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Charles-Valentin Alkan
Person · male · France · Paris · born 1813 · died 1888 · recording since 1969
French composer and pianist (1813–1888)
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Also known as Charles Henri Valentin Alkan · Charles Valentin Alkan · Charles-Henri Alkan · Charles-Valentin Morhange · 夏尔-瓦朗坦·阿尔康
Timeline
71 events▣ Album 68◦ Birth 1† Death 1★ Debut release 1
1810s
1880s
1960s
· Debut release
Debut release: Concerto for Solo Piano
First documented Album in the MusicBrainz discography.
source: musicbrainz
1980s
1990s
· Album
Album: Grande sonate, op. 33 "Les quatres âges" / 4 Études, op. 39 / La Chanson de la folle au bord de la mer / Allegro barbaro
Album
source: musicbrainz
· Album
Album: 12 Etudes, op. 35 / Le festin d’Esope, op. 39 no. 12 / Scherzo diabolico, op. 39 no. 3
Album
source: musicbrainz
· Album
Album: The Romantic Piano Concerto, Volume 7: Henselt: Piano Concerto, op. 16 / Variations de concert, op. 11 / Alkan: Concerto da camera, op. 10/1 / Concerto da camera, op. 10/2
Album
source: musicbrainz
· Album
Album: Quatre Impromptus / Deuxième Recueil d’Impromptus / Variations / Rondeau chromatique
Album
source: musicbrainz
· Album
Album: Grande Sonate "Les Quatre âges" / Sonatine / Le Festin d’Ésope
Album
source: musicbrainz
2000s
· Album
Album: Grand Duo concertant, op. 21 / Sonate de concert, op. 47 / Piano Trio in G minor, op. 30
Album
source: musicbrainz
· Album
Album: Symphony for Solo Piano / Trois morceaux dans le genre pathétique
Album
source: musicbrainz
· Album
Album: Grande sonate "Les Quatre âges" / Symphonie, for piano solo / Le Festin d'Ésope / Miniatures
Album
source: musicbrainz
2010s
· Album
Album: Chopin: Sonate pour violoncelle et piano / Alkan: Sonate de Concert pour violoncelle et piano
Album
source: musicbrainz
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Album: Le Festin d’Ésope / Trois Morceaux, op. 15 / Ouverture / Sonatine
Album
source: musicbrainz
· Album
Album: Concerto for Piano Solo / Comme le vent / En rythme molossique / Scherzo diabolico
Album
source: musicbrainz
· Album
Album: Lewenthal Playing and Conducting Funeral March for a Papagallo and Other Grotesqueries of Alkan
Album
source: musicbrainz
2020s
· Album
Album: Grande Sonate, op. 33 / Trois Morceaux dans le genre pathétique, op. 15
Album
source: musicbrainz
· Album
Album: 11 Pièces dans le style religieux, op. 72 / Etude alla barbaro
Album
source: musicbrainz
· Album
Album: Beethoven-Liszt: Symphony no. 3 "Eroica" / Mozart-Alkan: Piano Concerto no. 20 in D minor
Album
source: musicbrainz
Biography
English biography7,244 words · 19 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1372748275
Biography
Charles-Valentin Alkan (French: [ʃaʁl valɑ̃tɛ̃ alkɑ̃]; 30 November 1813 – 29 March 1888) was a French composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life.
Alkan earned many awards at the Conservatoire de Paris, which he entered before he was six. His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance, for personal reasons. Although he had a wide circle of friends and acquaintances in the Parisian artistic world, including Eugène Delacroix and George Sand, from 1848 he began to adopt a reclusive life style, while continuing with his compositions – virtually all of which are for the keyboard. During this period he published, among other works, his collections of large-scale studies in all the major keys (Op. 35) and all the minor keys (Op. 39). The latter includes his Symphony for Solo Piano (Op. 39, nos. 4–7) and Concerto for Solo Piano (Op. 39, nos. 8–10), which are often considered among his masterpieces and are of great musical and technical complexity. Alkan emerged from self-imposed retirement in the 1870s to give a series of recitals that were attended by a new generation of French musicians.
Alkan's attachment to his Jewish origins is displayed both in his life and his work. He was the first composer to incorporate Jewish melodies in art music. Fluent in Hebrew and Greek, he devoted much time to a complete new translation of the Bible into French. This work, like many of his musical compositions, is now lost. Alkan never married, but his presumed son Élie-Miriam Delaborde was, like Alkan, a virtuoso performer on both the piano and the pedal piano, and edited a number of the elder composer's works.
Following his death (which according to persistent but unfounded legend was caused by a falling bookcase), Alkan's music became neglected, supported by only a few musicians including Ferruccio Busoni, Egon Petri and Kaikhosru Sorabji. From the late 1960s onwards, led by Raymond Lewenthal and Ronald Smith, many pianists have recorded his music and brought it back into the repertoire.
Family
Alkan was born Charles-Valentin Morhange on 30 November 1813 at 1 Rue de Braque in Paris to Alkan Morhange (1780–1855) and Julie Morhange, née Abraham. Alkan Morhange was descended from a long-established Jewish Ashkenazic community in the region of Metz; the village of Morhange is located about 30 miles (48 km) from the city of Metz. Charles-Valentin was the second of six children – one elder sister and four younger brothers; his birth certificate indicates that he was named after a neighbour who witnessed the birth.
Alkan Morhange supported the family as a musician and later as the proprietor of a private music school in le Marais, in the Jewish quarter of Paris. At an early age, Charles-Valentin and his siblings adopted their father's first name as their last (and were known by this during their studies at the Conservatoire de Paris and subsequent careers). His brother Napoléon (1826–1906) became professor of solfège at the Conservatoire, his brother Maxim (1818–1897) had a career writing light music for Parisian theatres, and his sister, Céleste (1812–1897), was a singer. His brother Ernest (1816–1876) was a professional flautist, while the youngest brother Gustave (1827–1882) was to publish various dances for the piano.
Prodigy (1819–1831)
Alkan was a child prodigy. He entered the Conservatoire de Paris at an unusually early age, and studied both piano and organ. The records of his auditions survive in the Archives Nationales in Paris. At his solfège audition on 3 July 1819, when he was just over 5 years 7 months, the examiners noted Alkan (who is referred to even at this early date as "Alkan (Valentin)", and whose age is given incorrectly as six-and-a-half) as "having a pretty little voice". The profession of Alkan Morhange is given as "music-paper ruler". At Charles-Valentin's piano audition on 6 October 1820, when he was nearly seven (and where he is named as "Alkan (Morhange) Valentin"), the examiners comment "This child has amazing abilities."
Alkan became a favourite of his teacher at the Conservatoire, Joseph Zimmerman, who also taught Georges Bizet, César Franck, Charles Gounod, and Ambroise Thomas. At the age of seven, Alkan won a first prize for solfège and in later years prizes in piano (1824), harmony (1827, as student of Victor Dourlen), and organ (1834). At the age of seven-and-a-half he gave his first public performance, appearing as a violinist and playing an air and variations by Pierre Rode. Alkan's Opus 1, a set of variations for piano based on a theme by Daniel Steibelt, dates from 1828, when he was 14 years old. At about this time he also undertook teaching duties at his father's school. Antoine Marmontel, one of Charles-Valentin's pupils there, who was later to become his bête noire, wrote of the school:
Young children, mostly Jewish, were given elementary musical instruction and also learnt the first rudiments of French grammar ... [There] I received a few lessons from the young Alkan, four years my senior ... I see once more ... that really parochial environment where the talent of Valentin Alkan was formed and where his hard-working youth blossomed ... It was like a preparatory school, a juvenile annexe of the Conservatoire.
From about 1826 Alkan began to appear as a piano soloist in leading Parisian salons, including those of the Princesse de la Moskova (widow of Marshal Ney), and the Duchesse de Montebello. He was probably introduced to these venues by his teacher Zimmerman. At the same time, Alkan Morhange arranged concerts featuring Charles-Valentin at public venues in Paris, in association with leading musicians including the sopranos Giuditta Pasta and Henriette Sontag, the cellist Auguste Franchomme and the violinist Lambert Massart, with whom Alkan gave concerts in a rare visit out of France to Brussels in 1827. In 1829, at the age of 15, Alkan was appointed joint professor of solfège – among his pupils in this class a few years later was his brother Napoléon. In this manner Alkan's musical career was launched well before the July Revolution of 1830, which initiated a period in which "keyboard virtuosity ... completely dominated professional music making" in the capital, attracting from all over Europe pianists who, as Heinrich Heine wrote, invaded "like a plague of locusts swarming to pick Paris clean". Alkan nonetheless continued his studies and in 1831 enrolled in the organ classes of François Benoist, from whom he may have learnt to appreciate the music of Johann Sebastian Bach, of whom Benoist was then one of the few French advocates.
Early fame (1831–1837)
Throughout the early years of the July Monarchy, Alkan continued to teach and play at public concerts and in eminent social circles. He became a friend of many who were active in the world of the arts in Paris, including Franz Liszt (who had been based there since 1827), George Sand, and Victor Hugo. It is not clear exactly when he first met Frédéric Chopin, who arrived in Paris in September 1831. In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire. In the same year, aged 19, he was elected to the influential Société Académique des Enfants d'Apollon (Society of the Children of Apollo), whose members included Luigi Cherubini, Fromental Halévy, the conductor François Habeneck, and Liszt, who had been elected in 1824 at the age of twelve. Between 1833 and 1836 Alkan participated at many of the Society's concerts. Alkan twice competed unsuccessfully for the Prix de Rome, in 1832 and again in 1834; the cantatas which he wrote for the competition, Hermann et Ketty and L'Entrée en loge, have remained unpublished and unperformed.
In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau, which was to result in an extended and often intimate correspondence. Like virtually all of Alkan's correspondence, this exchange is now one-sided; all of his papers (including his manuscripts and his extensive library) were either destroyed by Alkan himself, as is clear from his will, or became lost after his death. Later in 1834 Alkan made a visit to England, where he gave recitals and where the second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field; it was published in London together with some solo piano pieces. A letter to Masarnau and a notice in a French journal that Alkan played in London with Moscheles and Cramer, indicate that he returned to England in 1835. Later that year, Alkan, having found a place of retreat at Piscop outside Paris, completed his first truly original works for solo piano, the Twelve Caprices, published in 1837 as Opp. 12, 13, 15 and 16. Op. 16, the Trois scherzi de bravoure, is dedicated to Masarnau. In January 1836, Liszt recommended Alkan for the post of Professor at the Geneva Conservatoire, which Alkan declined, and in 1837 he wrote an enthusiastic review of Alkan's Op. 15 Caprices in the Revue et gazette musicale.
At the Square d'Orléans (1837–1848)
From 1837, Alkan lived in the Square d'Orléans in Paris, which was inhabited by numerous celebrities of the time including Marie Taglioni, Alexandre Dumas, George Sand, and Chopin. Chopin and Alkan were personal friends and often discussed musical topics, including a work on musical theory that Chopin proposed to write. By 1838, at 25 years old, Alkan had reached a peak of his career. He frequently gave recitals, his more mature works had begun to be published, and he often appeared in concerts with Liszt and Chopin. On 23 April 1837 Alkan took part in Liszt's farewell concert in Paris, together with the 14-year-old César Franck and the virtuoso Johann Peter Pixis. On 3 March 1838, at a concert at the piano-maker Pape, Alkan played with Chopin, Zimmerman, and Chopin's pupil Adolphe Gutmann in a performance of Alkan's transcription, now lost, of two movements of Beethoven's Seventh Symphony for two pianos, eight hands.
At this point, for a period which coincided with the birth and childhood of his natural son, Élie-Miriam Delaborde (1839–1913), Alkan withdrew into private study and composition for six years, returning to the concert platform only in 1844. Alkan neither asserted nor denied his paternity of Delaborde, which, however, his contemporaries seemed to assume. Marmontel wrote cryptically in a biography of Delaborde that "[his] birth is a page from a novel in the life of a great artist". Alkan gave early piano lessons to Delaborde, who was to follow his natural father as a keyboard virtuoso.
Alkan's return to the concert platform in 1844 was greeted with enthusiasm by critics, who noted the "admirable perfection" of his technique, and lauded him as "a model of science and inspiration", a "sensation" and an "explosion". They also commented on the attending celebrities including Liszt, Chopin, Sand and Dumas. In the same year he published his piano étude Le Chemin de fer, which critics, following Ronald Smith, believe to be the first representation in music of a steam engine. Between 1844 and 1848 Alkan produced a series of virtuoso pieces, the 25 Préludes Op. 31 for piano or organ, and the sonata Op. 33 Les Quatre Âges. Following an Alkan recital in 1848, the composer Giacomo Meyerbeer was so impressed that he invited the pianist, whom he considered "a most remarkable artist", to prepare the piano arrangement of the overture to his forthcoming opera, Le prophète. Meyerbeer heard and approved Alkan's arrangement of the overture for four hands (which Alkan played with his brother Napoléon) in 1849; published in 1850, it is the only record of the overture, which was scrapped during rehearsals at the Opéra.
Retreat (1848–1872)
In 1848 Alkan was bitterly disappointed when the head of the Conservatoire, Daniel Auber, replaced the retiring Zimmerman with the mediocre Antoine Marmontel as head of the Conservatoire piano department, a position which Alkan had eagerly anticipated, and for which he had strongly lobbied with the support of Sand, Dumas, and many other leading figures. A disgusted Alkan described the appointment in a letter to Sand as "the most incredible, the most shameful nomination"; and Delacroix noted in his journal: "By his confrontation with Auber, [Alkan] has been very put out and will doubtless continue to be so." The upset arising from this incident may account for Alkan's reluctance to perform in public in the ensuing period. His withdrawal was also influenced by the death of Chopin; in 1850 he wrote to Masarnau "I have lost the strength to be of any economic or political use", and lamented "the death of poor Chopin, another blow which I felt deeply." Chopin, on his deathbed in 1849, had indicated his respect for Alkan by bequeathing him his unfinished work on a piano method, intending him to complete it, and after Chopin's death a number of his students transferred to Alkan. After giving two concerts in 1853, Alkan withdrew, in spite of his fame and technical accomplishment, into virtual seclusion for some twenty years.
Little is known of this period of Alkan's life, other than that apart from composing he was immersed in the study of the Bible and the Talmud. Throughout this period Alkan continued his correspondence with Ferdinand Hiller, whom he had probably met in Paris in the 1830s, and with Masarnau, from which some insights can be gained. It appears that Alkan completed a full translation into French, now lost, of both the Old Testament and the New Testament, from their original languages. In 1865, he wrote to Hiller: "Having translated a good deal of the Apocrypha, I'm now onto the second Gospel which I am translating from the Syriac ... In starting to translate the New Testament, I was suddenly struck by a singular idea – that you have to be Jewish to be able to do it."
Despite his seclusion from society, this period saw the composition and publication of many of Alkan's major piano works, including the Douze Études dans tous les tons mineurs, Op. 39 (1857), the Sonatine, Op. 61 (1861), the 49 Esquisses, Op. 63 (1861), and the five collections of Chants (1857–1872), as well as the Sonate de concert for cello and piano, Op. 47 (1856). These did not pass unremarked; Hans von Bülow, for example, gave a laudatory review of the Op. 35 Études in the Neue Berliner Musikzeitung in 1857, the year in which they were published in Berlin, commenting that "Alkan is unquestionably the most eminent representative of the modern piano school at Paris. The virtuoso's disinclination to travel, and his firm reputation as a teacher, explain why, at present, so little attention has been given to his work in Germany."
From the early 1850s Alkan began to turn his attention seriously to the pedal piano (pédalier). Alkan gave his first public performances on the pédalier to great critical acclaim in 1852. From 1859 onwards he began to publish pieces designated as "for organ or piano à pédalier".
Reappearance (1873–1888)
It is not clear why, in 1873, Alkan decided to emerge from his self-imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms. It may have been associated with the developing career of Delaborde, who, returning to Paris in 1867, soon became a concert fixture, including in his recitals many works by his father, and who was at the end of 1872 given the appointment that had escaped Alkan himself, Professor at the Conservatoire. The success of the Petits Concerts led to them becoming an annual event (with occasional interruptions caused by Alkan's health) until 1880 or possibly beyond. The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards, played on both the piano and the pédalier, and occasionally with the participation of another instrumentalist or singer. He was assisted in these concerts by his siblings, and by other musicians including Delaborde, Camille Saint-Saëns, and Auguste Franchomme.
Those encountering Alkan at this phase included the young Vincent d'Indy, who recalled Alkan's "skinny, hooked fingers" playing Bach on an Érard pedal piano: "I listened, riveted to the spot by the expressive, crystal-clear playing." Alkan later played Beethoven's Op. 110 sonata, of which d'Indy said: "What happened to the great Beethovenian poem ... I couldn't begin to describe – above all in the Arioso and the Fugue, where the melody, penetrating the mystery of Death itself, climbs up to a blaze of light, affected me with an excess of enthusiasm such as I have never experienced since. This was not Liszt—perhaps less perfect, technically—but it had greater intimacy and was more humanly moving ..."
