Mark Viner discusses Alkan’s “Character Pieces and Grotesqueries”

[@alkankondo89]

Such a wealth of knowledge shared in these podcasts. I appreciate how frank Maestro Viner is in sharing his less glamorous experiences practicing/interpreting Alkan's works, as well as the shortcomings he identifies in some of the music. I find that sharing such details can yield very interesting insights.

[@pianomaly9]

Just a bit in to this, but glad you acknowledged the title of the Lewenthal album! I'm old enough that I bought the album when it first appeared and heard Lewenthal play Le Tambour live, included in a thrilling and memorable recital the same year.

[@OrangeSodaKing]

These interviews are fantastic and informative! Thank you Mark and Bradley. Please keep doing these.

[@nicolasgoulet4091]

I am impressed by master Viner's french! I do not want to sound pedantic but I always think of anglophones trying to really get into Alkan's psyche as somewhat of a tragedy. Alkan obviously was a cultivated man and was also a result of his time and era. My point being, I think it is relevant to better appreciate Alkan and his works, reading a lot of what he might have read and also having a better understanding of French-parisian-cultural-scene was during Alkan's lifetime. Luckily, the french are good at not getting over themselves so there is so much stuff to read in order to understand better the 19th century. But there is language barrier to get into all that. I think reading letters from Sand, Liszt, Chopin etc... and all the litterary figures from around Alkan, what he might have read etc... all help the appreciation of the average Alkan's enjoyer. Also being anglophones makes you like 10% more prone to being boring and less open to let your feelings be overwhelmed 😭

[@Medtszkowski]

Mark is the Leslie Howard of Alkan.

[@benharmonics]

In my opinion, Mark is a much better pianist than Leslie.

[@Medtszkowski]

@@benharmonics Yes, I do aswell, but they are both probably at the same level of musicology.

[@ryzikx]

i wish i can have 1% of either of their skill😂

[@ValseMelancolique]

Thank you for sharing this discussion! Fun and informative to watch❤ Many of these pieces I have only seen and horribly hacked through without any background knowledge.

[@foljamb]

amazing--so glad i found this--mark viner, you probably are too nice to like what i need to say here but as far as i'm concerned you have saved the world from having to settle for mark hamelin

[@infocuslearning]

Awesome playing!

[@minkyukim0204]

Liszt also used top C in 1839/40-in the first version of his Dante Sonata, but never published in that form. Were there any pianos with top C at that time?

[@Medtszkowski]

Interesting

[@jorislejeune]

If I remember correctly Pape made a number of pianos with exceptionally large keyboards. Liszt was an official 'demonstrator' of Pape. Franck took over this job (in 1837). So Liszt, Franck and Alkan played these enlarged instruments.

[@Medtszkowski]

@@jorislejeune That sounds viable

[@jorislejeune]

@@Medtszkowski EDIT: in March 1842 Pape got a patent for a piano up till high F, so even beyond the modern compass. This kind of instrument was first shown in public in 1844, both Fétis and Berlioz described it. However, it is perfectly possible that the instrument was played earlier in Pape's workshop, as was customary in those days.

[@jorislejeune]

SECOND EDIT: In 1834 Erard declared that they would no longer build piano's up to c5, since the sound was unsatisfacory. They had made some of these since 1822 but returned to the 'normal' CC-f4. Liszt was of course familiar with Erards instruments from his arrival in Paris, so it would have been quite familiar to him. The piano he used for his London debut was probable CC-c5, since it is mentioned as 'seven octaves'.

[@AlkanLove]

アルカンはフンメルやモシェレスなど先輩方の影響を強く受けています。類似性のある作品を探すのを楽しんでください😊