Zuill Bailey, cello; Awadagin Pratt, piano. Telarc TEL-32664-02.
The collaboration of Zuill Bailey, cello, and Awadagin Pratt, piano, two well-known and highly accomplished musicians, suits the works of Johannes Brahms (1833-1897) especially well. The two men have been friends since college and have performed together on numerous occasions, so they have an instinctive feel for combining the right energies in the composer's music. On the present disc, they perform several of Brahms's longer pieces for cello and piano, as well as several shorter songs transcribed for the instruments. The compositions cover most of Brahms's career and explore his varied temperaments, with the two players adapting their style impeccably to each occasion.
The program begins with Lerchengesang ("Lark Song," 1876), a brief but lovely piece, light and airy as a bird in flight or in song. It's an apt preface to the early Sonata No. 1 in E Minor, Op. 38 (1865) that follows. The Sonata is a three-movement affair, Brahms having thrown out the slow section on the advice of Clara Schumann. It's a mellow, melancholy work in a lyrical mood. Bailey and Pratt play the piece with great passion, yet with great sensitivity, too. The dynamic contrasts alone give you an idea of the work's power and the artists' joy in performing it.
Next, we get a series of shorter pieces, songs mainly, arranged for cello and piano. They start with Feldeinsamkeit ("Solitude in the Fields," 1879), which continues the somewhat melancholy tone of the preceding Sonata, aided by the cello's inherently sonorous sounds. Next is Wie Melodien ("As Melodies," 1886), clearly more melodic, more sweetly poetic in its rhythms than the previous numbers. After that, there is Sapphische Ode ("Sapphic Ode," 1884), describing not what you may think but a verse scheme. Liebestreu ("True Love," 1853) comes next, a particularly passionate little work; then Sonatensatz (1853), actually a violin sonata by Brahms, Robert Schumann, and Albert Dietrich, here adapted for cello and piano; and Minnelied ("Love Song," 1877), which expresses the radiance of young love.
Brahms composed his Sonata in F Major, Op. 99 (1886) in a more traditional four-movement arrangement, and it shows the effects of maturity on the composer's music. Not that that is necessarily a good thing, as the piece begins in a much more-agitated fashion than his earlier Sonata. Still, it rises above a surly introduction to achieve a lofty bravura and a tender spirit as it goes along, the performers always in harmonic and interpretive accord with the music and with each other.
The disc ends with Brahms's famous Wiegenlied ("Lullaby," 1868). You wouldn't think so familiar a tune could sound so fresh, but these fellows make it come to life once more in a most affecting manner. It concludes the program sweetly and gently--ironically, on the freshest of all possible levels.
Telarc recorded the album at the Oberlin Conservatory of Music, Oberlin, Ohio, in 2010. They miked the performers fairly closely, producing a relatively big sound from only the two instruments yet creating a realistically smooth and reverberant sound. While it hasn't quite the lucidity one might expect, it is nonetheless most natural if played back at an appropriate level. It's a luxuriant, well-upholstered sound that nicely complements the rich, resonant sonorities of the music.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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