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
