June 20, 1781, and became celebrated as a pianiste. She was remarkable for quick and true feeling, as well as a good style of execution, and made successful concert tours through France, Italy, and Germany. On April 18, 1799, she married Dulcken, a famous maker of pianos at Munich. She composed, but never published, some sonatas and other pieces for the piano.
Rosine, her younger sister, was born at Munich, April 13, 1785. She was at first taught by Streicher for the piano, but afterwards studied singing under her uncle, Danzi, the Kapellmeister. She made a successful debut; but, having married Stenzsch, an actor of the Court Theatre, Nov. 30, 1801, gave up the opera to play in comedy, in which she displayed a fair amount of talent.
[ J. M. ]
LÉCLAIR, Jean-Marie, l'ainé (so called to distinguish him from his brother Antoine-Remi), an eminent violin-player, and composer for his instrument, was born at Lyons in 1697 [App. p.698 "Paris, Nov. 23, 1687"]. Although his father was a member of the royal band, he began his public life not as a musician but as a dancer at the Rouen theatre. Later on he went to Turin, as ballet master, where Somis was so much pleased with some ballet-music of his, that he induced him to take up the violin, which up to this time he had cultivated as a secondary pursuit only, and to place himself under his tuition for two years. At the end of that period Somis declared that he had nothing more to teach him. Nevertheless Léclair appears to have continued his studies for a considerable time before going to Paris in 1729. In Paris his success was never great; whether from want of ambition and a retiring disposition, or, as has been suggested, owing to the jealousy of the violinists of the French school, we have no means of deciding. As a fact we know that Léclair, although he can hardly have had a worthy rival among the players of that time, got nothing better than the insignificant post of ripieno-violinist at the Opera. During this period he studied composition under Chéron. In 1731 he became a member of the royal band, but owing to a dispute with Guignon as to the leadership of the 2nd violins, gave up his post again, and soon also retired from the Opera. For the rest of his life he appears to have been exclusively occupied with the composition and publication of his works and with teaching. He was already an old man when he made a journey to Holland, for the sole 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 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 have ever been discovered.
Owing to the merit of his compositions for the violin, Léclair 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. As a composer, judging him after his best works, Léclair 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.
The 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:—
Op. 1. Sonatas for violin with a bass. (1st book.)
- 2. Sonatas. (2nd book.)
- 3. Sonatas for 2 violins.
- 4. Sonatas en trio.
- 5. Sonatas for violin with bass. (3rd book.)
- 6. Trios (faciles), 2 violins and bass.
- 7. Concerti grossi.
Op. 8. Trios. Continuation of op. 6.
- 9. Sonatas. (4th book.)
- 10. Concerti grossi.
- 11. Glaucus et Scylla. Opera.
- 12. Sonatas for 2 violins. (2nd book.)
- 13. Overtures and sonatas en trios.
- 14. Sonate posthume.
As a rule his works were engraved by his wife, who, up to 1750, was a singer at the Opéra.
[ P. D. ]
LECOCQ, Alexandre Charles, born in Paris June 3, 1832; entered the Conservatoire in 49, and in 50 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 eacred songs for women's voices called 'La Chapelle au Couvent' (1865)—less incongruous when we remember that he was a good
