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Recital
ECLECTIC PIANISM IN SPRING LAKE VILLAGE VIRTUAL RECITAL
by Terry McNeill
Wednesday, May 5, 2021
During the pandemic The Santa Rosa Symphony’s virtual concerts received their due in performance praise, but another series, Spring Lake Village, more quietly presented monthly virtual concerts to a select local audience. May 5 saw the latest event, produced by impresario Robert Hayden, and feature...
Symphony
SONIC CONTRASTS HIGHLIGHT SANTA ROSA SYMPHONY SPRING PROGRAM
by Terry McNeill
Sunday, April 25, 2021
In a curious mixture of compositions, the Santa Rosa Symphony’s penultimate virtual concert of the season April 25 unfolded in ways both highly satisfying and a bit perplexing. Directed by resident Music Director Francesco Lecce-Chong, the event followed a familiar format – several contemporary wor...
Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
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 Disney’s 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 Pré, 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 "Pathétique." 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 Zajac’s 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.