CHARLES-VALENTIN ALKAN : Préludes Op. 31 (Laurent Martin) (1990) FLAC (image+.cue), lossless

The 25 Preludes in all major and minor keys, Opus 31, appeared in 1847, designed for piano or organ, or, no doubt, for the instrument that Alkan particularly favoured, the pédalier or pianoforte with pedal-board, for which Schumann and Gounod, among others, also wrote. The Preludes go through all 24 keys, returning to a final Prayer in the affirmative original key of C major. The first set of nine opens meditatively and proceeds in a sequence of keys that moves alternately up a fourth and down a third, to F minor in the second and to D-flat major in the third, Dans le genre ancien, the old style in question being nothing more ancient than Bach, heard through the ears of Mendelssohn. Jewish tradition is at the root of the Prière du soir (“Evening Prayer”), the rejoicing of Psalm 150 and the Cantor’s chant of the Sixth Prelude. The rhythm of Schubert and harmony of Schumann mark the relatively cheerful Seventh Prelude, contrasted with La chanson de la folle au bord de la mer (“The Song of the Mad Woman on the Shore”), where the deep tones of the sea itself accompany the increasing tension of the song. The group ends with Placiditas, as tranquil in mood as its title.

The second group of Preludes opens with a rapid fugal piece in the key of A minor, leading to a pleasant trifle, Un petit rien. Le temps qui n’est plus (“Time Past”) brings its own B-flat minor melancholy, leading to Busoni’s favourite Prelude, inspired by a verse from the Song of Songs, "I slept, but my heart watched". A rapid B minor Prelude, moving to B major, is succeeded by Dans le genre gothique (“In the Gothic Style”), a Prelude of beguilingly un-Gothic simplicity and the gentle melancholy of the sixteenth of the series. Rêve d’amour (“Dream of Love”), with its shifting harmonies, and conclusion marked "palpitan", ends the set.

The third suite, which has the title Enseignement du piano (“Piano Instruction”) starts with an expressive melody for the right hand, based on a repeated rhythmic figure. The following Prelude is a morning prayer, Prière du matin (“Morning Prayer”), followed by a study in octaves. A gentle interlude in B-flat major gives way to Anniversaire of apparent ingenuousness, followed by a pair of Preludes, the second of which is an exercise in velocity, calling for extreme rapidity and delicacy in the right hand. A C major Prayer ends the work. naxos
Charles-Valentin Alkan (1813-1888)
1-9. 25 Preludes dans touts les tons majeur et mineurs, 1ere Suite, Op. 31
10-17. 25 Preludes dans touts les tons majeur et mineurs, 2me Suite, Op. 31
18-25. 25 Preludes dans touts les tons majeur et mineurs, 3me Suite, Op. 31
Credits :
Piano – Laurent Martin
Cover: Palais de Justice, Paris (1850) (Topographikon)