It's strange how so many great composers are forgotten or little played. Even people like Hummel and Moscheles who were considered titans in their day. Everything is Beethoven, Liszt, Mozart, Schubert, Chopin and Schumann. Not that that is undeserved. They certanly were fantastic composers. But so many others with extraordinary talent are simply ignored. And Anton Rubinstein's piano concerto no. 4 is never played but it's equal to anything out there.
This abolutely great to find a complete version of the Moses Fantasy on youtube.
Whatever you say, your playing is really impressive and the piece is played in a virtuoso way !
Thalberg deserves to be played as much as Liszt or Chopin. What do you think about Le Barbier de Séville played by Lisitza. It sound absolutely wonderful for me.(sorry for my bad english) Thank you for your video
Thanks. The Barber of Seville is not one of my favourite Thalberg fantasies but it's still well worth listening to, and I think it's a great pity that his music is almost unplayed today.
@alkanliszt What do mean by Barber of Seville? Isn't it the Moses Fantasy? I'm interested because the Moses Fantasy was a regular feature on Clara Schumann's programmes until well into her marriage. She admired Thalberg's playing..
@felixdevilliers1 Both the Barber of Seville (op. 63) and Moses (op. 33) are Thalberg fantasies on Rossini, but they're completely separate: the Moses Fantasy is from Moses in Egypt (now rarely performed). re Clara Schumann she did play (in her youth) quite a lot of repertoire that wouldn't normally be stylistically associated with her e.g. Thalberg and Henselt.
@alkanliszt Thanks, I now understand - I read you carelessly - that I was listening to the Moses Fantasy. I'm reading the Schumann biographies and diaries for the umpteenth timeand I actually want to hear some of these Thalberg and Liszt Fantasies that were regularly main features on her programmes until, at the least, 1844.
wow!! i really loved the last part!! Thalberg was considered one of the greatest pianist of the world. He was Lisz't biggeset competition. Has any one heard of the pianist 'Alexander Dryshlock'? According to the histroy books, he was 'the hero of octaves'. His specialty was playing Chopin's Reolutionary arpeggio passages in octaves!! imagine that!! *sigh...the days of the super-virtuosos are forever gone. :(
There is a lovely story that Liszt heard about Dreyschock's feat and, not wishing to be upstaged, arranged the Chopin op.25 no 2 etude with BOTH hands in octaves and played it in that form at his next recital.
hahaha!!! yes!! i know of that story. I read it in a book entitled 'The great Pianists', by music critic Harold Schonenberg. Alkan Liszt, I am very impressed by your playing. Are you a teacher of music? Profressor perhaps?
I personally think Alkan was jsut as good as both of them also. But maybe that is because i just can't get over his Super Flumina Babylonis, 30 ans, and the knight etude. Thalberg is just wonderful, thank you for the video.
"Liszt owns thalberg. No competition. Liszt could have eaten those arpeggios when he was studying with Czerny..." -pkjpiano
I respect your opinions and I will not slander you with vulgar language. Instead I'll just ask you a simple question: how much Thalberg have you listened to? If this is the only composition, then I suggest you listen to more with an open mind and then reconsider your lambast. If you listened to all, then that is equally as good.
I once brought the then newly republished score of the Thalberg Don Pasquale to show to the retired music professor, Bruce Simonds of New Haven, Connecticut USA, and he played it at first sight at the correct tempo, with essentially total accuracy and commanding bravura.
uhmm...did u happen to cut parts of the piece out? im reading the score now, and there are massive chunks missing, and also parts in tehre where your left hand notes arent as whats written. what edition did you use?
I have an edition published by Musica Obscura. I had a memory lapse at 6.48 and omitted about 8 bars, but I can't see any other deviations from the score other than wrong notes.
I've also got the pdf with "V.A. 324" at the bottom of the pages, and it seems exactly the same as the Musica Obscura, so I really doubt that there are "massive chunks missing" unless my memory is even worse than I thought it was.
