About Daniel

Daniel Beilman has been heard in concert across the USA and Europe in major concert halls including the Royal Concertgebouw, De Doelen, KKL Luzern, Elbphilharmonie, Paris Philharmonie, Berlin Philharmonie, Boston's Jordan Hall and Sanders Theater, Mechanics Hall, Kentucky Center for the Arts and Santo Domingo's Teatro Nacional in the Dominican Republic, and others. He has performed regularly with and held positions with groups in and around Boston and Florida including Cape Cod Chamber Orchestra, New Bedford Symphony Orchestra, Symphony New Hampshire, the Venice Symphony Orchestra (FL), The Florida Orchestra, among others.

Daniel has worked with musical artists such as Joshua Bell, Gautier Capucon, Joseph Silverstein, Alison Balsom, Anne-Sophie Mutter, Yuja Wang, and Martin Chalifour. He has performed under numerous conductors including Susanna Malkki, Alan Gilbert, Jeffrey Means, Matthew Scinto, Matthias Pintscher, Benjamin Zander, Yaniv Dinur, Lina Gonzalez-Granados, José Antonio Molina, and Troy Quinn. As an avid New Music performer, Daniel has been part of collaborations with Michael Finnissy, Marc Andre, Konstantia Gourzi, Nicholas Kuhn, Joshua Jandreau, Vartan Aghababian, Derek Cooper, Jonathan Russ, among many others. 

Some past summer activities include the Lucerne Festival Academy, Talis Festival, Cortona Sessions for New Music, Symphony 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 during the National Youth Orchestra Summer Festival in the Dominican Republic and with The Venice Symphony Youth Summer Music Camp. Daniel has done workshops at UMass-Boston and the National Conservatory of Music (DR), performed with Sound Icon and The FROMM Players at Harvard for the FROMM Composers Concerts and Workshops, been Artist in Residence with the Easton Chamber Music Festival and Vivace Vilnius Festival (LT). He was previously on faculty at Phillips Academy Andover, Dexter Southfield School, as well as Brookline Music School and Note-Worthy Experiences. Currently he is the Music Director at Oak Park School, part of the Sarasota County School system, Adjunct Professor at Southeastern University (Lakeland), Hillsborough Community College - Ybor, Florida SouthWestern State College, and maintains a teaching studio at his family home in North Port (Sarasota), FL and North Port Music.

Daniel holds a Master of Music Degree of Music from Boston University College of Fine Arts where he was a graduate assistant that co-managed the Entrepreneurship Laboratory. He holds his Bachelor of Music from Boston Conservatory at Berklee. He also attended Ball State University where he was awarded a Presidential Scholar, and Berklee College of Music. His primary teachers and mentors include Kevin Fuller, Lorelei Dowling, Nancy Goeres, Rick Yoder, Ronald Haroutunian, Richard Hoenich, Adrian Morejon, Margaret Phillips, Keith Sweger, Roger Soren, Brad Rogers, and Kevin Cox.

In addition to his career and educational activities, Daniel enjoys spending time in gardens and with butterflies, reading, and frolicking with his dogs Kaija and Helen. Daniel has started a Butterfly and Milkweed Nursery to help with SWFL Pollinator Conservation. All the proceeds go to music programs, SWFL disaster relief, and SWFL Conservation. He also has begun helping with rescuing and rehabbing wildlife in SWFL, primarily tortoises.


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