Edouard Lalo
Edouard-Victor-Antoine Lalo is a French type-setter born with Lille, the n° 10 of the street of the Turns, the January 27th 1823, and died in Paris the April 22nd 1892. It rests with the Parisian cemetery of the Père Lachaise. Its family is not Spanish origin, as opposed to what wanted to make believe her son, Pierre Lalo. This last was monarchist, while his father was a convinced Republican, in addition relatively antimilitarist.
Biography
Edouard Lalo entered at the 10 years age to the academy of Lille where he learned the Violon and perhaps the violoncello, under the direction of professors Müller and Baumann then, at the sixteen years age, left for Paris in order to continue its musical studies, against the will of his/her father. There was as professor of violin P. Baillot, then F. - has. Hanabeck. In 1843 the pianist Julius Schulhoff initiated it with the composition. He improved in contact with J. - E. Crèvecoeur (second Grand Prix of Rome). Its first known compositions, from the songs accompanied with the piano, go back to 1848, year during which it subjected two of its partitions to Hector Berlioz. It bound friendship with the violonist Jules Armingaud, his only confidant and with the type-setter Pablo de Sarasate. With the number of his friends one counts as painted Auguste Delacroix as one should not confuse, like wanted it Pierre Lalo, with famous the Eugene Delacroix. Lalo never entered to the Conservatoire of Paris, neither as raises, nor as professor. It took part in it only in two jurys of contest in 1876. Although admiring the Wagnerian orchestra, Lalo attreignit to follow its own personality. It profited on several occasions from the support of Charles Gounod who tasted his musics. It was the viola, then the second violin of Quatour Armengaud starting from the foundation of this one in 1856. Edouard Lalo lived poorly, in particular in Puteaux with his first wife, until 1865. Widower in 1864, it married the mezzo-soprano Julie-Marie-Victoire Bernier de Maligny and lived more comfortably in Paris. He made living room of music at his place each Friday evening and attended the other private musical living rooms of the capital. Lalo was of a reserved nature and felt reluctant to speak about him. Many the correspondences which he wrote and received were destroyed. It composed with heat of the melodies and the instrumental symphonies which were appreciated abroad that in France.One year after the success of its opera " King d' Ys" , Edouard Lalo was promoted Officer of the Legion of Honor on January 1st, 1889.
Except two symphonies - destroyed, it seems, by the type-setter -, its first compositions were intended for a small vocal or instrumental manpower, with in particular six popular Romances (1849), then six Mélodies , on poems of Victor Hugo (1856), two Trios with piano (towards 1850 and 1852) and various parts for violin and piano.
In 1856, it took part, initially as altist, with the creation of the Armingaud Quartet, of which the ambition was to promote works of the German Masters. Four years later, it composed its clean String quartet . In 1866, it finished Fiesque , its first opera, which was not never carried to the scene but fed from other works, like the Divertissement for orchestra (1872) or the Symphonie in minor ground (1886).
The Années 1870 were particularly fertile: in addition to the Concerto for violin (1873) and the Concerto for violoncello (1877), Lalo wrote its two more famous opus, the Spanish Symphonie (1874) and operated it the King d' Ys (1875 - 1881). It acquired its notoriety thanks to the Spanish Symphonie , which is in fact a Concerto for violin in five movements, blazing composition created for the violonist virtuoso Sarasate and always very popular. Its Concerto for violoncello , although less appreciated, is a very interesting work. As for the King d' Ys , it was created only tardily, but triumphantly, in 1888.
Among its compositions of scale, the Ballet Namouna (1882) was ordered by the Opéra of Paris and choreography by Lucien Petipa. This music accepted a mitigated reception, between hootings of the public and enthusiasm of fellow-members such as Debussy, Fauré or Chabrier. It was maintained with the repertory in the form of continuations of orchestra. In connection with Namouna , Claude Debussy wrote: “Among too many stupid ballets, there was a manner of masterpiece: the Namouna of Edouard Lalo. It is not known which deaf person ferocity buried it so deeply that nobody speaks about it any more… It is sad for the music. ”
Its contribution
Lalo, appreciated in particular for the richness of its orchestration, contributed, at the same time as interprets and as type-setter, with the revival of the chamber music in France. Its String quartet reveals the strong influence of Beethoven, but is also impresses of a rhythmic strength good personal.Contemporary of Carmen of Bizet, its Spanish Symphony for violin and orchestra is one of the first French orchestral works to call upon the Spanish folklore and at its rates/rhythms of Danse S. This interest for the folklores finds in the Norwegian Fantaisie (1878), in the Norwegian Rhapsodie (1879), in the Russian Concerto (1879), but also in the “Breton legend” of the King d' Ys , whose Lalo voluntarily gives up making a “lyric drama” Wagnerian. Privileging the short forms, it shown there a great melody and rhythmic invention, supported by a harmonic rich person writing.
Principal works
- orchestral Music :
- Chamber music :
- vocal Music :
- Operas :
- Ballet :
To discover Edouard Lalo
The Spanish Symphony by Itzhak Perlman and the London Symphony Orchestrated, directed by André Previn (coupled with beautiful the Concerto for violin of Sibélius - with the Boston Symphony Orchestra, directed by Erich Leinsdorf - and Tzigane of Ravel).
External bonds
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