Alongside Paul Ben-Haim, Joseph Tal (born Joseph Gruenthal in 1910 in what is now Poland) is one of Israel’s most distinguished composers. He studied for a time with Schreker in Berlin and worked with Hindemith and Friedrich Trautwein – inventor of the electronic instrument, the ‘trautonium’ – before emigrating to Palestine in 1934 where he quickly became involved with the Palestine Philharmonic Orchestra. He has never lost his early inquisitiveness and desire to experiment.

The first of his six symphonies dates from 1953 and, unusually for him, is cast in three interlinked movements, playing continuously. The medium is adventurously tonal (the music was adapted from a ballet, By the Rivers of Babylon) but in a recognisably post-war idiom. The ancient Hebrew lament that lies at its heart (appearing intact hauntingly in the central Lento) acts as a thematic reservoir for the whole work. Although the atmosphere of this powerful music is undeniably Jewish, the style is both personal and cosmopolitan: to the innocent ear, indeed, the Vivace finale sounds not unlike Ginastera in its mix of folk inflection and orchestral severity.

Stylistically, the brief Second (1960) is more advanced harmonically and tonally ambiguous. The glittering orchestration latent in No 1 bursts through, though it does not achieve its full impact until the Third (1973), a masterly single-span symphony that is emotionally as well as musically compelling. Both works chart quite disparate courses, each featuring prominent percussion climaxes at their heart. The Festive Vision (1957), however – despite Habakuk Traber’s assertion in the notes – does not prove convincing as an unnumbered symphony. Right from the outset its occasional nature is quite clear (it was written to inaug-urate the Israel Philharmonic’s new hall), though it proves an effective overture. Yinon secures fine accounts of all four pieces here and CPO’s sound is full and bright. An excellent addition to the catalogue.