Saint-Saëns: Le Carnaval des Animaux / Ravel: Ma Mère l'Oye

The Carnival of the Animals is enchanting. It is also a very good piece for kids. Ravel's Mother Goose is also very good. This is a digital recording, released on Philips in 1983, and originally released in 1981.

## Details

1. Camille Saint-Saëns (1835-1921): **"Le Carnaval des Animaux"** Grande fantaisie zoologique - 21:07+
2. Maurice Ravel ((1875-1937): **"Ma Mère l'Oye"** Ballet (Publishers: Durand & Cie) - 27:59++

1. +Introduction et Marche royale du Lion
2. Poules et Coqs
3. Hémiones (Animaux véloces)
4. Tortues
5. L'Eléphant
6. Kangourous
7. Aquarium
8. Personnages à longues oreilles
9. Le Coucou au fond des bois
10. Volières
11. Pianistes
12. Fossiles
13. Le Cygne\*
14. Final

++Prélude -

1. Danse du rouet et Scène - Interlude -
2. Pavane de la Belle au bois dormant - Interlude -
3. Les entretiens de la Belle et de la Bête - Interlude -
4. Petit Poucet - Interlude -
5. Laideronnette, Impératrice des Pagodes - Interlude -
6. Apothéose: Le jardin féerique

Total length: 49 minutes

* Pianists: Joseph Villa & Patricia Prattis Jennings
* \*Cellist: Anne Martindale Williams
* Orchestra: Pittsburgh Symphony Orchestra
* Conductor: André Previn

Recorded: Pittsburgh, U.S.A., 9/1980

Illustration: Chris Verschoor

Catalogue Numbers:

* CD: 400 016-2
* LP: 9500 973
* Cassette: 7300 973

## Liner Notes

Camille Saint-Saëns was one of France's most prolific composers, cultivating almost every genre, and always producing work characterised by daft craftmanship, melodic appeal, and textural clarity. Though his music lacks some of the deep seriousness evident in much of César Franck's output, and while it never shows the imaginative daring so conspicuous in Berlioz, it still appeals by virtue of unforced lyricism, sympathy for instrumental character, and unfailing sense of form.

"The Carnival of Animals", composed in 1886, has become one of the composer's most famous works, yet it was written as a *jeu d'esprit* for a Mardi Gras celebration and its further public performance was forbidden by the composer during his lifetime; only in the case of "The Swan" did he relent, this piece being released singly in response to general demand.

The work's sub-title is "Grand Zoological Fantasy." There are 14 short vignettes - characteristic portraits, one might call them. The score asks for flute and piccolo, clarinet, xylophone, glass harmonica, strings, and most important of all - two pianos. This ensemble evokes from Saint-Saëns, always a master of orchestration, a variety of sonorities which both astonishes and delights the listener. Saint-Saëns indulges in a few deft quotations when he feels that the wit of other musicians can add a touch of relish to his own unfailing sense of fun.

A few lively introductory bars prepare us for the entry of the first of the animals, the lion, on the strings. The pianos add colourful touches before taking over the main role. In "Hens and Cocks" Saint-Saëns matches orchestration and nature with astonishing accuracy and in the riotous "Wild Asses," piano technique is exploited most brilliantly.

The lumbering orchestration of "Tortoises" is a satirical, hilariously incongruous setting of the can-can from "Orpheus in the Underworld." Double-basses are used appropriately for the delightful parody. "The Elephant," the point being driven home by a quotation from Berlioz's "Ballet de Sylphes".

"Kangaroos" is a piece for piano alone, projecting clever terracing of sonorities. Then muted strings, piano figurations, and colourful woodwind add point to a clever evocation of water and fishes in "Aquarium."

Another witty episode follows, entitled "Persons with Long Ears," in which it is not difficult to bray of donkeys. Clarinet and pianos then paint a sylvian scene depicting the "Cuckoo in the Depths of the Woods" before flute, strings, and pianos engage in delicately imitative conversation in "Aviaries."

Satire returns in force with "Pianists," where "deliberate" mistakes are permitted, and it continues in "Fossils," the title presumably referring to the tunes which are parodied here - including one from Saint-Saëns himself.

The penultimate piece, "The Swan," is justly renowned - a poetic melody which is every cellist's dream come true. The work then ends in the gay romp of the "Finale," with a touch or two of recapitulation.

Ravel's beautifully orchestrated suite "Mother Goose" began as a set of piano duets. It consists of finely chiselled miniatures. The first and second, "Dance of the Spinning-wheel and Scene" and "Pavane," are associated with the Sleeping Beauty; the latter exploits with the Aeolian mode - and the flute. "Conversations between Beauty and the Beast" is haunting in its dance-like rhythms and alive with colour. "Tom Thumb" naturally depicts Tom's adventure in the forest. Next comes "Laideronnette, Empress of the Pagodas," the latter being creatures, not buildings - they play music through nutshells. Finally we have the "Fairy Garden" - another subtle dance apotheosis, with much ingenious use of harp and celesta.

*Geoffrey Crankshaw*

## Links

For the playlist of the album, click here: https://www.youtube.com/watch?v=YYFCtNojIR4&list=OLAK5uy\_lsBvU4Nz2H4mb9qdX4Y0wLS5PizkeZyfA

On Decca Classics, they don't have any more info on this album

For the official Decca Classics website, click here: https://www.deccaclassics.com/en