Looking at the score, one can see that he predominantly used percussive effects such as pizzicato and col legno to create a kind of eerie atmosphere.
The basses play the root note pizzicato, doubled by the cellos an octave higher. Note that the 2nd desk of cellos play the note arco, while the first desk arpeggiating the chord pizzicato.
The 2nd desks of 2nd violins, violas and cellos have the chord divided between them in a quaver triplet group, to create rhythmic interest. These groups are played col legno (with the wood of the bow) to further emphasize the percussive nature of the passage.
The 1st desk of violas acts as a kind of counterpoint to the arpeggiated pizzicato chord played by the 1st desk of cellos. However, the viola downward arpeggio is played marcatissimo (a little less than marked) instead of pizzicato. He also further emphasizes this phrase by the rinf (reinforced) dynamic.
The 1st desk of 1st and 2nd violins respectively play the chord as a fingered tremolo, to create a soft pedal as contrast to the predominantly rhythmic phrases and motifs in the lower strings. The violins are also divided and marked p, which lets them sit nicely in the background without being obtrusive.
Finally, Liszt introduces 2 solo violins to play a pizzicato downward arpeggio similar to the one in the cellos but here in crotchet triplets. This is arguably the most prominent line in the whole passage.
Overall, I think Liszt used his strings very delicatly in this particular passage, which is further emphasized by their function as a rythmic and contrasting background to the expressive woodwind melody on top.
-PW
