Coulissage en duo et en rythme
Les deux filles se disputaient toujours pour savoir quelle musique elles devaient écouter pendant leurs débats amoureux. L’une penchait pour Rihanna tandis que l’autre ne jurait que par Taylor Swift mais, une fois le double gode profondément enfoncé dans leur minou suintant, seules les rythmes salaces de Serge Gainsbourg collaient parfaitement à l’ambiance cochonne de leurs ébats.
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Tres elegante, et humide… L’apres midi d’une faune pour music? Debussy? Ravel? I’m a music critic and once wrote an article about the sexiest (classical) piece. I wish you could have illustrated it!
Well, send it to me and I will see if I can make something with it.
The music column is attached. I don’t know if it will suggest anything to you, but thank you for the offer. –Chris
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.
Thanks, I will have a look at it.
Splendide as well!
Ça fait toujours plaisir un commentaire encourageant.