Alkan - Souvenirs: Trois Morceaux Dans le Genre Pathétique, Opus 15

Charles Alkan's set of piano pieces titled Souvenirs: Trois Morceaux Dans le Genre Pathétique, Opus 15  (Three Pieces In The Pathetic Style) was published in 1837. Alkan's music was not generally reviewed in any of the music periodicals of the time outside of his native France, and it is to those French publications that musicologists and researchers must look for any contemporary views of his music. Even those are rather sparse, owing in some part to his reclusive nature in later years. These three pieces are an exception, as Robert Schumann and Franz Liszt made their opinions known.

Schumann's review appeared in 1838 in  Neue Zeitschrift für Musik, the periodical that he edited and wrote for. Schumann did not like the work at all. Some of the things he wrote concerning it:

One finds oneself... gripped by the lack of art and real life...here we find little more than frailty and vulgarity devoid of imagination. The studies have titles... and are distinguished throughout theior fifty pages by a deluge of notes and a lack of even the slightest indication of performance markings.... We may choose to protect talent when it loses its way, but there has to be some kind of demonstration of musicianship... if even that becomes questionable then we are forced to turn our backs, unmoved.

Very strong words, with even more negativity in the rest of the review.  Schumann was correct about one thing though; there is not a hint of any performance markings in the first edition. No slurs, tempo or dynamic symbols at all.  Alkan dedicated the work to Franz Liszt, who he became acquainted with when they lived in Paris. Whether that had anything to do with the omission of any performing markings isn't known.

The review by Liszt of the work is markedly different than Schumann's. Liszt did take Alkan to task in some of the aspects, but for the most part was happy with the work. That they were dedicated to him probably didn't hurt either:

The caprices of M. Alkan, after reading and re-reading them many times, show themselves to be distinguished compositions...and are likely to... invoke great interest with musicians.

1. Amie-moi (Love me) -  The French word pathétique in the title of this work is usually translated as pathetic, which has a multitude of meanings. When used in musical works, it has the meaning of music which touches the feelings or excites emotions and passions, especially that which awakens tender emotions, such as pity, sorrow, love, etc.  The titles that Alkan gave to each movement give a clue as to the underlying emotions of the music. The first piece begins in the key of seven flates, A-flat minor. It is similar in feeling to the music of Alkan's friend Chopin. The music slowly grows intense as more and more notes pile into measures until the climax is reached. After the climax, the music returns to the opening themes until there is a shift to A-flat major. The piece ends gently with an arpeggio up the keyboard.

2. Le vent (The wind) -  Written in B minor, this piece opens with a sad melody in the left hand as the righthand plays chromatic runs of notes in simulation of the wind. The hands change roles, and then back again before a central section in D major appears. When the central section is over, chromatic scales for both hands lead up to a varied repeat of the opening material. This was one of Alkan's most well-known pieces for a time, indeed, it was the only piece of Alkan's that was performed with any kind of regularity. The piece continues with an extended trill and chromatic runs in both hands until it ends with a B major chord.

3. Morte (Death) -  Written in E-flat minor, the music opens deep in the bass end of the piano until the ancient Dies Irae hymn is heard. The hymn continues in thick chords and is transformed into a kind of introduction to a slow, sad theme first heard in single notes that become full chords. It grows in intensity until it reaches a short climax, where upon a solemn but persistent B-flat punctuates the theme. The music grows in intensity (and difficulty) and a theme in the major creeps in for a bit. but things go back to impassioned as the ending is relentlessly pursued until a long pause is reached. The Dies Irae returns. The opening of theme of the first piece in the set also returns for a short repeat. A trill in the left hand deep in the bass turns into chromatic runs as in the second piece in the set. The right hand traverses the keyboard slowly as the left handed trill resumes. Two resounding, loud sixteenth note chords end this longest piece of the set, in E-flat minor.

Albéniz - Iberia

The music of Spanish composer Isaac Albéniz evolved from early pieces composed in a European Romantic salon style, to music quintessentially Spanish. Albéniz used the characteristics of native music that was a melting pot of stylistic influences that began with the Islamic Moors in the 8th century. Added to the mix was music of the Romani people (Gypsies) that led to Flamenco, as well as other influences. This in turn lead to different styles of music according to the different areas of Spain.

