"Ce qu'on entend sur la montagne"--or, as it is more familiarly known,
"Die Bergsymphonie"--is ranked among the earliest of Liszt's symphonic
works. The first sketches of this symphonic poem were made as early as
1833-35, but they were not orchestrated until 1849, and the composition
had its first hearing in Weimar in 1853.
A German enthusiast says this work is the first towering peak of a
mountain chain, and that here already--in the first of the list of
Symphonic Poems--the mastery of the composer is indubitably revealed.
The subject is not a flippant one, by any means: it touches on the
relation of man to nature--das Weltraetsel. Inspiration came directly
from Victor Hugo's poem, "Ce qu'on entend sur la montagne." The subject
is that of Nature's perfection contrasted to Man's misery:
Die Welt ist volkommen ueberall,
Wo der Mensch nicht hinkommt mit seiner Qual.
Only when one withdraws from the hurdy-gurdy trend of life, only from
the height of mountain does one see Truth in perspective. This is "What
one hears on the Mountain."
Zuerst vermorr'ner, unermess'ner Laerm,
Undeutlich wie der Wind in dichten Baeumen,
Voll klarer Tone, suessen Lispelns, sanft
Wie'n Abendlied, und stark wie Waffenklirren.
Es war ein Toenen, tief und unausprechlich,
Das flutend Kreise zog rings um die Welt
Und durch die Himmel ...
Die Welt, Gehuellt in diese Symphonie,
Schwamm wie in Luft, so in der Harmonie.
This is the key-note to the introductory measures of Liszt's work. Out
of the sombre roll of the drum--which continues as a ground tone--the
different instruments assert themselves. Muted strings imitate the rush
of the sea; horns and woodwind hint at the battling of elements in
chaos, while the violins and harp swerve peacefully aloft in arpeggios.
The oboe chants sanft wie'n Abendlied, the beautiful melody of peaceful
idyllic nature. After this impression becomes a mood Liszt resumes the
poetic narrative and individualises the two voices:
Vom Meer die eine; wie ein Sang von Ruhm und Glueck,
Die and're hob von uns'rer Erde sich,
Sie war voll Trauer: das Geraeusch der Menschen.
The voice of Man is the first to be heard. It obtrudes itself even while
the violins are preaching earthly peace, and eventually embroils them in
its cry of discontent. All this over the pedal point of worldly noises.
There is a sudden pause, and in the succeeding maestoso episode the
second voice is heard--Nature's Hymn:
Der praecht'ge Ocean ...
Liess eine friedliche frohe Stimme hoeren,
Sang, wie die Harfe singt in Sion's Tempeln,
Und pries der Schoepfung Schoenheit.
Here there is composure and serenity, which diminishes to a tender piano
in string harmonics. But in the woodwind a dissenting theme appears from
time to time: Man and his torments invade this sanctity of peace. His
cry grows louder, and one hears in it the anguish of the pursued one.
The strings forsake their tranquil harmonics and resolve themselves into
a troublous tremolo, while the clarinettes, in a new theme, question
this intrusion. Meanwhile the misery of Man gains the upper hand, and in
the following Allegro con moto there sounds all the fury of a wild
chase:
Ein Weinen, Kreischen, Schmaehen and Verfluchen
Und Hohn und Laesterung und wuest' Geschrei
Taucht aus des Menschenlaermes Wirbelwogen.
The orchestra is in tumult, relieved only by a cry of agony coming from
Man; even the sea theme is tossed about, and the Motif of Nature
appears in mangled form. This fury lashes itself out by its own
violence, and after the strings once more echo the cry of despair all is
silent. Two light blows of the tam-tam suggest the fear which follows
upon such a display of tempestuous terror.
... warum man hier ist, was
Der Zweck von allem diesen endlich,
Und warum Gott ...
Bestandig einet zu des Liedes Masston
Sang der Natur mit seiner Menschen Schreinen.
This Warum is asked dismally, and as an answer the theme of Nature
reappears in its brightest garb. Question and answer succeed each other,
and are stilled by the recurring cry of Man until a final Why is
followed by a full stop.
The poet, weary of this restlessness, is searching for the consolation
of quietude; and here--as might be expected of Liszt--comes the thought
of religion shown by the Andante religioso. It is here, too, in the
realm of religious peace that the two antagonistic voices are
reconciled; they interweave, cross and are melted, one in the other.
This, the most intricate and longest part of the score, was employed by
Liszt to show his instrumental mastery. The two principal themes--the
two voices--are made to adjust with great skill, and are then sounded
simultaneously to prove their striving after unity.
The poet is almost convinced of this equalisation, when, without warning
and with the force of the full orchestra, brilliantly employed, a new
theme appears. This is repeated with even greater frenzy of utterance,
and usurps the theme of Man and that of Nature. The whole is the idea of
Faith, at which the poet now has arrived. A deep satisfaction silences
every sound--the clashing of the elements ceases and the last sigh
breathes itself out. Once more the plaintive "Why" is heard, and
resolves itself in a reminiscence of Man's fury. The trumpets quiet all
by intoning that sacrosanct Andante religioso, which concludes in a
mysterious chord through which the notes of the harp thread themselves.
The theme of Nature's Hymn returns pizzicato in the basses, and is
answered by harp arpeggios and chords in the brass. A few taps of the
tympani, with which the composition ends, give the ring of finality.
Arthur Hahn believes that this symphonic poem offers a solution to the
discord of the universe; that the ending with the two tympani taps and
the hollow preceding chords suggest a possible return of the storm.
Liszt made numerous sketches for this work two decades before its
composition.