Publication: Paris, Simon Richault, 1861

Dedication: Mademoiselle La Princesse Louise de Schleswig-Holstein

This collection is known as "Esquisses" (Sketches), but the first edition bore only the title "48 Motifs." It comprises four volumes, containing 48 pieces that cover all keys, plus an additional 49th piece, "Laus Deo." The detailed process of its composition is unknown, but an alternative version of No. 29 from 1847 has been confirmed, suggesting that Alkan revised and compiled works accumulated from at least 1847 onwards for publication. It condenses the essential characteristics of Alkan as a composer, including satire, humor, longing for the classics, and religious themes.

Around 1860, Alkan had largely ceased social interaction, except with a few close friends like Ferdinand Hiller. His enthusiasm for public concert activities declined, and he spent his time as a keen observer of the Parisian music scene. Meanwhile, the majority of his creative energy was devoted to composition and arrangement. The 48 Motifs, Op. 63, was published in the early 1860s, concurrently with his extensive and meticulous arrangements of Beethoven and Mozart works, accompanied by original cadenzas.

Each book arranges keys systematically, imparting order to the overall tonal palette of the collection. As can be seen from the list of pieces, the keys of the pieces in Book 1 and Book 2 alternate in a sequence of perfect fourths and major sixths. Furthermore, Book 1 proceeds in a major, minor... sequence (C major - F minor - D major - G minor...), while Book 2 follows the reverse order (C minor - F major - D minor - G major...). On the other hand, the keys of the pieces in Book 3 and Book 4 are structured by a cycle of perfect fifths, with major and minor keys alternating. Book 3 begins with a major key (C major - G major - D major...), and Book 4 begins with a minor key (C minor - G major - D minor...). In this way, the pairs of Book 1 and Book 2, and Book 3 and Book 4, are structured to juxtapose yin and yang, much like the negative-positive relationship in photography. Such elaborate and unique key design reflects Alkan's pedantic mode of thought and brings a certain unity to the 48 pieces of diverse character.

Despite being a progressive composer and pianist, Alkan was a staunch traditionalist. Many of the pieces in this work are given suggestive titles reminiscent of Couperin, Rameau, Scarlatti, and Mozart. Given that he performed works by Couperin, Rameau, Scarlatti, J.S. Bach, and his sons in concerts, it is clear that his traditionalist aspect held significant meaning not only in his arrangements but also in his original compositions. However, traditionally rooted musical styles are often parodied, and the harmonic language and pianism are imbued with an avant-garde spirit.

Book 1

• No. 1: C major, Assez lentement "La vision"
• No. 2: F minor, Allegro "Le staccatissimo"
• No. 3: D major, Andantino "Le legatissimo"
• No. 4: G minor, Allegretto "Les cloches"

• "Cloches" (French) refers to church or monastery bells of various sizes. It was a popular subject for piano pieces in the 19th century. Alkan's realistic depiction, with the repetition of identical patterns and the striking and decay of sounds, is rarely seen in other composers of his time. The bell strokes should be strong and uniform, and all repeated patterns should be played regularly, like a bell swinging at a constant speed. A similar technique can already be seen in his Marche funèbre, Op. 26 (1846).

• No. 5: E minor, Quasi coro "Les initiés"
• No. 6: A minor, Allegro moderato "Fuguetta"
• No. 7: F-sharp major, Andantino "Le frisson"
• No. 8: B minor, "Pseudo-naïveté"
• No. 9: A-flat major, Andante "Confidence"
• No. 10: C-sharp minor, Allegro vivace "Increpatio"
• No. 11: B-flat major, Assez lentement "Les soupirs"
• No. 12: E-flat minor, Lentement "Barcarollette"

Book 2

• No. 13: C minor, Andante flebile "Ressouvenir"
• No. 14: F major, Vivamente "Duettino"
• No. 15: D minor, Tempo giusto "Tutti de concerto dans le genre ancien"
• No. 16: G major, Assez vite "Fantaisie"
• No. 17: E minor, Allegretto "Petit prélude à trois"
• No. 18: A major, Allegretto "Liedchen"

• The original title "Liedchen" (German) means "little song." The opening and closing passages, indicated by small notes, are the prelude and postlude to the song, depicting the instrumental part expressed on the piano. Listen carefully to the song in the uppermost voice of the right hand and the counter-melody in the left hand.

