This superb psalm, performed at the recent Birmingham Musical Festival, recalls to an English critic an interesting comment of the composer's in regard to that particular work. When Sir Alexander Mackenzie met Liszt in Florence several years ago, Sir Alexander said he was glad to tell him (Liszt) that a performance of his Thirteenth Psalm had been announced in England. A grim smile passed over the face of the great composer as he replied: "O Herr, wie lang?" ("O Lord, how long?"), the opening words of the psalm.
Mr. Richard Aldrich writes of the Angelus as follows:
"The little Angelus of Liszt is one of the very few pieces of chamber music that he composed--his genius was more at home upon the pianoforte, in the orchestra and in the massive effects of choral singing. This piece has the character suggested in its subtitle: 'Prayer to the Guardian Angels,' and is an expression of the deeply religious, mystical side of his nature that led him to take holy orders in the Church of Rome. It was originally written for a string quartet, but the master added a fifth part for contrabass for a performance of it given in London in 1884 by a large string orchestra under the direction of his pupil, Walter Bache. It is given this afternoon in this form. The sense of yearning, of aspiration and of spiritual elevation toward celestial things is what the composer has aimed to embody in the music. After brief preluding on the muted strings (without the contrabass) the first violins take up a sustained cantabile that soon rises to a fervent climax, fortissimo, and breaking into triplets reaches the highest positions on the first violin, accompanied by full and vibrant harmony on the other instruments, as though publishing feelings of the utmost exaltation. There is a pause and the piece ends with the quiet feeling in which it began."
"A most welcome novelty is the Chorus of Angels, composed by Liszt in 1849 for the celebration of the hundredth birthday of Goethe," said Mr. Finck. "It is a setting of some of the most mystical lines in Faust, originally written for mixed voices and pianoforte, and subsequently arranged for women's voices and harp. Mr. Damrosch used Zoellner's arrangement for choir and orchestra, and in this version it proved to be one of the most ethereal and fascinating of Liszt's creations.