Composer: Paul Ben-Haim
Works: Suite No. 1 Op. 20a (1933), Suite No. 2 Op. 20b (1936), Five Pieces Op. 34 (1943), Sonatina Op. 38 (1946), Melody with Variations Op. 42 (1950), Sonata Op. 49 (1954)
Performers: Gila Goldstein – piano
Recording: Patrych Sound Studios, New York, January-February 2000
Label: Centaur CRC 2506
Paul Ben-Haim, born Paul Frankenburger, remains a compelling figure within the 20th-century classical landscape, particularly notable for his synthesis of Eastern and Western musical idioms. His piano works, as presented in this recording, reflect the rich tapestry of his experiences as a Jewish composer who fled Nazi Germany for Palestine in 1933. This collection encapsulates the essence of his style, which marries the rigorous structures of Western classical tradition with the evocative rhythms and modes of Middle Eastern music, producing a uniquely engaging sound.
Gila Goldstein’s performance is particularly noteworthy for its sensitivity and technical prowess. Throughout the two Piano Suites, the first of which was sketched during a trip to Palestine, Goldstein navigates the demanding passages with an elegant touch. In Suite No. 1 Op. 20a, the slow movement’s quotation of a Yemeni folk song emerges with a haunting clarity, showcasing Goldstein’s ability to balance the folkloric elements with the more intricate harmonic structures reminiscent of Bartók and Prokofiev. The second suite, Op. 20b, reveals a broader emotional palette, particularly in the Scherzo, where a Mahlerian theme is transformed into a sardonic funeral march. Goldstein’s interpretation here captures the complex emotional undercurrents, deftly illuminating the work’s layered textures.
The technical aspects of Goldstein’s performance are commendable, particularly her articulation and pedal usage, which allow for a clean delineation of lines while maintaining a rich sonority. The Five Pieces Op. 34, with its varied miniatures, benefits from her nuanced dynamics; the Canzonetta, in particular, is a standout, where her delicate phrasing evokes profound sentiment. The Sonatina Op. 38, modeled after Ravel’s own, showcases a freshness that Goldstein embodies with a light-hearted flair, imbuing the neo-classical idiom with a Gallic charm that is delightful.
Recording quality plays a significant role in this release, with the sound engineering at Patrych Sound Studios providing a warm, resonant backdrop that enhances the piano’s rich tonal palette. The balance between the instrument and the acoustic environment is well-maintained, allowing the listener to appreciate the subtleties of Goldstein’s interpretations without undue distraction. This is particularly effective in the Sonata Op. 49, where the contrasting movements from the meditative Fugue to the lively variations on a folk-like theme are rendered with impressive clarity.
Comparatively, while other recordings of Ben-Haim’s piano works exist, Goldstein’s artistry stands out for its combination of technical proficiency and interpretative depth. Her ability to convey the multifaceted nature of Ben-Haim’s music, particularly in works like Melody with Variations, where the progression from simplicity to complexity is handled with grace, marks this recording as a significant contribution to the catalog of Israeli music.
The collection serves not only as an introduction to Ben-Haim’s oeuvre but also as a compelling reminder of his place in the pantheon of 20th-century composers. Goldstein’s interpretations invite listeners into the nuanced world of Ben-Haim, revealing a composer whose works deserve wider recognition. This recording is highly recommended for those seeking to explore the intersections of cultural identity and musical heritage through the lens of piano music.
