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Sigismond Thalberg (8 January 1812 – 27 April 1871) was a composer and one of the most famous virtuoso pianists of the 19th century.
Sigismond Thalberg was born in Pâquis near Geneva, Switzerland, on 8 January 1812. According to legend, he was the illegitimate son of Prince Moritz Dietrichstein and Baroness Maria Julia Wetzlar von Plankenstern. However, according to his birth certificate, he was the son of "Joseph Thalberg" and "Fortunée Stein", both from Frankfurt-am-Main.
Little is known about Thalberg's childhood and early youth. It is possible that his mother had brought him to Vienna at the age of 10, (the same year in which the 10-year-old Franz Liszt arrived there with his parents). According to Thalberg's own account, he attended the first performance of Beethoven's 9th Symphony on 7 May 1824 in the Kärntnerthortheater.
There is no evidence as to Thalberg's early teachers. Baroness von Wetzlar, his mother, who according to Wurzbach was occupied with his education during his childhood and early youth, was a brilliant amateur pianist. It may be therefore that she gave him his first instruction at the piano.
Sigismond Thalberg, 1826.
In spring 1826 Thalberg studied with Ignaz Moscheles in London. Moscheles, according to a letter to Felix Mendelssohn of 14 August 1836, had the impression that Thalberg had already reached a level at which no further help would be needed in order to become a great artist. Thalberg's first public performance in London was on 17 May 1826. In Vienna on 6 April 1827 he played the first movement, and on 6 May 1827 the Adagio and the Rondo of Hummel's concerto in B Minor.[6] After this, Thalberg performed regularly in Vienna. His repertoire was mainly classical, including concertos by Hummel and Beethoven. He also performed chamber music. In the year 1828 his Op. 1, a fantasy on melodies from Carl Maria von Weber's Euryanthe, was published.
In 1830 Thalberg met Mendelssohn and Frédéric Chopin in Vienna. Their letters show their opinion that Thalberg's main strength was his astonishing technical skills. Further information can be found in the diary of the 10-year old Clara Wieck. She had heard Thalberg on 14 May 1830 at a concert which he gave in the theatre of Leipzig. He had played his own Piano Concerto op.5 and a fantasy of his own. Two days before, Clara had played the first solo of the 2nd Concerto of John Field to him, and, together with him, the first movement of a four handed Sonata of Hummel. Her diary, edited by her father Friedrich Wieck, notes Thalberg as "very accomplished". His playing was clear and precise, also very strong and expressive.
In the early 1830s Thalberg studied counterpoint under Simon Sechter. As a result, passages of canon and fugue can be found in some of Thalberg's fantasies of this time. An example is his Fantasy, Op. 12, on melodies from Bellini's opera Norma, which contains a march-theme and variations (one of them a canon), and a fugue on a lyrical theme. The fantasy was published in 1834 and became very popular; but on publication, it was criticised by some, for example by Robert Schumann.
Thalberg successfully changed his composing style, reducing the counterpoint. Several works in his new style, among them the Deux Airs russes variés Op.17, were even enthusiastically praised by Schumann.
In November 1835 Thalberg arrived in Paris. He performed on 16 November 1835 at a private concert of the Austrian ambassador Count Rudolph Apponyi. On 24 January 1836 he took part in a concert of the "Society of the Paris Conservatoire concerts", playing his "Grande fantaisie" op.22. Thalberg was praised by many of the most prominent artists, among them Rossini and Meyerbeer.
Chopin didn't share his fellow artists' enthusiasm. After hearing Thalberg play, in Vienna, Chopin wrote: "He plays splendidly, but he's not my man. He's younger than I and pleases the ladies - makes potpourris on La Muette - produces his piano and forte with the pedal, not the hand - takes tenths as I do octaves and wears diamond shirt studs".
His début at the Conservatoire concert was in the Revue et Gazette musicale of 31 January 1836, enthusiastically reviewed by Hector Berlioz. The Ménestrel of 13 March 1836 wrote:
Moscheles, Kalkbrenner, Chopin, Liszt and Herz are and will always be for me great artists, but Thalberg is the creator of a new art which I do not know how to compare to anything that existed before him ... Thalberg is not only the premier pianist of the world, he is also an extremely distinguished composer.
On 16 April 1836 Thalberg gave his first solo concert in Paris, and the success was again sensational. According to Rudolph Apponyi's diary, Thalberg made a profit of 10,000 Francs, a sum which no virtuoso had gained before from a single concert.
Liszt had heard of Thalberg's successes during the winter 1835–36 in Geneva, in spring 1836 in Lyon, and in Paris. In his letter to Marie d'Agoult of 29 April 1836, he compared himself to the exiled Napoleon. In a review of 8 January 1837, in the Revue et Gazette musicale, Liszt controversially denigrated Thalberg's compositions.
After Thalberg returned to Paris in the beginning of February 1837, a rivalry developed between him and Liszt. On 4 February Thalberg heard Liszt play in concert for the first time in his life. Thalberg was stupefied. While Liszt then gave over a dozen concerts, Thalberg gave only one concert on 12 March 1837 in the Paris Conservatoire, and a further concert on 2 April 1837. In addition, on 31 March 1837, both Liszt and Thalberg played at a benefit concert to raise money for Italian refugees.
In May 1837 Thalberg gave a concert in London, following which The Athenaeum gave an enthusiastic review. Such enthusiasm followed Thalberg throughout the following years. His fantasy op.33 on melodies from Rossini's opera Moïse became one of the most famous concert pieces of the 19th century, and was still praised by Berlioz in his Memoirs (1869). The fantasy was published at end of March 1839 and in May 1839 studied by Clara Wieck who was delighted by it. In 1848 the fantasy was played by Liszt's daughter Blandine.
https://en.wikipedia.org/wiki/Sigismond_Thalberg
Sigismond Thalberg was born in Pâquis near Geneva, Switzerland, on 8 January 1812. According to legend, he was the illegitimate son of Prince Moritz Dietrichstein and Baroness Maria Julia Wetzlar von Plankenstern. However, according to his birth certificate, he was the son of "Joseph Thalberg" and "Fortunée Stein", both from Frankfurt-am-Main.
