Le festin d'Esope
Encyclopedia
Le festin d'Ésope is an étude
by Charles-Valentin Alkan
. It is the final in the Douze études dans tous les tons mineurs (Twelve studies in all minor keys) cycle. It is a work of twenty five variations
based on an original theme and is in E minor. The technical skills required in the variations is a summation of the preceding Etudes.
The work requires exceptional virtuoistic skills, with extremely fast overlapping octaves, fast scales with left accompaniments, enormous leaps, rapid octave chords,tremolos, double octaves and trills. A typical performance of this piece lasts 10 minutes. The variations are said to represent various animals from the fables of Aesop. Alkan deals thoroughly with the theme dealing almost every conceivable path of variation, some obvious, such as the first variation, and others more transcendental such as variation XVI. Commonly in pieces where Alkan features variations on an original theme, is flowing variation. An example being variations XIV, and XV.
Theme
Marked piano, the eight-bar theme is stated in the treble by three note chords, played staccato. The bass is sparse, marked staccatissimo.
Variation I
The bass, still marked staccatissimo, takes on the melody while the treble continues playing three note chords (also staccatissimo) in a supplementary fashion. The first four bars are marked forte, followed by a diminuendo passage where the treble figuration descends to piano, before a forte finish in the last bar.
Variation II
The bass continues to take on the bass, this time in sixths, marked staccato. The treble meanwhile plays an unusually notated figure - demisemiquaver sextuplet octave jumps where the first note is marked sforzando, while the rest of the notes are tied and marked tenuto. This results in a 'humorous' hopping effect. Demisemiquaver sextuplet flourishes marked forte make this variation one of the first technical challenges.
Variation III
Another staccato variation, deceptively simple, but requiring light touch, quick but discreet jumps and occasionally difficult notes. The harmonisation is unusual - every chord in the melody is 'held back' by a B-flat and C, while the bass (playing in the treble) jumps about almost arbitrarily, increasing the harmonic tension. Pauses in the melody are greeted by staccato 'growling' in the deep bass.
Variation IV
Marked con duolo ("with grief"). The melody is simplified to two-in-a-bar chords marked dolce e legato. The staccato 'growling' in the bass continues however, discouraging the pianist from overusing the pedal to aid in joining the chords in the treble. While the first four bars are enriched by thirds and sixths, the last four are supported only by fourths and fifths. Quietly, it resolves the tension built in the first variations.
Variation V
A march in octaves that begins to test the endurance of the pianist. Triplet semiquaver octaves in both hands provide momentum while the harmony modulates through E melodic minor and F melodic minor. An ascending scale in octaves modulates to F major, before modulating back to E minor to finish the variation.
Variation VI
Continues the march in the bright key of C major, marked piano. A two-and-a-half bar long trill and smaller chords make the variation sound more playful in contrast to the preceding one. However, this is broken by a return of the forte octave passages from the previous variation, modulating between C major, B major and B minor, before finishing in the original key of E minor. Altogether, the two marches are farcical in their contrived pompousness and sprightly interludes.
Variation VII
The bass takes on the melody with wide, rolled chords, while the treble engages itself with undulating sextuplet demisemiquaver scale runs. Again, it modulates through the melodic minor, while sevenths and ninths add colour to the harmony. The scale flourish in the last bar is the first time Alkan notates use of a pedal.
Variation VIII
One of the odder variations, and certainly one of the most farcical. A quiet trill in the bass provides background tension while the melody, syncopated by a quaver beat, hops about the treble uncertainly. Though the second last bar is marked pochissimo cresc., the variation resolves unconvincingly without much drama.
Variation IX
Established in the tonic major (MAGGIORE), this variation expresses Alkan's baroque and classical influences. Marked dolce e sostenuto, it may be the only case where the initial tempo indication may be ignored, or at least, set aside.
Variation X
This follows on from the warm tone set in the preceding variation. It is a study on classical polyphony as the melody and its submediant is embellished by a tinkling ostinato in the high register, marked scampanatino ("like bells").
