Living in an era of high opera prosperity and constant search for change, Liszt, as a musician who had made outstanding contributions to piano performance and piano composition, was also deeply influenced by opera and has always maintained a fanatical interest in opera.
He adapted a large amount of opera music through the piano, and used the piano to spread the art of opera under the condition of underdeveloped media at that time, and also made people realize the infinite charm of piano adaptation.
1. Liszt and opera
1． Liszt lived in an era of high opera boom
Born in 1811 and died in 1886, during the 75 years of his life, the great Opera Composers of Europe were star-studded and excellent opera works emerged one after another.
In Germany, Weber had The Magic Catapult, Wagner had Tonhaus, Ron Green, Tristan and Isolde, The Ring of the Nibelungen, and Parsifal;
In France, Meyerbel has "Rob the Devil", Offenbach has "Ofeo in Hell" and "The Story of Hoffmann", Gounod has "Faust", "Romeo and Juliet", Thane has "Carmen", and Saint-Saën has "Samson and Dalila";
In Italy, Rossini had The Barber of Serbia, Bellini had The Puritan and Norma, Donizetti had The Sweet Of Love, Lucia of Rammer, Verdi had Rigoletto (i.e., The Rigoletto), The Troubadour, La Traviata, and Aida;
In Russia, Glinka has "Ivan Susanin", "Ruslan and Lyudmila" and so on.
These outstanding opera composers and opera works have made the art of opera more prosperous than ever.
2． Liszt received a good education in opera
In Vienna, In addition to his rigorous and systematic training in piano technique with Cherny, Liszt studied composition with the famous composer Antonio Salieri.
Salieri was the music director of the Viennese court and had long held the power of the court opera house. Liszt not only learned the creative techniques of harmony and counterpoint, but was also influenced by the song plot knots emanating from Salieri's bones.
On December 1, 1822, when Liszt made his debut at the Reichstag Concert Hall in Vienna, after playing the extremely difficult piano works of Clemente and Hummel, he improvised the music of Beethoven and Rossini on the small note from the audience, and successfully integrated the line board of Beethoven's Seventh Symphony with a theme of Rossini's "Zelmira" opera, initially demonstrating his excellent opera understanding and creativity.
In Paris, after being rejected by the Paris Conservatory, Liszt turned to the famous opera composer and permanent conductor of the Italian Opera House, Pael, as his teacher.
Pael was unusually enthusiastic about opera, and Liszt was strongly infected by Pael.
In 1824, under the direction of Pael, he began to compose his first work of his life——— the opera "Don Sanko" (S.1), which was the only opera he had created in his lifetime, and successfully passed the strict review of the opera review committee.
On October 17, 1825, Don Sankoh was staged in Paris, a huge success and four consecutive days.
Although Liszt's debut was not mature enough, it was enough for a 13-year-old teenager to show his superhuman talent in opera.
On March 30, 1837, in the famous piano "duel" in the history of music, Liszt performed according to the prescribed theme of "March from Bellini's opera The Puritan", and with his superhuman piano skills and opera understanding, he defeated the aggressive competitor Talberg, who claimed to have a "third hand", thus establishing his reputation as the "King of the Piano".
3． Liszt's association with opera musicians
Throughout his life, Liszt maintained close contact and interaction with the opera composers of the time.
In 1843, after Liszt met the great pioneer of Russian nationalist music in Russia, Geka, he affirmed and appreciated Glinka's genius creative ability. In support of Glinka, he performed Glinka's works at concerts large and small in Russia, including Glinka's operas Ivan Susanin and Ruslan and Lyudmila.
These moves in support of Glinka even caught the attention of the local police.
Liszt was very appreciative of Wagner's opera works, and when he rehearsed the opera "Tanghaus" in Weimar, in order to accurately express the creative intention of "Tanghaus", he also made a special trip to Dresden to visit Wagner.
Wanted after his unsuccessful participation in the Dresden Uprising of May 1849, Wagner fled alone to Weimar, where Liszt took great risks to help Wag flee to Switzerland.
Through great efforts, on 28 August 1850, Liszt conducted the premiere of Wagner's opera Rongelin, which was still a fugitive, in Weimar, which was later considered the culmination of German Romantic opera.
During Wagner's years in exile in Switzerland, his operas were performed almost exclusively by Liszt's efforts in Weimar. When Wagner's operas were ostracized by conservatives, Liszt not only encouraged them, but also adapted the Ron Green fragments into piano works to evoke understanding.
