2014 Program Notes, Book 9 43
Wednesday, August 6, 2014
movements were lost; he despaired of ever having a work of this scale performed; a
new commission intervened; Hüttenbrenner’s servant used the manuscript to start a
fire. All of these have been proven false. The truth is that, despite exhaustive research,
there is no conclusive evidence to support any single theory. The explanation currently
given the greatest credence is that Schubert thought he could not match the wonderful
inspiration of the first two movements in what was to follow, so he abandoned this
Symphony for work on another project and simply never returned to complete it.
The first movement is a sonata form that begins without introduction. The first
theme is made up of three components: a brooding, eight-measure phrase heard
immediately in cellos and basses; a restless figure for violins; and a broad melody
played by oboe and clarinet. The music grows in intensity as it approaches the second
theme, played in a brighter key by the cellos over a gently syncopated accompaniment.
A series of decisive chords and a tossing-about of fragments of the second theme
close the exposition. The development, based entirely on the movement’s opening
phrase, rises to great peaks of emotional tension before the recapitulation begins with
the restless violin figure of the first theme. The oboe-clarinet theme is heard again, as
is the second theme, before the movement ends with restatements of the cello-bass
phrase that began the exposition and the development. The second movement is in
sonatina form (sonata without development section) and flows like a calm river, filled
with rich sonorities and lovely melodies.
“Dance of the Seven Veils” from
Salome
, Op. 54 (1903-1905)
Richard Strauss (1864-1949)
The
Dance of the Seven Veils
is scored for piccolo, three
flutes, two oboes, English horn, Heckelphone, E-flat clarinet,
two clarinets in A, two clarinets in B-flat, bass clarinet, three
bassoons, contrabassoon, five horns, four trumpets, four
trombones, tuba, timpani, percussion, celesta, two harps
and strings. The performance time is 10 minutes. The Grant Park Orchestra first
performed this work on July 16, 1935 with Franz Allers conducting.
Strauss’ opera, based on Oscar Wilde’s controversial play, tells the Biblical tale
of Salome, the step-daughter of King Herod, who has conceived an overwhelming
but unrequited passion for the prophet John the Baptist, a prisoner in Herod’s
palace. Herod, who himself lusts for his stepdaughter, agrees to give her whatever
she requests in return for her dancing for him. She exacts his solemn promise,
and performs the
Dance of the Seven Veils
, after which she demands her reward:
the head of the Baptist. Herod, horrified, at first refuses, but to no avail. Salome
demands the prophet’s head. The executioner descends into the cistern where John
is being kept. Salome hovers above, wildly expectant. The executioner passes to
her a silver salver, upon which lies the severed head of the prophet. Salome seizes it
and begins the grisly final scene of opera, which culminates by her kissing the dead
man’s lips. Herod is so revolted that he orders his soldiers to kill her. They crush
Salome beneath their shields.
The
Dance of the Seven Veils
was the last part of the score to be completed and it
contains virtually all of the important themes from the opera. Strauss left instructions
for the choreographer indicating the general nature of Salome’s infamous dance: “A
purely Oriental dance, as serious and controlled as possible, thoroughly restrained,
preferably on
one
spot, such as a prayer mat — greater movement only in the
C-sharp minor passage, and in the last 2/4 a rather orgiastic climax.”
©2014 Dr. Richard E. Rodda
