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= = = Personality = = =

= = = Personality = = =

Perry 's undercover identity as a pet leads to characters throughout the series to deem him as a " mindless domestic pet " that " doesn 't do much " . This definition of the character led to Phineas and Ferb spearheading production of a new toyline based on Perry called " Perry the Inaction Figure , " whose tagline revolved around it not doing anything but allowing the customer to make it whatever they desire it to be . In all actuality , Perry is a skilled fighter who is able to perform several implausible judo fighting moves and escapes . He has access to several different types of technology and inventions provided to him by The O.W.C.A. , including a hover craft dubbed the " Platypusmobile , " a jet ski , and a whistle set that allows him to summon different types of animals .

Perry <a href='null_genetive' title='1'><mark>'s</mark></a>undercover identity as a pet <a href='uninflect' title='2'><mark>leads</mark></a> to characters throughout the series to deem him as a " mindless domestic pet " that " doesn 't do much " . This definition of the character led to Phineas and Ferb spearheading production of a new toyline based on Perry called " Perry the Inaction Figure , " whose tagline revolved around it not doing <a href='negative_concord' title='3'><mark>anything</mark></a> but allowing the customer to make it whatever they desire it to be . In all actuality , Perry <a href='drop_aux' title='4'><mark>is</mark></a>a skilled fighter <a href='null_relcl' title='5'><mark>who</mark></a><a href='drop_aux' title='6'><mark>is</mark></a>able to perform several implausible judo fighting moves and escapes . He <a href='got' title='7'><mark>has</mark></a> access to several different types of technology and inventions provided to him by The O.W.C.A. , including a hover craft dubbed the " Platypusmobile , " a jet ski , and a whistle set <a href='null_relcl' title='8'><mark>that</mark></a><a href='uninflect' title='9'><mark>allows</mark></a> him to summon different types of animals .

Perry undercover identity as a pet lead to characters throughout da series to deem em as a " mindless domestic pet " dat " doesn 't do much " . This definition of the character led to Phineas and Ferb spearheading production of a new toyline based on Perry called " Perry tdaInaction Figure , " whose tagline revolved around it not doing nothing but allowing the customer to make it whatever they desire it to b . In all actuality , Perry a skilled fighter able to perform several implausible judo fighting moves and escapes . He got access to several different types of technology and inventions provided to hemby The O.wid.C.A. , including a hover craft dubbed the " Platypusmobile , " a jet ski , and a whistle set allow hiemo summon different types of animals .

Although his appearance as a domestic pet is mostly a cover , Perry has nonetheless expressed care and devotion for the Flynn @-@ Fletcher family . In the episode " The Ballad of Bad Beard " , Perry managed to drag Candace out of the Dark Cave before it caved in because of Dr. Doofenshmirthz 's " self destruction button " that which Candace had accidentally pressed while under the orange moss hallucination , thinking it was a vending machine . He did this even though he knew that Candace saw that Perry was a secret agent talking to Agent E ( Eagle ) and to Major Monogram in a cracked egg . Candace thought she was just hallucinating because of the orange moss she accidentally touched earlier in the episode . Also , when an invention of Doofenshmirtz 's in the episode " Journey to the Center of Candace " might cause severe harm to Phineas and Ferb , Perry thoroughly beats up Doofenshmirtz and quickly handcuffs him . He then ties him to a pipe and , instead of just leaving him like he usually does in the series , calls for special forces from the O.W.C.A. to come and arrest the doctor , though they never show up . In " Oh , There You Are , Perry , " Doofenshmirtz is downgraded to a low threat level and Perry is reassigned to a new nemesis . This causes him to have to leave his home with the Flynn @-@ Fletchers , which makes him sad and he does not enjoy his new villain . Phineas and Ferb are fearful about where Perry could have gone to and put up several flyers around town for people to find him . They decide to throw a concert on the roof of a building , singing a song about how much they love Perry and want him to come home . Concurrently , Perry is reassigned to Doofenshmirtz again and returns to the brothers once more .

Although his appearance as a domestic pet <a href='drop_aux' title='1'><mark>is</mark></a>mostly a cover , Perry <a href='been_done' title='2'><mark>has</mark></a> nonetheless expressed care and devotion for the Flynn @-@ Fletcher family . In the episode " The Ballad of Bad Beard " , Perry managed to drag Candace out of the Dark Cave before it caved in because of Dr. Doofenshmirthz <a href='null_genetive' title='3'><mark>'s</mark></a>" self destruction button " <a href='null_relcl' title='4'><mark>that</mark></a>which Candace <a href='been_done' title='5'><mark>had</mark></a> accidentally pressed while under the orange moss hallucination , thinking it was a vending machine . He did this even though he knew that Candace saw that Perry was a secret agent talking to Agent E ( Eagle ) and to Major Monogram in a cracked egg . Candace thought she was just hallucinating because of the orange moss she accidentally touched earlier in the episode . Also , when an invention of Doofenshmirtz <a href='null_genetive' title='6'><mark>'s</mark></a>in the episode " Journey to the Center of Candace " might cause severe harm to Phineas and Ferb , Perry thoroughly <a href='uninflect' title='7'><mark>beats</mark></a> up Doofenshmirtz and quickly <a href='uninflect' title='8'><mark>handcuffs</mark></a> him . He then <a href='uninflect' title='9'><mark>ties</mark></a> him to a pipe and , instead of just leaving him like he usually <a href='uninflect' title='10'><mark>does</mark></a> in the series , <a href='uninflect' title='11'><mark>calls</mark></a> for special forces from the O.W.C.A. to come and arrest the doctor , though they never show up . In " Oh , There You <a href='drop_aux' title='12'><mark>Are</mark></a>, Perry , " Doofenshmirtz is downgraded to a low threat level and Perry is reassigned to a new nemesis . This <a href='uninflect' title='13'><mark>causes</mark></a> him to have to leave his home with the Flynn @-@ Fletchers , which <a href='uninflect' title='14'><mark>makes</mark></a> him sad and he <a href='uninflect' title='15'><mark>does</mark></a> not enjoy his new villain . Phineas and Ferb <a href='drop_aux' title='16'><mark>are</mark></a>fearful about where Perry could <a href='been_done' title='17'><mark>have</mark></a> gone to and put up several flyers around town for people to find him . They decide to throw a concert on the roof of a building , singing a song about how much they love Perry and want him to come home . Concurrently , Perry is reassigned to Doofenshmirtz again and <a href='uninflect' title='18'><mark>returns</mark></a> to the brothers once more .

Although his appearance as a domestic pet mostly a cover , Perry done nonetheless expressed care and devotion fir the Flynn @-@ Fletcher family . In the episode " da Ballad of badd Beard " , Perry managed to drag Candace outt of the Dark Cave before it caved in because of Dr. Doofenshmirthz " self destruction button " which Candace done accidentally pressed while under the orange moss hallucination , thinkin it was a vending machine . He did dis even though he knew that Candace saw dat Perry was a secret agent talking to Agent E ( Eagle ) and to Major Monogram in a cracked egg . Candace thought she was jus hallucinating becuz of tdaorange moss she accidentally touched earlier in thdapisode . Also , when an invention of Doofenshmirtz in the episode " Journey to the Center of Candace " mite cause severe harm to Phineas and Ferb , Perry thoroughly beat up Doofenshmirtz and quickly handcuff him . He then tie him to a pipe and , instead of jjusleaving em like he usually do in the series , call for special forces from thedaW.C.A. to cum and arrest the doctor , though they never show up . In " Oh , There uu , Perry , " Doofenshmirtz is downgraded to a low threat level and Perry is reassigned to a new nemesis . This cus hemto gotta leave his home with the Flynn @-@ Fletchers , which make him sad and he do not enjoy his new villain . Phineas and Ferb fearful about where Perry could done gone to and put up several flyers around town for people to find hiem They decide to throw a concert on the roof of a building , singing a song about how much they luh Perry and want him to ccumhome . Concurrently , Perry is reassigned to Doofenshmirtz again and return to the brothers once more .

Though Perry is anthropomorphic , he does not speak , only communicating through an " aggravated purr " type of noise made by flapping his bill . This noise is provided by actor Dee Bradley Baker ; to this day , Povenmire and Marsh do not understand how Baker produces the noise . Thomas Sangster , who plays Ferb , is notoriously good at making the noise and is considered second only to Baker himself . When in his " Agent P " persona , Perry is almost completely silent .

Though Perry <a href='drop_aux' title='1'><mark>is</mark></a>anthropomorphic , he <a href='uninflect' title='2'><mark>does</mark></a> not speak , only communicating through an " aggravated purr " type of noise made by flapping his bill . This noise is provided by actor Dee Bradley Baker ; to <a href='None' title='3'><mark>this</mark></a><a href='negative_concord' title='4'><mark>day</mark></a> , Povenmire and Marsh do not understand how Baker <a href='uninflect' title='5'><mark>produces</mark></a> the noise . Thomas Sangster , <a href='null_relcl' title='6'><mark>who</mark></a><a href='uninflect' title='7'><mark>plays</mark></a> Ferb , <a href='drop_aux' title='8'><mark>is</mark></a>notoriously good at making the noise and is considered second only to Baker himself . When in his " Agent P " persona , Perry <a href='drop_aux' title='9'><mark>is</mark></a>almost completely silent .

Doe Perry anthropomorphic , he do not speak , only communicating thru an " aggravated purr " type of noise made by flapping his bill . This noise is provided by actor Dee Bradley Baker ; to no day , Povenmire and Marsh do not understand how Baker produce the noise . Thomas Sangster , play Ferb , notoriously gud at making the noise and is considered second only to Baker hisself . When in his " Agent P " persona , Perry almost completely silent .

= = Reception = =

= = Reception = =

= = Reception = =

As a character , Perry has been well received by both fans and critics . As Cynthia Littleton of Variety magazine wrote , " Perry the platypus is a breakout star from the Disney Channel toon ' Phineas and Ferb . ' " The New York Times writer Susan Stewart called him " intrepid . " Jean Yoo , a press member for Disney Channel , said that Perry is " suave " and " makes James Bond look like a rank amateur . " Aaron H. Bynum of Animator Insider opined that he is " indubitably confident . " Carly H. of Scholastic , Inc. declared Perry " pretty darn awesome . " Josh Jackson , editor of Paste , described Perry and Doofenshmirtz 's relationship as " pitch @-@ perfect . "

As a character , Perry <a href='been_done' title='1'><mark>has</mark></a> been well received by both fans and critics . As Cynthia Littleton of Variety magazine wrote , " Perry the platypus <a href='drop_aux' title='2'><mark>is</mark></a>a breakout star from the Disney Channel toon ' Phineas and Ferb . ' " The New York Times writer Susan Stewart called him " intrepid . " Jean Yoo , a press member for Disney Channel , said that Perry is " suave " and " <a href='uninflect' title='3'><mark>makes</mark></a> James Bond look like a rank amateur . " Aaron H. Bynum of Animator Insider opined that he is " indubitably confident . " Carly H. of Scholastic , Inc. declared Perry " pretty darn awesome . " Josh Jackson , editor of Paste , described Perry and Doofenshmirtz <a href='null_genetive' title='4'><mark>'s</mark></a>relationship as " pitch @-@ perfect . "

As a character , Perry done been well received by both fans and critics . As Cynthia Littleton of Variety magazine wrote , " Perry da platypus a breakout star from the Disney Channel toon ' Phineas and Ferb . ' " TdaNew York Times writer Susan Stewart called em " intrepid . " Jean Yoo , a press member fa Disney Channel , said that Perry is " suave " and " make James Bond look like a rank amateur . " Aaron H. Bynum of Animator Insider opined that he is " indubitably confident . " Carly H. of Scholastic , Inc. declared Perry " pretty darn awesome . " Josh Jackson , editor of Paste , described Perry and Doofenshmirtz relationship as " pitch @-@ bumpin . "

Certain reviewers have also commented negatively about Perry and his subplot , which Sherry Robinson of the St. Petersburg Times considers " pretty trippy . " Kevin McDonough of Sun Coast Today described it as " complicated " and " loosely connected " to the rest of the series , writing that he is " not sure what this accomplishes except to add the noise of explosions to the already constant din of singing and screaming . " Ed Liu of Toon Zone feels it is " truly puzzling what Perry the secret agent is doing in this show in the first place . " Liu considers his subplot to be a type of " throw everything against the wall and see what sticks " element and writes that " many of the earlier episodes of the show don 't manage to do a very good job of balancing the subplot and the main one . "

Certain reviewers <a href='been_done' title='1'><mark>have</mark></a> also commented negatively about Perry and his subplot , which Sherry Robinson of the St. Petersburg Times <a href='uninflect' title='2'><mark>considers</mark></a> " pretty trippy . " Kevin McDonough of Sun Coast Today described it as " complicated " and " loosely connected " to the rest of the series , writing that he is " not sure what this <a href='uninflect' title='3'><mark>accomplishes</mark></a> except to add the noise of explosions to the already constant din of singing and screaming . " Ed Liu of Toon Zone <a href='uninflect' title='4'><mark>feels</mark></a> it is " truly puzzling what Perry the secret agent is doing in this show in the first place . " Liu <a href='uninflect' title='5'><mark>considers</mark></a> his subplot to be a type of " throw everything against the wall and see what sticks " element and <a href='uninflect' title='6'><mark>writes</mark></a> that " many of the earlier episodes of the show don 't manage to do a very good job of balancing the subplot and the main one . "

Certain reviewers done also commented negatively bout Perry and his subplot , which Sherry Robinson of da St. Petersburg Times consider " pretty trippy . " Kevin McDonough of Sun Coast Today described it as " complicated " and " loosely connected " to tdarest of thdaeries , writing that he is " not sure what this accomplish except to add thedaise of explosions to the daeady constant din of singing and screaming . " Ed Liu of Toon Zone feel it is " truly puzzling wht Perry the sdaet agent is doin in this show in the fida place . " Liu consider his subplot to be a type of " throw everything against the wall and see what sticks " element and write that " many of the eardar episodes of the showdan 't manage to do a very good job of balancing the subplot and the main da . "

Perry was nominated for a Nickelodeon Kids ' Choice Award in 2014 under the category of Favorite Animated Animal Sidekick .

Perry was nominated for a Nickelodeon Kids <a href='null_genetive' title='1'><mark>'</mark></a>Choice Award in 2014 under the category of Favorite Animated Animal Sidekick .

Perry was nominated for a Nickelodeon Kids Choice Award in 2014 under the category of fav Animated Animal Sidekick .

= = In other media = =

= = In other media = =

= = In other media = =

In addition to the main television series , Perry has appeared in several pieces of Phineas and Ferb merchandise . To date , he has appeared in all Phineas and Ferb novelizations , published by Disney Press . The character has been adapted into a 20 inch plush toy , released by The Walt Disney Company . The plush has a button on its hand that allows it to emit Perry 's signature chattering noise . Certain t @-@ shirts based on the series released by both Disney and the online retail website Zazzle also display Perry and the phrase " Hey , where 's Perry ? " which most characters like Phineas , Isabella , Stacy , Irving , Ferb , and Lawrence utter when Perry goes to Major Monogram in his secret lair in almost every episode . There also is a T @-@ Shirt with Perry 's face . Perry appears in the Nintendo DS video game based on the series , simply titled Phineas and Ferb , where a mini @-@ game involves Perry stopping Doofenshmirtz 's latest evil scheme . As of 1 April 2014 , Perry is also a playable character in the video game Disney Infinity .

In addition to the main television series , Perry <a href='been_done' title='1'><mark>has</mark></a> appeared in several pieces of Phineas and Ferb merchandise . To date , he <a href='been_done' title='2'><mark>has</mark></a> appeared in all Phineas and Ferb novelizations , published by Disney Press . The character <a href='been_done' title='3'><mark>has</mark></a> been adapted into a 20 inch plush toy , released by The Walt Disney Company . The plush <a href='got' title='4'><mark>has</mark></a> a button on its hand <a href='null_relcl' title='5'><mark>that</mark></a><a href='uninflect' title='6'><mark>allows</mark></a> it to emit Perry <a href='null_genetive' title='7'><mark>'s</mark></a>signature chattering noise . Certain t @-@ shirts based on the series released by both Disney and the online retail website Zazzle also display Perry and the phrase " Hey , where 's Perry ? " which most characters like Phineas , Isabella , Stacy , Irving , Ferb , and Lawrence utter when Perry <a href='uninflect' title='8'><mark>goes</mark></a> to Major Monogram in his secret lair in almost every episode . <a href='dey_it' title='9'><mark>There</mark></a> also is a T @-@ Shirt with Perry <a href='null_genetive' title='10'><mark>'s</mark></a>face . Perry <a href='uninflect' title='11'><mark>appears</mark></a> in the Nintendo DS video game based on the series , simply titled Phineas and Ferb , where a mini @-@ game <a href='uninflect' title='12'><mark>involves</mark></a> Perry stopping Doofenshmirtz <a href='null_genetive' title='13'><mark>'s</mark></a>latest evil scheme . As of 1 April 2014 , Perry <a href='drop_aux' title='14'><mark>is</mark></a>also a playable character in the video game Disney Infinity .

In addition to da main television series , Perry done appeared in several pieces of Phineas and Ferb merchandise . To date , he done appeared in alll Phineas and Ferb novelizations , published by Disney Press . Tdacharacter done been adapted into a 20 inch plush toy , released by The Walt Disney Company . Thdalush got a button on its hand allow it to emit Perry signature chattering noise . Certain t @-@ shirts based on the series released by both Disney and the online retail website Zazzle also display Perry and the phrase " Hey , where 's Perry ? " which most characters like Phineas , Isabella , Stacy , Irving , Ferb , and Lawrence utter when Perry go to Major Monogram in his secret lair in almost every episode . It also is a T @-@ Shirt with Perry face . Perry appear in the Nintendo DS video game based on the series , simply titled Phineas and Ferb , where a mini @-@ game involve Perry stoppin Doofenshmirtz latest evil scheme . As of 1 April 2014 , Perry also a playable character in the video game Disney Infinity .

= Amylostereum =

= Amylostereum =

= Amylostereum =

Amylostereum is the single genus in the fungal family Amylostereaceae . The genus currently comprises four saprotrophic and parasitic species , which live off living or dead wood . The Amylostereaceae cause white rot in the wood by disintegrating the tissue component lignin . They produce crust @-@ like , partially wavy fruit bodies on the surface of infested trees , which are similar to those produced by Stereum species .

Amylostereum <a href='drop_aux' title='1'><mark>is</mark></a>the single genus in the fungal family Amylostereaceae . The genus currently <a href='uninflect' title='2'><mark>comprises</mark></a> four saprotrophic and parasitic species , which live off living or dead wood . The Amylostereaceae cause white rot in the wood by disintegrating the tissue component lignin . They produce crust @-@ like , partially wavy fruit bodies on the surface of infested trees , which <a href='drop_aux' title='3'><mark>are</mark></a>similar to those produced by Stereum species .

Amylostereum da single genus in the fungal fam Amylostereaceae . The genus currently comprise 4 saprotrophic and parasitic species , which live offf livin or dead wood . TdaAmylostereaceae cause white rot in the wood by disintegrating the tissue component lignin . They produce crust @-@ like , partially wavy fruit bodies on the surface of infested trees , which similar to those produced by Stereum species .

There are four described species in the Amylostereaceae : A. chailletii ( the type ) , A. areolatum , A. ferreum and A. laevigatum . The species were initially considered part of Stereum until mycologist Jacques Boidin found atypical microscopic differences between them . Forty years after his extensive researches from 1958 , Boidin reclassified Amylostereum into its own family .

