[Alkan's music displays] - from the middle period onwards of the massed effect of block chords often texturally altering which produce such 'orchestral' pianistic potency. To this end Alkan shares a similar sound world with Schubert rather than Chopin. Indeed Alkan shares the 'innig' intimate sonority of the German school of Schumann and Mendelssohn as well as the morphological from building of Beethoven. These composers haunted Alkan from mid-career onwards and provided the focus for the programmes of the 'Petits Concerts' performances in later life. ... - the more general Jewish qualities of intense melancholic brooding, the sharpest sense of wit and orgiastic joy which permeate his music. ... - the French baroque [Couperin, Rameau] and German classicism were the main sources for his imagination. ... - It may be meaningful to regard Alkan … as a 'conservative radical'. (1)The music of Charles-Valentin Alkan (1813 - 1888) becomes more religious in the 1850s. There are a few marches and other works inspired by the military as is fitting in a country in constant conflict. We see the first and second book of songs-–miniature tone-poems which marry Classical constraint to virtuoso Romantic excess (2) and the Etudes in all the minor keys, which the pianist Raymond Lewenthal has called them "a ride in Hell." (3) In this decade Alkan also composes a wonderful cello sonata, more piano works, a.o. the second and third Nocturnes, a series of eight Petits Preludes on each of the plainchant modes for organ, and shows his dark humorous side in a funeral march on the death of a parrot.
Let's take a listen, starting with a few religiously- and socially-inspired works.
Les Regrets de la Nonnette (Regrets of a Young Nun). Petite mélodie pour piano in G minor, WoO (1854), dedicated to a 'Mademoiselle Louise' and lost for over 100 years.
Trois Anciennes Mélodies Juives (Three old Jewish melodies), for voice and piano, ms., unpublished (1854), No. 1 Chant de Nouvel An (New Year's Song) in D minor and No. 2 Consolation et espérance (Consolation and Hope) in A minor.
Salut, cendre de pauvre! (Hail, Ashes of the Poor!), paraphrase (texte de Legouvé) in B-flat major, Op. 45 (1856), a mixture of power and lamentation.
Super flumina Babylonis, paraphrase du psaume 137 (Paraphrase of Psalm 137), Op. 52 (1859).
Benedictus for pedal piano in D minor, Op. 54 (1859), an instrument Alkan composed for quite a bit.
Inspired by the military:
No. 1 Molto Allegro in A minor of Trois marches quasi da cavalleria, Op. 37 (1857)
[This march is] a striking instance of Alkan's genius for transmuting platitudes into visions by generating unsuspected power from the commonplace of musical small change. Driven by a rhythmic ostinato (a) and such baleful derivations as (b) and (c) it gathers momentum in a series of assaults until the triplet boils up obsessionally, its displaced harmonies conveying the impression that the whole fabric has been shaken by a minor seismic tremor. - Ronald Smith (4)
No. 1 Allegro in A-flat major of Trois marches for piano 4-hands, Op. 40 (1857),
Capriccio alla soldatesca in A minor, Op. 50, and Le tambour bat aux champs (Drumbeat in the Fields), Esquisse pour piano in B minor, Op. 50b (1859).
No. 1 Assez Vivement (Rather Lively) in E major, No. 2 Sérénade in A minor, No. 5 Agitatissimo in F-sharp minor and No. 6 Barcarolle in G minor from Premier Recueil de Chants, Op. 38a (1857), the first of five books of tone poems--very romantic works in classical form.
No. 1 Hymne in E major and No. 2 Allegretto ("Fa") in A minor from Deuxième recueil de chants, Op. 38b (1857), the second book of songs.
The strange, hypnotic second piece here is more often referred to as the elusive 'FA'.(5)
Douze Études, dans les tons mineurs (in all the minor keys), Op. 39 (1846-1857).
No. 1 Comme le Vent (Like the Wind), No. 2 En Rhythme Molossique, and No. 3 Scherzo Diabolico, here diabolically performed by Michael Ponti.
Nos. 4-7 are the four movements of a gigantic Symphony for Solo Piano. Here is the last movement moving at breakneck pace.
The Symphony for solo piano is just a four-movement work of symphonic scope and color. The opening Allegro is a tightly structured drama, followed by a Mahlerian funeral march, a vigorous scherzo, and a final blistering Presto.(6)
Listen to the other movements here, here, and here.
Nos. 8-10 together form the other mega-work in this series, the Concerto for Solo Piano. The first movement alone has more bars than the entire Hammerklavier Sonata.
Pick any pianistic feature or trick--you will find them all in Alkan's masterpiece. (7)
The series concludes with No. 11 Ouverture in B minor and No. 12 Le festin d'Ésope (Aesop's feast) in E minor, the latter a set of daunting variations; Yeol Eum Son's performance here prompting the following praise in the comments to the video:
This is an astonishing interpretation. The pianist obviously has a formidable technique, but what impresses me most is her insight. She managed to bring forward some very human feeling, and I believe this is one of the exceedingly rare moments when I've met finally the real Alkan: beyond the seemingly insurmountable technique, beyond the witty armor, straight to the soul.
The year 1957 also saw the birth of the beautiful Op. 47, Sonate de concert in E major for cello and pianoforte, Op. 47. Here is the first movement.