Of course there's more to music than virtuosity, whether it be of the 19th century or otherwise. Equally, some pieces are meant to be diverting and entertaining, without making any great claims to intellectual heights.
You should have been present at Raymond Lewenthal's receital at the Crouse College of Music, Syracuse University, in the early 1970's -- you'd have been THOROUGHLY cured of your sickness. Get well soon!
Was that the concert where Lewenthal played some of Liszt's Annees de Pelerinage, the Alkan Sonatine and Thalberg's fantasies on "Moses" and the Barber of Seville?
- Virtousity is the most revolting characteristic that can be given to a piece.
Oh? Well then what about the preludes, and studies of F. Chopin, and the violin concertos, and pieces of A. Vivaldi, and N. Paganini? They're both virtuosic, and most certainly NOT revolting.
In another word, I'm American, not Canadian, and speaking of being hasty, I could see something hasty in the last sentence that's next to the last: People are AFTERALL stupid.
Thanks for posting such a well-played performance of this piece by Thalberg. Yes, you're right -- Thalberg's music deserves to be played more. He was comparable to Liszt (and I'm a die-hard Liszt fan!). Nice job!
I spent about a month on it. Liszt played his fantasy on Pacini's "Niobe" and his arrangement of Weber's Konzertstuck. Thalberg also played his fantasy on God Save the Queen.
This is simply awesome! I just started teaching myself piano this summer, and I just love watching and listening to others play. What's your secret to those perfectly smooth and even arpeggios?
The thumb! Passing the thumb under the hand, for example on the G in a G major ascending rh arpeggio, and similarly passing the hand over the thumb when descending. Plus when you have the pedal down (as is the case with all the arpeggios at the end) that can make it sound cleaner than it perhaps is.
I see...should the thumb pass all the way to the next G (using your example) right after the 2nd finger plays its note? Because I can't ever seem to reach all the way without contorting my hand. Also, my arpeggios always have a gap when the thumb finally passes and the hand shifts position(is that normal?)
Annoyingly, it would be much easier to demonstrate the technique than describe it. I think what you're probably doing is G,B,D with hand totally static (then small hesitation whilst the thumb migrates up an octave) and G,B,D as before. It will be better if the thumb is preparing for the next G even while the D is being struck. In slow motion you would probably see the wrist side of the hand rotating to the right and the thumb (on its way to the next G) would pass the D just after you play the D.
Actually you don't need to move the thumb under the hand at all; when you need to play the thumb just pick up your whole hand, shift it so that the thumb is over it's note, and "slap" it into the key. It has to be done quickly, or there will be a gap. Coming down, you fold the hand over thumb (A little), then slide the thumb off the end of the key it was on and prepare it to reach the next note.
WOW!.Good playing too.I never thought other pianists would be too interested in Thalberg -but why not there is much clever stuff there. Youtube is sucha valuable resource.thaNKS FOR OSTING THIS. eARLwILD IS excitingly alive and does subtle things too. thanks again!
I fully agree that there is much of interest to pianists in Thalberg; I feel that the second half is most ingeniously written. Earl Wild's recordings of Thalberg's Don Pasquale and Semiramide fantasies are fantastic.
Bravo! You are my new hero! I'm working on his Op. 75 miniatures, but I'd love to be able to play the operatic fantasies one day. How long did it take you to get this one comfortably under your fingers?
About three or four weeks - I found the writing very pianistic, and most of it fits the hand quite nicely (there are some tough spots though). The Soirees de Pausilippe contain some nice pieces - good luck with them.
I really like this piece and you play it very well. The finale with the three hand arps is just beautiful. I have the Nicolosi cds but this is the only Thalberg piece that has really captured me.
Thanks! I find the finale wonderfully effective. I'd recommend the Earl Wild 60s recording of Thalberg's "Don Pasquale" (actually I would recommend the entire disc). It resurfaced on his entry in the Great Pianists of the 20th Century collection.
