MUSICAL HEROISM

Sun (Auckland), Volume II, Issue 524, 29 November 1928, Page 14

MUSICAL HEROISM

ONE-ARMED PIANIST PLAYS WITH AMERICAN ORCHESTRA The New York “Nation” pays editorial tribute to Paul Wittgenstein, a brilliant young pianist, who lost an arm in the Great War but has still persevered; “For heroism in the face of an overwhelming catastrophe commend us to Paul Wittgenstein. Drawn into the maelstrom of the World War, this rising young pianist lost an arm on the field of battle. A wave of sympathy swept over European musical circles —so gifted a youth and so suddenly deprived of the results of years of artistic labour! For him it was plainly a living death, this extinction of all his professional ambitions. “But Paul Wittgenstein was not one to accept defeat even where his loss seemed irretrievable. He determined to go on with his music despite his deprivation of five fingers. In the first place, he found a number of compositions written for the left hand only. In the second, many composers, including Richard Strauss, on hearing of his plan wrote for him and dedicated their compositions to him. Friends and admirers rallied to him and leaders of orchestras engaged him to play with them, not because he was a freak, not because he posed as a war-hero, but because of his solid artistic achievements. “So it is that nearly ten years after his catastrophe, Paul Wittgenstein will make his American dehut with the new Beethoven Symphony Orchestra in New York next winter, playing a new Strauss concerto—‘Panathenaenzug’—which will, we trust, sound better than its name. We believe that the American public will be proud to give to Mr. Wittgenstein the warm reception his fortitude and ability entitle him to receive.” Albert Sammons plays “Elegie” (Massenet), and “Thais,” —Meditation (Massenet). Columbia 02657. It has always been said of Sammons that he records better than any other violinist, and now that we are losing our prejudice in favour of foreign names some London critics are even venturing to declare that he plays as well as any foreign maestro. His phrasing is certainly- as subtle as one could wish for, and his tone as gloriously mellow. Listening to these familiar numbers one realises how important it is to have them played by a violinist of first rank. The warm tone of the ’cello is nearly always associated with music of broad-sweeping phrases, a general romantic leaning. Perhaps this is why “Consolation” (Liszt) and “Chant Sans Paroles” (Tchaikowsky), played by Cedric Sharpe, are so satisfying. The instrument is reproduced with startling clearness, even to the “bite” of the how on the strings. (H.M.V., j 82457.)