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36,410 | 3 | At about this time he also undertook teaching duties at his father 's school\1 Antoine Marmontel\1 one of Charles-Valentin 's pupils there\1 who was later to become his bête noire\1 wrote of the school\1 | [
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36,411 | 0 | Young children\1 mostly Jewish\1 were given elementary musical instruction and also learnt the first rudiments of French grammar\1.. \1There\1 I received a few lessons from the young Alkan\1 four years my senior\1.. I see once more\1.. that really parochial environment where the talent of Valentin Alkan was formed and ... | [
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36,412 | 0 | From about 1826 Alkan began to appear as a piano soloist in leading Parisian salons\1 including those of the Princesse de la Moskova \1widow of Marshal Ney\1\1 and the Duchesse de Montebello\1 | [
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36,412 | 1 | He was probably introduced to these venues by his teacher Zimmermann\1 | [
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36,412 | 2 | At the same time\1 Alkan Morhange arranged concerts featuring Charles-Valentin at public venues in Paris\1 in association with leading musicians including the sopranos Giuditta Pasta and Henriette Sontag\1 the cellist Auguste Franchomme and the violinist Lambert Massart\1 with whom Alkan gave concerts in a rare visit o... | [
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36,412 | 3 | In 1829\1 at the age of 15\1 Alkan was appointed joint professor of solfège – among his pupils in this class a few years later was his brother Napoléon\1 | [
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36,412 | 4 | In this manner Alkan 's musical career was launched well before the July Revolution of 1830\1 which initiated a period in which " keyboard virtuosity\1.. completely dominated professional music making " in the capital\1 attracting from all over Europe pianists who\1 as Heinrich Heine wrote\1 invaded " like a plague of ... | [
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36,416 | 0 | Throughout the early years of the July Monarchy\1 Alkan continued to teach and play at public concerts and in eminent social circles\1 | [
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36,416 | 1 | He became a friend of many who were active in the world of the arts in Paris\1 including Franz Liszt \1who had been based there since 1827\1\1 George Sand\1 and Victor Hugo\1 | [
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36,416 | 2 | It is not clear exactly when he first met Frédéric Chopin\1 who arrived in Paris in September 1831\1 In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire\1 | [
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36,416 | 3 | In the same year\1 aged 19\1 he was elected to the influential Société Académique des Enfants d 'Apollon \1Society of the Children of Apollo\1\1 whose members included Luigi Cherubini\1 Fromental Halévy\1 the conductor François Habeneck\1 and Liszt\1 who had been elected in 1824 at the age of twelve\1 Between 1833 and ... | [
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36,416 | 4 | Alkan twice competed unsuccessfully for the Prix de Rome\1 in 1832 and again in 1834\1 the cantatas which he wrote for the competition\1 Hermann et Ketty and L 'Entrée en loge\1 have remained unpublished and unperformed\ | [
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36,417 | 0 | In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau\1 which was to result in an extended and often intimate correspondence which only came to light in 2009\1 Like virtually all of Alkan 's correspondence\1 this exchange is now one-sided\1 all of his papers \1including his manuscripts and his ... | [
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36,421 | 1 | Alkan lived in the Square d 'Orléans in Paris\1 which was inhabited by numerous celebrities of the time including Marie Taglioni\1 Alexandre Dumas\1 George Sand\1 and Chopin\1 Chopin and Alkan were personal friends and often discussed musical topics\1 including a work on musical theory that Chopin proposed to write\1 B... | [
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36,421 | 2 | He frequently gave recitals\1 his more mature works had begun to be published\1 and he often appeared in concerts with Liszt and Chopin\1 On 23 April 1837 Alkan took part in Liszt 's farewell concert in Paris\1 together with the 14-year-old César Franck and the virtuoso Johann Peter Pixis\1 On 3 March 1838\1 at a conce... | [
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36,422 | 0 | At this point\1 for a period which coincided with the birth and childhood of his natural son\1 Élie-Miriam Delaborde \11839 – 1913\1\1 | [
