Top Songs By Camille Saint-Saëns
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The Swan (Saint-Saëns)
Yo-Yo Ma & Kathryn Stott
Saint-Saëns: Carnival of the Animals, R. 125: XII. Fossils
Lang Lang, Gina Alice, Gewandhausorchester & Andris Nelsons
Saint-Saëns: Carnival of the Animals, Finale
The Kanneh-Masons
Saint-Saëns: Carnival of the Animals: The Swan
Isata Kanneh-Mason, Jeneba Kanneh-Mason & Sheku Kanneh-Mason
Le Cygne (The Swan - From Carnival of the Animals)
Gautier Capuçon, Douglas Boyd, Orchestre de chambre de Paris & Deborah Nemtanu
The Carnival of the Animals: I. Introduction et marche royale du lion (Introduction and Royal March of the Lion)
Marin Alsop & Britten-Pears Orchestra
The Carnival of the Animals: IV. Tortues (Tortoises)
Marin Alsop & Britten-Pears Orchestra
The Carnival of the Animals: II. Poules et coqs (Hens and Cockerels)
Marin Alsop & Britten-Pears Orchestra
Samson et Dalila, Op. 47, Act III: Bacchanale (Live)
Orchestre De Paris & James Levine
The Carnival of the Animals: VI. Kangourous (Kangaroos)
Marin Alsop & Britten-Pears Orchestra
About Camille Saint-Saëns
Artist Biography
A musical prodigy and polymath, Camille Saint-Saëns was born in Paris in 1835. Composing from the age of three, he played Beethoven’s Third Piano Concerto in public at 10 and entered the Paris Conservatoire at 13. His First Symphony of 1853 drew praise from Liszt, who thought him the greatest living organist. Later decades consolidated his standing as a composer, pianist and organist—often simultaneously, as in his Piano Concerto No. 2 (1868) and Third “Organ” Symphony in 1886, which he considered to be his finest achievement. Saint-Saëns wrote in all the main musical genres, but of his 12 operas, only Samson et Dalila (1877) has found lasting success, and such is his control over all aspects of composition that his music can lack spontaneity. Yet numerous pieces display a lighter touch: the one-act opera La princesse jaune (1872), the symphonic poem Danse macabre (1874) and the suite Le carnaval des animaux (1886), whose infectious humour led him to forbid its publication in his lifetime. The evocative Piano Concerto No. 5 “Egyptian” (1896) reflects his travels in North Africa, while sonatas for oboe, clarinet and bassoon from his last year find his technical mastery deployed in music of classical poise and autumnal eloquence. His death in 1921 prompted one of Paris’ most notable state funerals.
Hometown
Paris, France
Genre
Classical
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