Liszt himself undoubtedly belonged and in it he became a prince. But in his case the basis of general musicianship was broader and deeper than in that of his contemporaries Herz and Thalberg. As time went on, the separation between the more mechanical and the more artistic groups became wider—the one contenting itself with showy effects such as the perfected piano made peculiarly possible, the other seeking to use the piano as a medium for important musical expression, and yet keeping in touch with other fields of creation and performance. In the end, of course, the second group drove the first out of the larger musical centres; but for two or three decades the spectacular school was in high favor and renown.
It should be noted that there is no real dividing-line between salon music and concert music of the bravura order. The latter is cast often in larger forms and necessarily abounds in technical difficulties, but the difference is more one of degree than of kind. And much of the success of virtuosi was secured by their specially effective renderings of small pieces that were entirely suitable for salon use. Among the compositions of the bravura artists there was usually a marked absence of elaborate forms like the sonata and the concerto.
Henri Herz (d. 1888), born at Vienna in 1806, studied first with his father
and with Hunten at Coblentz, but at 10 was taken to Paris, soon winning success
at the Conservatoire. In 1821 he derived benefit from observing Moscheles.
His playing and his brilliant, but shallow compositions became the
fashion, and he was much sought as a teacher. In 1831 he toured Germany
with the violinist Lafont, and in 1833 appeared at London with Moscheles and
Cramer. From 1842 he was professor at the Conservatoire, but also entered
upon a piano-making enterprise which was so unfortunate that in 1845-51 he
made a comprehensive American tour to recoup himself. He then started a
piano-factory of his own, this time with striking success. In 1874 he gave up
his professorship. His 200 works include 8 concertos, some sonatas and
rondos, a large number of variations on operatic airs, etc. Of them only his
études and his method are now much regarded. His letters from America
were collected and published (1866).
Sigismund Thalberg (d. 1871), born at Geneva in 1812, was brought up at Vienna, studying with Sechter, Hummel and the bassoonist Mittag, though originally destined for a diplomatic career. At 14 he was privately famous, at 17 (1829) played in public and published some works, and in 1830 toured in southern Germany with success. From 1834 he was court-pianist, but from 1835 for over 20 years lived mostly at Paris, though with many long tours through northern Europe and to America. After 1858 his home was at Posilippo (near Naples), where he died. He had somewhat unusual hands
