What do you think?
Rate this book
Franz Liszt #1
Franz Liszt: The Virtuoso Years, 1811-1847
Franz Liszt--child prodigy, virtuoso pianist, co-founder with Chopin and Schumann of the Romantic movement in music--has been the subject of literally hundreds of biographies, but it is only in the last few decades that the importance of Liszt the composer, as opposed to Liszt the Romantic hero, has been recognized. This new perspective has created the need for a fresh, full-scale approach, biographical and critical, to the evaluation of the man and his music.
For more than ten years Alan Walker, a leading authority on nineteenth-century music and the author of important studies of Chopin and Schumann, has traveled throughout Europe discovering unpublished material in museums and private collections, in the parish registries of tiny villages in Austria and Hungary, and in major archives in Weimar and Budapest, seeking out new information and corroborating or correcting the old. He has left virtually no source unexamined--from the hundreds of contemporary biographies (many of them more fiction than fact) to the scores of memoirs, reminisces, and diaries of his pupils and disciples (the list of his students from his Weimar masterclasses reads like a Burke's Peerage of pianists). Dr. Walker's efforts have culminated in a study that will stand as definitive for years to come. A feat of impeccable scholarship, it also displays a strong and compelling narrative impulse and a profound understanding of the complicated man Liszt was.
In this, the first of three volumes, Dr. Walker examines in greater detail than has ever before been amassed Liszt's family background and his early years. We see "Franzi," a deeply religious and mystical child, whose extraordinary musical gifts lead to studies with the great Carl Czerny in Vienna and propel him into overnight fame in Paris--his youthful opera, Don Sanche, performed when he is fourteen--and in a disorderly and impulsive way of life by the time he is sixteen....We see Liszt drifting into obscurity after a nervous breakdown at the age of seventeen, then hearing Paganini for the first time and being so fired by the violinist's amazing technique that he sets for himself a titanic program of work, his aim no less than to create an entirely new repertoire for the piano....We see him, after years if successful touring, returning triumphantly to Hungary, his homeland, and publishing in the same year his "Transcendental" and "Paganini" studies. the signposts of his astonishing technical breakthrough....Finally, we see Liszt at the height of his artistic powers, giving well over a thousand concerts across Europe and Russia during the years 1839-47: "inventing" the modern piano recital, playing entire programs from memory, performing the complete contemporary piano repertoire, breaking down the barriers that had traditionally separated performing artists from their "social superiors," fostering the Romantic view of the artist as superior bring, because divinely gifted....until--his colossal career virtually impossible to sustain--he gives his last paid performance at the age of thirty-five.
Alan Walker explores as well Liszt's relationships with Berlioz, Chopin, and Schumann; his long, tumultuous affair with Countess Marie d'Agoult (who abandoned husband, family and social standing in order to follow the twenty-one-year-old genius and who, later, in her thinly disguised roman à clef Nélida, depicted him as an artistically impotent painter, and herself as a callously abandoned noblewoman); and his close associations with Lamennais, Lamartaine, Victor Hugo, George Sand, and other leading figures of the Romantic era. Dr. Walker reveals the origin and development of the psychological and emotional influences that so strongly informed Liszt's art throughout his life; and he analyzes individual pieces of music and discusses, in considerable detail, Liszt's piano technique.
Unparalleled in its completeness, its soundness of documentation, and in the quality of its writing, The Virtuoso Years is the first volume of what will unquestionably be the most important biography of Franz Liszt in English or any other language.
For more than ten years Alan Walker, a leading authority on nineteenth-century music and the author of important studies of Chopin and Schumann, has traveled throughout Europe discovering unpublished material in museums and private collections, in the parish registries of tiny villages in Austria and Hungary, and in major archives in Weimar and Budapest, seeking out new information and corroborating or correcting the old. He has left virtually no source unexamined--from the hundreds of contemporary biographies (many of them more fiction than fact) to the scores of memoirs, reminisces, and diaries of his pupils and disciples (the list of his students from his Weimar masterclasses reads like a Burke's Peerage of pianists). Dr. Walker's efforts have culminated in a study that will stand as definitive for years to come. A feat of impeccable scholarship, it also displays a strong and compelling narrative impulse and a profound understanding of the complicated man Liszt was.
