(last name)
Op. / Title
Has audio
Edvard Grieg Edvard Grieg

String Quartet in g, Op. 27
In any narrative—epic, dramatic or musical—every word or tone should be like a soldier marching towards the one, common, final goal: conquest of the material. The way the artist makes every phrase of his story such a soldier, serving to unfold it, to support its structure and development, to build plot and counterplot, to distribute light and shade, to point incessantly and lead up gradually to the climax, in short the way every fragment is impregnated with its mission towards the whole, makes up this delicate and so essential objective we call FORM. Ernst Toch

Mozart, Clarinet Quintet in A, K. 581, “Stadler”

March 2nd, 2008

Wolfgang Amadeus Mozart, 1756-1791

Clarinet Quintet in A Major, K. 581, “Stadler”, 1789

Wolfgang Amadeus MozartMozart wrote a number of chamber works for strings and a wind instrument, including the flute, oboe, horn and clarinet. In each case, he managed to showcase the idiomatic character of the featured guest while setting it naturally within a chamber context for a balanced, blended ensemble. Often inspired to write for a particular musician, Mozart twice wrote a chamber work featuring the clarinet for his friend Anton Stadler: first, the Kegelstatt trio and three years later, in 1789, the exquisite Quintet for Clarinet and Strings, K. 581, which Mozart himself subtitled “Stadler’s Quintet.” In a single work, Mozart combines his gifts for three genres in which he was supreme: « more »

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


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