A major addition to the library of Alkan on record from a leading young exponent of lesser-known Romantic piano repertoire. First published in 1847, these preludes form a highly original set of pieces, effectively Alkan’s first foray into the genre of cyclic shorter pieces. The set stands aside from so many in its consistently reflective and introspective approach to a genre recently redefined by Chopin. The key sequence guides us through all the major and minor keys, but instead of settling for all 24 major and minor tonalities, Alkan comes full circle for a twenty-fifth and final C major prelude to complete the set. Alkan had in mind that the Preludes might equally effectively be played on piano or organ – that they might even serve liturgical functions as chorale preludes or instrumental antiphons. However, they have always been regarded as piano music first and foremost, albeit possessed of an often tranquil and reflective temperament, anticipating the mystical works of Liszt such as the Harmonies poétiques et réligieuses (it will be remembered that Liszt regarded Alkan alone as a serious rival to his pianistic prowess). Mark Viner has made his name playing Alkan’s music, and he is widely regarded as among the composer’s most persuasive advocates on record. ‘His playing is never showy,’ remarked the Guardian when reviewing a previous Piano Classics album of the Op.35 Etudes: ‘he emphasises that these are profound explorations of early romantic sensibility first and extreme technical challenges second, and that is a totally convincing way of dealing with some of the most remarkable piano music of its time.’ Viner was praised by The Sunday Times for ‘turning Alkan’s forbidding torrents of notes into real music’. This much-anticipated new album is enhanced by Viner’s own, authoritative booklet essay giving full context both to the Preludes and their reception. The second instalment of a unique and colossal project: the recording of the complete piano works by Alkan by British pianist Mark Viner! © Piano Classics

The French label harmonia mundi has pulled out all the stops for the 2018 commemoration of the centenary of the death of Claude Debussy, by asking their "house" artists to record the works of the great French composer. Cultural ambassadors for Israel (not always an easy job), the Jerusalem Quartet was created in 1996 and quickly became known as one of the foremost ensembles of the genre, thanks to the power of their playing, the warmth of their performances, and a particularly dense and sensual instrumental colour. Their recordings – thirteen albums for the harmonia mundi label – regularly win awards and critical acclaim in the press. This new recording of the quartets by Debussy and Ravel (a now-classic pairing which seems to have decreed that the two bodies of work will be joined at the hip, even though their authors neither wanted nor observed such a kinship) clearly towers above an already-ample discography. Velvety sounds, dreamy poetry (a marvellous Andantino from Debussy's Quartet), unbridled wildness and youthful energy are all brought into this subtly-treated party, where flowery sentiments mingle as in a novel by Marcel Proust. © François Hudry/Qobuz

The latest volume in a series which is rapidly accumulating critical superlatives. Described by International Piano as "one of the most gifted pianists of his generation", Mark Viner is steadily gaining a reputation as one of Britain’s leading concert pianists; his unique blend of individual artistry combined with his bold exploration of the byways of the piano literature garnering international renown. Having set down dazzling accounts of the knuckle-breaking studies and solo Concerto, Mark Viner here shows his ability to distil the spirit of Alkan’s more intimate and spiritual works. Alkan’s piano works are of colossal substance and difficulty, earning him the nickname of “the Berlioz of the piano”. Even today only a handful of pianists can do justice to the fierce demands of his music. But it wouldn’t be fair to let the technical difficulties distract the listener from his truly original, personal style, full of wit, energy and deep feelings. Liszt is reputed to have said that Alkan was the only pianist before whom he felt ill at ease to perform, so daunting was Alkan’s technique. However, Alkan was a serious scholar of Jewish learning and ancient biblical texts, a preoccupation, not a pastime, that took precedence for him over music and the piano. The atmosphere and design of this Op. 72 cycle (completed in 1867) harkens back to the grave passion instilled in the earlier 25 Préludes Op. 31 (1847). Several of the pieces venture beyond evocations of devotion to present psychologically probing dialogues of conflict and reconciliation. From the Revivalist sturdiness of the cycle’s opening number through the inward contemplation of No. 2 to the austere fugue of No. 3 and beyond, Alkan continues to spring surprises on the listener, including sudden harmonic clashes which abruptly break the tonal fabric and anticipate 20th-century trends of modernism. To the Op. 72 cycle, Mark Viner adds a rarely heard Etude which Alkan originally composed for a pianistic encyclopedia compiled by his former professor. He concludes with theEtude "Alla barbaro" which was rediscovered as recently as 1996: it remains utterly arresting, unique and decades ahead of its time. In his authoritative booklet essay, Viner introduces every piece on the album in detail. This is the 5th instalment of the complete recording of the piano works by Charles-Valentin Alkan by Mark Viner. © Piano Classics