"Istar" was first performed in Brussels, under the direction of Eugène Ysaye, January 10, 1897. The music illustrates a French version of an ancient Babylonian poem, "Istar's Descent into Hades," the original of which is believed to have been in the library of Sardanapalus. The French version of the poem, which is printed as a preface to the score, has been translated as follows by Mr. W. F. Apthorp:
"Towards the immutable land Istar, daughter of Sin, bent her steps, towards the abode of the dead, towards theseven-gated abode whereHEentered, towards 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 the 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 theSON OF LIFE, her young lover."[69]
"Towards the immutable land Istar, daughter of Sin, bent her steps, towards the abode of the dead, towards theseven-gated abode whereHEentered, towards 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 the 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 theSON OF LIFE, her young lover."[69]
"Towards the immutable land Istar, daughter of Sin, bent her steps, towards the abode of the dead, towards theseven-gated abode whereHEentered, towards 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 the 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 theSON OF LIFE, her young lover."[69]
Mr. Apthorp has thus set forth the peculiarity of d'Indy's tone-poem (for such it virtually is): "The theme is not given out simply at the beginning, neither is it heard in its entirety until the last variation, in which it is sung by various groups of instruments in unison and octaves, and worked up later in full harmony. Each one of the variations represents one of the seven stages of Istar's being disrobed at the gates of the 'immutable land,' until in the last she stands forth in the full splendor of nudity.... By following the poem, and noting the garment or ornament taken off, the listener can appreciate the composer's poetic or picturesque suggestiveness in his music." Another commentator has observed that d'Indy has here "reversed the customary process.... He by degrees unfolds from initial complexity the simple idea which was wrapped up therein, and appears only at the close, like Isis unveiled, like a scientific law discovered and formulated."