Variation XI
The ostinato, now in thirds, becomes the main treble figure, marked molto legato. The melody returns to the bass for the first time since Variation VII. Marked quasi corni ("almost like horns"), it may be a reference to Alkan's Concerto for solo piano
or Symphony for solo piano, where the piano is used to imitate other orchestral instruments. The last four bars consist of triplet and sextuplet tremoli in sixths and sevenths, which require exceptional dexterity of the wrist to maintain legato and expressiveness.
Variation XII
Concludes the first MAGGIORE variations as the undulating sextuplets move to the bass and the melody moves to the lower treble. The richness of the chords are supported by exotic modulations and references to late Romanticism and Impressionism. Meanwhile, the bass plays very wide broken chords (requiring a supple wrist to play) and arpeggios that end unexpectedly in the next variation.
Variation XIII
A single 'cough' in the deep bass ends the previous variation, followed by sprightly bounces in the upper registers. A study of fast acciaccaturae and note reading, it requires clearly distinct playing while remaining pianissimo. In ending the graceful exchanges in the previous variations, its mood is suitably satirical.
Variation XIV
Unlike the preceding variations, this portrait of war-like trumpets is far more serious, compared to the marches in V and VI. Marked forte, trombata ("trumpets"), with staccato semiquaver triplets and frequent mordants, combined with frequent overlapping of the hands, this variation is a test of wrist resilience and rhythmic consistency.
Variation XV
A continuation of the last variation, with the melody in chords and octaves marked fortissimo and staccatissimo. The left hand switches back to normal semiquavers as it pounds large and expansive chords that modulate briefly to D minor and C minor before ending dramatically in E minor.
Variation XVI
Directly following the climax of the first half of the piece, the 16th variation is marked piano, e preghevole ("soft, and precious"). It has a touch of resignation as it slides between the bare skeleton of the melody. It seemingly acts as a coda for all the variations before it as it fades into pianissimo.
Variation XVII
The piece unforgivingly jolts the pianist to a vivacious episode requiring an extremely light touch (leggiermente) and extraordinary finger agility. The treble hemidemisemiquavers move through the bare chords of the initial theme, blitzing through rising sequences, falling diminished seventh arpeggios and chromatic scales, while the bass remains staccato
and pianissimo
while playing an Alberti bass. Despite the agitated mood, however, the variation remains dark in its succession after a series of dramatic episodes.
Variation XVIII
After a chromatic descent, the hemidemisemiquavers continue relentlessly, now in the playful key of C major (mirroring the dichotomy in V and VI), breaking the dark spell from the previous variations. The bass doubles in speed (demisemiquavers), while playing large jumps, frequent staccatissimo notes and wide arpeggios. The variation is marked sempre piano, e leggierissimamente ("always soft, and as light as can be") throughout.
Variation XIX
Labelled Lamentevole ("lamentable"), the melody almost drowns in the dissonance of rinforzando octaves. Left and right hands share a chromatic descent of octaves following the melody note every half bar, each starting rinforzando and ending piano
. There is a bitonality in that in each pattern, the first chord of the right hand is a diminished seventh chord, while the first note of the left is a dominant seventh chord of the note one semitone under the first note. Alkan's specification to hold the pedal down for the entirety of the variation emphasises its dissonant nature. The final bars gradually build tension in a virtuosic manner that resolves in the next variation.
Variation XX
Labelled Impavidè ("fearless"), this variation simply consists of demisemiquaver stamps of thick chords marked fortississimo ("fff") each. Attempting this variation with improper technique is likely to cause injury to the wrist. It is marked Senz'arpeggiare alcunamente ("without any chord rolling"), though there are a few instances of acciaccaturae colouring.
Variation XXI
A return to the tonic major (Maggiore), this variation is marked by a simple triplet semiquaver rendering of the melody to be played staccato
. Though labelled Caccia
, this variation oddly does not feature any polyphony.
Variation XXII
This variation combines the melody treatment in the previous variation with the acciaccatura ornamentation of XX, which is marked abbajante ("barking"). This may be what Alkan refers to in his Caccia labelling, with the melody being humorously juxtaposed with dog barks in both the bass and the treble. This, incidentally, is the first time a clear reference to the animalistic theme is made.
Variation XXIII
A return to the minor key, as both hands move to the bass. Marked tempestoso ("tempestuous"), it consists of one long demisemiquaver dodecuplet tremelo in both hands, with brief chromatic pauses, making only sparse references to the theme. The pedal is required throughout.
