PAUl SCHRAMM

Evening Post, Volume CXXVII, Issue 110, 12 May 1939, Page 6

PAUI SCHRAMM

BEETHOVEN AND BRAHMS

The high reputation of Mr. Paul Schramm as musician and pianist was fully sustained last night at the Concert Chamber in his second of a series of three recitals. The audience was large and, from the opening number, was aglow with enthusiasm. The recital began with Sonata op. 53, the "Waldstein," of Beethoven, which was played with appropriate grace and , power, tenderness and outbursts of con- ! trolled passion, and a due sense of the dramatic interest attaching to the first movement. By way of contrast the sonata was followed by Schumann's romantic and often elegant "Papillons." But this piece was preparatory to the spectacular and extraordinarily difficult Sonata in F minor of Brahms in five movements. It fully justified any claims Mr. Schramm might make,to eminence as a virtuoso of the pianoforte. His treatment of theme and counter-theme, his delivery of cyclonic phrases, and the full-blooded climax to the finale were dazzling in their •brilliancy; and it was not only the manual ease with which he played but the facility and artistic use he made of the pedals that were amazing. It was only afterwards and on reflection that the wonder of his technical ability was realised by his hearers. At times, in this Brahms sonata, as in "Papillons," almost orchestral fullness seemed to be achieved.

These three great "courses" in the banquet having been disposed of, Mr. Schramm brought to table examples of modern confections in the "Alborado del Gracioso" and "La Vallee dcs Cloches," both graphically descriptive and the former palpitating with its emphatic Spanish rhythm. As to the "bells" piece, Mr. Schramm remarked that it recalled valleys and church bells in his native Tyrol; to others it may have suggested the clanging of church bells, some" near, some afar, on a still, foggy evening on the outskirts of London. Absolutely modern could be applied to the Toccata of Prokofieff. This remarkable work, Mr. Schramm explained, was "a true sound photograph of a big factory's machine hall in its rhythmically and inexorable trend of work." It was all that; it might be described as sensations in a boiler-mak-ing shop or a Clydebank chorus of riveters doing their utmost. It was noise, though ordered and impressive noise calling for extraordinary digital skill. But in order to show that Prokoifieff could write tunefully, giving melody pride of place. Mr. Schramm played a delightful almost Mosartian gavotte by the same composer, although, the recitalist remarked: "Naturally, in this you'll find some little devilry, sometimes." Three Chopin items concluded the official programme. They were Nocturne in B Major, three Ecossaises, and Polonaise in A Major. But this was not all. Mr. Schramm had the temerity and generosity to invite request pieces or to say, as- in another place. "Give it a name." Demands were made for many other pieces, and in response the "black keys" study of Chopin was played, also the Nocturne in E Flat Major, and even jazz or syncopation was represented when, as a merry jest, but a clever one, he played "Sleepy Piano," by Billy Mayerl. To Mr. Schramm "the playing's the thing" always. His third recital tomorrow will include the "Moonlight" Sonata of Beethoven, Chopin's Fantasia in F Minor, organ Toccata in C Major (Bach-Busoni), and examples of the work of Granados and de Falla, concluding with Liszt's Fantasia on Mozart's "Don Giovanni."