Alkan: Symphony for solo piano

Track Listings

1. Sym, Op.39 Nos.4-7: Allegro

2. Sym, Op.39 Nos.4-7: Marche Funebre: Andantino

3. Sym, Op.39 Nos.4-7: Menuet

4. Sym, Op.39 Nos.4-7: Finale: Presto

5. Salut, Cendre Du Pauvre!, Op.45

6. Alleluia, Op.25

7. Super Flumina Babylonis, Op.52 (Paraphrase Du Psaume 137)

8. Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Aime-moit

9. Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Le Vent

10. Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Morte

Editorial Reviews
Amazon.com's Best of 2001
Alkan's one of music's originals, a relatively neglected composer valued for his highly original, often visionary keyboard works accessible only to the most skilled virtuosos. Marc-André Hamelin certainly fills that bill and almost outdoes himself on this disc, playing with breathtaking virtuosity and imaginative insight. The Symphony for solo piano is just a four-movement work of symphonic scope and color. The opening Allegro is a tightly structured drama, followed by a Mahlerian funeral march, a vigorous scherzo, and a final blistering Presto dispatched by Hamelin with almost supernatural ease. The Symphony was part of an even bigger work, the Opus 39 Études, whose 12 pieces include Alkan's best music. The three brief pieces that follow have strong attractions, deep spirituality prime among them. The final three pieces from his early Opus 15 set exemplify Alkan the Romantic. Again, Hamelin makes light of their technical difficulties, while shaping them sensitively. Notable are Le vent, where the right-hand runs make you hear the whistling wind and Morte, another powerful funeral march. Vivid sound captures Hamelin's nuanced playing, helping to make this disc a must-have for pianophiles. --Dan Davis

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Studies Nos. 4-7 of Op. 39 (12 Etudes dans tous les tons mineurs) make up the Symphonie for solo piano (which lasts 26'06"). It is a more Classically conceived and technically less daunting affair than the monstrous Concerto for solo piano (Nos. 8-10 of the same opus), but the opening Allegro is not for the faint-hearted. Here – and it is the only movement on Hamelin's disc to which this refers – bass figures sound over-resonant and less crisply focused than elsewhere. The music of the... read more

Alkan: Symphony for solo piano

Tracks:

Sym, Op.39 Nos.4-7: Allegro
Sym, Op.39 Nos.4-7: Marche Funebre: Andantino
Sym, Op.39 Nos.4-7: Menuet
Sym, Op.39 Nos.4-7: Finale: Presto
Salut, Cendre Du Pauvre!, Op.45
Alleluia, Op.25
Super Flumina Babylonis, Op.52 (Paraphrase Du Psaume 137)
Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Aime-moit
Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Le Vent
Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Morte

Amazon.com's Best of 2001

Alkan's one of music's originals, a relatively neglected composer valued for his highly original, often visionary keyboard works accessible only to the most skilled virtuosos. Marc-André Hamelin certainly fills that bill and almost outdoes himself on this disc, playing with breathtaking virtuosity and imaginative insight. The Symphony for solo piano is just a four-movement work of symphonic scope and color. The opening Allegro is a tightly structured drama, followed by a Mahlerian funeral march, a vigorous scherzo, and a final blistering Presto dispatched by Hamelin with almost supernatural ease. The Symphony was part of an even bigger work, the Opus 39 Études, whose 12 pieces include Alkan's best music. The three brief pieces that follow have strong attractions, deep spirituality prime among them. The final three pieces from his early Opus 15 set exemplify Alkan the Romantic. Again, Hamelin makes light of their technical difficulties, while shaping them sensitively. Notable are Le vent, where the right-hand runs make you hear the whistling wind and Morte, another powerful funeral march. Vivid sound captures Hamelin's nuanced playing, helping to make this disc a must-have for pianophiles. --Dan Davis

Customer Reviews:

The greatest CD I've bought in years.......2006-04-25

Ask most classical music fans about Charles-Valentin Alkan and they'll most likely have no clue what to say. I always assumed, after seeing his name in various books, that he was either an obscure opera composer or a twentieth century atonal experimenter. This mindset changed when I happened to come across this CD on the Hyperion website. I learned who Alkan really was, and being the Lisztian and Chopinite I am, I bought this instantly without even listening to a sample track. This has been the most fortunate gamble I've ever taken; the other passionate and eloquent reviews here pretty much confirm that I was right to plunge myself into Alkan.

