Carnival of the Animals, The (Le Carnaval des Animaux), No. 13: The Swan (Le Cygne) Cover Image

Carnival of the Animals, The (Le Carnaval des Animaux), No. 13: The Swan (Le Cygne): Alto Saxophone, Solo with Piano, Solo with Piano

$4.95 USD

Carnival of the Animals, The (Le Carnaval des Animaux), No. 13: The Swan (Le Cygne): Alto Saxophone, Solo with Piano, Solo with Piano

Name: Carnival of the Animals, The (Le Carnaval des Animaux), No. 13: The Swan (Le Cygne): Alto Saxophone, Solo with Piano, Solo with Piano
Brand: Alfred Music
SKU: 36-M247391
Price: 4.95 USD
Availability: InStock

By Camille Saint-Saëns, transc. J. Michael Leonard

Item: 36-M247391

$4.95

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Following a disastrous concert tour of Germany in 1885-86, Camille Saint-Saëns (1835-1921) withdrew to a small Austrian village, where he composed THE CARNIVAL OF THE ANIMALS (LE CARNAVAL DES ANIMAUX) in February 1886. From the beginning, the composer regarded the work as a piece of fun. He wrote to his publishers Durand in Paris that he was composing a work for the coming Shrove Tuesday, and confessing that he knew he should be working on his Third Symphony, but that this work was "such fun" ("... mais c'est si amusant!"). He had apparently intended to write the work for his students at the École Niedermeyer, but it was first performed at a private concert given by the cellist Charles Lebouc on Shrove Tuesday, 9 March 1886. No. 13, THE SWAN (LE CYGNE) is the most popular movement from the suite, and is particularly well-known as a vehicle for cello soloists. A beautiful melody that will flow in the legato style, this solo is one that relies on tone quality. Versions for Alto Saxophone and Bassoon, both transcribed by J. Michael Leonard, are from the publisher.

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Series: Master Woodwind Series - LudwigMasters

Publisher: Keiser Productions, Inc.

ISBN10: 1-63-361954-0

ISBN13: 978-1-63-361954-8

UPC: 660355119101

SKU: 36-M247391

Instrumentation: Alto Saxophone and Piano

More about this title

About the Composer: Camille Saint-Saëns

Camille Saint-Saëns (1835-1921) was a French composer, organist, and pianist whose technical brilliance and prolific output shaped late 19th-century music. A child prodigy who performed publicly by age ten, he went on to compose operas, symphonies, concertos, and chamber works that balanced Romantic expression with classical structural clarity. His harmonic innovations and orchestral color influenced generations of composers.

Saint-Saëns approached composition with intellectual rigor but never lost sight of accessibility and joy. The Carnival of the Animals exemplifies this philosophy: written as a playful diversion during a difficult period, it became one of his most enduring works precisely because it communicates directly to listeners while displaying his mastery of form and instrumentation.

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Why we love this

The Swan transcends its novelty origins to become a genuinely rewarding solo for alto saxophone. The melody's inherent lyricism translates beautifully to the instrument's warm midrange, and J. Michael Leonard's arrangement respects the original while accounting for saxophone technique and range. This is a piece that lets players focus entirely on tone production and phrase shaping, making it ideal for recitals where musicality matters more than pyrotechnics.

What to expect

Graceful and serene, The Swan evokes the elegant movement of its namesake. The melody unfolds as a gentle, undulating line that seems to float above the piano's subtle harmonic foundation, creating a moment of quiet contemplation within a larger concert or recital.

Who it's for

Alto saxophonists preparing a recital solo or seeking a lyrical standard outside the contemporary classical repertoire will find this arrangement ideal. It works equally well for intermediate to advanced players who have solid tone control and understand the mechanics of sustainable legato playing.

How to get the most out of it

Shape the melody in long, connected phrases rather than treating it as a series of notes. The Swan's character depends on unbroken legato, so plan your breathing in advance to avoid awkward interruptions.
Prioritize a warm, rounded alto saxophone sound throughout. The piano's gentle accompaniment supports rather than drives, so your tone carries the entire piece.
Allow the opening solo measures to establish an unhurried tempo. Resist the urge to rush; Saint-Saëns's melody benefits from space and reflection.
Coordinate dynamics carefully with the pianist. The piece calls for restrained expression, so subtle rather than dramatic changes in volume will serve the music best.

How to use it

This piece works beautifully as a concert closer or as a standalone recital opener when paired with contrasting repertoire. Its brevity and reflective mood make it an excellent palate-cleanser between heavier works, or a thoughtful conclusion that leaves audiences in a peaceful frame of mind.