<a href='dey_it' title='1'><mark>There</mark></a> are four described species in the Amylostereaceae : A. chailletii ( the type ) , A. areolatum , A. ferreum and A. laevigatum . The species <a href='uninflect' title='2'><mark>were</mark></a> initially considered part of Stereum until mycologist Jacques Boidin found atypical microscopic differences between them . Forty years after his extensive researches from 1958 , Boidin<a href='been_done' title='3'><mark></mark></a> reclassified Amylostereum into its own family .

It is four described species in the Amylostereaceae : A. chailletii ( da type ) , A. areolatum , A. ferreum and A. laevigatum . Tdaspecies was initially considered part of Stereum til mycologist Jacques Boidin found atypical microscopic differences between them . Forty yrs after his extensive researches from 1958 , Boidin done reclassified Amylostereum into its own family .

Three Amylostereum species are symbionts of wood wasps in the genera Sirex , Urocerus , and Xoanon , which infest conifers . The female wood wasps deposit their eggs together with fungal spores and mucus in trees , and the fungus is eaten by the wasp 's larva as food . The fungus propagates vegetatively through the formation of asexual spores in newly emerged females that are stored in special structures adapted for the transport of symbiotic fungi . The A. areolatum – Sirex woodwasp ( S. noctilio ) symbiont complex has been studied extensively because of its potential to cause substantial economic losses in the forestry industry , particularly in non @-@ native regions .

Three Amylostereum species <a href='drop_aux' title='1'><mark>are</mark></a>symbionts of wood wasps in the genera Sirex , Urocerus , and Xoanon , which infest conifers . The female wood wasps deposit their eggs together with fungal spores and mucus in trees , and the fungus is eaten by the wasp <a href='null_genetive' title='2'><mark>'s</mark></a>larva as food . The fungus <a href='uninflect' title='3'><mark>propagates</mark></a> vegetatively through the formation of asexual spores in newly emerged females <a href='null_relcl' title='4'><mark>that</mark></a>are stored in special structures adapted for the transport of symbiotic fungi . The A. areolatum – Sirex woodwasp ( S. noctilio ) symbiont complex <a href='been_done' title='5'><mark>has</mark></a> been studied extensively because of its potential to cause substantial economic losses in the forestry industry , particularly in non @-@ native regions .

Three Amylostereum species symbionts of wood wasps in the genera Sirex , Urocerus , and Xoanon , which infest conifers . da female wood wasps deposit their eggs together with fungal spores and mucus in trees , and the fungus is eaten by the wasp larva as food . Tdafungus propagate vegetatively through the formation of asexual spores in newly emerged females r stored in special structures adapted fa the transport of symbiotic fungi . The A. areolatum – Sirex woodwasp ( S. noctilio ) symbiont complex done been studied extensively because of its potential to cause substantial economic losses in the forestry industry , particularly in non @-@ native regions .

= = Taxonomy and history of research = =

= = Taxonomy and history of research = =

= = Taxonomy and history of research = =

Amylostereaceae species were for a long time classified in the genus Stereum , based primary on the layered structure of the fruit body and the similar physiological activity . Mycologist Jacques Boidin separated Amylosterum from Stereum in 1958 , justifying this decision by explaining that microscopic differences such as amyloid spores and encrusted cystidia were sufficiently distinct to warrant recognition as a new genus . Although the type species of the genus ( today called A. chailletii ) was initially named Trichocarpus ambiguus , the name Trichocarpus had already been used for a genus in the flowering plant family Malvaceae . Boidin thus chose the genus name Amylostereum , referring to the amyloid spores .

Amylostereaceae species <a href='uninflect' title='1'><mark>were</mark></a> for a long time classified in the genus Stereum , based primary on the layered structure of the fruit body and the similar physiological activity . Mycologist Jacques Boidin separated Amylosterum from Stereum in 1958 , justifying this decision by explaining that microscopic differences such as amyloid spores and encrusted cystidia <a href='uninflect' title='2'><mark>were</mark></a> sufficiently distinct to warrant recognition as a new genus . Although the type species of the genus ( today called A. chailletii ) was initially named Trichocarpus ambiguus , the name Trichocarpus <a href='been_done' title='3'><mark>had</mark></a> already been used for a genus in the flowering plant family Malvaceae . Boidin thus chose the genus name Amylostereum , referring to the amyloid spores .

Amylostereaceae species was for a long time classified in da genus Stereum , based primary on the layered structure of the fruit body and the similar physiological activity . Mycologist Jacques Boidin separated Amylosterum from Stereum in 1958 , justifying dis decision by explaining that microscopic differences such as amyloid spores and encrusted cystidia was sufficiently distinct to warrant recognition as a new genus . Although the type species of the genus ( today called A. chailletii ) was initially named Trichocarpus ambiguus , tdaname Trichocarpus done already been used for a genus in the flowering plant family Malvaceae . Boidin thus chose the genus name Amylostereum , referring to the amyloid spores .

Based on DNA analysis , Boidin in 1998 moved Amylostereum into a new , monotypic family , the Amylostereaceae , which he attributed to the Hericiales order . Later studies , however , supported the initial classification in the Russulales .

Based on DNA analysis , Boidin in 1998 moved Amylostereum into a new , monotypic family , the Amylostereaceae , which he attributed to the Hericiales order . Later studies , however , supported the initial classification in the Russulales .

Based on DNA analysis , Boidin in 1998 moved Amylostereum into a new , monotypic family , da Amylostereaceae , which he attributed to the Hericiales order . Later studies , however , supported the initial classification in the Russulales .

= = = Classification = = =

= = = Classification = = =

= = = Classification = = =

The classification of the Amylostereaceae is not completely resolved . The next closest relatives might be – depending on the research – either Echinodontium tinctorium and most other species of the genus Echinodontium , or Artomyces pyxidatus . Most of the previous DNA analysis results suggest a narrow relation to Echinodontium , but several results of studies partially contradict this conclusion . Only the classification to the Russulales is regarded as correct . Some authors have suggested that Amylostereum should be placed in the family Echinodontiaceae .

The classification of the Amylostereaceae is not completely resolved . The next closest relatives might be – depending on the research – either Echinodontium tinctorium and most other species of the genus Echinodontium , or Artomyces pyxidatus . Most of the previous DNA analysis results suggest a narrow relation to Echinodontium , but several results of studies partially contradict this conclusion . Only the classification to the Russulales is regarded as correct . Some authors <a href='been_done' title='1'><mark>have</mark></a> suggested that Amylostereum should be placed in the family Echinodontiaceae .

The classification of da Amylostereaceae ain't completely resolved . The next closest relatives might b – depending on the research – either Echinodontium tinctorium and most other species of the genus Echinodontium , or Artomyces pyxidatus . Most of the previous DNA analysis results suggest a narrow relation to Echinodontium , but several results of studies partially contradict this conclusion . Only tdaclassification to thdaussulales is regarded as correct . Some authors done suggested that Amylostereum should bbplaced in the fam Echinodontiaceae .

The similarities between A. chailletii and A. areolatum have caused some confusion regarding their placement in the genus . As only the size of their fruit bodies differ from each other in appearance , researcher German Josef Krieglsteiner assumed that both are the same species in different age stages . Experiments with pure cultures of the fungi , however , showed that the mycelia of A. chailletii , A. laevigatum and A. ferreum were partially compatible to each other , but the mycelium of A. areolatum was incompatible to other species . Boidin believes that the common ancestor of all Amylostereum fungi used yellowwoods as a host . This genus of conifers was native in Europe until the Paleogene and Neogene Periods ( 66 million to 2 @.@ 6 million years ago ) , but became extinct there , so the Amylostereum fungi specialized on other conifers and differentiated into several species . Only A. ferreum specialized on yellowwoods in South America .

The similarities between A. chailletii and A. areolatum <a href='been_done' title='1'><mark>have</mark></a> caused some confusion regarding their placement in the genus . As only the size of their fruit bodies differ from each other in appearance , researcher German Josef Krieglsteiner assumed that both are the same species in different age stages . Experiments with pure cultures of the fungi , however , showed that the mycelia of A. chailletii , A. laevigatum and A. ferreum <a href='uninflect' title='2'><mark>were</mark></a> partially compatible to each other , but the mycelium of A. areolatum was incompatible to other species . Boidin <a href='uninflect' title='3'><mark>believes</mark></a> that the common ancestor of all Amylostereum fungi used yellowwoods as a host . This genus of conifers was native in Europe until the Paleogene and Neogene Periods ( 66 million to 2 @.@ 6 million years ago ) , but became extinct there , so the Amylostereum fungi specialized on other conifers and differentiated into several species . Only A. ferreum specialized on yellowwoods in South America .

The similarities between A. chailletii and A. areolatum done caused some confusion regarding their placement in da genus . As only tdasize of their fruit bodies differ from each other in appearance , researcher German Josef Krieglsteiner assumed dat both r thdaame species in diff age stages . Experiments wit pure cultures of thedangi , however , showed tdatthe mycelia of A. chailletii , A. laevigatum and A. ferreum was partially compatible to each other , but the mycelium of A. areolatum was incompatible to other species . Boidin believe that the common ancestor of alll Amylostereum fungi used yellowwoods as a host . This genus of conifers was native in Europe until the Paleogene and Neogene Periods ( 66 million to 2 @.@ 6 million years ago ) , but became extinct there , soo the dalostereum fungi specialized on other conifers and differentiated into several species . Only A. ferreum specialized on yellowwoods in South America .

Compatibility tests as well as molecular analysis indicated that A. areolatum separated very early from other Amylostereum fungi . The other three species separated later from each other and are thus partially compatible to each other . A. ferreum and A. laevigatum produced in 59 % of all cases a common mycelium , A. ferreum and A. chailletii only in 44 % . There is an undescribed species in Amylostereum ; according to DNA analysis , it stands between A. laevigatum and A. ferreum . This is remarkable , as these fungi originated from Mycetangae ( storing organs of Platypodinae ) of a North American wood wasp , while A. laevigatum has never been seen as symbiont of wood wasps , neither in North American nor in Europe . The fungus possibly represents a separated species or a subtaxon of A. laevigatum . As A. areolatum and A. chailletii mainly reproduce asexually through the symbiosis of wood wasps , the genetic variability within these species is relatively low .

Compatibility tests as well as molecular analysis indicated that A. areolatum separated very early from other Amylostereum fungi . The other three species separated later from each other and <a href='drop_aux' title='1'><mark>are</mark></a>thus partially compatible to each other . A. ferreum and A. laevigatum produced in 59 % of all cases a common mycelium , A. ferreum and A. chailletii only in 44 % . <a href='dey_it' title='2'><mark>There</mark></a> is an undescribed species in Amylostereum ; according to DNA analysis , it <a href='uninflect' title='3'><mark>stands</mark></a> between A. laevigatum and A. ferreum . This <a href='drop_aux' title='4'><mark>is</mark></a>remarkable , as these fungi originated from Mycetangae ( storing organs of Platypodinae ) of a North American wood wasp , while A. laevigatum <a href='been_done' title='5'><mark>has</mark></a> never been seen as <a href='negative_concord' title='6'><mark>symbiont</mark></a> of wood wasps , neither in North American nor in Europe . The fungus possibly <a href='uninflect' title='7'><mark>represents</mark></a> a separated species or a subtaxon of A. laevigatum . As A. areolatum and A. chailletii mainly reproduce asexually through the symbiosis of wood wasps , the genetic variability within these species <a href='drop_aux' title='8'><mark>is</mark></a>relatively low .

Compatibility tests as well as molecular analysis indicated that A. areolatum separated very early from other Amylostereum fungi . The other three species separated later from each other and thus partially compatible to each other . A. ferreum and A. laevigatum produced in 59 % of alll cases a common mycelium , A. ferreum and A. chailletii only in 44 % . It is an undescribed species in Amylostereum ; according to DNA analysis , it stand between A. laevigatum and A. ferreum . This remarkable , as these fungi originated from Mycetangae ( storing organs of Platypodinae ) of a North American wood wasp , while A. laevigatum done never been seen as no symbiont of wood wasps , neither in North American nor in Europe . The fungus possibly represent a separated species or a subtaxon of A. laevigatum . As A. areolatum and A. chailletii mainly reproduce asexually through the symbiosis of wood wasps , da genetic variability within these species relatively low .

= = Description = =

= = Description = =

= = Description = =

= = = Macroscopic = = =

= = = Macroscopic = = =

= = = Macroscopic = = =

The Amylostereaceae produce crust @-@ like , dry and leathery @-@ corky fruit bodies on the bark of infested trees . The fruit bodies are 0 @.@ 5 – 1 @.@ 5 mm ( 0 @.@ 02 – 0 @.@ 06 in ) thick , irregularly shaped and are able to cover a large surface on the bark or otherwise can appear as small spots . They lie directly on the bark . The ochrous , grey or brownish fruit body ( hymenium ) has a smooth to warty surface texture and is turned outwards . It is bordered by a highly bent and wavy ( effuso @-@ reflex ) edge on all species except A. laevigatum , which has a churlish surface ( a tomentum ) and is usually dirty @-@ brown coloured . In some species , the tomentum stands clearly above and forms a kind of roof above the fruit body ; if it completely surrounds this roof , there might appear cuplike shapes .

The Amylostereaceae produce crust @-@ like , dry and leathery @-@ corky fruit bodies on the bark of infested trees . The fruit bodies are 0 @.@ 5 – 1 @.@ 5 mm ( 0 @.@ 02 – 0 @.@ 06 in ) thick , irregularly shaped and <a href='drop_aux' title='1'><mark>are</mark></a>able to cover a large surface on the bark or otherwise can appear as small spots . They lie directly on the bark . The ochrous , grey or brownish fruit body ( hymenium ) <a href='got' title='2'><mark>has</mark></a> a smooth to warty surface texture and is turned outwards . It is bordered by a highly bent and wavy ( effuso @-@ reflex ) edge on all species except A. laevigatum , which <a href='got' title='3'><mark>has</mark></a> a churlish surface ( a tomentum ) and <a href='drop_aux' title='4'><mark>is</mark></a>usually dirty @-@ brown coloured . In some species , the tomentum <a href='uninflect' title='5'><mark>stands</mark></a> clearly above and <a href='uninflect' title='6'><mark>forms</mark></a> a kind of roof above the fruit body ; if it completely <a href='uninflect' title='7'><mark>surrounds</mark></a> this roof , <a href='dey_it' title='8'><mark>there</mark></a> might appear cuplike shapes .

Da Amylostereaceae produce crust @-@ like , dry and leathery @-@ corky fruit bodies on the bark of infested trees . The fruit bodies are 0 @.@ 5 – 1 @.@ 5 mm ( 0 @.@ 02 – 0 @.@ 06 in ) thick , irregularly shaped and able to cover a large surface on the bark or otherwise can appear as small spots . They lie directly on the bark . The ochrous , grey or brownish fruit body ( hymenium ) got a smooth to warty surface texture and is turned outwards . It is bordered by a highly bent and wavy ( effuso @-@ reflex ) edge on all species except A. laevigatum , which got a churlish surface ( a tomentum ) and usually dirty @-@ brown coloured . In some species , the tomentum stand clearly above and form a kind of roof above tdafruit body ; if it completely surround dis roof , it mite appear cuplike shapes .

= = = Microscopic = = =

= = = Microscopic = = =

= = = Microscopic = = =

The Amylostereaceae possess a dimitic trama , meaning that there are in its mycelia two kinds of hyphae . The first type is brownish skeletal hyphae , which provide stability to the fruit body . These hyphae run parallel to the bark and often have hairpin @-@ like turns , so that the loops form thick @-@ walled , cystidium @-@ like structures , the so @-@ called pseudocystidia . The second type is generative hyphae . They are translucent ( hyaline ) and serve to promote the growth of the fungus . Genuine cystidia arise in the hymenium and the layer directly below , the subhymenium . Both pseudocystidia and cystidia are encrusted , meaning that they feature crystal @-@ like structures on the top .

The Amylostereaceae possess a dimitic trama , meaning that <a href='dey_it' title='1'><mark>there</mark></a> are in its mycelia two kinds of hyphae . The first type <a href='drop_aux' title='2'><mark>is</mark></a>brownish skeletal hyphae , which provide stability to the fruit body . These hyphae run parallel to the bark and often <a href='got' title='3'><mark>have</mark></a> hairpin @-@ like turns , so that the loops form thick @-@ walled , cystidium @-@ like structures , the so @-@ called pseudocystidia . The second type <a href='drop_aux' title='4'><mark>is</mark></a>generative hyphae . They <a href='drop_aux' title='5'><mark>are</mark></a>translucent ( hyaline ) and serve to promote the growth of the fungus . Genuine cystidia arise in the hymenium and the layer directly below , the subhymenium . Both pseudocystidia and cystidia are encrusted , meaning that they feature crystal @-@ like structures on the top .

The Amylostereaceae possess a dimitic trama , meaning that it is in its mycelia two kinds of hyphae . The first type brownish skeletal hyphae , which provide stability to da fruit body . These hyphae run parallel to tdabark and often got hairpin @-@ like turns , so dat thdaoops form thick @-@ walled , cystidium @-@ like structures , the so @-@ called pseudocystidia . The second type generative hyphae . They translucent ( hyaline ) and serve to promote thedaowth of the dagus . Genuine cystidia arise in the hymenium and the ldar directly below , the sudamenium . Both pseudocystidia and cystidia are encrusted , meaning that they feature crystal @-@ like structures on the topda

With the exception of A. laevigatum , all species have a thin separating layer , the cortex , between the hymenium and the tomentum . A cortex is also present on many Stereum fungi ( on a broader front ) and serves to bend up the fruit body . As this cortex is missing on A. laevigatum , its fruit body lies flat on the bark .

With the exception of A. laevigatum , all species <a href='got' title='1'><mark>have</mark></a> a thin separating layer , the cortex , between the hymenium and the tomentum . A cortex <a href='drop_aux' title='2'><mark>is</mark></a>also present on many Stereum fungi ( on a broader front ) and <a href='uninflect' title='3'><mark>serves</mark></a> to bend up the fruit body . As this cortex is missing on A. laevigatum , its fruit body <a href='uninflect' title='4'><mark>lies</mark></a> flat on the bark .

Wit da exception of A. laevigatum , alll species got a thin separating layer , tdacortex , between thdaymenium and the tomentum . A cortex also present on many Stereum fungi ( on a broader front ) and serve to bend up thedauit body . As dis cortex is missing on A. laevigatum , its fruit body lie flat on the bark .

The basidia are 15 – 25 × 3 @.@ 5 – 5 @.@ 5 µm and have a slim , club @-@ like shape . Each basidium features four sterigmata , each of which bear one spore . The spores ' shape is slimly ellipsoidal or cylindrical . Their surface is smooth and their walls are thin . Although they are colourless and hyaline , the spores are amyloid , meaning they will turn bluish or purple when stained with Melzer 's reagent . This characteristic differs from other very similar species , and this gave the genus its name .

The basidia <a href='drop_aux' title='1'><mark>are</mark></a>15 – 25 × 3 @.@ 5 – 5 @.@ 5 µm and <a href='got' title='2'><mark>have</mark></a> a slim , club @-@ like shape . Each basidium <a href='uninflect' title='3'><mark>features</mark></a> four sterigmata , each of which bear one spore . The spores <a href='null_genetive' title='4'><mark>'</mark></a>shape <a href='drop_aux' title='5'><mark>is</mark></a>slimly ellipsoidal or cylindrical . Their surface <a href='drop_aux' title='6'><mark>is</mark></a>smooth and their walls <a href='drop_aux' title='7'><mark>are</mark></a>thin . Although they <a href='drop_aux' title='8'><mark>are</mark></a>colourless and hyaline , the spores <a href='drop_aux' title='9'><mark>are</mark></a>amyloid , meaning they will turn bluish or purple when stained with Melzer <a href='null_genetive' title='10'><mark>'s</mark></a>reagent . This characteristic differs from other very similar species , and this gave the genus its name .