The section from 10.56 to 11.32 is a much more subtle example than the big arpeggiated ending. It is perhaps unfortunate that some descriptions in the literature of Thalberg's "three-handed" effect are in reality just wrong. However Liszt clearly understood the mechanism behind it as he went on to use it himself. The Liszt operatic fantasies on Lucia di Lammermoor, Norma, Ernani and Il Trovatore spring to mind.
A wonderful performance of a much neglected composer. You are to be applauded for venturing into this obscure and demanding repertoire. I first became familiar with this piece through Mayer's "Liszt vs. Thalberg" CD and was enthralled by it. I also like the Sonnambula Fantasy.
I have the Mayer CD also, though I prefer Roberto Cappello's live performance of Moses from Schloss vor Husum. Moses and La Somnambula are, I think, two of Thalberg's best operatic fantasies.
Finally I got to hear some of Thalberg's music. It sucks the way at one time you are considered to be Liszt's rival, but then dropped as if you never existed. Thalberg was considered Liszt's only peer, as far as virtuousity is concerned. Cheers to Chopin!!! Cheers to the great Liszt. He is truly worthy of his reputation! Hopefully Thalsburg will get some much earned attention he deserves. Alkan too, deserves this attention!!!!
Yes, history has not been very kind to Thalberg. If you are looking to hear some more of his music cheaply, you could consider the Francesco Nicolosi cds on Naxos.
I don't think I have the score, but I've a pretty good idea where to find it. Possibly it has been recorded by Victoria Power; she was doing a complete Thalberg piano music series at one point, but I'm not sure how much of the music ultimately got recorded other than the L'art du chant (op.70) set.
(cont.) that's far more impressive than the present-day note-computers who play everything all foreground, no background/foreground distinction. i first "met" thalberg through that same earl wilde album, and this is an even better acquaintance - this is really substantial music, just about as good as liszt's opera fantasies in its developing of the themes.
Thank you! I fully agree that the best of Thalberg's operatic fantasias (imo Don Pasquale, Moses, La Somnambula, etc) do bear comparison with Liszt's. To my mind it is a shame they get played so rarely. In the second half here, I think the G min theme is developed most ingeniously.
absolutely agreed. this is intelligent music - better than harold schonberg's description in "the great pianists" would have led me to expect. i'm delighted you're bringing back such things, and with such good taste and techical acumen. i'm subscribing. :)
bravo, bravo. a really integrated performance. you;ve grasped that real virtuosic playing means the ornamentation existing in the background with the melodies singing out in relief. (cont.)
Thanks :) I think I first became aware of Thalberg's music on an old Earl Wild recording (Fantasy on Don Pasquale), and I thought it was quite interesting, so I looked for more. Although he is not a well-known composer, I think some of his music is both entertaining and worthy of more exposure than it seems to get.
I read about the piano duel between Liszt and Thalberg, and, as I was studying a lot of Liszt's operatic transcriptions at the time, decided to investigate those of his erstwhile rival.
amateur? o_O, how much time you touch piano?. And other cuestion... Always i look a pianists with a partiture for play piano. Honestly, i dont like play other partitures, i prefer play piano with my spirit and heart, i think this is the most important for a musician. ;) (where u from?, im canary islands, Spain ^^)
Sometimes I do not play on the piano for weeks, sometimes I practice several hours in a day - it depends how I feel. I am from near Edinburgh in Scotland, United Kingdom.
I've listened to this several times. I get the same emotional response every time. It seems to resonate with me. Thank you for posting this. Well done!
Not bad, is good but in general the piano is "zzzz", i prefer pieces more "agressive". Forgot all people play the piano playing mozart and bla bla, make a original style, a new and animated style. (my english is lol). stars for you because i listen all piece and i think you are a proffesional. I have got 6 years playing trumpet, but only in the academy, and is not my instrument. Is beter play Electric Guitar or piano (but at my own style). Very good ;)
I've thought about it in the past. The left hand is probably slightly tricky in parts, but in principle I think it's manageable. I wasn't totally convinced by the piece (though I thought it had some very attractive sections). I assume you have heard the recording by Francesco Nicolosi.
