Franz Liszt

June 1, 2016

Franz Liszt--Superstar. That's how Hilmes (Malevolent Muse) presents one of the 19th century's most famous and flamboyant composers. In this account of the Hungarian-born Liszt (1811-86), the author emphasizes the virtuoso performances (he was a consummate pianist who dazzled audiences with his technique), the countless love affairs, and the many scandals that followed in Liszt's wake as he played concerts across Europe. Father Adam Liszt took an early interest in his son's musical career and the reigns of its promotion (a curious parallel to Leopold and Wolfgang Amadeus Mozart). Early on the young prodigy expressed a strong inclination toward religion (he did become an abbot), but his father admonished, "You belong to art, not the church." Hilmes, aided by Spencer's fluid translation, effectively presents the many sides of his subject as he explains how "a God-fearing Catholic [was also] a man of the world." VERDICT Despite an ample index and copious footnotes, the most striking feature of this biography is that it tells readers very little about Liszt's music or of music in general. The often gossipy and speculative presentation focuses instead on the celebrity status of its subject. A better title might be that of Ken Russell's film Lisztomania.--Edward B. Cone, New York

Copyright 2016 Library Journal, LLC Used with permission.

October 1, 1989
A concert pianist and teacher based in Munich, Burger seeks to rescue Liszt (1811-1886) from those who would trivialize his music or deny him a place among the greatest composers. This invaluable documentary study splices into the biographical text 650 illustrations (many rare or hitherto unpublished) and a wealth of source documents such as letters, memoirs and reviews, along with chronologies of the fiery virtuoso's life and works. Burger clears up myths surrounding Liszt, such as the claim that Cosima ignored her father during his dying days. Through paintings, lithographs, scores, programs, photographs and cartoons, Liszt springs to life as we follow his tours as child prodigy, his relationships with women, his involvement in Saint-Simonian Christian socialism and his retirement from the concert stage at age 35 to become the most independent of Romantic composers, a lifelong exile.