181 - GODARD (Benjamin) (1849–1895), French composer, violinist, and conductor, best known for the operas *Jocelyn* and *La Vivandière*, *Le Tasse*, and numerous chamber music works.

GODARD (Benjamin) (1849–1895), French composer, violinist, and conductor, best known for the operas *Jocelyn* and *La Vivandière*, *Le Tasse*, and numerous chamber music works. An important unsigned autograph letter to his publisher Lucien Grus. Saint-Valery-en-Caux, August 18, 1880. 4 pages, in-8 format, on laid paper. A remarkable letter discussing the orchestration of his opera *Les Guelfes*, his relationships with publishers, and the international distribution of his compositions. Benjamin Godard first mentions his friend Falkenberg, who was tasked with bringing the orchestration of the first act of *Les Guelfes* to his publisher. He expresses his dissatisfaction with the musician’s financial demands: “My friend Falkenberg is willing to take it upon himself to bring you the orchestration of the first act of *Les Guelfes*. You would be so kind as to send me the small sum of 332 francs that this work represents. ” He goes on to explain the difficulties he encountered in preparing his work, before addressing the issue of its performance abroad: “Have you considered my proposal to have our work translated and performed in Vienna, London, and Italy?” Godard shows himself to be particularly ambitious regarding the dissemination of his work, while lamenting the difficulties of musical life in Paris: “Think about it! Paris isn’t the only place in the world. ” He then mentions the great figures of European music: “Neither Mozart, nor Beethoven, nor Weber, nor Schumann, nor Wagner, nor Rubinstein, etc., owe their reputations to Paris. ” This correspondence provides a particularly interesting insight into Benjamin Godard’s artistic ambitions, the practical difficulties involved in composing an opera, and the relationship between composers and publishers in the late 19th century. The letter’s significance also lies in its reflections on the international circulation of operatic works and Paris’s role in the recognition of composers. A few old creases and slight signs of wear.