Zuill Bailey Shines in Recital at Morgan Hall, Kennesaw State University
By Mark Gresham | September 9, 2025
Located about twelve miles northwest of Atlanta’s I-285 perimeter, the Dr. Bobbie Bailey & Family Performance Center at Kennesaw State University offers metro-area music enthusiasts an inviting alternative to the city’s usual concert scene. Its centerpiece, Morgan Hall, a 624-seat venue known for its modern elegance and warm acoustics, hosted an evening recital on September 3 featuring acclaimed cellist Zuill Bailey as guest artist.
The concert, part of the university’s Robert S. Geer Family College of the Arts offerings, showcased a diverse program including works by Camille Saint-Saëns and Franz Schubert. Bailey was joined by violinists Helen Hwaya Kim and Kenn Wagner, violist Yinzi Kong, and cellist Charae Krueger.
The evening opened with Saint-Saëns’ The Muse and the Poet, Op. 132, originally composed in 1909 for violin, cello, and piano. Performing alongside violinist Kim and pianist Robert Henry, Bailey navigated the chamber work’s intricate conversational interplay. The trio’s performance emphasized nuanced phrasing and dynamic balance, crafting a musical dialogue that felt both fluid and meticulously structured. Notably, this was reported to be Bailey’s first performance of the rarer trio version of the piece, as most encounters with it involve Saint-Saëns’ orchestral adaptation.
Next came the highlight of the program: Saint-Saëns’ Cello Concerto No. 1 in A minor, Op. 33. Presented in the piano reduction format, a practical alternative to the full orchestral arrangement, Bailey took center stage, delivering a commanding and expressive interpretation. With pianist Robert Henry’s sensitive accompaniment, Bailey balanced technical virtuosity with lyrical expressivity, shaping the concerto’s three interconnected sections seamlessly as a continuous movement. His warm tone and subtle dynamics especially enriched the work’s lyrical passages, engaging the audience fully.
After intermission, the focus shifted to an inventive arrangement of Schubert’s Arpeggione Sonata in A minor, D. 821, adapted for solo cello and string quartet by American cellist Cicely Parnas. Performing as the soloist with Kim and Wagner on violins, Kong on viola, and Krueger on cello, Bailey explored the sonata’s melodic and melancholic qualities in this lush quintet setting. The arrangement enhanced the original’s texture while maintaining its emotive core, with the ensemble’s delicate interplay and attentive support complementing Bailey’s expressive solo lines.
The concert underscored Bailey’s versatility and profound musicality, as he excelled in both intimate chamber music contexts and as a featured soloist. His colleagues matched his sensitivity and artistry, resulting in a cohesive and compelling musical experience.
Morgan Hall’s acoustics played a crucial role, allowing every nuance to resonate clearly and fostering an intimate connection between performers and audience—a testament to the Bailey Performance Center’s status as a treasured suburban musical venue.
The event also highlighted the integration of professional artistry and academic life at KSU’s Bailey School of Music. By presenting distinguished artists like Bailey alongside faculty musicians, the university enriches its students and community with direct access to high-caliber performances and musical insights.
Following this recital, Zuill Bailey continued his metro-Atlanta appearances with a noon concert on September 5 featuring solo Bach cello works and a duo with violinist Helen Hwaya Kim at First Presbyterian Church. His schedule included a master class at Emory University and a collaborative performance with the Vega Quartet at Emory’s Schwartz Center for Performing Arts.
About the author: Mark Gresham is the publisher and lead writer at EarRelevant, with over three decades of experience in music journalism and a background as an award-winning composer.
Original article source: www.earrelevant.net
— The Violin Post Editorial Staff