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36,422 | 1 | Alkan withdrew into private study and composition for six years\1 returning to the concert platform only in 1844\1 Alkan neither asserted or denied his paternity of Delaborde\1 which\1 however\1 his contemporaries seemed to assume\1 Marmontel wrote cryptically in a biography of Delaborde that " \1his\1 birth is a page ... | [
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36,423 | 0 | Alkan 's return to the concert platform in 1844 was greeted with enthusiasm by critics\1 who noted the " admirable perfection " of his technique\1 and lauded him as " a model of science and inspiration "\1 a " sensation " and an " explosion "\1 They also commented on the attending celebrities including Liszt\1 Chopin\1... | [
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36,423 | 1 | In the same year he published his piano étude Le chemin de fer\1 which critics\1 following Ronald Smith\1 believe to be the first representation in music of a steam engine\1 Between 1844 and 1848 Alkan produced a series of virtuoso pieces\1 the 25 Préludes Op. 31 for piano or organ\1 and the sonata Op. 33 Les quatre âg... | [
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36,425 | 0 | ### \1 | [
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36,427 | 0 | In 1848 Alkan was bitterly disappointed when the head of the Conservatoire\1 Daniel Auber\1 replaced the retiring Zimmermann with the mediocre Marmontel as head of the Conservatoire piano department\1 a position which Alkan had eagerly anticipated\1 and for which he had strongly lobbied with the support of Sand\1 Dumas... | [
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36,427 | 1 | By his confrontation with Auber\1 \1Alkan\1 has been very put out and will doubtless continue to be so\1 " | [
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36,427 | 2 | The upset arising from this incident may account for Alkan 's reluctance to perform in public in the ensuing period\1 | [
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36,427 | 3 | His withdrawal was also influenced by the death of Chopin\1 in 1850 he wrote to Masarnau " I have lost the strength to be of any economic or political use "\1 and lamented " the death of poor Chopin\1 another blow which I felt deeply\1 " Chopin\1 on his deathbed in 1849\1 had indicated his respect for Alkan by bequeath... | [
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36,427 | 4 | After giving two concerts in 1853\1 Alkan withdrew\1 in spite of his fame and technical accomplishment\1 into virtual seclusion for some twenty years\ | [
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36,428 | 0 | Little is known of this period of Alkan 's life\1 other than that apart from composing he was immersed in the study of the Bible and the Talmud\1 Throughout this period Alkan continued his correspondence with Ferdinand Hiller\1 whom he had probably met in Paris in the 1830s\1 and with Masarnau\1 from which some insight... | [
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"... | [
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36,428 | 1 | It appears that Alkan completed a full translation into French\1 now lost\1 of both the Old Testament and the New Testament\1 from their original languages\1 | [
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] |
36,428 | 2 | In 1865\1 he wrote to Hiller\1 " Having translated a good deal of the Apocrypha\1 I 'm now onto the second Gospel which I am translating from the Syriac\1.. | [
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36,428 | 3 | In starting to translate the New Testament\1 I was suddenly struck by a singular idea – that you have to be Jewish to be able to do it\1 " | [
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"O"
] |
36,429 | 0 | Despite his seclusion from society\1 this period saw the composition and publication of many of Alkan 's major piano works\1 including the Douze études dans tous les tons mineurs\1 Op. 39 \11857\1\1 the Sonatine\1 Op. 61 \11861\1\1 the 49 Esquisses\1 Op. 63 \11861\1\1 and the five collections of Chants \11857 – 1872\1\... | [
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... |
36,429 | 1 | These did not pass unremarked\1 Hans von Bülow\1 for example\1 gave a laudatory review of the Op. 35 Études in the Neue Berliner Musikzeitung in 1857\1 the year in which they were published in Berlin\1 commenting that " | [
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... |
36,429 | 2 | Alkan is unquestionably the most eminent representative of the modern piano school at Paris\1 | [
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] |
36,429 | 3 | The virtuoso 's disinclination to travel\1 and his firm reputation as a teacher\1 explain why\1 at present\1 so little attention has been given to his work in Germany\1 " | [
