You want to love enterprising releases of unknown repertoire, and heaven knows CPO has to its credit a remarkable number of worthy productions. But Benjamin Godard (1849-95), as a symphonist at least, is a composer who promises more than he delivers. His style is conservative and melodically unmemorable, despite the expected high level of polish and occasionally vivid orchestration. The title of the early Symphonie gothique is the most interesting thing about it–there’s no special relationship between concept and execution that I can hear. Structurally, it’s really a suite in five innocuous movements.
The Second Symphony is better: more ambitious and lyrically generous, but you can be forgiven if you forget it within minutes of its conclusion. As is so often the case with nineteenth-century composers, things get more interesting when they aren’t trying to write symphonies. The Trois Morceaux (Three Pieces) reveal something of the color and exoticism that French music does so well. Starting with a funeral march and concluding with a “Kermesse,” the central Brésilienne brings a spirit and rhythm to the proceedings sadly absent in the two symphonies.
The performances are quite good. You can’t fault David Reiland or his Munich Radio Orchestra for any lack of skill or enthusiasm. Accordingly, if Godard’s work interests you then I can recommend this disc with confidence. It’s just that the music itself isn’t likely to make anyone’s list of favorites.