In this, the first of three volumes, Dr. Walker examines in greater detail than has ever before been amassed Liszt's family background and his early years. We see "Franzi," a deeply religious and mystical child, whose extraordinary musical gifts lead to studies with the great Carl Czerny in Vienna and propel him into overnight fame in Paris--his youthful opera, Don Sanche, performed when he is fourteen--and in a disorderly and impulsive way of life by the time he is sixteen....We see Liszt drifting into obscurity after a nervous breakdown at the age of seventeen, then hearing Paganini for the first time and being so fired by the violinist's amazing technique that he sets for himself a titanic program of work, his aim no less than to create an entirely new repertoire for the piano....We see him, after years if successful touring, returning triumphantly to Hungary, his homeland, and publishing in the same year his "Transcendental" and "Paganini" studies. the signposts of his astonishing technical breakthrough....Finally, we see Liszt at the height of his artistic powers, giving well over a thousand concerts across Europe and Russia during the years 1839-47: "inventing" the modern piano recital, playing entire programs from memory, performing the complete contemporary piano repertoire, breaking down the barriers that had traditionally separated performing artists from their "social superiors," fostering the Romantic view of the artist as superior bring, because divinely gifted....until--his colossal career virtually impossible to sustain--he gives his last paid performance at the age of thirty-five.
Alan Walker explores as well Liszt's relationships with Berlioz, Chopin, and Schumann; his long, tumultuous affair with Countess Marie d'Agoult (who abandoned husband, family and social standing in order to follow the twenty-one-year-old genius and who, later, in her thinly disguised roman à clef Nélida, depicted him as an artistically impotent painter, and herself as a callously abandoned noblewoman); and his close associations with Lamennais, Lamartaine, Victor Hugo, George Sand, and other leading figures of the Romantic era. Dr. Walker reveals the origin and development of the psychological and emotional influences that so strongly informed Liszt's art throughout his life; and he analyzes individual pieces of music and discusses, in considerable detail, Liszt's piano technique.
Unparalleled in its completeness, its soundness of documentation, and in the quality of its writing, The Virtuoso Years is the first volume of what will unquestionably be the most important biography of Franz Liszt in English or any other language.
481 pages, Paperback
First published January 1, 1983
About the author
Alan Walker
171 books24 followersAlan Walker’s definitive three-volume biography of Liszt, Franz Liszt, received the James Tait Black Memorial Prize in Biography and the Royal Philharmonic Society Book Award, among others. His writing has appeared in journals such as The Musical Quarterly, The Times Literary Supplement, and Times Educational Supplement. A professor emeritus at McMaster University, Walker was made a Fellow of the Royal Society of Canada in 1986 and was awarded the Knight’s Cross of the Order of Merit of the Republic of Hungary in 2012.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 25 of 25 reviews
May 4, 2013
Brilliant! Impeccably researched, engrossing to read. If you can, have YouTube or something nearby if you are not already familiar with the pieces mentioned. It makes the time and places come completely alive. As Liszt, in addition to being a genius composer himself, transcribed many others' orchestral scores to piano, you will also be transported into the musical worlds of Beethoven, Paginini, Berlioz, Saint Saens, and other greats. I cannot wait to begin Walker's Volume II, Franz Liszt The Weimar Years, 1848-1861.
March 15, 2016
I am so torn with respect to this book. Exceedingly well-researched, excellent footnotes and bibliography, a detailed picture of the early career of a genius...but the author's utter hero-worship of his subject gets eye-rolling PDQ. Liszt was unquestionably brilliant, but it's clear he was also an egotist, a shitty dad, and a melodramatic rockstar. Which is FINE, but it got tedious sifting through Walker's desperate attempts to cast Liszt always in the most noble, chaste, misunderstood light.
August 25, 2011
Finally a scholar has brought to life a compelling study of one of the most underrated composers of the nineteenth century, and in a way that is accurate, unbiased and with unbelievable passion. It is a lengthy read intended for only the most erudite and devoted music lovers.
February 3, 2013
EXCELLENT. One of the most interesting biographies I've read. Can't wait to get my hands on Volume II The Weimar Years. Have had III for half a year, and it's sitting there torturing me because I can't read it yet.
