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The Carnival of the Animals (Le carnaval des animaux in the original French) is a musical suite of 14 movements by the French Romantic composer Camille Saint-Saëns.Le Carnaval was composed in February 1886 while Saint-Saëns was vacationing in a small Austrian village. It was originally scored for a chamber group of flute, clarinet, two pianos, glass harmonica, xylophone, two violins, viola, cello and double bass, but is usually performed today by a full orchestra, and with a glockenspiel substituting the rare glass harmonica. Saint-Saëns, apparently concerned that the piece was too frivolous and likely to harm his reputation as a serious composer, suppressed performances of it and only allowed one movement, Le Cygne, to be published in his lifetime. Only small private performances were given for close friends like Franz Liszt. Saint-Saëns' will, however, included a provision which allowed the suite to be published after his death and it has since become one of his most popular works. It is a favorite of music teachers and young children, along with Prokofiev's Peter and the Wolf and Britten's The Young Person's Guide to the Orchestra.There are fourteen movements:As the title suggests, the work follows a zoological program and progresses from the first movement ("Introduction and Royal March of the Lion"), through portraits of elephants and donkeys ("Those with Long Ears") to a finale reprising many of the earlier motifs. Several of the movements are of humourous intent: "Pianists", for example, depicts piano students clumsily practicing scales, "Tortoises" includes a greatly slowed-down version of the famous Can-can from Jacques Offenbach's operetta Orpheus in the Underworld, and "L'Éléphant" is Hector Berlioz's "Dances des sylphes" much lower than usual as a double bass solo. "Fossils" quotes Saint-Saëns' own Danse macabre and various traditional French tunes.The most famous movement is the penultimate one ("The Swan") which is a lyrical cello solo to the accompaniment of two pianos. The ballet The Dying Swan is choreographed to this music.Ogden Nash wrote a set of humorous verses to accompany each movement, which are often recited when the work is performed. The conclusion of the verse for the "Fossils", for example, fits perfectly with the punchline-like first bar of the music

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