A Dictionary of Music and Musicians/Godard, Benjamin

by Adolphe Jullien

GODARD, Benjamin Louis Paul, born in Paris, Aug. 18, 1849, first studied the violin under Richard Hammer, and entered the Conservatoire in 1863, where he studied harmony under Reber: he competed twice for the Prix de Rome, but without success. He then left the institution and joined several societies for chamber music, in the capacity of viola-player, at the same time devoting himself to composition with an ardour and a fertility which time has only served to increase. He wrote numerous songs, of which several are most charming, a number of pieces for piano, some very pretty; he also orchestrated with much delicacy Schumann's 'Kinderscenen' (produced in this form at the Concerts du Châtelet in 1876), for at the beginning of his career he seemed to be specially inspired by this master both in the concentrated expression of his songs and in the elegant forms of his piano pieces. He next produced more fully developed compositions: two violin concertos, the second of which, entitled Concerto Romantique, was played at the Concerts Populaires by Mlle. M. Tayau in 1876, and repeated several times both by her and M. Paul Viardot; a trio for piano and strings; a string quartet and a piano concerto played by G. Lewita at the Concerts Populaires in 1878. In this year Benjamin Godard, bracketed with Th. Dubois, carried off the prize at the musical competition instituted by the municipality of Paris, and his prize composition 'Tasso' was performed with much success at the Concerts du Châtelet (Dec. 18, 22, and 29, 1878). This dramatic symphony, written on a poem by Grandmougin, both the words and music of which are inspired by the 'Damnation de Faust,' still remains Godard's chief work, and that upon which his growing reputation is most firmly founded. The composer here shows a real talent and a rare instinct for orchestration, though at times his rhythms are apt to become too bizarre and his employment of excessive sonority too frequent. He also possesses unusual feeling for the picturesque in music, and is able at will to strike the poetic note and to impart a vigorous dramatic accent. With all this we have to notice an inconsistent mixture of Italian forms and of totally opposite styles, which proves that the composer has not set before himself an ideal resulting from serious reflection. There is also a tendency to employ far too freely the whole strength of the orchestra, and an unfortunate habit of contenting himself with the first idea that occurs to him without duly considering it in order to enrich it in orchestration; and lastly—and this is the composer's chief fault—a too rapid productiveness and a too great leniency in judging his own works. Since the exaggerated success of this very interesting and promising work, M. Godard, intoxicated by praise, has only produced compositions the good qualities of which have often been obscured by too hasty workmanship. The most important are 'Scènes Poétiques' (Concerts du Châtelet, Nov. 30, 1879); a symphony (do. Dec. 26, 1880); 'Diane, poème dramatique' (Concerts Populaires, April 4, 1880); 'Symphonie-ballet' (do. Jan. 15, 1882); 'Ouverture dramatique' (do. Jan. 21, 1883); 'Symphonie Gothique' of no interest (do. Nov. 11, 1883); 'Symphonie Orientale,' five descriptive pieces on poems by Leconte de Lisle, Aug. de Châtillon, Victor Hugo, and Godard (for he is himself a poet at times), the most remarkable of which is the piece called 'Les Elephants,' cleverly contrived to give the effect of ponderous weight (do. Feb. 24, 1884); and lastly a 'Symphonic Légendaire,' written partly for orchestra alone, partly for solo vocalists, and partly for chorus and orchestra. The libretto is by various poets, of whom Godard is one, and forms on the whole a somewhat heterogeneous production, embracing all kinds of fantastic paraphernalia, through which the composer can revel in descriptive music to his heart's content (Concerts du Châtelet, Dec. 19, 1886). After the retirement of Pasdeloup, who was a firm admirer of Godard' s works, and generally allowed him to conduct them himself, the latter formed the idea of reviving the Concerts Populaires under the name of Concerts Modernes, but the undertaking proved impracticable, lasting with great difficulty till the end of its first season (Oct 1885–April 1886). On Jan. 31,1884, Godard, who has not succeeded in producing any work on the French stage, brought out at Antwerp a grand opera, 'Pedro de Zalamea,' written on a libretto by Silvestre and Ddtroyat, but without success. Some selections from it, performed at concerts in Paris, had no better fate. He has lately written three orchestral incidental pieces for 'Much Ado about Nothing,' produced at the Odéon, Dec. 8, 1887. On Feb. 25, 1888, his opera 'Jocelyn' was produced at Brussels with moderate success. He has ready for performance two grand operas, 'Les Guelfes' and 'Ruy Blas'; it is to be hoped that they will soon be produced, for Godard has undoubted talent, and would have had much more success had he known how to impose a stricter discipline upon his natural gifts, and to judge his own compositions more severely, without thinking that all the productions of his facile pen merit the attention of the musical world.

[ A. J. ]