September 28, 2021
spent the better part of three years gradually reading this excellent book, creeping past the 50% mark.
during a recent vacation - the first i had taken since 2018 - i completed it and several other books.
my slow progress was due in part to walker's excellent work. the footnotes aren't to be missed - bits of "color" as well as historiographical debates occur there - but they require a more methodical approach.
this is the "essential liszt" narrative for "liszt casuals" such as myself, taking us from his boyhood as a prodigy to his late-20s/early-30s run as the king of the road, the concert master of eurasia. there are all kinds of great bits in here: an excellent section on how liszt's approach evolved piano technique, loads of salacious but carefully sourced/vetted material about his real and alleged love affairs, details about how he composed his great works (including a useful explanation of liszt's "gypsy"-derived inspiration) and plenty of scene-setting background material that positions the "hungarian" liszt on a vast european chessboard as the great game advances toward 1848 (where the narrative understandably breaks off, for a second volume i'll perhaps read in Q1 2022).
walker, like some biographers, suffers from excessive respect for his subject's ability, but liszt was the real deal, so his tendency to pass peremptory judgment on this or that composition or composer doesn't detract from the central narrative. highly recommended.
during a recent vacation - the first i had taken since 2018 - i completed it and several other books.
my slow progress was due in part to walker's excellent work. the footnotes aren't to be missed - bits of "color" as well as historiographical debates occur there - but they require a more methodical approach.
this is the "essential liszt" narrative for "liszt casuals" such as myself, taking us from his boyhood as a prodigy to his late-20s/early-30s run as the king of the road, the concert master of eurasia. there are all kinds of great bits in here: an excellent section on how liszt's approach evolved piano technique, loads of salacious but carefully sourced/vetted material about his real and alleged love affairs, details about how he composed his great works (including a useful explanation of liszt's "gypsy"-derived inspiration) and plenty of scene-setting background material that positions the "hungarian" liszt on a vast european chessboard as the great game advances toward 1848 (where the narrative understandably breaks off, for a second volume i'll perhaps read in Q1 2022).
walker, like some biographers, suffers from excessive respect for his subject's ability, but liszt was the real deal, so his tendency to pass peremptory judgment on this or that composition or composer doesn't detract from the central narrative. highly recommended.
January 17, 2023
This is only Volume 1 of Walker’s 3-volume biography of Franz Liszt… It appears to be a very thoroughly researched biography of the famous piano virtuoso and composer! I particularly enjoyed reading about Liszt in the context of other early Romantic composers. I also felt more attached to Liszt after my recent trip to several of the same European cities where Liszt lived and performed. My only issue is that Walker seems to almost worship Liszt and therefore rarely criticizes him. He spends a lot of the book defending Liszt’s honor and denouncing every other biography that ever cast Liszt in a negative light. Perhaps I’ll continue with Volume 2 at some point.
February 15, 2023
The book manages to feel both scholarly with respect to historical accuracy (and sometimes even pedantry), to musical analysis and, strangely enough, it is still very accessible and an immensely enjoyable read.
Alan Walker is rather unhappy with how Liszt has been treated after his death and he lets the reader know. Biographies are one of my main reading genres and I've yet to encounter a book which so often trashes on previous biographers. Not only does Walker criticise academic and public treatment of Liszt postmortem; he is also surprisingly opinionated on Liszt's contemporaries, including judgments of their character, psychology and abilities. The former (criticising Liszt's postmortem reception) I find very refreshing and enjoyable (since Walker also backs up his claims very well). On the latter, my feelings are more ambivalent - at times, Walker makes me feel as if Liszt is the only non-egotistical, insecure or benevolent spirit in all of France, Prussia and Austria-Hungary. And since this is rather unlikely, his account seems a bit skewed to me.
Generally, I feel that Walker is excessively kind with Liszt. One example that stuck in my head was that Marie d'Agoult wrote a scathing criticism of Kalkstein (Liszt's main "rival" in the virtuoso sphere in the 1830s in Paris) under Liszt's name which, after publishment, logically enough led to hostilities of Kalkstein (and his circle) against Liszt. Walker puts all blame on d'Agoult for needlessly starting an ego conflict and holds Liszt as absolutely innocent. However, for me, there are two scenarios (now we come to the part where I as a reader hold opinions, so it's up to you whether to follow my arguments):
1) Liszt read the piece beforehand and is absolutely to blame for its content.
