CHAUSSON Poème de l'Amour et de la mer. Symphony Op 20
View record and artist detailsRecord and Artist Details
Composer or Director: (Amedée-)Ernest Chausson
Genre:
Vocal
Label: Alpha
Magazine Review Date: 06/2019
Media Format: CD or Download
Media Runtime: 60
Mastering:
DDD
Catalogue Number: ALPHA441
Tracks:
Composition | Artist Credit |
---|---|
Poème de l'amour et de la mer |
(Amedée-)Ernest Chausson, Composer
(Amedée-)Ernest Chausson, Composer Alexandre Bloch, Conductor Lille National Orchestra Véronique Gens, Soprano |
Symphony |
(Amedée-)Ernest Chausson, Composer
(Amedée-)Ernest Chausson, Composer Alexandre Bloch, Conductor Lille National Orchestra |
Author: Tim Ashley
Gens’s dark tone and her ability to fuse sound with sense allow her both to encompass the work’s rapturous lyricism and to map out the psychological subtlety of its depiction of the painful end of an affair, viewed against the backdrop of the immutable cycles of nature. Every word of Maurice Buchor’s rather ornate text is given clarity and meaning without fracturing the vocal line. The oscillating emotions, as hope gives way first to anxiety, then to despair, are more searchingly conveyed here than in any other version I know, while the closing ‘Le temps des lilas’ brings with it both a deep, contained sadness and a disquieting air of irrevocable finality. Keenly alert both to the complexities of orchestral detail and to the inner propulsion of the score, Bloch is with her every step of the way. He carefully stresses the work’s pivotal nature, gazing back towards Wagner yet pre-empting La mer, and also reminds us of the often startling originality of its form, part dramatic monologue, part song-cycle, though in some respects it remains unclassifiable.
Its companion piece is the Symphony in B flat, much criticised for its overt debt to Wagner, particularly its slow movement, which is closely modelled on the Act 3 Tristan Prelude. The greater and more subtle influence here, however, derives from Franckian cyclic form, which dictates the meticulously crafted structure, and the musical argument is laid out with perfect clarity in Bloch’s performance without losing sight of the work’s direct intensity of emotional expression or the headiness of Chausson’s orchestration. The playing is rich, both in sound and detail, the brass warm and burnished, the woodwind elegant and refined, while the recording, like that of Poème, is both spacious and exactingly balanced. It’s an outstanding disc, and highly recommended.
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