Variation XXIV
A development of the tempestoso theme, the tremolo figure changes to similar of that in the middle section of the L'enfer movement in Alkan's Grand Duo Concertante. The melody is developed in the first four bars, while the last bars consists of large rising and falling chromatic scales in the right hand that climax in the last variation. Meanwhile, the bass tremelo is punctuated by fortissimo octave statements in the lower bass.
Variation XXV
The last variation, extended beyond the eight-bar format of the previous variations, features Alkan's trademark octave rendering of the theme. The molto cresc. in the previous variation culminates in a trionfalmente, fortississimo (triumphantly, very very loud). Alkan makes use of the extreme registers of the piano, utilising the lower bass octave statements (as in the previous variation) to punctuate the theme, in the rhythm of a dotted semiquaver and a demisemiquaver. This is contrasted with occasional triplet semiquaver flourishes.
The next eight bars consist of a different melodic treatment of the theme, with elements of a canon as both hands take turns stating the melody. The first four bars are to be played sempre fortississimo, with the latter half dropping to mezzo-forte. A crescendo leads to a final eight-bar Maggiore statement of the initial trionfalmente variation, featuring the same rhythmic scheme. A final triplet flourish (fortississimo) finishes the first section of the variation.
This is immediately (if Alkan's metronome indication is to be followed) succeeded by a simple four-bar interlude to be played pianissimo. Polyphonically, the truncated theme is stated in the staccato bass and the sostenuto treble. The next eight bars (piano, sostenuto) develops the polyphony further, building tension (cresc. poco a poco) as the voices become broader and broader. This culminates in a forest of arpeggiated semiquaver chords in both hands, to be played fortissimo and staccatissimo.
After this brief explosion, another eight-bar interlude in the bass, irregularly grouped, follows, making only oblique references to the theme in a manner similar to that in Alkan's Chant de mort. This is followed by a development section of 11 bars long, consisting of wide chords rising and falling akin to that of the Prométhée enchaîné movement in Alkan's Grande Sonate "Les Quatre Ages". This culminates in a final explosion of chords that starts in A minor, modulates to G major and finally E minor, with brief references to E major. It is to be played fortissimo sempre crescendo to a fortississimo, whereby afterwards a dim. molto and a thinning of the chords escorts the piece to a brief conclusion. A final octave statement of the theme in the bass, harmonised in the right hand by murmuring chords, leads the piece to a seemingly quiet denouement, where a final fortississimo stamp signifies its proper finish.
, Dorel Golan, Bernard Ringeissen
, Edward Cohen, Jack Gibbons
, Marc-André Hamelin
, Igor Roma, Ken Iisaka, and Mauricio Vallina.
Étude
An étude , is an instrumental musical composition, most commonly of considerable difficulty, usually designed to provide practice material for perfecting a particular technical skill. The tradition of writing études emerged in the early 19th century with the rapidly growing popularity of the piano...
by Charles-Valentin Alkan
Charles-Valentin Alkan
Charles-Valentin Alkan was a French composer and one of the greatest virtuoso pianists of his day. His attachment to his Jewish origins is displayed both in his life and his work. He entered the Paris Conservatoire at the age of six, earning many awards, and as an adult became a famous virtuoso...
. It is the final in the Douze études dans tous les tons mineurs (Twelve studies in all minor keys) cycle. It is a work of twenty five variations
Variation (music)
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve harmony, melody, counterpoint, rhythm, timbre, orchestration or any combination of these.-Variation form:...
based on an original theme and is in E minor. The technical skills required in the variations is a summation of the preceding Etudes.
The work requires exceptional virtuoistic skills, with extremely fast overlapping octaves, fast scales with left accompaniments, enormous leaps, rapid octave chords,tremolos, double octaves and trills. A typical performance of this piece lasts 10 minutes. The variations are said to represent various animals from the fables of Aesop. Alkan deals thoroughly with the theme dealing almost every conceivable path of variation, some obvious, such as the first variation, and others more transcendental such as variation XVI. Commonly in pieces where Alkan features variations on an original theme, is flowing variation. An example being variations XIV, and XV.
