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Track(s) taken from CDA67028

Pièce, Op 39

1897; for cello or viola and piano

Gary Hoffman (cello), Pascal Devoyon (piano)
Recording details: September 1997
La Galerie des Franciscains, Saint-Nazaire, France
Produced by Arnout Probst
Engineered by Tom Peeters
Release date: April 1998
Total duration: 6 minutes 58 seconds

Other recordings available for download

Lawrence Power (viola), Simon Crawford-Phillips (piano)


'The opulent sound of this disc is ideal for Chausson … Philippe Graffin’s sensuous unforced tone sails above the texture … [he] gives a plangent account of the solo part, with something of that sense of freedom that Ysaÿe, the work’s sponsor, would certainly have conveyed … Neidich’s playing is quite remarkable for its breadth of expression in the Andante as well as for the extraordinarily brilliantly articulated Allegro. Hoffman and Devoyon are equally convincing in the beautiful, dreamy Pièce for cello and piano' (Gramophone)

'A particularly beautiful performance of the Poème by Graffin in the world premiere recording of the chamber version' (The Guardian)

'It is truly like hearing it for the first time, at least in this performance, which is far more than just technically superb' (American Record Guide)

'Philippe Graffin’s solo violin and Pascal Devoyon’s piano recreate music which, in Debussy’s words, "becomes the very feeling which inspires its emotion"' (The Times)

'[The Poème] is a delightful work, in free form, given a provocative, tenderly phrased and sympathetic performance by Graffin and the Chilingirian … charming collection, beautifully played' (Classic CD)

'A welcome successor to these artists' magnificent Hyperion [earlier Chausson recording] … the Piano Trio of 1881 receives a commanding performance—quite the finest I've heard' (Hi-Fi News)

'This is one of the most beautiful discs of chamber music I have ever heard. In every respect it is sheer perfection, the young French violinist, Philippe Graffin, playing with a passion you may be fortunate enough to hear once in your life' (Yorkshire Post)
Ernest Chausson (1855–1899) came late to music, after completing his initial studies in law and qualifying as a barrister. He studied with Massenet at the Paris Conservatoire. Despite his early interest in Wagner—even spending his honeymoon in Bayreuth—Chausson became a fervent member of the Franck circle. In common with many contemporary French composers, he sought to free French music from Wagnerian influence by turning to the baroque, particularly to the music of Couperin and Rameau. Although Chausson died prematurely, in a cycling accident at the age of only forty-four, he left a significant body of music spanning many different genres.

Pièce for cello or viola and piano was composed in 1897. Cast in a tranquil C major, the main theme is elaborated and developed throughout the work. Contrast is created through the inclusion of sections in varying pulses and keys. The piano and viola share melodic interest and also imitate each other’s lines. The opening theme returns in the coda.

from notes by Laura Hamer © 2016

Ernest Chausson (1855–1899) vint tard à la musique, après avoir terminé des études de droit et obtenu son diplôme d’avocat. Il étudia avec Massenet au Conservatoire de Paris. Malgré l’intérêt qu’il porta très jeune à Wagner—allant jusqu’à passer son voyage de noces à Bayreuth—, Chausson devint un membre fervent du cercle de Franck. Comme de nombreux compositeurs français de l’époque, il chercha à libérer la musique française de l’influence wagnérienne en se tournant vers le baroque, en particulier vers la musique de Couperin et de Rameau. Même si Chausson mourut prématurément, dans un accident de bicyclette à l’âge de seulement quarante-quatre ans, il laissa une œuvre abondante couvrant de nombreux genres différents.

La Pièce pour violoncelle ou alto et piano fut composée en 1897. Dans un ut majeur tranquille, le thème principal est élaboré et développé d’un bout à l’autre de l’œuvre. Le contraste est créé par l’inclusion de sections aux diverses pulsations et tonalités. Le piano et l’alto partagent l’intérêt mélodique et chacun imite en outre les lignes de l’autre. Le thème initial revient dans la coda.

extrait des notes rédigées par Laura Hamer © 2016
Français: Marie-Stella Pâris

Ernest Chausson (1855–1899) kam spät zu Musik; zunächst studierte er Jura und wurde Rechtsanwalt. Am Pariser Conservatoire kam er dann in die Klasse Massenets. Trotz frühen Interesses an Wagner—sogar seine Hochzeitsreise führte ihn nach Bayreuth—wurde er zu einem glühenden Franck-Jünger. Wie viele französische Musiker seiner Zeit setzte er sich zum Ziel, die französische Musik vom Einfluss Wagners zu befreien, indem er sich dem Barock zuwandte, besonders der Musik Rameaus und Couperins. Obwohl er schon im Alter von 44 Jahren bei einem Fahrradunfall starb, hinterließ er ein umfangreiches, viele Gattungen umfassendes Gesamtwerk.

Die Pièce für Cello oder Bratsche und Klavier wurde 1897 komponiert. Das Hauptthema, exponiert in ruhigem C-Dur, wird durchs gesamte Werk hindurch entwickelt und verarbeitet. Kontraste schaffen rhythmisch und tonartlich variierende Abschnitte. Das melodische Geschehen ist auf Klavier und Bratsche verteilt, beide ahmen ihre Melodien gegenseitig nach. In der Coda kehrt das Anfangsthema wieder.

aus dem Begleittext von Laura Hamer © 2016
Deutsch: Friedrich Sprondel

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Fin de siècle
Studio Master: CDA68165Studio Master FLAC & ALAC downloads available
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