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Symphonie espagnole
Symphonie espagnole
Symphonie espagnole
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The Symphonie espagnole in D minor, Op. 21, is a work for violin and orchestra by Édouard Lalo.

History

[edit]

The work was written in 1874 for violinist Pablo Sarasate, and premiered in Paris on February 7, 1875.[1]

Although called a "Spanish Symphony" (see also Sinfonia concertante), it is considered a violin concerto by musicians today. The piece has Spanish motifs throughout, and launched a period when Spanish-themed music came into vogue. (Georges Bizet's opera Carmen premiered a month after the Symphonie espagnole.)

The Symphonie espagnole is one of Lalo's two most often played works, the other being his Cello Concerto in D minor.

The orchestra consists of a piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, snare drum, triangle, harp, and strings.

Structure

[edit]

The piece has five movements:

  1. Allegro non troppo
  2. Scherzando: Allegro molto
  3. Intermezzo: Allegretto non troppo
  4. Andante
  5. Rondo: Allegro

A typical performance runs just over half an hour. One of the shorter recordings, conductor Eugene Ormandy's 1967 recording with the Philadelphia Orchestra, featuring violinist Isaac Stern, runs 32 minutes and 43 seconds.[2] It was common practice until the middle of the 20th century for performances of the work to omit the Intermezzo,[3] leaving a four-movement work that more closely reflected the traditional structure of a symphony.

Influence on Tchaikovsky

[edit]

The Symphonie espagnole had some influence on the genesis of Tchaikovsky's Violin Concerto in D major. Other Russian composers like Glinka had travelled to Spain, starting a vogue among young Russian composers for the bolero and Spanish subjects. Tchaikovsky loved Mozart's "Don Giovanni" (set in Seville), heard Bizet's "Carmen" during its opening run in 1876, and later played castanets during a performance of Rimsky-Korsakov's "Capriccio Espagnol" in 1887, as reported by cellist Yulian Poplavsky, who knew Tchaikovsky at the time.[4]

In March 1878, Tchaikovsky was staying at Nadezhda von Meck's estate at Clarens, Switzerland, while recovering from the breakdown of his disastrous marriage and his subsequent suicide attempt. His favourite pupil (and allegedly his lover), the violinist Iosif Kotek, shortly arrived from Berlin with a lot of new music for violin. His collection included the Symphonie espagnole, which he and Tchaikovsky played through to great delight. This gave Tchaikovsky the idea of writing a violin concerto, and he immediately set aside his current work on a piano sonata and started on the concerto on 17 March.[5] With Kotek's technical help, the concerto was finished by 11 April.

References

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Symphonie espagnole

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from Grokipedia
The Symphonie espagnole, Op. 21, is a five-movement composition for solo and in by the French composer Édouard Lalo, completed in 1874. Despite its symphonic title, the work functions primarily as a , blending elements of , Romanze, and Spanish dance rhythms such as the habanera and . Lalo, of Spanish descent, infused the score with Iberian motifs to evoke a Spanish atmosphere, drawing inspiration from his heritage and the dedicatee, the renowned Spanish violinist Pablo de Sarasate. The piece premiered on February 7, 1875, in , with Sarasate as soloist under conductor Édouard Colonne, marking a breakthrough for Lalo amid his struggles for recognition in French musical circles. Its structure spans approximately 30 minutes and includes: I. , a dramatic opening; II. Scherzando: Allegro molto, a lively dance; III. : , a lyrical interlude; IV. Andante, a poignant song without words; and V. : Allegro, a brilliant finale. The orchestration features a full Romantic ensemble, including piccolo, harp, and percussion to heighten the exotic colors. Once immensely popular in the late —praised by figures like Tchaikovsky for its "delightfully fresh and light" melodies and piquant rhythms—it influenced works such as Tchaikovsky's own and contributed to the vogue for Spanish-themed music among French composers. Though less frequently performed today compared to staples like the Beethoven or Mendelssohn concertos, it remains a celebrated showcase for violinists due to its melodic invention and orchestral vitality.

