Zuill Bailey gave an impassioned performance of Haydn’s Cello Concerto No. 1 in C major on Saturday afternoon (May 22) at Skyview Concert Hall in the season-finale for the Vancouver Symphony. His ardent playing amplified the joyful sentiment of the piece, which also served to welcome the return of the orchestra’s music director, Salvador Brotons, after an absence of 14 months due to the world-wide pandemic. To top that off, there was apparently a very small yet enthusiastic audience that made itself known at the conclusion of each piece – a harbinger perhaps of brighter days to come!
With very robust fortes and the tenderest of pianissimos, Bailey seemed to push the boundaries of the Haydn’s concerto into the territory of Romanticism, which made the piece a lot of fun to hear. Right from his initial entry, Bailey made himself known with bold playing and a big, rich sound. He demonstrated impeccable articulation and agility that was expertly shown via camera-close-ups during the fast segments of the piece when his fingers were dancing on the strings and his bow vibrating like the wings of a butterfly.
Bailey’s cadenza at the end of the first movement sort of deconstructed one of the main melodies and then put it back together in a triumphant and exciting way. In the second movement, he created a longing sound that was nicely embraced by the orchestral violins. He executed endless runs of notes that blitzed through the third movement and brought the piece to a thrilling conclusion. During the applause, he exchanged a fist bump with maestro Brotons and an elbow tap with concertmaster Eva Richey.
Speaking extemporaneously with microphone in hand, Bailey dedicated the second piece on the program, Bruch’s “Kol Nidrei” to health workers and those who have lost a loved one because of the COVID virus. In an arrangement for cello quartet by Edward Laut, this rendition of “Kol Nidrei” featured Bailey as the soloist accompanied by Vancouver Symphony cellists: Dieter Ratzlaf, Erin Ratzlaf, and Jonah Thomas. Bailey produced a soulful sound that sang ardently against a subtle and solemn backdrop from his three colleagues. The last theme whispered like a prayerful farewell, closing with pillowy soft tones.
Brotons and the orchestra returned in the second half with Copland’s “Appalachian Spring” in an arrangement for 13 instruments plus a couple extra strings (to give a fuller sound as Brotons mentioned in an interview shown during intermission). The ultra-soft sounds from Igor Shakhman’s clarinet perfectly introduced the feeling of a sunrise, and the violins wonderfully sprang into action with striking, almost slashing notes. Lovely contributions by Rachel Rencher and Margaret McShea added to the marvelous ambiance. The ensemble deftly conveyed the daydreamy end of the piece, as if relaxing into a meadow of flowers. Ah!
The concert ended with a solid performance of Ernst Bloch’s “Concerto Grosso” No. 1 for String Orchestra with Piano Obbligato. The strings and piano, expertly played by Michael Liu, got off to a strong start in the first movement, Prelude. This was followed by a gentle and sweet second movement, Dirge, with a meditative solo by concertmaster Richey. The third movement, Pastorale and Rustic Dances, alternated marvelously between plaintive and lively melodies before arriving at a deceptively grand ending. The final movement, Fugue, was celebratory and a joy to experience. And the piece was crowned with exuberant cheering from the audience – a welcome sound that certainly boosted hopes for the hall will again be filled with listeners this fall. That will, indeed, be a celebration to witness.
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