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 
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]