Later, Liszt also adapted several of Wagner's opera works, and made excellent publicity and interpretation of Wagner's new opera through the piano.
At the inaugural Bayreuth Festival in August 1876, Liszt was a guest of honor to see Wagner's opera The Ring of the Nibelungen. This was a major event that sensationalized the Music Scene in Europe at that time, because among the guests were Kaiser Wilhelm I, King Ludwig II of Bavaria, Emperor Petro II of Brazil and well-known musicians St. San and Tchaikovsky.
In July 1886, Liszt participated in the Bayreuth Festival and died after watching Wagner's operas Parsifal and Tristan and Isolde, ending his glorious life and ending his life's song.
4． Opera works conducted by Liszt
From 1848 to 1858, as musician and conductor of the Weimar court, Liszt conducted many excellent operas by Beethoven, Mozart, Gluck, Rossini, Bellini, Wagner, Schumann, Berlioz, Verdi, Donizetti and others. The most remarkable thing was that Liszt's unique and anti-resistance staged Wagner's new series of operas, making Weimar one of the famous music centers in Europe at that time.
In the 19th century, many european opera premieres were performed by Liszt. Under his influence, his loyal student and son-in-law, Bülow, also conducted many opera premieres or performances throughout Europe.
Hans Guido Von Bülow (H.C V. Bulow, 1830–1894) was a pianist, conductor, composer, and professor.
His multifaceted talents and unique personality caused strong and varied repercussions in the music industry of his contemporaries. Some say he was a brilliant genius, while others find him self-absorbed and a less popular innovator. But he must have a prominent place in the history of piano art, for no one can deny that he was a pianist of his time, and his extraordinary record as a conductor must have made him an eternally important place in the history of musical performance.
On the European continent, Feng Bülow's remarkable talent as an orchestra conductor is well recognized, and some books published in Germany provide references to the astonishing success of Bühon Bülow's court orchestra in Meiningen between 1880 and 1885, and the musical age published a long article in memory of him, in fact recording the opinions of the best critics of our time, calling him "the leading conductor of his time". And in our case, these facts are not yet universally recognized.
To this day, his place in the history of conducting art has been forgotten in our place. People might write him. World conductors, as if it were nothing more than a book written to enlighten the latecomers and some inexperienced music lovers. In fact, the book provides a serious historical summary of the art of conducting with long descriptions of every important conductor from ancient times to the present. The importance of Pehi Mu Young's work to Feng Bülow and his work and interaction with the Berliner Philharmonic Orchestra and Richard Strauss wrote only two or three sentences: "Whenever he conducted Beethoven's Heroic Symphony, he always stopped between the first and second movements, took a pair of black gloves from his bag and put them on, and continued to conduct the second movement, because it was a funeral march. ”
2. Liszt's piano piece based on an opera
Liszt's talent for adaptation began with his successful attempts to adapt The Clock and Berlioz's Symphony of Fantasy based on the theme of Paganini's Violin Concerto No. 2 in B minor, both of which were fully recognized and praised. Later, he continued to use the piano to evaluate others according to his artistic evaluation and musical aesthetic
The work is a moving interpretation.
The repertoire that has been adapted by Liszt is not only Paul
Retaining the musical spirit of the original work, it also made the piano gain unprecedented rich sound, creating a new musical vocabulary, and the piano became an orchestra, an all-encompassing small universe in which people could get a sense of satisfaction that they had never had before.
Liszt's adaptations are numerous, involving symphonies, orchestral music, art songs, opera themes, and other instrumental arrangements.
The success of Liszt's arrangement opened up the composer's creative thinking, allowing piano composition to involve almost all types of music.
Liszt's adaptation of the opera may have come from his love and deep understanding of opera. In addition, as a master of piano skills, in order to create a sensational performance effect, he often improvised in concerts.
Due to the great influence of opera in the Liszt era, most of the melodies provided to him to improvise were opera melodies. Through the piano adaptation or creation of the well-known opera melody, the work will have more touching power and a strong sense of intimacy, so that people will naturally enter the artistic conception of music, and will smoothly cross time and space to collide with the hearts of the performers and composers and have a strong resonance.
For these reasons, Liszt's work on adaptations based on the themes of the opera continued into his later years.
People say that Liszt's piano is a piano of theatrical art.
