Ernest Chausson

If Marcel Proust had written music, it might have sounded something like Ernest Chausson's: intensely passionate, yet rarely given to grand gestures. The effectiveness of Chausson's ardent, even erotic, musical language derives largely from the slithery chromatic style the composer inherited from his most important teacher, <a href="spotify:artist:1C3sffOOvQNUwg4YIsvKqy">César Franck</a>. Indeed, Chausson's music forms an elegant, if swaying, bridge between <a href="spotify:artist:1C3sffOOvQNUwg4YIsvKqy">Franck</a>'s lush, Wagnerian Romanticism and the sensuous Impressionist language of <a href="spotify:artist:1Uff91EOsvd99rtAupatMP">Debussy</a>.

Chausson came from a well-to-do family; in fact, comfortable circumstances throughout his entire life made it unnecessary for him to seek a living as a musician. Although interested in music from a young age, he pursued law studies at his father's behest. In 1877, he was sworn in as a lawyer in Paris; in the same year, he wrote his first work, the unpublished song Lilias. The impulse to devote himself to composition was sparked in 1879, when Chausson attended a performance of <a href="spotify:artist:1C1x4MVkql8AiABuTw6DgE">Wagner</a>'s Tristan und Isolde in Munich and met there the sometime <a href="spotify:artist:1C1x4MVkql8AiABuTw6DgE">Wagner</a> disciple <a href="spotify:artist:74t2IgTigmFhqMn5gs5XPt">Vincent d'Indy</a>. Chausson entered the Paris Conservatory the following year and began studies with <a href="spotify:artist:1AoIc5YFH0aSFc4mKqBEeB">Jules Massenet</a>. His formal musical education was rounded out by private study with <a href="spotify:artist:1C3sffOOvQNUwg4YIsvKqy">Franck</a>. Chausson's talent flowered in short order. A number of even his earliest published works -- especially the song set Seven Mélodies, Op. 2 (1879-1882) -- have long been regarded as small masterpieces.

As secretary of the Société Nationale de Musique (an organization founded by <a href="spotify:artist:436sYg6CZhNefQJogaXeK0">Saint-Saëns</a> and others to promote the performance of French instrumental music) from 1886, Chausson became a full-fledged member of the Parisian musical community. His salon became a regular meeting place for literary and musical notables including Mallarmé, <a href="spotify:artist:1Uff91EOsvd99rtAupatMP">Debussy</a>, <a href="spotify:artist:4sbcjbyksdT4dJ5Lh0SvZp">Albéniz</a>, pianist <a href="spotify:artist:050gdJliIBXy99gPLsmHiy">Alfred Cortot</a>, and violinist/composer <a href="spotify:artist:662RkpOvE7MIPWnfYbY5xs">Eugène Ysaÿe</a>. A prolific composer of songs, Chausson also composed works for voice and orchestra, choral music, and several operas. He is best known, however, for his chamber music -- especially the Concert for piano, violin, and string quartet, Op. 21 (1889-1891), and the Piano Quartet, Op. 30 (1897) -- and for imaginative orchestral works like the Symphony in B flat major, Op. 20 (1889-1890), and the Poème for violin and orchestra, Op. 25 (1896). Chausson died in 1899, at the age of 44, from injuries sustained in a bicycle accident. His death silenced the most distinctive voice in French music in the generation immediately preceding <a href="spotify:artist:1Uff91EOsvd99rtAupatMP">Debussy</a>. ~ TiVo Staff, Rovi