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36,430 | 0 | From the early 1850s Alkan began to turn his attention seriously to the pedal piano \1pédalier\1\1 Alkan gave his first public performances on the pédalier to great critical acclaim in 1852\1 From 1859 onwards he began to publish pieces designated as " for organ or piano à pédalier "\1 | [
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36,432 | 0 | ### \1 | [
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36,434 | 0 | It is not clear why\1 in 1873\1 Alkan decided to emerge from his self-imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms\1 | [
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36,434 | 1 | It may have been associated with the developing career of Delaborde\1 who\1 returning to Paris in 1867\1 soon became a concert fixture\1 including in his recitals many works by his father\1 and who was at the end of 1872 given the appointment that had escaped Alkan himself\ | [
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36,434 | 2 | 1 Professor at the Conservatoire\1 | [
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36,434 | 3 | The success of the Petits Concerts led to them becoming an annual event \1with occasional interruptions caused by Alkan 's health\1 until 1880 or possibly beyond\1 | [
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36,434 | 4 | The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards\1 played on both the piano and the pédalier\1 and occasionally with the participation of another instrumentalist or singer\1 | [
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36,434 | 5 | He was assisted in these concerts by his siblings\1 and by other musicians including Delaborde\1 Camille Saint-Saëns\1 and Auguste Franchomme\1 | [
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36,435 | 0 | Those encountering Alkan at this phase included the young Vincent d 'Indy\1 who recalled Alkan 's " skinny\1 hooked fingers " playing Bach on an Érard pedal piano\1 " I listened\1 riveted to the spot by the expressive\1 crystal-clear playing\1 " Alkan later played Beethoven 's Op. 110 sonata\1 of which d 'Indy said\1 "... | [
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36,435 | 1 | This was not Liszt — perhaps less perfect\1 technically — but it had greater intimacy and was more humanly moving\1.. " | [
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36,436 | 0 | The biographer of Chopin\1 Frederick Niecks\1 sought Alkan for his recollections in 1880 but was sternly denied access by Alkan 's concierge – " To my\1.. enquiry when he could be found at home\1 the reply was a\1.. decisive ' Never '\1 " However\1 a few days later he found Alkan at Érard 's\1 and Niecks writes of thei... | [
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36,438 | 0 | ### \1 | [
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36,440 | 0 | According to his death certificate\1 Alkan died in Paris on 29 March 1888 at the age of 74\1 Alkan was buried on 1 April \1Easter Sunday\1 in the Jewish section of Montmartre Cemetery\1 Paris\1 not far from the tomb of his contemporary Fromental Halévy\1 his sister Céleste was later buried in the same tomb\1 | [
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36,441 | 0 | 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\1 | [
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36,441 | 1 | This tale\1 which was circulated by the pianist Isidor Philipp\1 is dismissed by Hugh Macdonald\1 who reports the discovery of a contemporary letter by one of his pupils explaining that Alkan had been found prostrate in his kitchen\1 under a porte-parapluie \1a heavy coat / umbrella rack\1\1 after his concierge heard h... | [
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37,
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37,
42,
42,
42,
37,
47,
47,
47,
45,
42,
54,
54,
54,
54,
53,
54,
47,
54... | [
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"O",
"O",
"O",
"S-PERSON",
"O",
"O",
"O",
"O",... |
36,441 | 2 | He had possibly fainted\1 bringing it down on himself while grabbing out for support\1 | [
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"\\1",
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4,
4,
0,
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6,
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6,
12,
15,
12
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
36,441 | 3 | He was reportedly carried to his bedroom and died later that evening\1 | [
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"bedroom",
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] | [
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4,
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7,
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4,
9,
4,
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12,
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4