Background

Composer and Historical Context

Édouard Lalo was born on January 27, 1823, in , , into a family of Spanish descent that had settled in the region generations earlier. He began his musical education at the Lille Conservatoire before moving to in 1839 against his father's wishes, enrolling at the Paris Conservatoire to study with François Habeneck. He supplemented his training with private composition lessons from Julius Schulhoff and Jean-Édouard Crèvecoeur, though he left the Conservatoire without a prize. Throughout the 1840s and 1850s, Lalo struggled as a freelance composer in , supporting himself by playing viola in the and teaching privately. His early career was marked by limited recognition, as he composed and songs while navigating the city's vibrant but competitive musical landscape. In , Lalo married the Julie Besnier de Maligny, whose performances inspired several vocal works and deepened his engagement with , though his Spanish heritage—rooted in familial ties to the —fostered a growing fascination with Spanish musical idioms. The 1870s French musical scene unfolded in a post-Romantic era dominated by opera, where orchestral works often served dramatic narratives rather than standing alone. This period saw a surge in exoticism, particularly evocations of Spain, as composers drew on Gypsy rhythms, flamenco motifs, and habanera dances to convey passion and otherness; notable examples include Georges Bizet's Carmen (1875), with its stylized Spanish "local color." Lalo's Violin Concerto No. 1, Op. 20 (1873), exemplified his emerging skill in violin writing, showcasing virtuosic demands and orchestral balance that paved the way for his breakthrough orchestral pieces.

Inspiration and Dedication

Édouard Lalo dedicated his Symphonie espagnole to the Spanish violinist , a close friend and renowned whose playing style profoundly influenced the work's demanding technical passages and infusion of Spanish character. Sarasate, known for his elegant yet passionate interpretations, not only premiered the piece but also championed it throughout his career, shaping its reputation as a showcase for violinistic flair. This dedication reflected Lalo's admiration for Sarasate's ability to evoke the fiery spirit of Spanish music, which directly informed the concerto's virtuosic demands. Lalo drew inspiration from Spanish folk music and dance rhythms, such as the lively jota and the rhythmic habanera, to infuse the composition with an exotic, evocative "Spanishness" without quoting specific folk tunes directly. These elements allowed Lalo to create a programmatic yet abstract portrayal of , emphasizing mood and rhythm over literal transcription. The title Symphonie espagnole signals Lalo's adoption of a symphonic framework for what is essentially a , while highlighting its thematic focus on Spanish evocation. Lalo, born in to a family with Basque roots, sought to merge French orchestral elegance with Spanish passion, embodying his hybrid in a work that bridges national styles. This blend underscored the late-19th-century French fascination with Iberian themes, positioning the piece as a cultural synthesis rather than a purely nationalistic statement.

Composition and Premiere

Creation Process

The Symphonie espagnole, Op. 21, was composed by Édouard Lalo in 1874. This five-movement work for violin and orchestra in followed Lalo's , Op. 20, composed in 1873 and premiered on January 18, 1874, by the same dedicatee, . Lalo, who had long pursued composition privately without institutional backing, crafted the piece amid his ongoing role as a violinist and teacher to sustain himself financially. Lalo tailored the Symphonie espagnole to Sarasate's virtuosic capabilities, creating a demanding solo part within a symphonic scope. The work's initial editions—the piano reduction and full score—differed notably, reflecting Lalo's revisions to refine its structure and orchestral balance before publication. These adjustments addressed inconsistencies in the early versions, ensuring greater cohesion in the hybrid concerto-symphony form. Throughout his career, Lalo faced financial and limited recognition, which delayed major projects and compelled him to compose sporadically in the preceding decade. Despite these obstacles, he secured publication of the Symphonie espagnole through Breitkopf & Härtel, a key step in establishing its place in the .

First Performance

The world premiere of Édouard Lalo's Symphonie espagnole took place on February 7, 1875, at the Cirque d'Hiver in , as part of the Concerts Populaires de Musique Classique. The performance was conducted by Pasdeloup with his orchestra, and the solo violin part was played by the dedicatee, , whose exceptional technical skill and interpretive flair vividly realized the work's demanding virtuosic passages. The audience response was overwhelmingly positive, with triumphant applause erupting particularly for the solo violin's elaborate fireworks, which showcased Sarasate's mastery and captivated listeners. This enthusiastic reception propelled Lalo from relative obscurity to wider recognition, establishing the Symphonie espagnole as a breakthrough in his career and a highlight of the Parisian concert season. Following the , the score was published in full edition by May 1875, with a piano reduction appearing earlier in mid-February, enabling broader access for performers and study. Sarasate's extensive European tours rapidly disseminated the work, leading to its quick adoption in concert halls across the continent, where it became a staple for violinists seeking to demonstrate technical prowess and stylistic flair.

