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Reviews on
"Ben-Haim, Volume 2: Piano and Chamber Works" (Centaur, 2005): Pianist Gila Goldstein gives perceptive accounts of two of Ben-Haim’s collections of Music for Piano, Op. 53 & 67 (1957, 1967). This is “pure” music, as titles such as “Rhythm” and “Movement” (and how!) from Op. 53 and “Very Moderate,” “Very Fast,” and “Rather Slow” from Op. 67 serve to indicate. Some times introspective, at others breath-taking, these pieces are typically characterized by their light, transparent texture. Violinist Yehonatan Berick and cellist Inbal Segev join Miss Goldstein in Variations on a Hebrew Melody, Op. 22, a major work that will recall Maurice Ravel’s Piano Trio, to which it compares favorably in its clarity, its glowing illumination of simple melodic materials, and its vision of vaster horizons. Chamsin (Desert Wind) for solo piano beautifully evokes its subject by means of a passacaglia theme in the bass over which distant humming, like an Arabic chant, is heard. Alexander Fiterstein joins Goldstein in Pastorale variée for Clarinet & Piano, a work of elegance and imagination in an intimate dance style. Finally, Berick and
Goldstein combine virtuosity and feeling in their performance of Ben-Haim’s
Improvisation and Dance for Violin & Piano, a fitting conclusion to a
memorable program."
"With
this second Ben-Haim disc, Goldstein, an Israeli pianist based in New
York, reconfirms two things: that Ben-Haim's neglect was thoroughly
undeserved, and that she has a technique as fierce and fiery as the
color of her hair." ************************* Reviews on "Piano Works of Paul Ben-Haim" (Centaur, 2001):
"......I was glad the moment I dropped this beautiful, new Centaur
offering into my player. Where, I asked myself, had Paul Ben-Haim been
all my life?.........The fact that it is so little known today (outside
of Israel, presumably) is scandalous. Under the nimble fingers of Ms.
Goldstein, Ben-Haim’s keyboard music comes to life in this scintillating
recording comprising his two Suites of 1933 and 1936, Five Pieces
(1943), Sonatina (1946), Melody & Variations (1950) and Sonata (1954).
To give one example from this carefully selected and sensitively
performed program, in Goldstein’s performance, "Melody and Variations"
develops gradually in force and expressiveness, ending very tenderly.
The Toccata that concludes "Five Pieces op. 34" shows many of Ben-Haim’s
salient qualities.....In the whirlwind of flying notes, we never lose
sight of the beautiful clarity that is a hallmark of this composer. And
the extended pedals on E major and B major allow ample scope for the
flavorful chromaticism that is another characteristic of his music." "The six
pieces on this disc, assayed clearly and beautifully by pianist Gila
Goldstein, display the composer's capability for variety within each separate work........Goldstein finds the music's
distinctive beauty and even manages some coherence to the overall program. When she needs to be fleeting and clever, as in the
Molto vivo of the Sonatina, she does so in a pitch-perfect,
non-tongue-in-cheek fashion; when she needs to be lush, as in the
Nocturne of Suite No. 2 or the very end of Melody andVariations, she achieves a round, centered tone. Her touch is just
right for this music, which she takes on with an appropriately serious sense of whimsy. These compositions are so irresistibly pretty
that this disc is worth a listen on that score alone." Listen "Gila
Goldstein's superbly assured and dedicated readings of these
enjoyable works pay a well-deserved tribute to Israel's foremost
composer whose music is still too rarely heard and recorded. I hope that this
fine and generous release will kindle some new interest in Ben-Haim's music.
Recommended." "A robust,
occasionally neoclassic tension balanced with airily inspired,
improvisational gesture guarantees the avoidance of academic cliches.
Gila Goldstein's powerful and engaging interpretations are convincing in
detail and great musical phrasing." "Ben-Haim is one of the best-known exemplars of the folklore school of
Israeli composers......he's sort of a throwback to the
previous century, very melodic,
almost lapidary.
Goldstein is a very deft pianist and can handle anything these sprightly
scores throw at her.
A very pleasant, almost sweet recording. Rating: 5 stars."
"I am
surprised not to have heard of Gila Goldstein before. She is clearly a
pianist of considerable technique and virtuosity, and is easily up to
the substantial demands that some of this music makes........ For anyone
curious, this CD is warmly recommended."
"The Sonatina
op. 38 is a splendid showpiece and Gila Goldstein plays it with great flair and delicious
nuances, achieving fast but fluid tempos and brilliance not attempted by Honigberg who
recorded this piece in 1995 for Albany. If you liked the Sonatina, you'll like everything
on this CD, as I did, especially since Goldstein is a charismatic performer and Centaur's
engineering is bright, vivid and colorful, like Ben-Haim's music." "An
impressive new recording of Ben-Haim's major piano works by the notable
young American-based Israeli pianist Gila Goldstein,
including several recorded premieres, represents a significant and
welcome addition to the piano discography.
Throughout, her performances are imbued with arresting virtuosity and
compelling command and imagination........
The CD opens with the three-movement Sonatina op. 38 of 1946, all
infused with superb atmosphere......
Goldstein's formidable virtuosity is especially evident in the two early
Suites op. 20 dating 1933 and 1936......the first suite is
rounded off with a motoric, syncopated finale that Goldstein brings off
with almost orchestral richness........
The Second Suite's Nocturne's limpid textures are beautifully
shaded........
