Holder 1

Extended Essay
Subject: Music

Question:
How does French composer Camille Saint-Sans The Carnival of the Animals suite act as an
educational work?

Amber Holder

November 12
th
2012
Word count: 3884

Holder 2

Contents

Abstract.3

Introduction.4-5

Investigation..5-19

Conclusion..20

Sources and References21-22














Holder 3

Abstract

How does French composer Camille Saint-Sans The Carnival of the Animals suite act
as an educational work?
This investigation examines the musical and educational value of French composer Camille
Saint-Sans 1886 suite, The Carnival of the Animals. Referencing primary documents (such as
scholarly articles and correspondence) but mostly focusing on the score and music itself, the
investigations conclusion supports the presence of high intrinsic educational value. Although the
suite was written as a musical joke, it remains Saint-Sans most enduring work (Thompson,
Wade-Matthews 420). The accessibility of the suite, because of its satirical nature, provides
educators with concrete images and sounds to connect to early education. In addition to the
educational value of it, movements from the suite are still staples of cello, flute, and bass
repertoire. The investigation takes aspects of music education and music performance into
account, and how both playing the suite and listening and examining the suite can impart
valuable lessons.
Word count: 139.
Holder 4

The self-deprecating nature of the creative process often results in a concealment of
brilliance. The Carnival of the Animals suite, Camille Saint-Sans most valuable and enduring
contribution to classical music, lends credibility to this theory. Written while Saint-Sans was
vacationing in 1886, the suite was considered by the composer to be of lesser quality and depth
than the rest of his works (Dover v). As a result, he shied away from performances of the suite.
During his lifetime, only his close friends were allowed performances of the suite and only one
movement, Le Cygne (The Swan), was published (Dover v). The suite has been performed
numerous times posthumously and has earned a place in music education, being used often to
teach a variety of concepts to both young children and teenaged musicians (Auh, Brotons, Cutler,
Mito, Moore 114).
The suite consists of fourteen movements; all of which are named after an animal, or
reference an animal. Rather than assigning an animal to an instrument, in the way that Russian
composer Sergei Prokofievs Peter and Wolf does, Saint-Sans instead manipulates the tonality
of the instruments used in the suite to produce a sound characteristic or reminiscent of the
animal. The title of the suite and the titles of its movements make the work even more accessible
to young learners, using words they already know and giving them a way to connect to the
music. Connecting a familiar image to music can help cognitive learning (Auh, Brotons, Cutler,
Mito, Moore 114).
Written for eleven players, the suite employs unusual instrumentation for its time period.
The suite calls for flute (doubling piccolo), clarinet in C major and B-flat, glass harmonica (in
modern times replaced with glockenspiel), xylophone, two pianos, two solo violins, solo viola,
solo cello and solo bass. Although the instruments generally have roles within a movement, such
as maintaining a rhythmic beat, harmonizing, or doubling the melody, the suite also employs the
Holder 5

versatility of all the instruments and makes use of their diversity. Because it explores and
changes the traditional roles of an instrument, the suite requires the learning of new techniques.
Form does not play an overly large role in the suite. Despite the number of movements,
the suite remains relatively short, depending on tempo variation from different performances and
interpretations. All the movements can be performed as standalone works, the Swan and Aviary
being the most commonly performed; some have more individual musical value than others. The
suite, as Saint-Sans intended it, does not contain any kind of textual narrative or story. In recent
years, poems by Ogden Nash have been added to performances of the work.
fig. 1
The first movement, Introduction et le Marche Royale du Lion (Introduction and the
Lions Royal March) introduces the string section and the pianos. Although the composition was
Holder 6

written for only one player for each string instrument (with the exception of two violins and two
pianos), it is now commonly performed with a full string section. The movement is an Andante
maestoso, reflecting the royal march. It is in the key of A minor and in common time. In this
movement, all entrances are staggered. The pianos start with trilled notes in the upper register;
the cello and bass introduce three note chromatic runs in the third beat of the second measure,
which are echoed by the violins and viola on the first beat of the third measure (see fig. 1). The
chromatic runs in the lower register for the string section contrast the high trilled notes in the
piano. The chromatic runs build knowledge of tonality and intervals, promoting better aural
skills for the entire orchestra. With one phrase flowing into another, and one instrument or
section taking up the theme, this movement requires independence and listening skills. The first
pianos triplet ostinato reflects the tendency to use the lower voices as rhythmic pulse (see fig. 2)
fig. 2
Throughout the entire movement, one piano maintains the rhythmic pulse. The clear separation
between the two pianos also introduces the concept of roles within the orchestra. Octaves in the
second piano part also strengthen finger dexterity, coordination and develop muscle memory.
The runs shared by the piano and cello/bass promote both listening and aural skills and rhythmic
independence. In these runs, the piano is maintaining duple feel while the cello/bass are
maintaining a triple feel (see fig. 3).
Holder 7

