"Othello" is Part III. ("Love") of Dvořák's "Triple Overture," "Nature, Life, Love" (see page 85). The official commentator who has been quoted in the preceding pages concerning the poetic content of the tripartite work wrote as follows of "Othello":
"If the first two parts represented the impressions of Nature and Life as gay and stirring in general, the third overture lets Love appear as a serious and burning passion. The composer has tried to express some of the emotions engendered in him by the final scenes of 'Othello' as an embodiment of both the gentlest and the fiercest expressions of love. The composition is by no means a faithful musical interpretation of the Shakespearean lines, but rather the after-revery of a man whose imagination has been kindled by the theme of the play. It begins with ... the prayer of Desdemona before retiring. While she is still praying for herself and for her husband, weird sounds in the orchestra suddenly announce the approach of the murderer. This is but an effect of the imagination,however, for presently the prayer of Desdemona continues till she falls asleep. Once more the orchestra announces the approach of Othello. This time it is he. He pauses at the threshold. He enters the room, looks long at Desdemona, and kisses her. The theme changes to an allegro. Desdemona awakes, and then follows the cruel, pathetic scene between Desdemona and the Moor:"'Alas, why gnaw you so thy nether lip?[46]Some bloody passion shakes your very frame.'"Her entreaties are answered by the deep threats of Othello. Gradually the imaginary conversation becomes tinged with a note of melancholy, and a regretful love scene ensues, according to the composer, till the Moor's jealousy and mad revenge gain the upper hand again. This motif is worked out at some length ... and especially the deep notes of Othello's lion-like anger are sounded repeatedly. In the end he restrains himself no longer. The scene of anguish follows. Desdemona throws herself at his feet:"DES.Kill me to-morrow, let me live to-night!OTH.Nay—DES.But half an hour.OTH.Being done, there is no pause.DES.But while I say one prayer!OTH.(smothering her.) It is too late."Othello rises from the deed, and looks wildly about him. Then comes the wild, remorseful reflection that he may have been deceived."'... Had she been true,If heaven would make me such another world,Of one entire and perfect chrysolite,I'd not have sold her for it.'"The choral motif of Desdemona's appeal surges up from the overlying themes, this time in the deep tones of Othello. It is his turn to make his last prayer."
"If the first two parts represented the impressions of Nature and Life as gay and stirring in general, the third overture lets Love appear as a serious and burning passion. The composer has tried to express some of the emotions engendered in him by the final scenes of 'Othello' as an embodiment of both the gentlest and the fiercest expressions of love. The composition is by no means a faithful musical interpretation of the Shakespearean lines, but rather the after-revery of a man whose imagination has been kindled by the theme of the play. It begins with ... the prayer of Desdemona before retiring. While she is still praying for herself and for her husband, weird sounds in the orchestra suddenly announce the approach of the murderer. This is but an effect of the imagination,however, for presently the prayer of Desdemona continues till she falls asleep. Once more the orchestra announces the approach of Othello. This time it is he. He pauses at the threshold. He enters the room, looks long at Desdemona, and kisses her. The theme changes to an allegro. Desdemona awakes, and then follows the cruel, pathetic scene between Desdemona and the Moor:
"'Alas, why gnaw you so thy nether lip?[46]Some bloody passion shakes your very frame.'
"Her entreaties are answered by the deep threats of Othello. Gradually the imaginary conversation becomes tinged with a note of melancholy, and a regretful love scene ensues, according to the composer, till the Moor's jealousy and mad revenge gain the upper hand again. This motif is worked out at some length ... and especially the deep notes of Othello's lion-like anger are sounded repeatedly. In the end he restrains himself no longer. The scene of anguish follows. Desdemona throws herself at his feet:
"DES.Kill me to-morrow, let me live to-night!OTH.Nay—DES.But half an hour.OTH.Being done, there is no pause.DES.But while I say one prayer!OTH.(smothering her.) It is too late.
"Othello rises from the deed, and looks wildly about him. Then comes the wild, remorseful reflection that he may have been deceived.
"'... Had she been true,
If heaven would make me such another world,
Of one entire and perfect chrysolite,
I'd not have sold her for it.'
"The choral motif of Desdemona's appeal surges up from the overlying themes, this time in the deep tones of Othello. It is his turn to make his last prayer."