unced in their
recognition. Liszt had already been before him in Paris, and Chopin
arrived about the same time. Kalkbrenner, Ferdinand Hiller, and
Field were playing, but the splendid, calm beauty of Thalberg's style
instantly captivated the public, and elicited the most extravagant
and delighted applause not only from the public, but from enlightened
connoisseurs.

To follow the course of Thalberg's pianoforte achievements in his
musical travels through Europe would be merely to repeat a record of
uninterrupted successes. He disarmed envy and criticism everywhere, and
even those disposed to withhold a frank and generous acknowledgment of
his greatness did not dare to question powers of execution which
seemed without a technical flaw. During his travels Thalberg composed
a concerto for piano and orchestra, to play at his concerts. But this
species of composition was so obviously unsuited to his abilities that
he quickly forsook it, and thenceforward devoted his efforts exclusively
to the instrument of which he was such an eminent master. A more
extensive ambition had been rebuked in more ways than one. He composed
two operas, "Fiorinda" and "Christine," and of course easily yielded to
the entreaties of his admirers to have them produced. But it was clearly
evident that his musical idiosyncrasy, though magnificent of its kind,
was limited in range, and after the failure of his operas and attempts
at orchestral writing Thalberg calmly accepted the situation.

In the year 1834 Thalberg was appointed pianist of the Imperial Chamber
to the court of Austria, and accompanied the Emperor Ferdinand to
Toplitz, where a convocation of the European sovereigns took place. His
performances were warmly received by the assembled monarchs, and he was
overwhelmed with presents and congratulations. Thalberg's way throughout
the whole of his life was strewn with roses, and, though his career did
not present the same romantic incidents which make the life of Franz
Liszt so picturesque, it was attended by the same lavish favors of
fortune. From one patron he received the gift of a fine estate, from
another a magnificent city mansion in Vienna, and testimonials, like
snuff-boxes set with diamonds, jeweled court-swords, superbly set
portraits of his royal and imperial patrons, and costly jewelry, poured
in on him continually. Imperial orders from Austria and Russia were
bestowed on him, and hardly any mark of favor was denied him by that
goo