A CENTRE OF MUSIC

Otago Daily Times, Issue 21984, 20 June 1933, Page 5

A CENTRE OF MUSIC

CHILE AND ITS ACHIEVEMENTS SENOR TAPIA-CABALLERO INTERVIEWED INTEREST IN NEW ZEALAND MUSIC. Not all the glamour of Old World musical centres, nor the traditions and atmosphere of Vienna, Berlin, Rome, or Paris, can detract in the smallest degree from the pride which Senor Arnaldo Tapia-Cabal-lei'o feels in having learnt the rudiments and grown up in his art in the Conseryatorium of the capital city of his native country, Chile. He has the highest opinion of the merits of the remarkable personnel ol that long-established academy and takes particular pleasure in stressing the fact that his views are not less enthusiastic than those of far better judges than himself. In conversation with a Daily Times reporter at the City Hotel yesterday Senor Tapia-Caballero said he owed whatever measure of success he had achieved to the training he received at the Santiago Conservatorium, and stated that through all his wanderings around Europe and America in search of new ideas, new perspective, and fresh interpretations, he had found no atmosphere more suitable to the serious study and pursuit of music than that of his own sea-bord country. He explained that Chile was more admirably situated musically than a great many people would think in the first view of the matter. Comparatively handy to Buenos Aires, in touch with the whole of

tLe vast Latin world of South America, it was in a position to enjoy the finest of artists. Pianists, violinists, and orchestras from the great musical centres of Europe and America 'found South America a fruitful and exceedingly susceptible field', and the finest grand opera in the world was almost a matter of daily opportunity. It was, therefore, easy to find the right atmosphere in which all classes of music might flourish. Chile had its great conductors and teachers, its chamber music and its orchestras, and revelled in operas which Europe did not surpass. That it was no idle boast he made with respect to the Santiago Conservatorium, Senor Tapia-Caballero proved by reference to names of composers and musicians v/hose fame was known far beyond the coast-line of Chile. He spoke with obvious pride of Claudio Arrau, a pianist of the first importance, who had Europe at his feet at the moment, and was no less delighted at the opportunity to tell of Rosita Renard, whose artistry had completely captivated the great cities of North America. Then there was Armando Carvajal, the celebrated conductor and director at the conservatorium, who had guided so many young footsteps on the road to fame and success. Nor did the conservatorium seek only to produce the performing artist. It had turned out composers of international fame and was still doing so. Of these he mentioned a few like Soro, Allendi, Leng, and Renjifo, and suggested that if New Zealanders knew little of them, they were far from unknown to Europe. Senor Tapia-Caballero has not been long away from the academy which stands to him in the place of his Alma Mater. Three years ago he went to New iork and visited the musical centres of the United States, performing scarcely at all, but listening always. Everywhere he went always he listened, and he seldom failed to learn something. And then to Europe, continuing the search for new standards and new ideals. He travelled from place to place, savouring many peculiarities of atmosphere in Continental music, and finally he arrived in London to find, somewhat to his surprise, that the great metropolis was far more the hub of the universe musically than he had ever dreamed possible. In London he came under the influence of the great Tobias Matthay, one of the greatest teachers and professors in the world. Matthay developed, corrected, and sponsored him, found him innumerable opportunities of performance on the air, in orchestras, and at recitals- in London, and was the instrument by which he secured the opportunity to tour Aua tralia and New Zealand with Mr Peter Dawson.

Senor Tapia-Caballero has been greatly intrigued by New Zealand. Nature unadorned has appealed to, him immensely, and the variety of her character and shape has been a source of endless surprise to him. But, although he sayg he will speak of these things when he returns, they do not comprise the principal story he will tell in London when he gets back. That story will concern the musical achievement of this , young country. “No one hears of what you are doing here on the other side of the world, and when one comes as ill-informed as I was, it is delightful to find so many interesting and enthusiastic people doing great work for music in New Zealand.” He has visited only Wellington and Christchurch of the Dominion centres to date, but in both cities he has found much to satisfy his unquenchable interest in other people’s music. He mentioned the work of Miss Valerie Corliss. Mr John Bishop, and Mr H. Temple White in Wellington, and expressed the keen pleasure he had derived from meeting Mr Harold Beck and Professor Ernest Empson in Christchurch. Moreover, he produced a note book which contained a list of Dunedin musicians from whom he has been led to expect as good things as he has found anywhere else in New' Zealand.