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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
RECITAL REVIEW
Santa Rosa Junior College Chamber Concerts / Friday, November 09, 2012
Rudolf Budginas, piano

Pianist Rudolf Budginas

COMEDY WITHOUT RELIEF

by Terry McNeill
Friday, November 09, 2012

Getting noticed in the classical piano world is a daunting task. With an avalanche of young artists, each seeming to play the Ligeti Etudes or the Liszt Sonata while texting a friend, novelty is an important part of getting audiences and having concertgoers pay attention to you.

Santa Rosa Junior College faculty pianist Rudolf Budginas has developed a unique parody of the formal piano recital, and he presented it Nov. 9 in the College’s Newman Auditorium before a packed house of titillated and bemused listeners. His production and antics were new to me, but the tipoff was that the program sheet didn’t list specific musical works. Bach was listed as a “Prelude” and Chopin as “Revolutionary.” Clearly Mr. Budginas was going to do his will with their music. He eventually did so with aplomb and a stage presence that puts Lang Lang, Oscar Levant, Victor Borge and George Antheil to shame.

Mr. Budginas’ entertainment is balanced and deceptively delivered in an offhand manner, interspersed with bits of pieces he has chosen for humorous effects to illustrate his verbal commentary. He rarely plays a piece all the way through, preferring to take a work like Beethoven’s Fifth Symphony and play it at the keyboard with a bongo drum set and cymbals in a knockoff of Turkish composer Fazil Say’s “Black Earth.” The comments he made before every piece ranged from the educational to the childish and the musically slanderous. For some listeners, the effect quickly wore thin.

Adding to Mr. Budginas’ pianistic efforts was a two-minute harmonica solo of his own variations on the theme from Haydn’s “Surprise” Symphony, with copious physical gyrations. He also made repeated fatuous comments about his native country (Lithuania) and opined that Beethoven had trouble writing themes. People laughed and wanted more. Mr. Budginas loves an audience, and this night they definitely loved him.

All this would be peripheral if Mr. Budginas could seriously interpret important music. Alas, he cannot and he isn’t a pianist who rises above the mundane. He began the recital with Chopin’s C Minor Etude from Op. 10 (Revolutionary), a surprising work to start with, and overpedaled the whole piece, sacrificing clarity. In Beethoven’s Op. 31 D Minor Sonata (Tempest), he played only the last movement, all too loud, with stodgy phrasing and a lack of rhythmic subtlety and grace. He eschewed tonal color and never parked his left foot on the shift pedal to generate instrumental shadings and subtlety.

Next Mr. Budginas coyly chose the initial C Major Prelude from Bach’s “Well-Tempered Clavier.” He started with a rock-solid tempo and tonal richness that quickly collapsed when he skipped into some jazz variations. There was no nod to a ritard at the piece’s most memorable point. Instead, he just plowed ahead. An “Ave Maria” by Caccini followed, played in a saccharine manner with gauche New Age flourishes and harmonies.

The first half ended when Mr. Budginas went into battle with Liszt’s Sixth Hungarian Rhapsody in D Flat. He skipped the entire introduction and began this wonderful work towards the recapitulation, with the famous and demanding single-note and octave repetitions. He could not technically maintain the tempo, finger staccato and control this music needs, so he slowed everything down, again omitting sections of the music in order to hammer a bombastic conclusion in a tasteless display. The audience, happily sprinkled with students and College staff, gave him a standing ovation.

For presumably many reasons a number of people left at intermission, including this reviewer, and what Mr. Budginas did in the second part with Tchaikovsky (announced on the program as “Black Swan”) and the music of Brubeck, Glass, Gershwin and Schubert must be conjectural. That the pianist is a delightful actor in his craft of comic audience arousal and provocative musical snippets is indisputable. But for music-making of passionate elegance, majesty and refinement, this concert had little to offer.