The variations
Marked "Allegretto senza licenza quantunque" ("A little fast, though without licence"), it is commonly taken to mean that the piece is to be played without rubato, though to what extent, Alkan does not make clear. The absence of any tempo modifiers may suggest a rather rigid approach to rhythm however. The metronome is marked at 126 quaver beats per minute.Theme
Marked piano, the eight-bar theme is stated in the treble by three note chords, played staccato. The bass is sparse, marked staccatissimo.
Variation I
The bass, still marked staccatissimo, takes on the melody while the treble continues playing three note chords (also staccatissimo) in a supplementary fashion. The first four bars are marked forte, followed by a diminuendo passage where the treble figuration descends to piano, before a forte finish in the last bar.
Variation II
The bass continues to take on the bass, this time in sixths, marked staccato. The treble meanwhile plays an unusually notated figure - demisemiquaver sextuplet octave jumps where the first note is marked sforzando, while the rest of the notes are tied and marked tenuto. This results in a 'humorous' hopping effect. Demisemiquaver sextuplet flourishes marked forte make this variation one of the first technical challenges.
Variation III
Another staccato variation, deceptively simple, but requiring light touch, quick but discreet jumps and occasionally difficult notes. The harmonisation is unusual - every chord in the melody is 'held back' by a B-flat and C, while the bass (playing in the treble) jumps about almost arbitrarily, increasing the harmonic tension. Pauses in the melody are greeted by staccato 'growling' in the deep bass.
Variation IV
Marked con duolo ("with grief"). The melody is simplified to two-in-a-bar chords marked dolce e legato. The staccato 'growling' in the bass continues however, discouraging the pianist from overusing the pedal to aid in joining the chords in the treble. While the first four bars are enriched by thirds and sixths, the last four are supported only by fourths and fifths. Quietly, it resolves the tension built in the first variations.
Variation V
A march in octaves that begins to test the endurance of the pianist. Triplet semiquaver octaves in both hands provide momentum while the harmony modulates through E melodic minor and F melodic minor. An ascending scale in octaves modulates to F major, before modulating back to E minor to finish the variation.
Variation VI
Continues the march in the bright key of C major, marked piano. A two-and-a-half bar long trill and smaller chords make the variation sound more playful in contrast to the preceding one. However, this is broken by a return of the forte octave passages from the previous variation, modulating between C major, B major and B minor, before finishing in the original key of E minor. Altogether, the two marches are farcical in their contrived pompousness and sprightly interludes.
Variation VII
The bass takes on the melody with wide, rolled chords, while the treble engages itself with undulating sextuplet demisemiquaver scale runs. Again, it modulates through the melodic minor, while sevenths and ninths add colour to the harmony. The scale flourish in the last bar is the first time Alkan notates use of a pedal.
Variation VIII
One of the odder variations, and certainly one of the most farcical. A quiet trill in the bass provides background tension while the melody, syncopated by a quaver beat, hops about the treble uncertainly. Though the second last bar is marked pochissimo cresc., the variation resolves unconvincingly without much drama.
Variation IX
Established in the tonic major (MAGGIORE), this variation expresses Alkan's baroque and classical influences. Marked dolce e sostenuto, it may be the only case where the initial tempo indication may be ignored, or at least, set aside.
Variation X
This follows on from the warm tone set in the preceding variation. It is a study on classical polyphony as the melody and its submediant is embellished by a tinkling ostinato in the high register, marked scampanatino ("like bells").
Variation XI
The ostinato, now in thirds, becomes the main treble figure, marked molto legato. The melody returns to the bass for the first time since Variation VII. Marked quasi corni ("almost like horns"), it may be a reference to Alkan's Concerto for solo piano
Concerto for solo piano (Alkan)
Concerto for solo piano is a 3-movement solo piano piece written by Charles-Valentin Alkan. The pieces are part of a 12 piece cycle entitled Douze études dans tous les tons mineurs , published in 1857...
or Symphony for solo piano, where the piano is used to imitate other orchestral instruments. The last four bars consist of triplet and sextuplet tremoli in sixths and sevenths, which require exceptional dexterity of the wrist to maintain legato and expressiveness.
