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Ernest Chausson
Ernest Chausson
Ernest Chausson
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Ernest Chausson, cabinet card photo by P. Frois, Biarritz (France), ca. 1885, Bibliothèque nationale de France

Amédée-Ernest Chausson (French: [ʃosɔ̃]; 20 January 1855 – 10 June 1899) was a French Romantic composer.

Life

[edit]

Born in Paris into an affluent bourgeois family, Chausson was the sole surviving child of a building contractor who made his fortune assisting Baron Haussmann in the redevelopment of Paris in the 1850s. To please his father, Chausson studied law and was appointed a barrister for the Court of Appeals, but had little or no interest in the profession. He frequented the Paris salons, where he met celebrities such as Henri Fantin-Latour, Odilon Redon, and Vincent d'Indy. Before deciding on a musical career, he dabbled in writing and drawing.

Chausson page-turning for Debussy, Luzancy, 1893

In 1879, at the age of 24, he began attending the composition classes of Jules Massenet at the Paris Conservatoire; Massenet came to regard him as "an exceptional person and a true artist". He had already composed some piano pieces and songs. Nevertheless, the earliest manuscripts that have been preserved are those corrected by Massenet. At the Conservatoire, Chausson also studied with César Franck, with whom he formed a close friendship that lasted until Franck's death in 1890. Chausson interrupted his studies in 1881 after a failed attempt to win the Prix de Rome.[1]

During 1882 and 1883, Chausson, who enjoyed travel, visited Bayreuth to hear the operas of Richard Wagner. On the first of these journeys, he went with d'Indy for the premiere of Wagner's Parsifal, and on the second trip he went with his new spouse, Jeanne Escudier (1862–1936), with whom he was to have five children.

From 1886 until his death in 1899, Chausson was secretary of the Société Nationale de Musique. In his own home (22 Boulevard de Courcelles, near Parc Monceau), he received artists, including the composers Henri Duparc, Gabriel Fauré, Claude Debussy, and Isaac Albéniz; poet Stéphane Mallarmé; Russian novelist Ivan Turgenev; and Impressionist painter Claude Monet. Chausson also assembled a collection of paintings.

Death

[edit]
Chausson's tomb, Père Lachaise Cemetery, Paris

When 44 years old, Chausson died while staying at one of his country retreats, the Château de Moussets, in Limay, Yvelines. Riding his bicycle downhill, Chausson hit a brick wall and died instantly. The exact circumstances remain unclear; although probably an accident, there has been the suggestion of suicide, as Chausson was prone to depression. This suicide theory was propounded by Debussy's biographer Edward Lockspeiser,[2] but has been rejected more recently by Chausson's own biographer Ralph Scott Grover.[3] When he was 20, Chausson jotted into his diary "I have the premonition that my life will be short. I'm far from complaining about it, but I should not want to die before having done something."[4]

Chausson was buried in Père Lachaise Cemetery in Paris. His funeral was attended by figures of the arts, including Duparc, Gabriel Fauré, Isaac Albéniz, Redon, Edgar Degas, Auguste Rodin, Henri de Régnier, Pierre Louÿs and Claude Debussy. While Chausson's brotherly relationship with Debussy had ended abruptly five years earlier, following his disapproval of Debussy's promiscuity,[5][6] Debussy never ceased to admire Chausson's music.

Eponymy

[edit]

A small park, Square Ernest-Chausson, in the 17th arrondissement of Paris is named in his honour.

Music

[edit]
Further information: List of compositions by Ernest Chausson
Ernest Chausson, photograph by Guy & Mockel, Paris, ca. 1897, Bibliothèque nationale de France.

The creative work of Chausson is commonly divided into three periods. In the first, his output was stylistically dominated by the influence of Massenet. The second period, dating from 1886, is marked by a more dramatic character, deriving partly from Chausson's contacts with the artistic milieux in which he moved. From his father's death in 1894 dates the beginning of his third period, during which he was especially influenced by his reading of the symbolist poets and Russian literature, particularly Turgenev, Dostoyevsky, and Tolstoy.

Chausson's work is individual, but it does reflect some technical influences of both Wagner and his other musical hero, Franck. Stylistic traces not only of Massenet but also of Brahms can be detected sometimes. In general, Chausson's compositional idiom bridges the gap between the ripe Romanticism of Massenet and Franck and the more introverted Impressionism of Debussy.

