THE SPECIALIST’S GUIDE TO…Forgotten 19th-century violin concertos: # 4

A fresh, original work, with surprising and successful stylistic juxtapositions. Benjamin Godard (1849–95) abandons traditional concerto form in favour of a suite-like structure, in which the first three of the four movements are linked by dramatic recitatives. The first and third movements bring us close to the world of ballet, while the second, a mournful aria, strikes a more profound note. Hanslip’s playing is a delight. © 2013 Gramophone

Benjamin Godard was an excellent violinist and his style was essentially that of the middle, rather than late, 19th century. He was especially attracted to the music of Schumann. Quite a prodigious composer, he wrote in many forms, though he was perhaps most successful as a miniaturist—his popular Berceuse is his best-known work. The Violin Concerto No. 2 begins in a dramatic manner, though richly romantic melodies quickly take over. A brooding slow movement follows, followed by an exceptionally gay and vivacious finale—where the spirit of Offenbach enters. The much earlier Concerto Romantique is written in four movements. The opening movement has a lively, rustic quality which is very appealing, while the two slower central movements have much sentimental charm. The finale begins dramatically with the orchestra, but the violin enters, contrastingly, Agitato ed appassionato molto. The mood lightens with a perky violin theme about 90 seconds in, and the work ends brilliantly with a riot of double-stops and the like from the soloist. The Scènes poétiques are four bucolic movements depicting outdoor scenes: In the Woods, In the Fields, On the Mountain and In the Village. They are delightfully picturesque, in the manner of Massenet’s Scènes for orchestra. Whilst none of the music on this CD is especially deep, or even great music, it is all thoroughly entertaining and tuneful, made all the more enjoyable when so persuasively presented. Well worth the asking price.