It is interesting to note that although Albéniz was Spanish by birth and culture, he chose to live many years of his adult life outside of the country due to the backwardness and conservatism of Spain at the time. When he lived in Paris, Albéniz came under the influence of French music. His own compositions become more complex structurally, rhythmically and harmonically. The tonal palettes of Debussy inspired him and he managed to use all of these influences in combination with extreme technical demands on the pianist. For most of his life Albéniz was a virtuoso performer on the piano, and the pieces of Iberia are some of  the most difficult works in the repertoire. It is not only the technical difficulties by themselves. Rhythmic complexities contribute to the gymnastics of the player as well as a huge range of dynamics. The culmination of his life as a composer came in 1905-1909 when he composed the 12 pieces of Iberia, his suite for solo piano. It is a rare pianist that can do justice to all twelve of the pieces.  Albéniz died in May of 1909 from kidney disease.

Iberia is written in a series of four books with three pieces per book:

Book One:
1) Evocación -  Albéniz chose to live outside of Spain, but that didn't mean he wasn't nostalgic for his homeland. This first piece begins with his reminisces of Spain and its music. The title of it tells the tale, for the word evocation means the act of bringing or recalling a feeling, memory, or image to the conscious mind. It is in the rare key of A-flat minor (seven flats) and has a short section in A-flat major. There are sections that sound similar in spirit to Debussy, probably by intention, as there is a Debussian dreamlike quality to the music. The dynamic range of this piece runs from fortississimo (fff) to a barely audible pianississississimo (ppppp)

2) El Puerto - This piece depicts a bustling port city and is in the style of a zapateado, a flamenco dance of Spain that is in 6/8 time. Albéniz also throws in some examples of guitar strumming for good effect. The piecce ands very quietly.

3) Fête-dieu à Seville - Also known as El Corpus Christi en Sevilla, this is a short tone poem that evokes the procession of a statue of the Virgin Mary (as well as other statuary) down the streets of Seville in celebration of the Body of Christ, an event that has been occurring in the town since the 15th century. After some rapid strumming notes begin the piece, a march ensues. The music becomes more impassioned (and on the written page utilizes three staves instead of the usual two) until a middle section of more tranquil music begins. This middle section  is in the feeling of a Spanish religious song, a saeta. The march returns, builds to a climax and transforms into a dance. The end of the piece turns tranquil and introspective and ends quietly.

Book Two:
4) Rondeña - Ostensibly named after a dance from the city of Ronda in Andalusia. The distinction of this piece is the horizontal hemiola that is heard throughout most of the piece by the alternating time signatures of 6/8 and 3/4.

5) Almería - Another piece that takes its title from the name of a city in Andalusia. This time vertical hemiola is used by Albéniz as the left hand is generally in 6/8 time while the left drifts in and out of 3/4 time. Again Albéniz utilizes three staves of music in some sections, which while making the music look more complicated actually helps the performer realize the composer's intentions with more clarity, that is, after the performer gets accustomed to reading three staves instead of two! There are some interesting dissonances before the music comes to a quiet close.

6) Triana - Named after the section of Seville where gypsies live, the music lives up to its namesake by imitating the slapping of hands and stamping of feet of flamenco.

Book Three:
7) El Albaicín - This piece is also named after a gypsy section of town, this time the town is Granada. It begins quietly with an imitation of flamenco guitar that leads to the main theme of the piece. This theme alternates with more docile melodies. The main theme grows more animated and dissonant each time it returns. The piece ends with a final repetition of the main theme.

8) El Polo - Polo is a type of flamenco song with one particular song being the most well known.  Albéniz does not quote the well known song. He very seldom quoted other music. He understood the styles of different types of music in Spain and incorporated the style into his original material. The rhythm heard at the beginning runs throughout the piece.

9) Lavapiés - Named for an area in the city of Madrid. At one time Lavapiés was a seamy part of town that was noisy and full of shady activity. The music is loud and dissonant in reflection of the area.

Book Four:
10) Málaga - The title refers to the province of  Málaga, whose capital is also Málaga. It is located in the southern portion of Spain. The music has a great deal of rhythmic freedom. There is a basic theme that appears between differing episodes, but the changing rhythmic pulses and dissonances (that are more like fattened harmony than jarring) keeps things interesting.

