Overview
Charles-Valentin Alkan (1813-1888) was a French composer and virtuoso pianist, often considered one of the greatest pianists of the 19th century, alongside Liszt and Chopin. He was renowned for his incredible technique, his extraordinary musical imagination and his daring use of harmony and structure.
A mysterious virtuoso
Alkan was a piano prodigy from a very young age, admitted to the Paris Conservatoire at just six years old. He was a major figure on the Parisian piano scene, but gradually withdrew from public life, living as a virtual recluse for long periods. His enigmatic character and his withdrawal from the musical world contributed to his reputation as a solitary and unrecognised artist.
Extremely difficult music
His work is characterised by a formidable technical rigour, often compared to that of Liszt. His most famous pieces include:
The Four Ages (opus 33), a series of pieces describing human life through increasing difficulties,
Symphony for Solo Piano and Concerto for Solo Piano (excerpts from Études in all the Major Keys, opus 39), which give the piano an orchestral dimension,
Aesop’s Feast, a brilliant and imaginative variation, often performed as an encore.
A belated rediscovery
Alkan fell into oblivion after his death, eclipsed by his contemporaries such as Liszt and Chopin. However, his genius was rediscovered in the 20th century, thanks in particular to pianists such as Raymond Lewenthal, Marc-André Hamelin and Ronald Smith, who restored his work to honour.
His style oscillates between extreme romanticism, harmonic daring foreshadowing Debussy, and a virtuosity that defies the limits of the instrument. Today, he is considered a cult composer, whose music fascinates with its intensity and originality.
History
Charles-Valentin Alkan was a unique figure of the 19th century, a prodigious pianist and visionary composer whose life oscillated between moments of glory and mysterious withdrawal. Born in 1813 in Paris into a Jewish family of Alsatian origin, he showed exceptional musical talent from a very early age. He entered the Paris Conservatoire at the age of just six and quickly won first prizes in music theory, piano and harmony. His talent was such that he attracted the attention of the most prestigious circles in the capital, becoming friends with Chopin, Liszt and other great musicians of his time.
In his youth, Alkan was an admired pianist. His dazzling technique and bold writing made him one of the great Parisian virtuosos. But unlike Liszt, who sought the limelight and the crowds, Alkan already seemed to cultivate a certain distance from the musical world. Although he played in influential salons and gave a few resounding concerts, he gradually disappeared from the public scene from the 1840s onwards, without anyone knowing exactly why. Some mention a deep disappointment when he was removed from the post of professor at the Conservatory, others simply see it as an introverted and perfectionist temperament.
Retreating to his apartment in the Marais, Alkan continued to compose, producing some of the most daring and technically demanding piano works ever written. His Concerto for Solo Piano, taken from his Études dans tous les tons majeurs, is a work of wild ambition, simulating an entire orchestra under the fingers of a single pianist. His pieces often combine a striking dramatic intensity with a harmonic erudition that at times foreshadows Debussy. But despite the grandeur of his music, he remains in the shadows, eclipsed by Liszt and Chopin, whose music is more immediately accessible.
His life ended in the same mystery that had shrouded him for decades. He died in 1888, and a persistent legend has it that he was crushed under a bookcase while looking for a book. In reality, he seems to have succumbed to a simple illness. Whatever the case, his name gradually faded into oblivion, and it was not until the 20th century that his work was rediscovered by passionate pianists, fascinated by the extreme virtuosity and originality of his music.
Today, Alkan remains a cult figure, a composer apart, whose music, both monumental and eccentric, challenges pianists and intrigues listeners. His journey, made up of solitude and genius, places him among the great enigmas of musical Romanticism.
Chronology
1813 – Birth in Paris
Charles-Valentin Alkan Morhange was born on 30 November in Paris, into a Jewish family of Alsatian origin. His father was a music teacher and director of a music school for children.
1819-1826 – Child prodigy and Paris Conservatoire
At the age of six, Alkan entered the Paris Conservatoire, where he studied music theory, organ and, above all, piano. He quickly won several first prizes, notably in piano at the age of twelve.