The biographer of Chopin, Frederick Niecks, sought Alkan for his recollections in 1880 but was sternly denied access by Alkan's concierge – "To my ... enquiry when he could be found at home, the reply was a ... decisive 'Never'." However, a few days later he found Alkan at Érard's, and Niecks writes of their meeting that "his reception of me was not merely polite but most friendly."
Death
According to his death certificate, Alkan died in Paris on 29 March 1888 at the age of 74. Alkan was buried on 1 April (Easter Sunday) in the Jewish section of Montmartre Cemetery, Paris, not far from the tomb of his contemporary Fromental Halévy; his sister Céleste was later buried in the same tomb.
For many years it was believed that Alkan met his death when a bookcase toppled over and fell on him as he reached for a volume of the Talmud from a high shelf. This tale, which was circulated by the pianist Isidor Philipp, is dismissed by Hugh Macdonald, who reports the discovery of a contemporary letter by one of his pupils explaining that Alkan had been found prostrate in his kitchen, under a porte-parapluie (a heavy coat/umbrella rack), after his concierge heard his moaning. He had possibly fainted, bringing it down on himself while grabbing out for support. He was reportedly carried to his bedroom and died later that evening. The story of the bookcase may have its roots in a legend told of Aryeh Leib ben Asher, rabbi of Metz, the town from which Alkan's family originated.
Personality
Alkan was described by Marmontel (who refers to "a regrettable misunderstanding at a moment of our careers in 1848"), as follows:
We will not give the portrait of Valentin Alkan from the rear, as in some photographs we have seen. His intelligent and original physiognomy deserves to be taken in profile or head-on. The head is strong; the deep forehead is that of a thinker; the mouth large and smiling, the nose regular; the years have whitened the beard and hair ... the gaze fine, a little mocking. His stooped walk, his puritan comportment, give him the look of an Anglican minister or a rabbi – for which he has the abilities.
Alkan was not always remote or aloof. Chopin describes, in a letter to a friend, visiting the theatre with Alkan in 1847 to see the comedian Arnal: "[Arnal] tells the audience how he was desperate to pee in a train, but couldn't get to a toilet before they stopped at Orléans. There wasn't a single vulgar word in what he said, but everyone understood and split their sides laughing." Hugh Macdonald notes that Alkan "particularly enjoyed the patronage of Russian aristocratic ladies, 'des dames très parfumées et froufroutantes [highly perfumed and frilled ladies]', as Isidore Philipp described them."
Alkan's aversion to socialising and publicity, especially following 1850, appeared to be self-willed. Liszt is reported to have commented to the Danish pianist Frits Hartvigson that "Alkan possessed the finest technique he had ever known, but preferred the life of a recluse."
Alkan's later correspondence contains many despairing comments. In a letter of about 1861 he wrote to Hiller:
I'm becoming daily more and more misanthropic and misogynous ... nothing worthwhile, good or useful to do ... no one to devote myself to. My situation makes me horridly sad and wretched. Even musical production has lost its attraction for me for I can't see the point or goal."
This spirit of anomie may have led him to reject requests in the 1860s to play in public, or to allow performances of his orchestral compositions. However, it should not be ignored that he was writing similarly frantic self-analyses in his letters of the early 1830s to Masarnau.
Hugh MacDonald writes that "Alkan's enigmatic character is reflected in his music – he dressed in a severe, old-fashioned, somewhat clerical manner – only in black – discouraged visitors and went out rarely – he had few friends – was nervous in public and was pathologically worried about his health, even though it was good". Ronald Smith writes that "Alkan's characteristics, exacerbated no doubt by his isolation, are carried to the edge of fanaticism, and at the heart of Alkan's creativity there is also fierce obsessional control; his obsession with a specific idea can border on the pathological."
Jack Gibbons writes of Alkan's personality: "Alkan was an intelligent, lively, humorous and warm person (all characteristics which feature strongly in his music) whose only crime seems to have been having a vivid imagination, and whose occasional eccentricities (mild when compared with the behaviour of other 'highly-strung' artistes!) stemmed mainly from his hypersensitive nature." Macdonald, however, suggests that "Alkan was a man of profoundly conservative ideas, whose lifestyle, manner of dress, and belief in the traditions of historic music, set him apart from other musicians and the world at large."
Judaism
Alkan grew up in a religiously observant Jewish household. His grandfather Marix Morhange had been a printer of the Talmud in Metz, and was probably a melamed (Hebrew teacher) in the Jewish congregation at Paris. Alkan's widespread reputation as a student of the Old Testament and religion, and the high quality of his Hebrew handwriting testify to his knowledge of the religion, and some of his habits indicate that he practised at least some of its obligations, such as maintaining the laws of kashrut. Alkan was regarded by the Paris Consistory, the central Jewish organisation of the city, as an authority on Jewish music. In 1845 he assisted the Consistory in evaluating the musical ability of Samuel Naumbourg, who was subsequently appointed as hazzan (cantor) of the main Paris synagogue; and he later contributed choral pieces in each of Naumbourg's collections of synagogue music (1847 and 1856). Alkan was appointed organist at the Synagogue de Nazareth in 1851, although he resigned the post almost immediately for "artistic reasons".
Alkan's Op. 31 set of Préludes includes a number of pieces based on Jewish subjects, including some titled Prière (Prayer), one preceded by a quote from the Song of Songs, and another titled Ancienne mélodie de la synagogue (Old synagogue melody). The collection is believed to be "the first publication of art music specifically to deploy Jewish themes and ideas." Alkan's three settings of synagogue melodies, prepared for his former pupil Zina de Mansouroff, are further examples of his interest in Jewish music; Kessous Dreyfuss provides a detailed analysis of these works and their origins. Other works evidencing this interest include no. 7 of his Op. 66. 11 Grands préludes et 1 Transcription (1866), entitled "Alla giudesca" and marked "con divozione", a parody of excessive hazzanic practice; and the slow movement of the cello sonata Op. 47 (1857), which is prefaced by a quotation from the Old Testament prophet Micah and uses melodic tropes derived from the cantillation of the haftarah in the synagogue.
The inventory of Alkan's apartment made after his death indicates over 75 volumes in Hebrew or related to Judaism, left to his brother Napoléon (as well as 36 volumes of music manuscript). These are all lost. Bequests in his will to the Conservatoire to found prizes for composition of cantatas on Old Testament themes and for performance on the pedal-piano, and to a Jewish charity for the training of apprentices, were refused by the beneficiaries.
Influences
Brigitte François-Sappey points out the frequency with which Alkan has been compared to Berlioz, both by his contemporaries and later. She mentions that Hans von Bülow called him "the Berlioz of the piano", while Schumann, in criticising the Op. 15 Romances, claimed that Alkan merely "imitated Berlioz on the piano." She further notes that Ferruccio Busoni repeated the comparison with Berlioz in a draft (but unpublished) monograph, while Kaikhosru Sorabji commented that Alkan's Op. 61 Sonatine was like "a Beethoven sonata written by Berlioz". Berlioz was ten years older than Alkan, but did not attend the Conservatoire until 1826. The two were acquainted, and were perhaps both influenced by the unusual ideas and style of Anton Reicha who taught at the Conservatoire from 1818 to 1836, and by the sonorities of the composers of the period of the French Revolution. They both created individual, indeed, idiosyncratic sound-worlds in their music; there are, however, major differences between them. Alkan, unlike Berlioz, remained closely dedicated to the German musical tradition; his style and composition were heavily determined by his pianism, whereas Berlioz could hardly play at the keyboard and wrote almost nothing for piano solo. Alkan's works therefore also include miniatures and (among his early works) salon music, genres which Berlioz avoided.
Alkan's attachment to the music of his predecessors is demonstrated throughout his career, from his arrangements for keyboard of Beethoven's Seventh Symphony (1838), and of the minuet of Mozart's 40th Symphony (1844), through the sets Souvenirs des concerts du Conservatoire (1847 and 1861) and the set Souvenirs de musique de chambre (1862), which include transcriptions of music by Mozart, Beethoven, J. S. Bach, Haydn, Gluck, and others. In this context should be mentioned Alkan's extensive cadenza for Beethoven's 3rd Piano Concerto (1860), which includes quotes from the finale of Beethoven's 5th Symphony. Alkan's transcriptions, together with original music of Bach, Beethoven, Handel, Mendelssohn, Couperin and Rameau, were frequently played during the series of Petits Concerts given by Alkan at Erard.
As regards the music of his own time, Alkan was unenthusiastic, or at any rate detached. He commented to Hiller that "Wagner is not a musician, he is a disease." While he admired Berlioz's talent, he did not enjoy his music. At the Petits Concerts, little more recent than Mendelssohn and Chopin (both of whom had died around 25 years before the series of concerts was initiated) was played, except for Alkan's own works and occasionally some by his favourites such as Saint-Saëns.
Style
"Like ... Chopin", writes pianist and academic Kenneth Hamilton, "Alkan's musical output was centred almost exclusively on the piano". Some of his music requires extreme technical virtuosity, clearly reflecting his own abilities, often calling for great velocity, enormous leaps at speed, long stretches of fast repeated notes, and the maintenance of widely spaced contrapuntal lines. The illustration (right) from the Grande sonate is analysed by Smith as "six parts in invertible counterpoint, plus two extra voices and three doublings – eleven parts in all." Some typical musical devices, such as a sudden explosive final chord following a quiet passage, were established at an early stage in Alkan's compositions.
Macdonald suggests that
unlike Wagner, Alkan did not seek to refashion the world through opera; nor, like Berlioz, to dazzle the crowds by putting orchestral music at the service of literary expression; nor even, as with Chopin or Liszt, to extend the field of harmonic idiom. Armed with his key instrument, the piano, he sought incessantly to transcend its inherent technical limits, remaining apparently insensible to the restrictions which had withheld more restrained composers.
However, not all of Alkan's music is either lengthy or technically difficult; for example, many of the Op. 31 Préludes and of the set of Esquisses, Op. 63.
Moreover, in terms of structure, Alkan in his compositions sticks to traditional musical forms, although he often took them to extremes, as he did with piano technique. The study Op. 39, no. 8 (the first movement of the Concerto for solo piano) takes almost half an hour in performance. Describing this "gigantic" piece, Ronald Smith comments that it convinces for the same reasons as does the music of the classical masters; "the underlying unity of its principal themes, and a key structure that is basically simple and sound."
The Chant Op. 38, no. 2, entitled Fa, repeats the note of its title incessantly (in total 414 times) against shifting harmonies which make it "cut ... into the texture with the ruthless precision of a laser beam." In modelling his five sets of Chants on the first book of Mendelssohn's Songs Without Words, Alkan ensured that the pieces in each of his sets followed precisely the same key signatures, and even the moods, of the original. Alkan was rigorous in his enharmonic spelling, occasionally modulating to keys containing double-sharps or double-flats, so pianists are occasionally required to come to terms with unusual keys such as E♯ major, the enharmonic equivalent to F major, and the occasional triple-sharp.
Early works
Alkan's earliest works indicate, according to Smith, that in his early teens he "was a formidable musician but as yet ... industrious rather than ... creative". Only with his 12 Caprices (Opp.12–13 and 15–16, 1837) did his compositions begin to attract serious critical attention. The Op. 15 set, Souvenirs: Trois Morceaux dans le genre pathétique, dedicated to Liszt, contains Le vent (The Wind), which was at one time the only piece by the composer to figure regularly in recitals. These works, however, did not meet with the approval of Robert Schumann, who wrote: "One is startled by such false, such unnatural art ... the last [piece, titled Morte (Death), is] a crabbed waste, overgrown with brush and weeds ... nothing is to be found but black on black". Ronald Smith, however, finds in this latter work, which cites the Dies Irae theme also used by Berlioz, Liszt and others, foreshadowings of Maurice Ravel, Modest Mussorgsky and Charles Ives. Schumann did, however, respond positively to the pieces of Les mois (originally part published as Op. 8 in 1838, later published as a complete set in 1840 as Op. 74): "[Here] we find such an excellent jest on operatic music in no. 6 [L'Opéra] that a better one could scarcely be imagined ... The composer ... well understands the rarer effects of his instrument." Alkan's technical mastery of the keyboard was asserted by the publication in 1838 of the Trois Grandes Études (originally without opus number, later republished as Op. 76), the first for the left hand alone, the second for the right hand alone, the third for both hands; and all of great difficulty, described by Smith as "a peak of pianistic transcendentalism". This is perhaps the earliest example of writing for a single hand as "an entity in its own right, capable of covering all registers of the piano, of rendering itself as accompanied soloist or polyphonist."
Early maturity
Alkan's large scale Duo (in effect a sonata) Op. 21 for violin and piano (dedicated to Chrétien Urhan) and his Piano Trio Op. 30 appeared in 1841. Apart from these, Alkan published only a few minor works between 1840 and 1844, after which a series of virtuoso works was issued, many of which he had played at his successful recitals at Érard and elsewhere; these included the Marche funèbre (Op. 26), the Marche triomphale (Op. 27) and Le chemin de fer (also published, separately, as Op. 27). In 1847 appeared the Op. 31 Préludes (in all major and minor keys, with an extra closing piece returning to C major) and his first large-scale unified piano work, the Grande sonate Les Quatre Âges (Op. 33). The sonata is structurally innovative in two ways; each movement is slower than its predecessor, and the work anticipates the practice of progressive tonality, beginning in D major and ending in G♯ minor. Dedicated to Alkan Morhange, the sonata depicts in its successive movements its 'hero' at the ages of 20 (optimistic), 30 ("Quasi-Faust", impassioned and fatalistic), 40 (domesticated) and 50 (suffering: the movement is prefaced by a quotation from Aeschylus's Prometheus Unbound). In 1848 followed Alkan's set of 12 études dans tous les tons majeurs Op. 35, whose substantial pieces range in mood from the hectic Allegro barbaro (no. 5) and the intense Chant d'amour-Chant de mort (Song of Love – Song of Death) (no. 10) to the descriptive and picturesque L'incendie au village voisin (The Fire in the Next Village) (no. 7).
A number of Alkan's compositions from this period were never performed and have been lost. Among the missing works are some string sextets and a full-scale orchestral symphony in B minor, which was described in an article in 1846 by the critic Léon Kreutzer, to whom Alkan had shown the score. Kreutzer noted that the introductory adagio of the symphony was headed "by Hebrew characters in red ink ... This is no less than the verse from Genesis: And God said, Let there be light: and there was light." Kreutzer opined that, set beside Alkan's conception, Joseph Haydn's Creation was a "mere candle (lampion)." A further missing work is a one-act opera, mentioned frequently in the French musical press of 1846–7 as being shortly to be produced at the Opéra-Comique, which, however, never materialized. Alkan also referred to this work in a letter of 1847 to the musicologist François-Joseph Fétis, stating that it had been written "a few years ago." Its subject, title and librettist remain unknown.
Internal exile
During his twenty-year absence from the public between 1853 and 1873 Alkan produced many of his most notable compositions, although there is a ten-year gap between publication of the Op. 35 studies and that of his next group of piano works in 1856 and 1857. Of these, undoubtedly the most significant was the enormous Opus 39 collection of twelve studies in all the minor keys, which contains the Symphony for Solo Piano (numbers four, five, six and seven), and the Concerto for Solo Piano (numbers eight, nine and ten). The Concerto takes nearly an hour in performance. Number twelve of Op. 39 is a set of variations, Le Festin d'Ésope (Aesop's Feast). The other components of Op. 39 are of a similar stature. Smith describes Op. 39 as a whole as "a towering achievement, gathering ... the most complete manifestation of Alkan's many-sided genius: its dark passion, its vital rhythmic drive, its pungent harmony, its occasionally outrageous humour, and, above all, its uncompromising piano writing."
In the same year appeared the Sonate de concert, Op. 47, for cello and piano, "among the most difficult and ambitious in the romantic repertoire ... anticipating Mahler in its juxtaposition of the sublime and the trivial". In the opinion of the musicologist Brigitte François-Sappey, its four movements again show an anticipation of progressive tonality, each ascending by a major third. Other anticipations of Mahler (who was born in 1860) can be found in the two "military" Op. 50 piano studies of 1859 Capriccio alla soldatesca and Le tambour bat aux champs (The drum beats the retreat), as well as in certain of the miniatures of the 1861 Esquisses, Op. 63. The bizarre and unclassifiable Marcia funebre, sulla morte d'un Pappagallo (Funeral march on the death of a parrot, 1859), for three oboes, bassoon and voices, described by Kenneth Hamilton as "Monty-Pythonesque", is also of this period.
The Esquisses of 1861 are a set of highly varied miniatures, ranging from the tiny 18-bar no. 4, Les cloches (The Bells), to the strident tone clusters of no. 45, Les diablotins (The Imps), and closing with a further evocation of church bells in no. 49, Laus Deo (Praise God). Like the earlier Preludes and the two sets of Etudes, they span all the major and minor keys (in this case covering each key twice, with an extra piece in C major). They were preceded in publication by Alkan's deceptively titled Sonatine, Op. 61, in 'classical' format, but a work of "ruthless economy [which] although it plays for less than twenty minutes ... is in every way a major work."
