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Part 2
The Suite, Le Carnaval des Animaux, sub-titled Grande Fantaisie Zoologique, begins with an ' Introduction and Royal March of the Lion.' Cocks and hens follow. Then come wild asses, of the kind that inhabit Central Asia and are called by the composer ' beasts of velocity.' The tortoises that now make themselves heard are represented by themes from Offenbach's Orpheus in the Underworld, played very slowly and softly. The elephant, brought forward by the double-bass in the fifth piece, is represented, incongruously enough, by Berlioz' well-known * Dance of the Sylphs.' The kangaroos that enter next are conjured up by the two pianists. A delicate piece of tone-painting follows, called ' The Aquarium '; then we are introduced to ' people with, long ears '. The cuckoo is next heard, deep in the woods; this is followed by ' The Aviary.' Pianists now take their place in the Carnival; and it need hardly be said that the two soloists have it almost entirely to themselves, though the composer directs them to ' imitate the playing of a beginner and his clumsiness.' In fossils, the twelfth piece (in which the xylophone is prominent) there are several quotations, including the skeleton music from Saint-Saens' own Danse Macabre and the familiar nursery tune ' Ah, vous dirai-je, Maman.' The famous melody of ' The Swan ' brings a point of repose (and an opportunity for the solo cellist) before the Carnival comes to an end with a rousing and entertaining gallop. Harold Rutland

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