] | [
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"O",
"O",
"O",
"O",
"O",
"B-TIME",
"I-TIME",
"E-TIME",
"O"
] |
36,441 | 4 | The story of the bookcase may have its roots in a legend told of Aryeh Leib ben Asher\1 rabbi of Metz\1 the town from which Alkan 's family originated\1 | [
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15,
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15,
21,
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23,
19,
25,
29,
28,
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29,
23,
31,
29
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"O",
"O",
"O",
"S-PERSON",
"O",
"O",
"O",
"O",
"S-CARDINAL"
] |
36,443 | 0 | ## \1 | [
"##",
"\\1"
] | [
"##",
"\\1"
] | [
"SYM",
"SYM"
] | [
"SYM",
"NFP"
] | [
0,
1
] | [
"root",
"discourse"
] | [
"O",
"O"
] |
36,445 | 0 | Alkan was described by Marmontel \1who refers to " a regrettable misunderstanding at a moment of our careers in 1848 "\1\1 as follows\1 | [
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] | [
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20,
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17,
22,
20,
14,
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28,
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"O",
"O",
"O",
"S-CARDINAL"
] |
36,446 | 0 | " We will not give the portrait of Valentin Alkan from the rear\1 as in some photographs we have seen\1 | [
"\"",
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"will",
"not",
"give",
"the",
"portrait",
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5,
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7,
5,
9,
7,
9,
14,
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5,
18,
18,
18,
5,
21,
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"O",
"O",
"O",
"O",
"O",
"O"
] |
36,446 | 1 | His intelligent and original physiognomy deserves to be taken in profile or head-on\1 | [
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"original",
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] | [
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5,
4,
2,
6,
0,
9,
9,
6,
11,
9,
15,
15,
13,
11,
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
36,446 | 2 | The head is strong\1 the deep forehead is that of a thinker\1 the mouth large and smiling\1 the nose regular\1 the years have whitened the beard and hair\1.. the gaze fine\1 a little mocking\1 | [
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... | [
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... | [
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
36,446 | 3 | His stooped walk\1 his puritan comportment\1 give him the look of an Anglican minister or a rabbi – for which he has the abilities\1 " | [
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9,
16,
16,
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12,
19,
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O"
] |
36,447 | 0 | Alkan was not always remote or aloof\1 Chopin describes\1 in a letter to friend\1 visiting the theatre with Alkan in 1847 to see the comedian Arnal\1 " \1Arnal\1 tells the audience how he was desperate to pee in a train\1 but couldn 't get to a toilet before they stopped at Orléans\1 | [
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36,447 | 1 | There wasn 't a single vulgar word in what he said\1 but everyone understood and split their sides laughing\1 " Hugh Macdonald notes that Alkan " particularly enjoyed the patronage of Russian aristocratic ladies\1 ' des dames très parfumées et froufroutantes \1highly perfumed and frilled ladies\1 '\1 as Isidore Philipp... | [
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36,448 | 0 | Alkan 's aversion to socialising and publicity\1 especially following 1850\1 appeared to be self-willed\1 Liszt is reported to have commented to the Danish pianist Frits Hartvigson that " Alkan possessed the finest technique he had ever known\1 but preferred the life of a recluse\1 " Stephanie McCallum has suggested th... | [
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36,448 | 1 | 1 | [
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36,449 | 0 | Alkan 's later correspondence contains many despairing comments\1 | [
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36,449 | 1 | In a letter of about 1861 he wrote to Hiller\1 " I 'm becoming daily more and more misanthropic and misogynous\1.. nothing worthwhile\1 good or useful to do\1.. no one to devote myself to\1 | [
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36,449 | 2 | My situation makes me horridly sad and wretched\1 | [
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36,449 | 3 | Even musical production has lost its attraction for me for I can 't see the point or goal\1 " | [
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36,449 | 4 | This spirit of anomie may have led him to reject requests in the 1860s to play in public\1 or to allow performances of his orchestral compositions\ | [
