Franz Liszt has long been written about from the perspectives of his own life, relationships, and accomplishments, especially as composer and performer. What, however, of his complex legacy? Liszt influenced many of his contemporaries as well as subsequent generations of musicians, critics, and scholars. Among others, he exerted a profound influence on Béta Bartók and Arnold Schoenberg, and Liszt’s legacy extended throughout the twentieth century to North America and, more recently, to China. And we are still in the process of sorting out and understanding the legacies of the past and his times that influenced Liszt and his work, whether the thought of Lamartine, traditions of improvisation and transcription, the “paradox” of Hungary’s Gypsy music, or mid-nineteenth century German politics. In collaboration with Michael Saffle, James Deaville of Carleton University has assembled a collection of essays devoted to these subjects as well as operatic aspects of the symphonic works, Liszt and theories of “degenerate genius,” and Liszt in Hollywood film. An appendix includes studies of Liszt’s documentary legacy. Profusely illustrated with musical examples, documentary facsimiles, and film stills.
A Musicologist specializing in music, composers and musical practices and institutions of the 19th and 20th centuries, having published and spoken about such diverse topics as Franz Liszt, music criticism, television news music, African-American entertainers in turn-of-the-century Vienna and “fascist” Nordic composers during the Third Reich. In 2008, his article “Publishing Paraphrases and Creating Collectors: Friedrich Hofmeister, Franz Liszt, and the Technology of Popularity” from Liszt and His World(Princeton University Press) received the Richard S. Hill award of the Music Library Association for the best article published in 2006. He has edited or co-edited books about Wagner (Pendragon), Liszt (Pendragon), Peter Cornelius (Schott) and Music and Broadcasting (under review), and guest edited special issues of the 19th Century Music Review and Canadian University Music Review. He has contributed to books published by Oxford, Cambridge, Routledge, Princeton, Yale, Ashgate and Rochester (among others), and has published in the Journal of the American Musicological Society, Journal of the Society for American Music, 19th Century Music Review, Echo, Current Musicology, Hamburger Jahrbuch für Musikwissenschaftand Canadian University Music Review (among others). As an Advisory Board member for the Grove Dictionary of American Music, he was responsible for Canadian music and musicians and musical concepts, terms and scholarly approaches.