music education projects are supported by the Goethe Institut




1.Works by Karl Stamitz (1745-1801)
String Quartet C major PNH String quartet
Flute concerto Op 29 G-major Phn om Penh String Orchestra/soloist Mrs. Him Savy

2.Franz Liszt (1811-1886)
La lugubre Gondola - P.S.O. – Phnom Penh String Orchestra
At the Grave of Richard Wagners - P.S.O. – Phnom Penh String Orchestra
Angelus - P.S.O. – Phnom Penh String Orchestra

Workshops enhance playing skills into practice in small ensembles, working with world class teaching artists to unleash artistic potential while discovering the excitement of close interaction with other chamber musicians and unlocking the secrets of ensemble playing
For both transmission of important knowledge and skills they impart, art music is an important part of a complete education. As we work together to implement ART+ International Teacher Association Network for Cambodia, let's ensure that all young people have an opportunity to learn and grow in and through the music.

The unique curriculum of ensemble and orchestral playing let young Khmer musicians experience the joy of music-making, build their confidence and self-esteem, give them a sense of responsibility and self-discipline, and enhance their academic achievements. The magic of chamber music engages performers and audiences, building their knowledge and inspiring them with a new curiosity about the world of music.

Anton Isselhardt/workshop leader



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/string orchestra.
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."