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Jacques Bonnaure
Classica, March 2016

GODARD, B.: Piano Works, Vol. 1 (E. Reyes) GP683
GODARD, B.: Piano Works, Vol. 2 (E. Reyes) GP684

Eliane Reyes, professor at the Royal Conservatory of Brussels, presents this original programme with admirable commitment and embraces a round, powerful and diversified sonority. She is at ease in moments of great velocity as well as in moments of the most delicate harmonic refinements. She also demonstrates humour such as in the Fragment poétique dédié à Hugo, (dedicated to the poet Victor Hugo)… © 2016 Classica

Burkhard Schäfer
Piano News, February 2016

Her [Eliane Reyes] playing is flowing, clearly contoured but with a restrained softness and noblesse which is good for the pieces and shifts them in a light and, at the same time, remote sphere. The great sound of the disc also enhances the musical enjoyment. © 2016 Piano News

Philip R Buttall
MusicWeb International, January 2016

Belgian-pianist, Eliane Reyes, proves the ideal protagonist for Godard’s musical writing, enhanced by the faithfully-recorded Steinway Model D Grand. She has the ability to produce unlimited subtle tonal shadings, is always aware of linear clarity, observes points of articulation with impeccable precision, especially where this involves the simultaneous use of staccato and legato in one hand, and has such a well-honed technique to despatch any of the difficulties with real aplomb. More important, she clearly relates to the essentially salon-music style of the character pieces, while still treating the impressive Second Sonata with more than sufficient academic respect, though never to the detriment of the music’s enjoyment as such. © 2016 MusicWeb International Read complete review

Crescendo (Germany), January 2016

The Belgian pianist Eliane Reyes interprets a wide selection of his [Godard’s] lyrical piano works with insight and great clarity and shows the genius of a composer who was forgotten too quickly. © 2016 Crescendo (Germany)

Bertrand Boissard
Diapason, December 2015

Could this be the return to grace of Benjamin Godard (1849–1895), a celebrity in his own time? The demanding Sonata No. 2, with a striking Scherzo movement, dominates this first volume, which also features a Sonate fantastique…and other previously unrecorded works. The assured playing of Eliane Reyes, her energy and warmth, all contribute to make this rediscovery attractive. © 2015 Diapason

La Libre Belgique, November 2015

This is a beautiful idea from Belgian pianist Eliane Reyes to explore and make known the piano works of Benjamin Godard… Reyes discovers here two beautiful classical sonatas and four miniatures… Her playing is without affectation, clear and evocative of the works’ imagery. © 2015 La Libre Belgique

David Denton
David's Review Corner, October 2015

The world of classical music is often very cruel, the record industry recently bringing back the name of Benjamin Godard, a composer cast into the wilderness. His crime had been that of rejecting the era of Richard Wagner, and all of his fashionable acolytes, choosing instead to follow in the image of music by Mendelssohn and Schumann that he translated by his Gallic upbringing. He was born in France in 1849, and until the Wagner mania took over, his music had found much favour, having been a child prodigy both as a violinist and pianist. He enjoyed a career performing in both fields, but had his heart set in working as a composer. He was prolific with eight operas, a large portfolio of orchestral works, chamber music and many piano pieces. He died quite young at the age of forty-five, and with him his music perished. Just one work, a Berceuse, kept a fragile existence in the popular repertoire, but, thankfully, in recent years we have had a number of recordings of his symphonic output, including the Second Violin Concerto in a disc devoted to his music for violin and orchestra (Naxos 8.570554). Now Grand Piano begin a series of discs exploring his works for solo piano, and it soon becomes clear that if they had carried the name of Saint-Saëns, they would be part of the standard repertoire. The Second Sonata, with its opening movement using the Dies irae chant as its inspiration, is a very powerful score, the closing pages of the finale offering an outgoing show of red-blooded virtuosity. The Sonata Fantastique, published three years earlier, in 1881, is a series of pictures beginning in the forest and ending on the sea. Both are extended works only leaving room on the disc for four charming ‘picture’ pieces. The disc comes from the much experienced Belgium pianist, Eliane Reyes, who revels in the technically demanding passages, but is also a pianist of rare lyric beauty. Every moment is an absolute joy and it comes in outstanding sound quality. © 2015 David’s Review Corner

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