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The „CARNAVAL DES ANIMAUX“ by Camille Saint-Saëns is a musical Micro cosmos with a vast spread influence on many people. As a bridging between the demand to art and entertainment this summary of pictures of sounding animal illustrations is a pleasure to young and old. The sound variety of the Partitur rests on a piano duo, a string Orchestra and on different solo Instruments. Just in the charming, in the virtuos demand moderately kept Piano part is a variety of alternative Material. People who use the piano as an educational instrument could swell in a paradise way, but the orchestra is in the way because of it’s practical need for the whole concert. In this present arrangement, the orchestra parts are everywhere were they are needed, grouped on both of the pianos. With that, the basical musical substance was not changed. Nothing was eased, no voices were cut. Usually four musicians are afforded to form such an „Piano Orchestra“. With this work, I followed my educational assumptions to form a performance with young pianists that normally only is possible with a choir or an orchestra.
Guide for the correctly performing the play:
The PIANO build the firm base of every performance. Hereby different musicians can take over different parts of the play. Difficultly levels and special musical abilities are important by chossing the right musicians (e.g. „Aquarium“ interpreters with a fine impressionistic way of listening, while the basic technical demand for „Fossilies“, demands a quick and hard „staccato“ stroke of all of the four players). Furthermore it is advised to use the same players for the Numbers II, III and XIV. SOLO INSTRUMENTS are not deniable, but the lacing ist flexible. It can be adapted to the optimal presume of the different locations were it is played and should also be composed with the best musicians of the cooperating Institutes (Musical Schools, Academics etc.). Alternative lacings are marked out in the „Partitur“ (Solo instruments), but they shouldn’t cut down the search for correct lacing. It is possible to resign on certain DRUM, BEAT and PERCUSSION INSTRUMENTS. But it should be considered, that they enrich the spectrum of sound, and so equal the loss of colour in the Orchestra that is lost in the process of translation the play is in while played with orchestra instruments. The KEYBOARD can be used as an electronic help. With good, saved samples, parts like „Turtle“ or „Aquarium“ can be strenghthened. Not deniable is the electronic help with the „Birdcage“ part. The double lace of No. XIII („The Swan“) with Violoncello and Sopran-Vokalise has to be seen as a Gag in response to the work. If this is not liked it is advised to go back to the original (Violon and Piano). Finally the „PIANIST-COCKTAIL“ designed by the concept of a piano lesson in a quick motion that is filled in between the finger works of the „Pianists“ (No.XI) stretches the time of the show, that normally is half an hour, to a usual show length. The musicians (max. 68) should be grouped around the two pianos like a horseshoe. In this acrobatic and collectiv play (more than 50 cut outs and est. 100 changes) there is the possibility for a short and gloomy turn up for piano players of all ages and levels. But this „Cocktail“ requests a good and firm practice lesson. Right after giving away the different parts, the timing needs to be concerned. Especially for the Allegro parts (T. 36-166, T.171-281, T. 294-332, T. 349-510), it is important to find out about the different abilities of the musicians to prevent bad surprises, because the heterogene Elements of these parts need to be joint together as if it is one play. The musical quotations can largely be studied by the original literature. For all Transcription parts, there is seperate material in the material for the play. Parts for four hands out of the beginners material should be playerd by courageous youngsters, but it is advised to lace the second parts with their teachers. (Besetzungspläne im Aufführungsmaterial). The play has been experienced as charming, entertaining, tense, representitive and educational important. The „Pianist-Cocktail“ is also playable as a Solo (HB 6011). For this there are Alternative Solutions in the summary of the Material.
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