nd remarks that it shows the "bright sides"
of Kalkbrenner's "pleasing talent." We are, however, here more concerned
with the pianist than with the composer. One of the best sketches of
Kalkbrenner as a pianist is to be found in a passage which I shall
presently quote from M. Marmontel's collection of "Silhouettes et
Medaillons" of "Les Pianistes celebres." The sketch is valuable on
account of its being written by one who is himself a master, one who
does not speak from mere hearsay, and who, whilst regarding Kalkbrenner
as an exceptional virtuoso, the continuator of Clementi, the
founder ("one of the founders" would be more correct) of modern
pianoforte-playing, and approving of the leading principle of his
method, which aims at the perfect independence of the fingers and their
preponderant action, does not hesitate to blame the exclusion of the
action of the wrist, forearm, and arm, of which the executant should
not deprive himself "dans les accents de legerete, d'expression et de
force." But here is what M. Marmontel says:--

The pianoforte assumed under his fingers a marvellous and
never harsh sonorousness, for he did not seek forced effects.
His playing, smooth, sustained, harmonious, and of a perfect
evenness, charmed even more than it astonished; moreover, a
faultless neatness in the most difficult passages, and a left
hand of unparalleled bravura, made Kalkbrenner an
extraordinary virtuoso. Let us add that the perfect
independence of the fingers, the absence of the in our day so
frequent movements of the arms, the tranquillity of the hands
and body, a perfect bearing--all these qualities combined,
and many others which we forget, left the auditor free to
enjoy the pleasure of listening without having his attention
diverted by fatiguing gymnastics. Kalkbrenner's manner of
phrasing was somewhat lacking in expression and communicative
warmth, but the style was always noble, true, and of the
grand school.

We now know what Chopin meant when he described Kalkbrenner as "perfect
and possessed of something that raised him above all other virtuosos";
we now know also that Chopin's admiration was characteristic and not
misplaced. Nevertheless, nobody will think for a moment of disagreeing
with those who advised Chopin not to become a pupil of this master, who
always exacted absolute submission to his precepts; for it was to
be feared that he would pay too dear for the ga