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Ihre erkennbare Spielfreude und außergewöhnliche Virtuosität im Bogenspiel und Tastenbeherrschung zeigten die beiden Solisten im Rondeau. Mit viel Applaus belohnte das Publikum diese klangvolle Interpretation von Mozarts Musik.

„The two musicians left a totally exited public behind, raving about their unique sound and music making“

“When you hear and see them live, it’s fun – and that transfers to the audience.”

"Beham and Goldstein are both virtuosos on their instruments and understand each other perfectly. Anyone listening to this interplay will feel that these two musicians have found a special connection."

„They drew the most angelic sounds out of their instruments“

"Beham's runs simply sparkle in Mozart, and especially in the slow movements, he vocally interprets Mozart's grand lines. Goldstein, too, is a virtuoso, not only on the violin but also on the viola. He switches effortlessly between the two instruments. His viola sings warmly, the tone flows sensually."

"A perfectly coordinated duo"

"The audience witnessed a string acrobatics that was unparalleled."

"However, the sparkling, gypsy-like element always came to the fore, with Goldstein always combining his technical virtuosity with a skillfully dosed dash of humor."

"The technical brilliance was also evident in other pieces, whether in Dinicus's chirping lark in the highest violin register or in Brunetti's very well-structured viola sonata. Goldstein also impressed with a warm, sustained pianissimo."

"The duo thrilled the audience with rarities by lesser-known masters such as the viola sonata by Czech Mozart Jan Křtitel Vaňhal or spirited pieces by Romanian violin virtuoso Grigoraș Dinicu."

"You notice immediately that the two form a unit. Only a glance or a gesture is rarely necessary. The two understand each other perfectly."

"Not only is their absolute superiority in making their instruments sound impressive, but also the repertoire they play: their concerts are [...] extremely entertaining thanks to the varied and well-considered mix of large sonatas and shorter, smaller masterpieces."

"Goldstein's incredibly velvety, warm tone, instantly recognizable for its captivating individuality, is particularly evident in the intimately played slow movements: in the slow movement of Schubert's Arpeggione Sonata, if you close your eyes, you have the impression of hearing a singer."

"Beham's piano tone is characterized by a striking beauty and warmth. [...] It was particularly impressive how Beham, in the viola sonata by Johann Baptist Vanhal, an unjustly rarely performed contemporary of Mozart, lets even the most difficult runs shine and virtually celebrates the wide-ranging melodic arches of the slow movement."

"In Franz Schubert's Sonata for Violin and Piano in G minor, D. 408, what was particularly striking was the extent to which the dialogue-based interplay was cultivated, with roles constantly changing. In the Andante, Goldstein took the opportunity to soulfully play the sustaining tone of his precious violin."

"The full tone of the viola gave the Larghetto, in particular, a warm, human depth. Here, too, it was the emotional interplay, but also the virtuoso playing of the viola with a wonderful vibrato, that made this relatively little-known work [Sonata for Viola and Piano by Gaeatano Brunetti] so enjoyable."

"The Meditation from the opera Thaïs by Jules Massenet (1842-1922) is one of the great 'soul-soothing' pieces of late Romanticism. The Beham/Goldstein ensemble lived up to this claim in every respect. The violin was intense and expressive in all registers, the piano sensitive."

"The main work after the interval was, of course, Ludwig van Beethoven's Sonata for Violin and Piano in G major, Op. 30/3. A whole cosmos of emotions is processed in the three movements – and all of them contain true opportunities for these two outstanding musicians. The opening movement, 'Allegro assai,' provided a furious opening; both instruments played with immense emotion. In the second movement, 'Tempo di Menuetto,' they acted as sensitively as possible, while in the complex third movement, 'Allegro vivace,' they found energetic force, which the audience rewarded with thunderous applause."

"Finally, it was another bravura piece, Pablo Sarasate's 'Zigeunerweisen' Op. 20, that captivated the audience: From breathtakingly smooth glissandi to spring bows, Goldstein let his violin shine, and Beham gave the whole thing that czardas rhythm that made the piece sound so fiery."

"Of course, the evening couldn't end without an encore: This concert Csardas, by Romanian salon violinist Jo Knümann, offers everything in this genre: veritable piano cascades, the violin sometimes swift, sometimes sighing—like a yearning love song. And last but not least, for a relaxing journey home, Franz Schubert's cozy 'Du bis die Ruh'."

Der zweite Teil des Konzerts war Mozarts Konzert für Flöte und Harfe KV 299 gewidmet. Dieses erklang in einer ungewöhnlichen, aber grandiosen Fassung für Violine, Klavier und Orchester. Christoph Goldstein an der Violine übernahm die melodische Führung mit tragenden und warmen Tönen, während Johannes Beham am Klavier klar und exakt intonierte. Im Allegro gestaltete sich der Dialog zwischen den Solisten zu einem besonderen Hörerlebnis.

Duo Beham-Goldstein

Duo Beham-Goldstein

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Dinicu L'Alouette

KV 299 I

KV 299 II

KV 299 III

Schubert D 408 Andante

Vaňhal Sonate für Viola und Klavier Allegro

Bruch Kol Nidrei

Mozart Konzert für Violine, Klavier und Orchester D-Dur KV 315f Allegro

Mozart Konzert für Violine, Klavier und Orchester D-Dur KV 315f Allegretto

Massenet Meditation aus der Oper Thais

Ortmeier ...rufe ich zu dir

Elgar In Moonlight

Vaňhal Sonate für Viola und Klavier Es-Dur Adagio

Kol Nidrei Max Bruch

Sarasate Zigeunerweisen

Vaňhal Sonate für Viola und Klavier Es-Dur Allegro

Beethoven Rondino

Beethoven Violinsonate G-Dur Op. 30/3 Tempo di Minuetto, ma molto moderato e grazioso

Mozart Konzert für Violine, Klavier und Orchester D-Dur KV 315f Allegro

Vaňhal Sonate für Viola und Klavier Es-Dur Adagio

Dinicu L'Alouette

Massenet Meditation

Beethoven Op. 30/3 III

Viola und Klavier Es-Dur II

Kol Nidrei

Der Schwan

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