How do you mean by imitator? Writing in this style was pretty popular at the time. While Goria is (almost) completely unknown today, back in the days he was at least recognized and his pieces performed during his lifetime and a period after his death. Besides, Thalberg wrote all his Verdi fantasias after Gorias death plus they use different melodies and parts of the opera which I think is nice because then they act more as complementary pieces rather than directly comparable/contrasting, I played this mostly because it's the only time I've come across a piano version of the famous "donna e mobile" melody :)
@@AEPMUSlC I am not speaking about verdi, I am speaking about the style, the reason Thalberg was forgotten is because so many composers were imitating his effects, here is what was written about his imitators: Nobody in fact has been so much imitated; his manner has been parodied, exaggerated, twisted, tortured, and it may have happened more than once to all of us to curse this Thalbergian school'. When Thalberg was asked why he stopped composing his reply was : My imitators made me impossible! An example is 5:49, a copy and paste from Thalberg's op 42 written more than decade before the piece in this video, and of course there are countless examples in this piece alone! Couldn't these pianists invent their own style?
@@prammar1951 Common lenguage. There is no «Historical Composing Innovation Line» based on a few number of works by a few number of composers. If you look for Czerny «The School of the Virtuoso» op. 365 you'll see that exercice N°19 uses the exact same pattern as Chopin Etude in A minor op. 10 N°2, thou in E minor. But it is even better! If you see this Czerny's work N°17 you'll see Beethoven Piano Sonata N°11 opening pattern, but in B major instead if Bb major! So, «innovation» is something much more complex than what people uses to think.
@@prammar1951 “Couldn’t these pianists invent their own style?” Such a privileged thing to say when we have literal centuries of innovation to build upon and the internet to connect great ideas across cultures. Back then, the greatest of the time had to work with what they had. Just imagine having to come up with something *truly* unique & accessible back then without also being ostracized. If I remember right, Ravel had a difficult time getting his foot in the door because of this very issue.
![5 Pieces by Hans Zimmer \\ Iconic Soundtracks \\ Relaxing Piano [20min]](http://i.ytimg.com/vi/Os47nMrjw_Y/mqdefault.jpg)
6:40 finally a piano version of la donna e mobile. It would be great if liszt have put that aria on his riholetto paraphrase
Отлично! Чувствуется сильное влияние Тальберга..
Well done indeed. And thank you for more Goria!
Thank you so much! I love those fantasias
Bravo!!! And thank you for sharing! I always enjoy this hearing this unknown pieces with the score.
Enjoyable new way to hear Rigoletto. No quartet?
Thank you so much for this, I'm really impressed and you are phenomenal. Bravo !!!!!
One of the annoying imitators of Thalberg...
How do you mean by imitator? Writing in this style was pretty popular at the time. While Goria is (almost) completely unknown today, back in the days he was at least recognized and his pieces performed during his lifetime and a period after his death. Besides, Thalberg wrote all his Verdi fantasias after Gorias death plus they use different melodies and parts of the opera which I think is nice because then they act more as complementary pieces rather than directly comparable/contrasting, I played this mostly because it's the only time I've come across a piano version of the famous "donna e mobile" melody :)
@@AEPMUSlC I am not speaking about verdi, I am speaking about the style, the reason Thalberg was forgotten is because so many composers were imitating his effects, here is what was written about his imitators:
Nobody in fact has been so much imitated; his manner has been parodied, exaggerated, twisted, tortured, and it may have happened more than once to all of us to curse this Thalbergian school'.
When Thalberg was asked why he stopped composing his reply was : My imitators made me impossible!
An example is 5:49, a copy and paste from Thalberg's op 42 written more than decade before the piece in this video, and of course there are countless examples in this piece alone!
Couldn't these pianists invent their own style?
@@prammar1951 Common lenguage. There is no «Historical Composing Innovation Line» based on a few number of works by a few number of composers. If you look for Czerny «The School of the Virtuoso» op. 365 you'll see that exercice N°19 uses the exact same pattern as Chopin Etude in A minor op. 10 N°2, thou in E minor. But it is even better! If you see this Czerny's work N°17 you'll see Beethoven Piano Sonata N°11 opening pattern, but in B major instead if Bb major! So, «innovation» is something much more complex than what people uses to think.
@@prammar1951 just think of it as, you have more thalberg to play now
@@prammar1951 “Couldn’t these pianists invent their own style?”
Such a privileged thing to say when we have literal centuries of innovation to build upon and the internet to connect great ideas across cultures. Back then, the greatest of the time had to work with what they had. Just imagine having to come up with something *truly* unique & accessible back then without also being ostracized. If I remember right, Ravel had a difficult time getting his foot in the door because of this very issue.