Thalberg Fantasy on Rossini's "Moses in Egypt", op. 33: live recording with sheet music

[@Jamric-gr8gr]

Amazing work

[@JamesBower-yj6ew]

Holy moly... How do you play so fast !? "Party like it's 1837" was already insanely quick !! Now it feels even MORE full of energy! 👏👏👏

[@alkanliszt]

I try to avoid tension and have a fundamentally light touch except when playing f/ff.

[@lucaspedraza6161]

Thanks to you I discovered Thalberg a few months ago, and he has very beautiful fantasys, this is one of them, and you played it like excellent like always!! I am trying to play the 3 hands effect final part since a few days ago, but the whole piece is beautiful.

[@alkanliszt]

Thanks. The finale is imo incredible piano writing and absolutely revolutionary when it was written.

[@lucaspedraza6161]

@@alkanliszt im also learning the beginning of your piano concerto, and the theme and variations on your improvisation of waltz de salon. You are an inspiration!

[@piyamaslimaichay9061]

Whats your favorite thalberg operatic fantasy?

[@alkanliszt]

@@piyamaslimaichay9061 La Sonnambula

[@piyamaslimaichay9061]

@@alkanliszt Mine is probably a tied between la sonnambula and la donna del lago

[@alkanliszt]

@@piyamaslimaichay9061 both are very nice pieces!

[@JamesBower-yj6ew]

​@@piyamaslimaichay9061Del Lago takes the win between the two for me. The arias are beautiful and the piece is so well balanced. My favorite of them all is definitely his Il Trovatore or Rigoletto. Late Thalberg is just perfection for me.

[@Kris9kris]

The Allegretto introduction sounds weirdly Schumannesque.

[@alkanliszt]

@@Kris9kris by a curious coincidence, this piece was in Clara Schumann's performing repertoire when she was young.

[@KinoDerToaster]

I absolutely adore Thalberg's three-hand effect. So spectacular! He was shockingly close to Liszt's level, he just wasn't too interested in keeping with the times is what in my opinion separated him from the rest of the greats in today's common knowledge and even repertoire. Since you're a definitive practitioner of this effect, what advice do you give on improvising entirely new themes with this effect?

[@alkanliszt]

There is a typical formula to the three-hand effect which is that on the first beat of the bar the left hand plays a harmonising bass note while the right plays the melody, then for the rest of the bar the left hand jumps up to play the melody (and any harmonic accompaniment) while the right hand plays the (usually arpeggiated) ornamentation. It fits best when the melody is relatively slow-moving and thus the effect is particularly effective with bel canto style melodies.