Chausson, Ernest Amц?dц?e (Chausson Ernest Amede)

(1855-1899)
Born January 20, 1855 in Paris. At the insistence of his father studied law at the University of Paris. Diploma obtained in 1877, received with indifference, believing that his vocation - literature, art and music. Turned to music under the influence of his close friend, Madame de Ressak, but a special role played in his choice of Wagner's operas, which he listened in Munich. In 1879 Chausson entered the Paris Conservatoire, where he was initially in Jules Massenet, and then in S. Frank, becoming his disciple. Defending the rights of young musicians who became the secretary (along with In. Indy) of the National Music Society and supported by C. Debussy (later a close friend) on his thorny path to triumph. Chausson toured Europe, from Czechoslovakia to Spain, but was especially fond of the Italian town of Fiesole, where they often rested, and Brussels, which has always given his music a warmer reception than his native Paris. Chausson died in Lima (department of Seine and Oise), June 10, 1899 from injuries received after falling from a bicycle.
The most famous works of the composer - Symphony in B flat major, op. 20 (1889-1890) and poem (Pome) for violin and orchestra, op. 25 (1896). Among the works that are performed less frequently - Trio in G minor, Op. 3 (1881), symphonic poem Vivian (Viviane), op. 5 (1882), Poem of Love and the Sea (Pome de l'amour et de la mer) for voice and orchestra, op. 19 (1882-1892), chamber compositions concert (Concert) in D major, op. 21 (1889-1891), music for the legend of St. Cecilia (La Lgende de Sainte Ccile), op. 22 (1892), Quartet in A major, op. 30 (1897), a composition for orchestra festive evening (Soir de fte), op. 32 (1898), an unfinished string quartet in C minor, op. 35 (1899) and numerous songs (Mlodies). The only published opera Chausson King Arthus (Le Roi Arthus), op. 23 (1866-1895), despite its undoubted merits, is not performed (the only statement in 1903 in Brussels).

Chausson contributed to the development of French songs, seeking a full merger of voice, poetic text and instrumental accompaniment. In his work he was not an innovator, and perfected, bringing to perfection the work of their predecessors, he avoided the excesses and emotional outbursts, preferring deep lyricism, elegance of expression and refined form. His music holds a special place among the dramatic, imbued with mysticism, romanticism of Wagner and Frank and 'air' impressionism of Debussy.