Overview
Ernest Chausson (1855-1899) was a French composer of the late 19th century, often associated with the post-Romantic movement and musical Impressionism. A pupil of Massenet and Franck at the Paris Conservatoire, he developed a style at the crossroads of Wagnerian lyricism and French harmonic finesse.
His oeuvre, although limited due to his premature death at the age of 44 in a cycling accident, includes outstanding pieces such as the Poème for violin and orchestra (1896), his Symphony in B flat major (1890) and the Concert for piano, violin and string quartet (1891). He also composed refined melodies, such as the Chanson perpétuelle, and highly expressive vocal works.
Chausson distinguished himself through his rich harmonic writing, blending influences from Franck and Wagner with an intimate sensibility. His work, although unique and personal, heralds certain trends in Debussy and Ravel.
History
Ernest Chausson was a man of rare sensitivity, an artist whose life was as brief as it was marked by a ceaseless quest for beauty. Born in 1855 in Paris into a well-to-do bourgeois family, he grew up in a cultured environment, steeped in literature, art and music. However, composition was not his first choice: for the sake of respectability, he first studied law and became a lawyer. But he had little passion for this path, and little by little he gave in to the call of music.
In 1879, at the age of 24, he entered the Paris Conservatoire, where he studied under Jules Massenet, a teacher who encouraged him and was attentive to his melodic sensibility. Later, he was also influenced by César Franck, whose harmonic constructions and mystical fervour profoundly marked his writing. However, Chausson never contented himself with imitating his masters: he aspired to a personal music, an art that would reflect his tormented soul, oscillating between passion and melancholy.
His comfortable financial situation allowed him to travel, notably to Germany, where he discovered Wagner, whose dramatic power overwhelmed him. However, far from blindly adhering to Wagnerism like some of his contemporaries, Chausson always sought a balance between German influence and French finesse. He frequented the intellectual and artistic circles of his time, welcoming writers and composers such as Mallarmé, Debussy and Albéniz to his home.
His work developed slowly, driven by extreme rigour. He composed a Symphony in B flat major, imbued with a noble and tragic spirit, as well as his famous Poème for violin and orchestra, characterised by intense expressiveness. His vocal music, particularly his melodies, displays a rare delicacy, often conveying a veiled melancholy.
But just as his talent was coming to fruition, fate struck brutally. In 1899, during a stay at his property in Limay, he lost control of his bicycle and crashed into a wall. He died instantly, aged just 44, leaving unfinished a String Quartet that shows an evolution towards a more refined style.
Chausson did not receive immediate recognition, and his work, at the crossroads of Romanticism and the new aesthetics of the 20th century, remained in the shadows for a long time. However, his musical language, both intimate and lyrical, continues to touch us with its depth and sincerity, making him a unique figure in French music.
Chronology
Youth and education (1855-1880)
21 January 1855: Born in Paris into a well-off middle-class family.
1865-1875: Secondary and university education. He initially studied law to satisfy his family’s expectations.
1877: Earns a doctorate in law and begins a career as a lawyer, but without much conviction.
1879: At the age of 24, he abandoned law to devote himself to music. He entered the Paris Conservatory, where he studied under Jules Massenet.
1880: He met César Franck, who became his teacher and mentor, instilling in him a sense of musical architecture and expressive fervour.
The years of maturation (1881-1890)
1881: Marries Jeanne Escudier, a happy union that brings him emotional stability.
1882-1883: Travels to Germany and discovers Wagner’s opera Parsifal in Bayreuth, a revelation that will have a lasting influence on his style.
1886: Begins to make a name for himself in the Parisian music scene. He frequents literary and artistic circles where he rubs shoulders with Mallarmé, Debussy, Albéniz and Fauré.
1888-1890: Composition of his Symphony in B flat major, one of his masterpieces, in which he attempts to reconcile the legacy of Franck and the influence of Wagner.
Pinnacle and recognition (1891-1898)
1891: Completes his Concert for piano, violin and string quartet, a major work that marks the culmination of his style.
1893: Composition of The Legend of Saint Cecilia and several refined melodies, in which he develops a more personal harmonic style.
1896: Creation of his famous Poème for violin and orchestra, dedicated to Eugène Ysaÿe, which became one of his most frequently performed works.
1897-1898: Begins his String Quartet, which remains unfinished.
