The Thalberg Effect: Playing the Violin on the Piano

Author(s): E. Douglas Bomberger

Source: The Musical Quarterly, Vol. 75, No. 2 (Summer, 1991), pp. 198-208
Published by: Oxford University Press
Stable URL: https://www.jstor.org/stable/742201
Accessed: 07-04-2020 18:33 UTC

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access
to The Musical Quarterly

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
The Thalberg Effect:
Playing the Violin on the Piano

E. Douglas Bomberger

The name Sigismund Thalberg is well known to pianists even today, al-
though his compositions are rarely played. Thalberg has come to represent
the excesses of the romantic period, when bigger was better and two hands
could sound like three. Twentieth-century authors have told and retold the
story of Thalberg's supposedly shallow success and his celebrated rivalry with
Franz Liszt. Thalberg's reputation is that of a charlatan virtuoso, the proto-
type of a host of minor figures who made fortunes from performance without
being serious musicians.
None of this seems to jibe with the reports of Thalberg's contemporar-
ies. To the musical cognoscenti of the 1830s, Thalberg was clearly superior to
the field around him. Time and again, writers mention Thalberg and Liszt as
the preeminent pianists of the day. Regardless of which one was favored by a
given author, there was unanimous agreement that these two were superior.
Thalberg was hailed as an innovator, and by some as the founder of a new
school of pianism. 1
What lasting contribution, then, did Thalberg make? Charles Suttoni
has suggested that his operatic fantasies are the best examples of their genre,2
but this honor is a dubious one; operatic fantasies not by Liszt are, in any
case, very rarely performed today. The key to Thalberg's significance almost
certainly lies, not in his compositions, but in his contributions to piano tech-
nique. His innovations in the art of touch and tone, of legato, cantabile
playing are still felt today. This article discusses these innovations and exam-
ines his compositional style in light of these techniques.
Thalberg made his initial reputation as an "executive artist," or per-
former. Raised in Vienna, he received a thorough general education and
trained for the diplomatic service, mastering German, French, Italian, and
English. He studied music simultaneously, and eventually chose to pursue a
career as a pianist. Since he did not perform as a child, his initial appearance
before the public was as a polished artist. He first played in Paris during the
winter of 1836 and won universal acclaim. He received glowing reviews from
Paris's leading critics,3 performing several times to receptive audiences. As
the editor of La France musicale wrote two years later, "No reputation has
been established faster or with less opposition than that of Thalberg."4

198

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
 Sigismund Thalberg 199

Figure 1. Sigismund Thalberg in an early contemporary caricature. Iconographic Collection,

New York Public Library Performing Arts Research Center.

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
200 The Musical Quarterly

The speed of Thalberg's acceptance may have roused the anger of Liszt,
who was in Switzerland during the winter of 1836. Liszt had made Paris his
home in 1823, when he arrived as a twelve-year-old prodigy. By 1836 he had
a reputation to protect, and it is clear from his letters that he was preoccu-
pied with this new challenge to his position.5 He returned to Paris in the fall
of 1836, only to find Thalberg away. While his rival was far away, Liszt
attacked his weakest point-his compositions.
The Gazette musicale of 8 January 1837 contains an extremely deroga-
tory review; a few lines from the lengthy article will illustrate the tone:

We confess that it is not an easy thing to explain the success of a composition

or decomposition such as the Grande Fantaisie, Op. 22. ... The taste, or, to put
it more precisely, the predilection of the public for mediocre things, has been
known to us for a long time, it is true; nevertheless we had thought less of the
fault, until now, that in the absence of art it needed at least some amusement,
and that compositions belonging directly and absolutely to the boring style
would never find favor with a French audience. We humbly confess that we
were mistaken; M. Thalberg's Fantaisie gives the lie most explicitly; because not
only is it one of the most pretentiously empty and mediocre works we know,
but again it is a supremely monotonous thing, and therefore supremely
boring. . . . Speaking seriously, it seems impossible to us that with the best
will in the world one would succeed in discovering in the 21 pages which form
the totality of this Fantaisie, anything similar to what in a matter of art we
call invention, color, character, verve and inspiration. . . . Impotence and
monotony, that is what we find in the final analysis in the publications of M.
Thalberg.6

