Charles-Valentin Alkan: The Complete Vianna da Motta Transcriptions

Charles-Valentin Alkan: The Complete Vianna da Motta Transcriptions

The Portuguese piano virtuoso and composer José Vianna da Motta (1868-1948) understood the importance of Alkan's music long before its current rise to prominence and made a number of transcriptions to foster its performance, arranging eight of the organ Priéres for solo piano and some of the music for pédalier — the obsolete pedal-piano — for piano duo and duet.

Vincenzo Maltempo, piano
Emanuele Delucchi, piano

£7.99£13.50 £6.75£9.99

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Catalogue No: TOCC0237
EAN/UPC: 5060113442376
Release Date: 02.06.2014
Composer: Charles-Valentin Alkan
Artists: Emanuele Delucchi, Vincenzo Maltempo

Listen To This Recording:

    Huit Prières for piano solo (from 13 Prières pour orgue, Op. 64) (c. 1866; transc. 1901–07)

  1. I Andantino
  2. II Moderato
  3. III Poco Adagio
  4. IV Maestoso
  5. V Dieu des ArmÈes – Tempo giusto (bien mesurÈ)
  6. VI Doucement (Andantino)
  7. VII Andantino. Ingenuamente
  8. IX Allegretto
  9. Neuf Préludes for piano four hands (from 11 Grands Préludes et 1 Transcription du Messie de Hændel pour Piano à clavier de pédales, Op. 66) (c. 1867; transc. 1901–07)

  10. I Moderatamente
  11. II Andantino
  12. III Allegro moderato
  13. IV Tempo giusto
  14. V Quasi Adagio
  15. VI Andantino
  16. VII Alla Giudesca – Andante
  17. VIII Lento
  18. IX Adagio
  19. Benedictus, Op. 54 (pour piano à clavier de pédales ou piano à 3 mains) for two pianos (1859; transc. 1901–07)

1 review for Charles-Valentin Alkan: The Complete Vianna da Motta Transcriptions

  1. :

    “…the da Motta transcriptions are of the greatest interest in affording an aural approximate of the sound Alkan had in mind. …The da Motta arrangements had at least the utility of prompting Busoni to comment on the music, which he described as “of the warmest and deepest sentiment. And in this gathering, the Benedictus takes the highest place. To the right the Prières (op. 64), to the left the Préludes (op. 66), and in the center the Benedictus: grouped thus, the series resembles an exalted altarpiece.” Busoni is unequivocal: “Whoever may doubt Alkan’s significance and standing will find in this volume a startling proof of them.” Sound is close and detailed, admitting hints of ambience only where both players are at work. An extensive liner essay by the late, lamented Malcolm MacDonald—champion of John Foulds, Havergal Brian, Ronald Stevenson, et al.—who passed in May, rounds out another sterling Toccata release. De rigueur for Alkan’s admirers and recommended to lovers of the rare, strange, and recondite.” Fanfare

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