A Popular History of the Art of Music: From the Earliest Times Until the PresentMathews, W. S. B. (William Smythe Babcock)
History
A Popular History of the Art of Music: From the Earliest Times Until the Present
Mathews, W. S. B. (William Smythe Babcock)
Music -- History and criticism
This trick of treating the melody was not new with Thalberg. It had
previously been done upon the harp by the great Welsh virtuoso, Parish
Alvars (1808-1849), whose European reputation had been acquired by a
succession of great concert tours, and who at length closed his days
in Vienna, where Thalberg lived. There was also an Italian master,
Giuseppe Francesco Pollini (1763-1846), who in 1809 became professor
of the piano in the Conservatory of Milan. Pollini had been a pupil of
Mozart, and dedicated to that great master his first work. Early after
being appointed professor he published a great school for the
pianoforte (1811), in which the art is fully discussed in all its
bearings, and minute directions given for touch and all the rest
appertaining to a concert treatment of the instrument. He was the
first to write piano pieces upon three staves, the middle one being
devoted to the melody; a proceeding afterward followed in some cases
by Liszt and Thalberg. Pollini surrounded his melodies, thus placed in
the middle of the instrument, where at that time the sonority and
singing quality of the pianoforte exclusively lay, with runs and
passages of a brilliant and highly ingenious kind. This was done in
his "_Una de 32 Esercizi in Forma di Toccata_," but he had already, in
1801, published several brilliant pieces in Paris, in which novelties
occur. I have never seen a copy of these works of Pollini, nor any
other account of them than those in Riemann's dictionary and in
Weitzmann's history of the pianoforte, but it is altogether likely
that when they are examined we shall find in this case, as in many
others of progressive development, that the final result was reached
by a succession of steps, each one short, and apparently not so very
important. The chain of technical development for the piano extended
from Bach in unbroken progress, and the discovery of Pollini, who was
less known in western lands than others of the great names in the
list, enables us to fill in between Moscheles and Thalberg. Pollini's
work anticipates the Clementi _Gradus_ by about six years.
Public-domain text, read in full here on John Shaqi.
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