• No. 19: F-sharp minor, Assez lentement "Grâces"
• No. 20: B major, Allegrettino "Petite marche villageoise"
• No. 21: G-sharp minor, Assez lentement "Morituri te salutant"
• No. 22: D-flat major, Assez doucement "Innocenzia"
• No. 23: B-flat minor, D'un pas ordinaire "L'homme aux sabots"
• No. 24: E-flat major, Vivement "Contradanse"

Book 3

• No. 25: C major, Prestissimo "La poursuite"
• No. 26: G minor, Andante "Petit air. Genre ancien"
• No. 27: D major, Vivace "Rigaudon"

• The Rigaudon is a lively duple-meter folk dance popular in England and France in the 17th-18th centuries. A stylized Rigaudon was also danced at the court of Louis XIV, but Alkan satirically depicts the former here.

• No. 28: A minor, Fort et carrément "Inflexibilité"
• No. 29: E major, Appassionatissimo "Délire"
• No. 30: B minor, Allegrettino "Petit air dolent"
• No. 31: F-sharp major, Vivace "Début de quatuor"
• No. 32: C-sharp minor, Moderato "Alla 《Vendrai carino》 di Mozart"
• No. 33: A-flat major, Doucement "《Fais dodo》"

• A lullaby. The original title "Fais dodo" (pronounced "fay doh-doh" in French) is a soothing phrase used to put children to sleep. Be fully aware of and emphasize the color change brought about by the flatted seventh degree of the scale (G-flat, and D-flat in the middle section in E-flat major).

• No. 34: E-flat minor, Lento "Odi prefanum vulgus et arceo: favete linguis"
• No. 35: B-flat major, Tempo ordinario "Musique militaire"
• No. 36: F minor, Presto "Toccatina"

Book 4

• No. 37: C minor, Presto "Scherzettino"
• No. 38: G major, Doucement "Les bons souhaits 《Le ciel vous soit toujours prospère!》"
• No. 39: D minor, Andantino-mesto "Héraclite et Démocrite"
• No. 40: A major, Vif et léger "《Attendez-moi sous L'orme》"
• No. 41: E minor, Moderato "Les enharmoniques"
• No. 42: B major, Andantino "Petit air à 5 voix"
• No. 43: F-sharp minor, Andantino "Notturnino-innamorato"
• No. 44: C-sharp major, Con felicita "Transports"
• No. 45: G-sharp minor, Lentement "Les diablotins"
• No. 46: E-flat major, Amorosamemte "Le premier billet doux"

• A piece with charming psychological depiction. The theme, beginning chromatically and repeatedly ascending and descending in an arc, constantly modulates, delaying the "relief" of the tonic key until the latter half. Here, too, be fully aware of the counter-melody integrated into the left-hand accompaniment part.

• No. 47: B-flat minor, Presto "Scherzetto"
• No. 48: F major, Lento "En songe"

• The final piece of the 48 Motifs. Pay attention to the instruction to press both the damper pedal and the soft pedal simultaneously. Although there are no further pedal change instructions until the final measure, to avoid excessive mixing of sounds, it would be advisable on a modern piano to skillfully create a hazy effect by adjusting the damper pedal's depth. The piece concludes with a sudden awakening and silence.

• Unnumbered: C major, Assez lentement "Laus Deo"

• The Latin title means "Praise be to God." The theme, forming the intervals C-D-F-E, is found in J. J. Fux's (1660–1741) counterpoint treatise Gradus ad Parnassum, and many composers, including Bach, Mozart, and Beethoven, used this theme in their compositions. Alkan, who was well-versed in strict counterpoint, also used this theme as the fugato subject in the second movement of his Grande Sonate, Op. 33. Regarding this theme in the sonata, its congruence with the hymn for the Feast of Corpus Christi, Verbum supernum, has also been noted. In this work with a Latin title, Alkan (though Jewish) seems to have embraced Catholic subject matter from an artistic perspective, elevating it to a declaration of faith in art.