1826-1830 – First successes and beginnings as a composer
He begins to make a name for himself as a pianist and composes his first published works. He frequents Parisian salons and befriends Chopin, Liszt and other major figures of Romanticism.
1830-1840 – Rapid rise in the music world
Alkan is considered one of the most brilliant pianists of his time. He gives acclaimed concerts in Paris and publishes increasingly daring works. His technique is often compared to that of Liszt.
1840-1853 – Mysterious withdrawal from public life
Around 1840, he almost completely disappeared from the music scene. The reasons remain unclear: some think he was disappointed at not obtaining a post at the Conservatoire, others mention his introverted temperament. During this period, he composed works of extraordinary complexity in silence.
1853-1870 – Gradual return and creative peak
In 1853, Alkan reappeared and gave a few private concerts at the home of his friend Élie-Miriam Delaborde. He published his most ambitious works, notably the Concerto for Solo Piano and the Symphony for Solo Piano (in the Études dans tous les tons majeurs, Op. 39). His style is characterised by extreme virtuosity and an avant-garde harmonic richness.
1870-1888 – Final years and solitude
He retreated once again to his apartment in the Marais, devoting himself to composition and the study of religious texts. He published a few more pieces, but rarely played in public. His influence remained limited, and he gradually fell into oblivion.
1888 – Death and posterity
On 29 March, Alkan died in Paris at the age of 74. A persistent legend claims that he died after being crushed under a bookcase while looking for a book, but it seems more likely that he succumbed to an illness. His work was rediscovered in the 20th century thanks to pianists such as Raymond Lewenthal, Ronald Smith and Marc-André Hamelin.
Today, he is recognised as one of the greatest 19th-century composers for the piano, at the crossroads of Romanticism and a modernity that prefigured Debussy and Ravel.
Characteristics of the music
The music of Charles-Valentin Alkan is a unique fusion of transcendent virtuosity, harmonic audacity and profound expressiveness. It is distinguished by its extreme technical demands, its structural complexity and its often visionary harmonic language, foreshadowing certain trends of the 20th century.
1. Excessive virtuosity
Alkan was one of the most technically demanding composers of his time, rivalling Liszt. His pieces require absolute mastery of the keyboard, with ultra-fast strokes, dizzying leaps, complex polyphonies and formidable independence of the hands. For example, his Concerto for Solo Piano (from Études dans tous les tons majeurs, Op. 39) simulates an entire orchestra with a single instrument, while Le Festin d’Ésope features a series of variations that are as brilliant as they are unpredictable.
2. Orchestral writing for the piano
Alkan often used the piano as a miniature orchestra. He pushed the instrument to its limits, exploiting all its sound resources:
Massive chords and rapid octaves to evoke symphonic power (Symphony for Solo Piano),
complex polyphonic textures imitating several voices (Grande Sonate ‘Les Quatre Âges’),
extreme register effects to create spatialised sound effects.
3. Harmonic and formal audacity
His music is distinguished by a great harmonic richness, sometimes surprisingly modern:
He uses abrupt and unexpected modulations, sometimes over several distant degrees,
He explores unusual chord progressions, heralding Debussy and Scriabin.
He uses highly personal forms, going beyond the classical framework: for example, his Grande Sonate ‘Les Quatre Âges’ is a cycle describing different stages of life, with tempos that gradually slow down over the course of the movements.
4. An expressive universe between romanticism and mysticism
Although Alkan is often seen as a virtuoso pianist, his music also reveals a profound sensitivity. It oscillates between a sombre romanticism and a mystical introspection:
His works often express an extreme dramatic intensity, sometimes almost anguishing (Overture for piano, Op. 39),
He composed pieces of great tenderness and delicacy, such as his Chants, which recall Chopin’s preludes,
His attachment to religious texts is evident in some of his compositions, notably his pieces for organ and his Trois Grandes Prières, which reveal a deep spirituality.
