Not Explaining the Song of Songs
Reading commentaries before you read Bible text
is comparable to reading program notes before
you hear a piece of music, or feeling far more highly sexed
by fantasies about a partner you adore
than by reality of him or her with whom you will
be making love, the fantasy of music that you’ll hear
and that of making love both ones that you will spill,
once you have drained both of these pleasures which are extremely dear.
The fallacy of reading commentaries of the Song
of Songs is: that even when they are fantastic, all inter-
pretations are both hypothetical and wrong,
“no comment” the best commentary to words that stir
the soul solely
since they’re holy.
Inspired by “A Cellist Breaks Music Into ‘Fragments,’ Then Connects Them: Alisa Weilerstein’s latest project is a series of staged solo recitals that weave Bach’s cello suites with newly commissioned works,” NYT, 3/24/23, in which David Allen writes:
When the cellist Alisa Weilerstein found herself cooped up with her family at the start of the pandemic, her first instinct, like that of so many classical musicians, was to find some way — any way — to communicate.
She joined the artists who found solace on social media, streaming a movement of Bach’s cello suites each day, for 36 days in a row. “I just want to have a kind of outpouring of music, of thoughts, and everything else,” she told The New York Times then. “Right now all I really want to do is give.”