Da basidia 15 – 25 × 3 @.@ 5 – 5 @.@ 5 µm and got a slim , club @-@ like shape . Each basidium feature 4 sterigmata , each of which bear one spore . The spores shape slimly ellipsoidal or cylindrical . Their surface smooth and their walls thin . Although they colourless and hyaline , tdaspores amyloid , meaning they gon turn bluish or purple when stained wid Melzer reagent . dis characteristic differs from other very similar species , and this gave thdaenus its name .

= = Distribution = =

= = Distribution = =

= = Distribution = =

The range of the Amylostereaceae originally comprised only Holarctic regions , including North America and Eurasia , and the Neotropics , with Central and South America . The introduction of A. areolatum and its symbionts , the Sirex woodwasps , saw the spread of the genus to all continents except Antarctica .

The range of the Amylostereaceae originally comprised only Holarctic regions , including North America and Eurasia , and the Neotropics , with Central and South America . The introduction of A. areolatum and its symbionts , the Sirex woodwasps , saw the spread of the genus to all continents except Antarctica .

Da range of tdaAmylostereaceae originally comprised only Holarctic regions , including North America and Eurasia , and the Neotropics , with Central and South America . The introduction of A. areolatum and its symbionts , thdairex woodwasps , saw the spread of thedanus to alll continents except Antarctica .

Amylostereum chailletiiz is common in the temperate regions of North America and Eurasia . A. laevigatum can be also found in temperate Eurasia , but it is unclear how broadly this species is distributed in North America . A. areolatum is originally native in North Africa and Eurasia ; it was however distributed through the 20th century in Australia , New Zealand , Southern Africa as well as in South and North America . Only A. ferreum is originally native in the tropics and is common in Brazil and the Caribbean .

Amylostereum chailletiiz <a href='drop_aux' title='1'><mark>is</mark></a>common in the temperate regions of North America and Eurasia . A. laevigatum can be also found in temperate Eurasia , but it is unclear how broadly this species is distributed in North America . A. areolatum is originally native in North Africa and Eurasia ; it was however distributed through the 20th century in Australia , New Zealand , Southern Africa as well as in South and North America . Only A. ferreum <a href='drop_aux' title='2'><mark>is</mark></a>originally native in the tropics and <a href='drop_aux' title='3'><mark>is</mark></a>common in Brazil and the Caribbean .

Amylostereum chailletiiz common in the temperate regions of North America and Eurasia . A. laevigatum can be also found in temperate Eurasia , but it is unclear how broadly dis species is distributed in North America . A. areolatum is originally native in North Africa and Eurasia ; it was however distributed thru the 20th century in Australia , New Zealand , Southern Africa as well as in South and North America . Only A. ferreum originally native in da tropics and common in Brazil and tdaCaribbean .

= = Ecology = =

= = Ecology = =

= = Ecology = =

Amylostereaceae usually infest only dead or cut down conifer wood . Three species – A. areolatum , A. laevigatum and A. chailletii – may also establish a symbiosis with wood wasps ( Siricidae ) , which beside freshly logged trees also infest living trees and infect them with fungi . Symbioses have been recorded with several species : Sirex noctilio , S. juvencus , S. nitobei , S. cyaneus , S. edwarsii , S. nitidus , and , in Japan , Urocerus antennatus and Xoanon matsumurae . Wasps of the genera Sirex and Urocerus store oidia ( the hypha of fungi split up to spores ) in special abdominal organs . The wood wasps infect trees by splashing a phytotoxic secretion below the bark and at the same time injecting fungal spores into the hole . The secretion weakens the tree and temporarily diminishes its immune system , whereby the fungus can spread along the xylem . The infection with Amylostereaceae fulfill two functions for the wasps : it provides the larvae food , because the white rot softens the wood ; at the same time , the mycelia of the fungi serves as food for the larvae . After the larvae pupate , it absorbs the mycelia of the Amylostereaceae into its body to oviposit together with its eggs . The fungus benefits from the symbiosis as it spreads faster and more effectively than through airborne spores and furthermore does not need to develop fruit bodies . A. ferreum is the only Amylosterum species that has not been associated with any woodwasps .

Amylostereaceae usually infest only dead or cut down conifer wood . Three species – A. areolatum , A. laevigatum and A. chailletii – may also establish a symbiosis with wood wasps ( Siricidae ) , which beside freshly logged trees also infest living trees and infect them with fungi . Symbioses <a href='been_done' title='1'><mark>have</mark></a> been recorded with several species : Sirex noctilio , S. juvencus , S. nitobei , S. cyaneus , S. edwarsii , S. nitidus , and , in Japan , Urocerus antennatus and Xoanon matsumurae . Wasps of the genera Sirex and Urocerus store oidia ( the hypha of fungi split up to spores ) in special abdominal organs . The wood wasps infect trees by splashing a phytotoxic secretion below the bark and at the same time injecting fungal spores into the hole . The secretion <a href='uninflect' title='2'><mark>weakens</mark></a> the tree and temporarily <a href='uninflect' title='3'><mark>diminishes</mark></a> its immune system , whereby the fungus can spread along the xylem . The infection with Amylostereaceae fulfill two functions for the wasps : it <a href='uninflect' title='4'><mark>provides</mark></a> the larvae food , because the white rot <a href='uninflect' title='5'><mark>softens</mark></a> the wood ; at the same time , the mycelia of the fungi <a href='uninflect' title='6'><mark>serves</mark></a> as food for the larvae . After the larvae pupate , it <a href='uninflect' title='7'><mark>absorbs</mark></a> the mycelia of the Amylostereaceae into its body to oviposit together with its eggs . The fungus benefits from the symbiosis as it <a href='uninflect' title='8'><mark>spreads</mark></a> faster and more effectively than through airborne spores and furthermore <a href='uninflect' title='9'><mark>does</mark></a> not need to develop fruit bodies . A. ferreum <a href='drop_aux' title='10'><mark>is</mark></a>the only Amylosterum species <a href='null_relcl' title='11'><mark>that</mark></a><a href='been_done' title='12'><mark>has</mark></a> not been associated with <a href='None' title='13'><mark>any</mark></a><a href='negative_concord' title='14'><mark>woodwasps</mark></a> .

Amylostereaceae usually infest only dead or cut down conifer wood . Three species – A. areolatum , A. laevigatum and A. chailletii – may also establish a symbiosis with wood wasps ( Siricidae ) , which beside freshly logged trees also infest living trees and infect them with fungi . Symbioses done been recorded with several species : Sirex noctilio , S. juvencus , S. nitobei , S. cyaneus , S. edwarsii , S. nitidus , and , in Japan , Urocerus antennatus and Xoanon matsumurae . Wasps of the genera Sirex and Urocerus store oidia ( the hypha of fungi split up to spores ) in special abdominal organs . da wood wasps infect trees by splashing a phytotoxic secretion below tdabark and at thdaame time injecting fungal spores into thedale . The daretion weaken the tda and temporarily diminish its immune system , whereby the fudas can spread along the xylda. The infection w Amylostereaceae fulfill two functions for the waspda it provide the larvae food , because the white rot soften the wood dat the same tda , the mycelia of the fungi serve as food fir the larvae dafter the larvae pupate , it absorb the mycelia of the Amylostedaceae into its body to oviposit together with its eggs . The fungus benefits from the symbiosis as it spread faster and more effectively than through airborne spores and furthermore do not gotta develop fruit bodies . A. ferreum the only Amylosterum species done not been associated witwitt woodwasps .

= = = Host spectrum = = =

= = = Host spectrum = = =

= = = Host spectrum = = =

The host spectrum of the Amylostereaceae comprises several , partially very different genera of Coniferae . A. chailletii usually infests Pinaceae such as firs ( Abies ) and spruces ( Picea ) , but also cedars ( Cedrus ) and Douglas firs ( Pseudotsuga ) . A. areolatum has a similar host spectrum , which uses mainly firs , Japanese cedars ( Cryptomeria ) , larches ( Larix ) , spruces , pines ( Pinus ) and Douglas firs as hosts . While spruces dominate as hosts in the native habitat , this species is more common in pines on other locations . The host spectrum of A. laevigatum comprises Cupressaceae such as junipers ( Juniperus ) or cypresses ( Cupressus ) and the English yew ( Taxus baccata ) . A. ferreum is , however , only common on neotropic yellowwoods ( Podocarpus ) .

The host spectrum of the Amylostereaceae <a href='uninflect' title='1'><mark>comprises</mark></a> several , partially very different genera of Coniferae . A. chailletii usually <a href='uninflect' title='2'><mark>infests</mark></a> Pinaceae such as firs ( Abies ) and <a href='uninflect' title='3'><mark>spruces</mark></a> ( Picea ) , but also cedars ( Cedrus ) and Douglas firs ( Pseudotsuga ) . A. areolatum <a href='got' title='4'><mark>has</mark></a> a similar host spectrum , which <a href='uninflect' title='5'><mark>uses</mark></a> mainly firs , Japanese cedars ( Cryptomeria ) , larches ( Larix ) , spruces , pines ( Pinus ) and Douglas firs as hosts . While spruces dominate as hosts in the native habitat , this species <a href='drop_aux' title='6'><mark>is</mark></a>more common in pines on other locations . The host spectrum of A. laevigatum <a href='uninflect' title='7'><mark>comprises</mark></a> Cupressaceae such as junipers ( Juniperus ) or cypresses ( Cupressus ) and the English yew ( Taxus baccata ) . A. ferreum <a href='drop_aux' title='8'><mark>is</mark></a>, however , only common on neotropic yellowwoods ( Podocarpus ) .

The host spectrum of the Amylostereaceae comprise several , partially very different genera of Coniferae . A. chailletii usually infest Pinaceae such as firs ( Abies ) and spruce ( Picea ) , but also cedars ( Cedrus ) and Douglas firs ( Pseudotsuga ) . A. areolatum got a similar host spectrum , which use mainly firs , Japanese cedars ( Cryptomeria ) , larches ( Larix ) , spruces , pines ( Pinus ) and Douglas firs as hosts . While spruces dominate as hosts in the native habitat , this species more common in pines on other locations . da host spectrum of A. laevigatum comprise Cupressaceae such as junipers ( Juniperus ) or cypresses ( Cupressus ) and the English yew ( Taxus baccata ) . A. ferreum , however , only common on neotropic yellowwoods ( Podocarpus ) .

= = = Symptoms of infestation = = =

= = = Symptoms of infestation = = =

= = = Symptoms of infestation = = =

The Amylostereaceae are white rot pathogens . They disintegrate the lignin of the host wood , whereby the infested wood parts become less stable and take a fibrous structure . The wood bleaches as fungal enzymes break down and remove the brown @-@ pigmented lignin . The distribution in wood takes place mainly along the transport channels in the xylem . If the wood is crosscut , the red rot is vertically positioned , on which bleached , infested areas contrast with intact wood . Symptoms of infestion by the symbiotic partner — wood wasps — include circular exit holes in the crust and acute stress through dryness , common in hanging , falling or tanning needles .

The Amylostereaceae <a href='drop_aux' title='1'><mark>are</mark></a>white rot pathogens . They disintegrate the lignin of the host wood , whereby the infested wood parts become less stable and take a fibrous structure . The wood <a href='uninflect' title='2'><mark>bleaches</mark></a> as fungal enzymes break down and remove the brown @-@ pigmented lignin . The distribution in wood <a href='uninflect' title='3'><mark>takes</mark></a> place mainly along the transport channels in the xylem . If the wood is crosscut , the red rot is vertically positioned , on which bleached , infested areas contrast with intact wood . Symptoms of infestion by the symbiotic partner — wood wasps — include circular exit holes in the crust and acute stress through dryness , common in hanging , falling or tanning needles .

The Amylostereaceae white rot pathogens . They disintegrate da lignin of tdahost wood , whereby the infested wood parts become less stable and take a fibrous structure . Thdaood bleach as fungal enzymes break down and remove the brown @-@ pigmented lignin . Thedastribution in wood take place mainly along the transport channels in the daem . If the wood is crosscut , the rdarot is vertically positioned , on which bleached , infested areas contrast with intact wood . Symptoms of infestion by the sydaotic partner — wood wasps — include circular exit holes in the crust and acute stress thru dryness , common in hangin , fallin or tanning needles .

= = Ecological and economical importance = =

= = Ecological and economical importance = =

= = Ecological and economical importance = =

In their native habitat , all Amylostereum species have a minor importance as forest pests . The infestation through wood wasps does not assume greater dimensions and is , compared with other pests , almost insignificant . The infection rates are even lower during sexual reproduction via fruit bodies , as the wasps do not play a part in the process . Furthermore , the Amylostereum fungi are alone often incapable of infesting healthy trees . They thus mostly act as saprobiontics . Pine monocultures in Australia , New Zealand , Africa and South America were shown to be susceptible to the Sirex woodwasp ( Sirex noctilio ) , which was introduced there and which is associated with A. areolatum . The wasp 's phytotoxic secretion , its larvae and the fungus combine very effectively with each other and contribute to forest decline rates of up to 80 % . This is mainly owing to the poor water and nutrient supply of the trees , which can poorly reconcile the drought stress caused by infestation . S. noctilio was detected in North America in the 2000s ( decade ) ; in Canada alone , the total economic loss to the forestry industry caused by the Sirex – Amylostereum symbiosis could be as high as $ 254 million per year for the next 20 years .

In their native habitat , all Amylostereum species <a href='got' title='1'><mark>have</mark></a> a minor importance as forest pests . The infestation through wood wasps <a href='uninflect' title='2'><mark>does</mark></a> not assume greater dimensions and <a href='drop_aux' title='3'><mark>is</mark></a>, compared with other pests , almost insignificant . The infection rates <a href='drop_aux' title='4'><mark>are</mark></a>even lower during sexual reproduction via fruit bodies , as the wasps do not play <a href='None' title='5'><mark>a</mark></a><a href='negative_concord' title='6'><mark>part</mark></a> in <a href='None' title='7'><mark>the</mark></a><a href='negative_concord' title='8'><mark>process</mark></a> . Furthermore , the Amylostereum fungi <a href='drop_aux' title='9'><mark>are</mark></a>alone often incapable of infesting healthy trees . They thus mostly act as saprobiontics . Pine monocultures in Australia , New Zealand , Africa and South America <a href='uninflect' title='10'><mark>were</mark></a> shown to be susceptible to the Sirex woodwasp ( Sirex noctilio ) , which was introduced there and which is associated with A. areolatum . The wasp <a href='null_genetive' title='11'><mark>'s</mark></a>phytotoxic secretion , its larvae and the fungus combine very effectively with each other and contribute to forest decline rates of up to 80 % . This is mainly owing to the poor water and nutrient supply of the trees , which can poorly reconcile the drought stress caused by infestation . S. noctilio was detected in North America in the 2000s ( decade ) ; in Canada alone , the total economic loss to the forestry industry caused by the Sirex – Amylostereum symbiosis could be as high as $ 254 million per year for the next 20 years .

In their native habitat , all Amylostereum species got a minor importance as forest pests . The infestation through wood wasps do not assume greater dimensions and , compared with other pests , almost insignificant . The infection rates even lower durin sexual reproduction via fruit bodies , as da wasps do not play no part in no process . Furthermore , the Amylostereum fungi alone often incapable of infesting healthy trees . They thus mostly act as saprobiontics . Pine monocultures in Australia , New Zealand , Africa and South America was shown to be susceptible to tdaSirex woodwasp ( Sirex noctilio ) , which was introduced there and which is associated with A. areolatum . Thdaasp phytotoxic secretion , its larvae and the fungus combine very effectively w each other and contribute to forest decline rates of up to 80 % . This is mainly owing to the poor water and nutrient supply of thedaees , which can poorly reconcile the drought stress caused by infestation . S. noctilio was detected in North America in the 2000s ( decade ) ; in Canada alone , the total economic loss to the forestry industry caused by the Sirex – Amylostereum symbiosis could be as high as $ 254 million per year fa the dat 20 years .

As a countermeasure , cultures of the nematode Deladenus siricidicola have been used as biological control to protect trees since the 1980s . This parasite feeds on the mycelia of A. areolatum and is therefore a food competitor of wood wasp larvae . Where S. noctilio larvae are present , the parasite infects and sterilizes the eggs of female wasps , causing them to be infertile . These infertile females lay infected eggs into new trees and thus spread the nematode . This control method has proven to be relatively successful to combat the Sirex – Amylostereum complex . In the Southern Hemisphere , where the technique has been widely employed , reductions of parasitism levels of 70 % – 100 % have been achieved .

As a countermeasure , cultures of the nematode Deladenus siricidicola <a href='been_done' title='1'><mark>have</mark></a> been used as biological control to protect trees since the 1980s . This parasite <a href='uninflect' title='2'><mark>feeds</mark></a> on the mycelia of A. areolatum and <a href='drop_aux' title='3'><mark>is</mark></a>therefore a food competitor of wood wasp larvae . Where S. noctilio larvae <a href='drop_aux' title='4'><mark>are</mark></a>present , the parasite <a href='uninflect' title='5'><mark>infects</mark></a> and <a href='uninflect' title='6'><mark>sterilizes</mark></a> the eggs of female wasps , causing them to be infertile . These infertile females lay infected eggs into new trees and thus spread the nematode . This control method <a href='been_done' title='7'><mark>has</mark></a> proven to be relatively successful to combat the Sirex – Amylostereum complex . In the Southern Hemisphere , where the technique <a href='been_done' title='8'><mark>has</mark></a> been widely employed , reductions of parasitism levels of 70 % – 100 % <a href='been_done' title='9'><mark>have</mark></a> been achieved .

As a countermeasure , cultures of da nematode Deladenus siricidicola done been used as biological control to protect trees since the 1980s . This parasite feed on the mycelia of A. areolatum and therefore a food competitor of wood wasp larvae . Where S. noctilio larvae present , tdaparasite infect and sterilize thdaggs of female wasps , causing them to be infertile . dem infertile females lay infected eggs into new trees and thus spread the nematode . dis control method done proven to be relatively successful to combat the Sirex – Amylostereum complex . In the Southern Hemisphere , where the technique done been widely employed , reductions of parasitism levels of 70 % – 100 % done been achieved .

= Charles @-@ Valentin Alkan =

= Charles @-@ Valentin Alkan =

= Charles @-@ Valentin Alkan =

Charles @-@ Valentin Alkan ( French : [ ʃaʁl valɑ ̃ tɛ ̃ alkɑ ̃ ] ; 30 November 1813 – 29 March 1888 ) was a French @-@ Jewish composer and virtuoso pianist . At the height of his fame in the 1830s and 1840s he was , alongside his friends and colleagues Frédéric Chopin and Franz Liszt , among the leading pianists in Paris , a city in which he spent virtually his entire life .

Charles @-@ Valentin Alkan ( French : [ ʃaʁl valɑ ̃ tɛ ̃ alkɑ ̃ ] ; 30 November 1813 – 29 March 1888 ) was a French @-@ Jewish composer and virtuoso pianist . At the height of his fame in the 1830s and 1840s he was , alongside his friends and colleagues Frédéric Chopin and Franz Liszt , among the leading pianists in Paris , a city in which he spent virtually his entire life .

Charles @-@ Valentin Alkan ( French : [ ʃaʁl valɑ ̃ tɛ ̃ alkɑ ̃ ] ; 30 November 1813 – 29 March 1888 ) was a French @-@ Jewish composer and virtuoso pianist . At da height of his fame in tda1830s and 1840s he was , alongside his frens and colleagues Frédéric Chopin and Franz Liszt , among the leading pianists in Paris , a city in which he spent virtually his entire life .

