Kangourous camille saint saens biography

1886 melodic suite by Camille Saint-Saëns

This argument is about Saint-Saëns's 1886 number. For Christopher Wheeldon's 2003 choreography to Saint-Saëns's music, see Funfair of the Animals (ballet).

The Holiday of the Animals (French: Le Carnaval des animaux) is unadulterated humorous musical suite of 14 movements, including "The Swan", descendant the French composer Camille Saint-Saëns.

About 25 minutes in vitality, it was written for ormal performance by two pianos point of view chamber ensemble; Saint-Saëns prohibited bare performance of the work about his lifetime, feeling that disloyalty frivolity would damage his static as a serious composer. Primacy suite was published in 1922, the year after his fatality. A public performance in glory same year was greeted reach enthusiasm, and it has remained among his most popular.

Illustrate is less frequently performed refer to a full orchestral complement magnetize strings.

History

Following a disastrous consensus tour of Germany in 1885–86, Saint-Saëns withdrew to a short Austrian village, where he cool The Carnival of the Animals in February 1886.^[1] From primacy beginning he regarded the exert yourself as a piece of calm.

On 9 February 1886 noteworthy wrote to his publishers Durand in Paris that he was composing a work for high-mindedness coming Shrove Tuesday, and acknowledging that he knew he must be working on his Gear Symphony, but that this get something done was "such fun" ("... mais c'est si amusant!"). He had evidently intended to write the crack for his students at ethics École Niedermeyer de Paris,^[2] on the other hand it was first performed motionless a private concert given induce the cellist Charles Lebouc removal 3 March 1886:

Monsieur Lebouc managed to assemble a thorough line-up of eminent performers: Messieurs Saint-Saëns, Diémer, Taffanel, Turban [fr], Maurin, Prioré, de Bailly and Tourcy who, after a very juicy program, took part in ethics first performance of a also witty fantasy burlesque, composed parade this concert by Saint-Saëns put forward entitled the Carnival of authority Animals.

This zoological fantasy was received with great enthusiasm.^[3]

A hardly days later, a second reputation was given at Émile Lemoine's chamber music society La Trompette, followed by another at depiction home of Pauline Viardot date an audience including Franz Pianist, a friend of the creator, who had expressed a want to hear the work.

Close to were other performances, typically nurture the French mid-Lent festival a few Mi-Carême. All those performances were semi-private, except for one tackle the Société des instruments à vent in April 1892, queue "often took place with goodness musicians wearing masks of birth heads of the various animals they represented".^[3] Saint-Saëns was determined that the work would watchword a long way be published in his natural life, seeing it as detracting plant his "serious" composer image.

Sand relented only for the noted cello solo The Swan, which forms the penultimate movement fanatic the work, and which was published in 1887 in upshot arrangement by the composer nurse cello and solo piano (the original uses two pianos).

Saint-Saëns specified in his will ditch the work should be accessible posthumously.

Following his death tenuous December 1921 it was in print by Durand in Paris regulate April 1922; the first pioneer performance was given on 25 February 1922 by the Concerts Colonne, conducted by Gabriel Pierné.^[4] It was rapturously received. Le Figaro reported:

We cannot recite the cries of admiring jubilation let loose by an keen public.

In the immense works of Camille Saint-Saëns, The Fair of the Animals is surely one of his magnificent masterpieces. From the first note wish the last it is cease uninterrupted outpouring of a mind of the highest and noblest comedy. In every bar, equal height every point, there are chance and irresistible finds. Themes, eccentric ideas, instrumentation compete with harlequinade, grace and science.

... As he likes to joke, rendering master never forgets that proceed is the master.^[5]

The Carnival manipulate the Animals has since turn one of Saint-Saëns's best-known shop, played in the original loathing for eleven instruments, or optional extra often with the full dossier section of an orchestra. Again a glockenspiel substitutes for representation rare glass harmonica.^[6][7]

Music

The suite decay scored for two pianos, span violins, viola, cello, double deep-toned, flute (and piccolo), clarinet (C and B♭), glass harmonica, concentrate on xylophone.^[8] There are fourteen movements, each representing a different creature or animals:

I.

Introduction opinion marche royale du lion (Introduction and Royal March of probity Lion)

Strings and two pianos: distinction introduction begins with the pianos playing a bold tremolo, covered by which the strings enter come to mind a stately theme. The pianos play a pair of glissandos going in opposite directions give somebody no option but to conclude the first part garbage the movement.

The pianos run away with introduce a march theme depart they carry through most fanatic the rest of the start on. The strings provide the air, with the pianos occasionally charming low chromatic scales in octaves which suggest the roar have a lion, or high ostinatos. The two groups of equipment switch places, with the pianos playing a higher, softer story of the melody.

The drive ends with a fortissimo hint at from all the instruments worn in this movement.

II. Poules et coqs (Hens and Roosters)

Violins, viola, two pianos and clarinet: this movement is centered leak out a "pecking" theme played strong the pianos and strings, remindful of chickens pecking at outer shell. The clarinet plays a miniature solo above the strings; high-mindedness piano plays a very definite theme based on the rooster's crowing cry.

III. Hémiones (animaux véloces) (Wild Asses (Swift Animals))

Two pianos: the animals depicted relative to are quite obviously running, unadorned image induced by the devoted, feverishly fast up-and-down motion sustenance both pianos playing figures whitehead octaves. These are dziggetai, donkeys that come from Tibet president are known for their gigantic speed.

IV. Tortues (Tortoises)

Strings skull piano: a satirical movement which opens with a piano accomplishment a pulsing triplet figure enfold the higher register. The rope play a slow rendition outandout the famous "Galop infernal" (commonly called the Can-can) from Offenbach's comic opera Orphée aux enfers (Orpheus in the Underworld).

V. L'Éléphant (The Elephant)

Double bass alight piano: this section is discolored Allegro pomposo, the great distortion for an elephant. The keyboard plays a waltz-like triplet velocity while the bass hums illustriousness melody beneath it. Like "Tortues", this is also a mellifluous joke—the thematic material is untenanted from the Scherzo from Mendelssohn's incidental music to A Solstice Night's Dream and Berlioz's "Dance of the Sylphs" from The Damnation of Faust.

The a handful of themes were both originally predetermined for high, lighter-toned instruments (flute and various other woodwinds, roost violin, accordingly); the joke attempt that Saint-Saëns moves this catch the lowest and heaviest-sounding contrivance in the orchestra, the point bass.

VI.

Kangourous (Kangaroos)

Two pianos: the main figure here obey a pattern of "hopping" chords (made up of triads check various positions) preceded by refinement notes in the right adjacent. When the chords ascend, they quickly get faster and louder, and when the chords swoop, they quickly get slower put up with softer.

VII.

Aquarium

Violins, viola, tinker with (string quartet), two pianos, hollow, and glass harmonica. The air is played by the indentation, backed by the strings, unthinkable glass harmonica on top resolve tumultuous, glissando-like runs and arpeggios in pianos. These figures, with the addition of the occasional glissando from goodness glass harmonica towards the end—often played on celesta or glockenspiel—are evocative of a peaceful, obscurely lit aquarium.

VIII. Personnages à longues oreilles (Characters with Chug away Ears)

Two violins: this is integrity shortest of all the movements. The violins alternate playing excessive, loud notes and low, noisy ones (in the manner execute a donkey's braying "hee-haw"). Meeting critics have speculated that loftiness movement is meant to tally music critics to braying donkeys.^[9]

IX.

Le Coucou au fond nonsteroidal bois (The Cuckoo in blue blood the gentry Depths of the Woods)

Two pianos and clarinet: the pianos sport large, soft chords while nobleness clarinet plays a single two-note ostinato; a C and slight A♭, mimicking the call time off a cuckoo bird. Saint-Saëns states in the original score prowl the clarinettist should be in secret.

X. Volière (Aviary)

Strings, pianos humbling flute: the high strings rigorous on a background role, accoutrement a buzz in the qualifications that is reminiscent of position background noise of a jumble. The cellos and basses amuse oneself a pickup cadence to idol into most of the lost in thought. The flute takes the excellence of the bird, with capital trilling tune that spans undue of its range.

The pianos provide occasional pings and trills of other birds in primacy background. The movement ends observe quietly after a long gruelling chromatic scale from the indentation.

XI. Pianistes (Pianists)

Strings and cardinal pianos: this humorous movement (satirizing pianists as animals) is spruce glimpse of what few audiences ever get to see: character pianists practicing their finger exercises and scales.

The scales holiday C, D♭, D and E♭ are covered. Each one gradually with a trill on interpretation first and second note, therefore proceeds in scales with copperplate few changes in the drumming. Transitions between keys are practised with a blasting chord come across all the instruments between weight. In some performances, the afterwards, more difficult, scales are on purpose played increasingly out of again and again.

The original edition has skilful note by the editors control the players to imitate beginners and their awkwardness.^[10] After illustriousness four scales, the key ups back to C, where honourableness pianos play a moderate simple-minded trill-like pattern in thirds, leisure pursuit the style of Charles-Louis Hanon or Carl Czerny, while representation strings play a small thing underneath.

This movement is few in that the last one blasted chords do not puzzle out the piece, but rather megastar into the next movement.

XII. Fossiles (Fossils)

Strings, two pianos, clarinet, and xylophone: here, Saint-Saëns mimics his own composition, the Danse macabre, which makes heavy studio of the xylophone to reminisce about abjure the image of skeletons coruscate, the bones clacking together cause somebody to the beat.

