Violinist BENJAMIN BEILMAN Enchants in Tucson

If music is magic, this sorcerer's ruse commenced with a facade of easy pastels, pleasantly drawn with facile dexterity. Then, without warning, sharp arrows begin piercing the canvass, as darker realities emerge from below... Such was the spell cast by Benjamin Beilman, the 27-year-old violinist, in collaboration with pianist Anna Polonsky, in the opening concert of the Arizona Friends of Chamber Music 2017-2018 season, October 15, 2017. Of course, music is not really magic – at least not of that variety – but an in-the-moment expression of an interpretive artist's cumulative experience of a composer's ideas. The admirable constants of Beilman's performance here were a strongly projected full tone and a penetrating delivery. All cresting waves, calm waters, and dark depths were explored from a very even keel – a captivating journey from beginning to close.

         The most balanced crafting of contrasting emotions arrived immediately with Beethoven's Piano and Violin Sonata #1 in D, quickly engaging both performers' individual interpretive and ensemble skills. The singing tone of Beilman's violin was here never allowed to soar for long, as Beethoven's fortepiano always bites back in a stern reproach of taut rhythms and stout cadences. Wolfgang who? Beethoven's exploration of expressive limits is clearly in play in this early work (1798), foreshadowing rather than being outclassed by the coming musical revolution he forged. Indeed, the bluntness of these musical statements shakes a noticeable layer of dust from the sleeves of clever old Papa Haydn. This sonata's enduring popularity with performers and listeners is precisely because it does contain many elements of Beethoven's celebrated later achievements. Beilman, tightly threading the melodic lines in the outer movements, was matched well by Polonsky's clarity of articulation and ready power. Very little spare air was brought into the Andante con moto, the soloist's deft shifting of intensity being relied upon to illuminate the deep reflections within this relatively bright set of variations. The overall result was a full weight rendition, and a very satisfying opening number.

         Both a prolific composer and supreme piano virtuoso, Camille Saint-Saëns was a master craftsman of detailed ideas, building to compelling, dramatic conclusions. This, his first Violin and Piano Sonata, Op. 75 (1885), is a fully mature artistic contribution to this legacy, and an unabashed tour de force for the violin. The opening Allegro Agitato is a sharp duel of turbulent passage work against powerful melodic passion, here delivered with great verve by the soloist. The direct and seamless nature of Beilman's path through the extremes of technique and expression shown brightly in this terse, full-bodied music. The Adagio,  framed by the outer movement's bold dialogues, , provided a relaxed setting for playful intimacy between instrumentalists, becoming one of afternoon's distinct and most memorable highlights. As forces culminated in Saint-Saëns' electrifying Allegro Molto finale, the young virtuoso bore a focused, almost fierce determination, driving his array of sharp articulations and soaring melodic energy through to this drama's exhilarating, climactic finish. The on stage action and exchanges were quite heated, as was this crowd's enthusiastic approval.

         'Tocar', composed by Kaija Anneli Saariaho in 2010, was smartly programmed to open the recital's second half, setting a clean table for its more delicate content. Both instruments begin with sets of alternating sevenths and seconds – broad-interval dissonance balanced against tone clusters. A clear, controlled spectrum of modern violin techniques, color, and timbre are presented and explored, yet the music completely eschews stark outbursts and thick sonorities, in favor of a meandering interplay of voices. Eventually, the instruments begin to hue closer in register, and increasingly share thematic content. A distinct coming together – a “touching” of pitch and tone, in a briefly held unison – became the very successful, minimalist pinnacle for this little indulgence. The overall effect was of almost accidental affection; fellow wanderers discover each other, lightly embrace, and wander on, but now closer in stride. Beilman and Polonsky appeared every bit at home in this tasty exhibition of melded disharmonies and modern sounds as they were in the mainstream Romantic repertoire. Personally, I found 'Tocar' quite enjoyable and refreshing. The audience, perhaps more nonplussed than pleased, was at least more muted in their appreciation.

         The peak of passion and of pathos arrived in the evening's finale, Johannes Brahms Op. 108, the Violin and Piano Sonata #3 in D Minor – a masterwork for the ages, penned in 1887. Brahms, a supreme and deep poet, here unleashes a rare explosive directness, the results of which are devastating, and spectacular. In this rapturous journey, Beethoven's titanic struggles, exhilarating triumphs, and explorations of the far reaches of the mind, come barreling into Brahms' passionate, yet often frustrated and downcast, vignettes of the Starry Night encompassing the late 19th Century. The level of expressive nuance is extraordinary, while the strident turns and overturns of emotion are hair-raising.

         In a decidedly taut, strait-ahead rendition, Beilman and Polonsky successfully delivered the day's most powerful emotional/musical content, applying judicious emphasis to the charged thunderbolts, a steady line for the pensive undercurrents, a respectful glow towards the few rays of sunlight, and a riveting stillness for the precious baring of Brahms troubled soul. The greatest musical works speak for themselves; a principle well-honored by Benjamin Beilman and Anna Polonsky in this fine performance. Bravo, on this day, to both! Following a hearty ovation, these worthy professionals retook the stage, graciously thanked us, and rounded out their performance with the robust, and only slightly sentimental 'Romance #3' (1853) by Clara Schumann – she, who was so deeply admired by Brahms – a perfect close to this rousing show.

~ Steven Gendel

Program:
BEETHOVEN: Violin Sonata #1 in D, Op. 12, #1
CAMILLE SAINT-SAËNS : Violin Sonata #1 in D minor, Op. 75
KAIJA ANNELI SAARIAHO: Tocar
BRAHMS: Violin Sonata #3 in D, Op. 108
Encore – CLARA SCHUMANN: Romance #3, Violin and Piano