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Updated: June 13, 2025
But Thalberg's wonderful playing, though lacking in the fire, glow, and impetuosity which would naturally most arouse the less cultivated musical sense, created a furore, which has never been matched since, among those who specially prided themselves on being good judges.
'Natalya Alexyevna is well, I am glad to say. But we have already passed the road that turns off to Darya Mihailovna's. Allow me to bid you good-bye. Alexandra Pavlovna stopped. 'But won't you come in? she said in a hesitating voice. 'I should like to, indeed, but I am afraid it is late. Darya Mihailovna wishes to hear a new etude of Thalberg's, so I must practise and have it ready.
Apart from Thalberg's power as a player, however, there was something captivating in the quality of his talent, which, though not creative, was gifted with the power of seizing the very essence of the music to be interpreted. A striking example of this is shown in the fantasias he composed on the different operas, a form of writing which reached its perfection in him.
Thalberg's first visit to America was in 1853, and he came again in 1857, to more than repeat the enthusiastic reception with which he was greeted by music-loving Americans. Musical culture at that time had not attained the refinement and knowledge which now make an audience in one of our greater cities as fastidious and intelligent as can be found anywhere in the world.
The marriage was a happy one, though scandal, which loves to busy itself about the affairs of musical celebrities, did not fail to associate Thalberg's name with several of the most beautiful women of his time. Mile. Thalberg, a daughter of this marriage, made her début with considerable success in London, in 1874.
He extended both tours to Cuba, Mexico, and South America, and it is said took away with him larger gains than he had ever made during the same period in Europe. During the latter years of Thalberg's life he spent much of his time in elegant ease at his fine country estate near Naples, only giving concerts at some few of the largest European capitals, like London and Paris.
She made such progress with her music that after much wearisome and lifeless practising she could stumble through Thalberg's variations on the air of "Home, Sweet Home"; but in French she never acquired the true Parisian accent, and would revert at times to the "Doo, dellah, derlapostrof, day," of her earlier teaching, though there is no record that these shortcomings were ever a serious drawback to her in after-life.
But, in all estimates of art and artists, where there are two clearly defined factors, imagination or formative power and technical dexterity, it would seem that there should not be any error in deciding on the propriety of such a word as a measure of the quality of an artist's gifts. The lack of the creative impulse could not be mistaken in Thalberg's work, whether as player or composer.
After the prim sonatinas that had gone before, Thalberg's florid ornaments had a shameless sound. Her performance, moreover, was a startling one; the forte pedal was held down throughout; the big chords were crashed and banged with all the strength a pair of twelve-year-old arms could put into them; and wrong notes were freely scattered.
Robert Schumann on his Playing. His Appearance and Manner. Characterization by George William Curtis. Thalberg's Style and Worth as an Artist. His Pianoforte Method, and Place as a Composer for the Piano. Gott-schalk's Birth and Early Years. He is sent to Paris for Instruction. Successful Début and Public Concerts in Paris and Tour through the French Cities. Friendship with Berlioz.
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