Alkan earned many awards at the Conservatoire de Paris , which he entered before he was six . His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance , for personal reasons . Although he had a wide circle of friends and acquaintances in the Parisian artistic world , including Eugène Delacroix and George Sand , from 1848 he began to adopt a reclusive life style , while continuing with his compositions – virtually all of which are for the keyboard . During this period he published , among other works , his collections of large @-@ scale studies in all the major keys ( Op. 35 ) and all the minor keys ( Op. 39 ) . The latter includes his Symphony for Solo Piano ( Op. 39 , nos . 4 – 7 ) and Concerto for Solo Piano ( Op. 39 , nos . 8 – 10 ) , which are often considered among his masterpieces and are of great musical and technical complexity . Alkan emerged from self @-@ imposed retirement in the 1870s to give a series of recitals that were attended by a new generation of French musicians .

Alkan earned many awards at the Conservatoire de Paris , which he entered before he was six . His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance , for personal reasons . Although he had a wide circle of friends and acquaintances in the Parisian artistic world , including Eugène Delacroix and George Sand , from 1848 he began to adopt a reclusive life style , while continuing with his compositions – virtually all of which are for the keyboard . During this period he published , among other works , his collections of large @-@ scale studies in all the major keys ( Op. 35 ) and all the minor keys ( Op. 39 ) . The latter <a href='uninflect' title='1'><mark>includes</mark></a> his Symphony for Solo Piano ( Op. 39 , nos . 4 – 7 ) and Concerto for Solo Piano ( Op. 39 , nos . 8 – 10 ) , which are often considered among his masterpieces and are of great musical and technical complexity . Alkan emerged from self @-@ imposed retirement in the 1870s to give a series of recitals <a href='null_relcl' title='2'><mark>that</mark></a><a href='uninflect' title='3'><mark>were</mark></a> attended by a new generation of French musicians .

Alkan earned many awards at the Conservatoire de Paris , which he entered before he was six . His career in da salons and concert halls of Paris was marked by his occasional long withdrawals from public performance , fir personal reasons . Although he had a wide circle of frens and acquaintances in tdaParisian artistic world , including Eugène Delacroix and George Sand , from 1848 he began to adopt a reclusive life style , while continuing with his compositions – virtually all of which are for thdaeyboard . durin this period he published , among other works , his collections of bigass @-@ scale studies in alll the major keys ( Op. 35 ) andallll thedanor keys ( Op. 39 ) . The dater include his Symphony for Solo Piano ( Op. 39 , nos . 4 – 7 ) and Concerto fir Solo Piano ( Op. 39 , nos . 8 – 10 ) , which are often considered among his masterpieces and r of great musical and technical complexity . Alkan emerged from self @-@ imposed retirement in the 1das to give a series of recitals was attended by a new generation of French musicians .

Alkan 's attachment to his Jewish origins is displayed both in his life and his work . He was the first composer to incorporate Jewish melodies in art music . Fluent in Hebrew and Greek , he devoted much time to a complete new translation of the Bible into French . This work , like many of his musical compositions , is now lost . Alkan never married , but his presumed son Élie @-@ Miriam Delaborde was , like Alkan , a virtuoso performer on both the piano and the pedal piano , and edited a number of the elder composer 's works .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>attachment to his Jewish origins is displayed both in his life and his work . He was the first composer to incorporate Jewish melodies in art music . Fluent in Hebrew and Greek , he devoted much time to a complete new translation of the Bible into French . This work , like many of his musical compositions , is now lost . Alkan never married , but his presumed son Élie @-@ Miriam Delaborde was , like Alkan , a virtuoso performer on both the piano and the pedal piano , and edited a number of the elder composer <a href='null_genetive' title='2'><mark>'s</mark></a>works .

Alkan attachment to his Jewish origins is displayed both in his life and his wrk . He was da first composer to incorporate Jewish melodies in art music . Fluent in Hebrew and Greek , he devoted much time to a complete new translation of tdaBible into French . dis wwrk, like many of his musical compositions , is now lost . Alkan never married , but his presumed son Élie @-@ Miriam Delaborde was , like Alkan , a virtuoso performer on both thdaiano and the pedal piano , and edited a number of thedader composer works .

Following his death ( which according to persistent but unfounded legend was caused by a falling bookcase ) Alkan 's music became neglected , supported by only a few musicians including Ferruccio Busoni , Egon Petri and Kaikhosru Sorabji . From the late 1960s onwards , led by Raymond Lewenthal and Ronald Smith , many pianists have recorded his music and brought it back into the repertoire .

Following his death ( which according to persistent but unfounded legend was caused by a falling bookcase ) Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>music became neglected , supported by only a few musicians including Ferruccio Busoni , Egon Petri and Kaikhosru Sorabji . From the late 1960s onwards , led by Raymond Lewenthal and Ronald Smith , many pianists <a href='been_done' title='2'><mark>have</mark></a> recorded his music and brought it back into the repertoire .

Following his death ( which according to persistent but unfounded legend was caused by a falling bookcase ) Alkan music became neglected , supported by only a few musicians including Ferruccio Busoni , Egon Petri and Kaikhosru Sorabji . From the late 1960s onwards , led by Raymond Lewenthal and Ronald Smith , many pianists done recorded his music and brought it back into da repertoire .

= = Life = =

= = Life = =

= = Life = =

= = = Family = = =

= = = Family = = =

= = = Family = = =

Alkan was born Charles @-@ Valentin Morhange on 30 November 1813 at 1 , Rue de Braque in Paris to Alkan Morhange ( 1780 – 1855 ) and Julie Morhange , née Abraham . Alkan Morhange was descended from a long @-@ established Jewish Ashkenazic community in the region of Metz ; the village of Morhange is located about 30 miles ( 48 km ) from the city of Metz . Charles @-@ Valentin was the second of six children – one elder sister and four younger brothers ; his birth certificate indicates that he was named after a neighbour who witnessed the birth .

Alkan was born Charles @-@ Valentin Morhange on 30 November 1813 at 1 , Rue de Braque in Paris to Alkan Morhange ( 1780 – 1855 ) and Julie Morhange , née Abraham . Alkan Morhange was descended from a long @-@ established Jewish Ashkenazic community in the region of Metz ; the village of Morhange is located about 30 miles ( 48 km ) from the city of Metz . Charles @-@ Valentin was the second of six children – one elder sister and four younger brothers ; his birth certificate <a href='uninflect' title='1'><mark>indicates</mark></a> that he was named after a neighbour <a href='null_relcl' title='2'><mark>who</mark></a>witnessed the birth .

Alkan was born Charles @-@ Valentin Morhange on 30 November 1813 at 1 , Rue de Braque in Paris to Alkan Morhange ( 1780 – 1855 ) and Julie Morhange , née Abraham . Alkan Morhange was descended from a long @-@ established Jewish Ashkenazic community in the region of Metz ; the village of Morhange is located about 30 miles ( 48 km ) from the city of Metz . Charles @-@ Valentin was da second of six children – one elder sis and 4 younger brothers ; his birth certificate indicate dat he was named after a neighbour witnessed tdabirth .

Alkan Morhange supported the family as a musician and later as the proprietor of a private music school in le Marais , the Jewish quarter of Paris . At an early age , Charles @-@ Valentin and his siblings adopted their father 's first name as their last ( and were known by this during their studies at the Conservatoire de Paris and subsequent careers ) . His brother Napoléon ( 1826 – 1906 ) became professor of solfège at the Conservatoire , his brother Maxim ( 1818 – 1897 ) had a career writing light music for Parisian theatres , and his sister , Céleste ( 1812 – 1897 ) , was also a pianist . His brother Ernest ( 1816 – 1876 ) was a professional flautist , while the youngest brother Gustave ( 1827 – 1882 ) was to publish various dances for the piano .

Alkan Morhange supported the family as a musician and later as the proprietor of a private music school in le Marais , the Jewish quarter of Paris . At an early age , Charles @-@ Valentin and his siblings adopted their father <a href='null_genetive' title='1'><mark>'s</mark></a>first name as their last ( and <a href='uninflect' title='2'><mark>were</mark></a> known by this during their studies at the Conservatoire de Paris and subsequent careers ) . His brother Napoléon ( 1826 – 1906 ) became professor of solfège at the Conservatoire , his brother Maxim ( 1818 – 1897 ) had a career writing light music for Parisian theatres , and his sister , Céleste ( 1812 – 1897 ) , was also a pianist . His brother Ernest ( 1816 – 1876 ) was a professional flautist , while the youngest brother Gustave ( 1827 – 1882 ) was to publish various dances for the piano .

Alkan Morhange supported the family as a musician and later as the proprietor of a private music school in le Marais , da Jewish quarter of Paris . At an early age , Charles @-@ Valentin and his siblings adopted their father first name as their last ( and was known by dis durin their studies at tdaConservatoire de Paris and subsequent careers ) . His brother Napoléon ( 1826 – 1906 ) became professor of solfège at thdaonservatoire , his brother Maxim ( 1818 – 1897 ) had a career writing light music fir Parisian theatres , and his sister , Céleste ( 1812 – 1897 ) , was also a pianist . His homeboy Ernest ( 1816 – 1876 ) was a professional flautist , while thedaungest brother Gustave ( 1827 – 1882 ) was to publish various dances fir the piano .

= = = Prodigy ( 1819 – 1831 ) = = =

= = = Prodigy ( 1819 – 1831 ) = = =

= = = Prodigy ( 1819 – 1831 ) = = =

Alkan was a child prodigy . He entered the Conservatoire de Paris at an unusually early age , and studied both piano and organ . The records of his auditions survive in the Archives Nationales in Paris . At his solfège audition on 3 July 1819 , when he was just over 5 years 7 months , the examiners noted Alkan ( who is referred to even at this early date as " Alkan ( Valentin ) " , and whose age is given incorrectly as six @-@ and @-@ a @-@ half ) as " having a pretty little voice " . The profession of Alkan Morhange is given as " music @-@ paper ruler " . At Charles @-@ Valentin 's piano audition on 6 October 1820 , when he was nearly seven ( and where he is named as " Alkan ( Morhange ) Valentin " ) , the examiners comment " This child has amazing abilities . "

Alkan was a child prodigy . He entered the Conservatoire de Paris at an unusually early age , and studied both piano and organ . The records of his auditions survive in the Archives Nationales in Paris . At his solfège audition on 3 July 1819 , when he was just over 5 years 7 months , the examiners noted Alkan ( <a href='null_relcl' title='1'><mark>who</mark></a>is referred to even at this early date as " Alkan ( Valentin ) " , and whose age is given incorrectly as six @-@ and @-@ a @-@ half ) as " having a pretty little voice " . The profession of Alkan Morhange is given as " music @-@ paper ruler " . At Charles @-@ Valentin <a href='null_genetive' title='2'><mark>'s</mark></a>piano audition on 6 October 1820 , when he was nearly seven ( and where he is named as " Alkan ( Morhange ) Valentin " ) , the examiners comment " This child <a href='got' title='3'><mark>has</mark></a> amazing abilities . "

Alkan was a child prodigy . He entered the Conservatoire de Paris at an unusually early age , and studied both piano and organ . The records of his auditions survive in da Archives Nationales in Paris . At his solfège audition on 3 July 1819 , when he was just over 5 yrs 7 months , tdaexaminers noted Alkan ( is referred to even at dis early date as " Alkan ( Valentin ) " , and whose age is given incorrectly as six @-@ and @-@ a @-@ half ) as " having a pretty lil voice " . The profession of Alkan Morhange is given as " music @-@ paper ruler " . At Charles @-@ Valentin piano audition on 6 October 1820 , when he was nearly seven ( and where he is named as " Alkan ( Morhange ) Valentin " ) , the examiners comment " This child got amazin abilities . "

Alkan became a favourite of his teacher at the Conservatoire , Joseph Zimmermann , who also taught Georges Bizet , César Franck , Charles Gounod , and Ambroise Thomas . At the age of seven , Alkan won a first prize for solfège and in later years prizes in piano ( 1824 ) , harmony ( 1827 ) , and organ ( 1834 ) . At the age of seven @-@ and @-@ a @-@ half he gave his first public performance , appearing as a violinist and playing an air and variations by Pierre Rode . Alkan 's Opus 1 , a set of variations for piano based on a theme by Daniel Steibelt , dates from 1828 , when he was 14 years old . At about this time he also undertook teaching duties at his father 's school . Antoine Marmontel , one of Charles @-@ Valentin 's pupils there , who was later to become his bête noire , wrote of the school :

Alkan became a favourite of his teacher at the Conservatoire , Joseph Zimmermann , <a href='null_relcl' title='1'><mark>who</mark></a>also taught Georges Bizet , César Franck , Charles Gounod , and Ambroise Thomas . At the age of seven , Alkan won a first prize for solfège and in later years prizes in piano ( 1824 ) , harmony ( 1827 ) , and organ ( 1834 ) . At the age of seven @-@ and @-@ a @-@ half he gave his first public performance , appearing as a violinist and playing an air and variations by Pierre Rode . Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>Opus 1 , a set of variations for piano based on a theme by Daniel Steibelt , <a href='uninflect' title='3'><mark>dates</mark></a> from 1828 , when he was 14 years old . At about this time he also undertook teaching duties at his father <a href='null_genetive' title='4'><mark>'s</mark></a>school . Antoine Marmontel , one of Charles @-@ Valentin <a href='null_genetive' title='5'><mark>'s</mark></a>pupils there , <a href='null_relcl' title='6'><mark>who</mark></a>was later to become his bête noire , wrote of the school :

Alkan became a favourite of his teacher at da Conservatoire , Joseph Zimmermann , also taught Georges Bizet , César Franck , Charles Gounod , and Ambroise Thomas . At the age of seven , Alkan won a first prize fa solfège and in later years prizes in piano ( 1824 ) , harmony ( 1827 ) , and organ ( 1834 ) . At the age of seven @-@ and @-@ a @-@ half he gave his first public performance , appearing as a violinist and playing an air and variations by Pierre Rode . Alkan Opus 1 , a set of variations for piano based on a theme by Daniel Steibelt , date from 1828 , when he was 14 years old . At about dis time he also undertook teaching duties at his father schoo . Antoine Marmontel , one of Charles @-@ Valentin pupils there , was later to become his bête noire , wrote of tdasskool:

Young children , mostly Jewish , were given elementary musical instruction and also learnt the first rudiments of French grammar ... [ There ] I received a few lessons from the young Alkan , four years my senior ... I see once more ... that really parochial environment where the talent of Valentin Alkan was formed and where his hard @-@ working youth blossomed ... It was like a preparatory school , a juvenile annexe of the Conservatoire .

Young children , mostly Jewish , <a href='uninflect' title='1'><mark>were</mark></a> given elementary musical instruction and also <a href='uninflect' title='2'><mark>learnt</mark></a> the first rudiments of French grammar ... [ There ] I received a few lessons from the young Alkan , four years my senior ... I see once more ... that really parochial environment where the talent of Valentin Alkan was formed and where his hard @-@ working youth blossomed ... It was like a preparatory school , a juvenile annexe of the Conservatoire .

Young children , mostly Jewish , was given elementary musical instruction and also learned da first rudiments of French grammar ... [ dere ] I received a few lessons from the young Alkan , four years my senior ... I see once more ... that really parochial environment where tdatalent of Valentin Alkan was formed and where his hard @-@ workin youth blossomed ... It was like a preparatory skool , a juvenile annexe of thdaonservatoire .

From about 1826 Alkan began to appear as a piano soloist in leading Parisian salons , including those of the Princesse de la Moskova ( widow of Marshal Ney ) , and the Duchesse de Montebello . He was probably introduced to these venues by his teacher Zimmermann . At the same time , Alkan Morhange arranged concerts featuring Charles @-@ Valentin at public venues in Paris , in association with leading musicians including the sopranos Giuditta Pasta and Henriette Sontag , the cellist Auguste Franchomme and the violinist Lambert Massart , with whom Alkan gave concerts in a rare visit out of France to Brussels in 1827 . In 1829 , at the age of 15 , Alkan was appointed joint professor of solfège – among his pupils in this class a few years later was his brother Napoléon . In this manner Alkan 's musical career was launched well before the July Revolution of 1830 , which initiated a period in which " keyboard virtuosity ... completely dominated professional music making " in the capital , attracting from all over Europe pianists who , as Heinrich Heine wrote , invaded " like a plague of locusts swarming to pick Paris clean " . Alkan nonetheless continued his studies and in 1831 enrolled in the organ classes of François Benoist , from whom he may have learnt to appreciate the music of Johann Sebastian Bach , of whom Benoist was then one of the few French advocates .

From about 1826 Alkan began to appear as a piano soloist in leading Parisian salons , including those of the Princesse de la Moskova ( widow of Marshal Ney ) , and the Duchesse de Montebello . He was probably introduced to these venues by his teacher Zimmermann . At the same time , Alkan Morhange arranged concerts featuring Charles @-@ Valentin at public venues in Paris , in association with leading musicians including the sopranos Giuditta Pasta and Henriette Sontag , the cellist Auguste Franchomme and the violinist Lambert Massart , with whom Alkan gave concerts in a rare visit out of France to Brussels in 1827 . In 1829 , at the age of 15 , Alkan was appointed joint professor of solfège – among his pupils in this class a few years later was his brother Napoléon . In this manner Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>musical career was launched well before the July Revolution of 1830 , which initiated a period in which " keyboard virtuosity ... completely dominated professional music making " in the capital , attracting from all over Europe pianists <a href='null_relcl' title='2'><mark>who</mark></a>, as Heinrich Heine wrote , invaded " like a plague of locusts swarming to pick Paris clean " . Alkan nonetheless continued his studies and in 1831 enrolled in the organ classes of François Benoist , from whom he may <a href='been_done' title='3'><mark>have</mark></a> learnt to appreciate the music of Johann Sebastian Bach , of whom Benoist was then one of the few French advocates .

From about 1826 Alkan began to appear as a piano soloist in leading Parisian salons , including those of da Princesse de la Moskova ( widow of Marshal Ney ) , and the Duchesse de Montebello . He was prolly introduced to dese venues by his teacher Zimmermann . At tdasame time , Alkan Morhange arranged concerts featuring Charles @-@ Valentin at public venues in Paris , in association with leading musicians including thdaopranos Giuditta Pasta and Henriette Sontag , thedallist Auguste Franchomme and the violinist Lambert Massart , wid whom Alkan gave concerts in a rare visit outt of France to Brussels in 1827 . In 1829 , at the age of 15 , Alkan was appointed joint professor of solfège – among his pupils in this class a few years later was his brother Napoléon . In dis manner Alkan musical career was launched well b4 the day Revolution of 1830 , which initiated a period in which " keyboard virtuosity ... completely dominated professional music wit " in the cdatal , attracting from alll over Europe pianists , as Heinrich Heine wrote , invaded " like a plague of locusts swarming to pick Paris clean " . Alkan nonetheless continued his studies and in 1831 enrolled in the orda classes of François Benoist , from whom he may done learnt to appreciate the music of Johann Sebastian Bach , of whom Benoist was then one of the few French advocates .

= = = Early fame ( 1831 – 1837 ) = = =

= = = Early fame ( 1831 – 1837 ) = = =

= = = Early fame ( 1831 – 1837 ) = = =

Throughout the early years of the July Monarchy , Alkan continued to teach and play at public concerts and in eminent social circles . He became a friend of many who were active in the world of the arts in Paris , including Franz Liszt ( who had been based there since 1827 ) , George Sand , and Victor Hugo . It is not clear exactly when he first met Frédéric Chopin , who arrived in Paris in September 1831 . In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire . In the same year , aged 19 , he was elected to the influential Société Académique des Enfants d 'Apollon ( Society of the Children of Apollo ) , whose members included Luigi Cherubini , Fromental Halévy , the conductor François Habeneck , and Liszt , who had been elected in 1824 at the age of twelve . Between 1833 and 1836 Alkan participated at many of the Society 's concerts . Alkan twice competed unsuccessfully for the Prix de Rome , in 1832 and again in 1834 ; the cantatas which he wrote for the competition , Hermann et Ketty and L 'Entrée en loge , have remained unpublished and unperformed .