Several delicate songs came from Chausson's pen. He completed one opera, Le roi Arthus (King Arthur). His orchestral output was small, but significant. It includes the symphonic poem Viviane; the Symphony in B-flat, his sole symphony; Poème for violin and orchestra, an important piece in the violin repertoire; and the dramatic song-cycle Poème de l'amour et de la mer.

Chausson is believed to be the first composer to use the celesta. He employed that instrument in December 1888 in his incidental music, written for a small orchestra, for La Tempête, a French translation by Maurice Bouchor of Shakespeare's The Tempest.[7]

Not at all prolific, Chausson left behind only 39 opus-numbered pieces.

"There are moments when I feel myself driven by a kind of feverish instinct, as if I had the presentiment of being unable to attain my goal, or of attaining it too late." Ernest Chausson

References

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Bibliography

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Ernest Chausson

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Ernest Chausson (1855–1899) was a French Romantic composer renowned for his lyrical, introspective music that blended Wagnerian influences with a distinctly French sensibility, serving as a bridge between the styles of his teachers César Franck and the emerging Claude Debussy. Born Amédée-Ernest Chausson on January 20, 1855, in Paris to a prosperous family—his father was a wealthy building contractor—he initially pursued a legal career, earning a law degree in 1876 before turning to music at age 24. Enrolling at the Paris Conservatoire in 1879, he studied composition under Jules Massenet and later César Franck, whose organ school profoundly shaped his harmonic language and structural approach. Chausson's professional life centered on promoting French music; from 1886 until his death, he served as of the Société Nationale de Musique, an organization founded to advance contemporary French composers, where he organized performances and supported emerging talents like Debussy and . He also hosted a prominent artistic salon at his Paris home on Boulevard de Courcelles, fostering connections among musicians, poets such as , and painters like , reflecting his broad cultural interests—he was an avid art collector. His compositional output, though modest due to chronic self-doubt and perfectionism, encompassed diverse genres: one , the ambitious Wagner-inspired Le roi Arthus (completed 1895); a in B-flat major (Op. 20, 1889–90); three symphonic poems such as Viviane (1882) and La Tempête (1884); the acclaimed in C minor (Op. 30, 1897); numerous chamber works; and over 40 mélodies, or art songs, noted for their poetic depth. Influenced by visits to Bayreuth (1879–1883) where he encountered Richard Wagner's operas, Chausson's music often evoked a melancholic, fin-de-siècle atmosphere, characterized by refined orchestration, emotional sincerity, and a fusion of cyclical forms from Franck with impressionistic tendencies. His life ended tragically on June 10, 1899, at age 44, when he suffered a fatal bicycle accident near his country estate in Limay, France, cutting short a career at its peak and leaving several projects unfinished. Despite his limited catalog, Chausson's contributions earned him a lasting place in French musical history, praised for their aristocratic elegance and profound expressivity, influencing subsequent generations of composers.

Early Life

Family Background

Amédée-Ernest Chausson was born on 20 January 1855 in , into a prosperous bourgeois family. His father, Prosper Chausson (1804–1894), was a successful building contractor who accumulated significant wealth through projects, particularly assisting in Baron Haussmann's extensive renovation and modernization of during the 1850s. His mother, Stéphanie-Marcelline Levraux, came from a respectable background, contributing to the family's stable and affluent status. As the youngest of three sons and the only one to survive infancy—his two older brothers having died young—Chausson grew up in a sheltered and solitary environment shaped by his parents' overprotective tendencies. This dynamic stemmed from the family's losses and the advanced age of his parents at his birth, fostering a childhood marked by isolation and careful supervision rather than typical social interactions. The Chaussons provided a comfortable home in an upscale area of , eventually settling at 22 Boulevard de Courcelles near , which offered a refined setting conducive to cultural pursuits. Early exposure to occurred through private tutors, such as Léon Brethous-Lafargue, who introduced him to , , and artistic circles around age 10, laying the groundwork for his later interests despite limited formal schooling. Prosper Chausson, prioritizing practical stability, initially opposed his son's inclination toward music and steered him toward as a more secure profession, a path Ernest followed dutifully in his youth to honor his father's wishes.