Variation XII
Concludes the first MAGGIORE variations as the undulating sextuplets move to the bass and the melody moves to the lower treble. The richness of the chords are supported by exotic modulations and references to late Romanticism and Impressionism. Meanwhile, the bass plays very wide broken chords (requiring a supple wrist to play) and arpeggios that end unexpectedly in the next variation.
Variation XIII
A single 'cough' in the deep bass ends the previous variation, followed by sprightly bounces in the upper registers. A study of fast acciaccaturae and note reading, it requires clearly distinct playing while remaining pianissimo. In ending the graceful exchanges in the previous variations, its mood is suitably satirical.
Variation XIV
Unlike the preceding variations, this portrait of war-like trumpets is far more serious, compared to the marches in V and VI. Marked forte, trombata ("trumpets"), with staccato semiquaver triplets and frequent mordants, combined with frequent overlapping of the hands, this variation is a test of wrist resilience and rhythmic consistency.
Variation XV
A continuation of the last variation, with the melody in chords and octaves marked fortissimo and staccatissimo. The left hand switches back to normal semiquavers as it pounds large and expansive chords that modulate briefly to D minor and C minor before ending dramatically in E minor.
Variation XVI
Directly following the climax of the first half of the piece, the 16th variation is marked piano, e preghevole ("soft, and precious"). It has a touch of resignation as it slides between the bare skeleton of the melody. It seemingly acts as a coda for all the variations before it as it fades into pianissimo.
Variation XVII
The piece unforgivingly jolts the pianist to a vivacious episode requiring an extremely light touch (leggiermente) and extraordinary finger agility. The treble hemidemisemiquavers move through the bare chords of the initial theme, blitzing through rising sequences, falling diminished seventh arpeggios and chromatic scales, while the bass remains staccato
Staccato
Staccato is a form of musical articulation. In modern notation it signifies a note of shortened duration and separated from the note that may follow by silence...
and pianissimo
Pianissimo
Pianissimo is an Italian word, meaning "very soft". It can mean:*Pianissimo, refers to the volume of a soft sound or soft note.*Pianissimo Peche, a brand of Japanese cigarettes made by Japan Tobacco....
while playing an Alberti bass. Despite the agitated mood, however, the variation remains dark in its succession after a series of dramatic episodes.
Variation XVIII
After a chromatic descent, the hemidemisemiquavers continue relentlessly, now in the playful key of C major (mirroring the dichotomy in V and VI), breaking the dark spell from the previous variations. The bass doubles in speed (demisemiquavers), while playing large jumps, frequent staccatissimo notes and wide arpeggios. The variation is marked sempre piano, e leggierissimamente ("always soft, and as light as can be") throughout.
Variation XIX
Labelled Lamentevole ("lamentable"), the melody almost drowns in the dissonance of rinforzando octaves. Left and right hands share a chromatic descent of octaves following the melody note every half bar, each starting rinforzando and ending piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
. There is a bitonality in that in each pattern, the first chord of the right hand is a diminished seventh chord, while the first note of the left is a dominant seventh chord of the note one semitone under the first note. Alkan's specification to hold the pedal down for the entirety of the variation emphasises its dissonant nature. The final bars gradually build tension in a virtuosic manner that resolves in the next variation.
Variation XX
Labelled Impavidè ("fearless"), this variation simply consists of demisemiquaver stamps of thick chords marked fortississimo ("fff") each. Attempting this variation with improper technique is likely to cause injury to the wrist. It is marked Senz'arpeggiare alcunamente ("without any chord rolling"), though there are a few instances of acciaccaturae colouring.
Variation XXI
A return to the tonic major (Maggiore), this variation is marked by a simple triplet semiquaver rendering of the melody to be played staccato
Staccato
Staccato is a form of musical articulation. In modern notation it signifies a note of shortened duration and separated from the note that may follow by silence...
. Though labelled Caccia
Caccia
Caccia can refer to:* The painter Guglielmo Caccia, known as "il Moncalvo"* The painter Orsola Caccia, daughter of Guglielmo* Caccia , an Italian poetic and musical genre of the 14th and 15th centuries...
, this variation oddly does not feature any polyphony.
Variation XXII
This variation combines the melody treatment in the previous variation with the acciaccatura ornamentation of XX, which is marked abbajante ("barking"). This may be what Alkan refers to in his Caccia labelling, with the melody being humorously juxtaposed with dog barks in both the bass and the treble. This, incidentally, is the first time a clear reference to the animalistic theme is made.