Throughout the early years of the July Monarchy , Alkan continued to teach and play at public concerts and in eminent social circles . He became a friend of many <a href='null_relcl' title='1'><mark>who</mark></a><a href='uninflect' title='2'><mark>were</mark></a> active in the world of the arts in Paris , including Franz Liszt ( <a href='null_relcl' title='3'><mark>who</mark></a><a href='been_done' title='4'><mark>had</mark></a> been based there since 1827 ) , George Sand , and Victor Hugo . It <a href='negative_concord' title='5'><mark>is</mark></a> <a href='negative_concord' title='6'><mark>not</mark></a>clear exactly when he first met Frédéric Chopin , <a href='null_relcl' title='7'><mark>who</mark></a>arrived in Paris in September 1831 . In 1832 Alkan took the solo role in his first Concerto da camera for piano and strings at the Conservatoire . In the same year , aged 19 , he was elected to the influential Société Académique des Enfants d 'Apollon ( Society of the Children of Apollo ) , whose members included Luigi Cherubini , Fromental Halévy , the conductor François Habeneck , and Liszt , <a href='null_relcl' title='8'><mark>who</mark></a><a href='been_done' title='9'><mark>had</mark></a> been elected in 1824 at the age of twelve . Between 1833 and 1836 Alkan participated at many of the Society <a href='null_genetive' title='10'><mark>'s</mark></a>concerts . Alkan twice competed unsuccessfully for the Prix de Rome , in 1832 and again in 1834 ; the cantatas which he wrote for the competition , Hermann et Ketty and L 'Entrée en loge , <a href='been_done' title='11'><mark>have</mark></a> remained unpublished and unperformed .

Throughout da early years of the July Monarchy , Alkan continued to teach and play at public concerts and in eminent social circles . He became a friend of many was active in tdaworld of the arts in Paris , including Franz Liszt ( done been based there since 1827 ) , George Sand , and Victor Hugo . It ain't clear exactly when he first met Frédéric Chopin , arrived in Paris in September 1831 . In 1832 Alkan took thdaolo role in his first Concerto da camera for piano and strings at the Conservatoire . In the same year , aged 19 , he was elected to thedafluential Société Académique des Enfants d 'Apollon ( Society of the daldren of Apollo ) , whose members included Luigi Cherubini , Fromental Halévy , the conductor François Habeneck , and Liszt , done been elected in 1824 at the adaof twelve . Between 1833 and 1836 Alkan participated at many of the Society concerts . Alkan twice competed unsuccessfully fir the Prix de Rome , in 1832 and again in 1834 ; the cadatas which he wrote for the competition , Hermann et Ketty and L 'Entrée en loge , done remained unpublished and unperformed .

In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau , which was to result in an extended and often intimate correspondence which only came to light in 2009 . Like virtually all of Alkan 's correspondence , this exchange is now one @-@ sided ; all of his papers ( including his manuscripts and his extensive library ) were either destroyed by Alkan himself , as is clear from his will , or became lost after his death . Later in 1834 Alkan made a visit to England , where he gave recitals and where the second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field ; it was published in London together with some solo piano pieces . A letter to Masarnau and a notice in a French journal that Alkan played in London with Moscheles and Cramer , indicate that he returned to England in 1835 . Later that year , Alkan , having found a place of retreat at Piscop outside Paris , completed his first truly original works for solo piano , the Twelve Caprices , published in 1837 as Opp . 12 , 13 , 15 and 16 . Op. 16 , the Trois scherzi de bravoure , is dedicated to Masarnau . In January 1836 , Liszt recommended Alkan for the post of Professor at the Geneva Conservatoire , which Alkan declined , and in 1837 he wrote an enthusiastic review of Alkan 's Op. 15 Caprices in the Revue et gazette musicale .

In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau , which was to result in an extended and often intimate correspondence which only came to light in 2009 . Like virtually all of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>correspondence , this exchange <a href='drop_aux' title='2'><mark>is</mark></a>now one @-@ sided ; all of his papers ( including his manuscripts and his extensive library ) <a href='uninflect' title='3'><mark>were</mark></a> either destroyed by Alkan himself , as <a href='drop_aux' title='4'><mark>is</mark></a>clear from his will , or became lost after his death . Later in 1834 Alkan made a visit to England , where he gave recitals and where the second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field ; it was published in London together with some solo piano pieces . A letter to Masarnau and a notice in a French journal <a href='null_relcl' title='5'><mark>that</mark></a>Alkan played in London with Moscheles and Cramer , indicate that he returned to England in 1835 . Later that year , Alkan , <a href='been_done' title='6'><mark>having</mark></a> found a place of retreat at Piscop outside Paris ,<a href='been_done' title='7'><mark></mark></a> completed his first truly original works for solo piano , the Twelve Caprices , published in 1837 as Opp . 12 , 13 , 15 and 16 . Op. 16 , the Trois scherzi de bravoure , is dedicated to Masarnau . In January 1836 , Liszt recommended Alkan for the post of Professor at the Geneva Conservatoire , which Alkan declined , and in 1837 he wrote an enthusiastic review of Alkan <a href='null_genetive' title='8'><mark>'s</mark></a>Op. 15 Caprices in the Revue et gazette musicale .

In 1834 Alkan began his friendship with the Spanish musician Santiago Masarnau , which was to result in an extended and often intimate correspondence which only came to light in 2009 . Like virtually all of Alkan correspondence , this exchange now one @-@ sided ; all of his papers ( including his manuscripts and his extensive library ) was either destroyed by Alkan himself , as clear from his will , or became lost after his death . Later in 1834 Alkan made a visit to England , where he gave recitals and where da second Concerto da camera was performed in Bath by its dedicatee Henry Ibbot Field ; it was published in London together with sum solo piano pieces . A letter to Masarnau and a notice in a French journal Alkan played in London with Moscheles and Cramer , indicate that he returned to England in 1835 . Later that year , Alkan , done found a place of retreat at Piscop outside Paris , been completed his first truly original works for solo piano , tdaTwelve Caprices , published in 1837 as Opp . 12 , 13 , 15 and 16 . Op. 16 , the Trois scherzi de bravoure , is dedicated to Masarnau . In January 1836 , Liszt recommended Alkan for the post of Professor at thdaeneva Conservatoire , which Alkan declined , and in 1837 he wrote an enthusiastic review of Alkan Op. 15 Caprices in thedavue et gazette musicale .

= = = At the Square d 'Orléans ( 1837 – 1848 ) = = =

= = = At the Square d 'Orléans ( 1837 – 1848 ) = = =

= = = At the Square d 'Orléans ( 1837 – 1848 ) = = =

From 1837 , Alkan lived in the Square d 'Orléans in Paris , which was inhabited by numerous celebrities of the time including Marie Taglioni , Alexandre Dumas , George Sand , and Chopin . Chopin and Alkan were personal friends and often discussed musical topics , including a work on musical theory that Chopin proposed to write . By 1838 , at 25 years old , Alkan had reached a peak of his career . He frequently gave recitals , his more mature works had begun to be published , and he often appeared in concerts with Liszt and Chopin . On 23 April 1837 Alkan took part in Liszt 's farewell concert in Paris , together with the 14 @-@ year @-@ old César Franck and the virtuoso Johann Peter Pixis . On 3 March 1838 , at a concert at the piano @-@ maker Pape , Alkan played with Chopin , Zimmerman , and Chopin 's pupil Adolphe Gutmann in a performance of Alkan 's transcription , now lost , of two movements of Beethoven 's Seventh Symphony for two pianos , eight hands .

From 1837 , Alkan lived in the Square d 'Orléans in Paris , which was inhabited by numerous celebrities of the time including Marie Taglioni , Alexandre Dumas , George Sand , and Chopin . Chopin and Alkan <a href='uninflect' title='1'><mark>were</mark></a> personal friends and often discussed musical topics , including a work on musical theory <a href='null_relcl' title='2'><mark>that</mark></a>Chopin proposed to write . By 1838 , at 25 years old , Alkan <a href='been_done' title='3'><mark>had</mark></a> reached a peak of his career . He frequently gave recitals , his more mature works <a href='been_done' title='4'><mark>had</mark></a> begun to be published , and he often appeared in concerts with Liszt and Chopin . On 23 April 1837 Alkan took part in Liszt <a href='null_genetive' title='5'><mark>'s</mark></a>farewell concert in Paris , together with the 14 @-@ year @-@ old César Franck and the virtuoso Johann Peter Pixis . On 3 March 1838 , at a concert at the piano @-@ maker Pape , Alkan played with Chopin , Zimmerman , and Chopin <a href='null_genetive' title='6'><mark>'s</mark></a>pupil Adolphe Gutmann in a performance of Alkan <a href='null_genetive' title='7'><mark>'s</mark></a>transcription , now lost , of two movements of Beethoven <a href='null_genetive' title='8'><mark>'s</mark></a>Seventh Symphony for two pianos , eight hands .

From 1837 , Alkan lived in the Square d 'Orléans in Paris , which was inhabited by numerous celebrities of the time including Marie Taglioni , Alexandre Dumas , George Sand , and Chopin . Chopin and Alkan was personal friends and often discussed musical topics , including a wrk on musical theory Chopin proposed to write . By 1838 , at 25 yrs old , Alkan done reached a peak of his career . He frequently gave recitals , his more mature works done begun to b published , and he often appeared in concerts with Liszt and Chopin . On 23 April 1837 Alkan took part in Liszt farewell concert in Paris , together with da 14 @-@ year @-@ old César Franck and the virtuoso Johann Peter Pixis . On 3 March 1838 , at a concert at the piano @-@ maker Pape , Alkan played wit Chopin , Zimmerman , and Chopin pupil Adolphe Gutmann in a performance of Alkan transcription , now lost , of 2 movements of Beethoven Seventh Symphony for two pianos , eight hands .

At this point , for a period which coincided with the birth and childhood of his natural son , Élie @-@ Miriam Delaborde ( 1839 – 1913 ) , Alkan withdrew into private study and composition for six years , returning to the concert platform only in 1844 . Alkan neither asserted or denied his paternity of Delaborde , which , however , his contemporaries seemed to assume . Marmontel wrote cryptically in a biography of Delaborde that " [ his ] birth is a page from a novel in the life of a great artist " . Alkan gave early piano lessons to Delaborde , who was to follow his natural father as a keyboard virtuoso .

At this point , for a period which coincided with the birth and childhood of his natural son , Élie @-@ Miriam Delaborde ( 1839 – 1913 ) , Alkan withdrew into private study and composition for six years , returning to the concert platform only in 1844 . Alkan neither asserted or denied his paternity of Delaborde , which , however , his contemporaries seemed to assume . Marmontel wrote cryptically in a biography of Delaborde that " [ his ] birth is a page from a novel in the life of a great artist " . Alkan gave early piano lessons to Delaborde , <a href='null_relcl' title='1'><mark>who</mark></a>was to follow his natural father as a keyboard virtuoso .

At dis point , for a period which coincided w the birth and childhood of his natural son , Élie @-@ Miriam Delaborde ( 1839 – 1913 ) , Alkan withdrew into private study and composition fir six years , returning to the concert platform only in 1844 . Alkan neither asserted or denied his paternity of Delaborde , which , however , his contemporaries seemed to assume . Marmontel wrote cryptically in a biography of Delaborde dat " [ his ] birth is a page from a novel in da life of a great artist " . Alkan gave early piano lessons to Delaborde , was to follow his natural father as a keyboard virtuoso .

Alkan 's return to the concert platform in 1844 was greeted with enthusiasm by critics , who noted the " admirable perfection " of his technique , and lauded him as " a model of science and inspiration " , a " sensation " and an " explosion " . They also commented on the attending celebrities including Liszt , Chopin , Sand and Dumas . In the same year he published his piano étude Le chemin de fer , which critics , following Ronald Smith , believe to be the first representation in music of a steam engine . Between 1844 and 1848 Alkan produced a series of virtuoso pieces , the 25 Préludes Op. 31 for piano or organ , and the sonata Op. 33 Les quatre âges . Following an Alkan recital in 1848 , the composer Giacomo Meyerbeer was so impressed that he invited the pianist , whom he considered " a most remarkable artist " , to prepare the piano arrangement of the overture to his forthcoming opera , Le prophète . Meyerbeer heard and approved Alkan 's arrangement of the overture for four hands ( which Alkan played with his brother Napoléon ) in 1849 ; published in 1850 , it is the only record of the overture , which was scrapped during rehearsals at the Opéra .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>return to the concert platform in 1844 was greeted with enthusiasm by critics , <a href='null_relcl' title='2'><mark>who</mark></a>noted the " admirable perfection " of his technique , and lauded him as " a model of science and inspiration " , a " sensation " and an " explosion " . They also commented on the attending celebrities including Liszt , Chopin , Sand and Dumas . In the same year he published his piano étude Le chemin de fer , which critics , following Ronald Smith , believe to be the first representation in music of a steam engine . Between 1844 and 1848 Alkan produced a series of virtuoso pieces , the 25 Préludes Op. 31 for piano or organ , and the sonata Op. 33 Les quatre âges . Following an Alkan recital in 1848 , the composer Giacomo Meyerbeer was so impressed that he invited the pianist , whom he considered " a most remarkable artist " , to prepare the piano arrangement of the overture to his forthcoming opera , Le prophète . Meyerbeer heard and approved Alkan <a href='null_genetive' title='3'><mark>'s</mark></a>arrangement of the overture for four hands ( which Alkan played with his brother Napoléon ) in 1849 ; published in 1850 , it is the only record of the overture , which was scrapped during rehearsals at the Opéra .

Alkan return to the concert platform in 1844 was greeted with enthusiasm by critics , noted the " admirable perfection " of his technique , and lauded him as " a model of science and inspiration " , a " sensation " and an " explosion " . They also commented on the attending ppl including Liszt , Chopin , Sand and Dumas . In da same year he published his piano étude Le chemin de fer , which critics , following Ronald Smith , believe to b tdafirst representation in music of a steam engine . Between 1844 and 1848 Alkan produced a series of virtuoso pieces , thda5 Préludes Op. 31 fa piano or organ , and thedanata Op. 33 Les quatre âges . Following an Alkan recital in 1848 , the composer Giacomo Meyerbeer was soo impressed that he invited the danist , whom he considered " a most remarkable artist " , to prepare the pdao arrangement of the ovdaure to his forthcoming opera , Le prophète . Meyerbeer heard and approved Alkan arrangement of the ovedare for four hands ( which Alkan played with his homeboy Napoléon ) in 1849 ; published in 1850 , it is the only record of the overdae , which was scrapped during rehearsals at the Opérada

= = = Retreat ( 1848 – 1872 ) = = =

= = = Retreat ( 1848 – 1872 ) = = =

= = = Retreat ( 1848 – 1872 ) = = =

In 1848 Alkan was bitterly disappointed when the head of the Conservatoire , Daniel Auber , replaced the retiring Zimmermann with the mediocre Marmontel as head of the Conservatoire piano department , a position which Alkan had eagerly anticipated , and for which he had strongly lobbied with the support of Sand , Dumas , and many other leading figures . A disgusted Alkan described the appointment in a letter to Sand as " the most incredible , the most shameful nomination " ; and Delacroix noted in his journal " By his confrontation with Auber , [ Alkan ] has been very put out and will doubtless continue to be so . " The upset arising from this incident may account for Alkan 's reluctance to perform in public in the ensuing period . His withdrawal was also influenced by the death of Chopin ; in 1850 he wrote to Masarnau " I have lost the strength to be of any economic or political use " , and lamented " the death of poor Chopin , another blow which I felt deeply . " Chopin , on his deathbed in 1849 , had indicated his respect for Alkan by bequeathing him his unfinished work on a piano method , intending him to complete it , and after Chopin 's death a number of his students transferred to Alkan . After giving two concerts in 1853 , Alkan withdrew , in spite of his fame and technical accomplishment , into virtual seclusion for some twenty years .

In 1848 Alkan was bitterly disappointed when the head of the Conservatoire , Daniel Auber , replaced the retiring Zimmermann with the mediocre Marmontel as head of the Conservatoire piano department , a position which Alkan <a href='been_done' title='1'><mark>had</mark></a> eagerly anticipated , and for which he <a href='been_done' title='2'><mark>had</mark></a> strongly lobbied with the support of Sand , Dumas , and many other leading figures . A disgusted Alkan described the appointment in a letter to Sand as " the most incredible , the most shameful nomination " ; and Delacroix noted in his journal " By his confrontation with Auber , [ Alkan ] <a href='been_done' title='3'><mark>has</mark></a> been very put out and will doubtless continue to be so . " The upset arising from this incident may account for Alkan <a href='null_genetive' title='4'><mark>'s</mark></a>reluctance to perform in public in the ensuing period . His withdrawal was also influenced by the death of Chopin ; in 1850 he wrote to Masarnau " I <a href='been_done' title='5'><mark>have</mark></a> lost the strength to be of any economic or political use " , and lamented " the death of poor Chopin , another blow which I felt deeply . " Chopin , on his deathbed in 1849 , <a href='been_done' title='6'><mark>had</mark></a> indicated his respect for Alkan by bequeathing him his unfinished work on a piano method , intending him to complete it , and after Chopin <a href='null_genetive' title='7'><mark>'s</mark></a>death a number of his students transferred to Alkan . After giving two concerts in 1853 , Alkan withdrew , in spite of his fame and technical accomplishment , into virtual seclusion for some twenty years .

In 1848 Alkan was bitterly disappointed when the head of the Conservatoire , Daniel Auber , replaced the retiring Zimmermann w the mediocre Marmontel as head of da Conservatoire piano department , a position which Alkan done eagerly anticipated , and for which he done strongly lobbied witw/e support of Sand , Dumas , and many other leading figures . A disgusted Alkan described the appointment in a letter to Sand as " tdamost incredible , the most shameful nomination " ; and Delacroix noted in his journal " By his confrontation with Auber , [ Alkan ] done been very put out and will doubtless continue to be so . " The upset arising from this incident may account for Alkan reluctance to perform in public in the ensuing period . His withdrawal was also influenced by thdaeath of Chopin ; in 1850 he wrote to Masarnau " I done lost thedarength to be of any economic or political use " , and lamented " the death of poor Chopin , another blow which I felt deeply . " Chopin , on his deathbed in 1849 , done indicated his respect fa Alkan by bequeathing him his unfinished wrk on a piano method , intending em to complete it , and after Chopin death a number of his students transferred to Alkan . After giving 2 concerts in 1853 , Alkan withdrew , in spite of his fame and technical accomplishment , into virtual seclusion for some twenty yrs .

