The entire album is absolutely worth a listen/purchase. Goldstone and Clemmow performing Alkan’s complete duos and duets on Toccata Classics. Glad to hear you are still discovering with your membership!
Did anyone notice the similarity between the opening theme of the third march and Berlioz’ March to the Scaffold? Part of me thinks it’s deliberate, as I think is what seemed to me to be a direct quote from Berlioz’ Ouverture to Les Franc Juges in the Funeral March for a Dead Parrot. Consider his “utter drivel” remark about Berlioz’ treatise on orchestration, coupled with the notion that invoking Berlioz in his fight for Zimmermann’s position proved to be fruitless. Just a thought.
I'm quite familiar with these from the Goldstone and Clemmow album (all of which is fantastic), and all three have passages of sublime beauty which can bring a tear to my eye - coupled with Alkan's usual humor and ability to coax unique and novel sounds from a piano.
Perhaps it is Alkan’s balancing restraint that makes the sublime passages you mention so powerful, so unexpected. The coda of the third march comes to mind, where time seems to stop for a few moments before the final fortissimo section. There is nothing else like it.
@@thealkansociety8513 Having thought about it some more, I think it's (at least partly) Alkan's use of contrast that I find so enchanting - between loud/forceful, fairly "simple", almost "harsh" or "strident" (though not in a bad way) passages, to something melodically lyrical and sweet, and perhaps a bit more "complex". I'm not a musician so I'm struggling for the right terms, but it's a pattern I see over and over in his music, especially many of the pieces I like best. It's like going from the intensity of the eye wall of a hurricane into the stillness of the eye and back again, where both parts would be good on their own, yet the contrast enhances them both.
To me - there are hints of the triumphant tune in the 'Marche au Supplice' from Berlioz's Symphonie Fantastique in the 3rd March. All 3 are brilliant and unique, many touches that are so idiosyncratic to Alkan.
I think some of these treasures are more approachable for two hands than some of his works for two hands, or even two hands and pedal (maybe) :) Nonetheless, a treat to listen to and view!
![Charles-Valentin Alkan - Deuxième recueil de chants, Op. 38b [1857] (McCallum)](http://i.ytimg.com/vi/drQyL9HbC5o/mqdefault.jpg)
![Charles-Valentin Alkan - Deuxième recueil de chants, Op. 38b [1857] (McCallum)](/img/tr.png)
You know, I’ve had the score for these for ages and have never heard them. Thank you, Alkan Society - no wonder I am a member!
The entire album is absolutely worth a listen/purchase. Goldstone and Clemmow performing Alkan’s complete duos and duets on Toccata Classics. Glad to hear you are still discovering with your membership!
Did anyone notice the similarity between the opening theme of the third march and Berlioz’ March to the Scaffold? Part of me thinks it’s deliberate, as I think is what seemed to me to be a direct quote from Berlioz’ Ouverture to Les Franc Juges in the Funeral March for a Dead Parrot. Consider his “utter drivel” remark about Berlioz’ treatise on orchestration, coupled with the notion that invoking Berlioz in his fight for Zimmermann’s position proved to be fruitless. Just a thought.
I'm quite familiar with these from the Goldstone and Clemmow album (all of which is fantastic), and all three have passages of sublime beauty which can bring a tear to my eye - coupled with Alkan's usual humor and ability to coax unique and novel sounds from a piano.
Perhaps it is Alkan’s balancing restraint that makes the sublime passages you mention so powerful, so unexpected. The coda of the third march comes to mind, where time seems to stop for a few moments before the final fortissimo section. There is nothing else like it.
@@thealkansociety8513 Having thought about it some more, I think it's (at least partly) Alkan's use of contrast that I find so enchanting - between loud/forceful, fairly "simple", almost "harsh" or "strident" (though not in a bad way) passages, to something melodically lyrical and sweet, and perhaps a bit more "complex". I'm not a musician so I'm struggling for the right terms, but it's a pattern I see over and over in his music, especially many of the pieces I like best. It's like going from the intensity of the eye wall of a hurricane into the stillness of the eye and back again, where both parts would be good on their own, yet the contrast enhances them both.
Alkan love♥️♥️♥️
To me - there are hints of the triumphant tune in the 'Marche au Supplice' from Berlioz's Symphonie Fantastique in the 3rd March. All 3 are brilliant and unique, many touches that are so idiosyncratic to Alkan.
7:39 clean Rachmaninoff 2nd concerto ...+ chopins polonaise (octaves)
I think some of these treasures are more approachable for two hands than some of his works for two hands, or even two hands and pedal (maybe) :) Nonetheless, a treat to listen to and view!