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Ernest Chausson

A French composer of opera, chamber music, and the symphonic poem "Viviane" (1882). The influences of Wagner and Franck are evident in Chausson's music, although he developed an intense individual style. ~ Mary K. Scanlan
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Track List: Poeme De L'amour Et De La Mer - Chanson Perpetuelle - Melodies

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There are moments when I feel myself driven by a kind of feverish instinct, as if I had the presentiment of being unable to attain my goal, or of attaining it too late. Ernest Chausson

Amédée-Ernes t Chausson (French: ; 20 January 1855 – 10 June 1899) was a French romantic composer who died just as his career was beginning to flourish.
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Not at all prolific, Chausson left behind only 39 opus-numbere d pieces. Musical creation for him always proved to be a long, painful struggle. However, the quality and originality of his compositions are consistently high, and they continue to make occasional appearances on programs of leading singers, chamber music ensembles and orchestras.
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It includes the symphonic poem Viviane; the Symphony in B-flat, his sole symphony; Poème for violin and orchestra, an important piece in the violin repertoire; and the dramatic, and haunting, song-cycle Poème de l'amour et de la mer.
Chausson is believed to be the first composer to use the celesta. He employed that instrument in December 1888 in his incidental music, written for a small orchestra, for La tempête, a French translation by Maurice Bouchor of Shakespeare' s The Tempest.
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In general, Chausson's compositiona l idiom bridges the gap between the ripe Romanticism of Massenet and Franck and the more introverted Impressionis m of Debussy.
Several delicate and admirable songs came from Chausson's pen. He completed one opera, Le roi Arthus (King Arthur). His orchestral output was small, but significant.
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From his father's death in 1894 dates the beginning of his third period, during which he was especially influenced by his reading of the symbolist poets and Russian literature, particularly Turgenev, Dostoyevsky, and Tolstoy.
Chausson's work is deeply individual, but it does reflect some technical influences of both Wagner and his other musical hero Franck. Stylistic traces of Massenet and even Brahms can be detected sometimes.
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The creative work of Chausson is commonly divided into three periods. In the first, which was dominated by Massenet, the composer exhibits primarily fluid and elegant melodies. The second period, dating from 1886, is marked by a more dramatic character, deriving partly from Chausson's contacts with the artistic milieux in which he moved.
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Chausson was buried in Père Lachaise Cemetery in Paris, his funeral attended by many leading figures of the arts, including Duparc, Fauré, Albeniz, Redon, Edgar Degas, Auguste Rodin, Henri de Régnier, Pierre Louÿs, and Claude Debussy, although his friendship with Debussy had ended abruptly five years earlier following his disapproval of Debussy's promiscuity.
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When only 44 years old, Chausson died while staying at one of his country retreats, the Château de Mioussets, in Limay, Yvelines. Riding his bicycle downhill, Chausson hit a brick wall and died instantly. The exact circumstance s remain unclear; although apparently a freak accident, there has been the suggestion of suicide as he had been suffering from acute depression for some time.
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From 1886 until his death in 1899, Chausson was secretary of the Société Nationale de Musique. In his own home (22 Boulevard de Courcelles, near Parc Monceau), he received a great many eminent artists, including the composers Henri Duparc, Gabriel Fauré, Claude Debussy, and Isaac Albéniz, the poet Mallarmé, the Russian novelist Turgenev, and the impressionis t painter Monet. Chausson also assembled an important collection of paintings.
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At the Paris Conservatoir e , Chausson also studied with César Franck. Chausson interrupted his studies in 1881, after a failed attempt to win the Prix de Rome. <1> During 1882 and 1883, Chausson, who enjoyed travel, visited Bayreuth to hear the operas of Wagner. On the first of these journeys, Chausson went with d'Indy for the premiere of Wagner's Parsifal, and on the second trip he went with his new spouse Jeanne Escudier (1862-1936), with whom he was to have five children.
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Before deciding on a musical career, he dabbled in writing and drawing.

Chausson page-turning for Debussy, Luzancy, 1893
In October 1879, at the age of 25, he began attending the composition classes of the opera composer Jules Massenet at the Paris Conservatoir e ; Massenet came to regard him as 'an exceptional person and a true artist'. Chausson had already composed some piano pieces and songs. Nevertheless , the earliest manuscripts that have been preserved are those corrected by Massenet.
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Ernest Chausson was born in Paris into a prosperous bourgeois family. His father made his fortune assisting Baron Haussmann in the redevelopmen t of Paris in the 1850s. To please his father, Chausson studied law and was appointed a barrister for the Court of Appeals; but in truth, he had little or no interest in the profession. He frequented the Paris salons, where he met celebrities such as Henri Fantin-Latou r , Odilon Redon, and Vincent d'Indy.

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