Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.