Selected Concert Reviews

“Great finesse, charm, and clarity”
From the British Clavichord Society Review, July 2010
Review of “201 years of Grace” CD
Paula Woods

“The program begins, however, with Twelve Variations in C Major on Gubben Noak, a popular Swedish drinking song, by the relatively unknown Christian Kull…It demonstrates the crispy robust tone of this clavichord, and is played with great charm and clarity…It is followed by more substantial fare: Mozart’s Six Variations K. 398, and his Six Variations, K. 581. Michael delivers these pieces with verse and wit, his refined yet expressive articulation bringing out their good humor.
But it is with the two sonatas by Daniel Gottlob Tuerk that the recital really gets into its stride….Michael explores the proto-romantic elements of the music, revealing more of the Lindholm’s expressive potential. The third movement of the D major sonata (Balleto, allegro) is especially lively in mood, while the delightful second movement of the C Major Sonata (Andante, innocemente) recalls some plangent moments in the music of C.P. E. Bach.
…The Haydn Sonata is played with great finesse, and the sound is very-well balanced, with each part coming through clearly.
…Tsalka’s sympathetic choice of repertoire and highly elegant playing make this a highly worthwhile acquisition for listeners with an interest in these important late clavichords, and their music.

“Much to be admired”
Review of “201 years of Grace” CD
Clavichord International, June 2010
Julian Perkins

There is much to be admired in this recital, not least the thoughtful and varied program. Tsalka opens with Kull’s Twelve Variations. He plays with both conviction and clarity, and achieves dramatic cohesion is this and two other Mozart variation sets…Brilliant variations are tackled with aplomb, and there is a pungency to unexpected harmonic deviations.
…Scintillating embellishments proliferate in the third movement of Tuerk Sonata in D major, and there is, by contrast, effective use of silence at the open-ended phrases that permeate the Andante Innocemente…the pacing of this --movements concluding appoggiatura was my overall highpoint.
Tsalka’s impressively declamatory performance of Mozart’s Sonata, K. 311, concludes this recital.
…Tsalka is evidently a true musician, and he brilliantly succeeds…

“As a team they make sparks fly”
Joyce Lindorff, December 2010
Associate Professor of Keyboard Studies, Temple University, Philadelphia
President, Southeastern Historical Keyboard Society

Harpsichordists Sonia Lee and Michael Tsalka were each outstanding students of mine, in very different times and places. Each had that magical gift called duende in Spanish. To my joy, they have doubled their individual talent and virtuosity to bring us the best-loved as well as less-explored literature for two harpsichordists. As a team they make sparks fly."

“Deep knowledge of style and interpretation techniques”
Leopoldo Pérez Robledo
Artistic Director, Ciclo de Música Antigua para Teclado (Early Keyboard Music Cycle)
Buenos Aires, Argentina
November, 2010

"The Lee-Tsalka Duo visited Buenos Aires and performed in several concerts with great sensitivity and passion. Having deep knowledge of the style and interpretation techniques, the duo performs the repertoire so well. Despite their youth, the two artists are mature and musically expressive, presenting a unique combination of grace and freshness in their keyboard playing."

“An intellectual philosopher“
Institut für Bildnerisches Denken
Piano Recital
Ober Badische Zeitung, Juergen Scharf, 23.09. 2009

A proven connoisseur of Early Music is pianist and Cembalist Michael Tsalka, who developed and aligned the program with great drama...His Byrd Variations were a special moment for lovers of more intimate music...One especially notices Tsalkas strength in the Baroque and Classical periods...He is an intellectual philosopher, who has much to say about keyboard literature, a highly intelligent presenter, with great musical knowledge

“Recital on Six Instruments“
Hoechst Musikalisch Concert Series, Frankfurt, Germany
Recital on a double virginal, Flemish harpsichord, Italian harpsichord, lute-harpsichord, and clavichord.
Frankfurter Allgemeine Zeitung, Elizabeth Risch, 23. 09. 2009

Michael Tsalka began his concert playing on the double virginal. He then performed Sweelinck’s variations on a double manual Flemish harpsichord, pieces by Rameau on a sweet sounding Italian Harpsichord, and Mozart on a strong lute-harpsichord. Two sonatas by Daniel Gottlob Tuerk, which were played on Clavichord, was another high point. The restrained sound of the clavichord made the audience listen with increased concentration and created a highly intense atmosphere.