Two of Alkan's substantial works from this period are musical paraphrases of literary works. Salut, cendre du pauvre, Op. 45 (1856), follows a section of the poem La Mélancolie by Gabriel-Marie Legouvé; while Super flumina Babylonis, Op. 52 (1859), is a blow-by-blow recreation in music of the emotions and prophecies of Psalm 137 ("By the waters of Babylon ..."). This piece is prefaced by a French version of the psalm which is believed to be the sole remnant of Alkan's Bible translation. Alkan's lyrical side was displayed in this period by the five sets of Chants inspired by Mendelssohn (Opp. 38, 65, 67, and 70), which appeared between 1857 and 1872, as well as by a number of minor pieces, such as three Nocturnes, Opp. 57 and 60bis (1859).
Alkan's publications for organ or pédalier commenced with his Benedictus, Op. 54 (1859). In the same year he published a set of very spare and simple preludes in the eight Gregorian modes (1859, without opus number), which, in Smith's opinion, "seem to stand outside the barriers of time and space", and which he believes reveal "Alkan's essential spiritual modesty." These were followed by pieces such as the 13 Prières (Prayers), Op. 64 (1865), and the Impromptu sur le Choral de Luther "Un fort rempart est notre Dieu" , Op. 69 (1866). Alkan also issued a book of 12 studies for the pedalboard alone (no opus number, 1866) and the Bombardo-carillon for pedalboard duet (four feet) of 1872.
Alkan's return to the concert platform at his Petits Concerts, however, marked the end of his publications; his final work to be issued was the Toccatina, Op. 75, in 1872.
Reception and legacy
Alkan had few followers; however, he had important admirers, including Liszt, Anton Rubinstein, Franck, and, in the early twentieth century, Busoni, Petri and Sorabji. Rubinstein dedicated his fifth piano concerto to him, and Franck dedicated to Alkan his Grand pièce symphonique op. 17 for organ. Busoni ranked Alkan with Liszt, Chopin, Schumann and Brahms as one of the five greatest composers for the piano since Beethoven. Isidor Philipp and Delaborde edited new printings of his works in the early 1900s. In the first half of the twentieth century, when Alkan's name was still obscure, Busoni and Petri included his works in their performances. Sorabji published an article on Alkan in his 1932 book Around Music; he promoted Alkan's music in his reviews and criticism, and his Sixth Symphony for Piano (Symphonia claviensis) (1975–76), includes a section entitled Quasi Alkan. The English composer and writer Bernard van Dieren praised Alkan in an essay in his 1935 book, Down Among the Dead Men, and the composer Humphrey Searle also called for a revival of his music in a 1937 essay. The pianist and writer Charles Rosen, however, considered Alkan "a minor figure", whose only music of interest comes after 1850 as an extension of Liszt's techniques and of "the operatic techniques of Meyerbeer."
For much of the 20th century, Alkan's work remained in obscurity, but from the 1960s onwards it was steadily revived. Raymond Lewenthal gave a pioneering extended broadcast on Alkan on WBAI radio in New York in 1963, and later included Alkan's music in recitals and recordings. The English pianist Ronald Smith championed Alkan's music through performances, recordings, a biography and the Alkan Society of which he was president for many years. Works by Alkan have also been recorded by Jack Gibbons, Marc-André Hamelin, Mark Latimer, John Ogdon, Hüseyin Sermet and Mark Viner, among many others. Ronald Stevenson composed a piano piece Festin d'Alkan (referring to Alkan's Op. 39, no. 12) and the composer Michael Finnissy has also written piano pieces referring to Alkan, e.g. Alkan-Paganini, no. 5 of The History of Photography in Sound. Marc-André Hamelin's Étude No. IV is a moto perpetuo study combining themes from Alkan's Symphony, Op. 39, no. 7, and Alkan's own perpetual motion étude, Op. 76, no. 3. It is dedicated to Averil Kovacs and François Luguenot, respectively activists in the English and French Alkan Societies. As Hamelin writes in his preface to this étude, the idea to combine these came from the composer Alistair Hinton, the finale of whose Piano Sonata No. 5 (1994–95) includes a substantial section entitled "Alkanique".
Alkan's compositions for organ have been among the last of his works to be brought back to the repertoire. As to Alkan's pedal-piano works, due to a recent revival of the instrument, they are once again being performed as originally intended (rather than on an organ), such as by Italian pedal-pianist Roberto Prosseda, and recordings of Alkan on the pedal piano have been made by Jean Dubé and Olivier Latry.
Selected recordings
This list comprises a selection of some premiere and other recordings by musicians who have become closely associated with Alkan's works. A comprehensive discography is available at the Alkan Society website.
Piano Trio, Op. 30 – played by Trio Alkan. Recorded 1992. Naxos, 8555352 (2001)
Grande sonate, Op. 33 – played by Marc-André Hamelin (piano). Recorded 1994. Hyperion, CDA669764 (1995).
Études dans tous les tons mineurs, Op. 39 – played by Ronald Smith (piano). Recorded 1977. EMI, SLS 5100 [3 LPs] (1978), partly reissued EMI Gemini, 585 4842 (2003)
Études dans tous les tons mineurs, Op. 39 and other works – played by Jack Gibbons (piano). Recorded 1995. ASV, CD DCS 227 [2 CDs] (1995)
Symphony for Solo Piano (Op. 39, no. 4–7) – played by Egon Petri (piano). c. 1952–53. Symposium Records, CD 1145 (1993)
Symphony for Solo Piano, Op. 39, nos. 4–7 and other works – played by Hamelin (piano). Recorded 2000. Hyperion, CDA67218 (2001)
Concerto, Op. 39, nos. 8–10 – played by John Ogdon (piano). Recorded 1969. RCA, LSC-3192 [LP] (1972). Great British Pianists, 4569132 (1999)
Concerto, Op. 39, nos. 8–10 and Troisième recueil de chants, Op. 65 – played by Hamelin (piano). Recorded 2006. Hyperion Records CDA67569 (2007).
Le festin d'Esope (Op. 39, no. 12) and other works – played by Raymond Lewenthal. Recorded 1966. RCA LM 2815 [LP mono], LSC-2815 [LP stereo]; BMG High Performance Series 633310 (1999)
Sonate de concert, Op. 47, for cello and piano – played by Steven Osborne (piano) and Alban Gerhardt (cello). Recorded 2008. Hyperion CDA67624 (2008).
11 Pièces dans le style religieux, et une transcription du Messie de Hændel, Op. 72 – played by Kevin Bowyer (organ). Recorded 2005. Toccata TOCC 0031 (2007)
Ch. V. Alkan: Grande Sonate and Piano Solo Symphony played by Vincenzo Maltempo (Piano Classics PCL0038)
Ch. V. Alkan: Le festin d'Esope, Sonatine, Ouverture and Trois Morceaux Op. 15 played by Maltempo (Piano Classics PCL0056)
Ch. V. Alkan: Piano Solo Concerto and Etudes Op. 39 n. 1, 2, 3 played by Maltempo (Piano Classics PCL0061)
Ch. V. Alkan/Da Motta: The Complete Vianna da Motta Transcriptions played by Maltempo (Toccata Classics TOCC0237)
Ch. V Alkan: Chanson de la folle au bord de la mer: A Collection of Eccentric Piano Works played by Maltempo (Piano Classics PCL0083)
About Alkan
Alkan Society, including complete and regularly updated discography
Alkan web site of Sylvain Chosson, contains detailed listing of Alkan's works, with some downloadable scores
"The Myths of Alkan" by Jack Gibbons
Unriddling Alkan by David Conway
Alkan-Zimmerman International Music Association
Scores and sheet-music
Free Alkan scores and manuscripts – site of Sylvain Chosson
Kunst der Fuge: many of Alkan's piano works in MIDI performances
Alkan Piano Trio-Discussion of work and soundbites
www.kreusch-sheet-music.net – Free Scores by Alkan
Free scores by Alkan at the International Music Score Library Project (IMSLP)
Other languages
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 43 | 95.3th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 71 | 96.4th |
| Studio albums | 68 | 99.6th |
| Awards recorded | 0 | 0th |
| Timeline events | 71 | 99.4th |
| Recording span (years) | -81 | 5.4th |
| Genres | 5 | 88.3th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (71 release groups · 68 studio albums)
Albums · 68
1969 · studio album
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Tracklist · 3 tracks
A1Concerto for Solo Piano: I. Allegro assaiB1Concerto for Solo Piano: II. AdagioB2Concerto for Solo Piano: III. Allegretto alla barbarescaMusic for Organ or Pedal-Piano
1988 · studio album
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Tracklist · 22 tracks
1Treize prières, op. 64: No. 1. Andantino2Treize prières, op. 64: No. 2. Moderato3Treize prières, op. 64: No. 3. Poco adagio4Treize prières, op. 64: No. 4. Moderatamente5Treize prières, op. 64: No. 5. Adagio6Treize prières, op. 64: No. 6. Moderato7Treize prières, op. 64: No. 7. Maestoso8Treize prières, op. 64: No. 8. Tempo giusto9Treize prières, op. 64: No. 9. Doucement10Treize prières, op. 64: No. 10. Assez lentement11Treize prières, op. 64: No. 11. Andantino12Treize prières, op. 64: No. 12. Allegretto13Treize prières, op. 64: No. 13. Largement et majestueusement14Petits préludes sur les huit gammes de plain-chant: No. 1. Moderato15Petits préludes sur les huit gammes de plain-chant: No. 2. Andantino16Petits préludes sur les huit gammes de plain-chant: No. 3. Tempo giusto17Petits préludes sur les huit gammes de plain-chant: No. 4. Vivace18Petits préludes sur les huit gammes de plain-chant: No. 5. Andante quasi allegretto19Petits préludes sur les huit gammes de plain-chant: No. 6. Poco lento20Petits préludes sur les huit gammes de plain-chant: No. 7. Andantino21Petits préludes sur les huit gammes de plain-chant: No. 8. Moderato22Impromptu sur le choral de Luther, op. 691988 · studio album
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Tracklist · 20 tracks
1Grands préludes, op. 66, no. 1 in F2Grands préludes, op. 66, no. 9 in D-flat3Grands préludes, op. 66, no. 11 in F-sharp4Petits préludes sur les huit gammes de plain-chant: I. Moderato5Petits préludes sur les huit gammes de plain-chant: II. Andantino6Petits préludes sur les huit gammes de plain-chant: III. Tempo giusto7Petits préludes sur les huit gammes de plain-chant: IV. Vivace8Petits préludes sur les huit gammes de plain-chant: V. Andante quasi allegretto9Petits préludes sur les huit gammes de plain-chant: VI. Poco lento10Petits préludes sur les huit gammes de plain-chant: VII. Andantino11Petits préludes sur les huit gammes de plain-chant: VIII. Moderato12Pièces dans le style religieux, op. 72, no. 1 in C13Pièces dans le style religieux, op. 72, no. 2 in A14Pièces dans le style religieux, op. 72, no. 3 in D minor15Pièces dans le style religieux, op. 72, no. 4 in G16Pièces dans le style religieux, op. 72, no. 5 in D minor17Pièces dans le style religieux, op. 72, no. 7 in F18Pièces dans le style religieux, op. 72, no. 9 in E-flat19Pièces dans le style religieux, op. 72, no. 10 in D minor20Pièces dans le style religieux, op. 72, no. 11 in A minor1988 · studio album
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Tracklist · 11 tracks · 48:30
1Sonatine : I. Allegro vivace4:362Sonatine : II. Allegramente5:173Sonatine : III. Scherzo, Minuetto3:414Sonatine : IV. Tempo giusto6:005Zorcico : Danse ibérienne à cinq temps5:336Scherzo diabolico4:3672ᵉ Nocturne6:348Gigue0:529March nᵒ 14:0910Barcarolle3:3611Saltarelle3:361990 · studio album
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Tracklist · 25 tracks · 1:07:10
125 Préludes, op. 31: I. Lentement2:32225 Préludes, op. 31: II. Assez lentement3:38325 Préludes, op. 31: III. Dans le genre ancient. Très lentement3:16425 Préludes, op. 31: IV. Prière du soir. Assez lentement1:58525 Préludes, op. 31: V. Psaume 150me. Avec enthousiasme2:17625 Préludes, op. 31: VI. Ancienne mélodie de la synagogue. Andante flebile4:24725 Préludes, op. 31: VII. Librement mais sans secousses1:39825 Préludes, op. 31: VIII. La Chanson de la folle au bord de la mer. Lentement4:42925 Préludes, op. 31: IX. Placiditas. Tranquillement2:451025 Préludes, op. 31: X. Dans le style fugue. Très vite1:041125 Préludes, op. 31: XI. Un petit rien. Assez vite1:091225 Préludes, op. 31: XII. Le temps qui n’est plus. Andante1:351325 Préludes, op. 31: XIII. J’étais endormie, mais mon coeur veillait… (Cantique des cantiques 5:2). Lentement4:201425 Préludes, op. 31: XIV. Rapidement3:001525 Préludes, op. 31: XV. Dans le genre gothique. Assez vite et avec beaucoup de grâce2:161625 Préludes, op. 31: XVI. Assez lentement2:121725 Préludes, op. 31: XVII. Rêve d’amour. Assez vite2:431825 Préludes, op. 31: XVIII. Romance. Sans trop de movement3:471925 Préludes, op. 31: XIX. Prière du matin. Vite1:082025 Préludes, op. 31: XX. Modérément vite et bien caracterisé1:392125 Préludes, op. 31: XXI. Doucement1:342225 Préludes, op. 31: XXII. Anniversaire. Assez lentement3:262325 Préludes, op. 31: XXIII. Assez vite2:162425 Préludes, op. 31: XXIV. Étude de velocité. Prestissimo1:592525 Préludes, op. 31: XXV. Prière. Lentement5:511991 · studio album
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Tracklist · 22 tracks · 1:13:48
1Treize prières, op. 64: No. 1. Andantino2:492Treize prières, op. 64: No. 2. Moderato2:243Treize prières, op. 64: No. 3. Poco adagio4:334Treize prières, op. 64: No. 4. Moderatamente2:505Treize prières, op. 64: No. 5. Adagio5:066Treize prières, op. 64: No. 6. Moderato4:207Treize prières, op. 64: No. 7. Maestoso6:528Treize prières, op. 64: No. 8. Tempo giusto2:329Treize prières, op. 64: No. 9. Doucement3:3710Treize prières, op. 64: No. 10. Assez lentement4:3811Treize prières, op. 64: No. 11. Andantino4:3212Treize prières, op. 64: No. 12. Allegretto3:4113Treize prières, op. 64: No. 13. Largement et majestueusement4:2214Petits préludes sur les huit gammes de plain-chant: No. 1. Moderato0:3115Petits préludes sur les huit gammes de plain-chant: No. 2. Andantino1:1616Petits préludes sur les huit gammes de plain-chant: No. 3. Tempo giusto1:2317Petits préludes sur les huit gammes de plain-chant: No. 4. Vivace0:2918Petits préludes sur les huit gammes de plain-chant: No. 5. Andante quasi allegretto0:3619Petits préludes sur les huit gammes de plain-chant: No. 6. Poco lento1:1820Petits préludes sur les huit gammes de plain-chant: No. 7. Andantino0:3721Petits préludes sur les huit gammes de plain-chant: No. 8. Moderato1:2122Impromptu on Luther's "Un fort rempart est notre Dieu", op. 69 (in organ transcription)14:011992 · studio album
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Tracklist · 3 tracks · 50:02
1Douze Études dans tous les tous mineurs, op. 39: VIII. Allegro assai28:112Douze Études dans tous les tous mineurs, op. 39: IX. Adagio12:263Douze Études dans tous les tous mineurs, op. 39: X. Allegretto alla barbaresca9:251992 · studio album
