Édouard-Victor-Antoine Lalo was born in Lille in 1822. This modest, aristocratic, and noble-minded musician has scarcely enjoyed his just due even in this late day. He died, exhausted, in 1892. His whole artistic career was ill-fated. His opera, Le Roi d'Ys, and his ballet Namouna were both indifferently successful if not absolute failures. It is doubtful if Lalo ever recovered from the disappointment and overwork that attended the composition and production of Namouna. Without hesitation we should characterize these two works as his most important. There is an excellent symphony in G minor, a concerto for 'cello, the Symphonie Espagnole for violin and orchestra, and a concerto for piano, all of an equally lofty musical texture. It is difficult to class Lalo with any group of musicians. He was mildly influenced by Wagner, as were all young musicians of his time, and yet Le Roi d'Ys is absolutely his own. Lalo came of Spanish parentage. It is probable that a certain sort of atavism is responsible for the constant suggestion of the subtle monotony of Spanish rhythms in his music. He is too distinct a Latin to be overwhelmed by Wagner.

It is very probable that Lalo will never be genuinely popular. The Symphonie Espagnole is in the répertoire of every virtuoso violinist. The same may be said of the concerto for 'cello, and yet it is doubtful if the layman of symphonic concerts would complain were he never again to hear anything of Lalo. This is due to a certain aristocratic aloofness, and emotional reserve, and an ever-present sense of proportion dear only to the élite.

Lalo's influence was not in itself far-reaching. A sincere, splendidly developed artist, he had none of the qualities that make disciples. As one of a group of musicians, however, that were to play an important rôle in saving French music from foreign domination and in finding an idiom characteristic and worthy of a country possessed of the artistic traditions of France, Lalo cannot be overestimated. As a member of the Armingaud quartet he worked fervently to create a taste for symphonic music. His own dignified symphonic productions supplemented this necessary work of propaganda, for it must not be forgotten that for almost a century before the advent of César Franck there was no French symphonic music. The French genius, insofar as it expressed itself in music at all, turned rather to the historical opera so pompously fashioned, or the witty and amusing opéra comique. Lalo must be considered with Saint-Saëns and Franck as one of the pioneers in making a regenerate Parisian taste. His life is colorless and offers little to the critic in interpretation of his musical ideals. Lalo composed silently, with conviction, and without self-consciousness. He was singularly without theories. Concrete technical problems absorbed him, and in the refinement and nobility of his music is to be found the most eloquent essay upon the rôle of an artist who seeks sincere self-expression rather than general recognition.

As a leaven to the frivolous musical tastes prevalent in the French capital before the last three decades Lalo has played his part nobly. He will always be admired by all sincere musicians. His art is complete, devoid of mannerisms, plastically perfect, and yet without the semblance of dryness. In his symphony one will observe an unerring sense of form, an exquisite clarity of orchestration, and a happy choice of ideas suitable for development, Le Roi d'Ys is scarcely a masterpiece. The text is constructed from a pretty folk-story, is not very dramatic and occasionally gives one the impression of amateurishness and puerility. The music is exquisite and makes one regret that Lalo could not have found other and more suitable vehicles for his dramatic genius. Namouna is a sparkling, colorful ballet. When it was revived some years ago, a more propitious public enthusiastically revised the adverse verdict of 1882.

Little may be said of Benjamin Godard (1849-95) except that he wrote much, too much perhaps, in nearly all forms: symphonies (with characteristic titles, such as the 'Gothic,' 'Oriental,' Symphonie légendaire), concertos for violin and for piano, orchestral suites, dramatic overture, symphony, a lyric scene, chamber music, piano pieces, over a hundred songs, etc. Few of these are heard nowadays, even in France perhaps. Neither are his operas, Pédro de Zalaméa (1884), Jocelyn (1888), Dante et Béatrice (1890), Ruy Blas (1891), La Vivandière (1895), and Les Guelfes (1902). Jocelyn—and, indeed, its composer—are perpetuated by the charmingly sentimental Berceuse, beloved of amateur violinists. Godard studied composition with Reber and violin with Vieuxtemps at the Conservatoire. He won the grand prix for composition awarded by the city of Paris with the dramatic symphony 'Tasso.' This, like the Symphonie légendaire, employs a chorus and solo voices in combination with the orchestra.

Two composers, noted especially for their organ works, should be mentioned in conclusion: Alexandre Guilmant (born 1837) and Charles-Marie Widor (born 1845). Both made world-wide reputations as virtuosos upon the organ, the former in the Trinité, the latter in St. Sulpice in Paris. Guilmant has travelled over the world and received the world's plaudits; Widor has remained in Paris while droves of pupils from all over the globe have gone back to their homes and have spread his fame. Both have composed copiously for the organ, Guilmant more exclusively so, also editing and arranging a great deal for his instrument. Widor has written two symphonies, choral works, chamber music, and piano pieces, songs, etc., even a ballet, La Korrigane, two grand operas, Nerto and Les Pêcheurs de St. Jean, a comic opera and a pantomime, Jeanne d'Arc. He is César Franck's successor as professor of organ at the Conservatoire, and since 1891 has taken Dubois' place in the chair of composition.

C. C.

FOOTNOTES:

[1] The last-named is treated with his compatriots in a succeeding chapter.

[2] The Gewandhaus Concerts properly date from 1763, when regular performances began under J. A. Hiller, though not given in the building known as the Gewandhaus until 1781. At that time the present system of government by a board of directors began. The conductors during the first seventy years were, from 1763: J. A. Hiller (d. 1804); from 1785, J. G. Schicht (d. 1823); from 1810, Christian Schulz (d. 1827); and from 1827, Christian August Pohlenz (d. 1843). The standard of excellence was already famous. But in 1835 Mendelssohn brought new éclat and enterprise, especially as he soon had the invaluable help of the violinist David. The list of conductors has been from 1835: Mendelssohn (d. 1847); from 1843, Ferdinand Hiller (d. 1885); from 1844, Gade (d. 1890); from 1848, Julius Rietz (d. 1877); from 1860, Reinecke; and from 1895, Arthur Nikisch.—Pratt, 'The History of Music.'