II. Modérément lent. D flat major, 6-4. The second movement begins with an announcement by the first violins of the second principal theme (descending fourth). The bass clarinet sings the rest of the motive, which is taken up by the strings. These first measures prepare the reëntrance of the same theme under a form (6-4) already used in the first movement. A new figure appears, which will be found in the finale. The development brings a modulation to E major, and harps give out a strongly rhythmed motive in that tonality. This motive will be employed in the scherzo. The dotted, characteristic rhythm is now kept up, while the oboe, then the clarinet, and also other instruments, sing in turn an expressive theme; on the conclusion of it is the first new theme of this movement, which in turn is a prolongation of the theme (6-4) of the first movement.
III. Modéré, D minor, 2-4. A solo viola chants a theme of archaic character, which reminds one of some old legend’s air. The flute hints at the strongly rhythmed theme of the preceding movement, but the archaic tune is developed and interrupted suddenly by the horns proclaiming the initial theme, sadly changed and of greatly diminished importance. There is a fantastic whirlwind in the strings, and above it a bold theme is given out by the wood-wind. The strongly rhythmed theme appears almost immediately afterwards, and is added to the whirling triplets. There is a comparative lull, and the bold theme is now given out at length by the small trumpet, after which there is an orchestral explosion. Then the archaic tune appears, rhythmed curiously in 3-8, “after the manner of a pantomimic dance,” and played by flutes and then bassoons; harp harmonics and the triangle give additional color to this episode.
IV. Introduction, fugue, et finale. The general form of this last movement is that of a rondo preceded by an introduction in two parts (introduction and fugue). In the introduction to the fugue all the chief thematic ideas of the preceding movements are recalled one by one, either by solo instruments or by groups of instruments.
The subject of the fugue is the expressive theme first sung by the oboe in the second movement, but now the theme is lengthened by an ascending arabesque. The final association of the two themes, already hinted at the beginning of the second movement by the appearance of a figure common to them both, is now frankly declared. This subject, persisting to the end of the fugue, brings in a lively movement, 5-4, the true finale. The oboe sings the first new theme of the second movement. The instrumental complications become more elaborate. The strongly rhythmed theme presents itself, and then a brand-new motive appears, interrupted by echoes of the archaic melody. This new theme prepares the return of the initial motive, which strengthens itself in canon form. The fugue subject creeps about the whole orchestra, while a more aggressive form of the often used theme of the second movement soars above. The brand-new theme returns, and once more ushers in the initial theme in the bass, while the second chief or cyclic theme is announced above. This is the final struggle of the two. The fugue subject soon reappears, and leads to a brilliant burst of the whole orchestra. The second chief or cyclic theme is then used as a broadly proportioned chorale, whose bass is the initial theme, now subdued and definitely associated with the triumph of the second theme. This triumph is thrice proclaimed in the peroration, and, between the proclamations, the archaic theme, with its characteristic initial fifth, is heard in the wood-wind.
SYMPHONIC VARIATIONS, “ISTAR,” OP. 42
Istar, the Symphony on a Mountain Air, and A Summer Day on the Mountain were composed in the period of d’Indy’s life when he was concerned chiefly with making music, and not telling young composers how it should be made. Those three compositions, with the Symphony in B flat major, will represent him honorably in the years to come. One should not underrate his work as a teacher, his high ideals. His technic did not leave him in his later works, but his brain was more in evidence than any source of emotion. Maurice Boucher, speaking of Debussy being drawn instinctively toward the French poets contemporaneous with him (the poems of Rossetti and the dramas of Maeterlinck also attracted him) said that d’Indy “by his temperament was borne toward doctrinal discussions.” In Istar, though his technical skill is brilliantly in evidence, there is pure music from the beginning to the end. It is true that the withholding of the theme in its full glory to the end might be called a “stunt,” as Ravel’s Bolero is a stunt, but d’Indy’s is the legitimate, inevitable crowning of the work; Ravel’s was designed chiefly to create curiosity with a final surprise, and the Bolero once known does not bear repeated hearings, for the effect, once known, is afterward discounted if not wholly lost.
This composition was first brought out in Brussels, and led by Eugène Ysaye, on January 10, 1897; it was performed in Chicago and led by Theodore Thomas on April 23, 1898. The variations—the work is practically a symphonic poem—are scored for piccolo, two flutes, two oboes, English horn, two clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, cymbals, triangle, two harps, and strings. They are dedicated to the Orchestral Society of the Ysaye Concerts.
William Foster Apthorp translated the verses on the title-page as follows:
Toward the immutable land Istar, daughter of Sin, bent her steps, toward the abode of the dead, toward the seven-gated abode where He entered, toward the abode whence there is no return.
. . . . . .
At the first gate, the warder stripped her; he took the high tiara from her head.
At the second gate, the warder stripped her; he took the pendants from her ears.
At the third gate, the warder stripped her; he took off the precious stones that adorn her neck.
At the fourth gate, the warder stripped her; he took off the jewels that adorn her breast.
At the fifth gate, the warder stripped her; he took off the girdle that encompasses her waist.
At the sixth gate, the warder stripped her; he took rings from her feet, the rings from her hands.
At the seventh gate, the warder stripped her; he took off the last veil that covers her body.
. . . . . .
Istar daughter of Sin went into the immutable land, she took and received the Waters of Life. She gave the sublime Waters, and thus, in the presence of all, delivered the Son of Life, her young lover.