Liszt used the piano to promote the opera at that time, as George Bernard Shaw said: "Without printing, the stage alone, Shakespeare opera cannot be popularized; without the piano, relying on concert halls alone, serious music is difficult to popularize." ”
Here are some of Liszt's piano pieces based on operas.
1. The Great Fantasia S.385;
2、S.421a；
3. Memories S.397;
4. "Memories" S.409a;
5. March and Ballad Singing, S.398;
6. "Frolic Song" S.419;
7. The Great Fantasia S.412;
8. "Memories" S.390;
9. Variations——— Six Days" S.392;
10. Fantasia S.393;
11. "Memories" S.400;
12. Fantasia S.451;
13. The Introduction and Poloniuz, S.391;
14. Memories S.413;
15. The Monk, S.416;
16. Memories S.418;
17. Waltz- Capriccio S.401;
18. "Warrior March" S.406;
19. "Memories" S.394;
20. "Funeral March" S.402;
21. Tarantella, S.386;
22. "Swan Song and March" S.405;
23. Concert Freelance Arrangement, S.431a;
24. "Tang Haoshe" S.442;
25. The Virgin Mary of Jerusalem, S.431;
26. "Song of the Evening Star" S.444;
27. The Prophet S.414;
28. The Book of Blessings and vows, S.396;
29. "Two Little Songs" S.445;
30. "The Final and March of the Board" S.421;
31. "Two Little Songs" S.446;
32. "Tyrolean Melody" S.385a;
33. Fantasia S.439;
34. "God has mercy on me" S.433;
35. "Concert Free Arrangement" S.434 ("Rigoletto");
36. "Textile Chorus" S.440;
37. "Round Dance" S.407;
38. The Chorus of pilgrims, S.443;
39. "Lullaby" S.408;
40. The African Girl, S.415;
41. Fantasia S.417;
42, "Goodbye, Dreamland" S.409;
43. The Death of Isolde's Love, S.447;
44. "Holiday Chorus and Funeral March" S.435;
45. "By the Quiet Fire" S.448;
46. Narrative Song S.441;
47. "Valhalla Castle" S.449;
48. S.352 (unpublished);
49. "Ritual Dance and Final Duet" S.436;
50. Bolognez S.429;
51. The Grail Knight March, S.450;
52. Memories, S.438;
53. The Mute of Portich, S.387;
54. "Concert Free Arrangement" S.432.
3. Piano song "Rigoletto" S.434
The piano piece Rigoletto S.434 (also known as Paraphrase de concert) is a piano piece written by Liszt in 1859 based on a quartet in the fourth act of Verdi's opera Rigoletto, "Praise You, Goddess of Love." Liszt developed the original several contrasting factors more fully, and the complex playing techniques in the music were a challenge to the player.
From the piano song "Rigoletto", we can see several characteristics of The adaptation of Liszt's opera:
1． The purpose and idea of the adaptation
Correctly handling the relationship between the original work and the adapted song is the first problem that the adaptor must face.
Liszt believes that "the relationship between the adaptation and the original should be expressed through the artistic image, regardless of his subjective wishes, in the adaptation and processing of the music, what he creates must be consistent with his spiritual personality, whether it is form or content must reflect the level of the artist's art." ”
In the piano song "Rigoletto", On the basis of faithful to the original work, Liszt boldly uses his own unique piano expression techniques, expands the connotation of the original song, increases the emotional contrast, and achieves the same dramatic effect as the original opera.
The relationship between music and skill is equally important.
Liszt understood that music is the ultimate goal, and technology is the means to serve music. "Merely a work of skill, although it often interests those who approach it——— artists, music professors and connoisseurs ———, will not cross the threshold of the artistic kingdom. If it does not have a spark of magical inspiration, if it does not have a poetic meaning, then society will not regard it as a work that really exists."
In the piano song "Rigoletto", Liszt used a lot of piano difficult techniques and adaptations
Composing techniques, but these techniques and means are designed to transform the original into a new musical language, adapt to the new form of performance, and better serve the musical spirit of interpreting the original.
For example, the fingering arrangement of using 3 fingers to play five notes in a row in bars 23 and 31 is the need for subtle emotions that the music wants to say shyly and euphemistically introverted, which reflects Liszt's ingenuity.
2． Melodic processing
Monophonic melody:
In the monotonous melody from the fourth beat of the 17th to the 33rd bar, Liszt absorbed the delicate and feminine advantages of Chopin's melody, added small decorations to the melody, and the rhythm was slightly adjusted. This melody is the love song sung by the Duke when he meets the beautiful girl. Through processing, the melody is sometimes smooth and lyrical, sometimes melodious and gentle, sometimes gently sighing, compared with the original opera, it makes people have a kind and fresh surprise.
