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Le cygnepronounced [lə siɲ], or The Swan, is the 13th and penultimate movement of The Carnival of the Animals by Camille Saint-Saëns. Originally scored for solo cello accompanied by two pianos, it has been arranged and transcribed for many instruments but remains best known as a cello solo.


The piece is in 6/4 time, with a key signature of G major and a tempo marking andantino grazioso. The slow cello melody is accompanied by almost constant broken chord figurations on the pianos. When performed as a separate movement, not in the context of The CarnivalThe Swan is frequently played with accompaniment on only one piano.

This is the only movement from The Carnival of the Animals that the composer allowed to be played in public during his lifetime. He thought the remaining movements were too frivolous and would damage his reputation as a serious composer.

Because of its slow tempo and mostly legato performance indications, the movement is suitable for performance on the theremin and has joined Sergei Rachmaninoff’s Vocalise and Jules Massenet’s Méditation from his opera Thaïs among the classical works central to the theremin repertoire.

Uses in choreography

Le cygne is often known as The Dying Swan, after a poem by Tennyson. Inspired by swans that she had seen in public parks, Anna Pavlova worked with choreographer Michel Fokine, who had read the poem, to create the famous 1905 solo ballet dance which is now closely associated with this music. According to tradition, the swan in Pavlova’s dance is badly injured and dying. However, Maya Plisetskaya re-interpreted the swan simply as elderly and stubbornly resisting the effects of aging; much like herself (she performed The Swan at a gala on her 70th birthday). Eventually the piece came to be considered one of Pavlova’s trademarks.

In 1949 the American synchronized swimmer Beulah Gundling created a routine inspired by Fokine’s choreography and entitled The swan to Le cygne by Saint-Saëns. (Wikipedia)