While he suppressed evidence of Wagnerian mimicry, the process of "dewagnerization" was equivocal Viviane ultimately became more beholden to certain Wagnerian dramaturgical ideals. Drawing on unpublished sketches and manuscripts of Viviane, I trace how Chausson's evolving aesthetics manifested themselves in his revisions of the work. These developments were coeval with Chausson's revisions of Viviane (composed 1882–83, revised 18), a symphonic poem that shares musical material and subject matter with the composer's magnum opus, Le Roi Arthus (1886–95). Ernest Chausson made two major aesthetic decisions in the mid-1880s: he resolved to "dewagnerize" himself and declared that he would no longer write program music.
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