Ernest Chausson's Symphony in B flat major, Op. 20, has never been regarded as highly as Franck's Symphony in D minor or Saint-Saëns' Symphony No. 3, "Organ," yet listeners may find many stylistic similarities between them and wonder what has kept this work from achieving equal recognition or popularity. One may point to the comparable laxness of Chausson's developments, a lack of definition in his themes, or even the blandness of his orchestration, yet finally conclude that his failure is due to an inability to sustain ...
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Ernest Chausson's Symphony in B flat major, Op. 20, has never been regarded as highly as Franck's Symphony in D minor or Saint-Saëns' Symphony No. 3, "Organ," yet listeners may find many stylistic similarities between them and wonder what has kept this work from achieving equal recognition or popularity. One may point to the comparable laxness of Chausson's developments, a lack of definition in his themes, or even the blandness of his orchestration, yet finally conclude that his failure is due to an inability to sustain drama and tension in a long, dialectical form. For such a lyrical composer, this is not surprising, and though the Symphony is an interesting artifact of its time, the form was not a natural fit for the composer. Chausson is much more in his element in the Poème for violin and orchestra, Op. 25, a free and highly expressive work that has become a staple of the violinist's repertoire. Laurent Korcia plays the solo part with great passion and penetrating clarity, and the Orchestre...
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