Ms. Goldstein's interpretation of the 5 pieces op. 34 from 1943 has
electric and arresting energy, from the initial elusive Pastorale,
through the shimmery colors of the Intermezzo, the fireball sparks of
the Capriccio agitato, a lyrical Canzonetta and jet-propelled Toccata to
conclude. A warmer type of lyricism permeates the Melody and Variations
op. 42 of 1950.......the contrasting characters of each variation are
keenly projected, in turn simple, bristling, wistful, energetic, poetic
and jazzy........ The latest work is the Sonata op. 49 of 1954, which
opens with a "Preamble" played with swirling bright-toned panache. No
less arresting are the translucent lines of the second movement,
Fugue.......The piano's sonorous spectrum is fully exploited in the
finale, whose "Variations" range from the fiery to the playful.
Providing as it does a fascinating window into a refreshing musical
style, which combines European influences with exotic sound palette,
this recording can be highly recommended for pianists and music lovers
all levels and tastes." "Paul
Ben-Haim's Capriccio for Piano and Orchestra was more in the classical
tradition pianistically. Soloist Gila Goldstein made a compelling case
for the one movement work, full of dance and song." "Paul
Ben-Haim's Capriccio for Piano and Orchestra with an animated Gila
Goldstein as solo pianist, wasone
of the concert's highlights." "The
audience on February 8 heard Ms. Goldstein in top form, in a varied
program. Bach’s Fifth Partita in G Major received a thoroughly idiomatic
reading, the fast rondo of the Praeambulum contrasting with the
deceptive cadences of the Allemande and the glorious counterpoint of the
Corrente. Ms. Goldstein’s staccato touch was precise all afternoon,
almost pointillist in the difficult Passepied and Gigue......Both
Mendelssohn’s “Songs Without Words” were played beautifully. The two
Schubert songs transcribed by Liszt, Wohin & Standchen received
readings characterized by a sensitive touch and subtle left-hand
voicing. In the Prokofiev's 3rd sonata Ms. Goldstein’s rock-solid rhythm
& command of pianissimo were exemplary, the performance had the
requisite clarity and bravura........Schumann’s magical “Carnaval”, Op.
9, took up the rest of the program. Ms. Goldstein lavished her
considerable pianistic sorcery on this variegated suite of 22
pieces.....there were many things to admire: under-pedaling in most of
the fast sections, voice leading and many original inner voices emerging
in unexpected places....Ms. Goldstein extracted excitement nearly
everywhere, and was never in a rush to get anywhere.....This was
Schumann of a high order – carefully conceived and brilliantly brought
forth.......a standing ovation followed. Gila Goldstein is indeed a
rising star in a wide sea of young pianists, willing to program sharply
contrasting repertoire and often taking chances to achieve
intriguing music ends." "Whether she was
playing Bach, Liszt, Ben-Haim, Ginastera or Mozart concerto K. 453,
pianist Gila Goldstein displayed soulful artistry, mesmerizing the
audience with her relaxed, impeccable virtuosity". "The July
program of the Oakmont Concert Series was an exhilarating piano recital
by Gila Goldstein......It is such a joy as well as a privilege, to hear
such a fine artist........The program was an intelligent mix of periods
and styles, in an order which alternated virtuosic display with quiet
introspection...... There was not one thing to carp about......it is
rewarding to truly enjoy a great performance."
"The most satisfying music
making of the TIC Orchestra's March 11 concert was Mozart's Piano
Concerto no. 24 in C minor performed with soloist Gila Goldstein. The
Israeli-born pianist played with a high degree of musical finesse. Her
technique was impeccable; her lyric lines were expressive and well
defined. In the first half of the program the Ben-Haim's
Caprriccio for Piano and Orchestra was performed. A work full of
difficult challenges, met head-on by pianist Gila Goldstein, a
specialist in the music of this great Israeli composer." "All along,
the Boys Choir of Harlem was aided by the consummate playing of their
pianist, Gila Goldstein."
"Equally unfamiliar was Richard
Strauss' youthful Opus 5 Sonata which received a sumptuous performance, full of hints of
Rosenkavalierish climaxes as well as Beethoven echoes by the young Israeli pianist Gila
Goldstein to mark the 50th Anniversary of the composer's death." "Gila
Goldstein's illuminating performance of Richard Strauss's little-known piano work, Piano
Sonata in B minor op. 5, deserves a special mention. Goldstein's skillful interpretation
made the piece sound years more mature than a work written when the composer was age
15." "Pianist Gila Goldstein's dazzling technique, keen
intelligence and high musicianship was in evidence throughout the
program." "Gila Goldstein supplied accompaniments that were
idiomatic and poetic, especially in the Mahler's songs." "Gila
Goldstein, a 'rising star', is a courageous and highly capable musician who is willing and
able to probe to the depths of the music she plays. Her listeners took her to their
hearts, grateful for the superb musical offering. Her playing was fully equal to all
technical and interpretative challenges. It is safe to say that Gila Goldstein
already has what it takes to attain a first rank in her chosen profession." "Another highlight of the chamber music program was the
emotional sweep of pianist Gila Goldstein in the Tchaikovsky Piano Trio
op. 50." "Ms. Goldstein
gave an impressive performance of the Chopin's Ballade no. 4 in which her technical
ability and artistic potential came through." "Long melodic lines, symphonic-like sonorities, brilliant
and energetic playing." |
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Copyright 2008 © Gila Goldstein |
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