tp - Alkan + Chabrier represent the pinnacle of 19th century French piano music, at least for me - having said that I'm much more familiar with that of Alkan. There's quite a bit of Alkan which is very difficult + challenging - e.g., the 12 etudes in minor keys op 39, which include a 4-movement Symphonie, a 3-movement (solo) Concerto (the first movement lasts for about 1/2 hour) and various other pieces (Le Festin d'Esope and Ouverture) - all wonderful stuff and well beyond the technical abilities of most of us (the virtuosity could be described as ascetic rather than ostentatious). Like Chopin, much of his work is for piano solo. Unsurprisingly, there are pieces or sets of pieces which are far shorter and far easier - in particular I'd recommend the 48 Esquisses op 63, a highly varied set + useful for teachers too. There are echoes of Chopin and Mendelssohn, but not that frequently. Most of his music is untypical of the Romantic era - not only is there far less rubato and tenuto than is usual in this era of piano music but Alkan is essentially a subversive classicist to whom the works of Liszt (say) would have been anathema. He was no conservative, however, and there are many pieces which feature sounds, textures and a musical language not found elsewhere in the 19th century. Some find his pieces bizarre, too repetitive or downright vulgar !

By coincidence, I've just come across a programme note I wrote about 20 years ago for a concert involving works by Alkan and John White (a present-day English composer of mostly tonal work which includes 153 mostly brief piano sonatas) :- "Many works of both White and Alkan contain common distinguishing features: puzzling titles; disarming length or brevity; inflexible tempi; relentless repetition; grotesque humour; apparently outlandish concepts; and a compositional style and attitude completely at odds with most of their contemporaries. It would be difficult to find other Western composers whose work revealed a comparable level of musical obsession and subversion . . ."

Ooh; I missed all the alkan fun.  The first time I ever came across Alkan was in the RIAM record library; I hadn't heard of him and just gave him a try; I remember thinking le tambour bat aux champs (or however you spell it) was absolutely fantastic (it's short, and not *too* difficult) in this unique way similar to what I felt listening to La Chanson de la folle and one of the barcarolles.  I'm now on good terms with a lot more of his works; but it was these three that first caught hold of me.  I remember my first purchase was Hamelin's disk with the symphony - I hadn't heard of him before, and absolutely *hated* the CD; the pieces were all really chordy (or dull) and the sound was really thick and stuffy...I thought for a while that Hamelin must surely be the worst pianist in the whole world ;P  Lewenthal's recordings are so much more vital (though I don't think they're in print at the moment); the Naxos ones are quite adequate also.  Of course, my opinion has changed about Hamelin since, and I don't mind that particular CD.  But it's definitely not my favourite.


That's a bit harsh, isn't it?  I mean, stylistically they are very, very different; I think the main difference is the complete lack of the prevailing sentimental rhetoric in Alkan's works.  In what way do you think him classically oriented? I mean, he wrote plenty of pseudo-programmatical music; for me, it's mainly a certain rigidity (for want of a more neutral term) to the writing that gives me that feeling. 

For me Alkan was such a striking composer. On one hand I thought him like Chopin believe it or not. On the other he reminded me some classical composers. I could not decide what I was hearing and I could not understand if I like it or not.
I decided to wait and may be he is not such an important composer after all. A little cross between Chopin, Schumann may be Berlioz on the piano and I should not think much about it.

However, after listening to his music I kept returning in my mind to what I heard. It was so strikingly original.
It was not Liszt, although I could hear that it is very difficult piece. His technique and approach was difficult.
I don't even remember what piece I was listening to. A student brought a CD for me to listen.
He gave me too many (Medtner and about 10 other CD).
I will try to find it on the net.
Do you think I am wrong about Alkan's music?
I think he is a great composer because I am still thinking about his music.

Another composer that I don't know how to classify is Buzoni. He is very romantic on one hand, but also classical.

I have three volume of Walker Biography of Liszt here (thanks to a student too) and I remember reading about Alkan. He was pushed out of Paris conservatory by some body and he became recluse (if I remember correctly). I was fascinated with Walker work. I think very highly of these volumes.

Alkan must be amazing pianist. Also sonorities of his piano works were so fresh and interesting.
I don't know if there is anything for other instruments by Alkan.

I've started an Alkan thread in Classical/Romantic and have asked John W to transfer messages 154-6, 162 + 168-171 to the new thread.


[Mod note: the selected Piano Thread messages have been merged into this thread]

Alkan is excellent, IMHO!  I think one of the problems with him is that he is well known for huge, enormously complicated works such as the Op.39 studies but quite a large proportion of his output is actually small scale (the Esquisse, op.63, the Receuil de Chants - 5 books in all, the Preludes etc. etc.)

I've got the score of the concerto but don't think I will ever have the time to do it justice.  The middle movement of said concerto I can just about manage.  I've also played through (not seriously) most of the Op.35 studies, Faust from the 4 Ages Sonata, the Barcarolle and but I did make a concerted effort to learn to concert standard, Op.39 nos.2 and 11 (En Rhythm Molossique and Overture) - sadly these have now slipped somewhat but I will have another go when i get my technique back properly. 
I second Ian's recommendations of Hamelin's recordings (the Op.15 Trois Morceaux dans le genre pathetique are amazing, especially Le Vent)

I also like the Walker biographies; the sort of volume 4 - The Death of Franz Liszt (translated from Lina Schmaulssen's diary) is a very sad read and dispels many of the myths (mostly perpetuated by the Wagner family) surrounding his death.

Lunchtime is now over, back to work...

I wonder if the Lewenthal Alkan 'book' refers to the copious notes at the start of the edition of his music that was published with him as editor (I think) in the 1960s?  That volume includes Quasi-Faust, the barcarolle, some of the Op.35 studies and Le Festin d'Esope.  Just a thought...

There is a new (published within the last 6 months) Alkan book out as well, it's entiteld: ALKAN, CHARLES VALENTIN The Man and His Music, it's written by William Eddie and published by Ashgate.  It's also £55 so I haven't yet taken the plunge and bought a copy - may ask in my local library.