composers of church music of his time—Goupillet, Minoret, etc.—cannot of course be compared to Handel and Bach, who were almost his contemporaries. The cause of his superiority over his immediate rivals was that he knew how to adapt to French tastes the forms of concerted church music hitherto confined to the Italian school, and his compositions, besides possessing real imagination, show that, like the musicians of Lulli's school, he gave special attention to declamation and to the proper agreement between words and music. He wrote no less than 60 motets for chorus and orchestra for the chapel at Versailles, which were published most luxuriously at the King's expense. They are contained in 20 books, and are usually found bound in 10 volumes. He did not contribute so much as is generally supposed to the the ballet of 'Les Eléments,' by Destouches (Tuileries, Dec. 31, 1721; Académie de Musique, May 29, 1725), his portion being confined to a few pieces in the prologue. He wrote music for the heroic pastoral 'Mélicerte,' begun by Molière and altered by Guérin. He composed various works for the court theatres:—the 'Ballet de la Jeunesse' (Versailles, 1686), 'L'Amour flechi par la Constance' (Fontainebleau, 1697), 'Les Folies de Cardenio' (Tuileries, 1720). Fétis is of opinion that Lalande worked at several operas without allowing anything to be represented under his own name, and gives as his authority Titon du Tillet, to whom we owe the biographical details of Lalande; but du Tillet does not mention it in his article on Lalande in the 'Parnasse Français.'
LALLA ROOKH. P. 86 a, add 2. 'Lalla Rukh,' a dramatic piece by Spontini, produced Jan. 27, 1821, at the Royal Palace, Berlin. [See vol. iii. p. 673.] Change 2, 3, 4, 5, to 3, 4, 5, 6. Add 7. 'Paradise and the Peri,' Cantata, John F. Barnett, Birmingham, 1870. For other musical compositions based on the poem see Clay, vol. i. 369b; Paradise and the Peri, vol. ii. 648b; and Stanford, vol. iii. 689.
LALO, Edouard Victor Antoine, born at Lille, Jan. 27, 1823,[1] studied the violin at the Conservatoire of that town under an excellent German professor named Baumann. When he came to Paris he played the viola in the Armingaud-Jacquard quartet, and began to compose with activity. He competed at the concours at the Théâtre Lyrique in 1867 with an opera, 'Fiesque,' which took a third place, and has since been printed and partly performed at the Concert National, 1873. The ballet music from this work, under the title of a Divertissement, was given with great success at the Concert Populaire, Dec. 8, 1872. Lalo next composed a violin concerto in F, played by Sarasate at the Concert National, Jan. 18, 1874, and a Symphonic Espagnole, for violin and orchestra, played by the same artist at the Concert Populaire, Feb. 7, 1875. It was produced in England at the Crystal Palace, March 30, 1878. After these two great successes, which gave Lalo a first-class position as a composer for the concert-room, he produced an Allegro Symphonique, the overture to his opera, 'Le Roi d'Ys,' a violoncello concerto, played by Fischer, a scherzo for orchestra (all performed in Paris), a Serenade and a Fantaisie Norvégienne for violin and orchestra, first given in Berlin. His 'Rhapsodie Norvégienne' and his 'Concerto Russe,' played by Marsick, were the last important works for the concert-room written before his grand ballet, 'Namouna,' performed at the Opera, March 6, 1882. This work has something of a symphonic style, and is orchestrated in a manner far superior to that of many more popular ballets, but it was coldly received by the public. 'Namouna' was only given 15 times, but when transferred to the concert-room in the form of a grand Orchestral Suite in five movements, it achieved the success it deserved. An andantino, and two other movements from the same, arranged for violin and orchestra, were also received with favour at the Concerts Modernes, and a serenade, arranged for four stringed instruments, was also successful. After this reparation for his former failure, Lalo again set to work and orchestrated the whole of his 'Roi d'Ys,' of which the general plan had been sketched some five or six years before, and wrote a Symphony in G minor, performed at the Concert Lamoureux, Feb. 13, 1887, which was much praised by musicians. The opera was produced at the Opéra Comique, May 7, 1888, with well deserved success. Thus far we have only spoken of Lalo's orchestral compositions. An allegro for piano and violoncello, a sonata for the same, a serenade and chanson villageoise for violin and piano, a sonata in three movements for the same, a trio in A minor for piano and strings (given at Hallé's recital, June 15, 1888), a string quartet in E♭, a 'Fantaisie Ballet' for violin and orchestra (unpublished), and more than 20 songs, complete the list of works by one who has gained a reputation both in Germany and France, though his dramatic work has received but tardy recognition. His talent is of an extremely individual kind, and has been formed, not by the discipline of the Conservatoire, nor by the influence of professors, but by the direct study of such masters as Beethoven, Schubert, and Schumann, for whom he has a special predilection. His chief characteristics are the expressive grace of certain ideas, the piquancy of some of his themes, and, above all, the richness and skill of his orchestration. Lalo is one of the most distinguished of French composers, and has fully deserved the decoration of the Légion d'Honneur conferred upon him in July 1880. (Died Apr. 23, 1892.)
LAMBERT, G. J. Correct date of birth to Nov. 16, 1794, and add date of death, Jan. 24, 1880.
LAMBETH, Henry Albert, born at Hardway, near Gosport, Jan. 16, 1822, studied for some time under Thomas Adams, came to Glasgow about 1853 as city organist, on the recom-
- ↑ Date verified by the register of birth.
