Marcel-François-Georges Delannoy (9 July 1898 – 14 September 1962) was a French composer and critic.  He wrote operas, ballets, orchestral works, vocal and chamber works, and film scores.
Marcel Delannoy was born at La Ferté-Alais, Essonne, France. He initially studied painting and architecture and entered the École des Beaux-Arts, but at age 20 he took up music. Having been mobilised during the First World War, he then worked as an artist. However, he was initially self-taught and never attended a conservatory, but he did receive some encouragement from Arthur Honegger (whose biography he wrote in 1953) and some lessons from Alexis Roland-Manuel and André Gedalge. He made his name with the opera Le Poirier de misère (1927), which attracted favourable commentary from Maurice Ravel, among others. That same year, he was one of ten composers who collaborated on a children's ballet, L'éventail de Jeanne (contributing the 'Bourrée').
In 1932, Delannoy was one of five composers approached by the producers of the film Don Quichotte for a series of songs to be sung by its star, the Russian bass Feodor Chaliapin. The other composers invited were Ravel, Jacques Ibert, Manuel de Falla and Darius Milhaud. Ibert's setting was chosen for the film. 
He wrote criticism for Les Nouveaux temps, where he reviewed the first Paris performance of Olivier Messiaen's Quartet for the End of Time on 24 June 1941, in which he strongly objected to the written commentary accompanying the work.  
The Association de Musique Contemporaine (AMC), of which Delannoy was a committee member, included his works in its early concerts of 1940-41. He also became a member of the Groupe Collaboration.  Although showing the influence of Honegger, Delannoy carved his own separate path somewhat apart from contemporary trends. 
Alice Swanson Esty commissioned and premiered his song cycle La Voix du Silence (1958). 
The baroque oboist and recorder player Michel Piguet (1932–2004) studied with Delannoy. 
Delannoy married the pianist Lisette Claveau. He died in Nantes. There is now a Rue Marcel Delannoy in his birthplace of La Ferté-Alais. 
Delannoy's Sérénade concertante for violin and orchestra (soloist Henri Merkel) and the 'Danse des Négrillons' and 'Apothéose' from La Pantoufle de vair were recorded by the Paris Conservatoire Orchestra conducted by Charles Munch in July 1941.  The Complainte de l'homme-serpent from the operetta Philippine was recorded by Hugues Cuénod.  Extracts from Ginèvra were recorded by the original cast of the Opéra-Comique conducted by Roger Désormière in June 1943. 
Roger Désormière was a French conductor. He was an enthusiastic champion of contemporary composers, but also conducted performances of early eighteenth century French music.
Florent Schmitt was a French composer. He was part of the group known as Les Apaches. His most famous pieces are La tragédie de Salome and Psaume XLVII. He has been described as "one of the most fascinating of France's lesser-known classical composers".
Jacques François Antoine Marie Ibert was a French composer of classical music. Having studied music from an early age, he studied at the Paris Conservatoire and won its top prize, the Prix de Rome at his first attempt, despite studies interrupted by his service in World War I.
Albert Charles Paul Marie Roussel was a French composer. He spent seven years as a midshipman, turned to music as an adult, and became one of the most prominent French composers of the interwar period. His early works were strongly influenced by the impressionism of Debussy and Ravel, while he later turned toward neoclassicism.
Alexander Tansman was a Polish composer, pianist and conductor who became a naturalized French citizen in 1938. One of the earliest representatives of neoclassicism, associated with École de Paris, Tansman was a globally recognized and celebrated composer.
Désiré-Émile Inghelbrecht was a French composer, conductor and writer.
Henri Benjamin Rabaud was a French conductor, composer and pedagogue, who held important posts in the French musical establishment and upheld mainly conservative trends in French music in the first half of the twentieth century.
Manuel Rosenthal was a French composer and conductor who held leading positions with musical organizations in France and America. He was friends with many contemporary composers, and despite a considerable list of compositions is mostly remembered for having orchestrated the popular ballet score Gaîté Parisienne from piano scores of Offenbach operettas, and for his recordings as a conductor.
Philippe Gaubert was a French musician who was a distinguished performer on the flute, a respected conductor, and a composer, primarily for the flute.
Émile Louis Fortuné Pessard was a French composer.
(Guillaume) Guy Lacour was a French composer of classical music, and a tenor saxophonist.
L'éventail de Jeanne is a children's ballet choreographed in 1927 by Alice Bourgat and Yvonne Franck.
Jean-Michel Damase was a French pianist, conductor and composer of classical music.
Irène Joachim was a French soprano, and later a vocal teacher.
Maurice Jaubert was a French composer. A prolific composer, he scored some of the most important films of the early sound era in France, including Jean Vigo’s Zero for Conduct and L’Atalante, and René Clair’s Quatorze Juillet and Le Dernier Milliardaire. Serving in both world wars, he died in action during World War II at the age of 40.
Ida Rose Esther Gotkovsky is a French composer and pianist. She is currently a professor of music theory at the Conservatoire National Superieur de Musique in France.
Germaine Cernay, born Germaine Pointu was a French mezzo-soprano who was active both in the opera house and on the concert platform.
Philippe Hersant is a French composer. He studied at the Conservatoire de Paris.
Gustave Cloëz was a French conductor who was particularly active at the Paris Opéra-Comique in the mid-20th century, and made a significant number of recordings, often accompanying major singers of the time.
Marie-Thérèse Gauley was a French opera and concert singer who sang leading soprano and mezzo-soprano roles at the Opéra-Comique in Paris as well as in other French cities and abroad. She was also heard in early broadcasts on French radio and made several recordings for Disques Odéon. Amongst the roles she created were The Child in Ravel's opera L'enfant et les sortilèges.