“Strong contrasts between rhythmical and elegiac phrases….pieces unheard by audiences before”
Handel House in Halle, Germany
Lecture-Recital for the Deutsche Clavichord Societät
“Clavichord Days”, Michael Zapf, 05.10.2008.

Michael Tsalka’s lecture-recital presented Daniel Gottlob Türk’s keyboard sonatas, with examples performed on a Harlan clavichord that belonged to Cornelia Auerbach. Only 4 of Türk’s 48 clavier sonatas have been available in print, and Dr. Tsalka is planning a full edition and a recording of all of them. Türk’s sonatas were very popular during his life….there were several examples of sudden empfindsam contrasts in slow movements, changes of furious arpeggios and quiet moments, strong contrasts between rhythmical and elegiac phrases. All of these pieces were unheard by audiences before.

“Delightful performance of Schubert“
Julita International Festival, Sweden
Katrineholm-Kuriren, Catarina Nitz, 08.02.2008.

Michael Tsalka delighted the public with his performance on the Pleyel piano. He completed a Schubert Sonata movement…the public thoroughly enjoyed the performance and the completion.

“Harmonious and gay interpretation“
Nydhal Collection, Stockholm
Clavichord Recital
Ditt and datt, Alexander Scarlat, 02.2008

The talented and learned Michael Tsalka, who is astonishingly modest, provided the listeners at his concert with enjoyable demonstrations of what calm and harmonious musical pleasures this mediaeval (sic) instrument could achieve. His harmonious and gay clavichord interpretation of J. S. Bach’s Concerto No. 7 in F-Major and of Concerto No. 2 in G-Major inspired by Vivaldi was enchanting, while William Byrd’s “O Mystris myne“ warmed the hearts of all listeners.
“Meticulously researched Lecture-Recital”
Clavichord International Symposium (07.2007)
Judith Conrad, Report on “Clavichord International” (05.2008)

Michael Tsalka offered a presentation on Türk, which was meticulously researched and presented with real musicianship.

“A marvel of nuance and expression”
Philadelphia, Pennsylvania
Dr. Edward D. Latham, http://www.temple.edu/boyer/, 11.30.2007

This afternoon’s well-attended “recitation-al” or “recital-ation,” given by Michael Tsalka (piano) and Dr. Darrel Walters (recitation) . . . provided both reverie and revelation . . . The beauty of the “intermingled” program, however, was that the sonnets could be heard both/either as commentary on the preceding music and/or inspiration for that which followed them, inviting multiple connections—both backwards and forwards—by the audience . . .
The opening selection, “O Mistris Myne” in G Major, by William Byrd, was particularly effective . . . and set a graceful and elegant tone for the performance with its many late-Renaissance ornaments and flourishes….The simple, folk-like melody and flowing homophonic accompaniment of the Chopin, beautifully rendered by Tsalka, created a clear and expressive contrast to the Byrd. . .
Mr. Tsalka’s playing was a marvel of nuance and expression, particularly in the Chopin prelude and the Beethoven sonata. He demonstrated a remarkable ability to accentuate and/or suggest images and ideas from the sonnets through the manipulation of tempo, dynamics, articulation, and phrasing….

“A virtuoso interpreter”
Buenos Aires, Argentina
Radio Nacional Clásica FM 96.7, Leopoldo Perez, 11.17. 2007

Maestro Michael Tsalka is a virtuoso interpreter on clavichord, harpsichord, fortepiano, modern piano, and organ….

“Brilliant piano performance”
Trier, Germany
“Trier Volksfreund”, 25.08.2007

The Preludes Op. 28 were performed by Israeli pianist Michael Tsalka. . . they were delivered with ingenious expression which brought to light their nature as truly large musical statements. Tsalka did not need to exaggerate anything in his brilliant piano performance; he played tastefully, with strong expression and beautiful tone quality.

"A special treat"
Recital at the Schubert Club in St. Paul, MN
Newsletter for the Midwestern Historical Keyboard Society, Fall 2007

Michael Tsalka's mini-recital of "Late Keyboard Music by W.A. Mozart" was a special treat, he is a fine performer; he performed these works on a newly finished pedal fortepiano by Philip Belt, who was in attendance. The compositions were a Gigue in G Major (K. 574), a Sonata in D Major (K. 576), and Six Variations on a Theme from the Clarinet Quintet (K.581). I look forward to hearing him again!

