The violin and the xylophone play a prominent role, alternating with the clarinet and the piano. The composer mimics his own works here, evoking images of skeletons taking part in card games. This movement utilizes a xylophone, clarinet, two pianos, and strings. The transitions between the keys are marked with a blasting chord from all the instruments utilized. This piano offers a glimpse of a unique movement comprising of two pianos and strings.
The flute plays the role of the birds, as the movement ends with a quiet tone. This movement comprises of a flute, pianos, and strings, offering a background score reminiscent of the buzz in a jungle. The clarinet plays a single ostinato as the pianos craft soft and massive chords. It comprises of a clarinet and two pianos. The shortest movement, it has two violins alternately playing both low, buzzing notes and high, loud ones - resembling a donkey's braying. The first piano opens with a descending ostinato, accompanied with the occasional glass harmonica at the end. This movement is hugely musically rich, utilizing a glass harmonica, flute, two pianos, cello string quartet, and violins. The chords get louder and faster while ascending and subsequently becomes soft and slow while descending. It constitutes a pattern of "hooping clouds" which is preceded by grace notes. This section is marked with a perfect caricature of an elephant, as the piano offers a triplet figure resembling the waltz. The fourth movement is satirical and opens with a piano playing at a higher register, as the strings offer a slow rendition of the famed "Galop infernal." The Elephant The animals depicted in this movement are running at great speed, which is induced by a feverish and fast up-and-down motion of the pianos. The entire movement has a centralized theme played through strings and pianos, which resembles "chicken pecking at grains." The piano offers a vast theme based on the crowing of a rooster. The movement concludes with a "fortissimo note" that includes a combination of all the instruments utilized in the movement. The pianos occasionally offer low runs of octaves, resembling the roar of a lion. The introduction starts with a bold tremolo theme via the piano, playing a pair of opposite scales and subsequently introducing a "march theme" that prevails through it. The Movements Introduction and Royal March of the Lion The composer offers and amusing portrait of various animals by utilizing various instruments – either singularly or via combinations. The piece consists of 14 movements forming a suite, and utilizes two pianos, a xylophone, strings, glass harmonica, clarinet, and flute.
It was first premiered on the 26 th of February 1922, almost 30 years after its creation. So, he prohibited all public performances of the piece until after his demise, except one movement known as “The Swan.” He took his reputation extremely seriously, and he was sure that the piece would make the listeners laugh, as it was stuffed with musical jokes. However, he was skeptical that it might hamper his public image of being more matured and serious composer, as he feared it was a tad bit whimsical. Saint-Saëns composed “ The Carnival of the Animals” in 1886, while he was enjoying some leisure time in a small Austrian village.
“ The Carnival of Animals,” also known as “ Le Carnaval des Animaux,” is one of his most famous works along with his Third Symphony, various piano and cello concertos, his opera “ Samson et Dalila,” and his tone poem “ Danse macabre.” Origin One of the finest pianists, he was one of the first of his kind to actually create recordings of his works. His style can be best depicted as subtle, exuding a restrained yet cool essence. He performed his first public concert when he was only 5 years old, accompanying a Beethoven sonata on the piano. He was also considered to be unparalleled on the organ and had very few competitors who matched his skills on the piano. The Carnival of the Animals: Articulate & humorous expressions by Saint-SaënsĪbove is a part of original transcript by Saint-Saëns.Ĭamille Saint-Saëns was widely heralded as a teen prodigy, as he started exhibiting perfect pitch at a tender age of two.
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