(last name)
Op. / Title
Has audio
Felix Mendelssohn Felix Mendelssohn

Fugue in E-flat major, Op. 81, No. 4
Harmony alone can stir the emotions. It is the one source from which melody directly emanates, and draws its power. Jean Philippe Rameau

Saint-Saëns, String Quartet No. 2 in G major, Op. 153

October 20th, 2013

Camille Saint-Saëns, 1835-1921

String Quartet No. 2 in G major, Op. 153, 1919

The lifespan of Camille Saint-Saëns accompanies an astonishing musical history beginning with the music of Mendelssohn, Chopin and Schumann and ending with the Jazz Age encapsulating Wagner, Debussy and Schoenberg in between. This timeframe spans the classical, romantic and modern periods and also witnesses the rise of French music in the modern canon of the classics. Saint-Saëns was a child prodigy who, at his public debut as a pianist at the age of 10, played a Mozart concerto and, for an encore, offered to play any of the 32 Beethoven sonatas from memory. He was a masterful organist who no less than Franz Liszt considered the greatest, particularly for his improvisations. Saint-Saëns was once considered quite “avant-garde” for championing the music of Liszt and Wagner particularly to his disapproving French countrymen despite his clever prowess in sight-reading their revolutionary orchestral scores at the piano. Yet, over time, Saint-Saëns developed an aversion to the march of historical innovation gradually despising the music of Wagner as well as his own compatriots Franck and Debussy. Eventually, he would be considered conservative, then a reactionary, hopelessly “classical” in his outlook and style. « more »

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earsense celebrates and explores how music makes "sense" with a focus on the extraordinary genre of chamber music. The centerpiece of earsense is a comprehensive database of chamber music composers, works, events and related media.


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