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Updated: June 26, 2025
I knew that the tree had other names as well as baobab; that the negroes of Senegal call it the "monkey's bread-tree," the "sour gourd," and "lalo plant," and my book had been minute enough to give the botanical name, which is Adansonia so called from a distinguished French botanist, of the name of Adanson, who, long ago, travelled through western Africa, and was the first to describe this wonderful tree.
And on all sides discerning and well-informed critics, such as M. Pierre Lalo of Le Temps, M. Louis Laloy of the Revue Musicale and the Mercure Musicale, and M. Marnold of Le Mercure de France, have championed his doctrines and his art.
Often there is a clearer vision of the truth during the intervals of a classical concert than on a deathbed. Audrey was extremely depressed in the interval after the Beethoven Concerto and before the Lalo. But she was not depressed by the news of the accident to the Zacatecas Oil Corporation in which was the major part of her wealth.
H. T. Finck tells us that the sonata form is illogical, forgetting perhaps that once it served its purpose; Jean Marnold dubbed Armide an oeuvre bâtarde; John F. Runciman called Parsifal "decrepit stuff," while Ernest Newman assures us that it is "marvellous"; Pierre Lalo and Philip Hale disagree on the subject of Debussy's La Mer while W. J. Henderson and James Huneker wrangle over Richard Strauss's Don Quixote.
And playing in quartet the greatest solo violinist does not always shine in this genre he was admirable. Though he played all the standard repertory, Bach, Beethoven, etc., I can never forget his exquisite rendering of modern works, especially of a little composition by Raff, called La Fée d'Amour. He was the first to play the violin concertos of Saint-Saëns, Lalo and Max Bruch.
A strict teacher, I worked with him for five years, the most remarkable years of all my violin study. "Kneisel knows how to develop technical perfection without using technical exercises. I had already played the Mendelssohn, Bruch and Lalo concertos with Winternitz, and these I now restudied with Kneisel.
A publisher of music, Georges Hartmann, feeling the forces that were drawing together in French art, gathered about him the greater part of the talented men of the young school Franck, Bizet, Saint-Saëns, Massenet, Delibes, Lalo, A. de Castillon, Th. Dubois, Guiraud, Godard, Paladilhe, and Joncières and undertook to produce their works in public.
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