 For much of the 20th century , Alkan 's work remained in obscurity , but from the 1960s onwards it was steadily revived . Raymond Lewenthal gave a pioneering extended broadcast on Alkan on <unk> radio in New York in 1963 , and later included Alkan 's music in recitals and recordings . The English pianist Ronald Smith championed Alkan 's music through performances , recordings , a biography and the Alkan Society of which he was president for many years . Works by Alkan have also been recorded by Jack Gibbons , Marc @-@ André Hamelin , Mark <unk> , John Ogdon , and <unk> <unk> , among many others . Ronald Stevenson has composed a piano piece <unk> d <unk> ( referring to Alkan 's Op. 39 , no . 12 ) and the composer Michael <unk> has also written piano pieces referring to Alkan , e.g. Alkan @-@ <unk> , no . 5 of The History of <unk> in Sound . Marc @-@ André Hamelin 's <unk> No . IV is a <unk> <unk> study combining themes from Alkan 's Symphony , Op. 39 , no . 7 , and Alkan 's own perpetual motion étude , Op. 76 , no . 3 . It is dedicated to <unk> Kovacs and François <unk> , respectively activists in the English and French Alkan Societies . As Hamelin writes in his preface to this étude , the idea to combine these came from the composer <unk> <unk> , the finale of whose Piano <unk> No. 5 ( 1994 – 95 ) includes a substantial section entitled " <unk> " . 
