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: Recorded at Patrych Sound Studios, New York, January-February 2000
Label: CENTAUR CRC 2506
Paul Ben-Haim, born Paul Frankenburger in Munich, emerged as a pivotal figure in the synthesis of Eastern and Western musical traditions, particularly following his emigration to Palestine in 1933. His piano works, as presented in this comprehensive recording by Gila Goldstein, encapsulate the evolution of his style, reflecting both his European roots and the vibrant cultural tapestry of his new homeland. These pieces, spanning from 1933 to 1954, reveal a composer navigating the complexities of identity and cultural expression in the face of historical upheaval.
Goldstein’s interpretations of Ben-Haim’s music are notable for their sensitivity and technical prowess. The First Piano Suite, while perhaps the least innovative of the selections, showcases Goldstein’s ability to infuse a sense of warmth and color into its Bach-inspired motifs. The opening Allegro, with its toccata-like drive, is executed with a precision that highlights the composer’s playful use of harmonic surprise, while the closing movement cleverly incorporates influences reminiscent of Bartók’s rhythmic vitality. This balance of styles indicates Goldstein’s nuanced understanding of the work’s historical context.
The Second Suite marks a transition in Ben-Haim’s compositional language, reflecting the pastoral beauty of the Kibbutz life. Goldstein’s interpretation of the opening Pastorale is infused with a lyrical quality that evokes the tranquil landscapes of Israel. The Scherzo, drawing from Mahler, demonstrates a grotesque transformation of a familiar theme, executed with a lightness that belies its emotional complexity. Here, Goldstein’s touch is deft, allowing the music’s character to emerge organically, devoid of excessive sentimentality.
As the recital progresses into the Five Pieces, Goldstein navigates the eclecticism of Ben-Haim’s later style with admirable dexterity. The Ravelian Toccata showcases her virtuosic capabilities, while the Intermezzo’s modal shifts reflect the composer’s deep engagement with Jewish folk idioms. Goldstein’s deft handling of these contrasting styles speaks to her mastery of the piano, allowing for a seamless transition between the intricate textures and the broader, sweeping melodies that characterize Ben-Haim’s voice.
The Sonatina and “Melody with Variations” further illustrate Ben-Haim’s evolution as a composer. The Sonatina’s opening movement balances sonata form with modal melodies, and Goldstein’s articulation captures the spirit of exploration inherent in the piece. The “Melody with Variations” presents an almost neo-classical theme that Goldstein develops into a showcase of virtuosity while remaining grounded in the folk-inspired motifs. Her playing here illuminates the composer’s intricate counterpoint and the playful dialogue between variations, maintaining a clear line between the thematic material and its transformations.
Recording quality emerges as a dual-edged sword in this release. While the bass range of Goldstein’s playing is well-captured, offering a realistic representation of the instrument’s resonance, the treble passages occasionally suffer from a brittle, harsh quality that distracts from the overall listening experience. This inconsistency in sound engineering detracts somewhat from an otherwise compelling interpretation, leaving moments of brilliance overshadowed by an echo that feels less than ideal.
The historical significance of Ben-Haim’s work cannot be overlooked, particularly in the context of Israeli musical identity. He represents a synthesis of diverse influences that not only reflect his personal journey but also resonate with the broader narrative of Jewish culture in the 20th century. Goldstein’s recording is a significant contribution to the piano repertoire, opening doors to a composer who deserves greater recognition.
Gila Goldstein’s interpretations of Ben-Haim’s piano works reveal the intricacies of a composer whose music straddles the line between tradition and innovation. While the recording quality presents challenges, the performances themselves are imbued with a deep understanding of the music’s cultural and emotional landscapes. This collection is essential listening for those wishing to delve into the rich tapestry of Israeli music, and it encapsulates the spirit of a composer who continues to resonate within the canon of 20th-century music.