5. An overlooked but influential work
Despite his withdrawal from the musical world, Alkan left a lasting impression, influencing pianists such as Busoni, Godowsky and, more recently, Marc-André Hamelin. His music remained in the shadows for a long time, but today it is recognised for its modernity and its extraordinary pianistic richness.
In short, Alkan is a composer in a class of his own: a genius virtuoso, harmonic explorer and visionary whose music, both monumental and intimate, continues to fascinate and challenge pianists around the world.
Relations
Charles-Valentin Alkan, although a rather solitary figure, maintained relationships with several major figures of his time. His circle included famous composers, virtuoso performers and some influential personalities from outside the musical world. However, his reserved temperament and gradual withdrawal from public life limited his direct influence on those around him.
1. His relationships with other composers
Chopin (1810-1849) – Friendship and mutual influence
Alkan and Frédéric Chopin were close, frequenting each other in Parisian salons. We know that Alkan greatly admired Chopin and played some of his works, particularly at private concerts. Chopin, for his part, probably appreciated Alkan’s originality, although their styles differed: Chopin favoured fluidity and direct emotion, while Alkan pushed virtuosity and harmonic experimentation to the extreme.
An interesting detail: after Chopin’s death in 1849, it was Alkan who retrieved the manuscript of his Sonata for Cello and Piano and facilitated its publication. This gesture testifies to a deep esteem.
Liszt (1811-1886) – Mutual admiration and silent rivalry
Liszt and Alkan were two of the greatest virtuosos of the 19th century. Liszt is said to have expressed great admiration for Alkan’s music, and some believe he was influenced by his orchestral writing for piano. However, Alkan, who was much more reserved, seems to have maintained a certain distance. Unlike Liszt, who was a charismatic public figure, Alkan preferred to work alone in the shadows.
Mendelssohn (1809-1847) – A one-way admiration
Alkan revered Felix Mendelssohn and considered his music a model of balance and clarity. He even transcribed several of Mendelssohn’s works for the piano. Mendelssohn, on the other hand, does not seem to have paid particular attention to Alkan.
Saint-Saëns (1835-1921) – Student and posthumous defender
Camille Saint-Saëns, younger than Alkan, was one of his few direct pupils. He greatly admired his teacher and played some of his works, notably his Concerto for Solo Piano. He later contributed to the rediscovery of Alkan by praising his genius and performing his music.
2. Relations with performers and teachers
Élie-Miriam Delaborde (1839-1913) – A mysterious pupil and spiritual heir
Delaborde, supposedly Liszt’s illegitimate son, was one of Alkan’s closest pupils. He played some of his works and contributed, to some extent, to preserving his musical legacy. However, he did not succeed in making him as famous as Liszt or Chopin.
Antoine Marmontel (1816-1898) – A colleague at the Conservatoire
Marmontel, an influential professor at the Paris Conservatoire, mentions Alkan in his writings, describing him as a solitary genius who was difficult to approach. Marmontel would play a role in keeping Alkan’s memory alive after his death.
3. Relations with orchestras and the institutional music world
Unlike his contemporaries, Alkan had little interaction with orchestras. He never held an official position in a musical institution and rarely wrote for the orchestra, preferring to transpose the orchestral breadth to the piano. His Concerto for Solo Piano, for example, is a way of circumventing the absence of an orchestra by simulating all its power with a single instrument.
However, he would have been frustrated not to have obtained a teaching post at the Paris Conservatoire in 1848, which could have contributed to his withdrawal from the music scene.
4. Relationships with people outside the music world
His family – A strong bond, but poorly documented
Alkan came from a cultured Jewish family. His father, Alkan Morhange, ran a music school where several of his brothers also studied. He seems to have remained attached to his family roots and to Jewish culture, which is evident in some of his works (Trois Grandes Prières).
Léon Halévy (1802-1883) – An intellectual friend and poet
Léon Halévy, writer and brother of Jacques Fromental Halévy (composer of La Juive), was a close friend of Alkan’s. Both shared an interest in philosophy and Jewish culture. It is possible that their discussions influenced Alkan’s spiritual and literary thinking.
