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Charles-Valentin Alkan - 3 Marches for piano four hands, Op. 40

Goldstone and Clemmow, piano duet 00:00 No. 1 in A-flat Major: Allegro 08:31 No. 2 in C Minor - E-flat Major: Allegro Moderato 14:46 No. 3 in B-flat Major: Modérément NOTE: It is not always possible to exactly align the primo and secondo parts onto one screen due to them being published as separate parts on opposing pages. Every effort has been made to align them where possible for the viewer. It is hoped that the experience of reading both parts of Alkan's richly detailed score in its original engraving is rewarding enough to justify the occasional awkward arrangements on screen. Published in 1857 at the height of Alkan's mature style, the op. 40 marches for piano duet evince the complete harmonic control and rhythmic invention that the composer possessed as a leading acolyte of the contemporary French musical school. From simple, almost thoughtless-sounding material, Alkan wrings forth one variation after the next with such detailed shadings in each part that, despite frequently repeated sections, the music never overstays its welcome. Rather, it delights with each subsequent rendition of its themes as they mutate through comic barbs, persistent offbeat accents, and percussive appoggiaturas. Call-and-response episodes and a stereoscopic treatment of the keyboard reveal Alkan's vivid technique for orchestrating the piano. The march was a popular nineteenth-century genre, more fit for parades and theatrical productions rather than recital rooms or orchestral halls (excluding the more serious funeral march subgenre, which Beethoven helped introduce into the symphony). Yet Alkan remained fascinated by the march genre throughout his decades-long career, adapting its foursquare formula to concoct any number of fine musical solutions at the piano. In Alkan's hands, a march could be stiff and acerbic just as easily as it could be sweet and melodious; it could equally take the form of a heartfelt eulogy or a carefree promenade, a farcical sketch, an esoteric vision, or an exotic roulade. In the op. 40 Marches, we find Alkan at his most witty and playful. Here, he can hardly keep his tangential imagination at bay for long. Just when you feel that you are on firm ground, the pace will quicken, the character will transform, or the atmosphere will descend into an ephemeral "twilight fantasy" (as Ronald Smith once described a moment from the Trio of the Sonatine, mvt. III). This is vintage Alkan.