Initial Education

Chausson received his early education through private tutors in , a arrangement facilitated by his family's affluent status, which allowed for a sheltered and intellectually stimulating childhood despite its isolation from peers. This personalized instruction, provided by figures such as the tutor Brethous-Lafargue, nurtured his budding artistic sensibilities from a young age, emphasizing a broad cultural foundation rather than rigorous formal schooling. His exposure to literature began early, drawn from the extensive family library that included works by prominent French poets. This immersion fostered a profound and lifelong affinity for symbolist , particularly the evocative verses of , whose themes of melancholy and beauty resonated deeply with Chausson's developing aesthetic worldview. Such literary pursuits shaped his intellectual curiosity, blending poetic sensitivity with an emerging interest in . At the age of 18, in 1873, Chausson enrolled at the to study , a path chosen largely to satisfy his father's expectations for a stable profession. He earned his degree in 1876, qualifying as a , though he showed little enthusiasm for legal practice and never pursued it professionally. During these years, his family's financial security afforded him the leisure to explore music privately through piano lessons, where he familiarized himself with the Romantic repertoire, marking the initial stirrings of his true vocation.

Musical Training

Conservatoire Studies

Ernest Chausson enrolled at the Paris Conservatoire in 1879 at the age of 24, after completing his legal studies, and joined the composition class of Jules Massenet. During this initial period under Massenet, from 1879 to 1880, Chausson produced early works that showcased his emerging talent, including the Five Fantasies for piano (Op. 1, 1879–80), which demonstrated a lyrical style influenced by French traditions. In 1880, Chausson joined César Franck's composition class at the Conservatoire, where he remained until 1883; his 1881 attempt at the was unsuccessful and briefly interrupted his studies. Under Franck's guidance, Chausson adopted a more contrapuntal approach and introspective depth in his writing, moving away from Massenet's lighter toward richer harmonic textures and structural complexity. He completed rigorous exercises in , such as fugues, and composed , notably the Piano Trio in G minor (Op. 3, 1881), which reflected Franck's emphasis on and thematic unity. Chausson's Conservatoire tenure spanned four years, an unusually rapid progression for a late starter in formal , culminating in his completion of studies in 1883 without a major prize but with a solid foundation in composition. Throughout this time, he created around ten juvenile works, primarily songs and piano pieces that blended French lyricism with personal expressiveness, including the Seven Mélodies (Op. 2, 1879–82), such as "Hébé" (1882). These pieces laid the groundwork for his mature style, even as brief encounters with Wagner's operas during a 1882 visit began to broaden his harmonic palette.

Key Influences

Ernest Chausson's compositional style was profoundly shaped by his encounter with Richard Wagner's music, particularly after attending the in 1882 and 1883, where he heard performances of and . This exposure introduced him to Wagner's advanced chromatic harmony and technique, which Chausson adapted to infuse his own works with emotional depth and structural complexity, notably evident in the chromatic progressions of his Symphony in B-flat major. Under the mentorship of from 1880 to 1883, Chausson absorbed principles of organic form and cyclicism that emphasized thematic unity across movements. Franck's approach, which integrated sequential development and recurring motifs without rigid , influenced Chausson to employ similar devices, fostering a cohesive flow in his compositions while building on the technical foundation from his Conservatoire studies. The Symbolist poets , , and provided Chausson with evocative texts that resonated with his introspective aesthetic, with collaborations beginning in the 1880s for Verlaine and Mallarmé, and in the 1890s for Maeterlinck. He set their poetry in songs and drew inspiration for operatic projects, incorporating their themes of ambiguity and inner experience to enhance the lyrical subtlety of his vocal works. Through his Paris salon, Chausson engaged directly with , whose Symbolist ideals further enriched his literary-musical synthesis. Chausson's immersion in Parisian artistic circles exposed him to Impressionist painters such as and, later, , whose innovative approaches to light and atmosphere subtly informed his orchestral scoring. As a collector of Impressionist art and friend to , he translated their fluid, evocative techniques into musical textures characterized by delicate timbres and harmonic ambiguity.

Professional Career

Administrative Roles

In 1886, Ernest Chausson was appointed secretary of the Société Nationale de Musique, in a role that entailed organizing concerts dedicated to promoting new works by French composers such as , , and . This position allowed him to play a pivotal part in fostering the development of French instrumental music during a period when national artistic identity was a key cultural concern. Beginning in the 1890s, Chausson hosted the society's meetings at his Paris residence on Boulevard de Courcelles, transforming it into a vital salon that facilitated collaborations among prominent musicians and intellectuals. Through these gatherings and his administrative oversight, he managed dozens of events until his death in 1899, significantly enhancing the visibility and performance opportunities for emerging French talent.

