Waltz no. 5 also known as the “valse chromatique” op. 88

Throughout his life, Benjamin Godard composed many waltzes for the piano. He published them in collections of dances and of genre pieces, and sometimes as stand-alone works, which was the case with the Valse No. 5, op. 88. This undated piece was probably written in 1883 or 1884, going by the opus numbers of the Symphonie orientale, op. 84 (1883) and the Piano Sonata No. 2, op. 94 (1884). As suggested by its subtitle, this waltz makes good use of the possibilities of chromaticism which, however, has very little effect on the harmony, and is essentially a melodic tool (this brings to mind certain well-known earlier works, such as Chopin’s Étude op. 10, No. 2 or Liszt’s Étude “La leggierezza”). Several thematic elements are presented within a rhapsodic structure. There are elegant wreaths of notes in the right hand, as well as more vigorous motifs played in octaves. Brilliant although not ostentatious, this piece does not preclude touches of humour, such as its hesitant beginning, which builds with the gradual addition of sounds (Beethoven did the same thing in his Symphony No. 1 at the beginning of the finale). The waltz was clearly a success, since there were regular mentions in the Parisian press of its performance in salons and concerts until World War One. Louis Diémer, Godard’s friend and the piece’s dedicatee, recorded it in 1904 (taking the liberty of making some substantial modifications…) Its fame also crossed the Atlantic, as George Balanchine choreographed it in 1935 for inclusion in his ballet Reminiscence.