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Tracklist · 10 tracks · 1:16:51
1Grande sonate, op. 33 "Les quatres âges": I. Vingt ans6:362Grande sonate, op. 33 "Les quatres âges": II. Trente ans "Quasi-Faust"13:023Grande sonate, op. 33 "Les quatres âges": III. Quarante ans "Un heureux ménage"11:444Grande sonate, op. 33 "Les quatres âges": IV. Cinquante ans "Prométhée enchaîné"12:065Études dans tous les tons mineurs, op. 39: No. 1. Comme le vent4:386Études dans tous les tons mineurs, op. 39: No. 2. En rhythme molossique8:107Études dans tous les tons mineurs, op. 39: No. 3. Scherzo diabolique4:328Études dans tous les tons mineurs, op. 39: No. 4. Le Festin d'Esope9:059Préludes dans tous les tons majeurs et mineurs, op. 31: No. 8. La Chanson de la folle au bord de la mer4:2510Études dans tous les tons majeurs, op. 35: No. 5. Allegro barbaro2:331992 · studio album
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Tracklist · 49 tracks · 1:14:27
1Esquisses, Op. 63 No. 1: La vision3:022Esquisses, Op. 63 No. 2: Le staccatissimo1:033Esquisses, Op. 63 No. 3: Le legatissimo1:264Esquisses, Op. 63 No. 4: Les cloches0:585Esquisses, Op. 63 No. 5: Les initiés2:286Esquisses, Op. 63 No. 6: Fuguette1:317Esquisses, Op. 63 No. 7: Le Frisson1:458Esquisses, Op. 63 No. 8: Pseudo-Naïveté1:159Esquisses, Op. 63 No. 9: Confidence2:1410Esquisses, Op. 63 No. 10: Increpatio1:2511Esquisses, Op. 63 No. 11: Les soupirs1:4512Esquisses, Op. 63 No. 12: Barcarollette1:1513Esquisses, Op. 63 No. 13: Ressouvenir2:4914Esquisses, Op. 63 No. 14: Duettino1:1215Esquisses, Op. 63 No. 15: Tutti de Concerto dans le genre ancien1:0416Esquisses, Op. 63 No. 16: Fantaisie1:1817Esquisses, Op. 63 No. 17: Petit prélude à 30:4418Esquisses, Op. 63 No. 18: Liedchen1:1119Esquisses, Op. 63 No. 19: Graces1:3520Esquisses, Op. 63 No. 20: Petite marche villageoise1:4321Esquisses, Op. 63 No. 21: Morituri te salutant2:2022Esquisses, Op. 63 No. 22: Innocenza1:2123Esquisses, Op. 63 No. 23: L'Homme aux sabots0:3824Esquisses, Op. 63 No. 24: Contredanse1:0525Esquisses, Op. 63 No. 25: La poursuite0:4326Esquisses, Op. 63 No. 26: Petit air0:4427Esquisses, Op. 63 No. 27: Rigaudon0:5828Esquisses, Op. 63 No. 28: Inflexibilité0:5529Esquisses, Op. 63 No. 29: Délire0:5430Esquisses, Op. 63 No. 30: Petit air dolent1:3031Esquisses, Op. 63 No. 31: Début de quatuor1:0432Esquisses, Op. 63 No. 32: Minuettino3:0933Esquisses, Op. 63 No. 33: Fais Dodo0:5734Esquisses, Op. 63 No. 34: Odi profanum vulgus et arceo2:2835Esquisses, Op. 63 No. 35: Musique militaire1:1236Esquisses, Op. 63 No. 36: Toccatina1:0837Esquisses, Op. 63 No. 37: Scherzettino1:0038Esquisses, Op. 63 No. 38: Les bons souhaits1:3739Esquisses, Op. 63 No. 39: Héraclite et Démocrite2:1040Esquisses, Op. 63 No. 40: Attendez-moi sous l'orme0:4241Esquisses, Op. 63 No. 41: Les enharmoniques1:5442Esquisses, Op. 63 No. 42: Petit air0:5543Esquisses, Op. 63 No. 43: Notturnino - Innamorato1:1544Esquisses, Op. 63 No. 44: Transports0:4545Esquisses, Op. 63 No. 45: Les diablotins2:3346Esquisses, Op. 63 No. 46: Le premier billet doux1:0247Esquisses, Op. 63 No. 47: Scherzetto2:0648Esquisses, Op. 63 No. 48: En songe1:2249Esquisses, Op. 63 No. 49: Laus Deo4:17Sonate de concert et grand duo concertant
1993 · studio album
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Tracklist · 7 tracks · 55:40
1Sonate de concert, op. 47: I. Allegro molto10:002Sonate de concert, op. 47: II. Allegrettino6:363Sonate de concert, op. 47: III. Adagio10:364Sonate de concert, op. 47: IV. Finale alla saltarella- Prestissimo6:025Grand duo concertant, op. 21: I. Assez animé7:436Grand duo concertant, op. 21: II. L'Enfer - Lentement7:407Grand duo concertant, op. 21: III. Finale - Aussi vite que possible7:0312 Etudes, op. 35 / Le festin d’Esope, op. 39 no. 12 / Scherzo diabolico, op. 39 no. 3
1993 · studio album
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Tracklist · 14 tracks · 1:18:16
1Le festin d’Esope, op. 39 no. 1210:032Scherzo diabolico, op. 39 no. 34:46312 Etudes (dans tous les tons majeurs), op. 35: I. Etude in A major1:25412 Etudes (dans tous les tons majeurs), op. 35: II. Etude in D major2:35512 Etudes (dans tous les tons majeurs), op. 35: III. Etude in G major4:20612 Etudes (dans tous les tons majeurs), op. 35: IV. Etude in C major5:05712 Etudes (dans tous les tons majeurs), op. 35: V. Etude in F major (Allegro barbaro)3:16812 Etudes (dans tous les tons majeurs), op. 35: VI. Etude in B-flat major2:03912 Etudes (dans tous les tons majeurs), op. 35: VII. Etude in E-flat major (L’incendie au village voisin)11:061012 Etudes (dans tous les tons majeurs), op. 35: VIII. Etude in A-flat major5:061112 Etudes (dans tous les tons majeurs), op. 35: IX. Etude in C-sharp major (Contrapunctus)5:371212 Etudes (dans tous les tons majeurs), op. 35: X. Etude in G-flat major (Chant d’amour - Chant de mort)12:211312 Etudes (dans tous les tons majeurs), op. 35: XI. Etude in B major5:281412 Etudes (dans tous les tons majeurs), op. 35: XII. Etude in E major5:05Études, opp. 12 and 76 / Le preux / Le chemin de fer
1993 · studio album
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Tracklist · 8 tracks · 51:43
1Trois Études de bravoure, op. 12: Prestissimo2:022Trois Études de bravoure, op. 12: Allegretto3:423Trois Études de bravoure, op. 12: Allegro marziale3:144Le Preux (étude de concert), op. 177:395Le Chemin de fer, op. 274:536Trois Grandes Études, op. 76: Main gauche9:137Trois Grandes Études, op. 76: Main droite15:538Trois Grandes Études, op. 76: Mains réunis5:07Twelve Studies in All the Major Keys, op. 35
1994 · studio album
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Tracklist · 12 tracks · 1:03:49
1Twelve Studies in All the Major Keys, op. 35: No. 1 in A major. Allegretto1:572Twelve Studies in All the Major Keys, op. 35: No. 2 in D major. Allegro2:303Twelve Studies in All the Major Keys, op. 35: No. 3 in G major. Andantino6:264Twelve Studies in All the Major Keys, op. 35: No. 4 in C major. Presto4:405Twelve Studies in All the Major Keys, op. 35: No. 5 in F major. Allegro barbaro2:446Twelve Studies in All the Major Keys, op. 35: No. 6 in B-flat major. Allegramente1:487Twelve Studies in All the Major Keys, op. 35: No. 7 in E-flat major "The Fire in the Neighbouring Village". Adagio - Allegro moderato - Andante10:118Twelve Studies in All the Major Keys, op. 35: No. 8 in A-flat major. Lento - Appassionato5:139Twelve Studies in All the Major Keys, op. 35: No. 9 in C-sharp major. Amplement contrapunctus6:0510Twelve Studies in All the Major Keys, op. 35: No. 10 in G-flat major "Amor - Mors". Adagio9:3311Twelve Studies in All the Major Keys, op. 35: No. 11 in B major. Posement7:0612Twelve Studies in All the Major Keys, op. 35: No. 12 in E major "Étude de concert (technique des octaves)". Andando5:361994 · studio album
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Tracklist · 18 tracks · 1:09:56
1Piano Concerto in F minor, op. 16: I. Allegro patetico - Religioso - Reprise13:442Piano Concerto in F minor, op. 16: II. Larghetto8:063Piano Concerto in F minor, op. 16: III. Allegro agitato8:154Variations de concert, op. 11: Introduzione (Larghetto ma non troppo) -3:095Variations de concert, op. 11: Theme (Moderato) -1:126Variations de concert, op. 11: Variation 1 (Grazioso assai) -1:137Variations de concert, op. 11: Variation 2 (Un poco più lento e sostenuto) -1:238Variations de concert, op. 11: Variation 3 (Scherzando) -1:089Variations de concert, op. 11: Variation 4 (Con fuoco e pomposo) -1:5210Variations de concert, op. 11: Variation 5 (Vivace ma non troppo) -1:3611Variations de concert, op. 11: Adagio - Cadenza -3:0412Variations de concert, op. 11: Finale (Allegro vivace)3:1613Concerto da camera in C-sharp minor, op. 10 no. 2: I. Allegro moderato -2:5014Concerto da camera in C-sharp minor, op. 10 no. 2: II. Adagio -3:0315Concerto da camera in C-sharp minor, op. 10 no. 2: III. Tempo I1:4716Concerto da camera in A minor, op. 10 no. 1: I. Allegro moderato -4:4817Concerto da camera in A minor, op. 10 no. 1: II. Adagio -2:5818Concerto da camera in A minor, op. 10 no. 1: III. Rondo. Allegro6:32Quatre Impromptus / Deuxième Recueil d’Impromptus / Variations / Rondeau chromatique
1994 · studio album
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Tracklist · 13 tracks · 1:06:57
1Quatre impromptus, op. 32: No. 1. Vaghezza1:382Quatre impromptus, op. 32: No. 2. L’Amitié2:283Quatre impromptus, op. 32: No. 3. Fantasietta all moresca3:094Quatre impromptus, op. 32: No. 4. La Foi8:255Deuxième recueil d’impromptus, op. 32: No. 1. Andantino4:476Deuxième recueil d’impromptus, op. 32: No. 2. Allegretto1:237Deuxième recueil d’impromptus, op. 32: No. 3. Vivace1:258Deuxième recueil d’impromptus, op. 32: No. 4. Andante5:309Salut, cendre du pauvre!, op. 457:4510Alleluia, op. 253:3011Rondeau chromatique, op. 129:1212Variations on a Theme from Steibelt’s Orage Concerto, op. 111:1513Super flumina Babylonis, Paraphrase on Psalm 137, op. 526:301995 · studio album
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Tracklist · 24 tracks · 2:34:59
Disc 11Étude no. 1: Comme le vent4:442Étude no. 2: En rythme molossique8:003Étude no. 3: Scherzo diabolico4:314Étude no. 4: Symphony: I. Allegro10:205Étude no. 5: Symphony: II. Marche funèbre6:596Étude no. 6: Symphony: III. Menuet5:407Étude no. 7: Symphony: IV. Finale4:198Nocturne in B (op. 22)6:379Allegro barbaro (Études, op. 35 no. 5)2:4210Assez vivement (Chants, op. 38 no. 1)4:0311J’était endormie, mais non coeur veillait (Preludes, op. 31 no. 13)3:0212Le staccatissimo (Esquisses, op. 63 no. 2)1:1513Les cloches (Esquisses, op. 63 no. 4)0:5014Les soupirs (Esquisses, op. 63 no. 11)1:4515En songe (Esquisses, op. 63 no. 48)1:1516Gros temps (Les Mois, op. 74, 1st suite no. 2)2:2617Barcarolle (Chants, op. 65 no. 6)3:5718La chanson de la folle au bord le la mer (Preludes, op. 31 no. 8)4:4519Le temps qui n’est plus (Preludes, op. 31 no. 12)1:30Disc 21Étude no. 8: Concerto: I. Allegro assai29:482Étude no. 9: Concerto: II. Adagio11:563Étude no. 10: Concerto: III. Allegretto alla barbaresca10:174Étude no. 11: Overture15:005Étude no. 12: Le Festin d’Esope9:18Grande Sonate "Les Quatre âges" / Sonatine / Le Festin d’Ésope
1995 · studio album
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Tracklist · 10 tracks · 1:09:03
1Grande sonate, op. 33 ‘Les quatre âges’: I. 20 ans. Très vite5:512Grande sonate, op. 33 ‘Les quatre âges’: II. 30 ans. Quasi-Faust. Assez viite11:433Grande sonate, op. 33 ‘Les quatre âges’: III. 40 ans, Un ménage heureux. Lentement11:524Grande sonate, op. 33 ‘Les quatre âges’: IV. 50 ans. Prométhée enchaîné. Extrêmement lent9:005Sonatine, op. 61: I. Allegro vivace5:156Sonatine, op. 61: II. Allegramente4:087Sonatine, op. 61: III. Scherzo-Minuet3:398Sonatine, op. 61: IV. Tempo giusto - Coda4:569Barcarolle, op. 65 no. 63:5410Le festin d’Esope, op. 39 no. 128:45The Railway / Préludes / Études / Esquisses
1995 · studio album
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Tracklist · 27 tracks · 1:18:56
1Preludes, op. 31: No. 1. Lentement2:352Preludes, op. 31: No. 13. J'étais endormie, mais mon cœur veillait... (Cantique des cantiques, 5:2). Lentement4:243Preludes, op. 31: No. 17. Rêve d'amour2:464Preludes, op. 31: No. 25. Prière. Lentement5:555Impromptus, op. 32: No. 1. Andantino4:476Impromptus, op. 32: No. 3. Vivace1:317Le Chemin de fer, op. 275:008Etudes, op. 35: No. 6 in B-flat major2:039Etudes, op. 35: No. 8 in A-flat major5:0410Etudes, op. 35: No. 12 in E major5:1211Marche funèbre. Andantino, op. 39 no. 57:5812Esquisses, op. 63: No. 1. La Vision3:0213Esquisses, op. 63: No. 2. Le Staccatissimo1:0414Esquisses, op. 63: No. 3. Le Legatissimo1:2515Esquisses, op. 63: No. 4. Les Cloches0:5816Esquisses, op. 63: No. 5. Les Initiés2:3017Esquisses, op. 63: No. 8. Pseudo-Naïveté1:1618Esquisses, op. 63: No. 10. Increpatio1:2619Esquisses, op. 63: No. 13. Ressouvenir2:5120Esquisses, op. 63: No. 16. Fantaisie1:2121Esquisses, op. 63: No. 18. Liedchen1:1422Esquisses, op. 63: No. 21. Morituri te salutant2:2223Esquisses, op. 63: No. 32. Minuettino3:1124Esquisses, op. 63: No. 38. Les Bons Souhaits1:3825Esquisses, op. 63: No. 43. Notturnino - Innamorato1:1726Esquisses, op. 63: No. 48. En Songe1:2827Scherzo diabolico, op. 39 no. 34:381996 · studio album
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Tracklist · 3 tracks · 1:08:11
1Les Mois, op. 7431:532Sonatine, op. 6119:583Trois Petites Fantaisies, op. 4116:20Piano Concerto, op. 39 / Concerti da camera nos. 1-3
1998 · studio album
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Tracklist · 4 tracks · 51:59
1Concerto for Piano and Orchestra, op. 3924:522Concerto da camera no. 2 in C-sharp minor7:333Concerto da camera no. 3 in C-sharp minor5:164Concerto da camera no. 1 in A minor, op. 1014:18Grand Duo concertant, op. 21 / Sonate de concert, op. 47 / Piano Trio in G minor, op. 30
2000 · studio album
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Tracklist · 11 tracks · 1:15:26
1Grand Duo concertant in F-sharp minor, op. 21: I. Assez animé5:392Grand Duo concertant in F-sharp minor, op. 21: II. L'Enfer. Lentement7:223Grand Duo concertant in F-sharp minor, op. 21: III. Finale. Aussi vite que possible8:484Sonate de concert in E major, op. 47: I. Allegro molto9:405Sonate de concert in E major, op. 47: II. Allegrettino7:046Sonate de concert in E major, op. 47: III. Adagio8:247Sonate de concert in E major, op. 47: IV. Finale alla saltarella. Prestissimo7:208Trio in G minor, op. 30: I. Assez largement4:139Trio in G minor, op. 30: II. (Scherzo). Tres vite5:0110Trio in G minor, op. 30: III. Lentement7:5111Trio in G minor, op. 30: IV. (Finale). Vite4:042001 · studio album
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Tracklist · 20 tracks · 52:36
1Prélude, op. 31, no. 01: Lentement3:182Prélude, op. 31, no. 02: Assez lentement3:073Prélude, op. 31, no. 03: Dans le genre ancien Psaume 150e4:224Prélude, op. 31, no. 04: Prière du soir1:495Prélude, op. 31, no. 05: Psaume 152:426Prélude, op. 31, no. 06: Ancienne mélodie de la synagogue4:107Prélude, op. 31, no. 07: Librement mais sans secousses1:568Prélude, op. 31, no. 08: Chanson de la folle au bord de la mer3:539Prélude, op. 31, no. 09: Placiditas2:5010Prélude, op. 31, no. 12: Le temps qui n'est plus1:4111Prélude, op. 31, no. 13: J'étais endormie mais mon cœur veillait3:3312Prélude, op. 31, no. 16: Assez lentement2:3013Esquisse, op. 63: Le Staccatissimo1:1414Esquisse, op. 63: Increpatio1:3915Esquisse, op. 63: Les soupirs2:0116Esquisse, op. 63: Morituri te salutant1:4417Esquisse, op. 63: Le premier billet doux1:0418Esquisse, op. 63: Scherzetto2:3319Barcarolle, op. 654:4520Toccatina, op. 751:45Symphony for Solo Piano / Trois morceaux dans le genre pathétique