Major Compositions

Ernest Chausson's major compositions during his lifetime reflect his meticulous creative process, often spanning years of revision amid his administrative duties at the Société Nationale de Musique. These works, influenced by Wagner's dramatic intensity and Franck's structural rigor, garnered attention in Parisian musical circles for their lyrical depth and innovative orchestration, though Chausson labored under self-doubt about his originality. His output prioritized quality over quantity, with premieres that highlighted his growing reputation among contemporaries like and . Chausson's ambitious opera Le roi Arthus, a three-act Arthurian based on medieval legends, occupied him from 1886 to 1895, during which he crafted both the and score himself. Drawing on Wagner's leitmotifs and chromatic harmony—particularly from —the work explores themes of love, betrayal, and redemption through the triangle of , Queen , and , yet Chausson sought to infuse it with French clarity to counterbalance the German influence he both admired and feared. Though completed before his , it received no performance in his lifetime due to its length and Wagnerian scale, which intimidated houses; instead, fragments were shared privately among friends, earning praise for their emotional sincerity from early readers like d'Indy. His sole symphony, in Op. 20, composed between 1889 and 1890, exemplifies Chausson's synthesis of Franck's and personal melodic warmth in a three-movement structure: a vigorous allegro introduced by a slow , a contemplative Très lent slow movement, and an animated finale with brass chorales. Dedicated to painter Henri Lerolle, it premiered on April 18, 1891, at Paris's Salle Érard under Chausson's own direction with the Société Nationale de Musique orchestra, where its blend of romantic and symphonic cohesion was well-received by attendees, including Franck's pupils, who noted its emotional immediacy amid the era's conservative critiques of French symphonism. In 1896, Chausson produced Poème for and orchestra Op. 25, a single-movement tone poem dedicated to violinist , who commissioned it as an alternative to a full . Inspired by Ivan Turgenev's Le Dit d'amour, the work unfolds in an evocative narrative arc, from introspective calm to passionate climax and serene resolution, showcasing Chausson's skill in weaving violin virtuosity with orchestral color. Its world premiere occurred on December 27, 1896, at Nancy Conservatoire, with Ysaÿe as soloist and Guy Ropartz conducting, where audiences and critics alike lauded its poetic innovation and emotional resonance, quickly establishing it as a favored piece in Ysaÿe's repertoire. Chausson's incidental music for Maurice Bouchor's French adaptation of Shakespeare's The Tempest, Op. 18, was created in 1888 for a production at the Théâtre de l'Odéon, comprising vocal and orchestral pieces to accompany the play's scenes. Notably, it introduced the celesta to French music in the "Chant d'Ariel," where the instrument's ethereal timbre evoked the spirit's magical presence, predating Tchaikovsky's similar use. Performed during the December 1888 run, the score was appreciated for its atmospheric delicacy and integration with the drama, contributing to the production's success and highlighting Chausson's emerging talent for theatrical scoring among Parisian theatergoers.

Personal Life

Marriage and Children

In 1883, Ernest Chausson married Jeanne Escudier, the daughter of Philippe Escudier, whose family had ties to the music publishing world, in a ceremony held in on June 19. The couple had met through shared connections in the city's artistic milieu, where Jeanne's family ties further immersed Chausson in influential creative networks. Their union provided a stable foundation amid Chausson's burgeoning career, with Jeanne offering steadfast support as both partner and hostess. The Chaussons welcomed five children between 1884 and 1895—two sons and three daughters, including Etiennette (b. 1884), Annie (b. 1885), Michel (b. 1889), and Marianne (b. 1893)—while residing initially in Paris and later at a home in Bellevue, a serene suburb on the Seine where Chausson could compose in relative tranquility alongside his duties as a father. The household in Bellevue fostered a nurturing environment, with Chausson dividing his time between musical pursuits and family responsibilities. Jeanne actively contributed to their domestic life by organizing musical soirées at their Bellevue home, which drew artist friends and contemporaries into an intimate setting that enriched Chausson's social and professional world. The children showed limited direct engagement with music, though the family's legacy endured through the eldest daughter, Marianne Julia Chausson, who later married Gaston .

