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Our motto: "Critical thinking in the cheap seats." Unbiased, honest classical music and opera opinions, occasional obituaries and classical news reporting, since 2007. All written content © 2019 by Paul J. Pelkonen. For more about Superconductor, visit this link. For advertising rates, click this link. Follow us on Facebook.
Showing posts with label alkan. Show all posts
Showing posts with label alkan. Show all posts

Tuesday, April 29, 2014

The Superconductor Interview: A Taste for Complexity

A pianist in motion: Marc-André Hamelin.
by Paul J. Pelkonen
Marc-André Hamelin.
Photo by Sim Cannety Clarke © 2014 Hemsing Associates.
Among piano virtuosos, Marc-André Hamelin stands apart. The Canadian pianist and composer is known for his relentless exploration of the most challenging repertory of the instrument, bringing "lost" composers from the 19th century back into the public eye.

In New York to make his first subscription appearances with the New York Philharmonic, Mr. Hamelin graciously agreed to an interview while hurtling through the steel canyons of Manhattan in the back of a taxi. In these concerts, he is playing Cesar Franck's Symphonic Variations for Piano and Orchestra a work that used to be frequently heard but is now regarded as an antique.

Sunday, January 23, 2011

The Superconductor Top Ten: Obscure Composers

This is one of only two pictures
 taken of Alkan. Paris, ca. 1850.
In the world of classical music, there are the big names--the three "B's" (Bach, Beethoven, Brahms) and reliable operatic favorites like Verdi, Wagner and Puccini. And then there are the "other" guys. The obscure composers who, for whatever reason, never had the same lasting impact on Western musical culture as their more famous contemporaries.

So here's my list of ten lesser-known composers. I'm always willing to be passionate about them (and others) in the pages of this blog and in the material world as well. Some may be new to you. Some may be old hat. All are worth your attention. Alphabetical order.


1) Charles-Valentin Alkan (1813-1888)
One of the greatest piano virtuosos of the 19th century. Alkan's music rivals Liszt in complexity and harmonic invention. But unlike the flamboyant Hungarian, he was a recluse who avoided the spotlight. He is remembered for writing a symphony and a concerto (both for solo piano), and his Grand Sonata, ("The Four Ages") which attempts to encapsulate the experience of a lifetime in four dizzying movements.

2) Franz Berwald (1796-1868)
A Swedish composer, and one of the earliest important composers to be active in Scandinavia. Berwald is known for four cheerful symphonies that have cool nicknames (Sinfonie singulere, Sinfonie serieuse) and a warm compositional style that recalls the middle period of Beethoven. Under-performed and underrated.

3) Dietrich Buxtehude (1637-1707)
A predecessor of Johann Sebastian Bach, Buxtehude was an important Danish composer whose works for voice, organ, and chamber ensemble contain brilliant counterpoint and great beauty. In 1705, a young Bach walked 250 miles (from Arnstadt to Lübeck) to meet Buxtehude and hear him play. (All you have to do is get some CDs). Start with the organ music.


4) Ernest Chausson (1855-1899)
One of many post-Wagnerians who sprang up in late 19th-century Paris, only to fall out of fashion with the ascent of Impressionism and Claude Debussy. Chausson is remembered for Le Roi Arthus, a chromatic, gorgeous opera based on the legend of King Arthur. He is the epitome of the French late Romantic style, and his music deserves more attention for its rich orchestrations and sweeping melodies.

5) Erich Wolfgang Korngold (1897-1957)
Korngold is one of the great prodigies in music history, writing operas like Violanta and Die tote Stadt ("The Dead City") to great acclaim. He fled the Nazis and wound up in Hollywood, where he became one of the fathers of modern film music. He won Academy Awards for his scores to The Adventures of Robin Hood and Anthony Adverse. Today, his best known piece is the moving aria "Gluck, das mir verblieb" from Die tote Stadt.



6) Max Reger (1873-1916)
Some composers never fall out of fashion. Reger belongs to the category of those who never fell in. In the late 19th century, this German composer went back to the complex contrapuntal ideas of Bach and Telemann for inspiraton, writing impressive chamber music and works for solo piano that require a tremendous keyboard technique. Check out his piano works, particularly his sets of variations.

