James Zehm <[log in to unmask]> wrote:

>I have already mentioned three examples of strong erotic power; Bolero,
>Carmen and Skriabin (that one is almost obscene) piano works...I want to
>add Emmerich Kalmans operettas, especially "Die Zirkusprinsessin".

I am very sorry, but I really can't think about something less erotic
than Bolero.  It reminds me about some kind of processional path towards
something so material I cannot define it.  Although it is a very nice and
carefully arranged composition.  A lot of people find it erotic, I find it
rather kitchy; perhaps Ravel pretended to be too literal and descriptive.
Eroticism has nothing to do with preconceived processional paths.

It might rather imply shifts in rhythm and juxtaposition of melodies.  A
melody after a melody.  But mainly, a melody within a melody.  Overlaping
of rhythmic patterns.  Because melody is melody because of rhythm.  In that
sense, I look for elements that carry suspense and unexpected shifts in
intensity and vigor.  But nothing to do with precalculated mathematics.
Bolero really sounds like a formula to me.  I cannot imagine anything
sensuous going on by the hand of that sorrowful Bolero's snare drum (let's
call it a hum/drum), and with that completely anti-erotic ending.

Instead, I strongly agree with the point about Scriabin and Debussy, and,
depending on the performer, some Chopin and Schumman works for piano, of
course.  Now, jazz can be something really erotic.  It really can.  But I
think this discussion board is mainly classical-music driven.  (That's why
I can't stand labels and classifications).  John Coltrane's compositions
and performances might be among the most sexually driven of all time.
At every level.  Indeed.  Complete dominion on it (technically and
metaphysically), his tenor saxophone was something like an extension
of his own body.

Andres Nunez
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