Symphonie espagnole

Part of the collective love affair that French composers had with Spain in the late 19th century, Lalo’s Symphonie espagnole is steeped in the tempestuous soundworld of Hispanic dances like the seguidilla and habanera, also found in works like Bizet’s Carmen, which premiered the same year, 1875. But it also reflects the equivocal relationship those composers had with the (essentially German) idea of symphonic structure. And in truth, this piece isn’t so much a symphony as a concerto—written to showcase the virtuosity of a solo violinist who, at the premiere, was the (authentically Spanish) star player Pablo de Sarasate. With five movements that give a running time of half an hour, it starts with a darkly grandiose statement of seriousness but then gets lighter in mood as it progresses through the dances into a Mendelssohnian andante and a finale that’s all fireworks and swagger. Symphony or not, its combination of Spanish colouring and rhythmic vigour with impressive technical refinement have earned it a place in standard repertory. And it’s the music for which Lalo is principally remembered, his standout score.