 <unk> François @-@ <unk> 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 <unk> , claimed that Alkan merely " imitated Berlioz on the piano . " She further notes that <unk> Busoni repeated the comparison with Berlioz in a draft ( but unpublished ) <unk> , while <unk> 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 <unk> who taught at the Conservatoire from 1818 to 1836 , and by the <unk> 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 <unk> , 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 ) <unk> music , genres which Berlioz avoided . 
