Customer Reviews

Alkan: Symphony for Solo Piano

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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.

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.

The only disappointment for me was the fourth movement of the symphony. Not that it's bad or anything, but for me, it just didn't work. I'm usually the last person to complain about Hamelin's well known tendency to make everything sound "too easy", but in this case, it really DOES seem detrimental to the music. I much prefer Gibbons in this movement - he really makes it sound like a ride in hell. Hamelin's lacks some of the passion and drive in the searing Gibbons' account. Hamelin's consistent ultra-clarity and slavery to the beat sort of dullened it for me - and the left hand octaves in the climax section really needed stronger accenting. The first movement however belongs to Hamelin - His performance is more dynamic, intense, and interesting than any other I've heard. Definitive. The second and third movements are both unique and carefully thought out. Everything else on the disc is just as I'd expect from this pianist - standard-setting and definitive. Here's hoping that Hamelin will include at least one of the remaining Op. 39 etudes (Comme le Vent, En Rhythme Molossique, Scherzo Diabolique, and Overture - minus the concerto he's already recorded) on his upcoming encore disc.

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.

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

It really takes a technically brilliant pianist to bring this extraordinarily difficult music to life and also make it worthwile listening. Unfortunately, Alkan's music as original as it may sound at times tends to be overblown and bombastic, with the technical demands hampering the composer's musical intentions. So it is that only rarely do these works get readings which are worth mentioning. And once again, Marc Andre Hamelin is up to another pianists ultimate challenges.

Since the release of his live album from Wigmore Hall where he played the Alkan studies for separate hands, then his further releases where he has played varied etudes and works all of trascendental difficulty, Hamelin is most likely to be the strongest exponent of this music today and the one who has benefitted from the best recording sound from Hyperion. He is astonishing in his readings, bringing clarity to this thick texture is something already, and makeing them listenable is what i really enjoyed here.

It is very seldom that a recording and a performer can actually make you aware of the value of certain music - and Hamelin here has done a superb job for reevaluting the merits of this often neglected and misunderstood composer. This is no Chopin, Liszt, Beethoven, or so - and it may not be as brilliant as the so called classics are, but for once Alkan can stand on his own and everyone has Hamelin to thank for.

In the other albums of Alkan works performed by Marc-André Hamelin, particularly the Concerto for Solo Piano and to some extent the Grande Sonate, Alkan seems to be foreshadowing Rachmaniov and the later romantics. In this album, Alkan is the classicist extension of Beethoven and Brahms leading up to Chopin. Alkan, however, is entirely unique in his style and composition, which is why his works amaze and captivate, more so since his life is sketchy and his works little known. The four etudes that make up the Symphony for Solo Piano have a classical coherence and remarkably have the symphonic sweep and balance. Passion and strenth dominates. In the smaller pieces that follow, the moods shifts to calmness and religiosity. The last work in the album is an earlier trio of romantic, lyrical, but less distinguished compositions. "Le vent", for example, is far too literal and obvious. Throughout, Hamelin is outstanding in his technique and sensitivity. The recording, however, is less exciting and noble than the others in the series. Still, if you own one or the other album, you will want this one also. Alkan is too fascinating and Hamelin is too good to stop at one!

I discovered this CD was coming out at least 6 months before it was due to hit stores, I got it as soon as it was available. As with all of Hamelin's recordings I am not disappointed. Hamelin's technical powers put this recording at the top of any Alkan "symphony" recording I have heard (and I've heard most of the ones out there, Lewenthal, Ponti, Gibbons, Martin...). Hamelin's sense of phrasing is unique and sheds some interesting lights on the composers thoughts. Hamelin is always clear, never over pedaled and never muddy. Hamelin brings energy and fire to all of the movements, especially the 3rd and 4th (I have never heard a faster performance of either). None of the notes get lost as is the case with the Lewenthal and Ponti recordings. The other pieces op.45, op.6, op.52 and op.15 are equally amazing. The alleluia op.25 is a piece easily made boring, but Hamelin finds a way to keep it interesting, Super Flumina, Hamelin gets amazing levels of contrast through the different sections and the op.15 is a first recording (like so much Hamelin) and quite amazing! This is a must for ANY pianophile, Alkan fan or Hamelin fan.

I have really gotten into the music of Alkan of late. This is my latest purchase, and it is very good. The Symphony for solo piano is great music, brilliantly and cleanly executed by Marc-Andre Hamelin, though actually I like Jack Gibbons a bit more for the final Presto, commonly known as the "ride in hell". Gibbons makes it sound more "hellish". The rest of the music is fascinating. There is an interesting piece called "Hail, the ashes of the poor", then "Alleluia", sort of a religious fanfare or prayer, not too interesting, and then "By the Rivers of Babylon", which is pretty good. But I love Opus 15, which is unusual for having no tempo markings on the sheet music, so the pianist has to figure out the proper speed. The first of these has one of those catchy tunes that you can't get out of your head once you've heard it, the second is called The Wind and sounds like it, while the last one, called Death, features the old "Wrath of God" (Dies Irae) tune. It also quotes the tune from the first piece, toward the end. Interesting stuff, highly recommended.

The details of this recording have already been disucussed by true afficiandos. All you need to know is that the combination of Alkan and Hamelin (and Hyperion in this case) creates a rare synergy that has resulted in some of the finest discs of Romantic solo piano music ever recorded. The sublimity, transcendence, and crystalline qualities of the music, its playing, its interpretation, and its recording are simply stellar, almost magical. Do yourself a favor and buy it--an more. You will never regret your decision.

This is a new pianist for me, heard him live and loved his playing. Alkan was also a new composer for me and I loved his pieces too. My favorite CD to listen to when I'm cleaning.