![]() One of the major compositions of Chausson to gain attention during the past several years is the Poème de l’amour et de la mer, a two-part vocal work lasting about half an hour. Indeed, the violin Poème itself is a masterpiece of elegiac dignity, eloquently presenting the aesthetic core of Chausson’s art (if somewhat trivialized by overexposure, placement in trite program contexts, and shallow performances). However, as Harry Halbreich observes in his astute liner notes, Chausson is recognized today as one of the most important figures in French Romanticism, not only as a stylistic link between Franck and Debussy, one might add, but also as the possessor of an individual creative personality that reveals a profound inner conflict between an intensely emotional nature and a patrician sense of modesty. Not long ago, he was viewed as a fastidious bourgeois epigone of Franck, and one whose place in the repertoire was held only by the Poème for violin and orchestra, a piece often dismissed as bloated salon sentimentality. ERATO NUM-75059 (digital), produced by Pierre Lavoix.Įrnest Chausson’s small but distinguished output is being explored increasingly by today’s celebrated performers. Jessye Norman, soprano Monte Carlo Philharmonic String Quartet Michel Dalberto, piano Philharmonic Orchestra of Monte Carlo conducted by Armin Jordan. ![]() ![]() CHAUSSON: Poème de l’amour et de la mer Chanson perpétuelle Cinq melodies. ![]()
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