Abstract
In this dissertation, I explore Liszt’s significance as author and music critic through an analysis of four of his series of character portraits from his Weimar period (1848-1861). In these writings, Liszt not only contributes to the mid-century debate over musical aesthetics on the side of the musical progressives (the New Germans), but he also effectively continues to promote his own musical values and aesthetics to his audience, many ideas of which he had introduced in earlier prose works. Through examination of Liszt’s essays on John Field, Clara Schumann, Robert Franz, and Pauline Viardot-Garcia, I illustrate how Liszt strives to achieve the overarching goal of his prose works: to educate the musical public (both contemporary and in the future) to recognize, support, and promote “true” musical artists and artistry. By deconstructing the talents of these well-known musical figures in his character portraits, Liszt explains to his reader why this specific artist should be venerated. Liszt is seldom viewed in music history as an influential writer, nor is the content of his literary works frequently examined in scholarship. Through my analysis of Liszt’s character portraits I will demonstrate his importance as a music critic, thus acknowledging Liszt’s significance in each facet of his life, of which his role as author is of integral importance.