Beilman and Tyson have a rare genius for interpretation.

Benjamin Beilman
Arts Hub

Standing on stage before their recital, Beilman and Tyson looked like any other average, smart-suited, well-meaning Americans in their mid-twenties right? Wrong. They are extraordinary, brilliant musicians. For when Beilman fired the violin and Tyson powered the Grand, the audience were ensnared and beamed back in time to 1787, a year in which Mozart was all over song-writing. Don Giovanni hails from this creative period as does the songlike, Violin Sonata in A Major, Opus 526 with its terrifying, finger-taxing piano part allegedly, say the musicologists, written for Mozart to perform.

These players are every composer’s dream. The stunning world premiere of Jane Stanley’s exacting Cerulean Orbit gave this Australian composer’s compelling, imaginatively cast work powerful ‘wings’ and the work stood proud in the company of Janacek’s and Saint-Saens’ Sonatas.

Violinist Beilman’s instrumental voice can sing, fly, speak, snarl, squeal and whisper in a galaxy of colours. His searing account of the Chorale theme towards the summing up of Janacek’s raw, pointy Sonata supposedly referencing Russia’s advance into Hungary after the First World War was uncanny. Shiveringly and eerily beautiful. Unforgettable.

The rapport between them is amazing. Tyson’s ears are on stalks and, when he turns his head towards Beilman be warned, the pair’s unison accents have enough bounce and thrill to make the theatre tremble. When this Duo reaches Australian shores again be sure to check them out for their recital was a towering success.
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