Nice performance, but kind of boring piece. But I must admit to not really being an opera fan, which may have something to do with it... I honor you for a valiant attempt to keep the interest up through the power of your playing,
I think the second half (the G min section from about 9.00) is considerably better than what precedes it. I find that Thalberg's operatic fantasies can be rather verbose and on a larger scale timewise than the handling of the musical material is able to take. Liszt seemed to have a better idea of balancing musical effect with dramatic impact.
I have always suspected that the B maj arpeggio section about 2/3 of the way through the Liszt Norma Fantasy was Liszt's musical/intellectual response to Thalberg's obsession with arpeggiated figurations.
It's strange how so many great composers are forgotten or little played. Even people like Hummel and Moscheles who were considered titans in their day. Everything is Beethoven, Liszt, Mozart, Schubert, Chopin and Schumann. Not that that is undeserved. They certanly were fantastic composers. But so many others with extraordinary talent are simply ignored. And Anton Rubinstein's piano concerto no. 4 is never played but it's equal to anything out there.
Deneb33 4 months ago
Lol dude. What's with the crushed velvet?
John11inch 1 year ago
Hello, may I download this video?
paopaomanalansan 1 year ago
@paopaomanalansan yes, of course I don't mind, there should be plenty of software around to do that.
alkanliszt 1 year ago
wow, this is the same melody paganini used in his Moses Variations, now I'm interested in hearing the whole opera
dalecampbl5 1 year ago
BRAVO from one of your biggest fans.
aardvaark069 1 year ago
This abolutely great to find a complete version of the Moses Fantasy on youtube.
Whatever you say, your playing is really impressive and the piece is played in a virtuoso way !
Thalberg deserves to be played as much as Liszt or Chopin. What do you think about Le Barbier de Séville played by Lisitza. It sound absolutely wonderful for me.(sorry for my bad english) Thank you for your video
Rubatoforever 2 years ago
Thanks. The Barber of Seville is not one of my favourite Thalberg fantasies but it's still well worth listening to, and I think it's a great pity that his music is almost unplayed today.
alkanliszt 2 years ago
@alkanliszt What's the pianist?
goldberg72 1 year ago
@goldberg72 This video is me playing; the Barber of Seville fantasy is on youtube played by Valentina Lisitsa.
alkanliszt 1 year ago
@alkanliszt What do mean by Barber of Seville? Isn't it the Moses Fantasy? I'm interested because the Moses Fantasy was a regular feature on Clara Schumann's programmes until well into her marriage. She admired Thalberg's playing..
felixdevilliers1 10 months ago
@felixdevilliers1 Both the Barber of Seville (op. 63) and Moses (op. 33) are Thalberg fantasies on Rossini, but they're completely separate: the Moses Fantasy is from Moses in Egypt (now rarely performed). re Clara Schumann she did play (in her youth) quite a lot of repertoire that wouldn't normally be stylistically associated with her e.g. Thalberg and Henselt.
alkanliszt 10 months ago
@alkanliszt Thanks, I now understand - I read you carelessly - that I was listening to the Moses Fantasy. I'm reading the Schumann biographies and diaries for the umpteenth timeand I actually want to hear some of these Thalberg and Liszt Fantasies that were regularly main features on her programmes until, at the least, 1844.
felixdevilliers1 10 months ago
wow!! i really loved the last part!! Thalberg was considered one of the greatest pianist of the world. He was Lisz't biggeset competition. Has any one heard of the pianist 'Alexander Dryshlock'? According to the histroy books, he was 'the hero of octaves'. His specialty was playing Chopin's Reolutionary arpeggio passages in octaves!! imagine that!! *sigh...the days of the super-virtuosos are forever gone. :(
bluematrix109 3 years ago
There is a lovely story that Liszt heard about Dreyschock's feat and, not wishing to be upstaged, arranged the Chopin op.25 no 2 etude with BOTH hands in octaves and played it in that form at his next recital.
alkanliszt 3 years ago
hahaha!!! yes!! i know of that story. I read it in a book entitled 'The great Pianists', by music critic Harold Schonenberg. Alkan Liszt, I am very impressed by your playing. Are you a teacher of music? Profressor perhaps?
bluematrix109 3 years ago
No, just an enthusiastic amateur.
alkanliszt 3 years ago
lol!! i admire your humility! i think u could b a whale of a pianist if you chose 2 b!! haha!!
bluematrix109 3 years ago
I personally think Alkan was jsut as good as both of them also. But maybe that is because i just can't get over his Super Flumina Babylonis, 30 ans, and the knight etude. Thalberg is just wonderful, thank you for the video.
Lukecash12 2 years ago
Hahaha, feel sorry for Chopin. Everybody mess around and played with his etudes xDD
addeex1 2 years ago
This comment has received too many negative votes show
only -4? People love thalberg that little? LOL
pkjpiano 3 years ago
This has been flagged as spam show
Liszt owns thalberg. No competition. Liszt could have eaten those arpeggios when he was studying with Czerny.
thalberg is the lamest joke of a pianist/composer in history.
Liszt definitely eclipses this 'arpeggio king' in terms of virtuosity, ingenuity, and originality.
pkjpiano 3 years ago
"Liszt owns thalberg. No competition. Liszt could have eaten those arpeggios when he was studying with Czerny..." -pkjpiano
I respect your opinions and I will not slander you with vulgar language. Instead I'll just ask you a simple question: how much Thalberg have you listened to? If this is the only composition, then I suggest you listen to more with an open mind and then reconsider your lambast. If you listened to all, then that is equally as good.
Peace,-jg
juufa72 3 years ago 9
i agree
Lukecash12 2 years ago
I once brought the then newly republished score of the Thalberg Don Pasquale to show to the retired music professor, Bruce Simonds of New Haven, Connecticut USA, and he played it at first sight at the correct tempo, with essentially total accuracy and commanding bravura.
bordacher1 3 years ago
That's impressive, as the closing pages are far from easy.
alkanliszt 3 years ago
"Thalberg is the 1st pianist of the world...but Liszt is the only pianist of the world"
but hey, thalberg composes some sick music :P
samyooljackson 3 years ago
Thalberg was the best pianist on this world, bu liszt wasnt on this world....he was something else...
parkourjordz 3 years ago
I really liked it!
earthatic 3 years ago
uhmm...did u happen to cut parts of the piece out? im reading the score now, and there are massive chunks missing, and also parts in tehre where your left hand notes arent as whats written. what edition did you use?
i have V.A.324
i dont know what that means haha.
goodridgewinners 3 years ago
I have an edition published by Musica Obscura. I had a memory lapse at 6.48 and omitted about 8 bars, but I can't see any other deviations from the score other than wrong notes.
alkanliszt 3 years ago
I've also got the pdf with "V.A. 324" at the bottom of the pages, and it seems exactly the same as the Musica Obscura, so I really doubt that there are "massive chunks missing" unless my memory is even worse than I thought it was.
alkanliszt 3 years ago
I am THOROUGHLY sick of the names Alkan, Liszt and Thalberg. Also, virtousity is the most revolting characteristic that can be given to a piece.
That's why Thalberg's DEAD, while Liszt lives. Thalberg never wrote anything like the Legends.
There's more in music than 19th century virtouso pianism, you know?
aldebussy 3 years ago
Of course there's more to music than virtuosity, whether it be of the 19th century or otherwise. Equally, some pieces are meant to be diverting and entertaining, without making any great claims to intellectual heights.
alkanliszt 3 years ago
You should have been present at Raymond Lewenthal's receital at the Crouse College of Music, Syracuse University, in the early 1970's -- you'd have been THOROUGHLY cured of your sickness. Get well soon!
pendergastniak 3 years ago
Was that the concert where Lewenthal played some of Liszt's Annees de Pelerinage, the Alkan Sonatine and Thalberg's fantasies on "Moses" and the Barber of Seville?
alkanliszt 3 years ago
- Virtousity is the most revolting characteristic that can be given to a piece.
Oh? Well then what about the preludes, and studies of F. Chopin, and the violin concertos, and pieces of A. Vivaldi, and N. Paganini? They're both virtuosic, and most certainly NOT revolting.
JupiterIV 3 years ago
LMAO!You're illiterate. read it again, you haven't quite understood it Jupiter.
I think the literacy test in Canada is a good idea. People are afterall stupid. how can somebody read my comment and make such a hasty conclusion.
aldebussy 3 years ago
My apologies, aldebussy.
In another word, I'm American, not Canadian, and speaking of being hasty, I could see something hasty in the last sentence that's next to the last: People are AFTERALL stupid.
JupiterIV 3 years ago
lol...you made two more comprehension mistakes again. You're also not worth a reply. I don't know why I just wasted more of my time over you.
aldebussy 3 years ago
Very nice performance.
Eristhenes 3 years ago
Thanks for posting such a well-played performance of this piece by Thalberg. Yes, you're right -- Thalberg's music deserves to be played more. He was comparable to Liszt (and I'm a die-hard Liszt fan!). Nice job!
fhood 3 years ago
very nice performance , How long did it take you to learn this piece? and what piece did liszt play in the duel against Thalberg? do you know?
raybd 3 years ago
I spent about a month on it. Liszt played his fantasy on Pacini's "Niobe" and his arrangement of Weber's Konzertstuck. Thalberg also played his fantasy on God Save the Queen.
alkanliszt 3 years ago
This is simply awesome! I just started teaching myself piano this summer, and I just love watching and listening to others play. What's your secret to those perfectly smooth and even arpeggios?
pgtramont 3 years ago
The thumb! Passing the thumb under the hand, for example on the G in a G major ascending rh arpeggio, and similarly passing the hand over the thumb when descending. Plus when you have the pedal down (as is the case with all the arpeggios at the end) that can make it sound cleaner than it perhaps is.
alkanliszt 3 years ago
I see...should the thumb pass all the way to the next G (using your example) right after the 2nd finger plays its note? Because I can't ever seem to reach all the way without contorting my hand. Also, my arpeggios always have a gap when the thumb finally passes and the hand shifts position(is that normal?)
pgtramont 3 years ago
Annoyingly, it would be much easier to demonstrate the technique than describe it. I think what you're probably doing is G,B,D with hand totally static (then small hesitation whilst the thumb migrates up an octave) and G,B,D as before. It will be better if the thumb is preparing for the next G even while the D is being struck. In slow motion you would probably see the wrist side of the hand rotating to the right and the thumb (on its way to the next G) would pass the D just after you play the D.
alkanliszt 3 years ago
Actually you don't need to move the thumb under the hand at all; when you need to play the thumb just pick up your whole hand, shift it so that the thumb is over it's note, and "slap" it into the key. It has to be done quickly, or there will be a gap. Coming down, you fold the hand over thumb (A little), then slide the thumb off the end of the key it was on and prepare it to reach the next note.
javacisnotrecognized 3 years ago
WOW!.Good playing too.I never thought other pianists would be too interested in Thalberg -but why not there is much clever stuff there. Youtube is sucha valuable resource.thaNKS FOR OSTING THIS. eARLwILD IS excitingly alive and does subtle things too. thanks again!
lovesGenet 4 years ago
I fully agree that there is much of interest to pianists in Thalberg; I feel that the second half is most ingeniously written. Earl Wild's recordings of Thalberg's Don Pasquale and Semiramide fantasies are fantastic.
alkanliszt 4 years ago
Beautiful. Flawless performance. I'd like to buy a piano now!
guitarmadness 4 years ago
Bravo! You are my new hero! I'm working on his Op. 75 miniatures, but I'd love to be able to play the operatic fantasies one day. How long did it take you to get this one comfortably under your fingers?
Donzelague 4 years ago
About three or four weeks - I found the writing very pianistic, and most of it fits the hand quite nicely (there are some tough spots though). The Soirees de Pausilippe contain some nice pieces - good luck with them.
alkanliszt 4 years ago
I really like this piece and you play it very well. The finale with the three hand arps is just beautiful. I have the Nicolosi cds but this is the only Thalberg piece that has really captured me.
suremate 4 years ago
Thanks! I find the finale wonderfully effective. I'd recommend the Earl Wild 60s recording of Thalberg's "Don Pasquale" (actually I would recommend the entire disc). It resurfaced on his entry in the Great Pianists of the 20th Century collection.
alkanliszt 4 years ago
Liszt was so right when he guessed thumb-melodies on this piece after the duel.
ConcertPianist 4 years ago
The section from 10.56 to 11.32 is a much more subtle example than the big arpeggiated ending. It is perhaps unfortunate that some descriptions in the literature of Thalberg's "three-handed" effect are in reality just wrong. However Liszt clearly understood the mechanism behind it as he went on to use it himself. The Liszt operatic fantasies on Lucia di Lammermoor, Norma, Ernani and Il Trovatore spring to mind.
alkanliszt 4 years ago
A wonderful performance of a much neglected composer. You are to be applauded for venturing into this obscure and demanding repertoire. I first became familiar with this piece through Mayer's "Liszt vs. Thalberg" CD and was enthralled by it. I also like the Sonnambula Fantasy.
moltofortissimo 4 years ago
I have the Mayer CD also, though I prefer Roberto Cappello's live performance of Moses from Schloss vor Husum. Moses and La Somnambula are, I think, two of Thalberg's best operatic fantasies.
alkanliszt 4 years ago
Is there a midi file for this track? I particulary love the melody in 6min30... very nice play
dryst420 4 years ago
If you check your messages, I've sent you a download link for an mp3 of this performance.
alkanliszt 4 years ago
Finally I got to hear some of Thalberg's music. It sucks the way at one time you are considered to be Liszt's rival, but then dropped as if you never existed. Thalberg was considered Liszt's only peer, as far as virtuousity is concerned. Cheers to Chopin!!! Cheers to the great Liszt. He is truly worthy of his reputation! Hopefully Thalsburg will get some much earned attention he deserves. Alkan too, deserves this attention!!!!
jecian1978 4 years ago
Yes, history has not been very kind to Thalberg. If you are looking to hear some more of his music cheaply, you could consider the Francesco Nicolosi cds on Naxos.
alkanliszt 4 years ago
Hey Alkanliszt, could you play: Barcarole in la min op. 90 by S. Thalberg?, I've been looking for 10 years without results, TX
enry001 4 years ago
Are you sure about the opus number? I checked the list of his published works at the centrothalberg site, and I don't see any opus numbers this high.
alkanliszt 4 years ago
Sorry 60 instead of 90
Regards
enry001 4 years ago
I don't think I have the score, but I've a pretty good idea where to find it. Possibly it has been recorded by Victoria Power; she was doing a complete Thalberg piano music series at one point, but I'm not sure how much of the music ultimately got recorded other than the L'art du chant (op.70) set.
alkanliszt 4 years ago
Dear Alkanliszt, Thank you for this information
enry001 4 years ago
(cont.) that's far more impressive than the present-day note-computers who play everything all foreground, no background/foreground distinction. i first "met" thalberg through that same earl wilde album, and this is an even better acquaintance - this is really substantial music, just about as good as liszt's opera fantasies in its developing of the themes.
kasyapa 4 years ago
Thank you! I fully agree that the best of Thalberg's operatic fantasias (imo Don Pasquale, Moses, La Somnambula, etc) do bear comparison with Liszt's. To my mind it is a shame they get played so rarely. In the second half here, I think the G min theme is developed most ingeniously.
alkanliszt 4 years ago
absolutely agreed. this is intelligent music - better than harold schonberg's description in "the great pianists" would have led me to expect. i'm delighted you're bringing back such things, and with such good taste and techical acumen. i'm subscribing. :)
kasyapa 4 years ago
bravo, bravo. a really integrated performance. you;ve grasped that real virtuosic playing means the ornamentation existing in the background with the melodies singing out in relief. (cont.)
kasyapa 4 years ago
I get goosebumps every time I listen to that finale, with all the arpeggios.
vivace119 5 years ago
I love that section too - so effective, pianistic and such fun to play.
alkanliszt 5 years ago
Great playing! Nice to see lesser known piano works coming up on Youtube... How did you come across that one?