In particular, the continuous broken tone treatment of the melody in subsections 23 and 24 reflects the affectionate pouring of tears.
In bars 46 to 66, Liszt skillfully weaves the Duke's love song melody into the accompaniment weave, interspersed with four Maddalena octave-jumping melodies.
Liszt's personality is strong and full of conquest, and his use of two-tone or octave thickened melodies reflects his gritty extroversion. For example, the "Gilda" two-tone melody in bars 34 to 35, the thickened melody with chords sandwiched in the octaves of bars 41 to 44, and the fast octave "Gilda" melody in bars 68 to 80.
3． Liszt's personalized high-difficult piano skills
Fast octaves, long-distance jumps, fast arpeggios, fast double tones, quick rotational percussion breaks of both hands, fast and gorgeous passages, these difficult piano techniques are Liszt's usual methods for seeking to express orchestral effects, dazzling and gorgeous piano performances, and brilliant performance effects.
These new techniques pioneered by Liszt were used extensively in his piano compositions.
In addition, Liszt also put forward high requirements for the control of the piano in order to give full play to the means of piano expression and tap the potential of the piano.
For example, the sharp contrast of forces, the changeable speed, free and elastic beats, diversified touch keys, the use of left and right pedals, etc., have improved the control ability of the piano to an unprecedented height.
Take speed as an example:
The whole song has a clear speed term indication of up to 26
This is secondary, especially the beginning of acapriccio (
Casually, as the performer imagines) terms should be particularly carefully experienced.
Liszt uses the acapriccio term there
Significant, arguably symbolic. It represents not only the free processing of speed, but also the free processing of rhythmic contrasts. It is an echo of the laissez-faire pursued by the French Romantics, showing that he infinitely admired the Hungarian folk improvisational style, which he considered to be Hungarian folk
The Xing playing style is a symbol of getting rid of the stereotypes in the art of playing.
4． Prelude, epilogue
Liszt's piano adaptations are generally based on the framework of the original song, with a prelude, climax and brilliant ending, so as to amplify the romantic mood of the music and make the player's magnificent acting skills fully exerted.
The piano song "Rigoletto" continues this practice.
In the piano song Rigoletto, the prelude (bars 1 to 17) consists of the melodic material of Maddalena and Gilda plus the brilliance of the broken chords, of which the 9th to 15th bars of the folio are added by Liszt to show off the magnificent technique of the piano.
The epilogue (section 91 to the end) is Liszt's usual method of showing fast octave techniques and pursuing brilliant results at the end.
Nowadays, people can easily enjoy the original works through multiple channels without the need for arrangements, the role of piano arrangements has declined, and in Liszt's many piano opera adaptations, because most of the repertoire requires the player to have excellent piano skills, people are reluctant to spend a lot of energy to learn these piano adaptations that are not originals.
However, it is undeniable that opera adaptations such as "Rigoletto" and "Don Juan" still have a high artistic standard. Through these works, we can understand Liszt's creative adaptation methods and his great contribution to pioneering piano technology and tapping the potential of the piano.
Talberg was born on 8 January 1812 in a small town near Geneva to Frankfurter parents. Throughout his life, he never mentioned who his parents were. Later generations generally believe that he was the illegitimate son of a grand duke and a baron. At about 10 years old, he moved to Vienna with his mother.
The first public performance in 1826 quickly became famous. He composed a large number of works for his own performances, mainly Fantasia on various opera themes. At the same time, he also became acquainted with Chopin, Schumann, Mendelssohn and others.
In 1835 Talberg moved to Paris with great success, which caused Liszt's uneasiness and triggered a famous duel in the history of music. The competition continued until 1843, when Talberg, believing himself defeated, went to the Americas to perform. In his later years he returned to Europe, settled in Italy, and stopped composing music.
The vast majority of Talberg's work was for piano. His playing skills are very skilled, and they are also reflected in his works. He is particularly good at playing melodies with two thumbs, and the other fingers play the accompaniment of the two high and low voices, which sounds like the effect of playing with three hands. Talberg is one of the most important composers of the opera Fantasia, on a par with Liszt. But his music basically only stays on the external performance, lacking connotation, so now it is basically lacking in interest.
Talberg Sigismond Thalberg studied under Cherny, Hummel, Ignaz Moselles.
