Carnival of the Animals, The (Le Carnaval des Animaux), No. 5: The Elephant (L'éléphant) Cover Image

Carnival of the Animals, The (Le Carnaval des Animaux), No. 5: The Elephant (L'éléphant): Double Bass, Solo with Piano, Book

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Carnival of the Animals, The (Le Carnaval des Animaux), No. 5: The Elephant (L'éléphant) Cover Image
Carnival of the Animals, The (Le Carnaval des Animaux), No. 5: The Elephant (L'éléphant): Double Bass, Solo with Piano, Book

Carnival of the Animals, The (Le Carnaval des Animaux), No. 5: The Elephant (L'éléphant): Double Bass, Solo with Piano, Book

By Camille Saint-Saëns, ed./arr. by Lucien Garban

Item: 36-M314891
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Description
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. 5, THE ELEPHANT (L'ÉLÉPHANT), for Double Bass (or Violoncello) and Piano, is marked Allegro pomposo, which is perfectly suitable to describing an elephant. This transcription is by Lucien Garban.

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Additional Details
Series: Master String Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563233-8
ISBN13: 979-8-89-563233-8
UPC: 659859197968
SKU: 36-M314891
Instrumentation: Double Bass (or Violoncello) 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 mastery and prolific output shaped the Romantic era. A child prodigy trained at the Paris Conservatoire, he composed across all major genres: symphonies, concertos, operas, and chamber works that balanced structural clarity with expressive depth. His catalog includes over 170 works, yet he remained remarkably versatile, equally comfortable writing grand opera (Samson et Dalila) and playful character pieces.

Saint-Saëns possessed an unusual gift for musical humor and wit. The Carnival of the Animals exemplifies this side of his personality, a work he initially guarded from public performance because he feared it might undermine his serious reputation. Today, it stands as one of his most performed compositions and a cornerstone of music education, introducing students to orchestral color, character writing, and the joy of musical storytelling.

Why we love this

The Elephant sits squarely in the double bass's sweet spot: a character piece that demands musicality and control while staying comfortably in the instrument's register. Unlike technical etudes, this demands interpretive choices about phrasing and tone color while remaining accessible to advancing students. The Allegro pomposo marking invites personality without requiring virtuosity.

What to expect

Stately and grand, with unexpected lightness woven throughout. The bass walks with deliberate weight, anchoring the piano's playful commentary. There's humor in the contrast between the instrument's lumbering reputation and the nimble writing that emerges, creating a portrait that feels affectionate rather than mocking.

Who it's for

Double bass students at the intermediate to early advanced level who are developing musical maturity and want solo repertoire beyond strict technical studies. This transcription works equally well for young cellists, making it flexible for studio or ensemble settings where both instruments may be present.

How to get the most out of it

  • Shape the opening statement with a full, resonant tone; the bass line carries the musical weight here, and a lean sound undermines the animal's dignity.
  • Keep the dialogue with piano conversational rather than mechanical. Listen for opportunities to breathe between phrases even when note values might suggest otherwise.
  • Control the tempo carefully; pomposo suggests stateliness, not plodding. A brisk but grounded Allegro makes the humor land cleanly.
  • Lighten articulation on quicker passages to avoid sounding ponderous; the elephant moves with surprising grace despite its size.

How to use it

Program this as a character piece in a chamber or string recital to showcase the bass as a solo voice rather than accompaniment. It works beautifully on a mixed recital of Carnival excerpts, or paired with other light orchestral transcriptions for young performers. Its modest length and theatrical charm make it ideal for young artist concerts and studio recitals aimed at family audiences.

Skills your students will build

  • Sustained tone production with dynamic control
  • Phrasing and musical interpretation beyond note accuracy
  • Rhythmic independence from piano accompaniment
  • Intonation in extended positions
  • Character expression and tone color variation

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