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Classical - Released March 1, 2019 | Alpha

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Ernest Chausson is a most unusual figure in French music, positioned at the crossroads where the romanticism of Berlioz and Franck meet the language of Wagner and the symbolism of the young Debussy. His Poème de l’amour et de la mer is a unique score for the period and certainly his greatest work; simultaneously a profane, naturistic cantata, a monologue, and a song cycle, it was composed between 1882 and 1892. Véronique Gens is recording this cycle for the first time, although she has already issued Le temps des lilas with Susan Manoff at the piano ("Néère"), about which Ernst Van Bek wrote in Classiquenews: « it mesmerises with the nuancing of its colours, the allusive precision of every sung word ». Véronique Gens’ talent is equally on display in this recording too, with the Orchestre National de Lille – an orchestra she already knows well – under Alexandre Bloch, its new chief conductor, whose appointment and first concerts and recordings have already caused a sensation… The Symphony in B-flat major completes this programme: a summit of French symphonic writing, for some a milestone as important as the Symphony in D of Chausson’s teacher César Franck! © Outhere Music

Classical - Released April 24, 2020 | Klarthe

Hi-Res Booklet Distinctions 4F de Télérama

Classical - Released February 20, 1984 | Sony Classical

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Classical - Released January 1, 2006 | PentaTone

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The Franck D minor Symphony can be a treacherous undertaking for almost any orchestra. Its highly repetitive nature sets the trap for what could be a boring, monotonous performance if not executed with a great deal of forward-moving energy and attention to nuance. Fortunately, the Orchestre de la Suisse Romande under the direction of Marek Janowski does not fall into this trap. The first movement is very driven. The fateful three-note motive, presented in all its permutations of augmentation and diminution, is kept interesting and is highlighted even when it may otherwise be obscured by other material. The second-movement Allegretto is quite graceful with admirable consideration of dynamics. The cyclical Finale is still able of maintaining the listeners interest by never losing momentum and making clear the return of motives and themes from the previous two movements. While the better-known Franck symphony receives top billing on this album, Ernest Chausson's Symphony in B flat is a shining example of a student surpassing his teacher. Chausson's handling of the orchestra seems much more deft and natural. While elements of Franck's teaching are quite clear, so too are the influences of Wagner and Debussy. The sweeping melodies and lush accompaniments are again handled with the utmost attention to detail by Janowski and the OSR. © TiVo

Symphonic Music - Released September 6, 2011 | PentaTone

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French music of the late Romantic era was almost completely overshadowed by the established German tradition, to the effect that many exceptional composers, such as Vincent d'Indy, Camille Saint-Saëns, and Ernest Chausson, were relegated to secondary status behind their German colleagues, and their works were seriously under-performed. This situation persisted through the 20th century, and the works on this 2011 hybrid-SACD from PentaTone Classics might seem unfamiliar because they were seldom programmed and recorded. Fortunately, in the 21st century there are champions for French symphonic music, such as Marek Janowski and the Orchestre de la Suisse Romande, and the ongoing rediscovery of this somewhat neglected repertoire promises a restoration of some great pieces. Perhaps best known of the three selections, d'Indy's Symphony on a French Mountain Air is wonderfully atmospheric, and its delicate orchestration and evanescent moods in some ways anticipate Impressionism. The Symphony No. 2 in A minor is played far less frequently than Saint-Saëns' extremely popular Symphony No. 3, "Organ," though it is a solid piece of craftsmanship and is quite representative of the Classically oriented French symphonies produced in the mid-19th century. On its surface, Chausson's Soir de fête seems to have the strongest German flavor, yet while the composer was plainly influenced by Liszt and Wagner, the piece also owes a considerable amount of its verve to Berlioz. Janowski and the orchestra present these works with smooth technique and scintillating colors, and the depth and lushness of the ensemble's sound come across impressively in the multichannel format. © TiVo

Opera - Released January 9, 2007 | Warner Classics International

Distinctions Diapason d'or - 5 de Diapason - Choc de Classica - The Qobuz Ideal Discography

Classical - Released February 5, 2013 | Chandos

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Symphonic Music - Released September 27, 2016 | Les Indispensables de Diapason

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Classical - Released June 26, 2006 | Polymnie


Classical - Released March 1, 2019 | Sony Classical


Classical - Released April 27, 2010 | Naxos

French composer Ernest Chausson produced an abundance of songs yet struggled to produce any impressive quantity of large-scale works. Perhaps his greatest achievement outside of his songs is the Op. 21 Concert, scored for violin, piano, and string quartet. The instrumentation and formal structure of the piece, which took some three years to complete, is a perfect illustration of Chausson's struggles. Though the solo violin figures prominently, the instrumental forces are continuously reconfigured to give various instruments and combinations thereof the starring role. Performing this unique and monumental work are the Wihan String Quartet joined by violinist Stephen Shipps and pianist Eric Larsen (both of the Meadowmount Trio). The ensemble does a nice job of capturing all of these changing textures and combinations and does so while maintaining an intense but rich, warm sound. The outer Anime movements are driven and exciting; the third movement Grave is breathtaking in its stillness and gravitas. Intonation is generally good, though Shipps occasionally sounds sharp compared to the Wihan members. The disc concludes with Chausson's first major completed chamber work, the G minor Piano Trio. The Meadowmount members do a commendable job of revitalizing this youthful work that can sometimes pale in comparison to the concert. There is a great deal of unison and octave playing between the cello and the violin in the Trio; Shipps and cellist Owen Carman pleasingly match pitch throughout. Naxos' sound is clear and responsive. © TiVo

Classical - Released March 2, 1998 | Naxos


Classical - Released January 1, 1960 | BnF Collection

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Concertos - Released February 21, 2003 | Naxos


Classical - Released October 21, 2010 | Saphir Productions

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Classical - Released February 14, 2020 | G.O.P.


Symphonic Music - Released January 1, 1999 | Chandos


Classical - Released January 1, 2007 | Timpani

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Classical - Released October 25, 2007 | Mirare