Conclusion: A solitary genius surrounded by discreet admirers
Alkan knew many great musicians and intellectuals, but he remained on the margins of the musical life of his time. His friendship with Chopin and his admiration for Mendelssohn show his attachment to the great romantics, while his relationships with Saint-Saëns and Delaborde ensured a certain continuity of his legacy. However, his withdrawal from the world of concerts and institutions kept him in semi-obscurity, and his influence was not fully realised until the 20th century, thanks to pianists fascinated by his music.
Similar composers
Composers similar to Charles-Valentin Alkan
Alkan’s music is unique, but some composers share common traits with him, whether in terms of pianistic virtuosity, harmonic experimentation or formal originality. Here are a few figures who can be compared to him.
1. Franz Liszt (1811-1886) – Transcendent virtuosity
Liszt is undoubtedly the composer closest to Alkan in terms of pianistic virtuosity. Both pushed the limits of the instrument, creating works of extreme technical difficulty. However, where Liszt is more theatrical and expressive, Alkan is often more cerebral and solitary. Their respective Transcendental Etudes share a similar ambition, although Alkan’s style is more abrupt and mysterious.
Comparable works:
Concerto for Solo Piano (Alkan) ↔ Sonata in B Minor (Liszt)
The Feast of Aesop (Alkan) ↔ Paganini’s Great Etudes (Liszt)
2. Leopold Godowsky (1870-1938) – Polyphonic complexity
Godowsky, like Alkan, is a master of polyphony on the piano. His studies on Chopin’s Études and his arrangements that defy human capabilities are reminiscent of Alkan’s approach, which transformed the piano into a miniature orchestra. Both love to exploit the independence of the hands and dense pianistic textures.
Comparable works:
Symphony for Solo Piano (Alkan) ↔ Études sur les Études de Chopin (Godowsky)
3. Ferruccio Busoni (1866-1924) – Harmonic and contrapuntal experimentation
Busoni shared with Alkan a fascination for the piano rewriting of orchestral music and a taste for dense polyphony. His harmonic language, although later, heralded some of Alkan’s audacity, particularly in his use of modes and harmonic colours that were unheard of at the time.
Comparable works:
Ouverture for piano (Alkan) ↔ Fantasia contrappuntistica (Busoni)
4. Kaikhosru Sorabji (1892-1988) – Pianistic excess and eccentricity
Sorabji is one of the few composers whose music surpasses Alkan’s in complexity and duration. Like Alkan, he composed titanic works for solo piano (Opus Clavicembalisticum, his Transcendental Etudes), with lush harmonies and overwhelming textures. His taste for monumental forms is reminiscent of Alkan’s.
Comparable works:
Concerto for solo piano (Alkan) ↔ Opus Clavicembalisticum (Sorabji)
5. Nikolai Medtner (1880-1951) – Lyricism and rigorous construction
Medtner was a Russian composer who, like Alkan, remained on the fringes of the mainstream. His sonatas and piano tales combine great virtuosity with contrapuntal rigour and a sometimes austere romanticism. He shares with Alkan a tendency towards introspection and complex formal elaboration.
Comparable works:
Grande Sonate ‘Les Quatre Âges’ (Alkan) ↔ Sonatas for piano (Medtner)
6. Alexander Scriabin (1872-1915) – Harmonic originality and spirituality
Although Scriabin is more mystical and symbolist, some of his harmonic daring and his approach to the piano as a vehicle for a total sound experience evoke Alkan. Both push back the tonal conventions of their time and experiment with new chords.
Comparable works:
Three Great Prayers (Alkan) ↔ Sonata No. 7 ‘White Mass’ (Scriabin)
Conclusion
Alkan is unique in the history of music, but aspects of his style can be found in several composers: virtuosity and orchestral breadth in Liszt and Sorabji, contrapuntal complexity in Godowsky and Busoni, harmonic depth in Scriabin, and formal rigour in Medtner. He remains an unclassifiable composer, oscillating between exacerbated romanticism and visionary modernity.
