![]() This first movement is followed by a similar atmosphere, shared between the soloist and the orchestra. ![]() The solo violin also remains evanescent, a single voice expressing a painful melody. The addition of the orchestra is done so quite mysteriously, sustained by phrases from the woodwinds. It is perhaps here, at the intersection of these two influences, that Poème finds its inspiration: between a melody full of mystery and brilliant interjections from the soloist, between poetry and eloquence, without sacrificing virtuosic demonstration. ![]() This concertante form is in part influenced by the violinist Eugène Ysaÿe (1858-1931), to whom the work was dedicated, notably in certain compositional traits by Chausson typical of Ysaÿe’s performance style. And yet, the primitive title was an explicit reference to the eponymous novel by Ivan Tourgueniev (published shortly before in 1881), a fantastic story in which a violin melody becomes a part of the intrigue. Poèmeįirstly entitled Le Chant de l’amour triomphant (The song of triumphant love), then Poème symphonique (Symphonic poem), before finally, and simply, becoming Poème (as can be seen in the autographed manuscripts), the work by Chausson seems to dispense with any programmatic influences or association with an extra-musical idea. Live concert recorded on 14 September 2018 at the Radio France Auditorium. Video can’t be loaded because JavaScript is disabled: Chausson – Poème pour violon et orchestre op.25 (Mikko Franck / Anna Tifu) () The Orchestre Philharmonique de Radio France with Anna Tifu, conducted by Mikko Frank, perform Chausson’s “Poème” for violin and orchestra op.25. ![]()
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