Cellist Jesús Castro-Balbi and pianist David Korevaar. (credits: [l] courtesy of Bailey School of Music; [r] Matthew Dine)

Despite weather woes, Korevaar and Castro-Balbi deliver a recital of Beethoven, Brahms, and Bonis

Bailey School of Music’s livestream made review possible amid winter’s icy grip.
CONCERT REVIEW:
Jesús Castro-Balbi & David Korevaar
January 22, 2025
Morgan Hall, Bailey Performance Center
Kennesaw, Georgia – USA
Jesús Castro-Balbi, cello; David Korevaar, piano.
Mélanie BONIS: Sonata in F Major, Op. 67 (1904)
Ludwig van BEETHOVEN: Cello Sonata No. 3 in A major, Op. 69
Johannes BRAHMS: Cello Sonata No. 1 in E Minor, Op. 38

William Ford | 27 JAN 2025

Last Tuesday overnight, parts of Georgia experienced a second round of snow this season, an unusual event as even a single snowfall is rare for the region. Adding to the snow were record cold temperatures. On a short two-mile drive to the pharmacy Wednesday, I encountered four vehicles stranded on the roadside, having slid off the ice-coated roads, especially in areas shaded from the sun. With such weather conditions as the backdrop, I decided it would be imprudent to drive the 50 miles to Kennesaw State University to attend a recital of Romantic music by pianist David Korevaar and cellist Jesús Castro-Balbi. Fortunately, Dr. Korevaar provided access to a live stream of the event, sparing me the drive while allowing me to experience the concert from home via my Logitech THX speaker system.

Listening to a recital through a video feed is, of course, a very different experience from attending in person, and my review will reflect that. The three-camera production was of high quality, providing clear views of both musicians and their instruments. As best I could tell, the stereo microphone was positioned several feet in front of the two musicians, with the cello placed in front and the piano behind. It appeared the microphone was aimed directly at the body of the cello, a choice that had notable consequences, which I will address later.

David Korevaar is a renowned pianist celebrated for his versatile performances and profound interpretations of classical and contemporary repertoire. A faculty member at the University of Colorado Boulder, he has performed internationally in prestigious venues, and his recordings have garnered critical acclaim. Currently, Korevaar is immersed in recording the entirety of Beethoven’s sonatas.


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Jesus Castro-Balbi is an acclaimed cellist who, in July 2021, was appointed Director of the Dr. Bobbie Bailey School of Music at Kennesaw State University. Born in Alicante, Spain, to Peruvian parents, he was raised in France. He attended the Conservatoire National Supérieur de Musique in Lyon, Indiana University Bloomington, the Yale School of Music, and received a Doctor of Musical Arts degree from The Juilliard School.

Based on Korevaar’s introduction to the recital, he and Castro-Balbi have known each other and performed together for several years. Their program, titled “Unabashedly Romantic,” featured works by three Romantic composers: two well-known (Brahms and Beethoven) and one lesser-known but talented, Mélanie Bonis. All three compositions reflect the composers’ collective intent to balance the cello and piano as equal partners rather than relegating the piano to mere accompaniment. Unfortunately, the microphone placement undermined this intent, favoring the cello and skewing the balance.

The first work on the program was Mélanie Bonis’ 1904 Sonata in F Major, Op. 67. Known professionally as Mel Bonis to obscure her gender, she composed over 300 works, including piano solos, chamber music, choral pieces, and songs. Despite the constraints of being a woman composer in her era, Bonis’ music demonstrates a rich harmonic language that blends influences of Debussy, Fauré, and late Romanticism. Her works, fortunately, are enjoying a well-deserved resurgence today. The Sonata is in four movements: “Allegro Moderato,” “Andante,” “Scherzo,” and “Allegro ma non troppo.” It is an accessible and lyrically beautiful work, showcasing a quasi-Impressionistic style. Despite the composer’s intent to balance the cello and piano, the microphone placement favored the cello, resulting in a slightly disjointed sound. Additionally, when playing forte, Castro-Balbi’s instrument occasionally produced an unpleasant growling sound, likely due to microphone overloading.


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The next work was Beethoven’s monumental Cello Sonata in A Major, Op. 69. This three-movement sonata is celebrated for its lyricism, rhythmic vitality, innovation, and thematic development. If one were to hypothesize a stylistic midpoint between Mozart and Brahms, this sonata would serve as an excellent example. Korevaar’s playing was technically and musically assured, striking a balance between restraint and expressiveness. He provided a solid anchor throughout the piece. However, the close microphone placement again overemphasized the cello, making minor slips and intonation issues in the cello more apparent than they might have been in a live setting.

The program was originally set to conclude with Brahms’ Piano Quartet No. 1, but due to the weather, the scheduled violinist could not attend. Instead, Korevaar and Castro-Balbi performed Brahms’ Cello Sonata No. 1 in E Minor, Op. 38, one of the composer’s most recognizable chamber works. The first movement contains a famous and familiar melody, while the third movement’s fugue pays homage to Bach. The second movement offers a lighter, more playful contrast to the seriousness of the outer movements. Unfortunately, likely due to limited rehearsal time and the cello-focused microphone placement, this performance was less cohesive. The two talented musicians struggled to integrate their sound, and the familiar sonata lost much of its charm and impact.

Despite these challenges, there is no doubt that both Korevaar and Castro-Balbi are highly skilled musicians. Korevaar’s performance was consistently strong and technically precise. It was more difficult to assess Castro-Balbi’s artistry fully, given the acoustic challenges of the video. It would be a pleasure to hear these two accomplished performers in person under better circumstances—if only the weather had cooperated.


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About the author:
William Ford is an avid classical music fan and a clinical psychologist based in Atlanta. His reviews and interviews can most frequently be found online at Bachtrack and www.atlantamusiccritic.com

Read more by William Ford.
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