Ahn, J. (1988). A Stylistic Evaluation of Charles Valentin Alkan's Piano Music, A Lecture Recital together with Three Recitals of Selected Works of J. S. Bach, Beethoven, Brahms, Liszt, Schumann, and Villa-Lobos. Thesis for Doctor of Musical Arts, University of North Texas. Available here.

 

Bat-Yaacov, Dena Collected papers, including documents relating to her performances of Alkan. Further information.

 

Beauvois, M. W. (2018). Alkan’s Petits Préludes for organ: A case study of composition by constraints. Music & Science, 1, 1-19. Abstract; Full article

 

Bitzan, W. (2016). Durch alle Tonarten: Omnitonale Präludienzyklen für Klavier.Eine Darstellung der Gattungsgeschichte mit besonderem Blick auf Musik aus Sowjetrussland (Through all the keys: omnitonal prelude cycles for piano. A representation of the history of the genre with a special focus on music from Soviet Russia).  Archiv für Musikwissenschaft, Volume 73, Number 3, 185-219.

 

Byrd, D. (rev 2017), Extremes of Conventional Music Notation, web page (retrieved 4 Feb 2018)

 

Arfini, M. T. (2015). Charles Valentin Alkan e Johann Sebastian Bach: un capitolo dello storicismo in Francia. In: Ad Parnassum, Vol. 13. Link to abstract

 

Henahan, D. (1988). Music view: The Birth And Death Of a Legend. The New York Times, 12 June, 1988. Available here.

 

Hennig, D. (1975). Charles-Valentin Alkan: An Introduction with Special Reference to the Études Op.35 and Op.39, B Phil dissertation, Oxford University. Link to World Catalog.

 

Hillmann, J. L. (2018). Solving the Riddle of Alkan's Grande Sonate Op. 33 ‘Les quatre âges’: A Performance Guide and Programmatic Overview. Doctoral dissertation, Arizona State University. Full thesis available here.

 

Himelfarb, C. (2005). “Le Foyer d'art de Pierre Joseph Zimmerman Un Salon de pianistes dans la Nouvelle Athènes sous Louis Philippe”,  in : La Maison de l'artiste construction d'un espace de représentations entre réalité et imaginaire (XVIIe-XXe siècles), P.U. de Rennes,

 

Himelfarb, C. (2001). “De la concordance des temps dans l'œuvre pour piano de C. V. Alkan (1813-1888) Eléments pour une étude des modèles anciens dans le cycle poétique des 25 Préludes op.31 (1847)” mémoire de D.E.A, université de Genève, dir. J.-J Eigeldinger,

 

Himelfarb, C. (1997). “Dans le genre ancien, Charles Valentin Alkan et la musique du passé (1813-1888)”, in : Sillages musicologiques, Hommages à Yves Gérard, CREC, Paris.

 

Himelfarb, C. (1990). “Reflexions sur la problématique de la forme dans le piano romantique français : "Le Festin d'Esope", n° 12 des "Études dans les tons mineurs" op.39 de Charles Valentin Alkan (1857)”, in : Analyse musicale, juin, n°20

 

Himelfarb, C. (1988). «Charles Valentin Alkan L'interprète à travers la presse musicale» in : C. V.ALKAN (ouvrage collectif, dir. B.François-Sappey) Fayard,

 

Himelfarb, C. (1986). «Le testament de Charles Valentin Alkan» in : Revue musicale de Suisse Romande, déc.

 

Ho, Allan Benedict (1978). The Piano Music of Charles-Valentin Alkan. Dean Prize for Undergraduate Research (listed on Googlebooks but currently unavailable)

 

Holden, E. (2014). Charles Valentin Alkan: Interpreting the Composer’s use of Rhythm as Identified in the Dominant Motifs present in the Music for Organ, Pedal-piano and Harmonium. PhD thesis, National University of Ireland, Maynooth, Ireland. Link to pdf version of thesis.

 

Kersey, J., (1990), Quelques considerations concernant le rythme dans la musique de Charles-Valentin Alkan, London, Alkan Society Archive at the Guildhall School of Music and Drama, 1990; also in Bulletin de la Société Alkan, 35 (1996), 3-20

 

Kersey, J., (trans. Luguenot, F.) (1998), Raymond Lewenthal et la musique de Charles-Valentin Alkan. Bulletin de la Société Alkan, 41, 12-13.

 

Kersey, J. (2007). Collectors’ Guide: the major recordings of Alkan’s Concerto for solo piano, in International Piano, ed. Williams, Orpheus Publications, London, vol 9 no 53, September/October 2007, pp60-63.

 

Lee, W. (2015). The pianistic idiosyncrasies of Charles Valentin Alkan as exemplified in his "Recueil de Chants". Masters thesis, California State University. Link to pdf version of thesis.

 

MacDonald, L. E. (1966). The Piano Music of Charles-Valentin Alkan. Master thesis Ohio State University. Available from here.

 

Penrose, J. (1993). The strange case of Charles Valentin Alkan. New Criterion, 11(9).

 

Roberge, M.-A. (1984). Charles-Valentin Alkan (1813-88): un excentrique enfin pris au sérieux. Sonances, revue musicale québécoise, 3(3), 11-16. Available here.

 

Roberge, M.-A. (1991). The Busoni Network and the Art of Creative Transcription. Canadian University Music Review, 11(1), 68-88. Available here.

 

Robson, K. W. (2012). Romantic liturgists: Franz Liszt’s and Charles Valentin Alkan’s settings Of Psalm 137. Masters thesis, University of Georgia. Link to pdf version of thesis.

 

Sandvik, J. (2014). Examination concert: Interpreting music by three different composers. Masters thesis, Kungliga Musikhögskolan, Sweden. (Includes performance notes on Symphonie for solo piano.) Available here.

 

Simms, N. (2017). Some Observations on the Jewish Comedian-Musician. New English Review, Dec 2017. Available here.

 

Steinbron, M. J. (2006). Background conglomerates in Alkan's Quasi-Faust, op. 33, no. 2. Masters thesis, Louisiana State University. Available here.

 

Waeber, J. (2007). Searching for the Plot: Charles-Valentin Alkan's Souvenirs: Trois morceaux dans le genre pathétique, Op. 15. Journal of the Royal Musical Association, 132(1), 60-114. Abstract.