For those new to Alkan, this is probably the best place to start. Although, after my own first hearing of this CD, I immediately ordered every Alkan CD on the Naxos label and found the Op. 35 Etudes an essential showcase for Alkan's unbelievable genius. It's hard to believe that this obscure hermit who lived next to Chopin was composing such original and extraordinary music. A beginner to Alkan's music might sense a fusion between the styles of Chopin and Liszt, with a spice of Schumann and a tinge of Rachmaninov, if that's possible. Alkan possesses all the faculties for creating gorgeous and beautiful melodies; indeed, he holds his own with Chopin in that area. But Alkan's renowned for composing demonic works with monstrous technical passages that stretch the limits of the piano. While this reputation tends to overshadow his musicality and Beethovenian depth of expression, Alkan is frankly successful with writing tour-de-force compositions. He does it better than Liszt himself, as exemplified by the menacing crashes of the Symphony for Solo Piano and the violent coda of Morte from the Op. 15.

The Symphony for Solo Piano is a masterpiece in my book. I've heard countless large-scale piano works and I must say nothing has ever made such an impression on me as this portion of the Op. 39. With Classical structure and Romantic furor, the work rivals any contemporary Sonata from Chopin, Schumann or even Brahms for that matter. To quote Francois Luguenot, "The structure of the piece is as perfect, and its proportions as harmonious, as those of a movement in a symphony by Mendelssohn, but the whole is dominated by a deeply passionate mood." Indeed, whether in the brooding first Allegro movement, the satirically gloomy funeral march, or the tempestuous Menuet, one can easily see that this work is a monumental tapestry of music. There is a comforting but mind-blowing range of expression in this masterpiece. If devilish torrents of pianism appeal to you, I guarantee the Finale, a "ride in hell" as Raymond Lewenthal aptly said, will tingle your spine and keep the blood pumping.

After listening to this recording dozens of times, I'm convinced the highlight of the CD is actually the Souvenirs: Trois Morceaux dans le genre pathetique Op. 15. Although harshly criticized by Schumann, I've never heard better works of their kind, whether from Chopin, Liszt, Henselt, or Rubinstein. This Op. 15 is a trinity of towering, gushing Romantic piano compositions. The first, Aime-moi, is astonishing in its scope, expressive ideas, and utter transcendence. Hamelin reveals a breathtaking degree of interpretative clairvoyance here. Even more tremendous is the simple but profound "Le vent," a heart-wrenching and melancholy excursion that defies the sonorities of the piano. To quote Liszt, "'Le vent' is the most Romantic of the three...One can almost hear the rain trickling down the oak trees' trunks, and, in great reverence, one can listen to the tune which floats above all these subdued murmurings, like the song of the lover or the poet as he looks upon Nature's sorrow yet without feeling that sadness in himself because he holds in his heart the gentle glow of a memory or a hope." Concluding this trio of jewels, Morte explores a dark abyss of sound, generating a level of pathos and fury unlike anything I've heard. The sinister "Dies Irae" opening leads to a lamenting and morbid development, replete with beautifully somber phrases and violent outbursts. Morte's underlying dark beauty and intensity shares a plateau with Beethoven's own Funeral Marches, in my view.

The three pieces that separate the Symphony for Solo Piano and the Op. 15 are equally impressive, as well. "Salut, cendre du pauvre!" is satisfyingly enchanting, dark, and pensive. Likewise, the "Super flumina Babylonis" proves to be just as engrossing, with memorable and intelligent ideas. Some other reviewers have spoken unkindly towards the glorious "Alleluia," but I don't believe it's as superficial as some have labeled it: Alkan's sense of replicating the organ's textures into the piano's registers, and the sheer majestic effect of a chorus, are all inherent in this brief but ecstatic work.

Bottom line: Those with an affinity for Liszt and Romantic piano will almost automatically love this music. The impact of hearing this magnificent but neglected music is like that of discovering fire by accident. It's one of the best CD's I've purchased in years; the performance of the extraordinary and god-like pianist, Marc-Andre Hamelin, is a triumph. I implore the reader to buy this right now and discover the stupendous music of Alkan.