11) Jerez - A city in Spain whose history goes back to Roman times. The town name was taken from the Arabic name of the town during Moorish rule. The town is known for the production the fortified wine sherry, which got its name from the town. The music switches time signatures frequently, and uses the rare time signature of 1/4,  with 2/4 and 3/4, giving it an authentic feeling of flamenco metric freedom.

12) Eritaña - The final piece depicts an evening in a tavern (that is also the name of the piece) on the outskirts of Seville. The inn was renown for the flamenco entertainment that took place there. Once again Albéniz mirrors the steps of the dance with the strumming of guitars in this finale of the most Spanish of piano works.

Sibelius - 6 Impromptus For Piano, Opus 5

The Finnish composer Jean Sibelius is most well known for his music for orchestra. The seven symphonies he composed from 1900-1924 remain in the repertoire of many modern orchestras and have had a profound effect on composers.  But he wrote music in many other genres as well, including music for solo piano.

Most of his solo piano works are in sets, like the six Impromptus of opus 5. Sibelius wrote music for solo piano throughout his composing career, and the fact that it isn't very well known is no reflection of the quality of it. The popularity and grandeur of his symphonies tend to outshine them. Sibelius was a fine piano composer, and while not a virtuoso pianist,( his instrument of choice was the violin) he could play the instrument very well, as commented upon by his contemporaries. His skill at improvising on the instrument was good, as commented on by his pupil and friend Georg von Wendt:

When Sibelius was improvising it was important for him to get a few glasses of, say, a Burgundy, one that he was very fond of, because he was a violinist and his technical shortcomings as a pianist produced a certain performance threshold. When that was overcome, no one could have guessed that this Jean Sibelius who was improvising was not an eminent pianist. These wonderful fantasias kept a hold on you from the first note to the last chord and it was as if the listeners were intoxicated. It is a great pity that they were never written down. Those who heard Sibelius improvise in the 1890s, at the time when he was doing it the most, were able to enjoy the greatest beauty that contemporary music can offer. (Text from the Sibelius website.)

 The opus 5 set was published in 1893, about the time of his set of orchestral tone poems  Kullervo and the Karelia Suite. Sibelius wrote his piano music at a time when a composer could earn extra money by writing salon pieces for piano. sound recording was still in its infancy, so many people learned to play the piano for entertainment. Sibelius' music for piano is well written, and very musical. Some of it looks quite simple, but there are hidden beauties in these miniatures.

1. Moderato, in G Minor -  The first impromptu is but one page long, and consists of 2 sections. The first section is eight bars long and played in slow block chords. The next section is marked Thema and has a simple melody played on top of chords. The atmosphere is funereal, with no let up in the sorrow.

2. Lento - Vivace, in G Minor -  The music starts with a slow introduction, then the music turns into a lively folk dance. There are episodes when the music changes to G major, but for the most part G minor prevails. A good example of how the character of a key can change, as the first two impromptus are in the same key, yet the effect is quite different.

3. Moderato (alla marcia), in A Minor - Sibelius instructions are to play this piece as a march. There is a quiet middle section in F major before the rhythmic march begins again.

4. Andantino, in E Minor - This is a slow piece, with an underlying minor key solemnity.  The music remains in a melancholy mood throughout. Volume increases as the piece comes to an end.

5. Vivace, in B Minor - This impromptu glitters and shimmers with music that sounds almost Debussian as it goes up and down the keyboard with alternating hands. As in the previous pieces, the minor key dominates. The music sparkles, but there is a mood of melancholy to it as well.

 6. Commodo, in E Major -  The longest impromptu of the set as well as he only one written in a major key, but the music does shift to E minor in the second section. The entire piece is to be repeated, a test of a pianists musicianship. If the repeat is played as the first time through, this piece could become boring.  A beautiful miniature, simple in structure, like a jewel that a good pianist can make glow with a soft luster. The piece ends in soft E minor chords.