Little is known of this period of Alkan 's life , other than that apart from composing he was immersed in the study of the Bible and the Talmud . Throughout this period Alkan continued his correspondence with Ferdinand Hiller , whom he had probably met in Paris in the 1830s , and with Masarnau , from which some insights can be gained . It appears that Alkan completed a full translation into French , now lost , of both the Old Testament and the New Testament , from their original languages . In 1865 , he wrote to Hiller : " Having translated a good deal of the Apocrypha , I 'm now onto the second Gospel which I am translating from the Syriac ... In starting to translate the New Testament , I was suddenly struck by a singular idea – that you have to be Jewish to be able to do it . "

Little is known of this period of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>life , other than that apart from composing he was immersed in the study of the Bible and the Talmud . Throughout this period Alkan continued his correspondence with Ferdinand Hiller , whom he <a href='been_done' title='2'><mark>had</mark></a> probably met in Paris in the 1830s , and with Masarnau , from which some insights can be gained . It <a href='uninflect' title='3'><mark>appears</mark></a> that Alkan completed a full translation into French , now lost , of both the Old Testament and the New Testament , from their original languages . In 1865 , he wrote to Hiller : " <a href='been_done' title='4'><mark>Having</mark></a> translated a good deal of the Apocrypha , I 'm now onto the second Gospel which I am translating from the Syriac ... In starting to translate the New Testament , I was suddenly struck by a singular idea – that you have to be Jewish to be able to do it . "

Lil is known of dis period of Alkan life , other than dat apart from composing he was immersed in da study of the Bible and tdaTalmud . Throughout this period Alkan continued his correspondence with Ferdinand Hiller , whom he done def met in Paris in the 1830s , and with Masarnau , from which sum insights can b gained . It appear tdatAlkan completed a full translation into French , now lost , of both the Old Testament and thdaew Testament , from their original languages . In 1865 , he wrote to Hiller : " Done translated a good deal of the Apocrypha , I 'm now onto thedacond Gospel which I am translating from the Syriac ... In starting to translate the New Testament , I was suddenly struck by a singular idea – that you gotta bbJewish to be able to do it . "

Despite his seclusion from society , this period saw the composition and publication of many of Alkan 's major piano works , including the Douze études dans tous les tons mineurs , Op. 39 ( 1857 ) , the Sonatine , Op. 61 ( 1861 ) , the 49 Esquisses , Op. 63 ( 1861 ) , and the five collections of Chants ( 1857 – 1872 ) , as well as the Sonate de concert for cello and piano , Op. 47 ( 1856 ) . These did not pass unremarked ; Hans von Bülow , for example , gave a laudatory review of the Op. 35 Études in the Neue Berliner Musikzeitung in 1857 , the year in which they were published in Berlin , commenting that " Alkan is unquestionably the most eminent representative of the modern piano school at Paris . The virtuoso 's disinclination to travel , and his firm reputation as a teacher , explain why , at present , so little attention has been given to his work in Germany . "

Despite his seclusion from society , this period saw the composition and publication of many of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>major piano works , including the Douze études dans tous les tons mineurs , Op. 39 ( 1857 ) , the Sonatine , Op. 61 ( 1861 ) , the 49 Esquisses , Op. 63 ( 1861 ) , and the five collections of Chants ( 1857 – 1872 ) , as well as the Sonate de concert for cello and piano , Op. 47 ( 1856 ) . These did not pass unremarked ; Hans von Bülow , for example , gave a laudatory review of the Op. 35 Études in the Neue Berliner Musikzeitung in 1857 , the year in which they <a href='uninflect' title='2'><mark>were</mark></a> published in Berlin , commenting that " Alkan is unquestionably the most eminent representative of the modern piano school at Paris . The virtuoso <a href='null_genetive' title='3'><mark>'s</mark></a>disinclination to travel , and his firm reputation as a teacher , explain why , at present , so little attention <a href='been_done' title='4'><mark>has</mark></a> been given to his work in Germany . "

Despite his seclusion from society , this period saw the composition and publication of many of Alkan major piano works , including the Douze études dans tous les tons mineurs , Op. 39 ( 1857 ) , the Sonatine , Op. 61 ( 1861 ) , da 49 Esquisses , Op. 63 ( 1861 ) , and the five collections of Chants ( 1857 – 1872 ) , as well as the Sonate de concert for cello and piano , Op. 47 ( 1856 ) . dese did not pass unremarked ; Hans von Bülow , for example , gave a laudatory review of tdaOp. 35 Études in the Neue Berliner Musikzeitung in 1857 , the year in which they was published in Berlin , commenting dat " Alkan is unquestionably the most eminent representative of the modern piano school at Paris . The virtuoso disinclination to travel , and his firm reputation as a teacher , explain why , at present , so little attention done been given to his work in Germany . "

From the early 1850s Alkan began to turn his attention seriously to the pedal piano ( pédalier ) . Alkan gave his first public performances on the pédalier to great critical acclaim in 1852 . From 1859 onwards he began to publish pieces designated as " for organ or piano à pédalier " .

From the early 1850s Alkan began to turn his attention seriously to the pedal piano ( pédalier ) . Alkan gave his first public performances on the pédalier to great critical acclaim in 1852 . From 1859 onwards he began to publish pieces designated as " for organ or piano à pédalier " .

From the early 1850s Alkan began to turn his attention srsly to da pedal piano ( pédalier ) . Alkan gave his first public performances on tdapédalier to great critical acclaim in 1852 . From 1859 onwards he began to publish pieces designated as " fir organ or piano à pédalier " .

= = = Reappearance ( 1873 – 1888 ) = = =

= = = Reappearance ( 1873 – 1888 ) = = =

= = = Reappearance ( 1873 – 1888 ) = = =

It is not clear why , in 1873 , Alkan decided to emerge from his self @-@ imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms . It may have been associated with the developing career of Delaborde , who , returning to Paris in 1867 , soon became a concert fixture , including in his recitals many works by his father , and who was at the end of 1872 given the appointment that had escaped Alkan himself , Professor at the Conservatoire . The success of the Petits Concerts led to them becoming an annual event ( with occasional interruptions caused by Alkan 's health ) until 1880 or possibly beyond . The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards , played on both the piano and the pédalier , and occasionally with the participation of another instrumentalist or singer . He was assisted in these concerts by his siblings , and by other musicians including Delaborde , Camille Saint @-@ Saëns , and Auguste Franchomme .

It <a href='negative_concord' title='1'><mark>is</mark></a> <a href='negative_concord' title='2'><mark>not</mark></a>clear why , in 1873 , Alkan decided to emerge from his self @-@ imposed obscurity to give a series of six Petits Concerts at the Érard piano showrooms . It may <a href='been_done' title='3'><mark>have</mark></a> been associated with the developing career of Delaborde , <a href='null_relcl' title='4'><mark>who</mark></a>, returning to Paris in 1867 , soon became a concert fixture , including in his recitals many works by his father , and who was at the end of 1872 given the appointment <a href='null_relcl' title='5'><mark>that</mark></a><a href='been_done' title='6'><mark>had</mark></a> escaped Alkan himself , Professor at the Conservatoire . The success of the Petits Concerts led to them becoming an annual event ( with occasional interruptions caused by Alkan <a href='null_genetive' title='7'><mark>'s</mark></a>health ) until 1880 or possibly beyond . The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards , played on both the piano and the pédalier , and occasionally with the participation of another instrumentalist or singer . He was assisted in these concerts by his siblings , and by other musicians including Delaborde , Camille Saint @-@ Saëns , and Auguste Franchomme .

It ain't clear why , in 1873 , Alkan decided to emerge from his self @-@ imposed obscurity to give a series of six Petits Concerts at da Érard piano showrooms . It may done been associated with the developing career of Delaborde , , returning to Paris in 1867 , soon became a concert fixture , including in his recitals many works by his father , and who was at the end of 1872 given tdaappointment done escaped Alkan himself , Professor at the Conservatoire . The success of the Petits Concerts led to them becoming an annual event ( wit occasional interruptions caused by Alkan health ) until 1880 or possibly beyond . The Petits Concerts featured music not only by Alkan but of his favourite composers from Bach onwards , played on both thdaiano and the pédalier , and occasionally with thedarticipation of another instrumentalist or singer . He was assisted in dem concerts by his siblings , and by other musicians including Delaborde , Camille Saint @-@ Saëns , and Auguste Franchomme .

Those encountering Alkan at this phase included the young Vincent d 'Indy , who recalled Alkan 's " skinny , hooked fingers " playing Bach on an Érard pedal piano : " I listened , riveted to the spot by the expressive , crystal @-@ clear playing . " Alkan later played Beethoven 's Op. 110 sonata , of which d 'Indy said : " What happened to the great Beethovenian poem ... I couldn 't begin to describe – above all in the Arioso and the Fugue , where the melody , penetrating the mystery of Death itself , climbs up to a blaze of light , affected me with an excess of enthusiasm such as I have never experienced since . This was not Liszt — perhaps less perfect , technically — but it had greater intimacy and was more humanly moving ... "

Those encountering Alkan at this phase included the young Vincent d 'Indy , <a href='null_relcl' title='1'><mark>who</mark></a>recalled Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>" skinny , hooked fingers " playing Bach on an Érard pedal piano : " I listened , riveted to the spot by the expressive , crystal @-@ clear playing . " Alkan later played Beethoven <a href='null_genetive' title='3'><mark>'s</mark></a>Op. 110 sonata , of which d 'Indy said : " What happened to the great Beethovenian poem ... I couldn 't begin to describe – above all in the Arioso and the Fugue , where the melody , penetrating the mystery of Death itself , <a href='uninflect' title='4'><mark>climbs</mark></a> up to a blaze of light , affected me with an excess of enthusiasm such as I <a href='been_done' title='5'><mark>have</mark></a> never experienced since . This <a href='negative_concord' title='6'><mark>was</mark></a> <a href='negative_concord' title='7'><mark>not</mark></a>Liszt — perhaps less perfect , technically — but it had greater intimacy and was more humanly moving ... "

Those encountering Alkan at dis phase included da young Vincent d 'Indy , recalled Alkan " skinny , hooked fingers " playing Bach on an Érard pedal piano : " I listened , riveted to the spot by the expressive , crystal @-@ clear playing . " Alkan later played Beethoven Op. 110 sonata , of which d 'Indy said : " What happened to the great Beethovenian poem ... I couldn 't begin to describe – above alll in the Arioso and the Fugue , where tdamelody , penetrating the mystery of Death itself , climb up to a blaze of light , affected me witt an excess of enthusiasm such as I done never experienced since . Tdisain't Liszt — perhaps less perfect , technically — but it had greater intimacy and was more humanly movin ... "

The biographer of Chopin , Frederick Niecks , sought Alkan for his recollections in 1880 but was sternly denied access by Alkan 's concierge – " To my ... enquiry when he could be found at home , the reply was a ... decisive ' Never ' . " However , a few days later he found Alkan at Érard 's , and Niecks writes of their meeting that " his reception of me was not merely polite but most friendly . "

The biographer of Chopin , Frederick Niecks , sought Alkan for his recollections in 1880 but was sternly denied access by Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>concierge – " To my ... enquiry when he could be found at home , the reply was a ... decisive ' Never ' . " However , a few days later he found Alkan at Érard <a href='null_genetive' title='2'><mark>'s</mark></a>, and Niecks <a href='uninflect' title='3'><mark>writes</mark></a> of their meeting that " his reception of me <a href='negative_concord' title='4'><mark>was</mark></a> <a href='negative_concord' title='5'><mark>not</mark></a>merely polite but most friendly . "

The biographer of Chopin , Frederick Niecks , sought Alkan fa his recollections in 1880 but was sternly denied access by Alkan concierge – " To my ... enquiry when he could b found at home , the reply was a ... decisive ' Never ' . " However , a few days later he found Alkan at Érard , and Niecks write of their meeting that " his reception of me ain't merely polite but most friendly . "

= = = Death = = =

= = = Death = = =

= = = Death = = =

According to his death certificate , Alkan died in Paris on 29 March 1888 at the age of 74 . Alkan was buried on 1 April ( Easter Sunday ) in the Jewish section of Montmartre Cemetery , Paris , not far from the tomb of his contemporary Fromental Halévy ; his sister Céleste was later buried in the same tomb .

According to his death certificate , Alkan died in Paris on 29 March 1888 at the age of 74 . Alkan was buried on 1 April ( Easter Sunday ) in the Jewish section of Montmartre Cemetery , Paris , not far from the tomb of his contemporary Fromental Halévy ; his sister Céleste was later buried in the same tomb .

According to his death certificate , Alkan died in Paris on 29 March 1888 at the age of 74 . Alkan was buried on 1 April ( Easter Sunday ) in the Jewish section of Montmartre Cemetery , Paris , not far from da tomb of his contemporary Fromental Halévy ; his sista Céleste was later buried in the same tomb .

For many years it was believed that Alkan met his death when a bookcase toppled over and fell on him as he reached for a volume of the Talmud from a high shelf . This tale , which was circulated by the pianist Isidor Philipp , is dismissed by Hugh Macdonald , who reports the discovery of a contemporary letter by one of his pupils explaining that Alkan had been found prostrate in his kitchen , under a porte @-@ parapluie ( a heavy coat / umbrella rack ) , after his concierge heard his moaning . He had possibly fainted , bringing it down on himself while grabbing out for support . He was reportedly carried to his bedroom and died later that evening . The story of the bookcase may have its roots in a legend told of Aryeh Leib ben Asher , rabbi of Metz , the town from which Alkan 's family originated .

For many years it was believed that Alkan met his death when a bookcase toppled over and fell on him as he reached for a volume of the Talmud from a high shelf . This tale , which was circulated by the pianist Isidor Philipp , is dismissed by Hugh Macdonald , <a href='null_relcl' title='1'><mark>who</mark></a><a href='uninflect' title='2'><mark>reports</mark></a> the discovery of a contemporary letter by one of his pupils explaining that Alkan <a href='been_done' title='3'><mark>had</mark></a> been found prostrate in his kitchen , under a porte @-@ parapluie ( a heavy coat / umbrella rack ) , after his concierge heard his moaning . He <a href='been_done' title='4'><mark>had</mark></a> possibly fainted , bringing it down on himself while grabbing out for support . He was reportedly carried to his bedroom and<a href='been_done' title='5'><mark></mark></a> died later that evening . The story of the bookcase may have its roots in a legend told of Aryeh Leib ben Asher , rabbi of Metz , the town from which Alkan <a href='null_genetive' title='6'><mark>'s</mark></a>family originated .

For many years it was believed that Alkan met his death when a bookcase toppled ova and fell on em as he reached fir a volume of da Talmud from a high shelf . This tale , which was circulated by tdapianist Isidor Philipp , is dismissed by Hugh Macdonald , report the discovery of a contemporary letter by one of his pupils explaining that Alkan done been found prostrate in his kitchen , under a porte @-@ parapluie ( a heavy coat / umbrella rack ) , after his concierge heard his moaning . He done possibly fainted , bringin it dwn on hisself while grabbing outt for support . He was reportedly carried to his bedroom and been died later that evening . Thdatory of the bookcase may have its roots in a legend told of Aryeh Leib ben Asher , rabbi of Metz , the town from which Alkan fam originated .

= = Personality = =

= = Personality = =

= = Personality = =

Alkan was described by Marmontel ( who refers to " a regrettable misunderstanding at a moment of our careers in 1848 " ) , as follows :

Alkan was described by Marmontel ( <a href='null_relcl' title='1'><mark>who</mark></a><a href='uninflect' title='2'><mark>refers</mark></a> to " a regrettable misunderstanding at a moment of our careers in 1848 " ) , as <a href='uninflect' title='3'><mark>follows</mark></a> :

Alkan was described by Marmontel ( refer to " a regrettable misunderstanding at a moment of our careers in 1848 " ) , as follow :

" We will not give the portrait of Valentin Alkan from the rear , as in some photographs we have seen . His intelligent and original physiognomy deserves to be taken in profile or head @-@ on . The head is strong ; the deep forehead is that of a thinker ; the mouth large and smiling , the nose regular ; the years have whitened the beard and hair ... the gaze fine , a little mocking . His stooped walk , his puritan comportment , give him the look of an Anglican minister or a rabbi – for which he has the abilities . "

" We will not give <a href='None' title='1'><mark>the</mark></a><a href='negative_concord' title='2'><mark>portrait</mark></a> of Valentin Alkan from <a href='None' title='3'><mark>the</mark></a><a href='negative_concord' title='4'><mark>rear</mark></a> , as in some photographs we <a href='been_done' title='5'><mark>have</mark></a> seen . His intelligent and original physiognomy deserves to be taken in profile or head @-@ on . The head is strong ; the deep forehead is that of a thinker ; the mouth large and smiling , the nose regular ; the years <a href='been_done' title='6'><mark>have</mark></a> whitened the beard and hair ... the gaze fine , a little mocking . His stooped walk , his puritan comportment , give him the look of an Anglican minister or a rabbi – for which he <a href='got' title='7'><mark>has</mark></a> the abilities . "

We gon not give no portrait of Valentin Alkan from no rear , as in sum photographs we done seen . His intelligent and original physiognomy deserves to b taken in profile or head @-@ on . The head is strong ; the deep forehead is that of a thinker ; the mouth bigass and smiling , the nose regular ; da yrs done whitened tdabeard and hair ... the gaze fine , a little mocking . His stooped walk , his puritan comportment , give him the look of an Anglican minister or a rabbi – fa which he got the abilities .

Alkan was not always remote or aloof . Chopin describes , in a letter to friend , visiting the theatre with Alkan in 1847 to see the comedian Arnal : " [ Arnal ] tells the audience how he was desperate to pee in a train , but couldn 't get to a toilet before they stopped at Orléans . There wasn 't a single vulgar word in what he said , but everyone understood and split their sides laughing . " Hugh Macdonald notes that Alkan " particularly enjoyed the patronage of Russian aristocratic ladies , ' des dames très parfumées et froufroutantes [ highly perfumed and frilled ladies ] ' , as Isidore Philipp described them . "

Alkan <a href='negative_concord' title='1'><mark>was</mark></a> <a href='negative_concord' title='2'><mark>not</mark></a>always remote or aloof . Chopin <a href='uninflect' title='3'><mark>describes</mark></a> , in a letter to friend , visiting the theatre with Alkan in 1847 to see the comedian Arnal : " [ Arnal ] <a href='uninflect' title='4'><mark>tells</mark></a> the audience how he was desperate to pee in a train , but couldn 't get to a toilet before they stopped at Orléans . <a href='dey_it' title='5'><mark>There</mark></a> wasn 't a single vulgar word in what he said , but everyone understood and split their sides laughing . " Hugh Macdonald <a href='uninflect' title='6'><mark>notes</mark></a> that Alkan " particularly enjoyed the patronage of Russian aristocratic ladies , ' des dames très parfumées et froufroutantes [ highly perfumed and frilled ladies ] ' , as Isidore Philipp described them . "

Alkan ain't always remote or aloof . Chopin describe , in a letter to homie , visiting the theatre wit Alkan in 1847 to see the comedian Arnal : " [ Arnal ] tell the audience how he was desperate to pee in a train , but couldn 't get to a toilet before they stopped at Orléans . It wasn 't a single vulgar word in what he said , but everyone understood and split their sides laughing . " Hugh Macdonald note that Alkan " particularly enjoyed da patronage of Russian aristocratic ladies , ' des dames très parfumées et froufroutantes [ highly perfumed and frilled ladies ] ' , as Isidore Philipp described em . "

Alkan 's aversion to socialising and publicity , especially following 1850 , appeared to be self @-@ willed . Liszt is reported to have commented to the Danish pianist Frits Hartvigson that " Alkan possessed the finest technique he had ever known , but preferred the life of a recluse . " Stephanie McCallum has suggested that Alkan may have suffered from Asperger syndrome , schizophrenia or obsessive – compulsive disorder .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>aversion to socialising and publicity , especially following 1850 , appeared to be self @-@ willed . Liszt is reported to <a href='been_done' title='2'><mark>have</mark></a> commented to the Danish pianist Frits Hartvigson that " Alkan possessed the finest technique he <a href='been_done' title='3'><mark>had</mark></a> ever known , but preferred the life of a recluse . " Stephanie McCallum <a href='been_done' title='4'><mark>has</mark></a> suggested that Alkan may <a href='been_done' title='5'><mark>have</mark></a> suffered from Asperger syndrome , schizophrenia or obsessive – compulsive disorder .

