I. POPULAR FEAST

(Scenes of festivity, the music based on or suggested by Russian folk-songs.)

II. IN THE MONASTERY

(There are, first, passages of religious character; then a section of contrasted quality, with a suggestion of temple gongs and Oriental color.)

III. ENTRANCE AND MEETING OF THE PRINCE

(The prevailing spirit of this movement is festal. There is a suggestion of pomps and occasions, of brilliant pageantry.)

"The Kremlin," writes Mr. Arthur Symons in his Cities, "is like the evocation of an Arabian sorcerer, called up out of the mists of the North; and the bells hung in these pagan, pagoda-like belfries seem to swing there in a lost paradox, as if to drive away the very demons that have fixed them in mid-air.... All the violence of the yellow, Mongolian East is in these temples, which break out into bulbs, and flower into gigantic fruits and vegetables of copper and tiles and carved stone; which are full of crawling and wriggling lines, of a kind of cruelty in form; in which the gold of the sun, the green of the earth's grass, and a blue which is to the blue of the sky what hell is to heaven, mock and deform the visible world in a kind of infernal parody....

"... The priests, with their long hair and Christ-like presence, wearing heavy vestments of blue and red velvet and gold-embroidered stuff (in which one sees the hieratic significance of the blue of the domes), pass through the concealing door from the presence of the people to the presence of God, the door which, at the most sacred moment, shuts them in upon that presence; and a choir of sad, deep, Russian voices, the voices of young men, chants antiphonally and in chorus, weaving, in a sort of instrumental piece in which the voices are the instruments, a heavy veil of music, which trembles like a curtain before the shrine."

GOLDMARK

(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."