See also:

• CLEMENT (Lat. Clemens, i.e. merciful; Gr. K)4gs)
• CLEMENT, FRANCOIS (1714-1793)
• CLEMENT, JACQUES (1567-1589)

CLEMENT PHILIBERT See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

LEO See also:

• CLEMENT PHILIBERT LEO DELIBES (1836–1891)

DELIBES (1836–1891)  , See also:

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

French composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• SAINT (lat. sanctus, " holy ")

Saint Germain du Val on the 21st of See also:

• FEBRUARY

February 1836 . He studied at the 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 See also:

• CONSERVATOIRE (the Fr. equivalent of Ital. Conservatorio, Ger. Conservatorium, from Med. Lat. conservatorium, a place where anything is preserved, Lat. conservare, to preserve)

Conservatoire under Adolphe See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam, through whose See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence he became accompanist at the See also:

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

Theatre Lyrique . His first See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay in dramatic See also:

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

composition was his Deux sous de charbon (1853), and during several years he produced a number of operettas . His See also:

• CANTATA (Italian for a song or story set to music)

cantata See also:

• ALGER, RUSSELL ALEXANDER (1836-1907)

Alger was heard at the Paris See also:

• OPERA (Italian for " work ")

opera in 1865 . Having become second See also:

• CHORUS (Gr. xopbs)Z

chorus See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master at the See also:

• GRAND

Grand Opera, he wrote the See also:

• MUSIC

music of a See also:

• BALLET

ballet entitled La Source for this theatre, in collaboration with Minkous, a See also:

• POLISH

Polish composer . La Source was produced with See also:

• GREAT

great success in 1866 . The composer returned to the operetta See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style with Malbrouk s'en va-t-en guerre,—written in collaboration with Georges Bizet, Emile See also:

• JONAS, JUSTUS (1493–1555)

Jonas and Legouix, and given at the Theatre de 1'Athenee in 1867 . Two years later came L'Ecossais de Chatou, a one-See also:

• ACT (Lat. actus, actum)

act piece, and La Cour du roi Petaud, a three-act opera-bouffe . The ballet Coppelia was produced at the Grand Opera on the 25th of May 187o with enormous success . See also:

• DELIBES, CLEMENT PHILIBERT LEO (1836–1891)

Delibes gave up his See also:

• POST

post as second chorus master at the Grand Opera in 1872 when he married the daughter of Mademoiselle See also:

• DENAIN

Denain, formerly an actress at the Comedie Francaise . In this See also:

• YEAR

year he published a collection of graceful melodies including Myrto, See also:

• LES

Les Filles de See also:

• CADIZ
• CADIZ (Cadiz)
• CADIZ (in Lat. Gades, and formerly called Cales by the English)

Cadiz, Bonjour, Suzan and others . His first important dramatic See also:

• WORK

work was Le Roi l'a dit, a charming comic opera, produced on the 24th of May 1873 at' the Opera Comique .

Three years later, on the 14th of See also:

• JUNE

June 1876, Sylvia, a ballet in three acts, See also:

• DELILLE, JACQUES (1738–1813)

DELILLE one of the composer's most delightful See also:

• WORKS

works, was produced at the Grand Opera . This was followed by La Mort d'Orphee, a grand scena produced at the Trocadero concerts in 1878 ; by See also:

• JEAN

Jean de Nivelle, a three-act opera brought out at the Opera Comique on the 8th of 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 188o; and by Lakme, an opera in three acts produced at the same theatre on the 14th of See also:

• APRIL

April 1883 . Lakme has remained his most popular opera . The composer died in Paris on the 16th of See also:

• JANUARY

January 1891, leaving Kassya, a four-act opera, in an unfinished See also:

• STATE
• STATE, GREAT OFFICERS OF

state . This work was completed by E . See also:

• GUIRAUD, ERNEST (1837—1892)

Guiraud, and produced at the Opera Comique on the 21st of March 1893 . In 1877 Delibes became a See also:

• CHEVALIER, ALBERT (1861– )
• CHEVALIER, MICHEL (1806-1879)
• CHEVALIER, ULYSSE (1841– )

chevalier of the See also:

• LEGION (Lat. legio)

Legion of See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

Honour; in 1881 he became a See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of advanced composition at the Conservatoire; in 1884 he took the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of See also:

• VICTOR
• VICTOR, GAIUS JULIUS (4th cent. A.D.)
• VICTOR, SEXTUS AURELIUS

Victor Masse at the Institut de See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . See also:

• LEO
• LEO (THE LION)
• LEO, BROTHER (d. c. 1270)
• LEO, HEINRICH (1799-1878)
• LEO, JOHANNES (c. 1494-1552)
• LEO, LEONARDO (1694–1744)

Leo Delibes was a typically French composer . His music is See also:

• LIGHT

light, graceful and refined . He excelled in ballet music, and Sylvia may well be considered a masterpiece . His operas are constructed on a conventional See also:

• PATTERN

pattern . The See also:

• HARMONIC

harmonic texture, however, is See also:

• MODERN

modern, and the melodic invention abundant, while the orchestral treatment is invariably excellent .