Oberlin

When you perform as often "as humanly possible," which Darrett Adkins described cellist Zuill Bailey as doing in his introduction to Bailey's recital on Jan. 29 in Oberlin's Warner Concert Hall, you probably keep some pieces on hand, ready to be rehearsed and played in an instant.

Bailey's recital in Oberlin consisted of the cello repertoire's greatest hits, some of which are outside his strengths. Bach's Cello Suite No. 1 in G, featured resonant bass notes and an engaging Gigue. Bailey also has a likable penchant for pleasantly roughing up his tone, dirtying what's all too often a pristine piece. Some of the movements flew by, as though Bailey were rushing to finish the concert.

Pianist Allie Su joined Bailey for Schubert's Arpeggione Sonata. Bailey's Romantic, large persona was at odds with Schubert's graceful music, leading to a flamboyant, heavy-footed performance.

No matter how many concerts you perform, quantity does not necessarily equal quality, and a conservatory, full of trained musicians, is not the place to bring  "just add water" type of pieces. You also don't tell an audience that your program is short because you have to drive to your next engagement that night, even if the audience is non-paying. It gives the impression that the concert is tossed off.

Unfortunately, all of this was true of Bailey's recital. This is not to denigrate him; his technique is impressive, his passion is admirable, he achieves a ripping tone, and harnesses a variety of colors. His just-released recording of Britten's Cello Symphony and Cello Sonata was just named a New York Times Top Pick and contains fine performances, especially of the Symphony. He excels in such monumental music.

The recital then moved to what Bailey called bon mots, better known as encore fluff pieces. Gregor Piatigorsky's transcription of Chopin's Nocturne in c-sharp minor and Bailey's own transcription of Massenet's "Meditation" from Thaïs were weepy and heartfelt. Lukas Foss's Capriccio, a "cowboy piece" in Bailey's words, was an empty showpiece. Bailey then added what was essentially a fourth encore, Rimsky-Korsakov's fleet-fingered Flight of the Bumblebee. And then he was off to his next concert.