussions show that Haydn’s “Gott erhalte” can be seen as a musical symbol of legitimism during the Restoration period in France.

Joseph Haydn und Europa

N° 7 e

Gerhard Winkler

Haydn Haus Eisenstadt

„Gott erhalte“ – Rossini – Paris 1825 - Hymne des europäischen Legitimismus



Gottfried Scholz
Gottfried Scholz - Gottfried von Swieten und Joseph Haydn

Jean-Marc Leblanc
Jean-Marc Leblanc - La musique de Haydn dans les traités en France

Suzel Esquier
Suzel Esquier - Haydn et ses biographes

Christine Siegert
Christine Siegert - Opera buffa als spätabsolutische Repräsentation

David Gasche
David Gasche - Bearbeitungen für Harmoniemusik

Pierre Degott
Pierre Degott - English language in Haydn’s German oratorios

János Poór
János Poór - Haydns Ungarn

Lukas Haselböck
Lukas Haselböck - Vivaldi und Haydn

Gerold Gruber
Gerold Gruber - Joseph Haydn - Kick off - Event

Albert Gier
Albert Gier - Joseph Haydn und die Libretti seiner Opern

Gerhard Winkler
Gerhard Winkler - „Gott erhalte“ – Rossini – Paris 1825

János Kalmar
János Kalmar - Nikolaus II. Esterházy

Ulrike Anton
Ulrike Anton - Johann Nepomuk Hummel