Marc-Andre Hamelin - Alkan: Symphony for Solo Piano

Alkan's one of music's originals, a relatively neglected composer valued for his highly original, often visionary keyboard works accessible only to the most skilled virtuosos. Marc-André Hamelin certainly fills that bill and almost outdoes himself on this disc, playing with breathtaking virtuosity and imaginative insight. The Symphony for solo piano is just a four-movement work of symphonic scope and color. The opening Allegro is a tightly structured drama, followed by a Mahlerian funeral march, a vigorous scherzo, and a final blistering Presto dispatched by Hamelin with almost supernatural ease. The Symphony was part of an even bigger work, the Opus 39 Études, whose 12 pieces include Alkan's best music. The three brief pieces that follow have strong attractions, deep spirituality prime among them. The final three pieces from his early Opus 15 set exemplify Alkan the Romantic. Again, Hamelin makes light of their technical difficulties, while shaping them sensitively. Notable are Le vent, where the right-hand runs make you hear the whistling wind and Morte, another powerful funeral march. Vivid sound captures Hamelin's nuanced playing, helping to make this disc a must-have for pianophiles. --Dan Davis Amazon.com\'s Best of 2001

The greatest CD I've bought in years

Ask most classical music fans about Charles-Valentin Alkan and they'll most likely have no clue what to say. I always assumed, after seeing his name in various books, that he was either an obscure opera composer or a twentieth century atonal experimenter. This mindset changed when I happened to come across this CD on the Hyperion website. I learned who Alkan really was, and being the Lisztian and Chopinite I am, I bought this instantly without even listening to a sample track. This has been the most fortunate gamble I've ever taken; the other passionate and eloquent reviews here pretty much confirm that I was right to plunge myself into Alkan.

For those new to Alkan, this is probably the best place to start. Although, after my own first hearing of this CD, I immediately ordered every Alkan CD on the Naxos label and found the Op. 35 Etudes an essential showcase for Alkan's unbelievable genius. It's hard to believe that this obscure hermit who lived next to Chopin was composing such original and extraordinary music. A beginner to Alkan's music might sense a fusion between the styles of Chopin and Liszt, with a spice of Schumann and a tinge of Rachmaninov, if that's possible. Alkan possesses all the faculties for creating gorgeous and beautiful melodies; indeed, he holds his own with Chopin in that area. But Alkan's renowned for composing demonic works with monstrous technical passages that stretch the limits of the piano. While this reputation tends to overshadow his musicality and Beethovenian depth of expression, Alkan is frankly successful with writing tour-de-force compositions. He does it better than Liszt himself, as exemplified by the menacing crashes of the Symphony for Solo Piano and the violent coda of Morte from the Op. 15.

The Symphony for Solo Piano is a masterpiece in my book. I've heard countless large-scale piano works and I must say nothing has ever made such an impression on me as this portion of the Op. 39. With Classical structure and Romantic furor, the work rivals any contemporary Sonata from Chopin, Schumann or even Brahms for that matter. To quote Francois Luguenot, "The structure of the piece is as perfect, and its proportions as harmonious, as those of a movement in a symphony by Mendelssohn, but the whole is dominated by a deeply passionate mood." Indeed, whether in the brooding first Allegro movement, the satirically gloomy funeral march, or the tempestuous Menuet, one can easily see that this work is a monumental tapestry of music. There is a comforting but mind-blowing range of expression in this masterpiece. If devilish torrents of pianism appeal to you, I guarantee the Finale, a "ride in hell" as Raymond Lewenthal aptly said, will tingle your spine and keep the blood pumping.

After listening to this recording dozens of times, I'm convinced the highlight of the CD is actually the Souvenirs: Trois Morceaux dans le genre pathetique Op. 15. Although harshly criticized by Schumann, I've never heard better works of their kind, whether from Chopin, Liszt, Henselt, or Rubinstein. This Op. 15 is a trinity of towering, gushing Romantic piano compositions. The first, Aime-moi, is astonishing in its scope, expressive ideas, and utter transcendence. Hamelin reveals a breathtaking degree of interpretative clairvoyance here. Even more tremendous is the simple but profound "Le vent," a heart-wrenching and melancholy excursion that defies the sonorities of the piano. To quote Liszt, "'Le vent' is the most Romantic of the three...One can almost hear the rain trickling down the oak trees' trunks, and, in great reverence, one can listen to the tune which floats above all these subdued murmurings, like the song of the lover or the poet as he looks upon Nature's sorrow yet without feeling that sadness in himself because he holds in his heart the gentle glow of a memory or a hope." Concluding this trio of jewels, Morte explores a dark abyss of sound, generating a level of pathos and fury unlike anything I've heard. The sinister "Dies Irae" opening leads to a lamenting and morbid development, replete with beautifully somber phrases and violent outbursts. Morte's underlying dark beauty and intensity shares a plateau with Beethoven's own Funeral Marches, in my view.

