![]() In the late 1840s, Saint-Saëns entered the Conservatoire de Paris, where he studied organ and composition, the latter under Fromental Halévy, winning many top prizes and gaining a reputation that resulted in his introduction to Franz Liszt, who would become one of his closest friends. As an encore, Saint-Saëns offered to play any of Beethoven’s 32 piano sonatas from memory. 450), and various pieces by Handel, Kalkbrenner, Hummel, and Bach. At ten years of age, Saint-Saëns gave his debut public recital at the Salle Pleyel, with a performance of Mozart’s Piano Concerto No. In 1842, he began piano lessons with Camille-Marie Stamaty, a pupil of Friedrich Kalkbrenner. He went on to begin in-depth study of the full score of Mozart’s Don Giovanni. Saint-Saëns’s first public concert appearance occurred when he was five years old and accompanied a Beethoven violin sonata. His first composition, a little piece for the piano dated March 22, 1839, is now kept in the Bibliothèque nationale de France. At about this time, age two, Saint-Saëns was found to possess perfect pitch. Masson introduced Saint-Saëns to the piano, and began giving him lessons on the instrument. He was raised by his mother, Clémence, with the assistance of her aunt, Charlotte Masson, who moved in. His father, a government clerk, died three months after his birth. LA Phil Media is supported by the David C.Charles Camille Saint-Saëns (Octo–December 16 ,1921) was a French composer, organist, conductor, and pianist of the Romantic era who was born in Paris, France. The character designs featured here were created by Manashi Parikh and Saurabh Vashistha. Led by Upamanyu Bhattacharyya, the collective brought each folktale to life through a unique visual language and strong storytelling sensibility. Ghost Animation is a collective of animators, artists, and filmmakers based in Kolkata, India, brought together by their love of film, 2D animation, and creating new work. The Carnival of the Animals – Drawings by Ghost Animation It’s summed up by that beautiful word-innocence. There is a purity in the way a child interacts with the world, which plays into the imagination. Music allows us to remember our childhoods when we were discovering things and creating our own visions and ideas. I try to keep that way of thinking alive in myself because, as adults, we think we know everything and can enter into situations with a type of prejudice. The beauty of being a young person is that you live in a world where you are discovering everything. The folktales come from different cultures, but they reveal that we are all united in our impulse to create.ĭo you think young people relate to music differently than adults do?Īs a musician, of course, but also as a listener. The same is true of the stories they’re telling. Even though they live far apart, these young musicians are all connected through their music and their imaginations. Yes! I am so proud to have children from YOLA (Youth Orchestra Los Angeles) and other El Sistema-inspired programs in Brazil and the UK help us share these beautifully animated folktales. Can you tell us a little bit about the other featured narrators? Martín narrates one of the stories in the episode. The music invites listeners to create images and even narratives in their mind, which is a beautiful thing. It’s a very playful piece that speaks to the imagination. It’s a piece that my son Martín, who co-hosted the episode with me, loves. Why did you choose The Carnival of the Animals ? There are a lot of different pieces you could play for a young audience.
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