Guitarist Overcame Difficulties

Press, Volume CIX, Issue 32099, 22 September 1969, Page 14

Guitarist Overcame Difficulties

The organisers of the guitar recital by Antonio Losada in the Canterbury Society of Arts gallery on Saturday evening can thank their lucky stars—and the amazing concentration of Mr Losada —that the event did not turn into a fiasco.

Except for those in the first few rows, the audience could not see the performer, and many felt impelled to move to the side of the hall—often during the music—to see Mr Losada. Those who chose to remain seated could not keep still, either, for the bare wooden seats very soon grew unbearably uncomfortable. In spite of these adversities, it was an exciting recital. The programme consisted of well-known works in the main, but with superb rhythmical sense, a sure control of tonal variation and brilliant technique Mr Losada invested even the best-known pieces with freshness and interest Two Minuets from Rameau’s opera, “La Platee,” are as dull as ditch water in most hands, but on Saturday they sparkled with charm and beauty. So did de Mudarra’s Fantasia, a work that belies its sixteenth century composition with its modern-sounding harmonies and rythms. The highlight of the even-

ing was Sor's Variations on a Theme by Mozart, the most popular virtuoso piece for the guitar. Mr Losada handled the technical complexities of this work seemingly with ease and brought out fully the melodic beauty that is often overshadowed by the virtuosity of the work. The second half of the programme, made up of twentieth century works, was highlighted by a superbly-expressive Tonadilla, by CastelnuovoTedesco, and Two Preludes and Etude by Villa-Lobos. The Villa-Lobos works were given such a rhythmic vitality and were played with such technical proficiency that this was undoubtedly the best performance of them this reviewer has heard. Mr Losada is a masterly musician and now that he has settled in Australia let us hope he will make regular visits to New Zealand. It would be particularly pleasing to hear him break away from the usual guitar recital programme—a chronological survey of guitar music from 1500 to today—and present certain periods or composers in more depth. Whatever his programme, the full house on Saturday will welcome him back—especially in more comfortable surroundings. —D. McC.