This review, although signed by Liszt, seems to have been a collabora-

tion with Marie d'Agoult. Her daughter Claire later wrote, "Madame
d'Agoult told me that the articles from the Gazette musicale signed Liszt were
by her."7 In a letter to d'Agoult written on 13 February 1837, Liszt men-
tioned that Schlesinger, the editor of the Gazette musicale, had received a
request from Frangois-Joseph Fetis to write "a letter on the subject of my (or
our) article on Thalberg."8
The article touched off a debate in the tradition of the Guerre des
Bouffons.9 After months of posturing, the two met in a soiree on 31 March.
Each pianist played a fantasy on operatic themes, with the following result,
as reported by Jules Janin:

Never was Liszt more controlled, more thoughtful, more energetic, more pas-

sionate;
Each never
of them has Thalberg
prudently sung [chant.]
stayed within withdomain,
his harmonic greaterbut
verve and tenderness.
each used
every one of his resources. It was an admirable joust. The most profound
silence fell over that noble arena, and finally Liszt and Thalberg were both
proclaimed victors by this glittering and intelligent assembly. It is clear that
such a contest could only take place in the presence of such an Areopagus.
Thus two victors and no vanquished; it is fitting to say with the poet ET AD
HUC SUB JUDICE LIS EST.1o

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
 Sigismund Thalberg 201

Liszt's biographers end their account of Thalberg at this point. Al-

though his letters to d'Agoult indicate that Liszt continued to harbor some
professional jealousy of Thalberg, the two had no more public rivalry. Ten
years later, Liszt left the concert stage and settled in Weimar to pursue other
musical interests.
Thalberg, in contrast, continued his concert career until the 1860s,
touring exotic locations such as Spain, Russia, Brazil, and the United States.
He was praised by many musicians, among them Robert Schumann, who
wrote in 1841:

To say anything new about one who has already had so much praise lavished
upon him, is difficult. But there is one thing which every earnest artist will be
glad to hear, namely, that he has made progress since he last delighted us with
his art; indeed in the two years' interval since his former visit he has increased
his powers to an astonishing degree, and, impossible as it may seem, has gained
in freedom, grace, and force."

Felix Mendelssohn was particularly complimentary of his playing and

compositions:

Thalberg gave a concert yesterday evening and pleased me extraordinarily. He

restores one's desire for playing and studying as everything really perfect does.
A fantasia by him (such as, in particular, the "Donna del Lago") is a piling up
of the choicest, finest effects, and an astounding climax of difficulties and ele-
gances. Everything is so thought-out, refined, with such sureness and knowl-
edge, and full of the finest taste. Moreover, the man has incredible strength of
hand, and yet such practised light fingers.12

His technique was apparently flawless until the end, as this 1857 review
indicates:

In all these things the execution was so perfect that the mind did not begin to
analyze, or hardly ask itself what it was hearing; it might break the charm to
ask a question. There was a singular completeness about it. The execution was
perfection, the like of which we had not heard before. 13

His playing was widely imitated, particularly the technique he frequent-

ly used of surrounding a melody played by alternating thumbs in the tenor
register of the piano with arpeggios above and below. Example 1 shows this
technique clearly; it especially appealed to unschooled listeners, to whom it
gave the impression of a pianist with three hands.
The flood of imitators eventually had a detrimental effect on Thalberg's
reputation. The popularity of his style led to intense criticism in some circles:

Thalberg has done the piano an incalculable wrong in raising up a swarm of

imitators, none of whom wishes to remain behind in the Thalberg effect. The

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
202 The Musical Quarterly

Example 1. Thalberg, Fantaisie sur des thrmes de "Mose"

piano of today, in truth, consists only of Thalberg simple, Thalberg amended,

and Thalberg exaggerated; scratch what is written for the piano, and you will
find Thalberg.'4

Even in his obituary notice, the Monthly Musical Record of London opined:

We consider the evil influence of Thalberg to consist in this- that others have
been tempted by the brilliant, and doubtless, of its kind, well-deserved success
of his works, to inundate the music shops with imitations of his style and
effects, without his originality for their excuse.5