2) Liszt didn't read the piece beforehand (really?) but gave d'Agoult a blank cheque to publish whatever she wanted to. In this case, I'd not blame him for the content of d'Agoult's writing - but, still, it reflects poorly on Liszt's judgment and certainly reveals an unhealthy naivety.
This, however, is probably my only pet peeve with the book: At times, it reads like a rather glorifying account. And, perhaps, Liszt was actually a semi-saint and I'm just to cynical to believe it. After all, I will not doubt the facts: his extreme generosity in terms of money (donations) and time (giving free lessons), his support for fellow musicians and the loyalty he extended towards old friends even after decades of separation are all backed by incontrovertible evidence.
Still, there's a reason I enjoyed the book so much: it is a comprehensive account of Liszt's first "third" of his life which has all the information and sources one could wish for (even footnotes at the end of the chapter instead of the end of the book, which I very much appreciate on Kindle) and, perhaps surprisingly, is still an engaging and fascinating read on one of the most important figures of central/western european musical tradition. And if you don't mind that the authors admiration of Liszt shines through on every page, it may even be five stars for you ;)
Alan Walker is rather unhappy with how Liszt has been treated after his death and he lets the reader know. Biographies are one of my main reading genres and I've yet to encounter a book which so often trashes on previous biographers. Not only does Walker criticise academic and public treatment of Liszt postmortem; he is also surprisingly opinionated on Liszt's contemporaries, including judgments of their character, psychology and abilities. The former (criticising Liszt's postmortem reception) I find very refreshing and enjoyable (since Walker also backs up his claims very well). On the latter, my feelings are more ambivalent - at times, Walker makes me feel as if Liszt is the only non-egotistical, insecure or benevolent spirit in all of France, Prussia and Austria-Hungary. And since this is rather unlikely, his account seems a bit skewed to me.
Generally, I feel that Walker is excessively kind with Liszt. One example that stuck in my head was that Marie d'Agoult wrote a scathing criticism of Kalkstein (Liszt's main "rival" in the virtuoso sphere in the 1830s in Paris) under Liszt's name which, after publishment, logically enough led to hostilities of Kalkstein (and his circle) against Liszt. Walker puts all blame on d'Agoult for needlessly starting an ego conflict and holds Liszt as absolutely innocent. However, for me, there are two scenarios (now we come to the part where I as a reader hold opinions, so it's up to you whether to follow my arguments):
1) Liszt read the piece beforehand and is absolutely to blame for its content.
2) Liszt didn't read the piece beforehand (really?) but gave d'Agoult a blank cheque to publish whatever she wanted to. In this case, I'd not blame him for the content of d'Agoult's writing - but, still, it reflects poorly on Liszt's judgment and certainly reveals an unhealthy naivety.
This, however, is probably my only pet peeve with the book: At times, it reads like a rather glorifying account. And, perhaps, Liszt was actually a semi-saint and I'm just to cynical to believe it. After all, I will not doubt the facts: his extreme generosity in terms of money (donations) and time (giving free lessons), his support for fellow musicians and the loyalty he extended towards old friends even after decades of separation are all backed by incontrovertible evidence.
Still, there's a reason I enjoyed the book so much: it is a comprehensive account of Liszt's first "third" of his life which has all the information and sources one could wish for (even footnotes at the end of the chapter instead of the end of the book, which I very much appreciate on Kindle) and, perhaps surprisingly, is still an engaging and fascinating read on one of the most important figures of central/western european musical tradition. And if you don't mind that the authors admiration of Liszt shines through on every page, it may even be five stars for you ;)
April 4, 2018
I enjoyed the book but less than my top favorites. The author seems to have devoted his entire life to tracking down primary documents--letters, diaries--and all previous biographies. He uses them liberally to document both the personal and professional sides of Liszt's life as well as the nature of the musical times, evolution of the piano, Liszt's personal acquaintances with Hugo, Heine, Chopin, Berlioz, and others. Quotations placed me right there in the concert hall during that recital in 1844. It was a fascinating life, of a genius, child prodigy, extremely original and powerful innovator in piano technique with lasting impact. The author documents some of his keyboard techniques by showing excerps from his scores. Liszt was, according to this author, socialist in his inclinations and consistently generous with his talents, donating them to raise money for many deprived groups, repeatedly during his life. The book becomes tedious often as the author wraps earlier biographers on the wrists for making false claims, and smugly proves he is smarter than all the others by citing documents he found that they missed. Feels like that arrogant high school kid who was always showing off in class. I skipped over those passages. Not a page turner, but I was interested enough in the music history and personal story that I finished the first volume. But that will be enough for me.