Musical Structure

Overall Form

The Symphonie espagnole, Op. 21, by Édouard Lalo is classified as a rather than a true , despite its title, blending symphonic ambitions with the soloistic focus of a . It features an unconventional five-movement , departing from the standard three-movement form of most violin concertos, and incorporates elements of , , and across its movements to create a cohesive yet varied whole. This hybrid genre allows for greater symphonic integration of the orchestra while highlighting the 's virtuosic capabilities. The work is centered in , with strategic modulations that add color and evoke Spanish-inflected drama, and lasts approximately 30-35 minutes in . Lalo's approach emphasizes structural freedom and melodic variety, drawing from the French Romantic tradition to prioritize expressive, picturesque episodes over strict classical adherence. The functions not only as a brilliant soloist but also as a symphonic voice, weaving seamlessly with the to unify the composition through recurring Spanish rhythmic motifs, such as habanera-like patterns. In contrast to standard violin concertos like Beethoven's in , Op. 61, which follows a more unified sonata-based architecture, Lalo's piece is notably episodic and evocative, with its multi-movement design fostering a narrative-like progression infused with exotic flair. This innovation reflects Lalo's intent to expand the concerto form beyond conventional boundaries, creating a work that balances with orchestral depth.

Individual Movements

The first movement, in , follows and opens with a bold orchestral theme that establishes a dramatic, forceful tone infused with Spanish exoticism through gypsy-like flamenco gestures and rhythmic contrasts between duple and triple meters. The solo enters with cadenza-like flourishes and a passionate theme, evoking the intensity of Spanish processions, while the development section heightens tension with scalar passagework and dynamic contrasts before resolving in a triumphant recapitulation. The second movement, Scherzando: Allegro molto in , shifts to a playful and light character, contrasting the first movement's drama with its upbeat dance rhythms based on the seguidilla, featuring piquant syncopations and a lively alternation of two- and three-beat feels. The leads the festive melody with agile skips and ornamental runs, supported by sparkling orchestral interplay that underscores the movement's fiesta-like ambience without overt heaviness. The third movement, : Allegretto non troppo in , presents a lyrical and song-like quality with habanera influences evident in its rhythmic pulse and harmonized melodies drawn from Spanish folk traditions. The solo showcases its capabilities through expressive phrasing on the low and soaring lines that evoke a public celebration, though this interlude is sometimes omitted in performances due to its introspective placement. The fourth movement, Andante in , offers a slow, romantic meditation characterized by its lyrical expressiveness and subtle use of and winds to create an intimate, introspective atmosphere with minimal overt Spanish flavor. Beginning with a Mendelssohn-like introduction, it explores contrasting dark and light thematic material, allowing the to sing seductively over gentle orchestral textures before fading to a quiet close. The fifth movement, : Allegro in C major, serves as a virtuosic finale propelled by rhythms and syncopated accents in triple time, building from a malagueña-inspired slower section to a triumphant, energetic conclusion that captures Iberian vibrancy. The employs advanced techniques such as harmonics, double-stops, pizzicatos, register shifts, and glissandos to and leap alongside the , culminating in brilliant fireworks that highlight the work's Spanish rhythmic heritage.

Orchestration

Instrumentation

The Symphonie espagnole is scored for solo accompanied by an of piccolo, 2 flutes, 2 oboes, 2 clarinets in A and B-flat, 2 bassoons, 4 horns in D and G, 2 trumpets in D, 3 trombones, , , , , and strings. This configuration reflects a modest orchestral scale compared to full symphonies of the era, with no included, enabling the solo violin to maintain prominence amid the ensemble. The percussion section includes for general rhythmic foundation, and to evoke the exotic sparkle and propulsion associated with Spanish folk traditions, underscoring the work's Iberian inspirations through its bright, punctuating . The provides subtle coloristic enhancements, particularly in the lyrical (third movement), where its arpeggios contribute a warm, evocative texture reminiscent of Spanish guitar. Overall, the orchestration balances rhythmic propulsion from the winds and brass with harmonic underpinning from the strings, ensuring the ensemble supports rather than overshadows the virtuosic solo line while amplifying the piece's Spanish-inflected vitality across its five movements.

