After making these subtractions, however, there undoubtedly remain many puzzling clashes of tone in Strauss's scores, which can be accounted for only as introduced either for color or for dramatic expression.
The use of dissonance for the sake of color enrichment is a familiar proceeding in modern music, especially in that of impressionistic type like Debussy's and Ravel's. Such use is essentially decorative. To a more or less clearly defined harmonic nucleus are added softer tones, clashing with it, and thus forming about it an aura or atmosphere elsewhere compared to the mist which softens the outlines of the landscape.[10] Strauss is too fond of clear outlines and solid mass to employ these impressionistic methods habitually, or even frequently; but when he does, it is with his usual skill and daring. The theme of the silver rose in "Der Rosenkavalier" is the inevitable example: the last pages of the score are crowded with those silvery, scarcely audible triads of celesta and flutes, shifting and settling on the stronger G major chord like snowflakes on a leaf (Figure VIII, page 70).
Figure VIII.
The silver rose motive, from "Der Rosenkavalier."
Delicious as are these shimmerings, a use of dissonance on the whole more characteristic of the masculine nature of Strauss is the harsher, more insistent juxtaposition of clashing tones for the sake of their potency in the expression of the tragic, the gruesome, or the abnormal. Naturally this is pushed furthest in the treatment of such pathological subjects as "Salome" and "Elektra," where its effect is carefully enhanced by contrast with strong or clear consonant harmonies—"Salome" has its Jochanaan and "Elektra" its Chrysothemis. The close juxtaposition of foreign tone groups, either successive or simultaneous, is carried to great lengths in these operas. The theme of the chattering Jews in "Salome" is an example of the successive, as is the curious succession of the chords of F minor and B minor at Chrysothemis' entrance in "Elektra."[11]
The simultaneous kind was foreshadowed in the famous ending of "Also Sprach Zarathustra," where the woodwind instruments sound the chord of B major against the softly plucked C of the strings; but we have to go to the operas again to find it carried to its logical and sometimes cruel extreme. There we find alien triads marching uneasily together in double harness;[12] dominant sevenths similarly shackled;[13] and strange passages in which the upper parts move naturally, but above a dislocated bass.[14] Such procedures, which, it must always be remembered, because of differences in tone quality between instruments of different families, sound far less harsh in the orchestra than on the piano, even if they are no less queer musically, can theoretically be carried to any extent. How far Strauss sometimes carries them, a single example must suffice to show.
Figure IX.
Passage from "Elektra," vocal score, page 63.