Tag Archives: Salome

A Valentine from the Portland Symphony Orchestra

Portland Symphony Orchestra
Merrill Auditorium
Jan. 26, 2016
by Christopher Hyde

There’s always a spike in the birthrate nine months after the dead of winter, but October 2016 might show more fecundity than usual, due to the Portland Symphony Orchestra’s erotic tribute to Richard Strauss, Jan. 26 at Merrill Auditorium.

The program opened with the Beethoven Symphony No. 8 in F Major, Op. 93, part of the orchestra’s three-year Beethoven cycle. This was great music, well played, except for a bit of distraction at the opening of the Tempo di menuetto, but after intermission it was easy to see where the players’ hearts really lay.

Music director Robert Moody, after requesting no applause between selections, played four works by Strauss as if they were movements of a Romantic symphony, a conceit that worked quite well. The four, which portray various forms of eroticism, built up to a thunderous climax, with a brilliant performance of the final scene of “Salome,” sung passionately by soprano Patricia Racette.

The four were all closely related by Strauss’ unique sound–one of the marks of greatness–and by echoes of other works. The scoring of the final act of “Salome,” for example, recalls another image of despised love, in “Der Rosenkavalier,” but this time without the slightest hint of resignation. It is just Eros vs. Thanatos, and Thanatos wins, or does he? After Salome’s ferocious consummation, there’s nowhere else to go.

(Incidentally, I object to the slur on “Der Rosenkavalier” in the program notes. No, it isn’t Mozart, but something entirely different, and equally a work of genius.)

The first movement was the Prelude to Act. 1 of Strauss’ first opera, “Guntram,” (Op. 25). Influenced by Wagner and the ideal of the Teutonic knight, it has the sensual frisson of “Tristan und Isolde,” but better orchestrated and controlled.

The second, the love scene from “Feursnot,” is probably the world champion musical description of sex. H.L. Mencken would have proclaimed that it should not be played in polite company. It was perfectly (should I say lovingly?) rendered, down to the last high trumpet note.

Returning to the preliminaries was the “Dance of the Seven Veils” from “Salome,” (Op. 74), delightfully seductive, down to the falling whisper of the final garment. This is a work that used to be played more often. It runs counter to the modern predilection for instant gratification.

Racette was seductive, vicious, willful and wistful, clad in brown velvet, as Salome, triumphantly making love to the head of John the Baptist. Her voice, always clear and true, carried over the fortissimos of the orchestra effortlessly, and her portrayal of the various stages of emotion in the doomed heroine was mesmerizing. She and the orchestra received a well-deserved sanding ovation.

As Samuel Pepys used to say: “And now to bed.” Because “Music and woman I cannot but give way to, whatever my business is.”

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Eroticism in Music

Classical Beat Column
by Christopher Hyde

The Portland Symphony Orchestra’s “Beethoven and Strauss” program, Jan. 24 and 26 at Merrill Auditorium. in addition to Beethoven’s shortest and most unusual symphony, the Eighth, includes some of the most erotic works in the repertoire: Richard Strauss’ Prelude to Act I of “Guntram,” Love Scene from “Feursnot” and the famous “Dance of the Seven Veils” from “Salome,” with guest artist soprano Patricia Racette.

It was reported a few years ago that scientists at the Montreal Neurological Institute have discovered that music activates the same reward centers of the brain as food and sex.

Some pieces of music activate better than others, but the effect has nothing to do with content. Overt or hidden erotic messages, as in the pieces programmed by the PSO, may help, but Beethoven and Bach affect the same pleasure centers as “Der Rosenkavalier.” What other areas they stimulate–memory, discovery, aesthetic beauty or rational intellect–is an entirely different question. (See Oliver Sacks’ “Your Brain on Music.”)

There are a couple of Bach cantatas that have the same erotic effect—Christ as the immortal beloved— as the Bernini sculpture of the Ecstasy of St. Teresa. “Wann kommst du, mein Heil?” from the Cantata No. 140 is one.

Music director Robert Moody has selected two leading candidates for the most erotic piece of music, at least according to some informal surveys on the internet.

Richard Strauss has the largest number of mentions, including “Der Rosenkavalier,” which is full of hidden risque meanings, “Salome” and even the “Domestic Symphony” and the “Four Last Songs.” Strangely enough, no one mentioned “Die Frau Ohne Schatten,” which is about nothing but eroticism.

A Ravel work, the “Bolero,” also had several mentions. I find it quite similar to the “Liebestod” in its gradual build-up to an overwhelming climax, in the case of the Wagner a union of Eros and Thanatos, and in the Ravel, appropriately enough, a change of key.

Among the moderns are, of course, Stravinsky’s “Rite of Spring” and Schoenberg’s “Pierrot Lunaire,” plus John Adams’ “Harmonium.” Since Adams is one of Moody’s favorite composers it would be interesting to hear this some time near Valentine’s Day.

There was also considerable discussion of Luciano Berio’s tape “Visage” for voice and electronic sounds, although to my mind this one and Pierrot seem more weird than erotic.

One work that I was not familiar with was Karol Szymanovski’s Symphony No. 3. Szymanowski, a friend of pianist Artur Rubinstein, was openly homosexual when that was taboo, and the symphony is supposedly full of homoerotic messages.

I have always wondered exactly how erotic images could be conveyed in music, but an analysis of the images in the Third Symphony told me much more than I wanted to know. The treatise is one of the most abstruse pieces of musical analysis I have ever encountered, having to do (I think) with chordal analysis and progressions, as well as rhythm.

Many of the selections on the internet were equally puzzling, at least to this reader. Scriabin’s grandiose “Poem of Ecstasy” was right up there, but I find it more embarrassing than erotic. His early Chopin-like Preludes are more realistic and Romantic at the same time.

On the subject of eroticism in music one has to fall back on the old dictum about pornography: “I know it when I see it.”

In the meantime, “If music be the food of love, play on.”

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.