Edouard Lalo, whose death occurred last year (1892), had to wait a long time before his merits received the recognition to which they were entitled. His popularity in France may be said to date from the time when his opera, "Le Roi d'Ys," was first produced at the Opéra Comique some five years ago, when the composer had reached his sixtieth year. An opera of his entitled "Fiesque," composed many years previously, was accepted by one manager after another, but some circumstance invariably occurred to prevent its being brought out. His ballet "Namouna" contains much that is both charming and original, yet it failed to captivate the public of the Paris Opéra when it was produced.
Amongst his orchestral works are to be found a fine symphony, which I remember hearing at one of the Lamoureux concerts in Paris and which ought to be given here; two Norwegian Rhapsodies, and the "Symphonie Espagnole" for violin and orchestra. The work he will probably be best remembered by is "Le Roi d'Ys." A great admirer of Wagner, Lalo in this opera applies the master's theories in a restricted sense only, and "Le Roi d'Ys" has a greater affinity with "Tannhäuser" and "Lohengrin" than with "Tristan" or the "Meistersinger." His chamber compositions and orchestral works reveal a considerable amount of originality and knowledge of effect, allied to consistently elevated notions with regard to the æsthetics of his art. A tendency towards the employment of curious rhythms often imparts a peculiar "cachet" to Lalo's compositions. In all his works he exhibits a complete mastery over orchestral resources, a branch of the art in which French composers as a rule excel.
The name of César Franck is less known in England. Although a Belgian by birth, he may through his long residence in France be reckoned amongst the composers of that country. His reputation has been steadily on the increase of late, and some of his enthusiastic admirers have not scrupled to call him the "French Bach."
Perhaps we may one day have an opportunity of judging works such as "Ruth," "Rédemption" and "Les Béatitudes," which last is generally considered as his masterpiece.
Léo Delibes will be remembered chiefly through his exquisite ballet music, such as "Coppelia" and "Sylvia," full of grace, charm and refinement, never commonplace, and bearing the stamp of a distinct individuality. His operas, "Le Roi l'a dit," "Jean de Nivelle," and "Lakmé," do not show his talent off to the same advantage, albeit containing many delightful pages.
Léo Delibes' music is typically French and is full of that "esprit" so characteristic of our neighbours. A pupil of Adolphe Adam, Delibes seems to have acquired his master's lightness of touch and gift of melody, to which he was able to add a quality of distinction which the composer of "Le Postillon de Lonjumeau" did not possess.
It is, however, with the living that we are concerned, and, having paid a passing tribute to the memory of the above deceased musicians, I will now proceed with my task, once more claiming the indulgence of my readers, and begging them to bear in mind that, whatever defects may be noticeable in these imperfect sketches, I can at least claim that they have been written in perfect good faith.
ARTHUR HERVEY.
P.S.—Among the books that I have had occasion to consult I may mention especially Mons. Adolphe Jullien's "Musiciens d'Aujourd'hui," Mons. Pagnerre's "Charles Gounod," Mlle. de Bovet's "Life of Gounod," Mons. Hugues Imbert's "Profils de Musiciens," and "Nouveaux Profils de Musiciens."
I also take this opportunity of expressing my indebtedness to my friend, Mr. Robin H. Legge, for having been instrumental in procuring for me information of a valuable nature.