Tragic end (1899)
10 June 1899: During a stay at his property in Limay, he suffered a fatal fall on his bicycle, hitting a wall. He died instantly, aged just 44.
Legacy
His work, little known during his lifetime, gradually gained recognition, thanks in particular to the influence of his friends and pupils.
Today, his Poème and his Concert remain major works in the French repertoire, testifying to a subtle and poignant musical language.
Characteristics of the music
Ernest Chausson was a composer at the crossroads of Romantic and Impressionist influences, developing a deeply personal style combining intense lyricism, refined harmony and expressive melancholy.
1. A balance between tradition and modernity
Chausson stands between two worlds:
He inherited French post-romanticism, particularly from Massenet, whose sense of elegant and expressive melody he retained.
He was influenced by César Franck, from whom he learnt the rigour of cyclic construction and the use of rich and modulating harmony.
He admired Wagner, from whom he retained the expressive chromaticism and dramatic breadth, without ever falling into total imitation.
He foreshadowed some of Debussy’s experiments, particularly in harmonic refinement and subtle orchestral colour.
2. An intense and introspective lyricism
Chausson was a profoundly intimate composer, whose music often expressed an elegant, sometimes tragic melancholy.
His language was imbued with nostalgia and restraint, particularly in his melodies and instrumental pieces.
He developed poetic and dreamy moods, favouring a contemplative atmosphere.
His Poème for violin and orchestra is one of the finest examples of this intimate expressiveness, at once passionate and veiled with sadness.
3. Refined harmony and subtle chromaticism
His writing is modulating and fluid, relying on frequent harmonic modulations that create a sense of instability and mystery.
He uses chromaticism with finesse, inspired by Wagner but used in a more restrained and ethereal way.
His harmonies are sometimes bold, announcing certain impressionist colours.
4. A delicate and expressive orchestration
He excels in the balance of timbres, seeking warm and deep sounds.
His orchestra is often luminist, with supple and shimmering textures.
In his chamber works, he shows great sensitivity to the dialogue between the instruments, particularly in his Concerto for Piano, Violin and String Quartet, where each instrument finds its place with great expressiveness.
5. A cyclic form and a rigorous construction
Heir to Franck, he often adopts the cyclic form, where themes reappear in different forms throughout a work.
His Symphony in B flat major is a fine example of this, developing recurring motifs to reinforce the cohesion of the whole.
Conclusion
Chausson’s music is at once lyrical, intimate and refined, driven by a quest for emotion and depth. Without being revolutionary, it marks a transition between Romanticism and Impressionism, heralding certain aspects of Debussy and Ravel while remaining rooted in a noble and elegiac French tradition.
Relationships
Ernest Chausson, although discreet and reserved, maintained rich and varied relationships with many composers, performers and intellectuals of his time. Thanks to his personal fortune, he was able to organise salons where major figures from the worlds of music, literature and the arts would meet.
1. His teachers: Jules Massenet and César Franck
Jules Massenet (1842-1912): Chausson studied under him at the Paris Conservatoire. Massenet, known for his flair for song and opera, gave him a taste for elegant and expressive melody. However, Chausson did not limit himself to this teaching and sought to develop a more personal language.
César Franck (1822-1890): A true mentor for Chausson, he passed on to him the idea of cyclic form and a more modulating and chromatic harmony. Their relationship was marked by mutual respect, although Chausson sought to distance himself from Franck’s overly strong influence in his early orchestral works.
2. His admiration for Wagner and his trip to Bayreuth
In 1882, Chausson made a decisive trip to Bayreuth, where he attended a performance of Parsifal. He was overwhelmed by Wagner’s music, but unlike some of his contemporaries (such as Vincent d’Indy), he maintained a certain critical distance and did not seek to slavishly imitate the German master. His admiration for Wagner is particularly reflected in his harmonies and intense lyricism.
3. His friendship with Claude Debussy: admiration and tensions
Chausson and Claude Debussy (1862-1918) met in the 1880s and maintained a friendly relationship tinged with admiration and disagreement.
Chausson supported Debussy, regularly inviting him to his salon and helping him financially in his early days.
However, Debussy, with his independent and sometimes scathing temperament, sometimes mocked Chausson’s style, which he found too serious and academic.
Their friendship gradually cooled, especially when Chausson expressed reservations about Pelléas et Mélisande.
4. Eugène Ysaÿe, the key interpreter of his violin work
Eugène Ysaÿe (1858-1931), the great Belgian violinist, played a central role in Chausson’s career.
