Author: Emily Motherwell

Conversations with Zuill Bailey and the LoC

Grammy Award-winner cellist Zuill Bailey discusses his virtual program at the Library of Congress. Bailey reflects on his upbringing in Northern Virginia surrounded by music opportunities, shares behind-the-scenes stories about the program, and talks about, as he calls it, “the love of his life,” his cello.

View his full interview here.

Masterclass with the LoC

Grammy Award-winner cellist Zuill Bailey goes back to the youth orchestra of his childhood, American Youth Philharmonic Orchestra (AYPO), to work with three cello students. In a personal masterclass, Bailey discusses different cello and bowing techniques, gives feedback and provides recommendations to young musicians. The session was recorded at Marshall High School in Falls Church, Virginia.

Watch his Masterclass with the LoC here.

Performance with pianist Bryan Wallick

Cello music lovers will be thrilled with this performance. Grammy Award-winning Zuill Bailey and pianist Bryan Wallick come to the Library for a virtual cello recital. The program includes music of Mendelssohn, Debussy, Lukas Foss and Rachmaninoff.  Known for his passion for music education, Bailey will conduct a master class with a local youth orchestra as part of his engagement at the Library.

View the performance here.

On January 27, 2023 Orli Shaham makes her Finnish Radio Symphony Orchestra debut performing John Adams’ piano concerto “Why Must the Devil Have All the Good Tunes?” with David Robertson conducting. In this Insider Interview with Classical Music Communications, Shaham talks about the “gnarly,” aspects of the work, Martin Luther, working with the FRSO for the first time and more.

Please give us some insight into the composer John Adams, and this piece, “Must the Devil Have All the Good Tunes?”

The style of “Must the Devil Have All the Good Tunes?” is classic Adams. It has a great deal of rhythmic drive and intensity, and thick and rich harmonies that are quite gnarly. In fact, he uses the word “gritty” to describe the sound of the first movement. There are some beautiful moments of repose where he sets the scene for lovely reflection, almost meditative kinds of sounds. The piano becomes part of the orchestra in those moments, for example, in the second movement. In the third movement, the overflowing rhythmic joy is similar to the qualities in “Hallelujah Junction,” (one of my favorites of John Adams’, which I recorded with Jon Kimura Parker on my album “American Grace”).

Can you explain the title of the piece? 

The phrase has been attributed to Martin Luther, the 16th century theologian. This was one of those situations like “Hallelujah Junction” – John Adams thought that it was a title just waiting for a piece. He had the line first, and then conceived of the composition. There’s a lot of devilish influences, just like in Lizst’s Totentanz, or the devilishly difficult writing of Paganini, who was himself considered a devilish virtuoso. And there are references to gospel, which are also related to the theme.

This is your debut performance in Finland. You’re familiar with the composer John Adams, and the conductor, David Robertson, of course. What about the Finnish Radio Symphony Orchestra?

I’ve heard so many great recordings from this orchestra, and I’ve known many wonderful Finnish musicians. I’m very excited to actually go to Finland to work with some of those same musicians.

Read the full article here.

More information can be found here.

View the her debut performance here.