The penultimate movement of this work sees one piano play sixteenth notes while another piano plays rolled chords underscoring a solo cello. The seventh movement calls for a glissando played on a glass harmonica, although that is often replaced by a glockenspiel. This work also takes an aria from The Barber of Seville as well as a slowed version of the Can-can from Offenba
The penultimate movement of this work sees one piano play sixteenth notes while another piano plays rolled chords underscoring a solo cello. The seventh movement calls for a glissando played on a glass harmonica, although that is often replaced by a glockenspiel. This work also takes an aria from The Barber of Seville as well as a slowed version of the Can-can from Offenbach's Orpheus in the Underworld. It copies its composer's own (*) Danse macabre in using a xylophone to represent bones and contains sections like "People with Long Ears." For 10 points, name this Saint-Saëns suite that musically depicts lions, elephants, and swans.
The penultimate movement of this work sees one piano play sixteenth notes while another piano plays rolled chords underscoring a solo cello.
The Carnival of the Animals [or Le carnaval des animaux]