About Daniel

Daniel Beilman, bassoonist and contrabassoonist, has been heard in concert across the USA and Europe in major concert halls including the Royal Concertgebouw, De Doelen, Boston's Jordan Hall, and Sanders Theater, Mechanics Hall, Kentucky Center for the Arts and Santo Domingo's Teatro Nacional in the Dominican Republic.  He has performed regularly with groups in and around Boston including Claflin Hill Symphony Orchestra, Plymouth Philharmonic Orchestra, The Boston Philharmonic, New Bedford Symphony Orchestra, North End Music and Performing Arts Center, Gloriae Dei Artes Foundation. 

Some past summer activities include the Lucerne Festival, Talis Festival, Cortona Sessions for New MusicSymphony Orchestra Academy of the Pacific, Masterworks Festival, Curtis Institute Bassoon Workshop and Ball State Bassoon Camp.

As a teacher he has been in residence with the Fundacion Sinfonia with the National Youth Orchestra for the Dominican Republic. He is on faculty at the Brookline Music School and has a teaching studio in Boston.

He holds a Bachelors degree in bassoon performance from The Boston Conservatory, has attended Ball State University and a Masters of Music from Boston University College of Fine Arts. His teachers include Nancy Goeres, Ronald Haroutunian, Andrew Schwartz, Adrian Morejon, Margaret Phillips, Keith Sweger and Roger Soren, respectively.

In addition to his playing and teaching activities, Daniel enjoys spending time in his garden and baking when he is not busy making reeds for his clients.


Many players got well-deserved bows afterward the horn section, even the contrabassoon, who supported his smaller brothers with assurance.
— Mark DeVoto, The Boston Musical Intelligencer
...the warmly, deliciously outspoken bassoon of Daniel Beilman...
— David Patterson, The Boston Musical Intelligencer
Yet, as in the Martinů and Piston, the musicians were at their best in the music’s more energetic movements. The Scherzino featured finely wrought oboe and bassoon playing from Alicia Maloney and Daniel Beilman respectively, and the buoyant finale was clear, crisp, and charming.
— Aaron Keebaugh, Boston Classical Review