Variation XXIII
A return to the minor key, as both hands move to the bass. Marked tempestoso ("tempestuous"), it consists of one long demisemiquaver dodecuplet tremelo in both hands, with brief chromatic pauses, making only sparse references to the theme. The pedal is required throughout.
Variation XXIV
A development of the tempestoso theme, the tremolo figure changes to similar of that in the middle section of the L'enfer movement in Alkan's Grand Duo Concertante. The melody is developed in the first four bars, while the last bars consists of large rising and falling chromatic scales in the right hand that climax in the last variation. Meanwhile, the bass tremelo is punctuated by fortissimo octave statements in the lower bass.
Variation XXV
The last variation, extended beyond the eight-bar format of the previous variations, features Alkan's trademark octave rendering of the theme. The molto cresc. in the previous variation culminates in a trionfalmente, fortississimo (triumphantly, very very loud). Alkan makes use of the extreme registers of the piano, utilising the lower bass octave statements (as in the previous variation) to punctuate the theme, in the rhythm of a dotted semiquaver and a demisemiquaver. This is contrasted with occasional triplet semiquaver flourishes.
The next eight bars consist of a different melodic treatment of the theme, with elements of a canon as both hands take turns stating the melody. The first four bars are to be played sempre fortississimo, with the latter half dropping to mezzo-forte. A crescendo leads to a final eight-bar Maggiore statement of the initial trionfalmente variation, featuring the same rhythmic scheme. A final triplet flourish (fortississimo) finishes the first section of the variation.
This is immediately (if Alkan's metronome indication is to be followed) succeeded by a simple four-bar interlude to be played pianissimo. Polyphonically, the truncated theme is stated in the staccato bass and the sostenuto treble. The next eight bars (piano, sostenuto) develops the polyphony further, building tension (cresc. poco a poco) as the voices become broader and broader. This culminates in a forest of arpeggiated semiquaver chords in both hands, to be played fortissimo and staccatissimo.
After this brief explosion, another eight-bar interlude in the bass, irregularly grouped, follows, making only oblique references to the theme in a manner similar to that in Alkan's Chant de mort. This is followed by a development section of 11 bars long, consisting of wide chords rising and falling akin to that of the Prométhée enchaîné movement in Alkan's Grande Sonate "Les Quatre Ages". This culminates in a final explosion of chords that starts in A minor, modulates to G major and finally E minor, with brief references to E major. It is to be played fortissimo sempre crescendo to a fortississimo, whereby afterwards a dim. molto and a thinning of the chords escorts the piece to a brief conclusion. A final octave statement of the theme in the bass, harmonised in the right hand by murmuring chords, leads the piece to a seemingly quiet denouement, where a final fortississimo stamp signifies its proper finish.
Performances
This piece has been performed by Raymond LewenthalRaymond Lewenthal
Raymond Lewenthal was an American pianist.-Biography:Lewenthal was born in San Antonio, Texas to Russian-French parents. His birth date is often given as 1926, but he was actually born three years earlier in 1923...
, Dorel Golan, Bernard Ringeissen
Bernard Ringeissen
Bernard Ringeissen is a French classical pianist.He was born in Paris in 1934. His first teacher, at age 7, was Georges de Lausnay. He entered the Conservatoire Nationale Supérieure de Musique in 1947, aged 12, and won the Premier Prix when he was sixteen. He had further study with Marguerite...
, Edward Cohen, Jack Gibbons
Jack Gibbons
Jack Gibbons is an English classical pianist and composer.-Biography:Gibbons was born in England. His father is a scientist and his mother a visual artist. He began his piano studies in Stockton-on-Tees, later continuing in Oxford. He began performing in public at the age of 10...
, Marc-André Hamelin
Marc-André Hamelin
Marc-André Hamelin, OC, CQ, is a French Canadian virtuoso pianist and composer.Born in Montreal, Quebec, Marc-André Hamelin began his piano studies at the age of five. His father, a pharmacist by trade who was also a pianist, introduced him to the works of Alkan, Godowsky, and Sorabji when he was...
, Igor Roma, Ken Iisaka, and Mauricio Vallina.