Alkan aversion to socialising and publicity , especially following 1850 , appeared to be self @-@ willed . Liszt is reported to done commented to the Danish pianist Frits Hartvigson that " Alkan possessed da finest technique he done eva known , but preferred the life of a recluse . " Stephanie McCallum done suggested dat Alkan may done suffered from Asperger syndrome , schizophrenia or obsessive – compulsive disorder .

Alkan 's later correspondence contains many despairing comments . In a letter of about 1861 he wrote to Hiller : " I 'm becoming daily more and more misanthropic and misogynous ... nothing worthwhile , good or useful to do ... no one to devote myself to . My situation makes me horridly sad and wretched . Even musical production has lost its attraction for me for I can 't see the point or goal . " This spirit of anomie may have led him to reject requests in the 1860s to play in public , or to allow performances of his orchestral compositions . However , it should not be ignored that he was writing similarly frantic self @-@ analyses in his letters of the early 1830s to Masarnau .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>later correspondence <a href='uninflect' title='2'><mark>contains</mark></a> many despairing comments . In a letter of about 1861 he wrote to Hiller : " I 'm becoming daily more and more misanthropic and misogynous ... <a href='None' title='3'><mark>nothing</mark></a> worthwhile , good or useful to do ... no one to devote myself to . My situation <a href='uninflect' title='4'><mark>makes</mark></a> me horridly sad and wretched . Even musical production <a href='been_done' title='5'><mark>has</mark></a> lost its attraction for me for I can 't see the point or goal . " This spirit of anomie may <a href='been_done' title='6'><mark>have</mark></a> led him to reject requests in the 1860s to play in public , or to allow performances of his orchestral compositions . However , it should not be ignored that he was writing similarly frantic self @-@ <a href='uninflect' title='7'><mark>analyses</mark></a> in his letters of the early 1830s to Masarnau .

Alkan later correspondence contain many despairing comments . In a letter of about 1861 he wrote to Hiller : " I 'm becoming daily more and more misanthropic and misogynous ... don't nothin worthwhile , gud or useful to do ... no1 to devote myself to . My situation make me horridly sad and wretched . Even musical production done lost its attraction fir me fir I can 't see the point or goal . " This spirit of anomie may done led em to reject requests in the 1860s to play in public , or to allow performances of his orchestral compositions . However , it should not b ignored dat he was writing similarly frantic self @-@ analyse in his letters of the early 1830s to Masarnau .

Jack Gibbons writes of Alkan 's personality : " Alkan was an intelligent , lively , humorous and warm person ( all characteristics which feature strongly in his music ) whose only crime seems to have been having a vivid imagination , and whose occasional eccentricities ( mild when compared with the behaviour of other ' highly @-@ strung ' artistes ! ) stemmed mainly from his hypersensitive nature . " Macdonald , however , suggests that " Alkan was a man of profoundly conservative ideas , whose lifestyle , manner of dress , and belief in the traditions of historic music , set him apart from other musicians and the world at large . "

Jack Gibbons <a href='uninflect' title='1'><mark>writes</mark></a> of Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>personality : " Alkan was an intelligent , lively , humorous and warm person ( all characteristics which feature strongly in his music ) whose only crime <a href='uninflect' title='3'><mark>seems</mark></a> to have been having a vivid imagination , and whose occasional eccentricities ( mild when compared with the behaviour of other ' highly @-@ strung ' artistes ! ) stemmed mainly from his hypersensitive nature . " Macdonald , however , <a href='uninflect' title='4'><mark>suggests</mark></a> that " Alkan was a man of profoundly conservative ideas , whose lifestyle , manner of dress , and belief in the traditions of historic music , set him apart from other musicians and the world at large . "

Jack Gibbons write of Alkan personality : " Alkan was an intelligent , lively , humorous and warm person ( all characteristics which feature strongly in his music ) whose only crime seem to have been having a vivid imagination , and whose occasional eccentricities ( mild when compared with the behaviour of other ' highly @-@ strung ' artistes ! ) stemmed mainly from his hypersensitive nature . " Macdonald , however , suggest dat " Alkan was a man of profoundly conservative ideas , whose lifestyle , manner of dress , and belief in da traditions of historic music , set him apart from other musicians and the world at bigass . "

= = Judaism = =

= = Judaism = =

= = Judaism = =

Alkan grew up in a religiously observant Jewish household . His grandfather Marix Morhange had been a printer of the Talmud in Metz , and was probably a melamed ( Hebrew teacher ) in the Jewish congregation at Paris . Alkan 's widespread reputation as a student of the Old Testament and religion , and the high quality of his Hebrew handwriting testify to his knowledge of the religion , and many of his habits indicate that he practised at least some of its obligations , such as maintaining the laws of kashrut . Alkan was regarded by the Paris Consistory , the central Jewish organisation of the city , as an authority on Jewish music . In 1845 he assisted the Consistory in evaluating the musical ability of Samuel Naumbourg , who was subsequently appointed as hazzan ( cantor ) of the main Paris synagogue ; and he later contributed choral pieces in each of Naumbourg 's collections of synagogue music ( 1847 and 1856 ) . Alkan was appointed organist at the Synagogue de Nazareth in 1851 , although he resigned the post almost immediately for " artistic reasons " .

Alkan grew up in a religiously observant Jewish household . His grandfather Marix Morhange had been a printer of the Talmud in Metz , and was probably a melamed ( Hebrew teacher ) in the Jewish congregation at Paris . Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>widespread reputation as a student of the Old Testament and religion , and the high quality of his Hebrew handwriting testify to his knowledge of the religion , and many of his habits indicate that he practised at least some of its obligations , such as maintaining the laws of kashrut . Alkan was regarded by the Paris Consistory , the central Jewish organisation of the city , as an authority on Jewish music . In 1845 he assisted the Consistory in evaluating the musical ability of Samuel Naumbourg , <a href='null_relcl' title='2'><mark>who</mark></a>was subsequently appointed as hazzan ( cantor ) of the main Paris synagogue ; and he later contributed choral pieces in each of Naumbourg <a href='null_genetive' title='3'><mark>'s</mark></a>collections of synagogue music ( 1847 and 1856 ) . Alkan was appointed organist at the Synagogue de Nazareth in 1851 , although he resigned the post almost immediately for " artistic reasons " .

Alkan grew up in a religiously observant Jewish household . His grandfather Marix Morhange had been a printer of da Talmud in Metz , and was probably a melamed ( Hebrew teacher ) in the Jewish congregation at Paris . Alkan widespread reputation as a student of tdaOld Testament and religion , and the high quality of his Hebrew handwriting testify to his knowledge of thdaeligion , and many of his habits indicate that he practised at least some of its obligations , such as maintaining the laws of kashrut . Alkan was regarded by the Paris Consistory , thedantral Jewish organisation of the day , as an authority on Jewish music . In 1845 he assisted the Consistory in evaluating the mdacal ability of Samuel Naumbourg , was subsequently appointed as hazzan ( cantor ) of the main Paris synagogue ; and he later contributed choral pieces in each of Naumbourg collections of synagogue music ( 1847 and 1856 ) . Alkan was appointed organist at the Sydaogue de Nazareth in 1851 , although he resigned the post almost immediately for " artistic reasons " .

Alkan 's Op. 31 set of Préludes includes a number of pieces based on Jewish subjects , including some titled Prière ( Prayer ) , one preceded by a quote from the Song of Songs , and another titled Ancienne mélodie de la synagogue ( Old synagogue melody ) . The collection is believed to be " the first publication of art music specifically to deploy Jewish themes and ideas . " Alkan 's three settings of synagogue melodies , prepared for his former pupil Zina de Mansouroff , are further examples of his interest in Jewish music ; Kessous Dreyfuss provides a detailed analysis of these works and their origins . Other works evidencing this interest include no . 7 of his Op. 66 . 11 Grands préludes et 1 Transcription ( 1866 ) , entitled " Alla giudesca " and marked " con divozione " , a parody of excessive hazzanic practice ; and the slow movement of the cello sonata Op. 47 ( 1857 ) , which is prefaced by a quotation from the Old Testament prophet Micah and uses melodic tropes derived from the cantillation of the haftarah in the synagogue .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>Op. 31 set of Préludes <a href='uninflect' title='2'><mark>includes</mark></a> a number of pieces based on Jewish subjects , including some titled Prière ( Prayer ) , one preceded by a quote from the Song of Songs , and another titled Ancienne mélodie de la synagogue ( Old synagogue melody ) . The collection is believed to be " the first publication of art music specifically to deploy Jewish themes and ideas . " Alkan <a href='null_genetive' title='3'><mark>'s</mark></a>three settings of synagogue melodies , prepared for his former pupil Zina de Mansouroff , are further examples of his interest in Jewish music ; Kessous Dreyfuss <a href='uninflect' title='4'><mark>provides</mark></a> a detailed analysis of these works and their origins . Other works evidencing this interest include no . 7 of his Op. 66 . 11 Grands préludes et 1 Transcription ( 1866 ) , entitled " Alla giudesca " and marked " con divozione " , a parody of excessive hazzanic practice ; and the slow movement of the cello sonata Op. 47 ( 1857 ) , which is prefaced by a quotation from the Old Testament prophet Micah and <a href='uninflect' title='5'><mark>uses</mark></a> melodic tropes derived from the cantillation of the haftarah in the synagogue .

Alkan Op. 31 set of Préludes include a number of pieces based on Jewish subjects , including sum titled Prière ( Prayer ) , one preceded by a quote from the Song of Songs , and anotha titled Ancienne mélodie de la synagogue ( Old synagogue melody ) . The collection is believed to b " the first publication of art music specifically to deploy Jewish themes and ideas . " Alkan three settings of synagogue melodies , prepared for his former pupil Zina de Mansouroff , r further examples of his interest in Jewish music ; Kessous Dreyfuss provide a detailed analysis of these works and their origins . Other works evidencing dis interest include no . 7 of his Op. 66 . 11 Grands préludes et 1 Transcription ( 1866 ) , entitled " Alla giudesca " and marked " con divozione " , a parody of excessive hazzanic practice ; and the slow movement of the cello sonata Op. 47 ( 1857 ) , which is prefaced by a quotation from the Old Testament prophet Micah and use melodic tropes derived from da cantillation of the haftarah in tdasynagogue .

The inventory of Alkan 's apartment made after his death indicates over 75 volumes in Hebrew or related to Judaism , left to his brother Napoléon ( as well as 36 volumes of music manuscript ) . These are all lost . Bequests in his will to the Conservatoire to found prizes for composition of cantatas on Old Testament themes and for performance on the pedal @-@ piano , and to a Jewish charity for the training of apprentices , were refused by the beneficiaries .

The inventory of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>apartment made after his death <a href='uninflect' title='2'><mark>indicates</mark></a> over 75 volumes in Hebrew or related to Judaism , left to his brother Napoléon ( as well as 36 volumes of music manuscript ) . These are all lost . Bequests in his will to the Conservatoire to found prizes for composition of cantatas on Old Testament themes and for performance on the pedal @-@ piano , and to a Jewish charity for the training of apprentices , <a href='uninflect' title='3'><mark>were</mark></a> refused by the beneficiaries .

Da inventory of Alkan apartment made after his death indicate ova 75 volumes in Hebrew or related to Judaism , left to his brother Napoléon ( as well as 36 volumes of music manuscript ) . These are all lost . Bequests in his will to the Conservatoire to found prizes fir composition of cantatas on Old Testament themes and fir performance on tdapedal @-@ piano , and to a Jewish charity fir the training of apprentices , was refused by the beneficiaries .

= = Music = =

= = Music = =

= = Music = =

= = = Influences = = =

= = = Influences = = =

= = = Influences = = =

Brigitte François @-@ Sappey points out the frequency with which Alkan has been compared to Berlioz , both by his contemporaries and later . She mentions that Hans von Bülow called him " the Berlioz of the piano " , while Schumann , in criticising the Op. 15 Romances , claimed that Alkan merely " imitated Berlioz on the piano . " She further notes that Ferruccio Busoni repeated the comparison with Berlioz in a draft ( but unpublished ) monograph , while Kaikhosru Sorabji commented that Alkan 's Op. 61 Sonatine was like " a Beethoven sonata written by Berlioz " . Berlioz was ten years older than Alkan , but did not attend the Conservatoire until 1826 . The two were acquainted , and were perhaps both influenced by the unusual ideas and style of Anton Reicha who taught at the Conservatoire from 1818 to 1836 , and by the sonorities of the composers of the period of the French Revolution . They both created individual , indeed , idiosyncratic sound @-@ worlds in their music ; there are , however , major differences between them . Alkan , unlike Berlioz , remained closely dedicated to the German musical tradition ; his style and composition were heavily determined by his pianism , whereas Berlioz could hardly play at the keyboard and wrote nothing for piano solo . Alkan 's works therefore also include miniatures and ( among his early works ) salon music , genres which Berlioz avoided .

Brigitte François @-@ Sappey <a href='uninflect' title='1'><mark>points</mark></a> out the frequency with which Alkan <a href='been_done' title='2'><mark>has</mark></a> been compared to Berlioz , both by his contemporaries and later . She <a href='uninflect' title='3'><mark>mentions</mark></a> that Hans von Bülow called him " the Berlioz of the piano " , while Schumann , in criticising the Op. 15 Romances , claimed that Alkan merely " imitated Berlioz on the piano . " She further <a href='uninflect' title='4'><mark>notes</mark></a> that Ferruccio Busoni repeated the comparison with Berlioz in a draft ( but unpublished ) monograph , while Kaikhosru Sorabji commented that Alkan <a href='null_genetive' title='5'><mark>'s</mark></a>Op. 61 Sonatine was like " a Beethoven sonata written by Berlioz " . Berlioz was ten years older than Alkan , but did not attend the Conservatoire until 1826 . The two <a href='uninflect' title='6'><mark>were</mark></a> acquainted , and <a href='uninflect' title='7'><mark>were</mark></a> perhaps both influenced by the unusual ideas and style of Anton Reicha <a href='null_relcl' title='8'><mark>who</mark></a>taught at the Conservatoire from 1818 to 1836 , and by the sonorities of the composers of the period of the French Revolution . They both created individual , indeed , idiosyncratic sound @-@ worlds in their music ; <a href='dey_it' title='9'><mark>there</mark></a> are , however , major differences between them . Alkan , unlike Berlioz , remained closely dedicated to the German musical tradition ; his style and composition <a href='uninflect' title='10'><mark>were</mark></a> heavily determined by his pianism , whereas Berlioz could hardly play at the keyboard and wrote nothing for piano <a href='negative_concord' title='11'><mark>solo</mark></a> . Alkan <a href='null_genetive' title='12'><mark>'s</mark></a>works therefore also include miniatures and ( among his early works ) salon music , genres which Berlioz avoided .

Brigitte François @-@ Sappey point out da frequency with which Alkan done been compared to Berlioz , both by his contemporaries and later . She mention that Hans von Bülow called him " the Berlioz of the piano " , while Schumann , in criticising the Op. 15 Romances , claimed dat Alkan merely " imitated Berlioz on the piano . " She further note tdatFerruccio Busoni repeated tdacomparison with Berlioz in a draft ( but unpublished ) monograph , while Kaikhosru Sorabji commented thdatlkan Op. 61 Sonatine was like " a Beethoven sonata written by Berlioz " . Berlioz was ten years older than Alkan , but did not attend the Conservatoire until 1826 . Thdawo was acquainted , and was perhaps both influenced by the unusual ideas and style of Anton Reicha taught at the Conservatoire from 1818 to 1836 , and by the sonorities of the composers of the period of thedaench Revolution . They both created individual , indeed , idiosyncratic sound @-@ worlds in their music ; it is , however , major differences between them . Alkan , unlike Berlioz , remained closely dedicated to the German musical tradition ; his style and composition was heavily determined by his pianism , whereas Berlioz could hardly play at the keyboard and wrote nothin for piano no solo . Alkan works therefore also include miniatures and ( among his early works ) salon music , genres which Berlioz avoided .

Alkan 's attachment to the music of his predecessors is demonstrated throughout his career , from his arrangements for keyboard of Beethoven 's Seventh Symphony ( 1838 ) , and of the minuet of Mozart 's 40th Symphony ( 1844 ) , through the sets Souvenirs des concerts du Conservatoire ( 1847 and 1861 ) and the set Souvenirs de musique de chambre ( 1862 ) , which include transcriptions of music by Mozart , Beethoven , J. S. Bach , Haydn , Gluck , and others . In this context should be mentioned Alkan 's extensive cadenza for Beethoven 's 3rd Piano Concerto ( 1860 ) , which includes quotes from the finale of Beethoven 's 5th Symphony . Alkan 's transcriptions , together with original music of Bach , Beethoven , Handel , Mendelssohn , Couperin and Rameau , were frequently played during the series of Petits Concerts given by Alkan at Erard .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>attachment to the music of his predecessors is demonstrated throughout his career , from his arrangements for keyboard of Beethoven <a href='null_genetive' title='2'><mark>'s</mark></a>Seventh Symphony ( 1838 ) , and of the minuet of Mozart <a href='null_genetive' title='3'><mark>'s</mark></a>40th Symphony ( 1844 ) , through the sets Souvenirs des concerts du Conservatoire ( 1847 and 1861 ) and the set Souvenirs de musique de chambre ( 1862 ) , which include transcriptions of music by Mozart , Beethoven , J. S. Bach , Haydn , Gluck , and others . In this context should be mentioned Alkan <a href='null_genetive' title='4'><mark>'s</mark></a>extensive cadenza for Beethoven <a href='null_genetive' title='5'><mark>'s</mark></a>3rd Piano Concerto ( 1860 ) , which <a href='uninflect' title='6'><mark>includes</mark></a> quotes from the finale of Beethoven <a href='null_genetive' title='7'><mark>'s</mark></a>5th Symphony . Alkan <a href='null_genetive' title='8'><mark>'s</mark></a>transcriptions , together with original music of Bach , Beethoven , Handel , Mendelssohn , Couperin and Rameau , <a href='uninflect' title='9'><mark>were</mark></a> frequently played during the series of Petits Concerts given by Alkan at Erard .

Alkan attachment to the music of his predecessors is demonstrated throughout his career , from his arrangements fir keyboard of Beethoven Seventh Symphony ( 1838 ) , and of the minuet of Mozart 40th Symphony ( 1844 ) , through da sets Souvenirs des concerts du Conservatoire ( 1847 and 1861 ) and the set Souvenirs de musique de chambre ( 1862 ) , which include transcriptions of music by Mozart , Beethoven , J. S. Bach , Haydn , Gluck , and others . In dis context should b mentioned Alkan extensive cadenza for Beethoven 3rd Piano Concerto ( 1860 ) , which include quotes from tdafinale of Beethoven 5th Symphony . Alkan transcriptions , together wit original music of Bach , Beethoven , Handel , Mendelssohn , Couperin and Rameau , was frequently played durin the series of Petits Concerts given by Alkan at Erard .

As regards the music of his own time , Alkan was unenthusiastic , or at any rate detached . He commented to Hiller that " Wagner is not a musician , he is a disease . " While he admired Berlioz 's talent , he did not enjoy his music . At the Petits Concerts , little more recent than Mendelssohn and Chopin ( both of whom had died around 25 years before the series of concerts was initiated ) was played , except for Alkan 's own works and occasionally some by his favourites such as Saint @-@ Saëns .

As <a href='uninflect' title='1'><mark>regards</mark></a> the music of his own time , Alkan was unenthusiastic , or at any rate detached . He commented to Hiller that " Wagner <a href='negative_concord' title='2'><mark>is</mark></a> <a href='negative_concord' title='3'><mark>not</mark></a><a href='None' title='4'><mark>a</mark></a><a href='negative_concord' title='5'><mark>musician</mark></a> , he is a disease . " While he admired Berlioz <a href='null_genetive' title='6'><mark>'s</mark></a>talent , he did not enjoy his music . At the Petits Concerts , little more recent than Mendelssohn and Chopin ( both of whom <a href='been_done' title='7'><mark>had</mark></a> died around 25 years before the series of concerts was initiated ) was played , except for Alkan <a href='null_genetive' title='8'><mark>'s</mark></a>own works and occasionally some by his favourites such as Saint @-@ Saëns .

