Long neglected, Lalo’s mélodies nevertheless occupy an important historic position, between narrative Romance in strophic form and the true French mélodie, of more sophisticated production. Listening to them is to relive the blossoming of a genre that, at first, admits its debt to Romance and opera, before unfurling in the union with the leading poets of the time. Because, although Lalo chose some minor authors, he also put Lamartine, Hugo, Musset and Silvestre to music