Saint-Saëns – Introduction

Portrait of Camille Saint-Saëns French composer

Camille Saint-Saëns, composer, virtuoso pianist, and one of the defining voices of French music in the nineteenth century.

Brilliant, multifaceted, and irreversibly Romantic, Camille Saint-Saëns played a decisive role in liberating French music of the second half of the nineteenth century from dominant German models. Through his work, French music reclaimed a sense of national identity and artistic autonomy, grounded in clarity, balance, and formal elegance.

Saint-Saëns was exceptional both as a composer and as a performer. A celebrated organist and an astonishingly gifted pianist from early childhood—often compared, with justification, to the young Mozart—he served the ideals of beauty and craftsmanship without compromise throughout his long and productive life. His virtuosity never eclipsed his discipline; rather, it reinforced his devotion to musical integrity.

A pupil of the Greek-born composer and pedagogue Camille-Marie Stamaty, Saint-Saëns inherited a profound respect for the principles and rules of Classicism. Although he lived through the emotional peaks of Romanticism and possessed the rare gift of genuine improvisation, he consistently pursued the supremacy of reason within his compositions. Emotional expression, when present, was refined, controlled, and often deliberately restrained.

His remarkably diverse output reveals masterful technique, intellectual wit, inventive ideas, fluid melodic writing, and an effortless command of attractive harmonic progressions. Above all, it reflects unwavering faith in a personal musical ideology firmly rooted in classical proportions and structural clarity.

Though passionately committed to French musical nationalism, Saint-Saëns never hesitated to incorporate elements from other musical traditions. These influences, however, most often derived from cultures surrounding the Mediterranean basin rather than distant or exotic sources. His music—transparent, direct, and vividly expressive—communicates readily with the listener, inviting immediate understanding and spontaneous emotional response.

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Johann Strauss II - Tritsch-Tratsch-Polka, Op. 214 in A major

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

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Giuseppe Verdi - Messa da Requiem

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