Charles-Valentin Alkan - Préludes (XXII-XXV) | Текст песни

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• Préludes (XXII-XXV)

25 Préludes dans tous les tons majeurs et mineurs, for piano (or organ), Op. 31 (1847)

I. Lentement
II. Assez Lentment
III. Dans le genre ancien
IV. Prière du soir
V. Psaume 150me
VI. Ancienne mélodie de la synagogue
VII. Librement mais sans secousses
VIII. La chanson de la folle au bord de la mer
IX. Placiditas
X. Dans le style fugué
XI. Un petit rien
XII. Le temps qui n'est plus
XIII. J'étais endormie, mais mon coeur veillait
XIV. Rapidement
XV. Dans le genre gothique
XVI. Assez lentement
XVII. Rêve d'amour
XVIII. Sans trop de mouvement
XIX. Prière du matin
XX. Modérément vite et bien caracterise
XXI. Doucement
XXII. Anniversaire
XXIII. Assez vite
XXIV. Étude de vélocité
XXV. Prière

Felipe Sarro, piano

Published in 1847, Alkan's 25 Preludes, Op. 31 -- one each in all major and minor keys, returning at last to C major -- are less a collection than a miscellany, unlike those of his friend Chopin. They were probably put together to please a publisher. The impression is reinforced by the specification of each prelude \"for piano or organ,\" though, as Alkan scholar and pianist Ronald Smith has noted, several of them are ineffectual on the organ and others impossible. With a pedal part occasionally noted on a third staff, the instrument Alkan probably had in mind was the pedalier -- a piano equipped with an organ-like pedal board, of which he became an apostle and for which he wrote a number of other works (including his last large-scale composition, the awesome and misleadingly titled Impromptu sur le choral de Luther -- Un fort rempart est notre Dieu, Op. 69). In any case, all are playable (with some minor adjustments) on the piano, and the set is catalogued with his piano works. A preponderance of bland devotional numbers (e.g., \"Prière,\" \"Prière du matin,\" \"Prière du soir\") is relieved by the triumphant affirmation of \"Psaume 150me\" (\"Hallelujah. Praise God in His sanctuary; praise him in the sky, His stronghold\") and the strangely archaic \"Ancienne mélodie de la synagogue.\" Genre pieces -- \"Romance,\" \"Rêve d'amour,\" \"Le Temps qui n'est plus\" -- lighten this mixed bag with facile charm and, occasionally, weight it with an eerie darkness, as in the haunting \"Chanson de la folle au bord de la mer\" (Song of the Madwoman by the Shore). Interleaved throughout are deft demonstrations of how such time-honored, purely musical devices as fugue, modulation, pedal points, and the like, can yield fresh, unique, audacious expression in the hands of a master. Finally, several numbers draw from that mysterious well of pristine poetry which overflows unmixed from time to time in Alkan's music -- for instance \"Anniversaire,\" described by Smith as \"an impressive elegy equal to the finest of Mendelssohn's Songs without Words,\" and, above all, the exquisite \"J'étais endormie, mais mon coeur veillait. ...\" (\"I was asleep, But my heart was wakeful\" from the Song of Solomon 5:2). In sum, while Alkan's Preludes, taken together, make an uneven, heterogeneous impression, they nevertheless contain some of his most characteristic and inspired invention. [allmusic.com]

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