It’s about time some enterprising label discovered the music of Paul Ben-Haim (1897-1984). He was a very fine composer, and these are outstanding works. The First symphony (of two) has three movements, some great ideas, and a real “symphonic” impetus and feeling of growth and development. Its slow movement is particularly gorgeous, especially just after a passionate central climax where the high solo violin is accompanied by harp, three solo violas, and gentle rustlings in the remaining strings. It’s a magical moment. Ben-Haim’s style might be compared to Hindemith with less clunky rhythms and a bit more consonant harmony.
The Symphonic Metamorphosis dates from the late 1960s and also recalls Hindemith to some extent, except at the climax where the jubilant reprise of the Bach chorale brings to mind Respighi (glockenspiel, triangle, and antique cymbals). Along the way, Ben-Haim offers two “recitatives”, a passacaglia, and a zippy capriccio marked “lovely” in the score, which I think ought to be “lively”. Fanfare for Israel is about what you’d expect for an occasional work of its type: brassy, vivid, colorful, but not annoyingly bombastic, and over in less than seven minutes.
The performances under Israel Yinon are remarkably assured given the unfamiliarity of the repertoire. The orchestra remains on its toes throughout, and this is especially impressive in the finale of the symphony, a whirlwind presto in 12/8 time that’s fully up to tempo and on point. The engineering is good, but perhaps a bit dry and “studio-bound”. This is an important release, with hopefully much more to come from this source.
