- Beilman and Tyson's Musica Viva concert an impressive and diverse program
The Sydney Morning Herald
JoAnn Falletta, Jeremy Denk
- Falletta, Denk Among Inductees to Arts and Sciences Academy
Alvin Ailey American Dance Theater
- ALVIN AILEY AMERICAN DANCE THEATER’S 2017 NORTH AMERICAN TOUR REACHES NEARLY 20 CITIES FROM FEBRUARY 3 – MAY 14
Alvin Ailey Pressroom
- Endlessly beautiful music from pianist Inon Barnatan, accompanied by the BSO
The Washington Post
- In 'Trump Card,' Mike Daisey explains unlikely, undeniable pull of The Donald
Jeremy Denk, The Saint Paul Chamber Orchestra
- Review: The Joys of a Conductorless Chamber Performance
The New York Times
- Review: Under baton of Wolff, ASO takes grand and hopeful journey on the “American sound”
- Llyr Williams at Wigmore Hall – Beethoven Piano Sonata Cycle (6) – The Opus 10 Sonatas and Diabelli Variations
- Young American musicians Benjamin Beilman & Andrew Tyson in recital at Llewellyn Hall
The Canberra Times
- Benjamin Beilman and Andrew Tyson make a dynamic duo for Musica Viva
The Daily Telegraph
A Teaspoon of Melancholy Before a Cup of Good Cheer
The New York Times
The violinist Gil Shaham has been a constant presence in New York over the last two seasons, appearing as a chamber musician and as an orchestral soloist. Given his formidable technique as well as a big, singing tone and a sunny disposition, he is hardly in danger of wearing out his welcome. When he played in the Rose Theater on Wednesday night as part of the Great Performers series of Lincoln Center, his program included works seldom encountered.
The Sonata for Violin and Piano by William Walton, for example, came from a period after World War II when Walton, a former young radical, was re-examining traditional classical forms. The work deviates from the three-movement standard, offering instead a wistful, lyrical opening movement and a set of playful variations on a pensive theme.
Mr. Shaham's playing was fittingly melancholy and capricious by turns. In the pianist Akira Eguchi he had a superlative partner: unfailingly responsive in gesture and tone, and impressive in his own right during solo passages.
Bach's Unaccompanied Sonata No. 2 in A minor is at the opposite end of the spectrum, both technically and temperamentally. Mr. Shaham's understated solemnity in the opening movement set the stage for a powerful, lucid account of the astonishing fugue that followed. The dancing Andante came as a sigh of relief.
In the Sonata "Pimpante," from 1966, the Spanish composer Joaquín Rodrigo manages to combine the generous melodies of Iberian folk music with a Gallic suavity instilled by his French training. Mr. Shaham reveled in the work's high-flying songs, which Mr. Eguchi countered with arpeggios meant to evoke guitar.
The work's closing Allegro was especially appealing: a twinkling dance pricked by tiny dissonances, with violin glissandos seemingly well lubricated with whatever spirits were at hand. At one point Mr. Shaham's violin brayed like a mule; Mr. Eguchi responded with what sounded like a pair of sharp kicks.
Giddy spirits and raucous rhythms continued in three showpieces by another Spaniard, Pablo de Sarasate: "Zapateado," "Romanza Andaluza" and "Zigeunerweisen." Mr. Shaham unleashed his inner daredevil for these flamboyant trifles, holding just a bit in reserve for the inevitable encore: the Hungarian Dance No. 4 of Brahms, as arranged by Joseph Joachim.