Relationships
Although Alkan led a relatively solitary life, he maintained relationships with several major figures of his time, including composers, pianists, intellectuals and some musical institutions. However, his introverted character and long withdrawal from the public eye limited his interactions and recognition during his lifetime.
1. Relations with other composers
Frédéric Chopin (1810-1849) – A friend and respected model
Alkan and Chopin were friends and regularly saw each other at Parisian salons. Alkan deeply admired Chopin and played his works, particularly at private concerts. He was even said to be one of the few people to have a handwritten copy of Chopin’s Sonata for Cello and Piano after his death.
Although their styles differ (Chopin favouring poetry and fluidity, while Alkan explored power and harmonic experimentation), one finds in Alkan an influence of Chopin in his more lyrical pieces such as the Chants or some of his études.
Franz Liszt (1811-1886) – A mutual admiration, but distant
Liszt, recognised as the greatest virtuoso of his time, knew and appreciated Alkan’s music. He even encouraged him to give concerts. Alkan, however, was not such a fervent admirer of Liszt. Unlike the latter, who shone on stage and in salons, Alkan was introverted and preferred to work alone.
A famous anecdote has it that Alkan once asked Liszt why he did not play his works in concert, to which Liszt is said to have replied that no one could perform them properly.
Felix Mendelssohn (1809-1847) – A non-reciprocal admiration
Alkan had unconditional admiration for Mendelssohn, whom he considered a model of musical balance and clarity. He also transcribed several of Mendelssohn’s works for piano, including pieces from Handel’s Messiah in Mendelssohn’s arrangement.
However, Mendelssohn does not seem to have shown any particular interest in Alkan.
Camille Saint-Saëns (1835-1921) – Student and posthumous advocate
Saint-Saëns studied with Alkan and always championed him after his death. He praised the originality of his writing and contributed to the rediscovery of some of his works. As a pianist and organist, he was one of the few renowned musicians to promote Alkan’s music, notably by playing his Concerto for Solo Piano.
2. Relations with performers and teachers
Élie-Miriam Delaborde (1839-1913) – A privileged pupil and spiritual heir
Delaborde, supposedly Liszt’s illegitimate son, was one of Alkan’s closest pupils. He performed several of his works and kept part of his repertoire. However, his influence on Alkan’s posterity remains limited, as he did not contribute to the widespread dissemination of his works.
Antoine Marmontel (1816-1898) – A colleague at the Conservatoire
Marmontel, a professor at the Paris Conservatoire, knew Alkan and mentioned him in his writings. He described him as a solitary genius, withdrawn but with an extraordinary musical intelligence.
3. Relations with orchestras and musical institutions
Unlike most composers of his time, Alkan never held an official post in a major musical institution and never had a close relationship with an orchestra. He did, however, apply for a professorship at the Paris Conservatoire in 1848, but he did not get the job, which may have contributed to his gradual withdrawal from public life.
He also composed a few orchestral works (including an Overture for orchestra and a Concerto da camera), but these remain marginal in his catalogue. Most of his compositions transpose orchestral sounds to the piano, as is the case with his monumental Concerto for Solo Piano.
4. Relations with non-musical personalities
His family – A musical and intellectual environment
Alkan came from an educated Jewish family. His father, Alkan Morhange, ran a music school where several of his brothers also studied. His brother Napoleon Alkan played a role in his musical education.
His Jewish identity also influenced some of his works, notably his Three Great Prayers and other compositions inspired by Hebrew music.
Léon Halévy (1802-1883) – An intellectual and close friend
Léon Halévy, writer and brother of the composer Jacques Fromental Halévy (La Juive), was a close friend of Alkan. Both shared an interest in philosophy, literature and religious texts. It is possible that their discussions nourished the mystical and intellectual aspects of Alkan’s music.