The three pieces that separate the Symphony for Solo Piano and the Op. 15 are equally impressive, as well. "Salut, cendre du pauvre!" is satisfyingly enchanting, dark, and pensive. Likewise, the "Super flumina Babylonis" proves to be just as engrossing, with memorable and intelligent ideas. Some other reviewers have spoken unkindly towards the glorious "Alleluia," but I don't believe it's as superficial as some have labeled it: Alkan's sense of replicating the organ's textures into the piano's registers, and the sheer majestic effect of a chorus, are all inherent in this brief but ecstatic work.

Bottom line: Those with an affinity for Liszt and Romantic piano will almost automatically love this music. The impact of hearing this magnificent but neglected music is like that of discovering fire by accident. It's one of the best CD's I've purchased in years; the performance of the extraordinary and god-like pianist, Marc-Andre Hamelin, is a triumph. I implore the reader to buy this right now and discover the stupendous music of Alkan. April 25, 2006

Please listen to the OTHER tracks in this CD as well.

Even though the highlight of this CD is the Symphony for Solo Piano, I think the supporting tracks are the real reason why I would recommend this CD. They are all titled in very bizarre names, and I'm afraid most listeners would listen to them once and put them away for good. Here's a brief rundown of the supporting tracks:

"Salut, cendre du pauvre" - tough to categorize this work with any other composer. It's not as dramatic as most of the works in this CD. If Beethoven's 6th symphony brought the listener closer to nature, I guess that would be a similar reasoning with this work.

"Alleuia" - short work, the name says it all. The least interesting recording in the CD.

"Super flumina Babylonia" - a very interesting, dramatic work. I somehow find this work similar to a Bach keyboard toccata. It has a very interesting fugue in the middle and I just wished Alkan would've developed it longer considering it goes back to the original slow theme before it really has a chance to take off.

"Aime moi" - This is the highlight of the CD. This work has as much emotional range as any of the great Chopin Ballades. The main theme is one of the most beautiful music that I ever heard. Hamelin really brings a sense of longing to this work. Arthur Rubinstein would've been proud of this recording.

"Le Vent" - Very similar to the effect that Chopin brought to the op. 25 no. 12 etude, also known as the "Ocean Etude." Very interesting, but the main theme doesn't really develop into anything... but neither did Chopin and his work.

"Morte" - Take Chopin's great Polonaise-fantaisie in Aflat-major.... and instead of the dreamlike motif, substitute it with the Dies Irae theme. This is a truly great work and Hamelin does a wonderful job assimilating all the different moments. May 28, 2002

A Maturity that is Everlasting!

Symphony:

This has to be the finest recording of the Sypmhony ever! Everyone I have spoken to comment on the way Marc-Andre Hamelin plays the Presto Finale - yes sure the speed is amazing and it is faultless throughout, but I think that he plays the first movement Allegro Moderato the best. As the first notes sound, you can hear something extraordinary is about to happen. He plays the first movement with such maturity - he interprets it the way it should be - with passion, fire, sorrow etc. His lyrical lines always lead somewhere and his pedalling is fantastic. The best part though in this movement is the coda - full of agitation, strong fingerwork and careful phrasing make it a wondrous close to the first movement.

Next is the Marche Funebre. I think people under-estimate the difficulty of this piece. It calls for both hands to play and sustain a note with the 5th finger and then the other fingers play staccato chords. Hamelin does this with a wonderful effect and, even though it is a 'Funeral', he always keeps the march pace.

The Minuet (Scherzo): Hamelin pulls this off with EXCELLENT phrasing, accentuation, pedalling and speed. He really makes it sound like a Scherzo (which in actual fact it is). In complete contrast to the Scherzo - the Trio just wants to make you fall asleep - the cantabile playing is unmatched and dreamlike!

Presto Finale: What can I say - "a ride in hell" played with energy provides a fantastic conlcusion to an original work.

The Next Three Pieces:

All not too long and very interesting. One that I must point out though is the Alleluia. Hamelin plays this with a strong, even tone on every chord, which makes it actually sound like a massive choir - the effect is spine-tingling!

Trois Morceaux dans le Genre Pathetique:

Wow,wow,wow! These three pieces have been brought back to life! As Aime-Moi filled my room, I could feel Hamelin's emotions soaring through the BEAUTIFUL melodic lines. Within seconds I was crying! Aime-Moi is definately my favourite piece in this set and is just so delicious! I would buy the CD just for that piece!
Le vent: Immediately you can hear the wind whining through trees and long grasses in Paris (well, in my vision. This is really portrayed perfectly and should definately become popular again!
Morte: The Most mature of the set. Really demading music requring full musical potential and understanding of the music - this piece is definately "obscure in a good way". I love Hamelin's account of this piece - he plays it with such love and care - unmissable!