Social Connections

Chausson developed a close friendship with beginning in the 1890s through meetings at the Société Nationale de Musique, where Chausson served as secretary and actively supported emerging French composers. This relationship was marked by mutual admiration, with Chausson acting as a mentor and patron to the younger Debussy, providing both financial assistance and opportunities for performances of his works. Debussy reciprocated by dedicating his in , Op. 10 (1893), to Chausson, reflecting their shared commitment to advancing French musical innovation. Chausson's social circle extended to prominent Impressionist painters, who frequently visited his family home in , fostering exchanges on . Edgar Degas attended musical recitals there, drawn by the gatherings that blended art and music, while joined later, contributing to discussions on light and color that paralleled Chausson's evolving harmonic explorations. These interactions at the Boulevard de Courcelles residence highlighted shared interests in capturing ephemeral qualities, influencing Chausson's sensitivity to atmospheric effects in his compositions. As a key member of the Franck circle, known as the Bande à Franck, Chausson maintained strong ties with composers like and , collaborating on programming and offering critiques within this influential group. He and , both pupils of , worked together at the Société Nationale de Musique to promote French symphonic works, including joint efforts in selecting pieces for performances that emphasized structural depth and emotional expressivity. With , Chausson exchanged ideas on vocal writing and orchestration during informal sessions, contributing to mutual refinements in their approaches to and texture. Chausson corresponded with poet in the 1890s, securing permissions to set his verses to music, such as in the Deux Poèmes de Verlaine, Op. 34 (1898), which drew from Verlaine's intimate, evocative style. He hosted literary salons at his home during this period, attracting writers and musicians to discuss Symbolist poetry and its musical adaptations, enriching the interdisciplinary dialogue of the era.

Death

The Accident

On 10 June 1899, while vacationing at his country retreat, the Château de Moussets, near in the department of , Chausson, aged 44, suffered a fatal accident. He was riding downhill when he lost control and collided head-first with a brick wall, resulting in instant from severe head trauma. Chausson was not wearing a , as protective was not commonly used by cyclists in that era. The occurred during a family holiday, with Chausson enjoying as a leisure activity, though there were no direct eyewitnesses to the crash itself. His body was discovered shortly afterward by family members present at the retreat, who were deeply shocked by the sudden . The precise cause of losing control remains unclear, though it was officially ruled an , with no evidence of foul play or intentional despite occasional speculation linked to Chausson's occasional depressive tendencies. Adding a layer of irony to his untimely end, Chausson had written in his at age 20 of a premonition that his would be short: "I have the premonition that my will be short. I’m far from complaining about it, but I should not want to die before having done something." This entry, made around , foreshadowed his brief lifespan, during which he produced a significant but unfinished body of work.

Funeral and Legacy

Chausson's funeral took place on 13 June 1899 at in , drawing a large crowd of mourners from the artistic community to honor the composer who died just days earlier in a bicycle accident. The ceremony was attended by prominent figures including , , and , reflecting Chausson's central role in French musical circles. Eulogies delivered during the service highlighted his unfulfilled potential, portraying him as a talent cut short before fully realizing his artistic vision. Following his death, Chausson's reputation received a significant boost from the posthumous premiere of his opera Le roi Arthus on 30 November 1903 at the in , where it was praised for its Wagnerian influences and lyrical depth, establishing him as a major voice in French Romanticism. His complete oeuvre, comprising 39 opus-numbered works, was cataloged shortly thereafter, encompassing symphonies, , and vocal pieces that bridged Franckian tradition with emerging . In the early , conductors such as played a key role in reviving his compositions, including performances of the Symphony in that introduced his music to wider audiences. Chausson's influence extended to later French modernists, including , whose early works echoed Chausson's blend of emotional intensity and refined orchestration, helping to shape the transition toward . In the , his legacy has endured through a proliferation of recordings in the , particularly of the Poème for and orchestra, Op. 25, which has become a staple of the repertoire due to its evocative lyricism and technical demands. This work is frequently programmed alongside concertos by Bruch and Saint-Saëns, underscoring its enduring appeal. Additionally, the Square Ernest-Chausson, a public park in Paris's 17th , was created in 1999 to commemorate him, serving as a tangible eponymous tribute in the city where he lived and worked.

