The author compares the symphonic poem Ce qu’on entend sur la montagne by Franz Liszt and that of César Franck from different points of view, without denying Liszt’s paternity of the genre. The negative critical position of French literature on the historical role of Franck’s symphonic poem is possibly due to the fact that Franck himself did not give great importance to this piece.
Liszt and Franck met in Paris 1837 and shared many aspects of the French culture of their time. It is revealing that both chose Victor Hugo’s poetry for a symphonic poem and for a chanson (S’il est un charmant gazon, 1844).
In both symphonic poems there are several common aspects, and especially the presence of three “main subjects”: Hymn to God, human lamentation, presence of the sea. Also the musical language expressing such “themes” is often similar, for instance: large episodes lacking a clear tonal centre, the baroque “figure of lamentation” in the melody and the musical form of the chorale.