7) Josef Suk (1873-1935)
A Czech symphonist best known for his dark-tinted Symphony No. 2, a sweeping, majestic work that examines man's place in the cosmos and makes Asrael (the Islamic representation of the Angel of Death) its protagonist. Suk was a famous violinist in his own right, and a pupil of Antonín Dvořák. He later went on to marry his mentor's daughter, and dedicated the Asrael Symphony to Dvořák's memory.

8) Sir Michael Tippett (1905-1998)
One of the more important British tonal composers in the second half of the 20th century, Tippett is remembered for complex operas like The Midsummer Marriage and The Knot Garden. His work is melodic and rewarding, written in a rich, satisfying musical language. Start with the Four Ritual Dances from The Midsummer Marriage.

9) Viktor Ullmann (1898-1944)
Ullmann is best remembered for being part of the Collegium Musicum, an arts colony in the Nazi concentration camp Theresienstadt. While incarcerated, Ullmann composed Der Kaiser von Atlantis, a biting, satiric opera that offered a skewed take on the Nazi madness. (The work was banned by the camp administrator.) Ullmann was killed in Auschwitz. His opera survived, and received its world premiere in 1975.

10) Alexander von Zemlinsky (1871-1942)
The lover of Alma Schindler (before she met and married Gustav Mahler), Zemlinsky was an influential figure in Vienna, a composer of sensual, expressionistic works that seethe with harmonic invention. (They were banned by the Nazis.) In some ways, he is the bridge between Brahms' conservative, Romanticism and the outright experimentation of the Second Viennese School. (Schoenberg was one of his pupils, as well as his brother-in-law.) Thanks to the efforts of conductors, programmers and singers, the operas (including Der Zwerg), songs, and orchestral works of this great composer have returned to the repertory.

Wednesday, May 26, 2010

Finding Yourself Through Music II: Alkan

When you search for yourself, you may just find yourself.

Those words are particularly appropriate this morning.

Last night on the way home from the Mets game, I'm on the train platform at Queensboro Plaza. For entertainment, I'm listening to The Barber of Seville and reading the highly entertaining thriller The Book of the Dead, from the writing team of Douglas Preston and Lincoln Child.

Two-thirds of the way through the book, there is a scene where the bad guy is seducing the girl. And for musical accompaniment, he chooses (of all things) the piano music of Charles-Valentin Alkan.


"Ah, yes. That is Alkan, the forgotten musical genius of the nineteenth century. You will never hear a more luxuriant, cerebral, technically challenging artist--never. When his pieces were first played-- a rare event, by the way since few pianists are up to the challenge--people thought them to be diabolically inspired. Even now, Alkan's music inspires strange behavior in listeners. Some think they smell smoke while listening; others find themselves trembling or growing faint.

"This piece is the Grande Sonate, "Les Quatre Âges." The Hamelin recording of course, I've never heard more assured virtuosity or more commanding finger technique." He paused, listening intently for a moment. "This fugal passage, for instance. If you count the octave doublings, it has more parts, than a pianist has fingers! I know you appreciate it…as few do."


Well, let us say that I was stunned. I'm a piano music geek and something of an Alkan fan. I have had that very recording for years. So I wake up today and determined to write about that very recording. Looking for a picture of the composer, I run across this blog post.

"Charles-Valentin Morhange, better known as Alkan (1813-1888), is one of the great, lost piano composers of 19th century France. Great, because his challenging, complex music is written on an epic scale with technical virtuosity that rivals the works of Franz Liszt. Lost, because Alkan was a misanthrope, and quite possibly an agoraphobe. He was also an Orthodox Jew who studied the Talmud and music with equal fervor. The opposite of the flamboyant Liszt, Alkan gave recitals infrequently, taught occasionally, and disappeared for years at a stretch, either travelling abroad or holed up in his Paris apartment, receiving no visitors.

Thanks to a few, brave pianists with fingers and nerves of steel, Alkan's dizzying music is now available to sample on CD. A good place to start is this 1994 recital disc by Marc-Andre Hamelin on Hyperion, featuring the Grande Sonate (Les Quatres Âges) and the Sonatine. The French-Canadian pianist meets the vast technical challenges of this music, but chooses fearsome accuracy over flashy showmanship. This is a performance of extreme dynamics. The artist slams the hammer down at the appropriate climactic moments, but then slows down with an elegant, expansive lyric touch."


Yes, that's right. I wrote those paragraphs about this very recording two years ago, right here on Superconductor. So once again, when you go looking around on the web, you sometimes find…yourself.

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