Mainz, Germany: Schott, 1983.Ĭontaining notes, questionnaires, letters, and other documents related to her research on Liszt’s life and works, this should be used as a supplement to Ramann 1880–1894. Lisztiana: Erinnerungen an Franz Liszt in Tagebuchblättern, Briefen und Dokumenten aus den Jahren 1873–1886/87. Although it has also been an easy target for critics, Deaville 2002 has gone a long way in explaining the reasons for its eccentricities. With three volumes covering the whole of Liszt’s life and works, it has served as a model for modern biographers. Leipzig: Breitkopf & Härtel, 1880–1894.īecause the author worked closely with her subject over a number of years, this is the most important contemporary biography on Liszt. Rehding 2005 nicely complements this selection excellent introduction by Keiler. Rellstab vividly covers Liszt’s Berlin concerts and his early years and includes the first allusion to the famous Weihekuss (consecrating kiss) incident between the young Liszt and Beethoven. Rellstab’s biography appeared in 1842, and when read alongside d’Ortigue 2006, it is clear how invented story could quickly become historical fact.
Princeton, NJ: Princeton University Press, 2006. “Ludwig Rellstab’s Biographical Sketch of Liszt.” In Franz Liszt and His World. An appendix of selected articles about Liszt is parsed thematically. Examines Keiler 2006 and d’Ortigue 2006, among other early documents, and offers legitimate parallels to modern aesthetics of rock and film. Bern, Switzerland: Peter Lang, 2001.Īn eclectic, exciting selection of primary-source documents accompanied by Hupfer’s penetrating analyses. Franz Liszt als junger Mann: Eine Leserei. Walton’s introduction and commentary provide ample context for d’Ortigue’s creation of such a contradictory artist. D’Ortigue, a colleague of Liszt and fellow Beethoven enthusiast, identifies in his subject a perennial tension between sensuality and spirituality that still inspires and plagues biographers to this day.
One of the earliest biographies of Liszt (1835), and still useful. “The First Biography: Joseph d’Ortigue on Franz Liszt at Age Twenty-Three.” Edited by Benjamin Walton. Deaville’s article not only provides important biographical information about these women, it also clarifies their unique musicological approach to their subject in an era when women were almost entirely forbidden from the discipline.ĭ’Ortigue, Joseph. “Writing Liszt: Lina Ramann, Marie Lipsius, and Early Musicology.” Journal of Musicological Research 21.1–2 (2002): 73–97.Īn important study of Ramann and La Mara (Marie Lipsius), who through their publications of Liszt’s biography and correspondence, respectively, did much to create his modern image. Although Liszt never produced an autobiography, he did assist these biographers to varying degrees.ĭeaville, James. By far the most comprehensive biography to appear during his life is Ramann 1880–1894 (ideally read alongside Ramann 1983), although d’Ortigue 2006 and Rellstab ( Keiler 2006) provide important insight into Liszt’s so-called Virtuoso Years. Recent scholarship has tended to mine them for the ways in which Liszt controlled his historical image ( d’Ortigue 2006 and Rehding 2005), how he fit into his milieu ( Hupfer 2001 and Keiler 2006), and how his life encouraged a particular type of biographical method ( Deaville 2002).
Although contemporary biographers can hardly be characterized as objective toward their subject, their writings remain important.
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