Role of the Solo Violin

The solo violin in Édouard Lalo's Symphonie espagnole serves as the central protagonist, demanding exceptional virtuosity through extensive double-stops, harmonics, rapid scales, and pizzicato passages that highlight the performer's technical prowess. These elements were specifically tailored to the capabilities of Pablo de Sarasate, the work's dedicatee, incorporating one-finger chromatic glissandos, fast passagework, and left-hand pizzicato to exploit his agility and elegant style. Musicologist Michael Clive describes it as a "fabulously abundant violin showcase" requiring prodigious skill, distinct from the more intense demands of Paganini. The violin's expressive range spans lyrical melodies that convey charm and passion to fiery, dance-like displays infused with Spanish character, often leading the thematic development throughout the piece. This breadth allows to balance melodic richness with rhythmic vitality, reflecting Lalo's Spanish heritage while maintaining an elegant, non-excessive intensity suited to Sarasate's interpretive approach. The instrument's role emphasizes emotional depth, transitioning seamlessly from serious, forceful expressions to spirited . In its integration with the orchestra, the violin engages in continuous dialogues rather than isolated cadenzas, echoing and transforming orchestral motifs to create a concertante-style interplay where remains dominant yet collaborative. This seamless blending treats the violin and on relatively equal footing, with the providing supportive textures—such as and strings that underscore the violin's lines—enhancing the work's symphonic character without overshadowing . The absence of traditional cadenzas further promotes this interactive dynamic, as noted by . Regarded as one of the most demanding works in the 19th-century , the Symphonie espagnole requires immense stamina from the soloist across its five movements, with technical challenges like rapid shifts and precise bow control testing even advanced performers. Certain sections, due to their high-speed demands, were historically omitted in performances, underscoring the piece's rigorous nature. Its exceptional has cemented its status as a benchmark for violinists, influencing the evolution of Spanish .

Reception and Legacy

Initial Critical Response

The premiere of Édouard Lalo's Symphonie espagnole on February 7, 1875, at the Concerts Populaires in , conducted by Jules Pasdeloup with as soloist, was met with immediate acclaim from the audience, including repeated and storms of that marked a turning point in Lalo's career. Parisian critics lauded the work's melodic freshness, vibrant Spanish-inflected rhythms, and orchestral , hailing it as a refreshing departure from prevailing conventions and an instant success that invigorated the city's musical scene. Sarasate, the dedicatee and a Spanish for whom Lalo tailored the piece's dazzling writing, played a pivotal role in its promotion through extensive European tours beginning shortly after the premiere, including performances in and by 1876, where it gained renown and was often compared favorably to and Henri Vieuxtemps's concertos for its technical brilliance and exotic flair. By the early , the work had spread further across and to America, underscoring its appeal as a vibrant French to the era's German symphonic dominance. The Symphonie espagnole's commercial triumph, evidenced by its frequent encores and rapid integration into recital programs, elevated Lalo's profile and paved the way for major commissions, including his opera Le Roi d'Ys in 1888.

Influence on Later Composers

The Symphonie espagnole exerted a significant influence on Pyotr Ilyich Tchaikovsky's Violin Concerto in D major, Op. 35 (1878), serving as a direct catalyst for its composition. In March 1878, while staying in Clarens, Switzerland, Tchaikovsky read through the score with violinist Joseph Kotek, an experience that energized him to begin work on his own concerto immediately thereafter. Tchaikovsky was particularly struck by the work's abundance of melody and structural freedom, which informed his approach to crafting broad, lyrical themes in the Violin Concerto, while integrating echoes of Russian folk elements in its finale to parallel the Symphonie espagnole's evocative Spanish inflections. Beyond Tchaikovsky, the contributed to the broader legacy of composition, particularly in shaping the French violin school through its emphasis on virtuosic display and orchestral integration. , a pivotal figure in this tradition, prominently featured the work in his 1883 debut, helping to embed its Spanish-infused style within the repertoire of leading French and Belgian violinists. The piece's dedication to and its alignment with his idiomatic playing further inspired subsequent Sarasate-influenced works, such as those by Saint-Saëns, where critiques often reference Lalo's model for its rhythmic vitality and modal colors derived from traditions. In the , the Symphonie espagnole's gypsy-style virtuosity resonated in Maurice Ravel's Tzigane (), a rhapsody that echoes its exuberant solo writing and folkloric flair, though Ravel drew more broadly from Sarasate's performative legacy. Similarly, its balanced interplay between solo violin and orchestra prefigures elements in Jean Sibelius's (1904), where the soloist's prominence amid lush orchestral textures maintains a symphonic scope without overwhelming the ensemble. These influences underscore the work's role in evolving the form toward greater expressive freedom and cultural exoticism. The Symphonie espagnole remains a staple of the , performed by virtually every major and integrated into programs worldwide for its technical demands and melodic appeal.

