Thalberg's octave-playing was not altogether elastic and free from rigidity, for in long-continued and rapid octave passages a close observer would have noticed a contraction of his facial muscles and a compression of the lips, which would have been avoided under the conditions of properly devitalized upper-arm muscles and loose wrists.
Shortly after his arrival in our country he went by invitation to my brother's house in West Orange, New Jersey, on a visit of some weeks. This afforded an opportunity which was not neglected, and as a result I became well acquainted with him and his method of practice. In this way he was virtually one of my best teachers, although no regular lessons were received from him. Moreover, in several of his concerts I played with him his duo for two pianofortes on themes from "Norma," and these were occasions of great artistic profit. One learned much, also, from hearing him practise. His daily exercises included scale and arpeggio passages played at various rates of speed and with different degrees of dynamic force. These were always put into rhythmic form, and the measures, sometimes in triple and sometimes in quadruple time in many varieties, were invariably indicated by means of accentuation. Dynamic effects, such as crescendos and diminuendos, also received due attention. In short, as it seems to me, he made it a point—as well in the cultivation and development of physical technic as in his public performances—to play musically at all times.
Thalberg's technic seemed to be confined mainly to the finger, hand, wrist, and lower-arm muscles, but these he used in such a deft manner as to draw from his instrument the loveliest tones. He was altogether opposed to the high-raised finger of some of the modern schools, and in his work entitled "L'Art du Chant applique au Piano" he cautions students against this habit. The same advice had been previously given by Carl Czerny in his "Letters on the Art of Playing the Pianoforte," namely: "Do not strike the keys from too great a height, as in this case a thud will accompany the tone."
Thalberg adds: "Gewöhnlich arbeitet man zu viel mit den Fingern und zu wenig mit dem Geiste" ("Generally one works too much with the fingers and too little with the intelligence").
This is reasonable advice, for a touch which starts off simply for strength and mechanical development, separate from other traits, becomes eventually so obstinately fixed and determined that its influence will dominate and stand constantly in the way of poetic and musical development. In this connection it is well to remember and apply the proverb: "An ounce of prevention is worth a pound of cure."
He was very fond of his grand pianofortes, both of which were made by Érard of Paris. One of these instruments was drawn upon a much larger scale than had previously been made by this or, so far as I know, by any other manufacturer. The tone was powerful and of a lovely musical character. Thalberg's idea was that the better the instrument the greater the advantage afforded the virtuoso, not only for public playing, but as well for the purpose of practice and musical development I remember his telling me that a fine instrument even suggested ideas to the composer and furthered his work. An experience of many years has proved to me the soundness of his theory and the importance of its practical application.
The not uncommon assertion that "any piano will do for a beginner" is wrong in principle. How absurd to assert that any associates will do for children in the beginning! It is just at this tender age when impressions are so easily received that the best musical advantages should be afforded. What can be better adapted to the cultivation of a musical ear than the constant presence of musical tones of the highest quality and purity? The ear requires close musical companionship in order to promote corresponding development.
The cultivation of a physical technic is important, indeed indispensable, but it should not precede or be separated from musical companionship. Its development should at all stages be surrounded by a musical atmosphere in which its adaptability to the expression of poetical ideas may be developed. The heart and head should be closely united.