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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
CHAMBER REVIEW

Russian Pianist Jura Margulis at the Henry F. Miller Concert Grand

MARGULIS SUCCEEDS AGAINST LONG ODDS

by Terry McNeill
Tuesday, March 10, 2009

The odds for a successful piano recital didn’t look good. It was an unknown pianist from Russia via the University of Arkansas, playing for a new production company in the little-used small hall at the Schulz Museum in Santa Rosa — on a 110-year-old Henry Miller piano. Despite these long odds, Jura Margulis played an intriguing if not wholly satisfying concert on March 10 in front of 30 appreciative listeners.

Margulis played the opening Chopin Mazurkas (Ops. 30, Nos. 3 and 4) aggressively and with exceptionally strong contrasts. The first was a stately oberek (Polish dance), the second introspective. Prior to playing the majestical Polonaise in F Sharp, Op. 44, Margulis spoke at too much length about the pieces comprising the rest of the program, guaranteeing that much of his insightful prose would be lost when the actual performance arrived. Nonetheless, he offered a rhythmically strong and somewhat militaristic Polonaise performance, showing a fine octave technique with only a memory lapse to mar the drama.

One of Chopin’s most often played large works, the Op. 23 Ballade in G Minor, tells a story of considerable power, supposedly modeled on the writings of the Pole Adam Mickiewicz. All is familiar here, but Margulis brought new touches to the richly romantic score with a big ritard leading to the lyrical theme and many single notes held at the end of slow arpeggios. The playing had pesky fits and starts, an odd approach for a work with so much drama and momentum

Two Debussy works closed the first half, the radiant “Reflets dans l’eau” and the theatrical “L’isle Joyeuse.” The first of the 1905 Imagesfor Piano, “Reflets” was played with a big sound, the cascading arpeggios carrying over from the last two Chopin works. “L’Isle” was orchestrally conceived by Debussy and played that way by Margulis, lyrically but often bordering on the raucous, with a brittle treble tone, particularly when he wanted a lot of volume.

Liszt’s works occupied the second half, beginning with the popular D Flat Consolation, the third in a set of six from 1849. Margulis played with the phrases in this concise and poetic short work to the point where a glacial tempo almost stopped the musical line. There was pianistic color and harmonic emphasis throughout, and in the ethereal and slightly dissonant right-hand arpeggio near the end. For some reason, Margulis added a note after the two-note concluding chord.

It was brave to play the mighty B Minor Sonata on an unknown piano, but on balance the performance went well. Margulis began with staccato low Gs and swept into the maelstrom of notes with clean scales, a fast and even trill, and effective chord voicing in the chorale sections, introduced with extra-long fermatas. The octave technique was at all times admirable. This was not a performance of repose, even though this volcanic work with so much tumult demands times of respite. The Allegro Energetico fugue was preceded by the perdendossi descending scales with just the right steadiness and color, and then jumped ahead into more thematic transformation and the famous presto running octaves in both hands. Though at times the damper pedal could not clean the sound and caused blurring, Margulis’ command of distinct scale playing never deserted him, and the bravura was sufficient to generate a powerful reading of one of the summits of 19th-century piano writing. The final three pianissimo chords were played with a note in the left hand slightly before the right-hand chord in the treble, creating a novel effect.

Jura Margulis played an often inconsistent but never less than thrilling recital, overcoming pre-concert uncertainties to make an exciting Sonoma County debut.