(Henry Hadley: born in Somerville, Massachusetts, December 20, 1871; now living in Germany) TONE-POEM, "SALOME": Op. 55 This tone-poem, "after Oscar Wilde's tragedy," is said to have been completed before the production of Richard Strauss's music-drama on the same subject.[64] It is alleged that when Mr. Hadley's music was composed (it was published at Berlin in the latter part of 1906), the "Salome" of Strauss was unknown to him. The score contains the following programme, printed in German and English: "Oscar Wilde's tragedy, 'Salome,' presents first a moonlight scene of Oriental beauty. Without the palace the soldiers are keeping guard; within, a feast is in progress. Salome leaves Herod's banquet and seeks the grateful cool of the lovely night. John the Baptist (Iokanaan) has been made prisoner by Herod in an old well. On hearing his voice proclaiming the Christ, Salome is deeply moved and determines to see him. She prevails upon the captain, Narraboth, who is in love with her, to have Iokanaan brought forth. When Salome beholds him, Salome, the wilful and haughty, who has always triumphed in her loves, finally herself falls a victim to a consuming passion for Iokanaan. Notwithstanding her pleadings, he repulses and condemns her as the daughter of a wicked woman, while the soldiers reconduct him to his imprisonment. The music and revelry of Herod's banqueters are heard. Missing Salome at the feast, Herod leaves the palace and seeks her. Upon finding her cold and silent to his advances, he asks her to partake of fruits and wine with him. This she refuses to do. Finally he begs her to dance, promising her anything her heart desires, if she will but consent. At last Salome is persuaded, and dances the dance of the seven veils for Herod. Delighted and enchanted with Salome's charms and maddening dance, he lays half his kingdom at her feet. She will have none of it, but, reminding him of his promise, demands the head of Iokanaan in a silver plate. Herod, superstitious and now thoroughly alarmed at so extraordinary a request, pleads with Salome. It is of no avail. She will have only what she demanded. At last, to the utter collapse of Herod, he is bound to keep his promise. Salome, on being presented with the head of Iokanaan, fondles and caresses it, breathing words of passion into its deaf ears. Herod, in fright of what has been done and in rage and disgust with Salome, orders her instant death. The soldiers rush upon her with their spears and put her to death. [65]
At the time of the first American performance of this tone-poem by the Boston Symphony Orchestra, on April 12, 1907, Mr. Philip Hale published in the programme-books this exposition of the significance of the music: "'Salome' begins ... Lento e molto tranquillo, ... with a description of the moonlit scene. The music follows the course of the argument, but how literally, how imaginatively, must be determined by each hearer. It will be remarked that a theme, which might be called Salome's desire, introduced early in the work after a passage for solo violoncello (for horns and then for clarinets, oboes, and English horns), is used at the end of the tone-poem, 'con adore' (sic), to accentuate the address of Salome to Iokanaan's head. 'Salome's Dance,' Allegretto ben ritmato, with a 'stretto con delirio,' is specified by the composer with a title. The chief motives elsewhere are unidentified by him. One hearer, then, may take the motive, poco largamente, early in the work, given to trombones and tuba fortissimo with drum-roll, for Iokanaan's denunciation, and recognize the significance of its entrance after the dance, while to another the motive may have another meaning. So, too, there may be various opinions concerning the precise significance of other themes. It is enough to say that the music follows the course of the published argument. After the dance and the scene in which Herod consents to the beheading of the holy man there is a return to the opening tonality, tempo, and mood. Themes already typical of Salome are again used. There is a suddenly introduced and short Allegro con fuoco. Grand pause: Lento. The English horn sighs the love theme of Salome."
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