Mendelssohn - Rondo Capriccioso For Piano, Opus 14

No one is quite sure when Felix Mendelssohn composed the Rondo Capriccioso, with some musicologists offering up as early as 1824 when he was 15 years old. But there is certainty when it was fully composed and revised, for Mendelssohn put the date of June 13, 1830 on the revision.

Perhaps Mendelssohn revised it for a specific pianist, Delphine von Schauroth, who was from Munich. She was close to Mendelssohn's age, and they had met again when Mendelssohn was passing through Munich during his tour of Europe. They had met earlier in Paris in 1825, and Mendelssohn was quite taken with her. He thought about proposing marriage, but never did.

The Rondo Capriccioso is in two sections:

Andante In E Major - Modern research has determined that this section was added to the original etude in E minor during the revision of 1830.  It begins softly, and the melody is a Song Without Words, a type of piano piece that was one of Mendelssohn's specialties.  It lyrically leads to a segue to the next section.

Presto In E Minor - This second section is also one of Mendelssohn's musical specialties; music that is quick, light and sparkling.  The technical demands on the pianist are not excessive, but there are some rapidly repeating thirds in the right hand that are a challenge to play in tempo with the lightness of touch needed. Material from the opening section returns briefly, and the music shifts to E minor for an ending in thundering alternating octaves. The entire piece lasts a little over six minutes, and was popular throughout the 19th century. it is still played in student recitals as well as by professional pianists as an encore.

Alkan - Grande Sonate 'Les quatre âges', Opus 33

Charles-Valentin Alkan wrote his Grand Sonata 'The Four Ages' after he returned to performing in 1844 after a six-year hiatus. The work was published in 1847. Alkan lived in an apartment in Paris, the Square d'Orléans for about ten years and was a neighbor to Chopin. They became close friends, and he became acquainted with many other artists that lived in Paris at the time, including Franz Liszt. 

The work is in 4 movements, with each one portraying the ages of a man. Alkan wrote a preface to the published work where he expressed his intentions with the titles and structure of the sonata:

Much has been said and written about the limits of musical expression. Without adopting such and such a rule, without seeking to answer any of the vast questions raised by this or that system, I shall simply say why I have given such titles to these four parts, and sometimes use quite unusual terms. 

It is not a question here of imitative music, still less music seeking its own justification, the reason for its effect, its value, in an extra musical environment. The first piece is a scherzo, the second an allegro, the third and the fourth an andante and a largo, but each of them corresponds, in my case, to a particular moment of existence, to a particular disposition of the imagination. Why should I not point it out? The musical element will always subsist, and the expression can only gain by it, executing it, without renouncing it, it is inspired by the very idea of ​​the composer. Such a name and a thing seem to clash, taken in a material sense, which, in the intellectual domain, combine perfectly. I believe, then, that I ought to be better understood and better interpreted with these indications, however ambitious they appear at first glance.

Let me, moreover, be permitted to invoke Beethoven's authority. It is well known that towards the end of his career this great man was working on a catalog of his principal works, in which he was to be instructed on what plan, what remembrance, what kind of inspiration the work had been conceived.

I. 20 ans (at 20 years) Très vite' (very fast) - The plan of this sonata is quite unique for the time, as each movement is slower than the previous one, and the sonata opens with the movement with the quickest tempo, a scherzo. This musical portrayal of a twenty year old man begins with spirit and brashness as the music begins in D major, and ends up with a chord in B minor:

A more lyrical theme plays out and the opening material makes another appearance. The lyrical theme returns on chords in the right hand accompanied by arpeggios in the left. A short coda in B major brings the movement to a close.

II. 30 ans (at 30 years) Assez vite (quite fast) -  The next movement is not only the longest  of the sonata, but it contains much of the extreme technical and interpretive difficulties of the work. It is a musical representation of the Faust legend, and is complete with musical representations of Faust, The Devil and Margaurite. There has been discussion among musicians and musicologists as to how this sonata movement may have inspired Franz Liszt in his writing of his Piano Sonata In B Minor. Eight years separate the publication of Alkan's sonata (1847) and Liszt's (1854) so it is possible that Liszt saw the music of Alkan's sonata. But there is no evidence that he did, nor a clue that  Alkan's sonata was ever performed in public until the 1970's.  Alkan gives the tempo designation of Satanically to the beginning of the music, which begins in the rare key of D-sharp minor and represents Faust:

The first section of this movement proceeds in dramatic fashion with rumbling, dashing music until the Devil himself shows up. There is no mistaking who it is, for Alkan marks his entrance in the music. The Devil's theme is in B major, pompous, loud and saunters in a slightly off-kilter rhythm:

The music continues in Mephistophelian bombast until the next character of the story is introduced, the symbol of love in the story, Marguerite, a woman who falls in love with Faust but comes to a bad end through the machinations of the Devil. Marguerite's theme begins in G-sharp minor in music of simple tenderness. (The theme begins in the 4th beat of the 4th bar)

This theme changes to G-sharp major (another rare key) and also turns dramatic. This movement is in sonata form, and now that the three character themes have been introduced in the exposition, Alkan proceeds to play them against each other in a development section of highly dramatic and virtuosic music. The music of the development winds down into huge arpeggios in alternating hands that traverse the length of the keyboard:

But the music does not proceed to the recapitulation just yet. Slowly a four-bar theme marked et aussi lié que possible (as connected as possible) plays in the bass. It is the subject of a fugue that is played out before the recapitulation. This fugue grows until it reaches its limit of eight separate voices spread out over 4 staffs of dauntingly complex music:

Themes return and are transformed as the recapitulation builds to a heady climax in F-sharp major representing victory over evil.

III. 40 ans (at 40 years) Lentement (slowly) - The incredible demands of the previous movement, both technically and musically, are countered in the third movement by music that is more mellow and lyrical.The movement has the subtitle Un heureux ménage (A happy household). The life of a man surrounded by his family, with sections that depict children and evening prayers are included:

IV. 50 ans (at 50 years) Extrêmement lent (extremely slow) - The year after this sonata was published was 1848, the year that revolutions occurred in many countries in Europe, including France. Paris was in turmoil as the February Revolution in France began to undo the constitutional monarchy in favor of what became the 2nd Republic. In the chaos of change, Alkan was passed over for the position of Professor of Piano at the Paris Conservatoire. Due to intrigues and politics, a minor musician got the job instead, with Alkan becoming bitter over the loss of the position. The revolution also took its toll on any publicity Alkan's sonata may have gotten, and the work itself was unique in form and technically difficult, which also didn't help it any.

Subtitled Prométhée enchaîné (Prometheus bound), Alkan includes on the title page of the movement some lines from the ancient Greek play about the Titan Prometheus that was condemned to suffer eternally for bringing fire from Mount Olympus and giving it to humans. This version of the myth is traditionally attributed to Aeschylus. Alkan quotes lines 750-754, 1051 and 1091, words that mirror the Romantic era excesses of personal emotions:

 Ah, you would hardly bear my agonies to whom it is not foredoomed to die; for death would have freed me from my sufferings. Do what he will, me he shall never bring to death. You see the wrongs I suffer!

The myth has Prometheus chained to a rock, and an eagle eats his liver. Every day his liver grows back and he has to suffer the torment of the eagle eating it again.

This myth and the lines from the Greek play set the stage for a man at fifty years of age, a life that consists of waiting for death. The movement begins with ominous rumblings:

 The movement is in the key of G-sharp minor, a key far removed from the key of D major that began the sonata. The mood of somber resignation of death seldom lifts from the music as it restlessly plods on until the closing bars that rise in volume and intensity, only to give out in the final bar that is played pianissimo.

Chausson - Piano Trio In G Minor, Opus 3

Ernest Chausson had a range of talents besides music. Through the urgings of his father, he completed his law degree and was appointed as a barrister to the court of appeals, but he was more interested in drawing, writing, and music. While he contemplated which way his life would go, he wrote a novel and spent time with his artist friends. He composed music as well, and played the piano as soloist and duet partner, and finally took private music lessons with Jules Massenet, an expense his wealthy family could easily afford. After these private lessons he enrolled at the Conservatoire in 1879.  His attempt to enter the Prix de Rome competition in 1881 met with failure, which led to him ending his studies at the Conservatoire and with Massenet at the end of the term.