Notable Interpretations

Key Performances

Following its premiere by in on February 7, 1875, the Symphonie espagnole saw early revivals through Sarasate's extensive international tours in the 1880s, where he championed the work as its dedicatee and helped establish its popularity among violin showpieces. A notable American revival occurred on November 12, 1887, when the performed it under Wilhelm Gericke with soloist Charles Martin Loeffler. Jascha further reintroduced the piece to U.S. audiences in the post-World War I period through his live performances in the 1920s, including a celebrated 1948 with the Orchestra under Donald Voorhees that highlighted its virtuosic demands. In the 20th century, delivered a landmark interpretation in a 1933 live performance with conducting the Paris Symphony Orchestra, capturing the work's Spanish-inflected lyricism during Menuhin's early career ascent. emphasized the score's dramatic flair in his 1970s concerts, such as the July 13, 1973, appearance at the with the under Lawrence Foster, where his expressive phrasing brought renewed vitality to the movements. Recent stagings in the 2020s have showcased evolving interpretations at major festivals, including María Dueñas's prize-winning performance of the first movement at the 2021 Menuhin Competition in Richmond, noted for its technical precision and emotional depth, and her 2024 rendition with the Dresden Staatskapelle under Andrés Orozco-Estrada. contributed to contemporary presentations by conducting a 2016 live performance of the fifth movement with young violinist and the National Orchestra of Belgium in , underscoring his dual role as performer and mentor. The work has occasionally been adapted for theatrical effect, as in the 2017 National Symphony Orchestra concert featuring Joshua Bell as soloist alongside the modern dance troupe Dance Heginbotham, which integrated choreography to evoke the piece's Spanish rhythms and narrative drive.

Significant Recordings

One of the earliest preserved recordings of Lalo's Symphonie espagnole dates to the acoustic era, though full versions were rare due to the work's virtuosic demands and technological limitations; Pablo de Sarasate, the dedicatee and premiere performer, made cylinder recordings in 1904, but none captured this piece, leaving subsequent efforts as the initial audio legacies. Jascha Heifetz's 1951 studio recording with the RCA Victor Symphony Orchestra under William Steinberg established a technical benchmark, characterized by blistering tempos—particularly in the outer movements—and impeccable precision that influenced generations of violinists seeking to balance Spanish flair with classical rigor. In the mid-20th century, David Oistrakh's 1955 recording with the and French conductor Jean Martinon highlighted interpretive depth, with Oistrakh's warm tone and subtle rubato emphasizing the work's lyrical and andante while maintaining rhythmic drive in collaboration with Martinon's idiomatic Gallic sensibility. Itzhak Perlman's 1975 account with the London Symphony Orchestra led by shifted toward romantic expressiveness, infusing the Spanish rhythms with lush violin timbre and expansive phrasing that prioritized emotional warmth over sheer velocity. Modern benchmarks include Joshua Bell's 1989 rendition with the Orchestre Symphonique de Montréal and , exemplified digital-era clarity, with Bell's silken tone and balanced orchestral transparency revealing intricate details in the violin writing. Recent releases as of 2025 include a March 2025 album pairing the work with Saint-Saëns and Sarasate, recorded in April 2024. Comparative analyses reveal variations in handling Spanish rhythms, particularly the second movement's scherzando; recordings by Asian violinists, like those of with the under in 1995, often adopt faster tempos to accentuate percussive vitality and idiomatic flair, contrasting with more measured European interpretations that linger on melodic contours.