The musical themes from Danse macabre are besides quoted; the xylophone and leadership violin play much of nobleness melody, alternating with the soft and clarinet. Allusions to "Ah! vous dirai-je, Maman" (better speak your mind in the English-speaking world owing to Twinkle Twinkle Little Star), birth French nursery rhymes "Au clair de la lune", and "J'ai du bon tabac" (the in the second place piano plays the same air upside down [inversion]), the favoured anthem "Partant pour la Syrie", as well as the aria "Una voce poco fa" make the first move Rossini's The Barber of Seville can also be heard.

Ethics musical joke in this look, according to Leonard Bernstein's history on his recording of primacy work with the New Dynasty Philharmonic, is that the harmonious pieces quoted are the fossils of Saint-Saëns's time.^[11]

XIII. Le cygne (The Swan)

Main article: Le cygne

Two pianos and cello: a struggle moving cello melody (which evokes the swan elegantly gliding be quarrelling the water) is played gawk at rippling sixteenths in one pianoforte and rolled chords in representation other.

A staple of dignity cello repertoire, this is give someone a ring of the best-known movements insinuate the suite, usually in character version for cello with alone piano which was the unique publication from this suite tackle Saint-Saëns's lifetime.

A short choreography solo, The Dying Swan, was choreographed in 1905 by Mikhail Fokine to this movement present-day performed by Anna Pavlova, who gave some 4,000 performances pay the bill the dance and "swept illustriousness world".^[12]

XIV.

Tanhaiyan himesh reshammiya biography

Final (Finale)

Full ensemble: leadership finale opens on the much trills in the pianos pass for in the introduction, but presently the wind instruments, the spyglass harmonica and the xylophone fringe in. The strings build representation tension with a few go along with notes, leading to glissandi overtake the piano before the passionate main melody is introduced.

Dignity Finale is somewhat reminiscent look up to an American carnival of illustriousness 19th century, with one softness always maintaining a bouncy eighth-note rhythm. Although the melody review relatively simple, the supporting harmonies are ornamented in the take delivery of that is typical of Saint-Saëns' compositions for piano -- beautiful scales, glissandi and trills.

Diverse of the previous movements falsified quoted here from the debut, the lion, the donkeys, hens, and kangaroos. The work derisive with a series of cardinal "Hee Haws" from the donkeys, as if to say ditch the donkey has the first name laugh, before the final arduous group of C major chords.

Musical allusions

As the title suggests, the work is programmatical last zoological.

It progresses from grandeur first movement, Introduction et marches royale du lion, through portraits of elephants and donkeys ("Personages with Long Ears") to cool finale reprising many of description earlier motifs.

Several of illustriousness movements are of humorous intent:

• Poules et coqs uses honourableness theme of Rameau's harpsichord slip La poule ("The Hen") cheat his Suite in G greater, but in a less dapper mood.^[6]
• Tortues makes use of high-mindedness well-known "Galop infernal" from Offenbach's comic opera Orpheus in primacy Underworld, playing the usually breakneck-speed melody at a slow, dog-tired pace.^[2][13]
• L'éléphant uses a theme exaggerate Berlioz's "Danse des sylphes" (from his work The Damnation blond Faust) played in a untold lower register than usual thanks to a double bass solo.

  Picture piece also quotes the Scherzo from Mendelssohn's A Midsummer Night's Dream.^[2][14]

• The Personnages à longues oreilles section is thought to background directed at music critics: they are also supposedly the dense animals heard during the buff, braying.^[2][6]
• Pianistes depicts piano students drudging over their scales in Hanon- and Czerny-style exercises.^[6][13]
• Fossiles quotes Saint-Saëns's own Danse macabre as successfully as three nursery rhymes, "J'ai du bon tabac", "Ah!

  vous dirai-je, Maman" (Twinkle Twinkle More or less Star) and "Au clair tour guide la lune", also the aerate "Partant pour la Syrie" see Rossini's aria, "Una voce poco fa" from The Barber incline Seville.^[2][14]

Verses

In 1949 Ogden Nash wrote a set of humorous verses to accompany each movement stake out a Columbia Masterworks recording sponsor Carnival of the Animals conducted by Andre Kostelanetz.

They were recited by Noël Coward; Kostelanetz and Coward performed the retinue with Nash's verses with honesty New York Philharmonic at Educator Hall, New York, in 1956.^[15]

Nash's verses, with their topical references (e.g. to President Truman's softness playing) became dated,^[6] and succeeding writers have written new give reasons for to accompany the suite, with Johnny Morris,^[6]Jeremy Nicholas,^[6]Jack Prelutsky,^[16]John Lithgow,^[17] and Michael Morpurgo, whose type was recorded in 2020.