5. A man on the margins of his time
Alkan maintained relationships with some of the greatest musicians of the 19th century, but his secretive character and distance from the concert world kept him on the fringes of Parisian musical life. His links with Chopin and Liszt show his integration into the circle of virtuosos, but his voluntary withdrawal distanced him from the major institutions and networks of musical dissemination.
Today, thanks to performers such as Raymond Lewenthal, Ronald Smith and Marc-André Hamelin, his work has regained a well-deserved place among the greatest piano music of the 19th century.
Famous works for solo piano
Alkan is best known for his solo piano pieces, which combine extreme virtuosity, innovative harmonic imagination and orchestral writing transposed to the keyboard. Here are some of his most outstanding works.
1. Concerto for Solo Piano, Op. 39 No. 8-10 (1857)
An orchestra under the fingers of a single pianist
This Concerto for Solo Piano is a monumental work, one of the most impressive ever written for the piano. It is part of the collection Twelve Etudes in All Minor Keys, but it stands out for its atypical form: a true concertante work without an orchestra.
🔹 I. Allegro assai – A heroic and symphonic first movement, with dazzling passages that imitate the different sections of an orchestra.
🔹 II. Adagio – A lyrical and introspective meditation, sometimes compared to Chopin’s nocturnes, but with an intensity specific to Alkan.
🔹 III. Allegretto alla barbaresca – A wild and rhythmic finale, where the piano becomes a veritable sound machine, in a whirlwind of chords and octaves.
👉 This work is considered a pinnacle of the piano repertoire, of formidable difficulty and unparalleled musical richness.
2. Symphony for Solo Piano, Op. 39 No. 4-7 (1857)
A symphony without an orchestra
Like his Concerto for Solo Piano, this Symphony for Solo Piano also belongs to the Twelve Etudes in All Minor Keys. In it, Alkan explores a fascinating pianistic orchestration, in which each hand plays a distinct role, simulating the different sections of an orchestra.
🔹 I. Allegro – A dramatic movement with powerful contrasts and an impressive orchestral density.
🔹 II. Funeral March – A sombre and solemn march, with poignant gravity, reminiscent of those of Mahler or Chopin.
🔹 III. Minuet – A lighter, dance-like moment, contrasting with the other movements.
🔹 IV. Finale presto – A breathtaking finale in which Alkan unleashes bursts of notes and irresistible energy.
👉 Less famous than the Concerto for Solo Piano, this symphony remains a masterpiece of orchestral transcription for the piano.
3. The Feast of Aesop, Op. 39 No. 12 (1857)
An explosion of animalistic variations
This piece is the last of the Twelve Études in all Minor Keys and is often considered one of Alkan’s masterpieces. It is a theme followed by 25 variations in which the composer evokes, in all likelihood, animals feasting, in homage to Aesop’s fables.
Each variation explores a different character:
🐦 Light trills evoke birds.
🐻 Massive chords recall a heavy and powerful bear.
🐭 Rapid scales suggest the flight of a small creature.
👉 An original work, full of humour and inventiveness, but also technically formidable.
4. Grande Sonate ‘Les Quatre Âges’, Op. 33 (1847)
A philosophical sonata on the passage of time
In this four-movement sonata, Alkan musically illustrates the different stages of human life, from youth to old age:
🔹 I. ‘20 years – Very fast’ – An impetuous and fiery movement, symbolising youth in all its exuberance.
🔹 II. ‘30 years – Quite slowly’ – A more composed and reflective movement, marked by melancholy and depth.
🔹 III. ‘40 years – Slowly’ – A slow and solemn march, where the weight of the years is felt.
🔹 IV. ‘50 years – Extremely slowly’ – An almost funeral, minimalist movement, which fades away in a poignant silence.
👉 This sonata is a unique introspective and philosophical testimony of a disturbing modernity.
5. Études in all major keys, Op. 35 (1853)
Another series of virtuoso studies
These studies, often compared to Liszt’s Transcendental Etudes, cover a wide range of styles and technical difficulties. Among the most famous are:
🎵 Op. 35 No. 7 – The Fire in the Neighbouring Village – a dramatic piece that evokes the panic of a village in flames.
