GODARD : Complete Piano Trios (Trio Parnassus) (2010) FLAC (image+.cue), lossless

Best-known (and for many, only known) for his opera Jocelyn, French composer Benjamin Godard produced an abundance of music in his short 45-year life that is rarely performed. Among his forgotten works are two piano trios, written in 1880 and 1884. Compared to other works in the genre from the same time period, Godard's trios are certainly lacking in the same level of sophistication, gravitas, or stand-alone ability on a concert program. Still, the two trios heard on this MDG Gold album are melodically pleasing, possessing rich, non-progressive Romantic harmonies. The finale of the F major sonata is among the more exciting moments, with its intense rhythmic drive and pizzicato strings. Chamber music aficionados will certainly find merit to these works. The Trio Parnassus, who has undertaken many projects to revitalize long-forgotten literature, comes to Godard's rescue here. Having successfully breathed new life into the trios of Lalo, Korngold, Vasks, and the like, Trio Parnassus has a track record of taking slightly less interesting works and imbuing them with a sense of commitment, attention to detail, forward momentum, broad-ranging dynamics, and measured sentimentality. The resulting performance here is one of respect for the score and the composer, polished technical skills, nice balance, and a sense of true chamber music collaboration. Listeners seeking to expand their repertoire will do well with this and other installments by the Trio Parnassus.  Mike D. Brownell

GODARD : Piano Concerto No 1, Op 31 • Piano Concerto No 2, Op 148 • Introduction And Allegro, Op 49 (Howard Shelley · Tasmanian Symphony Orchestra) (2014) Serie The Romantic Piano Concerto – 63 | FLAC (image+.cue), lossless

The massive survey of Romantic piano concertos carried out by British pianist-conductor Howard Shelley -- 63 CDs and counting -- has certainly had its ups and downs, but this entry is one of the stronger in the series. French composer Benjamin Godard was prolific indeed over his 45 years, but remains known mostly for a single berceuse from the opera Jocelyn, known in English as Angels Guard Thee. Shelley makes a strong case for the recovery of the three piano-and-orchestra works included here. Godard avoided the influence of Wagner, and there are certainly many respects in which he took Brahms for a model. But he is most interesting in the places where he departs from that model, such as in the Scherzo and Andante of the Piano Concerto No. 1 in A minor, Op. 31 (1875), which develop the drama only suggested by the sonata-form first movement, or the organically developing and initially quite ominous opening movement of the Piano Concerto No. 2 in G minor, Op. 148 (1893). The four-movement structure of each concerto is novel, and Shelley handles the Tasmanian Symphony Orchestra well from the keyboard, an impressive feat given the difficulty of the piano parts. The final Introduction and Allegro, Op. 49, seems to suggest Beethovenian seriousness in its Lento introduction (track 9) but turns into something different, a joyous bravura romp. Recommended for anyone interested in the virtuoso scene of the late 19th century. James Manheim 
Tracklist :
Piano Concerto No 1 In A Minor Op 31    (29:53)
Composed By – Benjamin Godard

Piano Concerto No 2 In G Minor Op 148    (28:35)
Composed By – Benjamin Godard

Introduction And Allegro Op 49    (11:43)
Composed By – Benjamin Godard
Credits :
Leader – Jun Yi Ma
Orchestra – Tasmanian Symphony Orchestra
Piano, Conductor – Howard Shelley

SHARON BEZALY • LOVE DERWINGER with special guest BARBARA HENDRICKS - French Delights (2007) Mp3

Israeli-born Swedish flutist Sharon Bezaly has been in the forefront of a group of players who have rediscovered the virtuoso literature of the flute (and other instruments) from the late nineteenth and early twentieth centuries, in France especially. She yields to no one in the technical arena, flawlessly executing the circular-breathing techniques and the careening arpeggiations written into the six works presented here. But this disc is about something other than sheer virtuosity -- although there is plenty of that on display here (check out the final Valse of Benjamin Godard's Suite de trois morceaux, Op. 116), the listener who is interested purely in technical frontiers might do just as well to check out her recording of Jacques Ibert's flute concerto, also on the BIS label. What's remarkable about this release is the rediscovery of music long since thrown onto the historical scrap heap, and the shaping of that music into a satisfying program. Bezaly brackets the program with showcases of technique -- the little-known Godard suite and the 1946 Sonatine of Pierre Sancan. Next, at each end, comes works with more complex rhythms or textures, the pleasing, slightly jazzy Sonatine of Milhaud, and another obscure work, the Suite for flute and piano, Op. 34, of Charles-Marie Widor, otherwise known mostly for his organ music and just a few pieces at that. In Bezaly's hands and that of pianist Love Derwinger, the flute and piano take on an almost organ-like sound, with dense harmonies filling out basically simple structures. With the center of the program, the listener comes, one might say, to the center of the mystery in the often Eastern-flavored Joueurs de flûte, Op. 27, and most surprisingly the Deux poèmes de Ronsard, Op. 26, for the rare combination of soprano and flute. Try playing the album for someone without describing its contents -- the ethereal African-American-Swedish singer Barbara Hendricks seems to come out of nowhere and lead the listener into a charmed realm to which Bezaly's playing has pointed the way. The program as a whole is light but wholly absorbing. If there's a complaint it's the sound, which does pick up the technical details but is on the harsh side, with lots of breathing noise that audiences simply wouldn't have heard or wanted to hear when these works were originally performed. by James Manheim  

BENJAMIN GODARD - Complete Piano Trios (2010) FLAC (image+.cue), lossless

Best-known (and for many, only known) for his opera Jocelyn, French composer Benjamin Godard produced an abundance of music in his short 45-year life that is rarely performed. Among his forgotten works are two piano trios, written in 1880 and 1884. Compared to other works in the genre from the same time period, Godard's trios are certainly lacking in the same level of sophistication, gravitas, or stand-alone ability on a concert program. Still, the two trios heard on this MDG Gold album are melodically pleasing, possessing rich, non-progressive Romantic harmonies. The finale of the F major sonata is among the more exciting moments, with its intense rhythmic drive and pizzicato strings. Chamber music aficionados will certainly find merit to these works. The Trio Parnassus, who has undertaken many projects to revitalize long-forgotten literature, comes to Godard's rescue here. Having successfully breathed new life into the trios of Lalo, Korngold, Vasks, and the like, Trio Parnassus has a track record of taking slightly less interesting works and imbuing them with a sense of commitment, attention to detail, forward momentum, broad-ranging dynamics, and measured sentimentality. The resulting performance here is one of respect for the score and the composer, polished technical skills, nice balance, and a sense of true chamber music collaboration. Listeners seeking to expand their repertoire will do well with this and other installments by the Trio Parnassus. by Mike D. Brownell