Unstrained Individuality In Peter Cooper’s Playing

Press, Volume XCIX, Issue 29138, 25 February 1960, Page 15

Unstrained Individuality In Peter Cooper’s Playing

Mr * Peter Cooper, in his pianoforte recital last evening at Begg’s Concert Hall, gave his listeners a very interesting and satisfying programme delightfully interpreted. His playing has an unstrained individuality; with beauty of tone and integrity with regard to composers’ expressed intentions well to the fore. There is great strength, under disciplined control, so that he never produces an unpleasing or unmusical sound. His strong physical powers give him the ability to invest his delicate playing with perfect clarity of tone and a wide range of delightful nuance within the bounds of piano and pianissimo. To all his interpretations he brings a well-stocked, poetical, and clear mind. He has a mastery and understanding of styles, and everything comes with a definite and well-thought-out sense of purpose.

He began his programme with the Prelude from Bach’s English Suite in A Minor. It was an exhilarating performance, in keeping with the original harpsichord sounds, but never allowing coldness to creep in. In the Choral Prelude which followed the;e was depth of feeling and the atmosa. phere which Schweitzer refers to

as the “beatific peace” of the music.

Sparkling sunshine came from the first movement of Beethoven’s Sonata in D major, Op. 10, No. 3. Forebodings of tragedy were deeply moving in the most beautiful slow movement, together with its strong message of consolation; and the ending of it was quite exquisite in its tenderness. The third movement came as a dance of grace and dignity, and there was beautifully rounded interpretation in the last movement.

The Brahms group was plendidly contrasted, with humour and sparkle in the Capriccio in B minor, plenty of colour in the C major Intermezzo, and martial bravura in the Rhapsodie in E flat. Perfect clarity and lyrical feeling made the Fantasie Impromptu by Chopin most rewarding to hear, and the delicacy and poetic insight in the Berceuse made it a glowing little gem. The Etude in A minor, and two of Liszt’s “Paganini” Studies, were technical tours de force, and the playing of Faure’s Barcarolle in A minor, a beautiful work, showed Mr Cooper’s sensitive artistry. There will be two more recitals in this series—one on Saturday evening and another on Wednesday next. —C.F.B.