fig. 3
The alteration of the rhythmic pattern allows for an important and essential teaching moment.
Throughout the movement, the staggering of entrances allows for greater dynamic transition,
creating smoother and more effective dynamic contrast.
The second movement, Poules et Coqs (Hens and Roosters), is an Allegro moderato in
the key of C major and in common time. The tempo is on the faster end of allegro. Although the
clarinet and first piano play secondary roles in this movement, the movement is more a showcase
of the string section. The second piano introduces the main figure, which carries throughout (see
fig. 4)
Holder 8

fig 4.
The grace notes, in this speedy tempo, require finger dexterity and coordination. After the piano
plays the theme for one measure, the first violin comes in, and then the second violin comes in
two measures later. The way the entrances are staggered promotes independence and uniformity
of sound. Although each player needs to know what beat their entrance is on, they must also take
care to blend into the texture created by the entrances before theirs. With the staggered entrances,
one of the two violins is always playing a grace note, which requires both violins to use the same
articulation. The first piano and the clarinet interject into the theme, separating the strings from
them and creating the dynamic between hens and roosters. The violins represent the hens, who
obstinately continue their theme after the brief piano/clarinet rooster interjections. With the
musical direction of en trainant (sauntering) the viola comes in with a three chromatic half
note run (si-do-#do), followed by the second violin run (fa-#fa-sol) and finally the first violin run
(re-mib-mi) (see figs. 5 & 6).
fig. 5
Holder 9

fig.6
The staggered entrances require uniformity of sound, providing a learning moment in the
movement. The runs are followed by a brief clarinet interjection, after which the theme is re-
stated with solo violin. In this recapitulation, the figure takes on a grittier sound, with the
violinist digging more into the string and playing closer to the bridge. At the beginning of the
solo, the dynamics increase to fortissimo and the tempo marking changes to animato. The violin
continues the solo, slowly building an accelerando, growing more frantic and gritty leading to a
final unison chord in the pianos. The overall thematic elements of this movement help teach the
way that a variation of technique can result in a variation of tone or color. Both changing the
articulation of the main figure and making the main theme a solo completely changes the color of
this figure.
The third movement, Hmiones (Animaux Vloces) (Wild Asses (swift animals)), is in
common time, in the key of E-flat major and has the tempo marking of Presto furioso. This
movement is a soli for the two pianos, which works on finger dexterity, coordination and
memorization. The tempo is furious, the runs played quickly and nimbly. The part also requires
good reading (pre-memorization) due to the myriad accidentals. Dynamics never vary, staying at
a forte throughout the whole movement. The way the runs are constructed also builds knowledge
Holder 10

of intervals and develops aural skills. The construction of the runs helps identify the nuances of
the piano as an instrument. In the upper register, the piano will naturally sound quieter, while in
the lower register it will naturally sound louder. The relentless sixteenths also promote rhythmic
steadiness, while the use of patterns aids learning and memorization. The runs usually go down
and up in the same sequence, so that if they are learned once they can be used for more than one
instance.
The fourth movement, Tortues (Tortoises), is in common time, in B-flat major and is an
Andante maestoso. The theme of this movement is the melody from the Can-Can from Jacques
Offenbach Orpheus in the Underworld, but at a much slower tempo. Saint-Sans used the
different styles of his contemporaries to play with tone and form. Some believe that his
reluctance to allow performances of the suite were due to his borrowing of other melodies.
Changing the tempo of a widely known melody so drastically forces the players to examine how
tone affects the style and effect of a musical work. This movement explores how variation of
expression can completely change a piece. In contrast to the first movement, rather than seeming
more deliberate and grand, Tortoises is more subdued, withdrawn, and cautious. The first piano
begins the movement with triplet chords for two measures. In measure three, the string section
enters in unison. Throughout the whole movement, the first piano maintains triple feel against
duple feel, promoting rhythmic independence. For all players, maintaining pianissimo requires
commitment and concentration. This movement also focuses on the blend and uniformity of an
orchestra. With the first piano keeping a steady pulse, the entire string section plays in unison for
the entire movement. A successful interpretation of this movement therefore requires uniform
articulation, attacks, releases, bow placement and fingering. This movement focuses on the most
important aspect of orchestral playing: the ability to blend into the texture of the entire ensemble.
Holder 11

