PINE ARTISTRY

Manawatu Standard, Volume LIX, Issue 206, 1 August 1939, Page 9

PINE ARTISTRY

PIANOFORTE RECITAL. PAUL SCHRAMM'S PROGRAMME. Among; the few compensations arising; from tile troubled state of Europe has been the artistic dowry accruin'; to other countries by their kindly attitude toward tile countless men of art and letters in their hour of trouble. The spirit of humanity has been richly repaid by the artists, who have brought to their adopted countries rich gifts freely imparted for the culture and enjoyment of their fellows. Within this category comes Paul Schramm, the Viennese pianist, who, after a notable career in Vienna and other Continental capitals, lias taken up his residence in Wellington. Last evening, in the Eoseo tea rooms, one of the largest audiences to attend a recital of the kind in the city were enabled to enjoy the skill of this very talented musician, whose appearance had been arranged by a committee jointly representative of the Palmerston North Music Teachers’ Association, British Music Society, and the Girls’ Music Club. It proved to bo a thrilling evening for a thoroughly appreciative audience. Mr Schramm commenced his recital with “Sonata Op. 53 in C Major” (Waidstcin), Beethoven, and a more striking introduction could scarcely he imagined. Sparkling, vital, majestic, almost immense in some of its passages, the sonata is intrinsically a thing of sheer beauty, and in Paul Schramm’s hands its lustre met not the slightest harm; rather it gained animation liefore his masterly touch and intelligent interpretation. From shimmering fraglitv to the bass profundities he imparted life to this Beethoven gem. Only once did Schumann appear on the programme, and then in “Papillons”—among his earliest compositions. Reflecting, his anxiety to convey a macabre atmosphere along bold and challenging lines, it is a work as fascinating as it is unusual, and Paul Schramm exploited it enthusiastically. Stark and disturbing, it summoned an immense quantum of technical excellence on the part of the pianist—and was indeed answered to the full.

An insight gained into the interpretative genius and skill of the artist placed the audience in a thoroughly receptive mood for the beautiful and immensely vital Brahms “Sonata in 1' Minor, Op. o”—an offering particularly acceptable for tbo opportunity it afforded Mr Schramm to demonstrate his ability to ga.uge and transmit the tenderness and lovely qualities inherent in the music. Obviously lie revelled in its more caressing passages and was never more at home than when acting as revcaler of its ■ subtle beauty. A delighted audience gave generously of approbation and was well rewarded by a sparkling presentation of “Concert Dance” (Beethoven).

The second part of the programme opened with a vivid composition from Maurice Ravel in the Spanish motif, “Alborndo del Gracioso,” a charming I tone poem whose beauty ought indeed to be more widely appreciated. Deftly | Ravel etched in his atmosphere —bnl- | Banco and fragility in equal measure and Paul Schramm's interpretation was sincere. But it was in the very beautiful music of Ravel’s “La Vallee des Cloches” that his artistry was most expended. At his own confession this delightful morsel carried a special message for Mr. Schramm —it reminded him of his homeland —and in his playing an air almost of reverence persuaded the whole. Music in the Russian style—vigorous, realistic, compelling—infused in “Toccata” (Serge Prokofieff) provided a stirring contrast in rhythmical conception, breathing the spirit of industry rather than of tranquillity. Running rampant over the entire keyboard, it proved to be greatly popular. Chopin, in his varying moods, gave yfr Schramm compositions with which to conclude a memorable programme. In contrast with the more massive music that had preceded them, the three programmed numbers revealed yet another aspect of the pianist’s artistry—his readiness to enter into fragilitv and exuberance. “Nocturne In B Major, on 32. No. 1,” “Three Ecossaises” and “Polonaise in A Major were a glorious triumvirate and, of course, required that their interpreter respond to enthusiastic concluding flic evening with “If I Were a Bird” (Henselt) and fhe appealing, ludicrous “Marche Grotesque’ - a sparkling number full of fireworks. Mr J. Holmes Runnicles. tlie president of tbe Palmerston North Music Teachers’ Association, briefly introduced Mr Schramm to tho audience, stating that lie was already known by Ins performances in the Dominion.