Introduction et marche royale du lion (Introduction and Royal March of the Lion) There are fourteen movements, each representing a different animal or animals: The suite is scored for two pianos, two violins, viola, cello, double bass, flute (and piccolo), clarinet (C and B ♭), glass harmonica, and xylophone. Frequently a glockenspiel substitutes for the rare glass harmonica. The Carnival of the Animals has since become one of Saint-Saëns's best-known works, played in the original version for eleven instruments, or more often with the full string section of an orchestra. When he likes to joke, the master never forgets that he is the master. Themes, whimsical ideas, instrumentation compete with buffoonery, grace and science. In every bar, at every point, there are unexpected and irresistible finds. From the first note to the last it is an uninterrupted outpouring of a spirit of the highest and noblest comedy. In the immense oeuvre of Camille Saint-Saëns, The Carnival of the Animals is certainly one of his magnificent masterpieces. We cannot describe the cries of admiring joy let loose by an enthusiastic public. Following his death in December 1921 it was published by Durand in Paris in April 1922 the first public performance was given on 25 February 1922 by the Concerts Colonne, conducted by Gabriel Pierné. Saint-Saëns specified in his will that the work should be published posthumously. He relented only for the famous cello solo The Swan, which forms the penultimate movement of the work, and which was published in 1887 in an arrangement by the composer for cello and solo piano (the original uses two pianos). Saint-Saëns was adamant that the work would not be published in his lifetime, seeing it as detracting from his "serious" composer image. All those performances were semi-private, except for one at the Société des instruments à vent in April 1892, and "often took place with the musicians wearing masks of the heads of the various animals they represented". There were other performances, typically for the French mid-Lent festival of Mi-Carême. Ī few days later, a second performance was given at Émile Lemoine's chamber music society La Trompette, followed by another at the home of Pauline Viardot with an audience including Franz Liszt, a friend of the composer, who had expressed a wish to hear the work. This zoological fantasy was received with great enthusiasm. Monsieur Lebouc managed to assemble a definitive line-up of eminent performers: Messieurs Saint-Saëns, Diémer, Taffanel, Turban, Maurin, Prioré, de Bailly and Tourcy who, after a very interesting program, took part in the first performance of a very witty fantasy burlesque, composed for this concert by Saint-Saëns and entitled the Carnival of the Animals.
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