First In workshop – then in concert ! String Orchestra Woks in Romatisicm

On the last concert we focus on the development of the Cambodian musician .The “Grand Finale” is – since two years - fortunately a domain of young Cambodian artists. In addition the participation of musicians of the Malaysian Philharmonic Orchestra and other guest players is of great honor for the Cambodian students. A wonderful enrichment for the whole artistic community. The Angkor Youth Orchestra – 60 youngsters - are representing proudly the development of music education. Angelus-Prayer to the Guardian Angels are the only piece by Liszt transcript for strings. Angelus is a rather solemn piece of his late period. A worthy music piece for the festival finale.
angelus

As with a number of Liszt's late works, Angelus, which opens the third book of Années de pèlerinage, can seem disjointed and rambling,
though it may be explained as variations rounded by a gently oscillating introduction heard again at the end. It cannot be doubted that the piece as we have it is what Liszt intended for there are several drafts extant, while the composer specified it for piano, harmonium, and organ and arranged it separately for string quartet. A small reed organ powered by foot-worked bellows, the harmonium was made a practicable instrument by Debain in Paris about 1840. Despite works composed for it by Lefébure-Wely, Guilmant, and Franck, the instrument lapsed in popularity by the Great War. Liszt owned a Mason and Hamlin harmonium whose variety of timbres lends Angelus enhanced piquancy. Humphrey Searle, in The Music of Liszt, dismissed Angelus as "conventional" and "pleasant but of no great distinction." But that is to miss its import and its charm What stimulated Liszt's imagination is made explicit in a famous passage from the memoirs of the prominent English cleric Hugh Reginald Haweis, minister of St. James' Church, Marylebone, London, often quoted by Liszt's biographers. Haweis visited Liszt in retreat at Cardinal Hohenlohe's residence, Villa d'Este in Tivoli, within sight of Rome, in November 1880. The bells of Santa Croce ringing the hour initiated a discussion of bells and prompted Liszt to take his guest indoors -- "'As we were talking of bells,' he said, 'I should like to show you an 'Angelus' which I have just written'; and opening the piano, he sat down...'You know,' said Liszt, turning to me, 'they ring the Angelus in Italy carelessly; the bells swing irregularly, and leave off, and the cadences are often broken up thus': and he began a little swaying passage in the treble -- like bells tossing in the evening air: it ceased, but so softly that the half-bar of silence made itself felt, and the listening ear still carried the broken rhythm through the pause." Thus, the opening wavering figure. "Then rose from the bass the song of the Angelus, or rather, it seemed like the vague emotion of one who, as he passes, hears in the ruins of some wayside cloister the ghosts of old monks humming their drowsy melodies......then came back the little swaying passage of bells, tossing high up in the evening air, the half-bar of silence, the broken rhythm -- and the Angelus was rung."