Alkan’s first subject, in a mood of ‘storm and stress’, consists of an octave motif
prototypical of Liszt’s motif B, followed by a hammerblow motif prototypical of Liszt’s
motif C. Liszt’s first subject, also in a mood of storm and stress, consists of Liszt’s
motifs B and C contrapuntally combined.
Alkan’s second subject, in a cheerless mood, is a lyrical tyransformation by way of
augmentation of Alkan’s hammerblow motif and recapitulates classically. Liszt’s third
subject, in a mood of restless joy leading to sorrow, is a lyrical transformation by way of
augmentation of Liszt’s hammerblow motif and recapitulates classically.
Liszt’s second subject bears a strong resemblance in mood to the subsequent triumphant
transformation by Alkan of Alkan’s second subject. In addition they share a strong
resemblance both thematically and in their piano writing.
Alkan’s second subject recapitulates classically in the tonic. Liszt’s second and third
subjects also recapitulate classically in the tonic. Both composers retained the whole of
their ‘second group’ in their recapitulation. (The ‘second group’ for Chopin consisted of
his second subject and the ‘second group’ for Liszt consisted of his second and third
subjects.)
Alkan’s Quasi-Faust movement contains a fugue (in eight parts) which represents the
redemption of Faust. The ‘Scherzo’ of Liszt’s Sonata is also a fugue (in three parts)
(although the redemption of Faust occurs later, at the end of the Liszt Sonata).
RACHMANINOFF
Sergei Rachmaninoff (1873-1943) was a Russian composer, pianist and conductor. He
was one of the last great champions of the romantic style of European classical music and
one of the most influential pianists of the twentieth century. He toured America
extensively and lived there from 1918.
He had legendary technical faculties and rhythmic drive and his large hands were able to
cover the interval of a thirteenth on the keyboard. He could also play complex
compositions upon first hearing. A number of recordings were made of Rachmanininoff
playing his own works and others from the standard repertoire.
His reputation as a composer generated a varity of opinions before his music gained
steady recognition across the world. The 1954 edition of Grove’s ‘Dictionary of Music
and Musicians’ dismissed his music as ‘monotonous in texture consist[ing] mainly of
artificial and gushing tunes’ and predicted that his popular success ‘was not likely to last’.
To this Harold Schonberg, in his ‘Lives of the Great Composers’, responded, ‘It is one of
the most outrageously snobbish and even stupid statements ever to be found in a work
that is supposed to be an objective reference.’ Indeed, not only have Rachmaninoff’s
works become part of the standard repertoire, but their popularity among both musicians
and audiences has, if anything, increased since the middle of the twentieth century, with