Lithograph by Josef Kriehuber, 1833. Public Domain.
While not as well remembered as many other pianists in the classical canon, Kalkbrenner was a leading figure in the Viennese scene in the early 1800s. His materials indicate a connection to Charles Czerny, a fellow pianist known for his etude books. Though Kalkbrenner was mostly known for being a solo pianist, his teachings were equally influential. One of his students, Camille Stamaty, went on to teach Camille Saint-Saëns in many of the same techniques Kalkbrenner used. Despite his offer to teach Chopin being declined, there was still a high level of respect between them. Chopin even dedicated his first Piano Concerto to Kalkbrenner.
In the early 1820s to the mid 1830s, Kalkbrenner's touring was in full swing, placing him well in the public eye. Renowned for his solo playing, he became one of the first solo piano performers to rise to success independently throughout Europe. As Liszt and Chopin rose in popularity, however, Kalkbrenner’s popularity began to wane; this was due to a change in public taste as well as complications in his own health. These complications prevented him from public performances after the 1830s, although he taught for the rest of his life.
As a pianist, virtually all of Kalkbrenner’s catalogue is written for piano. However, his works encompass a variety of different genres. Kalkbrenner wrote etudes, sonatas, concerti, piano duets, and chamber works. The Freedman collection has three of Kalkbrenner’s works, including one of the only orchestral works in the collection, a piano concerto entitled Le Rêve Op. 113. Also in the Freedman collection is Rondo Brillante Op. 116, and Rondo pour le Piano-Forte Sur Op. 65, both for solo piano.