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): Cello, Solo with Piano, Solo with Piano

$4.95 USD

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

Name: Carnival of the Animals, The (Le Carnaval des Animaux), No. 13: The Swan (Le Cygne): Cello, Solo with Piano, Solo with Piano
Brand: Alfred Music
SKU: 36-M409591
Price: 4.95 USD
Availability: OutOfStock

By Camille Saint-Saëns, ed. Emilio Colon

Item: 36-M409591

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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. Originally arranged by the composer, this version was edited by famed cellist by Emilio Colón.

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Series: Master String Series - LudwigMasters

Publisher: Keiser Productions, Inc.

ISBN10: 1-63-361278-3

ISBN13: 978-1-63-361278-5

UPC: 660355098147

SKU: 36-M409591

Instrumentation: Violoncello and Piano

More about this title

About the Composer: Camille Saint-Saëns

Camille Saint-Saëns (1835-1921) was a French composer, pianist, and organist whose technical mastery and gift for melody made him one of the most performed composers of the nineteenth century. A child prodigy who studied at the Paris Conservatoire, he went on to compose five symphonies, concertos for piano and cello, operas, and chamber works that remain central to the repertoire. His facility with orchestration and harmonic language influenced an entire generation of musicians.

Saint-Saëns approached composition with both rigor and wit. The Carnival of the Animals, written during a brief creative retreat in Austria, demonstrates his lighter side, yet even in this playful suite, his craftsmanship is evident. The Swan, its most celebrated movement, strips away orchestral color to showcase the cello's singing voice; it remains one of the most beloved recital pieces in the solo cello canon.

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Why we love this

The Swan distills everything that makes Saint-Saëns essential: a melody of absolute purity, harmonic sophistication that never calls attention to itself, and complete understanding of what the cello voice can express. This is not a technical showpiece or a work that asks the soloist to prove something; it asks the soloist to sing, and that simplicity of purpose is exactly what makes it so compelling for students and audiences alike. The piano accompaniment is equally graceful, giving the pianist genuine musical material rather than mere accompaniment.

What to expect

The Swan unfolds like a single, graceful breath. The cello's opening melody appears almost floating above the rippling piano accompaniment, and the entire piece maintains an unhurried elegance, as if watching something move across still water. There are no sudden shifts or dramatic climaxes; instead, the music sustains a mood of serene beauty that lingers even after the final notes fade.

Who it's for

This edition is ideal for cellists working toward recital repertoire, from serious high school students through advanced amateurs and young professionals. The Swan remains a rite of passage in cello study because it demands expressive maturity and tonal refinement rather than technical fireworks, making it an excellent choice for students ready to move beyond exercises and into genuine artistic interpretation.

How to get the most out of it

Shape the opening phrase as a single, unbroken arc from the first note; the legato style demands that you hear the melodic line as one continuous thought rather than a series of individual measures.
Listen carefully to the piano's harmonic movement to inform your tone color. The harmonic progression beneath the melody is subtle but purposeful; your sound should reflect those shifts in harmony rather than remain static.
Avoid vibrato that is too wide or too fast. A slower, narrower vibrato will allow the audience to hear the pure melody and the beauty of your fundamental tone.
Work with your pianist to establish a consistent, unhurried tempo that allows the music to breathe naturally without ever feeling dragged.

How to use it

Program The Swan as a featured recital opener, where it sets a refined tone and allows your cellist's sound quality to make an immediate impression on the audience. It also works beautifully as the centerpiece of a chamber music concert, paired with other Romantic-era cello and piano works. For student recitals, it serves as a milestone piece that marks the transition from student repertoire to concert material.