L'lphant (The Elephant), the fifth movement, is in 3/8 time, in the key of E-flat major,
and has the tempo marking Allegretto pomposo. This movement is a solo for bass, accompanied
by the second piano. The piano begins the movement with simple eighth note chords for four
measures. The bass then comes in with the melody. The bass follows a simple formula: melody
(theme), variation, recapitulation of theme. The piano eighth notes establish the restrained
pomposo feeling the movement is intended to have (see fig. 7)
fig. 7
This movement can hugely improve bass bowing technique. A bassists usual role in an
orchestral setting is playing longer notes to establish a beat. In the Baroque period, the bass was
established as the rhythmic center. Performers usually did not specialize in one instrument;
therefore, most music did not require extensive knowledge of any particular instrument. Instead,
the instruments were employed in a more utilitarian way. Bassists would usually play harmonic
or rhythmic lines, and they would improvise chords to accompany the melody (Forney, Machlis
160). In accordance with this long-standing tradition, bassists did not have prominent melodic
lines and did not usually explore the different bowing techniques as extensively as other
members of the string family. The use of bass as a solo was unusual for this time period, showing
innovation on Saint-Sans part (Thompson, Wade-Matthews 113). The rhythms in this
movement require bow agility and musicality from the bassist to show contrast between the main
Holder 12

theme and the variation. The movement also explores how variation can affect tone..
Throughout the movement, the piano keeps a rhythmic pulse going, taking the place of the
bassists usual role (see fig.8).
fig. 8
At times, they engage in call-and-response, in which the bass plays the downbeat followed by
two eighth notes in the piano.
The sixth movement, Kangourous (Kangaroos), is in common time (later changes to 3/4)
in the key of E-flat major, and has the tempo marking of moderato. This movement is another
soli for the two pianos. The combination of grace notes with eighth notes creates a springing
feeling reminiscent of kangaroos. The variation in tempo forces the players to play cohesively,
developing aural skills for the orchestral setting. The variation of tempo also requires knowledge
of the relativity of tempo. Relativity is an important concept to grasp in terms of music in order
to be able to adapt to any setting. The movement is relatively short, and feels the most brief and
undeveloped.
The seventh movement, Aquarium (Aquarium), is in common time, in the key of A minor
and has the tempo marking of andantino. The Aquarium is the most whimsical sounding of all
the movements. It also has heavier instrumentation than any movement preceding it. The
beginning of the movement calls for muted strings (two violins viola, cello), both pianos, glass
Holder 13

harmonica and flute. The glass harmonica provides rhythmic backing for the main theme,
allowing it to stay steady. The melody is mostly chromatic and in unison. There are constant
moving notes in both piano parts and their intersection creates a sound reminiscent of the harp.
All instruments play a role in this movement rather than trading the melody back and forth. They
all maintain a theme throughout the entire movement. The muted sound of the strings creates the
effect of being surrounded by water. The runs in the pianos, similarly, sound like waves. The
unison in the violins/flutes creates cohesion in an orchestral setting. There is syncopation in the
second violin and the viola, but the beat alignment is different, requiring both listening skills and
independence. The chromatics and runs also build finger dexterity and coordination in both the
violins and the pianos.
Personnages longues oreilles (Personages with long ears), the eighth movement of the
suite, is in 3/4 time and in the key of C major. This movement is a solo for two violins, featuring
a direct call-and-response motif that forces the two players to establish a connection and
cooperation in terms of expression. While the second violin has the more expressive part in this
movement, the first violin has to shape its entrances in a way that allows the second violin to
come through. The repeated figure in the second violin of an accented dotted half note followed
by a quarter note a half step lower requires maturity of the player in that this particular accent
indicates an increase in dynamic level (see fig. 9).
fig. 9
Holder 14

Essentially, the dynamic phrasing must align with the chromatics. Rather than accenting the note
as an attack, the player should instead increase the volume and then decrease it in accordance
with the chromatic change in pitch. This interpretation of the accent allows fluidity to this
repeated figure and ultimately to this movement.
Le Coucou au fond des bois (the Cuckoo in the Deep Woods), the ninth movement, is in
3/4 time and in the key of E major. This movement is written for clarinet in B- flat and two
pianos. The movements tempo marking of andante is reflected in the constant quarter notes in
the first and second piano. Both the piano parts are mostly a pulse for this movement, having a
matching three quarter notes, one half note and an eighth note pattern (see fig. 10)
fig.10
Because the piano parts are identical in rhythm, steadiness of tempo is necessary in performance
of this movement. Accurate counting and timely attacks and releases are necessary to interpret
this movement. An understanding of Saint-Sans intended texture takes interpretation of this
movement to a new level. The clarinet is supposed to be dans la coulisse, or offstage, during
the performance. The constant quarter notes become a foliage through which the cry of the
cuckoo emerges. The players are thus forced to explore the relativity of dynamics and the
importance of dynamic contrast. The piano part must remain pianissimo, which requires control.
Holder 15

