Chapter 10

It is hard to imagine a single person having such a spell-like effect on so many people. I wonder if the effects described really had to do with him alone or if it was mostly a result of the reputation that preceded him. And such a high level of fame cannot have been hindered by the compositions that emphasize virtuoso technique. Although these pieces may not be so highly valued today, the style was widely popular then, and musicians did have to make a living, even at a time when Beethoven's music was thought dull.

The controversy over whether Liszt or Thalberg was the better pianist is not the first of its kind that we have read about, but it made me think more about why there was such concern over who was best when the answer was likely a matter of taste. Were the participants in the arguments simply choosing sides, or were they concerned with the way in which piano playing would continue to develop?

The impact of Liszt's classes is obvious and are based on good philosophies, but I was surprised to read in the account of Amy Fay that a piece was only played once. While I understand that his students were already playing at a high level before they came to him, I would also think that it could be helpful to have at least a second performance after applying Liszt's comments.

Liszt's point on self-analysis was a good reminder of its importance. Sometimes it is hard to see or hear ourselves objectively or to take the time for this type of reflection, but I think the criticisms that I make of myself and react to positively are the most beneficial.