Biography
Though Thalberg produced two operas along with assorted sonatas and concertos that generally lack distinction, his fantasias and sets of variations drawn from operatic sources remain noteworthy. Schumann, seldom inclined to praise mere virtuosos, singled out the piano fantasias for particular approval. The variations, especially those based on themes by Meyerbeer, Rossini, Donizetti, Verdi, Weber, and Mozart, won enthusiastic audiences through an ingenious textural device: Thalberg positioned the principal melody in the middle register, assigning it to the thumbs of both hands while surrounding it with sweeping chordal arpeggios above and below. These passages were both cleverly imagined and expertly crafted. Even more significant was the reputation Thalberg enjoyed as a pianist in the mid-nineteenth century, when he was widely regarded as second only to Liszt. He had studied with Pixis, Kalkbrenner, and Moscheles, and the two leading virtuosos eventually appeared together in a joint recital intended to settle the question of supremacy. Thereafter they maintained a cordial relationship marked by mutual support. Thalberg’s stature was further confirmed when Princess Belgiojoso invited him to contribute, alongside five other composers, to the collaborative “Hexameron.” His international standing took him on concert tours that reached Brazil, Havana, and the United States.
Singles
