We have detected that you are using an adblocking plugin in your browser.

The revenue we earn by the advertisements is used to manage this website. Please whitelist our website in your adblocking plugin.

LEBRECHT LISTENS | Fascinating Discoveries: Staatskapelle Weimar’s The Cosmos of Paul Ben-Haim

By Norman Lebrecht on April 11, 2025

Composer Paul Ben-Haim sits at a piano (Photo from the National Library of Israel archive /  CC BY-SA 3.0/cropped)
Composer Paul Ben-Haim (Photo from the National Library of Israel archive / CC BY-SA 3.0 / cropped)

The Cosmos of Paul Ben-Haim (CPO)

★★★★☆

🎧 Apple | Spotify |

If you are looking for neglected stocks in these shaky times, you could do worse than sink a pair of ears into the music of Paul Ben-Haim. It seems to be heading for revival. Lahav Shani is recording the symphonies for DG and other works are popping up all over the place. This 145-minute compilation under review mingles orchestral and chamber music to positive effect, prompting this listener at least to reconsider some aspects of a much-misunderstood composer.

A conducting assistant to Bruno Walter in Munich, Paul Frankenburger fled to Palestine when the Nazis seized power and changed his name to son-of-life. He was a true revivalist, excavating lost melodies of Sephardic Jews and educating two generations of native composers, among them the eminent and successful Noam Sherriff.

Ben-Haim was widely considered a bit of a Bartok for his ethnomusicological interests but closer attention reveals more of a Korngold, a would-be populist who tempts and teases an audience with film quotations and other familiarities. Yizkor, his 1942 ‘poem for violin and orchestra’ is far more lyrical than its memorial subject suggests, gloriously given wing here by the violinist Liv Migdal.

Ben-Haim wrote flatteringly well for stringed instruments, even more so for the contralto voice. There is a quasi-Elgarian ease to the way Hagar Sharvit immerses us in Mediterranean songs.

Among varied allusions to the Davidic Psalms, ‘To the Chief Musician’ is an arresting reflection on who’s in charge of an orchestra, touching lightly on Mahler, Bartok, Hindemith and others, just as Erich Wolfgang Korngold might have done. It’s almost a concerto for orchestra, only more original.

This set is full of fascinating discoveries, made in Germany by the effulgent Staatskapelle Weimar. I loved pretty much every minute and recommend it as a sound investment of anyone’s time.

To read more from Norman Lebrecht, subscribe to Slippedisc.com.

#LUDWIGVAN

Get the daily arts news straight to your inbox.

Sign up for the Ludwig van Daily — classical music and opera in five minutes or less HERE.

Share this article
lv_toronto_banner_high_590x300
comments powered by Disqus

FREE ARTS NEWS STRAIGHT TO YOUR INBOX, EVERY MONDAY BY 6 AM

company logo

Part of

Terms of Service & Privacy Policy
© 2025 | Executive Producer Moses Znaimer