Marco Polo's much appreciated commitment to the Alkan cause continues with two more issues of piano music performed by Laurent Martin. The first disc contains music that, to my mind, will be more appropriate to the Alkan connoisseur rather than the first-time explorer—the main works of interest undoubtedly being the two sets of Impromptus, Op. 32 (each containing four pieces) dating from 1848–9. Although these are undoubtedly a long way from the complexities of the Grand Sonate composed two years earlier (they are, as Ronald Smith has commented ''relaxed, uncomplicated pieces designed more for private enjoyment than public exposure'') the Impromptus, nevertheless, have an unmistakable Alkanesque tang which naturally lifts them out of the run-of-the-mill salon-style of their day.
The first set are all titled and reasonably straight-forward, in so far as Alkan ever wrote a straightforward piece. Of these, the second, ''L'amitie'' (which sounds like a revivalist hymn taken at full gallop) and the third, entitled ''Fantasietta alla moresca'' are perhaps the most interesting. The second set is schematic and is the product of Alkan's encounter with the Basque dance, Zoricico in 5/4 rhythm. Description is best left to Smith again, who says ''Had Grieg and Bartok conspired to write a Chopin mazurka for quintupeds they might have produced something like the first impromptu''. His description of the third as sounding like ''a catchy, five-legged rumba'' is also spot on!
Salut, cendre du pauvre! (''Hail, ashes of the poor!'') is a characteristically dark and sombre piece with hymn-like outer passages and a central climax replete with drum-effects in the low registers, whilst the short Alleluia is an imposing study in massive, sonorous chords, played at the extremities of the keyboard. Alkan's penchant for translating passages from the Old Testament into piano music can be heard in the highly effective concert piece, Super flumina Babylonis, a dramatic paraphrase on Psalm 137. The remaining items on the disc, the Rondeau chromatique, Op. 12 and the Variations on a theme from Steibelt's Orage Concerto, Op. I (a recently rediscovered manuscript) are, as the opus numbers imply, extremely early works dating from Alkan's youth. Both are typical display pieces of their time; effective and impressive enough as the products of a teenager, but lacking the individuality of the Alkan to come.
The second disc, which is devoted to the Esquisses, needs little description. These perfect little miniatures (48 in all) may not be Alkan at his most demonstrative in terms of technical display but they certainly rank among his more important works. The breadth of mood encompassed in these sketches is exceptionally wide: some are miniature studies ''Le Staccatissimo'', ''Le Legatissimo'' ''La Poursuite'' and ''Toccatina'' are examples—whilst others, ''Le Frisson'', ''Le Premier Billet Doux'' and the marvellous ''Delire'', are effectively tiny mood paintings. Some look back in style (''Fuguette'', ''Duettino'' or ''Petit Prelude a 3'') while others are courageously forward-looking most notably ''Les Soupirs'' which anticipates Debussy, and ''Les Diablotins'' with its outrageous tone clusters. Needless to say, the Esquisses are essential listening for both newcomers and veterans to Alkan's music alike.
Laurent Martin has already proved himself a fine interpreter of Alkan's piano music and these two discs are further evidence of this. His sharply etched and beautifully crafted account of the Esquisses is particularly recommendable. The recorded sound of both is good, if perhaps a trifle hard in places.'