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 in Munich in 1897, became one of the pivotal figures in Israeli music, merging Western classical traditions with the rich textures of Middle Eastern melodic and rhythmic traditions. The piano works presented in this recording, composed during his formative years in Palestine, reveal a composer deeply engaged with his new surroundings while reflecting his European roots. The juxtaposition of these influences not only underscores Ben-Haim’s significance but also marks him as a distinctive voice in the 20th-century canon, as his music navigates the complexities of identity and cultural synthesis.
Gila Goldstein’s interpretation of these pieces is marked by a careful balance of technical precision and expressive nuance. Her performance of the Suite No. 1 Op. 20a captures the playful essence of the work, particularly in the lively Allegro, where the playful rhythms echo Bartók’s folk influences. Goldstein’s articulation brings forth the subtle nuances embedded in the score, such as the way she highlights the quote from the Yemeni folk-song in the slow movement, allowing its plaintive character to resonate with authenticity. The subsequent Suite No. 2 Op. 20b expands emotionally, and Goldstein adeptly conveys the sardonic undertones of the Scherzo, which transforms Mahler’s lyrical lines into a funeral march, emphasizing the duality of humor and somber reflection.
The Five Pieces Op. 34 stands out for its varied textures and moods, and Goldstein’s reading of the Canzonetta is particularly poignant. The simplicity of its melodic line juxtaposes beautifully with the more complex harmonic language that Ben-Haim employs throughout the set. Goldstein navigates these intricacies with ease, providing a soundscape that is both colorful and insightful, revealing the miniature character of each piece without sacrificing the overarching cohesion of the set. The Sonatina Op. 38, modeled after Ravel, is executed with a delightful buoyancy that captures the neo-classical clarity Ben-Haim sought, while Goldstein’s light touch evokes the French composer’s airy elegance.
The Sonata Op. 49, dedicated to Menahem Pressler, is a substantial three-movement work that showcases Ben-Haim’s mature style. Goldstein’s interpretation of the opening Preamble is marked by a thoughtful tension, as she delineates the sonata form’s thematic development with clarity. The meditative Fugue is treated with reverence, the counterpoint shimmering under her touch, while the concluding variations reflect a joyous folk-like exuberance that is infectious. Throughout this work, Goldstein’s ability to balance lyrical melodies with intricate textures reveals a deep understanding of Ben-Haim’s musical language.
The recording quality is commendable, capturing the nuances of Goldstein’s performance with clarity and warmth. The engineering allows for a full-bodied sound that brings the piano’s timbres to life, enhancing the listener’s experience of Ben-Haim’s rich harmonic palette. This release stands out in the catalog of Ben-Haim’s music, which is often overshadowed by more prominent figures of the 20th century.
The collection serves not only as an introduction to Ben-Haim’s piano works but as a testament to his ability to synthesize diverse musical traditions into a coherent and engaging artistic statement. Gila Goldstein’s performances are not only technically adept but also emotionally resonant, shedding light on a composer whose music deserves greater recognition. This release is a significant contribution to the recorded legacy of Paul Ben-Haim, and it is to be hoped that it sparks renewed interest in his oeuvre.
