On Sale! Pawel Lukaszewski b. His pieces have gained acclaim from audiences at both Polish and foreign music festivals, This contemporary music has won great acclaim abroad and many Max Reger: Clarinet Quintet, op.
Milan Mihajlovic b. Emilie Mayer : Symphonies Nos. Andy Scott b. Styles Chamber Music Concerto. Track Listing. Allegretto ben moderato. Jacques Thibaud. Allegro poco mosso. Ernest Chausson. Decide Ernest Chausson. Sicilienne Ernest Chausson. Bill Withers. Stand by Me. Ben E. Somewhere Over The Rainbow. The Wizard of Oz. Judy Garland. Merle Haggard Tribute live. Derek Ryan. All popular MP3 backing tracks. Dua Lipa. Blinding Lights. The Weeknd. Tennessee Whiskey.
Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. If a CD is scheduled for re-issue within the next months, the message 'To be reissued on …' will replace the 'Buy Archive CD' button. This service offers a production-quality CDR with printed label, inlay tray card and, at the minimum, a 2pp booklet including cover artwork and complete track listing , packaged in a normal jewel case. In many instances we will provide complete printed booklets, but please note that this is not always the case.
Ernest Chausson's music has always seemed, to those who love it, a 'special case'. There are 43 songs altogether, several receiving their first recording. Dame Felicity Lott and Ann Murray need no introduction but the disc also represents the recording debut of baritone Chris Pedro Trakas who has won many plaudits for his concerts and operatic work in his native America.
His other-worldly self-distancing was admired by those who were sensitive enough to perceive a welcome difference from the narcissism of many creative artists.
Painfully aware of his limitations, he would have been the last to claim for himself a place on Parnassus. This modesty, however admirable on the human level, is indicative of a painful lack of self-confidence which coloured many of his creative endeavours.
The senseless cycling accident which killed him at the age of forty-four was a song-cycling disaster. It undoubtedly robbed us of much fine music, possibly of a stronger and more daring kind than we associate with his name. But although he took a long time to find his self-confidence, Chausson always sounds like Chausson. Most of the time his music could not be by anyone else, and this is, surely, one of the signs of a composer with an authentic voice.
It is true that the earlier output is influenced by his two teachers Massenet and Franck names which in themselves imply a certain musical conflict and it bears a certain family resemblance to that of Duparc.
But there is something of the earthy voluptuary and merciless street-fighter in Debussy, for all his dreaminess. Not so Chausson; he was born wealthy, raised in a protective cultural cocoon, and the city streets with their haphazard colours and dangerous impurities were for him unknown landscapes.
If Chausson has a fault and it is difficult to find fault with a man of such humility, kindness and selfless probity it is probably that he is not naughty enough. It was his destiny, however, to come to his maturity amidst a generation of aesthetes, his artistic colleagues, some of whom were very naughty indeed.
Here is the anomaly: a less willingly decadent person would be hard to imagine, and yet his music is veiled with an ennui that suggests the languid excesses of the hot-house: A rebours of J-K Huysmans comes to mind, as well as the obsessive, neurotic industriousness of Marcel Proust in his cork-lined room. Or a least none that we know of, and few that we can hear. He was a good man in every sense, both enlightened and highly religious, and those who knew him well mentioned a calm radiance in his personality—which reflected these things.
But in professional matters he was tortured by self-doubts, and his music reflects the struggle. This is no Beethovenian, fist-brandishing confrontation, but the tossing and turning of an high-minded perfectionist, fighting the waves of depression which threaten to engulf him and silence his fragile muse. One imagines that there are grounds for this poor self-esteem—a deeply buried guilt going back to his childhood perhaps—but if this is so his biographer s have been unable to unravel the reasons.
The Chaussons were a beautiful couple. The composer seems not to have had an enemy in the world.The second CD is devoted to two disarmingly subtle chamber works of considerable mastery: the Piano Quartet in A, considered by some Chausson's best complete chamber work, and the so called Concert for the rather odd combination of violin, piano, and string quartet, still probably Chausson's /5(11).