Hencethese essays have been critiqued.
2. One-sentence thesis statement:
The 1880s were productive years for the composer. His election to the French Institute in 1881 gave him entree to all the Paris theaters, and in the next 20 years no less than nine new operas were premiered. The second violin concerto appeared in 1880, while the famous Havanaise, Op. 83 (for violin) was published in 1887. His sense of humor and his love of many avenues of knowledge may have enabled him to write the gallery of amusing musical portraits which made up Le Carnaval des Animaux (1886), but he barred any performance of the work (except "Le Cygne") during his lifetime, afraid that his public image as a serious composer might suffer from this creative chink in his armor. Ironically, it is now his most popular work. His Symphony #3 "Organ" in C minor, Op. 78 was completed in the same year as Carnaval, while his Violin Sonata #1, Op. 75, had appeared the year before, thus his mature years had produced his most popular works. His last piano concerto, premiered in 1896 and subtitled "The Egyptian", is a perfect illustration of the pleasant exoticism he could bring to orchestral music, its slow movement being a shimmering, almost motionless series of arabesques sketching an indolent afternoon in the Egyptian heat.
a. Supporting evidence for the first idea:
The chasers gather early on Mardi Gras morning at a place called Possum Square near the town barroom. Alcohol consumption begins here and continues throughout the day. The chasers then crowd into the back of a few pickup trucks and hide. The driver remains unmasked so that Choupic residents do not know which trucks bear the revelers. Eight-year-old Jordan and twelve-year old Amber report that when trucks start passing along the road (Highway 304) honking their horns, everyone knows the chasers are on their way. The young boy and girl add that the "bomping" trucks do not necessarily have riders. Evidently, just as the urban parades have police sirens to stir anticipation in the waiting crowd, the tooting warns the children that the revelers are on their way and confuses them about which trucks contain the chasers. When the trucks reach the residential section of Choupic, all the chaser-harboring vehicles stop and the costumed men raid the area, hollering and waving their formidable switches.
Crabiel, National Merit Scholar, Fulbright etc.
Saint-Saëns was unusual in that he was actually born in Paris, rather than arriving there to seek his fortune. As his musical and intellectual gifts manifested themselves early, he was given his first lessons by his great-aunt, Charlotte Mason. At the age of seven he was taught piano by Camille Stamaty and theory by Pierre Maledon; the latter were essential as the boy had already begun to compose. In that same year he gave his first concert, playing the piano part in a violin sonata. A recital by the 11-year-old at the Salle Pleyel preceded his induction into the Paris Conservatoire, where he initially studied organ, moving onto Halévy's composition class in 1850. It was at this point that he came to the attention of many older musicians associated with the Conservatoire and also met , whose personality and music made a great impression on him. In the next few years he was a regular in 's famous Paris salon, where he met many influential people in the music world. His extreme musical facility – he could play all of Beethoven's piano sonatas from memory and his compositions were produced with little apparent effort – was a passport to later fame, but it also became a handicap, preventing him from progressing to more profound musical levels later in life.