2001 · studio album
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Tracklist · 10 tracks · 1:14:08
1Douze Études dans tous les tons mineurs, op. 39: No. 4. Symphony for Solo Piano: I. Allegro10:312Douze Études dans tous les tons mineurs, op. 39: No. 5. Symphony for Solo Piano: II. Marche funèbre: Andantino6:073Douze Études dans tous les tons mineurs, op. 39: No. 6. Symphony for Solo Piano: III. Menuet5:064Douze Études dans tous les tons mineurs, op. 39: No. 7. Symphony for Solo Piano: IV. Finale: Presto4:255Salut, cendre du pauvre !, op. 458:436Alleluia, op. 252:427Super flumina Babylonis, op. 526:368Trois Morceaux dans le genre pathétique, op. 15: I. Aime-moi10:079Trois Morceaux dans le genre pathétique, op. 15: II. Le vent7:2610Trois Morceaux dans le genre pathétique, op. 15: III. Morte12:252001 · studio album
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Tracklist · 9 tracks · 1:05:58
1Élégie no. 1 pour violoncelle et piano S.130: Andante6:492Romance oubliée pour violoncelle et piano S.132: Andante, malinconico3:483Sonate de concert op. 47 pour piano et violoncelle en mi majeur: I. Allegro molto10:334Sonate de concert op. 47 pour piano et violoncelle en mi majeur: II. Allegrettino7:125Sonate de concert op. 47 pour piano et violoncelle en mi majeur: III. Adagio9:536Sonate de concert op. 47 pour piano et violoncelle en mi majeur: IV. Finale alla saltarella. Prestissimo6:117La Lugubre Gondole (Die Trauer-Gondel) pour violoncelle et piano S.134: Andante mesto, non troppo lento9:418Die Zelle in Nonnenwerth pour violoncelle et piano S.382: Andantino5:559Élégie no. 2 pour violoncelle et piano S.131: Quasi andante5:562003 · studio album
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Tracklist · 49 tracks · 1:14:30
148 Esquisses, op. 63: Book I no. 1. La Vision2:55248 Esquisses, op. 63: Book I no. 2. Le Staccatissimo1:10348 Esquisses, op. 63: Book I no. 3. Le Legatissimo1:29448 Esquisses, op. 63: Book I no. 4. Les Cloches0:51548 Esquisses, op. 63: Book I no. 5. Les Initiés4:28648 Esquisses, op. 63: Book I no. 6. Fuguette1:25748 Esquisses, op. 63: Book I no. 7. Le Frisson2:07848 Esquisses, op. 63: Book I no. 8. Pseudo-Naïveté1:52948 Esquisses, op. 63: Book I no. 9. Confidence2:171048 Esquisses, op. 63: Book I no. 10. Increpatio1:251148 Esquisses, op. 63: Book I no. 11. Les Soupirs1:591248 Esquisses, op. 63: Book I no. 12. Barcarollette1:341348 Esquisses, op. 63: Book I no. 13. Ressouvenir2:321448 Esquisses, op. 63: Book I no. 14. Duettino1:411548 Esquisses, op. 63: Book II no. 15. Tutti de Concerto dans le genre ancien0:591648 Esquisses, op. 63: Book II no. 16. Fantasie1:221748 Esquisses, op. 63: Book II no. 17. Petit prélude à trois0:401848 Esquisses, op. 63: Book II no. 18. Liedchen0:481948 Esquisses, op. 63: Book II no. 19. Grâces1:432048 Esquisses, op. 63: Book II no. 20. Petit marche villageoise1:342148 Esquisses, op. 63: Book II no. 21. Morituri te salutant1:192248 Esquisses, op. 63: Book II no. 22. Innocenzia1:092348 Esquisses, op. 63: Book II no. 23. L'homme aux sabots0:302448 Esquisses, op. 63: Book II no. 24. Contredanse0:582548 Esquisses, op. 63: Book III no. 25. La poursuite0:412648 Esquisses, op. 63: Book III no. 26. Petit air, Genre ancien0:432748 Esquisses, op. 63: Book III no. 27. Rigaudon1:012848 Esquisses, op. 63: Book III no. 28. Inflexibilité1:042948 Esquisses, op. 63: Book III no. 29. Délire0:583048 Esquisses, op. 63: Book III no. 30. Petit air dolent1:403148 Esquisses, op. 63: Book III no. 31. Début de quatuor1:023248 Esquisses, op. 63: Book III no. 32. Minuetto3:023348 Esquisses, op. 63: Book III no. 33. Fais dodo0:483448 Esquisses, op. 63: Book III no. 34. Odi profanum vulgus et arceo, Favete linguis2:003548 Esquisses, op. 63: Book III no. 35. Musique militaire1:183648 Esquisses, op. 63: Book III no. 36. Toccatina1:113748 Esquisses, op. 63: Book IV no. 37. Scherzettino0:543848 Esquisses, op. 63: Book IV no. 38. Les bons souhaits1:233948 Esquisses, op. 63: Book IV no. 39. Héraclite et Démocrite1:564048 Esquisses, op. 63: Book IV no. 40. Attendez-moi sous l'orme0:424148 Esquisses, op. 63: Book IV no. 41. Les enharmoniques1:524248 Esquisses, op. 63: Book IV no. 42. Petit air à 5 voix0:494348 Esquisses, op. 63: Book IV no. 43. Notturino—Innamorato1:414448 Esquisses, op. 63: Book IV no. 44. Transports0:374548 Esquisses, op. 63: Book IV no. 45. Les diablotins2:554648 Esquisses, op. 63: Book IV no. 46. Le premiere billet doux0:584748 Esquisses, op. 63: Book IV no. 47. Scherzetto2:094848 Esquisses, op. 63: Book IV no. 48. En songe1:184948 Esquisses, op. 63: Book IV, Postlude: Laus Deo3:012004 · studio album
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Tracklist · 31 tracks · 2:35:06
Disc 11Petit conte3:372Nocturne no. 1, op. 225:293Gigue, op. 241:454Trois marches, op. 37: No. 1. Molto allegro5:045Le tambour bat aux champs, op. 50 no. 24:42648 Esquisses, op. 63: No. 29. Délire0:51748 Esquisses, op. 63: No. 21. Morituri te salutant1:05848 Esquisses, op. 63: No. 20. Le premier billet doux0:44948 Esquisses, op. 63: No. 4. Les cloches0:471048 Esquisses, op. 63: No. 41. Les enharmoniques2:071148 Esquisses, op. 63: No. 10. Increpatio1:291248 Esquisses, op. 63: No. 11. Les soupirs1:441348 Esquisses, op. 63: No. 48. En songe1:1514Toccatina, op. 751:5115Études dans les tons mineurs, op. 39: No. 4. Allegro10:4516Études dans les tons mineurs, op. 39: No. 5. Marche funèbre. Andantino8:1517Études dans les tons mineurs, op. 39: No. 6. Menuet5:4218Études dans les tons mineurs, op. 39: No. 7. Finale. Presto4:3519Trois petites fantaisies, op. 41: No. 1. Assez gravement5:1920Trois petites fantaisies, op. 41: No. 2. Andantino6:0821Trois petites fantaisies, op. 41: No. 3. Menuet6:05Disc 21Études dans les tons mineurs, op. 39: No. 8. Allegro assai29:392Études dans les tons mineurs, op. 39: No. 9. Adagio12:083Études dans les tons mineurs, op. 39: No. 10. Allegretto alla-barbaresca10:204Études dans les tons mineurs, op. 39: No. 11. Ouverture: Maestoso -6:575Études dans les tons mineurs, op. 39: No. 11. Ouverture: Allegro8:49625 préludes, op. 31: No. 13. (Cantique des cantiques)2:16725 préludes, op. 31: No. 151:39825 préludes, op. 31: No. 161:40925 préludes, op. 31: No. 110:491025 préludes, op. 31: No. 121:302005 · studio album
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Tracklist · 19 tracks · 1:15:55
1Benedictus, op. 548:53212 études d'orgue ou de piano à pedales pour les pieds seulement: No. 1 in C minor. Moderato1:29312 études d'orgue ou de piano à pedales pour les pieds seulement: No. 2 in C major. Adagio3:21412 études d'orgue ou de piano à pedales pour les pieds seulement: No. 3 in A minor. Moderato2:32512 études d'orgue ou de piano à pedales pour les pieds seulement: No. 4 in E-flat major. Moderato2:45612 études d'orgue ou de piano à pedales pour les pieds seulement: No. 5 in A minor. Moderato2:46712 études d'orgue ou de piano à pedales pour les pieds seulement: No. 6 in C-sharp minor. Adagio5:12811 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 1 in F major. Allegro1:23911 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 2 in D minor. Allegro moderato2:161011 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 3 in B-flat major. Andantino4:061111 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 4 in G minor. Moderatamente4:261211 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 5 in E-flat major. Quasi adagio4:451311 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 6 in C minor. Andantino4:361411 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 7 in A-flat major. Andante "alla giudesca"3:361511 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 8 in F minor. Tempo giusto5:061611 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 9 in D-flat major. Langsam6:491711 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 10 in B-flat minor. Scherzando4:191811 grands préludes et 1 transcription du Messie de Hændel, op. 66: No. 11 in F-sharp major. Lento3:231911 grands préludes et 1 transcription du Messie de Hændel, op. 66: Messiah: Recitative "Thy rebuke hath broken His heart" and Arioso "Behold, and see"4:12Pseudo-naïvité: Piano Miniatures
2006 · studio album
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Tracklist · 25 tracks · 1:02:28
125 préludes dans tous les tons majeurs et mineurs, op. 31: No. 1 in C major2:23225 préludes dans tous les tons majeurs et mineurs, op. 31: No. 6 in G minor "Ancienne Mélodie de la synagogue"3:08325 préludes dans tous les tons majeurs et mineurs, op. 31: No. 11 in F major "Un petit rien"0:53425 préludes dans tous les tons majeurs et mineurs, op. 31: No. 12 in B-flat minor "Le temps qui n'est plus"1:11525 préludes dans tous les tons majeurs et mineurs, op. 31: No. 13 in G-flat major "J'étais endormie, mais mon coeur veillait"3:23625 préludes dans tous les tons majeurs et mineurs, op. 31: No. 14 in B minor2:43725 préludes dans tous les tons majeurs et mineurs, op. 31: No. 8 in A-flat minor "La Chanson de la folle au bord de la mer"3:47825 préludes dans tous les tons majeurs et mineurs, op. 31: No. 15 in B major "Dans le genre gothique"2:109Les Mois, 1ère Suite, op. 74: No. 1 "Une nuit d'hiver"4:1210Les Mois, 4ème Suite, op. 74: No. 1 "Gros Temps"4:1911Les Mois, 4ème Suite, op. 74: No. 3 "L'Opéra"1:3512Trente chants, 3ème Suite, op. 65: No. 5 "Horace et Lydie"3:4813Trente chants, 3ème Suite, op. 65: No. 6 "Barcarolle"3:3414Trente chants, 4ème Suite, op. 67: No. 2 "Chanson de la bonne vieille"3:2715Esquisses, 48 motifs en quatre suites, op. 63: No. 1 "La Vision"2:2116Esquisses, 48 motifs en quatre suites, op. 63: No. 4 "Les Cloches"0:5317Esquisses, 48 motifs en quatre suites, op. 63: No. 8 "Pseudo-naïvité"2:0018Esquisses, 48 motifs en quatre suites, op. 63: No. 10 "Increpatio"1:4219Esquisses, 48 motifs en quatre suites, op. 63: No. 11 "Les Soupirs"1:4420Esquisses, 48 motifs en quatre suites, op. 63: No. 35 "Musique militaire"1:1521Esquisses, 48 motifs en quatre suites, op. 63: No. 43 "Notturnino innamorato"1:5822Esquisses, 48 motifs en quatre suites, op. 63: No. 46 "Le Premier Billet doux"1:0523Esquisses, 48 motifs en quatre suites, op. 63: No. 48 "En Songe"1:1824Esquisses, 48 motifs en quatre suites, op. 63: No. 49 "Laus Deo"3:4225Petit Conte3:57Douze Études dans les tons mineurs, op. 39
2006 · studio album
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Tracklist · 12 tracks · 2:06:07
1Douze Études dans les tons mineurs, op. 39: 1. Comme le vent5:302Douze Études dans les tons mineurs, op. 39: 2. En rythme molossique8:443Douze Études dans les tons mineurs, op. 39: 3. Scherzo diabolico4:304Douze Études dans les tons mineurs, op. 39: 4. Symphonie: Allegro10:375Douze Études dans les tons mineurs, op. 39: 5. Symphonie: Marche funèbre6:536Douze Études dans les tons mineurs, op. 39: 6. Symphonie: Menuet5:417Douze Études dans les tons mineurs, op. 39: 7. Symphonie: Finale4:448Douze Études dans les tons mineurs, op. 39: 8. Allegro assai30:499Douze Études dans les tons mineurs, op. 39: 9. Adagio11:5110Douze Études dans les tons mineurs, op. 39: 10. Allegro alla barbaresca11:0711Douze Études dans les tons mineurs, op. 39: 11. Ouverture15:5012Douze Études dans les tons mineurs, op. 39: 12. Le Festin d'Esope9:512007 · studio album
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Tracklist · 19 tracks · 1:13:40
1Pro organo2:20212 Organ Etudes: No. 7 in F-sharp minor: Allegro3:06312 Organ Etudes: No. 8 in D minor: Energicamente3:09412 Organ Etudes: No. 9 in D major: Moderato3:27512 Organ Etudes: No. 10 in D major: Moderato2:23612 Organ Etudes: No. 11 in F minor: Adagio4:53712 Organ Etudes: No. 12 in C major: Tempo giusto4:22811 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 1 in C major: Tempo giustissimo3:25911 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 2 in A major: Andantino4:381011 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 3 in D minor: Quasi-adagio2:531111 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 4 in G major: Assez doucement3:431211 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 5 in D minor: Lentement3:451311 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 6 in B-flat major: majesteusement3:411411 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 7 in F major: Molto moderato4:401511 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 8 in A minor: Assez vite4:061611 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 9 in E-flat major: Assez lentement5:031711 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 10 in D minor: Moderement4:271811 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: No. 11 in A minor: Dolcemente6:361911 Pieces dans le style religieux et un transcription du Messie de Handel, op. 72: Messiah, HWV 56, Part I: Pastoral Symphony3:03Grande sonate "Les Quatre âges" / Symphonie, for piano solo / Le Festin d'Ésope / Miniatures
2007 · studio album
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Tracklist · 28 tracks · 2:17:30
Disc 11Nocturne no. 1, op. 226:21248 Esquisses, op. 63: No. 2. Le staccatissimo1:05348 Esquisses, op. 63: No. 3. Le legatissimo1:42448 Esquisses, op. 63: No. 21. Morituri te salutant1:31548 Esquisses, op. 63: No. 10. Uncrepatio1:30648 Esquisses, op. 63: No. 11. Les soupirs1:39748 Esquisses, op. 63: No. 46. Le premier billet doux0:59848 Esquisses, op. 63: No. 47. Scherzetto1:509Douze études dans les tons mineurs, op. 39: No. 12. Le festin d'Ésope10:121025 Préludes, op. 31: No. 12. Le temps qui n'est plus1:3211Deuxième recueil de chants, op.38b: No. 2. Fa3:0512Grand sonate, op.33 "Les quatre âges": I. 20 ans, Scherzo Trio6:3913Grand sonate, op.33 "Les quatre âges": II. 30 ans, Quasi-Faust15:2414Grand sonate, op.33 "Les quatre âges": III. 40 ans, Un heureux ménage10:3515Grand sonate, op.33 "Les quatre âges": IV. 50 ans, Promethée enchainé8:2216Toccatina, op. 751:51Disc 21Les mois, op. 74: No. 6. Promenade sur l'eau2:322Les mois, op. 74: No. 10. Gros temps3:233Petite fantasie, op. 41 no. 26:224Petit conte4:245Le tambour bat aux champs, op. 50 no. 24:406Premier recueil de chants, op. 38: No. 1. Asez vivement4:357Premier recueil de chants, op. 38: No. 5. Agitatissimo3:568Premier recueil de chants, op. 38: No. 6. Barcarolle3:519Douze études dans les tons mineurs, op. 39: No. 4. Allegro11:2310Douze études dans les tons mineurs, op. 39: No. 5. Marche funèbre, andantino6:4211Douze études dans les tons mineurs, op. 39: No. 6. Menuet6:0312Douze études dans les tons mineurs, op. 39: No. 7. Finale, presto5:22Concerto for Solo Piano / Troisième recueil de chants
