Ce qu'on entend sur la montagne (1848 - 54)—literally, "What one hears from atop the mountain," but more commonly known by its German title, Eine Bergsymphonie—is Franz Liszt's first symphonic poem. It takes its title from the Victor Hugo's poem of the same name (1829); however, Liszt's work departs philosophically from its literary source in a number of significant ways. In Liszt's conception of program music—which differed considerably from that of many later composers—musical form always took precedence over text painting.

The Bergsymphonie is a large work in two main sections. Hugo's poem reflects the ongoing struggle between humanity and nature, as well as mankind's longing to escape from the dismal realities of human life (the poem, significantly, was written just a year before the Paris Revolution of 1830). Liszt uses one set of motives to represent mankind, another to represent nature, and another motive of "transcendence." Of particular interest is the continual conflict between the first two of these themes.

The work opens with a low, rumbling gesture in E flat major, upon which is built a lengthy introduction. The primary theme of the piece—a long, lyric melody in eighth notes built in a kind of inverse arch shape and moving linearly downward and then turning back on itself—is tentatively presented and rather quickly overthrown by a more driving, forceful idea in F sharp major. Long—some might say rambling—developmental passages follow, during which these two themes are presented in any number of ingenious ways (though never simultaneously). The first half ends with a chorale in three-four time (really a thematic transformation of the F sharp major idea) that corresponds to Hugo's "song of the Anchorites."

As the second half begins, the stormy conflict resumes, after which the music continues its inexorable development. Here, however, the initial E flat theme—representing the glories of nature—is clearly the centerpiece, the F-sharp theme now relegated to a supporting role. Several powerfully climactic passages, during which the primary theme is stated in a number of modified ways, bring the work to an affirmative close. Hugo's poem ends with an air of hopelessness; in a move which would have horrified many later composers of program music, Liszt chooses to abandon the poet's ending, instead bringing the work to a close with another version of the Anchorite chorale that ended the first half.

Although the Bergsymphonie deeply influenced an entire generation of composers, it is undeniably too long (considering the rather limited thematic content it employs), and its ending far too overdrawn and bombastic—common criticisms of Liszt's music, which, though often unjustified, contain a great deal of truth in this instance. Most likely for these reasons, the work has never earned a place in the standard orchestral repertory.



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