An Evening with Benjamin Beilman and Gloria Chien

Ysaÿe and Franck sonatas on one program? I had to go. I first came across Beilman’s playing years ago while watching his Avery Fisher Prize concert. More recently, I heard him substitute at the last minute for Capuçon in Saint-Saëns’s Violin Concerto No. 3, and on another occasion he replaced Hilary Hahn, who was recovering from a pinched nerve, in Barber’s Violin Concerto. Both performances showed his distinctive, colorful style. It was incredibly sophisticated. His chamber music background clearly gives him a different perspective on concerto playing, and I enjoyed both of those earlier appearances.

Program

• Eugène Ysaÿe: Sonata in D minor for Violin, Op. 27, No. 3, “Ballade” (1924)
• Béla Bartók: Sonata No. 2 for Violin and Piano, BB 85 (1922)
  • I. Molto moderato
  • II. Allegretto
• Karol Szymanowski: Nocturne and Tarantella for Violin and Piano, Op. 28 (1915)
• Chris Rogerson: Arietta for Violin and Piano (2021)
• César Franck: Sonata in A major for Violin and Piano (1886)
  • I. Allegretto ben moderato
  • II. Allegro
  • III. Recitativo-Fantasia
  • IV. Allegretto poco mosso
• Encore: Paganini: Cantabile, Op. 17

Notes & reactions

Disclaimer: As a violinist, I naturally found myself listening closely to Beilman’s sound—especially given the opportunity to hear the ex-Ysaÿe Guarneri del Gesù.

Eugène Ysaÿe: Sonata in D minor for Violin, Op. 27, No. 3, “Ballade”

Ysaÿe is a highly respected violinist-composer, and violinists know how technically and musically demanding this piece is. Beilman delivered on both counts. The opening emerged from near a pianissimo and gradually built in intensity. The sound was dark and almost vocal in its projection. I was especially impressed by his control of tempo and dynamics at the end. Programming this as an opener was bold. He also spoke briefly about Ysaÿe and explained the significance of performing the work on the 1740 Guarneri del Gesù, the “ex-Ysaÿe” violin. He noted that Ysaÿe played this instrument for most of his career, and that a luthier even added a label describing it as his loyal companion. Many major violinists have played it since, including Isaac Stern, Itzhak Perlman, Ivry Gitlis, and Pinchas Zukerman. After connecting the instrument to the repertoire, Beilman explained that much of the program explored works written for specific people and instruments. It was an excellent introduction to the evening.

Fun fact: Ysaÿe enjoyed playing on this violin so much that he had a luthier place an inscription inside the instrument, as quoted in The Strad, a handwritten label inside reads, “Ce del Jesus fur le fidèle compagne de ma vie” (“this violin was the faithful companion of my life.”).

Béla Bartók: Sonata No. 2 for Violin and Piano, BB 85

The next couple of pieces were introduced as works written for close friends. In Bartók’s case, this sonata was written for violinist Jelly d’Arányi. I enjoyed this performance immensely. Gloria Chien was absolutely phenomenal: precise, rhythmically grounded, and fully equal in shaping the work’s angular textures. The duo achieved a striking balance, allowing Bartók’s shifting colors and brittle intensity to come through without ever feeling harsh. This piece really showcased the potential of the instrument’s lower-range color.

Karol Szymanowski: Nocturne and Tarantella for Violin and Piano, Op. 28 (1915)

The Nocturne and Tarantella was a vivid display of the violin’s coloristic possibilities: harmonics, crisp pizzicato passages, and clear double stops. By the time the Tarantella accelerated, the audience felt alert, leaning into the brilliance of the instrument.

Chris Rogerson: Arietta for Violin and Piano (2021)

After intermission, the first piece was a contemporary work by Rogerson, a friend of Beilman. It was a thoughtful complement to Franck’s Sonata in A major, reinforcing the evening’s theme of works written as personal gifts. The piece was originally written for a small chamber group as a wedding gift for Beilman’s wedding processional. That personal connection parallels Sonata in A major: Franck gave it to Ysaÿe as a wedding gift, and it was reportedly played that same day with his sister-in-law at the piano. Arietta sounded warm and vividly colored. After the piece ended, the composer was welcomed onto the stage. What a treat!

César Franck: Sonata in A major for Violin and Piano (1886)

The highlight of the night for me was hearing Sonata in A major on Ysaÿe’s violin. Ysaÿe championed this work, so this felt as close as possible to hearing that original lineage alive in the hall. Beilman delivered. Having performed and studied this sonata, I hear it as a true conversation between two players, and that came through clearly. I especially appreciated the subtle color changes in the first movement when the theme returned. The finale was well paced, and he held back just enough to make the climactic moments land.

Encore: Paganini: Cantabile, Op. 17

After a tour de force of virtuoso works, Beilman ended the night with one of Paganini’s lyrical pieces. While less flashy than many Paganini showpieces, it was a natural ending and a chance to show the violin’s full palette. Slow pieces can be more difficult than they seem: even with fewer technical fireworks, every choice of tone and character is exposed.

Closing thoughts

For this concert, I brought my mother, a non-musician. I knew that Nocturne and Tarantella and Sonata in A major would be accessible to a less avid classical listener. She enjoyed the concert as much as I did, largely because the context was presented from the stage. It felt like a guided tour through classical music. Pre-concert lectures exist, and I sometimes attend them to learn more and hear a player’s or conductor’s perspective, but not everyone has time for that extra research. The Chamber Music Society does a great job helping listeners understand what to listen for. More concerts should dissolve that wall. It’s more common at smaller venues, but I can imagine it being just as powerful in larger halls—where audiences may need that invitation even more.