2007 · studio album
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Tracklist · 9 tracks · 1:07:37
1Concerto for Solo Piano, op. 39 no. 8: Allegro assai28:212Concerto for Solo Piano, op. 39 no. 9: Adagio11:543Concerto for Solo Piano, op. 39 no. 10: Allegretto alla barbaresca9:254Troisième recueil de chants, op. 65: Vivante2:465Troisième recueil de chants, op. 65: Esprits follets: Prestissimo1:406Troisième recueil de chants, op. 65: Canon: Assez vimement2:337Troisième recueil de chants, op. 65: Tempo giusto3:428Troisième recueil de chants, op. 65: Horace et Lydie: Vivacissimo3:159Troisième recueil de chants, op. 65: Barcarolle: Assez lentement4:012008 · studio album
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Tracklist · 8 tracks · 1:02:55
1Cello Sonata in E major, Op. 47: I. Allegro molto10:312Cello Sonata in E major, Op. 47: II. Allegrettino7:123Cello Sonata in E major, Op. 47: III. Adagio9:394Cello Sonata in E major, Op. 47: IV. Finale alla Saltarella. Prestissimo6:235Cello Sonata in G minor, Op. 65: I. Allegro moderato14:486Cello Sonata in G minor, Op. 65: II. Scherzo. Allegro con brio4:487Cello Sonata in G minor, Op. 65: III. Largo3:418Cello Sonata in G minor, Op. 65: IV. Finale. Allegro5:532009 · studio album
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Tracklist · 8 tracks · 1:07:04
1Sonata, op. 33 "Les Quatre âges": I. 20 ans. Très vite6:372Sonata, op. 33 "Les Quatre âges": II. 30 ans. Quasi-Faust. Assez vite14:003Sonata, op. 33 "Les Quatre âges": III. 40 ans. Un heureux ménage. Lentement10:044Sonata, op. 33 "Les Quatre âges": IV. 50 ans. Prométhée enchainé. Extrêmement lent7:295Symphony, op. 39: No. 4. I. Allegro moderato11:076Symphony, op. 39: No. 5. II. Marche funèbre. Andantino7:187Symphony, op. 39: No. 6. III. Menuet. Tempo di minuetto5:408Symphony, op. 39: No. 7. IV. Finale. Presto4:49Chopin: Sonate pour violoncelle et piano / Alkan: Sonate de Concert pour violoncelle et piano
2010 · studio album
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Tracklist · 10 tracks · 1:12:51
1Sonata for Cello and Piano in G minor, B 160, op. 65: Allegro moderato16:212Sonata for Cello and Piano in G minor, B 160, op. 65: Scherzo5:003Sonata for Cello and Piano in G minor, B 160, op. 65: Largo3:354Sonata for Cello and Piano in G minor, B 160, op. 65: Finale. Allegro6:245Sonata de concert for Cello and Piano, op. 47: Allegro molto10:586Sonata de concert for Cello and Piano, op. 47: Allegrettino7:037Sonata de concert for Cello and Piano, op. 47: Adagio8:058Sonata de concert for Cello and Piano, op. 47: Finale alla Saltarella6:229Introduction and Polonaise for Cello and Piano in C major, op. 3: Lento3:0910Introduction and Polonaise for Cello and Piano in C major, op. 3: Allegro con spirito5:54The Alkan Project: Carnival, 25 Pieces in Miniature
2010 · studio album
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Tracklist · 25 tracks · 59:11
1Les Mois, Op. 74, Book 1, No. 2: Carnaval1:212Petit Conte3:383Trente Chants, Op. 65, Book 3, No. 6: Barcarolle2:424Gigue, Op. 241:485Les Mois, Op. 74, Book 2, No. 3: Promenade Sur L'eau2:436Preludes, Op. 31: Cantique des Cantiques, No. 132:207Le Tambour Bat aux Champs, Op. 50, No. 24:458Esquisses, Op. 63: Delire, Book 5, No. 290:539Esquisses, Op. 63: Morituri te Salutant, Book 2, No. 211:0910Esquisses, Op. 63: Le Premier Billet Doux, Book 4, No. 200:4811Esquisses, Op. 63: Les Cloches, Book 1, No. 40:5012Esquisses, Op. 63: Les Enharmoniques, Book 4, No. 412:1113Esquisses, Op. 63: Increpatio, Book 1, No. 101:3614Esquisses, Op. 63: Les Soupirs, Book 1, No. 111:4915Esquisses, Op. 63: En Songe, Book 4, No. 481:2216Nocturne, No. 1, Op. 225:3717Preludes, Op. 31: Dans le Genre Gothique, No. 151:4218Preludes, Op. 31: Assez Lentement, No. 161:4219Preludes, Op. 31: Petit Rien, No. 110:5620Preludes, Op. 31: Le Temps Qui N'est Plus, No. 121:3321Trente Chants, Op. 38, Book 2: Allegretto ("Fa")2:5122Les Mois, Op. 74, Book 4, No. 1: Gros Temps3:1723Trois Marches, Op. 37: Marche, No. 15:1224Toccatina, Op. 751:5825Trente Chants, Op. 70, Book 5, No. 6: Barcarolle4:282011 · studio album
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Tracklist · 19 tracks · 1:10:35
1Benedictus, op. 548:182Impromptu sur le Choral de Luther "Un fort rempart est Notre Dieu", op. 69: I. 𝅗𝅥 = 634:143Impromptu sur le Choral de Luther "Un fort rempart est Notre Dieu", op. 69: II. L’istesso tempo (𝅗𝅥 = 63)1:234Impromptu sur le Choral de Luther "Un fort rempart est Notre Dieu", op. 69: III. L’istesso tempo (𝅗𝅥 = 63)1:545Impromptu sur le Choral de Luther "Un fort rempart est Notre Dieu", op. 69: IV. L’istesso tempo (𝅗𝅥 = 63)5:416Saltarelle, op. 476:547Fantaisie à quatre mains sur Don Juan, op. 26: I. Introduzione1:498Fantaisie à quatre mains sur Don Juan, op. 26: II. Tema "Venite pur avanti"0:509Fantaisie à quatre mains sur Don Juan, op. 26: III. Variation 10:5410Fantaisie à quatre mains sur Don Juan, op. 26: IV. Variation 20:5711Fantaisie à quatre mains sur Don Juan, op. 26: V. Variation 31:3912Fantaisie à quatre mains sur Don Juan, op. 26: VI. Variation 41:3113Fantaisie à quatre mains sur Don Juan, op. 26: VII. Variation 52:5114Fantaisie à quatre mains sur Don Juan, op. 26: VIII. Finale "Finch' han dal vino"2:2115Trois marches, op. 40: No 1 in A-flat major. Allegro8:3516Trois marches, op. 40: No. 2 in C minor/E-flat major. Allegro moderato6:1317Trois marches, op. 40: No. 3 in B-flat major. Modérément5:4518Bombardo-Carillon5:4519Finale, op. 173:012011 · studio album
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Tracklist · 15 tracks · 1:16:41
1Fantasy and Fugue in B-flat major, op. 18 no. 64:162Andante con moto in B-flat major, op. 18 no. 12:473Andante con moto in G minor, op. 43 no. 72:414Toccata in B minor, op. 43 no. 133:565Allegro ma non troppo in F minor, op. 18 No. 72:286À la Chapelle Sixtine, S. 46114:247Vier Skizzen, op. 58: I. Nicht schnell und sehr markiert3:248Vier Skizzen, op. 58: II. Nicht schnell und sehr markiert3:579Vier Skizzen, op. 58: III. Lebhaft4:3810Vier Skizzen, op. 58: IV. Allegretto3:3811Prélude and Fugue in G minor, WoO 10: I. Prelude3:1512Prélude and Fugue in G minor, WoO 10: II. Fugue4:1213Prélude in B-flat minor, op. 66 no. 104:2214Prélude in E-flat major, op. 66 no. 56:1215Prélude and Fugue on B-A-C-H, S. 260i12:312012 · studio album
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Tracklist · 11 tracks · 1:13:02
1Grand duo concertant pour violon et piano, op. 21 : 1. Assez animé7:282Grand duo concertant pour violon et piano, op. 21 : 2. L'enfer : Lentement5:593Grand duo concertant pour violon et piano, op. 21 : 3. Aussi vite que possible7:154Sonate de concert pour violoncelle et piano, op. 47 : 1. Allegro molto11:015Sonate de concert pour violoncelle et piano, op. 47 : 2. Allegrettino6:046Sonate de concert pour violoncelle et piano, op. 47 : 3. Adagio7:507Sonate de concert pour violoncelle et piano, op. 47 : 4. Finale alla saltarella : Prestissimo6:338Trio pour piano, violon et violoncelle, op. 30 : 1. Assez largement3:389Trio pour piano, violon et violoncelle, op. 30 : 2. Très vite5:2910Trio pour piano, violon et violoncelle, op. 30 : 3. Lentement7:2211Trio pour piano, violon et violoncelle, op. 30 : 4. Vite4:23Grande Sonate « Les Quatre Âges » / Symphonie pour piano solo
2012 · studio album
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Tracklist · 9 tracks · 1:15:17
1Grande Sonate « Les Quatre Âges », op. 33 : 20 ans6:332Grande Sonate « Les Quatre Âges », op. 33 : 30 ans12:413Grande Sonate « Les Quatre Âges », op. 33 : 40 ans13:144Grande Sonate « Les Quatre Âges », op. 33 : 50 ans8:425Symphonie pour piano solo : Allegro10:506Symphonie pour piano solo : Marche funèbre7:467Symphonie pour piano solo : Menuet5:368Symphonie pour piano solo : Finale4:399Trois grandes études pour les mains séparées et réunies: Étude no. 35:16Grande Sonate / Trois Grandes Études
2012 · studio album
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Tracklist · 7 tracks · 1:15:22
1Grande Sonate, op. 33 "Les Quatre Âges": I. 20 ans. Très vite6:342Grande Sonate, op. 33 "Les Quatre Âges": II. 30 ans. Quasi-Faust: Assez vite13:553Grande Sonate, op. 33 "Les Quatre Âges": III. 40 ans: Un heureux ménage. Lentement11:414Grande Sonate, op. 33 "Les Quatre Âges": IV. 50 ans: Prométhée enchainé: Extremement lent8:585Trois Grandes Études, op. 76: No. 1. Fantaisie11:026Trois Grandes Études, op. 76: No. 2. Introduction, variations et finale17:187Trois Grandes Études, op. 76: No. 3. Étude a mouvement semblable et perpétuel5:543 Grandes Études op. 76 / Sonatine / 2 Petites Pièces op. 60
2013 · studio album
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Tracklist · 9 tracks · 1:16:20
13 Grandes Études, op. 76: I. Fantasie in A‐flat major13:0323 Grandes Études, op. 76: II. Introduction, variations et finale in D major22:3433 Grandes Études, op. 76: III. Étude de concert in C minor5:184Sonatine, op. 61: I. Allegro vivace5:535Sonatine, op. 61: II. Allegramente4:276Sonatine, op. 61: III. Scherzo‐Minuetto4:167Sonatine, op. 61: IV. Tempo giusto5:598Deux Petites Pièces, op. 60: I. Ma chère liberté8:139Deux Petites Pièces, op. 60: II. Ma chère servitude6:372013 · studio album
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Tracklist · 10 tracks · 1:07:27
1Nocturne in B major, op. 225:502Recueil de Chants, op. 65: No. 6, Barcarolle in G Minor4:13325 Préludes dans tous les tons majeurs et mineurs pour piano ou orgue, op. 31: No. 8, La Chanson de la folle au bord de la mer5:234Grande Sonate "Les Quatre Âges", op. 33: I. 20 ans. Très vite7:205Grande Sonate "Les Quatre Âges", op. 33: II. 30 ans. Quasi Faust. Assez vite15:316Grande Sonate "Les Quatre Âges", op. 33: III. 40 ans. Un heureux ménage. Lentement12:317Grande Sonate "Les Quatre Âges", op. 33: IV. 50 ans. Prométhée enchaîné. Extrêmement lent10:218Esquisses, op. 63: Première Suite: No. 4, Les Cloches1:069Esquisses, op. 63: Première Suite: No. 1, La Vision3:1010Esquisses, op. 63: Première Suite: No. 11, Les Soupirs2:02Le Festin d’Ésope / Trois Morceaux, op. 15 / Ouverture / Sonatine
2013 · studio album
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Tracklist · 9 tracks · 1:14:35
112 Études dans tous les tons mineurs, op. 39: XII. Le Festin d’Ésope9:4223 Morceaux dans le genre pathétique, op. 15: I. Aime‐moi10:0433 Morceaux dans le genre pathétique, op. 15: II. Le Vent8:0643 Morceaux dans le genre pathétique, op. 15: III. Morte12:57512 Études dans tous les mineurs, op. 39: XI. Ouverture14:526Sonatine, op. 61: I. Allegro vivace5:337Sonatine, op. 61: II. Allegramente4:068Sonatine, op. 61: III. Scherzo‐Menuetto4:099Sonatine, op. 61: IV. Tempo giusto5:06Concerto for Piano Solo / Comme le vent / En rythme molossique / Scherzo diabolico
2013 · studio album
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Tracklist · 6 tracks · 1:09:20
1Concerto pour piano seul in G-sharp minor, op. 39: I. Allegro assai29:142Concerto pour piano seul in G-sharp minor, op. 39: II. Adagio12:043Concerto pour piano seul in G-sharp minor, op. 39: III. Allegretto alla barbaresca9:584Comme le vent, prestissimamente in A minor, op. 394:465En rythme molossique, risoluto, in D minor, op. 398:336Scherzo diabolico, prestissimo in G minor, op. 394:45Complete Recueils de Chants, Volume Two
2013 · studio album
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Tracklist · 18 tracks · 1:19:17
1Quatrième recueil de chants, op. 67: No. 1. Neige et lave2:562Quatrième recueil de chants, op. 67: No. 2. Chanson de la bonne vieille3:043Quatrième recueil de chants, op. 67: No. 3. Bravement3:034Quatrième recueil de chants, op. 67: No. 4. Doucement2:585Quatrième recueil de chants, op. 67: No. 5. Appassionato3:456Quatrième recueil de chants, op. 67: No. 6. Barcarolle6:427Cinquième recueil de chants, op. 70: No. 1. Duettino3:548Cinquième recueil de chants, op. 70: No. 2. Andantinetto2:389Cinquième recueil de chants, op. 70: No. 3. Allegro vivace3:2310Cinquième recueil de chants, op. 70: No. 4. La Voix de l'instrument2:4811Cinquième recueil de chants, op. 70: No. 5. Scherzo - Coro6:0012Cinquième recueil de chants, op. 70: No. 6. Récapitulation - Barcarolle6:53132 Nocturnes, op. 57: No. 1. Andantino6:39142 Nocturnes, op. 57: No. 2. Très vif3:18152 Petites pièces, op. 60: No. 1. Ma chère liberté. Focosamente ma sostenuto molto - Quasi scherzando4:28162 Petites pièces, op. 60: No. 2. Ma chère servitude. Poco lento5:2017Désir. Fantaisie3:1418Chapeau bas! Seconda fantasticheria8:14The Complete Vianna da Motta Transcriptions
2014 · studio album
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Tracklist · 18 tracks · 1:23:28
1Huit Prières for piano solo: I. Andantino3:182Huit Prières for piano solo: II. Moderato2:453Huit Prières for piano solo: III. Poco adagio4:014Huit Prières for piano solo: IV. Maestoso7:175Huit Prières for piano solo: V. Dieu des Armées - Tempo giusto (bien mesuré)2:466Huit Prières for piano solo: VI. Doucement (Andantino)3:567Huit Prières for piano solo: VII. Andantino. Ingenuamente5:358Huit Prières for piano solo: VIII. Allegretto3:229Neuf Préludes for piano four hands: I. Moderatamente3:1610Neuf Préludes for piano four hands: II. Andantino4:4511Neuf Préludes for piano four hands: III. Allegro moderato1:2812Neuf Préludes for piano four hands: IV. Tempo giusto4:0213Neuf Préludes for piano four hands: V. Quasi Adagio6:1314Neuf Préludes for piano four hands: VI. Andantino3:3615Neuf Préludes for piano four hands: VII. Alla Giudesca - Andante4:3716Neuf Préludes for piano four hands: VIII. Lento4:1817Neuf Préludes for piano four hands: IX. Adagio7:4918Benedictus, op. 54 for two pianos10:24Chanson de la folle au bord de la mer
2015 · studio album
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Tracklist · 11 tracks · 58:34
1Trois Petites Fantaisies, op. 41: I. Assez gravement4:492Trois Petites Fantaisies, op. 41: II. Andantino5:143Trois Petites Fantaisies, op. 41: III. Presto6:044Minuetto alla tedesca, op. 465:025Marche funèbre, op. 2611:206Marche triomphale, op. 275:037Petits Préludes sur les 8 gammes du plain‐chant: No. 6. Poco lento1:218Capriccio alla soldatesca, op. 507:069Le tambour bat aux champs, op. 50bis4:581025 Préludes, op. 31: No. 8. Chanson de la folle au bord de la mer3:2811Esquisses, op. 63: No. 49. Laus Deo4:092015 · studio album
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Tracklist · 24 tracks · 3:38:55
