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Rees, B

 
9781856197731: Saint Saens

Sinopsis

Saint Saens has been variously described as 'The childhood of Mozart, the old-ag of Titan' and 'as gifted as Voltaire with unexpectedness and diversity. ' Saint Seans was the greatest among the many great organists of 19th century France, and composer of the witty zoology, THE CARNIVAL OF THE ANIMALS (including 'The Swan'), as well as DANSE MACABRE and the opera SAMSON AND DELILAH. Numbered among his best-loved works are his famous organ concerto, second piano concerto and first cello concerto, as well as his 'romances' for violin and cello. He supposrted both Faure and Debussy, and championed innovations in symphonic and chamber music. He introduced the symphonic poem, and was one of the first to blend folk-song from rural France and music from the Arab world into the classical tradition. He lived in colourful times and his private life was combative, tragic and surrounded by rumour.

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Reseña del editor

Saint Saens was possibly the greatest among the many great organists of 19th-century France, and a composer of stature. He supported both Faure and Debussy, and championed innovations in symphonic and chamber music. This is the biography of a man whose life covered Beethoven to Stravinsky.

Reseña del editor

Late in the night of December 16, 1921, Camille Saint-Saens, the patriarch of French music, died in the arms of his faithful servant. In his youth, before the Revolution of 1848, he had played in the Salons of the Tuileries for King Louis Philippe. At his death, the funeral rites were the most splendid ever accorded to a musician before or since. Composer of the opera "Samson and Delilah" as well as "Danse Macabre" and "Carnival of the Animals", Saint-Saen's work ranged from the traditions of Beethoven and Mozart to the innovations of the early 20th century. Yet few composers have suffered so total a disparity between acclaim in life and disparagement in death. In this, the first major biography of Saint-Saens, Brian Rees explores the character of a man whose personal life was combative, tragic, and surrounded by rumor, arguing eloquently and persuasively that the composer truly was the incarnation of French genius that he was once hailed to be.

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