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See also:AUDRAN, EDMOND (1842-19o1) , See also:French musical composer, was See also:born at See also:Lyons on the r rth of See also:April 1842. He studied See also:music at the Ecole Niedermeyer, where he won the See also:prize for See also:composition in 1859. Two years later he accepted the See also:post of organist of the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of St See also:Joseph at See also:Marseilles. He made his first See also:appearance as a dramatic composer at Marseilles with L'Ours et le Pacha (1862), a musical version of one of See also:Scribe's vaudevilles. This was followed by La Chercheuse d'Esprit (1864), a comic See also:opera, also produced at Marseilles. Audran wrote a funeral See also:march on the See also:death of See also:Meyerbeer, which was performed with some success, and made various attempts to win fame as a writer of sacred music. He produced a See also:mass (Marseilles, 1893), an See also:oratorio, La Sulamite (Marseilles, 1876), and numerous See also:minor See also:works, but he is known almost entirely as a composer of the lighter forms of opera. His first Parisian success was made with See also:Les Noces d'Olivette (1879), a See also:work which speedily found its way to See also:London and (as Olivette) ran for more than a See also:year at the Strand See also:theatre (188o-1881). Audran's music has, in fact, met with as much favour in See also:England as in See also:France, and all See also:save a few of his works have been given in a more or less adapted See also:form in London theatres. Besides those already mentioned, the following have been the most undeniably successful of Audran's many comic operas: Le See also:Grand Mogol (Marseilles, 1876; See also:Paris, 1884; London, as The Grand See also:Mogul, 1884), La Mascotte (Paris, 188o; London, as The Mascotte, 1881), Gillette de See also:Narbonne (Paris, 1882; London, as Gillette, 1883), La Cigale et la Fourmi (Paris, 1886; London, as La Cigale, 189o), See also:Miss Helyett (Paris, 1890; London, as Miss Decima 1891), La Poupee (Paris, 1896; London, 1897). Audran was one of the best of the successors of See also:Offenbach. He had little of Offenbach's See also:humour, but his music is distinguished by an elegance and a refinement of manner which lift it above the level of opera bouffe to the confines of genuine opera comique. He was a fertile if not a very See also:original melodist, and his orchestration is full of variety, without being obtrusive or vulgar. Many of his operas, La Mascotte in particular, reveal a degree of musicianship which is rarely associated with the ephemeral productions of the lighter See also:stage. He died in Paris on the 16th of See also:August 1901.
End of Article: AUDRAN, EDMOND (1842-19o1)
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