Musical Memories

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One could have listened to him " for ever and a day." Not so with many other great artists; no, not even with Rubinstein, or with Biilow. His wrist, hand, and fingers exhibited a variety of position and a facility of execution truly wonderful. He obtained a uniformity of touch and tone, a celerity, a power, and a certainty of command over the most distant intervals, almost inconceivable.
"When we hear Thalberg play," says Schumann, "we wonder from whence he gets all his fingers." " Either by th
...e natural conformation of his hands," says one of his biographers, "or by the most feli- citous practice, he acquired an equality of touch and an amazing division of his fingers, which enabled him to dispose a harmony in a manner as extended and effective as the modem orchestra. By means of the elasticity and control which he displayed in his touch, the prodigious power of his wrists, the ex- SiGISMUND THALBERG. i6i quisite brilliancy of his tone, and the rapidity and certainty with which he passed from one distant in- terval to another, he so separated the different features of his accompaniment that his performance had truly the effect of four hands rather than the usual allotment given to an ordinary being." There can be no doubt indeed that his perfect unity of strength in every finger afforded an ever- ready opportunity in the varied arpeggio for the most unlimited extensions; and the precision and lightning-like celerity with which they were ever and anon executed completely bewildered and as- tonished the unpractised ear, and indeed upset the preconceived notions of the most skilled professors as to what is and what is not practicable on the in- strument.

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