" Les Quatre Doyens de Typogriiphie Parisit-nne," 1889.
Livre: Its Fiirfadets," 1889; lii
HiiiiKicKAriiv Vililt-f illl
Dc
tiulM^niatls, Diet.
International des
A'crf-
J<itU 8.V.
M ALKAN, CHARLES HENRI VALENTIN I!
(Morhange; callcilalsdAlkan the Elder): Frcmli piiinist uiiil coiiipciscr;
Imiii in I'uiis,
Nov.
^0. IKIli;
Mairh 1888. On attaining' his .si.xtli year lie was a<lrnitlcd to tla^ Paris Conservatory of ^Iiisie. and wliiii liiit seven years old (18'J0) won the first prize I'or sttlfei^i^io; on Iliis occasion he gave his (irst puhlic perfornianee on lw. vi<ilin. Alkan was (lied tlidv,
•..'!l.
llie pupil, in pianoforte, of Pierre Zinnnernian. hm reate of the Instil nie of France in Is.'iO, studied harmony iHidir Victor Dourlen, and. in coin[)etilion,was awarded tlie lirst prize for this subject in 182(). In 18'.38 he was appointed honorary professorat the Conservatory, which position he resiirned in Ih:^."). Besides acliieviriir distinction in tin' lechnii|Ueof music
he
olitaineil tlie lirst |irizi' liir cninpiisition
liy
the Institute of France in
ls;!l.
Two
awarded
years later
he visited London, and on his icturn to France settled ill Paris as a teacher of llie [lianoforte. Alkan devoted a part of his time to composition, and jiroduced .seventy-two works, comprisinj; etudes, concertos, sonatas, caprices, transcriptions. Writinir of Ids music, .lames I), lirown ("Hioji. of Musicians." p. 1-1) siiys: "'riic works of this ((imposer almuiid with technical dilliculties. His studies are especially exlrava.i;ant in construction, and require close allcnliiin fmm even the l)est |)erforiners to obtain ade(|init<> interpretation." According; to Grove (" Diet, of .Slusicand .Musicians." 5;i. London. 18!M)), Alkan's two series of twelve i.
and sonps,
.
.
Alkabizi, Abraham Allegorical Interpretation
THE JEWISH ENCYCLOPEDIA
403
.
AL KAN NAPOLEON ALEXANDRE (Mor.
hang^e)
Fnncli |iiaiiist and composer: born in Paris. lW2(i. He was a brother of Cihui.ks V.lentin .i.KN. and, like him, entered the Conservatory of .Musii' at a very early age. He studied under .Vdoljihe Adam and Pierre Zimmerman. In 1851) he wasappoiiited prole.s.sor of solfeggio in the Conservatory, and held the appointment for nearly Hfty years. -Vniong the more jirominentof his pujiils were Bizet, Sara.sate. Carvallio, .Inks Cohen, the brothers Weniadski, .Melchisedci-, 'I'aiidou, and Hisler. Alkan has not achieved great distinction as a compo.ser; nevcrlheless in 18!(() he obtained the second l)rize for composition awarded by the French Institute. His most notable work is an " fitude Fuguee sur Le Proiihete. "
'
BliiMomiAi'iiY:
Viiiiercaii. Dift. tlr.i Cimlrmiuirainr^. s.v.: I.artiiixfv.diinift Dili, riiii'i rwf, s.v. I'aris. IKKI; (imve. /;«(. kJ Munii: mill Mimriiiim. s.v. I^>iiiliiii, IHSKJ; 11. Kkiuaun, jIUKili-Lirihoii. p. -I. U-l|isli-. IlJiid. .
.
Jewish community, was notitied. 12S'.t, that from that time no Jews would be allowed to live outside of the Jews' (piarter, or to congregate on the streets or to appear in public during processions, etc, A similar ordinance existed prohibiting Christians from living in the Jews' iiuarter. in order that the latter might not b(^ disturbed or molested in their worship or during their festivals.
of Cliopinaiid Liszt, yet, like those of Anton Hubiiistein, which are in some res|)ects akin to them, they have a valid claim to be studied; fur "they ]>resenl technical spei ialities nowhere else to lie found, difcullies of a titanic .sort, effects peculiar to the instrument carried to the very vcrirc of impossibility." 'riie fiilldwini; are .Vlkan's chief Cdiupcisilions: f'.tude I'apricc." fur Ihe pianiifnrte (op. I'J, 13, 15. and l<i|; •• Le Preiix," a concert study (op, 17);
LATIF.
