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127:". Performance demands tremendous physical endurance, and great technical skills to cover features including arpeggios, octave runs, scales, leaps, grace notes, alternating hands, swiftly changing block chord motifs, tremolos, and trills executed by the fourth and fifth fingers with the melody played on the same hand. Alkan stays close to the classical
145:). Such markings appear frequently throughout the score to indicate the orchestral instrument the pianist is supposed to evoke. After this theme is exposed, the contrasting, more lyrical second theme begins. This second theme is used as a contrast to both the first theme itself and, more generally, any difficult virtuosic passages.
91:"). Alkan authorized the piece to be truncated to make "un morceau de concert, d'une durée ordinaire" (a concert piece of normal duration). It may be that the composer himself performed the first movement (alone) in such a shortened version in a recital in Paris in the 1880s. It was not until in 1939 that
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The piece, including all 3 movements, is 121 pages long and takes about 50 minutes to perform. The first movement on its own comprises 72 pages and takes over 29 minutes to play (Jack
Gibbons comments that "the first movement has more bars in it than the entire
40:(12 Studies in the Minor Keys), published in 1857 (although it may have been written some years earlier). With sections marked "Tutti", "Solo" and "Piano", the piece requires the soloist to present the voices of both the orchestra and the soloist. The pianist
241:, to whom this version was dedicated. The orchestrated version takes considerable liberties with the original, with many passages extended, truncated or altered. Other attempts at orchestrating the Concerto were made by Alkan's possible son
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comments: "The style and form of the music take on a monumental quality—rich, thickly set textures and harmonies ... conjure up the sound world of a whole orchestra and tax the performer, both physically and mentally, to the limit."
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A third theme, more heroic in nature and in the major key, enters after some development of the first two themes. The 'solo' entry following discussion of these themes is of a
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alla barbaresca" features technical difficulties comparable with those of the first movement, including larger leaps and a more pervasive use of 3-against-4
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The second movement is "a profoundly moving and expressive Adagio that builds to a powerful funeral central section presaging the sound-world of
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in London), and was apparently submitted to Alkan himself shortly before the latter's death, having already been approved by
159:, quasi-improvisatory nature. A notable feature of the movement is the very extended passage on a constant 'pedal' note of G
72:; this is a consequence of the piece being three consecutive elements of the cycle of 12 Ă©tudes, each of which is in a key a
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Adrian
Corleonis considers the Concerto to represent the most cruelly taxing piano work before the time of
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and by the
American composer Mark Starr. A recording of Klindworth's 1902 version was issued in 1997 by
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There are now a number of recordings of the work; notable ones include those by
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The opening bars, constituting the first theme, are marked "quasi-trombe" (like
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gave the piece a proper performance, in its entirety, during BBC broadcasts.
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The first movement, which requires almost half an hour to play and has 1342
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229:. A first version was made in 1872 (the ms. is now in the library of the
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12 Etudes in all the Minor Keys, including
Concerto pour Piano Seul
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minor (Études dans tous les tons mineurs Nos. 8-10), Op. 39/8-10
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The first movement of the
Concerto was orchestrated by
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34:. The pieces are part of a 12 piece cycle entitled
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522:Discography of Alkan's Concerto pour piano seul
30:) is a 3-movement solo piano piece written by
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398:Alkan: Complete Works for Piano and Orchestra
181:". The introductory section is marked "quasi-
16:Piano piece written by Charles-Valentin Alkan
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440:International Music Score Library Project
165:, preceding the recapitulation section.
738:Trois morceaux dans le genre pathétique
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37:Douze Ă©tudes dans tous les tons mineurs
395:Ho, Allan B.; Macdonald, Hugh (1998).
197:The opening bars for the 3rd movement.
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706:Introduction, Variations et Finale
177:". The second movement is marked "
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823:Études by Charles-Valentin Alkan
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715:Mouvement semblable et perpetuel
588:Grande sonate 'Les quatre âges'
371:"Alkan Concerto for Solo Piano"
354:, Concerto for solo piano in G
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76:higher than its predecessor.
201:The final movement marked "
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405:. 8.553702. Archived from
100:Kaikhosru Shapurji Sorabji
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28:Concerto pour piano seul
688:Grandes Ă©tudes (Op. 76)
655:Concerto for solo piano
646:Symphony for solo piano
20:Concerto for Solo Piano
558:Charles-Valentin Alkan
231:Royal College of Music
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32:Charles-Valentin Alkan
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784:Élie-Miriam Delaborde
500:1st movement (Part 3)
495:1st movement (Part 2)
490:1st movement (Part 1)
243:Élie-Miriam Delaborde
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628:En rythme molossique
567:List of compositions
239:José Vianna da Motta
50:progressive tonality
330:www.jackgibbons.com
484:Marc-André Hamelin
283:Stephanie McCallum
267:Marc-André Hamelin
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48:The work features
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673:Le festin d'Ésope
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438:: Scores at the
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326:"About Alkan"
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768:Cello Sonata
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730:Other Ă©tudes
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510:3rd Movement
505:2nd Movement
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473:3rd Movement
468:2nd Movement
463:1st Movement
456:Jack Gibbons
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446:Performances
411:. Retrieved
407:the original
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378:. Retrieved
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333:. Retrieved
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279:Ronald Smith
275:Mark Latimer
263:Jack Gibbons
260:
253:as soloist.
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42:Jack Gibbons
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653:Nos. 8–10 (
257:Discography
207:polyrhythms
157:Chopinesque
129:sonata form
110:Description
817:Categories
644:Nos. 4–7 (
516:Recordings
413:2015-12-06
380:2022-10-27
375:Gramophone
335:2020-11-12
297:References
271:John Ogdon
203:Allegretto
93:Egon Petri
697:Fantaisie
664:Ouverture
596:Esquisses
352:allmusic
89:Beethoven
802:Category
748:(Op. 27)
740:(Op. 15)
671:No. 12 (
662:No. 11 (
357:♯
162:♯
143:trumpets
67:♯
57:♯
777:Related
761:Chamber
713:No. 3 (
704:No. 2 (
695:No. 1 (
635:No. 3 (
626:No. 2 (
617:No. 1 (
598:(Alkan)
480:YouTube
452:YouTube
600:(1861)
591:(1847)
583:(1844)
430:Scores
401:(CD).
211:rebecs
179:Adagio
175:Mahler
85:Sonata
24:French
574:Piano
249:with
215:rebab
183:celli
70:minor
60:minor
289:and
121:bars
102:and
482:by
454:by
185:".
87:by
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64:F
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22:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
