ALFREDO CAMPOLI

Press, Volume LXXXVI, Issue 26204, 30 August 1950, Page 3

ALFREDO CAMPOLI

A MASTER VIOLINIST The audience in the Civic Theatre last' evening was completely charmed by Alfredo Campoli’s recital. Along wtih his great accomplishments as a musician he has, to a marked degiee, that indefinable quality of captivating his hearers by his personality. This is done partly by people sensing the absolute sincerity of an artist, plus that humanity which makes him wish to share his music with others. There are fine technicians who leave one astonished by their dexterity; there are fine musicians whose mental gifts have carried them far but who lack the balancing touch of human kin which makes them aware of those listening to them. Both types can leave an audience cold. However, Alfredo Campoli can and did arouse a rare warmth of enthusiasm; and he received the ovation he so richly deserved. He played a nicely balanced programme of good music. It was gratityingly free from tiresome fiddle gymnastics. In Handel’s Sonata in A major, Mr Campoli kept strictly to a classical style of playing, with true legato, without any sliding between notes. In the fourth movement, he balanced small phrases with cleverly contrasted tone so that they came with the antiphonal effect obtained from the two keyboards of a harpsichord. This performance showed how difficult such seemingly simple works really are. In Bach’s Chaconne, Mr Campoli gave the impression that for him the tremendous difficulty of the work did not exist. With ease of manner he made cantabile melodies stand out; at the same time, he wove a tracery of sounds around them, and kept perfect phrasing in all parts and finely graded shading. He has a remarkable rhythmic sense and played this woi*k strictly in keeping with traditional style.

Mr Campoli and Miss Margaret Schofield gave one of the very finest performances of Cesar Franck’s Sonata in A which one can remember. In every respect they were in true accord with each other. Mr Campoli is eminently fitted for this sonata by his great control of tonal colouring and by his intelligent phrasing. In Miss Schofield he found a -pianist who could rise to his interpretation. A happy cnoice of tempo *was made in esch movement. This sonata is spoiled by being played much too quickly. The unity of the work was maintained, and the many references to previous themes were all carefully and naturally brought out without undue emphasis, and in keeping with their perticular context at the time. For this is a work which evolves from a central idea both technically and spiritually. It is a piece of disciplined mysticism. Both players clearly understood that in Franck’s writing, what may seem to be a series of short contrasted phrases is really one long phrase. This is often overlooked. In the second movement the tone shone like burnished bronze. The climax was terrific. The recitative foreshadowed the gorgeous last movement like the glow preceding the sunrise. The canonic imitation in the last movement was magnificently balanced between the two instruments. This was an outstanding performance.

The Introduction and Rondo Capriccioso by Saint-Saens is not a work for which one cherishes any great regard, but the notes cascaded forth quite pleasantly. It would be hard to imagine any better performance of Elgar’s La Capricieuse. Bach’s Air on the G String had the mellowness of a fine old brandy. The pizzicato bass of the original does not come out in ;he pianoforte arrangement of the accompaniment. The Zephyr, by Hubay, is a study in harmonics and Mr Camuoli’s perfect intonation was quite refreshing. It is an atmospheric little work cleverly constructed. Authentic atmos>phere was created in The Witches’ Dance, by Bazzini. When Mr Campoli plays it, it becomes far more than the clever gymnastics that most players are contented with finding in it. Mr Campoli will give his last Christchurch concert in the Civic Theatre on Thursday evening. The programme will include the “Spring” Sonata by Beethoven. —C.F.B.