With no visual cues, the clarinet must count unfailingly and enter with no hesitation whatsoever.
The eight-measure diminuendo requires planning, and control on the clarinets part in order to
achieve the effect Saint-Sans intended.
Volire (Aviary), the tenth movement of the suite, is in 3/4 time and in the key of F
major. With a tempo marking of Moderato grazioso, the movement takes on a lighthearted air
with a flute feature and accompaniment from both pianos, both violins, violoncello and double
bass. Started off with tremolo in the upper strings, the movement has a bass line of scattered
pizzicatos. The bass and cello play an eight note followed by a quarter note figure throughout
most of the movement. The flute plays thirty-second notes throughout most of the movement,
which requires advanced finger dexterity and breath control, in combination with the ability to
not depend solely on the written music. To play this feature in the virtuosic way it is intended, a
flutist should have relative independence from the written music. Both pianos parts are written
entirely in treble clef, a diversion from the grand staff. This change requires adaptability on the
pianists parts. The pianos first come in with a syncopated figure preluding another entrance
from the flute. The pianos play an identical figure rhythmically but at different beats in the
measure, which requires independence in playing (see fig. 11).
Holder 16


fig 11.
The strings bowing marking of sul ponticello also develops a new technique, that of
playing directly over the bridge. This movement also explores relativity in dynamics. At the
beginning of the movement, the string tremolo enters at a piano and remains at piano while two
measures later, the flute enters with a piano as well. Obviously, both the accompaniment and the
solo cannot be at the same dynamic level. The flute feature helps to explore the process of
accompanying a solo instrument. This movement is a staple in flute repertoire, performed
through all different stages of musical development.
Pianistes (Pianists), the eleventh movement of the suite, is in common time and in the
keys of C major, D-flat major, D major, and E-flat major. Heavily featuring a duet between the
two pianos, the movement also has the string section as accompaniment to signal the changes in
key. The piano feature is simply scales in the different keys going up chromatically. However, in
the measures leading up to the key change, the first piano will play the scale descending while
the second plays it ascending. The tempo marking for this movement, Allegro moderato, requires
finger dexterity for the pianos. The string accompaniment is simple, requiring only accurate
counting and aural skills. The main theme in the key of C major has a recapitulation with a
Holder 17

change in the string accompaniment to an even harsher figure. The accelerando at the end
requires strong aural skills.
Fossiles (Fossils), the twelfth movement of the suite, is in cut time and in the key of C
major. This movement calls for clarinet, xylophone, both pianos, both violins, viola, cello and
bass. Fast-paced and multi-layered, Fossils is the most challenging movement in the suite. The
main theme of the movement is in the xylophone. When this suite was written, xylophone was
only beginning to be utilized in an orchestral setting (Thompson, Wade-Matthews 206). All other
instruments must mimic the articulation and tone of the xylophone, which promotes the
development of new techniques. Mallet instruments, including the xylophone, have very short
attacks and rapid decay, so all the other instruments must find ways to mimic this in order to
accompany the theme. The movement has the tempo marking of Allegro ridicolo, and the
xylophone establishes the playfulness of the movement. There is a call-and-response figure
between the xylophone and the string section. Although the strings are an octave lower, they play
the same notes as the xylophone, which makes matching their tone to the xylophones even more
important. The piano starts the echo a beat before the strings, which requires independence from
other sections. The movement also has several changes in tone. After the theme has been
repeated twice, the strings come in with sprawling quarter notes in the lower register, and then
tentatively the theme comes up again. Later, there is a small interlude from the clarinet with a
much softer tone than the main theme. This shifting of tone and color requires players to stay
attuned to what other sections are playing, and how their accompaniment fits into that.
Le Cygne (the Swan), the thirteenth movement of the suite, is in 6/4 time and in the key
of G major. This movement has the tempo marking of Andante grazioso, and it features the cello
as accompanied by the two pianos. The first piano has constant moving notes, playing sixteenths
Holder 18