🎵 Op. 35 No. 9 – Allegro barbaro – a hammering étude, foreshadowing certain aspects of Stravinsky’s The Rite of Spring.
👉 These études demonstrate Alkan’s harmonic audacity and taste for musical narration.
6. Three Grandes Études, Op. 76 (1838)
A demonstration of extreme virtuosity
These études are a formidable challenge for any pianist:
🔹 Study No. 1 for the right hand alone – A cascade of arpeggios and dazzling strokes played only with the right hand.
🔹 Study No. 2 for the left hand alone – A technical feat in which the left hand must assume all the harmony and melody.
🔹 Study No. 3 for both hands together – A pianistic firework combining the challenges of the first two studies.
👉 A work that illustrates Alkan’s obsession with virtuosity and the independence of the hands.
Conclusion
Alkan’s music is a unique synthesis of Liszt’s virtuosity, Chopin’s inwardness and Scriabin’s harmonic inventiveness ahead of its time. His solo piano works push the boundaries of the instrument and offer an extraordinary musical experience. Yet they remain little known and underestimated, often considered too difficult to perform. Fortunately, modern pianists such as Marc-André Hamelin, Jack Gibbons and Raymond Lewenthal have enabled them to be rediscovered.
Famous works
Although Alkan is mainly known for his works for solo piano, he also composed a few pieces for other ensembles, including chamber music, orchestra and organ. His most outstanding works outside of solo piano are as follows:
1. Chamber music
🎻 Concert Sonata for Cello and Piano, Op. 47 (1856)
One of Alkan’s few great chamber music works.
A very demanding sonata for both instruments, with a style that is both lyrical and dramatic.
Often compared to the cello sonatas of Chopin and Mendelssohn.
🎻 Three pieces in the pathetic genre, Op. 15 (1837)
A suite for cello and piano, with a romantic and expressive style.
One of the rare examples of Alkan’s lyricism in a more intimate setting.
🎻 Adagio for horn and piano, Op. 13
A gentle and elegant piece, contrasting with the composer’s usual virtuoso style.
2. Orchestral music
🎼 Overture for orchestra, Op. 8 (1834)
One of Alkan’s few pieces written for a full orchestra.
Influenced by Beethoven and Mendelssohn, with energetic and dramatic writing.
Unfortunately, it is rarely played today.
🎼 Concerto da camera No. 1 & No. 2 for piano and orchestra, posthumous opus
Two works that combine Alkan’s pianistic virtuosity with a reduced orchestral accompaniment.
The style is similar to the concertos of Chopin or Hummel.
3. Music for organ and harmonium
🎹 Eleven Grand Preludes and a transcription by Mozart for organ or piano, Op. 66 (1866)
One of Alkan’s major contributions to organ music.
These pieces, although playable on the piano, fully exploit the organ’s sound possibilities.
🎹 Impromptu on Luther’s chorale ‘A Mighty Fortress Is Our God’, Op. 69
A piece inspired by Luther’s famous chorale, written in a rich contrapuntal and harmonic style.
🎹 Petite fantaisie sur les airs de l’opéra ‘Lucia di Lammermoor’ de Donizetti, Op. 41
A brilliant fantasy based on themes by Donizetti, in a style similar to Liszt’s transcriptions.
4. Vocal music
🎤 Super flumina Babylonis, Op. 52 (1857)
A setting to music of Psalm 137 (‘By the rivers of Babylon’), for voice and piano or organ.
Testifies to Alkan’s interest in sacred and Hebrew music.
🎤 Three Prayers for Voice and Organ, Op. 64
Works inspired by the Jewish tradition, with a sober and expressive style.
🎤 Collection of Songs for Voice and Piano
Contains a variety of melodies, often influenced by folk and sacred music.
Conclusion
Although the majority of Alkan’s output is for solo piano, these works show that he also had an interest in other musical forms. His orchestral style transposed to the piano may explain why his orchestral and chamber music compositions are rare, but they deserve to be better known.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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