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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...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
CHAMBER REVIEW

Cellist Zuill Bailey and Pianist Awadagin Pratt March 29 in Napa's Jarvis Conservatory

GRANITIC SONATAS AND RARE SONG TRANSCRIPTIONS IN ALL BRAHMS NAPA VALLEY SYMPHONY BENEFIT RECITAL

by Terry McNeill
Tuesday, March 29, 2011

Concerts devoted solely to the music of Brahms are not that rare, and Sonoma County had one several years ago in the glorious “Norma Brown and Friends” event at SRJC. But an all-Brahms concert featuring just his cello music is novel, and a splendid example occurred March 29 in Napa’s Jarvis Conservatory.

In a fund raiser benefiting the Napa Valley Symphony, cellist Zuill Bailey joined colleague Awadagin Pratt in the two big Sonatas and several of the Hamburg master’s songs in cello transcriptions. And audience of 80 heard exceptional artistry accompanied by Mr. Bailey’s witty and cogent descriptions of Brahms’ complex life and prickly personality. There was no printed program and the cellist played from score all evening, seldom referring to the music and instead looking at his instrument or playing long stretches with closed eyes.

The lovely song Sommerfäden, Op. 72, No. 2, began the concert and immediately established that the instrumental balances were exemplary and the cello sound rich. The hall’s piano was less than professional, the lower tenor and bass registers indistinct and wooden and the treble lacked color. Mr. Pratt pushed the instrument hard all evening, particularly so in the first Brahms Sonata in E Minor, Op. 38. Written with thicker textures than the two Mendelssohn cello Sonatas, and far outstripping the contemporary Rubinstein and Servais works, the E Minor benefited by Mr. Bailey’s sonorous tone and deft decrescendos into the lower registers. In the nostalgic Menuetto Mr. Pratt played the opening four notes and had a beguiling touch in the soft passages, mirroring the cellist’s bow which occasionally would linger longingly at the end of a phrase.

The fugal Allegro was played powerfully, Mr. Pratt driving the tempo and providing sharp accents, easily heard with the hall’s limited reverberation and Mr. Bailey's musical line in a low range. The coda was played very fast and was emphatically exciting.

Prior to the famous F Major Sonata the duo played another transcription from a Brahms song, with no title stated but perfectly in the style of a Mendelssohn Song Without Words, such as the fetching D Major, Op.109. It was a captivating reading. The monumental Sonata that followed was packed with bravura playing. Just after the opening of the Allegro Vivace Mr. Pratt’s figurations at the piano enhanced some inner voices and Mr. Bailey’s vibrato became wider, and the tone had a nasal character that was clearly desired by the cellist and not at all unpleasant. The runs in both instruments were clear and the piano’s damper pedal captured the last word. The great Adagio was played with elegant sentiment but without a note of sentimentality. The descending-ascending pizzicatos in the cello were adroit and the movement’s tender ending chastely played.

The final two movements had the stamp of Mr. Pratt’s insistent rhythms and again perfect balances, even in the frequent key modulations of the Allegro molto. Intonation was never a problem for Mr. Bailey and the majesty of the duo’s conception and virtuosic performance generated a standing ovation.

The encores, each announced by Mr. Bailey, were another song transcription (perhaps the Liebestreu, Op. 3, No. 1?) with its two Mendelssohnian concluding chords, and the tender Brahms Lullaby, Op. 49, No. 4. Here as throughout this radiant recital instrumental display never got in the way of romantic refinement.

Napa Valley Symphony Executive Director Richard Aldag presided over the festivities that included a pre-music reception and a lavish post-music dinner with the artists.