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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
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.