PAUL SCHRAMM RECITAL

Grey River Argus, 14 March 1939, Page 5

PAUL SCHRAMM RECITAL

A Musical Treat UNSTINTED APPRECIATION BY AUDIENCE. Mr Paul Schramm, the talented Viennese pianist, presented a recital last, evening to an interested audience of Greymouth music lovers. In his recital Mr Schramm struck a rather unusual note in that, whilst he gave pride of place to works of the old masters, he eschewed anything that savoured of the hackneyed compositions which are played by almost every amateur, and for that matter by professional musicians as well, and treated his hearers to some carefully selected works of modern composers. He mentioned that there was a sharp line of difference between the two I schools of thought, for, whilst the old conventions were observed in such works as those of Beethoven, the modern composers got away on to new lines which proved extremely interesting and purposeful in their construction, and gave a piquance to a recital which was always appreciated. He mentioned that all Continental pianists had adopted the ride of preparing programmes for a season and presenting I hem in lawns large and small, and then setting out again to prepare an entirely fresh programme so that they wereTtiways giving their audiences something fresh, selected generally from the lesser known l .vorks of the great composers, thereby! enlarging the musical interest of their audiences. I Mr Schramm’s first presentation was a Beethoven Sonata, Op. 53 in C. Major of which there were three distinct movements. There the spirit of the

great Beethoven permeated the presentation, the Allegro con brio being played with dash and spirit and drifting almost imperceptibly into the Introduzione with its haunting airunfolding a musical picture, and ending in a lively Rondo movement. In "Papillons” (Schumann), the composer depicted a young man joining in the carnival spirit, not without a quickening of pulse when the wiles' of woman claimed his attent ion, then I the supper and wine, and finally the! dnd of the gaiety as the clock struck' six in the morning. The story was al rollicking one and the pianist conveyed it most, lucidly, being applaud-! ed as the final note died away.

A vigorously played Brahms’ Sonata in F. Minor (Op. 5) with Allegro maestoso; Andante. Scherzo; Intermezzo and Finale, gave scope for the player’s interpretation. Though he warned the audience at the commencement of the number that it was really a concerto, he hoped the/ would enjoy it. even though they might find it long, and enjoy it they did. In his next bracket Mr Schramm treated the audience to some contrast- | ing compositions to the first three I presented, in this case the works were from modern composers who seemed to present a picture suggested by the style they followed. The compositions by the French writer, Maurice Ravel, “Alborado del gracioso” and “La Vallee des Cloches’’ gave good illustrations of this idea, the first suggesting turbulent waters, and the other a valley of bells of all sizes which were heard with marked effect, all through the selection. The third of the bracket was “Toccata” by the Russian composer, Serge Prokofieff, which vividly picturised a big factory’s machine-hall with its rhythmical trend of work. This bracket gave the audience an insight. into music varying greatly from the old masters, and, by its contrast making both the more interesting. Then, in his final programme number, Mr Schramm treated his audience to a bracket of three Chopin compositions, the delightful Nocturne in B. Major (Op. 32, No. 1), “Three Ecossaises” with its rollicking rhythm, and “Polonaise in A. Major,” which never fails to give pleasure. For this Mr Schramm was accorded rounds of applause, and as an encore, presented an arrangement of Chopin’s Valse in B. flat Major arranged by Rosenthal,

which was most, interesting, while it preserved the melody of the valse it paraphrased. Mr Schramm remarked that usually the Chopin Valse took ninety seconds to play, which reminded him that playing it once, a young lady had timed him by Tier watch and reminded him that, he had taken only 88 seconds! He concluded this bracket with a musical jest, “Sleepy Piano”, by Billy Mayerl, the English writer, which had a quite humorous touch and was written in slow jazz, a tempo j fairly well known to those with any 1 pretentions to “very modern” music and sent the audience home well satislied with the evening’s enjoyment meted out by Mr Schramm, who invited the audience to join in singing the. National Anthem.