299.—LISZT—THALBERG.
Leaving the rivalries of vocalists with a number of incidents entirely out of proportion to the frequency of such animosities, we will cite one case in the ranks of the instrumentalists which was remarkable not only for the intensity of the partisanship it inspired, but for the artistic interests and principles it involved. We refer to the contest that took place in Paris, in 1836, between the pianists, Thalberg and Liszt.
Prior to this time, Liszt had been undisputed master of the pianistic world. We have not the space to dilate on his wonderful career further than to say that it reads like a romance of the imagination. He had seen all Europe at his feet and had retired to Geneva for rest and study, when there came the word that a new star had appeared in the firmament, and wonderful tales were told of this mighty rival. And truly, Sigismond Thalberg, the son of an Austrian prince, was a rival not to be despised. He was highly talented and every advantage of education was his. Liszt recognized in him a formidable antagonist, and hastened back to Paris to defend his title of "King of Pianists."
Quickly the mercurial Parisian public was arrayed on one side or the other. To be neither a Lisztian nor a Thalbergian was to admit that one had no standing whatever in society. Thalberg's playing was the acme of elegance and grace. In velvety smoothness he was held to be the superior of his fiery antagonist. On the other hand Liszt was full of brilliancy and startling effect.
Schumann said that Thalberg's playing "kept him in a tension of expectancy, not on account of the platitudes which were sure to come, but on account of the profound manner of their preparation. He deceives one by brilliant hand and finger work in order to pass off his weak thoughts."
Concerning Liszt's playing we may quote the remark made to him by Chopin: "I prefer not to play in public; it unnerves me; you, if you cannot charm the audience, can at least astonish and crush them."
This contest was not only concerning the merits of the contestants as performers; their compositions and their artistic ideals were placed before the world for judgment. Thalberg was the personification of elegance and of the aristocratic—the conservative element. Liszt, per contra was imbued with high ideals of the mission of musical art, and was inspired with an enthusiasm for that which he considered true art and a hatred for the shallow inanities as poured forth by the school of which Thalberg and Herz were the chief exponents. How overwhelming was the triumph of Liszt, his great popularity in the succeeding years of his life can best answer. But through all of this artistic warfare the contestants were above malice and remained personal friends.
In the matter of personality, the advantage, so far as popularity was concerned, was with Liszt: for he was a man of much personal magnetism and his autocratic manner and his very eccentricities had a captivating effect on the public mind. But, while this was true, Thalberg was really the more dignified of the two artists. His manner was quiet and reserved, and he disdained the restless movements which characterized Liszt when at the keyboard. Nor did he lend himself to sensational occurrences in order to attract attention to his abilities as a virtuoso.
With two such strongly marked individualities in opposition, and with the lusty partisanship of their respective admirers, we may well realize the intensity of this notable controversy. Indeed, no more interesting contest, or, in the direction of piano composition and performance, more important one, can be found in the record of musical events. Its effects in these respects were far reaching; but of greater consequence was its results on the development of higher artistic ideals in the musicians of that day.