Composed : 2018
Number of Tunes : 28

-1. Sunday Morning, B-flat; major, 2/4, 2\'30\"
-2. Wednesday Evening, D major, 3/8, 1\'16\"
-3. Thursday Noon, D major, 12/8, 1\'58\"
-4. Friday Night, d minor, 2/2, 1\'35\"
-5. Friday Noon, F major, 4/4, 1\'49\"
-6. Saturday Noon, E major, 4/4, 2\'15\"
-7. Sunday Noon, A major, 3/4, 1\'40\"
-8. Tuesday Night, f-sharp; minor, 4/4, 2\'19\"
-9. Wednesday Noon, C major, 4/4, 2\'35\"
-10. Thurday Evening, g minor, 3/4, 1\'41\"
-11. Monday Morning, F major, 2/4, 2\'05\"
-12. Thursday Morning, F major, 2/4, 2\'13\"
-13. Saturday Night, f-sharp; minor, 2/4, 2\'32\"
-14. Tuesday Evening, A major, 2/4, 3\'04\"
-15. Friday Evening, D major, 2/2, 1\'39\"
-16. Saturday Evening, F major, 12/8, 2\'36\"
-17. Sunday Night, D-flat; major, 3/8, 2\'10\"
-18. Friday Morning, F major, 4/4, 1\'55\"
-19. Saturday Morning, F major, 2/4, 2\'38\"
-20. Tuesday Noon, D major, 4/4, 2\'38\"
-21. Wednesday Morning, D-flat; major, 4/4, 2\'01\"
-22. Thursday Night, C major, 2/2, 1\'13\"
-23. Sunday Evening, B-flat; major, 3/4, 1\'50\"
-24. Tuesday Morning, B-flat; major, 3/4, 1\'53\"
-25. Wednesday Night, d-sharp; minor, 2/2, 1\'51\"
-26. Monday Noon, G major, 3/4, 1\'43\" [Sample]
-27. Monday Night, e minor, 3/4, 1\'46\"
-28. Monday Evening, A major, 2/2, 2\'27\"

Originally a poem written by Thomas Moore in 1805, "The Last Rose of Summer" is based upon the Irish traditional tune of "Aislean an Oigfear", or "The Young Man's Dream."



Sigismond Thalberg was one of the most famous and most successful piano composers of the 19th century. During the 1830s and the 1840s his style was a major force in European piano-playing.[57] He was greatly in fashion and was imitated by others.[58] In 1852, Wilhelm von Lenz wrote:

'The piano playing of the present day, to tell the truth, consists only of Thalberg simple, Thalberg amended, and Thalberg exaggerated; scratch what is written for the piano, and you will find Thalberg.'

Ten years later, in 1862, a London correspondent of the Revue et gazette musicale wrote:

'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'.
Expressions like "exaggerated", "twisted" and "tortured" indicate that some contemporaries were starting to feel jaded of his style. It was at this time when Thalberg's career as composer and as virtuoso came to an end.

In the late 19th century, Thalberg's fame had come to depend on his association with a single piano technique, the 'three-hand effect'. Carl Friedrich Weitzmann, in his Geschichte des Klavierspiels (1879), wrote about this.

'His bravura pieces, fantasies on melodies from Rossini's Mos� and La donna del lago, on motifs from Bellini's Norma and on Russian folk-songs, became extraordinarily popular through his own, brilliant execution; however, they treat their subjects always in one and the same way, [namely] ... to let the tones of a melody be played in the medium octave of the keyboard now by the thumb of the right, now of the left hand, while the rest of the fingers are executing arpeggios filling the whole range of the keyboard.'

Three virtuoso pieces for the left hand alone: a fierce bravura etude, a meditative elegy, and a piece inspired by gospel and jazz harmonies and rhythms. 10 minutes combined.