Quick: Who was the emperor of the Austro-Hungarian empire while Beethoven was composing his masterpieces? Who ruled Germany while J.S. Bach was creating his?

If you don’t know, don’t worry. Most people don’t. But as history unfolds before our eyes, there seems an excessive emphasis upon governments and politics being the defining elements of an era, when the stuff that stands the test of time is more likely to be what our artists are creating.

I found myself reflecting upon this while attending vocal octet Cantus’ latest program, “The Queen’s Songbook,” which is devoted almost entirely to the music of a monarch. That would be Queen Lili’uokalani, the last queen of Hawaii, who ruled that archipelago kingdom from 1891 to 1893 before being deposed by American interests, the U.S. government eventually annexing the islands.

But unlike those members of European aristocracy who commissioned work from our now legendary composers, Queen Lili’uokalani was something of a D.I.Y. artist. Trained in the European musical tradition and the choral stylings of Christian churches, she was a composer from an early age who became history’s most important voice in committing the musical traditions of Hawaii to posterity, framing them in her own distinctive style.

This week, Cantus is spending four nights in St. Paul and Minneapolis applying their harmonies to the creations of the queen. The brainchild of baritone and Oahu product Jeremy Wong, “The Queen’s Songbook” is a portrait of both a musical genre all its own and the life of a woman deeply in love with her land, as her lyrics invariably suggest. Both enlightening and as refreshing as the ocean breezes and floral fragrances her songs frequently celebrate, it’s a richly rewarding combination of history lesson, cultural immersion and sonic vacation.

Accompanied by pianist Tyler Ramos and wearing shirts emblazoned with flora and landscapes, the eight members of Cantus made some of their strongest impressions when dividing up into smaller groups. Such as when Jacob Christopher’s high tenor soared atop “Ku’u Ipo I Ka He’e Pu’e One” or the trio of Wong, Paul Scholtz and Samuel Bohlander-Green dug into the deep end of their registers on a canon-esque “‘Imi Au Ia ‘Oe E Ke Aloha.”

But the loveliest thing offered at Tuesday’s performance in Courtroom 317 of St. Paul’s Landmark Center was Justin Ka’upu’s hybrid of the queen’s most well-known composition, “Aloha ‘Oe,” and her reflection on a visit to England for “The Queen’s Jubilee.” Its final verse was delivered by the octet with such gentleness as to be breathtaking.

Toward evening’s end, the works focused upon the sad conclusion of the monarch’s life. Particularly powerful were a piece of wistful nostalgia from the imprisoned queen courtesy of Wong and bass Chris Foss; a very pretty version of “Ka Wai ‘Apo Lani” with splendid solos from Paul John Rudoi, Christopher and Scholtz; and an encore full of low descants that delivered listeners back to the breezy place at which the concert began.

Cantus

What: “The Queen’s Songbook,” featuring music by Queen Lili’oukolani

When and where: 7:30 p.m. Wed., Museum of Russian Art, 5500 Stevens Av., Mpls.; 7:30 p.m. Thu., American Swedish Institute, 2600 Park Av., Mpls.; 11 a.m. Fri., Westminster Hall, Nicollet Mall and Alice Rainville Place, Mpls.

Tickets: $5-$36, available at 612-435-0046 or cantussings.org

Note: Friday’s performance is available for streaming through July 29.

Rob Hubbard is a Twin Cities classical music writer. Reach him at wordhub@yahoo.com.