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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
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 seasonís 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 Sebastopolís 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 Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí 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...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, March 16, 2013
Bruno Ferrandis, conductor; Zuill Bailey, cello

Cellist Zuill Bailey

SWEPT AWAY

by Steve Osborn
Saturday, March 16, 2013

The title of the Santa Rosa Symphony's March 16 concert was "Sweeping Emotions," but no brooms were in evidence, nor did the Symphony play "The Sorcerer's Apprentice," the canonic broom piece, thanks to Disneyís iconic film "Fantasia." Instead of brooms, they offered cellist Zuill Bailey, whose mop of thick black hair might have qualified as a broom, although the rest of his frame would never be mistaken for a ramrod-straight broomstick. Indeed, there was nothing rigid whatsoever about his approach to playing the cello. He draped himself around his instrument as if it were a treasure chest, doling out pieces of eight and glistening emeralds in equal measure.

The mustachioed and bearded Bailey, clad entirely in black, could have passed for Johnny Depp in "Pirates of the Caribbean," but his interests were altruistic rather than plunderous. He shared his treasure chest with all in attendance, pulling sounds out of his 1693 Matteo Gofriller cello that might have lain dormant for centuries. His tone was big, rich, velvety, and succulent. His technique was likewise flawless, and his intonation was superb. Mr. Bailey's most captivating aspect, however, was his musicality. He played one of his star vehicles--the Elgar Cello Concerto--to the hilt, unsheathing some memorable passages but also exposing some of its flaws.

The Elgar concerto, made famous by cellist Jacqueline du Prť, is a lush late-Romantic work replete with soaring lines and cavernous descents. The artist connected with the concerto's essence in the opening bars, spinning out a solo line that plunged dramatically to a sustained, resonant, elegiac low note. By the time the violas entered with their "infinite tune," Mr. Bailey had already established a somber yet opulent mood, a feeling that the orchestra sustained brilliantly under conductor Bruno Ferrandis.

The first movement was the most memorable element, both of the concerto and the performance. Bailey swayed gently as he played, his luxuriant vibrato matching his body language. He looked up at the ceiling, then down to his cello, then over to Mr. Ferrandis, seeming to draw as much inspiration from his surroundings as from his musical core. His playing was emotional, nowhere more so than in the powerful pizzicatos that bring the movement to a close.

The soloist, who seemed utterly relaxed throughout his performance, transitioned seamlessly to the Allegro second movement, which features finger-twisting passagework and rapid bowing. These were perfectly executed, earning him a smattering of applause at movement's end. In contrast, the Adagio third movement was tender and thinly orchestrated, almost like chamber music.

The only problems were Elgar's, not Mr. Bailey's. Unlike most concertos, the Elgar has a fourth movement, which in this case not only recapitulates the preceding material, but also introduces a bevy of new ideas. Some of the components, such as the tremolo passages, are good, but the whole lacks focus, as if Elgar were uncertain how to bring the concerto to a close. Notwithstanding these compositional flaws, Mr. Bailey's playing was outstanding, ranging from barn-dance pyrotechnics to breathtaking pianissimos. He earned a standing ovation but sadly offered no encore.

The orchestral playing was also outstanding, beginning with Penderecki's "The Awakening of Jacob," moving through the Elgar and concluding with Tchaikovsky's Symphony No. 6, the "Pathťtique." The Penderecki, from 1974, is a programmatic piece, effectively evoking Jacob's ladder through the repeated use of glissandos. These perpetual string slidings are punctuated at judicious moments by the brass and, most eerily, by a set of ocarinas (ancient flutes) played by the entire woodwind section. The piece was both concise and powerful, and it evoked some hearty applause.

Also evoking applause, even in the "wrong" places, was the orchestra's resplendent performance of the Tchaikovsky symphony, his last work. This magnificent composition, which in some ways encompasses all of Tchaikovsky's genius, begins and ends on a somber note but revels giddily in between. The orchestra's playing throughout was precise and well coordinated, its members breathing as one on Tchaikovsky's many crescendos and diminuendos, even as they kept perfect time.

Each movement was distinctive. The first, with its dense orchestration, featured Roy Zajacís elegant clarinet solo, a wonderful descent from the tuba, and some invigorating Presto passages. The second, in a lilting 5/4 rhythm, moved forward steadily, with Mr. Ferrandis dancing his way around the podium. The third was almost miraculous. Keeping to a brisk tempo, the strings played flawlessly, and the entire orchestra sprinted forward with an irresistible, infectious beat. The repeated iterations of the march theme drew actual gasps from the audience, which burst into applause at movement's end.

When the clapping subsided, Mr. Ferrandis and company returned to the difficult task of playing Tchaikovsky's final lament. Here the orchestral unanimity was compelling, the tragic theme moving deftly from the upper strings, to the French horns, and ultimately to the cellos and basses. At the end, Mr. Ferrandis paused for a long moment before lowering his arms. Even then, he gestured toward the orchestra before turning to face the audience, which seemed thoroughly swept up in the emotions of the evening.