(Karl Goldmark: born in Keszthely, Hungary, May 18, 1830; now living in Vienna)
OVERTURE, "SAKUNTALA": Op. 13
This overture, which made its composer famous, has been in the European concert repertory since 1865 (in December of which year it was performed for the first time in Vienna), and in that of America since 1877. The music is conceived as a commentary on Kalidassa's famous Indian drama, "Sakuntala," the story of which is outlined as follows in a preface printed in the score:
"Sakuntala, the daughter of a nymph, is brought up in a penitentiary grove by the chief of a sacred caste of priests as his adopted daughter. The great king Dushianta enters the sacred grove while out hunting; he sees Sakuntala, and is immediately inflamed with love for her.
"A charming love-scene follows, which closes with the union (according to Grundharveri, the marriage) of both.
"The king gives Sakuntala, who is to follow him later to his capital city, a ring by which she shall be recognized as his wife.
"A powerful priest, to whom Sakuntala has forgotten to show due hospitality, in the intoxication of her love, revenges himself upon her by depriving the king of his memory and of all recollection of her.
"Sakuntala loses the ring while washing clothes in the sacred river.
"When Sakuntala is presented to the king, by her companions, as his wife, he does not recognize her, and he repudiates her. Her companions refuse to admit her, as the wife of another, back into her home, and she is left alone in grief and despair; then the nymph, her mother, has pity on her and takes her to herself.
"Now the ring is found by some fishermen and brought back to the king. On his seeing it, his recollection of Sakuntala returns. He is seized with remorse for his terrible deed; the profoundest grief and unbounded yearning for her who has disappeared leave him no more.
"On a warlike campaign against some evil demons, whom he vanquishes, he finds Sakuntala again, and now there is no end to their happiness."
"RUSTIC WEDDING" SYMPHONY (No. 1): Op. 26
1. WEDDING MARCH, WITH VARIATIONS
(Moderato molto)
2. BRIDAL SONG
(Allegretto)
3. SERENADE
(Allegretto moderato, scherzando)
4. IN THE GARDEN
(Andante)
5. DANCE: FINALE
(Allegretto molto)
Goldmark's LÄndliche Hochzeit symphony, first performed at a Philharmonic concert in Vienna under Hans Richter in March, 1876, is rather a suite than a symphony. The picturesque significance of the various movements, which bear an obvious relationship to the central idea expressed in the title, may be indicated as follows:
I. WEDDING MARCH
This movement needs no gloss, since its character and significance lie upon the surface of the music.
II. BRIDAL SONG
The song may be imagined as being sung by friends of the bride. It has a second part, with a tender tune for the oboe (as if one of the bridesmaids had stepped forward), accompanied by the theme of the march in the basses.
III. SERENADE
After a prelude, two oboes sing a duet, which is varied and developed by other instruments.
IV. IN THE GARDEN
This is a love-scene. An impassioned duet is suggested, in which the tenor is represented by 'cellos and horns, the soprano by the violins and the higher wood-wind instruments. The movement ends serenely.
V. FINALE
A peasant dance, spirited and jocose, with a tender episode in the middle. "For a moment we steal out of doors, and are again lost in the rare strain of the garden scene." In the epilogue "the simple second tune of the dance [first heard in the strings] broadens into song, like a festive hymn, rising to a height of fervent appeal, that is too intimate for a mere tripping of feet.... The end is in a climax that is much more than the frolic of a dance."
