The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1856-11-06
THAI q e r @:

The arrival Of Sigismund Thsloerg IN the United
States is a most important event in the art world,
and we are happy to see that it is 80 considered by
the public. In view Of his high position we have
thought it proper to give, to-day recapitulation Of
the chief events in his life
Sieismund Thalberg was born at Genoa, January
seventh, eighteen hundred and twelve, and is there
FORE at the present writing, nearly fortyfve
of age, although he looks ten years younger. He
comes from one Of the noble,t German families,
and one of his nearest relatives sits upon Grand
Ducal throne. portion OF this family refused to
acknowledge him when he first resolved to enter
artistic life, but were too happy to connect their
names with his when he had achieved the highest
honors that courts could bestow.
The young Thalberg was taken to Vienna, and
there commenced his musical education. He is al
most entirely self taught, and overcame all the diff
culties that beset the lie of young pianist by the
most indefatigsble labor. At the age Of fourteen
his talents for the piano already the subject Of
conversation in the most musical capital Of Germa-
ny. He was already recognized as an artist of siu-
gular capacity and promise in Vienna. His first
step towards reputation was taken. "You have not
yet heard our new marvel" said well known pro
lessor in that city when writing to friend 10 Paris.
81 argue great future for him; but man proposes
and God disposes. fear that his talent viii be
swallowed up by his passion for the piano." At
present this may strike as a singular fear when
such host Of great musical names is known as con-
nected either wholly in part with this instrument.
But at this time it must be remembered that the
piano was any thing but that which it has since be-
come. At the period of which we are speaking it
had barely emerged from its musical homage.
Neither ia tone nor in compass it at all caps-
bic of embodying the musical thought Of a compo.
ser, as ii now does.
At the age Of sixteen, NJ. Thalberg published his
first work, MeiQnge sur les themes d. Euryanthe
also fantasia on Scotch air and an impromptu on
Motives from the Siege of Corinth." These works
displayed power, freshness and originality. but of
course lacked finish, and are viewed by the com
poser much after the ssme fashion that Byron re
garded the Hours Of Idleness after he had written
Childe Harold.
at the age of eighteen, our artist, now &C
knowledged as "rising young man. made his first
visit to England and gave Mr.. Bull some new ideas
OF piano playing.
For this tour he had written concerto (opus 81;
but 1t was not for this species of music that his
talent was best suited The constraint of the old
classical form decomposition as we'll the restraint
imposed upon him by the presence Of the orchestra,
embarrassed rather than aided his natural genius
Certain it is that his first works had been
productions OF decided promise. 1t was not,
however, until his more matureo thought
turned towards the 6evelopement Of the s9norogs
quality of the piano. the apt combinations OF various
Effects and above all, to novelty In composition Of
which he is more properly the originator, that he
made his frst rapid strides in path shich for
time was almost exclusively occupied BY him At
the period in which his name first became known
the old school Of pianists divided into two par
ties OF categories. OF there the one was formed OF
the great harmoLists-men such a. Mozart and
Beethoven. The more brilliant pi.nists who followed
the fashionable lead Of Clement lin his day he
the ashion) formed the other. II il true that minor
Subdivisions separated either of these two schools
Drseek, by bis natural instinct, tended towards the
harmonists Yet his ordinary writing marked
with much brlancy and SAINT Of musical preci
sion that We ara almost forced to ocs,e him amongst
tie professors and di ,cipes Of the other school.
Hummel and Moscheles, although profess:dIy be,
longing 70 the harmonic school, and In macy &c
.pec,s worthy belonging to it, approximsted quite
near "a tie style OF Clement as they did to that
Of Beethoven and Of Mozart.
raised By the comparative imperfections Of the In
strument upon which they translated their musical
thought A yet ignorant Of its capacity to fad
that thought a voice, they were unable fully, 10 de-
selcpe t. power in their writings.
In each Of them we may consequently remark
that song and harmony, on the one hsnd, and bril-
ancy on the other are almost invariably separated
Indeed, these two elements Of music for the plato
forte only appear in turn aud this, too, IN order
which, az the time VIC are speaking Of, was cons.
dered TO be the perfection Of musical symmetry upon
he instrument. In the more brilliant passages Of
either Of these two schools the scales almost pre-
dominant. They appear only at long intervals, and
almost invariably in the same or a wel-ngh similar
form. In the singing and harmonious passages, il
tho two hands are brought into juxtaposi.ion they
merely occupy one side OF the keyboard. Should
they he widely separated definite void is lief. be.
tween them, and the harmony Is untitled
Such was the condition Of music for the piano as
sigisnund Thslterg grew into manhood.
be idea struck him that, with the great advance
which vss then t,ing made almost daily in the con
strrcton Of the instrument, the composer for Il vas
also bound 10 advance. But the advance Of the
composer was. in this period Of comparative unac.
quaiItaDce with the piano, musical problem.
Into this problem which be bad suggested to him
elf be threw his whole soul and conceived the idea
Of blenoing song and harmony Intimately with bril-
lancy Of passage ard mani oulltire execution, in
stead Of permitting them formally TO alternate
with the other, "a they had previously done. Think
ing that the whole Of the key board might be taught
tospeak at once-or at least, nearly so-through il
whole compass he devoted himself TO the orgination
and perfection q thoroughly new school upon the
instrument.
But, with the gradual maturity, and almost in
sensible developement Of this thought he was ne
cesstated to form what mi sht with great propriety
he called new system Of lingering. He was led
70 introduce into the old style number Of and
ingenious combinations by these be was enabled
70 strongly accent the melody 10 the midst Of the
most rapid arpessio passages, and TO give II voice
through the most complicated forms Of accompani-