 Alkan 's Op. 31 set of Préludes includes a number of pieces based on Jewish subjects , including some titled Prière ( Prayer ) , one preceded by a quote from the Song of Songs , and another titled Ancienne mélodie de la synagogue ( Old synagogue melody ) . The collection is believed to be " the first publication of art music specifically to deploy Jewish themes and ideas . " Alkan 's three settings of synagogue melodies , prepared for his former pupil Zina de Mansouroff , are further examples of his interest in Jewish music ; Kessous Dreyfuss provides a detailed analysis of these works and their origins . Other works evidencing this interest include no . 7 of his Op. 66 . 11 Grands préludes et 1 Transcription ( 1866 ) , entitled " Alla giudesca " and marked " con divozione " , a parody of excessive hazzanic practice ; and the slow movement of the cello sonata Op. 47 ( 1857 ) , which is prefaced by a quotation from the Old Testament prophet Micah and uses melodic tropes derived from the cantillation of the haftarah in the synagogue . 
 Alkan <a href='null_genetive' title='1'><mark>'s</mark></a>Op. 31 set of Préludes <a href='uninflect' title='2'><mark>includes</mark></a> a number of pieces based on Jewish subjects , including some titled Prière ( Prayer ) , one preceded by a quote from the Song of Songs , and another titled Ancienne mélodie de la synagogue ( Old synagogue melody ) . The collection is believed to be " the first publication of art music specifically to deploy Jewish themes and ideas . " Alkan <a href='null_genetive' title='3'><mark>'s</mark></a>three settings of synagogue melodies , prepared for his former pupil Zina de Mansouroff , are further examples of his interest in Jewish music ; Kessous Dreyfuss <a href='uninflect' title='4'><mark>provides</mark></a> a detailed analysis of these works and their origins . Other works evidencing this interest include no . 7 of his Op. 66 . 11 Grands préludes et 1 Transcription ( 1866 ) , entitled " Alla giudesca " and marked " con divozione " , a parody of excessive hazzanic practice ; and the slow movement of the cello sonata Op. 47 ( 1857 ) , which is prefaced by a quotation from the Old Testament prophet Micah and <a href='uninflect' title='5'><mark>uses</mark></a> melodic tropes derived from the cantillation of the haftarah in the synagogue . 
Alkan  Op. 31 set of Préludes include a number of pieces based on Jewish subjects , including sum titled Prière ( Prayer ) , one preceded by a quote from the Song of Songs , and anotha titled Ancienne mélodie de la synagogue ( Old synagogue melody ) . The collection is believed to b " the first publication of art music specifically to deploy Jewish themes and ideas . " Alkan  three settings of synagogue melodies , prepared for his former pupil Zina de Mansouroff , r further examples of his interest in Jewish music ; Kessous Dreyfuss provide a detailed analysis of these works and their origins . Other works evidencing dis interest include no . 7 of his Op. 66 . 11 Grands préludes et 1 Transcription ( 1866 ) , entitled " Alla giudesca " and marked " con divozione " , a parody of excessive hazzanic practice ; and the slow movement of the cello sonata Op. 47 ( 1857 ) , which is prefaced by a quotation from the Old Testament prophet Micah and use melodic tropes derived from da cantillation of the haftarah in tdasynagogue .