Chausson composed the famous Poème for violin and orchestra (1896) for him, a work inspired by the violinist’s virtuosity and expressiveness.
Ysaÿe was also one of the first to champion Chausson’s music after his death.
5. His involvement in artistic and literary circles
Thanks to his privileged social status, Chausson maintained close relationships with numerous artists and writers:
Auguste Rodin (1840-1917): He admired the sculptor, whose work expressed a lyricism and intensity that echoed his own music.
6. His relationships with other composers and performers
Gabriel Fauré (1845-1924): They respected each other, despite their different styles. Fauré admired Chausson’s harmonic finesse.
Vincent d’Indy (1851-1931): A close friend, he shared Chausson’s admiration for Franck and Wagner. D’Indy was one of the first to champion Chausson’s music after his death.
Isaac Albéniz (1860-1909): The Spanish composer was a regular at Chausson’s salon and shared his innovative harmonic approach.
7. His involvement in the National Music Society
Chausson was a member of the Société Nationale de Musique, which promoted French music. He presented several of his works there, including his Symphony in B flat major and his Concerto for Piano, Violin and String Quartet.
Conclusion
Ernest Chausson was a man of culture, open to the literary, artistic and musical influences of his time. His relationships with other musicians fluctuated between respect, admiration and sometimes tension, as with Debussy. Thanks to his salon and his support for young composers, he played an essential role in the Parisian music scene, while remaining a discreet artist, in search of a musical perfection that was his own.
Similar composers
The music of Ernest Chausson is at the crossroads of late Romanticism and the beginnings of Impressionism. His style oscillates between intense lyricism, refined harmony and a certain expressive melancholy. Here are a few composers whose music shares affinities with that of Chausson, whether through their harmonic language, their expressiveness or their place in musical history.
1. César Franck (1822-1890) – The spiritual mentor
Chausson was profoundly influenced by César Franck, who was his teacher at the Paris Conservatoire.
Like Chausson, Franck used cyclic form, in which motifs reappear in different forms throughout a work.
His harmonic writing, rich in chromatic modulations, is similar to that of Chausson.
His Symphony in D minor (1888) and his Prelude, Chorale and Fugue (1884) illustrate this balance between spirituality and dramatic power, an approach that is also found in Chausson.
🎵 Works similar to Chausson: Sonata for Violin and Piano (1886), Symphonic Variations (1885).
2. Vincent d’Indy (1851-1931) – Franck’s close friend and heir
Vincent d’Indy shared Chausson’s admiration for Franck and Wagner, but their styles diverged slightly.
D’Indy’s writing was more structured and formal, while Chausson favoured a more intimate lyricism.
They both wrote chamber and symphonic music, with refined orchestration.
His Symphony on a French Mountain Song (1886) has a contemplative atmosphere reminiscent of Chausson.
🎵 Works similar to Chausson: Poème des montagnes (1892), Istar (1896).
3. Gabriel Fauré (1845-1924) – melodic elegance and subtle harmony
Chausson and Gabriel Fauré shared a taste for refined harmony and restrained expressiveness.
Fauré’s music is, however, more fluid and airy, while Chausson’s has a denser and more dramatic lyricism.
Both excelled in vocal writing and French melody.
Their chamber music works are distinguished by their expressive depth and harmonic subtlety.
🎵 Works similar to Chausson: Mélodies, Requiem (1890), Piano Quartet No. 1 (1880).
4. Henri Duparc (1848-1933) – The same intensity in the melody
Like Chausson, Henri Duparc was influenced by Wagner and Franck.
His catalogue is small, but his melodies are among the most expressive in French music.
He shares with Chausson a taste for melancholy and interiority, with a sophisticated harmonic style.
🎵 Works similar to Chausson: L’Invitation au voyage (1870), Phidylé (1882).
5. Albéric Magnard (1865-1914) – Similar in spirit but more austere
A contemporary of Chausson, Albéric Magnard was also influenced by Franck and d’Indy.
His music is more austere and rigorous than Chausson’s, but it shares the same expressive power and nobility of tone.
His harmonic language is dense, sometimes close to that of Chausson’s Symphony.
🎵 Works similar to Chausson: Symphony No. 4 (1913), String Quartet (1903).
6. Isaac Albéniz (1860-1909) – The Spanish friend of Chausson’s circle
Isaac Albéniz, famous for his Spanish music, frequented Chausson’s artistic circle in Paris.
