n Foresight wanders in
deepest Night"), an expressive and stately male chorus with solo quartet.
The last prologue describes the scene at the throne of Themis, the pardon
of Prometheus, and her assurance that "Henceforth Olympus smiles upon the
Earth." Pallas presents him with a veiled figure as the reward of his
heroism, "who will bring to thy race the richest blessing,--Truth." The
goddess unveils her and declares her name "Agathea. She brings to man the
purest, holiest gift,--Charity." The closing chorus of the Muses
follows:--

"Of all bright thoughts that bloom on earth,
That raise poor mortals high as heaven,
The holiest, the blessedest is Charity.
Hail, Prometheus! Hail to mankind!"

The Bells of Strasburg.

"Die Glocken des Strassburger Muensters" ("The Bells of Strasburg
Cathedral") was written in 1874, and is dedicated to the poet Longfellow,
from whose "Golden Legend" the composer took his theme for musical
treatment. The cantata, however, does not deal with the beautiful legend
itself as related by the old minnesinger, Hartmann von Aue, which
Longfellow has told so powerfully in his "Christus," but simply with the
prologue, describing the futile attempt of Lucifer and the Powers of the
Air to tear down the cross of the Strasburg Cathedral during the night
storm. It was a subject peculiarly attractive to Liszt, as it offered him
free scope for his fancies and unlimited opportunity for the display of
his unique and sometimes eccentric orchestration. The work is written for
barytone solo and mixed chorus, and is divided into two parts,--a short
prelude which is entitled "Excelsior" (_andante maestoso_), and in which
this word is several times repeated by the chorus with gradually
increasing power from piano to fortissimo; and "The Bells," which
comprises the principal part of the work.

The second part opens with a massive introduction (_allegro agitato
assai_), in which the bells, horns, and trumpets play an important part,
leading up to the furious invocation of Lucifer:--

"Hasten! Hasten!
O ye spirits!
From its station drag the ponderous
Cross of iron that to mock us
Is uplifted high in air!"

Without a break comes the response of the spirits, first and second
sopranos, altos, and tenors ("Oh! we cannot, for around it"), followed by
the Latin chant of the bells sung by tenors and basses, with a soft
tremolo accompaniment:--

"Laudo