{"id":38273,"date":"2024-01-29T13:51:24","date_gmt":"2024-01-29T12:51:24","guid":{"rendered":"http:\/\/61ecb281-185b-47f7-9384-72bf0bf3f0b4"},"modified":"2024-01-29T14:39:59","modified_gmt":"2024-01-29T13:39:59","slug":"carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings\/","title":{"rendered":"Carnival of the Animals: a guide to Saint-Sa\u00ebns’s masterpiece and its best recordings"},"content":{"rendered":"

<\/p>

By Jessica Duchen\n <\/p>

Published: Monday, 29 January 2024 at 12:51 PM<\/p>

\n\n

Saint-Sa\u00ebns<\/a> was a prodigy polymath from whom music flowed effortlessly. Symphonies, concertos, chamber works, opera \u2013 there was seemingly nothing he couldn\u2019t turn his hand to. The Carnival of the Animals <\/em>was no different. It has stood the test of time, remaining a firm fan favourite. <\/strong><\/p>

When was The Carnival of the Animals <\/em>composed?<\/h2>
1886 witnessed the single greatest success of Saint-Sa\u00ebns’s career. His epic Third \u2018Organ\u2019 Symphony thundered its way around the globe. That same year Saint-Sa\u00ebns composed The Carnival of the Animals<\/em>, a \u2018grand zoological fantasy\u2019 in 14 movements. Scored for two pianos, string quartet, double bass, flute, clarinet, glockenspiel, xylophone, and glass harmonica\/celesta, it sprang from the opposite end of the musical spectrum.<\/p>
Saint-Sa\u00ebns <\/strong>was so worried about the harm this plaisanterie might do to his reputation as a serious composer, that after two private performances he placed it under lock and key where it remained until after his death. Only one movement survived this embargo: The Swan. <\/p>
What is The Carnival of the Animals<\/i>?<\/h2>
Saint-Sa\u00ebns\u2019s The Carnival of the Animals<\/i>, a \u2018Grande fantaisie zoologique\u2019 no less, lands with all four paws in the territory of the most popular pieces ever created. Through its pages its creatures roar, twitter, swim, rattle, bray, scamper and practise their scales with such joy and relish that it could only have been created by a mind whose freshness and imagination was second-to-none.<\/p>
What inspired The Carnival of the Animals?<\/i><\/h2>
Parts of the piece sprang naturally from the Societ\u00e9 Nationale de Musique\u2019s explorations of the French baroque for inspiration. The era of the clave\u00e7inists was full of evocations of birdsong. Couperin\u2019s Le coucou<\/i> and Rameau\u2019s Le rappel des oiseaux<\/i> are just a few examples of the former. Still, this wasn\u2019t purely a French pursuit. There are precedents everywhere, if nothing quite so concentrated as Saint-Sa\u00ebns\u2019s effort. <\/p>
We can find barking dogs and spring-happy birds in Vivaldi\u2019s The Four Seasons<\/i><\/a><\/strong> and donkey sounds in Mendelssohn\u2019s A Midsummer Night\u2019s Dream<\/i>. There’s a priceless Duetto buffo di due gatti <\/i>(the \u2018Cat Duet\u2019) attributed to Rossini, while bird-calls galore in Beethoven\u2019s Pastoral<\/i> Symphony<\/a><\/strong>. There’s also a wood-bird in Wagner\u2019s Siegfried<\/i> and a swan in Lohengrin<\/i>. During the pro- and anti-Wagner fuss, Saint-Sa\u00ebns had been protesting to Angelo Neumann, director of the opera house in Prague, that he had been one of the first advocates for Lohengrin<\/i>. Soon he had a swan of his own. <\/p>
How Saint-Sa\u00ebns’s piano concertos revolutionised the genre<\/a><\/strong><\/li><\/ul>
What animals feature in Saint-Sa\u00ebns\u2019s The Carnival of the Animals<\/i> and what instruments are used to represent them?<\/h2>
The Carnival<\/i> involves a bizarre instrumental line-up. The two pianos (played at the premiere by Saint-Sa\u00ebns himself and Louis Di\u00e9mer) are at the centre. Alongside them are a string quartet, double bass, flute\/piccolo (Paul Taffanel its first performer), clarinet, glass harmonica and xylophone. Whatever made him choose this odd ensemble, it works wonders. The combination furnished Saint-Sa\u00ebns with a terrific palette of colours and facilitated the textural clarity he valued.<\/p>
Photo by History Archive\/Universal Images Group via Getty Images<\/figcaption><\/figure>
Lion<\/h3>