After he left the Conservatoire he composed the piano trio which shows the influence Cesar Franck had on him even before he studied with him. The trio is in 4 movements:

I. Pas trop lent - Animé -  The first movement begins with an introduction that introduces dark themes that reappear in other movements. The remainder of the first movement itself contains fragments of the themes heard in the introduction. Chausson modulates his material widely throughout the exposition section. The end of the movement has dramatic restatements of an opening rhythmic motive of two eighth notes and a quarter note that alternate with more lyrical material. The rhythmic motive ends the movement.

II. Vite - The piano maintains its role as provocateur in this short scherzo as it scampers about while the two stringed instruments try to resist its influence. The structure is not in usual scherzo form, but is more of a set of sparkling themes that contrast with other more lyrical themes. It hardly has time for great profundity as it makes its way to its end.

III. Assez lent - This movement begins with a theme heard in the introduction of the first movement. The tempo is slower, and after the theme is stated it is changed and developed until another theme that is more lyrical is heard. The movement unwinds at a leisurely pace and is both sad and passionate in turn. There is much modulation in music that seems to slow down the sense of time as it continues. Traces of Wagner's influence on Chausson can be heard as well as Frank's, and the music ends in quiet repose.

IV. Animé - The final movement begins with a waltz that is far removed from the minor key music that has preceded it. Motives previously heard work their way back into the texture and by the end of the movement the mood has returned to the bleak minor key mood of the opening. With a grand piano run, the work ends fortissimo in G minor.

Liszt - Grandes Études de Paganini

The influence that the virtuoso violinist Niccolò Paganini exerted on composers and performers of the early 19th century cannot be overestimated. Never had any performer demonstrate the total mastery of an instrument as Paganini did on the violin. He also had a level of showmanship that helped make him world famous.

Franz Liszt was already an accomplished concert pianist when he first heard Paganini in Paris in 1832, and was determined to do for the piano what Paganini did for the violin. He began to practice the piano even more strenuously until he had become the most acclaimed pianist of his time.

It was natural that Liszt would use the music written by the man who inspired him in some way, and the result was the first version of the six Grandes Études de Paganini of 1838, which  contained technical difficulties that were impossible for anyone else to play but Liszt, Eventually in 1851 he revised them and made them less technically demanding, but to this day the revised version contains some of the most technically demanding pieces in the piano repertoire.

I. Étude No. 1 In G Minor (Tremolo) - Among the first published works of Paganini's opus 1 were the famous 24 Caprices For Solo Violin. These works revolutionized violin technique. Paganini opened up possibilities for the violin that were unheard of before his time, and Liszt used some of these works as inspiration for his etudes. The first one in G minor begins with a introduction taken from the 5th Caprice of Paganini and begins with arpeggios. The main body of the etude is taken from the 6th Caprice and consists of a theme placed against tremolos. The piece ends with another arpeggiated reference to the 5th Caprice.

II.  Étude No. 2 In E-flat Major - Taken from the 17th Caprice of Paganini, The theme of this etude is a rather simple one, but the accompaniment and manner of its presentation bristles with scales, arpeggios and all manner of keyboard acrobatics as does the original version for violin.



III.  Étude No. 3 In G-sharp Minor (La Campanella) - This etude is taken from the finale of Paganini's Violin Concerto No. 2 In B Minor. The nickname translates to 'Little Bell', and Liszt gives the impression of a little bell by playing in the piano's high register. It is the most popular of the set.

IV.  Étude No. 4 In E Major (Arpeggio) - Taken from the 1st Caprice of Paganini, this etude is written all in the treble clef on one line in imitation of solo violin music. The lowest note in the piece is the first G below middle C, which is the lowest note on the violin.  


V.  Étude No. 5 In E Major (La Chasse) - From the 9th Caprice of Paganini, this etude has the horn calls and excitement of the translation of its subtitle, The Hunt,



VI.  Étude No. 6 In A Minor -  From what could possibly be the most well known piece of music written by Paganini, the 24th Caprice, a set of variations on an original theme. Liszt was the first among many composers that used this theme for a set of variations. Liszt's version is a kind of translation of the original to pianistic terms, but isn't as inspired as Paganini's original. But Liszt wrote this set of etudes on the music of Paganini to push the boundaries of piano technique and to dazzle audiences, and they have accomplished both.