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MUSIC OF THE CONCERT OVERTURE TO “ SAKUNTALA ” (Op. 13) Goldmark ARL GOLDMARK was born of Jewish parents in Hungary, May 18, 1830. His overture, “ Sakuntala,” his opera, “ Die Köningen von Saga,” and his symphony, “The Country Wedding,” have been much played and have given him his chief reputation. In 1789 Sir William Jones, the eminent British Orientalist, published “ Sakuntala ” or “ The Fatal Ring,” and through this translation the world became acquainted with the most interesting drama of Kalidasa, the most famous of the old Hindu dramatists, who flourished about 550 A. D. The ancient' Sanscrit legend on which the drama is founded represents Sakuntala as the beautiful daughter of Vishwamitra and the water nymph Menaka. Abandoned by her parents, she is brought up in a penitential grove by the chief of a sacred caste of priests as his adopted daughter. The great Dashianta enters the sacred grove while hunting, sees Sakuntala, and is immediately inflamed with love for her. A charming love scene follows, which closes with the Union (according to Grundharveri marriage) of both. The king gives Sakuntala, who is to follow him later to his capital city, a ring, by which she will 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 he repudiates her. She is alone in her despair when the nymph, her mother, has pity on her and takes her to herseif. Now the ring is found by some fishermen and brought back to the king. On seeing it his recollection of Sakuntala returns. The profoundest grief and unbounded yearning for her who has disappeared takes hold of him. On a warlike campaign against an evil demon, whom he vanquishes, he finds Sakuntala again, and there is no end to their happiness. Of course the overture purports to reflect the sentiments of the story. If the listener is inclined to be analytical, he may find in the music suggestions of the stillness and mystery of the sacred grove and hearing the wooing of the king and the love-song of Sakuntala. If gorgeous color, sensuous melody and passion are oriental, the listener may take this to be oriental music, for Goldmark excels in painting such scenes. One may perhaps perceive Sakuntala’s rüde awakening from her dream of love, and also her wretched loneliness and dejection. But the love song returns fortissimo with the king’s recollection of her, and the overture ends in gladness and triumph. INFELICE ........ Mendelssohn Infelice, Gia dal mio sguardo si dileguo, La mia presenza l’iniquo non sontenne, E pur odiar non posso ancor, Rammenta al fin i falli i torti suoi Rissegli la tua virtu, Scordati l’empio traditore. Amante sventurata e l’amor pur? Cosi fallace amore, le tue promesse attendi Fu non m’ai rendi la rapita quiete, Queste son le speranze e l’ore liete.