The Carnival<\/i> opens, like any good circus, with a fanfare-like Introduction and parade. For March of the Lion, Saint-Sa\u00ebns specifies \u2018style persan\u2019 \u2013 a Persian style. This implicitly added grandeur, swagger and drama to the music\u2019s progress. The music is interrupted by surges of chromatic roaring from the King of the Beasts. The two pianos are joined by what sounds deceptively like a conventional string quartet plus double bass.<\/p>
Hens and Roosters<\/h3>
Hens and Roosters are incarnated by the upper strings and clarinet, imitating crowing, clucking and pecking galore. Ultimately they are cut off by the pianos as if abruptly beheaded by a carving knife. <\/p>
H\u00e9miones<\/h3>
H\u00e9miones. Trust Saint-Sa\u00ebns to include an animal that almost nobody else had heard of. These are Tibetan wild donkeys, also known as dziggetai<\/i>, blessed with extraordinary fleetness of hoof. He conjures them by giving the pianists a workout that surpasses some of his own studies. Each pianist plays one line, but they are in unison throughout this fearsome sprint, and coordination must be\u2026 fun.<\/p>
Tortoises<\/h3>
This affectionate portrait of the supremely laid-back Tortoises finds the strings meandering along in the melody of the Galop (or Can-Can) from Offenbach\u2019s Orph\u00e9e aux enfers<\/i>. At a sleepy-sounding Andante maestoso<\/i>, this melody is accompanied by Mozartian triplet pulsing on the pianos. <\/p>
Elephant<\/h3>
The musical references and send-ups have only just begun. Now along comes the Elephant, its second theme a none-too-subtle take-off of the \u2018Dance of the Sylphs\u2019 from Berlioz\u2019s La damnation de Faust<\/i>, transferred to the hefty double bass. There\u2019s also a sideswipe at the scherzo from Mendelsohn\u2019s A Midsummer Night\u2019s Dream<\/i> and a whiff of Meyerbeer\u2019s ballet music Les patineurs <\/i>(\u2018The skaters\u2019). It all combines into a deliciously affectionate piece.<\/p>
$\"Saint-Sa\u00ebns\u2019s$
Photo by: Sepia Times\/Universal Images Group via Getty Images<\/figcaption><\/figure>
Kangaroos<\/h3>
We\u2019ve been to Tibet; now we\u2019re in Australia. The Kangaroos are a swift, light-hopping variety, darting around the piano keyboards in turn with a grace-noted figuration that bears some resemblance to Chopin\u2019s Etude Op. 25 No. 5, before pausing to rest and graze.<\/p>
Aquarium<\/h3>
For the Aquarium, Saint-Sa\u00ebns brings in the glass harmonica, which is sometimes replaced by a glockenspiel or celeste: it is used to mirror the flute on the offbeats and provide some watery glissandos. This aquarium is a flowing, mysterious waterscape, flute and string quartet providing the melodic lines, pianos and glass harmonica the ripples and bubbles. <\/p>
<\/div><figcaption class=\"wp-element-caption\"><em>Watch the Kanneh-Masons perform ‘Aquarium’ from Saint-Sa\u00ebns’s THe Carnival of the Animals<\/em><\/figcaption><\/figure><h3>Donkeys<\/h3><p>Thought we\u2019d had enough donkeys? We hadn\u2019t heard them bray yet, and violins take the spotlight to do so in Personages with Long Ears. The expression was then in use to describe uncritical opera lovers of limited sophistication \u2013 one writer talked about \u2018The possessors of long ears who admire [the operas] <i>La Juive<\/i> and <i>Hamlet <\/i>but regard the word \u201cSymphony\u201d disdainfully.\u2019 There\u2019s also the possibility, of course, that they are music critics\u2026<\/p><h3>Cuckoo<\/h3><p>The Cuckoo in the Depths of the Woods is a moment of magic: the dark forest is conjured by deep chords on the pianos and a distant clarinet, which the composer said should be off-stage, sounding the bird\u2019s call. It is sometimes played as a comedy number, which is rather a pity.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/six-best-pieces-music-inspired-birdsong\">Six best works inspired by birdsong<\/a><\/strong><\/li><\/ul><h3>Birds<\/h3><p>Now other birds have a turn in the Aviary: the music, mainly on strings and flute, with occasional chiming and trilling from the pianos, flutters and rustles, with tremolando and pizzicato<i> <\/i>evoking the lightness of creatures on the wing. The flute solo presented a chance for the great Paul Taffanel to display his formidable abilities. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/how-birds-and-animals-and-have-inspired-and-shaped-classical-music\">How birds and animals have inspired classical music<\/a><\/strong><\/li><\/ul><h3>Pianists<\/h3><p>Saint-Sa\u00ebns, former teacher at \u00c9cole Niedermeyer where everyone practised in the same room, is getting his own back in Pianists. These finger exercises, scales and switches of key, aided and abetted by the strings, would leave infuriated neighbours concurring that a menagerie is exactly where they belong. The music gears up and leads straight into the Fossils.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/20-greatest-pianists-all-time\">Best pianists of all time<\/a><\/strong><\/li><\/ul><h3>Fossils<\/h3><p>Fossils. Saint-Sa\u00ebns was an enthusiastic collector of these stony marvels and here relishes bringing them to life. He sends up his own tone poem <i>Danse macabre<\/i>, in which a virtuoso violin solo is played by the devil in hellish revelries eventually dissolved by dawn. The original was a waltz, but this time the fossils clank their xylophonic bones in up-tempo duple time. For contrast there are references to night-time songs \u2018<strong><a href=\"https:\/\/www.classical-music.com\/articles\/au-clair-de-la-lune-lyrics\">Au clair de la lune<\/a><\/strong>\u2019 and \u2018Ah, vous direz-je, Maman\u2019 (aka \u2018<strong><a href=\"https:\/\/www.classical-music.com\/articles\/what-are-the-lyrics-to-twinkle-twinkle-little-star\">Twinkle Twinkle Little Star<\/a><\/strong>\u2019), a Rossini aria from <i>The Barber of Seville<\/i> (perhaps Saint-Sa\u00ebns thought this the musical equivalent of a fossil) and a song called \u2018J\u2019ai du bon tabac\u2019. Ogden Nash\u2019s verse for this piece captured it perfectly, concluding: \u2018It\u2019s kind of fun to be extinct\u2019.<\/p><figure class=\"wp-block-image size-landscape_thumbnail\"><img loading=\"lazy\" width=\"1299\" height=\"866\" src=\"https:\/\/c02.purpledshub.com\/uploads\/sites\/43\/2021\/07\/the-swn-in-The-lion-in-Saint-Sae%25CC%2588nss-The-Carnival-of-the-Animals-7dbcf9d.jpg\" alt=\"The swan in Saint-Sa\u00ebns\u2019s The Carnival of the Animals\" class=\"wp-image-155982\" title=\"The swan in Saint-Sa\u00ebns\u2019s The Carnival of the Animals\" data-recalc-dims=\"1\"\/><figcaption class=\"wp-element-caption\">Photo by DeAgostini\/Getty Images<\/figcaption><\/figure><h3>Swan<\/h3><p>The high-jinx of the past two numbers disappears and, in The Swan, the most beautiful melody in the work sings out on solo cello, sailing over the rippling waters of the two pianos. Transcribed for other instruments innumerable times, adapted for a solo \u2018The Dying Swan\u2019 by the choreographer Mikhail Fokine for the great Anna Pavlova in 1905, the piece has rarely been out of the spotlight \u2013 but the streamlined gorgeousness of the original takes a lot of beating.<\/p><h3>All the animals!<\/h3><p>And so to the Finale, for all the instruments. In balletic fashion, there\u2019s a grand round-up of our furry, feathered, floaty or four-footed friends, with some of their musical characters enjoying brief reprises in the rondo episodes of this light-hoofed can-can. It opens by recalling the start of the whole piece and we catch galloping glimpses of the Tibetan donkeys, chickens, kangaroos and\u2026 the personages with long ears.<\/p><p>And so they gallop off into the sunset. Though perhaps curiously one creature is missing: Saint-Sa\u00ebns\u2019s beloved dog.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embedwrapper\"><iframe title=\"Saint-Sa\u00ebns: Carnival of the Animals - The Swan\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/10Z1eNq21yc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><figcaption class=\"wp-element-caption\"><em>Watch the Kanneh-Masons perform ‘The Swan’ from Saint-Sa\u00ebns’s The Carnival of the Animals<\/em><\/figcaption><\/figure><p><em><strong>Words by: Jessica Duchen<\/strong><\/em><\/p><h2 id=\"h-carnival-of-the-animals-best-recordings\"><em>Carnival of the Animals <\/em>best recordings<\/h2><h3>Radio France Philharmonic Orchestra (1990)<\/h3><p><strong>G\u00fcher & S\u00fcher Pekinel (piano)Radio France PO\/Marek Janowski (1990)Warner Apex 25646 21252<\/strong><\/p><p>With its hilarious send-ups \u2013 slow-motion can-can in \u2018Tortoises\u2019, <a href=\"https:\/\/www.classical-music.com\/features\/composers\/gioachino-rossini\"><strong>Rossini<\/strong><\/a>\u2019s <em>Barber of Seville<\/em> in \u2018Fossils\u2019, <a href=\"https:\/\/www.classical-music.com\/features\/composers\/hector-berlioz\"><strong>Berlioz<\/strong><\/a>\u2019s <em>Waltz of the Sylphs<\/em> in \u2018Elephant\u2019 \u2013 and a rollicking finale that brings everyone back for a curtain call, a first-rate performance of <em>The Carnival of the Animals<\/em> should light up the musical sky.