There is an obvious fallacy in blaming artists for their imitators, but

this illogic does not seem to have slowed the decline in Thalberg's reputation
after his exit from the concert stage. Although lionized during his performing
career, he was forgotten when that career was over. As Aubertine Woodward
Moore wrote in 1914, "Nothing could better illustrate the transitoriness of a
virtuoso's fame than the neglected centenary, January, 1912, of the once
popular Thalberg."16
One of the most difficult tasks a music historian can undertake is to
reconstruct the playing of a musician who lived before the age of recording
technology. The only evidence is the written word, which is inadequate to
describe the subtleties of sound. In the case of Thalberg, there are many
contemporary reports of his playing, as well as his own comments on piano
technique. Although not always technical in nature, they give a reasonably
complete impression of his playing.

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
 Sigismund Thalberg 203

The essence of Thalberg's pianism seems to have been his tone. In

contrasting the playing of Liszt and Thalberg, Ernest Legouv6 wrote:

Liszt was incontestably the more artistic, the more vibrant, the more electric.
He had tones of a delicacy that made one think of the almost inaudible sparks
of fire. Never have fingers bounded so lightly over the piano. But at the same
time his nervosity caused him to produce sometimes effects a trifle hard, a trifle
harsh. . . . Thalberg never pounded. What constituted his superiority, what
made the pleasure of hearing him play a luxury to the ear, was pure tone. I
have never heard such another, so full, so round, so soft, so velvety, so sweet,
and still so strong!"

The issue of tone is crucial to the performance of romantic piano

music. Whereas pianists of the classical era often used the instrument in
imitation of the orchestra, and pianists of the early twentieth century played
it like a percussion instrument, nineteenth-century pianists attempted to
imitate the human voice. Thalberg was a devotee of the opera and studied
for five years with the eminent vocal instructor Manuel Garcia. He was also
married to the daughter of the famous bass Lablache. In his review of the
famous Liszt-Thalberg concert, Janin wrote, "Never has Thalberg sung with
greater verve or tenderness" (emphasis added). Henri Blanchard had com-
mented a year earlier, "None have ever sung on the piano like Thalberg."18
Even Liszt acknowledged this aspect of his rival's technique by saying, "He is
the only man I know who plays the violin on the piano."19
Arthur Pougin credited Thalberg with discovering the tonal possibilities
of the piano. In his memorial tribute to the pianist he wrote:

It is Thalberg who, for the first time we had seen, made the piano sensitive,
who made it, like all the others, an instrument capable of producing and com-
municating emotion. The following charming and happy-and true-word is
cited on this subject: Rubini, the celebrated tenor, said to him one day, after
having heard him play, "But where did you learn to sing in such a manner?"
"From hearing you," responded Thalberg.20

The technical means by which Thalberg achieved this singing tone can
be ascertained by an examination of two sources: William Mason's comments
in his autobiography and Thalberg's own piano method, L'Art du chant
applique' au piano [The Art of Song Applied to the Piano].
Mason, the son of Lowell Mason, was a student of Liszt and one of the
century's most astute observers of piano technique. His own series, Touch and
Technic, was a landmark study on the role of the upper-arm muscles in piano
technique. His autobiography is a lively account of his career, with special
reference to his acquaintance with various celebrated musicians. He writes
that Thalberg stayed at his brother's house in West Orange, New Jersey, for
several weeks, during which Mason observed his practice methods closely.
Because of this, Mason says he was "virtually one of my best teachers,

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
204 The Musical Quarterly

although no regular lessons were received from him."21 Of Thalberg's tech-

nique, he writes:

It seems to me, he made it a point-as well in the cultivation and development

of physical technic as in his public performances--to play musically at all times.
Thalberg's technic seemed to be confined mainly to the finger, hand, wrist, and
lower-arm muscles, but these he used in such a deft manner as to draw from his
instrument the loveliest tones. He was altogether opposed to the high-raised
finger of some of the modem schools, and in his work entitled "L'Art du chant
applique au piano" he cautions students against this habit.22

On a purely technical level, Mason was not as complimentary of his

teacher Liszt:

