The last concert of the BC Music Department’s 2024-2025 Guitar Series featured Eva Beneke, a German guitarist that is internationally recognized for her skills and talent along with her dedication to education as an Associate Professor at the Norwegian Academy of Music.
Beneke was invited to perform a set by Professor Rahmani, who dedicated the program to a series of guitar concerts throughout the academic year. He shared, “We had an incredible season at Bellevue College, presenting six guitar concerts and showcasing internationally acclaimed artists on our stage.”
Prior to Beneke, BC held concerts for artists such as Lorenzo Micheli, JIJI and other talented featured guitarists. “We also invited local high school ensembles to open our concerts, creating a rich and collaborative experience. It was especially rewarding to see our students interact with and learn from these inspiring musicians. We’re looking ahead with excitement to the 2025-2026 season!”
The concert series is beloved by fellow music students who commented, “As a guitar student, it’s really great to have these concerts. Seeing these different concerts has given me a lot of inspiration for my guitar goals as a student recently learning guitar.” (T.C.)
Her opening rendition of Johann Kaspar Mertz’s Romanze was mesmerizing, a trance that displayed her love for 19th century music. The opening was quiet and humble, bringing the crowd to a hush that allowed only the sound of their plucking to echo from the four corners of the Carlson Theatre. She played precisely and dazzled the crowd as though each note brought a sparkle in the air.
Beneke mentioned that her performances were dedicated to showcasing women composers that are often neglected compared to their male counterparts, overshadowed by the patriarchal success. Despite the presence of composers, such as Mertz and J.S. Bach, they were overwhelmed by the flair of fresh names like Elisabeth Jacquet de la Guerre, who Beneke played a composition titled “Suite No. 2 a-Moll, Pièces de Clavessin”.
Beneke commented that Guerre was a “true superstar at the time,” as she was the first woman to appear in opera in Paris. “She was quite famous. When she died, a coin/medal was printed in her honor.” (Image depiction of the medal forged in honor of Elisabeth Jacquet de la Guerre).
Guerre’s piece that Beneke played did not have a transcription for guitar artists, which led to Beneke transcribing the composition themselves. “I believe that this is the first time it is played in the U.S.,” she explained.
It was a dramatic entrance of quick, plucky notes, then followed by the thrum of bass notes. It was sweet and brought a sense of high to the audience before being thrusted into the savory melodies. Beneke caressed the guitar, like an extension of their body born out of skills and talent drawn throughout the years of their hard work.
Beneke managed to create imagery with her featured pieces, relating notes to the French experience of pastries and delights. It was warming to watch Beneke smile and sway throughout this performance.
Among the larger names, Beneke danced with the unknown composers. It was quite profound that such pieces were not as internationally recognized despite their generosity of talent and art that could easily entertain the audience as efficiently as larger names such as Mozart or Beethoven.
“I think it was interesting to hear music from more women rather than just men.”
– M.V., BC Guitar Series Program Student
Apart from other composers, Beneke included her own works in the set: “Coming Home” and “Stormy Crossing.” Beneke explained, “Coming Home’ tells a story [that was] born out of a feeling of very deep homesickness and is dedicated to my dad.” The piece was followed by “Stormy Crossing,” which was an interpretation of emotional turbulence, symbolizing the ups and downs, highs and lows, inspired by a ferry ride that Beneke interpreted as such.
In an interview with The Watchdog, Beneke answered, “The ones that I played tonight are older pieces that I wrote when I lived in the States. ‘Coming Home’ has a double meaning- Back then, I wrote it for Germany, but now I am also coming home to this other home that was the States.”
The last piece was written by Petra Szaszi, an exchange student at the Norwegian Academy of Music. It was quite destructive to listen to, pushing the boundaries of what music is perceived as. It was obvious with the dropped jaws and “Oohs” when Beneke began hitting the body of the guitar.
It was a peculiar composition that required all six strings of the guitar to become one note by the end of the composition, and it led to a concoction of experimental sounds. It portrayed the new generation that strove for greatness through building a foundation of newfound appreciation for individuality and specialties.
Beneke did not miss a single beat when the audience’s hearts pounded to each tick and whack of the strings. It was an eerie, dark and mysterious piece that mimicked the clock signifying the end of the show and the year’s concert series with every minute passing by towards Beneke’s final bow.
Although it was the conclusion to the BC academic year’s series, Beneke is excited to journey through the US once again for different performances that continue to empower female composers and assert their presence in the classical music community.
