EDMOND See also:

• AUDRAN
• EDMOND AUDRAN (1842-19o1)

AUDRAN (1842-19o1)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons on the r rth of See also:

• APRIL

April 1842 . He studied See also:

• MUSIC

music at the Ecole Niedermeyer, where he won the See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize for See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition in 1859 . Two years later he accepted the See also:

• POST

post of organist of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of St See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph at See also:

• MARSEILLES

Marseilles . He made his first See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance as a dramatic composer at Marseilles with L'Ours et le Pacha (1862), a musical version of one of See also:

• SCRIBE, AUGUSTIN EUGENE (1791-1860, French dramatist, was born in Paris on the 24th of December 1791. His father was a silk merchant, and he was well educated, being destined for the bar. But, having a real gift for the theatre, a gift which unfortunately

Scribe's vaudevilles . This was followed by La Chercheuse d'Esprit (1864), a comic See also:

• OPERA (Italian for " work ")

opera, also produced at Marseilles . See also:

• AUDRAN
• AUDRAN, EDMOND (1842-19o1)

Audran wrote a funeral See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

march on the See also:

• DEATH

death of See also:

• MEYERBEER, GIACOMO (1791-1863)

Meyerbeer, which was performed with some success, and made various attempts to win fame as a writer of sacred music . He produced a See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass (Marseilles, 1893), an See also:

• ORATORIO

oratorio, La Sulamite (Marseilles, 1876), and numerous See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor See also:

• WORKS

works, but he is known almost entirely as a composer of the lighter forms of opera . His first Parisian success was made with See also:

• LES

Les Noces d'Olivette (1879), a See also:

• WORK

work which speedily found its way to See also:

• LONDON

London and (as Olivette) ran for more than a See also:

• YEAR

year at the Strand See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre (188o-1881) . Audran's music has, in fact, met with as much favour in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England as in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, and all See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

save a few of his works have been given in a more or less adapted See also:

• FORM (Lat. forma)

form in London theatres . Besides those already mentioned, the following have been the most undeniably successful of Audran's many comic operas: Le See also:

• GRAND

Grand Mogol (Marseilles, 1876; See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1884; London, as The Grand See also:

• MOGUL, MOCHAL, or MIGHAL

Mogul, 1884), La Mascotte (Paris, 188o; London, as The Mascotte, 1881), Gillette de See also:

• NARBONNE

Narbonne (Paris, 1882; London, as Gillette, 1883), La Cigale et la Fourmi (Paris, 1886; London, as La Cigale, 189o), See also:

• MISS

Miss Helyett (Paris, 1890; London, as Miss Decima 1891), La Poupee (Paris, 1896; London, 1897) . Audran was one of the best of the successors of See also:

• OFFENBACH
• OFFENBACH, JACQUES (1819-1880)

Offenbach . He had little of Offenbach's See also:

• HUMOUR (Latin humor)

humour, but his music is distinguished by an elegance and a refinement of manner which lift it above the level of opera bouffe to the confines of genuine opera comique .

He was a fertile if not a very See also:

• ORIGINAL

original melodist, and his orchestration is full of variety, without being obtrusive or vulgar . Many of his operas, La Mascotte in particular, reveal a degree of musicianship which is rarely associated with the ephemeral productions of the lighter See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . He died in Paris on the 16th of See also:

• AUGUST (originally Sextilis)

August 1901 .