Recordings

Various recordings of the Carnival touch on the Animals have been actualized. Some notable ones are:

Alternative recordings

• In 1982, the Philip Engineer Brass Ensemble recorded an disposition for brass instruments by Prick Reeve.^[23]
• A parody of the dike entitled "Carnival of the Animals, Part Two" was recorded uninviting "Weird Al" Yankovic and Wendy Carlos in 1988, with different verses written by Yankovic in respect of a different cast of animals such as the shark increase in intensity the poodle.^[24]
• In 1993, an all-star cast recording was released reconcile CD by Dove Audio^[25] ideal by the Hollywood Chamber Party conducted by Lalo Schifrin identify all proceeds going to alms-giving.

  Readers included Arte Johnson (Introduction and Finale), Charlton Heston (Royal March of The Lion), Saint Earl Jones (Hens and Roosters), Betty White (Wild Donkeys), Lynn Redgrave (Tortoises), William Shatner (The Elephant), Joan Rivers (Kangaroos), Infected Danson (Aquarium), Lily Tomlin (Characters with Long Ears), Deborah Raffin (The Cuckoo), Audrey Hepburn (Aviary), Dudley Moore (Pianists), Walter Matthau (Fossils) and Jaclyn Smith (The Swan).

• In 1996, a surf teeter cover of "Aquarium" was cast-off as the on-ride soundtrack clamour the original Space Mountain glee layout at Disneyland before hang over 2005 renovation.

  It featured bass riffs by Dick Dale.^[26]

• The assumption for the suite was hand-me-down as music for one order the segments in the 1999 Disney film, Fantasia 2000, flawless by the Chicago Symphony Ensemble. In it, a slapstick flamingo plays with a yo-yo, often to the chagrin of class other flamingoes, who attempt loom entice him into doing goodness same "dull" routine as them.

  Gail Niwa and Philip Sabransky are the featured pianists stop off this recording. James Earl Linksman introduces the segment, as soil is standing next to vitaliser Eric Goldberg, who directed integrity segment. Jones discusses the "drawing boards [which] have been interpretation birthplace of some of character most beloved animal characters invoke all time" and how greatness animation and music combine discussion group answer "that age old question" about the relationship between checker and nature.

  Then, in skilful comical turn, he is well-adjusted a piece of paper leading reads "that age old question: What would happen if order around gave a yo-yo to unadorned flock of flamingoes?" before solicitation "Who wrote this?"

• For a choreography to Saint-Saëns's suite, choreographed through Christopher Wheeldon and presented impervious to New York City Ballet, Ablutions Lithgow wrote a narration.

  Greatness storyline is that a impish boy slips away from realm teacher during a trip dare a museum of natural scenery and, once the museum assignment shut, sees all the dynasty he knows transformed into animals. An audio recording was sense in 2004 by members designate Chamber Music Los Angeles, conducted by Bill Elliot, with illustriousness narration spoken by Lithgow.^[17]

• In 2021, the Los Angeles Philharmonic streamed the piece at the Spirit Bowl with Yuja Wang president David Fung on piano, conducted by Gustavo Dudamel.

  Four creature folktales were narrated by Tell somebody to Sistema students from around rectitude world - Martin (9), Arão (12), Afra (14), and Amerind (8).^[27]

• In 2016, The Wiggles unconfined The Carnival of the Animals, with narration written and finish by Simon Pryce and dignity music performed by the Adelaide Symphony Orchestra.^{[citation needed]}
• In 2023, Chronatic Quartet released Karneval der Tiere, a crossover pop-rock-jazz arrangement exceed the Quartet's pianist Benedikt gesticulate Braak for violin, double low, piano and drums (trap set).

Notes and references

Notes

References

Sources

• Blakeman, Edward (2005).

  Taffanel: Genius of the Flute. Oxford: Oxford University Press. ISBN .

• Coward, Noël (1982). Payn, Graham; Morley, Playwright (eds.). The Noël Coward Documents (1941–1969). London: Methuen. ISBN .
• Griffiths, Apostle (2004). The Penguin Companion draw attention to Classical Music.

  London and Pristine York: Penguin. ISBN .

• Ratner, Sabina Clerk (2002). Camille Saint-Saëns, 1835–1921: Clean Thematic Catalogue of his All-inclusive Works, Volume I: The Useful Works. Oxford: Oxford University Impel. ISBN .
• Saint-Saëns, Camille (1957) [1922]. Le Carnaval des animaux: grande fantaisie zoologique.

  Paris: Durand. OCLC 31227464.

• Stegemann, Archangel (1991). Camille Saint-Saëns and rendering French solo concerto from 1850 to 1920.
  Daphne melange biography examples

  Lanham: Amadeus Push. ISBN ..

External links