聖桑 : 動物狂歡節
聖桑 : 動物狂歡節
The work begins with a roar from the two pianos and low strings, an appropriate introduction to the "Royal March of the Lions." The crowing and pecking of strings effectively evokes the clamor of hens and roosters, while the depiction of tortoises takes the form of a sly musical joke: a drastically slowed-down version of the famous can-can from Offenbach's Orphée aux Enfers (1858). Saint-Saëns continues to parody his countrymen when he uses the "Waltz of the Sylphs" from Berlioz's The Damnation of Faust (1846) in depicting elephants. Sliding string figures give voice to mules, whose braying is sharply contrasted with the deeply mysterious beauty of the clarinet in its imitation of a cuckoo. This single bird becomes an entire aviary aflutter with airy flute solos and rapid keyboard passagework. Saint-Saëns admits pianists themselves into the menagerie, good-naturedly mocking their hours of practice with a passage that unfolds as a ponderous keyboard exercise. "Fossils" pays homage to those creatures which have suffered extinction with the suggestion of rattling bones in the xylophone, including a quotation from the composer's own Danse macabre (1874). "The Swan" has become a staple of every cellist's repertoire and a favorite accompaniment for dance works. The brisk finale includes a spirited, exuberant reprise of all of the animals' themes.
1.Introduction and royal march of the lion
2.Cocks and hens
8.People with long ears
9.Cuckoo in the heart of the woods