Welcome

This is a collection of program notes, lectures and other writings by Dr. Laurence R. Taylor (1937-2004). Most of them were written for the Princeton Symphony and Opera Festival of New Jersey but some were for the Newtown Chamber Orchestra and Greater Princeton Youth Orchestra as well as some recitals. I am trying to get these online as fast as possible. There will be some strange formatting. Whenever you see a phrase in ALL CAPS he meant italics. Somehow pressing that little i button was too much trouble :) I will edit them to make that change when time allows. Suggestions are also welcome. Also you will find that LRT used British orthography even though he lived most of his life in New Jersey. Those spellings will remain since in his words "[I have had a] Close lifelong with British musical life – with annual return visits to refresh the soul by rejoining British friends, and drinking in a wide range of musical life there."


You may reprint any of the materials posted here for no charge as long as credit is given in the printed material to Laurence R. Taylor. I'd be delighted to receive a copy too.

Gene De Lisa


Saturday, January 27, 2001

Saint-Saens “The Elephant, ” from Carnival Of The Animals

“The Elephant, ” from Carnival Of The Animals

Camille Saint-Saens (1835-1921)

The “Carnival of the Animals” was composed by Camille Saint-Saens as a private joke, quickly written in 1886, and never published in his lifetime. Ironically it would become the composer’s most-popular work, even outstripping the concertos and symphonies in the affections of the musical public.

Apart from the obvious pleasure of hearing musical portraits of the animal kingdom, a great deal of the fun of the “Carnival” lies in some of the in-jokes and sly musical subtleties which are woven throughout the work. A particularly droll example can be heard in the musical portrait of the Elephant. In the lumbering slow-waltz of the opening tune we can, of course, envision the bulk and gait of this huge beast. But then, to impart an unexpected touch of elegance (even to a pachyderm!) Saint-Saens slips in an extended quotation from Berlioz’ “Dance of the Sylphs” from the Damnation Of Faust. What makes this especially funny is remembering that a.) the Berlioz original rolls along at a quick tempo; b.) far from being heard in the low register of the orchestra, The Berlioz melody is heard in high, ethereal violins. But even if the listener has no inkling of the musical quotation, the likeness the animal being portrayed is faithful, affectionate, and amusing.

NCO concert

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