Least approachable of Hamelin's Alkan, yet still magnificent.......2004-09-18

Hamelin continues his recording of Alkan's magnificent op 39 with numbers 4-7: The Symphony for Solo Piano. The collection also features somber pieces such as, Salut cendre du pauvre op 45, Super flumina Babylonis op 52, and the fantastic Trois Morceaux dans le genre Pathetique Op 15. Again, Hamelin's stays loyal to Alkan's vision and his technique speaks for itself.

The Symphony is tonally perfect. With Hamelin, you really do get the feeling you are listening to a symphony. The structure and execution of the Allegro is impeccable, and surpasses all others. Hamelin playing allows the listener to hear the great contrasts of emotions in the Marche Funèbre, and Menuet (pieces that anticipate Mahler and Bruckner respectively). The Finale, called "Ride in Hell" by Raymond Lewenthal is exactly that with Hamelin. The fact that Hamelin holds back until about 2:05 makes the climax of this piece even more spectacular.

Salut Cendre du Pauvre, and Super Flumina Babylonis are both gloomy pieces that are played with maturity and a great deal of control. While not as grand as the other works on the CD, they are still very interesting. Hamelin's technique do not make these pieces dull at all. Alleluia is a short piece brimming with joy and energy, but is the most superficial of the bunch.

The Trois Morceaux are remarkably treated. In many Alkan recordings, the listener is weighed down by the technical troubles the pianist experiences, and they are not able to hear the actual music. This is not at all the case with Hamelin's performance; his skill allows Alkan's music to be heard and not simply the performer's technique. The bizarrely named pieces radiate melancholy, gloom, and all the emotion that Chopin and Liszt could express in their music (and more). Hamelin delivers.

This CD is probably the least approachable of Hamelin's Alkan but is also the most profound. It causes one to re-think classical literature as a whole. In Hamelin's performance, we get to hear the profound Alkan as never before.

Please listen to the OTHER tracks in this CD as well........2002-05-28

Even though the highlight of this CD is the Symphony for Solo Piano, I think the supporting tracks are the real reason why I would recommend this CD. They are all titled in very bizarre names, and I'm afraid most listeners would listen to them once and put them away for good. Here's a brief rundown of the supporting tracks:

"Salut, cendre du pauvre" - tough to categorize this work with any other composer. It's not as dramatic as most of the works in this CD. If Beethoven's 6th symphony brought the listener closer to nature, I guess that would be a similar reasoning with this work.

"Alleuia" - short work, the name says it all. The least interesting recording in the CD.

"Super flumina Babylonia" - a very interesting, dramatic work. I somehow find this work similar to a Bach keyboard toccata. It has a very interesting fugue in the middle and I just wished Alkan would've developed it longer considering it goes back to the original slow theme before it really has a chance to take off.

"Aime moi" - This is the highlight of the CD. This work has as much emotional range as any of the great Chopin Ballades. The main theme is one of the most beautiful music that I ever heard. Hamelin really brings a sense of longing to this work. Arthur Rubinstein would've been proud of this recording.

"Le Vent" - Very similar to the effect that Chopin brought to the op. 25 no. 12 etude, also known as the "Ocean Etude." Very interesting, but the main theme doesn't really develop into anything... but neither did Chopin and his work.

"Morte" - Take Chopin's great Polonaise-fantaisie in Aflat-major.... and instead of the dreamlike motif, substitute it with the Dies Irae theme. This is a truly great work and Hamelin does a wonderful job assimilating all the different moments.

A Maturity that is Everlasting!.......2002-04-14

Symphony:

This has to be the finest recording of the Sypmhony ever! Everyone I have spoken to comment on the way Marc-Andre Hamelin plays the Presto Finale - yes sure the speed is amazing and it is faultless throughout, but I think that he plays the first movement Allegro Moderato the best. As the first notes sound, you can hear something extraordinary is about to happen. He plays the first movement with such maturity - he interprets it the way it should be - with passion, fire, sorrow etc. His lyrical lines always lead somewhere and his pedalling is fantastic. The best part though in this movement is the coda - full of agitation, strong fingerwork and careful phrasing make it a wondrous close to the first movement.

Next is the Marche Funebre. I think people under-estimate the difficulty of this piece. It calls for both hands to play and sustain a note with the 5th finger and then the other fingers play staccato chords. Hamelin does this with a wonderful effect and, even though it is a 'Funeral', he always keeps the march pace.

