reviews

FILM

Sonata (1957)

“Although the documentary is quite obviously aimed at musically literate viewers, it never crosses the boundary into sheer pretentiousness…  I have not seen many ‘analytical’ films about music, although I have attended a few lectures and seminars.  Not a few of these have been over-technical.  However, I believe that Daniel Beliavsky gets the balance absolutely right.”
Musicweb-International, U.K.
(http://www.musicweb-international.com/classrev/2011/Aug11/Harris_France.htm)

COMPOSITIONS

 “Mr. Beliavsky joined the ensemble as narrator in his The Animals Race!, an engaging allegorical work based on a Russian story.  In the text, a handful of animals race around a lake to determine who is fastest, but most of them spin out along the way as they seek clever ways to gain an advantage.  Mr. Beliavsky’s picturesque music suggests the animals and their foibles without sacrificing musical texture or structure for the sake of pictorialism.”
–Allan Kozinn, The New York Times
(http://www.nytimes.com/2005/03/12/arts/music/12indu.html)

CD RECORDINGS

Ecstasy and Poetry (2004)

“Perhaps the greatest work here is the Ballade Op. 23, No. 1.  Beliavsky’s presentation of this work is second to none.  I have known this piece for most of my adult life, but this recording opened windows for me in my appreciation of it.  And that ‘opening’ is the leitmotiv of this CD… Daniel Beliavsky is a pianist to watch… We can only hope that more recordings are forthcoming from this pianist… Could Beliavsky have set a benchmark for all interpretations of the Schubert Impromptu in Gb?”
Musicweb-International, U.K.
(http://www.musicweb-international.com/classrev/2005/June05/Beliavsky_Ecstasy.htm)

“He favors sumptuous textures and swaying tempos, harking back to the Russian tradition…on bonus tracks to his CDs, Beliavsky carries on amusing dialogues with an austere pedagogue named Ulysses Kidgi.”
–Alex Ross, The New Yorker
(http://www.newyorker.com/archive/2005/02/28/050228crmu_music?currentPage=2)

“On Ecstasy and Poetry, Beliavsky…plays works by Schubert and Chopin with considerable skill and a feel for extravagant Romantic drama. These are engaging performances…”
Milwaukee Journal-Sentinel

From Italy to Russia (2004)

“Beliavsky creates moods that sustain attention.
–The American Record Guide

“The main act is Beliavsky’s formidable pianism, most evident in “Pictures” and more subtly present in his reading of Bach’s Italian Concerto and three brief sonatas by Domenico Scarlatti…  Beliavsky’s Baroque touch differs markedly from the intense drama he brings to “Pictures.”  The Scarlatti and the Bach are bright and clear in the fast movements and calm and contemplative in the slow ones.”
Milwaukee Journal-Sentinel

“The interesting aspect which warrants consideration of this account of Mussorgsky’s Pictures is Beliavsky’s concept of it based on the bells of Kiev.  He argues persuasively with his alter ego Professor Kidgi about its justification…and to my ears the performance proves his case.”
Musical Pointers, U.K.
(http://www.musicalpointers.co.uk/reviews/cddvd/Beliavsky.htm)

“It is my pleasure to write on behalf of Daniel Beliavsky, a brilliant young pianist.  His latest CD [From Italy to Russia] is a jewel.  He makes the music come alive.  His touch differs with each composer.  All three composers (Bach, Scarlatti, Mussorgsky) have their own style.  His technique is formidable.  I recommend him highly.”
–Lukas Foss

The Complete Works for Solo Piano of Lukas Foss (2002)

“The presentation of this present CD is certainly attractive. The playing is assured and always expressive… I found this recording to be the definitive account [of Lukas Foss’ piano music]… [and] an important addition to the catalogue of 20th Century American piano music.  Beliavsky combines scholarship with fine playing.”
Musicweb-International, U.K.
(http://www.musicweb-international.com/classrev/2005/May05/Foss_Beliavsky%20_sonatabop001.htm)

“This album [The Complete Piano Works of Lukas Foss] is important and unique, a tribute to the piano works of a major composer, himself a wonderful pianist, who is known mainly for his orchestral pieces.”
–The American Record Guide

LIVE PERFORMANCES

“Beliavsky in particular has an excellent stage personality and sense of humor and could easily do radio if he wanted to.”
–Sequenza21.com
(http://www.sequenza21.com/2005/06/best-and-brightest-at-thalia.html)

“The final piece was…the Tchaikovsky Piano Concerto No. 1 in B-flat minor.  The young soloist, Daniel Beliavsky, was absolutely thrilling.  It takes a musical personality of the first order to make such a familiar piece sound fresh, endlessly exciting and meaningful.  Beliavsky accomplished all of these things in spades…Beliavsky enabled his listeners to hear this familiar work as if for the first time.  Power, grace, thoughtful phrasing—all the crucial elements of fine pianists were at the control of this magnificent young artist.”
Topeka Capital-Journal
(http://findarticles.com/p/articles/mi_qn4179/is_19991010/ai_n11737207/)

“Alexandre Scriabin’s Piano Concerto (his opus 20)…had pianist Daniel Beliavsky to plead its cause with convincing eloquence… Beliavsky played beautifully, with clarity of articulation, resonant tone and graded dynamics to allow the grander moments to unfold with appropriate sweep.”
Green Bay News-Chronicle

“Daniel Beliavsky handled the knuckle-spraining difficulties of the concerto with impressive strength and clarity [Prokofiev Piano Concerto No. 4, Left Hand].”
Chicago Tribune
(http://articles.chicagotribune.com/1998-02-10/features/9802100068_1_prokofiev-concerto-concertante)

“Beliavsky played with impressive facility and astonishing aplomb [Tchaikovsky Piano Concerto No. 1].”
Milwaukee Sentinel

“Daniel Beliavsky is a superb pianist.  He displays an unusually wide range of colors.  I find his playing to be quite extraordinary and unusual.  He exhibits everything from tender intimacy to powerful virtuosity.  I expect him to have a major performing career.  As his former theory and composition teacher, I can attest to his high level of musicality and intelligence, which informs not only his piano playing but also his composing and his general musicianship.”
–Jonathan Kramer, late Professor of Music, Columbia University