Listening to Bela Bartok’s “Six Dances in Bulgarian Rhythm” must have inspired many a modern dancer into breaking into dance. In fact, it has become a favorite piece not just for dancers but for modern ballet masters. I refer to dance choreographers like Martha Graham, Maurice Bejart, and Roland Petit who have sadly left the stage for a better mise-en-scene elsewhere.
Just as the Hungarian modern classical music composer became and continues to be a favorite of modern ballet choreographers, may I propose that The Dance of the Seven Veils from “Salome” of Richard Strauss sounds perfect as the soundtrack of a modern-day film?
Tom Huizenga – in his blog titled “Who Says Classical Music Can’t Be Sexy?” – writes about the possibility of classical music turning on today’s lovers, just in time for February 14, Valentine’s Day. Never mind that the Christian church debunked the existence of a St. Valentine years ago… the tradition has continued to this day, obviously fanned by its commercial possibilities for florists, department stores and restaurateurs.
I don’t know who Tom Huizenga is, but after reading his blog, my initial reaction was that I don’t care to know more about him. I mean, he says he finds Maria Joao Pires’ performance of a Chopin Nocturne “totally steamy” and Jessye Norman’s singing of Liebestod from Wagner’s Tristan und Isolde a “sensual head rush.”
He does caution the readers: “Some of it is brazenly explicit, so read on if you’re over 18.” When confronted with a disclaimer like that, young college minds could become even more gullible than some of them already are. Of course, like the fly to the spider, you find yourself entering his world.
First, Huizinga discusses Palestrina’s Song of Songs. He cites lyrics like “let him kiss me with the kisses of his mouth/For your breasts are better than wine.” Guess what the Pope at the time thought about this? The supreme head of the church, the vicar of Christ, offered that the piece was an allegory of the relationship between God and people… if we believe Huizinga, of course.
Scriabin’s Poem of Ecstasy has such a tell-tale title, our blogger claims that the opus recreates “the very act of love making, cresting in a blazing climax… strings are left panting softly.”
Are you sure you want to hear more? How about the Czechoslovakian Schulhoff’s Sonata Erotica which he supposedly wrote for a female vocalist who would fake an orgasm when she sang it! Or Ades’ Powder Her Face which was the first to incorporate “a particular sexual act on stage.” (Don’t you shudder to think what that act could be? Of course, we all live in New York City and all that, but still…)
In fact blogger Huizinga must have been on his best-behavior, gentleman’s mode when he wrote about “The Dance of the Seven Veils.” He describes this excerpt from Richard Strauss’ Salome as “essentially a strip tease wherein the sensual and powerful Salome peels off clothing until finally she’s left with none.” Tender mercies, indeed!
And so I found myself intently listening to “The Dance of the Seven Veils,” trying to purge my mind of the prejudices Tom Huizinga’s blog could have instilled. I closed my eyes, and there it came: a soaring, exhilarating opening with an almost hummable tune. Like I said earlier, I could have been listening to the soundtrack of a classic film like “Lawrence of Arabia” or a more recent one like “Titanic.”
I imagined the scene, for who hasn’t heard of that biblical tale? I see John the Baptist, unperturbed, staring as Salome danced to heathen music, mostly strings punctuated by cymbals. Of course, Richard Strauss was no heathen, but he must have recreated that scene similarly in his mind and ear. One veil after another drops off, and you hear the soft rustling of silk or diaphanous damask.
That’s the power of music. And since we’re living in the 21st century, you’re forgiven if you start humming… “I-i-i-i-i will always love you!”