Die Welt, Gehüllt 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 Glück,
Die and're hob von uns'rer Erde sich,
Sie war voll Trauer: das Geräusch 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 prächt'ge Ocean ...
Liess eine friedliche frohe Stimme hören,
Sang, wie die Harfe singt in Sion's Tempeln,
Und pries der Schöpfung Schönheit.
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, Schmähen and Verfluchen
Und Hohn und Lästerung und wüst' Geschrei
Taucht aus des Menschenlärmes Wirbelwogen.