orm and their
works are worthy of great respect; since, through them, the public
became accustomed to symphonic style and was prepared for the
subsequent greater works of Franck, d'Indy and Chausson. Although not
so versatile as Saint-Saens nor so varied in output, Eduard Lalo
(1823-1892) should decidedly not be overlooked. He was of Spanish
origin and this racial strain is noticeable in the vivacity of his
rhythm, in the piquant individuality of his melodies and in his
brilliant and picturesque orchestration. His characteristic work is
represented by a series of Concertos and Rhapsodies in which he
employs Spanish, Russian and Norwegian themes. He did not escape the
French predilection for operatic fame and his best work is probably
the well-known opera _Le Roi d'Ys_, from which the dramatic overture
is often played separately. His G minor symphony, however, will always
be considered an important landmark in the development of French
instrumental music.[272]

[Footnote 271: For further comments on the style and influence of
Saint-Saens see the essay Mason's _From Grieg to Brahms_; the article
by Professor E.B. Hill in the third volume of the _Art of Music_; and,
for some pungent and witty remarks, the Program Book of the Boston
Symphony Orchestra (edited by Philip Hale) for Nov. 22, 1918.]

[Footnote 272: For a comprehensive and discriminating account of his
style see the Boston Symphony Orchestra Program Book, for January 17,
1919.]

Cesar Franck (1822-1890) was a composer of such innate spirituality
that to analyze and classify him in a formal manner seems well-nigh
irreverent. His music once heard is never forgotten, and when
thoroughly known is loved for all time. Nor is an elaborate
biographical account necessary; for Franck, more than any other modern
composer, has been fortunate in that his life and works have been
sympathetically presented to the world by a distinguished
contemporary, his most famous pupil d'Indy--himself a gifted composer
and a man of rare literary powers. His biography of Cesar Franck (in
French and in English) should certainly be read by all who would keep
abreast of modern tendencies. Franck's message, however, is so
remarkable and his style so individual, that a few definite comments
may be made concerning the structural features of his work and the
essential attributes, thereby expressed, of his inspiring personality.
Franck was a Belgian born at Liege--one of that long line of musici