Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
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.