TWO SATISFYING ARTISTS.

Press, Volume LXIX, Issue 20881, 14 June 1933, Page 6

TWO SATISFYING ARTISTS.

MR PETER DAWSON AND MR TAPIA-CABALLERO. SECOND CONCERT IN THEATRE ROYAL. Mr Tapia-Caballero, opening his share of the programme at the Theatre Royal last evening with Schumann's Etudes Symphoniques. seemed at once more at home both with pianoforte and audience than on his first appqarance. His playing is in many ways quite unlike that of any other visiting pianist. Many of the worldfamous virtuosos, by the time they have reached New Zealand, have accumulated such a number' of platform mannerisms, and with them the habit of presenting music in what may charitably be called the grand concert style, with the frequent result that the virtuoso comes first in importance and the music second, that it is welcome to listen to a pianist so direct in his approach to music and the instrument by which it is made as Mr TapiaCaballero. There is never any hint of forcing the pace to gain popular) applause, nor any pretence of emotion that is not genuinely and sincerely felt. His playing can be emo- j tional and warm enough as the Schumann showed, and, in the opening of the Chopin Impromptu in F Sharp, finely tempered and sensitive. Throughout the lovely variations that Schumann built round what seems at first hearing to be the plainest of themes, a simple descending phrase with infinite possibilities, Mr Caballero moved with ease and assurance. The intertwining of melodies against a thrummed background, as in the penultimate variation, and the brilliant chordal playing of the Finale were in particular .finely displayed. For the first time in 10 years a Mozart Sonata was played from a public platform in Christchureh. Probably because Mozart without the finest qualities of touch, phrasing, and rhythm, and impeccable taste is not Mozart at all it is easy to understand why it is that he is so seldom performed. The Sonata in D major, which opens with a kind of fanfare of trumpet calls, is one of the finest of all. even among Mozart's sonatas. Mr Cabailero's clear and shapely phrasing and exquisite tone-control put every detail in its right place to the making of a musicianly performance. ~ A modern group, including three pieces by Moussovgsky, "Gopak, The Old Castle," and "La Couturi6re, the last two from the "Pictures from an Exhibition" suite and the Prelude in A Minor from the "Suite pour Piano by Debussy were all delightfully played. Encores included an early English keyboard piece, "Alman (anon), Brahms's Waltz in A Flat, and Study in E Minor, Op. 25, No. 5 (Chopin >. ~ t Mr Peter Dawson, in excellent voice and humour, began with two English songs from the eighteenth century, Dr Arne's "Hail, Immortal Bacchus," and Battishill's "When Valiant Ammon," the latter a Handel-like air, opening in four-square martial style, with graces and runs brilliantly executed. The beautiful quality of his voice, which in the softest passages loses none of its tone, the simple yet always effective manner of presentation, made of these songs an excellent introduction to a comprehensive programme. An operatic recitative and air followed, Verdi's "Yon Assassin is My Equal," from "Rigoletto," and Mr Dawson's dramatic sense and superb diction gave fullest expression to the dramatically-felt music. Opera in English, when sung like this, makes one impatient of those who call for all music to be sung in its original language. The composer's meaning becomes doubly clear when sung in a suitable translation. Edward German's "Rolling Down to Rio" was added as an encore. Mr Dawson's second bracket contained two songs by Brahms. ' Nicht Mehr zu dir zu Gehen" and "Sunday," the first sombre in tone, with mood sustained and attention held throughout, the second, lighter and more lyrical, charmingly sung. In the first of these, Mr Dawson's wonderful vocal technique enabled him to take Brahms's most awkward intervals as easily as if they were simple. Carl Loewe's "Edward" is a fine musical setting of a tragic Scottish ballad, its romantic, sombre atmosphere well caught by the singer. Also given were Felix Fourdrain's "Marins d'lslande" and Campbell Tipton's "Spirit Flower," which seems to be as popular as "Trees," added by request. Finally, Mr Dawson gave "The Pirate Goes West" and "Route Mai chin'," by J. P. McCall, and "On the Road to Mandalay," singing these Kipling settings in his own unapproachable style. Further encores were "Green Grow the Rushes, O," "Mountains of Mourne," the lilting "I Travel the Road," and, last, but not least, the "Floral Dance," which left a good house well satisfied. Mr Hubert Greenslade played accompaniments in excellent style and finish.