Little is known about Thalberg's childhood and early youth. It is possible that his mother had brought him to Vienna at the age of 10, (the same year in which the 10-year-old Franz Liszt arrived there with his parents). According to Thalberg's own account, he attended the first performance of Beethoven's 9th Symphony on 7 May 1824 in the Kärntnerthortheater.
There is no evidence as to Thalberg's early teachers. Baroness von Wetzlar, his mother, who according to Wurzbach was occupied with his education during his childhood and early youth, was a brilliant amateur pianist. It may be therefore that she gave him his first instruction at the piano.
Sigismond Thalberg, 1826.
In spring 1826 Thalberg studied with Ignaz Moscheles in London. Moscheles, according to a letter to Felix Mendelssohn of 14 August 1836, had the impression that Thalberg had already reached a level at which no further help would be needed in order to become a great artist. Thalberg's first public performance in London was on 17 May 1826. In Vienna on 6 April 1827 he played the first movement, and on 6 May 1827 the Adagio and the Rondo of Hummel's concerto in B Minor.[6] After this, Thalberg performed regularly in Vienna. His repertoire was mainly classical, including concertos by Hummel and Beethoven. He also performed chamber music. In the year 1828 his Op. 1, a fantasy on melodies from Carl Maria von Weber's Euryanthe, was published.
In 1830 Thalberg met Mendelssohn and Frédéric Chopin in Vienna. Their letters show their opinion that Thalberg's main strength was his astonishing technical skills. Further information can be found in the diary of the 10-year old Clara Wieck. She had heard Thalberg on 14 May 1830 at a concert which he gave in the theatre of Leipzig. He had played his own Piano Concerto op.5 and a fantasy of his own. Two days before, Clara had played the first solo of the 2nd Concerto of John Field to him, and, together with him, the first movement of a four handed Sonata of Hummel. Her diary, edited by her father Friedrich Wieck, notes Thalberg as "very accomplished". His playing was clear and precise, also very strong and expressive.
In the early 1830s Thalberg studied counterpoint under Simon Sechter. As a result, passages of canon and fugue can be found in some of Thalberg's fantasies of this time. An example is his Fantasy, Op. 12, on melodies from Bellini's opera Norma, which contains a march-theme and variations (one of them a canon), and a fugue on a lyrical theme. The fantasy was published in 1834 and became very popular; but on publication, it was criticised by some, for example by Robert Schumann.
Thalberg successfully changed his composing style, reducing the counterpoint. Several works in his new style, among them the Deux Airs russes variés Op.17, were even enthusiastically praised by Schumann.
In November 1835 Thalberg arrived in Paris. He performed on 16 November 1835 at a private concert of the Austrian ambassador Count Rudolph Apponyi. On 24 January 1836 he took part in a concert of the "Society of the Paris Conservatoire concerts", playing his "Grande fantaisie" op.22. Thalberg was praised by many of the most prominent artists, among them Rossini and Meyerbeer.
Chopin didn't share his fellow artists' enthusiasm. After hearing Thalberg play, in Vienna, Chopin wrote: "He plays splendidly, but he's not my man. He's younger than I and pleases the ladies - makes potpourris on La Muette - produces his piano and forte with the pedal, not the hand - takes tenths as I do octaves and wears diamond shirt studs".
His début at the Conservatoire concert was in the Revue et Gazette musicale of 31 January 1836, enthusiastically reviewed by Hector Berlioz. The Ménestrel of 13 March 1836 wrote:
Moscheles, Kalkbrenner, Chopin, Liszt and Herz are and will always be for me great artists, but Thalberg is the creator of a new art which I do not know how to compare to anything that existed before him ... Thalberg is not only the premier pianist of the world, he is also an extremely distinguished composer.
On 16 April 1836 Thalberg gave his first solo concert in Paris, and the success was again sensational. According to Rudolph Apponyi's diary, Thalberg made a profit of 10,000 Francs, a sum which no virtuoso had gained before from a single concert.
Liszt had heard of Thalberg's successes during the winter 1835–36 in Geneva, in spring 1836 in Lyon, and in Paris. In his letter to Marie d'Agoult of 29 April 1836, he compared himself to the exiled Napoleon. In a review of 8 January 1837, in the Revue et Gazette musicale, Liszt controversially denigrated Thalberg's compositions.
After Thalberg returned to Paris in the beginning of February 1837, a rivalry developed between him and Liszt. On 4 February Thalberg heard Liszt play in concert for the first time in his life. Thalberg was stupefied. While Liszt then gave over a dozen concerts, Thalberg gave only one concert on 12 March 1837 in the Paris Conservatoire, and a further concert on 2 April 1837. In addition, on 31 March 1837, both Liszt and Thalberg played at a benefit concert to raise money for Italian refugees.
In May 1837 Thalberg gave a concert in London, following which The Athenaeum gave an enthusiastic review. Such enthusiasm followed Thalberg throughout the following years. His fantasy op.33 on melodies from Rossini's opera Moïse became one of the most famous concert pieces of the 19th century, and was still praised by Berlioz in his Memoirs (1869). The fantasy was published at end of March 1839 and in May 1839 studied by Clara Wieck who was delighted by it. In 1848 the fantasy was played by Liszt's daughter Blandine.
https://en.wikipedia.org/wiki/Sigismond_Thalberg
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