Comment by fortepiano builder, Philip Belt
Recital at the Schubert Club in St. Paul, MN
Fortepiano builder, Philip Belt, “Pal-Item” Richmond, VA, 17.05.2007

The entire evening was somewhat emotional . . . because fortepiano player Michael Tsalka of Philadelphia played Belt's instruments during the meeting. You should have heard this guy play. He sounded like an angel. People were just in heaven: "He did a great job."

“Artistic integrity and great inspiration”
Stockholm, Sweden
Katrinehom Kurier, 21.01.2007

The program began with a melodic and lyrical interpretation of the F minor Fantasy by Franz Schubert. Michael Tsalka, born in Israel and residing in the United States, has a long list of prizes and awards, as well as performances worldwide with Carl Ponten. With Carl Ponten at the bass part of the piano, we expected the duo to produce utmost ability and the highest level of performance. No one was disappointed: The romantic vein and melodic genius of Schubert was treated with the utmost artistic integrity and inspiration. Tsalka and Ponten live in music and lift each other musically in a remarkable duo. Their playing was dynamic, and the piano sounded like an entire orchestra. The duo has an almost telepathic communication. They are able to change, intuitively, the dynamics and expression during the performance, carefully listening to each other. This capacity is a sign of a grand artistic personality, but also humility and sensitivity for music and for each other. On top of that, they have demonstrated a vast technical knowledge performing difficult passages most brilliantly and with great ease.

“An invigorating performance”
Edinburgh, Scotland
“British Clavichord Society Journal” 10.2006

The symposium opened on Friday evening with recitals by Paul Simmonds and Michael Tsalka on the Russel Collection’s 1763 clavichord by Johann Adolf Hass . . . A strong sense of melodic narrative was evident in Tsalka’s playing . . .This was an invigorating performance, and there were certainly sparks flying in the closing A minor Sonata.

“Wonderfully expressive”
Recital at Notre Dame University, Indiana
Midwestern Historical Keyboard Society Newsletter. Fall 2006

Michael Tsalka was the first recitalist on the harpsichord....his program consisted of two Bach works....His playing was wonderfully expressive with nice tempi.

"Outstanding performer"
Boston, Massachussets
Acton and Stow TV Report, 20.9.2005

Tsalka is an outstanding performer on the piano; you only needed to hear a few minutes of his performance to realize that you were listening to a very special talent. The music ran smoothly off his fingers as he and the grand piano in front of him became one in the creation of the afternoon's music. His last piece in the concert, the Hungarian Rhapsody No. 12 in C Sharp Minor by F. Liszt was outstandingly played with fingers and arms moving so fast it was almost a blur to those of us watching.

“Johann Sebastian Bach: Past, Present, Future”
Miami, Florida
“The Diapason”, 06.2005

Young Israeli-born Michael Tsalka (Philadelphia, PA) played three of Bach’s concerto transcriptions from original works of Telemann and Vivaldi in an engaging and brilliant early-morning harpsichord program.

“Excellent playing”
De Land, Florida
Southeastern Historical Keyboard Society Journal, 08.2005.

Saturday morning presented new member Michael Tsalka in J.S. Bach’s keyboard transcriptions called baroque concertos. His excellent playing was a joy to long-term members as well as to some of his teachers who are also members of SEHKS and MHKS.

“A most talented young musician”
Salta, Argentina
“Tribuno”, 26.11.2001

Michael Tsalka’s performance at the “House of Culture” allowed us to meet a performer with remarkable characteristics. He offered a long, demanding program — opening with the Sonata K.V. 311 by Mozart and followed with Four Polish songs by Chopin (transcribed by Liszt). In the second half we heard ten pieces by Mendelssohn, a most impressive Scherzo written for Tsalka by the young Israeli composer Matan Daniel Porat and the glorious and difficult Hungarian Rhapsody by Liszt. Tsalka, despite his young age, is a most mature interpreter. His playing is precise, elegant, with an aristocratic touch. His performance of trills, arpeggios and scales is worth all praise. His finger technique is amazing. Tsalka made a strong impression on the lovers and admirers of Classical Music in Salta.