He shares with him a subtle harmony, particularly in certain more introspective pieces such as Iberia.
Although his style is characterised by Iberian rhythms, he has a harmonic finesse that brings him closer to Chausson and Debussy.
🎵 Works similar to Chausson: Iberia (1905), Suite española (1886).
7. Claude Debussy (1862-1918) – A lukewarm friend
Chausson and Debussy were close, but their styles diverged:
Debussy explored a freer, impressionist language, while Chausson remained attached to a more structured writing.
However, they shared a refined harmony and poetic sensibility.
Chausson sometimes criticised Debussy for his harmonic audacity, but he admired his talent.
🎵 Works similar to Chausson: String Quartet (1893), Prelude to the Afternoon of a Faun (1894).
Conclusion
Chausson belonged to a generation of French composers in transition, between the Romanticism inherited from Franck and Wagner and the harmonic innovations that would lead to Debussy and Ravel. He shared with his contemporaries a taste for melodic elegance, subtle harmonies and melancholic expressiveness. His work, although limited, remains profoundly original and influential in the history of French music.
Relationships
Ernest Chausson’s direct relationships with other composers, performers and intellectuals
Ernest Chausson, although discreet and reserved, forged many relationships with composers, performers and intellectuals of his time. His privileged social status enabled him to organise an artistic salon where he received influential personalities from the musical and literary world. He played an important role in Parisian musical life, while remaining attached to a certain artistic introspection.
1. His teachers and mentors
Jules Massenet (1842-1912) – His teacher at the Conservatoire
Chausson studied composition with Massenet at the Paris Conservatoire.
He learnt from him a sense of melodic elegance and mastery of lyrical forms.
However, Chausson preferred to move away from his master’s style to develop a more introspective and harmonic approach, influenced by other composers.
César Franck (1822-1890) – The major influence
Chausson studied under César Franck, who had a great influence on him.
He adopted the cyclic form, dear to Franck, and a harmonic style rich in modulations.
He retained a deep admiration for his master, even if he sought to avoid too direct an imitation.
2. His admiration for Wagner and his trip to Bayreuth
In 1882, Chausson travelled to Bayreuth, where he attended Parsifal.
Like many French composers of his generation, he was overwhelmed by Wagner’s music.
He incorporated certain Wagnerian influences into his works, particularly in his chromatic harmonies and dense orchestral textures.
However, he kept a critical distance and never fell into direct imitation of Wagner, unlike Vincent d’Indy.
3. His friendship and tensions with Claude Debussy (1862-1918)
Debussy and Chausson met in the 1880s and maintained a friendship based on mutual admiration.
Chausson supported Debussy financially and regularly invited him to his salon.
Debussy, more daring in his harmonic explorations, sometimes mocked Chausson’s overly serious and academic side.
Their relationship cooled when Chausson expressed reservations about Pelléas et Mélisande, which he found too innovative.
4. His links with major performers
Eugène Ysaÿe (1858-1931) – The dedicatee of the Poème for violin
The Belgian violinist Eugène Ysaÿe was one of the most important performers of Chausson’s works.
Chausson composed his masterpiece, the Poème for violin and orchestra (1896), for him.
Ysaÿe championed Chausson’s music after his death and made it known outside France.
Alfred Cortot (1877-1962) – Champion of his piano music
The famous pianist Alfred Cortot was one of the first to play Chausson’s works for piano.
He helped to disseminate his Concert for piano, violin and string quartet, an essential work of French chamber music.
5. His involvement in the Société Nationale de Musique
Chausson was an active member of the Société Nationale de Musique, which promoted contemporary French music.
He had several of his works performed there, notably his Symphony in B flat major and his melodies.
There he rubbed shoulders with composers such as Gabriel Fauré, Vincent d’Indy and Paul Dukas.
6. His relationships with other French composers
Gabriel Fauré (1845-1924) – Mutual respect
Chausson and Fauré shared a taste for refined harmony and subtle writing.
They maintained a respectful relationship, although their styles differed: Fauré being more fluid and luminous, Chausson more sombre and introspective.
Vincent d’Indy (1851-1931) – Franck’s faithful friend and disciple
D’Indy and Chausson shared an admiration for César Franck and Wagner.
D’Indy was one of the first to defend Chausson’s music after his death.
