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Charles-Valentin Alkan (1813-1888)
1. Benedictus, Op. 54 8:53
2-7. 12 Études D'Orgue Ou De Piano À Pedales Pour Les Pieds Seulement, Nos. 1–6. (18:09)
8-19. 11 Grands Préludes Et 1 Transcription Du Messie De Hændel, Op. 66 (49:51)
Credits :
Organ [Organ Of Blackburn Cathedral] – Kevin Bowyer.jpg)
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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)
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)
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
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)
