# Question about SALOME's Final Scene



## Bellinilover (Jul 24, 2013)

Has anyone here ever thought about what those eerie, violin notes at the start of the final scene of Richard Strauss's SALOME are meant to represent? To refresh your memories, here's a recording. The part I'm alluding to is from 0:09 to 0:41 of this video:






My idea is that those short, monotonous notes were written to evoke the sound of the executioner sharpening his sword -- or maybe the sound of footsteps? Then again, Salome says that she hears _no_ sound from below -- so maybe the notes are not "sound effects" at all. What do you think?


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## Reichstag aus LICHT (Oct 25, 2010)

The notes accelerate periodically, so perhaps they're an allusion to her quickening heartbeat?


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## Mahlerian (Nov 27, 2012)

Those aren't on a violin, but in the top range of the double bass. That's why they have that oddly pinched sound.


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## elgar's ghost (Aug 8, 2010)

I was quite taken with the novelty of the 'pinch and strike' technique on the basses when I first heard it. I never tried to find out what it was actually supposed to mean in relation to the action but casually assumed it was a representation of Salome's impatience, or maybe even a lust-driven adrenaline rush, as she anticipates Jochanaan's head being brought to her.


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## Pugg (Aug 8, 2014)

Mahlerian said:


> Those aren't on a violin, but in the top range of the double bass. That's why they have that oddly pinched sound.


You are such a wise person :tiphat:


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## Couchie (Dec 9, 2010)

Those represent Salome's feverish shrieks of anticipation. The idea comes directly from Berlioz's Treatise on Orchestration, who noted the effect produced by the double bass played in this fashion sounds like a woman shrieking.


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## Reichstag aus LICHT (Oct 25, 2010)

Couchie said:


> Those represent Salome's feverish shrieks of anticipation. The idea comes directly from Berlioz's Treatise on Orchestration, who noted the effect produced by the double bass played in this fashion sounds like a woman shrieking.


Looks like Strauss got a bit carried away, because Salome eventually sings over her own shrieks. She could be "singing her thoughts", I suppose, but the overall effect still fields like a racing pulse, or perhaps excited nerve-ends firing off. Whatever that sounds like


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