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36,449 | 5 | 1 However\1 it should not be ignored that he was writing similarly frantic self-analyses in his letters of the early 1830s to Masarnau\1 | [
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36,450 | 0 | Jack Gibbons writes of Alkan 's personality\1 " Alkan was an intelligent\1 lively\1 humorous and warm person \1all characteristics which feature strongly in his music\1 whose only crime seems to have been having a vivid imagination\1 and whose occasional eccentricities \1mild when compared with the behaviour of other '... | [
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36,452 | 0 | ## \1 | [
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36,454 | 0 | Alkan grew up in a religiously observant Jewish household\1 | [
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36,454 | 1 | His grandfather Marix Morhange had been a printer of the Talmud in Metz\1 and was probably a melamed \1Hebrew teacher\1 in the Jewish congregation at Paris\1 Alkan 's widespread reputation as a student of the Old Testament and religion\1 and the high quality of his Hebrew handwriting testify to his knowledge of the rel... | [
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36,454 | 2 | In 1845 he assisted the Consistory in evaluating the musical ability of Samuel Naumbourg\1 who was subsequently appointed as hazzan \1cantor\1 of the main Paris synagogue\1 and he later contributed choral pieces in each of Naumbourg 's collections of synagogue music \11847 and 1856\1\1 Alkan was appointed organist at t... | [
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36,455 | 0 | Alkan 's Op. 31 set of Préludes includes a number of pieces based on Jewish subjects\1 including some titled Prière \1Prayer\1\1 one preceded by a quote from the Song of Songs\1 and another titled Ancienne mélodie de la synagogue \1Old synagogue melody\1\1 | [
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36,455 | 1 | The collection is believed to be " the first publication of art music specifically to deploy Jewish themes and ideas\1 " Alkan 's three settings of synagogue melodies\1 prepared for his former pupil Zina de Mansouroff\1 are further examples of his interest in Jewish music\1 Kessous Dreyfuss provides a detailed analysis... | [
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36,455 | 2 | Other works evidencing this interest include no\1 7 of his Op. 66\1 11 Grands préludes et 1 Transcription \11866\1\1 entitled " Alla giudesca " and marked " con divozione "\1 a parody of excessive hazzanic practice\1 and the slow movement of the cello sonata Op. 47 \11857\1\1 which is prefaced by a quotation from the O... | [
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36,456 | 0 | The inventory of Alkan 's apartment made after his death indicates over 75 volumes in Hebrew or related to Judaism\1 left to his brother Napoléon \1as well as 36 volumes of music manuscript\ | [
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36,456 | 2 | These are all lost\1 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\1 and to a Jewish charity for the training of apprentices\1 were refused by the beneficiaries\1 | [
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36,461 | 0 | ### \1 | [
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36,463 | 0 | Brigitte François-Sappey points out the frequency with which Alkan has been compared to Berlioz\1 both by his contemporaries and later\1 | [
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36,463 | 1 | She mentions that Hans von Bülow called him " the Berlioz of the piano "\1 while Schumann\1 in criticising the Op. 15 Romances\1 claimed that Alkan merely " imitated Berlioz on the piano\1 " She further notes that Ferruccio Busoni repeated the comparison with Berlioz in a draft \1but unpublished\1 monograph\1 while Kai... | [
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36,463 | 2 | The two were acquainted\1 and were perhaps both influenced by the unusual ideas and style of Anton Reicha who taught at the Conservatoire from 1818 to 1836\1 and by the sonorities of the composers of the period of the French Revolution\1 | [
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36,463 | 3 | They both created individual\1 indeed\1 idiosyncratic sound-worlds in their music\1 there are\1 however\1 major differences between them\1 Alkan\1 unlike Berlioz\1 remained closely dedicated to the German musical tradition\1 his style and composition were heavily determined by his pianism\1 whereas Berlioz could hardly... | [
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36,463 | 4 | 1 | [
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0