Henri Duparc (1848-1933) – A composer close in sensibility
Chausson and Duparc shared a musical melancholy and a taste for intimate expressiveness.
Both influenced by Wagner, they wrote some of the most beautiful French melodies.
7. His relationships with writers and intellectuals
Stéphane Mallarmé (1842-1898) – The influence of symbolism
Chausson frequented the symbolist poet Mallarmé, whose aesthetic influenced his music.
His taste for dreamlike and poetic atmospheres can be found in some of his melodies.
Paul Verlaine (1844-1896) – Poems set to music
Chausson set several of Verlaine’s poems to music, particularly in his melodies.
Auguste Rodin (1840-1917) – A link with the world of the visual arts
Chausson appreciated Rodin’s sculptures, who shared his taste for dramatic expression and introspection.
8. His support for young artists
Chausson, thanks to his personal fortune, helped several young artists, notably Debussy and Albéniz.
His artistic salon was a meeting place where musicians, poets and painters would cross paths.
Conclusion
Ernest Chausson was a central figure in French music of his time, maintaining deep relationships with composers, performers and intellectuals. He was at once an heir of Franck, an admirer of Wagner, a friend of Debussy, and a generous patron of the younger generation. His influence was felt long after his death, and his work continues to be performed and appreciated for its unique expressiveness.
Similar composers
Ernest Chausson’s music lies somewhere between late Romanticism and nascent Impressionism, with refined harmony, intense expressiveness and often lush orchestration. His musical language is characterised by a profound melancholy, lyrical writing and a search for balance between classical rigour and expressive freedom. Here are a few composers whose style or aesthetic are close to his.
1. César Franck (1822-1890) – The spiritual master
Chausson was a pupil of César Franck, who profoundly influenced his writing.
Like Franck, he used the cyclic form, in which the same motif is transformed and reappears throughout a work.
Chausson’s chromatic harmony and orchestral density are reminiscent of Franck’s.
🎵 Works similar to Chausson: Symphony in D minor (1888), Sonata for Violin and Piano (1886).
2. Vincent d’Indy (1851-1931) – Franck’s faithful friend and heir
Vincent d’Indy shared Chausson’s admiration for Franck and Wagner.
His style is often more structured and academic, but he explores rich orchestral colours and daring harmonies.
Both wrote symphonies, symphonic poems and chamber music influenced by the Wagnerian legacy.
🎵 Works similar to Chausson: Symphony on a French Mountain Song (1886), Istar (1896).
3. Gabriel Fauré (1845-1924) – Elegance and subtlety
Fauré and Chausson share a refined harmonic style, although Fauré’s is often more fluid and luminous.
Both excel in vocal writing and French melody, with a taste for poetry and intimate sensitivity.
Their chamber and orchestral music is characterised by expressive finesse and a search for clarity.
🎵 Works similar to Chausson: Requiem (1890), Piano Quartet No. 1 (1880).
4. Henri Duparc (1848-1933) – Lyricism and depth
Henri Duparc and Chausson share an expressive and melancholic style, influenced by Wagner.
Duparc’s catalogue is limited, but his melodies are among the most beautiful in the French repertoire.
Like Chausson, he favours careful orchestration and refined harmonies, with a penchant for nostalgia.
🎵 Works similar to Chausson: L’Invitation au voyage (1870), Phidylé (1882).
5. Albéric Magnard (1865-1914) – An independent and austere spirit
A contemporary of Chausson, Albéric Magnard was influenced by Franck and d’Indy.
His language is more austere than Chausson’s, but shares the same expressive force and dense orchestration.
His symphonic and chamber music work recalls Chausson’s nobility of tone and emotional depth.
🎵 Works similar to Chausson: Symphony No. 4 (1913), Sonata for Violin and Piano (1901).
6. Isaac Albéniz (1860-1909) – A friend of Chausson’s circle
Isaac Albéniz, although famous for his Spanish music, frequented Chausson’s artistic circle in Paris.
Some of his piano cycles, such as Iberia, have harmonies similar to those of Chausson and Debussy.
He shared with Chausson a quest for sophisticated harmonic colours and detailed orchestration.
🎵 Works similar to Chausson: Iberia (1905), Suite española (1886).
7. Claude Debussy (1862-1918) – A friend and artistic rival
Chausson and Debussy had a friendship tinged with rivalry.
Chausson, more classical and structured, was wary of Debussy’s harmonic audacity, but admired his sensitivity.