<\/p><p>And that is just what Marek Janowski, working alongside one of the world\u2019s most celebrated piano duos, achieves here. By electing to gently cajole <strong>Saint-Sa\u00ebns<\/strong>\u2019s humorous asides rather than milking them for all their worth, this is more Hardy than Laurel, and none the worse for that.<\/p><p>In \u2018Tortoises\u2019, the Pekinel twins create a magically veiled sonority that creates the impression of being experienced through a heat wave, while \u2018Aquarium\u2019 \u2013 in which the glass harmonica takes a star turn \u2013 quietly glistens like an iridescent jewel. The octave scales of \u2018Pianists\u2019 are played dead straight until the change to thirds \u2013 the real point of the joke \u2013 is signalled by a sudden relaxing of tempo and subtle change to a more \u2018effortful\u2019 sonority.<\/p><p>Strangely, the very opening is played as repeated notes rather than the customary tremolandos, but in the context of such a beguiling performance this is hardly a major distraction. Janowski and colleagues join in the proceedings with alacrity and the engineering combines ambient warmth and detail to perfection.<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embedwrapper\"><iframe title=\"Spotify Embed: Saint-Sa\u00ebns, Poulenc, Infante & Ravel : Piano Works (Apex)\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/5cdvQ03vUwB95RzUnd947M?utm_source=oembed&go=1&play=1&nd=1&nd=1\"\/><\/div><\/figure><h3>Pittsburgh Symphony Orchestra (1980)<\/h3><p><strong>Patricia Prattis Jennings & Joseph Villa (piano)<\/strong> <strong>Pittsburgh SO\/Previn (1980)<\/strong> <strong>Philips 442 6082 (2 discs)<\/strong><\/p><p>For a performance with a large string ensemble, Andr\u00e9 Previn\u2019s Pittsburgh classic reigns supreme. The humour is deftly handled and deliciously understated, and tempos are superbly judged. In \u2018Personages with long ears\u2019 Previn insists on the donkeys\u2019 whinnying being thrown off by the violins as flying harmonics rather than taken in the safety of first position.<\/p><p>Jennings and Villa play their vital roles as true ensemble players rather than \u2018star\u2019 soloist. So natural and unforced is Previn\u2019s direction, immaculately balanced by Philips\u2019s engineers, that one can sit back enjoy this immaculately crafted score without any distraction.<\/p><h3>Capu\u00e7on Brothers and friends (2003)<\/h3><p><strong>Michel Dalberto & Frank Braley (piano)Renaud Capu\u00e7on, Esther Hoppe, Beatrice Muthebet, Gautier Capu\u00e7on, Janne Saksala, Emmanuel Pahud, Paul Meyer, Florent Jordelet (2003)Virgin 545 6022<\/strong><\/p><p>For something a little more adventurous, the Capu\u00e7on brothers and distinguished colleagues cry out to be heard. It reveals <strong>Saint-Sa\u00ebns<\/strong>\u2019s mini-masterpiece in all its original chamber-scale glory. Things arguably go a little too far in \u2018Pianists\u2019, in which the protagonists get wildly out of synch with one another, but elsewhere the uncontainable exuberance of this performance carries all before it.<\/p><p>Rarely has the \u2018Cuckoo\u2019 sounded quite so absurd in the context of the pianists\u2019 chorale-like musings. Meanwhile these particular \u2018Fossils\u2019 dust themselves down and lift their skirts in the air for some well-aimed high-kicks. Gautier Capu\u00e7on\u2019s \u2018Swan\u2019 and Emmanuel Pahud\u2019s \u2018Aviary\u2019 are sublime, and the whistle-stop finale is guaranteed to send spirits soaring.<\/p><h3>London Sinfonietta (1977)<\/h3><p><strong>Pascal Rog\u00e9 & Cristina Ortiz (piano)London Sinfonietta\/Charles Dutoit (1977)Decca 444 5522<\/strong><\/p><p>If G\u00fcher and S\u00fcher Pekinel are gently persuasive and chamber-scale in their responses. Meanwhile, pianists Pascal Rog\u00e9 and Cristina Ortiz play with an outsize virtuosity that is enormously imposing. Their \u2018Lion\u2019 has very broad, powerful shoulders. Their \u2018Wild Asses\u2019 gallop at phenomenal speed, and their \u2018Hens and Cockerels\u2019 peck and strut their stuff with imperious indifference.