Musical Output

Orchestral Works

Chausson's orchestral compositions represent a modest yet impactful body of work, including several major pieces that reflect his stylistic evolution across three distinct creative periods. The early period in the 1880s shows influences from his teacher , characterized by elegant melodies and fluid forms. This gave way to a middle period in the 1890s dominated by Wagnerian chromaticism and techniques, followed by a late introspective phase after 1895, marked by greater emotional subtlety and harmonic refinement. Among these, the in , Op. 20 (1890), stands as Chausson's sole symphonic effort, composed during his Wagnerian middle period. Structured in three movements—Lent – Allegro vivo, Très lent, and Animé—it employs cyclic themes that recur across sections, drawing on César Franck's principle of thematic unity while incorporating Wagner's rich and harmonic density. Critics have noted its expansive length as a potential drawback, yet it is widely praised for its profound emotional depth and lyrical intensity, evoking a tragic through swelling brass and string textures. The Poème for and , Op. 25 (1896), exemplifies Chausson's late-period in a single-movement form that eschews traditional divisions for a seamless programmatic . Inspired by Ivan Turgenev's tale of triumphant love, it unfolds through rotating thematic sections, with undulating string figures creating an oscillatory, wave-like backdrop that enhances the solo 's expressive, virtuosic lines. This work bridges Romantic and emerging Impressionist tendencies, using chromatic and coloristic to evoke a dreamlike romantic intensity.

Chamber and Vocal Works

Chausson's chamber music, though limited in quantity, reveals a masterful synthesis of intimate expression and structural depth, often drawing on cyclic forms and lush harmonies influenced by his teacher César Franck. His early Piano Trio in G minor, Op. 3 (1881, revised 1886), exemplifies this, with its passionate themes and contrapuntal textures that echo Franck's chromatic style while foreshadowing Chausson's mature lyricism. The work, composed shortly after Chausson began studying with Franck, remained an "insider's tip" among his circle during his lifetime, highlighting its sophisticated emotional range in a compact ensemble setting. Later chamber efforts, such as the in C minor, Op. 35 (1897), further demonstrate Chausson's blend of French elegance and German rigor, incorporating Wagnerian leitmotifs within a classical framework. Structured in three movements—Grave – Modéré, Très calme, and Gaiement et pas trop vite (the third movement completed posthumously by )—the quartet employs cyclic motifs, with the somber introductory theme recurring to unify the stormy drama and lyrical interludes. Overall, Chausson's chamber output comprises around a dozen pieces, prioritizing emotional intensity over prolificacy. In his vocal works, Chausson excelled in mélodies that prioritize poetic nuance and harmonic subtlety, producing over 30 songs across various sets. These pieces often feature innovative word-painting, as seen in "Le Colibri" (Op. 2/7, 1882), from the Sept mélodies on texts by , where descending piano arpeggios evoke the hummingbird's flight and chromatic shifts heighten the sensual imagery of nectar and fleeting ecstasy. His vocal output includes over 40 mélodies, motets, and song cycles, underscoring a profound sensitivity to French Symbolist . The Chanson perpétuelle, Op. 37 (1898), stands as a pinnacle of Chausson's late vocal style, setting Charles Cros's poignant verses for soprano with orchestra (or ), its melancholy infused by ethereal timbres that enhance the theme of eternal longing amid loss. This final completed work captures his era's fin-de-siècle ennui through undulating rhythms and modal ambiguities, adapting orchestral color to intimate vocal expression.

References

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  50. https://stringsmagazine.com/how-to-play-chaussons-poeme-for-violin-orchestra/
  51. https://label-ecojardin.fr/site/square-des-batignolles-et-espaces-verts-proches
  52. https://www.researchgate.net/publication/320025133_Bridging_the_gap_harmony_in_Chausson%27s_Poeme_for_violin_and_orchestra
  53. https://digitalcommons.memphis.edu/etd/1368/
  54. https://www.henle.de/en/Piano-Trio-g-minor-op.-3/HN-1277
  55. https://www.editionsilvertrust.com/chausson-piano-trio.htm
  56. https://www.earsense.org/article/Ernest-Chausson-String-Quartet-in-c-minor-Op-35/
  57. https://www.bruzanemediabase.com/en/exploration/works/chanson-perpetuelle-ernest-chausson
  58. https://www.hyperion-records.co.uk/dw.asp?dc=W5611_GBAJY0032221
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