“A fine and subtle recital”
Tucuman, Argentina
“El Siglo”, Prof. Guzmán, 25.11.2001

Last Monday we had the opportunity of listening to young Israeli pianist Michael Tsalka, who performed at the University of Tucuman. During the first half, he performed pieces by Mozart and Chopin. From the beginning of the Mozart sonata, Tsalka demonstrated control of a pearly, brilliant touch, ideal for the Salzburg composer, as well as a subtle phrasing full of nobility and expression in the second movement of the sonata. With the same clearness, precision and splendid technique, the pianist then performed four Polish songs. A lyrical singing on the piano, conceived as pure emotional expression is perhaps among the strongest characteristics of the young performer, which specializes in a composer that is seldom performed on the piano, unfortunately, Felix Mendelssohn. Most of the second half was dedicated to the German composer.
Tsalka’s dedication to produce a sound filled with subtleties and colors, in spite of the piano (that long ago should have been replaced), underlined even more his level as a performer. Following a short piece by an Israeli composer that showed the pianist’s flexibility in a modern language, the recital reached its peak with the brilliant Hungarian Rhapsody.

“A star duo”
Katrineholm, Sweden.
“Katrinehom Kurier”, 13.07.2001

Friday's concert has been the highlight of this year's festival. Following their concert in Tel-Aviv, the Ponten-Tsalka Piano Duo was called a duo of international stars: the completely packed hall confirmed that judgment. It was fascinating to watch how both pianists technically completed each other perfectly. Mendelssohn's Variations, so rich with ideas, were performed in a highly subtle way and yet in a romantic and dramatic manner.

“A great duo”
Julita, Sweden.
“Katrinehom Kurier”, 09.07.2001

In Bazzini's piece both the violinist and pianist gave a most remarkable performance. Especially impressive were two folklore pieces from Kazakhstan, both were delivered at a very fast tempo, full with soul and spirit, awakening in the audience great
Respect for that distant country and its culture.

“Outstanding and moving interpretations”
Festival Musicale delle Nazioni, Rome, Italy
Daniel della Setta, 27.06.2001

Michael Tsalka's outstanding and moving interpretations of Mozart and Schubert will be long remembered by this distinguished audience.

“Congenial four-hands playing at the Musical Academy”
Stockholm, Sweden
“Katrinehoms-Kuriren”, Holger Wiegertz, 23.11.2000

Four-hands piano playing can occasionally sound "off-beat" when both performers are not completely integrated, but tonight at Nybrokajen 11 there was not even a trace of that. We have written earlier about this piano duo describing them as "musical twins". There is no need to change anything in this statement. It was a miracle of congeniality . . .Two great pianists that share similar ideas about music — one could say; two artists with one soul . . . They will surely be very much in demand at the international concert scene.
The program was based on the pieces they performed when winning the First Prize in the important international competition in Calabria, Italy this past spring. It was superbly chosen and interesting. It also included a world premiere written by the Israeli composer Matan Daniel Porat, born in 1982: Mozart’s Sonata in F-Major, K. 497 is a fascinating composition, complex and difficult to play. The duo performed the piece brilliantly and the public could feel the great musical power at the highest intensity. Andante con Variazioni by Mendelssohn was performed with extraordinary elegance, with great decisiveness even in the most virtuoso passages.

“Stars of music”
Festival Musicale delle Nazioni, Rome, Italy
Daniel della Setta, 25.07.2000

The piano pieces performed were by Mozart, Mendelssohn, Liszt, Chopin and Gershwin. The highly-gifted Israeli pianist, Tsalka — in the midst of an extensive tour in Europe — interpreted with mastery the Variations on "Salve tu, Domine" by Mozart, as well as three songs by Gershwin. His approach to different genres and styles, from "The man I love" to a Hungarian Rhapsody by Liszt was inventive and original. The public, delighted with the performance of "Songs without Words" by Mendelssohn, responded with great warmth.

“Simplicity and elegance”
Julita, Sweden.
“Folket”, C.J. Leijgard, 11.07.2000

Mozart’s Sonata K. 311 was performed by Michael Tsalka in a way that made the public realize immediately that the piano technique in this recital would be at an absolute top level. Tsalka quickly took command of the evening at the full concert hall and did so with such simplicity and great elegance that the public was enchanted.


“Dress-rehearsal for a great tour”
Idar-Oberstein, Germany
“Nahe Zeitung “, Nikolaus Furch, 28.12.1998

Michael Tsalka mesmerized his audience with an incisive line and rhythmic vitality. His clarity of detail, delicacy and passionate involvement were compelling.


“Unveiling hidden treasures”
Idar-Oberstein, Germany.
“Rhein Main Presse”, 26.12.1998

Michael Tsalka appeared in the Church showing his great gift for fine dynamic shading and marvelous interpretative powers which emphasized the meditative and shining qualities of his chosen composers.

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