Thalberg (1812-1871) was a renowned piano virtuoso and composer. His technical specialty, since widely imitated, was to play a central melody with the thumb of either hand and surrounding it with brilliant arpeggios and arabesques.

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. He was greatly in fashion and was imitated by others. 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'.

Alan Bergman; Marilyn Bergman.

Originally recorded by young R&B star Tevin Campbell on his Grammy-nominated debut album in 1991, this soulful ballad is truly stirring. An optional solo at the opening provides the opportunity to feature a star singer, while solid choral writing throughout leads to an uplifting and inspiring finish.
Inst. Parts Available (choral); Recorded Acc. Available.

Digital Pack includes:

1. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Conductor Score (Full Score)
2. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Flute/Piccolo
3. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Bb Clarinet
4. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Eb Alto Sax
5. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Bb Tenor Sax
6. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - 1st Bb Trumpet
7. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Eb Baritone Sax
8. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - 2nd Bb Trumpet
9. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - 3rd Bb Trumpet
10. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - F Horn
11. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Bb Horn/Flugelhorn
12. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - 1st Trombone
13. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Baritone T.C.
14. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Baritone B.C.
15. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - 2nd Trombone
16. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Electric Bass
17. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Bells/Xylophone
18. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Tuba
19. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Cymbals
20. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Snare Drum
21. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Quad Toms
22. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Multiple Bass Drums
23. Work Song/At the End of the Day (Les Misérables) (arr. Jay Bocook) - Aux Percussion

Thalberg (1812-1871) was a renowned piano virtuoso and composer. His technical specialty, since widely imitated, was to play a central melody with the thumb of either hand and surrounding it with brilliant arpeggios and arabesques.

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. He was greatly in fashion and was imitated by others. 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'.

Get logical with this easy-to-learn yet engaging arrangement of Supertramp's top ten hit "The Logical Song".

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.'