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Hyperion Records

CDA68043 - Godard: Piano Concertos
CDA68043
Recording details: April 2013
Federation Concert Hall, Hobart, Tasmania, Australia
Produced by Ben Connellan
Engineered by Veronika Vincze
Release date: July 2014
Total duration: 70 minutes 11 seconds

'Benjamin Godard is nowadays known solely for the Berceuse from his 1888 opera Jocelyn, regularly performed by classical and popular musicians alike. There was more to him than that, however, as this enterprising disc—Volume 63 of Hyperion's Romantic Piano Concerto series—admirably proves. Godard distrusted Wagnerism, and his two piano concertos constrain Romantic sensibilities within the classical form in ways that often resemble Brahms, though Godard's thematic and orchestral elegance remain quintessentially French … the disc is a tour de force for Howard Shelley, who, in addition to coping with Godard's often vertiginous piano writing, directs all three performances from the keyboard, which is no mean feat' (The Guardian) » More

The Romantic Piano Concerto
Piano Concertos
Andante –  [7'17]
Lento  [5'20]
Allegro  [6'22] FREE DOWNLOAD TRACK

In sharp contradistinction to the rest of the composers in this series, all of whom look like walruses, Benjamin Godard looks quite a lot like Johnny Depp in his daguerreotype. We should be marketing this directly to teenage girls.

Howard Shelley directs the Tasmanian Symphony Orchestra from the piano in this latest volume of The Romantic Piano Concerto series. As ever, they perform unknown music with consummate style and deep understanding, making the best possible case for the works. We have reached Volume 63 and the works of French composer Benjamin Godard, a figure who is almost totally forgotten today. He is described by Jeremy Nicholas in his booklet note as ‘a composer who combines the sentimental melodic appeal of Massenet with the fecundity and technical facility of Saint-Saëns’.

Among Godard’s oeuvre, well over seventy opus numbers are devoted to works for solo piano, ranging from Les contes de Perrault, Op 6, to Valse No 15, Op 153. His Hommage à Chopin can be found on Hyperion CDA67803, performed by Jonathan Plowright. Much of the enormous amount of music he produced followed in the tradition of Mendelssohn and Schumann (his admiration for the latter inspired a string quartet arrangement of Kinderszenen in 1876). With the emergence of more innovative composers, Godard’s conservative idiom meant his reputation faded before his early death in Cannes on 10 January 1895. However, in the three works presented here his writing for the piano exceeds the technical range of his two idols, and is often reminiscent of the bravura demands found in the concertos of Liszt and Rubinstein.


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Introduction  EnglishFrançaisDeutsch
How galling it must be for a composer looking down from the stars above to see that after a lifetime’s hard work only one piece of his is remembered. Benjamin Godard must feel this more acutely than most, for that one piece lasts barely more than three minutes. Yet during the short life he was granted—he died from tuberculosis at the age of forty-five—he (to quote Rudyard Kipling) ‘filled the unforgiving minute with sixty seconds’ worth of distance run’, producing eight operas, five symphonies, orchestral suites, a ballet, the two piano concertos recorded here, two violin concertos, three string quartets, four violin sonatas, two piano trios, a cello sonata and over one hundred songs. Well over seventy opus numbers are devoted to works for solo piano, ranging from Les contes de Perrault, Op 6, to Valse No 15, Op 153. These include the four-movement Sonata phantastique, Valse chromatique (recorded by Godard’s friend Louis Diémer on a G&T disc only nine years after the composer’s death), Hommage à Chopin (recorded by Jonathan Plowright on Hyperion CDA67803) and various sets of études among which, if you choose carefully, are some real treasures (En route, En courant, and Le cavalier fantastique) waiting for those who care to venture beyond the well-worn paths.

Still, notwithstanding the substantial number of recordings of Godard’s varied output, only that one short piece has survived in the repertoire: the ‘Berceuse’ from his 1888 hit opera Jocelyn—and how many could place even that immortal song in context and tell you (without the help of Google!) that the opera was set in the French Revolution, that the eponymous hero is a young priest and that the ‘Berceuse’ is sung by him to the daughter of a nobleman with whom he has been in love but who is now dying? ‘Oh! ne t’éveille pas encore’ (‘Ah! Wake not yet from thy repose’), sings Jocelyn as he gives her absolution. ‘Angels Guard Thee’ as it is usually known in English, has been recorded by everyone from John McCormack and Fritz Kreisler to Pablo Casals, Gracie Fields and Bing Crosby with Jascha Heifetz. The ‘Berceuse’ is a typical product of a composer who combines the sentimental melodic appeal of Massenet with the fecundity and technical facility of Saint-Saëns.

But what of Les bijoux de Jeannette (1878) and Pedro de Zalamea (1884), two of his forgotten operas? Gone to dust. Shall we ever hear his 1886 Symphonie légendaire (with soloists and chorus) or the five cycles of piano pieces enticingly entitled La lanterne magique? Godard was highly thought of for most of his lifetime—he was awarded the Légion d’honneur at the age of forty—and whenever the occasional work does pop up on record one hears a composer who is never less than charming and, as we shall hear, frequently inspired.

The son of a businessman, Benjamin Louis Paul Godard was born in Paris on 18 August 1849. As a child prodigy violinist he trained at the Paris Conservatoire, studying composition and harmony with Napoléon Henri Reber (who also taught Massenet) and, later, violin with the great Belgian virtuoso Henry Vieuxtemps. Godard had his first work, the Violin Sonata in C minor, Op 1, published when he was sixteen and, though he twice competed unsuccessfully for the Prix de Rome in the mid-1860s, he decided to devote himself entirely to composition.