Talberg Sigismond Thalberg masterpieces: piano pieces, piano concertos, a large number of opera fantasies, piano pieces, etc.
When Talberg was 10 years old, his father sent him to study at the Vienna Vocational School in the hope that he would enter the diplomatic world in the future, but he himself was passionate about music, first learning the basics of music with mitata, the chief grand master of the opera house, then learning piano with Hummel, and learning composition theory with Secht. In 1826, he began to play in the salon. After his first performance in London in 1830, he toured Germany and played his concertos and other works successfully. In 1835 he went to Paris to consult with the pianists Pixis and Kilke Brenner. In 1836, a recital was held in Paris, and his playing skills were exceptionally refined, and his tone was beautiful and pleasant, making him the most famous pianist in Paris and considered a master of music comparable to Liszt. When Liszt in Switzerland learned that his position was challenged, he rushed back to Paris, first writing in music magazines criticizing Talberg's work, then holding a series of concerts to show confrontation and competition, and then, through the mediation of friends, Talberg collaborated with Liszt, Chopin, Cherny, Hertz, and Picsis to write a variation, dedicated to Countess Bergio Yousso as a sign of reconciliation. Later, Talberg toured all over Europe and over with great success. It can be said that 1837-1848 was the peak of Talberg's reputation in Europe. In 1855 he toured Brazil and Cuba, in 1856 he went to the United States, in 1863 he traveled to Paris for the second time, and after 1864 settled in Naples. He died in the city of Naples on 27 April 1871.
Sigismund Thalberg (1812–1871)
Talberg and Liszt were two of the most outstanding pianists of the mid-19th century, and their piano playing skills were incomparable. Liszt wrote twelve "Super-Master Etudes", and Talberg also wrote no less than the former's "Twelve Piano Etudes". Although he did not mark the score as a "super-eloquent" as Liszt did, playing these twelve etudes also required exquisite technique and amazing perseverance. The work fully reflects the composer's superb technique of "playing the acoustic effect of several hands with two hands".
Sigismund Thalberg (1812–1871)
In terms of composition, Talberg adopted The Three Notations of Pollini, mainly based on the themes of opera arias such as Rossini, Donnitsetty, Meyerbel, and Verdi, as Fantasia. The melody pops up in the midrange zone (second tablature) alternatingly connected by two hands. Below and above the melody are accompanied by lace decorations or chords (first and third tablatures). This long tone, which alternately plays melodies with two hands, requires great skill, and the accompaniment of the upper and lower voices requires different finger touches, so Fetis, an admirer of Talberg, said that he combined Clementi's finger technique with the singing style of Hummel and Mozart to create a unique playing style, and even his opponent Liszt was amazed by his legato skills, calling him "a unique pianist who can play a legato like a violin on the keyboard." Because he could play the acoustics of several hands with two hands, the cartoonist Dantan exaggerated his portrait of a pianist with ten hands. He composed two less successful operas, and also composed many gorgeous piano pieces and fantasia adaptations of opera arias.
The three-hand violinist – the piano master who challenged Liszt Liszt – Talberg Sigismond Thalberg:
Liszt has been content to immerse himself in this joy of self-discovery and the quiet and peaceful environment. He had children, he became a father, he started a new life -- a life that thought more than he acted. However, this life was finally broken by a man, and he was Sigismund. Terberg. Recent Parisian newspapers have rushed to report on him as a new and wonderful piano artist who can make people forget everything and feel that anyone who has played the piano in the past is superfluous. Terberg was so elegant that he was not afraid of any technical and musical difficulties, and under his fingers the piano changed into a magical harp, and that wonderful sound flew the listener to the mythical world and gave them the rarest artistic enjoyment: a continuous stream of pure and pleasant sounds.
Not only that, but almost all of Liszt's friends were preaching Aboutberg, as if forgetting that there was another friend named Liszt who played the piano.
Liszt could not even imagine that the piano playing art and musical styles that he had painstakingly created over the past decade, which combined the strengths of each family and surpassed the times, were left far behind by a rising star who suddenly stood out. He didn't believe or endure it. In March 1836, he left Switzerland and returned to Paris, determined to compete with Terberg, known as the "Three Hands". Unfortunately, By this time, Terberg had left Paris, and the match could not be held. However, the debate over which of these two artists was more intelligent and who was greater caused a whirlwind in the critics' circles, and the whole of Paris boiled over, and people eagerly awaited the "musical duel" between the two artists. The short encounter between the two men was in January and March 1837, and the two men held several recitals, sometimes even performing on the same stage and performing the same repertoire, but it was difficult to distinguish between them, and people could only say: Terberg was the first in the world, Andrst was unparalleled in the world, but people had already felt that exciting new musical style from Liszt's music.