The Minuet (Scherzo): Hamelin pulls this off with EXCELLENT phrasing, accentuation, pedalling and speed. He really makes it sound like a Scherzo (which in actual fact it is). In complete contrast to the Scherzo - the Trio just wants to make you fall asleep - the cantabile playing is unmatched and dreamlike!

Presto Finale: What can I say - "a ride in hell" played with energy provides a fantastic conlcusion to an original work.

The Next Three Pieces:

All not too long and very interesting. One that I must point out though is the Alleluia. Hamelin plays this with a strong, even tone on every chord, which makes it actually sound like a massive choir - the effect is spine-tingling!

Trois Morceaux dans le Genre Pathetique:

Wow,wow,wow! These three pieces have been brought back to life! As Aime-Moi filled my room, I could feel Hamelin's emotions soaring through the BEAUTIFUL melodic lines. Within seconds I was crying! Aime-Moi is definately my favourite piece in this set and is just so delicious! I would buy the CD just for that piece!
Le vent: Immediately you can hear the wind whining through trees and long grasses in Paris (well, in my vision. This is really portrayed perfectly and should definately become popular again!
Morte: The Most mature of the set. Really demading music requring full musical potential and understanding of the music - this piece is definately "obscure in a good way". I love Hamelin's account of this piece - he plays it with such love and care - unmissable!

Summary: Get it now!

Bon apetit!
Gareth Ross

Marc-Andre Hamelin does it again!.......2001-08-19

I knew it was inevitable - Alkan's Symphony for Solo Piano is just Hamelin's repertoire and I pre-ordered this recording as soon as I became aware of its existence. Not surprisingly, this is another classic to add to the Alkan/Hamelin/Hyperion discography.

Tracks:

If I Were King, Ov
Pno Con No.2
Ste No.3- Prld, Allemande, Sarabande, Gigue
Montreal Org Book
Pieces
La Muette De Portici, Ov
Whither Go These Happy Shepherds
The Damnation Of Faust-Extraits/Dance Of The Sylphs

Tracks:

Dream Of A Witches Sabbath
The Trojans, Royal Hunt And Storm
The Trojans, Trojan March
Roman Carnival, Ov
Agnus Dei
Carmen: 'Les Toreadors'
Carmen: Prld To Act 1
Carmen: Habanera
Carmen: Chanson Du Toreador
Carmen: Danse Boheme
Sym No.1, Scherzo
Priere A Notre Dame
Pno Con in F, Pastoral Con Var

Tracks:

Espana
Son, Adagio, Allegro
Basse Et Des-Sus De Trompette
A La Venue De Noel
The French Girl, Gaiment-Vivement-Gracieusement
Prld Non Mesur
Son A, Grave-Allegro
The Cuckoo
Prld To The Afternoon Of A Faun
Syrinx
Dialogue Between The Wind And Sea
Coppelia: Danse Festive
Flos Florum
The Sorcerer's Apprentice, Finale
Son in G, Grave, Gay

Tracks:

Ballade Op.19
Sym in d
Son in e, Adagio
Faust, Cavatina
Ave Maria
Fant On The Russian National Anthem
Kyrie Et Dialogue, Grand Jeux
Ste, Prld
Spanish Sym, Allegro Non Troppo

Tracks:

Son in D, Un Poco Andante
Le Bourgeois Gentilhomme
La Tombeau De Lully
Thais: Meditation
Pieces De Luth: Allemande 'La Dialogue Des Graces Sur Iris'
Marche Des Petits Faunes
Concert En Sextuor: La Poule
Rhap Espagnole: Habanera, Feria
Sym No.3, Adagio
Sym No.3, Maestoso-Allegro
Petit Pieces Monthees, De L'enfance De Pantagruel, Marche De Cocagne
March Of The Little Lead Soldiers
Mignon, Adieu Mignon
Ste in d, Prld, Allemande

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Longueur d'Ondes

1. Sym, Op.39 Nos.4-7: Allegro
2. Sym, Op.39 Nos.4-7: Marche Funebre: Andantino
3. Sym, Op.39 Nos.4-7: Menuet
4. Sym, Op.39 Nos.4-7: Finale: Presto
5. Salut, Cendre Du Pauvre!, Op.45
6. Alleluia, Op.25
7. Super Flumina Babylonis, Op.52 (Paraphrase Du Psaume 137)
8. Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Aime-moit
9. Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Le Vent
10. Souvenirs: Trois Morceaux Dans Le Genre Pathetique, Op.25: Morte