December 21, 2023
Beautifully written and with depth
The author is a model of clarity and psychological and historical depth. Breathtaking, really, and I very rarely am so moved by a secondary source written after 1980.
He has that rare ability for absolute precision—which gets you to the core issues in both psychology and history, and how they inform each other. I would also recommend it to a young person and one with only a basic knowledge of music.
I never fully understood how Liszt is the origin of the “piano recital” a name he coined. Before him the piano was seen as only a parlor instrument but his playing was so phenomenal that he created the archetype type of the bravura performer. He is sometimes described as the first “rock star” at least for the piano (but certainly not for opera!), and the author’s historical descriptions make this perfectly clear.
The author is also to be thanked for demystifying Listzt’s love affairs and not creating more from these than necessary. A model of biography and music history, and required reading for anyone with a serious interest in music. I deeply regret putting off so long in my reading. I will get to volume two immediately, and his book on Hans von Bulow is also highly recommended for general music history and Wagner.
The author is a model of clarity and psychological and historical depth. Breathtaking, really, and I very rarely am so moved by a secondary source written after 1980.
He has that rare ability for absolute precision—which gets you to the core issues in both psychology and history, and how they inform each other. I would also recommend it to a young person and one with only a basic knowledge of music.
I never fully understood how Liszt is the origin of the “piano recital” a name he coined. Before him the piano was seen as only a parlor instrument but his playing was so phenomenal that he created the archetype type of the bravura performer. He is sometimes described as the first “rock star” at least for the piano (but certainly not for opera!), and the author’s historical descriptions make this perfectly clear.
The author is also to be thanked for demystifying Listzt’s love affairs and not creating more from these than necessary. A model of biography and music history, and required reading for anyone with a serious interest in music. I deeply regret putting off so long in my reading. I will get to volume two immediately, and his book on Hans von Bulow is also highly recommended for general music history and Wagner.
May 31, 2022
A mesmerizing read. Walker's sources are very well cited. The resultant picture is a 3D-kaleidoscope of the 19th century music scene, but always with Liszt at the center. The three volumes feel like a entrancing window to the past.
As someone who wrote a thesis on Liszt and thus read many other books on him (including the 700-page "Portrait of Liszt" by Adrian Williams, which compiles almost everything contemporaries wrote about Liszt),Walker's championing is very well justified, as well as complex. There are criticisms when warranted (esp. the domestic tugs with his children). But where Walker points out Liszt's strengths, instead of being blinded like it could potentially be, I find it echoed very fully in what his contemporaries actually- and abundantly- wrote about him (check out Williams' Portrait of Liszt, which is entirely narrated by first-hand sources). I encourage people who think Walker is fawning to actually read Williams' compilation, as well as the correspondence of Liszt and Wagner. And literally every first hand source you can find, many of which are available on the internet.
The only other biographer I find who manages to create such a biopic-like arc for the composer they write is Jan Swafford, Beethoven and Brahms biographer.
As someone who wrote a thesis on Liszt and thus read many other books on him (including the 700-page "Portrait of Liszt" by Adrian Williams, which compiles almost everything contemporaries wrote about Liszt),Walker's championing is very well justified, as well as complex. There are criticisms when warranted (esp. the domestic tugs with his children). But where Walker points out Liszt's strengths, instead of being blinded like it could potentially be, I find it echoed very fully in what his contemporaries actually- and abundantly- wrote about him (check out Williams' Portrait of Liszt, which is entirely narrated by first-hand sources). I encourage people who think Walker is fawning to actually read Williams' compilation, as well as the correspondence of Liszt and Wagner. And literally every first hand source you can find, many of which are available on the internet.