Much of the enormous amount of music he produced over the next thirty years—he had reached Op 100 by 1886—followed in the tradition of Mendelssohn and Schumann (his admiration for the latter inspired a string quartet arrangement of Kinderszenen in 1876). His distaste for the rhetorical excesses of Wagner was a reaction no doubt coloured by his loathing of the German’s anti-Semitism (Godard himself was of Jewish extraction). With the emergence of more innovative composers, Godard’s conservative idiom meant his reputation faded before his early death in Cannes on 10 January 1895. However, in the three works presented here his writing for the piano exceeds the technical range of his two idols, and is often reminiscent of the bravura demands found in the concertos of Liszt and Rubinstein.

The Piano Concerto No 1 in A minor, Op 31 (1875), begins with a sepulchral thirteen bars containing the motif that will act as a springboard for the first movement. A vigorous opening tutti and energetic salvo from the soloist leave us in no doubt as to the nature of the work and, while there could hardly be a greater contrast between this and the graceful lyrical second subject marked con fantasia (in E major), it is the dynamic energy of the writing that dominates the sonata-form movement.

A Scherzo comes next—this is a scherzo in the true meaning of the term (a ‘jest’ or ‘joke’), for Godard’s light-hearted, quick-fire interplay between soloist and orchestra cannot fail to bring a smile to the face. The colourful orchestration should not be overlooked, with some merry passages for both the bassoons and flutes. It’s a movement that might well have become a hit in the manner of Litolff’s Scherzo, from the Concerto symphonique No 4, had it been championed in the days of 78-rpm discs.

The third movement, Andante quasi adagio, is among the most affecting slow movements in the Romantic concerto repertoire. It begins as a funeral march (in B minor), then becomes an elegy (in B major) rising to an impassioned outburst of grief before subsiding to an almost quasi niente ending.

If the concluding Allegro ma non troppo (Vivace) does not quite equal the original and distinctive character of the three preceding movements it is not for want of ideas. The second subject, over a long pedal F (first heard at 0'56 of track 4, after the forceful initial octave theme), is reminiscent of a folk song; when it is decorated (at 1'21, and repeated again at 4'43 over a pedal A), it sounds like a prescient passage from Vincent d’Indy’s 1886 Symphonie cévenole. Godard’s effervescent writing keeps the soloist on the qui vive throughout, with a brief coda (Allegro non troppo) bringing the work to a triumphant conclusion in A major.

The Piano Concerto No 2 in G minor, Op 148 (1893), begins with a lugubrious version of the first movement’s main subject, heard over the hushed semiquavers of the piano’s opening gestures. This theme returns at the beginning of the last movement and rounds off the whole work. In its folk-like innocence it resembles the second subject of the A minor Concerto’s finale, especially when sung plaintively for the first time by the piano in G major, at 1'35 (track 5), where it also sounds like a distant Gallic relative of the theme from the last movement of Balakirev’s Piano Sonata. After its restatement by the orchestra, Godard moves back to the tonic minor for an Allegro passage in triplets using fragments of the folk-like theme. This leads to an enchanting dialogue between oboe and flute beneath the piano’s demisemiquavers (32nd notes), but it is not long before the principal theme reappears, forcefully restated in the best tradition of the Romantic concerto, and bringing the movement to an end.

Little of the above sounds like the work of someone routinely classified as a salon music composer. The lovely theme of the second movement (in B flat major) most certainly does, however, and most touching it is too. Godard, incidentally, liked to use the full range of the keyboard, and here occasionally takes his soloist down to the very bottom B flat. A central section in five flats threatens to obliterate the serenity of proceedings but calm soon returns, a quiet series of arpeggios taking us, attacca, into the Scherzo, in F minor. Here, in this delightful and all-too-brief movement of Mendelssohnian gossamer, are hints of the famous scherzos from Litolff’s Concerto symphonique No 4 and Saint-Saëns’s G minor Piano Concerto No 2.

The Andante maestoso opening of the last movement announces the return of the very first theme of the concerto. After a lengthy cadenza-like episode, the finale proper begins—and what an extraordinary finale it is: a moto perpetuo of sextuplets (three groups to a bar), often in unison an octave apart, punctuated by a sprightly second subject given to the flute. Soon this breathless—but never frenetic—toccata gives way with satisfying inevitability to the grandiose statement of the concerto’s main theme, after which the soloist hurtles towards the close in a blaze of interlocking chromatic octaves.

The portentous, cadential opening pages of the Introduction and Allegro, Op 49 (1880), lead the listener to expect a heavyweight, rigorously argued Allegro of Beethovenian profundity to follow. But no—in fact we get quite the opposite. The Introduction ends with a long pedal note of fifteen bars over which the piano weaves delicate patterns. Even after these five minutes Godard still holds his fire, writing a spirited preamble to the Allegro which, after a startling two-handed scale from top to bottom of the keyboard, launches with perfect bathos into a jaunty, toe-tapping crowd pleaser. You may not be able to get the theme out of your head for several days. The almost Gottschalkian flavour of the second subject is hardly less ingratiating. The Allegro, at least, is surely destined to be a light classical hit. And if the two concertos are not taken up by like-minded pianists and played worldwide, then music lovers will be the poorer. Benjamin Godard deserves his place in the sun.

Jeremy Nicholas © 2014


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