Lecoq, (Alexandre) Charles
Lecoq, (Alexandre) Charles
Lecoq, (Alexandre) Charles, noted French
composer; b. Paris, June 3, 1832; d. there, Oct. 24, 1918. He learned to play the flageolet and piano as a youth, and later studied harmony with Crévecoeur; then was admitted to the Paris Cons. (1849), where he took courses with Bazin, Halévy, and Benoist. He won second prize in counterpoint and was primus accessit in the organ class, but was compelled to leave the Cons, to assist his family (1854). He first gained notice as a composer when he shared a prize with Bizet sponsored by Offenbach for the Théâtre des Bouffes-Parisiens, for the operetta Le docteur Miracle (April 8, 1857). Although he brought out 7 more works for the stage during the next decade, it was only with his Fleur-de-thé (Paris, April 11, 1868) that he attained success. After going to Brussels (1870), he scored notable successes with his operettas Les cent vierges (March 16, 1872), La fille de Madame Angot (Dec. 4, 1872), and Giroflé-Girofla (March 24, 1874); they subsequently were performed in Paris with great success, making Lecoq the leading Parisian operetta composer of his day after Offenbach. After returning to Paris, he brought out such popular favorites as La petite mariée (Dec. 21, 1875), Le petit due (Jan. 25, 1878), Janot (Jan. 21, 1881), Le jour et la nuit (Nov. 5, 1881), and Le coeur et la main (Oct. 19, 1882). In subsequent years he continued to write works for the stage, but he failed to equal his previous successes. He was made a Chevalier (1900) and an Officer (1910) of the Légion d’honneur. His music was distinguished by melodic grace, instrumental finish, and dramatic acumen.
Works
dramatic (all are operettas and were first perf. in Paris unless otherwise given): Le docteur Miracle (April 8, 1957); Huis-clos (Jan. 28, 1859); Le baiser à la porte (March 26, 1864), Liline et Valentin (May 25, 1864); Le myosotis (May 2, 1866); Ondines au champagne (Sept. 5, 1866); Le cabaret de Ramponneau (Oct. 11, 1867); L’amour et son carquois (Jan. 30, 1868); Fleur-de-thé (April 11, 1868); Les jumeaux de Bergame (Nov. 20, 1868); Gandolfo (Jan. 16, 1869); Deux portières pour un cordon (March 15, 1869); Le rajah de Mysore (Sept. 21, 1869); Le beau Dunois (April 13, 1870); Le testament de M. de Crac (Oct. 23, 1871); Le barbier de Trouville (Nov. 19, 1871); Sauvons la caisse (Dec. 22, 1871); Les cent vierges (Brussels, March 16, 1872); La fille de Madame Angot (Brussels, Dec. 4, 1872); Giroflé-Girofla (Brussels, March 21, 1874); Les prés Saint-Gervais (Nov. 14, 1874); Le pompon (Nov. 10, 1875); La petite mariée (Dec. 21, 1875); Kosiki (Oct. 18, 1876); La marjolaine (Feb. 3, 1877); La petit duc (Jan. 25, 1878); La Camargo (Nov. 20, 1878); Le grand Casimir (Jan. 11, 1879); La petite mademoiselle (April 12, 1879); La jolie persane (Oct. 28, 1879); Janot (Jan. 21, 1881); La rousotte (Jan. 25, 1881; completed by Hervé); Le jour et la nuit (Nov. 5, 1881); Le couer et la main (Oct. 19, 1882); La princesse des Canaries (Feb. 9, 1883); L’oiseau bleu (Jan. 16, 1884); La vie mondaine (Feb. 13, 1885); Plutus, opéra-comique (March 31, 1886); Les grenadiers de Mont-Cornette (Jan. 4, 1887); Ali-Baba (Brussels, Nov. 11, 1887); La volière (Feb. 11, 1888); L’égyptienne, opéra-comique (Nov. 8, 1890); Nos bons chasseurs, vaudeville (April 10, 1894); Ninette (Feb. 28, 1896); Barbe-Bleu, ballet-pantomime (May 12, 1898); Ruse d’amour, comédie (Boulogne, June 26, 1898); Le cygne, ballet (April 20, 1899); La belle au bois dormant (Feb. 19, 1900); Yetta, opéra-comique (Brussels, March 7, 1903); Rose Mousse, comédie-musicale (Jan. 28, 1904); La salutiste, opéra monologue (Jan. 14, 1905); Le trahison de Pan, opéra-comique (Aix-les-Bains, Sept. 13, 1910). He also wrote several orch. works, more than 100 songs, dances, and piano pieces.
Bibliography
L. Schneider, Les Maîtres de Voperette française: Hervé, C. L. (Paris, 1924); idem, Une Heure de musique avec C. L. (Paris, 1930).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire