in the same spirit of “music as literature” as in
through an anthropomorphised menagerie
where the description is impressionistic rather
than narrative, which is to say more painterly
he composes in patches of musical textures
instead of melodic and linear paragraphs,
incompatible with the original association
of music as melody, or song, one’s response
would become thereby more intellectual
than emotional, one does not swoon, or
even sway, in other words, as marvel at the
synesthetic imagination, which lets you see
sounds and hear pictures
you’ll hear here, or “hear, hear”, the turtles
doing their determined interpretation of the
can-can, at an improbable crawl, in playful
compositional salutations follow, not at
all an unusual practice among composers,
great and small
you’ll be enchanted by the shimmering
ethereality of the aquarium, by the grace
and majesty of the now mythic swan,
among other zoological bedazzlements,
in 14 movements, in therefore essentially
a symphony, a piece for orchestra with
several movements
here they are
- I. Introduction et marche royale du Lion
- (Introduction and Royal March of the Lion)
- II. Poules et Coqs
- (Hens and Cocks)
- III. Hémiones (animaux véloces)
- (Wild Asses)
- IV. Tortues
- (Tortoises)
- V. L’Éléphant
- (The Elephant)
- VI. Kangourous
- (Kangaroos)
- VII. Aquarium
- VIII. Personnages à longues oreilles
- (Personages with Long Ears)
- IX. Le coucou au fond des bois
- (The Cuckoo in the Depths of the Woods)
- X. Volière
- (Aviary)
- XI. Pianistes
- (Pianists)
- XII. Fossiles
- (Fossils)
- XIII. Le Cygne
- (The Swan)
- XIV. Finale
-
-
you’ll want to read the poems that Ogden
Nash later wrote about them, his very own
accompany the piece, a mistake, I find, for
exposing two entirely idiosyncratic and
incompatible sensibilities opposite each
other, thereby taking away from each
a great deal of fun nevertheless with both
of them, though they’re somewhat in his
version abridged, no swan
Richard