Disc 1112 Études dans tous les tons mineurs, op. 39: I. Comme le vent, prestissimamente in A minor4:41212 Études dans tous les tons mineurs, op. 39: II. En rhythme molossique, risoluto in D minor8:27312 Études dans tous les tons mineurs, op. 39: III. Scherzo diabolico, prestissimo in G minor4:44412 Études dans tous les tons mineurs, op. 39: Symphonie pour piano seul: IV. Allegro moderato in C minor10:51512 Études dans tous les tons mineurs, op. 39: Symphonie pour piano seul: V. Marche funèbre, andantino in F minor7:46612 Études dans tous les tons mineurs, op. 39: Symphonie pour piano seul: VI. Menuet, tempo di minuetto in B-flat minor5:36712 Études dans tous les tons mineurs, op. 39: Symphonie pour piano seul: VII. Finale, presto in E-flat minor4:3983 Morceaux dans le genre pathétique, op. 15: I. Aime-moi10:0593 Morceaux dans le genre pathétique, op. 15: II. Le vent8:05103 Morceaux dans le genre pathétique, op. 15: III. Morte12:56Disc 2112 Études dans tous les tons mineurs, op. 39: Concerto pour piano seul: VIII. Allegro assai in G-sharp minor29:13212 Études dans tous les tons mineurs, op. 39: Concerto pour piano seul: IX. Adagio in C-sharp minor12:04312 Études dans tous les tons mineurs, op. 39: Concerto pour piano seul: X. Allegretto alla barbaresca in F-sharp minor9:52412 Études dans tous les tons mineurs, op. 39: XI. Ouverture, maestoso in B minor14:52512 Études dans tous les tons mineurs, op. 39: XII. Le Festin d’Ésope, allegretto senza licenza quantunque in E minor9:42Disc 31Grande Sonate “Les Quatre Âges”: I. “20 ans”. Très vite6:332Grande Sonate “Les Quatre Âges”: II. “30 ans. Quasi faust”, assez vite12:423Grande Sonate “Les Quatre Âges”: III. “40 ans. Un heureux ménage”, lentement13:144Grande Sonate “Les Quatre Âges”: IV. “50 ans. Promethée enchaîné”, assez lentement8:425Sonatine in A minor, op. 61: I. Allegro vivace5:336Sonatine in A minor, op. 61: II. Allegramente4:077Sonatine in A minor, op. 61: III. Scherzo-menuetto4:108Sonatine in A minor, op. 61: IV. Tempo giusto5:049Étude no. 3, op. 76: Mouvement semblable et perpétuel5:17The Complete Transcriptions, Vol. 1: Mozart
2015 · studio album
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Tracklist · 13 tracks · 1:07:44
1Symphony no. 39 in E-flat major, K. 543: III. Menuetto - Trio4:552Thamos, König in Ägypten, K. 345: no. 7b, Ihr Kinder des Staubes, erzittert7:273Symphony no. 40 in G minor, K. 550: III. Menuetto - Trio4:394String Quartet no. 18 in A major, op. 10 no. 5, K. 464: IIIa. Andante. Theme1:435String Quartet no. 18 in A major, op. 10 no. 5, K. 464: IIIb. Andante. Var. 11:366String Quartet no. 18 in A major, op. 10 no. 5, K. 464: IIIc. Andante. Var. 21:547String Quartet no. 18 in A major, op. 10 no. 5, K. 464: IIId. Andante. Var. 31:438String Quartet no. 18 in A major, op. 10 no. 5, K. 464: IIIe. Andante. Var. 42:009String Quartet no. 18 in A major, op. 10 no. 5, K. 464: IIIf. Andante. Var. 51:2510String Quartet no. 18 in A major, op. 10 no. 5, K. 464: IIIg. Andante. Var. 6 - Coda3:2211Piano Concerto no. 20 in D minor, K. 466: I. Allegro16:3212Piano Concerto no. 20 in D minor, K. 466: II. Romanze10:2113Piano Concerto no. 20 in D minor, K. 466: III. Allegro assai10:072017 · studio album
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Tracklist · 12 tracks · 1:08:26
1Étude no. 1 in A major, op. 352:302Étude no. 2 in D major, op. 352:373Étude no. 3 in G major, op. 356:424Étude no. 4 in C major, op. 354:465Étude no. 5 in F major, op. 35. Allegro barbaro2:456Étude no. 6 in B-flat major, op. 352:007Étude no. 7 in E-flat major, op. 35. L’Incendie au village voisin10:438Étude no. 8 in A-flat major, op. 355:209Étude no. 9 in C-sharp major, op. 35. Contrapunctus5:5810Étude no. 10 in G-flat major, op. 35. Chant d’amour - Chant de mort10:4711Étude no. 11 in B major, op. 358:4712Étude no. 12 in E major, op. 355:31Concerti da Camera and Solo Piano Music
2017 · studio album
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Tracklist · 13 tracks · 1:10:55
1Concerto da camera no. 1 in A minor, op. 10: I. Allegro4:562Concerto da camera no. 1 in A minor, op. 10: II. Adagio3:153Concerto da camera no. 1 in A minor, op. 10: III. Allegro6:564Concerto da camera no. 2 in C‐sharp minor, op. 10: I. Allegro moderato2:455Concerto da camera no. 2 in C‐sharp minor, op. 10: II. Adagio3:436Concerto da camera no. 2 in C‐sharp minor, op. 10: III. Primo movimento1:487Concerto da camera no. 3 in C‐sharp minor, op. 10: I. Andante con moto5:5586 Piano Pieces, op. 16: I. Étude de bravoure, mouvement de valse6:5896 Piano Pieces, op. 16: II. Étude de bravoure, moderato quasi menuetto6:12106 Piano Pieces, op. 16: III. Étude de bravoure, prestissimo7:01116 Piano Pieces, op. 16: IV. Variations on « Ah! segnata é la mia morte », from the Opera « Anna Bolena » by Donizetti7:19126 Piano Pieces, op. 16: V. Variations on a Theme by Bellini « La tremenda ultrice spada » from « I Capuleti e i Montecchi »7:03136 Piano Pieces, op. 16: VI. Variations Quasi‐fantasy on a Neapolitan Barcarolle7:042017 · studio album
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Tracklist · 9 tracks · 1:07:02
1Super flumina Babylonis – Paraphrase du psaume 137, op. 526:482Symphonie pour piano seul, op. 39 no. 4–7: no. 4. Allegro9:393Symphonie pour piano seul, op. 39 no. 4–7: no. 5. Marche funèbre. Andantino6:034Symphonie pour piano seul, op. 39 no. 4–7: no. 6. Menuet6:055Symphonie pour piano seul, op. 39 no. 4–7: no. 7. Finale. Presto4:236Grande Sonate pour piano « Les Quatre Âges de la vie », op. 33: I. 20 ans. Très vite6:107Grande Sonate pour piano « Les Quatre Âges de la vie », op. 33: II. 30 ans (Quasi‐Faust). Sataniquement11:248Grande Sonate pour piano « Les Quatre Âges de la vie », op. 33: III. 40 ans (Un heureux ménage). Lentement10:249Grande Sonate pour piano « Les Quatre Âges de la vie », op. 33: IV. 50 ans (Prométhée enchaîné). Extrêmement lent6:062017 · studio album
25 Préludes dans tous les tons majeurs et mineurs, op. 31
2019 · studio album
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Tracklist · 25 tracks · 58:57
125 Préludes dans tous les tons majeurs et mineurs, op. 31: I. Lentement2:51225 Préludes dans tous les tons majeurs et mineurs, op. 31: II. Assez lentement2:45325 Préludes dans tous les tons majeurs et mineurs, op. 31: III. Dans le genre ancient. Très lentement3:38425 Préludes dans tous les tons majeurs et mineurs, op. 31: IV. Prière du soir. Assez lentement1:19525 Préludes dans tous les tons majeurs et mineurs, op. 31: V. Psaume 150me. Avec enthousiasme2:00625 Préludes dans tous les tons majeurs et mineurs, op. 31: VI. Ancienne mélodie de la synagogue. Andante flebile4:24725 Préludes dans tous les tons majeurs et mineurs, op. 31: VII. Librement mais sans secousses1:37825 Préludes dans tous les tons majeurs et mineurs, op. 31: VIII. La Chanson de la folle au bord de la mer. Lentement4:16925 Préludes dans tous les tons majeurs et mineurs, op. 31: IX. Placiditas. Tranquillement2:221025 Préludes dans tous les tons majeurs et mineurs, op. 31: X. Dans le style fugue. Très vite1:131125 Préludes dans tous les tons majeurs et mineurs, op. 31: XI. Un petit rien. Assez vite0:511225 Préludes dans tous les tons majeurs et mineurs, op. 31: XII. Le temps qui n'est plus. Andante1:291325 Préludes dans tous les tons majeurs et mineurs, op. 31: XIII. J'étais endormie, mais mon coeur veillait…… . Lentement3:351425 Préludes dans tous les tons majeurs et mineurs, op. 31: XIV. Rapidement2:371525 Préludes dans tous les tons majeurs et mineurs, op. 31: XV. Dans le genre gothique. Assez vite et avec beaucoup de grâce1:361625 Préludes dans tous les tons majeurs et mineurs, op. 31: XVI. Assez lentement2:031725 Préludes dans tous les tons majeurs et mineurs, op. 31: XVII. Rêve d'amour. Assez vite2:211825 Préludes dans tous les tons majeurs et mineurs, op. 31: XVIII. Romance. Sans trop de movement4:461925 Préludes dans tous les tons majeurs et mineurs, op. 31: XIX. Prière du matin. Vite0:492025 Préludes dans tous les tons majeurs et mineurs, op. 31: XX. Modérément vite et bien caractérisé1:252125 Préludes dans tous les tons majeurs et mineurs, op. 31: XXI. Doucement1:482225 Préludes dans tous les tons majeurs et mineurs, op. 31: XXII. Anniversaire. Assez lentement2:122325 Préludes dans tous les tons majeurs et mineurs, op. 31: XXIII. Assez vite1:342425 Préludes dans tous les tons majeurs et mineurs, op. 31: XXIV. Prestissimo1:502525 Préludes dans tous les tons majeurs et mineurs, op. 31: XXV. Prière. Lentement3:36Symphony for Solo Piano / Concerto for Solo Piano
2019 · studio album
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Tracklist · 7 tracks · 1:18:32
1Symphony for Solo Piano, op. 39 nos. 4-7: I. Allegro moderato10:412Symphony for Solo Piano, op. 39 nos. 4-7: II. Marche funèbre. Andantino6:263Symphony for Solo Piano, op. 39 nos. 4-7: III. Menuet. Tempo di minuetto5:034Symphony for Solo Piano, op. 39 nos. 4-7: IV. Finale. Presto4:205Concerto for Solo Piano, op. 39 nos. 8-10: I. Allegro assai30:066Concerto for Solo Piano, op. 39 nos. 8-10: II. Adagio12:297Concerto for Solo Piano, op. 39 nos. 8-10: III. Allegretto alla barbaresca9:27Lewenthal Playing and Conducting Funeral March for a Papagallo and Other Grotesqueries of Alkan
2019 · studio album
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Tracklist · 16 tracks · 56:18
1Sonatine, op. 61: I. Allegro vivace4:112Sonatine, op. 61: II. Allegramente4:113Sonatine, op. 61: III. Scherzo - Menuetto2:504Sonatine, op. 61: IV. Tempo giusto4:585Petit Conte, ICA 463:546Le tambour bat aux champs, ICA 754:237Esquisses, op. 63: No. 1. La Vision3:428Marcia funèbre, sulla morte d’un Pappagallo, ICA 358:209Esquisses, op. 63: No. 45. Les Diablotins2:2110Étude in A‐flat major, op. 35 no. 85:2811Esquisses, op. 63: No. 47. Scherzetto2:1612Les Mois, op. 74: No. 10. Gros Temps2:5813Esquisses, op. 63: No. 11. Les Soupirs1:3414Esquisses, op. 63: No. 12. Barcarollette1:1815Esquisses, op. 63: No. 39. Heraclite et Democrite2:0216Esquisses, op. 63: No. 7. Le Frisson1:52Grande Sonate, op. 33 / Trois Morceaux dans le genre pathétique, op. 15
2020 · studio album
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Tracklist · 7 tracks · 1:07:29
1Grande Sonate, op. 33: I. 20 ans, Très vite5:402Grande Sonate, op. 33: II. 30 ans, Quasi-Faust. Assez vite11:303Grande Sonate, op. 33: III. 40 ans, Un heureux ménage. Lentement10:504Grande Sonate, op. 33: IV. 50 ans, Prométhée enchaîné. Extrêmement lent9:155Trois Morceaux dans le genre pathétique, op. 15: I. Aime-moi9:426Trois Morceaux dans le genre pathétique, op. 15: II. Le vent7:387Trois Morceaux dans le genre pathétique, op. 15: III. Morte12:542020 · studio album
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Tracklist · 6 tracks · 1:02:19
1Symphony no. 5, op. 67, S. 464/5: I. Allegro con brio6:572Symphony no. 5, op. 67, S. 464/5: II. Andante con moto8:493Symphony no. 5, op. 67, S. 464/5: III. Allegro5:054Symphony no. 5, op. 67, S. 464/5: IV. Allegro10:495An die ferne Geliebte, S. 46912:416Piano concerto no. 3, op. 37: I. Allegro con brio17:58Paraphrases / Marches / Symphonie for Solo Piano, op. 39
2021 · studio album
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Tracklist · 12 tracks · 1:11:36
1Salut, cendre du pauvre!, Paraphrase, op. 458:192Super flumina Babylonis, Paraphrase, op. 526:123Trois Marches quasi da cavalleria, op. 37: I. Allegro molto5:064Trois Marches quasi da cavalleria, op. 37: II. Allegro vivace4:345Trois Marches quasi da cavalleria, op. 37: III. Allegro4:546Alleluia in F major, op. 252:357Marche funèbre, op. 268:288Marche triomphale, op. 274:57912 Études dans tous les tons mineurs, op. 39: Nos. 4-7 "Symphonie": I. Allegro moderato10:371012 Études dans tous les tons mineurs, op. 39: Nos. 4-7 "Symphonie": II. Marche funèbre. Andantino5:571112 Études dans tous les tons mineurs, op. 39: Nos. 4-7 "Symphonie": III. Menuet5:391212 Études dans tous les tons mineurs, op. 39: Nos. 4-7 "Symphonie": IV. Finale. Presto4:1811 Pièces dans le style religieux, op. 72 / Etude alla barbaro
2022 · studio album
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Tracklist · 14 tracks · 1:00:32
111 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: I. Tempo giustissimo2:53211 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: II. Andante5:16311 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: III. Quasi-adagio3:58411 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: IV. Assez doucement3:34511 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: V. Lentement3:24611 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: VI. Majesteusement3:17711 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: VII. Molto moderato4:50811 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: VIII. Assez vite3:59911 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: IX. Assez lentement7:431011 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: X. Modérément4:061111 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: XI. Dolcemente7:011211 Pièces dans le style religieux et 1 transcription du Messie de Hændel, op. 72: XII. No. 13 du Messiah de Hændel. Larghetto3:5613Etude from the Encyclopédie du pianiste Compositeur3:5314Etude alla barbaro2:42Beethoven-Liszt: Symphony no. 3 "Eroica" / Mozart-Alkan: Piano Concerto no. 20 in D minor
2022 · studio album
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Tracklist · 7 tracks · 1:23:09
1Symphony no. 3 in E-flat major, S. 464 no. 3: I. Allegro con brio16:272Symphony no. 3 in E-flat major, S. 464 no. 3: II. Marcia funebre. Adagio assai16:263Symphony no. 3 in E-flat major, S. 464 no. 3: III. Scherzo. Allegro vivace5:304Symphony no. 3 in E-flat major, S. 464 no. 3: IV. Finale. Allegro molto12:235Piano Concerto no. 20 in D minor, K. 466: I. Allegro14:576Piano Concerto no. 20 in D minor, K. 466: II. Romance8:197Piano Concerto no. 20 in D minor, K. 466: III. Rondo. Allegro assai9:07Character Pieces & Grotesqueries
2023 · studio album
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Tracklist · 17 tracks · 1:17:45
1Petit conte4:002Pour monsieur Gurkhaus1:103Jean qui pleure et Jean qui rit, due fughe da camera: I. Jean qui pleure3:224Jean qui pleure et Jean qui rit, due fughe da camera: II. Jean qui rit4:415Toccatina, op. 751:476Désir, fantaisie4:017Capriccio alla-soldatesca, op. 506:468Le tambour bat aux champs, esquisse, op. 50bis4:009Fantasticheria3:4510Chapeau bas!, 2da Fantasticheria7:59112 Petites pièces, op. 60: I. Ma chère liberté!..4:07122 Petites pièces, op. 60: II. Ma chère servitude!..4:5613Quasi-Caccia, caprice, op. 535:2814Le Chemin de fer, étude, op. 275:00153 Petites fantaisies, op. 41: I. Assez gravement5:02163 Petites fantaisies, op. 41: II. Andantino5:31173 Petites fantaisies, op. 41: III. Presto6:102025 · studio album
