A NEW ZEALAND ’CELLIST

Otago Daily Times, Issue 18624, 4 August 1922, Page 6

A NEW ZEALAND ’CELLIST

HIGH PRAISE. ME ARNOLD TEOWELL, (Feom Oub Own Cobbespohdert.) ’ LONDON, June 20. For a long tune Mr Arnold Trowell (Wellington) has absented himself from the Londom concert platform, but after the reception 116 had last night he need have no diffidence about his status in the estimation of the musical critics and the musical public. His more frequent appearance would be greatly appreciated by everyone. At the Wigmore Hall he gave the first of two announced, violoncello recitals. This morning the Daily Telegraph writes thus of “ A Pine Violoncellist ”: “ Amon» living violoncellists Mr Arnold Trowell is of the very elect, and his recital lost night was a sheer joy to all who heard it His programme contained, besides smaller numbers. Sonatas by Porpom and Chopin, and the C Major Concerto of Engen d’Albert. In interpreting those various items Mr Trowell showed himself a genuine artist Always beautiful ir quality, his tone was always beautifully regulated, and no <rf expression—from the delicatest sentiment to the most robust virility—eluded hi» powers Many ’cellists can adapt means to ends very skilfully; but the ends Mr Trowell proposes to himself are invariably legitimate- and as his skill is never to seek, his performance is always pleasurable in tho highest degree. His treatment for example, of the Pbipona Sonata was exquisitely delicate, and , the added warmth with which ho tackled larger works was as exquisitely appropriate. Throughout Mr Trowell’s pre* gramme ho obtained the fullest and best assistance from his colleague at the piano. Mr Charlton Keith.” * * The Morning Post says; “One could enjoy all of Mr Arnold Trowell’s violoncello playing last night. Everything he did well, he did best of all in Porpora’s G. Major Sonata. Here tho two quick movements asked not only for agility, but for a rhythm undisturbed by problems of technique. Mr Trowell responded admirably, the suppleness and dexterity of his work with his bow being quite out of the common. He made the Adagio and Olargo eloquent by tiro subtlety he put into the phrasing. His duties in Chopin’s Sonata, which followed, were secondary to Mr Charlton Keith’s at the piano, but his good tone was of great service in a violoncello part that is largely an unnecessary support to florid piano music.”