Composers for piano

Charles-Valentin Alkan (French: [ʃaʁl valɑ̃tɛ̃ alkɑ̃]; 30 November 1813 – 29 March 1888) was a French composer and virtuoso pianist. At the height of his fame in the 1830s and 1840s he was, alongside his friends and colleagues Frédéric Chopin and Franz Liszt, among the leading pianists in Paris, a city in which he spent virtually his entire life.
Alkan earned many awards at the Conservatoire de Paris, which he entered before he was six. His career in the salons and concert halls of Paris was marked by his occasional long withdrawals from public performance, for personal reasons. Although he had a wide circle of friends and acquaintances in the Parisian artistic world, including Eugène Delacroix and George Sand, from 1848 he began to adopt a reclusive life style, while continuing with his compositions – virtually all of which are for the keyboard. During this period he published, among other works, his collections of large-scale studies in all the major keys (Op. 35) and all the minor keys (Op. 39). The latter includes his Symphony for Solo Piano (Op. 39, nos. 4–7) and Concerto for Solo Piano (Op. 39, nos. 8–10), which are often considered among his masterpieces and are of great musical and technical complexity. Alkan emerged from self-imposed retirement in the 1870s to give a series of recitals that were attended by a new generation of French musicians.
Alkan's attachment to his Jewish origins is displayed both in his life and his work. He was the first composer to incorporate Jewish melodies in art music. Fluent in Hebrew and Greek, he devoted much time to a complete new translation of the Bible into French. This work, like many of his musical compositions, is now lost. Alkan never married, but his presumed son Élie-Miriam Delaborde was, like Alkan, a virtuoso performer on both the piano and the pedal piano, and edited a number of the elder composer's works.
Following his death (which according to persistent but unfounded legend was caused by a falling bookcase), Alkan's music became neglected, supported by only a few musicians including Ferruccio Busoni, Egon Petri and Kaikhosru Sorabji. From the late 1960s onwards, led by Raymond Lewenthal and Ronald Smith, many pianists have recorded his music and brought it back into the repertoire.

César-Auguste-Jean-Guillaume-Hubert Franck (French pronunciation: [sezaʁ oɡyst ʒɑ̃ ɡijom ybɛʁ fʁɑ̃k]; 10 December 1822 – 8 November 1890) was a French Romantic composer, pianist, organist, and music teacher born in present-day Belgium.
He was born in Liège (which at the time of his birth was part of the United Kingdom of the Netherlands). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception of an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable musical improviser, and travelled widely within France to demonstrate new instruments built by Aristide Cavaillé-Coll.

In 1858, he became organist at the Basilica of St. Clotilde, Paris, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. After acquiring the professorship, Franck wrote several pieces that have entered the standard classical repertoire, including symphonic, chamber, and keyboard works for pipe organ and piano. As a teacher and composer he had a vast following of composers and other musicians. His pupils included Ernest Chausson, Vincent d'Indy, Henri Duparc, Guillaume Lekeu, Albert Renaud, Charles Tournemire and Louis Vierne.

Paul-Louis Rougnon (24 August 1846 – 11 December 1934) was a French composer, pianist and music educator.

Michele Esposito (29 September 1855 – 19 November 1929) was an Italian composer, conductor and pianist who spent most of his professional life in Dublin, Ireland.

Adolf Jensen (12 January 1837 – 23 January 1879) was a German pianist, composer and music teacher.

Józef Wieniawski (23 May 1837 – 11 November 1912) was a Polish pianist, composer, conductor and teacher. He was born in Lublin, the younger brother of the famous violinist Henryk Wieniawski. After Franz Liszt, he was the first pianist to publicly perform all the études by Chopin. He appeared with Liszt in recitals in Paris, London, Copenhagen, Stockholm, Brussels, Leipzig and Amsterdam.Although now neglected, Józef Wieniawski enjoyed a reputation as one of Europe's finest musicians. Near the end of his life, a journalist asked him how long he intended to serve music. He replied: "As long as I remain young!"

Friedrich Robert Volkmann (6 April 1815 – 30 October 1883) was a German composer.

Ernest Bloch (July 24, 1880 – July 15, 1959) was a Swiss-born American composer. Bloch was a preeminent artist in his day, and left a lasting legacy. He is recognized as one of the greatest Swiss composers in history. As well as producing musical scores, Bloch had an academic career that culminated in his recognition as Professor Emeritus at the University of California, Berkeley in 1952.

Mario Castelnuovo-Tedesco (3 April 1895 – 16 March 1968) was an Italian composer, pianist and writer. He was known as one of the foremost guitar composers in the twentieth century with almost one hundred compositions for that instrument. In 1939 he immigrated to the United States and became a film composer for Metro-Goldwyn-Mayer for some 200 Hollywood movies for the next fifteen years. He also wrote concertos for Jascha Heifetz and Gregor Piatigorsky.

Paul Marie Théodore Vincent d'Indy (French: [vɛ̃sɑ̃ dɛ̃di]; 27 March 1851 – 2 December 1931) was a French composer and teacher. His influence as a teacher, in particular, was considerable. He was a co-founder of the Schola Cantorum de Paris and also taught at the Paris Conservatoire. His students included Albéric Magnard, Albert Roussel, Arthur Honegger, Darius Milhaud, and Erik Satie, as well as Cole Porter.
D'Indy studied under composer César Franck, and was strongly influenced by Franck's admiration for German music. At a time when nationalist feelings were high in both countries (circa the Franco-Prussian War of 1871), this brought Franck into conflict with other musicians who wished to separate French music from German influence.