Charles-Valentin Alkan (1813-1888) was one of the most fascinating and enigmatic figures in 19th-century classical music. Known for his extraordinary technical prowess and innovative compositions, Alkan left behind a body of work that is both challenging and rewarding to performers and listeners alike. Although he remains less well-known compared to his contemporaries such as Chopin or Liszt, Alkan’s compositions are remarkable for their complexity, originality, and depth of emotion. Here are five of his best compositions, each showcasing a different facet of his unique musical genius.
Charles Valentin Alkan was a remarkable figure in the world of classical music, revered for his virtuosity as a pianist and admired for his innovative compositions. Born on November 30, 1813, in Paris, France, Alkan displayed prodigious musical talent from an early age. His father, Alkan Morhange, recognized his son's potential and provided him with rigorous musical training.
Alkan's musical education began under the guidance of his father, himself a talented musician. Recognizing Charles's exceptional abilities, his father arranged for him to study piano with Joseph Zimmermann and composition with Charles-Henri Valentin Morhange, his older brother. Under their tutelage, Alkan's talent flourished, and he made his public debut as a pianist at the age of seven.
Charles Valentin Alkan - Alleluia
Charles-Valentin Alkan (30 November 1813 – 29 March 1888) was a French-Jewish composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life.
Alkan earned many awards at the Conservatoire de Paris, which he entered before he was six. His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance, for personal reasons. Although he had a wide circle of friends and acquaintances in the Parisian artistic world, including Eugène Delacroix and George Sand, from 1848 he began to adopt a reclusive life style, while continuing with his compositions – virtually all of which are for the keyboard. During this period he published, among other works, his collections of large-scale studies in all the major keys (Op. 35) and all the minor keys (Op. 39). The latter includes his Symphony for Solo Piano (Op. 39, nos. 4–7) and Concerto for Solo Piano (Op. 39, nos. 8–10), which are often considered among his masterpieces and are of great musical and technical complexity. Alkan emerged from self-imposed retirement in the 1870s to give a series of recitals that were attended by a new generation of French musicians.
Alkan's attachment to his Jewish origins is displayed both in his life and his work. He was the first composer to incorporate Jewish melodies in art music. Fluent in Hebrew and Greek, he devoted much time to a complete new translation of the Bible into French. This work, like many of his musical compositions, is now lost. Alkan never married, but his presumed son Élie-Miriam Delaborde was, like Alkan, a virtuoso performer on both the piano and the pedal piano, and edited a number of the elder composer's works.
Following his death (which according to persistent but unfounded legend was caused by a falling bookcase) Alkan's music became neglected, supported by only a few musicians including Ferruccio Busoni, Egon Petri and Kaikhosru Sorabji. From the late 1960s onwards, led by Raymond Lewenthal and Ronald Smith, many pianists have recorded his music and brought it back into the repertoire.
For more:
http://www.melhoresmusicasclassicas.blogspot.com