<\/p><p>These \u2018Tortoises\u2019 appear to float past balletically and even the \u2018Elephant\u2019 sounds as though he may have been caught off-guard wearing a tutu. Yet there is an unmistakably Gallic charm and <em>joie de vivre<\/em> about this reading which suggests that everyone is having a good time. Charles Dutoit makes rather a meal of the introduction \u2013 more C\u00e9sar Franck than snappy curtain-raiser \u2013 but maybe that\u2019s another in-joke.<\/p><h2 id=\"h-and-one-recording-to-avoid\">And one recording to avoid\u2026<\/h2><p> A bit of a naughty indulgence from Eugene Ormandy and his fabulous Philadelphians. Solo lines register clearly enough \u2013 although the pianos tend to come and go a bit \u2013 but it\u2019s those Tchaikovsky-in-overdrive strings that dominate. For \u2018Elephant\u2019 read \u2018Herd of Elephants\u2019 as the entire double-bass section gives your woofers an aerobic work-out. It\u2019s gloriously OTT, but probably not quite what <strong>Saint-Sa\u00ebns<\/strong> originally had in mind.<\/p><figure class=\"wp-block-embed is-type-rich is-provider-spotify wp-block-embed-spotify wp-embed-aspect-21-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe title=\"Spotify Embed: Saint-Sa\u00ebns: Organ Symphony, Carnival of the Animals\" style=\"border-radius: 12px\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" src=\"https:\/\/open.spotify.com\/embed\/album\/6yLEI0ovXqWUsrobfw9Yyl?utm_source=oembed&go=1&play=1&nd=1&nd=1\"\/><\/div><\/figure><p><em>This article originally featured in the June 2010 issue of BBC Music Magazine.<\/em><\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Jessica Duchen Published: Monday, 29 January 2024 at 12:51 PM Saint-Sa\u00ebns was a prodigy polymath from whom music flowed effortlessly. Symphonies, concertos, chamber works, opera \u2013 there was seemingly nothing he couldn\u2019t turn his hand to. The Carnival of the Animals was no different. It has stood the test of time, remaining a firm […]<\/p>\n","protected":false},"author":24,"featured_media":38274,"template":"","categories":[1],"acf":{"readingTimeMinutes":"10"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/01\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings.jpg",2560,1707,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/01\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/01\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/01\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/01\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/01\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings-1536x1024.jpg",1536,1024,true],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/01\/carnival-of-the-animals-a-guide-to-saint-saenss-masterpiece-and-its-best-recordings-2048x1366.jpg",2048,1366,true]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Jessica Duchen Published: Monday, 29 January 2024 at 12:51 PM Saint-Sa\u00ebns was a prodigy polymath from whom music flowed effortlessly. Symphonies, concertos, chamber works, opera \u2013 there was seemingly nothing he couldn\u2019t turn his hand to. The Carnival of the Animals was no different. It has stood the test of time, remaining a firm…","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/38273"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/38274"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=38273"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=38273"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Kangaroos<\/h3>We\u2019ve been to Tibet; now we\u2019re in Australia. The Kangaroos are a swift, light-hopping variety, darting around the piano keyboards in turn with a grace-noted figuration that bears some resemblance to Chopin\u2019s Etude Op. 25 No. 5, before pausing to rest and graze.<\/p>

Kangaroos<\/h3>
We\u2019ve been to Tibet; now we\u2019re in Australia. The Kangaroos are a swift, light-hopping variety, darting around the piano keyboards in turn with a grace-noted figuration that bears some resemblance to Chopin\u2019s Etude Op. 25 No. 5, before pausing to rest and graze.<\/p>