Das Unzulängliche,
Hier wird’s Erreigniss;
Das Unbeschreibliche,
Hier ist’s gethan;
Das Ewig-Weibliche
Zieht uns hinan.
The solo tenor and chorus sing: “Das Ewig-Weibliche zieht uns hinan” (with the “Gretchen” motive rhythmically altered and with harp added to the accompaniment), and the work ends radiantly calm.
These lines have been Englished in prose: “All that is transitory is only a simile; the insufficient here becomes event; the indescribable is here done; the Ever feminine draws us onward.” It was Liszt’s intention, Brendel tells us, to have this chorus invisible at the first performance, but, inasmuch as it would have been necessary at Weimar to have it sung behind the lowered curtain, he feared the volume would be too weak.
SYMPHONIC POEM, NO. 3, “LES PRÉLUDES” (AFTER LAMARTINE)
According to statements of Richard Pohl, this symphonic poem was begun at Marseilles in 1834 and completed at Weimar in 1850, According to L. Ramann’s chronological catalogue of Liszt’s works, The Preludes was composed in 1854 and published in 1856.