Carnival of the Animals

Mr

Ronan MacManus, Visiting Music Teacher

Proud as a lion, the early twentieth century composer Camille Saint-Saëns saw himself as a composer of serious music – so much so that he forbade one of his most celebrated works from being performed in public until after his death for fear of damaging his musical reputation. Thankfully, said work was published in 1922, a year after SaintSaëns’ death, and over a century later Carnival of the Animals was brought to life again by the musicians of Bancroft’s School.

Carnival of the Animals is a suite of fourteen movements scored for two pianos and chamber ensemble, with each movement introducing a new member of the animal kingdom. The animals gather for the carnival in the work’s finale, and boy did Bancrofts’ bring the carnival to town!

A novelty narrative of wordy hurdy-gurdy introduced each animal’s antics. Delivered with diction and drama, the audience couldn’t help but smile at the narrators’ declaratory welcome. The scene was set.

Maestro Matthew P led his peers in the Introduction and Royal March of the Lion, and never was an introduction more fitting! From the opening piano tremolo there was an instant feeling of

Grandeur And

pride in The Great Hall – pride in the fact that not only was this project been wholly studentled, but that after some covid-related postponements, Bancroft’s musicians were now eager to perform and share their musical prowess. Glissandi introduced the Lion with a crystal-clear fanfare ringing from the two pianos, followed by a purring and triumphant march from the strings. The sound was regal. The spine tingled. The audience was engrossed.

The Hens and Roosters followed. Clucking dialogue from the strings and pianos with intermittent gobbling and cock-adoodling portrayed the poultry at work. Wild Donkeys raced by in a scurry of piano semiquavers, followed by the learned Tortoise who moves for no-one. Not even the Can-Can theme played sombrely by the strings could encourage him to get a move on. With delicately placed triplets accompanying by the two pianists, the relaxed intensity of the Tortoise’s routine was performed with class and care. The bassy Elephant heavily plodded along before satirically being enticed into waltzing with the twinkling pianos. Saint-Saëns’ musical humour came through again here with quotes from Mendelssohn’s Scherzo from A Midsummer Night’s Dream

The two pianos next presented The Kangaroos, passing scalic melodies between one-another, rising and falling in tempo and dynamic in harmonic tandem between the performers. This was played with humour, delivered with precision, and appreciated by a chuckling audience.

Some yet unheard voices in the ensemble next came to the fore. Expansive colour in the flute supported a brave and sonorous glockenspiel melody, while delicacy of touch in the shimmering pianos beautifully merged to create the ethereal tonal colour of The Aquarium. This was a special moment with each performer listening, balancing their individual tone quality and taking the audience to the depths of the unknown. For The Characters With Long Ears the violinists’ screeching hee-haws filled the hall. Technically demanding to play, the duetting violin played with ambitious recklessness, allowing harmonics to squeal like the long-eared bat and bows to the hopping legs of the hare. On our way to The Aviary, we met The Cuckoo. The beautiful tone from the clarinet couldn’t be mistaken for anything else. Soft string effects beautifully represented the bustling of The Aviary with incredible solo flute playing taking the audience to the skies with soaring runs and loop-de-loops echoed like a mockingbird in the pianos.

The Pianists soon became Fossils bringing more humour from Saint-Saëns. Played with unwavering synchronicity, our pianists presented their technical and musical skills in perfect unison, while only subtly following Saint-Saëns’ direction that this movement “should imitate the hesitant style and awkwardness of the beginner”. Joviality was the bones of this movement, with bright and playful xylophone playing confidently painting an image of the cartoon skeleton family. More jaunty clarinet playing led the pianists to echo the xylophone theme, and this movement came to a bone-rattling finish.

The Swan could never be anything else, and neither could Anavi S’s rendition on the cello. Possibly one of the most recognisable cello melodies known, Anavi played with grace and elegance, class and poise, and a sonorous tone which commanded the ensemble and captivated the audience. There were certainly goosebumps, or perhaps swanbumps.

The Carnival came to its Finale with all animals coming together. This celebratory music was executed with fun and such energy that audience members were physically engaged. Heads were turned at the maturity of playing and the quality of sound, with all students (remember, these are students performing!) giving it their all and playing to the highest of professional standards. A show stopping end to an enticing performance.

What I found particularly moving was the feeling of camaraderie amongst the performers. All friends, they encouraged each other to play well, and willed themselves to play their best for their fellow ensemble members. The musical interaction, sharing of ideas, and empathy amongst the students was heart-warming to see and listen to, displayed just how amiable and supportive the musicians of Bancroft’s School are. A fine example of teamwork and compassion was shared, and long may it last!