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Charles-Valentin Alkan (1813-1888)
1 Pro Organo 2:20Ensemble – Morhange Ensemble
2-7 12 Études Pour Les Pieds Seulement, Nos. 7–12 (21:20)
8-19 11 Pièces Dans Le Style Religieux, Et 1 Transcription Du Messie De Handel, Op. 72 (50:00)
Credits :
Organ [Organ Of Blackburn Cathedral] – Kevin Bowyer.jpg)
Charles-Valentin Alkan (1813-1888)
CD1 : 1-4. Grande Sonate Op.33 « Les Quatre Âges » (43:26)
5-8. 4 Études ([From] 12 Études Dans Tous Les Tons Mineurs, Op.39)
9. La Chanson De La Folle Au Bord De La Mer, Préludes 4:21
10. Allegro Barbaro, 12 Études Dans Tous Les Tons Majeurs 2:33
CD2 : 1-4. Sonatine, Op.61 (18:16)
5-7. Trois Grande Études Pour Les Deux Mains Séparées (38:41)
8-10. Trois Études De Bravoure, Op.16 (Tre Scherzi) (19:41)
Credits :
Piano – Ronald Smith
Front cover: Adolph von Menzel (1895-1905) – A Weekday in Paris (Kunstmuseum, Düsseldorf/AKG, London)
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The monumental Symphonie, orchestral in conception, yet idiomatically written for the piano, is in four movements. True to the promise of the title of Opus 39, each is in a different key. The massive first movement is in C minor and is followed by an F minor Funeral March, with a gentle lightening of mood in an F major Trio section of particularly unexpected charm, before the slow tread of the march is resumed. The third movement Minuet moves to the darker key of B flat minor and is more of a Scherzo in mood, with touches of Ländler, contrasted with a lyrical central G flat major Trio, to be recalled briefly as the movement comes to an end. The finale, in E flat minor, described by the American pianist Raymond Lewenthal as a ride in Hell, is impelled relentlessly forward, its thematic material providing scope for contrapuntal exploration. This dazzling and demanding movement provides a conclusion of sufficient weight and brilliance to balance what has gone before, in a work of subtle cyclic unity.
The eleventh study, an Ouverture in the key of B minor, opens with a brief prelude, followed by sombre dotted rhythms, a fleeting reminder of the musical language Schumann found fitting for the majestic Cathedral of Cologne, melting into a much gentler mood, a simple theme, simply varied. An Allegro follows, based on three contrasted themes, the last in a darker mood, the material from which what follows is constructed. The Ouverture ends in B major with a final section that opens with a figure associated with the hunt and proceeds to a final affirmative reference to the opening of the Allegro.
Opus 39 opens with an A minor study under the title Comme le vent (Like the Wind), a tour de force for any performer, demanding, as it does, an extreme of speed. Although of relatively short duration, its structure corresponds to traditional sonata form, with a contrasting second melody emerging from the swirl of notes. It is followed by a study En rythme molossique (In Molossian Rhythm), in form a rondo, in the key of D minor, moving to D major, and dominated by the rhythm of the title. There is a return to the minor mode in a brief and hushed postscript. The two studies offer formidable difficulties to a performer, but are truer to the title of Opus 39 than much that follows. naxos
Charles-Valentin Alkan (1813-1888)
1-4. Études From Douze Études Dans Les Tons Mineurs, Op. 39
Symphony, Op. 39 Nos. 4 - 7
5. Ouverture, Op. 39, No. 11
6. Comme Le Vent, Op. 39, No. 1
7. En Rhythme Molossique, Op. 39, No. 2
Credits :
Piano – Bernard Ringeissen
Cover: Notre Dame (1850) (Topographikon).jpg)
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)
Charles-Valentin Alkan (1813-1888)
1-4. Sonate De Concert Pour Violoncelle Et Piano Opus 47
Cello – Christoph Henkel
Piano – Huseyin Sermet
5-7. Grand Duo Concertant Pour Piano Et Violon Opus 21
Piano – Huseyin Sermet
Violin – Tedi Papavrami
Tracklist : 1 A Taste Of Honey 5:13 Written-By – B Scott, R Marlowe 2 Fascinating Rhytm 2:33 Written-By – G & I Gershwin 3 Prel...
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