References

  1. https://imslp.org/wiki/Symphonie_espagnole%2C_Op.21_%28Lalo%2C_%25C3%2589douard%29
  2. https://www.laphil.com/musicdb/pieces/706/symphonie-espagnole-op-21
  3. https://www.bso.org/works/lalo-symphonie-espagnole
  4. https://cso.org/experience/article/7784/the-curious-case-of-lalos-symphonie-espagnole
  5. https://www.classical-music.com/features/composers/edouard-lalo
  6. https://www.esm.rochester.edu/uploads/Locke-Exotic-in-19c-Fr-Op-pt.-1-ncm_45_2_93.pdf
  7. https://utahsymphony.org/explore/2020/03/lalo-symphonie-espagnole/
  8. https://www.naxos.com/MainSite/BlurbsReviews/?itemcode=8.573067&catnum=573067&filetype=AboutThisRecording&language=English
  9. https://interlude.hk/iberomania-lalos-symphonie-espagnole/
  10. https://interlude.hk/edouard-lalos-violin-concertos-flamenco-flair-meets-french-finesse/
  11. https://sheetmusicinternational.com/program-notes/lalo-edouard-1823-1892-violin-concerto-op20-684
  12. https://www.britannica.com/biography/Edouard-Victor-Antoine-Lalo
  13. https://www.breitkopf.us/products/lalo-symphonie-espagnole-op-21-breitkopf
  14. https://www.breitkopf.com/work/8544/symphonie-espagnole-op-21
  15. https://www.breitkopf.com/assets/pdf/14509_EB8637_PDF_EB_8637_Vw.pdf
  16. https://www.myhso.org/blog/lalo-symphonie-espagnole
  17. https://www.classicfm.com/radio/shows-presenters/full-works-concert/lalo-symphonie-espagnole/
  18. https://www.runyanprogramnotes.com/program_note/symphonie-espagnole-op-21/
  19. https://drum.lib.umd.edu/bitstreams/b9d5b2c0-5355-4872-aaa0-bc89d876ee47/download
  20. https://digital.library.unt.edu/ark:/67531/metadc5498/m2/1/high_res_d/dissertation.pdf
  21. https://interlude.hk/violin-masterworks-inspired-by-pablo-de-sarasate/
  22. https://www.pamplonaescultura.es/wp-content/uploads/2022/01/PS-Expo-EN.pdf
  23. https://operascribe.com/2021/01/15/199-le-roi-dys-lalo/
  24. https://americansymphony.org/concert-notes/le-roi-dys-1875-88/
  25. https://houstonsymphony.org/tchaikovsky-violin-concerto/
  26. https://www.facebook.com/groups/ilviolino/posts/9242590522445598/
  27. https://blog.classicalarchives.com/2021/11/16/classical-music-you-must-know-symphonie-espagnole-for-violin-and-orchestra-in-d-op-21-by-edouard-lalo/
  28. https://www.youtube.com/watch?v=HBXcrDDoaj0
  29. https://www.youtube.com/watch?v=bxRd-VMPim8
  30. https://cso.org/experience/article/25391/happy-birthday-itzhak-perlman
  31. https://theviolinchannel.com/maria-duenas-1st-prize-2021-menuhin-competition-richmond-senior-division/
  32. https://www.abc.net.au/listen/programs/classic-evenings/dresden-staatskapelle-lalo-s-symphonie-espagnole/104810978
  33. https://www.youtube.com/watch?v=3bu-xR7sRNQ
  34. https://www.youtube.com/watch?v=WmnKs4mB0Gc
  35. http://jaschaheifetz.org/rca_chrono.html
  36. https://www.discogs.com/release/6235954-Lalo-David-Oistrakh-And-The-Philharmonia-Orchestra-Conducted-By-Jean-Martinon-Symphonie-Espagnole
  37. https://www.discogs.com/release/3017815-Lalo-Ravel-Itzhak-Perlman-Andr%C3%A9-Previn-London-Symphony-Orchestra-Symphonie-Espagnole-Tzigane
  38. https://www.discogs.com/master/1200213-Joshua-Bell-Lalo-Saint-Sa%C3%ABns-Montr%C3%A9al-Dutoit-Symphonie-Espagnole-Violin-Concerto-No3
  39. https://www.allmusic.com/album/lalo-symphonie-espagnole-saint-sa%C3%ABns-violin-concerto-no-3-sarasate-concert-fantasy-on-bizets-carmen-mw0004453276
  40. https://www.naxos.com/CatalogueDetail/?id=8.574140
  41. https://www.gramophone.co.uk/review/lalo-symphonie-espagnole-sarasate-carmen-fantasie
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