His genius flashed through every pianistic phrase, it illuminated a composition

to its innermost recesses, and yet his wonderful effects, strange as it must seem,
were produced without the advantage of a genuinely musical touch . . . There
was too little pliancy, flexion, and relaxation in his muscles; hence a lack of
economy in the expenditure of his energies. . . . His advice to his pupils was to
be deliberate, and through care and close attention to important, although
seemingly insignificant, details to progress in an orderly way toward a perfect
style. Notwithstanding this caution, and falling into the usual tendency of
pupils to imitate the idiosyncrasies and mannerisms, even faults or weak points,
of the teacher, some of the boys, in their effort to attain Lisztian effects,
acquired a hard and unsympathetic touch, and thus produced mere noise in
the place of full and resonant tones.23

L'Art du chant provides the best analysis of Thalberg's goals and tech-
niques as a pianist. The work consists of a series of operatic transcriptions,
only a few of which feature the infamous three-hand technique. The stated
intention of the collection is to teach the student to develop a singing tone.
The author addresses the primary issue in the opening paragraph of the
introduction:

The art of singing well, said a celebrated woman, is the same on whatever
instrument to which it is applied. In effect, one must make neither concessions
nor sacrifices to the particular mechanism of each instrument; it is up to the
interpreter to bend this mechanism to the will of the art. Since the piano can-
not, rationally speaking, translate song in its most perfect aspect, that is the
faculty of prolonging tones, it is necessary by force of will and art to destroy
this imperfection, and to produce not only the illusion of tones sustained and
prolonged, but also that of tones inflected. Sensitivity renders one ingenious,
and the need to express what one feels can create resources which escape the
mechanism.24

The remainder of the introduction involves specific suggestions for

creating the illusion of sustained tone on the piano. He gives twelve guide-

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
 Sigismund Thalberg 205

lines, which codify his method of legato playing. These guidelines cover
various aspects of piano technique and are worth quoting:

1. One of the first conditions for obtaining breadth of execution, a beau-

tiful sonority and a great variety in tone production is to rid oneself of all ten-
sion. It is therefore indispensable to have in the forearms, the wrists and the
fingers, as much suppleness and diversity of inflection as an accomplished singer
possesses in the voice.
2. In songs that are broad, noble and dramatic it is necessary to sing
from the chest, to demand much of the instrument and pull from it all the
sound it can give without ever striking the keys, but attacking them from very
close, pushing them down, pressing them with vigor, energy and warmth. In
simple songs, sweet and gracious, it is necessary in a sense to knead the key-
board, to press it with a boneless hand and fingers of velvet; the keys, in this
case, should be more sensed than struck.
3. The singing part must always be clearly and distinctly articulated,
and brought out more clearly than a beautiful human voice over a very soft
orchestral accompaniment. . . . The indications of piano or pianissimo, placed
beside the melody, will only be taken as relative, and in no case should they
inhibit it from standing out and dominating, only with less intensity.
4. The left hand should always be subordinate to the right, except
when it sings, since the opposite can occur. In all cases, the accompaniments
should be softened in such a way that one hears more the entire harmony of
the chords than each of the sounds of which they are composed.
5. It will be indispensable to avoid, in playing, that ridiculous manner
and bad taste of delaying with exaggeration the striking of the melody notes
long after those of the bass, and producing thereby, from one end of a piece to
the other, the effect of continuous syncopation. In a slow melody written in
long notes, it is effective, especially on the first beat of every measure or at the
beginning of each phrase, to attack the melody after the bass, but only with an
almost imperceptible delay.
6. ... . Hold the notes and give them (unless otherwise indicated)
THEIR FULL VALUE. One must, for that, almost constantly make use of
finger substitutions, especially when one plays several parts. In this regard, we
could not insist too much on the good results of the slow and conscientious study
of the fugue, because it is the only thing that can lead to good playing of many
parts.
7. Another remark to make, is that generally one concentrates only on
the actual execution of the note, and one neglects the signs of nuance which
serve to complete and translate the thought of the composer; signs which are to
a musical composition what light and shade are to a painting. In the one case
as in the other, if one suppresses these necessary accessories, there exist neither
effects nor oppositions, and the eye, like the ear, tires very rapidly of the same
nuance and of the absence of variety.
8. The use of the two pedals (together or separately) is indispensable
for giving breadth to the execution, sustaining similar harmonies, and produc-
ing, by their judicious use, the illusion of tones prolonged and inflected. Often,
for particular effects, one must only employ them after the attack of long
melody notes; but it would be difficult here to specify general cases, since it

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
206 The Musical Quarterly

depends in part more on sentiment and sensations than on fixed rules. ... In
the use of the pedals, which play such an important role in execution, one
must take the greatest care never to mix incompatible harmonies and to pro-
duce thereby disagreeable dissonances. There are pianists who abuse the pedals,
or rather who use them with so little logic, that with them the sense of hearing
is perverted and they have lost the conscience of a pure harmony.
9. Tempos being an integral part of the character and spirit of a musi-
cal composition, our transcriptions should be executed in those which we have
indicated by metronome markings, except the ritardandos or accelerandos.
10. We note also that in general people play too fast and that they
believe they have proved much by deploying great agility of the fingers. To play
too fast is a capital fault. The management of a simple fugue of three or four
parts in a moderate tempo, and its interpretation with accuracy and style,
demands and demonstrates more talent than the execution of the most bril-
liant, rapid and complicated piano piece. It is much more difficult than one
thinks not to rush and not to play fast.
11. We would have much to say on sonority, on the quality or beauty of
sound pulled from the piano, but that would take us too far, and we are limited
by space. A recommendation that we should not neglect is to carry a great
sobriety in body movements and a great tranquility of arms and hands, never
to attack the keyboard from too high, to listen much in playing, to question
oneself, to be severe with oneself in execution, and to learn to judge oneself.
In general, people work too hard with the fingers and not enough with the
intelligence.
12. In closing these general observations, the best counsel that we could
give to persons who occupy themselves seriously with the piano, is to learn, to
study, and to discuss the beautiful art of song. To this end, one should never
miss the opportunity of hearing great artists, whatever their instrument, and
especially the great singers.25

These ideas summarize Thalberg's approach to piano technique, an

approach that is very familiar to interpreters of romantic piano literature. If,
as Pougin says, he was the originator of these ideas, then he is responsible for
an important form of piano technique that is widely used today. These twelve
guidelines give a thorough introduction to his ideas and illustrate his impor-
tance in the development of piano technique in the nineteenth century.
Although Thalberg's compositions are no longer part of the piano rep-
ertoire, they must have been quite impressive in the hands of their composer.
His own attitude toward his compositions is reflected in another statement
from L'Art du chant: "What dominates our transcriptions will therefore be the
singing part, the melody, to which we are especially attached, because one
must return to the fecund thought of a great writer: it is MELODY and not
HARMONY that triumphantly crosses the ages."26 This statement explains
his frequent use of the operatic fantasy, as well as his preoccupation with a
singing tone in performance. His contributions to the art of legato playing
are undeniable, and it is for these contributions that he should be remem-
bered today. Although more difficult to assess than compositional innova-
tions, new techniques in performance are crucial to the history of music. In
this respect Sigismund Thalberg was a leading figure in nineteenth-century
music.

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
 Sigismund Thalberg 207

Notes

I am grateful to Professors Robert Cohen, Shelley Davis, Richard Wexler, and Laura
Youens for helpful suggestions at various stages in the development of this article.

1. After thoroughly analyzing Thalberg's style in an article comparing Liszt and

Thalberg, the Belgian music historian Frangois-Joseph Fetis addressed himself directly
to Liszt: "You are a great artist; your talent is immense, your competency at conquer-
ing the difficulties of all styles is incomparable; you have pushed the execution as far
as possible within the system you found established by others; but you have stayed
within this system, modifying only its details. Not one new thought has given the
wonders of your playing a character of invention and ownership. That is not to say
that a happy idea will not someday illuminate your spirit on a new use for your
unusual abilities; but until today none has done so. You are the transcendent man of
the school that is ending and has nothing to do, but you are not such of a new
school. Thalberg is that man: that is the difference between the two of you"
(Frangois-Joseph F tis, "MM. Thalberg et Liszt," Revue et gazette musicale de Paris 4,
no. 17 [23 Apr. 1837]: 142). Unless otherwise noted, all translations are mine.