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Tracklist · 9 tracks · 1:12:42
1Variations sur un thème de Steibelt, op. 110:492Les Omnibus, variations, op. 24:513Il était un p'tit homme, rondoletto, op. 36:274Rondo brillant pour piano et cordes ad libitum, op. 413:285Variations à la vielle sur l'air chanté par Mme. Persiani dans L'elisir d'amore de G. Donizetti10:096Ah! Segnata è la mia sorte de l'opéra Anna Bolena de Donizetti, varié, op. 16 no. 45:307Air des Capulets et des Montaigus de Bellini (La tremenda ultrice spada), varié, op. 16 no. 56:398Variations quasi fantaisie sur une barcarolle napolitaine, op. 16 no. 66:139Rondeau chromatique, op. 128:362025 · studio album
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Tracklist · 26 tracks · 1:44:03
Disc 11Premier Nocturne in B major, op. 226:022Saltarelle in E minor, op. 234:56325 Préludes dans tous les tons majeurs et mineurs, op. 31: No. 6. Ancienne mélodie de la synagogue4:41425 Préludes dans tous les tons majeurs et mineurs, op. 31: No. 18. Romance in C‐sharp minor3:505Douze études dans tous les tons majeurs en deux suites, op. 35: No. 4. Presto in C major5:566Premier recueil de chants, op. 38: No. 1. Assez vivement in E major5:237Douze études dans tous les tons mineurs, op. 39: Scherzo diabolico. Prestissimo in G minor5:2382 Nocturnes, op. 57: No. 2. Troisième nocturne in F‐sharp major4:539Sonatine pour piano in A minor, op. 61: I. Allegro vivace A minor6:2110Sonatine pour piano in A minor, op. 61: II. Allegramente in F major4:3311Sonatine pour piano in A minor, op. 61: III. Scherzo‐Menuetto in D minor5:0012Sonatine pour piano, op. 61: IV. Tempo giusto in A minor7:08Disc 21Esquisses, op. 63: No. 1. La vision2:522Esquisses, op. 63: No. 2. Le staccatissimo1:303Esquisses, op. 63: No. 23. L’Homme aux Sabots0:394Esquisses, op. 63: No. 30. Petit air dolent2:205Esquisses, op. 63: No. 43. Notturnino‐Innamorato1:556Esquisses, op. 63: No. 46. Le premier billet doux1:157Troisieme recueil de chants, op. 65: No. 3. En canon à l’octave in A major3:008Cinquième recueil de chants, op. 70: No. 1. Duettino in E major3:519Cinquième recueil de chants, op. 70: No. 2. Andantinetto in A minor2:1910Cinquième recueil de chants, op. 70: No. 6. Barcarolle in G minor6:3211Les mois, op. 74: No. 5. La Sérénade in F‐sharp minor2:4412Les mois, op. 74: No. 6. Promenade sur l’eau in A major2:1713Trois grandes études pour les deux mains séparées et réunies, op. 76: No. 3. Etude pour les deux mains in C minor6:3714Souvenirs de musique de chambre: Bach. Siciliano from Flute Sonata in E‐flat major, BWV 10312:06The Complete Alkan Organ Works, Volume 1
2026 · studio album
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Tracklist · 21 tracks · 1:16:26
111 Grand Preludes and Transcription of Handel's Messiah, op. 66: I. Allegro1:25211 Grand Preludes and Transcription of Handel's Messiah, op. 66: II. Allegro moderato2:57311 Grand Preludes and Transcription of Handel's Messiah, op. 66: III. Andantino4:41411 Grand Preludes and Transcription of Handel's Messiah, op. 66: IV. Moderatamente4:17511 Grand Preludes and Transcription of Handel's Messiah, op. 66: V. Quasi-Adagio5:31611 Grand Preludes and Transcription of Handel's Messiah, op. 66: VI. Andantino4:31711 Grand Preludes and Transcription of Handel's Messiah, op. 66: VII. Andante. Alla giudesca4:09811 Grand Preludes and Transcription of Handel's Messiah, op. 66: VIII. Tempo giusto5:32911 Grand Preludes and Transcription of Handel's Messiah, op. 66: IX. Langsam7:441011 Grand Preludes and Transcription of Handel's Messiah, op. 66: X. Scherzando5:151111 Grand Preludes and Transcription of Handel's Messiah, op. 66: XI. Lento4:2612Messiah: Recitative. Thy rebuke hath broken His heart - Arioso. Behold, and see3:0413Petits préludes sur les huit gammes du plainchant: I. Moderato0:4214Petits préludes sur les huit gammes du plainchant: II. Andantino1:0315Petits préludes sur les huit gammes du plainchant: III. Tempo giusto1:3216Petits préludes sur les huit gammes du plainchant: IV. Vivace0:3117Petits préludes sur les huit gammes du plainchant: V. Andante quasi allegretto0:4818Petits préludes sur les huit gammes du plainchant: VI. Poco lento1:1319Petits préludes sur les huit gammes du plainchant: VII. Andantino0:4120Petits préludes sur les huit gammes du plainchant: VIII. Moderato1:1421Impromptu on Luther's "Un fort rempart est notre Dieu" op. 6915:10Nocturnes, Impromptus & Zorcicos, Vol. 8
2026 · studio album
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Tracklist · 16 tracks · 1:06:52
11er Nocturne, op. 225:5721er Recueil d’impromptus, op. 32 no. 1: I. Vaghezza1:3931er Recueil d’impromptus, op. 32 no. 1: II. L’amitié2:1141er Recueil d’impromptus, op. 32 no. 1: III. Fantasietta alla moresca2:5451er Recueil d’impromptus, op. 32 no. 1: IV. La foi6:1762e et 3e Nocturnes, op. 57: I. Andantino6:3472e et 3e Nocturnes, op. 57: II. Très‐Vif3:2083 Airs à cinq temps et 1 à sept temps, 2e recueil d’impromptus, op. 32 no. 2: I. Andantino4:1893 Airs à cinq temps et 1 à sept temps, 2e recueil d’impromptus, op. 32 no. 2: II. Allegretto1:09103 Airs à cinq temps et 1 à sept temps, 2e recueil d’impromptus, op. 32 no. 2: III. Vivace1:26113 Airs à cinq temps et 1 à sept temps, 2e recueil d’impromptus, op. 32 no. 2: IV. Andante flebile4:1912Le Grillon, 4e nocturne, op. 60Bis4:4513Impromptu2:4914Réconciliation, petit caprice mi‐parti en forme de zorcico ou air de danse basque à cinq temps, op. 426:5915Zorcico, danse ibérienne (à 5 temps)5:0616Une fusée, introduction et impromptu, op. 557:09Grande Sonate / Symphonie pour piano seul / Barcarolle
2026 · studio album
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Tracklist · 9 tracks · 1:08:20
1Grande Sonate, op. 33 “Les 4 âges”: I. 20 ans. Très vite6:292Grande Sonate, op. 33 “Les 4 âges”: II. 30 ans. Quasi‐Faust13:093Grande Sonate, op. 33 “Les 4 âges”: III. 40 ans. Un heureux ménage9:364Grande Sonate, op. 33 “Les 4 âges”: IV. 50 ans. Prométhée enchaîné7:365Symphony for Solo Piano (from 12 Etudes, op. 39): I. Allegro, op. 39 no. 410:326Symphony for Solo Piano (from 12 Etudes, op. 39): II. Marche funèbre, op. 39 no. 56:367Symphony for Solo Piano (from 12 Etudes, op. 39): III. Menuet, op. 39 no. 65:368Symphony for Solo Piano (from 12 Etudes, op. 39): IV. Finale, op. 39 no. 75:189Recueil de chants III, op. 65: VI. Barcarolle. Assez lentement3:28
Album · 3
| Cover | Year | Title | Notes | First release |
|---|---|---|---|---|
| 1999 | Alkan: Piano Music / Liszt: HéxameronSearch SpotifySearch YouTube MusicTracklist · 19 tracks · 1:05:271Le festin d'Esope8:49 2Barcarolle, op. 65 no. 63:05 3Quasi-Faust11:15 4Symphonie: I. Allegro moderato7:38 5Symphonie: II. Marche funèbre: Andantino5:42 6Symphonie: III. Menuet5:18 7Symphonie: IV. Finale: Presto4:12 8Hexaméron (Variations on the March of Bellini's "I Puritani"), S. 392: Introduction3:46 9Hexaméron (Variations on the March of Bellini's "I Puritani"): Theme1:19 10Hexaméron (Variations on the March of Bellini's "I Puritani"): Variation I0:57 11Hexaméron (Variations on the March of Bellini's "I Puritani"), S. 392: Variation II2:14 12Hexaméron (Variations on the March of Bellini's "I Puritani"): Variation III1:36 13Hexaméron (Variations on the March of Bellini's "I Puritani"), S. 392: Interlude I0:21 14Hexaméron (Variations on the March of Bellini's "I Puritani"): Variation IV1:24 15Hexaméron (Variations on the March of Bellini's "I Puritani"): Variation V1:11 16Hexaméron (Variations on the March of Bellini's "I Puritani"), S. 392: Interlude II1:47 17Hexaméron (Variations on the March of Bellini's "I Puritani"), B. 113: Variation VI1:21 18Hexaméron (Variations on the March of Bellini's "I Puritani"), S. 392: Interlude III0:47 19Hexaméron (Variations on the March of Bellini's "I Puritani"), S. 392: Finale2:45 | Compilation | 1999 | |
| 2003 | Piano WorksSearch SpotifySearch YouTube MusicTracklist · 20 tracks · 2:33:06Disc 1 1-1Grande sonate, op. 33 « Les quatres âges » : I. Vingt ans6:36 1-2Grande sonate, op. 33 « Les quatres âges » : II. Trente ans : Quasi-faust13:02 1-3Grande sonate, op. 33 « Les quatres âges » : III. Quarante ans : Un heureux menage11:44 1-4Grande sonate, op. 33 « Les quatres âges » : IV. Cinquante ans : Promethee enchaine12:06 1-5Études dans tous les tons mineurs, op. 39 : I. Comme le vent (Prestissimamente)4:38 1-6Études dans tous les tons mineurs, op. 39 : II. En rythme molossique (Risoluto)8:10 1-7Études dans tous les tons mineurs, op. 39 : III. Scherzo diabolico (Prestissimo)4:32 1-8Études dans tous les tons mineurs, op. 39 : IV. Le festin d’esope (Allegretto senza licenza quantunque)9:05 1-9La chanson de la folle au bord de la mer (Preludes, op. 31 no. 8)4:25 1-10Allegro barbaro (12 études dans tous les tons majeurs, op. 35 no. 5)2:33 Disc 21Sonatine for piano, op. 61 : I. Allegro vivace5:45 2Sonatine for piano, op. 61 : II. Allegramente3:40 3Sonatine for piano, op. 61 : III. Scherzo-minuetto3:52 4Sonatine for piano, op. 61 : IV. Tempo giusto5:00 5Grande étude, op. 76 no. 1 : Étude pour la main gauche seule (Fantaisie)10:39 6Grande étude, op. 76 no. 2 : Étude pour la main droite seule (Introduction, variations et finale)22:36 7Grande étude, op. 76 no. 3 : Étude pour les mains reunies (Mouvement semblable et perpetuel)5:29 8Étude de bravoure (Scherzo), op. 16 no. 1 : Mouvement de valse6:35 9Étude de bravoure (Scherzo), op. 16 no. 2 : Moderato (Quasi minuetto)5:57 10Étude de bravoure (Scherzo), op. 16 no. 3 : Prestissimo6:42 | Compilation | 8 April 2003 | |
| 2010 | Piano WorksSearch SpotifySearch YouTube MusicTracklist · 53 tracks · 3:20:30Disc 1 1Nocturne no. 1, op. 226:21 27 Esquisses, op. 63: No. 2. Le Staccatissimo1:05 37 Esquisses, op. 63: No. 3. Le Legatissimo1:42 47 Esquisses, op. 63: No. 21. Morituri te salutant1:31 57 Esquisses, op. 63: No. 10. Increpatio1:30 67 Esquisses, op. 63: No. 11. Les Soupirs1:39 77 Esquisses, op. 63: No. 46. Le Premier Billet doux0:59 87 Esquisses, op. 63: No. 47. Scherzetto1:50 9Le Festin d'Esope, op. 39 no. 1210:12 10Le temps qui n'est plus (prélude), op. 31 no. 121:32 11Fa, op. 38b no. 2, from "2nd Book of Chants"3:05 12Grande Sonate, op. 33 "Les Quatre Ages": I. 20 ans: Très vite6:39 13Grande Sonate, op. 33 "Les Quatre Ages": Il. 30 ans: Quasi-Faust. Assez vite15:54 14Grande Sonate, op. 33 "Les Quatre Ages": lll. 40 ans: Un heureux ménage. Lentement10:35 15Grande Sonate, op. 33 "Les Quatre Ages" IV. 50 ans: Prométhée enchaîné. Extrêmement lent8:22 16Toccatina, op. 751:51 Disc 21Les Mois, op. 74: No. 6. Promenade sur l'eau2:31 2Les Mois, op. 74: No. 10. Gros Temps3:23 3Petites Fantaisies, op. 416:23 4Petit Conte4:24 5Le tambour bat aux champs (esquisse), op. 50bis4:40 6"Trentes Chants" Suite no. 1, op. 38: No. 1. Assez vivement4:35 7"Trentes Chants" Suite no. 1, op. 38: No. 5. Agitatissimo3:56 8"Trentes Chants" Suite no. 1, op. 38: No. 6. Barcarolle3:51 9Symphonie for Piano Solo, op. 39 nos. 4-7: Allegro11:23 10Symphonie for Piano Solo, op. 39 nos. 4-7: Marche funèbre6:42 11Symphonie for Piano Solo, op. 39 nos. 4-7: Menuet6:04 12Symphonie for Piano Solo, op. 39 nos. 4-7: Finale5:23 Disc 31Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 1 in C major2:23 2Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 6 in G minor "Ancienne Mélodie de la synagogue"3:08 3Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 11 in F major "Un petit rien"0:53 4Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 12 in B-flat minor "Le temps qui n'est plus"1:11 5Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 13 in G-flat major "J'étais endormie, mais mon coeur veillait"3:23 6Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 14 in B minor2:43 7Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 8 in A-flat minor "La Chanson de la folle au bord de la mer"3:47 8Préludes, dans tous les tons majeurs et mineurs, op. 31: No. 15 in B major "Dans le genre gothique"2:10 9Les Mois, op. 74: No. 14:12 10Les Mois, op. 74: No. 4. Gros temps4:19 11Les Mois, op. 74: No. 3. L'Opera1:35 12Trente Chants, Suite no. 3, op. 65: No. 5 "Horace et Lydie"3:48 13Trente Chants, Suite no. 3, op. 65: No. 6 "Barcarolle"3:34 14Trente Chants, Suite no. 4, op. 67: No. 2 "Chanson de la bonne vieille"3:27 15Esquisses: 48 motifs, op. 63: No. 1 "La Vision"2:21 16Esquisses: 48 motifs, op. 63: No. 4 "Les Cloches"0:53 17Esquisses: 48 motifs, op. 63: No. 8 "Pseudo-naïvité"2:00 18Esquisses: 48 motifs, op. 63: No. 10 "Increpatio"1:42 19Esquisses: 48 motifs, op. 63: No. 11 "Les Soupirs"1:44 20Esquisses: 48 motifs, op. 63: No. 35 "Musique militaire"1:15 21Esquisses: 48 motifs, op. 63: No. 43 "Notturnino innamorato"1:58 22Esquisses: 48 motifs, op. 63: No. 46 "Le Premier Billet doux"1:05 23Esquisses: 48 motifs, op. 63: No. 48 "En Songe"1:18 24Esquisses: 48 motifs, op. 63: No. 49 "Laus Deo"3:42 25Petit Conte3:57 | Compilation | 19 April 2010 |
Stats & PK
Percentile within all 23,672 published artists.Put Charles-Valentin Alkan head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 43 | 95.3th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 71 | 96.4th |
| Studio albums | 68 | 99.6th |
| Awards recorded | 0 | 0th |
| Timeline events | 71 | 99.4th |
| Recording span (years) | -81 | 5.4th |
| Genres | 5 | 88.3th |
Awards & honours
Where this record comes from
portrait—Wikimedia Commons · Public domain · retrieved 11 October 2026
https://commons.wikimedia.org/wiki/File:Charles-Henri-Valentin_Morhange_dit_Alkan.jpgaliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/62000bf9-9919-4dfb-9929-15f013fca57bdiscography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/62000bf9-9919-4dfb-9929-15f013fca57bcore—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q217068genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q217068seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Charles-Valentin_Alkanbiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Charles-Valentin_Alkanbiography—wikipedia-fr · CC BY-SA 4.0 · retrieved 10 October 2026
https://fr.wikipedia.org/wiki/Charles-Valentin_Alkan
Why this artist is in the database
- List of composers by name
Tier rule: historic figure (43 language versions, career ended)
Image: unidentified photographer, Paris, France · Public domain · Wikimedia Commons
Wikidata: Q217068 · MusicBrainz: 62000bf9-9919-4dfb-9929-15f013fca57b
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