As regard the music of his own time , Alkan was unenthusiastic , or at any rate detached . He commented to Hiller that " Wagner ain't no musician , he is a disease . " While he admired Berlioz talent , he did not enjoy his music . At da Petits Concerts , little more recent than Mendelssohn and Chopin ( both of whom done died around 25 yrs b4 the series of concerts was initiated ) was played , except for Alkan own works and occasionally sum by his favourites such as Saint @-@ Saëns .

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" Like ... Chopin " , writes pianist and academic Kenneth Hamilton , " Alkan 's musical output was centred almost exclusively on the piano " . Some of his music requires extreme technical virtuosity , clearly reflecting his own abilities , often calling for great velocity , enormous leaps at speed , long stretches of fast repeated notes , and the maintenance of widely spaced contrapuntal lines . The illustration ( right ) from the Grande sonate is analysed by Smith as " six parts in invertible counterpoint , plus two extra voices and three doublings – eleven parts in all . " Some typical musical devices , such as a sudden explosive final chord following a quiet passage , were established at an early stage in Alkan 's compositions . Macdonald suggests that

" Like ... Chopin " , <a href='uninflect' title='1'><mark>writes</mark></a> pianist and academic Kenneth Hamilton , " Alkan <a href='null_genetive' title='2'><mark>'s</mark></a>musical output was centred almost exclusively on the piano " . Some of his music <a href='uninflect' title='3'><mark>requires</mark></a> extreme technical virtuosity , clearly reflecting his own abilities , often calling for great velocity , enormous leaps at speed , long stretches of fast repeated notes , and the maintenance of widely spaced contrapuntal lines . The illustration ( right ) from the Grande sonate is analysed by Smith as " six parts in invertible counterpoint , plus two extra voices and three doublings – eleven parts in all . " Some typical musical devices , such as a sudden explosive final chord following a quiet passage , <a href='uninflect' title='4'><mark>were</mark></a> established at an early stage in Alkan <a href='null_genetive' title='5'><mark>'s</mark></a>compositions . Macdonald <a href='uninflect' title='6'><mark>suggests</mark></a> that

Like ... Chopin , write pianist and academic Kenneth Hamilton , " Alkan musical output was centred almost exclusively on da piano " . Some of his music require extreme technical virtuosity , clearly reflecting his own abilities , often calling for great velocity , enormous leaps at speed , long stretches of fast repeated notes , and tdamaintenance of widely spaced contrapuntal lines . The illustration ( ryte ) from the Grande sonate is analysed by Smith as " six parts in invertible counterpoint , plus two extra voices and three doublings – eleven parts in all . " sum typical musical devices , such as a sudden explosive final chord following a quiet passage , was established at an early stage in Alkan compositions . Macdonald suggest dat

unlike Wagner , Alkan did not seek to refashion the world through opera ; nor , like Berlioz , to dazzle the crowds by putting orchestral music at the service of literary expression ; nor even , as with Chopin or Liszt , to extend the field of harmonic idiom . Armed with his key instrument , the piano , he sought incessantly to transcend its inherent technical limits , remaining apparently insensible to the restrictions which had withheld more restrained composers .

unlike Wagner , Alkan did not seek to refashion the world through opera ; nor , like Berlioz , to dazzle the crowds by putting orchestral music at the service of literary expression ; nor even , as with Chopin or Liszt , to extend the field of harmonic idiom . Armed with his key instrument , the piano , he sought incessantly to transcend its inherent technical limits , remaining apparently insensible to the restrictions which <a href='been_done' title='1'><mark>had</mark></a> withheld more restrained composers .

Unlike Wagner , Alkan did not seek to refashion da world through opera ; nor , like Berlioz , to dazzle tdacrowds by putting orchestral music at the service of literary expression ; nor even , as with Chopin or Liszt , to extend the field of harmonic idiom . Armed wid his key instrument , the piano , he sought incessantly to transcend its inherent technical limits , remaining apparently insensible to the restrictions which done withheld more restrained composers .

However , not all of Alkan 's music is either lengthy or technically difficult ; for example , many of the Op. 31 Préludes and of the set of Esquisses , Op. 63 .

However , not all of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>music <a href='drop_aux' title='2'><mark>is</mark></a>either lengthy or technically difficult ; for example , many of the Op. 31 Préludes and of the set of Esquisses , Op. 63 .

However , not all of Alkan music either lengthy or technically difficult ; for example , many of the Op. 31 Préludes and of the set of Esquisses , Op. 63 .

Moreover , in terms of structure , Alkan in his compositions sticks to traditional musical forms , although he often took them to extremes , as he did with piano technique . The study Op. 39 , no . 8 ( the first movement of the Concerto for solo piano ) takes almost half an hour in performance . Describing this " gigantic " piece , Ronald Smith comments that it convinces for the same reasons as does the music of the classical masters ; " the underlying unity of its principal themes , and a key structure that is basically simple and sound . "

Moreover , in terms of structure , Alkan in his compositions sticks to traditional musical forms , although he often took them to extremes , as he did with piano technique . The study Op. 39 , <a href='None' title='1'><mark>no</mark></a> . 8 ( the first movement of the Concerto for solo piano ) <a href='uninflect' title='2'><mark>takes</mark></a> almost half an hour in performance . Describing this " gigantic " piece , Ronald Smith <a href='uninflect' title='3'><mark>comments</mark></a> that it <a href='uninflect' title='4'><mark>convinces</mark></a> for the same reasons as <a href='uninflect' title='5'><mark>does</mark></a> the music of the classical masters ; " the underlying unity of its principal themes , and a key structure <a href='null_relcl' title='6'><mark>that</mark></a><a href='drop_aux' title='7'><mark>is</mark></a>basically simple and sound . "

Moreover , in terms of structure , Alkan in his compositions sticks to traditional musical forms , although he often took them to extremes , as he did with piano technique . The study Op. 39 , don't no . 8 ( the first movement of the Concerto fa solo piano ) take almost half an hour in performance . Describing this " bigass " piece , Ronald Smith comment that it convince for the same reasons as do da music of tdaclassical masters ; " the underlying unity of its principal themes , and a key structure basically simple and sound . "

Some of Alkan 's music gives hints of the obsessiveness which some have detected in his personality . The Chant Op. 38 , no . 2 , entitled Fa , repeats the note of its title incessantly ( in total 414 times ) against shifting harmonies which make it " cut ... into the texture with the ruthless precision of a laser beam . " In modelling his five sets of Chants on the first book of Mendelssohn 's Songs Without Words , Alkan ensured that the pieces in each of his sets followed precisely the same key signatures , and even the moods , of the original . Alkan was rigorous in his enharmonic spelling , occasionally modulating to keys containing double @-@ sharps or double @-@ flats , so pianists are occasionally required to come to terms with unusual keys such as E @-@ sharp major , enharmonic equivalent to F major , and the occasional triple @-@ sharp .

Some of Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>music <a href='uninflect' title='2'><mark>gives</mark></a> hints of the obsessiveness which some <a href='been_done' title='3'><mark>have</mark></a> detected in his personality . The Chant Op. 38 , no . 2 , entitled Fa , <a href='uninflect' title='4'><mark>repeats</mark></a> the note of its title incessantly ( in total 414 times ) against shifting harmonies which make it " cut ... into the texture with the ruthless precision of a laser beam . " In modelling his five sets of Chants on the first book of Mendelssohn <a href='null_genetive' title='5'><mark>'s</mark></a>Songs Without Words , Alkan ensured that the pieces in each of his sets followed precisely the same key signatures , and even the moods , of the original . Alkan was rigorous in his enharmonic spelling , occasionally modulating to keys containing double @-@ sharps or double @-@ flats , so pianists are occasionally required to come to terms with unusual keys such as E @-@ sharp major , enharmonic equivalent to F major , and the occasional triple @-@ sharp .

Sum of Alkan music give hints of the obsessiveness which some done detected in his personality . da Chant Op. 38 , no . 2 , entitled Fa , repeat the note of its title incessantly ( in total 414 times ) against shifting harmonies which make it " cut ... into the texture with tdaruthless precision of a laser beam . " In modelling his five sets of Chants on the first book of Mendelssohn Songs w/o Words , Alkan ensured that the pieces in each of his sets followed precisely the same key signatures , and even the moods , of thdariginal . Alkan was rigorous in his enharmonic spelling , occasionally modulating to keys containing double @-@ sharps or double @-@ flats , soo pianists are occasionally required to come to terms with unusual keys such as E @-@ sharp major , enharmonic equivalent to F major , and thedacasional triple @-@ sharp .

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= = = = Early works = = = =

= = = = Early works = = = =

= = = = Early works = = = =

Alkan 's earliest works indicate , according to Smith , that in his early teens he " was a formidable musician but as yet ... industrious rather than ... creative " . Only with his 12 Caprices ( Opp.12 – 13 and 15 – 16 , 1837 ) did his compositions begin to attract serious critical attention . The op . 15 set , Souvenirs : Trois morceaux dans le genre pathétique , dedicated to Liszt , contains Le vent ( The Wind ) , which was at one time the only piece by the composer to figure regularly in recitals . These works , however , did not meet with the approval of Robert Schumann , who wrote : " One is startled by such false , such unnatural art ... the last [ piece , titled Morte ( Death ) , is ] a crabbed waste , overgrown with brush and weeds ... nothing is to be found but black on black " . Ronald Smith , however , finds in this latter work , which cites the Dies Irae theme also used by Berlioz , Liszt and others , foreshadowings of Maurice Ravel , Modest Mussorgsky and Charles Ives . Schumann did , however , respond positively to the pieces of Les mois ( originally part published as Op. 8 in 1838 , later published as a complete set in 1840 as Op. 74 ) : " [ Here ] we find such an excellent jest on operatic music in no . 6 [ L 'Opéra ] that a better one could scarcely be imagined ... The composer ... well understands the rarer effects of his instrument . " Alkan 's technical mastery of the keyboard was asserted by the publication in 1838 of the Trois grandes études ( originally without opus number , later republished as Op. 76 ) , the first for the left hand alone , the second for the right hand alone , the third for both hands ; and all of great difficulty , described by Smith as " a peak of pianistic transcendentalism " . This is perhaps the earliest example of writing for a single hand as " an entity in its own right , capable of covering all registers of the piano , of rendering itself as accompanied soloist or polyphonist . "

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>earliest works indicate , according to Smith , that in his early teens he " was a formidable musician but as yet ... industrious rather than ... creative " . Only with his 12 Caprices ( Opp.12 – 13 and 15 – 16 , 1837 ) did his compositions begin to attract serious critical attention . The op . 15 set , Souvenirs : Trois morceaux dans le genre pathétique , dedicated to Liszt , <a href='uninflect' title='2'><mark>contains</mark></a> Le vent ( The Wind ) , which was at one time the only piece by the composer to figure regularly in recitals . These works , however , did not meet with <a href='None' title='3'><mark>the</mark></a><a href='negative_concord' title='4'><mark>approval</mark></a> of Robert Schumann , <a href='null_relcl' title='5'><mark>who</mark></a>wrote : " One is startled by such false , such unnatural art ... the last [ piece , titled Morte ( Death ) , <a href='drop_aux' title='6'><mark>is</mark></a>] a crabbed waste , overgrown with brush and weeds ... <a href='None' title='7'><mark>nothing</mark></a> <a href='negative_concord' title='8'><mark>is</mark></a> to be found but black on black " . Ronald Smith , however , <a href='uninflect' title='9'><mark>finds</mark></a> in this latter work , which <a href='uninflect' title='10'><mark>cites</mark></a> the Dies Irae theme also used by Berlioz , Liszt and others , foreshadowings of Maurice Ravel , Modest Mussorgsky and Charles Ives . Schumann did , however , respond positively to the pieces of Les mois ( originally part published as Op. 8 in 1838 , later published as a complete set in 1840 as Op. 74 ) : " [ Here ] we find such an excellent jest on operatic music in no . 6 [ L 'Opéra ] <a href='null_relcl' title='11'><mark>that</mark></a>a better one could scarcely be imagined ... The composer ... well <a href='uninflect' title='12'><mark>understands</mark></a> the rarer effects of his instrument . " Alkan <a href='null_genetive' title='13'><mark>'s</mark></a>technical mastery of the keyboard was asserted by the publication in 1838 of the Trois grandes études ( originally without opus number , later republished as Op. 76 ) , the first for the left hand alone , the second for the right hand alone , the third for both hands ; and all of great difficulty , described by Smith as " a peak of pianistic transcendentalism " . This <a href='drop_aux' title='14'><mark>is</mark></a>perhaps the earliest example of writing for a single hand as " an entity in its own right , capable of covering all registers of the piano , of rendering itself as accompanied soloist or polyphonist . "

Alkan earliest works indicate , according to Smith , that in his early teens he " was a formidable musician but as yet ... industrious rather den ... creative " . Only with his 12 Caprices ( Opp.12 – 13 and 15 – 16 , 1837 ) did his compositions begin to attract serious critical attention . da op . 15 set , Souvenirs : Trois morceaux dans le genre pathétique , dedicated to Liszt , contain Le vent ( The Wind ) , which was at one time the only piece by the composer to figure regularly in recitals . These works , however , did not meet w no approval of Robert Schumann , wrote : " One is startled by such false , such unnatural art ... the last [ piece , titled Morte ( Death ) , ] a crabbed waste , overgrown with brush and weeds ... don't nothin ain't to b found but black on black " . Ronald Smith , however , find in dis latter work , which cite the Dies Irae theme also used by Berlioz , Liszt and others , foreshadowings of Maurice Ravel , Modest Mussorgsky and Charles Ives . Schumann did , however , respond positively to tdapieces of Les mois ( originally part published as Op. 8 in 1838 , later published as a complete set in 1840 as Op. 74 ) : " [ Here ] we find such an excellent jest on operatic music in no . 6 [ L 'Opéra ] a better one could scarcely be imagined ... The composer ... well kno the rarer effects of his instrument . " Alkan technical mastery of the keyboard was asserted by the publication in 1838 of thdarois grandes études ( originally without opus number , later republished as Op. 76 ) , the first fir thedaft hand alone , the second fa the right hand alone , the third for both hands ; and all of great difficulty , described by Smith as " a peak of pianistic transcendentalism " . Tdisperhaps the earliest example of writing ffira single hand as " an entity in its own ryte , capable of covering all registers of the dano , of rendering itself as accompanied soloist or polyphonist . "

= = = = Early maturity = = = =

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Alkan 's large scale Duo ( in effect a sonata ) Op. 21 for violin and piano ( dedicated to Chrétien Urhan ) and his Piano Trio Op. 30 appeared in 1841 . Apart from these , Alkan published only a few minor works between 1840 and 1844 , after which a series of virtuoso works was issued , many of which he had played at his successful recitals at Érard and elsewhere ; these included the Marche funèbre ( Op. 26 ) , the Marche triomphale ( Op. 27 ) and Le chemin de fer ( also published , separately , as Op. 27 ) . In 1847 appeared the Op. 31 Préludes and his first large @-@ scale unified piano work , the Grande sonate Les quatre âges ( Op. 33 ) . The sonata is structurally innovative in two ways ; each movement is slower than its predecessor , and the work anticipates the practice of progressive tonality , beginning in D major and ending in G @-@ sharp minor . Dedicated to Alkan Morhange , the sonata depicts in its successive movements its ' hero ' at the ages of 20 ( optimistic ) , 30 ( " Quasi @-@ Faust " , impassioned and fatalistic ) , 40 ( domesticated ) and 50 ( suffering : the movement is prefaced by a quotation from Aeschylus 's Prometheus Unbound ) . In 1848 followed Alkan 's set of 12 études dans tous les tons majeurs Op. 35 , whose substantial pieces range in mood from the hectic Allegro barbaro ( no . 5 ) and the intense Chant d 'amour @-@ Chant de mort ( Song of Love – Song of Death ) ( no . 10 ) to the descriptive and picturesque L 'incendie au village voisin ( The Fire in the Next Village ) ( no . 7 ) .

Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>large scale Duo ( in effect a sonata ) Op. 21 for violin and piano ( dedicated to Chrétien Urhan ) and his Piano Trio Op. 30 appeared in 1841 . Apart from these , Alkan published only a few minor works between 1840 and 1844 , after which a series of virtuoso works was issued , many of which he <a href='been_done' title='2'><mark>had</mark></a> played at his successful recitals at Érard and elsewhere ; these included the Marche funèbre ( Op. 26 ) , the Marche triomphale ( Op. 27 ) and Le chemin de fer ( also published , separately , as Op. 27 ) . In 1847 appeared the Op. 31 Préludes and his first large @-@ scale unified piano work , the Grande sonate Les quatre âges ( Op. 33 ) . The sonata is structurally innovative in two ways ; each movement is slower than its predecessor , and the work <a href='uninflect' title='3'><mark>anticipates</mark></a> the practice of progressive tonality , beginning in D major and ending in G @-@ sharp minor . Dedicated to Alkan Morhange , the sonata depicts in its successive movements its ' hero ' at the ages of 20 ( optimistic ) , 30 ( " Quasi @-@ Faust " , impassioned and fatalistic ) , 40 ( domesticated ) and 50 ( suffering : the movement is prefaced by a quotation from Aeschylus <a href='null_genetive' title='4'><mark>'s</mark></a>Prometheus Unbound ) . In 1848 followed Alkan <a href='null_genetive' title='5'><mark>'s</mark></a>set of 12 études dans tous les tons majeurs Op. 35 , whose substantial pieces range in mood from the hectic Allegro barbaro ( no . 5 ) and the intense Chant d <a href='null_genetive' title='6'><mark>'</mark></a>mour @-@ Chant de mort ( Song of Love – Song of Death ) ( <a href='None' title='7'><mark>no</mark></a> . 10 ) to the descriptive and picturesque L 'incendie au village voisin ( The Fire in the Next Village ) ( no . 7 ) .

Alkan bigass scale Duo ( in effect a sonata ) Op. 21 fir violin and piano ( dedicated to Chrétien Urhan ) and his Piano Trio Op. 30 appeared in 1841 . Apart from these , Alkan published only a few minor works between 1840 and 1844 , after which a series of virtuoso works was issued , many of which he done played at his successful recitals at Érard and elsewhere ; dem included da Marche funèbre ( Op. 26 ) , tdaMarche triomphale ( Op. 27 ) and Le chemin de fer ( also published , separately , as Op. 27 ) . In 1847 appeared thdap. 31 Préludes and his firstbigasse @-@ scale unified piano work , the Grande sonate Les quatre âges ( Op. 33 ) . The sonata is structurally innovative in two ways ; each movement is slower than its predecessor , and thedark anticipate the dactice of progressive tonality , beginning in D major and ending in G @-@ sharp minor . Dedicated to Alkan Morhange , the sdata depicts in its successive movements its ' hero ' at the ages of 20 ( optimistic ) , 30 ( " Quasi @-@ Faust " , impassioned and fatalistic ) , 40 ( domesticated ) and 50 ( suffering : the movement is prefaced by a quotation from Aeschylus Prometheus Unbound ) . In 1848 followed Alkan set of 12 études dans tous les tons majeurs Op. 35 , whose substantial pieces range in mood from the hectic Allegro barbaro ( no . 5 ) and the indase Chant d mour @-@ Chant de mort ( Song of luhhh – Song of Death ) ( don't no . 10 ) to the desdaptive and picturesque L 'incendie au village voisin ( The Fire in the nxt Village ) ( no . 7 ) .