Summary: Get it now!

Bon apetit!
Gareth Ross April 14, 2002

Marc-Andre Hamelin does it again!

I knew it was inevitable - Alkan's Symphony for Solo Piano is just Hamelin's repertoire and I pre-ordered this recording as soon as I became aware of its existence. Not surprisingly, this is another classic to add to the Alkan/Hamelin/Hyperion discography.

The only disappointment for me was the fourth movement of the symphony. Not that it's bad or anything, but for me, it just didn't work. I'm usually the last person to complain about Hamelin's well known tendency to make everything sound "too easy", but in this case, it really DOES seem detrimental to the music. I much prefer Gibbons in this movement - he really makes it sound like a ride in hell. Hamelin's lacks some of the passion and drive in the searing Gibbons' account. Hamelin's consistent ultra-clarity and slavery to the beat sort of dullened it for me - and the left hand octaves in the climax section really needed stronger accenting. The first movement however belongs to Hamelin - His performance is more dynamic, intense, and interesting than any other I've heard. Definitive. The second and third movements are both unique and carefully thought out. Everything else on the disc is just as I'd expect from this pianist - standard-setting and definitive. Here's hoping that Hamelin will include at least one of the remaining Op. 39 etudes (Comme le Vent, En Rhythme Molossique, Scherzo Diabolique, and Overture - minus the concerto he's already recorded) on his upcoming encore disc. August 19, 2001

Another milestone on the highway to Alkan restoration

After shortly leaving the unbeaten track with his previous dazzling Schumann recording, Hamelin is back in repertoire that most of his colleagues shun in order to add recordings nrs 499 or 625 of the dinosaurs of the piano repertoire to the catalogue. Back at Alkan Marc-Andre just emphasizes how frightfully narrow-minded the "stars" are when it comes to lesser known, but certainly not lesser quality works, and how understandable the disenchantment is of many in the younger generations with "classical music". Enough complaints, however.

After restoring Alkan's place among piano composers of the stature of Liszt, Schumann and Chopin, Hamelin further unveils the depths of the oeuvre of this forgotten French genius. As in his previous Alkan recordings, Hamelin illustrates how individual and innovative Alkan's choices were when it came to exploring the limitless possibilities that the rapid evolution of the pianoforte allowed in the first half of the 19th century. Hamelin's previous Alkan recordings have received critical acclaim in no small part to the extent to which this composer allowed this unparalleled pianist to display his powers. In this recording there is again plenty of the physics of pyrotechnics, but also a deeper exploration of Alkan's metaphysics. Whereas many piano composers have a small set of distinct signature pieces in a marshland of insignificance -e.g. Ljadov, Grieg, Sorabdji-, the more you get to know of Alkan, the better you like him. While I have not yet encountered a piece of his like Les Annees de Pelerinage or Nuages Gris, that would put him on quite the same level as Liszt, the sampling of Alkan's oeuvre I have enjoyed so far is also devoid of some of the former's all too common tackiness.

Hamelin's performances are again up to the incredible standards that he set in his earlier recordings. While he can play more notes per second than any of his colleagues in history, this recording shines equally when there are very few.

Two comments to Hamelin's critics.

A great amount of the strength of Marc-Andre's (Alkan) recordings derives from his conscious choice to never take his interpretations over the top. At many instances composers like Alkan provide the interpreter ample opportunity to go overboard in the "Lawrence Olivier Hamlet" fashion. I am convinced that the latter's approach is completely at odds with the intentions of the British Bard. Likewise, I think that people like John-Elliot Gardiner have given clear credence to the notion that many romantic works are far less schmaltzy than the projections through the interpretations of the late romantics of the early and middle of the 20th century would want to make you believe. As such I think that Hamelin's restraint is entirely appropriate.

A second remark about Hamelin's technical perfection. Quite a few have commented that this pianist's level of perfection never inspires them, since everything is just too damned perfect. Please, give me a break! Many contemporary composers have remarked that many of Haydn's works are more interesting to them than similar ones by Mozart. They often state that by Mozart not only giving the question but also providing the perfect answer, Haydn's ever so slight human imperfection is more satisfying. Just a clear case of Wolfgang envy. There will never be accounting for tastes, but true quality always tends to survive the tooth of time, even when it takes the resurrection that Alkan, and even Bach required. Moreover, by the sheer quality of his pianism Hamelin has not only raised the bar for his colleagues, but has also given an incentive to composers to further explore the piano's possibilities.

In all, this cd is another must have for everyone seriously interested in the depths of the piano repertoire and it just has you begging for more. August 15, 2001

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