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Scan 721
A dictionary of music and musicians, 1926
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1already an old man when he made a journey to Holland at the invitation of the Princess of Orange, for the purpose of hearing and meeting Locatelli, of whose powers as a violinist he, led by the extraordinary and novel difficulties presented in the caprices of that artist, had probably formed a great idea. [On his return he visited the court of Don Philip of Spain at Chambéry, in 1743-44. His opera, 'Scylla et Glaucus,' was performed in 1746, and in 1748 the Duc de Gramont appointed Leclair first violin in his private orchestra at Puteaux. Here he wrote various ballets and divertissements.] On Oct. 22, 1764, soon after his return from Holland, he was assassinated, late at night, close to the door of his own house. Neither motive nor author of the crime has ever been discovered.
3Owing to the merit of his compositions for the violin, Leclair occupies a prominent place among the great classical masters of that instrument. As to his powers as a performer we have but the indirect evidence of the difficulties presented in his compositions. These are very considerable; and, barring Locatelli's eccentricities, greater than any that we find in the works of his predecessors or contemporaries. He very freely employs—in fact not seldom writes whole movements in—double-stops; and altogether, even according to the modern standard of technique, his music is exacting both for the left hand and the bow. [In one instance he directs a note to be stopped with the left thumb.] As a composer, judging him after his best works, Leclair must be accorded the first place among French writers for the violin. It has been justly remarked, that a great deal of what he wrote is antiquated; but much remains that is truly charming. He is no mere imitator of the Italians, but there is a distinct individuality in many of his movements; and also a definite national French element. On the whole, gracefulness and vivacity are more prominent than depth of feeling; his frequent employment of double-stops, already mentioned, giving much richness and brilliancy of sound.
5The two Sonatas of his, edited by Ferd. David ('Hohe Schule des Violinspiels'), are good examples of his higher powers, especially the pathetic one, surnamed 'Le tombeau.' On the other hand, a Saraband and Tambourin, often played with great success by Joachim and others, are good specimens of his lively style. This is a list of his works, as appended to his op. 12:—
7Op. 1. Sonatas for violin with a bass. (1st book) (1723).
82. Sonatas. (2nd book.) Another set is called 'opus 1' and published by Walsh.
93. Sonatas for two violins. (c. 1732.)
104. Sonatas en trio. (The same number is added to a book of Sonatas for two violins, published in Paris in 1730.)
115. Sonatas for violin with bass. (3rd book.)
12Op. 6. Trios (faciles), two violins and bass.
137. Concerti grossi.
148. Trios. Continuation of op. 6.
159. Sonatas. (4th book.)
1610. Concerti grossi.
1711. Scylla et Glaucus. Opera.
1812. Sonatas for two violins. (2nd book.)
1913. Ouvertures et sonatas en trios.
2014. Trio for two violins and bass.
2115. Sonatas for violin and bass.
23As a rule his works were engraved by his wife, [whose name was Louise Roussel, and whom he married in 1730.] P. D.; with additions and corrections from an article by L. de la Laurencie, in the Sammelbde. of the Int. Mus. Ges. vi. 250.
25LECOQC, ALEXANDRE CHARLES, born in Paris, June 3, 1832; entered the Conservatoire in 1849, and in 1850 obtained the first prize for harmony and accompaniment. He took the second prize for fugue in Halévy's class in 1852, and at the same time greatly distinguished himself in the organ class. After this, however, he obtained no further scholastic distinctions, and either because he tired of Halévy's want of method, or because he was anxious to come before the public, left the Conservatoire towards the close of 1854. He found the usual difficulty in obtaining access to the stage, and would probably have had to wait a long time, but for a competition for an operetta opened by Offenbach in 1856. He was bracketed with Bizet, and 'Le Docteur Miracle' was produced at the Bouffes Parisiens, April 8, 1857. The operetta was evidently the work of a clever musician, who understood how to write for the voice. Notwithstanding this good beginning the small theatres still closed their doors to him, and Lecocq was driven to teaching for a livelihood. He then tried a different line, publishing, in conjunction with Besozzi, a collection of sacred songs for women's voices called 'La Chapelle au Couvent' (1865)—less incongruous when we remember that he was a good organist; but the stage was irresistible, and after the failure of 'Huis Clos' (1859), a little one-act piece 'Le Baiser à la Porte' (1864) was followed by 'Liline et Valentin' (1864), 'Les Ondines de Champagne' (1865),1 'Le Myosotis' (1866), 'Le Cabaret de Ramponneau' (1867), and 'Fleur de Thé,' three acts (1868).2 This last piece was a brilliant success. Lecocq at last found himself established with the public, and produced in rapid succession 'L'Amour et son carquois,' two acts (1868); 'Gandolfo' and 'Le Rajah de Mysore,'3 both in one act (1869); 'Le beau Dunois,' one act (1870);4 'Le Barbier de Trouville' and 'Le Testament de M. de Crac,' both in one act (1871); 'Sauvons la caisse,' one act, and 'Les Cent Vierges,'5 three acts (Brussels, 1872); 'La Fille de Mme. Angot,' three acts (Brussels, 1872),6 which ran for 500 nights consecutively; 'Les Prés St. Gervais'7 and 'Giroflé-Girofla,'8 both in three acts (1874); 'Les Jumeaux de Bergame,' one act, and 'Le Pompon,' three acts (1875); 'La petite Mariée,' three acts (1876);9 'Kosiki'10
271 Folly Theatre, London, Sept. 1877.
282 Lyceum Theatre, 1871, and (in English) at the Criterion, 1875.
293 Park Theatre, London, 1875.
304 Lyceum Theatre, 1871.
315 In London, at St. James's Theatre (French), June 21, 1873.
326 In London at St. James's Theatre (French), May 17, 1873; at Royal Philharmonic Theatre (English, Byron), Oct. 4, 1873; in another version at the Gaiety, Nov. 10, 1873.
337 In London at Criterion Theatre (English, Reece), Nov. 28, 1874.
348 In London at Opéra Comique (French), June 6, 1874; at Royal Philharmonic Theatre (English), Oct. 3, 1874.
359 Opéra Comique, London, 1876.
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