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Domine, salvum fac regem (Lord, save the King) is a motet which was sung as a de facto royal anthem in France during the Ancien Régime. The text is taken from the Vulgate translation of Psalm 19 , and while its use already existed in medieval France, the motet was composed by Jean Mouton for the coronation of King François I in 1515.
Denier of Charles the Bald struck at Paris. Charles the Bald (French: Charles le Chauve; 13 June 823 – 6 October 877), also known as Charles II, was a 9th-century king of West Francia (843–877), King of Italy (875–877) and emperor of the Carolingian Empire (875–877). [1]
"God Save the Tsar!" (Russian: Боже, Царя храни!, IPA: [ˈboʐɨ tsɐˈrʲa xrɐˈnʲi]) was the national anthem of the Russian Empire. The song was chosen from a competition held in 1833 and was first performed on 18 December 1833. It was composed by violinist Alexei Lvov, with lyrics written by the court poet Vasily Zhukovsky.
(Reuters) - "God save the Tsar!" was one of the first public birthday wishes for President Vladimir Putin who turns 72 on Monday and who has been Russia's paramount leader for nearly quarter of a ...
The first official rendition of God Save the King will be sung at St Paul’s Cathedral at the end of a memorial service for the Queen. The lyrics to the national anthem will change from “Queen ...
A new era. King Charles III got emotional as Queen Elizabeth II‘s funeral came to an end and he received a tribute of his own. Every Actress Who Has Portrayed Queen Elizabeth II: Helen Mirren ...
After defeating the First French Empire, Tsar Alexander I of Russia recommended a national anthem for Russia. The lyrics were written by Vasily Zhukovsky, and the music of the British anthem "God Save the King" was used. In 1833, "The Prayer of Russians" was replaced with "God Save the Tsar".
This is based on a simple melody with the character of a rustic dance that is passed around the orchestra, until finally it gives way to a solemn statement of the Russian imperial anthem "God Save the Tsar". The third section of the piece is a repeat of Tchaikovsky's furious orchestral climax from the first section, reiterating the Serbian cry ...