Edouard Lalo

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Lalo, Edouard


Born Jan. 27, 1823, in Lille; died Apr. 22, 1892, in Paris. French composer and violinist. Of Spanish descent.

Lalo studied at the Paris Conservatory in F. A. Habeneck’s violin class and studied composition with J. Schulhoff. He ranks with Saint-Saens and Franck as a master of French instrumental music of the second half of the 19th century. His work is based on the transformation of elements of French and Spanish folk music. Lalo turned to the musical folklore of other peoples in Rapsodie norvégienne and Concerto russe.

Lalo’s other compositions include the opera Le Roi d’Ys (1888; Opéra-Comique, Paris), the ballet Namouna (1882; Opéra, Paris), the popular Symphonie espagnole (for violin and orchestra, 1873), a cello concerto (1876), a string quartet, three piano trios, and art songs.


Frantsuzskaia muzyka vtoroi poloviny XIX veka. Edited and with an introduction by M. S. Druskin. Moscow, 1938. Chapter 6.
Servières, G. E. Lalo. Paris, 1925.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Following his interest in history, Namouna, A Grand Divertissement used music by the 19th-century composer Edouard Lalo. It harked back to Petipa's sense of pageantry, but with sweet, gentle twists.
Much as we all love the violin concertos of Bruch, Mendelssohn and Tchaikovsky it was a pleasant change to hear the now seldom performed Symphonie espagnole by Edouard Lalo, a five-movement concerto in all but name.
Contains arias by Daniel Auber, Hector Berlioz, Georges Bizet, Leo Delibes, Charles Gounod, Edouard Lalo, Jules Massenet, Giacomo Meyerbeer, Jacques Offenbach, Gioachino Rossini, Ambroise Thomas, and Giuseppe Verdi.
It's one of the greatest scores, French music, a ballet score called Namouna, composed by Edouard Lalo. Serge Lifar used parts of it for his Suite en blanc [1943].
Chapter 8, "Reaching out to Full Bloom" offers a survey of transitional figures in the history of romantic French song, including Victor Masse, Ernst Reyer, Edouard Lalo, Camille Saint-Saens, Georges Bizet, and Jules Massenet.
He released six albums, including his 1989 debut recording of Camille Saint-Saens, Max Bruch and Edouard Lalo with James Levine and the Chicago Symphony Orchestra.
Other editors, of course, would have made different choices--representative songs by Edouard Lalo, Leo Delibes, Lili Boulanger, or Olivier Messiaen, for example, would have been wonderful additions--but overall, Nichols's selections are well chosen, at times unusual, and certainly representative of the genre and period he intended to cover.
On April 16, the ensemble will play Edouard Lalo's Piano Trio in C Minor (Op.
As the chapter titles suggest, Ernest Reyer was really a "Berliozian," Camille Saint-Saens waffled "on the cusp," and Edouard Lalo embraced Wagnerism only "in spite of himself." Huebner shows that despite their leitmotivs and Wagnerian allusions, Reyer's Sigurd, Saint-Saens's Henry VIII, and Lalo's Le roi d'Ys embraced renewal within the French tradition of grand opera.