2. Charles Suttoni, "Piano and Opera: A Study of the Piano Fantasies Written on
Opera Themes in the Romantic Era" (Ph.D. diss., New York University, 1973).

3. Henri Blanchard, "Thalberg," Revue et gazette musicale de Paris 3, no. 19 (8 May

1836); Maurice Schlesinger, "Thalberg: explique par Dantan," Revue et gazette musi-
cale de Paris 3, no. 22 (29 May 1836).

4. [Leon Escudier], "Thalberg," La France musicale 1, no. 12 (18 Mar. 1838).

5. Daniel Ollivier, Correspondance de Liszt et de Madame d'Agoult, 2 vols. (Paris,

1933-34). Liszt wrote regularly to Marie d'Agoult during the winter of 1836-37,
when he returned to Paris to attend to the problem of Thalberg. He mentions the
other pianist in nearly every letter from this period. The extent to which Liszt was
preoccupied with his rival is demonstrated by this excerpt from the letter of 13 Feb.
1837: "My departure depends absolutely on Thalberg's concert. If the opportunity
seems good, I will perhaps give one concert on the 8th. What do you think? It is
almost a necessity of position."

6. Franz Liszt, "Revue critique," Revue et gazette musicale de Paris 4, no. 2 (8 Jan.
1837): 18, 19.

7. Quoted in Alan Walker, Franz Liszt: The Virtuoso Years (New York: Knopf,
1983), 236.

8. "Et puis voila Fetis qui va s'en mdler. Oui Fetis, le digne professeur (payd a ce
que croit Chopin par M. Dietrichstein, qui se trouve ' Bruxelles en ce moment) doit
m'adresser dans la Gazette musicale une lettre au sujet de mon (ou de notre) article sur
Thalberg." [And then there is Fetis to mix himself up in it. Yes, Fetis, the honored
professor (whom Chopin believes is paid by M. Dietrichstein, who is currently in
Brussels) should address to me in the Gazette musicale a letter on the subject of my (or
our) article on Thalberg.] Ollivier, 187.

9. For a thorough and judicious account of this entertaining war of letters, see
Walker, 232-43.

10. Journal des de'bats (3 Apr. 1837).

11. "S. Thalberg. Concert fuir den Pensionsfonds der Musiker am 8ten Februar,"
Neue Zeitschrift fiir Musik 14, no. 14 (15 Feb. 1841): 58.

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms
208 The Musical Quarterly

12. From a letter to Mendelssohn's sister Fanny, 29 Dec. 1838. Quoted in Freder-
ick Niecks, Robert Schumann, ed. Christina Niecks (London: J. M. Dent & Sons,
1925).

13. "Thalberg in Boston," Dwight's Journal of Music 11, no. 2 (10 Jan. 1857): 118.

14. Wilhelm von Lenz, Beethoven et ses trois styles (Brussels: G. Stapleaux,
1854), 9.

15. "The Influence of Thalberg on the Present Generation of Pianists," The

Monthly Musical Record 1, no. 6 (1 June 1871), 69.

16. Aubertine Woodward Moore, "Sigismund Thalberg: Prince of the Salon," The
Etude 32, no. 9 (Sept. 1914): 635.
17. Quoted in James Huneker, Franz Liszt (New York: Scribner's Sons, 1924), 288.
18. Blanchard, 153.

19. Walker, 237.

20. "Les Virtuoses. Thalberg," Le M.nestrel 38, no. 12 (18 Feb. 1872): 92.
21. Memories of a Musical Life (1901; reprint, New York: AMS Press, 1970), 212.
22. Mason, 212-14.
23. Mason, 110-15.

24. L'Art du chant applique' au piano (Paris: Heugel, n.d.), i.

25. Thalberg, i-ii.

26. Thalberg, i.

This content downloaded from 193.144.2.38 on Tue, 07 Apr 2020 18:33:52 UTC
All use subject to https://about.jstor.org/terms