On 30 March 1837, a concert to aid Italian refugees became the last victory or defeat between the two of them, in which six masters performed together: Terberg, Liszt, Eltz, Pigsis, Chopin and Karl Schwarzenegger. Cherny, who also played the same piece - Bellini's "Puritan March", Liszt was the last to take the stage, he not only showed the art of playing that he had studied for many years with brilliant technique, enthusiastic style, but also cleverly quoted The way That Terberg was proclaimed "new" by critics but was actually outdated, and in the performance he even naturally integrated all the advantages of the other people who played on the same stage, Cherny's rigorous style, Chopin's fantasy, The natural adeptitude of Eltz and Pigsis. In the end, the whole song ended with enthusiastic applause and cheers from the audience.
The performance proved to "everyone"—the music authorities, pretentious critics, and those who truly loved music—that Liszt could do everything that others could do, and that others could not. He finally established his unparalleled position in the art of piano playing and earned the nickname "King of the Piano".
In fact, as a fierce rival of Liszt Franz Liszt, Liszt was still a little jealous of Talberg Sigismond Thalberg, not to mention the fierce competition between their piano concerts, and Liszt Liszt, who called himself "Exiled Napoleon", even said: All Talberg Sigismond Thalberg's music is completely worthless!
Chopin Chopin was no exception, and after hearing Talberg's performance in Vienna, Chopin wrote: "He played very well, but he and I are not the same kind of person." He was younger than me, and always pleased the women: he composed some miscellaneous pieces, pedaled on his piano to accent and low notes, not like me—playing 10-degree scales with his hands and wearing a shirt with diamond buttons. ”
(In fact, although Chopin admired Liszt, he couldn't stand the style in which he played, and once when Hepin heard Liszt play Beethoven's sonata, he said, "Does he have to play any piece in such an exciting way?") ”）
"Moscheles, Kalkbrena Kalkbrenner, Chopin Chopin, Liszt And Herz were always great pianists, but Talberg Sigismond Thalberg created a new art form, so I don't know how to compare... Talberg is not only the number one pianist in the world today, he is also a very outstanding composer. — From the March 1836 Paris music magazine. Cherny Czerny traveled to Paris in the spring of 1837 to be completely "frightened" when listening to his former student Liszt Liszt play. The comment of the Parisian music scene at the time was that Liszt suggested that Liszt adopt the way Talberg Sigismond Thalberg played as his own playing mode.
On February 4, Sigismund Talberg Sigismond Thalberg heard Liszt play live in a concert for the first time in his life. Talberg was stunned by Liszt's playing. He stood in front of several spectators and said loudly—he had never heard of a play like this.
Christian Johann Heinrich Heine also admires Talberg Sigismond Thalberg.
Robert Shumann said: "When sitting at the piano, he [Talberg Sigismond Thalberg] is a god. ”
"Liszt is remarkable as a pianist, but his compositions compare... Still a little worse. ”
However, the rivalry between Liszt and Sigismond Thalberg of Talberg finally came to an end.
In the spring of 1848, Liszt met again with Talberg Thaleberg in Vienna. On May 3, 1848, Liszt also attended a charity concert organized by Talberg Thaleberg, and according to his student Nepomuk Dunkl, Liszt sat on the stage, listened carefully to Talberg's performance and cheered loudly... It had been 11 years since he first heard his former opponent play.
Today, Talberg's Sigismond Thalberg is not as well-known as Liszt's.
In his later years, Talberg Sigismond Thalberg, although he did not compose any more compositions, published his own interpretations of Bach J.S. Bach's "Well Tempered Clavier" and Clementi Muzio Clementi's "Gradus ad Parnassum". He also said that these two outstanding works of keyboard music are the first two "encyclopedias" in the history of the piano.
In fact, at that time, people like Rossini Rossini, Meyerbeer Meyerbeer, Berlioz Hector Berlioz, Mendelssohn, etc. were all admirers of Talberg's Sigismond Thalberg, and it is worth mentioning that Talberg's Sigismond Thalberg collection has many manuscripts of famous composers, which were later auctioned off after his death............