on one hand and eighth notes on the other. This requires highly developed finger dexterity and
rhythmic independence between the two hands. Although this piece is a cello solo, it is also a
valuable learning tool for intermediate pianists. As a cello solo, the movement requires a wide
range of expression from the soloist. Remaining at a dynamic marking of piano for a majority of
the piece, the cellist must make use of a variety of techniques. Throughout the movement, bow
speed and bow contact point are important to maintain a uniformity of color. The cello melody
represents the figure of a swan gliding through the water; therefore, the techniques used in the
movement should reflect that image. Having an image in mind will help younger learners
interpret and connect to this movement. Although a staple in cello repertoire, this movement has
been arranged for many other solo instruments.
Final (Finale), the fourteenth and final movement, ends this grand suite with finesse. The
final movement is in common time, in the key of C major, and has the tempo marking of Molto
allegro. The movement begins and ends with a lively speed, aided by the short and spring like
figure in the string section. Symmetrically, the Finale begins in the same way as the Introduction,
but the Finale calls for all eleven players. The woodwinds, percussion and both pianos play the
high trills, which require uniformity of sound. The strings play a unison chromatic figure that
promotes unity of sound within the section. The piccolo and clarinet first introduce the theme,
establishing the articulation of the staccato, an articulation that all other sections will later have
to follow. Accompanying the woodwinds, the first piano plays on the beat with one hand, and off
the beat with another, promoting independence between the two hands and independence from
the orchestra. The cello later joins the piccolo and clarinet in their introduction of the theme; the
bass maintains a pulse throughout the transition of the theme. After this first introduction, both
pianos play a series of chromatic runs reminiscent of Pianists, eventually ushering in a
Holder 19

resurgence of the theme. The strings play the theme in unison once, and then all eleven players
play the theme together. The transition of the theme and the eventual unison is helpful in
teaching young learners phrasing and musical direction. After every section has had the theme,
many of the motifs of the previous movements resurface, the movement eventually ending with
three unison chords.













Holder 20

Conclusion
Throughout the entirety of the Carnival of the Animals suite, Saint-Sans employs
techniques that will train young learners to be proficient listeners and ensemble players.
Frequently pairing different sections together, the suite helps build skills in uniformity of sound
and articulation. With its many soloistic features, the suite explores dynamic relativity, and
accompaniment, both crucial aspects of orchestral playing. The satirical, whimsical aspects of
the suite heighten its accessibility, and the titles of the movements provide young learners with
concrete images they can attach to the music. The enduring nature of the entire suite, and the
individual musical value of all its movements, has made the Carnival of the Animals suite Saint-
Sans most famous work.

Holder 21

Works Cited
Sources


1. Auh, Myung-Sook et. al. Matching the Carnival of the Animals to Drawings with
Children 6-9 Years Old in England, Japan, Korea, Spain, and the United State. Bulletin of the
Council for Research in Music Education , No. 141, The 17th International Society for Music
Education: ISME Research Seminar (Summer, 1999), pp. 113-118. University of Illinois Press
on behalf of the Council for Research in Music Education. http://www.jstor.org/stable/40318995.
12 November 2012.

2. Forney, Kristine, and Machlis, Joseph. The Enjoyment of Music. 9th ed. New York:
W& N Norton, 2003.

3. Saint-Sans, Camille. From the Archive: Now and Then. The Musical Times , Vol.
138, No. 1856 (Oct., 1997), pp. 31-35.Musical Times Publications Ltd.
http://www.jstor.org/stable/1003812. 12 November 2012.

4. Saint-Sans , Camille. Le Carnaval des animaux. Paris, 1922. Durand. Dover edition.

5. Thompson, Wendy, and Wade-Matthews, Max. Double bass. The Encyclopedia of
Music. 1st ed. 2002. Print.

6. Thompson, Wendy, and Wade-Matthews, Max. Xylophone. The Encyclopedia of
Music. 1st ed. 2002. Print.
Holder 22


References

1. HBO. The Music In Me. Interview with Nathan Chan. HBO. 5 Oct 2009. Youtube.
Retrieved from http://www.youtube.com/watch?feature=player_embedded&v=kNLC8ROAXjI.
12 November 2012.

2. Joo, Hyung-ki. Carnival of the Animals with Sir Roger Moore, Joo, Jansen, Rachlin,
Imai, Maisky. 4 Jan 2009. Dubrovnik, 2006. Online video clip. Youtube. Retrieved from
http://www.youtube.com/watch?v=qwu1I2hdKro. 12 November 2012.

3. London Symphony Orchestra. Saint-Sans : The Carnival of the Animals, Bizet: Jeux
denfants, Ravel: Mother Goose. London Symphony Orchestra, 2005. MP3.

4. Watson, Patrick. Interview with Paula Robison. The Chamber Music Society of Lincoln
Center : 1984. 4 Sep 2008. Youtube. Retrieved from
http://www.youtube.com/watch?v=O_dyw_oD_08 from 12 November 2012.