PianoDabbler 5 years ago
Thanks :) I think I first became aware of Thalberg's music on an old Earl Wild recording (Fantasy on Don Pasquale), and I thought it was quite interesting, so I looked for more. Although he is not a well-known composer, I think some of his music is both entertaining and worthy of more exposure than it seems to get.
alkanliszt 5 years ago
where and how did you discover Moses? thanks for the introduction.
leolc 5 years ago
I read about the piano duel between Liszt and Thalberg, and, as I was studying a lot of Liszt's operatic transcriptions at the time, decided to investigate those of his erstwhile rival.
alkanliszt 5 years ago
This is the work which Liszt Parodies in his Etude d'Execution Transcendante #6, Vision. Nice to hear it.
dnephi 5 years ago
This video gets better every time I view it. What a finale as well!
vivace119 5 years ago
You have got fantastic technique and I think that is why people think you are a professional.
I also really love this piece and I cannot uderstand how some can call it boring: maybe it takes some listening to appreciate.
Anyway, keep up the good work because you are fantastic.
vivace119 5 years ago
Thank you!
alkanliszt 5 years ago
amateur? o_O, how much time you touch piano?. And other cuestion... Always i look a pianists with a partiture for play piano. Honestly, i dont like play other partitures, i prefer play piano with my spirit and heart, i think this is the most important for a musician. ;) (where u from?, im canary islands, Spain ^^)
Dragonsol1 5 years ago
Sometimes I do not play on the piano for weeks, sometimes I practice several hours in a day - it depends how I feel. I am from near Edinburgh in Scotland, United Kingdom.
alkanliszt 5 years ago
I've listened to this several times. I get the same emotional response every time. It seems to resonate with me. Thank you for posting this. Well done!
GZekeD 5 years ago
Thank you. I think it's nice when people derive pleasure from music that has been relegated to the level of a (very small) historical footnote.
alkanliszt 5 years ago
Not bad, is good but in general the piano is "zzzz", i prefer pieces more "agressive". Forgot all people play the piano playing mozart and bla bla, make a original style, a new and animated style. (my english is lol). stars for you because i listen all piece and i think you are a proffesional. I have got 6 years playing trumpet, but only in the academy, and is not my instrument. Is beter play Electric Guitar or piano (but at my own style). Very good ;)
Dragonsol1 5 years ago
Nice of you to confuse me with a professional :) Honestly, I am an amateur.
alkanliszt 5 years ago
Still you are amazingly good. Would you be able to perform Thalberg's "Souvenir de Beethoven"?
JupiterIV 3 years ago
I've thought about it in the past. The left hand is probably slightly tricky in parts, but in principle I think it's manageable. I wasn't totally convinced by the piece (though I thought it had some very attractive sections). I assume you have heard the recording by Francesco Nicolosi.
alkanliszt 3 years ago
Nice performance, but kind of boring piece. But I must admit to not really being an opera fan, which may have something to do with it... I honor you for a valiant attempt to keep the interest up through the power of your playing,
emtube 5 years ago
I think the second half (the G min section from about 9.00) is considerably better than what precedes it. I find that Thalberg's operatic fantasies can be rather verbose and on a larger scale timewise than the handling of the musical material is able to take. Liszt seemed to have a better idea of balancing musical effect with dramatic impact.
alkanliszt 5 years ago
I have always suspected that the B maj arpeggio section about 2/3 of the way through the Liszt Norma Fantasy was Liszt's musical/intellectual response to Thalberg's obsession with arpeggiated figurations.
alkanliszt 5 years ago