A collection of 20 songs by this master of chanson, all in their original keys. Contents: Amour d'antan · Ballade · Cantique à l'e pause · Chanson d'Ophelie · Chanson de clown · Chanson perpetuelle · Dans la foret du charme · Fauves las · La chanson bien douce · Lassitude · Le temps des lilas · Les courronnes · Les heures · Nocturne · Nos souvenirs · Oraison · Printemps triste · Serre chaude · Serre d'ennui.

This critically acclaimed work exhibits the significant influence of César Franck, with whom the composer studiedÂ--particularly in its cyclical form, numerous modulations, and deeply expressive lyricism. Chausson wished to encourage a rediscovery of classic forms, especially in chamber music, and this brilliant work attests to the success of his efforts. Authoritative French edition.

Publisher: Editions Salabert
Series: Choral Large Works
Pages: 76
Composer(s): Ernest Chausson

Paysage, Op.38; Interlude du Poeme de l'amour et de la mer; Quelques Danses; Dedicace; Sarabande; Pavane; Forlane.

Following his early elimination from the Prix de Rome, the sought-after award for composition students at the Paris Conservatoire, Chausson withdrew to the country in summer 1881 and began composing this ambitious work - out of defiance, so to speak. During his lifetime the trio remained an insider's tip amongst those close to his teacher César Franck. It was only after its posthumous publication that it was performed more frequently and was gradually recognized as being one of the best chamber music works of his time. Closely based on Franck's principle of the cyclic interleaving of all motives, it still has dark and melancholy inflections all of its own. The Henle Urtext edition is the first critical edition and a welcome addition to their collection of French music. A dark, sombre quality pervades much of this elegaic trio. Flashes of turbulence and passion in the witty scherzo and finale and the many recurring themes reflect Franck's influence. -Strings magazine

For viola or cello and piano. Includes part for each voicing.

Once again, Henle can boast of an important new addition to its Pantheon of great composers: Ernest Chausson. Based on a novella by the Russian novelist Ivan Turgenev, the Poème for violin and orchestra was originally conceived as a symphonic poem. Gradually, it evolved into a character piece with violin solo, or, to quote the composer, a piece in very free form with many passages where the violin plays alone. That Chausson's plan came off to perfection is proved by the work's ever-growing popularity. The solo part of this new Henle volume satisfies the most rigorous criteria of an urtext edition. The piano reduction places a premium on playability and lies better under the fingers than ever before.