Their approach to subtle harmony and refined orchestration sometimes overlapped.
🎵 Works similar to Chausson: Prélude à l’après-midi d’un faune (1894), Quatuor à cordes (1893).
8. Paul Dukas (1865-1935) – Perfectionism and orchestral richness
Dukas, like Chausson, was a perfectionist, writing little but with great rigour.
His orchestration is rich and elaborate, with occasional Wagnerian inspiration.
He shares with Chausson a taste for harmonic density and mysterious atmospheres.
🎵 Works similar to Chausson: The Sorcerer’s Apprentice (1897), Piano Sonata (1900).
Conclusion
Chausson belongs to a generation of French composers in transition, between the Romanticism of Franck and Wagner and the harmonic innovations that would lead to Debussy and Ravel. He shared with his contemporaries a taste for melodic elegance, subtle harmonies and melancholic expressiveness. His oeuvre, although limited, remains profoundly original and influential in the history of French music.
Piano Trio and Piano Quartet
Ernest Chausson composed two major works for ensembles with piano:
Trio for piano, violin and cello in G minor, Op. 3 (1881-1882)
Composed during his years of apprenticeship under the influence of César Franck and Jules Massenet.
A work imbued with Romanticism, with Franckist influences in the cyclic structure and the harmony.
Distinguished by a melancholy atmosphere and great expressiveness.
Concert for piano, violin and string quartet in D major, Op. 21 (1889-1891)
Hybrid work between piano quintet and piano chamber concerto.
One of Chausson’s masterpieces, combining orchestral power and intimate introspection.
Influences of Franck and Wagner, with passages of great emotional intensity.
Although Chausson did not compose a true piano quartet, his Concert for Piano, Violin and String Quartet can be considered a work close to this formation, with a particularly demanding role for the piano.
Famous works
Ernest Chausson, although he died prematurely at the age of 44, left a catalogue of works characterised by deep expressiveness and harmonic refinement. Here are his most important compositions, classified by genre:
1. Orchestral works
Symphony in B flat major, Op. 20 (1890)
His only symphony, in the tradition of César Franck, with a cyclic form and rich orchestration.
An ample and lyrical work, at once noble and dramatic.
Poème for violin and orchestra, Op. 25 (1896)
His most famous work, dedicated to Eugène Ysaÿe.
A profoundly lyrical piece, with changing moods and a dreamy atmosphere.
Viviane, Op. 5 (1882-1883)
Symphonic poem inspired by the Arthurian legend of the fairy Viviane.
Influences of Wagner, with rich orchestration and expressive themes.
2. Chamber music
Trio for piano, violin and cello in G minor, Op. 3 (1881-1882)
Early work already marked by expressive depth.
Concert for piano, violin and string quartet in D major, Op. 21 (1889-1891)
One of his most original works, a cross between a piano quintet and a chamber concerto.
String quartet in C minor, Op. 35 (1898, unfinished)
Unfinished at the time of his death, it shows an evolution towards a more daring style.
The last movement was completed by Vincent d’Indy.
3. Vocal music and songs
Le Poème de l’amour et de la mer, Op. 19 (1882-1892)
Cycle of songs with orchestra, based on poems by Maurice Bouchor.
A profoundly melancholic and nostalgic work, often compared to Wagner’s Wesendonck Lieder.
Chanson perpétuelle, Op. 37 (1898)
Melody for voice and string quartet (or piano), text by Charles Cros.
A poignant, twilight work, heralding Debussy’s impressionism.
Various melodies (Op. 1, Op. 2, Op. 8, Op. 13, Op. 17, Op. 25, etc.)
A rich body of work influenced by Fauré and Duparc, with great harmonic finesse.
4. Piano music
Pieces for piano, Op. 24 (1896)
A series of introspective and elegant pieces.
Less well known than those of Fauré or Debussy, they reveal a beautiful harmonic mastery.
5. Dramatic music
Le Roi Arthus, Op. 23 (1886-1895)
His only opera, inspired by the legend of King Arthur and influenced by Wagner.
An ambitious work, rarely performed but considered a French post-Romantic masterpiece.
Conclusion
Chausson’s work is characterised by lyrical melancholy, harmonic refinement and the influence of Wagner and Franck. His compositions, although few in number, are among the most profound in the French repertoire, and some, such as Poème for violin and Poème de l’amour et de la mer, are now essential classics.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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