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36,464 | 0 | Alkan 's attachment to the music of his predecessors is demonstrated throughout his career\1 from his arrangements for keyboard of Beethoven 's Seventh Symphony \11838\1\1 and of the minuet of Mozart 's 40th Symphony \11844\1\1 through the sets Souvenirs des concerts du Conservatoire \11847 and 1861\1 and the set Souve... | [
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36,464 | 1 | In this context should be mentioned Alkan 's extensive cadenza for Beethoven 's 3rd Piano Concerto \11860\1\1 which includes quotes from the finale of Beethoven 's 5th Symphony\1 Alkan 's transcriptions\1 together with original music of Bach\1 Beethoven\1 Handel\1 Mendelssohn\1 Couperin and Rameau\1 were frequently pla... | [
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36,465 | 0 | As regards the music of his own time\1 Alkan was unenthusiastic\1 or at any rate detached\1 | [
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36,465 | 1 | He commented to Hiller that " Wagner is not a musician\1 he is a disease\1 " While he admired Berlioz 's talent\1 he did not enjoy his music\1 | [
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36,465 | 2 | At the Petits Concerts\1 little more recent than Mendelssohn and Chopin \1both of whom had died around 25 years before the series of concerts was initiated\1 was played\1 except for Alkan 's own works and occasionally some by his favourites such as Saint-Saëns\1 | [
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... | [
"IN",
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"VBD",
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"NN",
"IN",
"IN",
"NNP",
"POS",
"JJ... | [
4,
4,
4,
32,
6,
7,
8,
4,
10,
8,
12,
10,
12,
10,
19,
17,
15,
19,
8,
22,
22,
19,
29,
25,
29,
27,
25,
29,
19,
32,
32,
0,
32,
39,
39,
39,
36,
39,
32,
42,
42,
39,
45,
45,
42,
48,
46,
45,
50,
48
] | [
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... | [
"O",
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"O",
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"O",
"O",
"O",
"S-PERSON",
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"S-PERSON",
"O",
... |
36,467 | 0 | ### \1 | [
"###",
"\\1"
] | [
"###",
"\\1"
] | [
"SYM",
"SYM"
] | [
"NFP",
"NFP"
] | [
0,
1
] | [
"root",
"discourse"
] | [
"O",
"O"
] |
36,469 | 0 | " Like\1.. Chopin "\1 writes pianist and academic Kenneth Hamilton\1 " Alkan 's musical output was centred almost exclusively on the piano "\1 Some of his music requires extreme technical virtuosity\1 clearly reflecting his own abilities\1 often calling for great velocity\1 enormous leaps at speed\1 long stretches of f... | [
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... | [
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... | [
4,
4,
4,
7,
4,
7,
0,
7,
10,
8,
8,
11,
20,
20,
18,
15,
18,
20,
20,
7,
22,
20,
25,
25,
20,
20,
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32,
31,
31,
28,
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35,
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32,
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35,
39,
32,
42,
42,
39,
46,
45,
46,
53,
49,
49,
46,
53,
50,
53,
32,
58,
58,
... | [
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... | [
"O",
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"O",
"O",
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"O",
"O",
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"O",
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"O",
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"O",
"O",
"O",
"O",
"O",
"O",
"O",
"O",
"S-CARDINAL",
"O",
"O",
"O",
"O",
... |
36,469 | 1 | The illustration \1right\1 from the Grande sonate is analysed by Smith as " six parts in invertible counterpoint\1 plus two extra voices and three doublings – eleven parts in all\1 " Some typical musical devices\1 such as a sudden explosive final chord following a quiet passage\1 were established at an early stage in A... | [
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"-",
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2,
11,
5,
2,
2,
8,
8,
5,
8,
11,
0,
13,
11,
17,
17,
17,
11,
21,
21,
17,
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25,
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25,
17,
28,
28,
17,
31,
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34,
34,
31,
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39,
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39,
54,
54,
47,
41,
47,
47,
47,
47,
39,
52,
52,
52,
47,
47,
54,
11,
5... | [
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"conj",
"punct",
"nummod... | [
"O",
"O",
"O",
"B-WORK_OF_ART",
"I-WORK_OF_ART",
"I-WORK_OF_ART",
"I-WORK_OF_ART",
"I-WORK_OF_ART",
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"O",
"O",
"S-CARDINAL",
"O",
"O",
"O",
"S-CARDINAL",
"O",
"O",
"S-CARD... |
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