PAUL SCHRAMM

Press, Volume LXXXI, Issue 24677, 21 September 1945, Page 3

PAUL SCHRAMM

CHOPIN RECITAL GIVEN A pianoforte recital devoted solely to the works of one composer is an acid test for composer; pianist, and audience alike. Choosing a programme of Chopin’s works, Paul Schramm essayed the test last night, and with success. Few noteworthy composers for the pianoforte have composed so exclusively, so idiomatically, and with such understanding of and control over the instrument as Chopin. Perhaps his works can stand the test for these reasons. Nevertheless, without a pianist equal to the great demands this music makes on technique and interpretation the programme might have been boring. That is was not shows that Paul Schramm has the necessary qualities. The major work of the evening was the B flat minor Sonata. The first movement was played dramatically and with a fine use of telling cessation effects. In the Scherzo, however, it was sometimes difficult to hear all The third movement, the matchless Marche Funebre. gave Paul Schramm some opportunities to produce that ravishing delicacy of pianissimo tone in which he at times excels. On this rehearing of the movement in its context one felt Schramm’s belief that it is incongruous to be justified, if only owing to the similarity of its form to that of the preceding Scherzo and also by the choice of key. This did not, however, detract from Paul Schramm’s performance, which was a memorable one.

Throughout the recital Paul Schramm made good use of tonal contrasts and unobtrusively brought to the notice the skilful use and development of accompaniment f, mres in which Chopin excelled His playing of the Polonaise-Phantasy in A flat major was masterly, as was also his performance of the Scherzo in B minor, though • in the latter some of the early passages failed to come through. Chopin's music offers great temptations to be sentimental by means of a distortion of time, often, but wrongly, excused as “rubato.” Paul Schramm, however, eschewed such temptations: perhaps he tended to the other extreme. On occasions the delicate ornamentations which grace the turn of a phrase needed slightly more elastic treatment. In the filigree of ornamentation .with which the Berceuse is so lavishly decorated more elasticity would have been welcomed, as would also more frequent instances of the pianissimo playing of which this pianist is capable. Other items played were the Prelude in C sharp minor, some Ecossaises, the rarely-played Bolero, some Nocturnes. some Mazurkas, and the F sharp major Impronptu, whilst the programme ended with a dashing performance of the familiar A flat Ballade. Altogether it was an exacting programme. played in a distinguished manner, -and well received by an appreciative audience. As encores Paul Schramm played, by request, three items from Tuesdays programme. They were strange bedfellows for Chopin and provided a rather jarring anti-climax to an otherwise enjoyable programme.