Over the weekend, i played Camille Saint-Saëns’ The Carnival the the Animals, the zany room orchestra work which has discovered its means into the children’s canon alongside Prokofiev’s Peter and also the Wolf and Britten’s Young Person’s overview to the Orchestra. The suite’s thirteenth movement, The Swan, is surely Saint-Saëns’ most recognizable music, a fact which most likely wouldn’t have actually pleased the French Romanticist.
For Saint-Saëns, writing The Carnival of the Animals was lighthearted fun, and perhaps self-therapy, after an unsuccessful concert tour during the 1885-86 season. Saint-Saëns didn’t permit the complete work to be published throughout his life time out of fear that his image as a serious composer would certainly be jeopardized. (What would certainly he have actually thought the Bugs Bunny’s version?) Still, this compositional free play brought about some surprisingly interesting music, favor this haunting and harmonically adventurous passage in The Cuckoo. The Carnival the the Animals also is filled with thinly disguised musical within jokes: The Tortoise is a slowed down quote that the Galop infernal from Offenbach’s Orpheus in the Underworld, set with stubborn surprised dissonances. Deserve to you listen a hint of the first measure of Berlioz’ Symphonie fantastique in the opening? The Elephant lumbers along with the cumbersome load of the dual bass while alluding to passages from some of the lightest and most nimble music ever before written (the Scherzo indigenous Mendelssohn’s A Midsummer Night’s Dream and Dance the the Sylphs from Berlioz’ Damnation that Faust). Saint-Saëns’ own Danse macabre can be heard in the Fossils movement, played by the skeleton-esque xylophone, along with Una voce poco fa from Rossini’s The Barber the Seville. “Pianists” room included amongst the animals, and it’s possible that the braying cheat was Saint-Saëns’ relenten of music critics.
Listeners that are familiar with Disney’s 1991 Beauty and the Beast will hear how very closely the film’s Prologue music resembles the glistening Aquarium movement from The Carnival the the Animals. Alan Menken, that wrote the score for the movie, has actually acknowledged the he deliberately patterned the music after Saint-Saëns’. Interestingly, the same shimmering, watery sound emerges at this minute in the last movement of Saint-Saëns’ “Organ” Symphony. Paavo Järvi and the Orchestre de Paris offered this performance of the “Organ” Symphony in ~ the 2013 BBC Proms:
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But let’s return to The Carnival of the Animals. Here is Leonard Bernstein’s recording and also commentary:
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Categories Romantic Period, Symphony, The Listeners" club Tags Camille Saint-Saens, body organ Symphony, The Carnival that the animals Post navigation