Trente Chants (30): Suite 2, Op. 38, No. 2 (Recueil de Chants) Cover Image

Trente Chants (30): Suite 2, Op. 38, No. 2 (Recueil de Chants): Piano, Solo, Unaccompanied, Solo

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Trente Chants (30): Suite 2, Op. 38, No. 2 (Recueil de Chants) Cover Image
Trente Chants (30): Suite 2, Op. 38, No. 2 (Recueil de Chants): Piano, Solo, Unaccompanied, Solo

Trente Chants (30): Suite 2, Op. 38, No. 2 (Recueil de Chants): Piano, Solo, Unaccompanied, Solo

By Charles-Valentin Alkan, ed./arr. by Elie Miriam Delaborde/ Isidor Philipp

Item: 36-M306791
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French composer and virtuoso pianist Charles-Valentin Alkan (1813-1888) composed thirty one piano works as suites under the title TRENTE CHANTS (also RECUEIL DE CHANTS) across four opus numbers. These have been published by LudwigMasters in five volumes. Suite 2, Op. 38, No. 2 includes six titles: 7. Hymn (E major); 8. Allegretto (A minor); 9. Chant de Guerre (A major); 10. Procession-Nocturne (A major); 11. Andantino (F# minor); 12. Barcarolle en choeur (G minor). Reprint of the edition by Elie Miriam Delaborde and Isidor Philipp.

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Additional Details
Series: Master Keyboard Series - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-810082-5
ISBN13: 979-889-810-0827
UPC: 605258779151
SKU: 36-M306791
Instrumentation: Solo Piano

More about this title

About the Composer: Charles-Valentin Alkan

Charles-Valentin Alkan (1813-1888) was a French pianist and composer whose technical brilliance and adventurous harmonic language place him among the most innovative keyboard artists of the nineteenth century. A child prodigy who studied at the Paris Conservatoire, Alkan commanded the respect of his contemporaries—Chopin and Liszt among them—yet his demanding works and modest public presence meant he faded from concert life after his death until modern pianists rediscovered the originality and depth of his catalog.

The Trente Chants (Thirty Songs) stand as Alkan's most ambitious keyboard project, a multi-volume exploration of lyrical forms ranging from hymns and marches to nocturnes and character pieces. Spanning four opus numbers and published across five volumes, these suites showcase his gift for melodic invention, structural clarity, and expressive range. Suite 2, Op. 38, No. 2 exemplifies this variety, offering pianists a treasury of contrasting moods and technical challenges that reward both artistic sensitivity and pianistic command.

Why we love this

Suite 2 delivers six distinct personality types in a single volume, allowing pianists to build a recital program of serious artistry without venturing beyond one opus number. Alkan's harmonic language here remains accessible without losing its nineteenth-century sophistication, and the variety of character pieces means advanced students encounter genuinely different musical problems within the same book rather than variations on a single theme.

What to expect

Each piece in this suite functions as a self-contained meditation on a specific character or mood. The Hymn radiates reverent stillness; the Allegretto offers sprightly wit; the Chant de Guerre pulses with noble energy; the Procession-Nocturne creates an atmosphere of ritual pageantry viewed from quiet remove. Together they form a program of emotional travel, each destination distinct yet connected by Alkan's consistent voice.

Who it's for

Advanced pianists and serious students seeking recital repertoire that combines lyrical beauty with technical substance and harmonic sophistication. This suite belongs in the hands of pianists ready to move beyond Romantic salon music into more ambitious keyboard literature without requiring virtuosic display as the primary goal.

How to get the most out of it

  • Approach the Hymn (No. 7) with organ-like weight and sonority; think of the right hand as a vocal line supported by hymnal harmony rather than as pure keyboard figuration.
  • In the Chant de Guerre (No. 9), maintain rhythmic precision while avoiding a mechanical feel; let the martial character emerge through confident articulation and clear voicing of the supporting figures.
  • Balance lyricism with structural integrity in the Procession-Nocturne (No. 10) by anchoring the left-hand motion without letting it overshadow the cantabile melody.
  • Use the Barcarolle en choeur (No. 12) as an opportunity to explore legato pedaling; the piece invites a continuous wash of harmony, but clarity of texture remains essential to its character.

How to use it

Program Suite 2 as the cornerstone of a recital devoted to nineteenth-century keyboard exploration, pairing it with Mendelssohn or Schumann to establish a French-Germanic dialogue. Alternatively, extract individual pieces (the Hymn and Procession-Nocturne work especially well as recital openers or closers) to supplement a more eclectic program while maintaining artistic coherence.

Skills your students will build

  • Legato pedaling and textural control across varied harmonic densities
  • Singing tone quality in accompanied melody lines
  • Harmonic clarity in multi-voice keyboard writing
  • Character interpretation and structural navigation in song-form and character piece idioms
  • Rhythmic independence between hands in dance-based and processional forms

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