The Man Liszt: A Study of the Tragicomedy of a Soul Divided Against Itself

I'm surprised to see that this book hasn't been reviewed here yet (as of 1.12.2010). It has received considerable attention over the years, and it remains, I think, an important work, even though the majority of Liszt scholars now treats it with extreme skepticism. Newman's study is not, it should be pointed out right away, properly speaking a biography. Liszt's childhood is passed over in silence, and there is little sense of chronology in the book. Still, the object under scrutiny is the man Liszt; but instead of recounting in full detail the many extraneous events of his life for their own sake, Newman uses the composer's external biography merely as a starting point in an attempt to get to the heart of this enigmatic person. It is, therefore, a kind of character study; a fascinating assessment of Liszt's strengths and - even more - weaknesses as a human being and artist. As Newman explains in his preface, most biographies that had been written until then - and that was already in that day many - had painted an all too rosy-colored portrait of the man. Liszt was celebrated not only as the greatest virtuoso of his century and a great composer, but as a selfless and noble soul that always treated his fellow beings with the utmost respect and helpfulness. In particular, the blame for all the pain and hardship that had come from Liszt's first extended love affair with Marie d'Agoult, from which had sprang his three children (including Cosima), were laid squarely at her feet, whereas he was portrayed as being entirely innocent. Newman challenges this version vigorously, in part based on new biographical material (letters, etc) that had just then surfaced. His Liszt is much more human - permanently dithering, unsure of his own talent and calling, and constantly in need of the firm guidance of a woman in order to function properly. What Newman sees, as the subtitle of his book puts it, is the 'tragicomedy of a soul divided against itself.' In Liszt's character there was a congenital flaw that prevented him from ever attaining the artistic heights that his talent had seemed to predestine him for. A great composer he remains, needless to say. But few will argue with the view that especially the final decades of Liszt's life present a relatively sad picture; of a man increasingly estranged from his children and friends, and with less and less power to channel his energies into creative work. Newman's explanation of why this is so is very persuasive, and makes for some rather sad reading at times. Newman has been accused of character assassination, but while it is true that his Liszt comes across as rather too petty at times, I don't think he approached his task with a formulated intent of dragging the great man in the mud. There has always been much bickering between Wagnerians and Lisztians, where the former - and Newman must be identified as a Wagnerian - do all they can to diminish the merits of Liszt in order to raise their own idol even higher.