earsense - chamber music database
Composer
(last name)
Ensemble
Op. / Title
Key
Has audio
Johannes Brahms Johannes Brahms
1833-1896

Clarinet Quintet in b minor, Op. 115
1891
quote
Once in Amsterdam, a Dutch musician said to me, "It must be very difficult for you in America to write music, for you are so far away from the centers of tradition." I had to say, "It must be very difficult for you in Europe to write music, for you are so close to the centers of tradition. John Cage

Mozart, String Quintet No. 3 in C Major, K. 515

December 14th, 2008

Wolfgang Amadeus Mozart, 1756-1791

String Quintet No. 3 in C Major, K. 515, 1787

Wolfgang Amadeus Mozart1787 was an extraordinary year for Mozart. With all of Vienna humming tunes from his beloved Figaro that debuted the year before, Mozart turned to work on what would become his operatic masterpiece, Don Giovanni. 1787 saw the completion and the debut of this towering work. Mid-way through the year, Mozart took a break and, in short order, composed a pair of string quintets that would eventually be regarded as his greatest chamber music masterworks, K. 515 in C Major and K. 516 in g minor. This same brief period brought the death of his father Leopold Mozart and the only meeting Mozart ever had with Beethoven who was, at the time, a young sixteen-year-old pianist from Bonn. Within a year of Don Giovanni and the quintets, Mozart would spend a few whirlwind weeks to write his three final symphonies, his greatest works in that form as well, curiously culminating with another pair of contrasting works in g minor and C Major. After all of this, Mozart was still only thirty-three years old, though it was now late in his terribly short life. « 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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Works 34,341
Composers 3,000
Women Composers 260
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Audio / Video 10,199
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Program notes 139
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