No. 3 Presto in B-flat major from Trois petites fantaisies (Three Small Fantasies), Op. 41 (1857), leaving us wonder what's "small" about this.
The third 'fantaisie' is a fulgurating toccata loaded with dynamite and powerfully developed from three motifs: brusque, martial and belligerent in turn. The bass which may be punched out with a vertical thumb, forms the basis for threatening advances beneath a scurrying derivation. - Ronald Smith (8)
Listen to Nos. 1 and 2 here and here.
Minuetto alla tedesca in A minor, Op. 46 (1857).
It seems incredible that the trenchant vitality of 'Menuetto alla tedesca' (1857) should have escaped pianists attention for over a century. Particularly arresting is the long crescendo over a long rumbling pedal-point and the powerful wrench from F minor back to A major in the Trio. - Ronald Smith (9)
No. 3 Tempo nobile in G major from Trois menuets, Op. 51 (1859).
Listen to the first and second Minuets here and here.
Une fusée (A Rocket), Introduction et impromptu in D minor, Op. 55 (1859) here in MIDI.
Deux petites pièces pour piano, Op. 60 (1859), No. 1 Ma chère liberté (My Dear Freedom) in F-sharp major and No. 2 Ma chère servitude (My Dear Servitude) in A minor. The second piece is one of those little gems that instantly catch the ear.
Petit conte pour le Piano (Small Tale for Piano) in E-flat major, WoO (1859).
For organ, Petits préludes sur les huit gammes du plain-chant (Small Preludes on the eight plainchant modes), WoO (1859).
Finally a vocal work, Marcia funèbre, sulla morte d'un Pappagallo (Funeral March, on the Death of a Parrot) in C minor, for two sopranos, tenor, bass, three oboes and bassoon (1859), 'darkly comic and a real pleasure!'(10)
As well as being extremely scholarly and erudite on a vast range of topics, Alkan also had a tremendous sense of humour (something that he was able to share with his neighbour Chopin). Alkan’s ability to convey this humour so successfully in music is almost unique.(11)
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(1) William Alexander Eddie, "Charles Valentin Alkan: His Life and His Music." Burlington, VT, Ashgate Publishing Company, 2007, Preface. (http://books.google.com/books?id=PobmJxkgHCMC&pg=PA79&lpg=PA79&dq=what+do+you+think+of+Charles-Valentin+Alkan&source=bl&ots=qZ5-lY32jG&sig=Nq_-lCI8ydOzkscs2VgVnF3Chj0&hl=en&sa=X&ei=19mIUoSAHebgsATfxIGgAg&ved=0CDkQ6AEwAjgK#v=onepage&q=what%20do%20you%20think%20of%20Charles-Valentin%20Alkan&f=false (11/30/2013))
(2)"Charles-Valentin Alkan: Complete Recueils de Chants, Volume One." CD description, Toccata Classics. (http://www.toccataclassics.com/cddetail.php?CN=TOCC0157 (12/01/2013))
(3) Chris Morrison, "Charles-Valentin Alkan." Artist biography, AllMusic.com. (http://www.allmusic.com/artist/charles-valentin-alkan-mn0001169512/biography (12/01/2013))
(4) Keith Whalen, "Charles-Valentin Alkan - Trois Marches Quasi Da Cavalleria Op. 37 No. 1 - Ronald Smith." Notes to YouTube video, 04/19/2009. (http://www.youtube.com/watch?v=gzd8S9peSNA (12/01/2013))
(5) 4candles – Byways of Classical Music, "Charles-Valentin Alkan: the complete CHANTS, part 4." Note to YouTube video, 07/17/2009. (http://www.youtube.com/watch?v=il6StvjGP_0 (12/01/2013))
(6)"Alkan: Symphony for solo piano." Editorial review, Amazon.com. (http://www.amazon.com/Alkan-Symphony-solo-piano-C/dp/B00005JJ3N (12/01/2013))
(7) C. Pontus T., "Charles-Valentin Alkan: Concerto For Solo Piano." Customer Review Comment, Amazon.com, 05/08/2007. (
http://www.amazon.com/Charles-Valentin-Alkan-Concerto-Solo-Piano/dp/B000001OFE (12/01/2013))
(8) Keith Whalen, "Charles-Valentin Alkan - Trois Petites Fantaisies Op. 41 - III - Menuet - Ronald Smith." Notes to YouTube video, 04/20/2009. (http://www.youtube.com/watch?v=6U2m_eOaojk (12/01/2013))
(9) deviantrake, "Charles Valentin Alkan - Menuetto Alla Tedesca Op.46 - RONALD SMITH." Notes to YouTube video, 07/01/2009. (http://www.youtube.com/watch?v=NldJtGc1Hyg (12/01/2013))
(10) deviantrake, "Charles Valentin Alkan - Funeral March on the Death of a Parrot - Raymond Lewenthal." Note to YouTube video, 07/01/2009. (http://www.youtube.com/watch?v=AQcmBUc0OQc (12/01/2013))
(11)Jack Gibbons, "The Myths of Alkan." Transcription of talk for BBC Radio 3, 2002. (http://www.jackgibbons.com/alkanmyths.htm (11/30/2013))