GRAMOPHONE NOTES

Nelson Evening Mail, Volume LXIII, 27 July 1929, Page 3

GRAMOPHONE NOTES

Paul Robeson In a world of ever-growing complexity and artificiality, iliu simple sincerity of 'Paul Kobeson’s glorious voice |)icrccs the fog of present-day unreality and reminds us of dear, lovely tilings forgotten in the maelstrom of progressiveness, states an English paper. That, perhaps, is the secret of liis popularity, and his new record. “Plantation Songs,” gives a glimpse of a simple tenderness and beauty that is genuinely moving. Robeson has the assistance of a well-balanced chorus. (11.M.V.)

A Schumann Symphony The Opus No. 120 tagged into Selinimam’s Fourth Symphony is misleading, for it is really his second, and the number was given it after lie made certain structural alterations. Put Schumann beside Beethoven and. we find obvious structural weakness. But the comparison is hardly fair, and this recording by. Bruno Walter and the Mozart Festival Orchestra will do much to spread affection for the real Schumann. He allows his lovely melodies to flow into our minds with carefree happiness. The ordinary man who lias no sympathy with “high-brow” miisie will revel in Schumann’s lovely tuiies, and the “high-brow” himself will forget Schumann's inadequate instrumentation in Walter’9. sensitive and poetic reading. No one will cavil at this work from the point of recording. (Columbia.)

New Comedienne Ana Penn, unknown eighteen mouths ago, leapt to fame in her first London theatrical engagement. Since then site has become one of the leading music hall artists in the United Kingdom. In her Jirst record, her tue delightful and one quite expects to have some people saying that they are not impersonations at all, but the original artists. Another side to Ann Penn’s versatility is shown on the. reverse of this record, which gives a quaint piece, “Out in the New Mown. Hay.” (11.M.V.)

Latest Dance Music In the latest dance music on the Columbia list there are one or two, winners that everyone will be oil toOne of these is the old favourite “Casabianca” served up in a new dish as a 0-8 one-step by the Debray Somers Band. (Columbia.) The talkies-will create a big demand for the varioiWr “theme songs” of the movie tone pie': tures that are here or coming. “TheBroadway Melody” yields two very appealing numbers in “Broadway- . Melody” and “Yon wove meant for Me,” attractively presented by , thq Broadway Nitclitcs. (Columbia.) From “The Divine Lady” we get “Lady Divine.” a waltz by those famous waltz artists, the Cavaliers, which is paired with'a jolly little novelty time called “I’m Wild About Horns on Automobiles that go Ta-ta-ta-ta-ta” played by Harry Reiser’s. Syncopaters. (Columbia.) ' From “Syncopation” comes “I’ll Always be in Love with You” and “My Mammy,” given with dash and rhythm by the famous Gil Decli and his Syncoliatcrs. (Columbia.) For a catchy song bit Will Prior and liis stage band give 11s a real winner with clever orchestral etl'cets in “I Faw Down and Go Boom.” (Columbia.)

“Lohengrin” Prelude The Philadelphia Symphony Orcliesthi, under Stokowsky, gives a sensitively brilliant rendering of the Prelude, to Wagner’s “Lohengrin.” It lias been so fremieutlv.. recorded that it is in dan-' ger bFm'tfcduaihg'hackneyed, but .this is the performance with “something dif-, ferent.” Stokowsky gives a smooth and: suave rendering, and his highly trained orchestra, with perfect balance, that precision that comes of regularly playing together, and beautiful purity of tone, especially in the strings and the brass, realises all the emotional values of the Prelude, and the several themes succeed each other like romantic waives of music as the ecstatic vision is unfolded. Wagner, is always emotional and often dramatic; as rendered here he is almost exquisite. (H.M.V.) "