The only other biographer I find who manages to create such a biopic-like arc for the composer they write is Jan Swafford, Beethoven and Brahms biographer.
June 16, 2021
This took me a while to read because I was intimidated by the prologue, which heartily expanded on essentially what makes bad biographies. (Also, my copy of the book was falling apart as I read it. Literally, a 129-page part in the middle of the book fell out as I read.) I feel that this book is meant for people with an intellectual understanding of music, and I am not one of those people. I need not be convinced of Liszt's greatness as I've already pegged him to be great by his music (the ones I know of) alone.
This is an insightful read though. My favorite anecdote being how French media basically bullied Liszt for being cringe when his patriotism was being celebrated. Like wow, humanity, when are we ever letting people be happy for things that don't even harm others?
This is an insightful read though. My favorite anecdote being how French media basically bullied Liszt for being cringe when his patriotism was being celebrated. Like wow, humanity, when are we ever letting people be happy for things that don't even harm others?
April 28, 2022
I had to read these three-book-biography for my 30-minute-thesis about the use of the symbol in the piano music of his Weimar time. As a biography, this is indeed one of the best books I have ever read, the author is always in search of the right atmosphere in every situation so when you finish it you have the idea that you experienced a journey, even when telling what happened historically and then when he begins telling about its main character. So, despite that first time being entertaining, I wish I had read it in a better time and not for a little thesis where you have a limit time to finish your work.
May 22, 2020
Hub of European Romanticism
Liszt lived such a rich life that this book (the first of three volumes) reads like a novel, thanks also to the wonderful writing of Alan Walker. It’s extraordinary how Liszt managed to initiate or at least embody so many of the traits that came to define Romanticism and rub shoulders with all the major players. This book really lets the imagination wander!
Liszt lived such a rich life that this book (the first of three volumes) reads like a novel, thanks also to the wonderful writing of Alan Walker. It’s extraordinary how Liszt managed to initiate or at least embody so many of the traits that came to define Romanticism and rub shoulders with all the major players. This book really lets the imagination wander!
June 22, 2019
Despite my antipathy towards Alan Walker, this is definitely the definitive Liszt biography. This bio is clearly well researched, but it can be hard to get past the obvious bias Walker has in Liszts favor. It’s almost as if in his eyes he cannot make a mistake. I wish that this biography could have accepted the faults, instead of painting Liszt as some sort of hero.
June 18, 2022
An excellent, in-depth read of Monsieur Liszt’s formative years. They were years of extraordinary achievement, virtuosic extravagance, and tragic loss. Franz Liszt has never seemed so real, so close. Somehow, he almost feels like a friend I have known all my life. Thank you to Allan Walker for his writing mastery and superb research! I can’t wait to start book two!
January 1, 2021
This is a marvelous account of Liszt's life. I have been playing his pieces recently--consolations no.3 and Liebestraum no.3, and having some knowledge about the composer's life experience really adds depth into the music.
January 5, 2019
The most objective and detailed encounter of Listzs life available.
October 17, 2019
I wish I could give more than 5 stars. Carefully, meticulously researched and full of startling details. I absolutely loved it. I can’t wait to read the following volumes.
May 15, 2020
Very comprehensive, but the tone is a little strange.
June 1, 2020
Wonderful work, a new biography written in light of many new findings which shed new light on figures such as Marie d'Agoult and Liszt himself. Enjoyable throughout and well-researched, a dream book for piano enthusiasts, has such anecdotes as Liszt, Mendelssohn and Chopin hanging out at a cafe.
May 10, 2011
Holy frak! This guy was like Mick Jagger mixed with piano talent, long fingers and perfect pitch. All swagger.
November 5, 2013
Very thorough.. 2 more volumes to go.
April 10, 2015
Well written and researched biography. Liszt is just about the opposite of what I had gathered from years of reading about music.
April 24, 2024
Alan walker essays were the fantastic… supporting authors were less engaging
September 19, 2018
Required reading for one of my history classes in college.
Review: Useful resource for study. I enjoyed this.
Review: Useful resource for study. I enjoyed this.
Displaying 1 - 25 of 25 reviews