Theatre Winner of the Cassado International Cello Competition in Italy, Raphael Wallfisch has an impressive performing and recording career to his credit. On Thursday night he, and the equally accomplished John York, began a series of two recitals in which they undertook the formidable task of presenting the complete works of Beethoven for cello and piano.

Even within the confines of a concert duo, the many moods of the composer's complex character are clearly represented. Beethoven's music gives the impression of being a direct outpouring of his personality. To understand the music it is necessary to know something about the man himself. English composer Sir Julius Benedict, a protege of Weber, was introduced to Beethoven in 1823, and described him in these words: "A short, stout man with a very red face, small piercing eyes and bushy eyebrows, dressed in a long overcoat which reached nearly to his ankles . . . not withstanding the high colour of his cheeks, there was in those eyes, an expression which no painter could render. When I first saw him at Baden, his white hair flowing over his mighty shoulders, I was touched, as if King Lear or one of the old Gaelic bards stood before me''. Isolated from the world around him by his deafness and his monumental genius, Beethoven's voice was his music.

On Thursday night at City Hall with cellist Raphael Wallfisch and pianist John York, that voice was given passionate utterance.

They began their performance with a set of 12 variations based on the stirring melody "See the Conquering Hero Comes'' from "Judas Maccabeus''. Scots in the audience must have been mystified on reading the programme notes to learn that the oratorio had been written "to celebrate the victory of the Stuarts at Culloden'' -- in fact King George won -- hence the present House of Windsor! Composed in 1796, these early Beethoven variations are in classical tradition. With a very dominant piano part, which sparkled with echoes of Mozartian elegance, it was obvious from the outset that the players were in total accord.

The Sonata in F major which followed offered more to Wallfisch as soloist, and the warmth and beauty of his tone quality was impressive. Throughout the sonata, there was always a perfect balance between instruments. From glittering keyboard runs to the cello's exciting melodic surges, and dramatic sforzandos in tandem, this was a masterly command of style - a polished performance which drew enthusiastic applause from the very appreciative audience.

Present on stage was composer Buxton Orr who read, rather inaudibly at times, some analytical notes on the selected works. It would probably have been better for a general audience if the remarks had been a little less fragmented and a little less technical. Perhaps one needed to attend both recitals to understand the commentary fully.

In all, Beethoven wrote five sonatas for cello and piano. Sonatas No 4 in C major and No 3 in A major comprised the remainder of Thursday's cycle. In two movements, the C major Sonata was composed in 1815 and is therefore a mature work belonging to the composer's creative middle life . . . defined by the French composer Vincent D'Indy as his period of Externalisation. From the opening bars of the first tempestuous allegro, there was a keenly felt intensity and empathy between Wallfisch and York which was sustained throughout the movement. A complete change of mood to the sunshine and humour of the scherzo which followed brought the piece to a delightful close.

It is very easy to understand the popularity of the Sonata in A major with which the performers chose to end their programme. In four movements it is the very essence of Beethoven, full of drama, colour, pathos and soaring lyricism.

This was a brilliant performance from two consummate artists -- such refinement is rare. From the thrilling opening allegro to the dynamic syncopation of the second movement, from the sublime adagio bridge to the vibrant finale, the audience was spellbound.

As someone inspired by admiration remarked -- "It doesn't get any better than this!'' MARJORIE PETTIT THEATRE REVIEW REV