for violin anil iiiannfortc (op. 21);
"Noc-
turne" for Ihe luaiioforte (op. 22); "Saltarellc" (op. 2H); "Gigue" (op. 2-t); "Alleluja!" (i.p--'): "Transcription from .Mozart" (op. 2<)); "ftlnde" (o]). 27); " Uourree d'.Vuveri;ne " (op. 29); "Trio" for the pianiiforle. violin, and violoiicellii(op. :il)); "Twenty live I'riludcs" fur piano or or;;an (up. ;!1); "Collecof
linn
Impromptus"
for the pianoforte (op. ;!2);
"Sonata" (up. :tl!); "Thrive .Marches" (op. 37); two books of "Chants" (sonirs without words, op. 38); aiiiii her series of "Three .Marches" (op. 40); "Three Fantasias" (o|). 41); " HecDncilialion," a caprice (op. 42); "."^alul. Cendrcs dii Pauvre." a iiaraphni.se (op. 45); and a "Sonata" for pianofnrte and violoncello (op. 47). Bini.iniuiAi'ilv KrIK TOii/rinWidji I'nlvrrnrllrii.l.'n, Piirlii, IKIKI; Mi-ndfl, Mtiniluitijtrlirjt Kumwrittitiiiutt-Lcxitntn, Her:
lih.
ISTII;
(')iutM|>]ln.
h:nrurln[iitliii
i»t
Muxic ami Muni-
Nrw
Vorl^. IslKl; Vii|MTniu. Itivl. I'niviritrliltti rt.v. l.:tll. (>nti'mfntriiiii)t. furls. INII (irnve, />!</. itf .l/iMir tifiil .fu-
ciinw,
tiirtnuM.H.v. I,4>n<tnn. IHJKi; Hniwn. Iliin/raiitiirxuf MtMictanx, Uinilim, ismi; Mi'vir, K'-mif ri«iU<in»-/,. rlfc.m, 1. :)«i, Ij'ljiSullnolisi'li. .Slfiri' IUii.-<tirnilf KitnVffi*^UiimtitrrtHlr, IHJKI
fi'iii. I. .M.'i. ('oiH'iiliiiKi'n.
iif
Muriciauf,
t>.
i,
i:t.
ls!(t:
New
lliikiT.
.1
niin/roiihlcal IHct.
York, lUU).
F. H. V.
G
Orense, Galicia. in which, as in Corufia, Ferrol, and Pontevedra, therc^ were Jews as early as the eleventh century. I'pon a complaint by the priorof the monastery of Allariz, I.saac Ishmael. the liead of the small
etudes (op. S") and 3!t) and his "Trois Grandes fetudes" i)elonj; to Uic must modern development of the t<'chni(iue of the instrument, and re|)resent. in fact, llie e.Mrenie ]ioint which it has reached. Thoufjli they can not stand coni|iarisoii in point of tieauty and absolute musical value with the etudes
"Duet"
A
ALKIMUS JAKIM: High priest, leaikr of the Ilellciiisis. See Al,( iMfs. ALLARIZ Spanish town in the province of
ItiiiLiORRArnv xr'i.;
De
Iliihtin id
(<i
See also
G.l.ici., Sl'.M.N.
Hixtoria <te lim ./ii</i.w, il. 553 et Ural Anidcmia dc la //Wi/rid, xll..mi(t
los Illos,
M. K.
ALLATIF, ISAAC BEN >r,- I.VIIK,
'ALLE HADAS inaL'aziiii'V
ABRAHAM
IBN
lllN.
(".Myrtle Leaves," a
Sec I'lnioini
Hebrew
vis.
ALLEGORICAL INTERPRETATION:
That
explanation of a ,Scriiilurc passagi- which is bas<'d upon the supposition that its author, whether Gixl or man, intended something "other " (Greek, liz/'of) than what is literally expressed. Expositors of tliis
system may
lie called allegorists; the .system itallegorism. Two modes of Alh'gorical Inter])retation are found dealing with the Pible: the one, symbolic or typologic interpretation, derived mainly from Palestinian Jews; Ihe oilier the philosophical or mystical modes, originating with the Alexandrian Jewsof Egypt, Both mi'l hods originate in the same iialund cause; wheni'Ver the lit enit lire of a people has become an insi'panible part of its intellecliial pos.session, and Ihe ancient and venenited letter of this lilenitiire is in the course of time no longer in consonance with more modern views, to enable the people to preserve their allegiance to the tradition it becomes neces,sary to make that tradilion carry and contain the newer thought as well. Allegorism is thus in some sense an incipient phase of rationalism. As soon as philo.soph arose among the (ireeks. Homer and the old popular piH^try were allegorized. There being scarcely a people which underwent such powerful religious development and at the same time ri'inained .so fervently attaciied to its venenible traditions as the Jews, allegori.sm became of necessity a prumineut fetilure iu the history of their litcnitufe.
self,
