![]() ![]() ![]() The caressing theme and associated harmonies introduced at the start of the first part of this work, “La Fleur des eaux” (The Flower of the Waters), accompany the opening stanza the second, in a more uncertain atmosphere, prepares elements of a variant. Wagner and Franck are certainly both there in its mental store, but Chausson’s is also music continuously engaged in remembering itself, applying the Liszt- Franck technique of thematic transformation, with its embedding in constantly shifting chromatic harmony. ![]() In creating a universe heavy with intangible meaning, it is ripe for music–and not least for Chausson’s music, at once sumptuous and exquisite, and pounding with memories. Emotions are clearly the subject matter, but they are rarely reported directly instead the central persona’s sensibility has bloomed out into the sights, sounds and scents of the world around him. Lilacs feature in both the poems Chausson chose here, together with other heady images: the sea, the sky, dead leaves blowing in the wind, the moon. Chausson found his words in a youthful collection of poems by his friend and contemporary Maurice Bouchor, whose lines he also set in several songs–including “Le Temps des lilas,” a transcription of the present work’s ending. As he knew, a sunset has its own power, even majesty, and there are radiant reflections of the Wagnerian afterglow in this evening’s Chausson score, as in those by Dukas and Magnard to follow. Written for the concert Pioneering Influence: C. Ernest Chausson, Poeme de l’amour et de la mer, Op. American Symphony Orchestra - Ernest Chausson, Poeme de l’amour et de la mer, Op. ![]()
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January 2023
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