![]() The movement is over before you know it, and its content is based on this one main motif that depicts the donkeys. This is to represent a donkey’s ‘hee-haw’. The violins alternate playing either excruciatingly high-pitched notes, or very low buzzing notes. This movement is only scored for two violins and is the shortest of all fourteen movements. Personnages á longues oreilles (‘Personages with Long Ears’) This movement is incredibly pensive, reminiscent and peaceful. This music is incredibly peaceful, and the runs on the glass harmonica (or glockenspiel) are reminiscent of a dimly-lit aquarium. The main crotchet theme is played by the flute, glass harmonica and is supported by the upper strings. The pianos play a running semiquaver theme, which mirrors the effect that a glissando would make. It is scored for violins, viola, cello, two pianos and glass harmonica, and is said to be the most musically rich of all the movements. This movement is certainly one of the most famous. This effect makes this motif even more playful and reminiscent of a kangaroo jumping around. The motif gradually speeds up and gets louder and then when it descends it does the opposite. The piece is based around a ‘hopping’ theme, which is in fifths. ![]() Its main theme is disjointed and jumpy, similar to that of a kangaroos movements. Movement six is scored for both the pianos and is a very fun movement. It is said that this movement is also a take on other composer’s work, namely in this case its Mendelssohn’s incidental music to A Midsummer Night’s Dream. The bass solo within this movement is heavy and of course it is very low, which perfectly represents an elephant’s movements. The piano plays a quaver motif in a waltz style and then the double bass plays the elephant solo above this. L’éléphant is scored for piano and double bass and it is a rather amusing musical caricature for an elephant. ![]() The strings then play a very slow version of Offenbach’s ‘Can-Can theme, from his operetta Orpheus and the Underworld. The theme is repeated and then the movement comes to a slow end. It begins with the first piano playing a pulsing triplet motif, which drags somewhat to highlight the general movements of a tortoise. This movement is very slow and is the first completely satirical movement of the suite. The pianos play contrary motion scalic runs in octaves, which creates a very sparse, yet effective texture. It is only scored for two pianos, so the tempo is intense between the two players. This movement is very exciting and it creates the image of fast animals running and undertaking every task in the quickest way possible. Hémiones (animaux véloces) (‘Wild Asses: Swift Animals’) The piano plays a fast trill-led theme which depicts the rooster’s ‘Cock a Doodle do!’. The first fast quaver theme is meant to represent the chickens pecking and the clarinet interrupts to add to this effect. This movement is orchestrated for two pianos, clarinet, upper strings and double bass. The movement ends with the ensemble ending on the tonic chord after another ‘roar’. The main theme returns in the first piano in a very high octave, which proves the presence of the lion and that the lion is at the top of the social scale in this instance. The pianos then play a fast-moving triplet theme, that perhaps represents the roar of the lion. The strings play a simple quaver melody that is embellished by the pianos with trills and simple march figures. The next section, which depicts a ‘royal lion’s march’, is fronted by the pianos, which play a simple march motif. To end the introduction both of the pianos play a contrary motion scale and the ensemble end on the tonic chord. This opening movement is scored for both pianos and strings, and starts with a stately tremolo from the pianos, which sets the scene for the bold strings to enter. Introduction et marche royale du lion (‘Introduction and Royal March of the Lion’) ![]() Most are short, however some develop further, with some movements now being performed as stand-alone concert works. As the title suggests, each movement is based on a different animal, with Saint-Saëns creating musical connotations for the animals within all fourteen movements. The pianos play a particularly main role throughout all fourteen movements of this suite, which does borderline a mini concerto form. Carnival of the Animals is scored for two pianos, two violins, viola, cello, double bass, flute and piccolo, clarinet, glass harmonica and xylophone.
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